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Cancel anytime. Included here are BBC radio adaptations of the first seven thrilling stories. Master and Commander - Gibraltar, Newly commissioned Commander Jack Aubrey anxiously awaits the verdict in his court martial for the loss of his ship Post Captain - Following the Treaty of Amiens, England is at peace. Returning home for a short spell as country squires, Jack and Stephen meet two beautiful women who will change their lives forever Read by Patrick Malahide. HMS Surprise - , and the dauntless duo face sea battles, political intrigue and romantic rivalry, as Aubrey tackles a secret mission. The Mauritius Command - Promoted to Commodore, Jack prepares to lead a squadron of ships against the French. Desolation Island - , and Jack Aubrey sets sail for Australia. His mission: to transport a group of convicts to Botany Bay. Starring David Robb and Richard Dillane. The Fortune of War - Britain is at war with America and France - and the two friends find themselves caught in the crossfire Third Ear - Patrick O'Brian talks to fellow novelist Alan Judd about his work and his fascination with the historical novel. Bookclub: Patrick O'Brian - Master and Commander - James Naughtie discusses the novel that sparked the much-loved series with author Allan Mallinson and an audience of invited readers. Dramatised by Roger Danes. Directed by Adrian Bean. Abridged by Roger Danes. Produced by Patrick Rayner. Produced and directed by Bruce Young. Presented by Alan Judd. With Patrick O'Brian. Produced by Ed Thomason. Presented by James Naughtie. With Allan Mallinson and an invited audience of readers. Produced by Dymphna Flynn. Gripping, action-packed, authentic, and filled with larger-than-life men and women of the Greatest Generation, Crash Dive puts you aboard a submarine during the war. You'll stand alongside Charlie as he proves himself time and again by keeping his wits and being decisive in crisis, though each encounter leaves him more heavily scarred for it. By: Craig DiLouie. On January 28, , a ramshackle vessel of patched-together wood and cloth washed up on the coast of Brazil. Inside were thirty emaciated men, barely alive, and they had an extraordinary tale to tell. By: David Grann. Robert Louis Stevenson was a novelist, essayist, poet and travel writer, and created some of the most famous and influential characters in modern literature. A master of atmosphere and an enthusiast of foreign travel, Stevenson wrote countless stories which have been enjoyed in film, television and theatre adaptations throughout the years. By: Robert Louis Stevenson. The complete collected dramatisations of C. Sansom's historical mystery series: Set during the reign of Henry VIII, these six stunning dramas follow the adventures of hunchbacked lawyer-detective Matthew Shardlake as he navigates the dangerous world of Tudor England, solving crimes and seeking out murderers. By: CJ Sansom. Shaking off this label, a shy and lonely year-old, Horatio Hornblower, embarks on a memorable career in Nelson's navy on HMS Justinian. In action, adventure, and battle he is forged into one of the most formidable junior officers in the service. By: C. Rather than resign, Rensselaer takes the new assignment in stride. By: Mark Helprin. Full-cast dramatisations of six masterpieces from the founding fathers of dystopian fiction. Dark and disturbing, provocative and prescient, dystopian literature has long captured our imagination with its nightmarish visions of forbidding future worlds. Included here are six classic novels of time-travel, totalitarianism and terror, written by some of the masters of speculative fiction and adapted for radio with all-star casts. By: H. Wells , and others. Tired of sitting out the war on Psydon in a mobile office lab, Legion Lieutenant Washam agrees to undertake a covert and unsanctioned mission with a band of Republic Recon Marines. Inserted deep behind enemy lines, the strike force uncovers a surprise key to ending a bitter war. Now they must navigate a hostile jungle teeming with murderous alien rebels, pushing themselves to the limits of their abilities, to get this vital intel to Legion Command - if they can survive that long. By: Jason Anspach , and others. By: Lindsey Davis. George Bernard Shaw - or Bernard Shaw, as he preferred to be known - was one of Ireland's foremost dramatists and thinkers. His plays range from contemporary satires to historical allegories, and are infused with ideas, insight, wit and wisdom. Included here are some of his best works, adapted for radio and brought together in reverse chronological order in one statement collection. By: George Bernard Shaw. Beginning with A Study in Scarlet and concluding with The Hound of the Baskervilles , this epic project took over 8 years to complete - and