text: English

text: poet

text: County Cork

text: Liverpool

text: Lancashire

text: Wigan

text: Eton College

text: Tuscan and imperial consul

text: Harriett Mary Browne

text: Royal Welch Fusiliers

text: Kilkenny

text: Upper Canada

text: Liverpool

text: Lancashire

text: Venetian

text: consul

text: Denbighshire

text: North Wales

text: Abergele

text: St. Asaph

text: Flintshire

text: Prince of Wales

text: Percy Bysshe Shelley

text: Daventry

text: Northamptonshire

text: G. W. Hemans

text: Charles Isidore Hemans

text: John Murray

text: Dublin

text: Wordsworth

text: United States

text: United Kingdom

text: dropsy

text: Walter Savage Landor

text: St. Ann's Church, Dawson Street

text: Caroline Norton

text: Letitia Elizabeth Landon

text: Lydia Sigourney

text: Frances Harper

text: Amable Tastu

text: Annette von Droste-Hülshoff

text: Elizabeth Barrett Browning

text: Tennyson

text: Longfellow

text: stately home

text: English country house

text: Saki

text: household name

text: Noël Coward

text: Casabianca

text: Casabianca

text: Louis de Casabianca

text: Orient

text: Battle of the Nile

text: Elizabeth Bishop

text: Samuel Butler

text: Martin Gardner

text: narrative poem

text: Peninsular War

text: Napoleon Bonaparte

text: Albion

text: women writers

text: Casabianca

text: Susan J. Wolfson

text: Felicia Hemans at The Victorian Web

text: Felicia Hemans

text: A Celebration of Women Writers

text: Songs with text by Mrs Hemans

categories: 1793 births,1835 deaths,19th-century English poets,Women of the Regency era,Writers from Liverpool,English women poets,19th-century British women writers,Deaths from edema,People from Flintshire,English women dramatists and playwrights

paragraph: Felicia Hemans

paragraph: Felicia Dorothea Hemans (25 September 1793 – 16 May 1835) was an English poet. Two of her opening lines, "The boy stood on the burning deck" and "The stately homes of England", have acquired classic status.

paragraph: Section::::Ancestry.

paragraph: Felicia Hemans' paternal grandfather was George Browne of Passage, County Cork, Ireland; her maternal grandparents were Benedict Paul Wagner (1718–1806), wine importer at 9 Wolstenholme Square, Liverpool, Lancashire, and Elizabeth Haydock Wagner (d. 1814) of Lancashire. Family legend gave the Wagners a Venetian origin; family heraldry an Austrian one. The Wagners' country address was North Hall near Wigan; they sent two sons to Eton College. Of three daughters, only Felicity married; her husband George Browne joined his father-in-law's business and succeeded him as Tuscan and imperial consul in Liverpool.

paragraph: Section::::Early life and works.

paragraph: Felicia Dorothea Browne was the fourth of six Browne children (three boys and three girls) to survive infancy. Of her two sisters, Elizabeth died about 1807 at the age of eighteen and Harriett Mary Browne (1798–1858) married first the Revd T. Hughes, then the Revd W. Hicks Owen. Harriett collaborated musically with Felicia and later edited her complete works (7 vols. with memoir, 1839). Her eldest brother, Lt-Gen. Sir Thomas Henry Browne KCH (1787–1855), had a distinguished career in the army; her second brother, George Baxter CB, served in the Royal Welch Fusiliers 23rd Foot and became a magistrate at Kilkenny in 1830 and Chief Commissioner of Police in Ireland in 1831; and her third brother, Claude Scott Browne (1795–1821), became Deputy Assistant Commissary-General in Upper Canada.

paragraph: Felicia was born in Liverpool, Lancashire, a granddaughter of the Venetian consul in that city. Her father's business soon brought the family to Denbighshire in North Wales, where she spent her youth. They made their home at Gwrych near Abergele and later at Bronwylfa, St. Asaph (Flintshire), and it is clear that she came to regard herself as Welsh by adoption, later referring to Wales as "Land of my childhood, my home and my dead". Her first poems, dedicated to the Prince of Wales, were published in Liverpool in 1808, when she was only fourteen, arousing the interest of no less a person than Percy Bysshe Shelley, who briefly corresponded with her. She quickly followed them up with "England and Spain" (1808) and "The domestic affections", published in 1812, the year of her marriage to Captain Alfred Hemans, an Irish army officer some years older than herself. The marriage took her away from Wales, to Daventry in Northamptonshire until 1814.

paragraph: During their first six years of marriage, Felicia gave birth to five sons, including engineer G. W. Hemans and Charles Isidore Hemans, and then the couple separated. Marriage had not, however, prevented her from continuing her literary career, with several volumes of poetry being published by the respected firm of John Murray in the period after 1816, beginning with "The Restoration of the Works of Art to Italy" (1816) and "Modern Greece" (1817). "Tales and Historic Scenes" was the collection which came out in 1819, the year of their separation.

paragraph: Section::::Later life.

paragraph: From 1831 onwards, she lived in Dublin, where her younger brother had settled, and her poetic output continued. Her major collections, including "The Forest Sanctuary" (1825), "Records of Woman" and "Songs of the Affections" (1830) were immensely popular, especially with female readers. Her last books, sacred and profane, are the substantive "Scenes and Hymns of Life" and "National Lyrics, and Songs for Music". She was by now a well-known literary figure, highly regarded by contemporaries such as Wordsworth, and with a popular following in the United States and the United Kingdom. When she died of dropsy, Wordsworth and Walter Savage Landor composed memorial verses in her honor. She is buried in St. Ann's Church, Dawson Street.

paragraph: Section::::Legacy.

paragraph: Felicia Hemans's works appeared in nineteen individual books during her lifetime. After her death in 1835, they were republished widely, usually as collections of individual lyrics and not the longer, annotated works and integrated series that made up her books. For surviving women poets, like Briton's Caroline Norton and Letitia Elizabeth Landon, America's Lydia Sigourney and Frances Harper, the French Amable Tastu and German Annette von Droste-Hülshoff and others, she was a valued model, or (for Elizabeth Barrett Browning) a troubling predecessor; and for male poets including Tennyson and Longfellow, an influence less acknowledged. To many readers she offered a woman's voice confiding a woman's trials; to others, a lyricism apparently consonant with Victorian chauvinism and sentimentality. Among the works, she valued most were the unfinished "Superstition and Revelation" and the pamphlet "The Sceptic," which sought an Anglicanism more attuned to world religions and women's experiences. In her most successful book, "Records of Woman" (1828), she chronicles the lives of women, both famous and anonymous.

paragraph: Hemans's poem "The Homes of England" (1827) is the origin of the phrase "stately home", referring to an English country house. The first line of the poem runs, "The Stately Homes of England".

paragraph: Despite her illustrious admirers, her stature as a serious poet gradually declined, partly due to her success in the literary marketplace. Her poetry was considered morally exemplary, and was often assigned to schoolchildren; as a result, Hemans came to be seen a poet for children rather than taken seriously on the basis of her entire body of work. A jocular reference by Saki in "The Toys of Peace" suggests simultaneously that she was a household name and that Saki did not take her seriously. Schoolchildren in the U.S. were still being taught "The Landing of the Pilgrim Fathers in New England" ("The breaking waves dashed high/On a stern and rock-bound coast...") in the middle of the 20th century. But by the 21st century, "The Stately Homes of England" refers to Noël Coward's parody, not to the once-famous poem it parodied, and Felicia Hemans was remembered popularly for her poem, "Casabianca".

paragraph: However, her critical reputation has been re-examined in recent years. Her work has resumed a role in standard anthologies and in classrooms and seminars and literary studies, especially in the U.S. It is likely that further poems will be familiar to new readers, such as "The Image in Lava," "Evening Prayer at a Girls' School," "I Dream of All Things Free," "Night-Blowing Flowers," "Properzia Rossi," "A Spirit's Return," "The Bride of the Greek Isle," "The Wife of Asdrubal," "The Widow of Crescentius," "The Last Song of Sappho," and "Corinne at the Capitol."

paragraph: Section::::"Casabianca".

paragraph: First published in August 1826 the poem "Casabianca" (also known as "The Boy stood on the Burning Deck") by Felicia Hemans depicts Captain Louis de Casabianca and his 12-year-old son, Giocante, who both perished aboard the ship "Orient" during the Battle of the Nile. The poem was very popular from the 1850s on and was memorized in elementary schools for literary practice. Other poetic figures such as Elizabeth Bishop and Samuel Butler allude to the poem in their own works.

paragraph: "'Speak, father!' once again he cried / 'If I may yet be gone!' / And but the booming shots replied / And fast the flames rolled on."

paragraph: The poem is sung in ballad form (abab) and consists of a boy asking his father whether he had fulfilled his duties, as the ship continues to burn until the magazine catches fire.

paragraph: Felicia Hemans was one of the survivors of the battle of Nile on the English side.She saw Giocante perish and later dedicated Casabianca to him.

paragraph: Martin Gardner, Michael R. Turner, and others wrote modern day parodies that were much more upbeat and consisted of boys stuffing their faces with peanuts and bread. This contrasted sharply with the solemn image created in Casabianca as Hemans wrote it.

paragraph: Section::::"England and Spain, or, Valour and Patriotism".

