literature

1y

<p>"Aristocracy has three successive ages, — the age of superiorities, the age of privileges, and the age of vanities; having passed out of the first, it degenerates in the second, and dies away in the third."<br>Book I, Ch. 1 : The Vallé-aux-loups</p><p>In August 1830.</p><p>François-René de Chateaubriand sacrifices his political career by refusing to swear an oath of allegiance to Louis-Philippe, and retires to write his memoirs.</p><p>Books by Chateaubriand at PG:<br><a href="https://www.gutenberg.org/ebooks/author/7255" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/7255"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/7255</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of Mémoires d'outre-tombe, Tome 1
by Chateaubriand, François-René, vicomte de, 1768-1848; Biré, Edmond, 1829-1907

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1y

<p>"Heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out into the middle of the heath on the top of Wuthering Heights; where I woke sobbing for joy."</p><p>Wuthering Heights (ed. 1858)</p><p>~Emily Brontë (30 July 1818 – 19 December 1848)</p><p>Books by Emily Brontë at PG:<br><a href="https://www.gutenberg.org/ebooks/author/405" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/405"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/405</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The only undisputed portrait of Brontë, from a group portrait by her brother Branwell, c. 1834.

The portrait is part of a larger group painting that includes her siblings, Emily, Anne, and Branwell Brontë himself. The setting is likely indoors, possibly in a domestic or studio environment reflective of their home at the Parsonage in Haworth.

Emily's expression is serene and introspective, suggesting her thoughtful nature.

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149d

<p>Well how do you do, Private William McBride?<br>Do you mind if I sit here down by your graveside?<br>And I’ll rest for a while in the warm summer sun,<br>I’ve been walking all day long, and I’m nearly done…</p><p>—Eric Bogle, “No Man’s Land”</p><p><a href="https://www.youtube.com/watch?v=PxwBg3X3gBI" rel="nofollow" class="ellipsis" title="www.youtube.com/watch?v=PxwBg3X3gBI"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/watch?v=PxwBg3</span><span class="invisible">X3gBI</span></a></p><p><a href="/tags/remembrancesunday/" rel="tag">#RemembranceSunday</a> <a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/song/" rel="tag">#song</a> <a href="/tags/ww1/" rel="tag">#WW1</a></p>

No Man’s Land (The Green Fields of France)
Eric Bogle

Well how do you do, Private William McBride?
Do you mind if I sit here down by your graveside?
And I’ll rest for a while in the warm summer sun,
I’ve been walking all day long, and I’m nearly done.
I see by your gravestone you were only nineteen
When you joined the glorious fallen in 1916,
Well, I hope you died quick, and I hope you died clean,
Or, Willie McBride, was it slow and obscene?

Did they beat the drums slowly,
Did they sound the fife lowly,
Did the rifles fire o’er ye as they lowered you down?
Did the bugles sing The Last Post in chorus?
Did the pipes play the Flowers of the Forest?

And did you leave a wife or a sweetheart behind
In some faithful heart is your memory enshrined?
And though you died back in 1916,
To that loyal heart are you always nineteen?
Or are you a stranger without even a name,
Forever enshrined behind some glass pane
In an old photograph, torn and tattered and stained,
And fading to yellow in a brown leather frame.

Did they beat the drums slowly,
Did they sound the fife lowly,
Did the rifles fire o’er ye as they lowered you down?
Did the bugles sing The Last Post in chorus?
Did the pipes play the Flowers of the Forest?

Well the sun’s shining now on these green fields of France;
The warm wind blows gently and the red poppies dance.
The trenches have vanished long under the plough
No gas and no barbed wire, no guns firing now.
But here in this graveyard it’s still No Man’s Land
The countless white crosses in mute witness stand
To man’s blind indifference to his fellow man,
And a whole generation who were butchered and damned.

Did they beat the drums slowly,
Did they sound the fife lowly,
Did the rifles fire o’er ye as they lowered you down?
Did the bugles sing The Last Post in chorus?
Did the pipes play the Flowers of the Forest?

And I can’t help but wonder, now Willie McBride,
Do all those who lie here, know why they died?
Did you really believe them when they told you the “The Cause?”
You really believed that this war would end wars?
The suffering, the sorrow, the glory, the shame,
The killing, the dying, it was all done in vain,
For Willie McBride, it all happened again,
And again, and again, and again, and again.

