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Spanish postcard. Lyda Borelli in Oscar Wilde's play Salome. Photo by Amadeo, Pelayo 62, Barcelona. In May 1912 Borelli performed at the Teatro Català in Barcelona in the play Salome by Wilde. This photo may have been taken then.
Lyda Borelli (1887-1959) was already an acclaimed stage actress before she became the first diva of the Italian silent cinema. The fascinating film star caused a craze among female fans called 'Borellismo'.
Ƹ̵̡Ӝ̵̨̄Ʒ Most people are other people.Their thoughts are someone else's opinions, their lives a mimicry, their passions a quotation.
~Oscar Wilde
~ David Sylvian When Poets Dreamed Of Angels ♪♫♪ ~
~ textures from dear pareeerica ~
Sculpture of Constance, Wife of Oscar Wilde (the Importance of Being Ernest & Dorian Gray) - you can find it in Merrion Square Park, Dublin. Interestingly, she married Wilde in 1884 and he was imprisoned for homosexual acts in 1895.
The study below was derived from facts uncovered while doing research
for the following Doctoral dissertation:
Light to the shadows of their mind:
Criminal tactics and strategies
Criminology Department Dept.
Chatwick University
**************************** Story ***************************
A full moon peeks through the heavy fall clouds, its rays transcending down and bathing in a soft light, the over grown, untended, remains of what once had been a proper English garden. Its soft rays catch the old moss roses, lilacs, and various other old growth flowers, their once still vibrant colours faded now that the fall is approaching.
But something still is vibrant here, brightly flashing a colourful fire as it moves along an old flagstone path.
Two feminine figures in fancy dress move guardedly along the path, gown and jewels are the source of the added fiery colours now caught by the full harvest moon’s rays. The rustle of satin is heard as a long, slinky gown sweeps along the leaf littered flagstone path at the spiked heels of its owners feet. Soft voices carry in murmurs as they walk, breaking up what, until a few minutes, ago had been the hushed silence brought upon by the notice of the pair by the gardens inhabitants.
The twosome finally reaches an old garden shed, its weather-beaten door half ajar, broken remnants of glass still hang in its front window; some ancient, rusty tools still lay up along its side wall. As they stand there the younger one suddenly jumps, giving a little gasp. What is it dear? her companion asks sweetly. She looks into her companions’ deep mesmerizing brown eyes, someone is moving along that path over there, on the other side of the pond. Mother said that no one should be outdoors on this side of town, she add, worry now creeping up on her. The older woman turns her head abruptly, I see him, you had better wait her, and I’ll make sure that whoever it is will not bother us.
A cop on his beat is seen walking along the outer path that lines the old garden leading to the manor house at the opposite end of what is now an inner city block. He jumps a little as a figure steps out of the mist that has now started to spread from a small pond the he is walking by.
Mae looks back at the garden shed that now sits back in the woods a little ways; her youthful companion’s colourful gown is vibrant against the faded walls of the shed. She turns away and looks at the copper walking towards her, unaware as of yet that he is no longer alone. Mae walks out of the mist and onto the sidewalk, noticing with satisfaction that she has startled him. She approaches and walks past the stern copper, as she does Mae tosses his way the sorta glance that she knew would pique the coppers natural distrust, making him turn to follow and see what mischief was going on!
Her long hair streaming down her back, creating a halo in the moonlit garden, her shimmering long jeweled earrings sway gently, watches as her companion walk up to the figure on the path. She is suddenly self-aware of how she is dressed, and how vulnerable they are out here alone, away from the bright lights and safety of the manor they had left some ten minutes ago. She hopes the figure isn’t someone nasty who will harm her friend. Her back is to the old door of the shed. The clouds again cover the moon. The young girl shivers, though it really is not that cold out. Suddenly a quick shadow emerges, a hand is clasped over her mouth, another grabs her by her silky waist, and she is pulled struggling into the darkness of the shed, vanishing from sight like the moon above her. Gradually the night voices of the garden return, chirping, hooting, and such. But as for the garden shed, sounds are no longer heard from within…..
What Led to This?
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It had been the boys who had first spotted the ladies in colorfully long shiny gowns. Those gowns fluidly rustling along shapely figures crossing the street leading to ornate front doors of the old Hampton East club Mansion. But it had been their “sparklers” the glittering jewelry the ladies all seemed to be temptingly showing off, that had made their mouths wolfishly drool.
But, what they had seen when stealing peeks through slits in a velvet curtained window, had made them run to find Mae. They then breathlessly babbled on about the halfcocked, half-baked scheme they had dreamed up. “Even the young’uns had jools” they had excitedly told Mae. She figured that most of it was probably paste, who wears anything of value on the eastside she thought to herself. But just a glimmer of a possibility began to take seed, as she maternally continued to listen to the excited pair.
Mae decided to humor the pair of excitable petty thieves, she owed them some favors anyway, and Mae hated leaving a debt unpaid. Besides, business had been slow lately; it seemed that no one well to do these days need their fortune read. So, for no rhythm or reason other than to see what all the chatter had been about, Mae crashed the upscale event. She slipped inside through the large matching oak doors, without even a second glance from the pensioner guard wearing a loose uniform “manning” the entrance.
Mae was amazed, even she could not have predicted the marvelous displays of wealth, so tantalizingly close, and yet seemingly so far out of reach. Even the dangling “jools” worn with careless abandon by the “Young’uns” mostly 18 through 20 year olds, with a few 16 and 17 year olds peppered in among the multitude of guests, appeared to be the real McCoy!
Mae was also surprised that she had been able to get this far, and so had not even begun to think of ways to profit from the situation. A condition that was going to have to be quickly rectified Mae told herself. Itching to somehow lay her greedy hands on some of the expensive jewels she observed being beckoningly worn by the female guests in attendance. Like the royal appearing lady she was just now walking past. She was in an elegantly flowing purple gown, dripping in gems, especially the small diamonds that were glistening on the thin tiara that held up the rich girl’s luxuriantly long hair.
All in all, Mae was glad she had positioned the boys to wait in the old garden shed, promising it would be worth their while. Mainly Mae had wanted to keep them out of mischief, too avoid having them upset her apple cart, and it appeared to have been a canny move on her part, as she surveyed a young lady with a long flowing mane of hair sweeping by, causing Mae to perk up with interest.
So, it was still with no real purpose in mind yet, that Mae had started to shadow the fetchingly gowned young lady of about nineteen who was timidly working her way , weaving in and out amongst the groups of happily chatting guests. Mae’s desire was a closer scrutiny of the prettily dressed young girl’s savory fiery ruby jewelry, so enticingly slippery upon her sweat glistened figure.
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Mae had always been attracted to rubies ever since a poshly dressed young mother had wandered into the carnival sideshow that Mae had been working some years prior. Mae had been the first to try for a share of the young Mother’s dazzling jewelry after spying her predicament from the interior of her tent.
The obviously well-to-do young Mother had been unwisely left alone to tend to a colicky baby. Mae had forced herself on the wretched Mother, using the pretense of giving a helping hand. Unscrupulously, Mae had seized the opportunity to check along the young Mother’s thick satiny clothes for any valuables.
Passing up on a temptingly lovely, lengthy dangling pendent, Mae’s fingers instead whisked down along the slick long sleeve of the young mother’s arm, as all her attention was being given to the thrashing infant. Passing over a thick braided gold bracelet, Mae’s fingers darted to the young ladies’ left ring finger.
