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cromwellharvests-a · 5 years ago

Text

sexual preferences / record

BOLD - strongly applies / loves . BOLD + ITALIC - somewhat applies / likes . italic - slightly applies / maybe . left blank - uncertain / no opinion . CROSSED OUT - doesn’t apply / hard no .

** indicates verse dependent

𝐀𝐏𝐏𝐀𝐑𝐄𝐍𝐓 𝐀𝐆𝐄

18-21 | 22-25 | 26-29** | 30-33 | 34-37 | 38-41 | 42-45 | 46-49 | 50+

𝐆𝐄𝐍𝐃𝐄𝐑 𝐈𝐃𝐄𝐍𝐓𝐈𝐓𝐘

𝐒𝐏𝐄𝐂𝐈𝐄𝐒

𝐎𝐑𝐈𝐄𝐍𝐓𝐀𝐓𝐈𝐎𝐍

( 𝚂𝙴𝚇𝚄𝙰𝙻 )

( 𝚁𝙾𝙼𝙰𝙽𝚃𝙸𝙲 )

𝐏𝐎𝐓𝐄𝐍𝐓𝐈𝐀𝐋 𝐒𝐄𝐗 𝐏𝐀𝐑𝐓𝐍𝐄𝐑𝐒

( 𝚂𝙿𝙴𝙲𝙸𝙴𝚂 )

** for this entire category, honestly. easy? feel attraction almost indiscriminately? more likely than you think

( 𝚃𝚈𝙿𝙴𝚂 )

𝐈𝐍𝐂𝐋𝐈𝐍𝐀𝐓𝐈𝐎𝐍𝐒 / 𝐇𝐀𝐁𝐈𝐓𝐒

𝐁𝐎𝐃𝐘 / 𝐀𝐏𝐏𝐄𝐀𝐑𝐀𝐍𝐂𝐄 ( 𝚅𝙸𝚂𝙰𝙶𝙴 )

( 𝙷𝙴𝙸𝙶𝙷𝚃 )

4'11" & shorter | 5'0"-5'4" | 5'5"-5'8" | 5'9"-6'0" | 6'1"-6'4" | 6'5"-6'8" | 6'9" & taller

( 𝙱𝙾𝙳𝚈 )

( 𝚆𝙰𝚁𝙳𝚁𝙾𝙱𝙴 )

𝐒𝐎𝐔𝐍𝐃𝐒 / 𝐍𝐎𝐈𝐒𝐄𝐒

𝐏𝐎𝐓𝐄𝐍𝐓𝐈𝐀𝐋 𝐋𝐎𝐂𝐀𝐓𝐈𝐎𝐍𝐒 / 𝐏𝐋𝐀𝐂𝐄𝐒

𝐄𝐗𝐏𝐄𝐑𝐈𝐄𝐍𝐂𝐄 ( 𝙵𝙸𝚁𝚂𝚃𝚂 )

( 𝙻𝙾𝚅𝙴 𝙻𝙸𝙵𝙴 )

( 𝙾𝙵𝙵𝚂𝙿𝚁𝙸𝙽𝙶 )

( 𝙰𝚃𝚃𝚁𝙰𝙲𝚃𝙸𝙾𝙽𝚂 )

( 𝚂𝙴𝚇 𝙻𝙸𝙵𝙴 )

𝐓𝐔𝐑𝐍-𝐎𝐍𝐒 / 𝐊𝐈𝐍𝐊𝐒

( #-𝙻 )

( 𝙼-𝚉 )

TAGGED BY . stolen from @deathleads against my better judgment

#☼'( ᴊᴜsᴛ ʀᴇʟᴀx & ᴛᴀᴋᴇ ɪᴛ ᴇᴀsʏ [about] )#☼'( ᴀ ʜᴀʙɪᴛ's ʜᴀʀᴅ ᴛᴏ ʙʀᴇᴀᴋ [isms] )#♥'( 'large breasts' vs 'small breasts' all tiddies are good tiddies when will you learn )#♥'( well I feel sufficiently ablaze; this had no business being so thorough but there's the tea )#♥'( aaaaah easy forgive me for what I've done )#♥'( oh but; obligatory )#♥'( [easy vc] real men get pegged )#☼'( ᴠɪᴇᴡᴇʀ ᴅɪsᴄʀᴇᴛɪᴏɴ ᴀᴅᴠɪsᴇᴅ [nsfw] )#♥'( i mean it doesn't!!! get more nsfw!! does it!! )#♥'( big tl;dr/psa: do not pull her hair or restrain her. instant triggers. don't do it. )

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orionlakehastodie · 6 years ago

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If You Stayed

Citadel, 2019

He was by far the most beautiful man she’s ever seen in her entire life. His golden hair caught the dying rays from the sun and he looked so much like the Warrior that her cheeks flushed.

“Dr. JJ Lannister.”

He stretched a hand out to her and he took it. And there was a zing up her spine. A recognition. A sort of comng home. But he released her hand and she shook off the feeling. What utter nonsense.

“Rie Tarth. Doctor. Rie Tarth. You’re here for The Sword of the Maiden.”

“Yes, the first lady knight.”

She smiled at his words. “Are you a historian Dr. Lannister?”

“Not much. I’m an archaeologist, a different set of interest I suppose. I recently unearthed this from a dig-site at King’s Landing, from what I understand used to be the Red Keep during the War of the Two Queens?”

He takes out his Blackwater Tab, and shows a photo of a sword, with a golden lion on it’s pommel.

“Valyrian Steel. I verified it myself. Dates all the way back to the War of the Five Kings. I want to know the lore of it. The history of it. Because if this is what I think it is, I think we’re headed to a great discovery.”

“The lost Widow’s Wail. The twin sword of Oathkeeper.”

“Your family’s sword.”

“One gifted by yours.”

His eyes meet hers, green, but not like emeralds, the green of sea that shifts and flows with the ebb of his emotion.

And she was mesmerized.

“In many ways. It was said to be forged from one sword, from Lord Eddard Stark of Winterfell. Gifted eventually by his daughter the Queen of the North to Ser Jaime Lannister and Ser Brienne of Tarth for services to Winterfell against the Army of the dead. When Ser Jaime.. escaped captivity, he returned the sword to King’s Landing, which was lost at the sack of the Red Keep. We’ve never been able to find it again. When Ser Brienne ended her career as Lord Commander when her father passed and returned to her home seat in Tarth to serve as it’s new lord, she brought Oathkeeper home with her and when she died, Ser Podrick Payne took her sword and placed it at Evenfall Hall. With an additional space because he hoped that it’s twin will return. It never has. Not in two thousand years. I’m glad you found it.”

JJ surveyed her face, amusement in his features. Ah yes, the tale of the Maid of Tarth. Every girl positively swooned for it. She obviously did.

“And I suppose you believe in the other part of the story.”

Her brows furrow but the flush in her cheeks give her away. JJ smiled. Of course she did.

“In the long winter, Ser Jaime Lannister fell in love with a lady he knighted. A lady who has by many accounts had been once his captor, friend and lover. He never wrote it in the White Book when he was lord commander. She never either. It was Podrick Payne who wrote it for both of them.”

She knew. Those pages were in the sword room of the now museum wing of Evenfall Hall. She liked the poetry of Lord Commander Payne. And he wrote complimentary verses in the book for the both of them.

Jaime Lannister, died protecting his Queen. Gave his family sword to Ser Brienne of Tarth, as a symbols of his love and unending devotion.

And seeing as he was the one who wrote the page for Lord Commander Tarth, he added all of the details both failed to mention. The bear pits at Harrenhal, the siege of Riverrun, his choice to journey North for her, his choice to stay North for her, not as captive but as guest, something Brienne failed to mention in her notes. A love story many were skeptical about, as it was neither mentioned in A Song of Ice and Fire or any of the original entries in the White Book.

But she knew it to be real. Knew it very well because she holds the last written letter of Lady Brienne of Tarth. And she knew it to be real.

“I need to see Oathkeeper. I need to run an analysis on the blade, see if they share the same signatures and-”

“I cannot let you take Oathkeeper, Dr. Lannister.”

“Why in the world not?”

Ah yes, a Lannister of the rock. There was arrogance there, a kind that comes only when you are born with it.

The kind that does not diminish even with one hand missing. Some accident she heard. A dig collapsed over his head and they had to amputate his hand, after it got crushed in the debris.

“Oathkeeper is Tarth’s national treasure, we can’t just loan it to some buffoon who wants to examine it.”

It was Ser Brienne’s and she wanted it here. A last memory of the only man she ever loved.

“Look, I will not damage the blade, I just need to know if what I have is Widow’s Wail.”

“You already know it.”

“I have to know for sure, because if this is a forgery, they what I am about to do will cost my family a legacy.”

He sighs and pulls out a small book from his pocket, sealed in a vacuum container.

“Do you have a rare documents facility in this place?”

---

The handwriting was barely legible, but that was because Jaime Lannister lost his right hand.

But it was there. All of it. His affair with the Queen Cersei, their bastard children, his own rebellion and his journey North... and all the love letters he wrote, for the Maid of Tarth.

While you slept, I watched the fire dance in your skin. And thought in this light you were so beautiful. In this light you were every bit a knight.

You rose early and the bed was lonely without you. I cannot imagine it, a life without you.

I dream of you still, even as you lie beside me. I have always dreamt of you I think. Even as a young boy, who dreamt of knights, I dreamt of you. Always you.

The Dragon Queen would burn the city, and my sister with it. I have to stop it. If there is any little honor left in me, I have to stop it. I may die tomorrow, but know that the last thought in my head would be that I love you, and I will always do. Here and in all my lives after.

Oh.

Tears, dripped from her eyes.

Inexplicably she felt it. Pain, wonder, loss. They were never meant to be from the beginning.

“Dr. Tarth?”

“Sorry.. I... I have her book too. His lady. The Lady Brienne. She knew. She knew he loved her and she was never angry. She wrote about him everyday... she remembered him until her last days.”

She wiped her eyes, wondering at why she was suddenly so forlorn and so sad...

“Maybe they met again, in another life, in another place. Two thousand years is a long time, and don’t you think they’d have done everything, to be together again?”

He clears his throat when she looks up at him in surprise

“You believe it too?”

“In many ways I have no choice but to.”

Because of her face.

Her face that he has dreamt of every night since he could remember.

Her face that he knew the minute he saw her, even if he never met her before.

“I have to believe it.” He tells her. “Because I dreamed of you.”

She steps back. Her blue eyes... yes, it was her eyes, as blue as the sea of the waters of her home.

“Not of you specifically. But you in armor of sapphire blue, with a sword in a scabbard of lions and crescent moons. You in a battle holding a sword with a golden lion on it’s pommel. Saving my life. Your face in my dreams. I wonder if it’s mine or his.”

She shook her head, not knowing what to say, scared at what she would, because she knows him. The minute they met, she knew who he was.

“I did not introduce myself properly, my name is Jaime. Jaime Lannister of Casterly Rock. And you are Rie Tarth. But that’s not your real name is it?”

“No.”

She whispered, taking a tep back as he moved forward to her.

“Tell me.”

“It’s Brienne. Brienne Tarth. I did not want to share her name. I have the look of her. It wasn’t very nice for her, it sure was not very nice for me.”

“You’re beautiful.”

She flushes and holds a hand out, stopping his progress.

“Stop. This is... it’s not possible.”

“And yet here we are. It’s been 2000 years since anyone saw Widow’s wail. I hit it on my first dig, I didn’t even have to try. It was like a knowing. I need to see it’s twin, I need to know for sure.”

“Know what?”

“That I’ve been looking for you all my life and I am now finally here.”

