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Picture From Chapter 53 December 21, 2011

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The harbor in Porto where Obadiah parted from Maria
It probably looked somewhat similar during Obadiah’s time as it does in this modern photo

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More Pictures From “Let This Heart Be Still” December 7, 2011

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Bottom, from left to right:
Kelly, Lady Farthingdale, Obadiah Hakeswill
Top, from left to right:
French deserter, Maria Sanchez

Obadiah Hakeswill and Pot au Feu

Obadiah Hakeswill, captured by the French

An Old Church and a New Home August 10, 2011

Posted by Me in Images, Let This Heart be Still.
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Below, are pictures of the parish church in Maltby, where Obadiah lived as a child and where he took his revenge on the old vicar.  Also included will be photos of  the new home, Throckmorton Cottage, that Catherine Perkins now shares with the Hakeswill family.  The house is the same one from the movie, Sense and Sensibility.

Maltby parish church

Throckmorton Cottage

Another view of the cottage

Banner for “Let This Heart Be Still” August 1, 2011

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Following is a banner made for “Let This Heart Be Still”.  Thanks to Esther for making it for me.

https://i2.wp.com/img820.imageshack.us/img820/4248/letthisheartbestill1.jpg

A New Home May 11, 2011

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Following below are some photos of the Hakeswills’ new home.  Be advised that the photos show a home in need of repairs, so imagine it as it must have looked in the early 19th century.

This would have been the Hakeswills’ first view of their new  home

Imagine how this house must have looked in the early 19th century

Of course, there were no other houses nearby when the Hakeswills move in

Illustrations from “Let This Heart Be Still” April 20, 2011

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Obadiah entering the stable

This is actually from Sharpe’s Company and though Obadiah is several years older in this photo than when my story begins, the photo is fuzzy enough that you can’t easily see the difference in age.

Anna Hakeswill

I’ve had a bit of trouble finding just the right Anna, and though this photo isn’t exactly what I had it mind, it’s the closest I’ve found so far.

Mary Stokes

I was browsing through a group of 18th century portraits and the moment I saw this one, I immediately “recognized” her as Mrs Stokes.  She looks exactly how I pictured her in my mind.

India, 1805

A map of India from around the time that Obadiah and Anna were there.   Seringapatam is in southern India, in the area labeled Mysore.

Pete Postlethwaite Photo Memorial February 5, 2011

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Since Pete Postlethwaite’s untimely death last month, I’ve been gathering photos on the web to do a photo memorial entry here.  Below are my favorites of the photos I’ve gathered.

Pete, some time in the 70s

 

Pete with Julie Walters, 1977

Pete in the early 1990s

Pete with Daniel Day-Lewis in "In the Name of the Father"

Pete as Obadiah Hakeswill in Sharpe's Enemy

Pete in undated photo

Pete with Ewan McGregor in Brassed Off

Pete in James and the Giant Peach

Pete as Roland Tembo in Jurassic Park: The Lost World

Pete as William Holabird in Amistad

My favorite photo of Pete as himself

Pete with his daughter, 2004

Pete with his son and Richard Attenborough, around 2007

Charlotte’s and Mary’s Summer Clothes June 21, 2010

Posted by Me in All For Love, Images, The Patriot.
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Shortgown with petticoat
(This one has a stomacher in the middle, which is an optional feature)

Robe a l’anglaise

As you can see, the above outfit would be somewhat cooler to wear in the summertime.

Tavington’s Theme Song, Illustrated April 8, 2010

Posted by Me in Images, The Patriot, William Tavington.
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There are several songs that remind me of William Tavington at various stages in the movie.  Paul McCartney’s Live and Let Die is one because of the lyrics and passages of frenetic chaotic music between the verses that make me visualize an ongoing battle.  This song symbolizes to me how Tavington became the man he was in the movie and of his early dealings with Ben Martin.

Another song is the Doors’, Light My Fire, because the lyrics remind me of the church burning scene.

I’ve previously posted an entry with photographs of Tavington that correspond to these two songs.

