THE BRITISH LIBRARY

European studies blog

58 posts categorized "Acquisitions"

25 June 2019

¡Authentically Spanish!

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A facsimile of the first edition of the Diccionario de autoridades issued by the Spanish Academy in 1726-39 has been added to the open access collection in the Manuscripts Reading Room, in memory of our friend and colleague Julian Conway, former Superintendent of the Room, who died in November last year in Valencia, where he had retired.

Diccionario 1  Diccionario tp
Real Academia Española, Diccionario de autoridades; facsimile reprint (Madrid, 1984) Copy at MSS 463 presented in memory of Julian Conway

The Spanish Academy was the inventor of the inverted question and exclamation mark, although you won’t find them in the Dictionary.

When the Spanish Institute was relaunched in 1991 it chose as part of its logo the tilde (~) (‘wiggle’ to the vulgar). Admittedly, only Spanish has the letter ñ (pronounced enye), but first it’s no longer considered a letter in its own right and second the tilde is used in Portuguese (but not in Catalan) as well as in Spanish.

Diccionario Inst Cervantes
Logo of the Instituto Cervantes,

More distinctively Spanish is the inverted question mark and its cousin the inverted exclamation mark.

As the Diccionario panhispánico de dudas [World Spanish dictionary of doubts] of 2005 puts it:

The signs of interrogation and exclamation serve to represent in writing the interogative or exclamative intonation. They are double signs, and must be placed at the opening and closing of the phrase.
The opening signs (¿ ¡) are characteristic of Spanish and must not be omitted in imitation of other languages which only use the opening sign.
[Los signos de apertura (¿ ¡) son característicos del español y no deben suprimirse por imitación de otras lenguas en las que únicamente se coloca el signo de cierre.]

This gives rise to flamboyant typography such as

¿Qué hora es? ¡Qué alegría verte!
[What time is it? How good to see you!]

Vamos a ver... ¡Caramba!, ¿son ya las tres?
[Now then … Crikey! Is it three o’clock already?]

These signs first appear in the second edition of the Academy’s Spelling Rules, Ortografía de la lengua castellana, in 1754 (C.69.dd.3.), way after the Dictionary of 1726-39. Initially their use was optional, and only became prescriptive in 1884.

So, what more authentically Spanish than these signs?

Barry Taylor, Curator Romance Collections

21 May 2019

P. G. Wodehouse under Continental Covers

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Some time ago our Translator in Residence, Rahul Bery, wrote a post for the BL English and Drama blog about translations of the works of P.G. Wodehouse. As an unexpected but welcome response to this we were contacted by Wodehouse expert Tony Ring, who asked if we would be interested in a donation of Wodehouse novels in various European languages. We were of course delighted to accept and recently the collection of 100 books, in Danish, Dutch, French, German, Hungarian, Italian, Norwegian, Russian and Swedish, arrived in the Library.

Unpacking them I was fascinated by the range of different cover designs. I always associate Wodehouse with the gently humorous drawings of ‘Ionicus’ (J.C. Armitage) which adorned the British Penguin editions for many years. but readers abroad would encounter Wodehouse under many different covers, some of them quite surprising.

To start with some straightforward ones, in the 1970s and 80s, the Dutch publisher Spectrum issued a number of Wodehouse novels in its ‘Prisma’ series with covers by the well-known political cartoonist Peter van Straaten and there are nine of these in the collection. Straaten’s lively drawings clearly represent characters and situations from the books – not as common as you might think! Here are two, from Summer Lightning (De ontvoerde zeug), translated by W. Wielek-Berg, and Something Fresh (Nieuwe Bezems), translated by W.N. Vandersluys.

Wodehouse Dutch 1

Van Straaten’s illustrations show the characters dressed more or less appropriately for the period when the books were set. However, this is not always the case. This 1962 cover by Georges Mazure for Dokter Sally, translated by Henriëtte van der Kop, reflects the fashions of the day rather than of its original publication date thirty years before.

Wodehouse Dutch 2

Likewise, Ulrich Lichtenhardt’s cover for this 1980 German edition of Spring Fever (Frühlingsgefühle) bears all the hallmarks of the late 1970s rather than of 1948 when the book first appeared. Incidentally, all seven German translations in the collection bear the rider ‘Heiterer Roman’ (‘light-hearted novel’) on their covers – playing to a stereotype of an earnest German reader needing to be assured that laughter is allowed?