paragraph: Her second book, "England and Spain, or, Valour and Patriotism", was published in 1808 and was a narrative poem honoring her brother and his military service in the Peninsular War. The poem called for an end to the tyranny of Napoleon Bonaparte and for a long-lasting peace. Multiple references to Albion, an older name for Great Britain, emphasize Hemans's patriotism.

paragraph: "For this thy noble sons have spread alarms, and bade the zones resound with BRITAIN's arms!"

paragraph: It is seen throughout this poem that Felicia Hemans is alarmed with the thought of war but her overall pride of nationality overcome this fear. She saw all of the fightings as useless bloodshed and a waste of human life. "England and Spain" was used by her to spread her message across Europe, that the wars were senseless and that peace should resume.

paragraph: Section::::Female suicide in Hemans' works.

paragraph: Several of Hemans's characters take their own lives rather than suffer the social, political and personal consequences of their compromised situations. At Hemans's time, women writers were often torn between a choice of home or the pursuit of a literary career. Hemans herself was able to balance both roles without much public ridicule, but left hints of discontent through the themes of feminine death in her writing. The suicides of women in Hemans's poetry dwell on the same social issue that was confronted both culturally and personally during her life: the choice of caged domestication or freedom of thought and expression.

paragraph: 'The Bride of the Greek Isle', 'The Sicilian Captive', 'The Last Song of Sappho' and 'Indian Woman's Death Song' are some of the most notable of Hemans' works involving women's suicides. Each poem portrays a heroine who is untimely torn from her home by a masculine force – such as pirates, Vikings, and unrequited lovers – and forced to make the decision to accept her new confines or command control over the situation. None of the heroines are complacent with the tragedies that befall them, and the women ultimately take their own lives in either a final grasp for power and expression or means to escape victimisation.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "On the Restoration of the Works of Art to Italy"

paragraph: BULLET::::- "Hymns on the Works of Nature, for the Use of Children"

paragraph: BULLET::::- "Records of Woman: With Other Poems"

paragraph: BULLET::::- "The Better Land"

paragraph: BULLET::::- "Casabianca"

paragraph: BULLET::::- "Corinne at the Capitol"

paragraph: BULLET::::- "Evening Prayer at a Girls' School"

paragraph: BULLET::::- "A Farewell to Abbotsford"

paragraph: BULLET::::- "The Funeral Day of Sir Walter Scott"

paragraph: BULLET::::- "Hymn by the Sick-bed of a Mother"

paragraph: BULLET::::- "Kindred Hearts"

paragraph: BULLET::::- "The Last Song of Sappho"

paragraph: BULLET::::- "Lines Written in the Memoirs of Elizabeth Smith"

paragraph: BULLET::::- "The Rock of Cader Idris"

paragraph: BULLET::::- "Stanzas on the Late National Calamity, On the Death of the Princess Charlotte"

paragraph: BULLET::::- "Stanzas to the Memory of George III"

paragraph: BULLET::::- "Thoughts During Sickness: Intellectual Powers"

paragraph: BULLET::::- "To the Eye"

paragraph: BULLET::::- "To the New-Born"

paragraph: BULLET::::- "Woman on the Field of Battle"

paragraph: Section::::Further reading.

paragraph: BULLET::::- "Cambridge Bibliography of English Literature," 3rd ed., 4: 351–60 (2000)

paragraph: BULLET::::- "Oxford Dictionary of National Biography," 26: 274–77 (2004)

paragraph: BULLET::::- "Felicia Hemans: Selected Poems, Letters, Reception Materials," ed. Susan J. Wolfson (2000)

paragraph: BULLET::::- "Felicia Hemans: Selected Poems, Prose, and Letters," ed. Gary Kelly (2002)

paragraph: BULLET::::- Emma Mason, "Women Poets of the Nineteenth Century" (2006)

paragraph: BULLET::::- "Felicia Hemans: Reimagining Poetry in the Nineteenth Century," ed. Nanora Sweet & Julie Melnyk (2001)

paragraph: BULLET::::- Paula Feldman, "The Poet and the Profits: Felicia Hemans and the Literary Marketplace," "Keats-Shelley Journal" 46 (1996): 148–76

paragraph: BULLET::::- Peter W. Trinder, "Mrs. Hemans," U Wales Press (1984)

paragraph: Section::::External links.

paragraph: BULLET::::- Felicia Hemans at The Victorian Web

paragraph: BULLET::::- Felicia Hemans at A Celebration of Women Writers

paragraph: BULLET::::- Oxford Dictionary of National Biography – Felicia Hemans

paragraph: BULLET::::- Her life in Liverpool and how she is forgotten in her home city

paragraph: BULLET::::- Songs with text by Mrs Hemans

paragraph: BULLET::::- Archival material at

alias:
Felicia Dorothea Browne
Felicia Dorotea Hemans
Felicia Dorothea Hemans

description: English poet (1793-1835)

enwikiquote_title: Felicia Hemans

wikidata_label: Felicia Hemans

wikipedia_title: Felicia Hemans


text: record producer

text: recording engineer

text: rock

text: Radiohead

text: OK Computer

text: Thom Yorke

text: Atoms for Peace

text: Ultraísta

text: Beck

text: Paul McCartney

text: R.E.M.

text: Pavement

text: Roger Waters

text: music webseries

text: From the Basement

text: William Ellis School

text: Zero 7

text: Jimi Hendrix

text: Frank Zappa

text: School of Audio Engineering

text: Audio One

text: RAK Studios

text: John Leckie

text: Ride

text: Denim

text: McAlmont & Butler

text: Phil Thornalley

text: Beatles

text: George Martin

text: Trevor Horn

text: Radiohead

text: My Iron Lung

text: The Bends

text: Lucky

text: Street Spirit (Fade Out)

text: OK Computer

text: Guardian

text: Hail to the Thief

text: A Moon Shaped Pool

text: CBC

text: George Martin

text: Fifth Beatle

text: Thom Yorke

text: The Eraser

text: Tomorrow's Modern Boxes

text: Anima

text: Black Swan

text: Atoms for Peace

text: Flea

text: Red Hot Chili Peppers

text: Joey Waronker

text: Beck

text: R.E.M.

text: Mauro Refosco

text: Forro in the Dark

text: Amok

text: Natalie Imbruglia

text: Left of the Middle

text: R.E.M.

text: Up

text: Beck

text: Mutations

text: Sea Change

text: The Information

text: sample

text: Travis

text: The Man Who

text: The Invisible Band

text: The Boy With No Name

text: Brian Eno

text: Mike Hedges

text: Pavement

text: Terror Twilight

text: Jonny Greenwood

text: Stephen Malkmus

text: remix

text: Walk On

text: Air

text: Talkie Walkie

text: Pocket Symphony

text: Strokes

text: Julian Casablancas

text: Do They Know It's Christmas?

text: Paul McCartney

text: Chaos and Creation in the Backyard

text: Beatles

text: George Martin

text: Grammy Awards

text: Album of the Year

text: Producer of the Year

text: Scott Pilgrim vs. the World

text: Joey Waronker

text: Laura Bettinson

text: Ultraísta

text: Stormtrooper

text: Red Hot Chili Peppers

text: The Getaway

text: Roger Waters

text: Is This the Life We Really Want?

text: Pink Floyd

text: Dilly Gent

text: James Chads

text: John Woollcombe

text: From the Basement

text: Maida Vale Studios

text: Pitchfork Media

text: The Old Grey Whistle Test

text: Sky Arts

text: Thom Yorke

text: Independent Film Channel

categories: Musicians from London,English film score composers,20th-century English musicians,English record producers,21st-century composers,Grammy Award winners,People educated at William Ellis School,21st-century English musicians,1971 births,People from Westminster,Radiohead,English audio engineers,Living people

paragraph: Nigel Godrich

paragraph: Nigel Timothy Godrich (born 28 February 1971) is an English record producer, recording engineer and musician. He is known for his work with the English rock band Radiohead, having produced all their studio albums since "OK Computer" (1997) and most of singer Thom Yorke's solo work. He is a member of Atoms for Peace (with Yorke) and Ultraísta. Godrich has also worked with acts including Beck, Paul McCartney, U2, R.E.M., Pavement and Roger Waters. He is the creator of the music webseries "From the Basement".

paragraph: Section::::Early years.

paragraph: Nigel Godrich was born in Westminster, London, the son of Victor Godrich, a BBC sound supervisor, and Brenda Godrich. He was educated at William Ellis School in North London, where he shared classes with his friend and future Zero 7 member Henry Binns. Godrich began playing guitar, inspired by Jimi Hendrix and Frank Zappa. He became interested in sound engineering and studied at the School of Audio Engineering. After graduating, Godrich became a junior staff member at the Audio One studio complex, working primarily as a tea boy.

paragraph: After the closure of Audio One, Godrich became the house engineer at RAK Studios, where he became a tape operator for producer John Leckie, with whom he worked on albums by Ride and Denim. In 1995, Godrich left RAK to work with Binns on electronic dance music at their collective Shabang studio. Within six months he began working with mainstream acts including McAlmont & Butler.

paragraph: Godrich credited producer Phil Thornalley for teaching him his craft. He named his "heroes" as Beatles producer George Martin, for "inventing the job", and Trevor Horn, for being "the thing that really made me sit up and listen".

paragraph: Section::::Radiohead.

