The Memoirs of Lætitia Pilkington Vol II

Total Page:16

File Type:pdf, Size:1020Kb

The Memoirs of Lætitia Pilkington Vol II The Memoirs Of Lætitia Pilkington Vol II Published by the Ex-classics Project, 2013 http://www.exclassics.com Public Domain LÆTITIA PILKINGTON CONTENTS TITLE PAGE.......................................................................................................................................3 DEDICATION.....................................................................................................................................4 PREFACE............................................................................................................................................6 The Memoirs of Laetitia Pilkington Volume 2...................................................................................9 -2- MEMOIRS, VOL II. TITLE PAGE MEMOIRS OF Mrs. Lætitia Pilkington, WIFE TO THE Rev. Mr. Matthew Pilkington. Written by HERSELF. Wherein are occasionally interspersed, Her POEMS, With a VARIETY of SECRET TRANSACTIONS of some EMINENT PERSONS. ——————————————————————————— VOL II. ——————————————————————————— Cursed be the verse, how well so e'er it flow, That tends to make one worthy man my foe; Gives vice a sanction, innocence a fear, Or from the pale eyed virgin draws a tear. POPE. — Longa est injuria, longa Ambages: sed summa sequar fastigia rerum. VIRG ÆN.I. — Pudet haec opprobria nobis, Et dici poruisse, & non potuisse refelli. OVID. ==================================== DUBLIN Printed: London reprinted: and sold by R. Griffiths, at the Dunciad in Ludgate Street. 1749. -3- LÆTITIA PILKINGTON DEDICATION To the right honourable the Lord Baron Kingsborough. My Lord, Though your Lordship has been pleased positively to prohibit my dedicating this volume to you, yet as I had the following poem written, I could not resist the temptation of prefixing it to my work, which I must rely on your goodness to pardon as I really am, With all possible gratitude, and respect. Your Lordship's Most obliged, Humble servant, L. Pilkington. Oh! KING, Live for ever! TO thee within whose heaven-illumined breast Resides each virtue, which adorns the blest 'Tis bold presumption to attune my lays; Seraphic notes should hymn sublimer praise; Angels enthroned, in bliss with rapture view Their own divine perfections live in you Say, while you wander, thro' the rural shade By sapphire fount, or flower-enamelled mead, By wisdom nursed, by contemplation fed, By both, to every art and science led; While sacred honour, that immortal guest Lives in each action of thy life confessed, Wilt thou, propitious, while I wake the string, Attentive listen to the strains I sing; No venal lay I offer to impart, Accept the rapture of a grateful heart. Come, inspiration, from thy hermit-seat, O, give me flowing numbers sweetly great! Free as his bounties, beauteous as his frame, And pure and bright, as his unspotted fame; For nature, prodigal to KING, has given All gifts, admired on earth, and dear to Heaven; Then to Hibernia, lent this sacred store, Too blest Hibernia, can'st thou wish for more : Philosophers can, from the noon-tide sun, Extra& one solar ray, tho' finely spun; Then, in that ray, the various colours show, With which god paints the rain-foretelling bow; May I, like them, presume, with happy art, To trace, distinct, the virtues of thy heart, Or turn, astonished, from the dazzling light, -4- MEMOIRS, VOL II. And own it too intolerably bright, When every beam does with full force unite. Here did I pause, when, lo! the heaven-born muse, Who, if aright invoked, will ne'er refuse Her aid, appeared, and said, thy noble choice May better than the muse inspire thy voice : To me eternal wisdom gave the care Of KING, no meaner power could interfere Pleased with the talk, I took the lovely child, Blooming as spring, with looks serenely mild; Hence flows beneficent his boundless mind, The joy, the love, the friend of human-kind; Modesty, learning, genius, wit, and taste, By female sweetness, manly virtue graced; Hence take their source, oh favourite of the Skies To which, tho' late, triumphant shalt thou rise; There mix with souls, like thine, divinely pure, And taste the rapture fitted to endure: She ceased; thanks heavenly visitant, I said, To thee my gratitude be ever paid; For what, sufficient, may I render thee, Who raised a PATRON that protected me; Who viewed my anguish with a pitying eye, When even a son, and brother pass it by. All-righteous heaven, attend my ardent Prayer, Make him thy constant, thy peculiar care, Whose mercy, like the dews that bless the ground, Silently falls, refreshing all around; While, with such winning grace, his bounties flow, They double all the blessings they bestow Touched with a painful joy, the labouring heart Struggles its mighty transport to impart, Meanings crowd