| The serpent in the bosom of London
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| The Thames, the serpent in the bosom of London
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| The Thames, the serpent in the bosom of London begins in one or more boggy
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| fields in Gloucestershire and ends in Southend at the crowstone:
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| an obelisk set in the sands to mark the boundry of the port of London
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| Authority. |
| Less imposing and considerably younger than Cleopatra’s needle near
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| the Waterloo Bridge, it still bears an uncanny snse of history as the tide gos
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| out, revealing it like a spire from Atlantis or the corpse city of R’lyeh
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| The serpent in the bosom of London
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| The Thames, the serpent in the bosom of London
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| The Thames, the serpent in the bosom of London
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| The Thames, the serpent in the bosom of London
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| In 1820 Fredrick Marryat captained HMS Rosario for the purpose of bringing the
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| news back to Britain of Napoleon’s death-in-exile on St. Helena.
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| A respected sailor and author, he later wrote about Thomas Saunders,
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| a fictional and archetypal mudlark and his life on the Thames, from digging up
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| coins and scraps on the river’s foreshore to becoming a pilot navigating |
| trading vessels through the labyrinthine docks and mudflats. |
| Marryat was
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| running against tide though. |
| The Victorian artist were more fascinated in a
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| river that brought death rather than life. |
| The medieval «Winchester Geese»
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| continued to haunt the river. |
| G. F. Watts painted «Found Drowned»,
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| John Everett Millais painted «Bridge of Sighs» sharing it’s title with Thomas
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| Hood’s poem. |
| All were artistic reactions to the working girls, brought low by
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| disease, pregnancy or despondency, who were found floating dead in the river
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| downstream from the Old Dock Bridge
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| The Thames, the serpent in the bosom of London |