reference
collection
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AMERICAN NOTES & QUERIES
Volume IX Number 1 September 1970
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Barzun, Jacques; & Graff, Henry F. The
Modern Researcher. Rev. Edn. 430pp.
N.Y.: Harcourt, Brace, & World, 1970.
$8.50
Beardsley, Monroe C. The Possibility of
Criticism. [Aesthetics of literary crit
icism]. 123pp. Detroit: Wayne State
University Press, 1970. $5.95
Blum, Shirley Neilsen. Early Netherland
ish Triptychs: a Study in Patronage.
(California Studies in the History of
Art, XIII). Color Pktes and Other
Illus. 176pp. Berkeley: University of
California Press, 1970. $30.
Burnette, O. Lawrence, jr. Beneath the
Footnote: a Guide to the Use and
Preservation of American Historical
Sources. 450pp. Madison: State His
torical Society of Wisconsin, 1969. $10.
Carter, John. Taste & Technique in Book
Collecting . . . With an Epilogue.
242pp. London: Private Libraries As
sociation (41 Cuckoo Hill Road, Pin
ner, Middlesex, England), 1970. $7.50
Clouston, W. A. The Book of Noodles:
Stories of Simpletons; or, Fools and
Their Follies. (London, 1888). 228pp.
Detroit: Gale Research Co., 1969.
$8.50
De Rosier, Arthur H., jr. The Removal
of the Choctaw Indians. Illus., incl.
Maps. 208pp. Knoxville: University of
Tennessee Press, 1970. $7.50
Featherstonhaugh, George W. A Canoe
Voyage Up the Minnay Sotor . . .
(London, 1847). Introd. by William
E. Lass. (Publications of the Min
nesota Historical Society). Illus. 2 vols.
St. Paul: Minnesota Historical Society,
1970. $20.
Field, Claud. A Dictionary of Oriental
Quotations (Arabic and Persian-).
(London, 1911). 35lpp. Detroit: Gale
Research Co., 1969. $13.50
Flink, James J. America Adopts the Au
tomobile, 1895-1910. Illus. 343pp.
Cambridge, Mass.: The MIT Press,
1970. $12.50
Garcilaso de la Vega, Concordancias de
las Obras Poeticas en Castettano de.
Recopiladas por Edward Sarmiento,
en la Edicion de Elias L. Rivers.
583pp. Columbus: Ohio State Uni
versity Press, 1970. $12.50
Geronimo: His Own Story. Ed. by S. M.
Barrett. Newly Ed., with an Introd.
and Notes by Frederick W. Turner
in. Illus. 192pp. N.Y.: E. P. Dutton
& Co., 1970. $6.95
Haskin, Frederic J. 10,000 Answers to
Questions [Classified; not indexed],
(NT., 1937). 502pp. Detroit: Gale
Research Co., 1970. $17.50
Haynes, John Edward. Pseudonyms of
Authors; Including Anonyms and Ini-
tialisms. (N.Y., 1882). 112pp. Detroit:
Gale Research Co., 1969. $6.50
Henderson, Andrew, comp. Scottish
Proverbs. New Edition ... by James
Donald. (Glasgow, 1881). xxiii, 202pp.
Detroit: Gale Research Co., 1969.
$12.50
Hawthorne, Nathaniel. Our Old Home:
a Series of English Sketches. (Ohio
State University Center for Textual
Studies publication: The Centenary
Edition of the Works ... Vol. V).
cxv, 496pp. Columbus: Ohio State
University Press, 1970. $12.50
(Continued on p. 16)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including flrmnal index, $6.50
a year; $12.00 for two years. Single copies 75#. Printed in the U.S.A. by
United Printing Services, Inc., New Haven, Conn. Second-class postage
paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies and Abstracts of Folklore
Studies; indexed in Book Review Index; included in The Years Work in
English St&dtes, and Annual Bibliography of English Language and
Literatur^ MHRA, Appropriate items included in the Annual ML A Inter
nationa 7 Bibliography; Victorian Studies "Victorian Bibliography* , etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
JAMES THOMSON: AN
UNNOTICED CONTRIBUTION
THE AUTHOR of The Seasons is not
generally regarded as an epigram
matist, and his active participation
in the Grub-Street Journal has not
hitherto been suspected. However,
there is explicit evidence in the
Journal itself to link Thomson with
at least one of a pair of lampoons
in an early number.
The issue in question is that for
28 May 1730. The editors in their
capacity of scribes of the Grubean
Society have recorded the latest
doings of the "Theobaldians", and
reprinted from the Daily Journal
an epigram on Pope. Turning, with
a deadpan show of impartiality,
to the other side, the Journal pro
ceeds: "The POPEIANS have sent us
the two following Epigrams". On
account of their brevity, and not of
any high merit, these are repro
duced here. The text is that of the
later anthology, Memoirs of the
Society of Grub-Street (1737). 1
So some stale, swoln-out dame, you
sometimes find
At last delivered: but of what? Of wind.
On the same.
To prove himself no plagiary, M E
Has writ such stuff, as none e*er writ
before.
Thy prudence, MOOBE, is like that Irish
wit,
Who shew d his breech, to prove twas
not besh A[J
The object of attack is of course
James Moore-Smythe (1702-1734),
a full member of the Dunces* dub
and a frequent butt of the Journal. 2
The immediate cause of this harsh
treatment was doubtless Moore-
Smythe s share in One Epistle to
Mr A. Pope, which had appeared
earlier in the month. 3 The Epistle
had been ironically commended in
the previous issue of the Journal
as "truly Grub-street". Its author
ship is generally allotted jointly to
Moore-Smythe and Leonard Wel-
sted; but as far as the Journal goes
it is the former who bears the main
weight of retaliation. 4
The symbol "A" at the end was
one added in the reprinted Mem
oirs to indicate responsibility for
a particular section. ( But not neces
sarily authorship, in the strict
sense.) According to the preface
to this volume, **A" indicates that
the provenance is Pope himself or
Tiis particular friends". The second
epigram has indeed been admitted
to file canon by the Twickenham
editors as an authentic work by
Pope. Their view was that most,
but not all, of the items marked
"A** were by Pope himself. Internal
evidence is adduced to suggest
that he was the author of the sec
ond epigram which had, inci
dentally, appeared once before in
On J. M. S.Gent, by Mr _. mt SQme months earlier .5
M E goes two years, and then alas ^ . ., -, r . , r i
produces ^" e methods of the Journal were
Some noisy, pert, dull, flatulent abuses, largely negative or at any rate
, 772952 NOV
KANSAS CITY (MO) PU-LJC LIBRARY
AN&Q
devious, insofar as it was the poli
cy to allow the Grubeans largely
to condemn themselves out of their
own mouths. Relatively few straight
attacks were made, and these were
nearly all directed against Pope s
particular knot of adversaries. The
first epigram has been left in neg
lect as a side-blow delivered by
some anonymous scribbler on the
fringe of the Pope circle. 6 There
are several reasons for thinking
that the author was in fact that
more substantial figure, James
Thomson:
(1) Pope was certainly acquaint
ed with Thomson by 1730. 7 One
might not readily have placed the
younger man among Pope s "par
ticular friends" at this stage. But,
even if the years of the Patriots
were yet to come, it should be re
called that Thomson s circle over
lapped with Pope s at several
points: Mallet, Savage, Lyttelton,
Aaron Hill and others might be
mentioned.
(2) Thomson was still in the
country at the critical time. He
left for his continental tour in
November 1730, and did not re
turn till early in 1733. 8 Samuel
Johnson, incidentally, stated that
Pope addressed a verse epistle to
Thomson whilst the latter was
abroad. 9 The author of The Seasons
was at the height of his new fame,
just prior to his departure, and
would be a valuable adjunct to
the TPopian" corps of writers.
(3) As suggested at the outset,
there is little to suggest that the
epigram was a congenial form to
Thomson. But it would be wrong
to think that his temperament
would debar him from satiric
squibs, or that he would be averse
to manhandling a Dunce. His let
ters, splendidly edited as they
have been by Professor McKillop,
show a marked interest in the
Dunciad not just the technique,
but also the subject matter of that
poem. He compiled a list of in
ferior hacks which manifestly de
rives from Pope s roster of iniquity.
In addition, his correspondence in
cludes several malicious thrusts at
writers whose stature ranged from
that of Edward Young to that of
Joseph Mitchell. 10 He was in ef
fect a committed Popian as early
as 1730.
(4) The abbreviated form
"Th-n w could hardly be interpreted
in any other way by an alert con
temporary. Even if one did not
know of any link with the Pope
circle, one would be hard pushed
to find a living poet of remotely
comparable standing whose name
could be bent to fit the appropriate
space. Moreover, there was a par
ticular reason why the Journal
would have been cautious lest it
gave accidental offence to Thom
son. The circumstance is explained
in this passage from J. T. Hill-
house s study of the Journal:
In an ironic essay in number 5 on
"Miltonic"" verse the charm of anticlimax
is illustrated by a passage from Thom
son s Winter. The citation of Thomson to
appear in the company of the Dunces,
and in close proximity with that notable
member of the group, James Ralph, who
also furnishes an example of anticlimax
. . . , is indeed remarkable, and one is pre
pared for retraction. In number 7, Bavius,
having noted that some readers have
thought Thomson a member of the society
of Grubstreet because he was quoted in
number 5, declares that he is not. The
passage quoted is the only one in the
poem worthy of the [Grub Street] So
ciety. . . . The greater part of the poem
is Parnassian When the essay was
September 1970
reprinted in The Memoirs of Grub-street,
the allusion to Thomson and the quota
tion from Winter were omitted, and the
passage from Ralph stands alone to repre
sent anticlimax.
Later in the run of the Journal,
it might be added, Thomson is
spoken of as "probably a profest
enemy of our Society"; and as "that
strenuous Antigrubean the author
of Sophonisba: whom I have han
dled in such a manner, that on that
account I was afraid for some time
to own myself the writer, least
some surly North Briton should
have made my b h suffer for
what my fingers had performed". 12
This is a handsome enough retrac
tion. After their early mistake, the
editors of the Journal were careful
to allot Thomson the Parnassian
role which his talents, and his
friendship with Pope, demanded.
The epigram has not been in
cluded in any collection of Thom
son s works to date. It should, I
believe, be admitted in future,
perhaps in a section devoted to
doubtful and suppositions works. If
he did not write the lampoon on
Moore-Smythe, it is a mystery
why the Journal should have gone
out of its way to imply that he did
for that is what the attribution
to "Mr TH N" amounts to. 13
Pat Rogers
Sidney Sussex College
Cambridge, England
1. Grub-street Journal, no. 21, Burney
Collection, British Museum: Mem
oirs (1737), 1.107-108. The editor
ship of the Journal at this time was
divided between Richard Russel and
John Martyn. See the standard work
by J. T. Hillhouse, The Grub-Street
Journal (Durham, N.C., 1928), pp.
39-46. Hereafter "Journal" refers to
the original issue and "Hillhouse"
to the study of the newspaper.
2. On Moore-Smythe, see Hillhouse,
pp. 57-64: as well as the "Biograph
ical Appendix" [s.v. Smythe] to
James Sutherland s edition of The
Dunciad (London, 3rd ed., 1963),
p. 455.
3. Journal, no. 20 (21 May 1730):
Memoirs, 1.94. Hillhouse, p. 64.
4. Memoirs, Lxxix.
5. Pope, Minor Poems, ed. N. Ault, J.
Butt (London, 1964), pp. 324-329.
Cf. Hillhouse, pp. 33-34n. The sec
ond epigram is printed by Ault and
Butt, p. 325, in a slightly different
form from that quoted here. The
evidence linking such a short poem
with Pope is inevitably far from
conclusive. Equally, it would he
impossible to assert definitively
that Thomson was the author; but
I do not believe that this is very
unlikely. It was common editorial
practice of the age to print succes
sive items in this fashion, without
repetition of the author s name, but
with a more or less tacit understand
ing that the same writer was in
volved.
6. Neither Hillhouse, p. 60, nor the
Twickenham editors, p. 329, at
tempt to identify "Mr Th n".
7. See for instance the reference in
Pope s letter to Mallet of 29 De
cember: The Correspondence of
Alexander Pope, ed. G. Sherburn
(Oxford, 1956), IH.158.
8. Information on Thomson s move
ments from Douglas Grant, James
Thomson: Poet of the Seasons (Lon
don, 1951), p. 117: A. D. McKollop
(ed.), James Thomson (1700-1748):
Letters and Documents (Lawrence,
Kansas, 1958), p. 77ff.
9. See Sherburn (ed.), IIL226n, for
a suggestion that Pope may even re
fer in a letter of 1731 to "a particular
Friend", i.e. Thomson. The state
ment by Johnson occurs in the life
of Thomson: see The Lives of the
Poets, ed. G. B. Hill (Oxford, 1905),
EL291.
10. McKiUop (ed.), pp. 76-77 and pas
sim.
(Notes continued overleaf)
AN&Q
MOBY-DICK: SCRIPTURAL
SOURCE OF "BLACKNESS
OF DARKNESS"
IN MELVILLE S Moby-Dick, Chap
ter II, "The Carpet-Bag", Ishmael
wanders into a negro church in
which a "black Angel of Doom" is
preaching. The "preacher s text",
says Ishmael, "was about the black
ness of darkness, and the weeping
and wailing and teeth-gnashing
there". In his edition of Moby-Dick
(Indianapolis, 1964), Charles Fied-
elson, jr, glosses this passage and
identifies the source for the "preach
er s text" as Matthew: * [They] . . .
shall be cast out into outer dark
ness: there shall be weeping and
gnashing of teeth . Matthew 8:12.
The phrase ^blackness of darkness
is not scriptural, but appears in
Carlyle s Sartor Resartus, Book II,
Chapter 4".
It might be argued, however,
that Jonathan Edwards rather than
Carlyle should be used as a logical
source for the tone and idea of this
particular passage. In "Future Pun
ishment of the Wicked", for exam
ple, Edwards states of the souls
lost in the "gloom of helT, "We
read in Scripture of the blackness
of darkness; this is it, this is the
very thing . Edwards then proceeds
to invoke the "great leviathans"
whose awesome power will be an
nihilated by the power of their
still more awesome Creator. More
specifically, the single chapter that
comprises the Epistle of Jude, es
pecially verses 10-13, is the New
Testament source for the "preach
er s text" on the "blackness of dark
ness" in Moby-Dick. In verse 13,
those who Tiave gone in the way
of Cain" (verse 10) are described
as "Raging waves of the sea" and
"wandering stars, to whom is re
served the blackness of darkness
for ever" (Authorized Version).
The Scriptural source, context and
images echoed in Melville s Slack
ness of darkness" possess a clear
significance for our understanding
of the coherence of Chapter II and
the total coherence of Moby-Dick.
Thomas Werge
University of Notre Dame
11. Hillhouse, pp. 27-28.
12. Journal, no. 12 (26 March 1730),
and no. 70 (6 May 1731): Memoirs,
H.36: cf. HiBhouse, pp. 207-208.
The ostensible speaker in the sec
ond extract is John Hoadly, authoi
of The Contrast.
13. It is interesting to note that a pseu
donym commonly employed in the
Journal is that of "J. T." Hillhouse,
p. 298, identifies J. T. with the
principal editor, Russel. On balance
this suggestion must be accepted,
though it might be noted that J. T. s
field of expertise is literary (e.g.
Milton), and that Thomson s friend
Savage was contributing to the Jour
nal at the same time, as R, S.
DONNE S HOLY SONNET
V, LINES 13-14.
"But oh it must be burnt; alas the fire
Of lust and envie have burnt it
heretofore,
And made it fouler; Let their flames
retire,
And bume me o Lord, with a fiery
zeale
Of thee and thy house, which doth in
eating heale."
HELEN GARDNER S NOTE on 1. 13
(John Donne: The Divine Poems,
September 1970
Oxford, 1952, p. 76) cites Psalm
box, 9, "The zeal of thine house
hath eaten me up", and continues:
"The fires of lust and envy, unlike
earthly fires, have not purged, but
made him fouler . The fire he
prays for, unlike the fire which
will destroy the world, will in
eating heale ".
The striking paradox of the son
net s last three words would have
been strengthened, for the contem
porary reader, by the scriptural
associations of the image of fire
eating through human flesh. In
James v, 3 (Geneva version) rich
men are warned: "Your gold and
silver is cankred, and the rust of
them shal be a witnesse against
you, and shall eate your flesh, as it
were fire. Ye have heaped up
treasure for the last dayes". The
angel in Revelation also warns
about the "eating fires" to come,
when he prophesies that the ten
horns of the beast "shall hate the
whore, and shall make her desolate,
and naked, and shall eate her flesh,
and burne her with fire" (xvii, 16).
The vices of greed and lust will, at
the last day, be punished by fire
eating the flesh of those who have
indulged in them; but the fire of
zeal, by driving out and consuming
the desires of the flesh in this
world, will "heal" the sinner and
prepare him for a glorious resur
rection. The resolution of the poem
comes from the union of "fire"
and "zeal", which are brought to
gether by both the logical progres
sion of the sonnet s imagery and the
nexus of scriptural associations.
QUERIES
Largest non-polar glacier What
is its name, where is it, has it been
traversed, how old is it? Bitty
Miller, Sharon, Ct
George Washington The Uni
versity of Virginia in collaboration
with the Mount Vernon Ladies
Association is collecting and edit
ing the first comprehensive edition
of George Washington s papers,
including letters both to and from
him as well as diaries and other
manuscripts. The editor would ap
preciate hearing from any individu
al or institution holding such ma
terial, which we might include in
this edition estimated to run be
tween 60 and 75 volumes. Don
ald Jackson, Alderman Library,
Charlottesvitte, Va. 22901
Greyhound dogs I am unable
to find anything which would indi
cate when the first Greyhound dogs
were brought to North America.
Since I am gathering my facts for
a book on Greyhounds, I very bad
ly need this information. Can any
of your readers help me find very
early accounts of the Greyhound
in the United States, prior to 1850?
Laurel E. Drew., Albuquerque,
Neiv Mexico
Hamilton Hall,
Columbia University
V. Clement Jenkins Several
months ago I had advertised in
various English and American pub
lications for information about any
privately held letters to his family
of General Charles George Gordon
Paul Delany for my complete, annotated edition.
A somewhat puzzling correspond
ent in Boston replied that she had
known the widow of V. Clement
AN&Q
Jenkins, a member of the Yale REPLIES
school of architecture and a de
signer of the Avenue of the Amer
icas. He was a descendant of Gor
don s brother, and his widow had
some letters. Yale seems to have
no knowledge of him. Can anyone
identify him or locate his family
for me? M anj H. Raitt, Wash
ington, D.C.
**. , . ointment in my little pot of
flies" Wanted: the text of a
poem about an author who, when
young, strove for perfection which
would not come, so that " the
one fly in the ointment/ Put me
in an awful state". But, with age
and experience, later says, "Now,
I m glad to find some ointment in
my little pot of flies". Who wrote
it and where can I find the text?
It may have been current in the
Southwest, around Army posts and
Indian Territory at the turn of the
century. Barbara Thrall Rogers,
Alamogordo, New Mexico
"Astrakis" or "strakis" an odor
The Library of Congress cannot
identify the word and suggests try
ing AN&Q; A friend and I were
passing a factory and both smelled
a disagreeable odor. The friend
exclaimed, "What an astrakis [per
haps strakis?] odor". What is the
word, its origin, and its meaning?
/. G. Kavanaugh, Roanoke, Va.
AN&Q always welcomes Notes
of literary, historical, biblio
graphical, folk, natural history,
or antiquarian interest.
"Tale of a Tub" source (VL22) -^-
In reply to Karl S. Nagel s Note
"Source for A Tale of a Tub", I
would like to suggest another possi
ble interpretation of the nursery
rhyme "Rub a dub dub/Three men
in a tub" in relation to Swift s work.
Jack would still remain the butch
er, symbolic of the dissenters of
Swift s time, who had gone so far
in the way of reforming the church
that they had destroyed the origi
nal concept of Christianity. How
ever, Peter, representing the Cath
olic Church, would be considered
the baker because he tried to con
vince his brothers to eat only
bread by saying that bread "is the
staff of life; in which bread is
contained, inclusive, the quintes
sence of beef, mutton, veal, veni
son, partridge, plum-pudding, and
custard" (p. 303 of Louis Landa s
edition of Gullivers Travels and
Other Writings). This quotation
refers to the Catholic Church s re
fusing the Communion "cup to the
laity, persuading them that the
blood is contained in the bread,
and that the bread is the real and
entire body of Christ" (p. 303,
footnote 4). Finally, Martin would
stand for the candlestick maker
and the Anglican church since
Swift considered the Anglican
church to be the true source of
religion and light. Even though
die nursery rhyme tells us that they
were Tcnaves all three", Swift
would have us believe that Martin,
and therefore the Anglican church,
is the best of the three. Mar
garet Hunkler, Kent State Univer
sity, Kent, Ohio
eptember 1970
In things certain Unity . . .*
VIL151; r, VIII:76) More
ban thirty years ago Professor Ro-
and Bainton of Yale ( Church His-
ory), correctly identified the au-
hor of In Essentia Unitas, etc., as
Peter Meaderlinus (sp?) (d. 1660), a
German Lutheran. Some years later
i Dutch Dominican scholar who
aad attributed the axiom to St
\ugustine acknowledged that Pro
fessor Bainton was correct. I am
cot able to supply the sources at
this moment. Shan Van Vocht,
School of Theology, Catholic Uni
versity of America, Washington,
D. C.
"You can believe it!" (VIII: 24)
The prosodic pattern underlying
this phrase of reinforcement (or of
anaphoric rejoinder, in dialogue)
has long been with us in North
American English. Basically, the
phrase consists of a pitch sequence
high-low or mid-high-low. The
given word sequence carried by the
intonational pattern is quite sub
sidiary to it, and of per se minimal
semantic content (note the essen
tial synonymity of "That s for
surel", "Y6u re not kidding!" "Ain t
thdt the truth!", "You can say thdt
again!", "Howdya like thm ap
ples!", "That ll be the day!", et sim.
and the essential homonymity
of the shared pitch sequence). The
prosodic constant, therefore, can
scarcely be dated (and the dear
old OED does not deal in prosody).
"You can believe it!" (or in its
more current form, "You d better
believe it!" which sometimes
carries an ounce or so of threat)
may have been triggered by some
high person in the manner of
Nixon s "silent majority" or it
may have started in a bar in Osh-
kosh. My teenage daughter was
struck by it this past Fall, which
suggests that it became progres
sively current in Canada in some
thing like 1968, and in the U.S.
somewhat earlier. ... As for "Whis
tling Dixie", I pass on that, having
never heard it. B. Hunter
Smeaton, University of Calgary.,
Canada
Prostitution the oldest profession
(VIII: 88-89) Kipling in his
story "On the City Wall" in his
collection of short stories, In Black
and White, says the following:
"Lalun is a member of the most
ancient profession in the world.
Lilith was her very-great-grand
mamma, and that was before the
days of Eve, as every one knows.
In the West, people say rude things
about Lalun s profession, and write
lectures about it, and distribute
the lectures to young persons in
order that Morality may be pre
served. In the East, where the
profession is hereditary, descend
ing from mother to daughter, no
body writes lectures or takes any
notice; and that is a distinct proof
of the inability of the East to man
age its own affairs". Jerome
Drost, SUNY at Buffalo, NX.
Prostitution the oldest profession
(VIII: 88-89) Archer Taylor
mentions that some allusions speak
of prostitution as "the second oldest
profession". He then inquires what
is the oldest? The answer is agri
culture. Genesis 2:15: "And the
Lord God took the man, and put
him into the garden of Eden to
dress it and to keep it". George
O. Marshall, jr., University of Geor
gia, Athens
EDITORS
NOTES & READING
Rigby Graham, our Leicester (Eng
land) correspondent, writes: "There
is to be a large exhibition of Pri
vate Presses & Private Publishing
at Watford Public Library, Wat
ford, Hertfordshire from 14 Sept-
17 October 1970. The presses rep
resented are the London Chapel of
Private Printers, & the Private
Printers of Leicestershire. The
work is to be displayed throughout
the whole of the library exhibition
areas and I have seen the seventy
mounted boards of work about
200 items from Leicester alone. I
haven t as yet seen the rest. There
is, I believe, a catalogue to be
issued by Watford Public Library,
or certainly available through them,
and it is this which some of your
readers may be interested in. When
it materializes I will naturally send
you a copy, it is just that I thought
AA 7 &Q might like advance, rather
than retrospective notice, for a
change".
Black poetry that really pleads
Dont Cnj, Scream, by Don L. Lee
(Detroit: Broadside Press, 12651
Old Mill Place, Zip 48238, 1970;
$4.50; paper, $1.50), is filled with
pathos, music, horror, and humor.
Some of the poems have appeared
in Black publications and tie New
York Times (hardly Black!), and
display as Gwendolyn Brooks
comments in her introduction
"healthy, lithe, lusty reaches of free
verse 3 . An appealing collection that
will open some eyes, and even some
minds, which is a particular func
tion of poetry. As Lee points out
AN&Q
". . . suddenly you envy the BLIND
man you know that he will hear
what you ll never see".
Episcopal Year, 1969, is the first
issue of a new annual devoted to
activities, happenings, and facts
about the Protestant Episcopal
Church and all shades and tints
of its inclusive spectrum of mod
ern religion at home and abroad.
Accurate and readable, this hand
some volume presents recent infor
mation about the Church, its re
ligious, social, administrative, and
other activities. The attractive for
mat and excellently selected illus
trations contrast easily with the
accustomed dullness of other de
nominational books (including
many of those issued by or for the
Episcopal Church); an excellent
index adds to the usefulness of the
book as a reference tool. Edited by
Philip Deemer, and published by
the relatively new Jarrow Press,
Inc., 45 East 89th St., New York,
N.Y. 10028, the 289-page, double
columned book is distributed by
Morehouse-Barlow, 14 East 41st
St., New York, N.Y. 10017; $6.50.
A new four-volume edition of the
Catch Club of London s famous
Collection of Catches, Canons, &
Glees, published over a period of
32 years is being published by
Mellifont Press and Irish Univer
sity Press, Inc. (2 Holland Ave.,
White Plains, N.Y. 10603; 4 vols.,
1,776pp., $160). Here are 652 sa
cred, sentimental, and bawdy songs
of the Georgian Era, some of them
by outstanding poets and musicians
of the times. Certainly one of the
most important sources of 18th-
century English music.
September 1970
11
RECENT FOREIGN
REFERENCE
BOOKS
This column -is conducted by DT Law
rence S. Thompson., Professor of Classics,
University of Kentucky.
Dezso Dercsenyi, Historical Mon
uments in Hungary, Restoration
and Preservation (Budapest: Cor-
vina Press, 1969; 98pp., 136 pi),
deals with the greatest architectural
tradition of Europe west of Berlin
and Vienna. There are sections on
public buildings, ecclesiastical
buildings, dwelling houses, rural
and industrial buildings, and stat
ues and mural paintings. The plates
in the last part of the book are
masterful.
Peter Berglar, Wilhelm von Hum-
boldt in Selbstzeugnissen und Bild-
dokumenten (Reinbek bei Ham
burg: Rowohlt, 1970; 187pp.;
"Rowohlts Monographien", 161;
DM2.80), is a richly illustrated
biography, based on source materi
al, of one of the major figures in
science, exploration, and culture
in the last century. It is a corner
stone for collections of Latin Amer
icana. Adam Schaff, Marxismus
und das menschliche Individuum
(Rowohlt, 1970; 155pp.; "Rowohlts
Deutsche Enzyklopadie", 332;
DM2.80), is a perceptive commen
tary on the most powerful single
socio-political innovation of our
time.
From B. R. Griiner (Nieuwe Her-
engracht 31, Amsterdam) there are
a number of reprints of works
which have been almost forgotten
by the new research libraries, yet
are a part of their sinews if they
want to serve scholarship. Otto
Weinreich, Ausgeicdhlte Schriften
I, 1907-1921 (reprinted, 1969; 607
pp.: $30.80), makes available the
basic works of one of the great
classical scholars of the twentieth
century. Frederic Hennebert, His-
toire des traductions jrangaises
d auteurs grecs et latins, pendant
le xvi 6 et le xvii e siecles ( reprinted,
1968; 261 pp.: $15.40), is a classic
work which inspired the present
reviewer s similar study of German
translations of the classics during
the period of Renaissance and Re
formation in northern Europe. Jules
Le Petit, Bibliographie des princi-
pales editions originates decrivains
frangais du xv e an xviii e siecle (re
printed, 1969; 383 pp.: $40.60), is
a selective and perceptive study
which could not be easily dupli
cated in our time. The Catalogue
chronologique des libraires et des
libraires-imprimeiirs de Paris, de-
pitis Tan 1470, jusqud present (re
printed, 1969; 260 pp.: $32.20)
provides long-forgotten publishers
lists, a compilation without which
the story of French culture of the
15th-18th centuries would be dif
ficult to reconstruct.
G. H. Hardy, Bertrand Russell
and Trinity (Cambridge, At the
University Press, 1970; 61 pp.:
$2.95), is the documentation of dis
missal of Professor Russell from
Trinity College, Cambridge, in
1916. Similar events have occurred
in the United States in the 1960s,
and the comparisons should be
studied.
12
AN&Q
BOOK REVIEWS
FREEDLEY AWARD BOOK
SHATTUCK, Charles H. The Hamlet of
Edwin Booth. Illus. xviii, 321 pp. Ur-
bana, III.: University of Illinois Press,
1969. $10.95
Charles H. Shattuck s new book has
received the 1969 George Freedley Me
morial Award from the Theatre Library
Association, and it well deserves the
honor. Future theatre historians will re
gard the book as a classic American
study, one that set new, rigorous stand
ards of precision and comprehensiveness.
Those future historians will have diffi
culty finding a pre-cinema actor whose
performances are so well-documented as
Edwin Booth s,
Mr Shattuck s aim is not biographical;
rather, he tries to answer the question,
"What did the actor do upon the stage
and what did it mean to his beholders?"
About half the book is given over to a
"reconstruction" of Booth s Hamlet based
mainly on an extraordinary account writ
ten by a twenty-one-year-old commercial
clerk named Charles W. Clarke. Moved
deeply when he first saw Booth in the
role in 1870, Clarke memorized the play,
studied it, and went to see Booth s per
formance eight times. In a 60,000-word
manuscript now preserved in die Folger
Library, Clarke recorded Booth s Hamlet
in astonishing detail, using a system of
underscoring and other marks to indi
cate vocal stresses, elisions, and inflec
tions, and describing Booth s gesture,
movement, and facial expression. The
descriptions are so compelling that any
one with an ounce of histrionic impulse
will find himself acting out the role,
trying to reproduce Booth s style.
As Mr Shattuck recognizes, his recon
struction is "not holiday reading", so he
supplies a chapter of general description
of Booth s 1870 production (the "defini
tive" production), including discussion
of the costumes and scenery, the acting
company, and the critics responses. In
addition, the book has a long introduc
tion, three chapters about Booth s earlier
productions of the play, and a chapter
on "Hamlet in Repertory, 1870-91". The
text is illustrated with views of Booth s
Theatre, scene designs for Booth s pro
ductions, and portraits of the actor. A
comprehensive list of references would
have been useful to those interested in
pursuing Booth in his other roles; un
fortunately this has been omitted. Docu
mentation in the footnotes is, however,
quite full, and the reconstruction of
Booth s Hamlet is preceded by a chapter
on the surviving promptbooks and simi
lar evidence.
Booth has been the subject of biog
raphies by his sister, Asia Booth Clarke,
by Copeland, Hutton, Winter, Goodale,
Lockridge, Kimmel, and, most recently,
Eleanor Ruggles (whose Prince of Play
ers was adapted for a film starring Rich
ard Burton). Most of them are popular
treatments of limited interest to die
scholar, and William Winter s is still in
many ways the best of them. Mr Shat
tuck, despite his concentration on Booth s
performances, has made important new
contributions to the actor s biography.
He has read a huge number o letters,
presumably including the large batches
recovered a few years ago and acquired
by The Players and the New York Pub
lic Library. (One batch was rescued at
the last minute from the trasn can.)
Following evidence in the letters and
elsewhere, Mr Shattuck has for the first
time laid a proper stress on the parts
played by Adam Badeau and by Booth s
first wife, Mary Devlin, in the develop
ment of his acting style. Booth first met
Badeau in New York when they were
both in their twenties, and Badeau, bet
ter educated than Booth and a man-
about-town, became the actor s mentor
and close friend. Badeau later recalled:
"I used to hunt up books and pictures
about the stage, the finest criticisms, the
works that illustrated his scenes, the
biographies of great actors, and we stud
ied them together. We visited the Astor
Library and the Society Library to verify
costumes, and every picture or picture-
gallery in New York that was accessible".
It was probably Badeau who first de
veloped in Booth a strong taste for the
picturesque and for historical accuracy
in scenery and costumes. These ideas
were in the air, but Badeau s instruction
helped to clarify and direct the actor s
thinking. Booth always made up for
Richelieu with the guidance of an en
graved portrait of the historical cardinal
tacked up on his dressing room mirror,
and he found his Shylock costume in s
September 1970
13
minting by Ger6me, the popular French
listorical painter. Throughout his career,
Sooth s gestures and "attitudes" were
calculated to create pictorial effects (this
s clear from Clarke s account), and the
^reductions at Booth s Theatre were fa-
nous for historical accuracy.
Mary Devlin Booth s beloved Mollie
- also influenced his acting. Mr Shattuck
has brought forth new evidence dem
onstrating how she encouraged and
guided him in the style he was develop
ing. She found in the French philosopher
Cousin what she believed was the aes
thetic justification for Booth s style.
The Hamlet of Edwin Booth contains
a valuable discussion of the scenery of
Booth s productions, excelled only by
Mr Shattuck s own article in the Harvard
Library Bulletin in 1967. This is an area
where all the biographies of Booth are
severely lacking. The second half of the
19th century was an age of illusionistic,
historically-correct scenery (the perform
ances as often belonged to the scene
painter as to the actor), and careful
attention to this aspect of Booth s pro
ductions was overdue. Mr Shattuck s pre
vious books on Macready s King John
and his As You Like It have prepared
him well to put Booth s production ideals
into their proper context. He stresses
Booth s debt to Charles Kean, whose
splendid productions of Shakespeare in
New York in 1846 were often compared
to Booth s.
There is little to quarrel about in this
book. Mr Shattuck deliberately chose to
edit Clarke s manuscript, rather than
reproduce it without alterations. He de
fends his choice well: Clarke s style is
sometimes confusing and inept, and "it
is through the information which Clarke
gives us, not his style, that we can realize
Booth s Hamlet".
In this light, it is easy to understand
(but difficult to accept) Mr Shattuck s
ridicule of William Winter s criticism.
Winter was Booth s close friend and ad
visor and the editor of his acting editions.
His style was rather flowery and he was
often sentimental, but his biography of
Booth and his newspaper criticism often
contain useful information, Mr Shattuck
goes so far as to make fun of Winter
by setting up one of the critic s over-
long sentences as a piece of poetry. The
problem", he explains, "is to find the
actor under the smoke of words". Even
if it is granted that little in the way of
specific details can be gathered from
Winter s criticism, it must still be re
membered that ornateness and sentimen-
talism were characteristic of the age
and Booth, according to the New York
Times, was "the representative tragic
actor of the American stage". Winter s
literary style is a counterpart to Booth s
genteel, even feminine acting style. Read
without prejudice, Winter s criticism can
help us capture the "feel" of Booth s
Hamlet and its meaning to his audiences.
But Winter s criticism demands from
the modern reader considerable patience,
plus a land of suspension of disbelief,
and the book gets along well enough
without him. Still, one is curious to
know if Winter might have influenced
Booth as much as Badeau or Mollie
Devlin did. A selection of Booth s letters
to Winter, edited by Daniel J. Water-
meier, is to be published by Princeton
University Press in the fall of 1970; it
will perhaps answer the question.
An extended scholarly study of Booth s
acting has long been needed, and now
we have it. Some of it may not be
"holiday reading", but where Booth is
concerned we have already had enough
of that. It is to be hoped that Mr Shat
tuck s excellent book will stimulate thea
tre historians to re-examine the lives and
performances of the other great actors of
the 19th-century American stage. They
will be hard pressed to produce studies
as probing, as well researched, and as
gracefully written as this one. Rich
ard Stoddard, Yale University,
SPARROW, John. Visible Words: a
Study of Inscriptions In and As Books
and Works of Art. xvi, 152pp. Cam
bridge: At the University Press, 1969.
$22.50.
The Cambridge University Press,
though it is a university press, is much
older than most publishing houses associ
ated with higher education, at least in
America (it has an American branch in
New York), and sometimes has the ap
pearance of a commercial press. Its im-
14
AN&Q
print is often found on beautifully de
signed and produced volumes, such as
D. F. McKenzie s The Cambridge Uni
versity Press 1696-1712: a Bibliographical
Study (1966), which are expensive ($55
for the two volumes) and whose appeal
is limited. Carefully and authoritatively
written, immaculately edited, they rep
resent the highest standards of scholarship
and learning. Another such publication is
John Sparrow s Visible Words, the San-
dars Lecture in Bibliography given at
Cambridge in 1964.
This lectureship has seen such previ
ous performances as J. B. Oldham s
English Blind-Stamped Bindings (1949),
H. S. Bennett s English Books and Read
ers (1951), Fredson Bowers Textual and
Literary Criticism (1957), A. Hyatt
King s Some British Collectors of Music
c. 1600-1960 (1961), and F. J. Norton s
Printing in Spain 1501-1520 (1963). AD,
of course, were issued by the Cambridge
University Press; and Professor Bowers
lecture was at least popular enough
though that s not the best word to de
scribe it to also appear as a paperback.
To accommodate many of the 62 plates
in Mr Sparrow s history of the inscrip
tion, the designer of the book for the
Press has employed a large format, 11
by 7& inches. This makes it possible to
read the tiny writing though it is
often in Latin in the paintings and on
the monuments used as illustrations in
the book. Indeed, viewers in museums
often hardly know there is writing on
some paintings; for, unless one is study
ing a work of art and closely observing
all of the minute details, one is una
ware of the calligraphy at all. Yet, to the
artists, this was naturally of some im
portance, and it is just as necessary to
Mr Sparrow s discourse.
Sparrow s definition, in Visual Words
(p. 5), tells us what he is going to be
concerned with, and at the same time one
gets a glimpse at his own style of com
position: * A literary inscription, then,
is a text composed with a view to its
being presented in lines of different
lengths, the lineation contributing to or
enhancing its meaning, so that someone
who does not see it, actually or in its
mind s eye, but only hears it read aloud
misses something of the intended effect".
And he goes on to say, "Such inscriptions
are examples of a literary form that differs
both from verse and from prose as it
is ordinarily composed and presented".
In these days of hurried journalism, it is
always a pleasure to see material pre
sented with such grace and manner,
regardless of the subject.
It matters not a whit to Mr Sparrow
and to the Cambridge Syndics, I am
sure that many of those who heard
the Sandars Lectures, which were ex
panded for publication, or have read,
or will read, the book, do not read and
understand Latin, Italian, and French
in the inscriptions and sources. Trans
lations would have been out of place,
and the explanations, if any, are brief;
yet without getting the full appreciation
of the epigraphist s art, one can still
follow Mr Sparrow s "strange and un
recorded episode in literary history".
However, it is not, as he says, quite so
narrow or so trivial as it may appear; and
he shows how a taste for the inscription
spread over Europe in the 17th century,
and how whole books took the form of
extended inscriptions or a series of them.
Finally, he shows how far the eye plays
a part in literary appreciation.
Though such verses as George Her
bert s "Easter Wings" (1633), and Lewis
Carroll s Mouse s Tale in Alice in Won
derland (1865), have something in com
mon with inscriptions, the visual form
here (wings and the tail) does not con
tribute to the meaning of the text but
merely illustrates it. His definition set
tled, Mr Sparrow traces the history of
classical inscriptions, in Greece and
Rome: the earliest on bronze or stone,
laws, treaties, then epitaphs by Greek
epigraphists, and later the Romans. But
neither of them regarded the inscription
as a literary form, nor were they so re
garded in the middle ages. It was in
the 15th century that the classical in
scription was reborn in Italy and be
gan to acquire a new beauty, as is shown
in this study and the illustrations. This
visual presentation of words was re
kindled in scholars and writers, verse
however being supplanted by prose, and
was carried on by architects, painters,
sculptors, and monument designers. Im
portant names in this period are Uccello,
zptember 1970
ernardo Rossellino, and Fontano, by his
^counts of whom the author of Visible
fords shows the breadth and depth of
is learning.
In the 16th century collections of clas-
[cal inscriptions began to be made in
<x>ks, followed by collections of con-
smporary inscriptions, in Italy, Germany,
lolland, and England (Camden in 1600,
jid John Weever, Ancient Funerall Mon-
iments, 1631, for example). By this time
jpigraphy was an art and a science of its
>wn, and we had a new field for both
lie stonecutter and the literary artist.
Mr Sparrow s second chapter, consider
ably expanded from his lecture, deals
wdth the inscription in architecture, paint
ing, and monumental art; and 25 of his
62 pages are illustrative examples. He
became fascinated with the subject, he
says, which has not been fully appreci
ated by art historians; though it does get
away from bibliography it is nonetheless
a subject that readers will not regret his
"straying" into, nor need he worry about
his being considered an "intruder" into
art-historical criticism. Among the many
artists, all in bkck and white, are Lotto,
Moretto, Poussin, and Hogarth, all of
their illustrative painting containing in
scriptions one would easily have over
looked, as I mentioned above. Here, as
well as in art on monuments, the prob
lem which Mr Sparrow discusses is how
to unite the text with its setting: the
inscription should not be unduly promi
nent, nor should it be swamped by its sur
roundings. The lineated inscription hav
ing become a recognized literary form in
Italy in the 16th century, architects and
painters and sculptors prepared the pub
lic to appreciate these visible words in its
new development. So in his third chapter
the author shows how "the lapidary
epigraph ceased to be lapidary, break
ing away from the stone and transferring
itself to cheaper and less substantial ma
terials, fixing itself upon paper, and
finally becoming a kind of book". And
the most important person in this phase
was Emanuele Tesauro (1592-1675),
who was born and lived in Turin, an
historian and epigraphist in the court of
Savoy for more than 40 years, and a
prolific author. Other producers of lapi
dary books, whose stories occupy less
15
space than Tesauro, are Aloysius Juglar,
Giovanni Andrea Alberti, and Ottavio
Boldoni. In England, before the lapidary
book died in the 17th century, the most
remarkable work was Francis Quarles s
Memorial upon the Death of Sir Robert
Quarles, 1639, an elegy of 253 lines on
the poet s brother.
Mr Sparrow s literary, if not biblio
graphical, history leads in the final 9-
page concluding chapter, to an intriguing
aesthetic question: how far can the eye
play a part in the appreciation of a
work on literature? This strange literary
fashion in 17th century Europe as
the Warden of All Souls College, Oxford,
puts it, "the ATS Lapidaria lay mid-way
. . . between the ATS Oratorio, and the
Are Poetica became popular because of
the restrictions of quantitative classical
metres, by the use of inscriptions in pag
eants and triumphal displays, as weU as
on public and private buildings and on
sepulchral monuments, and finally in
books (until the 1740s). With its death
some two centuries ago, we can now ask
if it was important or (to quote G. M.
Trevelyan) "fundamentally piffle"?
True, it did get nowhere; hut in our
time Guillaume Apollinaire often amused
himself with figured verses, his "Calli-
grammes" representing by shapes the
things they described (rain, a man
smoking a pipe, a bursting bomb) to
startle the reader and compel him to
study the text carefully; so did Ezra
Pound in his Cantos and Stephane Mal-
larme in Un Coup de Des jamais
n abolira le Hasard. They, as well as
others, and as Tesauro in the 17th cen
tury, produced literary works of which
visual form was an essential constituent.
To go a step further, Mr Sparrow
wonders what our conception o "poetry"
would be if it were all printed like prose,
and how different the meaning of po
etry is to those who read it than to some
one who has been blind from birth. The
conclusion is: "the literary effect that
can be achieved by visual presentation
is limited, and . . . efforts to go beyond
its limits were a failure [but] within
those limits lies a narrow yet not negli
gible margin, and that margin is the
field of epigraphic art". William
White, Wayne State University
AN&Q
PUBLICATIONS RECEIVED
(Continued from p. 2)
Hertzler, Joyce 0. Laughter: a Socio-
Scientific Analysis. 231pp. N.Y.: Ex
position Press, 1970. $6.50
Hildeburn, Charles R. Sketches of Print
ers and Printing in Colonial New York,
(N.Y., 1895). Illus. 189pp. Detroit:
Gale Research Co., 1969. $8.50
Hofstadter, Richard. The Idea of a Party
System: the Rise of Legitimate Op
position in the United States, 1780-
1840. 280pp. Berkeley: University of
California Press. [1969], Paper, $2.45
Howard-Hill, T. H. Bibliography of Brit
ish Literary Bibliographies, xxv, 570pp.
N.Y.: Oxford University Press, 1969.
$23.75
Howe, George; & Harrer, G. A. A Hand
book of Classical Mythology. (N.Y.,
1947). 301pp. Detroit: Gale Research
Co., 1970. $9.
Irving, Washington. Mahomet and His
Successors. Ed. by Henry A. Pochmann
and E. N. Feltskog. (Complete Works
of Washington Irving). 651pp. Madi
son: University of Wisconsin Press,
1970. $20.
Pavese, Cesare. American Literature: Es
says and Opinions. Trans, by Edwin
Fassell. xxiv, 219pp. Berkeley: Uni
versity of California Press, 1970. $6.95
Pepys, Samuel, The Diary of. A New
and Complete Transcription Edited
by Robert Latham & William Mat
thews. Vol. I, 1660; II, 1661; III,
1662. Illus. Berkeley: University of
California Press, 1970. 3 vols. to
gether, $27.
Prescott, William Hiclding. Correspond
ence . . . 1833-1847, Transcribed and
Edited by Roger Wolcott (Boston,
1925). Port, xxi, 691pp. N.Y.: Da
Capo Press, 1970. $24.50
Searle, Ronald; & Dobbs, Kildare. TJie
Great Fur Opera: Annals of the Hud-
sons Bay Company, 1670-1970. [Hu
mor]. 128pp. Brattleboro, Vt: The
Stephen Greene Press, 1970. $4.95
Smith, Elsdon C. The Story of Our
Names. (N.Y., 1950). 296pp. Detroit:
Gale Research Co., 1970. $7.50
Spicer, Dorothy Gladys. The Book of
Festivals. (N.Y., 1937). 429pp. De
troit: Gale Research Co., 1969. $12.50
Vinycomb, John. Fictitious & Symbolic
Creatures in Art, With Special Ref
erence to Their Use in British Her*
aldnj. (London, 1906). 270pp. De
troit: Gale Research Co., 1969. $7.50
Wolfe, Thomas. The Mountains: a Play
in One Act; The Mountains: a Drama
in Three Acts and a Prologue. Ed.,
With an Introd. by Pat M. Ryan.
177pp. Chapel Hill: University of
North Carolina Press, 1970. $8.50
Tester, M. H. The Healing Touch. [Faith
healing]. Illus. 154pp. N.Y.: Taplinger
Publishing Co., 1970. $5.95
[Thomas, Ralph]. Handbook of Fictitious
Names, by Olphar Hamst. (London,
1868). 235pp. Detroit: Gale Research
Co., 1969. $8.50
Thompson, C. J. S. The Mystery and
Romance of Astrology. (1929). 296pp.
Detroit: Singing Tree Press, 1969.
$7.50
Thomson, John, An Enquiry Concerning
the Liberty and Licentiousness of the
Press . . . (N.Y., 1801). (Civil Lib
erties in American History Series).
84pp. N.Y.: Da Capo Press, 1970.
$8.95
Twain, Mark. The Mysterious Stranger.
Ed. with an Introd. by William M.
Gibson. ( Center for Editions of Amer
ican Authors, an Approved Text,
MLA). 483pp. Berkeley: University of
California Press, 1970. Paper, $2.95
AMERICAN NOTES & QUERIES
Jurne IX Number 2 October 1970
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOR REVIEWS
. . J
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Alexander, Michael, trans. The Earliest
English Poems: a Bilingual Edition.
218pp. Berkeley: University of Cali
fornia Press, 1970. $6.50
( American Revolution ) . Stubenrauch,
Bob. Where Freedom Grew [Text and
photographs by the author]. Jllus.
186pp. N.Y.: Dodd, Mead & Co., 1970.
.$6.95
(Ames, Nathaniel). The Essays, Humor,
and Poems of Nathaniel Ames, Father
and Son . . . From Their Almanacks,
1726-1775, With Notes and Comments
by Sam. Briggs. (Cleveland, 1891).
Illus. 490pp. Detroit: Singing Tree
Press, 1969. $17.50
Bancroft, George, Life and Letters of.
By M. A. DeWolfe Howe. (N.Y., 1908).
Illus. 2 vols. in 1. N.Y.: Da Capo
Press, 1970.
Berman, Marshall. The Politics of Au
thenticity: Radical Individualism and
the Emergence of Modern Society.
325pp. N.Y.: Atheneum, 1970. $8.95
Beston, Henry. Especially Maine: the
Natural World of [HB] from Cape
Cod to the St. Lawrence. Selected, and
with an Introd. by Elizabeth Coats-
worth. Illus. 198pp. Brattleboro, Vt:
Stephen Greene Press, 1970. $6.95
Bonnerjea, Biren. A Dictionary of Super
stitions and Mythology. (London,
1927). 314pp. Detroit: Singing Tree
Press, 1969. $10.
Campbell, Helen. Darkness and Day
light; or, Lights and Shadows of New
Yorfc . . . (Hartford, 1895). Illus.
740pp. Detroit: Singing Tree Press,
1969. $20.
Caruthers, William Alexander. The
Knights of the Golden Horse-Shoe: a
Traditionanj Tale of the Cocked Hat
Gentry in the Old Dominion. (Wet-
timpka, Ala., 1845). xxx, 248pp. Chap
el Hill: University of North Carolina
Press, 1970. Paper, $2,95
Chaney, William A. The Cult of King
ship in Anglo-Saxon England: the
Transition from Paganism to Christi
anity. 276pp. Berkeley: University of
California Press, 1970. $7.50
Clement, Clara Erskine. A Handbook
of Legendary and Mythological Art.
Enlarged Edn. (Boston, 1881). EHus.
575pp. Detroit: Gale Research Co.,
1969. $14.50
Copley, John Singleton; Letters and Pa
pers of (his) and Henry Pelham,
1739-1776. (Boston, 1914). Illus. xxii,
384pp. N.Y.: Da Capo Press, 1970.
$17.50
Dickinson, Emily. Bolts of Melody. New
Poems . . . Ed. by Mabel Loomis
Todd and Millicent Todd Bingham.
(N.Y., 1945). Illus. xxix, 352pp. N.Y.:
Dover Publications, 1969. Paper, $3.
(Dickinson). Buckingham, Willis J., ed.
Emily Dickinson: an Annotated Bibli
ography: Writings, Scholarship, Crit
icism, and Ana, 1850-1968. 322pp.
Bloomington: Indiana University Press,
1970. $10.
( Continued on p. 31 )
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies 750. Printed in the U.S.A. by
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Abstracted in Abstracts of English Studies and Abstracts of Folklore
Studies; indexed in Book Review Index; included in The Year s Work in
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Literature, MHRA. Appropriate items included in the Annual MLA Inter
national Bibliography; Victorian Studies Victorian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
VAUGHAN S
"REGENERATION":
AN EMENDATION
HENRY VAUGHAN S PHRASING is fre
quently thorny, but seldom so dif
ficult grammatically as in lines
71-72 of "Regeneration", here ital
icized in relevant context:
Here musing long, I heard
A rushing wind
Which still increased, but whence
it stirrd
No where I could not find;
1 turn d me round, and to each shade
Dispatch d an Eye,
To see, if any leafe had made
Least motion, or Reply,
But while I listning sought
My mind to ease
By knowing, where twas, or where
not,
It whisper d; Wfore I please. 1
Arranged in modern word order,
the problem clauses read, "But
I could not find whence it stirr d
no where", and the syntactical
oddity becomes more glaring. Not
only does the sentence involve
a double negative of a kind that
does not seem to appear elsewhere
in Vaughan. In addition, the phrase
no where performs the adverbial
function which would otherwise
be performed by the noun clause
"whence it came", making that
clause into an ungainly "pure"
substantive without the saving ad
verbial effect.
I would like to explore the pos
sibility that Vaughan s intended
phrasing was nor where rather than
no where. Where would then be
coordinate with whence, and the
sense of the passage would be as
follows: "I could not tell whence
the wind came or where it went *.
This wording would more closely
parallel John 3.S, to which it al
ludes: "The wind bloweth where
it listeth, and thou hearest the
sound thereof, but canst not tell
whence it cometh, and whither it
goetrT. The modern equivalent
of whither is where, and so the
parallel with the scriptural verse
is very striking. Notice OED,
where, I, 1, c: "colloq. with from
or to at the end of the sentence
or clause: where . . . fromP=
whence? where . . . tfoP=whither? w
The possible objection that
stirrd does not seem properly to
apply to the direction in which
the wind is blowing is answered
by OED, stir, 11: "To move (con
tinuously, or in a general sense);
to be in motion; spec, to move as a
living being". In other words, stir
can be used in relation to a direc
tion toward (whither, where) as
well as from a point of origin.
These lines come near the con
clusion of a narration of an alle
gorical journey, which begins with
the narrator in an unregenerate
state and ends with his sense of
the mystery of God s election and
his prayer to receive it, alluding,
as E. C. Pettet remarks, "to one
of the central New Testament texts
on election and salvation", the
verse quoted above from John. 2
If it is assumed that Vaughan
20
AN&Q
had in mind a two-part sense of
the mystery of the wind s move
ment ( whence from and where to )
paralleling the two-part movement
in John 3.8, the immediately fol
lowing stanza is rendered much
clearer. The phrase "Least motion
or reply", with its otherwise strange
division into motion and reply,
becomes clear: having heard the
wind, the narrator looks to see
where the leaves have moved
("Least motion"), as a clue to the
place of the wind s coming; and,
secondly, to where the leaves have
responsively moved ("reply"), as
a clue to the place of the wind s
going. This two-part search for the
wind s movement is followed by
the expression of a two-part desire
to know "where twas, or where
not", or, as Pettet interprets it,
where God s election rests and
where it does not rest. God s reply,
whispered in the sound of the wind,
is "Where I please".
It seems to me that the grammar,
the symmetry, and the idea of
these two stanzas are enhanced
by viewing the action of lines 71-72
as involving a two-part motion of
the wind. And this two-partedness
is achieved by the simplest of
emendations, suggesting that it
could easily have been the poet s
original intention. He could have
written "Nor where", and it could
have been transcribed by someone
else as "No where".
Edgar F. Daniels
Bowling Green State University
1. The Complete Poetry of Henry
Vaughan, ed. French Fogle, 1964
pp. 141-142.
2. Of Paradise and Light, 1960, p. 116.
THE EYES OF
DR T. J. ECKLEBURG
RE-EXAMINED
But above the gray land and the
spasms of bleak dust which drift end
lessly over it, you perceive, after a mo
ment, the eyes of Doctor T. J. Eckleburg.
The eyes of Doctor T. J. Eckleburg are
blue and gigantic their retinas are one
yard high. They look out of no face,
but instead from a pair of enormous
yellow spectacles which pass over a
non-existent nose. Evidently some wild
wag of an oculist set them there to fatten
his practice in the borough of Queens,
and then sank down himself into eternal
blindness or forgot them and moved
away. But his eyes, dimmed a little by
many paintless days under sun and rain,
brood on over the solemn dumping
ground. 1
THE ABOVE PASSAGE is one of the
most quoted in the work of F.
Scott Fitzgerald, yet in the criti
cism I have read no one has pointed
out the error in it. J. S. Westbrook-
coined a phrase, "ocular confu
sions", in quite a different connec
tion, but such a phrase is apt here.
Fitzgerald did not want the term
retinas to describe Doctor T. J.
Eckleburg s eyes. The signboard
cannot be seen as Fitzgerald de
scribes it. The retina is, in the
words of the OED, "The innermost
layer or coating at the back of the
eyeball . . . which is sensitive to
light and in which the optic nerve
terminates". Therefore, it is not
possible to present an advertise
ment for glasses, showing retinas,
without entirely different schemat
ics than Fitzgerald follows. Such
a signboard can be imagined, per
haps illustrating a more technical
aspect of optometry, or a more
sophisticated philosophical sugges
tion, e.g., the world is but the
image on the retinas of God. Un-
October 1970
21
doubtedly Fitzgerald had no such
point in mindt, either regarding
optometiy or ontology. He wanted
a word to describe what could be
seen on the signboard. He wanted
a noun that was not as pedestrian
as eyeballs, and chose retinas, when
eyeballs alone would do, unless he
could settle for the pronoun they.
The corrected passage reads: "The
eyes of Doctor T. J. Eckleburg are
blue and gigantic they or the
eyeballs are one yard high". The
word eyeballs is rather inelegant
(though used in the OED), which
may be why Fitzgerald chose ret
inas. Of course, he may not have
known what a retina was.
Why the critics have overlooked
this error is not easy to understand.
That they have could be used in
support of Mr Snow s contention
about "literary intellectuals". Cer
tainly the definition of retina is
simpler to learn and easier to re
member than the Second Law of
Thermodynamics. But ignorance
and sloth are not at fault here.
The fault lies in the over zealous
textual analysis which at times pre
cludes close reading. Accordingly
the real subject of Fitzgerald s pas
sage is the symbolic value of the
eyes, not the description of them.
William York Tindall selects the
passage as an example of what
he is interested in: "Those eyes
as suggesters of many things, some
of them nameless (italics mine),
seem more entertaining than as
references to an oculist". 3 The critic
need not examine the text, but only
seek out what it can symbolize:
And over it all brood the eyes of Dr.
Eckleburg, symbols of what? Of the
eyes of God, as Wilson, whose own
world disintegrates with the death of
Myrtle, calls them? As a symbol of
Gatsby s dream, which like the eyes is
pretty shabby after all and scarcely
founded on the "hard rocks" Carraway
admires? 4
For the most elaborate expression of
the disparity between illusion and reality,
however, we must turn finally to the
image of the dump presided over by the
yard high retinas of T, J. EcHeburg.
It is here that we get a synthesis of the
whole constellation of ironies inherent
in the theme of the novel, and it is here
that the idea of violated nature and that
of distorted vision are brought into the
most striking conjunction. Eckleburg
may be thought of as a commercial deity
staring out upon a waste of his own
creation. 5
The most potent suggestion of God s
presence in Fitzgerald s imaginary uni
verse may be lodged within the enigmatic
eyes of Doctor T. J. Eckleburg.e
The ironies are obvious and abun
dant. No doubt once the error is
recognized, the symbolic value of
the passage will be reevaluated:
more references to "ocular confu
sions ", "distorted vision", and those
"enigmatic eyes". Fitzgerald must
bear this burden.
Richard Johnson
Central Washington State College
Ellensburg, Washington
1. F. Scott Fitzgerald, The Great Gatsby
(N.Y.: 1925), p. 27.
2. J. S. Westbrook, "Nature and Optics
in The Great Gatsby", American Lit
erature, XXXH (March, 1960), p. 78.
3. W. Y. Tindall, The Literary Symbol
(N.Y.: 1955), p. 11.
4. Tom Burnam, "The Eyes of Dr. Eckle
burg: A Re-examination of The Great
Gatsby*, College English (October,
1952), p. 12.
5. Westbrook, p. 82.
6. Milton Hindus, "The Mysterious Eyes
of Doctor T. J. Eckleburg", Boston
University Studies in English, III
(Spring, 1957), p. 30.
99
THE DRAMA IN WARD S
TOWER OF LONDON
ARTEMUS WARD, DESCRIBING THE
Tower of London in his widely ap
preciated letter to Punch, 1 comes
to a wax figure of Queen Elizabeth.
He, having wax figures in his trav
eling show, naturally is interested
in the proud lifelike appearance
of Elizabeth, whom he says he al
ways has associated "with the
Spanish Armady". 2 And he points
out to Punch s readers that Eliza
beth is currently "mixed up with
it [the Armada] at the Surry [sic]
Theater, where Troo [sic] to the
Core is being acted". He continues
on about the play and makes fur
ther humorous occasional comment
upon it, in particular about its use
of ballet aboard ship.
The play he is speaking of is True
to the Core, by Angelo Robson
Slous, first performed at the Surrey
Theater in London on 8 September
1866. 3 This play, according to The
Times, 4 opened to a "vast audience"
and was a popular success, al
though the Times reviewer is criti
cal of it as a drama. Yet he allows
that if it is "viewed as a spectacle,
the new drama is entitled to high
est praise", 5 and he points out that
it is the winner of the T. P. Cooke
prize of 100 for the best nautical
drama. He especially commends
the two most spectacular scenes
of the play, one of which (the bal
let company aboard the lavish
Spanish ship) is made fun of by
Ward in his essay. The play is, as
the Times critic outlines it, G a
melodrama with a veiy loosely con
structed plot, more designed to pro
vide occasion for spectacle and sen
timental thrills than any concentrat
ed dramatic effect. Its action tabes
AN&Q
place on the Devonshire coast in
the summer of 1588 and concerns
the threatened invasion of England
by the Spanish Armada. The hero
is the honest English ship captain
and combination lighthouse
keeper and hostelry manager
Martin Truegold (mentioned by
Ward). The play has four acts,
and in these the true-blue Martin
is exposed to the machinations of
Spaniards and traitorous English
in league with the Armada. The
plot basically has to do with the
problem the Armada faces in land
ing at Plymouth and the results
growing out of its attempt to solve
this problem. The Spaniards need
an experienced pilot to lead them
to the English coast ~ Martin is
handy he is drugged and taken
to the Admiral-ship of the Armada
(End of Act I). Here the first
of the two great spectacles of the
play is presented: the Spanish ship
is splendidly decorated in almost
Oriental finery and the Spaniards
loll easily on deck as the stalwart
Martin is tempted to betrayal and
adamantly refuses. He refuses, at
least until his recent bride is
threatened with death, He finally
submits, but purposely leads the
Spaniards to founder on the rock
of Eddystone (End of Act II). On
the rock all the main characters
are thus stranded and here the
second of the play s spectacles is
produced, the terrified members
of the group on the rock and their
attempts to survive and to be res
cued. This action consumes all the
third act. The group, bound to
gether by mutual need, finally es
capes the rock in a fortunate boat
(End of Act III). The last act
finds Martin in prison about to be
executed for treason. But he is de-
October 1970
23
livered at the last minute by Queen
Elizabeth herself, who has been
urgently sent a ring (the exact
nature of which is never explained)
and who commands the real cul
prits go off to trial and releases
Martin and also knights him for his
services against the Armada. Thus
all ends happily.
Ward must have seen the po
tential humor in such a melodra
matic plot, for he partially ex
ploited it in his essay on the
Tower. Especially the ballet scene
in Act II he singles out: "a full
bally core is introjooced on board
the Spanish Admiral s ship, givin
the audiens the idee that he intends
openin a moosic-hall in Plymouth
the moment he conkers that
town". 7 Ward s comment would
have provided special delight for
those familiar with the well-known
former Surrey manager Robert W.
EUiston (at Surrey 1809-1831),
who introduced ballets into all his
plays (e.g., Hamlet and Macbeth)
to avoid the Patent Act, 8 as well
as poking fun at the generally ri
diculous innovation of ballet on
ship.
Scott Garrow
East Carolina University
Greenville, North Carolina
1. Punch, October 13, 1866, p. 155.
2. Ibid.
3. Allardyce Nicoll, A History of Eng
lish Drama 1660-1900, Vol. V: Late
Nineteenth Century Drama 1850-1900
(Cambridge, 1959), 571.
4. Monday, September 10, 1866, p. 10,
col. 1.
5. Ibid.
DEUS EX MACHINA IN
AS YOU LIKE IT
IN THE LAST ACT of As You Like It,
the Folio text brings in the mytho
logical god of marriage, Hymen, to
unite the four pairs of lovers. Why
should Shakespeare, after present
ing a romantically conceived but
nonetheless realistic drama of the
joys of country Me, feel it neces
sary to bring in a deus ex machina
to cap it off? The answer is that
he probably did not intend to.
Although it is possible that the
Hymen of the play is meant to be
none other than the Greek god,
it seems much more likely that the
Hymen of the Folio stage direction
is really Corin in disguise.
Rosalind and Celia, keeping up
their disguises to the very last mo
ment, promise to make all well in
the last scene of the play. They go
offstage together, to effect Rosa
lind s return to female status, and
when they re-enter (the interval
needed for costume change having
been filled by the "wit combat"
between Touchstone and Jaques),
Hymen is with them. Since Corin
is in the employ of the two girls
as manager of their sheep farm
and seems to be very diligent in
their service, it is quite likely that
he could be prevailed upon to act
a part to oblige them. Corin, an
old man, would appear ridiculous
6. The play was printed in octavo in
London in 1866, but the nearest copy
I could locate is in the British Mu
seum and I have not seen it.
7. Punch, October 13, 1866, p. 155.
8. The Oxford Companion to tJie Thea
tre, ed. Phyllis Hartnoll (London,
1957), p. 778.
24
disguised as the youthful Hymen,
a point which, we may suppose,
would not fail to please the Eliza
bethan audience. Hymen has two
simple set speeches, both of which
could have been written by Rosa
lind beforehand and given to Corin
to learn by heart. The fact that
Hymen s words have no great so
lemnity and are, in fact, rather
bad verse, encourages the view
that Hymen is not really meant to
be the god of marriage. It appears,
then, that the copy used to set up
the Folio text was even more de
void than usual of full and com
plete stage directions, and that we
may be justified in reading V, iv,
108 SD as "Enter [Corin as] Hy
men, Rosalind, and Celia".
These observations have little
direct bearing on the appeal of the
play. They do perhaps indicate,
however, an aspect of Elizabethan
stage practice and an insight into
Shakespeare s alleged "careless
ness".
Kentville, N. S.
David A. Giffin
QUERIES
"To blow ones nails" Can a
reader provide me with a non-
classical use of this expression from
before 1470? The expression is
found in Horace s Satires, and is
usually understood to mean idle
ness or cold. The most important
appearance is in Shakespeare s
song, Winter", in Love s Labors
Lost. Jon R. Russ, Waterville,
Maine
AN&Q
"Whistling in the dark" What
is the origin and meaning of this
often quoted phrase? I am familiar
with it in a Polish rhyme: * Whis
tling in the day/ Is the Devil s
dismay;/ Whistling at night/ Is the
Devil s delight". A careful reading
of the latter, it seems to me, puts
a different interpretation on the
phrase than what I am used to,
that is, that whistling in the dark
wards off fears and dangers.
Mrs Stephen Odlivak, Centereach,
L. I., N.Y.
Bernice Minter, poet I have the
text of "The Gifts of Christ", a two-
stanza poem beginning, "A star,
low hanging in the sky,/ Shines
steadily and bright? . . .", and need
to know the title of the collection
in which it appeared, the editor,
publisher, and date, and any infor
mation about Bernice Minter.
David D. M. Haupt, Fort Wash
ington, Pa.
Night of the King s Castration
This recitation is apparently one of
the most commonly known Amer
ican folk narratives. A number of
fragments circulate as jokes, es
pecially among high school stu
dents who will easily recall " Tuck
the queen , cried the king, and
forty thousand subjects were killed
in the rush for in those days the
king s word was law"; or " Come
forth , said the king, but Daniel
slipped on a lion s turd and came
in a poor fifth"; or " Balls! cried
the king; and the queen said, If
I had two I d be king , and the
king laughed, for he had to [two]".
A mangled version appears in [T. R.
Smith?], Immortalia (New York,
1927; reprinted in Tokyo, ca. 1950;
and the Tokyo version reprinted
in Atlanta, Georgia, 1968). Can
October 1970
25
readers provide citations for
other printed or, more probably,
mimeographed versions in more
complete form? Ed Cray, Los
Angeles, Calif.
REPLIES
Order of the Golden Fleece (VIII:
136) "Bruges, on this 10th of Jan
uary 1429, was a city vibrant with
joy. Her inhabitants and visitors
from far and wide were celebrating
the marriage of Philippe the II,
Duke of Burgundy, and Princess
Isabella of Portugal. At the mar
riage feast when all the great and
powerful knights were gathered to
gether to pay homage to the young
couple, the duke, who was known
as Philippe the Good, proclaimed
the formation of the Order of the
Golden Fleece (L ordre de la toison
d or). He selected 24 of the fore
most knights as its original mem
bers. The Order was an exclusive
one; rules for membership were
very strict. Honor, virtue, accom
plishment in battle, and loyalty
were absolute musts and if a knight
did not live up to these high stand
ards membership could be revoked.
The sovereign was the head of the
Order and he alone could nomi
nate new members. He bestowed
upon each chosen knight a golden
chain with the golden fleece at
tached to it, which had to be worn
at all times. With the chain a
mantle of deep red velvet with
richly embroidered borders and
the toque of Burgundy was worn
on state occasions. The origin of
the name of the Order caused great
speculation. Some thought that the
duke had wanted to bid a fond
farewell to his youth and an un
known blonde. But historians agree
that Philippe the Good could not
have had such vile thoughts, and
they are in accord that he most
likely named it after Jason and
the Argonauts who proved so
brave in their quest for the Golden
Fleece. Three years after the duke s
marriage a reunion of the Order
took place at Lille. It was at that
time that the first formal record of
the Statutes of the Order was made.
In the National Library at Vienna
a manuscript known as Ms2606 has
been part of that library s collection
since 1783. It is the written record
of the revised statutes of the Order
as of 30 November 1431. It also con
tains the Coats of Arms of its first
163 members as well as the sump
tuously executed color portraits of
the first five rulers who headed the
Order from Philippe the II, Duke
of Burgundy, to Charles the Fifth,
Roman Emperor. The language of
the manuscript is in 15th-century
French, and it was written between
1520 and 1531. It consists of 29
signatures of four sheets each and
one signature of six sheets. Specu
lation has it that Simon Bening of
Bruges, one of the foremost illumi-
nators of his time, may have been
the artist who so beautifully deco
rated the manuscript. Who original
ly ordered the manuscript made
remains open to conjecture. It was
first mentioned as being in posses
sion of the Hapsburgs in 1619 when
inventory was held after the death
of Emperor Matthias who, between
1577 and 1582, had been governor
of the Netherlands. The University
of California Library acquired a
facsimile reproduction of the manu-
26
AN&Q
script, published in 1934 by the
Austrian government and repro
duced with a great desire for con
formity with the original. It is a
limited edition of 300 copies bound
in deep green velvet with clasps.
Half of the edition was published
with an explanatory text in French,
half with die text in German. Cali
fornia s copy is no. 64 in French.
It is to be found under the follow
ing entry: Order of the Golden
Fleece. Lc Here des ordonnances de
Tordre de la toison d or. Edite et
annote par Hans Gerstinger . . .
Vienna: Editions de rimprimerie
d fitat autrichienne, 1934", [Re
printed from CU News, University
of California, 23 February 1956; by
Lisl Davis; mimeographed].
EDITORS
NOTES & READING
We have been negligent in remark
ing on the interesting Queries ( and
Replies), that have appeared in the
past issues of the fairly new Ca
nadian Notes and Queries: Ques
tions et Reponses Canadiennes
"An Occasional Journal, published
through the courtesy of Bernard
Amtmann [noted antiquarian deal
er specializing in Canadiana and
Arctica], Montreal". Number 5, for
May 1970 inquires about John
Reinhold Forster s Account of Sev
eral Quadrupeds From Hudson s
Bay (the 1773 separate edition,
and any ms. annotations); the
Wandering Jew legend; Elgin-Ca
nadian Black Community, 1849-73;
Bay Company telephones in Al
berta; Histoiy of Canadian auto
mobile companies; Canadian fore-
edge painting. General communi
cations, including requests for is
sues, should be addressed to Wil
liam F. E. Morley, Editor, CN&Q,
Douglas Library, Queen s Univer
sity, Kingston, Ontario.
The only book devoted to antique
tool prices, Tool Collectors Hand
book of Prices Paid at Auction for
Early American Tools, compiled by
Alexander Farnham, with 500 tool
prices listed and 200 tools illus
trated, is available from the Hunt-
erdon County Historical Society,
Flemington, NJ. (40pp., $2.10).
Kitchen and household, woodwork
ing, farming, blacksmith, tinsmith,
lumberman, confectioners , and
many other tools are recorded, with
prices paid at the most important
tool auctions from 1964 to 1970.
Stories of small-town doctors can
be tedious but we have discovered
a new one that certainly isn t. A
Doctor at All Hours: the Private
Journal of a Small-Town Doctor s
Varied Life, 1886-1909, by David
S. Kellogg, M.D., Edited by Allan
S. Everest. This was indeed "a most
uncommon doctor s life in the
sparsely settled [Pittsburgh re
gion] of New York State". It s not
only medical, but the book presents
a variety of excitements concerning
a number of avocational interests:
folklore, natural history, local
events, mountain climbing, book-
hunting, etc. The illustrations, like
the text, are charming and informa
tive (Brattleboro, Vt: The Ste
phen Greene Press, 1970. 238pp.
$6.95).
October 1970
27
Have the pictures made you read
the text of any book since you were
a child? The exciting, and then the
later, the sad days, of one of Amer
ica s joys, as represented in the
pictures of the Glory of the Seas,
show the ship in greatest magnifi
cence and at the nadir of her dis
graceful end. Titled after the ship,
Michael Jay Mjelde s book has
gracefully retold the story of the
whole life of the last of Donald
McKay s magnificent three-masters.
This is an unusually well-researched
volume that appears now as the
first title in the American Mari
time Library series, published for
the Marine Historical Association
by Wesleyan University Press, Mid-
dletown, Ct (303pp., $9.95). For a
reader with no previous interest in
sailing ships, it was the pictures of
the tragic progression from queen
of the seas to a beached cold stor
age fishery plant that made me
read about it all of one summer s
night. A glossary of technical terms,
and a reproduction of the color
plate on the jacket would have en
hanced the work, but even so, this
is a fine start for a new series that
will have great appeal for the spe
cialist and sailing enthusiast alike.
Dickensians will want to read and
keep An Oliver Tioist Exhibition:
a Memento for the Dickens Cen
tennial, 1970 an Essay, by Rich
ard A. Vogler (Los Angeles: Uni
versity of California Library, 1970.
16pp., illus. $1, ordered from the
Gifts & Exchange Section, UCLA
Library). The pamphlet ties in
faculty and research interests at
UCLA with the Library s uncom
mon resources of Dickens, Cruik-
shank, and the Victorian novel.
The Monastic Manuscript Micro
film Project, housed at St John s
University, Collegeville, Minn., has
recently issued its Progress Report
VI, by Professor Julian G. Plante,
Curator. The fantastic and success
ful design of this project is out
lined, a brief inventory of accom
plishments (some 90 miles of mi
crofilm - nearly 8,000,000 pages
photographed in black and white,
33,000 color exposures of minia
tures and illuminations), and of
continuing efforts of the program
are described. Ultimate aim is to
secure the preservation of all hand
written manuscripts and documents
dating before the year 1600 still
extant in European monastic li
braries.
Hacettepe University in Ankara s
second issue of the Hacettepe Bul
letin of Social Sciences ( December
1969 ) came to us this summer and
we were interested to see Professor
Emil Sonmez article, "George Eli
ot s Adam Bede", in with "An Evil
Spirit According to Anatolian
Turkish Belief, "Kidnapping and
Elopement in Rural Turkey", and
other pieces on educational psy
chology, interest rate, and tenden
cies in American education, etc.
Annual subscription to this semi
annual publication is $1.50, to be
ordered from Hacettepe Dniversi-
tesi, Basim ve Yayim Merkezi, An
kara, Turkey.
Conradiana, Winter 1969/70, Vol.
II, No. 2, has appeared, with all
the trappings of scholarly notes,
book reviews, bibliographies, etc.
It s interesting, helpful, and a fine
job, so far as contents are con
cerned, but it is thoroughly unat
tractive and very difficult to read
28
AN&Q
in its more than fifty-line text page
in an unpleasant typewriter face,
But it costs only $4 a year for three
thick issues, to be ordered from the
Dept of English, McMurray Col
lege, Abilene, Texas. It can be or
dered easily from anywhere in the
world, there is even a cable ad
dress: CONRADIANA.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
Elsevier s Dictionary of Horticul
ture in Nine Languages, English,
French, Dutch, German, Danish,
Swedish, Spanish, Italian, Latin
(561 pp.: Amsterdam: Elsevier
Publishing Company, 1970. $26),
contains 4,240 terms in languages
specified in the title, in the usual
form of polyglot dictionaries, and
with meticulous accuracy. The
main alphabet is in English, and
there are separate indexes for the
eight other languages. The diction
ary will be generally useful to any
botanist, on any level of compe
tence, but also to scholars in other
fields, and to amateur gardeners
who order bulbs from the Nether
lands.
W. Longman, Tokens of the Eight
eenth Century Connected with
Booksellers and Bookmakers (Au
thors, Printers, Publishers, Engrav
ers, and Paper Makers). (1916. 90
pp.: Detroit: Gale Research Co.,
1970. $7.50), is a classic account of
"tokens" commonly issued in the
18th century by tradesmen in lieu
of small change. There are many
basic sources for the study of the
book trade and publishing in this
descriptive account of a collection
of tokens which can never be re
assembled in the same form. A
similar study on collections of to
kens used in religious congregations
both in Britain and America in the
17th and 18th centuries is urgently
needed.
The Bibliographie des deutschen
Rechts in englischer und deutscher
Sprache; eine Auswahl herausgege-
ben von der Gesellschaft fur
Rechtsuergleichung; Ergdnzungs-
band 1964-1968 (221 pp.: Karls-
ruhe: Verlag C. F. Miiller, 1969.
DM49.-) provides a selective but
representative cross-section of Ger
man legal literature for the lustrum.
It not only supplements the original
volume, but it also provides the
additional service of recording
translations of the most important
German statute law into English
and French.
Gyldenddls store Opslagsbog (Co
penhagen: Gyldendal, 1962-1970;
6 vols.) has been completed with
a sixth volume, most important for
the indexes, but also for tables,
selective bibliography, and a sup
plement. This set is one of the
more useful encyclopaedias in "mi
nor" languages, for here we find
references to things Scandinavian,
geographical, historical, and per
sonal, which cannot be readily lo
cated elsewhere.
October 1970
29
BOOK REVIEWS
PEPYS, Samuel, The Diary of. A New
and Complete Transcription Edited by
Robert Latham and William Matthews.
Vol. I, 1660; II, 1661; III, 1662. Illus,
incl Maps. Berkeley: University of Cali
fornia Press, 1970. Unit price, 3 vols. to
gether, $27.
Publication of a new and complete
transcription of The Diary of Samuel
Pepys is certainly one of the major his
torical and literary expectations of the
coining decade. Edited by Robert Latham
(Fellow of Magdalene College, Cam
bridge) and William Matthews (Pro
fessor of English, UCLA), the first three
volumes have burst upon the world of
scholarship, filled with erudition, cor
rections of errors of fact and mistran
scription that appeared in previous edi
tions, and with the full complement of
evaluative essays: a biographical study
of Pepys; of the manuscript the short
hand, the text; remarks on previous edi
tions and the history of the manuscript
and its publication, 1660-1899; the Diary
as literature; and then as history. The
preliminary matter some 152 pages
is enlightening (though there are a few
annoying instances of lack of citation,
and a small number of typographical
errors which one expects ought to have
been caught in a book that is so de
pendent upon textual accuracy), but all
in all it is the body of the Diary itself
that re-creates the magnificent liveliness
of Pepys and his world. Typographically
appealing, it is the kind of book one can
really read from beginning to end with
out boredom, and the editors richly in
formative notes display erudition of the
most helpful land.
The edition will comprise eleven vol
umes nine of text and footnotes (with
the introductory material in volume I),
a tenth of Commentary, and an eleventh
of Index. The Companion volume (X)
will contain special studies of Pepys and
Science, and Medicine, and Weather,
there is much on Pepys and the theatre
(one of his most particular interests),
and a study of the language of the
Diary. Unfortunately, a most serious fault
is that individual volumes do not con
tain separate indexes; each volume does
contain a "Select List of Persons" and
a "Select Glossary", the latter "restricted
to usages, many of them recurrent, which
might puzzle the reader". Both of these
lists are identical from volume to vol
ume. A "Large Glossary" of words,
phrases, and proverbs in all languages
will be found in the Companion when
it is published we are told. The illustra
tions in the three volumes that have been
issued are well selected and reasonably
well reproduced but the Diary calls
out for many more (especially portraits
to accompany Pepys 1 vivid descriptions)
although the addition of all that it would
be nice to have would be costly so,
lacking the illustrations, this is probably
the reason that the Diary, in all its
earlier editions was a favorite book to
be extra-illustrated by Pepysians.
Others, better qualified, will undoubt
edly comment elsewhere on various as
pects of the Latham-Matthews edition,
both on the introductory material and
the handling of the text, but for this re
viewer it is the descriptive study of the
earlier editions that is most interesting,
being in large part a resume of some of
the exigencies of scholarship. Surely this
is a chapter for every serious editor to
study if only to read about how not to
do it, the pitfalls to avoid, and the ever-
present sticky mire of prudery. But even
the present editors may be criticized:
for example, I find it difficult to justify
the omission of imprint information in
the notes and wonder at the rationale
(n.9, p. cxlvii), "The footnotes give a
bare minimum of information about the
books which are mentioned only by the
editors and not by Pepys. In these cases
names of publishers and places of pub
lication are omitted, and publication
dates are given only if it is necessary
to distinguish between editions or if the
books were published before 1850". Even
this last consideration is not followed
where, for example, on pp. Ixxvii-viii,
the title-page of Braybrooke s edition is
transcribed in a note on the latter page,
without the date, and no mention is
made of the date in the text and this
was the first printed edition, a matter
of interest to most readers one would
think.
The reader will be able to overlook
some comparatively unimportant lapses
in editorial technique in favor of the
great work the editors have done in giv
ing us this lively edition of the greatest
diarist of them all. Lee Ash, Editor.
30
AN&Q
MULLIN, Donald C. The Development
of the Playhouse. Illus. 197pp. Berkeley
and Los Angeles: University of Califor
nia Press, 1970. $15.00.
Good hooks on the history of theatre
architecture have long been available in
German and French - Andreas Streit s
Das Theater (1903), Martin Ham-
mitzsch s Der moderne Theaterbau
(1906), and Helene Leclerc s Les Origines
italiennes de I architecture thedtrale mo-
derne (1946) - but not until now has
a full-length survey of the subject ap
peared in English. Donald C. Mullin s
The Development of the Playhouse ex
amines the evolution of theatre archi
tecture from the Renaissance to the pres
ent and is intended to serve the under
graduate and the interested layman. The
text is relatively short and keyed to al
most three hundred illustrations.
Beginning with a review of Vitruvius
and a discussion of neo-Vitruvian experi
ments during the Renaissance, Mr Mul-
lin traces the growth of new forms in
the 16th and 17th centuries: the court
and festival theatres of Italy and France,
the French tennis-court theatre, the Ital
ian opera house, the open stage of Eng
land and the Low Countries. He then
describes the diffusion of Italian styles
throughout Europe in the years 1650-
1750. Devoting separate chapters to pre-
Restoration English playhouses, English
theatres from 1660-1830, and American
theatres to 1869, he sets apart other
chapters for the discussion of particular
styles the rococo and classical revival,
19th-century neobaroque and reactions
to it, and new ideas of the period 1910-
1940. The survey concludes with a dis
cussion of the problems of theatre archi
tecture today, seen in historical perspec
tive. Several appendices and a useful
but sometimes scanty bibliography
are added.
Mr Mullin takes care to relate sceneiy
and machinery to changes in architec
tural styles (though one would like to
read more here about acoustics), and
he makes some necessarily brief attempts
to place the theatres in their cultural and
sociological contexts. He has illustrated
and described a great number of exam
ples, including such important and sel
dom-discussed theatres as Penther s for
ward-looking opera house at Hanover
(1746), Vanvitelli s court theatre at Ca-
serta (c. 1752), Ledoux s extraordinary
theatre at Besancon (1778), and Louis s
sumptuous Grand Theatre at Bordeaux
(1780), on which Benjamin Wyatt based
his Drury Lane (1812 - not 1809, as
Mr Mullin would have it). The play
houses of the 18th century are as these
examples imply - particularly well cov
ered.
A more theoretical approach, restrict
ing the number of examples to be dis
cussed, might have integrated the text
more fully, but this was evidently not
the author s purpose. One is sometimes
left asking, Was this design really in
fluential? What did architects think of
it? How does it fit? These are difficult
questions, as Mr Mullin admits: "It is
not always easy to deduce influences
upon changes in architectural styles".
Theatre historians have only recently
begun the sort of rigorous study of bio
graphical and local historical materials
that will enable us to trace clearly the
evolution of new ideas.
The Development of the Playhouse is
most valuable for its illustrations. Re
grettably, the quality of the illustrations
varies from merely good to downright
poor, and at least one (Serlio s comic
scene, Fig. 15) has been printed back
wards. Furthermore the book has ap
parently been carelessly edited. One
finds spelling errors ("de rigeur", p. 36,
"excedra", p. 94) and grammatical er
rors (e.g., the third sentence on p. 11,
the second sentence on p. 71). The edi
tors should also be blamed for permitting
Mr Mullin to indulge an irritating and
irrelevant sense of humor. The chapter
on American theatres is called "Yankee
and Other Doodles"; Wagner s patron
Ludwig II of Bavaria is usually referred
to as "Mad Ludwig", and so forth, Missed
entirely was an opportunity to point out
a bit of genuine humor in the well-
known illustration of a Roman theatre
in the Lyons Terence of 1493. The label
"Fornices" can indeed refer to vaults,
as Mr Mullin indicates; but here it is
clearly used in the sense of "brothel",
which explains those amorous couples in
the foreground.
Mr Mullin himself must be blamed
for his numerous errors of fact, espe
cially in the chapter on American the
atres, which seems to have been hastily
put together. He has included appendices
October 1970
31
which enable the reader to find the place,
date, and (sometimes) architect of a
particular theatre if only one of these
is known. Such lists might have proved
to be one of the most useful parts of
the book, but unfortunately they are un
reliable. Among the American theatres,
for example, one finds the design of the
Chestnut Street Theatre in Philadelphia
attributed to "Wignall" (i.e., Wignell) and
Reinagle. They were the first managers
of the theatre; the architect was said to
be John Inigo Richards. The design of
the Haymarket Theatre in Boston is at
tributed to Brunei; the architect is ac
tually unknown and was probably only
a carpenter-builder. The Tremont The
atre (not "Tremont Street Theatre") in
Boston was built in 1827, not 1819, and
its designer not mentioned by Mr
Mullin was the important Greek Re
vivalist Isaiah Rogers. Peter Grain, not
Grain, was the architect of the Lafayette
Theatre in New York.
In some cases the dates of theatres in
one of the lists differ from the dates of
the same theatres in another list (e.g.,
the Beekman Street Theatre in New
York). In Appendix II the Teatro Olim-
pico is listed as located in Vienna, a silly
mistake for Vicenza. Reference to easily-
accessible sources such as Colvin s Bio
graphical Dictionary of English Archi
tects would have filled in some of the
empty spaces in the lists and would have
resolved some confusion (as in the case
of the Royalty - later East End - The
atre in London).
The text and illustrations are also
marred by errors. Fig. 215 shows the
Park Theatre in 1821, not 1805. Fig.
210 shows the Chestnut Street Theatre
as altered in 1805, not 1820. The Hay-
market Theatre watercolor is not lost
it hangs in the office of the director
of the Boston Public Library. Such errors
are particularly deplorable in a text in
tended for American students.
Mr Mullin s book must be supplement
ed by recent publications he had no op
portunity to use: Brooks McNamara s
The American Playhouse in the Eight
eenth Century ( 1969 ) and the new vol
umes of the London Survey treating
Drury Lane and Covent Garden. Bamber
Gascoigne s excellent World Theatre
(1969) also contains new information
on theatre architecture. Consulted to
gether with these new studies, The De
velopment of the Playhouse can prove
useful, but it must be used carefully.
Richard Stoddard, Yale University
PUBLICATIONS RECEIVED
(Continued from p. 18)
Douglass, Frederick. My Bondage and
My Freedom. (N.Y., 1855). Introd. by
Philip S. Foner. xiii, 464pp. N.Y.:
Dover Publications, 1969. Paper, $3.50
Dow, George Francis. Slave Ships and
Slaving. (Salem, 1927). Illus. xxxv,
349pp. N.Y.: Dover Publications, 1970.
Paper, $3.50
Ellinwood, Leonard. The History of
American Church Music. (N.Y., 1953).
Revised Edition. Illus. 274pp. N.Y.:
Da Capo Press, 1970. $12.50
Green, Paul. Home to My Valley. [North
Carolina folklore]. 140pp. Chapel Hill:
University of North Carolina Press,
1970. $5.95
Grove, Lilly, Dancing: a Handbook of
the Terpsichorean Arts . . . (London,
1895). Illus. 454pp. Detroit: Singing
Tree Press, 1969. $13.50
Haining, Peter, ed. The Satanists. [an
Anthology!. 249pp. N.Y.: Taplinger
Publishing Co., 1970. $5.95
Henry, Edward Lamson. Life and Work,
1841-1919, by Elizabeth McCausland.
(Albany, 1945). Illus. 381pp. N.Y.:
Da Capo Press, 1970. $15.
Hyamson, Albert M. A Dictionary of
English Phrases. (N.Y., 1922). 365pp.
Detroit: Gale Research Co., 1970. $12.
Lee, Richard Henry. Letters. Collected
and Edited by James Curtis Ballagh.
(N.Y., 1911-14). 2 vols. N.Y.: Da
Capo Press, 1970. $39.50
Miles, Josephine. Style and Proportion:
the Language of Prose and Poetry.
32
AN&Q
212pp. Boston: Little, Brown & Co.,
1970. $7.
Parry, R. H., ed. The English Civil War
and After, 1642-1658. 127pp. Berke
ley: University of California Press,
1970. $7.
Paul, Sherman, ed. Six Classic American
Writers: an Introduction [Franklin,
Irving, Emerson, Longfellow, Thoreau,
Whitman]. (First published in Univ.
of Minn. Pamphlets on American
Writers series). 271pp. Minneapolis:
University of Minnesota Press, 1970.
$8.50
Pierce, Bessie Louise. Public Opinion
and the Teaching of History in the
United States. (N.Y., 1926). 380pp.
N.Y.: Da Capo Press, 1970. $15.
Stone, William L., trans. Letters of
Brunswick and Hessian Officers Dur
ing the American Revolution. (Albany,
1891). 258, x pp. N.Y.: Da Capo
Press, 1970. $13.50
Taylor, Isaac. Names and Their Histories
. . . 2d Edn, Rev. (London, 1898).
400pp. Detroit: Gale Research Co.,
1969. $13.75
Tinker, Edward Larocque. Lafcadio
Hearn s American Days. (N.Y., 1924).
IIlus. 382pp. Detroit: Gale Research
Co., 1970. $15.
Tower, Charlemagne. The Marquis de
La Fayette in the American Revolu
tion ... 2d Edn (Phila., 1901). Illus.
2 vols. N.Y.: Da Capo Press, 1970.
$37.50
Towner, Wesley. The Elegant Auction
eers. Completed by Stephen Varble.
[History of Art Auction in America].
Illus. 632pp. N.Y.: Hill & Wang, 1970.
$10.
Walcott, Fred G. The Origins of Culture
and Anarchy: Matthew Arnold & Popu
lar Education in England, xxiii, 161pp.
Toronto: University of Toronto Press,
1970. $7.50
Warren, Charles. History of the Harvard
Law School, and of Early Legal Con
ditions in America. (N.Y., 1908). Illus.
2 vols. N.Y.: Da Capo Press, 1970.
$37.50
(Williams). Conarroe, Joel. William
Carlos Williams "Paterson": Language
and Landscape. 177pp. Phila.: Uni
versity of Pennsylvania Press, 1970.
$6.95
( ). Wagner, Linda Welshiiner. The
Prose of William Carlos Williams.
234pp. Middletown: Wesleyan Uni
versity Press, 1970. $8.
Wilson, Charles. Queen Elizabeth and
the Revolt of the Netherlands. 168pp.
Berkeley: University of California
Press, 1970. $6.95
Yount, lohn T. Bottle Collectors Hand
book & Pricing Guide. Rev. Edn. Illus.
145pp. San Angelo, Texas: Educator
Books, Inc. [P.O. Box 3862. Zip 76901],
1970. Paper, $3.95
STATEMENT OF OWNERSHIP, MANAGEMENT, AND
CIRCULATION (Act of October 23, 1962: Section
4369, Title 39, United States Code). 1. Date of
filing 30 September 1970. 2. Title of publica
tion American Notes & Queries. 3. Frequency
of issue Monthly, except July and August.
4. Location of known office of publication
31 Alden Road, New Haven, Conn., 06515.
5. Location of the headquarters or general
business office of the publisher 31 Alden
Road, New Haven, Conn., 06515. 6. Names and
addresses of publisher, editor, and managing
editor: Publisher & Editor Lee Ash, 31 Alden
Road, New Haven, Conn., 06515; Managing
Editor Marian Neal Ash, 31 Alden Road,
New Haven, Conn., 06515. 7. Owner (If owned
by a corporation, its name and address must
be stated and also immediately thereunder the
names and addresses of stockholders owning or
holding 1 percent or more of total amount of
stock. If not owned by a corporation, the names
and addresses of the individual owners must be
given. If owned by a partnership or other un
incorporated jit in, its name and address, as well
as that of each individual must be given) Lee
Ash, 31 Alden Road, New Haven, Conn., 06515;
Marian Neal Ash, 31 Alden Road, New Haven,
Conn., 06515. S . Known bondholders, mortgagees,
and other security holders owning or holding
1 percent or more of total amount of bonds,
mortgages, or other securities (If there are none,
so state) None. 9. Paragraphs 7 and 8 include,
in cases where the stockholder or security holder
appears upon the books of the company as
trustee or in any other fiduciary relation, the
name of the person or corporation for whom
such trustee is acting, also the statements in the
two paragraphs show the affiant s full knoiuledge
and belief as to the circumstances and conditions
under which stockholders and security holders
who do not appear upon the books of the com
pany as trustees, hold stock and securities in a
capacity other than that of a bona fide owner.
Names and addresses of individuals who are
stockholders of a corporation which is itself
a stockholder or holder of bonds, mortgages, or
other securities of the publishing corporation
have been included in Paragraphs 7 and 8
when the interests of such individuals are
equivalent to 1 percent or more of the total
amount of the stock or securities of the pub
lishing corporation.
I certify that the statements made by me
above are correct and complete.
Lee Ash
Editor & Publisher
AMERICAN NOTES & QUERIES
Volume IX Number 3 November 1970
DEC! 1970
NOTES
QUERIES %. REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEW
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Barnum, P. T. The Humbugs of the
World. (1865). 315pp. Detroit: Sing
ing Tree Press, 1970. $8.50
Bibliography of Old Norse-Icelandic
Studies, 1969. Ed. by Hans Bekker-
Nielsen. 76pp. Copenhagen: Munks-
gaard, 1970. Price ?
Birmingham, John. Our Time Is Now:
Notes From the High School Under
ground. Introd. by Kurt Vonnegut, jr.
262pp. N.Y.: Praeger, 1970. $5.95
(Bougainville). Hammond, L. Davis,
ed. News From New Cythera: a Re
port of Bougainville s Voyage, 1766-
1769. (Publication of the James Ford
Bell Library). Map & Facs. 66pp.
Minneapolis: University of Minnesota
Press, 1970. $6.50
Brown, A. E.; & Jeffcott, H. A., jr. Ab
solutely Mad Inventions. Compiled
from the Records of the U.S. Patent
Office. (1932: Beware of Imitations).
Illus. 125pp. N.Y.: Dover Publications.
1970. Paper, $1.50
Byron, Ceorge Gordon Lord. Werner:
a Tragedy. A Facsimile of the Acting
Version of William Charles Macready,
With an Introd. by Marvin Spevack.
Facsimile, xxiv, 188pp. Munich: Wil-
helm Fink Verlag, 1970. Paper DM
28,-.
Clark, Crahame. Aspects of Prehistory.
Illus. 161pp. Berkeley: University of
California Press, 1970. $5.95
Curwen, Samuel, Journal and Letters of,
1775-1783. Ed. by George Atkinson
Ward. (Boston, 1864). 678pp. N.Y.:
Da Capo Press, 1970. $25.
Edward the Confessor, by Frank Barlow.
Maps & fold, genealogical table, xxviii,
375pp. Berkeley: University of Cali
fornia Press, 1970. $10.95
Erdmann, Kurt. Seven Hundred Yearn
of Oriental Carpets. Ed. by Hanna
Erdmann. Trans, by May H. Seattle
& Hildegard Herzog. Profusely Illus,,
incl. Color Plates. 238pp. Berkeley:
University of California Press, 1970.
$40.
Forney, John W. Anecdotes of Public
Men. (1873; 1881). 2 vols. N.Y.:
Da Capo Press, 1970. $35.
(Freethinkers). Proceedings and Ad
dresses at the Freethinkers Conven
tion, Held at Watkins, N.Y., 1878.
(1878). 398pp. N.Y.: Da Capo Press,
1970. $17.50
Greene, Jack P., ed. The Nature of Col
ony Constitutions. Two Pamphlets on
the Wilkes Fund Controversy in South
Carolina, by Sir Egerton Leigh and
Arthur Lee. 232pp. Columbia: Uni
versity of South Carolina Press, 1970.
$7.95
(Housman). Leggett, B. J. Housman s
Land of Lost Content: a Critical Study
of "A Shropshire Lad". 160pp. Knox-
ville: University of Tennessee Press,
1970. $5.95
Jenkins, Joseph F., ed. Protecting Our
Heritage: a Discourse on Fire Protec
tion and Prevention in Historic Build
ings and Landmarks. (2d Edn; NFPA-
SPP-15). Prepared by the NFPA Com
mittee on Libraries, Museums, and
Historic Buildings. Illus. 39pp. [Nash
ville, Tenn.: American Association for
State and Local History, 132 Ninth
Ave., No.], 1970. $2.
Leavitt, John F. Wake of the Coasters.
(American Maritime Library, Vol. II).
Illus. Middletown, Ct.: Published for
The Marine Historical Society, by
Wesleyan University Press, 1970. $9.95
(Continued on p. 47)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including ar^nal index, $6.50
a year; $12.00 for two years. Single copies 750. Printed in the U.S.A. by
United Printing Services, Inc., New Haven, Conn. Second-class postage
paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies and Abstracts of Folklore
Studies; indexed in Book Review Index; included in The Year s Work in
English Studies, and Annual Bibliography of English Language and
Literature, MHRA. Appropriate items included in the Annual MLA Inter
national Bibliography; Victorian Studies "Victorian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
THE SUMMONING OF
DESDEMONA: OTHELLO,
V.ii.1-82
I WANT TO CALL ATTENTION here to
a feature of Othello which has not
been brought forward in the crit
icism, and which helps us to ap
preciate not only the way in which
Shakespeare imagined one of his
greatest scenes but the way in
which he imagined one of his great
est plays. I am referring to the simi
larity between the posture of
Othello and Desdemona in V.ii
and the posture of Death and his
victims in the art and literature of
the Later Middle Ages and the
Renaissance. Let me illustrate.
The 15th and 16th centuries, with
their allegorical predilections, came
to make much of the moment of
death; and as literary and graphic
representations poured forth the
characters involved in this moment,
namely Death and his victim, de
veloped a number of standardized
features. For instance, Death is
God s messenger dispatched in ret
ribution for man s sinfulness; he
appears suddenly beside his prey,
unannounced as it were; he will
not be put off by pleas for mercy,
by bribes, laments, weeping; he
is not inclined to let men tarry;
that is to say, he may give them a
brief interval to make some final
preparations, but that is all and not
to be counted on; and finally, he
performs his function in a dispas
sionate, objective way. The fea
tures of the victim are, o course,
implied in this: He is a sinful mortal
unmindful of God s laws; he is
taken unawares; he pleads for
mercy, or perhaps even attempts
to bribe Death; and finally, he
fails. Here is the way it goes in
the most popular of the morality
plays, Everyman:
God. I perceive here in my majesty,
How that all creatures be to me
unkind . . .
They fear not my
righteousness . . .
I must do justice . . .
Where art thou, Death, thou
mighty messenger?
Death. Almighty God, I am here at Thy
will,
Thy commandment to fulfil.
God. Go thou to Everyman,
And show him in my name
A pilgrimage he must on him
take,
Which he in no wise may
escape;
And that he bring with him a
sure reckoning
Without delay or any tarrying.
(God withdraws.)
Death. Lord, I will in the world run
over all,
And cruelly search out both great
and small . . .
Lo, yonder I see Everyman
walking;
Full little he thinketh on my
coming.
A moment later Death tells Every
man that he is going to take him
on a long journey" and continues:
Death. Make preparation that we
be on the way . . .
Everyman. What messenger art thou?
Death. I am Death . . .
36
Everyman.
Death.
Everyman.
Death.
Everyman.
Death.
O Death, thou comest when
I had thee least in mind;
In thy power it lieth me to
save,
Yet of my goods will I give
thee, if ye will be kind,
Yea, a thousand pound shalt
thou have,
But defer this matter till
another dayl
Everyman, it may not be by
no way . . .
Come, do not tarry!
Alas, shall I have no longer
respite? . . .
Spare me till I be provided
of remedy.
TJiee availeth not to cnj,
weep, and pray,
But haste thee lightly that
thou go the journey . . .
O Gracious God, in the high
sea celestial,
Have mercy on me in this
my need.
wither shall I flee? . . .
Now, gentle Death, spare me
till to-morrow . . .
Nay, thereto I will not
consent . . - 1
The parallels with Shakespeare
immediately suggest themselves:
Othello enters to Desdemona talk
ing of "the cause" (I); 2 he regards
himself as a minister of "Justice"
( 17) about to remove a sinful mor
tal from the world. With regard
specifically to this, he appears to
take the woman completely by sur
prise: "Talk you of killing? (33)
she asks, looking up at him as he
stands over her. She pleads to him
for "mercy" (58) and cries out,
as does Everyman, "O, Heaven,
have mercy on me" (57) but to no
avail. Othello offers her a moment
or two to prepare herself, but no
more: *. . . confess thee freely . . .
Thou art to die" (53, 56). Even
her desperate, pathetic "Kill me to
morrow; let me live to-night" (80),
another line which recalls the very
AN&Q
phraseology of Everyman, cannot
affect him. He will perform the
function he feels has been assigned
him, and that is all there is to it.
"It is too late" (82), he announces.
Now let me emphasize that I am
not talking here about direct in
fluences; I am not suggesting that
Othello, V.ii.1-82 is modeled upon
Everyman, 22-183, or upon any
other specific work, although it is
of some interest to note that the
earlier play went through a num
ber of editions during the sixteenth
century and was probably availa
ble to Shakespeare. 3 What I am
suggesting, rather, is precisely what
I suggested at the outset, namely,
that Shakespeare s imagination was
working this way. And surely the
discovery of recent Othello crit
icism that there are numerous
imaginative affinities between
Othello and the moralities 4 makes
what I am suggesting perfectly
feasible. For most of us now, it is
pretty certain that the playwright
was under the spell of his allegori
cal heritage when he wrote Othello.
But I have still to point up the
dramatic significances of what I
have chosen to call "the summon
ing of Desdemona".
In the first place, by lighting his
scene up in this way, Shakespeare
impresses upon his audience the
monstrousness, or "absurdity", of
what is happening. For the fact is,
of course, Othello is not Death;
he is not God s mighty messenger,
for all he strives to resemble him;
he is, rather, lago s dupe, a kind of
tragic fool. Then too, there is mon
strousness in the fact that Desde
mona is placed in the posture of
the sinful mortal when she is in
reality not only innocent but the
one character in the play who is,
November 1970
37
from an imaginative standpoint,
touched with divinity. And when
one recalls lago s imaginative kin
ship with Satan or the Vice 5 the
monstrousness of the scene be
comes even more apparent. To put
it in a nutshell, "the summoning
of Desdemona" is Shakespeare s
poetical method of stressing the
reversal of order in the play s
last act.
Secondly, I believe that much
of what can be described as the
sheer terror of this scene derives
from the close imaginative connec
tion between Othello and the Sum-
moner. 6 Everyone senses the
strangeness, even the weirdness,
that surrounds the figure of the
Moor as he approaches Desdemona
with his taper; nor is it long in the
play before Desdemona under
scores this herself with: *1 fear
you", and "you re fatal", and *I
feel fear" (37-39). With the al
legorical influence in mind, one
more deeply appreciates the source
of this "fear".
Again, the enormity of what
is occurring before us is increased
significantly by the fact that Des
demona does not "die well", does
not die as summoned Christians
were "supposed" to die in Renais
sance times. Such books as Lerne
to Dye and Ars Moriendi, as well
as the later Discourse of Death
or Disce Mori, make it plain that
sixteenth-century Englishmen were
extremely sensitive to the way in
which one behaved oneself in the
presence of the Summoner. To
plead, to weep, to cry out and
squirm as Desdemona does was a
hideous business indeed, and one
of the truly pitiable and tragic
facts of the play is that a woman
. who deserves a
better death, is more or less forced
by her terrible Summoner-Husband
to die in the way that she does.
From a number of important an
gles, then, "the summoning of Des
demona" in V.ii deepens the trag
ic irony, as well as the metaphori
cal richness, of Shakespeare s
masterpiece.
M. D. Faber
University of Victoria
Victoria, B.C.
1. The quotations are from lines 22-
183 of the play. I am using John
Gassner s modernized version (Ban
tam Books, 1963), though I would
emphasize that the editions listed in
the Short-Title Catalogue, the editions
available to Shakespeare, contain the
same material. Other influential works
which contain depictions of Death
and his victim essentially similar to
the one presented here are Sebastian
Brant s The Ship of Fools, ed. Edwin
H. Zeydel (New York, 1944), pp.
279-283; Death and the Plowman,
ed. Ernest N. Dirrmann (Chapel Hill,
1958), pp. 1-37; The Dance of Death,
ed. Francis Douce (London, 1833),
pp. 49, 95, 231, 253 ff. All the italics
in the quotations from Everyman
have been added by me with the in
tention of stressing the parallels with
Shakespeare.
2. I am using Neilson and Hill s edition
of The Complete Plays and Poems
(Cambridge, Mass., 1942).
3. See note one.
4. See, for example, Bernard Spivack s
Shakespeare and the Allegory of Evil
(New York, 1958).
5. See Spivack.
6. The reader may be interested to note
that there was actually current in
sixteenth-century Europe statuary
which depicted Death or the Sum-
rnoner as a Negro! See The Dance
of Death, p. 230.
38
AN&Q
GEOFFREY OF VINSAUF AND
ERASMUS DE COPIA
IN AN EXCELLENT ARTICLE, George
Engelhardt has pointed out that
Erasmus* De Copia (1512) relies
heavily on the medieval arts of
discourse, and that Erasmus, in a
letter to Cornelius Gerard, refers
by name to Geoffrey of Vinsauf,
placing him in the distinguished
company of Horace and Quintili-
an. 1 1 believe that it can be demon
strated, with at least a high degree
of probability, that a brief passage
in the De Copia is derived from
Geoffrey of Vinsauf s Poetria Nova
(ca. 1210 ). 2
Erasmus concludes a rapid clas
sification of metaphors in this man
ner: "It will likewise not be found
out of place to point out that a
metaphor is sometimes found . . .
in a single verb, as, a lifetime flies
away, the years glide by; sometimes
something is added to explain the
metaphor, he inflamed the man
with a passion for glory, he fired
him with wrath". 3 We may note
three characteristics of this state
ment: first, it refers specifically to
the metaphorical use of the verb;
second, in the metaphorical appli
cation of the verb in the first pair
of examples, inanimate objects are
endowed with life; third, in the
last two examples, the metaphorical
use of the verb is "explained"
by the addition of a modifier.
These same points are developed
in great detail in Geoffrey s ex
planation of metaphor:
Make apt metaphorical use of a word
which is used literally to express a sim
ilar relationship. Assume you wish to
say this: "Springtime adorns the land;
the first flowers shoot up; the time
grows pleasant; storms cease; the sea
is calm; there is motion without uproar;
valleys lie low; mountains tower erect".
Ask yourself what words describing hu
man attributes may properly be applied:
adorning, you paint; the beginning of
birth, you are born; pleasant speech,
you allure; ceasing all activity, you
sleep; motionless, you stand fixed; lying
low, you recline; shooting into the air,
you arise. Hence the words will have
savor if you say: "Springtime paints the
ground with flowers; birds are born; the
quiet season allures; the calming storms
sleep; the ocean stands still as if immo
bile; the low valleys lie; the erect moun
tains rise up". It is more pleasing to apply
human characteristics in such a way.
examples of the process.] That the meta
phorical application of the verb may
be more polished, let not the verb come
with one noun as its only companion;
give it an adjective which will fully
assist the verb and clear away the
clouds from it, if there be any. If not,
let it throw light abundantly on and
through the verb. Thus, it is not suffi
ciently clear if I say The laws are pliable
[Jura mollescunt] or The laws are rigid
[Here Geoffrey gives many further
[ Jura rigent], for the metaphorical use of
the verb is as it were hidden under a
cloud. 4 And since the verb so placed
remains in darkness, the adjective helps
and illuminates it. Rather say, The dis
pensing laws are pliable; the strict laws
are unbending. 5
Before we can determine wheth
er this passage served as Erasmus
source, we must consider a passage
from Quintilian:
As an example of a necessary metaphor
I may quote the following usages in
vogue with peasants when they call a
vinebud gemma, a gem (what other term
is there which they could use?), or speak
of the crops being thirsty or the fruit
suffering. For the same reason we speak
of a hard or rough man, there being no
literal term for these temperaments. On
the other hand, when we say that a
man is kindled to anger or on fire with
greed or that he has fallen into error,
we do so to enhance our meaning. 6
November 1970
39
It will be noted that here, too,
there are verbs used metaphorically
(sitire segetes; fructus laborare) to
give life to inanimate objects; and
that metaphorical verbs are accom
panied by a modifier (incensum
ira; inflammatum errore). Can Eras
mus be simply commenting on the
various metaphors in this passage? 7
I do not believe so: Geoffrey is ex
plicitly showing the would-be
writer how to use a verb meta
phorically; 8 and Geoffrey explicit
ly discusses how to clarify the ver
bal metaphor by adding a modi
fier. 9 As far as I have been able
to determine, nowhere do classical
rhetoricians discuss these matters
at such length. Finally, it will be
noted that in the passages in ques
tion, Geoffrey and Erasmus are
concerned with classifying meta
phors along quite different lines
than is Quintilian. It seems reason
able to suppose that Geoffrey is
Erasmus source.
Ernest Gallo
Moody Bridge Road
Hadley, Mass.
1. "Mediaeval Vestiges in the Rhetoric
of Erasmus", PMLA, LXIII (June,
1948), 741.
2. The text of the Poetria Nova is print
ed in Edmund Faral, Les arts pdeti-
ques du XII* et du XIII* siecle (Paris,
1923), pp. 197-262,
3. De Copia, I. 17, trans. D. King and
H, D. Rix (Milwaukee, 1963), p. 29.
4. Geoffrey does not mean that the sen
tence is unclear, but rather that it is
not here immediately obvious that
to be pliable is being used metaphori
cally.
5. Poetria Nova, lines 780-856, in Faral,
pp. 221-223; my translation.
6. Institutio Oratoria, VIII. 6. 6-7, trans.
H. E, Butler (London, 1921), III,
THE OBVIOUS MEANING OF
CANDIDAS BIG RED SHEEP
WILLIAM F. BOTOGLIA lists and
evaluates scholarly interpretations
of the meaning of Voltaire s big
red Eldoradan sheep, noting that
William Price sees the sheep sym
bolically, as "Frederick s (the king
of Eldorado s) literary works en
cased in red-bound sheepskin,
which Voltaire (Candide) is forced
to surrender at Francfort (Suri
nam)". 1 Bottiglia rightly condemns
Prices convenient and inconsistent
critical approach while admitting
that the sheep do serve a double
purpose:
On the one hand they definitely have a
literal value, for they spring from the
author s interest in touches of pictur
esque realism. As Morize points out . . .
Garcilasco describes a beast of burden
called the "huanacu" and notes that the
wild species is "de couleur baie". The
Encydopddie, moreover in volumes pub
lished in 1765, applies the colours
"rougeatre" and "roux" to the fleece of
sheep. 2
303-305. For the four classes of meta
phor (application of a term from ani
mate to animate s inanimate to inani
mate, animate to inanimate, and in
animate to animate), see Quintilian,
VIII. 6. 9-12.
7. Erasmus refers to this passage from
Quintilian earlier in De Copia, I. 17
(King and Rix, p. 29).
8. There is only a brief reference in
Quintilian to the fact that "A noun or
a verb is transferred from the place to
which it properly belongs to another
where there is either no literal term
or the transferred is better than the
literal (VIE. 6. 5),
9. In the passage quoted above from
the Poetria Nova, the modifier is an
adjective; Geoffrey gives examples
more similar to those of Erasmus
in Poetria Nova, lines 902-907.
40
After exploring this concrete half
o the "double purpose", Bottiglia
offers his own symbolic level of
the sheep s meaning, suggesting
that they are the unreal variety
that "go grazing through pastoral
romances whose heroes, like Can-
dide in Chapter XIX, rapturously
carve the names or initials of their
sweethearts on trees *. Further he
suggests that the red sheep are men
tioned three times in connection
with the absent Cunegonde, that
this association of sheep with Can-
dide s "dream of amorous bliss . . .
strengthens the possibility of a
symbolic overtone .
All Professor Bottiglia and others
say may be true enough; however
the edge of Voltaire s big-sheep
satire cuts another, more practical
way. Each time we observe the
sheep in Eldorado, they are at
work pulling, being ridden, or
carrying packs:
The roads were covered or rather orna
mented with carriages of brilliant ma
terial and shape, carrying men and wom
en ... rapidly drawn along by large
red sheep . . . [gros moutons rouges:
"fat red sheep** is a better reading here]
After this long conversation the good
old man ordered a carriage to he har
nessed with six sheep ... to take them
to court . . . the six sheep galloped off
and in less than four hours they [Can-
dide and Cacambo] reached the King s
palace. . . .
There were two large red sheep [grande
moutons rouges] saddled and bridled for
them to ride on when they had passed
the mountains, twenty sumpter sheep
laden with provisions, thirty carrying
presents . . . fifty laden with gold, pre
cious stones and diamonds. 3
The size, strength, and speed of the
sheep are greatly exaggerated, as
is everything in the Utopian El
dorado; but the very fact that El-
AN&Q
doradans have succeeded in train
ing the proverbially dumbest of
animals to do anything at all rea
sonable accentuates the accom
plishments of a people undevoted
to outer-world values.
Using a simile of sheep the 18th-
century German satirist Georg
Lichtenberg neatly sums up the
impossibility of changing a seem
ingly unalterable nature:
There is something in the character
of every man which cannot be altered:
It is the skeleton of his character. Try
ing to change it is like trying to train
sheep to pull a cart. 4
To find sheep that might learn to
lead dependably, rather than sim
ply follow or chaotically and help
lessly go their own silly way, pleas
antly boggles normal expectation.
However, for a people capable of
building the royal palace from an
unknown material superior to West-
phalian gold and gems and who
can construct on short notice a
machine to hoist their visitors over
mountains, it might be easy to
train an animal whose inability to
learn and general frivolousness is
legendary in the real world.
No doubt as Bottiglia says, Vol
taire was striving for "picturesque
realism" in his description of El
dorado. And although he might be
almost literally describing the
brownish-red llama, the camellike
beast of burden of the Andes, when
he speaks of the sheep, he does
not call it "llama", or Tiuanacu" or
vicuna or any make-believe name
he might have; only "mouton". 5
Surely in describing the excellent
abilities of even the lowly Eldora-
dan sheep, Voltaire helps establish
the superiority of his Utopian crea
tion over the trivial but common
November 1970
assumptions of our irrational "out
side * world.
Ed Kelly
University of Rochester
Rochester, New York
1. Voltaire s Candide: Analysis of a Clas
sic, Vol. VII of Studies on Voltaire
and the Eighteenth Century, ed. The
odore Bestennan (Les Delices, Ge
neva: Institut et Musee Voltaire, 1959),
Ch. V, pp. 123-125. Bottiglia quotes
William R. Price, The Symbolism of
Voltaire s Novels with Special Ref
erence to Zadig (N.Y., 1911), pp.
209, 211.
2. Bottiglia cites Andre Morize, Candide
ou I Optisme (Paris, 1913)., who
quotes Garcilasco de la Vega, His-
toire des Yncas, Rois du Perou, etc.,
trans. Jean Beaudoin (Amsterdam,
1737), p. 111.
3. Candide or Optimism, ed. Norman L.
Torrey (N.Y, 1946), pp. 53, 58-60.
4. Aphorismen, ed. A. Leitzraann. 5 vols.
(Berlin, 1902-08) III, 201.
5. The Lexicon de la Lengua del Peru
(1560) cites llama along with paco,
guanuco, vicuna, and ovefa (sheep).
QUERIES
Marchettfs case of the pigs tail
"No chapter on Foreign Bodies
would be complete without an al
lusion to de Marchetti s case of the
pig s tail. The ingenious means
used for its removal excite our ad
miration, even after the lapse of
nearly three centuries", thus said
J. Rawson Pennington in A Trea
tise on the Diseases and Injuries of
the Rectum, Anus, and Pelvic Col
on (Phila.: Blaldston, 1923; p. 216,
incl. port, of Pietro de Marchetti,
1589-1673). May I have the origi
nal citation in Marchetti s writings
and a brief description of the case?
Pennington cites a Paris, 1851 edi
tion of Marchetti, Recueil d Ob-
ser vat ions Rares de Medecine et
de Chirurgie. Chaloner Gordon.,
St Louis, Mo.
Medical Americana With the
support of Mr Robert B. Austin, I
am preparing a supplement to his
Early American Medical Imprints,
1663-1820 (Washington: National
Library of Medicine, 1961), which
will list imprints that were un
known to him when his bibliogra
phy went to press, or the existence
of which he was unable to verify.
I should be grateful to any of your
readers who could send me details,
including the location of at least
one copy, of any medical work in
its wider sense (as defined in Mr
Austin s "Introduction") published
in the present United States before
1821 and not included in his list. I
should also be glad to learn of any
entries in the earlier list in need
of correction. John B. Blake,
Ph.D., Chief, History of Medicine
Division, National Library of Medi
cine, Bethesda, Man/land 20014
"Curtain lecture Early use of
the term, its origin, and meaning.
David Turnbull, Boston, Mass.
"Sore as a pup" This compari
son has been long known to me in
oral use, but I have only now seen
it in print. Rex Stout uses it in a
tale in J. F. McComas, Crimes and
Misfortunes, N.Y. [1970], p. 405:
"Why don t he throw in and draw
five new cards? He s sore as a pup".
The meaning of the comparison is
obvious enough, but is a pup par
ticularly conspicuous for bad tem
per? I should be glad for more ex
amples in print and for comment.
Archer Taijlor, Berkeleij, Calif.
42
AN&Q
REPLIES
"Golfers prayer (VIII: 54) It
is easy to present the accurate ori
gin of this curio-shoppe petition:
it derives from the "Fisherman s
prayer" ("Lord, grant that I may
sometime catch a fish so large, that
even I, in telling of it afterward,
will never have to lie"). The real
problem is where the "Fisherman s
prayer" came from. Robert F.
