Friday, August 6, 2010

The Scenery and Greenery of Gone with the Wind (1)

"Along the roadside the blackberry brambles were concealing with softest green the savage red gulches cut by the winter's rains, and the bare granite boulders pushing up through the red earth were being draped with sprangles of Cherokee roses and compassed about by wild violets of palest purple hue.  Upon the wooded hills above the river, the dogwood blossoms lay glistening and white, as if snow still lingered among the greenery.  The flowering crab trees were bursting their buds and rioting from delicate white to deepest pink and, beneath the trees where the sunshine dappled the pine straw, the wild honeysuckle made a varicolored carpet of scarlet and orange and rose."
--Gone with the Wind, Chapter V

When I first read Gone with the Wind, one of the very first things that impressed me was Margaret Mitchell's vivid and beautiful descriptions of the scenery surrounding Tara and Clayton County. Now,  I'm admittedly a softie for nice description, but I do think there's just something so striking about how MM chose to depict the land of north Georgia. You can really tell what a deep affinity she had for her native region. And as a narrative feature, it is of course put to brilliant use, showing Scarlett's own deep connection with the land she grew up on and serving as a stark counterpoint to the complete devastation the war would have on the County and elsewhere.

But while I'm a big fan of passages like the one highlighted above, I have to admit that I've never been able to get a complete mental picture of the (literally) flowery scenes MM describes. Perhaps that's the result of me not being a native of the South or just simply due to my underdeveloped knowledge of all things botanical. (My mother, the avid gardener, shakes her head in shame.) Either way, my poor imagination has resulted in yet another feature here at How We Do Run On--Scenery and Greenery of Gone with the Wind, where from time to time we'll offer you a glimpse into the flora and foliage mentioned in passages in GWTW.

This week we start off with (you guessed it) the passage quoted above, which charmingly illustrates the scenery on the road to Twelve Oaks the morning of the fateful barbeque. Below you'll find photos of the plants mentioned in the passage, along with each plant's "vital stats" and a corresponding description. And because, as I'm sure you've guessed by now, our blog's motto basically is "Why use a new book when a dusty old one will do just as well?" the info and description comes from a vintage book with an absurdly long name: Southern wild flowers and trees, together with shrubs, vines and various forms of growth found through the mountains, the middle district and the low country of the South (1901).

One last comment before I leave you with pretty pictures to look at? In researching these plants and their blooming times, I was slightly dismayed for a moment to see that many of them don't start blooming until May in the South. Then I remembered MM has an answer for everything and it's best not to try to outsmart her. She's one step ahead again, for right in the opening pages it's mentioned that "Spring had come early that year." Indeed it had. And, my rambling now complete, enjoy a glimpse into some lovely Southern foliage! 

Blackberry

Family: Rose         Color: White         Blooms: May-June, with fruit in August

"[H]igh bush blackberry, stands uprightly, and is abundantly found along waysides and through clearings. Its broadly oval fruit...and its rather large white flowers growing on bristly pedicels in a spreading raceme, proclaim the species." 


Cherokee Rose

Family: Rose          Color: White          Blooms: May 

"Who of the south does not know the Cherokee rose and regard it with fond admiration as it climbs, retwines and doubles itself over hedges, or up the sides of cabins and transforms them into flowery bowers almost unrivalled in beauty. And yet, although so widely distributed through the southern Atlantic and gulf states, the rose is not known to occur there in a wild state and just how it came to be so abundant in the former country of the Cherokee Indians is a question only partly solved. As truly wrapped in mystery is the history of its occupancy of the soil as that of the people whose name it bears."


