# articles

feed_id: http://publicdomainreview.org/?p=5151
title: San Francisco Earthquake Aftermath (1906)
uri: San-Francisco-Earthquake-Aftermath-(1906)
url: http://publicdomainreview.org/2012/06/10/san-francisco-earthquake-aftermath-1906/
content:
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<iframe src="http://archive.org/embed/tmp_50168" width="640" height="480" frameborder="0"></iframe>
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Haunting footage on the streets of San Francisco after the 1906 earthquake which devastated much of the city, left more than 300,000 people homeless and killed over 3000. The earthquake was the first natural disaster of its magnitude to be documented by photography and motion picture footage. This film appears to be made by amateurs who attached a camera to a car driven around the city. Noticeable is the huge amount of people out sightseeing amid the rubble. See also <a href="http://archive.org/details/EdisonNe1906" target="_blank">this Edison newsreel</a> showing scenes of the rescue operation and clearup. And see <a href="http://archive.org/details/TripDownMarketStreetrBeforeTheFire" target="_blank">&#8220;A Trip Down Market Street&#8221; </a>which shows the streets of San Francisco only 6 days prior to when the earthquake hit.<br />
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<a href="http://archive.org/details/tmp_50168">Download from Internet Archive</a>
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<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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feed_id: http://publicdomainreview.org/?p=5160
title: William Cheselden’s Osteographia (1733)
uri: William-Cheselden-s-Osteographia-(1733)
url: http://publicdomainreview.org/2012/06/11/cheseldens-osteographia-1733/
content:
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With its novel vignettes and its use of a camera obscura in the production of the plates, William Cheselden’s lavishly illustrated <em>Osteographia</em> or the <em>Anatomy of the Bones</em>, is recognized as a landmark in the history of anatomical illustration.
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Read more about the <i>Osteographia</i> in Monique Kornell&#8217;s <a href="http://publicdomainreview.org/2011/08/22/accuracy-and-elegance-in-cheseldens-osteographia-1733/">article</a> for The Public Domain Review.
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(All images via the <a href="http://www.nlm.nih.gov/exhibition/historicalanatomies/cheselden_home.html" target="_blank">National Library of Medicine</a>. See their website for more images and scans of the original pages). 

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feed_id: http://publicdomainreview.org/?p=4889
title: Seeing Joyce
uri: Seeing-Joyce
url: http://publicdomainreview.org/2012/06/12/seeing-joyce/
content:
<p><strong>This year&#8217;s &#8216;Bloomsday&#8217; &#8211; 108 years after Leopold Bloom took his legendary walk around Dublin on the 16th June 1904 &#8211; is the first since the works of James Joyce entered the public domain. Frank Delaney asks whether we should perhaps now stop trying to read Joyce and instead make visits to him as to a gallery.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7219/7240826570_86f451f4ce_o.jpg" width="540" height="638" /><p class="wp-caption-text">Photograph Joyce had made in Zurich, 1915, and sent to Michael Healy, Nora's uncle. Source: Beinecke Rare Book and Manuscript Library at Yale University.</p></div>

<p>In 1931, Stanislaus Joyce wrote to his older brother, James, a letter that echoed with many voices.</p>

<blockquote>I cannot read your work in progress. The vague support you get from certain French and American critics I set down to pure snobbery … What is the meaning of that rout of drunken words? … You want to show that you are a superclever superman with a superstyle.</blockquote>

<p>It wasn’t the younger sibling’s first complaint, nor even the most bitter; as brother of the more famous Jim he had spoken out far more abusively at earlier, similarly “obscure” moments in the Joycean career. Nor was Stanny’s the only such complaint; in fact such allegations and dismissals would become more or less general. This time, the “work in progress” became <em>Finnegans Wake</em> (1939), a book that has defeated most of its would-be readers wholly and all partially, but that same frustrated opprobrium had begun with <em>Ulysses</em> (1922) and in due time would discolour everything that Joyce wrote.</p>

<p>To accept the general impeachment of James Joyce is never to know vast delight. The majority has ruled for a long time &#8211; Joyce is “difficult,” Prince of the Unintelligibles, out-Steining Gertrude and that’s that, no further argument.</p>

<p>If, out of sensitivity, out of respect, you find yourself reluctant to blame the artist himself, you could, if you wished, turn on the academics. Sneer at them, “Well, they certainly took Joyce at his word when he said &#8216;My work will keep the professors busy for three hundred years&#8217;.” Indeed. Hammer them further; didn’t they then make him exclusive, intensify his arcane reputation, isolate him from the common reader because they were hunting down all those recondite doctorates in his thickets? And, as every dog and Derrida knows, the more obscure the thesis the more <em>summa</em> the <em>cum laude</em>.</p>

<p>However, why yield to either frustration or cynicism, especially in the face of such great art? Since Joyce believed that his writing both synthesized and transcended other disciplines, specifically painting and music, why not look for him somewhere over there? Indeed, why not wonder whether Joyce only needs a little pathfinding, a little extra scrutiny?</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm9.staticflickr.com/8167/7240826120_8ef763b1c8_o.jpg" width="540" height="423" /><p class="wp-caption-text">Joyce playing the guitar in Trieste, 1915. The photograph is by Ottacaro Weiss, a friend who was apparently &quot;scandalized&quot; by his Joyce&#039;s guitar playing skills. The guitar is now on display at the James Joyce Museum in Martello Tower.</p></div>

<p>There’s a lot to be gained when you (sort of) set a thief to catch a thief. An artist from one discipline can refresh how we see a fellow-artist from another. Shaw on <em>Rheingold</em>; “Let us not forget that godhood means to Wagner infirmity and compromise, and manhood strength and integrity.” Henry James remarked upon Sir Christopher Wren’s “insincere recesses and niches” at St. Paul’s.</p>

<p>James Joyce attracted painters. Brancusi painted a portrait of the artist as an older man – one slender whorl and some thin tangential lines (prompting Joyce’s father to say, “Well &#8211; Jim has changed a bit since I saw him”). Matisse provided stunning illustrations for an edition of Ulysses (though by taking his inspiration from Homer he annoyed Joyce &#8211; who probably didn’t stop to think about Matisse’s language skills).</p>

<p>And there was one other artist, admittedly minor, who, for those seeking to understand Joyce, made the greatest of all differences. In 1918, an English painter, Frank Budgen (1882-1971), met James Joyce at a party in Zurich. Both were aged 36 and within their first conversation Joyce responded to Budgen’s natural sensitivity and felt safe with him. Rare compliment, he then showed Budgen his work in progress of the day – the first three chapters of <em>Ulysses</em>, four years before the book would appear in print.</p>

<p>If there can be a natural kinship between painters and writers, Budgen, the perfect reader, proved it. To Joyce’s “difficult” material he brought his own sense of how any artist must render life. In a memoir, <em>James Joyce and the Making of Ulysses</em> (1934), he described the great modernist’s prose from his own artistic vantage: “It is like an impressionist painting. The shadows are full of colour; the whole is built up out of nuances instead of being constructed in broad masses; things are seen as immersed in a luminous fluid; colour supplies the modeling and the total effect is arrived at through a countless number of small touches.&#8221;</p>

<p>Seen thus, Joyce’s work changes for ever. No longer do we have to read what multiple critics called “tormented prose.” The myriad disdainers, whose negatives ranged from “vulgar” and “foul” to “psychic disintegration” – they fail. As Budgen saw him, Joyce’s higher purpose gleams like dawn.</p>

<p>Through Budgen’s lens, not only may we now excuse Joyce the dense layers of reference, often six deep in the use or placement of a single word, we may relish them. Instead of fighting him phrase by phrase, we can trust him image by image as we see one art relating to another &#8211; literature rendered as painting. It’s like stumbling into a field of diamonds – hard, brilliant flashes of light everywhere. In short, Frank Budgen alters James Joyce’s state by making him a writer whom we see rather than merely read.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7242/7254738544_b5019a7c66_o.jpg" width="540" height="674" /><p class="wp-caption-text">Sketch of &#039;Poldy&#039;, Leopold Bloom, from Joyce&#039;s notes.</p></div>

