literature

1y

<p>British actress Lena Ashwell died <a href="/tags/otd/" rel="tag">#OTD</a> in 1957.</p><p>She is known as the first to organise large-scale entertainment for troops at the front, which she did during World War I. After the war she created the Lena Ashwell Players.</p><p>Ashwell herself travelled to the front and became involved in fundraising and logistics of the concerts, as she believed in 'uplifting & therapeutic' power of music.</p><p><a href="https://en.wikipedia.org/wiki/Lena_Ashwell" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Lena_Ashwell"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Lena_Ash</span><span class="invisible">well</span></a></p><p>A preface written by Lena Ashwell at PG<br><a href="https://www.gutenberg.org/ebooks/18530" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/18530</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Rotary postcard featuring a photograph of actress Lena Ashwell.

Lena Ashwell is captured in a half-length pose, looking directly at the camera with a composed and serene expression.

She is wearing a delicate gown adorned with floral embellishments and a long beaded necklace.

Her hair is styled in soft waves, framing her face gracefully.

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65d

<p>Life, Work & Adoration</p><p>Becoming George: The Invention of George Sand</p><p>review by Lucasta Miller</p><p><a href="https://literaryreview.co.uk/life-work-adoration" rel="nofollow" class="ellipsis" title="literaryreview.co.uk/life-work-adoration"><span class="invisible">https://</span><span class="ellipsis">literaryreview.co.uk/life-work</span><span class="invisible">-adoration</span></a></p><p>George Sand at PG:<br><a href="https://www.gutenberg.org/ebooks/author/851" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/851"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/851</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of George Sand (cropped)
Part of: Portrait of Frédéric Chopin and George Sand
By Eugène Delacroix

George Sand depicted:

In masculine attire (white collar visible)
With dark hair and intense gaze
Holding what appears to be a small bird or flower
Against a rich, dark background with reddish-brown tones
Delacroix's characteristic loose, colorful brushwork
Contemplative, serious expression

https://fr.wikipedia.org/wiki/George_Sand#/media/Fichier:Eug%C3%A8ne_Ferdinand_Victor_Delacroix_041.jpg

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71d

<p>Dr Jekyll and Mr Hyde: The Read with Reece Shearsmith</p><p>Currently available on the BBC iPlayer: Reece Shearsmith narrates Robert Louis Stevenson’s classic work of gothic horror</p><p><a href="https://www.bbc.co.uk/programmes/m0027pdf" rel="nofollow" class="ellipsis" title="www.bbc.co.uk/programmes/m0027pdf"><span class="invisible">https://</span><span class="ellipsis">www.bbc.co.uk/programmes/m0027</span><span class="invisible">pdf</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a> <a href="/tags/victorian/" rel="tag">#Victorian</a> <a href="/tags/robertlouisstevenson/" rel="tag">#RobertLouisStevenson</a> <a href="/tags/horror/" rel="tag">#horror</a> <a href="/tags/gothic/" rel="tag">#gothic</a></p>

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1y

<p>Historians recently discovered a hidden fragment of the Bible.</p><p>A part of the book of Matthew was found under two other layers of text.</p><p><a href="https://historyfacts.com/world-history/fact/historians-recently-discovered-a-hidden-fragment-of-the-bible/" rel="nofollow" class="ellipsis" title="historyfacts.com/world-history/fact/historians-recently-discovered-a-hidden-fragment-of-the-bible/"><span class="invisible">https://</span><span class="ellipsis">historyfacts.com/world-history</span><span class="invisible">/fact/historians-recently-discovered-a-hidden-fragment-of-the-bible/</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/bible/" rel="tag">#bible</a></p>

View of someone holding a copy of the Holy Bible.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1889.</p><p>Henrik Ibsen's symbolic drama The Lady from the Sea (1888) receives simultaneous first performances in Oslo (in Norwegian) and Weimar (in German). The drama introduces the character of Hilde Wangel who is again portrayed in Ibsen's later play The Master Builder.</p><p><a href="https://en.wikipedia.org/wiki/The_Lady_from_the_Sea" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Lady_from_the_Sea"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Lady</span><span class="invisible">_from_the_Sea</span></a></p><p>The Lady from the Sea at PG:<br><a href="https://gutenberg.org/ebooks/2765" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2765</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>

