https://highlightpoetry.com/

Commonplacing, florilegia, anthologies, miscellanies, zettelkasten are a ratchet for thinking.

We need more scholarship which leaves open thinking spaces for future scholars.

This reminds me of ideas from Maiello's article "Post-Media Virality." Such as humans being a medium for the Coronavirus. The virus does not need humans specifically to exist. But, without humans there would not be a nearly as large spread, and the virus itself would not be documented.

The quote "infinitely distant and yet touch the soul" draws in similar ideas seen in Imbler's article "Are We Really So Different?" Both this quote and Imbler talking of Dr. Morton's perception of deep sea creatures touch on the idea of distance. Although we are far apart from both space and deep sea, we are connected to them because we as beings are connected. Although we are physically far from the stars we feel connected through emotion and art. Although we are far from the deep sea, we are connected beings through empathy and emotional connection. Both articles bring the idea of distance, and turn it into something new.

Interesting to consider that we are all connected in this way while also mentioning that we know very little about deep sea. It is a nice comparison and drawback of the two ideas. While offering the reader a separate and important lesson of relation and environment, the author also hints that even if we don't know much about these "strange creatures," it doesn't mean they aren't important.

this reminded me of a slightly more scientific / modern / sophisticated sentiment to the one that was presented in the seeing with sunbeams text. Both challenge the limits of the senses and what mediums can convey them, specifically in regards to light

restated and called back to throughout the text.

also references the repeated theme that science / medicine / covid cannot be seperated from all other factors of the human experience.

not only are we the medium for the pandemic, we are inseperable from it.

Computer means can potentially be used to check or suggest potential "joins" of fragments of historical documents.

An example of some of this work can be seen in the Friedberg Genizah Project and their digital tools.

Geniza studies rule of thumb: ALWAYS consult the original of a document when referencing work by other scholars as new translations, understandings, context, history, and conditions regarding the original work of the scholar may have changed.

This looks like an interesting read on philology and textual scholarship.

https://en.wikipedia.org/wiki/Leiden_Conventions

Classical scholars met in 1931 to establish a set of convention and sigla (symbols, brackets, etc.) for indicating the conditions of texts, editorial corrections, and restorations in inscriptions, papyri, manuscripts and other writing contexts.

Textual is much easier than tkinter.

I read your Voyant analysis of Henrik Ibsen's "A Doll's House," and I think we almost pick the same tools that we believe to be crucial for our text analysis. Like you, I mostly visualize my chosen literary work with Cirrus, Terms, Berry, and Trends. I also use links to ?look into how these words are used interdependently to contextualize the story told. I also had difficulty understanding how functions like Topics would benefit my understanding of the texts on a layered and complex level. I checked and thought maybe the problem was with the word count of the document. By default setting, Topics generates the first 1000 words in a document, and A Doll's House has 26210 words. In order to use this tool in the most efficient way possible, you can try to use the Topics slider ( the scroll bar) to adjust the number of topics you want to generate (max is 200). I have read A Doll's House before, so I couldn't speak for those who haven't. However, the clusters of chosen terms hint to me that this fiction deals with bureaucracy and finance via repeated words like "works," "money," and "paper." I can also recognize some words classified as names, so many characters are involved in the story. There is also a vague clue of the story's setting, which is during the winter season, from the repetition of the word "Christmas." It appears that someone is getting angry at someone for their wrongdoings, and this drama occurs in a family. While Topics cannot give me a complete storyline, it gives me a good chunk of puzzles to piece together the core gist of the story. It happened to me when I analyzed Herman Melville's Moby Dick. Words like "whale," "sea," "sailor," and "chase" allowed me to make a reasonable assumption that there was a group of sailors that went after a giant whale in the sea. I still prefer to use other tools, but that was how I utilized Topics for my knowledge of the text. I agree that text with more literal content, like self-help books, would definitely yield better results with Voyant Tools' Topics.

Flexibility has almost become a sought-after characteristics of any projects ever conducted in this world, let alone those that belong to the school of humanities. Any individual or group entering a long-term project should be aware that predicting the outcome of the project is never a part of their project. It's impossible to identify and avoid surprise factors on a long road, but it's definitely possible to have an open mindset that's ready fpr any difficulty coming along the way and for brainstorming solutions that resolve this "shock". In many cases, these unexpected variables are what that renders the project memorable and special and sustainable and valid and reliable. In many cases, changing the initial direction of the project when faced with these unforeseen elements are for the better and produce even better results. Testing out different methods on textual analysis is a particularly great advice for those who are bound to carry a project in the coming future.

https://only-the-questions.glitch.me/

A tool for extracting all the questions out of a particular text.

