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SOBBOS. And so he was. Sabbus
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Art Neuendorffer
Jan 20, 2005, 11:55:25 AM1/20/05
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George Eliot. (1819–1880). The Mill on the Floss.
Book II—School-Time VI. A Love-Scene
George Eliot. (1819–1880). The Mill on the Floss.
Book II—School-Time VI. A Love-Scene
POOR Tom bore his seVERE pain heroically, and was
resolute in not
“telling” of Mr. Poulter more than was unavoidable; the five-shilling
piece remained a secret even to Maggie. But there was a terrible dread
weighing on his mind, so terrible that he dared not even ask the
question which might bring the fatal “yes”; he dared not ask the
surgeon or Mr. Stelling, “Shall I be LAME, Sir?” He mastered himself
so as not to cry out at the pain; but when his foot had been dressed,
and he was left alone with Maggie seated by his BEDside, the
children SOBBED together, with their heads laid on the same pillow.
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“telling” of Mr. Poulter more than was unavoidable; the five-shilling
piece remained a secret even to Maggie. But there was a terrible dread
weighing on his mind, so terrible that he dared not even ask the
question which might bring the fatal “yes”; he dared not ask the
surgeon or Mr. Stelling, “Shall I be LAME, Sir?” He mastered himself
so as not to cry out at the pain; but when his foot had been dressed,
and he was left alone with Maggie seated by his BEDside, the
children SOBBED together, with their heads laid on the same pillow.
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SOBBED DESCENT
SECOND BEST BED
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James Joyce's Finnegans Wake.
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James Joyce's Finnegans Wake.
6.11: SOBS they sighdid at
Fillagain's chrissormiss wake
282.1: With SOBS for his
job, with tears for his toil,
with horror for his squalor but with pep for his perdition,
lo, the boor plieth as the laird hireth him.
with horror for his squalor but with pep for his perdition,
lo, the boor plieth as the laird hireth him.
388.7: SOBBOS. And so he was.
Sabbus.
561.8: Major BED, minor bickhive.
HaloSOButh, sov
us!
Who sleeps in now number one, for ex-ample?
Who sleeps in now number one, for ex-ample?
--------------------------------------------------
King Richard
III Act 3, Scene 2
HASTINGS: I'll give my voice on Richard's side,
To bar my master's HEIRs in TRUE DESCENT,
--------------------------------------------------
Romeo and Juliet Act 5, Scene 3
To bar my master's HEIRs in TRUE DESCENT,
--------------------------------------------------
Romeo and Juliet Act 5, Scene 3
PRINCE Seal up the mouth of outrage for a while,
Till we can clear these ambiguities,
And know their spring, their head,
their TRUE DESCENT;
And then will I be general of your woes,
And lead you even to death: meantime forbear,
And let mischance be slave to patience.
Bring FORTH the parties of suspicion.
--------------------------------------------------
King Henry VI, Part i Act 2, Scene 5
Till we can clear these ambiguities,
And know their spring, their head,
their TRUE DESCENT;
And then will I be general of your woes,
And lead you even to death: meantime forbear,
And let mischance be slave to patience.
Bring FORTH the parties of suspicion.
--------------------------------------------------
King Henry VI, Part i Act 2, Scene 5
MORTIMER: Henry the FOURTH,
grandfather to this king,
Deposed his nephew Richard, Edward's son,
The first-begotten and the lawful HEIR,
Of Edward king, the third of that DESCENT:
During whose reign the Percies of the north,
Finding his usurpation most unjust,
Endeavor'd my advancement to the throne:
The reason moved these warlike lords to this
Was, for that--young King Richard thus removed,
Leaving NO HEIR begotten of his body--
I was the next by birth and parentage;
For by my mother I derived am
From Lionel Duke of Clarence, the third son
To King Edward the Third; whereas he
From John of Gaunt doth bring his pedigree,
Being but FOURTH of that heroic line.
But mark: as in this haughty attempt
They laboured to plant the rightful HEIR,
I lost my liberty and they their lives.
Deposed his nephew Richard, Edward's son,
The first-begotten and the lawful HEIR,
Of Edward king, the third of that DESCENT:
During whose reign the Percies of the north,
Finding his usurpation most unjust,
Endeavor'd my advancement to the throne:
The reason moved these warlike lords to this
Was, for that--young King Richard thus removed,
Leaving NO HEIR begotten of his body--
I was the next by birth and parentage;
For by my mother I derived am
From Lionel Duke of Clarence, the third son
To King Edward the Third; whereas he
From John of Gaunt doth bring his pedigree,
Being but FOURTH of that heroic line.
But mark: as in this haughty attempt
They laboured to plant the rightful HEIR,
I lost my liberty and they their lives.
Act 3, Scene 1
KING HENRY VI: If Richard will be TRUE, not that alone
But all the whole inheritance I give
That doth belong unto the house of York,
From whence you spring by lineal DESCENT.
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_Venus of the Louvre_ By Emma Lazarus
But all the whole inheritance I give
That doth belong unto the house of York,
From whence you spring by lineal DESCENT.
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_Venus of the Louvre_ By Emma Lazarus
DOWN the long hall she glistens like a star,
The foam-born mother of Love, transfixed to stone,
Yet none the less immortal, breathing on.
Time’s brutal hand hath maimed but could not mar.
When first the enthralled enchantress from afar
Dazzled mine eyes, I saw not her alone,
Serenely poised on her world-worshipped throne,
As when she guided once her dove-drawn car,—
But at her feet a pale, death-stricken Jew,
Her life adorer, SOBBED farewell to love.
Here Heine wept! Here still he weeps anew,
Nor ever shall his shadow lift or move,
While mourns one ardent heart, one poet-brain,
For vanished Hellas and Hebraic pain.
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Emily Dickinson (1830–86).
The foam-born mother of Love, transfixed to stone,
Yet none the less immortal, breathing on.
Time’s brutal hand hath maimed but could not mar.
When first the enthralled enchantress from afar
Dazzled mine eyes, I saw not her alone,
Serenely poised on her world-worshipped throne,
As when she guided once her dove-drawn car,—
But at her feet a pale, death-stricken Jew,
Her life adorer, SOBBED farewell to love.
Here Heine wept! Here still he weeps anew,
Nor ever shall his shadow lift or move,
While mourns one ardent heart, one poet-brain,
For vanished Hellas and Hebraic pain.
-----------------------------------------------------------
Emily Dickinson (1830–86).
I WISH I knew that woman’s name, So, when she comes this way,
To hold my life, and hold my ears, For fear I hear her say
To hold my life, and hold my ears, For fear I hear her say
She ’s “sorry I am dead”, again, Just when the grave and I
Have SOBBED ourselves almost to sleep,— Our only lullaby.
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PORTRAIT OF THE ARTIST AS A YOUNG MAN
Have SOBBED ourselves almost to sleep,— Our only lullaby.
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PORTRAIT OF THE ARTIST AS A YOUNG MAN
1.1374: Mr Casey, freeing his arms from his holders,
suddenly bowed his head on his hands with a SOB of pain.
suddenly bowed his head on his hands with a SOB of pain.
-- Poor Parnell! he cried loudly. My dead king!
He SOBBED loudly and
bitterly.
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Ulysses
-----------------------------------------------------------
Ulysses
247.72: That monster audience simply rocked with delight. But anon
they were overcome with grief and clasped their
hands for the last time. A fresh torrent of tears burst from their
lachrymal ducts and the vast
concourse of people, touched to the inmost core, broke into heartrending
SOBS, not the least affected being the aged prebendary himself.
--------------------------------------------------
King Henry VI, Part ii Act 3, Scene 1
they were overcome with grief and clasped their
hands for the last time. A fresh torrent of tears burst from their
lachrymal ducts and the vast
concourse of people, touched to the inmost core, broke into heartrending
SOBS, not the least affected being the aged prebendary himself.
--------------------------------------------------
King Henry VI, Part ii Act 3, Scene 1
QUEEN MARGARET:
Small curs are not regarded when they grin;
But great men tremble when the lion roars;
And Humphrey is no little man in England.
First note that he is near you in DESCENT,
And should you fall, he as the next will mount.
