#Mary Sidney Herbert
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Poem of the Day 5 May 2023
O BY MARY SIDNEY HERBERT COUNTESS OF PEMBROKE
Oh, what a lantern, what a lamp of light
Is thy pure word to me
To clear my paths and guide my goings right!
I swore and swear again,
I of the statues will observer be,
Thou justly dost ordain.
The heavy weights of grief oppress me sore:
Lord, raise me by the word,
As thou to me didst promise heretofore.
And this unforced praise
I for an off’ring bring, accept, O Lord,
And show to me thy ways.
What if my life lie naked in my hand,
To every chance exposed!
Should I forget what thou dost me command?
No, no, I will not stray
From thy edicts though round about enclosed
With snares the wicked lay.
Thy testimonies as mine heritage,
I have retained still:
And unto them my heart’s delight engage,
My heart which still doth bend,
And only bend to do what thou dost will,
And do it to the end.
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Albert Blithe
Alex Penkala
Alice
Alton More
Anna
Anthony 'Manimal' Jacks
Antonio 'Poke' Espera
Antonio Garcia
Army Chaplain Teska
Baba Karamanlis
Bernard DeMarco
Bill 'Hoosier' Smith
Bill Leyden
Billy Taylor
Brad 'Iceman' Colbert
Burton Christenson
Capt. Andrew Haldane
Carwood Lipton
Charles (Chuck) Grant
Charles Bean Cruikshank
Charles K. Bailey
Col. Robert Sink
Cpt. Bryan Patterson
Cpt. Craig 'Encino Man' Schwetje
Cpt. Dave 'Captain America' McGraw
Curtis Biddick
Darrell (Shifty) Powers
David Solomon
David Webster
Denver (Bull) Randleman
Donald Hoobler
Dr. Sledge
Edward (Babe) Heffron
Elmo 'Gunny' Haney
Eric Kocher
Eugene Jackson
Eugene Roe
Eugene Sledge
Evan 'Q-Tip' Stafford
Evan 'Scribe' Wright
Everett Blakely
Father John Maloney
Floyd (Tab) Talbert
Frank Murphy
Frank Perconte
Frederick (Moose) Heyliger
Gabe Garza
Gale 'Buck' Cleven
George Luz
Glenn Graham
Gunnery Sgt. Mike 'Gunny' Wynn
Gunnery Sgt. Ray 'Casey Kasem' Griego
Hamm
Harry Crosby
Harry Welsh
Helen
Herbert Sobel
Howard 'Hambone' Hamilton
Jack Kidd
James (Mo) Alley
James Chaffin
James Douglass
James Gibson
James Miller
Jason Lilley
Jean Achten
Jeffrey 'Dirty Earl' Carisalez
John 'Bucky' Egan
John Basilone
John Christeson
John D. Brady
John Fredrick
John Janovec
John Julian
John Martin
Joseph 'Bubbles' Payne
Joseph Liebgott
Joseph Toye
Josh Ray Person
Katherine 'Tatty' Spaatz
Ken Lemmons
Lance Cpl. Harold James Trombley
Larry Shawn 'Pappy' Patrick
Leandro 'Shady B' Baptista
Lena Basilone
Lew 'Chuckler' Juergens
Lewis Nixon
Lt. Edward 'Hillbilly' Jones
Lt. Henry Jones
Lt. Nathaniel Fick
Lt. Thomas Peacock
Lynn (Buck) Compton
Maj. 'Red' Bowman
Maj. John Sixta
Mama Karamanlis
Manuel Rodriguez
Mary Frank Sledge
Meesh
Merriell 'Snafu' Shelton
Navy Hm2 Robert Timothy 'Doc' Bryan
Neil 'Chick' Harding
Norman Dike
Old Man on Bicycle
Patrick O'Keefe
Phyllis
R.V. Burgin
Ralph (Doc) Spina
Renee Lemaire
Richard Winters
Robert 'Rosie' Rosenthal
Robert 'Stormy' Becker
Robert (Popeye) Wynn
Robert Leckie
Rodolfo 'Rudy' Reyes
Ronald Speirs
Roy Claytor
Roy Cobb
Sammy
Sgt. Mallard
Sidney Phillips
Stella Karamanlis
Teren 'T' Holsey
Vera Keller
Walt Hasser
Walter (Smokey) Gordon
Warren (Skip) Muck
Wayne (Skinny) Sisk
Wilbur 'Runner' Conley
William Guarnere
William Hinton
William J. DeBlasio
William Quinn
Winifred 'Pappy' Lewis
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Doing a read-through of the Psalms, both in the NRSV "plain vanilla" translation and in the version of the Sidney Psalter, a rhymed and metered translation done by Sir Philip Sidney and (after his untimely death) his sister Mary Sidney Herbert, Countess of Pembroke, during the reign of Elizabeth I. It's interesting to compare the NRSV, which (like the original Hebrew) chiefly relies on parallelism and other rhetorical devices to provide poetic structure, with the much more elaborately fashioned* versions of the Sidneys.