<p>That Joyce was ever thus can be discerned early. The first paragraph of his first generally published work, &#8216;The Sisters&#8217;, in <em>Dubliners</em> (1914) contains this sentence, a painting in itself: “If he was dead, I thought, I would see the reflection of candles on the darkened blind, for I knew that two candles must be set at the head of a corpse.”</p>

<p>Every story in the collection offers similar illustrative prose; “When she got outside the streets were shining with rain and she was glad of her old brown raincloak” (Clay). The head of a man who has fallen lies in “a dark medal of blood” (Grace). Or, straight from Renoir, “She was a slim, growing girl, pale in complexion and with hay-coloured hair.”</p>

<p>It’s possible to pass off the many bright phrases in <em>Dubliners</em> and <em>A Portrait of the Artist as a Young Man</em> (1916) as “Show: Don’t Tell,” the creative writing school ideal. The impressionism doesn’t truly kick in until <em>Ulysses</em>; thereafter it dominates and does so in ways both brilliantly technical and artistically profound – and occasionally parodic. For example, in a technique vital to painting, the shift between light and shadow, Stephen Dedalus, under the sunny daylight of the most famous June morning in literature, walks along Sandymount Strand &#8211; with his eyes closed. Once the image is in place, literature then takes the meaning up, up and away – “walking into eternity,” thinks Stephen.</p>

<p>And yet, when the book was published in February 1922, and was at the moment the most famous book in the world, that same &#8216;Proteus&#8217; chapter, with its now-notorious “ineluctable modality of the visible,” was the downfall of so many would-be readers.</p>

<p>Why didn’t they ask Budgen? Take the first of his three crucial remarks: “It is like an impressionist painting. The shadows are full of colour; the whole is built up out of nuances instead of being constructed in broad masses.” Use that observation to interrogate a later chapter in <em>Ulysses</em>, &#8216;The Wandering Rocks&#8217;.</p>

<p>It’s three o’clock in the afternoon. Lunch has been taken, Hamlet has been dissected within the Library and another landscape with figures is about to be painted. We’ve already had strong hints of this kind of canvas; Stephen steps away from a crowded bathing-place; a funeral proceeds across town; Mr. Bloom peregrinates among people and streets towards his lunch. Now, in &#8216;Wandering Rocks&#8217;, we are about to view the city as L.S. Lowry and his stick-figures. Or the Breughels or Averkamp, those Low Countries scenes of teeming villages. Or a Renoir afternoon.</p>

<p>Within the first few hundred words, we observe a grave and serious priest, who gives a blessing to a one-legged sailor, meets and greets the wife of an M.P., and chats to three little schoolboys.</p>

<p>Across the canvas strides a dancing teacher in “silk hat, slate frockcoat with silk facings, white kerchief tie, lavender trousers, canary gloves and pointed patent boots.”</p>

<p>Next we see Mrs. McGuinness, “stately, silver-haired,” with “a fine carriage… like Mary, Queen of Scots.” And on it goes; more schoolboys, “satchelled” this time; shopkeepers; a police constable; “two unlabouring men” lounging against the window of a pub; “a bargeman with a hat of dirty straw” – the book at this moment almost ceases to have characters; rather they become members of a painted day.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7212/7240826310_027169d408_o.jpg" width="540" height="516" /><p class="wp-caption-text">Colourised photograph of Sackville Street in Dublin, circa 1900. <em>As I was Going Down Sackville Street</em> was a novel by Joyce's friend (and inspiration for <em>Ulysses</em>' Buck Mulligan), Oliver St. John Gogarty - titled after an Irish Ballad which Joyce sang for Gogarty in 1904.</p></div>

<p>In 1920, for Carlo Linati, the Italian translator of his play <em>Exiles</em> (1918), Joyce produced The Linati Schema, a breakdown of the chapter’s nineteen segments, in which many characters recur. He listed the chapter’s concerns as “Objects, Places, Forces, Ulysses,” called the “technic” of the chapter a “shifting labyrinth between two shores,” and defined the “organ” of the piece “as “blood.” All through the &#8216;Wandering Rocks&#8217; chapter the corpuscles of Dublin’s lifeblood pulse along the veins and arteries of the city.</p>

<p>In general, Joyce threw down many deliberate, almost sadistic challenges, not least to the “formal,” that is to say, sequential use of language. But if <em>Ulysses</em> is Impressionism, it can’t drag you back to its old ways. As such, it passes all Budgen’s tests, not least “the whole is built up out of nuances instead of being constructed in broad masses.” Few characters in most chapters receive great dramatic roles, and yet they all tell the story of the sixteenth of June 1904 in Dublin. Yeats wasn’t meaning to condescend when he referred to the book’s content as “the vulgarity of a single Dublin day” – he also meant <em>vulgus</em>, the crowd.</p>

<p>Twenty years before Joyce was born, the American painter, Thomas Eakins (1844-1916), wrote to a friend, “In a big picture you can see what o’clock it is, afternoon or morning, if it’s hot or cold, winter or summer, and what kind of people are there, and what they are doing, an why they are doing it.” Eakins, not an impressionist, rather a near-complete and Rembrandt-ish realist, might have been writing about all of <em>Dubliners</em>, a great deal of <em>A Portrait of the Artist</em> and many if not most of the eighteen chapters in <em>Ulysses</em>.</p>

<p>When Joyce published his two largest works, critical attention went to the <em>monologue intérieur</em> in <em>Ulysses</em> and the dream-capturing of <em>Finnegans Wake</em>. The former settled down as his book of the day, the latter his book of the night. All that dismay at <em>Ulysses</em> gave way to the desperation at “the Wake.” This was truly beyond everything.</p>

<p>Yet <em>Finnegans Wake</em> takes care of the rest of Budgen’s observations. The book behaves differently – same painter, different technique; yet again “the whole is built up out of nuances instead of being constructed in broad masses.” Budgen may have thought that he was referring to <em>Ulysses</em>, but the <em>Wake</em> was already under way when he wrote his invaluable memoir. And that novel (if such it is) is truest of all to the third part of Budgen’s opinion – “things are seen as immersed in a luminous fluid.”</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm9.staticflickr.com/8020/7240826004_410987ec30_o.jpg" width="540" height="724" /><p class="wp-caption-text">Photograph taken of Joyce by C. Ruf. in Zurich, ca. 1918, the year he was to start work on <em>Ulysses</em> and met Frank Budgen.</p></div>

<p>This is where Budgen nails it. There is simply no point in trying to read <em>Finnegans Wake</em> by any conventional methods. Indeed, doing so would dishonor Joyce and his intention to capture the spirit’s nocturnal mechanisms, as <em>Ulysses</em> had the diurnal.</p>

<p>Best to take that phrase of Budgen’s at its face value and immerse oneself in the book’s fluid. When you read in the old way, even with conscious sound, the <em>Wake</em> (as <em>Ulysses</em> does) changes before your eyes. It becomes a dreamlike book of the dead, whose power inside Joyce’s spirit was so great that he had no choice but to use a dismembered language. Joyce was putting these sentences down on the page long before he knew of the world’s newest and widest-used language: call <em>Finnegans Wake</em> a binary code of literature.</p>

<p>But again, and at the risking of banging the drum too loud and too often, read it not as language; read it as, say, a gift of tongues or as music or as that benighted creature, the “prose poem.” And then as painting – and this time add Abstract to the Impressionists. It’s not just the sounds of the words; it’s the shapes.</p>

