Ali Lauderdale

My ancestor, Sir Richard Maitland, Lord Lethington (1496–1586), was a notable lawyer and served the Crown well, but he also contributed to literature and his work is both clever and invaluable.
It can be read in the original language, which is known as Middle Scots. You can even kind of understand the basic idea, especially if you read it out loud. When he wrote his poetry, he was actually blind and had his daughter transcribe his words. Because this was the 1500s, there are even still some letters used that we have since replaced with other letters.
But when I found his collection of poems, as beautiful as they are in Middle Scots, I badly wanted them to be easier for the modern reader. This led me on a long, convoluted linguistic journey. After a TON of research and consulting various dictionaries, learning all sorts of colloquialisms, and even some sewing techniques, I finished one entire poem! I created a literal translation and then tweaked it into more modern English. I strove to maintain the jaunty rhyming scheme and then made note of all the new words I learned.

One of the most distinguishing qualities of the Phantom of the Opera, in addition to the famous mask, is his voice. Traditionally, the Phantom is played by a tenor with a haunting, soaring voice that both enchants and unsettles. But do you ever wonder why? Why a tenor instead than a baritone or bass? I believe it boils down to an intriguing, almost subconscious relationship we have with higher-pitched male voices and something disturbing, even sinister.

In the late 18th and early 19th centuries, the British government established a punitive transportation system that sent thousands of condemned offenders from England to penal colonies in Australia. This practice, which attempted to relieve overcrowding in jails and create British colonies, had a significant influence on both those transported and those who remained behind. Among the emotional relics of this period are "Forget-Me-Not" tokens, which are miniature, handmade souvenirs made by inmates for their loved ones left behind in England. These gifts are strong symbols of remembrance, love, and hope in the midst of misery from forced exile.

Once again, when engrossed in the captivating book "The Da Vinci Code," I have been compelled to dig further into a fascinating paragraph on etymology. The term "heretic" has a significant and often negative connotation, stemming from long-standing theological conflicts and intellectual disputes spanning many centuries. The transformation of this phrase from a preferred option to a form of criticism mirrors wider shifts in society and the intricate dynamics between power, conviction, and disagreement. In order to fully understand the current meaning of "heretic," it is necessary to probe into its etymological roots, historical backdrop, and the changing perspectives on religious and intellectual opposition.

Language is a dynamic and developing thing, and the words we use often include historical information that provides insights into previous communities and cultures. I have been interested in etymology for years, and I came across a simple paragraph in that elusive book, The Da Vinci Code by Dan Brown, and was forced to further explore its intriguing implications.

The terms "pagan" and "villain" have seen substantial semantic shifts from their initial definitions to the implications they now carry. Their transitions from Latin origins to contemporary use exemplify changes in society's views, religious outlooks, and social frameworks.

Marilyn Manson, the enigmatic embodiment of terror and goth rock, emerges from the shadows with his bone-chilling album “Heaven Upside Down,” conjuring a mature reinterpretation of his macabre melodies. In this refreshing release, Manson mysteriously melds blues influences with his infamous gothic style, delivering a collection of tracks that are both disturbing and pulse-quickening.
One track that demands special recognition is “Threats of Romance.” From the very moment when the mesmerizing mel...