literature

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1895.</p><p>The première of Oscar Wilde's comedy An Ideal Husband takes place at the Haymarket Theatre in London. In April, on the last day of the Haymarket run, Wilde was arrested for gross indecency; his name was removed from the playbills and programmes when the production transferred to the Criterion Theatre, where it ran for a further 13 performances, from 13 to 27 April.</p><p><a href="https://en.wikipedia.org/wiki/An_Ideal_Husband" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/An_Ideal_Husband"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/An_Ideal</span><span class="invisible">_Husband</span></a></p><p>An Ideal Husband at PG:<br><a href="https://gutenberg.org/ebooks/885" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/885</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>

Act II: Mrs Cheveley, centre, denounces Sir Robert Chiltern to his wife, 1895 premiere

Henry Wright (artist) - Illustrated London News, p. 44

"Mr. Oscar Wilde's New Play, 'An Ideal Husband', at the Haymarket Theatre": Mrs Chevely accuses Sir Robert

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1904.</p><p>The first of Virginia Woolf's published writings, "Haworth, November 1904", an account of a visit to the Brontë family home, appears anonymously in a women's supplement to a clerical journal, The Guardian. (A book review written later has appeared in the same journal a week earlier.)</p><p><a href="https://en.wikipedia.org/wiki/Haworth" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Haworth</a></p><p>Books by Virginia Woolf at PG:<br><a href="https://www.gutenberg.org/ebooks/author/89" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/89"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/89</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

This is the draft of the essay, which appeared in The Guardian in December 1904. Woolf opens by briefly questioning the legitimacy of literary tourism, and decides that her visit to Haworth is acceptable because it added to her understanding of the Brontës’ books. After walking the West Yorkshire moors in the bleak November weather and spending time in the family’s home and church, Woolf concludes that “however harsh the struggle, Emily, and Charlotte above all, fought to victory.” via @NYPL

https://www.nypl.org/events/exhibitions/galleries/section-1-early-years/item/13112#:~:text=%E2%80%9CHaworth%3A%20November%2C%201904%E2%80%9C%20essay%20draft&text=Woolf's%20first%20published%20essay%20is,The%20Guardian%20in%20December%201904.

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<p>"There can be no freedom or beauty about a home life that depends on borrowing and debt."<br>Torvald Helmer, Act I</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1879.</p><p>The first production of Henrik Ibsen's controversial "modern drama" A Doll's House takes place at the Royal Danish Theatre in Copenhagen, after publication there on December 4.</p><p><a href="https://en.wikipedia.org/wiki/A_Doll%27s_House" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/A_Doll%27s_House"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/A_Doll%2</span><span class="invisible">7s_House</span></a></p><p>A Doll's House at PG:<br><a href="https://gutenberg.org/ebooks/2542" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2542</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>

Adeleide Johannessen in character as Nora, from a cigarette card of c. 1880 – c. 1882.

Adeleide Johannessen is captured mid-action, holding a tambourine in her raised hand, evoking an energetic or defiant moment from her performance as Nora.

Her body language is dynamic, and her intense facial expression reflects the emotional depth and complexity of Nora's character, perhaps hinting at her journey of self-discovery and rebellion.

Johannessen wears a full-length Victorian-era dress, with detailed pleating, fitted bodice, and layered skirts that cinch at the waist with a decorative belt.

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<p>English author Agatha Christie died <a href="/tags/otd/" rel="tag">#OTD</a> in 1976.</p><p>She is best known for her 66 detective novels and 14 short story collections, particularly those revolving around fictional detectives Hercule Poirot and Miss Marple. She also wrote the world's longest-running play, the murder mystery The Mousetrap.</p><p>Watch our podcast about The Big Four:<br><a href="https://www.youtube.com/watch?v=MoKUX5a7T0Y&t=74s" rel="nofollow" class="ellipsis" title="www.youtube.com/watch?v=MoKUX5a7T0Y&t=74s"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/watch?v=MoKUX5</span><span class="invisible">a7T0Y&t=74s</span></a></p><p>Books by Agatha Chrissie at PG:<br><a href="https://www.gutenberg.org/ebooks/author/451" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/451"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/451</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Christie as a young woman, 1910s

Unknown author - The Christie Archive Trust

The photo typically depicts her as poised and elegant, reflecting the fashion and sensibilities of the Edwardian era transitioning into the 1910s.