<p>Here are some examples of the text, plucked at random (Faber, 1975). The opening paragraph: “riverrun, past Eve and Adam’s, from swerve of shore to bend of bay…” can be a sweep of colour from the south of France. And who have we here &#8211; Jackson Pollock? “The fall (bababadalgharaghtakamminarronnkonnbronntonner- ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur- nuk!) of a once wallstrait oldparr is retaled early in bed and later on life down through all christian minstrelsy.” Let’s have one more, the briefest of glimpses, a corner of a canvas and yet touchingly complete: “My great blue bedroom, the air so quiet, scarce a cloud. In peace and silence.” Taken together, this admittedly minuscule sample of three quotations is at least a sinew in Budgen’s argument.</p>

<p>Finally, poetry is the magnifying glass of literature’s art. Yeats called it “hammering my thoughts into unity.” Though he wrote so few, James Joyce’s verses distil his painterly claim. Read <em>Pomes Penyeach</em> (1927), his collection of “penny apples” (he couldn’t resist punning on <em>pommes</em>) and you can see his brushstrokes.</p>

<p>&#8220;He travels after a winter sun,/Urging the cattle along a cold red road”. Or, “A birdless heaven, seadusk, one lone star/Piercing the west”. And, hell, he’s almost pre-Raphaelite! “A waste of waters ruthlessly/Sways and uplifts its weedy mane&#8221;.</p>

<p>In the Carpaccio Room at the Venice Accademia, several gigantic canvases add up to nothing short of a massive literary work. Carpaccio could have called the collection, “Venetian Life and Other Stories.” Apply the same principles to Joyce and there aren’t rooms enough, nor galleries.</p>

<p>In the end it may all come down to the practical. Commentators have argued for Love as the one dominant element in everything Joyce wrote. There has even been a thought that if all the typos and misssteps in <em>Ulysses</em> could ever have been corrected, the central word in the text would be “love,” and intentionally so.</p>

<p>Perhaps &#8211; but Light trumps it. Page by page almost, we are never too far from the sun or the moon or the candle or the lamp or the air itself as a light source. And with good reason.</p>

<p>Throughout his life, Joyce suffered from poor and often painful eyesight. His eyes aged faster than he did and by his mid-forties he had endured multiple surgical procedures. In today’s terms, he’d probably qualify as legally blind. Did intensifying glaucoma impel him to his pen-dancing, pointillist-ism? Deformity, too,  has its place in art.</p>

<p><br /></p>

<hr />

<p><em>Frank Delaney, writer and broadcaster, lives in the United States, where he deconstructs <em>Ulysses</em> in brief weekly podcasts on his website: <a href="http://www.frankdelaney.com/" target="_blank">www.frankdelaney.com</a></em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><p><em>Chamber Music</em> (1907)</p>

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2817">Project Gutenberg</a></li>
<li><a href="http://openlibrary.org/books/OL24818640M/Chamber_music">Open Library, 1918 American edition</a></li>
</ul></li>
<li><p><em>Dubliners</em> (1914)</p>

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2814">Project Gutenberg</a></li>
</ul></li>
<li><p><em>A Portrait of the Artist as a Young Man</em> (1916)</p>

<ul>
<li><a href="http://www.gutenberg.org/ebooks/4217">Project Gutenberg</a></li>
</ul></li>
<li><p><em>Exiles</em> (1918)</p>

<ul>
<li><a href="http://www.robotwisdom.com/jaj/exiles1.html">robotwisdom.com: Act I</a>, <a href="http://www.robotwisdom.com/jaj/exiles2.html">Act II</a>, <a href="http://www.robotwisdom.com/jaj/exiles3.html">Act III</a></li>
</ul></li>
<li><p><em>Ulysses</em> (1922)</p>

<ul>
<li><a href="http://www.gutenberg.org/ebooks/4300">Project Gutenberg</a></li>
</ul></li>
<li><p><em>Pomes Pennyeach</em> (1927)</p>

<ul>
<li><a href="http://www.robotwisdom.com/jaj/pomes.html">robotwisdom.com</a></li>
</ul></li>
<li><p><em>Finnegans Wake</em> (1939)</p>

<ul>
<li><a href="http://www.trentu.ca/faculty/jjoyce/fw-3.htm">Trent University</a> (see text&#8217;s errors <a href="http://www.fweet.org/pages/fw_typo.php" target="_blank">here</a>)</li>
</ul></li>
</ul>
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feed_id: http://publicdomainreview.org/?p=5207
title: Paradise Found: the Cradle of the Human Race at the North Pole (1885)
uri: Paradise-Found-the-Cradle-of-the-Human-Race-at-the-North-Pole-(1885)
url:
http://publicdomainreview.org/2012/06/14/paradise-found-the-cradle-of-the-human-race-at-the-north-pole-1885/

content:
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<iframe src='http://archive.org/stream/paradisefound00warruoft?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">Paradise Found, the Cradle of the Human Race at the North Pole &#8211; a Study of the Primitive World, by William Fairfield Warren; 1885; Houghton Mifflin, Boston.</span>

<br />
<br />

A book by William Fairfield, the first president of Boston University, placing Atlantis at the North Pole, as well as the Garden of Eden, Mount Meru, Avalon and Hyperborea. Warren believed all these mythical lands were folk memories of a former inhabited far northern seat where man was originally created.
<br />
<br />
From the preface: 
<blockquote>This book is not the work of a dreamer. Neither has it proceeded from a love of learned paradox. Nor yet is it a cunningly devised fable aimed at particular tendencies in current science, philosophy, or religion. It is a thoroughly serious and sincere attempt to present what is to the author s mind the true and final solution of one of the greatest and most fascinating of all problems connected with the history of mankind.</blockquote>


<br />
<br />
<a href="http://openlibrary.org/books/OL7073081M/Paradise_found_the_cradle_of_the_human_race_at_the_North_Pole">Open Library link</a>
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feed_id: http://publicdomainreview.org/?p=5216
title: James Joyce reading his work (1924/1929)
uri: James-Joyce-reading-his-work-(1924-1929)
url: http://publicdomainreview.org/2012/06/15/james-joyce-reading-his-work-19241929/
content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/La_Trieste_de_Magris_al_CCCB_%2837%29_-_James_Joyce_amb_bigoti_i_ulleres.jpg/374px-La_Trieste_de_Magris_al_CCCB_%2837%29_-_James_Joyce_amb_bigoti_i_ulleres.jpg" alt="" />

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<br />

FROM THE “AEOLUS” EPISODE OF ULYSSES (1924)
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<iframe src="http://archive.org/embed/JamesJoyce1924ReadingFromUlyssses" width="640" height="30" frameborder="0"></iframe>

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<a href="http://archive.org/download/JamesJoyce1924ReadingFromUlyssses/GreatSpeeches-JamesJoyceReadsFromUlysses1924.mp3">MP3 Download</a> / <a href="http://archive.org/details/JamesJoyce1924ReadingFromUlyssses">Internet Archive Link</a>
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Joyce made this recording in Paris at the HMV studios at the insistence of Sylvia Beach (the woman behind Shakespeare and Company, the publisher&#8217;s of <em>Ulysses</em>), although HMV would only loan out their equipment at a cost and would have as little to do with the recording as possible. <a href="http://www.ubu.com/sound/joyce.html" target="_blank">Beach recounts</a>: <br /><br />

<blockquote>Joyce himself was anxious to have this record made, but the day I took him in a taxi to the factory in Billancourt, quite a distance from town, he was suffering with his eyes and very nervous. Luckily, he and Coppola were soon quite at home with each other, bursting into Italian to discuss music. But the recording was an ordeal for Joyce, and the first attempt was a failure. We went back and began again, and I think the Ulysses record is a wonderful performance. I never hear it without being deeply moved. Joyce had chosen the speech in the Aeolus episode, the only passage that could be lifted out of Ulysses, he said, and the only one that was &#8220;declamatory&#8221; and therefore suitable for recital. I have an idea that it was not for declamatory reasons alone that he chose this passage from Aeolus. I believe that it expressed something he wanted said and preserved in his own voice. As it rings out &#8211; &#8216;he lifted his voice above it boldly&#8217; &#8211; it is more, one feels, than mere oratory.</blockquote>