Did they beat the drums slowly,
Did they sound the fife lowly,
Did the rifles fire o’er ye as they lowered you down?
Did the bugles sing The Last Post in chorus?
Did the pipes play the Flowers of the Forest?

Did the bugles sing The Last Post in chorus?
Did the pipes play the Flowers of the Forest?

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148d

<p>A Fierce Devotion to the “Empress of Hell”</p><p>Medieval dramatizations of the confrontation between the Virgin Mary and King Herod offered a symbolic resistance to tyranny.</p><p>By: H.M.A. Leow </p><p><a href="https://daily.jstor.org/a-fierce-devotion-to-the-empress-of-hell/" rel="nofollow" class="ellipsis" title="daily.jstor.org/a-fierce-devotion-to-the-empress-of-hell/"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/a-fierce-devot</span><span class="invisible">ion-to-the-empress-of-hell/</span></a></p><p>Theater history at PG:<br><a href="https://www.gutenberg.org/ebooks/subjects/search/?query=theater+history" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subjects/search/?query=theater+history"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">cts/search/?query=theater+history</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

In an attempt to thwart the prophecy about Christ's rise to power, King Herod orders his soldiers to kill all the male infants under the age of two living in Bethlehem. They do this with ruthless efficiency.

Bartolo's color scheme uses naturalistic details to enhance the drama of the scene. Note the contrast between the rosy coloring of the infants who are still alive and the green pallor of those already dead.

This painting, which is beautifully preserved, was part of a monumental altarpiece commissioned for the Church of San Agostino in San Gimignano and was placed atop a large painting of the Presentation in the Temple now in the Louvre Museum, Paris.

The Massacre of the Innocents might have been executed by both Bartolo and Andrea di Bartolo (active 1389-1428), working collaboratively as a father and son team.

https://commons.wikimedia.org/wiki/File:Massacre_of_the_Innocents.jpg

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149d

<p>When you see millions of the mouthless dead<br>Across your dreams in pale battalions go,<br>Say not soft things as other men have said,<br>That you’ll remember. For you need not so…</p><p>—Charles Hamilton Sorley (1895–1915)</p><p><a href="https://www.poetryfoundation.org/poems/47427/when-you-see-millions-of-the-mouthless-dead" rel="nofollow" class="ellipsis" title="www.poetryfoundation.org/poems/47427/when-you-see-millions-of-the-mouthless-dead"><span class="invisible">https://</span><span class="ellipsis">www.poetryfoundation.org/poems</span><span class="invisible">/47427/when-you-see-millions-of-the-mouthless-dead</span></a></p><p><a href="/tags/remembrancesunday/" rel="tag">#RemembranceSunday</a> <a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/warpoetry/" rel="tag">#warpoetry</a> <a href="/tags/ww1/" rel="tag">#WW1</a></p>

“When You See Millions of the Mouthless Dead”
by Charles Hamilton Sorley

When you see millions of the mouthless dead
Across your dreams in pale battalions go,
Say not soft things as other men have said,
That you’ll remember. For you need not so.
Give them not praise. For, deaf, how should they know
It is not curses heaped on each gashed head?
Nor tears. Their blind eyes see not your tears flow.
Nor honour. It is easy to be dead.
Say only this, “They are dead.” Then add thereto,
“Yet many a better one has died before.”
Then, scanning all the o’ercrowded mass, should you
Perceive one face that you loved heretofore,
It is a spook. None wears the face you knew.
Great death has made all his for evermore.

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149d

<p>Past life, past tears, far past the grave,<br>The tryst is set for me,<br>Since, for our all, your all you gave<br>On the slopes of Picardy…</p><p>—Violet Jacob, “To A.H.J.”</p><p>Violet Jacob’s only son, Harry, was killed at the Battle of the Somme on 16 July 1916, aged 20</p><p><a href="https://www.cwgc.org/find-records/find-war-dead/casualty-details/502598/arthur-henry-augustus-jacob/" rel="nofollow" class="ellipsis" title="www.cwgc.org/find-records/find-war-dead/casualty-details/502598/arthur-henry-augustus-jacob/"><span class="invisible">https://</span><span class="ellipsis">www.cwgc.org/find-records/find</span><span class="invisible">-war-dead/casualty-details/502598/arthur-henry-augustus-jacob/</span></a></p><p><a href="/tags/remembrancesunday/" rel="tag">#RemembranceSunday</a> <a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/warpoetry/" rel="tag">#warpoetry</a> <a href="/tags/ww1/" rel="tag">#WW1</a></p>

Violet Jacob
“To A.H.J.”