this landmark collection contains the extraordinary result. Here is the world's first ever fully dramatised Sherlock Holmes canon: 56 short stories and 4 novels, all made by the same team of directors, producers, dramatists and leading actors, and packed with the high production qualities of a film or TV drama that set it apart. By: Arthur Conan Doyle , and others. With director Peter Weir and stars Russell Crowe and Paul Bettany signed on for Master and Commander: The Far Side of the World, there was only one problem: The Rose, the replica eighteenth-century warship that filmmakers bought for the production, was in Newport, Rhode Island, two oceans and thousands of miles away from Hollywood. Enter a ragtag crew of thirty oddballs and tall-ship fanatics, including author Will Sofrin. By: Will Sofrin. A master of Russian realism, Anton Chekhov is renowned for his meticulously observed plays and short stories exploring the human condition, in all its joys and sorrows. Included here are six of his best-known dramas, as well as Michael Frayn's adaptation of Wild Honey , drawn from an early, untitled Chekhov play; and one documentary exploring Chekhov's life and work. By: Anton Chekhov. But when a hurricane sweeps away the captain, the young lieutenant is forced to assume command of the damaged ship, and a crew suffering from low morale. By: James Keffer. Inspector Purbright is a thoroughly English policeman: affable, polite, dogged and decent. By: Colin Watson. Priestley was one of Britain's most significant writers. His output was prodigious: in his lifetime, he penned 26 novels, 39 plays and hundreds of essays. He enjoyed great success on stage, notably with Dangerous Corner , Time and the Conways and An Inspector Calls , which experimented with narrative structure and unorthodox theories of time. Included here are some of his most esteemed works, adapted for radio and brought together in one statement collection. By: J. By: Stanislaw Lem , and others. Saddle up and join Wynonna Earp on an immersive new audio adventure in the gritty supernatural world of Purgatory. This Audible Original invites you deeper into the Weird West to follow Wynonna Earp Melanie Scrofano , as she embarks on her craziest adventure yet: riding off into the sunset with her soulmate, Doc Holliday Tim Rozon —yes Brace yourself for more wise-cracking demon hunters, earth-shattering revelations and all the genre-blending action you've come to expect from the cult hit TV series. By: Emily Andras. When Heather McKinley dreamed of becoming a doctor, she imagined curing sick kids and sporting pink stethoscopes. She never anticipated the sleepless nights, grueling exams, and endless labs. And she certainly never knew that her medical school earned the nickname Dead Med thanks to the tragic history of students overdosing on illegal drugs. But Heather would never consider doing anything like that. That is, until her longtime boyfriend dumps her, she finds herself failing anatomy, and her world starts to crumble. By: Freida McFadden. As Charly struggles to recover from her brain injury, she begins to realize that the events of that fateful night are trapped in the damaged right side of her brain. Now, she must put the jigsaw pieces together to discover the identity of the man who tried to kill her Airstrip One, formerly known as Great Britain, is a place where Big Brother is always watching, and nobody can hide. Except, perhaps, for Winston Smith. Whilst working at the Ministry of Truth, rewriting history, he secretly dreams of freedom. By: George Orwell , and others. As the days grow shorter and the temperature drops, Halloween approaches. Come, brave listener, pull up a chair, and spend some time with master storyteller Stephen Fry as he tells us some of his favourite ghost stories of all time, in truly terrifying spatial audio. From the headless horseman of Sleepy Hollow to the tortured spirits of M. By: Stephen Fry , and others. The modern audience hasn't had a chance to truly appreciate the unknowing dread that readers would have felt when reading Bram Stoker's original manuscript. Most modern productions employ campiness or sound effects to try to bring back that gothic tension, but we've tried something different. By returning to Stoker's original storytelling structure - a series of letters and journal entries voiced by Jonathan Harker, Dr. Van Helsing, and other characters - with an all-star cast of narrators, we've sought to recapture its originally intended horror and power. By: Bram Stoker. The 13 chapters of The Art of War , each devoted to one aspect of warfare, were compiled by the high-ranking Chinese military general, strategist, and philosopher Sun-Tzu. In spite of its battlefield specificity, The Art of War has found new life in the modern age, with leaders in fields as wide and far-reaching