But great men tremble when the lion roars;
And Humphrey is no little man in England.
First note that he is near you in DESCENT,
And should you fall, he as the next will mount.
SUFFOLK: if he were not privy to those faults,
Yet, by reputing of his high DESCENT,
As next the king he was successive HEIR,
And such high vaunts of his nobility,
Did instigate the BEDlam brain-sick duchess
By wicked means to frame our soVEREign's fall.
Smooth runs the water where the brook is deep;
And in his simple show he harbours treason.
The fox barks not when he would steal the lamb.
--------------------------------------------------
King Henry VI, Part iii Act 1, Scene 4
Yet, by reputing of his high DESCENT,
As next the king he was successive HEIR,
And such high vaunts of his nobility,
Did instigate the BEDlam brain-sick duchess
By wicked means to frame our soVEREign's fall.
Smooth runs the water where the brook is deep;
And in his simple show he harbours treason.
The fox barks not when he would steal the lamb.
--------------------------------------------------
King Henry VI, Part iii Act 1, Scene 4
QUEEN MARGARET: Brave warriors, Clifford and Northumberland,
Come, make him stand upon this molehill here,
That raught at mountains with outstretched arms,
Yet parted but the shadow with his hand.
What! was it you that would be England's king?
Was't you that revell'd in our parliament,
And made a preachment of your high DESCENT?
Where are your mess of sons to back you now?
The wanton Edward, and the lusty George?
And where's that valiant crook-back prodigy,
Dicky your boy, that with his grumbling voice
Was wont to cheer his dad in mutinies?
Or, with the rest, where is your darling Rutland?
Come, make him stand upon this molehill here,
That raught at mountains with outstretched arms,
Yet parted but the shadow with his hand.
What! was it you that would be England's king?
Was't you that revell'd in our parliament,
And made a preachment of your high DESCENT?
Where are your mess of sons to back you now?
The wanton Edward, and the lusty George?
And where's that valiant crook-back prodigy,
Dicky your boy, that with his grumbling voice
Was wont to cheer his dad in mutinies?
Or, with the rest, where is your darling Rutland?
Act 2, Scene 1
RICHARD Nay, if thou be that princely eagle's bird,
Show thy DESCENT by gazing 'gainst the sun:
Show thy DESCENT by gazing 'gainst the sun:
Act 4, Scene 1
QUEEN ELIZABETH: My lords, before it pleased his majesty
To raise my state to title of a queen,
Do me but right, and you must all confess
That I was not ignoble of DESCENT;
And meaner than myself have had like fortune.
But as this title honours me and mine,
So your dislike, to whom I would be pleasing,
Doth cloud my joys with danger and with sorrow.
--------------------------------------------------
King Richard II Act 1, Scene 1
To raise my state to title of a queen,
Do me but right, and you must all confess
That I was not ignoble of DESCENT;
And meaner than myself have had like fortune.
But as this title honours me and mine,
So your dislike, to whom I would be pleasing,
Doth cloud my joys with danger and with sorrow.
--------------------------------------------------
King Richard II Act 1, Scene 1
HENRY BOLINGBROKE: by the glorious worth of my DESCENT,
This arm shall do it, or this life be spent.
This arm shall do it, or this life be spent.
Act 2, Scene 3
HENRY BOLINGBROKE: personally I lay my claim
To my inheritance of free DESCENT.
--------------------------------------------------
The Two Gentlemen of Verona Act 3, Scene 2
To my inheritance of free DESCENT.
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The Two Gentlemen of Verona Act 3, Scene 2
PROTEUS: The best way is to slander Valentine
With falsehood, cowardice and poor DESCENT,
Three things that women highly hold in hate.
--------------------------------------------------
The Taming of the Shrew Prologue, Scene 2
With falsehood, cowardice and poor DESCENT,
Three things that women highly hold in hate.
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The Taming of the Shrew Prologue, Scene 2
Lord: O, that a mighty man of such DESCENT,
Of such possessions and so high esteem,
Should be infused with so foul a spirit!
--------------------------------------------------
Troilus and Cressida Act 5, Scene 2
Of such possessions and so high esteem,
Should be infused with so foul a spirit!
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Troilus and Cressida Act 5, Scene 2
TROILUS: Were it a casque composed by Vulcan's skill,
My sword should bite it: not the dreadful spout
Which shipmen do the hurricano call,
Constringed in mass by the almighty sun,
Shall dizzy with more clamour Neptune's ear
In his DESCENT than shall my prompted sword
Falling on Diomed.
--------------------------------------------------
Pericles Prince of Tyre Act 2, Scene 5
My sword should bite it: not the dreadful spout
Which shipmen do the hurricano call,
Constringed in mass by the almighty sun,
Shall dizzy with more clamour Neptune's ear
In his DESCENT than shall my prompted sword
Falling on Diomed.
--------------------------------------------------
Pericles Prince of Tyre Act 2, Scene 5
PERICLES: My actions are as noble as my thoughts,
That never relish'd of a base DESCENT.
--------------------------------------------------
Cymbeline Act 5, Scene 5
That never relish'd of a base DESCENT.
--------------------------------------------------
Cymbeline Act 5, Scene 5
CYMBELINE: Why, old soldier,
Wilt thou undo the worth thou art unpaid for,
By tasting of our wrath? How of DESCENT
As good as we?
--------------------------------------------------
King Lear Act 5, Scene 3
Wilt thou undo the worth thou art unpaid for,
By tasting of our wrath? How of DESCENT
As good as we?
--------------------------------------------------
King Lear Act 5, Scene 3
EDGAR: from the extremest upward of thy head
To the DESCENT and dust below thy foot,
A most toad-spotted traitor.
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James Joyce's Finnegans Wake.
To the DESCENT and dust below thy foot,
A most toad-spotted traitor.
-----------------------------------------------------------
James Joyce's Finnegans Wake.
156.9: While that Mooksius with preprocession and with propre-
cession, duplicitly and diplussedly, was promulgating ipsofacts
and sadcontras this raskolly Gripos he had allbust seceded
in monophysicking his illSOBordunates.
cession, duplicitly and diplussedly, was promulgating ipsofacts
and sadcontras this raskolly Gripos he had allbust seceded
in monophysicking his illSOBordunates.
166.14: SOBS and blowing bixed mixcuits
171.12: O dear no! Instead the tragic jester SOBBED himself wheywhing-
ingly sick of life on some sort of a rhubarbarous maundarin yella-
green funkleblue windigut diodying applejack
ingly sick of life on some sort of a rhubarbarous maundarin yella-
green funkleblue windigut diodying applejack
232.20: Can that SOBStuff, whingeywilly!
269.10: like your gerandiums for the better half of a yearn or
SOB.
288.29: An ounceworth of onions for a pennyawealth of SOBS.
339.9: SOBaiter SOBarkar.
353.3: In SOBBer sooth and in
souber civiles?
353.16: For when meseemim, and tolfoklokken rolland allover ourloud's
lande, beheaving up that SOB of tunf for to claimhis, for to
wollpimsolff, puddywhuck.
lande, beheaving up that SOB of tunf for to claimhis, for to
wollpimsolff, puddywhuck.
364.17: How concerns any merryaunt and hworsoever graveSOBBers it is
perensempry sex of fun to help a dazzle off the othour.
377.23: all he bares SOBSconcious inklings shadowed on soulskin'.
384.3: all the birds of the rockby-suckerassousyoceanal sea,
all four of them, all sighing and SOB-Bing, and listening.
408.21: We shared the twin chamber and we winked
on the one wench and what
Sim SOBS todie
468.4: How used you learn me, brather SOBoostius,
in my augustan days? With cesarella
looking on.
486.1: Halt there SOB story to
your lambdad's tale!
488.27: Have you forgotten poor Alby SOBrinos,
508.12: -- Hodie casus eSOBhrakonton?
525.19: -- There's an old psalmSOBBing
lax salmoner fogeyboren Herrin Plundehowse.
