tag:blogger.com,1999:blog-423321491343040392024-01-09T07:00:02.432-05:00The Spectacled AvengerJamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.comBlogger213125tag:blogger.com,1999:blog-42332149134304039.post-73804920938586949012023-04-20T13:12:00.000-04:002023-04-20T13:12:03.590-04:00Remove not the ancient landmark…
<p class="MsoNormal"><span style="font-family: georgia;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRNkrAmzdi42t0mL-w0mjir0QQEOrfyDAeq9kSqi7LLQJDE96fM1aZshpY531hpSiLmA-ArKkODZub3PzjuPE808XUq6WP2nk7Da0UfGLlZbPD7C7_roKYRKeJeZgO2KRIgsq2Rs96RlTsvnv1Mi67SR0NCVRbnD3d3eHep3nk0WLhbHb6pW43I4/s1121/Grenzstein_Waldborn.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1121" data-original-width="841" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRNkrAmzdi42t0mL-w0mjir0QQEOrfyDAeq9kSqi7LLQJDE96fM1aZshpY531hpSiLmA-ArKkODZub3PzjuPE808XUq6WP2nk7Da0UfGLlZbPD7C7_roKYRKeJeZgO2KRIgsq2Rs96RlTsvnv1Mi67SR0NCVRbnD3d3eHep3nk0WLhbHb6pW43I4/s320/Grenzstein_Waldborn.jpg" width="240" /></a></i></div><i><br /></i><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><i>“Remove not the ancient landmark, which thy fathers have
set.”</i> (Proverbs 22:28) <br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia;">The above biblical verse has always been one of my favourites,
and since the King James Version was the translation of my childhood, it is the
above rendering that is implanted in my mind. I have always taken it as an
affirmation of conservative principles, saying broadly that we ought to be wary
of changing settled ways and customs. I suppose I understood it that way on the
basis of a certain interpretation of the word “landmark”. There are at least
three ways one could understand that term, each yielding a slightly different variation
on a moral theme, and it is the first that I usually have in mind when I think
of this proverb.</span></p>
<ol style="text-align: left;"><li class="MsoNormal"><span style="font-family: georgia;"><i>Landmark as monument</i>. Think of it as a statue or
other public work of art. Removing it, even for seemingly justifiable reasons,
erases a piece of public memory and of our understanding of who we are as a
people, warts and all. We would be culturally confused or lost if we were to
lightly go about tearing our monuments down. It is mainly this interpretation
that comes to mind when I think of Proverbs 22:28. I would add that, in my mind,
“fathers” always means something like “forefathers”, those who went before us,
regardless of whether they were genetic or familial ancestors. Think of the
Founding Fathers, or (in Canada) the Fathers of Confederation.</span></li><li>
<span style="font-family: georgia;"><i>Landmark as wayfinding device</i>. Here, the landmark
could be thought of as a sort of milestone, marking location. A certain stone,
purposely placed, tells us that we are five miles from Bethlehem, or are a
certain distance along the Appian Way. If the stone were removed, wayfarers
might find themselves lost. But again, this could lead us to a figurative
reading akin to the one above: “lost” might mean culturally lost or confused.</span></li><li>
<span style="font-family: georgia;"><i>Landmark as boundary</i>. Here we think of the landmark
as a pile of stones marking off one farmer’s field from another’s. On this
reading, the proverb supports the institution of private property: when we
remove the landmark, we can no longer tell where one field ends and another
begins. Again, the result is confusion, but also contention and strife.</span></li></ol>
<p class="MsoNormal"><span style="font-family: georgia;">So textually speaking, which of the above readings has the
most warrant? Well, although the first resonates the most with me, as does a
figurative reading of the second, it is the third that has the most textual support.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">If we turn to the Vulgate (Latin) translation of the bible,
the proverb reads “<i>Ne transgrediaris terminos antiquos, quos posuerunt
patres tui</i>.” Here, the word which the King James translators rendered as
“landmark” is the Latin word <i>terminus</i>, meaning “boundary, limit, end”.
And the word for “fathers” is <i>patres</i>. Now, depending on the context this
<i>could</i> have the extended sense of “forefathers”, but if that is what was
intended, I think the word <i>maiores</i> would be used instead of <i>patres</i>.
