Poems of Childhood
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Songs of Mother & Dad, and of British Lords and Ladies
<sf Old Time Songs Tell Mother I'll Be There. |Songs of Long Ago] When I was but a little child, how well 11 I Wanr to See My Molher. recollect On the banks of a lonely river. HOW I would grieve my mother with my I folly and neglect. 1 Ten thousand miles away. And now that she has gone to heaven, 11 I have an aged mother miss her tender care. Whose hair is turning gray. O angels! tell my mother I'll be there. CHORUS. Therc't a Molher Always Wa CHORUS. They blame me not for weeping. Homci Sweet Home. Tell mother I'll be there. In answer to her Oh, blame me not. I pray: prayer. For I -want to see my mother. So you're coins to leave the old home. Ten thousand miles away. Jim. today you're soinc away: This message, guardian angels, to her You're solne amons the city folk to dwell. bear! Tell mother I'll be there, heaven's Joys Today I got a letter. So spoke,a dear old mother to her boy It came from sister, dear; one summer's day. with her to share. If your mind's made up that way I wish Yes, tell my darling mother I'll be there. It spoke of our dear mother— How I wish that she were here. you well. The old home will be lonely, we will miss Though I was often wayward, she was always kind and good. you when you're gone. She said that they had laid her The birds won't sine as sweet when you're So patient, gentle, loving, when I acted Within the cold, cold clay rough and rude. -
From%20Irina%20Reyman%2C%20Ritualized%20Violence
PHYSICAL INVIOLABILITY AND THE DUEL pUNCH OR STAB: THE RUSSIAN DUELIST’S DILEMMA The Russian duel was a surprisingly and consistently violent affair. I do not imply that Russian duels were more deadly than those in the West (the fatality rate in Russia never approached that in France in the late sixteenth and early seventeenth centuries or in Germany at the end of the nineteenth century).1 I mean rather that conflicts over honor were frequently resolved in unregu lated spontaneous physical confrontations rather than in formal en- counters . Furthermore, those confrontations differed from rencontres in that they involved direct physical contact—hand-to-hand fighting or the use of weapons unrecognized by the dueling ritual, such as walking sticks or whips. The use of standard dueling weapons— swords or pistols—appears to have been optional. In other words, from the introduction of the duel in Russia to its demise, a conflict over honor was as likely (and at times more likely) to result in an im mediate and violent hand-to-hand fight as in a formal duel of honor. This happened so frequently that physical force seems to have been an accepted alternative to the duel. In fact, it would be possible to write (—S A Brief History of Dueling in Russia 97 98 a variant history of dueling in Russia featuring fistfights, slaps in the Everyone present—nobles face, and battering with walking sticks. and commoners, officers and enlisted men, Historians of the Russian women too—had at each other. Klimovich’s wife was beaten with a duel have consistently ignored or dis missed this ugly and violent club and her mother threatened.4 Grinshtein seems to have won this alternative behavior as aberrant. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
IN MEMORIAM Verse Sample Booklet
IN MEMORIAM Verse sample booklet WHEN ORDERING YOUR IN MEMORIAM OR CARD OF THANKS: If you wish to use one of these verses, please identify the number to our classifi ed telesales representative. You may change any of the verses or write your own. 44 FRID ST., HAMILTON, ON. CLASSIFIED 905.527.5555 • FAX 905.526.6779 1.800.263.6480 • classifi [email protected] Photograph must be supplied to The Hamilton Spectator by noon the day prior to publication. Prepayment required. In memoriam verse samples Mother or Sister 1. And while she lies in peaceful sleep 12. Three little words, “Forget me not” Her memory we shall always keep. Don’t seem much, but mean a lot. 2. In my heart your memory lingers, Just a memory fond and true Always tender, fond and true; To show, dear mother, we think of you. There’s not a day, dear mother, 13. A loving mother, so gentle and kind, I do not think of you. What a wonderful memory she left behind. 3. We are sad within our memory, Long days, long nights, she bore her pain. Lonely are our hearts today; To wait for cure, but all in vain. For the one we loved so dearly Till God Himself knew what was best Has forever been called away. He took her home and gave her rest. We think of her in silence, 14. God saw the road was getting rough No eye may see us weep; And the hills were hard to climb, But many silent tears are shed So He closed your weary eyelids When others are asleep. -
I Know Why the Caged Bird Sings by Maya Angelou
