The Deadword Dictionary was first written more than twenty years ago. I’m making some changes, based on further refinement of the concept, and also including an “Iffy” section. Here are the rules for the selection of Deadwords: Orphans, words used in only a single common expression, with no flexibility, such as “yore” as in “days of yore.” Faux amis, words borrowed from another language but misunderstood or misapplied (à la mode) Obsolete words or phrases Iffy words—you decide whether they still have  weight in today’s language. You might call this the rearview mirror perspective, with a “huh” under one’s breath. Yeah? They really said that? The English language is like a kitchen sponge: it picks up all the tiny pieces of we-don’t-know-what but we need a word, so we’ll just use this stray one from we-don’t-care-where. But when did you last see a “doublet” or “spitoon” or use “whilom”—why keep them around? A little housecleaning is in order here. Got your favorite overworked obsolete nugget? Send it in to bandanna@cox.net.

The Deadword Dictionary: A Book of Outdated Words

Reference

Newborn, Sasha

Words, Language & Grammar

Mudborn Press

<p>Christina Rossetti's Goblin Market is a fable of two sisters who encounter the goblin merchants, who offer tempting fruits with beguiling voices, begging them to try, to taste, to touch. A friend had succumbed to their alluring charm before, and then, having tasted, gradually wasted away to death. One sister heeds the warning signs and begs the other sister to follow her home and ignore the beckoning calls of the insistent, persistent goblins who promise so much. But the second sister lingers to know more, and, even when admitting that she has no money, they accept just a lock of her golden hair for payment. She tastes of the fruits and is delighted. Not only is it delicious, but she wants more and more. When finally she is satisfied, she returns home, perfectly safe -- so she thought. But day by day, the yearning after more of the marvelous fruit sets in, but she doesn't hear the siren voices of the goblins ever again. Her sister, however, who was cautious, does hear the voices, and recognizes that she will have to do something or she will lose her sister as they lost their friend. She emboldens herself to go to the goblins, tosses them a coin, but does not bite the fruit. She is assaulted, wheedled, poked, argued with -- but she is stubborn. Returning, she is able to save her sister from the consequences of the temptation. Although she was "right," she put herself in danger in order to reclaim her sister. Christina and her brother, Dante Gabriel Rossetti, were members of the Pre-Rafaelite movement, in the course of which, D.G. translated a number of Italian poets who were friends or acquaintances of the young Dante Alighieri, and published their work, primarily love poems, as Dante and His Circle (www.createspace.com/4024060) -- somewhat resembling the artistic kinship of the Pre-Rafaelites.</p>

Goblin Market

Children's Books

ROSSETTI, CHRISTINA

Fairy Tales, Folk Tales & Myths

<p>A vocabulary of Yiddish terms, common expressions, and proverbs. Many Yiddish terms have entered the English language, describing character or emotion (usually displeasure) that have no ready equivalent, such as klutz, kvetch, shmoose, or kibbitz. Yiddish as a language grew out of Medieval German and Hebrew, and spread through Eastern Europe among Ashkenazi Jews. With the worldwide spread of Jewry in many countries, Yiddish plays two roles: as a language unto itself, and as a "lending" language for terms and attitudes about business, sexuality, or human relations.</p>

Yiddish, you say? Nu?: A Yiddish Wordbook

In the sixteenth century, a group of Renaissance Italians sat down together to revive the lost art of Greek and Roman drama, as part of the great rebirth of learning that had already revolutionized the arts of painting, poetry, architecture. To name this "new" art, they used the word for any general work of art, opus, the plural in Latin being "opera." Opera today is experiencing another revival. Works by American composers such as Philip Glass and John Adams now stand alongside the great Italian, Russian, German, French operas. The repertoire is not closed, and the industry—singers, orchestras, stage designers, opera houses, publishers, and opera-goers—flourishes around the world. This little book is offered as a compendium of Italian terms describing the techniques and refinements that propelled this art into an enduring position among the arts. Italian terms are explained in English. Also, Italian poetry in English: Dante and His Circle (www.createspace.com/4024060) Vita Nuova (Dante on Beatrice) Ovid, The Changes (web only: www.bandannabooks.com/ovid). And Shakespeare plays with Italian settings: Two Gentlemen of Verona (www.createspace.com/3724080) The Merchant of Venice (www.createspace.com/3727221) The Taming of the Shrew (www.createspace.com/3718477) Romeo and Juliet (www.createspace.com/3892597)

