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Carolina Maria Teresa Josephina – (1770 – 1804)
Duchess consort of Saxony
Princess Carolina was born (Nov 22, 1770) at Parma, the eldest daughter of Ferdinando, Duke of Parma, and his wife, the Archduchess Maria Amalia of Austria, the daughter of the Holy Roman Emperor Franz I and of the Empress Maria Theresa. She was the great-granddaughter of Louis XV, King of France (1715 – 1774). The princess was married (1792) in Dresden, to Prince Maximilian, Duke of Saxony (1759 – 1838), the son of the Elector Friedrich Christian, as his first wife. Duchess Carolina died (March 1, 1804) aged thirty-three, in Dresden. The couple had seven children,
Holy sonnet xvi essays Research paper Help
Holy Sonnet XVIII: Show me, dear Christ, thy spouse so bright and clear. Holy Sonnet XIXThe Cross. Resurrection, Imperfect. The Annunciation and Passion. Good- Friday, 1. 61.
"Johnson (citing Cowel) described it as: 'An evening-peal, by which [William] the conqueror willed, that every man should rake up his fire, and put out his light; so that in many places, at this day, where a bell is customarily rung towards bed time, it is said to ring curfew.' Such a bell still rang in Cambridge at 9 p.m. G[ray]. probably remembered 'I hear the far-off Curfeu sound', Il Penseroso 73. But Shakespeare has 'To hear the solemn curfew', Tempest V i 40 and uses the word on three other occasions. It also occurs in Thomson, Liberty iv 755 and n; and in T. Warton, Pleasures of Melancholy (1747) 282-3: 'Where ever to the curfew's solemn sound / Listening thou sit'st.' Cp. also Collins's 'simple bell', Ode to Evening 38 (see p. 466). Shakespeare has 'A sullen bell / Remembered tolling a departing friend', 2 Henry IV I i 102-3; Dryden, 'That tolls the knell for their departed sense', Prologue to Troilus and Cressida 22; and Young, 'It is the Knell of my departed Hours', Night Thoughts i 58."
Free Batter My Heart, three person'd ..
"This quatrain seems to have been inspired by four lines in a Monody on the Death of Queen Caroline by G.'s friend Richard West (reprinted in Dodsley's Collection (1748) ii 269 ff.): 'Ah me! what boots us all our boasted power, / Our golden treasure, and our purpled state, / They cannot ward th'inevitable hour, / Nor stay the fearful violence of fate.' But the sentiment occurs frequently in Horace, e.g. Odes I iv 13-4: pallida Mors aequo pulsat pede pauperum tabernas / regumque turres (Pale Death with foot impartial knocks at the poor man's cottage and at princes' palaces); I xxviii 15-6: sed omnes una manet nox, / et calcanda semel via leti (But a common night awaiteth every man, and Death's path must be trodden once for all); and II xvii 32-4: aequa tellus / pauperi recluditur / regumque pueris (For all alike doth Earth unlock her bosom - for the poor man and for princes' sons). Cp. also Cowley, translation of Horace, Odes III i 15-16, 21: 'Beauty, and strength, and wit, and wealth, and pow'r, / Have their short flourishing hour / ... / Alas! Death mows down all with an impartial hand'; Mallet, Excursion i 290-2 'Proud greatness, too, the tyranny of power, / The grace of beauty, and the force of youth, / And name and place, are here-for ever lost!'; and Dart, Westminster Abbey I xviii (see ll. 17-20 n above): 'To prove that nor the Beauteous, nor the Great, / Nor Form, nor Pow'r, are Wards secure from Fate.' G.'s lines have also been compared to Edward Phillips's Preface to Theatrum Poetarum (1675), in J. E. Spingarn, Critical Essays of the 17th Century (1908-9) ii 258 (and cp. l. 59n below): 'no wonder if the memories of such Persons as these sink with their Bodys into the earth, and lie buried in profound obscurity and oblivion, when even among those that tread the paths of Glory and Honour, those who have signaliz'd themselves either by great actions in the field or by Noble Arts of Peace or by the Monuments of their written Works more lasting sometimes than Brass or Marble, very many ... have fallen short of their deserved immortality of Name, and lie under a total eclipse.'"