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THE &#8220;ANNA LIVIA PLURABELLE&#8221; SECTION FROM <EM>FINNEGANS WAKE</EM> (1929)
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<iframe src="http://archive.org/embed/JamesJoyceReadsannaLiviaPlurabelleFromFinnegansWake1929" width="640" height="30" frameborder="0"></iframe>
<br />
<a href="http://archive.org/download/JamesJoyceReadsannaLiviaPlurabelleFromFinnegansWake1929/Joyce-James_Anna-Livia-Plurabelle.mp3">MP3 Download</a> / <a href="http://archive.org/details/JamesJoyceReadsannaLiviaPlurabelleFromFinnegansWake1929">Internet Archive Link</a>
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<br />
This recording of Joyce reading was made in 1929 by C.K. Ogden (the linguist, philosopher, and inventor of Basic English) in the studio of the Orthological Society in Cambridge. Ogden boasted of the two biggest recording machines in the world and wanted to do a better recording of Joyce than the <em>Ulysses</em> recording of 5 years earlier which he regarded as being of very poor quality. <a href="http://www.ubu.com/sound/joyce.html" target="_blank">Sylvia Beach again</a>: 
<br /><br />
<blockquote>How beautiful the &#8220;Anna Livia&#8221; recording is, and how amusing Joyce&#8217;s rendering of an Irish washerwoman&#8217;s brogue! This is a treasure we owe to C. K. Ogden and Basic English. Joyce, with his famous memory, must have known &#8220;Anna Livia&#8221; by heart. Nevertheless, he faltered at one place and, as in the Ulysses recording, they had to begin again. Ogden gave me both the first and second versions. Joyce gave me the immense sheets on which Ogden had had &#8220;Anna Livia&#8221; printed in huge type so that the author-his sight was growing dimmer-could read it without effort. I wondered where Mr. Ogden had got hold of such big type, until my friend Maurice Saillet, examining it, told me that the corresponding pages in the book had been photographed and much enlarged.</blockquote>



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<br />
Below are the texts themselves:
<br />
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<br />
<div align="center">
<div style="width:540px;text-align:left">
<p align="center">FROM THE “AEOLUS” EPISODE OF ULYSSES (1924)</p>
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<blockquote>He began:<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;—Mr Chairman, ladies and gentlemen: Great was my admiration in listening to the remarks addressed to the youth of Ireland a moment since by my learned friend. It seemed to me that I had been transported into a country far away from this country, into an age remote from this age, that I stood in ancient Egypt and that I was listening to the speech of some highpriest of that land addressed to the youthful Moses.<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;His listeners held their cigarettes poised to hear, their smokes ascending in frail stalks that flowered with his speech. And let our crooked smokes. Noble words coming. Look out. Could you try your hand at it yourself?<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;—And it seemed to me that I heard the voice of that Egyptian highpriest raised in a tone of like haughtiness and like pride. I heard his words and their meaning was revealed to me.</blockquote>

<blockquote><p align="center">FROM THE FATHERS</p></blockquote>

<blockquote>It was revealed to me that those things are good which yet are corrupted which neither if they were supremely good nor unless they were good could be corrupted. Ah, curse you! That’s saint Augustine.<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;—Why will you jews not accept our culture, our religion and our language? You are a tribe of nomad herdsmen: we are a mighty people. You have no cities nor no wealth: our cities are hives of humanity and our galleys, trireme and quadrireme, laden with all manner merchandise furrow the waters of the known globe. You have but emerged from primitive conditions: we have a literature, a priesthood, an agelong history and a polity.<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Nile.<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Child, man, effigy. By the Nilebank the babemaries kneel, cradle of bulrushes: a man supple in combat: stonehorned, stonebearded, heart of stone.<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;—You pray to a local and obscure idol: our temples, majestic and mysterious, are the abodes of Isis and Osiris, of Horus and Ammon Ra. Yours serfdom, awe and humbleness: ours thunder and the seas. Israel is weak and few are her children: Egypt is an host and terrible are her arms. Vagrants and daylabourers are you called: the world trembles at our name.<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A dumb belch of hunger cleft his speech. He lifted his voice above it boldly:<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;—But, ladies and gentlemen, had the youthful Moses listened to and accepted that view of life, had he bowed his head and bowed his will and bowed his spirit before that arrogant admonition he would never have brought the chosen people out of their house of bondage, nor followed the pillar of the cloud by day. He would never have spoken with the Eternal amid lightnings on Sinai’s mountaintop nor ever have come down with the light of inspiration shining in his countenance and bearing in his arms the tables of the law, graven in the language of the outlaw.</blockquote>


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<p align="center">THE &#8220;ANNA LIVIA PLURABELLE&#8221; SECTION FROM <EM>FINNEGANS WAKE</EM> (1929)</p>
<br />