Christie often appears with a gentle, confident expression, her hair styled in soft waves or an updo common at the time.

Her attire would likely consist of a high-collared blouse or dress, possibly adorned with lace, reflecting the refined yet understated elegance of the era.

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<p>The Remarkable Life of Charles Dickens: Hard Times & Great Expectations</p><p>One of the greatest writers of English literary history, Charles Dickens’ rags-to-riches story is as incredible as any of his greatest works of fiction.</p><p>By Catherine Dent</p><p><a href="https://www.thecollector.com/charles-dickens-remarkable-life/" rel="nofollow" class="ellipsis" title="www.thecollector.com/charles-dickens-remarkable-life/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/charles-d</span><span class="invisible">ickens-remarkable-life/</span></a></p><p>Books by Charles Dickens at PG:<br><a href="https://www.gutenberg.org/ebooks/author/37" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/37"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/37</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of Charles Dickens by Jeremiah Gurney, c. 1867–1868.

Dickens appears older, with his characteristic beard and somewhat tired expression, reflecting the toll of his demanding career and failing health.

The portrait is a waist-length photograph, focusing on Dickens’s face and upper torso.

He is dressed formally in a dark suit with a vest and a neatly tied cravat, typical of Victorian fashion, emphasizing his status as a literary and public figure.

Dickens's expression is serious and introspective, with his gaze directed slightly away from the camera. This contemplative look may suggest his reflective nature during this period of his life.

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<p>3 philosophy classics that are better than self-help books</p><p>Self-help often distills philosophical ideas for the modern ear. Sometimes, its better to go back to the source.</p><p>By Jonny Thomson</p><p><a href="https://bigthink.com/thinking/3-philosophy-classics-that-are-better-than-self-help-books/" rel="nofollow" class="ellipsis" title="bigthink.com/thinking/3-philosophy-classics-that-are-better-than-self-help-books/"><span class="invisible">https://</span><span class="ellipsis">bigthink.com/thinking/3-philos</span><span class="invisible">ophy-classics-that-are-better-than-self-help-books/</span></a></p><p>The 3 philosophy classics are available at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=Nicomachean+Ethics&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Nicomachean+Ethics&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Nicomachean+Ethics&submit_search=Search</span></a><br><a href="https://www.gutenberg.org/ebooks/3600" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/3600</a><br><a href="https://www.gutenberg.org/ebooks/49965" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/49965</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/philosophy/" rel="tag">#philosophy</a></p>

First page of a 1566 edition of the Aristotolic Ethics in Greek and Latin

https://www.gutenberg.org/ebooks/search/?query=Nicomachean+Ethics&submit_search=Search

Title page of the Essais with notes

Michel de Montaigne († 1592) -

https://www.gutenberg.org/ebooks/3600

A part of a Taoist manuscript, ink on silk, 2nd century BCE, Han Dynasty, unearthed from Mawangdui tomb 3rd, Chansha, Hunan Province, China. Hunan Province Museum.

Unknown author - Mawangdui Silk Manuscript Volume First, Wen Wu Publishing, Beijing, China, 1980-03

