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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes
33 The Poetry That Dare Not Speak Its Name: Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes Christina Hauck Kansas State University An improbable friendship sprang up in 1938 when one “Mrs Carmi- chael,” representing herself as a young mother, wrote Lord Alfred Douglas to show him a sonnet and ask his advice about publishing it. Little realizing that he was entering into correspondence with the notorious birth control advocate, Marie Carmichael Stopes, the staunchly Catholic Douglas wrote back kindly, calling Mrs. Carmichael a “pleasant poet” and lamenting his own difficulties publishing (Hall 282). If Douglas didn’t understand quite whom he was writing to, Stopes herself, rabidly homophobic and anti-Catholic, must have: Douglas’s claim to fame lay less in his poetry, whose quality critics debated fiercely when they bothered to read it at all, but in his having been a central actor in the events leading up to Oscar Wilde’s trial and imprisonment.1 By the time the correspondence had be- gun, Douglas had long converted to Catholicism and was admitting only to limited homosexual activities over a limited period, with Wilde or any- one else; Stopes apparently believed him.2 After several months, Stopes revealed her “true” identity. Douglas, understandably, was nervous. In a letter to George Bernard Shaw, he writes: I am fated to make friends with my enemies. For the last three months I have been corresponding with a lady who wrote about my poetry and poetry in general. She expressed great admira- tion for me as a poet. -
University of Birmingham Oscar Wilde, Photography, and Cultures Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Oscar Wilde, photography, and cultures of spiritualism Dobson, Eleanor License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Dobson, E 2020, 'Oscar Wilde, photography, and cultures of spiritualism: ''The most magical of mirrors''', English Literature in Transition 1880-1920, vol. 63, no. 2, pp. 139-161. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility 12/02/2019 Published in English Literature in Transition 1880-1920 http://www.eltpress.org/index.html General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Christabel Lady Aberconway
CHRISTABEL LADY ABERCONWAY She was born into a distinguished family of Irish Macnaghtens in 1890. I was born into a family of Scottish/Australian McNaughtons fifty years later. It seemed unlikely we would ever meet. But we had some common interests and eventually did meet—in London in the Swinging Sixties. My mother, Lilian May Besant, and my father, Charles Dudley McNaughton, built a double-brick house in Burwood, eight miles from the center of Melbourne, Australia, and moved in when they married in December 1935. When my sister, Eril Margaret, was born on 8 April 1938, she occupied the second bedroom at the back of the house. After I arrived on 22 July 1940 a third bedroom was added by building a “sleep-out” of fibro-cement behind Eril’s room, punching a door through her brick wall and putting a second door from the sleep-out onto the back verandah. Our rooms were not large. Eril had to put up with traffic from inside the house to my room. The sleep-out became a refuge for some difficult-to-place furniture, including my mother’s large foot-operated Singer sewing machine, a large dark-stained secretaire that belonged to my father, and a large sailing-ship print. My father died of a brain tumor in 1944 and when my step-father joined us in 1946, his cedar chest of drawers landed in my room. I lived in this room through high school, college and a two-year master’s degree and never thought about redecorating. The brick wall between our two bedrooms was painted on my side once or twice, and the curtains on the narrow strip of windows to the south were replaced. -
Ebook Download De Profundis and Other Prison Writings
DE PROFUNDIS AND OTHER PRISON WRITINGS PDF, EPUB, EBOOK Oscar Wilde,Colm Toibin | 304 pages | 30 Apr 2013 | Penguin Books Ltd | 9780140439908 | English | London, United Kingdom De Profundis and Other Prison Writings PDF Book View all newsletter. Contact us Contact us Offices Media contacts Catalogues. Merlin Holland concludes that "what Queensberry almost certainly wrote was "posing somdomite [ sic ]", Holland Wilde decided to write a letter to Douglas, and in it discuss the last five years they had spent together, creating an autobiography of sorts. Cookies are used to provide, analyse and improve our services; provide chat tools; and show you relevant content on advertising. Oct 04, Ingrid Elin Stokke added it. Mar 03, Regina rated it it was amazing Shelves: my-cannon. Essential We use cookies to provide our services , for example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. Oscar Wilde was born in Dublin. An abridged version was set for speaking pianist by composer Frederic Rzewski. Contact had lapsed between Douglas and Wilde and the latter had suffered from his close supervision, physical labour, and emotional isolation. Wilde loses his charm and a portion of his literary brilliance with the passage of brutal time in prison. His love for Bosie Douglas is painted patiently, paragraph by paragraph. Wilde was granted official permission to have writing materials in early , but even then under strict control: he could write to his friends and his solicitor, but only one page at a time. -
The Life of Oscar Wilde
