Last January, the company was purchased out of bankruptcy by advertising startup iDyls, its website was relaunched, and a new editorial team, with an average age of just 26, was granted more freedom to shake things up.
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Idyls of Killowen: A Soggarth's Secular Verses. James Bowden, 1899, pg. 24. On 15 June 1892, at the age of 32, he married Jeanie Gwynne Bettany at St John the Evangelist, East Dulwich, Southwark, England.London Metropolitan Archives; London, England; Reference Number: p73/jne/018. Ancestry.com.
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Laura Redden Searing (born February 9, 1839 in Somerset County, Maryland) was a deaf poet and journalist. Her first book of poetry published was Idyls of Battle, and Poems of the Rebellion (1864). Her pseudonym is Howard Glyndon. Significantly, the town of Glyndon, Minnesota was founded in 1872 and named in honor of the writer.
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The Walt Whitman Collection. After finishing school she worked as a librarian for the Rahway Library Association. Her first book, At the Sign of the Sphinx (1896), was a collection of charades. Her next publications were The Jingle Book and The Story of Betty (1899), followed by a book of verse entitled Idle Idyls (1900).
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Johann Martin Usteri (c.1800) Johann Martin Usteri (14 February 1763 in Zürich – 29 July 1827, Rapperswil) was a Swiss poet, noted for has narrative poetry and his idyls. He was one of the earliest German poets to write poems in his native Zürich dialect; among these, his Vicar holds the foremost place.Charles Dudley Warner, et al.
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Finally he settled down in Krakow and married Małgorzata Lajtner. There he held several offices, including the steward of salt works in Wieliczka and Bochnia. He was also the best friend of Wespazjan Kochowski; they found second wives for each other. His most famous works are his idyls, taking pattern from Anacreon, Szymon Szymonowic and ancient Latin poets, glorifyng life in the village and published many times.
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As an artist, then, his or her moral responsibility is communicating to the "globalized world" that the "new" (contemporary) Latin America is McOndo, not Macondo, and that its cultures are hybrid cultures — of headphones and baseball caps, not sombreros and machetes. Many McOndo writers, U.S.A. city-born men and women (chicano, Hispanic, Latino, et al.), did not live the rural idyls of magical realist fiction, hence, they see Macondo realistically, not romantically, and write about urban life.
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In 1864, he visited the South Sea Islands and there wrote South-Sea Idyls, a series of letters he sent to a friend. This friend had them published in book form in 1873. "They are," wrote William Dean Howells, "the lightest, sweetest, wildest, freshest things that were ever written about the life of that summer ocean." He made four other trips to the South Sea Islands, and wrote his impressions in Lazy Letters from Low Latitudes and The Island of Tranquil Delights.
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Jocoseria is a collection of short poems by Robert Browning, first published in 1883. Effectively a continuation of the Dramatic Idyls series, the book was not well received by critics at the time and has continued to be considered one of the poet's least effective collections, aside from the famous prologue to the collection. The prologue, which has no official title but is usually referred to by its first line, "Wanting is—what?", became one of Browning's favourite short lyrics and is a standard fixture in anthologies.
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Published since 1995, co-founded by Didier Lestrade and Pascal Loubet, and historically directed by Pierre Bergé, Têtu was started following the demise of Gai Pied magazine (published between 1979 and 1992). Pierre Bergé sold the magazine in January 2013 and since then it has been owned by Jean-Jacques Augier. Têtu declared bankruptcy in January 2015 and went into liquidation in July 2015 having made €1.1million ($1.2million) in losses in 2014. In November 2015 a French start-up, Idyls, bought Têtu and it started publishing again online only.
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Barère practiced as an advocate with considerable success and wrote some small pieces, which he sent to the principal literary societies in the south of France. His fame as an essayist was what led to his election as a member of the Academy of Floral Games of Toulouse in 1788. This body held a yearly meeting of great interest to the whole city, at which flowers of gold and silver were awarded for odes, idyls, and eloquence. Although Barère never received any of these bounties, one of his performances was mentioned with honor.
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France was on the verge of anarchy. A monarchien believing in a constitutional monarchy for France, Chénier believed that the Revolution was already complete and that all that remained to be done was the inauguration of the reign of law. Though his political viewpoint was moderate, his tactics were dangerously aggressive: he abandoned his gentle idyls to write poetical satires. His prose "Avis au peuple français" (24 August 1790) was followed by the rhetorical "Jeu de paume", a somewhat declamatory moral ode occasioned by the Tennis court oathThe indoor tennis court at Versailles was the jeu du paume.
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In 1861, Browning left Italy after the death of his wife. Landor afterwards seldom left the house and remained petulant and uncomfortable, occasionally visited by his sons. He was much concerned about the fate of his picture collection, little of which had any merit, and about preparations for his grave as he hoped to be buried at Widcombe near Bath. He published some Imaginary Conversations in the 'Atheneum' in 1861-2 and in 1863 published a last volume of "Heroic Idyls, with Additional Poems, English and Latin", described by Swinburne as " the last fruit of a genius which after a life of eighty-eight years had lost nothing of its majestic and pathetic power, its exquisite and exalted".
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From 1874 to 1883 he was professor at the Royal Prussian Academy, Berlin, continuing to reside in that city until his death. Girl in a Field (1857) Among the most important works of his last period were: The Holy Family and The Road to Ruin, both painted in 1876 and now in the Metropolitan Museum of Art, New York; Behind the Curtain (1880), Dresden Gallery; The Rag Baby (1880) and A Village Festival (1881), both in the Vanderbilt collection, Metropolitan Museum, New York; and A Duel. During his last period Knaus also painted a series of “Idyls,” with nudes in a rather classical style, of which an important example is in the Wiesbaden Museum. The most famous examples of his portraits, which are genre in character, are those of the scientist Helmholtz and the historian Mommsen, both in the National Gallery, Berlin.
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