https://www.gutenberg.org/ebooks/49965

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1872.</p><p>Jules Verne's novel Around the World in Eighty Days (Le Tour du monde en quatre-vingts jours) finishes serialisation (since November 2) in the daily Le Temps, the day after the concluding date of the narrative. The story was published in installments over the next 45 days, with its ending timed to synchronize Fogg's December 21 deadline with the real world. </p><p><a href="https://en.wikipedia.org/wiki/Around_the_World_in_Eighty_Days" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Around_the_World_in_Eighty_Days"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Around_t</span><span class="invisible">he_World_in_Eighty_Days</span></a></p><p>Around the World in Eighty Days at PG:<br><a href="https://gutenberg.org/ebooks/search/?query=le+tour+du+monde&submit_search=Go%21" rel="nofollow" class="ellipsis" title="gutenberg.org/ebooks/search/?query=le+tour+du+monde&submit_search=Go%21"><span class="invisible">https://</span><span class="ellipsis">gutenberg.org/ebooks/search/?q</span><span class="invisible">uery=le+tour+du+monde&submit_search=Go%21</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of the French first edition of Jules Verne's Around the World in Eighty Days. Published on January 30, 1873,[1] printed by Gauthier-Villars, published by Pierre-Jules Hetzel & Cie, Paris. 217 pages, illustrated with B/W engravings by De Neuville and Benett. (publisher's binding).

Centered prominently is the title, "Le Tour du Monde en Quatre-Vingts Jours," surrounded by ornate borders and motifs inspired by travel, exploration, and exotic destinations. Visual elements such as globes, compasses, and decorative frames emphasize the book's focus on global circumnavigation.

The illustrations by De Neuville and Benett, reproduced in black and white within the 217 pages, add further detail to the narrative, bringing key scenes to life with precision and dramatic flair. The overall design of the cover communicates a sense of grandeur and excitement, perfectly encapsulating the spirit of Verne’s iconic tale.

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1y

<p>"All the glories of the sunset,<br>In the sunrise one may see;<br>That which others call the dawning<br>Is the night for you and me."</p><p>Sarah Morgan Bryan Piatt , who died <a href="/tags/otd/" rel="tag">#OTD</a> in 1919, was an American poet. She published hundreds of poems in nationally circulated newspapers, magazines, and anthologies as well as in eighteen volumes of poems, two of which she co-authored with her husband, the poet John James Piatt.</p><p><a href="https://en.wikipedia.org/wiki/Sarah_Morgan_Bryan_Piatt" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Sarah_Morgan_Bryan_Piatt"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Sarah_Mo</span><span class="invisible">rgan_Bryan_Piatt</span></a></p><p><a href="https://www.gutenberg.org/ebooks/25004" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/25004</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>

Photographic portrait of American author Sarah Morgan Bryan Piatt (1836-1919). From American Women: Fifteen Hundred Biographies with Over 1,400 Portraits, Frances E. Willard and Mary A. Livermore, editors. Mast, Crowell & Kirkpatrick, 1897 (revised edition from 1893), vol. 2, p. 569.

Piatt is portrayed in a formal seated pose, reflecting the conventions of late 19th-century portraiture. Her attire is elegant and characteristic of the era, with intricate lacework and detailed fabric adorning her high-collared dress. Her hair is styled in a manner typical of the time, complementing her refined and composed expression. Her gaze, directed slightly away from the camera, conveys thoughtfulness and dignity.

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1y

<p>"The trouble with this country is... that there're too many people going about saying "The trouble with this country is—"<br>Dodsworth, Ch. 10 (1929)</p><p>American novelist, short-story writer, and playwright Sinclair Lewis died <a href="/tags/otd/" rel="tag">#OTD</a> in 1951.</p><p>Lewis wrote six popular novels: Main Street (1920), Babbitt (1922), Arrowsmith (1925), Elmer Gantry (1927), Dodsworth (1929), and It Can't Happen Here (1935). </p><p><a href="https://en.wikipedia.org/wiki/Sinclair_Lewis" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Sinclair_Lewis"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Sinclair</span><span class="invisible">_Lewis</span></a></p><p>Sinclair Lewis at PG:<br><a href="https://www.gutenberg.org/ebooks/author/278" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/278"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/278</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Sinclair Lewis, Nobel laureate in Literature 1930.

Lewis is seen with a sharp, angular face, a prominent nose, and a high forehead. His expression is thoughtful and slightly reserved, reflecting his intellectual nature.

He is dressed in early 20th-century attire, typically a suit and tie, presenting a professional and refined look suitable for his era and stature.

He is seated with a relaxed but composed posture, often gazing directly at the camera or slightly to the side, evoking a sense of introspection and seriousness.

