DOCSLIB.ORG

The Castle of Otranto the Mysterious Mother

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Castle of Otranto the Mysterious Mother THE CASTLE OF OTRANTO A GOTHIC STORY and THE MYSTERIOUS MOTHER A TRAGEDY Horace Walpole edited by Frederick S. Frank broadview literary texts 02003 Frederick S. Fr.ink All rights n:servcd. The: use of any part of this publication reproduced, transmiued in any form or by any means, electronic, mc:chamcal, photocopying, recording, or otherwise, or stored in a n:tr1eV3l system. without prior written consent of the publishc:r - or in the: case: of photocopying, a hcc:ncc: from Access Copyright (Canadian Copyright Licc:nsing Agency), One Yonboe Street, Suite 20 1, Toronto, 0111 MSE 1 ES - is an infringement of the copyright law. National Ubrary of Canada Cataloguing in Publication Walpole:, Horace, 1717- 1797 The: castle: of Otranto a gothrc smry, and, The mysterious mo1her: a tt":lboedy I Horace Walpole; edited by Frederick S. Frank. (Broadview literary 1exts) Includes brbliDb'T.IPhical references. ISBN 1-ss 111-304-x I. Frank, Frederick S. II. Title. Ill. Series. IV Title: The mysterious mother. ra3757.w2c3 2002 8:18 ",009 c2002-905134-7 Broadview Press Lid. is an mdc:pendent, mternational publishing house, incorporated in 1985. Broadview belic:vt.-s in shared ownership, both with its cmployc•-s and with the gen• er.ii public; since the year 2000 Broadview shares have tr.ided publicly on the Toronto Venture Exchange under the symbol BOP. We welcome comments and suggestions n:gardmg any aspect of our publications-please: feel free 10 conuct us at the: addn:sses bc:low or at broadv1c:w@broadviewpn:ss.com. Nonh America PO Box 1243, l'eterborough, Ont:1rio, Canada K9J 7115 3576 California Road, Orchard Park, NY, USA 14127 Tel: (705) 743-8990; Fax: (705) 743· 8JSJ email: customc:rsc:rv1ce@broadV1cwpn:n.com UK, Irc:land, and continental Europe Thomas Lyster Ltd., Units J & 4a. Old Boundary Way lluncough Road, Ormskirk Lancashire, L39 2YW Tel: (01695) S7SI 12; Fax: (01695) 570120 email: [email protected] Austr.ilia and New Zealand UNIREPS, University of New South Wales Sydney. NSW, 2op Tc:l: 61:: 9664 0999; Fax: 6129664 5.po Horace Walpole, 1759 email: info.pn:[email protected]:du.au www.broadviewpn:ss.com Droadvic:w Pn:ss Ltd. gratefully acknowledges the financial support of the Government of Canada through the: Book Publishing Industry Dc:vc:lopmc:nt J'rogr.im for our publishing activities. This book is printed on acid-free paper containing JO% post-consumer fibre. Series editor: Professor L. W. Conolly Advisory editor for 1his volume: Colleen Franklin /~·~·····.., .. Text dc:sib'TI and composition: Georg~ Kirkp3trick " - \ . .i ....,_;,. ..~ . PRINTED IN CANADA PREFACE TO THE FIRST EDITION THE following work was found in the library of an ancient Catholic family in the north of England. It was printed at Naples, in the black letter, 1 in the year 1529. How much sooner it was written does not appear. The principal incidents are such as were believed in the darkest ages of Christianity; but the language and conduct have nothing that savors of that barbarism. The style is the purest Italian. If the story was written near the time when it is supposed to have happened, it must have been between 1095, the era of the first crusade, and 1243, the date of the last, or not long afterwards. There is no other circumstance in the work, that can lead us to guess at the period in which the scene is laid. The names of the actors2 are evidently fictitious, and probably dis­ guised on purpose: yet the Spanish names of the domestics seem to indicate that this work was not composed until the establish­ ment of the Arragonian kings in Naples3 had made Spanish appellations familiar in that country. The beauty of the diction, and the zeal of the author (moderated, however, by singular judgement), concur to make me think, that the date of the com­ position was little antecedent to that of the impression. Letters were then in their most flourishing state in Italy, and contributed to dispel the empire of superstition, at that time so forcibly attacked by the reformers. It is not unlikely, that an artful priest might endeavour to turn their own arms on the innovators; and might avail himself of his abilities as an author to confirm the populace in their ancient errors and superstitions. If this was his view, he has certainly acted with signal address. Such a work as the following would enslave a hundred vulgar minds, beyond half the books of controversy that have been written from the days of Luther" to the present hour. I A Gothic typeface, e.g. ~~r ~uifr nttmtr. 