Wodehouse German

If the Germans want to emphasise humour, some of the Russian covers seem to imply a darker side to the tales. The Angler’s Rest and its regulars have surely never looked as louche as on the vaguely expressionistic cover of this 2011 translation by I. Gurova of Mulliner Nights (Vechera s misterom Mullinerom). This is probably my favourite cover in the whole collection.

Wodehouse Russian 2

Two other Russian Mr Mulliner collections also use expressionist artwork on the cover, to rather angst-ridden effect, but most worrying is this bleak 2002 cover for A Damsel In Distress (Deva v bede), which to my mind looks better suited to Tess of the d’Urbervilles than to the world of Wodehouse. I can only think that the designer was given nothing to go on but the title.

Wodehouse Russian 3

I find there’s also something slightly threatening about this Italian cover by Stefano Tartatrotti for Adriana Motti’s translation of Uncle Dynamite (Zio Dinamite) from 1998, but as with the Russian Mulliner Nights, the humour wins out.

Wodehouse Italian 3

Another Italian cover is very literal: a 1966 edition of Young Men in Spats (Giovanotti con la Ghette), translated by Zoe Lampronti.

Wodehouse Italian 1

To my mind one of the most attractive covers in the collection is this Swedish dust-jacket by Björn Berg for Birgitta Hammar’s translation of Full Moon (Fullmåne), one of a number of Wodehouse covers that Berg illustrated in 1984. He also includes a brief portrait sketch of Wodehouse on the back of the jacket (and one of the Empress of Blandings on the title page).

Wodehouse Swedish 1

The back cover is also put to good use in Birgitta Hammar’s 1956 Swedish translation of French Leave (Fransysk visit), describing the characters and outlining the plot of the story on a ‘menu’ from the Hotel Splendide in the fictional French town where the story is set.

Wodehouse Swedish 4b

As for the French themselves, this 1947 translation of My Man Jeeves (Mon valet de chambre) has a vignette by J. Jacquemin which I think nicely captures Jeeves’s imperturbability.

Wodehouse French 1

A later series of Jeeves stories in French all use the same cover image of British actor Arthur Treacher playing the role, but change the colour of his cravat and buttonhole for each cover. I’m not sure Jeeves would really have approved of this sartorial frivolity; perhaps that’s why he looks rather troubled here.

Wodehouse French 2

But for sheer oddity, I think the prize goes to the Dutch for this 1974 cover for Jan Wart Kousemaker’s translation of Plum Pie (Plumpudding) which at first glance looks more like a cheap thriller than a collection of humorous stories.

Wodehouse Dutch 3Of course, we should never judge a book by its cover, and there is much more to say about this wonderful donation and the ways in which translators have tackled Wodehouse’s distinctive style. For now the books will go to be accessioned and catalogued so that they can be available for students of literary translation and reception – and for interested Wodehousians – in our reading rooms.

Susan Reed, Lead Curator Germanic Collections

Wodehouse Swedish 2
P.G. Wodehouse, ‘the world's most popular humourist’. Sketch by Björn Berg from the dustjacket of Fullmåne  

23 April 2019

English Recusants in Portugal, 1638

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A recent acquisition recalls the dark times of the religious conflicts of the 17th century.

Sermao RB.23.a.38272

 Thomás Aranha, Sermão que pregou o Muito Reverendo Padre Presentado Frey Thomas Aranha da Ordem dos Prégadores, Lente de Theologia no Real Collegio de S. Thomas de Coimbra, na festa, que celebrou ao glorioso martyr S. Iorge seu padroeiro a nobilissima naçaõ inglesa em S. Domingos de Lisboa no anno de 638 (Lisbon, [1638]). RB.23.a.38272

This sermon was preached at Lisbon on St George’s Day in 1638 to the community of English Catholic recusant exiles, “these gentlemen who have lived among us for so many years, and every year celebrate their patron saint” (fol. 12v). As a gesture of Anglo-Portuguese solidarity, he points out that in battle the Portuguese, like the English, used to invoke St George, unlike the Spaniards who called on St James (fol. 11v).

St George was of obvious appeal to the English. Of obvious relevance too was his status as a martyr at a time when Catholics were being martyred in England. Aranha says explicitly that England had once been as industrious and courageous in its faith, as those who still profess their Catholicism today (fols 11-12). Indeed, the English recusants in Portugal have made such sacrifices in being cut off from friends and family that they too may be called martyrs (fol. 13r). (This may not be as exaggerated as it sounds: a martyr is one who bears witness to his or her faith, not necessarily unto death.)

