Lilly Library Research Articles

Oy Masemos Fiesta. Music from 16th-Century Guatemala for Voices and Winds. Ensamble Lipzodes con los Pro Arte Singers. Indiana University, Bloomington: Jacobs School of Music, Lilly Library, Early Music Institute, 2010

Oy Masemos Fiesta. Music from 16th-Century Guatemala for Voices and Winds. Ensamble Lipzodes con los Pro Arte Singers. Indiana University, Bloomington: Jacobs School of Music, Lilly Library, Early Music Institute, 2010

Chapter 8. Resistance or Non Resistance: Or, an Account of the Debates in the H– of L–s, on the First Article of Impeachment of Dr Henry Sacheverell, with Remarks on the Bishop of Salisbury's, and the Bishop of Oxford's Speeches, in a Letter to a Friend (1710) [Madan 281]. Available only at Indiana University, Lilly Library, shelfmark PR3404.B9

Chapter 8. <i>Resistance or Non Resistance: Or, an Account of the Debates in the H– of L–s, on the First Article of Impeachment of Dr Henry Sacheverell, with Remarks on the Bishop of Salisbury's, and the Bishop of Oxford's Speeches, in a Letter to a Friend</i> (1710) [Madan 281]. Available only at Indiana University, Lilly Library, shelfmark PR3404.B9

De Hamel, Christopher. Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library. Bloomington, IN: Lilly Library, 2010. [8], 252 pp. Color illus. Paper, $50.00 (isbn 0-9777529-9-2); Hardcover, $100.00 (isbn 0-9777529-8-4); Limited Edition, $175.00 (isbn 978-0-9829458-0-3).

Previous article No AccessBook ReviewsDe Hamel, Christopher. Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library. Bloomington, IN: Lilly Library, 2010. [8], 252 pp. Color illus. Paper, $50.00 (isbn 0-9777529-9-2); Hardcover, $100.00 (isbn 0-9777529-8-4); Limited Edition, $175.00 (isbn 978-0-9829458-0-3).Scott GwaraScott Gwara Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 106, Number 2June 2012 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/680643 Views: 31Total views on this site © 2012 by the Bibliographical Society of America. All rights reserved.PDF download Crossref reports no articles citing this article.

New Light on Kellom Tomlinson: Two Articles by Jennifer Thorp IntroductionKellom Tomlinson's Notebook: A New DiscoveryPicturing a Gentleman Dancing-Master: A Lost Portrait of Kellom Tomlinson

This article describes the manuscript notes and exercises relating to dance which were written into a copy of Mathew Simons' map book, A Direction for the English Traviller, once owned by the dancing-master Kellom Tomlinson and now in the care of the Lilly Library at Indiana University. The nature, contents and handwriting of the dance notes, which perhaps date from the second decade of the eighteenth century, suggest that the notes, some of which are annotated or corrected by Tomlinson himself, may have been the work of one of his pupils or apprentices. This article, which derives from a paper given at the British Society for Eighteenth Century Studies at St Hugh's College, Oxford, in January 2012, describes the recent identification of the portrait of the dancing-master Kellom Tomlinson painted by Richard Van Bleeck in 1716, and discusses its significance in comparison with the later mezzotint by François Morellon La Cave and the light each throws on Tomlinson's relations with the subscribers and dedicatees of his dance manual, The Art of Dancing (1735).

Plastic incunabula — A tale of Carpue’s Tagliacozzi’s

Carpue's An Account of Two Successful Operations caused the rebirth of plastic surgery in 1816 over 200 years after the first plastic surgery book was written by Tagliacozzi. Tagliacozzi's book was pirated with both authorized edition and unauthorized editions having been published in 1597. In his book, Carpue reviewed the literature including Tagliacozzi's work. Carpue had Charles Turner, engraver-in-ordinary to the King prepare his books illustrations. Comparing Turner's engraving with those in the original and pirated editions of Tagliacozzi's book shows that Turner duplicated the pirated edition. The author discovered a pirated edition at St. Bartholomew's Medical College Library in 1971 that was signed by Carpue and shows how by comparing the illustrations in it with those in Carpue's book that this was the working copy used by Turner. In 1819 Carpue gave this book to a "B. Turner Jr." who probably was Turner's teenage son who later became a surgeon. In 2011 the author discovered an authorized version of Tagliacozzi's book signed by Carpue at the Lilly Library in Indiana. These books are important links in the history of plastic surgery.