She believed in the Maid of Tarth, she believed in her love, but she was not sure it was for her.

“You will see the sword tomorrow, for now, we end. Excuse me, I have-”

“Brienne.”

She stops, the sound of her name in his voice, and she knew. She knew. Oh seven help her she knew.

She has always known.

“It’s... we... it’s not possible.”

“It’s been 2000 years. I think it is.”

He took a deep breath and shook his head. “But it has been 2000 years, what do you say we start off with coffee instead of a shared bath in Harrenhal this time around.”

He holds his hand out, his one good hand and she places her own in it. And home.

An instant recognition of home.

“I suppose you have a twin?”

“Sure I do. Here name’s Cersei.”

She stops in her tracks and he guffaws.

“Not in this life, my lady. No twin. Just an annoying little brother. Now what do you say to that coffee?”

And this time around... he stayed.

#braime #jaime x brienne #brienne x jaime #jaime lannister #brienne of tarth #ser brienne #a knight of the seven kingdoms

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enchntments · 5 years ago

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SEXUAL PREFERENCES / RECORD

bold - strongly applies / loves .

bold + italic - somewhat applies / likes .

italic - slightly applies / maybe .

left blank - uncertain / no opinion .

crossed out - doesn’t apply / hard no .

SUBJECT APPARENT AGE

18-21 | 22-25 | 26-29 | 30-33 | 34-37 | 38-41 | 42-45 | 46-49 | 50+

SUBJECT GENDER IDENTITY

SUBJECT SPECIES

SUBJECT ORIENTATION

POTENTIAL SEX PARTNERS

SUBJECT INCLINATIONS / HABITS

SUBJECT BODY / APPEARANCE

( height ) 4'11" and shorter | 5'0"-5'4" ( 5'0" ) | 5'5"-5'8" | 5'9"-6'0" | 6'1"-6'4" | 6'5"-6'8" | 6'9" and taller

SUBJECT SOUNDS / NOISES

POTENTIAL LOCATIONS / PLACES

SUBJECT EXPERIENCE

( offspring ) is fertile | is extremely fertile | is infertile | wants to have children because they love kids | wants to have children solely because they need an heir or want someone to carry on their legacy | unsure if they want to have children or not | doesn’t want to have children | gushes over cute babies | has had a kid ( or more ) | has had a grandkid ( or more ) | has forged a close bond with their child ( or children ) | has forged a close bond with their grandchild ( or grandchildren ) | has a distant relationship with their child ( or children ) | has a distant relationship with their grandchild ( or grandchildren )

TURN-ONS / KINKS

#//i had to do it for summer #. —— ⊰ 🌸 : written specifics -- summer

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drdumaurier · 7 years ago

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bold - strongly applies / loves . bold + italic - somewhat applies / likes . italic - slightly applies / maybe . left blank - uncertain / no opinion . crossed out - doesn’t apply / hard no .

(Under the cut)

SUBJECT APPARENT AGE

18-21 | 22-25 | 26-29 | 30-33 | 34-37 | 38-41 | 42-45 | 46-49 | 50+

SUBJECT GENDER IDENTITY

SUBJECT SPECIES

SUBJECT ORIENTATION

( sexual )

( romantic )

POTENTIAL SEX PARTNERS

( species )

( types )

SUBJECT INCLINATIONS / HABITS

SUBJECT BODY / APPEARANCE

( visage )

( height )

4'11" and shorter | 5'0"-5'4" | 5'5"-5'8" | 5'9"-6'0" | 6'1"-6'4" | 6'5"-6'8" | 6'9" and taller

( body )

( wardrobe )

SUBJECT SOUNDS / NOISES

POTENTIAL LOCATIONS / PLACES

SUBJECT EXPERIENCE

( firsts )

( love life )

( offspring )

is fertile | is extremely fertile | is infertile | wants to have children because they love kids | wants to have children solely because they need an heir or want someone to carry on their legacy | unsure if they want to have children or not ( verse dependent ) | doesn’t want to have children ( verse dependent ) | gushes over cute babies | has had a kid ( or more ) | has had a grandkid ( or more ) | has forged a close bond with their child ( or children ) | has forged a close bond with their grandchild ( or grandchildren ) | has a distant relationship with their child ( or children ) | has a distant relationship with their grandchild ( or grandchildren )

( attractions )

( sex life )

TURN-ONS / KINKS

( #-L )

( M-Z )

Tagged by: @leftmemories (thank you!!!) Tagging: @gentlegently @silvaraoul @capitanmuerto @coinkill (just ‘cause I can) & who wants to do it!

#;You can never completely know anyone [about]#;nsfw #(I really hope I didn't forget to bold or italicise anything)#(also yes she's kinky but with some limits)#(AND YES SHE HAS STRETCHMARKS AND YOU CAN ALL FIGHT ME ABOUT IT)

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foxxheat · 7 years ago

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。・ SEXUAL PREFERENCES/RECORD゜+.*

bold - strongly applies / loves. italic - somewhat applies / likes. left blank - uncertain / no opinion. crossed out - doesn’t apply / hard no.

✧ SUBJECT APPARENT AGE:

18-21 | 22-25 | 26-29 | 30-33 | 34-37 | 38-41 | 42-45 | 46-49 | 50+ (Actual: 1003)

✧ SUBJECT GENDER IDENTITY:

✧ SUBJECT SPECIES:

✧ SUBJECT ORIENTATION:

(sexual)

(romantic)

✧ POTENTIAL SEX PARTNERS:

(species)

he’ll try anything once as long as they identify as male. Can even be female sexed, as long as they identify as male or nonbinary and they look good. That said he’s never encountered a transgendered person before so the concept is foreign to him as it applies to humans.

(types)

✧ SUBJECT INCLINATIONS/HABITS:

✧ SUBJECT BODY/APPEARANCE:

(looks)

(height)

4'11" and shorter | 5'0"-5'4" (5'3") | 5'5"-5'8“ | 5'9”-6'0" | 6'1"-6'4" | 6'5"-6'8" | 6'9" and taller

(body)

(wardrobe)

✧ SUBJECT SOUNDS/NOISES:

✧ POTENTIAL LOCATIONS/PLACES:

♢ SUBJECT EXPERIENCE:

(firsts)

[All very verse dependent - But Tielo “loves” many they just don’t survive usually ;3]

(love life)

(offspring)

(attractions)

(sex life)

✧ TURN-ONS/KINKS:

(#-L)

(M-Z)

TAGGED BY. @banditborn

TAGGING. @hellrager @airxn (both boys ♥) @loveyourfears @hellrexgn @celestialspitfire @grvntcd

#{ ◘ don't threaten me with a good time | meme }

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soldatskimalchik · 7 years ago

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to begin with: i'll be focusing primarily on the comics with bits taken from the movies, but the mcu arc is not one i care for. since my characterization is heavily 616, that'll be the bulk of this.

bucky barnes is not a soldier the way that steve rogers is. steve was born with fighting in his blood, was always meant to be the kind of guy who fought for what he believed in. bucky... not so much. he’s not meant for soldiering, and he would like to retire -- but in every single verse, bucky doesn’t know what he would do without fighting. without hero-ing. without being a soldier. he’s been a soldier since he was fifteen, and he doesn’t know what he would do without it, but it wasn’t who he was, at first. not originally.

it's important to understand that the guy has always operated with a mask. he admits it himself: it started, in a way, when his mother died when bucky was ten years old, and bekah was one.

i'm sure george meant well, but. man.

bucky: “dad, i...” george: “i know, james. i miss your mom, too. but you have to stay strong... for your sister. bekah needs you more than ever.”

bucky, monologue, 80 years later: “a brave face... that was my first mask. dad and i both tried to make family life as normal as it was before mom died...”

bucky took george at his word, and internalized all of his anger at the injustice of losing his mom ( to a sickness, it is implied, though what is not stated, and it's probable bucky never knew what killed her, which didn't help the feeling that it was bucky versus the entire damn world ) as well as the other struggles that a ten year old boy goes through -- not to mention the struggles of growing up on a military base during the depression with war looming, and bucky had very little friends, since he tended to pick fights with anyone who looked at him the wrong way in order to express his own anger.

bucky, monologue, 80 years later: “i may have pretended to be strong and happy... but i was angry underneath it all. angry at the whole damn world.”

this was the start of bucky never learning to process his emotions, and instead working through them with violence, because violence was easy and understandable. violence was simple. with george encouraging bucky to internalize everything, bucky took refuge in how easy it was to throw some punches and feel like he was doing something to fight against the sheer unfairness of it all.

bucky responds with anger to things that are out of his control or to things that hurt him. this is how he responds to seeing a concentration camp of jewish prisoners. there is no canon that bucky barnes is a jewish person, but i have headcanoned and developed that out thoroughly, so keep that in mind when you see his response.

young bucky: “you bastards!” bucky, monologue, 80 years later: “and i admit, i lost my mind a little. this was old bucky behaviour. no plan. just taking action.”

he’s so angry he doesn’t know what to do, so he responds to the one thing he does know: violence.

but bucky’s violence is most importantly mindless violence. the kid doesn’t plan a damn thing. this is related to the greek deity quiz from the other day -- ares is the god of war, but he’s the god of violent war. the god of mindless rage; that battle-rage that makes you see red and react without thinking. ares is the violence that controls people. looking at the panels above, that is young bucky to a tee.

( this is compared to athena, the goddess of strategy and planning -- especially in warfare -- who is a deity the greeks preferred exponentially to ares. ares was often mocked and belittled in myths for his supposed lack of intelligence and dignity. )

bucky: “who’s the ‘kid’ now, jerk?! huh?!” ( note: this was before he was assigned to corporal steve rogers )

and growing up, bucky doesn’t get much better either. his anger is one of the things the red room tried very, very hard to get rid of.

winter soldier: “there was no mention of a child!” mikhail: “collateral damage! should we have told you sergei had a dog, too?” winter soldier: [grabs mikhail by the collar of his suit] “if black widow hadn’t been there--” dmitri: “enough of this. sergei has been neutralized. the mission was a success.” winter soldier: “i follow orders without hesitation. but if you don’t give me all the information--” andrei: “you forget your place, winter soldier. comrade karpov will hear of this.” winter soldier, in english: “then let him!”

... they were not successful.

once bucky has recovered his memories and is more-or-less back to normal, he still responds with anger, because he never learned to process anything and adulthood and brainwashing didn’t help him at all. violence is his go-to. violence is how he expresses how angry he is all the time.

here are some caps from when natasha was taken by a rogue red room operative during the winter soldier run of 2013(?).

bucky: “but i keep hurting [the men he’s interrogating] after i know they’re not going to tell me anything. because they deserve it. and because i’m angry. and helpless.”

sitwell, making the mistake of pointing out people who may know where natasha is to bucky: “dammit, barnes.”

bucky, exasperated when a lead turns out to be a dead end, expressing himself the only way he knows how: “damn it!”

in conclusion: bucky barnes was never meant for war. he wasn’t. he was, at first, a gentle and witty kid who loved to learn. he loved school. he loved people. if left alone, bucky probably would have continued to pursue science and settled down with someone he met in school, as science in general was always something that interested him. but the world didn’t leave bucky alone, and through a long series of fucked up circumstances, bucky was forged into a weapon, and he has no idea how to stop being that weapon. bucky's violence -- the kind he excels in -- is ares' sort of violence. the violence of mindlessness, the angry sort of violence. the violence of a weapon who doesn't know how to stop, but desperately wants to.

he only knows how to choose what he’s pointed at before he shoots.