Eight of Fr Thomás’s sermons are recorded in the Tipografia portuguesa do século XVII: Letras A e B, pp. 130-32

Like many a preacher, he was also a poet. We have his poems on the occasion of the coronation of John IV.

Poesias Compostas

Poesias compostas na Universidade de Coimbra na occasiaõ da felicissima, & milagrosa acclamaçaõ, & coroaçåo d'el Rei nosso Senhor Dom Ioaõ o quarto de Portugal, que se não ofereceraõ no Certamen Poetico, que na dita Vniveridade ouve nem andão no livro dos seus aplausos. (Lisbon, 1645). 1560/808.(1.) [https://books.google.co.uk/books?vid=BL:A0021022066&redir_esc=y]]

King John won back Portuguese independence from the ‘Philippine Domination’ by Philips II-IV of Spain from 1580 to 1640. Aranha is not named in the book, but Innocêncio Francisco da Silva in his dictionary of Portuguese biography gives him authorship.

His book of 1645 is a belated supplement to the poetic celebrations dedicated by the University of Coimbra to the new king:

Invictissimo Regi Invictissimo Regi Lusitaniæ Joanni. IV. Academia Conimbricensis libellum dicat in felicissima sua aclamatione .. (Coimbra, 1641). Cup.408.ww.8

Thus like many a Baroque author Fr Thomás wrote for the moment.

An indication of this little book’s rarity is that A. F. Allison and D. M. Rogers didn’t include it in their classic bibliography, The contemporary printed literature of the English Counter-Reformation between 1558 and 1640 : an annotated catalogue, Vol. 1, Works in languages other than English; with the collaboration of W. Lottes (Aldershot, 1989). RAR 230.242

Barry Taylor, Curator Romance Collections

References

Tipografia portuguesa do século XVII: Letras A e B (Lisbon, 1999), RAR 094.209469 LI.

Innocêncio Francisco da Silva, Diccionario bibliographico portuguez, VII (Lisbon, 1872). HLR 011.269

 

02 April 2019

John Bull, or the English People in their Great Peculiarity

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It’s English Tourism Week and what better to guide prospective visitors to these shores than an anonymous compilation of English customs published nearly 200 years ago in Stockholm. John Bull eller Engleska folket i sin stora Besynnerlighet was recently acquired by the British Library and appears to be a translation from multiple contemporary sources of anecdotes and summaries of Englishness. It contains all manner of veritable traditions, half-truths and fake news that you might expect.

John Bull Title Page
Title page from John Bull eller Engleska folket i sin stora Besynnerlighet (Stockholm, 1826) RB.23.a.28622

In no seeming order, the book takes us from Charles I to the Lord Mayor’s Day via brief glimpses at the Fairlop Fair, ‘Riding the Stang’, football and funeral ceremonies, and anecdotes that illuminate British attitudes under titles such as ‘The Compassionate Traveller’, ‘Paternal Tenderness’, or ‘Exceptional Orderliness’, all in just over 50 pages.

John Bull Contents
Contents from John Bull, eller Engelska folket...

One possible source for the work is Popular Pastimes, being a selection of picturesque representations of the customs & amusements of Great Britain, in ancient and modern times (London, 1816; 785.h.8), which includes drawings by F. P. Stephanoff and historical descriptions by Edward Wedlake Brayley. A second source could be the less structured but equally enjoyable John Bull ou Londresiana, attributed to a ‘C.D’

John Bull Engraving
Engraving from
John Bull ou Londresiana, Recueil d’originalités et de singularités anglaises, avec les anecdotes, bons mots, plaisanteries, sarcasmes, et railleries particulières à ce peuple (Paris, [1820?]) 12314.df.4.

Both the French and Swedish John Bull refer to the peculiarity of their subject and understandably so given the stories they recount. In ‘En besynnerlig Ursäkt’ (‘A peculiar excuse’) we read a dark tale about a day-labourer who twice tried to drown himself but was twice saved by a peasant. He waits for his moment and on the third occasion hangs himself off a barn door. When the owner of the farm questions the peasant, who had in fact seen the whole thing, the peasant says that, since the labourer had been thoroughly soaked in the first two plunges, he thought he was hanging himself out to dry.

The book shares a chapter with Popular Pastimes on what the English publication calls the practice of ‘Selling a Wife’ and the Swedish more modestly refers to as ‘Åktenskaps-handel’ (‘Marriage trade’). Both condemn the activity, which is said to prevail among the ‘lower classes’ (John Bull) or ‘the illiterate and vulgar’ (Popular Pastimes). Our English historian finds space however to celebrate the songs that have been derived from the practice: ‘this practice, immoral and shameful as it is, has given rise to various pleasant Jeu d’esprits […]’. The examples they give differ, possibly exposing the fact that John Bull was paraphrased from various sources.

