The Evolution Of Basic Flight Instruments History Essay

The Evolution Of Basic Flight Instruments History Essay In the pioneering days of aviation, flight was restricted to times of good visibility and good weather. In early flight operations, the pilot maintained visual contact with the ground below him at all times and used it as a reference point for executing all maneuvers. The design of most early aircraft positioned the pilot in the front of the aircraft affording him a high degree of visibility. Currently, there was little thought regarding cockpit design, and the pilot was just seated on the aircraft in a completely open fashion. This open design allowed the pilot to receive full sensory input from the chill of the blowing wind, the exhaust of the turning engine, and even the vibration through the seat of his pants (Siberry, 1974). He was in an ideal position to make use of his only flight instrumenthis body. These perceived sensory inputs superimposed on the visual backdrop of the earth combined to form the early pilots mental model of reality. Two broad cognitive principles that nega tively affected the pilots mental model require definition at this point. Spatial disorientation (SD) and Loss of Situational Awareness (LSA) are both difficult concepts to define. Both involve a degraded awareness of reality resulting from the mismatch between the pilots mental model and the visual backdrop used to create his perception of the environment. Unfortunately for the pilot SD and a LSA can result in the generation of misinterpretation and faulty prediction about his current situation often resulting in disastrous flight control inputs (Boers, 1996/97). SD is the faulty perception of position, direction of travel, or speed relative to the ground. LSA is closely related to SD, but deals with the pilots more specific confusion over his actual geographic location at a specific point in time (Mortimer, 1995). Now that the cognitive principles of SD and LSA have been defined, let me return to the discussion of the pilots use of his body as an exclusive sensor for environmental inputs, and the inherent limitations of this practice. Under visual flight rules (VFR) conditions, the early aviator was able to extract enough input from his senses to adequately pilot the aircraft. However, during continued experimentation with flight, poor visibility and poor weather conditions often were encountered. Pilots were robbed of their conventional sensory inputs under these conditions and many aircraft accidents resulted. Reliance on visual, vestibular, and seat of the pants acuity to control the aircraft was a major weakness and it prompted flight instrument development. Equipment designed to display aircraft heading, speed, and altitude information quickly evolved to counter mans sensory vulnerabilities. INSTRUMENTS AND THEIR EFFECTS Heading The compass was one of the first flight instruments used by early aviators (Allstar, 1995/00). Aviators quickly took advantage of the magnetic compass to overcome their past reliance on visual cues for establishing a heading. Compasses in use today are of two basic types, magnet, and gyro-magnetic (USCGA, 00). Both types can trace their ancestry back two thousands year to Chinese magicians. By accident, these magicians had discovered the properties of magnetism while playing a board game similar to chess. Unknowingly they had constructed their game pieces from metal containing lodestone, a natural magnetic ore. When they started their game by dropping the pieces on to the board, they noticed that they would spin and align themselves in the same direction every time. Quickly realizing the potential of their discovery, the magicians employed the magnetic properties of the lodestone to develop a liquid filled compass similar to the ones in use today (A History of the Compass). Advanceme nts in steel casting methods a thousand years later made permanent magnets possible by enabling compass needles to stay magnetized making the compass more practical and reliable. Early pilots simply made use of borrowed land and sea navigational compasses in their cockpits. However, liquid filled compasses were not perfect instruments. Steep turning and diving maneuvers caused the compass to present inaccurate heading information. In addition, metallic objects in the aircraft created magnetic interference that could corrupt the compass heading display. Some pilots made use of small magnets of opposite polarity positioned near the compass to counteract this harmful interference. Another solution for overcoming the interference was provided by the compass correction card, and it is still in use today (Gum and Walters, 1982). The card displayed magnetic headings from zero to 330 degrees, at 30-degree intervals. Underneath the magnetic heading readings were the appropriate corrected ste ering headings that compensated for the magnetic interference. Although the compensations were only minor, the pilot needed to ensure they were made as they could result in a LSA, as the magnitude of error would increase with the distance traveled. In addition, pilots occasionally failed to compensate for geographic differences in magnetic variation and this caused further cases of LSA. Fortunately, compass accuracy and stability took a leap forward on September 24, 1929, when Lt. James Doolittle performed a successful test flight of a directional gyro manufactured by the Sperry Company (Allensworth, 2000). Gyrocompasses combined the gyroscopic