paragraph: Godrich first worked with Radiohead when Leckie hired him to engineer two songs for their 1994 EP "My Iron Lung." The band nicknamed him "Nihilist", approving of his efforts to take their sound in new directions. He went on to engineer Radiohead's second album "The Bends" (1995), working under Leckie as producer. When Leckie left the studio to attend a social engagement, Radiohead and Godrich stayed to record B-sides; one of the songs intended for a B-side, "Black Star", was instead included on the album. In 1995, Godrich produced Radiohead's charity single "Lucky", plus the B-sides "Bishop's Robes" and "Talk Show Host", released on the "Street Spirit (Fade Out)" single.

paragraph: Radiohead invited Godrich to produce their third album, "OK Computer" (1997). Working in improvised studios without supervision, he and the band learned as they went, and credited the open process with the record's success. In 2013, Godrich told the "Guardian": ""OK Computer" was such a big thing for me because I was given power for the first time. Some of these incredibly intelligent and insightful people said 'do what you want' to me so I worked my arse off for them and together we did something that represents where we all were at the time. And it stuck for some reason. People got it, so that changed my life."

paragraph: Godrich has produced every Radiohead studio album since, and won the Grammy Award for Best Engineered Non-Classical Album for "Hail to the Thief" (2003). Godrich's father died during the recording of Radiohead's ninth album, "A Moon Shaped Pool" (2016); Godrich wrote: "Making this album was a very intense experience for me. I lost my dad in the process. Hence a large piece of my soul lives here in a good way."

paragraph: In 2006, CBC described Godrich's longtime collaboration with Radiohead as "the most adventurous band-producer partnership in modern rock". He has been dubbed the "sixth member" of the band, in an allusion to George Martin being called the "Fifth Beatle". In 2016, Godrich said: "I can only ever have one band like Radiohead who I've worked with for this many years. That’s a very deep and profound relationship. The Beatles could only have ever had one George Martin; they couldn’t have switched producers halfway through their career. All that work, trust, and knowledge of each other would have been thrown out of the window and they’d have to start again."

paragraph: Section::::Radiohead.:Thom Yorke and Atoms for Peace.

paragraph: Godrich has produced most of Radiohead singer Thom Yorke's solo work, including his albums "The Eraser "(2006), "Tomorrow's Modern Boxes "(2014) and "Anima" (2019). Yorke credits Godrich with helping edit his work, identifying which parts need improvement and which have potential. He gave the example of "Black Swan", a song from "The Eraser", which originally was "a six-minute load of crap, except for this one juicy bit, and [Godrich] goes past and goes, 'That bit. Fuck the rest.' Usually it's something like that."

paragraph: In 2009, to perform songs from "The Eraser," Godrich and Yorke formed Atoms for Peace, with Godrich on guitar, keyboards and synthesisers. The band also includes bassist Flea of the Red Hot Chili Peppers, drummer Joey Waronker of Beck and R.E.M., and percussionist Mauro Refosco of Forro in the Dark. In February 2013, they released an album, "Amok", produced by Godrich, followed by a tour of Europe, the US and Japan.

paragraph: Section::::Other projects.

paragraph: Following his success with "OK Computer", Godrich mixed most of Natalie Imbruglia's hit album "Left of the Middle" (1997) and R.E.M.'s "Up" (1998). Godrich has collaborated with American singer-songwriter Beck several times, on "Mutations" (1998), "Sea Change" (2002) and "The Information" (2006). The first two of these albums, particularly "Sea Change", were noted for their atmospheric folk/pop sound, a major departure from the sample-heavy, spontaneous style Beck was known for. Godrich has also worked with Travis three times, producing their commercial breakthrough "The Man Who" (1999) and its followup "The Invisible Band" (2001), and co-producing "The Boy With No Name" (2007) with Brian Eno and Mike Hedges.

paragraph: Godrich produced Pavement's final album "Terror Twilight" (1999), with Radiohead's Jonny Greenwood contributing harmonica on two tracks. In 2016, songwriter Stephen Malkmus described the album as "overproduced" and described conflicts with Godrich. In response, Godrich tweeted: "I literally slept on a friend's floor in NYC to be able to make that album." In 2001, Godrich remixed U2's "Walk On" for its single release, and also mixed and contributed production to Air's albums "Talkie Walkie" (2004) and "Pocket Symphony" (2007).

paragraph: In 2002, Godrich was hired to produce the second album by the Strokes, but was fired when their work, according to the band, proved "soulless". Godrich said of the failed collaboration: "The problem there was that me and [singer Julian Casablancas] are just too similar, we're both control freaks. He wanted to do it his way, I wanted to do it my way, and obviously that's the point of me being there. And I'm saying 'Well, why am I here if you're not prepared to try and do it the way I want to do it?' We got on great, it was just one of those laughable things where it just doesn't work. I wanted them to change, and they didn't."

paragraph: He produced the 20th anniversary version of "Do They Know It's Christmas?", released in December 2004, which also featured Yorke and Greenwood. Paul McCartney hired Godrich to produce his album "Chaos and Creation in the Backyard" (2005) after being recommended by Beatles producer George Martin. Godrich fired McCartney's touring band, and demanded that McCartney abandon songs Godrich found clichéd, over-sentimental, or subpar. The album was nominated for several Grammy Awards, including Album of the Year, and Godrich was nominated for Producer of the Year.

paragraph: In 2010, Godrich worked with Beck to compose the score for "Scott Pilgrim vs. the World", his first film work. In October 2012, Godrich, along with Joey Waronker and singer Laura Bettinson, released an album as Ultraísta. In 2015, he produced the live album "", and made a cameo appearance as a Stormtrooper in "". He mixed the Red Hot Chili Peppers' eleventh studio album, "The Getaway" (2016). Godrich produced the fifth solo album by Roger Waters, "Is This the Life We Really Want?", released in June 2017. Godrich, a fan of Waters' work with Pink Floyd, was critical of Waters' previous solo work and felt his role as producer was to "encourage him, to push him a little bit".

paragraph: Section::::Other projects.:"From the Basement" (2006–2009).

paragraph: In September 2006, it was announced that Godrich, along with producer Dilly Gent, producer James Chads and John Woollcombe, were shooting the music series "From the Basement", filmed from London's Maida Vale Studios. The series was to focus on intimate, live performances by musicians without a host or an audience. Godrich told Pitchfork Media in an interview, "We've got a lot of people that I'd like to see on the show [that] we're talking to. [But] I don't want to mention their names. Obviously, I'm really interested to capture some really iconic, bigger names– really the whole point is to get people who are having their moment, to try and get a definitive record of what they're doing."

paragraph: Godrich first conceived "From the Basement" as a means of authentically documenting music being made. Drawing further inspiration from British television music series "The Old Grey Whistle Test", Godrich came upon the idea of a television programme. Despite early reports, "From the Basement" did not initially appear on British television, because of not taking on corporate sponsors.

paragraph: When the pilot was in production, "From The Basement" was to be an online programme only. However, this was not feasible as it did not generate enough money to produce the episodes to the quality level desired. Instead, the producers went to international TV networks to receive money up front to produce the series. The series did eventually air on television; the first UK broadcast was on Sky Arts on 1 December 2007, featuring four songs performed by Thom Yorke on 8 December 2007. The United States premiere was on Rave HD on 22 February 2008, followed by a run on Independent Film Channel, as part of the network's "Automat" block of television programmes in the autumn of 2008. On 3 November 2008, the series was released on DVD.

paragraph: Section::::External links.

paragraph: BULLET::::- [ Allmusic Credits]

description: English record producer and sound engineer

wikidata_label: Nigel Godrich

wikipedia_title: Nigel Godrich


text:
American football
defensive end
Cleveland Browns
2013 NFL Draft
college football
Division II
East Central Tigers
Ada, Oklahoma
Cleveland Browns
2013 NFL Draft
2016 season
2017 NFL season
Oakland Raiders
no contest
East Central University
driving under the influence
Ohio Highway Patrol
Oxycodone
Adderall
focal segmental glomerulosclerosis
kidney failure
dialysis
Cleveland Browns bio
East Central Tigers bio

categories: East Central Tigers football players,Detroit Lions players,Cleveland Browns players,American football defensive ends,1990 births,American football linebackers,Players of American football from Texas,Living people,People from Wichita Falls, Texas

paragraph: Armonty Bryant

paragraph: Armonty Charles Bryant (born May 20, 1990) is a former American football defensive end. He was drafted by the Cleveland Browns in the seventh round of the 2013 NFL Draft. He played college football for the Division II East Central Tigers of Ada, Oklahoma.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:Cleveland Browns.

paragraph: On April 27, 2013, Bryant was selected by the Cleveland Browns in the seventh round, 217th overall pick of the 2013 NFL Draft.

paragraph: He was suspended for the first four games of the 2016 season for violating the performance-enhancing drug policy. He was released by the Browns on October 3, 2016.

paragraph: Section::::Professional career.:Detroit Lions.

paragraph: On October 4, 2016, Bryant was claimed off waivers by the Lions. Bryant had to serve another three-game suspension for violating the league's policy on substances of abuse. He was activated on December 3, prior to Week 13. He was placed on injured reserve on December 6 with a knee injury.

paragraph: On March 21, 2017, Bryant re-signed with the Lions. He was suspended once again for the first four games of the 2017 NFL season for violating the NFL's substance abuse policy. On October 9, 2017, after being re-instated from suspension, Bryant was released by the Lions.