as world politics, human psychology, and corporate strategy finding valuable insight in its timeworn words. By: Sun Tzu. Guy Montag is a fireman. In his world, where television rules and literature is on the brink of extinction, firemen start fires rather than put them out. His job is to destroy the most illegal of commodities, the printed book, along with the houses in which they are hidden. Montag never questions the destruction and ruin his actions produce, returning each day to his bland life and wife, Mildred, who spends all day with her television 'family. By: Ray Bradbury. Original cast members from the beloved TV series, Buffy the Vampire Slayer , reunite for an all-new adventure about connections that never die—even if you bury them. The game-changing spell that gave power to all potential Slayers persists. With new Slayers constantly emerging, things are looking grim for the bad guys. By: Christopher Golden , and others. After a string of bad dates and no prospects, Sophia Othonos has finally hit the jackpot: an actual nice guy. Sophia finds herself at a crossroads about who she is, what she wants, and whether her relationship is really everything she thought. By: Elin Hilderbrand. Narrator Dan Stevens Downton Abbey presents an uncanny performance of Mary Shelley's timeless gothic novel, an epic battle between man and monster at its greatest literary pitch. In trying to create life, the young student Victor Frankenstein unleashes forces beyond his control, setting into motion a long and tragic chain of events that brings Victor to the very brink of madness. How he tries to destroy his creation, as it destroys everything Victor loves, is a powerful story of love, friendship, scientific hubris, and horror. By: Mary Shelley. But Jason Asano is settling into his new life. Now, a contest draws young elites to the city of Greenstone to compete for a grand prize. Jason must gather a band of companions if he is to stand a chance against the best the world has to offer. While the young adventurers are caught up in competition, the city leaders deal with revelations of betrayal as a vast and terrible enemy is revealed. By: Shirtaloon , and others. What was daily life in Nelson's navy really like, for everyone from the captain down to the rawest recruit? What did they eat? What songs did they sing? What was the schedule of watches? How were the officers and crew paid, and what was the division of prize-money? These questions and many more are answered in Patrick O'Brian's elegant narrative, which includes wonderful anecdotal material on the battles and commanders that established Britain's naval supremacy. Described by H P Lovecraft as 'the one absolute and unquestioned master of weird atmosphere', Algernon Blackwood CBE was the acclaimed and prolific author of numerous ghost stories and horror tales. Throughout his lifetime, he wrote 14 novels, several children's books, a number of plays, and over short stories. This anthology opens with a selection of stories featuring his most influential character, occult detective Dr John Silence. By: Algernon Blackwood. Through the ages of Britain, from the 15th century to the 21st, Edmund Blackadder has meddled his way along the bloodlines, aided by his servant and sidekick, Baldrick, and hindered by an assortment of dimwitted aristocrats. By: Ben Elton , and others. Included here are dramatisations of four of her finest stories from both genres, full of her characteristic wit, charm and period detail. By: Georgette Heyer. By: Edith Wharton. Failed to add items. Sorry, we are unable to add the item because your shopping cart is already at capacity. Add to Cart failed. Please try again later. Add to Wish List failed. Remove from wishlist failed. Adding to library failed. Please try again. Follow podcast failed. Unfollow podcast failed. Prime members: New to Audible? Get 2 free audiobooks during trial. Pick 1 audiobook a month from our unmatched collection. Listen all you want to thousands of included audiobooks, Originals, and podcasts. Access exclusive sales and deals. No default payment method selected. Add payment method. Switch payment method. We are sorry. We are not allowed to sell this product with the selected payment method. Pay using card ending in. Taxes where applicable. Copy Link. Cast and credits: Written by Patrick O'Brian. Master and Commander Dramatised by Roger Danes. Post Captain Read by Patrick Malahide. Desolation Island Dramatised by Roger Danes. Third Ear Presented by Alan Judd. Listeners also enjoyed Bray Length: 29 hrs and 11 mins Unabridged Overall. Mr Midshipman Hornblower By: C. The Plays of J. Related to this topic. People who viewed this also viewed

Jack Aubrey & Stephen Maturin: Master & Commander & Other Adventures