In other words, “fathers” means “ancestors” in the more narrow genetic or
familial sense. Additionally, the Latin for “remove” is <i>transgredior</i>, “to
cross, to go, to move, to travel over, to go across.” So, a literal translation
of the Latin might be something like “Do not cross the property line which your
[genetic/familial] fathers established.”</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">So far, it seems that the third – narrow – interpretation of
“landmark” is the correct one, and that Proverbs 22:28 is intended as supporting
private property. But an even narrower sense is also possible. To see this, we
must turn to the Hebrew.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">I have no Hebrew, so I will rely on Robert Alter’s translation (with fascinating commentary) of the <a href="https://www.amazon.ca/Hebrew-Bible-Translation-Commentary/dp/0393292495/ref=sr_1_1?keywords=alter+the+hebrew+bible&qid=1675865792&sr=8-1" target="_blank">Hebrew bible</a>.
Here is his rendering: “Do not shift the age-old boundary stone that your
forefathers set up.” Again, it supports the private property interpretation.
But in Alter’s view, it supports a <i>specific version</i> of private property.
In his footnote, he says “This injunction, which has a close parallel in the
Egyptian source-text, reflects the general view that real property should be <i>inalienable</i>”
[my italics].</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">The concept of inalienable property is somewhat… well, <i>alien
</i>to the modern mind. But it was common in ancient legal systems, where land
had a sort of corporate character, ownership being more akin to a <i>trusteeship</i>,
passed on by one’s ancestors and exercised for the benefit of one’s
descendants. For more on this, I would direct the reader to Sir Henry Maine’s
classic <i>Ancient Law</i> (1861).</span></p><p class="MsoNormal"><span style="font-family: georgia;">In any case, since the above Biblical verse no longer means quite what I wish it did, I need a new one. So far,</span><span style="font-family: georgia;"> the one that best seems to capture the sentiment for me is “meddle not with them that are given to change</span><span style="font-family: georgia;">” (Proverbs 24:21). I welcome other suggestions.<br /></span></p><p class="MsoNormal"><span style="font-family: georgia;"><br /></span></p>
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<![endif]-->Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-20617654560819918542023-03-17T11:07:00.001-04:002023-03-17T11:24:28.305-04:00Notes & Queries: A Fragment on Mummies<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7itqHcSueIrRo6tx98XUeLUnTVWC5oPFyZHV6HOaZm2j_fOT1BM-M7yaUy_Dca1rwVhBaYq4pZXO4JLRcozx-wdBleBtF88yARDgXcLEOxBnKgWY079Qpc8VICZsBwYYh1TV_uPSNYhewKfDingSXkhIVV8DP8OGqK4EaKmVee81sj4QFTv9tmQM/s277/Mummy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="277" data-original-width="182" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7itqHcSueIrRo6tx98XUeLUnTVWC5oPFyZHV6HOaZm2j_fOT1BM-M7yaUy_Dca1rwVhBaYq4pZXO4JLRcozx-wdBleBtF88yARDgXcLEOxBnKgWY079Qpc8VICZsBwYYh1TV_uPSNYhewKfDingSXkhIVV8DP8OGqK4EaKmVee81sj4QFTv9tmQM/s1600/Mummy.jpg" width="182" /></a></div><span style="font-family: georgia;">I was recently reading volume three of Sir Thomas Browne’s <i>Works</i>,
edited by Geoffrey Keynes (1964 edition). The volume contains mostly
miscellaneous pieces and lesser-known works by Browne. It ended with a little
piece that I found absolutely charming, “A Fragment on Mummies”. I had never
come across the “Fragment” before, and although I enjoyed it immensely, there
was something a little odd about it. After finishing it, I referred back to
Keynes’ introduction to the volume to see what he had to say about it. He wrote
that the fragment</span><p></p><p><span style="font-family: georgia;"> </span><span style="font-family: times;">“was initially supplied to Wilkin
by his friend, James Crossley of Manchester, who pretended to have forgotten
where he had seen the original manuscript. Wilkin printed the piece in good
faith, but afterwards saw that there was reason to doubt its authenticity, and
it was omitted from Bohn’s reprint of his edition in 1852. Crossley never
publicly admitted having written it himself, and the reader may be left to
judge whether Browne would have owned to its verbal extravagances, or would
even have gusted so irreverent a pleasantry.”</span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-family: georgia;"> The story is that James Crossley (1800-1883) of Manchester
had sent the “Fragment on Mummies” to Simon Wilkin, who was preparing his 1835
edition of Browne’s works. Crossley claimed to have gotten it from a manuscript
in the British Library, but no one has managed to find any such manuscript. (The
documentary history of this story is laid out in Samuel Swett Green’s 1903
paper.)</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">Keynes’ account, above, is a bit ambiguous, making it sound
as if it were still an open question whether or not the “Fragment on Mummies”
was written by Browne, and if it was not, what telltale signs within the piece
might give it away as a fake. (I believed I had spotted at least one such sign.)
