My word, hbg. There is no way that is singable, but It was fun trying to read it. Wasn't it Demosthenes who had a speech impediment and practiced overcoming it by putting pebbles in his mouth?
Okay, I love tongue twisters and here is a song full of them, folks.
Tongue twister, tongue twister, so hard to say
Seems that your mouth always gets in the way
Tongue twister, tongue twister, try it and then
Go faster and over and over and over again
Rubber Baby Buggy Bumpers
That isn't so hardd to say
But try it five times just as fast as you can
It's a little bit harder that way
Oh, tongue twiser, tongue twister
So hard to say
Seems that your mouth always gets in the way
Tongue twister, tongue twister
Try it and then
Go faster and over and over and over again
One slick snake slid down the slippery slue
That isn't so hard to say
But try it five times just as fast as you can
It's a little bit harder that way
Oh, tongue twister, tongue twister
So hard to say
Seems that your mouth always gets in the way
Tongue twister, tongue twister
Try it and then
Go faster and over and over and over again
Peter Piper picked a peck of pickled peppers
A peck of pickled peppers Peter Piper picked
That isnt so hard to say
But try it five times just as fast as you can
It's a little bit harder that way
Oh, tongue twister, tongue twister
So hard to say
Seems that your mouth always gets in the way
Tongue twister, tongue twister
Try it and then
Go faster and over and over and over again.
Of course, my favorite is:
I slit a sheet, a sheet I slit, I think I slit a sheet. Don't try that one with kids.
Hearts Of Stone
The Fontane Sisters
[Words and Music by Rudy Jackson and Eddy Ray]
Hearts made of stone
Will never break
For the love you have for them
They just won't take
You can ask them please
Please please, please break
And all of your love
Is there to take
Yes, hearts of stone
Will cause you pain
Although you love them
They'll stop you just the same
You can ask them please
Please, please, please break
And all of your love
Is there to take
But they'll say
No, no, no, no, no, no
No, no, no, no, no, no, no
Everybody knows
I thought you knew
Hearts made of stone
Yes, hearts of stone
Will cause you pain
Although you love them
They'll stop you just the same
You can ask them please
Please, please, please break
And all of your love
Is there to take
But they'll say
No, no, no, no, no, no
No, no, no, no, no, no, no
Everybody knows
I thought you knew
Hearts made of stone
When a man he serves the Lord, it makes his life worthwhile.
It don't matter 'bout his position, it don't matter 'bout his lifestyle.
Talk about perfection, I ain't never seen none
And there ain't no man righteous, no not one.
Sometimes the devil likes to drive you from the neighborhood.
He'll even work his ways through those whose intentions are good.
Some like to worship on the moon, others are worshipping the sun
And there ain't no man righteous, no not one.
Look around, ya see so many social hypocrites
Like to make rules for others while they do just the opposite.
You can't get to glory by the raising and the lowering of no flag.
Put your goodness next to God's and it comes out like a filthy rag.
In a city of darkness there's no need of the sun
And there ain't no man righteous, no not one.
Done so many evil things in the name of love, it's a crying shame
I never did see no fire that could put out a flame.
Pull your hat down, baby, pull the wool down over your eyes,
Keep a-talking, baby, 'til you run right out of alibis.
Someday you'll account for all the deeds that you done.
Well, there ain't no man righteous, no not one.
God got the power, man has got his vanity,
Man gotta choose before God can set him free.
Don't you know there's nothing new that's under the sun?
Well, there ain't no man righteous, no not one.
When I'm gone don't wonder where I be.
Just say that I trusted in God and that Christ was in me.
Say He defeated the devil, He was God's chosen Son
And that there ain't no man righteous, no not one.
Bob Dylan
D. H. Lawrence
From Wikipedia, the free encyclopedia
Born: 11 September 1885(1885-09-11)
Eastwood, Nottinghamshire, United Kingdom
Died: 2 March 1930 (aged 44)
Vence, France
Occupation: Novelist
Writing period: 1907 - 1930
Genres: Realism
Subjects: Travel, Literary Criticism
Debut works: Novel: The White Peacock
Short Story: Odour of Chrysanthemums
Play: The Widowing of Mrs Holroyd
Influences: Joseph Conrad, Herman Melville, Lev Shestov
Influenced: Anthony Burgess, A. S. Byatt, Colm Tóibín, Tennesee Williams, Dylan Thomas
David Herbert Richards Lawrence (11 September 1885 - 2 March 1930) was a very important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism, and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, sexuality, and instinctive behaviour.
Lawrence's unsettling opinions earned him many enemies and he endured hardships, official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage."[1] At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation."[2] Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works.
Life
Early life (1885-1912)
The fourth child of Arthur John Lawrence, a barely literate miner, and Lydia, née Beardsall, a former schoolmistress, David Herbert Richards Lawrence was born on September 11, 1885, and spent his formative years in the coal mining town of Eastwood, Nottinghamshire, United Kingdom. His birthplace, in Eastwood, 8a Victoria Street, is now a museum. His working class background and the tensions between his mismatched parents provided the raw material for a number of his early works and Lawrence would return to this locality, which he was to call "the country of my heart,"[3] as a setting for much of his fiction.
The young Lawrence attended Beauvale Board School from 1891 until 1898, becoming the first local pupil to win a County Council scholarship to Nottingham High School in nearby Nottingham. He left in 1901, working for three months as a junior clerk at Haywood's surgical appliances factory before a severe bout of pneumonia ended this career. Whilst convalescing he often visited Haggs Farm, the home of the Chambers family and began a friendship with Jessie Chambers. An important aspect of this relationship with Jessie and other adolescent acquaintances was a shared love of books, an interest that lasted throughout Lawrence's life. In the years 1902 to 1906 Lawrence served as a pupil teacher at the British School, Eastwood. He went on to become a full-time student and received a teaching certificate from University College Nottingham in 1908. During these early years he was working on his first poems, some short stories, and a draft of a novel, Laetitia, that was eventually to become The White Peacock. At the end of 1907 he won a short story competition in the Nottingham Guardian, the first time that he had gained any wider recognition for his literary talents.