Via: https://uxdesign.cc/the-power-of-seeing-only-the-questions-in-a-piece-of-writing-8f486d2c6d7d

Link to [[searching for questions while reading]]

The sentiment that it is impossible to think without writing is patently wrong. While it's an excellent tool, it takes an overly textual perspective and completely ignores the value of orality an memory in prehistory.

Modern culture has lost so many of our valuable cultural resources that we have completely forgotten that they even existed.

Oral cultures certainly had networked thought, Luhmann and others simply can't imagine how it may have worked. We're also blinded by the imagined size of societies in pre-agricultural contexts. The size and scope of cities and city networks makes the history of writing have an outsized appearance.

Further, we don't have solid records of these older netowrks, a major drawback of oral cultures which aren't properly maintained, but this doesn't mean that they didn not exist.

"you must" is used 8 times- building with intensity. insisting on what must get done. I'm reminded of William Stafford's "A Ritual to Read to Each Other" https://www.poetryfoundation.org/poems/58264/a-ritual-to-read-to-each-other Stafford how ever uses "should" not must

An interesting critique on criticism.

But are Google's tools really making us more productive thinkers? One might argue that it's attempting to do all the work for us and take out the process of thought all together. We're just rats in a maze hitting a bar to get the food pellet.

What if the end is a picture of us as the people on the space ship at the end of WALL-E? What if it's keeping us from thinking?

What if it's making us more shallow thinkers rather than deep thinkers?

Cross reference P.M. Forni.

The value of journalism must take account of the increase in textual productivity gained by the interconnected Internet and not solely by the number of editors, reporters, and size or number of newspapers.

Of course we also need to account for the signal to noise ratio created by the masses of people who can say anything they like, which can also be compounded by the algorithmic feed of social platforms that give preference to the extremes and content that increases engagement (a measure which doesn't take into account the intrinsic value of the things which are shared.)

How can we measure and prefer the content with more intrinsic value? Similar to the idea of fast food and healthier food? How can we help people to know the difference between the types of information they're consuming.

The thoughtfulness and design of of Hypothes.is is incredibly valuable to me specifically because it dramatically increases my textual productivity in combination with my digital commonplace book.

Connect this to the Jeremy Dean's idea of it helping to facilitate a conversation with texts. Nate Angell had a specific quote of it somewhere, but it might also reside in this document: https://www.tandfonline.com/doi/full/10.1080/14682753.2017.1362168

By not providing the ability to select text, copy it, or share it, some digital applications are dramatically lowering the textual productivity of their content.

Definition: textual productivity

A measure of how much additional knowledge is generated by a system of ideas and thoughts interacting with each other.

Illustrates how much boilerplate set -e saves you from.

Update: Oops, if you read a comment further below, you learn that:

Actually the idiomatic code without set -e would be just make || exit $?

True that.

Rahman, M. (2020, June 1). Feeling Positive About Reopening? New Normal Scenarios from COVID-19 Reopen Sentiment Analytics. https://doi.org/10.31234/osf.io/rp6vt

In LN, the framework is entirely different. It instead follows the narrator's deathbed confession to a Catholic priest, who dictates

To read the LN framework, go to the blog post here.

In LN: As in the beginning, the concluding text of the short story is radically different. In LN, the story concludes with the narrator stating he doesn't know if Priscilla is still alive and that though some may feel he ought to be hanged, he will die "a penitent sinner."

To read the LN framework, go to the blog post here.

In LN: text not present

In LN: text not present

In LN: another dash is added

In LN: "last"

In LN: text not present

In LN: Priscilla's letter begins a new paragraph

In LN: In accordance with the altered framework, "The letter has been long since burnt. I wish I could have forgotten it as well. It sticks to my memory. If I die with my senses about me, Priscilla’s letter will be my last recollection on earth."

In LN: "a few days"

In LN: a comma after "married"

In LN: a dash

In LN: "SIR"

In LN: "next"

In LN: "supposing she was the person who had snatched it out of the engraver’s hands, and might have been afterward used by the thief to commit the murder."

In LN: "I told him I was a policeman, and summoned him to assist me in the discovery of a crime. I even offered him money."

