THE BRITISH LIBRARY

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7 posts from May 2018

21 May 2018

European Literature Night at the British Library: identity and translation

The arrival of the month of May can only mean one thing: European Literature Night!

EUNIC  and the European Writers’ Tour, with additional support from the Czech Centre and Flanders House, organised this year’s event on May 10th. As always the British Library hosted the event whereby authors from continental Europe showcased their work translated into English. They  read passages from their books in English and their own language. The readings were followed by a panel discussion with a Q&A session. Afterwards the audience was invited to buy the guest authors’ books and have them signed.

So far, so traditional. However, this year saw some radical changes. There were three authors instead of six or eight, which did the authors more justice. It made the panel discussion possible, which wasn’t there in previous years. A smaller group of authors also made the event more intimate, and this was emphasised by the new location: not the big auditorium in the Knowledge Centre, but a cosy tent in front of it, on the Piazza.

ELN2018PanelfromEUNICTwitterDc6EPL1WsAICyxR
 Panel discussion at European Literature Night, Thursday 10 May 2018 at the British Library. From left to right: Peter Terrin, Sylva FischerovĂĄ, Meike Ziervogel, Scott Pack. Taken from EUNIC Twitter feed.

We had a new host: Scott Pack, who replaced the host for many years Rosie Goldsmith. She was still there, but rather enjoying the event, with a nice glass of wine. The theme of the evening was ‘Identity’. The choice of authors obviously reflected this. All three authors share a ‘multifaceted’ identity. Poet/philosopher Sylva Fischerova was born in what used to be Czechoslovakia and is now the Czech Republic. Nothing fundamental changed, life went on. People tell each other the story of the old woman who was born in the Austrian-Hungarian Empire, grew up in Germany, lived in the Soviet Union and died in Ukraine, never moving away from her home town. Borders don’t determine one’s identity.

Maybe language plays a more important part in ‘identity’ than geographical borders.
Sylva objected to having her poetry translated into English. When her good friend Stuart Friebert offered to translate her poetry she dismissed it out of hand as being ‘impossible’, but eventually he persuaded her to give it a go. He then not only translated her poetry, but also commented on the poems themselves, sometimes resulting in changes to them. Sylva now thinks the translation is even better than the original Czech version. I can’t judge, because I don’t speak Czech, but I enjoyed Sylva’s readings from The Swing in the Middle of Chaos (YC.2011.a.678)

ELN2018booksSF
Three books by Sylva FischerovĂĄ: Bizom, aneb, Služba a mise. (Brno, 2016). YF.2017a24377; The Tremor of Race Horses, transl. by Jarmila & Ian Milner. (Newcastle upon Tyne, 1990). YC.1990.a.10283; The Swing in the middle of Chaos, transl by Stuart Friebert. (Newcastle upon Tyne, 2010). YC.2011.a.678

Next up was Peter Terrin. He read from his 2015 novel Monte Carlo. The story throws up many questions about ‘identity’, such as where the protagonist belongs: in his English village, where he earns a living, repairing cars or on the Formula 1 circuits, as one of the top mechanics?

Peter Terrin sees himself as a ‘European’, rather than as a Belgian, or Fleming. ‘Identity’ is big in Belgium and language plays a major part in this, Terrin doesn’t ‘do’ borders. He speaks Flemish, English, probably French too and writes in Dutch (Flemish is very seldom used in writing). He lives in Belgium and publishes in the Netherlands.

‘This is really good,’ Peter thought, reading David Doherty’s translation of Monte Carlo. It felt almost like a new work. In a certain sense translations are new works. Translators never merely translate word by word; there is a big creative effort involved in translating any text. Still, the question remains what made him think like that. Maybe a foreign language creates the distance required to see one’s own work in a different light.

ELN2018PT MonteCarloMonte Carlo, Peter Terrin.(Amsterdam, 2015).YF.2016.a. 19205 and Monte Carlo, Peter Terrin, David Doherty. (London, 2017) DRT ELD.DS.163792.

German novelist and publisher Meike Ziervogel certainly seems to think so. She moved from Germany to the UK thirty years ago and writes solely in English. She calls herself a ‘translingual’ writer. She noticed that when writing in German she was hiding her emotions behind complicated words and constructions. At the time her ‘beginner’s’ level of English forced her to write in simpler, more direct language, which did bring out her true emotions. After thirty years English has become a native language to her and I could not help wondering if she ever feels like writing in German, doing the reverse of what she did thirty years ago, to force herself to identify her true emotions.

ELN2018MeikeZ Magda Magda, Meike Ziervogel. (Cromer, 2013). H.2015/.5439

Ziervogel is now on her fourth novel, The Photographer, about her own grandfather living through the Second World War.