Past life, past tears, far past the grave,‍‍
‍‍‍‍The tryst is set for me,
Since, for our all, your all you gave‍‍
‍‍‍‍On the slopes of Picardy.

On Angus, in the autumn nights,‍‍
‍‍‍‍The ice-green light shall lie.
Beyond the trees the Northern Lights‍‍
‍‍‍‍Slant on the belts of sky.

But miles on miles from Scottish soil‍‍
‍‍‍‍You sleep, past war and scaith,
Your country’s freedman, loosed from toil.‍‍
‍‍‍‍In honour and in faith.

For Angus held you in her spell,
‍‍‍‍Her Grampians, faint and blue,
Her ways, the speech you knew so well,
‍‍‍‍Were half the world to you.

Yet rest, my son; our souls are those‍‍
‍‍‍‍Nor time nor death can part,
And lie you proudly, folded close‍‍
‍‍‍‍To France’s deathless heart.

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1y

<p>"It Shouldn't Be Printed At All. It Should Be Burnt" — 23 Books Writers Regret Writing<br>The author of 'Little Women' wrote in her journal that she "never liked girls or knew many."</p><p>by Amy Glover via ⁦<span class="h-card"><a href="https://mastodon.social/@buzzfeed" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>buzzfeed</span></a></span></p><p><a href="https://www.buzzfeed.com/aglover/books-writers-regret-writing" rel="nofollow" class="ellipsis" title="www.buzzfeed.com/aglover/books-writers-regret-writing"><span class="invisible">https://</span><span class="ellipsis">www.buzzfeed.com/aglover/books</span><span class="invisible">-writers-regret-writing</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Louisa May Alcott wrote that she "Never liked girls or knew many except my sisters" in her diary when asked to write Little Women.

Bettmann / Bettmann Archive / Penguin Clothbound Classics

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149d

<p>Chan fhaca mi Lannes aig Ratasbon<br>no MacGillFhinnein aig Allt Èire<br>no Gill-Ìosa aig Cùil Lodair,<br>ach chunnaic mi Sasannach san Èipheit.</p><p>(I did not see Lannes at Ratisbon<br>nor MacLennan at Auldearn<br>nor Gillies MacBain at Culloden,<br>but I saw an Englishman in Egypt.)</p><p>—Somhairle MacGill-Eain (Sorley MacLean), “Curaidhean” (“Heroes”)</p><p>Sorley MacLean was severely wounded at El Alamein, 1942</p><p><a href="/tags/remembrancesunday/" rel="tag">#RemembranceSunday</a> <a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/gaelic/" rel="tag">#Gaelic</a> <a href="/tags/gaidhlig/" rel="tag">#Gaidhlig</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/warpoetry/" rel="tag">#warpoetry</a> <a href="/tags/ww2/" rel="tag">#WW2</a></p>

Curaidhean
Somhairle MacGill-Eain

Chan fhaca mi Lannes aig Ratasbon
no MacGillFhinnein aig Allt Èire
no Gill-Ìosa aig Cùil Lodair,
ach chunnaic mi Sasannach san Èipheit.

Fear beag truagh le gruaidhean pluiceach
is glùinean a’ bleith a chèile,
aodann guireanach gun tlachd ann –
còmhdach an spioraid bu trèine.

Cha robh buaidh air ‘san taigh-òsta
’n àm nan dòrn a bhith gan dùnadh’,
ach leòmhann e ri uchd a’ chatha,
anns na frasan guineach mùgach.

Thàinig uair-san leis na sligean,
leis na spealgan-iarainn beàrnach,
anns an toit is anns an lasair,
ann an crith is maoim na h-àraich.

Thàinig fios dha san fhrois pheilear
e bhith gu spreigearra ’na dhiùlnach:
is b’ e sin e fhad ’s a mhair e,
ach cha b’ fhada fhuair e dh’ùine.

Chùm e ghunnachan ris na tancan,
a ’ bocail le sgreuch shracaidh stàirnich
gus an d’ fhuair e fhèin mun stamaig
an deannal ud a chuir ri làr e,
beul sìos an gainmhich ’s an greabhal,
gun diog o ghuth caol grànda.

Cha do chuireadh crois no meadal
ri uchd no ainm no g’ a chàirdean:
cha robh a bheag dhe fhòirne maireann,
’s nan robh cha bhiodh am facal làidir;
’s co-dhiù, ma sheasas ursann-chatha,
leagar mòran air a shàillibh
gun dùil ri cliù, nach iarr am meadal
no cop sam bith à beul na h-àraich.

