DOCSLIB.ORG

The Fictions of Satire Paulson, Ronald

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Fictions of Satire Paulson, Ronald The Fictions of Satire Paulson, Ronald Published by Johns Hopkins University Press Paulson, Ronald. The Fictions of Satire. Johns Hopkins University Press, 1967. Project MUSE. doi:10.1353/book.67852. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/67852 [ Access provided at 2 Oct 2021 23:08 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. HOPKINS OPEN PUBLISHING ENCORE EDITIONS Ronald Paulson The Fictions of Satire Open access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. © 2019 Johns Hopkins University Press Published 2019 Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. CC BY-NC-ND ISBN-13: 978-1-4214-3012-6 (open access) ISBN-10: 1-4214-3012-6 (open access) ISBN-13: 978-1-4214-3057-7 (pbk. : alk. paper) ISBN-10: 1-4214-3057-6 (pbk. : alk. paper) ISBN-13: 978-1-4214-3097-3 (electronic) ISBN-10: 1-4214-3097-5 (electronic) This page supersedes the copyright page included in the original publication of this work. THE FICTIONS OF SATIRE THE FICTIONS OF SATIRE By Ronald Paulson THE JOHNS HOPKINS PRESS Baltimore, Maryland Copyright © 1967 by The Johns Hopkins Press Baltimore, Maryland 21218 Library of Congress Catalog Card Number 67-17490 Printed in the United States of America To Maynard Mack ACKNOWLEDGMENT A certain interdependence must be confessed between this essay and the author’s Satire and the Novel (New Haven, Conn.: Yale University Press, 1967). Although separate and independent works, completed at different times, they were orig­ inally conceived as a single whole dealing with the development of fictive techniques in satire. The Fictions of Satire places its emphasis on satire, Satire and the Novel on the eighteenth- century English novel, but in a sense the one is an introduction to, and even includes a few passages that also appear in, the other (in the sections on picaresque and the “ Quixote Fiction” ). In this book I am interested almost exclusively in practice; in the other, where critical dicta importantly influence practice, I consider in some detail theories of satire and comedy in the eighteenth century. For some of the material of this book I have drawn on essays previously published. Parts of Chapter I, “The Central Symbol of Violence,” “Relationship: The Fool and the Knave,” and “Picaresque Narrative: The Servant-Master Relation,” have appeared in different form in Rice University Studies, LI (1965) under the title “The Fool-Knave Relation in Picaresque Satire.” Sentences and occasional paragraphs, especially of sections of Chapter II entitled “The Satirist and the Satirist-Satirized” and “The Fictions of Tory Satire,” have appeared in reviews pub­ lished in the Journal of English and Germanic Philology. Part Vili A cknowledgments of Chapter III, “Swiftean Romanticism: The Satirist as Hero,” was originally published as “ Swift, Stella, and Permanence” in ELH A Journal of English Literary History, XXVII (i960). My first thanks go to the University of Illinois and the American Philosophical Society for grants that enabled me in the summers of i960 and 1961 to begin thinking about the subject of satire. Since then, other grants from universities and learned societies that contributed directly to other projects have incidentally offered moments in which I could return to it. Rice University generously provided a typist for the final draft. Jack Stillinger read much of the manuscript in a very early form and helped me in the many ways to which his friendship has long accustomed me. I must also thank, once again, Maynard Mack, who read both parts of the original manuscript, and to whom I have dedicated the finished product as an overdue token of gratitude and esteem. TABLE OF CONTENTS I. Rhetoric and Representation Introduction ....................................................................................3 The Central Symbol of Violence ............................................9 Relationship : The Fool and the K n ave ....................... 20 Fiction as D evice: Lucian ................................................ 3 1 Satura into Prose Fiction ................................................... 42 Picaresque Narrative : The Servant-Master Relation .................................... 58 II. From Panurge to Achitophel The Satirist and the Satirist-Satirized .......................... 75 The Satirist as K nave and as H e ro : Panurge and Pantagruel........................... .................. 80 The Satyr-Satirist and Augustan Realism .................. 88 The Quixote Fiction ............................................................. 98 Turnus and Satan ................................................................... n o The Fictions of Tory Satire ............................................... 