scarequotes indicates source/keyterm?

why no caps in the name.......is this part of her "personal brand" as micro-celebrity?

This thesis still hasn't QUITE come together--I think you need another term like "ordinary man" or "human being": to capture the way you see Byron's poetry as personal without being ABOUT the celebrity aspect of his persona...

Hmmm--why not the other way around? In other words, if he was truly indifferent to celebrity, then the rockstar trappings wouldn't affect his "real" (poetic) self. the name that future generations would see on the title page of the books that outlived him...

This claim, I think, depends on a selective reading of the sources. (And that's OK, given my assignment...) Looking into "The Corsair" or "Lara" would force you to complicate this assertion.

I think a careful look at the latter sections of Marchand's essay would persuade you to rethink this claim...

Right--but, this is a double-edged sword: imagine if Shakespeare had said this...."I don't care about fame / I will transcend ordinary fame"

This is lofty writing! There's nothing wrong with being lofty--but it works best when linked to something concrete: eg, a piece of evidence that B. felt this way; a reason why YOU need to say that B felt this way....

"Fragment" would avoid potential ambiguity

yes--but note that this was "in the wake of" (as a consequence of) the publication of CHP!

Yes! And "The Corsair," "Lara", and other poems featured Byronic protagonists who were themselves mysterious...

Hmmm--was he "secretive" about anything in particular? How does this relate to his frank/blatant side? (I agree with your overall take; would it be clearer to say that he was blatant about having mystery? "The Corsair" and "Lara" both have protagonists with secrets..)

one remaining problem with this thesis: is B's "nature" connected to his celebrity, his poetic achievement, or both?

why "absurd"?

again, this is a place where stepping forward with "I" could help you out stylistically...

? You need more context here for your reader (the "daughter" reference should come before the q., to clarify)--Re. the point you're trying to make, the situation the line presents could be summarized as "child's resemblance reminds one member of estranged relationship of other member." This is surely a potentially "relatable" image, yes? Even if we don't know or care to know the details from 200 yrs ago...

everybody does this to SOME extent, right? :-)

If you are going to use the "I" (and it's OK!), you should also use formulations like "I will argue / demonstrate / claim"--let the "I" guide your reader through your argument

Nice use of a short punchy sentence to vary yr prose style!

Marchand=a guy! (So many students will refer to all academic/scholarly writers as "he", even if they are named "Jane" or something--your mistake is entirely understandable...)

this word implies that you're going to show your readers it's not so simple: "But when we look below the surface..."

transcendent = adj form [note the implications of this word, btw--eg, our argument in the "Fare Thee Well" discussion over whether or not "FTW" could be read without context was an argument about its ability to transcend its particular moment in time]

This is tough to say clearly--you are actually citing the quote itself, rather than Ward's interpretation (the next sentence). So here you could just say "JW cites NG's claim that today, when we consider an icon, their "celebrity...is the real achievement", creating a dynamic [etc] OR you could cite JW's summary, in the next sentence, rephrasing accordingly.

As a LIST, this breakdown seems arbitrary...rereading your paper, though, it strikes me now that what unifies the Byronic Hero (as you present that figure) is an interest in "infamy", in challenging convention notions of the Good...

A sentence incorporating the idea of the "Byronic Hero" into your thesis would help set that section up by weaving it more fully into yr argument

Daniel-I've uploaded a rubric with my comments on your final essay submission to the shared "feedback" folder...

I feel as if you're missing one final sentence, that wd say something like: "Rather, the two WERE each other!"

achivement + fame = fame? You need one different term here...

Mary Jo-I've uploaded a rubric with my comments on your final essay submission to the shared "feedback" folder...

this is complicated and deserves fuller unpacking! B. is two different analgams? one analgam corresponds to the other? causes the other? [etc...]

You haven't introduced this term yet (you draw it from "Child Harold's "joyless reverie," right?--so it would be clearer to cite that text first...)

[cut]

"inextricably" (it's VERY explicable--you explain it! )

Jenn-I've uploaded a rubric with my comments on your final essay submission to the shared "feedback" folder...

Hah! Nicely done...I wonder: your last sentence could support that "actually" by pointing ahead, to evidence from later in B's career. "As we shall see..."--something like that?

These two paragraphs abandon your sources--I recognize that you are summarizing and concluding, but, eg, the biopic/Marchand could still help here...