*And I do mean "elaborately". In 150 Psalms, Philip and Mary repeat the exact same stanzaic structure precisely once. Small wonder that one 20th-century critic called the Sidney Psalter "a school of English versification".
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Provenance mysteries: The Countesse of Pembrokes Arcadia
The first provenance mystery of 2023 features Sir Philip Sidney’s The Countesse of Pembrokes Arcadia, published in London in 1593. As can be seen here, the title is set within a lavishly decorated woodcut border.
The book was presented to the Library on 30 June 1876 by James Claude Webster (1840-1908), whose bookplate is visible here. In addition to being a member of Middle Temple, he belonged to the Athenaeum Club. As club secretary, he wrote to Robert Browning on 4 February 1862 to admit him as a member. He also contributed articles to the Encyclopaedia Britannica.
Sidney’s Arcadia (to use the shortened title) was published posthumously by his sister Mary Herbert, based on a manuscript version. It was written “in the new genre of prose romance,” and is believed to have been an inspiration for a scene in Shakespeare’s King Lear. Sidney died in battle near the town of Zutphen, and was buried in the old St. Paul’s cathedral in 1587.
The provenance mystery concerns the myriad of names found in this copy of one of the most famous works of early modern English prose. As can be seen here, the front end-leaf was used by a variety of young people to test out their pens. On this end-leaf we can see the following names: Dorothy Greaves; Robert Demetrius; Ann/e Bind; and John Greaves. There is one addition exercise, a four leaf clover, and what could possibly be some shorthand being tested (see under the name Dorothy Greaves). Another name is faintly visible: Tho Hey, and an aborted name: Doro.
There is a well-known John Greaves (1602-1652), a mathematician “who was interested in measuring ancient monuments.” Could our copy of Arcadia be evidence of the childish hand of this John Greaves?
Two further names are visible on the title page: John Grevail/n and Thomas Vincent 1754. The latter could be the oboist and composer Thomas Vincent (c. 1720-1783). Intriguingly, Vincent’s will stated that some of his income was to pass to James Robson, a bookseller in New Bond Street, suggesting a debt of some kind owed to Robson by Vincent.
There is one further provenance piece, at the end of the book – yet another name (possibly) is visible, P Pense [?] with the words ‘must stand to the same’ visible.
As ever, if you have comments or suggestions on this mystery, email us at: [email protected].
Renae Satterley
Librarian
February 2023
#mtlibrary#Provenance mysteries#library#rarebook#rare books#libraries#books & libraries#law library#book#marginalia#bookshelf#london#history#special collections
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Lord, crack their teeth; Lord, crush these lions’ jaws;
So let them sink as water in the sand:
When deadly bow their aiming fury draws,
Shiver the shaft ere past the shooter’s hand.
