Pirates of the Caribbean: speech patterns of 17 pirates

I think every character in "Pirates of the Caribbean") has a simple abstract speaking patternyou can formulate those patterns with the help of a few concepts that I hope will be intuitive enough (so let's almost catch the patterns!))Every name is a link to the official trailer of the 3rd movie to help you navigate the postBeware (Disclaimer): it's a highly speculative idea and I'm just your average uneducated pirate Joe (not a linguist pirate). May be total garbage... but it's very important for me anyway, it's not some deliberate joke."Parleley, parlelellyleloooo, par le nee, partner, par... snip, parsley..." (c.)Please view it as my attempt at a Christmas present/a Christmas effort (I tried very hard to get it all done in/after the New Year!)I will quote The Curse of the Black Pearl and Dead Man's Chest and At World's EndI will quoteElizabeth Swann, Will Turner, Captain Jack Sparrow + Tia Dalma, Davy Jones, Lord Cutler Beckett, Commodore Norrington, Governor Swann, Hector Barbossa (9)Joshamee Gibbs, 'Bootstrap' Bill Turner, Ian Mercer (Beckett's henchman) + Sao Feng and Captain Teague and Pintel & Ragetti and Mr. Cotton & his Parrot (17)(General description of the idea)A spoken message has 2 levels. The "flow" of information (how it comes) and the "shape" of what this information describes. It's like a river: when you're close you see the flow, when you're far away you see the shape of the flow.To describe a single level you need 2 concepts, 2 (mutually exclusive?) alternatives. Why? I don't know (not sure).Maybe because any spoken message has 2 "modes", "more connected" and "less connected". For example:"There are times when we question the things we know (a) We never thought that the cracks would begin to show (b)"You can assume that (a) follows from (b) ("BUT we never thought...") or that (a) and (b) just state the matter of fact and both follow from something else. Depending on the interpretation you can view (b) as e.g. a condition or a context.Simply speaking, the idea is to make some concepts you can apply to speech and then to apply it to different basic "levels" and "interpretations" of a spoken message and so you get a description of a "speech pattern". Please tell me if that idea about "levels" is intuitive enough!on low level Elizabeth jumps (-) from a thing to a thing or expands (>) informationon high level Elizabeth quickly characterizes the situation (++) or describes conjugated factors (,,)(-) is a wild card, it means no connection or any connection.A simple example of (>) is "I was going to the bookstore. I was counting flowers on the way": in this example you just expand on the thing (topic) you already said.A simple example of (++) is "I'm lost in the sea and don't know what to do!": this quickly characterizes the situation or describes a fact that causes continuous implications (a problem that needs to be solved).A simple example of (,,) is "I'm running to the water. But she's trying to catch me!": in this example the situation is defined by a condition of 2 connected and clear factors...If it weren’t for these bars, I’d have you already. (-)(>) I’ll wait for you.I couldn’t [tell you]. (-)(>) It wasn’t your burden to bear.(on low level) Elizabeth jumps from the previous thing to the next one or expands the previous one, (on high level) Elizabeth tells facts with continuous implications or key connected factorsThis pattern is also the "shape" of Elizabeth's plot: on low level Elizabeth deals with yearnings of an accidental ongoing situation, on high level Elizabeth deals with continuous consequences and "dependence" on global factors (she's put in a tight spot)on low level Will tells logically/truly connected or equivalent (=) bits or jumps (-) from a thing to a thingon high level Will describes an event embedded (>>) in a larger context or conjugated factors (,,)A simple example of (-) is "Who's that? And how did he get there?": it's not incoherent in the context, but there's no obvious connection.A simple example of (=) is "I can't lose! If I lose, I won't be able to help my friends!": it describes truly/logically connected or sort of equivalent things or a very strong condition.A simple example of (>>) is "This work is so hard! I got so tired of it!": an event ("I got tired") is embedded in the wider context of the hard work.A simple example of (,,) is "I’m chasing my dream. But the more I try, the farther away it gets": in this example the situation is defined by a condition of 2 connected and clear factors...So he had no choice. (-)(=) He’s a captive there as much as the rest of us.Now may be the only time! I love you. (-)(=) I've made my choice. What's yours?