The harried Mother struggled to keep a tight hold on the silken clad infant squirming in her mother’s satin covered arms. As the thrashing child bawled, the mother, finding herself being handicapped by the long sleeved slippery satin blouse she wearing was unable to really pay attention to anything else going on around her. Therefore, Mae was easily able to slip off the invitingly large ruby and diamond engagement ring from the mother’s ring finger, conveniently tear moistened from the squealing infants sobbing.
Ring in hand, Mae then finally listened to the mother’s pleas she didn’t need any help, quit caressing down her tingling attire, and retreated to the dark depths of her tent to watch the rest of the drama unfold.
By the time the young mother had gotten her squalling infant daughter to sleep she had fended off about a dozen additional hands offering to help. Mae had watched with professional interest as some of those hands had cunningly been searching the young lady for anything of value…
Mae observed that the distracted mother’s pendent had been nicked next, easily unclasped and slipped away from the ruffled throat of her glossy blouse! Then, as the mother was bent over the baby’s stroller, her long dangling earrings (the pair!) had been whisked away from out of her long mane of straight hair. Soon followed in quick session by the jeweled pin from her satin ascot, her wrists thick braided gold bracelet, a gold pinky ring, and the contents of her velvet purse. Even the mahogany rattle, and silver pacifier had been plucked from the now sleeping infants hand and mouth as her mother’s shiny back had been turned while searching about for the her babies vanished ermine blanket. All in all a very masterful and complete plucking of the erstwhile pretty hen and her downy chick, Mae thought smugly, for nothing else had been as grand as the ruby ring that Mae had slipped off first.
Now, there were still occasions where Mae dared to wear the magnificent ring, but tonight, had decidedly not been one of those occasions.
(Editor’s note:
The incident Mae instigated at the Carnival was not an original part of her story line
It was actually lifted by our author based upon similar experiences of one Lady Eileen St’D , Surry 1910)
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Mae plotted a way to at least grab this girl’s attention for a closer look, and so she moved in such a fashion to make it a possibility. At the same time the nineteen year old turned her head away, her long hair swirling to behind her back as someone called out a name. Mae broke off her approach and stood nearby, filing away the girls name for future reference. (It had always amazed Mae that just knowing a person’s name could break down barriers and inspire confidence when a stranger used it. ) Mae watched as an older model of the young girl approached, dressed in a glossy satin gown of mint green and laden with shimmering emerald encrusted jewels. She stuck a finger under the girls nose. Mae followed it, the gold ring she was wearing of a serpent encircling her finger with bright emerald eyes, mystifying her.
The lady lectured her daughter on wandering off , especially when it was only her and her Auntie there to watch her. Mae saw the mothers eyes travel towards the regal lady in the purple gown and tiara. Losing interest Mae wandered off, not caring to hear the rest. She knew a blind alley when she saw one. She paused; she also recognized other quarry when she saw it… A lady wearing a flowing gown of red silk was standing off to one side. Shy and uncomfortable, she was the epitome of a Wall-flower, one who attracted little or no attention, or luck, unless it was of the unfortunately bad kind. One who Mae knew she would have to meet.
Mae walked up to her, and began a conversation. It started out uncomfortably, but Mae soon won her over, enchanting the edgy lady enough so that she actually, with a little hesitation, allowed Mae to pick up her palm: believing it was with the the intention of reading her fortune. As the girl was told that fortune, the mousey miss was totally caught under the enchantment of Mae’s eyes and sing-song way of speaking. Mae could see that she had captured the girl’s imagination as she wove her fortune telling around her like a spider would weave its silky web. Then, with delight, Mae saw a special gleam in the girl’s eyes that she knew all too well. A look she had seen before in previous clients, one that told her they were no longer completely caring of what was going on around them.
Mae ever so slightly tightens her grip on the palm she held. Than, with baited breath, Mae began to work a jeweled ring over the knuckle of a warm slender finger , her practiced eye watching the girls face for any sign that she was catching on to what Mae was up to! Mae smiled broadly as she had a habit of doing when one of her wicked schemes was coming to fruitation. The girl smiled impishly in response, totally misinterpreting what that smile stood for. Never in her wildest dreams would she have guessed what this nice lady: with the deep black eyes from which she could not pull away from, who was so pleasantly stroking her palms while telling her fortune so enjoyably, was smiling about! Nor did she have the slightest of inklings that her Grandmother’s pretty ring was going to vanish!
Mae suddenly felt a noticeable vibe wash over her, and she chanced a look around her. Along a back wall was a row of palm trees, in-between them were a series of small stone benches. A solo figure was walking along them, a slinky, long soft gown, fell flowing down to her feet. The figure of the girl whose name Mae now knew. Mae turned her full attention back to the task at hand, easily maneuvering her captive audience so that the wall was now in her full view. Over a silken shoulder Mae watched as the young miss made her slinky way into a powder room, disappearing with a muted swishing of her gown. . Suddenly Mae had an epiphany, realizing exactly how to ensnare the pretty little miss into her web, at the center of which dangled the old garden shed where there were debts to be paid!
Mae finished her “business” with the shy wall-flower, convincing her to go one her way now that her fortunes were assured to be taking a turn for the “better.” She moved off happily enough, glad that she had met the charming stranger, falling for Mae’s story hook, line and ring less finger!
Keeping an eye on the retreating lady as she swept away, Mae headed towards a stone bench that sat near the back exit leading to the old garden, a stone bench that was in a direct line to the approach that the young miss should be taking on her journey back from the powder room. Mae waited, and when she saw her victim open the door, she buried her hands in her face and acted like she was sobbing, all the while watching the girls approach through a crack made by her fingers.
The girl stopped, You okay Ma’am, she asked with genuine, childishly innocent, concern ( as Mae had predicted), Mae jumped like she had not noticed the girl, and looking up into her face, she called the girl by name, starting to spin a new web of deceit. The young miss offered Mae her embroidered silk handkerchief, which she gladly accepted, holding the girls well ringed fingers for a second showing her gratification. While “drying”her eyes, Mae went into her story full throttle; she knew there would not be much time.
The young miss, nervously looked around, as she played with her shiny necklace, holding it with slender ringed fingers , as she innocently listened to the captivating dark haired stranger. Mae, for a second blinded as the diamonds and rubies flashed in the light, smiled inwardly. Overly pretty teenage girls were so naïve and easy to manipulate, she thought, while weaving another , totally different type of story, then the one she had fed the flowing red silked wall flower.
Mae accurately interpreted the reveries of the young miss now in Mae’s clutches. Now under different circumstances the tale that Mae fed the girl would have not gotten her anywhere. But the fact Mae knew the girls name, knew how to make use of the exchange she had witnessewd between the girl and her mother, and also possessed some knowledge of what attracts a young ladies fancy, the circumstances worked wonderfully in her favor. Then, add in Mae’s fortune telling abilities, and the poor, beautifully adorned soul never stood a chance
Mae hit her with all the talent of a quick change artist. And soon Mae was had lured the girl into following her out the exit and walk with her out into the darkened garden. It happened quite literally before the young thing could catch her breath, or clearly think things through. She had totally fallen for the fortune teller’s fairy tale, and now believed she was aiding this lady in distress, as she believed Mae to be. The young miss, more than a little bewildered, walked obediently alongside Mae, under her dark spell, as they made their way ever closer to a seemingly quiet old garden shed.
