He Went Gentle into That Good Night

NOY HOLLAND The Last Doll Never Opens H H heone brother sleptinthefront roomforgoingon ninety years. This was Harold. Who once leaned intoa girlin theblowing woodsandlifted herskirt andkissedher. Once thebrothers livedwiththeirsister, nowdead. Sheworeher hairin twobraids.She likedpudding, and theidea shehad ofthesea. She died awayfirst whilethelilacsbloomed,amongthebounty oflast years honey. Stillthebrothers livedon inthebrickhousetheirmother andfatherhadhauledupfrom downcountry. Hauled itbrick bybrick bymule. One mulelivedto be fifty; Harold said good nightto hereach night. Good night, Cordelia,deafandcrippled, tenderbutton, youold ruin. Thanksto Cordeliaitwas Haroldcouldsee. He'd rolledtheFarmallin theripenedgrass,dreamingofthegirlhe'dkissed.Struckhis head againsta stoneand wasblind,notbuta boy.He was a manwhen at last the mule swungroundand,wherehe'd struckhis head years before, kickedhim.All ittook,who'dhavethought, and he sawagain. Sawhishandfirst thingand itsurprised him,howsoftand plumpand pale. The bees were Harold'sworkall theyearshe was blindbuthis kneescameunstrung oncehesawthem. He neverdid see thatgirlagain. She was pretty enough,only grown. Harolddrewintohimself likea beetle,saidhisbrother. "He walkedoutofhisbodyanddied." Bornanddiedinthebedinthefront room,samebed,their mother 'sboy.Now onlythelastonewasleft. 96 Theirrooster begantocomeathimevery timeheturned hisback. Theirbeesswarmed. A parrotappearedinthechicken coop,ragged and halfalive,andClarencebuiltita perchinthekitchen. Thereitsquawked forhissister, forty yearsdead,every timehechippeda dish. A woodpecker peckedathiswindowat night. An owlstoodinthe oakanddiedthere, diedstanding, itstalonssunkintothebranch. Clarencecould sitin hisbrotherschair, at least,and feelthelast ofitssatinexpanses.He wasn'tlonelyso muchas tired.He watchedthe birdsgiveup on thebirdfeederithadbeen Harolds workto fill. A few cameandwent.The librarian cameandthetownclerk, bringing milkand butter andcookies, enoughfora growing family isn'tthattheway. Haroldwasdead buthedidn'tseemtobe. He seemedelsewhere. Shearing sheep.He mustbe kneeling inthe barninthefilthy wool,theanimalstricken andcalm.He wasbrushhogging ,or fixing fence.Readinga rulefromhiscookbook,noddingoffin thefront room. NowatlastI cansleepinthatfront roomwhereI havewantedtoall theseyears, Clarencethought. The dogasleeponmyfeet; myfeet arecold. The dogwas Lucky. Clarencehadneveroncekisseda girl. Clarence ,Harold ,Constance ,theparrotcalled,in a voiceClarenceremembered ofhismother. Itcalledthenamehe remembered ofthegirl Haroldkissed. The owlstoodin thetree,facedawayfromthehouse,exactly like something living. He'dbetter sleepandhoptoitcomemorning. Dig potatoes.Pickle beans.Sweepthecellar. He'dbetter try hishandtrimming poorCordelia's toes,turned up likeelfinslippers. Itwas Harold'swork, buthewoulddo it.He'd heapup manureso thegroundwouldn'tfreezeso hecouldbury themule,unlessshelasted.Butcherthehog.Beforethecold too much. He didn'twanttobuthewoulddo it.He wouldtendtothebees,slowin thecold,eachwitha stoneon itsback. Good night, Clarence,hethought tosay.Good night, Lucky. He drewtheblanketback.The sheetssmelledofhisbrother. The dogwouldsleepon hisfeet.Hallelujah. 97 ...