120 III. Swift: The Middleman and the Dean From Rhetoric to Fiction: The Drapier’s Letters .129 Swift’s Version of the Tory Fiction .................................138 Swiftean Realism: The Bickerstaff Papers ....................150 Swiftean Picaresque : Gulliver’s Travels .......................162 Swiftean Romanticism: The Satirist as H e ro .............185 Conclusion : The Fiction of Whig Satire ...................... 2 10 THE TICTIONS OF SATIRE I. RHETORIC AND REPRESENTATION Introduction Сontemporary definitions of satire usually join two terms: “wit or humor founded on fantasy or a sense of the grotesque or absurd” for one, and “ an object of attack” for the other; or fantasy and a moral standard; or indirection and judgment. One is a wild, not quite stable comedy; the other a moral condemna­ tion. Both are attitudes or tones, although implied is “ an object” to be acted upon. Put into Aristotle’s correlation, satire can be said to study an ugliness in a manner that is not itself painful, and its approach consists of denigration or attack.1 To the extent that satire presents, and so represents,. its “ object,” it is related to other mimetic forms. But to the extent that satire attacks, it is rhetorical— the vituperatio o f laus et vituperatio— and there is a persuasive end in sight. However much mimesis or representation is involved, the generic end is rhetorical. As Swift wrote to Gay following the success of The Beggar’s Opera in the eventful spring of 1728: “The B eggar’s Opera has knocked down G u lliver; I hope to see Pope’s Dulness \_The Dunciad~\ knock down the Beggar’s Opera, but not till it has fully done its job” (my italics). The “job”— Swift later 1 Northrop Frye, The Anatomy of Criticism (Princeton, N .J.: Princeton University Press, 1957), P· 224; Ellen Leyburn, Satiric Allegory: Mirror of M an (New Haven, Conn.: Yale University Press, 1956), p. 7; Aristotle, Poetics 5, I. 3 The Fictions of Satire refers to it as the “ task” — is a sine qua non of satire.2 Satire imitates, presents, explores, analyzes the evil (the term I shall use instead of Aristotle’s “ugly” ), but it must at the same time ( i ) make the reader aware of a pointing finger, of an ought or ought not, that refers beyond the page to his own life, or— and this is not always the same thing— (2) take a moral stand, make a judgment, and place or distribute blame. The first can develop into an extremely elaborate rhetorical structure; the second re­ quires only that the object be made to appear evil or ridiculous, not neutral or acceptable. The element of judgment is acutely described by David Worcester as a “closeness of pursuit” and an “ intensity of condemnation” ;3 by the comparative intensity of these qualities satire is distinguishable from the freer, more careless and permissive world of comedy. Satire has a certain specific business to do, and it does it. Clearly Worcester’s dis­ tinction leaves a great deal to opinion, but it does designate in comedy a residuum of pure exuberance. There is always a strong sense of efficiency in satire : nothing is done without a purpose. It has no time for loitering and highjinks. But if comedy is the pure substance which satire uses for its own businesslike ends, we might wonder if satire is anything more than a tone attached to certain forms and subject matters. Without an article “ satire” refers more to a tone than to a form. It is not at all the same thing to say that Pope wrote satire and to say that he wrote a satire. The latter introduces ideas of form and convention as well as of tone; but a novel, or a play, or a poem, can be satire without being a satire, and the adjective “ satiric” is much the most popular form of the word. Following is a typical view of satire’s form, or non-form: “One thing satire, as a form, is incapable of doing: it cannot provide the plot for a novel. Traditionally, satire has always borrowed its ground-plan, parasitically and by ironic inversion, from other 2 Letter to Gay, 28 March 1728; to Pope, 10 May. See The Correspondence of Jonathan Swift, ed. Harold Williams (Oxford : Clarendon Press, 1963), III, 278, 286 (I have modernized for purposes of clarity in this instance). 3 The Art of Satire (Cambridge, Mass.: Harvard University Press, 1940), pp· 37-38. 4 Rhetoric and. Representation forms of ordered exposition in art or in life. Historically, the satirist has often had to be on his guard and hide his satires beneath the sheep’s clothing of a commonly accepted form. Whether the satire appears to be a children’s tale or sheer non­ sense, it offers both the author and the audience an opportunity to take it that way— for self-protection. Moreover, an object of satire is best attacked through a generally understood form that is perverted to convey the satiric message. Satire’s purpose ordinarily is not to create something new but to expose the real evil in the existing. In the troubled England of the seventeenth century, this could best be done through a happy form like the nursery tale or a pious one like the liturgy or a hymn, under which is revealed an unexpected impiety.