Other chapters shared between the two books include ‘Milk Maids’ Garland‘ (‘Mjölkflickans Krans‘), ‘Riding the Stang’ (‘Rida på Stången‘) and ‘St. Valentine’s Day’, which our Swedish observers tell us ‘is quite extraordinary in England. The youth yearn for it [längtar otåligt efter det] every year.’ ‘Rida på Stången’ is more or less a direct translation from its source in Popular Pastimes, which describes a practice of vigilante justice, referred to otherwise as ‘charivari’ or ‘skimmington’. The accused is forced onto a long pole, or stang, and carried through the streets to expose his dishonour. The criminal associated with this treatment was traditionally  ‘a man who had debauched his neighbour’s wife’, but not exclusively so, as ‘the virago who had beaten her husband was also subjected to riding the Stang’ (Popular Pastimes, p. 17). The method was also used in Westmoreland and Cumberland, we read, to deter anyone from conducting any business at all on New Year’s Day. While, Popular Pastimes does not delve deeper, John Bull interrogates this Cumbrian variation:

Man hwart taga dessa böter wägen? Jo, man super upp dem, man fyller sig, wältrar sig i sanden, öfwerlastad af Öl, Rumm, Win och Brännwin. — Det är ett nöjsamt tidsfordrif for Engelska folkshopen. (p. 38)
Where do the fines go? Yes, they guzzle it up, they have their fill, roll about in the mud, full of beer, rum, wine and brandy. It is a pleasurable pastime for the English crowds.

I wonder how different today’s portrait of John Bull and the peculiar English would be…

Pardaad Chamsaz, Curator Germanic Studies

27 February 2019

The Cats’ Newspaper: or the Cat’s Pyjamas?

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A month after our current exhibition Cats on the Page opened, its lead curator passed me a donation of a number of issues of De Poezenkrant, or ‘The Cats’ Newspaper’, that came with a letter from its editor, P. Schreuders, who donated the issues as a ‘Thank You’ for the exhibition. These are currently being catalogued and shelfmarked and will be available on our CATalogue ‘Explore’  soon.

This blog is a ‘Thank You’ in return for Schreuders’ generous donation.

P. Schreuders started De Poezenkrant as a sort of newsletter about his family and the family cat R. van Plezier. (The ‘R’. stands for ‘Red’ as in ‘ginger’.)

PK21 Cover 1977
Cover of De Poezenkrant Nr 21, February 1977, featuring R. van Plezier, P. Schreuders’ ginger cat. (Awaiting shelfmark)

Schreuders would send the newsletter to a select group of friends, but soon the mailing list expanded to a few hundred subscribers. Now it has fans all over the world. It sure looks like it has nine lives!

In 2015 Het Grote Boek van de Poezenkrant (‘The Big Book of The Cats’ Newspaper.’ ) was published to celebrate the 41st year of the newspaper/magazine. Why 41 years and not 40 is all explained in the book. It has the complete issues 1 -49BIS”A” (1974–2004) and is dedicated to R. van Plezier.

PokraHetGroteBoek
Cover of Piet Schreuders, Het Grote Boek van De Poezenkrant (Amsterdam, 2015) YF.2018.b.808.

The Cat’s Newspaper is a strange little beast. Is it a magazine, or a newspaper? Is it about cats, or literature? How often does it appear and what will the next issue look like?

Mr. P. Schreuders likes to play a game of cat and mouse with his readers. De Poezenkrant is published irregularly and in ever-changing formats – just as a cat would behave. The cover of issue 62 is a case in point. It says ‘2017 à 2018’.

PK62 Cover 2017-18
Cover of De Poezenkrant, vol. 44, No 62, 2017 à 2018.

De Poezenkrant has a whiff of Facebook about it. Readers from all over the world (global reach) submit their news, photos and stories (posts) for publication in the newspaper. Well known authors write literary articles for the newspaper, which results in a hugely varied content, in Dutch, English and sometimes other languages. This stimulates endless browsing. Add to that the fact that cats are, of course, one of the most popular themes on social media and you have a social media platform.

Several Dutch authors have contributed to De Poezenkrant over time. One of the most prolific contributors, almost from the beginning, was Willem Frederik Hermans who was a big fan of cats. Schreuders read an interview with Hermans in the newspaper NRC of 20 March 1971, in which Hermans only talked about cats, so Schreuders sent Hermans the next issue of De Poezenkrant. This was the beginning of a long collaboration between the two.