Dixon 1 The late 19 th century was an exceptional time for literature in both Europe and the Americas. Arguably, some of the greatest minds in the history of Western literature actively published during this period. Twain, Melville, Dickens, Verne, Wilde and many others were widely circulated among both literary factions and laypersons. Through their fiction, their collective reach was enormous. For most of these writers, their fictive works have eclipsed their personal lives. Until recently, historians have focused only on these writers’ contributions to literature, rather than their intriguing personal histories as a whole. With the emergence of new types of historical inquiry, the study of literary figures has begun a paradigm shift toward examining the impact of their entire lives, rather than simply their works. In following that trend, this study will shine a unique light on not only the works, but also the life of one of the 19 th century’s most controversial authors: Oscar Wilde. Wilde saw himself as a brilliant Aesthetic artist, proclaiming during his 1882 American book tour, “I have nothing to declare but my genius.” 1 Early in his career the Victorian public viewed Wilde as an eccentric Aesthete whose plays delighted but often left the public feeling somewhat left out. Later, as Wilde’s now infamous trial approached, the public formed new ideas about homosexuality and began to develop tropes out of the mannerisms and dress of the Aesthetic movement to which Wilde belonged. The ways in which Oscar Wilde envisioned himself ran counter to the expectations of Victorian England; the mantle of homosexuality was thrust upon Wilde based on the narrow ideas of the society in which he lived – the public was simply ill- 1 Wilde, Oscar. -
Planetary Patterns of Thought in De Profundis
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 2, Issue 2 Winter 2019 Elliptical Thinking: Planetary Patterns of Thought in De Profundis Amelia Hall ISSN: 2515-0073 Date of Acceptance: 1 December 2019 Date of Publication: 21 December 2019 Citation: Amelia Hall, ‘Elliptical Thinking: Planetary Patterns of Thought in De Profundis’, Volupté: Interdisciplinary Journal of Decadence Studies, 2.2 (2019), 247–59. DOI: 10.25602/GOLD.v.v2i2.1349.g1468 volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Elliptical Thinking: Planetary Patterns of Thought in De Profundis Amelia Hall Cornell University In an 1881 letter asking a friend to meet his mother, Oscar Wilde writes: ‘all brilliant people should cross each other’s cycles, like some of the nicest planets’.1 In comparing the people in his social circle to celestial bodies in orbit, Wilde sets forth an idea that will soon become literalized in images within and surrounding his works. An illustration in Salomé (1894) renders Wilde the actual ‘(wo)man in the moon’, through placing his distinguishing physiognomy – slightly drooping eyes and thick full lips – on a white circle [fig. 1], while many cartoons satirizing Wilde’s American lecture tour put his head at the centre of a plant that seems to be more sun than flower. An 1881 Punch cartoon by Edward Sambourne, ‘O.W.’, features Wilde’s head as the only visible centre of a sunflower, with crisp triangular petals extending outward so rigidly that they appear to emanate from his body [fig. 2]. Another cartoon appearing in Judge magazine, entitled ‘A Thing of Beauty Not a Joy Forever’, features a sunflower-adorned Wilde standing with his head and torso in the centre of an enormous shape of ambiguous identification [fig. -
Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C. Slavkin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE MOREAU’S MATERIALITY: POLYMORPHIC SUBJECTS, DEGENERATION, AND PHYSICALITY By MARY C. SLAVKIN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Masters of Arts Degree Awarded: Spring Semester, 2009 The Members of the Committee approve the Thesis of Mary Slavkin defended on March 30, 2009. ___________________________ Lauren Weingarden Professor Directing Thesis ___________________________ Richard Emmerson Committee Member ___________________________ Adam Jolles Committee Member Approved: _______________________________________________ Richard Emmerson, Chair, Department of Art History _______________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii For David. Thanks for all the tea. iii TABLE OF CONTENTS LIST OF FIGURES..........................................................................................................v ABSTRACT.....................................................................................................................ix CHAPTER 1: Introduction...............................................................................................1 -
The Aesthetic Experiment of Oscar Wilde in a House of Pomegranates
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 4, No. 10, pp. 2168-2172, October 2014 © 2014 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.4.10.2168-2172 The Aesthetic Experiment of Oscar Wilde in A House of Pomegranates Jing Hou Huaiyin Institute of Technology, Huai’an, China Abstract—Oscar Wilde (1854-1900) is one of major proponents of Aestheticism in England. This thesis attempts to probe into Oscar Wilde’s second collection of fairy tales—A House of Pomegranates, which is complicated and abstruse in aspects of language, theme and narration, compared with his first collection of fairy tales—The Happy Prince and Other Tales. The author contends that A House of Pomegranates, which is subversive of the fairy tale convention, is brought forward by Wilde’s aesthetic intentions—art is independent of life and immortal, thus, an experiment in aestheticism. The approach of textual analysis and comparison are adopted in this thesis. Index Terms—Oscar Wilde, A House of Pomegranates, aestheticism, experiment I. INTRODUCTION Oscar Wilde (1856-1900), Irish poet, dramatist, novelist and essayist, is one of the two most important exponents of Aestheticism in English literature. From the eighties to the nineties in the 19th century, Wilde wrote and published all his major works, including his famous plays—four comedies and one tragedy, his sole novel—The Picture of Dorian Gray, a series of critical essays collected in Intentions, two collections of fairy tales—The Happy Prince and Other Tales and A house of Pomegranates. His works, full of epigrams and paradoxes, reveal the ugliness of the bourgeois society and his unique aesthetic philosophy as well. -
