Monthly Archives: March 2020

Quotations: Lord Byron (George Gordon), (English Romantic Poet, 1788-1824). (15 Quotes).

Featured Image: George Gordon (Lord Byron) by Richard Westall (1765-1836). National Portrait Gallery, London.

Lord Byron (George Gordon), 1788-1824, Letter to poet Thomas Moore, October 28, 1815. Byron’s Letters and Journals, vol. 4 (1973-81; edited by Leslie A. Marchand).

Lord Byron (George Gordon), 1788-1824, Byron’s Letters and Journals, vol. 8 (1973-81; edited by Leslie A. Marchand).

Out of chaos God made a world, and out of high passions comes a people. Lord Byron (George Gordon), 1788-1824, Byron was describing the early nationalist fervor in Italy for which the poet played an active role. Byron’s Letters and Journals, vol. 8 (1973-81; edited by Leslie A. Marchand).

I do detest everything that is not perfectly mutual. Lord Byron (George Gordon), 1788-1824, Letter, October 21, 1813. Byron’s Letters and Journals, vol. 3 (1973-81; edited by Leslie A. Marchand).

I only go out to get me a fresh appetite for being alone. Lord Byron (George Gordon), 1788-1824, Journal, December 12, 1813. Byron’s Letters and Journals, vol. 3 (1973-81; edited by Leslie A. Marchand).

Lord Byron (George Gordon), 1788-1824, Journal, March 22, 1814. Byron’s Letters and Journals, vol. 3 (1973-81; edited by Leslie A. Marchand).

In solitude, where we are LEAST alone. Lord Byron (George Gordon), 1788-1824, Childe Harold, canto 3, stanza 90.

Lord Byron (George Gordon), 1788-1824, Byron’s Letters and Journals, vol. 8 (1973-81; edited by Leslie A. Marchand).

Lord Byron (George Gordon), 1788-1824, Byron’s Letters and Journals, volume 9, edited by Leslie A. Marchand, 1979. The journal entry was written on Byron’s final journey to aid the Greek revolt.

If we must have a tyrant, let him at least be a gentleman who has been bred to the business, and let us fall by the axe and not by the butcher’s cleaver. Lord Byron (George Gordon), 1788-1824, Letter, February 21, 1820 to John Murray, publisher. Byron’s Letters and Journals, volume 7, edited by Leslie A. Marchand, 1973-1981.

Are we aware of our obligations to a mob? It is the mob that labour in your fields and serve in your houses–that man your navy, and recruit your army–that have enabled you to defy the world, and can also defy you when neglect and calamity have driven them to despair. You may call the people a mob; but do not forget that a mob too often speaks the sentiments of the people. Lord Byron (George Gordon), 1788-1824, First speech to the House of Lords, February 27, 1812 on the topic of Luddite machine-wreckers.

The French courage proceeds from vanity—the German from phlegm—the Turkish from fanaticism & opium—the Spanish from pride—the English from coolness—the Dutch from obstinacy—the Russian from insensibility—but the Italian from anger. Lord Byron (George Gordon), 1788-1824, Letter, August 31, 1820, to publisher John Murray. Published in Byron’s Letters and Journals, volume 7, ed. Leslie A. Marchand , 1973-1981.

It is by far the most elegant worship, hardly excepting the Greek mythology. What with incense, pictures, statues, altars, shrines, relics, and the real presence, confession, absolution, –there is something sensible to grasp at. Besides, it leaves no possibility of doubt; for those who swallow their Deity, really and truly, in transubstantiation, can hardly find any thing else otherwise than easy of digestion. Lord Byron (George Gordon), 1788-1824, Letter, March 8, 1822 to poet Thomas Moore. Byron explained that he was bringing up one of his own daughters, Allegra, a Catholic.

It is useless to tell one not to reason but to believe — you might as well tell a man not to wake but sleep. Lord Byron (George Gordon), 1788-1824, Detached Thoughts, no. 96, 1821-22.

