Admiral Edward Vernon of the Royal Navy

A distinguished officer in the Royal Navy, Admiral Edward Vernons career commenced in 1700 and spanned a period of 46 years. This saw him learn his trade under Admiral Cloudesley Shovell before establishing himself as a rising star in the ranks. Vernon saw active service in the War of the Spanish Succession (1701-1714) and later in the War of Jenkins Ear and the War of the Austrian Succession. Though he won a triumph at Porto Bello in 1739, he is best remembered for his invention of grog, a rum and water mixture, that was provided to the sailors in his fleets. Grog would go on to become a staple of Royal Navy life until 1970. Early Life Career Born November 12, 1684 in London, Edward Vernon was the son of James Vernon, secretary of state to King William III. Raised in the city, he received some education at the Westminster School before entering the Royal Navy on May 10, 1700. A popular school for the sons of well-placed Britons, Westminster later produced both Thomas Gage and John Burgoyne who would play key roles in the American Revolution. Assigned to HMS Shrewsbury (80 guns), Vernon possessed more education than most his peers. Remaining aboard for less than a year, he shifted to HMS Ipswich (70) in March 1701 before joining HMS Mary (60) that summer. War of the Spanish Succession With the War of the Spanish Succession raging, Vernon received a promotion to lieutenant on September 16, 1702 and was transferred to HMS Lennox (80). After service with the Channel Squadron, Lennox sailed for the Mediterranean where it remained until 1704. When the ship was paid off, Vernon moved to Admiral Cloudesley Shovells flagship, HMS Barfleur (90). Serving in the Mediterranean, he experienced combat during the capture of Gibraltar and Battle of Malaga. Becoming a favorite of Shovell, Vernon followed the admiral to HMS Britannia (100) in 1705 and aided in the capture of Barcelona. Rapidly rising through the ranks, Vernon was elevated to captain on January 22, 1706 at the age of twenty-one. First assigned to HMS Dolphin (20), he shifted to HMS Rye (32) a few days later. After taking part in the failed 1707 campaign against Toulon, Vernon sailed with Shovells squadron for Britain. Nearing the British Isles, several of Shovells ships were lost in the Scilly Naval Disaster which saw four ships sunk and 1,400-2,000 men killed, including Shovell, due to a navigational error. Saved from the rocks, Vernon arrived home and received command of HMS Jersey (50) with orders to oversee the West Indies station. Member of Parliament Arriving in the Caribbean, Vernon campaigned against the Spanish and broke up an enemy naval force near Cartagena in 1710. He returned home at the wars end in 1712. Between 1715 and 1720, Vernon commanded various vessels in home waters and in the Baltic before serving as commodore at Jamaica for a year. Coming ashore in 1721, Vernon was elected to Parliament from Penryn a year later. A staunch advocate for the navy, he was vocal in debates regarding military matters. As tensions with Spain increased, Vernon returned to the fleet in 1726 and took command of HMS Grafton (70). After cruising to the Baltic, Vernon joined the fleet at Gibraltar in 1727 after Spain declared war. He remained there until fighting ended a year later. Returning to Parliament, Vernon continued to champion maritime matters and argued against continued Spanish interference with British shipping. As relations between the two countries worsened, Vernon advocated for Captain Robert Jenkins who had his ear cut off by the Spanish Coast Guard in 1731. Though wishing to avoid war, First Minister Robert Walpole ordered additional troops to be sent to Gibraltar and ordered a fleet to sail for the Caribbean. War of Jenkins War Promoted to vice admiral on July 9, 1739, Vernon was given six ships of the line and ordered to attack Spanish commerce and settlements in the Caribbean. As his fleet sailed west, Britain and Spain severed relations and the War of Jenkins Ear began. Descending on the poorly defended Spanish town of Porto Bello, Panama, he quickly captured it on November 21 and remained there for three weeks. The victory led to the naming of Portobello Road in London and public debut of the song Rule, Britannia!. For his achievement, Vernon was hailed as a hero and was granted Freedom of the City of London. Old Grog The following year saw Vernon order that the daily rum ration provided to the sailors be watered down to three parts water and one part rum in an effort to reduce drunkenness. As Vernon was known as Old Grog for his habit of wearing grogham coats, the new drink became known as grog. Some have argued that Vernon dictated the addition of citrus juice to the mixture which would led to much-reduced rates of scurvy and other diseases in his fleet