Love, Law and Oscar Wilde by Jerry James
Love, Law and Oscar Wilde by Jerry James At thy martyrdom the greedy and cruel Crowd to which thou speakest will assemble; All will come to see thee on thy cross, And not one will take pity on thee. — James Rennell Rodd, Inscription to Oscar Wilde in Songs in the South, 1880 Oscar Wilde When The Importance of Being Ernest There is no indication Wilde did not opened on Valentine’s Day, 1895, Oscar deeply care for Constance Lloyd when they Wilde was at the pinnacle of his success. He were wed on May 29, 1884. Indeed, had his had two plays running in London, and aptly intentions been mercenary, he would have for the day, he was in love. Inconveniently, married a much wealthier woman. But to the beloved was not his wife of ten years, what would be their ultimate regret, Wilde but Lord Alfred Douglas. That love would did not yet know himself. Before he did, be the reason why, a little over three months they would have two sons. later, Wilde would find himself bankrupt In 1886, Wilde, 32, began an affair with and imprisoned. Robbie Ross, 17. There has been much He had been a celebrity for fifteen years, speculation about Wilde’s claim that this “…the natural pet of the aristocracy whose was his first same-sex experience. (He selfish prejudices he defended and whose didn’t call it homosexual, because the term leisure he amused,“ as his friend Frank wasn’t coined until 1892.) But all agree it Harris put it. To these, leading a double life changed his life. -
A HOUSE of POMEGRANATES by Oscar Wilde
A HOUSE OF POMEGRANATES By Oscar Wilde CONTENTS: THE YOUNG KING...................................................................................................3 THE BIRTHDAY OF THE INFANTA .....................................................................14 THE FISHERMAN AND HIS SOUL........................................................................27 THE STARCHILD...................................................................................................54 THE YOUNG KING [TO MARGARET LADY BROOKE THE RANEE OF SARAWAK] It was the night before the day fixed for his coronation, and the young King was sitting alone in his beautiful chamber. His courtiers had all taken their leave of him, bowing their heads to the ground, according to the ceremonious usage of the day, and had retired to the Great Hall of the Palace, to receive a few last lessons from the Professor of Etiquette; there being some of them who had still quite natural manners, which in a courtier is, I need hardly say, a very grave offence. The lad for he was only a lad, being but sixteen years of age was not sorry at their departure, and had flung himself back with a deep sigh of relief on the soft cushions of his embroidered couch, lying there, wildeyed and openmouthed, like a brown woodland Faun, or some young animal of the forest newly snared by the hunters. And, indeed, it was the hunters who had found him, coming upon him almost by chance as, barelimbed and pipe in hand, he was following the flock of the poor goatherd who had brought him up, and -
An Ideal Husband Department of Theatre, Florida International University
Florida International University FIU Digital Commons Department of Theatre Production Programs Department of Theatre Fall 9-26-2014 An Ideal Husband Department of Theatre, Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/theatre_programs Part of the Theatre and Performance Studies Commons Recommended Citation Department of Theatre, Florida International University, "An Ideal Husband" (2014). Department of Theatre Production Programs. 77. https://digitalcommons.fiu.edu/theatre_programs/77 This work is brought to you for free and open access by the Department of Theatre at FIU Digital Commons. It has been accepted for inclusion in Department of Theatre Production Programs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Theatre u • lllul llFAR lllrt1 IUIU 1111 RH theatre.fiu.edu TO ALL OUR PATRONS An Ideal Husband Students, faculty, staff and community WELCOME TO THE 2014-2015 SEASON! By Oscar Wilde On behalf of the Department of Theatre at Florida International Cast (In order of appearance) University allow me to thank you for attending this performance. We truly appreciate your interest and continuing support. Viscount Goring- Allyn Anthony (BFA Performance) 2014 - 2015 is ,roised to be a crackerjack of a season! First up is Oscar Wilde's An Ideal Husband", and for those familiar with Sir Robert Chiltern - Danny Leonard (BFA Performance) Phillip M. Church his hilarious comedy , "The Importance of Being Earnest" there Lady Chiltern - Pia Isabell Vicioso-Vila (BA) Chairperson is an interesting surprise in store. In a move to disengage from Mrs. Cheveley - Chachi Colon (BFA Performance) the world of melodrama, Wilde developed "a new play about Vicomte De Nanjac - Lovanni Gomez (BFA Performance) modem life" in which he contrasted the worlds of social opinion Lady Markby - Madeleine Escarne (BFA Performance) against the dark interior of the human condition.