<blockquote>Well, you know or don’t you kennet or haven’t I told you every telling has a tailing and that’s the he and the she of it.  Look, look, the dusk is growing. My branches lofty are taking root.  And my cold cher’s gone ashley.  Fielhur? Filou! What age is at?  Its saon is late.  ‘Tis endless now senne eye or erewone last saw Waterhouse’s clogh. They took it asunder, I hurd thum sigh.  When will they reassemble it?  O, my back, my back, my bach!  I’d want to go to Aches-les-Pains.  Pingpong!  There’s the Belle for Sexaloitez!  And Concepta de Send-us-pray!  Pang!  Wring out the clothes!  Wring in the dew!  Godavari, vert the showers!  And grant thaya grace!  Aman.  Will we spread them here now?  Ay, we will.  Flip!  Spread on your bank and I’ll spread mine on mine.  Flep!  It’s what I’m doing.  Spread!  It’s churning chill.  Der went is rising.  I’ll lay a few stones on the hostel sheets.  A man and his bride embraced between them.  Else I’d have sprinkled and folded them only.  And I’ll tie my butcher’s apron here.  It’s suety yet.  The strollers will pass it by.  Six shifts, ten kerchiefs, nine to hold to the fire and this for the code, the convent napkins twelve, one baby’s shawl.  Good mother Jossiph knows, she said.  Whose had?  Mutter snores?  Deataceas!  Wharnow are alle her childer, say?  In kingdome gone or power to come or gloria be to them farther?  Allalivial, allalluvial!  Some here, more no more, more again lost alla stranger.  I’ve heard tell that same brooch of the Shannons was married into a family in Spain.  And all the Dunders de Dunnes in Markland’s Vineland beyond Brendan’s herring pool takes number nine in yangsee’s hats.  And one of Biddy’s beads went bobbling till she rounded up lost histereve with a marigold and a cobbler’s candle in a side strain of a main drain of a manzinahurries off Bachelor’s Walk.  But all that’s left to the last of the Meaghers in the loup of the years prefixed and between is one kneebuckle and two hooks in the front.  Do you tell me that now?  I do in troth.  Orara por Orbe and poor Las Animas!  Ussa, Ulla, we’re umbas all!  Mezha, didn’t you hear it a deluge of times, ufer and ufer, respund to spond?  You deed, you deed!  I need, I need!  It’s that irrawaddyng I’ve stoke in my aars.  It all but husheth the lethest zswound.  Oronoko!  What’s your trouble?  Is that the great Finnleader himself in his joakimono on his statue riding the high horse there forehengist?  Father of Otters, it is himself!  Yonne there!  Isset that?  On Fallareen Common?  You’re thinking of Astley’s Amiptheayter where the bobby restrained you making sugarstuck pouts to the ghostwhite horse of the Peppers.  Throw the cobwebs from your eyes, woman, and spread your washing proper. It’s well I know your sort of slop.  Flap!  Ireland sober is Ireland stiff.  Lord help you, Maria, full of grease, the load is with me!  Your prayers, I sonht zo!  Madammangut!  Were you lifting your elbow, tell us, glazy cheeks, in Conway’s Carrigacurra canteen?  Was I what, hobbledyhips?  Flop!  Your rere gait’s creakorhueman bitts your butts disagrees.  Amn’t I up since the damp dawn, marthared mary allacook, with Corrigan’s pulse and varicoarse veins, my pramaxle smashed, Alice Jane in decline and my oneeyed mongrel twice run over, soaking and bleaching boiler rags, and sweating cold, a widow like me, for to deck my tennis champion son, the laundryman with the lavandier flannerls?  You won your limpopo limp from the husky hussars when Collars and Cuffs was heir to the town and your slur gave the stink to Carlow.  Holy Scamander, I sar it again!  Near the golden falls.  Icis on us!  Seints of light!  Zezere!  Subdue your noise, you hamble creature! What is it but a blackburry growth on the dwyergray ass them four old coldgers owns.  Are you meanem Tarpey and Lyons and Gregory?  I meyne now, thank all, the four of them, and the roar of them, that draves that stray in the mist and old Johnny MacDougal along with them.  Is that the Poolbeg flasher beyant, pharphar, or a fireboat coasting nyar the Kishtna or a glow I behold within a hedge or my Garry come back from the Indies?  Wait till the honeying of the lune, love!  Die eve, little eve, die!  We see that wonder in your eye.  We’ll meet again, we’ll part once more.  The spot I’ll seek if the hour you’ll find.  My chart shines high where the blue milk’s upset.  Forgivemequick, I’m going!  Bubye!  And you, pluck your watch, forgetmenot.  Your evenlode.  So save to jurna’s end!  My sights are swimming thicker on me by the shadows to this place.  I sow home slowly now by own way, moyvalley way.  Towy I too, rathmine.
<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ah, but she was the queer old skeowsha anyhow, Anna Livia, trinkettoes!  And sure he was the quare old buntz too, Dear Dirty Dumpling, foostherfather of fingalls and dotthergills.  Gammer and gaffer we’re all their gangsters.  Hadn’t he seven dams to wive him?  And every dam had her seven crutches.  And every crutch had its seven hues.  And each hue had a differing cry.  Sudds for me and supper for you and the doctor’s bill for Joe John.  Befor!  Bifur!  He married his markets, cheap by foul, I know, like any Etrurian Catholic Heathen, in their plinky lemony creamy birnies and their turkiss indienne mauves.  But at milkidmass who was the spouse?  Then all that was was fair.  Tys Elvenland!  Teems of times and happy returns.  The seim anew.  Ordovico or viricordo.  Anna was, Livia is, Plurabelle’s to be.  Northmen’s thing made southfolk’s place but howmulty plurators made eachone in person?  Latin me that, my trinity scholard, out of eure sanscreed into oure eryan.  Hircus Civis Eblanensis!  He had buckgoat paps on him, soft ones for orphans.  Ho, Lord!  Twins of his bosom.  Lord save us!  And ho!  Hey?  What all men?  Hot?  His tittering daughters of.  Whawk?
<br />
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Can’t hear with the waters of.  The chittering waters of.  Flittering bats, fieldmice bawk talk.  Ho!  Are you not gone ahome?  What Thom Malone?  Can’t hear with bawk of bats, all thim liffeying waters of. Ho, talk save us!  My foos won’t moos.  I feel as old as yonder elm.  A tale told of Shaun or Shem?  All Livia’s daughtersons.  Dark hawks hear us.  Night!  Night!  My ho head halls.  I feel as heavy as yonder stone.  Tell me of John or Shaun?  Who were Shem and Shaun the living sons or daughters of?  Night now!  Tell me, tell me, tell me, elm!   Night night!  Telmetale of stem or stone.  Beside the rivering waters of, hitherandthithering waters of.  Night!</blockquote>
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feed_id: http://publicdomainreview.org/?p=5248
title: The Illuminated Sketchbook of Stephan Schriber (1494)
uri: The-Illuminated-Sketchbook-of-Stephan-Schriber-(1494)
url: http://publicdomainreview.org/2012/06/15/the-illuminated-sketchbook-of-stephan-schriber-1494/
content:
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Selected pages from the <em>Spätgotisches Musterbuch des Stephan Schriber</em>, a manuscript which appears to be some kind of sketchbook, belonging to a 15th century monk working in South-West Germany, where ideas and layouts for illuminated manuscripts were tried out and skills developed.
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(All images taken from the <a href="http://www.europeana.eu/portal/redirect.html?shownAt=http%3A%2F%2Fnbn-resolving.de%2Furn%2Fresolver.pl%3Furn%3Durn%3Anbn%3Ade%3Abvb%3A12-bsb00019746-2&#038;provider=Bayerische%20Staatsbibliothek&#038;id=http://www.europeana.eu/resolve/record/03486/DF559A7721E55BAE5BF5095FB9AA55406C0269C4" target="_blank">Bayerische Staatsbibliothek</a> found via <a href="http://www.europeana.eu/portal/record/03486/DF559A7721E55BAE5BF5095FB9AA55406C0269C4.html" target="_blank">Europeana</a>). 

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<div class="cgview light"><ul id="cg-ul">
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feed_id: http://publicdomainreview.org/?p=5268
title: Correct Postures for Housework (1920s)
uri: Correct-Postures-for-Housework-(1920s)
url: http://publicdomainreview.org/2012/06/18/correct-postures-for-housework-1920s/
content:
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Series of photographs taken of Miss Ruth Kellogg demonstrating correct postures for various forms of housework. Photos taken by Troy for Delineator magazine. No date given, but Miss Kellogg was at Cornell 1921-26.
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(All images courtesy of the Div. Rare &#038; Manuscript Collections, Cornell University Library via <a href="http://www.flickr.com/search/?w=all&#038;q=Miss+Ruth+Kellogg+series&#038;m=text">Flickr</a>).

