25 November 2016

Portable Cold Frame

Samuel Blackburn, "Portable Cold Frame," Problems in Farm Woodwork (Peoria, Ill. : Manual Arts Press, 1915), pp. 82-83:


I often sigh quietly to myself when I think about the hours I was forced to spend reading Roland Barthes, Mikhail Bakhtin, and similar foolishness when I could have been learning something useful from this book or Louis Roehl's Farm Woodwork (Milwaukee: The Bruce Publishing Company, 1919):

Roehl's Farm Shop Work Bench, plans on pp. 16-19.

24 November 2016

One Who Walks in Trammels

Alexander Fraser Tytler, Essay on the Principles of Translation (London: J. M. Dent & Co., 1900), pp. 112-114:
To one who walks in trammels, it is not easy to exhibit an air of grace and freedom. It is difficult, even for a capital painter, to preserve in a copy of a picture all the ease and spirit of the original; yet the painter employs precisely the same colours, and has no other care than faithfully to imitate the touch and manner of the picture that is before him. If the original is easy and graceful, the copy will have the same qualities, in proportion as the imitation is just and perfect. The translator's task is very different: He uses not the same colours with the original, but is required to give his picture the same force and effect. He is not allowed to copy the touches of the original, yet is required by touches of his own, to produce a perfect resemblance. The more he studies a scrupulous imitation, the less his copy will reflect the ease and spirit of the original. How then shall a translator accomplish this difficult union of ease with fidelity? To use a bold expression, he must adopt the very soul of his author, which must speak through his own organs.
There is a lengthy footnote to this passage which quotes from Charles Batteux's Traité de la construction oratoire (Paris: Demonville, 1810).

22 November 2016

Living for the Next Meal

Iris Tree, "How Often, When the Thought of Suicide," Poems (London: John Lane, at The Bodley Head, 1920), p. 27:
How often, when the thought of suicide
With ghostly weapon beckons us to die,
The ghosts of many foods alluring glide
On golden dishes, wine in purple tide
To drown our whim. Things danced before the eye
Like tasselled grapes to Tantalus: The sly
Blue of a curling trout, the battened pride
Of ham in frills, complacent quails that lie
Resigned to death like heroes — July peas,
Expectant bottles foaming at the brink —
White bread, and honey of the golden bees —
A peach with velvet coat, some prawns in pink,
A slice of beef carved deftly, Stilton cheese,
And cup where berries float and bubbles wink.

Augustus John, Portrait of Iris Tree (c. 1919)

21 November 2016

Fit for Nothing Else

Henry Adams, The Education of Henry Adams; An Autobiography  (Boston: Houghton Mifflin Co., 1918), p. 211:
Yet the press was still the last resource of the educated poor who could not be artists and would not be tutors. Any man who was fit for nothing else could write an editorial or a criticism. The enormous mass of misinformation accumulated in ten years of nomad life could always be worked off on a helpless public, in diluted doses, if one could but secure a table in the corner of a newspaper office. The press was an inferior pulpit; an anonymous schoolmaster; a cheap boarding-school; but it was still the nearest approach to a career for the literary survivor of a wrecked education.

16 November 2016

The Child Imposes on the Man

John Dryden, The Hind and the Panther  3.387-391 (London: Macmillan, 1900), p. 56:
By education most have been misled;
So they believe, because they so were bred.
The priest continues what the nurse began,
And thus the child imposes on the man.

14 November 2016

Are My Pickaxes and Shovels in Good Order?

John Ruskin, Sesame and Lilies (Portland, Thomas B. Mosher, 1905), pp. 17-18:
When you come to a good book, you must ask yourself, "Am I inclined to work as an Australian miner would? Are my pickaxes and shovels in good order, and am I in good trim myself, my sleeves well up to the elbow, and my breath good, and my temper?" And, keeping the figure a little longer, even at cost of tiresomeness, for it is a thoroughly useful one, the metal you are in search of being the author's mind or meaning, his words are as the rock which you have to crush and smelt in order to get at it. And your pickaxes are your own care, wit, and learning; your smelting furnace is your own thoughtful soul. Do not hope to get at any good author's meaning without those tools and that fire; often you will need sharpest, finest chiselling, and patientest fusing, before you can gather one grain of the metal.
I've said it before, and I'll probably say it again: the earthly paradise for bibliophiles is at hand. There are several copies of this edition on Abebooks for $10.

