Voyages to the Moon and the Sun – Cyrano de Bergerac

For a long time I believed that the author of this book wasn’t a real person but had been made up in some obscure French novel and that the character had lived on beyond the original work, so to find that Cyrano de Bergerac was not only real but an author as well as the famous soldier and duellist was a pleasant surprise. His life is however poorly documented, but this work can be dated reasonably well as it mentions the death of the philosopher Descartes, which happened in 1650 and de Bergerac himself died in 1654. My copy is the Folio Society edition published in 2018, illustrated by Quentin Blake and rounds off my selection of works translated from French that I have been reading throughout August. The illustrations to this blog were taken from the Folio Society web site entry on the book.

The book is in three sections so I’ll review it in the same way:

Journey to The Moon

The time that de Bergerac was writing in was a period of considerable scientific advancement as people moved away from the ancient Greek science towards the start of physics as we know it but there was much that was still up for debate such as if the Earth was the centre of the universe with everything else revolving around it. It is clear right from the start that de Bergerac had moved on from this notion and he understood that the Earth rotated, that the Moon orbited the Earth and that together they orbited the Sun. Journey to the Moon starts with the hero trying to reach the Moon by means of dew collected in jam jars. The reasoning is fair, dew rises in the morning so if you could collect enough of it and attach it to your body then it should take you with it, this he duly does and rises up into the air from Paris one morning. After a few hours he decides to land, releases the dew and is surprised to find it is still morning and he is in Canada as the Earth has rotated underneath him, de Bergerac didn’t consider that the atmosphere also rotates with the land beneath. Later he builds another machine this time powered by fireworks which does lift him to the Moon, leaving from Quebec.

The Moon he arrives at is however unrecognisable from the one we know as he finds the Garden of Eden there along with several old testament prophets and here the book starts to fail as he indulges in pages of theological arguments which drag the pace so much that I almost gave up at this point and began searching for another book to read, however I’m glad I persevered. Ultimately he leaves religion behind and goes on a fantastical exploration of his version of the Moon before returning to Earth by catching hold of the Devil on his way to deposit an inhabitant of the Moon to Hell and of course he has to pass the Earth on the way.

Journey to The Sun

For a long time it looked as if Journey to the Sun wasn’t actually going to get there, for the first twenty five pages it covers being persuaded to write up and publish Journey to the Moon and his subsequent denouncement as a sorcerer. Which leads to him being jailed, escaping and undertaking a very funny chase sequence which results in him accidentally running full circle and seeking shelter from his pursuers through the back door of the very jail he had escaped from. Eventually he builds a contraption which uses the power of sunlight via lenses to build up lift so that he can escape again, however he misjudges the power of his invention and instead of just rising and then landing again he is drawn all the way to the Sun and aims to land on a sun spot which he takes to be an area of land floating on the sun’s surface. The Sun in the book is not the flaming ball of gas that we understand but simply a larger globe that it is perfectly possible to traverse.

Eventually he meets a tiny king who with his subjects can transform themselves into anything they wish either singly or as a group to make something as large as a tree and in this tree is a Nightingale who leads him to the Kingdom of the Birds.

Story of the Birds

On arrival in the Kingdom of the Birds he is arrested and put on trial for the heinous crime of being a man and therefore a destroyer and killer of birds. Here de Bergerac demonstrates his ecological credentials and tries our hero for the damage mankind has done to the Earth and the wanton killing of bird life. He is ultimately sentenced to be eaten to death by insects but is reprieved when a parrot that he once set free from its cage speaks up in his defence.

Various adventures follow his release as he travels towards the Kingdom of Philosophers, although again de Bergerac gets distracted and spends pages retelling Greek myths without progressing with the story. Eventually this rather tedious section finishes and the hero continues on his way, meeting people from the Kingdom of Truth and the Kingdom of Lovers before the book suddenly finishes mid paragraph.

Overall I enjoyed the book but the large sections of ‘philosophising’ I could definitely have done without.

The Nun – Denis Diderot

The story behind this book is as fascinating as the novel itself and it would probably be good to start there, because it all grew out of an elaborate practical joke which was based on a real incident. In 1758 a young nun, Marguerite Delamarre, tried to get herself extricated from the vows she had taken in a Paris convent and returned to the outside world. However it was almost impossible for this to happen at the time and she duly failed but not before it had become the talk of the city. She ended up living her entire life, presumably unhappily, in the convent. Her story suggested itself to Diderot and a group of his friends as a means of persuading another of their company who had retired to the countryside to come back to Paris. They duly started a correspondence with him in 1759 pretending to be Suzanne Simonin, a nun who had escaped the cloister but needed assistance to avoid being forcibly taken back. They also included fake letters from Madame Madin, who was known to both parties and was supposedly sheltering the girl. Unfortunately for the friends of M. de Croismare he fell for the story rather too well and offered Suzanne a place in his household, even going so far as to try to arrange transport for her. They were forced to claim she was ill and then when he became more insistent that he wanted to help her they made the illness more severe and killed her off.

In a postscript, eight years later M. de Croismare did come to Paris and met Madame Madin and was surprised to find that she knew nothing of the whole episode. The story should have ended as a practical joke but Diderot had by now been so fascinated by their tale of woe that he decided to write Suzanne’s autobiography from childhood to how she ended up in the convent and then to her escape and he worked on it through most of 1760 although with no intent to publish, however once he found out that the joke was exposed he did finally publish in 1770.

