New Editions

Jean Harrowven’s The Limerick Makers, originally published in 1976 has now been reissued by Borrowdale Press. The book, little more than a small anthology tracing the origins of the form as far back as possible and supporting the Maigue Poets’ hypothesis, was not really convincing or original. The TLS reviewer (28 May 2004) however has been impressed by such “curiosities” as the Latin passage from St. Thomas Aquinas, whose discovery, however, according to A.N. Wilkins, dates back to 1925 and should be attributed to Ronald A. Knox.

What I appreciated in the first edition was the full text of two pre-Lear limerick books, The History of Sixteen Wonderful Old Women (b/w facsimile at Hockliffe) and Anecdotes and Adventures of Fifteen Gentlemen (local colour edition). A third similar book, Anecdotes and Adventures of Fifteen Young Ladies (b/w facsimile at Hockliffe), is also available.

Vivien Noakes’s Edward Lear. The Life of a Wanderer (Collins, 1968) has also been reprinted in a “revised and enlarged” edition (Sutton Publishing, 2004): this is the standard biography and is indispensable for anyone interested in Lear; I’ll be reading it in the next weeks and report if I find any relevant new information.

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Alice in Oxford

The original manuscript of ‘Alice’s Adventures Underground’ given to the real Alice – Alice Liddell – by Lewis Carroll as a Christmas present in 1864, is the basis for a new website at http://www.aliceinoxford.net/play.htm. ‘Journeys to Wonderland’ takes children on a multimedia journey, shedding light on Alice’s adventures and telling the stories of Lewis Carrol and the real and fictitious Alices along the way. The website is a partnership between the British Library, Museum of Oxford and South East Museums, Libraries and Archives Council (SEMLAC).

From the BL’s Press Release showing a nice colour reproduction of the first page of Carroll’s manuscript.

The Alice in Oxford site’s main feature is a profusely-illustrated presentation of the story and all the people and places connected with its creation, with activities such as “Make your own Pool of Tears” or “Make a fun ‘Off with your head game'”, but it also includes short biographies of Carroll and Alice Liddell as well as information on Oxford.

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Kiddie Records Weekly

For the entire 2005 year, Kiddie Records Weekly, part of the Basic Hip Digital Oddio, will be featuring weekly stories and songs from the golden age of children’s records, from the mid 1940s to the early 1950s. Visitors will be able to listen to a low-resolution audio stream or, but only for one week, download a higher resolution version.

The first to go online is WD’s Story of Robin Hood, a 1952 double 78RPM record from Capitol with a 20-page booklet; next, from 10 January, The Adventures of Tom Thumb.

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Lewis Carroll — Pornographer

A picture from the album (the only one I dare reproduce!)

When, on a warm day in the spring of 1882, Christine Horly, whom her friends called Alice Number Three, “passed to a worse life by getting married”, as you can read in her sinful diary of forty years later, she received a secret wedding present, a picture book, … from a by-now bald professor of mathematics, whom she called uncle Lewis; the picture book, here reproduced in part, made of photographs, drawings and cuttings coming from various sources: broadsheets, periodicals, books, newspapers – French, German, Danish, English… Over a thousand pictures, illustrated pages, vignettes and frames covering many pages pasted together to form an extraordinary pirotechnicographic game, a paper museum of the amazing, of unusual “montages”, of surreal and dada intuitions, accompanied by iambs, epodes, nonsense and strambotti as well as cicalate and bazzecole often vey smart. But, most of all, that secret wedding present, represented, and it still does, one of the greatest masterpieces of that privately-produced and clandestine pornography… (p. 91)

So opens a chapter on “Londra, Victorian Hard & Sex Nonsense” in Ando Gilardi’s Storia della fotografia pornografica (Milano, Bruno Mondadori, 2002, pp. 91-128). The reader may well wonder who that “uncle Lewis” might be, but the mystery is clearly revealed only after nine pages of confused invectives against previous critics and after proposing the most fantastic idea of the origins of the limerick (to be discussed in a future post):

Lewis Carroll, genial father of the obscene visual nonsenses [read: limericks, even if they are not formally correct ones], was an enthusiastic but jealous reader of Edward Lear’s nonsense… His biographers… almost always omit to mention that the famous novel written by the “nasty uncle”… is a vast learian nonsense. In Alice’s Adventures in Wonderland… (p. 100)

There can be no doubt that Gilardi is here attributing the scrapbook to Charles L. Dodgson; unfortunately, he does not state its provenance – the reader is perhaps expected to think it is in his possession. He does state that it is hitherto unpublished (he prints a number of pages from it), but also declares that his history of pornographic photography has already been published “in instalments” twenty years earlier and makes obscure references to critics who are not willing to study the book (p. 102).