So, of course I needed to learn more.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">The consensus of course is that it is not genuine, which
leads me to the question of Crossley’s intentions. I have seen the “Fragment”
described <a href="https://penelope.uchicago.edu/misctracts/mummies.html">as a “parody”</a>.
In a letter to the <i>Manchester Guardian</i> (17 December 1901), C. W. Hutton
referred to it as a “hoax” and a “jeu d’esprit”. Since Crossley fessed up to it
only much later and only once he was directly accused, and since his confession
was not to poor Wilkin, I would prefer to call this a <i>forgery</i>. But it is
a very beautiful one, as this passage, once famously quoted by Emerson,
demonstrates:</span></p>
<p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: times;">“Of their living habitations they
made little account, conceiving of them but as <i>hospitia,</i> or inns, while
they adorned the sepulchres of the dead, and planted them on lasting bases,
defying the crumbling touches of time and the misty vaporousness of oblivion.
Yet all were but Babel vanities. Time sadly overcometh all things, and is now
dominant, and sitteth upon a sphinx, and looketh unto Memphis and Thebes, while
his sister Oblivion reclineth semisomnous on a pyramid, gloriously triumphing, making puzzles of
Titanian erections, and turning old glories into dreams. History sinketh
beneath her cloud. The traveller as he paceth amazedly through those deserts
asketh of her, who buildeth them? and she mumbleth something, but what it is he
heareth not.”</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">Three days after Hutton’s letter appeared, the editor of the
<i>Guardian</i> thanked him for clearing up the mystery: “We should never have
guessed that it was not a genuine piece by the author of the ‘Urn Burial,’ and
are inclined to place Mr. James Crossley, who wrote it, among the most skilful
imitators of other men’s style of whom literary history tells us.” Note again
the indulgence granted here to Crossley. He is not a fraudster, he is an <i>imitator</i>.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">Anyway, as I said, <i>I</i> guessed it was not genuine, and
here is why. As I was reading the piece, I stumbled at one word in the following
sentence:</span></p>
<p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: times;">“Shall we eat of Chamnes and
Amosis in electuaries and pills, and be cured by cannibal mixtures? Surely such
a diet is dismal vampirism…”</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">Now, the <i>OED</i>’s earliest citation for “vampire” (or
“vampyre”) is from <i>The Travels of Three English Gentlemen, from Venice to
Hamburgh</i> (1734). And the earliest citation for “vampirism” is from Erasmus
Darwin’s <i>Zoonomia</i> (1794-96). This was the rat I smelled.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;">Now I wish, dear reader, that I was clever enough to have
been the first to note this. But it turns out that I was anticipated by at
least one other person, Robert Kane, in a 1933 paper. Two further lexical
anachronisms in the “Fragment” identified by Kane are worthy of mention, if for
no other reason than to give Crossley his due as an innovator. First, Crossley’s
1835 use of “blinkingly” pre-dates the <i>OED</i>’s earliest citation of 1879.