Yes! Or, perhaps (to better fit your overall argument) forcing himself to perform, to act out, one of these emotions?

Try to integrate q. into syntax. (This is the end of a VERY long Byronic sentence!) I actually think that earlier lines from this section (17) would work better for you here--eg, 291-294.

Can you link this "public vs private" question to your overall focus on sincerity?

This is ALMOST a successful thesis; you ask "therefore" & "it is clear" to do too much work. (If status and poetry each depend on each other, that fact could equally be used to argue that "he was only partying to generate material for his poetry."). The relationship between the two claims in your final sentence needs to be clarified...

Racheal--I've uploaded a rubric with my comments on your final essay submission to the shared "feedback" folder...

A source here would help you... One good example might be the way the cartoon responds to Lord B's poem--a very cynical response!

This is an intriguing first sentence--but you don't quite follow up on it. (Do you mean the actual type of poem / style of language is distinctiive; or that putting this material in poetic form is distinctive?)

Careful--it's natural to fall into this mode, but you are not describing your reading process; you are trying to persuade your readers about Byron. So, then, tell the reader about this intertwining, and cite evidence from the article.

Hmmm--well, what about "As long as we've had a media, we've had spin"? ' But better would be a more specific sentence: because your paragraph is not about a universal truth: it's about how the media 200 yrs ago "spun" Byron's reputation, right?

Here you miss the opportunity to link this description to specifics of the writing (eg, by anticipating "Fare Thee Well"?

A good distinction! So for Byron the PERSONAL is crucial, even if he does not always want that PERSON to be a celebrity?

Here you can edit your quotation for clarity:<br> "through 270, telling us that Conrad

...scorned the best as hypocrites, who hid [etc]

careful--here you need to edit citation/revise yr own prose so reader knows who both are...

Nice attempt at thesis statement complexity!

You could clarify sentence structure by making the verb "write" more prominent: eg, "his passionate writing....and the public's passion for knowledge of his experiences....together created an intertwined image.."

Your quoting it this way makes me see how distinctively a part of modern celebrity culture this description seems. (Think of people's stories of basically meaningless encounters that are important ONLY because they involved celebrity--"however light")

Adam--

See the rubric I've uploaded to your "Feedback" folder for your grade breakdown!

OK, good! (Though 2nd line you quote seems not to say what you want it to...) You can weave poetry into your own syntax: try something like: "Lord B admits that "his many faults defaced him" (line # here), going on to blame these faults for his transformation from writer to celebrity (another citation here).

This doesn't sound like the first sentence of an essay. Notice how you refer to "A Fragment" repeatedly without ever quoting it for your reader--beginning with a brief quotation would have helped ground your reader

"Fare Thee Well": a small mistake, but an important one in terms of authorial credibility

Here is a claim that lacks evidence (you COULD argue that "Childe Harold" was so beautiful, etc, that it quickly led to fame--but you don't, in this parag)

see my comment on your draft: this is "writing process" talk; it doesn't belong in the essay...

You need to cite sources in this paragraph!

"either"? Remember, the prompt offers a definition of celebrity: a person whose fame is more important than whatever achievement led to that fame

If this is your claim, it should end the paragraph (coming after the two sentences that follow)...

to be a FAMOUS writer, and not a celebrity

oops....gotta edit up here too :-)

Here's a sentence that introduces "method" or "tools": it tells us that "star theory" will characterize the author's approach; typically a "theory paragraph" (or more) will follow a paragraph that ends in this fashion...

B. was famous even to those who could not read...of course, that leads to an interesting question: wasn't the figure they knew still a figure created by B's writings?

yes! & remember that there are other words that capture aspects of fame: celebrity, in the prompt; we also talked about reputation; and you may find others in the poetry

I'd cut

"aristocrats"? or you could say "countrymen," since he became a national phenom....

