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The Phantom Ship (1839) is a Gothic novel by Frederick Marryat which explores the legend of the Flying Dutchman and, in one chapter, features a werewolf.The plot concerns the quest of Philip Vanderdecken of Terneuzen in the Netherlands to save his father - who has been doomed to sail for eternity as the Captain of the Bewitched Phantom Ship, after he made a rash oath to heaven and slew one of the crew whilst attempting to sail round the Cape of Good Hope. Vanderdecken learns upon his mother's death that there exists a way by which his father's disturbed spirit may be laid to rest, and vows to live at sea until he has spoken with his father face to face and accomplished this purpose. Vanderdecken sails around the world in a number of ships, in the employ of the Dutch East India Company, so that he can redeem his father by presenting him with the relic of the Holy Cross he wears round his neck. His quest, however, brings him into conflict with earthly and unearthly powers as the sight of the Flying Dutchman brings doom to all who encounter her The legend of the Flying Dutchman forms the background to the story and makes regular appearances throughout the novel, while Marryat adds many other supernatural details. He introduces as the heroine, Amine, the daughter of one Mynheer Poots, a miser. Having Arab blood in her veins, she possesses some of the secrets of Arabian magic, but her incautious use of her magic arts brings her into the dungeons of the Inquisition at Goa. Likewise, there is Schrifter, the demon pilot; and Krantz, with a tale of horrors in the Harz mountains; atrocious monks; and ghosts that will not be drowned
The Phantom Ship (1839) is a Gothic novel by Frederick Marryat which explores the legend of the Flying Dutchman.The plot concerns the quest of Philip Vanderdecken of Terneuzen in the Netherlands to save his father - who has been doomed to sail for eternity as the Captain of the Bewitched Phantom Ship, after he made a rash oath to heaven and slew one of the crew whilst attempting to sail round the Cape of Good Hope. Vanderdecken learns upon his mother's death that there exists a way by which his father's disturbed spirit may be laid to rest, and vows to live at sea until he has spoken with his father face to face and accomplished this purpose.Vanderdecken sails around the world in a number of ships, in the employ of the Dutch East India Company, so that he can redeem his father by presenting him with the relic of the Holy Cross he wears round his neck. His quest, however, brings him into conflict with earthly and unearthly powers as the sight of the Flying Dutchman brings doom to all who encounter her.
The Phantom Ship (1839) is a Gothic novel by Frederick Marryat which explores the legend of the Flying Dutchman.The plot concerns the quest of Philip Vanderdecken of Terneuzen in the Netherlands to save his father - who has been doomed to sail for eternity as the Captain of the Bewitched Phantom Ship, after he made a rash oath to heaven and slew one of the crew whilst attempting to sail round the Cape of Good Hope. Vanderdecken learns upon his mother's death that there exists a way by which his father's disturbed spirit may be laid to rest, and vows to live at sea until he has spoken with his father face to face and accomplished this purpose.Vanderdecken sails around the world in a number of ships, in the employ of the Dutch East India Company, so that he can redeem his father by presenting him with the relic of the Holy Cross he wears round his neck. His quest, however, brings him into conflict with earthly and unearthly powers as the sight of the Flying Dutchman brings doom to all who encounter her.
In the enthralling nautical adventure 'The Phantom Ship,' Captain Frederick Marryat skilfully weaves supernatural elements with maritime lore, inviting readers aboard a spectral vessel that defies the bounds of time and sea. Marryat, a pioneer of the sea story and adept in the literary art, imbues his work with an authenticity that stems from his own naval experiences. The tale is set against the sprawling backdrop of the high seas and delves into the legend of the Flying Dutchman, a ghostly ship doomed to sail the oceans forever. The book's intricate plot, rich in detail and maritime terminology, aligns with the stylistic features and thematic concerns of the 19th-century literary context, dealing with fatalism, superstition, and man's battle against the implacable forces of nature. Frederick Marryat's own seafaring life undoubtedly informed the technical precision and rousing authenticity found in 'The Phantom Ship.' The author's time in the Royal Navy, reaching the rank of captain, provided a wealth of material that informed his fiction. Marryat's firsthand experience lends the book an air of verisimilitude, often blurring the line between fact and fantasy. This novel, written at the height of Marryat's literary career, not only reflects his deep knowledge and passion for the sea but also illustrates his ability to create compelling narratives that resonate with the human experience. 'The Phantom Ship' will captivate readers passionate about maritime adventures and those intrigued by the fusion of historical realism and supernatural myth. It is a book highly recommended for enthusiasts of classic literature, particularly for those who appreciate the finesse with which Marryat navigates through the tempestuous waters of seafaring lore and the human condition. This book will transport you to the deck of the hauntingly immortal Dutchman, through prose as profound and unpredictable as the sea itself.