Chunnaic mi gaisgeach mòr à Sasainn,
fearachan bochd nach laigheadh sùil air;
cha b’ Alasdair à Gleanna Garadh –
is thug e gal beag air mo shùilean.

Heroes
Translator: Sorley MacLean

I did not see Lannes at Ratisbon
nor MacLennan at Auldearn
nor Gillies MacBain at Culloden,
but I saw an Englishman in Egypt.

A poor little chap with chubby cheeks
and knees grinding each other,
pimply unattractive face –
garment of the bravest spirit.

He was not a hit ‘in the pub
in the time of the fists being closed,’
but a lion against the breast of battle,
in the morose wounding showers.

His hour came with the shells,
with the notched iron splinters,
in the smoke and flame,
in the shaking and terror of the battlefield.

Word came to him in the bullet shower
that he should be a hero briskly,
and he was that while he lasted,
but it wasn’t much time he got.

He kept his guns to the tanks,
bucking with tearing crashing screech,
until he himself got, about the stomach,
that biff that put him to the ground,
mouth down in sand and gravel,
without a chirp from his ugly high-pitched voice.

No cross or medal was put to his
chest or to his name or to his family;
there were not many of his troop alive,
and if there were their word would not be strong.
And at any rate, if a battle post stands,
many are knocked down because of him,
not expecting fame, not wanting a medal
or any froth from the mouth of the field of slaughter.

I saw a great warrior of England,
a poor manikin on whom no eye would rest;
no Alasdair of Glen Garry;
and he took a little weeping to my eyes.

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148d

<p>Call for Papers<br>Regional Perspectives, Planetary Reach: Themes, Genres, Forms of Narration in Contemporary Irish & Scottish Fiction<br>28–29 May 2026, Università di Naploli L’Orientale, Italy</p><p>The European Anglophone literary scene has seen a growing prominence of Scottish & Irish fiction. This conference will look at the latest trends in fiction, poetry, drama, film, TV, digital media, & critical theory</p><p>@litstudies </p><p><a href="https://sites.google.com/view/irsconference/home-page" rel="nofollow" class="ellipsis" title="sites.google.com/view/irsconference/home-page"><span class="invisible">https://</span><span class="ellipsis">sites.google.com/view/irsconfe</span><span class="invisible">rence/home-page</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/irish/" rel="tag">#Irish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/callforpapers/" rel="tag">#CallForPapers</a></p>

Edited 148d ago

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1y

<p>German poet Sibylla Schwarz died <a href="/tags/otd/" rel="tag">#OTD</a> in 1638.</p><p>Her verse reflects the difficult times in the middle of the Thirty Years' War, of which she saw neither the beginning nor the end. Her verse was published posthumously in 1650 by her teacher Samuel Gerlach under the title Deutsche Poëtische Gedichte in two parts containing over 100 poems. She was famous as the "Pomeranian Sappho", but her work fell into oblivion in the 18th century. </p><p><a href="https://en.wikipedia.org/wiki/Sibylla_Schwarz" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Sibylla_Schwarz"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Sibylla_</span><span class="invisible">Schwarz</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Sibylla Schwarz (1621–1638), image from Deutsche Poëtische Gedichte. 1650

Sibÿllen Schwarzin German Poëtic Poems (title page, 1650).

Sibyllen Schwarzin/ Vohn Greiffswald aus Pommern/ Deutsche Poëtische Gedichte/ Nuhn Zum ersten mahl/ auß ihren eignen Handschrifften/ herauß gegeben und verleget Durch M. Samuel Gerlach/ auß dem Herzogtuhm Würtemberg. und in Dantzig Gedrukt/ bey seel. Georg Rheten Witwen/ im M.DC.L. Jahr.

