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Further Information section of Captain (ARTICLE UNDER CONSTRUCTION)
The term as been used variously throughout both history and literature, with the correct form adding weight to its romantic application. Chorus, at the begining of Henry V describes the King as "The Captain of this Ruin'd Band". Captaincy and Nobility of some sort have often been blurred. Cesare Borgia claimed the title of 'Captain-General' of the Papal Army once his father had ascended to the Fisherman's Chair as Pope Alexander the Invinvible, and during the Rennaisance period, Swiss Mercenaries operating under the rules of Condottiere were led by Captains, regardless of their usual social rank or the size of the force in question. It was this rule of "leadership by merit" which made them so effective a fighting force. In The Fellowship of the Ring, first of The Lord of the Rings film trilogy based on J.R.R. Tolkien, a dying Boromir makes peace with Aragorn, telling him, "I would have called you my Brother, my Captain, my King". Elswhere in the trilogy, the spectral leader of the nine Nazgul, the terrifying Black Riders, is refered to 'The Captain of Despair'. Although this seems from context to be more a description than an actual title, it must be noted that the Nine were once kings of men in their own right. Towards the final part of the trilogy, largely dealing with pitched battles, Gandalf calls for 'The Captains of Gondor' as he enters war-council with the defenders. Haldir is described as an Elven Captain, and Éomer. nephew of King Théoden (therefore himself a Royal) is noted as being Captain of the Riddermark, leader of the Rohirrim, a superb fast-response cavalry squadron.
The term Captain seems to have been used throughout history as a mark of respect towards soldiers, much as 'civillians' were honoured with titles like 'My Lord/Lady' regardless of their actual social position, especially those no longer serving in a particular force, and this has continued into literature. Many of the European Fairy-Tales describe the wandering soldier of fortune who stray into the tale as being a Captain. It is certainly plausible to have the roads filled with wandering soldiers, due to the almost-constant state of war in Europe from about 1300 to as recently as the late 1800's; As to whether these were noble soldiers of fortune, Knight without armour seeking adventure, deserters stumbling from conflict to conflict, or just plain criminals, is unknown. The literature of the time, fairy tales or simple morality tales, set the scene by having a noble young (marriageable) soldier, wander into a tale of woe at the appropriate juncture. They are invariably revealed as captains. This gives rise to the question as to whether the men indeed held that rank, were simply promoting themselves for personal gain, or wether the very fact that they were no longer in service gave them that position; The laws of Condotta, which governed the organisation of Mercenary soldiers seems to suggest that a Soldier relesed from contract, or retired from service, was entitled to the Honorific of Captain. Perhaps this 'promotion' was granted to ensure safe passage home, or was a ploy for gaining a better position in his next contract is unclear; perhaps it was simply a self-aggrandising title used by lower ranks seeking respect. More likely it was simply this- Socially, civilians have had a tendency to look down on the common soldiery as a whole, whilst demonstrating a marked respect to men of officer rank; to the socially aware, a military rank of Captain and above for men of a certain age is akin to nobility. A soldier leaving the service of his Condotta (Mercenary Regiment) was 'promoted' to Captain- the fact that he was the commander of a force consisting of only one man (himself) was immaterial, as Condotta units led by Captains varied in size from small skirmish teams to full field regiments. It would however ensure the respect he had earned, and ensure a welcome into the "decent society" who might otherwise have looked down on what was effectively an unemployed soldier without a war, and therefore useless. A Captain was clearly a man to be reckoned with, and could therefore be depended upon to conduct himself well in whichever field he chose to involve himslf with in peacetime. A similar device was used in the Southern United States from the 19th century, with the title of Colonel being granted as an honour to certain public figures. From this, the term has entered popular usage in such romantic titles as "Captains of Industry" to signify bold commercial Adventurers and would-be merchant princes, when in some cases the term "Robber-Baron" might be more apt.
It is tempting to think that the same guideline provides the title given to various costumed Superheroes. Marvel Comics Flagship publication Captain America centres around a man with enhanced abilities, the only subject of what was to have been an army of super-soldiers. According to the story, the character of Steve Rodgers was unfit for military service in World War II until he was recreated in a laboratory. The experiment is a success, and the doctor behind it is murdered, taking his secret with him. Rodgers is in fact inducted into the U.S.Army, an important distinction in that few of the other Superheroes using the title are in fact soldiers. Captain America goes onto fight the Axis Forces (seemingly single handedly at times) and is brought into modern times by a suspended animation plot device, where he continues to serve America through the Department of Defence, the Pentagon, and the White House. The interesting use of the title of captain harks back to the days of Condotta; Steve Rodgers fights in a costume based upon the American Flag - rather the olive drab of his colleagues- and bears the title of Captain, although out of costume he holds the lowest rank of Private. Other costumed heros have followed suit in so far as using a Captaincy as part of an impressive title, although very few, and none as evidently as Captain America, have a record of Military Service.
