The Poems in Alice in Wonderland

I have added Florence Milner’s old essay on “The Poems in Alice in Wonderland (The Bookman, XVIII, September 1903, pp. 13-6) to the nonsenselit.org bookshelf.

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Gustave Verbeek's Monotypes

I have added an article on Gustave Verbeek‘s monotypes, to which he devoted his efforts after abandoning comics in the 1910s: Hawthorne, Hildegarde. “A New Achievement in an Old Medium: Gustave Verbeek’s Monotypes.” The Century Magazine 92.2, June 1916, 96-102.

Verbeek, “The Shepherdess,” monotype

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The Illustrated Old Possum

Michael Sporn, of Splog, has a number of posts about illustrator Errol Le Cain, and among them two devoted to his illustrations to poems from T.S. Eliot’s Old Possum’s Book of Practical Cats:

Growltiger’s Last Stand and Other Poems

Growltiger’s Last Stand

Mr. Mistoffelees with Mungojerrie and Rumpelteazer

Mr. Mistoffelees

The posts also mention a projected, but never realized, animated version of Andrew Lloyd Webber’s musical Cats, based on Eliot’s poems, scripted by Tom Stoppard. You can get some information and see preliminary pictures for this Steven Spielberg production at Hans Bacher’s blog its-a-wrap: post 1 and post 2.

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The 1888 Roberts Bros Edition

On Edward Lear’s Nonsense Books, published by the Robert Bros, in “The Literary World.” October 13, 1888:

Nonsense Books Nonsense Books By Edward Lear Roberts Bros Í2 OO Those who like Mr Ruskin are disposed to put Edward Lear at the head of their hundred authors for the sake of the June flies the mangle wangle the owl and the pussy cat and the rest of his entertaining creations will welcome the reappearance of the Konsense Books in a new edition with all the original illustrations a portrait and brief biographical account of the author and the still further addition of two supplementary books not heretofore published in this country called Mori Nonsense and Laughable Lyrics In these the lovers of the old books will recognize some well known characters and friends under novel conditions but to us their most delightful feature is the first the alliterative alphabet which beginning with The Absolutely Abstemious Ass Who resided in a Barrel and only lived on Soda Water and Pickled Cucumbers carries us along past The Judicious Jubilant Jay Who did up her back hair every morning with л Wreath of Roses Three feathers and a gold t in and The Perpendicular Purple Polly Who read the Newspaper and ate Parsnip Pie With his spectacles to Tlie Zinzap Zealous Zebra The way tu Jillebola Who carried five monkeys on his back all Children will delight in this alphabet we think

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The Gashlycrumb Tinies

On YouTube, a nice animation based on Edward Gorey’s The Gashlycrumb Tinies, by Matt Duplessie of Clandestiny:

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The Owl and the Pussy-Cat: A New Arrangement

Sumanguru Gyra Jones, from Somewhere West of the Everglades, proposes his own arrangement of Edward Lear’s poem:

Download

He also has an arrangement of Lewis Carroll’s “The Jabberwocky”:

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Something about Edward Lear

From The Young and Field Literary Readers. Book Three. By Ella Flagg Young and Walter Taylor Field. Boston: Ginn and Company, 1914; available through Google Books:

EDWARD LEAR AND HIS NONSENSE SONGS SOMETHING ABOUT EDWARD LEAR Mrs Jones was calling on Mamma one Harold was curled up in a chair had a broad grin upon his face and now he would shake with laughter What is the matter with the child Jones He is reading some of Edward Lear's verses Mamma If they are as funny as that I should like them said Mrs Jones

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The Brothers Dalziel on Edward Lear

The Brothers Dalziel. A Record of Fifty Years’ Work in Conjunction with Many of the Most Distinguished Artists of the Period – 1840-1890. London: Methuen & Co., 1901, pp. 317-8.