556.1: night by silentsailing night while infantina ISOBel
(who will be blushing all day to be, when she growed up one
Sunday,
Saint Holy and Saint Ivory, when she took the VEIL, the beautiful
Saint Holy and Saint Ivory, when she took the VEIL, the beautiful
presentation nun, so barely twenty, in her pure coif, sister
ISOBel,
556.16: her GREENgageflavoured
candywhistle duetted
to the crazyquilt, ISOBel, she is so pretty, TRUTH to tell,
563.6: He is jem job joy pip poo pat (jot um for a SOBrat!) Jerry Jehu.
-------------------------------------------------------------------
Ulysses
Ulysses
213.46: Light SOB of breath
Bloom sighed on the silent bluehued flowers.
290.11: she fought back the SOB
that rose to her throat,
368.50: (SOBBing behind her
VEIL) Breach of
promise.
My real name is Peggy Griffin.
My real name is Peggy Griffin.
429.35: BLOOM: (enthralled, bleats) I promise never to diSOBey.
440.10: Crocodile tears! (Bloom, broken, closely VEILed
for the
sacrifice, SOBS, his face to the
earth.
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PORTRAIT OF THE ARTIST AS A YOUNG MAN
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PORTRAIT OF THE ARTIST AS A YOUNG MAN
1.1859: And as he knelt, calming the last SOBS in his throat
2.1180: Stephen heard his father’s
voice
break into a laugh which was almost a SOB.
break into a laugh which was almost a SOB.
—He was the handsomest man in Cork at that time, by God he
was!
The women used to stand to look after him in the street.
The women used to stand to look after him in the street.
He heard the SOB passing loudly down his father’s
throat
and opened his eyes with a nervous impulse.
and opened his eyes with a nervous impulse.
2.841: His tormentors set off towards Jones's Road,
laughing and jeering at him, while he, half blinded with tears,
stumbled on, clenching his fists madly and SOBBing.
laughing and jeering at him, while he, half blinded with tears,
stumbled on, clenching his fists madly and SOBBing.
3.347: The next day brought death and judgement, stirring his soul
slowly from its listless despair. The faint glimmer of fear became
a terror of spirit as the hoarse voice of the preacher blew death
into his soul. He suffered its agony. He felt the death chill touch
the extremities and creep onward towards the heart, the film of death
VEILing the eyes, the bright centres of the brain extinguished one by
one like lamps, the last sweat oozing upon the skin, the powerlessness
of the dying limbs, the speech thickening and wandering and failing,
the heart throbbing faintly and more faintly, all but vanquished, the
breath, the poor breath, the poor helpless human spirit, SOBBing and
sighing, gurgling and rattling in the throat. No help! No help! He -
he himself - his body to which he had yielded was dying. Into the
grave with it. Nail it down into a wooden box the corpse.
Carry it out of the house on the shoulders of hirelings.
Thrust it out of men's sight into a long hole in the ground,
into the grave, to rot, to feed the mass of its creeping worms
and to be devoured by scuttling plump-bellied rats.
slowly from its listless despair. The faint glimmer of fear became
a terror of spirit as the hoarse voice of the preacher blew death
into his soul. He suffered its agony. He felt the death chill touch
the extremities and creep onward towards the heart, the film of death
VEILing the eyes, the bright centres of the brain extinguished one by
one like lamps, the last sweat oozing upon the skin, the powerlessness
of the dying limbs, the speech thickening and wandering and failing,
the heart throbbing faintly and more faintly, all but vanquished, the
breath, the poor breath, the poor helpless human spirit, SOBBing and
sighing, gurgling and rattling in the throat. No help! No help! He -
he himself - his body to which he had yielded was dying. Into the
grave with it. Nail it down into a wooden box the corpse.
Carry it out of the house on the shoulders of hirelings.
Thrust it out of men's sight into a long hole in the ground,
into the grave, to rot, to feed the mass of its creeping worms
and to be devoured by scuttling plump-bellied rats.
And while the friends were still standing in tears by the BEDside the
soul of the sinner was judged. At the last moment of consciousness the
whole earthly life passed before the vision of the soul and, ere it had
time to reflect, the body had died and the soul stood terrified before
the judgement seat. God, who had long been merciful, would then be just.
He had long been patient, pleading with the sinful soul, giving it time
to repent, sparing it yet awhile. But that time had gone. Time was to
sin and to enjoy, time was to scoff at God and at the warnings of His
holy church, time was to defy His majesty, to diSOBey His commands, to
hoodwink one's fellow men, to commit sin after sin and to hide one's
corruption from the sight of men. But that time was over. Now it was
God's turn: and He was not to be hoodwinked or deceived. Every sin would
then come FORTH from its lurking place, the most rebellious against the
divine will and the most degrading to our poor corrupt nature, the
tiniest imperfection and the most heinous atrocity. What did it avail
then to have been a great emperor, a great general, a marvellous
inventor, the most learned of the learned? All were as one before the
judgement seat of God. He would reward the good and punish the wicked.
One single instant was enough for the trial of a man's soul. One single
instant after the body's death, the soul had been weighed in the
balance. The particular judgement was over and the soul had passed
soul of the sinner was judged. At the last moment of consciousness the
whole earthly life passed before the vision of the soul and, ere it had
time to reflect, the body had died and the soul stood terrified before
the judgement seat. God, who had long been merciful, would then be just.
He had long been patient, pleading with the sinful soul, giving it time
to repent, sparing it yet awhile. But that time had gone. Time was to
sin and to enjoy, time was to scoff at God and at the warnings of His
holy church, time was to defy His majesty, to diSOBey His commands, to
hoodwink one's fellow men, to commit sin after sin and to hide one's
corruption from the sight of men. But that time was over. Now it was
God's turn: and He was not to be hoodwinked or deceived. Every sin would
then come FORTH from its lurking place, the most rebellious against the
divine will and the most degrading to our poor corrupt nature, the
tiniest imperfection and the most heinous atrocity. What did it avail
then to have been a great emperor, a great general, a marvellous
inventor, the most learned of the learned? All were as one before the
judgement seat of God. He would reward the good and punish the wicked.
One single instant was enough for the trial of a man's soul. One single
instant after the body's death, the soul had been weighed in the
balance. The particular judgement was over and the soul had passed
to the abode of bliss or to the prison of purgatory
or had been hurled howling into hell.
3.1431: Sins of anger, envy of others, gluttony, vanity,
diSOBEDience.
4.302: He had never once diSOBeyed or allowed turbulent
companions to seduce him from his habit of quiet
oBEDience;
5.2009: The inhuman clamour soothed his ears in
which
his mother's SOBS and reproaches murmured insistently
--------------------------------------------------------
Ulalume Edgar Allan Poe (1809–1849)
his mother's SOBS and reproaches murmured insistently
--------------------------------------------------------
Ulalume Edgar Allan Poe (1809–1849)
But Psyche, uplifting her finger,
Said—‘Sadly this star I mistrust—
Her pallor I strangely mistrust:—
Oh, hasten!—oh, let us not linger!
Oh, fly!—let us fly!—for we must.’
In terror she spoke, letting sink her
Wings until they trailed in the dust—
In agony SOBBED, letting sink her
Plumes till they trailed in the dust—
Till they sorrowfully trailed in the dust.
--------------------------------------------------------
Charles Dickens. (1812–1870). David Copperfield.
Said—‘Sadly this star I mistrust—
Her pallor I strangely mistrust:—
Oh, hasten!—oh, let us not linger!
Oh, fly!—let us fly!—for we must.’
In terror she spoke, letting sink her
Wings until they trailed in the dust—
In agony SOBBED, letting sink her
Plumes till they trailed in the dust—
Till they sorrowfully trailed in the dust.
--------------------------------------------------------
Charles Dickens. (1812–1870). David Copperfield.
6 “It’s very hard,” said my mother, “that in my own
house——”
“My own house?” repeated Mr. Murdstone. “Clara!”
“Our own house, I mean,” faltered my mother, evidently frightened—“I
hope you must know what I mean, Edward—it’s very hard that in your own
house I may not have a word to say about domestic matters. I am sure I
managed very well before we were married. There’s evidence,” said my
mother, SOBBing; “ask Peggotty if I didn’t do very well when I wasn’t
interfered with!”
“My own house?” repeated Mr. Murdstone. “Clara!”
