#oxford dictionary of nursery rhymes

[adventuresofalgy]

From time to time, although admittedly not very often, the weather in the wild west Highlands of Scotland "bowls a googly".

It was true that the weather bird had forecast a few days of warm, clear, sunny weather, but Algy had long ago learned not to trust the weather bird, for it was well known that such birds were of uncertain temperament with a regrettable tendency to tell lies, or at the very least to make promises which they were unable to keep.

However, it seemed that on this occasion the weather bird had been right, even if more by luck than judgement, and when Algy woke up in the morning it was to a truly glorious day. Of course it was not exactly warm by the standards of some of his friends in faraway places: 18 degrees Celsius or thereby, and that with a brisk and decidedly cool sea breeze which ruffled Algy's feathers.

But to a fluffy bird it felt very comfortable indeed, so Algy lost no time in flying down to the seashore for a nice quiet day beside the ocean, while the September sun was still able to supply a wee bit of heat to remove the accumulated dampness from his feathers.

When he reached his own special beach, Algy was delighted to find that he had landed inside a perfect picture postcard, complete with all the enticing sounds and smells of the sea. As he leaned back on the sun-warmed rock and relaxed, he reflected that the weather in the wild west Highlands was just like the character in a nursery rhyme he had learned long ago, when he was just a fluffy wee chick:

There was a little girl, Who had a little curl, Right in the middle of her forehead. When she was good She was very very good, And when she was bad she was horrid.

[Algy is quoting the first verse of the old rhyme There was a little girl. According to that authoritative reference work The Oxford Dictionary of Nursery Rhymes, there is still doubt about the authorship of this rhyme. It is often attributed to the American 19th century poet Henry Wadsworth Longfellow, but the first attribtution was after his death, when he could neither confirm nor deny it, and some very early versions of the rhyme contain verses with British English vocabulary which would not have been used in the United States. It seems likely that it had more or less entered the public domain by the late 19th century, to become a widely known but often modified nursery rhyme.]

[foxspirit1928]

Miss Fisher Snippets (200)

Mr. Butler’s encounter with “the fudge” was hilarious and endearing. I bet Bert and Cec teased him mercilessly in the days, weeks, and probably even months afterwards.

For those who are not familiar with the “One, two, Buckle my shoe” reference (like me), it’s a popular English language nursery rhyme originated as early as 1780. According to Wikipedia, there are a number of variations after the line of “Seven, eight, lay them straight”. What I included in this edit is the common version given in The Oxford Dictionary of Nursery Rhymes.

As an aside, the Queen of Mystery, Agatha Christie, titled one of her novels “One, Two, Buckle my Shoe” (1940) with the chapters each correspond to a line of the rhyme.

(Posted 06-Jul-2024)

[princessmadafu]

Insomnia

This is an interesting topic, particularly during the current heatwave across Europe when many of us are sweating the night away on damp sheets.

Daily Mail reporting two new drugs to treat insomnia:

https://www.dailymail.co.uk/health/article-11013087/Insomnia-breakthrough-scientists-discover-two-effective-drugs-yet.html

Now, before you all pop off to the local medical centre, let me give you a bit of history, because in former centuries insomnia wasn't considered much of a problem. Pre-electricity humans had different sleep patterns.

In the few records we have from classical times, insomnia appears to have been an upper class thing, the result of anxiety and worry. Only rich people could afford doctors, so your doctor would have told you that your bodily humours were out of flux and you needed "re-balancing" with leeches or effluvia or magic herbs and spells; and then he'd charge you lots of money.

The farming communities our ancestors belonged to regulated their sleep-wake cycles by daylight and moonlight; up at cock-crow and sparrow-fart; work, then an afternoon nap; then work till dusk; then sleep; bright full moon and you wake and potter around, tending fires and baking the morning bread. In the 16th-17th centuries we'd regularly wake up in the night for a few hours, then sleep a bit more before breakfast. Quick nap in the afternoon before getting on with the rest of the day. I'm pretty sure Samuel Pepys mentioned it in his Diaries. And remember, lots of hot Mediterranean countries still maintain the tradition of a siesta, because we all know, at a deep-down biological level, that only mad dogs and Englishmen go out in the midday sun.

But then in the 18th century, along comes the Industrial Revolution and suddenly we're expected to work all day long on one solid sleep at night - and not because a single solid eight hours' sleep is healthy but because it's convenient for the employer who sticks you in a factory for his own profit and demands all your daylight hours.

Anyone remember the nursery rhyme "Elsie Marley"?

Elsie Marley grows so fine, She won't get up to feed the swine, She stays in bed till eight or nine, Lazy Elsie Marley.

In children's books, Elsie is usually illustrated as a farm maid who fancies herself. However... According to the Oxford Dictionary of Nursery Rhymes, which dates the rhyme to "about 1756", the original Elsie Marley was a tavern-keeper who is supposed to have "enjoyed a certain reputation" - and not only for her wine, gin and ale. Let's face it, if a girl spends most of the night on her back, she's not going to be feeling very sprightly next morning.

I should point out that the song contains a bit of "poetic licence" because the real Elsie Marley (nee Harrison and the proprietress of an inn called The Swan in the village of Picktree near Newcastle) was actually a very successful businesswoman and not a Lady of the Night. This was 18th Century slander - don't sue me for it, I'm just pointing out that hard working men and women would finish their shift, pop down to the local and carouse quite a lot, often into the early hours.

We didn't evolve to be slaves to the modern 9-5 + overtime business structure with a single sleep of a straight eight hours per night. We don't need sleeping pills; we need flexible - and healthier - work-life patterns. Let's not dope ourselves up with sleeping pills for the convenience of our employers. Accept that waking in the night is normal and stop worrying about it. Get up, have a cup of tea and read a book for a couple of hours. Or take the dog for a quiet moonlight stroll. Or bake some soda bread for breakfast. Then wave a pillow in your boss's face and tell her you'll be taking a power-nap at lunchtime.

[catherinegarbinsky]

Resources

It started with a tweet. I asked:

1 - Poets with MFAs & poetry professors: are there specific books (of poetry, on poetry) that you would recommend for writers who may not have access to formal education in poetry?

2- Poets without MFAs — please feel free to add books that have felt pivotal and educational for you in your process. I mean this primarily as a resource and did not mean to suggest that others may not have valuable texts to offer!

Here are some of the responses (I typed up as many as I could, bolded any that I noticed repeated):

Dorianne Laux and Kim Addonizio’s The Poet’s Companion

Kaveh Akbar’s Divedapper interviews

Mary Oliver’s A Poetry Handbook

Writing Dangerous Poetry by Michael C Smith

Creating Poetry by Drury

The Practice of Poetry by Behn

Feeling as a Foreign Language by Alice Fulton

A Little Book on Form by Robert Hass

Poetry and the Fate of the Senses by Stewart

Of Color: Poets’ Way of Making Anthology (forthcoming)

De-canon

The Volta

The Alabastar Jar (interviews with Li Young-Lee)

Ordinary Genius by Kim Addonzio

On Poetry by Glyn Maxwell

Fictive Certainties by Robert Duncan

The Flexible Lyric by Voigt

Wislawa Symborska’s “Nonrequired Reading”

The Art of series (especially the Art of Description by Mark Doty, especially The Art of Syntax by Ellen Bryant Voigt)

My Poets by Maureen N. McLane

The Princeton Encyclopedia of Poetry and Poetics

The Crafty Poet by Diane Lockward

Wingbeats and Wingbeats II by Scott Wiggerman

Madness, Rack, and Honey by Mary Ruefle

Picking one poet per year, reading their ouvre and letters (an extremely helpful and nourishing assignment from a genius prof)

Sister Outsider by Audre Lorde

Rigorously study the line, study grammar, and study some kind of oracle system (Tarot, I Ching, astrology, etc) and read as widely in poetry as you can

Poetic Rhythm by Derek Attridge

A Poet’s Guide by Mary Kinzie

The Art of the Poetic Line by James Logenbach

John Frederick Nims’ Western Wind

Poetry: A Writer’s Guide by Amorak Huey and Todd Kaneko

The Making of a Poem (Norton)

