Pam Ayres MBE (born 14 March 1947) is an English poet, songwriter and presenter of radio and television.
Pam Ayres was born at Stanford in the Vale in the English county of Berkshire. After leaving Faringdon Secondary School at the age of 15, she joined the Civil Service as a clerical assistant. She soon left and signed up for the Women’s Royal Air Force, and it was there that she chose her career as an entertainer. She began reading her verses at the local folk club in Oxfordshire, and this led to an invitation to read on the local BBC radio station in 1974. Her reading was re-broadcast nationally, and then broadcast again as one of the BBC’s Pick of the Year.
In September 2006, a BBC website stated that Bob Dylan inspired Pam Ayres to write poetry, although in an interview (aired on Radio New Zealand’s Nine To Noon programme, 24 October 2006) Pam stated that the Lonnie Donegan records her brother played were her inspiration.
In 1975 Ayres appeared on the television talent show Opportunity Knocks. This led to a wide variety of guest appearances on TV and radio shows. Since then she has published six books of poems, toured in a one woman stage show, briefly hosted her own TV show and performed her stage show for the Queen.
Her poetry has a simple style and deals with everyday subject matter. Her poem I Wish I’d Looked After Me Teeth, was voted into the Top 10 of a BBC poll to find the Nation’s 100 Favourite Comic Poems. In the UK Arts Council’s report on poetry Ayres was identified as the fifth best-selling poet in Britain during 1998 and 1999. However, in 2000 her TV show was ranked at number 64 in Channel 4’s 100 Greatest Moments from TV Hell.
Ayres is married to theatre producer Dudley Russell, and they have two sons, William and James. They live in the Cotswolds, and keep some rare breeds of cattle, as well as some sheep, pigs, chickens, and guinea fowl. Pam is a keen gardener and beekeeper. She is a patron of the Battery Hen Welfare Trust.
In June 2004 she was awarded the MBE for services to literature and entertainment. Pam continues to actively perform her work, the humorous quality of which is enhanced by her idiosyncratic delivery and ‘country bumpkin’ accent. Starting in September 2006 to coincide with the release of her latest book and audio CD, Ayres gave dozens of performances in various locations in the United Kingdom and Australia, with additional dates scheduled for the UK and New Zealand in 2007.
From 1996, Ayres has appeared frequently on BBC Radio: from 1996 until 1999 Pam presented a two-hour music and chat show every Sunday afternoon on BBC Radio 2; this was followed by two series of Pam Ayres’ Open Road, in which Pam visited various parts of the United Kingdom, interviewing people with interesting stories to tell about their lives and local areas. More recently Pam has become a regular contributor to BBC Radio 4, appearing in programmes such as Just a Minute, Say The Word, That Reminds Me, and two series of her own show, Ayres On The Air, a radio show of her poetry and sketches.
In mid-2007, Ayres started work acting in a new radio sitcom, Potting On for BBC Radio 4, in which she co-stars with actor Geoffrey Whitehead. She wrote and recorded three series of her BBC Radio 4 programme Ayres On The Air, the latest of which was broadcast in the late summer of 2009.
Since 2002 Ayres has appeared a number of times on Channel Four in Countdown’s Dictionary Corner alongside Susie Dent. On Friday 16 January 2009 she made her first appearance on BBC TV programme QI.
John Aylmer (died 5 April 1672) was born in Hampshire, educated in Wykeham’s school near Winchester, and admitted as a perpetual fellow of the New College after two years of probation. In 1652, he took degrees in civil law, that of doctor being completed in 1663, being then and before accounted an excellent Grecian, and a good Greek and Latin poet, as appears by this book, which he composed when a young man: Musae sacrae seu Jonas, Jeremiae Threni, & Daniel Graeco redditi Carmine (Oxon. 1652. oct.), and also by diverse Greek and Latin verses, dispersed in various books. He died at Petersfield on Good-Friday, April 5, in 1672, and was buried in the church at Havant in Hampshire.
