literature

77d

<p>But I am half a Scot by birth, and bred<br>A whole one, and my heart flies to my head,—</p><p>—from “Don Juan”, Canto X, by George Gordon, Lord Byron</p><p>The great Romantic poet George Gordon Byron, 6th Baron Byron – Lord Byron – was born <a href="/tags/otd/" rel="tag">#OTD</a>, 22 Jan, 1788</p><p>A 🎂 🧵</p><p>1/5</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/byron/" rel="tag">#Byron</a> <a href="/tags/lordbyron/" rel="tag">#LordByron</a> <a href="/tags/romantic/" rel="tag">#romantic</a> <a href="/tags/romanticism/" rel="tag">#romanticism</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a></p>

from “Don Juan”, Canto X
George Gordon Byron

And all our little feuds, at least all mine,
Dear Jefferson, once my most redoubted foe
(As far as rhyme and criticism combine
To make such puppets of us things below),
Are over: Here's a health to 'Auld Lang Syne!'
I do not know you, and may never know
Your face—but you have acted on the whole
Most nobly, and I own it from my soul.

And when I use the phrase of 'Auld Lang Syne!'
'Tis not address'd to you—the more's the pity
For me, for I would rather take my wine
With you, than aught (save Scott) in your proud city.
But somehow,—it may seem a schoolboy's whine,
And yet I seek not to be grand nor witty,
But I am half a Scot by birth, and bred
A whole one, and my heart flies to my head,—

As 'Auld Lang Syne' brings Scotland, one and all,
Scotch plaids, Scotch snoods, the blue hills, and clear streams,
The Dee, the Don, Balgounie's brig's black wall,
All my boy feelings, all my gentler dreams
Of what I then dreamt, clothed in their own pall,
Like Banquo's offspring;—floating past me seems
My childhood in this childishness of mine:
I care not—'t is a glimpse of 'Auld Lang Syne.'

And though, as you remember, in a fit
Of wrath and rhyme, when juvenile and curly,
I rail'd at Scots to show my wrath and wit,
Which must be own'd was sensitive and surly,
Yet 'tis in vain such sallies to permit,
They cannot quench young feelings fresh and early:
I 'scotch'd not kill'd' the Scotchman in my blood,
And love the land of 'mountain and of flood.'

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1869.</p><p>Booth's Theatre opens on Manhattan with the owner, Edwin Booth, playing the male lead in Shakespeare's Romeo and Juliet.</p><p>Some reports said it was one of the most elaborate productions of Romeo and Juliet ever seen in America; it was certainly the most popular, running for over six weeks and earning over $60,000 (equivalent to $1,000,000 in 2023).</p><p><a href="https://en.wikipedia.org/wiki/Romeo_and_Juliet" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Romeo_and_Juliet"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Romeo_an</span><span class="invisible">d_Juliet</span></a></p><p>Romeo and Juliet at PG:<br><a href="https://gutenberg.org/ebooks/1513" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/1513</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>

An 1870 oil painting of Romeo and Juliet by Ford Madox Brown depicting the play's balcony scene.

In the painting, Juliet leans over a stone balcony, dressed in a flowing, golden-yellow gown, her expression a mix of longing and affection.

Romeo, clad in a deep red tunic, clings to the balcony’s edge, gazing up at her with passionate devotion.

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77d

<p>Impressionism Beyond Painting: Sculpture, Literature, Film and More</p><p>Impressionists like Edgar Degas experimented with photography and inspired a photographic movement that aimed to convey the same effects as their groundbreaking paintings.</p><p>by Anastasiia Kirpalov</p><p><a href="https://www.thecollector.com/impressionism-sculpture-literature-film-photography/" rel="nofollow" class="ellipsis" title="www.thecollector.com/impressionism-sculpture-literature-film-photography/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/impressio</span><span class="invisible">nism-sculpture-literature-film-photography/</span></a></p><p>Impressionism at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/3050" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/3050"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/3050</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/art/" rel="tag">#art</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Impression, Sunrise by Claude Monet, 1872.

The painting shows the port of Le Havre in northern France at sunrise. Others elements:

The orange sun: Rising through morning mist, with its reflection shimmering on the water
Boats and industrial elements: Barely defined shapes emerging from the fog
Color palette: Predominantly blues, grays, and greens with the vivid orange sun as the focal point
Atmospheric effect: The hazy, dreamlike quality of early morning light filtering through fog

https://commons.wikimedia.org/wiki/File:Monet_-_Impression,_Sunrise.jpg

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1920.</p><p>Federico García Lorca's first play, The Butterfly's Evil Spell (El maleficio de la mariposa) is poorly received at its première in Madrid.</p><p>With only four performances, very poorly received by the public, including booing, it was a total failure for its author. The text, written in verse, is a parable about frustration, love and death; recurring themes in Lorca's work.</p><p><a href="https://en.wikipedia.org/wiki/The_Butterfly%27s_Evil_Spell" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Butterfly%27s_Evil_Spell"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Butt</span><span class="invisible">erfly%27s_Evil_Spell</span></a></p><p>Garcia Lorca at PG:<br><a href="https://www.gutenberg.org/ebooks/author/56772" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/56772"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/56772</span></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>