Second, the <i>OED</i>’s earliest citation of “semisomnous” is from Henry
Rogers’ <i>The Supernatural Origin of the Bible</i> (1873). But in that work
Rogers was himself quoting from the “Fragment on Mummies”!</span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p>
<p class="MsoNormal"><b style="font-family: georgia;">Sources</b></p>
<p class="MsoNormal"><span style="font-family: georgia;"> <span style="font-size: 10pt;">BROWNE, Sir Thomas. <i>The
Works (4 Vols.)</i>. Geoffrey Keynes (ed.). London: Faber & Faber, 1964.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: 10pt;"> GREEN, Samuel Swett. “Did Sir
Thomas Browne Write ‘Fragment on Mummies’?” <i>Proceedings of the American
Antiquarian Society</i> 15 (1903), 442-447.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: 10pt;"> KANE, Robert J. “James
Crossley, Sir Thomas Browne, and the <i>Fragment on Mummies</i>,” <i>Review of
English Studies</i> 9.35 (1933), 266-274.</span></p>
<p></p>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-52723995375943940052023-02-15T10:58:00.005-05:002023-02-16T13:52:33.836-05:00The Government of the Tongue<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14DGAvYhatb9YIZ5OmxdF7IM8vhoeSKK0aWxMBE5INhdMYrLSsipXdHgpXkXPBPQQ2SubEWQI9RA1daLv8x3um6M9Z6Zd18NfQrL-3odnPaGvmFPg85dqcpGmubr12SpxrVA-Q4ava932iAjEQoft1Ndj9jMlBbleF7PCah6xKplOoDD6YRnITwk/s1763/Allestree%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1763" data-original-width="1076" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14DGAvYhatb9YIZ5OmxdF7IM8vhoeSKK0aWxMBE5INhdMYrLSsipXdHgpXkXPBPQQ2SubEWQI9RA1daLv8x3um6M9Z6Zd18NfQrL-3odnPaGvmFPg85dqcpGmubr12SpxrVA-Q4ava932iAjEQoft1Ndj9jMlBbleF7PCah6xKplOoDD6YRnITwk/s320/Allestree%201.jpg" width="195" /></a></div><p><span style="font-family: georgia;">As the Preacher saith, “There is no new thing under the sun”
(Eccles. 1:9). It seems that one of these things that is not new is episodes of
contention and unbrotherly relations between preachers and congregants. In <i>Spectator</i>
No. 468 (16 July 1714), Joseph Addison related the following amusing anecdote:</span></p><p></p><p class="MsoNormal"><span style="font-family: times;">“I remember an empty pragmatical Fellow in the Country, who
upon reading over <i>the whole Duty of Man</i>, had written the Names of
several Persons in the Village at the Side of every Sin which is mentioned by
that excellent Author; so that he had converted one of the best Books in the
World into a Libel against the ‘Squire, Church-wardens, Overseers of the Poor,
and all other the most considerable Persons in the Parish. This Book with these
extraordinary marginal Notes fell accidentally into the Hands of one who had
never seen it before; upon which there arose a current Report that Some body
had written a book against the ‘Squire and the whole Parish. The Minister of
the Place having at that Time a Controversy with some of his Congregation upon
the Account of his Tythes, was under the Suspicion of being the Author…”</span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span>It is generally accepted that the “excellent Author” of the anonymously
published work that Addison refers to, <i>The Whole Duty of Man</i> (1658), was
Richard Allestree (1621/22-1681), a 17<sup>th</sup>-century Anglican clergyman.
Though it may come as a surprise now, <i>The Whole Duty of Man</i> vied with <i>The
Pilgrim’s Progress</i> as the most popular English devotional work of the 17<sup>th</sup>
and 18<sup>th </sup>centuries. It went through countless editions. In my
opinion, <i>Whole Duty</i> is much more deserving of that popularity than
Bunyan’s tedious work. But it now goes largely unread.</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB8ha4VX8uJF6TEjN5ylXMVbgOYAknmSyrf7mU8gRiccpKXftnlMSAstjElSavj4SbwqfOkS1lOG_cV6pTRV5J8K75N_r8tf62Ya-IPIRogBWCs1TSgQL1nd-wgLdgp9LlVgePZO6b3s-P6vF9hD-nE0zJwrrxdlApDHJS8EN6Pfpn37edFPXNDsM/s1777/Allestraa%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1777" data-original-width="1139" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB8ha4VX8uJF6TEjN5ylXMVbgOYAknmSyrf7mU8gRiccpKXftnlMSAstjElSavj4SbwqfOkS1lOG_cV6pTRV5J8K75N_r8tf62Ya-IPIRogBWCs1TSgQL1nd-wgLdgp9LlVgePZO6b3s-P6vF9hD-nE0zJwrrxdlApDHJS8EN6Pfpn37edFPXNDsM/s320/Allestraa%202.jpg" width="205" /></a></span></div><p><span style="font-family: georgia;"><br />I happen to have in my possession a 1675 edition of another
work of Allestree’s entitled <i>The Government of the Tongue</i>. Curiously,
the inscription of a former owner on the flyleaf reads as follows: </span><span style="font-family: georgia;"><span>
</span></span></p><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>Presented to the Pastor</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>of Zion Tabernacle</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>Hamilton Ontario, with</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>a request that he will</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>read, mark, learn, and</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>inwardly digest the </i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i>contents</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><i><span style="mso-spacerun: yes;"> </span>March
1879</i></span></span></div><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span> </span></span></p><p class="MsoNormal"><span style="font-family: georgia;">Ouch. Indeed, there is no new thing under the sun. Parish politics "hath been already of old time."<br /></span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span></p>