Robert Aylett (Aylet) (1583?-1655) was an English lawyer and religious poet (date of this entry can be funny but it is a coincidence). He was born in Rivenhall, Essex and was educated at Trinity Hall, Cambridge, graduating B.A. in 1605, M.A. in 1608, and LL.D in 1614. Living at Feering, he acted for the archdeacon of Colchester and as justice of the peace. He also acted in Essex as commissary for the Bishop of London, and judge of the Commissary Court; he played a large part in enforcing the Laudian reforms in the county. He became Master of the Faculties in 1642.
As a poet his work is related to George Herbert’s, but he borrowed quite heavily from Edmund Spenser. Susanna, or the Arraignment of the Two Unjust Elders’ was published in 1622. Joseph, or Pharaoh’s Favorite, Peace with her Four Gardens (1622) and Thrift’s Equipage (1622) are other earlier works.
Divine and Moral Speculations (1654) was dedicated to Henry Pierrepont, 1st Marquess of Dorchester and his wife. A Wife not readymade but bespoke, by Dicus the Batchelor, and made up for him by his fellow shepheard Tityrus; in four pastoral eclogues (1653) is a secular piece.
Alfred Austin (30 May 1835 – 2 June 1913) was an English poet, who was appointed Poet Laureate in 1896 upon the death of Tennyson.
Alfred Austin was born in Headingley, near Leeds, on 30 May 1835. His father, Joseph Austin, was a merchant in Leeds; his mother, a sister of Joseph Locke, M.P. for Honiton. Austin was educated at Stonyhurst College (Clitheroe, Lancashire), and University of London, from which he graduated in 1853.
He became a barrister in 1857 before leaving law to concentrate on literature.
Politically conservative, Austin edited National Review for several years, and wrote leading articles for The Standard.
On Tennyson’s death in 1892 it was felt that none of the then living poets, except Algernon Charles Swinburne or William Morris, who were outside consideration on other grounds, was of sufficient distinction to succeed to the laurel crown, and for several years no new poet-laureate was nominated. In the interval the claims of one writer and another were assessed, but eventually, in 1896, Austin was appointed to the post after Morris had declined the post.
Austin died of unknown causes in Ashford, Kent, England.
n 1861, after two false starts in poetry and fiction, he made his first noteworthy appearance as a writer with The Season: a Satire, which contained incisive lines, and was marked by some promise both in wit and observation. In 1870 he published a volume of criticism, The Poetry of the Period, which was conceived in the spirit of satire, and attacked Tennyson, Browning, Matthew Arnold and Swinburne in an unrestrained fashion. The book aroused some discussion at the time, but its judgments were extremely uncritical.
As poet-laureate, his topical verses did not escape negative criticism; a hasty poem written in praise of the Jameson Raid in 1896 being a notable instance. The most effective characteristic of Austin’s poetry, as of the best of his prose, was a genuine and intimate love of nature. His prose idylls, The Garden that I love and In Veronica’s Garden, are full of a pleasant, open-air flavour. His lyrical poems are wanting in spontaneity and individuality, but many of them possess a simple, orderly charm, as of an English country lane. He had, indeed, a true love of England, sometimes not without a suspicion of insularity, but always fresh and ingenuous. A drama by him, Flodden Field, was acted at His Majesty’s theatre in 1903.
Katherine Austen (1629-ca.1683) was a British diarist and poet best known for Book M, her manuscript collection of meditations, journal entries, and verse.
Austen was born in London, one of seven children, to Katherine Wilson (d. 1648) and her husband Robert (d. 1639), a draper. She married Thomas Austen (1622–1658), a barrister, in 1645. After his death at the age of 36, she entered into an involved legal battle with his family in order to retain his manor in Middlesex for her three children, Thomas, Robert, and Anne.