Art of Recklessness

Modern Life by Matthea Harvey

Dancing in Odessa by Ilya Kaminsky

Please by Jericho Brown

Slow Lightning by Eduardo Corral

Meadowlands by Louise Gluck

Kinky  by Denise Duhamel

Names Above Houses by Oliver de la Paz

How To Read A Poem and Fall in Love With Poetry by Edward Hirsch

Carol Rumen’s long-running weekly Guardian column

Poetry 101 by Susan Dalzell

Theory of Prose by V Shklovsky

The Art of Attention by D Revell

Structure and Surprise by M. Theune

Why Poetry by Matthew Zapruder

Poems - Poets - Poetry An Introduction and Anthology by Helen Vendler

Triggering Town by Richard Hugo

The Art of Daring: Risk, Restlessness, Imagination by Carl Phillips

Upstream by Mary Oliver

The Life of Images by Cahrles Simic

Being Human (anthology)

How To be a Poet

Nine Gates by Jane Hirshfield

Gregory Orr book on lyric poetry

WIld Hundreds by Nate Marshall

What the Living Do by Marie Howe

Helium by Rudy Francisco

Wind in a Box (or anything else) by Terrance Hayes

Blud by Rachel McKibbens

Incendiary Art by Patricia Smith

Poetry by Gwendolyn Brooks, Elizabeth Bishop, and William Carlos Williams, Ted Kooser, Pablo Neruda, ee cummings, Charles Simic, Patricia Smith, Dorianne Laux, EB Voigt, Terrance Hayes, John Donne, TS Eliot, Ezra Pound

Read widely. Read more than poetry. Embrace your outsider knowledge.

Real Sofistikashun: Essays on Poetry and Craft by Toby Hoagland

The Sounds of Poetry: A Brief Guide by Robert Pinsky

A Field Guide to Poetry

Ten Windows by Jane Hirshfield

The Ode Less Travelled by Stephen Fry

The Book of Luminous Things (anthology) ed. by Milosz

Dictee by Theresa Hak Kyung Cha

Poets.org and Poetry Foundation websites

Beautiful and Pointless by David Orr

Find or start a writing group!

Best Words, Best Order by Stephen Dobyns

American Sonnets by Terrance Hayes

The Lichtenberg Figures by Ben Lerner

Poetry Notebook by Clive James

Don Paterson’s 22-page intro to “101 sonnets”

Essays by Barbara Guest

Poetry is Not a Project by Dorothea Lasky

After Lorca by Jack Spicer

The New American Poetry 1945-1960

Helen Vendler’s criticism (The Ocean, The Bird and the Scholar)

Oxford Book of Twentieth Century English Verse ed. By Philip Larkin

The Discovery of Poetry by Frances Mayes

French symbolists

The Outlaw Bible of American Poetry

The Poets Laureate Anthology

Poet’s House, 92Y Poetry

Singing School by Robert Pinsky

The Poetry Home Repair Manual: Practical Advice for Beginning Poets by Ted Kooser

Glitter in the Blood by Mindy Nettifee

Poetry: A Survivor’s Guide by Mark Yakich

All the Fun’s In How You Say A Thing by Timothy Steele

The Collected Poems(1856-1987) by John Ashberry

Viper Rum by Mary Karr

The Making of a Poem by Mark Strand and Eavan Boland

Rules of the Dance by Mary Oliver

Letters to a Young Poet by Rainer Maria Rilke

Jorie Graham lecture On Description (youtube)

Poetry in Theory

How to be a Poet by Jo Bell and Jane Commane (& special guests)

dVerse Poets

Reading Poetry: An Introduction by Furniss and Bath

Poetry: The Basics by Jeffrey Wainwright

The Poetry Handbook by John Lennard

Broken English: Poetry and Partiality by Heather McHugh

The Poem’s Heartbeat by Alfred Corn

Orr’s Primer for Poets and Reads of Poetry

Penguin’s 20th Century Anthology

The United States of Poetry

Staying Alive: real poems for Unreal Times ed. By Neil Astley

Hollander’s Rhyme’s Reason

52 Ways to Read A Poem by Ruth Padel

A Western Wind: An Introduction to Poetry by David Mason and John Frederick Nims

Projective Verse by Charles Olson

Retrospect/A Few Don’t by an Imagiste - Ezra Pound

Against Interpretation - Susan Sontag

Commonplace Podcast

Headwaters by EB Voigt

Olio by Tyehimba Jess

The Orchard by Brigit Pegeen Kelly

The Living and the Dead by Sharon Olds

Sonnets by Bernadette Mayer

The Sin Eater by Deborah Randall

The Art of Poetry Writing by William Packard

The Poet’s Dictionary by William Packard

Freedom Hill by LS Asekoff

Theory of the Lyric by Jonathan Culler

Close Listening ed. By Charles Bernstein

Poetics of Relation by Edouard Glissant

The Poet’s Manual and Rhyming Dictionary by Frances Stillman

The Hatred of Poetry by Ben Lerner

The Way to Write Poetry by Michael Baldwin

Fussell’s Poetic Meter and Poetic Form

Lofty Dogmas: Poets of Poetics

Close Calls with Nonsense: Reading New Poetics by Stephanie Burt

Poetry in the Making by Ted Hughes

A poet needs: grounding in verse and rhyme from nursery lines, a grounding in adult poetic diction by the classic poets (of antiquity, late antiquity, then the mediaeval, early modern and modern periods), and their own poetic vision

Pig Notes and Dumb Music by William Heyen

Satan Says by Sharon Olds

My Emily Dickinson by Susan Howe

[script-a-world]

How would you suggest making up a few nursery rhymes? 800% of real world nursery rhymes make as much sense as a toad on a horse and yet THEY ALL WORK... h E lp

Constablewrites: So the best way to come up with genuine-sounding nursery rhymes is to get some understanding of how nursery rhymes come to exist. And lemme tell you, that can be one fascinating rabbit hole.

First of all, the seminal work on the topic (when talking about nursery rhymes in English, which is all I'm really qualified to touch on) is The Oxford Dictionary of Nursery Rhymes by Iona and Peter Opie. Most libraries should have a copy, or it's available on the 'Zon. The introduction essay serves as an excellent dive into the scholarship on the subject, and their sourcing is extremely solid.  If you really want to dig into the topic, it's a great place to start.

The rhymes themselves tend to fall into types. This article [ Nursery Rhyme Types ] is a good rundown. Many rhymes are didactic, teaching children counting, coordination (with clapping games, where you have to move to the beat and work with a partner), or even working as mnemonics for memorizing basic information.

Sometimes they come from folk versions of historical events. HOWEVER! Most of the historical origins floating around out there are COMPLETE BULL. They trace back to a single book published in 1930 that was one giant blinking neon [CITATION NEEDED]. That's not to say they're never true ("Old King Cole" and "Mary Had a Little Lamb" are definitively about real people), but if there's not a solid source, chances are good that explanation is actually some adult trying to be too clever.

And sometimes... yeah, they're nonsense. The memorable rhyme schemes and frequent musical additions make them easy to memorize and share with other people who will in turn share them again--yup, they're memes. Just like on the internet, plenty of memes have specific origins, and plenty more are shitposts with no discernible meaning other than being enjoyably ridiculous. The psychology of how memes and oral tradition spreads is another fascinating rabbit hole that's not as much in my wheelhouse.

The single biggest thing to consider about creating your own nursery rhymes is that they have to be easy and fun to say aloud. They tend to have fixed meters and true rhymes; there might be some wordplay, especially using sounds (assonance, consonance, internal rhyme), but as far as structure this is not the place for poetic experimentation. Memorable characters who pop up in multiple variations and stories are a plus. Law of Conservation of Detail means that a nursery rhyme made up for a story is usually presumed to have Plot Significance, like as a vehicle for exposition or prophecy. (So having them just be worldbuilding texture would actually be something of a subversion.) 

If you want to test your rhyme for earworminess, recite it to a friend and have them recite it back to you. It should only take one or two times for them to memorize it. If they're still not getting it, it's too complicated.

Saphira: From a less educated standpoint, 

In the same way that many fairy tales were used to teach lessons to kids, nursery rhymes often took a musical approach.

If you want to create a piece that fits your world well, and carries that self same why would you say that, ever vibe, consider what is going horribly wrong. What happened in recent past? What did parents have to explain to their kids?

Now make a nonsense song about it.