ELN2018MeikeZThePhcover
 The Photographer by Meike Ziervogel. (London, 2017). DRT ELD.DS.206566 

I look forward to reading the various books that were discussed this evening, including Ziervogel’s Magda, her debut, about the wife of Joseph Goebbels. I hope I’ll finish them all before next year’s European Literature Night!


Marja Kingma, Curator Germanic Collections

 

16 May 2018

Southern French printing during the Revolution: Le Journal de Marseille and La prise de Toulon

0IMG_8456a
 The Destruction of the French Fleet at Toulon, 18 December 1793, from Thomas Whitcombe, The naval achievements of Great Britain from the year 1793 to 1817 (London, 1817-18) 748.d.22.

In an earlier blog post, we discussed the recent acquisition of a copy of the revolutionary Journal de Marseille published in 1793-1794, RB.23.a.37976. Now we would like to comment on the collection of pamphlets bound at the end of the volume. They include a revolutionary song, the “Chanson des sans-culottes”, by the comedian, theatre director, song writer and dramatic author Aristide Valcour. 

  1IMG_8223a
Aristide Valcour, Chanson des sans-culottes, ([Paris], 1793) RB.23.a.37976.(5)

It is followed by the left-leaning, Jacobin-inspired Constitution of 24 June 1793, which was never implemented, preceded as is often the case by the DĂ©claration des droits de l’homme et du citoyen.  The collection also contains reports and political discourses held at the National Convention and the Committee of Public Safety , discussing topics such as religion, government or public instruction. 

2IMG_8224a Constitution of 24 June 1793, with DĂ©claration des droits de l’homme et du citoyen ([Paris], 1793) RB.23.a.37976.(6)

The volume is very coherent in the way it gathers contemporary revolutionary material from South-Eastern France. Initially, the titles of the additional pamphlets suggested that some were duplicates of existing tracts in the British Library’s collection. However, most of the tracts contained in the Journal volume are from different, often Southern editions, or in some cases have a different type-set. For example, the discourse Aux grands Maux les grands Remèdes by SĂ©bastien Lacroix (the initial editor of the Journal de Marseille), held at F.617.(21.) was first printed in Paris, while the other copy, a reprint published in Marseille by Auguste Mossy in the same year (an II / 1793), is abbreviated, and followed by an order of the General Assembly of the Republican Section des Quatre nations for the printing and distribution of 3000 copies and 500 posters of Lacroix’s petition. 

3IMG_8228aSĂ©bastien Lacroix, Aux grands Maux les grands Remèdes (Marseille, 1793) RB.23.a.37976.(10)

Lacroix is the author of another tract in the Journal de Marseille collection: La Religion naturelle, la seule qui convient à des Républicains, published in 1793-94 (an II) by Auguste Mossy (1764-1820): in the compilation, this is a duplicate of BL collection item, R.337.(15.). The Mossy family of printers  seems to have played a key role in the diffusion of Jacobin literature such as that transmitted in the volume (we don’t know who were its early owners: the opening paste-down contains an ex-libris signature which has been crossed out). Auguste Mossy, who printed 3 tracts in the compilation, was a fervent revolutionary who started his own printing business in 1791 and became a municipal councillor for the city of Marseilles until 1793 (he later held other important political functions, under the Consulate and the Napoleonic Empire but was demoted under the Bourbon Restoration).

4IMG_8225a
SĂ©bastien Lacroix, La religion naturelle la seule qui convient à des Républicains (Marseille, 1793) RB.23.a.37976.(7)

The patriarch, Jean Mossy worked with his sons Jean II and Auguste from 1784 to at least 1791. He was a printer for the Navy, the King/the Nation and the City of Marseille, and published important works in the 1770-80s on the antiquities of Marseille and the history of Provence and ComtĂ©-Venaissin. Jean II (1758-1835), who published 4 tracts in the Journal de Marseille compilation, inherited his father’s presses and his own son, Jean-Joseph Mossy, succeeded him as a printer and bookseller.

  5IMG_8227a Maximilien Robespierre, Discours prononcĂ© Ă  la SociĂ©tĂ© populaire des Jacobins Ă  Paris, 21 November 1793 RB.23.a.37976.(9)

Other material bound after the Journal de Marseille include several discourses by figures such as Robespierre, Billaud-Varenne, Moyse Bayle  (a member of Marseille’s Jacobins club, deputy for the Bouches-du-RhĂŽne department at the 1792 National Convention, involved in in 1793 with the Committee of Public Safety and the Committee of General Security) and Jean-Corisandre MittiĂ©. 