Fleissner, Wilberforce, Ohio
Poe on furniture (VIII: 88) In
BrylKon Fagin s The Histrionic Mr
Poe (Baltimore, 1949) there is
some information on Poe s decora
tive taste. Furniture arranged in
curved or straight lines was un
pleasant to Poe s perception. Mini
mum of furniture is preferred rath
er than too much furniture. Es
sential ingredients are carpets, rugs,
certain colors and patterns. "In
his essay he [Poe] was intent on
attacking the bad taste of the Amer
ican parvenu with whom costly
clutter and flashiness passed for
aristocratic elegance; in his stories
his aim is to provide appropriate
settings for Gothic characters and
plots". Fagin goes on to say that
Poe was influenced in his taste
for furniture by the furniture ac
quisitions of John Allan, a Rich
mond merchant, who adopted
Edgar. One of Poe s biographers,
James H. Whitty, believes that John
Allan s furnishings "might be found
the germ for some tastes displayed
in after years, his minute de
scriptions of draperies and of fur
niture". Jerome Drost, SUNY
at Buffalo, JV.Y.
To "suck the hind teat" (VIII: 136)
This phrase developed from
observation of suckling pigs. Sows
have twelve, fourteen, or (rarely)
sixteen teats, and those at the back
produce less milk and generally are
first to cease lactation, so the young
forced to feed there are usually
runts. The phrase has been in oral
circulation for at least fifty years.
Because it was long considered
vulgar, printed examples are rare:
Walter Van Tilburg Clark, The Ox-
Bow Incident (1940; p. 244): " Well ,
he said, if you like to suck the
hind tit . . / "; John Nance Garner,
quoted in Time (8 Nov. 1963, p.
47): "I don t want these kids around
here to suck on a hind tit when it
comes to getting a good education".
Mac E. Barrick, Shippensburg
(Pa.) State College
Largest non-polar glacier (IX: 7)
My great-aunt, Fanny Bullock
Workman, describes "The Con
quest of the Great Rose, or Sia-
chen", in her book Two Summers
in the Ice-Wilds of Eastern Kara-
koran (N.Y., n.d. [1917?]), the
story of an expedition she and her
husband undertook in 1911. She so
designates the Siachen glacier. I
do not have the volume at hand
and cannot answer the other ques
tions but perhaps another reader
will confirm and amplify, or come
up with another answer. I d like
to know too. R. J. Bullock-Tel-
man, Mexico City, D.F.
always welcomes Notes
of literary, historical, biblio
graphical, folk, natural history,
or antiquarian interest.
November 1970
43
EDITORS
NOTES & READING
The second edition of John Chad-
wick, The Decipherment of Linear
B (Cambridge: At the University
Press, 1970; 164pp, ; $1.65), pulls
together the latest studies on My
cenaean Greek. Plainly stated, and
with the support of a decade and
a half of scholarship, Chadwick s
work remains the point of depar
ture for the study of the primitive
Greek language and for Mycenaean
studies in general.
When AN&Q falls behind its pub
lishing schedule we take heart
from such stories as that in the
New York Times of 21 June: "Schol
ars Now Work on *H* in Welsh
Dictionary After 50 Years", a task
that the editors hope to bring to
completion in another 15 years.
"Richard Thomas, the editor, who
is 61 years old, has been involved
with it for more than 30 years* .
Headquarters are at the National
Library of Wales in Aberystwyth.
Next to the item noted above, the
NYT cites a new historical diction
ary of the Italian language being
prepared by the Accademia della
Crusca, which is expected to be
completed in 30 or 40 volumes by
the year 2021.
A famous Tasmanian librarian and
professor, Edmund Morris Miller
(1881-1964), is honored and me
morialized in EMM.: A Handlist
of [his] Published Works and
Manuscripts, compiled by Linda
Rodda (Hobart: Morris Miller Li
brary, University of Tasmania,
1970; port., 27pp. Price?). Librari
an T. D. Sprod and Emeritus Pro
fessor L. A. Triebel provide a Pref
ace and a Tribute honoring this
famous humanist, scholar, and li
brarian.
We would be more than remiss in
this column not to call attention to
resources for the study of Euro
pean culture in the great American
research libraries. The Harvard Li
brary Bulletin, stateliest of all li
brary house organs, often records
major work of this sort in the mag
nificent collections in Cambridge.
The July 1970 issue (vol. XVIII,
no. 3) has articles on "The French
Text of Eleven Letters from Heine
to His Wife (1844)", by Stuart
Atkins and "The Hours of Isabella
di Chiaromonte", by Brucia Witt-
hoft.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
A welcome new volume in "Ro-
wohlts Monographien" is no. 166,
Angelica Krogmann, Simone Weil
(Reinbek bei Hamburg; Rowohlt
Taschenbuch Verlag, 1970; 187pp.;
DM3.80), a documentary biogra
phy of one of the most productive
thinkers of our time. Her recon
ciliation of concepts of social jus
tice with mysticism and inner re
ligious experiences is an original
and important contribution to phi-
44
AN&Q
losophical literature. A contribution
to TRowohlts Deutsche Enzyklopa-
die ?> is no. 338, Ralf-Bodo Schmidt,
Unternehmungsinvestitionen: Struk-
turen Entscheidungen Kalkille
(1970; 152pp.; DM2.80), written
with the assistance of Jurgen Ber-
thel.
The second edition of W. H. G.
Armytage, Four Hundred Years of
English Education ( Cambridge: At
the" University Press, 1970; 353pp.;
$3.45), ought to be the textbook
for the first (and perhaps only)
required course for a teaching cer
tificate. From Roger Ascharn s The
Schoolmaster (1570) through the
latest developments in Britain in
the late 1960s we have a conspectus
here of what has been, at least up
to our time, the world s most ef
fective educational system and, the
one from which most of our tra
ditions are derived.
Ar ion 3; Almanach international de
poesie (Budapest: Corvina, 1970;
199pp. ) is a review of the status
of poetry in our time, with special
emphasis on the Hungarian. In
addition to the Magyar texts, there
are translations into all major Eu
ropean languages. The book is il
lustrated by leading Hungarian
artists.
A much-needed work is P. V. Glob,
The Bog People (Ithaca: Cornell
University Press, 1969), translated
by Rupert Bruce-Miff or A It deals
with the some 700 Iron-Age bodies
found in bogs all over northwest
ern Europe over the last two cen
turies, but more particularly with
those of Denmark. Other evidences
for the culture of these earliest
known Germanic peoples are ex
amined carefully by Mr Glob.
There are seventy-nine photographs
and one map.
BOOK REVIEW
MORSE, Peter. John Sloans Prints; a
Catalogue Raisonne of the Etchings,
Lithographs, and Posters. With a Fore
word by Jacob Kainen. Illus. 406pp.
New Haven: Yale University Press, 1969.
$50, regular edition.
Art movements nearly always get
started as a revolt of artists against
something already thoroughly established .
In 1908 a group of eight American ar
tists organized themselves under the
name "The Eight" for an exhibition at
the Macbeth Gallery in New York. They
were in revolt against the domination of
American art at the time by the stand
ards of the National Academy, though
their own styles of painting and their
subject matter ranged from the romantic
impressionism of one member, Arthur
Davies, to the tough-minded realism that
was more typical of the group and es
pecially found in the work of John
Sloan and George Luks.
The choice of subjects by the realists
among The Eight was often less than
genteel, but filled with the life of New
York streets. Unsympathetic critics, ac
customed to the standards of the Acad
emy, declared The Eight, and their fol
lowers, to be an Ashcan School. The
naming of art movements is at best a
matter of chance, and more than one
name applied in derision has caught on
and stuck. So it was here, and the col
orful sobriquet for The Eight and their
friends remains as the catchword by
which this group of avant garde artists
of the time is known. Avant garde? From
this distance in time it is difficult to
apply the word, but they must be consid
ered so. The revolution generated by
the Ashcan School against the academic
approaches to art which were then in
vogue inaugurated an artistic exploration
November 1970
45
of the everyday aspects of American life,
urban and rural, which flourished until
the end of the 1930s.
John Sloan is one of the best known
members of the Ashcan School. His sub
jects were, typically, street scenes, back
yards and alleyways of the city, and
people always people. Well known
today as a painter, he worked extensively
in the graphic media as well. In addition
to poster designs, illustrations for news
papers, magazines, and limited edition
books, he published editions of 155 sepa
rate prints, chiefly etchings. Through his
early experience as a newspaper illus
trator he had acquired a facility in
capturing the essentials of a scene or
incident, and the narrative element was
pronounced in his work.
His approach to his subjects was hu
mane: the pompous he usually deflated,
but the humble were always sympathet
ically treated. Despite his affinity for
depicting the life around him (not an
affluent life, usually) Sloan denied any
interest in loading his subjects with "so
cial consciousness", but found an outlet
for his socialist sympathies in the nu
merous illustrations he did for such peri
odicals as The Masses. Of one etching,
"The Women s Page" (Cat. no. 132),
which shows a working class woman
en deshabille reading a fashion page in
her cluttered bedroom, Sloan says that
it is "done with sympathy, but no social
consciousness " (p.141). In spite of the
disclaimer, we see again and again in
his scenes of city life a concern with
human situations that makes his prints
strong social documents.
About a 1920 etching, "Boys Sledding"
(Cat. no. 197) Sloan said, "In going
back over my etchings ... it seems nota
ble that I have been more interested in
life than in art " (p. 223). Nevertheless
Sloan became an accomplished artist,
"and mastered the art of the intaglio
medium as well as painting. His earliest
published prints, while bland and rela
tively unsophisticated, marked his train
ing period in the etching medium. A
comparison of Sloan s early and late
graphic work is intriguing for its revela
tion of the growth of his technique and
the broadening of his outlook. Most of
the earliest published work, before he
found his own idiom, was commissioned
by A. E. Newton, of Philadelphia, and
is reminiscent of the late 19th-century
material that had given etching a bad
name. Such series as "Homes of the
Poets", "Westminster Abbey", and "The
Poet s Portfolio", done in modest formats,
evidently sold well in the 1890s. They
are interesting as documents of the taste
of the period, and because they repre
sent Sloan s beginning efforts in the
medium.
It is with some relief, however, that
we see what the journeyman etcher could
do with a commission in 1902, to il
lustrate a series of de luxe editions of
the then fashionable French writer, Paul
De Kock. Altogether Sloan produced 53
etchings as illustrations for 16 books by
De Kock, and the prints show the emer
gence of the sure hand of the artist. By
the time the De Kock series was com
pleted (in fact, fizzled out, since editions
de luxe did not sell so well as the pub
lisher, Frederick Quinby, had expected),
Sloan s characteristic style was estab
lished.
Sloan emerged, then, in his "New
York City Life" series, a set of ten prints
published 1905-06, with three titles add
ed 1910-11. Aside from his book illus
tration commissions and occasional por
traits, this reportage of daily life (genre
scenes) was the chief preoccupation in
Sloan s graphic work, and dominated it
until the early 1930s, when a new motif
emerged, a series of strong female nudes.
The "New York City Life" series and
many subsequent single prints on the
same topic make up the heart of Sloan s
oeuvre. Unfortunately, the directness of
some of Sloan s urban subjects offended
print connoisseurs more accustomed to
refined subjects, and his prints never sold
particularly well.
A valuable trait of Sloan s was his
continuing concern with record keeping,
so that his prints are usually documented
extensively. Sloan retained proofs from
many states of all his prints, and kept
virtually all the plates on which his
etchings were done. There was, of course,
an economic factor here. Sloan usually
specified an edition of 100 prints, plus
10 artist s proofs, for each plate that
was ready for publication, but had the
prints pulled by his printer only as there
was the demand for them. Since they
sold slowly, it was necessary to preserve
the plates for future printing, to the limit
of the edition. Sloan also kept diaries
46
from as early as 1906, and these pro
vided further documentation of the work
on his prints.
One man alone may do well at record
keeping (though I suspect that many
artists, even printmakers, would not do
so well), but with the assistance of a
wife like Helen Farr Sloan, who was also
gifted with a sense of order, a virtually
complete documentation becomes pos
sible. Over a period of years in the late
1940s, Sloan and his wife reviewed his
files, expanded old notes and added new
ones, and generally filled in the history
of Sloan s oeuvre and his relations with
his colleagues.
Thus when a cataloger for Sloan s
work - in this case his prints - came
along, the material for a definitive work
was available, and definitive is the word
for the book in hand, John Sloans
Prints, by Peter Morse.
Mr Morse, who at the time he com
piled the catalogue raisonne was As
sociate Curator of Graphic Arts at the
Smithsonian Institution, was fortunate
to have the generous assistance of Mrs
Sloan, who since the artist s death in
1951 has continued to organize, refine,
and perfect the record of her husband s
life work. Among the effects of Sloan s
estate were nearly all of his etching
plates, proofs of print states, all the
other contents of his studio including a
variety of unused print papers, and his
notes and diaries. A large collection of
Sloan graphics and related material, in
cluding impressions from most of his
etchings and many of his drawings on
tissue (for transfer to the etching plates)
was acquired from the widow by the
Philadelphia Museum of Art in 1956.
Most of what remains in Mrs Sloan s
possession is now managed under the
John Sloan Trust and is deposited by
Mrs Sloan at the Delaware Art Center,
in Wilmington. All of this material, plus
the vast fund of information at Mrs
Sloan s disposal, was made available to
Mr Morse.
The result of this endeavor has been
to produce a systematic, chronologically
arranged list of all known prints a
total of 313 etchings, lithographs, and
linoleum cuts, and 20 poster designs
which will serve as the guide to identi
fying any impression of any state of a
Sloan print.
AN&Q
The heart of Morse s book is, of course,
the catalogue raisonne, but he lays the
groundwork for it thoroughly in the
introductory section. For each element of
the entries in the catalog that is to fol
low, Morse painstakingly defines terms
and explains conventions of printmaking
(such as what part of a print is used
for taking measurements, or the deter
mination of "left" and "right" in de
scribing a print). He gives a detailed
account of the printers of Sloan s plates
and the bewildering variety of papers
they used, and gives an explicit account
ing of other technical matters to be con
sidered in identifying a particular im
pression. The discussion of signatures on
Sloan prints is interesting and valuable.
Illustrated examples of his signature and
other inscriptions are shown, along with
a sample of the way that Helen Farr
Sloan will sign any approved proof that
is pulled henceforth from an incompleted
edition. Other notable tidbits in the
Introduction are Morse s list of prints
in which Sloan has introduced a self-
portrait, and the list of prints cataloged
which the Sloans sent to friends as
Christmas or New Year s greetings from
1909 to 1939.
The Catalog section of the book be
gins with a print done in 1888, a dry-
point after Rembrandt which Sloan later
described as ". , . overworked . . . looked
like it was done inadvertently by some
one turning on their heel . . ." (p.21).
Each catalog entry supplies a number,
the title, date, medium, size, and all
known information about the number
of states (with brief notes of distinguish
ing characteristics of each), size of edi
tion and whether completed, names of
printers, existence and location of the
printing plate and any tracings used,
and Sloan s comments on the print, de
rived from his diaries, notes, and previ
ously published remarks. In addition,
symbols for over a dozen museums and
collections indicate the locations of im
pressions from the various states of each
print
Each print is illustrated, actual size
unless otherwise indicated, in at least
one state (usually the published state),
but several are reproduced in two states,
and two of the plates are shown in four
states of development: "Copyist at the
Metropolitan Museum" and "Isadora
Duncan". Typically, there may be from
November 1970
47
two to eight states of proof in the de
velopment of a Sloan etching, but in
the case of "Isadora Duncan" the artist
produced 29 states before the plate was
ready for publishing! (Morse has de
fined "state" as being "any impression
of a print showing a deliberate change
in a plate, distinguishing it from an
other impression of the same plate"
[p.2].)
The etchings done as book illustrations
after his early work for Newton fall into
two groups: those for the De Kock books,
1902-05, and the illustrations done for
Maugham s Of Human Bondage in 1937.
In addition to the usual full catalog
entries for each of these illustrations,
Morse has added a history of the ill-
fated De Kock project "an edition de
more than luxe", as Sloan expressed it
in a letter to Robert Henri (p.64) - with
a detailed account of the twelve differ
ent limited editions which Quinby pub
lished, and notes on some library loca
tions of the various editions.
Of the 313 prints made by Sloan, most
are etchings, as we have said. Drypoint,
aquatint, mezzotint, or engraving are
combined with etching in a few of
these. Ten of the prints are lithographs,
a medium to which Sloan did not take
readily, partly because of difficulties he
experienced in printing them. Three of
the prints are original linoleum block
posters.
The second part of die catalogue rai-
sonne is devoted to twenty poster de
signs (mechanically produced) that
Sloan did in the period from 1894 to
1921. It is believed that he designed
more than 150 posters, but only these
cataloged here are known. The catalog
entries are similar to those in the print
section of the book. Of particular interest
are the designs done before 1900, in a
-style reminiscent of Art Nouveau and
The Yellow Book.
The final section of the book is a
documentary appendix containing three
short writings by Sloan. The first is a
foreword to a book about his etchings
which was planned to be published in
1944, but never issued. "Autobiographi
cal Notes on Etching" is an unpublished
manuscript based on notes taken by
Helen Farr Sloan during a conversation
between Sloan and Carl Zigrosser in
1947. "The Process of Etching" is a
step-by-step technical article which was
first published in 1920 in The Touch
stone. The volume concludes with a bib
liography, indexes to titles and subjects,
and a concordance which relates Morse s
catalog entry numbers to those of three
previously published lists of Sloan prints.
A careful reading of the book is re
warding in several ways: it is a lively
document of Me in New York City over
a period of three decades; it provides
a very personal picture of one artist at
work with images and words; and it is
a rich source of information about tech
nical matters of printmaking, especially
etching.
John Sloans Prints stands as a model
of what the catalogue raisonne should
be, and will be a foundation upon which
any future study of the life and work of
Sloan will stand. It is, indeed, "indis
pensable to art scholars, museums, li
braries, and dealers", as the flap on the
dust-wrapper says. It is too expensive
for the general art book buff, and that is
a pity. Despite the formidable scholarly
apparatus and the great weight of the
volume the book is delightful because
of its appealing subject matter, and
should be attractive to the sophisticated
general reader as well as the specialist.
William B. Walker, Librarian, Li
brary of the National Collection of Fine
Arts and the National Portrait Gallery,
Smithsonian Institution
PUBLICATIONS RECEIVED
(Continued from p. 34)
(Lowell). Cooper, Philip. The Autobio
graphical Myth of Robert Lowell.
170pp. Chapel Hill: University of
North Carolina Press, 1970. $7.50
McKay One-Volume International En
cyclopedia. Ed. by E. M. Horsley.
[8th Rev. Edn of Hutchinson s New
20th Century Encyclopedia]. Illus.,
incl. Color Plates, Maps, etc. 1118
double-col, pp. N.Y.: David McKay
Co., 1970. $12.95
Maddox, George L. ed. The Domesti
cated Drug: Drinking Among Collegi
ans. 479pp. New Haven: College &
University Press, 1970. Cloth, $9; Pa
per, $4.50
AN&Q
Maratzek, Max. Revelations of an Opera
Manager in 19th-century America:
Crotchets and Quavers & Sharps and
Plats. (1855; 1890). New Introd. by
Charles Haywood. Illus. 2 vols, in 1,
xxxi, 346, 94pp. N.Y.: Dover Publica
tions, 1968. $3.
Nash, John Henry: the Biography of a
Career, by Robert D. Harlan. Illus.
167pp. Berkeley: University of Cali
fornia Press, 1970. $7.50
(Nearing, Scott). The Trial of Scott
Nearing and the American Socialist
Society . . . U.S. District Court for
the Southern District of New York.
(1919). 249pp. N.Y.: Da Capo Press,
1970. $12.50
Peake, Mervyn. Titus Alone. [An aug
mented edition, revised, with Introd.
by Langdon Jones; being Part III of
the Titus Groan trilogy, now first pub
lished complete in 1970], Illus. 263pp.
London; Eyre & Spottiswoode, 1970.
$5.95; The same. London: Penguin
Books, 1970. Paper, $1.25
(Peake). Gilmore, Maeve. A World
Awatj: a Memoir of Mervyn Peake.
Illus. 157pp. London: Victor Gollancz,
1970.
Pitkin, Timothy. A Political and CM
History of the United States of Ameri
ca ... 1793-97 . . . (New Haven,
1828). 2 vols. N.Y.: Da Capo Press
1970. $39.50
Russell, John H. The Free Negro in Vir
ginia, 1619-1865. (1913). 194pp. N.Y.:
Dover Publications, 1969. Paper, $2,
Southwick, Albert P. Quizzism; and Its
Key: Quirks and Quibbles From Queer
Quarters . . . (1884). 212pp. Detroit:
Gale Research Co., 1970. $7.50
Tucker, George. The Valley of Shenan-
doah; or, Memoirs of the Gray sons.
(1824). xxxvi, 320pp. Chapel Hill:
University of North Carolina Press,
1970. Cloth, $7.50; Paper, $2.95
Vaughan, Beatrice. The Old Cook s Al
manac (1966). Illus. 198pp.; [also]
Yankee Hill-Country Cooking (1963),
202pp. Burlington, Vt.; The Stephen
Greene Press, [1970]. Paper, each
$2.95
Wehle, Harry B. American Miniatures,
1730-1850. One Hundred and Seventy-
three Portraits Selected with a Descrip
tive Account; [and] a Biographical
Dictionary of the Artists by Theodore
Bolton. (1927). Ports, in 49 Plates,
incl. Color, xxv, 126pp. N.Y.: Da Capo
Press, 1970. $17.50
Willard, John Ware. Simon Willard and
His Clocks. ( 1911: A History of Simon
Willard, Inventor and Clockmaker).
Illus. 133pp. N.Y.: Dover Publications,
1968. Paper, $2.50
AMERICAN NOTES & QUERIES
Volume IX Number 4 December 1970
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
AMERICAN MOTES & QUERIES
Volume IX Number 4 December 1970
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOR REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Andrews, William. Old-Time Punish
ments. [Torture; mostly Britain].
(1890). Illus. 251pp, Detroit: Sing
ing Tree Press, 1970. $8.50
Beckett, Samuel: His Works and His
Critics an Essay in Bibliography,
by Raymond Federman & John Fletch
er. 383pp. Berkeley: University of
California Press, 1970. $15.
Benton, Thomas Hart, The Life of, by
William M. Meigs. (1904). 535pp.
N.Y.: Da Capo Press, 1970. $19.50
Brown, Glenn. History of the United
States Capitol (56th Cong., 1st Sess.,
Senate Doc. No. 60. [1900-02]). Il
lus. 2 vols. in 1. N.Y.: Da Capo Press,
1970. $35.
Buhler, Kathryn C.; & Hood, Graham.
American Silver: Garvan and Other
Collections in the Yale University Art
Gallery. I: New England; II: Middle
Colonies & the South. Profusely Illus.
2 vols. New Haven: Yale University
Press, 1970. $35.
Burnham, Daniel H.; & Bennett, Edward
H. flan of Chicago. Ed. by Charles
Moore. (1909). Profusely Illus., incl.
Color Reproductions. 164pp. N.Y.: Da
Capo Press, 1970. $37.50
Calhoun, John Caldtoett, Life of, by
William M. Meigs. (1917). Ports. 2
vols. N.Y.: Da Capo Press, 1970.
$37.50
Canney, Maurice A. Encyclopaedia of
Religions. (1921). 397 double-col, pp.
Detroit: Gale Research Co., 1970. $15.
Clifford, James L. From Puzzles to Por
traits: Problems of a Literary Biog
rapher [of Samuel Johnson, etc.].
151pp. Chapel Hill: University of
North Carolina Press, 1970. $6.
Dale, Doris Cruger. The United Nations
Library: Its Origin and Development.
Illus. 236pp. Chicago: American Li
brary Association, 1970. $10.
Daniels, Jonathan. A Southerner Dis
covers the South (1938). New Introd.
by the Author. 346pp. N.Y.: Da Capo
Press, 1970. $10.
Denhardt, Robert Moorman. The King
Ranch Quarter Horses, and Something
of the Ranch and the Men That Bred
Them. Illus. 256pp. Norman: Univer
sity of Oklahoma Press, 1970. $9.95
Eells, Walter Crosby, et al. Academic
Degrees: Earned and Honorary De
grees Conferred by Institutions of
Higher Education in the United States.
(USOE-54008A; BuU. 1960, No. 20).
324pp. Detroit: Gale Research Co.,
1970. $8.50
(Flaubert). Gaultier, Jules de. Bovary-
isrn. Trans, by Gerald M. Spring.
173pp. N.Y.: Philosophical Library,
1970. $8.75
(Heraldry). Ancient and Modern Her
aldry. An Exhibition Devised and Col
lected by John Brooke-Little, Rich
mond Herald of Arms of the College
of Arms [England]. Illus. 86pp. [Lon
don: The Tabard Press; distributed
by The Hammond Museum, North
Salem, Westchester County, N.Y.].
1970. Paper, $1.
Hughes, John; & Breckenridge, John.
A Discussion: Is the Roman Catholic
Religion Inimical to Civil or Religious
Liberty? [and] Is the Presbyterian
Religion . . .? (Phila., 1836). 547pp.
N.Y.: Da Capo Press, 1970. $22.50
(Continued on p. 63)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies and back issues 75tf each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies and Abstracts of Folklore
Studies; indexed in Book Review Index; included in The Year s Work in
English Studies, and Annual Bibliography of English Language and
Literature, MHRA, Appropriate items included in the Annual MLA Inter-
nxfinnal Bibliosravhv; Victorian Studies "Victorian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
ANTHONY TROLLOPE S
THEOLOGY
TROLLOPE PROTESTED HIS RELIGIOUS
NEUTRALITY so much that critics
have not looked closely at his treat
ment of the mid- Victorian doctrinal
dilemma. 1 It is worth noting that
the protest was a token one. Trol-
lope did in fact have a point of
view and a preference. He, like
Tennyson, came to an inadequate
if honest answer to the question of
the "disappearance of God".
Trollope proclaimed his objec
tivity in the Barsetshire novels, in
An Autobiography, and most firmly
in a travel book, South Africa,
where he states, "Into religious
opinion I certainly shall not stray
in these pages. In my days I have
written something about clergymen
but never a word about religion.
No doubt shall be thrown by me
either upon the miracles or upon
Colenso". 2 However, his is only a
politic neutrality, and his need of
a positive religion often breaks
through his desire not to offend
any reader. One such outburst oc
curs in his novel about the Royalist
revolt, La Vendee, where he ex
coriates Robespierre s atheism in a
rhetorical question: "Why, instead
of the Messiah of Freedom which
he believed himself to be, has his
name become a byword, a re
proach, and an enormity? Because
he wanted faith: ... He seems
almost to have been sent into the
world to prove the inefficacy of
human reason to effect human
happiness". 3
The specific faith which Trol
lope adheres to is one within the
bounds of the Anglican Church.
His dislike of Dissenters, indeed
of the Evangelical Movement both
within and without the Church
of England, is all too clear. Mr
Slope and Mrs Proudie alone are
enough to turn the reader against
the Sabbatarian activities and ex
cessive moral zeal of the Low
Church. Mr Puddleham, the bad-
tempered Nonconformist in The
Vicar of Bullhampton, and that
sadistic fanatic Mrs Bolton in John
Caldigate render Methodism equal
ly unpalatable to the reader. Clear
ly, as Trollope himself admits in
Barchester Towers, he prefers the
"bell, book, and candle" 4 of the
High Church movement to the ex
cesses of Slope. Francis Arabin,
who is so "high" that he almost
went over to Rome, and Josiah
Crawley, another product of La
zarus College, Oxford, are sympa
thetic figures, and through them
Trollope portrays both the
strengths and the dangers of the
Oxford Movement. Austere, neurot
ic, overly scrupulous, Crawley is
not unlike the Tractarian Hurrell
Froude. He is a good man, but a
misguided one, and Trollope lets
us see the perils into which his
masochistic humility leads his fam
ily. Trollope s full approval is re
served for the third great division
of Victoria s Church, the Broad
Church.
52
AN&Q
Broad Churcli doctrine is scarcely
dealt with in the Barsetshire nov
els, but in several other books Trol-
lope indirectly but clearly expresses
his own convictions. In The Ber
trams he outlines young George
Bertram s religious thinking, and in
George s struggle to choose a pro
fession, his mistakes, and the seri
ousness of his thinking, perhaps
a reflection of the author himself.
The Thirty-nine Articles come in
for a good deal of abuse which is
only half humorous. When George
tells a clergyman friend that he
intends to go into the Church,
his words are greeted incredulous
ly: "Take Orders! You! You can no
more swallow the Thirty-nine Ar
ticles than I can eat Twisleton s
dinner". Bertram s reply shows that
he is altogether interested in works
rather than faith, and is an ironic
commentary upon the lukewarm
beliefs of many of the clergy: "A
man never knows what he can do
till he tries. A great deal of good
may be done by a clergyman if
he be in earnest and not too wed
ded to the Church of England". 5
George is contemptuous of what he
thinks of as the archaisms of Angli
can theology, and he gibes at the
conservative thinking of his friend.
"Come, Arthur", he says, "be hon
est, if a man with thirty-nine arti
cles round his neck can be honest"
(p. 432).
It is probably fortunate that
George did not go into the Church,
for his advanced views would have
insured him a stormy career. He
goes so far as to write two books
on religion, The Romance of Scrip
ture, and The Fallacies of Early
History. Trollope notes that "The
early history of which he spoke
was altogether Bible history, and
the fallacies to which he alluded
were the plainest statements of the
book of Genesis" (p. 215). George
champions the "Higher Criticism",
that symbolic interpretation of the
Bible so popular in the circles of
George Eliot and her freethinking
friends, and he argues passionately
against Arthur Wilkinson s literal
ism: "A book is given to us, not
over-well translated from various
languages, part of which is history
hyperbolically told for all East
ern language is hyperbolic; part
of which is prophecy, the very
meaning of which is lost to us by
the loss of those things which are
intended to be imaged out; and
part of which is thanksgiving ut
tered in the language of men who
knew nothing, and could under
stand nothing of those rules by
which we are to be governed" (p.
305).
This novel was published before
the famous Essays and Reviews,
but George Eliot s translation of
Strauss Leben Jesu was thirteen
years old. Trollope could well have
read and approved Strauss "High
er Criticism". I wonder also if
Trollope s ideas were suggested
by works of Richard Whately, a
prominent if not sensational Broad
Church leader. Whately s little
tract Christian Evidences was wide
ly known, and he became Arch
bishop of Dublin when Trollope
was still in Ireland. It is easy to
imagine Trollope reading and ap
proving his statement that it was
not essential to one s soul to be
lieve that the world was created
in six days, 6 and listening to an
1847 sermon in which he said, The
Scriptures are intrinsically infalli-
December 1970
53
ble, but do not impart infallibility
to the student of them. Even by
the most learned they are in many
parts imperfectly understood; by
the unlearned and unstable they
are liable to be Vrested to their
own destruction!* " 7
I believe that Whately s views
are Trollope s, as well as Bertram s.
Without writing polemics, the nov
elist manages to show the reader
that George s views have much
to offer. He avoids possible censure
by using humor to soften his criti
cism of the Thirty-nine Articles,
and by putting his "Higher Criti
cism" in the mouth of a young,
and therefore in the eyes of the
average reader a naive character.
But Trollope himself does not
think that Bertram is naive. He
carefully sets up this opponent,
Arthur, for George to debate with,
and as carefully shows us how
much sounder George s thinking
is. Arthur is willing to take his faith
on trust because he has an un-
speculative mind. The mediocrity
of his record at Oxford suggests
the deficiencies of his intellect.
Bertram, on the other hand, is a
scholar of great ability, a serious
and powerful thinker. The theo
logical dice are loaded in his favor.
Trollope s interest in the Broad
Church movement continued to the
end of his life. The attractive hero
of Dr Worth s School is a sort of
later-day Thomas Arnold, anti
clerical, oriented toward ethics
rather than piety, pugnacious in his
latitudinarian views. But the Broad
Church only fulfilled part of Trol
lope s spiritual needs. The little
known late novel Marion Fay is
particularly revealing of Trollope s
spiritual leanings, and his dilemma.
The hero, Lord Hampstead, is an
other George Bertram, even "broad
er" in his convictions than George.
Trollope describes him, with ap
proval, as "a religious boy, but
[one] determined not to believe
in revealed mysteries". 8 Yet Hamp
stead, and Trollope, are not emo
tionally satisfied with rational An
glicanism, or so it would seem, for
the author has his hero fall in love
with a girl of a completely different
spiritual persuasion, the mystical
and unearthly Quakeress after
whom the book is named. Surely
Trollope intends to show through
this love affair that, after all, man
cannot live by the Broad Church
alone.
Yet the dilemma is finally unre
solved. Though Marion offers
something which Hampstead
yearns for, she and her father are
portrayed as apart from the ordi
nary Victorian world of Hamp
stead, indeed, unable to live in it.
Their clothes and manners are ex
traordinary, their ideals incompre
hensible to most of Hampstead s
peers. Marion s mysticism itself
seems to be connected with the
tragedy of her life. Her death
from consumption seems symbolic,
as if Trollope believed that true
spirituality was doomed in a Vic
torian world. The description of
die supernatural vision which Lord
Hampstead has of his dead fiancee
as he stands at her grave is unlike
anything else in Trollope s works.
The author drops his usual urbanity
and irony, and writes in a tone
very different from the gentle pa
thos with which he describes other
deaths of sympathetic characters:
" Marion , he said; Marion; oh
Marion, will you hear me? Though
54
AN&Q
gone from me, art thou not mine?
He looked up into the night, and
there, before his eyes, was her fig
ure, beautiful as ever, with all her
lovliness [sic] of half-developed
form, with her soft hair upon her
shoulders; and her eyes beamed
on him, and a heavenly smile came
across her face, and her lips moved
as though she would encourage
him. My Marion; my wife" . 9
Such is the effect of this vision on
the young Lord that he gives up
the ordinary pursuits of life, and
goes alone on a pilgrimage to seek
his own soul. His response as well
as her death suggests that an un
bridgeable gap lies between in
tense faith and the Victorian world.
In fact, if we allow, as I think
we must, that a little bit of auto
biography goes into all of Trol-
lope s heroes, however different
from each other and from Trollope
they may seem, we see that Trol-
lope s religious position was much
like that of Tennyson and Matthew
Arnold. Like Arnold, Trollope rea
soned himself into a "sensible"
latitudinarian position. Like Ar
nold, he found it emotionally in
adequate. Perhaps the quest motif
in Marion Fay owes something to
Tennyson s "The Holy Grail*, for
Trollope was inclined to echo re
cent popular themes, and certainly
it is easy to see Trollope, like Ten
nyson, as conscious of "two voices".
One demands a public, modern,
ethical view of life the view of
King Arthur, Dr Wortle, and
George Bertram. The other seeks
"visions of the night or of the
day . 10 The wanderer follows a
grail or a dream, and despairs of
the conventional world. It is inter
esting to wonder if even that "real
ist" Trollope may have been torn
by the same kind of spiritual ten
sion which afflicted so many great
Victorians.
Mrs David J. Kenney
University of Maryland
1. Even that fine critic A. O. J. Cock-
shut is most vague about Trollope s
religion. See Anthony Trollope, A
Critical Study (London, 1955), p.
22.
2. South Africa (Leipzig, 1878), I, 234-
235.
3. La Vendee (London, 1880), pp. 268-
269.
4. Barchester Towers (London, 1957),
p. 477.
5. The Bertrams (N.Y., 1859), p. 26.
All citations refer to this edition.
6. Archbishop Richard Whately, Intro-
ductory Lessons on Christian Evi
dences (Boston, 1850), p. 103.
7. Richard Whately, The Search After
Infallibility (Dublin, 1848), pp. 37-
38.
8. Marion Fay (London, 1883), p. 1.
9. Ibid., p. 384.
10. Alfred Lord Tennyson, Idylls of the
King (N.Y., 1965), p. 205.
"OK": ROBERT A. CLARKE
GROCE AND WALLACE S The New-
York Historical Society s Dictionary
of Artists in America, 1564-1860,
pp. 129-30, identifies Robert A.
Clarke only as a "painter of ani
mals", born in Ireland about 1817,
active in New York City, 1843-49,
and in Philadelphia, 1850-54. They
cite several books in which Clarke s
works especially his studies of
race-horses are mentioned or re
produced. Clarke was indeed best
known for his horse paintings; in
fact, his friend, the sporting writer
December 1970
55
Henry William Herbert ("Frank
Forester"), believed that Clarke s
"power of catching and committing
to paper the peculiar action, style
of going and salient characteristics
of any horse, while in motion, on
the trot especially, has scarcely
been equalled". 1
But Clarke was not solely an ani
mal painter; he was a caricaturist
and panoramist as well. George G.
Foster included in his New York
by Gaslight (1850) a chatty discus
sion of bowling alleys and their
devotees, mentioning a bowling
party made up of Frank Forester,
William T. Porter (editor of The
Spirit of the Times), and Foster
himself:
It is ten to one that [Porter] has a book
of rich and rare MS. caricatures in his
hat, just sent on from Bob Ckrke. . . .
If Ckrke himself (the "O.K." whose in
imitable sketches of the blioys of New
York, have preserved to posterity a char
acter whose parallel the world has never
yet seen, and who, but for Clarke s
graphic pencil, would have passed away
unchronicled), were not in Phikdelphia
fiddling away at a tc bksted" panorama,
"or some such wagon", he would be sure
to make up a quartette in this agreeable
little party. 2
Although Foster seems to imply
that Clarke s sketches appeared in
The Spirit of the Times, a search
of that journal from 1847-50 pro
duced nothing answering Foster s
description. However, another of
Fosters books, New York in Slices,
includes two sketches signed "OK**
a posturing Broadway sharper
and a blioy lustily driving a one-
horse carriage as well as a num
ber of portraits and vignettes
signed with a "CT, on the lower
curve of which a tiny bird is
perched. 3 Even without the evi
dence of this monogram, which
seems to be a play on Clarke s name
(C + lark), the striking similarity
of style in both the "C" and the
"OK" drawings would suggest that
Clarke produced them all.
Richard Stoddard
Yale University
1. Frank Forester s Horse and Horseman
ship of the United States, 2 vols.
(New York: Stringer and Townsend,
1857), H, 208-9. Herbert refers to
"the late lamented Ckrke", fixing the
artist s death between 1854 and 1857.
2. New York by Gaslight (New York:
Dewitt & Davenport, 1850), p. 22.
3. New York in Slices, by an Experi
enced Carver (New York: W. H.
Graham, 1849), pp. 34, 46, and pas
sim. I am grateful to Miss Suzan
Bruner of the School of Art at Yale
University for her assistance in ana
lyzing these sketches.
"A POPE ANECDOTE"
IN NUMBER 50 of the 18th-century
periodical, The World (1753-56),
the writer of that essay, attributed
to Richard Owen Cambridge, re
lates an amusing anecdote concern
ing Pope and a hackney coach
man:
"It is remarkable that the expletive Mi
Pope generally used by way of oath, was,
*God mend me!* One day, in a dispute
with a hackney coachman, he used this
expression: Mend YOU! says the
coachman: *it would not be half the
trouble to make a new one* "- 1
Although it would probably be
impossible to verify this story,
Cambridge had been, as Austin
Dobson remarks, "in indirect com
munication with Twickenham s
56
AN&Q
greatest resident, since, through
Thomas Edwards, he had supplied
for Pope s grotto some of that
sparkling mundic or iron pyrites
from Severn side". 2
James A. Means
Universili/ of Virginia
1. Chalmers, The British Essayists (1808),
XXVI, 272.
2. Eighteenth-Century Vignettes. (3 ser.,
World s Classics edn.), 191.
QUERIES
Three Steinbeck items 1) The
following poem is credited to John
Steinbeck: "A Book Is Somehow
Sacred./ A Dictator Can Kill And
Maim People,/ Can Sink To Any
Kind Of Tyranny/ And Only Be
Hated,/ But When Books Are
Burned/ The Ultimate In Tyranny
Has Happened./ This We Cannot
Forgive . . .". Interested in finding
out when and where did this poem
originally appear?;
2) Some time ago, back many
years, a Tom Collins was to have
published a book, They Die To
Live, with a preface by John Stein
beck. Was the book published?;
3) I am desirous of finding out if
and when a short essay by John
Steinbeck, In Awe Of Words, was
ever published. If it was published,
where and when, please? Pres
ton Beyer, Columbus, Ohio
Gun salutes When did the cus
tom originate? Who made the rules
for the number of rounds to be
fired? Is there an international code
that is published? Where will lists
be found showing the different
ranks who would be saluted, coun
try by country? Michael O Reil
ly, Dublin, Eire
Fevers attributed to eating fruit
When and where was the idea
current? Is it still believed by
physicians anywhere? By any com
mon folk? What fruits? Thomas
Brechman, San Antonio, Texas
Peary-Cook controversy What
is the most modern opinion based
on research in the matter? Did
Peary reach the North Pole? Did
Cook? Alexander McDougall,
Toronto, Canada
Quarantine flags What were
they? When were they used? Are
they still used anywhere, and under
what authority are they raised?
Deborah Quint, Sioux City, Iowa
Goffering Where can I find a
description of the technique, the
tools used, and the materials to
which the art is applied on the
edges of book leaves or elsewhere?
James D. Richmond, Nashville,
Tenn.
White as mourning dress What
was the origin of this ( European? )
custom? When and where was it
practiced? Did all classes of society
follow it? I had always thought
that black was the universal habit.
Mary A. Manley, Omaha, Nebr.
SEASON S
GREETINGS!
December 1970
57
REPLIES
Bible Belt (1:103) Bible Belt
was a term which H. L. Mencken
coined in 1924, basing it on such
phrases as Cotton Belt and Corn
Belt, He intended it to refer to the
rural areas of the South and Mid
west where a fundamentalist belief
in the historical accuracy of the
Bible held sway. Mencken first
used the phrase as part of a head
ing in the "Americana" section of
the American Mercury (111:10, Oc
tober 1924, p. 171): "Progress of
the New Jurisprudence in the Bible
Belt, as described in a Centerville
dispatch to the Ottumwa [Iowa]
Courier". The phrase appears fre
quently in later issues (November
1924, p. 290; February 1925, p. 154;
etc.) and in the fourth edition of
Mencken s The American Language
(New York, 1936, pp. 230, 239,
309, 522), though there is no men
tion of it in the editions of 1919,
1921, and 1923. Mathews Diction
ary of Americanisms provides two
examples dated February 1926 and
June 1948. Mencken subsequently
coined similar phrases Epworth
League Belt (American Mercury,
January 1925) and Bryan Belt
(ibid., November 1925), but these
did not "catch on". Mac E.
Barrick, Shippensburg State Col
lege, Shippenshurg, Pa.
Apocatastasis of "Hamlet s" Ghost
(VIII:55, 56; r 121) The
question as to whether the Ghost
in Hamlet may be a damned
soul undergoing a purging prepara
tory to an eventual salvation at the
end of time (the doctrine of apoc-
atastasis), has been carefully con
sidered in my article on "The
Ghost in Hamlet" Studies in Phil
ology, XLVIII (1951), esp. pp.
185-90. I there argue that although
the Ghost himself may view his
sufferings as purgatorial and ulti
mately salvific, all the facts of his
behavior indicate otherwise. The
Ghost s outlook is that of a Chris
tian soul recrudescently pagan, a
soul spiritually "lost" in a self-de
ceiving illusion (such as various
platonists and even the Christian
Origen of Alexandria held), that
all suffering is purgative. St Au
gustine, however, although reared
a Platonist, had authoritatively re
jected Origen s doctrine of apoca-
tastasis and indeed all variations
of it (see City of God XXI. 17-28),
as had likewise Aquinas (S.T.,
Supp,, Q94, Art. 2-4), and also the
Anglican Thirty-Nine Articles (Art.
42). The Ghost s view, therefore,
manifests an heretical lapsing into
an error which Christian orthodoxy
condemned and which Shake
speare s play too shows to be tragic
and blind. To reach this conclusion
we need only scrutinize carefully
the implications of the play s many
details regarding the Ghost. Any
reader who doubts this should read,
besides my article cited above, my
more recent Shakespearean Trag
edy: Its Art and Its Christian Prem
ises (1969), pp. 237-44. I disagree
with Miss Prosser s view that the
Ghost is a devil in disguise. He is
indeed, as Hamlet takes him to be,
the Spirit of the elder Hamlet. But
that Spirit, by its dedication to
revenge, is actually damned and in
hell - particularly so because he
confusedly supposes, as many a
Renaissance platonist did, that
hell s torments are only for a term.
58
Shakespeare as artist is exhibiting
the elder Hamlet s mistaken judg
ment and its misleading of Prince
Hamlet. Roy W. Battenhouse,
Indiana University
To "suck the hind teat" (VIII: 136)
As with many Southern region-
alisms, this phrase seems to have
come into general usage since about
World War II, when so many left
the South for war work ? service in
the armed forces, etc., although it
was already known in the hog and
hominy belt, and perhaps where-
ever pigs were farrowed. In Amer
ican Speech, XVI, 1 (1941), p. 24
it is given in Indiana: "Suck the
hind tit. To have fewer advantages
than others"; XVIII, 1 (1943), p.
67, R. I. McDavid, jr, reports,
". . . (usually the left hind tit)"
employed in S. C., N. C. ? La. and
Texas.
The phrase has analogous for
bears, and seems to be a welcome
variant in the vocabulary of the
gland and sex-oriented: E. C. Brew
er, Phrase and Fable (1905) com
ments on ec Wrong end of the stick",
this phrase being included in Farm
er and Henley s Slang and Its Ana
logues (1904), vol. 7, sv. wrong,
without dated example of usage.
Traditional usage is indicated in
Oxford English Dictionary: sv. end,
sb. 24, and wrong, a. and adv. 7c.
T. L. K. Oliphant, The New Eng
lish (1886), i, p. 491, suggests
"wrong end" is a recent voicing of
the 15th century "worse end of a
staff in a quarrel", i.e., having the
weaker stick when singlestick or
cudgelling was in flower, prior to
the time the common man was al
lowed to carry steel, such arms
being limited to the nobility and
AN&Q
gentry. Colloquially, U. S. A., "short
end" and "dirty end" have been
employed, becoming "shitty end of
the stick" ( Mailer, The Naked and
The Dead [1948], pp. 202, 361) as
the scatological breakthrough be
gan to be made in print.
Visually, the subject phrase has
been pictured for several decades
in cartoon and photograph of lit
ters of eight or ten piglets nippling
a sow, the smallest being at the
left hind. Generally, its plight is
comment in the title. No doubt
such examples of graphic art may
still be found in the practical joke-
novelty shops that infest most big
cities. Peter Tamony, San Fran
cisco
EDITORS
NOTES & READING
In spite of the poor quality of his
scholarship, Washington living s
Mahomet and His Successors re
mains a delightfully romantic his
torical biography of the Islamic
world. It has forever it seems
been the most popular interpreta
tion for the common reader, and
now that it is in a scholarly format,
it is still readable and even attrac
tive. This interesting contribution
to The Complete Works of Wash
ington Irving, under the general
editorship of Henry A. Pochmann
(Professor of English, University
of Wisconsin), has a fascinating
Editorial Appendix containing an
"Historical Note" by Professor E. N.
Feltskog, which explains the idio-
December 1970
59
syncratic development of the book.
There is also extensive "Textual
Commentary" by Professor Poch-
mann himself including descrip
tions of the manuscripts, textual
variations, editorial problems, etc.
This "Approved Text", 651pp.,
sponsored by the Center for Edi
tions of American Authors of the
MLA, is published by the Univer
sity of Wisconsin Press, 1970, $20.
Literary Sketches, a magazine of
interviews, reviews, and memora
bilia, is a one-woman publication
carried on by Mary Lewis Chap
man in Williamsburg, Va. It is cer
tainly one of the few we look for
ward to reading every month, and
we can honestly say to our readers
that if you enjoy AIV&Q you ll find
something for your delectation in
every issue of Literary Sketches.
Mrs Chapman has greater courage
than we she is trying illustrated
articles now! A recent issue is
devoted to locating Edith Whar-
ton s home, visits to the lairs of
Melville and Bryant, and other lit
erary landmarks. LS is issued
monthly, $1 a year, from P.O. Box
711, Williamsburg, Va. 23185. Don t
miss it. Libraries will want avail
able back issues for students use.
Freelancers Newsletter will appeal
to many academics who have time
on their hands and need money to
support families, friends, and re
search or other habits. It is meant
tt to bridge the gap between pub
lishers who are constantly search
ing for freelancers to copy edit,
proof read, index or do graphic
work, and the many freelancers
who spend much valuable time at
tempting to locate current assign
ments". Subscription is $12 a year;
published semimonthly by Jarrow
Press, Inc., 1556 Third Ave., New
York, N.Y. 10022. Freelancers may
list their availability for only $2
per issue.
Buried treasure in Bristol, Ver
mont! Read about it real Ameri
can folklore in the first book ap
pearance of Franklin S. Harvey s
articles from the Bristol Herald,
1888-89. And after reading, go out
to find it it s not been found yet,
but you can be almost sure it s
there. The whole story s in The
Money Diggers (Brattleboro, Vt:
The Stephen Greene Press, 1970.
54pp. $2.50, paper).
Anyone who really wants to cele
brate Beethoven his birthday or
his memory will be intrigued
and then captivated by Ludwig
van Beethoven [an] Autograph
Miscellany, circa 1786 to 1799.
This is the famous BM Add. Ms
29801, ff. 39-162 (The "Kafka
Sketchbook"), as edited by Joseph
Kerman, Professor of Music at fie
University of California, Berkeley.
The set, published by the Trustees
of the British Museum, with the
cooperation of the Royal Musical
Association, consists of a volume of
facsimiles and a volume of tran
scription. It is available from Co
lumbia University Press, New York,
N.Y., at a pre-publication price of
$75 until 15 March 1971, after that
date, $87.50. These early manu
script versions are of the greatest
importance in establishing the
Beethoven canon, "an importance
that is underlined by the rarity of
preserved Beethoven autographs
from the period prior to 1800".
60
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
Vniversity of Kentucky. It will be re
sumed in subsequent issues.
BOOK REVIEWS
Bedford Historical Records, vols. 1-3.
Facsims.; Maps. Bedford Hills, N.Y.:
Published by the Town of Bedford,
1966-69. Each volume $3.50.
The publication of primary sources of
historical importance is an occasion for
rejoicing among historians, especially
when the manuscripts have been care
fully transcribed and edited and further
enhanced by an informative introduc
tion, illustrated with splendid maps, and
concluded by a sensible index. The first
three volumes of Bedford Historical Rec
ords possess all of these features to an
extraordinary degree. The books are also
unusual in another respect: the names
of those who have performed so well
their editorial duties do not appear on
the title pages. Compared with the
vanities nourished by so many local
history publications this relative ano
nymity makes these volumes something
of a rarity. By pursuing the front matter
of Volume I, written by Donald W.
Marshall as the Town Historian, we
learn that the transcripts are almost en
tirely the work of Janet Doe ... as
sisted by Julia A. Meade and others.
The maps were prepared by Arthur I.
Bernhard. The inside front covers of
Volumes II and III list the names of
Bedford s officials followed by the names
of the members of the Publication Com
mittee of which Mr Marshall is chair
man, Miss Doe, editor. Without reser
vation Miss Doe and her assistants de
serve the highest praise. Not only will
persons interested in the history and
genealogy of Bedford be forever in their
AN&Q
debt but local historians everywhere
can turn to their work as an example
of excellence in the publication of local
records.
Editorial preparation of the Bedford
Historical Records evidently began sev
eral years prior to 1966 when the first
volume was published. It begins with
a photograph and transcription of the
deed of 1680 by which the Indian chief
Katonah sold 7,673 acres to 22 men of
Stanford, Conn. The original deed is
now on permanent exhibition in the
Bedford Town House. The local ar
chives also include the complete min
utes of the town meetings from 1680
to 1720, and somewhat incomplete rec
ords to 1737. These remarkable docu
ments constitute the major part of Vol
ume I (similar extant records through
1899 are to be published as Volumes
V and VI of the series ) . Additional docu
ments in Volume I include transcripts
of the Connecticut patent of 1697 from
the official copy at Hartford, and the
New York patent of 1704 preserved in
the State Library in Albany which also
owns the original 1710 list of the in
habitants of Bedford. Volume I ends
with a list of 1714 quitrent assessments
prepared from a document owned by
the Bedford Historical Society.
Volumes II and III are devoted most
ly to land records from 1680 to 1741
with a few closely related documents
such as various Indian deeds by which
the acquisition of the six-mile square
of the Town of Bedford was completed
in 1723. Volume IV will continue the
records of land transactions to 1828. The
records are, of course, essential to the
early history of the town as a whole
and to the families who lived there.
The larger historical significance, how
ever, of Bedford s land records is found
in the contrast between the customs and
laws of Connecticut, which were of
New England origin, and those of New
York which prevailed after 1700 when
the settlement of the boundary dispute
placed Bedford within the Empire state.
The records of land distribution in Bed
ford clearly and conveniently demon
strate one of the basic differences be
tween Yankees and Yorkers, a difference
vital to the development of both peo
ples and a basic source of the funda
mental disagreement between them. Al
though these records are confined to
December 1970
61
the Town of Bedford, they illuminate
the whole subject of land ownership in
colonial New England and New York
and therefore are significant to his
torians who have no particular interest
in Bedford alone.
The text is lithoprinted from type
written copy. Each volume is issued
with a printed title page and printed
cover. Adequate margins permit easy
binding in hard covers. James Greg
ory, New-York Historical Society Library
CROZIER, Alice. The Novels of Harriet
Beecher Stowe. 217pp. N.Y.: Oxford
University Press, 1969. $6.50.
Miss Crozier ends her fourth chapter,
that on Mrs Stowe s magazine writing
and social novels Pink and White Tyran
ny, My Wife and I, and We and Our
Neighbors, with this admission: "post
war American society held for Mrs
Stowe no very great significance, and
her writings about it, both the essays
and the novels, hold for the reader of
her work today no great fascination".
Miss Crozier maintains, however, that
these works are interesting in their use
of the observer-narrator, a device later
developed fully by Howells and James.
This chapter of Miss Crozier s work
shows the difficulties confronting the
literary critic in discussing uninspired
work without succumbing to die temp
tations of mockery or indulging in base
less praise, and it is understandably the
weakest chapter in Miss Crozier s work.
Chapter Three deals with Mrs Stowe s
novels of New England before the Revo
lution. These, The Minister s Wooing,
Agnes of Sorrento, Pearl of Orrs Island,
Oldtown Folks, and Poganuc People all
share in the use of "local color" tech
niques and in the theme of theological
debate. Mrs Stowe laments the passing
of the old "coherence of the Puritan
community**. She laments the present
disorder and fragmentation of society
and sees the problem as caused by the
movement away from the old Calvinist
churches and towards anarchy and uni-
tarianism. There is some contradiction
in this, as Miss Crozier points out, for
"the doctrines of Calvinism were re
garded by Mrs. Stowe as repugnant,
glacial". She did not accept Calvin s
evaluation of the human spirit as cursed
with original sin and innately depraved,
nor did she accept Calvin s doctrine of
predestination, but Calvinism in New
England had been a source of energy,
purpose and piety and Mrs Stowe felt
that one could and should remain within
the Calvinist churches while not neces
sarily accepting all the doctrines. Har
riet s father and brother, ministers both,
did just this.
The "villain" in these New England
novels is either Jonathan Edwards or
his descendants or his influence. Here,
too, a paradox is at work, for Mrs Stowe
admired Edwards evangelistic passion
while abhorring his insistence on a re
turn to strict and exclusive Calvinist
theory. His rationalization of these doc
trines makes them vulnerable to rational
attack and his inflexibility on doctrinal
matters drove doubters to the Unitarian
heresy. Mrs Stowe desired to keep the
best of two worlds and ignore the in
consistencies.
Perhaps because the novels of Mrs
Stowe of most interest to present day
readers are those dealing with slavery
and race relations, Miss Crozier s com
mentaries on Uncle Tom s Cabin and
Dred seem the strongest part of her
work. Uncle Tom s Cabin was, accord
ing to Miss Crozier, meant to be an
accurate documentary of life in the
slaveholding states. The work was not
written primarily as a novel, but as a
"work of salvation", a "providential his
tory" in the same way as is Bradford s
Of Plymouth Plantation. It is not, how
ever, meant as an anti-Southern tract,
a point that is still misunderstood, for
it was the entire "system" which was
to blame the Northerner like Daniel
Webster, who pled the cause of "Union"
as an excuse for reconciliation with the
slave holders, as well as the slave hold
ers themselves.
The "problem" then is at least partly
political; the solution is not. The solu
tion must be a religious one. It is es
sential to understand this in order to
grasp accurately the character of Little
Eva and, more importantly, of Tom.
The key is Christian love. Eva, a Christ
figure, dies preaching Christian broth
erly love, and it is Christian love that
62
AN&Q
is the motivation for Tom s actions, not
cowardice or a naturally subservient
nature, as the present connotation of
this term seems to imply.
Miss Crozier also makes some pro
voking remarks concerning Legree s
mother, his motivation and the cause
of his cruelty and his self-destructive
guilt. Motherhood is a powerful force
in this novel, as in many of Mrs Stowe s
works. (It is the separating of mothers
and children which is, according to Mrs
Stowe, the worst sin of slavery). Le-
gree s mother stood for good and for
conscience but he rejects her and God
and his guilt grows. Killing Tom is,
then, an attempt to still his own con
science, for Tom becomes identified in
Legree s m ind with his own mother. It
is, of course, an unsuccessful attempt,
and Legree is driven by greater guilt
to greater enormities, drink, madness,
and death.
Dred, a novel less read today than
Uncle Tom s Cabin, is amazingly rele
vant, if poorly executed. Dred is an
escaped slave who hides in the Great
Dismal Swamp and preaches, like Nat
Turner, bloody insurrection. He par
takes of many of the characteristics of
the Byronic hero and, indeed, Miss
Crozier stresses the influence of Byron
on Mrs Stowe throughout her career.
He is a tormented man who suffers the
crippling effects of his hate for the
white man, as James Baldwin has elo
quently told us the hater must.
Harry Gordon, a mulatto, embodies
many of the problems of a black of
his time or our time. He knows that
there are white men of good will, but
also feels, like Dred, that freedom can
only come through violence. Miss Cro
zier s discussion of Dred is insightful
and leads us to consider this novel of
the 1850s as a possible aid in under
standing the 1960s and 70s.
Although Miss Crozier s analyses of
Dred and Uncle Tom s Cabin are
thought-provoking and penetrating, her
book cannot be the last word on Mrs
Stowe. Miss Crozier s study is purely
critical; it does not purport to be a
critical biography or to set the novels
historically, and so it cannot be faulted
for not doing so, but this job still needs
to be done. More seriously, Miss Crozier
seems not to have considered the major
recent scholarship in the field for ex
ample, John R. Adams Stowe in the
Twayne series or J. C. Furnas Goodbye
to Uncle Tom, both studies which might
have aided her work and both of which
contain extensive bibliographies. Miss
Crozier s work has no bibliography.
Donald R. Noble, fr, University of
Alabama
WILLIAMS, Roger M. Sing a Sad Song:
the Life of Hank Williams. N.Y.: Dou-
bleday, 1970. $5.95.
Hank Williams was, until his death
at age 29 in 1953, a Byronic hero in
that curious combination of bucolic art
and sophisticated commercialism called
country music a $10-million-a-year
industry headquartered in Nashville,
Tennessee. The literary world seems to
have discovered Hank Williams in the
past year. In 1969 Babs H. Deal pub
lished a novel called High Lonesome
World (Doubleday, $5.95) which is
a roman a clef of Hank Williams. Now
comes the first biography which is not,
as are most publications on the subject,
a "discovery" of country music and its
luminaries of the "ThereVGold-in-
Them-Thar-Hillbillies!" variety. Neither
is it a sensational show-biz expose.
Roger Williams, no relation to the
fabled entertainer, displays country mu
sic expertise by clarifying the intricate
distinctions between "hillbilly", "coun
try", and "folk" music. He is knowl
edgeable, too, about Hank Williams,
the singer-composer, whose followers,
estimated at 15 million, still zealously
purchase records, pictures, sheet music,
and any shred of information or gossipy
rumor about him almost twenty years
after his death.
The biographer follows Hank from
his obscure boyhood in rural Alabama
through amateur contests, KWKH s
Louisiana Hayride, WSM s Grand Ole
Opry, M-G-M records, song writing
contracts, movie offers, illness, alco
holism, family problems, dismissal by
WSM, rejection by booking agents, an
attempted comeback, and sudden death.
Litigation over Hank Williams* es
tate which began almost before the
garish funeral (which attracted 25,000
December 1970
63
people to the Civic Auditorium in Mont
gomery, Alabama) has not yet been
settled. Meanwhile, Hank s first wife,
Audrey, receives the windfall of his
talents, collecting one-half of all roy
alties (amounting to over $100,000 year
ly) as a provision of their 1952 divorce.
Although Roger Williams handles
nuances of country music and such
medical terms as "alcoholic cardiomy-
opathy" deftly, he gropes amateurishly
with psychological terminology. There
are cliches such as "problem drinking",
"culturally deprived home", and "con
fusion of parental role". He avoids even
a conventional term like paranoia in
favor of "he thought everybody, in the
final analysis, had some sort of angle
on him". This is, however, only a minor
flaw in an enjoyable and authoritative
biography.
"At his best", writes his biographer,
"there never was a performer with more
appeal to an audience than Hank Wil
liams". But many people remained loyal
to him at his worst, too. Apparently,
"people loved Hank partly because of
his problems". Alcoholism, divorce, ir
responsibility, lechery, and even rumors
of fathering an illegitimate child failed
to diminish enthusiastic affection for
Hank Williams in his native Bible-belt
or elsewhere.
For Hank Williams many admirers
Sing a Sad Song fills a long-neglected
void. Its journalistic approach to a sub
ject that too often attracts only over-
emotional productions of purely com
mercial design is refreshing. Refreshing,
too, is Roger Williams* assumption that
a reading public exists which seeks more
than an introduction to country music.
His attempt at audience analysis is not
developed sufficiently to be seriously
considered as an approach to under
standing the American character. It was
probably not intended to be. Something
is accomplished, however, in this direc
tion, and the study is richer because of
it. Fans of country music, of course,
will delight in the exhaustive coverage
of their cherished interests and the most
worthy attempt yet at a definitive bi
ography of their idol in Sing a Sad Song.
Moreover, students of American folk
culture, native character, the national
pulse or whatever the fashionable
term is at the moment will find some
titillating insights into the responses of
the grass roots American public to one
man, his accomplishments, and his
legacy in the biography of Hank Wil
liams. David I. Butler, Southern
Illinois University, Edwardsville, 111.
PUBLICATIONS RECEIVED
(Continued from p. 50)
Ingersoll, Cliarles Jared, Life of, by
William M. Meigs. Ports. 351pp. N.Y.:
Da Capo Press, 1970. $15.
Keene, Donald B., ed. Twenty Plays of
the No Theatre. Illus. 336pp. N.Y.:
Columbia University Press, 1970. $15.
(Larkin, T. O.). First and Last Consul:
Thomas Oliver Larkin and the Ameri
canization of California. A Selection
of Letters, ed. by John A, Hawgood.
2d Edn. Port, xxxviii, 147pp. Palo
Alto: Pacific Books, 1970. $5.75
Leach, Joseph. Bright Particular Star:
the Life & Times of Charlotte Gush-
man. Illus. 453pp. New Haven: Yale
University Press, 1970. $12.50
L Enfant, Pierre CJiarles; Life of: [Plan
ner of the City Beautiful, the City of
Washington], by H. Paul Caemmerer.
(1950). Illus. xxvi, 480pp. N.Y.: Da
Capo Press, 1970. $15.
Lossing, Benson J. Seventeen Hundred
and Seventy-Six; or, the War of In
dependence . . . (N.Y., 1847). Illus.
510pp. Detroit: Singing Tree Press,
1970. $15.
Norman, Diana. Tom Corbett s Stately
Ghosts of England. 191pp. N.Y.: Tap-
linger Pub. Co., 1970. $5.95
Poems on Affairs of State: Augustan
Satirical Verse, 1660-1714. Vol. 6,
1697-1704 [much on Samuel Garth
and Daniel Defoe]. Ed. by Frank H.
Ellis. Illus. xxxv, 830pp. New Haven:
Yale University Press, 1970. $25.
Scarborough, John. Roman Medicine.
Illus. 238pp. Ithaca: Cornell Univer
sity Press, [1969]. $7.50
(Spenser). Freeman, Rosemary. "The
Faerie Queene": a Companion for
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of California Press, 1970. $6.50
64
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ies in British Art series). Over 400
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Haven: Yale University Press, 1970
[c!969]. $30.
Tar River Poets: Regina Kear; Vemon
Ward, John Woods. (East Carolina
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Greenville, N.C.: East Carolina Uni
versity Poetry Forum Press, Univer
sity Station, P.O. Box 2707, Zip 27834;
1970. Paper, $1.
Tegg, William, comp. The Knot Tied:
Marriage Ceremonies of Att Nations.
(1877). 410pp. Detroit: Singing Tree
Press, 1970. $15.
Thompson, Lawrence S. Essays in His
panic Bibliography. 117pp. Hamden,
Ct: Shoe String Press, 1970. $5.
Trumbull, John; The Autobiography of
Coknel: Patriot-Artist, 1756-1843. Ed.
by Theodore Sizer (1953). Port, xxiii,
404pp. N.Y,: Da Capo Press, 1970.
$15.
Walsh, Frank K. Indian Battles of the
Lower Rogue [River]. Illus., incl. map.
12pp. Grants Pass, Oregon: Te-cum-
tom Acres, 2618 Sand Creek Road,
Zip 97526, 1970. Paper, $1.
Walton, Alan Hull. The Open Gram
[Black Mass, spectres, psychic phe
nomena, etc.]. 233pp. N.Y,: Taplinger
Pub. Co., 1970. $4.95
(Weld-Grimke Letters). Barnes, Gil
bert H.; & Dumond, Dwight L. Let
ters of Theodore Dwight Weld, An
gelina Grimke Weld, and Sarah Grim
ke, 1822-44. 2 vols. N.Y.: Da Capo
Press, 1970. $37.50
Wortman, Tunis. A Treatise Concerning
Political Enquiry and the Liberty of
the Press. (N.Y., 1800). 296pp. N.Y.:
Da Capo Press, 1970. $15.
AMERICAN NOTES & QUERIES
Volume IX Number 5 January 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES &
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEW
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
A Biographical Directory of Librarians
in the United States and Canada [for
merly published as Who s Who in
Library Service]. Fifth Edition. Ed.
by Lee Ash. Sponsored by the Coun
cil of National Library Associations.
1250pp. Chicago: American Library
Association, 1970. $45.
Brody, Alan. The English Mummers and
Their Plays: Traces of Ancient Mys
tery. (University of Pennsylvania Pub
lications in Folklore and Folklife).
Illus. 201pp. Philadelphia: University
of Pennsylvania Press, 1970. $9.50
Brown, Rosellen. Some Deaths in the
Delta, and Other Poems. [A National
Council on the Arts Selection]. 66pp.
Amherst: University of Massachusetts
Press, 1970. Cloth, $4; Paper, $2.
Clifford, James L. From Puzzles to Por
traits: Problems of a Literary Biog
rapher. 151pp. Chapel Hill: Univer
sity of North Carolina Press, 1970. $6.
DeVinne, Theo. L. The Invention of
Printing . . . (N.Y., 1876). lUus. 556
pp. Detroit: Gale Research Co., 1969.
Price ?
Dudley, Miriam Sue. Chicano Library
Program. Based on the "Research
Skills in the Library Context * Program
Developed for Chicano High Potential
Students. (UCLA Library Occasional
Papers, no. 17) Los Angeles: Gifts
& Exchange Section, University of
California Library, 1970. 85pp. Il
lustrated. Paper, $2.
Field, E. M. The Child and His Book:
Some Account of the History and
Progress of Childrens Literature in
England. 2d Edn (London, 1892).
Illus. 358pp. Detroit: Singing Tree
Press, 1968. Price ?
Franklin, Benjamin, The Papers of > Vol.
14, January 1 through December 31,
1767. Ed. by Leonard W. Labaree.
Illus. xxviii, 382pp. New Haven: Yale
University Press, 1970. $17.50
Grimm s Household Tales, With the
Author s Notes. Trans. & Ed. by Mar
garet Hunt. Introd. by Andrew Lang.
(London, 1884). 2 vols. Detroit: Sing
ing Tree Press, 1968. Price ?
Hall, Elizabeth Cornelia, comp. Printed
Books, 1481-1900, in The Horticul
tural Society of New York [Library]:
a Listing. Frontis. 279pp. N.Y.: The
Society, 128 West 58 St, Zip 10019;
1970. $16.
Hayne, Robert Y., by Theodore D. Jer-
vey. (N.Y., 1909). Ports. 555pp. N.Y.:
DaCapo Press, 1970. Price ?
James, Henry. Stories of the Supernat
ural [formerly published as The Ghost
ly Tales of Henry James (1950)]. Ed.
and with a New Introduction and
Headnotes by Leon Edel. 762pp.
N.Y.: Taplinger Pub. Co., 1970. $7,95
Lamb, F. Bruce; & Cordova-Rios, Manu
el. Wizard of the Upper Amazon.
[True adventure of a Peruvian youth
kept captive by Hum Kui tribesmen
in the Amazon jungle]. Illus. N.Y.:
Atheneum, 1971. $6.95
Macfarlane, Alan. Witchcraft in Tudor
and Stuart England: a Regional and
Comparative Study. Illus. 334pp. N.Y.:
Harper & Row, 1970. $8.50
Nicollet, Joseph N., Journals of: a Sci
entist on the Mississippi Headwaters,
With Notes on Indian Life, 1836-37.
Trans, by Andre Fertey. Ed. by Mar
tha Coleman Bray. Map endpapers.
288pp. St. Paul: Minnesota Historical
Society, 1970. $16.50
(Continued on p. 80)
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
THE DEVIOUS GENEALOGY
OF THE "BOTTLE-IMF PLOT
THE ULTIMATE SOURCE OF THE PLOT
elements composing Robert Louis
Stevenson s "Bottle-Imp" story ap
pears to be folk tradition. Yet, only
after these beliefs, separate and
inchoate in origin, were joined by
a first author and were elaborated
by later authors writing in succes
sive periods and annexing their
predecessor s narrative refinements
were they to achieve definitive em
bodiment as polished literary art.
Stevenson himself apparently knew
nothing of the history of his plot,
other than that the story was the
basis of a popular melodrama.
Any student of that very unliterary
product, the English drama of the early
part of the century, will here recognize
the name and root idea of a piece once
rendered popular by the redoubtable B.
Smith. The root idea is there and iden
tical, and yet I believe I have made
it a new thing. And the fact that the
tale has been designed and written for
a Polynesian audience may lend it some
extraneous interest nearer home [Samoa]
- R.L.S.i
"The root idea" which Steven
son borrowed is that a young man
buys, with the smallest coin mint
ed by the nation in which he lives,
a bottle-contained demon which
grants all requests, but which is a
familiar its owner must always sell
for less than its purchase price
or else suffer damnation. The sto
ry s complications then develop out
of the protagonist s attempts to pass
his dangerous possession on to
someone else and thus to avoid the
penalty of his traffic. This plot, as
will be shown, was utilized re
peatedly from the 17th to the 19th
century, and its elements were ulti
mately of folk, and largely of Ger
manic folk, origin. 2
Professor Joseph Warren Beach,
clarifying Stevenson s note (quoted
above) in 1910, carries the geneal
ogy of the bottle-imp plot back two
generations. The "redoubtable B.
Smith", he indicates, was the well-
known actor and stage manager
Richard John Smith, who was nick
named Obi Smith after a part he
had acted in the melodrama Three-
fingered Jack. In 1828 the actor
similarly made a success of The
Bottle-Imp, a play which was
staged at several London theatres. 3
Also in 1828 R. B. Peake, Esq., au
thored a book entitled The Bottle-
Imp, which is a stage copy of the
play and the source of Stevenson s
plot. Peake gave no information
upon the origin of his drama, but
Professor Beach has indicated that
his probable source was a story en
titled "The Bottle Imp", which ap
pears in the first volume of Popu
lar Tales and Romances of the
Northern Nations (London, 1823).
This work does not credit authors
or translators, but Beach indicates
that "The Bottle-Imp" is a trans
lation of La Motte-Fouque s "Das
Galgenmannlein" . 4 The kernel of
Fouque s plot, Beach conjectures,
68
AN&Q
will probably be found in some
popular tale or tradition. 5
A legend entitled "Spiritus Fam
iliaris" in the Grimm Brothers
Deutsche Sagen^ would appear at
first glance to consummate Mr
Beach s prophecy. Though the sto
ries of La Motte-Fouque and of the
Grimms differ in several respects
characters, settings, quantity of
descriptive detail their plots are
basically identical. The seemingly
obvious conclusion that another
oral tradition has been transplant
ed into the sphere of art-literature
and there elaborated is untenable,
however, for La Motte-Fouque s
story was printed in 1810, six years
before the appearance of the
Grimms legend.
Actually, the fountainhead of
the Bottle-Imp plot, for both liter
ary and "folk" versions, seems to
be an episode (chapters 18-22) in
Hans Jakob Christoffel von Grim-
melshausen s novelle "Trutz Sim-
pkx" (printed in 1670 ), 7 a pica
resque account of the fluctuating
career of a camp-follower. Imme
diately preceding his description of
the spiritus familiaris ( the Grimms
title) which Frau Courage, the
story s heroine, acquires, the au
thor has her speak of teaching her
husband the tricks of horse-trading
(the protagonist of the Grimms
Sage is a horsetrader). Then follows
the bottle-imp sequence, which
presents the familiar elements.
Frau Courage pays two Kroners to
an old soldier for a bottle contain
ing a demon. After a few days
during which her flask has puzzled
her by its faculty of self-locomo
tion, Frau Courage asks the soldier
to explain to her the real nature
of her purchase. She has acquired,
the soldier tells her, a spiritus
familiaris, which grants wealth,
protection, and the ability to at
tract love. Frau Courage asks if
the creature, like the Galgenmann-
lein (the source of La Motte-
Fouque s title), needs to be bathed
and otherwise tended. The soldier
replies that the spiritus familiaris
is of a nature different from the
Galgenmannlein, and that it must
be sold for less money than pur
chased. Elsewhere in the account
Frau Courage s mother darkly ad
vises that anyone who dies still
possessing the familiar spirit will
be damned. Grimmelshausen con
cludes his spiritus familiaris episode
rather casually. Frau Courage
eventually sells the bottle-imp to
her paramour, Springinsfeld, who
later disposes of it by throwing it
in a baker s oven.
The evidence which indicates
most suggestively that the Grimms
were not presenting an old folk
legend which they had collected
from oral sources but were retell
ing Grimmelshausen s story is their
description of the bottle-imp, which
reproduces several details of the
earlier writer s account. Grimmels
hausen writes:
50 etwas in einem verschlossenen das-
lein, welches nicht recht einer Spinnen
und auch nicht recht einen Scorpion
gleich sake. . . . sich dasselbe ohn Un-
terlasse im Glass regte und herum gra-
Compare the Grimms phrasing:
Es wird gemeinlich in einem wohlver-
schlossenen Glaslein aufbewahrt, sieht
aus nicht recht wie eine Spinne, nich
recht wie ein Skorpion, bewegt sich
aber ohne Unterlass.s
January 1971
69
The form of the bottle-imp story
which became a cryptically per
petuated literary tradition was
probably shaped by Grimmelshau-
sen, who evidently combined ele
ments from two similar folkloristic
themes: that of the bottle-inhabit
ing familiar and that of the Gal-
genmdnnlein. The flask-contained
familiar, though popularly associ
ated with the Near East and The
Arabian Nights, is respectably an
cient in Europe and appears in a
legend of Virgil as early as the
thirteenth century 10 and by the
time of modern folktale-collecting
is a stock character in Western
folklore. 11 Though Grimmelshausen
intentionally distinguishes his de
mon from the Galgenrnannlein, he
ascribes dangers and conditions to
the possession of this spirit that
popular belief characteristically at
taches to the ownership of the lat
ter: the Galgenmdnnlein can not
be thrown away, for it will always
magically return; it must be sold
more cheaply than bought; and it
brings damnation upon anyone
who dies while possessing it. 12
The two themes, originating sep
arately in folk belief 13 and fused
by Grimmelshausen, comprise what
Stevenson called "the root idea".
Bacil F. Kirtley
University of Idaho
1. Despite Stevenson s explanation of
his indebtedness to a prior source,
several American commentators upon
"The Bottle-Imp" have accused him
of plagiarism: "Stevenson s Borrowed
Plot", The Literary Digest (IS July
1914), pp. 105-106. The unsigned
writer quotes extensively from a
New York Sun editorial, which takes
an even more severely disapproving
and moralistic attitude toward Stev
enson than does the Literary Digest
writer. As early as 1902, Harry Quilt-
er in What s What (London) in
dicated that Stevenson s tale was
borrowed from an earlier German
story, but charitably acknowledged
that the reinterpretation of a widely-
known narrative theme can scarcely
be deemed plagiarism (Quilter is
quoted by J. S. Hammerton, Steven-
soniana [Edinburgh, 1910], pp. 319-
320). The issue of Stevenson s liter
ary borrowing reverberated for sev
eral years in the popular press : "Was
Stevenson a Plagiarist?" Outlook,
CXVI (June 1917), 252-253; Steph
en Chalmers, "Letter on the Bottle
Imp ", Munsey s Magazine, LXI
(September 1917), 633-635; and
"Expert Plagiarism by Divine Right
and Mere Literary Theft", Munseys
Magazine, LXI (September 1917),
623-628.
It is ironic that of the many writ
ers, translators, and editors who ap
propriated the bottle-imp story since
its printed appearance in the 17th
century, Stevenson, who alone made
no pretense of having devised the
plot, should be accused of plagia
rism. The probability is strong, how
ever, that the earliest printing of the
story in the Sunday New York Her
ald from 8 February to 1 March
1891, simply omitted Stevenson s ex
planation without his knowledge. The
Literary Digest article, p. 105, con
tains the assertion that Stevenson
cites no source, and the writer, lack
ing the newspaper s files, must as
sume the statement s accuracy. "The
Bottle Imp" appeared in the English
literary journal Black and White
from 28 March to 4 April however,
and Stevenson s epigraph was at
tached. This inconsistency between
the American and English editions
may have been caused by the New
York Herald s editorial staff, who
simply may have omitted Stevenson s
preface for seeming a tedious aca
demic quibble, a dubious come-on
for novelty-hungry readers.
2. This paper attempts to deal only with
the bottle-imp theme in its line of
descent from Grimmelshausen to
70
AN&Q
Stevenson. Besides the authors dis
cussed here, some of the other writ
ers who have used the theme are
Ferdinand Rosenau (Der Vitzliputzli,
1817), Albert Lutze (Das Gal-
gemannlein, 1839), Adolph Bottger
(Galgenmannchen, 1870). A key to
the extensive literature, both crea
tive and scholarly, upon the subject
may be found in Johannes Bolte et
ali., Handworterbuch des Deutscken
Marchens, 2 vols. (Berlin, 1934-40),
II, 304-310; E. Hoffman-Krayer and
Hanns Bachthold-Staubli, Handwort-
erbuch des Deutschen Aberglaubens,
10 vols. (Berlin-Leipzig, 1927-1937),
II, 1573-1577; and Johannes Bolte
and Georg Polivka, Anmerkungen zu
den Kinder-und Plaus-marchen der
Brtider Grimm, 5 vols. (Leipzig,
1913-1932), II, 414-422.
3. "The Sources of Stevenson s Bottle
Imp **, Modern Language Notes,
XXV, No. 1 (January 1916), p. 12.
4. Ibid., p. 13. Fouque s story, the au
thor again not mentioned, is included
also in The Romancist s and Novel
ist s Library (London, 1839), I, 342-
346. A Galgenmannlein, little gal
lows-man", was believed to grow out
of a hanged person s secretions fall
en to earth. According to folklore, a
Galgenmannlein required elaborate
care in return for its services. Fou-
que s demon in most respects is a
conventional familiar rechristened
with a sinisterly suggestive term. For
a concise but ample description of
the concept, see Bolte, Handworter-
buch, II, 304-310.
5. Ibid., p. 14, note 10, where Beach
suggests a search for the popular
origins of the theme should begin
with the notes to the "Grimm tale no.
99" ("Der Geist im Glas"), a logical
but incorrect guess, for that story
concerns an unwilling captive spirit,
whereas our theme is Faustian and is
equivalent to a pact with the devil.
6. Jakob and Wilhelm Grimm, Deut
sche Sagen, ed. Paul Merker (Leip
zig, 1908), pp. 34-37. This legend
was the basis of Annette von Droste-
HiilshofFs poem, "Spiritus Familiaris
des Rosstattschers" .
7. Albert Ludwig in his article, "Dahn,
Fouque, Stevenson: Das Galge-
mannlein und The Bottle Imp " 9
Euphorion, XVII (1910), 616, men
tions Grirnrnelshausen as a possible
source for Fouqu6 s tale, but does
not reject the possibility of an origin
in oral tradition. The similarities in
these two writers* stories, however,
point strongly to Fouque s having
based his work directly on "Trutz
Simplex".
8. Hans Jakob Christoffel von Grim-
melshausen, "Trutz Simplex", in Sim-
plicianische Schriften (Leipzig, 1877),
p. 77.
9. Brothers Grimm, p. 34.
10. John Webster Spargo, Virgil the Nec
romancer (Cambridge, Mass,, 1934),
p. 23. Spargo cites similar legends
from ca. 1300 (p. 28), ca. 1371
(p. 39), ca. 1444-45 (p. 51), and
ca. 1520 (p. 55).
11. Cf. in addition to the mentioned
works of Bolte, Hoffmann-Krayer and
Bachtold-Staubli, and Bolte and Po
livka the literature cited by Stith
Thompson, A Motif-Index of Polk
Literature, 6 vols. (Copenhagen and
Bloomington, Ind., 1955-1958), s.v.
motifs D2177.1 and F403.2.2.4; and
Stith Thompson, The Types of the
Folktale, FF Communications No.
184 (Helsinki, 1961), s.v. type 331.
12. Bolte, II, 309.
13. The belief that spirits can be im
prisoned in bottles was apparently
sincere and persisted even in the
most enlightened countries until, at
least, the end of the 19th century.
According to Christina Hole, Haunt
ed England (London, 1940), p. 149,
the irrepressible ghost of Sir George
Blount was forced into a bottle which
was still on display in 1886.
A curious elaboration of the belief
is mentioned by Edgar Thurston in
his Omens and Superstitions of
Southern India (London, 1912), p.
250: "The Lingadors of the Kistna
district are said to have made a
specialty of bottling evil spirits, and
casting the bottles away in some
place where no one is likely to come
across them, and liberate them".
January 1971
71
"WADES BOOT :
CANTERBURY TALES
E 1424 AND 1684
"And eek thise olde wydwes, Got it
woot,
They konne so muchel craft on Wades
boot.
So muchel broken harm, whan that
hem leste,
That with hem sholde I nevere lyve
in reste". 1
(E 1423-26)
THIS PART OF JANUARY S SPEECH in
the Merchant s Tale, explaining
why he wants a young wife, has
been a tantalizing Chaucerian crux
ever since Speght, in his 1598 edi
tion of the Works, remarked: "Con
cerning Wade and his bote called
Guingelot, as also his strange ex
ploits in the same, because the
matter is long and fabulous, I
passe it over". 2 But although we
will probably never learn anything
more about Wade s boat than we
already know which is to say
nothing some sense has been
cautiously drawn out of Chaucer s
passage by W. W. Skeat: "It is
obvious that the sole use of a
magic boat is to transport its pos
sessor from place to place in a
few minutes, like the magic
wings of Wade s own father. . . .
Old widows, says Chaucer in
effect, know too much of the
craft of Wades boat; they can
fly from place to place in a minute
and, if charged with a misdemean
our, will swear they were a mile
away from the place at the time
alleged. Mr. Pickwick, on the other
hand, being only a man, failed to
set up the plea of an alibi, and suf
fered accordingly . 3
A refinement of meaning may,
however, be made by reference to
a possible pun on Wade s name
later in the tale. Justinus, Janu
ary s brother and faithful counsel
lor, is trying to dissuade him from
marriage:
"My tale is doon, for my wit is thynne.
Beth nat agast herof, my brother
deere,
But lat us waden out of this rnateere."
(E 1682-84)
This last couplet appears to me
to be superfluous, unless there is a
pun on "waden", for Justinus has
already said that he is done with
the subject. Furthermore, "waden"
(used in this figurative sense here
for the only time in Chaucer} 4 is
an odd choice of words, anyway:
for although the gist of the last
line must be "Let s drop this sub
ject as quickly as possible", the
verb "to wade" usually implies
slowness, not celerity. But if there
is a pun, the line acquires a rele
vance and a meaning: "Let s be
done with this unpleasant subject in
a hurry just as (presumably) Wade
got out of difficult situations in a
hurry with his magic boat", with
a still further implication of ""You
ought to travel as fast as Wade s
boat could take you, to avoid any
thoughts of marriage".
The possibility of this pun seems
to be borne out by the next few
lines, in which Justinus speaks as
though he had heard the Wife of
Bath:
"The Wyf of Bathe, if ye han
understonde,
Of manage, which we have on hande,
Declared hath ful wel in litel space.
Fareth now wel, God have yow in his
grace."
(E 1685-88)
Now, the Wife is precisely one
of those "olde wydwes" January
had said he would avoid, and Jus-
72
AN&Q
tinus is in effect reminding him of
his own words. ( For if the dramatic
pretense that a character in a tale
can t hear a pilgrim who has told
a tale can be momentarily aban
doned, then a further one likewise
can be, that January s meditation
was unheard except by himself.)
Justinus, then, is warning Janu
ary, by means of the whole pas
sage, "Remember how this woman
got out of unpleasant situations,
with her wit , and made her hus
bands lives a Turgatorie [E 1670;
cf. Wife of Bath s Prologue, D 489].
Even if your wit* is "thynne , like
mine, you ought to have enough
sense to flee from women as fast
as Wade s boat can take you".
One hates to say that we there
fore know less of Wade s boat be
fore, but Skeat s suggestion that
Wade s boat has something to do
with an alibi would appear to be
unfounded. If my analysis has been
correct, to use Wade s boat means
to extricate oneself from an un
pleasant or difficult situation, either
literally (in a magic boat) or fig
uratively (by one s wit ).
Sumner J. Ferris
California State College,
California, Penn.
1. Quotations from Chaucer from F. N.
Robinson, ed., The Works of Geoffrey
Chaucer, 2nd ed. (Boston, 1957).
2. Quoted in W. W. Skeat, ed., The
Complete Works of Geoffrey Chaucer
(Oxford, 1894), HI, 356.
3. Ibid., 357.
4. The other occurrences are in the
Canterbury Tales B 2 3684 and D
2084; Trotlus 11.150; and in the pos
sibly non-Chaucerian section of the
Romaunt of the Rose, 5022.
"ROMANCE" IN THE
BLITHEDALE ROMANCE
THE WORD "ROMANCE" has three
distinct meanings in The Blithe dale
Romance, and each of the mean
ings functions on a different level
in the story. In its most common
meaning, "romance" applies to the
love affair between Hollingsworth
and Zenobia. This is the most fun
damental level, the level of plot.
But "romance" can also be un
derstood in the sense of a poetic
but impractical vision, like a fan
tastic fairy tale. In this sense, the
word functions as a tacit comment
by the narrator ( and perhaps ) the
author on the theme of Utopian
living: an inspiring but unattain
able ideal which can be fully
achieved only in another world.
Last of all, "romance" may be
used to mean a literary genre some
what opposed to realism. Under
stood in this manner, the word
functions as an ironic device by
which Hawthorne forestalls all crit
icism of his work. For if the novel
openly proclaims itself a romance,
Hawthorne cannot be criticized for
having failed to make it "realistic"
and "believable". It is the nature
of romance to be unrealistic and
unbelievable.
Yet simultaneously it is the na
ture of romance to arouse passion
and inspire enthusiasm which leads
men to attempt bringing reality in
to alignment with ideality. The
novel, like Hawthorne s experiences
at Brook Farm noted in the preface,
is both a daydream and a fact. If
in future years a Utopian mode of
life is achieved, it could in part be
credited to the author s inspiration
al work. However, if Utopia should
January 1971
73
remain forever in the realm of
imagination, who can criticize
Hawthorne for presenting a foolish
notion as the object of a romantic
story?
The title, then, is subtly chosen
both to credit and discredit the
author for writing a book about an
enigmatical subject which has per
ennially presented itself to men
with a promise of success and the
assurance of failure.
John White
Cheshire, Conn.
WYATTS "DYVERS DOTHE
USE": A BIBLIOGRAPHICAL
PUZZLE
Sm THOMAS WYATT S "Dyvers
dothe use" was not included in
Totters Miscellany. While his Mis
cellany contributions were being
widely read and his sonnets were
being closely scrutinized by sonnet
eers (especially in the 1590s),
"Dyvers dothe use" remained hid
den from the world in general be
tween the leaves of a small quarto
volume of poems, a commonplace
book owned at different times by
Mary Skelton and Margaret How
ard. 1 This small quarto volume was
not uncovered until the beginning
of the 19th century, and in 1816
George Frederick Nott used it in
preparing his edition of Wyatt s
and Surrey s works. 2 Today the
manuscript is commonly called the
"Devonshire MS/ ; it is officially
known as Additional MS. 17492,
British Museum. 3
We have Nott s testimony that
"Dyvers dothe use" was not to be
found before 1816 except in the
Devonshire MS.: "This [sonnet] oc
curs in the Duke of Devonshire s
MS. alone, at page 178". 4 Yet in
the introduction to his 1816 edition
Nott confuses the matter some
what: "The pieces which are print
ed from this MS. exclusively [au
thor s italics]", he says, "are kept,
for the sake of distinction, separate
by themselves, and occupy the
space between pagefs] 205 and
264". 5 "Dyvers dothe use" appears
on pages 143-144, a fact which
leads one to believe that it was not
printed exclusively from the Dev
onshire MS. If not, though, what
other published source for "Dyvers
dothe use" did Nott use? Are Ken
neth Muir, the foremost editor of
Wyatt s works, 6 and J. W. Lever 7
correct in accepting the prevalent
opinion that "Dyvers dothe use"
was indeed first published in Nott s
1816 edition? This bibliographical
puzzle concerning Wyatt s "Dyvers
dothe use" deserves a little atten
tion.
Donald Kay
University of Alabama
1. George Frederick Nott thinks that the
Devonshire MS. must have belonged,
if not to the two ladies, at least to
someone who lived intimately with
them. See The Works of Hennj How
ard, Earl of Surrey, and of Sir Thomas
Wyatt, the Elder, ed. George Fred
erick Nott (London, 1816), II, x.
Also see Appendix A of A. K. Fox-
well s A Study of Sir Thomas Wyatt s
Poems (London, 1911) for further
discussion of the Devonshire MS.
2. Nott s 1816 edition (cited above) has
two volumes.
3. Foxwell, p. 7.
4. Nott, I. 572.
5. Nott, I, x.
6. Collected Poems of Sir Thomas Wyatt,
ed. Kenneth Muir (London, 1949).
7. J. W. Lever, The Elizabethan Love
Sonnet (London, 1956).
74
QUERIES
Dr John Cochran We are plan
ning to publish the "Letter-Book"
of Dr John Cochran (1730-1807),
Director-General of the Hospitals
of the Army of the United States
from 1781 to 1783. We are nat
urally anxious to obtain all original
material, especially letters, concern
ing him. If your readers have any
letters by or relating to Dr Cochran
might they be so kind as to have
them copied and forwarded to us?
Proper acknowledgment will of
course be made for their very kind
assistance. Mom s H. Saffron,
A/.D., Ph.D., New York Academy
of Medicine, 2 East 103 St, New
k NT. 10029
Beckford Latin quotation In
my forthcoming edition of Wil
liam Beckford s Dreams, Waking
Thoughts and Incidents, I have
been able to identify the sources
of all of the Latin quotations with
the exception of the following:
Et circum irriguo surgebant lilia
prato/ Candida purpureis mista
papaveribus, Robert ]. Gem-
mett, SI/NY, Brockport, N.Y.
A Mackintosh, a Morris, a Rounds,
and a Bates What are the vital
dates of birth and death of one
Newton Mackintosh I believe
him to be an American. In 1896
his book A Chamber of Horrors
was published. Yet not even the
Library of Congress can give me
his dates; the same facts for J. W.
Morris. He is known to me only for
his poem What I Think of Hia
watha", which has appeared in
many anthologies. Is he American
AN&Q
or English? The same data for
Emma Rounds, Her poem "Plane
Geometry" appeared in Hughes
Mearn s Creative Youth published
by Doubleday. I would thus sup
pose her to be American and it is
possible she is still living; and what
about G. E. Bates whose poem
"Pentagonia" appeared in The New
Yorker about 1951. I have inquired
of The New Yorker but they do
not have an address for him and no
facts about him. Mrs Richard
R. Livingston, Beverly Hills, Calif.
Milton and the Serpent It has
become traditional to identify Mil
ton s Serpent in Paradise Lost with
Satan and evil per se (see, for ex
ample, the recent comment in
HLQ, XXXIII, 384: "The Serpent
suttlest Beast of all the Field . . .
fittest Imp of Fraud* is indeed the
Tit Vessel for the wiles of the
Tempter [IX.86-89]"). Though not
disagreeing with the Miltonic ver
dict that the Serpent is cursed, I
am curious whether any Miltonist
can provide an explanation for the
ambiguity of the line "Conviction
to the Serpent none belongs". As
I read it, the word Conviction can
mean both "convincement" (see
OED) and "punishment"; if the
latter, then the suggestion might be
that the poor old snake is not to
blame, that only the "infernal" one
is. Is this reading in keeping with
Milton s intent? Robert F.
Fleissner, Wilberforce, Ohio
Othrnar & Erika Spann I
would like to discover any possible
mention of the work of the Vien
nese sociologist and social philoso
pher Othmar Spann (1878-1950)
in the United States in the 1920s
January 1971
75
and 1930s. Also any mention of hours from the city; the accom-
the poetry of his wife Erita Spann- modation will be quite simple, and
Rheinsch (1880-1967) would be eating arrangements will be unto
appreciated. John Haag, Ath- each individual". Jerry Drost,
F^ _ . CrTTVTV x,J. ~D*,t-[. f ,ls\
ens, Georgia
REPLIES
Upton Sinclair and the Helicon
Home Colony (1:6) Apparent
ly Upton Sinclair had forgotten
(due no doubt to his prolific life;
his collected works amount to 100
volumes) a few pamphlets con
cerning his experiment in commu
nal living. He was correct about a
pamphlet coming out in 1906 re
printing "The Independent" article
on June 14, 1906. The pamphlet
was entitled A Home Colony; a
Prospectus, 1906, published by the
Jungle Publishing company.
R. Gottesman in his thesis, Up
ton Sinclair; an Annotated Bibli
ographical Catalogue, 1894-1932
(1964, University of Indiana) in
cluded a few more leaflets by Up
ton Sinclair or sponsored by him:
1) A broadside, "The Helicon Home
Colony Cottage Plans" (published
15 January 1907) outlined plans,
financial cost and restrictions for
cottages on the grounds of the
Helicon Home Colony; 2) An il
lustrated brochure, published Janu
ary 1907, entitled "Helicon Home
Colony" describing the nature and
purpose of the Home Colony Com
pany; 3) A privately printed 8-page
leaflet entitled "A Plan for a Co
operative Group . . . (Personal
and Confidential)" was published
in September 1908. The leaflet
"outlines plans for a new Tiome
colony this one to be a couple of
SUNY at Buffalo.
Caspar de PortoU (VIII: 136)
As for what happened to Caspar
de Portola after he returned to
Spain in 1784, the following source
gives some information. Maynard
J. Geiger, The Life and Times of
Fray Junipero Serra, O.F.M. (Wash
ington, D.C., Academy of Ameri
can Franciscan History, 1959), 2
volumes: Volume I, p. 253, note:
"Portola became governor of Pue-
bla, Mexico on June 9, 1776, and
continued in that capacity until
about 1783. He returned to his
native Catalonia a colonel and died
at Lerida October 10, 1786 where
he is buried". Volume II, p.^402:
"Portola was buried in Lerida,
Spain, October 10, 1786". It re
mains not entirely certain that he
was buried and died on the same
day; I should expect that date to
be that of his death, rather than
that of burial, but . . .?! Edgar
C. Knowlton, jr, University of
Hawaii, Honolulu
" Twixt heaven and heir (VIII: 137)
This passage occurs in Goethe s
Faust, Part I, Before the City Gate
scene, 11. 1118-21: "O gibt es
Geister in der Luft,/ Die zwischen
Erd und Himmel herrschend web-
en,/ So steiget nieder aus dem
goldnen Duft/ Und fuhrt mich
weg, zu neuem, buntem Leben!"
It is part of Faust s speech which
causes Mephistopheles to appear
to him not as a spirit from the air,
but as a black poodle strolling
through a field. Though my ex-
76
AN&Q
amination of all the Faust transla
tions at hand in the library did not
reveal the translator of the version
quoted, it did show that he is heav
ily indebted to Bayard Taylor s
1870 text: the third and fourth
lines are exactly the same (except
for end punctuation) and the first
line copies directly another phrase
except for the one inaccurate and
misleading substitution of angels
for spirits. Hell for earth is also in
correct. A more precise, literal
translation, freed of the restrictions
of rhyme, is perhaps this one: "O
if there be spirits in the air,/ Which
between earth and heaven ruling
weave,/ Then descend out of the
golden ether/ And lead me away
to new, varied life!" Frank K.
Robinson, University of Tennessee,
Knoxville
EDITORS
NOTES & READING
Exciting and important biblio
graphical news is that Bernard
Amtmann, noted Canadian anti
quarian book dealer has recently
issued his first announcement of
the forthcoming Contributions to
a Short-Title Catalogue of Canadi-
ana. During the past three years
he has been compiling a compre
hensive card catalogue on which
the present bibliography is based.
It will contain about 45,000 sepa
rate entries compiled from more
than 80,000 titles listed in his cata
logues since 1950. Features worthy
of special mention are the follow
ing: 1) Indication of corresponding
values and years; 2) Tracing of
author s identity in the cases of
pseudonymous works; 3) Assess
ment of the rarity factor of a given
item by number of copies listed.
A very large number of items in
this Catalogue are not cited else
where. Mr Amtmann intends to
publish the Short-Title Catalogue
in 3 bound large quarto volumes.
Tentative dates of publication are
as follows: Volume I ? March, 1971;
II, September; III, December. Con
tributions to a Short-Title Cata
logue of Canadiana will be avail
able on a subscription basis, and
details are available from Bernard
Amtmann, 1176 Sherbrooke Street
West, Montreal 110, Quebec,
Canada.
We are informed by Professor Mo
han Lai Sharma, of Pennsylvania s
Slippery Rock State College, that
centers for Sehre (poetry for newly-
weds ) -Shiksha ( training ) , where
people are trained to recite cou
plets, are mushrooming in Delhi
colonies to meet the pressing de
mands of a well-known Punjabi
custom. No Punjabi marriage is
generally considered complete with
out a soulful chanting of a few
"sehre" as a preamble to the cere
mony. The couplets, colorful and
flowery are addressed mainly to
the bride. While showering bless
ings, the couplets also purport
to give advice to her. As the
"sehre" tradition is important, much
thought is bestowed on the choice
of the chanter. The Delhi centers
enroll members on an earn-while-
you-learn basis, run libraries, em
ploy instructors, and organize mu
tual discussions to help trainees
acquire proficiency. They maintain
impressive rosters of eligible chant-
January 1971
77
ers from which a client can pick
and choose. But the profession is
not for the young. People look for
reciters with some signs of age to
proclaim wisdom and voices me
lodious enough to chant the "sehre"
with mellifluous gusto. (It is a pity
that the recitations now are invari
ably given over vulgarly loud mi
crophones). Is there anything like
the Punjabi custom anywhere else,
especially in the West?
THE JOHN CARTER BROWN LIBRARY,
Brown University, has announced
availability of a microfilm of John
Russell Bartlett s Papers, with an
index, relating to his term of serv
ice as this country s Commissioner
for the drawing of the boundary
between Mexico and the United
States. Between 1850 and 1853 he
traveled across Texas, New Mexico,
Arizona, into northern Mexico and
California. The papers, most of
which came to the Library in 1881,
consist primarily of journals kept
by Bartlett and of the correspond
ence addressed to him. There are
comparatively few letters by Bart
lett himself. The collection falls
into the following categories: Cor
respondence, May 1850 to August
1877; in seven folio volumes; Offi
cial Despatches, 1850 to 1853; Of
ficial Journal, 1849 to 1852; Person
al Journal, August 1850 to Decem
ber 1852; Newspaper clippings,
June 1850 to August 1852. An index
to the names of the writers of all
the letters has been prepared which
will be distributed with the film.
The microfilm which consists of
3,500 frames on 12 reels, and the
index, may be obtained from the
Library at the cost of $65. Orders
should be addressed to the Library
in Providence.
Roy Strong s beautiful book, The
English Icon: Elizabethan & Jaco
bean Portraiture, throws consider
able light on the confused and
confusing history of the develop
ment of a highly personalized art
form. Covering easel painting in
the period of about 1540 to 1620,
Strong has "tried, in the Introduc
tion, to evoke the historical back
ground, the climate of thought and
stylistic development affecting pic
torial activity during the reigns of
Elizabeth I and James I". Many
of the nearly 500 portraits are in
full-color reproduction and there
are some interesting magnified de
tails that enhance the scholarly
textual analyses of different rep
resentations by nearly fifty artists.
The historian and student of dress
will have a great time studying
details of the various costumes, as
well as portraits of historically im
portant persons. Besides the con
ventional and expected study of
styles of painting (with detailed
appraisals of some of the artists
works), there are unusual chapters
on The Language of Painting, Col
lectors and Collecting, Painting
and Poetry, as well as a folding
chart which is "A Calendar of Po
litical and Artistic Events, 1540 to
1620". An Appendix includes seven
of Strong s more important papers
that are background to the early
researches that went into making
the present book. A Critical Bib
liography, and various special in
dexes round off the many useful
purposes to which the book can
be put. The volume is in the
Studies in British Art series of the
Paul Mellon Foundation for Brit
ish Art. (New Haven: Yale Uni
versity Press, 1970 [c!969]. $30).
78
AN&Q
Another seemingly indispensable
book for any art reference collec
tion is Kurt Erdmann s Seven Hun
dred Years of Oriental Carpets,
edited by Hanna Erdmann and
translated by May H. Beattie and
Hildegard Herzog (Berkeley: Uni
versity of California Press, 1970.
$40). Learning to appreciate the
history of Oriental carpeting can
be one of the most exciting and
rewarding studies of an unusual
esoteric art form: to read about
the involved techniques of manu
facture, the bitter commercial ri
valry of region against region, of
the intrigues of carpetmakers, and
the development of this aspect of
east-west trade, of forged carpets,
and the horrors of the loss of
treasures held by the great Berlin
museums in World War II, all this
makes a great story. The fine il
lustrations, some in color, help to
make this book a definitive intro
duction to the subject, stemming
as it does from the author s many
years as Curator of the Islamic De
partment of the Berlin Museums.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
Any new batch of titles in Reclams
Universal-Bibliothek is always wel
come. New critical editions and
important commentaries in the
series of "Erlauterangen und Doku-
mente" (e.g., Giinter Hagedorn,
Heinrich von Kleist, Michael Kohl-
haas, 1969; 108pp.; UB 9018) are
special features. Here is an inno
vation in the Reclam policy during
the past lustrum which will be use
ful to all students of German and
comparative literature. In ancient
literature Reclam offers Theophras-
tus, Charaktere, in a parallel Greek
and German text (translation by
Dietrich Klose; 103pp.; UB 619/
19a), and Seneca, De dementia,
in a parallel Latin and German
text (translation by Karl Biichner;
116pp.; UB 8385/86). Everyman,
in a parallel English and German
translation (translation by Helmut
Wiemken; 95pp.; UB 8326), is a
fundamental text, useful for both
English- and German-speaking stu
dents. Martin Opitz, Gedichte (ed.
by Jan-Dirk Miiller; 216pp.; UB
361/63), is an edition which will
be enduring for students of 17th-
century German literature. Chris
tian Thomasius, Deutsche Schrift-
en (ed. by Peter von Duffel; 205pp.;
UB 8369/71), includes the most
important works of a student of
basic trends in the thinking of late
17th-, early 18th-century Germany.
Johann Nestroy, Judith und Ho-
lofernes, Hduptling Abendwind
(84pp. ; UB 3347), is the basic text,
with an introduction by Jiirgen
Heim. Fritz Martini, ed.; Prosa
des Expressionismus (319pp.; UB
8379/82), includes selections from
the work of Johannes R. Becher,
Gottfried Benn, Max Brod, Alfred
Doblin, Kasimir Edschmid, Albert
Ehrenstein, Carl Einstein, Georg
Heym, Oskar Kokoschka, Alfred
Lemm, Alfred Lichtenstein, Oskar
Loerke, Heinrich Mann, Ludwig
Meidner, Kurt Schwitters, Carl
Sternheim, Georg Trakl, Alfred
Wolfenstein, and Paul Zech;
George Edward Moore, Principia
January 1971
ethica (34Spp.; UB 8375/78), of
fers a document of English specu
lative thought which is not readily
available elsewhere. The parallel
text of Arthur Rimbaud, Une sal-
son en enfer, German and French
(lllpp.; UB 7902/03), with the
translation and commentary of
Werner Dlirrson, is a permanent
monument of Rimbaud scholarship.
Two new fascicles of the tenth edi
tion of Dahlmann-Waitz, Quellen-
kunde der deutschen Geschichte
(Stuttgart: Anton Hiersemann), ed
ited by Hermann Heimpel and Her
bert Geuss, have appeared recent
ly. They are numbers seventeen
and eighteen, covering the end of
Section 43 through the beginning
of Section 50, a general section
dealing with concepts of history,
education, culture in general, phi
losophy, science and literature in
relation to the entire work.
BOOK REVIEW
MILES, Josephine. Style and Propor
tion: the Language of Prose and Poetry.
212pp. Boston: Little, Brown and Co.,
1967. $7.
The intention of this book is to probe
the development of literary English as
it is evidenced in recognized writers
from the 15th century to the present.
The direction the book will take is
forecast in the first sentence of the
preface: "How do the words and struc
tures of language in literature differ
from place to place, from kind to kind?"
Partly because the question itself is a
very ambitious one to pose, I suspect
that the reaction to the book on the part
of qualified readers might be expected
to differ radically. Although there are
some surprising and highly suggestive
principles of style uncovered here, the
heavy burden of conclusion to this mass
79
of observation finally falls squarely upon
the shoulders of the reader who, upon
reaching the book s end, may feel him
self seduced and abandoned by the
author. Because the many threads of
this inquiry are never really brought
together, the book might be judged a
failure were it not for the occasionally
engrossing flashes of illumination that
turn up.
The author, Professor of English at
the University of California, Berkeley,
begins with a fairly simple and obvious
observation: "I think that among the
possibilities offered by the medium, each
artist chooses certain ones to stress char
acteristically, so that he develops, in
selecting and arranging his materials,
recognizable habits, a style, which is
one special variation upon one among
the more general styles established by
certain lines of choice". We next receive
both a quantitative and a qualitative
description of some sixty representative
poetry and prose texts selected from
among British and American authors
ranging from the anonymous English
ballads (c. 1470) to James Baldwin.
Basically, we are shown two things:
1) the "proportion" of adjectives, nouns,
verbs and connectives, and later 2) the
specific character of a given writer s
tastes in adjectives, nouns and verbs.
For whatever it may be worth, we learn
that in Dryden we can expect the steady
proportion of two adjectives to five
nouns to two verbs to four connectives.
By consulting the book s appendix, we
can also learn that Bryant s chief verbs
are come, die, fall, grow, hear, know,
lie, look, love, rise, see, seem and take.
Well documented as it is, we have little
reason to disbelieve information such
as this, although it is difficult at times
to ascertain the spirit in which we are
to receive it.
The book is written with a great deal
of verve and enthusiasm, and the care
ful reader is likely to become captivated
by the author s determined, almost vis
ceral sensitivity to literary style. She has,
I think, advantageously applied not only
her mind to the considerable task in
front of her, but also her glands. While
there is much that is not new here, we
also have a good many unique and per
sonal observations about style. The
reader is obliged to accept much in the
way of generalization about the history
80
AN&Q
of the language, about literary move
ments and about "major" writers that
is traditional and tentative, but beyond
that, the author has in all probability
identified some characteristics of lin
guistic proportion and selectivity that
may lead the way to still other avenues
of inquiry. The book hints at, among
other things, methods by which little
understood problems of attribution and
influence in literature might better be
comprehended. One might make some
thing (but what?) out of the fact that
the proportions of Swift s prose are al
most identical to those of Santayana s.
An observation such as this may not be
without meaning, but it remains for
someone else to carry such insights to
a conclusion of some kind.
That the author has done her home
work is obvious. Her bibliography,
which is very valuable in itself, con
tains approximately 1,200 entries, all
having to do in one sense or another
with the understanding of literary style.
She has, in addition, supplied numerous
and generous illustrations of style as
suited to her purposes. There is, withal,
a certain give and take that will in
evitably pass between author and reader
here. Those who relish a healthy quarrel
with a book may well enjoy locking
horns with this one in particular. Be
cause the book is an ambitious and
speculative one, the reader may feel
disposed to give it the benefit of any
doubts that may arise. Kenneth T.
Reed, Miami University, Hamilton, Ohio.
PUBLICATIONS RECEIVED
(Continued from p. 66)
Norman, Diana. Tom Corbett s Stately
Ghosts of England. Frontis. 191pp.
N.Y.: Taplinger Publishing Co., 1970.
$5.95
Parker, John; & Urness, Carol, comps.
The James Ford Bell Library: a List
of Additions, 1965-1969. 103pp. Min
neapolis: University of Minnesota
Press, 1970. $10.
(Plato). The Symposium of Plato. Trans,
by Suzy Q Groden. Ed. by John A.
Brentlinger. Drawings by Leonard Bas-
kin. 129pp. Amherst: University of
Massachusetts Press, 1970. $10.
("Punch"). The Best of Mr Punch: the
Humorous Writings of Douglas Jer-
rold. Ed., with an Introd. by Richard
M. Kelly. Illus. 400pp. Knoxville:
University of Tennessee Press, 1970
$14.50
Schapper, Beatrice, ed. Writing the
Magazine Article From Idea to
Printed Page, by [the] Society of
Magazine Writers. Illus., incl, Facs.
199pp. Cincinnati: Writer s Digest
1970. $8.95
Stuart, Dorothy Margaret. The Boy
Through the Ages. (London, 1926),
Illus. 1970, and
. The Girl Through the Ages. (Lon
don, 1933). Illus. Detroit: Singing
Tree Press, 1969. Each, Price ?
Taylor, John M. The Witchcraft Delusion
in Colonial Connecticut, 1647-1697.
(N.Y., 1908). 172pp. Stratford, Ct:
J. Edmund Edwards, 61 Winton Place
Zip 06497; 1969. $6.
Thompson, Lawrence S. Essays in His
panic Bibliography. [I, The Colonial
Period; II, Libraries of the Caribbean;
III, Bookbinding; IV, Library Re
sources and the Book Trade]. 117pp.
Hamden, Ct.: The Shoe String Press
1970.
Walton, Alan Hull. The Open Grave
[Humans, Demons, Black Mass, Oc
cult, etc.]. 233pp. N.Y.: Taplinger
Publishing Co., 1971 [c 1969]. $4.95
Writers Market, 71. Ed. by Kirk Polk
ing & Gloria Emison. 731pp. Cincin
nati: Writer s Digest, 1970. $8.95
AMERICAN NOTES & QUERIES
Volume IX Number 6 February 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Bandelier, Adolph F., The Southwestern
Journals of, 1883-1884. Ed. & Anno
tated by Charles H. Lange, et al.
Illus. 528pp. Albuquerque: University
of New Mexico Press, 1970. $20.
Burke, Edmund, The Correspondence of:
Vol. IX, Pt 1, May 1796-July 1797.
Ed. by R. B. McDowell; Pt 2, Addi
tional and Undated Letters, Ed. by
John A. Woods. Port, xxviii, 487pp.
Chicago: University of Chicago Press,
1970. $21.50
Carter, Marguerite. The Time When
Jour Luck Will Change According to
Your Birthdate. [Astrological observa
tions with some interesting illustra
tions relative to literature, history, and
folklore]. Illus. 360pp. [Indianapolis:
Alan McConnell & Son, Inc.] Distrib
utor: N.Y.: Taplinger Publishing Co.,
1971. $6.50
Castaneda, Carlos. A Separate Reality:
Further Conversations With Don Juan
[of the author s The Teachings of Don
Juan: a Yaqui Way of Knowledge
(1968)]. N.Y.: Simon and Schuster,
May 1971. $5.95
Chaucer, Speaking of, by E. Talbot
Donaldson. 178pp. N.Y.: W. W. Nor
ton, 1970. $6.50
Children s Books of Yesterday: a Cata
logue of an Exhibition . . . May 1946.
Comp. by Percy H. Muir. Foreword
by John Masefield. New Edition, Rev.
& EnL, with an Added Index. 211pp,
Detroit: Singing Tree Press, 1970.
$6.50
Cordova-Rios, Manuel; & Lamb, F.
Bruce. Wizard of the Upper Amazon.
N.Y.: Atheneum, 1971. $6.95
The Critical Idiom (series). General
Editor, John D. Jump: S. W. Dawson,
Drama and the Dramatic, lOOpp; Eliz
abeth Dipple, Plot, 78pp; G. S. Fraser,
Metre, Rhyme, and Free Verse, 88pp.
London: Methuen & Co., Ltd. [U.S.
distributor Barnes & Noble, Inc.],
1970. Each, cloth, $3; paper, $1.25
Dee, John: Scientist, Geographer, As
trologer, and Secret Agent to Elizabeth
I, by Richard Deacon.
Dunkin, Paul. Tales of Melvil s Mouser;
or, Much Ado About Libraries. 182pp,
N.Y.: R. R. Bowker, 1970. Price ?
Haining, Peter, comp. A Circle of
Witches: an Anthology of [Eighteen]
Victorian Witchcraft Stories [Written
by Women]. Illus. N.Y.: Taplinger
Publisning Co., 1971. $5.95
Hawthorne: the Critical Heritage. Ed.
by J. Donald Crowley. (The Critical
Heritage Series). 532pp. N.Y.: Barnes
& Noble, Inc., 1970. $15.
Levin, Richard. The Multiple Plot in
English Renaissance Drama. 277pp.
Chicago: University of Chicago Press,
1971. $9.50
Little Magazines from the Collections
of Rigby Graham and Alec Morris.
An Exhibition Held at 1 Newarke
Street, Leicester, 12 January-19 March
1970. Illus. ["Twenty copies" (ac
tually only seventeen) . . . not for
sale or publication; listed in AN&Q
for the bibliographical record only].
Leicester: The Cog Press, 1970. Not
available.
Lowell, James Russell: Portrait of a
Many-Sided Man, by Edward Wagen-
knecht. Port. 276pp. N.Y.: Oxford
University Press, 1971. $7.50
(Continued on p. 96)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies and back issues 75$ each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies and Abstracts of Folklore
Studies, Review of [Book] Reviews; indexed in Book Review Index; in
cluded in The Years Work in English Studies, and Annual Bibliography
of English Language and Literature, MHRA. Appropriate items included
in the Annual MLA International Bibliography; Victorian Studies "Vic
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
"THE CHILDRENS THREES"
JOHN CLEVELAND S "A Dialogue be
tween two Zealots, upon the &c. in
the Oath" opens with what has ap
peared to readers as a most puz
zling comment on one of the two
zealots:
Sir Roger, from a zealous piece of
Freeze,
RaisM to a Vicar of the Childrens
threes;
Whose yearly Audit may, by strict
accompt,
To twenty Nobles and his Vailes
amount, i
That Sir Roger is not well-to-do
in lines one, three, and four has
been admirably noted by the re
cent editors of Cleveland s poems. 2
Frieze is not a cloth suggestive
of even moderate wealth and the
computing of his annual income of
"twenty Nobles", not counting per
quisites, would yield Sir Roger
less than seven pounds a year. As
Morris and Withington point out,
"even in 1640 . . . [he] was not
passing rich" (p. 83).
But what is to be made of the
second line? In what way has Sir
Roger been changed by being
"rais d to a Vicar of the Childrens
threes"? It is the obscurity of this
line that makes the opening of the
poem difficult. The children s
threes could refer to that third
of the estate of a London citizen
given to his children (one third
being given to his wife and one
third to his executors), and, as
Cleveland s editors point out, he
may refer to the administration of
wills in London, "though what
light this throws on Cleveland s
line is not clear" (p. S3). The rea
son for lack of light is that if
Cleveland had meant that Sir
Roger had become a clerk of the
children s threes or had been left
something by this method of estate
division, he would be much better
off in line three than in line one.
It is likely, however, that what
Cleveland is doing in line two is
providing a paraphrase of the latin
term, jus trium liberorum. "Augus
tus granted certain privileges,
known compendiously by this
name, to fathers of three children.
The privileges included exemption
from certain taxes and preference
among candidates for office . 3 Ob
viously the laws of Augustus did
not apply in mid-century London,
but the latin tag seems to have
made its way into 17th-century
usage, although with slightly
changed connotations. Since many
fathers, in any age, could claim
jus trium liberorum, the phrase
came to stand for the most com
mon, and hence, least effective,
sort of political or official reward.
Jeremy Taylor, in The Liberty of
Prophesying (1647), uses the
phrase with this changed meaning.
Taylor fears he will gain no recog
nition for his work beyond being
the father of three children, in
other words, almost no praise at all.
84
AN&Q
I began to be sad upon a new stock,
and full of apprehension that I should
live unprofitably, and die obscurely,
and be forgotten, and my bones thrown
into some common charnel-house, with
out any name or note to distinguish me
from those who only served their gen
eration by filling the number of citizens,
and who could pretend to no thanks or
reward from the public, beyond a jus
trium liberorum. 4
Not only were Taylor s book and
Cleveland s poem published in the
same year, but their careers are
strikingly parallel. Both were Cam
bridge scholars; both had some
sort of academic connection with
Oxford; both joined Charles I and
his court at Oxford and partici
pated in the intellectual life of
that court; and no doubt both were
familiar with the phrase jus trium
liberorum, in its classical and mod
ern senses. Hence, Cleveland may
well have used the English para-
phrastical reference to indicate the
inconsequence of Sir Roger politi
cally and financially, or at least
his inconsequence until his party
came to power. 5 This reading of
line two does shed some light on
the opening of the poem by solv
ing the problem of the lack of
change in Sir Roger s state after
his being raised to the vicarage of
the children s threes.
William P. Williams
Northern Illinois University
DeKalb, Illinois
1. The Poems of John Cleveland, ed.
Brian Morris and Eleanor Withington
(Oxford, 1967), p. 4.
2. Ibid., p. 82.
3. Sir Paul Harvey, The Oxford Com-
panlon to Classical Literature (Ox
ford, 1962), p. 232.
