A Master's Interpretation of Twenty Thousand Leagues Under the Sea a Dream
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A Master's Interpretation of Twenty Thousand Leagues Under the Sea a Dream

A Close Look at Twenty Thousand Leagues Under the Sea

As much as the story of Captain Nemo sounds as if it were set in the past,  the story is in itself a type of ruse almost like a  Leonardo Da Vinci masterful look into the technology of the future like da Vince drawing flying machines before man ever crossed breeds with a bird, on a lark. The knowledge of the components necessary or assumed into replicating what Verne saw as he gazed into the mystic waters of the future created the Nautilus. It was then peopled by a cast of characters very French and very familiar to those who have read other roseate books, The Count of Monte Cristo may be considered one of them. What is of more importance to my observation on Twenty Thousand Leagues Under the Sea is the capabilities of men like da Vinci and Verne to look into the future and to bring back from their mental breakthrough a significant part of the future, an astounding invention, a historical occurrence, or any proof that they had crossed beyond the walls seemingly of time.

As always with masters of either religious or lay inspiration, their stories are of necessity fearful  to scare casual steppers into the arcane existence and are filled with dire consequences as the myth of Pandora, but giving just a slight glimpse that there might yet be hope depending on how we believe, of course.

The futuristic tale of the Nautilus for that is what the story is about, a fabulous craft, is set in 1866. The narrator is a French professor of natural history. The plot is to discover the spouts not of this earth as they knew it but what they deemed to be a floating island. The conflict is between the master who could look into the future and re create or duplicate its wonders and yet who was incapable of protecting his own family. The conflict is between the master and his own deep human emotions. His foil is the narrator.

 The narrator then is agent to the master’s play and his vain, human need for revenge that destroys his rosy step into the world of Neverland. Once that revenge has been gotten, the master ends his play with a climactic, anti-climax by allowing his low human needs for revenge to overwhelm his mission.

The narrator is free to go about his business and just as cavalierly handle what happened to him without really internalizing it, as he was only the ends to Captain Nemo’s means.

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