The Loss of the S.S. Titanic: Its Story and Its Lessons, by One of the Survivors

Reaching the top deck, we found many people assembled there,—some fully dressed, with coats and wraps, well-prepared for anything that might happen; others who had thrown wraps hastily round them when they were called or heard the summons to equip themselves with lifebelts—not in much condition to face the cold of that night. Fortunately there was no wind to beat the cold air through our clothing: even the breeze caused by the ship’s motion had died entirely away, for the engines had stopped again and the Titanic lay peacefully on the surface of the sea—motionless, quiet, not even rocking to the roll of the sea; indeed, as we were to discover presently, the sea was as calm as an inland lake save for the gentle swell which could impart no motion to a ship the size of the Titanic. To stand on the deck many feet above the water lapping idly against her sides, and looking much farther off than it really was because of the darkness, gave one a sense of wonderful security: to feel her so steady and still was like standing on a large rock in the middle of the ocean. But there were now more evidences of the coming catastrophe to the observer than had been apparent when on deck last: one was the roar and hiss of escaping steam from the boilers, issuing out of a large steam pipe reaching high up one of the funnels: a harsh, deafening boom that made conversation difficult and no doubt increased the apprehension of some people merely because of the volume of noise: if one imagines twenty locomotives blowing off steam in a low key it would give some idea of the unpleasant sound that met us as we climbed out on the top deck.

But after all it was the kind of phenomenon we ought to expect: engines blow off steam when standing in a station, and why should not a ship’s boilers do the same when the ship is not moving? I never heard any one connect this noise with the danger of boiler explosion, in the event of the ship sinking with her boilers under a high pressure of steam, which was no doubt the true explanation of this precaution. But this is perhaps speculation; some people may have known it quite well, for from the time we came on deck until boat 13 got away, I heard very little conversation of any kind among the passengers. It is not the slightest exaggeration to say that no signs of alarm were exhibited by any one: there was no indication of panic or hysteria; no cries of fear, and no running to and fro to discover what was the matter, why we had been summoned on deck with lifebelts, and what was to be done with us now we were there. We stood there quietly looking on at the work of the crew as they manned the lifeboats, and no one ventured to interfere with them or offered to help them. It was plain we should be of no use; and the crowd of men and women stood quietly on the deck or paced slowly up and down waiting for orders from the officers. Now, before we consider any further the events that followed, the state of mind of passengers at this juncture, and the motives which led each one to act as he or she did in the circumstances, it is important to keep in thought the amount of information at our disposal. Men and women act according to judgment based on knowledge of the conditions around them, and the best way to understand some apparently inconceivable things that happened is for any one to imagine himself or herself standing on deck that night. It seems a mystery to some people that women refused to leave the ship, that some persons retired to their cabins, and so on; but it is a matter of judgment, after all.

So that if the reader will come and stand with the crowd on deck, he must first rid himself entirely of the knowledge that the Titanic has sunk—an important necessity, for he cannot see conditions as they existed there through the mental haze arising from knowledge of the greatest maritime tragedy the world has known: he must get rid of any foreknowledge of disaster to appreciate why people acted as they did. Secondly, he had better get rid of any picture in thought painted either by his own imagination or by some artist, whether pictorial or verbal, “from information supplied.” Some are most inaccurate (these, mostly word-pictures), and where they err, they err on the highly dramatic side. They need not have done so: the whole conditions were dramatic enough in all their bare simplicity, without the addition of any high colouring.