The Language Log — well, Mark Liberman — tradition of recognizing international Talk Like a Pirate Day (19 September) by posting the Corsair Ergonomic Keyboard for Pirates along with digressions into other matters piratical came to a end in 2008, in a posting with links to earlier celebrations:
In TLAPD posts from earlier years, you can find instructions for the more difficult task of talking (as opposed to typing) like a pirate; the history of piratical r-fulness; and other goodies: 2003, 2004, 2005, 2006, 2007.
There's actually some serious historical linguistics (and cultural history) involved here, as discussed in "R!?", 9/19/2005, and "Pirate R as in I-R-ELAND", 9/20/2006. And even a bit of mathematical linguistics.
This year I have a reason for returning to the pirate ship (though I'm a bit late in getting around to it): the delightful children's book Seadogs: An Epic Ocean Operetta ("composed by Lisa Wheeler, staged by Mark Siegel" and published in 2004 in hardback, in 2006 by Aladdin Paperbacks), which is at the moment my grand-daughter Opal's very favorite book in the whole world.
I've posted on my personal blog about Opal's introduction (at the age of 6) to the world of grownup performances: a San Jose theatre company's performance of The Mikado and the movie of The Three Musketeers with Kiefer Sutherland et al. Since then Opal's seen the film version of the fabulous Julie Taymor production of The Magic Flute at the Metropolitan Opera (in English, the film version abridged with kids in mind) and the Errol Flynn Adventures of Robin Hood. Opal liked the Mozart a lot — she pronounced it almost as good as The Mikado — and of course adored Robin Hood (with the same enjoyment I experienced when I first saw the movie, when I was about her age). The near future will bring the Michael York et al. Three Musketeers (which her mother and I take to be the best of all the versions around). Maybe the Mickey Rooney et al. Midsummer Night's Dream. And certainly The Pirates of Penzance (in the Kevin Kline, Linda Ronstadt, et al. film version that doesn't suit true Savoyards but is nevertheless immensely enjoyable), which we think will please Opal, given her enthusiasm for Seadogs.
The cover of Seadogs, copped from Amazon.com:
Seadogs in this case is entirely literal. Yes, it's an pirate operetta — though the book has only the libretto, without a musical setting for the songs, so Opal gets to make up the tunes herself — done entirely with dogs (true, Opal has been dog-oriented from early childhood, but this book could have been written expressly for her — and the Brave Beagle character is female). The publisher's summary:
A motley crew of dogs presents a rhyming tale of seagoing adventure, illustrated as if it were a stage play.
The Good Dogs are Old Seadog, Brave Beagle, her male partner Dear Dachshund, and Pup the stowaway. Then there's the Pirate King, Captain Jacques Fifi (the Terrier of the Sea), and his Mongrel Horde. (There's plenty of wordplay in there to delight adults involved in reading the book. And to lead to associations like Walt Kelly's Little Arf 'n Nonnie.) It's not nearly as silly as The Pirates of Penzance, but then, what is? (We've gotten around to plotting how to introduce the concept of leap year to Opal before she watches Pirates.)
The Pirate King talks, of course, like a pirate — but a dog pirate. So in his first song, he says to the pirate Rotty Bing:
'tis hard to be feeding this horde.
'tis many a bone buried there.
I don't think there's a Corsair Ergonomic Keyboard for Canine Pirates.