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<p>Rights of Nature: A Reading List</p><p>What would it mean for rivers, forests, and animals to have legal rights? A global movement is rethinking law’s relationship to nature.</p><p>By: Sam Firman </p><p><a href="https://daily.jstor.org/rights-of-nature-a-reading-list/?utm_source=Klaviyo&utm_medium=campaign&utm_id=01KEYB46PN6NMF8X3GYBW3ZKEX&_kx=3MZUehzXM-41qlWAMPUiuNZadX2p0SByuNf_t0eMLB0.U5D8ER" rel="nofollow" class="ellipsis" title="daily.jstor.org/rights-of-nature-a-reading-list/?utm_source=Klaviyo&utm_medium=campaign&utm_id=01KEYB46PN6NMF8X3GYBW3ZKEX&_kx=3MZUehzXM-41qlWAMPUiuNZadX2p0SByuNf_t0eMLB0.U5D8ER"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/rights-of-natu</span><span class="invisible">re-a-reading-list/?utm_source=Klaviyo&utm_medium=campaign&utm_id=01KEYB46PN6NMF8X3GYBW3ZKEX&_kx=3MZUehzXM-41qlWAMPUiuNZadX2p0SByuNf_t0eMLB0.U5D8ER</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/environment/" rel="tag">#environment</a></p>

An almond tree flourished in the surroundings of the church of Santa Cruz de Olorda, in the Sarria district of Barcelona. In the background, you can see a farmhouse.

https://www.europeana.eu/pt/item/2024914/photography_ProvidedCHO_Ajuntament_de_Girona_102099

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<p>The Editor Who Drove Hemingway Away</p><p>Harry C. Hindmarsh, assistant managing editor of the Toronto Daily Star, knew how to get under Ernest Hemingway’s skin.</p><p><a href="https://daily.jstor.org/the-editor-who-drove-hemingway-away/" rel="nofollow" class="ellipsis" title="daily.jstor.org/the-editor-who-drove-hemingway-away/"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/the-editor-who</span><span class="invisible">-drove-hemingway-away/</span></a></p><p>Hemingway at PG:<br><a href="https://www.gutenberg.org/ebooks/author/50533" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/50533"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/50533</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Hemingway's 1923 passport photo; at this time, he lived in Paris with his wife Hadley and worked as a foreign correspondent for the Toronto Star Weekly.

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<p>The strange tale of Sigmund Freud’s begonia</p><p>How the gift of a plant helped Emma Freud finally get to know her great-grandfather</p><p>by Emma Freud</p><p><a href="https://observer.co.uk/news/first-person/article/emma-freud-sigmund-freuds-begonia" rel="nofollow" class="ellipsis" title="observer.co.uk/news/first-person/article/emma-freud-sigmund-freuds-begonia"><span class="invisible">https://</span><span class="ellipsis">observer.co.uk/news/first-pers</span><span class="invisible">on/article/emma-freud-sigmund-freuds-begonia</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/botany/" rel="tag">#botany</a></p>

Begonia obliqua L.

Robert John Thornton (1768-1837) - Botanicus http://www.botanicus.org "Temple of Flora"

The image depicts Begonia obliqua (now more commonly known as Begonia species), showing:

A begonia with characteristic asymmetrical (oblique) leaves in rich green tones, with prominent red stems
Delicate pink blossoms and white star-shaped flowers scattered throughout the composition
An orange/brown butterfly in the upper left, adding life and movement to the scene

