Setting grim tales during nighttime was critiqued as a cliché in 1594 by Thomas Nashe. “When any poet would describe a horrible tragical accident,” he wrote, “to add the more probability and credence unto it, he dismally begins to tell how it was dark night when it was done.”
Archive
Miscellany
The third-century Greek biographer Diogenes Laërtius stated that one of the favorite sayings of Antisthenes was, “The fellowship of brothers of one mind was stronger than any fortified city.” Laërtius also recalled an anecdote about Socrates—when asked by a young man if he should marry or not, the philosopher replied, “Whichever you do, you will regret it.”
It is often said that Edgar Allan Poe’s death was the result of the electioneering practice known as cooping. In his Maryland: A Bicentennial History, Carl Bode describes cooping as “the shutting up of men, usually derelicts, in rooms or coops on Election Day and then dragging them from polling place to polling place to cast their votes. To make them more docile while voting again and again, many were drugged or made drunk.” Poe may have been captured in Baltimore by an election gang, drugged, and made to vote in several places. “He was picked up unconscious near one of the rum shops used for voting,” wrote biographer George Woodbury, “and taken to Washington Hospital,” where he died on October 7, 1849.
“History is more or less bunk,” Henry Ford told the Chicago Tribune in 1916. “It’s tradition. We don’t want tradition. We want to live in the present and the only history that is worth a tinker’s damn is the history we make today.”
“Kings embodied the whole period of their reign,” wrote Elias Canetti in Crowds and Power. “Their death, whether it came with the decline of their strength or, as later, coincided with their natural span of life, indicated a break in time. They were time. Between one king and the next, time stood still. There was a gap in it—an interregnum—which people sought to keep as short as possible.”
As a young man, Giacomo Casanova spent his nights roaming through Venice, “thinking up the most scandalous practical jokes and putting them into execution,” he later wrote in his memoirs. “When we could get into bell towers, we thought it great sport to alarm the whole neighborhood by ringing the tocsin that announces a fire, or to cut all the bell ropes…The whole city was complaining of our nocturnal malefactions, and we laughed at the investigations that were made to discover the disturbers of the public peace.”
George Romero, who pioneered the modern zombie film in 1968, complained in 2010 that he’d “never had a zombie eat a brain, but it’s become this landmark thing.” The trope was introduced in 1985 by Dan O’Bannon’s Return of the Living Dead, in which a zombie woman explains that eating brains relieves the “pain of being dead.” Some fans have speculated this is due to the brain’s high levels of serotonin.
C. S. Lewis was sixty-four, John F. Kennedy forty-six, and Aldous Huxley sixty-nine at the times of their deaths—all within an eight-hour span on November 22, 1963.
“Aristotle thought earthquakes were caused by winds trapped in subterranean caves,” wrote Anne Carson in her 2019 play Norma Jeane Baker of Troy. “We’re more scientific now, we know it’s just five guys fracking the fuck out of the world while it’s still legal.”
Although the Oxford English Dictionary lists the etymology of “hooligan” as unascertained, one of the three speculations is that it derives from a popular music-hall song of the 1890s about a rowdy Irish family that went by that last name.
Gertrude Stein recalled that on the copy of her final exam for a class taught by William James she wrote, “Dear Professor James, I am so sorry but really I do not feel a bit like an examination paper in philosophy today.” She then left the room. The next day a note arrived from Professor James that said, “Dear Miss Stein, I understand perfectly how you feel. I often feel like that myself”—and then awarded her the highest mark in the course.
“One enterprising seventeenth-century systematizer,” noted classicist Mary Beard in a discussion of the different ways the sounds of laughter have been recorded throughout history, “attempted to classify the variants in these sounds and relate them to the different temperaments, hi hi hi indicating melancholics, he he he cholerics, ha ha ha phlegmatics, and ho ho ho hotheads.”
In 1610, in the harbor of St. John’s, Newfoundland, Richard Whitbourne saw a “strange creature” that was “beautiful” and had “blue streaks resembling hair” and a “hinder part” that pointed “like a broad-hooked arrow.” When it attempted to climb into his boat, one of his men “struck it full blow on the head, whereby it fell off from them.” He supposed that it was a mermaid. Two years earlier, while aboard a ship near Norway, Henry Hudson reported that “one of our company, looking overboard, saw a mermaid,” as her “back and breasts were like a woman’s,” “her skin very white,” and her tail “like the tail of a porpoise, and speckled like mackerel.”
At the end of The Tempest, Prospero relinquishes his “rough magic” and declares, “I’ll break my staff,/Bury it certain fathoms in the earth,/And deeper than did ever plummet sound/I’ll drown my book.” In W.H. Auden’s “commentary” on the play, The Sea and the Mirror, Prospero says at the beginning, “Now, Ariel, I am that I am, your late and lonely master,/Who knows now what magic is:—the power to enchant/That comes from disillusion. What the books teach one/Is that desires end up in stinking ponds.”
William Blake’s wife reminded the poet in old age, “You know, dear, the first time you saw God was when you were four years old, and He put His head to the window and set you a-screaming.” Allen Ginsberg said that in 1948, while a senior at Columbia University, he was visited by the voice of Blake, which revealed to him the power of poetry—this was after he had read one of Blake’s poems while masturbating.