thick, the tongue its aid denies, And springing tears the loss of speech supplies. The P——rs of Ireland long have been a jest, Their own, and every other climate's pest; But KING shall grace the coronet he wears, And make it vie with Britain's noblest stars And when, in time, to grace his nuptial bed, Some chaste, illustrious charmer he shall wed: May love, and joy, and truth, the pomp attend, And deathless honour to his race descend. -5- LÆTITIA PILKINGTON PREFACE. I can't but let my readers see my vanity, in inserting the following poems, written to me since I came to Dublin, and do assure them, I have as many packets of a day, as a Minister of State; some praising, and some abusing me; the best of which in my praise, I have chosen out for their perusal. To Mrs. Pilkington. Monday, April 4, 1748. MADAM, IF you can find a Place for the following verses in your second volume, I shall think myself highly honoured, who am with all Sincerity, &c. I. WHEN Time's grown hoary, with a thousand Years, How must Hibernia laud thy name? Tho' now she seems to triumph in thy tears, And almost glories in her Shame. II. Could Gaul, or Albion, boast a Right in thee, Who now must envy what we hate; Theyed prize that noble Worth, we seem to flee, And glory in so blessed a Fate. III Ye Sons, that put her Honour to the Test, Assert the glories of her name, And let her stand to distant times redressed, In Virtue spotless as in Fame. To Mrs. Lætitia Pilkington. Clangill, July 16. 1748. MADAM, WHEN I read the First Volume of your Works, I was touched with a feeling Sense of your uncommon Misfortunes, and am convinced, the Villainy of a Pr—st, and envy [of] some of your -6- MEMOIRS, VOL II. own sex, gave birth to all your afflictions; and I'll venture to say that the Doctor can't but secretly acknowledge, That Pallas sowed, within your mind, Seeds long unknown to woman-kind, For manly bosoms chiefly sit, The Seeds of Knowledge, Judgment, Wit. Now, Madam, in return for the satisfaction your book gave me, I send you the following Essay, and if you like it, I disregard the critic's frown, And all the Quack-Bards of the Town, I am your Friend, BERNARD CLARKE. HAIL, charming Fair, with low but friendly lays, I'll tune my Pipe, and vie to sing thy Praise. Ambitious always to defend thy Fame, And sing thy spotless, but much injured Name. Thy Story oft with pitying Soul I read, And judge thy hapless fate was hard indeed; Ungrateful man! could neither wit nor art Raise thy compassion, or secure thy heart, When all the joys, that please in human life, Shone bright in her, and formed a perfect wife; Respected and revered, where'er she went, Discreetly gay, yet strictly innocent; To Mrs. PILKINGTON on Reading her MEMOIRS. WHEN beauty suffers, in fair virtue's cause, And men refuse, to innocence, applause! 'Tis then the muse, in all her charms should rise, And bear that merit, to its native skies. Such 'twas of old, inspired the Grecian song, And bore her heroes, and her nymphs along; From her proud Rome possessed the sacred flame, And from the urn, preserved Lucretia's name. BRITONS, whene'er the dismal tale, you hear, Oh! pay to Pilkington, the pious Tear : A second Lucrece, now in her behold! -7- LÆTITIA PILKINGTON By Friends forsook, and by her Husband sold Sold, curst, ensnared to Infamy and Shame, O base betrayer of a woman's fame! Touched with Remorse, let thy own Bosom say, What worms, what snakes, within that bosom prey : What pang thou feel'st for Guilt unheard, unknown; And may that pang, forever be thy own! Oh! can'st thou yet forbid thy eyes to flow? And render tear for tear, and woe for woe; Say, can'st thou see thy once-loved partner roam, Exiled by thee, from children, and from home : Exposed to want, to grief, to lust, to Care: And thou, the Author, smile at her despair? Alas! Ye Gods, to him was never giv'n The meanest spark of gratitude from Heav'n; Else would his breast with kind compassion bleed; Else would his soul detest the impious deed. Else would his heart the long lost passion prove, And rouse his Honour, to redeem his Love. Ah! injured Fair, no more his honour mourn! His Honour's fled, ah! never to return, Let him, secure, of every joy possessed, Be lulled to peace and visionary rest; Thus when his soul from every care is free; No sense of heav'n, nor yet a thought of thee. Then all-inflam'd shall vengeance wing its way, Steal on his sight, and snatch him from the day. Amazed! each one, shall own the sentence just, And send his bones with curses to the dust. But thou, superior to the worst of days, Shalt rise in health, in virtue, and in praise. Envy shall cease, and malice be no more, Each woman love thee, and each man adore. With Themes Celestial, shall thy spirit glow, And, in full rapture, live another Rowe, H. K.
Recommended publications
  • Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars.