To provide a reason for Suzanne to be shut up in a convent from the age of sixteen she had two slightly older sisters but it was becoming clear that potential suitors for them were getting more interested in Suzanne so she was put out of the way. This decision by her father was driven more by his (correct) suspicion that he was not actually her biological father and he wanted to prevent her having any call on the families money. He therefore determined that she should be got rid of in the most convenient way and as the story of Marguerite Delamarre proved it was almost impossible in 18th century France for a girl to leave a convent once she had been made to take her vows. However at the first convent she was sent to Suzanne refused to take her vows and created a scene in the church for which she was punished and later taken to a second convent.

At this second convent she was persuaded to take her vows despite protesting she had no vocation to become a nun and so started a horrific experience of neglect, beatings, sleep deprivation, etc. as the Mother Superior had a sadistic side and was determined to beat and torture a vocation into the young girl. Several of the illustrations in the book are based around these episodes and it is the one failing of this edition that the artist appears to be mainly interested in the voyeuristic depictions of a naked and half naked Suzanne than a more balanced view of the plot and the other sufferings she endures at the hands of this Mother Superior and her coterie of similarly sadistic senior nuns.

Eventually she is assisted to go to a third convent and here although the beatings and humiliation are not present she becomes the object of affection of the lesbian Mother Superior much to the confusion of the innocent Suzanne. Diderot appears keen to heap all the exploitative possibilities of a cloistered group of women some of whom are driven half mad by the regime and being locked away from the outside world from such a young age. It is not an easy book to read as it is written entirely from Suzanne’s viewpoint, but I’m glad this session of French works has persuaded me to get it off the shelves.

My copy is the Folio Society edition from 1972 and is notorious for its fading cloth spine, all copies I have ever seen are this badly faded, the rest of the book being protected by a slipcase. It is illustrated by Charles Mozley and translated by Leonard Tancock and is the fourth in my selection of books translated from French for August 2021.

Memoirs of Prince Alexy Haimatoff – Thomas Jefferson Hogg

This book is quite possibly unique in the annals of publishing in that the first review of it is far more famous than the book itself and that review has also been reprinted many more times than the book it was reviewing. This however is not difficult as following the first edition in 1813 (reprinted 1825) the next edition appears to be this one by The Folio Society in 1952 which has never been reprinted and apart from some modern ‘print on demand’ publishers offering it, as they offer most out of copyright works, that appears to be the sum total of published editions. So what about the review? Well that was written by Hogg’s friend Percy Bysshe Shelley and first appeared in The Critical Review in 1814. Hogg and Shelley had met at University College, Oxford where they were fellow undergraduates, one was destined to become a London barrister and the other one of the great romantic poets but if Hogg is remembered for anything nowadays it is his unfinished biography of Shelley which he was still working on when he died in 1862 forty years after the untimely death of his subject. The two nineteenth century printings of Memoirs of Prince Alexy Haimatoff are both extremely rare. Worldcat, the international library catalogue, lists one copy of each, both of which are in the British Library in London, there is also one copy of the 1825 reprint currently for sale in San Francisco. Regular readers of my blog will know that I sometimes include a link to out of copyright books at Project Gutenberg but I can’t do it for this book because it doesn’t even exist on that site.

Shelley’s review has however been reprinted many times either as a very short stand alone booklet or in collected editions of Shelley’s works, it is also included at the back of this Folio Society edition. It is 9½ pages long, which as it includes large chunks of the original book to illustrate his points is not very long at all but the real surprise is that The Critical Review published such a lengthy review by an unknown critic of a book that sold so badly that it has virtually vanished without trace.

But lets look at the book itself, the Folio Society edition is beautifully bound in quarter buckram with marbled boards and has eight wood engravings by well known Scottish artist Douglas Percy Bliss who was then Director of the Glasgow School of Art. It also has an interesting introduction written by Sidney Scott which looks not just at the novel but the friendship between Hogg and Shelley, they had collaborated a couple of times at university including on a pamphlet entitled ‘A Necessity of Atheism’ which, although published anonymously, was soon traced to the two friends who were both summarily rusticated, never to return to their studies. Hogg continued this idea of hiding the true author through to this book as the Memoirs were originally published as though it was a genuine translation from the original Latin by a mysterious John Brown and it was many years before Hogg was identified as the actual author.

Meeting the Sultana – Wood engraving by Douglas Percy Bliss

You may feel that I’m taking a long time to get to the novel itself. There is a very good reason for that and it is the same reason that the book is so rarely published and that is that it isn’t actually very good. The narrative is disjointed and whilst there are passages that are beautifully written these are soon let down by huge gaps where much has clearly happened but it is covered in just a line or two with no explanation as to how we have moved from one position to another. At one point after escaping from the clutches of the Sultana in Constantinople, who intends to poison him if he leaves her, he wishes to replace his desire for her by bizarrely buying a female slave that reminds him of the Sultana. We spend several pages at the slave dealer but then after getting her to Naples she bears him two sons before dying along with the children of smallpox within a few lines. This is not the only occasion where the treatment of women is reprehensible but serves as a good example of the whole. The extremely odd German cult that Haimatoff joins is just plain strange and it really isn’t clear why he would have committed himself to it which includes being locked in a room for three months with no human contact or any means of passing the time such as books or pen and paper. I have categorised this blog as a book tale not a review as the story of how the book appeared and disappeared is actually more interesting than the plot. The Folio Society edition is almost seventy years old now and I can’t imagine any publisher setting out to publish it again but it was interesting to read such a rare book, if you want to then the Folio edition is easily found secondhand online for just a few pounds. The 1825 copy I found in San Francisco is over £3000.