Mae looked at the girl now walking next to her, innocently unaware of the fact that she had been led out here for one reason only. Totally oblivious to the fact that she now presented nothing more than to the seemingly sweet lady walking next to her than the value of her expensively flowing gown, the bright jewels she was wearing, and the contents of the small purse dangling by her side. Mae smiled to herself, knowing that in the greenhouse her two muggers would miss nothing, the young girls jewels, , fat silken purse, even the gown would all fetch a sweet price when peddled.
It was when they had reached that shed, that Mae’s captive companion had spotted the figure walking along the path by the pond. A figure that Mae knew she would m have to take care of, else risk having her carefully wrought plan fall to pieces…
Led to This:
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Mae looked back and smiled smugly at the copper hot on her heels. Someone is going to be in trouble for leaving his post she thought. Just a couple more blocks should give them enough time in the greenhouse, and then Mae would easily give this flatfoot the slip. Mae’s mind went deliciously back to what should now be happening to the luckless lady in the long shiny gown, and how much Mae’s cut of the take would amount to. It was too bad she would miss the boys at work; Mae did so enjoy watching a good mugging.
As Mae happily led the harness bull away from the garden she marveled over her good fortune, wondering over how things had worked to her benefit. As she did she found herself walking along a block populated with small pubs. At the end of which lay an alley which Mae was going to use as passage to slip away from the copper. By then he would then be safely away from the old gardens. Mae would than circle back. She knew the boys would be finishing their job, but she did not want them to leave without her. She was going to take personal possession of the girls most valuable items. There was no way she was going to trust the two nimble headed crooks with not being cheated out of a fair price for the girl’s jewels.
It was as she reached the alleyway and looked back that she realized the copper was no longer tailing her. She swore to herself, what had happened? She cautiously backtracked, looking into the windows of the pubs as she passed. She stopped at one she knew, one appropriately, in Mae’s mind, named the Hook and Fiddle. It was their that she spotted her lost cop, cradling a beer, and sitting next to tall man at a back table.
Mae headed back on her way. She indistinctively knew that the copper would be occupied for a while. Mainly because she knew the cut of man he was sitting next to. Renauld, a man whose hands touched everything from the rackets, extortion, blackmail, down to trafficking and kidnapping, Renauld, to whom Mae owed some personal favors.
As Mae reached the sidewalk where she had first met the copper, she hastened her step. It would not be long before the girl’s bejeweled mother would be noticing her daughter’s absence…… Mae suddenly stopped, freezing in her tracks. A slow grin spread across her appealing face.
The epiphany that had made Mae stop to think contained the seed of a plan, that was in her opinion, brilliant. The mother should have noticed her daughters absence, and what if someone ,Mae, were to find the wealthy , overbearing lady, as she searched and helpfully divulged to her just what her daughter had been up to. Sneaking off into the garden with a young man, of all the nerve…why I would bet the pair of them is inside the old garden shed in the back snogging away as we speak.
Mae, with a quick stop over at the shed to check on things, hurried back to the manor. And best of all she thought, licking her lips in savoring anticipation as she fine-tuned the story she would use, best of all…, Ladies of that ilk always travel in pairs…
40 minutes later:
Three shadowy figures emerge from an old dilapidated garden shed. Two run off carrying small bundles under their arms. A third follows, taking a look back inside, closes the door and walks almost serenely off in the opposite direction. Something glistens from a finger as the moon once again peeks cautiously from the dark clouds overhead.
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Addendum est
In a smoke filled pub that he owns, a man, wicked, is puffing on a long black cigar. He is seated alone at the back table where he has been holding court that late evening.
The door opens and a female enters. Looking neither left nor right she heads directly to the man’s table.
Wotcher, he says, with perhaps a trace of compassion in an otherwise traditionally unemotionally stern deep voice. He spots the ring she is wearing, a gold serpent enter twined around her finger, its arrow shaped head home to a pair of flickering green emerald eyes.
What fresh wickedness have you been up to this evening he asks her expectantly? Adding, even you shouldn’t be sporting something like that around this area.
Mae meets his gaze, knowing full well she had taken a risk wearing the ring. But she knew that she had to make use of it to gain Renauld’s interest quickly, If game, he would not have much time…..
For if Renauld took the bait, not only would Mae be squared with Renauld, but also probably now be in his debt. For as much a Mae loathed to be in debt to someone, she loved to be owed one……
Courtesy of Chatwick University Archives
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This was a fun set of shots. and easier than expected, but I can see that like the wine glass shots there's plenty of potential.
One of the big faults here is the colour of our morning room table, comicaly similar colour to the flakes that I was capturing, but it was the only table that was in any fit state.
That problem is kind of fixed in comments, pouring sunshine flakes in a B+W image.
The falling flakes in the third shot are from a bowl rather than the box, I have a really nice frozen dynamic shot (IMHO), but without milk, maybe a candidate for another B-sides upload...
Milk and flakes were shot seperatly to make things more straightforward, and the wall behind and the far table have been further blured to keep focus.
Camera set to give a reasonably shallow dof to blur beyond bowl.
Lighting off camera 580exII with reflector, hi speed flash, freezing motion of falling flakes and milk.
Macro Mondays shot theme : Oscar Wilde quotes
An Ideal Husband is an 1895 comedic stage play by Oscar Wilde which revolves around blackmail and political corruption, and touches on the themes of public and private honour. The action is set in London, in "the present", and takes place over the course of twenty-four hours. "Sooner or later," Wilde notes, "we shall all have to pay for what we do." But he adds that, "No one should be entirely judged by their past." Together with The Importance of Being Earnest, it is often considered Wilde's dramatic masterpiece. After Earnest it is his most popularly produced play.[1]
Background
In the summer of 1893, Oscar Wilde began writing An Ideal Husband, and he completed it later that winter. His work began at Goring-on-Thames, after which he named the character Lord Goring, and concluded at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern. The play gave the Haymarket the success it desperately needed.
After opening on 3 January 1895, it continued for 124 performances. In April of that year, Wilde was arrested for 'gross indecency' and his name was publicly taken off the play. On 6 April, soon after Wilde's arrest, the play moved to the Criterion Theatre where it ran from 13–27 April. The play was published in 1899, although Wilde was not listed as the author. This published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.
Themes
Many of the themes of An Ideal Husband were influenced by the situation Oscar Wilde found himself in during the early 1890s. Stressing the need to be forgiven of past sins, and the irrationality of ruining lives of great value to society because of people's hypocritical reactions to those sins, Wilde may have been speaking to his own situation, and his own fears regarding his affair (still secret).[2] Other themes include the position of women in society. In a climactic moment Gertrude Chiltern "learns her lesson" and repeats LORD GORING's advice "A man's life is of more value than a woman's." Often criticized by contemporary theatre analyzers as overt sexism, the idea being expressed in the monologue is that women, despite serving as the source of morality in Victorian era marriages, should be less judgemental of their husband's mistakes because of complexities surrounding the balance that husbands of that era had to keep between their domestic and their worldly obligations.[3][4] Further, the script plays against both sides of feminism/sexism as, for example, Lord Caversham, exclaims near the end that Mabel displays "a good deal of common sense" after concluding earlier that "Common sense is the privilege of our sex."
