I've nicked this from the web as a way of getting to grips with Lord Cut Glass.
"There was a rough stone age and a smooth stone age and a bronze age, and many years afterward a cut-glass age. In the cut-glass age, when young ladies had persuaded young men with long, curly moustaches to marry them, they sat down several months afterwards and wrote thank-you notes for all sorts of cut-glass presents-punch-bowls, finger-bowls, dinner-glasses, wine-glasses, ice-cream dishes, bonbon dishes, decanters, and cases-for, though cut glass was nothing new in the nineties, it was then especially busy reflecting the dazzling light of fashion from the Back Bay to the fastnesses of the Middle West."
: : -F. Scott Fitzgerald, The Cut-Glass Bowl, from Flappers and Philosophers, 1920."
: Although I suspect the expression has more to do with the phrase "cut-glass accent"; the image being of someone who was brought up by governesses to speak "properly", with an accent as clear and precise as cut glass, and not to mumble and drop initial H's and terminal G's as the hoi polloi do. (VSD): : : I'd like to know the meaning of the expression 'cut-glass'.
: : : I researched and the only definition who keeps coming up it's certainly not the one I need, which is "Glass shaped or decorated by cutting instruments or abrasive wheels". : : : I read it in a book, and I think it's something closer to refined, classy. I'd really appreciate if you could help me clear this up.
: : Perhaps the following quote may help.
: : "There was a rough stone age and a smooth stone age and a bronze age, and many years afterward a cut-glass age. In the cut-glass age, when young ladies had persuaded young men with long, curly moustaches to marry them, they sat down several months afterwards and wrote thank-you notes for all sorts of cut-glass presents-punch-bowls, finger-bowls, dinner-glasses, wine-glasses, ice-cream dishes, bonbon dishes, decanters, and cases-for, though cut glass was nothing new in the nineties, it was then especially busy reflecting the dazzling light of fashion from the Back Bay to the fastnesses of the Middle West."
: : -F. Scott Fitzgerald, The Cut-Glass Bowl, from Flappers and Philosophers, 1920."
: Although I suspect the expression has more to do with the phrase "cut-glass accent"; the image being of someone who was brought up by governesses to speak "properly", with an accent as clear and precise as cut glass, and not to mumble and drop initial H's and terminal G's as the hoi polloi do. (VSD)
Many things that look like they are made of cut glass often turn out to be pressed glass where the hot glass is pressed into a mold which has the shape of cut glass thus removing the labor-intensive process of cutting and grinding each piece. Molded imitation cut glass is cheaper than the "real deal" and can be usually be distinguished from real cut glass by the lines where the two halves of the mold were joined together. In addition to the mold lines, pressed glass has less definition and detail as the mold will not impress such sharp lines and tiny cuts as may be made by hand.
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‘It is one of the tendencies of the lyric to be concerned with temporality in both its formal arrangement and its subject matter. This is often illustrated in the thematic concerns of death and immortality frequently of forces discovered in Thomas’s poetry, but no less so in under milk wood. The dramatic temporality in Under Milk Wood is cyclical, rather than linear, reflecting mythic rather than historical time. From the first voice’s opening monologue in which he tells us “Time passes. Listen. Time passes” (also repeated later in the work), our attention is drawn to temporality and to Llareggub’s own consciousness of it. As a timeless place, the is simultaneously subject to time, Milk Wood is to Marianne Sailors “the garden of Eden” in which she counts the days. Lord Cut-Glass, “in his kitchen full of time,” attempts to hold at bay the temporality that may be associated with the external world by confusing his “enemy” which may be mortality or Time itself , for he owns sixty six clocks all set at different hours. Lord Cut-Glass thwarts time by multiplication rather than reduction, a strategy analogous to Thomas’s polysemy. More public time keepers like lord Cut Glass’s clocks,are also freely manipulable to the rearrangement of temporal laws, such as the clock in the sailors arms that say “half past eleven. Half past eleven is opening time. The hands of the clochk have stayed at half past eleven for the last fifty years. It is always opening time in the sailor’s arms.” The town itself even outwits a natural marker of time, for it is up and moving ahead of the cock’s crow, which is “Too late…too late,” Captain cat notes. Llarregub is a town that, through outright temporal defiance, embraces eternity in any form it can. Images of spring and birth are intertwined with images of death: “Noah’s Ark” clocks and grim reaper clocks, babies and old men, the voices of the living and the dead, all coexist. Marianne Sailors Eden is Lord Cut Glass’s Armageddon, yet even he with all his clocks, cannot keep out the opposing impulse that accompanies the rebirth of spring: “The lust and lilt and lather and emerald breeze and crackle of the bird-praise and the body of Spring with it’s breasts full of rivering May milk, means, to that lordly fish head nibbler, nothing but another nearness to the tribes and the navies of The Last Black Day who’ll sear and pillage down Armageddon hill to his double locked rusty-shuttered tick-tock dust-scrabbled shack at the bottom of the town that has fallen head over bells in love” (22-3
: : -F. Scott Fitzgerald, The Cut-Glass Bowl, from Flappers and Philosophers, 1920."