Constablewrites: One last thought: if you're building a world using influences from a particular culture, make sure you're checking out the nursery rhyme tradition of that particular culture as well as the English tradition. Just searching for "[culture name] nursery rhyme" can usually get you started. That can help you spot particular structures, recurring characters/names, or other markers that will help your rhymes fit in with the rest of your world building.

[filled-with-tomorrows]

Star Trek: TOS - title references

A list of all references (I think, I might have missed some) in the episode titles of Star Trek: The Original Series. In addition to the references to various literary works, I’ve also included the titles with references to proverbs or obscure words that non-native English speakers or even some English speakers might not catch. So, basically, a bunch of useless trivia for nerds like me.

(I’m using the chronological order for the episodes. Also, I’m not putting links on the sources because Tumblr is a b*tch)

S1EP1 Where No Man Has Gone Before - the title is obviously a reference to the final line in the series-opening poem "To boldly go where no man has gone before". Appropriate for the pilot episode

S1EP4 The Enemy Within - the origin of this phrase is unknown, it has been used for a long time in various contexts like within religion and military. Example from A Course of Family Prayer by Augustus Montague Toplady (1794) "Lord thou knowest our weaknesses... our danger from the enemy of souls... and above all, from the enemy within, our vile flesh and deceitful hearts, so apt to betray us into sin." (source: wordhistories.net)

S1EP5 The Man Trap - a slang word for a woman who is purported to be dangerously seductive or who schemes in her amours; a femme fatale. An obvious reference to how the creature lures its victims in by changing its appearance according to the victim’s preferences. (source: Dictionary.com)

S1EP6 The Naked Time - Nakedness can refer to literal physical nakedness or a figurative baring of the soul which we saw happen to the crewmembers, but especially to Kirk and Spock.

S1EP7 Charlie X - X is often used to represent the name of a person or thing that is not known or stated, can also be used to indicate a mistake or to remove something from lists (source: Cambridge English Dictionary)

S1EP8 Balance of Terror - the distribution of nuclear arms among nations such that no nation will initiate an attack for fear of retaliation (source: Dictionary.com)

S1EP9 What Are Little Girls Made Of? - "What are little girls made of? Sugar and spice and all things nice, that's what little girls are made of." Old nursery rhyme from the early 19th century.

S1EP10 Dagger of the Mind - Machbet, Act 2, Scene 1, Line 38, "Or art thou but a dagger of the mind, a false creation, proceeding from the heat-oppressèd brain?" (37-39) Machbet is experiencing a moral crisis about killing Duncan and is imagining the act he is about to commit. This manifest itself as a hallucination; “a dagger of the mind”. “ "Dagger of the mind" can read in two ways. First, there's the literal contrast of tangible reality and Macbeth's imagination. Second, you have the metaphor of Macbeth's guilt—and doubt—manifesting itself as a vision as he waits upon the signal from his wife. False in this context plays upon a number of meanings. While the primary reading is "unreal," shades of "deceitful, inconstant; not to be trusted" are equally applicable.” What Machbet is seeing is not reality, just like the feelings the neural neutraliser causes in Kirk. (source: Bardweb > SRC Features > Speech Analysis > Machbet > Go to line analysis)

S1EP11 Miri - Name with a Hebrew origin that’s most common meaning seems to be “bitter”. Other possible meanings are “sea of sorrow, beloved, wished for child”. (source: various baby name sites, lol)

S1EP12 The Conscience of the King - Hamlet, Act 2, Scene 2, Line 565 "the play's the thing wherein I'll catch the conscience of the king" (564-65) Hamlet stages a play of his father's murder to get Claudius to confess his involvement. This is also the play that the Karidians perform on the Enterprise. Since this episode is also about catching a murderer the title choice should be obvious.

S1EP15&16 The Menagerie - menagerie: a collection of wild animals kept in captivity for exhibition; A strange or diverse collection of people or things (source: Oxford Eglish Dictionary)

S1EP22 The Return of the Archons - from the Greek word archon: ruler, to rule 

S1EP25 This Side of Paradise - possibly taking its name from F. Scott Fitzgerald's book This Side of Paradise or the poem that gave its name to the book Tiare Tahiti by Rubert Brooke. The book explores love warped by greed and status-seeking. The poem explores afterlife and how it might not be all that it's made out to be, hence the phrase "this (worse) side of paradise", possibly alluding to how Spock and the other crew members have to give up their personalities and real feelings to reach euphoria. In short, paradise is a lie they have to wake up from. 

S1EP27 Errand of Mercy - The title comes from The Life and Adventures of Nicholas Nickleby by Charles Dickens "It is an errand of mercy which brings me here. Pray, let me discharge it". Errand of mercy is “a trip undertaken to help someone who is in trouble” (sources: Memory Alpha - Errand of Mercy: Story and script, Collins English Dictionary)

S1EP29 The City on the Edge of Forever - “The title is a reference to both the dead city on the planet and New York, in the original script when Kirk first sees the city sparkling on a hilltop like a jewel he says it looks like "a city on the edge of forever"“ (whatever that means) (btw the original script was so bad guys, like so bad (Kirk orders his crew to execute a guy for murder, like wtf) (source: Memory Alpha - The City on the Edge of Forever: Story)

S2EP1 Catspaw - “The title of this episode, "Catspaw", is a term that describes a person used by another as a dupe; as McCoy points out, Scott and Sulu are used as catspaws to lure more crewmen down” (source: Memory Alpha - Catspaw: Story and production)

S2EP2 Metamorphosis - Definition of Metamorphosis 1a: change of physical form, structure, or substance especially by supernatural means, b: a striking alteration in appearance, character, or circumstances 2: a typically marked and more or less abrupt developmental change in the form or structure of an animal (such as a butterfly or a frog) occurring subsequent to birth or hatching (source: Merriam Webster)

S2EP3 Friday's Child - The episode's title is derived from a traditional English poem, known as "Monday's Child". The reference is to a line in the poem: "Friday's child is full of woe" or alternatively "Friday's child is loving and giving". Given the unfortunate circumstances of the child’s birth, it would seem that the former version of the poem was intended. (source: Memory Alpha - Friday’s Child: Background information)

S2EP4 Who Mourns for Adonais - “The title is taken from Adonais: An Elegy on the Death of John Keats by Percy Bysshe Shelley. Line 415 reads "Who mourns for Adonais?". Shelley's Adonais is derived from Adonis, a male figure of Greek mythology associated with fertility. Also, "Adonais" would be the English plural of the Hebrew spoken name of God, so it would mean "Who Mourns for Gods?"” (source: Memory Alpha - Who Mourns for Adonais: Story and production)

S2EP5 Amok Time - Definition of Amok: an episode of sudden mass assault against people or objects usually by a single individual following a period of brooding that has traditionally been regarded as occurring especially in Malaysian culture but is now increasingly viewed as psychopathological behaviour occurring worldwide in numerous countries and cultures, 1: in a violently raging, wild, or uncontrolled manner, 2: in a murderously frenzied state (source: Merriam-Webster)

S2EP7 Wolf in the Fold - An ancient expression that means that there is someone in a group who presents a danger to the rest of the people in it. The first known usage in written form is from Virgil's Eclogues:

“The wolf is fatal in the fold, and so Are hailstones to ripe corn, wind blasts to trees—  Or — Amaryllis' anger to us all."

S2EP8 The Changeling - Definition of Changeling: 1) archaic: turncoat, 2) a child secretly exchanged for another in infancy, 3) archaic: imbecile (source: Merriam-Webster)

S2EP9 The Apple - The title is most likely a reference to the Apple in the creation story. The citizens of the planet Gamma Trinaguli VI (which was referred to as the Garden of Eden) were being controlled by a computer called Vaal. When Vaal was destroyed, they bit the metaphorical Apple from the Tree of Knowledge and were banished from the Garden.