paragraph: Section::::Professional career.:Oakland Raiders.

paragraph: On April 6, 2018, Bryant signed with the Oakland Raiders. On May 4, 2018, he was waived by the Raiders with a non-football illness designation.

paragraph: Section::::Professional career.:Retirement.

paragraph: On July 16, 2018, Bryant announced his retirement from the NFL.

paragraph: Section::::Personal life.

paragraph: In October 2012, Bryant pleaded no contest following an arrest for selling marijuana twice in a parking lot at East Central University, receiving probation from October 18, 2012, to October 18, 2017. In May 2013, he was given a one-year deferred sentence after he pleaded no contest to a charge of driving under the influence of alcohol. Bryant was indicted on two felony drug possession charges in February 2016 after being arrested following a traffic stop on December 25, 2015, for speeding. During a search of the vehicle, Ohio Highway Patrol officers discovered two pills of Oxycodone and one Adderall.

paragraph: As of February 2019, Bryant is being treated for focal segmental glomerulosclerosis (FSGS), which has led to kidney failure and requires dialysis.

paragraph: Section::::External links.

paragraph: BULLET::::- Cleveland Browns bio

paragraph: BULLET::::- East Central Tigers bio

description: American football player

wikidata_label: Armonty Bryant

wikipedia_title: Armonty Bryant


text:
American football
guard
Cleveland Browns
2013 NFL Draft
Tampa Bay Buccaneers
college football
Chadron State
Lemont, Illinois
Chicago
Naperville
Sandwich, Illinois
Sandwich Community High School
Aurora Christian High School
Aurora
Chadron State College
NCAA Division II
Nebraska
2012 Senior Bowl
Cleveland Browns
2013 NFL Draft
Cleveland Browns
Tampa Bay Buccaneers
Chadron State Eagles bio

categories: Sportspeople from Naperville, Illinois,Cleveland Browns players,People from Sandwich, Illinois,Chadron State Eagles football players,Tampa Bay Buccaneers players,1990 births,People from Lemont, Illinois,Living people,American football offensive guards

paragraph: Garrett Gilkey

paragraph: Garrett Gilkey (born July 9, 1990) is an American football guard who is currently a free agent, was drafted by the Cleveland Browns in the seventh round of the 2013 NFL Draft. He has also played for the Tampa Bay Buccaneers. He played college football at Chadron State.

paragraph: Section::::Early life and college career.

paragraph: Gilkey was born in Lemont, Illinois, a village southwest of Chicago. Gilkey grew up in Naperville and moved with his parents and four siblings to the town of Sandwich, Illinois at age 12. As a freshman, Gilkey attended Sandwich Community High School but transferred to Aurora Christian High School in nearby Aurora

paragraph: After graduating from Aurora Christian High in 2008, Gilkey enrolled at Chadron State College, an NCAA Division II school in northwestern Nebraska. At Chadron State, Gilkey played in 37 games with 34 starts and earned first-team All-American honors from D2Football.com. Gilkey was one of three Division II players invited to the 2012 Senior Bowl.

paragraph: Section::::Professional career.

paragraph: On April 27, 2013, he was selected by the Cleveland Browns in the seventh round, 227 overall pick of the 2013 NFL Draft. On May 24, 2013, he agreed to a four-year deal with the Cleveland Browns.

paragraph: Section::::Professional career.:Tampa Bay Buccaneers.

paragraph: Gilkey was claimed off waivers by the Tampa Bay Buccaneers on September 1, 2014. On July 26, 2016, Gilkey was waived by Tampa Bay due to a failed physical.

paragraph: Section::::External links.

paragraph: BULLET::::- Chadron State Eagles bio

description: American football player

wikidata_label: Garrett Gilkey

wikipedia_title: Garrett Gilkey


text:
Slovakian
ice hockey
defenceman
HC Karlovy Vary
Czech Extraliga
Slovak Extraliga
HK Poprad
2012–13 Slovak Extraliga season

categories: HK Poprad players,1994 births,Slovak ice hockey players,HC Dukla Jihlava players,Living people,HC Karlovy Vary players

paragraph: Dávid Gríger

paragraph: Dávid Gríger (born November 28, 1994) is a Slovakian professional ice hockey defenceman. He is currently playing for HC Karlovy Vary of the Czech Extraliga.

paragraph: Griger made his professional debut in the Slovak Extraliga playing with HK Poprad during the 2012–13 Slovak Extraliga season before joining Karlovy Vary in 2013.

description: Slovakian ice hockey player

wikidata_label: Dávid Gríger

wikipedia_title: Dávid Gríger


text: Minas

text: Lavalleja

text: Uruguay

text: Marcha

text: El Día

text: Montevideo

text: Perico

text: Uruguay

text: Minas

text: Lavalleja

text: Uruguay

text: Viaje hacia el mar

text: Guillermo Casanova

text: Hugo Arana

text: Julio César Castro

text: Diego Delgrossi

text: Minas

text: Lavalleja

text: Uruguay

text: Guillermo Cuadri

text: Valeriano Magri

text: José María Cajaraville

text: Julio Casas Araújo

text: Ediciones de la Banda Oriental

text: Breve biografía de Juan José Morosoli

categories: 1899 births,Uruguayan people of Swiss-Italian descent,1959 deaths

paragraph: Juan José Morosoli

paragraph: Juan José Morosoli (January 19, 1899 – December 29, 1957) was a Uruguayan writer. His masterpiece is "Perico", a collection of short stories for children, which included "Arenero" and "La Querencia Olvidada" in 1947.

paragraph: Section::::Biography.

paragraph: Juan José Morosoli was born on January 19, 1899 in Minas, Lavalleja, Uruguay. His father was a Swiss immigrant who worked as a bricklayer. When he was a child he had to quit school on second grade due to economic problems his family were having. He was a self-made person.

paragraph: At the age of 9, he started working at a bookstore for his uncle, first as a courier and later as a shop assistant.

paragraph: In 1920, he opened a café with two partners in Montevideo, Uruguay.

paragraph: In 1923, he wrote for many newspapers including "La Unión" from Minas, "Marcha", "Mundo Uruguayo" and "El Día" from Montevideo.

paragraph: He also wrote some theatre plays between 1923 and 1928.

paragraph: In 1925 he wrote his first poems, now included in his book "Balbuceos".

paragraph: In 1928 he edited a collective poetry work named "Bajo la misma sombra" together with Valeriano Magri, José María Cajaville and Casas Araújo, and his book "Los Juegos".

paragraph: As a writer, he specialized on short stories. He focused on everyday people who lived near the towns and he discovered their uniqueness and character traits full of elementary greatness or "grandeza elemental".

paragraph: In 1932, he published his first book on short stories named "Hombres", with a second edition in 1942.

paragraph: Some years later, he wrote some narrative books such as "Los albañiles de "Los Tapes"", "Hombres y mujeres", "Muchachos", "Perico", and "Vivientes", making him a famous short stories writer in Uruguay.

paragraph: He died on December 29, 1959 in Minas, Lavalleja, Uruguay.

paragraph: In 1959 "Tierra y tiempo" was published. In 1959, "Viaje hacia el mar" was published. Based on this story, the film "Viaje hacia el mar" was directed by Guillermo Casanova and starred Hugo Arana, Julio César Castro and Diego Delgrossi.

paragraph: In 1991, some prizes were created by Lolita Rubial Foundation to pay homage to this writer in Minas, Lavalleja, Uruguay

paragraph: Section::::Literary work.

paragraph: BULLET::::- "Balbuceos" (poems. 1925)

paragraph: BULLET::::- "Bajo la misma Sombra" (poems, with Guillermo Cuadri, Valeriano Magri, José María Cajaraville and Julio Casas Araújo. 1928)

paragraph: BULLET::::- "Los juegos" (poems. 1928)

paragraph: BULLET::::- "Hombres" (short stories. 1932)

paragraph: BULLET::::- "Los albañiles de Los Tapes" (short stories. 1936)

paragraph: BULLET::::- "Hombres" (second edition, modified. 1943)

paragraph: BULLET::::- "Hombres y mujeres" (short stories. 1944)

paragraph: BULLET::::- "Perico" (short stories. 1947)

paragraph: BULLET::::- "Muchachos" (short stories. 1950)

paragraph: BULLET::::- "Vivientes" (short stories. 1953)

paragraph: BULLET::::- "Tierra y tiempo" (1959)

paragraph: BULLET::::- "El viaje hacia el mar" (Ediciones de la Banda Oriental. 1962)

paragraph: Section::::References.

paragraph: BULLET::::- Antología del cuento uruguayo volumen III, "Los criollistas del veinte". Ediciones de la Banda Oriental, 1968.

paragraph: Section::::External links.