#[ take a breath and dive in deep ; meta. ]#long post //#hope you love suffering because i'm sad!#[ v: 616. ]

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biteheir · 7 years ago

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。・ SEXUAL PREFERENCES/RECORD゜+.*

BOLD - strongly applies / loves. BOLD + ITALIC - somewhat applies / likes. ITALIC - slightly applies / maybe. left blank - uncertain / no opinion. crossed out - doesn’t apply / hard no.

✧ SUBJECT APPARENT AGE:

18-21 | 22-25 | 26-29 | 30-33 | 34-37 | 38-41 | 42-45 | 46-49 | 50+

✧ SUBJECT GENDER IDENTITY:

✧ SUBJECT SPECIES:

✧ SUBJECT ORIENTATION:

(sexual)

(romantic)

✧ POTENTIAL SEX PARTNERS:

(species)

(types)

✧ SUBJECT INCLINATIONS/HABITS:

✧ SUBJECT BODY/APPEARANCE:

(visage)

(height)

4'11" and shorter | 5'0"-5'4" | 5'5"-5'8" | 5'9"-6'0" | 6'1"-6'4" | 6'5"-6'8" | 6'9" and taller

(body)

(wardrobe)

✧ SUBJECT SOUNDS/NOISES:

✧ POTENTIAL LOCATIONS/PLACES:

♢ SUBJECT EXPERIENCE:

(firsts)

(love life)

(offspring)

IS FERTILE | is extremely fertile | is infertile ( MAIN VERSE. ) | WANTS TO HAVE CHILDREN BECAUSE THEY LOVE KIDS | wants to have children solely because they need an heir or want someone to carry on their legacy |UNSURE IF THEY WANT TO HAVE CHILDREN OR NOT | doesn’t want to have children | GUSHES OVER CUTE BABIES | has had a kid (or more) | has had a grandkid (or more) | has forged a close bond with their child (or children) | has forged a close bond with their grandchild (or grandchildren) | has a distant relationship with their child (or children) | has a distant relationship with their grandchild (or grandchildren)

(attractions)

(sex life)

✧ TURN-ONS/KINKS:

(#-L)

(M-Z)

TAGGED BY: @eyugen TAGGING: @lovefeed + whoever. idk.

#chara study.#smh @ karin

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tomupside · 7 years ago

Text

The Review You Deserve: The Avengers: Infinity War

Infinity War? More like Infinity Bore!

[searches for high-fives]

[finds none]

Okay, that’s harder than Infinity War deserves. It wasn’t boring. That’s a positive that I can give it. But let’s face it, I saw it once, and that’s all I needed. In short: Infinity War was . . . better at doing particular aspects, but, overall, was on the same level as the lowest-common-denominator Marvel film out there.

Spoilers ahead . . .

Infinity War isn’t a single film, but three or four separate films stitched together by a single theme: how all these heroes tried to stop Thanos, and failed. Or, really. it’s a film antholgy trimmed down to a single Abridged movie.

The plot for Infinity War is simple: Thanos wants the infinity gems (or “stones,” as they’re called in the movie-verse) because there are too many people in the universe, and there needs to be a culling. This is the motivations of an insane person driven as such by past tragedies, but because this is Disney, we get all of this in exposition and are informed that he is a “tragic villain” through monologues over sad violins.

(Tangent: Loki was a great villain because the writers and director of Thor understood Shakespeare! You, Disney, do not! Fucking stop it!)

The heroes need to stop Thanos because they’re told that he wants the Infinity Stones for “Bad Things.” Well, that’s the surface-level reason. For the most part though, the heroes all find a reason to want to stop Thanos for personal reasons: Tony, because Thanos caused his PSD; Gamora, because he adopted her after slaughtering half her planet.

We start the story with Generic Uber-Bad’s Generals and Thanos, having just killed all of the surviving Asgardians, trying to get Infinity Stones from Thor and Loki . . . and in the most clumsy of sequences, they do. But they didn’t get them all, and with his final breath, Heimdall sends Hulk back to Earth (leaving Thor, Loki, and the Tesseract – the one thing Thanos was killing your people for – behind, because that totally makes sense as a dying gesture.)

Thanos then kills Loki after getting the Tesseract, and blows up the Asgardian ship and, supposedly, Thor with them. (Though don’t worry, he manages to survive the vacuum of space for just long enough – that being at least a few hours, if not days – to be saved by the Guardians of the Galaxy.)

Hulk lands, conveniently, in the Sanctum Sanctorum, where he warns Doctor Strange of what’s going on. That’s when Thanos’ minions show up to get the Time Gem –

– which happens to be when Tony Stark is giving his heart-felt Two Weeks to Retirement speech. Spidey happened to be friendly in the neighborhood too, and the three of them wind up on the Minion Ship when Strange is kidnapped.

Later, the remaining minions try to get to Vision when and his mind gem while he’s with Scarlet Witch (because Bulma Briefs invented frikin’ Infinity Stone Scouters for them, apparently?) but get thwarted by Captain America, Falcon, and Black Widow (the *most powerful* Avengers out there.) They convene at Avenger Compound, where Bruce Banner is waiting with Rhodes (because that makes sense?)

Meanwhile, Thor tells the Guardians “Thanks, but fuck off” and, with Groot and Rocket Raccoon to forge a new hammer, while the rest go off elsewhere.

Then we start following the segments: Section 1: Peter Quill and the remaining Guardians try to stop Thanos themselves before he can get the stone from The Collector.

Section 2: Thor, Rocket, and Groot try to forge Mjolnir 2.0.

Section 3: Earth tries to protect the Infinity Stones that they have.

Section 4: Iron Man, Spider-Man, and Doctor Strange try to take the fight to Thanos.

Spoilers: They all fail. In some cases, for the most spectacularly dumb reasons imaginable.

Double-Spoilers: This is the first part in a two-parter, so guess who doesn’t beat the bad-guy in his goal to destroy half the life in the universe.

The film had potential. That Disney still refuses to get any real red blood on its hands is a small reason why it failed. The real reason it failed is because so many decisions were made not because they were logical to the characters or to the moment, but because they had to happen so the story could reach the next plot point. SO much of the story could’ve been solved if someone had just pulled the trigger when they had the chance! And you can’t use the whole “Well, they’re super heroes, so they have rules against killing . . . “ NO! Every one of these cretins has killed, whether blatantly or indirectly. But they had to be frikin’ idiots, because otherwise Thanos would’ve been stopped not even forty-five minutes into the movie!

And I don’t get it! I don’t get why, in a two-and-a-half hour film, you can’t dedicate at least ten minutes to show what could have been so bad in Thanos’ past that he would think wiping out half the life in the universe is a good thing, rather than have him tell us in almost five separate fucking monologues? Fucking five?! It creates a greater emotional connection for the audience when we get to feel that moment once and at the same time as the character. They obviously knew this, because they fucking showed that tender moment when Thanos kidnapped Gamora as a kid so she wouldn’t be slaughtered by his own kill-squad! Otherwise, we might not have cared as much when he threw her off a cliff so he could get the Soul Stone! See! THAT made us feel for Thanos! That worked! We got why Thanos was crying, and why he kept being choked up through the film about her death, because we were there when he found her as a kid! Wouldn’t it have been nice to have that same goddamn moment instead of him saying why he thought killing half the universe would be something good for everyone?

And of course – of course – Disney can’t let a somber moment be somber! “Oh, hi Thor! You just saw your brother be strangled in front of your eyes and your entire people slaughtered? Well, let’s have a goof-off with Peter Quill and you constantly call Rocket Raccoon a rabbit! Isn’t that great!” Or how about half the Earth population being dusted like in Buffy in the worst tragedy ever, but have Samuel L. Jackson almost get off a trademark Muthafukka? Wakka wakka fart joke!

It’s called “timing!” you repugnant rodent! Learn it!

We, the fan boys, got a bit of what we wanted. We got to see Thor with the Guardians of the Galaxy. We got to see man-child Peter Quill geek a bit with child-man Peter Parker. We had a snark-off between Stark and Strange. We got to see Robert Downey Junior phone-in impotence jokes at the expense of Bruce Banner-nee’-Hulk in a moment that shouldn’t have had jokes because Jesus Christ movie just let us have a serious moment here! But so much of the film’s progression necessitated everyone either taking a free-action to explain everything to us or to act completely out of character! Spoiler Alert: Nice job fucking things up, Andy Dwyer! Your plan to save the Universe was perfect except the part that involved you!

The directing was passable, but barely. The action scenes were cluttered at times, but for the most part, not as messy as they could’ve been. But overall, that’s all the directing was: passable. No scene passed along any sort of emotional weight, nor hinted at anything deeper than they were expressing. Even the harder moments, up until the end, didn’t hit. For example: When Gamora died . . . I felt nothing. There was no emotional impact. Thanos threw her off, we saw how sad it made Thanos . . . and then the corpse. Mufasa had a better fall-death! Hell, Inspector Javert had a better fall-death!

Also, the ending . . . which was just that: an ending. Which, I get it, it's how the comic book The Infinity Gauntlet ended. Good job, writers, you read a trade paperback! It gave no indication that there was going to be anything coming, like with Empire Strikes Back. It was just . . . and end. A "Fuck You." (And no, post-credits don't count! They never count! Stingers are post-sex cuddling!)

Now, there were a LOT of clever misdirects that kept things interesting: the reveal of Gamora’s Swiss Army Knife, which everyone in the audience was made to believe was going to be used to kill Thanos, but wound up ultimately being used as a set-up to failure, being one of the better ones. There were nice touches! And some of the parts that set up Person A being on the Infinity Kill List, but only to show that it was Person B or Person C instead, were nicely done.

But I don’t care. Because I know that these deaths are all going to be undone in the second part. In a universe where everyone can and has come back to life (coughcoughGrootcoughcoughColsoncoughcough) all of these dustings have as much impact as any comic book death or pro wrestler retirement. Plus, they didn’t kill any of the A-listers. All of the original Avengers made it to the end. Only the Second Wavers bit it.

People will say that Disney took a risk with this one. This won’t be true. Every person who died will be brought back. All the consequences will be reverted. Timey-wimey will save the day. And thanks to the Magic Space Beeper which Nick Fury apparently had the whole fucking time, we will now have our new Captain Mary Sue to come and save our day soon. (Which honestly pissed me off most: if you had a magic space beeper that could summon a space Captain Marvel to come save anyone at any time, why didn’t you use that in the first Avengers film, Fury?! And even if she did show up, what the Hell could she do now? Spin the Earth in reverse faster than the speed of light, and turn back time twenty-four hours?! Thanos won! You’re dusted! Game over, man!) I’d say the only parts of this film worth watching are the fights, but even then, that’s only on occasion. Again, so much of the action depended on contrivance (“Oh no, his space weapon somehow prevents me from phasing, especially in this scene where I’m not being attacked! Thank god Black Widow is strong enough to block it with her not-super strength, which I have, and with her weapons made of regular material, and not from Vibranium, which is the unbreakable material that I’m made from!”) that I kept expecting Thanos to reveal that he had fabricated the events from Reality Stone out of bored curiosity the whole time.

And what the Hell, Disney? You own Industrial Lights and Magic, one of only two special effects studios in Hollywood! So why do you keep phoning in the CG? Seriously, the fight between Thanos and Hulk looked like something out of a first-generation World of Warcraft cinematic! And I can’t be the only one who noticed how obviously rotoscoped Bruce Banner was in the Hulkbuster armor at the end! Vaporwave videos had less shifting! And don’t tell me “Look at how awesome they made Thanos in all the close-ups!” because that’s just proof of what they can do when they decide to do it, the lazy assholes!