Dining room in the house of Dr. Vangel. 1905 Sketch of the scenery for Ibsen's drama “Daughter of the Sea” State Central Theater Museum named after A.A.Bakhrushin. A.A.Bakhrushin State Central Theater Museum.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1851.</p><p>The first performance of Rigoletto by Giuseppe Verdi takes place in Venice. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo.</p><p><a href="https://en.wikipedia.org/wiki/Rigoletto" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Rigoletto"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Rigolett</span><span class="invisible">o</span></a></p><p>Le Roi s'amuse at PG:<br><a href="https://www.gutenberg.org/ebooks/29549" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/29549</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>

Set design for act "IV" (III as normally counted) of Giuseppe Verdi's Rigoletto. (For the production of the Théâtre national de l'Opéra at the Palais Garnier that opened 27-02-1885).

A rustic, slightly decrepit inn or house by a lakeside or riverbank, surrounded by dense trees. The building is shown in a cross-section, revealing two levels.

A warmly lit bedroom where a woman stands holding a torch or candle near a reclining figure on a bed—suggestive of the characters Maddalena and the Duke in Rigoletto.

A dimly lit interior room with a few figures around a table—possibly representing Sparafucile (the assassin) and other characters in the plot’s unfolding.

The scene is bathed in moonlight with dark clouds, creating a dramatic chiaroscuro between the natural night and the warm indoor light.

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1y

<p>"Yet each man kills the thing he loves<br> By each let this be heard.<br>Some do it with a bitter look,<br> Some with a flattering word.<br>The coward does it with a kiss,<br> The brave man with a sword!"</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1898.</p><p>The Ballad of Reading Gaol by Oscar Wilde was published by Leonard Smithers, under the name "C.3.3.", which stood for cell block C, landing 3, cell 3.</p><p><a href="https://en.wikipedia.org/wiki/The_Ballad_of_Reading_Gaol" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Ballad_of_Reading_Gaol"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Ball</span><span class="invisible">ad_of_Reading_Gaol</span></a></p><p>Ballad of Reading Gaol at PG:<br><a href="https://www.gutenberg.org/ebooks/301" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/301</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>

Cover of The Ballad of Reading Gaol (1904).

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66d

<p>The haill clanjamfrie: What’s so braw aboot Scots<br>13 March, Royal Society of Edinburgh & online – free, ticketed</p><p>Through live readings of poetry & prose, alongside open conversation, this RSE Investigates event explores Scots as a powerful tool for creative expression & social commentary – with writers Len Pennie, Chris McQueer, & Michael Pedersen</p><p><a href="https://rse.org.uk/event/the-haill-clanjamfrie-whats-so-braw-aboot-scots/" rel="nofollow" class="ellipsis" title="rse.org.uk/event/the-haill-clanjamfrie-whats-so-braw-aboot-scots/"><span class="invisible">https://</span><span class="ellipsis">rse.org.uk/event/the-haill-cla</span><span class="invisible">njamfrie-whats-so-braw-aboot-scots/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/creativewriting/" rel="tag">#creativewriting</a></p>

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1y

<p>"They cannot scare me with their empty spaces<br>Between stars—on stars where no human race is.<br>I have it in me so much nearer home<br>To scare myself with my own desert places."</p><p>'Desert Places'</p><p>~Robert Frost (March 26, 1874 – January 29, 1963) </p><p>Robert Frost at PG:<br><a href="https://www.gutenberg.org/ebooks/author/1091" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/1091"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/1091</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>

"Robert Frost, head-and-shoulders portrait, facing front", c. 1910.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1889.</p><p>August Strindberg's naturalistic drama Miss Julie (Fröken Julie), 1888, is first performed, by the Scandinavian Experimental Theater at the University of Copenhagen. His wife Siri von Essen plays the title rôle.</p><p><a href="https://en.wikipedia.org/wiki/Miss_Julie" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Miss_Julie"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Miss_Jul</span><span class="invisible">ie</span></a></p><p>Miss Julie at PG:<br><a href="https://www.gutenberg.org/ebooks/14347" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/14347</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>

Photograph of the first production of Miss Julie at The People's Theatre in November 1906.