I would rather…have a nod from an American, than a snuff box from an emperor. Lord Byron (George Gordon), 1788-1824, letter, June 8, 1822, to poet Thomas Moore.

Italian Art in the 16th Century.

FEATURE image: Dosso Dossi (c. 1489–1542), Melissa, 1520s. 69.25 x 68.5 inches, Borghese Gallery, Rome.

Dosso Dossi (c. 1489–1542), Melissa, 1520s. 69.25 x 68.5 inches, Borghese Gallery, Rome.

Dosso Dossi (c. 1489-1542)– whose actual name was Giovanni de Lutero–was an Italian Renaissance painter who belonged to the School of Ferrara. Among scores of artists who painted mainly in the Venetian style influenced by Giorgione (c. 1477-1510), Dosso Dossi dominated the school that maintained its tradition of painterly artificiality.

Melissa is Dosso Dossi’s masterpiece: a benign personage in the Italian epic poem Orlando Furioso (1516) of Ludovico Ariosto (1574-1533). The enchantress frees humans from the black arts of the wicked sorceress Alcina. The painting depicts Melissa at the moment she burns the seals and spells of Alcina and liberates two men from the tree trunks.

The realistic dog is certainly a human being under Alcina’s spell who will be liberated by Melissa and take up again the suit of armor he watches earnestly. The trees are stylized, artificially-lighted elements – that is, Giorgionesque – that provide a magical setting for the poem’s characters.

The figure of Melissa is draped in a fringed red-and-gold-brocaded robe and enriched by Titianesque glazes. She is particularly alluring in a sparkling gold and green setting moored by meticulously and softly portrayed meadows, background figures, and distant city towers.

Titian (c.1511-1576), The Death of Actaeon. c. 1559-75, oil on canvas, 178.8 × 197.8 cm. National Gallery London.

SOURCE: History of Italian Renaissance Art: Painting, Sculpture, Architecture, Third Edition, Frederick Hartt, New York: Harry N. Abrams, Inc. 1987.
A Dictionary of Art and Artists, Peter and Linda Murray, Penguin Books; Revised,1998.
Italian Paintings of the Sixteenth Century, Allan Braham, The National Gallery, London (William Collins), 1985.

Quotations: John Keats (English Romantic Poet, 1795-1821). (7 Quotes).

Featured Image: John Keats (detail) by Joseph Severn (1793-1879), 1819.

John Keats’s first book of poems was published in 1817 when the English poet was 22 years old. From an early age, Keats, studying under the literary Rev. John Clarke, became a passionate reader of poetry and was introduced to the theater and music which he loved. Though both of his parents had died by the time Keats was in his early teens, their respectable estate never reached him in his short lifetime. His guardian sent the minor Keats to work in the medical field. But in 1813, the young Keats abandoned that apprenticeship for another — and began to write poetry.

Keats’ early poetic mentor was Leigh Hunt (1784-1859), editor of the Examiner, who introduced Keats to great established poets such as William Hazlitt (1778-1830), Charles Lamb (1775-1834), and Percy Bysshe Shelley (1792-1822). Keats also made the acquaintance of painter Benjamin Robert Haydon (1786-1846) and made other intimate lifelong friends. In 1816 Keats wrote his first major sonnet (On First Looking into Chapman’s Homer) in which he laid out an ambitious plan for his poetry.

In 1817 Keats wrote the 4,000-line Endymion though, ever a perfectionist, Keats considered it merely a poetic exercise. Keats soon isolated himself consciously from others to benefit his art. His over-riding quest was to seek his artistic individuality and poetic voice.

In 1818 external personal and professional events circumscribed Keats’ precious independence. First, his poetry for political rather than artistic reasons was ridiculed in the press. But more problematic for the brave Keats was that some of his immediate family members had become suddenly destitute or died. Keats’ spring and summer walking tour in 1818 of England, Scotland, and Ireland resulted in Keats’s personal inspiration but a chronically weakened state of physical health. In those same months, the 23-year-old poet had fallen in love with the vivacious, pretty and thoroughly nonliterary 18-year-old Fanny Brawne (1800-1865). They soon became engaged, but Keats’ inferior health and his strained to nonexistent finances impeded their getting married which frustrated Keats.