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feed_id: http://publicdomainreview.org/?p=5149
title: Lambeth Walk – Nazi Style (1942)
uri: Lambeth-Walk-Nazi-Style-(1942)
url: http://publicdomainreview.org/2012/06/20/lambeth-walk-nazi-style-1942/
content:
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<iframe src="http://archive.org/embed/1942-01-07_Gen_Adolph_Takes_Over" width="640" height="480" frameborder="0"></iframe>
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In 1942, Charles A. Ridley of the British Ministry of Information made a short propaganda film, &#8220;Lambeth Walk &#8211; Nazi Style&#8221;, which edited footage of Hitler and German soldiers from Leni Riefenstahl&#8217;s classic <em>Triumph of the Will</em> to make it appear as if they were marching and dancing to the song &#8220;The Lambeth Walk&#8221;. A member of the Nazi Party achieved attention in 1939 by declaring &#8220;The Lambeth Walk&#8221; (which was becoming popular in Berlin) to be &#8220;Jewish mischief and animalistic hopping&#8221; as part of a speech on how the &#8220;revolution of private life&#8221; was one of the next big tasks of National Socialism in Germany. The film so enraged Joseph Goebbels that reportedly he ran out of the screening room kicking chairs and screaming profanities. The propaganda film was distributed uncredited to newsreel companies, who would supply their own narration. This version is from the Universal Newsreel company: &#8220;The cleverest anti-Nazi propaganda yet! You will howl with glee when you see and hear what our London newsreel friends have cooked up for Hitler and his goose-stepping armies. The &#8216;Nasties&#8217; skip and sway in tune to the Lambeth Walk!&#8221;
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<a href="http://archive.org/details/1942-01-07_Gen_Adolph_Takes_Over">Download from Internet Archive</a>
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<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<li id="cg-3231" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2012/01/22/gullivers-travels-1939/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Gulliver's Travels (1939)" title="Gulliver's Travels (1939)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2012/01/22/gullivers-travels-1939/">Gulliver's Travels (1939)</a></p></div></li>
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<li id="cg-2790" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/12/04/stella-maris-1918/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Stella Maris (1918)" title="Stella Maris (1918)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/12/04/stella-maris-1918/">Stella Maris (1918)</a></p></div></li>
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<li id="cg-1683" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/10/02/five-minutes-to-live-1961/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Five Minutes To Live (1961) " title="Five Minutes To Live (1961) "/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/10/02/five-minutes-to-live-1961/">Five Minutes To Live (1961) </a></p></div></li>
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<li id="cg-1954" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/18/dutch-fashion-reel-1969/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Dutch Fashion Reel (1969)" title="Dutch Fashion Reel (1969)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/18/dutch-fashion-reel-1969/">Dutch Fashion Reel (1969)</a></p></div></li>
<li id="cg-1965" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/18/betty-boop-minnie-the-moocher-1932/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Betty Boop: Minnie The Moocher (1932) " title="Betty Boop: Minnie The Moocher (1932) "/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/18/betty-boop-minnie-the-moocher-1932/">Betty Boop: Minnie The Moocher (1932) </a></p></div></li>
<li id="cg-1279" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/17/suddenly-1954/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Suddenly (1954)" title="Suddenly (1954)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/17/suddenly-1954/">Suddenly (1954)</a></p></div></li>
<li id="cg-1943" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/17/the-phantom-of-the-opera-1925/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="The Phantom of the Opera (1925)" title="The Phantom of the Opera (1925)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/17/the-phantom-of-the-opera-1925/">The Phantom of the Opera (1925)</a></p></div></li>
<li id="cg-1812" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/04/operation-cue-1955/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Operation Cue (1955)" title="Operation Cue (1955)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/04/operation-cue-1955/">Operation Cue (1955)</a></p></div></li>
<li id="cg-1816" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/04/quicksand-1950/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Quicksand (1950)" title="Quicksand (1950)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/04/quicksand-1950/">Quicksand (1950)</a></p></div></li>
<li id="cg-1827" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/04/never-weaken-1921/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Never Weaken (1921)" title="Never Weaken (1921)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/04/never-weaken-1921/">Never Weaken (1921)</a></p></div></li>
<li id="cg-1820" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/09/04/intolerance-1916/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Intolerance (1916)" title="Intolerance (1916)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/09/04/intolerance-1916/">Intolerance (1916)</a></p></div></li>
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<li id="cg-1715" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/08/28/the-last-man-on-earth-1964/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="The Last Man on Earth (1964)" title="The Last Man on Earth (1964)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/08/28/the-last-man-on-earth-1964/">The Last Man on Earth (1964)</a></p></div></li>
<li id="cg-1560" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/08/21/the-lodger-a-story-of-the-london-fog-1927/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="The Lodger: A Story of the London Fog (1927)" title="The Lodger: A Story of the London Fog (1927)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/08/21/the-lodger-a-story-of-the-london-fog-1927/">The Lodger: A Story of the London Fog (1927)</a></p></div></li>
<li id="cg-1557" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/08/21/scarlet-street-1945/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Scarlet Street (1945) " title="Scarlet Street (1945) "/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/08/21/scarlet-street-1945/">Scarlet Street (1945) </a></p></div></li>
<li id="cg-1552" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/08/21/are-you-popular-1947/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="Are You Popular? (1947) " title="Are You Popular? (1947) "/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/08/21/are-you-popular-1947/">Are You Popular? (1947) </a></p></div></li>
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<li id="cg-1425" style="width:200px;height:200px;"><a href="http://publicdomainreview.org/2011/08/14/the-snows-of-kilimanjaro-1952/"><img src="http://publicdomainreview.org/wp-content/plugins/category-grid-view-gallery/includes/timthumb.php"&amp;h=200&amp;w=200&amp;zc=1&amp;q=75" alt="The Snows of Kilimanjaro (1952)" title="The Snows of Kilimanjaro (1952)"/></a><div class="cgback cgnojs always"></div><div class="cgtitle cgnojs always"><p style="font-size:16px;line-height:19.2px;"><a href="http://publicdomainreview.org/2011/08/14/the-snows-of-kilimanjaro-1952/">The Snows of Kilimanjaro (1952)</a></p></div></li>
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feed_id: http://publicdomainreview.org/?p=5284
title: The First Six Books of The Elements of Euclid (1847)
uri: The-First-Six-Books-of-The-Elements-of-Euclid-(1847)
url: http://publicdomainreview.org/2012/06/21/the-first-six-books-of-the-elements-of-euclid-1847/
content:
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<iframe src='http://archive.org/stream/firstsixbooksofe00eucl?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>
<br />
<span style="font-variant: small-caps;">The first six books of the Elements of Euclid 
in which coloured diagrams and symbols are used instead of letters, by Oliver Byrne; 1847; W. Pickering, London.</span>

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<br />

Oliver Byrne (1810–1890) was a civil engineer and prolific author of works on subjects including mathematics, geometry, and engineering. His most well known book was this version of &#8216;Euclid&#8217;s Elements&#8217;, published by Pickering in 1847, which used coloured graphic explanations of each geometric principle. The book has become the subject of renewed interest in recent years for its innovative graphic conception and its style which prefigures the modernist experiments of the Bauhaus and De Stijl movements. Information design writer Edward Tufte refers to the book in his work on graphic design and McLean in his Victorian book design of 1963. In 2010 Taschen republished the work in a facsimile edition. (<a href="http://en.wikipedia.org/wiki/Oliver_Byrne_(mathematician)" target="_blank">Wikipedia</a>) 
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<br />
<a href="http://openlibrary.org/books/OL24608640M/The_first_six_books_of_the_Elements_of_Euclid">Open Library link</a>
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feed_id: http://publicdomainreview.org/?p=5291
title: Novum Instrumentum Geometricum (1607)
uri: Novum-Instrumentum-Geometricum-(1607)
url: http://publicdomainreview.org/2012/06/22/novum-instrumentum-geometricum-1607/
content:
<div align="center">

Illustrations from Leonhard Zubler&#8217;s <em>Novum Instrumentum Geometricum</em> (1607). Zubler was a Swiss goldsmith and instrument maker who is credited with introducing the use of the plane table into modern surveying. This book demonstrates the use of his instruments in techniques of triangulation, particularly in the context of warfare.
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<br />
(All images courtesy of Deutsche Fotothek via <a href="http://commons.wikimedia.org/wiki/Category:Instrumentum_Geometricum_(Zubler)" target="_blank">Wikimedia Commons</a>. See Wikimedia Commons for slightly higher resolution versions). 