In LN: text not present

In LN: A sentence prior to this phrase: "'It all comes back to me, sir.'" Further changes include the absence of "'And, oh Lord,'" and instead states, "'A person in a state of frenzy'"

In LN: "dismal"

In LN: "flash of life"

In LN: text not present

In LN: a semi-colon

In LN: "'not so good as it was,’"

In LN: "and a little rest,"

In LN: a dash

In LN: "'I abstain from reading, in the interests of my occupation.’" Final question mark in The York Herald likely a mistake.

In LN: comma not present

In LN: comma not present

In LN: text not present

In LN: Prior to this paragraph are two others with the following text:

"I put my lips to the old fellow’s ear-trumpet, and asked who Mr. Scorrier was.

‘Brother-in-law to Mr. Wycomb. Mr. Wycomb’s dead. If you want to buy the business apply to Mr. Scorrier.’"

This sentence is further changed thus: "Receiving that reply, I went upstairs, and found Mr. Scorrier engaged in engraving a brass door-plate."

In LN: a colon after "said"

In LN: "For the first time, it occurred to me that we had forgotten an obstacle in our way, when we distributed our photographs of the knife. We had none of us remembered that a certain proportion of cutlers might be placed, by circumstances, out of our reach"

In LN: James Wycomb, Culter, etc.

In LN: "I looked at the time-table."

In LN: "pour"

In LN: Included prior to this phrase is the following text: "Supporting herself by her needle, while she was still unprovided with a situation,"

In LN: "at the big town of Waterbank." "Gravesend" is consistently replaced with "Waterbank."

In LN: "Higham" is consistently replaced with "Yateland"

In LN: text not present

In LN: text not present

In LN: "night-duty"

In LN: text not present

In LN: text not present

In LN: "but with Priscilla's help, I steadily advanced toward the end I had in view."

In LN: text not present

In LN: This section is quite different. The text is as follows:

"After reading those words, I could safely ask Priscilla to help me in reopening the mysterious murder case to some good purpose.

My notion was that the proceedings of the persons in Mrs. Crosscapel’s house, had not been closely enough inquired into yet. By way of continuing the investigation, I asked Priscilla if she could tell me anything which associated the housemaid with Mr. Deluc. She was unwilling to answer. ‘I may be casting suspicion on an innocent person,’ she said. ‘Besides, I was for so short a time the housemaid’s fellow servant——’"

In LN: A paragraph break after "(Signed)"

In LN: "on"

In LN: This paragraph is replace with two. See text below:

"With the best intentions, Miss Mybus found no opportunity of helping me. Of the two, Priscilla Thurlby seemed more likely to be of use.

In the first place, she was sharp and active, and (not having succeeded in getting another situation as yet) was mistress of her own movements."

In LN: These paragraphs are rewritten, absent, or edited and place elsewhere in the text. In LN, the following text is present prior to the recommendation:

"In the second place, she was a woman I could trust. Before she left home to try domestic service in London, the parson of her native parish gave her a written testimonial, of which I append a copy. Thus it ran:"

In LN: Replaced with the following text: "'I can call to mind two cases of persons found murdered in London—and the assassins have never been traced.'"

In LN: "'a person'"

In LN: "‘Just look back for a year or two.'"

In LN: text not present

In LN: text not present

In LN: Prior to "Miss Mybus" the following text is present: "Mentioning the lady first,"

In LN: "told my story"

This variant is in accordance with the changes in the narrative frame.

In LN: "police-force"

In LN: "on entering into her own recognisance to appear again if called upon."

In LN: "and to explain its interrupted inscription"

In LN: no comma present

In LN: "Inspector"

In LN: "may"

In LN: dash not present

In LN: "Did she afterward lock the door herself?"

In LN: dash not present

In LN: "reverend"

In LN: commas around this phrase

In LN: "The police made no discoveries that supported her first frantic accusation of herself."

In LN: This sentence is absent and instead includes the following text: "She had seen the dead body of her husband, murdered while she was unconsciously at his side—and she fainted, poor creature, at the bare remembrance of it."

The following sentence ("The proceedings...") occurs after a paragraph break.

In LN: "was pitch dark"

In LN: "fireside"

In LN: "his own wife"

In LN: no commas present

In LN: a comma after "inclined"

In LN: no comma; a dash after the quotation mark

In LN: dash not present

In LN: "heart's"

In LN: "embarkation"

In LN: "as a"

In LN: "lady's-maid"

In LN: a dash

In LN: "Inspector"

In LN: "they keys in both cases being left in my charge."

