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Eternally Yours, or Do You Believe in Magic?

06 Wednesday Jun 2018

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Films and Music, Literary History, Military History

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17th Century fashion, AB Durand, American Revolution, Arthur Rackham, Battle of Kolin, Bram Stoker, Captain Hook, Charles II, Christopher Lee, Darling Family, Darlings, Disney, Dracula, Fenian Cycle, Frederick the Great, Gerald du Maurier, Half Moon ship, Hudson River, J.M. Barrie, N.C. Wyeth, Neverland, Nina Boucicault, Oscar Wilde, Peter and Wendy, Peter Pan, Peter Pan in Kensington Gardens, Rip Van Winkle, Saruman, Tepes, The Little White Bird, The Lord of the Rings, The Picture of Dorian Gray, The Wanderings of Oisin, Tinkerbell, Tir na nOg, Tolkien, vampire, Vlad, Washington Irving, WB Yeats

Welcome, as ever, dear readers.

In our last, we spent some time thinking about immortality and Middle-earth.  Our main focus was upon the puzzle of Saruman’s seeming dissolution after his murder by Grima.

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As one of the Maiar, it would seem that Saruman was, at least potentially, immortal, but his melancholy disappearance would suggest otherwise—perhaps because of his gradual betrayal of the trust the Valar had put in him to be an opponent of Sauron?

We had begun, however, with Bram Stoker’s (1847-1912)

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1897 vampire classic, Dracula, and this has made us consider what appears to have been a popular theme in the late-Victorian-to-Edwardian literature we imagine JRRT read, growing up:  immortality (or at least lengthened life-span) through, for want of a better word, magic, and several instances immediately spring to mind.

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As for Dracula, we know that he was based upon a real late-15th-century eastern European border lord, Vlad, nicknamed “Tepes” (said TSE-pesh), “impaler”, who lived from about 1428 to 1477, when he was murdered.

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Stoker’s character has somehow avoided that death and has lived on for a further 500 years—how?  By being “un-dead”, a condition whose origin is never really explained, but in which a dead person continues to exist—and even flourish—if able to feed upon the blood of living people.  As this is not scientifically possible—dead is dead and actual vampire bats, after all, are alive, even if they drink blood.

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All that we can say, then, is that, for all of one of the protagonists’, Dr. van Helsing’s, talk of science, we have no idea what gives Dracula his extended life–though here’s Christopher Lee, as Dracula,

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from the 1958 film, Dracula (in the US, Horror of Dracula), with the basis of his continued existence fresh on his lips.

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Considering our last post, by the way, it’s an odd coincidence that, in 1958, Lee could play Dracula and in 2001-2003, he would play Saruman.

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A few years before Stoker’s novel, in 1889, the young WB Yeats (1865-1939)

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had published The Wanderings of Oisin (AW-shin).

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This is the story in verse based upon material from the “Fenian Cycle”,  the third series of tales about early Ireland preserved by medieval monks.  Yeats’ poem deals with an ancient Irish hero who traveled to the Otherworld, spent years there without knowing that it’s a place where time works differently, and returned, only to find that he’d been gone for 300 years and, once he’d actually touched Irish soil, he immediately changed from a vigorous young man to someone 3 centuries old.  The place to which Oisin traveled, called Tir na nOg, “the Land of Youth”, is, unfortunately, not found on any ancient map, so, like Dracula’s vampirism, it is simply accepted.

This time-warp also makes us think of the 1819 story of Rip Van Winkle, by Washington Irving (1783-1859).

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Rip Van Winkle goes off to hunt in the mountains, the Catskills, to the west of the Hudson River before the American Revolution.

(Here’s an 1864 painting of those mountains by AB Durand (1796-1886), who belonged to the first great group of American landscape painters, called the “Hudson River School”.)

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While out hunting, Rip bumps into a group of troll-like creatures, who turn out to be the enchanted members of Henry Hudson’s crew

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from his ship, the Half Moon—this is an image of the 1989 recreation of the ship—

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with which he explored the Hudson River in 1609.

