Showing posts with label Edward Bulwer-Lytton. Show all posts
Showing posts with label Edward Bulwer-Lytton. Show all posts

Thursday, August 22, 2019

Fragments from a Writing Desk: Who remembers ACCENTUATE THE POSITIVE? WELL, ACCEN...

Fragments from a Writing Desk: Who remembers ACCENTUATE THE POSITIVE? WELL, ACCEN...:        Parthenope--All together now: “Accentuate the Antepenultimate”        In his review of the Northwestern-Newberry Edition TH...
http://fragmentsfromawritingdesk.blogspot.com/2019/08/who-remembers-accentuate-positive-well.html


Here's another poetic use of Parthenope in Melville's time, to go with others cited by Hershel Parker on Fragments from a Writing Desk. From Glenaveril; Or, The Metamorphoses by Edward Bulwer Lytton:
And still the Siren's song, thro' scented airs.
Lulls with delightful spells the tideless sea
In whose embrace sleeps blue Parthenope.  --Book 1, Canto 1, stanza 68
As Hershel points out, John Walker gave the rule, "Accent the Antepenultimate" syllable when pronouncing OPE words like Penelope or Parthenope.


And Noah Webster incorporated "Walker's Key to the Classical Pronunciation of Greek, Latin, and Scripture Proper Names" in, for instance, An American Dictionary of the English Language (New York, 1841).

Saturday, October 15, 2016

Melville at Fort Lee with Evert Duyckinck in 1848

Evert A. Duyckinck, letter to William Alfred Jones - July 28, 1848
From The New York Public Library Digital Collections
Evert A. Duyckinck's account of a summer excursion to Fort Lee (before July 28, 1848) with Herman Melville delights in irony and disillusionment. Probably he does not regard the overheard dialogue from Bulwer's The Lady of Lyons as truly grand in either text or performance, hence the single quotation marks around the word magnificent. To his credit, Duyckinck does recognize a "tribute to literature" at some level. But the hostility to Bulwer, and to Romance ("or whatever") more generally, nicely illuminates Duyckinck's published criticism of romantic and poetic flights in Mardi, Moby-Dick, and especially Pierre. Considering Evert Duyckink's characteristic disdain for romantic effusions, it seems coldly fitting that Melville would try to cancel his subscription to the Literary World (co-edited by Evert A. Duyckinck and his brother George) on Valentine's Day, 1852.

Mose and Lize

Duyckinck's letter to William Alfred Jones is excerpted in Jay Leyda's Melville Log, Volume 1 [279]. Where Leyda gives the word hostage, my transcription below reads "passage"; for Dont I read "Dost"; and for Liza I have "Lize."  
I was out the other day to Fort Lee with Melville—a grand picnicking day. The first lady & gentleman we came upon were in front of a table cloth spread on a rock and covered with hams, sardines &c, affectionately mouthing to each other, the Lady of Lyons. They had just reached the 'magnificent' Lake of Como passage "Dost like the picture lady?" A remark she let fall that champagne didn't inhale on an empty stomach distressed the romance or whatever it was. It was a tribute to literature notwithstanding and so was a greasy annual carried by the nymph and a clumsy octavo by another. They were of the genuine Mose and Lize school and as a philosophic gentleman we met with remarked as they roared out Negro melodies—how much better it was than fighting!  --Evert A. Duyckinck, 1848 letter to William Alfred Jones; From The New York Public Library Digital Collections
Along with unspecified "Negro melodies," those literate lovers Herman Melville also saw and heard that summer's day at Fort Lee were enjoying this, and not as imperfectly as Jay Leyda's misread of "Dont" for Duyckinck's and Bulwer's word "Dost" might imply:
PAULINE.
I cannot forego pride when I look on thee, and think that thou lovest me. Sweet Prince, tell me again of thy palace by the Lake of Como; it is so pleasant to hear of thy splendours since thou didst swear to me that they would be desolate without Pauline; and when thou describest them, it is with a mocking lip and a noble scorn, as if custom had made thee disdain greatness.

MELNOTTE.
Nay, dearest, nay, if thou would'st have me paint
The home to which, could Love fulfil its prayers,
This hand would lead thee, listen! —a deep vale
Shut out by Alpine hills from the rude world;
Near a clear lake, margined by fruits of gold
And whispering myrtles; glassing softest skies
As cloudless, save with rare and roseate shadows,
As I would have thy fate!

PAULINE.
My own dear love!

MELNOTTE.
A palace lifting to eternal summer
Its marble walls, from out a glossy bower
Of coolest foliage musical with birds,
Whose songs should syllable thy name! At noon
We'd sit beneath the arching vines, and wonder
Why Earth could be unhappy, while the Heavens
Still left us youth and love! We'd have no friends
That were not lovers; no ambition, save
To excel them all in love; we'd read no books
That were not tales of love—that we might smile
To think how poorly eloquence of words
Translates the poetry of hearts like ours!
And when night came, amidst the breathless Heavens
We'd guess what star should be our home when love
Becomes immortal; while the perfumed light
Stole through the mists of alabaster lamps,
And every air was heavy with the sighs
Of orange groves and music from sweet lutes,
And murmurs of low fountains that gush forth
I' the midst of roses!—Dost thou like the picture?
 

Monday, July 7, 2014

Bulwer's very fine book Zanoni

Update:
Zanoni is Sealts no. 334 in the catalog of Melville's reading, as shown at Melville's Marginalia Online. Whereabouts unknown--the bibliographic entry by Sealts gives the two-volume Harper 1842 edition as the most likely one with "very fine print" owned by Melville. In late April and early May 1850, Harper & Brothers advertised the revival of Zanoni as No. 142 in their cheap and popular Library of Select Novels series. That series, which eventually grew to more than six hundred titles before it was done, actually started with Bulwer. But I can't find a trace of this particular reissue at Google Books or World Cat or Abebooks. Strictly ephemeral?