PKboek-p4 Postcards
Postcards sent by W.F.Hermans to P. Schreuders in May and June 1974, commenting on De Poezenkrant, reproduced in  Het Grote Boek van de Poezenkrant

On Christmas Day 1975 Hermans sent Schreuders a copy of the famous engraving by J.J. Grandville of the characters in the fable ‘Le Chat, la Belette et le petit Lapin’, by Jean de la Fontaine, from an 1838 edition of the Fables.

Hermans included a short note, in which he states that in his opinion the image deserved a place in De Poezenkrant. He points out the clogs on the feet of the rabbit, whom he compares to a Dutch author he doesn’t like very much. He also expresses his disappointment that the carved mouse heads on the chair of the cat Raminagrobis aren’t lion heads. The note was printed in De Poezenkrant nr 24 of July 1978.

WFH-25dec1977 Letter
Detail of the typed note from Hermans to Schreuders, 25 December 1977, reproduced in  Het Grote Boek van de Poezenkrant

A few years later De Poezenkrant Nr 33 featured a full article on the cat Raminagrobis from La Fontaine’s fable, entitled ‘Op zoek naar Raminagrobis’ (‘In search of Raminagrobis’), in which Hermans’ copy of the Grandville engraving was included. The article discusses various editions of the fable, and their illustrations of the unreliable ‘judge’ Raminagrobis. Gustav Doré and Benjamin Rabier are mentioned, but the verdict is clear: ‘By far the most beautiful illustrations are those in the edition by Fournier Ainé (Paris, 1838) and are by Grandville’; this is indeed the edition on display in the Library’s exhibition.

La Fontaine-Granville C.152.g.7.
Ms Weasel and the little Rabbit before Raminagrobis, published in Fables de La Fontaine. Édition illustrée par J. J. Grandville. (Paris, 1838) C.152.g.7.

Neither the exhibition, nor De Poezenkrant would be complete without the Cheshire Cat. The cover of issue 30, Autumn 1982 is in the style of 18th-century book title pages, but with modern concepts. The Cheshire Cat sits in the centre of the page, almost like a printer’s device. It is taken from the engraving by Sir John Tenniel made for the ‘dream play for children in two acts’ (London, 1886) adapted by H. Savile Clarke from Lewis Carroll’s Alice books

PKboek-PK30 Cheshire
Cover of De Poezenkrant Nr 30, reproduced in Het Grote Boek van de Poezenkrant

De Poezenkrant has an online presence, too and several issues are available on ISSUU.

Go and have a look; curiosity won’t kill the cat!

Marja Kingma, Curator Germanic Collections.

The British Library’s free exhibition Cats on the Page and the accompanying events season continue until 17 March.

18 January 2019

You can’t go out dressed like that! A crack-down on extravagance in 17th-century Lisbon

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A recent acquisition lays down the law on who could wear what in the streets of Portugal.

Sumptuary Laws Pregmatica e ley por que Sua Alteza ha por bem pellos respeitos nella declarados prohibir os trajes, vestidos de Seda com ouro, guarnições de fitas, ouro, prata, dourados, bordados coches de seis mulas, & o mais que nella se declara (Lisbon, 1677). RB.23.b.7984.

The decree stretched from from Portugal to the Cape of Good Hope.

Prince Regent Dom Pedro, responding to requests from Parliament, wishes to halt the harm to the state caused by excessive expenditure on finery, the decoration of houses (I think he means the exteriors), the design of coaches, the clothing of lackeys and the increase in their numbers, extravagant expense on funerals. The finest families are being reduced to penury by this profligacy.

He forbids the use of gold or silver (real or imitation) as decoration (except in a few cases, in small amounts, and when the fabric was made in India), the wearing of long gowns except by the clergy and the university students of Coimbra and Evora, and clothing made from fabric not manufactured in Portugal.

Coaches with more than four mules or horses are banned.

Portuguese_carriage 17th cent An elaborate 17th-century coach from the Museu Nacional dos Coches in Lisbon  (Photo by cytech from Wikimedia Commons [CC BY 2.0])

Anyone disobeying this law will not only be fined, but will be forbidden to enter the presence of the king or any royal official.

Sumptuary laws, as they’re called, in the west go back to the Romans. Their purpose seems to have been sometimes to protect local industries by restricting imports, and sometimes to stop common folk aping their social betters. On a higher moral level, both Christianity and pagan Stoicism were against ostentation in dress.