So make them melt as the dishousèd snail
Or as the embryo, whose vital band
Breaks ere it holds, and formless eyes do fail
To see the sun, though brought to lightful land.
from mary sidney herbert, countess of pembroke’s translation of psalm 58 in the sidney psalter (ca. 1599)
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A Lon Chaney Double Feature
Norma Shearer and Lon Chaney in He Who Gets Slapped
He Who Gets Slapped (Victor Sjöström, 1924)
Cast: Lon Chaney, Norma Shearer, John Gilbert, Ruth King, Marc McDermott, Ford Sterling, Tully Marshall. Screenplay: Carey Wilson, Victor Sjöström; titles: Marian Ainslee; based on a play by Leonid Andreyev. Cinematography: Milton Moore. Art direction: Cedric Gibbons. Film editing: Hugh Wynn.
He Who Gets Slapped is not a film for coulrophobes (people with a fear of clowns). It's crawling with them, performing antics that are supposed to be, to judge from the hilarity they induce in the audiences shown in the film, side-splittingly funny. The film seems to be based on the highly dubious premise that watching someone get slapped repeatedly is one of the funniest things ever. (There may be people who think so, to judge from the perennial popularity of the Three Stooges.) The whole movie is an artificial concoction, anyway, and only the brilliance of Lon Chaney gives it some grounding in real-life feeling. It was one of the films that launched the MGM studios on the road to Hollywood dominance, and the first one to feature Leo the Lion in the credits. It's also a film that contemporary audiences should watch to see the young Norma Shearer, when she was at her freshest and most natural. In He Who Gets Slapped, her love interest is John Gilbert. It was only after the advent of sound that Shearer's husband, MGM's creative director Irving G. Thalberg, decided to make her into a great lady, the cinematic equivalent of Katharine Cornell, putting her into remakes of Broadway hits like The Barretts of Wimpole Street (Sidney Franklin, 1934), which had starred Cornell, or Strange Interlude (Robert Z. Leonard, 1932), which had featured another theatrical diva, Lynn Fontanne. She is barely in her 20s in He Who Gets Slapped, however, and she's delightful, with no trace of the diva to come.
Lon Chaney and Loretta Young in Laugh, Clown, Laugh
Laugh, Clown, Laugh, Herbert Brenon, 1928
Cast: Lon Chaney, Bernard Siegel, Loretta Young, Cissy Fitzgerald, Nils Asther, Gwen Lee. Screenplay: Elizabeth Meehan; titles: Joseph Farnham; based on a play by David Belasco and Tom Cushing. Cinematography: James Wong Howe. Art direction: Cedric Gibbons. Film editing: Marie Halvey.
Laugh, Clown, Laugh puts him in clown makeup again, but the film is a grand showcase for Chaney, whose reputation as the man of a thousand faces was somewhat misleading. He had one well-worn face that, no matter how much he distorted or disguised it, shone through. Here he's given an opportunity to perform without disguise through much of the film, and the range of expressions available to him is astonishing. The leading lady is 14-year-old Loretta Young. That she often looks her age is one of the more disturbing things about the film, in which she's supposed to be in love with both Chaney, who was 45, and the improbably pretty Nils Asther, who was 31. The cinematography is by James Wong Howe. Laugh, Clown, Laugh was eligible for Oscar nominations in the first year of the Academy Awards, and Chaney should have received one. The closest the film came to an award was the one that Joseph Farnham received for title writing (the one and only time the award was presented). But Farnham's award was for the body of his work over the nomination period, and not for a particular film.
#He Who Gets Slapped#Laugh Clown Laugh#Victor Sjöstróm#Herbert Brenon#Lon Chaney#Norma Shearer#Loretta Young
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Lady Mary Sidney (née Dudley) (c. 1530–1535 – 9 August 1586) was a lady-in-waiting at the court of Elizabeth I, and the mother of Sir Philip Sidney and Mary Sidney Herbert, Countess of Pembroke. A daughter of John Dudley, Duke of Northumberland, she was marginally implicated in her father's attempt to place Lady Jane Grey on the English throne and affected by his attainder.