Unknown photographer, 1906 - Strindberg and the Five Senses, bu Hans-Goran Ekman.

On the left, a woman dressed in traditional servant attire appears to be engaged in a kitchen task, emphasizing the play’s working-class setting.

In the center-right, a woman in a long white dress (likely portraying Miss Julie) is interacting closely with a man in a formal suit (likely the character Jean), highlighting the tension and intimacy central to the plot.

The set design features modest furniture, utensils hanging on the wall, and exposed wooden beams, reflecting the realistic and detailed staging typical of early 20th-century naturalist theatre.

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65d

<p>Saltire Sessions: Michael Pedersen</p><p>The Saltire Society talks to author, poet, & Edinburgh Makar Michael Pedersen about his work, his inspirations, & the power of collaboration</p><p><a href="https://www.youtube.com/watch?v=QCTgutNfMB4" rel="nofollow" class="ellipsis" title="www.youtube.com/watch?v=QCTgutNfMB4"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/watch?v=QCTgut</span><span class="invisible">NfMB4</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/writing/" rel="tag">#writing</a> <a href="/tags/collaboration/" rel="tag">#collaboration</a> <a href="/tags/edinburgh/" rel="tag">#Edinburgh</a></p>

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1y

<p>What Is the Story of the Anglo-Saxon Chronicle?</p><p>by Alexander Roberts</p><p>The Anglo-Saxon Chronicle is a history of the Anglo-Saxon kings, and it has an interesting history of its own.</p><p><a href="https://www.thecollector.com/what-is-story-anglo-saxon-chronicle/" rel="nofollow" class="ellipsis" title="www.thecollector.com/what-is-story-anglo-saxon-chronicle/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/what-is-s</span><span class="invisible">tory-anglo-saxon-chronicle/</span></a></p><p>The Anglo-Saxon Chronicle at PG</p><p><a href="https://www.gutenberg.org/ebooks/657" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/657</a></p><p>and</p><p><a href="https://www.gutenberg.org/ebooks/75186" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/75186</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>

A map of the kingdoms of the Anglo-Saxon Heptarchy

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65d

<p>Robert Burns & the How-to of Barrel Gauging</p><p>“Alongside the expansion of the state in this period, scientific advances greatly enhanced methods for measuring and taxing goods, and in turn required officials proficient in these complex practices.”</p><p>James Fox looks at Robert Burns’s own copy of The Excise Officer’s Pocket Companion</p><p><a href="https://howtobook.hypotheses.org/5697" rel="nofollow"><span class="invisible">https://</span>howtobook.hypotheses.org/5697</a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/bookhistory/" rel="tag">#BookHistory</a> <a href="/tags/historyofscience/" rel="tag">#HistoryofScience</a> <a href="/tags/historyofmathematics/" rel="tag">#HistoryofMathematics</a></p>

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4d

<p>Who Were the Black Women of the Harlem Renaissance?</p><p><a href="https://www.youtube.com/shorts/Nu83pQl7mgQ" rel="nofollow" class="ellipsis" title="www.youtube.com/shorts/Nu83pQl7mgQ"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/shorts/Nu83pQl</span><span class="invisible">7mgQ</span></a></p><p>At PG:</p><p>Gwendolyn Bennett</p><p><a href="https://www.gutenberg.org/ebooks/search/?query=Gwendolyn+Bennett" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Gwendolyn+Bennett"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Gwendolyn+Bennett</span></a></p><p>Alice Dunbar Nelson</p><p><a href="https://www.gutenberg.org/ebooks/search/?query=Alice+Dunbar+Nelson" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Alice+Dunbar+Nelson"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Alice+Dunbar+Nelson</span></a></p><p>Anne Spencer</p><p><a href="https://www.gutenberg.org/ebooks/search/?query=Anne+Spencer" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Anne+Spencer"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Anne+Spencer</span></a></p><p>Zora Neale Hurston</p><p><a href="https://www.gutenberg.org/ebooks/search/?query=Zora+Neale+Hurston" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Zora+Neale+Hurston"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Zora+Neale+Hurston</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>

Anne B. Spencer in her wedding dress - picryl.com

She is standing with her right hand on the back of a chair.