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/33/Fotothek_df_tg_0001481_Geometrie_%5E_Vermessung.jpg/440px-Fotothek_df_tg_0001481_Geometrie_%5E_Vermessung.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Fotothek_df_tg_0001483_Geometrie_%5E_Vermessung_%5E_Instrument_%5E_Winkelmesser.jpg/449px-Fotothek_df_tg_0001483_Geometrie_%5E_Vermessung_%5E_Instrument_%5E_Winkelmesser.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/26/Fotothek_df_tg_0001484_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg/685px-Fotothek_df_tg_0001484_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Fotothek_df_tg_0001485_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg/686px-Fotothek_df_tg_0001485_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/4/42/Fotothek_df_tg_0001486_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg/689px-Fotothek_df_tg_0001486_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Fotothek_df_tg_0001487_Geometrie_%5E_Vermessung_%5E_Entfernung.jpg/689px-Fotothek_df_tg_0001487_Geometrie_%5E_Vermessung_%5E_Entfernung.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/33/Fotothek_df_tg_0001488_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg/683px-Fotothek_df_tg_0001488_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Fotothek_df_tg_0001489_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm_%5E_Gesims_%5E_Turmhelm.jpg/687px-Fotothek_df_tg_0001489_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm_%5E_Gesims_%5E_Turmhelm.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/fd/Fotothek_df_tg_0001490_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg/690px-Fotothek_df_tg_0001490_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/fc/Fotothek_df_tg_0001491_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg/685px-Fotothek_df_tg_0001491_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Fotothek_df_tg_0001492_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument_%5E_Turm.jpg/707px-Fotothek_df_tg_0001492_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument_%5E_Turm.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/0/00/Fotothek_df_tg_0001493_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument_%5E_Schloss.jpg/701px-Fotothek_df_tg_0001493_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument_%5E_Schloss.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Fotothek_df_tg_0001494_Geometrie_%5E_Vermessung_%5E_Entfernung_H%C3%B6he_%5E_Winkelinstrument_%5E_Berg.jpg/700px-Fotothek_df_tg_0001494_Geometrie_%5E_Vermessung_%5E_Entfernung_H%C3%B6he_%5E_Winkelinstrument_%5E_Berg.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Fotothek_df_tg_0001495_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg/717px-Fotothek_df_tg_0001495_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/69/Fotothek_df_tg_0001496_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument_%5E_H%C3%B6he_%5E_Festungsgraben_%5E.jpg/722px-Fotothek_df_tg_0001496_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument_%5E_H%C3%B6he_%5E_Festungsgraben_%5E.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Fotothek_df_tg_0001497_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg/695px-Fotothek_df_tg_0001497_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Fotothek_df_tg_0001498_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg/679px-Fotothek_df_tg_0001498_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Winkelinstrument_%5E_Turm.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/Fotothek_df_tg_0001499_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Entfernung_%5E_Winkelinstrument_%5E_Turm_%5E_Schiff.jpg/730px-Fotothek_df_tg_0001499_Geometrie_%5E_Vermessung_%5E_H%C3%B6he_%5E_Entfernung_%5E_Winkelinstrument_%5E_Turm_%5E_Schiff.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Fotothek_df_tg_0001500_Geometrie_%5E_Vermessung_%5E_Winkelinstrument.jpg/672px-Fotothek_df_tg_0001500_Geometrie_%5E_Vermessung_%5E_Winkelinstrument.jpg" alt="" />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Fotothek_df_tg_0001502_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg/693px-Fotothek_df_tg_0001502_Geometrie_%5E_Vermessung_%5E_Entfernung_%5E_Winkelinstrument.jpg" alt="" />

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feed_id: http://publicdomainreview.org/?p=5297
title: The Polyglot of Bologna
uri: The-Polyglot-of-Bologna
url: http://publicdomainreview.org/2012/06/26/the-polyglot-of-bologna/
content:
<p><strong>Michael Erard takes a look at <em>The Life of Cardinal Mezzofanti</em>, a book exploring the extraordinary talent of the 19th century Italian cardinal who was reported to be able to speak over seventy languages.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm9.staticflickr.com/8165/7446802016_9aa0287491_o.jpg" width="540" height="686" /><p class="wp-caption-text">Mezzofanti as pictured in the frontispiece to <em>The Life of Cardinal Mezzofanti; with an introductory memoir of eminent linguists, ancient and modern</em> (1858) by Charles William Russell.</p></div>

<p>Without a doubt, the most important book in English devoted to Cardinal Giuseppe Mezzofanti (1774-1849), the polyglot of Bologna, is <em>The Life of Cardinal Mezzofanti</em>, written by an Irish priest, Charles William Russell, and published in 1858. When I first began research on hyperpolyglots, I knew I was going to have to spend considerable time with Russell&#8217;s book, which contains a wealth of information about Mezzofanti, his time, and his language abilities, not to mention other famous language learners. I had discovered the book by chance in the collection of the Humanities Research Center at the University of Texas at Austin. The only way to get the required time to hunt through its treasures was to get some sort of research funding, I thought. Soon I discovered that the book, because it is in the public domain, had been scanned and republished in hardcopy, and was also available for free online.</p>

<p>Before I say something about what makes Russell&#8217;s book so valuable for the hyperpolyglot hunter, let me say a bit about what a &#8220;hyperpolyglot&#8221; is. A hyperpolyglot is someone who knows six or more languages, according to Richard Hudson, a linguist at University College London. Some have criticized the word as an ugly string of syllables – the word &#8220;polyglot&#8221; trips off no tongues – but it&#8217;s useful for distinguishing ordinary multilingualism from the massive accumulation and use of languages that Mezzofanti and others displayed. For a long time, the hyperpolyglot was a sort of language learner whom many people had anecdotes about but who had never been investigated seriously. Is hyperpolyglottery a new kind of multilingualism, feeding off a globalized world of cheap communications? Is it a personal eccentricity, this passion or obsession for languages? Is it driven by a certain type of brain that remembers well, loves patterns, and finds pleasure in repetition? It&#8217;s all these things, to varying degrees, but to get my hands around the phenomenon, I was going to have to hunt for hyperpolyglots and start with Mezzofanti.</p>

<p>Russell begins by devoting nearly a quarter of the book to describing a menagerie of polyglot scholars, monarchs, missionaries, explorers, and warriors who knew many languages. That&#8217;s the &#8220;introductory memoir of eminent linguists, ancient and modern,&#8221; of the book&#8217;s subtitle. Methodically Russell lists them by region or nation. Most came from European countries, though Mithridates makes an appearance. Most are also men, though he devotes a section to women, including a Russian Princess Dashkoff, Cleopatra, and someone named Elizabeth Smith, who had taught herself French, Italian, Greek, Latin, Spanish, German, and Hebrew. Part of the chapter discusses infant prodigies and unschooled polyglots, such as the British traveler Tom Coryat (1577-1617), who walked all over Europe and Eastern Mediterranean countries, accumulating Italian, Turkish, Arabic, Persian, Hindustani, and probably a dozen other languages he had no use for at home. He walked two thousand miles in the same pair of shoes, which he hung on the wall at his hometown church as an offering.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm9.staticflickr.com/8154/7446930614_57b884c2b7_o.jpg" width="540" height="519" /><p class="wp-caption-text">The polyglot and traveler Thomas Coryat as pictured in the frontispiece to his <em>Thomas Coriate, Traueller For the English Wits</em> (1616).</p></div>

<p>Russell&#8217;s book is full of singular details like this, or the one in his capsule portrait of the American, Elihu Burritt (1810-1879), who &#8220;rose early in the winter mornings, and, while the mistress of the house was preparing breakfast by lamplight, he would stand by the mantel-piece with his Hebrew Bible on the shelf, and his lexicon in his hand, thus studying while he ate.&#8221; Dropping in mundane details don’t humanize as much they amplify the miraculous nature of the personage. It&#8217;s a stylistic trope from the hagiography that Russell borrowed.</p>

<p>In the same way, he sets Mezzofanti&#8217;s monumentalism against the gifts of all those lesser saints. &#8220;Cardinal Mezzofanti will be found to stand so immeasurably above even the highest of these names,&#8230;that, at least for the purposes of comparison with him, its minor celebrities can possess little claim for consideration,&#8221; he wrote. Over and over, he states that his goal is to assess the claims made for Mezzofanti&#8217;s language abilities and to measure, once and for all, the cardinal&#8217;s abilities. He resists the urge to recount anecdotes about him (though a few are too good to resist, such as the time that Lord Byron and Mezzofanti had a swearing match; after Byron&#8217;s stock was exhausted, Mezzofanti asked, &#8220;Is that all?&#8221;), opting instead to collate first-hand reports from native speakers who witnessed Mezzofanti using languages. It&#8217;s as if Russell wanted to singlehandedly rescue him from the cabinet of curiosities where he had been abandoned by science. (Even though Mezzofanti lived at the height of phrenology in Europe, his skull was apparently never an object of fascination, not while he was alive, anyway.) Russell scours the literature and solicits accounts from Mezzofanti&#8217;s contemporaries. Collecting them, he concludes that Mezzofanti spoke 72 languages to varying degrees.</p>

