Narrow Meaning

https://archive.org/details/strand-1899-v-18/page/238/mode/2up?view=theater

Reader J. William Hook submitted this curiosity to the Strand in August 1899. Holding the page level with the eyes foreshortens the characters and reveals a love poem:

Art thou not dear unto my heart?
Oh, I search that heart and see
And from my bosom tear the part
That beats not true to thee.

But to my bosom thou art dear,
More dear than words can tell,
And if a fault be cherished there,
‘Tis loving thee too well.

There seems to have been a little vogue for this kind of thing — C. Field submitted a similar image three months later.

| Oddities · Poems

A Smile More Brightened

In September 1931 the Weekend Review pointed out the “regrettable omission of any reference to tooth-brushing in the description of Adam and Eve retiring for the night” in Book IV of Paradise Lost. It challenged its readers to improve Milton’s text; polymath Edward Marsh inserted these lines:

[… and eas’d the putting off
These troublesome disguises which wee wear,]
Yet pretermitted not the strait Command,
Eternal, indispensable, to off-cleanse
From their white elephantin Teeth the stains
Left by those tastie Pulps that late they chewd
At supper. First from a salubrious Fount
Our general Mother, stooping, the pure Lymph
Insorb’d, which, mingl’d with tart juices prest
From pungent Herbs, on sprigs of Myrtle smeard,
(Then were not Brushes) scrub’d gumms more impearl’d
Than when young Telephus with Lydia strove
In mutual bite of Shoulder and ruddy Lip.
This done (by Adam too no less) the pair
[Straight side by side were laid …]

Marsh called this “the cleverest thing I ever did.” “The mordacious Telephus and Lydia are ‘of course,’ as the gossip-writers would say, from Horace, Odes, I, xiii. Martin Armstrong, who had set the competition, gave me the first prize, and was good enough to express the hope that future editors of Milton would put my lines in the appropriate place.”

(From Marsh’s 1939 memoir A Number of People.)

| Humor · Literature · Poems

“Good and Clever”

If all the good people were clever,
And all clever people were good,
The world would be nicer than ever
We thought that it possibly could.

But somehow ’tis seldom or never
The two hit it off as they should,
The good are so harsh to the clever,
The clever, so rude to the good!

So friends, let it be our endeavour
To make each by each understood;
For few can be good, like the clever,
Or clever, so well as the good.

— Elizabeth Wordsworth

| Poems

Addendum

Visiting Orchomenus, Greece, in 1810, Lord Byron discovered this entry in the travelers’ book:

Fair Albion, smiling, sees her son depart
To trace the birth and nursery of art:
Noble his object, glorious is his aim;
He comes to Athens, and he — writes his name.

Beneath this Byron wrote:

The modest bard, like many a bard unknown,
Rhymes on our names, but wisely hides his own;
But yet, whoe’er he be, to say no worse,
His name would bring more credit than his verse.

| Poems

Reunion

In the church of St. Mary Magdalen in Mulbarton, Norfolk, is mounted a copper diptych, a memorial to resident Sarah Scargill, who died in 1680. The left panel remembers Scargill as “a Person of unimitable Devotion, of a most nice and tender Conscience, of sweet Behaviour, and in all Things so faithfull a Servant of God, that I dare contest the Divine Goodness to have rewarded her.” The right panel reads:

Dear Love! one feather’d Minute, and I come,
To lye down in thy dark retiring Room,
And mingle Dust with thine, that we may have,
As when alive, one Bed, so dead, one Grave,
And may my Soule teare through the vaulted Sky,
To be with Thine, to all Eternity.
Oh! how our Bloodless Forms will that Day greet,
With Love Divine, when we again shall meet,
Devest of all contagion of the Flesh,
Full fill’d with ever lasting Joys, and fresh,
In Heaven above, (and’t may be) cast an Eye,
How far Elyzium doth beneath us lye.

Dear! I dis-body and away,
More swift than Wind,
Or flying Hind,
I come, I come, away.
Daniel Scargill.

| Death · Poems

“Prepopr Splelnig”

In 1999, a letter in New Scientist noted that randomizing letters in the middle of words has little or no effect on readers’ ability to understand text. Noam D. Plum responded with a poem:

The suggetsoin taht chrilden slhuod laern how to sepll
Is a tmie-watse we ohgut to rjeect.
Sicne a jlumbe of leertts raeds pertlecfy wlel
If the frist and the lsat are crrocet.

Wehn an edtoir grembuls, “Yuor seplinlg is ntus!”
Wtih cntoempt he can braley cocneal,
Trehe is no cuase to flcnih; mkae no ifs adns or btus;
Say, “I’ts radnom, sir. Wa’hts the big dael?”

In tihs fsat-minvog wrold, waht we raed dseon’t sictk.
Olny vrey few deliats get strsseed.
If i’ts frsit or it’s lsat we may glncae at it qucik.
Woh’s got tmie to be raenidg the rset?

(Noam D. Plum, “Prepopr Splelnig,” Verbatim 32:1 [Spring 2008], 15. See Half Measures.)

| Language · Poems

“Earth”

“A planet doesn’t explode of itself,” said drily
The Martian astronomer, gazing off into the air —
“That they were able to do it is proof that highly
Intelligent beings must have been living there.”

— John Hall Wheelock

| Poems

In Other Words

Writing in the New Beacon in 1938, blind poet W.H. Mansmore describes a process he calls “mental alchemy,” “a transmutation of sensations from one order to another.” He takes up this visual description from Shelley’s Prometheus Unbound, in which the nymph Asia watches dawn break over the mountains:

The point of one white star is quivering still
Deep in the orange light of widening morn
Beyond the purple mountains; through a chasm
Of wind-divided mist the darker lake
Reflects it; now it wanes; it gleams again
As the waves fade, and as the burning threads
Of woven cloud unravel in pale air;
‘T is lost! and through yon peaks of cloudlike snow
The roseate sunlight quivers; …

“I give below an attempt to render the same passage in terms of touch:”

One cold metallic grain is quivering still
Deep in the flood of warm ethereal fluid
Beyond the velvet mountains: through a chasm
In banks of fleece the heavier lake is splashed
With fairy foam: it wanes: it grows again
As the waves thicken, and as the burning threads
Of woven wool unravel in the tepid air:
‘Tis lost! and through the unsubstantial snow
Of yonder peaks quivers the living form
And vigour of the Sun …

“Or it may be put into sound, thus:”

One star pierces with thin intensity
The large crescendo consonance of morn
Beyond the drumming mountains: on the lake
Through stolid silence ghostly-faint is thrown
An echo: now it wanes: it grows again
Its echo fades, and splits into a swarm
Of singing notes that scatter in the faint air:
Then through a sound of breathing winds afar
Begins the throbbing anthem of the Sun.

He adds, “I owe Shelley an apology for publishing the above travesties of his work, but with all their inadequacy they may serve to make clear our method of realising the unreal world of light in the real world of sound and touch.”

| Language · Poems