"The White Cat and the Monk" retells the ninth-century Old Irish poem "Pangur Ban" — a monk's simple, sage meditation on the parallels between his scholarly lucubrations and his feline companion's playful hunts.
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Submissions are published on an ongoing basis and also collected into digest issues two times a semester, for four issues per academic year. The word lucubrations is based on the Latin word lucubrare and means study by candlelight, nocturnal study or meditation, and the writings or thoughts that result.
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Lucubrations is the cultural magazine for the Saint Anselm Community. It publishes all forms of creative content including art, music, photography, literature, poetry, philosophy, commentary, and video from students, faculty, staff, and alumni of the college. It was founded in 2009 by student Dana Nolan (Class of 2011). It is published online.
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The following year he published a collection of verse epistles entitled Love letters to my wife. He wrote a long autobiographical satirical narrative poem called The Life and Lucubrations of Crispinus Scriblerus. The poem was published in part in 1815 but the complete poem was only published posthumously in 1896 by one of his descendants, the Rev. R.I. Woodhouse.
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In the preface he acknowledged his debt to George Steevens for the lives of poets. Steevens in fact used the work to put into circulation one of his hoaxes, a forged letter purporting to be from George Peele. In 1780 Berkenhout published Lucubrations on Ways and Means, a proposal on the imposition of taxes. Some of the suggestions in it were adopted by Lord North, others subsequently by William Pitt the Younger.
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A collected edition was published in 1710–11, with the title The Lucubrations of Isaac Bickerstaff, Esq. The dates referred to here may not correlate exactly to our modern calendar, because England still used the Lady Day system of dating while these works were published. The Tatler, Literary Encyclopaedia In 1711, Steele and Addison decided to liquidate The Tatler, and co-founded The Spectator magazine, which used a different persona than Bickerstaff.
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On 26 Dec. 1854 he took possession of the Upper Hall, 69 Quadrant, Regent Street, London, where he produced the ‘London Season,’ which was very successful. The names of other entertainments produced by Love were: ‘Love in all Shapes;’ ‘Love's Labour Lost;’ ‘A Voyage to Hamburg;’ ‘A Reminiscence of Bygone Times;’ ‘Love's Lucubrations;’ ‘Love's Mirror;’ ‘A Traveller's Reminiscences,’ by Charles Forrester; ‘A Christmas Party;’ ‘The Wolf in Sheep's Clothing,’ by H. Ball, and ‘Dinner at Five precisely.’ He played at the Regent Gallery on 8 Feb.
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He was born at Peakirk, near Peterborough in Northamptonshire, on 28 January 1719. He was brought up to the business of a surveyor, and acted as land agent to Earl Fitzwilliam, from 1762 to 1788. Cultivating mathematics during his leisure hours, he became a contributor to the Ladies' Diary in 1744, published Mathematical Lucubrations in 1755, and from 1754 onwards communicated to the Royal Society valuable investigations on points connected with the fluxionary calculus. His attempt to substitute for it a purely algebraic method, expounded in book i.
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Satyrae hecatostica : one hundred satirical compositions in hexameters. Filelfo's life at Milan curiously illustrates the multifarious importance of the scholars of that age in Italy. It was his duty to celebrate his princely patrons in panegyrics and epics, to abuse their enemies in libels and invectives, to salute them with encomiastic odes on their birthdays, and to compose poems on their favorite themes. For their courtiers he wrote epithalamial and funeral orations; ambassadors and visitors from foreign states he greeted with the rhetorical lucubrations then so much in vogue.
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' Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been surpassed with the 1907 works of Matisse and Derain, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.' His concerns deepened in 1909 as the work of Le Fauconnier, Delaunay, Gleizes and Metzinger emerged as a unifying force.
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' Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been surpassed with the 1907 works of Matisse and Derain, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.' His concerns deepened in 1909 as the work of Le Fauconier, Delaunay, Gleizes and Metzinger emerged as a unifying force.