2 Several of the characters' names an: taken from Shakespc3n:. Dianca is uken from 0111· tllo; lsabdb i~ ukc:n from Mtasurr for Afou11rc. Hippoliu is ukcn from A Midsummer N(~/11~ Drca1t1 . Manfred Jnd Conr.id wen: ukcn front historical accounu of the lulian kinb.Jom ofSicily in the: period 1200-1300. 3 These kings assumed the: rule of the: Neapolitan kingdom after the defeat and death of King Manfred in 1266. 4 Martin Luther (1483-1546), German Proicsunt n:ligious reformer. THE CASTLE Of OTRANTO 59 This solution of the author's motives is, however, offered as a thor's defects. I could wish he had grounded his plan on a more mere conjecture. Whatever his views were, or whatever effects au ful moral than this: that" tl1e sins ef fathers arc visited 011 tl1eir clril- use 1 h h · h' the execution of them might have, his work can only be laid to t/ic tlrird a11d fourth ge11cratio11. " I doubt w et er, m is dret 1 bd' . f before the public at present as a matter of entertainment. Even as time any more than at present, ambition cur e its appetite o such, some apology for it is necessary. Miracles, visions, necro­ dominion from the dread of so remote a punishment. And yet mancy, dreams, and other preternatural events, are exploded now this moral is weakened by that less direct_ insinuati.on, t~at eve~ even from romances. That was not the case when our author such anathema may be diverted, by devotion to samt N1ch.olas. wrote; much less when the story itself is supposed to have hap­ Here, the interest of the monk plainly gets the better of the judg­ pened. Belief in every kind of prodigy was so established in those ment of the author. However, with all its faults, I have no doubt dark ages, that an author would not be faithful to the manners of but the English reader will be pleased with a sight of this pe~or­ the time who should omit all mention of them. He is not bound mance. The piety that reigns throughout, the lessons of virtue to believe them himself, but he must represent his actors as that are inculcated, and the rigid purity of the sentiments, exempt believing them. this work from the censure to which romances are but too liable. If this air of the miraculous is excused, the reader will find Should it meet with the success I hope for, I may be encoura~ed nothing else unworthy of his perusal. Allow the possibility of the to reprint the original Italian, though it will tend to depreciate facts, and all the actors comport themselves as persons would do my own labour. Our language falls far short of the ~har~ of the in their situation. There is no bombast, no similes, flowers, digres­ Italian, both for variety and harmony. The latter is. particularly i ( sions, or unnecessary description~""Everything tends dlrectly to excellent for simple narrative. It is difficult, in English, to relate tne catastrophe. Never is the reader's attention relaxed. The rules without falling too low, or rising too high; a fault obviously occa­ of the drama 1 are almost observed throughout the conduct of the sioned by the little care taken to speak pure language in co~mon piece. The characters are well drawn, and still better maintained. conversation. Every Italian or Frenchman, of any rank, piques Terror, the author's principal engine, prevents the story from ever himself on speaking his own tongue correctly and with choice._ I languishing; and it is so often contrasted by pity, that the mind is cannot flatter myself with having done justice to my author m kept up in a constant vicissitude of interesting passions. this respect: his style is as elegant, as his conduct of the passions is Some persons may, perhaps, think the characters of the domes­ masterly. It is a pity that he did not apply his talents to what they tics too little serious for the general cast of the story; but, besides were evidently proper for, the theatre. their opposition to the principal personages, the art of the author I will detain the reader no longer, but to make one short is very observable in his conduct of the subalterns. They discover remark. Though the machinery is invention, and the names of the many passages essential to the story, which could not be well actors imaginary, I cannot but believe, that the ground wo~k ?f brought to light but by their 11ai'vcte and simplicity: in particular, the story is founded on truth. The scene is undoubtedly laid m the womanish terror and foibles of Bianca, in the last chapter, some real castle.l The author seems frequently, without design, to conduce essentially towards advancing the catastrophe. describe particular parts. "171c clramber:• says he, "011 tire riglrt lra11d; It is natural for a translator to be prejudiced in favour of his tire door 011 tire left lra11d; tl1e distaucc from tile clrapel to Conrad~ apart- adopted work.