Load more

Recommended publications
  • Emily Savage Virtue and Vice in Juvenal's Satires
    Emily Savage Virtue and Vice in Juvenal's Satires Thesis Advisor: Dr. William Wycislo Spring 2004 Acknowledgments My sincerest thanks go to Dr. Wycislo, without whose time and effort this project would have never have happened. Abstract Juvenal was a satirist who has made his mark on our literature and vernacular ever since his works first gained prominence (Kimball 6). His use of allusion and epic references gave his satires a timeless quality. His satires were more than just social commentary; they were passionate pleas to better his society. Juvenal claimed to give the uncensored truth about the evils that surrounded him (Highet 157). He argued that virtue and vice were replacing one another in the Roman Empire. In order to gain better understanding of his claim, in the following paper, I looked into his moral origins as well as his arguments on virtue and vice before drawing conclusions based on Juvenal, his outlook on society, and his solutions. Before we can understand how Juvenal chose to praise or condemn individuals and circumstances, we need to understand his moral origins. Much of Juvenal's beliefs come from writings on early Rome and long held Roman traditions. I focused on the writings of Livy, Cicero, and Polybius as well as the importance of concepts such as pietas andjides. I also examined the different philosophies that influenced Juvenal. The bulk of the paper deals with virtue and vice replacing one another. This trend is present in three areas: interpersonal relationships, Roman cultural trends, and religious issues. First, Juvenal insisted that a focus on wealth, extravagance, and luxury dissolved the common bonds between citizens (Courtney 231).
    [Show full text]
  • The Holy See
    The Holy See Coat of Arms of His Holiness Benedict XVI Armour bearings have been in common use by soldiers and the nobility since the Middle Ages. This has given rise to a very specific heraldic language to regulate and describe civic heraldry. At the same time, an ecclesiastical heraldry for clergy also developed. This heraldic usage follows exactly the same rules as civic heraldry with regard to the composition and definition of the shield, but surrounds it with religious or Church symbols and emblems according to one's ecclesiastical rank in Holy Orders, jurisdiction and dignity. There is an at least 800-year-old tradition for Popes to have their own personal coat of arms, in addition to the symbols proper to the Apostolic See. Particularly during the Renaissance and the centuries that followed, it was customary to mark with the arms of the reigning Supreme Pontiff all his principal works. Indeed, Papal coats of arms appear on buildings and in various publications, 2 decrees and documents. Popes often used their family shield or composed their own with symbols indicating their ideal of life or referring to past events or experiences, or even elements connected with specific Pontifical programmes. At times, they even added a variant to a shield that they had adopted on becoming a Bishop. Cardinal Joseph Ratzinger, elected Pope and taking the name Benedict XVI, has chosen a coat of arms rich in symbolism and meaning that transmits to history his personality and Pontificate. A coat of arms consists of a shield bearing several important symbols and surrounded by elements that indicate the person's dignity, rank, title, jurisdiction and more.