https://en.wikipedia.org/wiki/Begonia#/media/File:Begonia_obliqua00.jpg

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<p>Who Was the Inspiration Behind the ‘Gibson Girl’ Illustrations? The Artist Said She Was Every Woman</p><p>Charles Dana Gibson’s archetype became the original American “it girl” in the late 19th and early 20th centuries, and helped transform fashion and beauty</p><p>by Michelle Mehrtens</p><p><a href="https://www.smithsonianmag.com/smithsonian-institution/who-was-the-inspiration-behind-the-gibson-girl-illustrations-the-artist-said-she-was-every-woman-180988014/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550" rel="nofollow" class="ellipsis" title="www.smithsonianmag.com/smithsonian-institution/who-was-the-inspiration-behind-the-gibson-girl-illustrations-the-artist-said-she-was-every-woman-180988014/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550"><span class="invisible">https://</span><span class="ellipsis">www.smithsonianmag.com/smithso</span><span class="invisible">nian-institution/who-was-the-inspiration-behind-the-gibson-girl-illustrations-the-artist-said-she-was-every-woman-180988014/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550</span></a></p><p>Charles Dana Gibson at PG:<br><a href="https://www.gutenberg.org/ebooks/author/26456" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/26456"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/26456</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/illustrations/" rel="tag">#illustrations</a></p>

Engraving after the pen and ink drawing of the Gibson Girl by illustrator w:Sarah Kaplan

It depicts a voluminous, upswept hair styled in the signature "Gibson Girl" pompadour with soft curls; long, elegant neck; delicate, refined features with a confident, somewhat aloof expression.

https://en.wikipedia.org/wiki/Charles_Dana_Gibson#/media/File:Gibson_Girl.png

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83d

<p>“I have a harmonium and it’s going to explode in two minutes”</p><p>Ivor Cutler (1923–2006) – poet, singer, musician, songwriter, artist, humorist – was born <a href="/tags/otd/" rel="tag">#OTD</a>, 15 Jan</p><p>In 2013, to mark what would have been his 90th birthday, BBC Radio 4 celebrated his life & career:</p><p>1/7</p><p><a href="https://www.bbc.co.uk/programmes/b0381jzt" rel="nofollow" class="ellipsis" title="www.bbc.co.uk/programmes/b0381jzt"><span class="invisible">https://</span><span class="ellipsis">www.bbc.co.uk/programmes/b0381</span><span class="invisible">jzt</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/music/" rel="tag">#music</a> <a href="/tags/humour/" rel="tag">#humour</a> <a href="/tags/surrealism/" rel="tag">#surrealism</a> <a href="/tags/absurdist/" rel="tag">#absurdist</a> <a href="/tags/ivorcutler/" rel="tag">#IvorCutler</a></p>

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1815.</p><p>Jane Austen's novel Emma is published anonymously by John Murray in London dated 1816. About 1500 copies sell over the next 5 years. Murray offered Austen £450 for this plus the copyrights of Mansfield Park and Sense and Sensibility, which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and paying a 10% commission to Murray.</p><p>Emma at PG:<br><a href="https://gutenberg.org/ebooks/158" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/158</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of the first edition of Emma by Jane Austen, published on 23 December 1815, although the title page is dated 1816.

The text reads:
"EMMA: A Novel. In Three Volumes. By the Author of 'Pride and Prejudice,' etc."

The publisher's details are printed at the bottom:
"London: Printed for John Murray, 1816."

The layout is symmetrical, with no decorative embellishments or illustrations, emphasizing the content of the book rather than its exterior. As typical for books of the time, the title page serves both an informational and promotional purpose, linking the novel to the author's previous works, which would have been recognizable to readers.

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81d

<p>Straight Outta Compton (Mackenzie)</p><p>Edward Compton Mackenzie (1883–1972) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 17 Jan. Mainly remembered today for his 1947 comedy WHISKY GALORE, he wrote more than 100 books & influenced writers such as F Scott Fitzgerald, George Orwell, & Cyril Connolly</p><p>A 🎂🧵</p><p>1/4</p><p><a href="https://unherd.com/2022/11/the-forgotten-genius-of-compton-mackenzie/" rel="nofollow" class="ellipsis" title="unherd.com/2022/11/the-forgotten-genius-of-compton-mackenzie/"><span class="invisible">https://</span><span class="ellipsis">unherd.com/2022/11/the-forgott</span><span class="invisible">en-genius-of-compton-mackenzie/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/modernism/" rel="tag">#modernism</a> <a href="/tags/comptonmackenzie/" rel="tag">#ComptonMackenzie</a> <a href="/tags/fscottfitzgerald/" rel="tag">#FScottFitzgerald</a> <a href="/tags/georgeorwell/" rel="tag">#GeorgeOrwell</a> <a href="/tags/cyrilconnolly/" rel="tag">#CyrilConnolly</a></p>