Her manuscript of 114 folios, Book M (BL, Add. MS 4454), was written over six or seven years during her period of mourning — her “Most saddest Yeares” (60r) — and includes material on her lawsuit, interpretations of dreams (her own and others), historical commentary, prayers, letters, financial materials, and 34 verse meditations in rhyming couplets.
She declined to remarry, citing her regard for her late husband and her fears for the financial interests of her children. The date of her death is unknown but her will was proved in 1683.
Wystan Hugh Auden (21 February 1907 – 29 September 1973) who signed his works W. H. Auden, was an Anglo-American poet, born in England, later an American citizen, regarded by many as one of the greatest writers of the 20th century. His work is noted for its stylistic and technical achievements, its engagement with moral and political issues, and its variety of tone, form and content. The central themes of his poetry are love, politics and citizenship, religion and morals, and the relationship between unique human beings and the anonymous, impersonal world of nature.
Auden grew up in Birmingham in a professional middle class family and read English literature at Christ Church, Oxford. His early poems, written in the late 1920s and early 1930s, alternated between telegraphic modern styles and fluent traditional ones, were written in an intense and dramatic tone, and established his reputation as a left-wing political poet and prophet. He became uncomfortable in this role in the later 1930s, and abandoned it after he moved to the United States in 1939, where he became an American citizen in 1946. His poems in the 1940s explored religious and ethical themes in a less dramatic manner than his earlier works, but still combined traditional forms and styles with new forms devised by Auden himself. In the 1950s and 1960s many of his poems focused on the ways in which words revealed and concealed emotions, and he took a particular interest in writing opera librettos, a form ideally suited to direct expression of strong feelings.
He was also a prolific writer of prose essays and reviews on literary, political, psychological and religious subjects, and he worked at various times on documentary films, poetic plays and other forms of performance. Throughout his career he was both controversial and influential. After his death, some of his poems, notably “Funeral Blues” (“Stop all the clocks”) and “September 1, 1939″, became widely known through films, broadcasts and popular media.
Auden published about four hundred poems, including seven long poems (two of them book-length). His poetry was encyclopedic in scope and method, ranging in style from obscure twentieth-century modernism to the lucid traditional forms such as ballads and limericks, from doggerel through haiku and villanelles to a “Christmas Oratorio” and a baroque eclogue in Anglo-Saxon meters. The tone and content of his poems ranged from pop-song clichés to complex philosophical meditations, from the corns on his toes to atoms and stars, from contemporary crises to the evolution of society.
He also wrote more than four hundred essays and reviews about literature, history, politics, music, religion, and many other subjects. He collaborated on plays with Christopher Isherwood and on opera libretti with Chester Kallman, worked with a group of artists and filmmakers on documentary films in the 1930s and with the New York Pro Musica early music group in the 1950s and 1960s. About collaboration he wrote in 1964: “collaboration has brought me greater erotic joy . . . than any sexual relations I have had.”
Auden controversially rewrote or discarded some of his most famous poems when he prepared his later collected editions. He wrote that he rejected poems that he found “boring” or “dishonest” in the sense that they expressed views that he had never held but had used only because he felt they would be rhetorically effective. His rejected poems include “Spain” and “September 1, 1939.” His literary executor, Edward Mendelson, argues in his introduction to Auden’s Selected Poems that Auden’s practice reflected his sense of the persuasive power of poetry and his reluctance to misuse it. (Selected Poems includes some poems that Auden rejected and early texts of poems that he revised.)
Auden’s stature in modern literature has been disputed, with opinions ranging from that of Hugh MacDiarmid, who called him “a complete wash-out”, to the obituarist in The Times (London), who wrote: “W. H. Auden, for long the enfant terrible of English poetry . . . emerges as its undisputed master.”
In his enfant terrible stage in the 1930s he was both praised and dismissed as a progressive and accessible voice, in contrast to the politically nostalgic and poetically obscure voice of T. S. Eliot. His departure for America in 1939 was hotly debated in Britain (once even in Parliament), with some critics treating it as a betrayal, and the role of influential young poet passed to Dylan Thomas, although defenders such as Geoffrey Grigson, in an introduction to a 1949 anthology of modern poetry, wrote that Auden “arches over all.” His stature was suggested by book titles such as Auden and After by Francis Scarfe (1942) and The Auden Generation by Samuel Hynes (1972).