Perhaps the most famous fiction captains are the masters of Starfleet vessels in the various incarnations of Star Trek. As the original series began, James T. Kirk and Mr. Spock (note the Maritime use of the title of Mister) held the ranks of Captain and Lieutenant Commander respectively. This indicated that the Captain was the master of the vessel, although it was soon revealed that captain was a rank of its own as well as a command position; Kirk wears captain-rank insignia. However, the possiblity of being a Captain in Command whilst holding a different rank, as in modern navies, was never shown, giving the impression that all Starfleet Captains were ship's commanders, the rank and the job being the same. Higher ranks such as Admiral and Commodore were shown, with the impression that they were winding up their careers towards retirement, or in many cases, becoming Ambassadors. None of them were ever in active command of a serving Ship of the Line, although most had been- Ie. they were captains when they were Captains, as it were. In the film versions, made some years later, Kirk holds the rank of Admiral, and Spock is a captain. In Star Trek II: The Wrath of Khan, Admiral Kirk is assisting Captain Spock in a training exercise when an emergency forces them to take the training vessel into conflict. Admiral Kirk assumes command as the ranking officer and Spock takes his old position of Second in Command and Science Officer. The crew readily move into their familiar roles, even calling him by the title of Captain, although Admiral is used as apoint of honour on several occasions. At the end of Star Trek IV: The Voyage Home, Kirk is demoted as punishment for his maverick behaviour; This is actually a veiled reward for his politically-sensitive heroics. Kirk becomes a Captain again, and regains command of his beloved ship. Spock remains his second in command, as always, although he too retains his captain's rank, as does Chief Engineer Montgomery Scott - a pleasant situation for all concerned, which in a real Navy would be unlikely to happen.
For many, the romantic connotations of the word are summed up in the film Dead Poets Society, in which an enigmatic poetry teacher at a Private School engages his student's imagination by getting them to veiw poetry as a living thing, another way of seeing the world around them. To this effect, he has the students attract his attention in class by declaring "O Captain! My Captain!". This is in fact the title (and opening line) to a poem by Walt Whitman. The three verse work was written to mark the assassination of PresidentAbraham Lincoln in 1865. In so doing, Whitman marks his alarm at the loss of a great leader, a dynamic and charismatic man in both war and peace, holding the highest possible office, by assigning to him the title of Captain; In so doing he harks back to the ancient practice of Captains-General, of Princes amongst men, men of honour and of duty, and brings us almost full circle.
==Additional Information==
"Breadboard" or "Breadboarding", from the practise of inventors, usually experimenting with electrics or electronics, of fixing componenets to a flat surface of (non-conductive) wood similar to an actual breadboard until such time as the device can be perfected to the point of application, by which time the mechanism may be given some type of permanent housing, such as a radio case or purpose built shell. The term is now used in the sense of 'knocking together' components into a working machine. Plastic Breadboards are now commercially available, allowing inventors and engineers to construct projects with ease, before mass producing their devices, or simply to make a professional job of a single project.
Cartoonist Heath Robinson and his American counterpart Rube Goldberg are both worthy of mention, as their names have also entered the popular lexicon; Both men devised impractical, fantastic machinary designed to do unlikely tasks, which appeared to be home built contraptions of drain pipes, knotted string etc (rather like the board of the Mouse Trap (board game), actually inspired by Goldberg's work) rather than professional constructions. They are recalled in such phrases as "It's a bit Heath Robinson, but it'll do for now".
MacGuyver. The TV show MacGuyver, whose weekly plots revolved around the eponymous hero using handy materials (as in the A-Team) and a Swiss Army knife to think up practical solutions to deadly problems, has provided the post-modern term 'To Macguyver' a gadget/repair/device etc.
Kain's Evolution
It perhaps interesting to note Kain's physical form during his existance. In life, he appears as a dark haired man of Northern European/Germanic appearance to match his environment (a gothic setting further evidenced by the place names, in the first game at least). After transformation to a Vampire, He becomes white-blond, with pale flesh. As the series progresses, his hair becomes white and his flesh takes upon a greenish cast. As he evolves further his physique becomes heavier set, and his hands and feet become tridactyl, and powerfully clawed. Whilst this seems to prevent him wearing boots, he has no apparent trouble weilding the Soulreaver, or using his hands for anything else - The same can be said for Raziel and the other lieutenants at the beginning of "Soulreaver" (game 2, chapter 3). However, at this point, Raziel states that he has served Kain for a millenium. As he appears before the throne to present his wings, he explains that Kain, becoming more "divine" would periodically endure some change, with these "gifts" manifesting themselves later in the Six Brothers. Raziel is punished for surpassing Kain (we are led to believe - later revealed as a plot device). In the further millenium that Raziel is at the bottom of the Lake of the Dead, he returns to find that his own Clan have been exterminated, and the other five have evolved along specific lines, the clan leaders being the most extreme examples. Dumah, for instance, is a Juggernaut many times human size, and Rahab (Legacy of Kain) resembles a 'Mer-Shark'. Kain himself, however, has certainly become more muscular, more nosferatal, and can command powers which might qualify as Magic, but his physical appearance has not evolved as Raziel claimed, in at least two millenia, and he appears little different throughout the series as he does at the start of Game 2, Chapter 3, when Raziel describes the supposed evolutions; powerful though Kain is, there is no evidence of the extreme physical changes, not to mention the diversity of form, the other Clan leaders undergo.