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195d

<p>Today's POTD ©️ me</p><p>MESSIAH</p><p>So Jesus <br>ministered to <br>the dregs of society. <br>In His name a religion <br>was raised. <br>Messiahs </p><p>have <br>been seen <br>and are awaited by<br>Christian Jewish and <br>Arab believers. <br>Millions </p><p>upon <br>millions of <br>them. Irony: The <br>Messiah will <br>go </p><p>unrecognized. </p><p>cuz </p><p>the Messiah <br>will be dirty, poor, <br>bedraggled, sometimes <br>even bloodied. That's </p><p>just </p><p>how it is, <br>ministering <br>at the edges to </p><p>dregs</p><p><a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/religion/" rel="tag">#religion</a></p>

Edited 194d ago

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149d

<p>He lacks the ordnance of words.<br>A self-portrait shows<br>stitches where his mouth should be;<br>eyes like empty casings.<br>He left a part of himself in the desert,<br>this ultra-Marine…</p><p>—Sandra Ireland, “Ultramarine”<br>published in New Writing Scotland 36 (2018)</p><p><a href="/tags/remembrancesunday/" rel="tag">#RemembranceSunday</a> <a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/trauma/" rel="tag">#trauma</a></p>

Sandra Ireland
Ultramarine

Trauma can affect the non-verbal
part of the brain. Art can free feelings of loss
and grief and pain from the subconscious,
aiding vocalisation.

He lacks the ordnance of words.
A self-portrait shows
stitches where his mouth should be;
eyes like empty casings.
He left a part of himself
in the desert,
this ultra-Marine,
the part which glows
Tyrian Purple.

Now he is bone black inside;
loaded with dark pigment;
aggregates
to be ground down and
made smooth with linseed words.
Time heals.
Give yourself time.

Time is just a jumbled mix
on his palette;
there was a lot of ochre out there,
and green earth and
sometimes, now he’s home,
he feels the trickle
of warm vermilion
seeping into
his boots.

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1y

<p>"I am no bird, and no net ensnares me,..."</p><p>Between 7-24 August 1847.</p><p>Charlotte Brontë completes Jane Eyre at Haworth and sends the manuscript to her publisher, who has rejected The Professor.</p><p>It was published under her pen name "Currer Bell" on 19 October 1847 by Smith, Elder & Co. of London. The first American edition was published the following year by Harper & Brothers of New York.</p><p><a href="https://en.wikipedia.org/wiki/Jane_Eyre" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Jane_Eyre"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Jane_Eyr</span><span class="invisible">e</span></a></p><p>Jane Eyre at PG:<br><a href="https://gutenberg.org/ebooks/1260" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/1260</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

"I am no bird, and no net ensnares me," declares Jane in this manuscript copy of Jane Eyre in Brontë's handwriting. The British Library Board

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148d

<p>Ravens are kekklin’ prophecies o’ woe,<br>Pyots in black an’ white spiel superstitions,<br>The rooks mak’ bedlam i’ the elms below,<br>An’ saft-winged hoolets plan their midnicht missions…</p><p>—Helen Cruickshank, “Corstorphine Woods”<br>pulished in A KIST O SKINKLAN THINGS (ASL, 2017)</p><p><a href="https://asls.org.uk/publications/books/volumes/a-kist-o-skinlan-things/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/volumes/a-kist-o-skinlan-things/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/volumes/a-kist-o-skinlan-things/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/naturewriting/" rel="tag">#naturewriting</a></p>

Helen Cruickshank
Corstorphine Woods

Ravens are kekklin’ prophecies o’ woe,
Pyots in black an’ white spiel superstitions,
The rooks mak’ bedlam i’ the elms below,
An’ saft-winged hoolets plan their midnicht missions.

Amang the haws an’ brambles whinchats clink,
The blue-tits flit amang their ferny covers,
The greedy gulls ahint the ploo-tail sink,
An’ hidden cushats croodle low like lovers.

Heich i’ the frosty air, uneirdly cries
Tell that a gaggle o’ wild geese are flightin’—
Luik! there they are against the parchment skies,
Like movin’ brush o’ ancient Chinese writin’.

Near hame, the ruif-heid raws o’ stirlins haud
Their evenin’ guild o’ scandal and o’ chatter,
And sparrows, randy gossips, rogue or jaud,
Scavenge their hindmost crumb wi’ fuss an’ clatter.

And, as I roond the corner, best of a’,
The mavis, singing on my gavel wa’—
Happy am I, altho’ I bide my lane,
To ha’e a singin’ hert that’s a’ my ain.