Reviewed by: Good Night! , and: Spoonful! by Benoit Marchon Elizabeth Bush Marchon, Benoit. Good Night!; tr. from the French by HMH; illus. by Soledad Bravi. HMH/Houghton, 2013. 40p. ISBN 978-0-547-89314-3 $7.99 R 6–24 mos. Spoonful!; tr. from the French by HMH; illus. by Soledad Bravi. HMH/ Houghton, 2013. 40p. ISBN 978-0-547-89313-6 $7.99 R 6–24 mos. Each title in this pair of board books features a single die-cut shape that extends through all the pages to reveal a face from the last page. In Good Night!, the face of a baby peeks through each egg-shaped opening, and the surrounding picture coordinates with a sweet or whimsical endearment: “Good night, my little fox”; “Good night, my shrimp”; “ . . . my sunshine”; “ . . . my dumpling”; “ . . . my little bug.” The pictures are the soul of simplicity, a dreamy wisp of a figure afloat on a contrasting colored backgrounds of sky blues, ruby reds, and sunny yellows. By the final page, the baby (now revealed in a heart-printed sleeper) is still in no mood to sleep, calling out “Again!” in a word bubble. But don’t give up there: the [End Page 343] back cover says “Good night, my love,” and baby’s finally off to the Land of Nod. Spoonful! attempts similar encouragement for mealtime, with the shape of a head in profile, mouth wide open for the next bite of food. There’s a spoonful for Mommy, for the fish, for the astronaut, for the worm in the dirt, for the superhero, and finally for an enthusiastic toddler, who accepts the kudos, “Hooray! You ate it all!” The backgrounds here are a bit more detailed, featuring objects toddlers are sure to recognize (fire engines, flowers, etc), adding to the visual appeal. The inclusion of a spoon in each of the spreads would have made this effort more successful, but the sheer number of diners suggested here should nonetheless urge finicky eaters on through even a robust meal. Copyright © 2013 The Board of Trustees of the University of Illinois

The aim of this study was to investigate the applicability magnitude of Leech's model of stylistics on Dylan Thomas's poem "Do Not Go Gentle into That Good Night", and by the same token to investigate its credibility to uncover additional layers of the meaning and message of this poem. To achieve the aim of this study, the researcher followed a qualitative analytical methodology which was applied on the available related literature, but in a survey-like orientation, and, in addition, a discretionary application, by the researcher, to the three maxims (cohesion, foregrounding, and cohesion of foregrounding) of the Leech's model of stylistics on Dylan Thomas's poem "Do Not Go Gentle into That Good Night". Findings of this study have confirmed the applicability, suitability, and credibility of Leech's model of stylistics to Dylan Thomas's poem "Do Not Go Gentle into That Good Night", and that this application resulted in a wider magnitude to interpret the poem as well as a tighter grasp of its universal meaning and touching message. Conclusions of this study have highlighted the credibility of Leech's model of stylistics to reveal the pragmatic facets of the message that a given author of a literary text is trying, consciously or sub-consciously, to communicate with the readers or recipients. As a result, this study came up with a set of related recommendations and conclusions.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0917/a.php" alt="Hit counter" /></p>

The "Good Night, Good Night" Sequence in Romeo and Juliet Get access Richard Hosley Richard Hosley University of Virginia Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 5, Issue 1, Winter 1954, Pages 96–98, https://doi.org/10.2307/2866542 Published: 01 January 1954

All Right. Good Night. (Excerpt)