6IMG_8232a Title page of Jean-Corisandre MittiĂ©, La prise de Toulon (Marseille, 1794) RB.23.a.37976.(14)

MittiĂ© succeeded Lacroix as editor of the Journal de Marseille from issue 44 onwards. He was an author of dramatic works like La prise de Toulon, fait historique en un acte et en prose, the last item in the collection, and went on writing plays performed in Paris, such as the farcical La descente en Angleterre, prophĂ©tie en deux actes (performed on 24 December 1797 at the CitĂ©-VariĂ©tĂ© theatre) or L’anniversaire, ou La fĂȘte de la souverainetĂ©, scĂšne lyrique et mĂ©lodramatique, mĂȘlĂ©e de pantomime, combats et danses, et dĂ©diĂ©e au peuple (performed in March 1798 at the Ambigu-Comique theatre). The newly-acquired Prise de Toulon is a copy of the first Marseille edition, published by Jean Mossy, while the library already owned the second edition (Paris, 1794; 11738.f.25.(7.).

7IMG_8234aInstructions for the actors; Scene 1 from La prise de Toulon

MittiĂ©, who was sent by the Committee of Public Safety to Marseilles in 1794, asserts on the title page of La Prise de Toulon that he travelled to Toulon to be able to provide the most “exact”, “detailed information, the most authentic account and knowledge of the character and genius of the men who contributed to this memorable event”. The Siege of Toulon  led to a wealth of dramatic and lyrical revolutionary creations written by professional authors and enthusiastic revolutionaries and performed mainly in Paris at the beginning of 1794. The victory of the Republicans (including the young officer NapolĂ©on Bonaparte) over the Royalists and a coalition of British, Spanish and Italian troops in the city of Toulon, with its strategic port and arsenal, was celebrated throughout the country. 

8Les_coalises_evacuent_Toulon_en_decembre_1793 A. Forand, ‘EvacĂŒation des puissances coĂ€lisĂ©es du port de Toulon. Le 18 decembre 1793’ (1793). (Image from Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection. Brown Digital Repository. Brown University Library)

The list of characters and instructions to the actors give an idea of the ideological bias of Mittié’s play. The drama is represented as “useful” with its “patriotic influence”, because it “consecrates the most memorable period of the Revolution, the most decisive for the fate of Liberty”. On Republican side the Generals and Representatives of the people (including FrĂ©ron, Barras and Robespierre), who after the flight of the English and the fall of the city, stop the pillage and execute the traitors, must have a “strong voice and physique”, and the female heroine, “citoyenne Lapoype”, who was captured but eventually liberated, “the most touching voice and accent”. 

9IMG_8233aCharacter list and Preface from La prise de Toulon

On the side of the Royalists, depicted as reactionary and dissolute, the Marquis de Sombreuil, the type of the coxcomb, must have a “tone leading to ridicule” and the Knight of CazalĂ©s corresponds to the type of an old man. The play highlights the eventual execution and “guillotine” of “conspirators” and “traitors”. It ends with the ominous announcement by FrĂ©ron of the intended destruction of the city of Toulon (which in the end was not implemented by the authorities): “only ashes and rubble” will remain as “the hand of vengeance will erase up to the last remnant of Toulon”. It closes with the enthusiastic salutation: “the genius of Liberty hovers over us. Woe to the Royalists, war to tyrants, peace to the cottages and LONG LIVE THE REPUBLIC”.  

IrĂšne Fabry-Tehranchi, Curator, Romance collections

References:

Jacques Billioud, Le Livre en Provence du XVIe au XVIIIe siĂšcle (Marseille, 1962). 2704.e.4.

HervĂ© GuĂ©not, ‘ Le thĂ©Ăątre et l'Ă©vĂ©nement : la reprĂ©sentation dramatique du siĂšge de Toulon (aoĂ»t 1793’, Annales littĂ©raires de l'UniversitĂ© de Besançon. LittĂ©rature et rĂ©volution française, 354, 1987, Ac.282/6

Hubert C. Johnson, The Midi in revolution: a study of regional political diversity, 1789-1793 (Princeton, 1986). YH.1987.b.380 

Michael L. Kennedy, The Jacobin Club of Marseilles, 1790-1794 (Ithaca, 1973). 73/13539 

 

14 May 2018

An Eyewitness Account of Life in the Early 19th-Century Habsburg Empire

John Bax (1793-1863) was an administrator in the Bombay Civil Service. Throughout his working life he kept a meticulous record of his travels between England and India, as well as around Great Britain, and across continental Europe and the Middle East. Two volumes of Bax’s journals have been digitised for the Qatar Foundation Partnership Programme, thanks to Bax’s descriptions of Arabia and Persia. However, these volumes also offer us an insight into life in early 19th-century Europe.