S2EP12 I, Mudd - “Possible inspirations for the title include: I, Robot, Isaac Asimov's 1950 android-themed short story collection, the title of which was itself inspired by "I, Robot", Eando Binder's 1939 short story with an android hero, which had been adapted for TV in 1964 with Leonard Nimoy in a supporting role; I, Claudius, a 1934 novel by Robert Graves about the life of the Roman Emperor Claudius (the 1976 BBC production of which featured Patrick Stewart). Like Mudd "The First" in this episode, the subject of I, Claudius is also a despotic ruler who views himself in a more flattering light; Lines from Kurt Vonnegut's 1963 novel Cat's Cradle, which detail the creation myth of Bokononism: "I, mud, sat up and saw what a nice job God had done."” (source: Memory Alpha - I, Mudd: Story and Production)

S2EP14 Bread and Circuses - The title, "Bread and Circuses", comes from a line in the Satire X by the Roman satirist Juvenal, and refers to the practice in ancient Rome of providing a regular free bread (or grain) dole to the lower classes and free entertainment in the city's arenas and circuses, both of which had the effect of preventing civil unrest in the populace. (source: Memory Alpha -Bread and Circuses: Story and script). In a political context, the phrase means to generate public approval, not by excellence in public service or public policy, but by diversion, distraction or by satisfying the most immediate or base requirements of a populace by offering a palliative: for example food (bread) or entertainment (circuses). Juvenal used it to decry the selfishness of common people and their neglect of wider concerns. The phrase implies a population's erosion or ignorance of civic duty as a priority. (Source: Wikipedia - Bread and circuses)

S2Ep20 A Piece of the Action - If someone wants to have a piece of the action or a slice of the action, they want to take part in an exciting activity or situation, usually in order to make money or become more important. (source: Collins English Dictionary)

S2Ep21 By Any Other Name - “The title is part of a quotation from Romeo and Juliet, Act II, Scene 2. "What's in a name? That which we call a rose by any other name would smell as sweet." Kirk recites it to Kelinda. It is often used to convey the idea that although you can change the name of something, its nature will remain the same. In this case, the Kelvans become Human. In doing so, they start behaving as Humans do.” (source: Memory Alpha - By Any Other Name: Story and production)

S2Ep07 Is There in Truth No Beauty? - The episode title is from a poem by the 17th century English poet and clergyman George Herbert, from his poem "Jordan (I)", line 2: "Who says that fictions only and false hair/ Become a verse? Is there in truth no beauty?" (source: Memory Alpha - Is There in Truth No Beauty?: Background information) ‘Jordan (I)’ is a poem about poetry: George Herbert takes as his theme the proper material for poetry, as well as the proper language for poetry. In the first stanza of ‘Jordan (I)’, Herbert asks, why is it that people consider only made-up or fictional stories and situations suitable for poetry? Why aren’t things that are true to life considered beautiful, and therefore fit material for the poet to use as well?... Herbert is questioning why poetry, which is itself a construction, has to express itself by referring to other false constructions, rather than directly depicting life as it is. (source: Interesting Literature - A Short Analysis of George Herbert’s Jordan (I))

S3EP11 Day of the Dove - The word dove in the title is a possible allusion to their status as symbols of peace and love. Appropriate for an episode where the Klingons and the Enterprise crew come together to defeat a common enemy.

S3Ep16 Whom the Gods Destroy - An adaption of an anonymous Greek proverb that is often wrongly attributed to Euripides. An early version of this phrase appears in the play Antigone by Sophocles, "Evil appears as good in the minds of those whom God leads to destruction ". The version in the title is spoken by Prometheus in the poem The Masque of Pandora (1875) by Henry Wadsworth Longfellow "Whom the gods destroy they first make mad” (source: Memory Alpha - Whom Gods Destroy: Story and Script)

S3Ep21 Requiem for Methuselah - “This episode's title is a dual allusion: first to a ritualistic liturgy of Roman Catholicism (and other related religions), the "Requiem" being a Mass for the dead, and second to Methuselah, son of the Biblical prophet Enoch and paternal grandfather to Noah, who was the longest-lived Human being in the Bible (in Genesis 5:21-27) having lived 969 years; existing for nearly a millennium, Methuselah's lifespan has historically become a proverbial reference for longevity.” (source: Memory Alpha - Requiem for Methuselah: Story)

S3Ep23 All Our Yesterdays - Machbet, Act 5, Scene 5, Line 22. A soliloquy after Macbeth's wife dies. "She should have died hereafter; There would have been a time for such a word. — To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury. Signifying nothing." To paraphrase: people see the future as bright even though eventually everyone will die. Life is a walking shadow that will end in death, not a litten path to a brighter future. In the context of this episode, the title seems to allude to the time travel that takes place. Spock and McCoy are literally trapped in “our yesterday(s)”. Spock’s love interest Zarabeth is also long dead when they return back to the future, so she’s taking on the role of Lady Machbet. 

[mishafletcher]

london bridge ii (built in the 1830s, replacing the london bridge i, which was a stone bridge build in the early 1200s) was dismantled and, yes, relocated to arizona in 1967.

london bridge is falling down, the song, however, dates back to way before that. the earliest printed references are from the mid-1600s, and the rhyme is probably older than that—certainly there are similar rhymes from all over europe that predate the english version, and often things are passed around for some years before being recorded. the tune that we now sing it to is from 1879, and there were many variations (of both lyrics and tune) before that.

so what’s the song actually about? ¯\_(ツ)_/¯ who knows! like, literally, no one’s totally sure. is it because the bridge was damaged in the great fire of london and needed repairs? is it because the bridge was made of stone and used a lot and needed frequent repairs? is it actually a record of a viking attack wherein some norse invaders attacked london and damaged the bridge? is it just that bridges are a pain in the ass to build, especially in ye olden times, and people made a joke about it? is it about ~pagan superstition~ and the need to inter people/animals in the base of a bridge to ensure its stability? (probably not.) is it completely unrelated to any of those things? no one knows, and at this point, centuries on, it seems unlikely that we’ll ever have a definitive answer.

but one thing that it’s definitely not about is london bridge the second being disassembled and shipped off to a nice cosy retirement in arizona.

(sources include the oxford dictionary of nursery rhymes, which you can buy used for like seventeen cents plus shipping, and also the english folk dance and song society, which has a rough interface but a wealth of information and sometimes recordings, which is neat.)

literally traumatizing to learn that the london bridge is in fucking arizona

[spanky606]

pro_truth_aboriginal_sun SOURCE -OXFORD DICTIONARY Regrann from @pro_truth_aboriginal_sun - Did I tell you the nursery rhyme about the "The Ten Little Indians" who became the "The Ten Little Ni#*ers" by Reclassification by the #ViginiaAct1682 and #RacialIntegrityAct by #WalterPlecker. The truth is out there. Are you looking?? #IRideWithWarriorsOnly #OriginalAmericanWarrior #CognitiveDissonanceIsAHellOfADrug #AmericanAboriginalIndian #NegroDeTerra #AmericanAustroloid #SuppressedHertiage #YouAndIAreAborigines - #regrann

[barbiemoviestrivia]

He says “eeny, meeny, miny, moe” when looking for the immunity berry.

The earliest version of this rhyme is from 1815:

Hana, man, mona, mike

Barcelona, bona, strike

Hare, ware, frown, vanac

Harrico, warico, we wo, wac.

I. Opie and P. Opie, The Oxford Dictionary of Nursery Rhymes (Oxford: Oxford University Press, 1951, 2nd edn., 1997), pp. 156-8.

[capricorn-0mnikorn]

The only scholars of children’s culture I can name are Peter and Iona Opie. And they did most of their work in the middle of the 20th Century (1944 - 1998), according to Wikipedia.  I have the Opies’ The Oxford Dictionary of Nursery Rhymes, and it’s great.  But it’s from 1951, and I want more!

They should have been trailblazers for generations of scholars to come after, not a pair of lone explorers.

Honestly, I feel like not enough academic attention is paid to the history of youth culture. 

I don’t mean in the modern sense of culture marketed to teenagers, but the culture that children create for themselves. I’m talking about the organically-created games, songs, stories, languages, slang, and superstitions that you see in playgrounds and schoolyards.  Some of these things are constantly changing, and others have been around for centuries.  Wikipedia calls it “children’s street culture.”  

Normally these things (like many aspects of adult popular culture through the ages, admittedly) aren’t included when we’re studying a particular culture or period of time. I imagine this is not only due to it being seen as unimportant, but also because these things are often invented in semi-secret and are only written down by nostalgic adults and a few adventurous anthropologists. But I think it can give really good insight into a culture’s values, fears, and sense of humor in an unfiltered way that adult culture can’t. Children’s culture doesn’t necessarily alter the course of history, but it reflects it, and I think it’s worth paying attention to.

