The Owl and the Pussycat Went to See. . .

The Owl and the Pussycat Wen to See… is a musical play adapted from the verses and stories of Edward Lear by Sheila Ruskin and David Wood (who wrote the music and lyrics). The LP (Philips 6308022) was published in 1970 with a colourful hippy-style cover and features Harry Secombe (Narrator), Roy Castle (Owl) and Hattie Jacques (Pussycat): Side 1 & Side 2

Cover

The story, as told in the back cover:

  1. Owl & Pussycat set sail to find a ring & someone to marry them (THE OWL & THE PUSSYCAT);
  2. THE LAND WHERE THE BONG TREES GROW
    They meet the Dong with a luminous nose, who is sad because he has lost his Jumbly Girl (THE SONG OF THE DONG);
  3. THE HILLS OF THE CHANKLY BORE
    Dong takes Owl & Pussycat to meet the Quangle Wangle, whose beaver hat is a hotel (THE QUANGLE WANGLE’S HAT). He takes them on a journey, accompanied by the Runcible Spoon to protect them from the villainous hungry Plum Pudding Flea (OFF WE GO). Dong meets Professor Bosh & joins his Plum Pudding Flea hunt (OFF WE GO — reprise);
  4. TORRIBLE ZONE — TREES OF SOFFSKY POFFSKY
    The travellers have a rest but Runcible Spoon sleepwalks and the Plum Pudding Flea nearly catches them. They set a honey trap for him (HONEY SONG). It works! (I’M STUCK). He is nearly netted by Professor Bosh but escapes, leaving them stuck in the honey.
  5. PIGGYWIG’S WOOD
    Owl, Pussycat & Quangle Wangle help the Piggywig who sells them the ring on the end of his nose. A sudden storm makes everyone hide (FROM THE STORM);
  6. GULF OF HANDEL
    The mad Jumblies are washed ashore in their sieve (THE JUMBLIES SONG) & lick Professor Bosh & Dong out of the honey trap (HONEY SONG — reprise). Hearing there is an owl (Jumblies’ favourite food) on the island they rush off to find him, pursued by Professor Bosh. Dong has found his beloved Jumbly Girl once more (A SYLLABUB SEA);
  7. CITY OF TOSH — TURKEY HILL
    Owl, Pussycat & Quangle Wangle find the Turkey’s house. The sleep-walking Runcible Spoon again saves them from the Plum Pudding Flea & they all meet the vicar (THE TURKEY’S SONG) who forgets the wedding service. Owl & Pussycat hope to be married soon (A SYLLABUB SEA — reprise) but the Jumblies arrive and attack Owl; the five-pound note saves him. Professor Bosh hurries to the scene but is accidentally knocked out by the Turkey. Dong & Jumbly Girl arrive & help sort out the muddle. Quangle Wangle suggests a celebration (THE WEDDING FEAST). The Plum Pudding Flea is caught in Professor Bosh’s net; Owl & Pussycat are married at last & everyone dances for joy (BY THE LIGHT OF THE MOON).
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The Laughable Looloos

Helen Stilwell’s Laughable Looloos 1906 series is now available in full colour at Nonsense in the Early Comics.

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The Woozlebeasts

Cover

The architect, John Prentiss Benson (1865-1947), had always dreamed of becoming an artist like his older brother Frank. In 1905 he lived in Flushing NY with his wife and four children and worked at his architecture firm of Benson and Brockway. He kept a studio in his home where he dabbled with paints, brushes, and canvases. His dabbling in 1904, probably to amuse his children, resulted in The Woozle Beasts (the cover and spine say Woozle Beasts but the title page reads WOOZLEBEASTS: today under the influence of computerese the title would be WoozleBeasts).

On his fifty-sixth birthday in 1921, John received a telegram from brother Frank that read “John, if your are going to paint —PAINT!” And surprisingly, John Prentiss Benson gave up architecture and took up serious painting. He became one of the world’s leading maritime painters with over 500 paintings.

Arthur Deex, author of the preceding blurb, has given in to my insistence and scanned the book, so we are now in a position to offer the largest collection of Woozlebeasts ever published: it includes an almost complete run of the strip as it appeared in newpapers in 1904 (in the Los Angeles Times and Chicago Tribune from 21 August 1904 to 1 January 1905; the New York Herald had started publication on 5 April 1904, according to Allan Holtz’s Stripper Guide) and the 1905 Moffat, Yard & Co. book. Even The Artistic Legacy of John Prentiss Benson. Compiled and edited by Nicholas J. Baker. Sheridan Books, 2003; p. 251, only lists 94 beasts, our index includes 154 as well as three single-panel panoramic cartoons. According to the same source (p. 250) Benson “had a book of original Woozlebeast drawings bound in hard cover and presented to his four children. The inscription written inside the front cover reads as follows: ‘Dedicated to Marjorie, Philip, Gertrude and little Mary – 30 years ago.’ It was signed, ‘John P. Benson, May 13th, 1935.'”