Federico García Lorca. Huerta de San Vicente, Granada

Anónimo - https://www.museoreinasofia.es/coleccion/obra/federico-garcia-lorca-huerta-san-vicente-granada

He is shown smiling warmly, creating an inviting and expressive presence. His hair is neatly combed back, and he is wearing a dark shirt or jacket with an open collar.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1898.</p><p>Émile Zola is imprisoned in France after writing J'Accuse…!, a letter accusing the French government of antisemitism and wrongfully imprisoning Captain Alfred Dreyfus.</p><p>He was sentenced to jail and was removed from the Legion of Honour. To avoid jail time, Zola fled to England. He stayed there until the cabinet fell; he continued to defend Dreyfus.</p><p><a href="https://en.wikipedia.org/wiki/J%27Accuse" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/J%27Accuse"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/J%27Accu</span><span class="invisible">se</span></a>...!</p><p>J'Accuse at PG:<br><a href="https://www.gutenberg.org/ebooks/20974" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/20974</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Emile Zola photographié par Nadar en 1898.

The image is in black and white and shows Zola with a beard and round glasses, wearing a formal suit with tie.

His expression is serious and his gaze determined. His hands are crossed in a distinctive manner, highlighting a ring and bracelet visible on his fingers.

Front page cover of the newspaper L’Aurore of Thursday 13 January 1898, with J’accuse...!, the open letter written by Émile Zola to president Félix Faure about the Dreyfus affair. The headline reads "I accuse...! Letter to the President of the Republic".

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1826.</p><p>In the Mexican Republic, lithographer Claudio Linati inaugurates El Iris, a "pocket sized" bi-weekly. It is in print until August 2, when its popularization of liberal ideas prompts the intervention of state censors.</p><p>It was founded as an illustrated literary review, with topics of interest to women. It included articles on poetry, theater and fashion, as well as portraits and biographies of heroes of the recent war of independence.</p><p><a href="https://en.wikipedia.org/wiki/El_Iris" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/El_Iris</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of the Mexican journal El Iris from 3 May 1826.

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75d

<p>How George Orwell’s Nineteen Eighty-Four predicted the global power shifts happening now</p><p>Orwell is feted for the farsightedness of his geopolitical vision as long ago as the 1940s. But a lot of writers were thinking along similar lines.</p><p>by Emrah Atasoy</p><p><a href="https://theconversation.com/how-george-orwells-nineteen-eighty-four-predicted-the-global-power-shifts-happening-now-273122?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk" rel="nofollow" class="ellipsis" title="theconversation.com/how-george-orwells-nineteen-eighty-four-predicted-the-global-power-shifts-happening-now-273122?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/how-george</span><span class="invisible">-orwells-nineteen-eighty-four-predicted-the-global-power-shifts-happening-now-273122?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk</span></a></p><p>Dystopias at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/3316" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/3316"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/3316</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The first edition cover of George Orwell's book, Nineteen Eighty-Four (1984).

This iconic cover design is simple but striking, with bold handwritten-style typography on a dark green background.

https://en.wikipedia.org/wiki/Nineteen_Eighty-Four#/media/File:1984_first_edition_cover.jpg

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75d

<p>Atween November’s end and noo<br>there’s really nithin else tae do<br>but climb inside a brindlet coo<br>and dream o Spring,<br>fur Winter’s decked hur breist and broo<br>wi icy bling…</p><p>—W.N. Herbert, “Rabbie, Rabbie, Burning Bright” <br>published in OMNESIA (Remix) (Bloodaxe Books, 2013)</p><p>Warming up for Burns Night …</p><p><a href="https://www.scottishpoetrylibrary.org.uk/poem/rabbie-rabbie-burning-bright/" rel="nofollow" class="ellipsis" title="www.scottishpoetrylibrary.org.uk/poem/rabbie-rabbie-burning-bright/"><span class="invisible">https://</span><span class="ellipsis">www.scottishpoetrylibrary.org.</span><span class="invisible">uk/poem/rabbie-rabbie-burning-bright/</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/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/standardhabbie/" rel="tag">#StandardHabbie</a> <a href="/tags/winter/" rel="tag">#winter</a></p>

Rabbie, Rabbie, Burning Bright
by W. N. Herbert

Atween November’s end and noo
there’s really nithin else tae do
but climb inside a brindlet coo
and dream o Spring,
fur Winter’s decked hur breist and broo
wi icy bling.

It feels like, oan St Andrae’s nicht,
thi sun went oot and gote sae ticht
he endit up in a braw fire fecht
wi some wee comet –
noo he’s layin low wi his punched-oot licht
aa rimmed wi vomit.

We too hae strachilt lik The Bruce
and hacked up turkey, duck and goose;
and let aa resolution loose
oan Hogmanay,
but waddle noo frae wark tae hoose
lyk dogs they spayed.