phenomenon that keeps a rapidly spinning wheel stable in space, and the property of magnetic polar attraction to overcome the limitations of the purely magnetic compass. Pilot alignment and compensation input requirements, that could be subject to human error, were required less often for the gyrocompass and this positively impacted flight safety. Today, the development of laser and other technologies have led to refinements in the basic gyrocompass enhancing its performance. Despite these advancements, a heading instrument of any type is a valuable tool for preventing pilot LSA. However for it to be effective its limitations must be known and observed. More importantly, to be effective it must be used. The collision between a Korean Air Line (KAL) DC-10, and a Piper PA-31 on a foggy runway in Alaska highlights this point. Lacking SA the KAL pilot continued to taxi to what he believed was runway 32, and began his takeoff roll. Sadly, the DC-10 pi lot had been fooled by his sense of direction, and struck a Piper aircraft holding for take off on runway 6L/24R. If the KAL pilot had only compensated for his lack of visual perception by confirming his runway heading with a compass (NTSB 1983) the accident could have been avoided. Obviously the compass has proven to be a vital resource for pilots and the development of speed measuring instruments would prove to be just as significant. Speed Knowing exactly how fast you are traveling is important for many reasons. Most importantly, the passage of air over the wings of the aircraft generates lift, and to remain airborne the pilot needed to maintain a minimum speed, or the aircraft would stall, ceasing to create lift. Additionally, you need the ability to measure speed, to make use of the navigational technique known as dead reckoning (DR). DR could greatly increase pilot SA by providing him a reliable indication of his location based on his rate of travel in conjunction with the passage of time and heading information. Unfortunately, the human body is poorly equipped for this task. Using his vestibular sense, the pilot had a rough feel for changes in speed due to acceleration and deceleration. Visual acuity also afforded him a limited sense of speed based on his perceived rate of closure with distant objects. However, poor weather, darkness, and visual illusion further degraded both these senses. A speed-indicating instru ment immune to all these factors was required to improve pilot SA and make DR navigation a reality. Early airspeed indicators were of two types mechanical and differential. Some mechanical devices were very simple producing only limited information, much like the mechanical stall warning indicators in use today on small private aircraft. Other mechanical airspeed indicators grew to be quite elaborate and their evolution started on a beach in North Carolina. Orville Wright held in his hand a mechanical anemometer on the first heavier than air flight. As Orville flew, Wilbur recorded his flight time with a stopwatch (Hunt and Stearns, 1923). Using the distance measurement from the anemometer, and the elapsed time from the stopwatch, they were able to calculate their speed. Strapping the anemometer to the wing of the aircraft further refined this speed measurement technique. Rubber tubing was then used to connect the anemometer to an indicator in the cockpit known as an air log. Variable suction was produced based on the anemometers speed of rotation. The resulting suction deflected the needle inside the air log to produce a reading. Unfortunately, the reading it produced was not airspeed. Separate elapsed time measurements still had to taken and combined with the air log reading to calculate air speed. Airspeed would not be readily calculated until new equipment using a commutator-condenser was devised. The new equipment employed a commutator-condenser unit that worked similar to an electrical motor, only in reverse. By connecting it to a spinning anemometer, varying levels of current were produced that could be displayed on an ammeter. Improvements to this technology was made by incorporating a timing signal with the electrical output to produce a true measurement of air speed (Beij, 1933). In fact, this measurement was still not a true measure of air speed but a measure of indicated airspeed. To measure true air speed, accurate compensations for altitude and temperature needed to be made, and differential speed measurement instruments would be better suited to this task. Worldwide experimentation with measurement instruments that collected air pressure to determine airspeed had begun. The most common system designs used funnel like collectors known as pitot tubes positioned facing forward on the aircrafts wing to collect the maximum amount of air possible. Care was taken to ensure the pitot tubes were placed away from any propeller generated air stream disturbances that might corrupt their air collection. An additional air collection device named a venturi was positioned perpendicular to the forward flow of air to capture the ambient or static air pressure (Hunt and Stearns, 1923). Both of the separate pressure inputs were routed via metal tubing to an indicator gauge that subtracted the static pressure from the pitot pressure to produce a dynamic pressure (Siberry, pg. 49). The resultant dynamic pressure inside the gauge actuated levers, and wheels to drive an indicator needle. A measurement scale was drawn on the face of the indicator and the speed of