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148d

<p>Did Odysseus Really Travel All Around the Mediterranean?</p><p>"The traditional view of the Odyssey is that Odysseus traveled all over the Mediterranean. Is that really what Homer described?"</p><p><a href="https://www.thecollector.com/odysseus-travels-mediterranean/" rel="nofollow" class="ellipsis" title="www.thecollector.com/odysseus-travels-mediterranean/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/odysseus-</span><span class="invisible">travels-mediterranean/</span></a></p><p>The Odyssey at PG:</p><p><a href="https://www.gutenberg.org/ebooks/1727" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/1727</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

" ODYSSEUS LOOKED DOWN AT THE WOODS AND THE SEA." - picryl.com

Edited 148d ago

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1y

<p>British writer George Griffith was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1857.</p><p>He was active mainly in the science fiction genre—or as it was known at the time, scientific romance—in particular writing many future-war stories and playing a significant role in shaping that emerging subgenre. He was a contemporary of H.G. Wells and Jules Verne, and his works contributed to the development of the science fiction genre.</p><p><a href="https://en.wikipedia.org/wiki/George_Griffith" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/George_Griffith"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/George_G</span><span class="invisible">riffith</span></a></p><p>Books by George Griffith at PG:<br><a href="https://www.gutenberg.org/ebooks/author/8557" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/8557"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/8557</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Griffith pictured on the frontispiece of his book In an Unknown Prison Land (1901)

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149d

<p>Ethnomusicologist, photographer, folklorist, & scholar Margaret Fay Shaw (1903–2004) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 9 Nov. She gave up a privileged upbringing & classical music training in 1920s New York to help build the first proper archive of traditional Hebridean song & folklore</p><p><a href="https://www.bbc.co.uk/programmes/m000rmks" rel="nofollow" class="ellipsis" title="www.bbc.co.uk/programmes/m000rmks"><span class="invisible">https://</span><span class="ellipsis">www.bbc.co.uk/programmes/m000r</span><span class="invisible">mks</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/music/" rel="tag">#music</a> <a href="/tags/song/" rel="tag">#song</a> <a href="/tags/folklore/" rel="tag">#folklore</a> <a href="/tags/hebrides/" rel="tag">#Hebrides</a> <a href="/tags/gaelic/" rel="tag">#Gaelic</a> <a href="/tags/gaidhlig/" rel="tag">#Gaidhlig</a> <a href="/tags/ethnology/" rel="tag">#ethnology</a> <a href="/tags/photography/" rel="tag">#photography</a></p>

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1y

<p>British writer and soldier Sapper died <a href="/tags/otd/" rel="tag">#OTD</a> in 1937.</p><p>"Sapper" was the pen name of Herman Cyril McNeile, known primarily for his popular series of adventure novels featuring the character Bulldog Drummond. He began his writing career by contributing stories to magazines and newspapers while still in the army. After the war, he adopted the pseudonym "Sapper," derived from his service in the Royal Engineers. </p><p><a href="https://en.wikipedia.org/wiki/H._C._McNeile" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/H._C._McNeile"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/H._C._Mc</span><span class="invisible">Neile</span></a></p><p>H.C. McNeile at PG:<br><a href="https://www.gutenberg.org/ebooks/author/26827" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/26827"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/26827</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

McNeile, 1930s Portrait by Howard Coster.

The 1930s portrait of Herman Cyril McNeile, better known by his pen name "Sapper," was taken by renowned photographer Howard Coster. In the portrait, McNeile is presented in a formal and composed manner, reflecting the dignified style of the era. He is typically depicted wearing a suit, possibly with a tie, indicative of his professional stature as a popular British writer. The lighting and composition are characteristic of Coster's style, focusing on the subject's facial features and expression to convey depth and character. The backdrop is minimalistic, drawing attention to McNeile's presence and his thoughtful gaze, embodying the persona of a respected and influential literary figure of his time.

First US edition cover of No Man's Land, published in the US in 1917.

The first U.S. edition cover of "No Man's Land," published in 1917, features a design typical of early 20th-century wartime literature. The cover likely displays the book's title prominently at the top, with the author's name, Sapper (H.C. McNeile), positioned below or above the title. The artwork might include a somber or dramatic depiction of a battlefield or soldiers, resonating with the themes of the Great War. The colors used are generally muted, reflecting the grim and serious nature of the content, with emphasis on earthy tones like browns, grays, or dark greens. The overall design conveys the gravity and intensity of the wartime experience depicted within the book.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1857</p><p>Performances of Wilkie Collins' drama The Frozen Deep at the Free Trade Hall for the benefit of the widow of writer Douglas W. Jerrold, during which Charles Dickens, becomes infatuated with the professional actress Ellen Ternan.</p><p>Dickens's hand was so prominent—beside acting in the play for several performances, he added a preface, altered lines, & attended to most of the props and sets.</p><p><a href="https://en.wikipedia.org/wiki/The_Frozen_Deep" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Frozen_Deep"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Froz</span><span class="invisible">en_Deep</span></a></p><p>The Frozen Deep at PG:<br><a href="https://www.gutenberg.org/ebooks/1625" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/1625</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of play "The Frozen Deep" by Wilkie Collins & Charles Dickens.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1939.</p><p>The Wizard of Oz premieres at Grauman's Chinese Theater in Los Angeles, California.</p><p>It stars Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billie Burke and Margaret Hamilton. Noel Langley, Florence Ryerson and Edgar Allan Woolf received credit for the screenplay, while others made uncredited contributions.</p><p><a href="https://en.wikipedia.org/wiki/The_Wizard_of_Oz" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Wizard_of_Oz"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Wiza</span><span class="invisible">rd_of_Oz</span></a></p><p>The Wonderful Wizard of Oz by L. Frank Baum at PG:<br><a href="https://www.gutenberg.org/ebooks/55" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/55</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/movies/" rel="tag">#movies</a></p>