    [Show full text]
  • Saevae Memorem Iunonis Ob Iram Juno, Veii, and Augustus
    Acta Ant. Hung. 55, 2015, 167–178 DOI: 10.1556/068.2015.55.1–4.12 PATRICIA A. JOHNSTON SAEVAE MEMOREM IUNONIS OB IRAM JUNO, VEII, AND AUGUSTUS Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit litora, multum ille et terris iactatus et alto vi superum saevae memorem Iunonis ob iram. Aen. I 1–4 Summary: A driving force in Vergil’s Aeneid is the hostility of Juno to the Trojans as they approach, and finally arrive in Italy. The epic in some ways mirrors the opposition encountered by Augustus as the new ruler of Rome. Juno’s opposition to the Trojans has its origin not only in Greek mythology, but in the his- tory of the local peoples of Italy with whom early Romans had to contend. From the outset of the poem she becomes the personification of these opposing forces. Once the Trojans finally reach mainland Italy, she sets in motion a long war, although the one depicted in the Aeneid was not as long as the real wars Ro- mans waged with the Latin League and with the many of the tribes of Italy, including the Veii. The reality of the wars Rome had to contend with are here compared to the relatively brief one depicted in the Aeneid, and the pacification of Juno reflects the merging of the different peoples of Rome with their subjugator. Key words: Juno, saeva, MARS acrostic, Etruscan Uni, evocatio, Veii, Fidenae, Aventinus, Gabii, Prae- neste, Tibur, Tanit, Saturnia, Apollo, Cumae and Hera, asylum, Athena, Aeneas, Anchises’ prophecy An important part of Augustan Myth is found in Vergil’s depiction of Juno, who is named in the opening lines of the epic and is a persistent presence throughout the poem.
    [Show full text]
  • Griffintayle-Aug-2003
    *5,)),T7"=/( Newsletter of the Barony of Politarchopolis August AS38 “Fraudem! Fraudem! Mea pecunia vobis redenda est!” Griffintayle is published by and for the Barony of Politarchopolis. It is not a corporate publication of the Society for Creative Anachronism and does not delineate SCA policy. Griffintayle is produced by Anwyn Davies Griffintayle has a limited free distribution. Secure your postal copy by subscription - $8.00 per year. Baronial Homepage: http://www.sca.org.au/politarchopolis/ Sunday Monday Tuesday Wednesday Thursday Friday Saturday 10 11 12 13 14 15 Booking price for 16 Guild Day, St. O ~o dPO Crusade, Borderscros, Florians goes up today A 17 18 19 20 21 22 Benevolence 23 Benevolence U O ~o dO Crusade, Borderscros Crusade, Borderscros G 24 Benevolence 25 26 27 28 29 30 Games and Crusade, Borderscros Potluck dPO O ~o 31 Heraldic Tourney 1 2 3 4 5 6 ~ ;O S 7 8 9 10 11 12 13 E O ~o dPO P 14 15 16 17 18 19 20 O ~o dO 21 Heavy Quest at 22 23 24 25 26 27 Feast of the Redwood Grove dPO Butterflies ~o REGULAR MEETINGS ;Baronial Meetings: the first Wednesday of the month at 7:30 pm. Next Meeting will be at ANU, Copland G030 O Baronial heavy fighter practice: - Sunday: from 3:00 pm at Haig Park, O’Connor near scout hall, Fencers and heavies welcome. This is not an SCA event, as waivers are not collected. - Wednesday evenings: from 6:30 pm, at Mawson Oval. This is not an SCA event, as waivers are not collected.