Independence or Not? Paul V. McNutt, Manuel L. Quezon, and the Re-examination of Philippine Independence, 1937–9

In 1934 the United States set the Philippines on a new course, one that was to begin with autonomy for the archipelago as a ‘commonwealth’ - not a colony - and end with the Islands gaining independ...

Presidential Power, the Panay Incident, and the Defeat of the Ludlow Amendment

Presidential Power, the Panay Incident, and the Defeat of the Ludlow Amendment

SYLVIA PLATH'S MYSTERIOUS LOVER

8 8 Y S Y L V I A P L A T H ’ S M Y S T E R I O U S L O V E R J E F F R E Y M E Y E R S Sylvia Plath’s short life and intensely emotional poems have been extensively studied, but at least one major gap remains. Ever since her death in 1963 many journalists and scholars have tried to track down Richard Sassoon. But none of her biographers has found or talked to this mysterious and elusive figure in her life, her first great love, the subject of ecstatic entries in her journals. Like the late J. D. Salinger, he is reclusive and proud of evading his pursuers . No one has ever interviewed him; none of the five biographies of Plath has reproduced his photograph. I have always been curious about Sassoon’s character, the nature of their liaison, why it ended and what became of him afterward. I did finally find him, but in a roundabout way. Though he refused to respond to my letters, I managed to discover – by interviews and by examining his writing – some interesting details about his background, life, and work, material which illuminates his relationship with Plath and explains why he was important to her. Plath’s first biographer, Edward Butscher (1976), cautiously hid Sassoon’s identity and inaccurately called him ‘‘Richard S— —, French grandson of a British poet.’’ One of the leading poets of the Great War, Siegfried Sassoon came from a Jewish family, was 8 9 R brought up as a Protestant, and converted to Catholicism. Linda Wagner-Martin (1987) said Richard was related to Siegfried; Anne Stevenson (1989) described him as distantly related; Ronald Hayman (1991) did not mention his connection to the poet; Paul Alexander (1991) said that Richard’s father was Siegfried’s cousin. Butscher provided some basic information, Wagner-Martin and Hayman added nothing new, and Stevenson filled in some background from Plath’s point of view. Alexander published some of Richard’s letters to Plath, now in the Lilly Library at Indiana University. Richard Sassoon has never published the letters Plath wrote to him. All the known facts about him can be listed in one paragraph. Richard Laurence Sassoon was born in Paris in 1934 and brought up in Tryon, in the Blue Ridge Mountains of western North Carolina . He met Plath at Yale in April 1954, during their junior years, when she was a student at Smith College. In May, after they’d spent the first of many weekends in New York, he became Plath’s lover and was passionately involved with her for the next two years. He graduated from Yale in 1955, attended the Sorbonne during 1955–56, and during that Christmas holiday, when she was a Fulbright scholar at Cambridge University, they spent a week in Paris and then traveled to the south of France. She was particularly impressed by the chapel in Vence, decorated by Henri Matisse. In February 1956 she met Ted Hughes in Cambridge, marked him as her prey, and began as she ended: passionately and violently. She famously wrote of their first encounter: ‘‘When he kissed my neck I bit him long and hard on the cheek, and when we came out of the room, blood was running down his face. . . . The one man since I’ve lived who could blast Richard.’’ Plath liked to have several competing suitors at one time. Though instantly besotted with Hughes she was still involved with Sassoon. On 25 March she spent the night with Hughes in London on the way to meet Sassoon in Paris, a trip that became one of the great turning points of her life. Though Plath did not find Sassoon attractive, she was drawn to his mind and could not imagine a sexual relationship without a powerful intellectual bond. He gave her a taste of the good life: cosmopolitan, sophisticated, and committed to high art. At ease in France, he introduced the provincial New Englander (who could 9 0 M E Y E R S Y read but not speak French) to French food and wine, literature and culture; he showed...

