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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Why is Humpty Dumpty depicted as an egg?

There are several possible origins of this nursery rhyme. It may refer to either Richard III or Charles I of England. A more likely explanation is that “Humpty Dumpty” was the name for a powerful cannon mounted atop the St. Mary’s Wall Church in Colchester to defend the city against siege during the English Civil War (1642-49). The enemy hit the church with their own cannon and Humpty Dumpty fell to the ground and could not be mended. Centuries ago in England, a short, dumpy person was sometimes called “humpty dumpty.” The image of Humpty Dumpty as an egg first appeared in “Alice Through the Looking Glass” by Lewis Carroll.

Question, and answer, of the week from the Groton Public Library, 6 August 2004.

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Find love with fur and feathers

The Sunday Herald for 29 August 2004 reports on a new stage version of The Owl and the Pussy-cat:

Edward Lear would be proud. Tall Stories (who previously staged The Gruffalo) have managed to stretch The Owl And The Pussycat, his most famous nonsense poem, to over an hour. On the page it takes barely a minute to read, but in this adaptation, Lear’s tale of interspecies nautical frisson is a sleek, polished production that manages to find new angles and charming nuggets within a slight tale.

The company have added the themes of acceptance and overcoming fear, which the feathered and furry characters find in each other. And, in an inventive twist, Turkey and Pig – inhabitants of the the bong tree covered island on which the famous pea-green boat runs aground – narrate the Owl and Pussycat’s tale of honey, money and dancing by the light of the moon, the moon.

The acting is tight and effervescent, even in the face of screeching toddlers, while the sparse stage is used to good effect. Even when Owl and Pussycat are confined to their boat for the play’s initial 20 minutes the action doesn’t remain static. It’s a play for all, regardless of age, gender or breed.

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Tim Bray Adaptation of The Owl and the Pussy-cat

The long-time children’s theatre director and writer has adapted Edward Lear’s quirky poem The Owl And the Pussycat, which he first staged at the Central Theatre, now home to the SiLo Theatre, in 1992.

“This time, the show’s director, Amanda Rees, wanted more poppy tunes,” Bray says. “Christine White has written new songs and lyrics.”

Kneel Halt plays the owl, Abigail Greenwood the pussycat and Bray himself is the narrator, piggy-wiggy, parrot and turkey.

from Nigel Gearing’s review in The New Zealand Herald | 1 July 2004

Meanwhile, in Britain, the Shropshire Star reports the Owl has been seen with a new companion…

Is he trying to forget the untimely death of his first love? For details, see The Children of the Owl and the Pussy-cat. (1 July 2004)

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The Cummerbund: a Colonial Poem?

In the Daily Star Web Edition, vol. 5 no. 16, Khademul Islam reviews the Hobson-Jobson, A Glossary of Anglo-Indian Words or Phrases and of Kindred Terms, Etymological, Historical Geographical and Discursive. After an interesting discussion of how many Indian words entered English and viceversa — which also includes a hypotesis on the creation of nonsense words — he concludes quoting “The Cummerbund” in full; here is what he has to say of Lear’s poem:

Rushdie ended his article on Hobson-Jobson with a play on the last words spoken by Clark Gable in Gone With The Wind: ‘Frankly, my dear, I don’t give a damn.’ It deserves to be quoted in full:

‘To spend a few days with Hobson-Jobson is, almost, to regret the passing of the intimate connections that made this linguistic kedgeree possible. But then one remembers what sort of connection it was, and is moved to remark–as Rhett Butler once said to Scarlett O’Hara–‘Frankly, my dear, I don’t give a small copper coin weighing one tolah, eight mashas and seven surkhs, being the fortieth part of a rupee.’ Or, to put it more precisely, a dam.’

Ha ha ha!
I can’t end my piece that well–just not that good a writer–and so I’m going to simply end with an Edward Lear poem first published in Times of India, July 1874. And readers please, don’t give it the old post-colonial reading (you know, the apocalyptic forefinger raised to the heavens and the high-pitched: “Aha, I knew it, white woman goes missing, brown man is ‘nailed to the wall'”). It will so spoil the fun!

The 1903 edition of the dictionary is online and can be used for free thanks to the University of Chicago: Henry Yule, A. C. Burnell, Hobson-Jobson: a glossary of colloquial Anglo-Indian words and phrases, and of kindred terms, etymological, historical, geographical and discursive. London: Murray, 1903. 1021 pp. New edn by William Crooke.

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Snappy Dance evokes Gorey terror, wonder

The Boston Herald reviews Snappy’s ballet inspired by E. Gorey’s works, see previous post.

The Boston Globe’s take on the event:

Snappy brings Gorey’s work to life
By Karen Campbell, Globe Correspondent | June 5, 2004

In Snappy Dance Theater’s cleverly inventive new “The Temperamental Wobble,” a FleetBoston Celebrity Series commission given its world premiere last night, the humorously creepy art of author and illustrator Edward Gorey is given “legs.” A woman’s shadow dances with that of her beloved arisen from the grave. Three circus performers cavort as a hanged woman dangles unceremoniously nearby. Tombstones and umbrellas are everywhere, and it’s all presided over by a Gorey-like figure in dark coat, bowler hat, and white tennis shoes.
It’s a nifty idea. Gorey’s darkly warped wit and eerie imagery seem tailor-made for expanding into minidramas, and Snappy’s artistic director Martha Mason along with the company’s six other talented performers have found the material fertile ground. However, the closest “The Temperamental Wobble” comes to any kind of story line is via Bonnie Duncan’s pig-tailed waif (the Innocent Child), who periodically gets abused and neglected in the midst of her feuding parents’ brawl and who ultimately seems to be swallowed up by a forest of thorny carnivorous plants. (That penultimate section, vividly played out in silhouette behind a scrim, is particularly macabre.)
Otherwise, the piece unfolds as a series of illustrations brought to life. Snappy’s trademark is a kind of sculptural gymnastics — acrobatic flips and leaps, off-kilter balances, dancers standing on each others’ shoulders, multilayered lifts — and this piece is a terrific showcase for its physical virtuosity and theatrical vibrance.
Though it’s engaging in its moody eccentricity, it’s a little disjunct over the long haul, and some of the longer sections feel protracted. At 70-plus minutes, the work needs some judicious tightening. What helps hold it together is Michael Rodach’s brilliantly colorful and atmospheric original score. […]

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