The Phantom Ship (1839) is a Gothic novel by Frederick Marryat which explores the legend of the Flying Dutchman and, in one chapter, features a werewolf.The plot concerns the quest of Philip Vanderdecken of Terneuzen in the Netherlands to save his father - who has been doomed to sail for eternity as the Captain of the Bewitched Phantom Ship, after he made a rash oath to heaven and slew one of the crew whilst attempting to sail round the Cape of Good Hope. Vanderdecken learns upon his mother's death that there exists a way by which his father's disturbed spirit may be laid to rest, and vows to live at sea until he has spoken with his father face to face and accomplished this purpose. Vanderdecken sails around the world in a number of ships, in the employ of the Dutch East India Company, so that he can redeem his father by presenting him with the relic of the Holy Cross he wears round his neck. His quest, however, brings him into conflict with earthly and unearthly powers as the sight of the Flying Dutchman brings doom to all who encounter her. Themes--The legend of the Flying Dutchman forms the background to the story and makes regular appearances throughout the novel, while Marryat adds many other supernatural details. He introduces as the heroine, Amine, the daughter of one Mynheer Poots, a miser. Having Arab blood in her veins, she possesses some of the secrets of Arabian magic, but her incautious use of her magic arts brings her into the dungeons of the Inquisition at Goa.Likewise, there is Schrifter, the demon pilot; and Krantz, with a tale of horrors in the Harz mountains;atrocious monks; and ghosts that will not be drowned. The reviews for the novel were generally poor. The Athenaeum thought that the work "falls sadly short of the racy marine stories by which the author won his first fame." In particular, it noted that Marryat "dashes off scenes of portent and terror with the same familiar and slip-shod style ... and the result is a feebleness of effect, not to be found in his other novels."Likewise in referring to the book, The Dublin Review thought that the "falling off in his last novel ... is very considerable," and stated that "a string of extravagant adventures, carelessly put together, and heavily told, deaden curiosity, -the Flying Dutchman makes his appearance as regularly as a packetboat, and becomes at last almost as tiresome." In recent times S.T. Joshi has called the novel "an aesthetic disaster - appallingly prolix, and written in a stiff, cumbersome style that reads like a bad translation from a foreign language."
The first full-length study of the main German contributors to the Gothic canon, to each of whom a chapter is devoted, The German Gothic Novel in Anglo-German Perspective is an original historical and comparative study that goes well beyond the necessary review of the evidence to include much new material, many new insights and pieces of analysis, and some fundamental changes of perspective. The book aims to put the record straight in bibliographical and literary historical terms, and to act as a reference guide to facilitate future research, so that anyone working on the German Gothic novel or on Anglo-German interactions in the field of Gothic, will find there references to all the relevant secondary literature. The German Gothic Novel in Anglo-German Perspective is addressed to Germanists, but also to teachers and students of English, American and comparative literature, for there is at present hardly a ‘hotter’ subject than Gothic. The book’s emphasis on the Gothic work of canonical writers should prompt even conservative German Departments to reconsider their attitude to Gothic. Being addressed to scholars and students of German, German quotations are given in German, but English translations are added for the convenience of English and American scholars and students of Gothic, who represent another important section of the books’ target audience.