[xmasqoo-haineke]

Georgie Porgie From Wikipedia, the free encyclopedia Jump to navigationJump to search For other uses, see Georgy Porgy (disambiguation). A Victorian musical setting and illustration of the rhyme "Georgie Porgie" is a popular English language nursery rhyme. It has a Roud Folk Song Index number of 19532. Contents 1 Lyrics 2 Origins and variations 3 Musical versions 4 References Lyrics[edit] Originally the lyrics were: Georgie Porgie, pudding and pie, Kissed the girls and made them cry, When the girls came out to play, Georgie Porgie ran away. However, at the start of the 20th century the third line was often changed to refer to boys. Origins and variations[edit] The earliest printed appearance of the rhyme was in The Kentish Coronal (1841), where it was described as an old ballad with the name spelled "Georgy Peorgy".[1] This version was later illustrated by Kate Greenaway in 1881,[2] and a Cheshire dialect version was quoted in 1887 with the variant "PICKLETY PIE" in place of "PUDDING AND PIE".[3] James Orchard Halliwell did not record the words in his collection of The nursery rhymes of England, but in the fifth edition of 1853 he included a Variant: Rowley Powley, pumpkin pie, Kissed the girls and made them cry; When the girls begin to cry, Rowley Powley runs away.[4] Among children the verse has been used as a rhyming taunt for boys called George, or else of fat boys. It is ALSO used to harass a boy who is considered not sufficiently manly, either because he is thought to fancy a girl, or (with a switch of sexes in line two) who is accused of being homosexually inclined.[5] It CAN ALSO  be used to tease a girl who fancies a boy, where, with other appropriate changes, she is addressed as "ROSIE POSIE".[6] Peter and Iona Opie.... (**DRAMATIC REALIZATION OF SOME SORT OF CONNECTION HERE** ;).... mention various conjectures that link the character Georgie Porgie to British historical figures, including King George I and George Villiers, 1st Duke of Buckingham, but without the slightest evidence,[7] and such unsubstantiated claims have been copied in other works of reference to this day. Musical versions[edit]The rhyme was included in National Nursery Rhymes (London, 1870), a volume illustrated by George Dalziel and Edward Dalziel, where the words were set to music by James William Elliott.[8] And in 1885 they were set as a part song by the Canadian composer Joseph Gould under his musical pseudonym, Spencer Percival.[9][10] References[edit] ^ The Kentish coronal, original prose and poetry by persons connected with the county of Kent, ed. by H.G. Adams, p.44 ^ Barbara A. Kissinger, Mother Goose of Yesteryear, Pelican 2008, p.21 ^ Thomas Darlington, The Folk-speech of South Cheshire, English Dialect Society (1887), p.12 ^ Section 14, Love and Matrimony, rhyme 488, p.248 ^ N. G. N. Kelsey, Games, Rhymes, and Wordplay of London Children, Palgrave Macmillan 2019, pp.501-2 ^ I. Kroupova, IS MU diploma thesis 2015, p.10 ^ The Oxford Dictionary of Nursery Rhymes (Oxford University Press, 2nd edition, 1997), pp.185–6 ^ Online copy available at the University of Florida, p.61 ^ The score is preserved at McGill University ^ A modern performance on Good Night, Good Night, Beloved! and other Victorian part songs, Atma Classique 2012 Children's literature portal Stub icon This poetry-related article is a stub. You can help Wikipedia by expanding it.

https://en.wikipedia.org/wiki/Georgie_Porgie 

[jackson38toh]

Dilly, dilly, come and be killed

Q: I came across the word “dillies” the other day (I can’t remember where!) and it reminded me that when I was a child in England many years ago, “dilly” was the name for a female duck. I haven’t heard it since, and strangely enough, cannot find “dilly = duck” on the internet! Is this a usage that has entirely disappeared?

A: In the days when people kept domestic ducks, the word “dilly” was more common than it is today. In modern English, it exists only as a colloquial or dialectal usage, according to the Oxford English Dictionary.

The word began as a call to ducks, the OED says, and consequently “dilly” (along with “dilly-duck”) evolved into “a nursery name for a duck.”

The earliest duck-call example we’ve found appeared in a popular music-hall song first performed in the mid-18th century. The lyrics to the song, originally entitled “Mrs. Bond,” later became a nursery rhyme.

The comic song is about a cook who needs “a duckling or two” for her customers’ dinner. She instructs a servant to call the ducks by crying “Dilly, dilly, dilly, dilly, come to be killed,” but when he fails to entice them Mrs. Bond goes to the pond and calls them herself.

The song was introduced in performances of Samuel Foote’s two-act farce The Mayor of Garret (1763), according to The Oxford Dictionary of Nursery Rhymes (2nd ed., 1997), by Iona and Peter Opie. The song doesn’t appear in the published text of the play, but the Opies say it was immediately printed by rival London music publishers.

The song’s oft-repeated refrain is “Dilly, dilly, dilly, dilly, come to be killed, / For you must be stuffed and my customers filled!”

A nursery-rhyme version of the song was first published in 1797 in Samuel Arnold’s Juvenile Amusements, according to the Opies, and subsequently appeared in several 19th-century collections of children’s poetry (the wording often varied).

The OED suggests that the evolution of “dilly” from a duck call to the name for a duck was inspired by the nursery rhyme.

But in the meantime, among adults the saying “dilly, dilly, come and be [or “to be”] killed” became a catch-phrase symbolizing a sweet enticement used to lure an unsuspecting victim. It was used this way in early 19th-century political journalism—first in Britain, then in the US and Australia.

For example, a member of Parliament, Robert Thornton, used the catch-phrase in the House of Commons on June 16, 1813, in arguing against an invitation to the East India Company to open its ports to wider trade. He likened the resolution to “the line in Mrs. Bond’s song—’Dilly Dilly Wagtail, come to be killed.’ ”

His remarks were reported on June 17, 1813, in at least two British newspapers, the London Star and the London Chronicle, though the wording differed. A report also appeared in July 1813 in a British periodical, the Satirist: or, Monthly Meteor:

“Mr. R. Thornton, in one of the debates on the East India question, wittily observed, that the invitation to the Company to open their trade reminded him of the child’s song,—’Dilly, Dilly, come and be killed.’ ”

In social commentary, too, the duck call was used to symbolize a lure to the unwary.

An article about “cannibalism” among different elements of society was published in Britain and the US in 1828. The author mentions one class of “cannibals” that “must be nameless” (probably the clergy), who “persuade their prey, like ‘dilly dilly duck,’ ‘to come and be killed’ for the good of his own soul.”  The unsigned article was printed in the New Monthly Magazine and Literary Journal (London, July 1828) and the Museum of Foreign Literature and Science (Philadelphia and New York, September 1828).

The OED’s citations for “dilly”—both as a duck call and as a name for a duck—aren’t fully updated and don’t begin until 1831, with an example of Mrs. Bond’s duck call in the nursery rhyme.

But Oxford does have the earliest example we’ve seen for “dilly” used to mean a duck. It’s from a comic poem first published in 1838, in which the eels in Mrs. Bond’s pond eat her baby ducklings.

We’ll expand the OED citation for context: “The tenants of that Eely Place / Had found the way to Pick a dilly.” (From “The Drowning Ducks” by Thomas Hood, with puns on the London street names Ely Place and Piccadilly.)

Was a “dilly” always a female duck, the counterpart to the “drake”? The OED doesn’t say, but in 19th-century British literature that’s generally the case.

In The Boy’s Book of Modern Travel and Adventure (1863), Merideth Johnes uses “her” in referring to a “poor dilly-duck.” R. D. Blackmore’s novel Mary Anerley (first serialized in1879) has a passage in which “coy lady ducks” are later referred to as “tame dilly-ducks.” And Summer in Broadland (1889), a travel book by Henry Montagu Doughty, uses “she” and “her” in reference to an inquisitive “dilly duck.”

So why was “dilly” used as a duck call in the first place? That’s a good question, and we don’t have a clue. The word certainly doesn’t sound like the quacking of a duck.

What’s more, other meanings of “dilly” aren’t related. The adjective “dilly” has been used to mean stupid or foolish, but only since the 1870s and mostly in Australia. In American slang “dilly” has meant delightful or delicious since the early 1900s—a use that inspired the noun use (“it’s a dilly”). The source there is the first syllable of “delightful” and “delicious,” the OED says.