Wild Violet

Family: Violet          Color: Purple, Blue          Blooms: April-May

"The violets are very temperate. They like neither much heat nor great cold but seek to grow usually in retired places, well shaded and moist. About them there is a look that makes a violet always a violet… These apetalous little blossoms are most interesting to watch during a season. They seem mostly to be produced when the days become too warm for the showy flowers to bloom…"


Dogwood

Family: Dogwood          Color: Cream-White          Blooms: May-June

"When the time is at hand for the earth to show forth its life and every bough is bathed in warm sunny air, and buds burst and leaves unfold, there is much presented through our woods by the dogwood trees and shrubs. It is, however, only the so-called flowering one which, with its fine, broad involucre, throws out a splendid shower of white at this season.

Southern Crabapple

Family: Apple          Color: Pink or White          Blooms: March-May 

"When the leaves of this small tree are very young, having, in fact, just timidly unfolded, its exquisite rosy and fragrant blossoms come into full bloom. It is then still so early in the season that the purplish grey colouring of its twigs forms for them a misty background, and only such other wide-awake shrubs as the thorn, the shad-bush and the spice-bush are laden with flowers. But everything is stirring: the march is onward."


Honeysuckle
  
Family: Honeysuckle          Color: Scarlet, Yellow          Blooms: April-June

"[T]rumpet, or coral, honeysuckle, woodbine, shows its gay spirit and energy in its exquisite scarlet, or yellow, flowers which hang gracefully from near the ends of the stalk. Their large tube is narrow and the limb almost regularly lobed. The upper leaves unite about the stem and are very thick and evergreen through its southern range. The plant is charming also when crowned with its round, scarlet berries."

Thursday, August 5, 2010

Poster of the Week

To me at least, this week's poster seems to embody a certain Parisien flair--quite fitting for an advertisement featuring the famous bonnet scene. It circulated between 1939-1940 and features dimensions of 27x41.

 Image from movieposterdb.com. Poster information cited from Herb Bridges' "Frankly My Dear..." 

And as a bonus image? The same design was later employed to promote the release of GWTW in Argentina:

  Image from movieposterdb.com. Poster information cited from Herb Bridges' "Frankly My Dear..." 

Wednesday, August 4, 2010

Margaret Mitchell, Her Biographers, and the Conclusion to Gone with the Wind

Editors' Note: Today we are pleased to feature our first post by a guest blogger here at How We Do Run On.  The following post was written by GWTW fan Shaninalux, who noticed something quite strange in several biographies about Margaret Mitchell: the authors were all over the board in describing MM's opinion about the conclusion of GWTW and her actual intentions.  So Shaninalux tracked down the information directly from the source--in the form of a July 1935 letter from MM. Here's her account of the situation and what she discovered.  Many thanks for Shaninalux for sharing this with us! --iso and Bugsie

After Margaret Mitchell submitted the GWTW manuscript to Harold Latham of Macmillan in April of 1935, he sent it off to Professor Charles W. Everett of Columbia University in order to get Everett's review, thoughts and opinions. Everett submitted his report to Latham in early July, and Margaret Mitchell responded to Everett's report in a letter back to Latham on July 27th. However, the content of the Everett report and Mitchell's response to it have, I believe, been misinterpreted in several ways in the various literatures available on Margaret Mitchell.

Unfortunately, it appears that the Everett report, in its entirety, is no longer available. In Southern Daughter, published in 1991, Darden Asbury Pyron indicated in his footnotes that the report could not be found in either the Macmillan Archives (located at the New York Public Library) or the Mitchell Archives (located at the University of Georgia). The report did seem to still exist at the time Anne Edwards was writing Road to Tara, which was published in 1983, as she cited its exact date (July 2, 1935) and page length, and even gave its location as the Mitchell Papers held within the Macmillan Archives at the New York Public Library. I recently attempted to get a copy of the report from the NYPL, but was informed that it was not part of the Macmillan Company Records, the Margaret Mitchell Author File or the Macmillan General Correspondence File. But I was successful in getting a copy of Mitchell's July 27, 1935 response to the report.

The best that can be cobbled together of the Everett report is a large portion of it contained in Mitchell's first biography, Margaret Mitchell of Atlanta, written by Finis Farr and published in 1965. That portion of the report, coupled with other smaller quotes from it cited by Mitchell in her response to Latham is quite possibly all that can be gleaned today as to its original scope and content.