    [Show full text]
  • The Imperial Cult and the Individual
    THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME _______________________________________ A Dissertation presented to the Faculty of the Department of Ancient Mediterranean Studies at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by CLAIRE McGRAW Dr. Dennis Trout, Dissertation Supervisor MAY 2019 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME presented by Claire McGraw, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________________________ Professor Dennis Trout _______________________________________________ Professor Anatole Mori _______________________________________________ Professor Raymond Marks _______________________________________________ Professor Marcello Mogetta _______________________________________________ Professor Sean Gurd DEDICATION There are many people who deserve to be mentioned here, and I hope I have not forgotten anyone. I must begin with my family, Tom, Michael, Lisa, and Mom. Their love and support throughout this entire process have meant so much to me. I dedicate this project to my Mom especially; I must acknowledge that nearly every good thing I know and good decision I’ve made is because of her. She has (literally and figuratively) pushed me to achieve this dream. Mom has been my rock, my wall to lean upon, every single day. I love you, Mom. Tom, Michael, and Lisa have been the best siblings and sister-in-law. Tom thinks what I do is cool, and that means the world to a little sister.
    [Show full text]
  • +\Shu Dqg Plvxqghuvwdqglqj Lq Lqwhudfwlrqdo
    1 +\SHUDQGPLVXQGHUVWDQGLQJLQLQWHUDFWLRQDOKXPRU Geert Brône University of Leuven Department of Linguistics Research Unit &UHDWLYLW\+XPRUDQG,PDJHU\LQ/DQJXDJH (CHIL) E-mail address: [email protected] $ ¢¡¤£¦¥¢§©¨ £ This paper explores two related types of interactional humor. The two phenomena under scrutiny, K\SHUXQGHUVWDQGLQJ and PLVXQGHUVWDQGLQJ, categorize as responsive conversational turns as they connect to a previously made utterance. Whereas hyper-understanding revolves around a speaker’s ability to exploit potential weak spots in a previous speaker’s utterance by playfully echoing that utterance while simultaneously reversing the initially intended interpretation, misunderstanding involves a genuine misinterpretation of a previous utterance by a character in the fictional world. Both cases, however, hinge on the differentiation of viewpoints, yielding a layered discourse representation. A corpus study based on the British television series %ODFNDGGHU reveals which pivot elements can serve as a trigger for hyper- and misunderstanding. Common to all instances, it is argued, is a mechanism ofILJXUHJURXQG UHYHUVDO. Key words: interactional humor, hyper-understanding, misunderstanding, layering, mental spaces, figure-ground reversal 2 ,QWURGXFWLRQ Recent studies in pragmatics (see e.g. Attardo 2003) have shown a renewed interest in humor as a valuable topic of interdisciplinary research. More specifically, these studies have extended the traditional focus of humor research on jokes to include longer narrative texts (Attardo 2001a, Triezenberg 2004) and conversational data (Boxer and Cortés-Conde 1997, Hay 2001, Kotthoff 2003, Norrick 2003, Antonopoulou and Sifianou 2003, Archakis and Tsakona 2005). New data from conversation analysis, text linguistics and discourse psychology present significant challenges to linguistic humor theories like the General Theory of Verbal Humor (Attardo 1994, 2001a), and call for (sometimes major) revisions.
    [Show full text]
  • Bald and Bold for St. Baldrick's
    Wednesday, February 26, 2014 VOLUME 33 / NUMBER 22 www.uicnews.uic.edu facebook.com/uicnews twitter.com/uicnews NEWS UIC youtube.com/uicmedia For the community of the University of Illinois at Chicago Photo: S.K. Vemmer Carly Harte and Andrea Heath check each other’s new look after their heads were shaved in a fundraiser for St. Baldrick’s Foundation Thursday. The roommates drove from Milwaukee to Children’s Hospital University of Illinois for the event, which benefits pediatric cancer research at UIC and elsewhere. More on page 3; watch the video atyoutube.com/uicmedia Bald and bold for St. Baldrick’s INSIDE: Profile / Quotable 2 | Campus News 4 | Calendar 12 | Student Voice 13 | Police 14 | Sports 16 Composer Steve Everett finds the Honoring UIC’s Researchers of Cai O’Connell’s once-in-a-lifetime Women’s basketball gets ready to right notes the Year Olympics assignment break the record More on page 2 More on page 7 More on page 11 More on page 16 2 UIC NEWS I www.uicnews.uic.edu I FEBRUARY 26, 2014 profile Send profile ideas to Gary Wisby,[email protected] Composer Steve Everett hits right notes with technology By Gary Wisby Princeton and a guest composer at Eastman School of Music, Conservatoire National Supérieur de Mu- Epilepsy. sique de Paris, Conservatoire de Musique de Genève The chemical origins of life. in Switzerland, Rotterdam Conservatory of Music A young prostitute who lived in and Utrecht School of the Arts in the Netherlands. New Orleans’ notorious Storyville His compositions have been performed in Paris, 100 years ago.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Roman Britain in the Third Century AD
