n. a person who obstinately adheres to old ways, particularly in language; an ignorant and bigoted opponent of reform (also a custom so adhered to)
n. a person who obstinately adheres to old ways, particularly in language; an ignorant and bigoted opponent of reform (also a custom so adhered to)
In 1838 James Fenimore Cooper wrote, “The common faults of American language are an ambition of effect, a want of simplicity, and a turgid abuse of terms.”
In 2004 Thomas Magdi patented a machine for changing light bulbs:
A light bulb changer method and apparatus that contains components that allows for instantly detecting a burned out light, automatically removing the burned out light, and automatically replacing the burned out light with a replacement bulb. The changer operates without human intervention, and can be assembled from a kit having a light fixture, detecting sensor, removing and replacement hardware.
The 23-page patent abstract contains 24 figures diagramming 97 components.
Why is this funny?
When Einstein was traveling to lecture in Spain,
He questioned a conductor again and again:
“It may be a while,”
He asked with a smile,
“But when does Madrid reach this train?”
The world’s most beautiful book is also its most mysterious. The Hypnerotomachia Poliphili, published anonymously in 1499, recounts the “struggle for love in a dream” of Poliphilo, who pursues his beloved Polia through 370 pages of gorgeous woodcuts and epoch-making typography. Their story is told in a cryptic polyglot text of Tuscan, Latin, Greek, Hebrew, and Arabic, replete with arcane references and hidden meanings.
“The Hypnerotomachia is a catalogue of every possible and imaginable foil to understanding,” writes Liane LeFavre in her 2005 exploration of the text. “On every page one is confronted by words whose meaning must be deciphered, inscriptions that have to be interpreted, episodes whose conclusion is ambiguous, a hero and a heroine who embody ideas that have to be divined. Texts and images in code, symbolic images and their interpretation, are recurrent patterns in these cryptic tactics.”
The author’s enormous erudition continually interrupts his story: He fills 200 pages with architectural descriptions and another 60 with botanical lore. The book’s patron, Leonardo Crasso, wrote that it contains “so much science that one would search in vain through all the ancient books [for its meaning], as is the case for many occult things of nature.” The author, he wrote, “devised his work so that only the wise may penetrate the sanctuary.”
Why would anyone produce such a prodigious work of art and learning and then conceal his identity? No one knows for certain. A century and a half after its publication, a French reader discovered an acrostic concealed in the first letters of the book’s 39 chapters. These spell out “Poliam Frater Francescus Columnia Peramavit,” or “Brother Francesco Colonna loved Polonna immensely.” Who was Francesco Colonna? There are two candidates by that name, a Venetian friar and a Roman aristocrat. But both lived on for decades after 1499 and neither claimed to be author of this remarkable book. His identity, and that of the illustrator, remain uncertain.
Raymond Queneau’s A Hundred Thousand Billion Poems consists of 10 sonnets with the same rhyming sounds, so that their 140 lines can be combined into 1014 different poems.
Milorad Pavić’s 1984 “lexicon novel” Dictionary of the Khazars consists of three miniature encyclopedias that cross-reference one another. Together they document, from varying perspectives, the causes of the disappearance of the Khazar empire in the eighth century. “Each reader will put together the book for himself, as in a game of dominoes or cards, and, as with a mirror, he will get out of this dictionary as much as he puts into it, for you … cannot get more out of the truth than what you put into it.”
Julio Cortázar’s 1963 “counter-novel” Hopscotch can be read in two ways: The reader can advance through the 56 chapters in conventional order or according to an alternate order laid out by the author, which incorporates 99 “expandable chapters” supplied at the end of the book. Thus the novel “consists of many books, but two books above all.”
Georges Perec’s 1978 novel Life A User’s Manual concerns the lives of the inhabitants of a fictional Paris apartment house. Perec structured the novel by lifting off the building’s facade and mapping its rooms onto a 10×10 grid. He then placed an imaginary chess knight on a central square and worked out a tour that took the knight to every location in the building:
He used a similar technique to assign “elements” to each chapter: furniture, animals, clothes, jewels, music, books, toys, flowers, and more were salted into the building’s rooms according to the same rules. “With so much of its material predetermined,” wrote Perec biographer David Bellos, “the place of each chapter in the novel’s sequence, the place of each room described in the block of flats, and forty-two different things to say about every room — surely the book would just write itself.”
In fact Perec wrote it in 18 months. “Writing a novel is not like narrating something related directly to the real world,” he wrote. “It’s a matter of establishing a game between reader and writer.”