Each year fails tae begin thi same:
fae dregs o Daft Deys debt comes hame
and we gaither in depression’s wame
aa duty-crossed –
but Burns’s birthday is a flame
set tae Defrost.

Ye dinna need tae be Confucius
tae ken, if Dullness wad confuse us,
ye caa ‘Respite! Let’s aa get stocious –
And dinna nag us.
Grant us that globe of spice, thi luscious
Delight caaed “haggis”!’

That truffle o the North must be
dug frae the depths o January,
but cannae pass oor lips, nor we
cross Limbo’s border –
unless that passport, Poetry,
be quite in order.

Sae thi daurkest deys o thi haill damn year
can dawn in yawns baith dreich an drear –
sae thi Taxman’s axe is at wir ear
fur his Returns?
We Scots sall neither dreid nor fear
but read wir Burns.

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1y

<p>Castles in the sky: the fantastical drawings of author Victor Hugo – in pictures</p><p>Although better known for his sprawling Romantic novels The Hunchback of Notre-Dame and Les Misérables, celebrated French author Victor Hugo spent much of his time drawing. A collection of about 70 of his sketches will soon be on display at the Royal Academy in London, in an exhibition bringing together caricatures, travel drawings and landscapes. </p><p><a href="https://www.theguardian.com/artanddesign/gallery/2025/mar/01/castles-in-the-sky-the-fantastical-drawings-of-author-victor-hugo-in-pictures" rel="nofollow" class="ellipsis" title="www.theguardian.com/artanddesign/gallery/2025/mar/01/castles-in-the-sky-the-fantastical-drawings-of-author-victor-hugo-in-pictures"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/artanddesi</span><span class="invisible">gn/gallery/2025/mar/01/castles-in-the-sky-the-fantastical-drawings-of-author-victor-hugo-in-pictures</span></a></p><p><a href="/tags/art/" rel="tag">#art</a> <a href="/tags/painting/" rel="tag">#painting</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Landscape With a Castle on a Cliff, 1857 by Victor Hugo.

With materials as diverse as coffee dregs, ink and soot, he often elaborated upon chance blots to suggest baroque shapes. He also used stencils, lace and folding to create complex abstract patterns, scraping and manipulating the ink, even with his fingers.

In Landscape with a castle he created a stencil and brushed ink over it, to leave the fortress as a white reserve, then added details in pen. The ‘assisted’ accidents of the ink washes and strong contrast of light and dark combine to produce a tempestuous atmosphere.

https://artsandculture.google.com/asset/victor-hugo-landscape-with-a-castle/VwGHuvUUnNhaHA?hl=en

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1y

<p>'The truth is she did the right thing': The mystery of why Jane Austen's letters were destroyed – by her own sister</p><p>By Neil Armstrong</p><p><a href="https://www.bbc.com/culture/article/20250129-the-mystery-of-why-jane-austens-letters-were-destroyed-by-her-own-sister" rel="nofollow" class="ellipsis" title="www.bbc.com/culture/article/20250129-the-mystery-of-why-jane-austens-letters-were-destroyed-by-her-own-sister"><span class="invisible">https://</span><span class="ellipsis">www.bbc.com/culture/article/20</span><span class="invisible">250129-the-mystery-of-why-jane-austens-letters-were-destroyed-by-her-own-sister</span></a></p><p>Books by Jane Austen at PG:<br><a href="https://www.gutenberg.org/ebooks/author/68" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/68"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/68</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

This pencil and watercolour portrait of Jane by Cassandra is the only authenticated picture of the novelist.

The sketch is somewhat unfinished, with detailed attention given to Jane Austen's face while the rest of the figure remains lightly outlined. The portrait is often referenced in discussions about Austen’s life and works, though some have debated whether it truly captures her likeness. It is now housed in the National Portrait Gallery in London.

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75d

<p>May Liberty meet wi’ success!<br>May Prudence protect her frae evil!<br>May tyrants and tyranny tine i’ the mist,<br>And wander their way to the devil!</p><p>—Robert Burns, “Here’s a Health to them that’s awa” (c. 1792)</p><p>A poem In advance of Burns Night </p><p><a href="https://www.bbc.co.uk/arts/robertburns/works/heres_a_health_to_them_thats_awa/" rel="nofollow" class="ellipsis" title="www.bbc.co.uk/arts/robertburns/works/heres_a_health_to_them_thats_awa/"><span class="invisible">https://</span><span class="ellipsis">www.bbc.co.uk/arts/robertburns</span><span class="invisible">/works/heres_a_health_to_them_thats_awa/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/liberty/" rel="tag">#liberty</a> <a href="/tags/tyranny/" rel="tag">#tyranny</a></p>

Here's a health to them that's awa
Robert Burns

Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish gude luck to our cause,
May never gude luck be their fa'!
It's gude to be merry and wise,
It's gude to be honest and true;
It's gude to support Caledonia's cause,
And bide by the buff and the blue.

