Xah's Belles-lettres Blog Archive 2013-12 to 2013-12

Xah's Belles-lettres Blog Archive 2013-03 to 2013-03

and, of course, the word pork should be ban'd. It's called pig meat.

Q: what did you eat for dinner?

A: i had pig flesh.

and thus the world has a tidbit more of unwavering truth.

pork «c.1300 (early 13c. in surname Porkuiller), “flesh of a pig as food,” from Old French porc “pig, swine, boar,” and directly from Latin porcus “pig, tame swine,” from PIE *porko- “young swine” (cf. Umbrian purka; Old Church Slavonic prase “young pig;” Lithuanian parsas “pig;” and Old English fearh, Middle Dutch varken, both from Proto-Germanic *farhaz).»

The History of English in 10 Minutes, Annotated

Xah's Belles-lettres Blog Archive 2013-02 to 2013-02

Tilting at windmills is an English idiom which means attacking imaginary enemies. The word “tilt”, in this context, comes from jousting.

The phrase is sometimes used to describe confrontations where adversaries are incorrectly perceived, or to courses of action that are based on misinterpreted or misapplied heroic, romantic, or idealistic justifications. It may also connote an importune, unfounded and vain effort against confabulated adversaries for a vain goal.

Wilt Thou Gallantly Tilt at Windmills?

Wilt Thou Galantly Tilt at Windmills?

titus screenshot 009
Julie Taymor's Titus

Why, there they are, both baked in this pie, Whereof their mother daintily hath fed, Eating the flesh that she herself hath bred. —“Titus Andronicus” Act 5 Scene 3

Google defines “madcap” as

what kinda diluted milk is that?

my fav dict, the American Heritage, gives

“Behaving or acting impulsively or rashly; wild.”

now, that's respect to language.

madcap «1580s, noun and adjective, from mad (adj.) + cap, used here figuratively for “head.” Related: Madcappery.»

words and art: languid, habitués, madcap

Her work reflects the neoclassical revival of the 1920s, to which Picasso contributed with his colossal seaside nudes. Lempicka belongs to the line of painters, extending through Jacques-Louis David and Jean Auguste Dominique Ingres, who stress sharp outlines and sculptural mass. Indeed, a contemporary critic, noting Lempicka's heavy, languid forms and polished surfaces, called her “the perverse Ingres of the Machine Age.” She admired Botticelli, Antonello da Messina, and Mannerists like Bronzino and Pontormo, with their refined, armored style. Her subjects were the glittering habitués of postwar Paris café society, where new money met old and where cosmopolitan refugees mixed with Jazz Age entertainers and madcap youth.

from Glittering Images: A Journey Through Art from Egypt to Star Wars Buy at amazon

Portrait of Doctor Boucard

Art of Tamara de Lempicka