(on low level) Will jumps from a thing to a thing or tells logically connected things, (on high level) Will puts things in context or talks about key connected factorsThis pattern is also the "shape" of Will's plot: on low level Will deals with conditions of an accidental situation, on high level Will sees the global context and the key "strategic" factors thereon low level Jack tells logically/truly connected or equivalent (=) bits or adds (+) on (versions of) topicson high level Jack describes "the landscape of the situation" (==) or tells (most important) standalone facts (.)(=) describes truly connected/sort of equivalent things or a very strong condition.А simple example of (+) is "I love rum! What a good day to love rum! It's so good to be able to love something!": in this example you just keep piling up new topics or new versions of the same topic on and on.A simple example of (==) is "We run out of ideas and are very tired. Our morale is low. Enemies are surrounding us and the rum is gone...". In this example you see a description of different details of the overall situationA simple example of (.) is "I'm a big boss in a big town. I live a big life. I own huge money": in this example you can split the speech into pieces (like "I live a big life") without losing any context...She's safe, just like I promised. (=)(+) She's all set to marry Norrington, just like she promised. (=)(+) And you get to die for her, just like you promised. (=)(+) So we're all men of our word really except for Elizabeth who is, in fact, a woman.Is that how you’re all feeling, then? (=)(+) Perhaps dear ol’ Jack is not serving your best interests as Captain?[a giant speech about Cuttlefish]This pattern is also the "shape" of Jack's plot: on low level Jack deals with piling up conditions of an accidental situation, on high level Jack sees the most important fact/goal in the global situationWill and Jack remind me of my two real life childhood friends!You also can remember that Jack has a compass that shows the most important thing one wants at the moment.on low level Tia Dalma talks about conjugated (,) circumstances or expands (>) informationon high level Tia quickly characterizes the situation (++) or describes "the landscape of the situation" (==)A simple example of (,) is "I'm running to the beach. People are playing at the beach": in this example two not very related pieces of information are united by common circumstances (by the place - the beach), so we are sort of getting two perspectives on the same topic or two sides of the same coin...(++) describes something that continuously causes things to happen (benefits/troubles or else), for example a big problem that needs to be solved or a gift that keeps of giving...Same story, different versions. And all are true. (,)(>) See, it was a woman as changing and harsh and untamable as the sea. (,)(>) Him never stopped loving her. (,)(>) But the pain it caused was to much to live with, but not enough to cause him to die.It is my nature. (,)(>) Would you love me if I was anything but what I am?"Shape" of Tia Dalma's plot: on low level Tia deals with continuing simultaneous circumstances, on high level Tia sees the main source of troubles or benefits in a global situationShe reminds me of Gadget Hackwrench from «Chip 'n Dale: Rescue Rangers»on low level Davy Jones jumps (-) from a topic to a topic or adds (+) on (versions of) topicson high level Davy Jones describes an event embedded (>>) in a larger context or conjugated factors (,,)A simple example of (>>) is "This play was so beautiful! The theater is always amazing!": an event/thing ("play") is embedded in the wider context of the theater.(,,) describes 2 or more connected factors that define a situationLife is cruel. (-)(+) Why should the afterlife be any different?I wonder, Sparrow, can you live with this? (-)(+) Can you condemn an innocent man, a friend, to a lifetime of servitude in your name while you roam free?"Shape" of Davy Jones's plot: on low level Davy Jones deals with a specific piling up situation, on high level Davy Jones sees the global context and the key "strategic" factors thereIf you saw the movies you know on what factors in an eternal context (of a duty) and on what relationship Davy Jones is dependent...on low level Lord Cutler Beckett tells logically/truly connected or equivalent (=) bits or jumps (-) from a thing to a thingon high level Beckett describes conjugated factors (,,) or coincidental circumstances (--) i.e. their speech doesn't add up to anything in particularA simple example of (=) is "You can't beat me! I am the champion of the galaxy, I am the best!": it describes truly/logically connected or sort of equivalent things or a very strong condition.A simple example of (--) is "Buisness is good! I did some buisness today.": what do BOTH sentences describe together? a particular situation? a particular fact? Nothing in particular. Just some coincidental circumstances...And its captain is to sail it as COMMANDED! (-)(=) I thought you would have learned that, after I ordered you to kill your pet. (-)(=) This is no longer your world, [Spoiler]. The immaterial has become... immaterial.Jack! I’ve just recalled, I have this wonderful compass which points to whatever I want. (-)(=) So for what do I need you?