In the autumn of 1908 the newly qualified Lawrence left his childhood home for London. Whilst teaching in Davidson Road School, Croydon he continued writing. Some of the early poetry, submitted by Jessie Chambers, came to the attention of Ford Madox Hueffer, editor of the influential The English Review. Hueffer then commissioned the story Odour of Chrysanthemums which, when published in that magazine, encouraged Heinemann, a London publisher, to ask Lawrence for more work. His career as a professional author now began in earnest, although he taught for a further year. Shortly after the final proofs of his first published novel The White Peacock appeared in 1910, Lawrence's mother died. She had been ill with cancer. The young man was devastated and he was to describe the next few months as his "sick year." It is clear that Lawrence had an extremely close relationship with his mother and his grief following her death became a major turning point in his life, just as the death of Mrs. Morel forms a major turning point in his autobiographical novel Sons and Lovers, a work that faithfully records much of the writer's provincial upbringing.
In 1911 Lawrence was introduced to Edward Garnett, a publisher's reader, who acted as a mentor, provided further encouragement, and became a valued friend. Throughout these months the young author revised Paul Morel, the first sketch of what was to become Sons and Lovers. In addition, a teaching colleague, Helen Corke, gave him access to her intimate diaries about an unhappy love affair, which formed the basis of The Trespasser, his second novel. In November 1911 pneumonia struck once again. After recovering his health Lawrence decided to abandon teaching in order to become a full time author. He also broke off an engagement to Louie Burrows, an old friend from his days in Nottingham and Eastwood.
Blithe spirits (1912-1914)
In March 1912 the author met the free spirited woman with whom he was to share the rest of his life. She was six years older than her new lover, married and with three young children. Frieda Weekley née von Richthofen was then the wife of Lawrence's former modern languages professor from Nottingham University, Ernest Weekley. Frieda was bored with her marriage and she had already had brief affairs with other lovers, including Otto Gross, a disciple of Freud. She now eloped with Lawrence to her parent's home in Metz, a garrison town in Germany near the disputed border with France. Their stay here included Lawrence's first brush with militarism when he was arrested and accused of being a British spy, before being released following an intervention from Frieda's father. After this encounter Lawrence left for a small hamlet to the south of Munich where he was joined by Frieda for their "honeymoon," later memorialised in the series of love poems entitled Look! We Have Come Through (1917).
From Germany they walked southwards across the Alps to Italy, a journey that was recorded in the first of his brilliant travel books, a collection of linked essays entitled Twilight in Italy and the unfinished novel, Mr Noon. During his stay in Italy, Lawrence completed the final version of Sons and Lovers that, when published in 1913, was acknowledged to represent a vivid portrait of the realities of working class provincial life. The couple returned to England in 1913 for a short visit. Lawrence now encountered and befriended John Middleton Murry, the critic, and the short story writer from New Zealand, Katherine Mansfield. Lawrence and Frieda soon went back to Italy, staying in a cottage in Fiascherino on the Gulf of Spezia. Here he started writing the first draft of a work of fiction that was to be transformed into two of his finest novels, The Rainbow and Women in Love. Eventually Frieda obtained her divorce. The couple returned to England at the outbreak of World War I and were married on the 13 July 1914.
The nightmare (1914-1919)
Frieda's German parentage and Lawrence's open contempt for militarism meant that they were viewed with suspicion in wartime England and lived in near destitution. The Rainbow (1915) was suppressed after an investigation into its alleged obscenity in 1915. Later, they were even accused of spying and signalling to German submarines off of the coast of Cornwall where they lived at Zennor. During this period he finished a sequel to The Rainbow, that many regard as his masterpiece. This radical new work, Women in Love, is a key text of European modernism. In it Lawrence explores the destructive features of contemporary civilization through the evolving relationships of four major characters as they reflect upon the value of the arts, politics, economics, sexual experience, friendship and marriage. This book is a bleak, bitter vision of humanity and proved impossible to publish in wartime conditions. It is now widely recognised as an English novel of great dramatic force and intellectual subtlety.
In late 1917, after constant harassment by the military authorities, Lawrence was forced to leave Cornwall at three days' notice under the terms of the Defence of the Realm Act (DORA). This persecution was later described in an autobiographical chapter of his Australian novel, Kangaroo, published in 1923. He spent some months in early 1918 in the small, beautiful rural village of Hermitage near Newbury in Berkshire. He then lived for just under a year (mid-1918 to early 1919) at Mountain Cottage, Middleton-by-Wirksworth, Derbyshire, where he wrote one of his most poetic short stories, The Wintry Peacock. Until 1919 he was compelled by poverty to shift from address to address and barely survived a severe attack of influenza.
The savage pilgrimage begins (1919-1922)
After the traumatic experience of the war years, Lawrence began what he termed his 'savage pilgrimage', a time of voluntary exile. He escaped from England at the earliest practical opportunity, to return only twice for brief visits, and with Frieda spent the remainder of his life travelling; settling down for only short periods. This wanderlust took him to Italy, Ceylon (now called Sri Lanka), Australia, North America, Mexico and after returning once more to Italy, southern France.
Lawrence abandoned England in November 1919 and headed south; first to the Abruzzi district in central Italy and then onwards to Capri and the Fontana Vecchia in Taormina, Sicily. From Sicily he made brief excursions to Sardinia, Monte Cassino, Malta, Northern Italy, Austria and Southern Germany. Many of these places appeared in his writings. New novels included The Lost Girl, Aaron's Rod and the fragment entitled Mr Noon (the first part of which was published in the Phoenix anthology of his works, and the entirety in 1984). He experimented with shorter novels or novellas, such as The Captain's Doll, The Fox and The Ladybird. In addition, some of his short stories were issued in the collection England, My England and Other Stories. During these years he produced a number of poems about the natural world in Birds, Beasts and Flowers. Lawrence is widely recognised as one of the finest travel writers in the English language and Sea and Sardinia, a book that describes a brief journey from Taormina undertaken in January 1921, is a vivid recreation of the life of the inhabitants of this part of the Mediterranean. Less well known is the brilliant memoir of Maurice Magnus, in which Lawrence recalls his visit to the monastery of Monte Cassino. Other non-fiction books include two studies of Freudian psychoanalysis and Movements in European History, a school textbook that was published under a pseudonym, a reflection of his blighted reputation in England.