THE TALM TREE IN THE
FOREST OF ARDEN
IT is UNFORTUNATE THAT the earli
est extant text of As You Like It
is that of the First Folio, for if
even one Quarto text existed sev
eral puzzling details in the play
might be resolved. The fact that the
play was entered on the Stationers
Register in 1600 as a precaution
against its unauthorized use indi
cates that it was regarded as a
valuable enough stage property to
protect.
If we are correct in assuming
that no printed version of the play
had appeared before the First Fo
lio, the Folio text must have been
set up from a manuscript copy.
This is speculation, of course, for
there is always the possibility that
one or several printed texts of the
play existed in 1623 which have
not survived. However, at least
one of the puzzles presented by
the play can be resolved very nice
ly by making the initial assumption
that the Folio compositor was
working from a hastily written
manuscript copy. While it is ex
tremely unlikely that the manu
script was in Shakespeare s hand
(the play having been written a
quarter of a century earlier), we
may surmise that the penmanship
of the copyist was little better than
the dramatist s is reputed to have
been. Whoever was responsible for
making up the copy of the play
4. The Whole Works of Jeremy Taylor,
ed. Reginald Heber and Charles Page
Eden (London, 1847-1852), V, 341.
5. Poems of Cleveland, p. 4. Line 6
of the poem reads, "Untill the Scots
can bring about their parity".
February 1971
85
used by the Folio compositor
seems to have made Shakespeare s
setting even more idyllic than the
dramatist intended.
Shakespeare s chief source for
the play, we know, was Thomas
Lodge s pastoral romance, Rosa-
lynde: Euphues Golden Legacie.
In Lodge s work, the two heroines
go to the Forest of the Ardennes.
Shakespeare, seeking to Anglicize
the locale, would naturally think
of shortening "Ardennes" to "Ar
den", since Arden was his mother s
maiden name and there was a For
est of Arden in his native War
wickshire. Despite its romantic
aura, Shakespeare seems to have
intended his forest to be a real,
rather than a fabulous, setting for
his play.
In I, i, we learn that the action
of the play takes place in France
Oliver refers to his brother Or
lando as "the stubbornest young
fellow of France". Later, on the
borders of the Forest of Arden,
we find olives growing. Rosalind
tells Phebe that she "will know my
house/ Tis at the tuft of olives
here hard by" (III, v, 74-75). Oli
ver looks for "A sheepcote fenc d
about with olive trees" (IV, iii,
78). We may tentatively assume,
then, that the forest is imagined
to be in southern France. However,
Rosalind has found one of Orlan
do s poems to her "on a palm tree"
(III, ii, 179), which seems rather
odd, although the dwarf palm
(Cham&rops humilis) is native to
southern Europe. The word "palm"
in manuscript might have con
tained a script which the Folio
compositor interpreted as "palm"
when what was meant was un
doubtedly "holm" (i. e., the ever
green oak, Quercus Hex}. There
would certainly be oak trees in
southern France, and also in the
Forest of Arden: compare II, i,
31; III, ii, 238; IV, iii, 105. An
alternative explanation for "palm"
is that it is a dialect term for the
yew tree (OED).
However, we still have to ac
count for the "lioness" referred to
four times in Oliver s account to
the ladies of how Orlando saved
his life (IV, iii, 99-157). Like palm
trees, lionesses are rare in southern
France. Nevertheless, "lioness"
must have been what was written,
and what was intended. It looks as
though Shakespeare made the
solecism deliberately to impress
the heroine (and the audience)
with the bravery of her lover. (Oli
ver could also be embroidering
his tale for their benefit. ) Certain
ly if the Rome of Julius Caesar
can have clocks, then the Forest
of Arden can have a lioness (if
not, perhaps, a palm tree) among
its strange inhabitants.
David A. Giffin
Kentville, N. S.
ANOTHER SOURCE FOR
"THE RAVEN"
ALTHOUGH NUMEROUS SOURCES and
influences have been proposed for
Foe s use of a bird of ill-omen and
foreboding in "The Raven", there
has been no specific suggestion,
I believe, for the aspect of the rav
en as "emblematical of Mournful
and Never-ending Remembrance"?
which Poe mentions in "The Phi
losophy of Composition". This par-
86
ticular role of the raven may well
have been suggested to Poe by an
episode in The Career of Puffer
Hopkins, a novel by his New York
City acquaintance Cornelius Math-
ews, which Poe is known to have
read not long before writing "The
Raven". 2
In Puffer Hopkins, Fob, a tailor
dying in a New York City tene
ment, keeps a blackbird which re
minds him of his lost love and of
the better days he knew in the
country. He speaks to Puffer of
the bird:
"You wonder I doubt not, to see this
blackbird here don t you?" said the
tailor detecting the question which Puf
fer s looks had often asked before:
"What business have I with a blackbird,
unless I might fancy that I could catch
the cut of a parson s coat from the
fashion of his deep sable feathers. That
blackbird, sir, is to me and my opinions,
what the best and portliest member of
Congress is to the mind of this metropo
lis. He has come a great way out of the
country, from the very fields where I
was born, and where my childhood
frolicked, to remind me of the happy
hours I have passed, and the sweet
dreams I have dreamt, in the very
meadows where he and his brethren
chartered on the dry branches of the
chestnut tree. He stands to me for those
fields and all those hours and occasions
of the past. I am a fool for being so
easily purchased to pleasure: and so
I am! 7 3
His fiancee Martha arriving too
late to save him, Fob dies, staring
fixedly at the blackbird, a symbol
of all he has lost:
A little while after sunset the room
was growing dark in all its corners he
began to talk aloud again. He called,
over and over again, for an old serving-
man of the homestead, whose name he
mentioned, to come to his side; fixed
his look upon the beam, and clasped
AN&Q
tighter and tighter Martha s hand in
his. With the gentle motion of the wind
upon a field of autumn grain, his spirit
stole away; and at an hour past sunset
Fob was dead. 4
Puffer Hopkins was published
serially in Arcturus in June 1841-
May 1842 and then in book form
late in 1842, at the beginning of
the period in which it is believed
Poe wrote "The Raven". 5 It was
probably the serialized version
which Poe read, for he refers to
Puffer Hopkins in his capsule com
mentary under Mathews auto
graph in An Appendix of Auto
graphs for Grahams Magazine of
January 1842:
Mr. Cornelius Mathews is one of the
editors of "Arcturus," a monthly journal
which has attained much reputation dur
ing the brief period of its existence, He
is the author of "Puffer Hopkins" a clever
satirical tale somewhat given to excess
in caricature, and also of the well-written
retrospective criticisms which appear in
his maga2ine. He is better known, how
ever, by "The Motley Book," published
some years ago a work which we had
no opportunity of reading, He is a gen
tleman of taste and judgement, unques
tionably.
His MS. is much to our liking - bold,
distinct and picturesque such a hand
as no one destitute of talent indites.
Since Poe read The Career of
Puffer Hopkins before writing "The
Raven" and since he implicitly
characterizes Mathews work as
"bold, distinct and picturesque",
we may assume that the use of a
blackbird in Puffer Hopkins to
convey the quality of Mournful
Remember! Send your
Queries & Replies
February 1971
87
and Never-ending Remembrance
was in Poe s rnind during the com
position of "The Raven".
Duke University
Allen F. Stein
1. So important is this function of the
raven, that in "The Philosophy of
Composition" Poe declares that he re
serves its impact, revealing it only at
"the very last line of the very last
stanza" of the poem.
2. Poe is also known to have read Al
bert Pike s "Isadore" (published in
the New York Mirror, 14 Oct 1843),
which associates a mockingbird with
a bereaved husband s lost happiness,
but the bird is mentioned only once
in the poem s twelve stanzas and does
not serve as an important symbol.
3. Cornelius Mathews, The Career of
Puffer Hopkins (N.Y., 1842), p. 93.
4. Mathews, p. 251.
5. Killis Campbell, The Poems of Edgar
Allan Poe (Boston, 1917), pp. 246-
247.
QUERIES
Cellar doors in Philadelphia
In The Papers of Benjamin Frank
lin (Yale Edition, 14:343), BFs
letter to Deborah Franklin re
quests, 24 December 1767, "a Lump
of that Sort of Stone we make
Steps and Cheeks of Cellar doors
of, at Philadelphia *. The editors
footnote this as follows: "Either of
the side pieces or uprights of a
door, gate, or window frame. Pre
cisely what kind of stone Philadel-
phians used to produce them is
not clear". Surely some architec
tural historian, and a geologist
friend perhaps, can identify the
land" BF is most likely to have
meant? Burton Tysinger, New
N.Y.
"To ride a hobby . . .". Origin?
Found in Darwin s notebook of
1837 (Life and Letters, I, 370),
"You certainly make a hobby of
Natural Selection, and probably
ride it too hard . . .", wrote Joseph
D. Hooker, supporter of Darwin.
What is the earliest use of the
phrase, and what was its origin?
Mary Y. Kent, Chicago, III
Mount Auburn Cemetery 19th
Century references to it are want
ed, from novels other than HowelTs
A Modern Instance, and Bellamy s
Looking Backward. Barbara
Rotundo, Albany, N.Y.
Lord Dundrennans library
Where is there a marked copy of
the sale catalogue of the library
of Thomas Maitland, Lord Dun-
drennan (1792-1851) published in
1851? I am especially anxious to
know who ("D.A.") purchased
Sannazarius* Opera Omnia (Lyon:
Gryphlus, 1549). The copy at hand
contains the armorial bookplate of
"Sir Joun Anstruther of that ilk
Baronet" (1753-1811). Robert
Lambert, San Francisco, Calif.
Missing Audubon plates Three
additional plates missing from the
Library of Congress s second copy
of John James Audubon s elephant
folio edition of his celebrated The
Birds of America (1827-38) were
recently purchased from an incom
plete set that was broken up for
sale by the Field Museum of Nat
ural History in Chicago. Having
acquired a splendid perfect copy,
the Field Museum decided to dis
pose of its incomplete set. The
three plates involved are numbers
CCXXXIII (Lora or Rail), CCXL
88
AN&Q
(Roseate Fern), and CCLXIII
( Pigmy Curlew ) .
The second copy of The Birds
of America, formerly in the War
Department Library, was trans
ferred by the library of the War
College to the Library of Congress
in 1929. Presumably it was placed
in the Division of Prints and re
mained there until 1947, when it
was transferred to the Rare Book
Division. In collating this second
copy with the other and complete
copy in the Rare Book Division,
it was noticed that nine plates were
lacking. Efforts to secure the miss
ing plates have thus far resulted
in the acquisition of six. In addi
tion to the three recent additions,
the Library has been successful
in locating three others, namely
CCXIII (Puffin), CCXLIV (Com
mon Gallilune) and CCLXV (Buff-
breasted Sandpiper). The three
plates still lacking from the second
set are CCXXIX (Lesser Scaup
Duck), CCXXXIX (Coot) and
CCCCXIII (Valley Quail). Should
anyone know about the availability
of any of these, the Library would
be interested in learning about
them. Rare Book Division, Li
brary of Congress, Washington,
D.C.
Black bird of "The Maltese Fal
con" Did Dashiell Hammett
simply invent the story of the
"black bird" which is the basis of
the plot of The Maltese Falcon,
or did he come across it some
where? If the latter, what are the
ultimate sources for it? Sum-
ner Ferris, California, Penn.
Send Queries to AN&Q!
REPLIES
Samuel Butler quote (VIII:40)
Since this Query has produced only
one ( irrelevant ) Reply ( VIII : 154 ) ,
let me point out that I expected
hordes of readers to be before me
in doing, that Butler is quoting
lines 9-10 of Shakespeare s Sonnet
107. /. C. Maxwell, Balliol
College, Oxford
"The Eyes of Dr T. J. Eckleburg
[Note:IX:20] Judging solely
from the passage quoted I would
suggest "pupils" as a more likely
emendation than "eyeballs".
John B. Blake, Chief, History of
Medicine Division, National Li
brary of Medicine, Bethesda, Md
While Richard Johnson is cor
rect in stating that an oculist s
signboard would not be likely to
display retinas, would eyes one
yard high be "enormous"? Is it
not more likely that the pupils
(dark like the retina) were one
yard high? In that event the eyes
would have been five or six yards
high. A pair of disembodied eyes
nearly 20 feet high, surrounded by
yellow spectacles, would not only
be enormous but also memorable.
Since they probably were remem
bered rather than invented, per
haps someone can tell us where
the signboard was and who was
the original of Dr T. J. Eckleburg?
In his anxiety to show that a pre
occupation with the symbolism of
this passage prevented previous
critics from noting the error in
question, Mr Johnson seems almost
to dismiss the brilliant image.
Would Mr Johnson impose upon
Fitzgerald the burden of being
but a literal describer of sign-
February 1971
boards and an incompetent one
at that? Poor Shelley, poor Ozy-
mandias. Poor Fitzgerald, poor
Eckleburg! Paul F. Cranefield,
Associate Professor, The Rockefel
ler University, New York, NT.
"Whistling in the dark" (IX:24).
The phrase usually refers to an
attempt to ward off fears or dan
gers in an unfamiliar situation: "I
went darkling, and whistling to
keep myself from being afraid"
(Dryden, Amphitryon [1690], act
iii, sc. 1); "Are you whistling in
the dark to keep your courage up?"
(Erie Stanley Gardner, The Case
of the Silent Partner [1940], ch. 9).
In some recent cases it has come
to mean "guessing or acting with
out full knowledge of the facts",
probably through the influence of
the slang phrase "a shot in the
dark": Tou re whistling in the
dark, aren t you, Dr. Hardy?"
("General Hospital", ABC-TV, 15
April 1968). The Polish rhyme of
the query has no connection with
89
this phrase but refers instead to
a European superstition that if one
whistles after dark, the devil will
appear (see Handworterbuch des
deutschen Aberglaubens, VII, 1580;
Stith Thompson, Motif-Index,
G303.16.18; etc.). Mac E. Bar-
rick, Shippensburg (Pa.) State Col
lege
Apocatastasis (VIIL55; 56; r,
VIIL121; IX:57) The reference
to the article "The Ghost in Ham
let: a Catholic Linchpin?" (SP,
XLVIII) suggested by Mr Batten-
house was not overlooked by the
writer when he composed the
query on the possible apocatastasis
of "Hamlet s" ghost. There is no
consideration of Satan s eventual
restoration to grace through the
almighty power of God in that
article. On the other hand, Mr
Battenhouse s statement in his re
ply that Augustine, Aquinas, and
the Anglican Forty-Two Articles
had "rejected Origen s doctrine of
apocatastasis and indeed all vari-
Largest non-polar glacier (IX: 7; r 42)
NOTABLE GLACIERS OF THE WORLD
Iceland
Alaska
Alaska
Pamirs
Karakoram
Norway
Karakoram
Himalaya
New Zealand
Alps
Vatnajokull
Malaspina Glacier
Nebesna Glacier
Fedtschenko
Siachen Glacier
Jostedalsbre
Hispar-Biafo Ice
Passage
Kanchenjunga
Tasman Glacier
Aletschgletcher
Length
miles
88
26
43K
47
47
62
76
12
18
16K
125
sq. mi.
3,400
1,480
770
520
444
415
240
177
53
44
Jerome Drost, Buffalo, N.Y.
90
AN&Q
ations of it" is of value especially
if we agree that Shakespeare was
not a heretic. Since, however, the
evidence is that he was a practicing
Protestant (at St Helens in Bish-
opsgate), Shakespeare was, by defi
nition, a heretic according to the
Catholic tradition. Moreover, Ham
let s study at Wittenberg University
surely was Lutheran ( again hereti
cal), a point Mr Battenhouse is
cognizant of in his article but
shrugs off. (Wittenberg U. was
Catholic before Luther s time, but
historically there was no W.U. at
all in Hamlet s time.) So I should
take most seriously what a devout
Episcopalian lady confided in me
(that she prayed for the devil)
were it not perhaps for what a
Roman Catholic pastor recently as
sured me (that God may indeed
save Satan), which I take at least
as seriously. R. F. Fleissner,
Wilberforce, Ohio
EDITORS
NOTES & READING
A new illustrated booklet of 12
pages ($1.00), Indian Battles of
the Lower Rogue, by Frank K.
Walsh, covers the final campaign
of Oregon s most crucial Indian
war. One section contains a guide
and map of the points-of-interest
along the river. Some 40,000 peo
ple take the boat trip each year.
Indian Battles is the first publica
tion of Te-Cum-Tom Enterprises,
2618 Sand Creek Road, Grants
Pass, Oregon 97526. Other works
of Western Americana are planned
for publication.
Sixty-eight pages of notable books
or pamphlets on Early English
Theology and Rare Books acquired
by the St Mark s Library of The
General Theological Seminary
(175 Ninth Avenue, New York,
N.Y. ), show a representation of
1969770s acquisitions ranging from
the early 16th century, and in
clude catalogue card facsimiles
(shingled), of about 350 items.
This is a useful list which would
be even more useful to reference
collections in research libraries by
the simple addition of a brief au
thor index (including Bible and
corporate authors!). We are grate
ful to the Library, in any case,
for this annual review, and we
again congratulate GTS for its in
telligent acquisition program in
this highly specialized field.
Women - To, By, Of, For, and
About, is a new magazine that
claims it "will break the real and
imaginary barriers that separate
women from each other in con
temporary American society, there
by strengthening our position as
members of the human race. The
human race should be an equal
balance of female and male". The
first issue contains some interest
ing reprints of important articles
by Margaret Mead, Thomas Rog
ers Forbes, etc., and a facsimile
of The Revolution (1:3, 22 Jan
1868), by Susan B. Anthony. The
new magazine, to be issued six
times a year, costs $5 for an annual
subscription (Box 3488, Ridgeway
Station, Stamford, Conn. 06905).
From the masthead: "This maga
zine is one-sided and idealistic; its
only concern is communication
among women".
February 1971
91
The new 1970 revised edition of a
guide to America s most fragile
hobby, bottle collecting, the Bot
tle Collectors Handbook and Pric
ing Guide, by John T. Yount is
updated with the listing of over
2500 new and old bottles, includ
ing the fabulous Jim Beam and
Avon series. This book is very use
ful for the collector as it alpha
betically lists collectable bottles,
gives collector prices, contains il
lustrations and classification of
bottles, and definitions of bottle
terminology. The most up-to-date,
authoritative book available. $3.95
ppd., it is ordered from Text
books, P.O. Box 3862, San Angelo,
Texas 76901.
The annual Journal of the Printing
Historical Society has gained in
creasing ovation from antiquarian
bookmen as well as printing his
torians. The contents of No. 5,
1969, is certainly of the same high
standard that has been set by pre
vious issues. This number includes
a facsimile of a printing type speci
men book, almost worthy of repro
duction in its own right; there are
also articles on The Columbian
Press, Anastatic Printing for Sir
Thomas Phillipps, Experimental
Graphic Processes in England,
1800-59 (Pt III), George Friend:
a Memoir, Phototransfer of Draw
ings in Wood-block Engraving.
(Annual subscription $5.50, incl.
an occasional newsletter. PHS, St
Bride Institute, Bride Lane, Fleet
St, London EC4).
A seventy-five page index to Beryl
Rowland s Companion to Chaucer
Studies (New York: Oxford Uni
versity Press, 1968), is available for
$2.00 from Linda K. Rambler, Ref
erence Librarian, Lehigh Uni
versity, Bethlehem, Pennsylvania
18015. The index was compiled
under the direction of J. Burke
Severs, Professor Emeritus, Lehigh
University, and Albeit E. Hartung,
Professor and Chairman of the De
partment of English, Lehigh Uni
versity.
Printed Books: 1481-1900 in The
Horticultural Society of New York,
A Listing, by Elizabeth Cornelia
Hall (279pp. N.Y.: The Society,
128 West 58 St, Zip 10019; $16),
is a "short-title" Catalog, arranged
in alphabetical sequence by au
thor, recording the collection of
approximately 4,000 volumes of
botanical and horticultural printed
works published between 1481 and
1900 that are in the Library of
The Horticultural Society of New
York. Facsimile and reissue edi
tions have been included with the
date of the original edition noted.
Following the main body of the
Catalog is an extensive list of ref
erence sources to serve as a basis
for research and study. The col
lection is exceptional not only for
its wide coverage of more than
four centuries of plant literature,
but also for its excellence in many
categories, such as, the herbals,
plant exploration, gardening, land
scape architecture, plant mono
graphs and botanical and horticul
tural serials. The art of botanical
illustration is well represented be
ginning with the primitive wood
cuts, superseded by copper and
steel engravings (many of which
are hand-colored), and terminating
with lithographs of the nineteenth
century. Miss Hall was formerly
Librarian and Associate Curator of
Education of The New York Bo-
92
tanical Garden; she is presently
Senior Librarian of The Horticul
tural Society of New York.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Ckssics,
University of Kentucky.
The highly significant and dur
able art books issued by various
European publishers and distrib
uted by Weber (13, Monthoux,
Geneva ) are indispensable for stu
dents of the history of art. The
Journal de Timpressionisme (Ge
neva: Albert Skira, 1970; 245pp. ),
by Maria and Godfrey Blunden,
richly illustrated, with judiciously
selected illustrations, is a docu
ment of the period. The color re
productions are meticulously ac
curate, and few other books on
the period are comparable in
these terms. The critical commen
tary is a work of permanent ref
erence value. More documentation
can be pulled together on impres
sionism, but it would be hard to
produce a more satisfactory coffee-
table book.
A. Mazaheri, Les Tresors de llran
(Geneva: Albert Skira, 1970;
300pp. ), is a sort of a 2,500th an
niversary volume on the founda
tion of the Persian Empire by
Cyrus. The present work tran
scends the ordinary art book in a
major degree. Here is a critical
survey of Iranian art that is not
AN&Q
comparable in other works on Indo-
Iranian culture. The color repro
ductions are unsurpassed, and
Skira might be well advised to
offer them as slides or separate
pieces to aficionados of the early
cultural history of Asia Minor.
Raymond Oursel, Invention de f-
architecture romane (Geneva: Zo-
diaque, 1970; 470pp.) is a richly
illustrated story of romanesque
architecture and a commentary
which will have an enduring place
in the literature of art history. The
illustrations leave nothing to be
desired, the commentaries to be im
proved upon only by the captious.
Saintonge Romane (Geneva: Zo-
diaque, 1970; 410pp.; "La nuit des
temps", XXXIII) is another vol
ume which students of romanesque
architecture will neglect at their
own peril. Careful selections, schol
arly commentary, and good, sound
reading will lend enduring refer
ence value to this book.
Gaetan Picon, Admirable tremble-
ment du temps (Geneva: Skira,
1970; 154pp.) is a study of the
effects of a presumed "trembling"
of time by artists throughout the
ages, but mainly from the Renais
sance to the present. Picon intro
duces us to a new concept of ar
tistic genius as related to time. His
choice of illustrations ranges from
recognized masterpieces to Red
Army posters and Rexall drugstore
window displays.
Jacques Prevert, Imaginaires (Ge
neva: Skira, 1970; 112pp.), deals
with the outer limits of fantasy
of artists, but limits which often
reveal the essence of genius. Many
February 1971
93
of the works selected show singular
insight into the themes selected;
but, more significant, the whole
work reveals a trend of artistic
inspiration which has been highly
productive, particularly in recent
years. It cannot be stressed too
strongly that all of the books noted
in this column are superbly print
ed, and the quality of the color
illustrations is not surpassed any
where else in the world. Swiss pub
lishers have set a high standard
for typographical quality.
BOOK REVIEWS
McGRAW-HILL ENCYCLOPEDIA OF
SCIENCE AND TECHNOLOGY. Illus.
15 vols., incl. Index. N.Y.: McGraw-
Hill, 1971. $360; special price to schools,
colleges, and public libraries, $295.
These magnificently produced vol
umes are the third edition of a reference
work whose primary purpose it is to
present, in very thorough manner, the
accumulated knowledge of the physical,
natural, and applied sciences.
The organization of this knowledge
has been a tremendous undertaking. It
pools information from universities, re
search laboratories, industrial concerns,
government agencies, and research foun
dations. The 7,600 articles by some 2,500
contributors are efficiently arranged and
indexed so that maximum exposure to
the information is possible with minimum
effort. The physical format of the vol
umes is conducive to the user s dis
covering whether or not the material in
the individual articles is sufficient to
his needs. The cross-referencing system
and the index provide immediate access
to any associated information which may
be helpful.
There are no misspellings or printing
errors noted in more than fifty articles
read by this reviewer, and the photo
graphs, charts, graphs and illustrations
are very clear, presenting their informa
tion with a minimum of clutter. In
short, these pictures really are each
worth a thousand words.
There are two guides published for
use with the encyclopedia: a "Reader s
Guide" and a "Study Guide". The Read
er s Guide indicates the most efficient
pathways for complete information re
trieval, pointing out the most rapid
solutions to such problems as finding
the answers to general or specific ques
tions, or by using the encyclopedia as
a research instrument. It even tells you
how much of an article you need to
read in order to answer various kinds
of questions.
A very useful section of the Reader s
Guide is that in which the three main
systems of scientific notation (particular
ly measurement) are discussed and rec
onciled. For example, in science the
U.S. Customary System and the metric
system are gradually being phased out
and the International System or SI is
gradually, however very slowly, coming
into general use. This guide discusses
the three systems and presents conver
sion factors from one to the other. It
is probably one of the most useful com
parisons of the three systems in scien
tific literature today.
The Study Guide enables the user to
further utilize the encyclopedia for self
instruction. It lists a series of article
titles under general subject headings so
that one can see what information is
available and where to locate it in the
encyclopedia at a glance. Basically, the
Study Guide is keyed to a secondary
school curriculum but when used in
conjunction with the cross referencing
system the index and the bibliographic
notations its range of usefulness is
a great deal broader.
There is a general shortcoming to the
work: by their very nature, reference
books are supposed to present knowledge
in a positive manner. So, to a scientist
it may be unfortunate that an inkling
of the controversies that exist in many
areas of science could not have been
presented. The articles are written, how
ever, from the particular contributor s
point of view, and other equally valid
opinions are not aired. Admittedly, this
is a petty criticism since time, space, and
cost would surely be prohibitive if every
opinion was expressed.
As an anthropologist, I find the Mc
Graw-Hill volumes most valuable as an
94
AN&Q
aid to the understanding of the position
of science and technology within con
temporary society. Victor C. Ferkiss
(Technological Man) deals with "the
(direction that mankind must take if it
is going to deal with the new challenges
put to the social order by technological
change". In modern Western society
there is a gap between the level of
understanding among scientists and tech
nicians vis a vis most of the literate
populace. This gap makes the discovery
of an appropriate "direction", in FerMss
sense, a difficult if not impossible task.
This new encyclopedia affords its users
an important link between science and
technology and the rest of society s
understanding of scientific advance. It
is a fine communications bridge over
some very troubled social waters.
Michael F. Gibbons, jr, Department of
Anthropology, Yale University
Editor s note We have used the new
edition of the McGraw-Hill Encyclo
pedia of Science and Technology assidu
ously over the past month in the offices
of AN&Q, in connection with an outside
project. In every case, where recent
information in the natural sciences and
in technology was needed or tested, we
found the new text to be informative,
understandable, and intelligently written
for those of us who are trained in the
social sciences or humanities. It has
never left us unsatisfied, and it has
taught us a great deal quite painlessly.
We concur in everything that our re
viewer has said. L. A.
O MALLEY, C. D., ed. The History of
Medical Education: an International
Symposium . . . (UCLA Forum in Medi
cal Sciences, No. 12). Illus. 548pp.
Berkeley: University of California Press,
1970. $20.
A volume of tremendous importance
for the history of medical education
grew out of a symposium hosted by the
UCLA Department of Medical History
and the Josiah Macy Jr. Foundation in
February 1968, edited by the late
Charles D. O Malley. Nineteen authors
probe many of the most basic and
stimulating questions generated by a
discussion of the topic of medical edu
cation and its history. Philosophical con
sensus pursuant to the selection of stu
dents, appointment of teachers, type and
variety of courses taught, range of guid
ance into the diagnosis and treatment
of disease for the student and cost of
all the activities is summed up in Wil-
helm von Humboldt s statement of 1809
that, "Medicine is not only a technical
discipline . . . but a rational science
which can only be studied in connection
with historical, mathematical and phil
osophical sciences which are the prope-
deutics (sic) of all rational education
(Bildung). With rare exceptions, medi
cine as a rational science prospers only
in minds which have gone through long
and laborious exercises in schools and
universities".
The continual striving for excellence
in medical education and the changes
in knowledge and techniques that must
ensue is common to all civilizations span
ning recorded history. Less apparent in
some of these papers are the demands
made upon society by the medical pro
fession and the gains measured in terms
of death prevented, of lives improved,
and energies released for various cre
ative endeavors. Nevertheless the topic
of medical education stimulates histori
ans to investigate and evaluate a broad
spectrum of events and this collection
includes some excellent syntheses. One
example, which I may mention because
it also illustrates the virtue a number
of articles possess of introducing infor
mation formerly not discussed in such
detail into English, is the account of
medical education in Scandinavia before
1600 given by Dr Wolfram Kock.
Most authors accept the premise that
medicine at its best results from or
ganized efforts of individuals and insti
tutions to perpetuate ideals determined
by its formally educated practitioners.
Innovators throughout history experi
enced opposition to their ideas for change
although a number were successful and
rose to become the traditional and, oc
casionally, legendary heroes of medicine.
These figures, such as Hippocrates, Ibn
Sina, Boerhaave, and Welch, are dis
cussed and sometimes their luster is
slightly tarnished by the discovery of
precursors or worthy compatriots, al
though none have been seriously threat
ened with historical oblivion. For in
stance, the existence of Gerard Van
Swieten s (1700-1772) Viennese pred-
February 1971
ecessors in the promotion of bedside
teaching are brought to our attention
by the authority on the Vienna Medical
School, Prof. Erna Lesky. Bedside in
struction is a familiar theme to medical
historians and its pioneers are justifi
ably respected, but it is fascinating to
wonder why this fundamental aspect of
a physician s education should have
been so long in coming (according to
present scholarship, it appeared origi
nally during the Renaissance). The usu
al inconsequential historical explanation
given by those who begin with the cur
rent development and work backwards
to arrive at the past need not deter us
from wondering why the most educated
physicians of any period would not have
recommended and encouraged the study
of diseased individuals by aspiring heal
ers. Cultural mores against exploring a
dead body are well known, but restric
tions on merely observing and question
ing a sick person were rare. Why should
an experienced physician and teacher
not have brought some of his students
to his patients from time to time to
demonstrate a favorite theory, thera
peutic discovery, etc.? And if this is
credible, why have historians become
so fascinated with the physician s at
tempts at bedside instruction, without
being more aware of other essential
factors such as source and attitude of
the patients and import of this type of
instruction on hospital policies? Prof.
Lindeboom tells us that the hospital ad
ministration willingly increased the budg
et for medicinals for the patients of
Sylvius, a notable Dutch teacher who
had a preference for expensive chemical
drugs, because of the high esteem in
which he was held by students and
colleagues for, among other things, his
practice of introducing students to pa
tients regularly. The effectiveness of
Sylvius teaching had a considerable im
pact on the extensive acceptance of ids
basic theories of disease and treatment.
The balance between instruction in
theory and practice seems often to have
gone askew in favor of theory at least
this is a frequent refrain of medical
historians. Many of those practitioners
who appeared from time to time to offer
practical solutions to difficult diagnostic
and therapeutic questions were dispar
aged as quacks and charlatans who knew
little theory, often because they avoided
a traditional medical education. Scholars
who harp on the dire results of empha
sizing the theoretical at the expense of
practical medicine, however, miss the
multifarious medical and cultural rela
tions which afford a more meaningful
and realistic history of medicine. Sev
eral excellent samples of this compre
hensive approach are Prof. Kudlein s
article, "Medical Education in Classical
Antiquity", and Prof. Keswani s "Medi
cal Education in India Since Ancient
Time". One need only read these arti
cles to experience an appreciation for
the continual interplay between medicine
and the society in which it is practiced.
How much more exciting it is to study
another culture through its medicine, an
area of relevance to every member of
the society, than by merely limiting the
historical review to its political and eco
nomic structure.
It was the intention of the sponsors
that this volume would generate further
investigation into the history of medical
education; indeed some authors remark
on the work yet to be done, although
one need only dip into a few articles
to discover a multitude of research areas
independently. In addition, the scope
and direction of modern medical edu
cation gains a perspective from this
volume. Reminding us that the problem
of educating the physician has existed
from the origin of the profession, we
also are prepared to accept a multitude
of scientific and cultural factors as sig
nificant in the practice of medicine and
therefore should be studied in the course
of a physician s education. Hopefully
medical administrators and planners will
find this book and the rest of us will
encourage them to read it. Audrey
B. Davis, Curator, Division of Medical
Sciences, National Museum of History
& Technology, Smithsonian Institution,
Washington, D. C.
The March issue of AN&Q will
contain renews of
Religious Periodicals Index; Brody s
The English Mummers and Their
Plays, and a revision of Professor
Paul J. Korshin s recently published
important discussion in the TLS, "On
Locating Literary Manuscripts".
96
AN&Q
PUBLICATIONS RECEIVED
(Continued from p. 82)
MacFarlane, Alan. Witchcraft in Tudor
and Stuart England: a Regional [Es
sex] and Comparative Study. Illus.
xxi, 334pp. N.Y.: Harper & Row,
1970. $8.50
McGraw-Hill Encyclopedia of Science
and Technology. 3d Edition. Profuse
ly Illus. 15 Vols. incl. Index. N.Y.:
McGraw-Hill, 1971. $360; $295 to
schools, colleges, and public libraries.
Marana, Giovanni P. Letters Writ by a
Turkish Spy. Selected & Ed. by Arthur
J. Weitzman. (Temple University Pub
lications). 233pp. N.Y.: Columbia Uni
versity Press [distributor], 1970. $7.95
Mellinkoff, Ruth. The Horned Moses in
Medieval Art and Thought. (Califor
nia Studies in the History of Art, XIV).
130 Illus. 210pp. Berkeley: University
of California Press, 1970. $16.50
Metcalf, Keyes D. Library Lighting.
99pp. Washington: Association of Re
search Libraries, 1970. Paper, $2.
(Pepys). Barber, Richard. Samuel Pepys,
Esquire. [Catalogue of an exhibition,
London, November 1970; four essays
and an iconography to accompany the
new edition of the Diary]. Illus. with
20 color plates and 60 black & white
plates. 64pp. Berkeley; University of
California Press, 1970. $3.95
(Porter). Liberman, M. M. Katherine
Anne Porters Fiction. 115pp. Detroit:
Wayne State University Press, 1971.
$5.50
Popular Names of U.S. Government Re
ports: a Catalog. Rev. & Enl. Comp.
by Bernard A. Bernier, jr & Char
lotte M. David. 43pp. Washington:
Library of Congress [Supt. of Docu
ments, GPO], 1970. 55<*
Preston, John. The Created Self: the
Readers Role in Eighteenth-Century
Fiction. 220pp. N.Y.: Barnes & Noble,
1970. $8.
Private Press Books, 1969. Ed. by Rod
erick Cave, David Chambers, Peter
Hoy, & Anthony Baker. Facs. Illus.
90pp. Pinner, Middlesex, England:
Private Libraries Association [41
Cuckoo Hill Road], 1970. Paper, $4;
to PLA members, $3.25
(South Carolina). Jones, Lewis P. Books
and Articles on South Carolina His
tory: a List for Laymen. (Tricenten-
nial Booklet No. 8). 104pp. Published
for the South Carolina Tricentennial
Commission. Columbia: University of
South Carolina Press, 1970. Paper.
Price ?
(Stevens). Brown, Merle E. Wallace
Stevens: The Poem as Act. 219pp.
Detroit: Wayne State University Press,
1970. $8.50
Twayne s United States Authors Series:
T-121, Mary N. Murfree, by Richard
Gary (192pp.); T-122, Mary Wilkins
Freeman, by Perry D. Westbrook
(191pp.); T-123, Langston Hughes,
by James A. Emanuel (192pp.);
T-124, Allen Tote, by Ferman Bishop
(172pp.); T-125, Waldo Frank, by
Paul J. Carter (191pp.). New Haven:
College & University Press, [c!9671.
Paper, Each $2.45
Wilde, Oscar: the Critical Heritage. Ed.
by Karl Beckson. (The Critical Heri
tage Series). 434pp. N.Y.: Barnes &
Noble, Inc., 1970. $15.
World Guide to Libraries: Internation
ales BibliotheksHandbuch. 3d Edn.
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AMERICAN NOTES & QUERIES
Volume IX Number 7 March 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
BIBLIOGRAPHICAL NOTE
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Acronyms and Initialisms Dictionary, 3d
Edition: a Guide to Alphabetic Desig
nations, Contractions, Acronyms, Zm-
tiaiisms, end Similar Condensed. Ap
pellations ... Ed. by Ellen T. Crow-
ley & Robert C. Thomas. 484pp. De
troit: Gale Research Co., 1970. S22.50
. New Acronym* and Initialisms,
1971, 1972. By subscription. Detroit:
Gale Research Co., each, $15.
Afro-American Resources., Directory of.
Ed. by Walter Schatz, Race Relations
Information Center. 485pp. N.Y.: R. R.
Bowker Co., 1970. Price ?
(American Revolution). Cephart, Ron
ald M., comp. Periodical Literature
on the American Prvohttion; Histori
cal Piescarch end Changing Interpre
tations: a Selective Bibliography, 1895-
1970. 93pp. Washington: Library of
Confess [distributed by Supt. Docs.,
USGPO]. 1971. Paper, $1.
Bengtson, Hermann. Introduction to An
cient History. Trans, from the 6th
Edn, by R. I. Frank & Frank D. Gil-
liard. 213pp. Berkeley: University of
California Press, 1970. $7.50
Berger, Rainer, ed. Scientific Methods
in Medieval Archaeology. (UCLA
Center for Medieval and Renaissance
Studies. Contributions, IV). Illus.
459pp. Berkeley: University of Cali
fornia Press, 1970. $20.
Drummond, Robert Rutherford. Early
German Music in Philadelphia. (1910).
88pp. N.Y.: Da Capo Press, 1970.
Eliot, T. S., The Mystical Philosophy of,
by Fayek M. Ishak. 223pp. New Ha
ven: College & University Press
[c!970]. $6.50; Paper, $2.95
(Emerson). Anderson, John Q. The Lib
erating Gods: Emerson on Poets and
Poetry. 128pp. Coral Gables: Univer
sity of Miami Press, 1971. $6.95
Greville, Pulke; Lord Brooke, 1554-1628:
a Critical Biography, by Joan Rees.
Illus. 238pp. Berkeley: University of
California Press, 1971. $8.50
Raining, Peter, ed. The Wild Night
Company: Irish Stories of Fantasy
and Horror. Foreword by Ray Brad
bury. 287pp. N.Y.: Taplinger Publish-
ing Co., 1971. $5.95
Harrison, R. K. Old Testament Times.
Illus. 357pp. Grand Rapids: William
B. Eerdmans Pub. Co., 1970. $6.95
"Historical Studies Today" Winter 1971
issue of Dsedalus: Journal of the Amer
ican Academy of Arts and Sciences.
[Contributions to modern historiog
raphy]. 270pp. Cambridge, Mass.:
The Academy, 1971. Paper, $2.50
James, Charles F. Documentary History
of the Struggle for Religious Liberty
in Virginia. (Lynchburg, 1900). 272pp.
N.Y.: Da Capo Press, 1971.
(Continued on p. 112)
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
LEAR S CORONET
THE EDITORS OF King Lear in both
the Arden (1952) and New Shake
speare (1960) series concur in
assuming that in Act I, scene i,
the coronet brought on stage at
line 34 and given to the Dukes of
Albany and Cornwall at line 141
was "intended for Cordelia" (K.
Muir, Arden edition), represent
ing the "third more opulent" that
was to have been hers. This as
sumption is evidently based on
defined as an adornment for per-
the choice of the word "coronet",
sons of less rank than the king,
and on the fact that the gift is
made immediately after the ban
ishment of Cordelia and the ref
erence to her dowry. But neither
of these reasons is compelling, and
the interpretation of the passage
advanced by Professor R. B. Heil-
man (This Great Stage [1948], p.
73), yielding richer dramatic and
symbolic significance, deserves
support. It suggests, in brief, that
this coronet is the royal crown
of Britain.
Shakespeare generally uses cor
onet to refer to a small headdress
or circlet sometimes representing
an inferior rank, but coronet may
also refer to a small headdress
which is die imperial crown. The
crown which is offered to Julius
Caesar is described by Casca thus:
I saw Mark Antony offer him a crown,
yet twas not a crown neither, twas one
of these coronets. (Julius Caesar, I. ii.
236-238)
Caesar s coronet is by various
speakers always termed a "crown"
(nine times in the play). In the
same manner Lear s coronet is
termed a "crown" by the Fool
twice in the play, the only occa
sions when Lear s gift is described:
thou clovest thy crown i the middle and
gavest away both parts . . . Thou hadst
little wit in thy bald crown when thou
gavest thy golden one away. (I. iv. 175-
178)
The Fool s language "clovest
. . . The middle . . . both parts"
echoes Lear s remarks (at line
141 ) and demonstrates the sensitiv
ity with which the Fool has fol
lowed the action of I. i, though
he was not in attendance at the
time. This parallel in text suggests
a parallel in action: the first action
of the Fool at his entrance is to
take off his coxcomb (his crown)
and offer it to Kent. The Fool s
visible removal of his coxcomb
can have meaning only if it repeats
Lear s visible removal of his crown.
It therefore presupposes a staging
of I. i which includes Lear s taking
the coronet from its bearer and
putting it on (at line 36), as he
begins his darker royal utterances,
and his removing it and ceremoni
ally giving it to the two Dukes at
line 141. The dramatic gesture of
the Fool is a significant part of the
stage imagery of the play; in dem
onstrating, by repetition, the folly
of Lear s divesting himself of this
most important element of his
100
AN&Q
clothing, the Fool s gesture em
phasizes the rich suggestiveness of
the verbal imagery of clothing.
Professors Duthie and Dover Wil
son, following Greg, suggest that
in the Quarto, Lear "retains on his
own head the crown as symbol of
The name, and all th additions to
a King" (Cambridge New Shake
speare edition); but Greg contin
ues, to suggest that as the Folio
text lacks the stage direction (at
line 34), "we must [in that text]
suppose that Lear takes the
coronet from liis own head to
part between the Dukes" (First
Folio, p. 385 n.). Greg s supposi
tion is, I would argue, correct.
Lear s original plan was to have
parted the coronet three ways;
Cordelia s reply requires the di
vision into two. Lear makes a pub
lic spectacle of giving away every
thing, including the crown "I
gave you all" while thinking
that he can still retain the name
of king; the play demonstrates his
error. Lear s removal of his crown
in Act I will explain as Professor
Duthie s thesis will not where
the crown is in Act III when Lear
is certainly "bareheaded". If Lear
in spectacular fashion gives away
his crown in Act I, he may then
be allowed to wear a hunting or
travelling headdress in L iv, v and
Act II, and no headdress in Act
III; if he has not given away the
crown in Act I, the critic may well
wonder what has become of it.
In Act IV, Lear, fantastically
dressed, is "Crowned with rank
furniter and furrow weeds,/With
burdocks, hemlock, nettles, cuckoo
flowers/Darnel, and all the idle
weeds that grow/In our sustaining
com crowned with thorns, of
course, symbolizing the suffering
and passion he is enduring, and
with flowers, symbolizing the hope
of resurrection (IV. vii. 45). In
his raving in scene vi, he cries
"that we are come To this great
stage of fools" (11. 186-187), and,
thinking of the gate that let his
folly in, takes off again his "crown":
"This s a good block".
There are many interpretations
of this line; the most economical
is to believe that Lear is speaking
of his own new crown ( so Duthie-
Wilson, p. 251). This crown of
thorns points to Lear s folly in
giving away his crown of gold;
in calling it a good block, Lear
accepts the humiliation and an
guish that he has brought upon
himself as a good and necessary
instruction and preparation.
Though mad, he is spiritually al
most well, ready for the fresh gar
ments that Cordelia will put on
him in the next scene garments
that include no crown nor coronet
of his kingdom.
George Walton Williams
Duke University
MARY SIDNEY S ". . . TWO
SHEPHERDS"
ALTHOUGH THE EXISTENCE of an
English Areopagus centered upon
the Countess of Pembroke has long
been dismissed, it ought neverthe
less not be forgotten that the
writers who gathered informally
about her at Wilton in the 1580s
and 90s did have important liter
ary and religious aims in common.
March 1971
101
They were implicitly dedicated to
continuing the Sidnean spirit in
English life and literature and
they were also united by a common
Calvinist piety. Indeed, the Sid
nean spirit is as much tempered by
Calvin as by Castiglione. Although
Sidney was held to embody all of
Castiglione s desired qualities for
a courtier, he was also admired for
his piety, dedicating his life to
"above all things the honour of his
Maker". 1 According to Greville s
significant phrase, which juxtaposes
the dual elements of Sidney s life,
he "sweetly yoked fame and con
science together in a large heart". 2
The influence of Calvinism on Eng
lish courtly ideals and life is a
promising area for scholarly inves
tigation. 3
Interestingly enough, the same
elements of courtly idealism and
Calvinist piety are exhibited in the
Countess of Pembroke s own "A
Dialogue between Two Shepherds,
Thenot and Piers, In Praise of
Astrea". A minor but charming
piece, it nevertheless points to the
potential split in the Sidnean ideal,
a split which provides a dominant
motif in the work of Greville, Sid
ney himself, and even possibly
Spenser. 4
Astrea, of course, is Elizabeth,
the righteous Virgin. 5 The poem
was probably written in honour of
a visit the Queen made or was to
have made to Wilton, and it takes
its place among a host of common
place tributes to Elizabeth. 6 Intel
lectually, however, it is more re
vealing than most.
Its two shepherds, Thenot and
Piers, compete with each other to
sing Astrea s praises. Thenot s
praise is characterized as courtly
and neo-Platonic in implication,
with the divinity of Astrea being
apprehended through natural and
cosmic features. She is "a field in
flowery robe arrayed", "heavenly
light that guides the day", she
"sees with wisdom s sight" and
"works by virtue s might". Indeed,
virtue and wisdom are embodied
in her they "jointly both do stay
in her". By seeing and meditating
on Astrea s beauty, man may at
tain to truth. "Let us therefore",
argues Bembo, ~bend all our force
and thoughes of soule to this most
holy light, that sheweth us the way
which leadeth to heaven ... let us
climbe up the staires, which at the
lowermost steppe have the shadowe
of sensuall beauty, to the high
mansion place where the heavenly,
amiable and right beautie dwelleth,
which lyeth in the innermost se
cretes of God . . .". 7
Piers, on the other hand, is char
acterized as a conscientious, in
deed iconoclastic, Protestant, who
stresses the Calvinist-derived doc
trine of the absolute transcendence
of the divine and the inability of
man s unaided mind to attain to
genuine truth. He warns against
fallen man s tendency to self-de-
ceptiveness, and echoes the Pla
tonic rejection of poetry as un
trustworthy:
Thou need st the truth but plainly tell,
Which much I doubt thou canst not well,
Thou art so oft a liar.
Not only is the corrupt human
mind unable to reach any truth,
but plain speaking without the dis
torting intervention of the fancy
is stressed. 8 Du Bartas, the 16th-
century Calvinist poet par excel
lence, treats the question thorough-
102
AN&Q
ly in both the Devine Weekes
and Urania. 9 To each of Thenot s
claims, Piers response is firmly in
this vein, rejecting any metaphysi
cal means of describing God, until
the confrontation is summed up
in the final verse:
THEN. Then, Piers, of friendship tell
me why,
My meaning true, my words
should lie,
And strive in vain to raise
her?
PIERS. Words from concerto do only
rise;
Above concert her honour flies;
But silence, nought can
praise her.
Words cannot embody the inef-
fability of the design. Although a
greater compliment is thereby paid
to Astrea, the Calvinist suspicion
of the mind s ability to apprehend
truth has the last word.
G. F. Waller
University of Auckland
1. Thomas Nashe, Works, ed. Ronald B.
McKerrow (Oxford, 1958), I, p. 7,
cf. John Buxton, Sir Philip Sidney
(1954), p. 37; Fulke Grevffle, Life
of Sir Philip Sidneij, introd. Nowell
Smith (1907), p. 35.
2. Greville, Life, p. 40.
3. The present note is a small part of
a full-scale study I am at present
completing on the influence of Cal
vinism on Elizabethan thought and
literature.
4. It is printed in Davison s Poetical
Rhapsody, ed. A. H. Bullen (1890),
I, pp. 42-44.
5. Cf. Spenser, The Faerie Queene,
V.i.ii. For discussion of the back
ground, see e.g. Alastair Fowler,
Spenser and the Numbers of Time
(1964), pp. 196-199, and esp. Fran
ces A. Yates, "Queen Elizabeth as
Astnea", JWCI, X (1947), 27-82.
YR STARS FELL IN
THE BEAR
THE CRUCIAL FOUBTH SECTION of
Faulkner s The Bear contains an
important reference to a famous
astronomical event of which Faulk
ner scholars may not be aware. As
Ike McCaslin reads the family
ledgers and learns the tragic story
of black and white in the previous
generations of his family, he comes
upon these entries:
Tomasina called Tomy Daughter of Thu-
cydus & Eunice Born 1810 dide in
Child bed June 1833 and Burd. Yr
stars fell 1
Turl Son of Thucydus & Eunice Tomy
born Jun 1833 yr stars fell Fathers will 2
As Ike realizes, "Fathers will* is
a reference to old Carothers Mc-
Caslin s admission of Tomy s Ter-
6. See Yates, 56-75. My view of the
poem s implications would seem to
differ significantly from Miss Yates
brief discussion, 64.
7. Baldassare Castiglione, The Book of
the Courtier, trans. Sir Thomas Hoby,
introd. W. H. D. Rouse (1928), pp.
320-321. Cf. Giovanni Pico della
Mirandola, A Platonick Discourse on
Love, trans. T. Stanley (1651), III.
stanza IV.
8. See Jean Calvin, Institutes of the
Christian Religion, I.vii.5, I.xi.ll,
12, III.xii.1. Cf. William Perkins, Of
the Calling of the Ministry (1618),
p. 430; Thomas Gataker, Certaine
Sermons (1637), pp. 69-70. For a
fuller, though later, discussion of a
Calvinist poetic, see Richard Baxter,
Paraphrase on the Psalms of David
(1692), sigs. A5 r r .
9. E.g. Bartas His Devine Weekes and
Works, trans. Joshua Sylvester, introd.
Francis C. Haber (Gainesville, 1965),
e.g. pp. 32, 535, 539, 541.
March 1971
103
relTs paternity: "cheaper than say
ing My son to a nigger". 3 And "Yr
stars fell" seems an appropriate ac
companiment to the entries which
bring black and white together un
der a common curse, to culminate
a century later in the encounter
between Ike and Roth s mistress,
his niece and a negro, at the end
of "Delta Autumn". But "Yr stars
fell" is also an allusion to the great
Leonid meteor shower of Novem
ber 1833.
The Leonids, so called because
they seem to radiate from a point
in the sickle of the constellation
Leo, are one of the major showers
of the astronomical year. Under
good conditions at the height of
the shower, an observer can expect
to see five or more Leonids per
hour; but there are times when the
Leonids give unusually spectacular
displays as the earth passes through
the thickest condensation of the
tiny particles of dust ejected from
the nucleus of the parent comet.
The Leonid shower of 1833 was
the most spectacular meteoric dis
play in recorded history: "On the
evening of November 12, 1833, a
blizzard of meteors was observed,
falling at the rate of some 100,000
per hour". 4
The memory of this spectacular
and portentous display apparently
entered into Mississippi legend,
and Faulkner thought it appropri
ate for Buck and Buddy McCaslin
to use it to date the death and the
birth. Recognition of the astronomi
cal foundation for the allusion does
not weaken the tonal value of the
phrase. Rather we should be aware
that Faulkner based his reference
on a widely known event, and that
he may well have chosen 1833 as
the date for Tomy s Terrell s birth
because of the ominous Leonid dis
play of that year.
Malcolm A. Nelson
State University College
Fredonia, New York
1. William Faulkner, The Bear, in BEAR,
MAN, and GOD: Seven Approaches
to William Faulkner s THE BEAR,
ed. Francis Lee Utley, Lynn Z. Bloom
& Arthur F. Kinney (New York, 1964),
p, 64.
2. Ibid., p. 65.
3. Ibid., p. 65.
4. Stanley P. Wyatt, Principles of As-
tronomij (Boston, 1964), p. 224.
F. MARION CRAWFORD AND
THE EVIL EYE
ON A VISIT TO ITALY in the winter
of 1906 Thomas Nelson Page, who
had made his reputation as a writer
of stories in the dialect of planta
tion Virginia Negroes, went to call
on F. Marion Crawford. On 21
January he wrote to his mother a
letter now part of the Clifton Wal
ler Barrett Library of the Univer
sity of Virginia: *We find the be
lief in the Evil Eye almost preva
lent among a good lot of Americans
who live in Rome. They will tell
you that they do not believe in it,
but they will not have so and so
in their house or meet them if they
can help it because it makes their
friends uncomfortable. Mrs. Marion
Crawford [wife of the Italian-born
American novelist whose mother
was sister of Julia Ward Howel
told Florry [Mrs Page! pray not
let her husband hear her mention
so and so s name, as he could not
104
bear to hear it, and she herself
instantly stuck out the first finger
and the little finger, like horns,
which is supposed to keep off the
evil consequences of the Eye. Did
you ever hear such rot such
tommy-rot! It is as medieval as
putting poison in a cardinal s wine
cup at mass".
Harriet R. Holman
Clemson University,
Clemson, South Carolina
QUERIES
Sedan fire "Anna had baked
plum cakes and that night the
Sedan fire was to be lit on the
rock on the mountain". (Chapt.
VI, Herman Hesse. Beneath the
Wheel). What did it signify? Is
it a custom still practiced?
Richard Wisell, Sharon, Ct
Mystery organist Can your
readers identify a poem I read
some years ago? The following as
pects I recall: small country church
stormy night regular organist
fails to arrive; door suddenly opens
stranger, poorly kept and smell
ing of alcohol appears. First recep
tion by congregation rather "cool".
Stranger sizes up situation goes
to organ and begins to play. Au
dience spellbound by his playing
suddenly realize that music is
over and stranger has departed
unthanked unwelcomed. Reac
tion one of mixed emotions, etc.
Frank H. Holt, Potomac, Md
"Jesus H. Christ" Would any
one have an inkling where Jesus
AN&Q
got the middle initial H so often
ascribed to him in ejaculations? I
have assumed the attribution is
phonological only. R. F. Fleiss-
ner, Wilberforce, Ohio
"A seamless web" Someone, I
think perhaps Sir Frederic Mait-
land, made the observation that
when one begins to write history,
no matter where he starts, he cuts
into a "seamless web". Can anyone
give me the exact quotation, its
authorship, and its source? There
has recently been written a book
by Stanley Burnshaw entitled The
Seamless Web (N.Y.: George Bra-
ziller, 1970), but it nowhere gives
the source of its title. Paul S.
Clarkson, Worcester, Mass.
"There is some good in the upper
class ..." - Acton (?) "There
is some good in the upper class
and some good in the lower class
but no good at all in the middle
class". I believe it is from Lord
Acton but I have checked all the
standard books of quotations, ideas,
and so forth, and I have had no
success. Is this from Lord Acton,
another person, or is it a fictional
quotation? Philip Coelho, Hali
fax, Canada
REPLIES
CabelTs "Taboo in Literature"
(1:41) James Branch CabelTs
leaflet, The Taboo in Literature,
was a pirated reprint from the New
York Evening Post, 11 Dec. 1920.
Neither Merle Johnson s A Bibli
ographic Checklist of the Works
of James Branch C obeli (N.Y.,
March 1971
105
1921) or I. R. BrusselTs A Bibli
ography of the Writings of James
Branch Cab ell (Philadelphia, 1932)
gives the exact date of the printed
reprint. Jerome Drost, Buffalo,
NT.
Night of tJte Kings Castration
(IX: 24) I recall that high
school students in Carlisle in the
late 1940s recited a series of verses
that began: "Hi, ho", cried Daniel.
"Asshole", cried the King. "Where s
the Queen", cried Daniel. "In bed
with arthritis", cried the King. "Kill
the dirty bastard", cried Daniel.
And forty thousand loyal subjects
were trampled in the rush. As I
recall, each stanza used the same
opening and closing line. Mac
E. Barrick, Carlisle, Penn.
Largest non-polar glacier (IX:7;
r 42, 89) The answer would de
pend on several things. First, what
does your correspondent mean by
"non-polar"? There is only one
"polar" glacier in the sense of be
ing at the pole Antarctica s ice
sheet is polar. Since the North Pole
is in the middle of an ocean and
cannot have a glacier right there,
there are no polar glaciers outside
of the southern continent of ice.
If this is what Miller means, then
we would have to give Greenland s
ice sheet first place by a wide mar
gin. The ice cap on Novaya Zemlya
is probably second in size.
If Miller means to exclude what
geologists generally call "ice sheets"
or "ice caps" as on Greenland,
then we assume that the question
might become: what is the largest
valley glacier (also called moun
tain or alpine glacier)? Several
answers can be found to this: The
Hubbard Glacier in Alaska is noted
as being quite large. Dyson in The
World of Ice, 1962, notes a length
of 75 miles. Colliers Encyclopedia
gives 72 miles; the Encyclopedia
of Geomorphology says 65 miles;
and Flint s Glacial and Pleistocene
Geology notes a length of 120km
for Hubbard.
The Guinness Book of Records
( 1962 ed. ) tells us that the largest
glacier is the Bering-Columbus
Glacier in Alaska, being "over 100
miles long . . ."; Charlesworth s
The Quaternary Era states that
the Fedchenko Glacier in the Pa
mirs of the USSR is the longest
glacier in the world at 75-77km,
but this is clearly out of the run
ning.
Have these been traversed? Both
Antarctica and Greenknd have
been crossed a few times in vari
ous places. If the Hubbard Glacier
is the sort of thing wanted here
a traverse would be vastly easier
since this long glacier is only a
couple of miles wide and could
probably be crossed in short order
given a stimulus.
Age of the glacier? This would
again depend on the intent and
since I have no handy information
on that score, I would refer Miller
to someone at Yale. I hope that a
better answer than this is forth
coming. Glacial ice, of course,
waxes and wanes and measure
ments will be sometimes vastly
different from year to year. Some
valley glaciers are only a few hun
dred years old but Hubbard is no
doubt older. Perhaps as much as
eight or ten thousand years but
I don t know from here. Robert
G. Schipf, Science Librarian, Uni
versity of Montana, Missoula,
Mont.
106
EDITORS
NOTES & READING
Brian Neal Odell, editor of Social
Thought (102 Old Oak Drive,
Ballwin, Mo.) writes that teachers
and students alike have sought a
guide to the wealth of available
information on black America, and
that such a guide is provided by
the second edition of The Negro
in America: a Bibliography, com
piled by Elizabeth W. Miller
(Cambridge: Harvard University
Press, 1970. Cloth, $10; Paper,
$4.95). Containing over 6,500 en
tries and 4,000 contributors, it is
an extensive annotated bibliog
raphy on the American racial scene,
divided into chapters on history,
urban problems, housing, litera
ture, and education, as well as on
intermarriage, language and idiom,
black theatre, and racial violence.
There are two separate sections
on black militancy: the first cov
ering materials published through
1965, the second since 1965. In
addition, there are new sections
on black studies, black power, the
Muslims, and tie Panthers. The
annotations following each entry
are succinct and informative. A
guide to further research and an
authors index are also provided.
In 1967 and 1968 Falls City Mi-
crocards worked closely with the
late Professor David Dowd of the
University of Kentucky in devel
oping a corpus of critical and his
torical sources on the French Rev
olution to accompany the Falls
City Microcard edition of French
Revolution pamphlets. The latter
is now attaining the status of a
najor collection, and Professor
AN&Q
Dowd, who used it effectively with
his students until his tragic death
felt that it should be supplemented
by a microform edition of critical
and interpretive works which are
not generally available in Ameri
can university libraries. With this
object in mind, Professor Dowd
went through Pierre Caron, Manu
el pratique pour Tetude de la Re
volution Francaise (new ed., 1947);
Maurice Tourneux, Bibliographic
de Thistoire de Paris pendant la
Revolution (1890-1913; 5 vols.);
and the available volumes of An
dre Monglond, La France revolu-
tionnaire et imperials (in progress;
v. 1-9, 1789-1812). Using Professor
Dowd s notes, Falls City is repro
ducing systematically the printed
sources recorded by Caron, Tour
neux, and Monglond, as they are
available for copying. These ma
terials will be copied on 35mm
microfilm, since the variety of
sources which must be used will
not provide facilities for copying
all that is wanted in negatives
suitable for use as flat film
("fiches") or opaque microforms.
Details available from Falls City
Microcards, 1028 Cherokee Road,
Louisville, Ky 40204.
An especially welcome reprint is
The Cambridge Modern History
(13 vols.; $295.00). Libraries which
bought the original edition will
find that set read to pieces; and
the newer research libraries which
bought the "popular edition * of
the 1930s will discover to their
disappointment that the very ex
tensive bibliographies, still very
useful, were not reprinted there.
A Cambridge paperback reprint
which has a place on the shelf of
every reader of English literature
March 1971
107
and all of us should be is the
third edition of George Sampson s
Concise Cambridge History of
English Literature (1970; 976 pp.;
$4.95). John Wilson Lewis, ed,
Party Leadership and Power in
China (1970; 422 pp.; $2.95, in
wrappers, also available in hard
covers), is a volume of essays by
twelve authorities on contempo
rary mainland China, a virtual en
cyclopaedia of that jurisdiction.
A. B. Bolt and M. E. Wardle,
Communicating with a Computer
(1970; 80 pp.; $1.95, in wrappers,
also available in hard covers), is
the Cambridge Press very useful
contribution to the understanding
of these indispensable monsters.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
Der Heine Pauly (Stuttgart; Alfred
Druckenmiiller Verlag), edited by
Konrat Ziegler and Walther Son-
theimer, is now complete through
the third volume (Nasidienus is
the last entry). This indispensable
tool for classicists supplements the
full PW. It is fairly inexpensive
for those who are wise enough to
subscribe by fascicles (about
DM20.- or DM30.- each) or vol
umes (v. Ill, DM104.-).
The highly readable, well written
English-language books issued by
the Corvina Press of Budapest
(Vaci Utca, 12) contrast sharply
with many clumsily written and
produced books from other East
ern European and Asian coun
tries designed to communicate na
tional cultures. Indispensable for
the shelf of any gourmet is the
work of the Guatemalan poet
Miguel Angel Asturias and the
Chilean poet Pablo Neruda, Sen
timental Journey around the Hun
garian Cuisine (1969; 120 pp.),
with notes on the finest delicacies
of Budapest and the restaurants
which serve specialties and hand
some, imaginative illustrations. The
Corvina Press has always issued
handsome topographical works,
and among the recent ones are:
Panoramas of Budapest (unpaged;
photographs by Lajos Czeizing,
text by Erno Bajor Nagy); Buda
pest (1970; 322 pp.), a guide book
with twenty-two maps and fifty-
one photographs; and Anna Zador,
The Cathedral of Esztergom (1970;
29 pp., 36 pi.). Gyula Illyes, Once
Upon a Time, Forty Hungarian
Folk-Tales (2nd ed., 1970; 324 pp.),
is a substantial addition to the
literature of folklore.
Georg Lukacs, Marxismus und
Stalinismus; politische Aufsdtze
(Hamburg, Rowohlt, 1970; 251
pp.; "Rowohlts deutsche Enzyklo-
padie", v. 327-328), is a perceptive
commentary on current tensions
between the Marxist and the non-
Marxist parts of the world. In an
other basic Rowohlt series, "Ro
wohlts Monographien", the latest
is number 165, Hans Oppermann,
Wilhelm Raabe in Selbstzeugnis-
sen und Bilddokumenten (1970;
158 pp.), an original work.
108
AN&Q
BOOK REVIEW S
RELIGIOUS PERIODICALS INDEX:
a Quarterly Index of the Major Religious
Periodicals in America. Ed. by Philip
Deemer. 1:1, Jan/March 1970. N.Y.:
Jarrow Press, Inc. (1556 Third Ave.,
Zip 10028). Subscription $20.
The appearance of a Religious Peri
odical? Index with broad coverage in
English language periodicals of Ameri
can origin, a planned quarterly issuance
two months after the quarter indexed,
and at a price within reach of a large
circle of personal as well as institutional
buyers, is most welcome. The Jarrow
Press now offers such an index and, al
though the first issue was somewhat
late, the editor promises that this gap
will be brought down to the desired
two months within a few issues. Volume
One, Number One, listed 214 periodicals
for indexing, but the needed issues of 34
had not been received in time for in
clusion. This list excludes foreign lan
guage periodicals but includes about
150 journals not included in the com
peting American Theological Library As
sociation Index to Religious Periodical
Literature, while duplicating only 50
titles. RPI indexes only 20 periodicals
which are also included in the Catholic
Periodical and Literature Index.
On principle, "denominational 7 period
icals are excluded, but this does not mean
that major news and opinion journals
of important religious bodies, nor their
learned periodicals, are omitted. Epis
copalians, for example, can find the
Witness, Living Church and The Epis
copalian, as well as the Historical Maga
zine of the Protestant Episcopal Church
(still omitted from the ATLA Index),
indexed here, but the hundred or more
diocesan magazines and organs of spe
cial interest groups are not included.
It is good to find a sizeable number of
the magazines of theological seminaries
indexed, journals which often include
important writings of scholars who are
readily honored when published in other
media. More popular Roman Catholic
journals are indexed here than in the
ATLA Index. The effect of this cov
erage, which is to be extended to in
clude more periodicals, and adapted to
contemporary needs by an alert, search
ing editorial board, will be to provide
an indispensable tool to all who must
comment on the developing religious
scene, such as preachers, editors, teach
ers, and students. Factors of current,
frequently popular coverage, quarterly
as contrasted to very delayed annual
issuance (the 1969 ATLA volume, is
sued March 31, 1970, was fourteen
months late for January 1969), avoid
ance of European publications, and rela
tively low price ($15.00 as compared to
$40.00) differentiate this index from
the older ATLA Index.
The structure of the Religious Peri
odicals Index is designed to assist the
user and to make possible detailed sub
ject indexing. The Index is divided into
three sections: Section One consists of
three lists of indexed items, one by
author, the second by title for unsigned
articles, and the third "Documents and
official statements". Each article is as
signed a distinctive number determined
alphabetically either by author or title.
There are 2,834 numbered items in this
first issue. The author entry is in a
standard form and the titles of the pe
riodicals are represented by a system of
abbreviations, simple to understand and
clearly given in the alphabetical list of
periodicals indexed at the beginning of
the number. The location of the articles
is indicated by month and page number,
but there is no repetition of year as all
articles represented come from the pe
riod of coverage.
Section Two, "Cross reference index
by subject categories", contains a list of
subject words originating in the material
indexed rather than accommodated to
a rigid "List of Subject Headings". This
provides a sense of vitality in the subject
presentation wanting in the structured
system used by the ATLA Index, where
presentation must mold itself to form
and there must be a burdensome system
of "see" and "see also" references to
frustrate and confuse the user. Under
subject, reference is to the item num
bers given in Section One. This eco
nomical form of entry, with only one
printing of the entry proper, makes pos
sible very detailed subject indexing. Each
article is examined paragraph by para
graph for subject content demanding
index representation. Here another com
parison with the ATLA Index is pos
sible. Although indexing only three
March 1971
109
months, RPI has 56 references under
"War" and its subdivisions, while the
ATLA Index, covering the whole of the
war filled year, 1969, has only 6 ref
erences to actual articles under "War",
bolstered by 10 "see also" references.
This type of comparison can be ex
emplified in many other subjects of
which "Ecumenism" is an outstanding
instance (RPI, 177 references, ATLA
Index 31). It is this repeated emphasis
on topics of the times, in their own
terminology, that gives RPI its sense of
relevance. In some cases, this exhaustive
indexing has led to too large groups of
references without practical breakdown.
The editors are aware of this problem
and are working to correct it. There is
also a section devoted to book reviews.
The Religious Periodicals Index fills
a very real place not occupied by any
other index, certainly not by the ATLA
Index, nor the Catholic Periodical and
Literature Index. RPI sets the user di
rectly and immediately into the center
of the present day life of the churches
as represented in their periodical lit
erature. This is quite different from help
ing him to find scholarly articles about
subjects currently being studied in the
schools. All who need this kind of help
should welcome this new Index and
hope that the editor can continue it,
improve it, and insure its regular and
early appearance. Niels H. Sonne,
Librarian, General Theological Seminary,
N.Y.C.
BRODY, Alan. The English Mummers
and Their Plays; Traces of Ancient Mys
tery. (University of Pennsylvania Pub
lications in Folklore and Folklife). Illus.
201pp. Philadelphia: University of Penn
sylvania Press, 1970. $9.50.
A. P. Rossiter in English Drama re
calls a verse from the play of St. George
and the Turkish Knight, which the mum
mers used to give in his Gloucestershire
home at Christmas before the first World
War. After St. "Jarge" had been killed,
he was miraculously restored to life by
a doctor who entered saying:
Ere come I, ole Dr Grub,
under me arm I cany a club,
in me pock t I carry a bo le [bottle]
An a gr t big volum o Harris To le . . .
This allusion reveals the basic action
which is common to hundreds of texts
and fragments of texts of the mummers
play the dramatic ceremonial of death
and resurrection dating back to primitive
times.
In his lively and well-organized book,
Professor Alan Brody re-examines the
phenomenon of the mummers play,
stressing its ritualistic elements. The
term mummers is misleading, as Brody
remarks. It has nothing to do with the
child mummers of the West Riding of
Yorkshire and East Lancashire who
blacken their faces at Christmastime
and go from house to house, sweeping
the hearth with little humming noises;
nor is it to be confused with the courtly
mummings of the 14th and 15th cen
turies, although disguise was a common
element, the participants in some areas
actually being known as "guizers". The
drama which Brody discusses might
properly be called "men s dramatic cere
mony". It is a play performed by men
only, which has survived, with many
modifications, into this century. Now it
often uses as its loci the village pub
instead of the private house, yet it re
tains characteristics which point to its
roots in ritual and myth when the men
were priests, the primitive agents of
magic.
The author finds three categories of
action in the ceremony: the Hero-Com
bat, the Sword Dance, and the Wooing;.
The first usually involves an announce
ment of the protagonist, a challenge,
the killing, the revival, and the qitete
a request for reward for the enter
tainment; the Sword Dance consists of
a ritual killing by a community of
dancers of one of their number, and a
subsequent revival; the third affords us
the clearest line of evolution from the
primitive fertility ceremony to seasonal
folk drama. Brody refers to the work
of Harrison, Cornford, Murray, and
Gaster, on the development of drama
of the ritual to show that the three
types are "representative dramatic crys
tallizations of the rituals of three dif
ferent religious attitudes similar to those
of the Greeks". He is careful not to try
to establish any direct relationship be
tween these dramas and the Greek cul
ture yet the essential nexus is one and
the same, with the life-giving phallus
110
AN&Q
of Thrace transformed into the English
club.
Appendices on the Netley Abbey
Mummers Play, the Greatham Sword
Dance Play, the Bassingham Men s Play,
the Revesby Play, the Papa Stour Play,
and others are included.
At the conclusion of his careful analy
sis Professor Brody remarks on the as
tonishing longevity of the mummers
play: ". . . it is almost a thousand years
since there was any reason for the men
of the town to meet on one night of the
year, to hide their faces, to move from
station to station through the town and,
in the magic circle, to re-enact the death
and resurrection of their earth, the eter
nal pattern of the seasons". The principal
reason for its persistence no doubt lies
in the mythic origins of the mummers
drama which invest even the most banal
doggerel with an underlying serious
meaning. Pertinent here is a remark
which Brody repeats of an old mummer
in the 1930s who was asked by a Ger
man professor at Oxford whether women
ever took part in the plays: " *No sir he
replied, mumming don t be for the
likes of them. There be plenty else for
them that be flirry-like, but this here
mumming be more like parson s work ."
The book presents its case with clarity
and conviction, and is illustrated with
excellent photographs. Beryl Row
land, York University, Toronto.
Research libraries and special collections
of various kinds will find the brief, help
ful checklists of holdings at Wofford
College, Spartanburg, S.C., useful and
interesting. Varying in quality of ex-
pertness in compilation, each of the lists
indicates the sincere sense of obligation
which The Library of the college has
toward the scholarly community. All are
available at present, the first one for $1;
the rest for $2 each: Hymns & Hymnody
(168 titles); Geography & Travels (200
titles; 1587-1970); Children s Literature
(200 titles; mostly 19th century); Bi
ography (200 titles; 19th-century Meth
odist preachers especially well represent
ed); Carlisle-Smith Pamphlet Collection
(93 19th-century pphs); Seventeenth
Century Imprints (43 titles). Order from
The Wofford Library Press, Wofford
CoUege, Spartanburg, S.C. 29301.
BIBLIO
GRAPHICAL NOTE
ON LOCATING LITERARY
MANUSCRIPTS
Following is part of a communication
to the (London) "Times Literary Sup
plement" of 11-12-70 (p. 1467), which
we believe deserves wide attention in
the world of scholarship of the United
States. AN&Q had the gracious permis
sion of the TLS editor to reprint, but
Mr Korshin wished to make some re
visions which have been incorporated
here. The Editor
The recent description of further auto
graph manuscripts in the National Por
trait Gallery besides those donated to
the British Museum is not simply wel
come news to literary and art historians. 1
It also convincingly demonstrates how
great the unknown, uncatalogued, or
otherwise untapped manuscript resources
of even the largest institutions may be.
Clearly, it is not enough for the scholar
interested in manuscripts to check the
latest acquisitions of the BM and many
other archives must be scrutinized as
well. Obviously the need to identify
fully all manuscript holdings poses a
tremendous problem to scholar and ar
chivist alike. I would like to examine
the problem briefly.
A few of the largest institutions, usu
ally those with separate departments of
manuscripts, regularly publish cata
logues of their acquisitions, almost al
ways quite a while after the accession.
The British Museum is the best of these
and, while the published quinquennial
lists of additions are always many years
in arrears, they are augmented by the
Department of Manuscripts* own xeroxed
or typed tally books, the British Museum
Quarterly, and the Department s staff
Information Bulletin (issued three or
four times a year). There is little or no
calendaring of accessions until the print
ed volume appears.
The variations in reporting on manu
script acquisitions of other libraries are
considerable. Some report new arrivals
in more or less regular catalogues, an
nual reports, or library bulletins. This
is the case with the Bodleian, Houghton,
March 1971
111
Huntington, Newberry, the John Ry-
lands, and miscellaneous others, But
most institutions do little or nothing sys
tematically to announce such arrivals,
so for over a century and a half impor
tant manuscripts have been leaving a
brief trail in auction sale catalogues or
booksellers lists, and then disappear.
Those which are a part of a bequest
sometimes are never listed anywhere.
In the United States, the serial publica
tion, The National Union Catalogue of
Manuscript Collections, has since 1959
(most recent annual volume, 1968)
been recording accessions throughout
the country. This is an excellent pub
lication, but not all libraries or archives
report to it, including several of the
nation s largest. The first volume at
tempts to be retrospective, and to record
all manuscript holdings of thousands of
archives received prior to 1959, but it
cannot be expected that such a listing
would be complete. The volume lists
collections rather than individual manu
scripts, so it does not attempt to cal
endar its entries, but despite its un
avoidable shortcomings the National Un
ion Catalogue provides a good start for
scholars. In the United Kingdom, a
similar annual publication, the List of
Accessions to Repositories, published by
HMSO for the Historical Manuscripts
Commission, gives a broad survey of
new accessions in summary form. 2 How
ever, many manuscripts purchased or
acquired in the last century were in
correctly catalogued or are still uncal-
endared, which means that their contents
may still be largely unknown, except to
members of a particular library staff
and a few scholars.
A good example of this can be found
in the British Museum, It was very com
mon in the 18th and 19th centuries,
before the invention of the filing cabinet,
to "grangerize" printed books with auto
graph letters or other manuscript ma
terial; such papers would be interleaved
with the text or bound in before or after
the body of the book. No doubt great
manuscript riches are to be found in
such volumes. But there is no guide to
their contents, for they are generally
listed only as printed books. Except for
the British Museum, which used to put
such books in the Cases, and which
generally states in the printed catalogue
that the book in question contains manu
script material, no other library has had
a long-term policy of giving such books
special classifications. And even in the
BM the uncatalogued surprises are great:
autograph letters by such writers as
Boswell, Smollett, and Byron, have come
to light in grangerized books.
We frequently meet the statement
that a given manuscript is "lost", "un-
traced", or "has not survived". In many
cases this must be so, but the antiquari
an instincts of collectors have been so
great for so long that probably many
fewer manuscripts perish than we are
led to conclude. Even in the 19th cen
tury, when letters and manuscripts were
cheaper and more plentiful than today,
people saved them carefully. A useful
example might be the sale of Isaac
Reed, the early Shakespearean scholar
(Bibliotheca Reediana [1807]), quite a
large sale, almost 9,000 lots: Reed owned
a number of printed books grangerized
with autograph letters, and several hun
dred lots of manuscripts. Of the manu
scripts, there are three lots which came
to the British Museum later in the cen
tury his manuscript of Gray s poems,
a collection of notes on the London
stage from 1725 to 1745 called Notitia
Dramatica, and some of the minutes of
the European Magazine in the 1780s,
of which Reed was an editor, minus the
Johnsoniana they were supposed to have
contained. Could all the other Reed
manuscripts have perished? His granger
ized books included the famous inter
leaved Langbaine, An Account of the
English Dramatick Poets, with his and
William Oldys s notes, now in the BM.
But Reed also owned books described
in his sale as containing letters of Wal
ler, Smollett, Dyer, and quite a few
other literary men. It is hard to believe
that all have been lost. 8
Now, the Reed Sale is only one ex
ample of how potentially valuable lit
erary manuscripts have disappeared from
sight. Perhaps they are not irrecoverable.
Many of Reed s papers must be cata
logued under various headings in li
braries ignorant of their provenance.
There are thousands of private, public,
and institutional libraries on the Con
tinent, in Britain, and in the United
States, whose manuscript holdings have
never been fully ascertained or com-
112
AN&Q
pletely calendared, and in which nu
merous "lost" or wholly unknown manu
scripts may now lie unperceived. Thus
I would like to propose that scholars
throughout the English-speaking world
spend the next half -decade accumulating
their want lists of lost" manuscripts and
that 1976, the year of the United States
Bicentenary, be declared International
Manuscripts Year. Want-lists could be
cumulated and published so that schol
ars and archivists everywhere could ex
amine their collections. It is to be hoped
that a comprehensive bibliography of
manuscript catalogues like that of Kris-
teller would also result for English-lan
guage collections. 4 Perhaps massive re
search assistance or institutional support
could be obtained. What has recently
been described at the National Portrait
Gallery would turn out to be, I suspect,
just the tip of an iceberg. Paul ].
Korshin, University of "Pennsylvania
1. See Richard Ormond, "New B.M.
MSS.", Times Literary Supplement,
18 September 1970, p. 1039. The
manuscripts in question, earlier de
scribed in the TLS, 9 July 1970, p,
750, are now BM Add. MSS. 54,224-6.
2. There are various reference works,
such as A Guide to Archives and
Manuscripts in the United States, ed.
Philip M. Hamer (New Haven: Yale
University Press, 1961); see the bib
liographical note, pp. xix-xx. For an
analysis of manuscript finding aids
in the United Kingdom, see Felicity
Ranger, "The Common Pursuit", Ar
chives, IX, no. 43 (April 1970).
3. It must he remembered, however,
that autograph letters are often cut
out of the books they have been used
to illustrate. For locating autograph
manuscripts of this period, a useful
source is Hugh Amory, "A Selected
Bibliography of 18th Century Docu
ments & Autograph Manuscripts",
Manuscripts, XX, no, 3 (Summer
1968), 22-29.
4. See Paul Oskar Kristeller, Latin Manu
script Books before 1600: a List of
the Printed Catalogues and Unpub
lished Inventories of Extant Collec
tions, 3rd ed. (New York: Fordham
University Press, 1960).
PUBLICATIONS RECEIVED
(Continued -from p. 98)
MacDiarmid, Hugh. A Drunk Man Looks
at the Thistle. Ed. [with a marginal
gloss, notes, and critical commentary]
by John C. Weston. 122pp. Amherst:
University of Massachusetts Press,
1971. $7.50; Paper, $2.95
Poe s Tales, Twentieth Century Inter
pretations of: a Collection of Critical
Essays, Ed. by William L. Howarth.
116pp. Englewood Cliffs, N.J.: Pren
tice-Hall, Inc., 1971. $4.95; Paper,
$1.45
Poirier, Richard. The Performing Self:
Compositions and Decompositions in
the Languages of Contemporary Life.
203pp. N.Y.: Oxford University Press,
1971. $6.50; Paper, $1.95
Readings on Literary Criticism Series:
6, Critics on Chaucer, ed. by Sheila
Sullivan, 139pp.; 7, ... on Blake,
ed. by Judith O Neill, 120pp.; 8, ...
on Virginia Woolf, ed. by Jacqueline
E. M. Latham, 126pp. Coral Gables:
University of Miami Press, 1970. Each,
$3.95
(Spenser). Fletcher, Angus. The Pro
phetic Moment: an Essay on Spenser.
326pp. Chicago: University of Chi
cago Press, 1971. $11.75
(Trees). Wilson, B. F. The Growing
Tree. Illus. 152pp. Amherst: Univer
sity of Massachusetts Press, 1970. $6.50
Vivaldi, Antonio: His Life and Work,
by Walter Kolneder. Trans, by Bill
Hopkins. Illus., incl. Music Facs.
288pp. Berkeley: University of Cali
fornia Press, 1970. $15.
Walford, A. J. Guide to Reference Ma
terial, 2d Edn: Vol. 3, Generalities,
Languages, the Arts, and Literature.
585pp. London: The Library Associa
tion [N.Y.: R. R. Bowker Co.], 1970.
$13.95
Wesleyan Poetry Program Series: 55.
Dugan Gilman, Upstate, 64pp.; 56.
John Haines, The Stone Harp, 65pp.;
57. Harvey Shapiro, This World, 79pp.
Middletown: Wesleyan University
Press, 1971. Each, $4; Paper $2.
Zwierlein, Frederick J. Religion in New
Netherland, 1 623-1624. ( Rochester,
1910). 351pp. N.Y.: Da Capo Press,
1971. Price ?
AMERICAN NOTES & QUERIES
Volume K Number 8 April 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Besanceney, Paul H., S.J. Interfaith Mar
riages: Who and Why. 223pp. New
Haven: College & University Press,
1970. $6.50; paper, $2.95
Bradstreet, Anne; Poems of. Ed. with an
Introd. by Robert Hutchinson (1969).
222pp. N.Y.: Dover Publications, 1969.
Paper, $2.
Crandall, Prudence: an Incident of Rac
ism in Nineteenth-Century Connecti
cut, by Edmund Fuller. Ports. 113pp.
Middletown: Wesleyan University
Press, 1971. $5.95
Dunlap, William. A History of the Rise
and Progress of the Arts of Design in
the United States. A Reprint of the
Original 1834 Edition, with a New
Introduction by James Thomas Flex-
ner; Newly Edited by Rita Weiss.
394 HIus. 2 vols. as 3. N.Y.: Dover
Publications, 1969. Paper, $4.50 per
vol.
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
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NOTES
RICHARD SHEALE AND THE
BALLAD OF "CHEVY CHASE"
ALTHOUGH GENUINE FOLK BALLADS
are traditionally anonymous. Ash-
mole MS 48 s unique text of Child
Ballad 162A, "The Hunting of the
Cheviot", is signed "Expliceth,
quoth Rychard Sheale", a name
subscribed to three other poems
in this same MS (Nos. XVIII,
XLVI, and LVI). 1 When Wright
edited Ashmole 48 in 1860, he not
ed that Sheale "certainly claimed
the authorship of the ballad of
Chevy Chase, and no evidence
has yet been brought forward to
invalidate his claim" (p. viii). And
while scholars before and since
have denied Sheale s authorship,
Wright s judgment still holds, for
none of their opinions have been
supported by critical analysis of
the poetry in question. 2 Such anal
ysis of the works attributed to
Sheale in Ashmole 48 indicates, I
think, that he was a professional
minstrel who wrote at least three
of the poems in the MS, but not
poem VIII, the "Chevy Chase 5
ballad
Poem XLVIII, though left anon
ymous in the MS, is the most
certain item in Sheale s canon, for
here the poet names himself twice:
"Becaus my name ys Sheale * (1.
7), and "Both mutton and veile/Ys
good for Rycharde SheilT (11. 27-
28). The twenty-four Skeltonic
couplets of poem XLVIII comprise
an appropriate stock piece for a
wandering minstrel, a farewell to
his host, thanking him for a land
reception and a good meal. This
occupational clue logically con
nects Sheale with the minstrel
who complains of being robbed
in poem XLVI, a work assigned
to Sheale in the MS. From poem
XLVI we learn that Sheale lived
in Tamworth, Staffordshire (1. 44),
and that he had some acquaint
ance with the Stanley family, for
he thanks ", . . my good lord and
mastar, whom I sarve, , . . And my
lord Strang also" (11. 115, 118),
for helping him through his finan
cial difficulty, Sheale probably re
fers to Henry Stanley who was
styled Lord Strange till 1559" 3
while his father, Edward, Third
Earl of Derby, was probably
Sheale s "good lord and mastar".
If then, Sheale was patronized by
the Stanleys, it is not surprising
that his name appears both in the
title and at the end of poem LVI,
an epitaph on the death, 23 Feb
ruary 1559, of the Countess Mar
garet, Henry s stepmother and wife
of Edward Stanley.
In addition to this biographical
information, the poetic technique
of poems XLVIII, XLVI, and LVI
also supports their association with
Sheale, for the verse of these three
poems shows the consistent hand
of one poet. All three are written
entirely in couplets and there are
several feminine rimes in each
work. Sheale s diction is generally
116
AN&Q
commonplace, but includes a scat
tering of such Latin derivatives as
"perseve" (found in all three
poems), "awdacitie", "supplyca-
cion", "lamentacion", "declaracion",
"presarve", and "rephar" (refer).
The metrics of Sheale s long line
poems, XLVI and LVI, defy scan
sion, for they are written in irreg
ular accentual verse of from nine
to nineteen syllables and from four
to eight stresses per line.
Accordingly, poem XVIII shows
by its metrics alone that Sheale
could not have written it. Although
XVIII is subscribed with his name,
it is written in extremely regular
syllabic fourteener couplets, whol
ly alien to his ragged accentual
verse. Thus, the MS attribution to
Sheale can not mean that he wrote
poem XVIII; the name here prob
ably means only that he supplied
the transcriber of Ashmole 48 with
a copy of this work. Similarly,
Sheale s name after poem VIII
may indicate that he was the tran
scriber s source for "Chevy Chase",
but the subscription does not nec
essarily mean that he wrote the
ballad.
While preceding studies have at
tempted to refute or defend
Sheale s claim to "Chevy Chase"
through tenuous biographical as
sumptions or the tacit juxtaposition
of passages from the poems in
question, the problem is best re
solved through a specific contrast
ing of the diction and poetic tech
nique in Sheale s works and in
the ballad. "Chevy Chase" lacks
the array of Latinate words found
in poems XLVI, XLVIII, and LVI,
for while Sheale s diction has been
carried over almost entirely into
modern usage, the diction of the
ballad was somewhat archaic even
by the mid-sixteenth century. For
example, "byckarte" (VIII, 1. 11,
from Tbicker , to attack with mis
siles), is not listed by the OED
after 1534. The latest OED entry
for "sterne" (1. 62, a bold or stern
man), is c. 1470, and for "sprente"
(1. 67, sprang out ), before 1470.
"Spurn" (11. 134, 136, an encoun
ter), "freyke" (11. 64, 66, 97),
"rnagger" (1. 3, maugre ) and
"verament" (1. 55), are representa
tive of the archaic or obsolete dic
tion so typical of the ballad and
so lacking in Sheale s verse.
Three major differences in poet
ic technique between "Chevy
Chase" and Sheale s poetry effec
tively round out the evidence
against his authorship of the bal
lad. First, alliteration is a recur
rent ornamental device in poem
VIII:
Bomen byckarte uppone the bent with
ther browd arcs deare;
Then the wyld thorowe the woodes
went on every syde shear;
Greahondes thorowe the grevis glent
for to kyll thear dear.
(11. 11-13)
Yet no such persistent use of allit
eration can be found in Sheale s
poetry.
The second major difference is
the use of rime in Sheale s works
and in the ballad. With one excep
tion (XLVIII, 11-14), Sheale al
ways changes his rime from one
couplet to the next, while the
"Chevy Chase" poet uses the same
rime over and over. There is no
pattern, however, to his repetition
of identical rimes; in Child s tran
scription, the fifth and sixth stanzas
have the same a and b rimes,
which are dropped in the seventh
April 197]
but picked up again in the eighth
stanza, and stanzas thirty-eight
through forty-one have the same
b rime.
Third, and most important, the
principle of rime in poem VIII is
quite different from Sheale s prac
tice. There is no feminine rime in
the ballad, and the poet sometimes
puts the rime on a final unstressed
syllable: "meany/iif (11. 6-7), lie/
pitte" (11. 8-9), "Perse/pitte/contre
(11. 37-39 ). 4 But Sheale always
rimes on a stressed syllable, so that
his lines ending in unstressed syl
lables are truly feminine rimes, as
in these examples from poem
XLVI: "relacion/occupacion" (11.
36-37); "offendyde/spendyde" (11.
137-138).
Sheale may well have supplied
the transcriber of Ashmole 48 with
a copy of "Chevy Chase", or, as
Child suggests (III, 303), it may
have become associated with his
name simply because it was part
of his repertoire as a minstrel.
However, the variations in diction
and poetic technique between the
ballad and the poems demonstra-
bly his, prove that he could not
have written it, and thus, "Chevy
Chase 7 must remain in the tradi
tion of the anonymous folk ballad.
Chicago, Illinois
Steven W. May
1. Quotations from poems in Ashmole
48 and their numbers follow the tran
scription in Songs and Ballads, Chief
ly of the Reign of Philip and Mary,
ed. Thomas Wright (London, 1860).
Wright (p. iv) argues convincingly
that the names signed to the poems
are not those of the transcribers of
the MS. No author s name is con
nected with the ballad of "The Hunt-
117
ing of the Cheviot", popularly known
as "Chevy Chase* , in any of its more
modern versions.
2. Thomas Hearne, first to publish Ash
mole 48 s version of the ballad, in
Guilielmi Neubrigensis, Historia Sive
Chronica Rerum Anglicarum (Oxford,
1719), I, kxxii-lxxxviii, did not doubt
Sheale s authorship. In Reliques of
Ancient English Poetry (London,
1765), III, 2, Bishop Percy agreed
that a Richard Sheale wrote "Chevy
Chase", but not that this was the
same Sheale identified by Hearne
(p. kxxviii) as "living in the Year
1585 , . . Author of many other Po
etical Things* . Percy decided that
the ballad was written well before
1588, as did Joseph Ritson (Bibli-
ographia Poetica, London, 1802, p.
303), who classified it as ^manifestly
a composition of the preceding cen
tury". Both opinions were contested
in an anonymous article, "Author of
Chevy Chase", in The British Bibli
ographer, IV (1814), 97-107; selec
tions from poem LVI are here pre
sented to show that its style is no
less artful than that of "Chevy Chase"
and that Sheale could therefore have
written both works,
Professors Hales and Furmvall
(Bishop Percy s Folio Manuscript,
London, 1868, II, 1-2), Skeat (Speci
mens of English Literature, Oxford,
1871, p. 67), and Child (The Eng
lish and Scottish Popular Ballads,
Cambridge, 1390, III, 303) agreed
that Sheale was too mediocre a poet
to be responsible for the ballad, but
without presenting the evidence to
support their opinion.
In refuting Sheale s claim to "Chevy
Chase", Ewald Fliigel quoted passages
from poems XLVI and XLVIII in his
Neuengllsches Lesebuch (Halle, 1895),
pp. 461-462, implying that the writer
of such verse could not have written
the ballad. Karl Nessler (Qeschichte
der Ballade Chevy Chase, Berlin,
1911), e?;amined the biographical con
tent of the worlis attributed to Sheale
in the MS, arguing that Sheale would
have used "Chevy Chase" to glorify
the Derbys, his patrons, if he had
written it! Nessler s treatment of the
Northern spellings and dialect of the
US
"SHE" AND "SHEE"
IN DONNE S ANNIVERSARIES
WITH THE AID OF FRANK MANTLETS
superior edition entitled John
Donne: the Anniversaries (Balti
more, 1963), it is most fitting to
re-examine Marjorie Nicolson s
well-known theory about the dif
ferent denotations of the variant
spellings "she" and "shee". 1 Bas
ing herself on Grierson s earlier
edition of Donne s poetry, Miss
Nicolson maintained: "The dif
ference between she and what I
call double shee holds good
throughout both Anniversaries,
and may briefly be stated thus:
when Donne uses the more com
mon "she , he is speaking of a real
person. When he uses the double
shee , he is writing in symbolic,
universal, and abstract terms about
what he himself called the Idea
of a Woman" (pp. 87-88). In
supporting her contention, Miss
ballad, as proofs against Sheale s
authorship, are unconvincingly
grounded on the use of some of these
same words by John B arbour and Sir
Walter Scott. Hyder Rollins also de
nied Sheale s responsibility for the
ballad, without citing evidence, in his
thorough study of the contents of
Ashmole 48 ("Concerning Bodleian
MS. Ashmole 48", MLN, XXXIV,
1919, 340-351). Rollins concluded
that the MS itself was transcribed
between 1557-1565, largely from
printed broadsides.
3. George Edward Cockayne, The Com
plete Peerage (London, 1916), IV,
211.
4. I have omitted the accent marks
which Wright added to "pitte",
"Perse", "pitte", and "contre", ap
parently to indicate that these un
stressed syllables are rimes.
AN&Q
Nicolson (pp. 88-90) finds such
distinctions with various pronom
inal forms in other poems by
Donne.
Three textual arguments of vary
ing weight may be immediately
adduced against the above inter
pretation:
I. If Donne differentiated signif
icantly between the spellings of
"she", a similar distinction might
be expected in the other pro
nouns; however, difficulties arise
at this point. Of the three occur
rences of "wee" (Second Anni
versary, 226, 279, 444), is the
reader in one instance to shift
focus rapidly from a real to an
ideal "wee" and then to under
stand that the ideal "wee" is
ignorant even of the least things
(SA, 279-280)? "Mee" likewise
appears three times (SA, 1, 31,
518 ) ; in one of these cases "mee"
is found along with "me" (SA,
517-522), yet these pronominal
forms can hardly be said to de
scribe two types of speakers* Of
the four appearances of Tiee"
(FA, 158, 218; SA, 199, 443)
two designate God (FA, 158,
and SA, 443). Yet the Ideal Be
ing is named Tie" five times
(FA, 156, 462, 464; SA, 404-405).
One may note, then, that God
is called "he" at FA, 156, and
Thee" just two lines later.
II. Though acutely aware of the
capricious printing of 17th-cen
tury texts (p. 87fn.), Miss Nicol
son certainly had no idea that
of the twelve long passages
among others cited to support
her thesis (pp. 95-105), the "she-
shee" orthography remains the
same in only three of them in
Manle/s edition.
-April 1971
119
III. Given Manley s edition, a
referential distinction between
"she" and "shee" still presents
problems:
A. There would seem no ra
tional plan in calling the Ideal
Woman the measure of sym
metry and source of beauty,
and the real woman a cosmic
magnetic force and source of
all "Impressions" (Cf. FA, 309-
310 and 361-362 with FA,
220-222 and 415).
B. Surely the following cou
plets are mutual glosses and re
fer but to one person:
Shee, for whose losse we haue la
mented thus,
Would worke more fully and
powerfully on vs. , . .
So doth her vertue need her here,
to fit
That vnto vs; she working more
then it. (FA, 401-412)
C. The heroine defined in
terms of the Astraea legend
has varying orthographies:
She that did thus much, and much
more could doe,
But that our age was Iron, and
rusty too (FA, 425-426)
. . . because in all, shee did,
Some Figure of the Golden times,
was hid. (S A, 69-70)
IB conclusion, one must be in
accord with the reviews by Herbert
Grierson (MLR, XLVII [1952], 390-
392) and Joan Bennett (RES, III
[1952], 178-180) of the 1950 edi
tion of The Breaking of the Circle?
Both critics concurred in the opin
ion that the variant spellings serve
merely as a means of emphasis. It
is also noteworthy that in the An
niversaries as in the rest of Donne s
poetry, if the line-ending rhymes
terminate in a long V, that "e"
has a tendency to be doubled or-
thographically. This fact bears out
the contentions of Joan Bennett
and Herbert Grierson that the dou
ble V was used for emphasis,
especially in line-endings so impor
tant in the total effect of the he
roic couplet.
P. Mahony
University of Montreal
1. The Breaking of the Circle (Evanston,
III., 1950; rev. ed, 1960). It was
Hiram Haydn, Miss Nicolson s pupil,
who was the first to make a referen
tial difference between "she" and
"shee" (see The Counter-Renaissance,
N.Y., 1950, p. 542). Miss Nicolson s
theory, however, is more elaborate
and substantial, and thus I deal with
hers.
2. In the revised edition of The Breaking
of the Circle, Miss Nicolson shows
her cognizance of these reviews but
nevertheless maintains her original
conception.
CUMMINGS "NOBODY LOSES
ALL THE TIME"
IN THE LAST IXNTE of one of his more
well-known poems ("Since Feeling
Is First") e. e. cummings says, "And
death i think is no parenthesis". In
a lesser-known poem ("Nobody
Loses All the Time") from the
same volume, is 5 (1926), cum-
mings speaks of his Uncle Sol s life,
death, and burial. He ends this
poem in parentheses.
(and down went
my Uncle
Sol
and started a worm farm)
120
AN&Q
That these two poems are related
seems clear; but, beyond that, "No
body" illustrates yet another of the
verbal and syntactical games cum-
mings was so fond of playing.
In the second stanza of "Nobody"
cummings says,
i had an uncle named
Sol who was born a failure and
nearly everybody said he should
have gone
into vaudeville . . .
Uncle Sol, after having failed at
vegetable farming, chicken farm
ing, and skunk farming before he
"imitated the/ skunks in a subtle
manner" (11. 24-25), killed himself
thereby becoming a success at
worm farming. It is because of this
final success, even though it occurs
in true vaudevillian style, that cum
mings can talk of Uncle SoFs death
as an "auspicious occasion" ( 1. 29 ) .
Actually, the poem is over at that
point, the end of stanza six. Why
then does cummings add stanzas
seven and eight? Why does he end
the poem with the parenthetical
statement that Uncle Sol "started
a worm farm)" (1. 38), since, clear
ly, it is unnecessary to the meaning
of the poem? Such "overtness" is
not common in cummings.
The answer to these questions
becomes clear when we look at
stanza three, where cummings ex
plicitly indicates, in his own way
of course, the way in which the
poem must end.
First, the third stanza is set up
in the form of an inverted pyramid,
each line being shorter than the
one before it. This stanzaic form
descends toward nothingness, just
as Uncle Sol will by the end of the
poem. Stanza seven has a similar
shape, as one might suspect, be
cause this stanza concerns Uncle
Sol s death. In it form and state
ment merge. But if this parallel
form were the only reason for the
seventh stanza it would still be
unnecessary. All the form serves
to do is to call attention to these
two stanzas and to relate them.
The real reason for the seventh
( and eighth ) stanza becomes clear
when we examine the final words
of each of the lines of stanza three.
Taking them together they read
"inexcusable/ phrase/ to/ be/
needlessly/ added". And this is the
reason for stanzas seven and eight,
which cummings further indicates
by placing the last four lines in
parentheses. Having promised in
stanza three that he will add a
"needless" and "inexcusable phrase",
he does so in stanza seven. Having
said in "Since Feeling Is First" that
death is "no parenthesis", he indi
cates in "Nobody Loses All the
Time" that Uncle Sol found death
and success in a parenthesis.
William V. Davis
Wethersfield, Conn.
QUERIES
"Jim Work" and "Gin Work"
The small farmers of Jesse Stuart s
W-Hollow area of Kentucky do
"Gin Work", meaning the little,
daily chores that must be done
close around the farm house as op
posed to the harder, all-day work
of the farm. They also go "ginning"
around town, meaning to wander
around looking for amusement
without anything specific in mind.
April 1971
The farmers of the central counties
of West Virginia do "Jim Work"
and go "Jimming" with precisely
the same meanings in mind. There
may be a connection between the
two expressions. The American Di
alect Dictionary mentions "gin" but
gives no etymology for the word.
However, the origins of the West
Virginia expression, "Jim Work"
can be traced. In Salem, a central
West Virginia town, there are older
persons who were told as children
that the expression was brought in
by people from the Valley of Vir
ginia. In that region before the
Civil War, male slaves who became
too old or feeble to work in the
fields were known generically as
the "Jims". They were brought into
the plantation house and given
lighter work, "Jim Work", in the
house, yards, and out buildings.
Other farmers, whether slave hold
ers or not, picked up the term to
designate work of lesser impor
tance. The two terms are so similar
in sound that I feel strongly that
"Gin Work" is a variant pronunci
ation of "]im Work". Further infor
mation on the etymology or extent
of use of any of these words would
be appreciated. Avery F. Gas-
kins, Morgantown, W. Va
Montaigne or Stevenson? Leon
ard Woolf attributes the title of
his autobiography, The Journey,
Not the Arrival Matters, to Mon
taigne. Is it possible that Woolf
was misquoting and misattribut-
ing Robert Louis Stevenson s ". . .
for to travel hopefully is a better
thing than to arrive , . ." ("El
Dorado" in Virginibus Puerisque}
or can someone locate a similar
quote from Montaigne? Ernest
Siegel, Los Angeles, Calif.
121
Alexander Pope portrait What
is the present location of the oil
portrait by Richardson painted near
the end of Pope s life for the Earl
of Huntington and inherited by
the Marquis of Hastings from
whose estate it was sold sometime
before 1870? Lee Ash, Editor,
AIV&Q.
Camel through a needle s eye?
(1) It is well known that the post-
velar consonants of Semitic, both
regionally and historically, exhibit
considerable instability. Between
both dialects and languages, Proto-
Semitic qaf (we use the Arabic
names) may appear as hamzdh
(the glottal stop), [g], [g], [)] and
(in Hebrew) [k]; am may be
lightened to hamzah, and ha
(pharyngeal h) may pass to the
ordinary glottal hd, while inter
change between ha and f ain (both
pharyngeals) is also attested. (2)
In Arabic the word for *rope* is
habl and a collective term for
camels is *ibl. (3) Can a specialist
in Aramaic tell me whether forms
of the same roots also appear in that
language (or for that matter, any
older Semitic tongue), and with
what presumed phonetic values for
the first consonant in each case? If
they do, and if confusion of the ini
tials could have occurred, then we
may posit that the proverb about
the camel and the eye of a needle
(Matt, xix: 24) must have original
ly been: "It is easier for a rope to
go through the eye of a needle,
etc." (i.e. a rope as opposed to a
thread a vastly more plausible
figure! ) . B. Hunter Smeaton,
University of Calgary, Canada
READERS!
Reply! Avoid a "Camelist" vs.
"Ropist" schism! LA.
122
AN&Q
Resurrected bodies There have REPLIES
been numerous disinterments of
famous persons throughout mod
em history. I would like a list of
them or of references to particular
ones and, if possible, citations to
printed descriptions of the disin-
terment. Harold Mason, New
York, N.Y.
Henricus Kr otter Who was this
man who wrote a dissertation De
Meteorlythis in 1825? Ml
Nichols, Sharon, Ct
G. B. Shaw on Whitman In the
section called "In Praise of Whit
man", in Louis Untermeyer s Inner
Sanctum Edition of The Poetry and
Prose of Walt Whitman (N.Y.: Si
mon and Schuster, 1949, p. xxvi),
George Bernard Shaw is quoted:
<c Whitman is a classic . . . Curious
that America should be the only
country in which this is not as ob
vious as the sun in the heavens!"
The source of the remark is not
otherwise given, yet it reads like
an early Shavian comment. Profes
sor Milton Hindus of Brandeis Uni
versity wanted to use the quotation
in a collection of material about
Whitman, which he is editing, but
he could not verify it. Neither Mr
Untermeyer nor the publishers
knew the source, and all the obvi
ous search areas revealed nothing.
I have gone through more than a
hundred Whitman and Shaw books
and countless periodicals. Could
Shaw have made the comment in a
newspaper interview? Even Pro
fessor Stanley Weintraub of Penn
sylvania State University, editor of
The Shaw Review, didn t know
where it came from. Does anyone?
William White, Detroit, Mich.
Bishops of Chalons (VIII: 153)
The See of Chalons was founded
according to Abbe Duchesne in the
4th century. St Lumier, who was
noted as having miraculous power
over animals, was Bishop of Cha
lons in 580. For further informa
tion the inquirer is referred to E.
de Barthelemy, Diocese Ancien de
Chdlons-sur-Marne, 2 vols., Paris,
1861. Jerry Drost, Lockwood
Memorial Library, SUNY at Buf
falo
Curtain Lecture (IX:41) S.
Johnson defines the term as a re
proof given by a wife to her hus
band in bed. The term is derived
from a series of papers by Douglas
Jerrold, which was published in
Punch (1846). The papers present
Job Caudle as a constant sufferer
of his wife who nagged him after
they were in bed and the curtains
drawn. The papers were titled
Mrs. Caudle s Curtain-Lectures.
The following include usage of the
term: "What endless brawls by
wives are bred!/ The curtain-lec
ture makes a mournful bed"
(Dry den); "She ought to exert
the authority of the curtain-lecture,
and, if she finds him of a rebellious
disposition, to tame him" ( Ad-
dison).
OED suggests the following:
1633. T. Adams Exp. 2 Peter ii 5.
Often have you heard how much
a superstitious wife, by her curtain
lectures, hath wrought upon her
Christian husband; 1660. Hicker-
ingill Jamaica ( 1661 ) 85, I am not
awed . . , with the dreadfull cat-
echisme of a Curtain Lecture; 1710.
Addison Toiler No. 243. He was
April 1971
123
then lying under the Discipline of
a Curtain-Lecture; 1851. Thack
eray Eng. Hum. iii (1876) 233.
As confidential as a curtain-lecture;
1859. G. Meredith R. Feverel iii.
No curtain-lecturing with a pipe.
Q. K. Philander Doesticks (Mor
timer Neal Thomson), a neologist,
wrote in Plu-Ri-Bush-Tah: a Song
That s By No Author - A Deed
without a Name, the following:
Calling him my love/ before folks,/
When she got him in the bedroom,/
And the door was closed behind
them,/ She was some* on curtain-
lectures. (- Plu., p. 131). Jer
ome Drost, Buffalo, N.Y.
Marchetti s case of a pigs tale
(IX: 41) The case was original
ly described in Pietro de Marchet-
ti, Observationum medico-chirurgi-
carum rariorum sylloge, Patavii:
Typis Matthaei de Cadornis, 1664,
on pp. 161-2. The work was re
printed in Latin several times, in
cluding one edition as late as
1772, edited by Domenico Cotugno.
A German translation was pub
lished in 1673, and a French trans
lation was included in volume 3
of Th^ophile Bonet, ed, Corps de
medecine et de chirurgie, Geneve:
Jean Anthoine Choiiet, 1679. An
other translation, Recueil dobser-
vations rares de medecine et de
chirurgie. Traduit en frangais, et
precede dune Etude historique
sur la vie et les outrages de Tau-
teur, par Auguste Warmont, Paris:
A. Coccoz, 1858, is apparently the
one cited by Pennington. The pas
sage in question may be found on
pp. 169-171. John B. Blake,
Chief, History of Medicine Divi
sion, National Library of Medicine,
Bethesda, Md
Beckford Latin quotation (IX: 74)
The lines are from one of the
elegies of Propertius: I. xx. 37-38.
Anthony W. Shipps, Indiana
University Libraries
EDITORS
NOTES & READING
It will be a shame if an essay of
classic value, "Acton and the
C.M.H." (TLS, 19 Feb 71, pp. 195-
98) must remain anonymous ac
cording to the TLS s policy. This
is one of the finest pieces of his
toriography that I have seen in
many years: a simple explanation
of some of the greatest problems
of historical writing or, rather, of
the writing of history. Simple ob
servations, but of such a kind that
most historians seem unaware of
their nature. The piece should not
be missed by anyone who reads or
writes history.
Anyone who might wish to con
sider attending the Preconference
meetings of the Rare Book Section,
Association of College & Research
Libraries (American Library Asso
ciation) in Austin, Texas, 16-18
June, should request the descrip
tive brochure, which includes de
tails concerning accommodations.
Write William A. Conway, Clark
Memorial Library, 2520 Cimarron
Street, Los Angeles, Calif. 90018.
Registration is limited to 200 per
sons. The regular ALA Annual
Conference will be at Dallas the
following \veek.
124
AN&Q
The first volume of Proof: the
Yearbook of American Bibliograph
ical and Textual Studies will be
published by the University of
South Carolina Press in October
1971. Edited by Joseph Katz, Proof
focuses on American literature, art,
and culture, through studies in the
transmission and recovery of the
texts by which they are defined.
Contributors are encouraged both
to establish the facts and to use
them historically and critically.
Proof I is a clothbound book of
over three hundred pages, with ar
ticles on Charles Brockden Brown,
Herman Melville, Nathaniel Haw
thorne, Park Benjamin, Stephen
and Cora Crane, Theodore Dreiser,
William Faulkner, South Carolina
copyright records 1794-1820, and
the theory and practice of bibliog
raphy and textual criticism. Con
tinuing features will be the serial
Register of Current Publications,
a descriptive record of significant
in-print books, and probing review
articles on noteworthy projects.
Illustrations in this volume include
the first reproductions of Melville s
own copy of the contract for
Moby-Dick and the newly-discov
ered dummy of Dreiser s The
"Genius".
Manuscripts should be sent to
Joseph Katz, Proof, Department of
English, University of South Caro
lina, Columbia, S.C. 29208. Sub
scriptions and orders for single
copies go directly to the University
of South Carolina Press. Single
copies are $14.95; continuation or
ders (subscriptions) are $12.00.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky and will be con
tinued in subsequent issues.
The June issue of AN&Q
will contain the
Annual Cumulative Index
BOOK REVIEWS
DAHL, Robert A. After the Revolution?
Authority in a Good Society. 171pp.
New Haven: Yale University Press, 1970.
$8.50; paper, $2.45
After the success of The Greening of
America, Yale Professor Charles Reich s
book about today s youth culture revo
lution, another book by a Yale professor
with a jacket design depicting a rock
festival and a title After the Revolu
tion? is bound at least to comparison.
But in this case, the comparison can be
dismissed quickly since the books deal
with different subjects different revo
lutions. Unlike The Greening of Amer-
ica, After the Revolution? is speaking
about political concepts. The author,
Robert A. Dahl, does not discuss to
day s youth revolution as an historically
unique phenomenon, but rather he puts
talk of political revolution into historical
perspective.
Ironically, the fact that After the
Revolution? is not a youth" book is
one reason why it will be of more than
usual value to young people. While
many other important books about revo
lution have been published, too many
of them simply repeat and reinforce
what young people take for granted.
This book, however, relates political
ideas to the past. And today, for some
young people, the past is a new thing.
The book is in three parts. In the
first part, Dahl explains three criteria
he uses in deciding whether or not he
will accept any particular decision-mak
ing process that affects him. The second
section of the book is a discussion of the
varied forms of democracy. And in the
April 1971
125
third section, Dahl applies the principles
he has explained in the first two thirds
of the book to three problems a de
mocracy must face.
Dahl calls his three criteria for au
thority the Criterion of Personal Choice,
the Criterion of Competence, and the
Criterion of Economy. His details on
each of these make his points clear. The
Criterion of Personal Choice simply
means that Dahl wants a decision-mak
ing process that will insure that all the
decisions affecting him are made the
way he would make them. Here, of
course, the need for democracy becomes
obvious quickly since everyone wants
decisions to turn out in his favor. A
system in which the Criterion of Per
sonal Choice holds for everyone is need
ed. But as soon as Dahl goes on to the
Criterion of Competence, he shows that
democracy is not always the answer. He
uses the example of a hospital, for one,
in which we must take into account su
perior competence of doctors in medical
matters and give them most of the au
thority in that association. The Criterion
of Economy shows further that democ
racy is not the perfect answer. Naturally,
if everyone took part in the making of
every decision that affects them, they d
all lose a lot of sleep.
Even this early in the book, I found
myself applying much of what Dahl was
saying to my own experience with as
sociations. In the case of the student, this
can be especially interesting. How does
the Criterion of Competence affect the
student? Are students incompetent? In
his introduction to the book, Dahl states
that the university is an institution in
which "democratization has not gone
nearly as far as in the state *. Just how
that fact is in accordance with DahTs
principles is something that the student
will naturally ask himself.
Another question that concerns stu
dents is brought up at the beginning of
the second section. That is: Who are
"the people" in a democracy? Dahl be
lieves that the question cannot be an
swered in a theoretical way, that instead
pragmatic solutions must be found. He
offers a theoretical answer anyway, and
that is the Principle of Affected Interests.
If you are affected by a decision, you
deserve a say in the making of it. Sounds
good for the students, but then the
competence question arises again.
It was at this point that I began to
wish that Dahl would go into more de
tail about the democratic structure of
the university. Especially since After
the Revolution? will undoubtedly be
used by students as a political textbook,
an even greater degree of relevance
would have been added if Dahl had re
vealed his own views as to whether or
not students come under the heading of
"the people". And when Dahl discusses
the variety of democratic forms com
mittee, primary, referendum, and rep
resentative democracy he would have
done well to relate these forms to the
university. Perhaps even a separate sec
tion toward the end of the book on the
subject of the university would have
enhanced many of DahTs points.
While I would have liked to have
seen more discussion of the university
structure, After the Revolution? still
supplies as much relevance as a student
will demand. The last section, called
"From Principles to Problems *, tackles
three of the most undeniably pressing
problems that any democracy must face
today. First is the problem of inequality
of resources among the people that re
sults in unequal power. The second
problem has to do with what Dahl calls
"the corporate leviathan" that is, the
monster corporations that are swallow
ing huge amounts of power out of the
reach of individual citizens. And the
kst problem that is dealt with he caBs
"the democratic leviathan", and it en
tails the remoteness of the huge demo
cratic system from the individual.
Dahl speaks about each problem
somewhat briefly, but he avoids falling
into a rut of oversimplification.
In dealing with the problem of in
equality of resources, for example, Dahl
relates to history. He uses the example
of the democratization of Europe during
the 19th century to point out that groups
of people with low resources can in
crease their political strength to "push
through the process of democratization".
The politically weak, he says, "have to
learn how to pyramid their political re
sources". He then explains, as example,
how this was done in Europe by what
today might be called "poor people
gettin together". The examples will be
well taken, but what is perhaps most
important about the way Dahl deals
with these problems is that he is posing
126
AN&Q
a method of moving with principles from
problems to solutions.
After the Revolution? is brief, tight,
and to the point. The author himself
suggests that the more skeptical of his
readers will want to read further, but
the book is not too short. With its un
usual clarity, it is a useful text for any
one concerned with politics today.
John Birmingham, New York, N.Y.
John Birmingham is the nineteen-year-old
author of "Our Time Is Now: Notes
From the High School Underground"
(N.Y.; Praeger; and Bantam, 1970). He
is now working on his first novel, which
he will complete this summer. L.A.
DENHARDT, Robert Moorman. The
King Ranch Quarter Horses and Some
thing of the Ranch and the Men that
Bred Them. Illus. 256pp. Norman: Uni
versity of Oklahoma Press, [c!970]. $9.95
Steeldust, Billy horse, Copperbottom,
bulldog, short horse, American Colonial
Quarter Running horse: these are some
of the terms applied to one of America s
oldest **breeds" of horses. Listen to their
names: Little Joe, Peter McCue, Ada
Jones, Miss Princess, Nobody s Friend,
Zantanon, Hired Hand, Shue Fly, Ca-
nales Belle, Delia Moore, Concho Colo
nel, Poco Bueno. What is a quarter
horse? Henry W. Herbert described the
short-running horses he saw in the 1830s
to 1850s: "I was particularly struck by
the fact that the American horse, as
compared with the English, was inferior
in height of the forehand and in the
loftiness and thinness of the withers, and
in the setting on, and carriage of the
neck and crest, while he was superior
in the general development of his hind
quarters, in the let down of his hams,
and in his height behind, and further
remarkable for his formation, approach
ing to what is often seen in the Irish
horse, and known as the goose rump.
I still think that these are the prevailing
and characteristic differences of the
horses of the two countries. I fancy that
J can perceive the American racer stand
ing very much higher behind and lower
before, than his English congener". 1
The quarter horse, developed from
cross-breeding Spanish stock imported
to America via Florida (Chickasaw
horses) and what Nelson Nye calls "line-
bred orientals" from England, was origi
nally a sport animal, raced at short
distances. 2 The following passage from
J. F. D. Smyth s Tour in the United
States of America ( 1784 ) is often quoted
in support of this argument: "In the
southern part of the colony and in North
Carolina they are much attached to
quarter-racing, which is always a match
between two horses, to run one quarter
of a mile straight out; being merely an
excursion of speed; and they have a
breed that performs it with astonishing
velocity, beating every other at that
distance with great ease; but they have
no bottom. However, I am confident
that there is not a horse in England,
nor perhaps the whole world, that can
excell them in rapid speed". 3
The tradition of match races has re
mained an important element in racing
quarter horses, in contrast with racing
thoroughbreds in North America; famous
matches of the latter are occasional,
whereas quarter horses have been stead
ily "matched" since the 18th century.
Starting is still occasionally by *1ap and
tap" (as the horses approach the starting
line, if both are moving, and closely
lapped, the starter "taps * them off) or
by "ask and answer" (if one jockey is
ready, he says "Ready?" and if the other
is ready, he answers "Ho", and they re
off). The horse must be quiet, yet able
to get away as soon as possible at top
speed; in a short race, the start becomes
a determining factor of utmost impor
tance.
This ability to move very fast com
bined with a quiet temperament is the
quintessence of the good cow horse; as
the thoroughbred was developed in the
eastern United States and came to domi
nate racing, and as the west opened up
to settlers, the quarter horse type was
found to be useful on the plains. Some
ranchers deliberately bred for this type,
working with what they had, and in the
course of the 19th century developed a
rugged, hardy, fast, quiet work animal.
Quarter horses still have the heavy mus
culature that Herbert noted, being com
pact powerhouses.
April 1971
127
Robert Moorman Denhardt, long as
sociated with the American Quarter
Horse Association, has been researching
and writing about quarter horses since
the 1930s. He presents in this book the
fruit of years of investigation of the
origins of the quarter horse and the
people in the southwest who have bred
and used them. Among his previous pub
lications are The Hcrse of the Americas
(1947) and Quarter Horses: A Story of
Two Centuries (1967). In all phases
of his work he has depended heavily on
oral history techniques, and uses his find
ings effectively and judiciously. With
a very few others, he has created the
literature of the quarter horse.