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63d

<p>Four crabs from the cold firth<br>alive for a shilling. The largest<br>reared in the pot, in spite of<br>the fierce water, but soon<br>we cracked his limbs with our teeth<br>and wheedled with spoons and fingers<br>for the last shreds of flesh<br>from the crannies of his briny body…</p><p>—Angus Calder, “Crab”<br>from WAKING IN WAIKATO (diehard, 1997)</p><p>Angus Calder (1942–2008) – journalist, historian, editor, critic, & poet – was born <a href="/tags/otd/" rel="tag">#OTD</a>, 5 Feb</p><p><a href="https://www.scottishpoetrylibrary.org.uk/poem/crab/" rel="nofollow" class="ellipsis" title="www.scottishpoetrylibrary.org.uk/poem/crab/"><span class="invisible">https://</span><span class="ellipsis">www.scottishpoetrylibrary.org.</span><span class="invisible">uk/poem/crab/</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/20thcentury/" rel="tag">#20thcentury</a></p>

Crab
by Angus Calder

Four crabs from the cold firth
alive for a shilling. The largest
reared in the pot, in spite of
the fierce water, but soon
we cracked his limbs with our teeth
and wheedled with spoons and fingers
for the last shreds of flesh
from the crannies of his briny body.

In that brittle maze
I found no features to remind me
of our brains, our livers
or our smooth bellies, yet doubtless
their functions were held by some part
of the paste of his cavities.

Spread, soup and risotto –
only the gills were rejected.

In the days we ate him
I did not forget
his moment on the floor
to amuse the baby, when she
gloated at the slow clash
of his last menace,
nor that shape which made me think
of a soft soldier
fried in the cockpit of a tank.

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63d

<p>Build me a bridge over the stream <br>to my neighbour’s house<br>where he is standing in dungarees <br>in the fresh morning…</p><p>—Iain Crichton Smith, “Neighbour”<br>published in NEW COLLECTED POEMS (Carcanet, 2011)</p><p><a href="https://www.carcanet.co.uk/9781857549607/new-collected-poems/" rel="nofollow" class="ellipsis" title="www.carcanet.co.uk/9781857549607/new-collected-poems/"><span class="invisible">https://</span><span class="ellipsis">www.carcanet.co.uk/97818575496</span><span class="invisible">07/new-collected-poems/</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/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/iaincrichtonsmith/" rel="tag">#IainCrichtonSmith</a></p>

Iain Crichton Smith
Neighbour

Build me a bridge over the stream
to my neighbour’s house
where he is standing in dungarees
in the fresh morning.

O ring of snowdrops
spread wherever you want
and you also blackbird
sing across the fences.

My neighbour, if the rain falls on you,
let it fall on me also
from the same black cloud
that does not recognise gates.

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1y

<p>"Il y a aujourd'hui trois cent quarante-huit ans six mois et dix-neuf jours que les parisiens s'éveillèrent au bruit de toutes les clochés sonnant à grande volée dans la triple enceinte de la Cité, de l'Université et de la Ville."</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1831.</p><p>Victor Hugo's historical romantic Gothic novel Notre-Dame de Paris, known in English as The Hunchback of Notre-Dame, is published by Gosselin in Paris.</p><p><a href="https://en.wikipedia.org/wiki/The_Hunchback_of_Notre-Dame" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Hunchback_of_Notre-Dame"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Hunc</span><span class="invisible">hback_of_Notre-Dame</span></a></p><p>Notre-Dame de Paris at PG:<br><a href="https://gutenberg.org/ebooks/2610" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2610</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The main characters depicted in a frontispiece illustration by Aimé de Lemud (Notre-Dame de Paris, Perrotin éditeur, Garnier frères, 1844).