<p></p>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-45444189321468855202023-02-08T11:21:00.001-05:002023-02-15T10:59:27.727-05:00The Spectacled Avenger's Reading List, 2022<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9bPZW9C5OoNAuh3qWBgaZ9N_2azbK2z8SBuSENF2IBeKGpPL9Ei7RQ-enG5U0COg_b3uSRmI4vbVfGxqK4QsxvRFuR74Z01erZh6xUI6GeYtAdpV8lcGOufj5TLBIh3QdfgcKwrJWPD2XD9jz49pLHrHK4KsSOzMPIq7wJQnHDTsYoefzAvcGnYY/s531/rochesterandmonkey.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="531" data-original-width="355" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9bPZW9C5OoNAuh3qWBgaZ9N_2azbK2z8SBuSENF2IBeKGpPL9Ei7RQ-enG5U0COg_b3uSRmI4vbVfGxqK4QsxvRFuR74Z01erZh6xUI6GeYtAdpV8lcGOufj5TLBIh3QdfgcKwrJWPD2XD9jz49pLHrHK4KsSOzMPIq7wJQnHDTsYoefzAvcGnYY/s320/rochesterandmonkey.jpg" width="214" /></a></div><span style="font-family: georgia;">Well, here we are, almost a year since I have posted on this
blog. As usual, I will apologize. But I will also explain myself. For several
years, one things that has been a serious obstacle to keeping up with this blog
has been work: the demands of my professional life have made it difficult to
find the time or maintain the energy to contribute to this blog up to a standard
I like to hold for myself.</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">But over the past few years another – equally serious –
obstacle has emerged: I work in a university. Moreover, I work in what is the
most left-wing university in my country. Universities today have become the most
intolerant environments one can find in what used to be called the free world.
And for me, someone of a conservative disposition, this means that it has become
a dangerous place. I am in the ideological closet, by necessity. There is a
very real fear that something appearing on this blog, however anodyne by
current standards of online political discourse, could make my career untenable.</span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">This has had an effect on the content of the blog. In the
old days I explored political ideas and put forth opinions here that I dare not
do now. Instead, I find myself to have mainly adopted the persona of the
harmless antiquarian. This keeps me out of trouble. But I must admit, blogging
is simply not as much fun anymore. It does not give me the kind of <i>release</i>
I used to appreciate from blogging.</span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">So I will be re-thinking whether The Spectacled Avenger is
still a viable project. I have this post, and about three more lined up, so we’ll
see how it goes after that. Now, to the post…</span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;">As is the custom, I give below the list of books I read during
the previous year, with ones I particularly enjoyed in <b>bold</b>. In terms of
patterns, it looks like I read a fair amount of 17<sup>th</sup>-century English
prose (Bacon, Browne, Cudworth, Donne, Felltham, John Smith). The Scottish
Enlightenment was also well-represented (Hutcheson, Kames, Robertson, Adam
Smith). <br /></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;">*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*</span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"> </span></p><span style="font-family: georgia;">
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</span><p class="MsoNormal"><span style="font-family: georgia;"> </span></p><p></p>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-65062461980973364882022-03-24T16:05:00.028-04:002023-02-15T10:59:57.203-05:00Notes & Queries: Bird of Liberty<p class="MsoNormal"><!--[if gte mso 9]><xml>
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visitors to this blog will know that The Spectacled Avenger’s favourite book is
<a href="https://en.wikipedia.org/wiki/Anthony_Ashley-Cooper,_3rd_Earl_of_Shaftesbury">Lord Shaftesbury</a>’s
<i>Characteristicks of Men, Manners, Opinions, Times</i>. I have a particular
fascination with the engravings commissioned for the second edition (1714),
executed by Simon Gribelin. These consisted of a large frontispiece plate for
each of the three volumes of the work, with elaborate headpiece engravings designed
for the individual treatises that comprise its entirety. Most (but not all) of
these engravings have a tripartite structure, and all of them are intended as emblematic
illustrations of key parts of the text.</span><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">I was
lately pondering the significance of the storks in <a name="_Hlk99028543">the
bottom panel of the triptych to the plate for Volume I:</a></span></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcUd_NOA3jQHQq20khqBhxeaB1R8OtVZuKtk_nZyD1j7TXnGZqfCVrf6ZapYkI5m0-waGHDMFl2sHAkBBytkwBsL7Bqk2j_ZUA985OtG7QNzCxLXvq15DNP0Ik6rStsgp6Us0-442zDXZgUXgcBwPo9Qh9GSY7sW_zVu-Uw8X2Rg7FFJXSOGV3KY/s614/Stork%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="178" data-original-width="614" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcUd_NOA3jQHQq20khqBhxeaB1R8OtVZuKtk_nZyD1j7TXnGZqfCVrf6ZapYkI5m0-waGHDMFl2sHAkBBytkwBsL7Bqk2j_ZUA985OtG7QNzCxLXvq15DNP0Ik6rStsgp6Us0-442zDXZgUXgcBwPo9Qh9GSY7sW_zVu-Uw8X2Rg7FFJXSOGV3KY/w400-h116/Stork%201.jpg" width="400" /></a></span></div><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></b></span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Why storks?