travel could be found by reading the needles position against the scale. These systems were known as differential for their subtraction of the static and dynamic pressures. Furthermore, they proved to be a great improvement over early anemometer based measurement instruments because of their flexibility. Eventually, scales were devised that allowed the pilot to calculate appropriate altitude and temperature offsets to produce true airspeed readings (TAS) (Hunt and Stearns, 1923). Once the offset was found it could be dialed in to airspeed indicator to display TAS. Certainly the airspeed indicator has greatly improved the pilots ability to navigate at night and during periods of poor visibility by making use of DR. Nonetheless; one should not become complacent to the measurements they provide. Today with the advent of integrated systems that arbitrarily use airspeed data provided to them to calculate flight control inputs, it is even more important for the pilot to challenge instrument readings that fall outside expected limits. Undoubtedly the airspeed indicator provides vital information to pilots about the aircrafts ability to maintain lift and has had a dramatic impact on flight safety. Moreover, the airspeed indicator has proven to be a valuable tool in the prevention of pilot SD. Its ability to detect increases in airspeed is far superior to that of any pilot relying on perception alone. Today, precision flight instruments are a reality, and yet pilots still suffer from SD, primarily from their inability to use them. Being without flight instruments and being unable to use them are one in the same. Therefore, the importance of past instrument development can be inferred from a recent study. The study involved accidents from 1987-1996 that implicated spatial disorientation as their cause, and it revealed that 90 percent of them resulted in fatalities. As a rule, these accidents involved non instrument-rated pilots caught in instrument meteorological conditions that became disorientated and lost control of their aircraft. This loss of control resulted from their inability to use their flight instruments and over come their LSA (Air Safety Foundation, 1999). Without doubt, heading and airspeed instruments combined with adequate training to use them are critical to pilot safety and the prevention of LSA. To further safeguard pilots from LSA, instruments that could accurately indicate altitude were required. Altitude The early pilots only tools for estimating his height above the ground was his eyes. He made use of the eyes ability to detect changes in the size of objects as he flew to estimate his altitude (Hawkins, 1987). In addition, the eyes capability for detecting subtle changes in the texture of the landscape below provided him with altitude clues, also the eyes inherent binocular nature afforded him a certain degree of depth perception. Unfortunately, for these techniques to be remotely accurate perfect weather conditions and daylight were needed. Flying in the darkness and relying on bonfires, and beacons for navigational cues was a difficult task. Subsequently, focusing on the distant flickering lights against a black background could result in vertigo and cause LSA (Haines, 1992). An altitude indicator, resistant to mans sensory flaws was required to further combat pilot LSA. Like the compass, altitude-measuring equipment were also used in a variety of fields before the first heavier-t han-air flight. Subsequently, the first altitude-measuring instruments used by aviators were adaptations of the aneroid barometer used by meteorologists. These early altitude indicators were of two types barograph, and altimeter (Hersey, 1923). The barograph was a precise instrument that contained a gradually rotating cylinder with paper on it. Changes in atmospheric pressure would force a pen attached to the aneroid to move up and down in relation to the pressure changes. The changes in pressure would then be recorded by the pen throughout the flight (Williams, 1999). It is no surprise that the barograph did not catch on as a permanent flight instrument and was primarily used to test and calibrate more practical altitude indicators like the altimeter. Early altimeter were nothing more than a modified aneroid barometer, displaying altitude rather than air pressure. Following in the footsteps of pioneering balloonists aviators simply changed the scale on the barometer from a measure of pressure to a measure of height above the ground, subsequently giving birth to the first aviation altimeters in the process. Bimetallic strips were incorporated inside the sealed unit of the altimeter to compensate for changes in temperature that could cause inaccurate readings. Later the simple dial and needle style altimeters grew more complex. Some made use of movable dials to compensate for daily variations in atmospheric pressure, and others allowed the pilot to input a pressure compensation factor (Mears, 1923). However, the overall indicator design changed very little-a simple rotating needle from zero to the maximum operating altitude of the aircraft, or the current theoretical safe maximum altitude. The pilot now had a tool that could be used in any weather and at any time of day accurately to indicate his altitude. For example, the altimeter in conjunction with navigational charts dramatically improved the pilots SA by making him ware of potential collision hazards. As aircraft engines became more powerful, and airframe construction materials