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The day-long Nov. Robert Joy's lecture on the medical world of the Napoleonic period; Smithsonian curator Herman Viola's talk on the post-Cook, pre-Darwin period in natural science; 'Lobscouse' mavens Lisa and Cookie Grossman on food in the books and conductor Richard Kapp's fine session on the way POB uses music. My bit on the books as literature was a sort of round-up piece at the end of the day, followed only by our roundtable on POB the man. Hence my rather oblique introduction. We come now to what in my profession we call the 'so what' paragraph: that point in the story where the reader or the audience is supposed to be told the significance of all this. Suppose we grant that Patrick O'Brian was unequaled in informing us about people and ships in the age of sail. Suppose we acknowledge that he was both accurate and insightful in describing both the medical and the natural world on the cusp of the 19th Century. And let us certainly grant that he evokes as well the glories of both the music of that time and suet puddings as well. So what? Or is there in these books something far richer; something that touches us both rationally and emotionally and leaves us fulfilled at some far deeper level? Are these books not only best sellers but literature? And if they are literature, what does that mean? In an effort to answer those questions I discovered that I think of literature a bit the way the Supreme Court thinks about pornography: I know it when I see it, but I'm damned if I can define it. The Oxford English Dictionary isn't much help. It defines literature as 'writings in prose or verse having excellence of form or expression, treating ideas of permanent or universal interest. That would seem to beg the question. We won't really know how permanent or universal O'Brian's work is for another century or so. And if we try to gauge the excellence of his form and expression, then we have to define excellence. Entire books have been written on that. So let's try another tack. Let's ask what are the hallmarks and the building blocks of Patrick O'Brian's literary achievement? What does he do to us and how does he do it? Well, obviously he has a plot for each novel. The narrative skill of his plotting is self-evident. If you can put down these books in the middle of the battle with the Cacafuego in Master and Commander , or the sea chase with the Waakzaamheid in Desolation Island or the pillory scene in Reverse of the Medal , you have considerably more will power than I. If you can turn aside from the intrigues in the admiralty and in the bedroom, shrug off the fate of Stephen Maturin on St. Paul's Rocks in the mid-Atlantic and not really give a damn if Jack Aubrey ever raises his flag, then I would say you have wasted the time and money that you're spending here. You may be beyond help. But if plots alone made for great literature, Tom Clancey would win the Nobel Prize. If we didn't care about Odysseus and Hamlet and Sinbad the Sailor as protagonists, we wouldn't remember their adventures. And so it is that almost all really great literature is character-driven. The characters must not only come alive to us as people, and engage us in their fate, they should tell us something about the human condition. And here, I would argue, lies the core of O'Brian's genius. But he has also turned that tension most intriguingly on its head. Jack Aubrey may be the Lord of La Mancha whom destiny calls, but it's his sidekick who dreams the impossible dreams ;dreams of Catalan independence and Irish self-rule. It is Stephen Maturin who reads too much, and Jack Aubrey who is ruled by worldly appetites as much as courage and skill. It is Jack Aubrey who reminds us that we are usually our own worst enemy. But he also reminds us that even sometime screw up can be capable of heroic deeds, can command fierce loyalties and can outlast the consequences of their failures and persevere to often poignant triumphs. I'll return to Jack and Stephen in a moment. We could spend the whole hour just on them, just as we could on my favorite character in the books, the bitch-goddess Diana Villiers. I would argue strongly Diana is one of the very greatest female characters in all fiction. I could wish today's feminist scholars would spend more time on her and less on Madonna and Sylvia Plath. But I better not go there. O'Brian has the whole series with which to explore the many facets of major characters like Jack, Stephen and Diana. What may be more helpful in understanding O'Brian's skill at creating living people is to look at the economy with which he does so. He can out-Dickens Charles Dickens in sketching signature quirks for shipboard crewmembers; like the drooling ferocity of Awkward Davis or the shrewish petulance of Aubrey's immortal steward, Preserved Killick. But what really staggers me is O'Brian's gift for giving