Seeking a new world (1922-1925)
In late February 1922 the Lawrences left Europe behind with the intention of migrating to the United States. They sailed in an easterly direction, first to Ceylon and then on to Australia. A short residence in Darlington, Western Australia, which included an encounter with local writer Mollie Skinner, was followed by a brief stop in the small coastal town of Thirroul in New South Wales, during which Lawrence completed Kangaroo, a novel about local fringe politics that also revealed a lot about his wartime experiences in Cornwall.
Resuming their journey, Frieda and Lawrence finally arrived in the USA in September 1922. Here they encountered Mabel Dodge Luhan, a prominent socialite, and considered establishing a utopian community on what was then known as the 160-acre Kiowa Ranch near Taos, New Mexico. Lawrence and Frieda acquired the property, now called the D. H. Lawrence Ranch, in 1924 in exchange for the manuscript of Sons and Lovers. By all accounts Lawrence loved this ranch high up in the mountains, the only home that he ever owned. He stayed in New Mexico for two years, with extended visits to Lake Chapala and Oaxaca in Mexico.
Whilst in the New World, Lawrence rewrote and published his Studies in Classic American Literature, a set of critical essays begun in 1917, and later described by Edmund Wilson as "one of the few first-rate books that have ever been written on the subject." These provocative and original interpretations, with their insights into symbolism, New England Transcendentalism and the puritan sensibility, were a significant factor in the revival of the reputation of Herman Melville during the early 1920s. In addition, Lawrence completed a number of new fictional works, including The Boy in the Bush, The Plumed Serpent, St Mawr, The Woman who Rode Away, The Princess and assorted short stories. He also found time to produce some more travel writing, such as the collection of linked excursions that became Mornings in Mexico.
A brief voyage to England at the end of 1923 was a failure and he soon returned to Taos, convinced that his life as an author now lay in America. However, in March 1925 he suffered a near fatal attack of malaria and tuberculosis whilst on a third visit to Mexico. Although he eventually recovered, the diagnosis of his condition obliged him to return once again to Europe. He was dangerously ill and poor health limited his ability to travel for the remainder of his life.
Approaching death (1925-1930)
Lawrence and Frieda made their home in a villa in Northern Italy, living near to Florence whilst he wrote The Virgin and the Gipsy and the various versions of Lady Chatterley's Lover (1928). This book, his last major novel, was initially published in private editions in Florence and Paris and reinforced his notoriety. Lawrence responded robustly to those who claimed to be offended, penning a large number of satirical poems, published under the title of "Pansies" and "Nettles", as well as a tract on Pornography and Obscenity.
The return to Italy allowed Lawrence to renew some of his old friendships and during these years he was particularly close to Aldous Huxley, a loyal companion who was to edit the first collection of Lawrence's letters after his death, along with a generous memoir. With another friend, the artist Earl Brewster, Lawrence found the time to visit a number of local archaeological sites in April 1927. The resulting essays describing these visits to old tombs were written up and collected together as Sketches of Etruscan Places, a beautiful book that contrasts the lively past with Mussolini's fascism.
Lawrence continued to produce fiction, including short stories and The Escaped Cock (also published as The Man Who Died), an unorthodox reworking of the Christian belief of the resurrection that affirms the life of the body. During these final years Lawrence renewed a serious interest in oil painting. Official harassment persisted and an exhibition of some of these pictures at the Warren Gallery in London was raided by the British police in mid 1929 and a number of works were confiscated. Nine of the Lawrence oils have been on permanent display in the La Fonda Hotel in Taos since shortly after his death. They hang in a small office behind the hotel's front desk and are available for viewing.
He continued to write despite his physical frailty. In his last months he authored numerous poems, reviews, essays, and a robust defence of his last novel against those who sought to suppress it. His last significant work was a spirited reflection on the New Testament Book of Revelation, Apocalypse. After being discharged from a sanatorium he died at the Villa Robermond, Vence, France in 1930 at the age of 44 due to complications from Tuberculosis. Frieda returned to live on the ranch in Taos and later her third husband brought Lawrence's ashes to rest there in a small chapel set amidst the mountains of New Mexico.
Sexuality
Despite his marriage to Frieda, it was during the years in which Women in Love was being written that Lawrence developed a sexual relationship, in the town of Tregerthen, with a Cornish farmer by the name of William Henry Hocking [citation needed]. The affair, brief though it was, seems to indicate that Lawrence's fascination with themes of homosexuality, which he would explore further in Women in Love and Aaron's Rod especially, related to his own, personal sexuality. Indeed, in a letter written during 1913, he writes, "I should like to know why nearly every man that approaches greatness tends to homosexuality, whether he admits it or not
" [4] He is also quoted as saying, "I believe the nearest I've come to perfect love was with a young coal-miner when I was about sixteen."[5]
Posthumous reputation
The obituaries following Lawrence's death were, with the notable exception of E. M. Forster, unsympathetic, ill-informed or hostile. Fortunately there were those who articulated a more balanced recognition of the significance of this author's life and works. For example, his longtime friend Catherine Carswell summed up his life in a letter to the periodical Time and Tide published on 16 March 1930. In response to his mean-spirited critics she claimed:
In the face of formidable initial disadvantages and life-long delicacy, poverty that lasted for three quarters of his life and hostility that survives his death, he did nothing that he did not really want to do, and all that he most wanted to do he did. He went all over the world, he owned a ranch, he lived in the most beautiful corners of Europe, and met whom he wanted to meet and told them that they were wrong and he was right. He painted and made things, and sang, and rode. He wrote something like three dozen books, of which even the worst page dances with life that could be mistaken for no other man's, while the best are admitted, even by those who hate him, to be unsurpassed. Without vices, with most human virtues, the husband of one wife, scrupulously honest, this estimable citizen yet managed to keep free from the shackles of civilization and the cant of literary cliques. He would have laughed lightly and cursed venomously in passing at the solemn owls -- each one secretly chained by the leg -- who now conduct his inquest. To do his work and lead his life in spite of them took some doing, but he did it, and long after they are forgotten, sensitive and innocent people -- if any are left -- will turn Lawrence's pages and will know from them what sort of a rare man Lawrence was.