    Roman Britain in the third century AD Despite Claudius’s invasion of Britain in AD 43, the population was still largely British with the local administrative capital at Venta Belgarum - now Winchester. By the 3rd century there was political unrest across the Roman Empire, with a rapid succession of rulers and usurpers. Some were in power for only a few months before being killed by rivals or during wars, or dying from disease. The situation became even more unstable in AD 260 when Postumus, who was Governor of Lower Germany, rebelled against the central rule of Rome and set up the breakaway Gallic Empire. For the next 14 years the Central and Gallic Empires were ruled separately and issued their own coinage. Despite the turmoil in the Empire as a whole, Britain appears to have experienced a period of peace and prosperity. More villas were built, for example, and there is little evidence of the barbarian raids that ravaged other parts of the Empire. Map showing the Gallic and Central Empires, courtesy of Merritt Cartographic 1 The Boldre Hoard The Boldre Hoard contains 1,608 coins, dating from AD 249 to 276 and issued by 12 different emperors. The coins are all radiates, so-called because of the radiate crown worn by the emperors they depict. Although silver, the coins contain so little of that metal (sometimes only 1%) that they appear bronze. Many of the coins in the Boldre Hoard are extremely common, but some unusual examples are also present. There are three coins of Marius, for example, which are scarce in Britain as he ruled the Gallic Empire for just 12 weeks in AD 269.
    [Show full text]
  • Julius Caesar
    Assessing representations of the imperial cult in New Testament studies Pieter J J Botha (University of South Africa) ABSTRACT Assessing representations of the imperial cult in New Testament studies A distinct conceptualisation of the imperial cult is common in NT scholar- ship, in which worship of the emperor is portrayed as a “foreign” deve- lopment which served primarily political aims, with little integrity and no serious religious significance. This depiction does not do justice to the evidence and is basically ethnocentric. That the imperial cult provides us with a crucial window on the mentality of the Roman Period comes closer to the truth. A few aspects of early Christian literature and history which might be reinterpreted in the light of a more comprehensive understanding of the imperial cult are briefly noted. 1 INTRODUCTION We cannot possibly understand the words and actions of other people if we examine them with our preconceptions; the interpretation of their beha- viour and texts must be in the light of their motives, convictions and out- look. The world of the Roman empire, of which the New Testament docu- ments and the earliest Christians are part, was a very different cultural world from ours and in many ways quite difficult to access. Though the principle of cultural embeddedness is generally acknow- ledged as important in exegesis and hermeneutics, in practice it is rather challenging to give it its due. Explicitly or implicitly, ethnocentricism keeps on raising its head. I wish to deal with this problem by adopting a stance of pluralism which leads to critical understanding; a pluralist who believes that understanding is real: “I have tried to argue not from abstractions about the universe but from the facts of our lives as critics, facts which turn out to be values we share with, and derive from, a human critical life that predates and nourishes the life of literature and criticism.
    [Show full text]
  • Blackadder Goes Forth Audition Pack
    Blackadder Goes Forth Audition Pack Key Dates Audition Dates: • Tuesday 8 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 12 th May – 10.30am – 5.00pm • Sunday 13 th May – 10:00am – 3.00pm Recalls (if required): • Friday 18 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 19 th May – 10:00am – 1:00pm (Everyman Clubroom) Actors who are successfully cast need to understand that they MUST be available for all the following key dates • Technical Rehearsal: Sunday 11 th November (cast need to be available all day) • Dress Rehearsal: Monday 12 th November (evening) • Performance Dates: Tuesday 13 th – Saturday 17 th November; Evening Performances at 7.30pm, Saturday matinee at 2.30pm Rehearsal Nights Rehearsals will begin w/c Monday 3 rd September. Exact rehearsal nights will be confirmed nearer the time but are quite likely to be Tuesdays, Thursdays and Sundays. Not all cast will be required for every rehearsal. Plot Blackadder Goes Forth is set in 1917 on the Western Front in the trenches of World War I. Captain Edmund Blackadder is a professional soldier in the British Army who, until the outbreak of the Great War, has enjoyed a relatively danger-free existence fighting natives who were usually "two feet tall and armed with dried grass". Finding himself trapped in the trenches with another "big push" planned, his concern is to avoid being sent over the top to certain death. The show thus chronicles Blackadder's attempts to escape the trenches through various schemes, most of which fail due to bad fortune, misunderstandings and the general incompetence of his comrades.