I will leave this with the final two paragraphs of Percy Byssche Shelley’s review which I think sums up the book quite well even if he was being overly generous to a friend.

In the delineation of the more evanescent feelings and uncommon instances of strong and delicate passion we conceive the author to have exhibited new and unparalleled powers. He has noticed some peculiarities of female character, with a delicacy and truth singularly exquisite. We think that the interesting subject of sexual relations requires for its successful development the application of a mind thus organised and endowed. Yet even here how great the deficiencies ; this mind must be pure from the fashionable superstitions of gallantry, must be exempt from the sordid feelings which with blind idolatry worship l the image and blaspheme the deity, reverence the type, and degrade the reality of which it is an emblem.

We do not hesitate to assert that the author of this volume is a man of ability. His great though indisciplinable energies and fervid rapidity of conception embodies scenes and situations, and of passions affording inexhaustible food for wonder and delight. The interest is deep and irresistible. A moral enchanter seems to have conjured up the shapes of all that is beautiful and strange to suspend the faculties in fascination and astonishment.

Percy Byssche Shelly in The Critical Review 1814

There is an extremely badly formatted version of Shelley’s review available online here. If anyone knows of a better version I would love to hear of it so I can replace this link.

Chekhov: A Life in Letters – edited by Gordon McVay

Rather than produce a standard biography, Gordon McVay has translated and edited a selection of letters from Anton Chekhov which give a wide view of his interests and career development from starting medical school in Moscow in 1879 through to his final letter in June 1904 written the day of his heart attack which would ultimately prove fatal four days later. There are extensive notes that put the letters into context and this has proved to be an excellent use of the material as Chekhov is a lively letter writer and travelled extensively so his correspondence is full of detailed descriptions of his experiences both good and bad. My copy is the Folio Society 1994 edition bound in black buckram and embossed with Chekhov’s signature across both covers. The book is currently available as a Penguin Classics edition. To give a feel for the letters I’ll selected a few extracts and will add them between paragraphs in this blog.

23 December 1888

That this represents just a tiny fraction of Chekhov’s letters is proven by the regular mention in the notes of a thirty volume Soviet edition and even that is not complete because it can only include those letters that were kept by the recipients. The Soviet edition is also censored to remove things they didn’t feel appropriate, such as his dalliance with a Japanese woman on his trip to Sakhalin, and anything judged not politically sound. The edition I have has 365 pages dedicated to the letters along with a useful 22 page introduction and an excellent index which made going back to find things I wanted to refer to very easy. That the Soviet edition is censored is actually quite appropriate as Chekhov complains many times about what the censors in his own time had done to his stories and plays, some of which he regarded as particularly badly damaged so that the sense of the play is lost.

In Siberia on his way to the island of Sakhalin 1890

In 1890 Chekhov travelled to the penal colony of Sakhalin to survey the conditions and interview prisoners for what he explains in various letters is a payback to medicine. It eventually took him three years to write up his findings to appear in ten parts in one of the serious journals and then more work to produce a somewhat longer book. Presumably he wrote letters from his months on Sakhalin but none of them are included in this collection however there are quite a few describing his massive journey by horse drawn carriages and river boats right across Russia as Sakhalin is as far east as it is possible to go and he started in Moscow. The extract above highlights that even then Siberia was a place of exile for people that had offended the state in someway but his observation that now they can say what they like as where else would they be sent is to the point. On Sakhalin he was only allowed to interview a small number of the political prisoners but he still produced a comprehensive report and oddly his health, which was never very good appeared to improve during his time away from Moscow and St Petersburg. Although he was a doctor he seemed to have a blind spot regarding his own tuberculosis which he suffered from for decades, describing many occasions of ‘blood spitting’ although he was never formally diagnosed until 1897.

4 July 1888

The letters are also often quite humorous which lightens the tone overall against some of the more serious pieces or times when things are just plain going wrong like his descriptions of the disastrous first performance of The Seagull in 1896 or when his health issues cause significant problems which was quite often. One of the more interesting features is the continuation of his career as a doctor even as his fame as a playwright and story writer grew dramatically. As can be seen below this devotion to medicine had serious implications in his ability to write of travel to oversee productions of plays and talk to his various publishers. By the early 1890’s he had purchased an estate in Melikhovo and become the local doctor in preference to renting a home in Moscow which he had done since arriving there to study as a doctor.

16 July 1892

By the mid 1890’s however he had started travelling extensively in Europe and correspondence from various Italian, French and German cities amongst other countries he passed through bring a different outlook to the letters, some places he loved others he was glad to see the back of. There is also a lot of letters to women throughout the book some of which he probably came close to marrying but in fact he was a confirmed bachelor until just three years before he died when he finally married an actress he had come to know from her performances in his plays. Oddly his letters to women, even the ones he was particularly close to, are rarely romantic and quite often have some slight barb to them. The ones to his future wife, Olga, are mainly about her performances rather than anything else even though they actually lived almost 1000 miles apart most of their married lives as she was in Moscow and he was in Yalta to get a better climate for his tuberculosis. Chekhov was much happier on his own, hence his long time avoidance of marriage and indeed living apart suited him well.

13 June 1890

The letters are great fun to read and show much more of Chekhov’s character than would be found in a biography. I don’t think I could cope with the full thirty volumes, even assuming they were available in English, but this selection made an excellent way to pass a few evenings this week.