Ein Liebeslied des Petrus Abaelardus in Bloomington (Indiana)

Four rhythmical verses (Inc. Iuuenum religio) are attributed to one Petrus Abailardus on a single leaf of the late Twelfth-Century, preserved in the Lilly Library, Indiana University, Bloomington Ind., with the shelf-mark Poole mss. Fragment 99. It has been erroneously suggested that these verse may be a variant of Abaelard's Carmen ad Astralabium 655-658. In fact they are an excerpt from the love-poem Primo quasdam eligo (WIC 14627). This song forms part of a little-known poetical collection, called Carmina Florentina. By discussing this ascription I reach the following conclusions: there are no arguments contradicting the ascription to Peter Abaelard, the love-poem Primo quasdam eligo has been either written by Abaelard himself, or it was sung by him and his scholars and friends.

A Strange Surprising Adventure: Curating the Defoe Exhibition for the Lilly Library

A Strange Surprising Adventure: Curating the Defoe Exhibition for the Lilly Library

In The Stables Of Hollywood: Frank Capra's Treatment For Mgm's Soviet (1932)

Click to increase image sizeClick to decrease image size Notes Notes 1 Brian D. Harvey, Soviet–American ‘Cinematic Diplomacy’ in the 1930s: Could the Russians Really Have Infiltrated Hollywood?, Screen 46(4), Winter 2005, pp. 487–498. 2 Alva Johnston, Capra Shoots as He Pleases, The Saturday Evening Post 210, no. 46 (May 14, 1938); full text also available at http://xroads.virginia.edu/∼ma97/halnon/capra/post.html. 3 Editorial Reviews: From Publishers Weekly, www.amazon.com/Frank-Capra-Catastrophe-Joseph-McBride/dp/0312263244. 4 Joseph Freeman Collection, Hoover Archives, contains the original of Pil’niak's MGM contract. In addition, in Freeman's papers is the draft typescript of his translation of Pil’niak's treatment. Pil’niak's son, Boris Borisovich Andronikashvili, shared the original of his father's work at MGM, a photocopy of which can be found in Brian Harvey Papers, Bakhmeteff Archives, Columbia University, where in the Charles Malamuth Papers one can also consult the original Russian typescript by Pil’niak that Malamuth used to undertake the translation of The Volga Flows Into the Caspian Sea. 5 Inventory of Soviet materials, Legal Department, Metro-Goldwyn-Mayer Studios, Culver City. 6 Trade with Russia by Hugh L. Cooper, President, American-Russian Chamber of Commerce, Col. Hugh L. Cooper Collection, Correspondence 1931–1934, State Historical Society of Wisconsin, Madison, WI. 7 Address delivered by Colonel Hugh L. Cooper before the New York Section of the American Institute of Electrical Engineers, New York City, 30 October, 1931, typescript, Cooper Collection. See also A. C. Sutton, Western Technology, 1917 to 1930, 202–203; Hugh L. Cooper, Shall We Help or Hinder Soviet Russia in its Experiment with Communism, Steel 28, August 1930, pp. 35–36; Ibid., Russia, Engineers and Engineering 48(4), April 1931, pp. 76–86; Ibid., Russia Offers Large Opportunity for American Industry, Electrical World (26 December, 1931), pp. 1133–1155; American Methods Win Fight to Control Russian River, Engineering News-Record, June 23, 1932, pp. 876–883; C. C. Whelchel, The Dnieper River Development, General Electric Review 36(11), November 1933, pp. 473–477; and Russia Completes Hydro on the Dnieper River, Electrical World, 27 August, 1932, p. 257. 8 Ekonomicheskie zhizn’, no. 215, 15 September, 1928. 9 See my article on the political climate surrounding Pil’niak's visit to the USA: Brian D. Harvey, Whose artists in uniform?: Boris Pil’njak and American writers in the early 1930s, Russian Literature, 62(3) (October 2007), 294–322. 10 Boris Pilnyak, The Russian Story, Script Department no. 34384, MGM Studios, May 20, 1931. 11 H. J. Freyn, American Engineer Looks at the Five-Year Plan, New Republic, May 6, 1931, p. 317. 12 Unpublished letter, 25 August, 1931, from Sinclair to Pil’niak; copy sent to Freeman on same date, Freeman Collection, Hoover Institution Archives. 13 Unpublished letter, in Russian (1931), from Pil’niak to Sinclair, Upton Sinclair Papers, Manuscripts Department, Lilly Library, Indiana University, Bloomington. 14 Joseph McBride, Frank Capra: the catastrophe of success (New York, Simon & Schuster, 1992), 282–284. 15 Kendall E. Bailes, The American connection: ideology and the transfer of American technology to the Soviet Union, Comparative Studies in Society and Industry, 23 (1981), 421–448. 16 Joseph Freeman, The Soviet Worker: an account of the economics, social and cultural status of labor in the USSR (London, Martin Lawrence, 1932), 89. 17 Bailes, The American connection, 441. 18 Freeman, The Soviet Worker, 88–89. 19 McBride, Catastrophe, 284. Surprisingly enough, the recent biography of Mayer does not mention the Soviet project at MGM: Scott Eyman, Lion of Hollywood: the life and legend of Louis B. Mayer (New York, Simon & Schuster, 2005). 20 MPAA File (Hayes Office), 3 February, 1933, Special Collections, Margaret Herrick Library, American Academy of Motion Picture Arts and Sciences, 2. 21 Jules Furthman Collection, Special Collections, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Box 9. The materials on Soviet include Frank Capra, Soviet, Treatment, 13 December, 1932, MGM Script Department No.3855; and five incomplete versions of the script by Jules Furthman with dates ranging from 19 January, 1933 to 26 June, 1933. I would like to thank Professor Harlow Robinson of Northeastern University for bringing these documents to my attention. The only materials on Soviet in the Frank Capra Collection, Wesleyan University, include short news clippings announcing staff changes, for instance, the introduction of Jules Furthman to write the screenplay for Capra. 22 Frank Capra, The Name Above the Title: an autobiography (New York, Da Capo Press, 1997), 161. 23 McBride, Catastrophe, 282. 24 Ibid., 367. 25 Capra, The Name Above the Title, 205–213. 26 McBride, Catastrophe, 542. 27 Ibid., 618.