paragraph: BULLET::::- Breve biografía de Juan José Morosoli

paragraph: BULLET::::- Centenario de Juan José Morosoli - Un narrador de transición

paragraph: BULLET::::- El viaje hacia el mar-short story {Spanish}

description: Uruguayan writer

wikidata_label: Juan José Morosoli

wikipedia_title: Juan José Morosoli


text: calligraphy

text: traditional Chinese painting

text: seal-carving

text: Nanjing

text: Ming dynasty

text: Qing dynasty

text: Hongguang Emperor

text: seal

text: multi-colour printing

text: embossing

text: Xiuning County

text: Anhui Province

text: art name

text: Lu'an

text: Huoshan

text: Beiji Ge

text: city wall

text: Ming dynasty

text: overthrown and replaced

text: Qing

text: Beijing

text: Ming loyalist regime

text: Nanjing

text: Zhu Yousong

text: seal script

text: seal

text: Qing invasion of Nanjing

text: the National University

text: Ministry of Rites

text: Hanlin Academy

text: Manchu

text: Xiao Yuncong

text: Lü Liuliang

text: Han dynasty

text: Huizhou

text: He Zhen

text: Zhou Lianggong

text: Imperial seal

text: Chongzhen Emperor

text: Imperial examination

text: Confucian Classics

text: Guozijian

text: woodblock printing

text: multi-coloured prints

text: embossed

text: Yuan period

text: Wu Faxiang

text: bamboo

text: "butterfly binding"

text: Manual of the Mustard Seed Garden

text: Japan

text: ukiyo-e

text: nishiki-e

text: Qing dynasty

text: Zheng Zhenduo

text: Lu Xun

text: Zhou Boqi

text: Confucian classics

text: Four Books

text: Thousand Character Classic

text: colophons

text: Chinese dominoes

text: Cambridge Digital Library

categories: Painters from Anhui,1584 births,Chinese printers,Politicians from Huangshan,Ming dynasty calligraphers,Ming dynasty politicians,Ming dynasty painters,History of printing,17th-century Chinese businesspeople,1674 deaths,Chinese seal artists

paragraph: Hu Zhengyan

paragraph: Hu Zhengyan (; 15841674) was a Chinese artist, printmaker and publisher. He worked in calligraphy, traditional Chinese painting, and seal-carving, but was primarily a publisher, producing academic texts as well as records of his own work.

paragraph: Hu lived in Nanjing during the transition from the Ming dynasty to the Qing dynasty. A Ming loyalist, he was offered a position at the rump court of the Hongguang Emperor, but declined the post, and never held anything more than minor political office. He did, however, design the Hongguang Emperor's personal seal, and his loyalty to the dynasty was such that he largely retired from society after the emperor's capture and death in 1645. He owned and operated an academic publishing house called the Ten Bamboo Studio, in which he practised various multi-colour printing and embossing techniques, and he employed several members of his family in this enterprise. Hu's work at the Ten Bamboo Studio pioneered new techniques in colour printmaking, leading to delicate gradations of colour which were not previously achievable in this art form.

paragraph: Hu is best known for his manual of painting entitled "The Ten Bamboo Studio Manual of Painting and Calligraphy", an artist's primer which remained in print for around 200 years. His studio also published seal catalogues, academic and medical texts, books on poetry, and decorative writing papers. Many of these were edited and prefaced by Hu and his brothers.

paragraph: Section::::Biography.

paragraph: Hu was born in Xiuning County, Anhui Province in 1584 or early 1585. Both his father and elder brother Zhengxin (, art name Wusuo, ) were physicians, and after he turned 30 he travelled with them while they practised medicine in the areas around Lu'an and Huoshan. It is commonly stated that Zhengyan himself was also a doctor, though the earliest sources attesting to this occur only in the second half of the 19th century.

paragraph: By 1619, Hu had moved to Nanjing where he lived with his wife Wu. Their home on Jilongshan (, now also known as Beiji Ge), a hill located just within the northern city wall, served as a meeting-house for like-minded artists. Hu named it the Ten Bamboo Studio ("Shizhuzhai", ), after the ten bamboo plants that grew in front of the property. It functioned as the headquarters for his printing business, where he employed ten artisans including his two brothers Zhengxin and Zhengxing (, art name Zizhu, ) and his sons Qipu () and Qiyi (, courtesy name ).

paragraph: During Hu's lifetime, the Ming dynasty, which had ruled China for over 250 years, was overthrown and replaced by China's last imperial dynasty, the Qing. Following the fall of the capital Beijing in 1644, remnants of the imperial family and a few ministers set up a Ming loyalist regime in Nanjing with Zhu Yousong on the throne as the Hongguang Emperor. Hu, who was noted for his seal-carving and facility with seal script, created a seal for the new Emperor. The court offered him the position of Drafter for the Secretariat ("zhongshu sheren", ) as a reward, but he did not accept the role (although he did accord himself the title of "zhongshu sheren" in some of his subsequent personal seals).

paragraph: According to Wen Ruilin's "Lost History of the South" ("Nanjiang Yishi", ), prior to the Qing invasion of Nanjing Hu studied at the National University there, and whilst a student was employed by the Ministry of Rites to record official proclamations; he produced the "Imperial Promotion of Minor Learning" ("Qin Ban Xiaoxue", ) and the "Record of Displayed Loyalty" ("Biaozhong Ji", ) as part of this work. As a result, he was promoted to the Ministry of Personnel and gained admittance to the Hanlin Academy, but before he could take up this appointment, Beijing had fallen to the Manchu rebellion. Since contemporaneous biographies (Wen's work was not published until 1830) make no mention of these events, it has been suggested that they were fabricated after Hu's death.

paragraph: Hu retired from public life and went into seclusion in 1646, after the end of the Ming dynasty. Xiao Yuncong and Lü Liuliang recorded visiting him during his later years, in 1667 and 1673 respectively. He died in poverty at the age of 90, sometime around late 1673 or early 1674.

paragraph: Section::::Seal-carving.

paragraph: Hu Zhengyan was a noted seal-carver, producing personal seals for numerous dignitaries. His style was rooted in the classical seal script of the Han dynasty, and he followed the Huizhou school of carving founded by his contemporary He Zhen. Hu's calligraphy, although balanced and with a clear compositional structure, is somewhat more angular and rigid than the classical models he followed. Huizhou seals attempt to impart an ancient, weathered impression, although unlike other Huizhou artists Hu did not make a regular practice of artificially aging his seals.

paragraph: Hu's work was known outside his local area. Zhou Lianggong, a poet who lived in Nanjing around the same time as Hu and was a noted art connoisseur, stated in his "Biography of Seal-Carvers" ("Yinren Zhuan", ) that Hu "creates miniature stone carvings with ancient seal inscriptions for travellers to fight over and treasure", implying that his carvings were popular with visitors and travellers passing through Nanjing.

paragraph: In 1644, Hu took it upon himself to create a new Imperial seal for the Hongguang Emperor, which he carved after a period of fasting and prayer. He presented his creation with an essay, the "Great Exhortation of the Seal" ("Dabao Zhen", ), in which he bemoaned the loss of the Chongzhen Emperor's seal and begged Heaven's favour in restoring it. Hu was concerned that his essay would be overlooked because he had not written it in the form of rhyming, equally-footed couplets ("pianti", ) used in the Imperial examinations, but his submission and the seal itself were nevertheless both accepted by the Southern Ming court.

paragraph: Section::::Ten Bamboo Studio.

paragraph: Despite his reputation as an artist and seal-carver, Hu was primarily a publisher. His publishing house, the Ten Bamboo Studio, produced reference works on calligraphy, poetry and art; medical textbooks; books on etymology and phonetics; and copies of as well as commentaries on the Confucian Classics. Unlike other publishers in the area, the Ten Bamboo Studio did not publish works of narrative fiction such as plays or novels. This bias towards academia was likely a consequence of the studio's location: the mountain on which Hu took up residence was just to the north of the Nanjing Guozijian (National Academy), which provided a captive market for academic texts. Between 1627 and 1644, the Ten Bamboo Studio produced over twenty printed books of this kind, aimed at a wealthy, literary audience. The studio's earliest publications were medical textbooks, the first of which, "Tested Prescriptions for Myriad Illnesses" ("Wanbing Yanfang", ) was published in 1631 and proved popular enough to be reissued ten years later. Hu's brother Zhengxin was a medical practitioner and appears to have been the author of these books.

paragraph: During the 1630s the Ten Bamboo Studio also produced political works extolling the rule of the Ming; these included the "Imperial Ming Record of Loyalty" ("Huang Ming Biaozhong Ji", ), a biography of loyal Ming officials, and the "Edicts of the Imperial Ming" ("Huang Ming Zhaozhi", ), a list of Imperial proclamations. After the fall of the Ming Dynasty, Hu renamed the studio the Hall Rooted in the Past ("Digutang", ) as a sign of his affiliation with the previous dynasty, although the Ten Bamboo imprint continued to be used. Despite Hu's withdrawal from society after 1646, the studio continued to publish well into the Qing dynasty, for the most part focussing on seal impression catalogues showcasing Hu's carving work.

paragraph: The Ming dynasty had seen considerable advancement in the process of colour printing in China. At his studio, Hu Zhengyan experimented with various forms of woodblock printing, creating processes for producing multi-coloured prints and embossed printed designs. As a result, he was able to produce some of China's first printed publications in colour, using a block printing technique known as "assorted block printing" ("douban yinshua", ). This system made use of multiple blocks, each carved with a different part of the final image and each bearing a different colour. It was a lengthy, painstaking process, requiring thirty to fifty engraved printing blocks and up to seventy inkings and impressions to create a single image. Hu also employed a related form of multiple-block printing called "set-block printing" ("taoban yinshua", ), which had existed since the Yuan period some 200 years earlier but had only recently come into fashion again. He refined these block printing techniques by developing a process for wiping some of the ink off the blocks before printing; this enabled him to achieve gradation and modulation of shades which were not previously possible.