Bax Diary header Header for diary entries describing Bax’s journey from England to Persia during 1824/25. Mss Eur F377/1

Bax’s overland journey from England to India during 1824 and 1825 is particularly illuminating, not least because it offers fascinating vignettes of life in the Habsburg Empire. Bax’s journey through the Empire’s dominions covered in excess of 1,000 kilometres. It took him from Salzburg to Vienna, where he stayed for several weeks over Christmas 1824, and then onwards to Buda and Pest, through Transylvania, stopping at the towns of Temeswar [Timisoara] and Hermanstadt [Sibiu], before passing into the Turkish province of Wallachia.

Bax Austrian Dominions K.Top.90.2.Tab.End A map showing ‘Austrian Dominions’ in the early 19th Century (London, 1809) Maps K.Top.90.2.TAB.END.

Bax’s diary entries reveal something of the internal contradictions and tensions of the Habsburg Empire; of the contrasts between its centre and far-flung frontiers, of strict religious codes versus cosmopolitanism, and the stark contrasts that existed between courtly opulence and provincial poverty.

Between Munich and Salzburg Bax noted that the ‘road is protected by whole troops of saints, several of whom were comfortably housed in a kind of sentry box.’ Of Salzburg itself Bax wrote that ‘the bigotry of [the town’s] inhabitants is of ancient date and no Protestant is permitted to domicile there.’ Bax added that ‘We were required to specify our religion immediately upon arrival’ (f 209).

Bax Picturesque Austria Retz 10205.f.10 An Austrian road with a wayside shrine, from Das pittoreske Oesterreich, oder Album der österreichischen Monarchie ... (Vienna, 1840-1846) 10205.f.10.

Bax was ambivalent about Vienna. He described the ‘want of energy and activity of the inhabitants’ and the ‘changeless monotony of society’ as not befitting the capital of a large Empire. However, Bax did note that ‘all the finery and clothes of the city’ were on display at the Prater on New Year’s Day, and that the music of the carnival seasons was ‘universally of the superior order’. Bax appears to have thought the most ‘imposing spectacle’ of his stay was the funeral procession of an Austrian Field Marshal (ff 210-211).

When Bax arrived at Buda the town was still a distinctly separate entity from Pest, its modern neighbour, on the opposite bank of the Danube. 24 years elapsed after Bax’s visit before the SzĂ©chenyi Chain Bridge linked the two towns. In Buda, Bax wrote that during ‘the summer months, there is a bridge of forty-seven boats’ across the river, which were opened up for one hour each morning to allow the passage of other vessels up and down river (f 213).

Bax Buda and Pest 10201.e.5 View of Buda and Pest joined by the boat bridge, from JĂłzsef Göóz, Budapest törtĂ©nete ... (Budapest, 1890). 10201.e.5.

In 1825, large parts of the Habsburg Empire had been liberated from Ottoman rule only a century previously. In Transylvania, Bax saw for himself past and present attempts to protect the region’s towns from the Turks. His journal indicates the contrast between the ‘strong fortified’ Timisoara and the ‘dilapidated’ red brick walls of Sibiu. On the road between Timisoara and Sibiu, Bax wrote of villages ‘built of wood and mud’, in which ‘poverty seemed to reign on every side in pale and wan squalidity’ (f 215).

Bax Temeswar 10215.g.13. Plan of the fortress of Timisoara in the early 1850s, from Johann N. Preyer, Monographie der königlichen Freistadt TemesvĂĄr ... (Timisoara, 1853). 10215.g.13.

When Bax arrived in Sibiu the carnival season was in full swing. He described dancing crowds of ‘Germans, Hungarians, Greeks, Saxons and Transilvanians [who] were nightly exhibiting a succession of the most intricate figures.’ On his departure from the town he witnessed a marriage procession, led by a man ‘bearing aloft a long pole to which streamers of various colours were attached’, followed by a fiddler, the bride and groom, and a ‘mob of men and women and children’ (ff 216-217).

Bax Roumanian Wedding 10006.ff.10. Dancing at a Transylvanian wedding, from Robert Brown, The Peoples of the World
 (London, 1900). 10006.ff.10

You can read more of John Bax’s travels throughout Europe and elsewhere, in the first of his two volumes of travel journals, now available online on the Qatar Digital Library.