Singing in Dark Times: Report from Berlin

This tribute was originally delivered at Maureen Crisp's funeral service at Hucknall Church on 4 August 2008. In the past two and a half years we have witnessed the deaths of three of the most important ladies connected with the Byron scene since the Byron Society was re-founded on 22 January 1971. Elma Dangerfield died in 2006, Lucy Edwards in 2007 - both having lived to a great age. They laid the foundation of the organisation we have today. But it fell to their successor, Maureen Crisp, to develop the Newstead Abbey Byron Society (NABS) and, with equal importance, the International Byron Society (IBS), following on from Michael Rees when he decided to take Holy Orders. Now, in 2008, it is Maureen who has been taken from us, when she was in the prime of her life, as indeed of course was Lord Byron himself when he died in 1824. Maureen died on 26 July 2008. Maureen possessed Elma's drive and flair and Lucy's efficiency and administrative qualities, and this combination made her the ideal person to occupy the exalted position of Secretary of NABS and Executive Director of the IBS. She held the respect of everyone she came into contact with, from whichever country, and I am absolutely certain that there was much shock and grief felt at her passing throughout the Byron world. When Ken Purslow asked me to pay this tribute to her he also asked me to include some poetry of my choice. This was easily done because it just had to be with Byron that we commence our eulogy - I cannot conceive in Maureen's case of quoting from anyone else. Harold's 'Good Night' from the beginning of Canto I of Childe Harold's Pilgrimage, is, I feel, ideal for this purpose, because, after all, we can say that our life itself is a pilgrimage: Adieu, adieu! My native shore Fades o'er the waters blue; The Night-winds sigh, the breakers roar, And shrieks the wild seamew. Yon Sun that sets upon the sea We follow in its flight; Farewell awhile to him and thee, My native Land - Good-Night. A few short hours and He will rise To give the Morrow birth; And I shall hail the main and skies, But not my mother Earth. I first met Maureen when, with Ken, she took over the restaurant at Newstead Abbey in, I believe, 1981. There was of course no local society in those days. The annual attraction was the visit of the London-based Byron Society, who arrived in a coach at a chosen venue. This was all to change when Maureen and Ken revitalised the catering arrangements at Newstead and immediately invited Byron Society members to use the refurbished dining room to be called 'The White Lady'. We were all looking forward to celebrating Byron's bicentenary in 1988. It would have been quite a modest affair. But Maureen came on the scene and our plans for this event were transformed. All this, of course, led to the formation of the Newstead Abbey Society in 1988, of which Maureen asked me to become the first Chairman. I believe the Byron involvement gave to Maureen the mental stimulation she sought. Now let me say that Maureen was not always the easiest person to work with at first. Great leaders never are - simply because they lead from the front by inspiration, and those of us trying hard to catch up are caught in the slipstream. I am sure many will recognise this trait as regards Byron himself - his colleagues, too, were dragged along by his charisma. You have to adjust to their way of operating. This chemistry worked in NABS and in the IBS and that is why they have seen so much success. Maureen stamped her personality on the whole Byron movement. The events of 22 January 1988 were spectacular. Marching bands and even a covering of snow added to the occasion. It was quite reminiscent of the time Byron and Augusta were snowbound at Newstead. Fortunately, the 1988 celebrations are all recorded on disc for posterity. We arranged for the Earl of Lytton to plant an oak tree to replace the one planted by his great-great-great-grandfather, Lord Byron, in 1798, which had since decayed. …

In 1841/2, a magic lanternist calling himself 'Timothy Toddle' wrote down, for his own reference, the running order for his slides. Alongside each numbered and titled slide, he scripted an accompanying commentary. Toddle, it seems, wanted to ensure both the correct sequencing of his material and the fluency of his public patter. His show opened, as was customary, with an introductory 'Welcome' slide and closed with one reading 'Good Night' and another 'God Save the Queen'. Between these end points, the show consisted of approximately 180 other slides, ranging significantly in theme and tone. The surviving running order reveals that in the midst of slide sequences such as 'A very clever trick of clowns', 'Miss Lucy swinging from a Walnut tree', 'Punch and Judy', 'Mr Pickwick running after his hat' and 'Lord Byron - a poet of the first rate talent but of the most seductive &dangerous principles', Toddle also dropped in slides illustrating two dramatic moments from Macbeth , each accompanied by a summarized narration of the relevant section of the drama and some select Shakespearian quotation. Subsequently, Toddle's script passed to another lantern-lecturer who, in c. 1870, made some modifications and additions to it in a discernibly different hand. This later lanternist's additions included two further Shakespearean sequences, from Hamlet and Richard III respectively. As had been the case for the original Macbeth section, both additional Shakespearian sequences were accompanied by some scripted narration and gobbets of appropriate quotation.

By Dylan Thomas (1914–1953) A comment by John Birtwhistle ‘Do Not Go Gentle into That Good Night’ is the title and refrain of a well known poem by Dylan Thomas.1...