Infinity War is typical Disney, which is now synonymous with glitter-rolled bullshit! There are parts which are worth paying attention to, but is, on whole, worth ignoring. The motivations were superficial; the drama was lip-service; the characters had almost no consistency; and nobody in the audience seemed to care, because that’s what we’ve come to expect from the studio that brought us Dog with a Blog.

Final Score

Rating: 5.5/10

Xowie: 2

Half-Life: 15 months

Nelson Ranking: Laundry Film

Tom Upside

- Up until the end, Thanos, himself, only kills two people. And one of those people he kills is technically a villain. Now somebody go back and confirm this, because this film is too bullshit for me to care.

#infinity war #marvel #movie review #moviereview #toupside #thereviewyoudeserve

2 notes · View notes

jamesgraybooksellerworld · 5 years ago

Text

Author INDEX

J.B. 346J

Mary Barber 377J

Mary Barber 373J

Madam De Bellefont 572G

Susanna Centlivre 347J

Susanna Centlivre 357J

Jeanne Marie Bouvier de La Motte Guyon 348J

[Martha Hatfield].362J

Mary De La Riviere Manley 122F

Katherine Philips 103G

Mary Pix 376J

Madam Scuddery 296J

Madeleine Vigneron 323

•)§(•

346J J.B. Gent.

The young lovers guide,

or, The unsuccessful amours of Philabius, a country lover; set forth in several kind epistles, writ by him to his beautious-unkind mistress. Teaching lover s how to comport themselves with resignation in their love-disasters. With The answer of Helena to Paris, by a country shepherdess. As also, The sixth Æneid and fourth eclogue of Virgil, both newly translated by J.B. Gent. (?)

London : Printed and are to be Sold by the Booksellers of London, 1699. $3,500

Octavo, A4, B-G8,H6 I2( lacking 3&’4) (A1, frontispiece Present; I3&’4, advertisements lacking ) inches [8], 116, [4] p. : The frontispiece is signed: M· Vander Gucht. scul:. 1660-1725,

This copy is bound in original paneled sheep with spine cracking but cords holding Strong.

A very rare slyly misogynistic “guide’ for what turns out be emotional turmoil and Love-Disasters

Writ by Philabius to Venus, his Planetary Ascendant.

Dear Mother Venus!

I must style you so.

From you descended, tho’ unhappy Beau.

You are my Astral Mother; at my birth

Your pow’rful Influence bore the sway on Earth

From my Ascendent: being sprung from you,

I hop’d Success where-ever I should woo.

Your Pow’r in Heav’n and Earth prevails, shall I,

A Son of yours, by you forsaken die?

Twenty long Months now I have lov’d a Fair,

And all my Courtship’s ending in Despair.

All Earthly Beauties, scatter’d here and there,

From you, their Source, derive the Charms they bear.

Wing (2nd ed.), B131; Arber’s Term cat.; III 142

Copies – Brit.Isles : British Library

Cambridge University St. John’s College

Oxford University, Bodleian Library

Copies – N.America : Folger Shakespeare

Harvard Houghton Library

Henry E. Huntington

Newberry

UCLA, Clark Memorial Library

University of Illinois

Engraved frontispiece of the Mistress holding a fan,”Bold Poets and rash Painters may aspire With pen and pencill to describe my Faire, Alas; their arts in the performance fayle, And reach not that divine Original, Some Shadd’wy glimpse they may present to view, And this is all poore humane art Can doe▪” title within double rule border, 4-pages of publisher`s advertisements at the end Contemporary calf (worn). . FIRST EDITION. . The author remains unknown.

)§(§)§(

An early Irish female author

2) 377[ BARBER, Mary].1685-1755≠

A true tale To be added to Mr. Gay’s fables.

Dublin. Printed by S. Powell, for George Ewing, at the Angel and Bible in Dame’-street, 1727.

First edition, variant imprint..[Estc version : Dublin : printed by S.[i.e. Sarah] Harding, next door to the sign of the Crown in Copper-Alley, [ca. 1727-1728] 7pp, [1]. Not in ESTC or Foxon; c/f N491542 and N13607. $4,500

[Bound after:]

John GAY

Fables. Invented for the Amusement of His Highness William Duke of Cumberland.

London Printed, and Dublin Reprinted for G. Risk, G. Ewing, and W. Smith, in Dame’s-street, 1727.

First Irish edition. [8], 109pp, [3]. With three terminal pages of advertisements. ESTC T13819, Foxon p.295.

8vo in 4s and 8s. Contemporary speckled calf, contrasting red morocco lettering- piece, gilt. Rubbed to extremities, some chipping to head and foot of spine and cracking to joints, bumping to corners. Occasional marking, some closed tears. Early ink inscription of ‘William Crose, Clithero’ to FEP, further inked-over inscription to head of title.

Mary Barber (1685-1755) claimed that she wrote “chiefly to form the Minds of my Children,” but her often satirical and comic verses suggest that she sought an adult audience as well. The wife of a clothier and mother of four children, she lived in Dublin and enjoyed the patronage of Jonathan Swift. While marriage, motherhood, friendship, education, and other domestic issues are her central themes, they frequently lead her to broader, biting social commentary.

Bound behind this copy of the first edition of the first series of English poet John Gay’s (1685-1732) famed Fables, composed for the youngest son of George II, six-year-old Prince William Augustus, Duke of Cumberland, is Irish poet Mary Barber’s (c.1685-c.1755) rare verse appeal to secure a Royal pension for Gay, who had lost his fortune in bursting of the South Sea Bubble.

Barber, the wife of a Dublin woollen draper, was an untutored poet whom Jonathan Swift sponsored, publicly applauded, and cultivated as part of his ‘triumfeminate’ of bluestockings. She wrote initially to educate the children in her large family. Indeed this poem, the fifth of her published works, features imagined dialogue of a son to his mother, designed to encourage, specifically, the patronage of Queen Caroline:

‘Mamma, if you were Queen, says he, And such a Book were writ for me; I find, ’tis so much to your Taste, That Gay wou’d keep his Coach at least’

And of a mother to her son:

‘My Child, What you suppose is true: I see its Excellence in You. Poets, who write to mend the Mind, A Royal Recompence shou’d find.’

ESTC locates two variant Dublin editions, both rare, but neither matching this copy: a first with the title and pagination as here, but with the undated imprint of S. Harding (represented by a single copy at Harvard), and a second with the imprint as here, but with a different title, A tale being an addition to Mr. Gay’s fables, and a pagination of 8pp (represented by copies at the NLI, Oxford, Harvard and Yale). This would appear to be a second variant, and we can find no copies in any of the usual databases.

Mary Barber was an Irish poet who mostly focussed on domestic themes such as marriage and children although the messages in some of her poems suggested a widening of her interests, often making cynical comments on social injustice. She was a member of fellow Irish poet Jonathan Swift’s favoured circle of writers, known as his “triumfeminate”, a select group that also included Mrs E Sican and Constantia Grierson.

She was born sometime around the year 1685 in Dublin but nothing much is known about her education or upbringing. She married a much younger man by the name of Rupert Barber and they had nine children together, although only four survived childhood. She was writing poetry initially for the benefit and education of her children but, by 1725, she had The Widow’s Address published and this was seen as an appeal on behalf of an Army officer’s widow against the social and financial difficulties that such women were facing all the time. Rather than being a simple tale for younger readers here was a biting piece of social commentary, aimed at a seemingly uncaring government.

During the 18th and early 19th centuries it was uncommon for women to become famous writers and yet Barber seemed to possess a “natural genius” where poetry was concerned which was all the more remarkable since she had no formal literary tuition to fall back on. The famous writer Jonathan Swift offered her patronage, recognising a special talent instantly. Indeed, he called her “the best Poetess of both Kingdoms” although his enthusiasm was not necessarily shared by literary critics of the time. It most certainly benefitted her having the support of fellow writers such as Elizabeth Rowe and Mary Delany, and Swift encouraged her to publish a collection in 1734 called Poems on several occasions. The book sold well, mostly by subscription to eminent persons in society and government. The quality of the writing astonished many who wondered how such a simple, sometimes “ailing Irish housewife” could have produced such work.

It took some time for Barber to attain financial stability though and her patron Swift was very much involved in her success. She could have lost his support though because, in a desperate attempt to achieve wider recognition, she wrote letters to many important people, including royalty, with Swift’s signature forged at the end. When he found out about this indiscretion he was not best pleased but he forgave her anyway.

Unfortunately poor health prevented much more coming from her pen during her later years. For over twenty years she suffered from gout and, in fact, wrote poems about the subject for a publication called the Gentleman’s Magazine. It is worth including here an extract from her poem Written for my son, at his first putting on of breeches. It is, in some ways, an apology and an explanation to a child enduring the putting on of an uncomfortable garment for the first time. She suggests in fact that many men have suffered from gout because of the requirement to wear breeches. The first verse of the poem is reproduced here:

Many of her poems were in the form of letters written to distinguished people, such as To The Right Honourable The Lady Sarah Cowper and To The Right Honourable The Lady Elizabeth Boyle On Her Birthday. These, and many more, were published in her 1755 collection Poems by Eminent Ladies. History sees her, unfortunately, as a mother writing to support her children rather than a great poet, and little lasting value has been attributed to her work.

•)§(•

3) 379J BARBER, Mary 1685-1755≠

Poems on Several Occasions

London: printed [by Samuel Richardson] for C. Rivington, at the Bible and Crown in St. Paul’s Church-Yard 1735 $4,500

First octavo edition, 1735, bound in early paper boards with later paper spine and printed spine label, pp. lxiv, 290, (14) index, title with repaired tear, very good. These poems were published the previous year in a quarto edition with a list of influential subscribers (reprinted here); this octavo edition is less common. Barber was the wife of a Dublin clothier and her publication in England was helped by Jonathan Swift, who has (along with the authoress) provided a dedication in this volume to the Earl of Orrery. Constantia Grierson, another Irish poetess, contributes a prefatory poem in praise of Mary Barber.

ESTC Citation No. T42623 ; Maslen, K. Samuel Richardson, 21.; Foxon, p.45. ;Teerink-Scouten [Swift] 747.

)§(§)§(

4). 572G Léonore Gigault de,; O.S.B. Bellefont (Bouhours)

Les OEuvres spirituelles de Madame De Bellefont, religieuse, fondatrice & superieure du convent de Nôtre-Dame des Anges, de l’Ordre de Saint Benoist, à Roüen.Dediées à Madame La Dauphine.

A Paris : Chez Helie Josset, ruë S. Jacques, au coin de la ruë de la Parcheminerie, à la fleur de lys d’or, 1688 $2200

Octavo 6.25 x 3.6 in. a4, e8, i8, o2, A-Z8; Aa-Qq8 ; *8, **4. This copy is very clean and crisp it is bound in contemporary calf with ornately gilt spine. La vie de Madame de Bellefont”, on unnumbered pages preceding numbered text./ “Table des chapitres . . .” and “Stances” and “Paraphrases” in verse on final 24 numbered pages./ In the “Avant propos” this work is ascribed to “feüe madame Lêonore Gigault de Bellefont”, but most authorities credit Laurence Gigault de Bellefont with authorship See Sommervogel I 1908 #25

)§(§)§(

5) 374J [ Susanna CENTLIVRE,]. 1667-1723

The gamester: A Comedy…

London. Printed for William Turner, 1705. $4,000

Quarto. [6], 70pp, [2]. First edition.Without half-title. Later half-vellum, marbled boards, contrasting black morocco lettering-piece. Extremities lightly rubbed and discoloured. Browned, some marginal worming, occasional shaving to running titles.

