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BarB

Member Since 31 Dec 2008
Offline Last Active Apr 15 2014 05:56 PM

Posts I've Made

In Topic: REH Word Of The Week

15 April 2014 - 04:12 PM

Hi  Bulldog,

Glad you liked the “shining” WotW. REH’s fascination with beer gives us some great poetry and tall tales fun.

 

When I read his letter, I wasn’t sure how “leg show” was defined in the late 20s, early 1930s. Was it a strip tease burlesque show,or a musical show number where girls danced in very short costumes, or perhaps a song and dance performance in a saloon or bar—something that is frequently shown in Westerns such as “Destry.”

 

According to Wikipedia. There were three main influences on American burlesque in its early years: Victorian burlesque (a form of musical theater parody,) "leg shows" and minstrel shows.

 

”Leg" shows, such as the musical extravaganza *The Black Crook* (1866), became popular around the same time (the 1800s.) The influence of the minstrel show soon followed. American burlesque rapidly adopted the minstrel show's tripartite structure: part one was composed of songs and dances rendered by a female company, interspersed with low comedy from male comedians. Part two featured various short specialties and olios in which the women did not appear. The show's finish was a grand finale. Sometimes the entertainment was followed by a boxing or wrestling match.

 

The Black Crook is considered a prototype of the modern musical in that its popular songs and dances are interspersed throughout a unifying play and performed by the actors

 

An olio is a collection of various artistic or literary works or musical pieces used between acts in a burlesque or minstrel show. This was common on showboats in the 19th and early 20th century.

By the 1880s, the four distinguishing characteristics of American burlesque had evolved:

Minimal costuming, often focusing on the female form.

Sexually suggestive dialogue, dance, plotlines and staging.

Quick-witted humor laced with puns, but lacking complexity.

Short routines or sketches with minimal plot cohesion across a show.

 

I'm trying to picture Truett and Bob. Were they sitting in a bar watching the girls on stage, actually going to a theater where a musical play was performed or was it a strip tease.

 

Thanks for the question I looked it up on the internet which is what I should have done originally. That’s the great part about reading REH. I start with one word and by the time I unravel a decent definition of that one, I've worked my way through dozens mores. You're right *shining* was all in all, a very interesting word....

BarB


In Topic: Hyborian Limmericks + Rhymes

14 April 2014 - 07:32 PM

Hi Sorceress,

That's the wonderful thing about poetry. It can be written for every occasion!  :rolleyes: I wrote some bawdy limericks myself. They're lots of fun and I'll post one or two--have to locate them first.

 

Here's a poem of mine that was published in Dreams in the Fire-- Stories and Poetry Inspired by Robert E Howard. It's a 2011 book project edited by Mark Finn and Chris Gruber with an Introduction by Rusty Burke. DitF has some really great stories and poetry written by past and present members of REHupa (the REH United Press Assn) -- all money goes to Project Pride in Cross Plains. For anyone interested, here is the Lulu.com link:

http://www.lulu.com/...tegoryId=100501

 

BÊLIT’S REFRAIN

 

You come exhausted to our room.  Fatigue is on your face.

We haven’t loved in quite awhile – too tired to embrace.

But I’ll defeat those worldly woes, if only for one night.

So, as the music drums its beat, I reach and dim the light.

 

I dance before you almost nude -- a sash around my thighs,

That can’t conceal those secret parts as my passions rise.

And soon the dance devours me as I bend and churn

Fanning your desire and mine with every leap and turn.

 

I feel your eyes hot on my skin; your breath is short and fast.

When you remove the flimsy sash I know it’s time at last.

I fall into your hungry arms. Your lips meet mine with fire.

And as the primal beat plays out, you’re all that I desire.

 

BarB


In Topic: When did REH write 'The Day That I Die'

14 April 2014 - 07:05 PM

Hi Renato

I checked Paul Herman's The Neverending Hunt which has an index for REH's poems. According to that, "The Day That I Die" is a poem that was not published during his lifetime so there is no way to tell when it was written. 

 

www.howardworks.com is another resource. It's on the REHupa website. Go to www.rehupa.com select SCHOLAR TOOLS tab and then click on HOWARDWORKS. It's a massive undertaking that contains information on all REH's stories and verse and all their various publications. Here is the link for checking Howard's verse: http://www.howardwor...alphaverse.html

 

The REHupa website contains a lot of other biographical and research material.

 

The Neverending Hunt can be downloaded free here: http://www.rehfounda...verending-hunt/

 

"The Day That I Die" is a favorite of mine, especially the verses:

 

That I lived to a straight and simple creed
    The whole of my wordly span
    White or black or yellow I dealt
    Foursquare with my fellow man.