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(We see here Edward Moran’s 1892 painting of Hudson’s ship entering New York harbor.)

Rip drinks and bowls with them,

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then falls asleep, only to awaken over twenty years later to find himself old and now a citizen of the new United States.

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(If you follow us regularly—and we hope you do!—then you know of our great affection for late-19th-early-20th-century illustrators and, when it comes to this story, we’re very lucky in that Arthur Rackham illustrated it in 1905

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and NC Wyeth in 1921.)

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Another late-Victorian story with the theme of the supernatural and long life is Oscar Wilde’s (1854-1900)

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The Picture of Dorian Gray, first published in book form in 1891.

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The picture here is a sinister one:  all of that which would age the protagonist, Dorian—who has an increasingly dark, secret life—is transferred to the image on canvas, so that the sitter for the portrait never seems to age.  We can see what that would look like from this image—as well as the tinted version, which is even worse,

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from the 1945 film.

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How the picture acts as a sponge for all of the worst of Dorian is, like vampirism, never explained—Dorian promises his life if he will never age, but we never see, for example, a satanic figure, standing to one side, nod in agreement.

We want to end, however, with a happier story—well, sort of.  In 1902, the Scots novelist and dramatist, JM Barrie (1860-1937),

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published a novel, The Little White Bird.

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In it appeared for the first a seemingly-deathless character, Peter Pan.

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Unlike Oisin, who has gone to a magical place, or Dorian Gray, who has his enchanted portrait, Peter just seems to be suspended in time—originally at the age of 7—days—old.

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When Barrie returned to the character, in 1904, however, he made Peter grow up–slightly.  His age isn’t exactly clear, but we know from the 1911 novelized version, Peter and Wendy,

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that he still has his first set of teeth.  [Footnote:  not a very exact clue—children can begin shedding baby teeth beginning at 6 and continue till 12.]   This is the Peter of Barrie’s famous play, Peter Pan,

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about a boy who lives on an island in Neverland

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and, on a visit to London, loses his shadow while eavesdropping on the three Darling children, whose oldest sibling, Wendy, tells stories about him, which she had learned from her mother.

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Peter is able to fly and, with the help of a fairy, Tinkerbell, he takes the Darling children back to Neverland with him, where they have all sorts of adventures.

The original Peter—like so many Peters over a century to come—was a woman, Nina Boucicault.

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We are lucky to have her costume, which differs a good deal from the Peter Pan everyone knows now from the 1954 Disney film.

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The villain of the piece, Captain Hook, however, has maintained his general outline from 1904.

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This is Gerald du Maurier, the original Captain.

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Although Barrie himself suggested that Hook should look like someone from the time of Charles II (1660-1685),

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to us, he appears to be modeled on the fashions of the late 17th century—note the long coat with the big cuffs, not to mention the big wig.

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And here is Disney’s 1954 Hook.

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(A footnote:  in 1904, Barrie had planned to have different actors play Mr. Darling, the children’s father, and Captain Hook, but du Maurier persuaded him to allow du Maurier to play both roles, which is still the tradition.)

The subtitle of Peter Pan is Or, the Boy Who Wouldn’t Grow Up, and here we see, for the first time on our little tour, an explanation for the immortality in which the mortal is an active agent:  unlike Dracula or Oisin or Dorian Gray, Peter defies time simply by refusing to acknowledge its effects.  He won’t age because he doesn’t want to.

We said that we wanted to end on a “sort of” happy story and Peter’s stubborn immortality might fit that, but Barrie later added a kind of epilogue, a one-act play first performed in 1908.  In it, Wendy Darling, the oldest of the Darling children, has now grown up and gotten married, and had a daughter, Jane.  One night, while Wendy is putting Jane to bed in the same nursery from which the earlier adventures began, Peter appears.