Wizard of OZ movie poster.

The movie poster for "The Wizard of Oz" (1939) is a vibrant and iconic piece of film memorabilia. The poster typically features the main characters—Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion—walking down the Yellow Brick Road towards the distant, glowing Emerald City. Dorothy, often depicted in her blue gingham dress and red ruby slippers, is at the forefront, holding Toto, her small black dog. The background showcases a fantastical landscape with bright, lush colors, underscoring the movie's transition from black and white to Technicolor. The title, "The Wizard of Oz," is prominently displayed, often in bold, stylized lettering. Additionally, the poster may include the names of the film's stars, such as Judy Garland, and the tagline emphasizing the wonder and adventure of the movie. The overall design captures the magical and timeless essence of this beloved classic.

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1y

<p>French scholar, translator, commentator and editor of the classics Anne Dacier died <a href="/tags/otd/" rel="tag">#OTD</a> in 1730.</p><p>She is best known for her translations of classical works from Greek and Latin into French. Anne Dacier's most famous works include her translations of Homer's "Iliad" and "Odyssey". In addition to Homer, Dacier also translated works by other classical authors, such as Terence and Aristophanes, and wrote commentaries and essays on classical literature. </p><p><a href="https://en.wikipedia.org/wiki/Anne_Dacier" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Anne_Dacier"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Anne_Dac</span><span class="invisible">ier</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait dit d'Anne Dacier, peint sur porcelaine par Marie-Victoire Jaquotot. L'identité du modèle n'est pas certaine, non plus que l'auteur de l'oeuvre originale qui a été longtemps attribuée à Roger de Piles mais qui, selon la fiche d'inventaire du Louvre, serait plus probablement par François de Troy.

Voir Portrait d'une inconnue, sur collections.louvre.fr. Numéro dans la base Joconde : 50350214524.

In the portrait, Anne Dacier is presented with an air of intellectual grace. She is shown wearing attire typical of the late 17th or early 18th century, with a modest, elegant dress. Her expression is composed and thoughtful, befitting her reputation as a learned woman of letters. The porcelain medium gives the portrait a smooth, refined finish, with Jaquotot's skillful brushwork emphasizing the delicate features of Dacier's face.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1918.</p><p>The poets Wilfred Owen and Siegfried Sassoon meet for the last time, in London, and spend what Sassoon will recall as "the whole of a hot cloudless afternoon together."</p><p><a href="https://en.wikipedia.org/wiki/Wilfred_Owen#Relationship_with_Sassoon" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Wilfred_Owen#Relationship_with_Sassoon"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Wilfred_</span><span class="invisible">Owen#Relationship_with_Sassoon</span></a></p><p>Books by Wilfred Owen at PG:<br><a href="https://www.gutenberg.org/ebooks/author/517" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/517"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/517</span></a></p><p>Books by Siegfried Sassoon at PG:<br><a href="https://www.gutenberg.org/ebooks/author/2934" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2934"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2934</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of Wilfred Owen, found in a collection of his poems from 1920.

Owen is depicted with a serious, introspective expression, reflecting the weight of his experiences during World War I. The portrait, likely a photograph or an engraving, shows him in military uniform, which serves as a poignant reminder of his service and the subject matter of his poetry. His eyes are intense, perhaps hinting at the trauma and disillusionment that characterized his work.

Siegfried Loraine Sassoon (1886-1967), poet and novelist, platinum print, wearing military uniform with the collar badges of the Royal Welsh Fusiliers and hat, Beresford's stamp and copyright line on verso, 6 x 4½ in (15.2 x 11.5 cm).