They must have some significance. In interpreting the meaning of Shaftesbury’s
emblems, there are, generally speaking, two <i>loci classici</i>. One is the
so-called “Virtuoso-Coppy Book” or set of detailed instructions that
Shaftesbury sent from Naples (where he was dying) to Gribelin in London. The
second is a 1974 paper by Felix Paknadel, “Shaftesbury’s Illustrations of <i style="mso-bidi-font-style: normal;">Characteristics</i>”.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Turning to
Paknadel, here is what he notes about this panel:</span></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">“Shaftesbury had thought of the picture of ‘a boy holding the cap of
Liberty in a triumphing manner’, but then decided to keep the boys for the ‘treatise
plates’, which were to be of a lighter character. The lower border represents
social harmony [on one side ‘two right hands meeting and clasped’ above the
three altars of different forms; on the other side, the emblems of music] and
prosperity, mainly in the oval frame [night and day-the face of Apollo at the
top, that of Diana at the bottom abundance reigns-cornucopias, a vine growing
up a tree, the Rotundo and a ‘palace in good repair’, the caduceus with two
wings, <b>the two storks ‘which with their wings seem to support the work above’</b>].
The motto ‘FEL.TEM.’ is the abbreviation of ‘Felicia Tempora’…. The social
implication of the whole emblem is clear. Freedom, maintained by a wise ruler,
breeds social harmony and fosters the development of civilization.” (p. 299)</span></span></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">No
enlightenment here; just the laconic mention that the storks exist and that
they support the larger panel above it (not reproduced here). As a gloss, this
is no more informative than the “Virtuoso-Coppy-Book”, indeed, it simply reproduces the relevant passage from the Copy-Book. The latter also fails to explain
the significance of the storks, though it does mention that they <i>are </i>significant (</span></span>“essential”<span><span lang="EN-US" style="mso-ansi-language: EN-US;">):</span></span></span>
</p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">“Note that in the mere Grotesque-Work of this Under-Border there are <i>four</i>
Pieces <b>essential</b> viz<sup>t</sup>. <b>The <i>Two Storks</i> which with their
Wings seem to support the Work above</b>, and between their allmost joyning
Bills (just at the Top the Oval frame-Work) the Head or rather Face of an
APOLLO…” (<a name="_Hlk93835867">Virtuoso-Coppy-Book 184</a>)</span></span></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">(Sadly, it is worth mentioning that the design for this Volume I frontispiece is the only one for which
Shaftesbury lived to see Gribelin’s finished plate.) </span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Now, it
often happens that one cannot “read” one of these plates in isolation from the
others. In this case, for reasons I won’t elaborate on here, it bears a
relationship to the bottom panel of the triptych to the plate for Volume III. Suffice
to say that, whereas the former illustrates the fruits of political and
religious liberty, this one is meant to illustrate the evils of a policy of tyranny, superstition,
and religious bigotry. Here is that panel:</span></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik9on2iAR2QD3w5i_3UBILgBhmDg3rIeTvU2kXhk5wL5ijNDyhT3rrObi_x2qGLW7yZ6KEGnh96aCcultEqNCoLVWtEdeEOxqH5x40RwzbiVSXLRALFrhRBJem-CdhWJuQVEXKnPiLHHAC4u3Y2_1r_2hC3RXk-uNUKHL254ezvsOIHRA9NSfHE6s/s597/Stork%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="173" data-original-width="597" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik9on2iAR2QD3w5i_3UBILgBhmDg3rIeTvU2kXhk5wL5ijNDyhT3rrObi_x2qGLW7yZ6KEGnh96aCcultEqNCoLVWtEdeEOxqH5x40RwzbiVSXLRALFrhRBJem-CdhWJuQVEXKnPiLHHAC4u3Y2_1r_2hC3RXk-uNUKHL254ezvsOIHRA9NSfHE6s/w400-h116/Stork%202.jpg" width="400" /></a></span></div><p><span style="font-family: georgia;"><b><br /></b><span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></span></p><p><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></span></p><p><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></span></p><p><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;"> The twin
