The Depiction of Pirates in Treasure Island Essay Example for Free

The Depiction of Pirates in Treasure Island Essay The first thing that must be made clear about Robert Louis Stevenson’s Treasure Island is that it is a romance. And therefore the image of the pirate that it paints remains largely fictional, and many of the details will not seem to comply with scholarly evidence of what the typical pirate was like in its heyday. But it is not correct either to interpret romance as being false history in all instances. When romance is derived from vibrant and native mythology then it is likely to contain a large measure of truth, and the sort of truth that scientific scholarship cannot unearth. According to Mircea Eliade, myth, when it is vitally connected to the culture, speaks only of realities, which are far more â€Å"real† than mere â€Å"hard facts† (7). Treasure Island draws on the myth of the pirate, and it is a living myth, closely connected to the Western spirit of individualism and adventure. Therefore it is a mistake to dismiss Stevenson’s tale as a mere children’s adventure story. It is well documented how the novel has redefined the image of the pirate in the modern age, and continues to excite young and old with its unique spirit of adventure. It is only able to do so because Stevenson tapped a living myth. In the search for the specific influences that shaped the composition of Treasure Island it is advisable to refer first of all to Stevenson’s own admissions. In this sense the author is extremely frank and forthcoming, and even admits to partial plagiarism in some instances. For example, he quotes Washington Irving’s tale â€Å"Wolfert Webber† as an influence, and says in this regard, It is my debt to Washington Irving that exercises my conscience, and justly so, for I believe plagiarism was rarely carried farther the whole inner spirit and a good deal of the material detail of my first chapters were the property of Washington Irving. (Stevenson, Letters, 308) There is indeed a striking resemblance, and Stevenson certainly steals the scene in which a tenured pirate arrives in a sleepy hamlet, lodging in an inn, and day after day regaling to the regulars of the inn his endless store of bloodcurdling adventures on the high seas. There is also the suggestion of hidden pirate treasure, but not on a remote and deserted island. The pirate map is central to the plot of Treasure Island, and may be described as the singular stroke of genius that spelled the success of the novel. The spark of the idea is from Edgar Allan Poe’s story â€Å"The Gold Bug†, whose plot hinges on ciphers and how to crack them (Zaczek 85). Instead of ciphers Stevenson gives us a map of a remote island, and a cross marked on the place where the treasure is supposed to be buried. It is when this map falls into the hands of Jim Hawkins that the adventure really begins. Poe’s story also has pirate treasure buried on an island, and where the pirates leave behind ciphers as the clue to the location. But Poe’s island is not remote and deserted. Stevenson most certainly got this idea from Defoe’s classic novel Robinson Crusoe. We elaborate on the influence of Defoe later on. Another influence that Stevenson mentions is Charles Kingsley’s travelogue At Last, which recounts a voyage to the Caribbean, with related reminiscences (Stevenson, Letters, 263). Though the direct references to pirates are limited, it is an important influence, because we may find in it the inner spirit that belongs to Treasure Island. Kingsley projects the spirit of independence and adventure, and this is certainly part of the imagination that that gives birth to Long John Silver. We feel this spirit palpably in the opening passage: At last we, too, were crossing the Atlantic. At last the dream of forty years, please God, would be fulfilled, and I should see (and happily, not alone) the West Indies and the Spanish Main.   