Here's a health to them that's awa,
Here's a health to them that's awa,
Here's a health to Charlie, the chief o' the clan,
Altho' that his band be sma'!
May Liberty meet wi' success!
May Prudence protect her frae evil!
May tyrants and tyranny tine i' the mist,
And wander their way to the devil!

Here's a health to them that's awa,
Here's a health to them that's awa;
Here's a health to Tammie, the Norlan' laddie,
That lives at the lug o' the law!
Here's freedom to them that wad read,
Here's freedom to them that wad write!
There's nane ever fear'd that the truth should be heard,
But they whom the truth wad indite.

Here's a health to them that's awa,
Here's a health to them that's awa;
Here's chieftain M'Leod, a chieftain worth gowd,
Tho' bred amang mountains o' snaw;
Here's friends on baith sides o' the Forth,
And friends on baith sides o' the Tweed;
And wha wad betray old Albion's right,
May they never eat of her bread!

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1920.</p><p>An inaugural meeting of the Bloomsbury Group's Memoir Club is arranged by Mary MacCarthy in London.</p><p>Among the people involved in the group were Virginia Woolf, John Maynard Keynes, E. M. Forster, Vanessa Bell, and Lytton Strachey.</p><p>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><br>John Maynard Keynes:<br><a href="https://www.gutenberg.org/ebooks/author/6280" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/6280"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/6280</span></a><br>E. M. Forster:<br><a href="https://www.gutenberg.org/ebooks/author/975" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/975"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/975</span></a><br>Lytton Strachey:<br><a href="https://www.gutenberg.org/ebooks/author/576" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/576"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/576</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/bloomsbury/" rel="tag">#bloomsbury</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Left to right: Lady Ottoline Morrell, Maria Nys (neither members of Bloomsbury), Lytton Strachey, Duncan Grant, and Vanessa Bell.

Lady Ottoline Morrell – A patron of the arts and literature, she was known for her connections with the Bloomsbury Group but was not a formal member. She is elegantly dressed, reflecting her aristocratic background.

Maria Nys – A Belgian woman who later married Aldous Huxley, she was also not a member of the Bloomsbury Group but was part of their social circle.

Lytton Strachey – A writer and critic, famous for his ironic biographies and a key member of Bloomsbury. He is typically depicted with his distinctive beard and lean, intellectual look.

Duncan Grant – A prominent painter and designer, he was deeply associated with Bloomsbury and had a long relationship with fellow member Vanessa Bell.

Vanessa Bell – A painter and interior designer, sister of Virginia Woolf, and a central figure in the Bloomsbury Group. She is likely dressed in an artistic, bohemian style.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1936.</p><p>Charlie Chaplin's film Modern Times opened in New York City.</p><p>During a European tour promoting City Lights, Chaplin got the inspiration for Modern Times from both the lamentable conditions of the continent through the Great Depression, along with a conversation with Mahatma Gandhi in which they discussed modern technology.</p><p><a href="https://en.wikipedia.org/wiki/Modern_Times_(film)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Modern_Times_(film)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Modern_T</span><span class="invisible">imes_(film)</span></a></p><p>Books about or by Charlie Chaplin at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=charlie+chaplin&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=charlie+chaplin&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=charlie+chaplin&submit_search=Search</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/cinema/" rel="tag">#cinema</a></p>

Original poster for Charlie Chaplin's 1936 film Modern Times.

The artwork features Chaplin in his iconic role as the Tramp, wearing overalls and holding two large wrenches, symbolizing his struggle against industrialization and modern labor conditions.

The poster prominently displays Chaplin’s name in bold red and white lettering, emphasizing his star power.

The film's title, Modern Times, is written in a stylized, industrial-themed font.

The bottom of the poster credits Chaplin as the writer, director, and producer, and it notes the film's release through United Artists.

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1y

<p>Anactoria is a woman mentioned in the work of the ancient Greek poet Sappho, who wrote in the late 7th and early 6th centuries BCE. Sappho names Anactoria as the object of her desire in a poem numbered as fragment 16. Another of her poems, fragment 31, is traditionally called the "Ode to Anactoria", although no name appears in it.</p><p>Algernon Charles Swinburne wrote a long poem, "Anactoria", published in his 1866 collection Poems and Ballads.</p><p><a href="https://en.wikipedia.org/wiki/Anactoria" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Anactoria"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Anactori</span><span class="invisible">a</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>

Sappho and Alcaeus (1881), painted by Lawrence Alma-Tadema. Anactoria's name is visible near the middle of the painting.

The scene is set in a marble amphitheater overlooking the sea, with lush pine trees framing the background.

Alcaeus, seated to the right, is playing a kithara (a type of lyre) and singing, clad in a pinkish tunic with golden sandals. He appears engaged in performance, his fingers on the strings, as he sings to an enraptured audience.

Sappho, seated on a stone bench to the left, leans forward with her chin resting on her hand, listening intently. She wears a flowing pale green gown and a dark headband. A small altar-like table in front of her holds a laurel wreath, possibly a prize for poetic excellence.