In the US, starting in the late 1930s, the detached, ironic tone of Auden’s regular stanzas set the style for a whole generation of poets; John Ashbery recalled that in the 1940s Auden “was the modern poet.” His manner was so pervasive in American poetry that the ecstatic style of the Beat Generation was partly a reaction against his influence. In the 1950s and 1960s, some writers (notably Philip Larkin and Randall Jarrell) lamented that Auden’s work had declined from its earlier promise.
By the time of Auden’s death in 1973 he had attained the status of a respected elder statesman. The Encyclopaedia Britannica notes that “by the time of Eliot’s death in 1965 … a convincing case could be made for the assertion that Auden was indeed Eliot’s successor, as Eliot had inherited sole claim to supremacy when Yeats died in 1939.” With some exceptions, British critics tended to treat his early work as his best, while American critics tended to favor his middle and later work. Unlike other modern poets, his reputation did not decline after his death, and Joseph Brodsky wrote that his was “the greatest mind of the twentieth century.”
Auden’s popularity and familiarity suddenly increased after his “Funeral Blues” (“Stop all the clocks”) was read aloud in the film Four Weddings and a Funeral (1994); subsequently, a pamphlet edition of ten of his poems, Tell Me the Truth About Love, sold more than 275,000 copies. After September 11, 2001, his poem “September 1, 1939″ was widely circulated and frequently broadcast. Public readings and broadcast tributes in the UK and US in 2007 marked his centenary year.
The little that is known to us about Audelay’s life comes mainly from the manuscript MS. Douce 302 (now in the Bodleian Library). The manuscript also contains the text of all sixty-two of his surviving poems.
The dialect of Middle English used in MS. Douce 302 is local to Staffordshire, and it has been suggested that Audelay may therefore have come from the Staffordshire village of Audley. However, the earliest biographical record of Audelay places him in London in 1417, when he was part of the household of Lord Richard Lestrange, 7th Baron Strange of Knockin. Lestrange was made to do public penance for his involvement in a brawl at St Dunstan-in-the-East church on Easter Sunday in which a parishioner was killed, and was accompanied on his penance by Audelay, his chaplain. It has been suggested that the penitential character of Audelay’s poetry may have been influenced by his desire to atone for his involvement in Lestrange’s public shame: as the family’s chaplain he would have felt particular responsibility.
According to a date noted in MS. Douce 302, by 1426 Audelay was in effective retirement as a chantry priest at Haughmond Abbey. In lines repeated several times throughout the manuscript, Audelay states that he was by that time very old, infirm, deaf, and blind.
Attila the Stockbroker (born John Baine, 21 October 1957 in Southwick, West Sussex, England) is a punk poet, and a folk punk musician and songwriter. He performs solo and as the leader of the band Barnstormer. He describes himself as a “sharp tongued, high energy social surrealist poet and songwriter.” He has performed over 2500 concerts, published five books of poems, and released 29 recordings (CDs,LPs and singles). His latest book of poems, ‘My Poetic Licence’ was published in May 2008.
Baine started performing in 1980 after being inspired by the spirit and do it yourself ethos of the punk subculture, particularly The Clash’s overtly socialist stance. At first he performed poems and songs in between bands at punk rock concerts, accompanying himself on the phased electric mandolin. After this was smashed over his head by fascists during a fight at a performance in North London in May 1982, he got a mandola (a fifth lower) and has played this ever since. He has performed in 19 countries, playing venues ranging from the Oxford Union in England to squatted punk clubs in Germany, and has performed over 100 shows every year. He toured East Germany four times before the Berlin Wall came down, and once did an illegal performance in a hotel basement in Stalinist Albania.