Mark Hobbs, Content Specialist, Gulf History, Qatar Project

11 May 2018

‘And so I came among the Germans’
 Costantinos Chatzopoulos (1868-1920)

If we are to believe the legends, to be a prominent figure in the development of Greek drama is to be almost guaranteed a sticky end; Sophocles was said to have choked on a grape, Aeschylus to have been hit on the head by a tortoise dropped by an eagle, and Euripides to have been attacked by a pack of hounds. The premature death of Costantinos Chatzopoulos was less dramatic but no less unfortunate for the modern Greek theatre. In 1920, he was returning with his family from Greece to Munich, where they had lived for several years, to collect the possessions which they had left behind on their precipitate departure in 1914. While travelling on the Montenegro, an Italian steamer, he was suddenly overcome by a violent attack of food poisoning and died shortly afterwards.

Chatzopoulos Karveles YA.2003.a.5652 Cover of Takēs Karvelēs, Kōstantinos Chatzopoulos ho prōtoporos (Athēna, 1998) YA.2003.a.5652

When Chatzopoulos was born on 11 May 1868, Greece was still a poor and culturally backward country, cut off from the rest of Europe for linguistic and historical reasons. Little had changed since Byron and Hölderlin had expressed their frustration at the incapacity of the Greeks to live up to the glorious reputation of their forefathers and throw off the Ottoman yoke. When Athens was declared the capital in 1834 it had only 10,000 inhabitants; as late as 1907 the illiteracy rate was 40.5% among men and 82% among women.

  Chatzopoulos Arginion postcard
Postcard showing Chatzopoulos’s native Agrinio, from Praktika Epistēmonikou Symposiou "Ho Kōstantinos Chatzopoulos hōs syngrapheas kai theōrētikos" (Athēna, 1998). YA.2003.a.5518

Although Chatzopoulos’s father was a farmer from Agrinio, three of the seven children went into literature; Costantinos’s younger brother Dimitris became a writer and Zacharias a journalist. Costantinos did his military service in the Balkans, studied law at the University of Athens, and practised this profession briefly (1891-93) before an inheritance enabled him to devote himself to writing. In 1898 he published a volume of poetry, Tragoudia tēs erēmias (‘Songs of Solitude’) under the pseudonym Petros Vasilikos.

Chatzopoulos Tragodia 011586.e.110Cover of Tragoudia tēs erēmias (Athens, 1898) 011586.e.110

He was also active in the promotion of demotic Greek instead of the ‘sanitized’ Katharevousa, and in 1898-99 collaborated with Yiannis Cambisis on Technē (‘Art’), the first periodical in Greece to be written in Demotic. Its 12 issues contained translations of contemporary German and Scandinavian literature and critical theory, and bore witness to Chatzopoulos’s fascination with Nietzsche. He had studied German in Athens with the classicist Karl Dieterich, and in 1900 he made his first visit to Germany, wishing to improve his knowledge of the language in order to read German classics in the original.

Emerging from the narrow and constricting atmosphere of Greece, Chatzopoulos tended to view Wilhelmine Germany through rose-tinted spectacles, going so far as to describe it as a haven of personal freedom. It was during this stay that he met his future wife, the Finnish painter Sanny HĂ€ggman, and in the summer of 1901 he visited Finland. Over the next few years he embarked on a considerable career as a translator not only of German but of Scandinavian authors including Schiller, Lessing and above all Goethe, who enabled him, as he wrote to a friend, to ‘turn around and understand the Parthenon that stands right behind my window’.

The first permanent theatre in Athens had been established in 1840, but the profession of director was slow to develop. In 1901, however, the Royal Theatre was established  with Thomas Oikonomou as its director. In this climate Chatzopoulos’s translations were eagerly welcomed, and made a considerable contribution to the development of the modern Greek theatre; they included Goethe’s Iphigenie auf Tauris (1910) and Faust (1916), Hugo von Hofmannsthal’s Elektra, Ibsen’s When We Dead Awaken, and works by Strindberg, Grillparzer, Gogol, Gerhart Hauptmann and Hermann Bang. Not surprisingly, as an Ibsen enthusiast he was one of the first to support women’s rights in Greece.

Unlike Hölderlin’s Hyperion, whose sojourn among the Germans proved a source of disillusion and disappointment, Chatzopoulos was eager to return, and went back in June 1905 with his wife and three-year-old daughter Senta to settle in Munich. They also spent time in Berlin, and only left Germany on the outbreak of war in 1914. During these years he made the transition from poetry to prose, publishing short stories such as Taso and O hyperanthrƍpos (‘The Superman’), published as a collection in 1916, which reflected social change and growing urbanization during the reforms of Eleftherios Venizelos, who became prime minister of Greece in 1910.