Juliette Adam by Rosemary Lloyd, and Olga Amarie (review)

144Women in French Studies Ia prolifération du discours scientifique sur le corps de la femme perpétue un ordre moral traditionnel et familialiste. La pernicieuse infiltration n'épargne malheureusement ni les livres de vulgarisation scientifique, ni les traités de psychosociologie, et encore moins la littérature elle-même : c'est alors le triste avènement de l'ordre moral du « sens commun savant » (167). A leur corps défendant : Les femmes à l 'épreuve du nouvel ordre moral est un livre grave qui sollicite de la part des lecteurs et des lectrices de l'écriture contemporaine des femmes une lecture en profondeur visant à tirer toutes les conclusions qui s'imposent, même les plus dangereuses pour la condition des femmes aujourd'hui. Mais c'est également un texte revigorant, plein d'humour et de saine analyse. A lire et à relire, très certainement. Frédérique ChevillotUniversity of Denver Lloyd, Rosemary, and Olga Amarie. Juliette Adam. Bloomington: The Lilly Library, Indiana U Libraries, 2007. Pp 62. ISBN 0-9777529-2-5. An interesting summary of Juliette Adam's letters, writings, and notes dating from 1880-1920, this work recounts Adam's personal reactions to her life and times. The papers themselves are housed in the closed-stack Lilly Library at Indiana University, having been acquired in 1986. From 1879 to 1899, Adam served as editor to the periodical La Nouvelle Revue which published the works of authors such as Paul Bourget, Paul Valéry, Anatole France, Jules Vallès, and Pierre Loti. She traveled extensively to Greece, Hungary, and Russia. She was actively involved in politics and was, according to Lloyd and Amarie, "an ardent supporter of women's rights" (5). Her support of the revanchard movement, defense of Alsace-Lorraine, and writings on Hungary led to her label as a "champion ofnational sovereignty" (7). The letters that are the subject of Lloyd and Amarie's summary are organized into four series that could be likened to file cabinet drawers with each series (or drawer) separated into folders containing anywhere from one to thirty letters apiece. The series are labeled thusly: Correspondence, Subjects, Writings by Juliette Adam, and Pictures. The Correspondence series houses ten folders, the Subjects series houses six, the Writings series has five, and the Pictures series has only one folder containing two portraits ofJuliette Adam. When read as a whole, the text offers a look into the tumultuous time period in which Adam lived. We see not only her own personal interests and political inclinations, but also how the world around her was changing and being redefined. We read of business deals and dinner parties, politics and death. The scope is varied, but several key subjects are highlighted. These include: Hungary, the Franco-Russian Literary and Artistic Association, and Adams's work at La Nouvelle Revue. According to Lloyd and Amarie, one of "the most interesting files is the one connected with the Sagallo affair" (2). The letters that Adam wrote in response to this affair that resulted in the killing of seven Book Reviews145 Cossacks in French Somaliland illustrate her very strong interest in Russia and her willingness to tackle controversial issues. They also demonstrate "a degree ofpolitical naivety" (2) in a woman who fearlessly wrote to the French Minister of War to request that the French support the Cossacks in their efforts in Africa. This compendium that Lloyd and Amarie have compiled would be useful to anyone doing extensive and in-depth research on Adam and/or her influential salon, the French relationship with Russia, the Austro-Hungarian Empire, Pierre Loti, the revanchard movement, or La Nouvelle Revue. As a first glance into Adam's letters, this text serves as both an introduction and a sort of CliffsNotes of the actual letters and would allow a researcher to focus his/her efforts on the exact letters needed for a particular project. This text would also help shed light on and explain the circumstances surrounding the writing of these letters. The only criticism to posit here is that the title of the text might mislead a reader to think that s/he is about to read a biography instead ofa summary of letters. Jennifer...