(& also unfortunately for the public, right? if they/we miss the deeper values of Lord B's work..,)

Brandon— 1) Your thesis has a two-part structure (I’ve marked it): key for your revisions will be showing the VALUE of Byron’s verses; finding examples from the poetry where we see Byron’s virtues, or where we see something else of value, that we miss if we simply consider his celebrity self (we talked about the later parts of “Childe Harold” as one good place to look…) 2) Your paragraph on “A Fragment” is your most substantial ACE paragraph; can you introduce it with stronger, more specific language than “showed much about?” Your second paragraph could be linked more clearly to your argument: what is it about the particular story you tell in that paragraph that EXPLAINS something (in this case, presumably it explains something about Byron’s particular attitude toward celebrity/fame). 3) So far, so good….It’s not clear where you are going to go from the travel/chivalry paragraph, but we talked about this in context. 4) You are citing and analyzing effectively; fuller attention to the “mature” poetry (meaning in this case anything after Hours Of Idleness, as we discussed, is the evidence you need to bring to best support your overall thesis…)

here my 3rd version builds on my 2nd version

and here

so I can annotate here

I like this version--it flows better

and with "History" view you can have DIFFERENT annotations in old and new versions!!!

duuuuude!

This introductory paragraph should be condensed--if you postpone your discussion of "A Fragment" to its own paragraph, then you can use this intro (keeping the last two sentences) to introduce the two different kinds of attention desired by famous poets and celebrities (see my final note for more re. this)

this is "writing process talk"--it describes your research, but shouldn't actually be written down in the essay...

John Murray (sounds like "Mary" in English accent?)--Marchand's Britannica entry will clarify here--it's at Murray's that he meets (in biopic) the other writers one of whom tells him he's "found his voice"

Adam— 1) Your intro paragraph is full of claims about Byron; they’re somewhat repetitive right now. (It looks like a bunch of different, independent statements: there aren’t clear relationships between the claims that would link them together into a larger, more complex claim,) I think that de-emphasizing the PROCESS (since you don’t have enough sources to fully describe it) and emphasizing the different KINDS of desire for audience Byron had would help you make an argument that your sources can better support.<br> 2) Look at my handout again re the ACE structure. Your paragraph beginning “There is a point…when B is focused on both poetry and fame” is potentially the most important paragraph in your essay: but right now, it lacks specific evidence. How does this combined focus affect his writing? Can you support this claim with poetry that is “about” fame? 3) We talked about your adding a paragraph (after your introduction) that defined the difference between celebrity and famous poet (both “want attention”, right? but that want has a different form for each). (This would help you in setting up the ACE paragraph that I mention in 2) 4) The movie is a good source for Byron’s “performing” as a celebrity, but you should supplement it with the Britannica entry as well (this will help you keep your narrative straight). In general, you need to cite sources more fully in this draft.

do you mean "distasteful"...here the idea of hypocrisy might be useful again: eg, if the public enjoys entertainment that challenges the social values we publicly support but secretly disdain

see final comment

see final comment

one more sentence would sharpen this thesis--see my final comment...

Bobby—

1) Your thesis statement can be given more complexity: AFTER making the distinction, what do we gain by looking at moments when the celebrity seems to affect the poetry itself? (And you can also think about “motive” in your first paragraph: what does Lord Byron “tell us” about celebrity? does he predict 21st century celebrity? a sentence or two making the connection would be effective in an intro/conclusion…) 2) You are using evidence and analysis in your paragraphs effectively!<br> 3) Organizing paragraphs by topics rather than texts is an effective strategy! Revising the celebrity-definition paragraph so that your answer to the question is fuller, and considers the difference between “celebrity in general” and “famous author,” will help you in signalling your organization. We talked about adding a paragraph that looked at the later parts of “Childe Harold”—you wouldn’t have to organize the paragraph around that text, though: you could organize it around looking at places where Byron’s knowledge of his own fame seeps into his poetry… 4) In conference I mentioned your overall picture of 19th century English cultural norms: not wrong, but insufficiently aware of the hypocrisy of the upper classes (the first full paragraph on p. 3 of Marchand’s biographical entry, introducing Don Juan, gives you an example of the Byronic stance towards society I talked about…also, go back to your “Greeks” quotation and note the contrast with the English that Marchand makes—bringing that in would strengthen your definition of English morality.)