About one third of The King Ranch
Quarter Horses is devoted to a brief
history of the founding of the King
Ranch, and to biographical sketches of
the key King Ranch personnel involved
in their program of quarter horse breed
ing and development. There are most
interesting glimpses of the social life of
South Texas. Part of that life was racing
with one s neighbors, and possibly that
motivation led many breeders to return
to the line-bred orientals" now termed
thoroughbreds, for the introduction of
more speed. In the development of the
thoroughbred, some families produced
more sprinters than stayers, and the two
types were not only distinguished by
performance at different distances, but
by physical types. The sprinters tend
to be more muscular, closer knit; stayers
have smoother musculature and longer,
often taller bodies. The quarter horse
breeders often used the sprinting, or
short horse families in their breeding
programs. The King Ranch, however,
while interested in the speed charac
teristic, embarked in the early 1920s on
a remarkable program, under the lead
ership of Robert J. Kleberg, jr, for the
development of a quarter horse that was
primarily a working cow horse. Like the
development of the Santa Gertrudis cat
tle by the Ranch, it followed a classic
breeding pattern in a rigidly systematic
way, with great success. The details of
this program are described in full, with
numerous appendices listing stallions
and mares in their many and close re
lationships.
In early 18th-century England, fann
ers began to breed sheep, cattle, and
horses along the lines used today, and
to form distinct breeds. Roberts defines
a breed as a group of animals having
a number of distinctive qualities and
characteristics in common, and the power
to transmit those distinctive traits with
a good degree of certainty, a distinctive
name, and a pedigree recorded two or
three generations/ A studbook is estab
lished after breeders have more or less
fixed the type, and the rules of regis
tration become stricter as the years pass,
culminating with admission given only
to animals whose sire and darn are reg
istered. The quarter horse studbook was
established in 1941, and registry partial
ly restricted in 1962.
Wright points out that the develop
ment of herds with such distinctive qual
ities follows the inbreeding of the best
to the best individuals, and the improve
ment later Ly selection within the "pure"
breed. 5 Lush tells us that inbreeding
is the severest test of the hereditary
worth of an individual that can be made,
and the King Ranch searched long years,
according to Denhardt, and to J. Wid-
mer 7 to find such an individual for its
foundation sire, Old Sorrel. They then
used what might be called intensive
linebreeding to concentrate and pre
serve his "blood" and also rigorous se
lection. No animal was put into the
carefully regulated manadas (breeding-
mare bands) without meeting range re
quirements, i.e., working cattle. No in
ferior or unsound animal, regardless of
pedigree, went into the breeding pro
gram. No stallions except the sons or
grandsons of Old Sorrel were used, and
"fresh" blood entered the program
through the distaff side.
Denhardt once wrote "It is a fact
that a few good Quarter Horses have
carried thoroughbred blood". 8 It is not
clear whether his tongue was in his
cheek, but it is obvious in The King
Ranch Quarter Horses that they at least
have had many and strong infusions of
thoroughbred blood through the years,
but not such that the prized short horse
characteristics were lost.
This book is well designed, and the
plates well selected. The bibliography
does not perhaps include all that a bib
liographer would wish (volumes and
pagination of articles, for instance), but
it is usable. It seems curious that the
early volumes of the studbook of the
American Quarter Horse Association are
128
AN&Q
not listed. On page 165, a reference to
a "well-known Peggy mare" surely must
be "Peppy * mare. With these few res
ervations, the book is a good addition
to the literature of the southwest, and
to hippobibliography. EUen B. Welk,
Associate Osier Librarian, McGill Uni
versity, Montreal
1. Henry W. Herbert, Frank Foresters
Horse and Horsemanship of the
United States, 2 vols. (N.Y.: Stringer,
1857), I, p. 116.
2. J. F. D. Smyth, Tour in the United
States of America, 2 vols. (London:
G. Robinson, 1784), I, pp. 22-24.
3. N. Nye, The Complete Book of the
Quarter Horse (N.Y.: A. S. Barnes
1964), p. 22.
4. I. P. Roberts, The Horse, 2nd ed.
(N.Y.: Macmillan, 1906), p. 49.
5. S. Wright, "Mendelian analysis of
the pure breeds of livestock", /. He
redity 14:339-348, 1923.
6. J. L. Lush, Animal Breeding Plans
(Ames: Iowa State College Press
1945), p. 284.
7. J. Widmer, The American Quarter
Horse (N.Y.: Scribner s Sons, 1959)
p. 46.
8. R. M. Denhardt, Quarter Horses: a
Story of Two Centuries (Norman:
Oklahoma University Press, 1967)
p. 79.
PUBLICATIONS RECEIVED
(Continued from p, 114)
Printing Trades Blue Book, Northeastern
Edition, 1970-71: Connecticut, Maine,
Massachusetts, New Hampshire, New
York State, Rhode Island, and Ver
mont. Illus. 545pp. N.Y.: A. F. Lewis
& Co. (853 Broadway, Zip 10003),
1970. $25,
Proetz, Victor. The Astonishment of
Words: an Experiment in the Com
parison of Languages. 187pp. Austin:
University of Texas Press, 1971. $6.75
(St Clair, Arthur). The St. Clair Papers:
the Life and Public Services of Arthur
St. Clair, Soldier of the Revolutionary
War, President of the Continental
Congress, and Governor of the "North-
Western Territory . . . Arranged and
Annotated by William Henry Smith
(1882). 2 vols. N.Y.: Da Capo Press,
1971. $47.50
Samuels, Frederick. The Japanese and
the Haoles of Honolulu: Durable
Group Interaction. 206pp. New Ha
ven: College & University Press, 1970.
$6; paper, $2.95
Walton, Alan Hull. The Open Grave
[Accounts of ghosts, demons, Black
Mass, witchcraft, etc.]. 233pp. N.Y.:
Taplinger Publishing Co., 1971. $5.95
Zaller, Robert. The Parliament of 1621:
a Study in Constitutional Conflict.
242pp. Berkeley: University of Cali
fornia Press, 1971. $9.
AMERICAN NOTES & QUERIES
Volume K Number 9 May 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
JUI 2 <Q7i
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
American Historical Catalog Collection:
[Trade Catalogs of] Dover Stamping
Co., 1869 Catalog of Tinware,
225pp. $4.50; J. W. Fiske, 1893 -
Catalog of Weathervanes, 150pp. $4;
L. H. Mace & Co., 1883 - Catalog
of Woodenware, 76pp. $3.25; Roch
ester Optical Co., 1898 - The Premo
Camera, 112pp. $4; Sears, Roebuck
& Co., 1908 - Catalog of Solid Com
fort Vehicles, 80pp. $3.25; Whitall,
Tatum & Co., 1880 - Catalog of Glass
ware, 80pp. $3.25. All profusely illus.
facs. Princeton: The Pyne Press, 1971.
Paper only. Prices as listed.
Breton, Andre: Magus of Surrealism, by
Anna Balakian. Illus. 289pp. N.Y.:
Oxford University Press, 1971. $10.
Brody, J. J. Indian Painters & White
Patrons. Illus., incl. color. 238pp. Al
buquerque: University of New Mexico
Press, 1971. $15.
Brown, William Hill. The Power of
Sympathy, and The Coquette, by Mrs
Hannah Foster. Ed. by William S.
Osborne. (Masterworks of Literature
Series, M-29). 2 vols. in 1; 272pp.
New Haven: College & University
Press, 1970. $6.50; Paper, $2.95
Chalmers, George. An Introduction to
the History of the Revolt of the Amer
ican Colonies. (1845). 2 vols. N.Y.:
Da Capo Press, 1971. $35.
Comstock, Anthony: His Career of Cruel
ty and Crime > by D. R. M. Bennett.
(1878). 110pp. N.Y.: Da Capo Press,
1971. $7.95
Daedalw, Spring 1971, Vol. 100, No. 2:
The Historian and the World of the
20th Century. Brookline, Mass: Amer
ican Academy of Arts and Sciences,
1971. Paper, $2.50
Dearborn, Henry, Revolutionary War
Journals of, 1775-1783. Ed. by Lloyd
A. Brown & Howard H. Peckham;
With a Biographical Essay by Herman
Dunlap Smith. (1939). 264pp. N.Y.:
Da Capo Press, 1971. $12.50
Florilegium Historiale: Essays Presented
to Wallace K. Ferguson. J. G. Rowe
and W. H. Stockdale, eds. Port., Illus.
401pp. Toronto: University of Toronto
Press, 1971. $16.50
Francis, Robert. The Trouble With
Francis: an Autobiography. 246pp.
Amherst: University of Massachusetts
Press, 1971. $7.50
Franklin, Benjamin, The Life and Times
f> by James Parton. (1864). 2 vols.
N.Y.: Da Capo Press, 1971. $39.50
Grierson, Francis. The Valley of Shad
ows. Ed. by Harold P. Simonson.
(Masterworks of Literature Series,
M-28). 223pp. New Haven: College
& University Press, 1970. $6; Paper,
$2.45
Highet, Gilbert. Explorations. 383pp.
N.Y.: Oxford University Press, 1971.
$8.50
History of American Presidential Elec
tions, 1789-1968. Ed. by Arthur M.
Schlesinger, jr and Fred L. Israel. 4
vols. (3959pp.). N.Y.: McGraw-Hill
Book Co. (in association with Chelsea
House Publishers), 1971. $135.
Hurwood, Bernhardt J. The Hag of the
Dribble, and Other True Ghosts, From
the Files of Elliott O Donnell. 166pp.
N.Y.: Taplinger Publishing Co., 1971.
$4.95
Petter, Henri. The Early American Nov
el. 500pp. Columbus: Ohio State Uni
versity Press, 1971. $12.50
(Continued on p. 144)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 065is!
Lee Ash, Editor & Publisher. Subscription, including annual index, $6.50
a year; $12,00 for two years. Single copies and back issues 75# each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies, and Abstracts of Folklore
Studies, and Review of [Book] Reviews; indexed in Rook Review Index; in
cluded in The Year s Work in English Studies, and Annual Bibliography
of English Language and Literature, MHRA. Appropriate items included
in the Annual MLA International Bibliography; Victorian Studies "Vic
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
PAPER IN THE 17TH CENTURY
IN 1923 R. w. CHAPMAN, in a paper
read to the Bibliographical Soci
ety, 1 referred briefly to a 1674 re
port to Bishop Fell dealing with
lots of paper being offered for
sale. 2 In 1927 he presented a fuller
analysis of the report 3 in which
he noted that, although "the water
marks have ceased to correspond
with the names of the sorts . . . .
the names of the sorts indicate
sizes . . / . 4 He adds that "The ap
propriation of the terms to dimen
sions was no doubt a gradual proc
ess; but it seems to have been
complete in 1674, and I should be
surprised if it did not begin much
earlier". 5
Some few years later, Edward
Heawood commented 6 that the list
Chapman had reprinted contained
designations of watermarks and
sorts in too confused a relationship
to enable any firm conclusions to
be drawn. 7 However Philip Gaskell,
in an article dealing with 18th-cen
tury British paper, 8 stated that the
system under which the watermark
or sort designation represented a
given size was well developed by
1674, and in an accompanying ta
ble described the relationship be
tween the designations and sizes
in the 1674 list. 9
In view of such disagreement and
of the apparently limited nature
of available evidence, it might be
useful to put on record some ad
ditional information about paper
designations and price in the late
17th century.
The evidence is found in a ms
account book in the collections of
the Connecticut Historical Society.
It was kept by Henry Wolcott
(1611-1680) of Windsor, Connect
icut, who utilized a somewhat
modified form of the shorthand
system developed by John Willis. 10
In 1959 and 1960 this author
prepared a translation of the Ac
count Book of the Society, the
transcript of which is available for
examination in the Society s library.
Clearly any transcription of ma
terial in a special shorthand sys
tem must be originally phonetic,
and the final transcription in more
recognizable orthography is an ap
proximation only and sometimes
highly conjectural. With this cau
tionary explanation in mind we
may examine the entries in the
account book:
In 1672 Henry Wolcott was in
London to buy goods to be car
ried back to New England and
sold. On 24 February 1671/2 he
notes that he bought of Mr Budd
one ream of Caen pott [kan pot]
pages of the account book devoted
Morlaix [mor lis] for 0/3/6 . . .
four quire of fine paper [sic] for
0/1/4.
It is interesting to compare the
prices for the quires and reams
with those Chapman provided for
1674. Of more significance, per
haps, is Wolcott s terminology. The
132
AN&Q
basic question is whether his inten
tion was to identify the paper by
size and/or quality in the desig
nations he used. Although the final
answer must be left to those more
knowledgeable in this area, it is
important to note that the twelve
pages of the Account Book devoted
to the transactions of this trip con
tain carefully detailed lists with
appropriate designations and prices
of the varieties of goods purchased,
indicating that Wolcott was at
tempting to compile a clear and
precise record of all his transac
tions.
Comparing the 1674 list with
these 1672 entries, we find in the
later list six entries for Caen pott
paper in various dimensions and at
various prices: 12& x 8 - 0/5/0;
12 x 8 - 0/4/6; 12x7% - no price;
12M x 8 - 0/4/3; 12V 4 x 8 - 0/4/6;
12 x 8 - 0/4/3. This compares with
the 1672 Caen pott of unspecified
size priced at 0/4/6 for the ream.
Although the 1674 list does not
have an entry for Fine Morlaix, it
does have Morlaix paper 11% x 7&
- 0/2/8; 12 x 8 - 0/3/6; 12X x m
- 0/4/0; Ordinary Morlaix 1322 x 9
- 0/3/8; Larg Morlaix 1331 x 9 -
0/3/5; Crowne Morlaix 131 x 9 -
0/4/3; and Fine Morlaix Crowne
13J x 9 - 0/5/0. Some of these are
comparable to the 1672 Fine Mor
laix at 0/3/6 for the ream. There
is no designation in the 1674 list
similar to the "fine paper" of the
1672 entry.
It would seem that if in the
1674 list the designations Morlaix,
Ordinary Morlaix, and Larg Mor
laix are meaningful distinctions,
then the Fine Morlaix of 1672 is
also. The same is true for the Caen
pott.
Whatever ice may make of the
three paper entries, as a merchant
no doubt keenly interested in
value received, Wolcott was mak
ing note of those designations that
seemed significant to him. At any
rate the designations and prices are
now a matter of record, hopefully
a useful supplement to our knowl
edge of the paper trade in the 17th
century.
Douglas H. Shepard
State University of New York
College at Fredonia
1. "Notes on Eighteenth-Century Book-
building", The Library, Fourth Se
ries, IV (1924), 164-180.
2. Pp. 175-176.
3. "An Inventory of Paper, 1674", The
Library, Fourth Series, VII (1927),
402-408.
4. P. 403.
5. Ibid.
6. "Papers Used in England after 1600",
The Library, Fourth Series, XI
(1931), 263-299.
7. Pp. 264-265.
8. "Notes on Eighteenth-Century Brit
ish Paper", The Library, Fifth Series,
XII (1957), 34-42.
9. P. 36.
10. E. H. Butler, The Story of British
Shorthand (London, 1951), pp. 19-
25.
The June issue of AN&Q
will contain the
Annual Cumulative Index
Remember! Send your
Queries & Replies
May 1971
133
SHAKESPEAREAN PUN
IN Troilus and Cressida, when the
heroine arrives at the Grecian
camp, her fickleness is underlined
by that devastating pun, "The
Troyans trumpet" (IV, v, 65; Sig
net edn. All references are to the
Signet edns.) Shakespeare used
this same pun again, I contend, in
what appears at first to be a sur
prising context it occurs in Oth
ello, II, i, 176, and is spoken by
lago: The Moor. I know his
trumpet".
Is Shakespeare deliberately ex
ploiting the junctural ambiguity
to suggest a second meaning be
hind a perfectly straightforward
statement from lago? There seems
to be enough evidence here to
suggest that Shakespeare is doing
just that. lago s evil has been amply
demonstrated in Act I. The pun
occurs at the end of that sequence
of events in II, i, in which Des-
demona diverts herself from open
ly fretting over Othello s delayed
arrival in Cyprus by half listening
to lago s tirade against women as
mere creatures of lust. When she
asks lago "how wouldst thou praise
me?" (123), he elaborates upon
his cynically bawdy discourse on
the nature of women. At its con
clusion, Michael Cassio presumably
leads Desdemona downstage to
await Othello s entrance.
lago is thus left alone to reveal
to the audience the sexual nature
of the "web" with which he will
"ensnare as great a fly as Cassio";
throughout this scene his attitude
has been consistent, and his pun
comes immediately after this
lengthy aside to the audience. The
evidence therefore seems to indi
cate that Shakespeare has quite
intentionally rounded off this part
of the scene with a more subtle
repetition of a pun he had already
used elsewhere. Its implications
are patently untrue of Desdemona,
but we are confirmed in our opin
ion of lago by a closer revelation
of his nature.
H. F. Garlick
University of Queensland
St. Lucia, Australia
CARLYLE S ANSWER TO THE
"LIBUSSA-RIDDLE"
WHEN CAKLYLE FIRST BEGAN serious
work in German belles-lettres in
the 1820s, his interest in math
ematics, which was fostered dur
ing his student days at the Uni
versity of Edinburgh, was still very
much alive. In 1824, for example,
he translated Legendre s Geom
etry, and included an introductory
essay on "Proportion". 1 His pro
pensity for logic and mathematical
equation is demonstrated in the
following problem, which he com
pleted in answer to the riddle pre
sented in his translation of Mu-
saes s "Libussa" in the German Ro
mance (1827).
In the story the Princess Libussa
proposes a riddle for her three
suitors to answer, which will help
to facilitate her decision on whom
to choose: "I intend, for you three,
a present of this basket of plums,
which I plucked in my garden.
One of you shall have the half,
and one over; the next shall have
the half of what remains, and one
over; the third shall again have
the half, and three over. Now, if
134
AN&Q
so be that the basket is then emp
tied, tell me, How many plums are
in it now?" 2
Carlyle s answer, together with
the page reference, is completed on
the verso of the flyleaf of a pre
sentation copy of the German Ro
mance to John Badams, a Birming
ham chemical manufacturer: 3
3X
p. 168
_3_ , JL
48
= X
X = 30
Rodger L. Tarr
Illinois State University
Normal, Illinois
1. For a listing o Carlyle s scientific
and mathematical articles, see G. B.
Tennyson, Sartor Called Resartus
(Princeton, 1965), pp. 332-334.
2. German Romance (Edinburgh, 1827),
p. 168.
3. The book is in my possession, and
the inscription on the flyleaf reads:
To John Badams, Esq r / With the
kindest regards / of his Sincere
Friend, / Thomas Carlyle. Badams,
who studied medicine in Edinburgh,
treated Carlyle on two separate oc
casions for dyspepsia. See Reminis
cences, ed. C. E. Norton (London,
1887), I, 93; II, 134, 144.
WHITMAN ICONOGRAPHY;
OR, MIXED PORTRAITURE
THIS BOOK is newly catalogued for
OWU s Whitman collection and
is listed in the checklist, p. 192,
in Gay Allen s Whitman As Man,
Poet and Legend. Whitman, Walt
Leaves of grass and other poems.
Translated by Saiki Tomita (Tokyo:
Ashai Shimbun-sha, 1950). Its only
illustration, a frontispiece picturing
a clean-shaven man, is identified
as Chester Beach s bust of Whit
man. As I was cataloging this book,
I thought it unlike any picture of
Whitman I had ever seen. After
searching, I found pictured in Ar
chitecture 63:85, August 1931, sev
eral busts. The first is Beach s
Whitman, and next to it is Hermon
A. MacNeiTs James Monroe, used
as the frontispiece in our edition.
The result for our Whitman Col
lection is the addition of an inter
esting edition of Leaves of Grass
whose only accompanying illustra
tion is a bust of James Monroe.
Virginia E. Lowering
Catalog Librarian,
Ohio Wesleyan University,
Delaware, Ohio
QUERIES
Henry Blake Fullers "The Cheva
lier of Pensieri-Vanf (1890) I
would be grateful for any informa
tion about the location of Fullers
signed typescript, "My Early
Books", 4 to 8 pages. It is listed as
no. 117 in The Chicago Book &
Art Auctions catalogue for 22 No
vember 1932; and portions are
quoted in Constance M. Griffin s
Henry Blake Fuller: a Critical Bi
ography (Philadelphia, 1939). I
have, however, been unable to find
evidence of more recent access. The
manuscript is not in the Newbeny
Fuller Collection. Artem Lo-
zynsky, Columbia, S.C.
Book reader s quotation What
is the source of "They did not seem
like books to him/ But Heroes,
May 1971
Martyrs, Saints themselves/ The
things they told of, not mere
books/ Ranged grimly on the oaken
shelves". Elizabeth Sanford,
Baltimore, Md
Monogram to identify Can any
one suggest who might have used
(still use?) this monogram in mark
ing his books? It is a 20th-century
135
is the law/ And the law shall run/
Til the stars in their courses are
still/ That who so eateth anothers
bread/ Shall do that others will*.
It has been ascribed to Kipling but
I cannot find its source. The Li
brary of Congress suggested that
you might be able to help me.
Grady E. Grant, Chattanooga,
Tenn.
mark without doubt. Would it have
been used by Bruce Rogers?
Michael O Reilly, Miami, Florida
James Franklin Gilman Gil-
man was an itinerant painter who
spent twenty years in Vermont,
1872-1892. Most of his paintings
have been found in the Montpelier-
Barre area but we suspect that he
was also in Barton, Middlesex, and
Brattleboro at some time. Any oth
er information about him will be
welcome for a book about him.
Adele G. Dawson, Marshfield, Vt
Gustav Brenner German nat
uralist, b. 1796, d. 1854? Need bio
graphic information. C. R. An
derson, St Mary s City, Md
Hans Hesse, Hessen, or Hassen
Helden tenor at Milan Opera
during 1930s. Need biographic in
formation. Charles R. Ander
son, St Mary s City, Md
"This is the law ..." For years
I have tried to find the source of
this (approximate) quote: "This
REPLIES
"Sore as a pup" (IX:41) My
comment on this is further to my
reply concerning "You can believe
itr (IX:9). Here again, a well
known colloquial English prosodic
formula (or its latter part, in this
case) carries the bulk of the mes
sage, at the same time reducing
(or even eliminating) the sense(s)
of the constituent words: [given
predicate adjective] + [as (a)] +
[N = nominal], the prime requi
sites of N being that it be colorful
("drunk as a lord", "mad as a wet
hen"), of dropping intonation, and
if handy, alliterative ("tight as a
tick", "pleased as Punch"), while
sernantically it serves to intensify
the given adjective. And since it
is the pattern that counts, it is not
essential that the figure evoked
be apt (if, indeed, any is evoked in
the advanced cliche stage). This
one, as Dr Taylor notes, is surely
not apt: pups, as animals, are im
mature, tail-waggingly trusting, and
metaphorically as know-it-all young
humans, insolent but scarcely
prone to anger. Such similes share,
with slang in general, passing f ash-
ionability ("tight as a tick"), only
a minority becoming permanent
fixtures in the language ("drunk
136
AN&Q
as a lord"), and with idioms at
large, subordination of the mean
ing of their separate components
(here, the components of N). They
are also one with the alliterations
and syntactic jugglings of Old
Norse, Latin, and Arabic, the di
minutives of Spanish and Russian,
and the profane embellishments of
all languages, in saving us from
the Dick-and-Jane pragmatism of
the Spiessburger (who would have,
perhaps, <f very angry"). B.
Hunter Smeaton, The University
of Calgary, Canada
Goffering (IX: 56) I remem
bered my mother speaking of her
mother patiently goffering her cur
tain frills with a heated iron, not
unlike a triple-repeat of the 1920 s
hair-curling tongs. However, I
could see nothing profound in this
answer, and began further search.
The Encyclopaedia Britannica,
Eleventh Edition, Volume 12, p.
190 states: "Goffer To give a
fluted or crimped appearance to
anything particularly to linen or
lace frills or trimming by means
of heated irons of a special shape,
called goffering irons or tongs. . . .
The term is also used of the wavey
(sic) or crimped edging in certain
forms of porcelain, and also of the
stamped or embossed decorations
on the edges of the binding of
books . . .". Further search and I
found some text and illustrations
of tools in John J. Pleger s "Gilt-
Edging, Marbling, and Hand Tool
ing", Pt 4 of his Bookbinding and
Its Auxiliary Branches (Chicago:
Inland Printer Co., 1914).
Winifred Richardson, University
of Northern Colorado Library,
Greeley, Col
White as mourning dress (IX: 56)
Although black was generally
used throughout the world for
mourning there are many excep
tions. Black, of course, was sym
bolical of night. Black was consid
ered the absence of color and con
nected with an ancient belief that
the dead return. The black gar
ment was invisible to the spirits
and, therefore, offered a suitable
protection against the spirits. Mary,
Queen of Scots, was known as the
White Queen. She mourned in
white the death of her husband,
Lord Darnley. In ancient Rome
and China and Japan white weeds
were used by the ladies in mourn
ing. Yellow is considered by Bert-
ran S. Puckle in Funeral Customs,
Their Origin and Development,
1926, as being one of the most com
mon of colors to express grief.
Egyptians, Central Africans, and
Persians used the color. Blue, vio
let or purple is also used in various
parts of the world. Jerry Drost,
Buffalo, NT.
Fevers attributed to eating fruit
(IX:56) Available in English
translation by Harriet de Onis is
the novel by Giro Alegria, line
Golden Serpent (N.Y.: New Amer
ican Library of World Literature,
1963). Reference is made (p. 9)
to the fact that the people in Gale-
mar, in the valley of the Peruvian
river Maranon, avoid eating man
gos, plums, and guavas, fearing
that these fruits would give them
malaria. While The Golden Ser
pent (La serpiente de oro) is a
novel, in it he deals with a part
of Peru which the author knew
from early childhood, and it seems
more than likely that this refer
ence to the fear of the cholos that
May 1971
eating these fruits would give them
malaria has a basis in direct ob
servation. Edgar C. Knowlton,
jr, University of Hawaii
In the late 1920s several
young boys in their early teens
(including the undersigned) ate
some persimmons from a tree in
the Oakwood Cemetery in Raleigh,
N.C. Three of us came down with
a violent fever the next day, were
fed calomel that night, castor oil
the next morning, and, miracu
lously, recovered. The servants
said that it was the result of eating
persimmons from a tree growing
in a graveyard. Lawrence S.
Thompson, University of Kentucky
EDITORS
NOTES & READING
A few years ago AN&Q (YE: 100)
contained a brief description of
the William P. Shepard Collection
of Provengalia that was bequeathed
to Hamilton College in 1948. Now
Professor Rouben C. CholaMan, of
the College, has issued a "Critical
Bibliography" of the collection in
an attractive pamphlet of 81-pages,
available from the Hamilton Col
lege Library, Clinton, N.Y. 13323,
for only $3. There are 530 items
listed in a classified order, and the
descriptions include critical or bib
liographical annotations of consid
erable usefulness, but an author
index would have been nice to
have too, especially for easier ref
erence. William Shepard was Bur
gess Professor of Romance Lan
guages & Literature at Hamilton
137
from 1896 to 1940, during which
time he had a lasting influence on
many students and on the young
Ezra Pound. The collection will
undoubtedly draw many students
of French medieval literature and
history to Hamilton College, and
the publication of this unique cata
logue is a fine contribution to
scholarship.
The llth annual edition of Private
Press Books, recording books and
pamphlets issued by some 100 pri
vate presses published in the West
ern world in 1969 has been pub
lished by the Private Libraries As
sociation, 41 Cuckoo Hill Road,
Pinner, Middlesex, England (Pa
per, $4; to PLA members, $3.25).
The volume includes a short bib
liography, an index, and 13 illus
trations. A handsome inventory of
some beautiful and unusual print
ing, editions, and scholarship. Sub
ject and author collectors would
do well to check for special titles
relevant to their interests and
printed at the "little presses".
All who love the drama of Bleak
House will want to read a fasci
nating article, "Dickens: the Old
Court of Chancery", by Douglas
Hamer of the University of Shef
field, appearing in Notes and
Queries (N.S. 17, No. 9), Septem
ber 1970, pp. 341-47. The history,
technical apparatus, and workings
of the Court are described and
Dickens analyses of its machina
tions are evaluated. The article is
so enlightening that one hopes it
might be included in future edi
tions of Bleak House, where it
would provide a helpful appendix
for today s readers, even if the
author of the Note does say that
138
Dickens "life-long vendetta against
the Court of Chancery marks him
as emotionally unstable in that
context, as he was in others" [mani
festing "the taint of litigious para
noia"].
Lijrica Germanica: Journal for Ger
man Lyric Poetry features previ
ously unpublished, original German
lyric poetry, translations into Eng
lish of German lyric poetry created
before 1880, and related subjects.
Two numbers, spring and fall, are
published yearly. Brief poems, ar
ticles, books for review, subscrip
tions, and all communications
should be sent to the editor, Dr
A. Wayne Wonderley, 3307 Corn
wall Drive, Lexington, Kentucky
40503 (USA). Editorial Board:
Editor, Professor A. Wayne Won
derley (University of Kentucky);
associate editor, Professor Her
mann E. Rothfuss (Western Michi
gan University); consulting editors,
Dean Daniel Coogan (York Col
lege, CUNY) and Professor Her
man Salinger (Duke University).
Current, annual subscription is
$1.50, in advance. Checks may be
drawn to Lyrica Germanica.
David William Foster and Virginia
Ramos Foster, Research Guide to
Argentine Literature (Metuchen,
NJ,: Scarecrow Press, 1970; 146pp. ;
$5.00), is a compilation of some
1,000 book and journal articles per
tinent to Argentine literature. It
is divided into sections on general
bibliographies, journals publishing
research on Argentine literature,
general works on Argentine liter
ature, and a group of forty-three
articles on individual Argentine
authors.
AN&Q
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky and will be con
tinued in subsequent issues.
Several major reference works from
the Cambridge University Press
deserve a special section in this
journal. Above all, the first volume
of the third edition of The Cam
bridge Ancient History, edited by
I. E. S. Edwards, C. J. Gadd, and
N. G. L. Hammond (1970; 758pp. ;
$19.50), is a work for all classicists
and all libraries which have even
a pretense to the reference func
tion. Earlier, parts of the CAH
have come out in separate sections,
a valuable service to specialized
scholars, but those of us who look
at antiquity as a whole must have
the complete set. This first volume
covers the period from the geologic
ages through neolithic times. Like
the earlier editions, the articles are
by the ablest authorities, there is
a highly satisfactory selective bib
liography, and there is a full index.
The Cambridge History of Islam
(1970; 2 vols.; $19.50 per vol.),
edited by P. M. Holt, Ann K. S.
Lambton, and Bernard Lewis, is
similar in planning and execution
to the other Cambridge histories.
The first volume deals with Arabia
before Muhammad, his career, the
rise and domination of the Arabs,
the coming of the steppe peoples,
the Osmanli period and modern
Turkey, Arab lands, Iran, and Mos
lem areas of the USSR. The sec
ond volume, "The Further Islamic
May 1971
139
Lands", deals with India, South-
East Asia, Africa and the Moslem
west, and the broad contributions
of Islam to society and civilization.
There are full bibliographies and
indexes.
Margaret Canney and David
Knott, comps., Catalogue of the
Goldsmith s Library of Economic
Literature, vol. I, Printed Books to
1800 (1970; 838pp.; $65.00), re
cord 18,113 items, a fundamental
collection for British and European
economic history. It is arranged
chronologically, with subject di
visions under each period or year.
The second volume will contain
printed books from 1801 to 1850,
and the third will contain periodi
cals, manuscripts, and the index
to the whole catalogue. The his
torical introduction by J. H. P.
Pafford, Goldsmith s Librarian,
1945-1967, is a basic document for
library history. When complete,
the set will be a cornerstone for
any reference collection which
makes an effort to support studies
in economic history and theory.
Ian Michael, English Grammatical
Categories and the Tradition to
1800 (1970; 622pp.; $32.50), ex
amines 273 English grammars
known before 1801, 140 for the
first time. There is a full list a
challenge for any collector! Bib-
liographically, the work is a sub
stantial contribution to the history
of the mother tongue. Linguisti
cally, it is disillusioning to discover
that barely forty of the grammars,
all in the first half of the 18th
century, made an effort to adapt
traditional grammar to English.
There is an abundance of evidence
about the relation of logic to lan
guage in the book, and it will not
soon be superseded.
Of the major publishers the Cam
bridge University Press has prob
ably been among the most indus
trious giving service to scholars
and general readers in issuing rela
tively inexpensive books in paper
covers. The titles noted here are
all available in cloth for libraries
and for others who want them, in
paper: J. H. Elliott, The Old World
and the ^ 7 ew, 1492-1650 (1970;
118pp.), was written for the Wiles
Lectures at Queen s University,
Belfast, for 1969, and it is a sharp,
analytical study of the impact of
the Americas on Europe before
1650. J. B. Steane, Marlowe: a Crit
ical Studij (1970; 383pp.; $2.95),
is a comprehensive study of Mar
lowe s complete works, including
plays, poems, and translations,
probably the best available vade-
mecum for this great Elizabethan.
Andrew Gurr, The Shakespearean
Stage, 1574-1642 (1970; 192pp. ;
$2.75), describes theatrical condi
tions under which Shakespeare,
his contemporaries, and his suc
cessors, worked before the ban OB
playing during the English Civil
War. Yasmine Gooneratne, Jane
Austen (1970; 195pp. ; $2.45), is
a critical introduction to the Aus
ten canon, including the six com
plete novels, letters, and minor
works. David Wardle, English Pop
ular Education, 17SO-1970 (1970;
182pp.; $1.95), is an account of
British efforts to provide universal
free public education. Daniel M.
Taylor, Explanation and Meaning,
an Introduction to Philosophy
(1970; 202pp.; $2.45), concentrates
on the two central topics of ex
planation and meaning and takes
140
AX&Q
his arguments far enough to pro
vide an adequate introduction to
modern analytical philosophy.
Karl-Dieter Opp, Methodokgie
der Sozialtcissenschaften, Einfuhr-
ung in Probleme ihrer Theorien-
bildung (Reinbek bei Hamburg:
Rowohlt Taschenbuch Verlag,
1970; 332pp.; "Rowohlts Deutsche
Enzyklopadie", 339-341; DM6.80),
is a theoretical study of the meth
ods, purposes, and results of social
enquiry. The book includes a re
sume, bibliography, and index simi
lar to others in the series.
The Galleria del bel Libro in As-
cona ( at the northern end of Lago
Maggiore in Switzerland) is re
sponsible for frequent exhibits of
important binders and groups of
binders. Handsome catalogues are
issued for these shows. At hand
are catalogues for the April, 1969,
exhibit of Georges Leroux of Paris
(20 unnumbered pp., incl illus.)
and the May, 1970, exhibit of the
Nota Bene Club of Copenhagen
(28 unnumbered pp., incl. illus.).
An Oxford University Press book,
long out of print, equally long in
heavy demand, among others by
this columnist for his classes, is
Stanley Casson, The Technique of
Earlij Greek Sculpture (NT.: Re
printed by Hacker Art Books, 1970;
246pp.; $15.00). A noteworthy
monograph, probably the first ex
tensive one in English on this sub
ject, which explores the notion that
the way in which a statue is made
gives insight into the mind of the
artist Casson also shows how tech
nical problems affect the artist s
methods and modify his esthetic
intention. The chronological range
is from prehistoric ages to around
the middle of the 5th century B.C.
The conclusion of the first ten
volumes of the Archiv filr die Ge-
scliidite des Buchwesens, issued
by the Buchhandler-Vereinigung
GmbH in Frankfurt/Main (Post-
fach 3914), has been commemo
rated by a publication (in the for
mat of the Archiv) listing authors
of all articles (actually books in
many instances) alphabetically by
name. There is also a classified in
dex by decimal classification. Fi
nally, there is a perceptive and
significant essay by Hans Wid-
mann, "Kontinuitat und Wandel
in der Herstellung des Buches".
While it is likely that the contents
will also be issued separately to
be bound with the tenth volume,
subscribers would be well advised
to hang on to this publication as
a separate and to analyze Dr. Wid-
mann s essay in their catalogues.
No reference collection in the
fields of the history of books and
printing is complete without the
Archiv.
Frangoise Biass-Ducroux, Glossary
of Genetics in English, French,
Spanish, Italian, German, Russian
(N.Y.: American Elsevier Pub
lishing Company, 1970; 436pp.;
$27.00), has been compiled in col
laboration with Klaus Napp-Zinn
and with Russian translations by
Nikoli V. Luchnik. The primary ob
jective is to provide a tool for rapid
and adequate translation of terms
in current use in genetics. The
basic alphabet is in English, and
there are indexes in the other lan
guages.
May 1971
141
BOOK REVIEWS
MAKERS OF AMERICA. Illus. 10 vols,
incl. Index. Chicago: Encyclopedia Brit-
annica Educational Corporation, 1971,
special price to schools and libraries:
$79.50.
This ten-volume reference work, ed
ited by Wayne Moquin for the Ency
clopedia Britannica Educational Cor
poration, records, in documentary fash
ion, the contributions of various ethnic
groups to the history of the United
States from 1536 through 1970. The
731 selections are the words of some 700
people who made this history, but the
writings express the experiences, suf
ferings, and achievements of the many
thousands more who were at their sides.
Eighty-five ethnic groups are repre
sented and the more than a million
words about them are by the members
themselves.
The selections consist of letters, di
aries, orders, reports, newspaper articles,
magazine selections, poems, congression
al debates, and other documentary de
scriptions of what various peoples, both
native and immigrant, were doing and
what was being done to them over the
last four centuries in the land now
called the United States.
Each of the volumes is divided into
four, five, or six sections which, in some
instances, overlap chronologically but
which deal with the emergence of some
pattern resulting from the actions of or
reaction to one or another of the ethnic
factions that affected the growth of this
country. The editors, scholars in their
own right, have written introductions
to each of these sections, placing them
in an historical context. Further histori
cal continuity is gained from short edi
torial paragraphs at the beginning of
each selection. These paragraphs give
the author, date, and source of the se
lection when loiown.
The editorial passages are set off from
the selection which they accompany by
a difference in type size. The selections
themselves are in large, very easy-to-
read print while the editorial comments
are in smaller type. The larger type
makes locating a particular passage in
a selection quite easy a definite re
search advantage. No misspellings or
misprints were noted in the more than
forty selections read by this reviewer.
The volumes seem to be organized
for secondary and junior college use,
but the documents themselves are true
to the originals and, as such, the collec
tion forms a comprehensive source of
information for research at any level.
Apart from research, simply browsing
through these volumes is pleasurable,
informative, and probably a very good
thing to do. Whether one reads an ar
ticle here and there throughout the
series or conscientiously reads the se
lections in order, he cannot help but
be reminded of the ethnic pluralism that
went into the building of the United
States. Nor can he fail to take note of
the struggle, suffering, vanity, stupid
ity, and sometimes downright cruelty,
that any aggregation of human groups
seems to bring on its members in its
quest for an occasional triumph. These
are good points to take notice of, par
ticularly now, when our ignorance and
cruelty, although perhaps more subtle,
are very much at the forefront of our
activity.
Makers of America is an important
collection of documents for secondary
school and early college study of Amer
ican History especially since that disci
pline has only recently turned from
treating history as simple chronology to
a study of the method of historic in
quiry. In short, it is a valuable instru
ment for teaching research techniques
in history. Michael F. Gibbons, /r,
Yale University
DANIELS, Jonathan. A Southerner Dis
covers the South (1938). 346pp. N.Y.:
DaCapo Press, 1970. $10.
The DaCapo Press of the Plenum
Publishing Corporation has reissued
Jonathan Daniels now-classic 1938 trav
el essay (originally published by the
Macmillan Company) in its *The Amer
ican Scene: Comments and Commen
tators" series of reprints and, in so do
ing, has done us all a service.
There are serious problems in the
reissuing of a book of impressions, con
versations and descriptions of a land
142
AN&Q
and its people. Such a work after thirty
years could very easily be so dated as
to render it worthless. Mr Daniels, still
editor of the Raleigh, North Carolina
News and Observer, is candid in raising
these questions in his new introduction
to this edition. He makes no extravagant
claims for his book, but suggests that
"possibly to understand any land, we
need rearview mirrors as well as clean
windshields". He had not set himself
up as a prophet in the first edition, and
so he need not apologize for prophecies
unfulfilled or for results far different
than those he thought and hoped might
come to pass. But there is no denying
the reader s urge to note where Mr
Daniels was brilliantly correct or sadly
wrong in his estimations of the direc
tions the South would take.
As Mr Daniels reminds the reader in
his new introduction, there was an in
tellectual debate underway in the late
thirties. The Agrarians of Vanderbilt
had warned the South not to cast off
those valuable and often agrarian tra
ditions which gave it dignity and made
it distinct. The professors at the Uni
versity of North Carolina at Chapel
Hill, and New South followers of Henry
Grady of Atlanta were urging the South
to industrialize, throw off its chains, to
join the 20th century, to join "the main
stream of American life".
Mr Daniels suggests something a little
different from either of these two posi
tions. He does not argue that the South
should or should not join the main
stream of American life, but rather that
the South is the main stream of Amer
ican life, flowing directly out of the
American experience. Daniels insists that
the American dream is a fair chance for
every man, and that that dream is alive
and well in the South today every bit
as much as it is alive in any other part
of the country. He suggests that the
migration to the South of industry, cor
porations, and whites from all over the
country, and the return to the South
by blacks who left, combined with the
renewed enthusiasm with which South
erners stay in the South, is manifest
proof of the South s bringing the rest
of the nation into the so-called "Main
stream of American life".
Kir Daniels book is the story of a
journey. The journey began in Raleigh,
North Carolina, and took him across
North Carolina, to TVA country, across
Tennessee via Nashville and Memphis,
across the Mississippi as far as Hot
Springs, Arkansas and back via Green
ville, Mississippi, New Orleans, Mont
gomery, Birmingham, Atlanta, Jackson
ville, and Charleston.
This was not a journey undertaken
without preparation. In addition to the
many letters of introduction Daniels car
ried with him (letters which gave him
entree to many of the people one would
naturally have wanted to talk with)
Daniels was also armed with an intelli
gent and sympathetic eye for the South,
for what to look for, for choosing the
worker and farmer and waitress to talk
with. This was not a journey that could
have been undertaken fruitfully by a
Northerner. It is very much the story
of a native s deepening understanding
of his region, not the "discovery" of a
strange land by an outsider, however
perceptive and sympathetic the outsider
might be. Anyone would have desired
and sought conversation with Donald
Davidson, even knowing that by 1938
the Agrarian movement was dead. But
not everyone would have known how
much was to be learned about the South
from conversation with a nitch-hiker
from Nashville to Birmingham, a man
tired of the Nashville dole and looking
for work in the steel mills but knowing
that the jobs go to the young and
strong, and that there were not enough
to go around.
One is tempted to recall and discuss
innumerable of Daniels* observations and
conversations observations of Charles
ton society, of Memphis night life, of
the mores of the Tennessee mountain
people, conversations with the Governor
of Arkansas, with the new Governor of
Louisiana, with surviving acquaintances
of Huey ^Long, with countless other
"important" and "small" people of the
South. The book is rich with them, and
each yields something valuable to the
total picture.
There was one land of experiment un
der way in the South in the thirties,
which seems to be over now, and which
was of particular interest to this review
er: the attempts to raise the hideously
poor tenant farmers out of their poverty
by communal or cooperative or subsi
dized farms. These experiments were
going on in several Southern states si-
May 1971
143
multaneously, and seemed to capture
Mr Daniels imagination too. Norris,
Tennessee, was a company-owned,
planned town. Daniels found it anti
septic, overly planned, and dull. The
Southern Tenant Farmers Union in Ar
kansas drew Allen Tate s fire for being
"communistic". Its defenders argued
that Tate s agrarianism was a plan to
reduce the Southern farmers to peasant
ry. Mr Daniels visited the SFTU and
the Dyess Colony in Mississippi. The
first was a Norman Thomas-inspired
Socialistic experiment, the second was
an expensive, government-sponsored proj
ect. The first was beleaguered by the
establishment in the surrounding com
munity; the second seemed to Mr Dan
iels "a toy town cut out of the jungle**.
None of these experiments seemed prom
ising to him; none have endured. What
has endured in the South is a strong
sense of independence, the desire of the
tenant to be an independent farmer and
the determination of the yeoman to re
main self-sufficient. This intense belief
in self-reliance is, to Daniels, central to
that American "main stream" into which
the South is now pulling the rest of
the country. Donald R. Noble, fr,
Dept of English, University of Alabama,
University, Alabama
BIBLIO
GRAPHICAL NOTE
THE REPRINTING OF JUNIUS
The Argosy-Antiquarian Facsimile Ed
ition reprinting of the Letters of Junius
was unanticipated in the proliferation
of facsimile reprints to which the aca
demic community has become accus
tomed. If the Letters had not previously
been reprinted, the explanation lay in
the comparative abundance of copies
in the antiquarian marketplace. The
Bohn edition, 1 as part of Bohn s Stand
ard Library, continued to be published
from its initial appearance in 1850 down
through 1910 (without change) and the
Bohn Junius is not only easily found but
is always modestly priced. Dozens of
editions of the Letters of Junius ap
peared during the 19th century; and if
the Bohn Junius is the best known, any
decision to reprint the Letters should
first have ascertained the answers to
these questions: which edition would
be most valuable to the student of
18th-century political and literary his
tory?; which edition is most important
bibliographically?; which edition is most
important to the student of the Letters?;
and which is the edition to which the
enigmatic Junius, without controversy
or doubt, can be related? The answer
to all these questions is the first au
thorized edition of the Letters whose
publication Junius supervised and which
Henry Sampson Woodfall published in
1772. 2
In the light of these facts, the Argosy-
Antiquarian reprint of the Letters* is
difficult to justify. For unknown reasons,
Argosy-Antiquarian chose to issue in fac
simile reprint an 1812 edition* whose
only distinction was the inclusion of
twelve engraved portraits by Edward
Bocquet: not only does the Argosy-
Antiquarian reprint nowhere identify the
edition (except for the legend "First
Printed 1812" on the verso of the tide:
there were a number of 1812 editions
of the Letters), it excludes the engraved
portraits and reproduces only part of
the title page. All of this is unfortunate.
The existence of the Argosy-Antiquarian
reprint will deter other publishers from
considering a reprint of the "Letters".
Certainly, a facsimile of the 1772 au
thorized edition 5 would be of great
value; and the reissue of the 1772 edi
tion might encourage a scholarly edition
of Junius which would need to be con
structed out of the pages of the Public
Advertiser in which the letters originally
appeared from 21 January 1769 through
21 January 1772. Francesco Cor-
dasco, Montclair State College
1. Junius: including letters by the same
writer under other signatures. ... A
new and enlarged edition . . . . by
John Wade. 2 vols. (London: Henry
G. Bohn, 1850). See #153 in F. Cor-
dasco, A Junius Bibliography (New
York: Burt Franklin, 1949).
2. Junius. Stat Nominis Umbra. 2 vols.
(London: Henry Sampson Woodfall,
144
1772). See #45 in F. Cordasco, op.
cit.
3. ]unius. Stat Nominis Umbra. ([New
York:] Argosy- Antiquarian, 1970).
4. Junius. Stat Nominis Umbra. Illus
trated by Mr Edward Bocquet . . .
(London: Shirwood, Neely & Jones,
1812). See #117 and #120 in F.
Cordasco, op. cit.; and F. Cordasco,
"Edward Bocquet s Illustrated Edition
of the Letters of Junius", Papers of
the Bibliographical Society of Amer
ica, vol. 46 (1952), pp. 66-67.
5. C. W. Everett s edition of the 1772
AN&Q
collection is not a facsimile reprint
(C. W. Everett, ed., The Letters of
Junius, London: Faber & Gwyer
[1927]), includes other material
drawn from Bonn s 1850 edition, and
is primarily a vehicle for Everett s
attribution of the Letters to the Earl
of Shelburne. See #168, F. Cordasco,
op. cit.
A perfect set of the Public Advertiser
(for the period 1766-1776) is in the
London Library. It may be the origi
nal Woodfall office copy. See Notes
& Queries 1911: 1, p. 305.
PUBLICATIONS RECEIVED
(Continued from p. 130)
(Poetry). Best Poems of 1969: Borestone
Mountain Poetry Awards, 1970. Vol.
XXII. I59pp, Palo Alto: Pacific Books,
1970. $4.50
(Poetry). Tar River Poets [incl. work
by William Stafford, Richard L.
Capps, Kathleen Baumwart, Joseph
Daugman, Douglas McReynolds, etc.].
(East Carolina University Poetry For
um Series, No. 10). 36pp. Greenville,
N.C.: East Carolina Poetry Forum
Press, 1971. Paper, $1.?
Rude, George. Hanoverian London,
1714-1808. (History of London Series).
Illus. 271pp. Berkeley: University of
California Press, 1971. $8.95
Sawatzky, Harry Leonard. They Sought
a Country: Mennonite Colonization in
Mexico, With an Appendix on ...
British Honduras. Illus., incl. a Map.
387pp. Berkeley: University of Cali
fornia Press, 1971. $11.50
(Spenser). Cummings, R. M., ed. Spen
ser: the Critical Heritage. (The Critical
Heritage Series). 355pp. N.Y.: Barnes
& Noble, 1971. $12.50
Statistics Sources: a Subject Guide to
Data on Industrial, Business, Social,
Educational, Financial, and Other
Topics, for the United States and Se
lected Foreign Countries. Revised 3d
Edition. Ed. by Paul Wasserman. 647
double-columned pp. Detroit: Gale
Research Co., 1971. $27.50
Thompson, C. J. S. The Hand of Des
tiny: the Folk-Lore and Superstitions
of Everyday Life. (1932). Illus. 303pp.
Detroit: Singing Tree Press, 1970.
$12.50
Tomlinson, Abraham, comp. The Mili
tary Journals of Two Private Soldiers,
1768-1775. With a Supplement Con
taining Official Papers on the Skir
mishes at Lexington and Concord
(1855). 121pp. N.Y.: Da Capo Press,
1971. $8.50
Tomsich, John. A Genteel Endeavor:
American Culture and Politics in the
Gilded Age. 227pp. Stanford: Stan
ford University Press, 1971. $8.50
Twain, Mark. Mark Twain s Quarrel
With Heaven ... Ed. by Ray B.
Browne. (Masterworks of Literature
Series, M-27). 126pp. New Haven:
College & University Press, 1970. $5;
Paper, $1.95
Tyler, Royall. The Algerine Captwe. Ed.
by Don L. Cook. (Masterworks of
Literature Series, M-25). 224pp. New
Haven: College & University Press,
1970. $6; Paper, $2.45
Vaughan, Beatrice. The Ladies Aid Cook
book. Illus. 186pp. Brattleboro, Vt:
The Stephen Greene Press, 1971. $6.95
Weir, J. Alden, The Life and Letters of,
by Dorothy Weir Young. (1960). Il
lus. xxxii, 277pp. N.Y.: Da Capo Press,
1971. $15.
Winthrop, Theodore. John Brent. Ed. by
H. Dean Propst. (Masterworks of Lit
erature Series, M-30). 237pp. New
Haven: College & University Press,
1970. $6.50; Paper, $2.95
Wulbern, Julian H. Brecht and lonesco:
Commitment in Context. 250pp. Ur-
bana: University of Illinois Press,
1971. $8.95
PUBLICATIONS RECEIVED
Autographs, Four Hundred Years of
British: a Collector s Guide, by Ray
Rawlins. Facs. Illus. 188pp. London:
J. M. Dent & Sons, 1970. 3/50
Brooke, Rupert: a Reappraisal and Selec
tion From His Writings, Some Hither
to Unpublished, by Timothy Rogers.
Illus. 231pp, London: Routledge &
Kegan Paul, 1971. $8.95
Burgh, James. Political Disquisitions: an
Enquiry Into Public Errors, Defects
and Abuses. (London, 1774, 1775). 3
vols. N.Y.: Da Capo Press, 1971. $65.
Ceram, C. W. The First American: a
Story of North American Archaeology.
Illus. xxi, 357pp. N.Y.: Harcourt,
Brace, Jovanovich, 1971.
Collins, Herbert Ridgeway. Presidents on
Wheels. Numerous Illus. 224pp. Wash
ington: Acropolis Books, 1970. $15.
Edwards, Harry. The Healing Intelli
gence [by the President, British Na
tional Federation of Faith Healers].
189pp. N.Y.: Taplinger Publishing
Co., 1971. $5.95
Evans, Frank B., comp. The Administra
tion of Mode-rn Archives: a Select
Bibliographic Guide. 213pp. Washing
ton: National Archives & Records
Service, 1970. Paper, $?.
(Evolution Case). The World s Most
Famous Court Trial: [the] Tennessee
Evolution Case. A Complete Steno
graphic Report. .. (Cincinnati, 1925).
Illus. 339pp. N.Y.: Da Capo Press,
1971. $12.50
Franciscono, Marcel. Walter Gropius
and the Creation of the Bauhaus in
Weimar: the Ideals and Artistic
Theories of Its Founding Years. Illus.
336pp. Urbana: University of Illinois
Press, 1971. $11.95
Grolier, Jean, The Library of: a Pre
liminary Catalogue, by Gabriel Austin;
With an Introductory Study, "Jean
Grolier and the Renaissance", by
Colin Eisler. Illus. 137pp. N.Y.: The
Grolier Club, 1971. $25.
Harington, John, of Stepney, Tudor
Gentleman: His Life and Works, by
Ruth Hughey. Illus. 343pp. Coluinbus:
Ohio State University Press, 1971. $15.
Hawthorne, Nathaniel, by J. Donald
Crowley. (Profiles in Literature Se
ries). 101pp. N.Y.: Humanities Press,
1971. $3.75
Holtzapffel, Charles. Printing Apparatus
for the Use of Amateurs. Reprinted
from the 3d ... Edition of 1846. Ed.
by James Mosley & David Chambers.
Illus. xlviii, 79pp. Pinner, Middlesex:
Private Libraries Association [41
Cuckoo Hill Road], 1971. $8; $5.50
to Members.
Marriott, Alice; & Rachlin, Carol K.
Peyote. Hipp. N.Y.: Thomas Y.
Crowell, 1971. $6.95
Meredith: the Critical Heritage, Ed. by
loan Williams. (The Critical Heritage
Series). 535pp. N.Y.: Barnes & Noble,
1971. $17.50
Presidential Elections, History of Amer
ican, Ed. by Arthur M. Schlesinger, jr,
& Fred L. Israel. 4 vols. N.Y.:
McGraw-Hill Book Co., 1971. $135.
Rood, Ronald. Animals Nobody Loves.
Illus. by Russ W. Buzzell. 215pp.
Brattleboro, Vt.: The Stephen Greene
Press, 1971. $6.95
Rowell, John W. Yankee Cavalrymen:
Through the Civil War With the
Ninth Pennsylvania Cavalry. Illus.
280pp. Knoxville: University of
Tennessee Press, 1971. $7.50
( Continued on p. 161 )
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher, Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies and back issues 75< each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies, and Abstracts of Folklore
Studies, and Review of [Book] Reviews; indexed in Book Review Index; in
cluded in The Year s Work in English Studies, and Annual Bibliography
of English Language and Literature, MHRA. Appropriate items included
in the Annual MLA International Bibliography; Victorian Studies" "Vic
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
BEDE ON ALDHELM:
NITIDUS SERMONS
BEDE BRIEFLY DESCRIBES Aldhelm s
literary and ecclesiastical achieve
ments in Historic, Ecclesiastica V.
xviii. He concludes his remarks
with the following statement,
meant to be something of a sum
mary:
Scripsit et alia nonnulla, utpote vir un-
decumque doctissimus; nam et sermone
nitidus, et scripturarum, ut dixi, tarn
liberalium quam ecclesiasticarum erat
eruditione mirandus. 1
The key phrase in this sentence,
nitidus sermone, has been vari
ously rendered. The two most ac
cessible translations, J. E. King s
in the Loeb Library and the com
posite effort of J. A. Giles and
J. Stevens in the Everyman s Li
brary, offer, respectively, ". . . he
was . . . choice in his manner of
writing . . ." 2 and ". . . he had a
.clean style". 3 The latter is more
Giles than Stevens because Giles
renders the phrase in the same
way in his own translation. 4 The
first English translator of Bede,
Thomas Stapleton, gives "[he was]
very fine and eloquent in his talk" 5
while A. M. Sellar renders the
phrase with lie had a polished
style". 6
According to Lewis and Short,
nitidus has the basic meaning
"shining", "glittering", and is used
in the sense of "cultivated", "pol
ished", "refined". The Novum Glos-
sarium Mediae Latinitatis indicates
that the word maintains its mean
ing in later Latin, and especially
points out that nitidus is often used
to refer to an orator or his speech,
two examples being Hrabanus
carm. 81, 10 eloquio nitidum mori-
bus and Walahfridus carm. 5, 42,
11 nitidi sermonis dbundans. The
instances cited by Lewis and Short
for the extended sense include sig
nificant passages in Quintilian
and Cicero where both rhetoricians
are describing oratory generally
similar in kind to Aldhelm s writ
ings. Quintilian uses nitidus in
describing the oratory of Isocrates:
Isocrates in diverse genere dicendi ni
tidus et comptus et palaestrae quam
pugnae magis accommodatus omnes di
cendi veneres sectatus est, nee immerito;
auditoriis enim se, non iudiciis com-
pararat . . . 7
Cicero likewise links sermo nitidus
with the palaestra in De Oratore:
Aliud enim mihi quoddam genus orationis
esse videtur eomm hominum, de quibus
paulo ante dixisti, quamvis iUi ornate et
graviter, aut de natura rerum, aut de
humanis rebus loquantur: nitidum quod-
dam genus est verborum et laetum, sed
palaestrae magis et olei, quam huius
civilis turbae ac fori. 8
In these passages nitidus is further
extended to mean "extravagant"
or "flowery", especially that kind
of extravagance or elaborateness
associated with scholastic oratory.
148
AN&Q
Bede s description of Aldhelm, ser-
mone nitidus, is therefore rather
apt for Aldhelm s Hisperic writ
ings are the extravagances of a
schoolman. Bede underscores the
learned and scholarly nature of
Aldhelm s achievements with the
words doctissimus and eruditio.
Whereas in the passages above
Quintilian and Cicero stress the
impracticality of ornate oratory in
public affairs, thus giving nitidus
an unfavorable connotation, the
term can have a positive sense,
as when Quintilian refers to the ex
cellent orator:
Nitidus ille et sublimis et locuples cir-
cumfluentibus undique eloquentiae im-
perat.9
Nitidus appears to be simply a
term from the vocabulary of rhet
oric indicating generally elabo
rateness or extravagance; the word
is neither positive nor negative in
itself. Although it is tempting to
make an appeal for a negative in
terpretation based mainly on
Bede s own sanity in matters of
style, it is unlikely that Bede is
criticizing Aldhelm because he
does say clearly erat eruditions
mirandus. Bede is therefore merely
describing Aldhelm s extravagance.
Since extravagance is no longer a
neutral term in modern times, how
ever, it is better to translate ni
tidus sermone with lie had an
elaborate style".
Paul E. Szarmach
Cornwall, N. Y.
1. Ed. C. Plummer (Oxford, 1896), I
p. 321.
2. Bede, Opera Historica, tr. J. E. King
(N.Y., 1930), II, p. 297. (Loeb Li
brary)
ALEXANDER ROBERTSON:
IRVING S DRAWING TEACHER
ALTHOUGH WE KNOW A GREAT DEAL
about the artists with whom Wash
ington Irving associated in his early
years, it has remained open to
question as to which of two broth
er-artists actually gave lessons to
a young Irving and therefore may
have inspired the sketch-filled note
books and journals Irving kept and
influenced the form of writing for
which he is best known.
In The Life of Washington Irt>-
tng 1 , Stanley T. Williams implies
that Irving was taught by Archi
bald Robertson who, with his
brother Alexander, founded New
York s Columbia Academy of
Drawing in 1792. William seems
to have based his citation on what
Williams himself considered to be
a somewhat unreliable biographi
cal sketch in the New-York Mirror,
June 19, 1824. The article states
that when Irving was twelve years
old or so (c. 1795), "by way of
3. Bede, Ecclesiastical History of the
English Nation, tr. J. Stevens and re
vised by J. A. Giles (London, 1910),
p. 255. (Everyman s Library)
4. Bede, Ecclesiastical History, tr. J. A.
Giles (London, 1843), II, p. 235.
5. Bede, The History of the Church of
England, tr. Thomas Stapleton (Ox
ford, 1930), p. 409.
6. Bede, Ecclesiastical History of Eng
land, tr. A. M. SeUar (London, 1907),
p. 344.
7. Quintilian, Institutio Oratoria, tr. H.
E. Butler (N.Y., 1920), X.i.79.
8. Cicero, De Oratore, tr. E. W. Sutton
and H. Rackham (Cambridge, Mass.
1942), Lxviii.81.
9. Quintilian, op. cit., XII.x.78.
June 1971
149
recreation he was advised to take
lessons in drawing; and for this
purpose he put himself under the
tuition of a gentleman, whose
Drawing Academy still maintains
a high reputation in this city". 2
If the Mirror s information was
accurate and if Williams had un-
cited proof that Archibald Robert
son was "the gentleman"., then Irv
ing was taught by a miniaturist
who wrote in his book of art in
struction "that landscape was the
form which every man may have
occasion for ... Rocks, mountains,
fields, woods, rivers, cataracts,
cities, towns, castles, houses, for
tifications, ruins, or whatsoever
may present itself to view . . . may
thus be brought home and pre
served for future use, both in busi
ness and conservation* ". 3
But it seems that Irving favored
especially the Robertson whose in
terest in fair young ladies Irving
shared. For in a letter from Bor
deaux, 20 July 1804, Irving asks a
friend to remember him
. , , particularly to Robertson, the happy
Robertson. He who riots amidst a pro
fusion of beauty. Whose attentions are
sought after by the fairest of the fair
and whose chamber might even vie with
the harem of the Grand Turk. Tell him
an itinerant disciple of his wandering
amidst the medusas of a foreign land,
wishes him every felicity that can be
bestowed on a mind of sensibility by the
smiles of the fair.*
If we couple these comments
with references in Dunlap s bio
graphical sketches 5 of the Robert
sons, we are strongly inclined to
believe that in his Bordeaux letter
Irving was referring to Alexander
Robertson, not to his brother. It is
significant that in his sketch of the
latter, Dunlap makes no mention
of Archibald Robertson s female
students and points out that the
artist "found oil painting injurious
to his health". 6
But in comments on Alexander
Robertson, Dunlap refers to Rob
ertson s "many young ladies" who
came to this artist for instruction
in oil:
Mr. Robertson sketches and paints land
scapes in water colors with great facility.
He has been the instructor of many
young ladies who are distinguished for
talent and skill. Miss [Anne] Hill stands
very prominent among our best painters
of miniatures, and was for a time his
pupil. Several ladies under the tuition
of Mr. Alexander Robertson have at
tained skill in the painting of landscape
in oil. 7
It seems likely, moreover, that Irv
ing would have established an ac
quaintance with the Robertson
closer to him in age. Archibald was
eighteen years older than Irving,
whereas Alexander was only eleven
years his senior.
Therefore, if Irving received the
instruction of Alexander Robertson,
then his advance from simple to
more complicated work probably
never occurred, since another Rob
ertson pupil, Francis Alexander,
recalled for Dunlap that:
Mr. Robertson received me in his school,
gave me a few little things to copy in
lead pencil and India ink, and finally,
at my particular request, he let me paint
in oils, or rather copy two or three first
lessons for girls, such as a mountain or
lake, very simple. I wanted to be put
forward to something more difficult, but
he said "No*; that I could not be al
lowed to copy heads of figures till I had
been with him a number of months. . . . 8
So it seems more likely that Alex
ander Robertson, not Archibald
150
AN&Q
Robertson, taught young Irving to
draw and began to guide, develop,
and sharpen the artistic eye of a
budding writer who soon after
turned to sketching pictures in
prose.
Burton Albert, jr
Pleasantville, N.Y.
1. (New York, 1935). 2 vols.
2. Williams, I, 384, n. 117.
3. James Thomas Flexner, The Light of
Distant Skies (New York, 1954), p.
115.
4. Williams, I, 51.
5. William Dunlap, A History of the
Rise and Progress of the Arts of De
sign in the United States (Boston,
1918 [for 1834]). 3 vols.
6. Ibid., II, 88.
7. Ibid., H, 113.
8. Quoted in Dunlap, III, 235-236.
DICKINSON TO ROTH
IT SEEMS LIKELY and highly appro
priate that Philip Roth took the
title for his first novel, Letting Go
(1962), from the last line of Emily
Dickinson s fine poem, "After
Great Pain a Formal Feeling
Comes":
After great pain a formal feeling
comes
The nerves sit ceremonious like tombs;
The stiff heart questions was it He
that bore?
And yesterday or centuries before?
The feet, mechanical, go round
Of ground, or air, or ought
A wooden way,
Regardless grown,
A quartz contentment, like a stone
This is the hour of lead,
Remembered if outlived,
As freezing persons recollect the snow
First chill, then stupor, then the letting
go.
The action of the novel closely
follows that of the poem. In the
poem, the speaker describes the
effect of severe mental anguish.
The pain of the speaker is com
pared in severity to what Christ
suffered while being crucified. The
sufferer retreats after this experi
ence into a mechanical mode of
existence. He does this both out of
shock and because the mind uses
this retreat as a means of self-
preservation. The effect of the pain
is compared to the process of
freezing to death, where to give in
is to die, yet the pain has been so
intense and the illusion of warmth
is strong and the mind no longer
wishes to fight against uncon
sciousness.
In Roth s novel, the protagonist,
Gabe Wallach, and the two other
major characters, Libby and Paul
Hertz, all suffer extraordinarily
painful experiences. Paul, a Jew, is
disowned by his family because he
marries Libby, a Catholic. Her
conversion to Judaism does not
win back his parents affections
and it alienates her family entirely.
Libby becomes pregnant before
they are ready to accept a child
and she undergoes a degrading
abortion. With excruciating irony,
she later contracts a kidney disease
which prevents her from bearing
children and with their marriage
crumbling they are forced to adopt,
semi-legally, an unwanted child.
Gabe Wallach is hurt by his
father s loneliness in widowerhood
and by his decision to remarry.
Jxwe 1971
151
Gabe s own life is comprised of a
series of miseries and a tortuous,
unspccessful love affair in which
he, generally unintentionally, hurts
his partner deeply.
The temptation for these injured
people is to "let go J> . They are in a
stupor. Pain has rendered them
stony and threatens to make them
permanently unfeeling. The novel
ends, however, with a reaffirma-
tion of their determination to fight
the stupor and not to let go. The
Hertzes begin forming a new rela
tionship based on more accurate
self-images and formed around
their adopted daughter, while
Gabe goes to Europe to travel and
work, rather than remain in Chi
cago, going around, mechanically,
in circles of pain.
Donald R. Noble
University of Alabama
U.S. INTERVENTION IN THE
PANAMANIAN CONSTITUTION
ABOAKD THE NORTH GERMAN LLOYD
line s Kaiser Wilhelm der Grosse
when it sailed from Cherbourg in
dense fog on 30 May 1906, was the
American novelist Thomas Nelson
Page, who subsequently became
Woodrow Wilson s wartime ambas
sador to Rome. It happened to be
one of the periods in his life when
he was keeping a diary.* On Sat
urday, 2 June, he made an entry
to which events of later years have
given added interest: "Mr. Buch
anan, who went to Panama to draft
constitution for the little sliver of
a republic, told me he put in, of
his own motion, the clause by
which the United States has the
right to intervene and keep order.
It has been invoked twice already.
He denies that arms were carried
down from the United States for
the [Panamanian] Revolution; says
the people had arms; bribed the
officers of one Colombian Regi
ment stationed there, secured the
railroad so that any troop trains
from Colon would have been
ditched, and took possession. Of
course, they knew that Roosevelt
would recognize their independ
ence, though he did not say this".
Harriet R. Holman
Clemson University,
Glemson, South Carolina
* The uncorrected typescript is part
of the Thomas Nelson Page Manuscript
Collection of the Clifton Waller Barrett
Library of the University of Virginia; I
am now editing it for early publication
by Field Research Projects, Coconut
Grove, Miami, under the title Mediter
ranean Winter y 1906.
MELVILLE S BILLY BUDD
NAMES ABE SIGNIFICANT in Billy
Budd y and Melville emphasizes the
importance of Captain Edward
Fairfax Vere s nickname, "Starry",
by taking a whole paragraph to
explain its origin. There is an im
portant principle in Anglo-Saxon
law known as stare (pronounced
"starry") decisis, loosely translated:
"to stand by past decisions", Once
a law has been laid down the job
of the lawyer is not to tamper with
that law, but to decide whether the
law applies in a particular case.
Captain Vere s sailors understand
152
AN&Q
that the law does apply in Billy s
case, though some of the critics
do not.
Billy is condemned under British
naval martial law, which is some
what different from American na
val law, and totally different from
either country s civil law. Captain
Vere and all his men have sworn
to abide by the Articles of War.
The severity of these Articles is
shown in such works as C. S. For-
ster s Hornblower and the Hotspur
where the tender-hearted captain
must hang the steward who struck
his superior officer, and Admiral
Hornblower in the West Indies
where the bandsman is condemned
to death for playing B-natural in
stead of B-flat. Thus Captain Vere
has no choice but to condemn Billy.
To put off the trial would be to
shirk his duty, and to delay punish
ment on a ship already threatened
by mutiny would be to risk more
violence. Under the Articles, ex
tenuating circumstances are irrele
vant.
All Vere s names and titles sug
gest that he is a "strict construc-
tionist", and a just man. He is
an "Honorable". "Edward" means
"guardian of property" (in this case,
of Law) and of all die lives on his
ship. "Fairfax" suggests that this
is a fair trial, in which the facts
are ascertained. "Vere" may sug
gest "man" or "truth" but in Latin
it means "indeed", or "truly". It is
a modified assent. Thus Captain
Vere carries out his obligation as
a judge. He assents to stare decisis,
but against his will. As his inglori
ous death and the journal s mis
taken account of the case show, in
a tragic world the just man finds
no reward for, nor even under
standing of, his painful commit
ment to duty.
Blair G. Kenney
University of Maryland
QUERIES
Cresacre Mores "Life of Sir Thom
as More 9 manuscripts I am
editing Cresacre More s Life of Sir
Thomas More, and I would like to
discover a missing manuscript of
this work. I already know of four
extant MSS,, one in the British
Museum, one at the University of
San Francisco, and two at Yale
University. The missing MS. ap
pears in the 1836 catalogue of the
English bookseller Thomas Thorpe
(item 789) who offers a brief
description: "two portraits inserted,
ruled with red lines, very neatly
written, 4to., in vellum". This MS.
was bought by Sir Thomas Phil-
lipps in the same year ( 1836 ) and
is item 9176 in his catalogue. It
was next sold as lot 366 in the
Phillipps sale at Sotheby s, which
began on 15 June 1908. The MS.
was bought by the firm of Dobell,
but they have no record of its sub
sequent sale or present where
abouts. I would appreciate any
information concerning this MS.,
or any other hitherto unknown MS.
of Cresacre More s Life.
Michael A. Anderegg, New Haven,
Conn.
"Sailors Valentine 3 I am anx
ious to secure any and all literature
on the "Sailor s Valentine". There
seem to be two avenues of thought
on the Sailor s Valentine . . . one
June 1971
153
being that the sailors themselves
made them with the assistance of
the ship s carpenter and the other
being that they were purchased by
the sailors from merchants of the
Barbados. As far as I can ascertain
a Sailor s Valentine has two as
pects: the romantic one where the
sailors made them, and the other
where they purchased them in
Barbados. It seems that, roman
tically, they got the ship s carpen
ter to make the shadow frames and
then gathered the shells at dif
ferent ports and arranged them
and took them home to sweet
hearts, etc. The other is that they
had a <4 high" time with the native
girls and then at the last port of
call, Barbados, got remorseful and
purchased them ready-made to
take home. They date from 1833 to
1898! Myles F. Jackson, Lehigh
Acres, Florida
Whitman as heretic? In a use
ful article, "Job and Faust: the
Eternal Wager , CR, XV (Winter
1971), 53-69, Charlotte Spivack
makes passing reference to the
Gnostics "considering the anti-
Christ as the fourth side of god-
hood". She adds that "the demonic
figure complemented the trinity,
in effect making it a quaternity by
incorporating the spirit of nega
tion". The relevance not only to
Goethe s Faust but to Whitman s
lyric "Chanting the Square Deific"
comes to mind. In the latter work,
I am curious whether an aesthetic
basis for this "divine foursome"
could relate to Whitman, namely
a consideration of the Unum,
Verum, and Bonum (God the
Father, Christ the Truth, and the
Holy Spirit) in terms of the
Pulchrum (the most "exciting"
aspect of God and hence providing
the fascinating quality of a Bla-
kean Satan). In all fairness, I
should add that two points may
militate against this kind of identi
fication: (1) Msgr Charles Hart
defined the Pulchrum as "the One
ness of the Truth of the Goodness
of Being", thereby incorporating
the three "attributes" of the God
head and not implying a separate,
fourth "dimension" (though of
course Whitman may have deliber
ately selected a heretical position);
(2) the late Stephen Whicher con
fided in me at Bread Loaf several
years back that the Satan-PwZ-
chrum relation was, psychologi
cally at least, too much even for a
Whitmaniac. R. F. Fleissner,
Wilberforce, Ohio
To cut the mustard Perhaps
fifteen years ago I asked a helper
to perform a certain task I no
longer remember what it was.
He made a couple of efforts but
could not. Then, he said, "I can t
cut the mustard" and gave it up.
The meaning of the phrase is obvi
ous enough and I have heard it a
couple times later, but its explana
tion still escapes me. Archer
Taylor, Berkeley, Calif.
Eskimo finger rings Do Eski
mos make and wear finger rings?
Sven Sorensen, Bergen, Nor
way
Readers!
Have a fine summer but
spend some of it researching
Replies. And send new Queries!
154
AN&Q
REPLIES
Goffering (IX: 56; r 136) The
word comes from the Old French
gaufre meaning honeycomb or
waffle. In bookbinding a book with
goffered edges is one which has
had the edges gilded and tooled.
The tooling often produces a hon
eycombed or waffled design. Doug
las Cockerell describes "gauffer
ing" on pp. 144-145 of his book
Bookbinding and the Care of Books
(N.Y.: D. Appleton, 1902). The
method is described, but not
termed goffering, on p. 82 of J. W.
Zaehnsdorfs The Art of Bookbind
ing, 3rd ed. (London: Geo. Bell &
Sons, 1897). Books with goffered
edges are shown on p. 29 of Paul
ine Johnson s Creative Bookbind
ing (Seattle: University of Wash
ington Press, 1963). Frank J.
Anderson, Prop., Kitemaug Press,
Spartanburg, B.C.
White as mourning dress (IX: 56,
136) In the Far East, white
has been the traditional color of
mourning. E. Chalmers Werner s
revision of J, Dyer Ball: Things
Chinese (Shanghai, 1925), pp, 403-
404,. provides some brief data: "Af
ter the deepest mourning of sack
cloth is discarded, white is worn
as deep mourning ... In the North
of China, white is the only mourn
ing used . . . though white is usu
ally said to be the colour of mourn
ing in China, the fact is that not
colour, but plainness, such as un-
dyed material, is at the root of the
idea of Chinese mourning, this
idea resting on the manifestation
of poverty which, again, rests
on the abandonment in the earliest
historical and later times, of all of
the nearest relatives possessions to
the deceased". See also Hyontay
Kim: Folklore and Customs of
Korea (Seoul, 1957), p. 80; Bar
bara Jones, Design for Death (In
dianapolis, 1967), p. 53, who in
dicates white as the color for death
in China and Japan. On pages 469-
470 of John Brand s Observations
on Popular Antiquities (London,
1877) reference is made to Plu
tarch and Polydore Vergil for white
for mourning, and to the fact that
Henry VIII of England wore white
in mourning for Anne Bullen.
Brand s quotation from Polydore
Vergil states in part: "The white
coloure was thought fittest for the
ded, because it is clere, pure, and
sincer and leaste defiled . . .". See
also Plutarch s Moralia (Cam
bridge, Mass., 1936), pp. 47-49,
question no. 26 of "The Roman
Questions". Edgar C. Knowl-
ton, jr, University of Hawaii
Samuel Butler quote ( VIII: 40;. r
154; IX: 88) Although it is use
ful to locate the source of Butler
quotation I believe it is limited.
The full quotation from Shake
speare, which unfortunately was
not included in the reply is: "Now
with the drops of this most balmy
(balrnie) time / My love looks
fresh, and death to me subscribes".
The quotation does not explain
Butler s use of "Yknarc" instead of
"balmy" in Erewhon Revisited. I
suggested "cranky" as allied to
professors Hanky and Panky
(Hokus and Pokus) in the book.
Also Balmy is a character in the
story as well as Yram, the may
oress, and other characters in the
satire. Jerome Drost, SUNY at
Buffalo
June 1971
155
Three Steinbeck items (IX: 56)
1.) The Steinbeck "poem" appears
as prose in Steinbeck s "Some Ran
dom and Randy Thoughts on
Books", an essay printed in Ray
Freiman s The Author Looks at
Format (New York, American In
stitute of Graphic Arts, 1951, pp.
27-34). The following passage oc
curs on page 32: **A book is some
how sacred. A dictator can kill and
maim people, can sink to any kind
of tyranny and only be hated, but
when books are burned, the ulti
mate in tyranny has happened. This
we cannot forgive". Anthony
W. Shipps, Librarian for English,
Indiana University Libraries
EDITORS
NOTES & READING
The 1970 George Freedley Memo
rial Award was presented to
Brooks Atkinson, former drama
critic of The New York Times, for
his book, Broadway (Macmillan),
on 3 May at the Dramatists Guild,
New York City. The Award, a
plaque, was made on the basis of
scholarship, readability, and gen
eral contribution to knowledge. It
was established in 1968 by the
Theatre Library Association to
honor the late founder of the Asso
ciation, theatre historian, critic,
author, and first curator of the
Theatre Collection of The New
York Public Library. An Honor
able Mention Certificate was pre
sented to Joseph Leach of the Uni
versity of Texas at El Paso, for his
Bright Particular Star: the Life &
Times of Charlotte Cushman (Yale
University Press ) . Past winners are
Louis Sheaffer for O Neill, Son and
Playwright, 1968 and Charles Shat-
tuck for The Hamlet of Edwin
Booth, 1969.
Publication of the first six titles
in the American Historical Catalog
Collection marks the beginning of
an ambitious quality paperback
publishing program by The Pyne
Press of Princeton, NJ. Wooden-
ware, weathervanes, commercial
glassware, tinware, horse-drawn
vehicles and cameras of the 19th
and 20th centuries are subjects
covered in the paperbacks pub
lished recently. The bulk of the
text of each volume is devoted to
the illustrations and copy of manu
facturers and merchants trade
catalogs the source from which
most other source books on Amer
ican art and commercial history
are written. The contemporary
copy and illustrations are supple
mented with an historical intro
duction, list of readings and public
museum collections. Each of the
first AHCC titles is devoted to the
items manufactured and/or dis
tributed by a single but typical
firm J. W. Fiske (weather-
vanes); Whitall, Tatum (commer
cial glassware); L. H. Mace
( woodenware ) ; Dover Stamping
Co. (tinware); Sears, Roebuck &
Co. (Solid Comfort Vehicles); and
Rochester Optical Co. (Premo
cameras). Some future titles will
include items by several important
manufacturers. AHCC titles are
intended to be used as a reference
source by students of popular cul
ture and by the many collectors of
American antiques and artifacts.
They are also entertaining reading.
They reveal the charms of an
evolving culture: the period styles
156
AN&Q
of clothing, furniture and house
hold articles; the odd tools and
weapons; the ultra-polite advertis
ing copy. Six additional titles will
soon be available. These include
volumes on ornamental ironwork,
china and cut glass, guns and hunt
ing supplies, clothing and furnish
ings, sporting goods, and jewelry
and silverware. When completed,
the American Historical Catalog
Collection will include more than
100 titles illustrating the work of
American manufacturers big and
small - from the 1770s to the
1930s.
The ethics of the reprint busi
ness are improving but a review of
T. F. Carney s A Biography of C.
Mantis (Argonaut, 1970), which
appears in The Reprint Bulletin
of Jan./Feb. 1971, pp. 6-7, de
scribes "the prime example of
what is wrong with the reprint
business", and it is a good if hor
rible example. The Reprint Bulle
tin, edited by Sam P. Williams, is
issued by Oceana Publications, Inc.,
Dobbs Ferry, N.Y. 10522, bimonth
ly, at $12.50 a year, It includes a
large number (70 in Jan./Feb. 71)
of reviews by subject specialists
and brief notes on the reprint
trade.
Contributions to a Short-Title
Catalogue of Canadians by Ber
nard Amtmann, is well underway.
During the past three years the
noted Canadiana dealer has been
compiling a comprehensive card
catalogue on which the new bib
liography is based. It will contain
about 45,000 separate entries com
piled from more than 80,000 titles
listed in Amtmann catalogues since
1950. Features worthy of special
mention are: 1) Indication of
corresponding values and years;
2) Tracing of author s identity in
the cases of pseudonymous works;
3) Assessment of the rarity factor
of a given item by number of
copies listed. In addition, a very
large number of items listed in this
catalogue are not elsewhere cited.
The Canadian STC is to be issued
in three bound volumes, large
quarto. Contributions to a Short-
Title Catalogue of Canadiana will
be available on a subscription
basis. Address Bernard Amtmann
Inc., 1176 Sherbrooke West, Mon
treal, Canada. We hope that the
set will be cited as STC/Can.
University of Toronto Press pub
lishes Erasmus in English, a news
letter whose purpose is to assist in
the exchange of information about
Erasmian studies, principally in
the English language, and to keep
scholars and other interested per
sons abreast of developments in
the Collected Works of Erasmus.
Each issue of the newsletter con
tains one or more original articles
on Erasmus and aspects of Eras
mian and related studies that we
hope will be of permanent interest
to the reader. The newsletter
appears at least once a year, but
more often if possible; it is dis
tributed free of charge. Address
the Collected Works of Erasmus,
University of Toronto Press, Tor
onto 181, Ontario, Canada.
FREE! On application, one year
of AJV&Q for individuals who
Reply to previously unanswered
Queries, Vols. I-V, before 31
December 1971.
June 1971
157
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky and will be con
tinued in subsequent issues.
The appearance of the first part
(A-BA) of the Repertoire des
outrages imprimes en langue itali-
enne an XV1P siecle by S. P.
Michel has provided an adequate
bibliographical guide for the se
lective microfilm edition of Italian
books from this period. This micro
film edition will supplement Eras
mus Press s microfilm edition of
Italian books before 1601, now in
its fifth year. The enormous bulk
of Italian imprints from this peri
od suggests a selection of the most
important titles. Bibliographer
Lawrence S. Thompson, professor
of classics at the University of
Kentucky, works with colleagues
in romance, history, and other hu
manistic, social science, scientific
and professional departments to
develop a representative selection.
Most important, however, is that
subscribers may request specific
titles by submission of available
bibliographical information on
them. Such requests will be in
cluded, if at all possible, in the
next year s selection. Details avail
able from Erasmus Press, 225 Cul-
pepper, Lexington, Ky 40502.
Kurt Leonhard, Dante Alighieri in
Selbstzeugnissen und Bilddoku-
menten (Reinbek bei Hamburg:
Rowohlt Taschenbuch Verlag,
1970; 189 pp.; "Rowohlts Mono-
graphien", 167; DM3.80), is a
richly illustrated documentary bi
ography of Dante. Leonhard s com
mentary is succinct and perceptive.
There is an extensive selective
bibliography.
Alain-Rene Lesage, Le diable
boiteux, texte de la deuxidme Edi
tion avec les variantes de I6dition
originale et du remaniement de
1726 (Paris and The Hague: Mou-
ton, 1970; 223 pp.; "Livre et so-
cietes", IV; Fr.84.-), edited by
Roger Laufer, is a model of schol
arly editing. There is an extensive
introduction and a full critical ap
paratus.
BOOK REVIEWS
AYRTON, Michael. The Minotaur. Lon
don: Genevieve Restaurants, December,
1970.
It is not often one reads a review of a
privately published book, for many edi
tors mistakenly believe that where a
book is not published in the normal
trade channels it is not available and
therefore not worth reviewing. Many
books fall into this category which are
worthy of review for this may well be
the only warning an incipient collector
may get of a book he would do well to
be on the lookout for in future dealers
catalogues. The Minotaur is one of these.
Another way of getting this book is to
go to the Minotaur restaurant in Lon
don, order a meal and then pester the
manager.
The Minotaur is another expression of
a theme which has tortured Michael
Ayrton to a point of obsession over many
years, and Ayrton s predicament itself is
more than superficially identified with
the struggles of the Minotaur. Though
Ayrton has wrestled with the Minotaur
for a long time and has finally thrown
him, the monster on the ground de
scribed so vividly on the last page of
this book was perhaps not so different
153
AN&Q
from Ayrton himself. It was Eric Stan
ford in a catalogue of Ayrton s sculpture
and paintings who wrote that: "The
Minotaur as seen by Ayrton is not a
terrifying monster but a tragic creature,
In him is embodied more than the
duality of man and beast that is in us
all. He is ignorant of what he is, yet
conscious of a double existence. The
tragedy is in his human awareness of his
predicament, his animal inability to
understand it, and his painful desire to
attain fully human stature* .
Ayrton himself explains this duality,
this predicament, this paradox in phys
ical terms when he describes the Mino
taur, "In contest with him it is well to
remember that although much of him
is bull, his hands and arms are those of
a man of superhuman strength. His
chest too is deep and he is not quickly
winded. He can throw a fully armoured
warrior twenty feet with a single toss
of his head and his horns will penetrate
three inches of seasoned wood. There
are however two flaws in his design
which can defeat him because he is
neither bull nor man. One is the setting
of his eyes in the great shield of bone
he wears for forehead. His eyes are set
obliquely in his malformed skull. He
cannot focus both at once upon an
object immediately in front of him. He
cannot look straight ahead, but must
turn his huge mask and glance sideways
at his objective; therefore he looks to
right or left depending upon which eye
has his target in vision. Secondly, he is
uncertain how to attack and this con
fusion is central to his condition and
gives an opponent the advantage. A bull
is equipped perfectly to fight as a bull
and a man may well be adept in battle
between men, although I am not such a
man, but the Minotaur is marvellously
made to kill in either capacity except
that he cannot decide which. His in
stincts are double and in perpetual con
flict. If he grasps his enemy in his arms
he can break him like a twig or tear him
apart, but he cannot bring his horns into
play and if he seeks to gore his victim
his arms and hands are of no use to him.
He is not humanly intelligent, but he is
also less simple than his animal nature,
so that his reflexes are not so certain as
a bull s. He is capable of enough
thought to frustrate his impulses. His
urge to murder is not a lust but his
response to the uncertainty by which, so
far as his slow brain permits, he is
tormented. To understand him is, with
luck, to defeat him and I, who am
neither athlete nor warrior, did so either
because I made quick deductions or
because I had entered his mind. I am
not sure which".
This slim, square book, beautifully
produced, is illustrated with thirteen
pen, ink, and wash drawings, many of
them studies of the Minotaur himself
which embellish the Minotaur restaurant
in London. A few of the studies are in
private collections in London, Athens,
and Buffalo, and they anticipate and
reflect many of Ayrton s sculptures
which are now widely dispersed in gal
leries throughout the world, including
California, New York, and Connecticut.
The text is a very lucid and descrip
tive account of the Minotaur written
with an intensity and precision which
not only accurately describes trie crea
ture but which also describes Ayrton s
relationship with it. The book was
printed by the Westerham Press and
bound by Mackays of Chatham. The
paper-covered boards reproduce the
maquette for the Arkville Maze 1968
which is in the collection of Annand
Erpf in New York. In the centre of this
maze are two bronzes. The maze at Ark
ville, New York, completed a year ago,
is the largest brick and stone maze built
since antiquity. In the centre are two
monumental bronzes one of Daedalus
and Icarus and one of the sad, unhappy,
bewildered monster, the Minotaur. This
was to have been the final, visual
expression of the myth which haunted
Ayrton these past fifteen years. Unfor
tunately, Ayrton was not able to throw
off the shackles quite so easily and this
book shows how the theme, like Ayrton s
other "singular obsessions" of Daedalus
and of Hector Berlioz, continues to
recur.
This book came about in an interest
ing way. Ayrton was dining in 1966 at a
new restaurant in London called The
Minotaur. Food and wine were excellent
but the symbolic bull s head on the
menu cover annoyed him. He wrote a
note to the proprietor, "Your food and
June 1971
159
wine are excellent your minotaurs are
not *. He pointed out to the proprietor
that the horns of the Minotaur were
back-to-front. The owner having re
ceived the note, invited Ayrton and his
wife to dinner and explained that when
ha had bought the restaurant it had
been called The Shorthorn and the
crockery and cutlery all bore this little
symbol of a shorthorn s head. He
wanted to change the name of the
restaurant but not to discard the mer
chandise so he called it The Minotaur.
He concluded by saying to Ayrton,
"You are a sculptor of Minotaurs. I
would like some of your drawings and
sculpture for my restaurant".
And so began a working relationship
which lasted for four years and pro
duced more drawings and studies on
Ayrton s theme which was also now the
theme of the restaurant proprietor.
Those patrons who wine and dine sur
rounded by these drawings and bronzes
have over the years asked numerous
questions on many occasions. To save
repeated explanations and as a memento,
this book was born but it does more
than answer questions and evoke memo
ries. It extends what has now become a
personal mythology which has over
flowed into sculpture, painting and
drawing, collage, reliefs in bronze and
wax, paintings in oil and acrylic, book
illustration, and writing. Many will know
Ayrton s The Testament of Daedalus
(Methuen, 1962) and The Maze Maker
(London: Longmans Green, 1967; and
Holt, Reinhardt and Winston, 1967),
which was reissued in paperback by
Bantam Books in 1969. Many will also
know of Ayrton s exhibitions at the
Main Street Gallery, Chicago, 1960; the
James Goodman Gallery, Buffalo, 1965;
Vincent Price Gallery, Chicago, 1967
and 1969; and the Esther Bear Gallery,
Santa Barbara, 1968. This book, The
Minotaur, is yet another extension of all
this. The Minotaur is one of three
figures which in Ayrton s work are
closely related to the Icarus theme: a
Sentinel deriving from Tabs, the armed
guardian of Crete (in Ayrton s mind a
tranquil, stupid, comforting presence
without brains or arms but suggesting
power); the Oracle which originates for
Ayrton in the heart of the rock of the
Acropolis of Cumae and the Temple of
Apollo on its summit; and the Minotaur,
Ayrton admits in a note Work in
Progress, 1962, that he is on dangerous
ground, for he is following in part at
least, a line of development marked out
by Picasso. Nevertheless, Ayrton s is the
greater, more personal, more articulate
development. He sees the Minotaur as a
brainless, bewildered creature, a mon
strous sacrifice, powerful and yet help
less. Those who are fortunate enough to
come by a copy of this book will have
in it the essence of Ayrton s fifteen
years of creative development. Rig-
by Graham, Leicester, England
BEATY, Nancy Lee. The Craft of Dying:
a Study in the Literary Tradition of the
"Ars Moriendi in England. New Haven:
Yale University Press, 1970. $10.
The book collector is very much
aware of the block books entitled Ars
Moriendi which appeared in the early
decades of the 15th century. The present
work deals not with the block books but
with a larger work entitled Tractatus or
Speculum Artis Eerie Moriendi. This
work, produced anonymously, possibly
between 1414 and 1418, preceded the
block books. The makers of the block
books abstracted certain themes from
the Tractatus and gave them dramatic
representation in woodcut form. In the
work before us, Dr Nancy Lee Beaty
attempts to show how the Tractatus was
the first publication of a minor genre of
devotional books, called on the continent
Ars Moriendi and first translated into
English as the Crafte of Dying Well,
and how this developed in England
through four antecedent types to the
perfection of Jeremy Taylor s Holy
Dying of 1651.
Dr Beaty s method is to open her
discussion of each type of Craft with a
general statement, placing each work in
its own context. She then proceeds to
very exact exegetical analysis of the
texts, seeking out precedents, describing
ideas in terms of their origins and
originality, their actual meaning, an$
their utility in the face of the problems
of approaching death, of adjustment tc
160
AN&Q
its coming and of dying itself. She
spends much time and effort in identify
ing and describing literary merits and
evaluating their importance in creating a
useful Craft*. From her study of each
text she seeks to show its contribution to
the evolution of the whole Craft idea.
Her five chapters represent five stages
in a progression, and the summation in
each of her first four chapters is a dis
cussion of what has been accomplished
by the writer in the path to the perfec
tion of Taylor s work. She also notes
inherent inconsistencies that undermine
the long term values of each stance she
has examined.
Dr Beaty s attention is first directed
to an English translation of the Tractatus
which appeared under the title The
Boke of the Crafte of Dy tnge. Her
analysis reveals that the major source of
the Latin work was Jean de Gerson s
chapter entitled Ars Moriendi* in his
Opusculum Tripartitum. To this was
added much common medieval material
and all was worked together into an
essentially new literary form, without
precedent. The orientation of the Crafte
of Dyinge is on the dying person,
Moriens, and his last trials, with fifth
and sixth chapters of a general liturgical
character. At the end Moriens 5 friends
give him the sort of assistance in his
passage to death which was felt to be of
the greatest value in that liturgical era.
The author finds some basic components
of the matured Craft 1 in this work, but
ultimately regards it as a poor thing*.
The competent and precise study
devoted to the Crafte deserts our author
in her discussion of the late medieval
period as one of complete degeneracy.
She appears as an over-enthusiastic
disciple of Huizinga. Her study of the
Craft* is to be in its English form, but
here she discusses its background on a
continental basis, generalizing the Euro
pean situation to apply to England. It
seems a little strange that no mention is
made of William Caxton s translation of
the Ars Moriendi from the French in
this background discussion.
The second stage of Dr Beaty s devel
opment of the Craft of Dying genre is
found in Thomas Lupset s Waye of
Dying Well (1534). In J. A. Gee s
modern text, Lupset s work covers
twenty-five pages. Dr Beaty subjects it
to an exegetical study that runs to fifty-
four pages, devoted often to topics and
explanations of which the original author
must have been quite innocent. The sub
stance of her conclusions is that Lupset
attempted to unite classical and Christian
views of dying and methods of dealing
with it, that he opened his effort with
some success, but that his position was
full of inherent contradictions which he
either did not grasp or which he was not
able to manage. Lupset s work is viewed
as a humanist and Renaissance effort to
create a Craft" and its long term value
was to identify and develop some of the
components of ancient thinking and
literary expression which would be use
ful in creating such a Craft .
Dr Beaty s third chapter carries the
story to 1561 and seeks to describe a
Craft* originating in the new Protestant
thinking which she insists upon calling
Calvinistic , much too early for English
development. Her study is devoted to
Thomas Becon s highly popular and
often printed Sicke Marines Salve (STC
1757-1773, 1561-1632) which she deems
typical. In a footnote at the bottom of
page 110 she agrees with Becon s mod
ern biographer, D. S. Bailey, not to call
her author Calvmist but is unable to
restrain herself several times from
virtually doing so. After complex exege
sis of Becon s work with respect to its
origins, which embraces both Christian
elements in the reforming pattern and
humanistic elements, she concludes that
it has a vital message for the elect , for
those assured of salvation, that it does
not do much for the dying who have not
lived so as to give themselves assurance,
and it is worthless for the clearly sinful.
She finds its real inadequacy in this
inability to help Everyman as he faces
death. It is passing strange that Dr
Beaty dogmatizes upon Becon s thought
with only one work under consideration.
D. S.^ Bailey distinguishes sixty-nine
works of Becon, many of a character
to include consideration of dying well.
The fourth stage in the development
of an English Craft of Dying is found
by Dr Beaty in Edmund Bunny s adap
tation of Robert Parson s First Book of
Christian Exercise to the Protestantism
of the English of the late 16th century.
June 1970
161
The Jesuit missionary, Parsons, had
adopted a meditative technique from St,
Ignatius Loyola, and the Calvinist
Bunny took this over, revising the
Christian Exercise by removing the doc
trinal errors as he understood them. His
revision was entitled The First Booke of
the Christian Exercise, Appertayning to
Resolution (1584). Dr Beaty finds in
an exhaustive analysis, that this tech
nique provided great opportunities for
the utilization of literary devices to
assist Moriens in facing his problem and
adjusting to it. This approach was lack
ing in his predecessors but taken up very
strongly by Jeremy Taylor. As utilized by
Parsons and Bunny, Dr Beaty finds it
too concentrated, too little concerned
with the overall problem and living and
dying well. Taylor corrected this.
Dr Beaty s final chapter is devoted to
an analysis of Taylor s Holy Dying.
Here she seeks to show how all Taylor s
predecessors had prepared the way for
him and how he, building upon them,
had far exceeded them in producing the
final Craft of Dying . She justifies her
position in seventy-five pages of close
discussion.
This has been a difficult book to read
and to review. After all of Dr Beaty s
analyses and rationalizations, one won
ders about the validity of her general
thesis concerning the development of a
Craft of Dying through the successive
stages she attempts to define and her
judgment that Taylor s work is the end
product of this story. Was Taylor s Holy
Dying actually the resultant of the kinds
of works Dr Beaty has been discussing?
Or was it the creation of a mind operat
ing in a larger context than the Craft of
Dying genre alone and bringing its in
sights from general culture to the pro
duction of a work of this kind? One
questions the author s insistent tabbing
of ideas, this was medieval, this Calvin
ist, this Counter-reformation, etc. Does
she not try too hard and too often to
give a specific antecedent to the ideas
she is discussing? One feels a certain
dogmatism in this work. There is the
ready ease with which Dr Beaty desig
nates ideas as cliches , as lioary*, as old-
fashioned and so forth rather arbitrarily
and without intellectual content, and
one wonders why one idea was selected
for such characterization when it would
equally well apply to another. At times
there is an unpleasant aura of conde
scension to the ideas being discussed,
especially in the ambivalent attitude
toward the original Ars Moriendi, and in
the discussion of the later middle ages.
In laying down this book one feels
that one has wrestled with much hard
thinking and has encountered many
sound insights, both ideal and literary,
but remains quite unconvinced of the
general thesis. Niels H. Sonne,
General Theological Seminary, N.Y.C.
PUBLICATIONS RECEIVED
(Continued from p. 146)
Secor, Robert. The Rhetoric of Shifting
Perspectives: Conrad s "Victory".
(Pennsylvania State University Studies,
No. 32). 75pp. University Park:
Pennsylvania State University, 1971.
Paper, $2.50; $3 outside U.S.A.
Sex Book, The: a Modern Pictorial
Encyclopedia, by Martin Goldstein &
Erwin J. Haeberle. Photos by Will
McBride. 208pp. N.Y.: Herder &
Herder, 1971. $9.95.
Smith, Charles John. Synonyms Discrim
inated: a Dictionary of Synonymous
Words in the English Language. Ed.
by H. Percy Smith. (N.Y., 1903).
781pp. Detroit: Gale Research Co.,
1970. $14.50
Tonson 9 Jacob, Kit-Cat Publisher, by
Kathleen M. Lynch. Illus. 241pp.
Rnoxville: University of Tennessee
Press, 1971. $9.75
Vaughan, Beatrice. The Ladies Aid Cook
Book. Illus. by John Devaney. 186pp.
Bratdeboro, Vt.: The Stephen Greene
Press, 1971. $6.95
Warren, Robert Perm. John Greenleaf
Whittiers Poetry: an Appraisal and a
Selection. 208pp. Minneapolis: Univer
sity of Minnesota Press, 1971. $8.95
Wasson, R. Gordon, Soma., Divine Mush
room of Immortality. (Ethno-myco-
logical Studies, No. 1). Illus., incl.
Color Plates. 381pp. N.Y.: Harcourt,
Brace, Jovanovich, 1971. $15.
162
AN&Q
ANNUAL CUMULATED INDEX
Volume IX September 1970 - June 1971
Notes (n); Queries (q); Replies (r)
"ACton and the C. M. H. 123
Albert, Burton, jr: Note . 148
Aldhelm, Bede on (n) 147
America, Makers of 141
American Historical Catalog Col
lection (series) 155
American imprints, medical (q) . - 41
Amtmann s Canadian STC 76, 156
Apocatastasis of Hamlet s Ghost
(r) 57,89
Ardennes, Forest of the, in Shake
speare (n) 84
Argentine Literature, Research
Guide to (Foster) ^ 138
Arithmetic riddle: "Libussa-Riddle"
and Carlyle s answer (n) 133
"Astrakis" or "strakis" (q) 8
Audubon folio, missing plates (q) 87
Austin s Early American Medical
Imprints (q) 41
"B R/30" monogram (q) 135
Bartlett, John Russell, papers of . 77
Bates, G. E. (q) 74
BecMord Latin quotation (q) .. . 74
Bede on Aldhelm (n) 147
Bedford (NX.) Historical Records
(Doe) 60
Beethoven Autograph Miscellany .... 59
Bible Belt (r) 57
Bibliographical Notes:
Cordasco, "The Reprinting of
Junius" 143
Korshin, "On Locating Literary
Manuscripts" 110
Bibliographies:
Cholakian, William P. Shepard
Collection of Provencalia 137
Contribution to a Short-Title Cata
logue of Canadiana 76
Foster, Research Guide to Argen
tine Literature 138
HaU, Printed Books, 1481-1900,
in the Library of the Horticul
tural Society of N.Y 91
Miller, The Negro in America ... 106
Proof: the Yearbook of American
Bibliographical and Textual
Studies 124
Birmingham, John, cited 126
Bishops of Chalons (r) 122
Black bird of The Maltese Falcon
(q) 88
Black poetry 10
"Blow one s nails" (q) 24
Book goffering see Goffering
Books reviewed or noted
American Historical Catalog Col
lection (series) 155
AmtmamYs Canadian STC .. 76, 156
Ayr ton, The Minotaur (Graham) 157
Beatty, The Craft of Dying
(Sonne) 159
Bedford (NX.) Historical Records 60
Beethoven Autograph Miscellany 59
Brody, The English Mummers and
Their Plays (Rowland) 109
Canadian Notes & Queries (peri
odical) 26
Carney, Biography of C. Marius 156
Cholakian, William P. Shepard
Collection of Provencalia ( Ash ) 137
Collection of Catches, Canons, &
Glees 10
Comadiana (periodical) 28
Contributions to a Short-Title
Catalogue of Canadiana ... 76, 156
Crozier, The Novels of Harriet
Beecher Stowe (Noble) 61
Dahl, After the Revolution? (Bir
mingham) 124
Daniels, A Southerner Discovers
the South (1938) (Noble) .... 141
Denhardt, The King Ranch Quar
ter Horses (Wells) 126
Doe, ed. Bedford Historical Rec
ords (Gregory) 60
Episcopal Year, 1969 10
Erdmann, Seven Hundred Years
of Oriental Carpets (Ash) 78
Farnham, Tool Collectors Hand
book 26
Foster, Research Guide to Argen
tine Literature 138
Freelancer s Newsletter (periodi
cal) 59
Hacettepe Bulletin of Social Sci
ences (periodical) 27
June 1971
Hall, Printed Books: 1481-1900,
in the Horticultural Society of
New Yorfc 91
Harvey, The Money Diggers 59
Irving, Mahomet and His Suc
cessors *8
Kellogg, A Doctor at All Hours 26
Lee, Don t Cry, Scream 10
Letters of Junius (Cordasco) 143
Literary Sketches (periodical) .... 59
Lyrica Germanica (periodical) .. 138
McGraw-Hill Encyclopedia of Sci
ence and Technology (Gib
bons/Ash) 93
Makers of America (Gibbons) .... 141
Miles, Style and Proportion (Reed) 79
Miller, The Negro in America: a
Bibliography (Odell) 106
Mjelde, "Glory of the Seas 27
Morse, John Sloans Prints (Walk
er) 44
Mullin, The Development of the
Playhouse (Stoddard) 30
O Malley, The History of Medical
Education (Davis) 94
Pepys Diary (Ash) 29
Private Press Books, 1969 137
Proof (periodical) 124
Religious Periodicals Index
(Sonne) -^ 108
Rowland, Companion to Chaucer
Studies; index available 91
Shattuck, The Hamlet of Edwin
Booth (Stoddard) 12
Sparrow, Visible Words (White) 13
STC of Canadiana 76, 156
Strong, The English Icon: Eliza
bethan & Jacobean Portraiture
(Ash) .. T 77
Vogler, An Oliver Twist Exhibi-
163
Brenner, Gustav (q) I 35
Buchanan and Panamanian Consti-
tution (n) 151
Buried treasure in Vermont ..-
Butler, Samuel, quotation (r) 88, 154
CabelTs Taboo in Literature (r) .... 104
Cambridge Modern History and
Acton vr; 123
"Camel through a needles eye
tton
27
Walsh, Frank K. Indian Battles
of the Lower Rogue 90
Williams, Sing a Sad Song
(Butler) 62
Women - To, By, Of, For, and
About (periodical) 90
Yount, Bottle Collectors Hand
book and Pricing Guide 91
Bookplates: "They did not seem like
books to him . . " (q) i34
Booktrade ethics and reprints 156
Booth, Edwin, The Hamlet of
(Shattuck) I 2
Bottle Collectors Handbook (Yount) 90
"Bottle-Imp", genealogy of Steven-
(q)
121
Canadian Notes & Queries 26
Canadiana, Contributions to a Short-
Title Catalogue of 76, 156
Carlyle s Answer to the "Libussa-
Riddle" (n) 133
Carpets, Oriental, Seven Hundred
years of (Erdmann) 78
Castration, night of the King s (q)
24; (r) 1 5
Catalogs, American, historical trade 155
Catch Club o London 10
Cellar doors in Philadelphia, 1767
(q) 87
Cemetery, Mount Aubiirn (q) 87
Chalons, Bishops of (r) 122
Chancery, Court of 137
Chaucer Studies, Companion to
(Rowland); index available 91
Chaucer s Merchant s Tale (n) 71
Chaucer s Wife of Bath (n) 71
"Chevy Chase" and Richard Sheale
(n)
115
"The Childrens Threes" (n) 83
Clarke, Robert A. "OK" (n) 54
Cleveland s "A Dialogue Between
Two Zealots" (n) 83
Cochrane, Dr John (q) 74
Conradiana 27
Cook-Peary controversy (q) . - 56
Coronet, Lears (n) 99
Court of Chancery 137
Craft of Dying (Beatty) - 159
Crawford, F. Marion, and the Evil
Eye (n) 1 3
cummings , "Nobody Loses All the
Time" (n) H 9
"Curtain lecture" (q) 41; (r) .. . . 122
"Cut the mustard" (q) I 53
"D.A."? (q) 87
Daniels, Edgar F.: Note 1
Davis, William V.: Note 119
Delany, Paul: Note 6
Dickens Bleak House 137
Dickens Oliver Twist Exhibition .... 27
Dickinson, Emily, to Philip Roth
(n)
150
son s (n)
67 Disinterments of famous persons (q) 122
164
AN&Q
Dogs, Greyhound (q) 7
Donne s Anniversaries (n) 118
Donne s "Holy Sonnet V" (n) 6
Dowd, David, cited 106
Dundrennan, Lord, his library (q) 87
Dying, Craft of (Beatty) 159
Eckleburg, Dr T. J., eyes of (n) 20;
(r) 88
Edwards, Jonathan (n) 6
English Mummers and Their Plays
(Brody) 109
English portraiture (Strong) <
Erasmus* De Copia and Geoffrey of
Vinsauf (n) 38
Erasmus in English 156
Eskimo finger rings (q) 153
Evil Eye and F. Marion Crawford
(n) 103
Eyes of Dr T. J. Eckleburg (n) 20;
(r) 88
Faber, M. D.: Note 35
Faulkner s The Bear (n) 102
Ferris, Sumner J.: Note 72
Fevers attributed to eating fruit
(q) 56; (r) 136
Finger rings, Eskimo (q) 153
Fitzgerald and Eckleburg s eyes (n)
20; (r) 88
Flags, quarantine (q) 56
". . . Fly in the ointment" (q) . . 8
Franklin, Benjamin, cited (q) 87
Freedley, George, Memorial Award
12, 155
Freelancer s Newsletter (periodical) 59
French Revolution pamphlets 106
Fruit, fevers attributed to eating
(q) 56; (r) 136
Fuller, Henry Blake, typescript (q) 134
Furniture and Poe (r) 42
Gallo, Ernest: Note 38
Garlick, H. F,: Note 133
Garrow, Scott: Note 22
Gauffering see Goffering
Genevieve Restaurants, London ... 157
Geoffrey of Vinsauf and Erasmus
De Copia (n) 38
German Lyric Poetry: Lyrica Ger-
manica (periodical) 138
Giffin, David A.: Notes 23; 84
Gilman, James Franklin (q) 135
"Gin Work" and "Jim Work" (q) 120
Glacier, largest non-polar (q) 7;
(r) 42, 89, 105
"Glory of the Seas" (Mjelde) 27
Goffering (q) 56; (r) 136; 154
Golden Fleece, Order of the (r) .... 25
"Golfer s prayer" (r) 42
Gordon, Charles George (q) 7
Greyhound dogs (q) 7
Grimm Brothers, cited (n) 68
Grimmelshausen, H. J. C. von, cited
(n) 68
Grub-Street Journal (n) 3
Gun salutes (q) 56
Hammett s black bird in The Mal
tese Falcon (q) 88
Hawthorne s Blithedale Romance
(n) 72
Helicon Home Colony and Upton
Sinclair (r) 75
Hesse, Herman, cited (q) 104
"Hind teat, suck the" (r) 42; 58
Hesse (Hessen or Hassen), Hans
(q) 135
Historiography: "Acton and the
C.M.H" 123
"Hobby, to ride a" (q) 87
Holman, Harriet R.: Note .... 103, 151
Horses, Quarter, The King Ranch
(Denhardt) 126
Horticultural Society of New Yorfc,
Printed Books: 1481-1900, in the
(Hall) 91
"In things certain Unity" (r) .... 9
Indian, East; Sehre poetry 76
Indian Battles of the Lower Rogue
(Walsh) 90
Inscriptions In and As Books and
Works of Art: Visible Words
(Sparrow) 13
Irving, Washington, (his) drawing
teacher (n) 148
Jenkins, V. Clement (q) 7
"Jesus H. Christ" (q) 104
"Jim Work" and "Gin Work" (q) 120
Johnson, Richard: Note 20; (r) .... 88
Junius, Letters of (review) 143
Kay, Donald: Note 73
Kelly, Ed: Note 39
Kenney, Blair G.: Note 151
Kenney, Mrs David J.: Note 54
King Ranch Quarter Horses (Den
hardt) 126
King s castration, night of the (q)
24; (r) 105
Kirtley, Bacil F.: Note 67
Korshin, Paul J.: Bibliographical
Note HO
Kratter, Henricus (q) 122
La Motte-Fouque, cited (n) 67
Lai Sharma, Mohan, cited 76
Largest non-polar glacier (q) 7;
(r) 42, 89, 105
"Law, This is the, . . ." (q) 135
June 1971
165
Leonid Shower of 1833 in Faulkner
(n) .............................................. 102
"Libussa-Riddle" and Carlyle s an
swer (n) ...................................... I 33
"Literary Manuscripts, On Locat
ing" (Korshin) ............................ 110
Literary Sketches (periodical) ........ 59
Lodge, Thomas, cited (n) ............ 85
Levering, Virginia E.: Note .......... 134
Lyrica Germanica (periodical) ..... 138
Mackintosh, Newton (q) ........... 74
Mahomet and His Successors
(Irving) .... ................................. f
Mahony, P.: Note ............ .......... ...... 118
Maitland, Sir Frederic, cited (q) .... 104
Maitland, Thomas; Lord Dundren-
nan, his library (q) ................... 7
Makers of America (set) ................ 141
Manuscript Microfilm Project, Mo
nastic
27
"Manuscripts, Literary, On Locat
ing" (Korshin) ................ ; . ......... HO
Marchetti s case of the pig s tail
(q) 41; (r) ................................. 123
Mathews, Cornelius, cited (n) ....... 86
May, Steven W.: Note .................. 115
Means, James A.: Note ................ 56
Medical Americana, imprints (q) - 41
Medical Education, The History of
(O Malley) ................................... 94
Melville s Billy Budd (n) ............ 151
Melville s Moby-Dick (n) ............ 6
Mencken, H. L., cited (r) ............ 57
Meteor shower of 1833 in Faulkner
(n)
102
Meteorlythisis, De (1825) (q) 122
Milton and the Serpent (q) 74
Minotaur, The (Ayrton) 157
Minter, Bernice, poet (q) 24
Mississippi meteor shower in Faulk
ner (n) 102
Moby-Dick: Scriptural Source of
"Blackness of Darkness" (n) 6
Monastic Manuscript Microfilm
Project 27
Monogram "BR/30" (q) 135
Monroe, James, portrait (n) 134
Montaigne quotation? (q) 121
More, Cresacre, mss of Thomas
More (q) i52
More, Thomas, mss by Cresacre
More (q) &*
Morris, J. W. (q) 74
Mount Auburn Cemetery (q) 87
Mourning dress, white as (q) 56;
( r ) 136; 154
Mummers, English, and Their flays
(Brody) 1 9
"Mustard, To cut the" (q) 153
Mystery organist [poem] (q) . .-104
"Nails, Blow one s" (q) -.- 24
Negro in America: a Bibliography
(Miller) 1 6
Negro poetry see Black poetry
Nelson, Malcolm A.: Note 10
Night of the King s castration (q)
24; (r) 1 5
Noble, Donald R.: Note 150
"Now with the drops of this most
Yknarc time . . ." (r) 88, 154
"Ointment in my little pot of flies"
(q) 8
"OK": Robert A. Clarke (n) 54
Oldest profession, prostitution, the
(r) 9
Oliver Twist Exhibition 27
Order of the Golden Fleece (r) 25
Oregon s Indian battles of the Low
er Rogue (Walsh) 90
Organist, mystery [poem] (q) 104
Oriental Carpets, Seven Hundred
Years of (Erdmann) 78
Page, Thomas Nelson, cited (n) 103;
(n) 151
Palm tree in the Forest of Arden
(n) 84
Panamanian Constitution and U.S.
intervention (n) 151
Paper in the 17th Century (n) . ..131
Peake, R. B., cited (n) 67
Peary-Cook controversy (q) 56
Pepys, Samuel, Diary of 29
Philadelphia cellar doors, 1767 (q) 87
Pig s tail, Marchetti s case of the
(q)41; (r) 123
Playhouse, Development of the
(Mullin) 30
Poe on furniture (r) 42
Poe s "The Raven" (n) 85
Poetry, East Indian Sehre 76
Poetry, German: Lyrica Germanica
(periodical) I 38
Pope, Alexander (n) 3
Pope, Alexander, portrait (q) 121
Pope anecdote (n) 55
Portola, Caspar de (r) 75
Portraiture, English (Strong) 77
Press Books, Private, 1969 137
Presses, Private, exhibition, Hert
fordshire, 1970 1
Printing Historical Society, Journal
of the 91
Private Press Books, 1969 137
Private Presses exhibition, Hertford
shire, 1970 1
166
AN&Q
Proof (periodical) 124
Prostitution the oldest profession (r) 9
Provengatia, William P. Shepard
Collection of (Cholakian) 137
Pun on "strumpet" in Shakespeare
(n) 133
Quarantine flags (q) 56
Quarter Horses, King Ranch (Den-
hardt) 126
Quotations:
"Blow ones nails" (q) v 24
"Camel through a needle s eye"
(q) " : 121
"Et circum irriguo surgebant lilia
prato..."(q) 74
". , . Fly in the ointment" (q) ... 8
"Golfer s prayer* (r) 42
"In things certain - Unity" (r) 9
"Jesus H. Christ" (q) 104
"Mustard, To cut the" (q) 153
"Now with the drops of this most
Yknarc time . . ." (r) .... 88, 154
". . . Ointment in my little pot of
flies" (q) 8
"A seamless web" (q) 104
"Sore as a pup" (q) 41; (r) 135
"Suck the hind teat" (r) .... 42; 58
"There is some good in the upper
class , . ." (q) 104
"They did not seem like books
to him . . ." (q) 134
"This is the law . . ." (q) 135
"To cut the mustard" (q) 153
"To ride a hobby" (q) 87
"To travel hopefully is a better
thing than to arrive" (q) .... 121
"Twixt heaven and hell" (r) .... 75
"Whistling in the dark" (q) 24;
(r) 89
"Wrong end of the stick" (r) .... 58
"You can believe it!" (r) 9
"Raven, The", Poe s source for (n) 85
Red sheep, big, in Candide (n) .... 39
Religious Periodicals Index 108
Reprint books, ethics of trade 156
Reprint Bulletin 156
Reprint commentary: "The Reprint
ing of Junius" (Cordasco) 143
Restaurants, Genevieve (London) ..157
Resurrected bodies (q) 122
Riddle: "Libussa-Riddle" and Car-
lyle s answer (n) 133
"Ride a hobby" (q) 87
Rings, Finger, Eskimo (q) 153
Robertson, Alexander: Irving s
Drawing Teacher (n) 148
Robertson, Archibald (n) 148
Rogers, Bruce, monogram? (q) .... 135
Rogers, Pat: Note 3
"Romance" in The Blithedak Ro
mance (n) 72
Roth, Philip, title from Dickinson
(n) 150
Rounds, Emma (q) 74
"Sailor s Valentine" (q) 152
Salutes, gun (q) 56
Sannazarius, Opera Omnia, 1549
Dundrennan copy (q) 87
Satan and Serpent in Milton (q) .... 74
Science and Technology, McGraw-
Hill Encyclopedia of 93
"Seamless web" (q) 104
Sedan fire (q) 104
Sehre-Shiksha (poetry training for
newly-weds) 76
Serpent and Satan in Milton (q) .... 74
Shakespeare s As You Like It (n) 23; 84
Shakespeare s Hamlet (Shattuck) .. 12
Shakespeare s Hamlet s Ghost s
apocatastasis (r) 57, 89
Shakespeare s King Lear (n) 99
Shakespeare s Othello (n) 35; 133
Shakespeare s Troilus and Cressida
(n) 133
Shakespearean pun on "strumpet"
(n) 133
Sharma, Mohan Lai, cited 76
Shaw, G. B,, on Whitman (q) 122
"She" and "Shee" in Donne s An
niversaries (n) 118
Sheale, Richard, and the Ballad of
"Chevy Chase" (n) 115
Sheep, big red, in Candide (n) .... 39
Shepard, Douglas H.: Note 131
Sidney, Mary, (her) ". . . Two
Shepherds" (n) 100
Sinclair, Upton, and the Helicon
Home Colony (r) 75
Sloan, John, Prints of (Morse) 45
Smith, Richard John "Obi", cited
(n) 67
"Sore as a pup" (q) 41; (r) 135
South, The; A Southerner Discovers
(Daniels) 141
Spann, Othmar & Erika (q) 74
STC of Canadiana 76, 156
Stein, Allen F.: Note 85
Steinbeck, John, questions about (q)
56; (r) 155
Stevenson quotation? (q) 121
Stevenson s "Bottle Imp" (n) 67
Stoddard, Richard: Note 55
Stowe, Harriet Beecher, The Novels
of (Crozier) 61
"Strakis" or "astrakis" (q) 8
"Suck the hind teat" (r) 42; 58
June 1971
167
Szarmach, Paul E.: Note 147
"Tale of a Tub" source (r) . . . 8
Tarr, Rodger L,: Note 133
"There is some good in the upper
class . . " (q) 104
"They did not seem like books to
him . . ." (q) 134
"This is the law . . ." (q) 135
Thomson, James: an Unnoticed Con
tribution (n) 3
"To travel hopefully is a better thing
than to arrive" (q) 121
Tool Collectors Handbook (Farn-
ham) 26
Tottel s Miscelkny, cited (n) . . 73
"Tower of London", Artemus
Ward s (n) 22
Trade catalog reproductions series .. 155
Trollope s theology (n) 51
"Twixt heaven and hell" (r) 75
U.S. intervention in Panamanian
Constitution (n) 151
"Upper class, There is some good in
tibe" (q) 104
"Valentine, Sailor s" (q) 152
Vaughan s "Regeneration" (n) 19
Vermont painter, J. F. Gilman (q) 135
Vermont s buried treasure 59
Voltaire s Candide (n) 39
"Wades Boot": Canterbury Tales
(n) 71
Waller, G. F.: Note 100
Ward, Artemus, "Tower of London"
(n) 22
Werge, Thomas: Note 6
Washington, George, papers of (q) 7
"Whistling in the dark" (q) 24;
(r) 89
White, John: Note 72
White as mourning dress (q) 56;
(r) 136; 154
Whitman as heretic? (q) 153
Whitman commented on by G. B.