    [Show full text]
  • We Are Excited to St
    2019 Stanford Certamen Intermediate Round 1 TU 1. Welcome to the 1st annual Stanford Certamen Invitational! We are excited to start this new tradition with you on “The Farm”! What Latin verb lies at the root of the English word “tradition.” TRĀDŌ, TRĀDERE B1: Now, give us the second declension Latin noun at the root of the English word “annual.” ANNUS, ANNĪ B2: Which of the following English words does not derive from either trado or annus: ​ ​ ​ ​ “millennial,” “extradite,” “unanimous,”or “trade”? UNANIMOUS TU 2. After being impregnated by Zeus, which goddess was prevented from giving birth on land until she came to an island not attached to the ocean floor, where she then finally gave birth to the twins Artemis and Apollo? LETO B1: What was the name of that island? DELOS B2: What is Leto’s Roman name? LATONA TU 3. What man, nicknamed “The Proud,” was the seventh and final king of Rome? TARQUINIUS SUPERBUS B1: What Roman king immediately preceded Tarquinius Superbus? SERVIUS TULLIUS B2: What clairvoyant woman, the wife of Tarquinius Priscus, foresaw that Servius Tullius would become king after she witnessed Tullius’s head burst into flames without injury to his person? TANAQUIL TU 4. Give us the English for the following Billie Eilish hit song: malus vir. “BAD GUY” B1: Now, give us the English for the following Khalid hit song: dīc. “TALK” B2: Finally, give us the English for the following Marshmello hit song: laetior. “HAPPIER” TU 5. Which Roman emperor led a campaign against the Dacians and reigned from 98 to 117 AD? TRAJAN B1: Who was the king of the Dacians whom Trajan defeated? DECEBALUS B2: What monument that still stands in Rome today commemorates Trajan’s Dacian campaigns? TRAJAN’S COLUMN BREAK FOR SCORE CHECK.
    [Show full text]
  • Aristocratic Identities in the Roman Senate from the Social War to the Flavian Dynasty
    Aristocratic Identities in the Roman Senate From the Social War to the Flavian Dynasty By Jessica J. Stephens A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Greek and Roman History) in the University of Michigan 2016 Doctoral Committee: Professor David Potter, chair Professor Bruce W. Frier Professor Richard Janko Professor Nicola Terrenato [Type text] [Type text] © Jessica J. Stephens 2016 Dedication To those of us who do not hesitate to take the long and winding road, who are stars in someone else’s sky, and who walk the hillside in the sweet summer sun. ii [Type text] [Type text] Acknowledgements I owe my deep gratitude to many people whose intellectual, emotional, and financial support made my journey possible. Without Dr. T., Eric, Jay, and Maryanne, my academic career would have never begun and I will forever be grateful for the opportunities they gave me. At Michigan, guidance in negotiating the administrative side of the PhD given by Kathleen and Michelle has been invaluable, and I have treasured the conversations I have had with them and Terre, Diana, and Molly about gardening and travelling. The network of gardeners at Project Grow has provided me with hundreds of hours of joy and a respite from the stress of the academy. I owe many thanks to my fellow graduate students, not only for attending the brown bags and Three Field Talks I gave that helped shape this project, but also for their astute feedback, wonderful camaraderie, and constant support over our many years together. Due particular recognition for reading chapters, lengthy discussions, office friendships, and hours of good company are the following: Michael McOsker, Karen Acton, Beth Platte, Trevor Kilgore, Patrick Parker, Anna Whittington, Gene Cassedy, Ryan Hughes, Ananda Burra, Tim Hart, Matt Naglak, Garrett Ryan, and Ellen Cole Lee.
    [Show full text]
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
    [Show full text]
  • On the Roman Frontier1
    Rome and the Worlds Beyond Its Frontiers Impact of Empire Roman Empire, c. 200 B.C.–A.D. 476 Edited by Olivier Hekster (Radboud University, Nijmegen, The Netherlands) Editorial Board Lukas de Blois Angelos Chaniotis Ségolène Demougin Olivier Hekster Gerda de Kleijn Luuk de Ligt Elio Lo Cascio Michael Peachin John Rich Christian Witschel VOLUME 21 The titles published in this series are listed at brill.com/imem Rome and the Worlds Beyond Its Frontiers Edited by Daniëlle Slootjes and Michael Peachin LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2016036673 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1572-0500 isbn 978-90-04-32561-6 (hardback) isbn 978-90-04-32675-0 (e-book) Copyright 2016 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.
    [Show full text]