as it would have added a daily dose of Vitamin C. This appears to be a misreading of his original orders and was not part of the original recipe. Failure at Cartagena In an effort to follow up Vernons success at Porto Bello, in 1741 he was given a large fleet of 186 ships and 12,000 soldiers led by Major General Thomas Wentworth. Moving against Cartagena, Colombia, British forces were hampered by frequent disagreements between the two commanders and delays ensued. Due to the prevalence of disease in the region, Vernon was skeptical of the operations success. Arriving in early March 1741, British efforts to take the city were plagued by a lack of supplies and rampaging disease. Endeavoring to defeat the Spanish, Vernon was forced to withdraw after sixty-seven days which saw around a third of his force lost to enemy fire and disease. Among those to take part in the campaign was George Washingtons brother, Lawrence, who named his plantation Mount Vernon in the admirals honor. Sailing north, Vernon captured Guantà ¡namo Bay, Cuba and desired to move against Santiago de Cuba. This effort failed due to heavy Spanish resistance and Wentworths incompetence. With the failure of British operations in the region, both Vernon and Wentworth were recalled in 1742. A Return to Parliament Returning to Parliament, now representing Ipswich, Vernon continued to battle on behalf of the Royal Navy. Critical of the Admiralty, he may have authored several anonymous pamphlets which attacked its leadership. Despite his actions, he was promoted to admiral 1745, and took command of the North Sea Fleet in an effort to prevent French aid from reaching Charles Edward Stuart (Bonnie Prince Charlie) and the Jacobite Rebellion in Scotland. Having been refused in his request to be named Commander-in-Chief he elected to step down on December 1. The following year, with the pamphlets circulating, he was removed from the Royal Navys list of flag officers. An avid reformer, Vernon remained in Parliament and worked to improve the Royal Navys operations, protocols, and fighting instructions. Many of the changes he worked for aided in the Royal Navys dominance in the Seven Years War. Vernon continued to serve in Parliament until his death at his estate in Nacton, Suffolk on October 30, 1757. Buried at Nacton, Vernons nephew had a monument erected to his memory at Westminster Abbey.

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Kafka and the Dramatisation of the Guilty Free Essays

Kafka†¦ draws the reader into the dramatization of the (guilty) failure to arrive, to communicate, to understand. And it is this movement which he describes again and again, not only on the level of rational discourse, but on a great many levels. -Heller Heller’s statement is at best a rather enigmatic one: riddled with unanswered questions and uncertainties. We will write a custom essay sample on Kafka and the Dramatisation of the Guilty or any similar topic only for you Order Now The reader of Heller’s statement would first ask himself how Kafka†¦ draws the reader into the dramatization, then would question the failure to arrive, to communicate, to understand: arrive, communicate, understand what? Thirdly, one asks oneself what is the movement he describes again and again: drawing the reader into the dramatization or the failure to arrive, communicate, understand. And lastly, one wonders what the â€Å"many levels† are that Kafka uses to communicate the rather ambiguous â€Å"movement†. The failure to arrive is a recurrent theme throughout the novel. Probably the best example of it is the failure to arrive at a judgement. K is on trial for the entirety of the novel, and never is judgement passed on him. He is waiting for the court to arrive at a judgement during the course of the novel, yet at the end he is only punished: the court never arrives at a judgement. This can be applied to most of the book: for instance K’s failure to arrive at the first hearing on time and the failure of his case to arrive at the highest courts. It is if events are placed in suspense, their conclusion shimmering ever so faintly in the distance and the reader, like Tantalus, attempts to attain the unattainable. Failure to arrive may indicate that in â€Å"The Trial† the journey or process is more important than its conclusion; was the original German manuscript not actually called â€Å"Der Prozess†? However, whatever be the meaning of the failure to arrive, it is ins trumental in creating tension as the conclusion continues to be elusive. The failure to arrive can possibly be linked with the failure to communicate in that if one is still in the process of thinking and has not yet arrived at a conclusion, one would find it difficult to accurately describe the thought process to another, hence the failure to communicate. I believe that the most