    [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]
  • Gullivers Travels Study Guide
    Gullivers travels study guide Continue Cummings Guides Home . Contact this site. ... Original name and byline. Gulliver's travels were originally called Travels to the remote nations of the world. The author was identified as Lemyl Gulliver, not Jonathan Swift. Swift refused to help herself not only to make the fictional Gulliver a real person, but also to protect himself from the wrath of the people he satirizes. Type of work .. Gulliver's Journeys is a novel of satire and adventure that has four main sections called books divided into chapters. A previous first book post from the publisher, Richard Sympson. He claims that Lemuil Gulliver is a real person known as Sympson. This message is followed by a letter to Simpson from Gulliver. Each of these prolegomen is, of course, fiction - the work of Swift's mischievous mind, designed to improve the realistic characteristics of his fictional narrator. Educated adults usually read the book as a satire on current events and social, cultural, religious political trends. Children usually read a book as an adventure story. The publication of the Expurgated and Unexpurgated Editions Book was published for the first time in 1726 in an abbreviated edition that removed excerpts deemed offensive. The second edition was published in 1735; it contains most, but not all, of the deleted passages. The third edition, containing the full novel, was published in 1899. Gulliver's Adventures in Journeys takes place between May 4, 1699 and December 5, 1715. Between 1715 and 1720, the fictional protagonist, Lemyl Gulliver, is rebuilt to life in England. In 1720 he began to write a report on his travels, and in 1727 he published them for publication.
    [Show full text]
  • Further Commentary Notes
    Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X).
    [Show full text]
  • Martial's and Juvenal's Attitudes Toward Women Lawrence Phillips Davis
    University of Richmond UR Scholarship Repository Master's Theses Student Research 5-1973 Martial's and Juvenal's attitudes toward women Lawrence Phillips Davis Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Davis, Lawrence Phillips, "Martial's and Juvenal's attitudes toward women" (1973). Master's Theses. Paper 454. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. MARTIAL' S AND JUVENAL' S ATTITUDES TOWARD WOMEN BY LAWRENCE PHILLIPS DAVIS A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF·ARTS IN ANCIENT LANGUAGES MAY 1973 APPROVAL SHEET of Thesis PREFACE The thesis offers a comparison between the views of Martial and Juvenal toward women based on selected .Epigrams of the former and Satire VI of the latter. Such a comparison allows the reader to place in perspective the attitudes of both authors in regard to the fairer sex and reveals at least a portion of the psychological inclination of both writers. The classification of the selected Epigrams ·and the se­ lected lines of Satire VI into categories of vice is arbi- . trary and personal. Subjective interpretation of vocabulary and content has dictated the limits and direction of the clas­ sification. References to scholarship regarding the rhetori­ cal, literary, and philosophic influences on Martial and Ju­ venal can be found in footnote6 following the chapter concern-· ~ng promiscuity.
    [Show full text]
  • Download Horace: the SATIRES, EPISTLES and ARS POETICA
    +RUDFH 4XLQWXV+RUDWLXV)ODFFXV 7KH6DWLUHV(SLVWOHVDQG$UV3RHWLFD Translated by A. S. Kline ã2005 All Rights Reserved This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non- commercial purpose. &RQWHQWV Satires: Book I Satire I - On Discontent............................11 BkISatI:1-22 Everyone is discontented with their lot .......11 BkISatI:23-60 All work to make themselves rich, but why? ..........................................................................................12 BkISatI:61-91 The miseries of the wealthy.......................13 BkISatI:92-121 Set a limit to your desire for riches..........14 Satires: Book I Satire II – On Extremism .........................16 BkISatII:1-22 When it comes to money men practise extremes............................................................................16 BkISatII:23-46 And in sexual matters some prefer adultery ..........................................................................................17 BkISatII:47-63 While others avoid wives like the plague.17 BkISatII:64-85 The sin’s the same, but wives are more trouble...............................................................................18 BkISatII:86-110 Wives present endless obstacles.............19 BkISatII:111-134 No married women for me!..................20 Satires: Book I Satire III – On Tolerance..........................22 BkISatIII:1-24 Tigellius the Singer’s faults......................22 BkISatIII:25-54 Where is our tolerance though? ..............23 BkISatIII:55-75
    [Show full text]
  • Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century Bce
    ARCHAEOLOGICAL AND LITERARY ETRUSCANS: CONSTRUCTIONS OF ETRUSCAN IDENTITY IN THE FIRST CENTURY BCE John B. Beeby A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James B. Rives Jennifer Gates-Foster Luca Grillo Carrie Murray James O’Hara © 2019 John B. Beeby ALL RIGHTS RESERVED ii ABSTRACT John B. Beeby: Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century BCE (Under the direction of James B. Rives) This dissertation examines the construction and negotiation of Etruscan ethnic identity in the first century BCE using both archaeological and literary evidence. Earlier scholars maintained that the first century BCE witnessed the final decline of Etruscan civilization, the demise of their language, the end of Etruscan history, and the disappearance of true Etruscan identity. They saw these changes as the result of Romanization, a one-sided and therefore simple process. This dissertation shows that the changes occurring in Etruria during the first century BCE were instead complex and non-linear. Detailed analyses of both literary and archaeological evidence for Etruscans in the first century BCE show that there was a lively, ongoing discourse between and among Etruscans and non-Etruscans about the place of Etruscans in ancient society. My method musters evidence from Late Etruscan family tombs of Perugia, Vergil’s Aeneid, and Books 1-5 of Livy’s history. Chapter 1 introduces the topic of ethnicity in general and as it relates specifically to the study of material remains and literary criticism.