Shaw (q) 122
Whitman portrait (n) 134
Williams, George Walton: Note .... 99
Williams, Hank; Sing a Sad Song,
The Life of (Williams) 62
Williams, Stanley T. (n) 148
Williams, William P.: Note 83
Wofford College Library Press 110
Women - To, By, Of, For, and
About (periodical) 90
Woolf, Leonard, cited (q) 121
"Wrong end of the stick" (r) 58
Wyatt s "Dyvers Dothe Use" (n) 73
"You can believe it!" (r) 9
AMERICAN NOTES & QUERIES
Volume X Number 1
September 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES & READING
RECENT FOREIGN REFERENCE BOOKS
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Clarke, Adam. A Bibliographical Dic
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
TWO MORE UNPUBLISHED
WHITMAN LETTERS
BECAUSE OF THE THOROUGHNESS of
the search for Walt Whitman let
ters for their publication in Pro
fessor Edwin Haviland Miller s
admirable edition of The Corre
spondence of Walt Whitman (N.Y.,
1961-1969) in five volumes as part
of New York University Press s
Collected Writings, it is not ex
pected that many unpublished let
ters by the poet will turn up. Those
that do, such as the following two
from the Feinberg Collection, now
in the Library of Congress, are
thus both rare and important. In
printing them here, I am following
the numbering system used by Mr
Miller in his Addenda, Vol. 5:
1484,1 To John H. Johnston
ADDRESS: J H Johnston / Jewel
er / 150 Bowery Cor: Broome /
New York City. POSTMARKS:
Camden / Feb / [?] / 87;
[others illegible].
328 Mickle Street
Camden New Jersey
Sunday Noon
Feb 12 87
Still here in the land of the living in
pretty good heart most of the time, &
comfortable enough, but horribly crip
pled & banged up Spirit moved me
to write you a line & send my love to
Alma and Al and all I am just going
out for an hour s midday drive.
Wak Whitman
Johnston was one of Whitman s
very good friends, whom he often
stayed with in New York; Alma
was his wife, and Alfbert] their
son. Whitman s remark that he was
^horribly crippled & banged up"
is an exaggeration; for, while he
never fully recovered from his
stroke in 1873, he did go to Color
ado in 1879, Ontario in 1880, Bos
ton in 1881; and give his Lincoln
lecture four times in 1886. Further,
Professor Gay Wilson Allen (A Soli
tary Singer, N.Y., 1967, p. 526)
says, "On the whole 1887 was per
haps the most satisfying year that
Whitman had had since coming to
Camden" after his stroke.
2572.1 To Dr. John Johnston
ADDRESS: Dr Johnston / 54
Manchester road / Bolton Lan
cashire / England. POSTMARKS:
Camden, N. J. / Jun 23 /
8 PM / 91; Philadelphia, Pa. /
Jim 23 / 11 PM / Paid.
Camden N J U S America
June 23 91 - Tolerably fairly - (free
fm mark d pain or bother.) blcfast
of raspberries b d & coffee warm
weather Dr Bucke leaves here July 8
in the SS Britannic look out for July
Lippincott s (I will send you one, to
make sure) H T well & flourishing
Warry ditto Wallace s and W Dixon s
good letters, rec d My love to both
Walt Whitman
Dr John Johnston, to whom the
letter was addressed, and J. W.
Wallace, mentioned near the end
of the letter, were the founders of
"Bolton College", a humorous
name they gave to a group in
Bolton, England, who met and
discussed Leaves of Grass. They
visited Whitman in Camden in
1890 and 1891 and later wrote
AN&Q
a delightful book, Visits to Walt
Whitman in 1890-1891 (London,
1917). Dr Richard Maurice Bucke,
one of the greatest admirers and
later one of Whitman s literary
executors, with Horace Trauhel
(the "H T" mentioned in this let
ter), was going to Europe on a
business trip to establish a foreign
market for his water meter. By
"July Lippincotfs" Whitman must
refer to a short prose piece he
wrote, "Walt Whitman s Last",
which actually appeared in the
August 1891 Lippincotfs Magazine
(Vol. 48, p. 256). "Warry" is short
for Warren Fritzinger, Whitman s
male nurse at that time (his pic
ture is in The Correspondence, Vol.
5, opp. p. 212); and "W Dixon" is
Wentworth Dixon, another mem
ber of "Bolton College". The "good
letters" from Wallace and Dixon
are now in the Feinberg Collection,
and it is to Mr Charles E. Feinberg
that I am indebted for copies of
the two letters here published for
the first time.
William White
Wayne State University, Detroit
"Notes" in the October issue
will consist exclusively of a re
view of Evald Rink s Printing in
Delaware, 1761-1800: a Check
list, by Philip J. Weimerskirch,
The review lists < SL few addi
tions, a few added copies, a few
secondary sources containing
good descriptions, and a few
differences of opinion concern
ing format".
SPENSER AND THE
NEW TESTAMENT
STUDENTS OF SPENSER S BIBLICAL al
lusions have repeatedly grappled
with the problem of which version
of the Bible Spenser used. Differ
ent authorities have credited him
with using all three main versions
of his day, the Great Bible, 1 the
Geneva, 2 and the Bishops , 3 but
the problem remains unresolved.
What seems to be a promising
clue is provided in a discussion of
Shakespeare s use of the Bible.
Richmond Noble writes:
The policy of Queen Elizabeth as to
English Bibles was one of non-inter
ference. Bibles were to be allowed to
circulate, but it was none of the Queen s
concern to promote the circulation, be
yond providing that every parish church
was to own a copy and every Master
of Arts a New Testament. Otherwise
everybody could do as he pleased. 4
Since Spenser obtained his Master
of Arts at Cambridge in 1576, the
above requirement seems to have
been completely overlooked by
those who have dealt with the
problem.
A little searching, however, in
dicates that Noble errs as to the
Queen s edict. In 1559 there ap
peared Iniunctions giuen by the
Queenes Maiestie. 5 Injunction 16
states, in part:
Also that euerye Parson, Vicar, Curate,
and stipendarie Priest, being vnder the
degree of a maister of Arte, shall prouide
& haue of his owne within three monethes
after this visitation, the newe Testament
both in Latine and in English. . . . And
the Bishoppes and other Ordinaries . . .
shall examine the said ecclesiasticall Far-
sons, how they haue profited in . the
studie of holy scripture.
September 1971
Thus the decree was not that
"every" Master of Arts should have
a New Testament, as Noble states,
but only those ecclesiastical Par
sons and clerics associated with
a cure. There is no evidence that
Spenser ever took orders, although
he was secretary to the Bishop of
Rochester for one year, 1578-79.
Furthermore, Elizabeth s injunc
tion specified no particular Eng
lish version of the New Testament.
By 1559 there were six versions
available: Tyndale s, Coverdale s,
Matthew s, Taverner s, the Great
Bible New Testament, and the 1557
Geneva New Testament by Wil
liam Whittingham. By the time that
Spenser received his M.A., the
Bishops New Testament had ap
peared (1568) and this was thor
oughly revised in 1572. Even if
Spenser came under the Queen s
decree, he could have met it by
possessing any of these versions
of the New Testament.
It seems, therefore, that efforts
to determine which Bible Spenser
used will continue to be governed
by internal rather than external
evidence.
Naseeb Shaheen
University of California
Los Angeles, California
1. Grace Warren Landrum, "Spenser s
Use of the Bible and His Alleged
Puritanism", PMLA, XLI (1926),
517-544,
2. Charles C. Osgood, "Spenser s Sapi
ence", Studies in Philology, XIV
(1917), 169.
3. Ruth Wilson Russell, Spenser s Use
of the Bible in the First Two Books
of "The Faerie Queene", unpublished
thesis, University of Oklahoma, 1936.
4. Richmond Noble, Shakespeare s Bibli
cal Knowledge (London, 1935), p. 9.
5. STC 10095-10110.
THOMAS CAMPBELL AND
SHELLEY S QUEEN MAE
THE INFLUENCE OF THOMAS CAMP
BELL on Shelley s Queen Mob has
been suspected at least since 1812,
when William Godwin, having read
the still uncompleted manuscript
of Queen Mob, wrote to Shelley,
"You have what appears to me a
false taste in poetry. You love a
perpetual sparkle and glittering,
such as are to be found in Darwin,
and Sou they, and Scott, and Camp
bell (sic)". 1 As Godwin guessed,
Campbell was indeed one of Shel
ley s favorite poets. While at Eton,
he had even sent one of his juven
ile poems to Campbell for criticism
(Campbell replied that there were
only two good lines in it actual
ly, a kindness). 2 The extent of
Shelley s admiration for the older
poet becomes fully clear, however,
only when one examines Camp
bell s poem, The Pleasures of Hope
(1799), now almost wholly neg
lected but a work which distinctly
colors the style of Shelley s first
"Philosophical Poem".
Unlike Darwin s Temple of Na
ture, Southey s Thalaba., or the
other chief models for Queen Mob,
The Pleasures of Hope is written
in a style that suggests Shelley s
generally, and not in a few isolated
passages. True, the two poems are
seldom strictly parallel in phras
ing, but they often bear a striking
resemblance to one another:
Come, "bright Improvement! on the
car of Time,
And rule the spacious world from
clime to clime!
(I, 321-322)3
Man! Can thy doom no brighter soul
allow?
AN&Q
Still must thou live a blot on Nature s
brow?
Shall War s polluted banner ne er be
furl d?
Shall crimes and tyrants cease but
with the world?
(I, 435-438)
Yet, yet degraded men, th expected day
That breaks your bitter cup, is far
away;
Trade, wealth, and fashion, ask you
still to bleed,
And holy men give Scripture for the
deed. . . .
(I, 483-486)
The previous lines might easily
have been lifted from Queen Mab,
except for their being in couplets
rather than in blank verse.
Campbell s poem anticipates not
only the emphatic, challenging rad
icalism of Queen Mab but also
much of its distinctive imagery,
including stars, meteors, wild
winds, symbolic veils, and con
trasted light and dark all, by
the way, to appear frequently in
Shelley s later poetry. 4 Shelley s
indebtedness to Campbell is best
shown, however, by the following
parallel passages:
Careers the fiery giant, fast and far,
On bickering wheels, and adamantine
car. . . .
(Pleasures, II, 284-285)
All tend to perfect happiness, and urge
The restless wheels of being on their
waj ,
Whose flashing spokes, instinct with
infinite Me,
Bicker and burn to gain their destined
goal. . . .
(Queen Mab, IX, 151-154)
Clearly, then, Shelley paid
Campbell the compliment of im
itation. The closeness of their
styles should not, of course, be al
lowed to obscure their very real
differences. While Campbell s lan
guage is concise, his imagery sim
ple, and his rhythms restrained,
Shelley s language is elaborate,
his imagery complex, and his
rhythms flowing. Already his po
etry discloses something of the
expansiveness and rapidity of his
later work. Nevertheless, he was
still not far enough along in his ap
prenticeship in 1812 to free him
self from the influence of Camp
bell and other favorite poets
poets who had, after all, inspired
him in the first place to attempt
to express revolutionary message in
poetry.
George Richards
Skidmore College
1. Letter dated 10 December 1812, in
The Letters of Percy Bysshe Shelley,
ed. Frederick L. Jones (Oxford, 1964),
I, 216.
2. See Newman Ivy White, SheUey
(N.Y., 1940), I, 60-61.
3. Citations from Campbell are to The
Poetical Works of Thomas Campbell,
ed. W. Alfred Hill (London, 1890).
4. Even Shelley s later use of Prometheus
as a symbol of the Wisdom needed
for social betterment has a precedent
in The Pleasures of Hope: "Truth
shall restore the light by nature giv
en, /And, like Prometheus, bring the
fire of Heaven" (I, 415-416).
FREE! On application, one year
of AIV&Q for individuals who
Reply to previously unanswered
Queries, Vols. I-V, before 31
December 1971.
September 1971
GERTRUDE ATHERTON
INSCRIPTIONS
RECENTLY i PURCHASED five of Ger
trude Atherton s books from an
English bookseller; four of these
are autograph presentation copies
from the author to Ethel Duncan,
and the other contains a signed
note by Gertrude Atherton tipped-
in. A brief description of the books
follows:
1) A Daughter of the Vine. London:
Service and Paton, 1899. Tipped-in on
the half-title page: "One of the men
who ought to be in the Senate of the
United States and is notre the father-
in-law of His Fortunate Grace. At all
even Is let him contribute his trifle to
the Hospital fund. Gertrude Atherton
June 12th 1899-Bruges, Beige". The
entire note is in the handwriting of the
author.
2) The Conqueror. London: MacMillan
and Co., 1903. The inscription on the
flyleaf reads: "To Miss Ethel Duncan
From Gertrude Atherton 1908".
3) Ancestors. London: John Murray,
1907. The inscription on the flyleaf
reads: "To Miss Ethel Duncan Souvenir
Miinchen Gertrude Atherton 1908".
4 ) Rezdnov. London: John Murray, 1906.
The inscription on the flyleaf reads: "I
present to Miss Ethel Duncan my fa
vorite hero Nichol . . . (?) Petr . . .
(?) Rezdnov Gertrude Atherton 1908
Miinchen".
5) The Calif ornians. New York: The
MacMillan Co., 1908. The inscription on
the flyleaf reads: "To Isabel Otis other
wise Miss Ethel Duncan From the ad
mirer of her still not large enough but
growing type [?] Gertrude Atherton
1908 Miinchen". On the front endpaper
is pasted a postcard on which is written,
presumably in the hand of Ethel Dun
can: "Automobile-trip here on Saturday
April 18th, 08. Had tea at the Kaiserin
Elisabeth hotel with Gertrude Atherton,
Boradil Craig [?], Harriet Robb and
my sister Mabel". The postcard depicts
Starnberg and the Starnberger See.
Evidently Miss Duncan and her
party were travelling in Bavaria
in April 1908 and met Gertrude
Atherton there, probably in Mu
nich. The author presented Miss
Duncan with several of her books.
It may not be of great value to
know that Gertrude Atherton at
that time evidently considered
Rezdnov her favorite hero, but it
is intriguing to know that she as
sociated Ethel Duncan with Isabel
Otis, one of the principal characters
of Ancestors. There are of course
several possibilities: perhaps Miss
Otis was modeled after Miss Dun
can, in which case Gertrude Ather
ton knew Ethel Duncan intimately
before the visit to Munich; perhaps
Miss Duncan had expressed an ad
miration for Isabel Otis and a de
sire to emulate her; and, what
seems to this writer to be most
likely, the writer thought she saw
a similarity in character between
Isabel Otis and Ethel Duncan.
John E. Van Domelen
College Station, Texas
MILTON S MEDITATIONS AND
SONNET XIX
SUCH NOTABLE MELTON scholars as
Sir H. J. C. Grierson and Helen
Darbishire, who argue that the
order of Milton s sonnets in the
1673 edition is chronological,
would agree that sonnet XIX ("On
his blindness") was written later
than April-May 1655, the apparent
terminus quo for sonnet XVIII. If
Milton read the psalm prescribed
in The Book of Common Prayer
to be read on the Tuesday after
8
the fourth Sunday after Trinity,
which falls in early June, then the
similarities between Psalm 123 and
sonnet XIX might suggest that Mil
ton wrote the sonnet in June of
1655. The juxtaposition of the word
"eyes" and the word "wait" in
verse two of Psalm 123 is particu
larly suggestive of Milton s mood
in sonnet XIX: "Behold, as the
eyes of servants look unto the hand
of their masters, and as the eyes
of a maiden unto the hand of her
mistress; so our eyes wait upon the
Lord our God, until that he have
mercy upon us".
Benjamin W. Griffith
Carrollton, Georgia
West Georgia College,
QUERIES
Pictorial calendar A calendar
with religious symbols, entitled
Sande Awikhigan, 1870, has come
into my possession. What is it? A
footnote, in English, says, "This
year has 13 months. It begins on
the 3d of December 1869, and
terminates on the 21st of Decem
ber 1870". It is print signed,
"Eugene Vetromile, Alnambay Pat-
lias". Who was he? Names of the
months are given, e.g. Onglusam-
wessit / January. What is this that
I have? Michael Cahill, Sharon,
Conn.
"First, get the money; honor comes
later" Was it an American
general who first said this? When?
Under what circumstances?
Joe Shitangman, Duncanuille, Tex.
AN&Q
Question marks (?) I am un
able to find a style manual that
authorizes the growing use of a
question mark at the beginning of
a parenthetical statement inside
the parentheses, for example,
"These could be pertinent remarks
about such a code of laws (? but
they may not belong in this series )
concerning morality". What rea
soning is used here, and has the
problem been discussed from the
grammarians or editors points of
view? Where? John Birming
ham, New York, N.Y.
Lincoln, Grant, and Whiskey
One of the best-known anecdotes
concerning Lincoln and General
Grant is the following: Men came
to the President urging his
[Grant s] removal. Lincoln shook
his head: "I can t spare this man",
he said: "he fights". Many good
people complained that he drank.
"Can you tell me the kind of
whisky?" asked Lincoln, "I should
like to send a barrel to some of my
other generals". (See Ida Tarbelfs
Life of Abraham Lincoln, 1902.
Vol. Ill, p. 144). What is the
source or truth of the anecdote?
Jack Stevens, New "York, N.Y.
Andrew Jackson Stone Born
1859 in Missouri and still alive in
1920, was an explorer, hunter, etc.
in the West, Alaska, and Canada.
He collected for the American Mu
seum of Natural History and had
several animals named for him. He
is in Who s Who in America, vol.
3 and others. Information of any
kind about this man would be ap
preciated we have the early
Reader s Guide references.
R. G. Schipf, Missoula, Montana.
September 1971
REPLIES
Camel through a needle s eye?
(IX: 121) I am skeptical of the
"Ropist" solution on grounds other
than linguistic. The figure appears
to be quite plausible as it stands in
terms of traditional Jewish hyper
bole. Thus, compare the proposed
removal of a mountain through the
faith of a mustard seed (Matt.
xviii:19). The Confraternity notes
on this passage read: "The hyper
bole seems to be traditional. Job
says that God lias removed moun
tains (ix:5); and in the Psalms we
read that the mountains shall be
removed* (xlv:3)". Compare also
the hyperbolic figure of plucking
out the sinful eye (Matt. xix:9) 5
which led some literalists to cas
trate themselves. That Christ in
tended such hyperbole is also
evident from the Last Supper,
where He ordered the consump
tion of His Blood in opposition to
the law against blood-drinking in
Leviticus when He expressly stated
that He had come to fulfill and not
to deny. (Explanation: "His
Blood" is that "in heaven".)
Though I know of no Old Testa
ment parallel for the camel figure,
it is of passing interest at least that
there is now, in the area where
Christ lived, a camel path contain
ing an awkward passageway ap
propriately designated (according
to the National Geographic) "The
Needle s Eye". (This may, how
ever, be after the fact.) R. F.
Fleissner, Wilberforce, Ohio
Beckford Latin quotation (IX-.74)
The quotation used by Beck-
ford may be found in the first book
of elegies by Propertius, lines 37-
38: "Et circum irriguo surgebant
lilia prato / Candida purpureis
mixta papaveribus"; in our quota
tion we follow the text given on
page 42 of Seymour G. Tremen-
heere s The Elegies of Propertius
in a Reconditioned Text with a
Rendering in Verse and A Com
mentary (London: Simpkin Mar
shall, Ltd., 1931). Tremenheere s
version reads: "And gardened with
lush meadows bright / With pop
pies red and lilies white" (p. 43).
Edgar C. Knowlton, jr, Univer
sity of Hawaii
Othmar & Erika Spann (IX: 74-75)
Othmar Spann, the social phi
losopher who proposed an univer-
salist concept of society, is exam
ined in the following:
Landheer, B. "Othmar Spann
Social Theories". Journal of Polit
ical Economy, 39 (1931).
A book review by Frank H.
Knight on Spann s The History of
Economics in Journal of Political
Economy, 39 (1931), pp. 258-260.
Jerome Drost, SUNJ at Buffalo
Mount Auburn Cemetery (IX: 87)
In Herman Melville s The
Confidence-Man ( 1857 ) , John
Ringman (the confidence man)
advises a young student to go "to
the cemeteries of Auburn and
Greenwood" if he wants to under
stand human nature (Chapter V).
William N orris, Lawrence y
Kansas
Goethe or Schiller? (VIII: 121)
One expression of the idea occurs
in a little poem by Schiller entitled
"Unsterblichkeit": "Vor dem Tod
erschrickst du? Du wtinschest uns-
terblich zu leben? / Leb im Gan-
AN&Q
zen! Wenn Du lange dahin bist, es
bleibt". Anthony W. Shipps,
Indiana University Libraries,
Bloomington
EDITORS
NOTES & READING
Congratulations to the Society for
Theatre Research upon the fulfill
ment of a long term project begun
some fifteen years ago the com
plete revision of Robert W. Lowe s
Bibliographical Account of English
Theatrical Literature (London:
John C. Nimmo). First published
in a limited edition in 1888, the
work has been indispensable to
bibliographers, booksellers, collec
tors, librarians, and students of
theatre history. (Gale Research
Company published a reprint in
1966.) The work of revision was
undertaken by scholars working in
libraries on both sides of the At
lantic with the end result being a
new work rather than a new edi
tion. Titled English Theatrical Lit
erature, 1559-1900: a Bibliography,
and compiled by James Fullarton
Arnott and John William Robinson
(Society for Theatre Research, 14
Woronzow Road, London NW 8,
10 10s) the volume includes over
5,000 entries, which is more than
twice as many as in the original.
Every Lowe listing is found either
in the main body or in an appendix.
American and overseas editions
not included in Lowe are recorded
in brief. Some glosses on the title
words "English" and "theatrical"
must be mentioned. The Society
has retained "English", but em
braces as did Lowe, the Irish and
the Scottish theatre. "Theatrical"
excludes the purely literary aspects
of the drama and forms of enter
tainment such as ballet, circus, and
cinema although opera is covered.
Fiction and manuscripts are omit
ted; engraved prints are included
because of the letterpress. Entries
are arranged in chronological order
under three headings: Bibliogra
phy, Government Regulations of
the Theatre, and Morality of the
Theatre. George Speaight, General
Editor of Publications, and the So
ciety s Editorial Board are to be
commended on the high biblio
graphical standards maintained in
this outstanding work.
"For the record" AN&Q reprints
the following from AB Bookman s
Weekly (28 June 1971) : I am writ
ing to end a myth about the J.F.K.
quotation "Ask not what your
Country etc/ To aid and abet in
this fraudulent legend by an au
thoritative book medium, must be
corrected. I sported this bit of
phonyism before J.F.K. was unfor
tunately assassinated. It seems that
Schlesinger, who wrote Kennedy s
speeches, took this quote and the
term new frontier from a book by
Kahlil ^Gibran, "Mirrors of the
Soul". "Ask not what your country
can do for you, but ask what you
can do for your country" This
statement appeared in an article
written by Gibran in Arabic, over
fifty years ago. The heading of
that article can be translated either
"The New Deal" or "The New
Frontier". The article was directed
to Gibrans people in the Middle
East, but its philosophy and its
lesson will continue as long as man
lives in a free society. The article
September 1971
11
is in the book "Mirrors of the Soul"
pages 59-64. Philip Sklar, No.
Miami, Ffo.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky and will be con
tinued in subsequent issues.
A. H. M. Jones, J. R. Martindale,
and J. Morris, The Prosopography
of the Later Roman Empire, vol. I,
A.D. 260-395 (Cambridge: At the
University Press, 1971; 1,152pp.;
$55.00), is the first of a set which
will provide a complete prosopog-
raphy of the later Roman Empire.
The second volume will cover 395-
527, the third, 527-641. Solid re
search, with full bibliographical
references, makes this work the
definitive conclusion of the basic
reference work originally sug
gested by Theodor Mommsen.
The imaginative and almost elee
mosynary Cambridge University
Press continues to bring out pre-
publication copies of sections of
the Cambridge Ancient History at
most reasonable prices. Kathleen
M. Kenyon, Palestine in the Time
of the Eighteenth Dynasty, vol. II,
chapter XI; 33pp. ; 1971; $1.25),
pulls together the available mate
rial after the expulsion of the
Hyksos and provides a generally
reliable history of Palestine for this
period. In a totally different period
Cambridge has furnished Kenneth
Muir and S. Schoenbaum, A New
Companion to Shakespeare (1971;
298pp.; $3.95), a guide to Shake
spearian studies by the ablest
scholars of our time. Still another
Cambridge reference work in the
biographical group is R. T. Jones,
George Eliot (1970; 116pp.;
$1.95). Other works in this series
of "British Authors" are Robin
Mayhead on John Keats, Geoffrey
Durrant on William Wordsworth,
and Yasmine Gooneratne on Jane
Austen.
Andre Pieyre de Mandiargues,
Bona, T amour et la peintttre (Ge
neva; Weber S. A., 1971; 124pp.;
S.Fr. 36. ), examines death and
existence in terms rarely used by
modern artists. Here are insights
into modern life and aspects of
20th-century painting offered by
no other publisher in our time. As
in all Weber publications, the
quality of the reproductions leaves
nothing to be desired.
V. F. Goldsmith, A Short Title
Catalogue of French Books 1601-
1700 in the Library of the British
Museum (Folkestone London,
Dawsons of PaU Mall, 1970- ),
is now in its second fascicle, cov
ering C-D. It is in the same style
as the B.M. catalogues of its books
printed before 1601, but benefit
ing greatly from bibliographical
scholarship of the last few dec
ades. A selection of the major
works from this catalogue is being
offered in microform by the Eras
mus Press, 225 Culpepper, Lex
ington, Ky 40502.
(Continued on p. 15)
12
AN&Q
BOOK REVIEW
BUGHER, Francois. The Pamplona Bi
bles. 2 vols. Vol. I: Text, 382pp., includ
ing illustrations; Vol. II: Facsimile, 570
plates. New Haven: Yale University
Press, 1970. $175.
This publication, long anticipated by
medievalists, is the result of research
which extended for well over a decade.
The Pamplona Bibles of the title are
two late 12th-century Spanish manu
scripts, which are essentially picture
books embracing exceptionally extensive
narrative Biblical and hagiographical
cycles. One of these is preserved in the
Bibliotheque Communale at Amiens,
manuscript 108, and the other at Castle
Harburg in the collection of Fiirst zu
Oettingen-Wallerstein. The two picture
Bibles, neither of which is now complete,
preserve a total of 1847 illustrations out
of an original total of 1953.
The Amiens manuscript has been
known to scholars through mention in
a number of books and articles from
1840 on, although, as Professor Bucher
points out, not once had the codex been
correctly described. The series of 871
illustrations, as now preserved, with
their Latin captions excerpted from the
Vulgate and other sources, intrigued
past scholars by their abundance and
their stylistic simplicity. These two char
acteristics, on the other hand, also served
to repel more than casual investigation.
This seems the more surprising inas
much as the manuscript is furnished
with a dated colophon testifying to a
royal patron.
The colophon sets forth that the manu
script was commissioned by King Sancho
VIII, "the Strong", of Navarre, and writ
ten or "composed", as the Latin says
by Petrus Ferrandus, who finished it
in 1197 A.D.
Professor Bucher has fully made up
for ^ the past superficial treatment of
Amiens ms. 108 with this conscientious
and painstaking investigation of every
possible facet of its history and its ex
ecution. He prefaces the description and
discussion of the manuscript itself by a
review of the political situation in Na
varre during the 12th and early 13th
century and an analysis of the person
ality and character of Sancho VIII, who
ruled that kingdom from 1194 to 1234.
Sancho was, it seems, a strong-willed
opportunist, who shifted his alliances
shamelessly, antagonized the other Span
ish rulers and the Pope, fraternized with
the Moslems (and probably married
one), absented himself from his country
for long periods and in general was
far from being an ideal ruler.
In considering the selection of subjects
for the picture Bible, Dr Bucher notes
that the emphasis of the illustrations is
on good royal government, stressing the
dangers of misrule or of blasphemous
and amoral conduct, and the rewards of
righteous kingship and unswerving re
ligious faith. In a detailed investigation
of the identity of the Petrus Ferrandus
who "composed" the picture Bible, Dr
Bucher concludes that he was a certain
Ferrandus who was active as a scribe
in the royal chancery as early as 1171,
during the reign of Sancho s learned and
much-loved father. His name disappears
from royal charters issued after the ac
cession of Sancho VIII, and only reap
pears in 1235 after that ruler s death.
The picture Bible, with its original 932
illustrations and the accompanying cap
tions, was a most complex undertaking,
requiring a director learned in Biblical
and hagiographical lore to obtain and
select the materials, to direct the artists
on the project (Dr Bucher finds four
different hands), as well as to compile
the inscriptions. With good organiza
tion, it is possible that the manuscript
was brought to completion in three years
- from 1194 to 1197. And the royal
chancery at Pamplona would have been
tlie place where such an effort could be
staged. The faithful archivist who had
served the virtuous father would have
been at pains to see that the tenor of
the picture book would be to exhort
Sancho VIII to mend his ways.
Professor Bucher s approach to the
study of the manuscript is a model of
system. He describes, in turn, the bind
ing, the structure of the manuscript
(with diagrams of the gatherings), the
condition, the parchment and pigments,
paleography, abbreviations and spelling,
original contents and present ones, the
order of the subject matter, choice and
source of captions, source of saints
lives, Sibylline text of Apocalypse illus-
September 1971
trations, history of the manuscript, and
earlier publications. Since all of this
discussion is contained in eleven pages,
including over two and a half pages of
diagrams and about three-quarters of
a page of lists, it goes without saying
that the intent is to compress the state
ment as much as possible. This makes
for dry and even tedious reading, and
yet there seem to be areas in which
one s attention is squandered. The sol
emn discussion of the kind of colors
used, as well as their source and method
of manufacture, seems out of proportion
for the plain, flat tints "washes" as
the author calls them that pick out
the surfaces enclosed within simple
outlines.
The other "Pamplona Bible", now in
Castle Harburg, is very closely related
to King S anchors picture book the
style is the same, although in the judg
ment of Professor Bucher, it is somewhat
more careful in execution. In general,
the texts are the same or similar, except
for variations in orthography. Again there
is a great series of Biblical narrative il
lustrations and of images devoted to
lives of saints. However, the Harburg
manuscript enlarged upon the pictorial
scheme of the Sancho Bible, originally
presenting an array of 1021 illustrations,
of which 976 survive. In fact, the Har
burg codex originally contained ninety-
two scenes and texts not in Sancho s, of
which forty-nine expanded upon the
Old Testament and forty-two on the
lives of saints. Many of the scenes which
do correspond to those in the Amiens
manuscript are very similar indeed. In
other cases there are interesting varia
tions, often clarifying the narrative or
improving upon the composition. There
is some difference in the order of scenes,
and in other matters. The author be
lieves that in the Harburg manuscript
the captions were inscribed before the
scenes were drawn, whereas the reverse
was the case with the Amiens manu
script. This second Pamplona Bible con
tains no colophon, so the dating of it
is a matter for conjecture. As the author
points out, "If one manuscript preceded
the other, the second was produced in
the presence of the first". Although at
several points he postulates that the
Harburg manuscript is the younger of
the two, he also notes that "careful
analysis of the texts reveals so much
contradictory evidence regarding preced
ence that the simultaneous creation of
both Bibles must be considered".
Again the author examines the manu
script with the same meticulous method
used in the case of the first Pamplona
Bible. To those topics he adds a section
speculating on the original owner of
the manuscript. In the absence of pre
cise documentation, this can be only a
matter for hypothesis. Since it was pro
duced in the same chancery atelier
which presumably executed Sancho s
Bible, it is to be supposed that the
second codex was destined for someone
in the entourage of Sancho the Strong.
Among the differences to be noted from
the Amiens manuscript is the emphasis
on genealogy and on female saints,
which suggests that it was intended for
a woman of high station. After con
sidering various possibilities, the authot
inclines toward Queen Sancha of Aragon,
who was a patron of the arts and who
had a son who could have inherited it.
In any case, the Harburg Bible is more
worn and marked up than the Amiens
one, attesting to considerable use. It was
acquired by an ancestor of the present
Prince zu Oettingen-Wallerstein in Val-
ladolid in 1809.
The relationship between the Amiens
and Harburg manuscripts was first point
ed out in a Munich sale catalogue in
1935, when the Oettingen-Wallerstein
codex was listed for an auction from
which it was eventually withdrawn. In
1961, the Harburg and Amiens manu
scripts were exhibited side by side at
the Council of Europe Exhibition of
Romanesque Art held in Barcelona.
The interrelation between the two
Bibles is such that each can be used to
reconstruct losses in the other. In the
volume of plates of the present publica r
tion the two have been treated as a
unit to the extent of selecting from one
or the other the better executed or
better preserved illustration of a particu
lar subject although in a dozen or
more cases, identical scenes from both
manuscripts are reproduced in juxtapo
sition for the information of the student.
Surprising as the close relationship
between the two Pamplona Bibles may
be, there is still a greater surprise in
store for the reader. In the Spencer
collection of the New York Public Li-
14
AN&Q
brary is preserved an elegantly executed
Bible in French, of the early 14th cen
tury. Its 846 extant illustrations out of
an Original 930 turn out to be copied
after the pictures in Sancho s Bible! The
reproduction of an earlier book of so
unsophisticated a type in 14th-century
Paris calls for some explanation. An
archaic model of this kind must have
been treasured essentially as an heir
loom. By means of a genealogical table
Dr Bucher proposes a possible history
for Sancho s Bible that would explain
its presence in Paris at the beginning
of the 14th century, so that it could
serve as a prototype for the manuscript
now in New York. Sancho VIII was
succeeded as King of Navarre by his
nephew, Thibaut IV of Champagne. The
12th-century picture Bible may then
have descended through the successive
members of the Champagne family who
held the kingship of Navarre to Louis
X, who was King of France as well as
of Navarre at the time of his death in
1316. His daughter, Jeanne II Queen
of Navarre, became the wife of Philippe
II Count of Evreux, who was crowned
King of Navarre in 1328. In this lineage
various events might have been the oc
casion for the execution of the New York
Bible perhaps the marriage of Jeanne
II in 1318 when she was a child of
seven.
From the point of view of the study
of the Pamplona Bibles, the great thing
is that the gothic manuscript can serve
to aid in the reconstruction of missing
scenes in Sancho s Bible. It has many
other facets of interest as well, including
the exceptional character of its French
Biblical text.
Despite the conscientious detail of the
discussion in the chapters and footnotes
devoted to the Pamplona Bibles and
the New York codex, it turns out that
the real description of each one of these
manuscripts is to be found in the two
Appendices - which, in fact, the reader
is urged (p. xiii) to study first, before
tackling the main text of the book, Ap
pendix I consists of meticulous lists of
the sources of the Biblical quotations
and of the captions for the hagiographi-
cal illustrations, together with references
to the plates reproducing them. Ap
pendix II transcribes all later notes in
scribed on the fly-leaves, etc., of the
three manuscripts, the sequence of
scenes., including those at present miss
ing in the two Pamplona Bibles, which
are described according to the New
York Bible, together with transcription
of the Latin or French captions. Nearly
all the gothic miniatures thus used for
reconstruction are reproduced among the
illustrations which are included in Vol
ume I. When the plates forming Volume
II can take up the illustrative cycle of
the Pamplona Bibles, making detailed de
scription unnecessary, Appendix II gives
the scriptural source, transcribes the text
of the captions, indicates the coloring,
identifies the artist responsible, as well
as describing the New York version of
each scene. When the hagiographical
cycles are reached, an English transla
tion of the caption is added to the fore
going data.
As may be imagined, there is a cer
tain amount of reiteration and redun
dancy in the material contained in all
of this apparatus, since some of the in
formation in Appendix I is repeated in
Appendix II, and the many methodical
lists and analyses in the text proper and
in the footnotes survey part of the same
field, even if more briefly. The Appen
dices, however, are a boon for the scholar
who proposes to pursue the picture-
cycles fully and in detail and it is for
him that they are intended.
The author s conscientious approach
has impelled him to add to the basic
studies of the three manuscripts which
are central to the problem a chapter
dealing with sculpture and monumental
painting in Navarre from 1100 to 1230,
as it might relate to the abortive work
shop of the Pamplona illuminators, and
also another chapter gallantly tackling
the whole vast field of early Biblical
picture-cycles. In the end he suggests
that the Pamplona Bibles may have been
based upon a cycle of the 9th to llth
century, which "was itself based on a
sixth-century archetype that could have
originated in the West". These two
chapters, suggestive though they are,
by their very nature leave much for fu
ture students to do which is not a
discreditable thing. After all, such a
study as the present one has as its
essential purpose to scrutinize, analyze,
describe and trace the central manu
scripts, by text and illustration making
September 1971
them available to the world of medieval
scholars, who are now enabled to carry
on from there. Despite the extensive
series of reproductions and the very
substantial price this is not a "coffee-
table book", and let us hope it is not
promoted as one. It is a mass of mate
rial for students of medieval art, icon
ography, and history, and it belongs in
the libraries which serve them. It is,
in fact, exactly the kind of a book that
a university press should publish.
I suppose it is my duty to record that,
despite the well-designed format and
the earnest effort to produce a tool for
the serious scholar, there are slips both
textual and typographical which have
been overlooked. One somehow has the
feeling that the very bulk of the ma
terial and, no doubt, the long-drawn-out
processing of it, dulled the critical eye
of author, editor, and proofreader on
occasion.
As textual slips I am thinking of the
allusion, in the Preface, to the New
York Public Library Bible as a "thir
teenth-century copy" when the whole
chapter describing it discusses the rea
sons for dating it "between about 1317
and 1326". Again, in the historical dis
cussion in Chapter 1, the events follow
ing the treaty of August 1204 (p. 6)
are twice referred to as occurring in the
first decades of the 12th century. The
description of the Harburg Bible in
Chapter 3 states (p. 29) that this codex
contains 271 leaves, whereas the dia
grammatic analysis of the gatherings
shows on page 32 that there are 272
leaves, but that folio 271 and 272 have
been reversed in order. In this connec
tion, it may be appropriate to protest
the use of the word "pagination" to
refer to the numbering of the leaves of
the various manuscripts, rather than
"foliation". It is only due to the dia
grams that we can be certain that we
have not to do here with a post-medi
eval page-numbering.
I suppose it is due to an editorial slip
that the illustrations of three Beatus
miniatures in illustrations 106-108 are
captioned "Beati de Liebana", although
this is not the case in other captions nor
in the text. Proofreading oversights oc
cur here and there: the reference on
p. 53 to Pis. 55-69 should read Pis. 555-
569; the numbering of page 188 is in
verted to read 881; on page 23, the 1 ,
cross-reference to a particular page b&s
never been filled in, etc. But these are
small flaws in a massive and detailed
undertaking. Dorothy Miner, Walters.
Art Gallery, Baltimore
RECENT FOREIGN
REFERENCE
BOOKS
(Continued from p. 11)
The series of "Finlandska Ge-
stalter" issued by the Ekenas
Tryckeri in Ekenas (Tammisaari)
is represented most recently by
Olof Mustelin, Nils Ludvig Arppe
(1969; vol. VIII; 262 pp., illus.,
fold, genealogical table). Dr Mus
telin, director of Aabo Akademis 1
Bibliotek in Aabo, has written a
perceptive and well documented
biography of one of the more im
portant personalities of 19th-cen
tury Finland. The entire series, 1
now represented by some two
score volumes, is a basic collection
on Finnish biography.
The rich collections offered by
Reclams Universalbibliothek have
been expanded by the following
volumes. Aristotle s Der Staat der
Athener (translated and edited by
Peter Dams; 93 pp.; no. 3010);
Cicero s Laelius ("De Amicitia",
translated and edited by Robert
Feger; 87 pp.; no. 868); and
Longos Daphnis und Chloe (trans
lated and edited by Otto Schon-
berger; 173 pp.; nos. 6911/12)
represent ancient literature. Me
diaeval German literature is en
riched by an edition of Herzog ,
16
Ernst- (translated and edited by
Bernhard Sowinski; 427 pp.; nos.
8352.57). Of English literature
there are Bacons Essays (trans
lated by Elisabeth Schiicking, ed
ited by Levin L. Schiicking; 240
pp.; nos, 8358-60) and Hobbes
Leviathan (translated by J. P.
Mayer with a commentary by
Make Diesselhorst; 328 pp.; nos.
8348-51), From German literature
we have Schiller s Vom Patheti-
schen und Erhabenen (edited by
Klaus L. Berghahn; 157 pp.; nos.
2731-31a); Grillparzers Gedichte
(edited by Peter von Matt; 128 pp.;
nos. 4401-02); Wilhelm Raabe s
Des Reiches Krone (with a com
mentary by Gerhard Muschwitz;
78 pp.; no. 8368); and Haupt-
mann s Fasching [und] Der Apostel
(with a commentary by Karl S.
Guthke; 62 pp.; no. 8362). Es
pecially valuable is the new series
of "Erlauterungen und Doku-
mente", of which the latest is ed
ited by Karl Pornbacher on Heb-
bel s Maria Magdalena (94 pp.;
no. 8105). Concluding the current
batch of UB titles are Flaubert s
Die Legende von Sankt Julian dem
Gastfreien (translated and edited
by Ernst Sander; 48 pp.; no. 6630);
Henry James Schraubendrehungen
(translated by Alice Seiffert, ed-
" ited by Rudolf Siihnel; 152 pp.;
nos. 8366-67); and Roman Ingar-
den s Uber die Verantwortung,
ihre ontologischen Fundamente
(126 pp.; nos. 8363-64),
Readers comments on the de
sirability of a 10-year Cumula
tive Index to AN&Q would be
welcomed.
AN&Q
PUBLICATIONS RECEIVED .
(Continued from p. 2)
Pickering, James H.; & Carlisle, E. Fred,
comps. The Harper Reader. 530pp.
N.Y.: Harper & Row, 1971. Paper, $?
Potter, E. B. The Naval Academy Illus
trated History of the United States
Navy. Nearly 250 Illus. 299pp. N.Y.:
Thomas Y. Crowell, 1971. $12.95
Riis, Jacob A. How the Other Halj
Lives: Studies Among the Tenements
of New Jor k (1901). A New Preface
by Charles A. Madison. With 100
Photographs from the JAR Collection,
the Museum of the City of New York.
233pp. N.Y.: Dover Publications,
1971. Paper, $4.50
Ruth, Kent. Touring the Old West. Illus.,
incl. maps. 218pp. Brattleboro, Vt.:
The Stephen Greene Press, 1971. $6.95
Sauer, Carl Ortwin. Sixteenth Century
North America: the Land and the
People As Seen By the Europeans.
Illus. 319pp. Berkeley: University of
California Press, 1971. $10.95
(Scopes Trial). The World s Most Fa
mous Court Trial: State of Tennessee
v. John Thomas Scopes. Complete
Stenographic Report . . . Including
Speeches and Arguments of Attorneys.
(Cincinnati, 1925). Illus. 339pp. N.Y.:
Da Capo Press, 1971. $12.50
Siegel, Howard; & Boedecker, Roger. A
Survival Kit. Illus. 351pp. N.Y.: Har
per & Row, 1971. Paper, $5.95
Suits, Conrad B., ed. Stories for Writing.
407pp. N.Y.: Harper & Row, 1971.
Paper, $4.50
Thorp, Roderick; & Blake, Robert. The
Music of Their Laughter: an American
Album. 187 double-columned pp. N.Y.:
Harper & Row, 1971. Paper, $3.95
Uphaus, Robert W., ed. American Pro
test in Perspective. 406pp. N.Y.: Har
per & Row, 1971. $5.
White, Stanford, by Charles C. Baldwin.
(N.Y., 1931). Illus. 399pp. N.Y,: Da
Capo Press, 1971. $15.
Winthrop, John, Life and Letters of,
by Robert C. Winthrop. (Boston,
1864-67). 2 vols. N.Y.: Da Capo Press,
1971. $39.50
Young, Alexander. Chronicles of the Pil
grim Fathers of the Colony of Ply
mouth, 1602-1625. (Boston, 1841).
504pp. N.Y.: Da Capo Press, 1971.
$22.50
AMERICAN MOTES & QUERIES
Volume X Number 2 October 1971
if A ikpfr ? ; $ r^TV
^\i\^ v t:: U-A I. i.j
PUBLIC L[^
NOTE NOV151971
QUERIES & REPLIES
EDITORS NOTES AND READINGS
1 ^^ w ,
BOOK REVIEW
PUBLICATIONS RECEIVED
SPECIAL ISSUE -
"PRINTING IN DELAWARE"
A Review Note
PUBLICATIONS RECEIVED
Appleton, Le Roy H. American Indian
Design and Decoration [formerly ti
tled: Indian Art of the Americas]
(1950). Profusely Illus. 275pp. N.Y.:
Dover Publications, 1971. $4.
Bibliography of Old Norse-Icelandic
Studies, 1970. Ed. by Hans Bekker-
Nielsen. 80pp. Copenhagen: Munks-
gaard, 1971. DanKr 30.00
Bleiler, E. F., ed. Five Victorian Ghost
Novels. [Mrs J. H. Riddell, The Un
inhabited House; Wilhelm Meinhold,
The Amber Witch; Amelia B. Ed
wards, Monsieur Maurice; Vernon Lee,
A Phantom Lover; Charles Willing
Beale, The Ghost of Guir House].
421pp. N.Y.: Dover Publications, 1971.
Paper, $3.50
Bradford, Alden, ed. Speeches of the
Governors of Massachusetts, 17(35-
7775 [and] the Answers of the House
of Representatives Thereto . , . (Bos
ton, 1818). 424pp. N.Y.: Da Capo
Press, 1971. $19.50
Bing, Samuel. Artistic America, Tiffantj
Glass, and Art Nouveau. Introd. by
Robert Koch. Profusely Illus. 260pp.
Cambridge, Mass.: The MIT Press,
[1970]. Paper, $4.95
Coffin, Tristram Potter. Uncertain Glory:
Folklore and the American Revolution.
Illus. 270pp. Detroit: Folklore Asso
ciates [Gale Research Co.], 1971. $7.
(Compton Family). Blackwood, James
R. The House at College Avenue: the
Comptons at Wooster, 1891-1913.
265pp. Cambridge, Mass.: The MIT
Press, 1971. $2.95
Earle, Alice Morse. Two Centuries of
Costume in America, 1620-1820. (N.Y.,
1903). Profusely Illus. 2 vols. N.Y.:
Dover Publications, 1971. Paper, each
vol. $3.75
(Evolution). The World s Most Famous
Court Trial: State of Tennessee v.
John Thomas Scopes. Complete Steno
graphic Report . . . 1925. (Cincin
nati, 1925). Illus. 339pp. N.Y.: Da
Capo Press, 1971. $12.50
Fellowes, C. H. The Tattoo Book. In
trod. by William C. Sturtevant. 116
2-color Illus. 144pp. Princeton: The
Pyne Press, 1971. $8.95
Givry, Grillot de. Witchcraft, Magic, &
Alchemy. Trans, by J. Courtnay Locke.
(N.Y., 1931). 376 Illus. 416pp. N.Y.:
Dover Publications, 1971. Paper, $4.
Grosz, George. Love Above All and
Other Drawings. 120 Illus. 119pp.
N.Y.: Dover Publications, 1971. $2.50
(Huxley, Aldous). Birnbaum, Milton.
Aldous Huxley s Quest for Values.
230pp. Knoxville: University of Ten
nessee Press, 1971. $6.95
Kakonis, Tom E., et al., eds. Strategies
in Rhetoric from Thought to Symbol.
451pp. N.Y.: Harper & Row, 1971.
Paper, $5.50
Krohn, Ernest C. Missouri Music ( 1924 ) .
[With a new introduction, supplemen
tary list of Missouri composers, etc.,
and a bibliography of the writings and
compositions of Ernest C. Krohn]. xl,
380pp. N.Y.: Da Capo Press, 1971.
$15.
(Continued on p. 32)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher, Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies and back issues 75$ each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies, and Abstracts of Folklore
Studies, and Review of [Book] Reviews; indexed in Book Review Index; in
cluded in The Year s Work in English Studies, and Annual Bibliography
of English Language and Literature, MHRA. Appropriate items included
in the Annual ML A International Bibliography; Victorian Studies "Vic
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSISTANT EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
"PRINTING IN DELAWARE": A
REVIEW AND ADDITIONS*
MR EVALD RINK, head of the Im
prints Department of the Eleu-
therian Mills Historical Library in
Wilmington, has compiled this use
ful checklist of 18th-century Dela
ware imprints. It contains 566 en
tries, making it one of the shortest
checklists of state imprints; still, it
is a very considerable advance
over the 395 items listed by Doro
thy Lawson Hawkins in her 1928
Master s Essay done at the Colum
bia University School of Library
Service, the first attempt to record
all Delaware imprints of this peri
od. Mr Rink was unable to locate
any copies for sixty-five of his en
tries, and it seems likely that a
number of these were either never
printed at all or were printed after
1800.
The checklist is prefaced by a
well-written and well-documented
history of printing in Delaware and
a brief survey of the books printed
there in the 18th century. About
one third of the items printed dur
ing the forty years covered by this
checklist are official state docu
ments. Religious publications make
up the next largest group, with
some ninety items, and almanacs
are close behind, with 85 entries.
Easily the most famous work in
the checklist is the first edition of
John Filson s Discovery, Settle
ment and Present State of Ken-
tucke (Wilmington: James Adams,
1784).
The Stinehour Press has done its
usual fine job of printing this well-
designed book. It is remarkably
free of typographical errors, and it
is well indexed, except for the in
troductory essay, which is not in
cluded in the index. Following the
usual practice for checklists of
state imprints, there is no collation
by signature, and the pagination
is given according to American Li
brary Association rules. A refresh
ing change from tradition is the
inclusion of the format of the book,
but unfortunately the description
of the size of the leaf has been
sacrificed.
Mr Rink records locations of
copies in seventy-nine libraries as
well as a few private collections.
An attempt is made to record all
copies in Delaware libraries and
all in the American Antiquarian
Society, the Library of Congress,
and the Library Company of Phila
delphia. Although no attempt is
made to record more than three
copies of any one title, more lo
cations, ranging up to fourteen, are
often given. In giving locations of
copies Mr Rink does not always
list the holdings of the more obvi
ous libraries. For example, he re
cords copies in the library of the
Brooklyn Academy of Medicine
(now part of the Collections of
RINK, Evald, comp. Printing in Dela
ware, 1761-1800: a Checklist. 214pp.
Wilmington: Eleutherian Mills Histori
cal Library, 1969. $9.50.
20
the Downstate Medical Research
Center Library), and the National
Library of Medicine, but not in
the New York Academy of Medi
cine or the College of Physicians
in Philadelphia, both of which
have extensive holdings of Ameri
cana. The holdings of three Epis
copal libraries are recorded, but
the library of the General Theo
logical Seminary in New York, one
of the largest, is not among them.
Several other theological libraries
have their holdings listed, but the
library of the Union Theological
Seminary, perhaps the greatest of
all, is left out. There are some other
curious anomalies. The symbol "N"
is given for the New York State
Library, but only one entry has
this symbol after it, this despite
the fact that the New York State
Library has some twenty 18th-
century Delaware imprints. On the
other side of the coin, the New-
York Historical Society is given
more credit than is its due. Judging
from the checklist, this library
would seem to have quite a re
spectable collection of early Dela
ware imprints, but many of these
turn out to be microform copies.
One of the few that it does have,
Anton Boehme s Spiritual improve
ment of temporal affliction, 1785,
is not recorded as being there. The
only copy recorded by Mr Rink
is in the library of the Historical
Society of Pennsylvania.
The symbol "PPM" is given for
the defunct Mercantile Library in
Philadelphia, but there is no men
tion of the fact that most, if not
all, of the rare books in this library
were acquired by the Free Library
of Philadelphia. Both recorded
copies of a 1777 state document,
Rink no. 107, are incomplete. One
AN&Q
lacks the title page; the other is
said to have the title page and two
other pages supplied by photo
copies. Whence came the photo
copy of the title page? It is evident
that there must be another copy
somewhere, or at least a genuine
title page from which the photo
copy was made. Similarly, the is
sues of the Delaware Gazette for
1790 are said to be on microfilm
at the Delaware State Archives
and partly on microfilm at the His
torical Society of Delaware.
In the Foreword, page seven,
Mr Rink states, "Whenever pos
sible the entries have references to
bibliographical sources where they
have been previously recorded".
This ideal is not borne out in prac
tice, however, as the citations are
limited to Evans, with occasional
Bristol, Hawkins, Sabin, Heartman,
or Drake numbers. Austin numbers
are not given for the medical
books; Karpinski is not cited for
the mathematical books; Welch is
not cited for children s books, etc.,
etc. For Filson s Kentucke only the
Evans number is given, and only
eight copies are located. One is
not told which copies contain the
map, although this was not printed
in Delaware. Perhaps the best bib
liographical description of this
book is in the Church catalog, no.
1202. The Church copy, one of the
few to contain the map, is now,
of course, in the Huntington Li
brary; it is one of the copies not
recorded by Mr Rink. He does
give a bit more information about
this work in his introductory essay,
pp. 18-19, but there he gives only
two references, both rather old.
The following notes, which list
a few additions, a few added cop
ies, a few secondary sources con-
October 1971
21
tainixig good descriptions, and a
few differences of opinion concern
ing format, would seem to suggest
that there is a need for still more
research in this area.
1) Wesley, John.
A sermon on the death of the Rev.
Mr. George Whitefield. Preached at
the Chapel, in Tottenham-Court-
Road, and at the Tabernacle near
Moor-fields, on Sunday, November
18, 1770 . . . Wilmington, Printed
by James Adams, in Market-street,
1771. 18 p. 8vo. There is a copy
in the Union Theological Seminary
Library in New York,
2) Smith, Robert.
The bruised reed bound up, and
the smoaking flax inflamed . . .
Wilmington, Printed by James
Adams, 1772. 60 p. 8vo. This is
now Bristol no. B3488a; it was pre
viously recorded by Sabin, no.
83795. There is a copy in the Prince
ton Theological Seminary Library.
3) Delaware. Governor.
By his excellency Caesar Rodney,
Esq; President ... of the Dela
ware State, a proclamation [pro
hibiting the export of wheat, flour
and other provisions until the fol
lowing September] the third day
o May, in the year of our Lord
one thousand seven hundred and
seventy-nine. Wilmington, Printed
by James Adams [1779] Broadside;
35 x 21 cm. There are two copies
of this broadside in the Franklin
Collection at Yale. According to the
National Union Catalog, others are
to be found at the Library of Con
gress, the Delaware Historical So
ciety, the Wilmington Institute, the
American Antiquarian Society and
the Historical Society of Pennsyl
vania. Curiously this is not listed
in the checklist, although Rink no.
122 is rather similar and many of
the same locations are given for it.
4) Dilworth, Thomas.
The schoolmasters assistant: be
ing a compendium of arithmetic,
both practical and theoretical. In
five parts . . . Wilmington, Printed
... by Bonsai and Niles [178-]
192 p. According to the National
Union Catalog there are copies at
the Library of Congress, the Uni
versity of Virginia, and the Clem
ents Library of the University of
Michigan.
5) Three small type specimen sheets
printed by James Adams in 1785.
These, together with Adams manu
script proposals for printing the
Journals of the Continental Con
gress, are contained in vol. 46 of
the Papers of the Continental Con
gress formerly in the Manuscript
Division of the Library of Congress
and now in the National Archives
(microfilm M247, Roll 60). They
were described by Prof. Edmund
Dandridge, Jr. in Studies in Bib
liography, II (1949-50) pp. 189-
196. According to Prof. Dandridge,
"Adams offered samples of Latin
paragraphs in three kinds of Roman
and Italic sizes, Pica, Small Pica,
and Long Primer, and spoke ad
miringly of his type as follows: *As
I have lately imported from London
a general Assortment of Types,
Specimens of such as I suppose
you will have the Work printed
on you have here enclosed, think
there is not a Printer on the Con
tinent better provided for that
Work If a larger Size Letter than
you have here inclos d might be
pitched on, I have such."* These
proposals, submitted by nine print
ers, throw much new light on Amer
ican printing practices of the late
18th century.
6) [Tilton, James]
Political observations, addressed
to the people of Delaware. By
Timoleon [pseud.] . . . Wilming
ton: Printed by Frederick Craig
and Co., 1787. 42 p. 12mo. There
is a copy in the Rosenbach Foun
dation in Philadelphia; it has a
manuscript note at the top of the
title page: "8. Oct. 1787".
7) Patriotic Society of New Castle
County.
Circular. The Patriotic Society of
New-Castle County, in the State
of Delaware, to the Patriotic So-
22
AN&Q
cieties throughout the United States.
Fellow Citizens
When we consider the cause for
which we braved the storm of
British tyranny . . . Signed by Or
der of the Society
James McCullough, President
(attest.)
John Bird, Secretary
This undated broadside, not seen
by the reviewer, is in the Rare Book
Division of the Library of Congress.
There are two entries in Mr Rink s
checklist, nos. 360 and 361, for this
society, both items published in
1794 and both signed by the same
persons. It seems likely that the
above broadside was printed in the
same year, or at least not long after.
8 ) Dilworth, Thomas.
The schoolmasters assistant: be
ing a compendium of arithmetic
. . . Wilmington, Printed and sold
by Peter Brynberg, 1796. Although
this title is listed by Mr Rink, no.
403 with nine copies recorded,
there were, in fact, two different
editions of this work published in
the same year. One has been com
pletely reset and has some type or
naments on the title page where
the other has only rules. The two
editions have not been distinguished
by Mr Rink.
9) Seven Sages.
Roman stories; or the history of
the seven wise masters of Rome . . .
Fiftieth edition. Wilmington, Print
ed and sold by Peter Brynberg,
1796. 103 p. This was described
by the late d Alte Welch and is
now Bristol no. B9700. There is a
copy in the private collection of
Ludwig Ries of Forest Hills, N.Y.
10) Valentine and Orson.
The renowned history of Valen
tine and Orson; the two sons of
the Emperor of Greece. Wilmington,
Printed and sold by Peter Brynberg,
1796. 104 p. 18mo. There is a copy
in the Free Library of Philadelphia,
acquired in 1968. Mr Rink lists this
work under the year 1797 (no. 476)
on the basis of Evans no. 33110.
As no copy dated this year is known
to exist, this entry can now rather
safely be considered a ghost.
11) Webster, Noah.
The prompter; or A commentary
on common sayings and subjects,
which are full of common sense,
the best sense in the world . . .
Wilmington, Printed & sold by
Peter Brynberg, 1797. 96 p. 18mo.
This is listed in Skeel s bibliography
of Noah Webster, no. 673. There
is a copy in the New York Public
Library lacking pages 29-32.
12) The town and country almanac, for
the year of Our Lord, 1799. Being
the third after leap-year . . . Wil
mington, Printed and sold by Bonsai
& Niles, Market-Street. [1798] 42
p. A group of seven of these early
Delaware almanacs, the earliest be
ing for the year 1799, was sold in
the Samuel W. Pennypacker sale,
Philadelphia, Henkels, 1905-09, pt.
7, lot 304. What is apparently the
identical group of almanacs reap
peared at the Swann Galleries sale
no. 851, 13 May 1971, lot 107.
Undoubtedly they now repose on
the shelves of a library in Delaware.
The earliest of these almanacs re
corded by Mr Rink is for the year
1800.
13) Webster, Noah.
The American spelling book, con
taining an easy standard of pronun
ciation, being the first part, of a
gramatical (sic) institute of the
English language, to which, is ad
ded, an appendix containing a moral
catechism. Wilmington, Bonsai &
Niles, 1798. This edition of Web
ster s well-known work seems to be
unrecorded in any bibliography, and
no copy is known to exist. It is,
however, listed in the copyright rec
ords for the State of Delaware kept
in the Office of the Clerk, United
States District Court, Wilmington,
Delaware, docket D. C. L. N., Bin
no. 12; see p. 16, entry no. 3 (The
reviewer would like to thank Mr
Edward G. Pollard, Clerk of the
Court, for searching out these rec
ords). The fact that a work was
copyrighted is, of course, no guar
antee that it was ever printed. Very
few 18th-century Delaware im
prints were ever copyrighted, how
ever, so it seems likely that a
October 1971
23
printer would not have gone to the
trouble o obtaining the copyright
unless he were fairly certain of
actually printing it. Furthermore,
according to Skeel s bibliography,
many editions of this work are
known today in only one or two
copies. It seems likely, therefore,
that there were other editions of
which no copies have survived.
Apparently no bibliographers have
consulted these copyright records.
Their existence was noted by Mr
Martin A. Roberts in 1937, but Mr
Roberts merely indicated that the
records were said not to be in con
dition to be transferred to the Li
brary of Congress; see his "Records
in the Copyright Office of the Li
brary of Congress Deposited by the
United States District Courts, 1790-
1870", Papers of the Bibliographical
Society of America, XXXI (1937),
81-101. Prof. G. Thomas Tanselle
did not mention these records at
all in his otherwise comprehensive
survey, "Copyright Records and the
Bibliographer", Studies in Bibliog
raphy, 22 (1969), 77-124.
14) Brynberg, Peter.
Peter Brynberg s catalogue of
books, printed in his office, and for
sale wholesale & retail. Broadside.
This undated broadside is in the
manuscript division of the New York
State Libraiy in Albany, MS 11006,
foliated 162 in manuscript and 165
by handstamp. It has a manuscript
note, "Sept. 1801 Wilmington Del/*
This seems to be a later addition,
however. The broadside contains a
short-title list of fifteen books and
twenty-five "chap-books," all of
which can be identified. As the
most recent books on the list were
printed in 1800, it seems likely the
broadside was printed in that year.
Surely, if the list were printed in
1801, Brynberg would have listed
some books printed or in press
that year.
15) Dilworth, Thomas.
A new guide to the English
tongue; in five parts . . , Wilming
ton, Printed by Bonsai and Niles
[n.d.] 120 p. 12mo. This undated
book seems to be unrecorded and
may not fall within the scope of
Mr Rink s checklist. The firm of
Bonsai and Niles was in existence
from 1796 to the end of 1804, so
that there is at least a fifty per
cent chance that this book was
printed in the 1 8th century. There
is a copy in the Free Library of
Philadelphia, acquired in 1957 from
the Midland Book Co.
The following are locations of cop
ies of books which are listed in the
checklist, but with the note "No
copy known".
Rink 78. Fox, Thomas.
The Wilmington almanack,
or ephemeris . . . for the
year of our Lord, 1775 . . .
Wilmington, Printed and sold
by James Adams [1774]
There is a copy in the Boston
Public Library.
Rink 124. Delaware. Supreme Court.
Delaware State, ss. Samuel
Patterson, of New-Castle, in
the Delaware State aforesaid,
Esq.: Brigadier General of
Militia, came before me . . .
[David Kinney, Esq., one of
the justices of the Supreme
Court, for said State] and
being duly sworn . . . [ex
plains how public funds in
his care happened to fall into
the hands of the British.
Wilmington, Printed by James
Adams, 1779]. 4 p. There is
a copy in the Benjamin
Franklin Collection at Yale
University.
Rink 143. A mournful lamentation on
the untimely death of paper
money: a native of North-
America, who died ... in
. . . 1781 . . . Wilmington?
Printed by Sam. Adams, in
the 10th year of his age, and
1st month of his apprentice
ship, 1781. A photocopy of
this broadside is in the New
York Public Library; the
original is in the Benjamin
Franklin Collection at Yale
24
University. As Mr Rink notes,
there is some doubt whether
this work was actually print
ed in Delaware.
Rink 181. Delaware, Laws.
Delaware State, November
15, 1784. Public notice.
Whereas by a resolution of
the honourable the Continen
tal Congress . . . have called
upon this State to make up
their quota of a deficiency
of moneys. In conformity
thereto, this State have passed
a law, dated at Dover June
26, 1784, ordering and au
thorizing three collectors for
the State . . . Wilmington,
Printed by James Adams
1784. Broadside. 26 x 17.5
cm. There is a copy in the
Benjamin Franklin Collection
at Yale University.
Rink 552. A new riddle book, or Food
for the mind. Containing rid
dles &c. for the amusement
of youth. By Peter Puzzle,
Esq. Wilmington, James Wil
son, 1803. Mr Rink dates
this 1800? and lists it on the
basis of an advertisement in
another book printed by Wil
son. It was not printed, how
ever, until 1803. There is a
copy at Yale University.
The reviewer found a number of
additional copies of books previ
ously thought unique, or of which
but two copies were known, but it
would be too tedious to list them
here. It might be worth adding a
few comments, however, on some
of Mr Rink s descriptions.
No, 6, Thomas Dilworth s A new
guide to the English tongue,
1762. Mr Rink gives no ref
erences to any secondary lit
erature for this. The only
known copy, in the Columbia
University Library, lacks pages
133-140 and all after p. 142.
Mr Rinlc gives the pagination
AN&Q
as 3 p.l., 154 p. Also, he indi
cates by three dots that some
thing has been left out be
tween the words tongue and
in five parts on the title page;
only a colon, in fact, separates
these words.
No. 12, Vol. II of the Laws of the
Government of New-Castle,
Kent and Sussex, upon Dela
ware, 1763. This is actually
the first part of an early book
in parts, although the connec
tion between the different parts
is not brought out by the
checklist. The other parts are
nos. 17, 18, 32, 37, 44, 48, 49,
64, 71, 72, 89, and 90. The
pagination and the signatures
run continuously. According to
the checklist, there is but one
library with a complete set of
these parts, that of the Associ
ation of the Bar of the City
of New York. There is another
complete set, however, in the
New York State Library in
Albany. This set is of particu
lar interest because it is from
the library of George Read,
signer of the Declaration of
Independence and Chief Jus
tice of Delaware. It has his
autograph, his bookplate, and,
on many pages, his interesting
manuscript notes. There is a
microfilm of this volume in
the New York Public Library.
No. 21, A little looking-glass for the
times, 1764. Although the
N. Y. Public Library is not
listed among the libraries hav
ing copies of this work, it has
two copies, one on a coarse
brown paper, the other on a
good white paper.
No. 23, Gervase Markham s The citi
zen and countryman s experi
enced farrier, 1764. Here one
is referred to an article by
Dorothy Hawkins on James
Adams and to Evans no. 9718.
By far the best description of
this work, however, is in Dr
F. N. L. Poynter s bibliography
October 1971
25
of Markham, p. 190-193. Dr
Poynter gives the format as
8vo; Mr Rink gives it as 16mo.
Dr Poynter seems to be correct.
Nos. 99 and 106, These two entries list
paper money issued in 1776
and 1777. Mr Rink merely
lists the notes which are in
the Delaware Historical So
ciety, which has a rather in
complete collection. There is
no reference to the standard
work on colonial paper money,
Eric Newman s The early pa
per money of America, where,
on pp. 82-84, are described
all of the notes printed in
Delaware in 1776 and 1777.
The American Numismatic So
ciety has a sheet of eight bills
issued in 1776 besides various
single bills issued in 1776 and
1777. The Library of Congress
has a sheet of eight bills is
sued in 1777 besides several
single bills issued in 1776 and
1777. Undoubtedly there are
other specimens of early Dela
ware paper money in other
libraries.
No. 134, Bible. N.T., 1781. Two copies
are located and only the Evans
number is given. Surely there
should have been a reference
to The English Bible in Amer
ica by Margaret Hills, where
one learns that there is a copy
in the Library of Congress as
well.
No. 303, Henry Colesberry s Tentamen
medicum inaugurale de epi-
lepsia, 1792. Mr Rink gives
only the Evans number and
locates copies at the National
Library of Medicine and the
Library of Philadelphia. This
is Austin no, 493; additional
copies are to be found in the
Library Company of Phila
delphia. This is Austin no.
493; additional copies are to
be found in the libraries of the
New York Academy of Medi
cine, the College of Physicians
in Philadelphia and the Uni
versity of Pennsylvania.
No. 339, John Spurrier s The practical
farmer, 1793. Mr Rink gives
only the Evans number. This
is also Sabin no. 89930, and
it is most fully described in
E. Millicent Sowerby s catalog
of Jefferson s library, vol. 1,
p. 329, no, 702.
No. 341, Girolamo Zanchfs The doc
trine of absolute predestination
stated and asserted , . ., Wil
mington, Printed at Adams s
Press, 1793, There is no men
tion of the interesting note at
the foot of p. 148 of this
work: "The first twenty-four
pages of this book, being done
at a different printing-office,
the public will excuse its not
being executed so well as I
could wish. James Adams/
No. 386, The blossoms of morality,
1796. Mr Rink gives the au
thor of this anonymous work
as Arnaud Berquin, noting
that Evans, no. 30277, assigns
the work to Samuel Cooper.
Margaret Weedon of the Bod
leian Library has shown on
rather good evidence, how
ever, that the author was
Richard Johnson, 1734-1793;
see "Richard Johnson and the
successors to John Newberry,"
The Library, 5th ser., 4 (1949 /
50), 25-63. Both d Alte Welch
and Judith St. John accept this
authorship.
No, 392, Defoe s Robinson Crusoe*
1796. Only the Evans number
is given. This book is rather
more fully described in Welch
and in Brigham s bibliography
of American editions of Robin
son Crusoe, no. 35.
No. 407, The history of little Goody
Two-Shoes, 1796. Again, only
the Evans number is given.
This book is described in
Welch and in Miss Sowerby s
catalog of the Rosenbach col
lection of children s books.
Miss Sowerby notes that the
Rosenbach copy, now in the
Free Library of Philadelphia.,
26
was issued in the wallpaper
binding for which Peter Bryn-
berg, the printer, was famous.
No. 412, John MacGowan s The life oj
Joseph, the son of Israel,
1796. Only the Evans number
is given. This too is fully de
scribed in the Rosenbach cata
log.
No. 420, George Washington s An ad
dress to the people of the
United States, 1796. Only the
Evans number is given, the
work is described as a quarto,
and five copies are located.
This is also listed by Sabin,
no. 101568, who calls the book
an octavo, locates five addi
tional copies, and says, "the
copy in the Library of Con
gress is in large paper format,
in folio . . ." Sabin seems to
be wrong about the format,
and the copy in the Library
of Congress seems to be really
a large paper quarto copy.
No. 427, The Holt/ Bible abridged,
1797. This is described in the
checklist as a 24mo. Miss
Sowerby, who gives a very
full description of it in the
Rosenbach catalog, no. 228,
calls it a 16mo,
No. 452, James Hervey s The beauties
of Hervey, 1797. This is a
reissue of Rink no. 408 with
the first gathering reset, a fact
not mentioned in the checklist.
No. 472, The history of Tom Thumb,
1797. Only the Evans number
is given. This book is also
described in Welch, Sabin and
the Rosenbach catalog. Miss
Sowerby adds the interesting
note that "this book is a toy
book measuring 3Vs x 2 inches,
a form for which James Adams
was famous".
No. 477, John Vaughan s Observations
on animal electricity, 1797.
Only the Evans number is
given. This is also Sabin no,
98686 and Austin no. 1975.
AN&Q
Besides the five copies located
in the checklist there are copies
in the New York State Library,
the Library of Congress, the
library of the New York Acad
emy of Medicine and that of
the Harvard School of Medi-
No 490, John Cough s Practical arith-
metick, 1798. Only the Evans
number is given, and copies
are located at the Library of
Congress and the Huntington
Library. This work has been
fully described by Karpinski,
p. 201, who locates additional
copies at the New York Public
Library, the Library Company
of Philadelphia, and the Amer
ican University Library. There
does not seem to be a copy
in the New York Public Li
brary, however.
No. 511, Zachariah Jess s The American
tutor s assistant, improved,
1799. Only the Evans number
is given. This too is fully de
scribed by Karpinski, p. 123,
who records additional copies
at the New York Public Library
and the Franklin Institute in
Philadelphia. There is also a
copy at Rutgers University
lacking pp. 3-10.
No. 566, The Wilmingtoniad, 1800. Only
the Evans number is given,
and the format is given as a
16mo. This work is also listed
in Sabin, no. 104590 and in
Miss Sowerby s catalog of Jef
ferson s library, vol. 3, p. 331,
no. 3274. Miss Sowerby gives
the format as 12mo.
Probably no bibliography such
as this is ever complete, and it is
no reflection on Mr Rink that he
missed some things. Everyone does.
Still, it does seem that he not only
relied rather too heavily on second
hand information for imprints out
side of Delaware but he made too
little use of the printed bibliog-
October 1971
27
raphies and catalogs that should
have been available to him on
home grounds. What is surprising
is that despite the efforts of Bristol,
Shipton, and Mooney and others,
so many 18th-century American im
prints should still languish unno
ticed on the shelves of the libraries
where one would most expect to
find them. No doubt more unre
corded Delaware imprints will
come to light in due course. Surely
Mr Rink will wish to continue with
his work and will prepare a revised
edition soon.
Philip J. Weimerskirch
The Edward G. Miner Library
University of Rochester
QUERIES
Unpublished Whitman prose
The Feinberg Collection, Library
of Congress, obtained last year
three scraps of paper, pasted
together to form a sheet, with a
narrow slip attached. On this, in
the familiar handwriting of Walt
Whitman, was a heavily revised
paragraph which I cannot find in
his Prose Works 1892, ed. Floyd
Stovall (New York University
Press, 1963, 1964), nor elsewhere.
Can any reader identify this prose
passage as published Whitman (I
have deleted the cancelled words ) :
"Alas! while how near how in
finitely far off & ever eluding us is
the solving of the problem! The
old, old puzzle indeed what is
the motif of our very identity of
our soul, this strange medley of
birth, training or want of training,
circumstance, passion, ennui we
call life - what else is it all but a
mockery, a tragic joke? Do we,
indeed as most believe, but drift
aimlessly? Who, who shall cast
even the objective reckoning, the
reckoning of these ships on bound
less seas the ship of These States
the ship of Myself, Yourself
the ship of To-day, so great,
majestic, crammed with values,
and all the accumulated lores &
lives? Whither are we all sailing?
What are these shoals beneath,
that touch the keel so oft with
deadly grating noise? What are
those rocks there In the distance?
What, finally, is the end, the port
of destination? Is there a port of
destination?" William White,
Detroit, Michigan
Lane Coopers Method of Con-
cording In the preface of A
Concordance of Boethius (Cam
bridge, Mass., 1928, p. ix) Lane
Cooper refers to his method of
concording as described in A Con
cordance to the Works of Horace
(Washington, 1916). There is,
however, only a brief description
in his Horace concordance with an
even shorter footnote mentioning
these printed instructions (p. vii).
A detailed account of Cooper s
method was given in a leaflet in
serted in this concordance. Can
anyone tell me where this by now
historic leaflet on concording is
available? Hartmut Breitkreuz,
Gottingen, Germany.
AN&Q will resume its columns
in their usual proportions in
November.
28
REPLIES
-Jesus H. Christ 9 (IX: 104) I
have long thought "H" stood for
Harold, and derived from the
Lord s Prayer: "Our Father who
art in heaven, Harold be thy
name". A biologist colleague offers
a different origin: He says H
stands for haploid, a condition in
which only half the normal num
ber of chromosomes are present, as
when an egg develops without
being fertilized by a sperm, The
egg has 23 chromosomes and the
sperm 23; together they produce
the normal (diploid) complement
of 46. Since Mary was a virgin the
egg that became Jesus had only 23
chromosomes and he, therefore,
was haploid. I ll bet you get more
replies to this query than for any
other. Lawrence Badash, Dept
of History, University of Califor
nia, Santa Barbara
The "H" in the name is from
Greek. The Christian symbol IHS
represents the Greek lesous Jesus.
In time the long V (H) was mis
taken by people in the Latin cul
ture for a capital H. Consequently
various phrases arose using these
initials: Jesus Hominum Salvator
(Saviour of men); In Hoc Signo
(vinces) in this sign (thou shalt
conquer); In Hac (cmce) Solus in
this (cross) is salvation.
Jerome Drost, SUM at Buffalo
Sedan fire (IX: 104) This foe
was part of annual festivities com
memorating Germany s defeat of
the French and capture of Napo
leon III at Sedan on 2 September
1870, Though at one time common
throughout Germany, the custom
AN&Q
has long since been discontinued.
The origin of the fire itself is
obscure, but may perhaps be
traced to the similar and incom
parably older summer-solstice
fires, still occasionally to be found
in the more remote mountains of
German-speaking areas. Frank
K. Robinson, Dept of English, Uni
versity of Tennessee, Knoxville
"A seamless web" (IX: 104)
The phrase occurs in the second
edition of The History of English
Law Before the Time of Edward I
(Cambridge: The University Press,
1898; reprinted, 1952), by Sir
Frederick Pollock and Frederic
William Mainland. Chapter I, a
new chapter written by Maitland
for the second edition, begins with
this paragraph: "Such is the unity
of all history that any one who
endeavours to tell a piece of it
must feel that his first sentence
tears a seamless web. The oldest
utterance of English law that has
come down to us has Greek words
in it: words such as bishop, priest
and deacon. If we would search
out the origins of Roman law, we
must study Babylon: this at least
was the opinion of the great
Romanist of our own day. A
statute of limitations must be set;
but it must be arbitrary. The web
must be rent; but, as we rend it,
we may watch the whence and
whither of a few of the severed
and ravelling threads which have
been making a pattern too large
for any man s eye". Anthony
W. ShippSy Indiana University Li-
braries, Bloomington
Professor Archer Taylor of
the University of California, Berke
ley, offered the same quotation.
October 1971
29
EDITORS
NOTES & READING
4th Triennial Prize for Bibliogra
phy, The International League o
Antiquarian Booksellers, an inter
national association grouping to
gether the National Associations of
Antiquarian Booksellers, awards
every three years a prize worth, as
a rule, US-$75Q.OO to the author
of the best work published or un
published, of learned bibliography
or of research into the history of
the book or of typography, and
books of general interest on the
subject. The competition is open,
without restriction, but only en
tries submitted in accordance with
these conditions will be considered.
Entries must be submitted in a lan
guage which is universally used.
A work already published is eli
gible only if its publication oc
curred within the three years im
mediately preceding the closing
date for submission, or if it has an
imprint bearing a date within those
three years. Entries in the form of
a specialized catalogue of one or
more books destined for sale are
not eligible, nor periodicals or pub
lic library catalogues. The judges
will be composed of: 1) the Presi
dent of the International League
of Antiquarian Booksellers; 2) the
Secretary of the Triennial Prize;
3) a member nominated by the
League Committee; 4) three per
sons whose bibliographical knowl
edge is generally recognized. These
last three, chosen from countries
speaking different languages, will
be helped by specialists, appointed
as necessary. Three copies of each
work whether published or unpub
lished must be deposited at the
office of the Secretary of the Tri
ennial Prize (Monsieur G. A.
Deny, rue du Chene 5, B-1QQO
Brussels, Belgium) at the very
latest sixteen months before date
of award. Next award: Spring of
1973. Last date for submitting en
tries: 31st December 1971. For fur
ther information write Leona Ros-
tenberg, Vice-President, Antiquari
an Booksellers Association of Amer
ica, Shop 2, Concourse, 630 Fifth
Ave., N.Y., N.Y. 10020.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky and will be con
tinued in subsequent issues.
BOOK REVIEW
PROETZ, Victor. The Astonishment of
Words: an Experiment in the Compari
son of Languages. Foreword by Alastair
Reid; afterword by Charles Nagel. xii
-f 187pp. Source index. Austin: Uni
versity of Texas Press, 1971. $6.75
It seems probable that the author
(1897-1966), whose complex personality
combined distinction as an architect and
interior decorator, the sensitivity of a
litterateur, and keenness of wit, must
once have read and been impressed by
the Harvard philologist Isaac Goldberg s
The Wonder of Words ( 1938). If so, the
whimsy of his otherwise illogical title
is accounted for: even as only certain
words and phrases concerned him, so
also astonishment is simply a momentary
manifestation of wonder. As Alastair
Reid observes in his Foreword (p. xi):
"There is nothing particularly new in
30
discovering the vagaries of comparative
translation, but what [Proetz] adds is
the dimension of awe, the astonishment
that translation is possible at all". 1
Proetz s "game", as he called it, was
limited for the large part to the pursuit
of German and French translations of
staunchly English passages and phrases
and putting the three side by side, to
gently quaff, as it were, the resultant
marvel almost always unbelievable,
either because of the translator s astute
ness or (more frequently) his slavishly
ethnocentric reductio ad cognitum. Word
games, of course, are not new either.
One need think only of the whimsical
verse of Lewis Carroll and Christian
Morgenstern; the Schuttelreime of Ger
man students, which in a pathological
sort of way raise the spoonerism to a
high art; and the syntactic jugglings of
Latin inscriptions, or of Old Norse (in
the latter, compounded with alliteration
and metaphorical phrases called "ken-
nings"): and indeed, is not all verse,
recited, sung or chanted, a game of
sorts, its mnemonic value aside? Proetz s
game is also laced with malice which,
in his concentration on easy targets ( such
as verse translations), he indulges.
Games such as these are insidious.
Proetz s addiction began, apparently,
when he learned that "Behold now behe
moth" (Job xl:15) turns up in the
French Bible as one must see it to
believe it! "Voici I hippopotame".
The language so ill done by, of course,
was not English, but the Latin of the
Vulgate (or if one prefer, a bit of He
brew which survived in the Vulgate).
But it set him to thinking: What would
the volatile -yet-shopkeeper-minded
French (or the ponderous-but-romantic
Germans) do, if called on to translate,
say, "I saw a stranger yestereen . . ."?
Or (in The Twa Corbies), "Whar sail
we gang and dine the day"? Or the
cisatlantic "Yankee Doodle"? Or per
haps the line "When the chalk wall
falls to the foam ..." in Auden s "Look,
stranger, on this island now"? (If you d
like to know, Dover s cliffs show up
simply as "le raur de craie" and "die
Kreidewand". )
The interesting thought had now
grown to an obsession. Who could but
mutilate "Tiger, tiger, burning bright
. . ."? (They did indeed. . . .) And
what of the paradox of a German rend-
AN&Q
ering of "Some corner of a foreign field/
That is forever England"? (Surprise:
the German version in the reviewer s
humble view quite outdoes the Rupert
Brooke original.) Elizabeth Barrett
Browning s Sonnets from the Portuguese
suffer; while in Browning s Song from
Pippa Passes, "The snail s on the thorn"
becomes "L escargot rampe sur 1 aube-
pine" ("Escargot indeed"! Proetz must
have muttered [see p. 5]). And how
does "Auld Lang Syne" fare? You d
never guess: the Germans (who usually
do better with English than do the
French) flubbed it, while the French
came up with a right singable transla
tion: Au vieux et bon pays, mon cher,l
Au vieux et bon pays, I Nous cliquerons
gaiment nos verres,/ Au vieux et bon
pays.
Of the 29 chapterettes (if AN&Q s
editor will tolerate my neologism), most
consist of an English selection and its
counterparts in German and French,
usually in that order, and end with a
few paragraphs of sparHing and often
informative commentary by the author.
There are a few blanks, which he doubt
less would have filled had he lived to
complete his work. On the other hand,
in the odd instance, two or more other-
language versions are provided. Four of
the German renderings Proetz (of St.
Louis, Mo., German stock) undertook
to do himself with somewhat ques
tionable results. Exceptions to the pre
dominance of verse are the 6th chapter
of Alice s Adventures in Wonderland;
an excerpt from that most English of
tales, Dickens A Christmas Carol; the
opening sentence of the Preamble to the
U.S. Constitution; and 17 lines from
Moby Dick which end with "Da blast
sie"!/ "Elle souffle"! 2 By and large the
editing is good, though it is marred by
frequent errors in the German (I note
at least eighteen ) and the French ( some
six) which apparently escaped both the
author s friends and the eyes of Texas.
The work, however entertaining, is
not without its parochialism. It is at all
times the English speaker who is being
amused (thus, the aforementioned es-
cargots, to the Frenchman, are snails
in general: he senses no garlic aroma
in Browning s context, and the transla
tion of the word as such is therefore a
good one, whether Proetz jokes about
it or not). Another misleading effect
October 1971
31
arises, moreover, in the translation of
regional and /or early English (Burns*
"To a Mouse", the first 18 lines of
Chaucer s Prologue, et al.). Readers of
an acquired German or French, over
looking the conversion of the English
twice over (not only to a foreign lan
guage but also to a modern, standard
form of it), are likely to find the non-
English more intelligible than the Eng
lish (for much the same reason, inci
dentally, that naive Germans, and for
that matter, Russians, have been known
to claim that their Shakespeare is better
than the original! ) .
But who am I to take away the soph
isticated fun of Proetz and his fellows?
In the course of writing this review, I,
too, I find, have been bitten by the
bug. Consider only an obscure and long
forgotten work by an Argentine on Amer
ican Negro jazz and folksongs, 3 to which
he appends a Spanish stab at translating
some of the lyrics (if you are a non-
hispanophone, see his first-line English
clues ) :
(1) Aguatero,
^Donde te estds escondiendo?
Si no vienes,
Voy a conlarle a tu madre.
(2) Yo tengo zapatos, tu tienes zapatos,
Todas las criaturas de Dios
tienen zapatos. . . .
( 3 ) A veces me siento como un huerfano,
A veces me siento como un huerfano,
A veces me siento como un huerfano,
Muy lejos de mi hogar, . . .
(4) LOS "BLUES" DE SAN LUIS
For William C. Handy
Odio ver la caida del sol,
Odio ver la caida del sol,
Porque mi amado de la ciudad se
ha ido . . .
and
Si me ayuda IT a Cairo, a San Luis
llegare. . . .
Clues: (1) Waterboy . . .; (2) I got
shoes, you got shoes . . .; (3) Some
times I feel like a motherless child . . .;
(4) Oh how I hate to see that evenin
sun go down. . . .
Then there s the case of a currently
popular song with an interpolated French
version of the refrain. The pallid gal-
licization of "Look what they ve done
to my song, Ma . . ." is (I m sorry!)
"Us [sic/] ont change ma chanson . . / .
And Ma? She is the victim of some
modern-day Procrustes. B. Hunter
Smeaton, The University of Calgary,
Canada
1. The literature on translation is enor
mous, and Proetz s particular hobby
namely, chasing down the translations
of very English passages into other
languages, just to see how they were
handled (or mishandled) is at best
a marginal aspect of it. Predictably,
translated verse is an especially rich
source for the materials that interest
him. We note at random some treat
ments of the problems and techniques
of this always bold undertaking:
Muna Lee, "Translating the Untrans
latable", Americas, Sept. 1954, pp.
12-19; Josef Korner, Wortkunst ohne
Namen, vol. 2 (Bern: Francke Verlag,
1954); and (concerning the transla
tion of Dante into English) "Old and
new guides through the dark wood"
(Times Literary Supplement, June 4,
1971, p. 654) and in general, the
introductions to facing-page transla
tions (e.g., Babette Deutsch s trans
lation of Rilke s Stundenbuch, Dudley
Fitts Anthology of Contemporary
Latin-American Poetry, and many-
score others). As for biblio graphics
of translation in general, the best and
most recent is to be found in Eugene
Nida s Toward a Science of Trans
lating (Brill, 1964), pp. 265-320.
2. Just incidentally, German whales are
grammatically masculine (a fact pre
sumably unknown to Tashtego). Wil-
helm Striiver translates, he says, "aus
dem Amerikanischen". Could this be
a blind reproduction of generic she*
(as ships are she , and as, of a car,
one may say, "She s beautiful"!)? In
other words, a case may be made for
"Da blast er"! or "Da blast es"!
but sie?
3. Nestor R. Ortiz Oderigo, Panorama
de la Musica Afroamericana, Buenos
Aires: Editorial Claridad, 1944.
32
PUBLICATIONS RECEIVED
(Continued from p. 18)
UacDowell, Edward, Catalogue of First
Editions of, (1861-1008), by O. G.
Sonneck. (Washington, 1917). 89pp,
N.Y.: Da Capo Press, 1971. $8.95
National Faculty Directory, 1971: an
Alphabetical List, With Addresses, of
Over 380,000 Faculty Members at
Junior Colleges, Colleges, and Uni
versities in the United States. 2 vols.
Detroit: Gale Research Co., 1971.
$68.50
Norton, Alice. Public Relations ~ In
formation Sources. 153pp. Detroit:
Gale Research Co., 1971. $14.50.
Oppenheimer, J. Robert, In the Matter
of: Transcript of Hearing Before Per
sonnel Security Board, and Texts of
Principal Documents and Letters, U.S.
Atomic Energy Commission. Foreword
by Philip M. Stearn. 1084pp. Cam
bridge, Mass.: The MIT Press, 1971.
Paper, $5.95
Foe, Edgar Allan. Seven Tales, With a
French Translation and Prefatory Es
say by Charles Baudelaire. Parallel
translation. Ed. by W. T. Bandy.
Ports. 245pp. N.Y.: Schocken Boob,
1971. $10.
Rae, John B. The Road and the Car in
American Life. Maps, tables, diagrs.
390pp. Cambridge, Mass.: The MIT
Press, 1971. $12.
(Randolph, Edmund). Conway, Mon-
cure Daniel. Omitted Chapters of His
tory Disclosed in the Life and Papers
of Edmund Randolph. (N.Y., 1888),
IIlus. 401pp. N.Y.: Da Capo Press,
1971. $15.
Reisner, Robert. Graffiti: Two Thousand
Jews of Wall Writing. Illus. 204pp.
N.Y.: Cowles Book Co., 1971. $5.95
Ruth, Kent. Touring the Old West. Illus.,
incl. maps. 218pp. Brattleboro, Vt:
The Stephen Greene Press, 1971. $6.95
Uphaus, Robert W., ed. American Protest
in Perspective. 406pp. N.Y.: Harper
& Row, 1971. Paper, $5.
AN&Q
Warren, Robert Perm. John Greenleaj
Whittiers Poetry: an Appraisal and
a Selection. 208pp. Minneapolis: Uni
versity of Minnesota Press, 1971. $8.95
Yeats, Critics on: Readings in Literary
Criticism [series]. Ed. by Raymond
Co well. 114pp. Coral Gables: Uni
versity of Miami Press, 1971. $3.95
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filing - 30 September 1971. 2. Title of publica
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of issue Monthly, except July and August.
4. Location of known office of publication
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5. Location of the headquarters or general
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addresses of publisher, editor, and managing
editor: Publisher & Editor Lee Ash, 31 Alden
Road, New Haven, Conn., 06515; Managing
Editor Marian Neal Ash, 31 Alden Road,
New Haven, Conn., 06515. 7. Owner (// owned
by a corporation, its natne and address must
be stated and also immediately thereunder Uie
names and addresses of stockholders owning or
holding 1 percent or more of total amount o]
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and addresses of the individual owners mutt be.
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as that of each individual must be given) Lee
Ash, 31 Alden Road, New Haven, Conn., 06515;
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AMERICAN NOTES & QUERIES
Vob ^e X Number 3 November 1971
KANSAS CITY, MO.
PUBLIC LIBRARY
DEC 6 1971
-tr
NOTES
QUERIES & REPLIES
EDITORS NOTES AND READINGS
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
Arts of Asia (periodical). [Asian arts,
both ancient & modern]. Profusely II-
lus., incl. Color. Bi-monthly. Vol. I,
No. 1, Jan/Feb 1971. Hong Kong:
Arts of Asia, Metropole Bldg, 57
Peking Road, Kowloon, 1971-. $7.50
a year.
Black Rediscovery series: Charles Ball,
Fifty Years in Chains (repr. Slavery
in the United States, 1837). 517pp.
$3.75; George Francis Dow, Slave
Ships and Slaving (1927). Illus. xxxv,
349pp. $3.50; W. E. B. Du Bois, The
Suppression of the African Slave-Trade
to the United States of America, 1638-
1870 (1896). 335pp. $2.25; Solomon
Northrup, Twelve Years a Slave
(1854). 336pp. $3; Arthur F. Raper,
The Tragedy of Lynching (1933).
499pp. $3.50. N.Y.: Dover Publica
tions, 1970. All Paper.
Brawley, Benjamin. Early Negro Ameri
can Writers. Selections, with Bio
graphical and Critical Introductions.
(1935). 305pp. N.Y.: Dover Publica
tions, 1970. Paper, $2.50
(Browning, Robert). Berman, R. J.
Browning s Duke. Illus. 135pp. N.Y.:
Richards Rosen Press, 1972 [sic].
Price ?
Carter, Robert. Carters Coast of New
England: a New Edition of (his)
Summer Cruise . . . [1864]. Illus.
221pp. Somersworth, N.H.: New
Hampshire Publishing Co., 1969 [i.e.
1971]. $5.95
(Chaucer). Rowland, Beryl. Blind
Beasts: Chaucer s Animal World. Illus.
198pp. Kent, Ohio: Kent State Uni
versity Press, 1971. $10.
Clarke, William C. Place and People: an
Ecology of a New Guinean Commu
nity. Illus. 265pp. Berkeley: University
of California Press, 1971. $9.
Coffin, Lewis A.; & Holden, Arthur C.
Brick Architecture of the Colonial Pe
riod in Maryland & Virginia. (1919).
Profusely Illus. 147pp. N.Y.: Dover
Publications, 1970. $3.50
Corbin, John B. A Technical Services
Manual for Small Libraries. Illus.,
incl. charts, diagrs., etc. 206pp. Me-
tuchen, N.J.: Scarecrow Press, 1971.
$5.
Cornet, Joseph. Art of Africa: Treasures
from the Congo. [Trans, by Barbara
Thompson]. 180 Plates, incl. 108 in
Color. N.Y.: Phaidon [distributor,
Praeger], 1971. $60.
David-Neel, Alexandra. Magic and Mys
tery in Tibet (1932). lUus. 321pp.
N.Y.: Dover Publications. 1971. Pa
per, $3.
De Camp, L. Sprague. Lost Continents:
the Atlantis Theme in History, Sci-
ence, and Literature. (1954). Illus.
348pp. N.Y.: Dover Publications,
1970. Paper, $2.75
De Pascale, Marc. Book of Spells. Illus.
130pp. N.Y.: Taplinger Publishing Co.,
1971. $4,95
Eastman, Charles A. Indian Boyhood.
Illus. by E. L. Blumenscnein. (1902).
247pp. N.Y.: Dover Publications,
1971. Paper, $2.
Forster, E. M. Maurice: a Novel. [I913/
14; unpublished]. 256pp. N.Y.: W. W.
Norton, 1971. First published. $6.95
Foster, Pops: the Autobiography of a
New Orleans Jazz Man, as told to
Tom Stoddard. Introd. by Bertram
(Continued on p. 47)
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSOCIATE EDITOR
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CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
A SOURCE FOR SHADWELL S
AMOROUS BIGOTTE
IN HIS SOOTCE NOTE to The Amor
ous Bigotte ( The Complete Works
of Thomas Shadwell. London,
1927), Montague Summers cites a
number of precedents for the
Spanish setting of this 1690 come
dy, but implies that the plot is
original. Albert S. Borgman, in
Thomas Shadwell: His Life and
Comedies (N.Y., 1928), lists possi
ble sources, generally from French
comedy, for most of the characters
and some minor plot elements. I
suggest another French source for
the central events, the complica
tions produced when a man con
fuses the names of his mistress and
her companion.
In Pierre Corneille s Le Men-
teur (1642), Dorante, a compulsive
liar, meets Clarice and Lucrece in
a park, and flirts with Clarice.
When he later elaborates on this
encounter until it sounds like a
major affair, he angers Clarice s
lover Alcippe, who challenges him.
Neither is hurt in the duel, and the
two are reconciled because Dor-
ante thinks that the girl he met is
the one named Lucrece, The girls
maintain the masquerade to trick
Dorante, and Clarice carries on a
correspondence in her friend s
name. When he finally learns the
truth, Dorante casually switches his
attentions to the real Lucrece.
Shadwell multiplied the compli
cations and improved on Corneille
by making the supposed rival the
other girTs lover. In his play
Doristeo meets and falls in love
with Rosania, believing her to be
her cousin and companion Elvira.
The girls are quickly aware of the
mistake, but maintain it for the
sake of convenience, and Rosania
writes to him in Elvira s name.
When Luscindo, the real Elvira s
lover, intercepts the note, he chal
lenges and fights Doristeo. The
girls explain the confusion, the two
men are reconciled, and each mar
ries his mistress.
In spite of the modification and
entirely different subplots, there
are too many specific similarities
between the two plays to overlook.
Both Dorante and Doristeo meet
their mistresses by coming to their
aid when they stumble; both make
an error in the names; both re
ceive a note signed by the false
name; and both are involved in a
duel. Dorante s error is based on
the assumption that his girl is the
mistress of the servant accompany
ing them, and Doristeo assumes
that Rosania is the daughter of the
older woman serving as chaperone.
Shadwell also uses the element of
lying, although he switches it to
a subplot: Luscindo makes a for
mer mistress jealous by allowing
a passing acquaintance with an
other woman to sound like a pas
sionate romance.
These common elements, viewed
in the light of ShadwelTs many
other borrowings from French
36
comedy, might seem to establish
Le Menteur as the primary source
for the plot of The Amorous Bi-
gotte.
Gerald M. Berkowitz
Northern Illinois University
A VICTORIAN PLAGIARISM
OF DEFOE
I DO NOT BELIEVE that it has been
previously observed that Anne
Manning, one of the more popular
of the mid- Victorian novelists,
plagiarized extensively from Daniel
Defoe s A Journal of the Plague
Year, when she wrote Cheery and
Violet: a Tale of the Great Plague
which became a popular success
upon its publication in 1853 and
went through numerous reissues
throughout the rest of the century.
Miss Manning was the chief practi
tioner in a short-lived, but intense
ly popular fashion in historical
fiction for novels in the form of
"authentic" memoirs in which con
siderable effort was made to
imitate the thoughts, prose styles,
and typography of earlier cen
turies. Thackeray s Henry Esmond
is the sole example of this curious
literary fashion to survive into the
20th century, but in his own day
that novel was overshadowed by
the half-dozen successes of Miss
Manning in this same field.
Cheery and Violet takes as its
subject Cheery, the daughter of a
wigseller living on London Bridge
in the early years of the Restora
tion, and of her frustrated love for
her cousin Mark. The form of the
novel is that of a retrospective
memoir in which she recounts the
AN&Q
thoughts and events of a personal,
domestic nature which are given a
broader interest by being set in the
historical context of the Restora
tion, the Great Plague, and the
London Fire. For those lengthy
portions of the novel that depict
her life under the ravages of the
plague Miss Manning went direct
ly to Defoe s Journal and used this
as her chief source. Virtually all
the details and events pertaining
to the impact of the plague on
London life can be traced back to
Defoe s work. Frequently we firid
that whole passages from Defoe s
account have been inserted into
her novel with a minimum, ,, of
modification. For instance, one of
the more effective passages (in
Defoe s Journal is the lengthy
account of the three tradesmen
who sought to escape the horrors
of the plague by fleeing to
Epping Forest outside of Loridofi
where they lived in primitive con
ditions for a number of months.
Defoe uses this lengthy episode to
trace the impact that the plague
made on the surrounding rural
communities. Miss Manning takes
over the entire adventure for .her
own novel, reduces it to a third of
Defoe s length, and ascribes th
experience to her young hero Mark
Blenkinsop who, like the three
tradesmen in Defoe s Journal,
seeks to escape from the plague by
flight to the wooded areas beyond
Readers!
Have a fine winter but spend
some of it researching Replies.
And send new Queries!
November 1971
37
the London environs. Although the
text of Defoe is not followed to the
letter, most of his incidents form
the staple of Miss Manning s narra
tive/
As might be expected, Miss
Manning s story fails to capture the
horrors of Defoe s account. The
earlier novelist achieved his effect
in part through a lengthy develop
ment of circumstantial detail, an
accumulation of numerous brief
vignettes, a skillful use of contem
porary statistics gleaned from the
Plague Bills themselves, and nu
merous excerpts from the sermons,
medical treatises, and newspapers
of the time. The Journal is less
about the fictional persona who
relates his experiences and obser
vations and more about the collec
tive tragedy suffered by the city of
London. It is this perspective that
Defoe gives to his narrative that
makes it so effective. In contrast,
Miss Manning, although like Defoe
she used the form of a persona
who had remained in the city and
observed the full course of the
plague, personalizes the story by
focusing on the impact of the
plague on a single family. As a
result, she fails to develop much of
the sense of the collective horrors
of the experience. The effect is
further diffused by her reliance on
the traditional hero and heroine
from Victorian romance and their
persistent efforts to overcome the
obstacles, both personal and his-
* Compare Manning, Cheery and Violet
(Boston, 1901), pp. 214-225 and Defoe,
Journal, ed. Louis Landa (London,
1969), pp. 125-150. For some other
instances of her plagiarism, see Man
ning, pp. 162-163, Defoe, pp. 48-50;
Manning, pp. 142-143, Defoe, p. 103.
torical, separating them. The
plague here is finally little more
than an historical backdrop to the
love affair in the story s fore
ground. But this was a backdrop
that was lifted bodily from Defoe
without any acknowledgment by
Miss Manning in the preface to
her book.
James C. Simmons
Boston University
HUDSON TO PENNANT
ON FISH, DOGS, BIRDS
THE FOLLOWING LETTER, recently
acquired by the transcriber of this
Note, is a good example of the
kind of correspondence which
passed between 18th-century Eng
lish naturalists. The letter, a three-
page quarto A.L.S. from William
Hudson to Thomas Pennant, is
dated 27 November 1786 and was
sent from Nutwell, Devon, to Pen
nant at his residence in Downing,
Flintshire.
William Hudson (1730P-1793) is
referred to in Pennant s British
Zoology as the discoverer of Troch-
na terrestris. From 1757 to 1758,
according to the DNB, Hudson
was resident sub-librarian of the
British Museum, and in 1761 he
was elected a Fellow of the Royal
Society. Thomas Pennant (1726-
1798), a distinguished traveller and
naturalist, is perhaps best known
to readers today as one of Gilbert
White s correspondents in his Nat
ural History of Selborne.
The letter appears to contain an
swers to particular questions posed
by Pennant, but much of the infor
mation is evidently being supplied
38
with the assumption that the re
cipient would likewise be inter
ested in whatever other natural
facts or theories could be supplied
by the writer. Hudson s view that
the red mullet and the surmullet
are one and the same has proved
to be the correct one. The Mr
Hastings who so desired to import
a spaniel from China, its supposed
place of origin, is perhaps Warren
Hastings, the famous British ad
ministrator in India.
The letter reads as follows, with
Hudson s spelling and punctuation
unwashed:
Nutwell near Exmouth 27. Nov. r 1786
D r Sir
I should have answer d your favors
sooner but that I was willing to procure
all the information I could concerning
the Pilot fish etc. before I wrote. I have
not been able to learn that the Pilot
fish has ever been taken on this Coast.
The Fishermen of Brixham say they
never saw one indeed my Friend met
with only one or two who knew what
it was & they had been Sailors & seen
it but never knew one caught here, but
the Thunny or Spanish Mackrell they
had seen but very seldom that any are
taken but they beleive [sic] the Fal-
mouth fishermen take them more fre
quent as to the red Mullet they have
no regular or certain method of taking
them it is accidental tho on some grounds
they are more certain than on others
they are taken in the Seine the Pipers
are taken in the Seine and likewise by
hook & line as they do Whitings. The
sur & Red Mullet are certainly one and
the same fish. The red is the fresh fish
& the sur mellet [sic] the stale Fish
for as it grows stale the stripes begin
to appear and the nearer it approaches
to putrifaction [520] the stronger or
more visible they appear. Pipers are
taken both by Hook & line (as Whit
ing) and in the Seine. I don t know
I ever mentioned a circumstance con
cerning the Spaniel that it is not origi
nally a native of Spain but of China,
and was carried from thence to the
AN&Q
Philippine Island [sic] and from thence
to New Spain etc. and then to Old
Spain, it is a favorite Dog among the
Chinese who use it for the same pur
pose we do Mr. Hastings took great
pains I am told to procure one of the
original breed from China which he
effected and was bringing it to Eng
land but it died on the passage [?]
I understand he makes no doubt of the
Chinese dog being original breed of our
Spaniel Swallows & Martins were here
so late as the 14 of this month. Whether
they continued longer near their [r] cost
ing places I don t know for the swallows
which bred here retired the begining
[sic] of October - [?] no [?] Martins
having bred here for some years, after
the 14 the weather became rainy etc.
but from 10 or 12 of Oct. r till the 12
of Nov. r the weather was fine without
any rain and veiy few cloudy days. The
wind all that time varying between
N & E & cold but without frost till the
last ten days pon [?] Monday night 6
Nov. at nine at night the therm/ was
at 20% and on Tuesday morn.g the
Ponds etc. were froze over. Tuesday
night it froze not so hard but Wednes
day & Thursday the glass was at 34 &
36. but Friday the 10 of Nov. r at be
tween 9 & 10 at night the Thenn. r was
at 25. & on Saturday morn.g at 26. It
was a clear sunshiny day the swallows
& martins were in great Numbers and
[?] flew very high it froze not so hard
on Saturday night Sunday almost calm
son [sic ] shone bright & few clouds
they were in great N. s this day but
about 9 at night the wind got up and
it blew hard all night & next day the
wind at E cold & cloudy but no frost
very few this day Tuesday 14 Nov. wind
abated and not so cloudy great many
swallows & martins this day flew very
low close to the ground the swallows
retired soon after 12 oClock but the
Martins continued till near four Wednes
day 15 [?] couldy [sic] & cold & damp.
No S. or M. appeared. Thursday rain
the wind S. and warm Friday rain Satur
day & Sunday showery but the sun [?]
shone between whiles but no Swallows
or Martins Sunday fine and with little
wind at S a little to the W. No appear
ance this day there fore conclude they
are gone, it has continued cloudy &
rainy ever since. I propose being in
November 1971
39
Lond. n the middle of next month & am
Dear Sir your obliged Hble
Serv. WHudson
John E. Van Domelen
College Station., Texas
HUCK FINN S ANACHRONIS
TIC DOUBLE EAGLES
TWAIN states in his preface
to Huckleberry Finn: "Time: Forty
to fifty years ago". Since the novel
was published in 1885 ( December,
1884 in England) this would place
the date of the story somewhere
between 1835 and 1845.
Twain uses the double eagle or
twenty-dollar gold piece twice in
the novel. The first instance is in
Chapter XVI. Two men approach
ing Huck and Jim s raft are fright
ened by the threat of smallpox. As
they depart they leave two double
eagles for Huck and his "Pap",
Jim. (TU put a twenty-dollar gold
piece on this board and you get
it when it floats by". ) The second
mention of the coin is in Chapter
XXII. Huck sneaks into a circus
rather than "waste" his money. ("I
had my twenty-dollar gold piece
and some other money".)
Evidently, Twain was unaware
of the fact that the double eagle
had not always been a denomina
tion of U.S. coinage. Large amounts
of gold were discovered in Califor
nia in 1848, making sufficient bul
lion available for the striking and
issue of a large denomination gold
coin. Congress authorized the coin
in the Act of 3 March 1849. One
specimen was struck with the date
1849, and is currently part of the
National Collection. The regular
issue coin was first dated 1850,
and was released into circulation
the same year.
Thus, Huck Finn could not have
carried a twenty-dollar gold piece
in his pocket before 1850, some
five to fifteen years after the date
Twain sets for his novel.
There is really nothing startling
or earth-shaking in this curious er
ror. Twain hated to review or re
vise his manuscripts, and thus, this
anachronism is merely indicative
of what is normal in Twain s nar
rative art.
Russell H. Goodyear
University of Arkansas
Fayetteville, Arkansas
QUERIES
Time as a winged faun Grillot
de Givry, in his Witchcraft, Magic,
and Alchemy (trans., p. 245), notes
of Robert Fludd s Utriusque Cosmi
. . . Historia [1617?], concerning
the engraved title, "The engraver s
fancy has depicted Time per
sonified, for some unknown reason,
by a winged faun . . .". Are there
other representations of Time as
a faun? Is the reason really un
known? James Connolly, New
ark, N.J.
Spanish Loyalist essays I have
used all of the bibliographical tools
that have seemed pertinent and
cannot locate a book about which
I heard an announcement over
Radio Paris some months ago. As
nearly as I can recall it, the author
(editor?) as an American, Stanley
Kemp, and the title, in Spanish,
40
AN&Q
seems to be En las primadoras del REPLIES
. . . de Franco. I would like a
proper transcription of author, ti
tle, imprint, and date, and perhaps
the location of a copy that might
be borrowed on interlibrary loan.
R. T. Faulkner, San Francisco,
California
Rabbit story about "Bobbity Flops"
The British Museum was un
able to help me identify a chil
dren s story about a rabbit named
Bobbity Flops who started to make
some purchases for his mother, was
lost in a snowstorm, found by a
postman, and returned home at
last. The book was issued between
1905 and 1916, and the Library of
Congress, after considerable search
found "no trace under that name,
nor anything suggesting it in the
stack area where such stories are
shelved . . .". LC thought that your
readers might help. Mrs Daisy
Biro, Lausanne, Switzerland
"Innocent as a bird" I have
seen this expression a few times
recently. I have not seen it record
ed, and do not understand the al
lusion. May I have an explanation,
and some word on its origin?
Archer Taylor, Berkeley, Calif.
"At dawn when the pigs broke from
cover/ . . ." At noon when the
traders were met,/ She clung to
the lips of her lover/ As never a
maiden did yet". Perhaps not ver
batim, but I hope close enough that
some reader can identify it and
give me the source of the complete
verse? I have always thought that
perhaps it refers to a pipe. Ed
mund Jones Lilly, jr, Fayetteville,
N.C.
Curtain Lecture (IX:41; r 122)
In his Dictionary (1755), Dr John
son identifies curtain lecture as "a
reproof given by a wife to her
husband in bed". Webster s New
International Dictionary, un
abridged (1948), explains the
origin of the expression while
defining it as "a censorious lecture
by a wife to her husband within
the bed curtains, or in bed".
The term is conspicuously absent
from Skeat s Etymological Dic
tionary and from others of the
same type. It is amply represented,
however, in A. Taylor and B. J.
Whiting s A Dictionary of
American Proverbs and Proverbial
Phrases, 1820-1880 (1958), which
lists separate examples as well as
five additional reference works. Of
these, the NED (1893) traces
perhaps most fully its early history.
Entries in these works range from
1611 (in the form curtain sermon)
to 1931, including such authors as
Congreve, Addison, Thackeray,
and Meredith.
Further information is offered
by the Etymologisches Worter-
buch der deutschen Sprache (Ber
lin, 1967) under the headword
Gardinenpredigt (literally: curtain
sermon). According to this source,
"the nocturnal reprimand of the
wife is already called sermon in
Sebastian Brant s Das Narrenschiff
[The Ship of Fools] (1494), 64, 29.
The concept of the bed curtain is
added in J. Hulsbusch s Silvae
sermonum (1568), 81: cui uxor in
cortinali condone ita affatur. New
High German Gardinenpredigt is
not documented before 1743
( Schoppe, Mitteilungen der Gesell-
November 1971
schaft fur schlesische Volkskunde,
18, 82. 103), so that New Nether
landish gordijnmis (since 1562),
gordijnpreek (1630), and English
curtain lecture (since 1633) ante
date it. On the New High German
term is based Danish gardinen-
prceken, while Swedish sparlakans-
texa (since 1725) has gone its own
way". In addition, the Middelne-
derlandsch Woordenboek (Hague,
1889) lists gordijn(s)-mette as a
Middle Netherlandish form, while
citing, without dates, two examples
of its use. Today, earlier forms are
supplanted in Holland by bed-
sermoen.
The possible chain of derivation
is partially supported - though
just how authoritatively is uncer
tain - by Der grope Herder:
Nachschlagewerk fur Wissen und
Leben (Freiburg, 1957), which
states unequivocally that Gardin-
enpredigt is an "imitation of the
English curtain-lecture . Neverthe
less, the obvious should be empha
sized: all of these dates and
examples still leave open one main
question: whether the English
term is sui generis or whether it
ultimately derives from one of the
documented earlier German, Latin,
and Netherlandish terms or even
from some yet unknown source.
However that may be, a signif
icant later occurrence of curtain
lecture, not cited in any of the
above-mentioned works even
though it vividly illustrates usage
while associating it with its sermon
variant, is to be found in Washing
ton Irving s Rip Van Winkle
(1818), paragraph 6: " . . he was a
simple good-natured man; he was,
moreover, ... an obedient hen
pecked husband. Indeed, to the
41
latter circumstance might be owing
that meekness of spirit which
gained him such universal popu
larity; for those men are most apt
to be obsequious and conciliating
abroad, who are under the dis
cipline of shrews at home. Their
tempers, doubtless, are rendered
pliant and malleable in the fiery
furnace of domestic tribulation ;
and a curtain lecture is worth all
the sermons in the world for teach
ing the virtues of patience and
long-suffering". Frank K. Rob
inson, University of Tennessee,
Knoxville
Goffering (IX:56; r 136) The
fullest description of the process
that I know of is on pages 94 and
95 of Bernard Middleton s A His
tory of English Craft Bookbinding
Technique, published by Haffner
Publishing Company in 1963.
Paul N. Banks, Conservator, The
Newberry Library, Chicago
The best description I have
read on the art of gauffering, as
applied to books, appeared in the
1896 volume of Bibliographica. Ac
cording to an article by Cyril
Davenport entitled "The Decora
tion of Book Edges", gauffering
first appeared on French books in
the 15th century. Common binding
tools, such as gouges and stamps,
were slightly heated and then
worked by hand on gilt edges.
Fine examples of gauffering may
also be found on Italian and Eng
lish books. Designs were often
formed by series of closely worked
dots. On the Italian gilt edges the
use of stamps was more common,
as opposed to French and English
books which tended towards the
42
AN&Q
individually hand-worked patterns since about 1952 it has been on
of dots. In many cases color was loan to the Houghton Library,
- Alan M.
added to the gauffered designs. Harvard.
Co/in,
Hans Raum, Penn State Uni- Southern Illinois University, Car-
versity Library
A short interesting history of
ornamented edges is in W. Salt
Brassington s A History of the Art
of Bookbinding With Some Ac
count of the Books of the Ancients
(London, 1894). Apparently in the
mediaeval library edges were only
visible when the books were
shelved in the library; therefore
decorating the edges became im
portant.
The process of goffering is pro
duced by denting the edge after
gilding. Several pages are devoted
to the technique and method of
edge finishes in the chapter "Hand
Binding: Edge Finishes" in the
government publication Theory
and Practice of Bookbinding (rev.
ed., 1962). Jerome Drost,
SUNJ at Buffalo
Alexander Pope portrait (IX: 121)
The Pope portrait, one of
several by Jonathan Richardson,
would appear to be no. 51 in
William Kurtz Wimsatt, The Por
traits of Alexander Pope (New
Haven: Yale U. P., 1965). Accord
ing to this account, the Marquis of
Hastings inherited the painting not
from the Earl of Huntington, but
from the Earl of Burlington. Its
subsequent provenance: It was
knocked down to the dealer Graves
at the Christie sale of 25 February
1869 and was purchased soon
thereafter by the Boston litterateur
James T. Fields. It came from his
widow s estate to the Boston
Museum of Fine Arts in 1924, and
bondale
Eskimo finger rings (IX: 153)
The noted American authority,
George Frederick Kunz, in his
book, Rings for the Finger (Phila.,
1917, p. 31), says "Rings are not in
favor with the Eskimos, who do
not appear to make or wear any.
Indeed, Admiral Peary found it
impossible to dispose of a lot of
rings he had taken with him on
one of his Arctic trips in the belief
that they would be attractive to
the Eskimos, and good objects of
barter". [The original four-page
letter from Peary to Kunz is tipped
into the American Museum of
Natural History Library s copy of
Kunz s own copy of the book.
Peary says, in the letter, "Women
would accept them as gifts & hang
them up in their huts or houses,
but would not accept them in pay
ment for anything, &. would not
wear them" L.A.] Kunz goes on
to theorize that "Perhaps in the
intense Arctic cold even the
slightest pressure on the finger
may have been avoided, lest it
should impede circulation and
increase the danger of having the
fingers frost-bitten". Jonathan
A. Trent, Montreal, Canada
Lincoln, Grant, and Whiskey (X:
8 ) The story - stripped from
the good-natured fun-poking at
envy masquerading in the guise of
righteousness - is reminiscent of
one told by Ammianus Marcellinus
about the emperor Julian (q.v.
Ammianus Marcellinus, XVI 58
Loeb Edition, 1935 (reprinted
November 1971
43
1963), J. C. Rolfe, tr., Vol. 1, p.
218): If, then, it is true (as divers
writers report) that King Cyrus
and the lyric poet Simonides, and
Hippias of Elis, keenest of the
sophists, had such powerful mem
ories because they had acquired
that gift by drinking certain
potions, we must believe that
Julian, when only just arrived at
manhood, had drained the entire
cask of memory, if such could be
found anywhere. Si itaque verum
est, quod scriptores varii memo-
rant, Cyrum regem et Simonidem
lyricum, et Hippian Eleum sophis-
tarum acerrimum, ideo valuisse
memoria, quod epotis quibusdam
remediis id impetrarunt, creden-
dum est hunc etiam turn adultum
totum memoriae dolium (si us-
quam repperiri potuit) exhausisse.
George Javor, Northern Michi
gan University, Marquette, Mich.
EDITORS
NOTES & READING
The General Microfilm Com
pany, 100 Inman Street, Cam
bridge, Mass. 01239, has initiated
its very extensive project to offer
microfilm editions of the works
recorded in Jos6 Toribio Medina s
Biblioteca Hispano-Americana and
related bibliographies by Medina.
Initial groups are ready for imme
diate delivery, and catalogue cards
may also be ordered. General
Microfilm can supply lists of avail
able items upon request. A special
feature of this project is to provide
film of specific listed items upon
request from standing-order sub
scribers. GM is now well into its
"Scandinavian Culture" project,
which will provide film of Scan
dinavian books before 1701, fol
lowing the standard bibliographies
of Collijn, Nielsen, Bruun, and
Pettersen. Catalogue cards are
available. At present a large pro
portion of Swedish imprints before
1550 are available. The project will
not duplicate other related projects
such as the Danish Royal Library s
film series of pre-1550 Danish
imprints recorded by Nielsen, or
the Helsingfors University Li
brary s projected film series of
Finnish dissertations. Extensive
collections of other pre-1701 con
tinental European imprints are
available from General Microfilm,
including English books printed
on the continent. The company has
also assumed responsibility for
offering the back files of the
French, Hispanic, German, and
British-American drama of Falls
City/Microforms on standard
microfiches; and it will also offer
back files of Falls City s series of
French Revolutionary pamphlets
and documents on American pub
lic administration selected from
the Legislative Research Check
list, 1960-date, on the same
medium.