(on low level) Beckett jumps from a thing to a thing or tells logically connected things, (on high level) Beckett talks about key connected factors or "coincidences" i.e. his speech doesn't add up to anything specific"Shape" of Beckett's plot: on low level Beckett deals with conditions of an accidental situation, on high level Beckett deals with strategic factors and coincidences in the world that create those conditionson low level Commodore Norrington jumps (-) from a thing to a thing or tells logically/truly connected or equivalent (=) bitson high level James Norrington describes the landscape of the situation (==) or their speech doesn't add up (--) to anything in particular(-) is a wild card, it means no connection or any connection; (=) describes truly connected/sort of equivalent things or a very strong condition.(==) describes different details of the same overall situation...Mr. Turner, you are not a military man. You are not a sailor. You are a blacksmith. (-)(=) And this is not the moment for rash actions. (-)(=) Do not make the mistake of thinking you are the only man here who cares for Elizabeth.Thank God you’re alive! (-)(=) Your father will be overjoyed to know you’re safe."Shape" of Norrington's plot: on low level James deals with conditions of an accidental situation, on high level James sees the global situation and "coincedences" or "incidents" thereon low level Governor Weatherby Swann jumps (-) from a topic to a topic or adds (+) on (versions of) topicson high level Gov. Swann describes "the landscape of the situation" (==) or conjugated factors (,,)I may still have some standing in the keep. (-)(+) I’ve arranged passage to England. (-)(+) The Captain is a friend of mine.You would risk your life to save Sparrow’s does not mean that he would do the same for anyone else. (-)(+) Now, where’s that dog with the keys?"Shape" of Gov. Swann's plot: on low level Gov. Swann deals with an accidental piling up situation, on high level Gov. Swann sees the global situation and the key strategic factors thereI'm not sure about Barbossa's pattern, but we can try this:on low level Hector Barbossa adds (+) on (versions of) topics or expands (>) informationon high level Barbossa describes an event embedded (>>) in a larger context or says (the most important) standalone facts (.)(.) is a bunch of standalone facts/events that don't need any context to be understood, every bit of (.)-speech is a self-sustained point... you can split such speech into pieces without losing any context...For too long I've been parched of thirst and unable to quench it. (+)(>) Too long I've been starving to death and haven't died. (+)(>) I feel nothing. (+)(>) Not the wind on my face nor the spray of the sea. (+)(>) Nor the warmth of a woman's flesh.Still thinkin' of running, Jack? (+)(>) Think you can outrun the world? (+)(>) You know the problem with being the last of anything, by and by there be none left at all."Shape" of Hector Barbossa's plot: on low level Barbossa deals with yearnings of a piling up situation, on high level Barbossa sees the most important thing in the larger contexton low level Joshamee Gibbs tells logically/truly connected or equivalent (=) bits or adds (+) on (versions of) topicson high level Mr. Gibbs describes an event embedded (>>) in a larger context or conjugated factors (,,)Curse you for breathin' ya slack-jawed idiot. Mother's love. Jack. You should know better than to wake a man when he's sleepin'. (+)(=) Its bad luck.And already the world seems a little less bright. (+)(=) He fooled us all, right to the end. (+)(=) But I guess that honest streak finally won out. To Jack Sparrow."Shape" of Joshamee Gibbs's plot: on low level Gibbs deals with piling up conditions of an accidental situation, on high level Gibbs sees the global context and the key "strategic" factors thereon low level 'Bootstrap' Bill Turner jumps (-) from a thing to a thing or talks about conjugated (,) circumstanceson high level 'Bootstrap' describes an event embedded (>>) in a larger context or