Chambers's Journal of Popular Literature, Science, and Art, No. 686 February 17, 1877

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Chambers's Journal of Popular Literature, Science, and Art, No. 686 February 17, 1877

by Various Authors

EN·~1 hours·7 chapters

Chapters

7 total
1

DERELICTS.

16:28
2

THE LAST OF THE HADDONS.

14:38
3

MAN ON MAN.

17:47
4

MRS PETRE.

19:45
5

POST-LETTER ITEMS.

16:23
6

ERRORS CONCERNING ANIMALS AND PLANTS.

16:37
7

THE QUICHENOT LAMP-FORGE.

3:08

Description

Ghost ships drift across the ocean like silent riddles, their decks empty and their hulls bearing the scars of fire, flood or ice. The opening scene paints a vivid picture of a derelict—water‑logged, crewless, even a lone cat clinging to the wreckage—inviting listeners to imagine the desperation of sailors who must abandon hope and hope for rescue. It also introduces the legal concept of “derelict,” where abandoned vessels become ownerless property, subject to salvage claims and the tangled jurisdiction of maritime law.

From the eerie sighting of the famed Resolute by a whaler in 1855 to the icy entrapments of Arctic expeditions, the narrative weaves together real‑world examples of ships stranded in unforgiving seas. Listeners will hear about the perilous choices faced by captains and crews, the scramble for survival on ice floes, and the fragile line between abandonment and rescue. These early tales set the stage for deeper exploration of how humanity confronts the vast, indifferent ocean.

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Details

Full title

Chambers's Journal of Popular Literature, Science, and Art, No. 686 February 17, 1877 February 17, 1877

Language

en

Duration

~1 hours (100K characters)

Publisher of text edition

Project Gutenberg

Credits

Produced by Susan Skinner and the Online Distributed Proofreading Team at http://www.pgdp.net

Release date

2014-09-18

Rights

Public domain in the USA.

About the author

VA

Various Authors

This collection brings together writing from more than one contributor, so there isn’t a single author story to tell. The focus is on the range of voices in the work itself.

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