Behind Sappho, a group of women, possibly her companions or disciples, are dressed in elegant, classical garments and adorned with floral crowns.

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<p>Robert Burns and Mary, Queen of Scots: how the poet shaped the enduring cultural legacy of the executed monarch</p><p>The queen was the source of much debate among 18th-century thinkers.</p><p>by Kate Kane</p><p><a href="https://theconversation.com/robert-burns-and-mary-queen-of-scots-how-the-poet-shaped-the-enduring-cultural-legacy-of-the-executed-monarch-273950?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk" rel="nofollow" class="ellipsis" title="theconversation.com/robert-burns-and-mary-queen-of-scots-how-the-poet-shaped-the-enduring-cultural-legacy-of-the-executed-monarch-273950?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/robert-bur</span><span class="invisible">ns-and-mary-queen-of-scots-how-the-poet-shaped-the-enduring-cultural-legacy-of-the-executed-monarch-273950?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk</span></a></p><p>Robert Burns at PG:<br><a href="https://www.gutenberg.org/ebooks/author/583" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/583"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/583</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>

Portrait of Burns by Alexander Nasmyth, 1787, Scottish National Portrait Gallery.

This half-length portrait of Burns, framed within an oval, has become the most well-known and widely reproduced image of the famous Scottish poet. Nasmyth's painting, commissioned by the publisher William Creech, was to be engraved for a new edition of Burn's poems. He is shown fashionably dressed against a landscape, evoking his rural background in Alloway, Ayrshire. Burns and Nasmyth had become good friends, having been introduced to one another in Edinburgh by a mutual patron, Patrick Miller of Dalswinton. Nasmyth, pleased to have recorded Burns' likeness convincingly, decided to leave the painting in a slightly unfinished state.

https://en.wikipedia.org/wiki/Robert_Burns#/media/File:PG_1063Burns_Naysmith.jpg

François Clouet - Mary, Queen of Scots (1542-87)

Mary wears a pink gown decorated with vertical gold striping and small jeweled embellishments. The bodice is tightly fitted and fastened down the center with a line of pearls or gemstone buttons. A crisp white ruff collar frames her neck. Her sleeves are full and carefully tailored.

Her hair is light brown and drawn back smoothly, partially covered by a jeweled headband adorned with pearls. She wears modest jewelry, including a pearl necklace, small earrings, and a ring. Her hands are delicately posed at her waist, fingers gently touching.

https://en.wikipedia.org/wiki/Mary,_Queen_of_Scots#/media/File:Fran%C3%A7ois_Clouet_-_Mary,_Queen_of_Scots_(1542-87)_-_Google_Art_Project.jpg

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74d

<p>I murder hate by flood or field, <br>Tho’ glory's name may screen us; <br>In wars at home I’ll spend my blood—<br>Life-giving wars of Venus.<br>The deities that I adore<br>Are social Peace and Plenty;<br>I’m better pleas’d to make one more,<br>Than be the death of twenty…<br> <br>—Robert Burns, “I Murder Hate”</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/romanticism/" rel="tag">#romanticism</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a></p>

I Murder Hate
Robert Burns

I murder hate by flood or field,
Tho’ glory’s name may screen us;
In wars at home I’ll spend my blood—
Life-giving wars of Venus.
The deities that I adore
Are social Peace and Plenty;
I’m better pleas’d to make one more,
Than be the death of twenty.

I would not die like Socrates,
For all the fuss of Plato;
Nor would I with Leonidas,
Nor yet would I with Cato:
The zealots of the Church and State
Shall ne’er my mortal foes be;
But let me have bold Zimri’s fate,
Within the arms of Cozbi!

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74d

<p>My Son, these maxims make a rule,<br>An’ lump them aye thegither; <br>The Rigid Righteous is a fool,<br>The Rigid Wise anither…</p><p>—Robert Burns, “Address to the Unco Guid, or the Ridgidly Righteous”</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/humour/" rel="tag">#humour</a></p>

Address to the Unco Guid, or the Ridgidly Righteous
Robert Burns

My Son, these maxims make a rule,
An’ lump them aye thegither;
The Rigid Righteous is a fool,
The Rigid Wise anither:
The cleanest corn that ere was dight
May hae some pyles o’ caff in;
So ne’er a fellow-creature slight
For random fits o’ daffin.
—Solomon, Eccles. 7. 16

O ye wha are sae guid yoursel’,
Sae pious and sae holy,
Ye’ve nought to do but mark and tell
Your neibours’ fauts and folly!
Whase life is like a weel-gaun mill,
Supplied wi’ store o’ water;
The heaped happer’s ebbing still,
An’ still the clap plays clatter.

Hear me, ye venerable core,
As counsel for poor mortals
That frequent pass douce Wisdom’s door
For glaikit Folly’s portals:
I, for their thoughtless, careless sakes,
Would here propone defences—
Their donsie tricks, their black mistakes,
Their failings and mischances.