From childhood I had studied their Natural History, their charts, their Romances, and alas! their Tragedies; and now, at last, I was about to compare books with facts, and judge for myself of the reported wonders of the Earthly Paradise. (Kingsley 9) It is a mistake to judge the myth of the pirate to be concerned with the macabre. It is really about leaving behind the constraints of society and making it on one’s own. In the end it is about individualism, which expresses the inner heart of Western man. This is not meant to condone piracy, nor to sanctify despicable real life villains, which no doubt the pirates were. But if the image of the pirate seizes the Western imagination so forcefully, it is because it speaks of an inner longing, and which we feign ignore. It is possibly because the pirate is an extreme example of the unfettered individual. To the pirate it is only himself and the world, and we can understand why this resonates with the Western dream. â€Å"[T]he Old World lay behind us like a dream,† Kingsley expresses once he is ensconced on the Westward bound ship (Ibid). A fundamental dream is being realized, and the Old World is itself now rendered a dream.   Such being the stated and implied influences of Stevenson, we must not expect more than a superficial resemblance between the pirates we find in Treasure Island and the real life counterparts. The novel established certain misconceptions about pirates which has become hard to eradicate now. For example, it is widely believed now that pirates always buried their treasure on remote islands, and deserted locations, and kept maps to locate it when needed later on. Even before the evidence of the scholars arrives, we know that this is a silly thing to do, and the plot of Treasure Island itself will serve as an example. Captain Flint is the legendary pirate who buries his treasure of Skeleton Island, makes a map of the exact spot, which only a small inner band of his crew are privy to. Predictably, this leaves a legacy of backstabbing rivalry among them, and they all want get their hands on the map and appropriate the treasure for themselves. Evidence tells us that real life pirates acted in exactly the opposite way. Having no propensity to save or stash, they spent their loot very quickly through drinking and revelry. Another belief engendered from the novel is that pirate ships always flew the â€Å"Jolly Roger†, the black flag with insignia of a skull and crossed bones. But this would also be foolhardy for pirates who were always desperate to deflect suspicion. According to Aubrey Burl, pirates used two flags, and raised them on the specific situations of a raid. The skull and bones flag was meant to intimidate the prey, goading them to surrender and abandon their ships. But if they did not do so, the black flag was replaced by a red one, which sent the message that violence was about to ensue. Both flags were used tactically in raids, and were not flown at other times. He relates an incidence from 1720 when the notorious pirate Bartholomew Roberts sailed daringly into the harbor of Trepassey, in Newfoundland, flying the black flag. It was only one pirate ship against twenty-two maritime vessels, and yet the intimidation was sufficient, and the harbor surrendered all its vessels to the pirate (Aubrey 133-4).   Most of the incidental details used to describe the pirates in Stevenson’s novel are, however, accurate, barring fictional exaggeration. Rum indeed was the favorite drink of pirates. The former crew members of Captain Flint describe him as habitually breaking into song when in the company of rum: Fifteen men on the dead man’s chest Yo-ho-ho, and a bottle of rum! (Stevenson, Treasure, 9) Drunken revelry, as already noted, was the favorite pastime of pirates. Long John Silver is depicted with a crosspatch on one eye, and a wooden leg. It is not unlikely that pirates bore handicaps, living as they did with daily violence. He also has a parrot perched perpetually on his shoulder. We know that pirates were fond of keeping tropical birds, which they did as souvenirs of the trips to wildlife locations around the world. The pirates in Treasure Island are of English and Dutch extraction, which is also the typical make up of pirates in the New World, and the French also included in the mix. The ethnic map of piracy often followed the political map and the rivalry among the maritime powers, England, Holland and France being the principle political players, after the demise of the Spanish Empire. Indeed, the most notorious age of piracy was in the wake of the War of the Spanish Succession, when Spain finally relinquished its control of the high seas, and England, Holland and France entered the fray. Each employed privateers, who were legal pirates with commissions from their respective crowns to prey upon the ships of rival colonial powers. Initially their commissions had been to raid Spanish ships, because Spain ruled the seas, and their ships carried enticing booty. After the Spanish defeat on the mainland, the privateers remained, and soon began to prey on each other. The illegal and proper pirates usually respected such political dividing lines (Lane 3-5). The pirates in Treasure Island conform to this picture, the novel being set in that particular period of high piracy in the eighteenth century.   