conjugated factors (,,)A simple example of (,) is "I'm waiting for my son! My son makes their way here": in this example two not very related pieces of information are united by common circumstances (by a person - the son) like two sides of the same coin...Jack. Won’t be able to talk yourself out of this. (,)(-) The terms would apply to me, apply to you, as well. One soul, bound to Crew a hundred years upon his ship.This ship, it has a duty. (,)(-) And where we are bound, she cannot come. (,)(-) One day at shore... ten years at sea. It's a heavy price for what's been done."Shape" of Bill's plot: on low level Bill deals with simultaneous accidental circumstances, on high level Bill sees things in context and evaluates key connected factorson low level Ian Mercer tells logically/truly connected or equivalent (=) bits or jumps (-) from a thing to a thingon high level Mercer describes conjugated factors (,,) or says (the most important) standalone facts (.)(.) is a bunch of standalone facts/events (points); (,,) describes 2 or more connected factors that define a situationDoes it matter? (-)(=) There’s nothing can hold against the armada, not with the Flying Dutchman at the lead.Lord Beckett’s not going to give up the only ship that can outrun the Dutchman, now is he?"Shape" of Mercer's plot: on low level Ian deals with conditions of an accidental situation, on high level Ian sees the most important global fact and other large-scale variablesThe last but not least run for the patterns:Sao Fenglow level: (,)(+) high level: (>>)(==)There’s a price on all our heads, it is true. (,)(+) Since it seems that the only way a pirate can turn a profit anymore is by betraying other pirates...Can I be blamed for my efforts? (,)(+) All men are drawn to the sea, perilous though it may be."Shape" of Sao Feng's plot: on low level Sao Feng deals with piling up simultaneous circumstances of the ongoing situation, on high level Long Feng sees the global situation in a larger contextCaptain Teague (Jack's dad)It's not just about living forever, Jackie. (>) The trick is still living with yourself forever.Not a lot of quotes, but there's a cool one! Teague may be focused on the most important facts and expanding informationPintel & RagettiI think Pintel puts things in context and quickly characterizes the situation and maybe tells standalone factsStow it! The both of you! That’s an order! Understand?!? (?) Sorry. I just thought with the captain issue being in doubt, I’d throw my name in for consideration, sorry.She wants to be taken to the Captain. (?) And she'll go without a fuss. (?) We must honor the Code.I think Ragetti is similar to Jack, I think he uses logic (=) but also puts things in context tooWell, how d’you know it weren’t divine providence what inspired you to be clever. (=) Anyways, I’m no’ stealing no ship. (>>)Suppose we’d better save it as soon as we can. (=) What with us in such a vulnerable state, y’know?And the last speech curiosity:Mr. Cotton and his ParrotMr. Gibbs: He's a mute, sir. Poor devil had his tongue cut out, so he trained the parrot to talk for him. No one's yet figured how.Cotton's Parrot: Wind in the sails! Wind in the sails! (Mr. Gibbs: Mostly, we figure, that means 'yes.')Mr. Cotton reminds me of an old chess player I played with but haven't seen for a long timeI believe those patterns are thinking patterns, they tell (in an abstract way) on what a character focuses on.You can view those patterns as different "exposition roles", each character tells you something about some layer of the situation.You also can try to "arrange" those patterns in a single global "spectrum":Lord Cutler Beckett < Commodore Norrington (in the middle) < Davy Jones < Will and 'Bootstrap' Bill Turner and Tia Dalma and Elizabeth and Ian Mercer < Jack < Joshamee Gibbs < RagettiThe farther you go, the more characters focus on a single fact... or the farther you go the more context-independent or conditions-independent or context self-contained or absent of links to outside factors or ""open"" it gets.That's just my intuition! (And I don't know how to order some and where to put some)P.S.If those patterns apply to real people & music bands they are very important,I want to attract attention to those patterns and eventually check if they are real or not.I worry about my health, I'm going to doctors... currently I'm worried about my eyes (Photopsia and Visual snow)I dedicate my posts to real people, to people I know, to old chess players I know and to my love 18 y/older than me in an oppressed european country via /r/movies https://www.reddit.com/r/movies/comments/kovtya/pirates_of_the_caribbean_speech_patterns_of_17/?utm_source=ifttt