“Our own house, I mean,” faltered my mother, evidently frightened—“I
hope you must know what I mean, Edward—it’s very hard that in your own
house I may not have a word to say about domestic matters. I am sure I
managed very well before we were married. There’s evidence,” said my
mother, SOBBing; “ask Peggotty if I didn’t do very well when I wasn’t
interfered with!”
11 As often as Mick Walker went away in the course of that
forenoon,
I mingled my tears with the water in which I was washing the bottles;
and SOBBED as if there were a flaw in my own breast,
and it were in danger of bursting.
I mingled my tears with the water in which I was washing the bottles;
and SOBBED as if there were a flaw in my own breast,
and it were in danger of bursting.
32 “They would often put their children—partic’lar their little
girls,”
said Mr. Peggotty, “upon my knee; and many a time you might have seen
me sitting at their doors, when night was coming on, a’most as
if they’d been my darling’s children. Oh, my darling!”
Overpowered by sudden grief, he SOBBED aloud. I laid my trembling
hand upon the hand he put before his face. “Thank’ee, Sir,” he said,
“doen’t take no notice.”
said Mr. Peggotty, “upon my knee; and many a time you might have seen
me sitting at their doors, when night was coming on, a’most as
if they’d been my darling’s children. Oh, my darling!”
Overpowered by sudden grief, he SOBBED aloud. I laid my trembling
hand upon the hand he put before his face. “Thank’ee, Sir,” he said,
“doen’t take no notice.”
“What will she ever do!” SOBBED Minnie.
“Where will she go! What will
become of her! Oh, now could she be so cruel, to herself and him!”
become of her! Oh, now could she be so cruel, to herself and him!”
39 He dropped into a chair, and weakly SOBBED. The excitement into
which he had been roused was leaving him. Uriah came out of his corner.
which he had been roused was leaving him. Uriah came out of his corner.
40 “Oh, what an accusation,” exclaimed Dora, opening her eyes
wide;
“to say that you ever saw me take gold watches! Oh!”
“My dearest,” I remonstrated, “don’t talk preposterous nonsense!
Who has made the least allusion to gold watches?”
“You did,” returned Dora. “You know you did.
You said I hadn’t turned out well, and compared me to him.”
“To whom?” I asked.
“To the page,” SOBBED Dora. “Oh, you cruel fellow, to compare
your affectionate wife to a transported page! Why didn’t you tell
me your opinion of me before we were married? Why didn’t you say,
you hard-hearted thing, that you were convinced
I was worse than a transported page?”
------------------------------------------------------------------
William Wordsworth: AT ALBANO
“to say that you ever saw me take gold watches! Oh!”
“My dearest,” I remonstrated, “don’t talk preposterous nonsense!
Who has made the least allusion to gold watches?”
“You did,” returned Dora. “You know you did.
You said I hadn’t turned out well, and compared me to him.”
“To whom?” I asked.
“To the page,” SOBBED Dora. “Oh, you cruel fellow, to compare
your affectionate wife to a transported page! Why didn’t you tell
me your opinion of me before we were married? Why didn’t you say,
you hard-hearted thing, that you were convinced
I was worse than a transported page?”
------------------------------------------------------------------
William Wordsworth: AT ALBANO
MEMORIALS OF A TOUR IN ITALY, 1837
DAYS
passed--and Monte Calvo would not
clear
His head from mist; and, as the wind SOBBED through
Albano's dripping Ilex avenue,
My dull forebodings in a Peasant's ear
Found casual vent. She said, "Be of good cheer;
Our yesterday's procession did not sue
In vain; the sky will change to sunny blue,
Thanks to our Lady's grace." I smiled to hear,
But not in scorn:--the Matron's Faith may lack
The heavenly sanction needed to ensure
Fulfilment; but, we trust, her upward track
Stops not at this low point, nor wants the lure
Of flowers the Virgin without fear may own,
For by her Son's blest hand the seed was sown.
His head from mist; and, as the wind SOBBED through
Albano's dripping Ilex avenue,
My dull forebodings in a Peasant's ear
Found casual vent. She said, "Be of good cheer;
Our yesterday's procession did not sue
In vain; the sky will change to sunny blue,
Thanks to our Lady's grace." I smiled to hear,
But not in scorn:--the Matron's Faith may lack
The heavenly sanction needed to ensure
Fulfilment; but, we trust, her upward track
Stops not at this low point, nor wants the lure
Of flowers the Virgin without fear may own,
For by her Son's blest hand the seed was sown.
----------------------------------------------------------
William Wordsworth: ALICE FELL; OR, POVERTY
THE post-boy
drove with fierce
career,
For threatening clouds the moon had drowned;
When, as we hurried on, my ear
Was smitten with a startling sound.
For threatening clouds the moon had drowned;
When, as we hurried on, my ear
Was smitten with a startling sound.
As if the wind
blew many ways,
I heard the sound,--and more and more;
It seemed to follow with the chaise,
And still I heard it as before.
I heard the sound,--and more and more;
It seemed to follow with the chaise,
And still I heard it as before.
At length I to
the boy called
out;
He stopped his horses at the word,
But neither cry, nor voice, nor shout,
Nor aught else like it, could be heard.
He stopped his horses at the word,
But neither cry, nor voice, nor shout,
Nor aught else like it, could be heard.
The boy then
smacked his whip, and
fast
The horses scampered through the rain;
But, hearing soon upon the blast
The cry, I bade him halt again.
The horses scampered through the rain;
But, hearing soon upon the blast
The cry, I bade him halt again.
FORTHwith alighting on the
ground,
"Whence comes," said I, "this piteous moan?"
And there a little Girl I found,
Sitting behind the chaise, alone.
"Whence comes," said I, "this piteous moan?"
And there a little Girl I found,
Sitting behind the chaise, alone.
"My cloak!" no
other word she
spake,
But loud and bitterly she wept,
As if her innocent heart would break;
And down from off her seat she leapt.
But loud and bitterly she wept,
As if her innocent heart would break;
And down from off her seat she leapt.
"What ails
you, child?"--she SOBBED "Look
here!"
I saw it in the wheel entangled,
A weather-beaten rag as e'er
From any garden scare-crow dangled.
I saw it in the wheel entangled,
A weather-beaten rag as e'er
From any garden scare-crow dangled.
There, twisted
between nave and
spoke,
It hung, nor could at once be freed;
But our joint pains unloosed the cloak,
A miserable rag indeed!
It hung, nor could at once be freed;
But our joint pains unloosed the cloak,
A miserable rag indeed!
"And whither
are you going,
child,
To-night alone these lonesome ways?"
"To Durham," answered she, half wild--
"Then come with me into the chaise."
To-night alone these lonesome ways?"
"To Durham," answered she, half wild--
"Then come with me into the chaise."
Insensible to
all relief
Sat the poor girl, and FORTH did send
SOB after SOB, as if her grief
Could never, never have an end.
Sat the poor girl, and FORTH did send
SOB after SOB, as if her grief
Could never, never have an end.
"My child, in
Durham do you
dwell?"
She checked herself in her distress,
And said, "My name is Alice Fell;
I'm fatherless and motherless.
She checked herself in her distress,
And said, "My name is Alice Fell;
I'm fatherless and motherless.
"And I to
Durham, Sir,
belong."
Again, as if the thought would choke
Her very heart, her grief grew strong;
And all was for her tattered cloak!
Again, as if the thought would choke
Her very heart, her grief grew strong;
And all was for her tattered cloak!
The chaise
drove on; our journey's
end
Was nigh; and, sitting by my side,
As if she had lost her only friend
She wept, nor would be pacified.
Was nigh; and, sitting by my side,
As if she had lost her only friend
She wept, nor would be pacified.
Up to the
tavern-door we
post;
Of Alice and her grief I told;
And I gave money to the host,
To buy a new cloak for the old.
Of Alice and her grief I told;
And I gave money to the host,
To buy a new cloak for the old.
"And let it be
of duffil grey,
As warm a cloak as man can sell!"
Proud creature was she the next day,
The little orphan, Alice Fell!
---------------------------------------------------------
As she said these words her foot slipped, and in another
As warm a cloak as man can sell!"
