{"id":106845,"date":"2017-01-19T13:22:18","date_gmt":"2017-01-19T18:22:18","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=106845"},"modified":"2017-02-17T12:00:26","modified_gmt":"2017-02-17T17:00:26","slug":"some-ozbervatims-on-edward-lear","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/01\/19\/some-ozbervatims-on-edward-lear\/","title":{"rendered":"Some \u201cOzbervatims\u201d on Edward Lear"},"content":{"rendered":"

\"\"<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

I just finished reading my review copy of\u00a0Edward Lear and the Play of Poetry<\/em><\/a>. The book consists of seventeen scholarly essays, many of which got their starts as papers delivered at an Edward Lear bicentennial conference at Oxford\u00a0in 2012. I found the book admirable, valuable, and annoying as hell. The present note will not be a review, but only a few stray thoughts.\u00a0<\/p>\n

When people write about Victorian nonsense, they tend to take one of two stances. There\u2019s the almost intolerable one taken by Martin Gardner in his classic\u00a0The Annotated Alice<\/em>\u2014i.e., aggressive pedantry trying to pass itself off as a spoof on pedantry. In fact, it really\u00a0is\u00a0<\/em>a bunch of learned obnoxiousness. Unfortunately for everyone, this kind of exercise really does elucidate things at least some of the time. (Gardner\u2019s\u00a0tone, by the way, used to be the standard one in which nineteenth-century porn novels were couched: lore-spouting dickishness, with lots of wordy pseudo-gusto.)<\/p>\n

The Play of Poetry\u00a0<\/em>book doesn\u2019t have anything like that. The essayists in here are modern academics. Their assumption is that their colleagues already know everything, and so the only way to get anywhere is to say something brilliant. And so you get a lot of overingenious readings.\u00a0For example, much is made of the \u201cgrammar\u201d of Lear\u2019s drawings. Whenever the content of the picture diverges from that of its limerick, we are sure to have to sit through a paragraph of speculative prose.<\/p>\n

\"\"<\/a>
\nThe picture makes it look like maybe he\u00a0is\u00a0<\/em>afloat (?), and his tormentors\u2019 feet are off the ground, so \u2026 (?).<\/p>\n

Or how about this:<\/p>\n

\"\"<\/a><\/p>\n

\u201cNo one heard such a scream\u201d\u2014ah HA.\u00a0So maybe they can\u2019t hear her after all\u00a0<\/em>(??).<\/p>\n

Or how about:<\/p>\n

\"\"<\/a><\/p>\n

Isn\u2019t it just possible, despite the \u201cconcluded,\u201d that the old person used that book as a kind of hang glider, and so flew away rather than et cetera, et cetera, et cetera\u2014? (???)<\/p>\n

I would not have you think the whole book is like this. But it\u2019s like this to a trying degree. I couldn\u2019t just set the thing aside, though, because almost every page contained pleasurable surprises. For example, this picture:<\/p>\n

\"\"<\/a><\/p>\n

Really does look like this one from Goya:<\/p>\n

<\/a>

Francisco Goya, The sleep of reason produces monsters (No. 43)<\/i>, from \u201cLos Caprichos,\u201d 1799.<\/p><\/div>\n

I\u2019m not persuaded the similarity\u00a0means\u00a0<\/em>anything, but it did give me a jolt. Some of the comparisons in the \u201cLear and x<\/em>\u201d chapters, where x<\/em>\u00a0is a twentieth-century poet (T. S. Eliot, Auden, Stevie Smith, John Ashbery), were satisfactory in the same way. You always knew those people had some Lear in \u2019em, but to be shown a gallery of parallel passages is a pleasure.<\/p>\n

But mainly the \u201chook\u201d in edited volumes like this is the quotations from Lear\u2019s much-less-well-known writings: the letters, the diaries, the travel books. Most of us have every reason to be grateful to scholars for going through that material and coming back with choice bits. Truly, one could get an immense amount of improvement simply by reading the block quotes in this document. I, who know Lear\u2019s letters somewhat, am here to tell you: In real life, there\u2019s only so much of that baby talk you can take. So when somebody cherry-picks all the wittiest morsels for you, you gotta be a\u00a0beast\u00a0<\/em>not to grovel thanks from the floor.<\/p>\n

A great masterpiece of this sort of cherry-picking can be found in the back of the indispensable\u00a0Edward Lear: The Complete Verse and Other Nonsense<\/em><\/a>, edited by the equally indispensable Vivien Noakes. She has a section, beginning on page 461, titled \u201cExamples of Lear\u2019s Nonsense Similes\u201d\u2014which must have cost an ocean of labor. It\u2019s three-pages-plus of single-spaced type, all of it just Lear signing off letters with things like, \u201cNow my boy I must close this as the Cyclopses used to say of their one eye.\u201d (I must have regifted that a hundred times.) Here are some other specimens:<\/p>\n

What\u00a0is<\/em>\u00a0the use of all these revolutions that lead to nothing?\u2014as the displeased turnspit said to the angry cookmaid.<\/p>\n

\u25cb<\/p>\n

I find my effort vain\u2014all vain\u2014as the mouse said when she climbed up as far as the top of the church steeple.<\/p>\n

\u25cb<\/p>\n

Never mind. They will be useful when I am dead\u2014those pictures;\u2014as the reflective & expiring bear thought when he considered that his skin would become muffs.<\/p>\n

\u25cb<\/p>\n

I will now look over your last letter & make ozbervatims on its points, as the monkey said when he casually sate down on the pincushion.<\/p>\n

\u25cb<\/p>\n

… sufficient to the day is the weevil thereof, as the hazelnut said when the caterpillar made a hole in his shell.<\/p>\n

\u25cb<\/p>\n

I fear I have only the alternative before me of beginning and executing the whole 200 over again, or of giving up my 40 years work, altogether a disgust and humiliation I shrink from, as the snail said when they showed him the salt cellar.<\/p><\/blockquote>\n

 <\/p>\n

Anthony Madrid<\/a> lives in Victoria, Texas. <\/em>His second book of poems is called <\/em>Try Never\u00a0(Canarium Books, 2017). He is a correspondent for the\u00a0<\/em>Daily.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Anthony Madrid dips into \u201cEdward Lear and the Play of Poetry,\u201d in which academics scrutinize Lear\u2019s nonsense anew.<\/p>\n","protected":false},"author":1005,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22700],"tags":[502,7575,26786,364,509,11405,26788,22016,20852,12765,26787],"class_list":["post-106845","post","type-post","status-publish","format-standard","hentry","category-our-correspondents","tag-academics","tag-edward-lear","tag-edward-lear-and-the-play-of-poetry","tag-essays","tag-francisco-goya","tag-limericks","tag-martin-gardner","tag-scholarship","tag-similes","tag-speculation","tag-the-annotated-alice"],"acf":[],"yoast_head":"\nNew Readings of Edward Lear\u2019s Limericks<\/title>\n<meta name=\"description\" content=\"Anthony Madrid dips into \u201cEdward Lear and the Play of Poetry,\u201d in which academics scrutinize Lear\u2019s 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