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1910.</p><p>Serialisation of Gaston Leroux's novel The Phantom of the Opera (Le Fantôme de l'Opéra) concludes in the Paris newspaper Le Gaulois.</p><p>Because of his fascination with both Edgar Allan Poe and Sir Arthur Conan Doyle, he wrote a detective mystery entitled The Mystery of the Yellow Room in 1907, and four years later he published Le Fantôme de l'Opéra.</p><p><a href="https://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(novel)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(novel)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Phan</span><span class="invisible">tom_of_the_Opera_(novel)</span></a></p><p>The Phantom of the Opera at PG:<br><a href="https://gutenberg.org/ebooks/175" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/175</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Dressed in a red death mask for a costume ball, Erik the Phantom descends the grand staircase of the Opéra Garnier. He “appears with his true face, challenging the masked characters with his unveiled ugliness” (François Raymond and Daniel Compère, Les maîtres du fantastique en littérature, Paris, Bordas, coll. “Les Compacts” (n° 36), 1994, ISBN 2-04-018502-X.) Watercolor by André Castaigne illustrating the first American edition of Gaston Leroux's Fantôme de l'Opéra (1911).

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1818.</p><p> Lord Byron, in Venice, sends the final part of Childe Harold to his publisher.</p><p>The poem contains elements thought to be autobiographical, as Byron generated some of the storyline from experience gained during his travels through Portugal, the Mediterranean and Aegean Sea between 1809 and 1811.</p><p><a href="https://en.wikipedia.org/wiki/Childe_Harold%27s_Pilgrimage" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Childe_Harold%27s_Pilgrimage"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Childe_H</span><span class="invisible">arold%27s_Pilgrimage</span></a></p><p>Childe Harold's Pilgrimage at PG:<br><a href="https://gutenberg.org/ebooks/5131" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/5131</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>

This is the title page of Childe Harold's Pilgrimage, circa 1812.

The name of the work, Childe Harold's Pilgrimage, prominently displayed in an elegant and serif typeface, reflecting the literary and romantic style of the period.

Lord Byron, the author, would be credited beneath or near the title. His name might appear in a slightly smaller or secondary font.

The name of the publisher (John Murray), the location (London), and the year of publication (1812) would be included, often at the bottom of the page.

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1y

<p>American Surrealist artist and poet Kay Sage died <a href="/tags/otd/" rel="tag">#OTD</a> in 1963.</p><p>Kay Sage became deeply involved with the Surrealist movement after moving to Paris in the late 1930s.</p><p>Her paintings often feature architectural and industrial elements, barren landscapes, and abstract, machine-like forms. Unlike many male Surrealists who favored dreamlike imagery, Sage's work is characterized by stark, linear compositions and an eerie, desolate quality.</p><p><a href="https://en.wikipedia.org/wiki/Kay_Sage" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Kay_Sage</a></p><p><a href="/tags/art/" rel="tag">#art</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Kay Sage passport photo.

Sage has a serious and composed expression, with her gaze directed forward. Her eyes appear intense and slightly melancholic, offering a glimpse of the introspection and complexity that characterized her personality and art.

Her hair is neatly styled, typically in a fashion reflective of her era, possibly a short or shoulder-length cut, framing her face elegantly.

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83d

<p>In Pursuit of Peace, Ancient Athens Created a Goddess</p><p>In the aftermath of the Peloponnesian War, Athenians worshipped Eirene. Her cult reflects the political role of religion in Ancient Greece.</p><p>By: Anna Gustafsson </p><p><a href="https://daily.jstor.org/in-pursuit-of-peace-ancient-athens-created-a-goddess/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily-01152026" rel="nofollow" class="ellipsis" title="daily.jstor.org/in-pursuit-of-peace-ancient-athens-created-a-goddess/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily-01152026"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/in-pursuit-of-</span><span class="invisible">peace-ancient-athens-created-a-goddess/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily-01152026</span></a></p><p>Eirene at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=eirene" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=eirene"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=eirene</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a></p>

Eirene (Peace) bearing Plutus (Wealth), Roman copy after a Greek votive statue by Kephisodotos (ca. 370 BC) which stood on the agora in Athens.