I have read the chapter at least three times and can’t really make up my mind whether it is a complex joke or Gilardi is serious about what he says; the other chapters in the book suffer from sloppy references, though at times they are a little more detailed, but generally tell a credible history of pornographic photography, the publisher is certainly a reputable one and Gilardi himself is the author of a Social History of Photography.

On the other hand it is difficult to believe that the Reverend Charles Ludwidge Dodgson could have written pseudo-limericks such as:

It is a young lady con the pail
with uccel-cazzon che la beccail
But she said “I don’t te tail te tail
All the birds non tal qual the ti air
Are welcome he untied the calson!”

Unless I miss something, this joycean language, which does not deserve a hint of comment from Gilardi, who translates it very freely to say the least, puts together ungrammatical English and Italian vulgar expressions and appears to have been written by someone who could not even speak decent English or standard Italian. A little strange for someone so evidently striving to imitate the two great Nonsense writers of the age: each rhyme is accompanied by a new version of Lear’s original drawing for the corresponding limerick, with pornographic details, of course.

I should say that unless a very convincing original is produced such material cannot even be taken as having been created in England at the end of the Nineteenth century.

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Edward Lear Vase to be Auctioned

A detail of the vase.

Here is the press release I received today:

A chance to own a unique piece of pottery – while helping children in need!

As part of its annual effort to help the BBC’s Children In Need Appeal, the Stoke on Trent (Staffordshire) craft pottery, Moorcroft, has created a one-off, unique vase – which it is auctioning this month.
The vase, created by Moorcroft designer Nicki Slaney, is on the theme of the famous children’s poem by Edward Lear, “The Owl and the Pussycat”.
Because no other copy of this vase does or will ever exist, the bidding is expected to go into the hundreds of pounds, as Moorcroft collectors all over the world join in the auction.
The design is recognisably Moorcroft – but with a little hint of tongue-in-check mischief too!
Nicki said: “It was a great pleasure to be involved in the making of this piece. Edward Lear’s poem has made children laugh for over a hundred years, so it was most suitable for a charity which supports troubled children everywhere”.
Bids are permitted right up to Children in Need day, which this year falls on November 19th.
To make a bid, have a look at the vase in detail, and to check the latest state of the bidding, log on to http://www.bbc.co.uk/stoke and select the “Moorcroft” link.
(November 2004)
For more details…
Go direct to auction webpage

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Carroll s emotional and social life

A new section on Charles Dodgson’s emotional and social life has been announced in the Lewis Carroll mailing list:

There’s an introduction to the section by Jenny Woolf and a new article – “The Ages of Charles Dodgson’s female friends as reflected in the “Letters of Lewis Carroll” by Karoline Leach.
It springs from some discussions we had on this list a few years ago and presents a detailed breakdown of the ages of CLD’s female correspondents in the Cohen edited ‘Letters’. There are even tables – for the determinedly statistical!
Although it’s been in development for some time, I understand it does – quite coincidentally – have some comment to make on some of Cohen’s claims in his recent article.

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Uncle Arly at Fizz Fest

From the Dublinks presentation:

My Uncle Arly is a hilarious and imaginative play based on the absurd wit of Edward Lear. This British artist broadly known for his irreverent outlook of the world was a talented painter, poet and author. My Uncle Arly incorporates some of Lear’s poetry with original songs and witty recreations of some of his most popular characters. This highly energetic play is suitable for all ages and is an ideal performance for all the family to enjoy. Matinee (11am) and Evening performances (7pm) will take place on Monday 18th and Tuesday 19th October. Tickets cost €12 for Adults and €8 for kids.

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A new article in the Reading Shelf

I have added a new article to the Reading Shelf on the nonsenselit.org home page: How Pleasant to Know Mr Lear! by Bertha Coolidge, from The Colophon, Part Nine, 1932.