In Memoriam A.H.H. – Alfred, Lord Tennyson

By way of complete contrast with last weeks blog on happiness, this week I have read, to give the poem its full title, ‘In Memoriam Arthur H. Hallam’ by Alfred, Lord Tennyson which is his long eulogy to his fellow student at Cambridge university who died in 1833 of a brain haemorrhage aged just twenty two. He started writing almost immediately after Hallam’s death and kept adding to the work over the ensuing years until it was finally published in 1850 by which time it had grown to 725 four line verses (2,900 lines in total) split into 131 cantos along with a prologue and epilogue although these first and last blocks of verse were not called that by Tennyson himself but rather have gained those titles over the years. Not only did this, one of Tennyson’s greatest works, finally get published in 1850 but in November that year he became Poet Laureate, a title he held until his death in 1892 the longest time that anyone has held the post.

Although the poem was published in 1850 Tennyson was still not satisfied with it and continued to tinker meaning that there are several versions produced by him over the next forty years and indeed the version included in my copy, and what is now regarded as the definitive version, was the one further amended by his son Hallam Tennyson after the poets death. For such a long poem on such a sad subject it is surprisingly readable once you get into the rhythm of the work. Each of the verses take the rhyming format of A B B A, meaning that the first and fourth lines rhyme as do the second and third, although sometimes the rhyme is rather forced as can be seen in the very first verse of the prologue. The middle lines are fine as they pair ‘face’ with ’embrace’ but lines one and four are rather shaky pairing ‘love’ with ‘prove’, I’m not sure what accent you would need for that to work but it is rather jarring and doesn’t get the work off to a flying start.

Strong Son of God, immortal Love,
Whom we, that have not seen thy face,
By faith, and faith alone, embrace,
Believing where we cannot prove;

There is, as you would expect for a Victorian English work of literature, a Christian emphasis to a significant part of the poem, but probably less than you would imagine. Tennyson is far more concerned about getting his feelings, along with those of his sister Emily who was engaged to Arthur Hallam at the time of his death, onto paper than expressing a strong religious position and the work is all the more powerful for it. It includes a very famous quote as the last two lines of canto twenty seven which can be seen in the image below as the third verse on the left hand side.

“Tis better to have loved and lost than never to have loved at all’ actually shows Tennyson starting to come to terms with the loss of his friend and prospective brother in law and contrasts with the last lines of canto one ‘Behold the man who loved and lost, but all he was is overworn’. The rest of the text in the image above is part of the three cantos that deal with the first family Christmas after the death of Arthur Hallam, which eventually has the family able to sing together although somewhat reticently. Canto seventy eight deals with the following Christmas in 1834 where things are somewhat more normal although still strained and later in the poem he also covers the 1837 and 1838 Christmas festivities as he finds greater solace in his faith. The poem ends on a bright note with the marriage of another of his sisters, Cecilia, signifying the gradual coming to terms with loss of his friend.

Another famous line from the poem occurs in canto fifty six “Nature, red in tooth and claw” which came to be associated with the theory of natural selection as set out by Charles Darwin nine years later and indeed some parts of In Memoriam can be read as indicating that Tennyson was at least passingly familiar with the concept even then as he wrestles with his faith in the aftermath of his friends death. The quote isn’t entirely original to Tennyson but this is the first appearance of the full phrase.

My copy of the book is by the Folio Society and was printed in 1975. It is quarter bound in fine grained black leather with olive green cloth boards and printed on Abbey Mills antique laid paper which makes the whole book lovely to handle and a pleasure to read. The headings to the cantos are particularly attractive and the Bulmer typeface chosen for the text is very clear. It is pretty easy to get hold of this edition, at the time of writing there were four copies available on abebooks starting at just £6.60 plus postage. I probably still wouldn’t have picked it off the shelf if I hadn’t been in lock down due to coronavirus as a poem of almost three thousand lines is rather daunting, especially given the subject matter but it is definitely worth a read.

Folio Society Poetry Miniatures

20200915 Folio Miniature Poetry

Starting in 1991 the Folio Society introduced a short series of miniature books of poetry. This was back in the day when the society operated as membership scheme and to retain your membership you had to buy four books a year, you would also receive a free book each year you renewed your membership which was that years presentation volume. As an extra incentive to buy all your books in one go at the start of the membership year they would sometimes have an extra gift which was often available to buy in the annual collection and would only be on offer for free for a month or so; these books were that extra offer in the 1990’s. Obviously it made sense to get as much income as possible early on as the costs of publishing had been incurred and for cash flow reasons you need to offset that cost as quickly as possible as soon as a collection was announced so these books were an extra incentive to get that order in early. The books are bound in moire silk on boards and illustrated with wood engravings by various artists, they are roughly the same size although they vary slightly and they also all have gold coloured card slipcases.

1991 The Lady of Shalott – Alfred Lord Tennyson

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This edition simply consists of one of Tennyson’s best known poems beautifully printed with five wood engravings by Howard Phipps.The poem is a retelling of one of the Arthurian legends about the Lady of Shalott who whilst imprisoned in a tower up river from Camelot is cursed never to look out of the window. Unfortunately she sees Sir Lancelot in the reflection of a mirror and is drawn to the window to see him better. Leaving the tower the curse befalls her and she dies in a boat heading to Camelot. The version used is the 1842 revision which makes it less clear than the original 1833 version that she knew she would die if she left the tower and therefore was effectively committing suicide by doing so as this was very much against Victorian morality.

The book was reprinted in 1993, with this volume being the only one to have a second edition apart from the final book in the series.