Another similar sounding term, “dilly dally,” is also unrelated, as far as we know. It was recorded in noun form in the 1500s and as a verb in the 1700s. But the OED says it’s probably a repeating variant (“a reduplication with vowel variation”) of the verb “dally” (circa 1300), along the lines of “shilly shally,” “zig-zag,” and other such phrases.

Also unrelated are some uses of “dilly” in nursery rhymes. We’ve found examples dating from 1606 of chants like “fa-la-la lantido dilly,” “trangidowne dilly,” “lankey down dilly,” “daffy-down dilly” (an expansion of “daffodil”), and others.

Perhaps the most familiar of these is an anonymous 17th-century English song that begins, “Lavender’s blue, dilly dilly, lavender’s green, / When I am king, dilly dilly, you shall be queen.”  (Early versions used “diddle” instead of “dilly.”)

But getting back to your question about “dilly” in the barnyard, apparently there’s no logic in the words people use to call domestic animals. Such words are “chiefly monosyllabic and dissylabic” and are “generally repeated in groups of three,” according to one 19th-century observer, who added: “This language has but little in common with that used by the animals.”

The writer was H. Carrington Bolton, whose paper “The Language Used in Talking to Domestic Animals” appeared in the March and April 1897 issues of the American Anthropologist.

In a section entitled “Calls to Ducks,” Bolton says that “dilly, dilly” isn’t solely a British usage: “Dilly, dilly is also current in the United States; diddle is reported from Virginia, and widdy from North Carolina.”

It seems that what was true in the 19th century is no longer true now. The Dictionary of American Regional English, whose evidence dates largely from the 20th century, lists “diddle” and “widdy” as calls to ducks and other poultry. But alas, no “dilly.”

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from Blog – Grammarphobia https://www.grammarphobia.com/blog/2019/03/dilly.html

[newsrustcom]

Iona Opie, 94, Authority on Childish Things, Is Dead

Iona Opie, 94, Authority on Childish Things, Is Dead

What they gleaned from James Orchard Halliwell-Phillipps’s collection set the Opies on a seven-year hunt into the etymological and historical roots of nursery rhymes.

In “The Oxford Dictionary of Nursery Rhymes” (1951), they traced parts of “Hey diddle diddle / The cat and the fiddle / The cow jumped over the moon” to the 16th-century playwright Thomas Preston (“They can play a new dance called…

[luxmentis]

To continue with our short list series, here are a few strange and unusual items bound to be loved by someone.

We will have more to come, including a vernacular photography catalog before the Boston ABAA fair and of course, the Boston show list.  Featuring new and exciting things!

With that in mind, our next fair is the 41st Annual Boston International Antiquarian Book Fair, November 10-12, 2017. We’ll keep you posted for passes for the Friday night opener!

***********************

Countess of Caithness, Duchesse de Pomar [Marie (Mariategui) Sinclair]. A Midnight Visit to Holyrood. London: C.L.H. Wallace, Philanthropic Reform Publishers, Oxford Mansion, 1887. Limited Edition. Originally printed for private circulation, but published on the three hundredth anniversary of the execution of Mary Stuart, February 8th, 1887. Slight foxing on the frontispiece and portrait of Mary Stuart, and a strange series of period puncture wounds to front cover penetrating text to stab portrait of Mary, Queen of Scots on page 45. Else, tight, bright, and a scarce and odd book. Original dark green cloth, lettering and pictorial device on front and back covers, edge, in gilt, black coated endpapers. Frontispiece with tissue guard and one portrait. 103 pages, 2 unnumbered leaves of plates, illustrations, Very Good+. Hardcover.

Recollection of the communication between Marie Countess of Caithness and the ghost of Mary Queen of Scots from Holyrood House in Edinburgh.  Marie used to visit Holyrood House near midnight and claimed to listen to the dead queen’s spirit voice. The work was originally published for private circulation only, and it is likely that the Countess gave copies to her friend exclusively. This edition, printed by C.H.L. Wallace appears to be limited.

The Countess was increasing influenced by theosophy and universial In 1876, and joined the Theosophical Society founded by known occultists Madame Blavatsky and Colonel Olcott in New York. In 1884, during their stay in Paris with Lady Caithness, Blavatsky approved the creation of the “Theosophical Society of the East and West,” the French branch of the Theosophical Society. Lady Caithness’s theosophy was marked by esoteric Christianity influenced by Jakob Boehme and Swedenborg. She held a spiritualist salon in her Parisian mansion, every Wednesday from spring to autumn in the early 1890s. As to the damage inflicted on the book itself, a few theories arise: it is possible it is just book vandalism. A more compelling and fascinating theory is the book was part of hysteria or ritual to evoke the spirit of Mary Queen of Scots. The book is inscribed to “Miss Blackwell” of which there are two well-known spiritualists in London and Paris; Anna Blackwell and Elizabeth Blackwell. Anna was a prolific writer and participated in the spirit communities during the late 19th century in London and Paris. It is also recorded she was a medium and was said, at times, to be tormented by the ghosts and spirits that threatened her. (#9384) $350.00

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  Fleischauer, Louis ; Aesthetic Meat Foundation. Flesh Art Book. Berlin: Aesthetic Meat Front/AMF, 2014. Limited Edition. Tight, bright, and unmarred. Cased in leather ‘corset’ (see below). 44pp. Illus. (color and b/w plates). Fine in Fine Case. Hardcover.

Limited first edition of 36, this edition is 1/36, with the trade edition cased in a custom leather ‘corset’ cover binding, secured by metal grommets and two leather strap loops. Leather still bears a hide scent and features a painted patina, a fire burnt treated, manipulated, and animal-like with elements cut into tails. The AMF logo is carved into the leather at the top of the cover, as well as the edition number: 1/36 on the back. Text printed on high quality matte clay coated medium weight paper. Signed by Louis Fleischauer, “Pure Kaos Against Total Control” 2016, on the opposite end papers. Includes a small archive of performance fliers for AMF [2002-2015], AMF Korsets / Fleischauer Creations marketing cards and a DVD-R of live performances, signed with a fingerprint impression and numbered 1/36. Edition is divided into several sections: Flesh Art Manifesto, Sculpted Skin (Wearable Art/AMF Korset), Rituals of Transformation, Human Instruments, Aesthetic Meat Front (Rituals + Actionism), Transformed Flesh, Interviews + Random Thoughts. Scarce copy, most editions are with private collectors, this is the last acquired copy from AMF with the leather casing and performance inclusions and also is the first numbered and sculpted edition, as well.

This book is a retrospective of Aesthetic Meat Foundation, (Aesthetic Meat Front is the performance collective of the entire art and creative project of Aesthetic Meat Foundation), featuring a mix of ritual, sculpture, and wearable art. AMF performances in the United States are generally rare, but emulate the same power as Ron Athey and Einstürzende Neubauten fused with an anti-industrial complex manifesto. “Louis Fleischauer, is a sculptor, and body-artist using organic materials such as animal hides, bones, flowers, blood and his own skin. In his public rituals he turns humans into living sculptures and instruments, including his own body. Through a mix of agony and euphoria Louis falls into a state of trance. His sculptures are a reflection of this experience.” �� from the AMF biography. (#9084) $550.00

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Flesh Art Book, AMF

  Sprinkle, Annie. Annie Sprinkle Self-portrait [MSS Notations]. [No Place], 1981. Unique. Signed by Sprinkle with numerous notations all over the image, notation at rear, else bright and clean. 16x24cm. b/w photograph. Signed by the artist. Fine. Photograph.

“Original self-portrait photograph of sexologist Annie Sprinkle. Sprinkle is known as the “prostitute and porn star turned sex educator and artist.” Annie Sprinkle began working at the ticket booth at Tucson’s Plaza Cinema at 18, when Deep Throat was playing. The film was busted, and when Sprinkle had to appear in court as a witness, she met and fell in love with Deep Throat’s director, Gerard Damiano, and became his mistress, following him to New York City where she lived for twenty years. Annie’s first porn movie was Teenage Deviate, which was released in 1975. Perhaps her best known mainstream porn featured role was in ‘Deep Inside Annie Sprinkle’ (co-directed by Sprinkle and sexploitation veteran Joseph W. Sarno) which was the #2 grossing porn film of 1981.