Proud creature was she the next day,
The little orphan, Alice Fell!
---------------------------------------------------------
As she said these words her foot slipped, and in another
moment,
splash! she was up to her chin in salt water.
Her
first idea was that she had somehow fallen into the
sea,
'and in
that case I can go back by railway,' she said to
herself.
However,
she soon made out that she was in the pool of
tears which she had wept when she was nine feet
high.
'I wish I
hadn't cried so much!' said Alice, as she swam about,
trying to
find her way out. 'I shall be punished for it
now,
I
suppose, by being drowned in my own tears!
That WILL
be a queer thing, to be sure!
However,
everything is queer to-day.'
---------------------------------------------------------
She sighed, she SOBBED, and, furious with
despair.
She rent her garments, and she tore her hair. --Dryden.
She rent her garments, and she tore her hair. --Dryden.
SOBBED DESCENT
SECOND BEST BED
---------------------------------------------------------
---------------------------------------------------------
SOBBING is the same thing [as
sighing], stronger. --Bacon.
SOB, v. i. [imp. & p. p.
{SOBBED}; p. pr. & vb. n. {SOBBING}.]
[OE. SOBBEN; akin to AS.
se['o]fian, si['o]fian, to complain,
bewail, se['o]fung, si['o]fung, sobbing,
lamentation;
cf. OHG. s?ft["o]n, s?ft?n, to sigh, MHG. siuften, siufzen,
G. seufzen, MHG. s?ft a sigh, properly, a drawing in of breath,
from s?fen to drink, OHG. s?fan. Cf. {Sup}.]
To sigh with a sudden heaving of the breast, or
with a kind of convulsive motion; to sigh with
tears,
and with a convulsive drawing in of the breath.
--------------------------------------------------
Venus and Adonis Stanza 35
Venus and Adonis Stanza 35
And now she weeps, and now she fain would speak,
And now her SOBS do her intendments break.
And now her SOBS do her intendments break.
--------------------------------------------------
The Rape of Lucrece Stanza 156
Revealing day through every cranny spies,
And seems to point her out where she sits weeping;
To whom she SOBBING speaks: 'O eye of eyes,
Why pry'st thou through my window? leave thy peeping:
Mock with thy tickling beams eyes that are sleeping:
Brand not my forehead with thy piercing light,
For day hath nought to do what's done by night.'
And seems to point her out where she sits weeping;
To whom she SOBBING speaks: 'O eye of eyes,
Why pry'st thou through my window? leave thy peeping:
Mock with thy tickling beams eyes that are sleeping:
Brand not my forehead with thy piercing light,
For day hath nought to do what's done by night.'
--------------------------------------------------
As You Like It Act 2, Scene 1
As You Like It Act 2, Scene 1
Second Lord: We did, my lord, weeping and
commenting
Upon the SOBBING deer.
Upon the SOBBING deer.
--------------------------------------------------
The Comedy of Errors Act
4, Scene 3
DROMIO OF SYRACUSE: No? why, 'tis a plain case:
he that went, like a bass-viol, in a case of leather; the man,
sir,
that, when gentlemen are tired, gives them a SOB
and 'rests them; he, sir, that takes pity on decayed
men and gives them suits of durance; he that sets up
his rest to do more exploits with his mace than a morris-pike.
that, when gentlemen are tired, gives them a SOB
and 'rests them; he, sir, that takes pity on decayed
men and gives them suits of durance; he that sets up
his rest to do more exploits with his mace than a morris-pike.
------------------------------------------------------------
Much Ado About Nothing Act
2, Scene 3
CLAUDIO: Then down upon her knees she falls, weeps,
SOBS, beats her heart, tears her hair, prays,
curses;
'O sweet Benedick! God give
me patience!'
-----------------------------------------------------------
Troilus and Cressida Act 4, Scene 2
Troilus and Cressida Act 4, Scene 2
CRESSIDA: Tear my bright hair and scratch my praised
cheeks,
Crack my clear voice with SOBS and break my heart
With sounding Troilus. I will not go from Troy.
Crack my clear voice with SOBS and break my heart
With sounding Troilus. I will not go from Troy.
----------------------------------------------------------
Titus Andronicus Act 3, Scene 1
Titus Andronicus Act 3, Scene 1
LUCIUS Sweet father, cease your tears; for, at your
grief,
See how my wretched sister SOBS and weeps.
See how my wretched sister SOBS and weeps.
-----------------------------------------------------------
King Richard III Act 1, Scene 2
King Richard III Act 1, Scene 2
GLOUCESTER: I would they were, that I might die at once;
For now they kill me with a living death.
Those eyes of thine from mine have drawn salt tears,
Shamed their aspect with store of childish drops:
These eyes that never shed remorseful tear,
No, when my father York and Edward wept,
To hear the piteous moan that Rutland made
When black-faced Clifford shook his sword at him;
Nor when thy warlike father, like a child,
Told the sad story of my father's death,
And twenty times made pause to SOB and weep,
That all the standers-by had wet their cheeks
Like trees BEDash'd with rain: in that sad time
My manly eyes did scorn an humble tear;
And what these sorrows could not thence exhale,
Thy beauty hath, and made them blind with weeping.
I never sued to friend nor enemy;
My tongue could never learn sweet smoothing word;
But now thy beauty is proposed my fee,
My proud heart sues, and prompts my tongue to speak.
For now they kill me with a living death.
Those eyes of thine from mine have drawn salt tears,
Shamed their aspect with store of childish drops:
These eyes that never shed remorseful tear,
No, when my father York and Edward wept,
To hear the piteous moan that Rutland made
When black-faced Clifford shook his sword at him;
Nor when thy warlike father, like a child,
Told the sad story of my father's death,
And twenty times made pause to SOB and weep,
That all the standers-by had wet their cheeks
Like trees BEDash'd with rain: in that sad time
My manly eyes did scorn an humble tear;
And what these sorrows could not thence exhale,
Thy beauty hath, and made them blind with weeping.
I never sued to friend nor enemy;
My tongue could never learn sweet smoothing word;
But now thy beauty is proposed my fee,
My proud heart sues, and prompts my tongue to speak.
Act 1, Scene 4
CLARENCE: It cannot be; for when I parted with him,
He hugg'd me in his arms, and swore, with SOBS,
That he would labour my delivery.
He hugg'd me in his arms, and swore, with SOBS,
That he would labour my delivery.
--------------------------------------------
Seven Brides for Seven
Brothers
Lyrics: Johnny Mercer
Lyrics: Johnny Mercer
SOBBIN'
Women
ADAM: Tell ya 'bout them SOBBIN' women
Who lived in the Roman days.
It seems that they all went swimmin'
While their men was off to graze.
Well, a Roman troop was ridin' by
And saw them in their "me oh my",
So they took 'em all back home to dry.
Least that's what Plutarch says.
Oh yes!
Them a woman was SOBBIN', SOBBIN', SOBBIN'
Fit to be tied.
Ev'ry muscle was throbbin', throbbin'
From that riotous ride.
Oh they cried and kissed and kissed and cried
All over that Roman countryside
So don't forget that when you're takin' a bride.
SOBBIN' fit to be tied
From that riotous ride!
They never did return their plunder
The victor gets all the loot.
They carried them home, by thunder,
To rotundas small but cute.
And you've never seens so,
They tell me, such downright domesticity.
With a Roman baby on each knee
Named "Claudius" and "Brute"
Who lived in the Roman days.
It seems that they all went swimmin'
While their men was off to graze.
Well, a Roman troop was ridin' by
And saw them in their "me oh my",
So they took 'em all back home to dry.
Least that's what Plutarch says.
Oh yes!
Them a woman was SOBBIN', SOBBIN', SOBBIN'
Fit to be tied.
Ev'ry muscle was throbbin', throbbin'
From that riotous ride.
Oh they cried and kissed and kissed and cried
All over that Roman countryside
So don't forget that when you're takin' a bride.
SOBBIN' fit to be tied
From that riotous ride!
They never did return their plunder
The victor gets all the loot.
They carried them home, by thunder,
To rotundas small but cute.