The Francis Bacon Foundation of
Claremont, California, has an
nounced the publication of a
computer-based Concordance to
the Essays of Francis Bacon. Gar-
rett Press, Inc. (250 West 54 St.,
N.Y.C. 10019) will be the distribu
tor. The Concordance contains
approximately 350 pages of com
puter printout reproduced in a 6-
by-9-inch format. The volume is
tentatively priced at $17.50. Edi-
44
tors of the Concordance are David
W. Davies and Elizabeth S. Wrig-
ley. Dr Davies, a 17th-century
scholar, is Lecturer on the History
of Books and Printing at California
State College, Fullerton. Mrs
Wrigley is President of the Francis
Bacon Foundation and Director of
the foundation s Francis Bacon
Library. In this first concordance
to any of Bacon s works, the cus
tomary arrangement for a con
cordance is followed. Words em
ployed by Bacon in the Essays are
arranged alphabetically, after
which each occurrence of the word
is cited. Reference is made, by
page and line number, to the
Garrett Press reprint of the classic
Works of Francis Bacon, edited by
James Spedding, Robert Ellis, and
Douglas Heath (London, 1857-
1874). An appendix to the Con-
cordance includes a tabulation of
word frequencies. If the Con
cordance to the Essays is well re
ceived by scholars, the Francis
Bacon Foundation plans to issue
concordances to all of Bacon s
works. The Essays were chosen for
the first concordance, because of
their popularity. The project for
concordances to Bacon s works was
a long-time dream of Walter Con
rad Arensberg, bibliophile and art
collector, who with his wife Louise
Stevens Arensberg created the
Francis Bacon Foundation in 1938.
Mr Arensberg died in 1954 before
computer-based concordances
made the project feasible.
ering entries 9676-13086. It is ar
ranged in classified order, with pe
riodicals and appendices in sepa
rate sections, with an author index,
and with errata and corrigenda.
Together with the previous three
volumes, this most recent one pro
vides the best available historical
bibliography of the circus.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky and witt be con
tinued in subsequent issues.
Rosenkilde og Bagger (3, Kron-
prinsensgade, Copenhagen K) have
a firm prospectus for "Mediaeval
Manuscripts from the Low Coun
tries in Facsimile", to appear in
nine volumes under the auspices
of the Belgian and Dutch Royal
Libraries, and with the chief edi
tor as J. Deschamps. The set is a
worthy successor to the same firm s
"Early Hebrew Manuscripts in
Facsimile" and "Early Icelandic
Manuscripts in Facsimile".
The fourth volume of R. Toole-
Stott, Circus and Allied Arts: a
World Bibliography 1500-1970
(Derby, England: Harpur and
Sons Ltd., 1971; 335pp., 23 pl. ;
8.40), is a monumental work, cov-
Joachim Pfennig, Cerate und Ver-
fahren der Kopiertechnik und ihre
Anwendungsmoglichkeiten in Bib-
liotheken (Cologne: Greven Ver-
lag, 1971; lllpp. ; "Arbeiten aus
dem Bibliothekar-Lehrinstitut des
Landes Nordrhein-Westfalen", 37),
is a useful survey of photographic
copying work in libraries. There
are a number of notes on Euro
pean experiences which lend spe
cial value to the book.
November 1971
45
The sixth "Lieferung" of Johann
Knobloch s Sprachwissenschaft-
liches Worterbuch (Heidelberg:
Carl Winter Universitatsverlag,
1971; 401-480pp.) covers CAK-
DAH. With the collaboration of a
number of outstanding compara
tive linguists, Prof. Knobloch (at
Bonn) is providing a documented
guide to linguistic terminology
which is already a very useful ref
erence work, even though it is
moving ahead rather slowly.
Vols, XII-XV of the Kulturhistorisk
leksikon for nordisk middelalder
fra vikingetid til reformationstid
(Copenhagen: RosenMlde og Bag
ger, 1947-1970; paper, Dan. Kr.
65.00, cloth, Dan. Kr. 85.00, Leath
er, Dan. Kr. 98.00, per vol. ) covers
MOTTAKER-SKUDE. Articles are
signed, and there is a representa
tive selection of plates at the end
of each volume.
Recent additions to Reclams Uni-
uersdlbibliothek range from the
18th century to the present. From
the 18th and early 19th century
there are Jean Paul s Selberlebens-
beschreibung, Konjektural-Biogra-
phie (1971; nos. 7940/41), with
a commentary by Ralph-Rainer
Wuthenow; Justus Moser s Patri-
otische Phantasien (1970; nos. 683/
84/84a), a selection with a com
mentary by Siegfried Sudhof ; Marx
and Engels, Vber Literatur (1971;
nos. 7942/43), selected and edited
by Cornelius Sommer; and Georg
Weerth s Humoristische Skizzen
aus dem deutschen Handelsleben
(1971; nos. 7948/49), edited by
Jiirgen-Wolfgang Goette. The lat
ter is a particularly welcome revival
of a scarce and little known book.
Of modern works there is Use
Aichinger, Dialoge, Erzdhlungen,
Gedichte (1971; no. 7939), select
ed and edited by Heinz F. Schaf-
roth, and Gabriele Wohmann s
tales under the title of Treibjagd
(1970; no. 7912), edited by Hans
Schoffler. A singularly important
original work is Gerhard Storz,
Der Vers in der neueren deutschen
Dichtung (1970; nos. 7926-28), a
fundamental guide to modern
prosody.
BOOK REVIEWS
LEDYARD, Gari. The Dutch Come to
Korea [An Account of the Life of the
First Westerners in Korea (1653-1666)].
Illus. "231pp. Published by the Royal
Asiatic Society, Korea Branch. Taewon
Publishing Co. [U.S. distributor: Paragon
Book Gallery, Ltd, 14 East 38 St, N.Y.C.
10016], 1971. $5.
There can be very few persons, outside
the small group interested in Korean
history, who have ever read and ab
sorbed the values of the incredible story
of the shipwrecked Dutch "Sparrow
Hawk" (Speriver), lost on an offshore
Korean island in 1653 and not heard of
until thirteen years later, in 1666, when
eight survivors returned to Japan after
years of residence in Korea.
Professor Ledyard, of Columbia Uni
versity, has revived the remarkable story
of An Account of the Shipwreck of a
Dutch Vessel on the Coast of the Isle
of Quelpaert, Together With the De
scription of the Kingdom of Corea, by
Hendrik Hamel, one of the survivors,
which appeared in English in John
Churchill s Collection of Voyages and
Travels (4 vols. London: John Churchill,
1704. Vol. IV, pp. 607-32). This was
a translation of the original 1668 Dutch
edition, which was the first book on
Korea published in Europe. The book
has an extremely complex bibliographi
cal history of various editions and trans
lations, all of which is explained by Mr
Ledyard, who includes the English
translation as an appendix.
46
AN&Q
Very interesting, beyond the story of
the semicaptivity of the eight surviving
sailors, is the chapter about Jan Janse
Weltevree who had been shipwrecked
in 1627 and had become a minor gov
ernmental official in Korea. When Ham-
el and his companions were questioned
he confronted them in the interest of
the government. Other aspects of the
Hamel adventure are equally fascinating,
as are his factual descriptions of Korean
life, customs, government, relations with
China and Japan, and some attempts
to escape his erstwhile captors.
While the story itself is enjoyable,
even exciting reading, the new volume
is equally interesting as an exercise in
Korean historiography. Using a succinct
narrative technique, and following the
sequence of the original tale, Mr Led-
yard has searched out dozens of docu
ments that contain confirming remarks
and citations dealing with the sailors
and events relative to their sojourn, de
scribed in official contemporary Korean
archives and other records, most of
which have not been used by scholars
before this. The methodology is at
tractive and one senses that, although
this is by no means the first such com
parison of sources that has been made
to give substantive evidence to the va
lidity of personal narratives, Professor
Ledyard s easy style and comfortable
use of different kinds of records gives
the technique a new appeal.
Perhaps, among Korean scholars, there
will be some debate about Professor
Ledyard s chapter entitled " After
thoughts", in which he evaluates West-
em influences on Korea from the 17th
to the 19th centuries. "A speculative
rather than a definitive study* , there
will, undoubtedly, be some experts who
will question some of Ledyard s specu
lations, but in general, to the nonexpert,
it seems to be a satisfactory statement
that can serve as a good basis to begin
discussion and sustain further specu
lation.
The book also contains special ap
pendixes on early editions of the Nar
rative, Hamel s interrogation by Japa
nese authorities, extensive Notes, a se
lective annotated bibliography, a good
index, and reproductions of rude, sim
plistic woodcuts from two of the early
Dutch editions. The volume is attractive
ly bound, has remarkably few typo
graphical errors, and is relatively in
expensive in today s market. Perhaps
more American books should be printed
in Korea! ~ Lee Ash, Editor.
REAVER, J. Russell, comp. An O Neitt
Concordance. 3 vols. Detroit: Gale Re
search Co., 1971. $87.50
To Eugene O Neill the scientific and
technological tides of 20th-century ma
terialism meant only one thing man s
enslavement of civilization. Were he
alive today, one could, without any
strain of the imagination, visualize his
"studied aloofness" as "an ironically
amused spectator" (characteristics he
attributed to Deborah in A Touch oj
the Poet) over the publication of J.
Russell Reaver s computer-compiled An
O Neitt Concordance.
Reaver s product of advanced tech
nology is based on the latest standard
Random House 3-volume edition of
O Neill, the Random House edition of
A Moon for the Misbegotten, and the
Yale University Press editions of Httghie,
Long Day s journey into Night, More
Stately Mansions, and A Touch of the
Poet. This is not the whole O Neill canon
by any means. Because of the limitations
of time, labor, and funds there is only
a representation of the early plays. All
O Neill works since 1924 are included,
and more than 280,000 words and
phrases are identified with the textual
sources for each, which supposedly will
enable one to make systematic appraisals
of the playwright s "stylistic and struc
tural characteristics and explore the
whole range of his language, dialect,
jargon, and vernacular patterns". It is
Reaver s contention that "the evidence
in this concordance should make it pos
sible to reassess the critical conclusions
about O Neill . . . [and] . . . open new
approaches to this large body of dra
matic work that reflects both O Neill s
personal concerns and many facets of
modern life during the decades when
he wrote".
The 3-volume set is photo-offset from
printout, and if one can adjust to the
peculiarities of arbitrary substitutions
for conventional punctuation marks, such
as the dollar sign for the question mark
and the slant line for the exclamation
mark, the work should be a helpful
November 1971
47
source of information on America s lead
ing dramatist. Support for the project
was provided by the Florida State Uni
versity Computing Center. Louis A.
Rachow y The Walter Hampden Memori
al Library, The Players, N.Y.C.
THE DIARY OF SAMUEL PJSPYS. A
New and Complete Transcription Edited
by Robert Latham and William Mat
thews. Vol. IV, 1663; V, 1664. Berkeley:
University of California Press, 1971. To
gether, 2 vols. $20.
A while ago, when the first three vol
umes of The Diary were published,
AN&Q (IX: 29) presented a welcom
ing critical review of this tremendous
undertaking, and since that time I have
inquired frequently of the publisher
about the issuance of subsequent vol
umes. My reason has been a hearty anx
iety to get on with the story. Well,
there is no disappointment as Mr Pepys
tells all about his life in 1663 and 1664.
Now we are into the swing of it, and
politics, the Navy, the wife, the King,
the maids, the bed, the food, the gossip,
the stage, and the joys of music, are all
intermingled with everything else in
Pepys unique style of prideful writing
and spiritual humility.
The footnotes continue to be very
helpful because of their scope and ac
curacy. Each volume repeats the two
maps of London in the 1660s, the Select
List of Persons, and the Select Glossary;
but there are no separate indexes to
each volume and the lack of either a
volume or running cumulative index (a
complete index will come as the eleventh
volume) can drive one mad; also at the
end there will be a tenth volume of
commentary, The Companion, which
will contain numerous special studies of
Pepys and his interests. Once again I
recommend the introductory pages of
the first volume as an exemplary state
ment of editorial purpose and meth
odology.
This edition is so superior to the well-
known and long-beloved set edited by
Wheatley that comparison is difficult.
Of course both sets must be kept be
cause students will always have to deal
with references citing the older standard
edition. Since the entire set is in calendri-
cal form, reference from one to the
other is a rather simple matter.
But two more volumes of The Diary
have got me out of my bed of impa
tience, after which, with our diarist, I
will "again to bed" until the next se
quential years appear. A year is gone
so quickly though, in reading The Diary,
that I know I shall soon become restive
again. Lee Ash, Editor.
PUBLICATIONS RECEIVED
(Continued from p. 34)
Turetzky; Interchapters by Ross Rus
sell; Discography by Brian Rust. Nu
merous Ilius. xxii, 208pp. Berkeley:
University of California Press, 1971.
$8.95
Frary, I. T. Early Homes of Ohio.
(1936). 203 Illus. 334pp. N.Y.: Dover
Publications, 1970. Paper, $3.50
Gardner, Alexander. Gardners Photo
graphic Sketch Book of the Civil War.
(1866, 2 vols.). 100 Photographs.
224pp. N.Y.: Dover Publications, 1959.
$4.
Gillon, Edmund V., jr. Early Illustrations
and Views of American Architecture.
[Not a reprint. Dover Pictorial Ar
chives series]. 742 Illus. 295pp. N.Y.:
Dover Publications, 1971. Paper, $6.95
Grosswirth, Marvin. The Art of Growing
a Beard. Illus. by Albert Siringo.
125pp. N.Y.: Jarrow Press, 1971. $2.95
Haining, Peter, ed. The Clans of Dark
ness: [21] Scottish Stories of Fantasy
and Horror. 272pp. N.Y.: Taplinger
Publishing Co., 1971. $5.95
Hand, Wayland D., ed. American Folk
Legend: a Symposium. 237pp. Berke
ley: University of California Press,
1971. $7.50
Heizer, R. F.; & Whipple, M. A., eds.
The California Indians: a Source Book.
2d Edn., Rev. & Enl. Illus. 619pp.
Berkeley: University of California
Press, 1971. $12.95
Hichens, Robert. The Green Carnation.
(1894). New Introd. by William
Gaunt, lllpp. N.Y.: Dover Publica
tions, 1970. Paper, $1.50
Jennings, Joseph W. To the World, For
the World Poems [of the social revo-
43
AN&Q
lotion in the U.S., written before
1930]; and The Story of Winter Island
and Salem Neck (Mass.) [from a pa
per read before the Essex Institute in
1897], Map. 107pp. N.Y.: Exposition
Press, 1971. $4.50
Kaufman, Martin. Homeopathy in Amer
ica: the Rise and Fall of a Medical
^Heresy. 205pp. Baltimore: The Johns
Hopkins Press, 1971. $10.
Knoepflmacher, U. C. Laughter & De
spair: Readings in Ten Novels of the
Victorian Era. Illus. 281pp. Berkeley:
University of California Press, 1971.
$8.75
Ledyard, Gari. The Dutch Come to
Korea [an Account of the Life of the
First Westerners in Korea (1653-
1666)]. lUus. 231pp. Published by the
Royal Asiatic Society, Korea Branch.
Seoul, Korea: Taewon Publishing Co.
[U.S. distributor, Paragon], 1971. $5.
(Lincoln). Simon, Paul. Lincoln s Prep
aration for Greatness: the Illinois Leg
islative Years. Illus. 335pp. Urbana:
University of Illinois Press, 1971. $6.95
(Linneaus). Larson, James L. Reason
and Experience: the Representation of
Natural Order in the Work of Carl
von Linne. Illus. 171pp. Berkeley:
University of California Press, 1971.
$7.50
Linton, Ralph, by Adelin Linton &
Charles Wagley. (Leaders of Modern
Anthropology Series). Port. 196pp.
N.Y.: Columbia University Press, 1971.
$7.50
Lipman, Jean, comp. The Collector in
America. Introd, by Alan Pryce- Jones.
Profusely Illus., incl. Color. 27lpp.
N.Y.: Viking Press, 1971. $17.50
Lloyd-Jones, Hugh. The Justice of Zeus.
(Sather Classical Lectures, Vol. 41).
230pp. Berkeley: University of Cali
fornia Press, 1971. $8.50
Lord, Caroline M. Diary of a Village
Library. 269pp. Somersworth, N.H.:
New Hampshire Publishing Co., 1971.
Merton, Thomas: Social Critic, a Study,
by James Thomas Baker. 173pp. Lex
ington: University Press of Kentucky,
1971. $8.
Moorehead, Alan. The White Nile. Rev.
Edn. Profusely Illus., incl. Color,
368pp. N.Y.: Harper & Row, 1971.
$15.
Murphy, James J., ed. Three Medieval
Rhetorical Arts. [Writings of Anony
mous of Bologna; Geoffrey of Vin-
sauf; Robert of Basevorn]. xxiii, 235pp.
Berkeley: University of California
Press, 1971. $7.50
Pepys, Samuel, The Diary of. A New
and Complete Transcription Ed. by
Robert Latham & William Matthews.
Vol. IV, 1663; V, 1664. Illus. 2 vols.
Berkeley: University of California
Press, 1971. Together, 2 vols., $20.
Ranhofer, Charles. The Epicurean [Del-
monico s chefs cookbook; 3500 rec
ipes]. (1893). Profusely Illus. 1183pp.
N.Y.: Dover Publications, 197L Cloth,
$17.50
Shaw, Dale. Titans of the American
Stage: Edwin Forrest, the Booths, the
O Neills. Numerous Illus. 160pp. Phila
delphia: Westminster Press, 1971.
$5.95
Vaux, Calvert. Villas and Cottages: a
Series of Designs Prepared for Execu
tion in the United States. (1864).
. Profusely Illus. 348pp. N.Y.: Dover
Publications, 1970. Paper, $3.
Westley, William A. Violence and the
Police: a Sociological Study of Law,
Custom, and Morality, xxi, 222pp.
Cambridge, Mass.: The MIT Press,
1970. Paper, $2.95
Wisse, Ruth R. The Schlemiel as Mod
ern Hero. 134pp. Chicago: University
of Chicago Press, 1971. $5.45
AMERICAN NOTES & QUERIES
Volume X Number 4
December 1971
NOTES
QUERIES & REPLIES
EDITORS NOTES AND READINGS
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
FREE! On application, one year s
subscription to AN&Q for individ
uals who Reply to previously
unanswered Queries, Vols. I-V,
before the conclusion of Volume X.
PUBLICATIONS RECEIVED
Albers, Josef, at the Metropolitan Mu
seum of Art: an Exhibition of His
Paintings and Prints. Incl. Color Plates.
N.Y.: Metropolitan Museum of Art,
1971. Cloth, $?; Paper, $4.95
American Book-Prices Current, 1968; a
Record of Literary Properties Sold at
Auction in the United States, in Cana
da, and in London, from September
1967 through August 1968. Vol. 74.
xxx, 1259 double-columned pp. N.Y.:
Columbia University Press, 1971. $40.
BeMzs, Bela. Theory of the Film: Char
acter and Growth of a New Art. Trans,
by Edith Bone. (London, 1952). Illus.
291pp. N.Y.: Dover Publications, 1970.
Paper, $2.75
Bernard, Paul P. Jesuits and Jacobins:
Enlightenment and Enlightened Des
potism in Austria. 198pp. Urbana:
University of Illinois Press, 1971. $7.50
Chase, Richard, comp. American Folk
Tales and Songs . . . Preserved in the
Appalachian Mountains and Elsewhere
in the United States. (1956). Incl.
Guitar Chords. N.Y.: Dover Publica
tions, 1971. Paper, $2.
(Children s Literature). Commire, Anne,
ed. Something About the Author:
Facts and Pictures About Contempo
rary Authors and Illustrators of Books
for Young People. Vol. I. Numerous
Illus. 233pp. Detroit: Gale Research
Co., 1971. $15.
Couzens, Reginald C. The Stories of the
Months and Days. (1923). Illus. 160pp.
Detroit: Gale Research Co., 1970
$7.50
Eisenstein, Sergei. Notes of a Film Di
rector. [Trans, by X Danko]. (1948?).
Revised. Illus. 208pp. N.Y.: Dover
Publications, 1970.
Grieve, M. Culinary Herbs and Condi
ments. (1934). 209pp. N.Y.: Dover
Publications, 1971. $2.
Hogarth: His Life, Art, and Times, by
Ronald Paulson. Profusely Illus, 2 vols.
Published for the Paul Mellon Centre
for Studies in British Art (London),
Ltd. New Haven: Yale University
Press, 1971, $40.
Kamm, Minnie Watson. Old-Time Herbs
for Northern Gardens. (1938). Illus.
256pp. N.Y.: Dover Publications, 1971.
$2.75
Keynes, Geoffrey. William Pickering,
Publisher: a Memoir and a Check-
List of His Publications. Rev. Edn.
Facs. Illus. 125pp. London: The Gala
had Press [36 Sherard Road, SE9],
1969. 4.20
Kleinholz, Frank. He de Brghat the
Flowering Rock. Profusely Illus. 96pp.
Coral Gables: University of Miami
Press, 1971. $10.
Kunz, George Frederick. The Curious
Lore of Precious Stones. (1913). Illus.
406pp. N.Y.: Dover Publications, 1971.
Paper, $4.50
(Melville). Knapp, Joseph G. Tortured
Synthesis: the Meaning of Melville s
"Clarel". 123pp. N.Y.: Philosophical
Library, 1971. $6.50
Merton, Thomas: Social Critic: a Study,
by James Thomas Baker. 173pp. Lex
ington: University Press of Kentucky,
1971. $8.
Miinsterberg, Hugo. The Film, a Psy
chological Study: the Silent Photoplay
in 1916. (1916: The Photoplay: a
Psychological Study). 100pp. N.Y.:
Dover Publications, 1970. Paper, $2.
Niles, John Jacob, The Ballad Book of.
(1961). Incl. Music, xxii, 369pp. N.Y.:
Dover Publications, 1970. Paper, $3.50
Northcote, Rosalind. The Book of Herb
Lore. (London, 1912: The Book of
(Continued on p. 64)
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by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
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cluded in The Year s Work in English Studies, and Annual Bibliography
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSOCIATE EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
SHAKESPEARE ALLUSION IN
EMILY DICKINSON
EMILY DICKINSON HABITUALLY
TEASES her reader with allusive
quotations. In Emily Dickinsons
Reading (1966) Jack L. Capp has
observed that "although she could
be impudent with the deity, she
displayed remarkable reverence for
mortal Shakespeare" (p. 65). For
this reason a reference in one of
her letters has eluded both Capp s
sharp eye and the editorial vigi
lance of Thomas H. Johnson. A
letter of 1878 addressed to her
neighbor Mrs Henry Hills runs as
follows: "Your memory of others,
among your almost superhuman
cares, is so astonishing that I can
not refrain from surprise and love.
How near this suffering Summer
are the divine words There is a
World elsewhere " (Letters, 1958,
II, 613). Unable to find an exact
source in scripture, Johnson du
biously conjectures that perhaps
she was thinking of the eschatao-
logical message of Romans 8:18.
The allusion is not Biblical, how
ever, but literary. She echoes
Shakespeare s description of Corio-
lanus banishment from the city of
Rome, when the hero cries, "De
spising,/ For you, the city, thus I
turn my back./ There is a world
elsewhere" ( III. iii. 134- 136 ) . As
Johnson shows, another letter
makes similar but even more el
liptical use of a line from Corio-
lanus (11,484). Henry Hills, an
Amherst manufacturer of straw
hats, had just failed in business,
and Emily s lawyer brother Austin
was managing the firm as receiver.
Mrs Hills was expected to apply
the quotation aptly to her situation,
not by imagining heavenly conso
lations for bankruptcy, but by re
alizing that if worst came to worst
and creditors proved ungracious,
the family could always leave Am
herst to start a new life elsewhere.
Michael West
Wesley an University
JUNIUS IN PARIS
UNKNOWN TO ME AT THE TIME of
the publication of my Junius Bib
liography (New York: Burt Frank
lin, 1949) was the most bizarre
story ever associated with the his
tory of Junius.
Buried in the pages of the
Athenaeum (18 July 1896) is a
short article by the Junius scholar,
W. Fraser Rae (1835-1905). In the
article, Rae notes that Henry Har-
risse had called to his attention a
document published in an obscure
Paris journal, La Correspondence
Historique et Archeologique. The
document is a letter (11 May 1773)
from the Count de Broglie to Louis
XV of which Rae provided a trans
lation in the Athenaeum article.
The document states that Junius
was in Paris in 1773 (the last of
52
the Junius Letters appeared in the
London Public Advertiser on 21
January 1772), was introduced to
M. d Aiguillon, the Minister of
State, who sought Junius services
for the French government, and
that Junius and Anthony Charmer
(1725-1780), The Deputy Secre
tary At War, and friend of Samuel
Johnson, informed the French gov
ernment that war was imminent.
Rae gives neither credence nor
denial to the report. That the Let
ters of Junius were well known in
France is undeniable (editions of
the Letters were published in Paris.
See Cordasco, op. cit., #64; #136;
#137; #145); what is most likely
is that two imposters ( a self-styled
"Junius" and a self-styled Mr
Chamier) were enterprising con
fidence men preparing to embezzle
the French government.
Francesco Cordasco
Montclair State College
Upper Montclair, New Jersey
RICHARD S PHAETHON IMAGE
THE PHAETHON IMAGE in Richard
II (III.iii.178) has won the atten
tion of Shakespeare buffs: Parker
Tyler, for example, tells of how the
King "obeys the behest of the
usurper to parlay with him below".
In so doing, "the metaphor he
chooses for himself expresses the
downward motion of what is, in
myth, Icarus and Prometheus fate
as well as Phaethon s. It represents
man s pretension to divine or quasi-
divine powers which the gods,
when intimately touched, were so
prompt to punish". 1 The source for
AN&Q
the image was not directly leg-
endry about Icarus or Prometheus,
however, but probably Thomas
Lodge s Rosalynde:
Climbe not my sonnes; aspiring pride
is a vapour that ascendeth hie, but
soone turneth to a smoake: they which
stare at the Starres, stumble vppon
stones; and such as gaze at the Suime
(vnlesse they bee Eagle eyed) fall blinde.
Soare not with the Hobbie, least you
fall with the Larke; nor attempt not
with Phaeton, least you drowne with
Icarus. Fortune when she wils you to
flie, tempers your plumes with waxe,
and therefore either sit still and make
no wing, or else beware the Sunne, and
holde Dedalus axioms authenticall (me
dium tenere tutissimum) ?
Compare Iris eye, / As bright as is
the eagle s, lightens forth / Con
trolling majesty" (III.iii.68-70).
The speech in Lodge is delivered
by Sir John of Bourdeaux, and
Richard is "of Bourdeaux". 3
Robert F. Fleissner
Central State University
Wilberforce, Ohio
1. "Phaethon: The Metaphysical Ten
sion Between the Ego and the Uni
verse in English poetry", Accent, XVI
(1956), 29.
2. A New Variorum Edition of Shake
speare, ed. H. H. Furness, 27 Vols.
(Philadelphia, 1871-1955), As You
Like It, p, 319. The Italics are mine.
-R.F.F.
3. Since Shakespeare used Rosalynde,
published in 1590, when he com
posed As You Like It (produced in
1599), he most probably was ac
quainted with the Lodge work before
then too, possibly soon after its pub
lication and very likely half-way be
tween the two dates, in 1595 when
he produced Richard II. One bit of
evidence for this is that the same year
marks the approximate date for
Romeo and Juliet with its Rosaline,
December 1971
53
QUERIES
(Mrs?) Jessie Bryant Gerard
Where are the papers o this in
teresting woman? She served as
Chairman of the Conservation De
partment of the Connecticut State
Federation of Women s Clubs, at
which time she wrote "What Wom
en Have Achieved: They Have
Saved the Big Trees, Appalachian
Forests, the Palisades Still Wider
Opportunity for National Service
Before Them" (American Conser
vation, 1:1, February 1911, pp.56-
59). Any other information about
her will be welcome. Mary J.
Clark, Washington, D.C.
Anchorite Islands I am trying
to find information about their dis
covery, exploration, and descrip
tion. Also, other names they have
been given, and their economic or
political significance. Broadus
Moody, Seattle, Wash.
Legal lynching What is the
origin of the seemingly honest be
lief that if 100 men were in a lynch
ing party the lynching could be
considered legal? This theory was
cited in investigations into the
lynching of Allen Green in Wal-
halla, S.C., in April 1930. Are there
other instances? Dean Trefeth-
an, Chicago, III.
a name that then was echoed in As
You Like It, as Professor Levin says,
"in the slightly modified form of
Rosalind" (see his "Shakespeare s
Nomenclature", in Essays on Shake
speare, ed. Gerald W. Chapman
[Princeton, 1965], p. 59). I so, then
it is just as probable that Rosalynde
already had made her debut in the
slightly modified form of Rosaline.
"Teddy-bear" Modem slang
definitions wanted. Rainer
Toor, New York, N.Y.
"Today it is snowing in China
I am seeking references to this
saying, an adage that certainly
dates back to the early 17th cen
tury. It was used, supposedly, in
Holland when older people felt the
damp of a fog, which suggests it
may have been used as early as
the late 16th century at least. ( See
my The Dutch Come to Korea.
Seoul, 1971, p.28). Gari Led-
yard > Sharon, Ct
REPLIES
"To cut the mustard (IX: 153)
I believe I have found an instance
where the etymology has been ob
scured, and perhaps misinterpreted
by the editors of Webster s New
International Dictionary, Third Ed
ition. The meaning of the phrase
in ordinary usage is, as Mr Taylor
notes, clear enough, and the defi
nition in WNID-3 accurate: "to
achieve the standard of perform
ance necessary for success" (p.
560). However, WNID-3 offers no
information regarding the deriva
tion of the phrase.
Checking a bit further uncovers
some perplexing inconsistencies
among standard lexicographic
sources. Given what appears to be
its colloquial American flavor, it
does seem curious that neither the
Dictionary of American English
(1940) nor Mitford Mathews Dic
tionary of Americanisms ( 1951 ) in
cludes the phrase. No entry is to
be found in Bartletfs early Dic
tionary of Americanisms (1896);
54
AN&Q
in Thornton s An American Glos
sary (1912); in Eric Partridge s A
Dictionary of Slang and Uncon
ventional English (1953); nor does
Mencken comment on it in The
American Language.
A book which Mencken once de
rided as "an extremely slipshod
and even ridiculous work", Mau
rice Wessen s Dictionary of Ameri
can Slang (1934), does, however,
list the expression. So also does
Berrey and Van den Bark s Ameri
can Thesaurus of Slang (1942),
entering it under three different
though related semantic headings:
"to accomplish"; "skill, be able to
do"; and "succeed with". This lat
ter meaning is picked up by Harold
Wentworth, who lists the phrase,
curiously, not in his Dictionary of
American Slang (I960), but in his
earlier American Dialect Diction
ary (1944). Although Wentworth
gives dates of 1916 and 1923, and
locations of South Carolina, Kan
sas, and Southwest Missouri as
sources for his entry, he does not
give an etymology, nor any illus
trative citations.
In addition to the definition, the
complete entry in WNID-3 gives
a usage label ("slang"), an illus
trative citation, a variant, and a
cross-reference. The illustrative ci
tation is from the Atlantic Monthly,
and illustrates the definition and
usage clearly enough: "in our work
. . . those of our fellow workers
who can t or won t cut the mustard
must of necessity be shoved out
Atlantic". But a variant, "cut the
muster", listed in no other standard
lexicographic reference, is also
given, with no explanation other
than the cross-reference, "compare
PASS MUSTER". I believe the
cross-reference to be misleading,
and probably in error; but the
variant supplies the key to an ety
mological possibility that the edi
tors of WNID-3 have missed. At
the entry for pass muster (p. 1560),
there are definitions for "passing
an inspection" of one sort or an
other, but no elucidation of cutting
the muster, or mustard. Nor do the
entries at muster throw any new
light on the matter. The cross-
reference appears to lead nowhere.
Because they have excluded en
tries recorded before 1755, the edi
tors of WNID-3 have missed or
ignored an archaic meaning of
muster recorded in OED: "a pat
tern, specimen, sample" (VI, pt.
II, 794). OED notes that this usage
has been "confined to certain par
ticular branches of commerce . , .".
Partridge reinforces this with an
entry more fully explanatory (p.
545):
musta or muster the make or pattern
of anything; a sample: Anglo-Chinese
and -Indian: c. 16-20; in 1563, as mos-
tra, which is the Portuguese origin. . . .
Very gen. used in commercial transac
tions all over the world.
This archaic meaning for muster,
reaching back into the 16th cen
tury, provides a possible, although
admittedly conjectural, explanation
for the origin of the phrase, cut
the muster, and its phonetic vari
ant, cut the mustard, which, I sub
mit, originally had nothing to do
with "mustard" at all. Once muster
is recognized as an old commercial
term for "form" or "pattern", the
meaning of the rarer "cut the mus
ter" makes more sense: the cutting
of such forms or patterns for
cloth goods, for example would
require great skill and precision.
December 1971
55
Only one skilled in his craft could
"cut the muster".
From the literal use of the phrase
to its figurative extension is an
easy transition. And as the original
and literal meaning faded into the
past, it is not difficult to imagine
the kind of phonetic variation
which resulted in the later form.
For example, the mustard form
may be a back-formation from
musterdeuillers, "a kind of mixed
grey woolen cloth, much used in
the fourteenth and fifteenth cen
turies" (OED, VI, II, 795). No
doubt the expression may have per
sisted in colloquial usage without
being recorded in writing. What
remains unexplained, however, is
why WNID-3 gratuitously lists the
(probably earlier) variant, but
does not explicate the relationship
between the two. In the absence
of a supporting citation, one can
only speculate, a dubious etymo
logical practice; but the internal
evidence I have outlined does sug
gest a possible explanation for the
origin of the phrase. Ronald A.
Wells, United States Coast Guard
Academy, New London, Conn.
And further
"To cut the mustard (IX: 153)
To cut the mustard, to come up to
one s expectations, has been used
in various dialects and meanings
for many years. OED suggests the
following:
1903 O. Henry Cabbages & Kings 101
I m not headlined in the bills, but
I m the mustard in the salad dress
ing just the same.
1907 O. Henry Trimmed Lamp 217 Why
don t you invite him if he s so
much to the mustard?
1922 Sandburg Slabs Sunburnt West 7
Kid each other, you cheap skates.
Tell each other you re all to the
mustard.
1904 O. Henry Heart of West x. 163
I looked around and found a prop
osition that exactly cut the mus
tard.
1909 O. Henry Roads of Destiny 99
"She cut the mustard/* he said
"all right."
A word list from Kansas sug
gests the term is used to meet the
requirements, to "fill the bill".
Arkansas used the term to succeed
"But he couldn t cut the mustard".
In American Speech the term is
suggested as always used negative
ly, "The boys could not cut the
mustard in that game". O. Henry,
however, uses the term positively
as above.
In Louisiana and Texas the term
is used to designate an accomplish
ment of a task. In South Carolina
and Kansas the term is used in a
sense to be successful. Southwest
Missouri, McDonald County also
believes the term is to meet re
quirements and discharge obliga
tions.
Finally the underground also
has the term. Partridge s A Dic
tionary of the Underworld indicates
that the term, the mustard, as
being the most successful in the
criminal line. In Flynns Magazine
the statement was made that "Pick-
in s was good in th old days but
still I ain t more than a cartload
of kale to the mustard". Extant
meaning is they re hot stuff at their
job meaning discharging their ob
ligations faithfully. Jerry Drost,
SE7NY at Buffalo, N.Y.
We wonder whether any more
need be said? Editor.
56
AN&Q
Resurrected bodies (IX: 122)
One of the more famous disinter-
ments is that of Johann Sebastian
Bach, whose grave was discovered
and excavated in the churchyard
of St Thomas Church in Leipzig
on 22 October 1894. Details of the
search, exhumation, and identifica
tion along with counter argu
ments are given in Hans Henny
Jahnn s article "Der Schadel J. S.
Bachs und sein Bild" (Funda-
mente, 1959; reprinted, with pho
tograph of skull, in Profile, annual
of the Freie Akademie der Kiinste
in Hamburg, 1967). Another pos
sible source is W. J. Henderson s
How Music Developed: a Crit
ical and Explanatory Account of
the Growth of Modern Music
(c!898). This is either the exclu
sive or main source of information
which Edgar Lee Masters used in
writing his still unpublished long
poem, "The Reburial of Bach".
Norman Douglas writes in Late
Harvest of D. H. Lawrence, who
had died in March 1930, that the
controversial novelist was <c buried
at Vence, though Lawrence s re
mains were presently shifted to
[New] Mexico after an exhumation
concerning which I could tell a
tale so gruesome that it might give
pain to one who is still alive". (Pre
sumably he is referring to Law
rence s wife, Frieda. ) He does not
elaborate, and the only comment
made by Richard Aldington, in
D. H. Lawrence: Portrait of a
Genius But . . ., is: "A year or two
later Lawrence s body was ex
humed and taken for reburial to
Taos, where it lies in a memorial
chapel . . .".
In 1941 Tamerlane s remains
were exhumed in Samarkand by
Russian scientists under the leader
ship of Mikhail Gerasimov, "who
pioneered in the bizarre science of
re-creating facial likenesses from
the skulls of the dead", A brief
report of Gerasimov s work and
his book The Face Finder, recently
published in English, may be
found in Newsweek, 8 March 1971.
And finally, information and
references to further sources on
the 1969(?) disinterment of Laur
ence Sterne appear in none other
than AN&Q (VIII: 107). Frank
K. Piobinson, University of Tennes
see, Knoxville
EDITORS
NOTES & READING
Nearly every week Dover Publica
tions sends us some fine, new, in
expensive paperback reprints and
we marvel at the publisher s inter
est in what he is doing. Even the
least significant books on Dover s
list give the bibliographical history
of the book (on the verso of the
title-page), noting all changes and
additions to or deletions from the
original. The books are really qual
ity paperbacks, notable for lasting
bindings and good reproduction of
the original. We always list these
books in PUBLICATIONS RECEIVED,
and sometimes comment on them
in this column. Now Dover has
issued a giant hardback of 1183pp.,
profusely illustrated, and costing
only $17.50: The Epicurean, a clas
sic cookbook by Charles Ranhofer,
formerly Master Chef of the world-
renowned Delmonico s of New
December 1971
57
York. A truly gourmandizing book,
one of the Great Ones of the cul
inary art, unabridged and unal
tered, as published in 1893. Not
only are there more than 3500
recipes, but there are pages and
pages with pictures of delectable
delicacies, appetizing dishes, notes
on wines, table arrangement, and a
treasury of Bills of Fare and Del-
monico s "most interesting" menus
over a thirty-year period. Many of
these record particularly historic
dinners honoring important per
sons of an era of eating now past.
There is an extensive index to all
recipes. Good eating to our read
ers! As Charles Delmonico said,
"A perusal will, I think, give one
an appetite".
Less expensive than almost any
movie, and far more entertaining
actually hilarious in spots as
well as stimulating for the literary
or literate mind, is Jacques Barzun
On Writing, Editing, and Publish
ing (Chicago: University of Chi
cago Press, 1971. 130pp. Paper,
$1.35). These "Essays Explicative
and Hortatory" have been collected
from a variety of periodicals and
were published over the past twen
ty-five years. It is a great joy to
read Barzun s explicit prose, his
humor, and common sense. It is
embarrassing to find that anyone
has read so widely, remembered
so well, and never found scholar
ship drudgery nor made it a pe
dantic exercise. I cannot imagine a
single reader of AIV&Q who would
not enjoy this remarkable collec
tion and cite it regularly to stu
dents and friends because of the
good sense it makes and the fun
it is to read.
Oral History in the United States:
a Directory, describes 230 oral his
tory projects and their holdings of
tapes and transcripts. The 120p.
guide, arranged by state, and in
dexed in depth, will serve as a very
useful aid to researchers. Published
by the Oral History Association,
the Directory may be ordered from
the Association, Box 20, Butler Li
brary, Columbia University, N.Y.,
N.Y. 10027, $4, postpaid.
If one looks widely enough, it is
possible to see some wonderful
things that come from the small
public libraries of this country.
For example, two exemplary pieces
from our friend John Jackson, Li
brarian of the Mary Cheney Library
in Manchester, Conn.: E7. S. His
torical Fiction, a Selected Reading
List, chosen by the staff for stu
dent patrons (all titles have ap
peared on recommended reading
lists for young adults), it is classi
fied by period and includes brief
descriptive annotations; the other
piece is the Library s Annual Re
port, 1970/71, interspersed with
small tear-out "Posters of Protest
and Pride". The art work for both
publications by Lynn Beaulieu is
bold and attractive. Copies of each
are still available to readers who
cite A1V&Q. Here is evidence that
The Revolution has indeed come
to the library.
Authors and publishers are invited
to submit nominations for the 1971
George Freedley Award which will
be presented by the Theatre Li
brary Association next spring. Es
tablished in 1968, in memory of
the late theatre historian, critic,
author, and first curator of The
58
New York Public Library Theatre
Collection, the Award honors a
work in the field of theatre pub
lished in the United States. A
plaque is presented to the author
on the basis of scholarship, read
ability, and general contribution to
the broadening of knowledge. Only
books on theatre will be considered
- biography, history, criticism, and
related fields. Excluded from the
category of theatre are vaudeville,
puppetry, pantomime, motion pic
ture, television, radio, opera, circus,
dance and ballet, plays, and similar
dramatic forms. Other works con
sidered ineligible are textbooks,
bibliographies, dictionaries and en
cyclopedias, anthologies, collec
tions of articles and essays pub
lished previously and in other
sources, and reprints of publica
tions. Nominations are to be sub
mitted in writing to the President
of the Theatre Library Association,
Louis A. Rachow, The Walter
Hampden Memorial Library, 16
Gramercy Park, New York, N.Y.
10003. Publishers will be asked to
submit two published copies of all
books nominated to the President
at the same address. No galley-
sheets or proofs will be accepted.
Books nominated for the 1971
Award must have been published
in the 1971 calendar year. If no
date of publication appears on the
title page or its verso, the date
must be indicated in the written
nomination. All nominations must
be in the hands of the jury by 15
January 1972. The selection of the
Award winner will be determined
by a five-member jury appointed
by the President of the Theatre
Library Association.
AN&Q
Scholarly Collections on Microfilm,
1971/72 General Catalog, which de
scribes currently available and pro
jected microfilm publications, has
been issued by Research Publica
tions, Inc. of New Haven, Ct. The
collections cover a wide range of
subjects, rich in the culture and
history of the Western world. The
great strength in the field of Amer
ican studies, including literature,
science and history, is paralleled
by like resources, international in
scope, of which the Documents
and Publications of the League of
Nations, German Baroque Litera
ture, and 17th and 18th Century
Periodicals are but a few examples.
A copy of the catalog may be ob
tained by writing to Research Pub
lications, Inc., P.O. Box 3903, New
Haven, Connecticut 06525.
Librarians who have forgotten how
to serve people and who the people
they serve are, will be intrigued
to discover that there is still a
world of librarianship that does
not need the computer in its out-
reaching programs. Caroline Lord s
book, Diary of a Village Library,
with a Foreword by Walter Muir
Whitehall ( Somersworth, N.H. :
New Hampshire Publishing Co.,
1971. 269pp. $6.95), tells of years
of service in a very small-town li
brary, thousands of which still
exist and need the attention of
inspired younger people who want
to meet the needs of isolated com
munities and impoverished librar
ies. The inner city has its problems
but so has the town that is in the
outer reaches of isolation. In each
case the library has a job to do
and librarians like Mrs Lord are
the ones to do it.
December 1971
59
Anthropologists and sociologists
will be pleased with the efforts of
Ralph Linton s widow, Adelin, and
his student Charles Wagley s high
ly personal review of Linton s life
and attitudes, and an excellent se
lection from his writings (with a
complete bibliography ) , recently
issued by Columbia University
Press. Linton left few personal
writings, and he was a poor cor
respondent. Many who had experi
ences with him as a student or
colleague may think of him some
what differently, but his present
devotees will honor this memorial
work which acknowledges faults as
well as the strength of his scholar
ship, originality, and kindnesses.
The volume is a valuable contribu
tion to the history of American
anthropology and other social sci
ences.
The charm of Robert Hichens
amusing novel of 1894 about Oscar
Wilde and the aesthetic movement,
in The Green Carnation (N.Y.:
Dover Publications, 1970. $1.50),
stands in strong contrast to E. M.
Forster s recently first published
magnificent book, Maurice, which
he wrote in 1913/14 (N.Y.: Norton,
1971. $6.95). Together, they rep
resent two of the many varying
attitudes of an elite society toward
homosexuality although sexuality is
not the expressed theme of Hich
ens attempt at a good-humored
critique of "sensitivity", and For
ster s is a beautifully analytical
appraisal of the innermost sensi
tivities of the souls of three men
who face a problem that is differ
ent for each of them in their own
day and in the same way for many
others today.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
Universitij of Kentucky.
The publishing and distribution
firm of Weber, S.A., 13 Monthoux,
1211 Geneva 2, Switzerland, offers
many of the most significant art
books of our time. Robert Melville,
Henry Moore, Sculpture et dessins
1921-1969 (Brussels: La Connais-
ance, 1971; 368pp.), provides a
critical analysis and a judicious
selection of Moore s work in color
and in black-and-white. For the
last two decades Moore has been
a dominant figure in plastic and
pictorial art; and while he does
not need to have his reputation
enhanced by a book of this quality,
it will bring him closer to those of
us who may not have appreciated
his genius fully in the past.
In the series of "Les senders de la
creation", published by Albert
Skira of Geneva, Weber offers
three new titles: Miguel Angel
Asturias, Trois des quatre soleils
(1971; 179pp. ), presents the work
of a Guatemalan artist who works
with indigenous themes as well as
universal ones. Pierre Alechinsky,
Roue libre (1971; 162pp.), is a
self-analysis of one of the imagina
tive painters of our time. Francis
Ponge, La fabrique du pre (1971;
272pp.), is a modern herbal with
a vision of the poetry and art of
our globe as an old planet infested
with biological growths.
60
The series of "Artistes de notre
temps", issued by the Bodensee-
Verlag in Amriswil, distributed by
Weber, includes Jean Cassou, Os-
sip Zadkine (1962; 27, 24pp.; vol.
XII); Jean Cassou, Serge Poliakoff
(1963; 31, 23pp.; vol. XIII); and
Carola Giedion-Welcker, Zoltan
Kemeny (1968; 48, 23pp.; vol. XV;
published under imprint of Erker-
Verlag, St. Gallen).
Weber distributes two pictograph-
ic works relating to Latin America,
with possibly more to be in the
series, issued originally by Editions
Atlantis in Zurich, Fulvio Roiter,
Bresil (1970; unpaged), senses the
sounds, scenes, and smells of Brazil
in an unusually perceptive collec
tion of photographs and commen
taries. Roiter s Mexique ( 1970; un
paged) does the same service for
Mexico, Both are singularly hand
some volumes, and collectors of
Latin Americana will fail to in
clude them in their collections to
their later disappointment.
Osaka, 500 photographies de TEx-
po 70 (Paris: Hermann, 1970; 513
pp.; Fr. 30. ), contains photo
graphs by Bruno Suter and Peter
Knapp, with texts in French, Eng
lish, and Japanese. This photo
graphic record of the Osaka ex
position is a document of endur
ing value for this first great inter
national fair held in the Far East.
Jurij Miynk, Serbska bibliografija
Sorbische Bibliographic 1958-
1965 (Bautzen: Ludowe Naklad-
nistwo Domowina, VEB Domo-
wina-Verlag, 1968; 559 pp.; "Spisy
Institute za serbski ludospyt", 33),
is a continuation of the same bib-
AN&Q
liographers Sorb (Wendish) bib
liography for 1945-1957 (Bautzen,
1959; 287 pp.). This was a contin
uation of the second edition of the
general Sorb bibliography issued
by Jakub Jatzwauk in 1952 in the
"Berichte iiber die Verhandlungen
der Sachsischen Akademie der
Wissenschaften zu Leipzig, PhiL-
Hist. Kl. w , vol. 98, no. 3. The pres
ent work contains 8,785 entries in
classified order, with indexes of
authors, names, and places.
Michael Altschul, Anglo-Norman
England 1066-1154 (Cambridge:
For the Conference on British
Studies at the University Press,
1969; 83 pp.; $5.95), is the second
volume in the series of biblio
graphical handbooks sponsored by
the Conference on British Studies.
There are 1,838 entries, classified,
with an author index.
Aage J0rgensen, H. C. Andersen
Litteraturen 1875-1968 (Aarhus:
Akademisk Boghandel, 1970; 394
pp.), is a chronological list of 2,266
items, with indexes of subjects and
names. It supplements Birger
Frank Nielsen s H. C. Andersen
Bibliografi, Digterens danske Vaer-
ker 1822-1875 (1942) and Sv. Juel
M011er s Bidrag til H. C. Andersens
Bibliografi, MI (1967-68). The
foreword is in both English and
Danish.
La empresa del libro en America
Latina, una guia seleccionada de
las editoriales, distribuidores, y
librerias en America Latina (Bue
nos Aires: Bowker Editores Argen
tina, 1968; 273 pp.) is a Latin
American equivalent to The Lit
erary Market Place. Actually, it is
vastly more useful than the latter
December 1971
61
simply because Latin American
addresses are so difficult to obtain
and verify in many cases. Periodic
new editions will be most welcome.
Helmut Kind, Die Luthersamm-
lung der Niedersdchsischen Staats-
und Uniuersitatsbibliothek Gottin-
gen (Gottingen: Vandenhoeck &
Ruprecht, 1970; 68 pp., 9 pi. of
facsimiles and bindings; "Arbeiten
aus der Niedersachsischen Staats-
und Universitatsbibliothek Gottin
gen", 8), gives the history of the
collection and provides a list of
titles supplementary to Kind s cata
log of Die Lutherdrucke des 16.
Jahrhunderts der Niedersdchsis
Staats- und Universitatsbiblio
Gottingen (1967). Over and
above the substantive value of the
study, it provides a sample of the
history of one of the best admin
istered of all German research li
braries.
Readers comments on the de
sirability of a 10-year Cumula
tive Index to AN&Q would be
welcomed.
BOOK REVIEWS
POTTER, E. B. The Naval Academy Il
lustrated History of the United States
Navy. 299pp. Profusely Illus. N.Y.:
Thomas Y. Crowell Co., 1971. $15.
Compacting approximately 200 years
of naval history into 300 pages means
the author has had to select those per
sons, things and events which he con
siders to be most important in relating
the history of our navy. This survey,
recounting U.S. naval history from 1776
to current operations in Southeast Asia,
is therefore forced to deal primarily witfi
major operations and upper echelon peo-t
pie. The minor engagements and obscure
personages have been sifted out. This
is principally an operational history told
in straightforward expository fashion
that at times borders on blandness and
fails to evoke the rush of the sea, or
the sounds and smells of naval battle*
The oftentimes long odds of battle, and
the formidability of the enemies our
navy has faced in its nearly 200 years
of existence do not quite come througti
in this text.
The book is divided into ten chrono
logic chapters which treat segments of
the history. The first chapter is about
the Continental Navy and the nigged
individuals and prima donnas of the
period; the successes and the fiascos
are told. The administration of the navy
is considered, along with the rebuilding
of a naval force to fight for freedom of
the seas during the War of 1812.
Sketches of the strong figures and
heroes who emerged during that period
are included. The establishment and
growth of the Naval Academy is re
counted with due credit given to the
parts Maury, Chauvenet and Bancroft
played in the professionalization of the
Navy s officers. The pre-Civil War tran^
sitional period of shifting from sail to
steam is considered, and the persons
most responsible for the changes given
mention. A lively chapter on the Civil
War deals with the coastal and river
actions of both the Union and Confed
erate navies and the outstanding lead
ers on both sides.
The thread of technologic changes is
woven throughout the text, from the
days of the "wooden walls", into our
own nuclear power era. The trials and
tribulations of shifting from sail to
steam are followed with the post-Civil
War development of the "new Navy"^
which carried it through the first World[
War. The twenty year disarmament pe
riod following the World War, and the,
rearmament period as prelude to World
War Two are considered. Chapter IX on
World War Two is the most extensive
of the book and uses more than 100
of the total number of pages; with the
battle of Savo Island, an Allied naval
disaster, rating only one paragraph. The
major changes in administration and
technology which followed the second
62
World War are covered in the final
chapter which ends with the current
activity of the U. S. Navy in Vietnam
and Southeast Asia.
The book is in a large format (nearly
&& x 11") and is profusely illustrated;
with the photos, portraits and diagrams
closely related to the text. An appendix
lists the sources of the illustrative ma
terial All of the illustrative material is
in black and white. The book was
printed by an offset process and the il
lustrations were printed right along with
the text. The designer has used the
bleed technique with many of the
photos. There are many small scale, but
sharply defined, maps used throughout
to elucidate the naval actions described
in the text. There is a good index; but
no appendices or bibliography.
The author indicates in the Preface
that the use of the words "Naval Acad
emy" in the title is not to be construed
as official sanction for this book. Mr
Potter has been at the Naval Academy
for more than 25 years and is Professor
of Naval History at that institution. He
has drawn on his long experience in this
post, as well as experience gained while
on active naval duty during World War
Two, in the writing of this history. He
has written a number or articles and
books on naval topics including Sea
Power: a Naval History, which he co-
authored with Admiral Chester Nimitz.
In the Preface the author states ". . .
Because my aim has been to arouse
interest and to inform, rather than to
instruct or to reveal, I saw no point in
providing footnotes or bibliography . . .".
To this reviewer this seems like a dere
liction of an historian s duty. Without
footnotes and bibliography the student
or interested reader cannot easily refer
to the sources used should he desire to
read an expanded version of some naval
event mentioned. Without the footnotes
he cannot easily check the source to
determine whether the event might not
be interpreted in more than one way.
The lack of such basic reference ap
paratus seems to indicate that the book
was intended only for the intelligent
layman or casually interested naval buff
and certainly not the researcher or seri
ous student of naval history. Frank
J. Anderson, Librarian, Wofford College,
Spartanburg, South Carolina
AN&Q
STENERSON, Douglas C. H. L. Menck
en: Iconoclast From Baltimore. Illus.
287pp. Chicago: The University of Chi
cago Press, 1971. $7.95.
Stenerson has written an intriguing
documentary on an individual whose
primary drive, following the dictionary s
definition, was to break images and re
fute traditional and hypocritical beliefs
in American society. The biography is
not in a traditional sense of biography
but it is a "genetic" interpretation of
an individual. The author attempts to
explore the evolution of Mencken s ideas
and his style of literary journalism
his "coruscating and forceful style". The
book examines Mencken s temperament
and fight within American culture which
evolved in the later part of the 19th
century, reaching its height of intel
lectual iconoclasm in the 1920s.
The author, who is presently at Roose
velt University in Chicago, became in
terested in the controversial "Sage of
Baltimore * in the early 1950s. Subse
quently, he has wanted to write an
intellectual biography of Mencken to
give a balanced view of his fight with
America, his prejudices and passions.
By searching the documents in the Balti
more s Enoch Pratt Free Library, inter
viewing Mencken s brother August, and
interviewing the iconoclast himself dur
ing the early 1950s, Stenerson concluded
that the portrait of Mencken as a coarse
person was not true. Being fairly old at
the time of the interview Mencken im
pressed Stenerson as a Victorian gentle
man in contrast to the picture one gets
that Mencken was vulgar.
In the Twenties The American Mer
cury was a phenomenal literary success.
As its editor, Mencken used the pages
of the journal to express his views of
decadence in America. The co-editors
of the journal, George Jean Nathan and
Mencken, even from the beginning dis
agreed as to the policy the journal
would follow since Nathan, an aesthete,
was not interested in the social and po
litical problems of the world. For him
the "surface of life" was the most im
pressive aspect of existence, "Its charm
and ease, its humor and loveliness". H. L.
Mencken, on the other hand, was more
interested in social and political reform.
Yet the editors agreed to oppose the
December 1971
stupidity of American society, the hy
pocrisy, and the sham of society.
Stenerson has succinctly brought out
Mencken s ambivalence toward Ameri
can society, noting, for example, that
Mencken considered the possibility of
joining the literary avant-garde of
writers overseas. One wonders if his
style would have changed if he had
gone overseas. The question was asked
of Mencken that if he found so much
to dislike in America why did he con
tinue to stay. Mencken answered with
another question, asking why men go
to zoos. America, he thought, needed
him as he needed America.
Mencken was a realist, an iconoclast,
but more than these he was a paradoxi
cal individual, as the book portrays him.
He thought of himself as belonging to
an elite class, a class developed through
natural selection and heredity rather
than forming out of environmental in
fluences and cultural opportunities. For
Mencken artistic and intellectual su
periority was the most important talent
to possess, financial status was secondary.
"The essential elements", Mencken
believed, "were the consciousness of be
longing to an elite, the conception of a
social system in which each class per
formed its proper function and kept its
proper place", pointing out that there
is a small minority of "fearless truth-
seekers". Some of his ideas were im
bedded in his books, The Philosophy of
Friedrich Nietzsche and Man Versus the
Man: the iconoclast must remain true
to two beliefs 1) Darwin s discovery
of 1859, and 2) "Get the sluggish, con
vention-ridden masses to glimpse the
vision and move upward toward the
light". He believed that a transvaluation
of values was needed for the salvation
of America. "Dislodge the pseudoaris-
tocracy, the genteel guardians of ortho
doxy", Mencken was saying.
Mencken admired Thomas Huxley
who had an influence on his writing
style and philosophy. Huxley, as a fore
runner of Nietzsche, was a determinist
for whom free will played little or no
par*- in his philosophy. However, Menck-
*6riT"agnosticism (more emotional than
Huxley s) was the natural outcome of
his ideas about an enlightened minority,
the elite of society. Yet these Darwinian-
Huxlian-Nietzschean views of man, de
terministic, biological, mechanical, were
not the only influences in Mencken s
prospect of life.
Mencken s father was undoubtedly a
strong cultural influence also. Mencken s
family did not encourage the children
to go to church. Mencken said later that
"though I was . . . exposed to ...
Christian theology I was never taught
to believe it ... the Christian faith was
full of palpable absurdities and the Chris
tian God preposterous". A conservative
economic attitude was inherited from his
father also, later to be broadened by the
theory of social Darwinism.
Mencken s German-American back
ground influenced him considerably. The
tradition played a major role in his po
litical beliefs during the First World
War. People were sensitive to German-
Americans; nevertheless, he did not pro
fess to speak for any particular group
or political party.
Mencken believed that the elite, the
literary artists, the truth-seekers, should
create a protest literature against certain
institutions and values. Writers, such as
Ibsen, Nietzsche, Zola, Twain, and Shaw,
he admired. Their themes of iconoclasm
agreed with his philosophy of literature,
believing that the artist should question
and reject society s traditional solutions
to problems.
Mencken thought that a distinctive
form of literature rejecting the "genteel
tradition" was fiction. American drama
could not be conceived, at this time, as
the form of literature Mencken wanted
because American drama was second-
rate to European drama, especially Ib
sen. To Mencken, American theatre con
sisted of melodramas and comedies. Two
dramas that Mencken thought were
headed toward the right direction of
reform and iconoclasm were Clyde Fitch s
The Truth (1907), and Augustus Thom
as The Harvest Moon (1909). Also, the
best-sellers of Mencken s day did not
perform the function he wanted. He
said "The essence of this literature is
sentiment, and the essence of sentiment
is hope. Its aim is to fill the breast with
soothing and optimistic emotions to
make the fat woman forget that she is
fat, to purge the tired business man of
his bile, to convince the flapper that
Douglas Fairbanks may yet learn to
love her".
64
Serious modern fiction was the ef
fective, distinctive form noted in Menck
en s literary criticism, for he believed
that fiction must emphasize "the mean-
inglessness of life". This was closely re
lated to his view of the artist as a
Darwinian reformer and iconoclast. Ac
cording to Mencken, the impotence of
existence was the supreme discovery of
his day and generation, considering that
it must be the basis for all truth. He
insisted that the established forms for
solving man s ultimate problems of life,
such as traditional religion, were in
adequate because man can never go
beyond the obstacles that are put in
his way, nor overcome death. Yet the
clash of human aspirations, the struggle
to overcome these obstacles, does have
particular meaning for the individual
and out of these experiences, Mencken
thought, there would emerge a literature
that bas meaning.
Mencken saw a national literature de
veloping in America, in Mark Twain s
Huckleberry Finn for example, which
Jie considered a masterpiece partly be
cause the novel anticipated the theme
of life s meaninglessness. The book had
realism, a satire of the social and re
ligious traditions in American society,
and it explored the human condition.
Other novels that dramatized the pro
test theme for Mencken were Dreiser s
Sister Carrie and Jennie Gerhardt, and
the writings of Joseph Conrad, especial
ly Lord Jim.
Stenerson s interesting book sees H. L.
Mencken not as an expert in the social
and political issues of his time, nor pri
marily as a critic of literature, music,
economics, or science, but rather as a
man whose prejudices run through his
commentaries on American life. Mencken
was contradictory, at times emotional,
but his style was consistently vigorous
and intense. "Life fascinated him, and
he knew how to make his own life fas
cinating to others". Mencken often made
stereotypes out of individuals, yet he
did not want his readers to be taken in.
He could laugh at his stereotypes
and if one could laugh at him he would
probably have said that the world was
a little better. Jerome Drost, SUOT
at Buffalo
AN&Q
PUBLICATIONS RECEIVED
(Continued from p. 50)
Herbs). Illus. 212pp. N.Y.: Dover
Publications, 1971. Paper, $2.50
Obscenity: Censorship or Free Choice?
Ed. by William L. Hamling. [National
College Competition Winning Essays
on the Subject]. Ports. 367pp. San
Diego: Greenleaf Classics, Inc., 3511
Camino del Rio So., 1971. Paper, $1.95
Peterson, Charles E., ed. The Rules of
Work of the Carpenters Company of
the City and County of Philadelphia,
1786. Illus. incl. 35 Plates & Letter
press; facs. xv, 44pp. Princeton: The
Pyne Press, 1971. Cloth, $8.95; Paper,
$3.50
Pomorska, Krystyna, ed. Fifty Years of
Russian Prose. 2 vols. Cambridge:
The MIT Press, 1971. Each vol., $10.
Robles, Philip K. United States Military
Medals and Ribbons. Profusely Illus.
with Color Plates. 187pp. Rutland,
Vt.: Charles E. Tuttle Co., 1971.
$12.50
Rosen, Barbara, ed. Witchcraft: Read
ings in Elizabethan & Jacobean Witch
ery. Illus. 407pp. N.Y.: Taplinger Pub
lishing Co., 1972. $9.95
Schroder, John, comp. Catalogue of
Books and Manuscripts by Rupert
Brooke, Edward Marsh & Christopher
H assail (Limited to 450 copies). II-
ius. 134pp. Cambridge: Rampant Lions
Press (12 Chesterton Road), 1970.
207
Traven, B. March to the Monteria (a
novel). 230pp. N.Y.: Hill and Wang,
1971. $5.95
Ulrich s International Periodicals Di
rectory: a Classified Guide to Current
Periodicals, Foreign and Domestic.
14th Edn., 1971/72. 2 vols. N.Y.: R. R.
Bowker Co., 1971. $42.50
Van Tyne, Josselyn; & Berger, Andrew
J. Fundamentals of Ornithology.
(1959). Illus. 624pp. N.Y.: Dover
Publications, 1971. $5.
Vinland Map Conference, Proceedings
of the. Ed. by Wilcomb E. Washburn.
Illus. 185pp. (Studies in the History
of Discoveries: the Monograph Series
of the Society for the History of Dis
coveries). Published for The New-
berry Library. Chicago: University of
Chicago Press, 1971. $10.
AMERICAN MOTES & QUERIES
Volume X Number 5
January 1972
NOTES ~
QUERIES & REPLIES
EDITORS NOTES AND READINGS
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
FREE/ On application, one year s
subscription to AN&Q for individ
uals who Reply to previously
unanswered Queries, Vols. I-V,
before the conclusion of Volume X.
PUBLICATIONS RECEIVED
Ackerknecht, Erwin H. Medicine and
Ethnology: Selected Essays. Ed. by
H. Walser & H. M. Koelbing. 195pp.
Baltimore: The Johns Hopkins Press,
1971. $10.
Adrosko, Rita J. Natural Dyes and Home
Dyeing (formerly titled: Natural Dyes
in the United States [U.S. National
Museum Bulletin 281, 1968]). Illus.
154pp. N.Y.: Dover Publications, 1971.
Paper, $2.
Baskin, Wade. Dictionary of Satanism.
351pp. N.Y.: Philosophical Library,
1972. $12.50
Berrigan, Daniel. Encounters [poetry].
(I960?). 77pp. N.Y.: World Publish
ing Co. (110 East 59 St, Zip 10022),
1971. $5.95.
Blythe, Peter. Hypnotism, Its Power and
Practice. l5lpp. N.Y.: Taplinger Pub
lishing Co., 1971, $5.95
Boggs, Ralph Steele. Bibliography of
Latin American Folklore: Tales, Fes
tivals, Customs, Arts, Magic, Music
(1940). 109pp. Detroit: Blaine Eth-
ridge - Books (13977 Penrod St,
Zip 48223), 1971. $6.
Bonomi, Patricia U. A Factious People:
Politics and Society in Colonial New
York. 342pp. N.Y.: Columbia Univer
sity Press, 1971. $10.
Borges, Jorge Luis. An Introduction to
American Literature, in collaboration
with Esther Zemborain de Torres.
Trans. & Ed. by L. Clark Keating &
Robert O. Evans. 95pp. Lexington:
University Press of Kentucky, 1971.
$5.95
Bowen, James K., & Van der Beets,
Richard, eds. Drama: a Critical Col
lection. 761pp. N.Y.: Harper & Row,
1971. Paper, $7.
Brewer, E. Cobham. Authors and Thetr
Works, With Dates, Being the Ap
pendices to "The Reader s Handbook".
(1898). New Pref. by Leslie Shepard.
Pp. 1245-1501. Detroit: Gale Research
Co., 1970. $12.50
Bruman, Henry J. Alexander von Hum-
boldt & the Exploration of the Ameri
can West. An essay on the occasion
of an exhibition at the UCLA Library.
Illus., 10pp. Los Angeles: University
of California Library, 1971. $2; pay
able to the Regents of the University
of California), from the Gifts & Ex
change Section, UCLA Library, Los
Angeles, California 90024
Carey, George. A Faraway Time and
Place: Lore of the Eastern Shore.
256pp. Washington, D.C.: Robert B.
Luce, Inc. [distributed by David Mc
Kay Co., N.Y.C.], 1971. $6.95
Chinese Rhyme-Prose. Poems in the Fu
Form from the Han and Six Dynasties
Periods. Trans. & With Introd. by
Burton Watson. (Columbia College
Program of Translations from the Ori
ental Classics; [also] Unesco Collec
tion of Representative Works, Chinese
Series). 128pp. N.Y.: Columbia Uni
versity Press, 1971. Cloth, 6; Paper,
$1.95
Flammarion, Camille. Haunted Houses
(1924). 328pp. Detroit: Tower Books,
1971. $15.
Flexner, James Thomas. That Wilder
Image: the Painting of America s Na
tive School From Thomas Cole to
Winslow Homer. (1962). Numerous
Illus. xxii, 344pp. N.Y.: Dover Pub
lications, 1970. Paper, $4.
(Continued on p. 80)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies and back issues 75tf each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies, and Abstracts of Folklore
Studies, and Review of [Book] Reviews; indexed in Book Review Index; in
cluded in The Year s Work in English Studies, and Annual Bibliography
of English Language and Literature, MHRA. Appropriate items included
in the Annual MLA International Bibliography; Victorian Studies **Vio
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSOCIATE EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
ENGLISH ORIGIN OF "STILL
BORN" AND "DUMB-BORN" IN
MAUBERLEY
IN HIS COMMENTARY on Mciuberley,
Espey somewhat vaguely attributes
the compound adjective "still-born"
("The Rubaiyat was still-born/ In
those days") 1 to the influence of
Gautier, although he suggests that
it may simply have been part of
"the vocabulary of nineteenth-cen
tury French verse" and suggests
further that "Laforgue probably is
as much responsible as Gautier"
for Pound s choice. 2 He has no com
ment on the very similar "dumb-
bom", 3 which is not even recorded
in OED.
It seems appropriate to observe
that figurative uses of "still-born"
go back at least to Shakespeare
(1597), and that references to books
as being still-born occur definitely
(and surely many times more) in
1709, 1827, and 1894. For that mat
ter, the word was applied directly
to the Rubaiyat by Edmund Gosse:
"Fitzgerald s ambition . . . received
its final blow in the total unsuc-
cess of the now so-precious pam
phlet which Quaritch issued still-
bom on the 15th of February,
1859". 4 Even supposing the poetic
genius of Pound incapable of fetch
ing up the compound for himself,
there seems little enough reason
for tracking the word in France,
particularly in view of the fact that
the Rubaiyat was almost literally
still-born.
The analogous "dumb-born" was
discovered by Richard Aldington in
Drayton, although, as he says, he
had "for years . . . thought the
composite adjective . . . Pound s
invention". 5 He does not give the
exact source, however, which is
"Amour. 12." of Idea: "See myracles,
yee unbeleeving see,/ A dumbe-
born Muse made to expresse the
mind,/ A cripple hand to write, yet
lame by kind,/ One by thy name,
the other touching thee". 6
Although Espey s general treat
ment of Pound s use of Gautier is
undoubtedly sound, he has per
haps been a little too insistent on
Pound s use of French models in
this case. Considering the vague
ness of his evidence, the prevalence
of "still-born" in English, the ap
plication of the term to the Rubai
yat by Gosse, and the purely Eng
lish origin of the analogous "dumb-
born", it seems likely that Pound
was merely drawing on the com
mon treasury of English when he
characterized the Rubaiyat as still-
born Lloyd Mills
Kent State University
Kent, Ohio
1. John J. Espey, Ezra Pound s Mauber-
ley: A Study in Composition (Berke
ley and Los Angeles, 1955), p. 122.
2. Ibid., p. 34.
3. Ibid., p. 127. It occurs in the first
line of "Envoy (1919)".
4. The Variorum and Definitive Edi
tion of the Poetical and Prose Writ
ings of Edward Fitzgerald . . . by
George Benham and with an Intro
duction by Edmund Gosse (New York,
1902), I, xxi.
5. Ezra Pound & T. S. Eliot, A Lecture
(Peacocks Press, 1954), p. 11.
6. The Works of Michael Drayton, ed.
J. W. Hebel (Oxford, 1931), I, 103.
68
AN&Q
J. R. LOWELL BOOSTS
JEREMIAH CURTIN,
HARVARD 63
DATED 26 MAY 1864, James Russell
Lowell s letter to Charles Sumner
is a brief but strong recommenda
tion of Jeremiah Curtin as a
consular pupil. 1 Jeremiah Curtin
(1838P-1906) had a distinguished
career as linguist, translator, and
mythographer. His reputation large
ly rests upon work done in the lat
ter capacity, and his bibliography
includes thirteen separate studies
and collections of Irish, Slavonic,
Mongolian, and American Indian
folklore. During his life he received
two political appointments, one as
Second Secretary of Legation (St
Petersburg), 1864-1870, and an
other as field investigator in the
U. S. Bureau of American Ethnol
ogy, 1883-1891. The position for
which Curtin applied in 1864, that
of consular pupil, was a product
of the Consular Pupils Act of 1856,
which sought to improve the con
sular service by training young men
as career employees of the State
Department. It of course threat
ened the spoils system by which
consuls and consular employees
normally were selected. Repealed
in 1857, in 1864 a weakened ver
sion was reenacted, under which
thirteen pupils were to be ap
pointed. 2
It was appropriate for a number
of reasons that Lowell should write
Sumner in favor of Curtin. Curtin
was clearly a superior student, and
Lowell desired his preferment. As
Charles A. Joy, Professor of Mod
ern Languages at Columbia Col
lege, put it in his own letter of
recommendation to Secretary of
State William H. Seward, Curtin s
"familiarity with modem languages
attracted the notice & received file
friendship of Professors Lowell,
Longfellow, [and] Child, who will
now come forward to aid him". 8
Further, Lowell s politics made ap
propriate his claim upon Sumner s
attention. A strong abolitionist,
Sumner surely knew of the series
of articles that Lowell had written
as editor of the Anti-Slavery Stand
ard during the period 1848-1852;
and Lowell had written pro-Re
publican articles for the Atlantic
Monthly and North American Re-
vietv* The form of Lowell s ad
dress to Sumner clearly shows the
familiar terms upon which the
Brahmin author approached the
Brahmin legislator. Finally, as Re
publican Senator from Massachu
setts, Sumner was at the peak of
his power; and as chairman of the
Senate Committee on Foreign Af
fairs, his recommendation could
strongly influence Department of
State appointments. Lowell chose
his man well. The letter follows:
Elmwood, 26th May,
1864
My dear Sumner,
Jeremiah Curtin who graduated here
last year is an applicant for a place as
Consular pupil at St, Petersburg. I can
testify in the fullest way to his qualifi
cations. His bias is languages & he al
ready speaks Russian tolerably. He is
to have a free passage in the Russian
fleet & is one of the most promising men
for ability we have graduated for some
years. 5 If you can do anything for him,
pray do oblige.
Truly yours
Hon. Chs Sumner J. R. Lowell
Sumner read Lowell s letter,
among the others in favor of Cur
tin, and was favorably impressed,
for he endorsed the letter by writ
ing: With his peculiar talents &
January 1972
69
aptitude in languages especially
the Russian language he deserves
something better". He received in
consequence the appointment as
Second Secretary of Legation, in
stead of the appointment as con
sular pupil; and he experienced
thereby a direct impression of Rus
sian literature and culture that
emerged in translations of Henryk
Sienkievicz and Alexis Tolstoy and
studies of Slavonic and Mongolian
myth and folklore.
Bill R. Erubdker
Florida State University
Tallahassee, Fla.
1. In the National Archives, Record
Group 59, Diplomatic Despatches
(Russia). Hereafter, the abbreviations
NA and RG will designate National
Archives and Record Group.
2. Carl Russell Fish, The Civil Service
and the Patronage (Cambridge, Mas
sachusetts: Harvard University Press,
1920), pp. 183-184.
3. 24 May 1864, NA, RG 59, Diplo
matic Despatches (Russia).
4. Lowell edited the Atlantic Monthly,
1857-1861, and joined Charles E.
Norton as co-editor of the North
American Review, 1864-1868. For an
example of Lowell s political writing
near the time of his recommendation
of Curtin, see "The Next General
Election", North American Review,
XCIX (October, 1864), pp. 557-572.
A complete bibliography of Lowell s
political essays in magazines is avail
able in George Willis Cooke, A Bib
liography of James Russell Lowell
(Boston: Houghton Mifflin, 1906).
5. The Russian Consul in New York
City, R. Osten Sacken, warmly com
mended Curtin in a letter to Secre
tary Seward, 13 May 1864. The con
sul recommended Curtin as consular
pupil because of the young man s
deep interest in Russian literature,
language, and culture. Osten Sacken
WILLIAMS MATHILDA -
ETYMOLOGY OR
SERENDIPITY?
WILLIAM CARLOS WILLIAMS short
story "The Use of Force" contains
an interesting example of a charac
ter s name which has striking ety
mological appropriateness. The par
ents of an acutely ill little girl have
asked the first-person narrator, a
doctor, to examine the child. Pro
ceeding on a hunch derived from
several cases of diphtheria in the
child s school, the doctor asks her
to open her mouth so that he can
examine her throat. She refuses,
and a battle ensues between her
and the doctor, in which, defen
sively, she tries to claw his eyes,
knocks his glasses to the floor,
shrieks "terrifyingly, hysterically",
splinters with her teeth the wooden
tongue depressor that he once
manages to get into her mouth,
and finally after he has succeed
ed in muscling a "heavy silver
spoon back of her teeth and down
her throat till she gagged" ( expos
ing diphtheria membrane over both
tonsils) she attacks, trying "to
get off her father s lap and fly at
me while tears of defeat blinded
her eyes".
pointed out that Curtin had asked
at the consulate for books on Russian
language and culture and had learned
to read and speak Russian in^ a re
markably short time, having "inter
course with the officers of our squad
ron". Curtin had also been invited
to take passage to Russia in the Rus
sian fleet at anchor in New York
harbor in the winter of 1864. A
rather large file of letters in favor of
Curtin s appointment is in NA, RG
59, Diplomatic Despatches (Russia).
70
AN&Q
That the examination is a battle,
Williams is at pains to make clear,
not only through the force of the
narrative details but also through
direct commentary by the first-
person narrator: "In the ensuing
struggle", he comments, her par
ents "grew more and more abject,
crushed, exhausted while she sure
ly rose to magnificent heights of
insane fury of effort bred of her
terror of me"; and later, "I could
have torn the child apart in my
own fury and enjoyed it. It was
a pleasure to attack her. My face
was burning with it".
The family s surname is Olson,
but the given names of the mother,
the father, and the doctor are not
revealed. Only the child has a
given name Mathilda. Mathilda
is derived from the Old High Ger
man Mahthilda, which is derived
from maht, might, power -f htttia,
battle; hence, literally, powerful
(in) battle. 1 For a desperately ill
child, this little Mathilda is indeed
powerful in battle.
This etymological method of
naming a character is different
from and more erudite than the
traditional ones of using denota
tion (Chillingworth), connotation
(Christopher Newman), or allusion
(Ahab). Strangely, however, "The
Use of Force" seems to be the only
story in its collection 2 in which a
character has a name of such pre
cise etymological appropriateness.
Have readers noticed other in-
Readers comments on the de
sirability of a 10-year Cumula
tive Index to AN&Q would be
welcomed.
stances in Williams* fiction or his
poetry? Was he working conscious
ly with etymology in this instance,
or is it perhaps no more than a
classical case of serendipity?
Paxton Hart
Pennsylvania State University
Ogontz Campus
1. Webster s New World Dictionary of
the American Language (Cleveland,
1966).
2. Make Light of It Collected Stones
(New York, 1950), pp. 131-135.
QUERIES
Mrs Brown and the duck On
page 234 of Reginald Horsley s In
the Grip of the Hawk (London:
Nelson, c. 1908) there is the fol
lowing statement: c Without the
least desire to accept this gracious
invitation, which resembled that
of the famous Mrs. Brown to the
duck, George turned his head to
find Pokeke rushing at him . . .".
Who was the famous Mrs Brown
and what was her invitation to the
duck? Norman D. Stevens,
Storrs, Ct.
"GunseT and "Gooseberry lay" in
Dashiell Hammett Jaques Bar-
zun and Wendell Hertig Taylor s
A Catalogue of Crime (N.Y.: Har
per & Row, 1971) has usually been
characterized by phrases like "re
liable but eccentric"; but in their
introduction they repeat a folk
tale about Dashiell Hammett that
is either baseless or distorted.
January 1972
71
GUNSEL . . . denotes a young homo
sexual killer. Howard Haycraft tells an
illustrative anecdote of Dashiell Ham-
mett s early writing days. Hammett said
he was turning in a story containing two
expressions, one harmless, the other
shady, and he predicted that his editor
would strike out the harmless one and
leave the other, in the belief he was
doing just the opposite. The harmless
expression was gooseberry lay., which
is thieves slang for stealing wash from
a clothesline. The editor duly struck it
out. The other, left in, was gunsel. (P.
xxix. )
The only place in his writings
where, to my knowledge, Hammett
used either expression was in his
third novel, The Maltese Falcon
(1930); and in it he used both and
got both into print.
In Chapter XI, Sam Spade says
to Casper Gutman, about Wilmer,
"Keep that gunsel away from me
while you re making up your mind.
HI kill him" (The Novels of Dash
iell Hammett [1965], p. 364); and
in the very next chapter, confront
ing Wilmer again, Spade asks him
"How long have you been off the
gooseberry lay, son?" (p. 374).
Perhaps the story, as Barzun and
Taylor, and Haycraft, and Ellery
Queen, tell it is true of some
other story by Hammett, More
likely, one of Knopfs editors ob
jected, in The Maltese Falcon, to
"gooseberry lay", and Hammett ex
plained its real meaning to the
editor, possibly countering further
with an explanation of "gunsel".
By the time Hammett got around
to telling the story to Haycraft, it
had improved with the retelling,
to serve as an exemplum of how
a crafty writer can hoodwink a one-
eyed editor. If this explanation is
not true, can any reader suggest
another one or tell me where Ham
mett may have had one of these
expressions censored while slipping
the other in unnoticed? Sum-
ner /. Ferris, California, Penn.
A small boat called Truth or False
hood In his will, George E.
Hyde, author of a number of schol
arly books on American Indians,
left some royalties to the Omaha
Public Library for purchase of
books on American history and on
Indians, He requested that the
books be marked with "a book
plate made with the name of the
memorial at the top and below
that the following quotation from
our wise English ancestors: *A
small boat at the mercy of the
wind and waves; some call the
boat Truth, the sea Falsehood;
some the boat Falsehood and the
sea Truth ". One of our library
staff members thinks it may have
been said about the Mayflower
but so far we have found nothing.
Catherine Beal, Omaha, Nebr.
M.A. as a "Free degree" An
M.A. degree is automatically given
to B.A. Honors students at Cam
bridge University. What is its ori
gin, usefulness, reason, and aca
demic value or purpose? Is it given
elsewhere? Michael Cahill,
Sharon, Conn.
Mr Dunns Chinese Collection
What disposition was made of the
pieces described in E. C. Wines*
A Peep at China, in Mr. Dunns
Chinese Collection . . . (Phila.:
Printed for Nathan Dunn, 1839)?
The volume, without illustrations,
tells about this large private collec
tion made by Nathan Dunn of
Philadelphia, "opened to the pub
lic" 22 December 1838. Editor
72
AN&Q
REPLIES
John Deweys Syllabi (1:14)
Thomas John Dewey, a Centennial
Bibliography (University of Chi
cago Press, 1962) list the following
syllabi prepared by John Dewey
in the Nineties: 1) Introduction to
Philosophy. Syllabus of Course 5.
February, 1892. [Ann Arbor, 1892]
24pp. cover-title; 2) Introduction
to Philosophy. October, 1892. [Ann
Arbor, 1892] 14pp. cover-title. 3)
The Study of Ethics: A Syllabus.
Ann Arbor: Register Publishing
Company, 1894. iv, 151pp. Reprint
ed in 1897 with the imprint: Ann
Arbor: George Wahr; 4) [Sylla
bus.] The University of Chicago.
Pedagogy I B 19. Philosophy of
Education. 1898-1899 Winter Quar
ter. [Chicago, 1898.] llpp.
Jerome Drost, Buffalo, N.Y.
Endless tales (1:40) For some
introductory comment and descrip
tion see my remarks in Hand toor-
terbuch des deutschen Mdrchens,
II (Berlin, 1934-1940), 190, with
bibliography and Stith Thompson,
"The Types of the Folktale", FF
Communications 184 (Helsinki,
1961), 537, nos. 2300 ff. Note also
the "Rounds", p. 538, No. 2350,
in which the story returns upon
itself and thus never ends: "The
robbers were sitting around the
campfire. The oldest robber turned
to the youngest robber and said,
Tell us a story . The youngest
robber began, *The robbers were
sitting around . . /". Many stories
of this sort have been published
from time to time in the corre
spondence in Western Folklore
over the last twenty years or long
er. Archer Taylor, Berkeley,
Calif.
"Out of the Horses Mouth" (1:54)
This was the subject of com
ment in the earlier AZV&Q VIII
(1948) 158. One gets reliable in
formation directly "out of the
horse s mouth" about its age and
by extension about other matters.
Archer Taylor, Berkeley, Calif.
Hairy-eared engineers (1:40)
Hairy ears antedates World War
II, of course, but may have an
Army connection through engi
neering taught at West Point:
1936 - Esquire (August), VI, No.
2, p. 25, "ENGINEERS ARE NOT THE
ONLY ONES WITH HAIRY EARS. Well,
here at General Design we have
the hairy ears of engineers our
selves". (Heading and text; full-
page advertisement); 1944 Life,
August 14 (Vol. 17, No. 7), 72/73,
"Like most engineers they refer to
themselves as Hairy Ears , a name
derived from a largely unprintable
engineers song". On the opposite
page ... a sign outside "Hairy
Ears Clinic" which lists a few pri
vate American names for the alien
diseases of the jungle (i.e., Ledo
Road, Burma).
The song alluded to above and in
the query appears to be one com
mon to colleges with engineering
schools, Generically, "Rambling
Rake (or Wreck) of Poverty (or
Georgia Tech)", it is sung to the
air ,of "Son of a Gambolier", per
haps thought by some to be "Son
of an Engineer". A verse, or part
of a verse or mish-mash of two,
first heard about 1919: The engi
neers have hairy ears,/ And wear
red-leather britches;/ They knock
their cocks against hard rocks,/
The hardy sons-of -bitches.
Engineers appear to be so termed
because barbershops are not con-
January 1972
73
venient to the boondocks, such
brush being cropped in urban
shops as a matter of course.
Peter Tamony, San Francisco
Chinese proverbs (1:119) There
are available in Western languages
a number of works useful in the
study of Chinese proverbs, etc.
Perhaps most helpful as orienta
tion is Arthur Henderson Smith s
Proverbs and Common Sayings
From the Chinese (new edition,
Shanghai: American Presbyterian
Mission Press, 1914). Others of in
terest are: Brian Brown, ed., The
Wisdom of the Chinese (N.Y.:
Brentano s, 1920); Char Tin-yuke,
comp. and tr., Chinese Proverbs
(San Francisco: Jade Mountain
Press, 1970); Ho Feng-ju and Wolf
ram Eberhard, Pekinger Sprich-
worter in the Baessler-Archiu, vol.
24, pt. 1 (Berlin, 1941); William
Scarborough, A Collection of Chi
nese Proverbs (N.Y.: Paragon Book
Reprint Corporation, 1964; reprint
of an 1875 work).
The twenty-seventh volume of
the Library Catalogue, School of
Oriental and African Studies, Uni
versity of London (Boston: G. K
Hall, 1963) is rich in titles in
characters, romanization, and trans
lation; such headings as folklore
and literature have entries of inter
est, such as Chang Hsiang s Shih
tzu cKu yu tzu hui shih ( Charac
ters and Expressions in Poetry and
Drama), published in Shanghai,
1954, and in Peking, 1959.
Many proverbial expressions
from the Chinese classics are con
tained in Mathews* Chinese-Eng
lish Dictionary, revised American
edition (Cambridge: Harvard Uni
versity Press, 1956). For example,
items under the character san 1 ,
"three" numbered 5415, 13: "if
three of us are walking together,
there will be certainly a teacher
for me", and 39: "there are three
friendships which are advanta
geous, and there are three which
are injurious". No indication of
source, however, is given for either
quotation. All-Chinese dictionaries
like the Tzu yuan or Tz 9 u hai, par
ticularly the latter, are more help
ful in giving references to sources.
These items both are from the
Confucian Analects. The first is
from Book VII, chapter xxi; the
latter from Book XVI, chapter iv.
Edgar C. Knowlton, jr, Uni
versity of Hawaii
EDITORS
NOTES & READING
Halkett & Laing revision The
publication of a revised and en
larged edition of Samuel Halkett
and John Laing s Dictionary of
Anonymous and Pseudonymous
English Literature (Smith, John
son; 9 vols., 1926-62) has been an
nounced by Oliver and Boyd of
Edinburgh. An Editorial Board
under the chairmanship of Mr John
Horden, Director of the Institute
of Bibliography and Textual Crit
icism at the University of Leeds,
and including representatives from
the Bodleian Library, the British
Museum and the University of
Texas, in collaboration with a large
number of helpers, will be revis
ing this large work, which is due
for publication in 1975. It is an
ticipated that the new edition will
74
appear in six volumes, each of
some 1040 pages, the sixth volume
being an index volume. Every en
try in the existing work will be
checked and printed in a revised
form. A most important aspect of
the revision is that each entry will
include a precise reference to the
source of the attribution. Clearly
it will be impossible to identify ev
ery anonymous and pseudonymous
author with equal authority, but
this reference will at least enable
the reader to assess for himself the
validity of any identification. In
addition to the entries in the exist
ing work, the revision will enable
the publication to be very consid
erably increased in scope and size.
The Editor would be pleased to
hear from any "AN&Q" readers
who may have contributions to
make to the revision which their
special knowledge provides or
which serendipity may bring to
their notice. Such contributions
should be sent to John Horden at
the Institute of Bibliography and
Textual Criticism, School of Eng
lish, University of Leeds, Leeds
LS2 9JT, England.
Church and Cinema: a Way of
Viewing Film, presents a fine series
of opinionated essays on the devel
opment and future course of the
film story, as seen by James M.
Wall, Editor of The Christian Ad
vocate (Grand Rapids: W. B. Eerd-
mans, 1971; 135pp.). These intel
ligent remarks and reviews of some
of our most interesting modern
films Persona, The Graduate,
Midnight Cowboy, Patton, etc.
show style and purpose in the art
of film appreciation.
AN&Q
In preparation for the celebration
of two important anniversaries in
1974, the Carpenters Company of
Philadelphia has agreed to permit
the Pyne Press, of Princeton, N.J.,
to publish a facsimile of one of
the rarest of American imprints:
THE CARPENTERS COMPANY of the
City and County of Philadelphia
1786 Rule Book. For the Carpen
ters Company 1974 marks two mo
mentous occasions. Two hundred
and fifty years earlier the Com
pany was founded by the master
builders of Philadelphia. Fifty
years later their Hall, which the
Company still maintains in Inde
pendence National Park, was the
site of the first meetings of the
Continental Congress. This is the
first illustrated book on architec
ture written and published by and
for Americans. In addition to the
original text, the facsimile repro
duces the 37" original copper-plate
engravings which provide a unique
view of typical eighteenth century
structural and decorative detail.
The Carpenters Company 1786
Rule Book reveals fascinating new
insights on early American archi
tecture, building technology and
business practices. It is an indis
pensable source to anyone who
wants to understand the origins
and growth of architectural de
sign, of the building trades and of
professional associations. ($8.95
hardcover; $3.50 paper).
One of the major projects of Oc
tober s Secondary Universe 4 Sci
ence Fiction conference in Toronto
was the publication of Russian
Science Fiction Literature and
Criticism, 1956-1970: a Bibliogra
phy, by Dr Darko Suvin. The bib
liography is compiled in three
January 1972
75
sections: Science fiction in the
Russian language, Russian science
fiction in English and French; and
criticism of Soviet science fiction.
Available for $2.00 from the
Spaced-Out Library, 566 Palmer-
ston Ave, Toronto 4. The confer
ence of 275 science fiction writers,
editors, teachers, bibliographers
and librarians, the first to be held
in Canada, was co-sponsored by
the Toronto Public Library.
American Book-Prices Current,
Volume 74 of this standard refer
ence work, covering the 1967-1968
season, reports prices of single lot
books and serials, autographs and
manuscripts, broadsides and maps,
which brought $10.00 (3) or more
at auction between September
1967 and August 1968. The Lon
don firms reported on are Christie,
Manson & Woods, Ltd., Hodgson
& Company, Phillips, Son & Neale,
and Sotheby & Company, while the
New York houses reported on are
Charles Hamilton Autographs, Inc.,
Parke-Bernet Galleries, Inc., and
Swann Galleries, Inc. Sales of Mar
vin H. Newman of Los Angeles
and Montreal Book Auctions in
Canada are also recorded. Among
the hundreds of interesting sales
occurring during the period were
a superb manuscript of Firdausi s
Shahnama, or Book of Kings, writ
ten in the 15th century, brought
50,000; The Venerable Bede s De
Natura Rerum, an 11th-century
manuscript sold for 27,000, from
the renowned manuscript collection
of Sir Thomas Phillipps; also in
the Phillipps sale were The Craft
of Lymmyng of Bokys, c. 1450,
which brought 10,500; di Vadi s
De Arte Gladiatoria Dimicandi,
1482-87, 15,000; and a carefully
revised and very early manuscript
of La Divina Commedia, c. 1363,
which sold for 20,000. In printed
books, Antonio Lafreri s 16th-cen
tury Atlas brought 13,000 at
Sotheby s, and a copy of Poe s Al
Aaraaf, Tamerlane, and Minor
Poems, with corrections in the au
thor s hand, sold for $10,000. Other
important works came from the
collections of Thomas W. Streeter,
Charles E. Feinberg, Herbert S.
Auerbach, and Major John R. Ab
bey. An almost complete series of
literary properties associated with
Thomas }. Wise, important Swift
and Defoe material, and letters and
manuscripts of Voltaire and his
circle, also figured prominently in
the season s sales. AB-PC, 1967-68,
is available from Columbia Uni
versity Press for $40. Paul Jordan
Smith, formerly with Parke-Ber
net, has taken over the editorship
of future volumes in the series.
RECENT FOREIGN
REFERENCE
BOOKS
(All notes are by Lawrence S. Thomp
son, Professor of Classics, University of
Kentucky, except the first one signed
S.E.T., Sarah Elizabeth Thompson, a
student of Japanese at Radcliffe College. )
The Charles E. Tuttle Company of
Tokyo and Rutland, Vermont, has
added two valuable new reference
works to their already impressive
list of publications on Japanese
art among previous books that
76
AN&Q
have described the miniature art
form of netsuke and the compart-
mented lacquer boxes known as
inro. Melvin and Betty Jahss, Inro
and Oilier Miniature Forms of Ja
panese Lacquer Art ( 1971; 488pp.;
$27.50), covers the entire range of
the art more thoroughly than any
earlier work in English. Compre
hensive information is given on the
history, techniques, and subject
matter of lacquer art. For the col
lector there is an entire chapter
on netsuke and one on the names,
family trees, and signatures of the
artists, with reproductions of 59
representative signatures. The text
is illustrated by 256 superb plates,
76 of them in full color. There is
a convenient glossary as well as
a bibliography and index. Yuji Abe,
ed., Modern Japanese Prints, A
Contemporary Selection ( 1971; un
paged; $2.25), presents in paper
back form an up-to-date collection
of prints from the Yoseido Gallery
in Tokyo. The book contains 121
reproductions of the latest works
of 62 artists, many of international
standing; individual prints can be
ordered from the Yoseido Gallery.
(S. E. T.)
Stig Boberg, Pressens historia
(Stockholm: Almqvist & Wiksell,
1970; 239 pp.; Sw. kr. 2S.-3), is
richly illustrated with facsimiles
and other pertinent iconographic
documentation of the history of the
newspaper, vice, news-sheet, from
the 16th century to the present.
There is, naturally, a heavy empha
sis on European, especially north
ern European papers, but, in gen
eral it is well balanced as a history
of the press in general.
John Landwehr, Splendid Cere
monies; State Entries and Royal
Funerals in the Low Countries,
1515-1791 (Nieuwkoop: B. de
Graaf; Leiden: A. W. Sijthoff,
1971; 206 pp., 67 plates) is the
documentation of state ceremonies
by the rulers of the Netherlands in
the period covered, viz., the Habs-
burgs, the house of Orange-Nassau,
and the house of Nassau-Dietz.
Over and above the original intent
of the publications, they are valu
able as local history.
Glaus Nissen, Die zoologische
Buchillustration, ihre Bibliographie
und Geschichte (Stuttgart: Anton
Hiersemann, 1969- ; DM36.
per "Lieferung"; eight tf< Lieferung-
en" in v. 1; one so far in v. 2), is
a monumental work which com
plements Nissen s Die illustrierten
Vogelbucher. The first volume is
the bibliography, and the second
volume will be the history of zo
ological illustration.
The Verzeichnis lieferbarer Bticher,
1971/72 (Frankfurt am Main: Ver-
lag der Buchhandler-Vereinigung;
New York, R. R. Bowker Co., 1971;
2 vok; $35.00) records some 160,-
000 books in print that are on the
lists of West German, Austrian,
and Swiss publishers. There is a
title index, an ISBN index, a most
useful list of series, and a directory
of publishers.
Michel Leiris, Andre Masson, Mas
sacres et autres dessins (Paris,
Hermann, 1971; 11 e., 90 plates),
is another handsome Hermann art
book with a sensitive critical in
troduction. Lines, forms, and ac
tions are handled masterfully.
January 1972
77
BOOK REVIEWS
MURPHY, James J., ed. Three Medieval
Rhetorical Arts. Berkeley: University o
California Press, 1971. $7.50
The problem confronting many English
majors who enjoy Chaucer is that an
inadequate knowledge of Latin hampers
them in their attempts to understand
many aspects of medieval culture. In
particular a knowledge of the rhetori
cians, essential for an appreciation of
Chaucer s art, is difficult to acquire first
hand. For students not specializing in
Medieval Studies Edmond Faral s Les
arts poetiques du XII et du XIII 9
Siecles is formidable stuff; secondary
materials, with a few exceptions, are
intended for the more advanced scholars.
Now, armed with Three Medieval
Rhetorical Arts, the student can dis
cover for himself why fair Emelye s hair
"was broyded in a tresse / Bihynde hir
bak"; why it had to be yellow; why
Criseyde s hair, was also "ytresed at hire
bak byhynde", and bound by "a thred
of gold"; why Blanche had "ryght faire
shuldres and body long . . . Ryght white
handes". "Let the color of gold be gilt
in her hair . . .", advises Geoffrey de
Vinsauf, "let her shoulders adjust to
gether with a certain discipline, and
neither fall away as if sloping downward,
nor stand, as it were, upraised, but rather
rest in place correctly; and let her arms
be pleasing, as slender in their form as
delightful in their length".
Geoffrey de Vinsauf s work comes sec
ond in the book, and righdy so. The ars
dictaminis was regarded as more im
portant, and according to Curtius an
attempt was made in the llth century
to subordinate all rhetoric to it. Profes
sor Murphy s book of translations of
medieval treatises on rhetoric contains
first the anonymous Rationes dictandi,
written in 1135, in Bologna, the centre
of the ars dictaminis, then The New
Poetics, the Poetria nova by Geoffrey
de Vinsauf, which was composed be
tween 1208 and 1213, and finally The
Form of Preaching, Forma praedicandi
by Robert of Basevorn, written in 1322.
An appendix contains excerpts from two
University textbooks on dialectic: Aris
totle s Topics and On Sophistical Repu
tations. The translators are James J.
Murphy himself, Jane Baltzell Kop, Leo
pold Krul O.S.B., and W.A. Pickard-
Cambridge. Before each translation is a
well-written preface which shows briefly
but clearly the importance of the work
under consideration. In addition, Profes
sor Murphy, whose own studies have
made such a substantial contribution to
our knowledge of medieval rhetoric,
provides an admirable introductory essay
which considers the relative importance
in the development of medieval rhetori
cal precept of four antecedents, the
Aristotelian tradition, the Ciceronian tra
dition, the "grammatical tradition* stem
ming from Donatus and Horace, and the
more minor tradition of discourse that
might be termed "sophistic rhetoric".
The essay also analyzes the nature of
ars dictaminis, ars praedicandi, and ars
poetria. Professor Murphy concludes that
the sources of these artes were mainly
rhetorical and grammatical, with ancient
logic or dialectic exercising little appar
ent influence.
Particularly helpful are the annotations
which, in many instances, amount to
commentary on the text. The Poetria
nova especially requires such annotation
and its translation is accompanied by
abundant footnotes which include expli
cation where required, comparison with
other texts, and reference to modern
studies,
This book is obviously intended to
assist students of medieval studies in
their understanding of medieval rhetoric
as a whole, by providing ready access
to examples of the three preceptive
traditions. One might wonder at the
selection of Robert of Basevorn s lengthy
work. Fortunately the opinion of Guibert
de Nogent that, after the Bible, personal
experiences were a good source of ma
terial for a sermon, seems to have been
shared by others. Had Basevorn s pre
cepts been rigidly adhered to the graphic
revelation of contemporary life given
by Bromyard, Ripon and others might
have been lost to us. There is, however,
good reason for the choice. It is a very
complete textbook and painstakingly il
lustrates all its precepts. According to
the preface: "Basevorn s treatise repre
sents an extremely popular type of
theorizing about oral discourse the
medieval analogue to the oratory of
78
AN&Q
ancient pagan Rome. It was itself ex
tremely influential, finding imitators well
into the fifteenth century; one of the
most famous, the historian Ranulph Hig-
den (died 1349), followed Basevorn s
lead and buried his own name in the
acrostic pattern of initial letters when
he wrote a preaching manual. And Base-
vorn s obvious knowledge of his field
enables him to range over the work of
his contemporaries to give the modern
reader a revealing insight into other
preaching theories prevalent in the early
fourteenth century".
Basevorn s views of other techniques
are, indeed, illuminating. The exemplum,
the entertaining stand-by of the homilist,
is nothing more than a means of fright
ening sinners "by some terrifying tale
or example, in the way that Jacques de
Vitry talks about some one who never
willingly wanted to hear the word of
God; finally when he died and was
brought to the church, and the priest
in the presence of the parish began the
eulogy which is wont to be spoken over
the body of the dead, the image of
Christ standing between the choir and
the church tore away and pulled His
hands from the nails piercing them and
from the wood to which they were fixed,
and plugged His ears, as if to intimate
that He did not wish to hear the prayer
for him who once spurned to listen to
Him in His preachers" (cap. xxiv).
Nevertheless Basevorn shows a very
comprehensive awareness of various
preaching practices, and is not adverse
to including the most down-to-earth
advice. The preacher, he suggests, must
be ready for any emergency: "It is also
always useful to have a few prepared
sermons which can provide for every
saint and for the Dedication (of a
church), because it frequently happens
that the church or place where the
preacher happens to be preaching sol
emnizes a saint or dedication of which
he has not even a thought. Therefore,
the theme for any saint and even the
dedication can be: Wisdom built for
herself a house, truly the Lord is in that
place, etc." (cap. xxix).
Altogether, the book should prove
most useful. Beryl Rowland, York
University., Toronto
MAAS, Henry, ed. The Letters of A. E,
Housman. Illus. xxii, 458pp. Cambridge:
Harvard University Press, 1971. $11.50
Why gather together and edit a poet s
letters, anyway? Emily Dickinson s let
ters, which came out almost simultane
ously with her poetry at the close of the
19th century, were as unique as her
verse and gave further insight into her
personality. As for The Correspondence
of Walt Whitman, edited by Edwin
Haviland Miller as part of the New York
University Press multi-volume edition of
Whitman s Collected Writings (1961-
1969), these letters were produced as
a monument to scholarship and as ref
erence tools. Somewhere in between
these two editions we have Henry Maas s
Housman Letters. He says, in his pref
ace, that though the letters "reveal noth
ing startling, at least [they] provide
solid material for the study of his life
and character". Attractive in design, for
mat, and printing, this first collection of
AEH s letters might well be called a
reader s edition, although admirers of
A Shropshire Lad and anyone working
on Housman, whether he is writing the
biography that should now be written
or not, will doubtless be particularly
pleased by Mr Maas s editorial labors.
The book is almost wholly Housman s:
only on eight occasions does the editor
intrude with commentary, usually of a
biographical nature (of a page or less
except for the first, pp. 3-5), and the
footnotes on virtually every page largely
identify people, places, and publications.
The arrangement of the 882 unnumbered
letters is chronological; however, 81 of
them, dealing with Latin studies, are by
themselves in the back of the book.
The letters are given in full (except
when only excerpts are extant), with a
heading which give the recipient, and
the location of the MS. or (when that
is not located) of the previously pub
lished text.
Following the short preface is a list
of manuscript and other locations, a
biographical table (of AEH), and a Hous
man family chart; then the letters, dating
from 9 January 1875, when Housman
was 16, until 25 April 1936, five days
before he died. There is a select bib
liography, an index of recipients, and
a general index, The illustrations are of
January 1972
79
the first and last letters, two in between
(1911 and 1926), and four photographs
of AEH at 19, at 35, in his 50s, and
at 70.
If these letters are meant, as Mr
Maas says, to provide "solid materials"
for a biographer, they certainly do that;
and they make intriguing even fas
cinating reading in themselves, in
spite of Percy Withers s comment (in
A Buried Life, p. 73) that "Housman
was not a letter-writer". He may not
have written many letters, for 1500 was
all that the editor was able to trace, and
many of them, especially late in AEH s
life, are very short; but everything that
Housman wrote has a strong and indi
vidual stamp further, he says some
thing and one never mistakes what that
something is.
Pleasurable, quite satisfactory, and
adequate as this edition of Letters is,
there are some reservations worth point
ing out. First, there are no letters to
Moses Jackson, AEH s great friend, but
this is not Mr Maas s fault for they were
not available to him. He writes that he
has seen a specimen of them, and they
"will not seriously affect what is al
ready known of Housman s relations
with Jackson" (p. xi). Second, as I have
indicated above, Mr Maas has traced
1500 letters but includes only 882: why
the selection? He says, "With certain
exceptions I have excluded only short
notes dealing with appointments and
minor matters of business, and letters
whose content is repeated in others"
(p. xi).
I should personally have liked the
edition to be complete: though I am
aware this would have almost doubled
the size of the book and made it more
expensive, without telling us much more
about Housman, I want everything; fur
thermore, Td have printed the letters
exactly as the author left them, not
"almost exactly" (to quote Mr Maas)
and would not have regularized dates
and titles or corrected slips of the pen
without comment. As the editor does
print letters dealing with business mat
ters and appointments and contents re
peated elsewhere, what are the bases
for including or excluding a letter? In
the Bulletin of Bibliography (22: 80-82,
September-December 1957), I published
a survey of Housman letters in print,
noting about 722 letters in 33 sources
the two substantial ones Grant Rich-
ards s Housman: 1897-1936 (1941) and
Laurence Housman s A. E. H. (1937),
with 467 and 107 letters. Of course Mr
Maas does not use all the letters in
Richards and Laurence Housman, and
he certainly adds a large number to
those heretofore published; but how
much does he contribute to our knowl
edge since the 1957 survey and the two
or three groups published since then,
for instance Thirty Housman Letters to
Witter Bynner (1957) and A. E. Hous
man to Joseph Ishill: Five Unpublished
Letters (1959)? The new Letters does
add to our knowledge, and having all
the material between the covers of one
solid book is convenient, useful, and
valuable.
It would be helpful to know more of
Mr Maas s criteria for what he prints.
Some of the letters seem irrelevant.
The title of Grant Richards s book on
p. xviii is wrong; occasionally footnotes
are wrong (such as "Ann Arbor Univer
sity, Michigan"); names in the index
are omitted or wrong (such as "Nook"
on p. 454 for "Nock"); and in the bib
liography, Mr Maas neglects "Additional
Poems", and if he leaves out books by
Oliver Robinson, Robert Hamilton, and
Tom Burns Haber, which can be justi
fied, I think he should have included
fine essays by R. W. Chambers, Ed
mund Wilson, and H. W. Garrod, the
Housman bibliography in The New Cam
bridge Bibliography of English Litera
ture, Vol. Ill (1969), and two books,
Ian Scott-Kilvert s A. E. Housman (1955,
1965) and B. J. Leggett s Housman s
Land of Lost Content: A Critical Study
of "A Shropshire Lad" (1970), the best
book on AElFs poetry.
Despite these strictures, this collection
of the Housman correspondence should
be in every library beside A Shropshire
Lad, Last Poems, the Collected Poems,
Selected Prose, The Confines of Crit
icism, and the books by A. S. F, Gow,
Leggett, Grant Richards, and Laurence
Housman. William White, Wayne
State University
80
AN&Q
PUBLICATIONS RECEIVED
(Continued from p. 66)
Foundations Directory, Edition 4. Pre
pared by the Foundation Center, Mari-
anna O. Lewis, Ed. Introd. by F.
Emerson Andrews. 642pp. N.Y.: Co
lumbia University Press, 1971. Price ?
Howard, C. Jeriel; & Tracz, Richard
Francis. Tempo: a Thematic Approach
to Sentence /Paragraph Writing. Illus.
542pp. N.Y.: Harper & Row, 1971.
Paper, Price ?
Kalmykow, Andrew D. Memoirs of a
Russian Diplomat: Outposts of the
Empire, 1893-1917. Ed. by Alexandra
Kalmykow. Illus. 290pp. New Haven:
Yale University Press, 1971. $12.50
Mackenzie, Alexander, Voyages From
Montreal on the River St. Laurence
Through the Continent of North Amer
ica ... (London, 1801), Numerous
Fold. Maps, xx, cxxxii, 414pp. Rut
land, Vt: Charles E. Tuttle Co,, 1971.
$19.25
Middendorf, John H., ed. English Writers
of the Eighteenth Century. [16 papers
by different authors, former students
of James Lowry Clifford]. 298pp.
N.Y.: Columbia University Press, 1971.
$10.
Montague, Ashley. The Elephant Man:
a Study in Human Dignity [developed
from Sir Frederick Treves* notable
case described in his "The Elephant
Man (1923)]. Illus. 140pp. N.Y.:
Outerbridge & Dienstfrey (distributed
by E. P. Dutton), 1971. $5.95
Montale, Eugenio, The Butterfly of
Dinard. Trans, by G. Singh. 186pp.
Lexington: University Press of Ken
tucky, 1971. $5.95
Proof: the Yearbook of American Bib
liographical and Textual Studies, Vol.
1, 1971. Ed. by Joseph Katz. Facs.
Illus. 435pp. Columbia: University of
South Carolina Press, 1971. $14.95
Ruskin, John. The Elements of Drawing
(1904, i.e. 1857). New Introd. by
Lawrence Campbell. 51 Illus 228pp.
N.Y.: Dover Publications, 1971. Paper,
$2.50
Tanselle, G. Thomas. Guide to the Study
of United States Imprints. 2 vols.
Cambridge: Harvard University Press,
1971.
Tate, Allen, ed. Six American, Poets,
From Emily Dickinson to the Present:
an Introduction. [Dickinson, Robinson,
Moore, Aikin, Cummings, Crane; first
published as University of Minnesota
Pamphlets on American Writers, sepa
rately, c. 1964-69.] 266pp. Minneapo
lis: University of Minnesota Press,
[1971]. $8.50
Toch, Ernst. Placed as a Link in This
Chain; a Medley of Observations [Es
says], Los Angeles: Friends of the
UCLA Library, University of Califor
nia, 1971. Illus., 27pp. $3 (payable
to the Regents of the University of
California), from the Gifts & Exchange
Section, UCLA Library, California
90024.
Veaner, Allen B. The Evaluation of
Micro-publications: a Handbook for
Librarians. (LTP Publication No. 17).
Illus. 59pp. Chicago: American Li
brary Association Library Tech
nology Program, 1971. Paper, $3.25
Walker, Louisa. Graded Lessons in Ma-
crame, Knotting, and Netting (former
title: Varied Occupations in String
Work, 1896). Illus. 254pp. N.Y.: Do
ver Publication, 1971. Paper, $2.
Wall, James M. Church and Cinema: a
Way of Viewing Film. Illus. 135pp.
Grand Rapids: W. B. Eerdmans, 1971.
$4,50
Webber, F. R. Church Symbolism: an
Explanation of the More Important
Symbols of the Old and New Testa
ment, the Primitive, the Mediaeval,
and the Modern Church. 2d edn, rev.
(1938). Numerous Illus. 413pp. De
troit: Gale Research Co., 1971. $16.50
Weeks, Kent M. Adam Clayton Powell
and the Supreme Court. 311pp. N.Y.:
Dunellen Co., 1971. $8.95
AMERICAN NOTES & QUERIES
Volume X Number 6
February 1972
NOTES
QUERIES & REPLIES
RECENT FOREIGNiJREFEjRJENCE B.OQKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
FREE! On application, one year s
subscription to AN&Q for individ
uals who Reply to previously
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before the conclusion of Volume X,
PUBLICATIONS RECEIVED
(American Slavery). Freimarck, Vincent;
& Rosenthal, Bernard, eds. Race and
the American Romantics. [Writings on
slavery by Poe, Whitman, etc., etc.].
( Sourcebooks in Negro History).
328pp. N.Y.: Schocken Books, 1971.
$12.50
Amis, Kingsley. Girl, 20 [a novel]. 253pp.
London: Jonathan Cape, 1971. $5.95?
Backus, Rev. Isaac; A Memoir of the
Life and Times of the: by Alvah Ho-
vey. (1858). 369pp. N.Y.: Da Capo
Press, 1972. $15.
Barber, Edwin Atlee. Tulip-Ware of the
Pennsylvania-German Potters . . . (2d
edn., 1926). New Introd. by Henry
J. Kauffman. Illus. 233pp. N.Y.: Do
ver Publications, 1970. Paper, $3.
Bell, Eric Temple. The Time Stream: a
Science-Fiction Novel by John Taine
[pseud.]. (1931-32). Illus. 186pp. N.Y.:
Dover Publications, 1971. Paper, $1.75
(Bestiary). Barber, Richard; & Riches,
Anne. A Dictionary of Fabulous Beasts.
lUus. by Rosalind Dease. 167pp. N.Y.:
Walker & Co., 1971. $6.95
(Bogan, Louise). Smith, William Jay.
A Woman s Words. A Lecture . . .
1970 [and a Checklist and Bibliog
raphy.]. 81pp. Washington: Library
of Congress [order from Supt. of Docs.,
USGPO], 1971. Paper, 45<; Stock No.
3016-0017.
Camehl, Ada Walker. The Blue-China
Book: Early American Scenes and
History Pictured in Pottery of the
Time. (1916). New Introd. & Check
list of British Blue-China Potters. 200
Illus. xliii, 327pp. N.Y.: Dover Pub
lications, 1971. Paper, $5.
Chigounis, Evans. Secret Lives (The
Wesleyan Poetry Program, Vol. 60).
80pp. Middletown: Wesleyan Univer
sity Press, 1972. $4.75; Paper, $2.45
Chinese Rhyme-Prose: Poems in the Fu
Form from the Han and Six Dynasties
Periods. Trans., with an Introd. by
Burton Watson. 128pp. N.Y.: Colum
bia University Press, 1971. Paper.
Price ?
Cooper, James Fenimore. The Spy: a
Tale of the Neutral Ground. Ed. by
James H. Pickering. (Masterworks of
Literature Series). 26, 29-432pp. New
Haven: College & University Press,
1971. $8.50; Paper, $3.95
Corvo, by Donald Weeks [a new biog
raphy of Frederick William Rolfe].
Illus. xxix, 450pp. London: Michael
Joseph, 1971. $12.50?
Drama: a Critical Collection, Ed. by
James K. Bowen & Richard van der
Beets. 761pp. N.Y.: Harper & Row,
1971. Paper, $7.
Eckholm, Gordon F.; & Bernal, Ignacio.
Archaeology of Northern Mesoameri-
ca. (Handbook of Middle American
Indians, Robert Wauchope, General
Editor, Vols. 10 & 11). Illus. 2 vols.
Austin: University of Texas Press,
[c!971]. Each vol., $15.
Franklin, John. Narrative of a Second
Expedition to the Shores of the Polar
Sea in the Years 1825, 1826, and
1827. (1828). Illus., inch fold, maps
in pocket, xl, 320, clvii pp. Rutland,
Vt: Charles E. Tuttle Co., 1971.
$23.10
Freeman, Mary E. Wilkins. Pembroke.
Ed. by Perry D. Westbrook. (Master-
works of Literature Series). Illus. 35,
37-254pp. New Haven: College &
University Press, 1971. $6.50; Paper,
$2.95
(Continued on p. 95)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
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AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSOCIATE EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
POSSIBLE SOURCE FOR
LYLTS EUBULUS
EAKLY IN LYLY S Euphues: The
Anatomy of Wit (1578), Eubulus,
an old man, gives valuable though
unheeded advice to Euphues, a
young wastrel. The counselor s
name, as many critics have pointed
out, is well chosen, for Eubulus,
euovAos in Greek, signifies a wise,
prudent adviser. Emphasizing com
pletely the allegorical importance
of the name, John Dover Wilson
claimed that Lyly borrowed this
character from Gnapheus, who him
self took the name from Aristotle s
Nicomachean Ethics where Eubu
lus was nothing more than a per
sonification of virtue. 1 Without
denying the importance of the
allegorical implications behind the
name, I should like to suggest an
actual historical source for Lyly s
fictional paragon.
Active in the politics of Hellenistic
Greece was an Athenian statesman
named Eubulus. 2 He was famous
for his productively conservative
economic policies, and as minister
of finance he saved Athens from
bankruptcy. A strong advocate of
nonaggression, Eubulus belonged
to the peace party that denounced
the military conquests of Philip of
Macedon. Later, however, Eubu
lus did unsuccessfully try to unite
the Greek states against him. He
was equally praised for the power
of his rhetoric. Plutarch, for exam
ple, notes that together with other
distinguished Athenians Eubulus
was one of the "common speakers
and preferrers of matters in coun-
sells and Senate". 3 It is not unlikely
that with his detailed knowledge
of the classical world Lyly was
aware of the historical Eubulus.
His own sage instructor seems to
resemble this Athenian politician
in a number of ways.
Although Lyly s old gentleman
is a citizen of Naples, it is inter
esting to note that his advice is
directed to a former resident of
Athens, the beautifully endowed
Euphues. Engaged in a battle of
wits over the relative merits of
Nature and Nurture, Eubulus tries
to educate Euphues about the ob
ligation of duty to the state and
the necessity of thrift. Eubulus
"knew that so rare a wit would in
time either breed an intolerable
trouble or an incomparable treas
ure to the common weal; at the
one he greatly pitied, at the other
he rejoiced" (Euphues, edited by
Croll and Clemons [1916], p. 13).
For, if Euphues acted like a dutiful
citizen, Eubulus realized that "it
had been hard to conjecture wheth
er [he] shouldest have been more
fortunate by riches or happy by
wisdom, whether more esteemed
in the common weal for wealth
to maintain war or for counsel to
conclude peace" (p. 25). Repeat
edly he cautions the young gallant
to spend his time and money wise
ly: "Ah Euphues, little dost thou
know that if thy wealth waste thy
wit will give but small warmth,
and if thy wit incline to wilfulness
84
AN&Q
that thy wealth will do thee no
great good" (p. 25). For proof
Eubulus cites many examples, clas
sical and contemporary, of how
the unwary youth must avoid evils
like lewd women who "with one
hand rob so many coffers and with
the other ... rip so many corses"
(p. 16). Not buying this "counsel
at the first hand good cheap",
Euphues is told that "thou shalt
buy repentance at the second hand
at such an unreasonable rate that
thou wilt curse thy hard penny
worth and ban thy hard heart"
(p. 25). Like the historical Eubu
lus, Lyly s schoolmaster stresses
the cost of immoderate conduct.
But he fails. In response to Eubu
lus "aged and overworn elo
quence", Euphues mockingly boasts
that "here I found you and here I
leave you, having neither bought
nor sold with you but changed
ware for ware. If you have taken
little pleasure in my reply, sure
I iam that by your counsel I have
reaped less profit" (p. 24).
Lyly may have modeled the
character of his prudent adviser
on the Greek statesman, but, of
course, we cannot be sure. Certain
ly the points of similarity between
the two figures allow for a plausi
ble comparison. And with a rec
ognition of the classical heritage
behind Eubulus Euphues and his
bravado seem only that much more
foolish to an informed reader.
Philip C. Kolin
Northwestern University
1. "Euphues and the Prodigal Son", The
Library, X, no. 40 (October 1909),
355. Another Eubulus who indeed is
only an abstraction of good counsel
appears in Sackville and Norton s
BACON S DE AUGMENTIS,
TRANSLATED AND
MISCATALOGUED
IN LIBRARIES
IN THE COURSE OF preparing a new
volume of Thomas Fuller s writ
ings, it was discovered that a trans
lation of a work which influenced
him greatly Bacon s De Digni-
tate et Augmentis Scientiarum
(1623) is not to be had in the
ordinary city or university library.
In those few libraries where* a
translation can be found, it seenls
always to be miscatalogued as the
Advancement of Learning (1605).
It would be invidious to cite li
braries since the error appears to
be general. It has been encoun
tered in three large public librar
ies, in a college library, and in a
library specializing in 17th-century
science and English literature.