y f !, 2.(T I Know Why the Caged Bird Sings MAYA ANGELOU Level 6 Retold by Jacqueline Kehl Series Editors: Andy Hopkins and Jocelyn Potter Contents page Introduction V Chapter 1 Growing Up Black 1 Chapter 2 The Store 2 Chapter 3 Life in Stamps 9 Chapter 4 M omma 13 Chapter 5 A New Family 19 Chapter 6 Mr. Freeman 27 Chapter 7 Return to Stamps 38 Chapter 8 Two Women 40 Chapter 9 Friends 49 Chapter 10 Graduation 58 Chapter 11 California 63 Chapter 12 Education 71 Chapter 13 A Vacation 75 Chapter 14 San Francisco 87 Chapter 15 Maturity 93 Activities 100 / Introduction In Stamps, the segregation was so complete that most Black children didn’t really; absolutely know what whites looked like. We knew only that they were different, to be feared, and in that fear was included the hostility of the powerless against the powerful, the poor against the rich, the worker against the employer; and the poorly dressed against the well dressed. This is Stamps, a small town in Arkansas, in the United States, in the 1930s. The population is almost evenly divided between black and white and totally divided by where and how they live. As Maya Angelou says, there is very little contact between the two races. Their houses are in different parts of town and they go to different schools, colleges, stores, and places of entertainment. When they travel, they sit in separate parts of buses and trains. After the American Civil War (1861—65), slavery was ended in the defeated Southern states, and many changes were made by the national government to give black people more rights. -
Gesture and Movement in Silent Shakespeare Films
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M. -
The Future of Reputation: Gossip, Rumor, and Privacy on the Internet
GW Law Faculty Publications & Other Works Faculty Scholarship 2007 The Future of Reputation: Gossip, Rumor, and Privacy on the Internet Daniel J. Solove George Washington University Law School, [email protected] Follow this and additional works at: https://scholarship.law.gwu.edu/faculty_publications Part of the Law Commons Recommended Citation Solove, Daniel J., The Future of Reputation: Gossip, Rumor, and Privacy on the Internet (October 24, 2007). The Future of Reputation: Gossip, Rumor, and Privacy on the Internet, Yale University Press (2007); GWU Law School Public Law Research Paper 2017-4; GWU Legal Studies Research Paper 2017-4. Available at SSRN: https://ssrn.com/abstract=2899125 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons. It has been accepted for inclusion in GW Law Faculty Publications & Other Works by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. Electronic copy available at: https://ssrn.com/ abstract=2899125 The Future of Reputation Electronic copy available at: https://ssrn.com/ abstract=2899125 This page intentionally left blank Electronic copy available at: https://ssrn.com/ abstract=2899125 The Future of Reputation Gossip, Rumor, and Privacy on the Internet Daniel J. Solove Yale University Press New Haven and London To Papa Nat A Caravan book. For more information, visit www.caravanbooks.org Copyright © 2007 by Daniel J. Solove. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. -
In-Memoriam Verses
1. 6. She’s gone from earth’s toil No prouder parents than we were, To her heavenly rest, Nor with greater right to pride, To be home for all time Till our dear son, scarce grown a man, In the dear Saviour’s breast; Who fought and bled and died, And there when our sun, That freedom and the rights of men Sinks low in the sky, Might have in peace, new birth. God grant that we meet Then ere he’d time to see it come, In the sweet bye and bye. Departed from the earth. 2. 7. If there could be more bitter pain We bade him a last and fond farewell, That hearts could suffer here, Ere his ship put out to sea; Than losing our beloved one – And whispered our prayers ‘Twould be ne’er having known you, dear. For his safe return, But it wasn’t meant to be. 3. For God in His infinite wisdom, Saw fit to ignore our prayer Sleep on our beloved, And took him instead to heaven While years come and go; To rest and await us there. Each brings us but closer to you And the day we shall meet 8. In the bright afterglow, When our life’s lonely journey is through. Ever loving, ever true, To the task God set of you; 4. Mother dear, He knew ‘twas done, So called you home, our dearest one. The hungry years have bitten deep Into the cheeks you found so fair; 9. And the frost of many winters gleams In silvered lacings through my hair; Though pain be our constant companion, Yet while awaiting the call up yonder, And missing you darkens our life; Where we’ll meet at last once more – There’s comfort in knowing you’re happy, I know you’ll recognize me darling, Dear Mother, and dearly loved wife. -
Love's Way Talks with Billy Boy and Marianne About Life and Its Beginnings by ARTHUR WHITEFIELD SPALDING Illustrated by ROBERT M
Love's Way Talks with Billy Boy and Marianne about Life and Its Beginnings By ARTHUR WHITEFIELD SPALDING Illustrated by ROBERT M. ELDRIDGE 1941 Electronic Edition 2010 (Slight Editing) Dedication To my little children that were, and to their children, and to all the dear children in all the world who love the truth, and who want to know all the truth, and who by God's grace will keep the truth, this book of truth is given. UNCLE ARTHUR. Preface: You Will Be Thankful WHEN CHILDREN ASK That You Have This Little Guidebook Love’s Way HOW much shall I tell my child? And at what age? And how shall I do it? All parents face these questions-nearly all do so with admitted confusion of thought and some measure of embarrassment. The idea that ignorance is essential to innocence has been pretty well exploded by physicians, social workers, and juvenile court officers, all of whom testify that much of the heartache and heartbreak of life is due to the fact that ignorance as a safeguard has proved a disastrous failure. Thousands of parents who know their duty, but not how to approach it, will welcome this volume in which the way is made plainer by an author who makes a sound Christian approach to a difficult problem. No one who stops to think will fail to see that this instruction through parents- or through such books as parents might put into the hands of their children-is infinitely better than the usual unclean knowledge learned from street acquaintances or picked up from unscrupulous purveyors of vulgarities. -