Italian for Opera Lovers: Dictionary

Arts & Photography

Music

Bandanna Books

Macbeth Director's Playbook

Literature & Fiction

Shakespeare., William

Dramas & Plays

The Supplement Edition of Leaves of Grass includes the text, a supplement section of typical questions, such as What did the first readers say? What were Whitman's influences?, plus a bibliography of Whitman's own work and critics of his work, glossary for terms not in modern use. Also appended is the last statement that Whitman made about the writing of Leaves of Grass, called A Backward Glance Over Traveled Roads (1888). 246pp. For an interactive pdf version, go to www.bandannabooks.com/ebooks/leavessuppeb.php The original edition of Leaves of Grass had just 95 pages of poetry, and a lengthy introduction. The only titles were “Leaves of Grass” or a marker, indicating a new poem. The original book listed no author, with a small engraving of himself in a loose open shirt and tipped hat, one hand on hip, the other in his pocket (to “loafe” at that time meant to be seen idling stylishly about town). The engraving by Samuel Hollyer was based on a photo by Gabriel Harrison (a common printing conversion by skilled professionals in the pre-digital age). Whitman’s experience as editor of the Brooklyn Eagle observing the American scene and his patroitic bombast of, for example, the “America” essay that opens this book, led him to use the longest breath-line in poetry until Allen Ginsberg and Bob Dylan. This poetic line allowed him to speak as a visionary poet of Biblical stature with remark-able candor, and he continues to stand at the center of American literature a hundred years after his death. Why should we read the first edition, long before the famous Lincoln and Civil War poetry? This edition shows the freshness of Whitman’s creative breakthrough—for the first time he finds/invents an appropriate form, and he gets a handle on his true subject. This book marks his emergence from the wilderness. Whitman himself designed the book and set the type for the first edition. He set no poem titles other than the phrase “Leaves of Grass,” placed at the heads of major sections, and we follow that design. This edition retains the universal “he,” which Whitman uses liberally throughout.

Supplement Edition: Leaves of Grass: The Original 1855 Edition

WHITMAN, WALT

History & Criticism

The Supplement Edition: Apology of Socrates & The Crito is designed to aid teachers with a wealth of background information and opinions. The Supplement includes the text of the class book Apology of Socrates & The Crito (with the same page numbering), plus the supplement material, with bibliography, glossary, and the text of Xenophon's Apology of Socrates about the same trial from a different point of view.  Benjamin Jowett’s early translation of Plato’s Apology is remarkably free of Victorianisms, and brings to life the figure of Socrates with an easy colloquialism. Almost the entire dialogue is actually a monologue, battling the demons, real or imaginary, that had haunted him for decades. The record we have is Plato’s rendition of Socrates’ words and the court proceedings. Our best assumption is that Plato himself was there—he places himself as a mute audience member in the dialogue. Are Plato’s words direct from Socrates’ mouth? Common Greek practice by Herodotus, Thucydides and others, was to recreate scenes or even entire speeches from the past as they might have happened; today we would describe taking those liberties with history as docudrama. The later dialogues that Plato wrote featuring Socrates have led critics to wonder how much in these texts represent Plato, a systematic philosophizer, and how much could be attributed to actual statements made by Socrates, the perennial seeker. Xenophon also wrote a work about the same trial; he was not present. The text of his account, with his interpretation of events, follows the Supplement section; however, the Supplement material in this volume does not deal directly with the Xenophon text. Here are the contents of the Supplementary material: This Supplement is organized around a series of typical student questions; the answers are short paragraphs gleaned from many critical sources, often contradicting each other. Socrates has had perhaps as many critical detractors as proponents down through history, plus a Glossary for Greek names of people, gods, and events, a Bibliography, and the text of Xenophon's Apology of Socrates. PLATO:  Supplement Edition: The Apology of Socrates & The Crito.  Table of Contents   Preface for Teachers What is important about the Apology? What is an apology? Who was Socrates? Who was Plato? Why did Plato write the Apology? Who else wrote firsthand about Socrates? Is Plato's text accurate? What did Socrates' contemporaries say? Why is this trial taking place now? What was the larger political picture? What were the charges against Socrates? How did Socrates defend himself? What is the "Socratic problem"? Why did Socrates attack the early accusers first? Did the Athenians sentence Socrates unjustly? What was the public reaction after the trial? Was Socrates singled out? What do moderns say about Socrates? Did Socrates have a gospel or teaching? Was Socrates anti-democratic? What is the publishing history of the Apology? What is important about the Crito? Bibiography the text of Xenophon's Apology of Socrates  Glossary