The first edition of playwright and actress Susanna Centlivre’s (bap. 1667?, d. 1723) convoluted gambling comedy, adapted from French dramatist Jean Francois Regnard’s (1655-1709) Le Jouer (1696). The Gamester met with tremendous success and firmly established Centlivre as a part the pantheon of celebrated seventeenth-century playwrights, yet the professional life of the female dramatist remained complicated, with many of her works, as here, being published anonymously and accompanied by a prologue implying a male author.

CENTLIVRE, English dramatic writer and actress, was born about 1667, probably in Ireland, where her father, a Lincolnshire gentleman named Freeman, had been forced to flee at the Restoration on account of his political sympathies. When sixteen she married the nephew of Sir Stephen Fox, and on his death within a year she married an officer named Carroll, who was killed in a duel. Left in poverty, she began to support herself, writing for the stage, and some of her early plays are signed S. Carroll. In 1706 she married Joseph Centlivre, chief cook to Queen Anne, who survived her.

ESTC T26860.

•)§(•

An early Irish female author

)§(§)§(

Political satire by An early Irish female author

6) 375J. Sussana Centlivre

The Gotham Election, A farce.

(London 🙂 printed and sold by S. Keimer,1715. $ 1,900

The Gotham Election, one of the first satires to tackle electioneering and bribery in eighteenth century British politics. It proved to be so controversial that, despite Centlivre’s popularity as a playwright, it was supressed from being performed during the turbulent year of 1715. Centlivre was renowned as one of the greatest female playwrights of her day, and her plays, predominately comedies, were responsible for the development of the careers of actors such as David Garrick. However, despite her popularity, she also made enemies in the literary world of the early-eighteenth century. Most notably Alexander Pope, who, in his Dunciad, referred to her as a ‘slip-shod Muse’, possibly in reference to her participation in the work The Nine Muses, which was published in 1700 to commemorate the death of John Dryden.

English Short Title Catalog, ESTCT26854

•)§(•

A collection of Poems and Letters by Christian mystic and prolific writer, Jeanne-Marie Guyon published in Dublin.

7) 348J François de Salignac de la Mothe-Fénelon 1651-1715 & Josiah Martin 1683-1747 & Jeanne Marie Bouvier de La Motte Guyon 1648-1717

A dissertation on pure love, by the Arch-Bishop of Cambray. With an account of the life and writings of the Lady, for whose sake The Archbishop was banish’d from Court: And the grievous Persecution she suffer’d in France for her Religion. Also Two Letters in French and English, written by one of the Lady’s Maids, during her Confinement in the Castle of Vincennes, where she was Prisoner Eight Years. One of the Letters was writ with a Bit of Stick instead of a Pen, and Soot instead of Ink, to her Brother; the other to a Clergyman. Together with an apologetic preface. Containing divers letters of the Archbishop of Cambray, to the Duke of Burgundy, the present French King’s Father, and other Persons of Distinction. And divers letters of the lady to Persons of Quality, relating to her Religious Principles

Dublin : printed by Isaac Jackson, in Meath-Street, [1739]. $ 4,000

Octavo 7 3/4 x 5 inches First and only English edition. Bound in Original sheep, with a quite primitive repair to the front board.

Fenélon’s text appears to consist largely of extracts from ’Les oeuvres spirituelles’. The preface, account of Jeanne Marie Guyon etc. is compiled by Josiah Martin. The text of the letters, and poems, is in French and English. This is an Astonishing collection of letters and poems.

“JOSIAH MARTIN, (1683–1747), quaker, was born near London in 1683. He became a good classical scholar, and is spoken of by Gough, the translator of Madame Guyon’s Life, 1772, as a man whose memory is esteemed for ‘learning, humility, and fervent piety.’ He died unmarried, 18 Dec. 1747, in the parish of St. Andrew’s, Holborn, and was buried in the Friends’ burial-ground, Bunhill Fields. He left the proceeds of his library of four thousand volumes to be divided among nephews and nieces. Joseph Besse [q. v.] was his executor.

Martin’s name is best known in connection with ‘A Letter from one of the People called Quakers to Francis de Voltaire, occasioned by his Remarks on that People in his Letters concerning the English Nation,’ London, 1741. It was twice reprinted, London and Dublin, and translated into French. It is a temperate and scholarly treatise, and was in much favour at the time.

Of his other works the chief are: 1. ‘A Vindication of Women’s Preaching, as well from Holy Scripture and Antient Writings as from the Paraphrase and Notes of the Judicious John Locke, wherein the Observations of B[enjamin] C[oole] on the said Paraphrase . . . and the Arguments in his Book entitled “Reflections,” &c, are fullv considered,’ London, 1717. 2. ‘The Great Case of Tithes truly stated … by Anthony Pearson [q. v.] . . . to which is added a Defence of some other Principles held by the People call’d Quakers . . .,’ London, 1730. 3. ‘A Letter concerning the Origin, Reason, and Foundation of the Law of Tithes in England,’ 1732. He also edited, with an ‘Apologetic Preface,’ comprising more than half the book, and containing many additional letters from Fénelon and Madame Guyon, ‘The Archbishop of Cambray’s Dissertation on Pure Love, with an Account of the Life and Writings of the Lady for whose sake he was banish’d from Court,’ London, 1735.

[Joseph Smith’s Catalogue of Friends’ Books; works quoted above; Life of Madame Guyon, Bristol, 1772, pt. i. errata; registers at Devonshire House; will P.C.C. 58 Strahan, at Somerset House.]

C. F. S.

Fénelon was nominated in February, 1696, Fénelon was consecrated in August of the same year by Bossuet in the chapel of Saint-Cyr. The future of the young prelate looked brilliant, when he fell into deep disgrace.

The cause of Fénelon’s trouble was his connection with Madame Guyon, whom he had met in the society of his friends, the Beauvilliers and the Chevreuses. She was a native of Orléans, which she left when about twenty-eight years old, a widowed mother of three children, to carry on a sort of apostolate of mysticism, under the direction of Père Lacombe, a Barnabite. After many journeys to Geneva, and through Provence and Italy, she set forth her ideas in two works, “Le moyen court et facile de faire oraison” and “Les torrents spirituels”. In exaggerated language characteristic of her visionary mind, she presented a system too evidently founded on the Quietism of Molinos, that had just been condemned by Innocent XI in 1687. There were, however, great divergencies between the two systems. Whereas Molinos made man’s earthly perfection consist in a state of uninterrupted contemplation and love, which would dispense the soul from all active virtue and reduce it to absolute inaction, Madame Guyon rejected with horror the dangerous conclusions of Molinos as to the cessation of the necessity of offering positive resistance to temptation. Indeed, in all her relations with Père Lacombe, as well as with Fénelon, her virtuous life was never called in doubt. Soon after her arrival in Paris she became acquainted with many pious persons of the court and in the city, among them Madame de Maintenon and the Ducs de Beauvilliers and Chevreuse, who introduced her to Fénelon. In turn, he was attracted by her piety, her lofty spirituality, the charm of her personality, and of her books. It was not long, however, before the Bishop of Chartres, in whose diocese Saint-Cyr was, began to unsettle the mind of Madame de Maintenon by questioning the orthodoxy of Madame Guyon’s theories. The latter, thereupon, begged to have her works submitted to an ecclesiastical commission composed of Bossuet, de Noailles, who was then Bishop of Châlons, later Archbishop of Paris, and M. Tronson; superior of-Saint-Sulpice. After an examination which lasted six months, the commission delivered its verdict in thirty-four articles known as the “Articles d’ Issy”, from the place near Paris where the commission sat. These articles, which were signed by Fénelon and the Bishop of Chartres, also by the members of the commission, condemned very briefly Madame Guyon’s ideas, and gave a short exposition of the Catholic teaching on prayer. Madame Guyon submitted to the condemnation, but her teaching spread in England, and Protestants, who have had her books reprinted have always expressed sympathy with her views. Cowper translated some of her hymns into English verse; and her autobiography was translated into English by Thomas Digby (London, 1805) and Thomas Upam (New York, 1848). Her books have been long forgotten in France.

Jeanne Marie Guyon

b. 1648, Montargis, France; d. 1717, Blois, France

A Christian mystic and prolific writer, Jeanne-Marie Guyon advocated a form of spirituality that led to conflict with authorities and incarceration. She was raised in a convent, then married off to a wealthy older man at the age of sixteen. When her husband died in 1676, she embarked on an evangelical mission to convert Protestants to her brand of spirituality, a mild form of quietism, which propounded the notion that through complete passivity (quiet) of the soul, one could become an agent of the divine. Guyon traveled to Geneva, Turin, and Grenoble with her mentor, Friar François Lacombe, at the same time producing several manuscripts: Les torrents spirituels (Spiritual Torrents); an 8,000-page commentary on the Bible; and her most important work, the Moyen court et très facile de faire oraison (The Short and Very Easy Method of Prayer, 1685). Her activities aroused suspicion; she was arrested in 1688 and committed to the convent of the Visitation in Paris, where she began writing an autobiography. Released within a few months, she continued proselytizing, meanwhile attracting several male disciples. In 1695, the Catholic church declared quietism heretical, and Guyon was locked up in the Bastille until 1703. Upon her release, she retired to her son’s estate in Blois. Her writings were published in forty-five volumes from 1712 to 1720.

Her writings began to be published in Holland in 1704, and brought her new admirers. Englishmen and Germans–among them Wettstein and Lord Forbes–visited her at Blois. Through them Madame Guyon’s doctrines became known among Protestants and in that soil took vigorous root. But she did not live to see this unlooked-for diffusion of her writings. She passed away at Blois, at the age of sixty-eight, protesting in her will that she died submissive to the Catholic Church, from which she had never had any intention of separating herself. Her doctrines, like her life, have nevertheless given rise to the widest divergences of opinion. Her published works (the “Moyen court” and the “Règles des assocées à l’Enfance de Jésus”) having been placed on the Index in 1688, and Fénelon’s “Maximes des saints” branded with the condemnation of both the pope and the bishops of France, the Church has thus plainly reprobated Madame Guyon’s doctrines, a reprobation which the extravagance of her language would in itself sufficiently justify. Her strange conduct brought upon her severe censures, in which she could see only manifestations of spite. Evidently, she too often fell short of due reserve and prudence; but after all that can be said in this sense, it must be acknowledged that her morality appears to have given no grounds for serious reproach. Bossuet, who was never indulgent in her regard, could say before the full assembly of the French clergy: “As to the abominations which have been held to be the result of her principles, there was never any question of the horror she testified for them.” It is remarkable, too, that her disciples at the Court of Louis XIV were always persons of great piety and of exemplary life.

On the other hand, Madame Guyon’s warmest partisans after her death were to be found among the Protestants. It was a Dutch Protestant, the pastor Poiret, who began the publication of her works; a Vaudois pietist pastor, Duthoit-Mambrini, continued it. Her “Life” was translated into English and German, and her ideas, long since forgotten in France, have for generations been in favour in Germany, Switzerland, England, and among Methodists in America. ”

P.144 misnumbered 134. Price from imprint: price a British Half-Crown. Dissertain 16p and Directions for a holy life 5p. DNB includes this in Martin’s works

Copies – Brit.Isles. : British Library, Dublin City Library, National Library of Ireland Trinity College Library

Copies – N.America. : Bates College, Harvard University, Haverford Col , Library Company of Philadelphia, Newberry, Pittsburgh Theological Princeton University, University of Illinois University of Toronto, Library

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8) 362J James FISHER and [Martha HATFIELD].