Ye see your state wi’ theirs compared,
And shudder at the niffer;
But cast a moment’s fair regard,
What maks the mighty differ;
Discount what scant occasion gave,
That purity ye pride in;
And (what’s aft mair than a’ the lave),
Your better art o’ hidin.

Think, when your castigated pulse
Gies now and then a wallop!
What ragings must his veins convulse,
That still eternal gallop!
Wi’ wind and tide fair i’ your tail,
Right on ye scud your sea-way;
But in the teeth o’ baith to sail,
It maks a unco lee-way.

See Social Life and Glee sit down,
All joyous and unthinking,
Till, quite transmugrified, they’re grown
Debauchery and Drinking:
O would they stay to calculate
Th’ eternal consequences;
Or your more dreaded hell to state,
Damnation of expenses!

Ye high, exalted, virtuous dames,
Tied up in godly laces,
Before ye gie poor Frailty names,
Suppose a change o’ cases;
A dear-lov’d lad, convenience snug,
A treach’rous inclination—
But let me whisper i’ your lug,
Ye’re aiblins nae temptation.

Then gently scan your brother man,
Still gentler sister woman;
Tho’ they may gang a kennin wrang,
To step aside is human: ‍‍
One point must still be greatly dark,—
The moving Why they do it;‍‍
And just as lamely can ye mark,
How far perhaps they rue it.

Who made the heart, ’tis He alone
Decidedly can try us;
He knows each chord, its various tone,
Each spring, its various bias:
Then at the balance let’s be mute,
We never can adjust it;
What’s done we partly may compute,
But know not what’s resisted.

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74d

<p>O wad some Pow’r the giftie gie us<br>To see oursels as others see us!<br>It wad frae monie a blunder free us<br>An’ foolish notion:<br>What airs in dress an’ gait wad lea’e us,<br>And ev’n Devotion!</p><p>—Robert Burns, “To a Louse”<br>from Poems, Chiefly in the Scottish Dialect: The Luath Kilmarnock Edition, illustrated by Bob Dewar</p><p><a href="https://luath.co.uk/products/poems-chiefly-in-the-scottish-dialect?variant=42807652581526" rel="nofollow" class="ellipsis" title="luath.co.uk/products/poems-chiefly-in-the-scottish-dialect?variant=42807652581526"><span class="invisible">https://</span><span class="ellipsis">luath.co.uk/products/poems-chi</span><span class="invisible">efly-in-the-scottish-dialect?variant=42807652581526</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/humour/" rel="tag">#humour</a></p>

To a Louse, On Seeing one on a Lady’s Bonnet at Church
Robert Burns

Ha! whare ye gaun, ye crowlan ferlie!
Your impudence protects you sairly:
I canna say but ye strunt rarely,
Owre gawze and lace;
Tho’ faith, I fear ye dine but sparely,
On sic a place.

Ye ugly, creepan, blastet wonner,
Detested, shunn’d, by saunt an’ sinner,
How daur ye set your fit upon her,
Sae fine a Lady!
Gae somewhere else and seek your dinner,
On some poor body.

Swith, in some beggar’s haffet squattle;
There ye may creep, and sprawl, and sprattle,
Wi’ ither kindred, jumping cattle,
In shoals and nations;
Whare horn nor bane ne’er daur unsettle,
Your thick plantations.

Now haud you there, ye’re out o’ sight,
Below the fatt’rels, snug and tight,
Na faith ye yet! ye’ll no be right,
Till ye’ve got on it,
The vera topmost, towrin height
O’ Miss’s bonnet.

My sooth! right bauld ye set your nose out,
As plump an’ gray as onie grozet:
O for some rank, mercurial rozet,
Or fell, red smeddum,
I’d gie you sic a hearty dose o’t,
Wad dress your droddum!

I wad na been surpriz’d to spy
You on an auld wife’s flainen toy;
Or aiblins some bit duddie boy,
On ’s wylecoat;
But Miss’s fine Lunardi, fye!
How daur ye do ’t?

O Jenny dinna toss your head,
An’ set your beauties a’ abread!
Ye little ken what cursed speed
The blastie’s makin!
Thae winks and finger-ends, I dread,
Are notice takin!

O wad some Pow’r the giftie gie us
To see oursels as others see us!
It wad frae monie a blunder free us
An’ foolish notion:
What airs in dress an’ gait wad lea’e us,
And ev’n Devotion!

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74d

<p>Is there for honest Poverty<br>That hings his head, an’ a’ that;<br>The coward slave—we pass him by,<br>We dare be poor for a’ that!<br>For a’ that, an’ a’ that,<br>Our toils obscure an’ a’ that,<br>The rank is but the guinea’s stamp,<br>The Man’s the gowd for a’ that.</p><p>—Robert Burns</p><p><a href="https://poets.org/poem/mans-man" rel="nofollow"><span class="invisible">https://</span>poets.org/poem/mans-man</a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/equality/" rel="tag">#equality</a></p>

A Man’s a Man for a’ That
Robert Burns

Is there for honest Poverty
That hings his head, an’ a’ that;
The coward slave—we pass him by,
We dare be poor for a’ that!
For a’ that, an’ a’ that,
Our toils obscure an’ a’ that,
The rank is but the guinea’s stamp,
The Man’s the gowd for a’ that.

