The promotion of the admiral, and other sea comedies — Reading Notes

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Roberts, Morley, 1857-1942 Project Gutenberg 2022 Not confirmed
Short stories, English; Sea stories, English; English fiction -- 20th century Readers of public-domain and historical texts
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Words 54,762
Reading time 239 min
Text sections 5

For The promotion of the admiral, and other sea comedies — Reading Notes, the stored edition analysis reports 54,762 words, 3 hr 59 min estimated reading time, and 5 detected text sections.

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Morley Roberts's collection of sea comedies uses brisk dialogue and exaggerated characters to satirize maritime life. The opening story introduces Shanghai Smith, a brutal boarding-house keeper, while later tales feature incompetent scientists pressed into service. Roberts's narrative voice shifts between sardonic observation and farcical action.
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Smith looked melancholy.

"No, she ain't, that's a fact. It's a solid pity. Sant would have suited this Dunn first class." He was the most notorious blackguard of a shipmaster yet unhung, and the fact that Smith and he were bitter enemies never blinded Shanghai to the surpassing merits of his brutality.

"There's the _Cyrus G. Hake_."

Smith shook his head contemptuously.

"D'ye think I want to board this admiral at the Palace Hotel? Why, Johnson hasn't hurt a man serious for two trips."

"Oh, well, I thought as he'd sure break out soon," said Bill; "but there's the President. They do say that her new mate is a holy terror."

"I won't go on hearsay," said Smith decidedly. "I want a good man you and I know--one that'll handle this Dicky Dunn from the start. Now, what's in the harbour with officers that can lick me?"

"Well, I always allowed (as you know, Mr. Smith) that Simpson of the _California_ was your match."

Smith's face softened.

At any other time he would never have admitted it.

"And the _California_ will sail in three days."

"Righto," said Smith. "Simpson is a good tough man and so is old Blaker. Bill, the _California_ will do. But it's an almighty pity the _Harvester_ ain't here. I never knew a more unlucky thing. But we must put up with the next best."

"But how'll you corral the admiral, sir?" asked Bill.

"You leave that to me," replied his boss. "I've got a very fruitful notion as will fetch him if he's half the man he was."

Next evening Smith found occasion to run across a couple of the _Triumphant's_ crew, and he got them to come into his house for a drink.

"Are these galoots to be dosed and put away?" asked the bar-tender.

"Certainly not," said Smith. "Fill 'em up with good honest liquor at my expense."

The bar-tender hardly knew where good honest liquor was to be found in that house, but he gave the two men-o'-war's men the slowest poison he had, and they were soon merry.

"Is the admiral as dead keen on fightin' with his fists as he was?" asked Smith.

"Rather," said the first man.

"Oh no, he's tired," said the second. "'E allows 'e can't find no one to lick 'im. 'E never could."

"Oh, that's his complaint, is it?" said Smith. "And is he as good as he was?"

"I heerd him tell the first luff on'y the other day as 'e reckoned to be a better man now than he was twenty years ago. And I believes 'im. 'Ard? Oh my! I do believe if 'e ran agin a lamp-post he'd fight through it."

It was enough for Smith to know that the admiral was still keen on fighting. To draw a man like that would not be so difficult. When he had turned the two naval seamen into the street, he called for the runner.

"Have you found out what I told you?"

"Yes," replied Bill. "He mostly comes down and goes off at eleven."

"Mostly he has a young chap with him. I reckon they calls him the flag-lieutenant: a kind of young partner he seems to be. But that's the only one so far. And the _California_ sails day after ter-morrer, bright and early."

"Couldn't be better," said Smith. "After waitin' all these years I can't afford to lose no time. Thishyer racket comes off to-night. Look out, Mr. Bully Admiral! I'm on your track."

And the trouble did begin that night.