improved, high altitude flights became more frequent. The single needle display of the altimeter evolved to one that used three pointers to better cope with the range of higher altitudes. The longest of three pointers indicated hundreds of feet, the medium one indicated thousands of feet, and the smallest one indicated tens of thousands of feet (Siberry, pg. 60). The new device was intended to improve pilot SA by making it easier for him to read a broader range of altitudes and readily identify possible hypoxic environments. Despite the good intentions of its designers, the three-pointer altimeter became a liability. The mingled hands of the indicator was difficult to decipher, and in environments that would not allow the pilots eye to linger over any one instrument for too long, mistakes were made. A P-47 pilots testimony from a combat mission dramatically emphasizes this point. I was flying at 25,000 feet on my first combat mission, but had mistakenly read the hands on my altimeter and was under the impression that I was at 35,000 feet. I called in some unidentified aircraft which were level with our formation and, consequentially, actually at 25,000 feet. Since I mistakenly reported them at 35,000 feet, they were believed to be enemy aircraft à ¢Ã¢â€š ¬Ã‚ ¦ a good deal of confusion resulted. I believe some improvements could be made in our present altimeter (Sinaiko, 1961). His words proved to be very profound. However, the three-pointer and other altimeters relying on multiple pointers were in use for over 50 years before safer ones that incorporated drums or digital displays numerically to represent the altitude replaced them. Altitude indicators have proven to be a useful addition to the pilots arsenal in his battle with SD and LSA. Nonetheless, the altimeter was not a cure-all for overcoming mans sensory deficiencies. Just like the early compass, and airspeed indicators the re sulting benefits of the altimeter must be contemplated. CONCLUSION Without doubt, the evolution of basic heading, speed, and altitude indicating instruments has had a positive impact on pilot SD and LSA. Even today, this group of three instruments is of great importance for conducting safe flight operations under VFR conditions, and subsequently is the legal minimum requirement established by the Federal Aviation Administrations for private aircraft. At times, pilots have become complacent by placing total faith in their instruments, and have flagrantly refused to believe their own sensory inputs telling them that their equipment has failed. In addition, poor design has hindered the pilots ability to maximize their benefits. Although these occurrences are rare, grounds for concern exists when safety is at stake. However, these concerns should not overshadow the rewards brought by the evolution of cockpit instrumentation, and the rewards have been numerous. For example, aviation reaped the rewards of instrumentation and became a competitive mode of t ransportation with the advent of around-the-clock all weather flight capability. Additionally, the process of refining the integration between the pilot and these early instruments in the fledgling airborne environment served as catalyst for subsequent Human Factors research and development. Not only has this research positively impacted aviation safety, it has also contributed significantly to technological advancements gained refining SHEL model interfaces in other fields tackling man-machine integration dilemmas (Edwards, 1972). Today, problems still exist in mans ongoing marriage with machine but fortunately, they can, and will be reconciled with further application of human factors engineering intervention.is

O’connor’s A Good Man Is Hard To Find

From the title of the story itself, I was already expecting the plot to be showing the negative side of the characters. True enough, the characters involved seem to be downplaying their positive side as persons and indeed thrive on the conflicts their circumstances brought them. Every step along the way is a test of the family member’s character. The bad guys who did the killing and whose presence have been foreshadowed already by the grandmother are cold-blooded murderers who do not mind ending the lives of even the old and the young characters there. Being a classic story most often included in the studies of the young (in school), I was expecting a rather conservative storyline instead of a violent one. So it was with great surprise for me that the story ended with less to be desired. Even if I was preparing myself to be open-minded in reading materials such as these, I still can’t help feeling bad about the outcome of the story. It definitely changes my perception of things. The story reminds me that indeed, there is always a good and a bad side in every person. When the grandmother touches the â€Å"Misfit† before she was killed, I believe she was then showing compassion and forgiveness to the person in question. It could also be an appeal to spare her life. However, I wish to reiterate that after all the experiences the grandmother must have gone through, she can already see through a person’s true self, and perhaps, just perhaps, she has seen the goodness of the killer inspite of it all. On the other hand, the Misfit also showed a willingness to be humane when he recognized the possibility of the grandmother becoming good in the true sense of the word, if only she can be reminded all the time. I believe the Misfit’s sentence was a metaphor.

