More Dream Poetry

https://commons.wikimedia.org/wiki/File:The_Life_and_Letters_of_Lewis_Carroll_1863.jpeg

Lewis Carroll and Alfred, Lord Tennyson, became improbable acquaintances in the 1850s, a few years before Carroll published Alice’s Adventures in Wonderland. The young author sent a letter to his cousin, May 11, 1859, after one memorable visit to the laureate:

Tennyson told us that often on going to bed after being engaged on composition he had dreamed long passages of poetry (‘You, I suppose,’ turning to me, ‘dream photographs?’) which he liked very much at the time, but forgot entirely when he woke. One was an enormously long one on fairies, where the lines from being very long at first gradually got shorter and shorter, till it ended with fifty or sixty lines of two syllables each! The only bit he ever remembered enough to write down was one he dreamed at ten years old, which you may like to possess as a genuine unpublished fragment of the Laureate, though I think you will agree with me that it gives very little indication of his future poetic powers:—

May a cock-sparrow
Write to a barrow?
I hope you’ll excuse
My infantine muse.

(Lewis Carroll, “A Visit to Tennyson,” Strand, June 1901. See Pillow Verse and Night Work.)

Arrogance

https://commons.wikimedia.org/wiki/File:Darcy_%C3%A0_Netherfield.jpg

In Jane Austen’s Pride and Prejudice, the residents of Meryton consider Mr. Darcy arrogant, proud, and conceited because of his reactions to village people. Of Elizabeth Bennet he says, “She is tolerable; but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men.” Later, when she spurns his proposal, he tells her directly, “Nor am I ashamed of the feelings I related. They were natural and just. Could you expect me to rejoice in the inferiority of your connections? To congratulate myself on the hope of relations whose condition in life is so decidedly beneath my own?”

The trouble is, he’s right — Darcy is educated, intelligent, wealthy, and handsome. He is superior to the people he’s judging, even according to their own standards. University of Minnesota philosopher Valerie Tiberius asks, what then is arrogance?

“Henry Kissinger, for instance, is by all accounts a highly arrogant person, but his intellectual talents are considerable, and all philosophical accounts of the good life for human beings assign such talents an important role. … So if Darcy and Kissinger believe that they are doing pretty well by the standards of human excellence, it is not obvious that they are wrong, and their arrogance must therefore consist in something other than a false belief.”

(Valerie Tiberius and John D. Walker, “Arrogance,” American Philosophical Quarterly 35:4 [October 1998], 379-390.)

Multimedia

https://books.google.com/books?id=WyBTTLkl-EoC&pg=RA1-PA9

I don’t know why I find this so striking: It’s a diagram that accompanies the article on deer hunting in Denis Diderot’s Encyclopédie. Rather than presenting a single image with a caption, it combines a vignette of a deer hunt with an illustration of the antlers and piles of dung that are dropped by stags of different ages, together with a musical score showing the notes sounded by the hunting party at different stages of the pursuit.

“Taken as a whole the hunting plates offer few clues for reading their complex hybrid of imagery and notations as an ensemble,” write John Bender and Michael Marrinan in The Culture of the Diagram (2010). Perhaps as a result, the encyclopedia article requires nearly 10 pages.

“The Encyclopedia’s treatment of stag hunting is extraordinary for mobilizing a full range of written language, abstract and arbitrary notations, indexical icons, and pictorial tableaux in an attempt to diagram the highly ritualized, courtly craft of tracking animals under the Ancien Régime.”

Diderot provided similarly remarkable diagrams for “hunting at force,” the kill, boar hunting, and wolf hunting.

Downgrade

In his 1946 essay “Politics and the English Language,” George Orwell “translates” Ecclesiastes 9:11 into “modern English of the worst sort”:

I returned and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.

Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.

Orwell’s English instructor at St. Cyprian’s School, Cicely Vaughan Wilkes, had translated the parable of the Good Samaritan into “oratory and journalese” to illustrate the principles of good writing. Orwell’s companion Walter John Christie wrote that Wilkes had emphasized “simplicity, honesty, and avoidance of verbiage” — and pointed out that these qualities can be seen in Orwell’s writing.

Romance Language

https://commons.wikimedia.org/wiki/File:Samuel_Pepys.jpg

Samuel Pepys wrote his famous diary in shorthand, but he took a further precaution when writing about his amorous adventures — he adopted words based on Spanish, French, and Italian:

“I did come to sit avec [with] Betty Michell, and there had her main [hand], which elle [she] did give me very frankly now, and did hazer [make] whatever I voudrais avec l’ [would have with her], which did plaisir [pleasure] me grandement [greatly].”

“The garbled foreign phrases he often used for sexual incidents had something to do with concealment perhaps, much more with his pleasure in marking off sexual experiences through special words and so heightening the excitement of reliving them,” writes Claire Tomalin in Samuel Pepys: The Unequalled Self. “It is the clever schoolboy as lover, showing off to himself in two ways at once.”

Small World

As children Maurice Baring and his brother Hugo invented a gibberish language in which the word for yes was Sheepartee and the word for no was Quiliquinino. This grew so tiresome to the adults around them that they were eventually threatened with a whipping:

The language stopped, but a game grew out of it, which was most complicated, and lasted for years even after we went to school. The game was called ‘Spankaboo.’ It consisted of telling and acting the story of an imaginary continent in which we knew the countries, the towns, the government, and the leading people. These countries were generally at war with one another. Lady Spankaboo was a prominent lady at the Court of Doodahn. She was a charming character, not beautiful nor clever, and sometimes a little bit foolish, but most good-natured and easily taken in. Her husband, Lord Spankaboo, was a country gentleman, and they had no children. She wore red velvet in the evening, and she was bien vue at Court.