And you've never seens so,
They tell me, such downright domesticity.
With a Roman baby on each knee
Named "Claudius" and "Brute"
SIX BROTHERS: Oh yes!
Them a women was SOBBIN', SOBBIN', passin' them nights.
Them a women was SOBBIN', SOBBIN', passin' them nights.
ADAM
While the Romans was goin' out hobbin', nobbin'
Startin' up fights.
They kept occupied by sewin' lots of little old togas
For them tots and sayin' "someday women folk'll have rights."
While the Romans was goin' out hobbin', nobbin'
Startin' up fights.
They kept occupied by sewin' lots of little old togas
For them tots and sayin' "someday women folk'll have rights."
GIDEON: Passin' all o' them nights.
ADAM: Just sewin'!
While the Romans had fights.
While the Romans had fights.
CALEB: "Hey listen to this"
Now when their men folk went to fetch 'em
Them women would not be fetched.
It seems them Romans ketch 'em
That their lady friends stay ketched.
Now when their men folk went to fetch 'em
Them women would not be fetched.
It seems them Romans ketch 'em
That their lady friends stay ketched.
ADAM
[N]ow let this be because it's TRUE,
[A] lesson to the likes of you,
[T]reat 'em rough like them there Romans do
[O]r else they'll think you're tetched.
[N]ow let this be because it's TRUE,
[A] lesson to the likes of you,
[T]reat 'em rough like them there Romans do
[O]r else they'll think you're tetched.
SIX BROTHERS: Oh yes!
Them a women was SOBBIN', SOBBIN',
SOBBIN' buckets of tears
On account o' old dobbin',
Dobbin' really rattled their ears.
Oh they acted angry and annoyed
Them a women was SOBBIN', SOBBIN',
SOBBIN' buckets of tears
On account o' old dobbin',
Dobbin' really rattled their ears.
Oh they acted angry and annoyed
GIDEON: But secretly they was overjoyed
ADAM: You must recall that when corralin' your streets
BROTHERS: Oh, oh, oh, oh them poe little dears.
SIX BROTHERS ADAM: Oh yes
Them a women was SOBBIN', SOBBIN', SOBBIN' Oh yeah
Weepin' a ton Then SOBBIN' women
Just remember what Robin, Robin, Robin Oh yeah
Hood woulda done. Them SOBBIN women.
We'll be just like them three merry men
And make 'em all merry once again.
Them a women was SOBBIN', SOBBIN', SOBBIN' Oh yeah
Weepin' a ton Then SOBBIN' women
Just remember what Robin, Robin, Robin Oh yeah
Hood woulda done. Them SOBBIN women.
We'll be just like them three merry men
And make 'em all merry once again.
ADAM: And though they'll be a SOBBIN' for a while
ALL: Oh yes!
We're gonna make them SOBBIN' women smile!
We're gonna make them SOBBIN' women smile!
--------------------------------------------
Art Neuendorffer
David L. Webb
Jan 20, 2005, 1:07:16 PM1/20/05
to
In article <_6OdnVQyV_2...@comcast.com>,
"Art Neuendorffer" <aneuendor...@comcast.net>
"Art Neuendorffer" <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
> -----------------------------------------------------------
> George Eliot. (1819-1880). The Mill on the Floss.
> Book II-School-Time VI. A Love-Scene
>
> POOR Tom bore his seVERE pain heroically, and was resolute in not
> "telling" of Mr. Poulter more than was unavoidable; the five-shilling
> piece remained a secret even to Maggie. But there was a terrible dread
> weighing on his mind, so terrible that he dared not even ask the
> question which might bring the fatal "yes"; he dared not ask the
> surgeon or Mr. Stelling, "Shall I be LAME, Sir?" He mastered himself
> so as not to cry out at the pain; but when his foot had been dressed,
> and he was left alone with Maggie seated by his BEDside, the
> children SOBBED together, with their heads laid on the same pillow.
> -----------------------------------------------------------
>
> SOBBED DESCENT
"Sobbed descent"?! Are you serious, Art?! (The question is, of
course, purely rhetorical.) What is the source of the memorable phrase
"sobbed descent"? And what on earth is it supposed to mean?
> SECOND BEST BED
INPNC score 0/13. You're still batting .000, Art. On the other
hand, your batty aVERage is near the top of the league!
[Many screenfuls of lunatic logorrhea snipped]
Art Neuendorffer
Jan 20, 2005, 2:23:52 PM1/20/05
to
-----------------------------------------------------------
George Eliot. (1819–1880). The Mill on the Floss.
Book II—School-Time VI. A Love-Scene
George Eliot. (1819–1880). The Mill on the Floss.
Book II—School-Time VI. A Love-Scene
POOR Tom bore his seVERE pain heroically, and was
resolute in not
“telling” of Mr. Poulter more than was unavoidable; the five-shilling
piece remained a secret even to Maggie. But there was a terrible dread
weighing on his mind, so terrible that he dared not even ask the
question which might bring the fatal “yes”; he dared not ask the
surgeon or Mr. Stelling, “Shall I be LAME, Sir?” He mastered himself
so as not to cry out at the pain; but when his foot had been dressed,
and he was left alone with Maggie seated by his BEDside, the
children SOBBED together, with their heads laid on the same pillow.
-----------------------------------------------------------
“telling” of Mr. Poulter more than was unavoidable; the five-shilling
piece remained a secret even to Maggie. But there was a terrible dread
weighing on his mind, so terrible that he dared not even ask the
question which might bring the fatal “yes”; he dared not ask the
surgeon or Mr. Stelling, “Shall I be LAME, Sir?” He mastered himself
so as not to cry out at the pain; but when his foot had been dressed,
and he was left alone with Maggie seated by his BEDside, the
children SOBBED together, with their heads laid on the same pillow.
-----------------------------------------------------------
SOBBED DESCENT
SECOND BEST BED
-----------------------------------------------------------
"David L. Webb" <david....@dartmouth.edu> wrote
> "SOBBED DESCENT"?! Are you serious, Art?! (The question is, of
-----------------------------------------------------------
"David L. Webb" <david....@dartmouth.edu> wrote
> "SOBBED DESCENT"?! Are you serious, Art?! (The question is, of
> course, purely rhetorical.) What is the source of
the memorable phrase
> "SOBBED
DESCENT"? And what on earth is
it supposed to mean?
--------------------------------------------------------------------------
Read the _DA VINCI
CODE_, Dave.
--------------------------------------------------------------------------
<<Because Mary Magdalene is described as weeping at Jesus'
tomb
on Easter Sunday, she is often
portrayed in art as weeping,
or with eyes red from having wept. This is
the source of the
English word "maudlin," meaning "effusively or tearfully
sentimental."
There is a Magdalen College at
Oxford
and a Magdalene College at Cambridge (different spelling),
both pronounced "Maudlin.">>
<<[Mary] Magdalene's reputation as a wanton woman was sealed
by 591 when
Pope Gregory announced that the Magdalene, Mary of Bethany and the "sinner"
[who washes Jesus' feet in Luke] were, in fact, the same woman. (It wasn't
until 1969 that the Catholic Church restored them. . .)>> - The Mysteries of
Mary Magdalene_ by Roxamme Roberts [The Washington Post, July 20, 2003]
Pope Gregory announced that the Magdalene, Mary of Bethany and the "sinner"
[who washes Jesus' feet in Luke] were, in fact, the same woman. (It wasn't
until 1969 that the Catholic Church restored them. . .)>> - The Mysteries of
Mary Magdalene_ by Roxamme Roberts [The Washington Post, July 20, 2003]
--------------------------------------------------------------
From Wikipedia, the free encyclopedia.
http://www.pepysdiary.com/
From Wikipedia, the free encyclopedia.
http://www.pepysdiary.com/
<<Samuel Pepys (pronounced "peeps", as his lineal descendants still
do,
although other modern relatives pronounce their name "pep-iss") was born
in London February 23, 1633, the son of a tailor. He was educated at
although other modern relatives pronounce their name "pep-iss") was born
in London February 23, 1633, the son of a tailor. He was educated at
St Paul's School, London, and Magdalene
College, Cambridge.