Mary Dudley was one of Queen Elizabeth's most intimate confidantes during the early years of her reign. Her duties included nursing the Queen through smallpox in 1563 and acting as her mouthpiece towards diplomats. A sister of Elizabeth's favourite, Robert Dudley, Earl of Leicester, she remained always loyal to her family. She was the mother of seven children and accompanied her husband, Sir Henry Sidney, to Ireland and the Welsh Marches. From the 1570s the couple complained repeatedly about their, as they saw it, poor treatment at the Queen's hands. Still one of Elizabeth's favourite ladies, Mary Dudley retired from court life in 1579, suffering from ill health during her last years.
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Films I've watched in 2022
(Click on the title to see the post. This list will be continously updated.)
For a list of the first 100, see this post.
101 - 199:
🗓 June:
🎬 "La Tête en Friche" (2010) - Jean Becker
🎬 "Loulou" (1979) - Maurice Pialat
🎬 "Les Fugitifs" (1986) - Francis Veber
🎬 "Diamant 13" (2009) - Gilles Béhat
🎬 "Änglar finns dom?" (1961) - Lars-Magnus Lindgren
🎬 "Hamlet" (1996) - Kenneth Branagh
🎬 "102 Dalmatians" (2000) ‐ Kevin Lima
🗓 July:
🎬 "Fleabag" series 1 (2016)
🎬 "Fleabag" series 2 (2019)
🎬 "Käre John" (1964) - Lars-Magnus Lindgren
🎬 "I lånte fjær" (1992) - Åse Vikene
🎬 "Charleys Tant" (2015) - Anders Aldgård
🎬 "De två saliga" (1986) - Ingmar Bergman
🎬 "Skönheten och Odjuret" (1991) - Gary Trousdale and Kirk Wise
🎬 "Karins ansikte" (1983) - Ingmar Bergman
🎬 "Alfred" (1995) - Vilgot Sjöman
🎬 "En lektion i kärlek" (1954) - Ingmar Bergman
🎬 "Appasionata" (1944) - Olof Molander
🎬 "Nattvardsgästerna" (1963) - Ingmar Bergman
🎬 "Sommarlek" (1951) - Ingmar Bergman
🎬 "Ingmar Bergman Intermezzo" (2002)
🎬 "Kvinna utan ansikte" (1947) - Gustaf Molander
🎬 "Såsom i en spegel" (1961) - Ingmar Bergman
🎬 "Riten" (1969) - Ingmar Bergman
🎬 "Persona" (1966) - Ingmar Bergman
🎬 "The Serpent's Egg" (1977) - Ingmar Bergman
🎬 "Torn Curtain" (1966) - Alfred Hitchcock
🎬 "En passion" (1969) - Ingmar Bergman
🎬 "Det sjunde inseglet" (1957) - Ingmar Bergman
🎬 "Skammen" (1968) - Ingmar Bergman
🎬 "Vargtimmen" (1968) - Ingmar Bergman
🎬 "Smultronstället" (1957) - Ingmar Bergman
🗓 August:
🎬 "The Exorcist" (1973) - William Friedkin
🎬 "Sons of Anarchy" season 2 (2009)
🎬 "Efter repetitionen" (1984) - Ingmar Bergman
🎬 "Bergman Island" (2004) - Marie Nyreröd
🎬 "Saraband" (2003) - Ingmar Bergman
🎬 "Markisinnan de Sade" (1991) - Ingmar Bergman
🎬 "Fårö-dokument 1979" (1979) - Ingmar Bergman
🎬 "Maîtresse" (1975) - Barbet Schroeder
September:
🎬 "Baby frei Haus (2009) - Franziska Mayer Price
🎬 "I Bergmans regi" (2003)
🎬 "Shallow Grave" (1993) - Danny Boyle
🎬 "Du kan da ikke bare gå" (1985) - Terje Mærli
🎬 "La ditt problem bli vårt problem" (1969) - Egil Kolstø
🎬 "Katteslottet" (1966) - Knut Thomassen