In the rapidly reached final period of his life and poetic career, Keats wrote several of his masterpieces. In 1819 Keats wrote, one after another, The Eve of St. Agnes, La Belle Dame Sans Merci, his Odes (including Ode To a Grecian Urn), Lamia, and several major sonnets. These poems possess the characteristics of Keats’ mature work—that of grace, sensuality, and sympathetic objectivity. It sets before the reader the conflicting and contradictory nature of existence, signaling a “both-and” experience of living in the world, including grappling with the problem of good and evil. Keats writes plainly in a letter in that period about life’s suffering—it is a “world…full of misery and heartbreak, pain, sickness and oppression.”

Weakened by tuberculosis, Keats’ health took a bad turn in February 1820 so much so that the poet realized he was dying. By that fall he traveled to Italy seeking a milder climate for his health. He stayed in Rome until the end came. On February 23, 1821 —like his mother and brother before him— Keats died of tuberculosis. The 25-year-old poet was buried in the Protestant Cemetery in Rome.

Despite his gallant reluctance to yield to bitterness or despair for his life’s wasteful circumstances, with death died Keats’ ambitious plans of renewed poetic achievement and an ongoing passionate love for Fanny Brawne. Although today’s reader can continue to savor John Keats’ poems and letters prior to his having stopped writing at 24 years old, what might have been in terms of the English Romantic poet’s fully realized potential is to offer a conjecture about one of the English language’s greatest poets.

SOURCES: The Norton Anthology of English Literature, Third Edition, Volume 2, W.W. Norton & company, Inc. New York, 1974.

John Keats, Walter Jackson Bate, The Belknap Press of Harvard University Press, Cambridge, Massachusetts, 1964.

Quotations.

John Keats, letter to his brother and sister, Spring 1819. While we are laughing, the seed of trouble is put into the wide arable land of events. While we are laughing it sprouts, it grows and suddenly bears a poison fruit which we must pluck.

Letter to his brother George Keats (1797-1841) and sister-in-law Georgiana Augusta Wylie Keats (1798-1879). Married in England in May 1818, the Keats departed for America going to Kentucky and southeastern Illinois by way of Philadelphia and Pittsburgh. The Keats are buried in Cave Hill Cemetery in Louisville, Kentucky. Mrs. Keats re-married after the poet’s brother died during experiences of serious financial setbacks. Do you not see how necessary a world of pains and troubles is to school an intelligence and make it a soul?

The poet suffered from– and died of– tuberculosis at the age of 25 years. Letter to his fiancée, Fanny Brawne, March 1, 1820. Health is my expected Heaven.

Letter to his brothers, George and Thomas Keats, January 13-19, 1818. Letters of John Keats, no. 37, edited by Frederick Page, 1954. There is nothing stable in the world; uproar’s your only music.

Endymion, Preface (1818). The complete line is: “This may be speaking too presumptuously, and may deserve a punishment: but no feeling man will be forward to inflict it: he will leave me alone, with the conviction that there is not a fiercer hell than the failure in a great object.”

The Fall of Hyperion – A Dream. Canto 1, first lines. Fanatics have their dreams, wherewith they weave A paradise for a sect.

Letter, August 23, 1819, Letters of John Keats, no. 144, ed. Frederick Page, 1954. I will give you the definition of a proud man: he is a man who has neither vanity nor wisdom—one filled with hatreds cannot be vain, neither can he be wise.

Cars & Trucks. (30 Photos).

Photographs ©John P. Walsh. Latest entry appears first.