Eirene is shown as a mature, dignified woman in flowing Classical Greek drapery. She cradles the infant Plutus in her left arm.

https://en.wikipedia.org/wiki/Eirene_(goddess)#/media/File:Eirene_Ploutos_Glyptothek_Munich_219_n4.jpg

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83d

<p>Richard the Lionheart: New Study Rethinks His Capture After the Crusade</p><p>by Attila Bárány</p><p><a href="https://www.medievalists.net/2026/01/richard-the-lionheart-capture/" rel="nofollow" class="ellipsis" title="www.medievalists.net/2026/01/richard-the-lionheart-capture/"><span class="invisible">https://</span><span class="ellipsis">www.medievalists.net/2026/01/r</span><span class="invisible">ichard-the-lionheart-capture/</span></a></p><p>Original article:<br><a href="https://real.mtak.hu/188501/1/Veber_MercenariesandCrusaders2024.pdf" rel="nofollow" class="ellipsis" title="real.mtak.hu/188501/1/Veber_MercenariesandCrusaders2024.pdf"><span class="invisible">https://</span><span class="ellipsis">real.mtak.hu/188501/1/Veber_Me</span><span class="invisible">rcenariesandCrusaders2024.pdf</span></a></p><p>Richard I at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/2908" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/2908"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/2908</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a></p>

Depiction of Emperor Henry VI pardoning Richard in Peter of Eboli's Liber ad honorem Augusti, c. 1196.

The illumination shows:

Upper right: Emperor Henry VI seated on a throne in red robes with a crown, holding symbols of authority, with a green tree beside him
Lower right: King Richard kneeling or prostrating himself before the emperor in submission
Left side: Armed figures, likely guards or knights, one prominently holding a sword
Center: Another figure, possibly a mediator or official

Holy Roman Emperor Henry VI grants a pardon to en:Richard I of England (Richard Lionheart). Petrus de Ebulo, Liber ad honorem Augusti sive de rebus Siculis, fol 129, recto

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1879.</p><p>During construction of an extension to Birmingham Central Library in England, a fire destroys 50,000 books and the original manuscript of the Coventry Mystery Plays (including the "Coventry Carol").</p><p><a href="https://en.wikipedia.org/wiki/Coventry_Mystery_Plays" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Coventry_Mystery_Plays"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Coventry</span><span class="invisible">_Mystery_Plays</span></a></p><p><a href="https://en.wikipedia.org/wiki/Coventry_Carol" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Coventry_Carol"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Coventry</span><span class="invisible">_Carol</span></a></p><p>Coventry Carol at PG (as audio book):<br><a href="https://www.gutenberg.org/ebooks/20603" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/20603</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of Christmas Carol Collection 2006 by Various.

Contents

# 01 - O Holy Night by Adolphe Adam - 00:06:18
Performed by: Karen Savage

# 02 - The Boar’s Head Carol by Traditional - 00:01:17
Performed by: Kara Shallenberg

# 03 - God Rest Ye Merry, Gentlemen by Traditional - 00:03:30
Performed by: Diyan

# 04 - Good King Wenseslas by J.M. Neale - 00:03:21
Performed by: Alan Drake & Irene Takiris with Friends

# 05 - Here We Come A-Wassailing by Traditional - 00:01:43
Performed by: Claire Goget

# 06 - Joy to the World by G.F. Handel - 00:01:41
Performed by: Kim Butler

# 07 - I Heard the Bells on Christmas Day by Henry Wadsworth Longfellow and John Baptiste Calkin - 00:02:02
Performed by: Kristin Hughes