A defense of Lawrence was also put forward by Aldous Huxley in his introduction to a collection of letters published in 1932. However, the most influential advocate of Lawrence's contribution to literature was the Cambridge literary critic F. R. Leavis who asserted that the author had made an important contribution to the tradition of English fiction. Leavis stressed that The Rainbow, Women in Love, and the short stories and tales were major works of art. Later, the Lady Chatterley Trial of 1960, and subsequent publication of the book, ensured Lawrence's popularity (and notoriety) with a wider public.
Some modern critics, including Lawrence biographer Brenda Maddox, have charged that Lawrence was over-prolific, and that his reputation was harmed by the amount of simply bad writing that he published; however, Lawrence made his living exclusively by his writing, and as a result wrote more commercial work than modernists such as Joyce or Woolf.
A number of feminist critics, notably Kate Millett, have questioned Lawrence's sexual politics, and this questioning has damaged his reputation in some quarters since then. On the other hand, Lawrence continues to find an audience for his artistic vision, and the ongoing publication of a new scholarly edition of his letters and writings has demonstrated the range of his achievement.
Also, in the classic film Easy Rider, Jack Nicholson's character makes a toast to Lawrence in the scene outside the jail house.
Works
Novels
Lawrence is perhaps best known for his novels Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley's Lover. Within these Lawrence explores the possibilities for life and living within an Industrial setting. In particular Lawrence is concerned with the nature of relationships that can be had within such settings. Though often classed as a realist, Lawrence's use of his characters can be better understood with reference to his philosophy. His use of sexual activity, though shocking at the time, has its roots in this highly personal way of thinking and being. It is worth noting that Lawrence was very interested in human touch behaviour (see Haptics) and that his interest in physical intimacy has its roots in a desire to restore our emphasis on the body, and re-balance it with what he perceived to be western civilization's slow process of over-emphasis on the mind.
Short stories
Amongst the most praised, The Prussian Officer and Other Stories provides insight into Lawrence's attitudes during the war years. His American volume The Woman Who Rode Away and Other Stories develops his themes of leadership as explored in the novels Kangaroo The Plumed Serpent and Fanny and Annie.
Poetry
Although best known for his novels, Lawrence wrote almost eight hundred poems, most of them relatively short. His first poems were written in 1904 at the age of nineteen and two of his poems, Dreams Old and Dreams Nascent, were among his earliest published works in The English Review. His early works clearly place him in the school of Georgian poets, a group not only named after the present monarch but also to the romantic poets of the previous Georgian period whose work they were trying to emulate. What typified the entire movement, and Lawrence's poems of the time, were well-worn poetic tropes and deliberately archaic language. Many of these poems display what John Ruskin called the "pathetic fallacy," the tendency to ascribe human emotions to animals and even inanimate objects.
It was the flank of my wife
I touched with my hand, I clutched with my hand,
rising, new-awakened from the tomb!
It was the flank of my wife
whom I married years ago
at whose side I have lain for over a thousand nights
and all that previous while, she was I, she was I;
I touched her, it was I who touched and I who was touched.
-- excerpt, New Heaven and Earth
Just as the first world war dramatically changed the work of many of the poets who saw service in the trenches, Lawrence's own work saw a dramatic change, during his miserable war years in Cornwall. He had the works of Walt Whitman to thank for showing him the possibilities of free verse. He set forth his manifesto for much of his later verse in the introduction to New Poems. "We can get rid of the stereotyped movements and the old hackneyed associations of sound or sense. We can break down those artificial conduits and canals through which we do so love to force our utterance. We can break the stiff neck of habit...But we cannot positively prescribe any motion, any rhythm." Many of his later works took the idea of free verse to the extremes of lacking all rhyme and metre so that they are little different from short ideas or memos, which could well have been written in prose.
Lawrence rewrote many of his novels several times to perfect them and similarly he returned to some of his early poems when they were collected in 1928. This was in part to fictionalise them, but also to remove some of the artifice of his first works. As he put in himself: "A young man is afraid of his demon and puts his hand over the demon's mouth sometimes and speaks for him." His best known poems are probably those dealing with nature such as those in Birds Beasts and Flowers and Tortoises. Snake, one of his most frequently anthologised, displays some of his most frequent concerns; those of man's modern distance from nature and subtle hints at religious themes.
In the deep, strange-scented shade of the great dark carob tree
I came down the steps with my pitcher
And must wait, must stand and wait, for there he was at the trough before me.
-- excerpt, Snake
Look! We have come through! is his other work from the period of the end of the war and it reveals another important element common to much of his writings; his inclination to lay himself bare in his writings. Although Lawrence could be regarded as a writer of love poems, his usually deal in the less romantic aspects of love such as sexual frustration or the sex act itself. Ezra Pound in his Literary Essays complained of Lawrence's interest in his own "disagreeable sensations" but praised him for his "low-life narrative." This is a reference to Lawrence's dialect poems akin to the Scots poems of Robert Burns, in which he reproduced the language and concerns of the people of Nottinghamshire from his youth.
Tha thought tha wanted ter be rid o' me.
'Appen tha did, an' a'.
Tha thought tha wanted ter marry an' se
If ter couldna be master an' th' woman's boss,
Tha'd need a woman different from me,
An' tha knowed it; ay, yet tha comes across
Ter say goodbye! an' a'.