paragraph: In some images, Hu employed a blind embossing technique (known as "embossed designs" ("gonghua", ) or "embossed blocks" ("gongban", ), using an uninked, imprinted block to stamp designs onto paper. He used this to create white relief effects for clouds and for highlights on water or plants. This was a relatively new process, having been invented by Hu's contemporary Wu Faxiang, who was also a Nanjing-based publisher. Wu had used this technique for the first time in his book "Wisteria Studio Letter Paper" ("Luoxuan Biangu Jianpu", ), published in 1626. Both Hu and Wu used embossing to create decorative writing papers, the sale of which provided a sideline income for the Ten Bamboo Studio.

paragraph: Section::::Major works.

paragraph: Hu's most notable work is the "Ten Bamboo Studio Manual of Painting and Calligraphy" ("Shizhuzhai Shuhuapu", ), an anthology of around 320 prints by around thirty different artists (including Hu himself), published in 1633. It consists of eight sections, covering calligraphy, bamboo, flowers, rocks, birds and animals, plums, orchids and fruit. Some of these sections had been released previously as single volumes. As well as a collection of artworks, it was also intended as an artistic primer, with instructions on correct brush position and technique and several pictures designed for beginners to copy. Although these instructions only appear in the sections on orchids and bamboo, the book still remains the first example of a categorical and analytical approach to Chinese painting. In this book, Hu used his multiple-block printing methods to obtain gradations of colour in the images, rather than obvious outlines or overlaps. The manual is bound in the "butterfly binding" ("hudie zhuang", ) style, whereby whole-folio illustrations are folded so that each occupies a double-page spread. This binding style allows the reader to lay the book flat in order to look at a particular image. Cambridge University Library released a complete digital scan of the manual, including all writings and illustrations in August, 2015. Said Charles Aylmer, Head of the Cambridge University Chinese Department, "The binding is so fragile, and the manual so delicate, that until it was digitized, we have never been able to let anyone look through it or study it – despite its undoubted importance to scholars."

paragraph: This volume went on to influence colour printing across China, where it paved the way for the later but better-known "Manual of the Mustard Seed Garden" ("Jieziyuan Huazhuan" ), and also in Japan, where it was reprinted and foreshadowed the development in ukiyo-e of the colour woodblock printing process known as "nishiki-e" . The popularity of the "Ten Bamboo Studio Manual" was such that print runs continued to be produced all the way through to the late Qing dynasty.

paragraph: Hu also produced the work "Ten Bamboo Studio Letter Paper" ("Shizhuzhai Jianpu", ), a collection of paper samples, which made use of the "gonghua" stamped embossing technique to make the illustrations stand out in relief. Whilst primarily a catalogue of decorative writing papers, it also contained paintings of rocks, people, ritual vessels and other subjects. The book was bound in the "wrapped back" ("baobei zhuang", ) style, in which the folio pages are folded, stacked, and sewn along the open edges. Originally published in 1644, it was reissued in four volumes between 1934 and 1941 by Zheng Zhenduo and Lu Xun, and revised and republished again in 1952.

paragraph: Section::::Major works.:Other publications.

paragraph: Other works produced by Hu's studio included a reprint of Zhou Boqi's manual of seal-script calligraphy, "The Six Styles of Calligraphy, Correct and Erroneous" ("Liushu Zheng'e", ) and the related "Necessary Investigations into Calligraphy" ("Shufa Bi Ji", ), which discussed common errors in the formation of characters. With his brother Zhengxin, Hu edited a new introductory edition of the Confucian classics, entitled "The Standardised Text of the Four Books, Identified and Corrected" ("Sishu Dingben Bianzheng", ) (1640), giving the correct formation and pronunciation of the text. A similar approach was taken with the "Essentials of the Thousand Character Classic in Six Scripts" ("Qianwen Liushu Tongyao", ) (1663), which Hu compiled with the aid of his calligraphy teacher, Li Deng. It was published after Li's death, partly in homage to him.

paragraph: The three Hu brothers worked together to collate a student primer on poetry by their contemporary Ye Tingxiu, which was called simply the "Discussion of Poetry" ("Shi Tan", ) (1635). Other works on poetry from the studio included "Helpful Principles to the Subtle Workings of Selected Tang Poems" ("Leixuan Tang Shi Zhudao Weiji", ), which was a compilation of several works on poetry and included colophons by Hu Zhengyan himself.

paragraph: Among the studio's more obscure publications was a text on Chinese dominoes entitled "Paitong Fuyu" (), written under a pseudonym but with a preface by Hu Zhengyan.

paragraph: Section::::External links.

paragraph: BULLET::::- "Shi zhu zhai shu hua pu" (Ten Bamboo Studio collection of calligraphy and painting), fully digitised 1633 edition in Cambridge Digital Library

alias:
Yuecong
Hu Zhengyan

description: Chinese painter and printer

wikidata_label: Hu Zhengyan

wikipedia_title: Hu Zhengyan


text:
Moldavia
Romanian nationalists
Freemasons
Cuzas (Cuzeas)
boyardom
Doukas
Sturdza
Miron Costin
Habsburg
François Ernaut
Phanariote
Ottoman Empire
Prince
Ioan Teodor Callimachi
Iordaki Stavraki
Stolnic
Grigore III Ghica
Paharnic
Russo-Turkish War of 1768
Spatharios
Moldavian military forces
Fălciu County
Bessarabia
Manolache Bogdan
Constantine Mourouzis
Alexandru Ioan Cuza
Domnitor
United Principalities
Mourouzis
A. C. Cuza
Italians
Lorraine
ethnic Greeks
Roșiori
Neamț County
Vornic
Bessarabia
Cozești
tierced
fess
Emanuel Hagi-Mosco
Vistier
Sturdzas
Doukas
Comis
Antonie Ruset
George Ducas
Stolnic
Constantine Ducas
Hetman
Ioniță Costin
Miron Costin
fl.
Logothete
Nicolae Costin
Moldavian Magnate Wars
Movilești
Mihai Racoviță
Phanariote
Ottoman Empire
Austro–Turkish War
Seimeni
Imperial Army
Iași
François "Franță" Ernaut
Ion Neculce
Cetățuia Monastery
Postelnic
Pitar
Constantine Mavrocordatos
Abdullah Pasha
Ottoman Grand Vizier
Romanian nationalism
national party
Ioan Teodor Callimachi
Iordaki Stavraki
Crimean Khanate
Ispravnic
Vaslui
ktitor
Moldavian Orthodox
Negrești
Bârzești
usurer
Zăpodeni
Rebricea
Cuzlău
Golia Monastery
Grigore III Ghica
Kapucu
Paharnic
Russian occupation
terms of Küçük Kaynarca
Focșani
Istanbul
Sultan
Abdul Hamid I
northern Moldavia
Habsburg Monarchy
Austrian duchy
Constantine Mourouzis
Freemasonry in Romania
Manolache Bogdan
Nicolae Iorga
Enlightenment philosophy
Bender
A. D. Xenopol
Ottoman army
Iași
Bahlui
Cosăuți
Târgu Ocna
Romanian folklore
Ioniță Sandu Sturdza
Romanian liberalism
Ionică Tăutu
Pângărați
Ottoman army
Sacred Band
Scarlat Vârnav
Hotin County
Bessarabia Governorate
Rosetti
Vasile Alecsandri
Regulamentul Organic
Moldavian revolution of 1848
Duchy of the Archipelago
Alexandru Ioan
Moldavian military forces
Alecu Moruzi
National Party
ad-hoc Divan
elected him Moldavian Prince
Domnitor
United Principalities
Mihail Kogălniceanu
Românulŭ
Gheorghe Ghibănescu
1866 coup
camarilla
Alexandru "Sașa" Cuza
Madrid
A. C. Cuza
National-Christian Defense League
National Christian Party
Gheorghe
sonnet
Romanian Jews
Iași pogrom
nationalized
communist regime
Fundația Regele Carol I
George Călinescu
Editura Minerva
Neagu Djuvara
Humanitas
Magazin Istoric
Nicolae Iorga
Cultura Națională
Z. Ornea
Editura Fundației Culturale Române
Editura enciclopedică
Costache Conachi
Editura Librăriei Frații Șaraga
A. D. Xenopol
Cartea Românească

categories: Postelnici of Moldavia,1778 deaths,Romanian philanthropists,People executed by Moldavia by decapitation,18th-century Romanian people,18th-century diplomats,18th-century soldiers,Romanian nationalists,Romanian rebels,Romanian torture victims,Romanian Freemasons,1710s births,18th-century philanthropists,Eastern Orthodox Christians from Romania,18th-century executions,Spatharii of Moldavia

paragraph: Ioniță Cuza

paragraph: Ion Cuza or Cuzea, commonly known as Ioniță Cuza (ca. 1715 – August 18, 1778), was a Moldavian statesman and political conspirator, remembered as one of the first Romanian nationalists and Freemasons. His paternal family, the Cuzas (Cuzeas), were landowners of uncertain origin who, by the time of Ioniță's birth, had been established into the boyardom, being under the patronage of Doukas and Sturdza aristocrats. Ioniță's mother was a direct descendant of the statesman-chronicler Miron Costin; his father, Miron Cuza, had been involved in the pro-Habsburg conspiracy headed by François Ernaut, while his grandfather, Dumitrașco Cuzea, had been hanged during the clampdown. As boyars, both the Cuzas and the Costins opposed the Phanariote regime and devised other schemes to emancipate Moldavia from the Ottoman Empire.