Catherine— 1) The two sentences of your thesis, right now, don’t have a clear connection. In revision, you need to make the relationship between those two claims visible for your reader. When you do this, it will give you a clearer framework to reorganize your body paragraphs. 2) Right now, your second-last paragraph uses the ACE structure most effectively. (I would cut one sentence from it: see my annotations.) Your earlier paragraphs are organized by narrative structure instead (look at the first sentence of each: when revising, that’s an easy “tell” to see if you’re slipping into “telling a story.” The first sentence of an argumentative paragraph should tell the reader what this paragraph is doing as a part of your argument. (Imagine “I am arguing that…” added to the beginning of each sentence—if it makes sense, that’s a sign you’re on the right track!) 3) I think ONE paragraph narrating B’s rise to fame makes sense for your essay (you should combine your second and 3rd, and delete the short “Don Juan” paragraph. This will give you more space to turn to “Childe Harold”: Marchand’s description, which you cite, gives you the opportunity to then turn to the poem(s) and show how they fit that description. 4) You integrate citations into your own prose effectively. One exception: you use the form “As Xed by Y” too often. The problem with this formula is not stylistic: it’s a sign of a limited attitude towards your sources. When you write “As Xed by Y”, You are agreeing with a source, rather than building on it with anything of your own. Now, when introducing FACTS, the formula works fine; but in argumentative writing, you should be looking to debate with and think with your sources. And this takes practice! We’ll be working on it throughout the course…

here you frame your quotation with two sentences that seem to say the same thing--this makes the reader wonder why you aren't explaining/analyzing (eg, I want to know, what does it mean/suggest to think of time as measured in actions? does this perspective fit with the kind of man who are arguing that B is?)

I'd cut: this digresses by returning to narrative

There are a number of possible relationships between these two claims: to complicate and clarify your thesis, think about these questions: how is your perspective (sentence 2) different from the perspective you think Byron would have (sentence 1), and why does that difference matter?

This is a key part of your essay; a more careful statement is desirable. "that is so intertwined": can you use language that explains the CAUSE(S) of this intertwining more clearly?

these 4 lines are the key ones for you, I think...

Megan— 1) Well stated thesis (your parenthetical “I think” is something you should return to in the essay, or cut for clarity (but I’m not asking you to cut it! it might work well in your conclusion) 2) Your paragraphs are very effectively constructed! We talked about adding evidence from “Fare The Well” to your final paragraph, thus making it into what I will call an ACE synthesis (multiple sources) paragraph: you will be USING those Marchand citations as tools to help you analyze “Fare Thee Well.” 3) Following from 2) new concluding paragraph, in which you speculate about how B. himself might have felt re. distinguishing celebrity and achievement, seems like a good idea. (I wonder: could you perhaps go all the way back to “A Fragment” re. that distinction?) 4) The lines that you associate with Mary Chatworth might, of course, also be associated with Augusta (“could n’er be his”!). At the top of p. 3 (sorry for missing this point in conference!) you misread some VERY fancy dedicatory prose from Byron: he is referring to his friend Moore as “the man”, in order to imply something like: “If I wanted to persuade my readers I was not as bad a man as the characters in my works, the best evidence would be that you willing to be my friend.” So you may want to quote differently….(Notice how sneaky B. is being here: he is talking to Moore, in a dedication, and implying his readers aren't listening--except they are listening, if they choose to read the dedication--and Byron knows they are listening...)

Daniel—

1) You have a strong thesis; it’s almost overstated! Byron was never two-faced; he cared not for fame or the public, but only for expressing the emotions that haunted him. The “Fare Thee Well” episode, as we discussed, is the most significant problem for your thesis. But you could still respond to it! (Perhaps that poem in a way SHOULD have cared more for other people; perhaps to criticize it would be to call it the wrong sort of thing to send to your soon-to-be-ex wife?) 2 You lose track of the ACE structure in your long “Byronic Hero” paragraph. Here, I think, your analysis of “To Marion” could be expanded upon (and supplemented with a brief discussion of “A Fragment”?). In that paragraph, you say B. is “cynical”, but also that he “craves affection”—so, then, he cares for something? Further development here would be helpful. (I also think the last section of this paragraph, re. “politics and society as a whole” doesn’t fit where you have it now. (Unless you can link it to cynicism—is his criticism cynical, or is it sincere?) 3) The essay reads well; I will suggest that your overall argument might work better if you switch your 2nd and 3rd paragraph: make your claim about madness stand out! 4) You are using sources effectively! (You should cite somebody—Cochrane? me? Marchand?—re. the Byronic Hero…)