How Should Scholars Behave?

46 Historically Speaking · September/October 2005 How Should Scholars Behave? Jeremy Black Maybe I'm one of those simpleminded souls who can only best grasp an issue when it affects them directly, but a couple ofepisodes have led me to think about how scholars should behave. I'm not referring here to relations with colleagues in the same institution, though many years ago, as a young lecturer at Durham, I can remember being unsure how to respond when I went to the bar for a fortifying drink during a performance by the Scottish Opera at the Theatre Royal in Newcastle to see, at the other end, a (married) senior colleague holding hands with a student: the university's induction course had provided no guidance on whether to say hello or to pretend not to notice. I dare say it still doesn't. No, my concern is the problem of conferences and how to respond to arguments one feels misguided. I may be totally wrong, I'm certainly confused (rather like the train I'm writing this in which appears to find the timetable way too confusing to keep to), but here are two cases for starters. Last November, I was very kindly invited to the excellent Mershon Center at Ohio State University to take part in a symposium on how best to teach military history. Very trying in the midst ofterm, but great fun—interesting people, good papers, great hospitality. I gave my paper, essentially on the global theme, and, in the questions, someone says why haven't you mentioned John Keegan, and I made a critical remark: Face ofBattle is very Anglocentric. The tone of my remark was possibly overly abrasive, but the content was spot on. Subsequently, a colleague who is a good friend and whom I much admire, wrote to me to say he thought I'd been too harsh and to ask would I make my remark to Keegan in person. My response was yes, but, more generally , that it struck me as very odd that we feel it perfectly appropriate to judge critically students, academics seeking posts and promotion , and other academics in the smallchange ofconversation, but that there seemed to be a reluctance to make such judgments publicly. This leads to the second episode, one in which I inadvertently fell foul of America's culture wars. In 2003 I was invited to the Ian Fleming conference hosted by the English department at the University ofIndiana. I was to be the keynote closer, speaking on "Changing Views of America in the James Bond Corpus," and my hosts kindly paid all my expenses and gave me a most welcome honorarium. The quality of the papers alas was very mixed: from first rate to inaccurate and tendentious. I had been given over an hour for my talk, so thought I would spare five minutes at the start to review what we'd heard. Trying to be fair, I remarked, in a light tone, that historians had to offer chronological precision, while literary critics had to try to anchor themselves in the texts, and that it was of only limited interest to hear lesbian readings of Bond unless it could be shown that lesbianism was an important theme in the corpus or lesbians a key element among the readers. This led to a furor described by Andrew Lycett in the Sunday Times ofJune 8, 2003. A roundtable in which I was due to talk was boycotted by several participants, I was criticized in a letter from which excerpts were read out in the business meeting next day, and my paper was dropped from the proceedings. The organizer refusedto show me the letter or to return my calls. Tantpis you may well say. I certainly did. The English department at Bloomington is not exactly prominent on my radar screen of intellectual endeavor, and, anyway, they paid my costs and honorarium in full, so I'd had a paid trip that had enabled me to see a couple ofold friends (Bill Thompson at Indiana, and James Chapman, the other keynote speaker), to hear four good papers, to work on useful Townshend material in the Lilly Library, and to eat my...