She is considered a role model for a new generation of feminists, she challenges old conceptions and established role models of sexuality and was a pivotal player in the 80’s “sex positive feminist movement” and has long championed sex worker rights and health care. The photograph is heavily annotated with a detailed analysis of the image.The verso contains the anotation p.4 102% suggesting that the image was published although we have been unable to trace the publication. A fantastic image of a true sex goddess.”

Together with Annie’s “Post-Porn Modernist: My 25 Years as a Multimedia Whore”, which includes a ‘clean’ version of the image with the caption, “It was this latex ensemble, which I had brought back from Europe, that started America’s latex trend (or so it seemed to me). It made quite a splash at the HFC [Hell Fire Club]. Or should I say quite a splash was made on it.” (#8115) $1,250.00

  Pell, Sara C. In Dillafluff Land. New Jersey: Standard Publishing Concern, Publishers, 1910. First Edition. Light shelf/edge wear, front boards loose with light toning, few page tears, one leaf loose but present, American Red Cross stamp, else bright and unmarred. Oblong 8vo. Approx. 58pp. Illus. (b/w plates). Good+ in Wraps. Hardcover.

“Esther from Aunt Ann, Xmas 1910”. The black and white Illustrations are by A.G. Learned. Extremely scarce, no known copies. Odd, children’s nonsense nursery rhymes with accompanying anthropomorphic figures very similar to Dr. Seuss’ characters created much later, and similarly, the rhyming is reminiscent of Edward Lear. The book was marketed and reviewed in major publications, but little is known about the author or other published books. The characters were affectionately described as “freakish” and “queer” in reviews. (#9118) $150.00

Woven paper undergarments, Diane Jacobs

Jacobs, Diane. Woven Paper Undergarments [Bra and Panties]. Portland, OR: Scantron Press, 2010. Limited Edition. Bright and unmarred. Woven paper strips, letterpress printed, sculptural. 11x23x3″ np. Fine.

“In this body of work I intend to expose the tenacious, white, patriarchal power structure by using language as my witness. Over a three-year period I collected slang and derogatory words that exploit women. The exhaustive list came from friends, family, and several dictionaries on slang. Strangers also contributed by writing on anonymous pink and blue cards their answer to the question what are the worst names you have ever been called? In my first projects, I sculpted hats, bras, and underwear made of letterpress-printed woven paper. This series of work makes feminist references to craft, the body, and a misogynist culture.” (#8766) $2,000.00

Greer, John Michael. The Weird of Hali: Innsmouth. Oregon: Arcane Wisdom Press, 2016. Limited Edition. Tigh, bright, and unmarred. Custom bound in green faux alligator laminate cloth boards with gold foil inlay embossed Lovecraft image, smythe sewn, and signed, hand-numbered by author with hand-printed ink stamp image of H.P. Lovecraft. Colored endpapers with image of Old Ones and include high gloss print insert of Lovecraft inspired artwork. 9.5×6.25”. 276pp. Limited edition of 500 copies. Fine. No DJ, as Issued. Hardcover.

Cover art by Caniglia and book design by Larry Roberts. “Like every other grad student at Miskatonic University, Owen Merrill knows about the Great Old Ones, the nightmare beings out of ancient legend that H.P. Lovecraft unearthed from archaic texts and turned into icons of modern fantasy fiction. Then a chance discovery—a lost letter written by Lovecraft to fellow Weird Tales author Robert Blake—offers a glimpse into the frightful reality behind the legends, and sends Owen on a desperate quest for answers that shatters his familiar world forever.

As he flees across the witch-haunted Massachusetts landscape toward the mysterious seaside town of Innsmouth, Owen finds himself caught up in a secret war between the servants of the Great Old Ones and their ancient enemies, a war in which yesterday’s friend may be tomorrow’s foe and nothing is as it seems. The history of the world is not what he has been taught—and the tentacles reaching out for him from the shadows of a forbidden past may hold not only his one chance of escape from the terrifying forces closing around him, but the last hope of life on Earth…”(publisher’s note) (#9096) $75.00

Greer, Michael. Weird Hali of Innsmouth

Bizarre Female Domination [Personal Scrapbook]. unknown, nd [circa 1970s]. Unique. Light shelf/edge wear, two leaf loose, very slightly musty, else tight, bright, and unmarred. Brown paper wrappers, mounted images/text at front and read. 4to. np. Illus. (color and b/w plates). Very Good. Original Wraps.

A very thorough and engaging collection of imagery and text involved, as the name implies, around the area of the BDSM scene from a Domme female/submissive male perspective. Neatly tape mounted images on lined white paper, the color and b/w images range from relatively small (approx. 2′ square) to full page (cut from magazines and original photographs). There are also some short text elements around the subject matter, too. Most interestingly, interspersed throughout are full page collections of ‘want ads’ from around the country and Canada…the shared qualities of most reflect either specific interest or, perhaps, that he ‘knew’ them. Overall, an eccentric stimulating collage of pre-internet collection of bondage erotica. (#8389) $450.00

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Anon. Sumatran Batak divination book [pustaha]. Indonesia, Early 20th century. Unique. Twelve (two-sided) panel concertina fold; fastened on handcarved alim (or agarwood) tree-bark original boards; inscribed and drawn on smoothed and pressed alim tree-bark; 4.75 x 39″ (unfolded); illus. Handwritten in red and black ink pigments. Boards stained with natural pigments, in remarkable condition, less one split in bark panel. An exceptional and critical book for Indonesia history and culture. Very Good. Hardcover.

The ‘pustaha’ [named by the Batak people of interior province of northern Sumatra, Indonesia] are manuscript books constructed and composed by their “datu” or magicians and healers. Origins of the pustaha remain somewhat clouded to non-indigenious research, although, records of provenance date to the 18th century. The Batak people settled mainly in the Lake Toba region of North Sumatra, and included three dominant dialects: Toba, Angkola, and Mandailing.

The books themselves are frequently made with alim tree-bark; written and illustrated with other natural ink pigments. The pustaha is significant for the Batak, as the texts are idiosyncratic to the datu, meaning they are didactic tools for apprentices, but also for members of the community to interpret important decisions and advise on community issues, as reconciled by the datu. The books are often written in note-like script. The script is almost illegible for most members of the community, and indecipherable to Western scholars, however the syllabe script is thought to be derived from East Indian Sanskrit or to some scholars, Indian Palava script. Many contemporary pustaha were made and sold to tourists of the region, as well. The content of the books vary, but generally are divination books, including diagnosis of illness, protective/destructive magic, and acts of cult. Many of the books are also astrological in nature and contain solar and lunar charts and tables, and in the case of this particular pustaha, which contains animistic figures. This book features four carved lizards in low relief on one of the boards, which is associated with fertility and fertility rites. The verso has a carved image of star or a floral symbol. Many of the figurative llustrations in the book [a child] [a goddess figure with serpents] [star], also allude to creation myth, as the ‘tendi’ manifestation of ‘life’ and ‘death’ represented these symbols. The text is inscribed and illustrated on both sides of the bark. Although colonized by the Dutch government in the 19th century, many Batak people retain indigenious treligious beliefs, although increasingly marginalized.

Voorhoeve, P. “Batak Bark Books,” Conservator, University of Leiden, John Rylands Library and the Manchester University Press, 1951.

Teygeler, Rene. “Pustaha. A Study into the Production Process of the Batak Book,” 1993. (#9148) $1,200.00

  Sumatran pustaha

  [Count of Saint Germain (attributed)]; Koss, Nick [ed.]. Triangular Book of St. Germain. Seattle, WA: Ouroboros Press, 2015. Limited Edition. Triangular hand-bound and stitched in red and black letterpress wraps; 48 pp.; full color interior printing in English and French text; illus.; limited to 444 copies. As New. Original Wraps.

The edition of the ‘Triangular Book’ was deciphered, transcribed and translated by Nick Koss, who also executed the research and editing of the text. An excellent essay by Koss about the provenance of the manuscript is featured in “Clavis 3: Cipher & Stone.” The edition is limited to 500 copies in three editions. 26 special copies bound in full leather accompanied by a hand-wrought silver Longevity Talisman featured in the original manuscript. 26 copies in full leather and 444 copies bound in letterpress wraps. Design and typesetting by Joseph Uccello. – from the colophon. (#9180) $65.00

[Garcia, Fernando Aguayo; Queer Nation]. Proper Conduct / On October 6, 1989, Police Rioted in the Castro… [Rally Poster]. [San Francisco]: [Queer Nation], 1991. First Printing. Bright and clean. Cyanotype poster. 12×35.5″ Illus. (mono plate). Near Fine.