Joseph—

1) You’ve got a promising thesis that needs clarification. You need to tell your reader what you believe about what Byron believes, and why that matters. (Right now, your “I believe” sentence goes off track halfway through…) 2) You do a nice job of finding specific textual evidence in the “Hours of Idleness” paragraph; the Marchand paragraph is also effectively chosen, but there your STYLE of citation needs to be revised: quote more selectively, focusing on the particular adjectives/descriptive phrases that you can then connect to your own analysis of “Hours.” The paragraph where you cite Wolfson re. the marriage crisis is a paragraph that doesn’t discuss the poem. That COULD work—if your point is that the poem doesn’t matter! But you need to make sure you aren’t just forgetting about the poem—and you don’t want to miss the opportunity to get Byron’s voice into the essay at this point if it will help you make your argument. (Maybe you could even talk about the way the cartoon “uses” the poem—the cartoon is a kind of interpretation, right?) 3) Unfortunately I can’t say too much here since you are half finished. I think your last full paragraph (beginning "But it didn't stop..." might be problematic: your essay isn't really a narrative of Byron's life (remember, you begin with the moment of achieving fame--from there, you can look at moments in whatever order you choose...) 4) You are using sources effectively—remember, in an essay that argues Byron understands the necessity of working on/with his own reputation, Byron’s own poetical words are ALSO a valuable source. (Even an early poem like “Fragment” or “To Marion” (from “Hours” might prove useful—especially since you’ve discussed his rhetoric in the preface to that book…)

Jenn--Here are my overall comments for revision:

1) See my annotations re your thesis 2) Right now, your body paragraphs 2& 3 are driven by narrative (notice their opening sentences). And you don’t have any paragraphs that are devoted to analysis of a single text/episode. What if you told the whole story (birth to leaving England) in a single paragraph? Then you could write a paragraph analyzing Childe H/the Fare The Well episode, where you showed your reader through analysis how Byron’s poetry was not “genuine.” Quoting from Byron, putting his voice on the page, will help create that sense—and you need to put that voice on the page, so that your reader can judge your criticism of it! 3) My comments above apply here 4) You use the term “liberal” in your intro in a 21st century American way: it’s not wrong, but it’s imprecise. (B. was called by some a political liberal, but the word didn’t mean then what it does now.) Byron was privileged; he was also a critic of the privileged class (not having been raised to it). You might say he was “unconventional” or “radical”—he refused to play by the rules of the nobility…Also, I think you should slightly revise your conclusions, since your sources don’t take you to the end of Byron’s life: really, your argument only covers the Byron of England. The movie, remember, seems to suggest that Byron matured as a writer after his self-exile—but since you say very little about this era, due to the sources you have, it might be clearer to leave it out altogther.

source for this claim? (Marchand)--this seems like too sweeping a judgment for you to make on your own...

But what about the possibility that Byron was even then not "genuine"?

This is what I call "throat-clearing": too general to be of use. Notice what Gabler says in the prompt about "our time"-Ward is asking "do we today make a mistake in treating Byron like a celebrity from 'our time'"? So you could begin by mentioning Byron's career happening 200 yrs ago, and then saying something about similarities/differences, something that sets up your thesis....

These two sentences are your strongest, most arguable claim=thesis claim!

Mary Jo—Here are my overall comments:

1) You need to add another sentence to your intro, telling your reader what argument you’re going to unfold. (Right now, the reader is going to answer that question “Of course not!”—but you are actually going to say something more complex—so signal that complexity for them…) 2) You are writing with evidence, but not yet with evidence from the poetry (with one exception, which we talked about in conference—and I think you should quote from CHP in that paragraph!) Your “How could they?” paragraph is a key paragraph, but right now it depends entirely on evidence cited elsewhere in the paper: and this means that all the required evidence needs to appear beforehand. Again, right now, the appealing character/voice of the poems isn’t yet present in this draft… 3) Your structure is effective. One concern: to make a claim about “a complex rise and fall”, as you do in your final paragraph, implies more of a narrative than you’re actually writing (eg, you don’t discuss the “Fare Thee Well!” affair at any length). I think that you don’t need the “often described as an overnight sensation” hook that you use to link intro and conclusion: notice how your strongest argumentative paragraph, the penultimate one, doesn’t depend on his being an “overnight sensation” or not one at all… 4) More specific citations would be helpful! (For the biopic, describe the scene & give running time; for the poetry, quote—etc….

you should merge these two sentences: there's a relation between the ideas...

not quite right: your overall argument is not about the cause of this "standing"...