A third theme expresses anti-upper class sentiments. Lady Basildon, and Lady Markby are consistently portrayed as absurdly two-faced, saying one thing one moment, then turning around to say the exact opposite (to great comic effect) to someone else. The overall portrayal of the upper class in England displays an attitude of hypocrisy and strict observance of silly rules.[4]
Dramatis Personae
The Earl of Caversham, K.G.
Lord Goring, his son. His Christian name is Arthur.
Sir Robert Chiltern, Bart., Under-Secretary for Foreign Affairs
Vicomte De Nanjac, Attaché at the French Embassy In London
Mr. Montford, secretary to Sir Robert
Mason, butler to Sir Robert Chiltern
Phipps, butler to Lord Goring
James, footman to the Chilterns
Harold, footman to the Chilterns
Lady Chiltern, wife to Sir Robert Chiltern
Lady Markby, a friend of the Chilterns'
The Countess of Basildon, a friend of the Chilterns'
Mrs. Marchmont, a friend of the Chilterns'
Miss Mabel Chiltern, Sir Robert Chiltern's sister
Mrs. Cheveley, blackmailer, Lady Chiltern's former schoolmate
Plot
An Ideal Husband opens during a dinner party at the home of Sir Robert Chiltern in London's fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests. During the party, Mrs. Cheveley, an enemy of Lady Chiltern's from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. Apparently, Mrs. Cheveley's dead mentor and lover, the Austro-Hungarian Baron Arnheim, convinced the young Sir Robert many years ago to sell him a Cabinet secret, a secret that suggested he buy stocks in the Suez Canal three days before the British government announced its purchase. Sir Robert made his fortune with that illicit money, and Mrs. Cheveley has the letter to prove his crime. Fearing the ruin of both career and marriage, Sir Robert submits to her demands.
When Mrs. Cheveley pointedly informs Lady Chiltern of Sir Robert's change of heart regarding the canal scheme, the morally inflexible Lady Chiltern, unaware of both her husband's past and the blackmail plot, insists that Sir Robert renege on his promise. For Lady Chiltern, their marriage is predicated on her having an "ideal husband"—that is, a model spouse in both private and public life that she can worship: thus Sir Robert must remain unimpeachable in all his decisions. Sir Robert complies with the lady's wishes and apparently seals his doom. Also toward the end of Act I, Mabel and Lord Goring come upon a diamond brooch that Lord Goring gave someone many years ago. Goring takes the brooch and asks that Mabel inform him if anyone comes to retrieve it.
In the second act, which also takes place at Sir Robert's house, Lord Goring urges Sir Robert to fight Mrs. Cheveley and admit his guilt to his wife. He also reveals that he and Mrs. Cheveley were formerly engaged. After finishing his conversation with Sir Robert, Goring engages in flirtatious banter with Mabel. He also takes Lady Chiltern aside and obliquely urges her to be less morally inflexible and more forgiving. Once Goring leaves, Mrs. Cheveley appears, unexpected, in search of a brooch she lost the previous evening. Incensed at Sir Robert's reneging on his promise, she ultimately exposes Sir Robert to his wife once they are both in the room. Unable to accept a Sir Robert now unmasked, Lady Chiltern then denounces her husband and refuses to forgive him.
In the third act, set in Lord Goring's home, Goring receives a pink letter from Lady Chiltern asking for his help, a letter that might be read as a compromising love note. Just as Goring receives this note, however, his father, Lord Caversham, drops in and demands to know when his son will marry. A visit from Sir Robert, who seeks further counsel from Goring, follows. Meanwhile, Mrs. Cheveley arrives unexpectedly and, misrecognized by the butler as the woman Goring awaits, is ushered into Lord Goring's drawing room. While she waits, she finds Lady Chiltern's letter. Ultimately, Sir Robert discovers Mrs. Cheveley in the drawing room and, convinced of an affair between these two former lovers, angrily storms out of the house.
When she and Lord Goring confront each other, Mrs. Cheveley makes a proposal. Claiming to still love Goring from their early days of courtship, she offers to exchange Sir Robert's letter for her old beau's hand in marriage. Lord Goring declines, accusing her of defiling love by reducing courtship to a vulgar transaction and ruining the Chilterns' marriage. He then springs his trap. Removing the diamond brooch from his desk drawer, he binds it to Cheveley's wrist with a hidden device. Goring then reveals how the item came into her possession. Apparently Mrs. Cheveley stole it from his cousin, Mary Berkshire, years ago. To avoid arrest, Cheveley must trade the incriminating letter for her release from the bejewelled handcuff. After Goring obtains and burns the letter, however, Mrs. Cheveley steals Lady Chiltern's note from his desk. Vengefully she plans to send it to Sir Robert misconstrued as a love letter addressed to the dandified lord. Mrs. Cheveley exits the house in triumph.
The final act, which returns to Grosvenor Square, resolves the many plot complications sketched above with a decidedly happy ending. Lord Goring proposes to and is accepted by Mabel. Lord Caversham informs his son that Sir Robert has denounced the Argentine canal scheme before the House. Lady Chiltern then appears, and Lord Goring informs her that Sir Robert's letter has been destroyed but that Mrs. Cheveley has stolen her letter and plans to use it to destroy her marriage. At that moment, Sir Robert enters while reading Lady Chiltern's letter, but as the letter does not have the name of the addressee, he assumes it is meant for him, and reads it as a letter of forgiveness. The two reconcile. Lady Chiltern initially agrees to support Sir Robert's decision to renounce his career in politics, but Lord Goring dissuades her from allowing her husband to resign. When Sir Robert refuses Lord Goring his sister's hand in marriage, still believing he has taken up with Mrs. Cheveley, Lady Chiltern is forced to explain last night's events and the true nature of the letter. Sir Robert relents, and Lord Goring and Mabel are permitted to wed.
Reception
The play proved extremely popular in its original run, lasting over a hundred performances. Critics also lauded Wilde's balance of a multitude of theatrical elements within the play. George Bernard Shaw praised the play saying "Mr. Wilde is to me our only thorough Playwright. He plays with everything; with wit, with philosophy, with drama, with actors and audience, with the whole theatre."[2]
Selected Production History
An Ideal Husband was originally produced by Lewis Waller, premiering on the 3rd of January, 1895 in Haymarket Theatre. The run lasted 124 performances. The original cast of the play was:[5]
Mr. Alfred Bishop, THE EARL OF CAVERSHAM, VISCOUNT GORING, Mr. Charles H. Hawtrey, SIR ROBERT CHILTERN, Mr. Lewis Waller, VICOMTE DE NANJAC, Mr. Cosmo Stuart, MR. MONTFORD, Mr. Harry Stanford, PHIPPS, Mr. C. H. Brookfield, MASON, Mr. H. Deane, JAMES, Mr. Charles Meyrick, HAROLD, Mr. Goodhart, LADY CHILTERN, Miss Julia Neilson, LADY MARKBY, Miss Fanny Brough, COUNTESS OF BASILDON, Miss Vane Featherston, MRS. MARCHMONT, Miss Helen Forsyth, MISS MABEL CHILTERN, Miss Maud Millet, and MRS. CHEVELEY, Miss Florence West.