But the song I most strongly associate with him is the Rolling Stones’, Paint It Black, which I associate with the battle at Cowpens and the end of his life.  It symbolizes the insecure Tavington, the man who always sought, but could never attain Cornwallis’ approval.

The opening riff of this song reminds me of the beginning of the battle, when waves of dragoons come charging over the hill into battle.  The heavy driving beat signifies the intensity of the battle, with the frenetic, chaotic music between the verses reminding  me of the pitched battle, and the guitar part near the end when they’re  humming the melody reminds me exactly of the sound of swinging sabres.  And the song’s driving rhythm brings to mind the sensation of moving quickly on horseback.

What follows are pictures that correspond to snippets of lyrics, with the complete lyrics at the end.

Also included at the end is a link where you can listen to this song to see if you can visualize what I do when I hear the song.

Waiting to chargeThis picture of the dragoons waiting to charge reminds
me of the song’s opening guitar notes

And when the drums and heavy bass kick in
I am reminded of the charging dragoons

I see a red door and I want it painted black
No colors anymore I want them to turn black

I see the girls walk by dressed in their summer clothes

I have to turn my head until my darkness goes

I see a line of cars (carriages?)and they’re all painted black
With flowers and my love both never to come back

I see people turn their heads and quickly look (run!)away
Like a newborn baby it just happens ev’ry day

I look inside myself and see my heart is black
I see my red door, I must have it painted black

Maybe then I’ll fade away and not have to face the facts
It’s not easy facin’ up when your whole world is black

No more will my green sea go turn a deeper blue

I could not foresee this thing happening to you

If I look hard enough into the settin’ sun
My love will laugh with me before the mornin’ comes

I want to see it painted, painted black
Black as night, black as coal
I want to see the sun blotted out from the sky
I want to see it painted, painted, painted, painted black
Yeah!

This photo corresponds to the frenetic, chaotic instrumental parts
between the verses where they’re humming and at the end where
the guitar part sounds like swinging sabres.


Paint It Black

(Rolling Stones, 1966)

I see a red door and I want it painted black
No colors anymore I want them to turn black

I see the girls walk by dressed in their summer clothes

I have to turn my head until my darkness goes

I see a line of cars and they’re all painted black
With flowers and my love both never to come back

I see people turn their heads and quickly look away

Like a new born baby it just happens ev’ry day

I look inside myself and see my heart is black
I see my red door I must have it painted black

Maybe then I’ll fade away and not have to face the facts

It’s not easy facin’ up when your whole world is black

No more will my green sea go turn a deeper blue
I could not foresee this thing happening to you

If I look hard enough into the settin’ sun
My love will laugh with me before the mornin’ comes

I see a red door and I want it painted black
No colors anymore I want them to turn black

I see the girls walk by dressed in their summer clothes

I have to turn my head until my darkness goes

Hmm, hmm, hmm,…

I wanna see it painted, painted black
Black as night, black as coal

I wanna see the sun blotted out from the sky

I wanna see it painted, painted, painted, painted black

Yeah!

Listen to Paint It Black here:

http://www.last.fm/music/The+Rolling+Stones/_/Paint+It+Black

More Clothing Notes February 22, 2010

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In Chapter 11, I mention several articles of common 18th century clothing that modern readers may be unfamiliar with.

First of all are stays and jumps.   Stays are the 18th century version of the corset.  Stays were not as tightly laced as 19th century corsets and they gave the body a conical shape, rather than the 19th century wasp-wasted silhouette and, I suspect, were somewhat more comfortable and supportive of the back than their 19th century descendants.   Jumps were similar to stays, but were more lightly boned, thus more comfortable, intended for casual wear.

18th century stays

18th century riding habits were intended to be more comfortable for women riding horseback, while also preserving their modesty.

18th Century riding habit

In this chapter, the farm woman, Mattie Draper is wearing a shortgown and petticoat combo.  Shortgowns were semi-fitted or unfitted long jackets worn with petticoats.  They could be very basic or could be dressed up a bit.

Front and back view of
shortgown and petticoat combo
This outfit actually looks comfortable