Load more

Recommended publications
  • Uncovering the Underground's Role in the Formation of Modern London, 1855-1945
    University of Kentucky UKnowledge Theses and Dissertations--History History 2016 Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945 Danielle K. Dodson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.339 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Dodson, Danielle K., "Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945" (2016). Theses and Dissertations--History. 40. https://uknowledge.uky.edu/history_etds/40 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • BAU Otranto 2014 2014 Marked the 11Th Year of the BAU Otranto June Residency
    the bau institute www.bauinstitute.org BAU Otranto 2014 2014 marked the 11th year of the BAU Otranto June residency. 14 Residents in visual arts, writing and performance enjoyed uninterrupted time for the creation of new work in the historic city of Otranto in Puglia, Italy. Artist Residents were free to make their own schedule of studio practice balanced with group dinners and outings that they enjoyed together. They lived in independent apartments in the heart of the walled town on the Adriatic Sea. This unique setting enabled undisturbed creativity, while still offering interaction with the local community of Otranto and the neighboring towns. Writers generally worked at home in apartments with sea views. Visual artists used the Aragonese Castle of Otranto as their studio. “Otranto gives me a feeling of simplicity and of calm blue space. Time does not so much slow down there as expand. Somehow, without feeling pressure or stress, I am able to get stunning amounts of creative work done while fully immersing myself in the landscape, the amazing food, and the energy of my fellow writers, artists and friends. It’s a bit of a miracle. “ During my first residency, in 2009, I essentially wrote my first published novel. And during my most recent residency, in 2014, I was able to conceive and lay the groundwork for my next book. It was a project that seemed very complicated before I arrived in Otranto. But once I came and fell into the rhythm of the magical place, my work revealed itself to be simple and direct.” “ I could not be more grateful
    [Show full text]
  • Locating Masculinities from the Gothic Novel to Henry James
    Gero Bauer Houses, Secrets, and the Closet Lettre Gero Bauer is a research fellow at the Center for Gender and Diversity Research, University of Tübingen. His academic interests include gender and queer stu- dies, and European literary and cultural history. Gero Bauer Houses, Secrets, and the Closet Locating Masculinities from the Gothic Novel to Henry James An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3468-0. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2016 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover layout: Kordula Röckenhaus, Bielefeld Cover
    [Show full text]
  • Mother Most Amiable
    VOLUME 40 De Maria Nunquam Satis ISSUE N O. 52 a To Promote Faithful Obedience to the Legitimate Teaching Magisterium of the One, TrueTrue,, Holy, CatholicCatholic,, Apostolic Church Founded by Jesus Christ... a To Preserve Without Compromise or DiluDilutiontion the TraditionsTraditions,Traditions , Dogma and Doctrines of the One, True Church... a To Work and Pray for the Triumph of the Immaculate Heart of Mary Our Queen and the Resultant Reign of Christ Our King... Motherhere shall always Most be thatAmiable enmity mentioned in Scripture T betweenIn the lastthe four Christian titles weforces have of considered the Our Mother’s holinessWoman by(Mary) looking and at whatthe sheAnti-Christ was not , that is, negatively. Nowforces let usof studythe serpent what she (Lucifer). is . And whileThe veryin our first presentthing that day we arethose told about her is that she is most amiable, i.e. , most lovable. The word forces of Anti-Christ (Freemasonry, “amiable,” as we commonly use it, has not in English the sameCommunism, force as theAtheistic Latin word Materialism, “amabilis,” which means, as weLiberalism have said, “lovable.”and its Protestant offspring,But is there Apostate not something Modernism, within us which tells us this withoutSocialism, its being Militant put intoIslam, words? etc.) Doare not her statues and pictures,gaining if theyuniversal are at allvictories in good taste,in depict Mary as a sweet, gentle, modest virgin? In a word is not her establishing the reign of the outstanding characteristic this—that she is one whom you Luciferian brotherhood throughout feel you must love? theShe world, is one we you who would fight neverbeneath be theafraid to go to, for you knowstandard she would of the never Cross be cross, know sharp, that sneering, unkind, or boredultimately and unwillingMary, Mother to listen of God to andyou.