    That I drained life's cup to its blood-red lees
    And it thrilled my every vein,
    I did not frown when I laid it down
    To lift it never again.

BarB


In Topic: REH Word Of The Week

14 April 2014 - 07:55 AM

The Word of the Week for April 14, 2014 is Wapping

 

http://www.rehupa.com/

 

 “The Pledge” is another of REH’s poems that was not published during his lifetime. Like last week’s posting, this is additional poem about beer but I figure you can’t have too much beer!. “The Pledge” also has an additional element of interest: reincarnation. He mentions Wapping and Limehouse districts of London so with the specific time and places mentioned it’s interesting to examine "The Pledge" on its own.

 

In the poem he mentions all the events took place 100 years ago, which would make it before 1836. I know this one is a little newer than that but there’s a great map of 1868 London. http://london1868.com/ that holds both the Wapping and Limehouse locations. To locate them follow the directions and then click on the map for an explanation of what is in that square. From the left frame of the map, the river Thames travels northward, then east and southeast. Wapping is located on the northside of the river at its lowest point of the curve before it begins to travel north again. Limehouse is located on the right side of the upper bend as you continue to follow the river east. Again, on the same side of the river.

 

Some interesting historical facts about Wapping that may have attracted REH’s interest: It developed along the embankment of the Thames, hemmed in by the river to the south and the now-drained Wapping Marsh to the north. This gave it a peculiarly narrow and constricted shape, consisting of little more than the axis of Wapping High Street and some north-south side streets. John Stow, the 16th century historian, described it as a "continual street, or a filthy strait passage, with alleys of small tenements or cottages, built, inhabited by sailors' victuallers.

 

Wapping's proximity to the river gave it a strong maritime character for centuries, well into the 20th century. It was inhabited by sailors, mastmakers, boat-builders, blockmakers, instrument-makers, victuallers [person selling food or other provisions] and representatives of all the other trades that supported the seafarer. Wapping was also the site of *Execution Dock* where pirates and other water-borne criminals faced execution by hanging from a gibbet constructed close to the low water mark. Their bodies would be left dangling until they had been submerged three times by the tide.

 

Wapping was devastated during the WW2 Blitz of London and by the post-war closure of the docks. It remained a run-down and derelict area into the 1980s, when the area was redeveloped with a variety of commercial, light industrial and residential properties.

 

The Limehouse area is just as interesting. The name relates to the local lime kilns or, more precisely, the lime oasts located by the river and operated by the large potteries that served shipping in the London Docks. The name is from Old English līm-ās "lime-oast". The earliest reference is to Les Lymhostes, in 1356.

 

The name 'Limehouse' is sometimes mistakenly thought to be derived from the nickname for the seamen that disembarked there, who had earned the name *lime juicers* or *limeys* after the obligatory ration of lime juice the Royal Navy gave their sailors to ward off scurvy.

 

From its beginnings, Limehouse, like the neighboring Wapping, has enjoyed better links with the river than the land, the land route being across a marsh.

 

Limehouse became a significant port in late medieval times, with extensive docks and wharves. From the Tudor days until the 20th century, ships crews were employed on a casual basis. New and replacement crews would be found wherever they were available; foreign sailors in their own waters being particularly prized for their knowledge of currents and hazards in ports around the world. Crews would be paid off at the end of their voyages and, inevitably, permanent communities of foreign sailors became established, Large Chinese communities at both Limehouse and Shadwell developed, established by the crews of merchantmen in the opium and tea trades, particularly the Han Chinese. The area achieved notoriety for opium dens in the late 19th century, which were often featured in pulp fiction works by Sax Rohmer and others.

 

The Londontown website give some further background: in 1820 the Limehouse Basin opened as the Regent's Canal Dock, connecting the Thames and the canal system. Limehouse was the site of the first London case of cholera in 1832, while both Charles Dickens and Thomas Burke describe the area's notorious opium dens. The term 'Limehousing' means to make an incendiary political speech, and followed an attack on the House of Lords made by Chancellor David Lloyd George in 1909. Contemporary residents include the actor Sir Ian McKellen and the journalist Matthew Parris, while celebrity chef Gordon Ramsey owns the popular gastropub, The Narrow.

 

For those of you who don't believe REH can be romantic, here is the last verse:

 

With reeling gait and glassy stare,

And a wildly waving stein,

I pledge your ancient charity—

In the name of Saint Valentine.

 

BarB


In Topic: Howard Works: THE site for REH bibliographic info

14 April 2014 - 07:18 AM

Bill,

This website is a constant resource for me. Thank you so much for all your work and thanks to everyone who helps to keep it up to date...

Barbara