Aimé de Lemud - This image comes from the Gallica online library under ARK identifier bpt6k15139651/f13

illustration by Aimé de Lemud for the frontispiece of Victor Hugo's novel Notre-Dame de Paris, Perrotin éditeur, Garnier frères, 1844.

Illustration from Victor Hugo et son temps (1881)

Luc-Olivier Merson (1846–1920) - Here

Drawing of the Hunchback of Notre Dame, showing the recently restored galerie des chimères.

A cloaked figure, likely Claude Frollo, the archdeacon in Hugo's novel, is standing on a high balcony or gallery of Notre-Dame Cathedral in Paris.

He is leaning against the balustrade, looking pensively over the cityscape of medieval Paris, with rooftops, chimneys, and the Seine River visible in the background.

Surrounding him are several gargoyle sculptures, which are iconic elements of Gothic architecture and Notre-Dame itself.

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70d

<p>The Complete Story of the Epic of Gilgamesh (Overview & Analysis)</p><p>"The Epic of Gilgamesh, recounting the adventures of the semi-divine Sumerian king, may be the world’s oldest literary work. What does the narrative say?"</p><p><a href="https://www.thecollector.com/epic-gilgamesh-overview/" rel="nofollow" class="ellipsis" title="www.thecollector.com/epic-gilgamesh-overview/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/epic-gilg</span><span class="invisible">amesh-overview/</span></a></p><p>Gilgamesh at PG:</p><p><a href="https://www.gutenberg.org/ebooks/11000" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/11000</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Drawing of Gilgamesh strangling a lion. He has the lion with his left arm around his neck and a whip in his right hand.

Edited 70d ago

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70d

<p>Take Four Books: Ali Smith<br>Available on BBC Sounds.</p><p>Ali Smith speaks to Take Four Books about her latest novel, GLYPH. Together with presenter James Crawford, they explore its connections to three other literary works.</p><p>@bookstodon </p><p><a href="https://www.bbc.co.uk/sounds/play/m002qgmj" rel="nofollow" class="ellipsis" title="www.bbc.co.uk/sounds/play/m002qgmj"><span class="invisible">https://</span><span class="ellipsis">www.bbc.co.uk/sounds/play/m002</span><span class="invisible">qgmj</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/alismith/" rel="tag">#AliSmith</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a></p>

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1y

<p>"Hope is itself a species of happiness, and, perhaps, the chief happiness which this world affords."<br>Letter (8 June 1762) [to an unnamed recipient], p. 103</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1906.</p><p>J. M. Dent and Co. initiates the U.K. Everyman's Library series, edited by Ernest Rhys. The first title is Boswell's Life of Johnson.</p><p><a href="https://en.wikipedia.org/wiki/Everyman%27s_Library" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Everyman%27s_Library"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Everyman</span><span class="invisible">%27s_Library</span></a></p><p>Life of Samuel Johnson at PG:<br><a href="https://gutenberg.org/ebooks/1564" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/1564</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page to the 1791 first edition The Life of Samuel Johnson, LL.D, as found on the Google Books scan of the Bodleian Library copy.

Henry Baldwin - https://books.google.com/books?id=P-INAAAAQAAJ&pg=PA327#v=onepage&q&f=false

The title is in a large, serif font, with variations in font size and capitalization for emphasis.

"The Life of Samuel Johnson" is prominently displayed.

“LL.D.” follows Johnson’s name, denoting his honorary Doctor of Laws degree.
Boswell’s name is given with "Esq." (Esquire), a common 18th-century honorific.