    [Show full text]
  • Undiscovered Southern Italy: Puglia, Calabria, Lecce & Reggio
    12 Days – 10 Nights $4,995 From BOS In DBL occupancy Springfield Museums presents: Undiscovered Southern Italy: Puglia, Calabria, Lecce & Reggio Travel Dates: April 24 to May 5, 2019 12 Days, 10 Nights accommodation, sightseeing, meals and airfare from Boston (BOS) Escape to Southern Italy for a treasure trove of art, ancient and prehistoric sites, cuisine and nature. Enchanting landscapes surround historic towns where Romanesque and Baroque cathedrals and monuments frame beautiful town squares in the shadows of majestic castles and noble palaces. This tour is enhanced by the rich, natural beauty of the rugged mountains and stunning coastline. Museum School at the Springfield Museums 21 Edward Street, Springfield, Ma. 01103 Contact: Jeanne Fontaine [email protected] PH: 413 314 6482 Day 1 - April 24, 2019: Depart US for Italy Depart the US on evening flight to Italy. (Dinner-in flight) (Breakfast-in flight) Day 2 - April 25, 2019: Arrive Reggio Calabria. Welcome to the southern part of the beautiful Italian peninsula. After collecting our bags and clearing customs, we’ll meet our Italian guide who will escort us throughout our trip. We will check-in to our centrally located Hotel in Reggio Calabria. The city owns what it fondly describes as "the most beautiful mile in Italy," a panoramic promenade along the shoreline that affords a marvelous view of the sea and the shoreline of Sicily some four miles across the straits. This coastal region flanked by highlands and rugged mountains, boasts a bounty of local food products thanks to its unique geography. After check in, enjoy free time to relax before our orientation tour of the city.
    [Show full text]
  • The Otranto-Valona Cable and the Origins of Submarine Telegraphy in Italy
    Advances in Historical Studies, 2017, 6, 18-39 http://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 The Otranto-Valona Cable and the Origins of Submarine Telegraphy in Italy Roberto Mantovani Department of Pure and Applied Sciences (DiSPeA), Physics Laboratory: Urbino Museum of Science and Technology, University of Urbino Carlo Bo, Urbino, Italy How to cite this paper: Mantovani, R. Abstract (2017). The Otranto-Valona Cable and the Origins of Submarine Telegraphy in Italy. This work is born out of the accidental finding, in a repository of the ancient Advances in Historical Studies, 6, 18-39. “Oliveriana Library” in the city of Pesaro (Italy), of a small mahogany box https://doi.org/10.4236/ahs.2017.61002 containing three specimens of a submarine telegraph cable built for the Italian Received: December 22, 2016 government by the Henley Company of London. This cable was used to con- Accepted: March 18, 2017 nect, by means of the telegraph, in 1864, the Ports of Otranto and Avlona (to- Published: March 21, 2017 day Valona, Albania). As a scientific relic, the Oliveriana memento perfectly fits in the scene of that rich chapter of the history of long distance electrical Copyright © 2017 by author and Scientific Research Publishing Inc. communications known as submarine telegraphy. It is known that, thanks to This work is licensed under the Creative the English, the issue of submarine electric communication had an impressive Commons Attribution International development in Europe from the second half of the nineteenth century on. License (CC BY 4.0). Less known is the fact that, in this emerging technology field, Italy before uni- http://creativecommons.org/licenses/by/4.0/ fication was able to carve out a non-negligible role for itself, although primar- Open Access ily political.