Printed by The Bath Press and bound by Hunter and Foulis – Size 116 x 83 x 8mm, typeface 9 point Monotype Ehrhardt

1992 The Pied Piper of Hamelin – Robert Browning

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I must admit that until I owned this book I hadn’t realised that Browning wrote a version of the Pied Piper story, it had completely passed me by, in common with the rest of the series of books it is illustrated with lovely wood engravings, this time six of them by John Lawrence. For the most part the poem covers the most common version of the story although here the piper leads the children away immediately after he is cheated out of his payment for removing the rats and the townspeople are magically immobile so cannot prevent him doing so rather than returning later as I had read in an alternate telling. It also has a ending where instead of the children being led into the magical cave and never being seen again they do reappear but in Transylvania rather than Germany.

Printed by The Bath Press and bound by Hunter and Foulis – Size 116 x 85 x 7mm, typeface 9 point Monotype Blado

1993 The Garden & Other Poems – Andrew Marvell

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Andrew Marvell is the earliest of the featured poets in these little books as he was writing from the mid 1630’s onward and was a friend of John Milton. Along with ‘The Garden’ there are seven other poems, ‘The Picture of little T.C. in a Prospect of Flowers’, ‘The Mower Against Gardens’, ‘Damon the Mower’, ‘The Mower to the Glow-worms’, ‘The Mower’s Song’, ‘The Garden of Appleton House’ and probably his most famous work ‘To His Coy Mistress’, these are accompanied by nine wood engravings by Harry Brockway. The four Mower poems comprise a set covering the four seasons in a meadow and the man who works it, the first is dismissive of gardens planted by man in imitation of nature when all around him in his meadows there is beauty. ‘To His Coy Mistress’ doesn’t really fit in with the other works but due to its fame I can see why it was included at the end.

Printed by The Bath Press and bound by Hunter and Foulis – Size 115 x 85 x 7mm, typeface 9 point Monotype Fourmer

1994 Sir Patrick Spens & Other Ballads

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We are going back even further than Marvell in this collection of four old Scottish ballads illustrated with five wood engravings by Jane Lydbury but in this case no authors are known and there are multiple variants known of each of them. The versions chosen appear to be from the anthology by Francis James Child first published in 1860 but this isn’t confirmed in the book as no source is given for any of them. Apart from ‘Sir Patrick Spens’, there is ‘The Battle of Otterbourne’, ‘The Demon Lover’ and ‘Waly, Waly’, the final page consists of a useful glossary of the Scots dialect words used. As befits ballads these are best appreciated spoken out loud and I found myself doing just that whilst reading the book. If it wasn’t for the 1995 offering this would probably be my favourite book in the series.

Printed and bound by Mandarin Offset – Size 117 x 86 x 8mm, typeface 9 point Monotype Joanna

1995 The Raven – Edgar Allan Poe

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My personal favourite of these short works is this one and it is of course bound in black to honour The Raven and contains seven wood engravings by George Tute. I fell in love with this poem many decades ago, the rhythm of the words as you read them, again like the book of ballads this is best done out loud, drew me in at an early age and I visited the one surviving home of his in Philadelphia in the mid 1980’s when it was basically just an empty property. It still has no furniture in it but from the website it appears to have more going on there than thirty five years ago. The place being empty made me think of The Raven for some reason as you could imagine a man alone in the rooms at midnight being visited by that dark and terrible bird with it’s single word vocabulary that struck terror into the night.

Quoth the Raven, ‘Nevermore’

Printed and bound by Mandarin Offset – Size 117 x 85 x 7mm, typeface 10 point Monotype Bulmer

1996 Fifty Folio Epigrams – edited by Sue Bradbury

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A distinct oddity in a series of poetry books, quite a few of the epigrams are taken from larger works but some, like the example by Max Beerbohm shown above are simply pithy quotes, the number of illustrations has also shot up from the earlier books and there are now eighteen wood engravings by Peter Forster. The collection is edited by Sue Bradbury who was Editorial Director at The Folio Society for many years and varies from Confucius to Dorothy Parker via Sophocles and W.C. Fields amongst many others. The Shakespeare quote by the way is from Richard II, Act 4, Scene 1.

Printed by BAS Printers and bound by Hunter and Foulis – Size 117 x 86 x 7mm, typeface 10 point Monotype Baskerville

1997 Fifty Folio Love Poems – edited by Sue Bradbury

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This collection is also edited by Sue Bradbury and none of the selections are longer than a page, along with them are thirty two wood engravings by Simon Brett, one of which is repeated. The selection must have been popular because it became the only the second of these little volumes to be reprinted, in this case in 1997. Shakespeare and The Bible are of course included along with that particularly prolific author Anon. I was particularly pleased to find in Budapest a statute to Anonymous in recognition of his or her massive contribution to literature. Some are deep and passionate but there are also funny ones to offset the seriousness.

Printed by The Burlington Press and bound by Hunter and Foulis – Size 116 x 84 x 8mm, typeface 11 point Monotype Van Dijck italic

The bibliographic details at the end of each entry above are taken from Folio 60 which is the most recent of the bibliography volumes produced by the Folio Society and which was printed in 2007.

Dialogue Concerning the Two Chief World Systems – Galileo Galilei

20200825 Galileo

The final, and longest, book in my August reading marathon of important scientific works is also definitely the oldest and arguably the most significant in the leap of understanding passed on to those members of the public able to read a copy. Published originally in 1632 in Italian so that it was more accessible to the general public than it would have been if written in Latin it was immediately seen as an attack on the Catholic church as it presented as valid the then heretical Copernican system of the Sun at the centre of the Solar System rather than everything rotating around the Earth as taught by Aristotle and Ptolemy and adopted as clearly correct by the church as Earth should be the centre of Gods handiwork. Galileo was duly tried by the Inquisition and sentenced to life imprisonment at home and the book remained on the Catholic church’s list of banned works for over 200 years until 1835.