A related post:

11 November 2016

Gut, daß ich nicht dichten kann

Karl Wasserzieher writing from Ostend in November 1914, in Kriegsbriefe deutscher Studenten, ed. Philipp Witkop (Gotha: Friedrich Andreas Perthes, 1916), p. 21:
Gut, daß ich nicht dichten kann — sonst wüßte ich nicht, wo ich anfangen sollte. Besonders jetzt, wo der Gruß zugleich ein Abschiedsgruß sein könnte: denn soeben kommt der Befehl, uns für alle Fälle mit den letzten vier Geschützen marschbereit zu halten. Wo fange ich an? Schöpfe ich Verse aus dem dunklen Schwarz der Wogen und reihe sie auf eine goldne Schnur, die ich aus Sonnenfäden spinne? Oder bewundere ich das tiefe Grün mit den blendend weißen Schaumkronen, deren Weiß ganz dicht am Strand in Goldbraun übergeht? Weiter links wieder grüßt tiefes Blau herüber, und überall, millionenfach die weißen anschäumenden Wogen, darüber Möven, das Gleichgewicht haltend gegen den sausenden Sturmwind , der hoch in den Lüften singt und pfeift und heult, als wenn ein ganzes Höllengeisterheer losgelassen wäre. Wolkenbilder, die wie eine Luftflotte auf uns zusegeln, goldgerändert von der Sonne, die hinter mir aufgegangen und ihre Strahlen durch die Wolken bricht wie auf einem altbiblischen Gemälde — wieder immer wieder faßt uns tiefes Mitleid um die Menschheit. Und man versteht nicht, wie Menschenhaß und -hader bestehen kann vor dieser gigantischen, majestätischen Schönheit des ewigen Meeres, über dem die Sonne auf den glitzernden silbernen Schaumwellen in sieghaftem Glänze liegt.
I don't have a copy, but this book has been translated by A. F. Wedd as German Students' War Letters (Philadelphia: Pine Street Books, 2002).

10 November 2016

9 November 2016

This Resolution I Make and Will Keep

George Gissing, The Private Papers of Henry Ryecroft  (London: Archibald Constable, 1912), pp. 89-90:
I have been reading one of those prognostic articles on international politics which every now and then appear in the reviews.  Why I should so waste my time it would be hard to say; I suppose the fascination of disgust and fear gets the better of me in a moment’s idleness.  This writer, who is horribly perspicacious and vigorous, demonstrates the certainty of a great European war, and regards it with the peculiar satisfaction excited by such things in a certain order of mind.  His phrases about “dire calamity” and so on mean nothing; the whole tenor of his writing proves that he represents, and consciously, one of the forces which go to bring war about; his part in the business is a fluent irresponsibility, which casts scorn on all who reluct at the “inevitable.”  Persistent prophecy is a familiar way of assuring the event.

But I will read no more such writing.  This resolution I make and will keep.  Why set my nerves quivering with rage, and spoil the calm of a whole day, when no good of any sort can come of it?  What is it to me if nations fall a-slaughtering each other?  Let the fools go to it!  Why should they not please themselves?  Peace, after all, is the aspiration of the few; so it always was, and ever will be.  But have done with the nauseous cant about “dire calamity.”  The leaders and the multitude hold no such view; either they see in war a direct and tangible profit, or they are driven to it, with heads down, by the brute that is in them.  Let them rend and be rent; let them paddle in blood and viscera till — if that would ever happen — their stomachs turn.  Let them blast the cornfield and the orchard, fire the home.  For all that, there will yet be found some silent few, who go their way amid the still meadows, who bend to the flower and watch the sunset; and these alone are worth a thought.