-- excerpt, The Drained Cup
Pound was the chief proponent of modernist poetry and although Lawrence's works after his Georgian period are clearly in the Modernist tradition, they were often very different to many other modernist writers. Modernist works were often austere works in which every word was carefully worked on and hard-fought for. Lawrence felt all poems had to be personal sentiments and that spontaneity was vital for any work. He called one collection of poems Pansies partly for the simple ephemeral nature of the verse but also a pun on the French word panser, to dress or bandage a wound. His wounds still needed soothing for the reception he regularly received in England with The Noble Englishman and Don't Look at Me being removed from the official edition of Pansies on the grounds of obscenity. Even though he lived most of the last ten years of his life abroad, his thoughts were often still on England. His last work Nettles published in 1930 just eleven days after his death were a series of bitter, "nettling" but often amusing attacks on the moral climate of England.
O the stale old dogs who pretend to guard
the morals of the masses,
how smelly they make the great back-yard
wetting after everyone that passes.
-- excerpt, The Young and Their Moral Guardians
Two notebooks of Lawrence's unprinted verse were posthumously published as Last Poems and More Pansies.
Literary criticism
Lawrence's criticism of other authors often provides great insight into his own thinking and writing. Of particular note is his Study of Thomas Hardy and Other Essays and Studies in Classic American Literature. In the latter, Lawrence's responses to Walt Whitman, Herman Melville and Edgar Allan Poe shed particular light on the nature of Lawrence's craft.
Philosophy
Lawrence continued throughout his life to develop his highly personal philosophy, many aspects of which would prefigure the counter-culture revolution of the 1960s. His unpublished introduction to Sons and Lovers established the duality central to much of his fiction. This is done with reference to the Holy Trinity. As his philosophy develops, Lawrence moves away from more direct Christian analogies and instead touches upon Mysticism, Buddhism, and Pagan theologies. There could also be seen to be Rosicrucian and Esoteric aspects to much of his writing. In some respects, Lawrence was a forerunner of the growing interest in the occult that occurred in the twentieth century, though he himself would have identified with being a Christian. He may have preferred the distinction of being a New Age pioneer, particularly in a time when such ideas were seen as extreme or radical.
Paintings
D. H. Lawrence also painted a selection of erotic works. These were exhibited at the Dorothy Warren Gallery in London's Mayfair in 1929. This exhibition included A Boccaccio Story, Spring and Fight with an Amazon. The exhibition was extremely controversial, with many of the 13,000 people visiting mainly to gawk. The Daily Express reported "Fight with an Amazon represents a hideous, bearded man holding a fair-haired woman in his lascivious grip while wolves with dripping jaws look on expectantly, [this] is frankly indecent."
Quotations
Wikiquote has a collection of quotations related to:
D. H. Lawrence"Be a good animal, true to your instincts." -- The White Peacock
"Mrs Morel always said the after-life would hold nothing in store for her husband: he rose from the lower world into purgatory, when he came home from pit, and passed into heaven in the Palmerston Arms." -- Sons and Lovers (edited out of the 1913 edition, restored in 1992)
"I think I am much too valuable a creature to offer myself to a German bullet gratis and for fun." -- Letter to Harriet Monroe, 1 October 1914
"Don't you find it a beautiful clean thought, a world empty of people, just uninterrupted grass, and a hare sitting up." -- Women in Love
"Never trust the artist. Trust the tale." -- Studies in Classic American Literature (also rendered as "Never trust the teller; trust the tale.")
"Ours is essentially a tragic age, so we refuse to take it tragically." -- Lady Chatterley's Lover
"Her father was not a coherent human being, he was a roomful of old echoes." -- Women in Love
"They say the sea is cold, but the sea contains the hottest blood of all." -- "Whales Weep Not"
"If I were the moon, I know where I would fall down" -- "The Rainbow"
Herbert Lom
From Wikipedia, the free encyclopedia
Birth name Herbert Charles Angelo Kuchacevich ze Schluderpacheru
Born 11 September 1917 (1917-09-11) (age 90)
Prague, Austria-Hungary
Years active 1937-2004
Spouse(s) Dina Schea (10 January 1948 - 1971)
Herbert Lom [Czech IPA: ɦɛrbɛrd lom] (b. 11 September 1917) is an international film actor. He was born Herbert Charles Angelo Kuchacevich ze Schluderpacheru in Prague to upper-class parents. Lom's film debut was in the Czech film ena pod kříem (1937). His early films roles included supporting roles, but also the occasional top billing.
He moved to Britain in 1939 and made many appearances in British films throughout the 1940s, usually in villainous roles, although he later appeared in comedies as well. He managed to escape being typecast as a European heavy by securing a diverse range of castings, including as Napoleon Bonaparte in The Young Mr. Pitt (1942) (and again in the 1956 version of War and Peace). In a rare starring role Lom played twin trapeze artists in Dual Alibi (1946). He continued into the 1950s with roles opposite Alec Guinness and Peter Sellers in The Ladykillers, and opposite Robert Mitchum, Jack Lemmon and Rita Hayworth in Fire Down Below (1957).
Leonard Maltin's film biography writes: "At one time considered a British counterpart to Charles Boyer (whom he resembled), Lom didn't get as many starring assignments as he rated, but makes a lasting impression in character parts."
The 1960s
The 1960s was an outstanding decade for Lom, securing him a wide range of parts, starting with Spartacus in 1960, El Cid, and the role of Captain Nemo in Mysterious Island, both in 1961. Finally he returned to top billing again in Hammer Films' production of The Phantom of the Opera. Lom's English is noted for a precise, elegant delivery. The phantom mask in this version is a full face mask, which made casting an actor with his vocal talents a wise choice.
"It was wonderful to play such a part, but I was disappointed with the picture," Lom says. "This version of the famous Gaston Leroux story dragged. The Phantom wasn't given enough to do, but at least I wasn't the villain, for a change. Michael Gough was the villain."