Supplement Edition: Apology of Socrates, and The Crito: and the text of Xenophon's Apology of Socrates

Plató

Poetry

Sappho was universally recognized by the ancients as the greatest lyric poet. Her lines are spare, bare, and subtle, or as Mosas Hadas put it, “it is ordinary language raised to its highest potential.” Alongside the odes to Olympic athletes of Pindar, the wisdom verse of Hesiod, or the epic lays of Homer, Sappho’s highly personal poems sound quite modern to our ears. Only a few fragments of her work has survived the centuries, most of them more than one line in length are in this book. The Supplement Edition coordinates with the student text edition, and includes the same poems (www.createspace.com/4185675). This dialogue-style teaching supplement,  the Supplement Edition: Sappho: The Poems  is arranged by question and answers.   Table of Contents Preface for teachers Who was Sappho? Where did Sappho live? Who was in Sappho's family? Map of Aeolian Greek territory What do we know of Sappho's poetry? What was Sappho's school like? What was Sappho's sexual orientation? What makes Sappho's poetry special? What did the ancients think of Sappho? What was the poetry tradition in Lesbos? What was Greek poetry like? What was unique about the Aeolian dialect? What techniques does Sappho use? What was Lesbos culture like What role did Greek women play socially? What about particular poems? BB11. Alkaios: Violet-haired, pure BB12. Ah, the sweet apple that reddens at the tip BB13. Dika, braid your lovely hair BB14. Aphrodite on your shining throne BB21. Raise high the roof-beam, carpenters BB22. The full wine bowl already had BB23. Lucky bridegroom, your wedding day has come BB23. The doorkeeper to the bridal chamber has feet BB24. A messenger came running on powerful legs BB25. Give up groom, we'll camp outside your door BB26. Indeed the stars anywhere near her undisguised brilliance; BB27. You cam. And you did well to come BB28. To me he looks godlike BB30. Anaktoria: Some prize the cavalry, while others favor BB31. Love now shakes my limbs and BB32. Atthis: Even in distant Sardis BB34. So, I'll never see Atthis again BB35. Leave Crete, and come to me here BB36. Mermaids and brine-born Aphrodite, please BB38. Hera, I pray you, may you BB40. I have a little daughter who is like BB41. When our girls were young BB42. Girlhood, girlhood, when you left me BB46. Gongyla, this is surely a sign What is the controversy about Sappho? Who opposed Sappho and why? Did Sappho leap for love? Whom did Sappho influence? What have the modern critics said? What problems in translating Sappho? What English translations of Sappho? What is Sappho's publication history? Bibliography Glossary

Supplement Edition: Sappho, The Poems

of Lesbos, Sappho

A Backward Glance over Traveled Roads

The Beechers Through the Nineteenth Century: A Radio Play

History

Americas

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