Chaucer observes Fame as she metes out fame and infamy to groups of people who arrive, whether or not they deserve or want it. After each of Fame's judgments, the god of the north winds, Aeolus, blows one of two trumpets: "Clear Laud" to give the petitioners fame or "Slander" to give the petitioners infamy. At one point, a man who is most likely Herostratus asks for infamy, which Fame grants to him. 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 turning point for Mrs. Pankhurst came when Lloyd George, on behalf of the British government, asked her to organize a massive demonstration in favor of employing women in the factories and other crucial areas of war work. This was the very man who had helped thwart so many of her suffrage campaigns, and it pained her to oblige him—but she did. Thus began an extraordinary alliance between former opponents who tacitly understood that the price of Mrs. Pankhurst’s cooperation would be Lloyd George’s postwar support for enfranchising women. No one close to or sympathetic toward Mrs. Pankhurst doubted the power she still commanded. As one of her loyal followers told Jill Craigie in 1943, the WSPU slogan during the war became “We have buried the hatchet, but we know where to findit.” Sober Advice From Horace, To The Young Gentlemen about Town. As deliver'd in his Second Sermon (London: Printed for T. Boreman, 1734); republished as A Sermon against Adultery (London: Printed for T. Cooper, 1738). The tale of Herostratus is directly referenced in two songs from the If These Trees Could Talk album Above the Earth, Below the Sky (2009).

Appearing to do things like Chaucer is indeed one of the ways Lydgate may be able to “get away” with artistic choices he would otherwise need to justify. 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 Of The Use of Riches, An Epistle To the Right Honorable Allen Lord Bathurst (London: Printed by J. Wright for Lawton Gilliver, 1732). Spearing, Medieval Dream-Poetry, p. 173, argues that Lydgate takes up such details because he is “interested in such things simply for their own sake, as a magpie is attracted by anything shiny.” Yet comparable images of mutability, fragility, and flux have an important place in The Temple of Glas, as befits a poem about shifting loyalties and erotic passions (especially if they are unsanctioned).Statues, inscriptions, and even paintings, history and mythology, and a variety of devices have been introduced [into gardens]. . . . All these devices are rather emblematical than expressive; they may be ingenious contrivances, and recall absent ideas to the recollection; but they make no immediate impression, for they must be examined, compared, perhaps explained, before the whole design of them is well understood; and though an allusion to a favourite or well-known subject of history, of poetry, or of tradition, may now and then animate or dignify a scene, yet as the subject does not naturally belong to a garden, the allusion should not be principle; it should seem to have been suggested by the scene: a transitory image, which irrestibly occurred; not sought for, not laboured; and have the force of a metaphor, free from the detail of an allegory." The First Book of Statius his Thebais in Miscellaneous Poems and Translations. By Several Hands (London: Printed for Bernard Lintott, 1712).

Walhalla was inspired by Valhöll (in English usually Valhalla), the hall of the slain where heroes who had died in battle would join the god Odin according to Norse mythology. However, in the modern Walhalla, inductees need neither be military heroes nor have died in battle.Walhalla is open daily. From April to September opening hours are 9 am to 5:45 pm, in October from 9 am to 4:45, and from November to March from 10 am to 11:45 am and 1 pm to 3:45 pm. Schmitz, Pope's Windsor Forest: 1712: A Study of the Washington University Holograph (St. Louis: Washington University Press, 1952). For an intelligent discussion of looking and longing in other poems besides The Temple of Glas, see Spearing’s Medieval Poet as Voyeur.

Architectural Conservation student Anushka Desouza says: “It’s brilliant to get a hands-on experience of things that we are learning in class.” Pope is also remembered as the first full-time professional English writer, having supported himself largely on subscription fees for his popular translations of Homer and his edition of the works of William Shakespeare. Although a major cultural figure of the 18th century, Pope fell out of favor in the Romantic era as the Neoclassical appetite for form was replaced by a vogue for sincerity and authenticity. Interest in his poetry was revived in the early 20th century. He is recognized as a great formal master, an eloquent expositor of the spirit of his age, and a representative of the culture and politics of the Enlightenment. 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 ConservationThe dreamer goes on to report that the sanctuary of the temple is crowded with thou­sands of people who have come to present appeals to Venus (lines 143–246). Here the poem comes to resemble other near-contemporary love allegories, such as The Assembly of Ladies and Kingis Quair, which feature courts of love where pleas are presented and adjudicated. 22 The diverse amatory predicaments of the lovers mirror the sorrowful conditions depicted on the walls (i.e., unrequited love, jealousy, duplicity, absence, abandonment, the incompa­tibility of youth and age, the interference of parents), though some lovers face the further and perhaps “present-day” impediments of forced religious celibacy and arranged mar­riages. One does not have to read far into The Temple of Glas, then, to realize that the poem is a frank exposé of the refractory desires which lurk behind the masks of social propriety and conscience, even escaping the most cherished legal and moral bonds. The antithesis be­tween spontaneous sexual passion and imposed social controls, or between desire and duty, begins to emerge as another preoccupation of Lydgate’s The Temple of Glas. 23 And it is one more sign of the poet’s concern with what lies under surfaces and simulacra. Alexander Pope (1688–1744). Complete Poetical Works. 1903. Paraphrases from Chaucer The Temple of Fame 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. John Lydgate (c. 1371–1449) composed The Temple of Glas in the first quarter of the fifteenth century, though it is not certain for whom or what occasion, if any, the dream vision was written. Chaucer’s House of Fame, written just around the time Lydgate was born, is usually recognized as one of the most important literary sources of inspiration for Lydgate. However, Lydgate does not consistently follow any single source or analogue but rather, in the style of a highly educated and capable medieval poet, absorbs and adapts materials from a cosmopolitan literary tradition to invent something new and enigmatic.

The views of the Danube Valley from the monument are for free. Visitors with children should note that the classical lines of the building are not spoilt by safety railings. R. H. Griffith, Alexander Pope: A Bibliography, 2 volumes (Austin: University of Texas Press, 1922, 1927). Brean Hammond, Pope and Bolingbroke: A Study of Friendship and Influence (Columbia: University of Missouri Press, 1984). Many authors from 16th- and 17th-century Spain refer to Herostratus to represent someone who will do anything to gain notoriety. He is discussed in Chapter 8 of the second part of Miguel de Cervantes' Don Quixote (1615), [15] along with Julius Caesar and Hernán Cortés. Don García, the protagonist of Ruiz de Alarcón's La verdad sospechosa ( Suspect Truth), compares his feats to the ancient character. [16]

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The first book begins when, on the night of the tenth of December, Chaucer has a dream in which he is inside a temple made of glass, filled with beautiful art and shows of wealth. After seeing an image of Venus, Vulcan, and Cupid, he deduces that it is a temple to Venus. Chaucer explores the temple until he finds a brass tablet recounting the Aeneid. John M. Aden, Pope's Once and Future Kings: Satire and Politics in the Early Career (Knoxville: University of Tennessee Press, 1978). Chaucer then writes an invocation to the god of sleep asking that none, whether out of ignorance or spite, misjudge the meaning of his dream. Earl R. Wasserman, Pope's Epistle to Bathurst: A Critical Reading with an Edition of the Manuscripts (Baltimore: Johns Hopkins University Press, 1960). The Prose Works of Alexander Pope: The Major Works, 1725-1744, edited by Rosemary Cowler (Hamden, Conn.: Archon, 1986).