The report contains sections roughly corresponding to an introduction, summation/synopsis, review and recommendations. Everett was wildly enthusiastic about the manuscript, to say the least, but he expressed some suggestions for improvement. In her July 27th letter, Mitchell responded to these suggestions in a very simple and logical format; namely, she placed all of Everett's suggestions in quotations, and then responded to them individually. Accordingly, it is quite simple to determine which lines are the suggestions expressed by Everett, and which are Mitchell’s responses to those suggestions. And Everett’s suggestions addressed by Mitchell were as follows:
"the author should keep out her own feelings in one or two places where she talks about negro rule"

"And to refer to Mammy's 'ape face" and her 'black paws' seems unnecessary"

"As it is there may be a bit too much finality in Rhett's refusal to go on.......I think she gets him in the end.....And it might not hurt to hint as much a little more strongly than the last lines."


"I prefer the version where Kennedy dies of illness to the Ku Klux one, exciting though that is, because the K.K.K. material has been worked pretty hard by others." 
--Charles Everett's comments from Margaret Mitchell's letter of July 27, 1935
Both the third and the fourth suggestions are indented off in their own paragraphs, and like the others, are contained in quotations. However, it is Mitchell's response to the third suggestion, which has, I believe, been misinterpreted. This was her response to that suggestion, typos included:

Tuesday, August 3, 2010

A Victorian Birthday Cake

Today we invite you to have a slice of cake with us, in true Victorian fashion, and wish "Many Happy Returns of the Day!" to one of our readers.

Angel food cake
Due to the continuous improvement of kitchen appliances during the 19th century, cakes became affordable desserts, but differentiated cakes assigned to  specific festivities, like birthday cakes, only rose to popularity during the second half of this century. The first explicit mention of the phrase "birthday cake" in an American cookbook dates from 1870. (If you're interested, you can read more about the history of cakes here.)

Birthday cakes were more common for children's party, and were gaily decorated with sprinkles and colored candles. They didn't say "Happy Birthday!", since that phrase only became popular in the 20th century, they said "Manny Happy Returns," or a similar phrase, followed by the person's name. 

These decorations were the only things setting birthday cakes apart from other cakes, for the actual lists of ingredients was the same. Home-baked cakes would sometimes be sent to a specialist to be iced and decorated for this purpose. 

The cake we selected for you today is a variation of the famous Angel food cake, called Silver Cake. It comes from a 1881 book of Southern cooking by a Mrs. Fisher, herself an interesting character, an ex-slave who moved to San Francisco in the late 1870s and was, by her own account, urged to share her knowledge by the ladies there. Since she wasn't able to read or write, she dictated the recipes.
"The whites of one dozen eggs beaten very light, one pound of butter, one pound of powdered sugar; rub the butter and sugar together until creamed very light, then add the beaten whites of the eggs, and beat all together until very light; two teaspoonfuls of the best yeast powder sifted with one pound of flour, then add the flour to the eggs, sugar and butter, also add one-half teacupful of sweet milk; mix quickly, and beat till very light; flavor with two teaspoonfuls of the extract of almond or peach, put in when you beat the cake the last time. Put to bake in any shape pan you like, but grease the pan well before you put the cake batter in it. Have the stove moderately hot, so as the cake will bake gradually, and arrange the damper of stove so as send heat to the bottom of the cake first."
--excerpted from What Mrs. Fisher Knows About Old Southern Cooking, Soups, Pickles, Preserves, Etc
Well, happy birthday to our reader and my best online friend, and hope you all enjoyed this small glimpse into the Victorian world.