In the 1980s, he was often the support act for punk bands, including The Jam, The Alarm, Newtown Neurotics, New Model Army and performed extensively with fellow punk-inspired ranting poets Swift Nick, Kool Knotes, Phill Jupitus and Seething Wells. Manic Street Preachers once supported him at a performance at Swansea University. In the 1990s, he toured with John Otway as Headbutts and Halibuts, and together they wrote a surreal rock opera called Cheryl. It was an everyday tale of Satanism, trainspotting, drug abuse and unrequited love. He has performed at every Glastonbury Festival since 1982, and continues to write topical, satirical material on all kinds of subjects.
Notable works from his 1980s heyday include the biting poem Contributory Negligence; various Russians-themed poems, satirizing the alleged Cold War Russian threat in the context of Margaret Thatcher’s Britain (such as “Russians in the DHSS” and “Russians in McDonald’s”); and the surreal Nigel series, such as Nigel wants to go to C&A (with the lines “…but I don’t understand why / ‘cos they don’t sell nerve gas in C&A / not even to SDP members in cashmere sweaters”). He recently wrote the poem “Asylum Seeking Daleks”, which satirises the right wing press’s attitudes to immigration, and the song “Hey Celebrity”, which rejects the need for the concept of celebrity.
Attila the Stockbroker formed the band Barnstormer in 1994. Their music combines punk rock and medieval music. The band released its debut album The Siege of Shoreham in 1996. They perform regularly all over Europe. The band features Attila the Stockbroker on vocals, violin, crumhorn and recorders; Dan Woods on guitar (also a member of The Fish Brothers); M. M. McGhee on drums (also a member of The Fish Brothers); and Dave Beaken on bass (also a member of The Fish Brothers).
Francis Atterbury (March 6, 1663 – February 22, 1732), was an English man of letters, politician and bishop.
He was born at Milton Keynes in Buckinghamshire, where his father was rector. He was educated at Westminster School and Christ Church, Oxford, where he became a tutor. In 1682, he published a translation of Absalom and Achitophel into Latin verse with neither the style nor the versification typical of the Augustan age. In English composition he met greater success; in 1687 he published An Answer to some Considerations, the Spirit of Martin Luther and the Original of the Reformation, a reply to Obadiah Walker, who, when elected master of University College, Oxford in 1676, had printed in a press set up by him there an attack on the Reformation written by Abraham Woodhead. Atterbury’s treatise, though highly praised by Bishop Gilbert Burnet, was more distinguished for the vigour of his rhetoric than the soundness of his arguments, and the Papists accused him of treason, and of having, by implication, called King James “Judas”.
After the “Glorious Revolution”, Atterbury readily swore fealty to the new government. He had taken holy orders in 1687, preached occasionally in London with an eloquence which raised his reputation, and was soon appointed one of the royal chaplains. He ordinarily lived at Oxford, where he was the chief adviser and assistant of Henry Aldrich, under whom Christ Church was a stronghold of Toryism. He inspired a pupil, Charles Boyle, in the Examination of Dr. Bentley’s Dissertations on the Epistles of Phalaris, an attack (1698) on the Whig scholar Richard Bentley, arising out of Bentley’s impugnment of the genuineness of the Epistles of Phalaris. He was figured Swift in the Battle of the Books as the Apollo who directed the fight, and was, no doubt, largely the author of Boyle’s essay. Bentley spent two years in preparing his famous reply, which owned not only that the letters ascribed to Phalaris were spurious, but that all Atterbury’s wit and eloquence were a cloak for an audacious pretence at scholarship.