It is styled as a conversation over four days between three characters, Salviati is the instigator of the meetings and is clearly a Copernican, Simplicio is an adherent to Aristotelian and Ptolemaic systems and Sagredo is there initially to play devils advocate putting questions to both of the others but towards the end is obviously swayed by Salviati. Both Salviati and Sagredo are based on real people with those names who had been friends of Galileo but had both died many years before publication so could not be implicated by their names being used, whilst Simplicio appears to have got his name from the Italian word semplice which means simple minded. The choice of this name for the character backing the Ptolemaic system was also not lost on the Inquisition. Galileo was well aware that he was pushing at boundaries and originally got permission from the church to write a book about tides which grew into the final work covering far more than his original proposal, but even the characters acknowledge that this is potentially dangerous territory.

We are arguing for our own amusement, and are not obligated to any such strictness as one would be who was methodically treating a subject for professional reasons, with the intention of publishing it … it should be almost as if we had met to tell stories, so that it is permitted for me to relate anything which hearing yours may call to mind.

This edition was published by The Folio Society in 2013 using a translation originally done by Stillman Drake in 1953. It includes a modern introduction by Dava Sobel along with a foreword by Albert Einstein, which presumably dates back to the first publication of this translation. I did struggle a little with the verbose nature of the translation which whilst it may reflect Galileo’s original did also mean that I several times had to reread a sentence to make sure I followed the text correctly. This is not helpful when I was also trying to appreciate the leaps being made by Galileo whilst reminding myself that this was written decades before Newton formulated the Theory of Gravity so Galileo was truly groundbreaking in his explanations. His theoretically neutral but definitively pro-Copernican text starts from first principles with balls rolling down a slope to end up with not only the Earth rotating each 24 hours but also orbiting the Sun each year with the angle of the Earth’s axis also included to explain the equinoxes.

That is not to say that everything is correct as we would understand the cosmos now, Galileo has astronomical distances far too small, although much exceeding that of his contemporaries. A good example of this is the section of detailed calculations surrounding the two supernova that had been observed in the last few decades before he wrote the book. He is rightly dismissive of a book which aimed to prove that that these occurred within the orbit of the Moon so as to not disturb the changeless firmament which does so by carefully choosing between astronomical measurements of the period so as to find ones with sufficient error to support the authors position. However Galileo makes the same error in his selection by dismissing not only these examples but also any that would imply the nova occurred at an infinite distance from Earth which using the methods explained would actually have been the correct solution. Instead Galileo had decided that the stars were roughly six to eight times as far away as Saturn (then the furthest known planet) although some “could be two or three times further than that” to explain relative brightness and apparent size. He duly provides many pages of calculations regarding the sample set he has chosen, which are clearly there just to demolish the book and author he dislikes. Other ‘scientific’ books and papers from his time are likewise introduced and their methodology and reasoning torn apart. Galileo clearly wanted to leave no stone un-turned in his defence of Copernicus.

In the final section Galileo covers the subject that he originally stated was to be the main topic of the work, that is the tides and what causes them. Fortunately this makes up a tiny proportion of the whole book as sadly this is another area where he is in error by effectively ascribing them to the rotation of the Earth and the consequential ‘sloshing’ of the waters in the seas. The examples of mistakes given above are entirely understandable given the groundbreaking nature of the book and although I feel the translation could have been better this is still a book I thoroughly enjoyed as the insights presented by Galileo are not only good examples for today but give an understanding of the reasoning of the time and the turmoil between science and the Catholic church that would hold back scientific advances within its sphere of influence for decades if not centuries to come.

Galileo finally received an apology for his treatment at the hands of the church on the 31st October 1991 from Pope John Paul II over three hundred and fifty years too late.

The Elegant Universe – Brian Greene

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I bought this book in the July 2020 Folio Society sale specifically for this August science marathon which I have just realised I am reading in order of length. After the relatively short ‘The Double Helix’ last week I jump to the 432 pages of this volume, next weeks is a similar length and the final book to tackle is over 550 pages. If you are a regular reader of my blog you will know that I do a reading marathon each August, previously I have read multiple books each week but this year I have decided to tackle major scientific works at the rate of one a week when normally I would have interleaved them with shorter and easier works. So what is the importance of ‘The Elegant Universe? Well it was originally published in 1999 and is one of the first books to attempt to summarise the issues between Einstein’s relativity theories and quantum mechanics and then go on to explain a possible solution to their inconsistencies using String Theory to a readership that is not composed solely of physicists. The book was nominated for the Pulitzer Prize so definitely qualifies for my requirement to be a significant science work for this months readings and represents theoretical physics as I have previously read and reviewed the logical book for this subject namely Einstein’s own book on Relativity.

After a couple of brief introductions, one written in 2017 especially for this new edition, and a brief summary of the current understanding of elementary particles which makes up section one of the book Professor Greene dives straight in with two chapters on the General and Special Theories of Relativity, how these moved us on from the Newtonian Laws of Motion and the odd effects that are predicted by Einsteins equations. After this is a chapter giving a good introduction to Quantum Mechanics, which is a surprisingly easy read given the counter intuitive behaviours of forces and particles at this level of magnification. These are followed by a chapter entitled The Need for a New Theory where he looks specifically at the contradictions between Relativity and Quantum Mechanics and the problems that are faced by physicists trying to unite the two in the search for the Theory of Everything. These four chapters make up the second section of the book and cover ground I was already familiar with however I have not read up on String Theory so from here on the theoretical physics was all new.