A Survey of Duelling in the United States
The Woman's College of The University of North Carolina LIBRARY COLLEGE COLLECTION CQ no. 652 Gift of MARTIN LUTHER WILSON " WILSON, MARTIN LUTHER. A Survey of Duelling in the United States. (1969). Directed by: Dr» Richard Bardolph. pp. t2» This thesis was undertaken to study duelling as an aspect of social history in the United States. The aim of the researciier was to go beyond mere cnronicling of particu- lar duels, in an effort to ascertain feelings and attitudes toward the practice. To obtain such information, both pub- lished and unpublished sources were consulted, to reconstruct the story of duelling as it developed in America. The duel grew out of European practices, particularly the chivalry associated with knighthood. The custom was later transported to America by European settlers, though few duels occurred before the American Revolution. The presence of aristocratic European officers in America during that con- flict influenced natives, who retained the duelling custom. The duel was present in all sections of the new nation until Aaron Burr killed Alexander Hamilton in 160^-. At that point the duel lost favor in the Northern states, but held on pri- marily in the Southern states. Northern political leaders and military men continued to duel from time to time, however. For conducting the duelling ritual, there were various sets of written rules, the most widely used being those compiled by Governor John Lyde Wilson of South Carolina. These rules laid down the principles that duels should be only betv/een social equals, that all negotiations be con- ducted by seconds chosen for that purpose, and that the ( actual encounter be carried out fairly under rules agreed upon beforehand. -
Mother-Song Child-Song Bdltbd by Charlotte Brewster Jordan
x J ! n . K ) o r h t 1 8 8 C py ig , 9 F a n o n mc x S 'rox x s O N Y By A . C MPA PREFACE. ’ The editor i s in debte d to C ha rles Scribner s Sons for pe rmission to u s e poe ms by Robert Lou is v s . Ste en on , Eugene Field, J G Holland and Saxe Holm . To Harper and Brothers for pe rmission to u se s s ss poem by W . D . Howell , Be ie Chandler and P s —T eka hion wa ke s E . auline John on ; al o for the s m poems by Margaret E . Sang ter, fro Little s Knights and Ladie . To Roberts Brothers for permission to use poems s s by Emily Dickin on, Helen Hunt Jack on and s Loui e Chandler Moulton . To The Century Company for permiss ion to use s s poem by Alice William Brotherton , Harry Still s s i s well Edward , Thoma Wentworth Higg n on and l n s Alice We li gton Rollin . To The Bowen - Merrill Compan y for permiss ion u se s s l to poem by Jame Whitcomb Ri ey . To The Outlook Company and to Dodd, Mead a n d Company for permission to u se poem by Paul Laurence Dunbar. To Copeland and Day for pe rmission to use s poem by Clinton Scollard . v i r a ce P ef . To Milton Bradley Company for permission to use Pou lsson poem by Emilie . -
Ladyslipper Tenth Anniversary
Ladyslipper Tenth Anniversary Resource Guide apes by Women T 1986 About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- 1982 brought the first release on the Ladys exempt organization which has been involved lipper label: Marie Rhines/Tartans & Sagebrush, in many facets of women's music since 1976. originally released on the Biscuit City label. In Our basic purpose has consistently been to 1984 we produced our first album, Kay Gard heighten public awareness of the achievements ner/A Rainbow Path. In 1985 we released the of women artists and musicians and to expand first new wave/techno-pop women's music al the scope and availability of musical and liter bum, Sue Fink/Big Promise; put the new age ary recordings by women. album Beth York/Transformations onto vinyl; and released another new age instrumental al One of the unique aspects of our work has bum, Debbie Tier/Firelight Our purpose as a been the annual publication of the world's most label is to further new musical and artistic direc comprehensive Catalog and Resource Guide of tions for women artists. Records and Tapes by Women—the one you now hold in your hands. This grows yearly as Our name comes from an exquisite flower the number of recordings by women continues which is one of the few wild orchids native to to develop in geometric proportions. This anno North America and is currently an endangered tated catalog has given thousands of people in species. formation about and access to recordings by an expansive variety of female musicians, writers, Donations are tax-deductible, and we do need comics, and composers.