    [Show full text]
  • John Carter's Visualisation of the Castle of Otranto Peter N. Lindfield 10 Old Harbour
    Heraldic and Architectural Imagination: John Carter’s Visualisation of The Castle of Otranto Peter N. Lindfield 10 Old Harbour Square Stirling FK8 1RB [email protected] Abstract Horace Walpole (1717–97) is well known for two important Gothic projects realised in mid eighteenth-century Britain: his villa, Strawberry Hill, Twickenham (1750–80); and The Castle of Otranto (1764), a Gothic novel. These two manifestations of Walpole’s ‘Gothic imagination’ are frequently linked in critical literature on the Gothic Revival and medievalism more broadly; the relationship between Strawberry Hill, Otranto and manuscript illustrations visualising Otranto’s narrative has, on the other hand, received far less attention. This article brings together a number of important and hitherto overlooked sources that help address this imbalance. In particular, it examines two large-scale watercolours by John Carter (1748–1817) that narrate some of Otranto’s pivotal scenes, allowing critically overlooked subtleties in their iconographies to emerge. The work establishes how Carter’s pre-existing interests — in particular, in Gothic architectural forms and heraldry — are harnessed to govern his representations of Otranto. These paintings, together with Carter’s other illustrations, demonstrate Walpole’s authorship of Otranto, expressed through codes hidden in plain sight. Unlike the frequently touted link between Strawberry Hill and Otranto in secondary criticism, Carter’s illustrations, the argument reveals, does not explicitly make this connection. John Carter and the Visualisation of The Castle of Otranto Horace Walpole’s novel, The Castle of Otranto: A Story, published on Christmas Eve 1764, is typically presented as the first ‘Gothic novel’.1 It was not until the second edition of Otranto (1765), however, that the work acquired the subtitle A Gothic Story: only then was it explicitly framed as a piece of ‘Gothic’ fiction.
    [Show full text]
  • HTL-Civilization & Writing TG
    Civilization and Writing CL949-1CV CLEARVUE/eav THE MOST COMPLETE SOURCE FOR CURRICULUM-ORIENTED A-V MATERIALS History through Literature Civilization and Writing Program #CL949-1CV Running Time—???? Table of Contents Summary . .3 Intended Audience . 4 Presenting the Program . 4 Learning Objectives . 4 History in the Program . 5 Literature in the Program . 5 Key Words and Concepts . 6 Pre-Viewing Suggestions . 7 Discussion: Linking Parts of the Series . 7 Discussion: Introducing the Program and Its Key Words and Concepts . 7 Post-Viewing Suggestions . 8 Content Questions: History . 8 H.O.T. Topics: History . 8 Content Questions: Literature . 9 H.O.T. Topics: Literature . 9 Discussion: Linking Parts of the Series . 11 In-Depth Research . 12 Extra History Study . 12 Extra Literature Study . 12 Chronologies: Class Discussion and Extra Study . 13 Chronology of History Chart: Ancient Civilizations . 14 Chronology of Literature Chart: Ancient Civilizations . 15 Cross-Curricular Explorations . 16 Transcript . 16 Consultants for the Series . 23 Credits . .23 Intended for students in junior high school and above. This program is closed captioned. © CLEARVUE/eav (1-800-253-2788) TEACHER’S GUIDE Summary Civilization and Writing is part of a 12-video History ken traditions, including sacred epics such as the through Literature series that examines the Vedas and philosophical traditions such as the Book connections between historical events and the literary of Changes. The program also briefly describes the figures and works of each era. Other titles in the series Olmecs and other early civilizations of the Americas. are listed on the back of this Teacher’s Guide. Then the program examines several “crossroads civi- The opening scene of Civilization and Writing is a lizations” that arose because of long-distance trade tale from oral tradition that was first written down between other highly organized societies.