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The chapters get ever more complicated  as they try to explain the various aspects of String Theory, which by its very nature as the search for The Theory of Everything has to stretch from atomic level to cosmology. Professor Greene is very good at using analogies to express complex thoughts in a way the reader can approach them. For those who are fans of the Star Trek spin-off Deep Space Nine you will be pleased to find that String Theory allows for wormholes to exist. Spoiler alert – they probably don’t but at least there is some physics behind the idea as shown on the page spread above.

One potentially good way that the entire book is written is the ability of the reader to take it at their own pace and also to decide how deep they want to go. This is done by use of an extensive notes section at the back of the book which moves more complex discussions of points raised along with most of the mathematics out of the main body of the text. Now for me this became increasingly annoying as I had to keep two bookmarks to track where I was up to and to make skipping to the notes section easier but it does make the main text simpler to follow for the more lay reader who after all is probably the target audience.

Am I convinced by String Theory after finishing the book? The answer is probably no, there are far too many places where the solution to problems within the theory appear to be solved by the ‘with one giant leap our hero escapes’ methodology favoured by Flash Gordon short films from the 1930’s. Be it the ‘convenient’ choice of three holes in the six dimensions curved around a string so that the known three families of particles are predicted by approximate mathematical formulas. Or the super-symmetrical particles which are a cornerstone of most string theories (of which there are five versions which also doesn’t seem like a solid foundation) not being found as expected by the Large Hadron Collider so the assumptions of which they are based being changed so they ‘couldn’t have been discovered with current technology’ there are too many holes being papered over. Even assuming that the mathematics is finally worked out, and there is almost forty years of people trying, the idea that a mathematical model is also the physical construct is dubious to say the least and there is no need for the actual physical basis of the universe to match the mathematical representation for a theory to be valid in predicting motion and inter-reaction but String Theorists insist that this is the case.

Twenty years on from the book being written even those heavily involved in the physics back then are starting to have doubts about some of what is suggested. The most obvious candidate is super-symmetry. This is seen as one of the most important signatures that String Theory is correct and is number one on the list of things that ‘will prove or disprove the theory’ included in the book but few physicists now believe it is true as can be judged by this extract of a Royal Institution lecture by Dan Hooper, Head of the Theoretical Astrophysics Group at the Fermi National Accelerator Laboratory in the USA. Maybe String Theory will unravel, maybe it will be adapted to match experimental reality, who knows, but it is an fascinating subject and needs to be tackled to understand the fundamental basis of reality.

Read the book, it’s difficult, even with the solid background in Relativity and Quantum Mechanics that I have, but worth it. It will challenge your understanding of these subjects and that can only be a good thing, physics and mathematics rely on constantly pushing the boundaries and at least at the moment String Theory is the only game in town that attempts to mesh the Quantum Mechanics and what is happening at the smallest boundaries with Relativity and the physics of huge distances. It might be right, it might be wrong, but it will certainly push the boundaries of scientific endeavour for many years to come.

Tartarin of Tarascon – Alphonse Daudet

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Unusually for books on my shelves I have no memory of acquiring this one, it was printed by the Folio Society in 1968 and I suspect I purchased it with others in a mixed lot of Folio Society volumes when I really wanted some of the others in the collection. It does mean that now that I have come to take it down off the shelves I realise that I have no idea who Alphonse Daudet was and no concept as to what the book will be about. I don’t even know when the book was originally written as the only date inside is that of the translation by J M Cohen which is the same year as publication suggesting that this was an early translation for the Folio Society who up to this time tended to rely on reprinting already translated works.

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For reasons that will be explained later this novel took far longer to read than such a short book should have. It was written in 1872 and is clearly set at the same time and the first section takes places in the Provençal town of Tarascon, Daudet was a French novelist and writer of short stories, although his literary output was relatively modest in comparison to his English contemporary Charles Dickens, he has numerous schools and colleges named after him around France which attest to his popularity in his time. Tarascon is depicted in the book as populated by such dedicated hunters that there is no wildlife left in the area and the men of the town go out each week with their guns and shoot their caps which are thrown into the air for the purpose as there is nothing else to fire on. The one who most destroys his cap hangs the remnants on the end of his rifle and leads the parade back into town, this is apparently usually Tartarin. The consequence of this cap shooting makes the most profitable shop in town the hat shop.

Tartarin is, or believes he is, the greatest at all things in the town and as can be seen in the picture above lives surrounded by weaponry of all sorts. He is also convinced that there are secret assassins everywhere and always goes out armed and take circuitous routes to the club in the evening to shake them off. There are other apparent peculiarities regarding the residents of Tarascon such as each family having their own song which they sing each evening and it is unheard of for any other family to sing any others song at any time, apart that is for Tartarin who will join in with all the others at the drop of a hat, or probably the remains of one. The trigger for the plot of the novel is the arrival of a circus with a lion, here at last was an animal worthy of hunting and Tartarin declares in his usual boastful way that he will go to Africa on behalf of the town to hunt.