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At first, he simply refuses to believe that Wendy has grown up, and wants her to return to Neverland with him, although she has lost the ability to fly.  When she tries gently to explain that she can’t go with him because she has now become an adult, he collapses in tears and she runs from the room, leaving Jane asleep in her bed.  Jane wakes up and soon Peter invites her to fly to Neverland with him.  When Wendy reappears, she is quickly convinced and off the two go, leaving Wendy behind, but with the hope that Jane will have a daughter and she, in turn, will be taken to Neverland in an endless succession of daughters—perhaps immortality of a different sort?  (Here’s a LINK to the play, if you would like to read it for yourself.)

This has been a long posting, but we can’t resist a brief ps.  In 1757, Frederick the Great, the king of Prussia (1712-1786), was losing the battle of Kolin.  Desperate to win, he tried to rally his men for a counterattack, shouting, “You rascals!  Do you want to live forever?”

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Virtually no one followed him, so we guess that most did.

Thanks, as always, for reading.

MTCIDC

CD

PS

And another ps—in 1924, the first film version of Peter Pan appeared.

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It was much praised at the time and here’s a LINK so that you can see it for yourself.

Dancing with the Elves

09 Wednesday Aug 2017

Posted by Ollamh in Fairy Tales and Myths, Imaginary History, J.R.R. Tolkien, Literary History, Narrative Methods

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19th Century, A Midsummer Night's Dream, Anglo-Saxon, Arthur Rackham, Beren and Luthien, dance, Dicky Doyle, Elbereth Gilthoniel, elf ring, Elves, Fairy, fairy ring, Fairy Tale, Folklore, In Fairyland, Kenneth Grahame, Peter Pan in Kensington Gardens, Song, The Hobbit, The Lord of the Rings, Tolkien, Victorian, William Shakespeare

Dear readers,

Welcome, as always.

In The Lord of the Rings, Elves are powerful, human-like figures– immortal, skilled, and revered as counselors. In Tolkien’s work, however, they have not always been this way– early drafts suggest a sort of Victorian confusion, as if Tolkien’s elves have ancestral ties to both the tall, beautiful elves of the Anglo-Saxons, and to the jovial, delicate elves and fay of the mid- to late- 19th century.

In the beginning of June this year, Christopher Tolkien published an edited version of his father JRRT’s story, “Beren and Luthien”, which was originally published as a part of The Silmarillion, a history of the Elves.

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Within this book are previously unpublished earlier drafts and versions of the story, and in the introduction to them, Christopher Tolkien comments upon them: Beren was originally a gnome (which he was quick to explain meant an immortal figure– not what we would find in gardens),

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and then an elf, before his final incarnation as a mortal man. Luthien, the immortal Elven princess, is referred to by Tevildo, Prince of Cats, as “Princess of Fairies”. After being ordered to dance before him by the dark lord Melkor, Luthien began

“Such a dance as neither she nor any other sprite or fay or elf danced every before or has done since… magically beautiful as only Tinuviel ever was… and Ainu Melko for all his power and majesty succumbed to the magic of that Elf-maid, and indeed even the eyelids of Lorien had grown heavy had he been there to see” (76).

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What we found curious here was JRRT’s uses of “Elf” and “Fairy” as seemingly synonymous with each other, when, depending on to which story an Elf or Fairy belongs, they may be quite different. Being people who spend a good deal of time in the Victorian world, when we think of dancing fairies, what is more likely to come to mind are the tiny winged figures who appear in Kenneth Grahame’s Peter Pan in Kensington Gardens (1906), with illustrations by Arthur Rackham.

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We might also be reminded of the little people who inhabit Dicky Doyle’s In Fairyland (1869)

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What we see in the Victorian sense of fairies and elves in images and stories is a revival of Elizabethan fairy-stories, which focus on little people: much like the fairies of William Shakespeare’s A Midsummer Night’s Dream, for example, the fairies in Kensington are light-footed, winged beings who wear flowing garments, and they fancy calling themselves “dancey” rather than “happy”.

