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A “colonial” Union Jack, used from about 1701-1707 (replaced with a red ensign), for use on ships co

A “colonial” Union Jack, used from about 1701-1707 (replaced with a red ensign), for use on ships commissioned by American Colonial Governors.


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phillypu:

kiralamouse:

bimbogollum:

f-identity:

bimbogollum:

Damn

[Image description:

Cropped image of medieval-stylized printed text, focused on a line which reads: “This wenche thikke”

/end image description]

Thank you for adding this image description! Just wanted to clarify that it’s not stylised, but actual Middle English. The text is from The Canterbury Tales.

Okay, had to track it down. It’s from the Reeve’s Tale, and it’s a description of a 20yo young woman:

This wenche thikke and wel y-growen was,
With camuse nose and yën greye as glas;
With buttokes brode and brestes rounde and hye,
But right fair was hir heer, I wol nat lye.

In modern English (had to look up “camuse”, so that’s as good as my source, but I know the rest)

This wench was thick and well-grown
With a pug nose and eyes grey as glass;
With buttocks broad and breasts round and high,
But right fair was her hair, I will not lie.

The fact that Chaucer had “big butt” and “I will not lie” within two lines of each other is causing me disproportionate amusement. Also the fact that “this wenche thikke” works equally well in Middle English and in modern slang.

nice to know people have always been fokin hornby for thikke wenches

From: The true state of England. London : Printed for C. King, and J. Stagg, 1729

JN318 .T865 1729

From: Pigot, James. A complete alphabet of cyphers, reversed & inverted. London? 1705?

NK3640 .P54 1705

From: Transactions of the Horticultural Society of London. London : Royal Horticultural Society, 1812-1848

SB4 .R85 v. 2

From: Andrews, Thomas. An enquiry into the causes of the encrease and miseries of the poor of England. London : Printed for A. Bettesworth and C. Hitch, 1738

HV245 .A64 1738

From: Machiavelli, Niccolò, 1469-1527. The prince. London : Printed for Sherwood, Neely, and Jones, 1810

JC143 .M38 1810

From: Smith, George, upholsterer to His Majesty. The cabinet-maker and upholsterer’s guide. London : Jones and Co., 1826

Illustration by Averil Mackenzie-Grieve for Golden Cockerel Press’s John Fryer of the Bounty by Mary Ann Fryer, 1939

From: Pertelote. London : Golden Cockerel Press, 1943

Z239.2.G6 G612


From: Willughby, Francis, 1635-1672. Ornithology. London : Printed by A.C. for J. Martyn, 1678

QL673 .W
72

From: Beverley, Robert, approximately 1673-1722. The history of Virginia. London : Printed for F. Fayram, J. Clarke, and T. Bickerton, 1722

F229 .B62 1722

From: Stokes, J. The complete cabinet-maker and upholsterer’s guide. London : Dean & Munday, 1838

TT197 .S8 1838

Celebrating the ‘cold’ front that moved in last night with a nice light English blend (Bombay Court

Celebrating the ‘cold’ front that moved in last night with a nice light English blend (Bombay Court Reserve) and my afternoon coffee.


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VERY controversial opinion of me to have as an english major, i know, but i can’t stand james joyce’s ulysses. why is this zillion-word-long garbage heap of pretentious nonsense hailed as one of the greatest novels in history…. truly i will never understand it. i don’t even think it has much merit as a piece of ‘transgressive linguistic progress’ or whatever because there’s no point in finding new ways to use words if said new ways make zero sense. joyce has shoved so many asinine, barely-relevant allusions into the nonexistent “plot” that it’s utterly unreadable to anyone except himself, and once you DO parse through it enough to vaguely understand what’s going on, you realize it’s literally just about Some Guy going about his day in dublin and joyce has essentially promised depth and Deep Meaning where there is none. my theory is that everyone who agrees that ulysses is great is only saying so because they didn’t understand a single word of it and desperately want to maintain their facade of intelligence. 

Van Tromp, going about to please his Masters, Ships a Sea, getting a Good Wetting, Joseph Mallord Wi

Van Tromp, going about to please his Masters, Ships a Sea, getting a Good Wetting, Joseph Mallord William Turner, 1844

Oil on canvas
92.4 x 123.2 cm (36 ⅜ x 48 ½ in.)
J. Paul Getty Museum, Los Angeles, CA, USA


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When you’re with the right person, you feel more like yourself than ever bevor. - Elizabeth Chandler

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