Irish practical joker Horace de Vere Cole orchestrated his masterpiece in 1910: He dressed four friends as Abyssinian princes and inveigled a tour of a British battleship. One of the friends, improbably, was Virginia Woolf (far left) disguised in a false beard and turban. We’ll describe how the prank was inspired and follow the six through their tension-filled visit to the HMS Dreadnought.
We’ll also examine the value of whistles to Benjamin Franklin and present the next Futility Closet Challenge.
Here’s Doug Ross playing “Fallen Star” without us yakking over it:
Sources for our segment on the Dreadnought hoax:
Martyn Downer, The Sultan of Zanzibar: The Bizarre World and Spectacular Hoaxes of Horace de Vere Cole, 2010.
Adrian Stephen, The Dreadnought Hoax, 1936.
Georgia Johnston, “Virginia Woolf’s Talk on the Dreadnought Hoax,” Woolf Studies Annual, vol. 15 (2009), 1.
Joseph M. Hone, “Grand Deception — Princes Who Outwitted British,” Spokane Daily Chronicle, April 19, 1956.
For Horace de Vere Cole, this hoax formed the capstone in a long career of practical jokes. My earlier posts on Cole:
The Dreadnought “gave Cole what he had always wanted — fame, or at least notoriety, and, because some of the participants were later to achieve celebrity, a lasting place in the chronicles of the time,” wrote Quentin Bell in his introduction to Adrian Stephen’s 1936 memoir of the escapade. “He did little else during his lifetime but he did once contribute to the gaiety of nations.”
The photo above depicts the whole hoaxing party, made up and ready to depart for Weymouth. Left to right: Virginia Stephen, Duncan Grant, Adrian Stephen, Anthony Buxton, Guy Ridley, Horace Cole.
Costumier Willy Clarkson remembered, “[Virginia's] first make-up was a failure, the project was almost abandoned; but I felt piqued at being thwarted from an effect which I knew could be obtained and made a fresh start. This time the result was astounding in its realism. The beautiful girl had vanished, and in her place was a slim, dignified, dusky nobleman with a sombre countenance and a flowing regal beard.”
After departing the Dreadnought, the party returned to London by train. “Mr. Cholmondeley [Cole] gravely told the railway officials that the princes could not have any meals served with the naked hand,” Virginia told a newspaper. “There were no spare gloves on the train, and the officials consequently had to buy a few pairs, and the attendants who waited on us at dinner appeared wearing grey kid gloves. We gave them princely tips.”
Here’s the full text of Ben Franklin’s letter to Madame Brillon, Nov. 10, 1779:
I received my dear friend’s two letters, one for Wednesday and one for Saturday. This is again Wednesday. I do not deserve one for to-day, because I have not answered the former. But, indolent as I am, and averse to writing, the fear of having no more of your pleasing epistles, if I do not contribute to the correspondence, obliges me to take up my pen; and as Mr. B. has kindly sent me word that he sets out to-morrow to see you, instead of spending this Wednesday evening, as I have done its namesakes, in your delightful company, I sit down to spend it in thinking of you, in writing to you, and in reading over and over again your letters.
I am charmed with your description of Paradise, and with your plan of living there; and I approve much of your conclusion, that, in the meantime, we should draw all the good we can from this world. In my opinion we might all draw more good from it than we do, and suffer less evil, if we would take care not to give too much for whistles. For to me it seems that most of the unhappy people we meet with are become so by neglect of that caution.
You ask what I mean? You love stories, and will excuse my telling one of myself.
When I was a child of seven years old, my friends, on a holiday, filled my pocket with coppers. I went directly to a shop where they sold toys for children; and being charmed with the sound of a whistle, that I met by the way in the hands of another boy, I voluntarily offered and gave all my money for one. I then came home, and went whistling all over the house, much pleased with my whistle, but disturbing all the family. My brothers, and sisters, and cousins, understanding the bargain I had made, told me I had given four times as much for it as it was worth; put me in mind what good things I might have bought with the rest of the money; and laughed at me so much for my folly, that I cried with vexation; and the reflection gave me more chagrin than the whistle gave me pleasure.
This, however, was afterwards of use to me, the impression continuing on my mind; so that often, when I was tempted to buy some unnecessary thing, I said to myself, Don’t give too much for the whistle; and I saved my money.
As I grew up, came into the world, and observed the actions of men, I thought I met with many, very many, who gave too much for the whistle.