This is the extent to which Stevenson’s pirate is authentic, and we should not expect more. Though this pirate is a criminal thug, it is not this fact that strikes a chord in our imagination. It is rather the spirit of individualism and initiative that moves us, and makes someone who is essentially a robber of the high seas into a figure of romance for us. The tell tale sign for this is that these pirates are wont to bury their treasure on a remote and deserted island, instead of merely spending it. The idea is clearly derived from reading Robinson Crusoe, Daniel Defoe’s story of a castaway who survives 28 years on a remote and deserted island, being the only survivor of a shipwreck. We know that Stevenson was an avid reader and admirer of Defoe. Stevenson is a kindred spirit to Defoe, though of a lesser genius. We examine Defoe in the hope of unlocking some secrets regarding Stevenson. Robinson Crusoe is not just an adventure tale, but is more a parable illustrating the Protestant work ethic. Crusoe establishes a personal relationship to God through his stay on the island, and in this sense is a consummate individual. He is shown to build civilization anew on the basis of such a faith. Therefore, he embodies individuality and imitative, exactly as the mythological pirate does. The figure of Robinson Crusoe is therefore the flip side of the iconic pirate. Crusoe confronts the world through faith in God; the pirate is also alone pitched against the world, only that he employs violence and bloodshed. Crusoe also discovers buried treasure while on a remote and deserted island – it is a spiritual treasure, and is hidden in the recesses of the soul. The counterpart for the pirate is material riches buried in a secret location. Both are emphasizing mystery, one religious, the other material. To confirm that this analogy is not strained, we note that Defoe was a passionate enthusiast of pirates and piracy, and has authored a long list of books and novels related to the theme. Indeed, he is thought to have authored A General History of the Pyrates under the pseudonym Captain Charles Johnson, this being the definite text of pirate history that has come down to us (Novak 642).   In conclusion, the iconic image of the pirate that has come down to us, largely influenced by Robert Louis Stevenson’s novel Treasure Island, is best described as a figment of the Western imagination. The pirates described in the novel are on the whole accurate, but historical accuracy is not the aim here. Pirates were dangerous robbers of the high seas, but it is an aspect that the mythical pirate wants to evade. Instead it is the spirit of individualism and initiative that is meant to be emphasized, because it resonates with the Western spirit as a whole. It is because Stevenson captured this sprits in his tale, which is set in the golden age of piracy, that has endeared it to the Western audience, and continues to excite successive generations of readers, and not only the young. Works Cited Burl, Aubery. Black Barty: The Real Pirate of the Caribbean. Stroud, UK: Sutton Publishing, 2006. Eliade, Mircea. Myth and Reality. New York: Waveland Press, 1998. Kingsley, Charles. At Last. Charleston, SC: BiblioBazaar, 2007. Lane, Kris E. Pillaging the Empire: Piracy in the Americas, 1500-1750. Armonk, NY: M.E. Sharpe, 1998. Novak, Maximillian E. Daniel Defoe: Master of Fictions: His Life and Ideas. Oxford, UK: Oxford University Press, 2001. Stevenson, Robert Louis. Selected Letters of Robert Louis Stevenson. Contributor Ernest Mehew. New Haven, CT: Yale University Press, 1997. Stevenson, Robert Louis. Treasure Island. New York: Sterling Publishing Company, 2004. Zaczek, Iain. Pirates. London: AAPPL, 2007.