    [Show full text]
  • Heraldry in Ireland
    Heraldry in Ireland Celebrating 75 years of the Office of the Chief Herald at the NLI Sir John Ainsworth Shield Vert, a chevron between three battle-axes argent Crest A falcon rising proper, beaked, legged and belled gules Motto Surgo et resurgam Did you know? Sir John Ainsworth was the NLI's Surveyor of Records in Private Keeping in the 1940s and 1950s. Roderick More OFerrall Shield Quarterly: 1st, Vert, a lion rampant or (for O Ferrall); 2nd, Vert a lion rampant in chief three estoiles or (for O More); 3rd, Argent, upon a mount vert two lions rampant combatant gules supporting the trunk of an oak tree entwined with a serpent descending proper, (for O Reilly); 4th, Azure, a bend cotised or between six escallops argent (for Cruise) Crest On a ducal coronet or a greyhound springing sable; A dexter hand lying fess-ways proper cuffed or holding a sword in pale hilted of the second pierced through three gory heads of the first Motto Cú re bu; Spes mea Deus Did you know? This four designs on the shield represent four families. Heiress Leticia More of Balyna, county Kildare married Richard Ferrall in 1751. Their grandson Charles Edward More O'Ferrall married Susan O'Reilly in 1849. Susan was the daughter of Dominic O'Reilly of Kildangan Castle, county Kildare who had married heiress Susanna Cruise in 1818. Dublin Stock Exchange Shield Quarterly: 1st, Sable, a tower or; 2nd, Vert, three swords points upwards two and one proper pommelled and hilted or; 3rd, Vert, three anchors erect two and one argent; 4th, Chequy, sable and argent, on a chief argent an escroll proper, inscribed thereon the words Geo.
    [Show full text]
  • Can One Believe the Ancient Sources That Describe Messalina?
    Constructing the Past Volume 12 Issue 1 Article 7 June 2011 Can One Believe the Ancient Sources That Describe Messalina? Kristen A. Hosack Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/constructing Recommended Citation Hosack, Kristen A. (2011) "Can One Believe the Ancient Sources That Describe Messalina?," Constructing the Past: Vol. 12 : Iss. 1 , Article 7. Available at: https://digitalcommons.iwu.edu/constructing/vol12/iss1/7 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by editorial board of the Undergraduate Economic Review and the Economics Department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Can One Believe the Ancient Sources That Describe Messalina? Abstract This paper discusses the various ancient writings that discussed the empress Messalina. It ultimately concludes that the ancient authors wrote with profound biases, which discredits the accuracy of their negative accounts of her. This article is available in Constructing the Past: https://digitalcommons.iwu.edu/constructing/vol12/iss1/7 Can One Believe the Ancient Sources That Describe Messalina? Kristen Hosack If readers were to believe everything the ancient sources wrote about the Empress Valeria Messalina, they might conclude that she was a conniving, sex-crazed megalomaniac who worked as a prostitute in her spare time.
    [Show full text]