that of utility.  The bondage of art is very exacting.  And, as the writer of the article which started this train of thought says with lovable warmth, the sailing of yachts is a fine art.

His contention is that racing, without time allowances for anything else but tonnage—that is, for size—has fostered the fine art of sailing to the pitch of perfection.  Every sort of demand is made upon the master of a sailing-yacht, and to be penalized in proportion to your success may be of advantage to the sport itself, but it has an obviously deteriorating effect upon the seamanship.  The fine art is being lost.

VIII.

The sailing and racing of yachts has developed a class of fore-and-aft sailors, men born and bred to the sea, fishing in winter and yachting in summer; men to whom the handling of that particular rig presents no mystery.  It is their striving for victory that has elevated the sailing of pleasure craft to the dignity of a fine art in that special sense.  As I have said, I know nothing of racing and but little of fore-and-aft rig; but the advantages of such a rig are obvious, especially for purposes of pleasure, whether in cruising or racing.  It requires less effort in handling; the trimming of the sail-planes to the wind can be done with speed and accuracy; the unbroken spread of the sail-area is of infinite advantage; and the greatest possible amount of canvas can be displayed upon the least possible quantity of spars.  Lightness and concentrated power are the great qualities of fore-and-aft rig.

A fleet of fore-and-afters at anchor has its own slender graciousness.  The setting of their sails resembles more than anything else the unfolding of a bird’s wings; the facility of their evolutions is a pleasure to the eye.  They are birds of the sea, whose swimming is like flying, and resembles more a natural function than the handling of man-invented appliances.  The fore-and-aft rig in its simplicity and the beauty of its aspect under every angle of vision is, I believe, unapproachable.  A schooner, yawl, or cutter in charge of a capable man seems to handle herself as if endowed with the power of reasoning and the gift of swift execution.  One laughs with sheer pleasure at a smart piece of manoeuvring, as at a manifestation of a living creature’s quick wit and graceful precision.

Of those three varieties of fore-and-aft rig, the cutter—the racing rig par excellence—is of an appearance the most imposing, from the fact that practically all her canvas is in one piece.  The enormous mainsail of a cutter, as she draws slowly past a point of land or the end of a jetty under your admiring gaze, invests her with an air of lofty and silent majesty.  At anchor a schooner looks better; she has an aspect of greater efficiency and a better balance to the eye, with her two masts distributed over the hull with a swaggering rake aft.  The yawl rig one comes in time to love.  It is, I should think, the easiest of all to manage.

For racing, a cutter; for a long pleasure voyage, a schooner; for cruising in home waters, the yawl; and the handling of them all is indeed a fine art.  It requires not only the knowledge of the general principles of sailing, but a particular acquaintance with the character of the craft.  All vessels are handled in the same way as far as theory goes, just as you may deal with all men on broad and rigid principles.  But if you want that success in life which comes from the affection and confidence of your fellows, then with no two men, however similar they may appear in their nature, will you deal in the same way.  There may be a rule of conduct; there is no rule of human fellowship.  To deal with men is as fine an art as it is to deal with ships.  Both men and ships live in an unstable element, are subject to subtle and powerful influences, and want to have their merits understood rather than their faults found out.

It is not what your ship will not do that you want to know to get on terms of successful partnership with her; it is, rather, that you ought to have a precise knowledge of what she will do for you when called upon to put forth what is in her by a sympathetic touch.  At first sight the difference does not seem great in either line of dealing with the difficult problem of limitations.  But the difference is great.  The difference lies in the spirit in which the problem is approached.  After all, the art of handling ships is finer, perhaps, than the art of handling men.

And, like all fine arts, it must be based upon a broad, solid sincerity, which, like a law of Nature, rules an infinity of different phenomena.  Your endeavour must be single-minded.  You would talk differently to a coal-heaver and to a professor.  But is this duplicity?  I deny it.  The truth consists in the genuineness of the feeling, in the genuine recognition of the two men, so similar and so different, as your two partners in the hazard of life.  Obviously, a humbug, thinking only of winning his little race, would stand a chance of profiting by his artifices.  Men, professors or coal-heavers, are easily deceived; they even have an extraordinary knack of lending themselves to deception, a sort of curious and inexplicable propensity to allow themselves to be led by the nose with their eyes open.  But a ship is a creature which we have brought into the world, as it were on purpose to keep us up to the mark.  In her handling a ship will not put up with a mere pretender, as, for instance, the public will do with Mr. X, the popular statesman, Mr. Y, the popular scientist, or Mr. Z, the popular—what shall we say?—anything from a teacher of high morality to a bagman—who have won their little race.  But I would like (though not accustomed to betting) to wager a large sum that not one of the few first-rate skippers of racing yachts has ever been a humbug.  It would have been too difficult.  The difficulty arises from the fact that one does not deal with ships in a mob, but with a ship as an individual.  So we may have to do with men.  But in each of us there lurks some particle of the mob spirit, of the mob temperament.  No matter how earnestly we strive against each other, we remain brothers on the lowest side of our intellect and in the instability of our feelings.  With ships it is not so.  Much as they are to us, they are nothing to each other.  Those sensitive creatures have no ears for our blandishments.  It takes something more than words to cajole them to do our will, to cover us with glory.  Luckily, too, or else there would have been more shoddy reputations for first-rate seamanship.  Ships have no ears, I repeat, though, indeed, I think I have known ships who really seemed to have had eyes, or else I cannot understand on what ground a certain 1,000-ton barque of my acquaintance on one particular occasion refused to answer her helm, thereby saving a frightful smash to two ships and to a very good man’s reputation.  I knew her intimately for two years, and in no other instance either before or since have I known her to do that thing.  The man she had served so well (guessing, perhaps, at the depths of his affection for her) I have known much longer, and in bare justice to him I must say that this confidence-shattering experience (though so fortunate) only augmented his trust in her.  Yes, our ships have no ears, and thus they cannot be deceived.  I would illustrate my idea of fidelity as between man and ship, between the master and his art, by a statement which, though it might appear shockingly sophisticated, is really very simple.  I would say that a racing-yacht skipper who thought of nothing else but the glory of winning the race would never attain to any eminence of reputation.  The genuine masters of their craft—I say this confidently from my experience of ships—have thought of nothing but of doing their very best by the vessel under their charge.  To forget one’s self, to surrender all personal feeling in the service of that fine art, is the only way for a seaman to the