<p>Russell&#8217;s biography is also important as a counterpoint to three shorter, sharper papers delivered by Thomas Watts, who was said to know 50 languages himself, before London&#8217;s Philological Society in 1852, 1854, and 1860. His 1852 paper was the first time various accounts of Mezzofanti had been collected in English, the earliest from 1806. Over the next decade or so, Russell and Watts wrote about the other&#8217;s work with alternating praise and exasperation. While Russell&#8217;s biography &#8220;is not a blind and unreasoning admiration,&#8221; Watts writes, it &#8220;may still be suspected of being drawn with too courtly a pencil.&#8221; He then proceeds to take Russell to task for over-counting Mezzofanti&#8217;s languages, which he puts at &#8220;60 or 61.&#8221; Later Russell agreed with that figure, if one subtracted languages in which Mezzofanti had only a basic knowledge of the grammar and some vocabulary.
<br />
<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm9.staticflickr.com/8006/7446802210_bd404d75c4_o.jpg" width="540" height="460" /><p class="wp-caption-text">'Allegory of Grammar and Style' from Antoine Furetière's <em>Nouvelle Allegorique, Ou Histoire Des Derniers Troubles Arrivez Au Royaume D'Eloquence
Daatum</em> (1659)</p></div></p>

<p>Unlike Watts, Russell had met Mezzofanti in Rome several times, the first time in 1841. At 67 years old, the cardinal was not feeble though diminutive, his shoulders slightly rounded; he had a full head of &#8220;almost luxuriant&#8221; gray hair. One day after a meeting in the Vatican, Russell heard Mezzofanti converse, &#8220;with every appearance of fluency and ease,&#8221; in seven languages: Romaic, Greek, German, Hungarian, French, Spanish, and English. Two years later, on another trip, he witnessed Mezzofanti&#8217;s performance at the annual gathering of students from all over the world at the Propaganda of the Faith. They got up and recited poems in 42 languages, many of which had apparently been looked at by Mezzofanti. (In the Mezzofanti archives in the Archiginnasio Public Library in Bologna, I found a great number of these poems written in Mezzofanti&#8217;s hand.) But the real performance came after, when students gathered around him and engaged him in their languages. Mobbed Mezzofanti spoke this language, then that, Chinese, Peguan, Russian, and others, &#8220;hardly ever hesitating, or ever confounding a word or interchanging a construction,&#8221; in a &#8220;linguistic fusilade.&#8221; Russell added, &#8220;I cannot, at this distance of time, say what was the exact number of the group which stood around him, nor can I assert that they all spoke different languages; but making every deduction, the number of speakers cannot have been less than ten or twelve; and I do not think that he once hesitated for a sentence or even for a word!&#8221;
One hundred and fifty years later, the modern hyperpolyglot hunter has more tools for understanding Mezzofanti&#8217;s abilities than either Russell or Watts did. Yet we&#8217;re not much further than they were in focusing on a number of languages as the most salient way to characterize these sorts of language talents. Digging into the neurological questions – what sorts of brains do these people have, and are they different from other brains, and if so, how – it&#8217;s important to stay connected to the subjective experience of being someone like Mezzofanti. He wrote little about himself, but this poem, in English, which I found in the Archiginnasio, suggests that the modesty attributed to him (even as cardinal, he didn&#8217;t allow anyone to kiss his ring, as is customary) was not just another performance, and that the man himself wished to be on the periphery, not the center of attention.</p>

<blockquote>Why do you ask my name?<br />
Why will you have it here<br />
Where many names appear<br />
illustrious, known to Fame.<br />
But since you are so kind,<br />
I write it, and remind = <br />
what World offers is vain<br />
Oh let us Heaven gain! 

</blockquote>

<p><br /></p>

<hr />

<p><em>Author and linguist Michael Erard is the author of <a href="http://www.amazon.com/gp/product/1451628250/ref=as_li_ss_tl?ie=UTF8&#038;camp=1789&#038;creative=390957&#038;creativeASIN=1451628250&#038;linkCode=as2&#038;tag=thepubdomrev-20&#038;l=as2&#038;o=1&#038;a=1451628250" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important;" target="_blank" />Babel No More: The Search for the World&#8217;s Most Extraordinary Language Learners</a>. Website: <a href="http://www.babelnomore.com" target="_blank">http://www.babelnomore.com</a>.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><p><em>The Life of Cardinal Mezzofanti; with an introductory memoir of eminent linguists, ancient and modern</em> (1858) by Charles William Russell</p>

<ul>
<li><a href="http://archive.org/details/lifeofcardinalme00russ">Internet Archive link</a></li>
</ul></li>
<li><p>&#8220;On the extraordinary powers of Cardinal Mezzofanti as a linguist&#8221; (1852) by Thomas Watts in the <em>Proceedings of the Philological Society v.1-6, 1842/43-1852/53</em>.</p>

<ul>
<li><a href="http://www.archive.org/stream/proceedingsv161805philuoft#page/110/mode/2up">Internet Archive link</a></li>
</ul></li>
</ul>
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feed_id: http://publicdomainreview.org/?p=5348
title: A History of Mourning (1890)
uri: A-History-of-Mourning-(1890)
url: http://publicdomainreview.org/2012/06/28/a-history-of-mourning-1890/
content:
<div align="center">
<iframe src='http://archive.org/stream/historyofmournin00daveuoft?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">A History of Mourning, by Richard Davey; 1890; Jay&#8217;s, London.</span>

<br />
<br />
A history of mourning, burial customs, and funerary rites. 

<br /><br />

<blockquote>&#8220;Then occurred an event unique in history,&#8221; continues this naive contemporary chronicle. &#8220;The body of Inez was lifted from the grave, placed on a magnificent throne, and crowned Queen of Portugal. The clergy, the nobility, and the people did homage to her corpse, and kissed the bones of her hands. There sat the dead Queen, with her yellow hair hanging like a veil round her ghastly form. One fleshless hand held the sceptre, and the other the orb of royalty. At night, after the coronation ceremony, a procession was formed of all the clergy and nobility, the religious orders and confraternities which extended over many miles each person holding a flaring torch in his hand, and thus walked from Coimbra to Alcobaga, escorting the crowned corpse to that royal abbey for interment. The dead Queen lay in her rich robes upon a chariot drawn by black mules and lighted up by hundreds of lights.&#8221; 

The scene must indeed have been a weird one. The sable costumes of the bishops and priests, the incense issuing from innumerable censers, the friars in their quaint garments, and the fantastically-attired members of the various hermandades, or brotherhoods some of whom were dressed from head to foot entirely in scarlet, or blue, or black, or in white with their countenances masked and their eyes glittering through small openings in their cowls ; but above all, the spectre-like corpse of the Queen, on its car, and the grief-stricken King, who led the train when seen by the flickering light of countless torches, with its solemn dirge music, passing through many a mile of open country in the midnight hours was a vision so unreal that the chronicler describes it as &#8220;rather a phantasmagoria than a reality.&#8221; In the magnificent abbey of Alcobasa the requiem mass was sung, and the corpse finally laid to rest.</blockquote>

 
<br />
<br />
<a href="http://openlibrary.org/books/OL7186669M/A_history_of_mourning">Open Library link</a>
<br />
<br />
<hr />
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