“Between the crowded houses of Gravesend and the monstrous red-brick pile on the Essex shore the ship is surrendered fairly to the grasp of the river. That hint of loneliness, that soul of the sea which had accompanied her as far as the Lower Hope Reach, abandons her at the turn of the first bend above. The salt, acrid flavour is gone out of the air, together with a sense of unlimited space opening free beyond the threshold of sandbanks below the Nore. The waters of the sea rush on past Gravesend, tumbling the big mooring buoys laid along the face of the town; but the sea-freedom stops short there, surrendering the salt tide to the needs, the artifices, the contrivances of toiling men. Wharves, landing-places, dock-gates, waterside stairs, follow each other continuously right up to London Bridge, and the hum of men’s work fills the river with a menacing, muttering note as of a breathless, ever-driving gale. The water-way, so fair above and wide below, flows oppressed by bricks and mortar and stone, by blackened timber and grimed glass and rusty iron, covered with black barges, whipped up by paddles and screws, overburdened with craft, overhung with chains, overshadowed by walls making a steep gorge for its bed, filled with a haze of smoke and dust.”

— Joseph Conrad, book The Mirror of the Sea

Tilbury / Gravesend to London Bridge
The Mirror of the Sea (1906), On the River Thames, Ch. 16

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Joseph Conrad127

Polish-British writer 1857–1924

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“Then, on the slight turn of the Lower Hope Reach, clusters of factory chimneys come distinctly into view, tall and slender above the squat ranges of cement works in Grays and Greenhithe. Smoking quietly at the top against the great blaze of a magnificent sunset, they give an industrial character to the scene, speak of work, manufactures, and trade, as palm-groves on the coral strands of distant islands speak of the luxuriant grace, beauty and vigour of tropical nature. The houses of Gravesend crowd upon the shore with an effect of confusion as if they had tumbled down haphazard from the top of the hill at the back. The flatness of the Kentish shore ends there. A fleet of steam-tugs lies at anchor in front of the various piers. A conspicuous church spire, the first seen distinctly coming from the sea, has a thoughtful grace, the serenity of a fine form above the chaotic disorder of men’s houses. But on the other side, on the flat Essex side, a shapeless and desolate red edifice, a vast pile of bricks with many windows and a slate roof more inaccessible than an Alpine slope, towers over the bend in monstrous ugliness, the tallest, heaviest building for miles around, a thing like an hotel, like a mansion of flats (all to let), exiled into these fields out of a street in West Kensington. Just round the corner, as it were, on a pier defined with stone blocks and wooden piles, a white mast, slender like a stalk of straw and crossed by a yard like a knitting-needle, flying the signals of flag and balloon, watches over a set of heavy dock-gates. Mast-heads and funnel-tops of ships peep above the ranges of corrugated iron roofs. This is the entrance to Tilbury Dock, the most recent of all London docks, the nearest to the sea.”

Joseph Conrad book The Mirror of the Sea

Hope Point to Tilbury / Gravesend
The Mirror of the Sea (1906), On the River Thames, Ch. 16

“The flavour of a fish which comes out of the sea at Acre is not similar to the flavour of a fish which comes out of the sea in Spain.”

Rashi (1040–1105) French rabbi and commentator

Commenting on Gen. 1:10; why does it say "seas", not "sea" - because the nature of the sea varies from place to place.
Commentary on Genesis

“When Hannibal's eyes were sated with the picture of all that valour, he saw next a marvellous sight—the sea suddenly flung upon the land with the mass of the rising deep, and no encircling shores, and the fields inundated by the invading waters. For, where Nereus rolls forth from his blue caverns and churns up the waters of Neptune from the bottom, the sea rushes forward in flood, and Ocean, opening his hidden springs, rushes on with furious waves. Then the water, as if stirred to the depths by the fierce trident, strives to cover the land with the swollen sea. But soon the water turns and glides back with ebbing tide; and then the ships, robbed of the sea, are stranded, and the sailors, lying on their benches, await the waters' return. It is the Moon that stirs this realm of wandering Cymothoe and troubles the deep; the Moon, driving her chariot through the sky, draws the sea this way and that, and Tethys follows with ebb and flow.”
Postquam oculos varia implevit virtutis imago, mira dehinc cernit: surgentis mole profundi injectum terris subitum mare nullaque circa litora et infuso stagnantis aequore campos. nam qua caeruleis Nereus evoluitur antris atque imo freta contorquet Neptunia fundo, proruptum exundat pelagus, caecosque relaxans Oceanus fontis torrentibus ingruit undis. tum uada, ceu saevo penitus permota tridenti, luctantur terris tumefactum imponere pontum. mox remeat gurges tractoque relabitur aestu, ac ratis erepto campis deserta profundo, et fusi transtris expectant aequora nautae. Cymothoes ea regna vagae pelagique labores Luna mouet, Luna, immissis per caerula bigis, fertque refertque fretum, sequiturque reciproca Tethys.