Hannah--Here are my overall revision comments:

1) We talked about sharpening your thesis claim: your reader needs to know where YOU stand in relation to the “problem” Ward identifies in the passage you quote. What you are saying is that there are not 2 important things to consider (celebrity vs poetical achievement) but 3 (human reputation, poetical reputation, and poetical achievement). (We called this a “triangle” in conference!) So, you have potentially a really strong thesis: you have a citation from Ward, and then you come on stage yourself to say “but wait! it’s more complicated than that!” This is also a good thesis because you are using Ward to open up a debate which will give you motive: you can link your argument to people who are interested in the lives of celebrity artists—you can say that we are not JUST interested in those lives because gossip. 2) When citing, remember you can paraphrase/summary. It’s FASTER to quote big chunks (and we all do it for this reason sometimes)—but the more you preserve your own voice, and only integrate the voices of others when their language is especially good/interesting, the more authority you build up as a writer. When you quote (especially poetry/fiction) your reader will expect careful examination of what you quote. 3) The way you turn late in your essay to B’s earliest work “A Fragment” is effective! Can you get your own perspective, maybe with the word “irony”, earlier in that paragraph? 4) Remember, less space on quotation give you more space to interpret/analyze your citations!

"Showed" and "depicted" are very close--cut one? And also, perhaps you want a different verb, since these both imply truth, whereas your "heartstrings" line suggests duplicity or acting...

this is what I call an IN-troduction; it's faster and clearer to write "The Britannica transcribes" or "Marchand transcribes" (you can put Britannica in parentheses at the end of the sentence if necessary)

these are not quite right yet--see my final comment

"sink"

Rachel—

Here are my overall comments, based on the breakdown in the generic comment at the bottom of the page:

1) If you weave the thinking from your 2nd paragraph into your intro paragraph, this will clarify your thesis. Don’t end the first paragraph with Ward—end it with YOUR take!—Ward is there to help set up your own take. You say, in that 2nd paragraph, that being a noble didn’t give Byron an edge in poetry (& it DID give him an edge in other areas of life)—& this might have made him tenacious, wanting to succeed—which led to his success as a poet—which led to him achieving far more celebrity than the typical nobleman. So, it’s complex! as you say in your conclusion. I think both “enhanced” and “overshadowed” are not yet the right words for you to capture that complexity (“overshadowed” works to summarize Ward’s perspective; “enhanced” is PART of what you want to say yourself, but not all of it.) 2) I think you need a single ACE paragraph about the media: it could have multiple citations, from both Marchand and the movie—see #3 for details. 3) The “Fare Thee Well” paragraph needs to be rewritten. I also think that the two paragraphs that use biopic and Britannica should be combined into a single longer paragraph. Here’s why: the POINT of your essay isn’t about those sources for their own sake—for you they are both sources that give you perspectives on Byron’s relation to the public/media. (Your first sentence of parag 3 is effective!) So rather than going on to talk about the difference between film and article, use them both as sources to discuss Byron’s reputation. And this will naturally lead into “Fare Thee Well”—a poem that appeared in 4 different versions in 1816 (pretty fast media transmission!) 4) Don’t be afraid to quote B’s poetry! “Fare thee Well”, when you write about the controversy; “A Fragment” could fit well in your second paragraph.

"In terms of...is something": this is not a sentence yet. Do you mean that we need to correlate the two to understand B whether we have the right or not?--or that we need to correlate the two if we want to understand the WHOLE of Byron?

remember, you aren't writing the comparison here: your essay has a different purpose

Well--not all poets are celebrities (Kanye; T-Swift; Drake)..."Enhanced" feels not quite right--"increased"?. I'm not quite sure of the relation btw your two sentences here--is "Byron's case" DIFFERENT from "the modern world" or one EXAMPLE of that world.?

to Ward the danger is in "overshadowing"

No, it is most certainly NOT!

Soul vs. spirit--any differences?

is this a Led Zeppelin reference??? DUDE

Also THIS FORUM ITSELF can be annotated! (Though why would we do that???)

this is the Bible, right?

so praise is a burden--yet he goes on to say he wants "honor" as a consequence of his "deeds"--ambivalent much??

This is weird, though--if we found the poem scrawled on this gravestone or whatever it wouldn't have this title, right? idgi

does he have one father? or more than one? I suck at parentheses LOL

test page note!

he repeats the exact words--like a kind of spell?

Now I've installed the "PDF Embedder" plugin....but PDF text is still not clickable on the page

I get the note bar here, but not when I use the pdf...

what about the man?

no credit to the man?