What though on hamely fare we dine,
Wear hoddin grey, an’ a that;
Gie fools their silks, and knaves their wine;
A Man’s a Man for a’ that:
For a’ that, and a’ that,
Their tinsel show, an’ a’ that;
The honest man, tho’ e’er sae poor,
Is king o’ men for a’ that.

Ye see yon birkie, ca’d a lord,
Wha struts, an’ stares, an’ a’ that;
Tho’ hundreds worship at his word,
He’s but a coof for a’ that:
For a’ that, an’ a’ that,
His ribband, star, an’ a’ that:
The man o’ independent mind
He looks an’ laughs at a’ that.

A prince can mak a belted knight,
A marquis, duke, an’ a’ that;
But an honest man’s aboon his might—
Guid faith, he maunna fa’ that!
For a’ that, an’ a’ that,
Their dignities an’ a’ that;
The pith o’ sense, an’ pride o’ worth,
Are higher rank than a’ that.

Then let us pray that come it may,
As come it will for a’ that,
That Sense and Worth, o’er a’ the earth,
Shall bear the gree, an’ a’ that.
For a’ that, an’ a’ that,
It’s coming yet for a’ that,
That Man to Man, the world o’er,
Shall brothers be for a’ that.

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74d

<p>Ellisland, 1791</p><p>Dear Sir:</p><p>Thou eunuch of language; thou Englishman, who never was south the Tweed; thou servile echo of fashionable barbarisms; thou quack, vending the nostrums of empirical elocution; thou marriage-maker between vowels and consonants, on the Gretna-green of caprice…</p><p>—Robert Burns, Letter to a critic<br>via <span class="h-card"><a href="https://mastodon.social/@lettersofnote" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>lettersofnote</span></a></span> </p><p><a href="https://news.lettersofnote.com/p/thou-pickle-herring-in-the-puppet" rel="nofollow" class="ellipsis" title="news.lettersofnote.com/p/thou-pickle-herring-in-the-puppet"><span class="invisible">https://</span><span class="ellipsis">news.lettersofnote.com/p/thou-</span><span class="invisible">pickle-herring-in-the-puppet</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/lettersofnote/" rel="tag">#LettersofNote</a> <a href="/tags/correspondence/" rel="tag">#correspondence</a> <a href="/tags/letters/" rel="tag">#letters</a> <a href="/tags/critics/" rel="tag">#critics</a> <a href="/tags/insults/" rel="tag">#insults</a></p>

Ellisland, 1791

Dear Sir:

Thou eunuch of language; thou Englishman, who never was south the Tweed; thou servile echo of fashionable barbarisms; thou quack, vending the nostrums of empirical elocution; thou marriage-maker between vowels and consonants, on the Gretna-green of caprice; thou cobler, botching the flimsy socks of bombast oratory; thou blacksmith, hammering the rivets of absurdity; thou butcher, embruing thy hands in the bowels of orthography; thou arch-heretic in pronunciation; thou pitch-pipe of affected emphasis; thou carpenter, mortising the awkward joints of jarring sentences; thou squeaking dissonance of cadence; thou pimp of gender; thou Lyon Herald to silly etymology; thou antipode of grammar; thou executioner of construction; thou brood of the speech-distracting builders of the Tower of Babel; thou lingual confusion worse confounded; thou scape-gallows from the land of syntax; thou scavenger of mood and tense; thou murderous accoucheur of infant learning; thou ignis fatuus, misleading the steps of benighted ignorance; thou pickle-herring in the puppet-show of nonsense; thou faithful recorder of barbarous idiom; thou persecutor of syllabication; thou baleful meteor, foretelling and facilitating the rapid approach of Nox and Erebus.

R.B.

Robert Burns | Letter to a critic, 1791 | The Works of Robert Burns, Volume 4

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1924.</p><p>Seán O'Casey's drama Juno and the Paycock opens at the Abbey Theatre, Dublin. It is set in the working-class tenements of Dublin in the early 1920s, during the Irish Civil War period.</p><p>It is the second of his "Dublin Trilogy" – the other two being The Shadow of a Gunman (1923) and The Plough and the Stars (1926).</p><p><a href="https://en.wikipedia.org/wiki/Juno_and_the_Paycock" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Juno_and_the_Paycock"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Juno_and</span><span class="invisible">_the_Paycock</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/drama/" rel="tag">#drama</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

Poster for the 1930 film “Juno and the Paycock” (alternate title “The Shame of Mary Boyle”).

Since it was directed by Alfred Hitchcock and based on Seán O’Casey’s acclaimed play, the poster have been designed in the early sound era’s style, featuring bold typography and theatrical imagery.

