September 19, Talk-Like-a-Pirate Day

Pirates & Pretending

Robert Newton as Long John Silver in Disney’s “Treasure Island” (1950)

Ah, the theatrical gorgeousness of being a pirate! With an eye patch and swordplay. Flying the skull-and-crossbones. The lively lingo: “Avast!” and “keelhauling” and “walking the plank.” Parrots and treasure maps, doubloons and pieces of eight. The easy mention of–and wonderfully named — Blackbeard and Captain Kidd.

It all began, more or less, with Robert Louis Stevenson’s Treasure Island where the boy Jim Hawkins falls into the company of buccaneers lead by that rogue Long John Silver, the peg-leg pirate with a parrot named Captain Flint. But as a realistic as Stevenson’s novel was, the Pirate Story soon veered in the theatrical direction of Penzance.

Hook (Amblin Entertainment, 1991)

A few years later, James Barrie repositioned the Pirate Story to fantasyland when he transported Stevenson’s buccaneers to Neverland. That Peter Pan was first a play may not be surprising. Its villain Captain Hook is theatrical and gorgeous, dashing and swashbuckling, all smarted out in his jacket and frills. Dustin Hoffman plays a wonderful version of him in Steven Spielberg’s sequel to the story, the movie Hook.

Pirates of the Caribbean: The Curse of the Black Pearl (Disney 2003).

Of course, it’s not a far step from there to Johnny Depp in the wonderful film Pirates of the Caribbean: The Curse of the Black Pearl (I confess that I don’t much care for the sequel, Dead Man’s Chest). Depp moved the seagoing villain in an even more histrionic direction by adding a gay sensibility to the mincing menace of Hoffman’s Hook. With his eye shadow and swish, Depp’s Captain Jack Swallow is doubly theatrical: RuPaul playing a pirate.

To understand the Pirate Story’s vector into increasing heights of staginess, we can turn to a lovely book written between the two world wars: Swallows and Amazons. Arthur Ransome’s children’s novel tells of youngsters passing their summer holidays on a lake in England, making their time more interesting by pretending to be pirates, dodging each other in their sailboats and raiding each others’ camps. They also harass Uncle Jim, an adult and a writer who is trying to finish a book, by fancying him (in a bow to Treasure Island) “Captain Flint,” warning him with the Black Spot and attacking his cottage.

Ransome’s book reminds us how youngsters before puberty spend extended time in make-believe, rehearsing life in theatrical ways. How many adults have attended backyard “shows” put on by kids for neighborhood audiences? How many can recall afternoons spent imagining with playmates: “You be the Teacher and we’ll be the students” or “You be the Baby and we’ll be the parents”? These prolonged stays in periods of pretending are a perquisite of the young. To be sure, there are beefy adults who gather on weekends in medieval attire at meetings of the Society for Creative Anachronism and others who become Confederate soldiers for Civil War re-enactments, but the grown-up who comes to work on Monday dressed as a Star Trek Commander is cause for apprehension and concern. With some exceptions, protracted make-believe is mostly for the young.

A young Barack Obama in costume with his mother in Hawaii. (Photo credit: Friends and Family of Stanley Ann Dunham.)

So, interestingly, the Pirate has been relocated from history and become a stock character in the Theater of Childhood, a figure from general casting under the category of Outlaw, and someone who has counterparts in other game-like scenarios (“Cops and Robbers,” “Cowboys and Indians,” et al.) For these roles, junior actors and actresses have done research. Waving their light sabers, they know Star Wars by heart. Studying television characters, they arrange their own performances with Barney and Strawberry Shortcake.

The author (right) and his gang.

Still, other junior dramaturges have prepared for their roles by reading. That is the case in The Adventures of Tom Sawyer when Mark Twain explains how Tom and and his gang reenact a scene from a favorite book:

Who goes there?”
“Tom Sawyer, the Black Avenger of the Spanish Main. Name your names.”
“Huck Finn the Red-Handed, and Joe Harper the Terror of the Seas.” Tom had furnished these titles, from his favorite literature.
“’Tis well. Give the countersign.”
Two hoarse whispers delivered the same awful word simultaneously to the brooding night: “Blood!

There are some of the make-believe pirates who appear in movies and books. But there are still others: youngsters who have studied up on piracy. Indeed, at this very moment, while your attention is here, they are stealing up behind you unnoticed, preparing to attack and plunder.

This essay originally appeared in Parents’ Choice (October 2006).

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19. September 2016 by
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