A Latin quotation (often included in scholarly works of the time) appears below the author’s name.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1824.</p><p>Lord Byron falls ill at Missolonghi while taking part in the Greek War of Independence. He dies of fever on April 19. The Greeks mourned Lord Byron deeply, and he became a hero.</p><p><a href="https://en.wikipedia.org/wiki/Lord_Byron" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Lord_Byron"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Lord_Byr</span><span class="invisible">on</span></a></p><p>Books by Lord Byron at PG:<br><a href="https://www.gutenberg.org/ebooks/author/1708" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/1708"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/1708</span></a></p><p>A Narrative of Lord Byron's Last Journey to Greece by Pietro Gamba (1825):<br><a href="https://catalogue.beic.it/discovery/fulldisplay?docid=alma9926855804741&context=L&vid=39BEIC_INST:39BEIC_INST&lang=it&search_scope=Library&adaptor=Local%20Search%20Engine&tab=LibraryCatalog&query=any,contains,A%20Narrative%20of%20Lord%20Byron%27s%20Last%20Journey%20to%20Greece%20by%20Pietro%20Gamba%20(1825" rel="nofollow" class="ellipsis" title="catalogue.beic.it/discovery/fulldisplay?docid=alma9926855804741&context=L&vid=39BEIC_INST:39BEIC_INST&lang=it&search_scope=Library&adaptor=Local%20Search%20Engine&tab=LibraryCatalog&query=any,contains,A%20Narrative%20of%20Lord%20Byron%27s%20Last%20Journey%20to%20Greece%20by%20Pietro%20Gamba%20(1825"><span class="invisible">https://</span><span class="ellipsis">catalogue.beic.it/discovery/fu</span><span class="invisible">lldisplay?docid=alma9926855804741&context=L&vid=39BEIC_INST:39BEIC_INST&lang=it&search_scope=Library&adaptor=Local%20Search%20Engine&tab=LibraryCatalog&query=any,contains,A%20Narrative%20of%20Lord%20Byron%27s%20Last%20Journey%20to%20Greece%20by%20Pietro%20Gamba%20(1825</span></a>)</p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The reception of Lord Byron at Missolonghi.

Theodoros Vryzakis - https://www.nationalgallery.gr/artwork/i-ypodochi-tou-lordou-vyrona-sto-mesolongi/

Byron is depicted in a grand and heroic manner, wearing traditional Greek attire, symbolizing his deep admiration for the Greek cause.

Byron is surrounded by Greek freedom fighters, dressed in traditional foustanella skirts, capes, and turbans, showing the diverse Greek factions.

Greek Orthodox clergy are present, emphasizing the role of the Church in the revolution.

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1y

<p>In February 1827.</p><p>Thomas De Quincey's essay On Murder Considered as one of the Fine Arts is published in Blackwood's Magazine. The essays are a satirical account of a gentleman's club that celebrates homicide from an aesthetic perspective. The Ratcliff Highway murders committed by John Williams in 1811 are a keystone throughout the series.</p><p><a href="https://en.wikipedia.org/wiki/On_Murder_Considered_as_one_of_the_Fine_Arts" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/On_Murder_Considered_as_one_of_the_Fine_Arts"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/On_Murde</span><span class="invisible">r_Considered_as_one_of_the_Fine_Arts</span></a></p><p>At PG:<br><a href="https://gutenberg.org/ebooks/10708" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/10708</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Blackwood's Edinburgh Magazine 1827-02: Vol 21 Iss 122

Publication date 1827-02

Topics Language & Literature, Magazines, microfilm

Publisher Blackwood Pillans and Wilson

https://archive.org/details/sim_blackwoods-magazine_1827-02_21_122/page/199/mode/1up

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64d

<p>Examining the “Edinburgh University Coterie”: Networks of Cultural Influence in the 1790s and 1800s<br>11 Feb, Edinburgh & online. Free</p><p>Dr Amy Wilcockson’s ongoing IASH project explores a remarkable circle of Edinburgh University classmates who brought Scottish ideas, ideals & stories to the heart of British culture</p><p>@litstudies </p><p><a href="https://www.iash.ed.ac.uk/event/dr-amy-wilcockson-examining-‘edinburgh-university-coterie’-networks-cultural-influence-1790s" rel="nofollow" class="ellipsis" title="www.iash.ed.ac.uk/event/dr-amy-wilcockson-examining-‘edinburgh-university-coterie’-networks-cultural-influence-1790s"><span class="invisible">https://</span><span class="ellipsis">www.iash.ed.ac.uk/event/dr-amy</span><span class="invisible">-wilcockson-examining-‘edinburgh-university-coterie’-networks-cultural-influence-1790s</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a> <a href="/tags/culture/" rel="tag">#culture</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a> <a href="/tags/edinburgh/" rel="tag">#Edinburgh</a></p>