When I saw one too ambitious of court favor, sacrificing his time in attendance on levees, his repose, his liberty, his virtue, and perhaps his friends, to attain it, I have said to myself, This man gives too much for his whistle.
When I saw another fond of popularity, constantly employing himself in political bustles, neglecting his own affairs, and ruining them by that neglect, He pays, indeed, said I, too much for his whistle.
If I knew a miser, who gave up every kind of comfortable living, all the pleasure of doing good to others, all the esteem of his fellow-citizens, and the joys of benevolent friendship, for the sake of accumulating wealth, Poor man, said I, you pay too much for your whistle.
When I met with a man of pleasure, sacrificing every laudable improvement of the mind, or of his fortune, to mere corporeal sensations, and ruining his health in their pursuit, Mistaken man, said I, you are providing pain for yourself, instead of pleasure; you give too much for your whistle.
If I see one fond of appearance, or fine clothes, fine houses, fine furniture, fine equipages, all above his fortune, for which he contracts debts, and ends his career in a prison, Alas! say I, he has paid dear, very dear, for his whistle.
When I see a beautiful sweet-tempered girl married to an ill-natured brute of a husband, What a pity, say I, that she should pay so much for a whistle!
In short, I conceive that great part of the miseries of mankind are brought upon them by the false estimates they have made of the value of things, and by their giving too much for their whistles.
Yet I ought to have charity for these unhappy people, when I consider that, with all this wisdom of which I am boasting, there are certain things in the world so tempting, for example, the apples of King John, which happily are not to be bought; for if they were put to sale by auction, I might very easily be led to ruin myself in the purchase, and find that I had once more given too much for the whistle.
Adieu, my dear friend, and believe me ever yours very sincerely and with unalterable affection.
You can listen using the player above, download this episode directly, or subscribe on iTunes or via the RSS feed at http://feedpress.me/futilitycloset. The show notes are on the blog, where you can also enter your submissions in this week’s Challenge. Many thanks to Doug Ross for the music in this episode.
If you have any questions or comments you can reach us at email@example.com. Thanks for listening!
I own that I cannot see as plainly as others do, and as I should wish to do, evidence of design and beneficence on all sides of us. There seems to me too much misery in the world. I cannot persuade myself that a beneficent and omnipotent God would have designedly created the Ichneumonidae with the express intention of their feeding within the living bodies of Caterpillars, or that a cat should play with mice.
— Charles Darwin, letter to Asa Gray, May 22, 1860
In Other Inquisitions, Borges writes of a strange taxonomy in an ancient Chinese encyclopedia:
On those remote pages it is written that animals are divided into (a) those that belong to the Emperor, (b) embalmed ones, (c) those that are trained, (d) suckling pigs, (e) mermaids, (f) fabulous ones, (g), stray dogs, (h) those that are included in this classification, (i) those that tremble as if they were mad, (j) innumerable ones, (k) those drawn with a very fine camel’s hair brush, (l) others, (m) those that have just broken a flower vase, (n) those that resemble flies from a distance.
This is fanciful, but it has the ring of truth — different cultures can classify the world in surprisingly different ways. In traditional Dyirbal, an aboriginal language of Australia, each noun must be preceded by a variant of one of four words that classify all objects in the universe:
“The fact is that people around the world categorize things in ways that both boggle the Western mind and stump Western linguists and anthropologists,” writes UC-Berkeley linguist George Lakoff in Women, Fire, and Dangerous Things (1987). “More often than not, the linguist or anthropologist just throws up his hands and resorts to giving a list — a list that one would not be surprised to find in the writings of Borges.”
In Syntactic Structures (1957), to illustrate the difference between a meaningful sentence and a grammatical one, Noam Chomsky offered the expression Colorless green ideas sleep furiously as an example of a grammatical sentence that’s nonsense.
Naturally, some readers took this as a challenge — within months, students at Stanford had set up a competition to show that the expression could be understood as a meaningful sentence. Here’s one of the prizewinning entries:
It can only be the thought of verdure to come, which prompts us in the autumn to buy these dormant white lumps of vegetable matter covered by a brown papery skin, and lovingly to plant them and care for them. It is a marvel to me that under this cover they are labouring unseen at such a rate within to give us the sudden awesome beauty of spring flowering bulbs. While winter reigns the earth reposes but these colourless green ideas sleep furiously.
More entries are here. From David Bellos, Is That a Fish in Your Ear?, 2011.