It is largely devoted to a comparative discussion of Lear and Carroll, and a few quotations at the beginning show that the two were already being labeled as Nonsense poets very early. The information on Lear is not very accurate and reflects the status of research at the time of publication.

The Reading Shelf also has two Stephen Leacock short stories (more to appear soon) and G.K. Chesterton’s A Defence of Nonsense, from The Defendant (1902).

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Lewis Carroll and Little Girls (again!)

Charles Ludwidge Dodgson’s biography has been a battlefield in recent years, at least since the publication of Karoline Leach’s In the Shadow of the Dreamchild (London: Peter Owen Ltd, 1999 – extracts at the Victorian Web), in which she maintained that the traditional view of Lewis Carroll’s morbid interest in young girls was mistaken: a passion for children, and especially young girls, was typical of the Victorian age and Dodgson used it as a mask behind which he could court mature women. This view, which Morton N. Cohen brands as ‘revisionist’ has been gaining popularity, not only through the articles Leach has published in the TLS (“Ina in Wonderland”, 3 May 1996 and “The Real Scandal”, 8 February 2002) but thanks to the activism of the Lewis Carroll mailing list and, recently, the Looking for Lewis Carroll web site.

One of the main targets has been Cohen’s Lewis Carroll: a Biography ( London: Macmillan, 1995). His long-awaited reply, “When Love was Young”, TLS, 10 September 2004, sounds convincing to me as long as it simply states known facts: Dodgson’s endless list of child friends and the lengths he went in order to get to know and then privately meet them, the dedications of his works and the number and tenor of the letters he wrote to them and their mothers.

I tend to agree with Cohen’s opinion that much of what the revisionists maintain is the fruit of “conjecture and surmise;” unfortunately he does not resist and proceeds to give us another dose of conjecture. In discussing a letter of 1930 from Lorina to Alice in which the former gives an account of her interview with a biographer, he correctly infers that Lorina concealed the real reason for the break between Carroll and the Liddell family in June 1863 stating that “his [Dodgson’s] manner became too affectionate to you… and that mother spoke to him about it… one had to find some reason for all intercourse ceasing.”

In the final paragraphs of his essay Cohen tries to convince us that Lewis Carroll’s “nieces… would not have wanted posterity to see that their uncle was rebuked by Mrs Liddell,” and so cut a page from his diary in which the incident was presumably recorded: they did not want us to know that she rebuked him, but had no intention of concealing what she rebuked him for, though we still do not know what it was — we do not even know whether she actually “spoke to him about it.”

The only clue comes from a note found by Leach about “Cut Pages in Diary” which summarizes the scandal of June 1963: “L. C. learns from Mrs Liddell that he is supposed to be using the children as a means of paying court to the governess. He is also supposed [unreadable] to be courting Ina.” It is not clear who wrote this note, Leach attributes it to Violet Dodgson, one of the nieces responsible for cutting the pages, Cohen says that Philip Dodgson Jacques told him (in the 1960s) he had written it himself using details given him by the nieces.

A couple of strange things: if Cohen knew of the note, why did he not use it in his biography? If, as he says, Lorina was concealing the truth in her 193o interview, why did he maintain that the probable cause for the break was his excessive affection for Alice, or even a marriage proposal?

The note, as far as I can see, confirms that in 1930 Lorina was lying to the biographer and might also account for Dodgson’s nieces’ reluctance to spread rumours about their uncle’s conduct. All we can say is that Alice was probably not the cause for the break — Lorina might have been, or perhaps something Mrs Liddell said. Until new documents are found, and Cohen appears to believe that even the missing page was not destroyed, nothing more can be said for sure, I’m afraid.

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My Uncle Arly on the stage

icBirmingham, commenting on the program for the Evening Mail Birmingham Comedy Festival, reports that “the Hoipolloi theatre company looks to the work of writer Edward Lear for inspiration in the absurd yet delightful comic journey, My Uncle Arly (8 Oct).”

The show will then travel to Belfast:

There is a real treat for families this October; in association with Young at Art, OMAC presents the Northern Irish premiere of My Uncle Arly, by Hoipolloi and Tiebreak Theatre. Inspired by the illustrations, life and nonsense poems of Edward Lear, the performance weaves together Lear’s poetry with original songs and comic recreations of some of his best loved characters. That little lot look so good, I could almost write a Limerick about them.

Belfast Telegraph, 27 August 2004

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