There were hundreds of characters in the game. They increased as the story grew. It could be played out of doors, where all the larger trees in the garden were forts belonging to the various countries, or indoors, but it was chiefly played in the garden, or after we went to bed. Then Hugo would say: ‘Let’s play Spankaboo,’ and I would go straight on with the latest events, interrupting the narrative every now and then by saying: ‘Now, you be Lady Spankaboo,’ or whoever the character on the stage might be for the moment, ‘and I’ll be So-and-so.’

“Everything that happened to us and everything we read was brought into the game — history, geography, the ancient Romans, the Greeks, the French; but it was a realistic game, and there were no fairies in it and nothing in the least frightening. As it was a night game, this was just as well.”

(From his Puppet Show of Memory, 1922.)

Points and Pauses

Gertrude Stein’s 1935 lecture “Poetry and Grammar” includes a section on punctuation, for which she had a peculiar disdain:

There are some punctuations that are interesting and there are some punctuations that are not. Let us begin with the punctuations that are not. Of these the one but the first and the most the completely most uninteresting is the question mark. The question mark is alright when it is all alone when it is used as a brand on cattle or when it could be used in decoration but connected with writing it is completely entirely completely uninteresting.

In 2000, Kenneth Goldsmith rather archly removed the words from this passage and offered the bare punctuation as a poem titled “Gertrude Stein’s Punctuation from ‘Gertrude Stein on Punctuation'” (the full passage and the poem are both here). Goldsmith did the same thing with the punctuation chapter from Strunk & White’s Elements of Style and with Molly Bloom’s soliloquy at the end of Ulysses — a few hyphens and a period.

Carl Reuterswärd’s 1960 novel Prix Nobel consists entirely of punctuation marks. Reuterswärd felt that ordinary writing robs punctuation of its meaning; the surrounding words convey concepts and the commas, colons, and periods simply help to mark it. Removing the words, though, revealed an “interesting alternative: not to ignore syntax but certainly to forgo ‘the preserved meaning of others.’ The ‘absence’ that occurs is not mute. For want of ‘governing concepts’ punctuation marks lose their neutral value. They begin to speak an unuttered language out of that already expressed. This cannot help producing a ‘colon concept’ in you, a need of exclamation, of pauses, of periods, of parentheses.”

In 2005, Chinese novelist Hu Wenliang offered 140,000 yuan ($16,900 U.S.) to the reader who could decipher his novel «?», which consists entirely of punctuation marks.

The autobiography of the American eccentric “Lord” Timothy Dexter (1748-1806) contains 8,847 words and no punctuation. When readers complained, he added a page of punctuation marks to the second edition, inviting them to “peper and solt it as they plese.”

06/30/2022 More: Reader Kevin Orlin Johnson sent this poem by David Morice, from the February 2012 issue of Word Ways:

% , & –
+ . ? /
“ :
% ;
+ $ [ \

It’s a limerick:

Percent comma ampersand dash
Plus period question mark slash
Quotation mark colon
Percent semicolon
Plus dollar sign bracket backslash

(Thanks, Kevin.)

An Early Start

Edith Wharton was “reading” before she knew the alphabet. As a young girl she found Washington Irving’s 1832 book Tales of the Alhambra in her parents’ library and discovered “richness and mystery in the thick black type”:

At any moment the impulse might seize me; and then, if the book was in reach, I had only to walk the floor, turning the pages as I walked, to be swept off full sail on the sea of dreams. The fact that I could not read added to the completeness of the illusion, for from those mysterious blank pages I could evoke whatever my fancy chose. Parents and nurses, peeping at me through the cracks of doors (I always had to be alone to ‘make up’), noticed that I often held the book upside down, but that I never failed to turn the pages, and that I turned them at about the right pace for a person reading aloud as passionately and precipitately as was my habit.

Only later did she learn to value books for their substance rather than as vessels for her own imagination. “[M]y father, by dint of patience, managed to drum the alphabet into me; and one day I was found sitting under a table, absorbed in a volume which I did not appear to be using for improvisation. My immobility attracted attention, and when asked what I was doing, I replied: ‘Reading.'”

(From her 1934 autobiography A Backward Glance.)

Asides

https://commons.wikimedia.org/wiki/File:Anthony_Trollope.jpg

Convalescing from pneumonia one winter, Mary L. Daniels occupied herself by collecting all the digressions to the reader in the 47 novels of Anthony Trollope. Victorian fiction permitted a writer to stop in mid-story and expound his own views, and Trollope indulged this privilege with staggering frequency — together his digressions fill nearly 400 pages of close-set type, practically a novel’s worth in themselves. Some examples:

  • “Throughout the world, the more wrong a man does, the more indignant is he at wrong done to him.”
  • “A man cannot rid himself of a prejudice because he knows or believes it to be a prejudice.”
  • “Prosperity is always becoming more prosperous.”
  • “It is not the girl that the man loves, but the image which imagination has built up for him to fill the outside covering which has pleased his senses.”
  • “When we buckle on our armour in any cause, we are apt to go on buckling it, let the cause become as weak as it may.”
  • “They say that the pith of a lady’s letter is in the postscript.”
  • “How often in the various amusements of the world is one tempted to pause a moment and ask oneself whether one really likes it!”
  • “There is nothing that a woman will not forgive a man, when he is weaker than she is herself.”
  • “The comic almanacs give us dreadful pictures of January and February; but, in truth, the months which should be made to look gloomy in England are March and April. Let no man boast himself that he has got through the perils of winter till at least the seventh of May.”

“These digressions are pure Trollope — at least of that moment — undiluted by plot, character, theme, or modern exegesis,” Daniels writes. “By studying these digressions alone, we should be able to trace any changes in Trollope’s thinking without reference to what we think he meant or to what a particular character said or did.” The whole list is here.