Oscar Wilde was arrested for "gross indecency" (homosexuality) during the run of the production. At the trial the actors involved in the production testified as witnesses against him. The production continued but credit for authorship was taken away from Wilde.[2]
An Ideal Husband was revived for a Broadway production featuring the Broadway debut of film stars Michael Denison and Dulcie Gray. Denison and Gray had earlier starred in a West End Theatre revival that had proved extremely popular for English audiences.[6]
Film, television and radio adaptations
1935 film
Main article: An Ideal Husband (1935 film)
A 1935 German film directed by Herbert Selpin and starring Brigitte Helm and Sybille Schmitz.
1947 film
Main article: An Ideal Husband (1947 film)
A lavish 1947 adaptation was produced by London Films and starred Paulette Goddard, Michael Wilding and Diana Wynyard
1998 film[edit]
Main article: An Ideal Husband (1998 film)
It was adapted for the screen in 1998. It starred James Wilby and Jonathan Firth
1999 film
Main article: An Ideal Husband (1999 film)
It was adapted once more for the screen in 1999. It starred Julianne Moore, Minnie Driver, Jeremy Northam, Cate Blanchett and Rupert Everett. The film adapts the play to some measure, the most significant departure being that the device of the diamond broach/bracelet is deleted, and instead Lord Goring defeats Mrs. Cheavley by making a wager with her: if Sir Robert capitulates and supports the scheme in his speech to the House of Commons, Goring will marry her, but if he sticks to his morals and denounces the scheme, she will give up the letter and leave England.
Television and radio
The BBC produced a version which was broadcast in 1969 as part of their Play of the Month series. It stars Jeremy Brett and Margaret Leighton and was directed by Rudolph Cartier. It is available on DVD as part of The Oscar Wilde Collection box-set.
BBC Radio 3 broadcast a full production in 2007 directed by David Timson and starring Alex Jennings, Emma Fielding, Jasper Britton, Janet McTeer and Geoffrey Palmer. This production was re-broadcast on Valentine's Day 2010.
L.A. Theatre Works produced an audio adaptation of the play starring Jacqueline Bisset, Rosalind Ayres, Martin Jarvis, Miriam Margolyes, Alfred Molina, Yeardley Smith and Robert Machray. It is available as a CD set, ISBN 1-58081-215-5.
Quotes
LORD GORING: Life is never fair, and perhaps it is a good thing for most of us that it is not.
SIR ROBERT CHILTERN: All sins except a sin against itself, love should forgive.
SIR ROBERT CHILTERN: It is not the perfect, but the imperfect, who have need of love. It is when we are wounded by our own hands, or by the hands of others, that love should come to cure us – else what use is love at all?
LORD GORING: Fashion is what one wears oneself. What is unfashionable is what other people wear. Other people are quite dreadful. The only possible society is oneself.
MRS. CHEVELEY: Morality is simply the attitude we adopt towards people whom we personally dislike.
PHIPPS: I will speak to the florist, my lord. She has had a loss in her family lately, which perhaps accounts for the lack of triviality your lordship complains of in the buttonhole.
LORD GORING: Extraordinary thing about the lower classes in England - they are always losing their relations.
PHIPPS: Yes, my lord! They are extremely fortunate in that respect.
****************************************************
This Bit comes from when the Americans were filming their version of the play “an Ideal Husband”
A couple of newspapers picked up on it at the time.
The film was shot on several sites, including an Italian waterfront.
At the end of the week it was their custom to have a “wrap” party celebrating the end of the week’s shoot.
The ball scene had been filmed that day and most of the cast attended the get-together still in costume. This included 3 of the minor actresses who had bonded during the filming.
After the revelry was dying out, these 3 decided to go it alone, leaving the stage room to hit several of the bars and a casino located on the riverfront. Making a decidedly poor decision, they opted to wear the elegant gowns and shimmering jewelry they had donned for the stylish ball act( much of which was later cut from thye movie, including their roles) .
Needless to say the young trio of pretty actresses garnered a considerable amount of male attention as they made their rounds. They left their last stop in the wee early hours of the morning only to discover they taxi they had paid to wait for them had vanished. A dapper young man with a foreign accent that made the girls swoon came upon the young ladies, and after they explained their predicament, offered some aid. He invited them to a back room off a nearby alley to wait while he brought his private car around, suggesting that it would be a place of refuge to stay warm from the cool ocean air( only one of the actresses had a wrap).
About ten minutes after he had left them a masked man burst in brandishing a wicked looking blade. He demanded their ”jools” and “perses” than after receiving their valuables, had them strip down to their silky undergarments. He then bundled the lot and ran off. They could hear tires screeching off in the night. The dapper male never returned, and it was hours before their pitiful cries of help were heard by a passing vagrant, who after making sure they had nothing more of value, disappeared, than must have had a change of heart, for he summoned a patrolman to help them.
Two of the ladies had been wearing prop gowns and rhinestones, but the third, a minor relative of the New York Cabot family, had been waering her own designer gown(worth 2000 pounds) and her family diamonds( worth 55000 pounds sterling) So it was generally regarded that the ladies were scammed by a couple of professionals who had been out on the prowl for such prey, knew where to find it, and how to acquire her valuables.
Then, two weeks later another young lady, again unescorted, had decided to do a tour of the same riverfront establishments. She did so after attending a relatives wedding reception. She had met a rather handsome man while out drinking, and the pair had set off for a second bar when a masked man mugged them of their valuables. Including a 30000 lira ring she had worn, and 10000 Lira of other jewellery. Her friend dropped her off at the bar and went for help, disappearing in the night. Her description of the pair matched the ones who had robbed the Actresses.
Courtesy of Chatwick University Archives
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************
Bronze sculpture of the Irish writer Oscar Wilde (left) and the Estonian writer Eduard Vilde (right) sitting on a granite bench together. Photographed on William Street in Dublin, Ireland.
I woke up with this poem in my head, when I saw this silhouette in the bathroom window. Coincidence?
The sea is flecked with bars of grey,
The dull dead wind is out of tune,
And like a withered leaf the moon
Is blown across the stormy bay.
Etched clear upon the pallid sand
Lies the black boat: a sailor boy
Clambers aboard in careless joy
With laughing face and gleaming hand.
And overhead the curlews cry,
Where through the dusky upland grass
The young brown-throated reapers pass,
Like silhouettes against the sky."
by Oscar Wilde
© All rights are reserved, please do not use my photos without my permission
Arriving in the Mersey for the first time to dock at Cammell Lairds (No 5) drydock.
NameOSCAR WILDE
FlagCyprus
IMO9524231
MMSI209479000
Call sign5BDG5
Home Port: Limassol
vessel typeRo-Ro/Passenger Ship
Gross tonnage 47592 tons
Deadweight 9500 tons
Length 212 m
Breadth 31 m
Engine type MAN-B&W
Engine model 7L48/60
Engine power 30400 KW
Year of build 2011
Builder STX FINLAND RAUMA - RAUMA, FINLAND
OSCAR WILDE (October 16, 1854 -November 30, 1900)
101 views of OSCAR WILDE's TOMB at PERE LACHAISE Cemetery in Paris.
the story of the statue is a wild one....for it has folklore on its own...the 'winged angel' represents oscar wilde with it's enormous erect 'man part'. At the turn of the 1900's this scandalized paris.
only recently, the late 1980's onward, copious women have kissed his grave leaving their lipstick marks. it seems more likely that OSCAR would appreciate guys pressing their lips to his grave. so when ADDA DADA first visited his grave back in the 1980's, he placed a nice smack on OSCAR's grave...sans lipstick, though, for ADDA never could find the right color...