Drawing together literature, media, and philosophy, Ghostly Apparitions provides a new model for media archaeology and its transformation of intellectual and literary history. Stefan Andriopoulos examines new media technologies and distinct cultural realms, tracing connections between Kant’s philosophy and the magic lantern’s phantasmagoria, the Gothic novel and print culture, and spiritualist research and the invention of television. As Kant was writing about the possibility of spiritual apparitions, the emerging medium of the phantasmagoria used hidden magic lanterns to startle audiences with ghostly projections. Andriopoulos juxtaposes the philosophical arguments of German idealism with contemporaneous occultism and ghost shows. In close readings of Kant, Hegel, and Schopenhauer, he traces the diverging modes in which these authors appropriated figures of optical media and spiritualist notions. The spectral apparitions from this period also intersect with the rise of popular print culture. Andriopoulos explores the circulation of ostensibly authentic ghost narratives and the Gothic novel, which was said to produce “reading addiction” and a loss of reality. Romantic representations of animal magnetism and clairvoyance similarly blurred the boundary between fiction and reality. The final chapter of Ghostly Apparitions extends this archaeology of new media into the early twentieth century. Tracing a reciprocal inter_action between occultism and engineering, Andriopoulos uncovers how theories and devices of psychical research enabled the emergence of television.
The Phantom Ship (1839) is a Gothic novel by Frederick Marryat which explores the legend of the Flying Dutchman. Plot introduction: The plot concerns the quest of Philip Vanderdecken of Terneuzen in the Netherlands to save his father - who has been doomed to sail for eternity as the Captain of the Bewitched Phantom Ship, after he made a rash oath to heaven and slew one of the crew whilst attempting to sail round the Cape of Good Hope. Vanderdecken learns upon his mother's death that there exists a way by which his father's disturbed spirit may be laid to rest, and vows to live at sea until he has spoken with his father face to face and accomplished this purpose. Vanderdecken sails around the world in a number of ships, in the employ of the Dutch East India Company, so that he can redeem his father by presenting him with the relic of the Holy Cross he wears round his neck. His quest, however, brings him into conflict with earthly and unearthly powers as the sight of the Flying Dutchman brings doom to all who encounter her.................... Captain Frederick Marryat (10 July 1792 - 9 August 1848) was a British Royal Navy officer, a novelist, and an acquaintance of Charles Dickens. He is noted today as an early pioneer of the sea story, particularly for his semi-autobiographical novel Mr Midshipman Easy (1836), for his children's novel The Children of the New Forest (1847), and for a widely used system of maritime flag signalling, known as Marryat's Code. Early life and naval career: Marryat was born in Great George Street, Westminster, London, the son of Joseph Marryat (1757-1824), a "merchant prince" and member of Parliament, and his American wife Charlotte, nee von Geyer. After trying to run away to sea several times, Marryat was permitted to enter the Royal Navy in 1806 as a midshipman on board HMS Imperieuse, a frigate commanded by Lord Cochrane (who later served as inspiration for Marryat as well as other authors). Marryat's time aboard the Imperieuse included action off the Gironde, the rescue of a fellow midshipman who had fallen overboard, captures of many ships off the Mediterranean coast of Spain, and the capture of the castle of Montgat. The Imperieuse shifted to operations in the Scheldt in 1809, where Marryat contracted malaria; he returned to England on the 74-gun HMS Victorious. After recuperating, Marryat returned to the Mediterranean in the 74-gun HMS Centaur and again saved a shipmate by leaping into the sea after him. He then sailed as a passenger to Bermuda in the 64-gun HMS Atlas, and from there to Halifax, Nova Scotia on the schooner HMS Chubb, where he joined the 32-gun frigate HMS Aeolus on 27 April 1811. A few months later, Marryat again earned distinction by leading the effort to cut away the Aeolus's mainyard to save the ship during a storm and, continuing a pattern, he also saved one of the men from the sea. Shortly thereafter, he moved to the frigate HMS Spartan, participating in the capture of a number of American ships (the War of 1812 having begun). On 26 December 1812, he was promoted to lieutenant, and as such served in the sloop HMS Espiegle and in HMS Newcastle. Marryat led four barges from the latter ship on a punishing raid to Orleans, Massachusetts on December 19, 1814, the last combat in New England during the war. The affair had mixed results. Initially, Marryat cut out an American schooner and three sloops, but managed to escape with just one sloop. The local militia avoided casualties while killing one Royal marine. He was promoted to commander on 13 June 1815, just as peace broke out...............