On January 1, 1660 he started his diary. The same year he became
Clerk of the Acts to the Navy Board. In May 1669 his diary was
brought to a sudden conclusion, owing to the weak state of
Pepys' eyes. His wife died the same year.
Pepys' eyes. His wife died the same year.
When Pepys died on May
26, 1703 his diaries were bequeathed to
Magdalene College. The six volumes were written IN A CIPHER
Magdalene College. The six volumes were written IN A CIPHER
based on shorthand. The books were first
deciphered by a
Mr. John SMITH from 1819 to
1822. A shortened (& expurgated)
publication appeared in 1825; the complete diary
of more than 3800 pages appeared in
1893.>>
----------------------------------------------------------------------
Physics at the University of Oxford
Physics at the University of Oxford
<<IN THE FIFTEENTH CENTURY the New Learning brought to medieval
Oxford
the study of Greek and access to Greek Science. William of Wayneflete
founded Magdalen College (1457) and a lectureship in Natural Philosophy,
but the creation of Professorships in Geometry, Astronomy & Natural
Philosophy was left to 1620. More important was the migration
the study of Greek and access to Greek Science. William of Wayneflete
founded Magdalen College (1457) and a lectureship in Natural Philosophy,
but the creation of Professorships in Geometry, Astronomy & Natural
Philosophy was left to 1620. More important was the migration
of scholars some thirty years later from London to Oxford, where
they met in the lodgings of JOHN WILKINS (1614-1672), Warden
they met in the lodgings of JOHN WILKINS (1614-1672), Warden
of Wadham College. His father was an Oxford GOLDSMITH, said to be:
"a very ingeniose man and had a very Mechanicall
head.
He was much for Trying of Experiments..."
He was much for Trying of Experiments..."
-----------------------------------------------------------
http://www.mhs.ox.ac.uk/gatt/garden/catalog.asp?CN=21
http://www.mhs.ox.ac.uk/gatt/garden/catalog.asp?CN=21
<<In 1621, a gift of £250 from Henry, Lord Danvers (later Earl of
Danby)
allowed the University of Oxford to take out the lease from Magdalen
allowed the University of Oxford to take out the lease from Magdalen
College of
a five-acre tract of meadowland, on a bend of the
river...
--------------------------------------------------------------------
suddenly the needles turned into OARS in her hands, and
--------------------------------------------------------------------
suddenly the needles turned into OARS in her hands, and
[Alice] found they were in a little boat, gliding along between
banks: so there was nothing for it but to do her best.
There was something very queer about the water, she thought,
as EVERy now and then the OARS got fast in it, and
would hardly come out again.
as EVERy now and then the OARS got fast in it, and
would hardly come out again.
------------------------------------------------------------
ALL in the GOLDEN AFTERNOON
Full leisurely we glide;
For both our OARS, with little skill, . . .
By little arms are plied,
ALL in the GOLDEN AFTERNOON
Full leisurely we glide;
For both our OARS, with little skill, . . .
By little arms are plied,
--------------------------------------------------------------
"[OAR]MAR. MAGDALENE"
"[ORA]NGE
MARMALADE"
-------------------------------------------------------------------------
"The PIG-Tale" _Sylvie and Bruno Concluded_
"The PIG-Tale" _Sylvie and Bruno Concluded_
"Once there were a PIG, and a
Accordion, and two jars of ORANGE-MARMALADE--"
"The dramatis personae," murmured the Professor. "Well, what then?"
"So, when the PIG played on the
Accordion," Bruno went on, "one of
the Jars of ORANGE-MARMALADE didn't like the tune, and the other Jar
of ORANGE-MARMALADE did like the tune--I know I shall get confused
among those Jars of ORANGE-MARMALADE, Sylvie!" he whispered anxiously.
the Jars of ORANGE-MARMALADE didn't like the tune, and the other Jar
of ORANGE-MARMALADE did like the tune--I know I shall get confused
among those Jars of ORANGE-MARMALADE, Sylvie!" he whispered anxiously.
-----------------------------------------------------------
Edward de Vere died June 24, 1604
the Festival Day of St. John the Baptist
Patron Saint of OARS
Edward de Vere died June 24, 1604
the Festival Day of St. John the Baptist
Patron Saint of OARS
PIG on an
Accordion:
Oxford's _Hamlet_
one of the Jars of ORANGE-MARMALADE:
Rosicrucians/Rosencrantz
the other Jar of ORANGE-MARMALADE: Freemasons/Guildensterne
the other Jar of ORANGE-MARMALADE: Freemasons/Guildensterne
------------------------------------------------------------
"ORANGE MARMALADE"
"ORANGE MARMALADE"
"ANAGRAMMED
EARL O."
"O RARE MAGDALEN MA"
1634
------------------------------------------------------------
http://www.cl.cam.ac.uk/~rja14/wilkins/wilkins.html
------------------------------------------------------------
http://www.cl.cam.ac.uk/~rja14/wilkins/wilkins.html
<<JOHN WILKINS was born
January 1, 1614, the son of an Oxford
watchmaker. He became an undergraduate at MAGDALEN Hall at
age 13 & graduated MA in 1634. He sided with the republican
faction becoming chaplain to a series of anti-Stuart noblemen,
and wrote `Mercury' in 1641 at the age of 27.
watchmaker. He became an undergraduate at MAGDALEN Hall at
age 13 & graduated MA in 1634. He sided with the republican
faction becoming chaplain to a series of anti-Stuart noblemen,
and wrote `Mercury' in 1641 at the age of 27.
`Mercury, or the Secret &
Swift Messenger', described in David
Kahn's history `The Codebreakers' as `the first book in English
on CRYPTOGRAPHY'. It is much more than that: >>
Kahn's history `The Codebreakers' as `the first book in English
on CRYPTOGRAPHY'. It is much more than that: >>
-------------------------------------------------------------------
Martin Gardner's "MATHEMATICAL GAMES"
John Wilkins's "MATHEMATICAL MAGICK"
Douglas Hofstadter's "METAMAGICAL THEMAS"
------------------------------------------------------------------
Bishop JOHN WILKINS
Martin Gardner's "MATHEMATICAL GAMES"
John Wilkins's "MATHEMATICAL MAGICK"
Douglas Hofstadter's "METAMAGICAL THEMAS"
------------------------------------------------------------------
Bishop JOHN WILKINS
<<JOHN WILKINS showed the
Royal Society an instrument to assist hearing.
At Wadham he devised a machine for the gardens that would create an
artifical mist, a new plow at Wadham, and also a transparent BEEHIVE
arranged so the honey could be removed without disturbing the BEES.>>
At Wadham he devised a machine for the gardens that would create an
artifical mist, a new plow at Wadham, and also a transparent BEEHIVE
arranged so the honey could be removed without disturbing the BEES.>>
----------------------------------------------------------------
-`I see you're admiring my little box.' the Knight said
in a friendly tone. `It's my own invention -- to keep
clothes and sandwiches in. You see I carry it
upside-down, so that the rain can't get in.'
-`But the things can get out,' Alice gently remarked.
`Do you know the lid's open?'
-`I didn't know it,' the Knight said, a shade of
vexation passing over his face. `Then all the things
much have fallen out! And the box is no use without
them.' He unfastened it as he spoke, and was
just going to throw it into the bushes,
when a sudden though seemed to strike him,
and he hung it carefully on a tree.
`Can you guess why I did that?' he said to Alice.
-Alice shook her head.
-`In hopes some BEES may make a nest in it -
- then I should get the honey.'
-`But you've got a BEE-HIVE-- or something like one
-- fastened to the saddle,' said Alice.
-`Yes, it's a VERY good BEE-HIVE,' the Knight said in
a discontented tone, `one of the best kind. But not a
single BEE has come near it yet. And the other thing
is a mouse-trap. I suppose the mice keep the BEES out -
- or the BEES keep the mice out, I don't know which.'
--------------------------------------------------------------
-`I see you're admiring my little box.' the Knight said
in a friendly tone. `It's my own invention -- to keep
clothes and sandwiches in. You see I carry it
upside-down, so that the rain can't get in.'
-`But the things can get out,' Alice gently remarked.