------------------
OSCAR WILDE passed away on November 30, 1900, in L'HOTEL on RUE BEAUX ARTS in ROOM 16.
The room still has the original furnishings including OSCARS death bed. One night is now only 600 euros ($900)! Don't think it is a little hovel of a room. It has a balcony; receiving room, and THE bedroom, which, yes, still has the original wallpaper!
"EITHER THAT WALLPAPER GOES OR I DO" was OSCARS last words on November 30, 1900.
-------------------------
OSCAR WILDE
Born October 16, 1854 DUBLIN
Died November 30, 1900 PARIS
Oscar's body had to wait 9 years in Bagneaux cemetery while the tomb was being prepared and various protests were held. WILDE's remains were finally transferred to PERE LACHAISE on july 19, 1909. (The doctors had advised that OSCAR be buried in quicklime to reduce the body to bone before the transfer. Instead, the substance preserved him, shocking the gravediggers, for his hair and beard had even grown longer.)
it took artist JACOB EPSTEIN three years to sculpt his monument, which represents OSCAR WILDE as a 'winged messenger'. It is done in the egyptian art deco style. When EPSTEIN arrived to put the finishing touches on the statue, he found it shrouded and guarded by police for the cemetery conservator had found it 'indecent' and they wanted it banned & removed !
the statue had an erect penis !
officials refused to bow to public intellectual pressure until an acceptable alteration was made-so a plaque of a fig leaf was put over the 'privates' making them private.
the tomb was FINALLY unveiled in 1914, but by 1922 the erect penis had hacked away! The fig leaf as well as a substantial portion of the stone penis lay beneath.
(rumor has it that the conservator, after finding the parts at the monument's base, was supposed to have used them as paperweight)
OSCAR WILDE's poem , THE BALLAD OF READING GAOL is engraved on the back of the tomb:
and alien tears will fill for him
pity's long broken urn
for his mourners will be outcast men
and outcasts always mourn.
Irish Ferries' Oscar Wilde departs Dublin on the 1415 sailing to Holyhead, while Epsilon lays over prior to operating the 1700 extra to Holyhead. Jonathan Swift, moored , was not sailing on this day.
Oscar is currently in what has been in previous years Isle of Inishmore's shoes providing extra capacity at Dublin, providing the rare sight of 3 IF ships together.
Photo taken December 2015.
The Thin Man (film)
Directed by
W. S. Van Dyke
Produced by
Hunt Stromberg
Screenplay by
Albert Hackett
Frances Goodrich
Based on
The Thin Man
by Dashiell Hammett
Starring
William Powell
Myrna Loy
Music by
William Axt
Cinematography
James Wong Howe
Edited by
Robert Kern
Production
company
Metro-Goldwyn-Mayer
Distributed by
Metro-Goldwyn-Mayer
Release dates
May 25, 1934 (USA)
Running time
93 minutes
Country
United States
Language
English
Budget
$226,408
Box office
$1,423,000 (worldwide est.)
The Thin Man is a 1934 American comedy-mystery film directed by W.S. Van Dyke and based on the novel of the same name by Dashiell Hammett. The film stars William Powell and Myrna Loy as Nick and Nora Charles; Nick is a hard-drinking, retired private detective and Nora is a wealthy heiress. Their wire-haired fox terrier Asta was played by canine actor Skippy.
The film's screenplay was written by Albert Hackett and Frances Goodrich, a married couple. In 1934, the film was nominated for the Academy Award for Best Picture.
The titular "Thin Man" is not Nick Charles, but the man Charles is initially hired to find - Clyde Wynant (part way through the film, Charles describes Wynant as a "thin man with white hair"). The "Thin Man" moniker was thought by many viewers to refer to Nick Charles and, after a time, it was used in the titles of sequels as if referring to Charles.
Plot
Nick Charles (Powell), a retired detective, and his wife Nora (Loy) are attempting to settle down. They are based in Los Angeles but decide to spend the Christmas holidays in New York. There he is pressed back into service by a young woman whose father, an old friend of Nick's, has disappeared after a murder. The friend, Clyde Wynant (Ellis) (the eponymous "thin man"), has mysteriously vanished. When his former secretary and love interest, Julia Wolf, is found dead, evidence points to Wynant as the prime suspect, but his daughter Dorothy (O'Sullivan) refuses to believe that her father is guilty. She convinces Nick to take the case, much to the amusement of his socialite wife. The detective begins to uncover clues and eventually solves the mystery of the disappearance through a series of investigative steps.
The murderer is finally revealed in a classic dinner-party scene that features all of the suspects. A skeletonized body, found during the investigation, had been assumed to be that of a "fat man" because it is wearing oversize clothing. The clothes are revealed to be planted, and the identity of the body is accurately determined by an old war wound to the leg. It turns out that the body belongs to a "thin man" — the missing Wynant. The double murder has been disguised in such a way as to make it seem that Wynant is the killer and still alive. The real killer was the attorney, who stole a lot of money from Wynant and killed him on the night he was last seen.
Cast
William Powell as Nick Charles
Myrna Loy as Nora Charles
Skippy as Asta, their dog
Maureen O'Sullivan as Dorothy Wynant
Nat Pendleton as Lt. John Guild
Minna Gombell as Mimi Wynant Jorgenson
Porter Hall as Herbert MacCaulay
Henry Wadsworth as Tommy
William Henry as Gilbert Wynant
Harold Huber as Arthur Nunheim
Cesar Romero as Chris Jorgenson
Natalie Moorhead as Julia Wolf
Edward Ellis as Clyde Wynant
Edward Brophy as Joe Morelli[1]
Cast notes:
Uncredited cast members include Clay Clement, Pat Flaherty, Douglas Fowley, Christian J. Frank, Creighton Hale, Edward Hearn, Robert Homans, Walter Long, Fred Malatesta, Lee Phelps, Bert Roach, Rolfe Sedan, Gertrude Short, Lee Shumway, Ben Taggart, Harry Tenbrook and Leo White.[2]
Production
The entire film was shot in twelve (out of fourteen) days. The film was released on May 25, 1934, only four months after the release of the book, which had been released in January 1934.
Reception
The film was such a success that it spawned five sequels:
After the Thin Man (1936)
Another Thin Man (1939)
Shadow of the Thin Man (1941)
The Thin Man Goes Home (1945)
Song of the Thin Man (1947)
In 2002, critic Roger Ebert added the film to his list of Great Movies. [3] Ebert praises William Powell's performance in particular, stating that Powell "is to dialogue as Fred Astaire is to dance. His delivery is so droll and insinuating, so knowing and innocent at the same time, that it hardly matters what he's saying."
In 1997, the film was added to the United States National Film Registry having been deemed "culturally, historically, or aesthetically significant." In 2000 American Film Institute designated the film as one of the great comedies in the previous hundred years of cinema.
Trailer
The trailer contained specially filmed footage in which Nick Charles (William Powell) is seen on the cover of the Dashiell Hammett novel The Thin Man. Nick Charles then steps out of the cover to talk to fellow detective Philo Vance (also played by Powell) about his latest case.
Charles mentions he hasn't seen Vance since The Kennel Murder Case, a film in which Powell played Vance. The Kennel Murder Case was released in October 1933, just seven months prior to the release of The Thin Man.