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TO STUDY THE HEAD HUNTING RECRUITMENT PROCESS IN MOTHER DAIRY. INTRODUCTION Indian Dairy Industry: A Profile Indian Dairy’s production level is expected to be tripled by the next 10 years in the view of expanding potential for export to Europe and the West. In the coming years WTO regulations will come in to force in all the developing countries which are among big exporters today. India is the lowest cost producer of per litre milk in the world. Because India is the lowest cost producer of per litre milk in the world, therefore Multinational companies are planning to expand their activities in India. Many milk producers have obtained various certificates for good quality standard from the authorities, which help them to market their product in the foreign market in the processed form. Business Environment Of Dairy Industry India had an acute shortage of milk but gradually it has transformed to the world’s leading milk producer over the span of three decades. This phenomenal success was achieved because Government of India had started this initiative called â€Å"Operation Flood â€Å"and it intensely focused on dairy development activities. In that initiative urban markets were linked to rural milk shed through the development of a network of village cooperatives for procuring and marketing milk. Emerging Situations In India, Dairy is currently the top ranked commodity. Dairy Sector hold a strong position in the GDP, but still it receives less Government funding than the agriculture sector. Since, the population is growing and with that the national income of the people are also growing, they are becoming health conscious and the demand for milk is also growing, therefore this is a serious matter because of the slowdown in the growth of ... ...ficiency and spread its entire work force. They focus more on providing a rigorous training facility to the young recruits so that they are well prepared to face the competitive world. Mother Dairy primarily focuses on the middle class families because they have a strong value system, so they have that urge of learning new things and to work with full dedication. Since, Mother Dairy has moved on from the Transactional HR to Transformational HR that’s why it has been visiting more to various recognised and prestigious campuses for recruiting young talents. Mother Dairy also provides opportunities to young emerging students from various campuses to work with them in the form of summer internship and live projects. By doing this internship’s and projects the students get very good exposures regarding how the real live corporate world is and how it functions.

Chronicle of a Death Foretold: a Crime Novel? Essay

DECLARATION I, the undersigned, hereby declare that this is my own and personal work, except where the work(s) or publications of others have been acknowledged by means of reference techniques. I have read and understood Tutorial Letter CMNALLE/301/2011 regarding technical and presentation requirements, referencing techniques and plagiarism. EA Swanepoel 48170399 26 March 2012 Gabriel Garcia Marquez’s Chronicle of a Death Foretold is a narration spoken from the different viewpoints of the residents of a river town in Colombia. The novel embarks on an exploration into an unsettling crime to arrive at a solution in order to explain a murder. Many years after the death of protagonist, Santiago Nasar, his close friend returns â€Å"twentyseven years later† (Marquez 1981:1) to question the residents present on the day of the murder. Through analysing into the past, the story turns investigative and portrays elements of a detective novel. A typical crime novel usually portrays the author opening the story with a problem (Sansalvador, G. 2010. Film, Literature and Society. Only study guide for WLL2602. Pretoria: University of South Africa), such as the need to solve a crime and discover the perpetrators, the victim or motives behind the crime. The reader is not kept in suspense to be headed to the crime, but is instead made aware of the crime from the beginning. The rest of the novel usually details the crime, obtains clues and solves the problem. The problem is known to the reader beforehand; it is the development of the problem that the reader is oblivious to therefore, the solving plays a crucial part in a detective novel. Such can be found in Chronicle of a Death Foretold, when the first paragraph sets the crime for the reader. The opening statement, â€Å"On the day they were going to kill him† (1981:1), portrays the crime. The reader realises the offense before discovering how it happened. Thus, it is the duty of the narrator, acting as detective, to examine facts and study reports. The narrator does indeed act as detective. He comes â€Å"back to search out the last pieces of testimony† (1981:87) and tries â€Å"to put the broken mirror of memory back together from so many scattered shards† (1981:5). According to Hannah Wallace and W.C. Miller (2006) the narrator continues to give a journalistic explanation of an actual murder. More details are given in the first line of the book. Perhaps like a true detective, the