Significantly, this coincided with Chatzopoulos’s growing interest in the ideas of Karl Marx. However, when the socialist ideals which he had cherished in Germany were confronted with the reality back in Greece after his reluctant return, Chatzopoulos was embittered by the realization that there was little chance of mobilizing the Greek labour force to create an effective organization. An article which he published in the Greek press also noted Heinrich Mann’s all-too-accurate depiction in Der Untertan (Leipzig, 1918; 012554.a.10; translated into English as Man of Straw) of the spirit of Imperial Germany and the threat which it posed in cultural and political terms. His career closed, as it began, with poetry; in the year of his death there appeared his two final collections, Aploi tropoi (‘Simple Ways’) and Bradinoi thruloi (‘Evening Legends’; Athens, 1920; X.908/18945).

Chatzopoulos Aploi 11409.l.35

Title-page of Aploi tropoi (Athens, 1936) 11409.l.35

He did not live to see Greek culture increasingly influenced by France rather than Germany, and his premature death protected him from witnessing developments in his second homeland which would have caused him anguish and deepened the schism between ideal and reality which many critics have identified in his work. Yet in his comparatively short life he not only captured images of a society in rapid transition but spun strong threads to weave it firmly into the fabric of wider European culture.

Susan Halstead (Subject Librarian: Social Sciences) Research Services.

08 May 2018

“A rogue and a madman”: August Strindberg's Antibarbarus

In his anti-literary 1890s, August Strindberg took to the laboratory to experiment in alchemy, and some of his thoughts led to a peculiar book published in Germany in 1894 called Antibarbarus I: oder Die Welt fĂŒr sich und die Welt fĂŒr mich (YA.1990.a.22668). His discovery of the process of transmuting lead into gold was conjecture and anti-scientific, if anti-anything, but 13 years later, this simple pamphlet, first published in Germany, transmuted into one of the finest luxury editions printed in Sweden.

Antibarbarus - coverCover of August Strindberg,  Antibarbarus: Det Ă€r en vidlyftig undersökning om grundĂ€mnenas natur och ett nytt betraktelsesĂ€tt af de kemiska operationernas förlopp enligt den rĂ„dande monist-teorien om naturens allhet & enhet, sĂ„dan den af Darwin och HĂŠckel tillĂ€mpats pĂ„ de andra naturvetenskaperna (Stockholm: 1906) Cup.408.I.20.)

Strindberg composed Antibarbarus as a series of letters written in the second person, addressing an unidentified correspondent on diverse scientific principles. His first letter was entitled, ‘The ontogeny of sulphur’, the second, ‘On the transmutation of matter, transformist chemistry, or everything in everything’, the third, ‘Thoughts on the composition of air and water’, and a fourth, simply ‘Paralipomena’. He himself thought he ‘simply drew all the logical conclusions inherent in Transformism and Monism,’ (letter to Torsten Hedlund, 23 July 1894) that is, the belief that all matter has a single shared substance and elements differ only in their properties and not as entities, to paraphrase his first letter.

What he did not account for was the mixture of bemusement and vehement criticism that the publication received. In a letter to Georg Brandes, soliciting the great critic’s help in reviewing it favourably in Denmark, Strindberg writes that his work ‘has caused the Swedes to depict me as a rogue and a madman [
] There is in fact not a single paper in Sweden honourable enough to print a word in my defence’, ultimately surprised ‘to see a whole country’s chemists so blinded by jealousy that they cannot acknowledge their own views when they see them put forward by someone they find offensive!’ (31 May 1894). Even his friend and the translator of his Swedish manuscript into German, Bengt Lidforss, reviewed it harshly in Dagens Nyheter—albeit under a pseudonym, which was scant consolation.

Antibarbarus - title pageTitle page of  Antibarbarus

Five years later, the magazine Nordisk Boktryckarekonst (Stockholm, 1900-1925; PP.1622.h.) was established by Hugo and Carl Lagerström, who subsequently set up a publishing house, with aim of inaugurating an authentic Nordic style of book design. They sought a work with which to begin a series of bibliophile editions and Arthur Sjögren was enlisted both to produce the book and to convince Strindberg to volunteer the first idea for the series. Sjögren, who had worked with Strindberg, arrived at Strindberg’s studio to find a chemist’s laboratory in disarray and the author-cum-goldmaker deep into experiments. With Strindberg only thinking about scientific works, they eventually landed on Antibarbarus. The Antibarbarus manuscript had been under perpetual revision and expansion since 1894 and, with Strindberg’s encouragement, the Lagerströms decided to take it on.