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So far so good, a short comic novel about a real town that Daudet has populated with ridiculous characters doing ridiculous things and initially it appears that the trip to Algeria that Tartarin is eventually shamed into doing after spending months hoping that his boast will be forgotten will be a satire of French colonial attitudes in that country, which it is, but only occasionally. The illustration above shows Tartarin in the outfit he chose for the journey, a very much stereotypical ‘Turk’ costume which he believes would be what everyone in Algeria would be wearing only to be very surprised when he is the only one. But this is where the book starts to fall apart, the clothing choice is clearly a dig at parochial attitudes in provincial France but once the action is in Algeria Daudet allows his racist and specifically anti-Semitic beliefs to come through although also makes comments regarding the colonial status quo. There are several derogatory statements about Jews the milder of which I can repeat below as it illustrates my earlier statement, others I wouldn’t include

Just ask the Arabs. Hark to how they explain the French colonial organisation. ‘On the top,’ they say, ‘is Mossoo, the Governor, with a heavy club to rap the staff; the staff, for revenge, canes the soldier; the soldier clubs the settler, and he hammers the Arab; the Arab smites the Negro, the Negro beats the Jew, and he takes it out of the donkey. The poor bourriquot having nobody to belabour, arches up his back and bears it all.’

Another comment about the Algerians which is also a valid point on colonialism is

A wild and corrupted people whom we are civilising by teaching them our vices

There is also the issue of Tartarin himself, surely nobody could be that naive as he falls for all the cons perpetrated on him but also just where did he get all his money? He is in Algeria for at least four months and is conned out of a significant amount of money on top of the huge amount spent before he leaves France on guns and equipment, but at the end of the book still has

his pocket-book, a good-sized one, full of precious papers and bank-notes

well until it finally gets stolen anyway. He just isn’t believable.

In summary I started off enjoying the story but gradually got more irritated by it and reading got slower as I progressed. If I wasn’t going to write about the novel I would probably have given up before the end.

In Praise of Folly – Erasmus

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Erasmus of Rotterdam wrote this, probably now his most famous work, in 1509 in Latin and the Folio Society edition that I have uses the Latin title as its cover design Moriae Encomium. By intention this title can also be read as In Praise of More because he dedicated it to his friend Sir Thomas More whom he was staying with in London at the time.

The book is split into sixty seven sections in this edition, although looking at other translations it is not always the case that these are numbered. The text I have was originally produced  for the Penguin Books edition translated by Betty Radice, used by permission by Folio. For a while this use of Penguin texts was relatively common at Folio so presumably they had a formal arrangement to do this. I liked the numbered sections in this text as it gives an easy way of referring to parts but as this is apparently not a standard I will use the opening line of a section if I need to specifically mention it along with the number. This translation also has short footnotes, when Erasmus wrote the book anyone likely to read it would have known the classical examples he refers to but nowadays this is far less likely so a quick guide as to where the quotation has come from and the relevance to the text is extremely useful.

Erasmus decided to make Folly the equivalent of a Greco-Roman goddess addressing the reader as though in a forum or theatre. She introduces herself and her faithful companions

And as for such my companions and followers as you perceive about me, if you have a mind to know who they are, you are not like to be the wiser for me, unless it be in Greek: this here, which you observe with that proud cast of her eye, is Philautia, Self-love; she with the smiling countenance, that is ever and anon clapping her hands, is Kolakia, Flattery; she that looks as if she were half asleep is Lethe, Oblivion; she that sits leaning on both elbows with her hands clutched together is Misoponia, Laziness; she with the garland on her head, and that smells so strong of perfumes, is Hedone, Pleasure; she with those staring eyes, moving here and there, is Anoia, Madness; she with the smooth skin and full pampered body is Tryphe, Wantonness; and, as to the two gods that you see with them, the one is Komos, Intemperance, the other Negretos hypnos, Dead Sleep. These, I say, are my household servants, and by their faithful counsels I have subjected all things to my dominion and erected an empire over emperors themselves.

What follows is, at least at the start, a gentle satire of the foolishness of mankind pointing out how Folly and her companions lead people astray but at the same time saying that the only truly happy people are babes, aged citizens in their dotage and others not fully in control of their mind because only they are not worn down by the cares and realities of life. There are many examples of how her or her companions have affected people for good or ill depending on how you interpret the results, and if the book remained in this vein it would still be well worth reading for the way it pokes fun at pomposity and self-indulgence, greed and wilful ignorance is as relevant today as it was back then. However by section 53, which in this translation begins ‘Then there are the theologians’ you can sense the tone changes. Erasmus is on tricky ground especially in 1509, Martin Luther was still eight years away from writing his Ninety-Five Theses and setting in train the Reformation with his attack on the Pope and other members of the Catholic hierarchy  for the selling of indulgences amongst other things that he regarding as debasing the Christian faith for profit, but Erasmus got in ahead of him.

This was in a time when the office of Pope could certainly be bought, and it cost a lot of money and contacts to work your way up the greasy pole, however the rewards were huge for those that got there. The selling of indulgences was a massive money spinner for the church and ultimately for the Pope himself and this was spreading discontent. What was surprising was that Erasmus felt safe to attack this at the time and not only turned out to be safe in the clever way that he presented his arguments but that his work was the equivalent of a best seller. Erasmus was not an early protestant but he recognised the excesses of the Catholic church and through this book was highlighting the problems that it faced. That he built up to this slowly is of no surprise bearing in mind the recriminations that he could have faced and the power of the church in enforcing discipline in the early sixteenth century.

What starts out as a harmless satire of mankind’s foibles turns into a denunciation of the money grabbing nature of the church at the time, but it is worth noting that Erasmus, and his friend Sir Thomas More, did not support the Protestant breakaway from the Catholic church, and in a roundabout way this would cost More his life as he did not attend King Henry VIII’s wedding to Anne Boleyn which marked the break of England from the Papacy. Erasmus however would be safe back in The Netherlands and would die of natural causes in 1536 having lived though the schism in the church the reasons for which he highlighted in this book but which he couldn’t have foretold.