Hammer Films produced endless low-budget horror films. Lom recalled in one interview how producers expected actors to throw themselves into their work: "For one of my scenes, the Hammer people wanted me to smash my head against a stone pillar, because they said they couldn't afford one made of rubber," Lom reveals. "I refused to beat my head against stone, of course. This caused a 'big crisis,' because it took them half a day to make a rubber pillar that looked like stone. And of course, it cost a few pennies more. Horror indeed!"
Other low budget horror films he starred in included the notorious witchhunting film Mark of the Devil that depicted very graphic torture scenes. The film was most famous for theaters handing out sick bags to every patron.[citation needed]
The Pink Panther
Lom is perhaps best known for his portrayal of Chief Inspector Charles Dreyfus, Inspector Clouseau's long-suffering superior in Blake Edwards's Pink Panther films. Lom's Dreyfus is eventually driven murderously insane by the incompetent antics of Clouseau (to the extent that he even attempts to take over the world at one point in order to have his nemesis killed), and is eventually reduced to a sputtering, incoherent nervous wreck, with a twitching eye. Sellers was a comic giant; nevertheless, Lom's full-body performance, coupled with his intelligent, well-spoken delivery, manages to stand on equal footing with Sellers's.
Writing
Lom has also written two historical novels, one on the playwright Christopher Marlowe (Enter a Spy: The Double Life of Christopher Marlowe, 1971) and another on the French Revolution (Dr. Guillotin: The Eccentric Exploits of an Early Scientist, 1992). The movie rights to the latter have been purchased but no film to date has been produced.
Quotes
"Peter Sellers was always a mixed-up guy, a childish fellow. But if you're fond of children, you're also fond of childish men. He was always very helpful to me. After he was famous, and when I was still in trouble with the US embassy, he wrote a letter in support of me which was magnificent. But it is true that he was very cruel to his children. He was so hurt by the way children treat you when you're their father. I have been hurt by my children. But he was not in possession of a proper brain when it came to these things."[1]
"You know, I always do my best, no matter the quality of the film. One thing I hate is when directors come to me before shooting a take and say: 'Herbert, give me your best!' And I think: 'But it's my job to give my best. I can't give anything else!' Whether it is good enough for those who sit in the cinema is quite another matter."
Trivia
Lom has portrayed four characters who played the organ: the Phantom of the Opera, René Marot, Charles Dreyfus, and Captain Nemo.
In The Pink Panther Strikes Again, Lom plays a now insane Dreyfuss who holes up in a castle equipped with a doomsday device. He also wears a cloak and plays a large pipe organ as a nod to his character in Phantom of The Opera.
Out of the gang in his film The Ladykillers, (Alec Guinness, Cecil Parker, Lom, Peter Sellers, and Danny Green) he is the only one still alive. He will turn ninety on 11 September 2007.
Earl Holliman
From Wikipedia, the free encyclopedia
Earl HollimanEarl Holliman (born Anthony Earl Numkena on September 11, 1928, in Delhi, Louisiana) is an American film and television actor.
He first appeared in film in 1953 and three years later won the Golden Globe Award for Best Supporting Actor - Motion Picture for his performance in the 1956 film, The Rainmaker. Amongst his other notable film appearances were in Giant, Gunfight at the O.K. Corral, Forbidden Planet, Hot Spell, Visit to a Small Planet, The Trap, The Big Combo, and Summer and Smoke. In 1970 and 1971, Holliman made two appearances in the successful western comedy Alias Smith and Jones starring Pete Duel.
In addition to a successful career in films, Earl Holliman became a popular television personality through his roles as Sundance in Hotel de Paree and as Lt. Bill Crowley opposite Angie Dickinson in the Police Woman series that ran from 1974 to 1978. He also had the distinction of appearing in the first episode of The Twilight Zone titled "Where is Everybody?" which aired on October 2, 1959.
He continued to appear in television guest roles throughout the 1970s and 1980s. His most notable role during this period was in the hit mini series The Thorn Birds with Richard Chamberlain and Rachel Ward. He also took part in the Gunsmoke reunion movie "Gunsmoke: Return to Dodge" in 1987 as Jake Flagg.
He earned a nomination for a Golden Globe Award for "Best Performance by an Actor in a Supporting Role in a television Series" for his acting with Delta Burke in her short-lived 1992 series Delta.
For his contribution to the television industry, Earl Holliman has a star on the Hollywood Walk of Fame at 6901 Hollywood Blvd.
Holliman is also known for his work as an animal-rights activist.
Amy Madigan
From Wikipedia, the free encyclopedia
Born September 11, 1950 (1950-09-11) (age 57)
Chicago, Illinois
Amy Madigan (born 11 September 1950) is an American actress who is known for her role as Annie Kinsella in the 1989 film Field of Dreams.
Madigan was born in Chicago, Illinois. Her father is John Madigan, a Chicago-area radio personality and lawyer. Madigan studied philosophy at Marquette University in Milwaukee, Wisconsin, piano at the Chicago Conservatory, and also attended the Lee Strasberg Theatre Institute.[1] She moved to Los Angeles in 1970.
Madigan was nominated for an Oscar for her performance in the 1985 film Twice in a Lifetime. From 2003 to 2005, she starred in the HBO series Carnivàle as Iris Crowe, the sister of sinister preacher Brother Justin Crowe (Clancy Brown).
Madigan is also a political activist; among other things, she has served on the national board of NARAL Pro-Choice America, a pro-choice/women's rights organization. Madigan has been married to actor Ed Harris since 1983. The couple have one child together, a daughter, Lily.
Madigan also played keyboard, percussions, and vocals behind Steve Goodman on tour throughout the late 70's.
Virginia Madsen
From Wikipedia, the free encyclopedia
Born September 11, 1961 (1961-09-11) (age 46)
Chicago, Illinois
Years active 1983-Present
Spouse(s) Danny Huston (1989-1992)
[show]Awards
Screen Actors Guild Awards
Best Cast - Motion Picture
2004 Sideways
Virginia Madsen (born September 11, 1961) is an American actress. She came to fame during the 1980s, having appeared in several films aimed at a teenage audience. During the 2000s, she once again became known after an Academy Award and Golden Globe-nominated role in the film Sideways.
