User talk:MinorProphet/Draft subpages/Joseph Beecham

Dedication
I came to write this article because I wondered how Joseph Menchen came to show The Miracle (the world's first full-colour narrative feature film) at the Royal Opera House, Covent Garden in 1912–13. I became interested in the history of the opera house: hence Owners, lessees and managers of the Royal Opera House, Covent Garden, and thus this. Unfortunately, despite being musical and artistic, Joseph Beecham seems to have had the moral compass of a piece of seaweed: and his behaviour towards his family marks him out as a complete turd of the first order. Charles Welles, whom he got to know in the 1880s (and whose daughter Utica Thomas Beecham married), seems to have been a slightly more advanced human being, and these stanzas (although fairly conventional) make struggling through Beecham's unedifying life seem worthwhile.

From The Lute

II. How shall I then my gladness hide, As down the drift of life I roam? All nature is my boundless home, And love my only perfect guide.

For in love's light my song takes wing; Her star pervades my universe, And all my rhapsodies are hers— It is her beauty that I sing.

Her light illumes my destined way, And ever points my course aright; Hers is the brilliance of my night, She is the magnet of my day.

MinorProphet (talk) 16:58, 10 March 2021 (UTC)

Postscript
Mind you, anyone who aligns themselves with the reprehensible bollocks spouted by his aunt-by-marriage Victoria Woodhull's eugenicist magazine The Humanitarian fully deserves to be forgotten: and Tommy and Utica's well-publicised divorce reminds me of the squabbles of a pair of spoiled brats who never learned how to behave. MinorProphet (talk) 20:21, 10 March 2021 (UTC)