In LN: "poor"

In LN: "City"

In LN: "The Doctor had found it left in the body"

In LN: "guilty" is the end of the sentence. And "and" is struck, thus making it: "she was guilty. I even said"

In LN: "HE lay in bed on his back as the Doctor had described him."

In LN: a comma after "mind"

In LN: "'don't ask me what we saw; the Doctor has told you about it already.'"

In LN: "those"

In LN: text not present

In LN: "downstairs to her fellow-servant"

In LN: no comma present

In LN: a period

In LN: a semicolon connects the sentences. "On" thus becomes "on"

In LN: "rolled up perpendicularly in the bed"

In LN: a colon

In LN: "joined us while we were talking."

In LN: "The staton"

In LN: "'I found the man lying on his back, in bed, dead—with the knife that had killed him left sticking in the wound.'"

LN: "Doctor"

In LN: no comma present

In LN: a dash

In LN: a dash

In LN: "Miss"

In LN: a period

In LN: "Lehigh Street"

All instances of Lefroy-street are changed to "Leigh Street" in LN.

In LN: "You"

In LN: "him (as I supposed) that"

In LN: "Varley" is consistently changed to "Thurlby."

In LN: an exclamation mark. Likely a mistake in The York Herald.

LN: no comma

In LN: "see."[italicized]

LN employs single quotation marks for dialogue. I will not annotate each instance; the variance is consistent throughout.

In LN: "WHEN"

In LN: A FIRST WORD FOR MYSELF.

In the Chatto & Windus edition of Little Novels (1887), in which this story is included, the title is "Mr. Policeman and the Cook."

All further textual annotations will abbreviate this edition to LN.

Now commonly published as “Who Killed Zebedee?” this short story is also reprinted and was published with syndication-upon-release as “Mr. Policeman and the Cook.”

sfda

Date added by Rossell in pencil in box where postage stamp would go. Context indicates that Schlauch must have sent this postcard before she sent the next letter, dated 4 August 1951.

Our culture is defined by the music we listen to, and the way it is portrayed in the media. Every culture around the world has a different style of song or dance that represents their traditions. Culture can not only be changed through popular songs, but is best represented through music. One of the best ways to understand a foreign culture is by listening to the music that is favorable among the people whose culture you are trying to understand. Music is one of the most powerful forms of art between cultures.

Music has the power to redefine cultures. We can see this through generational differences between song preferences. For example, American country music back in the late 1900s has a much different feel and style compared to country music now in 2019. While keeping within the same genre, this style of music touches upon different subjects, and uses different instruments, sounds and lyrics. Even early hip-hop has evolved from its beginnings. Hip-hop music is considered the most popular music as of right now, but it has not always been that way. Each generation favors different types of genres of music, and it is clear which backgrounds over the years have favored certain genres of music. As much as music can differentiate cultures, and generations, music can bring people of completely different background together by its artistic flavor and general popularity throughout the mainstream media.

Textual evidence.

Generation of diagrams and flowcharts from text in a similar manner as markdown. PlantUML equivalent in Javascript

Given this and the follow-on line as well as the repetition throughout, it present the image of a native of the area who is perhaps the only security or part of a small security team. Always there, but doesn't necessarily have to be coincidence.

Respect.

Barad's use of parentheses reminds me of Gate's article on signifyin(g). While he used parentheses a lot at the end of the word "signifyin(g); he also used them throughout the article around the prefix "re-", denoting "again". I think Barad is suggesting that there are always new ways to articulate something, so it is not necessarily always "re-articulated," but rather is sometimes re-articulated and other times is said in a completely different manner.

It seems like Edbauer is attempting to reverse what Quintillian did many years ago by compartmentalizing rhetoric, which in his mind would be a better way to understand it and practice it. However, rhetoricians have since argued that this has been problematic to the field, with which I think Edbauer would agree. In order to display a truer form of rhetoric, Edbauer wants to create a model that will showcase all of its aspects.

This would be different depending on what type of rhetoric one is examining, according to Gates. He argues that the speaker-audience relationship in white rhetoric is vastly different from the relationship in black rhetoric. In white rhetoric, the audience listens to the speaker; in black rhetoric, the audience listens and is actively involved in the rhetorical discourse through affirmations, comments of support, etc.