BackgroundSleep is a strong predictor of quality of life and has been related to cognitive and behavioral functioning. However, research has shown that most autistic people experience sleep problems throughout their life. The most common sleep problems include sleep onset delay, frequent night-time wakings and shorter total sleep time. Despite the importance of sleep on many domains, it is still unclear from first-hand accounts what helps autistic people to sleep. The purpose of this study is to explore together with autistic adolescents their sleep-related practices before bedtime and during the day which contribute to a good night’s sleep.MethodsFifty-four autistic adolescents collaborated with an academic researcher in a novel adapted photo-elicitation methodology, rooted in a Lifeworld framework. The adolescents were invited to collect and analyze their data. The data were also presented in a community knowledge exchange event.ResultsSeveral self-reported practices that facilitate better nocturnal sleep were identified. Those were organized into two thematics: Evening/bedtime factors and Day time factors. These included practices such as personalized sensory and relaxation tools before bed and during night-time, engaging in a range of physical activities during daytime and accommodating personal time to engage with highly preferred and intense focus activities and hobbies. It also included spending time in predictable and fun ways with family members before bedtime.ConclusionThis is the first time that a study uses a novel methodological approach based on personal accounts elicited by photos rooted in a Lifeworld framework to describe personal sleep-related practices before bedtime and during the day to identify a “good night of sleep” in autistic adolescents. The outcomes from the current study showed that sleep facilitating factors are in a direct contrast to the sleep hygiene recommendations. Therefore, it is thus important for the sleep practitioners and healthcare providers to move beyond providing standardized sleep hygiene interventions. A Lifeworld led care model that pays attention to personal experiences, promotes sense of agency, evaluates both autism-specific strengths and struggles could and should complement biomedical approaches.Lay SummaryThis is the first study to examine autistic adolescents’ self-reported sleep habits and factors which facilitate autistic adolescents’ sleep by employing adapted photo-elicitation interviews. This study is innovative in at least three ways. First, it examines the factors that may facilitate a good night’s sleep through personal accounts of autistic adolescents. Second, this is the first sleep study to adopt a collaborative, flexible approach to understanding positive sleep factors in the lives of autistic adolescents. This study employed a personalized approach into collecting, categorizing, coding, and analyzing qualitative data allowing autistic adolescents and the researcher to work together across key stages of data collection and data analysis. Third, we adopted a theoretical framework that allows us to consider autistic adolescents in both agency and vulnerability positions when it comes to their sleep difficulties. Our results highlight that sleep should be treated individually and in relation to the environmental and personal factors that affect each autistic person. Hence, researchers and professionals may benefit from working collaboratively with autistic adolescents with the aim to identify individual strengths and adopt a positive narrative around sleep. Furthermore, it is important to further examine both the daytime and evening factors that may affect bedtime and the quality and quantity of sleep as well as the role of intense focused interests and physical activities that cultivate positive feelings and help autistic people to relax before bedtime.

Good Night, Sleep Tight is an interactive virtual reality performance created by theatre and digital arts company ZU-UK. It was previewed at Gerry’s Kitchen in July 2017. Combining VR and binaural technologies, participants are put to bed and transported to a dreamscape composed of childhood imagery and aerial cityscapes. This artistic position remixes the audience’s experience and the artistic processes of Good Night, Sleep Tight to proffer a critical engagement with the aesthetics of VR. Theories pertaining to VR and theatre are emerging but not yet fully established. The discourse between technologists and artists is key to understanding how VR is a new artistic medium requiring a language not solely redolent of gaming or theatre. The format of this article reflects ZU-UK’s contention that VR experiences are best designed as collaborations between artists and audiences who construct an imaginary world through interactive media. The seven scenes below concentrate on different aspects of the rehearsal process and the final performance from the perspectives of the ZU-UK directors, VR technologists, and participants. Interspersed throughout the article are fragments from the Good Night, Sleep Tight script and a description of the piece from the reader’s perspective, who acts as ZU-UK’s imaginary audience member.