Roles of the african american soldiers in world war 1 Free Essay Example, 1500 words

The French, though, appreciated at high levels the African American soldiers. This was evident since a total of 117 black soldiers were given the Legion of Honor by France whilst none of these soldiers were awarded the US’ Congressional Medal of Honor then. This oversight was, however to be corrected after years. The African American soldiers, despite their being not acknowledged by their fellow whites, made enormous contributions. A major contribution and which was highly notable to the war, was the initiation of Blues and Jazz music. Many of the Regiments had African Americans in their bands. Most of the members in the troops sincerely had joyous moments when listening to the music made by black soldiers especially in the mute moments of the Great War. Of the bands which were conducted by the US army and their allies, the one led by James R. Europe was the most conspicuous. Europe was also famous for his self commitment to the band not only music wise but also his new dancing style. In spite of their great part in the war’s contribution, they still were sidelined. We will write a custom essay sample on Roles of the african american soldiers in world war 1 or any topic specifically for you Only $17.96 $11.86/pageorder now African American leaders had a hard time to prevent the discrimination, during the greater war and before its inception. Black soldiers were allowed into the French Army, which admired them, as Harlem Hell fighters or the 369th infantry regiment. The 369th regiment was the first African American infantry in the Great War. The Harlem Hell fighters were known not to be allocated combat training duties in France. They were instead given labor service tasks, while awaiting further duty allocation. In 1918 the unit was assigned by US as a unit in the French Army as long as the U. S was participating in WWI. After this, they continued to have their US Army outfits but were given the French army Helmets. The Harlem Hell fighters were, however, were relieved in mid 1918 and were sent to the trenches, where they served for about two months. (Critical perspectives on World War 1, Orr, 2005) During the age of imperialism of America that ran from 1898 to 1916 African American soldiers played a very great role. They went on to prove themselves later in the WWI, when the US army entered the war in 1917. The soldiers who were in both 92nd as well as 93rd divisions and who were of African descent were highly admired by the French. They even went on to earn the service cross which was bestowed a great deal of importance. Black soldiers who got wounded during the WWI were about 5,000 while those who lost their lives were around 750.