storks in the earlier panel have been replaced with</span></span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">“two metamorphos’d Human
Forms which seem of a female Kind and serve as Supporters, back to back,
against the Frame-Work, [and] must appear blind-folded.” (Virtuoso-Coppy-Book
154)</span></span></span></span></p><p><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Here is
Paknadel’s gloss:</span></span></span>
</p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">“The results of such a policy are shown in the oval frame. [The ancient
monuments are tumbling down; day is turned into night, birds of bad omen are
flying; the vine has become a bare tree. The faces of Apollo and Diana are
replaced by those of Ignorance at the top and Stupidity at the bottom; the
storks by two blinded females. The motto is now EN QUO, the abbreviation meaning
‘Behold, whither are we brought! To what state reduced!’]” (pp. 304-305)</span></span></span></span></p><span style="font-family: georgia;"></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">I did recently chance upon a rather obscure connection between the above-mentioned “birds of bad
omen” and storks. In his posthumous <i>Select Discourses</i> (1660), the
Cambridge Platonist philosopher John Smith (1618-1652) makes the following
remark: “as <i>Aelian</i> observes of the Stork, that if the Night-owle chanceth
to sit upon her eggs, they become presently as it were υπηνεμια</span><span lang="EN-US" style="mso-ansi-language: EN-US;">, and all incubation rendred
impotent and ineffectual” (p. 7). (The reference is to Book I.37 of Aelian’s <i>De
natura animalium</i>.)</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Now, this is all
very interesting, one supposes. But still my question persists: why storks? If he simply needed some
creature as mere ornament to frame the head of Apollo, presumably any bird
would do. Why not eagles? Or roosters? Shaftesbury doesn’t tell us, and
Paknadel makes no attempt to decode the symbolism of the storks, if indeed
there is any.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">In my
experience, when in need of information about the traditional lore of the natural
world, it is often helpful to reach for Pliny, or, failing that, to pull Sir Thomas
Browne </span>(1605-1682) from the shelves. Lo and behold, in the latter’s <i>Pseudodoxia
Epidemica</i> (1646, last revision 1671), Bk. III, ch. 27, we find out that it
was once a commonly held belief that “Storks are to be found, and will only
live, in Republikes or free States”. Browne’s work does not appear in
Shaftesbury’s library catalogue as it has come down to us, but no doubt he was
familiar with the notion.</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span>Incidentally – this entire post has been incidental
– we also learn from Browne (Bk. V, ch. 22) that the owl had historically been
seen as a harbinger of misfortune, and by extension had in his time become emblematic of
superstition.</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="mso-ansi-language: EN-US;">Bibliography</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">BROWNE, Sir
Thomas. <i>The Works of Sir Thomas Browne (Vol. II: Pseudodoxia Epidemica)</i>.
Geoffrey Keynes (ed.). London: Faber and Faber, 1964.</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">PAKNADEL,
Felix. “Shaftesbury’s Illustrations of <i>Characteristics</i>,”
<i>Journal of the Warburg and Courtauld
Institutes</i> 37 (1974), 290-312.</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">SHAFTESBURY,
Anthony Ashley Cooper, 3<sup>rd</sup> Earl of. <i>Characteristicks of Men,
Manners, Opinions, Times (3 vols.)</i>. Indianapolis: Liberty Fund, 2001.</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">—— PRO
30/24/24/13. (“Virtuoso-Coppy-Book”, consisting of Shaftesbury’s instructions
for the engravings in <i>Characteristicks</i>.)