Silius Italicus Punica

Postquam oculos varia implevit virtutis imago,
mira dehinc cernit: surgentis mole profundi
injectum terris subitum mare nullaque circa
litora et infuso stagnantis aequore campos.
nam qua caeruleis Nereus evoluitur antris
atque imo freta contorquet Neptunia fundo,
proruptum exundat pelagus, caecosque relaxans
Oceanus fontis torrentibus ingruit undis.
tum uada, ceu saevo penitus permota tridenti,
luctantur terris tumefactum imponere pontum.
mox remeat gurges tractoque relabitur aestu,
ac ratis erepto campis deserta profundo,
et fusi transtris expectant aequora nautae.
Cymothoes ea regna vagae pelagique labores
Luna mouet, Luna, immissis per caerula bigis,
fertque refertque fretum, sequiturque reciproca Tethys.
Book III, lines 45–60
Punica

“The house was built on the highest part of the narrow tongue of land between the harbor and the open sea. It had lasted through three hurricanes and it was built solid as a ship.”

Ernest Hemingway book Islands in the Stream

Pt. 1: Bimini, Section 1 (the opening two paragraphs of the novel)
Islands in the Stream (1970)
Context: The house was built on the highest part of the narrow tongue of land between the harbor and the open sea. It had lasted through three hurricanes and it was built solid as a ship. It was shaded by tall coconut palms that were bent by the trade wind and on the ocean side you could walk out of the door and down the bluff across the white sand and into the Gulf Stream. The water of the Stream was usually a dark blue when you looked out at it when there was no wind. But when you walked out into it there was just the green light of the water over that floury white sand and you could see the shadow of any big fish a long time before he could ever come in close to the beach.
It was a safe and fine place to bathe in the day but it was no place to swim at night. At night the sharks came in close to the beach, hunting at the edge of the Stream, and from the upper porch of the house on quiet nights you could hear the splashing of the fish they hunted and if you went down to the beach you could see the phosphorescent wakes they made in the water. At night the sharks had no fear and everything else feared them. But in the day they stayed out away from the clear white sand and if they did come in you could see their shadows a long way away.

“Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond… [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.”

Joseph Conrad book The Mirror of the Sea

The Nore to Hope Point
The Mirror of the Sea (1906), On the River Thames, Ch. 16

“Meanwhile the dragon, seeing him clean gone,
Followed him not, but crying horribly,
Caught up within her jaws a block of stone
And ground it into powder, then turned she,
With cries that folk could hear far out at sea,
And reached the treasure set apart of old,
To brood above the hidden heaps of gold.”

William Morris (1834–1896) author, designer, and craftsman

The Earthly Paradise (1868-70), The Lady of the Land

“When friendship disappears then there is a space left open to that awful loneliness of the outside which is like the cold of space between the planets. It is an air in which men perish utterly. Absolute dereliction is the death of the soul.”

Hilaire Belloc (1870–1953) writer

Source: The Four Men: A Farrago (1911), p. 27

“Every little glimmering pond
Claims the mighty shores beyond;
Shores no seaman ever hailed,
Seas no ship has ever sailed.”

Alfred Noyes (1880–1958) English poet

Epilogue
The Flower of Old Japan and Other Poems (1907), The Flower of Old Japan
Context: p>Carol, every violet has
Heaven for a looking-glass!Every little valley lies
Under many-clouded skies;
Every little cottage stands
Girt about with boundless lands;
Every little glimmering pond
Claims the mighty shores beyond;
Shores no seaman ever hailed,
Seas no ship has ever sailed.All the shores when day is done
Fade into the setting sun,
So the story tries to teach
More than can be told in speech.</p

“Water, making but one globe with the earth, is yet higher than it. This appears, first, because it is a body not so heavy; secondly, it is observed by sailors that their ships move faster to the shore than from it, whereof no reason can be given but the height of the water above the land; thirdly to such as stand on the shore the sea seems to swell into the form of a round hill till it puts a bound upon our sight. Now that the sea, hovering thus over and above the earth doth, not overwhelm it, can be ascribed only to his Providence who 'hath made the waters to stand on an heap that they turn not again to cover the earth.”

Peter Heylin (1599–1662) English ecclesiastic and author of polemical, historical, political and theological tracts

Microcosmos: a Little Description of the Great World (1621)

“Far out in the ocean, where the water is as blue as the prettiest cornflower, and as clear as crystal, it is very, very deep; so deep, indeed, that no cable could fathom it: many church steeples, piled one upon another, would not reach from the ground beneath to the surface of the water above. There dwell the Sea King and his subjects.”

Hans Christian Andersen book The Little Mermaid

The Little Mermaid
Fairy Tales (1835)

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Joseph Conrad127

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