A strong central image, possibly depicting key characters like Juno Boyle (a struggling mother) and Captain Boyle (her irresponsible husband).

A somber or dramatic color scheme reflecting the film’s serious tone.

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314d

<p>Why G.K. Chesterton?</p><p>What was it that this non-expert, the funny fat man, had to say? Why did his works become for many a sort of bible? How was it that an artist-turned-journalist was accepted as the idea man as well as the entertainer of people?</p><p>By Leo R. Ward</p><p><a href="https://theimaginativeconservative.org/2025/05/gk-chesterton-leo-r-ward.html" rel="nofollow" class="ellipsis" title="theimaginativeconservative.org/2025/05/gk-chesterton-leo-r-ward.html"><span class="invisible">https://</span><span class="ellipsis">theimaginativeconservative.org</span><span class="invisible">/2025/05/gk-chesterton-leo-r-ward.html</span></a></p><p>G.K. Chesterton at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=G.K.+Chesterton" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=G.K.+Chesterton"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=G.K.+Chesterton</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Chesterton in his office

Unknown author - Crisis Magazine: http://www.crisismagazine.com/2012/new-study-marred-by-old-cliches-about-preconciliar-catholic-writers

He is seen seated, likely at a desk, with his characteristic imposing figure, round face, and thick spectacles. His hair is tousled and he wears a typical dark suit, with a cravat.

https://en.wikipedia.org/wiki/G._K._Chesterton#/media/File:G._K._Chesterton_at_work.jpg

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1875.</p><p>Bizet's Carmen premiered at the Opéra-Comique in Paris, with mezzo-soprano Célestine Galli-Marié in the title role. It is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. </p><p><a href="https://en.wikipedia.org/wiki/Carmen" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Carmen</a></p><p>Carmem at IMSLP:<br><a href="https://imslp.org/wiki/Carmen_(Bizet,_Georges)" rel="nofollow" class="ellipsis" title="imslp.org/wiki/Carmen_(Bizet,_Georges)"><span class="invisible">https://</span><span class="ellipsis">imslp.org/wiki/Carmen_(Bizet,_</span><span class="invisible">Georges)</span></a></p><p><a href="/tags/art/" rel="tag">#art</a> <a href="/tags/music/" rel="tag">#music</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Lithograph of act 1 in the premiere performance of Bizet's Carmen, by Pierre-Auguste Lamy, 1875.

The scene portrays a bustling street in Seville, outside a tobacco factory (indicated by the sign "Fábrica de Tabaco" on the building to the right). The image features a group of women, likely representing the female cigarette factory workers, dressed in traditional Spanish attire with full skirts and shawls.

In the foreground, a seated soldier appears to be engaged with something in his hands, possibly representing Don José, one of the opera’s main characters. The composition includes a large arched bridge in the middle ground, adding depth and perspective, while the background shows classic European architecture with multiple buildings and towers.

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73d

<p>Ali Smith: The book that changed me as a teenager</p><p>“Liz Lochhead’s Memo for Spring… I found a book so slim it had no spine, just hinges, and was by a woman who was young, Scottish and a poet (at this point in time a rare combination). The poems in it were so good, gripping and clear, written in a kind of Scottish English I knew was close to my own, but I’d never read in any book”</p><p><a href="https://www.theguardian.com/books/2026/jan/23/ali-smith-henry-james-had-me-running-down-the-garden-path-shouting-out-loud" rel="nofollow" class="ellipsis" title="www.theguardian.com/books/2026/jan/23/ali-smith-henry-james-had-me-running-down-the-garden-path-shouting-out-loud"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/books/2026</span><span class="invisible">/jan/23/ali-smith-henry-james-had-me-running-down-the-garden-path-shouting-out-loud</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/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a> <a href="/tags/lizlochhead/" rel="tag">#LizLochhead</a> <a href="/tags/alismith/" rel="tag">#AliSmith</a></p>

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1912.</p><p>Frieda Weekley meets D. H. Lawrence in Nottingham. She met D. H. Lawrence, a former student of her husband's; they soon fell in love and eloped to Germany. During their stay Lawrence was arrested for spying; after the intervention of Frieda's father, the couple walked south over the Alps to Italy. In 1914, following her divorce, Frieda and D.H. Lawrence married. </p><p><a href="https://en.wikipedia.org/wiki/Frieda_Lawrence" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Frieda_Lawrence"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Frieda_L</span><span class="invisible">awrence</span></a></p><p>D.H. Lawrence at PG:<br><a href="https://www.gutenberg.org/ebooks/author/123" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/123"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/123</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

David Herbert Lawrence & Frieda von Richthofen, 1914.

The image typically shows them sitting close together, reflecting their deep and unconventional relationship.

David Herbert Lawrence, known for his intense gaze and bohemian appearance, is often depicted with unkempt hair and a beard, dressed in simple, rugged clothing that suggests his rejection of traditional societal norms.

Frieda, who came from an aristocratic German background, appears confident and free-spirited, sometimes wearing a long dress or a coat suitable for the countryside.

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