Dicky Doyle’s In Fairyland finds Elves in the “Elf World” to be the same sort of creatures. The picture below gives us an idea of the jovial nature of Victorian Elves, and is captioned, “The little Elves would cross over the border, and come into the King’s fields and gardens.”:

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J.R.R. Tolkien was born in 1896, at the end of the Victorian period. It would be understood if the Victorian sense was residual in his work– after all, he was a child when Arthur Rackham’s illustrations met the height of their popularity, at the beginning of the 20th century, and he mentions in his letters having seen them.

In his Middle-earth, however, we see a very different kind of Elf.  Tolkien describes how he imagined them in a letter to Naomi Richardson on 25 April 1954:

” ‘Elves’ is a translation, not perhaps now very suitable, but originally good enough, of Quendi. They are represented as a race similar in appearance (and more so further back) to Men, and in former days of the same stature… [they] are in fact in these histories very little akin to the Elves and Fairies of Europe; and if I were pressed to rationalize, I should say that they represent really Men with greatly enhanced aethetic and creative features, greater beauty and longer life, and nobility…” (Letters, 176).

Below are a few artists’ renditions of what these Elves might look like, and they’re very different from the imaginations of Arthur Rackham and Dicky Doyle.

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And some images from Peter Jackson’s films, as well:

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When JRRT refers to “the former days”, we can assume that he means two things:

  1. The former days of Middle-earth, such as in The Silmarillion
  2. The former days of our world–specifically, Anglo-Saxon Elves, which resemble the Elves of Middle-earth in their stature and beauty. Thus, the “former days” refer to a former rendition of Elves– one which, belonging to the Anglo-Saxons, would be familiar to JRRT.

(Attached here is a very useful book on this subject by Alaric Hall, which provides an in-depth look at pre-Elizabethan and pre-Victorian Elves.)

These Elves are almost the polar opposite of the Elfin and Fay creatures of the Victorians, and we found it curious that they would have anything in common. As demonstrated by Rackham’s “dancey” fairies and Luthien in Beren and Luthien, however, we found one thing: a love for song and dance.

While looking through Jack Zipes’ collected anthology of Victorian Fairy Tales, The Revolt of Fairies and Elves, we came across an example of this in “Charlie Among the Elves”, in which the protagonist, a young boy who finds himself, by some sort of magic or dream, in the world of fairies and elves. The elves invite him in and greet him with a song:

“…they struck up a melody which Charlie thought was the very sweetest music which he had ever heard in the whole course of his life, and thus ran the song of the Elves:

In the waning summer light

Which the hearts of mortals love

’Tis the hour for elfin sprite

Through the flow’ry mead to rove.

 

Mortal eyes the spot may scan,

Yet our forms they ne’er descry;

Though so near the haunts of man,

Merrily our trade we ply.”

In some folklore, there is also the danger of dance. Fairy rings, also called elf rings, are supernatural places created by the dancing of either fairies, elves, or witches. They have been considered hazardous by much of Western folklore to those outside of the fairy world; in these stories, mortals who have stepped inside have been cursed, trapped, or simply disappear.

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Charlie was lucky that he had come across benevolent creatures, and this reminded us of another instance when an adventurer was greeted by Elves through song: in The Hobbit, which is where Tolkien first introduced Elves, before he later understood them. Before The Lord of the Rings and The Silmarillion, Bilbo, Thorin, and Company are greeted by Elf-song in Rivendell:

” ‘Hmmm! it smells like elves!’ thought Bilbo, and he looked up at the stars. They were burning bright and blue. Just then there came a burst of song like laughter in the trees:

‘O! What are you doing,

And where are you going?

Your ponies need shoeing!

The river is flowing!