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He was distinguished for energy of Latin style, for vigorous intellectual powers, and for the faculty, rare among his contemporaries, of expressing the facts of modern life, the actualities of personal emotion, in language sufficiently classical yet always characteristic of the man. His prose treatises are more useful to students of manners than the similar lucubrations of Poggio Bracciolini. Yet it was principally as a Latin poet that he exhibited his full strength. An ambitious didactic composition in hexameters, entitled Urania, embodying the astronomical science of the age, and adorning this high theme with brilliant mythological episodes, won the admiration of Italy.
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Alchemical texts were previously available in sixteenth century England, but only in Latin or manuscript form. Stanton Linden writes that the description of exoteric alchemy found in this widely distributed text defined the discipline as "Corporal Science" and reinforced its longstanding association with metallurgy and goldsmithing. About this work, John Maxson Stillman wrote that "there is nothing in it that is characteristic of Roger Bacon's style or ideas, nor that distinguishes it from many unimportant alchemical lucubrations of anonymous writers of the thirteenth to the sixteenth centuries". M. M. Pattison Muir had a similar opinion, and Edmund Oscar von Lippmann considered this text a pseudepigraph.
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He concludes the review by expressing his outrage at the Royal Society's decision to allow its premises to be used for the launch of the book, as in his opinion this amounts to having "the superstitious lucubrations of illiterate goatherds living several thousand years ago given the same credibility as contemporary scientific research."A. C. Grayling: Book Review: Questions of Truth. New Humanist 124 (2), March/April 2009. Physics World commends the authors for handling the diverse readership, skeptics and believers, in a "remarkably even-handed way", but laments that concerns with specifics of Christian doctrine may limit the book's appeal; however, scientifically minded readers may find the extensive appendices a good starting point.
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Several attempts to bring Harvey back into the 'working world' were made, however; here is an excerpt of one of Harvey's answers: > "Would you be the man who should recommend me to quit the peaceful haven > where I now pass my life and launch again upon the faithless sea? You know > full well what a storm my former lucubrations raised. Much better is it > oftentimes to grow wise at home and in private, than by publishing what you > have amassed with infinite labour, to stir up tempests that may rob you of > peace and quiet for the rest of your days." Harvey died at Roehampton in the house of his brother Eliab on 3 June 1657.
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In Boileau for the first time appeared terseness and vigour of expression, with perfect regularity of verse structure. His admiration for Molière found expression in the stanzas addressed to him (1663) and in the second satire (1664). In 1664 or 1665, he composed his prose Dialogue sur les héros de roman, a satire on the elaborate romances of the time, which may be said to have once for all abolished the lucubrations of La Calprenède, Mlle de Scudéry and their fellows. Though fairly widely read in manuscript and also released in an unauthorized edition in 1668, the book was not published till 1713, out of regard, it is said, for Mlle de Scudéry.
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The Mirror of Alchimy ('), a short treatise on the origin and composition of metals, is traditionally credited to Bacon. It espouses the Arabian theory of mercury and sulphur forming the other metals, with vague allusions to transmutation. Stillman opined that "there is nothing in it that is characteristic of Roger Bacon's style or ideas, nor that distinguishes it from many unimportant alchemical lucubrations of anonymous writers of the thirteenth to the sixteenth centuries", and Muir and Lippmann also considered it a pseudepigraph. The cryptic Voynich manuscript has been attributed to Bacon by various sources, including by its first recorded owner, but historians of science Lynn Thorndike and George Sarton dismissed these claims as unsupported.
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Almost a century later, psychiatrist Sir James Crichton-Browne said of the book: "The Constitution of Man on its first appearance was received in Edinburgh with an odium theologicum, analogous to that afterwards stirred up by the Vestiges of Creation and On The Origin of Species. It was denounced as an attack on faith and morals.... read today, it must be regarded as really rather more orthodox in its teaching than some of the lucubrations of the Dean of St Paul's and the Bishop of Durham". Phrenologists from the Society applied their methods to the Burke and Hare murders in Edinburgh. Over the course of ten months in 1828, Burke and Hare murdered sixteen people and sold the bodies for dissection in the private anatomy schools.