The use of the limerick verse and the careful drawing style clearly differentiate the Woozlebeasts from the average newspaper comic of the period, and place it in the 1904-05 drive to please middle-class readers after the first wave of attacks against the new medium. The short-lived strip would start a minor tradition of depictions of fantastic animals which includes Helen Stilwell’s 1906 Laughable Looloos and Gustave Verbeek‘s The Terrors of the Tiny Tads (28 May 1905-25 October 1914) and The Loony Lyrics of Lulu (17 July 1910-23 October 1910), the latter also using limericks, sometimes written by the readers, to describe invented animals.

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American Limericks

I had just finished my previous post when I received the following article from Arthur:

A New Book of Nonsense

The nonsense craze started by Edward Lear in the 1840s eventually swept through the entire English speaking world. The spread, however, was more of a creep than an explosion in the early years by today’s standards.

In America the earliest books of limericks were published in New York and London simultaneously:

Parkes, Harry. Random Rhymes. London & New York: Frederick Warne & Co., c1860.

Rummical Rhymes with Pictures to match set forth in fayre prospect Alphabetically & Geographically. New York: Hurd Houghton, 1862 and Dean & Son, 1863.

The first American printing of Lear’s A Book of Nonsense was probably:

Lear, Edward. A Book of Nonsense. Philadelphia: Willis P. Hazard, 1863. First American printing. Some distribution with original title-leaf canceled and imprinted “New York: M. Doolady, agent.”

The first distinctly American limerick books were associated with the American Civil War:

Ye Book of Copperheads, Philadelphia: Frederick Leypold, 1863. Reprinted in 1864 in conjunction with the Lincoln-McClellan presidential campaign.

The Book of Bubbles: A Contribution to the New York Fair in aid of the Sanitary Commission. New York: Endicott & Co., 1864.

The New Book of Nonsense: A Contribution to the GREAT CENTRAL FAIR in aid of the Sanitary Commission. Philadelphia: Ashmead & Evans, 1864.

The New Book of Nonsense, like The Book of Bubbles, was produced and sold as a fund raiser for the Sanitary Commission. The Sanitary Commission was a civilian organization in the North dedicated to remedy the “unsanitary conditions” to which Union soldiers were subjected. The nearest thing to the Commission today would be the Red Cross.

The book was clearly an attempt to take advantage of the popularity of Lear’s nonsense books. The printing and binding is very slipshod, with limericks often cropped in part. But the style of the verses and their topics, while many are perhaps shocking today, and certainly politically incorrect, are an excellent window on the way 1860s Americans viewed the world.

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The Limerick Craze!

The Limerick Craze

A number of early limerick books are now available for your online enjoyment, including the four published in the 1820s that inspired Edward Lear:

  1. The History of Sixteen Wonderful Old Women. Illustrated with as many engravings; exhibiting their principal eccentricities and amusements. Much credit is due to our artist, I ween; For such pictures as these can seldom be seen. London: J. Harris and Son, 1822. First edition 1820. [From the Hockliffe Collection website. Colour scans at the Edward Lear Home Page.]
  2. Anecdotes and Adventures of Fifteen Gentlemen. London: John Marshall, c 1821. [Colour scans at the Edward Lear Home Page.]
  3. Anecdotes and Adventures of Fifteen Young Ladies. By the Author of “Anecdotes and Adventures of Fifteen Gentlemen.” London: E. Marshall, c1822. [From the Hockliffe Collection website.]
  4. A Peep at the Geography of Europe. Illustrated by Comic Figures of the Several Nations. London: E. Marshall, c1824. [Courtesy Arthur Deex.]

Also worth a look are: A Lady. Little Rhymes for Little Folks: or, Poetry for Fanny’s Library. London: John Harris, 1823 [Arthur Deex], which contains a few limericks; and Thomas Hood. The Headlong Career and Woful Ending of Precocious Piggy. London: Griffith and Farran, 1860 [University of Florida], in which the story is told in monorhyme limericks, every single line in the book rhyming with “pig”.

In addition, you can now read three early American books from Arthur’s collection:

  1. The New Book of Nonsense. A Contribution to the Great Central Fair in Aid of the Sanitary Commission. Philadelphia: Ashmead & Evans, 1864.
  2. Ye Book of Bubbles. A contribution to the New York Fair in aid of the Sanitary Commission. Endicott & Co., New York: March 1864.
  3. Ye Book of Sense. A Companion to the Book of Nonsense. Philadelphia: Porter and Coates, n.d. Title and thirty-one hand colored plates. Oblong 8vo. c1870.