us a whole life in a nutshell. Let me give you a couple of examples. We meet the admiral's wife Molly Harte on page twenty of Master and Commander. Here's how O'Brian introduces her:. Notice what we get from that; strength, intelligence, frustration, a head-strong will: a mini-portrait, in fact, of a woman's limited options in the Napoleonic era, even among the aristocracy. And an intimation of her means of revenge. Two-hundred pages later O'Brian spells out what that means. But he does so obliquely with his characteristic mischief:. Harte, we learn, is out riding with a Colonel Pitt, though her husband can't understand how she can do so in such hot weather. And O'Brian shifts us instantly from the husband's puzzlement to the book's celebrated, lip-smacking description of two praying mantises having sex. That act, you will remember, culminates in the female, at the moment of supreme satisfaction, biting her mate's head off. And how does O'Brian top that? Now the praying mantises, that's pure genius. That's O'Brian at play. And you can almost feel the gleam in his eye a book later in Post Captain when he has Maturin define 'wit' as 'the unexpected copulation of ideas. But he's really given us all that earlier in three sentences on page twenty of Master and Commander. He's done it all in miniature, with his left hand. And it's not crucial to the plot, or even to the structure of his major characters. It's merely enrichment; a small, dazzling literary arpeggio. But it's the essence of what gives these books their extraordinary resonance and life. Let me give you another example. In the opening pages of Reverse of the Medal , eleventh book in the series, even before we meet Jack Aubrey, we observe him from a distance bringing his ship into the harbor of Bridgetown, Barbados. The captain of the 'Irresistible', who is observing the maneuver, is telling his wife, in rather garrulous and extended fashion, that Lucky Jack Aubrey is really not at all the thing. He's a fellow, Captain Goole says, who has squandered his chances for promotion in spite of his victories in the past. Now on one level this is merely a skillful way of bringing new readers up to speed in the series, hiding the necessary pill of background in a biscuit of appetizing narrative. But O'Brian can't resist telling us a great deal more about two characters whom we will never meet again, and in the process a great deal about the world in which Jack Aubrey lives and the sort of people he must deal with. You have driven it out of my head again. Goole, closing her eyes. She had come from Jamaica to recover from the fever, and to escape being buried among the land crabs; and sometimes she wondered whether that was a very clever thing to have done. When he's at the top of his game, O'Brian builds the same sort of characters with dialogue alone. Cleaned, polite boys like gazelles, that sing and play the flute? The enormous gray creature knelt down, and Stephen looked closely into its wise little old eye, gleaming among the paint and embroidery. They rode down the crowded Chowringee, Mahomet pointing out objects of interest. There Kumar the rich, an unbeliever; he has a thousand concubines. The sahib is disgusted. Like me, the sahib looks upon women as tattling, guileful, tale-bearing, noisy, contemptible, mean, wretched, unsteady, harsh, inhospitable; I will bring him a young gentleman that smells of honey? It is the sort of verbal economy O'Brian learned from the one writer he considered his mentor in narrative technique, and that was Jane Austen. But Jane Austen rarely spent her gifts on minor or passing characters. That was the hallmark of Dickens. And one of the wonders of O'Brian is how ingeniously he has chosen and evoked for his great work , not just the techniques of Austen and Dickens, but a world on the cusp between Austen and Dickens. It is a world that lies not simply between the chronological worlds of the 18th and 19th Century, but in their overlapping cultures. George III is the king of England, but we hear almost nothing about him throughout the twenty books. Instead, HMS Surprise navigates a narrow but sunlit sea between imperial tyranny of Napoleon on one philosophical shore, and the ideas Maturin associates with 'that mumping villain' Rousseau on the other; between rationalism and the first stirrings of romanticism; between the traditions and institutions that O'Brian thinks we all need, to function as human beings, and what he considers the philosophical quicksands of egalitarianism and democracy. It is never hard to guess where O'Brian's sympathies lie. In Reverse of the Medal , Jack notices that the streets of London are no longer peopled by men in the colorful claret-colored, bottle green and bright blue coats of his youth. Instead, he notes, the city is more and more given over to men