The Temple Of Fame: A Vision

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In his 6 October 1939 speech to the Berlin Reichstag, Adolf Hitler made a reference to Herostratus, making a contemporary comparison: "It is clear to me that there is a certain Jewish international capitalism and journalism that has no feeling at all in common with the people whose interests they pretend to represent, but who, like Herostratus of old, regard incendiarism as the greatest success of their lives." [18] Certainly the suffragettes aroused a hostile press and public when they stepped up their campaign of destruction against private property. But no loss of life and virtually no human injury occurred because of suffragette activism, except for the excruciating pain they themselves suffered in prison during hunger strikes when their noses and throats and rectums were brutally violated by the forcible feeding tubes, often causing internal injuries leading to permanent disabilities anddeaths. Transportation to Walhalla from the UNESCO-listed old town of Regensburg is easy with good bus connections as well as half-day excursions on Danube River pleasure boats. Walhalla is close to the autobahn A3 making it a great stop when traveling in the Danube Valley in Eastern Bavaria between Passau and Nuremberg (Nürnberg). Sir John Paston demanded his copy in a hurry in 1461/2 when he was wooing Anne Haute; he probably wanted it, just as Slender wanted his “Book of Songs and Sonnets,” to woo another Mistress Anne. 13 Chaucer goes into much further detail during the story of Aeneas' betrayal of Dido, after which he lists other women in Greek mythology who were betrayed by their lovers, which led to their deaths. He gives examples of the stories of Demophon of Athens and Phyllis, Achilles and Breseyda, Paris and Aenone, Jason and Hypsipyle, and later Medea, Hercules and Dyanira, and finally Theseus and Ariadne. This prefigures his interest in wronged women in The Legend of Good Women, written in the mid-1380s, which depicts various women of Greek mythology, including Dido, Medea, and Ariadne.

See Pearsall, John Lydgate (1970), pp. 39–40, who notes that some figures (e.g., Theseus and Canacee and her brother) appear in the list for reasons that have nothing to do with love. Benson, general editor, Larry D. (1987). The Riverside Chaucer (3rded.). Boston, Mass.: Houghton Mifflin Co. ISBN 0395290317. {{ cite book}}: |first1= has generic name ( help) CS1 maint: multiple names: authors list ( link) Earl R. Wasserman, Pope's Epistle to Bathurst: A Critical Reading with an Edition of the Manuscripts (Baltimore: Johns Hopkins University Press, 1960). Smith, William, ed. (1867). "Herostratus". Dictionary of Greek and Roman Biography and Mythology. Vol.II. Boston: Little, Brown and Company. p.439.Why might Lydgate come at the topic in this indirect manner? He may have polarized the issue between social constraint and individual consent to make it palatable. The antithetical frame of mind is something for which the poet has been criticized by Pearsall, John Lydgate (1970), pp. 110–15, but it allows him some immunity by stirring up pathos for ideas that would otherwise be too easy to dis­countenance. The Works of Alexander Pope, edited by Whitwell Elwin and W. J. Courthope, 10 volumes (London: Murray, 1871-1889). Fame has no necessary conjunction with praise: it may exist without the breath of a word: it is a recognition of excellence which must be felt but need not be spoken. Even the envious must feel it: feel it, and hate it in silence.

Much of the original painting was also carried out by a team of decorators, and during the current restoration many signatures of those original decorators have been found throughout the paintings. MSc Architectural Conservation

Compare Torti, Glass of Form, pp. 81–82; Davidoff, Beginning Well, p. 141. An older view has it that the dreamer is “merely an observer” before whom a dream unfolds without involving him in interesting (i.e., Chaucerian) ways; see Spearing, Medieval Dream-Poetry, p. 174. Flower, Michael Attyah (1997). Theopompus of Chios: History and Rhetoric in the Fourth Century BC. Oxford: Clarendon Press. p. 78. ISBN 978-0-19-815243-9. For example, Schirmer, John Lydgate, p. 38, criticizes the poet for being “imitative” and “remote from life in his archaic book-knowledge and predilection for rhetoric.” Norton-Smith, “Lydgate’s Changes,” p. 177, says the “borrowings of time and place illustrate Lydgate’s characteristic stripping away of Chaucerian complexity, especially of allegory.” For Spearing, Medieval Dream-Poetry, p. 173, the poem indicates Lydgate’s “failure to grasp what is really happening in fourteenth-century dream-poems.” And Russell, English Dream Vision, pp. 199–201, agrees that Lydgate pays homage to his elder without coming close to rivaling his achievements. New approaches to Lydgate do not find much use for these tired truisms, and Edwards, “Lydgate Scholarship,” confirms that actually they have long been suspect. Simpson, Oxford English Literary History, p. 50, offers a salutary corrective: “almost none of Lydgate’s works is directly imitative of Chaucer: those poems that do relate to Chaucer’s do so with more powerful strategies in mind than slavish imitation.” Critics usually assume adultery or marriage; the notion of a clandestine marriage was put forward by Kelly, Love and Marriage, pp. 291–93, and is accepted by Tinkle, Medieval Venuses and Cupids, pp. 154–59. Alexander Pope (1688–1744). Complete Poetical Works. 1903. Paraphrases from Chaucer The Temple of Fame

The poet registers some uncertainty himself about the nature of the dream and requires “leiser” to “expoune my forseid visioun, / And tel in plein the significaunce, / . . . So that herafter my lady may it loke” (lines 1388–92). Davidoff suggests the import of the dream has been fulfilled already in the poet’s desire to communicate with the lady: by writing to her he is putting into practice Venus’ advice to the male protagonist: “For specheles nothing maist thou spede” (line 905). 44 But if so, the speech he has chosen to make (i.e., the poem) is encrypted. In the concluding lines, in a variation on a favorite Chaucerian envoy, the poet sends off his work to an unnamed beloved, “I mene that benygne and goodli of hir face” (line 1402), em­ploying words used earlier by the man inside the dream to describe the lady. The poem invites us to make such connections, however tenuous, between the vision and the framing fiction, as is typical of Middle English dream visions. They are not as a rule mere flights of fancy: “the dream world is not to be thought of as wholly different from waking experience, but in some measure a different account of it, although the connections are not always im­mediately obvious.” 45 Indeed so much remains unknown. There has been no other woman like Emmeline Pankhurst,” reminisced Rebecca West in 1933, five years after the death of England’s most famoussuffragette: Thomas R. Edwards, This Dark Estate: A Reading of Pope (Berkeley: University of California Press, 1963).The Duke of Wellington brought to the post of first minister immortal fame; a quality of success which would almost seem to include all others. The Elysian Fields present a much more ambitious scheme of associations; they require a visitor to compare ancient virtue with its modern counterpart . . . to register the political significance of the British Worthies, which in turn required noticing that a line was missing from a Virgilian quotation, and to appreciate that the Temple of Ancient Virtue called to mind the Roman Temple of Vesta . . . at Tivoli, and the Temple of British Worthies some other modern Italian examples.