Arthur has also provided two very beautiful limerick books from the 1900s:

Not enough? For some time our gallery has been hosting Bennet Cerf’s Pop-up Limericks (New York: Random House, n.d.).

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Three Lear Limericks

Although it may sound sacrilegious, some artists have actually chosen to re-illustrate the verses in Edward Lear’s A Book of Nonsense. These Latter Day Neo Reform Limericks keep popping up everyday in bookshops.

Janina Domanska

It’s not that Lear didn’t get it, or that Lear couldn’t draw, it’s just that that was then and this is now. When Renaissance artists painted Biblical scenes, they didn’t depict the patriarchs as scruffy, unwashed, nomads, they sketched them as wealthy Italian noblemen wearing proper garb. And so Lear’s old men are drawn according to modern views for modern times. They aren’t better; they aren’t worse; they are just different.

Displayed here are a number of modern illustrations for three of Edward Lear’s most popular limericks — An Old Man with a beard, An Old Man in a tree, and An Old Man who said, “Hush!”

If you have other examples (and there are quite a few) in your collections, please add them to this Blog of Bosh.

Arthur

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To the Land Where the Jam-tree Grows !?

Nothing […] amused Lear more than the failure of some people to appreciate the utter absence of sense in his nonsense. He used to relate that some one once wrote to him to say that he had marched various botanical and other works without finding any allusion to a “Bong-tree.” Where, his correspondent, asked, did the “Bong-tree” grow?
[Evelyn Baring, “Introduction.” Queery Leary Nonsense. A Lear Nonsense Book. Edited by Lady Strachey. London: Mills & Boon, 1911.]

The question is a recurrent one, and I myself have sometimes been asked it, why the Bong-tree? The problem of the Bong-tree is an early one if the producer of The Owl and the Pussy Cat and Other Nonsense Songs, Illustrated by Lord Ralph Kerr (London: Cundall and Co., 1872), which you can see in facsimile in our Picture gallery, felt the need to replace it with a more appetizing and less nonsensical “Jam-tree”.

The Jam-Tree

Vivien Noakes, in her definitive edition (Edward Lear. The Complete Verse and Other Nonsense. London: Penguin, 2001: 507) presents the modern interpretation:

The coach-road along which Lear would have travelled between Liverpool and Knowsley, passes through the village of Knotty Ash, said to have taken its name from a gnarled ash tree which once stood outside the public house beside a group of cottages called ‘The Little Bongs’. The tree was known locally as ‘the ash tree at Little Bongs’, and may have been the inspiration for Lear’s Bong tree.

Noakes prudently adds that “on the other hand, he may just have liked the sound of the word”, and in fact manuscripts at the Houghton Library and Pierpont Morgan Library contain variants (“Phloss tree” and “Palm tree” respectively).

Another influence on the final choice of the name which I have never heard mentioned might be the “Bo-tree”, or Indian fig tree, said to be the tree under which the Buddha became enlightened (Ficus religiosa, family Moraceae). On its eastern side is “the immovable spot on which all The Buddhas have planted themselves! This is the place for destroying passion’s net!”. While Siddartha is sitting there he is attacked by the god Mâra, but his perfection protects him, and the evil god is defeated (Buddhism in Translations. Passages Selected from the Buddhist Sacred Books and Translated from the Original Pâli into English by Henry Clarke Warren. Harvard University Press, 1896. § 8: The Attainment of Buddhaship). Just after attaining buddhaship “the Blessed One sat cross-legged for seven days together at the foot of the Bo-tree experiencing the bliss of emancipation” (§ 9: First Events after the Attainment of Buddhaship).

The quest of the owl and the pussy-cat is more earthly, of course, but it also leads to bliss, and the rhythm of the poem, with its long, repeated sounds at the end of each stanza clearly gives it some sort of ecstatic quality.

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Ye Book of Sense

Arthur Deex has digitized two more early limerick books, Ye Book of Bubbles (1864) and Ye Book of Sense (c1870), and writes of the latter:

Book of Sense, p. 17

A Review in the May 88 Pentatette

A recent addition to my collection was a book of limericks that was previously unknown to me: Ye Book of Sense: A Companion to the Book of Nonsense. Philadelphia: Porter and Coates, n.d. Title and thirty-one hand colored plates. Oblong 8vo. c1870.

Its oblong shape [the first books of nonsense / limerick verse were all oblong to accommodate their three or four line format; they remained oblong for a time even after format stabilized at five lines] and the reference in the title to Lear’s Book of Nonsense clearly mark it as one of the earliest American books of limericks.

A reasonably accurate estimate of the publication date of the book requires more than a little conjecture built on observation:

Although the limericks are obviously Lear inspired there are marked changes from the Lear style.