Mr. 'Say-it-and-mean-it' Smith laid for Admiral Sir Richard Dunn, K.C.B., etc., etc., from ten o'clock till half-past eleven, and he was the only man in the crowd that did not hope the victim would come down with too many friends to be tackled.

"It's a penitentiary job, so it is," said Bill. And yet when the time arrived his natural instincts got the better of him.

The admiral came at last: it was about a quarter to twelve, and the whole water-front was remarkably quiet. The two policemen at the entrance to the Ferries had by some good luck, or better management, found it advisable to take a drink at Johnson's, just opposite. And the admiral was only accompanied by his flag-lieutenant.

"That's him," said Smith. "I'd know the beggar anywhere. Now keep together and sing!"

Morley Roberts opens his collection with a portrait of Shanghai Smith, a San Francisco boarding-house keeper whose reputation for cunning and brutality precedes him across the Pacific. The narrator describes Smith as having 'the bull-headed courage of a mad steer combined with the wicked cunning of a monkey,' establishing a tone of wry exaggeration that persists throughout the stories. Smith's dialogue—'Say it and mean it, that's me'—reveals a character who thrives on confrontation and self-aggrandizement. Roberts's prose moves between detached summary and vivid, colloquial speech, creating a rhythm that mirrors the unpredictable life of sailors ashore and at sea.

Dialogue as Character Revelation

Roberts relies heavily on dialogue to define his characters, often letting them condemn themselves through their own words. Shanghai Smith's boastful threats—'Don't never play upon me, for get even is my motter'—paint him as a man who values reputation above all. In later stories, the speech patterns shift: the mate Simpkins uses a rough, paternal tone ('Blimy, we'll 'ave 'er sailin' like a witch yet'), while the scientists speak in formal, hesitant phrases. The contrast between the sailors' blunt commands and the intellectuals' polite protests heightens the comedy of mismatched expectations. Roberts rarely uses interior monologue; instead, he lets action and dialogue carry the narrative forward, giving the stories a theatrical quality.

Pacing Through Physical Comedy

The excerpts show Roberts varying pace by alternating between rapid-fire exchanges and extended descriptions of physical labor. In 'The Crew of the Kamma Funder,' the scientists are forced to pump and throw lumber overboard, and the narrative slows to detail their exhaustion: 'the astronomer and entomologist pumped for their lives.' Then the pace quickens with Simpkins's orders and the captain's roaring. Roberts also uses repetition for comic effect—the captain's repeated threats to 'make sailors' of the scientists build a rhythm of escalating absurdity. The physical comedy of learned men struggling with manual tasks is underscored by the narrator's deadpan delivery, which never openly mocks but lets the situation speak for itself.

Setting as a Source of Tension

Roberts anchors his stories in specific, gritty settings that shape the characters' behavior. The Barbary Coast boarding-house is described as a place where 'any drunken scallawag of a scholar' might be knocked unconscious with a match-box. The shipboard scenes emphasize confinement and danger: the waterlogged barque, the leaking pumps, the 'whitening' sea of floating lumber. These details create a sense of immediate physical threat that contrasts with the farcical elements. Roberts does not romanticize the sea; instead, he presents it as a harsh environment that exposes incompetence and tests resolve. The setting functions almost as a character, forcing the scientists and sailors alike into uncomfortable proximity and driving the plot through practical necessity.

Readers approaching this collection should attend to the way Roberts balances satire with sympathy. His characters are often ridiculous, but their struggles with authority, survival, and dignity are treated with a straight-faced humor that rewards close attention to dialogue and pacing. The stories benefit from being read in sequence, as recurring types and situations build a coherent comic world.

That rainy afternoon, I kept returning to Roberts’s cantankerous sailors, their bluster masking a deeper weariness. Closing the book, I noticed another volume on the shelf, its spine faded. Flipping it open to a random page, I found that same salty, grudging resignation waiting for me there. Red stripes — Reading Notes felt familiar, as if Roberts’s characters had simply walked into a different story.

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