🎬 "Fox Grønland" sesong 1 (2001)
🎬 "Hilsen fra Bertha" (1968) - Jon Heggedal
🎬 "Søndag ettermiddag" (1967) - Tore Breda Thoresen
🎬 "The Hours" (2002) - Stephen Daldrey
🎬 "Elskeren" (1964) - Michael Elliott
🎬 "George Carlin on Location" (1977)
🎬 "The Addams Family" (1991) - Barry Sonnenfeld
🎬 "Kiss Me Petruchio" (1981) - Christopher Dixon
🎬 "A Midsummer Night's Sex Comedy" (1982) - Woody Allen
🎬 "Play it Again, Sam" (1972) - Herbert Ross
🎬 "Mack the Knife" (1989) - Menahem Golan
🎬 "Ripe Strawberries" (1980) - E. Randal Hoey
🎬 "Hell on Earth" (2002) - Paul Joyce
🎬 "The Devils" (1971) - Ken Russell
🎬 "Women in Love" (1969) - Ken Russell
🗓 October:
🎬 "The Breakfast Club" (1985) - John Hughes
🎬 "St. Elmo's Fire" (1985) - Joel Schumacher
🎬 "Burnt Offerings" (1976) - Dan Curtis
🎬 "Peer Gynt" (2006) - Bentein Baardson
🎬 "Når vi døde vågner" (1973) - Per Bronken
🎬 "Peer Gynt" (1986) - Edith Roger
🎬 "Ghost" (1990) - Jerry Zucker
🎬 "Dead Ringers" (1988) - David Cronenberg
🎬 "The Cassandra Crossing" (1976) - George Pan Cosmatos
🎬 "This is Paris" (2020) - Alexandra Dean
🎬 "This Sporting Life" (1963) - Lindsay Anderson
🎬 "Golden Rendezvous" (1977) - Ashley Lazarus
🎬 "Gulliver's Travels" (1977) Peter R. Hunt
🎬 "Alive and Kicking" (1959) - Cyril Frankel
🎬 "Highpoint" (1982) - Peter Carter
🗓 November:
🎬 "Gladiator" (2000) - Ridley Scott
🎬 "How to Steal a Million" (1966) - William Wyler
🎬 "The Damned" (1962) - Joseph Losey
🎬 "The Wild Geese" (1978) - Andrew V. McLaglen
🎬 "Under Milk Wood" (1971) - Andrew Sinclair
🎬 "Deep Red" ("Profondo Rosso") (1975) - Dario Argento
🎬 "The Hunchback" (1997) - Peter Medak
🎬 "Unforgiven" (1992) - Clint Eastwood
🎬 "The Trap" (1966) - Sidney Hayers
🎬 "Absolution" (1978) - Anthony Page
🎬 "The Mouse That Roared" (1959) - Jack Arnold
🎬 "Carry On Up the Jungle" (1970) - Gerald Thomas
🎬 "Smashing Time" (1967) - Desmond Davis
🎬 "The Lion in Winter" (1968) - Anthony Harvey
🎬 "Assault In Paradise" (1977) - Richard Compton
🎬 "Circle of Two" (1981) - Jules Dassin
🎬 "Julie & Julia" (2009) - Nora Ephron
🎬 "What's New Pussycat?" (1965) - Clive Donner
🎬 "The Night of the Iguana" (1964) - John Huston
🎬 "The Spy Who Came in from the Cold" (1965) - Martin Ritt
🎬 "My Favorite Year" (1982) - Richard Benjamin
🎬 "Beat Girl" (1960) - Edmond T. Gréville
🎬 "The Debussy Film" (1965) - Ken Russell
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I’ve spent the last week documenting everything that happened during the Welcome to the Analog Neighborhood weekend (and catching up on all of the things I ignored while preparing for it!) Here are a bunch of the polaroids snapped for the AN(alog)STAGRAM wall. It’s funny trying to figure out ways to share the events without going all digital!
All in all, I had over 100 visitors over the weekend, 37 of whom checked in their phones to the Phonotel for at least an hour.