Only seventeen of the thirty-two limericks in the book use the standard Lear first line rhyme word as the fifth line rhyme word.

Ten of the limericks are not geographically oriented.

The clothing styles in the illustrations are not unlike Civil War fashions. There are no uniformed men, however, — in fact most of the men wear full length robes or skirts.

Not as rough in metre and rhyme as the Sanitary Fair limericks, they are completely free of references to soldiers or the Civil War.

To me all this this suggests that they pre- or post- date the war by several years. Because of the maturity of the verses, and by this I mean dissimilarity with A Book of Nonsense, I place it about 1870. The verse on the back cover suggests the same kind of fund raiser as the Sanitary Fair limerick books.

It could, on the other hand, be immediately prior to the Civil War; A Book of Nonsense was, after all, published in 1846 – leaving plenty of time for the notion of the nonsense verse to cross the Atlantic.

And adds in the e-mail:

An interesting side point is that the single vertical picture (p 30) is bound with feet left (toward the spine) and head right (away from the spine). That makes the picture upside down when you read the book. I don’t know if that was intentional or just a mishap down at the binding shop.

There are two known copies of this book in addition to mine: University of Florida and The Newberry Library, Chicago. My estimate of the date of publication is 1870 — U Florida puts it at 1878 and The Newberry, 1860s –so the consensus is 1870 +/- a decade.

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A Limerick Alphabet by Edmund Dulac

Arthur Deex has acquired a very nice copy of a rare book of limericks and has kindly chosen to share it:

Dulac, A Limerick

Lyrics Pathetic and Humorous from A to Z by Edmund Dulac (1882-1953) is a delightful Alphabet Book of 24 colorful plates (X, Y & Z are combined), each with a limerick. The book was published in London and New York in 1908 by Frederick Warne & Co. A year later in 1909 a deluxe limited edition of about 160 copies was issued in portfolio form much taller than the standard edition — large quarto, title-page and twenty-four color plates, each mounted on dark green art paper with original parchment endpapers from the book edition also mounted on folded sheets of dark green art paper.

Born in 1882 France, Dulac, a gifted teenage artist, made it through two years of studying law before the boredom of law school and the winning of a prize at the Ecole des Beaux Arts tipped him into an art career and he became a full time art student. His arrival in London in 1904 just as the “color separation” process of reproducing color plates was invented fortuitously placed him at the birth of the illustrated gift-book. Edmund Dulac became one of the five major “Golden Age” gift book illustrators. A gifted caricaturist, Dulac was at his best in Lyrics Pathetic and Humorous.

The Metropolitan Museum of Art in 1980 published the Book of Names and Addresses: With Illustrations and Text Adapted from Lyrics Pathetic & Humorous from A to Z by Edmund Dulac. About a decade later in 1993 Abbeville Press published F was a Fanciful Frog a modern smaller reprint of Lyrics Pathetic and Humorous.

Go see it! And don’t forget that Arthur edits, writes and publishes The Pentatette, a monthly newsletter on all aspects of the limerick.

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Edward Lear Music in Sanremo

At the end of 1997, the city of Sanremo held an exhibition of Edward Lear paintings and watercolours; there was also a concert of his Tennyson arrangements and of Dudley Glass’s settings of his poems on 7 December. Here is my recording of the event, not very good quality, I admit, but better than nothing. Note that most pieces are not actually sung, though a singer was available, only the tune is played by the orchestra.

Programme

Poems and Songs, words by Alfred Tennyson, music by Edward Lear

  1. Edward Gray
  2. Tears, Idle Tears
  3. Come not when I am dead
  4. Home they brought her warrior dead
  5. A Farewell
  6. As through the land at eve we went
  7. O let the solid ground not fail
  8. The time draws near

Nonsense Songs, words by Edward Lear, music by Dudley Glass

  1. The Duck and the Kangaroo
  2. The Owl and the Pussy-cat
  3. The Broom the Shovel, the Poker and the Tongs
  4. Calico Pie
  5. The Daddy-Long-Legs and the Fly
  6. The Table and the Chair
  7. The Courtship of the Yonghy-Bonghy-Bò
  8. The Quangle Wangle’s Hat
  9. Mr and Mrs Spikky Sparrow
  10. The Jumblies

Yusiko Ido, mezzosoprano

The Edward Lear Music Ensemble

Vitaliano Gallo, director, fagotto, arrangements
Laura Ondertoller, violin
Wynneford Potter, viola
Davide Galaverna, double bass
Marco Bottini, flute, piccolo
Claudio Quintavalla, trumpets
Sandro Castaldi, percussions
Giovanna Solinas, harp
Roberto Mingarini, piano, director

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