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64d

<p>He saw the weather written on the pane<br>as he buckled on his gaiters,<br>shouldering the hammer to walk the lane<br>spooked with his breath, to the pond<br>at the extremity of his acres…</p><p>—Lorn Macintyre, “Bonspiel”<br>published in Snowball in Summer (Argyll, 2009)</p><p><a href="https://www.scottishpoetrylibrary.org.uk/poem/bonspiel/" rel="nofollow" class="ellipsis" title="www.scottishpoetrylibrary.org.uk/poem/bonspiel/"><span class="invisible">https://</span><span class="ellipsis">www.scottishpoetrylibrary.org.</span><span class="invisible">uk/poem/bonspiel/</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/curling/" rel="tag">#curling</a> <a href="/tags/winterolympics/" rel="tag">#WinterOlympics</a> <a href="/tags/wintersports/" rel="tag">#WinterSports</a> <a href="/tags/winter/" rel="tag">#winter</a> <a href="/tags/bonspiel/" rel="tag">#bonspiel</a></p>

Bonspiel
Lorn Macintyre

He saw the weather written on the pane
as he buckled on his gaiters,
shouldering the hammer to walk the lane
spooked with his breath, to the pond
at the extremity of his acres.
The hammer bounced on the ice
a dozen times before he was certain
that it would bear the weight.
He took the pungent moth-balls
from the pockets of his plus-fours
before sending the serving-man
with a message round the doors:
‘Bonspiel at Murdo’s pond, tomorrow, noon.’

They came on foot, on horseback, by trap,
ladies in breeches, ploughmen with twine
lashing their shins for the only game
in the district. The shelves in the brick shed
were lined with stones like ancient cheeses,
each one owned by a chalked name.
Men down on a knee, as if proposing,
send the stone slithering across the ice,
its way hastened by scrabbling brooms.
Stones clash, and by the pond’s edge
a brazier offers searing chestnuts.

The pond has leached into the earth now,
reverting to a bog. In the bracken
I uncover the brazier’s rusted remains,
like a cauldron from an abandoned coven.
The door of the shed hangs off its hinges.
I lift down a stone from the dusty shelves,
the granite cracked from the collision
in the forgotten bonspiel. As I send it
spinning across the floor I hear
the roar, and through the broken window
see a beauty brushing up her game.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1836 (dated April)</p><p>The first monthly part of The Pickwick Papers by Charles Dickens is issued in London. On April 20, the original illustrator, Robert Seymour, shoots himself and Dickens has more freedom to develop the story in his own way.</p><p><a href="https://en.wikipedia.org/wiki/The_Pickwick_Papers" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Pickwick_Papers"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Pick</span><span class="invisible">wick_Papers</span></a></p><p>The Pickwick Papers at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=The+Pickwick+Papers&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=The+Pickwick+Papers&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=The+Pickwick+Papers&submit_search=Search</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of serial, "Pickwick Club" by Charles Dickens.

Typical cover illustrations depict Mr. Samuel Pickwick, the kind-hearted and portly founder of the club, along with his fellow club members—Mr. Tupman, Mr. Snodgrass, and Mr. Winkle. They are often dressed in 19th-century attire, engaged in comical or exaggerated activities, such as traveling in a carriage, engaging in lively discussions, or encountering eccentric characters.

Many editions feature artwork inspired by the original illustrations by Hablot Knight Browne (known as Phiz) or Robert Seymour, who initially illustrated the novel. The scenes on the cover typically capture the novel’s lighthearted and satirical tone, emphasizing Dickens’s signature blend of humor and social commentary.

Edited 1y ago

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