: Although I suspect the expression has more to do with the phrase "cut-glass accent"; the image being of someone who was brought up by governesses to speak "properly", with an accent as clear and precise as cut glass, and not to mumble and drop initial H's and terminal G's as the hoi polloi do. (VSD): : : I'd like to know the meaning of the expression 'cut-glass'.
: : : I researched and the only definition who keeps coming up it's certainly not the one I need, which is "Glass shaped or decorated by cutting instruments or abrasive wheels". : : : I read it in a book, and I think it's something closer to refined, classy. I'd really appreciate if you could help me clear this up.
: : Perhaps the following quote may help.
: : "There was a rough stone age and a smooth stone age and a bronze age, and many years afterward a cut-glass age. In the cut-glass age, when young ladies had persuaded young men with long, curly moustaches to marry them, they sat down several months afterwards and wrote thank-you notes for all sorts of cut-glass presents-punch-bowls, finger-bowls, dinner-glasses, wine-glasses, ice-cream dishes, bonbon dishes, decanters, and cases-for, though cut glass was nothing new in the nineties, it was then especially busy reflecting the dazzling light of fashion from the Back Bay to the fastnesses of the Middle West."
: : -F. Scott Fitzgerald, The Cut-Glass Bowl, from Flappers and Philosophers, 1920."
: Although I suspect the expression has more to do with the phrase "cut-glass accent"; the image being of someone who was brought up by governesses to speak "properly", with an accent as clear and precise as cut glass, and not to mumble and drop initial H's and terminal G's as the hoi polloi do. (VSD)
Many things that look like they are made of cut glass often turn out to be pressed glass where the hot glass is pressed into a mold which has the shape of cut glass thus removing the labor-intensive process of cutting and grinding each piece. Molded imitation cut glass is cheaper than the "real deal" and can be usually be distinguished from real cut glass by the lines where the two halves of the mold were joined together. In addition to the mold lines, pressed glass has less definition and detail as the mold will not impress such sharp lines and tiny cuts as may be made by hand.
----------------------------------------
‘It is one of the tendencies of the lyric to be concerned with temporality in both its formal arrangement and its subject matter. This is often illustrated in the thematic concerns of death and immortality frequently of forces discovered in Thomas’s poetry, but no less so in under milk wood. The dramatic temporality in Under Milk Wood is cyclical, rather than linear, reflecting mythic rather than historical time. From the first voice’s opening monologue in which he tells us “Time passes. Listen. Time passes” (also repeated later in the work), our attention is drawn to temporality and to Llareggub’s own consciousness of it. As a timeless place, the is simultaneously subject to time, Milk Wood is to Marianne Sailors “the garden of Eden” in which she counts the days. Lord Cut-Glass, “in his kitchen full of time,” attempts to hold at bay the temporality that may be associated with the external world by confusing his “enemy” which may be mortality or Time itself , for he owns sixty six clocks all set at different hours. Lord Cut-Glass thwarts time by multiplication rather than reduction, a strategy analogous to Thomas’s polysemy. More public time keepers like lord Cut Glass’s clocks,are also freely manipulable to the rearrangement of temporal laws, such as the clock in the sailors arms that say “half past eleven. Half past eleven is opening time. The hands of the clochk have stayed at half past eleven for the last fifty years. It is always opening time in the sailor’s arms.” The town itself even outwits a natural marker of time, for it is up and moving ahead of the cock’s crow, which is “Too late…too late,” Captain cat notes. Llarregub is a town that, through outright temporal defiance, embraces eternity in any form it can. Images of spring and birth are intertwined with images of death: “Noah’s Ark” clocks and grim reaper clocks, babies and old men, the voices of the living and the dead, all coexist. Marianne Sailors Eden is Lord Cut Glass’s Armageddon, yet even he with all his clocks, cannot keep out the opposing impulse that accompanies the rebirth of spring: “The lust and lilt and lather and emerald breeze and crackle of the bird-praise and the body of Spring with it’s breasts full of rivering May milk, means, to that lordly fish head nibbler, nothing but another nearness to the tribes and the navies of The Last Black Day who’ll sear and pillage down Armageddon hill to his double locked rusty-shuttered tick-tock dust-scrabbled shack at the bottom of the town that has fallen head over bells in love” (22-3
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