`Do you know the lid's open?'
-`I didn't know it,' the Knight said, a shade of
vexation passing over his face. `Then all the things
much have fallen out! And the box is no use without
them.' He unfastened it as he spoke, and was
just going to throw it into the bushes,
when a sudden though seemed to strike him,
and he hung it carefully on a tree.
`Can you guess why I did that?' he said to Alice.
-Alice shook her head.
-`In hopes some BEES may make a nest in it -
- then I should get the honey.'
-`But you've got a BEE-HIVE-- or something like one
-- fastened to the saddle,' said Alice.
-`Yes, it's a VERY good BEE-HIVE,' the Knight said in
a discontented tone, `one of the best kind. But not a
single BEE has come near it yet. And the other thing
is a mouse-trap. I suppose the mice keep the BEES out -
- or the BEES keep the mice out, I don't know which.'
--------------------------------------------------------------
Art Neuendorffer
David L. Webb
Jan 22, 2005, 4:17:31 PM1/22/05
to
In article <5IKdncJDsdl...@comcast.com>,
"Art Neuendorffer" <aneuendor...@comcast.net>
"Art Neuendorffer" <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
> SOBBED DESCENT
> SECOND BEST BED
> -----------------------------------------------------------
> "David L. Webb" <david....@dartmouth.edu> wrote
>
> > "SOBBED DESCENT"?! Are you serious, Art?! (The question is, of
> > course, purely rhetorical.) What is the source of the memorable phrase
> > "SOBBED DESCENT"? And what on earth is it supposed to mean?
> --------------------------------------------------------------------------
> Read the DA VINCI CODE , Dave.
I did, Art. Indeed I'm the one who recommended it to *you* --
remember? (The concluding question is, of course, purely rhetorical.)
<http://groups-beta.google.com/group/humanities.lit.authors.shakespeare/m
sg/220f4186a5ee2bcc?dmode=source>
Incidentally, Art, I trust that you enjoyed the book -- it is chock-full
of the sort of lunatic-fringe nutcase conspiracy theories that are your
stock in trade. But where in the book did you find the phrase "sobbed
descent"? You mean, you just pulled it out of thin air? That's what I
thought.
[Lunatic logorrhea snipped]
Art Neuendorffer
Jan 22, 2005, 7:29:14 PM1/22/05
to
-----------------------------------------------------------
George Eliot. (1819–1880). The Mill on the Floss.
Book II—School-Time VI. A Love-Scene
George Eliot. (1819–1880). The Mill on the Floss.
Book II—School-Time VI. A Love-Scene
POOR Tom bore his seVERE pain heroically, and was
resolute in not
“telling” of Mr. Poulter more than was unavoidable; the five-shilling
piece remained a secret even to Maggie. But there was a terrible dread
weighing on his mind, so terrible that he dared not even ask the
question which might bring the fatal “yes”; he dared not ask the
surgeon or Mr. Stelling, “Shall I be LAME, Sir?” He mastered himself
so as not to cry out at the pain; but when his foot had been dressed,
and he was left alone with Maggie seated by his BEDside, the
children SOBBED together, with their heads laid on the same pillow.
-----------------------------------------------------------
“telling” of Mr. Poulter more than was unavoidable; the five-shilling
piece remained a secret even to Maggie. But there was a terrible dread
weighing on his mind, so terrible that he dared not even ask the
question which might bring the fatal “yes”; he dared not ask the
surgeon or Mr. Stelling, “Shall I be LAME, Sir?” He mastered himself
so as not to cry out at the pain; but when his foot had been dressed,
and he was left alone with Maggie seated by his BEDside, the
children SOBBED together, with their heads laid on the same pillow.
-----------------------------------------------------------
SOBBED DESCENT
SECOND BEST BED
-----------------------------------------------------------
>> "David L. Webb" <david....@dartmouth.edu> wrote
>>
>>> "SOBBED DESCENT"?! Are you serious, Art?! (The question is, of
>>> course, purely rhetorical.) What is the source of the memorable phrase
>>> "SOBBED DESCENT"? And what on earth is it supposed to mean?
-----------------------------------------------------------
>> "David L. Webb" <david....@dartmouth.edu> wrote
>>
>>> "SOBBED DESCENT"?! Are you serious, Art?! (The question is, of
>>> course, purely rhetorical.) What is the source of the memorable phrase
>>> "SOBBED DESCENT"? And what on earth is it supposed to mean?
> >
--------------------------------------------------------------------------
> > Read the DA VINCI CODE , Dave.
> > Read the DA VINCI CODE , Dave.
"David L. Webb" <david....@dartmouth.edu>
wrote
> I did, Art.
Indeed I'm the one who recommended it to *you* --
> remember? (The concluding question is, of course, purely rhetorical.)
> remember? (The concluding question is, of course, purely rhetorical.)
> Incidentally, Art, I trust that you enjoyed the book -- it is
chock-full
> of the sort of lunatic-fringe nutcase conspiracy theories that are your
> stock in trade.
> of the sort of lunatic-fringe nutcase conspiracy theories that are your
> stock in trade.
Popular lunatic-fringe:
-----------------------------------------------------------------
Explore DA VINCI
CODE Secrets with Canals of France
Jan 20, 05 | 11:12 am
Jan 20, 05 | 11:12 am
<<Canals of France is offering 8-day itineraries that explore the
controversial sites, history and brotherhood made famous by Dan Brown's The
DA VINCI
CODE. Tours begin in Paris and wind down to southern
France, and include lodging and cruising along the Canal du Midi on the luxury
Tango and Fandango barges. Imagine exploring the mysteries of the controversial
best selling novel "The DA VINCI
CODE" with your own private guide and a deluxe canal barge as
your base. Canals of France, operator of luxury barges Tango and Fandango,
is offering 8-day itineraries centered around the Knights of the Templar, the
legend of Mary Magdalene and the history of the Middle
Ages. Your adventure starts in Paris, whose churches and museums play a
prominent role in Dan Brown's DA
VINCI CODE. Your guide will introduce you to sites mentioned in
the book and related to the Holy Grail and the mysterious Priory of Sion. A TGV
train-ride to the cruising area in the Languedoc region of Southern France will
then bring you to your barge and closer to the actual sites connected to the
heart of the controversy: the followers of the cult of Mary Magdalene and the confrontation with the Catholic
Church. Visit villages linked to the Carthars heresy, see towns which were key
points in the battle with the Church, and centers for Knights of the
Templar. The highlight of your cruise is a day-long excursion to the
famous Rennes-le-Château, where it is rumored that the actual grail was found by
a solitary priest in the
19th-century.>>
---------------------------------------------------------------------
---------------------------------------------------------------------
"David L. Webb" <david....@dartmouth.edu>
wrote
> But where in the book did you find the phrase "SOBBED DESCENT"?
-----------------------------------------------------------------------
<<Because Mary Magdalene is described as weeping at Jesus'
tomb
on Easter Sunday, she is often
portrayed in art as weeping,
or with eyes red from having wept. This is
the source of the
English word "maudlin," meaning "effusively or tearfully
sentimental.">>
---------------------------------------------------------------------
PARIS - Louvre in talks for filming of The DA VINCI CODE
Fri, 21 Jan 2005 14:13:00 EST
<<Officials at the Louvre have scheduled talks with film producers
about shooting scenes for the upcoming movie The DA VINCI CODE at the famed
French museum. "There is really a very strong desire to see the movie for this
book, which has world renown, shot in the Louvre," museum director Henri
Loyrette told French radio Friday. "It is a 'yes' in principle, from our side."
With filming set to begin in June, talks should begin very soon, Loyrette said,
adding that many details have to be worked out. "The Louvre is not a movie set.
It is a place that receives an average of 20,000 visitors a day," he said,
suggesting that time available for shooting would be limited. "All the
discussions must be taken up with the production because it is bound to be a
busy shoot, with financial implications." Tom Hanks will play lead character
Robert Langdon, who is caught up in a mix of secret codes, ancient societies,
religion, art history and murder. Ron Howard will direct the adaptation of Dan
Brown's best-selling thriller, which postulates that Jesus married Mary
Magdalene and fathered
children.>>
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