Biography
Early life
Madsen was born in Chicago, Illinois to Cal Madsen, a fireman, and Elaine (née Melson), an Emmy-winning poet, producer and playwright who often works for PBS;[1] Madsen's mother left a career in corporate business to pursue a writing career.[2] Madsen's brother is actor Michael Madsen. Her paternal grandparents were Danish and her mother has Irish and Native American ancestry.[3] Madsen is a graduate of New Trier High School in Winnetka, Illinois.[4]
Her first stab as a thespian was as her brother's assistant in magic shows the two would concoct for their family. She later attended the Ted Liss Acting Studio in Chicago and Harand Camp Adult Theater Seminar in Elkhart Lake, Wisconsin. Of her experience with Liss she said:
"I had wanted to join his class since I was 12. It was well worth the wait because I don't think I could have got that sort of training anywhere else especially in the United States...I always wanted to make a real career out of acting."[5]
Career
Audiences first caught a glimpse of Madsen in a bit part she landed as Lisa in the teen sex comedy Class. She was cast as Princess Irulan in David Lynch's science fiction epic Dune (1984).[6] Madsen first became popular with audiences in 1986 with her portrayal of a Catholic schoolgirl who fell in love with a boy from a prison camp in Duncan Gibbons's Fire with Fire. Other noted film appearances include 1990s The Hot Spot with Don Johnson, and the steamy Third Degree Burn with Treat Williams. She was also co-host of the TV series Unsolved Mysteries in 1999, during the show's final season at CBS.
She also turned in a solid performance in Francis Ford Coppola's The Rainmaker (1997). Film critic Roger Ebert said that Madsen had a "strong scene",[7] while reviewer James Berardinelli noted that "the supporting cast is solid, with turns from... Virginia Madsen as a witness for the plaintiff".[8] Madsen had spent more than twenty years in minor films before her breakout critically acclaimed performance in Sideways (2004). The role catapulted her onto the fabled Hollywood A-list.[9] Her first major role after Sideways was opposite Harrison Ford in Firewall. She later appeared in Robert Altman's A Prairie Home Companion, in a key role as the angel. Most recently, she co-starred with Jim Carrey in The Number 23 and Billy Bob Thornton in The Astronaut Farmer; both films opened in North America on February 23, 2007.
Madsen has made numerous television appearances including: Star Trek: Voyager, CSI: Miami, Dawson's Creek, The Practice, Frasier, Moonlighting, and other series. She starred opposite Ray Liotta in CBS's short-lived crime drama Smith.
Personal life
When Madsen arrived in Hollywood, she was engaged to actor Billy Campbell. She married actor Danny Huston in 1989 and they divorced in 1992. Madsen also had a relationship with actor Antonio Sabato Jr., with whom she had a son, Jack, in 1994.
Fun Fact
Madsen has Heterochromia, a genetic trait resulting in different pigmentation of the eyes. Madsen has one green eye, and one half-green, half-brown eye.
To be frank rather than Bob I don't remember whether or not I posted this before. If I have -- forgive me. If not -- enjoy.
Moses & The Lord
"Excuse me, Sir."
"Is that you again, Moses?"
"I'm afraid it is, Sir."
"What is it this time, Moses; more computer problems?"
"How did you guess?"
"I don't have to guess, Moses. Remember ?"
"Oh, yes; I forgot."
"Tell me what you want, Moses."
"But you already know, Sir. Remember?"
"Moses!"
"Sorry, Sir."
"Well, go ahead, Moses; spit it out."
"Well, I have a question, Sir. You know those ten 'things' you sent me
via e-mail?"
"You mean the Ten Commandments, Moses?"
"That's it. I was wondering if they are important."
"What do you mean 'if they are important,' Moses? Of course, they are
important.
Otherwise, I would not have sent them to you."
"Well, sorry, Sir, but I lost them. I could say the dog ate them; but,
of course, you would see right through that."
"What do you mean you 'lost them'? Are you trying to tell me you
didn't
save them, Moses?"
"No, Sir; I forgot."
"You should always save, Moses."
"Yes, I know. You told me that before. I was going to save them, but I
forgot. I did forward them to some people before I lost them though."
"And did you hear back from any of them?"
"You already know I did. There was the one guy who said he never uses
'shalt not.' May he change the words a little bit?"
"Yes, Moses, as long as he does not change the meaning."
"And what about the guy who thought your stance was a little harsh,
and
recommended calling them the 'Ten Suggestions, ' or letting people pick
one or two to try for a while?"
"Moses, I will act as if I did not hear that."
"I think that means 'no.' Well, what about the guy who said I was
scamming him?"
"I think the term is 'spamming,' Moses."
"Oh, yes. I E-mailed him back and told him I don't even eat that
stuff,
and I have no idea how you can send it to someone through a computer."
"And what did he say?"
"You know what he said. He used Your name in vain. You don't think he
might have sent me one of those -- err -- plagues, and that's the
reason
I lost those ten 'things', do you?"
"They are not plagues; they are called 'viruses,' Moses."
"Whatever! This computer stuff is just too much for me. Can we go back
to those stone tablets? It was hard on my back taking them out and
reading them each day, but at least I never lost them."
"We will do it the new way, Moses; using computers!!"
"I was afraid you would say that, Sir."
"Moses, what did I tell you to do if you messed up?"
"You told me to hold up this rat and point it toward the computer."
"It's a mouse, Moses, not a rat. Mouse! Mouse!
And did you do that?"
"No, I decided to try calling technical support first. After all, who
knows more about this stuff than you? And I really like your hours. By
the way, Sir, did Noah have two of these mice on the ark?"
"No, Moses."
"One other thing. Why did you not name them 'frogs' instead of 'mice,'
because did you not tell me the thing they sit on is a pad?"
"I did not name them, Moses. Man did, and you can call yours a frog if
you want to."
"Oh, that explains it. I bet some woman told Adam to call it a mouse.
After all, was it not a woman who named one of the computers 'Apple?'"
"Say good night, Moses."
