The Guinea Voyage: A Poem in Three Books To Which Are Added Observations on a Voyage to the Coast of Africa — Key Ideas to Explore
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The Guinea Voyage: A Poem in Three Books To Which Are Added Observations on a Voyage to the Coast of Africa — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 18,911 words, 1 hr 23 min estimated reading time, and 11 detected text sections.
The text analysis averages about 26.5 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Slave trade -- Poetry,” connecting these edition facts with the source record’s subject description.
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Far other feelings his mild soul imprest; Far other ardours shook his hopeless breast. With purest passion long his bosom beat, Its rise propitious, and its progress sweet. Returning love diffus'd the nameless charm, And met his hopes, in virgin blushes warm. In mutual confidence and fondness blest, Nor guilt alarm'd, nor fear disturb'd the breast. But eyes parental, film'd with doubtful hue, (That with inverted glass youth's prospects view,) Mark'd the soft transports of their chaste delight, And peevish envy sicken'd at the fight. With keen infliction giv'n, the stern command Cut with relentless stroke the tender band. The pious maid, with dutious, fearful smart, Tore the fond lover from her trembling heart. Despairing, doating—with distracted mien— He flew the spot, and chang'd the heav'nly scene; Rush'd to the rigours of the frozen pole, To quench the conflicts of his fervid soul: His fervid griefs the frozen aid deny, And brave the winter of an arctic sky; Thence by the winds and fiercer passions blown, He tries the ardours of the flaming zone. Seeking with hopeless agony to find Extremes like those, which shook his tortur'd mind; From cold Despair's keen night and icy sway, To all the scorchings of Love's burning ray.
See o'er the glossy wave the vessel skim, In swelling garments proud, and gayest trim, Glitt'ring in streamers, deck'd in painted guile, Cov'ring the latent bane with specious smile, In shining colours, splendidly array'd, Assume the honours of an _honest trade_, And hide, beneath a prostituted glare, The poison'd purpose, and the' insidious snare.
Beguil'd, the crew now raise the' associate strain, And the last drops from pleasure's goblet drain. The gloomy _master_ views with looks malign Their short-liv'd mirth, and hugs the black design— Feeds his dark rancour with the foul alloy— How soon the impending fate will damn their joy.
So when primeval bliss through _Eden_ stream'd And young-ey'd innocence on pleasure beam'd, With heedless joy the unsuspecting pair, Revell'd in guiltless rapture, void of care. Stung with the sight, the soul-ensnaring fiend, _Slav'ry's first author_, with fell rancour grinn'd; Fermenting envy swell'd the villain-thought— How soon his kindred mates, with malice fraught, _Sin_, _Pain_, and _Death_, would throw their shades between, And blast with horror the delightful scene, Change the lov'd converse and th' enchanting air, To shrieks of woe and howlings of despair! Now tost beneath the vessel's ample side, The last boat lingers on the breaking tide. The bending deck receives the parting crowd; And shades of sorrow ev'ry face o'ercloud; Associates, friends, compress the burning hand; In pale dejection weeping maidens stand— Presageful, eye the liquid, wild abyss, And wet with tender tears the trembling kiss; Sink from the nerveless arm, in lost dismay, As the dread signal speeds the boat away. Three soul-expanding shouts the skies divide; Three wild, responsive cheers re-echo wide— The sweet vibrations tremble on the ear, The last delightful sounds they'll ever hear! And now the refluent boat evades the sight, High-mounting waves the vessels disunite. Still the white signal, fading, strains the eyes, Still the lorn lover with his hand replies; Till melting into air—the object lost— And duty sternly calling to his post, 'Twixt him and joy th' eternal curtain's drawn, No more of bliss to know returning dawn.
Swift from the breezy north, assisting gales Impel the course, and swell the yielding sails. Before the sightless breeze the vessel flies, Clambers the mountain sea, and braves the skies; Or thund'ring down the depths that foam below, Ploughs up the surging brine with dashing prow. The rattling cordage whirls, the sail-yards strain, The winding pipe re-echoes o'er the main: Firm in their stations, ply th' obedient crowd, Trim the directing lines, and strain the shroud; Tug at the beating sheets with sinew'd force, And give the vast machine its steady course.
