DANIEL PRATT
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book.
It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.
Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old.
Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever.
Lorem Ipsum is simply dummy text of the printing and typesetting industry.
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Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer.
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Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer.
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Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer.
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Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s.
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Samuel Taylor Coleridge (b. 1772; d. 1834) published his earliest poems in association with his friends, Wordsworth, Charles Lloyd, and Charles Lamb. But his contributions, especially of the "Ancient Mariner," soon pointed them out as belonging to a genius very different. In his compositions there is a wide variety, some of them being striking from their wild and mysterious nature, some for their elevation of both spirit and language, and others for their deep tone of feeling. His "Genevive," his "Christabel," his "Ancient Mariner," and his "Hymn in the Vale of Chamouni," are themselves the sufficient testimonies of a great master. In some of his blank verse compositions the tone is as independently bold as the sentiments are philosophical and humane. Besides his own poetry, Coleridge translated part of Schiller's "Wallenstein," and[187] was the author of several prose works of a high philosophical character. Southey was as different from Coleridge in the nature of his poetical productions as Coleridge was from Wordsworth. In his earliest poems he displayed a strong resentment against the abuses of society; he condemned war in his poem on "Blenheim," and expressed himself unsparingly on the treatment of the poor. His "Botany Bay Eclogues" are particularly in this vein. But he changed all that, and became one of the most zealous defenders of things as they are. His smaller poems are, after all, the best things which he wrote; his great epics of "Madoc," "Roderick, the Last of the Goths," "The Curse of Kehama," and "Thalaba," now finding few readers. Yet there are parts of them that must always charm.Soon after appeared his twelve plates of "Industry and Idleness," and in 1753 he published a work called "The Analysis of Beauty," in which he attempted to prove that the foundation of beauty and grace consists in a flowing serpentine line. He gave numerous examples of it, and supported his theory with much ingenious argument. The book brought down upon him a perfect tempest of critical abuse from his envious and enraged contemporaries. In 1757 he visited France, and being engaged in sketching in Calais, he was seized and underwent very rough treatment from "the politest nation in the world," under an impression that he was employed by the English government to make drawings of the fortifications. This adventure he has commemorated in his picture of "Calais Gate." In the following year he painted his "Sigismunda."
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