dressed in black which gives the streets a mourning air Jack decides regretfully that London is no longer 'the flower-garden that once it had been. Maturin protests that naval tradition prevents any discussion of religion, women and politics in the mess. Some think such a tradition makes for insipid conversation, Stephen continues, but the rule 'has its uses; it prevents any member from wounding any other present by saying he did not think the policy that put Socrates to death and left Athens prostrate was the highest expression of human wisdom. Or by quoting Aristotle's definition of democracy as mob-rule, the depraved version of a commonwealth. As I have told you, we do not discuss politics at this table. World War II may have been Britain's finest hour, but O'Brian considers the Napoleonic conflict its Trojan War; a better setting for a Homeric saga of human endeavor because it just predates the industrial Revolution that took so many achievements out of the minds and hands of men and women and turned them over to science and technology. And so we have as our setting the world of the square-rigged ship: the most complex machine that predates the industrial revolution. The sailing ship is uniquely human in its complexity because its maximum employment is as much an art as it is a science. Another cusp, you see: between humanity and technology, between art and science. But isn't it rather confining, we might argue? Or, as those who don't understand O'Brian might protest, what does all that sailing stuff have to do with searching out the insights into the human condition that are properly the novelist's task? But what about grand themes, we might ask? Don't great works of literature concern themselves ultimately with great themes? Well, yes. But what are they? When you come right down to it, there are only six : Man vs. God or Fate, Man vs. Nature, Man vs. Woman, Man vs. Man, Man vs. Society, and Man vs. Let me repeat that: Man vs. God, Man vs. Man vs. That's really it. All great literary themes boil down to those six. I encourage you as you read and enjoy the works of Patrick O'Brian to notice how skillfully and how profoundly he explores not just one of those themes, but every one. Every one in every book. Now, we've talked a bit about plot and character and setting and theme in these books. I want to say a word about perspective and description. O'Brian narrates these books almost entirely from the third person omniscient point of view. But he restrict's that omniscience rather intriguingly. For example, we are almost always observing either Jack or Stephen. Occasionally he may set a scene for one or the other by letting us see it first from the perspective of a minor character, as we saw earlier with Capt. Goole and his wife in Reverse of the Medal. In the early going of Post Captain , O'Brian introduces Sophie and Diana by letting us overhear the dining room table talk at Mapes Court where they live. Jane Austen never wrote a scene between men, when no woman was present. She had never witnessed one, and refused as an artist to speculate on what men might say when women weren't around. Patrick is not so humble. He lets us listen to women talking out of the presence of men, but he never really takes us into their minds, at least not beyond a point given evidence by their words or actions. Likewise, we rarely spend any time alone with members of the crew. Occasionally we learn Killick's reaction to something overheard in Jack's cabin, or he lets us listen in to foredeck chatter, or learn of a crewman's worries about some medical condition. But he almost never lets us into their reflections. Reflections we experience almost entirely through Jack and Stephen. But, once again, not absolutely. One of the techniques O'Brian employs with particular deftness is conveying the reaction of the foredeck hands by stating something in their idiom. For example, in The Mauritius Command , fourth book in the series, Jack inquires about the health of a crewman named Francis. This is how O'Brian tells us who Francis is:. This, of course, is more unexpected copulation of ideas. O'Brian loves sentences that start off in one place and end up in another. Your English composition teacher; and mine; said good writers don't do that. O'Brian does it anyway. And look how much fun he has. This leads us to O'Brian's power of description. We could sit here all day talking about the precision of his language, the power of his images or the heart-searing effect of his emotional restraint. Most of you, I'm sure, have your own favorite examples. I'm going to read you only two. But as I do, I'd like you to consider not just the picture he paints but how precisely, and with what restraint his words and images convey mood and tone? The first passage is from the opening chapter of HMS Surprise , third book in the series. We have just been to a meeting where the lords of the admiralty have, without Jack's knowledge, removed from him a considerable sum of prize money he was counting on to clear his debts and enable him to marry. We won't actually meet Jack in this book until the next chapter. Sophie is worried. Stephen's own emotions, we are to learn, have been all but paralyzed by the loss of his love. These are not happy times. Watch how O'Brian sets the scene. The second is from Treason's Harbor , the ninth book, where Jack's fortunes are once again at an ebb. He's had bad news from home while on convoy duty in the Mediterranean and he's finding what solace he can in the nautical life he so loves. If it is not unique, it surely embodies the 'excellence of form and expression, treating ideas of permanent or universal interest' that the Oxford English Dictionary defines as literature. But in looking up that definition I came upon further evidence to make our case for O'Brian's permanent worth on the literary landscape. As is its wont, the OED supplies an exemplary literary quotation to make its definition clear. And for the definition of literature I've just described it provides the following:. The author of that quotation is given as J. Newman, but it could just as well be Stephen Maturin. For just as Maturin uses science to probe the secret mysteries of nature, so Patrick O'Brian uses his naval tales to probe the mysteries of man. And when we sign on for a book-length voyage with him, we know that we'll drop anchor at the end both wiser and more sensitive to the precious gifts that surround us in our embattled, always imperfect, and ever-doomed existence. His world, we come to understand, is really our world. And the dilemmas and triumphs of his characters are the maps of our very own lives. Skip to main content. Here's how O'Brian introduces her: 'She was a fine, dashing woman, and without being either pretty or beautiful she gave the impression of being both, mostly from the splendid way she carried her head. She despised her scrub of a husband, who truckled to her, and she had taken to music as a relief from him. But it did not seem that music was enough; for now she poured out a bumper of wine and drank it off with a very practiced air. But he does so obliquely with his characteristic mischief: Mrs. There is a tide in the affairs of men Does the sahib prefer a male elephant or a female elephant? I should be more at home with a male elephant. We find the answer on page forty-three of Master and Commander : 'For a philosopher, a student of human nature, what could be better? And by the glow of patriotic fervor A ship must be a most instructive theater for an inquiring mind. This is how O'Brian tells us who Francis is: 'Francis, until today the most popular topman in the ship, endeavoring to gild the maintopgallant truck, had lost his hold, making a most spectacular fall from that giddy eminence, missing the deck and certain death by the grace of the frigate's roll, but grazing her 12 portlid with such force as to play havoc with his thoracic cage, and above all to smear the bleeding paintwork, the grass-combing bugger. This from Master and Commander : 'Two bells in the morning watch found the Sophie sailing steadily eastward along the 39th parallel with the wind just abaft of her beam; She was heeling no more than two strakes under her topgallant sails and she could have set her royals if the amorphous heap of merchantmen under her lee had not determined to travel very slowly until daylight, no doubt for fear of tripping over the lines of longitude. In Whitehall a gray drizzle wept down upon the Admiralty, but in Sussex the air was dry; dry and perfectly still. The smoke rose from the chimney of the small drawing-room at Mapes Court in a tall, unwavering plume, a hundred feet before its head drifted away in a blue mist to lie in the hollows of the downs behind the house. He was eating his dinner, not in the dining-cabin but right aft, sitting with his face to the great stern-window, so that on the far side of the glass, and a biscuit-toss below, the frigate's wake streamed away and away from him, dead white in the troubled green; so white that the gulls, poising and swooping over it, looked quite dingy. This was a sight that never failed to move him: the noble curve of shining panes, wholly unlike any land borne window, and then the sea in some one of its infinity of aspects; and the whole in silence, entirely to himself. If he spent the rest of his life on half-pay in a debtors' prison he would still have had this, he reflected And for the definition of literature I've just described it provides the following: 'Literature stands related to man, as science stands to nature. Search website Search.

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