    [Show full text]
  • Social Disruption in the Gothic Novels of Horace Walpole, Elizabeth Inchbald, and Jane Austen. Lia Criselda Lim Pun-Chuen East Tennessee State University
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2005 Social Disruption in the Gothic Novels of Horace Walpole, Elizabeth Inchbald, and Jane Austen. Lia Criselda Lim Pun-Chuen East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons Recommended Citation Pun-Chuen, Lia Criselda Lim, "Social Disruption in the Gothic Novels of Horace Walpole, Elizabeth Inchbald, and Jane Austen." (2005). Electronic Theses and Dissertations. Paper 1018. https://dc.etsu.edu/etd/1018 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Social Disruption in the Gothic Novels of Horace Walpole, Elizabeth Inchbald, and Jane Austen A thesis presented to the faculty of the Department of English East Tennessee State University In partial fulfillment of the requirements for the degree Masters of Arts in English by Lia Criselda Lim Pun-Chuen May 2005 Judith Slagle, PhD, Chair Karen Cajka, PhD Styron Harris, PhD Keywords: Austen, Gothic, Inchbald, Sexuality, Walpole ABSTRACT Social Disruption in the Gothic Novels of Horace Walpole, Elizabeth Inchbald, and Jane Austen by Lia Criselda Lim Pun-Chuen The Gothic novel plays on the exaggeration of prescribed sex roles and uses various narrative techniques to produce a social commentary on gender politics and to illustrate the consequences of a destroyed social structure.
    [Show full text]
  • Kempton Park Racecourse - 20/06/2020
    KEMPTON PARK RACECOURSE - 20/06/2020 Race 1 4.50 6f Race 2 5.20 6f Race 3 5.55 7f Outer Loop Outer Loop Outer Loop THE BRITISH STALLION STUDS THE UNIBET THANKS THE THE UNIBET 3 UNIBOOSTS EBF FILLIES’ NOVICE STAKES FRONTLINE WORKERS A DAY HANDICAP STAKES (CLASS 5) (PLUS 10/GBB RACE) HANDICAP STAKES (CLASS 6) (CLASS 6) 1 Broad Stripes 9-0 (10) 1 Seneca Chief 011,H 6 10-3 (9) 1 Comeonfeeltheforce (IRE) 050,T CP 4 9-7 (4) Ch f Starspangledbanner (AUS) - Jantina B g Invincible Spirit (IRE) - Albertine Rose B f Slade Power (IRE) - Balladiene (IRE) Cheveley Park Stud Mr & Mrs G. Middlebrook Ewell Never Know Roger Varian Jack Mitchell Daniel Kubler Dylan Hogan (3) Lee Carter Georgia Dobie (5) 2 Captain Bonny 05 9-0 (6) 2 Bernie’s Boy 244,T CP 7 9-8 (1) 2 Just An Idea (IRE) 001,B 6 9-6 (1) B f Charm Spirit (IRE) - Sea Pride (IRE) B g Lilbourne Lad (IRE) - Stoney Cove (IRE) B g Lilbourne Lad (IRE) - Emreliya (IRE) Bluehills Racing Limited Mr Trevor Johnson Miss Camilla Swift Sir Mark Prescott Bt Luke Morris Phil McEntee Grace McEntee (5) Roger Ingram Josephine Gordon 3 Ghaaliya (IRE) 9-0 (8) 3 Terri Rules (IRE) 2-40 5 9-7 (5) 3 Melissa (FR) 00-6 4 9-6 (9) B f Frankel - Shumoos (USA) B m Camacho - Hawaiian Storm Ch f Evasive - Snow Jasmine (IRE) Mrs Victoria Machen Kestonracingclub & Billy Colbourne John Marriott Brian Meehan Thomas Greatrex (3) Laura Mongan Daniel Muscutt Ivan Furtado Franny Norton 4 Miss Diamond (IRE) 0 9-0 (7) 4 Aghast 000- 4 9-6 (6) 4 Intense Style (IRE) 000 8 9-5 (12) Ch f No Nay Never (USA) - Twinkling Ice (USA) B f Bated
    [Show full text]
  • A Walk in Coastal Puglia