2019? Dodge Challenger. 6/2022 11.14 mb
2019 Dodge Challenger. 10/2018 3.54 mb

Like Chevrolet Camaro and Ford Mustang, today’s Dodge Challenger is a modern muscle car that is inspired by — and compared to — the legacy of its 1960s forebear.

Ford F-150, 8/2021 7.99mb 97%

The 2021 Ford F-150 ‘s solid performance and durability have few competitors in the modern truck market and is one of the most popular trucks. The XL is a more budget-friendly option compared to the XLT. The XL’s basic engine is the same as the XLT 3.3L Ti-VCT V6, 290 hp, and 265 lb-ft of torque. The F-150 XL offers first-rate amenities and excellent performance making for an incredible value.

Dodge Ram 1500 pickup. 7/2021 5.47 mb
Dodge Ram 1500 pickup. 7/2021 7.90 mb 84%
1954 Chevrolet. 9/2021 6.23 mb
Chevrolet Camaro SS. 5/2018 7.39 mb

The Chevrolet Camaro SS model is equipped with a 6.2L LT1 V8 engine and offered as a 6-speed manual and 8-speed automatic. The SS is capable of 455 horsepower and 455 lb.-ft. of torque, performing a 0-60 in 4.0 seconds. 

1940 Plymouth Deluxe Sedan. 201 CI, 3-Speed. 5/2018 2.35 mb
1939 Chevrolet. 5/2018 5.51mb
Oldsmobile Cutless Supreme Convertible. Red tire wheels. 7/2015 6.53 mb
Chevrolet Corvair Sport Coupé, 2nd generation 1965-1969. 8/2018 1.07 mb
Kenworth. 8/2016 4.35 mb
GMC and Chevrolet. 5/2017 4.64 mb
5/2017 5.11 mb
1967 Kaiser Jeep M-725. 6/2017 4.71 mb
1950s Chevy 210. 10/2016 1.92 mb
1960s Ford Falcon. 6/2018 4.54 mb
Chevrolet Corvette. 6/2017 3.08 mb
Ford Mustang. 4/2020 3.38 mb
Lamborghini. 8/2014 3.51 mb
Chevrolet Impala SS. Fourth Generation,1965. 8/2021 10.9 mb

The Impala SS (Super Sport) was introduced as an option in 1960 as an appearance/performance package. It was soon limited to hardtop and convertible coupe models. From 1964 through 1967 (Impala’s third and fourth generations), the Super Sport was a separate model, with its own VIN prefix: for instance, in 1965-67 cars 166/68 was the prefix for a V8-equipped Impala SS.

Chevrolet Impala SS. Fourth Generation,1965. 8/2021 11.4 mb

From 1962 to 1964, Super Sports came with engine-turned aluminum trim which, in 1965, was replaced by a “blackout” trim strip that ran below the tail lights.

Chevrolet Impala SS. Fourth Generation,1965. 8/2021 7.71 mb

From its debut in 1958, the Chevrolet Impala was distinguished from other models by its symmetrical triple tail lights. By the late 1960’s, classic muscle or “big block” cars focused on smaller models. The last model year for the Chevrolet Impala Super Sport series was 1969.

 BMW Mini Cooper Hatch. 5/2018 3.24 mb
Chevrolet Camaro. 6/2017 4.19 mb
Chicago. Yellow Toyota MR2 Spyder convertible. 8/2016 3.84 mb
Ford F-150. 6/2017 6.71 mb

The F-150 started in 1975 as a truck model between the F-100 and F-250 (there was also the F-350). By 1976 it quickly became America’s favorite truck. In towns across America even today, Ford trucks from the 1950s era still work alongside today’s newest models. 

In 1983, F-100 production ended. In addition to work loads, the F-150 offered an additional new focus on lifestyle and comfort. Starting in the 1980s, Ford truck customers could select custom paint packages and, for the first time, the blue-oval Ford emblem was affixed on the front grille.

12/2016 5.42 mb
8/2016 2.99 mb
1960s Corvette 9/2014 3.74 mb