An Appreciation of Charles R. Boxer: Teacher, Scholar, and Bibliophile

An Appreciation of Charles R. Boxer: Teacher, Scholar, and Bibliophile

A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books (review)

Reviewed by: A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books Jan Susina (bio) Nicholas A. Basbanes. A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books. New York: Holt, 1995. Depending on your attitude, one of the great joys or curses of doing scholarly research on children’s literature is the need to become a book collector. Since few academic libraries have, until recently, devoted much shelf space to children’s books, those who work in the field have, by necessity, accumulated their own private collections. Indeed some of my most pleasurable and scholarly afternoons at the Children’s Literature Association or the Modern Language Association conferences have been spent in the company of other children’s literature scholars as we make the rounds of the local secondhand and antiquarian bookstores. It is a sight to behold when three or more children’s literature specialists swoop down on some unsuspecting bookstore and begin to rummage the stacks looking for hidden treasures. If you are the sort of person who has Interloc or Bibliofind bookmarked on your office computer or would rather spend a Friday afternoon in a secondhand bookstore than in a bar or playing softball, then Nicholas Basbanes’s Gentle Madness is required reading. Basbanes is a regular contributor to Biblio, the general interest book collecting magazine, which appears on the counters of antiquarian bookstores. While not a scholarly text, Basbanes has written a lively social history of book collecting in the United States using a series of narratives that suggest “how collectors through history have been responsible for the preservation of knowledge” (239). Though the Book of Ecclesiastes proclaimed “[o]f making many books there is no end; and much study is a weariness of the flesh,” that warning has never stopped a serious book collector. Basbanes charts the history of a number of distinguished rare book libraries in the United States, including the Rosenbach Library in Philadelphia; the American Antiquarian Society in Worcester, Massachusetts; the Pierpont Morgan Library in New York; the Huntington Library in San Marino, California; and the Harry Ransom Research Center at the University of Texas at Austin. Suggesting that book collecting mirrors the personality and character of the collector, Basbanes records the fascinating stories of the men and women who helped to create these wonderful cultural repositories. Although his study does not focus specifically on children’s books, a [End Page 376] number of the book collections discussed, such as the Ruth Baldwin Library at the University of Florida, do specialize in children’s literature. Other book collections examined by Basbanes that focus on children’s literature include the Elizabeth Ball Collection at the Lilly Library at Indiana University, the Osborne Collection of Early Children’s Books in Toronto, the Iona and Peter Opie Collection of Children’s Literature at the Bodleian Library at Oxford University, and the Betsy B. Shirley Collection at the Beinecke Library at Yale. Ruth Baldwin and her impressive collection of children’s books, which were eventually housed at the University of Florida, is emblematic of Hanns Bohatta’s observation that “the bibliophile is the master of his books, the bibliomaniac their slave” (9). Baldwin earned a doctorate in Library Science at the University of Illinois where her father, Thomas W. Baldwin, was a professor of English and a book collector. Thomas Baldwin taught Shakespeare and his collection of fifty-five hundred texts that were available during Shakespeare’s lifetime and which might have influenced his writing form a respectable collection at the University of Illinois. During one of his many book-buying trips to England, Thomas Baldwin purchased several chapbooks for his daughter and offhandedly suggested to her that collecting children’s books “might be a nice little hobby for a woman” (369). Ruth Baldwin seems to have taken up her father’s challenge with a vengeance, and when she died in 1990, she had amassed a collection of a hundred thousand nineteenth- and twentieth-century children’s books. Although Baldwin sold her books to the University of Florida, where she worked, they clearly still remained hers. She was legendary for controlling her collection with an iron fist, and if she didn’t think...