Silk was a common focus, though we have it on good authorities that in silk-producing areas such as Valencia even the poorest went in silks.

Such restrictions might seem outdated to us, but clothes are still a bone of contention in some areas: do you recall when in 2004 the exclusive Burberry brand was allegedly taken over by ‘chavs’

The baroque period is often described as one of display, but not everyone saw its down side.

Barry Taylor, Curator Romance Collections

References/Further reading:

Juan Sempere y Guarinos, Historia del lujo y de las leyes suntuarias de España (Madrid, 1788)

Alan Hunt, Governance of the consuming passions: a history of sumptuary law (Basingstoke, 1996) YC.1997.a.188

23 November 2018

Hold the entire Bible in your head!

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There have been schemes stretching back to Antiquity for making it easier to retain information in our heads. Many memory practitioners recommended word-image association: conjure up an architectural edifice in your mind and place a nugget of knowledge in each niche.

This memory book, however, is entirely verbal.

Martin del Río, Ars biblica, sive herma memorialis sacra, in qua metricè S. Paginæ libri, capita, eorumque medulla memoriae facillimè commendantur ... (Ecija, 1778) RB.23.a 38345

Biblia

This pocket-sized book, recently acquired, enables the reader (presumably a preacher like the author) to memorise the chapters of the Latin Vulgate Bible using one word (or its abbreviation) to summarise each chapter.

For example, the Epistle to the Ephesians (p. 110).

Ch 1 is summarised by “Christum ad dexteram in coelestibus constituens”, which is part of verse 20 “quam operatus est in Christo, suscitans illum a mortuis, et constituens ad dexteram suam in cælestibus” [Which he wrought in Christ, when he raised him from the dead, and set him at his own right hand in the heavenly places].
This is boiled down to “Constituens”.

Ch 2 is summarised by “Estis sanctorum cives”, which is part of verse 19” Ergo jam non estis hospites, et advenæ: sed estis cives sanctorum, et domestici Dei” [Now therefore ye are no more strangers and foreigners, but fellow citizens with the saints, and of the household of God].
This is boiled down to “Cives”.

Ch 3 is summarised by “genua mea patrem flecto” which is part of verse 14 “Hujus rei gratia flecto genua mea ad Patrem Domini nostri Jesu Christi” [For this cause I bow my knees unto the Father of our Lord Jesus Christ]
This is boiled down to “Flecto”.

Ch 4 is summarised by “dona hominibus Dedit” which is part of verse 8 “Propter quod dicit: Ascendens in altum, captivam duxit captivitatem: dedit dona hominibus” [Wherefore he saith, When he ascended up on high, he led captivity captive and gave gifts unto men]
This is boiled down to “Dedit”.

Ch 5 is summarised by “ecclesiae Christus est caput” which is part of verse 23 “quoniam vir caput est mulieris, sicut Christus caput est Ecclesiæ” [For the husband is the head of the wife, even as Christ is the head of the church: and he is the saviour of the body]
This is boiled down to “Est caput”.

Ch 6 is summarised by “tenebrarum rectores harum” which is part of verse 12 “quoniam non est nobis colluctatio adversus carnem et sanguinem, sed adversus principes, et potestates, adversus mundi rectores tenebrarum harum, contra spiritualia nequitiæ, in cælestibus” [For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places]
This is boiled down to “Harum”.

Put them together and they make an “easily” (he says “most easily”, facillime) memorised hexameter line: “constituens cives flecto dedit est caput harum”.

At least that’s the theory.

Ars Biblica pp110-111 Fr Martín’s summary of the Epistle to the Ephesians, Ars Biblica [pp. 110-111]

Fr Martín gives a chronological survey of earlier publications: Bonaventura in 1270, Petrus Rosenbeimensis [von Rosenheim] in 1450, Matthias Martinius, and “In our century” Leander a S Martino in 1628, et al.

“Alas! No-one cites the first inventor, Alexander de Villadei (of our Order OFM)”, author ca 1240 of some leonine verses, beginning “Sex, prohibet, peccant, Abel, Enoch, et arca fit, intrant.” According to Fr Martín, he was copied word for word by Leander a S Martino, who suppressed Alexander’s name and passed the work off as his own. Our old General Catalogue of Printed Books identifies this rotter: “LEANDER, de Sancto Martino [i.e. John Jones]”.

“Alas how many today wish to becloud the names of their predecessors! I freely admit my debt to others: Render under Caesar, etc.”

He has cleaned up the text of Alexander, bringing it into line with the Tridentine Vulgate of Pope Clement VIII (1592).