The wise virgin: or, A wonderfull narration of the various dispensations of God towards a childe of eleven years of age; wherein as his severity hath appeared in afflicting, so also his goodness both in enabling her (when stricken dumb, deaf, and blind, through the prevalency of her disease) at several times to utter many glorious truths concerning Christ, faith, and other subjects; and also in recovering her without the use of any external means, lest the glory should be given to any other. To the wonderment of many that came far and neer to see and hear her. With some observations in the fourth year since her recovery. She is the daughter of Mr. Anthony Hatfield gentleman, in Laughton in York-shire; her name is Martha Hatfield. The third edition enlarged, with some passages of her gracious conversation now in the time of health. By James Fisher, servant of Christ, and minister of the Gospel in Sheffield.

LONDON: Printed for John Rothwell, at the Fountain, in Cheap-side. 1656 $3,300 Octavo, 143 x 97 x 23 mm (binding), 139 x 94 x 18 mm (text block). A-M8, N3. Lacks A1, blank or portrait? [26], 170 pp. Bound in contemporary calf, upper board reattached, somewhat later marbled and blank ends. Leather rubbed with minor loss to extremities. Interior: Title stained, leaves soiled, gathering N browned, long vertical tear to E2 without loss, tail fore-corner of F8 torn away, with loss of a letter, side notes of B2v trimmed. This is a remarkable survival of the third edition of the popular interregnum account of Sheffield Presbyterian minister James Fisher’s 11-year-old niece Martha Hatfield’s prophetic dialogues following her recovery from a devastating catalepsy that had left her “dumb, deaf, and blind.” Mar tha’s disease, which defies modern retro-diagnostics, was at the time characterized as “spleenwinde,” a term even the Oxford English Dictionary has overlooked. Her sufferings were as variable as they were extraordinary the young girl at one point endured a 17-day fugue state during which her eyes remained open and fixed and she gnashed her teeth to the breaking point. In counterpoise to the horrors of her infirmity, her utterances in periods of remission and upon recovery were of great purity and sweetness; it is this stark contrast that was, and is, the persistent allure of this little book. The Wise Virgin appeared five times between 1653 and 1665; some editions have a portrait frontispiece, and it is entirely possible that the present third edition should have one at A1v, though the copy scanned by Early English Books Online does not. Copies located at Yale, and at Oxford (from which the EEBO copy was made). ONLY Wing F1006.

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122F Mary de la Rivière Manley 1663-1724

Secret memoirs and manners of several persons of quality of both sexes. From the New Atalantis, an island in the Mediteranean.

London: Printed for John Morphew, and J. Woodward, 1709 $4500

Octavo 7 1/2 X4 3/4 inches I. A4, B-Q8, R4. Second edition. This jewel of a book is expertly bound in antique style full paneled calf with a gilt spine. It is a lovely copy indeed.

The most important of the scandal chronicles of the early eighteenth century, a form made popular and practiced with considerable success by Mrs. Manley and Eliza Haywood.

Mrs. Manley was important in her day not only as a novelist, but as a Tory propagandist.

Her fiction “exhibited her taste for intrigue, and impudently slandered many persons of note, especially those of Whiggish proclivities.” – D.N.B. “Mrs. Manley’s scandalous ‘revelations’ appealed immediately to the prurient curiosity of her first audience ; but they continued to be read because they succeeded in providing certain satisfactions fundamental to fiction itself. In other words, the scandal novel or ‘chronicle’ of Mrs. Manley and Mrs. Haywood was a successful form, a tested commercial pattern, because it presented an opportunity for its readers to participate vicariously in an erotically exciting and glittering fantasy world of aristocratic corruption and promiscuity.” – Richetti, Popular Fiction before Richardson.

The story concerns the return to earth of the goddess of justice, Astrea, to gather information about private and public behavior on the island of Atalantis. Delarivier Manley drew on her own experiences as well as on an obsessive observation of her milieu to produce this fast-paced narrative of political and erotic intrigue. New Atalantis (1709) is an early and influential example of satirical political writing by a woman. It was suppressed on the grounds of its scandalous nature and Manley (1663-1724) was arrested and tried. Astrea [Justice] descends on the island of Atalantis, meets her mother Virtue, who tries to escape this world of »Interest« in which even the lovers have deserted her. Both visit Angela [London]. Lady Intelligence comments on all stories of interest. p.107: the sequel of »Histories« turns into the old type of satire with numerous scandals just being mentioned (e.g. short remarks on visitors of a horse race or coaches in the Prado [Hyde-Park]). The stories are leveled against leading Whig politicians – they seduce and ruin women. Yet detailed analysis of situations and considerations on actions which could be taken by potential victims. Even the weakest female victims get their chances to win (and gain decent marriages) the more desperate we are about strategic mistakes and a loss of virtue which prevents the heroines from taking the necessary steps. The stories have been praised for their »warmth« and breathtaking turns.

Manley was taken into custody nine days after the publication of the second volume of Secret Memories and Manners of several Persons of Quality of Both Sexes, from the New Atalantis, an island in the Mediterranean on 29 October 1709. Manley apparently surrendered herself after a secretary John Morphew and John Woodward and printer John Barber had been detained. Four days later the latter were discharged, but Manley remained in custody until 5 November when she was released on bail. After several continuations of the case, she was tried and discharged on 13 February 1710. Rivella provides the only account of the case itself in which Manley claims she defended herself on grounds that her information came by ‘inspiration’ and rebuked her judges for bringing ‘w woman to her trial for writing a few amorous trifles’ (pp. 110-11). This and the first volume which appeared in May 1709 were Romans a clef with separately printed keys. Each offered a succession of narratives of seduction and betrayal by notorious Whig grandees to Astrea, an allegorical figure of justice, by largely female narrators, including an allegorical figure of Intelligence and a midwife. In Rivella, Manley claims that her trial led her to conclude that ‘politics is not the business of a woman’ (p. 112) and that thereafter she turned exclusively to stories of love.

Delarivier Manley was in her day as well-known and potent a political satirist as her friend and co-editor Jonathan Swift. A fervent Tory, Manley skilfully interweaves sexual and political allegory in the tradition of the roman a clef in an acerbic vilification of her Whig opponents. The book’s publication in 1709 – fittingly the year of the collapse of the Whig ministry – caused a scandal which led to the arrest of the author, publisher and printer.

The book exposed the relationship of Queen Anne and one of her advisers, Sarah Churchill. Along with this, Manley’s piece examined the idea of female intimacy and its implications. The implications of female intimacy are important to Manley because of the many rumours of the influence that Churchill held over Queen Anne. ESTC T075114; McBurney 45a; Morgan 459.

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9) 103gPhilips, Katherine.1631-1664

Letters from Orinda to Poliarchus

London: printed by W.B. for Bernard Lintott, 1705 $5,500

Octavo,6.75 X 3.75 inches. First edition A-R8 Bound in original calf totally un-restored a very nice original condition copy with only some browning, spotting and damp staining, It is a very good copy.

It is housed in a custom Box.

10) 376J Mary Pix 1666-1720

The conquest of Spain: a tragedy. As it is Acted by Her Majesty’s Servants at the Queen’s Theatre In the Hay-Market

London : printed for Richard Wellington, at the Dolphin and Crown in St. Paul’s Church-Yard, 1705. $4,500

Quarto [A]-K4. First Edition . (Anonymous. By Mary Pix. Adapted from “All’s lost by lust”, by William Rowley)

Inspired by Aphra Behn, Mary Pix was among the most popular playwrights on the 17th-century theatre circuit, but fell out of fashion.

“It is so rare to find a play from that period that’s powered by a funny female protagonist. I was immensely surprised by the brilliance of the writing. It is witty and forthright. Pix was writing plays that not only had more women in the cast than men but women who were managing their destinies.”

Pix was born in 1666, the year of the Great Fire of London, and grew up in the culturally rich time of Charles II. With the prolific Aphra Behn (1640-1689) as her role model, Pix burst on to the London theatre and literary scene in 1696 with two plays – one a tragedy: Ibrahim, the Thirteenth Emperor of the Turks, the other a farce – The Spanish Wives. Pix also wrote a novel – The Inhuman Cardinal.

Her subsequent plays, mostly comedies, became a staple in the repertory of Thomas Betterton’s company Duke’s at Lincoln’s Inn Fields and later at the Queen’s Theatre. She wrote primarily for particular actors, such as Elizabeth Barry and Anne Bracegirdle, who were hugely popular and encouraged a whole generation of women writers.

In a patriarchal world dominated by self-important men, making a mark as a woman was an uphill struggle. “There was resistance to all achieving women in the 18th century, a lot of huffing and puffing by overbearing male chauvinists,” says Bush-Bailey.

“Luckily for Pix and the other women playwrights of that time, the leading actresses were powerful and influential. I think it was they who mentored people such as Pix and Congreve.”

Davies believes the women playwrights of the 1700s – Susanna Centlivre, Catherine Trotter Cockburn, Delarivier Manley and Hannah Cowley – “unquestionably” held their own against the men who would put them down. “What’s difficult is that they were attacked for daring to write plays at all,” she says.

One of the most blatant examples of male hostility came in the form of an anonymously written parody entitled The Female Wits in 1696, in which Mary Pix was caricatured as “Mrs Wellfed, a fat female author, a sociable, well-natur’d companion that will not suffer martyrdom rather than take off three bumpers [alcoholic drinks] in a hand”.

While Pix’s sociability and taste for good food and wine was common knowledge, she was known to be a universally popular member of the London literary and theatrical circuit.

“The Female Wits was probably written, with malice, by George Powell of the Drury Lane Company,” says Bush-Bailey. “It was a cheap, satirical jibe at the successful women playwrights of the time, making out they were all bitching behind each others’ backs. So far as one can tell, it was just spiteful and scurrilous.”

Mary Pix (1666 – 17 May 1709) was an English novelist and playwright. As an admirer of Aphra Behn and colleague of Susanna Centlivre, Pix has been called “a link between women writers of the Restoration and Augustan periods”.

The Dramatis personae from a 1699 edition of Pix’s The False Friend.

Mary Griffith Pix was born in 1666, the daughter of a rector, musician and Headmaster of the Royal Latin School, Buckingham, Buckinghamshire; her father, Roger Griffith, died when she was very young, but Mary and her mother continued to live in the schoolhouse after his death. She was courted by her father’s successor Thomas Dalby, but he left with the outbreak of smallpox in town, just one year after the mysterious fire that burned the schoolhouse. Rumour had it that Mary and Dalby had been making love rather energetically and overturned a candle which set fire to the bedroom.

In 1684, at the age of 18, Mary Griffith married George Pix (a merchant tailor from Hawkhurst, Kent). The couple moved to his country estate in Kent. Her first son, George (b. 1689), died very young in 1690.[3] The next year the couple moved to London and she gave birth to another son, William (b. 1691).

In 1696, when Pix was thirty years old, she first emerged as a professional writer, publishing The Inhumane Cardinal; or, Innocence Betrayed, her first and only novel, as well as two plays, Ibrahim, the Thirteenth Emperour of the Turks and The Spanish Wives.

Though from quite different backgrounds, Pix quickly became associated with two other playwrights who emerged in the same year: Delariviere Manley and Catherine Trotter. The three female playwrights attained enough public success that they were criticised in the form of an anonymous satirical play The Female Wits (1696). Mary Pix appears as “Mrs. Wellfed one that represents a fat, female author. A good rather sociable, well-matured companion that would not suffer martyrdom rather than take off three bumpers in a hand”.[4] She is depicted as an ignorant woman, though amiable and unpretentious. Pix is summarised as “foolish and openhearted”.

Her first play was put on stage in 1696 at the Theatre Royal, Drury Lane, near her house in London but when that same theatrical company performed The Female Wits, she moved to Lincoln’s Inn Fields. They said of her that “she has boldly given us an essay of her talent … and not without success, though with little profit to herself”. (Morgan, 1991: xii).