Charles goes on to explain to Vance that his latest case revolves around a "tall, thin man" (referring to Clyde Wynant), just before clips of the film are shown.
Adaptations
The Thin Man was dramatized as a radio play on the June 8, 1936 broadcast of Lux Radio Theater, with William Powell and Myrna Loy reprising their film roles.
Remake
In May 2011, it was reported that Johnny Depp will star in a remake of the film, directed by Rob Marshall.[5] The project, however, was reportedly put on hold in 2012.
Influence
In the 1976 comedy spoof movie Murder by Death, the characters of Nick and Nora Charles became Dick and Dora Charleston, played by David Niven and Maggie Smith. The 1979-1984 ABC television weekly romantic detective series Hart To Hart also mimicked the central conceit. It starred Robert Wagner, Stefanie Powers and Lionel Stander. In the 11th episode of the 2 season of the series, "Slow Boat to Murder", there is also a scene where the Harts watch the film on TV. In the 2005 animated film Hoodwinked!, the character Nicky Flippers, a frog detective voiced by David Ogden Stiers, was based on Nick Charles.
November 2014
Oscar Wild(e) bei seinem täglichen "Hofgang" - Ocar Wild(e), going on his daily walk in the housenyard
An Ideal Husband
The present possibilities for humor in the plays of Oscar Wilde seem to lie almost entirely in the humor with which they are played. Somehow, the whipped-cream witticisms of the Wilde characters sound banal today, and the chief fun to be had from his stuffed shirts is in a sly spoof of their Victorian ways. Yet, for some unaccountable reason, Sir Alexander Korda has chosen to film the ancient Wilde play, "An Ideal Husband," as though its people were the most consequential of folks and its ridiculously old-fashioned problem as vital as atomic power.
It is hard to figure this blunder, for Sir Alex is a smart and urbane man whose humor has been in working order in his previous British-made films. And he has certainly put a lot of effort into this current job, now on the Roxy's screen. Yet, with all the solemnity and pomposity that even Oscar found supremely dull, he has turned out a handsome film in color with a conspicuously antiquated plot.
Believe it or not, Sir Alex—the gentleman, mind you, who made such previous charming pictures as "Vacation From Marriage" and "The Private Life of Henry VIII"—is here concerned with the story of a painfully righteous British Under-Secretary for Foreign Affairs whose brilliant career and domestic happiness are suddenly jeopardized by a scheming woman's blackmail. And, as though this were not sufficiently trying as a subject for serious concern, he has included as an equally ponderous burden the Wildean sub-plot of a Victorian courtship between two young things.
Handled with elegant derision in both the acting and the camera's attitude, there might be some charming entertainment of a sardonic order in this old wheeze. But with Hugh Williams playing the blackmail victim in an insufferably stiff and artless way, with Diana Wynyard playing his good wife like the lady in "Cavalcade" and with Paulette Goddard playing the siren among a lot of stuffy English swells as though she were the gal who lived next to the firehouse, it fizzles with a dull, distressing plop. Michael Wilding's eccentric exercising of his elbows, his eyebrows and his jaw as the gay gent who makes most of the wisecracks is fantastic and painful, too, and Glynis Johns, Sir Aubrey Smith and Constance Collier fall in with the heavy furniture.
If Sir Alex had put into his treatment as much style as is in the costumes, as much flavor as is in the velvet settings, this film could have been—but why say more?
AN IDEAL HUSBAND, screen adaptation of the Oscar Wilde play by Lajos Biro; directed and produced by Sir Alexander Korda for London Film Productions, and release by Twentieth Century-Fox. At the Roxy.
Mrs. Cheveley . . . . . Paulette Goddard
Lord Goring . . . . . Michael Wilding
Lady Chiltern . . . . . Diana Wynyard
Mabel Chiltern . . . . . Glynis Johns
Lady Markby . . . . . Constance Collier
Lord Caversham . . . . . Sir Aubrey Smith
Sir Robert Chiltern . . . . . Hugh Williams
Lady Basildon . . . . . Harriette Johns
Mrs. Marchmont . . . . . Christine Norden
Vicomte de Nanjac . . . . . Michael Anthony
Phipps . . . . . Allan Jeayes
BOSLEY CROWTHER New York Times 15 January 1948
*******************************************************************************
****************************************************
This Bit comes from when the Americans were filming their version of the play “an Ideal Husband”
A couple of newspapers picked up on it at the time.
The film was shot on several sites, including an Italian waterfront.
At the end of the week it was their custom to have a “wrap” party celebrating the end of the week’s shoot.
The ball scene had been filmed that day and most of the cast attended the get-together still in costume. This included 3 of the minor actresses who had bonded during the filming.
After the revelry was dying out, these 3 decided to go it alone, leaving the stage room to hit several of the bars and a casino located on the riverfront. Making a decidedly poor decision, they opted to wear the elegant gowns and shimmering jewelry they had donned for the stylish ball act( much of which was later cut from thye movie, including their roles) .
Needless to say the young trio of pretty actresses garnered a considerable amount of male attention as they made their rounds. They left their last stop in the wee early hours of the morning only to discover they taxi they had paid to wait for them had vanished. A dapper young man with a foreign accent that made the girls swoon came upon the young ladies, and after they explained their predicament, offered some aid. He invited them to a back room off a nearby alley to wait while he brought his private car around, suggesting that it would be a place of refuge to stay warm from the cool ocean air( only one of the actresses had a wrap).
About ten minutes after he had left them a masked man burst in brandishing a wicked looking blade. He demanded their ”jools” and “perses” than after receiving their valuables, had them strip down to their silky undergarments. He then bundled the lot and ran off. They could hear tires screeching off in the night. The dapper male never returned, and it was hours before their pitiful cries of help were heard by a passing vagrant, who after making sure they had nothing more of value, disappeared, than must have had a change of heart, for he summoned a patrolman to help them.
Two of the ladies had been wearing prop gowns and rhinestones, but the third, a minor relative of the New York Cabot family, had been waering her own designer gown(worth 2000 pounds) and her family diamonds( worth 55000 pounds sterling) So it was generally regarded that the ladies were scammed by a couple of professionals who had been out on the prowl for such prey, knew where to find it, and how to acquire her valuables.
Then, two weeks later another young lady, again unescorted, had decided to do a tour of the same riverfront establishments. She did so after attending a relatives wedding reception. She had met a rather handsome man while out drinking, and the pair had set off for a second bar when a masked man mugged them of their valuables. Including a 30000 lira ring she had worn, and 10000 Lira of other jewellery. Her friend dropped her off at the bar and went for help, disappearing in the night. Her description of the pair matched the ones who had robbed the Actresses.
Courtesy of Chatwick University Archives
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************
Irish Ferries Continental vessel Oscar Wilde arrives into Dublin for berthing trials, November 2013.
Built in 1987 and joining the Irish Ferries fleet in 2007, the ship normally sails between Rosslare,Cherbourg & Roscoff, but will operate the Dublin-Holyhead route from November 24th to December 7th, pending the arrival of Irish Ferries newly chartered Epsilon.
The ship will be joined by another Rosslare ship, Stena Europe from November 28th to December 1st.
In the footsteps of Oscar Wilde.
"It is always twilight in one's cell,
as it is always midnight in one's heart."
Oscar Wilde. De Profundis. 1897.