accurate way to define the failure to communicate can be found in Brink’s interpretation of the novel. Brink sees language in â€Å"The Trial† as being unable to communicate anything. Take, for example, the advocate’s speeches. They are entirely superfluous: Huld turns endlessly around the point with out actually addressing it. Whether this is due to the inadequacy of language or to whether there actually is a point or not one is not sure, but there is clearly a failure to communicate. I believe that the concept of failure to communicate in The Trial is perhaps partly created by the language used in the novel, most of which convey only abstracted logical conc epts. The language used has no substance and therefore it is completely detached from reality: the syntax is correct but it makes no sense at all. Failure to understand also plays an extremely important rà ¯Ã‚ ¿Ã‚ ½le in the novel. It can be seen to follow on directly from the failure to communicate: if one person cannot communicate, the other cannot understand. Perhaps the most important instance of failure to understand is K’s failure to understand the court system. He never seems to develop an adequate understanding of it from those who have or claim to have an understanding of it. They are unable to communicate their understanding to K, thus keeping K from arriving at an understanding or conclusion. This of course brings us back to the failure to arrive (at a conclusion) which in turns leads to the failure to communicate, and so on. According to Heller, Kafka dramatizes these failures by creating forms in which they can interact with each other, i.e. characters. It is into this dramatization that Kafka draws us by a rather clever usage of basic trait of human nature. Human nature is rather curious by definition, and Kafka uses this facet of human nature to entice the reader into a complete immersion in the world of â€Å"The Trial†. The failure to arrive at any conclusion or judgement is rather intriguing in that it creates a permanent sense of tension: a menace hanging over one’s head in suspended animation and the goal almost visible in the distance. One does not know whether it will remain suspended, spring to life, or whether it is there at all. Indeed, one does not know if there really is a point or conclusion. This uncertainty, however, does not stop our pursuit of the glittering conclusion. The sight of it makes the state of uncertainty even more unbearable and the elusive conclusion yet mor e desirable. One is enticed into entering deeper into a tangle of uncertainties by this lure. The failure to communicate supports this. By using extremely ambiguous language, devoid of any substance and meaning, one is constantly held in a state of uncertainty. Bathed in this uncertainty, we feel the need to understand, to resolve the uncertainties. The failure to understand throughout the novel is echoed in the mind of the reader: if the narrator and/or the text know nothing and/or communicate nothing it is natural that the reader is maintained in a situation where he understands nothing and his curiosity is aroused. Eventually the reader to becomes part of the drama. His failures to understand, communicate and arrive echo those in the novel and reinforce them, plunging the reader yet deeper into the labyrinth without a center. This movement is a downward cycle in which confusion begets confusion, drawing the reader deeper and deeper into the text in a downward spiral. Heller declares that it is this movement which is described and communicated again and again throughout the text. It is indeed correct that this movement is repeated again and again: it is a chain reaction in which some begets more of the same and so on and so forth. However, one wonders how Kafka manages to communicate this to the reader. It is certainly almost impossible to explain it through the medium of language since it has been explained in the text that language is ambiguous and only confounds and obfuscates. Yet by it’s own definition then, it is perfectly suited to describe this movement and feeling in the novel. Kafka uses the container, and not the content, in order to communicate the movement to his readers. Yet in a sense the content, or rather the lack of it, also helps to communicate the movement. One expects that a container contains. It is logical that and object should fulfill its definition. In ascribing to this logic, one falls even deeper into the text as one searches for meaning and substance. One becomes lost and confused wading through all the superfluous packaging searching for the content. But there is no center; there is no content. We echo K in his search for the high court, the nub of the court system. He fails because there is no nub; there is no high court. How to cite Kafka and the Dramatisation of the Guilty, Papers