Real Swords in Real Stones
The tale of the Sword in the Stone may have a basis in fact. From earliest times, the Smith was often confused with a Magic-worker, given that his trade- metalworking and metalurgy was in fact a science in the days of suspicious ignorance. He would have a fire blazing in his wooden buiding buiding almost permanently,requiring him to build away from his neighbours, and many worked at night, the better to control the temper of metals by their glow. The mystic powers granted to blades by thrusting the whitehot metal into various liquids and substances (including blood, urine, horsehides, living people) are now known to be a technique to fix nitrogen and other elements into the metal, creating a tough blade which embodied strength and lightness without being brittle. Each Smith/Wizard had his own 'tricks'. What is known about Swordmaking in Europe from the Bronze Age is the moulding technique which was in universal use. Clay moulds, into which molten bronze, and later iron, was poured not only shaped the blade into the desired shape, but imparted essential elements into the manufacture. The smith then released the blade from tthe mould- which was broken- and tempered and finished the blade, creating a combat weapon. This process was expensive and time consuming; Swords were the privilege of the rich and powerful, and the price of each might be compared with the cost and investment of an Automobile today. Hence, most weapons were handed down from father to son. Many swords were cast and stored in the mould until a customer came along. The most sought after weapons, however, the top of the range, finest blades, were created not from clay moulds, but from stone. The mould, carved by a master craftsman, was itself a costly, time consuming process and was a work of art in itself. The finest metal was poured into it, the mould shattered to release it, and the smith would then temper and prepare the finest example of his craft. Given the time, effort, and cost involved, these blades would be available only to the most powerful, the most wealthy customers. Truly swords fit for Kings.
What is confirmed by the Royal Naval College is the use of the Red Beauty. The Royal Navy's famous White Ensign- a St. George's Cross with a Union Flag in the canton- has always been reserved for Crown vessels. its civilian counterpart The Red Ensign- an all-red field with the Union Flag in the canton, and known fondly as "The Red Duster", was reserved for British and British-Registered Merchant Shipping. During the wars with various nations, France, Spain and Holland particularly, Privateer ships were commisioned to harry the enemy and bring back ttreasure and captured ships as prizes. These vessels flew a blank red ensign known as The Red Beauty, in order not to reveal their home country. This of course gave The Crown 'plausible deniability'. The Red Beauty, or Jolie Rouge, resembled the same red flag flown as a warning that the ship was arming itself, and as a combat signal indicating that no quarter would be asked or given. It was often flown with the Skull and Bones flag which indicated that there was death on board. The whole affair was eventually adopted by Pirates, many of which were, or had been, Royal Privateers on Crown orders.
Each episode ended with Profit speaking directly camera in an almost unblinking stare, almost a perversion of the last line of many '50's TV shows when the hero gives the "Moral of the Story". This trick left the home audience slightly unnerved, as it brought the immoral/amoral Profit through the Fourth Wall and left them feeling as though they'd been caught watching. The character would also appear naked at bedtime, and despite having a very comfortable apartment, choose to sleep in a company cardboard box as he did when a child; this box was placed in a secret room behind an aquarium, and he always slept alone, using the bedroom for his liasons. He was never seen to 'sleep' per se as he never actually closed his eyes, rather giving the audience his unblinking stare until the fade to end title credits. The image this created- sleeping in a box in a secret room, with an disturbing, hypnotic gaze, along with his amoral single minded purpose involving the manipulation and destruction of those around him, created the impression of an urban (urbane?) Vampire. This simply added to the disturbing Aura of the man, an ensured the weekly audience was left uneasy, as the almost-subliminal image of a 'Vampire' served to remind veiwers that this was a dangerous individual, rather than a
hero.
During the scene which introduces The Dude, walking around a food market in a bathrobe, Sam Elliot's voiceover remarks that "all this" was back in the early nineties, when "the war with I-Raq" was in progress. As the Dude pays at the cash register, President George Bush Snr. is on television describing the current state of the war, with his speech "This shall not stand". Clearly seen is Dude's chequebook. The date he has written is September 11th.
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