"Ignorance is like a delicate fruit; touch it, and the bloom is gone" - Oscar Wilde
Explored on Sep 14, 2009
Highest position: 90 on Thursday, September 17, 2009
#abfav_holidays_theme
Oscar Wilde (1854 – 1900) was an Irish playwright, novelist, essayist and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is remembered for his epigrams, his novel The Picture of Dorian Gray, his plays, as well as the circumstances of his imprisonment and early death.
Known for his biting wit, flamboyant dress and glittering conversation, Wilde became one of the best-known personalities of his day.
I love his quips, a few here:
Always forgive your enemies; nothing annoys them so much.
It is absurd to divide people into good and bad. People are either charming or tedious.
Some cause happiness wherever they go; others whenever they go.
What is a cynic? A man who knows the price of everything and the value of nothing.
True friends stab you in the front.
There is only one thing in life worse than being talked about, and that is not being talked about.
Genius is born—not paid.
The old believe everything, the middle-aged suspect everything, the young know everything.
At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into his only novel, The Picture of Dorian Gray (1890).
Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late Victorian London.
At the height of his fame and success, The Importance of Being Earnest (1895) was being performed in London.
English sculptor Danny Osborne was commissioned by the Guinness Ireland Group to create a statue commemorating Oscar Wilde, which was unveiled in 1997, by Wilde's grandson Merlin Holland.
Since marble alone was deemed inadequate, the statue was formed from different coloured stones from three continents.
The torso is of green nephrite jade from British Columbia, Canada, and pink thulite from Norway.
The legs are of Norwegian Blue Pearl granite with the shoes being black Indian charnockite and finished with bronze shoelace tips.[5] The statue also wears a Trinity College tie made from glazed porcelain, and three rings – Wilde's wedding ring and two scarabs, one for good luck, the other for bad luck.
The statue is mounted with Wilde reclining on a large quartz boulder obtained by Osborne himself from the Wicklow Mountains.
When the statue was unveiled in 1997, it was the first statue commemorating Wilde since his death 97 years earlier.
It received near unanimous praise for the materials used and for its location near his childhood home at 1, Merrion Square.
In 2010, the porcelain head of Wilde had to be replaced because cracks were forming on it.
The porcelain head was replaced by a new one made of white jadeite.
Have a wonderful day, filled with love and thank you for your visit, M, (*_*)
For more of my other work visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
© All rights are reserved, please do not use my photos without my permission
Arriving in the Mersey for the first time to dock at Cammell Lairds (No 5) drydock.
NameOSCAR WILDE
FlagCyprus
IMO9524231
MMSI209479000
Call sign5BDG5
Home Port: Limassol
vessel typeRo-Ro/Passenger Ship
Gross tonnage 47592 tons
Deadweight 9500 tons
Length 212 m
Breadth 31 m
Engine type MAN-B&W
Engine model 7L48/60
Engine power 30400 KW
Year of build 2011
Builder STX FINLAND RAUMA - RAUMA, FINLAND
or, The Picture of Karin Elizabeth. Mwuahahaha...
Oscar Wilde
The Picture of Dorian Gray
First published in: 1890
This edition: 1) Oscar Wilde stories, Collins Clear-Type Press, year unknown, and 2) Wordsworth classics, 2001 (which included via notes the material which had been cut from the book due to controversy).
In this highly original work, Oscar Wilde tells the story of a young man, Dorian Gray (so handsome he is considered beautiful) a muse to painter Basil Hallward, who‘s working on creating a portrait of Dorian Gray.
When Basil’s friend Lord Henry notices the infatuation Basil has with his model, Lord Henry grows curious after this mysterious young man who has brought his friend so much… inspiration. He wishes to meet with him; Basil reluctantly agrees. And when Lord Henry does meet Dorian Gray, a terrible change takes place: the corruption of Dorian Gray’s pure character. The once innocent young man is intrigued with Henry’s opinion on what life should entail: to indulge in any kind of pleasure, to enjoy beauty and being beautiful.
Dorian now values youth and beauty above everything else and becomes envious of his now finished portrait, which will remain young and beautiful forever, whereas Dorian would age and become despicable and ugly in real life. A desperate plea turns it all around; suddenly it is not Dorian himself whose appearances change due to age or ugliness, but the Dorian in the portrait Basil Hallward has painted. With his newfound feeling of immortality and invincibility while under the continuing influence of Lord Henry, there’s no telling what Dorian Gray will be capable of…
The Picture of Dorian Gray stirred up quite the controversy in its days; the book contains homosexual elements which are never literally stated, but very much implied. Though Wilde’s life was turned upside down a few years after the story was published (the author taken to court and imprisoned because of his own homosexuality), I do applaud him for what he had written. And I’m glad to have also read a version of the book as Wilde intended it, the material that had been edited out due to its controversial homoerotic nature added back in, in the form of notes.
It pains me that The Picture of Dorian Gray in itself was seen as immoral - and by quite a lot of people, it probably still IS considered immoral - simply for containing homoerotic elements, while the book itself contains one of the most important messages on actual morality that there is, namely: real beauty and goodness will reveal itself through character and actions. The book was treated like a dirty, contagious disease, a bad influence. While the only bad influence in this book was Lord Henry, really. (Although he was an enjoyable character, clever in his remarks.)
The above strikes me as ironic, since Oscar Wilde was of the Aesthetic Movement (…like Lord Henry), stating that art (including literature) should be enjoyed for its beauty (“Art for art’s sake”) and not have any immoral OR moral meaning. Wilde’s preface clearly states this. Though I agree that there’s nothing immoral about what was or perhaps still is considered to be immoral about The Picture of Dorian Gray (the homosexuality), I do see a moral significance in The Picture of Dorian Gray.
Dorian Gray, the character, embodies two themes: beauty and immorality. In his case, it’s impossible for beauty and immorality to co-exist; Dorian’s beauty is destroyed by his immoral actions. The message is very clear: beauty on the outside is meaningless when your actions are ugly. The moral of the story.
The Picture of Dorian Gray is most certainly one of the most original novels I’ve ever had to pleasure to read, and I regret not having read it sooner, because it turns out to be quite valuable. Yes, Oscar Wilde, your book is enjoyable in itself, as it’s thrilling and witty, but the book is more than simply “art for art’s sake”. And that’s what makes this a real accomplishment, in my most humble opinion.
(Note: a movie is set to come out soon, starring Ben Barnes as Dorian Gray, and Colin Firth as Lord Henry. A phrase well known, and very suitable in this case: read the book before you see the movie.)
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November 2011
9 Monate
on explore: Dec 2, 2011 #161
Oscar Wild(e)
Thank you my dear flickr friends for your kind and friendly comments and invitations!!! Oscar and I are very pleased!
Another view of Oscar, this time eyeing up the local talent.
This is part of the art installation celebrating Oscar Wilde by the sculptor Danny Osborne. The bronze male in the foreground represents Dionysus, the god of wine, youth and theatre – all of which were of great interest to Wilde, who apparently kept a statue of Dionysus in his study.
For more information about the main sculpture, see here.
La première grande exposition française consacrée au célèbre écrivain Oscar Wilde (Dublin, 1854 - Paris, 1900)- au Petit Palais, Paris /
The first major French exhibition dedicated to the famous writer Oscar Wilde (Dublin, 1854 - Paris, 1900) - at the Petit Palais, Paris
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