In the season of 1697–1698, Pix became involved in a plagiarism scandal with George Powell. Powell was a rival playwright and the manager of the Drury Lane theatrical company. Pix sent her play, The Deceiver Deceived to Powell’s company, as a possible drama for them to perform. Powell rejected the play but kept the manuscript and then proceeded to write and perform a play called The Imposture Defeated, which had a plot and main character taken directly from The Deceiver Deceived. In the following public backlash, Pix accused Powell of stealing her work and Powell claimed that instead he and Pix had both drawn their plays from the same source material, an unnamed novel. In 1698, an anonymous writer, now believed to be Powell, published a letter called “To the Ingenious Mr. _____.” which attacked Pix and her fellow female playwright Trotter. The letter attempted to malign Pix on various issues, such as her spelling and presumption in publishing her writing. Though Pix’s public reputation was not damaged and she continued writing after the plagiarism scandal, she stopped putting her name on her work and after 1699 she only included her name on one play, in spite of the fact that she is believed to have written at least seven more. Scholars still discuss the attribution of plays to Pix, notably whether or not she wrote Zelmane; or, The Corinthian Queen (1705).

In May 1707 Pix published A Poem, Humbly Inscrib’d to the Lords Commissioners for the Union of the Two Kingdoms. This would be her final appearance in print. She died two years later.

Few of the female playwrights of Mary Pix’s time came from a theatrical background and none came from the aristocracy: within a century, most successful actresses and female authors came from a familiar tradition of literature and theatre but Mary Pix and her contemporaries were from outside this world and had little in common with one another apart from a love for literature and a middle-class background.

At the time of Mary Pix, “The ideal of the one-breadwinner family had not yet become dominant”, whereas in 18th-century families it was normal for the woman to stay at home taking care of the children, house and servants, in Restoration England husband and wife worked together in familiar enterprises that sustained them both and female playwrights earned the same wage as their male counterparts.

Morgan also points out that “till the close of the period, authorship was not generally advertised on playbills, nor always proclaimed when plays were printed”, which made it easier for female authors to hide their identity so as to be more easily accepted among the most conservative audiences.

As Morgan states, “plays were valued according to how they performed and not by who wrote them. When authorship ―female or otherwise― remained a matter of passing interest, female playwrights were in an open and equal market with their male colleagues”.

Pix’s plays were very successful among contemporary audiences. Each play ran for at least four to five nights and some were even brought back for additional shows years later.[10] Her tragedies were quite popular, because she managed to mix extreme action with melting love scenes. Many critics believed that Pix’s best pieces were her comedies. Pix’s comedic work was lively and full of double plots, intrigue, confusion, songs, dances and humorous disguise. An Encyclopaedia of British Women Writers (1998) points out that

Forced or unhappy marriages appear frequently and prominently in the comedies. Pix is not, however, writing polemics against the forced marriage but using it as a plot device and sentimentalizing the unhappily married person, who is sometimes rescued and married more satisfactorily.”(Schlueter & Schlueter, 1998: 513)

Although some contemporary women writers, like Aphra Behn, have been rediscovered, even the most specialised scholars have little knowledge of works by writers such as Catherine Trotter, Delarivier Manley or Mary Pix, despite the fact that plays like The Beau Defeated (1700), present with a wider range of female characters than plays written by men at the time. Pix’s plays generally had eight or nine female roles, while plays by male writers only had two or three.[

A production of The Fantastic Follies of Mrs Rich (or The Beau Defeated) played as part of the 2018 season at the Royal Shakespeare Company.

Pix produced one novel and seven plays. There are four other plays that were published anonymously, that are generally attributed to her.

Melinda Finberg notes that “a frequent motif in all her works is sexual violence and female victimization” – be that rape or murder (in the tragedies) or forcible confinement or the threat of rape (in the comedies).

^ Kramer, Annette (June 1994). “Mary Pix’s Nebulous Relationship to Zelmane”. Notes and Queries. 41 (2): 186–187. doi:10.1093/nq/41-2-186

PIX, Mrs. MARY (1666–1720?), dramatist, born in 1666 at Nettlebed in Oxfordshire, was daughter of the Rev. Roger Griffith, vicar of that place. Her mother, whose maiden name was Lucy Berriman, claimed descent from the ‘very considerable family of the Wallis’s.’ In the dedication of ‘The Spanish Wives’ Mrs. Pix speaks of meeting Colonel Tipping ‘at Soundess,’ or Soundness. This house, which was close to Nettlebed, was the property of John Wallis, eldest son of the mathematician. Mary Griffith’s father died before 1684, and on 24 July in that year she married in London, at St. Saviour’s, Benetfink, George Pix (b. 1660), a merchant tailor of St. Augustine’s parish. His family was connected with Hawkhurst, Kent. By him she had one child, who was buried at Hawkhurst in 1690.

It was in 1696, in which year Colley Cibber, Mrs. Manley, Catharine Cockburn (Mrs. Trotter), and Lord Lansdowne also made their débuts, that Mrs. Pix first came into public notice. She produced at Dorset Garden, and then printed, a blank-verse tragedy of ‘Ibrahim, the Thirteenth Emperor of the Turks.’ When it was too late, she discovered that she should have written ‘Ibrahim the Twelfth.’ This play she dedicated to the Hon. Richard Minchall of Bourton, a neighbour of her country days. In the same year (1696) Mary Pix published a novel, ‘The Inhuman Cardinal,’ and a farce, ‘The Spanish Wives,’ which had enjoyed a very considerable success at Dorset Garden.

From this point she devoted herself to dramatic authorship with more activity than had been shown before her time by any woman except Mrs. Afra Behn [q. v.] In 1697 she produced at Little Lincoln’s Inn Fields, and then published, a comedy of ‘The Innocent Mistress.’ This play, which was very successful, shows the influence of Congreve upon the author, and is the most readable of her productions. The prologue and epilogue were written by Peter Anthony Motteux [q. v.] It was followed the next year by ‘The Deceiver Deceived,’ a comedy which failed, and which involved the poetess in a quarrel. She accused George Powell [q. v.], the actor, of having seen the manuscript of her play, and of having stolen from it in his ‘Imposture Defeated.’ On 8 Sept. 1698 an anonymous ‘Letter to Mr. Congreve’ was published in the interests of Powell, from which it would seem that Congreve had by this time taken Mary Pix under his protection, with Mrs. Trotter, and was to be seen ‘very gravely with his hat over his eyes … together with the two she-things called Poetesses’ (see GOSSE, Life of Congreve, pp. 123–5). Her next play was a tragedy of ‘Queen Catharine,’ brought out at Lincoln’s Inn, and published in 1698. Mrs. Trotter wrote the epilogue. In her own prologue Mary Pix pays a warm tribute to Shakespeare. ‘The False Friend’ followed, at the same house, in 1699; the title of this comedy was borrowed three years later by Vanbrugh.

Hitherto Mary Pix had been careful to put her name on her title-pages or dedications; but the comedy of ‘The Beau Defeated’—undated, but published in 1700—though anonymous, is certainly hers. In 1701 she produced a tragedy of ‘The Double Distress.’ Two more plays have been attributed to Mary Pix by Downes. One of these is ‘The Conquest of Spain,’ an adaptation from Rowley’s ‘All’s lost by Lust,’ which was brought out at the Queen’s theatre in the Haymarket, ran for six nights, and was printed anonymously in 1705 (DOWNE, Roscius Anglicanus, p. 48). Finally, the comedy of the ‘Adventures in Madrid’ was acted at the same house with Mrs. Bracegirdle in the cast, and printed anonymously and without date. It has been attributed by the historians of the drama to 1709; but a copy in the possession of the present writer has a manuscript note of date of publication ‘10 August 1706.’

Nearly all our personal impression of Mary Pix is obtained from a dramatic satire entitled ‘The Female Wits; or, the Triumvirate of Poets.’ This was acted at Drury Lane Theatre about 1697, but apparently not printed until 1704, after the death of the author, Mr. W. M. It was directed at the three women who had just come forward as competitors for dramatic honours—Mrs. Pix, Mrs. Manley, and Mrs. Trotter [see Cockburn, Catharine]. Mrs. Pix, who is described as ‘a fat Female Author, a good, sociable, well-natur’d Companion, that will not suffer Martyrdom rather than take off three Bumpers in a Hand,’ was travestied by Mrs. Powell under the name of ‘Mrs. Wellfed.’

The style of Mrs. Pix confirms the statements of her contemporaries that though, as she says in the dedication of the ‘Spanish Wives,’ she had had an inclination to poetry from childhood, she was without learning of any sort. She is described as ‘foolish and open-hearted,’ and as being ‘big enough to be the Mother of the Muses.’ Her fatness and her love of good wine were matters of notoriety. Her comedies, though coarse, are far more decent than those of Mrs. Behn, and her comic bustle of dialogue is sometimes entertaining. Her tragedies are intolerable. She had not the most superficial idea of the way in which blank verse should be written, pompous prose, broken irregularly into lengths, being her ideal of versification.

The writings of Mary Pix were not collected in her own age, nor have they been reprinted since. Several of them have become exceedingly rare. An anonymous tragedy, ‘The Czar of Muscovy,’ published in 1702, a week after her play of ‘The Double Distress,’ has found its way into lists of her writings, but there is no evidence identifying it with her in any way. She was, however, the author of ‘Violenta, or the Rewards of Virtue, turn’d from Bocacce into Verse,’ 1704.

[Miscellanea Genealogica et Heraldica, 2nd ser. v. 110–3; Vicar-General’s Marriage Licences (Harl. Soc.), 1679–87, p. 173; Baker’s Biogr. Dramatica; Doran’s Annals of the English Stage, i. 243; Mrs. Pix’s works; Genest’s Hist. Account of the Stage.].

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11) 296J Mademoiselle Madeleine de Scudéri (1607-1701) A triumphant arch erected and consecrated to the glory of the feminine sexe: by Monsieur de Scudery: Englished by I.B. gent.London : printed for William Hope, and Henry Herringman, at the blew Anchor behind the Old Exchange, and at the blew Anchor in the lower walk in the New Exchange, 1656. $1,300

Octavo A4 (lacking a1&a4) B-P8 Q3 (A1 blank?). Title in red and black; title vignette (motto: “Dum spiro spero”) First edition,Authorship ascribed to Madeleine de Scudéry by Brunet; according to other authorities the work was written by both Georges de Scudéry and his sister. This copy is lacking A1 &a4 index f., titled holed, browned and with marginal repairs (without loss), stained, lightly browned, corners worn, rubbed, contemporary sheep, rebacked,Very rare on the market the last copy I could find at auction was in 1967 ($420)Scudéry was the most popular novelist in her time, read in French in volume installments all over Europe and translated into English, German, Italian, and even Arabic. But she was also a charismatic figure in French salon culture, a woman who supported herself through her writing and defended women’s education .Scudéry’s role as a model for women writers and for women’s education has also been an important topic of recent criticism. Critics including Jane Donaworth and Patricia Hannon have discussed her as an important influence on later women authors and even as a proto-feminist. Helen Osterman Borowitz has attempted to draw direct connections between Scudéry and the great French novelist Germaine de Staël. Critics have long acknowledged, however, that Scudéry was not only an influence on women novelists. Some have suggested that she also opened up new political possibilities. For example, Leonard Hinds has claimed that the collaborative model of authorship that existed in the salons was also a model for an alternative to absolutism, while Joan DeJean has suggested that her work can be seen as a response to political events of her age.In 1641 Madeleine published her first novel, Ibrahim ou l’illustre Bassa, under her brother’s name. This practice of using the name of her brother as her pseudonymous signature was one that she continued for most of her prolific career as a writer, despite the fact that her own authorship was openly acknowledged in the gazettes, memoirs, and letters of the time. Although the precise nature of his contributions is uncertain, Georges did clearly collaborate to some extent with his sister in the writing of her novels, and he wrote the prefaces to several of her books.