Antibarbarus - fascicle 1Fascicle 1, Antibarbarus

Taking nearly a year to produce, Antibarbarus had a limited print run of 299, each copy priced at 30 Krona. To put it in context, very few books cost over 10 Krona and Strindberg’s luxury edition of Ordalek och smĂ„konst, which came out a year earlier in 1905, cost 8.50. No expense was spared from the light-brown leather binding incorporating the same decorative coils and knots that frame the text throughout, to the thick hand-made paper from Grycksbo  with a specially designed watermark by Sjögren, depicting a four-leaf clover over a three-leaf clover. The coiled dragon-tail ornamentation that envelops the title-page is derived from Viking picture stone iconography, which speaks to the National Romantic ethos of the new publishers, but by no means renders William Morris’s decorative influence any less obvious. The portrait of a Faustian Strindberg facing the title-page takes us back to Sjöberg’s encounter with the author in his laboratory, while drawing comparisons with Goethe, as a similar polymathic genius.

Like his illustrated works before this, Strindberg’s manuscript influenced the artistic design and the drop capitals and annotations set within the body of the text appear to be original to the author. Notes are literally indicated by a red hand pointing and paragraphs are marked by red pilcrows, rather than spaced out. Connoisseurs did not particularly warm to these latter innovations in the layout but the book has been acknowledged to be one of the most exquisite Swedish books ever produced. Georg Svensson considers it Sjögren’s best.

Antibarbarus - slaying the dragonSlaying the dragon, Antibarbarus

Ultimately, we might say the design is in harmony with the content. One critic, G. Bargum, reads the work as the creative scientist’s labyrinthine search for a greater truth where each path is a dead end. He suggests that what is stabbed in the final ornamental image is a many-headed Hydra, who constricts the courageous opponent, so that he will never escape. A review in Dagens Nyheter (cited in Samlade Verk) prefers to see the dragon finally slain by a Sigurd figure and the obstacles triumphantly overcome. While Strindberg never made gold and never did conquer the world of science as his anti-barbarian persona might have wished, his creative genius – with all its delusions and idiosyncrasies – is still wonderfully celebrated in this book, paradoxically ensuring a legacy for his failure.

Pardaad Chamsaz, Curator Germanic Collections

References/Further Reading

August Strindberg, Naturvetenskapliga skrifter I [August Strindberg’s Samlade Verk, vol. 35] (Stockholm, 2009), YF.2011.a.4183

August Strindberg, Strindberg’s Letters [selected, edited and compiled by Michael Robinson] (London, 1992), 92/19967-8

G. Bargum, ‘Der neue Antibarbarus’, in Zeitschrift fĂŒr BĂŒcherfreunde (10:6), 1906, p. 253, P.P.6548.c.

04 May 2018

Karl Marx’s 200th Birthday

This year sees the 200th birthday of political philosopher Karl Marx, who was born in the German town of Trier on 5 May 1818.

Marx C.120.g.2 (1)
Karl Marx (1818-1883). Frontispiece of Le Capital (Paris, 1872-75). C.120.g.2.

In connection with the anniversary, the British Library opened a new display in its Treasures Gallery earlier this week. ‘Karl and Eleanor – Life in the Reading Room’ (free entry, until 5 August) explores the special relationship that Karl Marx and his youngest daughter, political activist Eleanor Marx, had with the Reading Room of the British Museum, one of the predecessor institutions of the British Library.

Marx Round Reading Room 11902.b.52
The Round Reading Room of the British Museum, completed in 1857, where Marx spent much of his time as a reader. From Thomas Greenwood, Free Public Libraries, their organisation, uses and management (London, 1886) 11902.b.52. 

From the first edition of the Communist Manifesto to letters written by Karl Marx, Friedrich Engels and others in their circle, items from the Library’s collection provide an unique insight into the life and work of one of history’s most significant and controversial thinkers.


Marx manifesto and letter
The Communist Manifesto and a letter from Marx on display in the Treasures Gallery  (©Sam Lane Photography)

Marx made London his permanent home after being forced into exile after taking part in the German revolution of 1848. He famously spent long hours in the British Museum, researching and writing his works that would go on to shape world history.

Marx Reader's ticket
Index slip recording the issue of a British Museum reader’s ticket to Karl Marx, dated 21 July 1873. MS Add. 54579, f.i 

One highlight of the exhibition, displayed for the first time, is an original edition of the French translation of Das Kapital (1872-75), which Karl Marx himself had donated to the British Museum Library. Crucially, it contains some annotations in the margins that are believed to be in Marx’s own hand. There is a chance to learn more about this book and its significance in a talk by the exhibition curators on 18 June (book tickets here).

Marx corrections 2
One of the manuscript corrections in Le Capital (C.120.g.2.), thought to be in Marx's hand

The run-up to the bicentenary has seen lots of new artistic, academic and wider public engagement with Marx’s life. Last year, a new play Young Marx was performed at London’s Bridge Theatre to great acclaim, while Oscar-nominee Raoul Peck directed a film on the topic. Members of both production teams, as well as novelist Jason Barker, are coming to the British Library on the afternoon of 5 May to discuss these recent re-imaginings of Marx. The panel discussion is followed by a rare UK screening of Peck’s The Young Karl Marx (last minute tickets are available here).