O! tra-la-la-lally,

here down in the valley!’ ”

As the Elves in both “Charlie Among the Elves” and The Hobbit are jovial and playful in their music, we might think that Tolkien had not completely abandoned the Victorian Elfin world, after all; of course, in The Lord of the Rings and in The Silmarillion, the Elves, just as much as the stories, take a more serious turn. Playful tunes are replaced with much more serious poetry, and in their native tongue, such as the Hymn to Elbereth Gilthoniel:

“A Elbereth Gilthoniel
Silivren penna miriel
A menel aglar elennath
Na chaered palandiriel.
O Galadhremmin ennorath
Fanuilos, le linnathon
Nef aer, si nef aeron!
A Elbereth Gilthoniel!
We still remember,
We who dwell
In the lands beneath the trees
Thy starlight on the western seas.”

pl_elbereth.jpg

When trying to reconcile these sorts of Elves and Fairies, rather than assessing them through their physical and behavioral qualities, we may look at them through something just as important in understanding them: music. The Silmarillion explains that the Elves, as well as the world and everything in it, including good and evil, originated from song.

But just as Elven music changes from The Hobbit to The Lord of the Rings, so the Elves have changed– they are human-sized, but also perhaps more serious and melancholy, as a parallel to the world Tolkien had created, which was much more complex than he originally realized.

The songs in The Lord of the Rings, and the later versions of Luthien, which present her as an Elf princess– a beautiful being which Beren falls in love with as soon as he sees her dance– express that melancholy. As the tale of Beren and Luthien reflects the way Tolkien wishes us to see Elven folklore– romantic, adventurous, and, ultimately, sorrowful– perhaps we can conclude that JRRT’s Elves are really fairies grown up.

And what do you think, dear readers?

MTCIDC,

CD

STTL

06 Tuesday Sep 2016

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Literary History

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A Midsummer Night's Dream, Adventure, Alice's Adventures in Wonderland, Anthony Hope, Arthur Rackham, Cinderella, Fairies, N.C. Wyeth, Nathaniel Hawthorne's Wonder Book, Peter Pan in Kensington Gardens, Rip Van Winkle, Sleeping Beauty, The Dolly Dialogues, The Wind in the Willows, To the Other Side, trees

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Welcome, as always, dear readers. This is a special day, so we have added an extra entry this week. 77 years ago today, on 6 September, 1939, 5 days after the beginning of World War 2, Arthur Rackham (1867-1939) died.

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Beginning as a clerk for the Westminster Fire Office (an insurance company, founded in 1717) who took art lessons,

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Rackham first shared illustrations with Alfred Bryant for the 1893 To the Other Side,

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but his biographers tell us that it was his next book project, the illustrations for Anthony Hope’s The Dolly Dialogues,003 The Dolly Dialogues.jpg

which convinced him to put all of his energy into book illustrations, his focus from then until his death, in 1939.

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A man dedicated to his art, Rackham turned out multitudes of images for books as varied as Rip Van Winkle (1905—also illustrated by N.C. Wyeth, another favorite of ours, in 1921),

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Peter Pan in Kensington Gardens (1906),

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Alice’s Adventures in Wonderland (1907),

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A Midsummer Night’s Dream (1908),

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and The Wind in the Willows (published posthumously in 1940).

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And his methods included the absolutely striking Cinderella (1919) and The Sleeping Beauty (1920), in which the illustrations are done almost completely in silhouette, as if the figures and scenes were designed for shadow plays.

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Throughout, the themes of wonder and the fantastic/grotesque interested him the most and, for us, a major feature is his trees, of many types, but often haunted things with eyes and mouths.

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From William Shakespeare’s A Midsummer Night’s Dream, 1908

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From Nathaniel Hawthorne’s A Wonder Book, 1922

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“Come Now, a Roundel” from William Shakespeare’s A Midsummer Night’s Dream, 1908

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From Kenneth Grahame’s The Wind in the Willows, 1940

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From William Shakespeare’s A Midsummer Night’s Dream, 1908

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From Nathaniel Hawthorne’s A Wonder Book, 1922

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Although he was cremated, we still want to offer him a typical Roman farewell, sometimes found inscribed on Roman tombs and the title of this posting: Sit Tibi Terra Levis—“May the earth lie light upon you”. (Literally, “May the earth be light to you”)

Thanks, as ever, for reading.

MTCIDC

CD

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