She won the first prize for eloquence awarded by the Académie Française (1671), but was barred from membership. Several academicians had attempted to lift the ban against women so that she could join their ranks, to no avail. Although her own authorship was widely acknowledged at the time, she used the name of her brother, Georges de Scudéry, as a pseudonymous signature throughout her career (Dejean)

Wing (2nd ed.), S2163 ,Thomason, E.1604[4]

Scudéry, Madeleine de. Selected Letters, Orations and Rhetorical Dialogues. Ed. and trans. Jane Donawerth and Julie Strongson. The Other Voice in Early Modern Europe (Chicago: University of Chicago Press, 2004), 8.

John Conley, “Madeleine de Scudéry,” The Stanford Encyclopedia of Philosophy (Summer 2011 Edition), Edward N. Zalta (ed.), http://plato.stanford.edu/archives/sum2011/entries/madeleine-scudery/.

Joan Dejean. Scudéry, Madeleine de (1608-1701). The New Oxford Companion to Literature in French (Oxford University Press 1995, 2005).

“Scudéry, Madeleine De (1607–1701).” Europe, 1450 to 1789: Encyclopedia of the Early Modern World. . Encyclopedia.com. 11 Apr. 2019

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12) 323J Madeleine Vigneron (1628-1667)

La vie et la conduite spirituelle de Mademoiselle M. Vigneron. Suivant les mémoires qu’elle en a laissez par l’ordre de son directeur (M. Bourdin). [Arranged and edited by him.].

Paris: Chez Pierre de Launay, 1689. $3,200

Octavo 7 x 4 3/4 inches ã8 e8 A-2R8 (2R8 blank). Second and preferred edition first published in 1679. This copy is bound in contemporary brown calf, five raised bands on spine, gilt floral tools in the compartments, second compartment titled in gilt; corners and spine extremities worn; three old joint repairs; on the front binder’s blank is an early ownership four-line inscription in French dated 1704, of

Sister Monique Vanden Heuvel, at the priory of Sion de Vilvoorde (Belgium).

Overall a fine copy.

This is the stirring journal that Madeleine Vigneron , member of the Third Order of the Minims of St. Francis of Paola, she began to keep it in 1653 and continued until her premature death, (1667) It was first published in 1679 and again in the present second, and final, edition which is more complete than the first. Added are Madeleine’s series of 78 letters representing her spiritual correspondence.IMG_1410

In these autobiographical writings, which were collected and published by her Director, the Minim Matthieu Bourdin, Madeleine speaks of the illnesses that plagued her since childhood and greatly handicapped her throughout a life that she dedicated to God by caring for the poor. She received admirable lights on the divinity and humanity of Jesus Christ, on the mysteries of the spiritual life. The hagiographers have remarked her austerity, her patience, her insatiable desire to suffer for God. Those who knew her perceived in her a virtuous life that impressed them.

This is a very rare book: the combined resources of NUC and OCLC locate only one copy in America, at the University of Dayton which also holds the only American copy of the 1679 edition.

§ Cioranescu 66466 (the 1679 edition).

checklist of early modern writings by nuns

Carr, Thomas M., “A Checklist of Published Writings in French by Early Modern Nuns” (2007). French Language and Literature Papers. 52.

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Updated! A Dozen Early Modern Books by Women Author INDEX J.B. 346J Mary Barber 377J Mary Barber 373J Madam De Bellefont 572G Susanna Centlivre 347J…

#female wits #Irish women #Nuns

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englishchinesetranslations · 5 years ago

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I am very interested in History and have studied it for years.

When I was younger I was brought up in a Christian household. As I grew older I had a little trouble believing in what the Bible said and started to question everything. That lead me to start researching different sources of information and comparing it to what I thought I knew. Well this whole thought process brought me deeper and deeper into the world of ancient history. It also started me down a path of interest in research and discerning the truth. Through time I have watched schools and media attempt to rewrite history and use it as propaganda to further their narrative and desires.

Okay I know this may not be popular with some people but the Old Testament in the Bible is basically just a condensed History book. Most things found in the Bible can be corroborated with other Documents and physical proof unearthed by archaeologist through history and written about in more modern times. The Old Testament contains the history of the Jewish people and many others. Currently people in Social media and mainstream media are continuing to attempt to rewrite history and control the narrative. I understand this but am disappointed that people are not taking the time to research and find the truth for themselves.

I am impartial when I seek for true history and I don't involve my feelings in any of it. I also have a fluid opinion. If someone finds alternate facts and documentation to what I believe is the truth, I will go back and revisit my findings. I have found that alot of the history that was reviewed n the 70's and rewritten has been faulty in it's accuracy. I believe that this is where the major colleges began to be weaponized to indoctrinate students and bend history.

Well here is when I will start to paste in articles that I have not written. I only use them as reference material and nothing more. I have no opinion on them and will not change them. They belong to others and I am just sharing information.

null 7th century BCE silver scroll found in Jerusalem, containing the priestly benediction (Israel Antiquities Authority)

Jewish history began about 4,000 years ago (c. 17th century BCE) with the patriarchs - Abraham, his son Isaac, and grandson Jacob.

The Patriarchs

Jewish history began about 4,000 years ago (c. 17th century BCE) with the patriarchs - Abraham, his son Isaac, and grandson Jacob. Documents unearthed in Mesopotamia, dating back to 2000-1500 BCE, corroborate aspects of their nomadic way of life as described in the Bible. The Book of Genesis relates how Abraham was summoned from Ur of the Chaldeans to Canaan to bring about the formation of a people with belief in the One God. When a famine spread through Canaan, Jacob (Israel), his 12 sons, and their families settled in Egypt, where their descendants were reduced to slavery and pressed into forced labor.Jewish history began 4,000 years ago

Exodus and Settlement

After 400 years of bondage, the Israelites were led to freedom by Moses who, according to the biblical narrative, was chosen by God to take his people out of Egypt and back to the Land of Israel promised to their forefathers (c.13th-12th centuries BCE). They wandered for 40 years in the Sinai desert, where they were forged into a nation and received the Torah (Pentateuch), which included the Ten Commandments, and gave form and content to their monotheistic faith.

The exodus from Egypt (c.1300 BCE) left an indelible imprint on the national memory of the Jewish people and became a universal symbol of liberty and freedom. Every year Jews celebrate Pesach (Passover), Shavuot (Pentecost) and Succot (Feast of Tabernacles), commemorating events of that time.

During the next two centuries, the Israelites conquered most of the Land of Israel and became farmers and craftsmen; a degree of economic and social consolidation followed. Periods of relative peace alternated with times of war, during which the people rallied behind leaders known as judges, chosen for their political and military skills as well as for their leadership qualities.

The weakness inherent in this tribal organization in face of a threat posed by the Philistines (sea-going people from Asia Minor who settled on the Mediterranean coast) generated the need for a ruler who would unite the tribes and make the position permanent, with succession carried on by inheritance.

Moses by Michelangelo, San Pietro in Vincoli, Rome

The Monarchy

The first king, Saul (c.1020 BCE), bridged the period between loose tribal organization and the setting up of a full monarchy under his successor, David.

King David (c.1004-965 BCE) established his kingdom as a major power in the region by successful military expeditions, including the final defeat of the Philistines, as well as through a network of friendly alliances with nearby kingdoms. Consequently, his authority was recognized from the borders of Egypt and the Red Sea to the banks of the Euphrates. At home, he united the 12 Israelite tribes into one kingdom and placed his capital, Jerusalem, and the monarchy at the center of the country's national life. Biblical tradition depicts David as a poet and musician, with verses ascribed to him appearing in the Book of Psalms.

David was succeeded by his son Solomon (c.965-930 BCE) who further strengthened the kingdom. Through treaties with neighboring kings, reinforced by politically motivated marriages, Solomon ensured peace for his kingdom and made it equal among the great powers of the age. He expanded foreign trade and promoted domestic prosperity by developing major enterprises, such as copper mining and metal smelting, while building new towns and fortifying old ones of strategic and economic importance.

Crowning his achievements was the building of the Temple in Jerusalem, which became the center of the Jewish people’s national and religious life. The Bible attributes to Solomon the Book of Proverbs and the Song of Songs.

A thumbsized ivory pomegranate bearing a paleo-Hebrew inscription, probably from the First Temple in Jerusalem, 8th century BCE

(The Israel Museum, Jerusalem)

The priestly benediction

A tiny, 7th century BCE silver scroll found in Jerusalem, contains the priestly benediction:

"The Lord bless thee and keep thee; the Lord make his face to shine upon thee and be gracious unto thee; the Lord lift up his countenance upon thee and give thee peace." (Numbers 6:24-26)

Israel Antiquities Authority

The Prophets

Religious sages and charismatic figures, who were perceived as being endowed with a divine gift of revelation, preached during the period of the monarchy until a century after the destruction of Jerusalem (586 BCE).

Whether as advisers to kings on matters of religion, ethics and politics, or as their critics under the primacy of the relationship between the individual and God, the prophets were guided by the need for justice and issued powerful commentaries on the morality of Jewish national life. Their revelatory experiences were recorded in books of inspired prose and poetry, many of which were incorporated into the Bible.

The enduring, universal appeal of the prophets derives from their call for a fundamental consideration of human values. Words such as those of Isaiah (1:17), "Learn to do good, devote yourselves to justice; aid the wronged, uphold the rights of the orphan; defend the cause of the widow continue to nourish humanity's pursuit of social justice."

Divided Monarchy

The end of Solomon's rule was marred by discontent on the part of the populace, which had to pay heavily for his ambitious schemes. At the same time, preferential treatment of his own tribe embittered the others, which resulted in growing antagonism between the monarchy and the tribal separatists.

After Solomon’s death (930 BCE), open insurrection led to the breaking away of the 10 northern tribes and division of the country into a northern kingdom, Israel, and a southern kingdom, Judah, the latter on the territory of the tribes of Judah and Benjamin.

The Kingdom of Israel, with its capital Samaria, lasted more than 200 years under 19 kings, while the Kingdom of Judah was ruled from Jerusalem for 400 years by an equal number of kings of the lineage of David. The expansion of the Assyrian and Babylonian empires brought first Israel and later Judah under foreign control.

The Kingdom of Israel was crushed by the Assyrians (722 BCE) and its people carried off into exile and oblivion. Over a hundred years later, Babylonia conquered the Kingdom of Judah, exiling most of its inhabitants as well as destroying Jerusalem and the Temple (586 BCE).

Seal bearing the inscription to Shema, servant of Jeroboam, from Megiddo (Israel Antiquities Authority)

The First Exile (586-538 BCE)

The Babylonian conquest brought an end to the First Temple period, but did not sever the Jewish people's connection to the Land of Israel. Sitting by the rivers of Babylon, the Jews pledged to remember their homeland:

If I forget thee, O Jerusalem, let my right hand forget its cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I do not set Jerusalem above my highest joy. (Psalms 137:5-6)

The exile to Babylonia, which followed the destruction of the First Temple (586 BCE), marked the beginning of the Jewish Diaspora. There, Judaism began to develop a religious framework and way of life outside the Land, ultimately ensuring the people’s national survival and spiritual identity and imbuing it with sufficient vitality to safeguard its future as a nation.

On the rivers of Babylon by E.M. Lilien