Monday, August 2, 2010

The Quotable Rhett Butler: Nihil Desperandum

I heart Horace. I just thought we'd get that out of the way first. A weird sympathy, I admit, made even weirder by the fact that Gone with the Wind is what started it in the first place. I come from a country where torture Latin is among the subjects one has to take in high school. I liked grammar, but in turn resented most of the dead Roman poets they forced upon us. Horace was an exception because--well, to be honest, because I  knew that lines like "dulce et decorum est pro patria mori" and "non sum qualis eram bonae sub regno Cynarae" came from him, and I figured nothing that had the slightest connection with GWTW could be all bad (and that in the background is my Latin teacher fainting at the blasphemy).

And now that our short medium-length episode of Bugsie's autobiography is covered for the public's enlightenment, let me introduce this week's Rhett Butler (mis)quote, which yes, actually comes from Horace:
"'Nihil desperandum' is my motto."
--Gone with the Wind, Chapter XXXIV
As you all know already, this is from the famous jail scene; it's Rhett response to Scarlett's (fake) worry over his fate. Of course, she's oblivious to the meaning of his motto and unashamed of her ignorance, in typical Scarlett fashion, which prompts him to elaborate, somewhat misleadingly:
"'What does that mean?'

'It means 'maybe,' my charming ignoramus.'"
--Gone with the Wind, Chapter XXXIV
The literal translation of what he said in Latin is actually "nothing to be despaired of," which of course sounds much better as "no cause for despair" or, with more of a stretch, "never despair." The slight problem is that the expression, initially taken from Horace's Odes (Carmina) and become a popular saying, is in fact "Nil desperandum." Rhett is misquoting it, but without actually committing any grammatical fault, as "nil" is the contraction of "nihil," and often used in poetical contexts  to attain the right number of syllables for a particular meter. Both words have the same primary sense, "nothing," and are used interchangeably (as you can amply see if you have the patience to  read through the dictionary entry linked above).

But what does "Nil desperandum" stand for in its original context? It's actually a very interesting thing, for the ode in which this expression appears (I.7, that is) seems quite fitting for Rhett. Horace refers to the mythical hero Teucer, a participant to the Trojan War whose father had disowned him and banished him from his city of birth, because he had failed to prevent his much more famous half-brother Ajax from killing himself. Teucer is to leave and found a new city, and naturally he finds this a good opportunity to address a pep talk to his crew, to assure them that there is no reason for despair while they are under the guidance and auspices of Teucer ("Nil desperandum Teucro duce et auspice Teucro").  Here is a poetical translation of the entire fragment:
 "Where Fortune bears us, than my sire more kind,
There let us go, my own, my gallant crew.
'Tis Teucer leads, 'tis Teucer breathes the wind;
No more despair; Apollo's word is true.
Another Salamis in kindlier air
Shall yet arise. Hearts, that have borne with me
Worse buffets! drown today in wine your care;
To-morrow we recross the wide, wide sea!”
--excerpted from Horace, Odes, I.7
"Drown today in wine your care; To-morrow we recross the wide, wide sea." That actually sounds like something that not only the wandering Rhett, but also Scarlett with her "Tomorrow is another day" could adhere to, doesn't it?

Sunday, August 1, 2010

Rue de la Paix

This week's collage features a somewhat more sedate and romantic interpretation of Scarlett getting ready for the dreaded night of Ashley's birthday. If only it had really been this tranquil...

Slap Slap Kiss, Tall Dark And Snarky, and Other Things

Just some (light) reading fare for a lovely Sunday evening. If you haven't checked it out already, the Gone with the Wind entry on tvtropes.org offers a pretty long and amusing list of the main tropes/themes from our favorite book and movie.  

Some of my favorites? 
  • Manipulative Bastard: Scarlett and Rhett both revel in this. Naturally, it makes their relationship somewhat difficult. 
  • Slap Slap Kiss: Rhett and Scarlett are all over this one.
  • Unreliable Narrator: If you ignore Scarlett's obstinate insistence throughout the book that she loves Ashley and that Rhett doesn't love her, you can actually see the evidence to the contrary very clearly.
The full list is available here: 

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