The Black Tulip A Study Guide

The Black Tulip, by Alexandre Dumas, is a work of historical fiction that mixes actual events in the Netherlands in the 17th century with fictional characters and events. The first third of the novel provides a thorough explanation of Dutch politics and culture—a stark difference from many of Dumas other works, which launch into breakneck action from the very first page. Midway through the novel, the plot adopts the fast-paced style for which Dumas is well-known, and does not let up until the very end. Fast Facts: The Black Tulip Author:  Alexandre DumasDate Published:  1850Publisher:  BaudryLiterary Genre:  AdventureLanguage:  FrenchThemes:  Innocent love, mania, faithCharacters:  Cornelius van Baerle, Isaac Boxtel, Gryphus, Rosa, William of Orange Historical Context The late 17th century was a golden age for the Netherlands, as their naval strength and economic prosperity made them a major global power. Much of this period was overseen by Grand Pensionary (a kind of Prime Minister) Johan de Witt, who skillfully navigated the political realities of the time as a champion of liberalism and republicanism, in opposition to the aristocracy, specifically William of Orange. This time period followed the so-called ‛tulip mania’ in the Netherlands, an economic bubble that saw speculation on tulip prices reach incredible highs, only to heavily damage the economy when the bubble burst. Johan de Witt neglected the army, relying on Dutch naval prowess to protect the country. After the Netherlands was invaded with little effective resistance in 1672, the country fell into a panic. De Witt and his brother were accused of treason with the French, and were sentenced to exile. Before they could flee the country, however, a violent mob seized them both and murdered them in the street in a shocking display of violence that saw no investigation or arrests. Plot Dumas begins the story with a detailed re-telling of Johan and Cornelius de Witt’s brutal murders, revealing that Johan had indeed corresponded with the French king, but that the letters had been entrusted to his godson, Cornelius van Baerle. The mob is incited and assisted by William of Orange, whose proposal to reinstate a royal office had been opposed by Johan. Cornelius is wealthy and is an avid gardener specializing in tulips. He lives next door to Isaac Boxtel, who was once a respected gardener known for his tulips, but who has descended into a jealous madness over van Baerle, who he sees as having the unfair advantage of his wealth. Boxtel has become so obsessed with Cornelius that he has neglected his own garden in favor of spying on his neighbor’s gardening activities constantly. When Cornelius unknowingly cuts off sunlight from Boxtel’s garden, Boxtel is driven nearly insane with rage. The government announces a competition to award 100,000 guilders to the gardener who can produce a flawless black tulip (a real plant that requires enormous skill and time to produce). Cornelius doesn’t care about the money, but is excited by the challenge. Boxtel, with his shaded garden, knows he now has no chance to beat Cornelius. Boxtel sees evidence of Cornelius’ involvement with de Witt due to his spying, and he has Cornelius arrested for treason. Cornelius is initially sentenced to death, but William of Orange, newly-installed as Stadhouder after de Witt’s death, commutes it to life in prison. Cornelius manages to save three cuttings from his tulips—cuttings that will almost certainly bloom into the black tulip. In prison, Cornelius is under the authority of Gryphus, a cruel and petty man. Gryphus brings his beautiful daughter Rosa to help at the prison, and she meets Cornelius. The two strike up a friendship as Cornelius offers to teach Rosa to read and write. Cornelius reveals the cuttings to Rosa and she agrees to help him grow the prize-winning tulip. Boxtel learns that Cornelius has the cuttings, and is determined to steal them and win the prize for himself while getting further revenge on Cornelius (who is unaware of Boxtel’s antipathy and has no idea who placed him in prison). Assuming a false identity, he begins sneaking into the prison in an effort to steal the cuttings. Gryphus is convinced that Cornelius is a dark magician of some sort, and is convinced that he is plotting to escape the prison and obsessed with stopping him, which allows Boxtel to pull off his plan. Cornelius and Rosa fall in love, and Cornelius entrusts his cuttings to Rosa as a symbol of his love. One of the bulbs is crushed by Gryphus, but they begin to cultivate the black tulip in prison, although Rosa punishes Cornelius at one point for loving tulips more than her. Boxtel manages to steal one of the mature tulips, and Rosa pursues him, filing a complaint and eventually enlisting the help of William of Orange, who believes her story, punishes Boxtel, and frees Cornelius from jail. Cornelius wins the competition and regains his life, marrying Rosa and starting a family. When Cornelius meets Boxtel, he does not recognize him. Major Characters