A big thank you to the 34 neighbors who hosted signs from the Narrative Delights in their windows, yards and porches, the 3 local writers (Erik Anderson, Michele Lombardo and Stephanie Bradford) who shared their work for the delights, and all of the neighbors who put out treats, made chalk masterpieces and suggested hidden delights and portals for the maps. Thanks to Mike who lent me his old pay phones, PACE artist Matty who’s work inspired the Palm Springs vibe and who let me keep his cacti for the weekend. Thanks to friend and neighbor Michelle Johnsen who photographed the whole weekend (and helped out when things got busier than I’d planned). Thanks to all the amazing volunteer bell hops and concierges: PACE manager Gabrielle Buzgo, Comprehensive Plan Committee member Kerry Sherrin Wright, Matt Johnson, Nicole Michels, Lina Seijo, Dennis Herbert, Lauren Snell and Sidney Brant. Thanks to the dedicated Cristian Toro Meza for interviewing everyone who checked in their phones, and for a lot of on-the-spot spanish/english interpretation. Thanks to PACE Artist Shauna and Vincent who did everything (including almost getting stuck in a portal to Nebraska!!) on the neighborhood map #1 and for marking it up and sharing their experience so vividly and delightfully with me! Thanks to PACE Artist Jose who came out despite having been up all night the night before directing a 24-hour play! There are many many more people to thank that I know I’m forgetting...
Some highlights:
- Meeting and connecting with artist Claudia Rojas who will be working on the CWS mural and her amazing family members visiting from Argentina and Mexico.
- Shauna finding LINDA despite having no idea who or what she was (she was a cut out of Linda from Bob’s Burgers that I see in one of my neighbors’ windows).
- Meeting Miguel and his daughter Izzy who stopped in not knowing anything about what was going on. She is an art student at L-S high school and had wanted to come into the city to see everything at Art Walk. Miguel, her dad, told me that he didn’t know anything about art but had wanted to support his daughter. While I talked to them and showed them around I saw the look in their eyes grow animated, their smiles grow, their easy laughs of surprise and delight as they looked through the Phonotel rooms, the neighborhood maps. Miguel was so kind, telling me that he would have never in a million years walked into a place like this, but now that he had, he felt like it had changed his life. They both reminded me exactly why I do this.
- A lobby full of people reading the paper, looking through art books, picking out records to play, chatting and getting to know each other
- a handful of letters written to a neighbor on Mary street: 6-year old George who lost his father to cancer earlier this year
- Seeing a 9-year old named Bea fall in love with the sound of the walkman’s tape rewinding and fast forwarding. She was obsessed with the materiality of the buttons and asked why phones don’t have those.
- Watching so many kids enchanted with all of the analog machines: the phones, the typewriter (I even witnessed all all out brawl between two young sisters fighting to use the typewriter!), the cameras, the books, etc
- A woman who stopped me a couple days ago at Zoetropolis to tell me how much the parade with Streetbeans meant to her, that she’d been having a particularly hard week and that when she heard the music outside her house, she ran out to see what was happening. She told me that the laughter, smiles, dancing and sounds gave her hope that everything was gonna be alright. We hugged and I cried a little. :)
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There saw I, whom their times did happy call,
Popes, emperors, and kings, but strangely grown
All naked now, all needy, beggars all.
Where is that wealth? Where are those honours gone?
Sceptres, and crowns, and robes, and purple dye,
And costly mitres, set with pearl and stone?
O wretch, who dost in mortal things affy!
(Yet who but doth?). And if in end they find
Themselves beguil'd, they find but right, say I.
What means this toil? O blind, O more than blind,
You all return to your great mother old,
And hardly leave your very names behind.