paragraph: Ioniță was at the forefront of this fight in 1759, when he managed to contain the actions of Prince Ioan Teodor Callimachi and his courtier Iordaki Stavraki, expelling the latter from Moldavia. He was propelled to high office, serving for years as the Moldavian "Stolnic". In 1767, Cuza also had a standoff with Grigore III Ghica, who finally agreed to grant him and other native boyars access to higher offices, and thus earned Cuza's enduring political support. He was "Paharnic" before and during the Russo-Turkish War of 1768, returning as "Spatharios", or commander of the Moldavian military forces, during Ghica's second and final reign. While conserving his standing in regional politics, Cuza built a large estate of his own, with clusters of villages in both Fălciu County and Bessarabia.

paragraph: Cuza was finally executed, with Manolache Bogdan, after both were caught up in the intrigues against Prince Constantine Mourouzis. He was survived by five sons. Through one of them, Ioniță was the great-grandfather of Alexandru Ioan Cuza, Romanian nationalist campaigner and "Domnitor" of the United Principalities. His reign saw several rapprochements between the Cuzas and the Mourouzis, all of which created controversy and returned focus on Ioniță's rebellion. Another one of Ioniță's sons was the great-grandfather of A. C. Cuza, the antisemitic doctrinaire.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Origins.

paragraph: Ioniță Cuza's ethnic origins and ancestry are largely uncertain, subject to several competing theories. Some early hypotheses, centered on the name's resonance, have proposed that the Cuzas were Italians or Lorrainers. Historian N. Stoicescu believes that they were possibly ethnic Greeks. According to genealogist Ștefan S. Gorovei, Ioniță's ancestry is entirely local and can be traced back to January 1588, with the first mention of a "Cozea" from Roșiori. This figure, identified by Gorovei as the Cuza patriarch, made lucrative land deals in other parts of Neamț County, leaving a fortune to his sons. One of these may be Toader Cuza, who is shown to be engaged in commercial exchanges with the boyar Toader Jora. Another genealogist, Gheorghe G. Bezviconi, proposes that the Joras and the Cuzas had a common ancestor, the "Vornic" Băisan. The family may have branched out into Bessarabia at an early stage, with records showing them as founders and owners of the village Cozești. Unusually among Moldavian boyars, the Cuzas seem not to have adopted a coat of arms of their own, although a tierced per "fess" shield is attributed to them in Emanuel Hagi-Mosco's album.

paragraph: The first Cuza to reach high office may have been a "Vistier" Coza, serving in the 1630s. According to Stoicescu, he was father of the better-known Dumitrașco Cuza (or Cuzea). Contrarily, Gorovei argues that there is "no certain connection" between the "Vistier" and Dumitrașco, who was the known heir of Toader Cuza. It is also known that Dumitrașco married Safta, daughter of Toader Jora and sister-in-law of the Great "Vornic" Ioan Sturza (of the Greek Sturdzas). One period writ describes him as the son of Safta Jora. This dynastic arrangement also made Cuza a relative of the powerful Doukas and brought him a large dowry, including 15 estates in Moldavia-proper and Bessarabia. He had a steady climb at the court, being first mentioned in June 1677 as "Comis" for Prince Antonie Ruset, granted ownership of Vlăicenii village in recognition for his service. He became "Spatharios" in 1679, under George Ducas, returning as Great "Stolnic" and Great "Spatharios" under Constantine Ducas.

paragraph: Dumitrașco also cultivated a close relationship with the Costin boyars, and in particular with "Hetman" Ioniță Costin, orphaned son of the writer and politician Miron Costin. Cuza's own three sons, Miron, Toader and Velicico, were involved in cementing such links. Miron Cuza ("fl." 1680–1742) may have been named after Ioniță's father. Holding office as "Logothete", he married Ilinca, daughter of Ioniță Costin, granddaughter of his namesake and niece of Nicolae Costin. The Costins had been one of the most powerful players after the Moldavian Magnate Wars, keeping Princes as the "instruments of [their] party". Through her mother Ileana, Ilinca also descended from Movilești royalty.

paragraph: In 1701–1702, Cuza Sr and the "Hetman" tried to mediate a conflict between Prince Ducas and his "Spatharios", Mihai Racoviță. Instead, they came to be detested by the latter. Cuza was sidelined later that year, when Racoviță managed to topple and replace Ducas. Over the following decades, Phanariote bureaucrats acting under the supervision of the Ottoman Empire instituted a regime which cut back on the privileges of established boyar families. Racoviță participated in its creation, returning to rule as a Phanariote in December 1715. However, in 1716, Moldavia was dragged into the Austro–Turkish War. Racoviță and his "Seimeni" "put up no resistance" to the Imperial Army, which then imposed terror on the city of Iași.

paragraph: Following this regime change, Miron and Velicico involved themselves in a plot to topple Racoviță, alongside boyar Vasile Ceaurul and the mercenary François "Franță" Ernaut. In January 1717, the "Seimeni" defeated Ernaut, and resumed control of the country. Racoviță ordered Cuza Sr's hanging, in what was seen by chronicler Ion Neculce as a blind retaliation for his sons' doings. His body was dropped in a mass grave by the side of Cetățuia Monastery. The three younger Cuzas escaped vengeance, but were kept out of political affairs; Toader's sons declined socially, losing their boyar status.

paragraph: Section::::Biography.:Career.

paragraph: Section::::Biography.:Career.:Rise.

paragraph: The son of Miron and Ilinca, Ioniță was born at an unknown date, referred to by historians as "before 1720" or "around 1715". He is known to have had a brother, Mihalache, who is recorded as deceased before 1760. His grandfather Costin died late in 1729, leaving Miron an heir to much of his estate. In 1742–1748, Ioniță was a "Postelnic", and then a "Pitar" to 1752, being consulted by Prince Constantine Mavrocordatos during the abolition of Moldavian serfdom (April 1749). The same year, he and other boyars sent three letters of protest to Abdullah Pasha, the Ottoman Grand Vizier, demanding less taxation and fewer privileges for the foreign merchants. According to Gorovei, these letters should be seen as early documents of Romanian nationalism, with Ioniță Cuza included on "something one may call the 'national party', or the homegrown party".

paragraph: The "Pitar"s anti-Phanariote sentiments were recorded under the reign of Ioan Teodor Callimachi, whose "Spatharios", Iordaki Stavraki, blacklisted Cuza. In 1759, the same Stavraki devised a plan to have Cuza and other 11 boyars removed, sending them on diplomatic mission to the Crimean Khanate, where they were to be kidnapped. The plan was uncovered and the boyars rebelled: as noted by Cuza himself, they had support "from the whole country", obtaining Stavraki's removal and exile; Cuza then reconciled with the Prince, taking over as "Stolnic". He was simultaneously "Stolnic" and "Vistier" to 1763, also serving as the "Ispravnic" of Vaslui from 1761 to 1767.

paragraph: As the head of his house, Ioniță was "ktitor" of the Moldavian Orthodox church in Negrești. Recognized for his philanthropy, in 1762 he received from the widow Safta Racleș the neighboring village of Bârzești. After 1770, Cuza also became implicated in more controversial credit ventures, earning the reputation of a usurer. The deeds he held in Negrești and Bârzești became the basis for a large Cuza domain, which also included Zăpodeni and Rebricea; he had inherited additional land in Cuzlău, as well as townhouses in Vaslui and Iași. Cuza married a daughter of "Pitar" Toader Râșcanu, Tudosica, with whom he had five sons. Of these, four are known to have survived into maturity: Nicolae (or Neculai), Arghirie, Gheorghe and Constantin. All were educated at home, by tutors from Golia Monastery.

paragraph: By 1767, Cuza was again in conflict with the Phanariote regime, which at the time was personified by prince Grigore III Ghica. He and other boyars declared themselves outraged at being sidelined from major offices, and left the country on voluntary exile. The Ottoman envoy, or "Kapucu", intervened as mediator; the protesters returned after being promised reparations. Thus, Cuza himself returned to prominence. From 1769 to 1773, he served as "Paharnic", ending his term under the early stages of a Russian occupation. The latter period saw Cuza working with other boyars to limit Phanariote abuses by resorting to Russian and Ottoman arbitration under the terms of Küçük Kaynarca. In August 1774, the boyars, gathered at Focșani, nominated Cuza and Enachi Chirica as their envoys to Istanbul, where they were to ask for Ghica's return as Prince. Sultan Abdul Hamid I confirmed Ghica for the throne before they left, rendering their mission redundant.

paragraph: Section::::Biography.:Career.:Rebellion and execution.

paragraph: Cuza was appointed as Ghica's "Spatharios" later in 1774. The reign was nevertheless one of major setbacks, beginning with the forced cession of northern Moldavia, annexed by the Habsburg Monarchy and administered as an Austrian duchy. The Prince was assassinated in 1777, with Constantine Mourouzis taking his throne. Cuza preserved his rank and office, but began conspiring against the new monarch. Various foreign sources indicate that the project was of a Masonic inspiration, which would push the history of Freemasonry in Romania to 1770 or even before, to 1740. According to Gorovei, Cuza's scheme involved deposing Mourouzis and placing "Vornic" Manolache Bogdan on the throne. Another historian, Nicolae Iorga, attributes the initiative to a low-ranking boyar, Iordachi Dărmănescu, Cuza and other boyars being only drawn in by their "politicking". Various other researches have also noted that Dărmănescu was a key figure in the import of Enlightenment philosophy and modernizing political literature to Moldavia.