The 1850 re-publication of Zanoni by Harper & Brothers elicited the following criticism in a Utica newspaper, the Oneida Morning Herald:
We are puzzled to know the meaning of the word “select” as used in this connection; their “Library” containing a mixture of good and bad, of trashy and able. Zanoni is not worthy of any collection of fictitious works, judiciously chosen from the best authors. It bears the stamp of Bulwer’s genius and acquirements, it is not destitute of power and is superior to ninety-nine hundredths of the novels with which the press has groaned for the last 20 years. It is inferior, however, to most of the productions of Bulwer, in thought, beauty, and interest, is disfigured by high wrought tragic scenes, worthy of a place in the works of men whose rivalry he would scorn, and its lessons of morality cannot without violence be praised for sternness....
(early May 1850, found at Old Fulton NY Post Cards)
On April 27, 1850 the Troy NY Daily Whig noticed this latest Harper edition as "one of Bulwer's old works, revived in a cheap form" and pronounced it "a little better" than average.
--Old Fulton NY Post Cards


And it's a hard road, it's a hard road daddy-o
When my job is turning lead into gold --Van Morrison, Philosopher's Stone
What a book!  Melville got it (along with Harriet Martineau's The Hour and the Man) from Sarah Morewood and thanked her, in between Moby-Dick and Pierre:
"Zanoni" is a very fine book in very fine print—but I shall endeavor to surmount that difiiculty. --Letter to Sarah Huyler Morewood, 12? September 1851
Zanoni's early advice to Viola about struggling toward the light, repeatedly recalled in Bulwer's "Rosicrucian Tale," is the closing message of Melville's poem The Enthusiast:
Though light forsake thee, never fall
From fealty to light.--The Enthusiast
Zanoni:
 "And," said the Cavalier, turning back, and gently laying his hand on hers — "And perhaps before we meet, you may have suffered; — known the first sharp griefs of human life; — known how little what fame can gain, repays what the heart can lose; but be brave, and yield not — not even to what may seem the piety of sorrow. Observe yon tree in your neighbour's garden. Look how it grows up, crooked and distorted. Some wind scattered the germ, from which it sprung; in the clefts of the rock; choked up and walled round by crags and buildings, by nature and man, its life has been one struggle for the light; — light which makes to that life, the necessity and the principle: you see how it has writhed and twisted — how, meeting the barrier in one spot, it has laboured, and worked, stem and branches, towards the clear skies at last. What has preserved it through each disfavour of birth and circumstances — why arc its leaves as green and fair as those of the vine behind you, which, with all its arms, can embrace the open sunshine? My child, because of the very instinct that impelled the struggle — because the labour for the light, won to the light at length. So with a gallant heart, through every adverse accident, of sorrow, and of fate, to turn to the sun, to strive for the heaven; this it is that gives knowledge to the strong, and happiness to the weak. Ere we meet again, you will turn sad and heavy eyes to those quiet boughs, and when you hear the birds sing from them, and see the sunshine come aslant from crag and housetop to be the playfellow of their leaves, learn the lesson that Nature teaches you, and strive through darkness to the light!" --Zanoni, vol 1, book 1 chapter 4
Imagery in another poem by Melville, "Fragments of a Lost Gnostic Poem of the 12th Century," is featured in Bulwer-Lytton's paraphrase of Iamblichus on Pythagoras

Zanoni:
Your mind is fevered by a desire for truth; you would compel it to your embraces; you would ask me to impart to you, without ordeal or preparation, the grandest secrets that exist in nature. But truth can no more be seen by the mind unprepared for it, than the sun can dawn upon the midst of night. Such a mind receives truth only to pollute it; to use the simile of one who has wandered near to the secret of the sublime Goetia, (or the magic that lies within nature, as electricity within the cloud.) ‘He who pours water into the muddy well, does but disturb the mud.’ " --Zanoni vol 1, book 3 chapter 4
In the second volume Bulwer-Lytton recalls the proverb, again with application to the wavering disciple Clarence Glyndon:
Oh, well said Zanoni, "to pour pure water into the muddy well does but disturb the mud." --vol 2, book 4 chapter 6
The later instance of the proverb in Zanoni specifies "pure water," which makes for a closer parallel to the "clear" water of Melville's poem:
The Good Man pouring from his pitcher clear
But brims the poisoned well. --Fragments of a Lost Gnostic Poem
Bulwer's probable source, the translation by Thomas Taylor of Iamblichus's Life of Pythagoras (London, 1818), reads "pure and clear water":
For they infuse theorems and divine doctrines into confused and turbid manners. Just as if someone should pour pure and clear water into a deep well of mud; for he would disturb the mud, and destroy the clear water.  --Iamblichus, Life of Pythagoras
Later: Leon Howard argues for the influence of Zanoni on Melville's Pierre in the Historical Note to the Northwestern-Newberry edition. I had forgotten how extensive and detailed a treatment Howard gave Zanoni there. For the large view we now have Arthur Versluis on The Esoteric Origins of the American Renaissance. And something recent and rich about Anarchic Alchemists, including, hey, a whole chapter on Zanoni, the Scarlet Letter, and Pierre.

Hathi Trust Digital Library has the Harper & Brothers 1842 edition of Zanoni  (NYPL volumes):
Zanoni vol 1
Zanoni vol 2