7 November 2016

Yesterday's Thought Is Worth Considering Again

Stephen Graham, The Gentle Art of Tramping  (London: Robert Holden & Co., 1927), pp. 73-74:
The artist's notebook is free for sketches, notes, impressions of moments, bon mots, poems, things overheard, maps and plans, names of friends and records of their idiosyncrasies, paradoxes, musical notations, records of folk-songs and other songs which you copy in order that you may sing for years afterwards. But it should not contain too much banal detail, such as petty accounts, addresses, druggists' prescriptions, number of season-ticket and fire-insurance policy, memos to send rent. These things are apt to clutter up your book, and when you come to Old Year's Night, and sit waiting for the chime of bells which rings in another year — and you have your day book before you, and you go over its pages, you do not want to pause on a scrawled laundry list or some Falstaffian account of wine and bread consumed at such and such an inn.

The artist's day-book is his own living gospel  — something coming after Matthew, Mark, Luke, and John — and should be sacred to him, if he is not merely a flippant and cynical fellow seeing life in large part as a buffonade.

A thought recorded, one that is your own, written down the day when it occurred, is a mental snap-shot, and is at least as valuable as the photographs you may make on your journey. Yesterday's thought is worth considering again, if only as the stepping-stone of your dead self.

The thoughts of some people are constant, but of others varying and contradictory. It is like landscape. Some live their lives in the sight of a great range of mountains — they live in the presence of certain ever-abiding thoughts; others change their mental scenery from day to day, in the shallows and flats of the low country. But we all have our epochal days, our epochal thoughts. We turn to a page in our note-book and say: "On this day the thought occurred to me in the light of which I have lived ever since." You draw two candles there, with light rays, to show the thought of the year.
Ibid., pp. 215-216:
It is in the description that the keeping of a diary becomes artistic. All description is art, and in describing an event, an action or a being, you enter to some extent into the joy of art. You are more than the mere secretary of life, patiently taking down from dictation, more than life's mere scribe; you become its singer, the expressor of the glory of it. With a verbal description goes also sketching, the thumb-nail sketch, the vague impression, the pictorial pointer. There is no reason for being afraid of bad drawing in one's own personal travel diary; the main thing is that it be ours and have some relationship to our eyes and the thing seen.

I have seldom gone on a tramp, or a long vagabondage, without seeing things that made the heart ache with their beauty or pathos, and other things that set the mind a-tingle with intellectual curiosity. I do not refer to great episodes, glimpses of important shows and functions, but to little things, unexpected visions of life! Some were unforgettable in themselves and seemingly needed not tablets other than those of memory, and yet it was a great addition to inner content and happiness to describe them as they occurred in my day-book of travel.

It is good also, after describing something that has specially affected one, to add one's observations, the one line perhaps that records one's mind at the time.

For these, and for other reasons, the artists note-book, the diary, the common and uncommonplace book, the day-book of the soul are to be placed as part of the equipment of life, when faring forth, be it on pilgrimage, be it on tramp, or be it merely on the common round of daily life. Every entry is a shade of self-confession, and the whole when duly entered is a passage of self-knowledge.
A related post: The Diarist

3 November 2016

Freed From Servile Bands

Henry Wotton (1568 - 1639), "Character of a Happy Life," in The Book of Elizabethan Verse (London: Chatto & Windus, 1908), pp. 515-516:
How happy is he born and taught
That serveth not another's will;
Whose armour is his honest thought,
And simple truth his utmost skill!

Whose passions not his masters are;
Whose soul is still prepared for death,
Not tied unto the world with care
Of public fame, or private breath;

Who envies none that chance doth raise,
Or vice; who never understood
How deepest wounds are given by praise,
Nor rules of state, but rules of good;

Who hath his life from rumours freed,
Whose conscience is his strong retreat;
Whose state can neither flatterers feed,
Nor ruin make accusers great;

Who God doth late and early pray
More of His grace than gifts to lend;
And entertains the harmless day
With a well-chosen book or friend;

— This man is freed from servile bands
Of hope to rise, or fear to fall;
Lord of himself, though not of lands;
And having nothing, yet hath all.

Note to self: The University of Toronto has digitized Logan Pearsall Smith's Life and Letters of Sir Henry Wotton (Oxford: Clarendon Press, 1907): Volume I, Volume II