This collection of ten stories, first published in 1904, shows Edith Wharton dissecting some of the customs, habits and vagaries of courtship and marriage, particularly as practiced in the upper reaches of New York society at the turn of the twentieth century (two stories, however, are set in Italy). Fidelity is only one problem; others may arise from the machinations and emotions of the protagonists or outsiders. Wharton handles the questions (altro…)
LibriVox volunteers bring you 20 recordings of November by John Clare. This was the Weekly Poetry project for November 18, 2012
John Clare was an English poet, the son of a farm labourer, who came to be known for his celebratory representations of the English countryside and his lamentation of its disruption. His poetry underwent a major re-evaluation in the late 20th century and he is often now considered to be among (altro…)
I Promessi Sposi, or the Betrothed Lovers; a Milanese Story of the Seventeenth Century: as translated for the Metropolitan, from the Italian of Alessandro Manzoni, by G.W. Featherstonhaugh. Washington: stereotyped and published by Duff Green. 1834. 8vo. pp. 249.
The appearance of this work strongly reminds us of the introductory remarks with which the Edimburg Review, thirthy years ago, prefaced its annunciation of Waverley. We would gladly appropriate them, were it fair (altro…)
Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o’clock at night. It was remarked that the clock began to strike, and I began to (altro…)
Era l’ultimo ricevimento di lady Windermere, alla vigilia della primavera.
Bentink House, più dell’usato, brulicava di visitatori.
Sei membri del ministero eran venuti direttamente dopo l’udienza dello speaker, con tutti gli ordini e le decorazioni.
Le belle donne indossavano i più eleganti costumi e, in fondo alla sala dei quadri, la principessa Sofia di Carlsrühe, grossa dama del tipo tartaro, con occhietti neri e stupendi smeraldi, parlava con voce stridente un pessimo francese e (altro…)
A House of Pomegranates (1891) is a collection of fairy tales, written by Oscar Wilde, that was published as a second collection for The Happy Prince and Other Tales (1888). Wilde once said that this collection was “intended neither for the British child nor the British public.”
In the South African wilderness, six men got together to mine for diamonds and become very rich. They agree that the wealth is to be split equally between them or their heirs after a few years and that the share of any one who died without leaving an heir or whose heir died before the time would be split between the remaining partners.
Soon, all heirs are notified and wait expectantly for (altro…)
Ethelberta was raised in humble circumstances but became a governess and consequently, at the age of 18, married well. However, her husband died two weeks after the wedding. Her father-in-law, Lord Petherwin, died shortly afterwards. Ethelberta (now 21) lives with her mother-in-law, Lady Petherwin. In the three years that have elapsed since her marriage, Ethelberta has been treated to foreign travel and further privileges by Lady Petherwin but restricted from seeing (altro…)
(Pall Mall Gazette, November 16, 1888.)
Nothing could have been better than Mr. Emery Walker’s lecture on Letterpress Printing and Illustration, delivered last night at the Arts and Crafts. A series of most interesting specimens of old printed books and manuscripts was displayed on the screen by means of the magic-lantern, and Mr. Walker’s explanations were as clear and simple as his suggestions were admirable. He began by explaining the different kinds (altro…)
(Pall Mall Gazette, November 9, 1888.)
The most satisfactory thing in Mr. Simonds’ lecture last night was the peroration, in which he told the audience that ‘an artist cannot be made.’ But for this well-timed warning some deluded people might have gone away under the impression that sculpture was a sort of mechanical process within the reach of the meanest capabilities. For it must be confessed that Mr. Simonds’ lecture was at (altro…)
(Pall Mall Gazette, November 2, 1888.)
Yesterday evening Mr. William Morris delivered a most interesting and fascinating lecture on Carpet and Tapestry Weaving at the Arts and Crafts Exhibition now held at the New Gallery. Mr. Morris had small practical models of the two looms used, the carpet loom where the weaver sits in front of his work; the more elaborate tapestry loom where the weaver sits behind, at the back of (altro…)
(Sunday Times, December 25, 1887.)
Accepting a suggestion made by a friendly critic last week, Mr. Selwyn Image began his second lecture by explaining more fully what he meant by literary art, and pointed out the difference between an ordinary illustration to a book and such creative and original works as Michael Angelo’s fresco of The Expulsion from Eden and Rossetti’s Beata Beatrix. In the latter case the artist treats literature as (altro…)
Pall Mall Gazette, December 12, 1887.)
Last Saturday afternoon, at Willis’s Rooms, Mr. Selwyn Image delivered the first of a series of four lectures on Modern Art before a select and distinguished audience. The chief point on which he dwelt was the absolute unity of all the arts and, in order to convey this idea, he framed a definition wide enough to include Shakespeare’s King Lear and Michael Angelo’s Creation, Paul Veronese’s (altro…)
(Court and Society Review, March 23, 1887.)
A terrible danger is hanging over the Americans in London. Their future and their reputation this season depend entirely on the success of Buffalo Bill and Mrs. Brown-Potter. The former is certain to draw; for English people are far more interested in American barbarism than they are in American civilisation. When they sight Sandy Hook they look to their rifles and ammunition; and, after dining (altro…)
(Century Guild Hobby Horse, July 1886.)
During my tour in America I happened one evening to find myself in Louisville, Kentucky. The subject I had selected to speak on was the Mission of Art in the Nineteenth Century, and in the course of my lecture I had occasion to quote Keats’s Sonnet on Blue as an example of the poet’s delicate sense of colour-harmonies. When my lecture was concluded there came round (altro…)