Diverts from all Enlightenment rhetoric of the Anglo tradition, which valued efficiency and straightforwardness over artistic "fluff."

Gates' idea of different cultural rhetorics can be also applied here.

Again references the idea of language and identity, suggesting that one's language influences one's perception of who they are as individuals.

Similar to Woolf's idea that the sentence is a male construct of rhetoric, Anzaldua takes the argument a step further by suggesting that language itself is masculine. It takes us back to the question throughout history of "who can do rhetoric?"; the answer was primarily rich white males for thousands of years, which stifled the development of language. I think this is, in part, why Anzaldua argues that language is inherently male.

For Make a Difference Day my sophomore year, part of our service brought us to a primarily African American church, I am not sure what denomination. I was struck by the communal aspect of rhetoric in the church. The audience was involved and invested in the rhetoric of the speaker and offered an openly supportive environment. Now that I am thinking back on this, the support and involvement of the audience completely changed my experience of the speaker's rhetoric and stressed the importance of community. As mentioned earlier, language and culture cannot be separated, and the rhetoric of African Americans reflects the value placed upon community and depending upon others as a result of the discrimination and challenges they have faced in a predominantly white culture.

The idea that a good rhetorician is a good man (and is not an evil man). An evil man cannot be successful in engaging rhetoric. This has been mentioned before in our readings, specifically Lanham's The Q Question in reference to Quintilian's thoughts on rhetoric.

Hume would say the qualified judges are those with good taste, who have experiences that have influenced them to have a refined sense about the world, and therefore are qualified with a better judgment of all things.

I think Foucault would not be comfortable with the use of the word "undeniably." He says that language is a sign, but he also says it isn't because it depends on exactly what one means by "sign" (1448). I wonder how his theory of language would translate to writing?

Reflects Locke's idea that language is not standard and cannot convey a universal meaning because individuals apply their own backgrounds and experiences to the meanings of words, so their perceptions and understandings of a statement will vary.

This is the reason, I assume, that Nietzsche would give for why language is a lie.

A more direct definition of "meaning," rather than the loosely applied, ambiguous idea that people apply to the word as referenced on page 1276.

You can apply Burke's idea of breaking something down to its absolute basic level in order to fully understand it; once you understand it, only then you can recreate it to make it your own.

There seems to be a correlation between Woolf's use of "experience" in Woman and Fiction and Professions of Women; in both instances, she states that it is impossible, or at the very least, extremely difficult, for women to gain experience professional experience due to the patriarchal structure of society and the limitations this structure placed on a woman in all aspects of her life.

Interesting to note that in Goethe's The Sorrows of Young Werther, the protagonist Werther mentions multiple times that words/language could not accurately describe his feelings or the world around him; this takes the stance that not only does language not accurately convey logic, but also lacks the ability to explain one's emotions. It's similar to Locke's (and other Enlightenment thinkers') idea that language cannot allow us to express what we want to express because it does not accurately capture anything in the world around us, whether that be objects, emotions, other people, etc.

Reflects Astell's (and other Enlightenment thinkers) view that writing should be clear, concise, and without superfluity.

Would these two passages against "woman's public work for Christ" possibly be against it if read literally? Her point is that reading the bible literally is the incorrect way to read the bible, and it sounds like she is inferring this here. Willard just said a few passages before this that if men are to read the passage literally, then they: "should remember that this literalness of rendering makes it his personal duty, day by day, actually to 'eat his bread in the sweat of his face.' The argument is a two-edged sword, and cuts both ways" (1130).

Willard is saying that women are necessary to discover truth, and that a reason that truth has not been realized so far is because women have been excluded from interpreting the bible in their own way and instead are told what is said in the bible by men. Reflects her earlier statement, which states that men generally interpret the bible in their self-interest and to ensure they maintain power and minimize competition (1124).

Wouldn't this inverted sentence structure go against Spencer's principle of economy? The comma in between clauses really threw me off, personally.

Nietzsche is a tremendous writer for a number of reasons, but his willingness to fully embrace rhetorical flourish in his works makes him a one-of-a-kind voice. Beyond simple style, though, this also puts his philosophy concerning meaning into action; this "creative use of language to make an effective social arrangement" that is identified in the introduction is happening right here.