Poster for a protest organized by Queer Nation in San Francisco to demand justice for victims of the 1989 Castro Sweep Police Riot, when more than 200 San Francisco police officers reacted to an ACT UP march by invading the gay Castro District, declaring the entire neighborhood an unlawful assembly and violently clearing the streets. The Queer Nation protest took place at the San Francisco Hall of Justice following a Police Commission finding that the police sweep of the Castro had constituted “proper conduct.” The poster was designed by gay Latino artist and activist Fernando Aguayo-Garcia and was produced in an extremely limited number of copies using the cyanotype process. (#9272) $350.00

Heart In Your Business: 14th National Motorcycle / Bicycle Show. New York, 1928. Unique. Excellent condition, bright and unmarred, heart shaped advertisement for the 14th Annual National Motorcycle and Bicycle show in New York City, Madison Square Garden. Very Good+.

The first National Auto Show was held in 1900. Apparently, as early as 1915, the two-wheel industry was expanding so the national show split from the automotive industry to have their own independent show. The newly built Madison Square Garden accommodated track racing as well. Rare piece of motorcycling and bicycle ephemera. (#9315) $45.00

    Brown, Frederic. ETAOIN SHRDLU. Portland, ME: Ivy Derderian/Wolfe Editions, 2009. Limited Edition. Tight, bright and unmarred. Unprinted tan cardstock wrappers; green textured heavy stock DJ, lettering and pictorial elements in black ink, advert endpages. 8vo. 13pp plus ads. Illus. (b/w plates). Numbered limited edition this being 6 of 40 copies. Fine in Wraps. Original Wraps.

The first solo project from Ivy Derderian, working at Wolfe Editions. Printed in Linotype Bonodi Book, created on an Intertype (the Linotype’s successor). From the prospectus:

“Frederic Brown’s entertaining short story about a sentient Linotype, titled Etaoin Shrdlu, was originally published in 1942 in the magazine Unknown Worlds. While Mr. Brown was well known for his science fiction short stories and novels as well as his award-winning detective fiction, it is clear that he knew his way around a Linotype and a print shop.

Ivy Derderian, with the help of Wolfe Editions, announces a new publication of Etaoin Shrdlu, designed in the manner of pulp magazines of the 1940s. The text type is Linotype Bodoni Book, titles were set in Ludlow Ultra Modern. Text is printed on acid free Dur-o-tone Aged Newsprint, cover is acid free St. Armand Colours. The two engravings used are from a 1923 issue of The Linotype Bulletin.”

Designed and printed to reflect its pulp heritage using Dur-o-tone Aged Newsprint (acid free) and cover wraps on St. Armand Colours. Illustrations from a 1923 issue of The Linotype Bulletin. A wonderful blending of content and design. (#7080) $225.00

  Harwood-Jones, Markus/Star . Confessions of A Teenage Transexual Whore [Complete in Ten Parts]. Toronto: Self, nd [circa 2010-2012]. First Thus. Tight, bright, and unmarred. Taped bindings over printed paper wraps, color inkjet reproductions. 8vo. Var. pag. Illus. Near Fine in Wraps. Original Wraps.

“A 10-part zine series telling Star’s short stories of survival sex work over the course of two years.” [From the author] (#9294) $145.00

  Eckels, Howard Samuel. Post Mortem Stains and Putty Color. Philadelphia: Press of H.S. Eckels & Co., 1922. First Edition. Minor shelf/edge wear, joint starting at staples, light/even toning to textblock, ownership signature and notation at front, else tight, bright, and unmarred. Navy cloth boards, printed label, fold-out map (in red) of circulatory system. 12mo. 53pp plus adverts. Illus. (color print). Very Good+. Hardcover.

Includes ‘modern’ book curse, “‘Notice’ / This book is the property of G. L. Dodds. / Read if you care to but do not mark, destroy, or carry out of back room. / G.L. Dodds / P.S. I weigh 157lb. Let this be a warning to you. / G.L.D. (#8966) $245.00

  Dwight, Thomas. Frozen Sections of a Child. New York: William Wood & Co, 1881. First Edition. Light even toning, tips through, wear at head and tail, ownership signature at first blank, moderate shelf/edge wear, else tight, bright, and unmarred. Black cloth boards. 8vo. Illus. (b/w plates). Good+ [Textblock Very Good]. Hardcover. Includes fifteen full-page drawings from nature by H.P. Quincy. A century or so before CAT scans and MRIs, this work offered detailed tomogrpahic images. Remarkably important (and one of the great titles in publishing). First edition of a classical work of great importance in pediatrics, and the first American group of serial sections. This work provided tomographic images a century before the CAT and MRI. Dwight was a Harvard medical school and, later in life, succeeded Oliver Wendell Holmes as the Parkman Professor of Anatomy.”A classical work of great importance in pediatrics, and the first American group of serial sections” (Choulant-Frank, p. 409). (#8962) $225.00

It’s not unusual… to be loved by anyone To continue with our short list series, here are a few strange and unusual items bound to be loved by someone.

[bookloversofbath]

The Oxford Dictionary of Nursery Rhymes (Edited by Iona & Peter Opie)

The Oxford Dictionary of Nursery Rhymes (Edited by Iona & Peter Opie)

The Oxford Dictionary of Nursery Rhymes (Edited by Iona & Peter Opie) lands on the shelves of my shop, where it will be found in my Childrens section. priced at just £5.00!

Oxford: Clarendon Press, 1958, Hardback in dust wrapper.

4th (revised) printing. [First Published: 1951] Contains: Black & white plates; Black & white drawings; Frontispiece;

From the cover: This dictionary brings together…

[fucking-nachos]

Free Humpty Dumpty E-book

an egg-formed character in a Mom Goose nursery rhyme who fell off a wall and couldn't be put together once more.

Principal Davis: She spat, Mrs. Lichten, she spat.::Phoebe: Spat, spat, water rat.::Principal Davis: So I thought you can are available and we may chat about it.::Phoebe: Tommy spat first!::Principal Davis: Phoebe, maybe you must let your mommy and daddy and I speak alone about it. Right here, you can have a sweet.::Hillary Lichten: Phoebe is imaginative and sensitive and passionate and if she did get excited concerning the gerbil, I'm positive she was provoked. You heard her, that other terror spat first.

These publications did not embody the primary use of the time period humpty dumpty, although. In response to the Oxford English Dictionary, humpty dumpty was first used within the 17th century and referred to brandy boiled with ale. In the 1700s, it was additionally a term used to describe a short, clumsy individual. It has additionally been a nickname attributed to somebody who has had an excessive amount of alcohol (maybe imbibing the drink of the same title).

Humpty Dumpty seems to make a riddle out of every a part of their dialog. Alice compliments his cravat, which he explains he received from the White King and Queen for his un-birthday. He explains that an un-birthday is a day that is not his birthday. Humpty Dumpty declares that un-birthdays are better than birthdays and begins to use phrases that make no sense in the context of what he says. Alice questions what he means, to which he retorts that he could make phrases do anything that he needs, though he pays words further if he requires them to do lots of work. Alice remembers the poem Jabberwocky, and she or he asks Humpty Dumpty to clarify the words to her. She recites the first stanza, which he picks aside phrase by phrase. Humpty Dumpty then begins his own poem for her, which abruptly ends with a goodbye. Annoyed, Alice walks off, complaining about his conduct when a great crash resounds via the wooden.

My two youthful youngsters, 5 and eight, actually enjoyed playing with this toy. The actual advantage of this game is that the kids can set it up theirselves (massive bonus for all mother and father who have arrange toys many times, only to have them knocked down in seconds!). The only thing it's important to do is put the wall together initially and steadiness Humpty Dumpty on high of the wall when it is built - which is kind of fiddly. Nonetheless, the wall itself is straightforward to construct.

It's a little like Jenga, in that the bricks should be taken out of the wall without knocking it down and causing Humpty to 'have a great fall'. Easy idea, but the nursery rhyme character makes it more fun for younger children. Also, it takes only a short while to play, so http://disney.wikia.com/wiki/Frozen_2 it should hold younger childrens attention.