One important study of Thomas
Fuller 1 has been vitiated by ref
erence to only the Advancement
of Learning (1605) when exan>-
ining Bacon s influence upon him;
whereas Fuller was much more
likely to have read the De Aug
mentis (since he was one of the
great Latinists of his period). That
Gorboduc, written some sixteen years
before Lyly s novel. Secretary to the
willful king, Eubulus offers wise ad
vice that is neglected for the pleasing
tales of flatterers, and, consequently,
England suffers from misgovernment
and dissension.
2. Consult H. B. CotteriU, Ancient
Greece (New York, 1913) and N. G. L.
Hammond, A History of Greece to
322 B.C. (Oxford, 1959).
3. "Life of Phocion" from Plutarch s
Lives translated by Sir Thomas North
(1579).
February 1972
85
it was this work that he did read
can in fact be shown by his writ
ings. 2 Here, then, is but one ex
ample of the type of error that has
resulted from miscataloguing Ba
con s book.
There have been two translations
of the De Augmentis, one by Wats 3
in 1640 and a version by Shaw 4
in 1733. A revision by Joseph De-
vey of Shaw s translation appeared
in 1858. 5 A third translation, by
"Eustace Gary", is mentioned by
Devey in his preface, but this
translation now appears to be a
"ghost book". 6 Devey implies that
it was published after Wats and
before Shaw. If it actually exists,
a perhaps better possibility is that
it was prepared by William Carey,
Professor of Oriental Languages at
the College of Fort William, Cal
cutta; a Eustace Carey (his son?)
wrote a memoir of this man in
1837. 7
Devey s revision of Shaw gives
us our best translation of the De
Augmentis and the only one that
is readily obtainable. Devey s work
was published first by Bohn, was
continued in the Bell series of
classics (1868 and later) and was
last reprinted in a "great books"
series published by P. F. Collier
& Son in 1902. 8 It is not, therefore,
a particularly scarce work. The
problem is that Devey issued it as
the Advancement of Learning. Li
brarians, unaware that a confusion
of titles exists, have naturally not
troubled to acquire Devey s *edi-
tion".
Another edition, "with an intro
duction by James Edward Creigh
ton", 9 also appears in a "great
books" series, but this is simply
Devey s edition stripped of all
prefatory material, including Fran
cis Bacon s, and of all footnotes.
The volume does, however, eon-
tain the Novum Organum (this is
also from Devey s edition of Shaw).
Library of Congress catalogue
cards for Creighton (c.1900) and
for Devey ( 1902 ) mention in small
type that the works are transla
tions of the De Augmentis rather
than editions of the Advancement
of Learning of 1605. However, it
is most unlikely that a person using
a catalogue which employs these
cards will actually read to the
bottom of the cards, where these
notes appear. A cross-reference
card, from De Augmentis Scien-
tiarum to the Devey and Creighton
cards, would appear to be neces
sary. Where typed cards are used,
they should of course be corrected
to include the Library of Congress
notes; and again, a cross-reference
card is recommended.
For acquisition purposes, "De
vey s edition" is probably the best
brief specification; but for all other
short references I would recom
mend, "the Advancement of Learn
ing [translated]", or simply, "the
De Augmentis, translated".
James D. Lucey
Glendale, California
Submitted, May 1965
1. Walter E. Houghton, Jr., The For
mation of Thomas Fuller s Holy and
Profane States , Cambridge, Mass.,
Harvard University Press, 1938, pp.
155-168, 172-173.
2. Compare the Fuller passages Hough-
ton cites as influenced by the Ad
vancement of Learning (1605) with
comparable passages in the De Aug
mentis. Fuller and Bacon parallels
can also be found in the De Aug
mentis only.
86
AN&Q
AMBIGUITIES OF TESS AS A
"PURE" WOMAN
W. EUGENE DAVIS provocative ar
ticle in the March 1968 issue of
NCF raises some interesting prob
lems relating to Hardy s claim that
Tess is indeed a "pure" woman af
ter twice yielding herself up to
Alec and her subsequent murder
of him. Davis is quite right in
pointing out that Hardy has so
managed the seduction scene and
the events immediately following
as to suggest that while Tess is per
haps an innocent victim of Alec s
advances, nevertheless there is per
haps a certain acquiescence on her
part. She is both innocent and
guilty. This is, I think, clearly to
Hardy s credit as a novelist; for he
succeeds in giving to the scene
and its consequences much greater
depth than if he had treated the
seduction merely as rape.
I think, however, that Davis has
overlooked one important point
which would have made his argu
ment that much stronger and one
which might suggest that Hardy
himself would have agreed with
Davis own conclusions regarding
Tess compliance in her own se
duction. I refer to the scene de
picting Tess visit to the peasant
dance the evening of the seduction,
an episode ignored by virtually all
the commentators on the novel. It
is here (I would suggest) that
Hardy has provided the reader
with a subtle hint as to why Tess
allows herself to succumb to Alec
a few hours later that same night.
The most noticeable thing about
the peasant dance that evening is
that it represents nothing less than
a sort of rural carnival of misrule
which becomes ultimately some
thing very much like a pagan mat
ing ritual, an English Bacchanalia
in which one s sexual inhibitions are
stripped away entirely. As such, it
contrasts sharply with the May Day
dance in the book s second chap
ter, a rite which had in pagan times
been closely associated with cele-
3. Lord Francis Bacon, Of the Advance
ment and Proficience of Learning
. , . writtin in Latin. Interpreted by
Gilbert Wats, Oxford, [for] R. Young
and E. Forrest, 1640.
4. Francis Bacon, [De Augmentis Sci-
entiarum in] The Philosophical Works
of Francis Bacon . . . Methodized,
and made English ... by Peter
Shaw, M.D. London, for J. J. & P.
Knapton [et al], 1733, vol. 1, pp.
(3) - 270.
5. , The Physical and Metaphysical
Works of Lord Bacon, including the
Advancement of Learning and Novum
Organum; edited by Joseph Devey,
London, Bohn, 1858.
6. I am greatly indebted to Mrs Eliza
beth S. Wrigley, Director, The Francis
Bacon Library, Claremont, California,
and to Hugh G. Dick, Chairman,
Department of English, University of
California, Los Angeles, for their very
extensive labors in attempting to iden
tify the Gary translation. Dr Dick
is preparing a bibliography of Bacon
from 1750 to the present. If any
reader identifies the Gary translation.,
would he please write to Dr Dick
of his discovery.
7. Letter from Hugh G. Dick, April
19, 1965.
8. Lord [Francis] Bacon, [De Augmen
tis, translated as] Advancement of
Learning, edited by Joseph Devey,
N. Y., Collier, 1902.
9. Francis Bacon, Advancement of
Learning and Novum Organum, with
an introduction by James Edward
Creighton, Rev. ed. [sic], N. Y,, Co
lonial Press, c.1899; reprinted c.1900.
February 1972
87
brations of fertility in both man
and nature, but had over the gen
erations been subdued and ritu
alized, the sexual passion, which
it had once celebrated being driven
underground and unacknowledged
in the present ceremonies.
The participants in the evening s
dance, in sharp contrast, make no
attempt to disguise its obvious
sexual nature. The frenzied danc
ing inside the barn is described by
Hardy in terms which clearly sug
gest sexual release, the expurgation
of sexual energy through the dance
forms themselves: "The movement
grew more passionate . . . the pant
ing shapes spun onwards. They did
not vary their partners if their
inclination were to stick to pre
vious ones. Changing partners sim
ply meant that a satisfactory choice
had not as yet been arrived at by
one or other of the pah-, and by
this time every couple had been
suitably matched. It was then that
the ecstasy and the dream began,
in which emotion was the matter
of the universe, and matter but an
adventitious intrusion likely to hin
der you from spinning where you
wanted to spin". (Ch. 10)
Furthermore, the cloud of dust
hanging over the dance floor blurs
the dancing couples, so that Hardy
can image them in terms of the
Ovidian stories of illicit love and
metamorphoses: "the indistinctness
shaping them to satyrs clasping
nymphs a multiplicity of Pans
whirling a multiplicity of Syrinxes;
Lotis attempting to elude Priapus,
and always failing". (Ch. 10)
Tess stands to one side. Signifi
cantly, she herself does not enter
into the dancing, so that her sexual
energies are not drained off, as are
those of the participants. Hardy
has throughout his narrative to this
point been hinting by means of
his imagery of a strong undercur
rent of sexuality in Tess, an under
current of which she herself is
probably quite unaware and un
prepared to counter when it does
surface. This is first suggested by
Hardy in the second chapter when
his heroine is introduced to the
reader during the May Day dance.
The participants, including Tess,
are all dressed in white, which in
retrospect suggests their innocence
and purity, and each carries in her
right hand "a peeled willow wand"
and in her left hand a bunch of
white flowers. The wand is clearly
a phallic symbol which generations
ago had some symbolic significance
when the May Dance was then a
viable ceremony. Significantly, Tess
alone of these women wears a red
ribbon in her hair, and this is
clearly symbolic of her latent sexu
ality. The innocence is suggested,
to be sure, but qualified by the
introduction of the symbolic red
ribbon, here a symbolic foreshad
owing of what will eventually be
her undoing.
And throughout the first part of
the book Hardy continues to re
mind the reader of this side of
Tess character. For instance, in
the scene in which she rides home
from her first visit to the Slopes
her lap heaped full of strawberries
and roses, she pricks her chin on
the thorn of the rose and thinks
this an "ill omen". Certainly it is;
not only does it recall the stabbing
of the horse, but it foreshadows
the pain that her involvement with
Alec will bring to her. But more
than this, she has allowed Alec to
force his will upon her; her pas
sivity is stressed, especially in the
88
AN&Q
scene in which he feeds her a
strawberry against her will. But
the red strawberries and the red
roses keep before the reader her
latent sexuality and suggest that
this, as much as Alec s duplicity,
will bring her pain in the coming
months. Significantly, all these sym
bolic images of redness are as
sociated with Tess only in the one
hundred pages or so before her
seduction; there are no appear
ances afterwards, for Hardy has
already made his point. Later in
the great middle section set at the
Talbothays Tess sexuality will
fructify in a natural confirmation
with the seasons and the nature
about her. But there it will be as
sociated with love, not lust. The
dairy people at the farm will not
be likened at any point to satyrs,
Sileni, and nymphs. And, for
Hardy, Tess will become once
again his "pure" woman.
James C. Simmons
Boston University
Boston, Mass.
QUERIES
Chateaubriand quote from where?
I am working on Chateaubri
and s works, published in the *Bib-
liotheque de la Pleiade* collection,
and the next volume will contain
the Essai historique sur les Revo
lutions. At the beginning of Chap
ter XIII of the Second Part of the
Essai, Chateaubriand quotes these
two lines: "Thrice happy you, who
look as from the shore/ And have
no venture in the wreck you see".
In the EssaL these two lines are
supposed to refer to Richard II in
his prison, elsewhere Chateaubri
and says, to Edward II. I have
found them neither in Shakespeare
nor in Marlowe, and my English
and Canadian friends have been
unable to locate them. Maurice
Regard, Toronto, Canada
Declaration of Independence
If as is traditionally thought, the
Declaration was sent to George III
of England, how does it come to
be in the possession of the United
States of America? A student
brought this question after asking
it at several libraries in the Cleve
land area, each time receiving no
information. Was the Declaration
of Independence sent to England?
Was more than one copy made
and signed? (Ms) Paige Gibbs,
Whitewater, Wise.
William Dean Howells I would
appreciate information on the
whereabouts of manuscripts and
letters containing poetry written
by William Dean Howells, as well
as the names of anthologies and
gift books which contain poems by
him but which are not recorded in
the standard bibliographies. An
edition of the complete poetry will
become one of the forty volumes
of A Selected Edition of W. D.
Howells now in progress. Da
vid J. Nordloh, Department of Eng
lish, Indiana University, Blooming-
ton, Indiana 47401
Readers comments on the de
sirability of a 10-year Cumula
tive Index to AJV&Q would be
welcomed.
February 1972
A collection of Junius gone?
One of the great collections of edi
tions of the Letters of Junius and
of books and other materials on
the authorship of the Letters was
assembled by the bibliographer,
John Edmands at the Mercantile
Library of Philadelphia in the late
19th century. Much of what Ed
mands collected was described in
his "Junius Bibliography", Bulletin
of the Mercantile Library of Phila
delphia ( 1 July 1890 - 1 January
1892); and the collection was, in
my judgment, the largest ever as
sembled and provided me with
much material for A Junius Bibli
ography (1949).
The Mercantile Library became
part of the Free Library of Phila
delphia in 1945, and until 1952
the Mercantile holdings were man
aged and maintained by the Free
Library. However, in 1952 the
Mercantile collection was dispersed
into various units of the Free Li
brary system. The Edmands col
lection of Juniana was stored and
eventually deposited in the Rare
Book Department of the Free Li
brary (Logan Square), according
to Howell J. Heaney, Hare Book
Librarian. What remains of the
Edmands material at the Free Li
brary are some 170 volumes of
Juniana; over 20% of the collection
seems to have been dispersed or
lost. Unfortunately, I have been
unable to locate an invaluable col
lection of articles and clippings (3
vols.) about Junius which, in the
Mercantile Library, was in The
Locked Case Collection [EC 4554]
and assembled in three slip-cases.
Must it be presumed lost? Fran
cesco Cordasco, Upper Montclair,
N. J.
39
REPLIES
"Love" in tennis (1:136) The
term is an Anglicized form of the
French I oeuf meaning "egg". We
convey the same association when
we refer to a zero as a goose-egg.
There is also the commonplace
identification of "love" with "noth
ing" from early Renaissance times
to the present, e.g., the Italian
dolce far niente, Shakespeare s
Much Ado about Nothing, and
even "sweet nothings/ It may well
be of more than incidental interest
that when King Lear asks his
daughters what they each can say
to express their love for him, Cor
delia twice replies: "Nothing". It
is probable that this use of "noth
ing", however, relates more to the
morality play tradition, especially
the most popular play of the 15th
century, Mankind, with its puns
on nothingness as idleness and
vanity by way of the character
Nought. The idea that the love-
nothing relationship derives from
a vaginal image is too far-fetched
for me and would have no bearing
on a tennis match anyway. Perhaps
it is best to account for the ex
pression "love" in tennis as simply
a convenient and very pleasant
way of making up and not throw
ing the racquet. Robert F.
Fleissner, Wilberforce, Ohio
Dante quotation (11:137) If
the words emporter la depouille
des lions, "take away the lions*
skin", had been set off by quota
tion marks, identification of Miche-
let s reference to Dante would
have been facilitated. Line 108 of
Canto VI of the Paradiso is the
source. It reads as follows: Ch* a
piu alto Won trasser lo vello. (C. H.
90
AN&Q
Grandgent, ed., Dante s Divim
Commedia, Boston: D. C. Heath,
rev. ed, 1933, page 708). The
reference is to the artigli, "claws,
talons", of the Roman eagle, which
"took away the skin of a loftier
lion" than Charles II of Apulia.
E. H. Plumptre comments in a
note on page 49 of his translation
of the Paradise that the words may
refer to any such king, and gives
as possible examples Pyrrhus, Ju-
gurtha, and Ptolemy. Presumably
the first part of the quotation from
Michelet is not based on Dante;
it is the expression emporter la
depouille des lions that echoes a
piu alto lean trasser lo vello, with
slight modifications. Edgar C.
Knowlton, jr, University of Hawaii
"Shift-marriage" (111:40) B. A.
Botkin in his A Treasury of New
England Folklore (p. 727-9) and
volume one of the Frank C, Brown
Collection of North Carolina Folk
lore (p. 237-8) discuss this custom
and connect it with English "debt-
evading" marriages. It was appar
ently fairly common in New Eng
land but less so in the South. Ac
cording to one of the documents
quoted in Botkin there was a legal
basis for this. As he says, "It is
plainly stated in many of these
Narragansett certificates that it
was according to the law in such
cases . The marriages were cer
tainly degrading in character, and
were gone through with only for
the express purpose of debt eva
sion, and they must have been
successful" (p. 729). Presumably
the idea behind the ceremony was
that by not taking anything from
her former marriage with her and
by being wed in public, the woman
was indicating clearly that she was
renouncing everything connected
with her former husband. Why
she had to cross the highway four
times is not accounted for in any
of the stories about this which I
have seen. Norman D. Stevens,
Starrs, Ct
MORE REPLIES, p. 94
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
Valerie Himmler and Klaus Thiel-
mann, Worterbuch der Biochemie,
Russisch-Deutsch (Leipzig: VEB
Verlag Enzyklopadie, 1970; 391
pp.; DM28.), is a practical glos
sary which is also useful for bio
chemists in English-speaking coun
tries. Biologists and medical peo
ple who argue that there is no sig
nificant literature in their field
not in English might yet find a
use for this book.
Theun de Vries, Baruch de Spinoza
in Selbstzeugnissen und Bilddoku-
menten (Reinbek bei Hamburg,
Rowohlt Taschenbuch Verlag,
1970; 190 pp.; "Rowohlts Mono-
graphien", 71), is a useful, prac
tical, and eminently readable study
of a thinker who conceived an "in
tellectual love of God" that has
pervaded the thought of the fol
lowing three centuries. Illustrated
with judiciously selected photo
graphs of places and people, paint
ings, and facsimiles, this relatively
February 1972
slight work is a point of departure
for Spinoza studies. The selective
bibliography covers all basic ma
terial, but Adolph S. Oko s Spinoza
Bibliography (1964) must always
be waded through.
Bilingual dictionaries of English
and Scandinavian languages have
many deficiencies, perhaps due
mainly to the fact that Scandinavi
an languages are not (and should
not be) accepted as languages for
undergraduate foreign language re
quirements. Bokforlaget Prisma AB
(P.O.B. 49 041, S-100 28 Stock
holm) has filled the gap to some
extent. The fourth edition of Bror
Danielsson, Modern engeUk-svensk
ordbok (1969; 296 pp.; Sw. kr.
17.70) contains some 30,000 en
tries with emphasis on British and
American linguistic traditions in
equal proportion. The Modern
svensk-engelsk ordbok (1970; 566
pp.; Sw. kr. 24. ) has more than
50,000 entries, substantially more
than any other Swedish-English
dictionary in print, and vastly more
up to date.
The rich production of Reclams
Universalbibliothek continues
steadily. The Greek satyr plays,
of which Euripides Cyclops is the
only surviving complete example,
are pulled together in German
translation and commentary by
Oskar Werner in Griechische
Satyrspiele von Euripides, Sopho-
kles und Aischylos (1970; 72pp.;
no. 8387). In German literature
there are Martin Opitz, Buch von
der deutschen Poeterey (1970;
112pp.; nos. 8397/98); G. W. F.
Hegel, Grundlinien der Philoso
phic des Rechts (1970; 504pp.;
nos. 8738/93); Friedrich Leopold
91
Graf zu Stolberg, Uber die Fulle
des Herzens (1970; 62pp. ; no.
7901); E. T. A. Hoffmann, Meister
Floh (1970; 239pp.; nos. 365/367);
and Heinrich Lautensack, Die
Pfarrhauskomodie ( 1970; 67pp.;
no. 7905).
In parallel English and German
texts, distinctively indicated by
orange covers, there are Gisbert
Kranz, ed. and transl., Englische
Sonette (1970; 224pp.; nos. 8372/
74); Emily Dickinson, Gedichte
(1970; 222pp.; nos. 7908/10), se
lected and translated by Gertrud
Liepe, with a commentary by
Klaus Liebers; and Samuel Beck
ett, Embers (1970; 53pp.; no.
7904). Reclam s series ofJ Erlau-
terungen und Dokumente" is an
important innovation of the firm s
current policy. Josef Schmidt,
Goethes Hermann und Dorothea
(1970; 125pp.; nos. 8107/07a) is
the most recent number.
BOOK REVIEWS
ROWLAND, Beryl. Blind Beasts: Chau
cer s Animal World. lUus. 198pp. Kent,
Ohio: The Kent State University Press,
1971. $10.
During the past decade Beryl Row
land s widely ranging articles about
Chaucer and animals have appeared in
a number of journals on both sides of
the Atlantic; and the present volume
would be useful enough if it simply
brought together these scattered articles.
But it does more: Professor Rowland
has restructured those studies and pre
fixed them with a compact discussion
of the traditions . The result is a read
able, indeed at many points, a fascinat
ing book.
The author begins by discussing tra
ditions of writing about animals from
Pliny and Isidore down to the 14th cen-
92
AN&Q
tiny, and the sense of 14th-century at
titudes and conventions is firm and con
fident. She then discusses Chaucer s uses
of animals, from tradition and from na
ture, with special emphasis on those
animals rich in traditional significance;
the boar, hare, wolf, horse, sheep, and
dog. One must agree with the conclu
sion that Chaucer characteristically ex
ploits associational values as a part of
his techniques of oral delivery and com
plex characterization. Thus, Chaucer
"shares the double vision of the Gothic
world, and from it arise some of the
complexities of his most successful ani
mal figures": the Wife of Bath as the
promiscuous lioness, or Alison as the
untamed weasel (traditionally a crea
ture of ill-luck but also the fierce little
animal of the hearth). We rise then
towards a sense of Chaucer s vision as
one, which for all his delight, soberly
recognizes man as "but a poor, bare,
forked animal, only rising above the
brute when the soul is in control of the
body". The animal, Professor Rowland
concludes, is in fact a kind of Yahoo,
a creature of which it may be said
Lo, heere hath lust his dominacioun,
And appetit fleemeth discrecioun,
and which may be apostrophized as *Ye
blinde bestes, ful of lewednessel *
There are a few flaws, but they are,
it seems to this reviewer, only minor
ones. Thus in the first chapter, which
is an adequate outline of the inherited
tradition, there are several points at
which one would wish for fuller dis
cussion or documentation e.g. (p.3),
the statement that "the Physiokgus
seems to have been banned as heretical
in 469 A.D." is both too cryptic and
too sweeping: banned how and by what
authority? There is both overlap and
fragmentation at different parts of the
book, the result doubtless of the re
casting of separate studies e.g., the
* It is interesting to consider the ana
logues to *blind as a beast in B. J.
Whiting s Proverbs, Sentences, and
Proverbial Phrases (Harvard, 1968),
which run from 1426 to 1509, and to
observe that the tradition moralizes
and intensifies.
lion is sketched on p. 21, but without
mentioning the Wife of Bath, who is dis
cussed in terms of lion imagery only
on p. 48, At several points in the bib
liography Chaucer Criticism, vol. I by
Schoeck and Taylor is cited as Chau
cerian Criticism. But these, again, are
minor flaws.
Begun as a dissertation and enriched
by years of research in the British Mu
seum, the Warburg, the Bodleian, and
other libraries, and tested and refined
in years of teaching in Canada at York
University, the book is a model of a
right kind of growth. It is mature schol
arship, and a welcome addition to Chau
cerian studies and a most valuable ad
dition to reference materials on animals
in literature. The Kent State University
Press is to be commended on a well-
designed and pleasing book R. /.
Schoeck, Folger Shakespeare Library,
Washington, D. C.
SOMETHING ABOUT THE AUTHOR,
Ed. by Anne Commire. Facts and Pic
tures About Contemporary Authors and
Illustrators of Books for Young People.
Vol. I. Numerous Illus. 233 pp. Detroit:
Gale Research Co., 1971. $15.
America has spawned a generation of
literate children to whom libraries, in
the school and in the public square,
are easily accessible. Meantime book
titles have proliferated to the point of
overabundance. The problem now con
fronting librarians, parents, and teachers,
and more particularly the literate child
himself, is one of selection. And this
process of selection is likely to be more
effective when it is accompanied by an
understanding of the authors.
Gale s ktest venture in the field of
reference Something About the Author
is aimed at achieving this kind of
understanding. It may be best described
as a junior version of the extensive and
much-used Contemporary Authors. It
is the first volume of a proposed series
intended, says the Introduction, to "pro
vide the information you need when your
teacher tells you to do a library project
or a book report, and find something
about the author ".
February 1972
93
Doubtful of his own judgment, this
reviewer submitted the volume to a
panel of his own grandchildren. The
stated purpose aroused little enthusiasm.
There seemed to be a lingering hope
that no such assignment would be called
for. But as they began to find their own
favorite authors, and to recognize fa
miliar illustrations, their interest grew.
It became fun rather than a project, and
in due course Something About the
Author was voted not only "neat" but
"groovy".
This first volume contains over two
hundred authors, and "hundreds of other
equally important and interesting au
thors will be listed in additional volumes
being planned". The general format of
Contemporary Authors is followed. The
personal and career statistics of each
author are given in considerable detail,
the writings are listed, and the work in
progress, if any, described. "Sidelights*
provide more intimate details of the
author s life and work, often supple
mented by autobiographical quotes. Bio
graphical/Critical sources are also given,
a particularly helpful feature for those
who require more complete information
than any general compilation could be
expected to supply.
The photographs of the authors de
serve special commendation. An obvious
effort has been made to show them,
whenever possible, in familiar surround
ings; Edward Ardizzone at his drawing
board, Isaac Asimov in his laboratory,
Vivian Gurney Breckenfield in her gar
den, Sterling North gingerly fondling
the original "Rascal", Patricia Lauber
with her favorite horse, Jane Andrews
Hyndman (Lee Wyndham) at her busy
desk backed by a display of her nu
merous writings, and Russell Hoban
perched on a roof-top flanked by an
amusing weathercock, presumably of
his own making.
The size of the book - 8" X 11"
provides ample space for illustration
from the books, and these appear on
almost every page. An Index of Illus
trators directs the youthful reader to
the work of more than a hundred artists.
Kate Seredy s prancing horse from The
Good Master fills a page, and Ralph
Moody s Little Britches fills another. The
fantastic fishes of McEUigot s Pool by
Dr. Seuss (appropriately cross-referred
to Geisel, Theodore Seuss) dance across
a double-page spread. It surprised the
children to find how often the names
attached to their favorite books are not
the authors* real names, and they were
not easily convinced that the reasons
for these pseudonyms were either neces
sary or desirable. Harriet Stratemeyer
Adams conceals her identity under no
less than five aliases. "Why?" say four
sets of wondering eyes, and echo an
swers "Why?"
Almost anyone conversant with the
children s book field will be likely to
note some startling omissions, but the
editor, Anne Commire, who has cut
her eye-teeth as one of the editors of
Contemporary Authors has wisely fore
stalled criticism by asking for suggestions
for inclusion in later volumes of the
series. Notable among the absentees are
Lloyd Alexander, William Cole, David
McCord, Phyllis McGinley, Ogden Nash,
Elizabeth Coatsworth, Ivy Eastwick,
C. S. Lewis, Eve Merriam, William Jay.
Smith, J. R. R. Tolkien, and Jack Pre-
lutsky. One member of the review panel
respectfully suggests that EsteUe Barnes,
Clapp, Joseph Wharton Lippincott, Jim
Kjelgaard, Margaret Henry, and Clyde
Robert Bulla be considered for Volume
Two, and when challenged, produced
her own copies of books by these authors.
Most of the authors included are livr-
ing and writing today. But there are
enough exceptions to raise an interest
ing speculation as to the ultimate scope
of the work. If the editors are to devote
three pages to such a conglomerate
among writers as Edward L. Strate
meyer, who gave us "The Bobbsey
Twins", "The Hardy Boys" and a dozen
like series and who died in 1932, it
must give them some qualms to omit
A. A. Milne who was twenty years
younger than Stratemeyer and who out
lived him by twenty-four years. And a
good case could be made for Edward
Lear and Lewis Carroll whose books
are constantly re-issued, embellished by
the best-known present-day illustrators,
and whose names are better known to the
modern child than most living writers:
It will be a matter of interesting spec
ulation for the antiquarian, though cold
comfort for the publisher, to contem
plate the uses that may be made of
this compilation in some distant decade.
Did we now have such a record of the
children s literature of 1821 or 1871,
94
AN&Q
what light would be thrown into the
dark corners of oblivion to reveal lost
data concerning the works of the Taylors
of Ongar, or William Roscoe, as well as
hundreds of authors and illustrators
whose names or pseudonyms were well-
known to our grandfathers through the
pages of Chatterbox and St. Nicholas,
and whose books littered the floors of
19th-century nurseries! Gale, always the
innovator, has made a bold beginning.
John M. Shaw, Florida State Uni
versity Library, Tallahassee, Florida
REPLIES
(Continued from p. 90)
"To ride a hobby . . ." (IX:87)
This phrase harks back to the
derivation of hobby from hobby
horse. Hobby-horses originally
were actual animals; by Eliza
bethan times, the term described
toy or stage horses. In the 18th
century, a pastime engaged in
merely for amusement came to be
compared to riding a toy horse;
eventually, hobby-horse came to
signify these amusing pursuits.
Laurence Sterne uses the term in
this sense throughout Tristram
Shandy, as for example in I, vii
(1759): "Have not the wisest of
men in all ages . . . had their
HOBBY-HORSES; - their running
horses, their coins and their
cockle-shells, their drums and their
trumpets, their fiddles, their pal
lets their maggots and their but
terflies? and so long as a man
rides his HOBBY-HORSE peace
ably and quietly along the King s
highway ... pray, Sir, what have
either you or I to do with it?"
The phrase became a dead meta
phor in the 19th century. Sir
Walter Scott was the first author I
know of who used the shortened
form of the phrase, in chapter 10
of Peveril of the Peak, 1823: ". . . it
is surprising how much real power
will be cheerfully resigned to the
fair sex, for the pleasure of being
allowed to ride one s hobby in
peace and quiet".
Finally, Darwin himself used
the old term in 1867, as recorded
in Life and Letters, III, 134: "I
shall not make so much of my
hobby-horse as I thought I could".
Bradley Strickland, University
of Georgia
"To ride a hobby.. ." (IX:87)
OED suggests the origin of hobby
and hobby-horse. The meaning of
the term in a sense of belonging
and devoted to a hobby or (riding
a) hobby-horse dates from the
14th century. Hobby is referred to
an Irish breed. Some use of the
term is as follows: 1375 Barbour
Bruce xiv. 68 Hobynis, that war
stekit thar, Rerit and flang . . . And
Kest thame that apon thame raid;
c!400 Eel Ant. II 23 An lyrysch
man, Uppone his hoby. . . . 1676
Hale Contempl i. 201 Almost every
person hath some hobby horse or
other wherein he prides himself;
1768 Mad. D Arblay Early Diary
17 July, I never pretend to be ...
above having and indulgine a
Hobby Horse; a!791 Wesley Serm.
Ixxxiii. II. 2 Wks. 1811 IX. 434
Every one has (to use the cant
term of the day...) his hobby
horsel Something that pleases the
great boy for a few hours; 1817
Coleridge Biog. Lit. 43 Meta
physics and psychology have long
been my hobby-horse; 1867 Darwin
in Life & Lett. (1887) III. 134, I
February 1972
95
shall not make so much of my
hobby-horse as I thought I could.
Jerome Drost, Buffalo, N.Y.
"Jim Work" and "Gin Work"
(IX:120f.) Mr Gaskins seems
to have gone far toward answering
his own question. For the balance
of the answer I suggest that the
explanation be sought not in
recorded occurrences but in the
universals of sound behavior. That
"Jim Work" should in one dialect
have become "Gin Work", and not
the other way round, as (for his
torical reasons) he convincingly
argues, would seem to reflect the
simultaneous and associated opera
tion of a phonetic dissimilation
and a folk etymology: under the
influence of following w-, -m (like
wise labial) became the alveolar
nasal -n a common fluctuation
(cf. the coexistence of pronuncia
tions of sandwich with -n[d]w-
and -m[b]w-) 9 all the more possi
ble, after Abolition, because of the
lapse of the term f< ]im in the sense
of "old or disabled slave given
light duties". As in the case of all
folk etymologies, whether due to
the fading of a once meaningful
form (as here) or to the re-analysis
of unknown constituents into
phonetically-similar known ones
( asparagus > sparrow-grass 7 ,
dent de lion [Mod. Fr. pisse-en-
litl] > dandelion , etc.), the result
may or may not make sense as a
phrase, but its components must
make sense taken singly. Gin
(more likely as in cotton gin
not the liquid) was a word known
to all and, however nonsensical,
fitted these other requirements
admirably. To the linguist it is also
of interest, to be sure, that the
development of the verbal idiom
("to go jimming) [or ginning)
around town") is in its meaning
identical in the two subdialects,
notwithstanding the phonological
divergence on the signifier level.
B. Hunter Smeaton, The Uni
versity of Calgary, Canada
PUBLICATIONS RECEIVED
(Continued from p. 82)
Guns and Hunting Supplies . . . [Cata
logue of the] John P. Lovell Arms
Co., 1890 [Boston]. (1890). (Ameri
can Historical Catalog Collection Se
ries). Profusely Illus. Princeton, N.J.:
The Pyne Press, 1971. Paper, $4.
Harris, Charles B. Contemporary Ameri
can Novelists of the Absurd. 159pp.
New Haven: College & University
Press, 1971. $6; Paper, $2.95
Hart, Harold H. The Complete Immor-
talia [an anthology of the bawdy:
riddles, limericks, folk rhymes, ribald
songs, verse, parodies, etc.]. Illus,
475pp, N.Y.: Hart Publishing Co.,
1971. $12.50
Hearne, Samuel. A Journey from Prince
of Wales Fort in Hudson s Bay to the
Northern Ocean . . . 1769-1772.
(1795). Illus., incl. fold, maps & plates.
Rutland, Vt.: Charles E. Turtle Co.,
1971. $19.25
Hind, Henry Youle. Narrative of the
Canadian Red River Exploring Expe
dition of 1857, and of the Assiniboine
and Saskatchewan Exploring Expedi
tion of 1858. (1860). Illus., incl. fold,
maps. 2 vols. in 1. Rutland, Vt:
Charles E. Turtle Co., 1971. $23.10
(Huxley). Birnbaum, Milton. Aldous
Huxley s Quest for Values. 230pp.
Knoxville: University of Tennessee
Press, 1971. $6.95
James, M. R. Ghost Stories of an An
tiquary (1904). lUus. 153pp. N.Y.:
Dover Publications, 1971. Paper, $1.75
Kelly, Dave. Instructions for Viewing a
Solar Eclipse. (The Wesleyan Poetry
Program, Vol. 61). 72pp. Middletown:
Wesleyan University Press, 1972.
$4.75; Paper, $2.45
96
AN&Q
PUBLICATIONS RECEIVED
MacDermot, Violet. The Cult of the
Seer in the Ancient Middle East: a
Contribution to Current Research on
Hallucinations Drawn from Coptic and
Other Texts. 829pp. Berkeley: Uni
versity of California Press, 1971. $24.
Mackenzie, Alexander. Voyages from
Montreal . . . Through the Continent
or North America . , . 1789 and 1793
. . . (1801). Port. & fold. maps, cxxxii,
414pp. Rutland, Vt: Charles E. Tutde
Co., 1971. $19.25
Marsh, Reginald. Anatomy for Artists.
(1945). Hundreds of Illus. 209pp.
N.Y.: Dover Publications, 1970. Paper,
$3.50
(Milton). Fletcher, Angus. The Tran
scendental Masque: an Essay on Mil
ton s "Comus". [Incl. A Note on
Blake s Illustrations]. Illus., incl. color
plates. 261pp. Ithaca: Cornell Uni
versity Press, 1971. $10.
Mooney, Michael Macdonald. The Hin-
denburg. Illus. 278pp. N.Y,: Dodd,
Mead & Co., 1972. $8.95
Odahi, Charles Matson. The Catilinarian
Conspiracy, Illus. 143pp. New Haven:
College & University Press, 1971. $6;
Paper, $2.95
Onions, Oliver, The Collected Ghost
Stories of. (1935). 689pp. N.Y.: Do
ver Publications, 1971. Paper, $4.
Ottemillers Index to Plays in Collections
. , . 1900-mid-1970. 5th Edition, Rev.
& EnL, by John M. Connor & Billie
M. Connor. 452pp. Metuchen, N.J.:
Scarecrow Press, 1971. $11.
(Perse, Saint-John). Emmanuel, Pierre.
Saint-John Perse: Praise and Excel
lence . . . With a Bibliography. 82pp.
Washington: Library of Congress [or
der from Supt of Docs., USGPO],
1971. Paper, 45tf; Stock No. 3000-0053
Polisensky, J. V. The Thirty Years War.
Trans, from the Czech by Robert
Evans. Maps. 305pp. Berkeley: Uni
versity of California Press, 1971. $10,
(Pound, Ezra). Brooke-Rose, Christine.
A ZBC of Ezra Pound. 297pp. Berke
ley: University of California Press,
1971. $7.95
(Pound, Ezra). Kenner, Hugh. The
Pound Era, Illus. 606pp. Berkeley:
University of California Press, 1971.
$14.95
Rees, Robert A.; & Harbert, Earl N., eds.
Fifteen American Authors Before 1900:
Bibliographic Essays on Research and
Criticism. 442pp. Madison: University
of Wisconsin Press, 1971. $12.50
Schmeckebier, L. F. Catalogue and In
dex of the Publications of the Hayden,
King, Powell, and Wheeler Surveys.
(1904; U.S. Geol. Survey Bull. 222).
208pp. N.Y.: Da Capo Press, 1971.
$12.50
Strachan, Michael; & Penrose, Boies, eds.
The East India Company Journals of
Captain William Keeling and Master
Thomas Bonner, 1615-1617. (Publica
tion of the James Ford Bell Library,
University of Minnesota; Ltd to 1000
copies). Incl. fold, map in pocket.
237pp. Minneapolis: University of
Minnesota Press, 1971. $10,75
Till Eulenspiegel, A Pleasant Vintage of:
. . . 95 of His Tales. Trans, from the
Edition of 1515, with Introd. and
Critical Appendix by Paul Oppen-
heimer. Illus. xxv, 293pp. Middle-
town: Wesleyan University Press,
1972. $12.50
Tobias, Phillip V. The Brain in Hominid
Evolution. (The James Arthur Lec
ture at the American Museum of Nat
ural History, 30 April 1969, revised).
Illus. 170pp. N.Y.: Columbia Univer
sity Press, 1971. $10.
Twain, Mark: the Critical Heritage. Ed.
by Frederick Anderson, with the as
sistance of Kenneth M. Sanderson.
(The Critical Heritage Series). 347pp.
N.Y.: Barnes & Noble, 1971. $14.50
Viator: Medieval and Renaissance Stud
ies. Vol. I (1970). Published under
the auspices of the Center for Medi
eval and Renaissance Studies, UCLA.
[19 specialist papers]. Illus. 344pp.
Berkeley: University of California
Press, 1970 [sic; published Jan. 1972].
$12.50
Woodcock, George. Into Tibet: the
Early British Explorers. (Great Trav
ellers Series). Illus., incl. maps. 277pp.
N.Y.: Barnes & Noble, 1971. $8.
Writer s Market 72. Ed. by Lynne El-
linwood & Jo Anne Moser. 797pp.
Cincinnati: Writer s Digest, 1971.
$8.95
AMERICAN NOTES & QUERIES
Volume X Number 7 March 1972
NOTES
QUERIES & REPLIES
EDITORS NOTES AND READINGS
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEWS
PUBLICATIONS RECEIVED
PUBLICATIONS RECEIVED
American Indian Periodicals in the
Princeton University Library. A Pre
liminary List by Alfred L. Bush and
Robert L. Fraser. 78pp. Princeton: The
University Library, 1970. Price ?
The British Look at America During the
Age of Samuel Johnson: an Exhibition,
With an Address by Herman W.
Liebert. Illus. 55pp. (One of only 250
copies for sale.) Providence, R.I.: As
sociates of the John Carter Brown Li
brary, 1971. Paper, $10.
British Museum publications: William
Fagg, The Tribal Image: Wooden Fig
ure Sculpture of the World; Fagg &
John Picton, The Potter s Art in Africa;
Shelagh Weir, Palestinian Embroi
dery: a Village Arab Craft; Weir,
Spinning and Weaving in Palestine.
All Illus. London: British Museum
[N.Y.: Columbia University Press],
1970. Paper, each $1.50
Carroll, Lewis. "The Rectory Umbrella ,
and "Mischmasch". (1932). Illus.
193pp. N.Y.: Dover Publications, 1971.
Paper, $2.50
Confucius. Confucian Analects, The
Great Learning, and the Doctrine of
the Mean. Trans., with Critical and
Exegetical Notes, Prolegomena, Co
pious Indexes, and Dictionary of All
Characters, by James Legge. (1893).
Facs. Illus. 503pp. N.Y.: Dover Pub
lications, 1971. Paper, $4.
Harris, Charles B. Contemporary Ameri
can Novelists of the Absurd. 159pp.
New Haven: College & University
Press, 1971. $6; Paper, $2.95
Leland, Charles Godfrey. Gypsy Sorcery
and Fortune-Telling. Illustrated by
Numerous Incantations, Specimens of
Medical Magic, Anecdotes, and Tales.
(1891. Edition of only 150 copies).
Illus. 271pp. N.Y.: Dover Publications,
1971. $3.
MacDermot, Violet. The Cult of the
Seer in the Ancient Middle East: a
Contribution to Current Research on
Hallucinations Drawn from Coptic and
Other Texts. 829pp. Berkeley: Uni
versity of California Press, 1971. $24.
Mencius. Works, Trans., with Critical
and Exegetical Notes, Prolegomena,
and Copious Indexes, by James Legge.
(1895). Facs. Illus. 587pp. N.Y.:
Dover Publications, 1970. Paper, $4.50
Rees, Robert A.; & Harbert, Earl N.,
eds. Fifteen American Authors Before
1900: Bibliographic Essays on Re
search and Criticism. 442pp. Madison:
University of Wisconsin Press, 1971.
$12.50
Silberer, Herbert. Hidden Symbolism of
Alchemy and the Occult Arts (for
merly titled: Problems of Mysticism
and Its Symbolism. 1917). Illus. 451pp.
N.Y.: Dover Publications, 1971. Pa
per, $3.
Viator: Medieval and Renaissance Stud
ies. Vol. I (1970). Published under
the auspices of the Center for Medi
eval and Renaissance Studies, UCLA.
[19 specialist papers]. Illus. 344pp.
Berkeley: University of California
Press, 1970. [sic; published Jan. 1972].
$12.50
Whitman, Walt: the Critical Heritage,
ed. by Milton Hindus. (The Critical
Heritage Series). 292pp. N.Y.: Barnes
& Noble, 1971. $12.75
Wickham, Glynne. Early English Stages,
1300 to 1660. Vol. II: 1576 to 1660,
Part II. Illus. 266pp. N.Y.: Columbia
University Press, 1972. $15.
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
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a year; $12.00 for two years. Single copies and back issues 75# each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
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Abstracted in Abstracts of English Studies, and Abstracts of Folklore
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of English Language and Literature, MHRA. Appropriate items included
in the Annual MLA International Bibliography; Victorian Studies "Vic
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSOCIATE EDITOR
Louis A. Rachoto
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
IS TOUCHSTONE MARSTON?
As You Like It (Act III. See. iii.
The Forest: Enter Touchstone and
Audrey; Jaques behind.)
Touchstone: Come apace, good Au
drey: I will fetch up your goats, Audrey.
ABO* how, Audrey? am I the man yet?
doth my simple feature content you?
Audrey: Your features! Lord warrant
us! What features?
Touchstone: I am here with thee and
thy goats, as the most capricious poet,
honest Ovid, was among the Goths.
Jaques (Aside): O knowledge iU-rn-
habited, worse than Jove in a thatched
house!
Touchstone: When a man s verses
cannot be understood, nor a man s good
wit seconded with the forward child
understanding, it strikes a man more
dead than a great reckoning in a little
room. Truly, I would the gods had made
thee poetical.
Although a good deal of com
mentary has arisen on the phrase
"a great reckoning in a little room",
which has now been shown to be
an oblique reference to the death
of Marlowe in suspicious circum
stances in the Deptford inn, cer
tain other significant implications
in the speech of Touchstone quoted
last do not seem to have been paid
the attention these deserve. The
repetition of the idea of under
standing would seem to be an in
teresting instance of Shakespeare s
wordplay, in which a particular,
clear and familiar Elizabethan and
seventeenth-century meaning of
"understand" and "understanders"
("to stand under on the ground or
floor esp. in a theatre", "ground
lings who stood in the playhouse
yard") is exploited, rather than
the more general, quibbling sense,
"to stand under and to act as a
prop or support", which Shake
speare puns upon elsewhere. 1 What
Shakespeare says through Touch
stone here is that, if the poetry and
sallies of wit of a playwright like
himself were to fail to be caught
and understood by the understand-
ers, if these were to be lost upon
the groundlings, it is a far worse
plight for him than being over
taken by sudden death in one s
prime, as Marlowe was. Indeed,
it is one of those rare occasions on
which Shakespeare would seem to
speak his mind, to make a reflex
revelation of his naturally and un
derstandably ambivalent attitude
towards the groundlings. But, what
is really striking, and quite char
acteristic of Shakespeare, is the
fact that he uses the phrase, "the
forward child understanding", a
telling allegory one may call it, to
designate the groundlings standing
at the front ("forward") in the
playhouse yard. 2 The groundlings
as a group are to be taken exactly
as a froward child, better seen
than heard in the theatre, at times
a really pleasant presence and de
sirable company, at times, unpre-
dictably, a naughty lot, to be ca
joled out of their refractoriness.
Only Shakespeare, and none of his
contemporaries, could have taken
this tolerant, genial, fatherly, yet
100
AN&Q
realistic and fully aware attitude to
the groundlings, with his heart im
mensely in the right place, and
with his head, at the same time,
keen yet cool.
Taking the bare, surface mean
ing of the words, the "seconding"
of man s wit by man s understand
ing, which Shakespeare postulates
as desirable, is in accordance with
Elizabethan notions of the psy
chological norm and ideal, of the
right relations between reason, will,
wit and understanding, as these
were conceived in those days. 3
It is possible, though it can by
no means be held certain, that As
You Like It, with its notable, al
most deliberate lack of dramatic
action and stage business, with its
abundance of discourses and dis
cussions and of the parody of legal
language and rhetorical modes of
utterance, was originally meant for
performance before an Inns of
Court audience or some such spe
cial audience. 4 Perhaps in such a
play Shakespeare took the oppor
tunity of making a reference to the
difficulties of the playwright s com
munication with the audience es
pecially the groundlings in the
public theatres. There is, it may
be noticed, a trompe I oeil effect,
characteristic of Shakespearean
irony, of the question and wonder
whether the implication of this
complaint about the problem of
communication would itself be
communicated to the spectators at
all, whether they be public or pri
vate theatre audience or a special
audience.
The suggestion that Shakespeare,
while portraying Touchstone, might
have had a fellow and rival play
wright, Marston, very much in mind
might appear too fanciful at first
sight. But the surmise is tempting,
and not absolutely groundless.
There is, first, the resemblance in
the second element of the two
names. (This is not to deny that
the profession of Armin s goldsmith
father might have first suggested,
as Leslie Hotson thinks it did,
the name Touchstone.) Secondly,
it is clear that Shakespeare is pre
occupied with satire and satirists,
and that he, true to his inclusive-
ness, engages in satire on satire
and satirists as well, in this play. 5
The Oxford and Middle Temple
scholar and satirist Marston seems
to have taken to playwriting for
the theatre first around this time
and started producing drama main
ly in the satirical vein. As You Like
It and plays around the turn of
the century seem to register Shake
speare s complex response to the
influence of his (and also Ben
Jonson s and Chapman s) new sa
tirical drama. Marston s problems
of adjustment and of communica
tion in his new role as a playwright
(and slightly later, as an antag
onist, though for a time only, of
Ben Jonson, though not as a whole
hearted champion of the cause of
the public theatres against the pri
vate ones, in the poetomachia of
the War of the Theatres) are very
likely to have been noted by
Shakespeare. Phrases such as "the
most capricious poet, honest Ovid
among the Goths", "knowledge ill-
inhabited, worse than Jove in a
thatched house" (the thatched
roof of the public theatre of those
times, especially the Globe) are
fit descriptions of Marston s condi
tion then, the scholar-poet among
the men of the theatre. The com
bination of epithet and substantive
in "honest Ovid" would appear to
March 1972
101
be a sly dig at the early erotic
poetry and at the bawdy double
entendres of Marston in his verse
and drama and probably, the rath
er loose life of Marston (?), for
Tionesf as well as "capricious"
("goatish") could carry that sug
gestion too. "Honest" could with
piquant irony remind us of the
dichotomy between the moral ear
nestness of Marston displayed in
his writings and the obscene sug
gestions underlying the verse of
his plays. Similarly, the repeated
reference to the "features" of
Touchstone in this passage could
be an indirect allusion to the no
toriously ugly features of Marston
the man. 6 Even if Shakespeare did
not have to face any problem of
communication with the ground
lings himself, he could have put
these words into the mouth of
Touchstone by way of mentioning
Marston s problem in this respect.
The comparison of the scholar-
playwright, Marston, with his
great predecessor, the university
wit, Marlowe, would have natu
rally occurred to Shakespeare.
It is worth noting that in the
scene in question, besides the men
tion of two poets in the great tra
dition of poets (Ovid and Mar
lowe), we have, subsequently, a
discussion of the "poetical" and
"Doetry". Likewise, we have, in
this play, several other discussions
on verse, besides parodies of Pe
trarchan love-sonneteering and love-
prate. Could it be that Marstons
(and some other playwrights ) in
adequately dramatic, much too
"poetical" and bombastic, though
down-to-earth handling of the
verse medium in drama put Shake
speare on his guard and drove him
to the reaction of using prose more
extensively in As You Like It and
of reserving verse only for either
purposes of parody or deliberately
formal, stilted or elevated utter
ance? 7 While refraining from mak
ing an absolute claim that Shake
speare must have, on purpose, con
ceived and drawn Touchstone as
a satirical portrait of Marston, one
may conclude that Shakespeare
could have been thinking of his
fellow playwright.
S. Viswanathan
Sri Venkateswara University
Tirupati, South India
1. For example, in A Comedy of Errors
(II. i. 49); in The Two Gentlemen
of Verona (II. v. 28); and in Twelfth
Night (III. i. 90).
2. "The quality of spectators is usually
referred to in Elizabethan times as
their understanding ". Alfred Har-
bage Shakespeare s Audience p. 121.
3. Lily B. Campbell Shakespeare s Trag
ic Heroes: Slaves of Passion. (Barnes
& Noble reprint, 1960) esp. pp. 63-68.
4. J. M. Nosworthy in his Shakespeare s
Occasional Plays (p. 2) considers
only part of the internal evidence and
concludes that the " All the world s
a stage speech virtually establishes
that it was simply written for the
new Globe Theatre".
5. O. J. Campbell in his Shakespeare s
Satire has stressed the element of
satire in the play, and pointed to the
probable influence of satirical drama
tists like Marston, Ben Jonson and
Chapman on Shakespeare.
Celia: . . . you ll be whipped for
taxation one of these days.
Touchstone: The more pity, that
fools may not speak wisely what wise
men do foolishly.
Celia: By my troth, thou sayest
true; for since the little wit that fools
have was silenced, the little foolery
that wise men have makes a great
show. (I. ii).
102
The passage is a topical allusion not
only to the Bishop of London s 1599
ban on satirical writing of which
there was a deluge by then, but also
to the fact that satirists, turned drama
tists, came to use the drama as a
medium for satire. The traditional
idea of the fool as satirist which be
longs with "the fool" convention and
the idea of the playwright as "Fool",
an idiosyncratic association on the
part of Shakespeare ("Alas, tis true,
I have gone here and there,/ And
made myself a motley to the view**.
Sonnet 110), are involved here.
Looked at in this light, if Shakespeare
could have been thinking of Ben
Jonson when he portrayed Jaques,
Jaques clamor for motley is meant
to suggest the fascination of the role
of the satirical dramatist for him.
6. See the chapter "Chapman, Marston,
Dekker" by W. Macneile Dixon in
The Cambridge History of English
Literature Vol. 6. (1910 edn.) p. 44
for contemporary strictures on the
physical appearance of Marston. More
over, if Thersites in Troilus and Ores-
sida is a caricature of Marston, as
generally believed, the attribution of
"Mastic" or "Mastiff jaws to Ther
sites ("When rank Thersites opes his
Mastic (Mastiff) jaws" I. iii. 73.) is
another Shakespearean hit at Mar-
ston s ugliness.
7. R. H. Goldsmith in his Wise Fools
in Shakespeare (1955) points out that
the blustering fustian which Touch
stone talks at times is a parody of
Marston s bombast, p. 50. Incidental
ly, Goldsmith holds the view that
Shakespeare "ridicules" Marston in
his portrait of Jaques (pp. 91-92).
The curious mixture of stilted bom
bast and a bald earthiness of utter
ance in Touchstone would suggest
the same quality in Marston. So
would the occasional, uncharacteristic
moral sententiousness of Touchstone
(II. iv. 49-52; II. vii. 22-28), and
his parodic pedantry, and, especially,
his Elyot-like play with high-sound
ing "ink-horn" terms (V. i. 41-52).
Marston had a vice of using learned
words unseasonably, for which he
was flayed by Ben Jonson in his
Poetaster. Moreover, there is the anec
dote in the Diary of John Manning-
AN&Q
QUERIES
An unknown Lear? Thomas
McLean, 26 Haymarket, was the
publisher of Edward Lear s Book
of Nonsense". We have recently
acquired a copy of "Day: A Pas
toral", by John Cunningham (1729-
1773), which also bears the Mc
Lean Haymarket imprint, and is
dated 1854. McLean also pub
lished the second edition of the
"Book of Nonsense" in 1856 before
turning it over to Routledge. We
can find no record of this 1854
book, although the British Museum
lists an 1855 edition published by
George Cox of London, "with
twenty-seven engravings". Each of
the twenty-seven verses is on one
page, in a neat script, and above
it a 5x4^" engraving, bearing a
family resemblance to the work of
Lear as reproduced in his "Journal
of a Landscape Painter in Corsica".
The introduction, addressed to
"The Little People of Great Brit-
has also a Learical quality,
am
ham (1602-03) (p. 86): "Jo. Marstone
the last Christmas he daunct with Al
derman Mores wives daughter, a
Spaniard borne. Fell into a strang
commendacion of hir wit and beauty.
When he had done, shee thought
to pay him home, and told him she
though [t] he was a poet. "Tis true ,
said he, for poets fayne and lye,
and soe dyd I when I commended
your beauty, for you are exceeding
foule *. Despite Manningham s "the
last Christmas , there would seem
to be enough in common between
the anecdote and As You Like It
(III. iii) to suggest that the anec
dote could have been current in cer
tain circles as early as 1599 and
present in the mind of Shakespeare
when he wrote the scene.
March 1972
103
reading: "I have endeavoured to
illustrate this Poem, in the hope
of calling your attention to it, per
haps you will read it, probably
learn it by heart, but if you wish
to enjoy it, you must become like
Your Humble Servant, An early
riser. P.S. Books were written to
be read, and intended to be used,
therefore, as soon as you have done
with it, lend it to one of your little
friends who has not seen it. "You
know who ". Can anyone identify
for us the anonymous aitist and
free us from the tantalizing specu
lation that this is an unknown
"Lear". John M. Shaw, Curator,
Childhood in Poetry Collection,
Florida State University, Talla
hassee
"Rosebud" In Orson Welles
classic film Kane the question
about what the dying millionaire
meant by his last word rosebud is
left unanswered. Recently Mr
Welles was asked on a television
show whether he could tell the
audience now the meaning of this
cryptic expression. His response
was more abstract than factual.
Since the picture is tied in so close
ly with Coleridge s "Kubla Khan
(the pleasure palace being called
Xanadu and lines from the poem
being quoted at the outset), I won
der if some reader might detect a
hidden Coleridgean reference?
Surely the possibility, mentioned
in the film, that it was the name
of some obscure love of Kane s is
not very convincing. More so is the
suggestion that the word is a piece
to the jigsaw puzzle mentioned
(a favorite game of his second
wife). My only guess is that there
is allusion to the Sybaritic Carpe
Diem piece "Gather ye rosebuds
while ye may", and that Kane was
using the word ironically. (In other
words, the rosebuds he gathered
did not produce happiness for him
in the long run.) Possibly another
literary detective may come up
with something more subtle.
JR. F, Fleissner, Wilberforce, Ohio.
Swan marks I believe they
were used in the 17th century
(earlier?), but what were they?
Is there a list of them? Were they
different like cattle brands
and are there reproductions of
them? John White, Jackson-
ville, Florida
MacArthur Day Schedule What
is the source of the following dia
tribe, "A Schedule for MacArthur
Day, Washington, D. C., 19 April
1951"? The schedule: "12:30 -
Emerges from snorkel submarine
and walks across water to the Wa
tergate; 12:30 - Navy Band plays
Sparrow in the Treetops and Til
Be Glad When You re Dead, You
Rascal You ; 12:40 Leads parade
to Capitol, riding pink elephant;
12:47 Beheading of General
Vaughan at the Rotunda; 1:
Congressional Speech by Him;
1:30-1:49 Applause for Speech;
1:50 Burning of the Constitu
tion; 1:55 Lynching of Dean
Acheson; 2: 21 Atom Bomb Sa
lute; 2:30 - 500 naked DARs leap
from Washington Monument; 3:
Basket-case lunch on Monument
grounds; 3:01 MacArthur s As
cension". Was this widely printed
in the news media, and are there
any important variations? Don
ald Plaque, Flagstaff, Arizona
204
AN&Q
Irving refers to the President of
the Bank of Poland I am pres
ently editing the letters of Wash
ington Irving and would appreciate
your help in identifying one of his
references. On 22 July 1831 Irving
reported to Livingston, U.S. Secre
tary of State, that "An Active ne
gotiation is going on with the
French and English governments,
under the management of the pres
ident of the Bank of Poland, who
is at present here [London]; the
object of which is to obtain the
intervention of those two powers
in behalf of Poland, and it is
thought the agent feels sanguine
of success". Can you help me to
identify the president of the Bank
of Poland and suggest why he was
acting in this capacity? Jenifer
S. Banks, East Lansing, Mich.
I believe that a published answer
is forthcoming. Edgar C.
Knowlton, jr, University of Hawaii
REPLIES
Dying Thoughts (111:71) It
is difficult to answer definitely
how old beliefs found in folklore
are, but this particular one seems
related to the motif numbered
D2012, "Moments thought years,"
in Stith Thompson s Motif-Index of
Folk Literature, Vol. II ( Blooming-
ton, 1956; page 356). Reference is
made there to Edwin Sidney Hart-
land s The Science of Fairy Tales
(London: Walter Scott, 1891; pp.
226 ff.), and to other works. A
related motif is the following,
D2012.1: "King in the bath: years
of experience in a moment". Query
as to the reference made by Mrs
Gaskell to a version of the latter
motif was made in Notes and
Queries for July 1971, page 263;
"The Italian Dickens (IV: 120)
In "A Quartette of Italian
Novelists", (p. 75), an anonymous
article in Blackwood s Edinburgh
Magazine, Vol. CXXXVII, January
1885, we read: "In TTesoro di Don-
nina (1873), Farina strikes his
own keynote . . . The book earned
for Farina the title of an Italian
Dickens, one of those unfortunate
designations that cling to a man,
and are so apt to mislead". Salva-
tore Farina, the novelist, was born
in Sorso on Sardinia in 1846 and
died in Milan in 1918. Comparisons
between Dickens and Italian nov
elists are not limited to Farina,
however. For example, Professor
Ernest H. Wilkins in A History of
Italian Literature ( Cambridge,
Mass., 1952. p. 471) has comment
ed on a similarity in the humor of
Dickens and that of a contempo
rary of Farina, the more famous
Antonio Fogazzaro (1842-1911).
Edgar C. Knowlton, jr, Uni
versity of Hawaii
Detective fiction as textbooks
(VIII:40) Philip G. Ander
son s "Murder in Medical Educa
tion", Journal of the American
Medical Association, 204 (April,
1968), 21-25, suggests that the
writings of Doyle, Amber, Simen-
on, Chesterton, Carr, and Stout
are a "useful model for the study
of puzzles, puzzle solving, and puz
zle solvers" and speculates on "the
value of the common murder mys
tery story" to the study of heuris
tics. Donald H. Cunningham,
Southern Illinois University., Car-
bondale
March 1972
Cannibalistic defenses (VIII: 153)
The classic-times tale about
a town whose citizens resorted to
cannibalism rather than surrender
is the siege of Jerusalem by the
Romans under Titus, A.D. 66-70.
An extended description of the
siege is given by Flavius Josephus
in his work The Wars of the Jews.
Josephus dwells upon the severity
of the famine throughout his ac
count of the siege. A particularly
painful example of the cannibalism
can be found in Book VI, Chap. 3
of the above work. The works of
Josephus are available in the Loeb
Classical Library. Naseeb Sha-
heen, Dept. of English, Memphis
State University
Lane Coopers Method of Con-
cording (X:27) In Cooper s
article, which was reprinted in a
pamphlet, The Making and the
Use of a Verbal Concordance, 1919,
there are suggestions on compiling
a concordance. The article appear
ing under the same title was pub
lished in The Sewanee Review,
vol. 27, 1919, p. 188-206 and gives
details on the manner in which
Cooper s Concordance to Words
worth was formed. A footnote in
the article discloses A Concord
ance to the Works of Horace was
prepared by the method described
in the article. Jerome Drost,
Buffalo, N.Y.
Hanns Hesse (IX: 135) b. 22
Sept. 1895 in Munich, d. by acci
dent 21 July 1935 during a skiing-
holiday in the Alps in South Tyrol.
In his time he was praised as one
of the most talented Helden tenors
of the German opera. His last en
gagement was at the Stettin Opera
in 1934/35 where he was to sing
105
for only one season. It is one of
life s ironies that in his last role
as Pedro in Eugen d Albert s Tief-
land his words "Hinauf in meine
Berge! Hinauf zu Licht und Frei-
heit 1 should seal his own fate.
He was an impulsive artist who
put this element in his roles. It
has been recorded that in the first
few days at Stettin Hesse saved
five people s lives from drowning
and was awarded the life-saving
medal "am Bande" by the presi
dent of the Stettin police. Bio
graphic sources: Deutsches Buhn-
en-Jahrbuch (Berlin, 1936), vol. 47,
p. 130; Wilhelm Kosch, Deutsch-
es Theater-Lexikon (Vienna, 1953),
vol. 1, p. 779. Hartmut Breit-
kreuz, 34 Gottingen, Lotzestr. 9,
West Germany
Pictorial calendar (X:8) Mr
Cahill owns one of a series of cal
endars prepared for the use of the
Abnaki Indians by Father Eugene
Vetromile (1819-1881), a Jesuit
missionary. (The term "Alnambay
Patlias" after his name on the cal
endar signifies "Patriarch of the
Indians" in the Abnaki language.)
The Main Catalog of the Library
of Congress records two copies of
a similar calendar for the year 1876
in the collections of the Rare Book
Division. The National Union Cata
log contains only a report from
the American Antiquarian Society,
which holds the issues for 1859,
1866, 1867, 1873, 1874, 1875, and
1876. However, copies may well
exist in other public and private
collections.
Born in Gallipoli, Apulia, and
educated there and in Naples,
Father Vetromile became a Jesuit
in 1840 and went to America in
1845. Here he continued his stud-
106
AN&Q
ies at the Jesuit college in George
town, D.C., was ordained priest in
1848, and in 1854 went to Bangor
and Oldtown as a missionary to
the Penobscot and Passamaquoddy
Indians. Among his writings are
books of religious instruction and
rituals for worship in several Ab-
naki dialects, a history of the Ab-
nakis, and a large dictionary (un
published) of the Abnaki language.
These and other items are de
scribed in Filling s Bibliography of
the Algonquian Languages. Father
Vetromile was a corresponding
member of the Maine Historical
Society, and a brief sketch of his
life and work by Hubbard Winslow
Bryant, from which the biographi
cal statements in this letter are
derived, was published in the Col
lections and Proceedings of the
Society, 2d ser., v. 1 (Portland,
1890), p. 309-312.
An article entitled "The Indians
of Hudson s Bay, and Their Lan
guage", selected from Umfreville s
"Present State of Hudson s Bay"
by William Willis and published
in the Collections of the Maine
Historical Society, v. 1 (Portland,
1859), quotes Father Vetromile as
follows on the Abnaki calendar
and the names of the months: "The
Indians commence the year from
the new moon preceding Christ
mas; they count the months by
moons, and the first day of each
new moon is the first day of the
month. As in some years there are
thirteen moons, then the Indians
skip the moon between July and
August, and they call it Abonam-
wikizoos, let this moon go; Janu
ary, Onglusamwessit, it is very
hard to get a living; this was for
merly called Mekwas que, the cold
is great; but after they were de
prived of their rich settlements on
the Kennebec, it is called as above.
February, Taquask nikizoos, Moon
in which there is crust on the
snow; March, Pnhodamwikizoos,
Moon in which the hens lay; April,
Amusswikizoos, Moon in which we
catch fish; May, Kikkaikizoos,
Moon in which we sow; June,
Muskoskikizoos, Moon in which
we catch young seals; July, Atchit-
taikizoos, Moon in which the ber
ries are ripe; August, Wikkaikizoos,
Moon in which is a heap of eels
on the sand; September, Mont-
chewadokkikizoos, Moon in which
there are herds of moose, bears,
&c; October, Assabaskwats, there
is ice on the borders; November,
Abonomhsswikizoos, Moon in
which the frost fish comes; De
cember, Ketchikizoos, the long
moon. Kizoos is the term for moon,
the other parts of the compound
words are the qualifying terms".
Ruth S. Freitag, Library of
Congress
Eskimo finger rings (IX: 153)
In Naomi Musmaker Giffen s book
The Roles of Men and Women in
Eskimo Culture (The University
of Chicago Publications in Anthro
pology, Ethnological Series, 1931),
the following statement is made:
"Fringe, beading, and other at
tachments are more often used by
women. The wearing of bead neck
laces, bracelets, and ring and ear
ornaments is principally confined
to women, while in some localities
bracelets are universal among both
men and women, the men finding
them useful in closing the cuffs of
the kayak frock at sea. Formerly
the wearing of ornaments among
the Eskimo was confined entirely
to the men, and in regions less
March 1972
107
accessible to outside influence we
find the women still almost or
entirely without ornaments of this
kind" (p. 50). References to the
research dealing with ornaments
are made to Whymper, Birket-
Smith, Beechey, Elliott, Hall,
Hawkes, Kroeber, Lanman, Lyon,
Murdoch, Nelson, Petroff, Stefans-
son, Thalbitzer and Cranz.
Jerry Drost, Buffalo, N.Y.
EDITORS
NOTES & READING
Molesworth Street
February 1972
Letter from Dublin
THIS MONTH ( 1 February ) saw the
launching of the Friends of Thoor
Ballylee Society at a press recep
tion at the Bailey, Duke Street, in
this graceful, slightly shabby, yet
elegant city of Dublin. Senator
Michael Yeats made a spontaneous
and evocative speech in which he
reminisced about his childhood.
Mr Noel Lemass read a short script
about Thoor Ballylee and the need
for its continued preservation, its
upkeep, and the enlargement of its
still embryonic collection.
Yeats tower house is in a beauti
ful, remote corner of Co. Galway,
a few miles from Gort. It is a 16th-
century tower, originally known as
Islandmore Castle, and stands on
a tiny island of the Cloone River.
Yeats had stayed with the poet,
Edward Martyn, at Tulira Castle,
and he was introduced to Lady
Gregory at Coole, and this fruitful
association developed enriched
by the circle of writers and paint
ers - Shaw, O Casey, A. E., J. M.
Synge, Violet Martin, and others,
who were it seems often at Coole.
Yeats bought Thoor Ballylee and
repaired it in the years which fol
lowed. His restoration took a great
deal of time and money; he lec
tured in France and Italy to "earn
enough to roof the castle". He
eventually moved into what be
came his home, his monument and
symbol. Ten years later he left it
and eventually this de Burgo tower,
one of thirty-two Norman towers
built by this family of landowners
in the area, gradually came to
ruin again.
In June 1965, the centenary of
the poet s birth, the tower, which
had been restored by the Kiltartan
Society, was opened to visitors
scholars, students and lovers of
Yeats. There were many old Irish
literary associations too. This was
the magical place of the blind poet
Raftery with his Gaelic ballads,
many of which had been translated
into English by Lady Gregory of
Coole and others. Near to the
tower had lived Mary Hynes, "the
shining flower of Ballylee", and the
memory of her living there sixty
years before had been a source of
continual inspiration to Yeats. He
felt ". . . our feet would linger
where beauty has lived its life of
sorrow to make us understand that
it is not of this world".
Unfortunately, already the tow
er s upkeep is proving much more
expensive than was ever envisaged.
The tower house in this quiet valley
in the west of Ireland, has not at
tracted quite the increase of vis
itors that was expected. Its re
moteness and isolation which so
attracted Yeats, have also contrib-
108
uted to its present financial state.
Shortage of funds has meant that
many interesting and important
relics, first editions, and manu
scripts which have come up, have
had to be passed over; all items
which would have given extra rich
ness and meaning to Yeats castle
home. Financial difficulties sug
gest that once again this land,
which produces ruins possibly
more quickly than any other, is
threatening. To stave off the threat,
the Friends of Thoor Ballylee So
ciety has been founded. It is be
lieved that the castle s potential
as a cultural centre and meeting
place has not yet been fully re
alised. Lectures, seminars, film
shows, meetings, and publications
would attract scholars and laymen
alike, but for the moment this re
mains only a dream, for there is
insufficient heating, fittings and
money for its proper upkeep. If
any reader can help in any way
or would like further information
regarding the Friends of Thoor
Ballylee Society, please write to
Miss Frances MacNally, the Cura
tor, Thoor Ballylee, Co. Galway,
Eire - Rigby Graham
In 1949 there appeared in South
Pembrokeshire a magazine subti
tled A National Review, in English,
of Welsh Arts and Letters. Many
of the writers who founded the
magazine lived in Pembroke Dock:
and for the first eight years of its
life it was called Dock Leaves. The
magazine provided a forum for
Anglo- Welsh writers having con
nections with Wales either by birth
or residence, but whose medium
of expression was English; and it
AN&Q
encouraged good writing, in prose
and verse, to entertain, inform and
enlighten its readers. Gradually,
the high quality of the material
published poetry, short stories,
essays, articles and criticism at
tracted growing interest in Great
Britain and in other countries; and
in 1957 the name of the magazine
was changed to The Anglo-Welsh
Review. The first editor was Ray
mond Garlick - a distinguished
writer in prose and verse; and he
was succeeded by Roland Mathias:
poet, writer, broadcaster and schol
ar. Among many well-known liter
ary figures who have contributed
to The Anglo-Welsh Review are
David Bell, Sir Idris Bell, Nevil
Braybrooke, Aneirin Talfan Davies,
Idris Davies, T. S. Eliot, Idris Fos
ter, James Hanley, Daniel Jones,
David Jones, Saunders Lewis,
Louis MacNeice, Huw Menai, John
Cowper Powys, Henry Treece, R. S,
Thomas, Graham Sutherland and
Sir Ben Bowen Thomas. Of the
44 numbers comprising Volumes
1 19, 18 numbers have been out
of print or in very short supply.
These are now being reprinted
(by complete volumes where whole
volumes are out of print or vir
tually so): Volumes 16 have three
numbers each: volumes 7 onwards
have two numbers each. Among
the numbers that were out of print
are the Memorial Number devoted
to Dylan Thomas (13): the David
Jones Number (16): An Anthol
ogy of Poetry ( 17) : the John Cow
per Powys Number (19): and
Number 39, containing articles on
and paintings by Ray Howard-
Jones. All are again available from
Wm Dawson and Sons, Ltd., Can
non House, Folkestone, Kent, Eng
land. Write for details.
March 1972
109
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics f
University of Kentucky.
An invaluable reference work, even
for the most skilled student of
early printed books and the most
competent Latinist, is Helmut
Plechl, ed., Orbis Latinus, Lexikon
lateinischer geographischer Namen;
Handausgabe; Lateinisch-Deutsch,
Deutsch-Lateinisch (Braunschweig:
Klinkhardt & Biermann, 1971; 579
pp.; DM120.-), in a fourth edi
tion revised from the work of
Graesse and Benedict and with
the collaboration of Giinter Spitz-
bart. Who would guess that Moray
Firth is Varae Aestuarium, that
Saint-Cyr-du-Vaudreuil is Ruoli
Vallis? He is a bit weak on the
New World, failing to identify
Puebla de los Angeles as Angel-
opolis (also the name used of Los
Angeles, California, also omitted),
and he gives the somewhat unusual
Eboracensis nova civitas rather
than Novum Eboracum for New
York. But anyone who complains
about sins of omission in such a
vast field is captious.
Didrik Arup Seip, Norwegische
Sprachgeschichte (Berlin: Walter
de Gruyter, 1971; 533 pp., xxii pL
of facsimiles; folding map in pock
et at end; "Pauls Grundriss der
germanischen Philologie", Vol. 19;
DM218.-), has been edited and
expanded by Laurits Saltveit In
many respects the history of the
Norwegian language is the most
revealing one for the development
of Scandinavian linguistic tradi
tion; and, moreover, the work is a
model for similar histories of lan
guages.
Carl Wehmer, Deutsche Buch-
drucker des fiinfzehnten Jahr-
hunderts (Wiesbaden: Otto Harras-
sowitz; New York, Abner Schram,
1971; 237 pp.; $38.00), records 100
significant texts of German print
ers before 1501. They are in fac
simile, with a commentary by
Wehmer. Hermann Zapf designed
the book.
R. F. Lissens, Fldmische Literatur-
geschichte des 19. und 20. Jahr-
Ivunderis (Cologne and Vienna:
Bohlau Verlag, 1970; 337pp.; DM
28. ), is a survey of a "minor"
Germanic literature not well
known even among professional
Germanists and comparatists in the
United States. It is illustrated and
thoroughly indexed.
BOOK REVIEWS
BAKER, James Thomas. Thomas Merton,
Social Critic. 173 pp. Lexington: Uni
versity Press of Kentucky, 1971. $8.
For those familiar with Thomas Mer-
ton through his popular autobiography,
The Seven Story Mountain, Baker s title
will seem a contradiction. Merton s ac
count of himself as a young man, iso
lating himself from the world behind
the walls of a Trappist monastery is
more popularly known than are his later
writings in which he mirrored the world
from a monk s viewpoint.
The idea of rejecting the world to
find happiness is attractive because it
provides a scapegoat for unhappmess.
The wars, racial and religious violence,
110
AN&Q
crime, poverty, starvation, and general
unhappiness of our earthly environment
make it easy to blame the world for
our disenchantment. This thinking mo
tivated Thomas Merton to enter the
Trappist order. In his autobiography and
early writings, Merton urged others to
abandon the world and to seek their
happiness in God through silence and
meditation. Thomas Merton, Social Critic
shows the progression in Merton s writ
ings from this isolationist theology to
a reconciliation with the world and a
deep personal involvement with and
commitment to his fellow man.
When the gates of the monastery
closed behind him, Merton believed that
he had seen the last of the world. He
felt that his only social obligation was
to pray for the spiritual welfare of his
fellow man. But in attempting to break
away from the world, Merton discovered
how much a part of the world he was.
Being human, he had carried the world
with him into the monastery. And trying
to reject the world did not bring him
happiness. He had only attributed to
the world those characteristics in him
self which caused his unhappiness.
In his journals, Merton wrote often
of being pushed into the spotlight by his
monastic superiors. They wanted him to
continue his writing as a source of in
come for the monastery. Merton felt
that this was contrary to the spirit of
his monastic vocation and interfered
with his contemplation. Baker s book
hints that there was another side to this
story. Merton s unhappiness was more
the result of conflict within himself.
While he desired solitude and contem
plation, he equally wanted to write and
enjoyed the association with the world
that writing provided. Baker quotes one
of Merton s superiors who felt that given
Merton s intellectual abilities and artistic
personality, binding him strictly to soli
tude, silence, and contemplation would
have endangered his mental health. Ac
cordingly, Merton was allowed to con
tinue his study and writing.
Merton emerged from the internal
struggles of this early period of his
monastic life with an awareness of the
bonds between the spiritual and material
in man. This growth in his thinking
required that he re-establish the basis
for his religious vocation. He now saw
that one does not become a monk to
escape the world, but rather to find it.
As Merton s thinking matured, he found
that his contemplation, instead of lead
ing him away from his fellow men, led
him closer to them. He found God, first
in his fellow monks, and then in all
of mankind.
Merton s identification with his fellow
men extended strongest to the suffering
and the oppressed. His earliest writings
had called on men to forget about the
cares of the world and to return God
to the center of their lives. Merton now
realized that it was unrealistic to call
for such a spiritual revolution, without at
the same time pointing out that this spir
itual revolution involved social changes.
The suffering and unhappiness among
men were largely the result of man s
selfishness and greed. The spiritual revo
lution would be all sham if men did not
at the same time change their attitudes
and Me styles.
In his books, articles, reviews and
letters, Merton urged Christians to get
involved in social problems. He wanted
them to examine, through contempla
tion, their own activities, and those of
their leaders and governments, and then
to do whatever was necessary to change
whatever did not correspond to Christian
morality. He urged strikes against com
panies responsible for manufacturing nu
clear weapons, and encouraged young
men to refuse to fight in the armies of
nuclear powers. He told American whites
that they should trust the leaders of the
Black Power movement. Merton demand
ed such involvement of all who called
themselves Christians.
Liberals find it easy to identify witih
Merton s thinking. But Merton made no
converts from outside these ranks. His
liberalism did not extend to those against
whom he wrote. Merton was convinced
of his own righteousness. He could call
down the wrath of God upon war
mongers. He was free in his condemna
tion of militarist thinking. This positive-
ness in Merton s writings closes the door
to dialogue. One does not convince others
to change their way of life without ex
posing himself. He must be willing to
admit the fallibility of his own thinking.
He must attempt to understand his op
ponent s point of view, and to see his
opponent as a source of good. Merton
urged his readers to love the poor, the
oppressed, the blacks, the communists.
March 1972
111
As much as Merton had studied Gandhi
and the principles of nonviolent revo
lution, he wrote little about loving also
the rich, the oppressors, the racists, the
bigots, the capitalists. This might well
have changed, had it not been for Mer-
ton s accidental death in 1968.
Thomas Merton, Social Critic is en
joyable and provoking, but chiefly be
cause of its subject matter. The book
is a re-editing of Baker s doctoral dis
sertation, and often reads like a coUege
research paper. The author tries too
hard to establish Merton as the equal
of Gandhi and King. He unnecessarily
apologizes for and explains Merton s
faults and shortcomings. Merton s early
writings urging a rejection of the world
were a necessary stage in the develop
ment of his thinking. They need not be
apologized for. Nor is it necessary to
explain Merton s oversimplifying of world
problems as the result of his lacking
full information because he was in a
monastery. The complexity of the world
is too often used as an excuse to remain
silent and inactive.
However, Baker does remain close
to his sources and provides a good sum
mary of Merton s background and social
thinking. For those unfamiliar with the
social writings of Thomas Merton, this
book will serve as a good introduction.
Joseph E. Jensen, Medical and Chi-
rurgical Faculty of the State of Mary
land Library, Baltimore
Letter from Leicester on Landmarks
IN 1965 the Verlag Dokumentation Miin-
chen-Pullach produced a volume Weg-
marken der Entwicklung der Schreib
und Drucktecknik by Hans Karl Scholl.
It marked the opening, in May of that
year, of the Department of Writing and
Printing Techniques in the Deutsches
Museum in Munich. This book made
no attempt to give a complete account
of the development of writing and of
printing types and techniques from
their origin to the present, but what
it did, and most successfully, was to
give an outline and refer the reader to
those parts of the Deutsches Museum
which present visually what is available
in these particular fields.
This has now been translated from the
German by Douglas Martin and pub
lished in England as Landmarks in the
Development of Writing and Printing
Techniques. Landmarks deals with the
evolution of writing, pictorial represen
tation and the way it came into closer
correspondence with speech by stages;
from primitive drawings by way of picto-
grams and cuneiform to alphabetic writ
ing; the Greek alphabet, Roman capitals,
and the way in which the evolution of
writing instruments was conditioned by
the writing surface; Gutenberg s inven
tion of type casting, early printed books
and the spread of the art of printing;
its centres and those of papermaking
in the 15th century; private presses,
modern type founding and early methods
of letter assembly; mechanical compo
sition and recent developments; the in
vention of cylinder and rotary presses;
flexography, stereo and electrotypes;
methods of reproducing illustration;
woodcuts, wood engraving, copper plate
and steel engraving, etching; the pro
duction of line and half tone blocks
through photography, etching and elec
tronic engraving; photogravure, roto
gravure and the development of its ma
chinery; Senefelder s inventions, auto
graphic lithography and offset; collo
type and silk screen; and a note on the
craft of hand binding and mechanised
edition binding.
The book gives a technical outline
which is crisp, lucid and easily read
and to be assimilated by layman and
specialist alike. It is written by a scholar
and enthusiast and has been translated
by a typographer who knows the sub
ject and the Department of Writing and
Printing Techniques intimately. He is a
lecturer in the School of Graphic De
sign at the City of Leicester Polytechnic
and has himself lectured on several oc
casions in Germany and was recently
invited to deliver two papers at the
International Buchkunst Ausstellung at
Leipzig last year. Douglas Martin also
ran the Orpheus Press in Leicester and
Munich twelve or thirteen years ago
and was responsible for, among other
things, Rainer Maria Rilke s Die Sonette
an Orpheus, copies of which are now
much sought after. The translation has
a quiet brilliance which is reflected in
112
AN&Q
the fact that translator and typographic
designer of this edition are one and the
same man.
Thus one has a small, concise survey,
clear and attractively produced, a book
which fulfills so many conditions of
content and presentation, with an ob
vious sympathy for and understanding
of both.
The cover and dustwrapper are of
particular interest, for they reproduce
by lithography a block printed paper
which probably dates from about the
turn of the 19th century. It was part
of a collection bought in Prague by
Douglas Martin. This collection had
been bound up by the binder to Otto,
Count Stolberg, and contained a mass
of bibliographical pamphlets and news
letters of various military campaigns,
and these had been printed in a variety
of towns throughout Europe, at Leipzig,
Brno, London, and elsewhere. The col
lection contained a variety of these
block printed papers which though
they generally resemble and suggest
Augsburg designs, could in fact have
come from almost anywhere. They were
generally wretchedly printed, crude and
uneven, but they have a period charm
and were widely used until well into
this century. One still occasionally comes
across examples of these blocks with
their characteristic clusters of nail heads
and pieces of bent metal, in sales and
junk shops in Prague and elsewhere.
These blocks, like similar ones used
for wallpaper and linings to chests and
cupboards, were frequently quite small
with a printing area of perhaps 10"
x 15".
This cover is printed (albeit upside
down!) and the lithography though un
derstandably quite flat, has reproduced
the unevenness of the inking, which on
the original has oozed, spread and thick
ened, and the whole effect has a vitality
characteristic of German Insel-Bucherei
volumes of before the war. This volume
of ScholTs Landmarks has at the same
time something of the quality inherent
in the best of present day German pri
vate presses; a certain sophisticated com
mercial flavour, quite different in kind
from many normal "private press" books.
It is not offered for sale but is produced
by the Leicester School of Printing which
is part of Southfields College of Further
Education, and copies may be obtained
by writing to the Principal, E. Beech.
The edition is not large, I estimate
perhaps 750 copies, and because a fair
proportion of these are normally dis
tributed to "prestige" rather than book
ish people, the bulk of the edition is
very likely to disappear. It would be
right that some at least should get into
libraries or bibliographical collections
where they would be appreciated
Rigby Graham
AMERICAN NOTES & QUERIES
Volume X Number 8
April 1972
NOTES
QUERIES & REPLIES
EDITORS NOTES AND READINGS
RECENT FOREIGN REFERENCE BOOKS
BOOK REVIEW
REVIEW LETTER
PUBLICATIONS RECEIVED
FREE! On application, one year s
subscription to AN&Q for individ
uals who Reply to previously
unanswered Queries, Vols. I-V,
before the conclusion of Volume X.
PUBLICATIONS RECEIVED
Armstrong, Edward A. The Folklore of
Birds: an Enquiry Into the Origin &
Distribution of Some Magico-Religious
Traditions. (1958). 2d Edn, Rev. &
Enl. Illus. 284pp. N.Y.: Dover Publi
cations, 1970. Paper, $3.50
Ballantyne, Robert M, Hudson s Bay; or,
Every-Day Life in the Wilds of North
America . . . (1848). Introd. by
George Woodcock, xxii, 328pp. Rut
land, Vt: Charles E. Tuttle, [1972].
$8.25
Binyon, Laurence, et al. Persian Minia
ture Painting . . . (1933). Illus. 212pp.
N.Y.: Dover Publications, 1971. Paper,
$6.
British Museum, Treasures of the. Ed. &
Introd. by Sir Frank Francis. 439
Illus., 64 in Colour. London: Thames
& Hudson, 1971. Price?
Budge, E. A. Wallis. Egyptian Magic
(1901). Illus. 234pp. N.Y.: Dover
Publications, 1971. Paper, $2.50
Diethelm, Oskar. Medical Dissertations
of Psychiatric Interest Printed Before
1750. 211pp. N.Y.: S. Karger, 1971.
$11.50
Duns any, Lord. Gods, Men, and Ghosts:
the Best Supernatural Fiction of Lord
Dunsany. Selected, with an Introd. by
E. F. Bleiler. Illus. by Sidney H. Sime.
260pp. N.Y.: Dover Publications, 1972.
Paper, $3.
Eliot, T. S.: the Literary and Social
Criticism, by Allen Austin. (Indiana
University Humanities Series, No. 68).
131pp. Bloomington: Indiana Univer
sity Press, 1971. Paper, $5.
The Faber Book of Popular Verse, EdL
with an Introd. by Geoffrey Grigson.
376pp. London: Faber & Faber, 1972.
2.50
Fa-hien. A Record of Buddhistic King
doms. Being an Account by the Chi
nese Monk Fa-hien of His Travels in
India and Ceylon (A.D. 399-414) in
Search of the Buddhist Books of Dis
cipline. Trans. & Annotated by James
Legge. (1886; 1965). Illus., incl. Chi
nese Text. 168pp. N.Y.: Dover Pub
lications, [1971]. Paper, $2.
Filby, P. W.; & Howard, Edward C.,
comps. Star-Spangled Books: Books,
Sheet Music, Newspapers, Manuscripts,
and Persons Associated with "The
Star-Spangled Banner . Numerous
Illus. 175pp. Baltimore: Maryland
Historical Society. [201 West Monu
ment St.], 1972. $13.
Hurwood, Bernhardt J. Passport to the
Supernatural: an Occult Compendium
From All Ages and Many Lands.
319pp. N.Y.: Taplinger Publishing Co.,
1972. $7.50
Klimt, Gustav, 100 Drawings. Introd. by
Alfred Werner. N.Y.: Dover Publica
tions, 1972. Paper, $3.
Laude, Jean. The Arts of Black Africa.
Trans, by Jean Decock. 201 Illus.
Berkeley: University of California
Press, 1971. $12.
Lloyd, Harold. An American Comedy
(1928). Illus. 138pp. N.Y.: Dover
Publications, 1971. Paper, $3.
(Continued on p. 128)
American Notes & Queries is published monthly, except July and August,
by American Notes & Queries, 31 Alden Road, New Haven, Conn. 06515.
Lee Ash, Editor & Publisher. Subscription, including annual index, $6.50
a year; $12.00 for two years. Single copies and back issues 75tf each.
Printed in the U.S.A. by United Printing Services, Inc., New Haven, Conn.
Second-class postage paid at New Haven, Connecticut.
Abstracted in Abstracts of English Studies, and Abstracts of Folklore
Studies, and Review of [Book] Reviews; indexed in Book Review Index; in
cluded in The Years Work in English Studies, and Annual Bibliography
of English Language and Literature, MHRA. Appropriate items included
in the Annual MLA International Bibliography; Victorian Studies "Vic
torian Bibliography", etc.
AN&Q
AMERICAN NOTES & QUERIES
EDITOR Lee Ash
ASSOCIATE EDITOR
Louis A. Rachow
CONTRIBUTING EDITOR
Lawrence S. Thompson
NOTES
THE FIRST GERMAN FAUST
PUBLISHED IN AMERICA
THE IMPORTANCE OF GOETHE in the
cultural life of 19th-century Amer
ica has been so well documented
that any further evidence may
seem superfluous and ail but im
possible. Yet a footnote, in the
form of a previously underesti
mated "first", may now be added
to the towering superstructure of
the bibliography on the subject.
From the time of Edward Ev
erett s return from abroad in 1819,
the fame of German literature and
philosophy began to spread in this
country. The foreign seeds were
sowed here by Margaret Fuller,
Emerson and others. Carlyle s in
fluence was effective and in time
copies of Goethe s writings ap
peared upon American shelves and
articles on Goethe enriched Amer
ican periodicals. James Freeman
Clarke wrote in the Western Mes
senger (August, 1836): "Five years
ago the name of Goethe was hardly
known in England and America.
. . . But now a revolution has taken
place. Hardly a review or a maga
zine appears that has not some
thing in it about Goethe". Mar
garet Fuller planned a biography
of the great German poet. At Har
vard, at Longfellow s Rowdoin and
elsewhere, German lessons and
German readings prepared the
ground for an understanding of
that "restorer of faith and love"
whose universality and whose af
firmations began to infiltrate
American transcendental thought.
Goethe s Werke, published in
forty volumes between 1827 and
1830 at Stuttgart and Tubingen,
were followed between 1832 and
1834 by fifteen volumes of the
Nachgelassene Werke. These fifty-
five volumes found their way to
Emerson s shelves and when Eliza
beth Peabody opened her Foreign
Libraiy at 13 West Street, Roston,
Items 15-70 consisted of Goethe s
Sammtliche Werke in 55 Banden.
Of all Goethe s works, his Faust
that "national poem of the Ger
man people" seemed most mean
ingful to the American mind. As
Margaret Fuller put it in The Dial
(July 1841): "Faust contains the
great idea of his life, as indeed
there is but one great poetic idea
possible to man, the progress of a
soul through the various forms of
existence. All his other works . . .
are mere chapters to this poem".
Faust was known to this country
both as part of the Werke and in
translation. A copy of Lord Fran
cis Leveson-Gower s verse transla
tion of Part I (London: J. Murray,
1823) was in Thomas Dowse s li
brary in Cambridge; Emerson read
the Gower translation. Abraham
Hayward s prose version, published
in London by Edward Moxon in
1833, was the first translation to be
published in this country, bearing
the 1840 imprint of Lowell: Daniel
Rixby; New York: D. Appleton and
Company. A copy of that edition
"in which Emerson wrote his name,
is still in his house, at Concord".
116
AN&Q
The Hayward translation of Faust
was also in Elizabeth Peabody s
circulating foreign library despite
the feeling expressed in The Dial
(July 1841) that "All translations
of Faust can give no better idea of
that wonderful work than a Silhou
ette of one of Titian s beauties".
Although it appears to have es-
scaped general notice, Faust in the
original German was made avail
able in this country three years be
fore the American edition of the
Hayward translation. The Curator
of the William A. Speck Collection
of Goetheana at Yale cites as the
"earliest Faust in German with an
American imprint" the 1864 edition
published by S. R. Urbino of Bos
ton and F. W. Christern and others
of New York. Yet a generation ear
lier in 1837 a German Faust
was published in this country. Its
title-page reads simply: Faust./
Eine Tragodie/ von/ Goethe./ New-
York:/ Zu haben in der Verlags-
Handlung,/ 471 Pearl-Strasse./
1837. An octavo of 432 pages, it
contains both parts of Faust in con
tinuous pagination with a second
title-page, no more informative
than the first, preceding the "Zwei-
ter Their.
This edition was actually pub
lished by the New York firm of
Radde and Paulsen as the second
volume of a five-volume set issued
between 1837 and 1840 entitled
MUSEUM DER DEUTSCHEN KLASSIKER
and its appearance as part of a set
is probably the reason why it seems
to have eluded the bibliographers.
In their own way, Radde and
Paulsen were sowing the foreign
seeds as actively as Margaret Fuller
and Elizabeth Peabody. William
Radde and George Henry Paulsen
were agents of J. G. Wesselhoeft
and importers of French and Ger
man books. At 471 Pearl Street they
offered the works of Jean Paul and
Wieland, Schiller and Korner, as
well as all the advantages of a Ger
man intelligence office and a ho
meopathic apothecary shop. Indeed
in this the Verlags-Handlung re
sembled the Peabody bookshop
where homeopathic remedies were
also available along with German
literature. Besides the works of
Hahnemann, Radde and Paulsen
sold tinctures, milk sugar, and ho
meopathic chocolate.
In 1840, when Elizabeth Pea-
body published a Catalogue of her
Foreign Library, her fourteenth en
try was "Faust, Tragedie von
Goethe. (See Hayward s Faust )"
One wonders if this was a copy of
the edition published in New York
by Radde and Paulsen. Its appear
ance, preceding Miss Peabody s
entry for the 55-volume set of
Goethe s Sammtliche Werke, seems
to indicate that it was indeed a sep
arate edition and if so it may well
have been the Radde and Paulsen
edition.
At all events, that New York firm
merits the distinction of issuing the
first German Faust with an Ameri
can imprint and so of helping to
stir up that tempest in the tran
scendental teapot that has been en
gaging the attention of scholars
ever since.
Madeleine B. Stem
New Yorfc, N.Y.
Readers comments on the de
sirability of a 10-year Cumula
tive Index to AN&Q would be
welcomed.
April 1972
117
RESPONSE TO A NOTE ON
MILTON AND
COMMON PRAYER
BENJAMIN W. GRIFFITH S NOTE,
"Milton s Meditations and Sonnet
XIX" AN&g, (X: 7-8), invites re
sponse on two accounts, one inter
pretive and the other factual. His
suggestion is that the content of
the sonnet is related to Psalm 123,
which the Book of Common Prayer
directs is to be read on the Tues
day after the fourth Sunday after
Trinity Sunday. Accordingly, he
infers that Milton composed the
poern near this date in early June
1655. But this is to assume that
Milton still practiced the liturgy
of his youth, the daily reading
which the Book of Common Prayer
enjoins. There is no evidence that
he did so after the 1630s, and the
entire tenor of religious develop
ments which made it a crime to
read the Prayer Book from 1643
to 1660 strongly imply that the dis
senting Milton would not have
done so.
Furthermore, as a matter of fact
this Psalm was not prescribed in
1655 for the Tuesday after the
Fourth Sunday. In those days of
unhurried devotion the psalter was
read all the way through every
month, Psalm 1 appearing on the
fkst day and Psalm 150 on the last.
As a matter of fact, Psalm 123 was
one of the readings for the 27th
of every month. Only later were
the readings adjusted more season
ally as they appear in the modern
Book of Common Prayer which
Mr Griffith consulted.
Wm B. Hunter, jr
"HETEROGENT -
A WORD HAWTHORNE MADE
ACCORDING TO AN ENTRY in his note
book dated 15 August, 1838, Na
thaniel Hawthorne attended a com
mencement at Williams College, an
occasion accompanied by what
was, in effect, a country fair. He
especially admired the spiel of "a
pedler there from New York state,
who sold his wares by auction . . .".
Hawthorne wrote: "Sometimes he
would put up a heterogeny of ar
ticles in a lot, as a paper of pins,
a lead pencil, and a shaving-box,
and knock them all down, perhaps
for a ninepence".
Sophia Hawthorne edited Pas
sages from the American Note-
Books (1868) severely but silently
except for two footnotes glossing
vocabulary items. One of them
comments on heterogeny: "This is
a word made up by Mr. Haw
thorne, but one that was needed".
Curiously, it is not included in the
Dictionary of American English or
the Dictionary of Americanisms,
and the more so since the passage
is attractive mainly because it re
veals Hawthorne s interest in ver
nacular speech and Sophia s pride
in her husband s verbal inventive
ness or perhaps his verbal re
straint, for he had more of the lat
ter than the former. The OED does
include heterogeny, defining it as
cc concr. A heterogeneous assem
blage, rare". The OED cites as its
sole example an excerpt from the
above quotation taken from the
1883 edition of the American Note
books.
Hennig Cohen
University of New Hampshire University of Pennsylvania
118
AN&Q
"ARANDA" IN
BENITO CERENO
ONE OF THE CENTRAL FIGURES IN
Benito Cerent} is Don Alexandro
Aranda, the owner of the San Dom-
inick s slaves, whose corpse adorns
the bow of the ship. Although Mel
ville changed the names of other
characters from Amasa Delano s
original account in A Journal of
Voyages and Travels, he may have
retained the name "Aranda" for a
specific reason: the Peruvian word
arana, which derives from the
Quechua harana, is veiy close to
"Aranda" and carries a meaning
which fits the theme and plot of
Benito Cereno. In Peru, arana
means "a lie, trick, fraud, trap, or
snare". This meaning reinforces the
symbolic irony of other names in
the novel, such as "Cereno" (sereno
means both "serene" and "watch
man"), the Bachelors Delight, and
the San Dominick. The tie between
"Aranda" and arana is supported
by the setting of the trial in Peru.
/. Chesley Taylor
Washington State University
Pullman, Washington
FRANK NORRIS ON THE
PURPOSE OF McTEAGUE
SHORTLY AFTER PUBLICATION of
McTeague, the Philadelphia Book
News carried an autographed state
ment by Norris which appears to
have escaped the attention of schol
ars. 1 As the clearest and most direct
expression of the purpose behind
Norris first major novel, this state
ment deserves to be recalled and
given wider dissemination:
My chief object in writing "Mc-
Teague" was to produce an interesting
story nothing more. It has always
seemed to me that this should be the
final test in any work of fiction inde
pendent of style, "school," or theory of
art. If I had any secondary motive in its
production it was in the nature of a pro
test against and a revolt from the "deca
dent," artificial and morbid "prose fan
cies" of latter-day fiction. I believe that
the future of American fiction lies in the
direction of a return to the primitive
elemental life, and an abandonment of
"elegant prose" and "fine writing/
FRANK NORRIS
[Facs. autograph]
New York City, March 23, 1899.
Norris identification of his "chief
object" buttresses the evidence in
his letter to Isaac Marcosson writ
ten just a few days earlier. 2 His
admission of a "secondary motive"
of "protest" and "revolt" against
"decadent" contemporaneous fic
tion is unique and deserves par
ticular attention.
Mtikhtar Ali Isani
Virginia Polytechnic Institute
and State University
1. "Aims and Autographs of Authors,"
Book News, 17 (May 1899), 486.
This item is not listed in Kenneth
Lohf and Eugene Sheehy, Frank Nor
ris: a Bibliography (Los Gatos, Cal
ifornia, 1959 ) , nor have I come across
any mention of it in critical or bio
graphical literature devoted to Norris.
2. Letter dated March 14, 1899. The
Letters of Frank Norm, Franklin
Walker, ed. (San Francisco, 1956),
pp. 30-31.
"Henry James and the
Negro Question"
a Note.
See p, 127
April 1972
119
QUERIES
Philip Henry Gosse publications
I am working on a study of the
English naturalist Philip Henry
Gosse (1810-1888) and, although
I have located a great deal of man
uscript material left by him, there
are still some items which I have
not been able to find. I list here
six pamphlets and tracts of which
no copies have been traced.
1) The Antichrist: who or what is he?
London: Morgan and Chase. Adver
tised in The Revelation, 1866, "to "be
published shortly".
2.) Gosse s Gospel Tracts. 1-20. London
[1859-61].
3) Gosse s Gospel Tracts. 2nd Series.
Nos. 21-40. London [1861]. Written in
collaboration with Emily Gosse. The
British Museum copies were destroyed
by enemy action,
4) Gosse s Narrative Tracts. Written in
collaboration with Emily Gosse. The
British Museum copies were destroyed
by enemy action.
5) The great tribulation. A tractate men
tioned in The Mystery of God, 1884,
footnote on p. 95.
6) The 6000 years of the world s history
now closing . . . London: Morgan and
Chase, 3d. Advertised in The Revelation,
1866.
D. L. Wertheimer, Toronto, Can
ada
Michael Gold (Granich) For
a literary biography of Michael
Gold, author of Jews Without
Money (1930) and editor of The
Liberator and The New Masses,
can AN&Q help trace a private lo
cation for two short-lived radical-
bohemian magazines, published in
Boston in 1916. They are called
The Flame and Insurrection. Gold,
who was then writing under his
real name of Irwin Granich, was
involved in the editorship of both
magazines with Van Kleek Allison.
Location of files of the two maga
zines cannot be traced through the
normal bibliographical channels
and represent serious lacunae in
my research into Gold s career.
Kenneth W. Payne, Essex, England
Papers of Benjamin Henry Latrobe
The Papers of Benjamin Henry
Latrobe is searching for the corre
spondence (both from and to),
other manuscript writings, pub
lished works, watercolors, sketches,
and architectural drawings and
plans of the great American archi
tect for inclusion in a complete
microfilm edition and a selective
letterpress edition of his works.
Persons or institutions owning or
knowing the whereabouts of La
trobe works may write to Edward
C. Carter II, Maryland Historical
Society, 201 West Monument
Street, Baltimore, Maryland 21201.
Continuous pagination including
indexes Although I have exam
ined some tens of thousands of
early printed books, I have never
noted the earliest title which has
the pagination of the index num
bered continuously with that of the
text. The practice of not numbering
the index pages lasted into the
early 19th century. What is the
earliest known book to have index
pages numbered in sequence with
those of the text? The reason is, of
course, that indexes were compiled
after the author had his page proof.
120
AN&Q
But the compositor could still have
added page numbers in sequence.
Why didn t he? Lawrence S.
Thompson, AN&Q
"The Perverts", by William Lee
Howard, M.D., dedicated to E. A.
Poe I cannot find any con
temporary reviews or later refer
ences to this novel or its author.
Who was he? The volume was
published in New York by C. W.
Dillingham Co. [c!901], and is, in
terestingly, inscribed "To the mem
ory of Edgar Allan Poe as a tribute
to his genius and in recognition of
his struggles with a psychic incu
bus, this book is sincerely dedi
cated by the author". The curious
blue cloth binding shows a silver
outline of an heraldic shield of un
usual shape bearing the bend-sin
ister gules marred by splashes
azure "the blot on the escutch
eon". I would especially like to
have citations to reviews or later
references. Brian Payer, Port
land, Maine
Linnean Society (London) Are
there any records extant that indi
cate the size of the print order for
the Proceedings of the Linnean So-
ciety (London) Zoology Vol.
Ill, 1859 (containing the Darwin/
Wallace joint contribution)? Any
clue to print orders in the midcen-
tury will be helpful. Timothy
Planter, Kansas City, Mo.
"Richmond shilling" What was
(is?) it? Sam Meyers, Peekskill,
NX.
"One salmons head is worth all the
frogs heads in the world" Who
said it and why? Margaret
Porter, Marblehead, Mass.
FREE! On application, one
year s subscription to AN&Q for
individuals who Reply to pre
viously unanswered Queries,
Vols. I-V, before the conclusion
of Volume X.
REPLIES
M.A. as a "Free degree" (X:71)
First, I believe Mr Cahill
means a B.A. Honours degree
(rather than Honors). Second, I
think the fact is just the opposite
of what is suggested: the M.A.
which can follow (but not auto
matically) is neither "free" nor
"given". As I understand it, the
holder of a B.A. Honours degree
from Cambridge ( and Oxford, and,
possibly, Edinburgh) can choose
to remain a "member" of his col
lege after the degree is conferred;
for this there is an annual member
ship fee. After (five? seven?) years
of membership, application can be
made for the M.A,, which is then
conferred, apparently on the as
sumption that with this additional
period of maturation, the holder
of an Honours degree obviously is
qualified for the higher degree. If
you want to put it crudely, the
M.A. is bought; there are no addi
tional courses or examinations re
quired. C. Donald Cook, To
ronto
Chateaubriand quote from where?
(X:88) The quotation is from
Lucretius On the Nature of Things
II, 11. 1-2 "Sweet it is, when on the
great sea the winds are buffeting
the waters, to gaze from the land
April 1972
121
on another s great struggles; not
because it is pleasure or joy that
any one should be distressed, but
because it is sweet to perceive
from what misfortune you yourself
are free".
The translation of these lines into
the quotation Chateaubriand used
is further indicated in Henry P.
Spring s Chateaubriand at the
Crossways; a Character Study. An
alyzing the Non-Literary Sources of
Chateaubriand s Opinions as Ex
pressed in the Essai Sur Les Rvo-
lutions. New York: Columbia Uni
versity Press, 1924. Jerry Drost,
Williamsville, N.Y.
. The quotation in
Chateaubriand s Essai historique
sur les Revolutions comes from
stanza 67 of Book III of Samuel
Daniel s The Civil Wars. Looking
"out at a little grate on "the morn
ing of that day, which was his last",
Richard II exclaims: "Thrice happy
you that looke, as from the shore,/
And haue no venture in the wracke
you see;/ No int rest, no occasion
to deplore/ Other mens trauailes,
while your selues sit free./ How
much doth your sweet rest make vs
the more/ To see our miserie, and
what we bee!/ Whose blinded
Greatness, euer in turmoyle,/ Still
seeking happy life, makes life a
toyle". See Laurence Michel s edi
tion of The Civil Wars (New Ha
ven, 1958), pp. 145-146. An
thony W. Shipps, Indiana Univer
sity Libraries
Trotzky Affair today ( VIIL74)
Although not a direct answer to
the Query, readers may be inter
ested in the very fascinating article
by Christopher Weaver, "The As
sassination of Trotsky" in History
Today, October 1971, pp. 697-707.
James Klammer, Seattle, Wash.
EDITORS
NOTES & READING
Favoritism? Well, why not: every
time we open a package of new
Dover Publications we are pleased
by the selection of titles and the
excellence of the reprints (or orig
inal books, which are coming more
frequently). This time it s the in
famous Malleus Maleficarum of
Heinrich Kramer and James
Sprenger (circa 1486), with a fa
mous introduction, bibliography,
and notes by the scholarly Mon
tague Summers. This is an un
abridged republication of a 1928
volume, with the Summers Intro
duction prepared for a 1948 re
print. The exact reproduction is
more readable though because of
some amplification of type size on
a whiter paper; so the well-made
$3.95 paperback is better than any
other edition! Another reason to
favor Dover!
Superb from a scholarly standpoint
and from the standpoint of facsim
ile reproduction, is the Capitular e
de Villis. Cod. Guelf. 254 Helmst.
der Herzog August Bibliothek,
Wolfeributtel, herausgegeben und
eingeleitet von Carlrichard Briihl
(Stuttgart: Verlag Miiller und
Schindler [Sonnenbergstr. 55],
1971; 2 vols. [vol. I, commentary,
glossary, bibliographical data, and
transliteration, 63 pp.; vol. II, fac-
122
AN&Q
simile in exact format of original,
13 x 32 cm., 32 pp.]; "Dokumente
zur deutschen Geschichte in Fak-
similes", Reihe I, Mittelalter, Band
I; DM180. -). The "Capitulare" is
a decree relating to imperial vil
lages and estates dating from about
812 A.D., and it is a basic source
for our knowledge of mediaeval
administration. The manuscript
also contains ten letters from Leo
III to Charlemagne and the "Bre-
vium exempla",
A most unusual bibliography is the
list of American Indian Periodicals
in the Princeton University Library
(1970). This "Preliminary List",
compiled by Alfred L. Bush and
Robert S. Fraser, reports on a col
lection begun with a conscious ef
fort in 1967, a collection which in
cludes only periodicals produced
by or for the American Indian, and
represents only periodicals having
at least one issue in the Princeton
University Library, whether in the
original microform., or photo
graphed copies.
The Associates of the John Carter
Brown Library, at Providence, have
published a magnificent catalogue
of an exhibition, The British Look
at America During the Age of Sam
uel Johnson, with an Address by
Herman W. Liebert of Yale. The
fully indexed catalogue of the 118
items exhibited is handsomely illus
trated with facsimiles and other
pictorial reproductions, and almost
all items include explanatory an
notations. Only 250 copies are for
sale ($10), and should be ordered
from The John Carter Brown Li
brary, Providence, Rhode Island
02912.
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
Gheeraert Vorselman, Eenen nyeu-
wen coock boeck. Kookboek samen-
gesteld en van commentaar voor-
zien door Elly Cockx-lndestege
(Wiesbaden; Guido Pressler, 1971;
282 pp.; DM198. -), is edited from
the unicum in the Rosenwald Col
lection of the Library of Congress.
It contains some 500 recipes, re
corded by Vorselman, a physician,
with an eye to their medical value.
Especially valuable are Mme.
Cockx-Indestege s "lexicographical
notes" which show the strong in
fluence of Latin, French, and Ital
ian on Dutch word formation in
the field of gastronomic literature.
The rich collections of Reclams
Universal-Bibliothek ( Stuttgart :
Philipp Reclam Jun. ) defy the spa
tial limitations of this column and
can only be mentioned by title, but
they deserve at least this minimal
attention. In the area of German
literature there is Hans Jakob
Christoph von Grimmelshausen,
Lebensbeschreibung der Erzbe-
trugerin tmd Landstorzerin Cou-
msche (1971, 179 pp.; UB 7998/99),
edited by Klaus Haberkamm and
Giinther Weydt; Catharina Elisa-
betha Textor Goethe s Briefe an
ihren Sohn, Johann Wolfgang, an
Christiane und August von Goethe
(1971, 327 pp.; UB 2786/89), edited
by Jiirgen Fackert from the surviv-
April 1972
123
ing correspondence which Goethe
did not destroy; Schiller, Kallias
oder aber die Schonheit, Vber An-
mut und Wurde (1971, 173 pp.;
UB 9307/08), edited by Klaus L.
Berghahn; Adelbert von Chamisso,
Gedichte und Versgeschichten
(1971, 160 pp.; UB 313/14), edited
by Peter von Matt; and in the in
valuable series of "Erlauterungen
und Dokumente", an innovation of
Reclam of Stuttgart, Jiirgen Hein s
commentary and analysis of Gott
fried Keller, Romeo und Julia auj
dem Dorfe (1971, 88 pp.; UB 8114).
In foreign literatures there is the
very important parallel English and
German text of Englische Barock-
gedichte ( 1971, 440 pp.; UB 9315-
19/19a), selected, edited and anno
tated by Hermann Fischer; Geof
frey James Warnock, Englische
Philosophie im 20. Jahrhundert
(1971, 191 pp.; UB 9309/11), trans
lated by Eberhard Bubser; Benga-
lische Erzdhlungen (1971, 103 pp.;
UB 9306), translated and edited by
Manfred Feldsieper; Boris Paster
nak, Sicheres Geleit (1971, 133 pp.;
UB 7968/69); and August Strind-
berg, Der Vater (1971, 69 pp.; UB
2489). Here is a sample which
should tempt even the most im
pecunious reader to put in a stand
ing order for the UB, the prototype
of the "paperback", still the best
and least expensive.
Recent Cambridge paperbacks in
clude W. K. C. Guthrie, Socrates
(Cambridge: At the University
Press, 1971; 200 pp.; $3.45), orig
inally published Part 2 of A His
tory of Greek Philosophy, vol. Ill
(Cambridge, 1969); Guthries The
Sophists (1971; 345 pp.; $4.75),
originally published as Part I of
A History of Greek Philosophy, vol.
Ill (1969); and Richard Graham,
Britain and the Onset of Moderni
zation in Brazil, 1850-1914 (1972;
383 pp.; $3.95), originally pub
lished in the "Cambridge Latin
American Studies" vol. 4 (1968).
The great Deutsches Literatur-
Lexikon, founded by Wilhelm
Kosch and continued by Bruno
Berger with the collaboration of
some of the ablest students of Ger
man literature is now in the third
volume of the third and completely
revised edition (Bern & Munich:
Francke Verlag, 1971; 1047 cols.).
It covers Davidis-Eichendorff. The
bibliographies are necessarily se
lective, yet they provide an eligible
point of departure for special
studies. Thus the biography of
Eichendorff is in cols. 1019-1021,
his bibliography in cols. 1021-1046.
John Dunn, Modern Revolutions,
an Introduction to the Analysis of
a Political Phenomenon (Cam
bridge: 1972; 346 pp.; $4.95), is a
collection of case studies of Russia,
Mexico, China, Yugoslavia, Viet
nam, Algeria, Turkey, and Cuba,
with an introduction on the ideo
logical dilemmas of modern revo
lution and its analysts and a con
clusion on approaches to the
ideological assessment and causal
explanation of modern revolutions.
Here is a sound, perceptive, and
well documented work; but it omits
the most disastrous revolution of
modern times, the Machtuber-
nahme of the National Socialist
Democratic Workers Party in 1933.
Comparison in more detail with
the revolutions of the past such as
124
the Hussite, the French, and those
of the two Americas would have
been useful.
Jean Malignon, Dictionnaire des
farivains frangais (Paris: Editions
du Seuil, 1971; 552 pp.), is an il
lustrated biographical dictionary of
the truly great French writers. It
begins with the troubadours and
ends with authors born in 1914.
There are 143 contemporary au
thors as against 138 for the nine
earlier centuries. The articles are
in a style both lively and learned,
and the student of French litera
ture will neglect this book at his
own peril.
Andreas Heusler, Deutsche Vers-
geschichte, mit Einschluss des Alt-
englischen und altnordischen Stab-
reimverses (Berlin: Walter de
Gruyter, 1968; 3 vols.; reprint of
second ed., 1956; "Pauls Grundriss
der germanischen Philologie", 8, i,
ii ? iii; DM102. -), is the classic
work on the history of German
(and early Germanic) prosody. The
reprinting and updating of various
parts of Pauls "Grundriss" is a ma
jor contribution to scholarship by
the firm of Walter de Gruyter.
BOOK REVIEW
CAREY, George. A Faraway Time and
Place: Lore of the Eastern Shore. N.Y.:
Robert B. Luce (distributed by David
McKay Co.), 1971. $6.95
The "Eastern Shore" is that low,
slender part of Maryland separated from
the mainland by the Chesapeake Bay
and bounded on the east by Delaware
AN&Q
and the Atlantic. Unlike its modern
urban neighbor to the west, the East
ern Shore still maintains many of the
earmarks of an earlier and simpler time.
Its people are yet rural, racially homo
geneous, and dependent upon the water
for their livelihood. Oysters, clams,
dredging the bay dictates their lives,
In this environment old-fashioned evan
gelical religion retains a vital hold on
the people; the manners, language, and
superstitions of the past linger on. A
visitor from bustling Baltimore or Wash
ington feels as though he has traveled
not only a hundred miles but also a cen
tury back in time.
One immediately notices that the
tempo of life is slower. Time seems
something to be lived with, not fought
against. The very vocations of the in
habitants provide leisure hours for con
versation. On long winter afternoons
around the heater in a country store,
through drowsy summer evenings, on
the slow journey to a fishing bank, dur
ing the calm periods that still a boat s
progress, tales are swapped, exaggera
tions made and challenged, riddles
posed. The uncertainty of sea, wind, and
the catch give rise to "signs", good
luck charms, methods of predicting the
weather, ways to attract the wind. With
out the competition until recently of
movies and television, such folkways
have survived and indeed almost thrived
on the Eastern Shore.
Unfortunately the way of life de
scribed here which seems so nostalgic to
most of us is destined to change. The
beauty and serenity of the land and
water are attracting increasing thousands
of tourists, summer residents, and year
round retirees. The imminent comple
tion of a second bay bridge connecting
Baltimore to the Eastern Shore will in
sure the continuation of the onrush. The
entire character of the quaint section is
being rapidly changed. The old customs
will soon be a thing of the past; new
tales and tokens will replace those that
have lingered in virtual isolation from
the East Coast megalopolis.
The primary value of George Carey s
book is that it so faithfully captures and
recreates this Eastern Shore lore that,
though rich now, is soon to disappear as
April 1972
125
a viable folk art. Until recently a pro
fessor at the University of Maryland, Dr
Carey spent hundreds of hours roaming
that portion of the Eastern Shore near
Crisfield and Smith Island. Armed with
energy, the right questions, and a tape
recorder, he has elicited every conceiv
able kind of rural and water lore. Sitting
around the country stores, interviewing
old men and women who were reputed
ly the best story-tellers, oystering and
dredging along with the watermen them
selves, he had discovered and quarried
an immensely rich lode of folklore. And
he has transcribed these sayings with
an authenticity of syntax, pronuncia
tion, and earthiness that keeps them
alive and vibrant. Never does his re
counting bear the marks of pedantry or
affectation. There is little analysis, and
only a minimum of comparative com
ments, but his intention has been to
capture the flavor of Eastern Shore lore,
and that he has done with remarkable
skill.
Certainly a case can be made that
folklore reflects the historical experi
ences of a people, and the tales Carey
relates on religious themes, for example,
are indicative of the strong Methodist
heritage of the region. Folklore keeps
alive the memory of popular heroes and
villains, remarkable occurrences, acci
dental phenomena, and so forth the
stuff for which archival evidence is
usually lacking. Carey s recitation of
dozens of stories, ghost tales, skilled
pilots, lucky boats, famed strong men,
home remedies for every conceivable
affliction, cLarms for removing bad luck
all these help one to understand the
past and present of the Eastern Shore.
Yet future scholars will be most thank
ful to Carey not for what these folk
tales indicate, but for his saving them
from extinction. Saints and rogues, anec
dotes and jests, tall tales and legends,
folk speech and "belief tales", nick
names and courting habits, fools and
heroes, even folk medicine all are here
in profusion. For example, if you have a
baby born in your family, immediately
"take it upstairs or hold it up high so
that it will be high-minded". Want to
remove a wart? "Go out in the woods
and drive a nail in a tree. File on the
nail the number of warts you have. Then
walk away and never look back, and
your warts will disappear". Want to
keep your dog or cat from straying?
Then "measure their tail, pluck out one
hair from their tail, and nail it to the
doorsilT. And if you re wise, you ll avoid
"Lickin Billy Bradshaw". Once in a fight
he kicked at a man and missed, but
his shoe came off and broke the board
ing of a wall. If you need a breeze to
fill your sails, toss a penny over you*
back. Or stick a knife in the mast in the
direction, you wish the wind to blow.
And never paint your boat blue, for
that only invites bad luck. Be careful
if you tend to brag or exaggerate; on
the Eastern Shore you might be bested.
Haven t you heard about the canyon so
wide that if you yelled just before bed
time the echo would waken you in the
morning? Why, old Uncle Rubin of Tan
gier Island had such a mighty voice that
when he hollered whoa to his team,
horses two miles away stopped. These
are kinds of voices that can really leave
an echo.
Many of the stories Carey relates seem
ridiculous, strange, maybe foreign. They
represent the beliefs, speech, and cus
toms of an America that is very alien
to most of us. But it is an America that
was once common, and the Eastern
Shore was for decades a kind of living
museum. Those days are numbered.
Ocean City crowds and urban boating
and fishing enthusiasts are gradually
homogenizing all of Maryland. In an
age of technology run wild and en
vironmental destruction, in the frenzy of
modem life, the lore of the Eastern
Shore, preserved and revealed in color
ful prose, provides a leisurely and vi
carious escape into a seemingly faraway
time and place where life was simpler;
its joys, frustrations, and achievements
felt first hand; and where there was a
quiet harmony between man and na
ture. We are all the richer for having
this experience available through the
source book of author George Carey.
Thankfully, the lore he lovingly relates
can now never completely disappear.
John B. Boles, Assistant Professor of
History, Towson State College, Balti
more, Md
126
AN&Q
REVIEW LETTER
Letter from London, January 1972
MERVYN PEAKE
An exhibition of the work of Mervyn
Peake (1911-68) was held in London
during January 1972 at the National Book
League, 7 Albemarle Street. Under the
title Word and Image 111, it followed
Wyndham Lewis and Michael Ayrton,
and preceded David Jones (Word and
Image IV) which takes place during
February.