Cornelius van Baerle. The godson of former Grand Pensionary Johan de Witt, Cornelius is a wealthy, apolitical man of learning and tender disposition. His main goal is the cultivation of tulips, which interests him solely as a passion. Isaac Boxtel. van Baerle’s neighbor. Boxtel lacks Cornelius’ advantages in terms of money and intellect. He was once a somewhat-respected gardener, but when Cornelius moved in next to him and began renovations that cut off the sun from his garden, he became enraged and obsessed with harming his neighbor. Gryphus. The jailer. He is a cruel and ignorant man who becomes convinced that Cornelius is a magician. Gryphus spends much of his time imagining escape plots that do not exist. Rosa. Gryphus’ daughter. She is beautiful and innocent. Uneducated, but very intelligent, Rosa is aware of her limitations and asks Cornelius to teach her how to read and write. When the black tulip is stolen, Rosa is the one who leaps into action, racing to stop Boxtel and see justice done. William of Orange. The future King of England and a Dutch aristocrat. He engineers the deaths of Johan and Cornelius de Witt because they opposed his ambitions to be Stadhouder, but later he uses his power and influence to help Cornelius at several points in the story. Dumas conflated several of William’s ancestors to create a character who is not historically accurate, possibly in order to avoid insulting the English royal family. Literary Style Direct Address. Dumas breaks the fourth wall and addresses the reader directly on several occasions, telling the reader what to expect or asking them to excuse storytelling shortcuts. At the very beginning of the novel, Dumas warns the reader that he must begin with some historical background, and while he knows the reader is anxious for the action and romance, they need to be patient. At several other points in the book, Dumas directly warns the reader that a convenient coincidence is about to occur, and justifies this by reminding them that God is watching and often takes a hand in our fate. Deus ex Machina. Dumas moves his story along with several convenient storytelling devices. The ending is more or less a deus ex machina, where William of Orange is conveniently located by Rosa and even more conveniently proves to be very willing to help. Dumas justifies this ending by explaining that God does, in fact, regularly intervene in our lives. Themes Innocent Love. The love story between Rosa and Cornelius is part of a 19th century literary tradition in which innocent young women fall in love—and typically redeem—prisoners, often helping them escape. Faith. Cornelius survives his gauntlet because he has faith, both in God and in the goodness of the world. This hope sustains him and is supported and confirmed by Rosa, whose innocence grants her a kind of perfect faith, untroubled by cynicism. Mania. The second tulip mania sparked by the contest for the black tulip grips the entire country, and spurs the events of the story. Boxtel’s mania to create a black tulip (which is fantasy as he lacked the skill even before Cornelius arrived) drives him to commit many crimes, and in the end the fact that Cornelius has managed to create a flawless black tulip is one of the main reasons he is set free. Quotes â€Å"To despise flowers is to offend God. The more beautiful the flower is, the more does one offend God in despising it. The tulip is the most beautiful of all flowers. Therefore, he who despises the tulip offends God beyond measure.†Ã¢â‚¬Å"Sometimes one has suffered enough to have the right to never say: I am too happy.†Ã¢â‚¬Å"There is nothing more galling to angry people than the coolness of those on whom they wish to vent their spleen.†Ã¢â‚¬Å"And everyone wanted to strike a blow with a hammer, a sword or a knife, everyone wanted to have his drop of blood and tear off his scrap of clothing.†Ã¢â‚¬Å"There are some catastrophes that a poor writers pen cannot describe and which he is obliged to leave to the imagination of his readers with a bald statement of the facts.† The Black Tulip Fast Facts Title: The Black TulipAuthor: Alexandre DumasDate Published: 1850Publisher: BaudryLiterary Genre: AdventureLanguage: FrenchThemes: Innocent love, mania, faith.Characters: Cornelius van Baerle, Isaac Boxtel, Gryphus, Rosa, William of Orange Sources Alice Furlaud and Special To the New York Times. â€Å"A DUTCHMANS QUEST FOR A BLACK TULIP.† The New York Times, The New York Times, 20 Mar. 1986, www.nytimes.com/1986/03/20/garden/a-dutchman-s-quest-for-a-black-tulip.html.Goldgar, Anne. â€Å"Tulip Mania: the Classic Story of a Dutch Financial Bubble Is Mostly Wrong.† The Independent, Independent Digital News and Media, 18 Feb. 2018, www.independent.co.uk/news/world/world-history/tulip-mania-the-classic-story-of-a-dutch-financial-bubble-is-mostly-wrong-a8209751.html.Reiss, Tom. â€Å"Vita: Alexandre Dumas.† Harvard Magazine, 3 Mar. 2014, harvardmagazine.com/2012/11/vita-alexandre-dumas.â€Å"THE BLACK TULIP.† Gutenberg, Project Gutenberg, www.gutenberg.org/files/965/965-h/965-h.htm.