The Temple as Conceptual Metaphor

The Temple as Conceptual Metaphor by John Bienz The design of The Temple has long been debated but without considering certain essential but very ordinary conceptual structures that were common mental property at the time of its publication in 1633. My thesis is that The Temple is organized by a conceptual metaphor that is grounded both historically and genetically* This metaphor is based on shared image-schematic structure: the target of the metaphor, a common reader's script, and the source, a churchgoing script tailored to biases prominent in the 1620s and 1630s, are organized by a temporal pathway. Parallel use of a pathway schema permits one script to be mapped with the other, and because the temporal pathway schema is genetically grounded, it enables late twentieth-century readers to recognize the form of The Temple even though explaining that structure has been notoriously difficult for literary critics.1 Appropriately, twentieth-century editions of Herbert's poetry embed it in scholarly apparatus. While we may benefit in many ways from the introductions, notes, supplemental texts, etc. that these editions provide, they do not give us a very accurate idea of what the original bodily experience of Herbert's book would have been.2 In the 1630s, a potential reader coming to a copy of The Temple with modest book-reading experience would have had at least two immediately obvious cues to orient his or her choices. First, The Temple was published as a duodecimo book. The copy of the 1633 edition in the Lilly Library at Indiana University is in seventeenth-century binding and measures 9 cm. by 14.3 cm. Books in that intimate format were typically intended for private devotional use: they were vademécums that readers could carry easily, open inconspicuously, and use * "Conceptual metaphor" was introduced as a tool for the critical analysis of poetry by George Lakoff and Mark Turner in More than Cool Reason: A Field Guide to Poetic Metaphor (Chicago: Univ. of Chicago Press, 1989). For clarification of how my use of the term differs from Lakoff and Turner, see "A Note on Conceptual Metaphor" at the end of this article. For readers unfamiliar with cognitive criticism, this note also serves as a brief introduction to the technical terms used here and may be read before continuing with my argument. 2 John Bienz whenever and wherever they had a little time out from the business of the day. Second, arbitrarily opening the book to almost any page would reveal it to be an anthology of lyric poems. Such anthologies sometimes lacked an overriding organizational pattern and invited the reader to skip freely from page to page. Taken together, these cues contributed to a common reader's script: in this script, a potential reader picks up a book with the intentions of appraising what sort of reading experience it might offer, based on book-reading cues conventional for the reader's time and place, and of evaluating its potential interest. Then, the reader either proceeds to find time to read the book according to the orientational cues it offers or leaves it alone. While modern readers use the same basic script, modern editions of The Temple give mostly scholar's cues to potential readers: for example, this book is intended for research or for required reading in a course. Herbert's original readers, we must realize, received a very different message at their first encounter with his book — the promise of a flexible and personal devotional practice. In the case of The Temple, however, a second and less flexible script soon becomes active. It is a church-going script that includes three initial steps: one, an invitation to attend church with instructions on how to be a Christian; two, a moment of commitment to become a church-going person; and three (really a series of additional steps), an extended and regular pattern of church attendance and of daily meditation on the liturgy. In the 1633 edition, this script is activated immediately after some unusually brief introductory material, and it may have met expectations that the more discerning readers had from their first look at Herbert's book. As Annabel Patterson has pointed out, "the...

Reading Games and Rare Books

Abstract This article first surveys the acquisition of reading games by the Lilly Library of Indiana University. The larger portion of the article illustrates the parallels between children's literature in traditional book form and children's reading games in non-book formats. The reading game collection is presented as original source material in relation tothe large Elisabeth Ball collection of historical children's books. The article concludes by surveying the collection by subject.

The Senior Art Purchase Prize

Each spring, the Lilly Library at Earlham College sponsors a senior art contest. The Library Director and Art Department faculty judge entries. The library purchases and permanently displays the winning work. Problems are minimal and there are several benefits: not only does the library enhance its public relations and appearance, but it also demonstrates its concern for students as people.

Grace marks of Salem

Abstract The use of photographs as hlstorical documents for research purposes has long been a common practlce among historians However, the tremendous possibilities inherent in historical photographs has only recently begun to be exploited. As an exploration into the use of photographs as an historical resource, a project was undertaken with a group of photographs held by the Manuscripts Department of the Lilly Library, Indiana University, Bloomington, Indiana, USA.

ILLUSTRATORS AND AUTHORS: A Study of the Bobbs-Merrill Archive in the Lilly Library, Indiana University

Previous articleNext article No AccessILLUSTRATORS AND AUTHORS: A Study of the Bobbs-Merrill Archive in the Lilly Library, Indiana UniversityRosann AuchstetterRosann Auchstetter Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Art Documentation Volume 11, Number 3Fall 1992 Published for the Art Libraries Society of North America Article DOIhttps://doi.org/10.1086/adx.11.3.27948460 Views: 2Total views on this site Copyright © 1992 ARLIS/NAPDF download Crossref reports no articles citing this article.