Contrasts general enlightenment thought, but especially Astell:

"But we shou'd fold up our Thoughts so closely and neatly, expressing them in such significant tho few words, as that the Readers Mind may easily open and enlarge them. And if this can be done with facility we are Perspicuous as well as Strong, if with difficulty or not at all, we're then perplext and Obscure Writers" (852).

Here, Stewart is arguing that in many past respected societies (Greek, Roman, Jewish), women were well-respected in a religious sense. As a reference to her earlier claim, that she was visited by the Holy Spirit and therefore had the temerity and the right to speak publicly on religious grounds. I do find it interesting that she said: "For God makes use of feeble means sometimes, to bring about his most exalted purposes." Her use of the word "feeble" is interesting, because it seems like she is ascribing to the expected gender roles/personalities, in that women are the "softer sex," and not perceived as strong or powerful.

It is surprising that Wilde’s story concludes without seeking to incorporate some of the more flamboyant elements of Hawthorne’s novel, such as Donatello and Miriam’s disguised travels, or the carnival along the Corso. It may be that he had left behind his source material, although there is sufficient resonance in these last few chapters to suggest that he was referring to at least the earlier portions of Volume 2, although perhaps he was simply relying upon his own excellent memory.

The Virgin de Pilar stands above the altar in the third chapel on the right, and it seems that this description by Wilde is substantially accurate, although it is not clear whether he recalled it from memory or from some written reference, either of his own or his friends’ account of their time in Rome.

The sculpture by Carlo Mondaldi puns on the name ‘Montserrat’, which means ‘saw mountain’.

This description of Kenyon’s travels resembles, particularly in this phrase, William Morris’ description of Launcelot’s quest to reach Guenevere in Glastonbury in King Arthur’s Tomb (1858). In his ‘Garden of Eros’ of 1881, Wilde paid tribute to Morris as a poet who “with soft and sylvan pipe has oft beguiled / The weary soul of man in troublous need”.

Kenyon omits Hilda here. It may be that this is a deliberate choice on his part, or it may be that the omission is simply for the author’s benefit, keeping the sentence neater.

Wilde chooses a different spelling here, omitting the ligature ‘æ’ that figures in Donatello’s earlier description of the sculptures that he will encounter.

Wilde uses “inquired” and “enquired” apparently interchangeably in this manuscript, suggesting that little or no editing took place.

Donatello seeks here the approval of Kenyon, rather than of Miriam. The knowledge of the murder, if it is such, becomes momentarily a homosocial affair.

A similar line is spoken by Hawthorne’s Miriam to the corpse. The continued blurring of her persecutor and her friend, begun with Hilda’s rendition of the Guido sketch, is an important facet of the remainder of Wilde’s novel.

This is the third chapter title that refers to Miriam’s old acquaintance, after “The Model” and “The Demon”. This layers yet another parable of development upon Wilde’s novel, which like Hawthorne’s focuses on the development of Donatello and Hilda in particular, as the novel’s two figures of innocence transfigured by the real world.

The word is slightly misused, but is an amusing reference to Wilde’s own circumstances.

The repetition of “freely”, here and in the first paragraph, to describe somatic motion is suggestive of the bodily freedoms that might be derived through art and aestheticism.

Indeed, the pun on the Italian for ‘bad air’ should not be lost on Donatello.

Wilde takes part of a line from Kenyon—lamenting that Hilda will never be his wife—and grants it here to Miriam instead, as a reflection on Hilda’s unavailability as a model. This condenses Miriam’s speech in Hawthorne about women who “have other objects in life” and so “are not apt to fall in love”. Love features nowhere in this chapter; rather, the feminine behaviour that Hilda and Miriam avoid is the “mere projection” of their beauty.

Wilde reduces the original Kenyon’s worship of Hilda’s hands at work into a practical exchange between friends. In turn, this also reduces Miriam’s condescension to her American friend as a “maiden”, elevating Hilda instead to a more mutual friendship.

The person named in Hawthorne’s novel is Powers. This may be a tongue-in-cheek reference to Robert Yelverton Tyrrell, who when Wilde was at Trinity had just been made professor of Latin there, at the age of 25. It is as though Wilde imagines for Miriam a slightly different tour of classical Italy and Greece than the one that Mahaffy was leading him on.

Wilde’s additional detail situates Kenyon’s studio on Via Antonio Canova, a neoclassical artist famous for his marble sculptures, more implicitly than Hawthorne’s original novel, which highlights the presence of the marble tablet indicating the former occupation of Canova. This situates