# 08 - Dona Nobis Pacem by Traditional - 00:02:05
Performed by: SKVE

# 09 - The First Noel by Traditional English carol - 00:02:32
Performed by: Claire Goget

# 10 - Coventry Carol by Robert Croo (Lyrics) - 00:02:00
Performed by: Kim Butler

# 11 - It Came Upon the Midnight Clear by Edmund Hamilton Sears and Richard Storrs Willis - 00:03:35
Performed by: Kristin Hughes

# 12 - Away in a Manger by W. J. Kirkpatrick - 00:02:09
Performed by: Karen Savage

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1818.</p><p>Percy Bysshe Shelley's poem "Ozymandias" appears in Leigh Hunt's weekly The Examiner (London; p. 24) under the pen name "Glirastes". Horace Smith's contribution to the same informal sonnet-writing competition, "On a Stupendous Leg of Granite, Discovered Standing by Itself in the Deserts of Egypt, with the Inscription Inserted Below" is published on February 1 under his initials.</p><p><a href="https://en.wikipedia.org/wiki/Ozymandias" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Ozymandias"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Ozymandi</span><span class="invisible">as</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>

"Ozymandias" by Glirastes in The Examiner, London, Sunday, January 11, 1818, No. 524, page 24.

Percy Bysshe Shelley. - First publication in The Examiner, No. 524, page 24.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1868.</p><p>John William De Forest, writing for The Nation, calls for a more specifically American literature; the essay's title, "The Great American Novel", is the first known use of the term. In 1880, writer Henry James simplified the term with the initialism "GAN".</p><p><a href="https://en.wikipedia.org/wiki/Great_American_Novel" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Great_American_Novel"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Great_Am</span><span class="invisible">erican_Novel</span></a></p><p><a href="https://en.wikipedia.org/wiki/Great_American_Novel#Notable_candidates" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Great_American_Novel#Notable_candidates"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Great_Am</span><span class="invisible">erican_Novel#Notable_candidates</span></a></p><p>Books by John William De Forest at PG:<br><a href="https://www.gutenberg.org/ebooks/author/4323" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/4323"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/4323</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of John William De Forest.

A middle-aged or older man with a strong, thoughtful expression, likely with neatly combed dark or graying hair and a short, well-groomed mustache.

Wearing formal 19th-century clothing, such as a dark suit, waistcoat, and a white shirt, typical of the era's intellectuals or gentlemen.

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82d

<p>At the raw end of winter<br>the mountain is half snow, half<br>dun grass. Only when snow<br>moves does it become a hare…</p><p>—Anna Crowe, “A Calendar of Hares”<br>published in A SECRET HISTORY OF RHUBARB (Mariscat, 2004)</p><p><a href="https://annacrowepoet.com/2021/04/21/a-calendar-of-hares/" rel="nofollow" class="ellipsis" title="annacrowepoet.com/2021/04/21/a-calendar-of-hares/"><span class="invisible">https://</span><span class="ellipsis">annacrowepoet.com/2021/04/21/a</span><span class="invisible">-calendar-of-hares/</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/naturepoetry/" rel="tag">#naturepoetry</a> <a href="/tags/hare/" rel="tag">#hare</a></p>

A Calendar of Hares
Anna Crowe

for Valerie Gillies

1. At the raw end of winter
the mountain is half snow, half
dun grass. Only when snow
moves does it become a hare.

2. If you can catch a hare
and look into its eye,
you will see the whole world.

3. That day in March
watching two hares boxing
at the field’s edge, she felt
the child quicken.

4. It is certain Midas never saw a hare
or he would not have lusted after gold.

5. When the buzzard wheels
like a slow kite overhead
the hare pays out the string.

6. The man who tells you
he has thought of everything
has forgotten the hare.

7. The hare’s form, warm yet empty.
Stumbling upon it, he felt his heart
lurch and race beneath his ribs.

8. Beset by fears, she became
the hare who hears
the mowers’ voices growing louder.

9. Light as the moon’s path over the sea,
the run of the hare over the land.

10. The birchwood a dapple
of fallen gold: a carved hare
lies in a Pictish hoard.

11. Waking to the cry of a hare
she ran and found the child sleeping.

12. November stiffens
into December: hare and grass
have grown a thick coat of frost.

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