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There even was a Theophilanthropist Mass, which, however, came much nearer a Calvinist service than to the Catholic Liturgy. Of the hymns adopted by the sect, some taken from the writings of J. B. Rousseau, Madame Deshoulières, or even Racine, breathe a noble spirit but, side by side with these, there are bombastic lucubrations like the "Hymne de la fondation de la ré" and the "Hymne a la souverainete du peuple". The same strange combination is found in the feasts where Socrates, Jean-Jacques Rousseau, and St Vincent de Paul are equally honored and in the sermon where political harangues interlard moral exhortations. In Dubroca's funeral oration of George Washington the orator, under cover of the American hero, catered to the rising Napoleon Bonaparte.
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Frontispiece and title page to The Merry Thought: or, The Glass-Window and Bog-house Miscellany,The Merry Thought: or, The Glass-Window and Bog-house Miscellany which claimed to include "the Lucubrations of the Polite Part of the World, written upon walls, in Bog- Houses" such as the one at left of the tavern shown Throughout the 18th century, the miscellany was the customary mode through which popular verse and occasional poetry would be printed, circulated, and consumed. Michael F. Suarez, one of the leading authorities on miscellanies, states: Including songbooks, the New Cambridge Bibliography of English Literature lists almost 5000 verse miscellanies which were printed between 1701 and 1800.George Watson (ed.), The New Cambridge Bibliography of English Literature, 5 vols. (Cambridge: Cambridge University Press, 1971), II, cols. 341–429.
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To the Olla Podrida of Thomas Monro, a close friend at school and college, Headley contributed a number on the horrors depicted by the authors of modern tragedies' and he is said to have been one of the writers in The Lounger's Miscellany, or the Lucubrations of Abel Slug, Esq., which ran to twenty numbers in 1788 and 1789. As "C. T. O." he published articles in the Gentleman's Magazine.viz. ‘Poetical Imitations in Milton,’ 1786, pt. i. pp. 134–6; ‘Pope, Crashaw,’ pp. 310–13; ‘Observations on Milton and others,’ pp. 486–8; ‘Poetry of Quarles,’ pt. ii. pp. 666–7, 926–8; ‘Parallel Passages,’ pp. 732–733; ‘Pennant's Zoology Considered,’ pp. 838–40; ‘Bon-mot of Dr. Bentley,’ 1787, pt. i. p. 125; ‘Remarks on Milton, Drayton, &c.;,’ pt. ii. pp. 1080–2.
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One contemporary observer who often wrote following Martin Powell's career was Richard Steele, as an editor of the 1709–1710 journal Tatler, or the Lucubrations of Isaac Bickerstaff and later of the 1711 journal Spectator. In the Tatler, Steele assumed the persona of Isaac Bickerstaff, Esquire, writing a (feigned) affront that Powell was mocking Bickerstaff through the puppet Punch. Not much here can be taken at face value, since the venom against Powell is in jest (characterized "bantering allusions"), the purported letter written by Powell to the editor is a "fictitious" fabrication, and in the subtext it is really about a veiled defense of his friend Benjamin Hoadly in his church and state dispute against Ofspring Blackall, Bishop of Exeter. Following up the bantering allusions to Powell in the Tatler, Richard Steele, in the Spectator (No.
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I neither believe nor disbelieve the > qualities which many attribute to Him; before theologians' and philosophers' > definitions and lucubrations of this ineffable and inscrutable being I find > myself smiling. Faced with the conviction of seeing myself confronting the > supreme Problem, which confused voices seek to explain to me, I cannot but > reply: ‘It could be’; but the God that I foreknow is far more grand, far > more good: Plus Supra!...I believe in (revelation); but not in revelation or > revelations which each religion or religions claim to possess. Examining > them impartially, comparing them and scrutinizing them, one cannot avoid > discerning the human 'fingernail' and the stamp of the time in which they > were written... No, let us not make God in our image, poor inhabitants that > we are of a distant planet lost in infinite space.
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