narrator provides little details which otherwise would be forgotten or deemed irrelevant. We learn that the victim is Santiago Nasar; that he â€Å"got up at five-thirty in the morning† and that he had waited â€Å"for the boat the bishop was coming on† (1981:1). As is seen throughout the novel, the narrator often states the time in which certain affairs take place, in order to give the reader a timeline of events. The first line refers to â€Å"they†; the perpetrators of the crime, indicating that the narrator already knows who â€Å"they† are (later to be confirmed on page 14). As an investigative narrative unfolds, the detective finds and reveals clues along the investigative journey. The detective goes forth undertaking various methods of investigation, such as questioning and reading reports. In doing so, he finds evidence that would allow for the consummation of the solution. The detective in Chronicle of a Death Foretold questions numerous people in order to hear their side of the story. It is here where the novel adopts many narrators, each recalling events from his or her point of view. â€Å"All the many people he ran into after leaving his house†¦ remembered him†¦Ã¢â‚¬  (1981:2) and gave accounts of that day. The detective has to sift through the various interpretations in order to find similarities and discover any falsehoods. The narrator interviews Santiago Nasar’s mother, Placida Linero, where she explains that â€Å"the front door, except for festive occasions, remained closed and barred† (1981:10). This is one clue where the narrator slips into the story. It is only later that the reader realises why it was mentioned at all. The narrator continues on suspicions such as Angela Vicario’s purity because â€Å"no one would have thought nor did anyone say that Angela Vicario wasn’t a virgin† (1981:37). Elaine Swanepoel Student Number: 48170399 WLL2602 Assignment 02 Unique Number: 756601 The reader discovers that Santiago Nasar was remembered with mixed reactions by the people in his community. Some thought well of him while others â€Å"recalled [him] without affection† (1981:7). It is also noteworthy that the narrator, although acting detective, relays to the reader his own perspective of Santiago Nasar. Therefore, while the reader hears accounts from various witnesses, the ultimate perception of Santiago Nasar is that of the narrator. As a result, it could be said that the narrator loses the professionalism of a detective. Furthermore, the imaginative detail given by the narrator works against the journalistic style found in a detective novel, and â€Å"sends the reader into several different conceptual areas between reality and fiction that he then has to disentangle† (SparkNote Editors). Another point is brought to attention. â€Å"There is no mystery surrounding the death of Santiago Nasar† (Wallace, Hannah. Miller, W.C. 2006) therefore, the reader questions the intention of the detective. The detective eventually arrives at a solution and thus, completes the investigation. It could possibly be said that the narrator in Chronicle of a Death Foretold wishes to find the reason why no one bothered to stop the Vicario brothers from murdering Santiago Nasar because â€Å"many of those who were on the docks knew they were going to kill Santiago Nasar.† (1081:18). It is also discussed, although chance events proved wrong, that â€Å"no one even wondered whether Santiago Nasar [had] been warned, because it seemed impossible to all that he hadn’t.† (1981:19). As the detective realises that someone did try warning Santiago Nasar by slipping a note under his doorway before the murder (1981:13), he learns and reveals to the reader that it was not found until after the chaos surrounding the murder. The narrator never truly finds out if Angela Vicario was telling the truth about Santiago Nasar, and many doubted because â€Å"no one had ever seen them together, much less alone together† (1981:90). She swore to the judge it was him â€Å"but with no further precision of either how or where† (1981:101). The narrator argues with the validity of the arrest (or the non-arrest) of the Vicario brothers. Nevertheless Colonel Aponte asserts that â€Å"no one is arrested just on suspicion† (1981:57). Whether this was true of the law, it may very well be that Gabriel Garcia Marquez inserted this line to show how Colonel Aponte, and others, tries justifying his actions. The narrator reveals why the Vicario brothers never saw the light in Santiago Nasar’s bedroom go on. â€Å"He didn’t have to turn on any light to reach his bedroom because the bulb on the stairway stayed lit through the night† (1981:64). After finding the solution, typically the detective will give explanations of the murder. Why did no one warn Santiago Nasar? People thought he already knew (1981:19) and â€Å"the people were too excited with the bishop’s visit to worry about any other news† (1981:20). The narrator provides a list of events for the reader (1981:48-69; 10304) along with a summary (1981:84). While explaining the solution though, the reader is taken back and forth to interviews with residents. Therefore the narrator is still in the phase of discovering