Now, all that meets the vainly straining eye, Is boundless ocean and unmeasur'd sky. Unless perchance, beyond the wat'ry trace, _Iberia_'s purple hills th' horizon grace, Or on the right, with a whole vintage red, Storm-beat _Madeira_ waves her woody head.
Still o'er the pathless waste, with rapid force, Led by th' encreasing ray, we urge the course. Surrounding dolphins gambol o'er the tide, And deck the blue-green wave with silver pride: Swift from the beautious tyrant, the weak fry Forsake the flood, and arid ether try, Spread the moist wing—attempt th' untoward height, And in short soarings urge their trembling flight. The breathing porpus cleaves his pond'rous way, The flouncing skipjacks bound in liquid play; Bonitoes court the spray on either side, And Albicores in shining mazes glide: While huge Leviathan, in monarch mood, Spooms, like an island, thro' the subject flood.
James Field Stanfield's The Guinea Voyage pairs a three-book poem with prose letters addressed to abolitionist Thomas Clarkson. The work is unusual in its dual form: the verse offers a moral and emotional indictment of the slave trade, while the appended letters provide factual, affidavit-backed testimony from Stanfield's own experience as a mariner. The preface explains that the prose originally was meant to accompany the poem as 'proofs and explanations,' but was published separately to strengthen the abolitionist cause. This edition restores the two together, creating a layered document that shifts between poetic lament and forensic report.
A Witness Who Sailed the Trade
Stanfield presents himself not as a distant commentator but as a former insider. He writes from the position of 'a mariner in the African trade,' and his preface states that he twice gave personal evidence before Parliament. The prose letters are grounded in specific, verifiable details: he names Liverpool as the only port he sailed from, describes the exact method of debt entrapment in 'public houses, under the influence, and in the pay of the merchants,' and recounts the fate of two crews—thirty-two men or more on his own vessel, plus a replacement crew—of whom only the captain, the carpenter, and himself returned to England. This statistical claim is offered as a concrete example of the trade's human cost.
The Machinery of Coercion
The letters detail a systematic process for recruiting sailors. Stanfield describes how public houses use 'festivity and music,' prostitution, and intoxication to lure seamen into debt. Once a sailor owes enough, a Guinea ship is offered; if he refuses, imprisonment follows, making him unemployable on other vessels. Stanfield calls these houses 'infamous dens' and notes that merchants, clerks, and captains 'prowl about without intermission' during an outfit. The language is precise and accusatory, contrasting the sailors' 'unsuspecting, thoughtless, dissipated propensity' with the calculated exploitation by the trade's agents. This section of the letters functions as a procedural exposé, showing how the trade manufactured its own workforce.
Silence and Disappearance
A recurring theme in the letters is the erasure of the crew. Stanfield observes that sailors on Guinea voyages seldom inform their families of their destination, partly because the voyage is 'held in so much dishonour and contempt.' After his own return to Liverpool, inquiries were made for only four men out of two crews. He managed their accounts and asserts that not one of the first crew (officers excepted) had sent word of their destination. This silence, he argues, deprives the public of 'an impartial channel of information' and allows the trade to continue veiled. The poem, by contrast, gives voice to the suffering that the prose documents—a deliberate pairing of emotional outcry with the cold record of lives lost without trace.
Readers approaching The Guinea Voyage should attend to the tension between its two halves. The poem employs the conventions of eighteenth-century moral verse, while the letters adopt the plain style of a legal brief. Stanfield himself notes in the preface that the prose was intended to 'bring the work down, in some measure to the level of plain, prosaic comprehension.' Together, they form a hybrid work that insists on the authority of personal witness even as it reaches for the permanence of art.
Reading Stanfield’s account, I kept thinking how certain truths only settle in when someone dares to write them down plainly. That’s what lingered for me, the weight of a voice that refuses to look away. The other night, I found myself reaching for Splores of a Halloween, Twenty Years Ago — A Closer Reading and felt that same quiet ache, remembering how memory can hold both the light and the shadow of a single evening.
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