This is the second edition, the first having been printed in Mexico in 1675.
This sort of memory verse survives almost into our own day: the more elderly among you might remember the Kings and Queens of England in doggerel:

Willy, Willy, Harry, Ste,
Harry, Dick, John, Harry three,
One, two, three Neds, Richard two,
Henries four, five, six – then who?
Edwards four, five, Dick the bad,
Harries twain and Ned the lad,
Mary, Bessie, James the vain,
Charlie, Charlie, James again …

Fr Martín’s book takes us back to a time when the Bible was a vital concern, and when education was synonymous with a knowledge of Latin.

Barry Taylor, Curator Romance Collections

Further reading

Frances A. Yates, The art of memory (London, 1966) X.529/6232.

Mary J. Carruthers, The book of memory (Cambridge, 1990) YC.1990.b.7100

Juan Velázquez de Acevedo, Fénix de Minerva, o arte de memoria, ed. Fernando Rodríguez de la Flor (Valencia, 2002) YF.2016.a.22418

24 September 2018

War-Painting: the End of Futurism

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We have recently added a new book to our Italian Futurist collection. Guerrapittura is an important example of the synergy of text and graphics in Italian Futurist books. Some other acquisitions were made for the exhibition Breaking the Rules. The Printed Face of the European Avant Garde 1900-1937 in 2008, and our collections are constantly growing.

Guerrapittura CoverCarlo Carra’, Guerrapittura: futurismo politico, dinamismo plastico, 12 disegni guerreschi, parole in libertà (Milan, 1915) RF.2018.b.187

The Italian painter Carlo Carra’ wrote Guerrapittura (‘War-painting’) in 1915, when the First World War had started but Italy had not yet entered the conflict. His words are an important contribution to the interventismo (interventionism), where artists and intellectuals played a huge role in lobbying the public opinion to enter the War.

Guerrapittura is Carra’s last contribution to the Futurist movement. From 1917 he joined the painter Giorgio De Chirico on his conception of pittura metafisica. His patriotic views are expressed quite strongly in Guerrapittura, the war being an ‘incentive to creativity’ and a way to celebrate the ‘Italian creative genius’. The War is seen as the climax of the futurist way of thinking, an encounter between art and life, the last step towards an industrialized world. Literature and painting meet in the book, which features the iconic leaflet ‘Sintesi futurista della guerra’, authored on 29 September 1914 by Carra’, together with Marinetti, Boccioni, Piatti and Russolo. The ‘words in freedom’ in the leaflet celebrate FUTURISM vs TRADITIONALISM. Futurism is represented by Russia, France, Belgium, Serbia, Italy, Japan, Montenegro, Great Britain, against the traditionalism of Germany and Austria.

Sintesi futurista della Guerra‘Sintesi futurista della Guerra’, from Guerrapittura, p. 109

The violence and ugliness of war are ignored in his words and in those of his fellow futurists, like in the magazine Lacerba, whose intolerant and anti-democratic views mirror those of Carra’ in Guerrapittura. Lacerba’s short life was linked to the interventismo from 1913-1915 and its reason to exist ceased when the war started. The last issue of Lacerba, dated 1915, celebrates Italy entering the War.

LacerbacoverLacerba, 15 May 1915, from the facsimile reprint Lacerba. Firenze, 1913-1915 (Rome, 1970). L.45/2625

The acquisition of Guerrapittura has been made possible by the Mirella De Sanctis special fund for the purchase of Italian books.

Valentina Mirabella, Curator, Romance Collections

Further reading

Breaking the Rules: the Printed Face of the European Avant Garde, 1900-1937 (London, 2007) YC.2008.b.251.

Mirella Bentivoglio ‘Innovative Artist’s Books of Italian Futurism’ in International Futurism in Arts and Literature, edited by Günter Berghaus (Berlin, 2000), pp. 473-486. YA.2002.a.8247.

Futurismo & Futurismi (Milan, 1986) YV.1986.b.694. [English edition (London, 1986) at YV.1987.b.2043.]

 

09 August 2018

East European newspapers in the British Library collection

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The rapid growth of the British Museum Library from the 1840s onwards brought about the expansion of its collections of foreign material. Books, journals and newspapers in East European languages were also regularly acquired, initiating the future development of the individual countries’ collections. Newspapers, though relatively small in numbers of titles, constituted a vital part of them. The Catalogue of the Newspaper Library, Colindale (London, 1975; HLR.011.35; all records are now also available in our online catalogue) records numerous 19th-century papers from around the world. Among them the oldest titles in East European languages are:

Russkii Invalid 1815

Russkii invalid (St Petersburg, 1813-1917; NEWS13712) a paper of the Russian military.