Petrarch, trans. Mary Sidney Herbert, Countess of Pembroke
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#Repost from Deborah Harkness FB page SHADOW OF NIGHT Read Along, chapters 16, 17, & 18 “The countess was the foremost woman of letters in the country, and Sir Philip Sidney’s sister. “I’m not ready for Mary Sidney.” “Nor is Mary Sidney ready for you, Mistress Roydon, but I suspect that Henry is right. You will soon grow tired of Matthew’s friends and need to seek your own. Without them you will be prone to idleness and melancholy.” SHADOW OF NIGHT “Personal history: Mary Sidney, Countess of Pembroke, wielded tremendous political and private influence in sixteenth-century London, especially for a woman who was not the queen. Mary was born into great privilege. Her father, Sir Henry Sidney, was a childhood companion of King Edward VI and a favorite of Queen Elizabeth; her brother, Philip Sidney, was an esteemed writer, and her mother, Mary Dudley Sidney, was a favored member of the queen’s court, a gentlewoman of Queen Elizabeth’s Privy Chamber. Mary received an excellent classical education, as well as training in the domestic arts of needlework and music. When Mary was thirteen, the queen invited her to court and later helped arrange her marriage at fifteen years old to Henry Herbert, the 2nd Earl of Pembroke and twenty-five years her senior. She had four children when she was still quite a young woman and quickly learned to manage her many households, as befitted an Elizabethan woman of her standing. Mary Sidney parlayed the advantages of her relations and education into avenues that extended well beyond her home and children, building her reputation as a writer and patron.” -THE WORLD OF ALL SOULS, pg 128-129 #SONRTR2022 #SONch16 #SONch17 #SONch18 #TheWorldofAllSouls Drawings of Mary Sidney and her lab by Colleen Madden, taken from THE WORLD OF ALL SOULS https://www.instagram.com/p/ClHHwSJoX6I/?igshid=NGJjMDIxMWI=
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Janet Wingate: How I Became an Oxfordian
January 19, 2021
Janet Wingate comes from Bermuda, but has been living in the Czech Republic since 1992 with her Czech husband and four children. She teaches English and is a silk painting artist.
When I read about how others became Oxfordians, I’m always surprised how people know so clearly. My experience was a slower evolution.
As an English literature graduate of Oxford University, of course I…
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#authorship question#Bob Meyers#Charlton Ogburn#Christopher Marlowe#Earl of Oxford#Edward de Vere#Francis Bacon#J. Thomas Looney#Janet Wingate#Mary Sidney Herbert#Robin Williams#Sweet Swan of Avon#Was Shakespeare a Woman#William Shakespeare
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I can not help you with a witch but I gladly offer you my friendship.
Amanda Hale as Mary Sidney, Countess of Pembroke
#tvfilmdaily#adowedit#a discovery of witches#mary sidney#mary herbert#i just want to see her in more things okay#romelzacarnes
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can’t believe mary sidney is a character in a discovery of witches. if there was any historical figure i simply refuse to watch be fictionalised for television it’s her
#fuck the aristocracy but that's the countess of pembroke to you sir#my academic life is like the do it for her meme with portraits of mary#also is the show pre-marriage or are they just calling her sidney instead of herbert because her brother was more famous#because that is a Pet Peeve of mine
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Mary Herbert, née Sidney, Countess of Pembroke (27 October 1561 - 25 September 1621)
#mary sidney#mary herbert#countess of pembroke#daughter of sir henry sidney#wife of henry herbert 2nd earl of pembroke#history#women in history#art
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“Lady,” quoth I, “your words most sweetly kind
Have easy made whatever erst I bare,
But what is left of you to live behind.
Therefore to know this [is] my only care,
If slow or swift shall come our meeting-day.”
She parting said, “As my conjectures are,
Thou without me long time on earth shalt stay.”
the final lines of petrarch’s triumph of death in a translation by mary sidney herbert, countess of pembroke (ca. 1600)
– Quant’io soffersi mai, soave e leve––
dissi––m’ha fatto il parlar dolce e pio;
ma ’l viver senza voi m’è duro e greve.
Però saper vorrei, madonna, s’io
son per tardi seguirvi, o se per tempo.
Ella, già mossa, disse: – Al creder mio,
tu starai in terra senza me gran tempo.
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