Also, on 16 May, recent biographers of Karl and Eleanor Marx, Gareth Stedman Jones and Rachel Holmes, will be speaking at the Library about these two fascinating characters, their lives in London, and their wider legacy.

Marx display 2
The ‘Karl and Eleanor Marx’ display in the British Library’s Treasures Gallery (©Sam Lane Photography)

The British Library is of course not alone in marking Marx’s birthday. From a large exhibition in Marx’s native Trier, to a variety of events in the UK and a display in Nanjing in eastern China – the Marx anniversary is a truly global affair.

Diana Siclovan, exhibition curator for ‘Karl and Eleanor Marx’

Find out more about the ‘Karl and Eleanor Marx’ display in The Sir John Ritblat Treasures Gallery and the accompanying series of events at the British Library here.

03 May 2018

Transparency and Too Much Information!!

Do you find yourself saying out loud what should really have stayed in your head?

In the course of a short recent bus ride one passenger exclaimed to no-one in particular, “How am I supposed to get to work on time?” when the driver stopped for a minute for the maintenance of headway (see Magnus Mills’s novel of 2009).  (My answer fortunately stayed silent: “Get up earlier.”)

Five minutes later a man was on the phone, berating his local council for incompetence in the Council Tax department.

The ancients didn’t have buses or phones, but they knew about the problem: mens fenestrata, the windowed mind.

In Lucian:

According to the myth, Athene, Poseidon, and Hephaestus had a match in inventiveness. Poseidon made a bull, Athene planned a house, Hephaestus constructed a man; when they came before Momus, who was to judge, he examined their productions; I need not trouble you with his criticisms of the other two; but his objection to the man, and the fault he found with Hephaestus, was this: he should have made a window in his chest, so that, when it was opened, his thoughts and designs, his truth or falsehood, might have been apparent (Hermotimus 20); tr. Fowler,  p. 52.

We should recall that to the ancients site of the mind was the breast.

Momus# â€˜Momus’. Emblem from Hadrianus Junius, Emblemata (Antwerp, 1575) 832.a.4

In the Renaissance the idea  was picked up by Leon Battista Alberti:

Momus found fault with these gifts [of Pallas, Minerva and Prometheus], particularly when the other gods sang their praises. [...] The job had been carried out stupidly in one respect, for man’s mind had been hidden in his chest, among his internal organs, whereas in ought to have been placed upon his lofty brow, in the open space of his face [propatulaque in sede vultus locasse oportuit]  (p. 17)

(‘Open’ I think alludes to the window or door.)

And the 17th century, when Momus was so popular, liked the idea of uncovering the truth. In Luis VĂ©lez de Guevara’s satirical novel of 1641 El Diablo Cojuelo, the Devil on Two Sticks as the English translation calls him, peels the roofs off the houses of Madrid to reveal their true contents:

You are really too polite, replied the Devil; but, can you guess now why I have brought you here? I intend to show you all that is passing in Madrid; and as this part of the town is as good to begin with as any, you will allow that I could not have chosen a more appropriate situation. I am about, by my supernatural powers, to take away the roofs from the houses of this great city; and notwithstanding the darkness of the night, to reveal to your eyes whatever is doing within them. As he spoke, he extended his right arm, the roofs disappeared, and the Student’s astonished sight penetrated the interior of the surrounding dwellings as plainly as if the noon-day sun shone over them. It was, says Luis Velez de Guevara, like looking into a pasty from which a set of greedy monks had just removed the crust. (Translated by Joseph Thomas from the French translation of Lesage)

Diable Boiteux frontis
Frontispiece from Alain René Lesage (tr.), Le Diable boiteux (Amsterdam, 1707), 634.a.18.

Lucian, and those who followed him, thought the window in the chest was a good idea, an instrument of the transparency for which we’re constantly calling nowadays.

But if our inner thoughts were exposed to the world this might be too much information.

Barry Taylor, Curator Romance Studies

References

The Works of Lucian of Samosata ... Translated by H. W. Fowler and F. G. Fowler (Oxford, 1905) 11340.aaa.24.

Leon Battista Alberti, Momus, ed. and tr. Sarah Knight and Virginia Brown (London, 2003) YK.2004.a.2189

Alejandro Coroleu, ‘Mens fenestrata: the Survival of a Lucianic Motif in seventeenth-century Spanish Literature’, Res publica litterarum, 19 (1996), pp. 217-26. 7713.892000

Asmodeus, The Devil On Two Sticks, Translated by Joseph Thomas (London. 1841) 12549.i.1.