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1y

<p>English author and bookseller Christopher Robin Milne was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1920.</p><p>He was the only child of author A. A. Milne. As a child, he was the basis of the character Christopher Robin in his father's Winnie-the-Pooh stories and in two books of poems.</p><p><a href="https://en.wikipedia.org/wiki/Christopher_Robin_Milne" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Christopher_Robin_Milne"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Christop</span><span class="invisible">her_Robin_Milne</span></a></p><p>Watch our video about Winnie-the-Pooh:<br><a href="https://www.youtube.com/watch?v=zWZxwuam5Iw&t=155s" rel="nofollow" class="ellipsis" title="www.youtube.com/watch?v=zWZxwuam5Iw&t=155s"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/watch?v=zWZxwu</span><span class="invisible">am5Iw&t=155s</span></a></p><p>Winnie-the-Pooh by A. A. Milne is available at PG:<br><a href="https://www.gutenberg.org/ebooks/67098" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/67098</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

A. A. Milne, with his son Christopher Robin and the original Pooh Bear, photographed in the year that Winnie-the-Pooh was first published.

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116d

<p>Jane Austen’s ‘Pride and Prejudice’ Was Initially Rejected by a Publisher. It Later Became One of the World’s Most Beloved Novels</p><p>The British author wrote six novels, but it’s her second published book that has resonated the most in the 250 years since her birth in 1775</p><p>by Kayla Randall </p><p><a href="https://www.smithsonianmag.com/history/jane-austens-pride-and-prejudice-was-initially-rejected-by-a-publisher-it-later-became-one-of-the-worlds-most-beloved-novels-180987807/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550" rel="nofollow" class="ellipsis" title="www.smithsonianmag.com/history/jane-austens-pride-and-prejudice-was-initially-rejected-by-a-publisher-it-later-became-one-of-the-worlds-most-beloved-novels-180987807/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550"><span class="invisible">https://</span><span class="ellipsis">www.smithsonianmag.com/history</span><span class="invisible">/jane-austens-pride-and-prejudice-was-initially-rejected-by-a-publisher-it-later-became-one-of-the-worlds-most-beloved-novels-180987807/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550</span></a></p><p>Pride and Prejudice at PG:<br><a href="https://www.gutenberg.org/ebooks/1342" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/1342</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

A card of C. E. Brock's illustrations of Jane Austen's Novel Pride and Prejudice, (some possibly touched up by his brother) - c. 1885

A collection card of delicate pen-and-ink illustrations by C.E. Brock (with possible contributions by his brother) depicting scenes from Jane Austen's "Pride and Prejudice," circa 1885. The vintage illustrations showcase Regency-era characters in period costume, capturing key moments from the beloved novel in Brock's characteristic refined Victorian illustrative style.

https://en.wikipedia.org/wiki/Pride_and_Prejudice#/media/File:Scenes_from_Pride_and_Prejudice.png

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1920.</p><p>The Salzburg Festival in Austria is inaugurated with a performance of Hugo von Hofmannsthal's play Jedermann (Everyman, 1911) in front of Salzburg Cathedral, directed by Max Reinhardt.</p><p><a href="https://en.wikipedia.org/wiki/Jedermann_(play)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Jedermann_(play)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Jederman</span><span class="invisible">n_(play)</span></a></p><p><a href="https://en.wikipedia.org/wiki/Salzburg_Festival" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Salzburg_Festival"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Salzburg</span><span class="invisible">_Festival</span></a></p><p>Jedermann: Das Spiel vom Sterben des reichen Mannes by Hugo von Hofmannsthal at PG:<br><a href="https://www.gutenberg.org/ebooks/28949" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/28949</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

Alexander Moissi in Jedermann

https://archive.org/details/reinhardtundsein00steruoft/page/148/mode/1up?view=theater

The photograph of Alexander Moissi in the play Jedermann by Hugo von Hofmannsthal captures the actor in one of his most iconic roles. Moissi, known for his intense and expressive performances, is depicted wearing a rich, elaborate costume that befits the play's allegorical nature.

Moissi's pose and expression in the photograph likely convey the gravity and existential dread central to the play, which deals with themes of death and salvation. His face may be marked by a profound, almost tragic intensity, capturing the emotional depth for which he was renowned. The background of the image is likely minimal, focusing all attention on Moissi, his costume, and his compelling stage presence.

Edited 1y ago

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