How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #1
A man was waiting for us. He was a small man – most seafaring mean are small – barely taller than I and dressed in a frayed green jacket over a white shirt that was none too clean. His complexion was weathered dark, his chin ill-shaven. His mouth was unsmiling. His fingers fidgeted and his feet shuffled. His daring, unfocused eyes, set deep in a narrow ferret-like face, gave the impression of one who is constantly on watch for threats that might appear from any quarter at any moment. (2.1)
Charlotte's narration is always attentive to the others' physical appearance, as in this description of the ship's second mate, Mr. Keetch. Some say you can't judge a book by its cover, but Charlotte often does exactly this, and makes assumptions about character based on physical appearance. (She's especially interested in clothing as it relates to social status.)
Quote #2
There was nothing else. No porthole. No chair. Not so much as a single piece of polite ornamentation. It was ugly, unnatural, and, as I stooped there, impossible. (2.29)
Charlotte violently objects to the squalor of her cabin. She calls the lack of ornate furnishings not only "ugly," but also "unnatural." The latter is not an insignificant word. In the novel's courtroom scene, Charlotte will have to defend herself against charges of being "unnatural" (Chapter 18).
Quote #3
From his fine coat, from his tall beaver hat, from his glossy black boots, from his clean, chiseled countenance, from the dignified way he carried himself, I knew at once – without having to be told – that this must be Captain Jaggery. And he – I saw it in a glance – was a gentleman, the kind of man I was used to. A man to be trusted. In short, a man to whom I could talk and upon whom I could rely. (3.13)
In Charlotte's mind, outer beauty – things like fancy hats and good posture and all that – equals inner beauty. Stuff like solid moral worth. With her eye for fashion, Charlotte seems to read clothing as a language all its own. But is she reading correctly?
Quote #4
Then I dressed. Unfortunately my starched clothing had gone everlastingly limp and became increasingly soiled. Hardly a button remained in place. Though I tried not to touch anything, those white gloves of mine had turned the color of slate. (8.4)
Charlotte finds it difficult to maintain her appearance on the boat, and her clothes become utterly filthy. Is her outward appearance the only thing that is changing?
Quote #5
At last I heaved myself off the bed, and from under it brought out the canvas seaman's garments Zachariah had made for me. Some roaches skittered away. I held the wrinkled clothing up and looked at its crude shape, its mean design. The feel of the crude cloth made me falter. (12.106)
Given Charlotte's previous emphasis on proper dressing, her new wardrobe – crude seaman's garments – marks a larger transformation. Is putting on wrinkled clothes kind of a big deal for Charlotte? How come?
Quote #6
"Hold out your hands," he demanded.
Fisk nudged me. I held them out, palms up.
Foley peered over them. "Like bloody cream," he said with disgust. "Touch mine!" he insisted and extended his. Gingerly, I touched one of them. His skin was like rough leather.
"That's the hands you'd get, miss. Like an animal. Is that what you want?"
"I don't care," I said stoutly. (13.19-13.23)
Charlotte's former attitudes about keeping up appearances have gone out the window. Not only is she willing to put on sailor pants, but she's also fine with having her skin get as tough as animal hide. Her new station in life – that of a sailor – will physically change her body, she knows, but not her humanity.
Quote #7
"Miss Doyle," he said between gritted teeth, "you will go to your cabin, remove those obscene garments and put on your proper dress. You are causing a disruption. I will not allow it." (14.7)
Jaggery claims that Charlotte's appearance as a boy causes a disruption on the boat. Do you think this is so? Why might the captain believe this? How can the way one person looks disturb anyone else?
Quote #8
The man before me was not the same Captain Andrew Jaggery I'd seen on the quarterdeck the first day we sailed. True, he still wore his fine clothes, but the jacket was soiled and showed any number of rips. A cuff was frayed, a button gone. Small points perhaps, but not for a man of his fastidiousness. And the whip mark, though no longer so pronounced, had become a thin white line – like a persistent, painful memory. (16.47)
Does the captain's deteriorating appearance reflect his deteriorating sanity? What is the significance of his scar?
Quote #9
I saw now what I had not seen before in the light of the moon. In the candlelight I could see that much of the furniture was cracked. Many legs had splints. Upholstery was water stained. Frames on the walls hung crookedly. Some had pictures missing. Maps and papers on the table were wrinkled or sadly torn. The tea service on the table was dented and tarnished, but arranged and presented as whole. The chess pieces were, I now realized, no more than salt and pepper shakers, broken cups, bent candlesticks. (21.36)
The storm has greatly damaged the appearance of Captain Jaggery's cabin, and he's unable to accept the loss. He tries to hide the cracks by keeping the lights out. How is this moment a metaphor for the larger events happening on the ship? What, specifically, do you think are the significances of the tea set and the chessboard? What do they symbolize?
Quote #10
We settled into the family carriage.
"Why is Charlotte's dress so tattered?" Evelina asked.
"It was a difficult voyage, dearest," my mother answered for me.
"And her gloves are so dirty," Albert chimed in.
"Albert!" Papa reproved him.
But then, after we'd gone on apace in silence, my mother said, "Charlotte, your face is so very brown." (22.40-22.45)
Charlotte's family fixates on her clothing, just as she fixated on the clothing, skin, and manners of the men as she was first brought aboard the Seahawk. Has she come completely full circle?