Atterbury was soon occupied in a dispute about matters still more important and exciting. High Church and Low Church divided the nation. The majority of the clergy were on the High Church side; the majority of King William’s bishops were inclined to latitudinarianism. In 1700 the Convocation, of which the lower house was overwhelmingly Tory, met after a gap of ten years. Atterbury threw himself with characteristic energy into the controversy, publishing a series of treatises. Many regarded him as the most intrepid champion that had ever defended the rights of the clergy against the oligarchy of Erastian prelates. In 1701 he was awarded with the archdeaconry of Totnes and a prebend in Exeter Cathedral. The lower house of Convocation voted him thanks for his services; the University of Oxford created him a rector of divinity; and in 1704, soon after the accession of Queen Anne, he was promoted to the deanery of Carlisle Cathedral (although the Tories still had the chief weight in the government).
In 1710, the prosecution of Henry Sacheverell produced a formidable explosion of High Church fanaticism. At such a moment Atterbury could not fail to be conspicuous. His inordinate zeal for the body to which he belonged and his rare talents for agitation and for controversy were again displayed. He took a chief part in framing that artful and eloquent speech which Sacheverell made at the bar of the Lords, and which presents a singular contrast to the absurd and scurrilous sermon which had very unwisely been honoured with impeachment. During the troubled and anxious months which followed the trial, Atterbury was among the most active of those pamphleteers who inflamed the nation against the Whig ministry and the Whig parliament. When the ministry changed and the parliament was dissolved, rewards were showered upon him. The lower house of Convocation elected him prolocutor, in which capacity he drew up, in 1711, the often-cited Representation of the State of Religion; and in August 1711, the queen, who had selected him as her chief adviser in ecclesiastical matters, appointed him dean of Christ Church on the death of his old friend and patron Aldrich.
At Oxford he was as conspicuous a failure as he had been at Carlisle, and it was said by his enemies that he was made a bishop because he was so bad a dean. Under his administration, Christ Church was in confusion, scandalous altercations took place, and there was reason to fear that the great Tory college would be ruined by the tyranny of the great Tory doctor. In 1713 he was removed to the bishopric of Rochester, which was then always united with the deanery of Westminster. Still higher dignities seemed to be before him, for though there were many able men on the episcopal bench, there was none who equalled or approached him in parliamentary talents. Had his party continued in power it is not improbable that he would have been raised to the archbishopric of Canterbury. The more splendid his prospects the more reason he had to dread the accession of a family which was well known to be partial to the Whigs, and there is every reason to believe that he was one of those politicians who hoped that they might be able, during the life of Anne, to prepare matters in such a way that at her death there might be little difficulty in setting aside the Act of Settlement and placing James Francis Edward Stuart on the throne.
Her sudden death confounded the projects of these conspirators, and, whatever Atterbury’s previous views may have been, he acquiesced in what he could not prevent, took the oaths to the House of Hanover, and did his best to ingratiate himself with the royal family. But his servility was requited with cold contempt; he became the most factious and pertinacious of all the opponents of the government. In the House of Lords his oratory, of old, pointed, lively and set off with every grace of pronunciation and of gesture, extorted the attention and admiration even of a hostile majority. Some of the most remarkable protests which appear in the journals of the peers were drawn up by him; and, some of the bitterest of those pamphlets which called on the English to stand up for their country against the aliens who had come from beyond the seas to oppress and plunder her, critics have detected his style. When the rebellion of 1715 broke out, he refused to sign the paper in which the bishops of the province of Canterbury declared their attachment to the Protestant accession, and in 1717, after having been long in indirect communication with the exiled family, he began to correspond directly with James Francis Edward Stuart.
In 1721, on the discovery of the plot for the capture of the royal family and the proclamation of King James, Atterbury was arrested with the other chief malcontents, and in 1722 committed to the Tower of London, where he remained in close confinement during some months. He had carried on his correspondence with the exiled family so cautiously that the circumstantial proofs of his guilt, though sufficient to produce entire moral conviction, were not sufficient to justify legal conviction. He could be reached only by a bill of pains and penalties. Such a bill was quite prepared to support, and in due course a bill passed the Commons depriving him of his spiritual dignities, banishing him for life, and forbidding any British subject to hold intercourse with him except by the royal permission. In the Lords the contest was sharp, but the bill finally passed by eighty-three votes to forty-three.