truths, while explaining solutions already found. This is perhaps not so typical of a detective novel. On the other hand, the â€Å"back and forth† eventually allows for the narrator to bring the information together so that the reader can perceive how events have turned out. He continues to explain other questions such as why Placida Linero locked the door (1981:119). The uncertainty the crime Santiago Nasar committed is never solved but the narrator provides a reason why it was uncertain. It was because the judge did not find â€Å"a single indication, not even the most unlikely one, that Santiago Nasar had been the cause of the wrong† (1981:100). An explanation of the aftermath of the murder is given (1981:84-99); the narrator adding that â€Å"most of those who could have done something to prevent the crime and still didn’t do it consoled themselves† (1981:98), which further proves the residents trying to justify their actions. In essence, Gabriel Garcia Marquez wrote Chronicle of a Death Foretold as an inspired novel (based on true events, Sansalvador, G. 2010) providing a description (or chronicle) of the crime. The narrator and his personal relationship with the victim and the residents, tells the story from his point of view, although he allows others chance to tell theirs. He has read the autopsy report (1981:75) and has scavenged â€Å"some 322 pages filched from the more than 500 that the brief must have had.† (1981:100) Chronicle of a Death Foretold, although not a detective novel, uses elements thereof and turns journalistic as the narrator â€Å"recovered numerous marginal experiences† (1981:43) in order to write up a chronicle based on the â€Å"last pieces of testimony† (1981:87 SOURCES CONSULTED Dictionary.com. [O] Available: http://dictionary.reference.com/ Accessed on 19 March 2012 Marquez, G. 1981. Chronicle of a Death Foretold. Spain: Penguin Books. Sansalvador, G. 2010. Film, Literature and Society. Only study guide for WLL2602. Pretoria: University of South Africa SparkNotes Editors. â€Å"SparkNote on Chronicle of a Death Foretold.† [O] Available: http://www.sparknotes.com/lit/chrondeath/ Accessed on 19 March 2012 Wallace, Hannah. Miller, W.C. ed. *Chronicle of a Death Foretold Study Guide : Summary and Analysis of Chapter 2*. [O] Available: http://www.gradesaver.com/chronicle-of-a-death-foretold Accessed on 19 March 2012 Elaine Swanepoel Student Number: 48170399 WLL2602 Assignment 02 Unique Number: 756601

Old Age Crisis - 1921 Words

MLA Name Professor Course Date Old age crisis The United States has the highest fertility rates in developed countries and is one of the fastest population growths. According to statistics, the total fertility rate as at 2.1,2010, American women in the total population had reached 308 million, living in the worlds third largest country in population status. As early as the 1940s, the United States began to enter the aging society; an aging population is now over 65 years that is 17.4% of the total population (McNicoll, 67). As the populaces grow older, an escalating share of the working force will be past the age 60 years. Older human resources have often been measured less productive than the younger population, raising the†¦show more content†¦Government effort to support old age population has established a sound social pension system . The United States and other Western countries, the difference lies in the implementation of the type of insurance funded social security system , the beneficiaries also pay people, t o enjoy the right to social security , we must first pay . In 1935 , the U.S. Congress passed the old-age insurance as the main content of the Social Security Act . Social Security Act after the implementation , and after several revisions and improvement , has formed a relatively complete system of old-age security , including pension insurance system, medical insurance and assistance system , etc., when the United States serving the elderly a monthly deduction from his salary take a certain amount of pensions, where the unit again supporting a certain percentage , the states are not the same as the provisions for the elderly to build a social safety net (Peter 46) . The government has also established a sound network services for the elderly. U.S. Government Department of Health and Human Services Office located on aging and nine regional offices in the state Department of Public Service is responsible for the establishment of an aging work in the state, and the following settings aging agency on aging in the community set up service centers, forming a nationwide aging service network. The aging mechanism is mainly responsibleShow MoreRelatedAging Is A Biological And Social Process1413 Words   |  6 Pages‘young’, ‘middle-aged’ or ‘old’ (the three main age spans) is perceived differently by divergent cultures, therefore it is considered a social construct. This essay will not only examine the three characteristics of age, particularly ‘young’ and ‘old’, but also it will come to a conclusion in relation to the essay question outlined above. The process of aging is a biological/social process. 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