paragraph: Mourouzis was informed of the Bogdan–Cuza–Dărmănescu conspiracy, and retaliated: Bogdan and Cuza were apprehended and interrogated under torture by another "Spatharios", Constantin Caragea. Exposed to a similar treatment, Dărmănescu admitted to having sent a letter to the Ottoman authorities in Bender, asking for arbitration against Mourouzis. He also incriminated Cuza, who was one of the boyars to have signed that document. Historian A. D. Xenopol notes that Cuza was mainly targeted not for actually siding with Bogdan, but for having protested against the Ottoman army's raids in Moldavia. Prince Mourouzis had also found the Ottoman presence unpalatable, but, Xenopol writes, regarded Cuza's additional complaints as dangerously excessive.

paragraph: Cuza and Bogdan were decapitated on August 18, 1778. Contemporary records suggest that they were killed at night in Iași's princely court, "in the tower that's facing the Bahlui"; their executioner was a Captain Pavăl from Cosăuți, who then left the severed heads exposed for public viewing, "on a rug by the gate of the court". Dărmănescu received more clemency from the Prince: originally sentenced to have his right arm amputated, he was eventually dispatched to a monastery in Târgu Ocna. Released before 1783, he dedicated himself to translating Masonic literature. Other participants were also given less violent punishments, following requests from the clergy: some, such as the boyars' physician Dracache Depasta, were exiled and had their estates confiscated.

paragraph: Section::::Legacy.

paragraph: Romanian folklore commemorated the "Spatharios" with a lengthy ballad, which was probably composed shortly after his execution. The fatherless family, including a nine-year old youngest son Ioan, was again left exposed to poverty and persecution. Gheorghe Cuza (1762–1831), who inherited Bârzești, also held the office of "Spatharios" in 1813; married to Ralu Alcaz, he had a daughter, Ecaterina Cuza-Vârnav (died 1872). Gheorghe and his brothers were instrumental in the process which led to the removal of Phanariote Princes, endorsing the nationalist memorandum of Ioniță Sandu Sturdza, who then became Prince. A forerunner of Romanian liberalism, Gheorghe then had a conflict with Sturdza: supporting the constitutionalist Ionică Tăutu, he was detained for a while at Pângărați. The Cuza properties suffered damages in 1821, when the Ottoman army followed the Sacred Band on Moldavian territory. They were later passed on to Gheorghe's son-in-law, "Vornic" Costachi Vârnav (distantly related to the politician Scarlat Vârnav). Arghirie (1758–1826) and his wife Ileana Kostaki were based in Hotin County, from 1812 annexed to Russia, alongside other parts of Moldavia, as the Bessarabia Governorate. The couple's two daughters married, respectively, into the Rosetti and Miclescu families. Constantin, who remained in Vaslui, became through his marriage the uncle of poet Vasile Alecsandri.

paragraph: Gheorghe, Arghirie and Constantin's male lines were extinguished before 1850, but the one starting with Nicolae Cuza (1755–1806) survived into the 20th century. With his Greek wife Nastasia Ziloti, Nicolae had sons Gheorghe (1780–1835) and Ioan (1785–1848); a third, Grigore (1800–1869), died childless. Ioan and Grigore both held offices as "Ispravnici" under the "Regulamentul Organic" regime, but were liberals, deeply involved in the Moldavian revolution of 1848. The former married a Phanariote lady, Sultana Cozadini (1785–1865), impoverished heiress of the Gozzadini and Scanavis families, with roots leading back into the Duchy of the Archipelago.

paragraph: Ioan and Sultana were parents to the most distinguished Cuza of the 19th century, Alexandru Ioan. A Colonel in the Moldavian military forces and participant in the 1848 revolt, he became friends and fellow inmates with Alecu Moruzi, who was a grandson of Prince Constantine. Cuza sided with the National Party in the ad-hoc Divan. That assembly elected him Moldavian Prince, then "Domnitor" of the United Principalities (nucleus of modern Romania), in 1859. In its validation of the election, the Moldavian deputies informed Cuza that the country had a "debt of honor to your family", and that they wished to "compensate the blood your ancestors have shed for the noble liberties". In late 1861, Mihail Kogălniceanu reminded them of this pledge, as part of a speech against Alecu Moruzi, who was at the time Moldavia's Prime Minister, and who, Kogălniceanu alleged, was not a Moldavian national. The allusion was picked up by "Românulŭ" newspaper, who noted that Kogălniceanu was directly referring to Ioniță's killing. A dispute erupted between Kogălniceanu and Grigore Cuza, who defended Moruzi's nationality rights—this paradox was also highlighted in "Românulŭ".

paragraph: According to historian Gheorghe Ghibănescu, Ioniță and his sons were "planted" in the Moldavian soil, a "trunk" for Alexandru Ioan's growth. However, shortly before the 1866 coup which toppled him, the "Domnitor" surrounded himself mostly with his Cozadini relatives, who became a "camarilla"; Alecu Moruzi also remained close to this circle. Alexandru Ioan Cuza's line existed for one more generation after his death in exile, ending in 1889, when his surviving son, the pretender Alexandru "Sașa" Cuza, died in Madrid. He had been married to Alecu Moruzi's daughter Maria—a matter which stirred much controversy, particularly after she took ownership of Cuza estates.

paragraph: The "Domnitor"s uncle Gheorghe (the second) was the grandfather of the Bessarabian opera singer Valentina Cuza-Bleichmann, as well as of another political figure, A. C. Cuza. Originally a socialist, the latter Cuza first achieved notoriety in 1910, when he put out the "first publicly antisemitic program". He founded the National-Christian Defense League, then the National Christian Party. The latter group also involved his son, also named Gheorghe, a published sonneteer, who vied with other figures for control of the antisemitic movement from 1935. Both father and son were directly involved in persecuting the Romanian Jews, in particular during and after the 1941 Iași pogrom. Of the landmarks still associated with Ioniță, the manor in Bârzești was purchased in 1892 by the Ioanid family. It was nationalized, then demolished, under the communist regime.

paragraph: Section::::References.

paragraph: BULLET::::- Mihai-Bogdan Atanasiu, "Contribuții prosopografice: doi logofeți din familia Donici", in "Analele Științifice ale Universității Alexandru Ioan Cuza din Iași. Istorie", Vols. LIV–LV, 2008–2009, pp. 69–80.

paragraph: BULLET::::- Gheorghe G. Bezviconi, "Boierimea Moldovei dintre Prut și Nistru", Vol. I. Bucharest: Fundația Regele Carol I, 1940; Vol. II, Bucharest: National Institute of History, 1943.

paragraph: BULLET::::- George Călinescu, "Istoria literaturii române de la origini pînă în prezent". Bucharest: Editura Minerva, 1986.

paragraph: BULLET::::- Neagu Djuvara, "Între Orient și Occident. Țările române la începutul epocii moderne". Bucharest: Humanitas, 1995.

paragraph: BULLET::::- Ștefan S. Gorovei, "Cronici de familii: Cuzeștii", in "Magazin Istoric", December 1977, pp. 10–14.

paragraph: BULLET::::- Sorin Grigoruță, "Un doctor ieșean în a doua jumătate a secolului XVIII: Dracache Depasta", in "Anuarul Institutului de Istorie A. D. Xenopol", Vol. XLVII, 2010, pp. 33–47.

paragraph: BULLET::::- Nicolae Iorga,

paragraph: BULLET::::- "Francmasoni și conspiratori în Moldova secolului al XVIII-lea". Bucharest: Cultura Națională, 1928.

paragraph: BULLET::::- "Istoria românilor. Volumul 9: Unificatorii". Bucharest & Vălenii de Munte: Așezământul Grafic Datina Românească, 1938.

paragraph: BULLET::::- Z. Ornea, "Anii treizeci. Extrema dreaptă românească". Bucharest: Editura Fundației Culturale Române, 1995.

paragraph: BULLET::::- Maria Popa, Doina Rotaru, "Biserica 'Nașterea Maicii Domnului' de la Bârzești-Vaslui", in "Monumentul", Vol. XI, 2010, pp. 137–156.

paragraph: BULLET::::- N. Stoicescu, "Dicționar al marilor dregători din Țara Românească și Moldova. Sec. XIV–XVII". Bucharest: Editura enciclopedică, 1971.

paragraph: BULLET::::- Mihai Dim. Sturdza, "Frații Cozadini", in "Magazin Istoric", July 1999, pp. 15–18.

paragraph: BULLET::::- Em. Vogoride-Konaki, "Schițe din viața și familia Logofĕtuluĭ Konaki", in Costache Conachi, "Poesii. Alcătuiri și tălmăciri", pp. 5–96. Iași: Editura Librăriei Frații Șaraga, 1887.

paragraph: BULLET::::- A. D. Xenopol, "Istoria Românilor din Dacia Traiană. Vol. IX: Mavrocordații. 1711—1749". Bucharest: Cartea Românească, 1929.

wikidata_label: Ioniță Cuza

wikipedia_title: Ioniță Cuza