From TODD WALTON
Under The Table Books
I recently came upon an old book I inherited from my grandmother Goody, The Concise Oxford Dictionary Of English Literature published in 1939, a seventy-five-year-old book that has provided me with several days of enjoyable reading. Part of my enjoyment comes from frequently encountering words I have to look up in my trusty Oxford English Dictionary. But the larger part of my pleasure comes from the fascinating details to be found in the hundreds of miniature biographies of once-famous writers who are largely forgotten today.
In terms of my vocabulary, I have learned that a cottar is the equivalent of a sharecropper, a prebend is a stipend derived from a percentage of a church’s profits, a squib is a satirical jab, a suppostitious child is one fraudulently substituted to displace the real heir, and a pindaric is an ode in the manner of Pindar.
Of Pindar, this little old book says, “(c.522-442 B.C.) the great Greek lyric poet, acquired fame at an early age and was employed by many winners at the Games (Olympics) to celebrate their victories.”
I first came upon the word pindaric while reading the two-column biography of Jonathan Swift who was a cousin of Dryden, who also garners a two-column biography. Only Shakespeare warrants three columns, which means Swift and Dryden are thought to be among the most famous writers of all time, according to the editors of this edition of The Concise Oxford Dictionary Of English Literature.
Also according to this dictionary, Dryden, upon reading one of Swift’s pindarics, remarked, “Cousin Swift, you will never be a poet.”
And the last line of Swift’s little biography states, “Nearly all his works were published anonymously, and for only one, ‘Gulliver’s Travels’, did he receive any payment (£200).”
Famous writers making little money from their writing is a recurring theme in this dictionary, as is the fact that many noted writers from the 1600’s through the early 1900’s died insane. Syphilis, the cause of madness in most of those cases, is never mentioned in the dictionary, but the editors doubtless assume their readers know about the link between syphilis and insanity in the days before the advent of antibiotics.
Indeed, the editors make a number of assumptions about their readers, which assumptions in 1939 were probably sound. For instance, they assume anyone reading this volume will probably be fairly fluent in Latin and know most of the famous writers of the past three hundreds years by their last names. Scott is Sir Walter Scott, Arbuthnot is John Arbuthnot, Pope is Alexander Pope, and so on. Fortunately for the likes of me, if an author is referred to solely by his last name, he will have a biography in the good book and I can discover why he was so famous.
As one might expect of a book published in 1939 summarizing the history of English Literature, there are few women authors mentioned therein, though Edith Wharton, Emily Dickinson, Gertrude Stein, George Sand, Virginia Woolf, Anne Bronte, and Emily Bronte all garner tiny paragraphs, with George Eliot and Jane Austen winning half-columns, and Charlotte Bronte nearly a whole one.
Another delightful feature of the book is that for super famous authors—Dickens, Shakespeare, Sir Walter Scott, Melville, Thackeray etc.—in addition to their biographies, there are separate entries synopsizing of each of their most famous books, plays, and poems, as well as separate entries for important characters in those works.
What a different culture we had before the advent of television. In that sense, the 1939 edition of The Concise Oxford Dictionary Of English Literature is a fascinating time capsule from the end of an epoch in our cultural history when literature was of paramount importance and influence, and hundreds of great novels and plays and poems lived for hundreds of years as part of the contemporary cultural fabric.
Have you perchance heard of the book The Old Wives’ Tale? “…a novel by E. A. Bennett (1908) one of the greatest novels of modern times. It is the long chronicle of the lives of two sisters, Constance and Sophia Baines, daughters of a draper of Bursley, from their ardent girlhood, through disillusionment, to death. The drab life of the draper’s shop, its trivial incidents, are made interesting and important. Constance, a staid and sensible young woman, marries the insignificant Samuel Povey, the chief assistant in the shop, and spends all her life in Bursley. The more passionate and imaginative Sophia elopes with the fascinating Gerald Scales, an unprincipled blackguard, who carries her to Paris, where she is exposed to indignities, and finally deserts her. She struggles to success as a lodging-house keeper in Paris, where she lives though the siege of 1870. The sisters are reunited and spend their last years in Bursley.”
Never heard of E.A. Bennett, the author of this greatest of novels? “Bennett, (Enoch) Arnold (1867-1931), became a solicitor’s clerk in London and in 1893 assistant editor and subsequently editor of the periodical ‘Woman’. After 1900 he devoted himself exclusively to writing, theatre journalism being among his special interests. His fame as a novelist rests chiefly on ‘The Old Wives’ Tale’ and the ‘Clayhanger’ series. ‘Clayhanger’ (1910) ‘Hilda Lessways’ (1911) ‘These Twain’ (1916). The ‘Five Towns’ which figure prominently in these works are Tunstall, Burslem, Hanley, Stoke-upon-Trent, and Longton, centers of the pottery industry; and the features, often ugly and sordid of this background are skillfully woven into stories of lives which he presents dispassionately, with an infinite delight in significant detail. Among Bennett’s other best-known works are: ‘Riceyman Steps’, ‘The Grand Babylon Hotel’, ‘Milestones’, and ‘The Matador of the Five Towns’ (short stories, 1912)”
Then there is John Knox (1505-72) who “…addressed epistles to his brethren in England suffering under the rule of Mary Tudor, and in Scotland under the regency of Mary of Lorraine. It was this situation which led to the publication of his ‘First Blast of the Trumpet Against the Monstrous Regiment of Women’ (1558), of which the title, Saintsbury remarks, was the best part.”
Saintsbury? “George Edward Bateman Saintsbury (1845-1933), a distinguished literary critic and historian…”