Atterbury took leave of those whom he loved with a dignity and tenderness worthy of a better man, to the last protesting his innocence with a singular disingenuousness. After a short stay at Brussels he went to Paris, and became the leading man among the Jacobite refugees there. He was invited to Rome by the Pretender, but Atterbury felt that a bishop of the Church of England would be out of place in Rome, and declined the invitation. During some months, however, he seemed to be high in the good graces of James. The correspondence between the master and the servant was constant. Atterbury’s merits were warmly acknowledged, his advice was respectfully received, and he was, as Bolingbroke had been before him, the prime minister of a king without a kingdom. He soon, however, perceived that his counsels were disregarded, if not distrusted. His proud spirit was deeply wounded. In 1728 he left Paris, occupied his residence at Montpellier, gave up politics, and devoted himself entirely to letters. In the sixth year of his exile he had so severe an illness that his daughter, Mrs Morice, herself very ill, determined to run all risks that she might see him once more. She met him at Toulouse, received the communion from his man, and died that night.
Atterbury survived the severe shock of his daughter’s death for years. He even returned to Paris and to the service of the Pretender, who had found out that he had not acted wisely in parting with one who, though a heretic, was the most able man in the Jacobite party. In the ninth year of his banishment he published a luminous, temperate and dignified vindication of himself against John Oldmixon, who had accused him of having, in concert with other Christ Church men, garbled the new edition of Clarendon’s History of the Rebellion. The charge, as respected Atterbury, had not the slightest foundation; for he was not one of the editors of the History, and never saw it until it was printed. A copy of this little work he sent to the Pretender, with a letter singularly eloquent and graceful. It was impossible, the old man said, that he should write anything on such a subject without being reminded of the resemblance between his own fate and that of Clarendon. They were the only two English subjects who had ever been banished from their country and debarred from all communication with their friends by act of parliament. But here the resemblance ended. One of the exiles had been so happy as to bear a chief part in the restoration of the royal house. All that the other could now do was to die asserting the rights of that house to the last. A few weeks after this letter was written Atterbury died, on 22 February 1732. His body was brought to England, and laid in Westminster Abbey. In his papers now kept at the Library of Westminster, he desired to be buried “as far from kings and politicians as may be.” Thus he is buried next to this century’s tourist information booth kiosk. The black slab is simple, indicating his name, birth and death dates. Due to tourist traffic, the inscription is now considerably worn.
It is agreeable to turn from Atterbury’s public to his private life. His turbulent spirit, wearied with faction and treason, now and then required repose, and found it in domestic endearments, and in the society of the most illustrious literary men of his age. Of his wife, Katherine Osborn, whom he married while at Oxford, little is known; but between him and his daughter there was an affection singularly close and tender. The gentleness of his manners when he was in the company of a few friends as such as seemed hardly credible to those who knew him from only his writings and speeches. Though Atterbury’s classical attainments were not great, his taste in English literature was excellent; and his admiration of genius was so strong that it overpowered even his political and religious antipathies. His fondness for Milton, the mortal enemy of the Stuarts and of the Church, was such as to many Tories seemed a crime; and he was the close friend of Addison. His favourite companions, however, were, as might have been expected, men whose politics had at least a tinge of Toryism. He lived on friendly terms with Jonathan Swift, John Arbuthnot and John Gay. With Matthew Prior he had a close intimacy. Alexander Pope found in Atterbury not only a warm admirer, but a most faithful, fearless and judicious adviser, as well as an editor as requested.
Lawrence Atkinson (17 January 1873 in Manchester, England – 21 September 1931 in Paris, France) was an English artist, musician and poet. He began by moving to Paris and studying musical composition, but moved back to London and began to paint, apparently painting mainly landscapes in a style influenced by Matisse and the Fauves (almost all of these works are lost). However his style changed radically when he was introduced to the work of Wyndham Lewis and the vorticists. He also wrote poetry, in a Modernist style.