I write this because I know that there
is an increasing number of readers in the
States who admire and collect the books
and illustrative work of Mervyn Peake,
and though the exhibition will certainly
be past long before this note appears,
copies of the catalogue are still available
at 1.00, and this evokes much of the
spirit of the exhibition as well as being
a useful checklist for the literary (and
other) excursions of this lyrical and im
aginative genius.
Peake s wife, Maeve Gilmore, who was
both inspiration and model for many of
his drawings, paintings and illustrations,
has written a sensitive, interesting and
very informative introduction to the cat
alogue, which in f eeling at least has more
than a little in common with Helen
Thomas As It Was. She writes of his
working life, his early but influential
memories of his boyhood in China, and
his first journey to the island of Sark in
the early thirties, where he exhibited
with the C 20 s Group . She describes his
wartime experiences in a devastated Ger
many, and his drawings of the horrors
of the concentration camps, and the in
fluence of all this on such a sensitive and
perceptive being. After the war, in 1946,
Peake returned to Sark where he lived
for three years with his wife and young
family in a near-idyllic life on this tiny
island where he again busied himself
drawing, painting landscapes and the
Sarkees, writing Gormenghast. While try
ing to eke out a living he illustrated
among other things Treasure Island
(Eyre and Spottiswoode), Household
Tales (Eyre and Spottiswoode), The
Quest for Sita (Faber), and Alice s Ad
ventures in Wonderland (Stockholm and
Zephyr). Some of the paintings he did
were exhibited at the Arcade Gallery
and the Adams Gallery. Increasingly,
however, the lack of immediate contact
with publishers and others forced Peake,
as it has done many before him, to re
turn to England first to Kent then to
London, and Surrey.
The exhibition and the catalogue of
course, deal with Peake s life and work,
the parallel between his written and his
visual work, the way each stimulated
and influenced the other. There are the
poems, published and unpublished, ar
ticles, drawings, paintings from his
early beginnings in 1923 and 4 right up
to things published posthumously. In the
catalogue, as in the exhibition, Maeve
has re-created the spirit of questing hap
piness, the magic which was the man.
There is only a hint of the tragic last
decade, his illness and his decline. For
those who knew something of his trag
edy, there is perhaps rather more than
a hint, for in looking for it with a sym
pathetic eye, some of the drawings and
paintings half -anticipate, if unknowingly,
what was to come the tragic and
lonely ending to a life that had always,
whatever the stresses, seemed full of
hope and gaiety .
The spirit of the whole thing exhibi
tion, catalogue, writing, painting, draw
ing, his approach to Me, his pictorial
lyricism, was so intense at times as to
verge on the ridiculous, which was both
his protection and his weakness. This is
summed up, perhaps most aptly, in the
following story. Peake decided to go to
France, and blindfolded, stuck a pin in
the map of France, Having arrived at
the randomly chosen Clermont-Ferrand,
and deciding to sleep in the open, he
threw his shoes at the nightingales, ex
asperated by their relentless singing .
Rigby Graham, Leicester, England
Remember! Send comments
on the desirability of a
10-year Cumulative Index.
April 1972
NOTES
(Continued from p. 118)
HENRY JAMES AND THE
NEGRO QUESTION
HISTORIANS AND LITERARY CRITICS
alike have noted that Henry James
like many of his English and
American contemporaries had
strong, though not always well-
defined, feelings concerning the
race question. 1 James occasionally
expressed anti-Semitic prejudices,
and he seems to have disliked (with
varying intensity) other immigrants
from southern and eastern Europe. 2
When he returned to the United
States for a visit in 1904, he saw
the "immigrant intruder" every
where and was somewhat discon
certed by the extent to which the
"alien multitudes" had taken pos
session of New York City and New
England. 3
James 7 view of the Negro ques
tion in the American South is not
so well known. His attitude re
garding this subject is best re
vealed in his reaction to a group of
Negro porters he encountered in
Washington during a trip through
the southeastern United States in
1904: "I was waiting, in a cab, at
the railway-station, for the delivery
of my luggage after my arrival,
while a group of tatterdemalion
darkies lounged and sunned them
selves within range. To take in
with any attention two or three of
these figures had surely been to
feel one s self introduced at a
bound to a formidable question,
which rose suddenly like some
beast that had sprung from the
jungle. These were its far outposts;
127
they represented the Southern
black as we knew him not, and had
not within the memory of man
known him, at the North; and to
see him there, ragged and rudi
mentary, yet all portentous and *in
possession of his rights as a man ,
was to be not a little discomposed
.... One understood at a glance
how he must loom, how he must
count ... [in the South]". 4
James concluded his brief com
mentary on the southern Negro
and his place in southern life by
noting that he felt no "urgency of
preaching, southward, a sweet rea
sonableness about . . . [the Negro
question]". 5
In his Henry James and the
Jacobites, Maxwell Geismar has
stated that "perhaps this was Henry
James s most profound betrayal of
his democratic American heritage
. . .". 6 But did James disinclina
tion to preach or moralize about
the southern Negro question really
constitute such a "betrayal"? First
and foremost a literary artist,
James* central concerns lay else
where; in addition, James had had
little actual contact with the Negro
and for that matter, with the
"alien multitudes".
For James and many of his con
temporaries, the southern Negro
question was simply a vaguely-
defined problem best left for solu
tion to those (in this case, white
southerners) who supposedly had
the greatest understanding of the
problem. Believing that the "moral"
sense of a work of art is wholly
dependent "on the amount of felt
life concerned in producing it",
James quite naturally explored
moral issues in his fiction with
perception and delicacy. Having
128
AN&Q
little sense of "felt life" with re
gard to the southern Negro, how
ever, he perceived no need to lec
ture southern whites or moralize
about the southern Negro ques
tion,
L. Moody Simm, jr
Illinois State University
Normal, Illinois
1. E. g., Thomas F. Gossett, Race: The
History of an Idea in America (Dal
las, Texas, 1963), p. 305; F. W. Du-
pee, Henry James (New York, 1951),
p. 236.
2. Henry James, The American Scene
(New York, 1907), pp. 124-125, 255-
256.
3. Dupee, Henry James, p, 236.
4. James, The American Scene, pp. 360-
361.
5. Ibid., p. 361.
6. Maxwell Geismar, Henry James and
the Jacobites (Boston, 1963), p. 352.
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NOTES
SOME LATE 16TH- AND
EARLY 17TH-CENTURY
ANTEDATINGS OF THE OED
THE FOLLOWNIG MISCELLANY of the
antedatings of the OED is mostly
from Thomas Nashe, 1 but is en
larged with words from George
Puttenham s The Arte of English
Poesie and from two early English
dictionaries, those of John Bullokar
and of Henry Cockeram. When in
two instances I have included sev
eral antedatings of the OED, the
second and third citations are from
Bullokar and Cockeram.
affluence. [OED, 3.elUpt. y "pro
fusion or abundance of worldly
possessions; wealth", 1603]. Nashe,
Christs Teares over lerusalem, 1593
(II, 145): "Many of the Saints and
Martyrs of the Primitiue Church,
when they might haue spent theyr
daies in all affluence and delicacy".
anthropophagite. [OED, 1623.
(With the indication that no "actual
instance of the word is known to
us")]. Christs Teares, 1593 (II, 73):
"Ratifide it is (bad-fated Saturnine
boy) that thou must be Anthro-
pophagizd [Nashe s italics] by
thine owne Mother".
attic. [OED a. and sb. 2, "having
characteristics peculiarly Athenian;
hence, of literary style, etc." 1633],
Cockeram, The English Diction-
arie, 1623: "Atticke. Wittie".
collachrymation. [OED, "weep
ing together", 1623] Nashe, The
Vnfortunate Traueller, 1594 (II,
305): "with a lustfull collachrima-
tion lamenting my lewish Premu-
nire".
combustion. [OED 1. "action or
process of burning", 1600]. Nashe,
Noshes Lenten Stuffe. 1599 (III,
208): "the sacrifizing of it on the
coales, that his diligent seruice in
broyling and combustion of it".
computation. [OED, l.b. "com
puted number or amount, a reck
oning", 1713]. Puttenham, The
Arte of English Poesie, 1589 (p.57):
"not a bare number as that of the
Arithmaticall coputation is". Bul
lokar, An English Expositor, 1616:
"Computation. An account, or reck
oning". Cockeram, 1623: "Compu
tation. An account".
conjecturally. [OED, "in a con
jectural manner", 1594]. Nashe, The
Anatomie of Absurdity, 1589 (I,
19): "which each amourous Cour
tier by his veneriall experience may
coniecturallie conceiue".
controverted. [OES, ppl.a. fl.
"made an object of contest", 1632].
Lenten Stuffe, 1599 (III, 215): "on
bare suspito in such cases shal but
haue his name controuerted
amongst the".
cow-boy. [OED 1. "boy who
tends cows", 1725]. Cockeram,
1623: "Bubulcitate. To cry like a
cow boy". 2
devolution. [OED Li. lit. "rolling
down", 1623]. Bullokar, 1616:
"Deuolution. A rolling along".
[OED 1.2. fig. "the rolling or pass
ing on of time", 1630]. Vnfortunate
Traueller, 1594 (II, 256): "The ex
ecution day aspired to his vtmost
132
AN&Q
deuolution". Lenten Stuffe, 1599
(III, 194): "in smal deuolution of
yeres, from his throne he was
chacecT.
deminutive. [OED A.4. "of less
size or degree than the ordinary",
1602]. Lenten Stuffe, 1599 (III,
147): "These be to notifie to your
diminutiue excelsitude".
energetical. [OED 3. "full of en
ergy; . . . forcible, emphatic",
1631] Nashe, Haue with you to
Saffron-Waldon, 1596 (III, 44): "In
manie extraordinaire remarkeable
energeticall lines". 3 Bullokar 1616,
and Cockeram, 1623: "Energeticall
Very forcible and strong".
epitomize. [OED l.b. "to sum
marize", 1624]. Vnfortunate Trauel-
ler y 1599 (II, 320): "It is not so nat-
urall for me to epitomize his im-
pietie".
inclusive. [OED 2. "character
ized by being included or compre
hended in something else", 1616].
Lenten Stuffe (III, 193): "that fable
of Midas eating gold had no other
shaddow or inclusiue pith in it".
personate. [OED 1. "to act or
play the part of (a character in a
drama or the like)" 1589]. Saffron-
Waldon, 1596 (III, 23): "my selfe,
whom I personate as the Respond
ent".
personated. [OED ppl.a.
"feigned, pretended", 1606]. Saf
fron-Waldon, 1596 (III, 80): "the
carrying vp of his gowne, his nice
gate on his pantoffles, or the af
fected accent of his speach, but
they personated".
scaevity. [OED "perverse, un
lucky", 1656]. Cockeram, 1623:
"Scaevity. Vnlucldnesse".
vociferate. [OED 2. trans, "to
shout out clamourously", 1748].
Lenten Stuff e y 1599 (III, 190): "a
staffe in his hande and a kirchiefe
on his head, and very lamentably
vociferated veale, veale veale".
James A. Riddell
California State College
Dominguez Hills, California
1. All citations of Nashe are from R. B.
Mckerrow s edition of The Works, rev.
F. P. Wilson, 5 vols. (Oxford: Black-
well, 1958), volume and page num
bers are given in parentheses.
2. Cockeram, source, Thomas Thomas"
Dictionarium (5th ed., 1596), has:
"Bubucito, ... To crie like a heard-
man".
3. Nashe is apparently satirizing Gabriel
Harvey s use of the word, which use
would date it even earlier. I have not
been able to locate the word in Har
vey.
POPE S HUMANITARIANISM
IN ONE CHAPTER of his New Light
on Pope (1949) Norman Ault di
rects attention to Pope s "innate
humanitarianism", a quality which
had for more than a century been
denied the "wicked wasp of Twick
enham . Ault s chapter, "Pope and
His Dogs", argues persuasively that
the poet s humanitarianism, though
demonstrable in a number of ways,
is most interestingly seen in his
passionate hatred of cruelty to ani
mals in general and his passionate
love of dogs in particular.
Pope s Guardian essay No. 61
(May 21, 1713) stands as his most
thorough animadiversion against
all forms of barbarity to animals,
with special attention to cruel
sports and to culinary preparations
which required lobsters to be
roasted alive and pigs to be
whipped to death. It is to Pope s
May 1972
133
love of dogs, however, that Ault
directs most of his attention; and
to the catalogue of epistolary and
poetic evidences submitted by him,
I should like to add two remark
able instances which support the
thesis that Pope s affection for dogs
and his pleasant intimacy with a
long succession of them as pets
serve to soften the rough edges of
the poet s character and to help
establish his humanitarianism.
In his 1725 edition of Shake
speare s Works Pope had marked
with approving commas a great
many "shining passages" in the
plays. Among these are two
speeches which demonstrate his
love of dogs. In Two Gentlemen of
Verona Pope marked the witty and
tender scene in which Launce com
plains that at his departure his
family was weeping, "our maid
howling, our cat wringing her
hands", but his dog Crab shed
"not a tear" (Act II, scene 3).
Again in Two Gentlemen of Ve
rona, Pope approved the second
delightful Launce and Crab scene,
in which Launce humanely takes
upon himself the guilt for Crab s
urinary indiscretion, but berates
the poor animal for not following
his master s example: "When didst
thou see me heave up my leg and
make water against a gentlewom
an s farthingale?" (Act IV, Sc. 4).
There is, of course, enough hu
mor in both to make them "shin
ing" passages, but we can be cer
tain that their selection was ulti
mately determined by the charm
and perception in one poet s de
scriptions of another s favorite pets.
Arthur R. Huseboe
Augustana College
South Dakota
MELVILLE AND THE IRON
CROWN OF LOMBARDY
THE BRIEF CHAPTER in Moby Dick
entitled "Sunset" is an interior
monologue. Melville s use of the
convention is beyond the scope of
this paper; 1 I will examine only
one allusion in the chapter and
attempt to explore the ways in
which it illuminates the character
of Ahab at this juncture in the
novel.
The Iron Crown of Lombardy,
housed in the cathedral at Monza,
has an interesting history. Presum
ably a votive crown, being too
small to be worn by anyone but a
child, it is composed of a band of
iron enclosed in a circlet made up
of six separate pieces of gold
hinged together and decorated
with 22 jewels (mostly pearls and
emeralds), 26 gold roses, and 24
enamels. Legend has it that the
iron ring was hammered from a
nail from the true cross brought to
Constantinople by Helena, wife of
Constantine. 2 Although the legend
has been disproved, the crown can
be historically associated with
Christianity, for it was made at
the command of Theodelinda,
daughter of Garibald, Duke of
Turin, and wife of Anthari, King
of the Lombards. After Anthari
brought unity to the anarchical
Italian tribes, Theodelinda brought
Christianity to Anthari and his uni
fied nation. 3 The crown was later
used in the coronations of the Holy
Roman Emperors Charles IV and
Charles V and, in 1805, the son of
a Corsican attorney placed it on
his head and crowned himself King
of Italy. 4
The varied associations of the
crown can, I think, be applied to
134
AN&Q
Melville s Ahab, for, like Napoleon,
Aliah is master of a nation, is mo
tivated by a single idea of con
quest, is defeated in a single deci
sive battle, and dies bound to an
island far from land. Like Charles
V, Ahab brings unity from national
diversity only to have his creation
crumble with his death.
The crown, a mixture of gold
and iron from the cross, may be
both a temporal crown and the
Biblical Crown of Thorns. Ahab
says that "the jagged edge galls
me so". 5 This statement would
tend to make a Christ-figure of
Ahab (which he may be if the
whale is Evil, but that is another
problem) were it not for the fact
that the beauty of the crown with
its gold and jewels is emphasized;
it is "bright with many a gem". The
crown of gold thorns "dazzlingly
confounds" Ahab, who sees "not its
far flashings", and so pains him
that his train seems to beat
against the solid metal". Thus the
secular is intermingled with the re
ligious. Ahab can control his secu
lar world, but he cannot wield ab
solute power over his mind or emo
tions. Like Christ, he is separated
from society by his mission, but
unlike Christ he brings death to
those who follow him, not redemp
tion.
To urge the validity of one read
ing over all others is to approach
Moby Dick with a thesis and there
fore, I think, to under-read the
work. The gold and iron crown of
Lombardy cannot be read apart
from all the other golden and cir
cular symbols in the story and thus
will bear many more interpreta
tions than the few I have suggested
based on its historical associations
alone. Simple equations do not
solve problems of Romantic sym
bolism.
E. Bruce Kirkham
University of North Carolina
Chapel Hill, N.C.
1. N. Bryllion Fagin, "Herman Melville
and the Interior Monologue", AL, VI
(1935), 433-434.
2. Thomas Hodgkin, Italy and Her In
vaders (Oxford, 1895), VI, 570.
3. R. W. Church, "Lombards", Ency
clopedia Britannica, llth ed. (New
York, 1910), XVI, 933.
4. Hodgkin, VI, 571.
5. Herman Melville, Moby Dick, ed.
Willard Thorp (New York, 1947),
p. 157. All subsequent references are
to this page.
LONGFELLOW S "SLEEP"
AND FROSTS
"AFTER APPLE-PICKING"
THAT ROBERT FROST admired the
poetics of Henry Longfellow and
was in some measure influenced by
him is generally known, albeit the
specific character of that influence
is at best vaguely understood. As a
contribution to that understanding,
one might well begin by examining
Longfellow s sonnet "Sleep" (1875)
as a highly probable source for
Frost s "After Apple-Picking". So
similar in theme, structure and
tone are they that Frost s artistic
conception for his poem could not
have been merely coincidental.
The themes of both poems center
about the narrator s world-weari
ness, his physical and spiritual fa
tigue and his desire for sleep as
the only balm for his lassitude.
May 1972
feach narrator suggests, moreover,
that the sleep to which he refers
is death. Longfellow makes that as
sociation in his last three lines:
"Ah, with what subtle meaning did
the Greek/ Call thee [sleep] the
lesser mystery at the feast/ Where
of the greater mystery is death!"
Frost, with his dark "essence of
winter sleep" and his long sleep",
unmistakably conveys the same im
pression, though in more sugges
tive and guarded terms. The fall
ing apples and the conclusion of
the autumn harvest both reinforce
the death suggestion.
Although Frost s poem has pre
cisely three times the number of
lines that Longfellow s sonnet has,
it unfolds in much the same way.
Longfellow s narrator begins with
a call for sleep ("lull me to sleep,
ye winds") while Frost s declares
that he is "drowsing off. Both
speakers use eye and sight imagery.
Longfellow cites the "hundred
wakeful eyes of thought" and the
"hundred wakeful eyes of Argus j
Frost has his narrator declare "I
cannot rub the strangeness from
my eyes". Both speakers refer to
their physical pain. Longfellow s
speaker wants his "pain released";
Frost s complains of the "ache" and
"pressure of a ladder-round". As
each poem moves toward its con
clusion, the speaker cites some "au
thority" on sleep and death. In the
Longfellow poem it is the "Greek";
Frost s more rustic and less classi
cal-minded speaker would consult
only the humble woodchuck.
The tone of each poem is one of
obvious fatigue and weathered
spiritual resignation. Longfellow s
"For I am weary and am over
wrought/ With too much toil, with
135
too much care distraught,/ And
with the iron crown of anguish
crowned." has a curious similarity
to Frost s "For I have had too
much/ Of apple-picking: I am
over-tired/ Of the great harvest I
myself desired".
Frost s indebtedness to his
predecessor is, I think, obvious
enough. Still temperamentally dif
ferent from one another, Frost s
only major departure from Long
fellow was to substitute a sage and
mature rusticity for Longfellow s
allusions to classical mythology.
Kenneth T. Reed
Miami University
Hamilton, Ohio
(Notes continued, p. 138}
QUERIES
Guides to local prostitution
and a word problem, "creole"
In my collection of Kentuckiana I
have a copy of the G.A.R. Souve
nir Sporting Guide to Louisville
(N.p.: Wentworth Publishing
House, 1895; 29 pp.). On p. 29
there is the note that "Wentworth s
Souvenir Sporting Guides have
been published in the following
cities: Chicago, World s Fair; New
Orleans, Mardi Gras; Frisco Mid
winter Fair; Memphis Spring
Races. Will be gotten out in At
lanta for the Cotton States Expo
sition, also Dallas for the fight".
The National Union Catalog shows
no locations for any of these, or for
the Louisville one, for that matter.
I would like to have locations of
any copies. Who and where was
136
AN&Q
the Wentworth Publishing Com
pany? Undoubtedly the procurers
of Louisville met all of the trains
coming into the city and pressed
the little pamphlets into the hands
of those attending the encamp
ment. The pamphlets were kept for
practical use, one assumes, then
en route back to home and family,
the veterans were careful to de
stroy them; hence their rarity.
Another point on which I would
like to have a commentary: Much
as ethnic cuisine is popular today,
so also was ethnic sporting popular
in the last century, e.g., the ads for
Signoretta Alfareta (642 Green
Street, p. 26), Jew Louie (612
Green Street, p. 7), and Molly Mc-
Cormick (1027 Madison Street, p.
22), each of whom maintained a
stable of girls of their national ex
traction. On p. 27 Sallie Scott (624
and 626 Green Street) and on p.
28 Kate Payne (640 Green Street)
are advertised as "creole" houses.
Does "creole" mean "Negro" in this
usage? I suspect it does, but I
would like confirmation.
Lawrence S. Thompson,
Origin of a black Judas One of
the more controversial (yet per
haps aesthetically redeemable) as
pects of the popular Broadway hit
"Jesus Christ, Superstar" is the por
trayal of Judas; he is depicted not
only as black, but as heroic, thus
lending a so-called Calvinistic tone
to the production. Though the at
tempted vindication of Judas is evi
dent elsewhere in modern litera
ture (e.g., Robinson Jeffers "Dear
Judas"), I am curious whether the
particular association of color and
hero-worship here may not derive
from the 1623 Folio version of
Othello, where the Moor is desig
nated (through a typographical
slip, I suggest elsewhere) "the base
Judean". Does the "Superstar"
Judas have a truly meaningful basis
elsewhere, or can it be that he is
descended from such an erratum?
JR. F. Fleissner, Wilberforce,
Ohio
Lakewood, NJ. references I
would appreciate hearing of any
references to Lakewood New Jer
sey (previously known as Bricks-
burg and Bergen Iron Works) in
novels, poetry, or general litera
ture. (I am already aware of Mary
H. Norris s Lakewood, Edmund
Wilson s "At Laurelwood", and the
references in Roth s Portnoys Com
plaint and Ginsberg s "Kaddish"). I
would also like to know the date
and place of composition of ** The
Pines " by Richard W. Gilder,
Paul Axel, Newark, NJ.
M.S. Arnoni, writer Is he still
writing and/ or publishing? The
only thing I have to go on is a
friend s copy of "Rights and
Wrongs in the Arab-Israeli Con
flict", by Arnoni, published in 1967
by "The Minority of One Press",
155 Pennington Ave. Passaic, NJ.
07055. Many people would be in
terested in knowing whether he is
still alive and writing, and how to
reach him. Rita P. Solow, Som-
erville, NJ.
Solomon Barrett, jr Informa
tion wanted about him, author of
The Principles of Grammar . . .
Founded on the Immutable Prin
ciple of the Relation Which One
Word Bears to Another (Boston:
Ira Bradley, 1872, and possibly
other editions). Robert Ian
Scott, Saskatoon, Sask., Canada.
May 1972
137
REPLIES
Resurrected Bodies (IX: 122; r X:56
addenda) Instances of exhuma
tions in the 18th century are cited,
though not at great length, in
"Aram", The Monthly Anthology
(Boston), Vol. 3 (September 1806),
pp. 468-473. The disinterments are
for the most part those of religious
personages. Perhaps the best
known of these, noted in the speech
of one Eugene Aram as quoted by
the anonymous author of the ar
ticle, is this: "... in May 1732, the
remains of William Lord Arch
bishop of this province were taken
up, by permission, in this cathedral
[Knaresborough, England]".
In 1835 the skulls of Jonathan
Swift and his Stella were taken
from their burial place in the Ca
thedral Church of Saint Patrick
the Apostle in Dublin. The basic
facts of the removal, and of the
examination of the skulls by Phre
nologists, are recounted in Shane
Leslie s The Skull of Swift: an Ex
tempore Exhumation. Frank K.
Robinson, Knoxville, Tenn.
Mr Dunns Chinese Collection
(X:71) Various citations indi
cate the following: Mr Dunns
Chinese collection, in Philadelphia.
(Philadelphia: Brown, Bicking &
Guilbert, printers, 1841). Conse
quently various editions of a de
scriptive catalogue were published
entitled: "Ten Thousand Chinese
things 9 : a Descriptive Catalogue
of the Chinese Collection, in Phila
delphia; With Miscellaneous Re
marks Upon the Manners, Cus
toms, Trade, and Government of
the Celestial Empire, by W. B.
Langdon, Curator. 1839.
The collection was deposited in
the Philadelphia Museum from
which it was later removed to Lon
don in 1842 (reference: J. T. Scharf
and T. Westcott, History of Phila
delphia, 1884, v. 2. p. 948-949; copy
not available for inspection).
A larger edition of the catalogue
whose Chinese collection was ex
hibited at St George s place, Hyde
Park Corner, London came out in
1842. Various editions of the cata
logue were printed in England up
to 1850. Consequently the Chinese
collection was exhibited in Phila
delphia and London.
Another edition of the descrip
tive catalogue was published in
1850 in New York. Nevertheless, to
assure certainty there is in the His
torical Society of Pennsylvania at
Philadelphia Nathan Dunn s will
. . . 1840-1844, Philadelphia, n.d.
Can the disposition of the collec
tion be gathered from the will?
Jerry Drost, Williamsville, N.Y.
(Replies continued
on p. 143)
"Editors Notes & Reading"
and "Recent Foreign Refer
ence Books" give way this
month to the following long
Note. These columns and
Book Reviews will be con
tinued in subsequent issues.
138
"DON DIEGO" AND THE
BEFOULING OF
ST PAUL S CATHEDRAL
A "DON DIEGO" (cf. modern Da
go") was, in Elizabethan times, a
generic and disparaging term for
a Spaniard. It was in the late 16th
century, however, that a certain in
famous and anonymous Spaniard
allegedly profaned St Paul s Cathe
dral by defecating in it, an act
which earned him the ridicule of
several contemporary dramatists.
Some examples are Dekker and
Webster s Sir Thomas Wyatt (ca.
1602), IV.ii.56-57 (ed. Bowers):
There came but one Dundego in
England, and hee made all Paules
stincke agen, what shall a whole
army of Dondegoes doe my sweete
Countrimen?"; Beaumont and
Fletcher s The Maid in the Mill (b.
1623), ILi. (Cambridge ed.): "Oh,
Diego! the Don was not so sweet
when he perfumed the steeple";
and Middleton s Blurt, Master-
Constable (1601-2), IV.iii.135-36
(ed. Bullen): "If you be kin to
Don Dego that was smelt out in
Paul s, you pack". 1
Whenever allusions to this inci
dent called for annotation in 19th-
century editions of Elizabethan
plays, editors were at a loss for
facts upon which to base an ex
planation. The Reverend Alexan
der Dyce, in a note to his edition
of Sir Thomas Wyatt, 2 confessed
he could find no adequate explana
tion of the incident, and proceeded
to quote an extract from an anony
mous letter that contained but a
vague mention of the affair. 3 Wil
liam Gifford, who annotated the
allusion to Don Diego in Dyce s
AN&Q
1833 edition of Shirley s The Hu
morous Courtier,* noted with dif
fidence: "The circumstance took
place in St. Paul s, and merits no
further notice". J. Payne Collier,
finding a reference to the Spaniard
in the first part of Thomas Hey-
wood s The Fair Maid of the West
(1609-10), IV.iv. (Pearson ed., II,
317), referred the reader to Dyce s
note in the Webster edition A for a
more minute explanation of the
matter"! 5 Modern editions of these
plays, if they do choose to notice
the reference, are hardly more
helpful.
Regrettably, my own research 6
has produced no evidence which
would conclusively confirm or deny
the existence of a real Don Diego
who did the foul deed imputed to
him. There is, however, sufficient
evidence to permit us to re-exam
ine completely earlier notions of
the origin of the allusion. On the
basis of known facts, then, and in
the absence of evidence that would
invalidate it, I offer my conclusion:
the proverbial canard in which a
so-called Don Diego, or Spaniard,
allegedly defecates in St Paul s
Cathedral, or on its steeple, has no
basis in fact; rather, it is a facetious
distortion of an actual historic
event the destructive fire at St
Paul s in 1561.
My reasons are as follows :
(1) On 4 June 1561, the steeple
of St Paul s Cathedral was struck
and destroyed by
... a marueilous great fyrie lightning,
and jimmediately insued a most terrible
hydeous cracke of thunder, suche as sel
dom hath been heard. . . . And some of
the parish of saint Martins then being in
the streate, dyd feele a marueylous strong
May 1972
ayre or whorlewynd, with a smel lyke
brimstone, comming from Paules
Churche, and withal heard the rushe of
the stones which fell from their steple
into the churche. . . . Many fond talkes
goe abrode of the original cause of this
fier. Some say it was the negligence of
plumbers [i.e., repairmen of the lead-
covered spire]. . . . Others suspect it
was done by som wicked practise of
wildfyer or gunpouder, but no iust sus
picions thereof by any examinacion can
be founde hitherto. Some suspect con-
iurers & sorcerers, whereof there is also
no great likelyhode. . . . The true cause
as it semeth, was the tempest. . . . 7
This holocaust was the most mo
mentous event that ever occurred
at the Cathedral; it was memorial
ized by English, French, and Latin
pamphlets, 8 and by a contempo
rary ballad. 9 The event had the
widest publicity, and was to be ex
ceeded in importance only by the
Cathedral s total destruction in the
Great Fire of 1666. On the other
hand, profanations such as gam
bling, brawling, and horse-dealing
were so commonplace at Paul s
throughout this period, 10 that it is
unlikely that any one instance
would command more than scant
attention, or have sufficient noto
riety that an allusion to such an
incident would be understood by
more than a few members of a
playhouse audience. To my knowl
edge, allusions to the Diego s dese
cration occur for the most part in
the drama, where a wide general
knowledge of allusions may be pre
sumed. No other facts, except for
these casual allusions, support the
historicity of the Diego s infamous
deed.
It is my contention, therefore,
that if the doer were important
139
enough to be recognized as a Span
iard, and to be for more than thirty
years the object of reproach in the
public playhouses, then there is a
strong likelihood there would be
some other evidence, from pub
lished or unpublished sources, to
substantiate the incident. Because
such evidence is lacking, we are
permitted to look to the Fire of
1561 as an event of transcendent
importance, one whose undoubted
momentousness would impress St
Paul s and particularly its steeple
on the public s consciousness in
the form of a saying or story.
(2) Beaumont and Fletcher s al
lusion to the incident in The Maid
in the Mill, cited above, makes
specific reference to the steeple:
"Oh, Diego! the Don was not so
sweet when he perfumed the stee
ple". Yet, the steeple of St Paul s
was destroyed by the fire in ques
tion and never re-erected! 11 Before
its destruction, the steeple was the
admired subject of several bal
lads, 12 for the tip of its noble spire
had stood approximately 520 feet
over the center of London for over
four hundred years. 13 Therefore, it
is more reasonable to believe that
if the authors of this play were go
ing to recall the fame of Paul s
steeple nearly fifty years after its
destruction, the fact of the steeple s
melodramatic demise would be far
more memorable than a trivial
and for that time not really un
usual profanation.
(3) Permit me now to re-exam
ine in a new light certain details
of the "Poules Burnyng" pamphlet,
quoted above. To a bystander or
to one who had first-hand informa
tion about the Paul s fire, the "most
terrible hydeous cracke of thunder"
140
could suggest, by means of a sort
of Rabelaisian or "folk" analogy,
comparison to the excremental
function. Similarly, the strong rush
of "ayre or whorlewynd, with a
smel lyke brimstone" affords an all
too obvious comparison. The
pamphlet, moreover, quite clearly
hints that the origin of the disaster
was veiled by mystery, and that
"many fond talkes" were provoked
about this matter. It is not improb
able that one or more irreverent
wags saw the humorous possibili
ties in what was described as an
extraordinary "cracke of thunder"
and a "smel lyke brimstone" and
gave rise to the Don Diego story
by way of a facetious explanation.
(4) Although the pamphlet at
tempts to allay fears that foul play
was involved in the disaster, it does
state that "som wicked practise of
wildfyer or gunpouder" was sus
pected this, despite the fact that
eye-witnesses reported seeing the
"speare pointed flame of fier"
descend upon the church! 14 It may
now be perceived just how, if in
deed the fire gave rise to a face
tious explanation as to its origin,
the resultant joke or saying came
to involve a "Diego", the uncom
plimentary term for a Spaniard.
This is not difficult to understand
when one recalls that anti-Spanish
popular sentiment, stimulated by
national feeling and religious antip
athy, had been fermenting in Eng
land even before Elizabeth came
to the throne. Because Paul s was
esteemed almost as a national mon
ument, there could be no more fit
ting object for an act of Spanish
reprisal. The attribution to a Span
iard could thus have become an
appropriate part of the bawdy joke
AN&Q
for apparently everyone knew
the real cause. Like most good
jokes, this one had the cachet of
plausibility, provided in this in
stance by a pervasive distrust of
Spanish treachery. And the joke
would be the more forceful for its
being made at the expense of Span
ish immodesty.
Can there not also be signifi
cance in the name ascribed to the
Spaniard? In every instance that
he is mentioned by name in con
nection with the infamous deed,
without exception it is with the
generic and disparaging term,
"Don Diego", "Dundego", etc., and
never with any part of a proper
name. Admittedly, this fact alone
tends neither to support nor deny
my theory, because that may be
the term by which the alleged de-
filer of St Paul s came to be known.
Yet it may be urged that the unex-
cepted use of a single, impersonal
slang term for him does lend cre
dence to my contention that this
"Diego" has merely a figurative, or
abstract, reality. It may well be
that he, like the apocryphal "mon
sters" celebrated in popular broad
side ballads, has no existence apart
from a facetious saying that was
fabricated to explain the Cathedral
fire.
(5) For the reasons that the
story was an off-color one, and for
the fact that at its inception the
story could instantly be recognized
for a preposterous distortion of the
St Paul s fire, I maintain that this
is the very type of tale that could
be expected to remain in an oral
tradition for a long time. It is not,
therefore, unusual that the first
written reference to the story as
nearly as I can determine occurs
May 1972
141
in a work published thirty-five
years after the fire. This is Sir John
Harington s ribald dissertation
upon indoor plumbing, The Meta
morphosis of Ajax (1596). In a sec
tion of this work in which the
protagonist, A Jax (with a pun on
"A Jakes ", an outdoor privy), is
defended against his detractors,
this reference is found: "At last to
take up the quarrell Sir M[atthew]
A[rundell] and M[aster] R[alph]
S[heldon] set downe their order,
that he should not be called Cap-
taine A /AX, nor Monsieur A JAX,
but Don A JAX . . ."."
Elizabeth Donno, the recent ed
itor of The Metamorphosis, pro
vides in a footnote the annotation
to this passage that Harington him
self wrote in the margin of the
Markham-Wrenn copy of his work:
"Don Aiax/ because of/ Don
Diego &c". In her footnote, Miss
Donno gives the "Diego" allusion
its traditional explanation, and re
fers the reader to an insulting com
mentary about Harington s work
contained in a letter written by
Thomas Nashe to one William Cot
ton, about whom no precise infor
mation is known. Miss Donno sur
mises that Nashe s antagonism to
Harington stems from the unflat
tering epigram Harington had writ
ten during the Nashe-Harvey con
troversy. Be that as it may, the
letter itself has a fascinating liter
ary history, for when Dyce printed
an excerpt from it to help explain
a puzzling "Diego" allusion in his
edition of Webster s Sir Thomas
Wyatt, he was able to identify
neither of the correspondents. It
was R. B. McKerrow who took up
the letter that Dyce had found
among the manuscripts of Sir Rob
ert Cotton at the British Museum
(Julius C. Ill, 61. 280), and who,
on the basis of internal evidence,
identified Nashe as its author and
placed its date at some time be
tween August and October 1596. 16
It is hardly surprising that Nashe
chose obscenities to express his
distaste for Harington s work, for
its subject-matter fairly invited
such a terminology:
Only mr Harrington of late hath sett vp
sutch filthy stinking lakes in pouls
churchyard, that the stationers wold giue
any mony for a couer for it. what shold
moue him to it I know not, except he
meant to bid a turd in all gentle readers
teeth, or whereas Don Diego & Brokken-
bury 17 beshitt pouls, to preuent the like
inconuenience, he hath reuiued an old
innes a court tricke of turning [it] out
in a paper.
18
Although the letter contains the
most explicit word ever to describe
the Diego s alleged defilement, it
appears in a non-literal context.
For this reason, we are not com
pelled even here to take literally
the act imputed to Don Diego;
because the entire passage conveys
a metaphoric idea, the allusions to
Don Diego and one TBrokkenbury"
may also be interpreted metaphor
ically. Thus, these two men may
be the authors of "smelly" or other
wise "offensive" publications, now
long-lost, which the two attempted
to foist upon the public at the
famous booksellers stalls surround
ing the Cathedral.
The letter provides no clue as to
the date of the alleged profanation.
But, because Harington s marginal
annotation to his Metamorphosis
is so casual, and because Nashe in
142
AN&Q
his letter assumes familiarity with
the incident on the part of his
correspondent, it is not unfair to
claim that the joke was, by 1596,
proverbial.
To be sure, by the time the joke
was first preserved in a play
probably Middleton s Blurt, Mas
ter-Constable (1601-2) - it could
doubtless be accepted familiarly,
at face value, for the historic event
that gave rise to it had by then
been long forgotten. Finally, that
the joke was kept alive for as long
as it was can be attributed, first,
to the obvious fact that repeated
performances of plays mentioning
it made it continuously topical; and
second, to the lingering ill-feeling
toward Spaniards which persisted
in England long after the Spanish
Armada was defeated.
The origin of the story that a Don
Diego "made all Paules stincke"
has intrigued not only a number of
editors of Elizabethan plays, but
doubtless generations of readers as
well. It may be a mystery that will
never be solved to everybody s sat
isfaction. Although the theory pro
pounded by this paper that the
Diego is the fictional, facetious
"destroyer" of the steeple of St
Paul s may seem to be based on
arguable evidence, it has logic, and
the linguistic principle that makes
it possible is actually quite simple.
FREE! On application, one
year s subscription to AN&Q for
individuals who Reply to pre
viously unanswered Queries,
Vols. I-V, before the conclusion
of Volume X.
Until conclusive evidence is found
that there was a defiler of St Paul s
Cathedral, there remains the strong
possibility that he existed not at all.
Brownell Salomon
Bowling Green State University
Bowling Green, Ohio
1. Cf. also Marston s The Malcontent
(1604), II.iii.195; Shirley s The Hu
morous Courtier (ca. 1631), IV.ii.
2. Works of John Webster (1830), IV,
293.
3. R. B. McKerrow later identified its
author as Thomas Nashe; it is dis
cussed farther on.
4. See footnote 1.
5. J. P. Collier (ed.), Shakespeare So
ciety Publication No. 42 (1850), p.
80.
6. In annotating this allusion for my
critical edition of Heywood s The Fair
Maid of the West (Part I), unpub
lished doctoral dissertation, Tulane
University, 1966.
7. "The True Report of the Burnyng of
the Steple ... of Poules . . . 1561,"
a rare pamphlet having the pressmark
of 17 June 1561, from Documents
illustrating the history of S. Paul s
Cathedral., ed. by W. Sparrow Simp
son, 1880. Johnson Reprint of Royal
Historical Publications, new series,
Vol. 26 (New York, 1965), pp.
121-24.
8. Ibid., pp. 203-6.
9. Ibid., pp. 126-27. Called "The Burn
ing of Paules" (ca. 1561), it also ap
pears in Extracts from the Registers
of the Stationers Co., ed. J. P. Col
lier, Shakespeare Society Publications
Vol. 1, p. 40.
10. Ibid., pp. 124-25.
11. See entry, "As old as Paul s steeple/
Oxford Dictionary of Proverbs.
12. Documents . . . of S. Paul s, Appen
dix, p. 210.
13. Ibid., Appendix, p. 191.
May 1972
143
REPLIES
(Continued from p. 137)
"Teddy-bear" (X:53) Par
tridge s Dictionary of Slang and
Unconventional English (7th ed.)
suggest teddy bear as a toy named
after Theodore (Teddy) Roosevelt
who brought back from his big-
game hunting expedition baby
bears for the Bronx Zoo. An inter
esting exploration of a word and
possible slang connotations is re
ported in American Speech. Re
sponding to teddy-bear as a fem
inine wearing apparel the report
goes on to indicate that the ap
parel is "a sort of overall piece of
underwear . . . which is known as
a teddy. I would suppose that this
was so-called from its real or fan
cied resemblance in general shape
(or shapelessness ) to the teddy-
bear. That is to say a lady so clad,
without her drawing-room habili
ments added, was conceived to re
semble a teddy-bear. If this suppo
sition of transfer of allusion is cor-
14. Ibid., p. 121.
15. Elizabeth Story Donno (ed.), Sir
John Haringtons A New Discourse
of a Stale Subject, Catted the Meta
morphosis of Ajax (London: Rout-
ledge and Kegan Paul, 1962), pp.
260-61.
16. R. B. McKerrow (ed.), The Works
of Thomas Nashe. Reprint ed. by
F. P. Wilson (Oxford: Basil Black-
well, 1958), Vol. V, Appendix D,
p. 193.
17. "I can learn nothing o him" (Mc-
Kerrow s footnote); the name is not
in the D. N. B.
18. Nashe, loc. tit., p. 195,
rect (and I am certain it is) it is
not merely interesting, but also
ironic, when one considers the late
Colonel s gesturings as a raw red-
blooded he-man. Certainly there is
something almost dreadful in the
notion of the Big Game Hunter
and the Big Stick Wielder s nomen-
clatural sponsorship of a bewitch
ment of the boudoir the lion and
the lingerie lying down together,
so to speak". Jerome Drost,
Buffalo, N.Y.
[Editors Note: Our inquirer sug
gested the possibility (?) of a some
what more pornographic defini
tion].
Swan marks (X:103) The
Query bothered my sleep, so I dug
around my unconscious and did a
little searching for a recollection.
Following is a Sotheby (London)
auction catalogue description for a
sale on 30 April 1968, p. 102. I be
lieve that Sotheby s excellent cata
loguer has given some pertinent in
formation for the Reply. The auc
tion records show that the manu
script described brought 320 /
Editor:
[Lot] 454 SWAN MARKS. CATALOGUE OF
UPWARDS OF 450 MARKS USED BY OWNERS
OF SWANS, manuscript on vellum, 42
leaves, the marks drawn in black ink, 12
to a page, in double rows between red
rules, spaces for some marks left blank,
many of the marks having the swan own
er s name inserted in red or black ink,
with some later additions, 5 vellum end-
leaves bearing various seventeenth-cen
tury MS entries, including the ownership
inscription of Thomas Peirson, dated
1637, and emblazoned arms which, in the
Visitation of Cambridgeshire, 1619, are
ascribed to Thomas Personn or Peerson
144
AN&Q
of Wisbech, also, on the same leaf, the
later signature of Sir Lewis Jarvis, bound
in 4 strips cut from a fifteenth-century
(?) liturgical manuscript and calendar,
rubricated, bearing a few early manu
script notes of obits, etc., the MS strips
worn, outermost strip or cover repaired,
sewn to original thongs, stitching re
newed, in red morocco pull-off slip case,
oblong sm. 8t>o (155mm. by 70mm.)
[First quarter of 17th Century (?]
* Manuscript records of swan marks are
rare. The present manuscript begins with
Royal swan marks, the first mark having
above it the initials I[acobus] R[ex], fol
lowed by marks of the Dukes of Norfolk
and Suffolk, of the Earls of Huntingdon,
Essex, etc. The inclusion of many Cam
bridgeshire and Fenland swan marks
strengthens the probability that the arms
attributed to Thomas Peerson of Wis-
bech, are, in fact, his, and that he was
Royal Swan Master for the region, or
his deputy.
PUBLICATIONS RECEIVED
(Continued from p. 130)
McClintock, Francis Leopold. The Voy
age of the Fox in the Arctic Seas: a
Narrative of the Discovery of the Fate
of Sir John Franklin and His Com
panions (1860). Introd. by William
C. Wonders. Illus., incl. Fold. Maps,
ad, 375pp. Rutland, Vt: Charles E.
Tutfle, [1972], $8.25
Melville s Drive to Humanism, by Ray B.
Browne. 394pp. Lafayette: Purdue
University Studies, 1971, $7.50
(Poetry), Best Poems of 1970: Bore-
stone Mountain Poetry Awards, 1971
, . . Vol. XXIII. 126pp. Palo Alto,
Calif.; Pacific Books, 1971. $4.50
Ross, Alexander. The Red River Settle
ment: Its Rise, Progress, and Present
State, With Some Account of the Na
tive Races . . . to the Present Day
(1856). Introd. by William L. Morton,
xxviii, 416pp. Rutland, Vt: Charles E.
Tuttle, [1972], $8.25
Shakespeare s Use of Music: the Histories
and Tragedies, by John H. Long. Incl.
Music Facs. 306pp. Gainesville: Uni
versity of Florida Press, 1971.
Shepherd, Walter, comp. Shepherd s
Glossary of Graphic Signs and Sym
bols. [Thousands of systematically
classified symbols]. Facs. Illus. 597pp.
N.Y.: Dover Publications, 1971. $15.
Tar River Poets [Julia Fields, Ted Ma-
lone, Phyl, Karen Ray Dawes, etc.].
Winter, 1972; The Julia Fields Issue.
Ed, by Vernon Ward; Art by Ted Ma-
lone. (Poetry Forum Series, No. 11).
42pp. Greenville, N.C.: East Carolina
University, 1972. Paper, $1.
Tate, Allen. The Transktion of Poetry,
Address and Panel Discussion Pre
sented at the International Poetry Fes
tival Held at the Library of Congress,
13-15 April 1970 .... Published for
the Library of Congress. 40pp. Wash
ington: [Supt of Documents, GPO],
1972. Paper, 300
Viereck, George Sylvester; German-
American Propagandist, by Niel M.
Johnson. Illus. 282pp. Urbana: Uni
versity of Illinois Press, 1972. $9.95
Zigrosser, Carl. Medicine and the Artist.
137 Great Prints, Selected, with Com
mentary. (Ats Medica catalogue,
Philadelphia Museum of Art, 1959).
3d Edn Rev. 177pp. N.Y.: Dover
Publications, 1970. Paper, $3.75
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NOTES
MILTON S ROMANTIC AUDI
ENCE
LITERARY HISTORIANS AND CRITICS
have been extravagant, it seems, in
their estimates of both the size and
calibre of Milton s Romantic audi
ence. James Nelson epitomizes the
reigning view when he says that in
the 19th century "Milton, like all
powerful figures, was loved by
many, hated by some, but ignored
by few". 1 An anonymous reviewer
for The Mirror of Literature, how
ever, acknowledges that among the
charmed circle of the enlightened,
Shakespeare and Milton are
thought to be immensely popular,
but die reviewer speaks with
grave reservation about this "all-
intelligent public". Shakespeare is
always mutilated upon the stage,
he tells us, and though a "fit audi
ence for the Paradise Lost has
ever been ... at this moment [it]
must be, a small one, and we can
not affect to believe that it is
destined to be much increased by
what is called the march of intel
lect". 2
Coleridge and Wordsworth re
peatedly register the same misgiv
ings about Milton s Romantic audi
ence. Coleridge wishes that "die
Paradise Lost were more carefully
read and studied" than he "can see
any ground for believing it is, es
pecially those parts which, from
the habit of always looking for a
story in poetry are scarcely read
at all; as for example, Adam s
vision of future events in the llth
and 12th books". 3 In his Note
books he reveals similar dissatis
faction with the reading public:
"the mass of mankind, whether
from nature or as I fervently hope
from Error of Reasoning & The
Worldliness of their after Pursuits,
are rarely susceptible of any other
Pleasures than those of amuse
ment, and gratifications of curi
osity, Novelty, Surprise, Wonder
ment from the Glaring, the harshly
Contrasted, the Odd, the Acci
dental: and find the reading of
the Paradise Lost a task, some
what alleviated by a few enter
taining Incidents . . .". 4 Less an
noyed by the vulgar audience,
Wordsworth, nonetheless, expresses
the same reservations: "Paradise
Lost is indeed bought because
people for their own credit must
now have it. But how few, how
very few, read it; when it is read
by the multitude, it is almost ex
clusively not as a poem, but a re
ligious Book". 5 Popular as a "status
symbol" and conduct book, Para
dise Lost, Wordsworth elaborates,
is read as a poem by only a "few
scattered scholars" 6 and dedicated
poets, while the multitudes, who
read it, read it for something else.
Like Coleridge, Wordsworth re
grets his culture s craving for extra
ordinary incident at the expense
of great art and deplores the di
rection of life and manners to
which literature has feebly sub-
148
AN&Q
mitted and steadfastly conformed
"The invaluable works of our
elder writers ... of Shakespeare
and Milton, are driven into neglect
by frontier novels, sickly and
stupid German Tragedies, and de
luges of idle and extravagant
stories in verse", 7 while the classics
are consigned to oblivion by the
mediocre audience who dissipate
their age s taste for great books. 8
This tissue of quotations, besides
correcting an unchecked impres
sion of what Milton s Romantic
audience was like, reveals a brood
ing concern of the Romantic critic
with audience a concern not un
like Milton s. Though the poet s
interest in audience may recede
into the background during the
Romantic period, it does not alto
gether disappear as M. H. Abrams
suggests, 9 but remains a signifi
cant auxiliary interest. Milton and
the Romantics alike cultivate the
"miscellaneous rabble" and hope
to gratify those "who extol/ Things
vulgar V but they are quick to
perceive that full enjoyment of
poetry proceeds from an intellec
tual, as well as an emotional, re
sponse and may be savored only
by the sophisticated who bring to
poetry an acute moral and aes
thetic sense. Thus for both Milton
and the Romantics the "poet utterly
replaces the audience" 11 as the
generator of moral and aesthetic
norms. For them the ideal reader,
the true critic, is not so much an
adversary as a rival of the poet; not
"shallow" in himself, he must bring
a judgment "equal or superior" 12
to that of the poet he professes
to admire. The great audience, to
use the words of Stephen Spen
der, wear "at their hearts the fire s
center". And "born of the sun",
they travel towards it, "leaving the
vivid air signed with their honor",
and the poet s.
These brief remarks, moreover,
may remind the Miltonist that the
Romantic critics are not to be mis
taken for the common reader, that
far from being promulgators of
popular attitudes, as it is com
monly thought, these critics rigor
ously oppose them. Unencumbered
by mass tastes and their stifling
influence, the Romantic critic
brings to Milton s poetry a deeper
aesthetic experience, a heightened
morality, and a vaster knowledge
than the ordinary reader, whom
they seek to enlighten and send to
Milton s poetry as poetry. The
great myth embedded in Paradise
Lost appealed vastly and deeply to
the critics of the Romantic era,
and "our great myths", Allen Tate
reminds us, "make their appeal to
those people, at last remarkably
few, who have a sense of destiny,
a poise above life, and who look
at the vast distraction of the world,
its shift and disintegration, with
controlling detachment". 13 If Mil
ton were living at that hour, he
might have said, "I fit audience
found, though few", and if he were
living at this hour, it is likely that
his opinion would remain un
changed.
Joseph Anthony Wittreich, jr
University of Wisconsin
1. The Sublime Puritan (Madison,
1963), p. 12.
2. "Shakespeare and Milton", The
Mirror of Literature, XXIV (1834),
169. An anonymous reviewer for
the Quarterly Review, in a long
June 1972
149
paragraph, similarly laments the
neglect of Milton and Shakespeare:
"The English flatter themselves by
a pretence that Shakespeare and
Milton are popular in England. It
is good taste, indeed, to wish to
have it believed that those poets
are popular. There names are so;
but if it be said that the works of
Shakespeare and Milton are popu
lar that is, liked and studied
among the wide circle whom it is
now fashionable to talk of as en
lightened, we are obliged to express
our doubts whether a grosser delu
sion was ever promulgated" ("Cole
ridge s Poetical Works", QR, LII
[1834], 35-36).
3. Coleridge on the Seventeenth Cen
tury, ed. Roberta Florence Brinkley
(Durham, 1955), p. 579.
Goburn (London, 1957), I,
#2026fb. Coburn notes that the
phrase "the reading of the Paradise
Lost a task" is likely an oblique
reference to Dr Johnson s remark
that "Paradise Lost is one of the
books which the reader admires and
lays down, and forgets to pick up
again. None ever wished it longer
than it is". She is assuredly cor
rect in her suspicions. Johnson s dep
recation raises the ire of the Ro
mantic critic who answers that the
weakness is not to be attributed to
Milton but to the infirmities of the
reader. The neglect of Paradise Lost
is "not a wrong which Milton does* ,
De Quincey argues, "but which he
suffers". If wearisome to some,
Paradise Lost is only dull through
sheer "imbecility of mind, not from
overstrained excitement, but from
pure defect in the capacity for ex
citement" (The Collected Writings
of Thomas De Quincy, ed. David
Masson [London, 1897], IV, 115-
117). Similarly affixing blame not
to the poet but to his unsophisti
cated reader, Charles Lamb asserts
that we should read the poem not
as a bothersome task but as "a
celestial recreation" to which the
dullard mind is unevenly receptive s
and he casts a dubious eye on
Johnson s remark, saying no one,
indeed, has ever wished the moon
rounder, for it is complete and per
fect in itself and would be unim
proved by deletion or addition ( The
Works of Charles Lamb, ed. Alfred
Aiuger [Troy, New York, 1888],
VIII, 183). For an opposing view,
see William Savage Landor, Imag
inary Conversations, ed. Charles G.
Crump (London, 1891), IV, 243.
5. The Letters of William and Dorothy
Wordsworth: The Later Years, ed.
Ernest de Selin court (New York,
1939), II, 1010.
6. Ibid., I, 48.
7. "Preface to The Lyrical Ballads
(1800)", The Prose Works of Wil
liam Wordsworth, ed. Alexander B.
Grosart (London, 1876), II, 82.
8. These misgivings revealed by
Wordsworth and Coleridge regard
ing the size and quality of Milton s
audience are by no means peculiar
to them. Like Wordsworth, Byron
laments the superficial concerns and
interests of contemporary poets who
claim public favor, "while Milton,
Dryden, Pope [are] alike forgot"
(English Bards and Scotch Review
ers, I, 187), and James Hamilton
Brown reports him to have remarked
"that even Milton was little read at
the present day, and how few in
number were those who were famil
iar with the writings of that sublime
author . . ." (Ernest J. Lovell, His
Self Same Voice: Collected Con
versations of Lord Byron [New
York, 1954], p. 398). Similarly,
Hazlitt remarks that every poet
needs a midwife to bring his works
to light; "it is a question," he says,
"whether Milton would have be
come popular without the help of
Addison; nay, it is a question wheth
er he is so, even with it" (The
Complete Works of William Haz
litt, ed. P. P. Howe [London, 1934],
XX, 128). Landor, likewise, com
ments that "the neglect in which
I now discover him [Milton] leaves
me only the more room for the
free effusion of these sentiments.
How shallow in comparison is every
thing around us, trickling and dim
pling in the pleasure ground of our
150
AN&Q
literature! If we are to build our
summer-houses against ruined tem
ples, let us at least abstain from
ruining them for that purpose"
(Imaginary Conversations, IV, 305).
Alone in not imputing the neglect
of Milton to the inferiority of mass
taste is William Blake, who in
"Prospectives" contends that "the
Labours of the Artist, the Poet, the
Musician, have been proverbially
attended by poverty and obscurity;
this was never the fault of the Pub
lic, but was owing to a neglect of
means to propagate such works as
have wholly absorbed the Man of
Genius" (The Complete Writings of
William Blake, ed. Geoffrey Keynes
[New York, 1957], p. 207).
mantle Theory and the Critical Tra-
9. The Mirror and The Lamp: Ro-
dition (New York, 1953), p. 3.
10. "Paradise Regained", John Milton:
Complete Poems and Major Prose,
ed. Merritt Y. Hughes (New York,
1957), III, 50-51.
11. Abrams, p. 26.
12. Paradise Regained, IV, 321-330.
13. "Notes on Milton", New Republic,
LXVIII (1931), 267.
IRVING S LITERARY PIMPERY
WASHINGTON IRVING has often been
accused of borrowing ideas which
he used in his own writings. And
indeed he did, as most of the
Irving scholars have pointed out. 1
Another accusation of plagiarism
on his part would hardly be note
worthy if it were for his personal
use. It appears, however, that late
in 1824 he pulled off a coup in
which he borrowed in Paris a
literary manuscript for the purpose
of sending it to England where his
financially embarrassed friend John
Howard Payne might sell it clan
destinely to a British periodical.
Irving was thus a middleman, .pro
curing a manuscript for immoral
purposes.
All that is known of the affair is
in Irving s own words and hand
writing in a previously unpub
lished paragraph of a letter which
he wrote to Payne, 17 December
1823. 2
I also send you a ms: story in verse in
the Style of Colman 3 which is excellent.
It was written several years since by a
Mr Baldwin 4 of Boston now in Paris
who gave it to me. You may be able to
get something for it from one of the
magazines & it may open the way ttf
your getting other employ from them.
If you think it worth while to present it
copy it off & mention it as written sev
eral years since by an American gentle
man but do not mention his name
as he does not know the use I am mak
ing of his poem. It was published sev
eral years since in an Am: paper, but
that you can keep to yourself of
course, any thing you get for this trifle
is for yourself.
Very likely Payne s success with
this gift was not spectacular. That
Irving considered this "story in
verse" as being "excellent" is not
necessarily complimentary, for
Irving s ability to judge poetry ( or
even verse) was not his forte.
Then, too, Colmanesque verse of
an American vintage would have
had little appeal for a British pub
lic already somewhat jaded by the
real thing.
Ben Hams McClary
The University of Sussex
1. In "Supplementary Studies in the
Writings of Washington Irving"
Stanley T. Williams (The Life of
Washington Irving [New York, 1935],
II, 263-325) discussed Irving s
June 1972
151
sources, though he was apt to view
this "borrowing" as being typical of
the period. One of the most recent
scholars to comment on Irving s debt
to other writers is Lewis Leaiy in
Washington Irving (Minneapolis,
Minn., 1963), pp. 23, 25, 37, 41.
2. Thatcher T. Payne Luquer, Payne s
grandnephew, in editing the Irving-
Payne correspondence for publica
tion in Scribner s Magazine, XXIV
(1910), 478, prudently omitted this
paragraph from his text. It is printed
here from the original, now in the
possession of Columbia University
Library.
3. George Colman was the author of a
large amount of coarse comic poetry
between 1797 and 1820. A dramatist
whose works had often bordered on
lite indecent, when he was appointed
fcxaminer of plays in January 1824,
Colman censored the fare of the Brit
ish stage to a point of absurdity.
See Dictionary of National Biography,
IV, 849-852. As a playwright and
former actor and London theater
manager, Payne certainly knew Col
man.
4. Loamrni Baldwin (1780-1838) was
best known as a civil engineer. In
1821 he was the engineer involved
in the building of the Union Canal,
running from Reading to Middle town,
Pa. He was in Europe in 1824, re
turning to the United States in 1825
to work on the Bunker Hill Monu
ment. Dictionary of American Biog
raphy, I, 540-541.
THE ORIGIN OF LOWELL S
"AMERICAN PUNCH"
ATTENTION HAS BEEN DRAWN to the
origin of James Russell Lowell s
well known "Miss Fooler" pun lo
cated in the first two lines of a six-
line lampoon on Margaret Fuller
in A Fable for Critics. 1 Interest
ingly enough, however, the origin
of "That American Punch" in the
last two lines of the same lampoon
"The American Punch, like the
English, no doubt,/ Just the sugar
and lemons and spirit left out"/-
has gone unnoticed.
It comes., apparently directly,
from Samuel Johnson s Idler, No.
34, Saturday, 9 December 1758,
which concludes that the qualities
of a conversation "are exactly rep
resented by a bowl of punch".
More specifically: "Punch ... is a
liquor compounded of spirit and
acid juices, sugar and water. The
spirit, volatile and fiery, is the
proper emblem of vivacity and wit;
the acidity of the lemon will very
aptly figure pungency of raillery,
and acrimony of censure; sugar is
the natural representative of lus
cious adulation and gentle com
plaisance; and water is the proper
hieroglyphick of easy prattle, inno
cent and tasteless". 3
There is little published evi
dence that Lowell was familiar
with Johnson s writings when he
was writing A Fable, but Leon
Howard has stated that during his
sophomore year in college Lowell
made "notes from works of Dr.
Johnson in which he seems to have
been browsing extensively" at the
time. 4 And certainly there is abun
dant proof from his essays that in
his later life Lowell knew Dr John
son s writings well. 5
The similarity between Johnson s
Idler, No. 34, and Lowell s lam
poon seems undeniable, however.
Primarily Lowell is criticizing Miss
Fuller for her obtuseness in read
ing his poetry, saying that evi
dently the kind of poetry she likes
is the simple, sugary type with
out lemons or spirit. But, as John-
152
AN&Q
son had said, sugar is too sweet to
be eaten alone and similarly "meek
ness and courtesy will always rec
ommend the first address, but soon
pall and nauseate, unless they are
associated with more sprightly
qualities". 6
Secondarily, Lowell is saying
that Miss Fuller s criticism could
well do with a balancing of the in
gredients. "Spirit alone is too pow
erful for use", Johnson had written.
"Thus wit, too copiously poured
out, agitates the hearer with emo
tions rather violent than pleasing".
Likewise he had added, "acids un
mixed will distort the face and tor
ture the palate; and he that has no
other qualities than penetration and
censure, who looks only to find
faults, and speaks only to punish
them, will soon be dreaded, hated
and avoided". 7
L. T. Oggel
University of Wisconsin
1. Heyward Ehrlich, "The Origin of
Lowell s Miss Fooler ", American
Literature, XXXVII, 473-475 (Jan.,
1966).
2. The Writings of James Russell Lowell
(Cambridge, 1904), IV, 37.
3. The Idler, No. 34, in The Works of
Samuel Johnson (London, 1824), VII,
135-136.
4. Leon Howard, Victorian Knight-
Errant (Berkeley, 1952), p. 52.
5. Especially in his essays on Lessing
(1866), Rosseau (1867), and Chau
cer (1870).
6. The Idler, No. 34, in The Works of
Samuel Johnson, VII, 136.
7. Ibid,, 136-137.
Happy vacation time
to all! -
MACBETH S HEAD
SOME SCHOLARLY CONTROVERSY has
been concerned with Macduffs re
turn after killing Macbeth. The
Folio ( there was no Quarto ) reads
"Enter Macduffe; with Macbeths
head 9 . Shakespeare s source for the
play, Holinshed s Chronicles of
Scotland, reads: ". . . therewithall
he [Macduff] stept vnto him, and
slue him in the place. Then cutting
his head from his shoulders, he
set it vpon a pole, and brought it
vnto Malcolme" (cited in Mac
beth, Arden edition, ed. Kenneth
Muir, N.Y., 1964). Malone added
the stage direction "on a pole" to
the play, basing his addition on
the lines in Holinshed (H. H. Fur-
ness, jr, New Variorum, 5th edi
tion, 1903) and some lines in the
play cited below. But neither Ma-
lone nor any other critic com
ments on the reason for the obvi
ously awkward situation; instead of
having a man killed in full view of
the audience and making clear the
assertion of poetic justice, Shake
speare spends better than half the
play leading to a confrontation,
then has the murder take place off
stage.
Two possible reasons may ac
count for Shakespeare s seeming
lack of dramaturgy. One, of course,
has to do with fulfilling the earlier
prophecy Macbeth and the audi
ence had witnessed, that is, the
apparition of an aimed head. In
the presentation of Macbeth s head,
one last element of the witches
omen has been carried out. But
there was a more important reason
for the spectacle of Macbeth s
head atop a pike or pole. All Lon
doners were familiar with heads
June 1972
153
atop the southern gate towers of
London Bridge, the heads of those
executed as traitors. Surely here we
have the reason for Macbeth s
death offstage, a death necessarily
followed by decapitation, in order
that the final view the audience
had of Macbeth was not only as
dead but also, and the association
must have been immediate, as
traitor. Killing a king was always
a sticky business on stage, but kill
ing a traitor was a legitimate en
terprise, and certainly the parallel
between heads on London Bridge
and Macbeth s head traitors all
would not have been lost on the
Elizabethan audience. The lines
"Behold where stands/ Th Vsurpers
cursed head . . ." make clear that
the head was standing, not resting
in someone s arms or dragged in by
the hair, a visual symbol of one
theme of the play.
Julian Mates
C. W. Post College
Greenville, N.Y.
QUERIES
The Heliograph On page [160]
of Walt Whitman s Daybook [1876-
1891], opposite the entries for Jan
uary and February 1880, the poet
cut out three lines from a calling
card and pasted them on the page.
The lines read: THE HEKTO-
GRAPH/ JAS. H. DEWEY,/ City
Agent./. Neither the words "The
Hektograph" nor the name James
H. Dewey appear anywhere else in
the Daybook or in Whitman s five
volumes of Correspondence; and I
have not found "The Hektograph"
in the usual newspaper and peri
odical references among those in
New York, Philadelphia, and Cam-
den. It may be a trade name for an
1880 duplicating or printing de
vice, or even a publication. Can
any reader identify "The Hekto
graph ? William White, De
troit, Michigan
Swiss /Neiv Orleans /Cajun rhyme?
Many years ago I learnt from
my mother, who was born Swiss,
a rhyme which I believe she learnt
from her Genevese great-aunt who
was brought up in New Orleans in
the mid-19th century. I would be
most grateful to know if this song
can be identified, the original lan
guage named and the meaning
given. I give the two versions cur
rent in our family.
1) Chi cham po, me pom eh pom eh
rigdom,
rigdom bonna medi cairo,
cairo del rio; Moee, mo-u, mo-a.
2) Tchi, Tcham po, mo did lo pon o
pon & rigdom
bona medi kairo, kairo de la riaho,
mo-hi, mo-ho, mo-ha.
Another song, partly in French,
went:
Tringue-tringue mon balai
P tit mouton la queue coupee
Sapoti bom ba i, sapoti bom ba i.
[We hope that Replies will be sent
to AN&Q so our readers may share
the information, Editor]
Giles Barber, Librarian, Taylor In
stitution, Oxford University, Eng
land
154
AN&Q
Hopefully / hoffentlich In the
last decade or so, "hopefully", once
restricted to contexts such as "She
raised her eyes hopefully", has been
expanded in use (at least in North
America) to the sense of "I [or we]
hope that . . . ", as in "Hopefully
the budget will suffice . Native
speakers of English who also know
German will at once spot the syn
tactic and semantic identity of this
with hoffentlich yet English-
German contacts during this period
surely haven t been so intense as
to warrant such an adverbial
caique. Can anyone suggest what
triggered it? B. Hunter Smea-
ton, Calgary, Canada
"Rural urban sprawl" What
was the earliest use of the term?
Katherine ]\larley, Brooklyn.,
N.Y.
Crowning England s Kings It
is said that the documents estab
lishing "the claim of the Abbey of
Westminster for all Kings of Eng
land to be crowned there . . . are
alleged to be forgeries . . .", ac
cording to H. D. W. SitwelTs The
Crown Jewels (London, 1953), p. 9.
What is the documentation for this
belief? What printed references are
there? Richard Wisell, Sharon,
Conn.
Segments of an orange In the
November 1971 issue of N&Q (NS
18, 422) Leigh Mercer of London
asks a question that intrigues us:
"Children s names for the segments
of an orange? He lists soldier, pig,
square, goosy (Tyneside and Scot
land), lith (Dublin), sloch (Perth
shire) and patsy (Devon). What
North American variants can we
list? If possible, note the regions
and dates when current. Editor
REPLIES
"Richmond shilling (X:120) This
was a tax, imposed by Elizabeth I,
on coal exported to Newcastle. It
amounted to one shilling per tan,
and was called the "Richmond Shil
ling" when Charles II granted it to
his son, the Duke of Richmond.
Unfortunately, I do not have my
files at hand and cannot document
the information from this place --
John Wright, jr, Hollywood, Calif.
Camel through a needle s eye? (IX:
121; r X:I) -- Paleographic evi
dence in favor of the "Ropist" in
terpretation of the Aramaic is pro
vided in George M. Lamsa, The
Holy Bible from Ancient Eastern
Manuscripts (Philadelphia, 1967),
p. xvi:
St. Matthew 19:24
gamla, rope
gamla, camel
Peshitta Text
24 Again I say to you, it is easier
for a rope to go through the eye
of a needle . . .
King James Version
24 And again I say unto you, It
is easier for a camel to go through
the eye of a needle . . .
With regard to hyperbolic ana
logues submitted earlier (X:I) one
plausible explanation for the "liter
al" interpretation of Christ s Blood
at seeming variance with Hebraic
dietary law is that the term "lit
eral" has been taken in two senses:
the fundamentalist and the inten
tional. I submit that these two be-
June 1972
155
came confused in the history of
early Christendom. Basically, how
ever, the "literal" meaning is de
fined as the "intended" meaning
(according to The Catholic Com
mentary on Holy Scripture}, which
makes a shambles of the distinc
tion between transubstantiation
and "only spiritual" interpreta
tions. R. F. Fleissner, Wilbcr-
force, Ohio
"One salmons head is worth all the
frogs heads in the world" (X:120)
Attributed to Catherine de Medici
about the Duke of Alva [Alba?]
in Balzac s Secrets of the Princess
of Cadignan, James Waring s trans
lation, Philadelphia, 1898. Paul
Cornish, Jamestown, Va.
EDITORS
NOTES & READING
CORRECTION:
In regard to Madeleine B. Stern s
Note, "The First German Faust
Published in America", in our April
issue (X:[115] ), Miss Stern informs
us that Yale s William A. Speck
Collection of Goetheana does in
clude the 1837 edition issued in
New York. Miss Stern says also
that there is no entry for it in
either Hans Henning s recent Faust
Bibliography or in W. Heinemann s
Goethes Faust in England und
Amerika.
The George Freedley Memorial
Award for 1971 was presented to
James M. Symons of the College
of St. Catherine, St. Paul, Minne
sota, for his book, Meyerholds
Theatre of the Grotesque: the Post-
Revolutionary Productions, 1920-
1932 (University of Miami Press),
on 1 May at The Lambs, New
York City. The Award, a plaque,
was made on the basis of scholar
ship, readability, and general con
tribution of knowledge. It was es
tablished in 1968 by the Theatre
Library Association to honor the
late founder of the Association,
theatre historian, critic, author, and
first curator of the Theatre Collec
tion of The New York Public Li
brary. An Honorable Mention Cer
tificate was presented to Stanley
Weintraub, Research Professor of
English at the Pennsylvania State
University, for his Journey to
Heartbreak: the Crucible Years of
Bernard Shaw 1914-1918 (Wey-
bright and Talley). Past winners
are Louis Sheaffer for O Neill., Son
and Playwright (1968); Charles H.
Shattuck for The Hamlet of Edwin
Booth (1969); and Brooks Atkin
son for Broadway (1970).
We are sorry for any inconvenience
caused by a slight error (AN&Q
X:112) which suggested that the
Leicester School of Printing s hand
some keepsake is available. The
following reasonable letter from
the Head of the School explains
the situation. It was forwarded to
us by one of our readers. ""I very
much regret it is not possible to
send you a copy of Landmarks in
the Development of Writing and
Printing Techniques as this was a
project undertaken in the School
purely as a student exercise and is
not for general circulation. You
will no doubt appreciate this would
156
AN&Q
infringe the Copyright Act and the
terms under which the Publishers
kindly allowed us to use this pub
lication as an exercise. Should you
require a copy of this book in
German it would be possible to
obtain one from the Publisher,
Klaus G. Saur, Verlag Dokumen-
tation, 8023 Munchen-Pullach, Jai-
serstrasse 13", /. S. Er early, Head,
School of Printing, South Fields
College, Leicester, England.
Writers of our Notes will all get
a kick of one kind or another from
PMLA s "Professional Notes and
Comment" column by Charles R.
Larson of The American Univer
sity, which is buried deep in the
May 1972 issue, pp. 544-46. We
won t give away the plot but we
urge our writers, and our readers,
to be sure to enjoy it and to
think on Ozymandias too!
The Maryland Historical Society
has brought honor to itself with
the publication of an outstanding
historical and bibliographical guide
called Star-Spangled Books: Books,
Sheet Music, Newspapers, and Per
sons Associated with "The Star-
Spangled Banner". Compiled by
P. W. Filby, Director and Librari
an, and Edward G. Howard, Vice
President and Consultant on Rare
Books, the volume clearly sets
forth an example of "the complete
picture" by assembling what ap
pear to be all the possible known
facts, theories, and surmises of past
historians, leaving no clue that is
dubious, no thought unconsidered.
Here at last is the whole story of
our National Anthem, with full
bibliographical descriptions of its
originating antecedents, facsimiles
of title-pages, portraits, and all the
facts about the legend of what
actually happened off of Fort Mc-
Henry so far as we can tell. Hand
somely produced, written with the
excitement of rediscovery, and in
terestingly told after the manner
of the best historical narratives,
the book should be considered for
any number of prizes that are
available in the field of written
histoiy. It is a fine book of 175
pages for anyone who can sing "O
say can you see" to the ultimate
tune of true patriotism. Postfree
from The Maryland Historical So
ciety, 201 West Monument Sjt.,
Baltimore, Md. 21201.
Sigfred Taubert, Director of die
Frankfurt Book Fair, has commis
sioned the world s top bookmen to
report on bookselling and publish
ing in their native countries. The
first of this three- volume survey of
The Book Trade of the World,
covering all the European coun
tries, has just been published by
Verlag fur Buchmarkt-Forschung
and is now available throughout
the Western Hemisphere from the
R.R. Bowker Company. Each na
tional chapter in Book Trade of
the World is organized into 35
subject areas, providing detailed
information on such topics as the
country s retail trade, wholesale
trade, taxes, copyright laws, na
tional bibliography, book clubs,
antiquarian trade, and retail prices.
In addition, Volume I contains an
international section, including in
formation on international copy
right laws, book fairs, and trade
organizations. A detailed directory
of book museums and libraries with
collections of books about books
June 1972
157
is also provided. Volume II of
Book Trade of the World, cover
ing North, Central, and South
America, Australia, and New Zea
land, will be published in 1973.
Volume III, covering Asia and Af
rica, will appear in 1975. Copies
of Volume I of The Book Trade
of the World may be obtained for
$18.00 from the R.R. Bowker Or
der Department, P.O. Box 1807,
Ann Arbor, Michigan 48106.
In April 1970, poets and poet-
translators from eight countries and
the United States participated in
the International Poetry Festival
sponsored by the Library of Con
gress under the auspices of the
Gertrude Clarke Whittall Poetry
and Literature Fund. Transcripts
of a lecture and a panel discussion
presented at the festival have re
cently been published in The
Translation of Poetry, a 40-page
booklet just issued by the Library
of Congress. The lecture was de
livered by Allen Tate, poet-critic.
In the speech Mr Tate explores
the problems inherent in translat
ing poetry and in judging the
translations. The panel discussion
was chaired by poet-critic Louis
Untermeyer. Among the questions
which were discussed were "Should
the translator be true to the diffi
culties of the original poem or
should he try to simplify them?"
and "Is it impossible to bring over
both the meaning and the music
from one language to another or
must one be sacrificed, and, if so,
which one?" William Jay Smith,
a panel member edited the tran
script of the panel discussion for
publication. A bibliography of ref
erences made during the discussion
is included. The Translation of Po
etry may be purchased from the
Superintendent of Documents, U.S.
Government Printing Office, Wash
ington, D.C. 20402 at 30 cents.
BOOK REVIEW S
Yearbook of Science and Technology.
Illus. 440pp., Incl. Index. New York:
McGraw-Hill Book Company, 1972,
$27.50.
That science and technology are one
with the human condition is undeniable.
It is a relationship that has withstood
many tests and weathered many crises
throughout human cultural development
and it is being tested again. In reviewing
the 1971 (Third) Edition of the Mc
Graw-Hill Encijclopedia of Science and
Technology, I called it a "communica
tions bridge over some very troubled
social waters" because it is one of the
best instruments I know for educating
the bulk of both academic and lay popu
lations that Harold Cassidy so correctly
claims are "extraordinarily illiterate in
science" (Knowledge, Experience and
Action: An Essay on Education). Through
well written and carefully edited articles,
these books are capable of introducing
the layman, at a glance, to areas of
science and technology whose under
standing would otherwise require con
siderable research effort.
The 1972 Yearbook of Science and
Technology continues and updates this
tradition. If one reads the advertisements
for the Yearbook, he finds that its "large
size and handsome binding matches the
Third Edition of the McGraw-Hill En
cyclopedia of Science and Technology".
It does this in more than just binding
and size, however. The same careful
preparation and dissemination of infor
mation that characterizes the Encyclo
pedia, in the Yearbook, documents some
of the ways in which man interpreted
and manipulated his environment in
1971 and suggests how these discov
eries rnay effect 1972. In this respect,
J5S
AN&Q
it is as valuable as a period piece and
historical commentary as it is a refer
ence source.
The book s 220,000 words (131 arti
cles) were prepared by 158 scientists
and engineers who are currently doing
research in the area they have presented.
The charts, maps, diagrams and half
tones are especially clear. They are
pertinent to the text and remarkably
uncluttered.
Basically, the book is divided into
three sections. The first consists of seven
feature articles which are detailed ac
counts of the present state of knowledge
(with special reference to recent ad
vances and growing significance) of
energy sources in galaxies and quasars,
pathology of heavy metals, risk evalua
tion in engineering, science in art, solid
\vaste management, surface physics, and
urban fires.
The second section is the shortest:
Sixteen pages containing some forty-five
photographs taken in 1971 and selected
by the editors for their scientific value
and current relevance. This section
doesn t add a great deal to the trends
set by the first and third sections, but
they are fun to look at and as products
of the extension of human senses through
technology certainly warrant a display.
The third part, an alphabetically or
ganized review of science and technol
ogy 1971, consists of 131 articles that
cover topics as wide ranging as advances
in long range aids to navigation and
recent discoveries in dinosaur evolution,
The editors appear to have set up a
trend in their presentation of the part
three articles. They establish and main
tain a functional theme. For instance:
not only are the electronic and geo
graphical bases for the navigation sys
tems discussed, but how these devices
are used by the navigators on board the
vessels is explained. The articles inte
grate system and environment as well
as give some insight into the human
factors involved. This same functional
trend can be seen in the two articles on
dinosaur evolution. Until a short time
ago, paleontologists usually only de
scribed the animals they studied in
morphological and taxonornic terms and
often said very little about how the ani
mals "worked". The articles on dino
saurs in this Yearbook incorporate some
functional insight into the descriptions
of these extinct reptiles and, as such,
participate in the "functional trend" es
tablished by the editors.
There is a second trend observable
in the Yearbook as a whole. Four of
the seven lead articles are more or less
directly concerned with a technology
that is being geared to deal with an
expanding mass of humanity on a planet
of limited means. The Yearbook attempts
to be timely and relevant to the issues
that concern science and technology to
day. Heavy metals in industrial waste
are looked at, solid waste disposal is
discussed as a solvable problem and
some of the safety factors involved in
the design and maintenance of large
population centers are covered. Using
this second trend, the Yearbook seems
to be attempting not only to describe
certain models of natural phenomena but
also to integrate these models with the
human condition. It almost makes it.
The state of science, however, is not
a constant. What science and technology
do for and are to the human condition
is continuously changing through re
search and development. Science is a
way of looking at things. It is a way
of looking at things that is not a panacea
for mankind s problems but is a flexible,
growing body of knowledge that is as
dependent on mankind s perception of
himself as it is on his perception of
empirical reality. What science interprets
as the reality of man s surroundings are
only models and as accesses to empirical
reality can be quite limited. The articles
in the Yearbook are, therefore, descrip
tions of the way various researchers per
ceive their subjects. This fact should
be made clear to the Yearbook s users.
The prefaces to each edition of the
Encyclopedia clearly state that the in
tention of the series is to be a book of
rather than about science. In the 1970 s,
perhaps more than at any other time,
such an approach is a cop out. The way
in which science works and the path
ways through which technology affects
society and culture should be explained
to the layman. The Yearbook, as an
extension of the Encyclopedia, is in an
excellent position to offer such an ex
planation. As a vehicle for relating use
ful disciplines to the human condition,
it should attempt to describe the cul-
June 1972
159
tural functionings of a working science
and an effective technology. Michael
F. Gibbons, jr t Anthropology, Yale Uni
versity
MACDERMOT, Violet, The Cult of the
Beer in the Ancient Middle East: a Con
tribution to Current Research on Hal
lucinations Drawn from Coptic and Other
Texts. 829pp. Berkeley: The University
of California Press, 1971. $24.
When devotees of modern interest in
drugs, encouraged by such writers as
Aldous Huxley (The Doors of Percep
tion) and most recently, on the academic
level, Robert Allen Durr (Poetic Vision
and the Psychedelic Experience), search
for a sense of social respectability by
assimilating their "hallucinations" with
the apparently similar phenomena of
ancient religions, they might well rec
ognize that, for contemporary civilized
man, such pruriginous curiosity, rather
than representing the progressive en
hancement of human dignity, can lead
to "an atavistic return to the cults of
primitive societies and an irresponsible
reawakening of primitive faculties**. Such
is the thesis of Violet MacDermot.
Trained in Coptic, Egyptology, archae
ology, clinical medicine, and neurology,
she proves her expertise in this volumin
ous study of self-induced hallucinations
which characterized the cult of the seer
in the ancient Middle East.
In order to compare modern psyche
delic experiences with the evidence of
"visions" in early Christianity, MacDer
mot examines thoroughly not only the
relevant patristic and monastic literature,
but also early literary documents of
Egyptian, Greek, and Jewish forms of
religion which influenced, in diverse
ways, the beginnings of the Church.
Her point is that the modern psychedelic
might simulate the external living con
ditions of the ancient seer without nec
essarily sharing his motivations or his
results. With a compilation of extracts
from edited and personally translated
Coptic, Syriac, Greek, Latin, Ethiopic,
Slavonic, and Hebrew texts in which
various linguistic, psychological, and re
ligious dimensions interact, MacDermot
has made an outstanding contribution
to medical-historical studies.
In the first half, MacDermot sum
marizes her findings on the withdrawal
from the environment of the senses of
early Christian ascetics, the consequent
establishment of a non-material environ
ment, the representation of a non-ma
terial world, the representation of nega
tive experiences, and the establishment of
commemorative ritual. Through isolation,
self-enclosure, self-mortification, with
deprivation of food and sleep, early
monks created an hallucinogenic milieu
similar to that which produced dream
visions in pre-Christian religions. Through
apparent lack of originality and creative
imagination, the biographers of some
of these saints and martyrs were led to
adapt mythological language and the
literary models of pagan antiquity to
describe the life of men who were re
jecting that very same paganism in prin
ciple. Although she does not acknowledge
any dependence on Rudolf Bultmann,
her work appears to represent a partial
confirmation of the demythologizing
process of the German Protestant. She is
also inevitably somewhat dependent upon
the writings of archetype-hunter Carl
Jung, whom she cites in her bibliography.
Through prayer and meditation, the
ascetics attained a high degree of per
fection which disposed them to receive
visions and various charismatic gifts,
such as prophecy, a remarkable memory,
and the gift of speaking in tongues
(glossolalia). On the other hand, they
were also troubled by visitations they
designated as demonic, needing special
powers to discern and dispel evil spirits.
As rewards for victory over demons, they
obtained visions of heavenly figures.
Though the ascetics strove to remain
self-consciously alert, their visions and
heavenly communications were analo
gous to hallucinatory phenomena fami
liar to Egyptian, Greek, and Judaic re
ligions, and the hagiographers tended
to veer away from describing these pagan
elements in the context of the monks
attempt "to reverse the psychological
effects of the ancient religion". But it
is quite possible that MacDermot en
gages in hyperbole when she seems to
limit the dependency upon paganism to
the literary borrowings of the biograph
ers of Christian ascetics, and to stress
160
AN&Q
the distinctive reversal of the pagan
psychological attitudes of these monks.
K is more likely that the influence of
the contemporary setting had a more
substantial impact upon many Christians
whose subconscious remained pagan long
after their formal conversion.
A major problem with drugs has been
their deteriorating effect upon the indi
vidual personality. A prime example is
Samuel Taylor Coleridge, who had to
pay for his masterful "Kubla Khan"
during the rest of his agonizing drug-
filled life. But the individual can be
destroyed by drugs in a different fashion.
By their encouragement of drug-taking
to obtain visions, many non-Christian
cultures in fact neglected the liberation
of the group from the environment and
tltc emancipation of the individual from
the group. MacDermot rightly deplores
the social and medical problems created
by such use of drugs. While early rituals
seemed to guarantee the stability of
community life and survival after death,
such techniques today, with their ca
pacity to obliterate self-consciousness,
would be deemed anachronistic, She
argues that the use of drugs reverses the
progress hailed in personality develop
ment and, instead, reduces man to the
level of animal behavior that can be
manipulated by the control of the en
vironment. (The debates which surround
the work of the Harvard behaviorist,
E. F. Skinner, not to mention Arthur
Koestler in The God in the Machine,
would benefit from the input of Mac-
Dermot s scientific savoir-faire and con
clusions.) While the ancient seer ex
perienced a vision of the universe, the
modem drug users have only psycho-
physiological reactions. (Again, we think,
an exception is "Kubla Khan", though
that is not strictly "modem". The enor
mous amount of scholarship connected
with it attests, however, to modern "ro
mantic" interest in the effects of drugs.
Yet such romantic regression to archaic
methods will hardly salvage the failures
cf contemporary man to achieve his
sense of identity within a disturbed
society, )
MacDermot feels that the salvation of
modem man is not to be found in with
drawal but in the experience o a living
community; in thus speaking her mind,
she seems to fear that theologians and
even psychiatrists would reject the an
thropological basis she has established
for the experience of divinity. Yet mod
ern biblical scholars argue that the di
vine cannot maintain the quality of
transcendence without also the comple-
mentaiy quality of immanence. Both
Paul Tillich and Karl Rahner would
agree in saying that God is not "a being"
(or an "object" to be formally witnessed
in a distinct "vision") but "Being", the
ground and ultimate meaning for every
thing that exists. Since hallucinatory
experiences tend to be a denial of the
individual, MacDermot sees the future
in terms of self-conscious men and wom
en who can develop a social order that
will fulfill "the world s potentialities and
realize the Visions of the ancient seers".
Her work is valuable as a reference
book on such topics as serpent symbol
ism, identity announcement (the rituals
involved in the naming process), ancient
views on demons and sex ("among the
dimensions of life in which it was for
bidden to see any manifestation of the
divine, was the sexual act"), apparitions,
and other aspects of primitive culture.
(An interesting work to contrast with
hers on one level would be Frederic
W. H. Myers two-volume Human Per
sonality and its Survival of Bodily Death,)
Her discussion of Atlantis, for example,
may be singled out for special pause
("The island of Atlantis . . . was said
to be populated by the sons born to
Poseidon and a mortal woman"); she
shows how belief in an earthly paradise
is related. We may add to this that
hieroglyphic basis for such an island -
city was found in recent archaeological
excavation of the temple of Ramses and
has been confirmed by Jurgen Spanuth,
whose theory that it sank into the North
Sea around 1200 B.C., between the Ger
man island of Heligoland and the coast
of Schleswig-Holstein mainland (in ac
cord with the description of Solon of
Athens incidentally), has now been en
dorsed by scholars at the Breasted Insti
tute in Chicago, the Egyptian National
Museum in Cairo, and by Professor
Emil Biollay, a French archaeologist.
( Others have thought that the civilization
at Atlantis was really that of Crete.)
Jean-Jacques D Aoust, Wells College;
and Robert F, Fleissner, Central State
University
June 1972
RECENT FOREIGN
REFERENCE
BOOKS
This column is conducted by Dr Law
rence S. Thompson, Professor of Classics,
University of Kentucky.
ABNER SCHRAM
An abiding service of Abner
Schrani, 1890 Broadway, New
York, is to introduce important
European reprints to American
scholars and collectors. A few of
his recent titles are noted here.
Mariano Taccola, De machinis, the
Engineering Treatise of 1449
(Wiesbaden: Dr Ludwig Reichert
Verlag, 1971; 2 vok, $132.50), is
a facsimile of Codex Latinus Mona-
censis 28800 in the Bayerische
Staatsbibliothek, with additional
reproductions from mss. in the
Bibliotheque Nationale, the New
York Public Library, and the Bib-
lioteca Nazionale Marciana. There
is an introduction, Latin text, de
scription of engines, and technical
commentaries by Giustina Scaglia.
The work is a compendium of en
gines by the "Archimedes of Si
ena" and is not only one of the
great technological works of the
Renaissance but also a masterpiece
of illustration. The book is a pro
duction of the Offizin Chr. Scheu-
fele in Stuttgart,
Das Rolandslied des Pfaffen Kon-
rad (Wiesbaden: Dr Ludwig
Reichert Verlag, 1970; 2 vols,;
"Facsimilia Heidelbergensia. Aus-
gewalte Handschriften der Univer-
sitatsbibliothek Heidelberg", ed. by
Siegfried Joost and Walter Kosch-
161
orreck, Bd. I), is in two volumes,
edited by Siegfried Joost and Heinz
Zirnbauer. The first volume is the
introduction, and the second is the
facsimile. This work by Pfaffe Kon-
rad, a priest of Regensburg, was
composed about 1170 and is a fore
runner of the courtly epic. It is
the earliest German imitation of
the chanson de geste. The intro
duction covers the paleographical,
linguistic, iconographical, and lit
erary importances of the manu
script.
Frederic G. Kitton, Dickens and
His Illustrations: Cruikshank, Buss,
"Phiz", Cattermole, Leech, Doyle,
Stanfield, Maclise, Tenniel, Frank,
Stone, Landseer, Palmer, Topliam,
Marcus Stone, and Luke Fildes
(Amsterdam, S. Emmering, 1972;
256pp.; $42.50; reprinted from orig
inal 1899 edition), has been long
out of print but is a classic of book
illustration in England. Full un
derstanding of many of Dickens
novels is not possible without a
knowledge of the warm friendships
between the author and many of
his illustrators. There are biographi
cal and critical sketches of each
illustrator.
Alfred Forbes Johnson, Selected
Essays on Books and Printing (Am
sterdam: Van Gendt & Co., 1970;
489pp.; $70.00), edited by Percy
H. Muir, is the corpus of the basic
research of a dedicated servant of
the British Museum for some four
decades. His work ranges from the
classification of Gothic types, early
printed books from the continent,
up to 19th-century printing. John
son s encyclopaedic knowledge of
type faces and their history made
him one of the most sought after
consultants in this field.
ANNUAL CUMULATED INDEX
Notes (n); Queries (q); Replies (r)
Volume X September 1971 - June 1972
Abnaki Indian Calendar (q) 8; (r) 105
American Indian Periodicals in the
Princeton University Library ,. . 122
"American Punch", Origin of Low
ell s (n) 151
Anchorite Islands (q) 53
Anglo-Welsh Review (Dock Leaves) 108
Animals in Chaucer (Rowland) .. 91
"Aranda" in Benito Cereno (n) .... 118
Amoni, M. S. (q) >; 136
"Ask not what your country . . ."
(Kennedy?) 10
"At dawn when the pigs broke from
cover" (q) 40
Atherton, Gertrude, book inscrip
tions (n) 7
Bacon, Francis, Concordance to the
Essays of 43
Bacon s De Augmentis translated
and miscatalogued (n) . ... 84
Baldwin, Loammi, cited (n) ... 150
Bank of Poland s President and
Washington Irving (q) 104
Barrett, Solomon, jr (q) . . . 136
Beckford Latin quotation (r) . 9
Berkowitz, Gerald M.; Note 35
Bibles, The Pamplona (Boucher) 12
Birds in W. Hudson letter (n) 37
Black Judas, origin of a (q) 136
Black question and Henry James (n) 127
"Bobbity Flops" (q) 40
"Bolton College" and Whitman (n) 3
Book goffering see Goffering
Book of Common Prayer and Milton
(n) 7; (r) 117
Book Trade of the World (Taubert) 156
Books reviewed or noted:
American Book-Prices Current,
1967/68 75
American Indian Periodicals in the
Princeton University Library .... 122
Anglo-Wekh Review 108
Amott & Robinson, English The
atrical Literature, 1559-1900 .... 10
Bacon, Francis, Concordance to
the Essays of 43
Baker, Thomas Merton, Social
Critic (Jensen) 109
Barzun, On Writing, Editing, and
Publishing .. 57
Book Trade of the World (Tau
bert) , , 156
Boucher, The Pamplona Bibles
(Miner) , . 12
The British Look at America Dur
ing the Age of Samuel Johnson 122
Carey, A Faraway Time and
Place: Lore of the Eastern
Shore (Boles) 124
Commire, ed., Something About
the Author (Shaw) 92
Filby & Howard, Star-Spangled
Books 156
Forster, Maurice 59
Ilalkett & Laing revision . . 73
Hichens, Green Carnation 59
Horsley s In the Grip of the
Hawk, cited (q) 70
Howard, The Perverts (1901) (q) 120
Kemp (?) and Spanish Loyalist
esays (q) 39
Kramer & Sprenger, Malleus Male-
ficarnm (reprint) 121
Ledyard, The Dutch Come to
Korea (Ash) 45
Lord, Diary of a Village Library 58
Maas, Letters of A. E, Housman
(White) 78
MacDermot, Cult of the Seer in
the Ancient Middle East
(D Aoust & Fleissner) 159
Murphy, Three Medieval Rhetori
cal Arts (Rowland) 77
Pepys Diary (Ash) ,. . 47
Potter, The Naval Academy Illus
trated History of the United
States Navy (Anderson) 61
Proetz, The Astonishment of
Words (Smeaton) 29
Ranhofer, The Epicurean 56
Reaver, An O Neill Concordance
(Rachow) 46
Rink, Printing in Delaware 1761-
1800 (Weimerskirch) 19
Rowland, Blind Beasts: Cliaucer s
Animal World (Schoeck) 91
Russian Science Fiction Literature
and Criticism, 1956-1970; a
Bibliography 74
June 1972
163
Scholl, Landmarks in the Devel
opment of Writing and Printing
Techniques, trans. (Graham) 111,
155
Something About the Author
(Shaw) 92
Stenerson, H. L. Mencken (Drost) 62
Toole-Stott, Circus and Allied
Arts . 44
Translation of Poetry 157
Wall, Church and Cinema 74
Wentworth s Souvenir Sporting
Guides (q) 135
Yearbook of Science & Technol
ogy, 1972 (Gibbons) 157
Brown, Mrs, and the duck (q) . .. 70
Brubaker, Bill R.: Note 68
Cajun/ Swiss /New Orleans rhyme
(q) 153
Calendar, pictorial (q) 8; (r) 105
"Camel through a needle s eye" (r) 9
Campbell, Thomas, and Shelley s
Queen Mob (n) 5
Cannibalistic defenses (r) 105
Cemetery, Mount Auburn (r) .... 9
Chateaubriand quotation source (q) 88;
(r) 120
Chaucer s Animal World, Blind
Beasts: (Rowland) 91
"Chi cham po . . ." rhyme (q) .153
Children s authors ^ 92
"China, Today it is snowing in" (q) 53
Chinese Collection, Mr Dunn s (q) 71;
(r) 137
Chinese proverbs (r) 73
Cohen, Hennig: Note 117
Colman, George, cited (n) 150
Concording, Lane Cooper s method
of (q) 27; (r) 105
Conservationist Jessie Bryant Ger
ard (q) > - 53
Continuous pagination including in
dexes (q) 119
Cooper, Lane, (his) method of con-
cording (q) 27; (r) 105
Cordasco, Francesco: Note 51
Corneille a Shadwell source (n) .... 35
"Creole" and prostitution guides (q) 135
Crowning England s Kings (q) .... 154
"Curtain lecture" (r) 40
Curtin, Jeremiah, boosted by J. R.
Lowell (n) 68
"Cut the mustard" (r) 53
Dante quotation (r) 89
Declaration of Independence (q) . .. 88
Defoe plagiarized by Anne Manning
(n) 36
"Degree, Free" M.A. (q) 71; (r) 120
Delaware, Printing in, 1761-1800
(Rink) 19
Detective fiction as textbooks (r) 104
Dewey, James H. (q) 153
Dewey, John, Syllabi (r) 72
"Dickens, The Italian" (r) 104
Dickinson, Emily, Shakespeare allu
sion in (n) 51
Dock Leaves 108
Dogs and Alexander Pope (n) 132
Dogs in W. Hudson letter (n) .... 37
"Don Diego" and the Befouling of
St Paul s Cathedral (n) 138
Double Eagle in Huck Finn (n) .. 39
Duck, Mrs Brown and the (q) .... 70
"Dumb-born" in Pound s Mauberley
(n) 67
Duncan, Ethel, and Gertrude Ath-
erton (n) 7
Dunn s Chinese Collection (q) 71;
(r) 137
Dutch Come to Korea (Ledyard) .. 45
Dying thoughts, retrospective (r) 104
Endless tales (r) .. . 72
"Engineers, Hairy-eared" (r) 72
Eskimo finger rings (r) 42, 106
Farina, Salvatore (r) 104
Faun, winged, Time as a (q) 39
Fiction, detective, as textbooks (r) 104
Finger rings, Eskimo (r) 42, 106
"First get the money; honor comes
later" (q) 8
Fish in W. Hudson letter (n) 37
The Flame (magazine) unlocated
(q) 119
Fleissner, Robert F.: Note 52
Folktales, Maryland (Carey) ... . 124
"Free degree" M.A. (q) 71; (r) ... 120
Freedly, George, Memorial Award 155
Friends of Thoor Ballylee Society ... 107
Frost s "After Apple-Picking" and
Longfellow s "Sleep" (n) . . 134
Fuller, Margaret, cited (n) .. . . 151
Gerard, (Mrs?) Jessie Bryant (q) . 53
German printing of Faust, first, in
America (n) 115; correction .. 155
Gibran, Kahlil, and "Ask not what
your country . . ." 10
Gilder, Richard W., "The Pines" (q) 136
"Gin work" and "Jim work" (r) .. 95
Goethe quotation? (r) 9
Goethe s Faust, first in German in
America (n) H5
Goffering (r) 41
Gold, Michael, unlocated magazines
(q) US
Goodyear, Russell H.: Note 39
164
AN&Q
"Gooseberry lay" and "Gunsel" in
Hammett (q) 70
Gosse, Philip Henry, unlocated pub
lications (q) 119
Graham, Rigby: Letter(s) from
Dublin, 107; Leicester, 111; Lon
don 126
Granich, Irwin. sec Gold, Michael
(q) ..- H9
Grant, Lincoln, and whiskey (q) 8;
(r) 42
Griffith, Benjamin W.: Note 7; (r) 117
"Gunsel" and "Gooseberry lay" in
Hammett (q) ... .^ 70
"Hairy-eared engineers" (r) .. 72
Hammett s "Gunsel" and "Goose
berry lay" (q) 70
Hardy s "Tess" as a "Pure" Woman
(n) 86
Hart, Paxton: Note 69
Hawthorne neologism, "Hetero-
geny" (n) 117
"The Hekto graph" (q) 153
Hesse (Hessen or Hassen), Hans (r) 105
"Heterogeny" a Hawthorne neolo
gism (n) 117
"Hobby, to ride a" (r) 94(2)
Hoffendich/ Hopefully (q) 154
"Honor comes later; first get the
money" (q) 8
Hopefully /Hoffentlich (q) 154
Horsley s In the Grip of the Hawk,
cited (q) 70
Housman, A. ., Letters of (Maas) 78
Howard, William Lee, M.D. (q) .... 120
Howells, William Dean, letters &
mss (q) 88
Hudson, William, to Pennant (n) 37
Hunter, William B., jr: Note (r) .... 117
Huseboe, Arthur R.: Note 132
Indexes included in continuous pagi
nation (q) 119
Indian, American (Abnaki), calen
dar (q) 8; (r) 105
Indian, American, "Periodicals in the
"Princeton University Library 122
"Innocent as a bird" (q) 40
Insurrection (magazine) unlocated
(q) 119
International Poetry Festival (1970) 157
Iron Crown of Lombardy and Mel
ville (n) 133
Irving, Washington, and President
of the Bank of Poland (q) 104
Irving s Literary Pimpery (n) 150
Isani, Mukhtar Ali: Note 118
"The Italian Dickens" (r) 104
James, Henry, and the Negro Ques
tion (n) 127
"Jesus H. Christ" (r) 28
"Jim work" and "Gin work" (r) . . 95
Judas as a black, origin of (q) ... 136
Junius collection lost? (q) . . 89
Junius in Paris (n) 51
Kemp, Stanley, and Spanish Loy
alist essays (q) 39
Kennedy, John F., and "Ask not
what your country . . ," 10
Kings crowned at Westminster (q) 154
Kirkham, E. Bruce: Note 134
Kolin, Philip C.: Note 83
Korea, The Dutch Come to (Led-
yard) 43
Lakewood, N.J. references in litera
ture (q) 136
Lane Cooper see Cooper, Lane
Larson, Charles R., in PMLA 156
Latrobe, Benjamin Henry, (his) pa
pers (q) 119
Lear, Edward: an unknown imprint?
(q) 102
Legal lynching (q) 53
Leicester School of Printing . ..Ill
Lincoln, Grant, and whiskey (q) 8;
(r) 42
Linnean Society (London) Proceed
ings print order (q) 120
Lombardy, Iron Crown of, and Mel
ville (rO - ; f 133
Longfellow s "Sleep" and Frost s
"After Apple-Picking" (n) 134
"Love" in tennis (r) 89
Lowell, J. R., boosts Jeremiah Cur-
tin (xO ^ 68
Lowell s "American Punch", Origin
of (n) 151
Lucey, James D.: Note 84
Lyly s Euphues, possible source for
(n) 83
Lynching, legal (q) 53
M.A. as a "Free degree" (q) 71; (r) 120
MacArthur Day Schedule (q) 103
Macbeth s head (n) 152
McClary, Ben Harris; Note 150
Magazines unlocated: The Flame
and Insurrection (q) 119
Manning, Anne, plagiarism of Defoe
(n) 36
Marston, Is Touchstone? (n) 99
Maryland s Eastern Shore folklore
(Carey) 124
Master of Arts as a "Free degree"
(q) 71; (r) 120
Mates, Julian: Note 152
June 1972
165
Mayflower (ship) called Truth or
Falsehood (q) 71
Medieval Rhetorical Arts, Three
(Murphy) 77
Melville s Benito Cereno (n) 118
Melville s Moby-Dick and the Iron
Crown of Lombardy (n) 133
Mencken, H. L. (Stenerson) 62
Merton, Thomas, Social Critic (Ba
ker) 109
Mills, Lloyd: Note 67
Milton s meditations and Sonnet XIX
(n) 7; (r) H7
Milton s Romantic audience (n) .... 147
Mount Auburn cemetery (r) 9
Mrs Brown and the duck (q) 70
"Mustard, to cut the" (r) 53
Negro question and Henry James
(n) 127
New Orleans / Swiss /Cajun rhyme
(q) 153
Norris, Frank, (his) McTeague (n) 118
OED antedatings (n) 131
"One salmon s head is worth all the
frogs heads in the world" (q) 120
O Neill Concordance (Reaver) .. 46
Orange segments, names for (q) .. 154
"Out of the horse s mouth" (r) .... 72
Oxford English Dictionary antedat
ings (n) 131
Pamplona Bibles, The (Boucher) . 12
Payne, John Howard, cited (n) .. 150
Peake, Mervyn, exhibition (Graham) 126
Peary on Eskimo rings (r) ... 42, 106
Pennant, Thomas, letter from W.
Hudson (n) 37
Pepys, Samuel, Diary of 47
The Perverts (Howard) dedicated
to Poe (q) 120
Phaethon image in Richard II (n) 52
Pictorial calendar (q) 8; (r) .. . . 105
Plagiarism of Defoe (n) 36
PMLA humor 156
Poe as dedicatee of Howard s The
Perverts (1901) (q) 120
Poetry 9 Translation of 157
Poetry Festival, International (1970) 157
Poland, Bank of, President of, and
Washington Irving (q) 104
Pope, Alexander, (his) humanitari-
anism (n) 132
Pope, Alexander, portrait (r) 42
Pound s Mauberley (n) 67
Printing in Delaware, 1761-1900
(Rink) 19
Printing Techniques, Landmarks in
the Development of Writing and
(Scholl) Ill, 155
Prostitution guides and "creole" (q) 135
Proverbs, Chinese (r) 73
Question marks (?) (q) 8
Quotations:
"A seamless web" (r) 28
"At dawn when the pigs broke
from cover" (q) 40
Beckford Latin quotation (r) .... 9
Boat called Truth or Falsehood
(q) 71
Chateaubriand and "Thrice happy
. . ." (q) 88; (r) 120
"Et circum irriguo . . ." (Beck-
ford) (r) 9
"First get the money; honor comes
later" (q) 8
"Honor comes later; first get the
money" (q) 8
"Innocent as a bird" (q) 40
"Jesus H. Christ" (r) 28
Kennedy s "Ask not what your
country . . ." 10
"One salmon s head is worth all
the frogs heads in the world"
< (q) 120
"Out of the horse s mouth" (r) .... 72
"Thrice happy you, who look as
from the shore" (q) 88; (r) .... 120
"To cut the mustard" (r) 53
"To ride a hobby" (r) 94(2)
"Today it is snowing in China"
(q) ; . 53
Rabbit story about "Bobbity Flops"
(q) 40
Reed, Kenneth T.: Note 134
Resurrected bodies (r) 54, 137
Rhetorical Arts, Medieval, Three
(Murphy) 77
Richards, George: Note 5
"Richmond shilling" (q) . 120
Riddell, James A.: Note 131
"Ride a hobby" (r) 94(2)
Rings, finger, Eskimo (r) .... 42, 106
Romantic critics and Milton (n) . 147
"Rosebud" in Orson Welles (q) ... 103
"Rural urban sprawl" (q) 154
St Paul s Cathedral, Befouling of (n) 138
Salomon, Brownell: Note 138
Schiller quotation? (r) 9
Science and Technology, Yearbook
of, 1972 157
Science Fiction Literature and Crit
icism, Russian, 1956-1970 74
Sea called Truth or Falsehood (q) 71
"Seamless web" (r) 28
Sedan fire (r) 28
Beer in the Ancient Middle East,
Cult of the (MacDermot) . 159
166
AN&Q
Segments of an orange (q) . . 154
Shad well s Amorous Bigotte (n) , . 35
Shaheen, Naseeb: Note 4
Shakespeare allusion in Emily Dick
inson (n) 51
Shakespeare and Macbeth s head
(n) ..... 152
Shakespeare s As You Like It (n) 99
Shakespeare s Richard II (n) . .. . 52
Shelley s Queen Mob and Thomas
Campbell (n) 5
"Shift-marriage" (r) 90
Ship called Truth or Falsehood (q) 71
Simmons, James C.: Notes . . 36, 86
Simms, L. Moody, jr: Note . . . 127
Sklar, Philip . . 10
Society for Theatre Research . 10
Spanish Loyalist essays (q) . . 39
Spann, Othmar & Erika (r) 9
Spenser and the New Testament (n) 4
"Star-Spangled Banner" [Star-Span-
gled Books] (Filby & Howard) .. 156
Stern, Madeleine B.: Note 115; cor
rection 155
"Still-born" in Pound s Mauberley
(n) . 67
Stone, Andrew Jackson (q) , . .. 8
Swan marks (q) 103; (r) 143
Swiss /New Orleans /Cajun rhyme
(q) 153
Symbolism: Time as a winged faun
(q) 39
Tate, Allen 157
Taylor, J. Chesley: Note 118
"Tchi Tcham po . , ." rhyme (q) 153
"Teddy-bear" in slang (q) 53; (r) 143
Tennis term "Love" (r) 89
Textbooks, detective fiction as (r) 104
Theatrical Literature, English, J559-
.Z900 (Arnott & Robinson) 10
Thoor Ballylee Society, Friends of
u the 107
"Thrice happy you, who look as
from the shore" (q) 88; (r) .. 120
Time as a winged faun (q) . ... 39
"Today it is snowing in China" (q) 53
Touchstone as Marston? (n) 99
Translation of Poetry 157
Translation techniques (The Aston
ishment of Words) 29
"Trinque-trinque mon balai . . ."
rhyme (q) 153
Trotzky Affair today (r) 121
Twain s Huckleberry Finn anachro
nism (n) 39
United States Navy, Naval Academy
Illustrated History of the (Potter) 61
Untermeyer, Louis 157
"Urban sprawl, Rural" (q) 154
Van Domelen, John E.: Notes . 7, 37
Vetromile, Eugene (q) 8; (r) .. 105
Viswanathan, S.: Note 99
Weimerskirch, Philip J.: Note 19
Welles, Orson, (his) "Rosebud" (q) 103
West, Michael: Note 51
Westminster Abbey and Crownings
(q) 154
Whiskey, Lincoln, and Grant (q) 8;
(r) 42
White, William; Note 3
Whitman, Walt, Two More Unpub
lished Letters (n) 3
Whitman and "The Hektograph" (q) 153
Whitman unpublished prose (q) 27
Williams , W. C., Mathilda (n) .... 69
Wittreich, Joseph Anthony, jr: Note 147
Writing and Printing Techniques,
Landmarks in the Development of
(Scholl) Ill
Yeats Thor Ballylee 107
PUBLICATIONS RECEIVED
(Continued from p. 146)
Cunha, George Martin, & Dorothy Grant
Cunha. Conservation of Library Ma
terials: a Manual and Bibliography on
the Care, Repair, and Restoration of
Library Materials. 2d Edition. Vol. I:
[The Manual]. 406pp. Illus. Metuchen,
N.J.: Scarecrow Press, 1971. $11;
Vol. II not yet published.
Debussy, Claude. Piano Music (1888-
1905). 175pp. of facsimile music. N.Y.:
Dover Publications, 1972. Paper, $4.
Dembo, L. S. & Cyrena N. Pondrom.
The Contemporary Writer: Interviews
with Sixteen Novelists and Poets, xxi,
296pp. Madison: University of Wis
consin Press, 1972, $12.50; Paper
$2.50
Durer, Albrecht. The Hainan Figure:
the Complete "Dresden Sketchbook",
Ed. with Introd., Translations, and
Commentary by Walter L. Straus.
Profusely Illus. 355pp. N.Y.: Dover
Publications, 1972. Paper, $5.95
Edgar, Irving R. Essays in English Lit
erature and History. Illus. 154pp. N.Y.:
Philosophical Library, 1972. $8.50
Gillon, Edmund V., jr. Victorian [Amer
ican] Cemetery Art, With 260 Photo
graphs by the Author [and an Index
to Cemeteries]. 173pp. Illus. N.Y.:
June 1972
167
Dover Publications, 1972. Paper, $4.
Gironella, ]ose Maria, by Ronald
Schwartz. (Twayne s World Authors
Series). 200pp. N.Y.: Twayne Pub
lishers, 1972. $?
Guerra, Francisco. The Pre-Columbian
Mind: a Study Into the Aberrant Na
ture of Sexual Drives., Drugs Affecting
Behaviour, and the Attitude Towards
Life and Death, With a Survey of
Psychotherapy, in Pre-Columbian
America. Illus. 335pp. N.Y.: Seminar
Press, 1971. $13.95
Held, John, jr. The Wages of Sin, and
Other Victorian Joys and Sorrows as
Seen and Engraved by (him). (1931:
The Works of . . .). I72pp, N.Y.:
Dover Publications, 1972. Paper, $2.50
Jackman, S. W. Vancouver Island. (The
Island Series). Illus. 212pp. Harris-
burg: Stackpole Books, 1972. $7.95
Katz, Bill, ed. Library Lit. 1 - the Best
of 1970; 2 - of 1971. Metuchen, N.J.:
Scarecrow Press, 1971, 1972. Each
vol. $10.
Krivatsy, Peter, comp. A Catalogue of
Incunabula and Sixteenth Century
Printed Books in the National Library
of Medicine. First Supplement. 51pp.
Bethesda: USDHEW, National Li
brary of Medicine (dist by U.S. Govt
Printing Office, Washington, D.C. -
DHEW Publication No. (NIH 71-
296), $2.75
Lehmann-Haupt, Hellmut, ed. The
Gottingen Model Book: a Facsimile
Edition and Translations of a Fifteenth-
Century Illuminators Manual. Edited,
with a Commentary . . . [and] Based
in Part on the Studies of the Late Dr
Edmund Will. Illus., incl. Color Plates.
102pp. Columbia: University of Mis
souri Press, 1972. $25.
Lipman, Jean. American Folk Art in
Wood, Metal, and Stone. (1948). 183
Illus. 193pp. N.Y.: Dover Publications,
1972. Paper, $3.50
Lowell, Robert; Critics on. Ed. by Jona
than Price. (Readings in Literary
Criticism, 17). 124pp. Coral Gables:
University of Miami Press, 1972. $3.95
Marshburn, Joseph H. Murder & Witch
craft in England, 1550-1640, as Re
counted in Pamphlets, Ballads, Broad
sides, & Plays. Illus. 287pp. Norman:
University of Oklahoma Press, [c!97l].
$7.95
Masterworks of Literature Series: Brack-
enridge, Hugh Henry. Incidents of
the Insurrection, Ed. by Daniel Mar-
der. 237pp. (M-33); The Best of Bill
Nye s Humor: Selections from the
Nineteenth-Century Humorist, Ed. by
Louis Hasley. 249pp. (M-41); Stowe,
Harriet Beecher. Regional Sketches:
New England and Florida, Ed. by
John R. Adams. 238pp. (M-32). New
Haven: College & University Press,
1972. $6.50 each; Paper, $2.95
Matthews, William. Cockney, Past and
Present: a Short History of the Dialect
of London. (1938). With a New
(1971) Preface. 245pp. Boston: Rout-
ledge & Kegan Paul, 1972. $8.25
Melville Dissertations: an Annotated Di
rectory, by Joel Myerson & Arthur H.
Miller, jr. Compiled for the Melville
Society of America. 57pp. (Order
from Prof. Hennig Cohen, Secy, MSA,
Dept of English, University of Penn
sylvania, Phila., Penn. 19104). Paper,
$4.
Nemeyer, Carol A. Scholarly Reprint
Publishing in the United States. 262pp.
N.Y.: R. R. Bowker Co., 1972. $12.50
O Connor, Flannery; The Christian Hu
manism of, by David Eggenschwiler.
148pp. Detroit: Wayne State Univer
sity Press, 1972. $8.95
Paine, Lauran. Sex in Witchcraft. Illus.
186pp. N.Y.: Taplinger Pub. Co.,
1972. $6.50
Palmer, Stuart. The Violent Society.
[Criminal homicide; suicide; mass dis
order]. 223pp. New Haven: College
& University Press, 1972. $6.50; Pa
per, $2.95
"pascin" [Julius Mordecai Pincas] 110
Drawings. Selected, Edited, and In
troduced by Alfred Werner. N.Y.:
Dover Publications, 1972. Paper, $2.50
Pedretti, Carlo. Leonardo da Vinci: the
Royal Palace at Romorantin. 175 Illus.
354pp. Cambridge: Harvard Univer
sity Press, 1972. $20.
Poulton, Helen J. The Historians Hand
book: a Descriptive Guide to Refer
ence Works. 304pp. Norman: Univer
sity of Oklahoma Press, 1972. $9.95
Pringle, Robert, The Letterbook of. Ed.
by Walter B. Edgar. Vol. I: 2 April
1737 - 25 September 1742; II: 9
October 1742 - 29 April 1745. 2 vols.
Port. & Facs. (Published for the South
Carolina Historical Society and the
South Carolina Tricentennial Commis-
168
AN&Q
sion; Tricentennial Edition, No. 4).
Columbia: University of South Caro
lina Press, 1972. $?
Quinones, Ricardo J. The Renaissance
Discovery of Time. (Harvard Studies
in Comparative Literature, 31). 549pp.
Cambridge: Harvard University Press,
1972. $15.
(Randall-Grigsby Correspondence). Kling-
berg, Frank J. & Frank W., eds. The
Correspondence Between Hennj Ste
phens Randall and Hugh Blair Grigsby,
1866-1861. (Univ. of California Pub
lications in History, XLIII, 1952).
(The American Scene: Comments and
Commentators). 196pp. NT.: Da Capo
Press, 1972. $12.50
Ristow, Walter, comp. A la Carte: Se
lected Papers on Maps and Atlases
[from the Quarterly Journal of the
Library of Congress, etc.]. Numerous
Illus. 232pp. Washington: Library of
Congress [dist. by USGPO] 1972. $4.
Shaker Furniture, Illustrated Guide to,
by Robert F. W. Meader. 235 Photo
graphs. 146pp. N.Y.: Dover Publica
tions, 1972. $4.
(Shakespeare). Omstein, Robert. A
Kingdom for a Stage: the Achievement
of Shakespeare s History Plays. 231pp.
Cambridge: Harvard University Press,
1972. $11.
Shumaker, Wayne. The Occult Sciences
in the Renaissance: a Study in Intel
lectual Patterns. Illus. 284pp. Berkeley:
University of California Press, 1972.
$15.
Simpson, Jacqueline. Icelandic Folktales
and Legends. 206pp. Berkeley: Uni
versity of California Press, 1972. $7.50
Smith, Paul H., comp, English Defenders
of American Freedoms, 1774-1778: Six
Pamphlets Attacking British Policy.
Facs. title-pages. 231pp. Washington:
Library of Congress [dist. by USGPO]
1972. $2.75
Something About the Author: Facts and
Pictures About Contemporary Authors
and Illustrators of Books for Young
People. Vol. 2. Anne Commire, ed.
Illus. 284pp. Detroit: Gale Research
Co., 1972. $15.
Stevens, Wallace; Critics on. Ed. by
Peter L. McNamara. (Readings in
Literaiy Criticism, 19). 128pp. Coral
Gables: University of Miami Press,
1972. $3.95
Stone, Donald David. Novelists in a
CJianging World: Meredith, James,
and the Transformation of English
Fiction in the 1880 s. 381pp. Cam
bridge: Harvard University Press,
1972. $13.50
Stueart, Robert D. The Area Specialist
Bibliographer: an Inquiry Into His
Role. Tables, Diagrs. 152pp. Metuch-
en, N.J.: Scarecrow Press, 1972. $5.
Thompson, Hunter S. Fear and, Loathing
in Las Vegas: a Savage Journey to
the Heart of the American Dream.
[Novel]. Illus. by Ralph Steadman.
206pp. N.Y.: Random House [c!971].
$5.95
Twain, Mark, The Works of: Roughing
It. Introd. & Explanatory Notes by
Franklin R. Rogers; Text Established
and Textual Notes by Paul Baender.
Illus. 673pp. Published for the Iowa
Center for Textual Studies. Berkeley:
University of California Press, 1972.
$14.95
Viator: Medieval and Renaissance Stud
ies, Vol. 2 (1971). Illus. 396pp.
Berkeley: University of California
Press, 1971. $12.
Wallace, Alfred Russel. A Narrative of
Travels on the Amazon and Rio Ne
gro. 2d Edn of 1889. New Introd.
by H. Lewis McKinney. Illus. 363pp.
N.Y.: Dover Publications, 1972. Paper,
$3.50
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