Dostrzegacz Nadwislanski 1824

Dostrzegacz nadwiślański / Der Beobakhter an der Vayksel (Warsaw, 1823-4; NEWS15170).  A bilingual Polish and Yiddish weekly, the first Jewish journal published in Poland. Only 44 issues appeared, of which the BL holds three copies for February 1824.

In 1932 the Newspaper Library was established in Colindale and overseas titles were moved there from the British Museum building. Eastern European newspapers were part of this process. In the 1950s there were 74 titles in Slavonic and East European languages acquired annually by the Library. In 2014 a new reading room for all forms of news media opened in the St Pancras building, where these titles can now be consulted.

Political, social and economic transformations in Central and Eastern Europe following the revolutionary wave of 1989 had a huge impact on the publishing industry. Such phenomena as the free market economy, freedom of expression and the rapidly growing political movements, all new to Eastern Europe, also greatly influenced the newspaper output, giving rise to many new titles or title changes. In the early 1990s there was an explosion in the number of papers published, and at its peak the British Library was receiving about 300 titles per year. Many were short-lived and produced only one or two editions. In such chaos it became necessary to get an overall picture of the situation, especially since other UK libraries experienced a similar influx of newspapers. A Union List of Slavonic and East European newspapers in British libraries (YC.2018.b.1946), which was put together in 1992, aimed to provide information about the availability of any particular title in the UK libraries. It should be noted that there were no online library catalogues at the time, so the printed list was the most effective way of communicating.

The collection of newspapers for this period represents the whole spectrum of political colours, social movements and cultural diversity in Eastern European countries. Examples include:

Respekt 1992

Respekt (LOU.F631G) began publication in November 1989 as one of the first independent journals in Czechoslovakia. It was a pro-Havel liberal weekly reporting on domestic and foreign political and economic issues with a focus on investigative journalism. It is still running.

Spotkania 1991
Spotkania (NEWS13748) attempted to act as the Polish Newsweek and aimed to be an informative paper with no political bias; it lasted only from 1991 to 1993. BL holds 93 issues for the years 1991-2.

The Warsaw Voice
The Warsaw Voice (NEWS3057) is an English-language newspaper published in Poland, providing news on Poland and neighbouring countries with the focus on business and the economy. First published in 1988, it is still running; our holdings include the years 1992–2017.

Oslobodenje 1993Oslobođenje (LOU.F710D) is the oldest daily newspaper in Bosnia, which began in 1943. The paper received many international awards for continuous publication throughout the 1992–95 siege of Sarajevo. During the war, the editorial board consisted of Bosniaks, Bosnian Serbs, and Bosnian Croats, reflecting the multi-ethnic society of Bosnia.

At present our collection includes newspapers held in print form, as microfilm and in digital copies. With hard copies and microfilms creating storage and preservation problems, the policy of the Library is to subscribe to aggregated newspaper databases or link to online resources. We currently still receive 17 newspaper titles in print from Lithuania, Bulgaria, Serbia, Hungary, Romania and recently Poland. A number of Russian, Ukrainian, Moldavian, Belarusian and Baltic newspapers are available online through the commercial supplier Eastview, but currently there is no newspaper coverage for the Czech Republic, Slovakia, Albania, Croatia, Bosnia and Herzegovina, Montenegro, Slovenia and Macedonia, mainly because of distribution problems and a lack of aggregated databases.

Magda Szkuta, Curator of East European Collections

 

23 July 2018

‘A work of art must be as logical as a machine’

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Blok title page

The British Library has recently acquired two issues of a rare Polish avant-garde journal Blok: czasopismo awangardy artystycznej, issue 3-4 (Warsaw, 1924; RF.2018.b.75). The journal was issued by the first constructivist group of artists in Poland bearing the same name, whose theory can be summed up in the quotation above. The Blok was formed in 1924 and consolidated around the issue of construction in a work of art. It included such prominent artists as Władysław Strzemiński, Mieczysław Szczuka and Teresa Żarnower.

Blok Zarnower

The journal was edited primarily by Szczuka and Strzemiński and addressed a wide range of topics from art theory, architecture and theatre to music and literature. The controversies between the two main leaders Strzemiński and Szczuka led to the break-up of the group and cessation of the journal in 1926. Only 11 issues were published in total.

Blok 2

Magda Szkuta, Curator of East European Collections