"Wait a minute, Sir. I am pointing the mouse, and it seems to be
working. Yes, a couple of the ten 'things' have come back."
"Which ones are they, Moses?"
"Let me see.
'Thou shalt not steal from any grave an image' and
'Thou shalt not uncover Thy neighbor's wife.'"
"Turn the computer off, Moses.
I'm sending you another set of stone tablets."
Good morning Robert Franklin. No, hawk, you didn't tell us that Moses joke before, but if so, it would be worth telling twice.
We know most of your famous folks, Boston, but alas, our Raggedy is still having trouble doing her collages.
Here's part of Moses' problem.
We know most of your celeb's, Bob, but this song redone by Harry Connick, Jr. seems most appropriate for today.
Autumn in New York
Why does it seem so exciting (inviting)
Autumn in New York
It spells the thrill of first-knighting
Shimmering clouds - glimmering crowds (glittering crowds and shimmering clouds)
In canyons of steel
They're making me feel - I'm home
It's autumn in New York
That brings a (the) promise of new love
Autumn in New York
Is often mingled with pain
Dreamers with empty hands
(They) All sigh for exotic lands
(But) It's autumn in New York
It's good to live it again
This autumn in New York
Transforms the slums into Mayfair
Autumn in New York
You'll need no castles in Spain
Lovers that bless the dark
On benches in Central Park
(But) It's autumn in New York
It's good to live it again
I am aghast at the lack of interest exhibited today. Cold it be we've been too serious? Let's toss a more frivolous song out there to see how it does.
An Evening Wasted With Tom Lehrer
Poisoning Pigeons in the Park
I'd like to take you now on wings of song as it were, and try and help you forget, perhaps, for a while, your drab wretched lives.
Here is a song all about springtime in general, and in particular about one of the many delightful pastimes that the coming of spring affords us all.
Spring is here, a-suh-puh-ring is here.
Life is skittles and life is beer.
I think the loveliest time of the year is the spring.
I do, don't you? 'Course you do.
But there's one thing that makes spring complete for me,
And makes every Sunday a treat for me.
All the world seems in tune
On a spring afternoon,
When we're poisoning pigeons in the park.
Every Sunday you'll see
My sweetheart and me,
As we poison the pigeons in the park.
When they see us coming, the birdies all try an' hide,
But they still go for peanuts when coated with cyanide.
The sun's shining bright,
Everything seems all right,
When we're poisoning pigeons in the park.
We've gained notoriety,
And caused much anxiety
In the Audubon Society
With our games.
They call it impiety
And lack of propriety,
And quite a variety
Of unpleasant names.
But it's not against any religion
To want to dispose of a pigeon.
So if Sunday you're free,
Why don't you come with me,
And we'll poison the pigeons in the park.
And maybe we'll do
In a squirrel or two,
While we're poisoning pigeons in the park.
We'll murder them all amid laughter and merriment,
Except for the few we take home to experiment.
My pulse will be quickenin'
With each drop of strych'nine
We feed to a pigeon.
(It just takes a smidgin!)
To poison a pigeon in the park.
Thank God, Bob. We have a lack of personnel because of 9/11 memorials, but I'm with you. We've gotten entirely too serious. Let's poison them pigeons and the ones who speak pidjin English. We will, however, leave the silver foxes be.
Raggedy is frozen out. so no gallery today, and Region is afraid to give it a try and wants a rain check.
So let's listen to Homer and Jethro defend themselves.
Way back in nineteen-forty-two or maybe forty-three,
I sailed with Captain Tuna, the chicken of the sea.
We didn't sink the Bismarck, no matter what they say,
For when we seen the German ships, we sailed the other way.
We seen torpedos comin' and we saw a periscope.
We were full of fightin' spirit and our souls were full o' hope.
The captain yelled, "Now hear this!"
He really flipped his lid.
We haven't yet begun to fight,
What's more we never did.
Oh, we didn't sink the Bismarck and we didn't fight at all.
We spend our time in Norfolk and we really had a ball,
Chasin' after women while our ship was overhauled,
A-livin' it up on grapefruit juice and sickbay alcohol.
Then they made me a frogman on the demolition team.
I sunk a battleship, a cruiser and a submarine.
I blew up ammunition dumps. I did my best to please.
I did it all before the Navy sent me overseas.
Tony, our Italian cook, was a-settin' on the deck,
And we were peelin' 'taters. We must 'a' peeled a peck.
The captain yelled,"Hey, Tony! Is that a U-boat I see?"
Tony says, "It's not-a my boat; it's-a no belong to me."
Oh, we didn't sink the Bismarck and we didn't fight at all.
We spend our time in Norfolk and we really had a ball,
Chasin' after women while our ship was overhauled,
A-livin' it up on grapefruit juice and sickbay alcohol.
And now the war is over and our story can be told
About our captain's fightin' and the young ones and the old.
We stayed in San Francisco, away from the battle scenes.
We spent our time on Treasure Island a-fightin' the Marines.
Oh, we didn't sink the Bismarck and we didn't fight at all.
We spend our time in Norfolk and we really had a ball,
Chasin' after women while our ship was overhauled,
A-livin' it up on grapefruit juice and sickbay alcohol.
I did name my German shepherd Ebony Von Bismark, howevr.
UhOh, edgar. You just broke our mean streak, Texas. Don't you know that Miss Day has a thoroughly clean image? Actually, I did a brief look at her background and was amazed at what I found.
Well, here's another song by Doris, and it ain't "Day by Day".
I rather like this one, folks.
Nobody knew, not even you
When I first started walking on wing
But how long can a man or woman ever hope to hide
Love that's locked up inside
Every story worth the spinning
Must have a beginning.
Once I had a secret love
That lived within the heart of me
All too soon my secret love
Became impatient to be free
So I told a friendly star
the way that dreamers often do
Just how wonderful you are
And why I'm so in love with you
Chorus
Now I shout it from the highest hills
Even told the golden daffodils
At last my heart's an open door
And my secret love is no secret anymore.
Repeat Chorus.