Early in the Sixties we made the acquaintance of Edward Lear, who was a landscape painter of great distinction, a naturalist, a man of high culture, and a most kind and courteous gentleman. He came to us bringing an original chromo-lithographic copy of his “Book of Nonsense” published some years before by McLean of the Haymarket. His desire was to publish a new and cheaper edition. With this view he proposed having the entire set of designs redrawn on wood, and he commissioned us to do this, also to engrave the blocks, print, and produce the book for him. When the work was nearly completed, he said he would sell his rights in the production to us for £100. We did not accept his offer, but proposed to find a publisher who would undertake it. We laid the matter before Messrs. Routledge & Warne. They declined to buy, but were willing to publish it for him on commission, which they did. The first edition sold immediately. Messrs. Routledge then wished to purchase the copyright, but Mr. Lear said, “Now it is a success they must pay me more than I asked at first.” The price was then fixed at £120, a very modest advance considering the mark the book had made. It has since gone through many editions in the hands of F. Warne & Co.

Lear told us how “The Book of Nonsense” originated. When a young man he studied very [318] much at the Zoological Gardens in Regent’s Park. While he was engaged on an elaborate drawing of some “Parrots,” a middle-aged gentleman used to come very frequently and talk to him about his work, and by degrees took more and more interest in him. One day he said, “I wish you to come on a visit to me, for I have much that I think would interest you.” The stranger was the Earl of Derby. Lear accepted the invitation, and it was during his many visits at Knowsley that these “Nonsense” drawings were made, and the inimitable verses written. They were generally done in the evening to please the Earl’s young children, and caused so much delightful amusement that he redrew them on stone, and published them as before stated. That is how this clever, humorous book came into existence; a work that will cause laughter and pleasure to young and old for all time. John Ruskin says of Lear’s “Book of Nonsense”:

“Surely the most beneficent and innocent of all books yet produced is the ‘Book of Nonsense,’ with its corollary carols, inimitable and refreshing, and perfect in rhythm. I really don’t know any author to whom I am half so grateful for my idle self as Edward Lear. I shall put him first of my hundred authors.”

The book is available at archive.org.

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Tomfoolery

At long last I have managed to see an episode of Tomfoolery, the 1970-1971 Rankin-Bass show based upon the nonsensical verse and whimsical characters of authors such as Edward Lear, Ogden Nash, Frank Gelett Burgess, and Lewis Carroll.

Thanks to tooktracker for uploading this; also visit the YouTube page for comments.

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A Cubist Romance

Over at 5lines (A limerick a day!) I am publishing a series by Oliver Herford which appeared in the Century Magazine between 1911 and 1913.

Here is another humorous poem which appeared in the same magazine in the June 1930 issue (vol. Vol. LXXXVI, pp. 320-1).

Cubist Romance, title

Text and pictures by OLIVER HERFORD

A SCULPTOR once, in search of fame
(I can’t recall the sculptor’s name),
Turned Cubist, and at once began
A statue on the Cubist plan.

The statue, I need hardly say,
Was something in the Venus way,
And as its form grew bit by bit,
The sculptor fell in love with it.

Then came a wonderful idea:
He named his statue Galatea,
Which, by the way, reminds me that
His own name was Pygmalion Pratt.

One day it chanced Pygmalion came
To read the legend of his name
And hers, and prayed that fiction might
Repeat itself for his delight.

When, lo! the cubic feet of stone
Turned all at once to flesh and bone,
And Galatea’s cubic face
Met his in angular embrace.

Short-lived was Galatea’s bliss;
She soon guessed something was amiss,
And from the wall, in modish dress,
A Gibson girl confirmed her guess.

Cubist Romance, picture 1

“Pygmalion dear,” she cried, “oh, please
Buy me some pretty frills like these!”
Then, meeting his astonished stare,
Blushed to the cube roots of her hair.

Picture the curious crowds they drew
As they strolled up Fifth Avenue!
Think of the modistes asked to drape
Miss Galatea’s cubic shape!

Cubist Romance, picture 2

When Galatea came to see
The sheer impossibility
Of getting clothes, without ado
She took to posing for le nu.

And now she leads (to end my tale)
A model life in Bloomingdale,
Painted and sculptured and adored
By inmates of the Cubist ward.

[The Century. An Illustrated Magazine. Vol. LXXXVI, June 1913, pp. 320-1.]

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