    A Walk in Coastal Puglia 8 Days A Walk in Coastal Puglia Situated strategically on the spur and heel of Italy's boot, Puglia has been crossroads of cultures for millennia, creating a unique blend of Eastern and Western art, architecture, food, and lifestyle. On this magical eight-day hiking adventure, explore the Salentina Peninsula's ancient port cities and breathtaking nature, from otherworldly grottos and canyons to sun-kissed meadows and sandy beaches. Hike to Alberobello, known for its UNESCO-listed limestone dwellings (trulli), and visit the spectaular cities of Brindisi, Ostuni, and Lecce. With fresh, local farm-to-table fare wherever you go, you can savor truly everything Puglia has to offer on this fascinating new adventure. Details Testimonials Arrive: Brindisi, Italy “Great experience every time with some of the most knowledgeable guides in their fields. We always Depart: Brindisi, Italy come home with wonderful memories of the people we meet and things we see.” Duration: 8 Days Bob J. Group Size: 6-16 Guests “Traveling with MT Sobek is like gaining a new Minimum Age: 18 Years Old set of close friends that have shared an incredible experience together.” Activity Level: Mark N. REASON #01 REASON #02 REASON #03 This weeklong adventure MT Sobek has been operating Savor local delicacies and perfectly blends active hiking with hiking in adventures in Italy for farm-to-table fare and relax in cultural immersion in stunning over 40 years and works with the style elegant hotels by the sea. Puglia — the new Tuscany! best local guides in the business. ACTIVITIES LODGING CLIMATE Moderate hiking between 4 A classic 19th-century hotel in Puglia boasts a warm, coastal to 7 miles miles per day with Brindisi is followed by boutique Mediterranean climate, with marginal elevation gain and retreats including the luxurious dry summers.
    [Show full text]
  • How to Buy a Derby Winner for $1,000
    MONDAY, MAY 3, 2021 MEDINA SPIRIT FINE AFTER DERBY WIN HOW TO BUY A DERBY Zedan Racing's Medina Spirit (Protonico) exited his win in WINNER FOR $1,000 Saturday's GI Kentucky Derby in fine shape, according to trainer Bob Baffert, who said he would wait a week before committing the colt to the May 15 GI Preakness S. AHe came out of it well,@ Baffert said Sunday morning. AIt takes about a week to determine, so I=m going to come back next weekend and see. But I don=t see anything discouraging right now.@ Baffert continued, ACan he win the Triple Crown? I don=t know. But he=s the Derby winner, and that=s all that matters. I was coming in here, thinking, I wasn=t sure [if Medina Spirit could win the Derby], everything had to go perfect for him. We were going to go to the lead, and see what happened. What if they challenged him? He made the lead pretty easily, for him, and the other speed horse didn=t break [Rock Your World]. That=s what it=s like in the Derby. You have to get the trip; the other speed horse didn=t get the trip.@ Cont. p5 Medina Spirit returns to Derby winner's circle | Coady The Week in Review, by Bill Finley As consignor Christy Whitman remembers, it was deathly quiet IN TDN EUROPE TODAY when Medina Spirit (Protonico) entered the ring as a yearling at MOTHER EARTH TAKES G1 QIPCO 1000 GUINEAS the 2019 OBS Winter Mixed sale.
    [Show full text]