Other editions of book The Madman and the Pirate

Chapter One.A beautiful island lying like a gem on the breast of the great Pacific—a coral reef surrounding, and a calm lagoon within, on the glass-like surface of which rests a most piratical-looking schooner.Such is the scene to which we invite our reader’s attention for a little while.At the time of which we write it was an eminently peaceful scene. So still was the atmosphere, so unruffled the water, that the island and the piratical-looking schooner seemed to float in the centre of a duplex world, where every cloudlet in the blue above had its exact counterpart in the blue below. No sounds were heard save the dull roar of the breaker that fell, at long regular intervals, on the seaward side of the reef, and no motion was visible except the back-fin of a shark as it cut a line occasionally on the sea, or the stately sweep of an albatross, as it passed above the schooner’s masts and cast a look of solemn inquiry upon her deck.But that schooner was not a pirate. She was an honest trader—at least so it was said—though what she traded in we have no more notion than the albatross which gazed at her with such inquisitive sagacity. Her decks were not particularly clean, her sails by no means snow-white. She had, indeed, four goodly-sized carronades, but these were not an extraordinary part of a peaceful trader’s armament in those regions, where man was, and still is, unusually savage. The familiar Union Jack hung at her peak, and some of her men were sedate-looking Englishmen, though others were Lascars and Malays, of the cut-throat type, of whom any wickedness might be expected when occasion served.The crew seemed to have been overcome by the same somnolent influence that had subdued Nature, for they all lay about the deck sleeping or dozing in various sprawling attitudes, with the exception of the captain and the mate.The former was a huge, rugged man of forbidding aspect, and obviously savage temper. The latter—well, it is not easy to say what were his chief characteristics, so firmly did he control the features of a fine countenance in which the tiger-like blue eyes alone seemed untamable. He was not much above the middle height; but his compact frame was wiry and full of youthful force.“Lower away the dinghy,” said the captain, gruffly, to the mate, “and let one of these lazy lubbers get into her with a box of figs. Get into her yourself? I may want you.”The mate replied with a stern “Ay, ay, sir,” and rose from the gun-carriage on which he had been seated, while the captain went below.In a few minutes the latter reappeared, and soon the little boat with its three occupants was skimming over the lagoon towards the land.On that land a strange and interesting work was going on at the time. It was no less than the erection of a church by men who had never before placed one stone upon another—at least with a view to house-building.The tribe to which these builders belonged had at first received their missionary with yells of execration, had torn the garments from his back, had kicked him into the sea and would infallibly have drowned him if the boat from which he landed had not returned in haste and rescued him. Fortunately, that missionary was well accustomed to a state of nudity, being himself a South Sea islander. He was also used to a pretty rough life, besides being young and strong. He therefore soon recovered from the treatment he had received, and, not many weeks afterwards, determined to make another attempt to land on the island of Ratinga—as our coral-gem on the ocean’s breast was named......

A beautiful island lying like a gem on the breast of the great Pacific—a coral reef surrounding, and a calm lagoon within, on the glass-like surface of which rests a most piratical-looking schooner. Such is the scene to which we invite our reader’s attention for a little while. At the time of which we write it was an eminently peaceful scene. So still was the atmosphere, so unruffled the water, that the island and the piratical-looking schooner seemed to float in the centre of a duplex world, where every cloudlet in the blue above had its exact counterpart in the blue below. No sounds were heard save the dull roar of the breaker that fell, at long regular intervals, on the seaward side of the reef, and no motion was visible except the back-fin of a shark as it cut a line occasionally on the sea, or the stately sweep of an albatross, as it passed above the schooner’s masts and cast a look of solemn inquiry upon her deck.

The Madman, Antonio Zeppa, is abandoned on Ratinga, an island in the Pacific, where there later appears a miserable ex-pirate called Richard Rosco. The two start up a sort of love-hate relationship. The natives put Rosco on a fire to burn him at the stake, but he is rescued by Zeppa, who carries him up to his cave in the mountains, and tends to his injured feet. Eventually a vessel calls at the island, with Zeppa’s son on board. From then on the story winds to an end, with everyone who belongs there safely back home in Britain.

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At the time of which we write it was an eminently peaceful scene. So still was the atmosphere, so unruffled the water, that the island and the piratical–looking schooner seemed to float in the centre of a duplex world, where every cloudlet in the blue above had its exact counterpart in the blue below. No sounds were heard save the dull roar of the breaker that fell, at long regular intervals, on the seaward side of the reef, and no motion was visible except the back–fin of a shark as it cut a line occasionally on the sea, or the stately sweep of an albatross, as it passed above the schooner's masts and cast a look of solemn inquiry upon her deck.

The Madman and the Pirate is an exciting pirate tale from the master of the pirate fiction genre, R.M. Ballantyne.One of the young men influenced by Ballantyne was Robert Louis Stevenson. He was so impressed with the story of The Coral Island (1857) that he would later base portions of his famous book Treasure Island (1881) on themes found in Ballantyne. He honoured Ballantyne in the introduction to Treasure Island.Ballantyne was born in Edinburgh on 24 April 1825, the ninth of ten children and the youngest son, to Alexander Thomson Ballantyne (1776–1847) and his wife Anne (1786–1855). Alexander was a newspaper editor and printer in the family firm of "Ballantyne & Co" based at Paul's Works on the Canongate,[2] and Robert's uncle James Ballantyne (1772–1833) was the printer for Scottish author Sir Walter Scott.[3] In 1832-33 the family is known to have been living at 20 Fettes Row, in the northern New Town of Edinburgh.[2] A UK-wide banking crisis in 1825 resulted in the collapse of the Ballantyne printing business the following year with debts of £130,000,[4] which led to a decline in the family's fortunes.[3]Ballantyne went to Canada aged 16, and spent five years working for the Hudson's Bay Company. He traded with the local Native Americans for furs, which required him to travel by canoe and sleigh to the areas occupied by the modern-day provinces of Manitoba, Ontario, and Quebec, experiences that formed the basis of his novel Snowflakes and Sunbeams (1856).{r |ODNB}} His longing for family and home during that period impressed him to start writing letters to his mother. Ballantyne recalled in his autobiographical Personal Reminiscences in Book Making (1893) that "To this long-letter writing I attribute whatever small amount of facility in composition I may have acquired.In 1847 Ballantyne returned to Scotland to discover that his father had died. He published his first book the following year, Hudson's Bay: or, Life in the Wilds of North America, and for some time was employed by the publishers Messrs Constable.In 1856 he gave up business to focus on his literary career, and began the series of adventure stories for the young with which his name is popularly associated.[1]The Young Fur-Traders (1856), The Coral Island (1857), The World of Ice (1859), Ungava: a Tale of Eskimo Land (1857), The Dog Crusoe (1860), The Lighthouse (1865), Fighting the Whales (1866), Deep Down (1868), The Pirate City (1874), Erling the Bold (1869), The Settler and the Savage (1877), and more than 100 other books followed in regular succession, his rule being to write as far as possible from personal knowledge of the scenes he described.

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