Meisel, Paul. Good Night, Bat! : Good Morning, Squirrel! Highlights, 2016.Paul Meisel, Geisel Honor award winning author and illustrator, creates a humorous story about friendship and miscommunication. This fictional picture book follows homeless Bat on his journey to finding the perfect new home. Through whimsical mis-read notes the friendship between Bat and Squirrel blossoms.The literary content in this story is invaluable for young readers. Meisel demonstrates the complexities of the English language by playing with simple words and phrases while demanding that readers also read the images. This play on words offers a charming world in which young children can explore and expand upon their vocabulary.Complimenting this hilarious story are illustrations that demand the reader’s attention. At a first glance, the visuals appear gloomy due to the brown, green and grey tones. However, the expressions of Bat and Squirrel, along with the simple but easily misunderstood leaf note’s enable young readers to become enthralled in the world of Bat and Squirrel.Combining the two essential features of playing with language and reading illustrations, Good Night, Bat! Good Morning, Squirrel! is an essential read-aloud story for any early childhood classroom.Highly Recommended: 4 out of 4 starsReviewer: Leah Den HaanLeah Den Haan is a grade one French immersion teacher with Edmonton Public Schools. She has always enjoyed children’s literature and loves sharing her love of reading with her students on a daily basis.

The latest in a series of “‘Performance Interventions,’ A Good Night Out For The Girls combines theatre and media performance and offers analyses of both. Elaine Aston and Geraldine Harris have wri...

Acknowledgements Introduction: 'A Good Night Out For the Girls' Jam and Jerusalem/ Sentimentality and Feminism: Calendar Girls Roaring Women and Class Acts: The Naked Truth and the Chippendales' Ultimate Girls Night Out Age Liberation: Susan Boyle, 'Grumpy Old Women' and Virginia Ironside's Monologues Once More with Feeling: Joanna Murray-Smith's The Female of the Species and Nic Green's Trilogy Work, Family, Romance and the Utopian Sensibilities of the Chick Megamusical Mamma Mia! The Ghosts of New Burlesque Entertaining Others: Shappi Khorsandi and Andi Osho 'Are We There Yet?' - Final Reflections & Marisa Carnesky's Ghost Train Bibliography Index

Reviewed by: Thank You and Good Night by Patrick McDonnell Jeannette Hulick McDonnell, Patrick Thank You and Good Night; written and illus. by Patrick McDonnell. Little, 2015 32p ISBN 978-0-316-33801-1 $15.99 R* 4-6 yrs Little bunny Clement is excited when his friends, Jean (an elephant) and Alan Alexander (a bear), show up at his door one evening in their PJs, ready for a sleepover. Clement’s caretaker, a human girl named Maggie, serves a snack and lets them have their fun, including jumping on the bed, doing the chicken dance, and playing hide-and-seek. Yoga, a shooting star, and a night bird’s lullaby bring down the action a notch, and Maggie soon tucks them into bed—where it is revealed that the trio may actually be Maggie’s stuffed toys (and are most certainly an homage to classic children’s books). McDonnell’s storytelling is concise but detailed, and the book’s simplicity, gentle rhythms, and easy patterns make it perfect for bedtime reading. Names and textual references make a clear connection to time-honored tales Goodnight Moon, Winnie the Pooh, and The Story of Babar (Maggie reads them “their favorite bedtime stories—stories about a majestic elephant, a brave bear, and a quiet bunny”). Visual nods—Clement’s blue-and-white striped pajamas, Alan’s red balloon, etc.—cement the connection, and viewers who’ve spent time with those classics will be delighted to hunt for other hints in the pictures. McDonnell’s solid but energetic linework gives a certain verve to the trio’s activities, while the watercolors soften the background, creating a warm, joyful feeling that welcomes [End Page 261] audiences just as Clement welcomes his friends. The details keep the pictures fresh and original, but never overwhelm the quiet story. Youngsters who love their stuffed animals will particularly latch onto this, and parents who want to promote nocturnal tranquility (or those with their own fond memories of Pooh Bear) will appreciate this little gem as well. Copyright © 2015 The Board of Trustees of the University of Illinois