Reproduced in <i>Standard Edition (Vol. I,3)</i>,
Wolfram Benda (ed.). Stuttgart-Bad Cannstatt: Friedrich Fromman Verlag, 1992.</span><span lang="EN-US"> </span></span></span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">—— PRO
30/24/23/12. (“Catalogus Librorum Anglicorum, Gallicorum, Italicorum etc…. Anno
Ærae Christianæ 1709”, catalogue of works in vernacular languages in
Shaftesbury’s libraries in Chelsea and St. Giles.)</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span lang="EN-US">SMITH,
John. <i>Select Discourses</i>. London: J. Flesher for W. Morden, 1660.</span></span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></p>
Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-58813557916659553882022-01-17T11:22:00.002-05:002023-02-15T11:00:26.229-05:00The Spectacled Avenger's Reading List, 2021<p class="MsoNormal"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
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</xml><![endif]--><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEifH9nWvLre1S_6gA7PMF4iFZZiU_5eHrmK7PP9Wp0jHIycqeOHl6dANvhosQU9BdHUtXvhlI1qfhkzvmWycP_LAMV1c6wxZXIzwuQj313lBec56OnKH1BUmDW3qymmVqsp79nTp7eQ9r6vGVZJBluPUCZC_HuHUVPrrmoNExuEJjtsiMJbRYRedyo=s531" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="531" data-original-width="355" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEifH9nWvLre1S_6gA7PMF4iFZZiU_5eHrmK7PP9Wp0jHIycqeOHl6dANvhosQU9BdHUtXvhlI1qfhkzvmWycP_LAMV1c6wxZXIzwuQj313lBec56OnKH1BUmDW3qymmVqsp79nTp7eQ9r6vGVZJBluPUCZC_HuHUVPrrmoNExuEJjtsiMJbRYRedyo=s320" width="214" /></a></div><br /><span style="font-family: georgia;">Well, it’s
that time again, when I post the list of books I’ve read over the previous year
and try to find patterns in it all.</span><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">First off,
I read about 20 more books in 2021 than I had in 2020. I attribute this to a
somewhat more normal lifestyle, without strict COVID lockdowns. I personally
felt a bit bewildered in 2020 and I had a difficult time concentrating. I read
less, and when I did read, it seemed to go more slowly. Plus, under normal
circumstances I would get much of my reading done on the subway commute to
work; I didn’t have that commute for most of 2020. (The commute returned in
late September 2021, which resulted in a late surge on the reading list below.
But I am back in lockdown now, so we shall see how it all pans out…)</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">However,
upon reflection, I think I have to admit that my reading was not as enjoyable
in 2021 as it has been in previous years. As usual, I <b>bold</b> the books
that I particularly enjoyed, and there is not nearly as much bolding on the
list below.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">As for
patterns, let me see…. One that jumps out is the number of books from or about
the Scottish Enlightenment (Beattie, Carlyle, Hume, Hutcheson, Kames, Raphael,
Smith), to which one might add a sprinkling of French authors (Rousseau,
Voltaire). I read three books about Richard III<span style="mso-spacerun: yes;">
</span>or his age (Drewett and Redhead, Gross, Mancini). Also, there was the
usual legal history theme (Boyer, Coke, Finch, Holdsworth, Horne, Kent,
Plucknett).</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Otherwise,
rather than patterns in terms of <i>subject matter</i>, there is a heavy
preponderance of works by certain authors: I read four volumes of Burnet’s <i>History
of His Own Time</i>, all three books in Robertson Davies’ “Deptford Trilogy”,
and three books by Adam Smith.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">There are
two additional things not reflected on the list below, but which might show up
on next year’s list: I have been reading some literature by the Cambridge
Platonists. Two works are on this list (Cudworth, Whichcote), but Cudworth’s <i>True
Intellectual System of the Universe</i> – a long work – is in progress. Also in
progress, and related to the Scottish Enlightenment theme, I am working my way
through some historical literature on Scots law: Sir Thomas Hope’s <i>Major
Practicks</i> (in two volumes), Lord Stair’s <i>Institutions of the Law of
Scotland</i>, and Lord Bankton’s <i>An Institute of the Laws of Scotland</i>
(in three volumes). These are long and dense works and will take considerable
time to get through.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></span></p><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">AXELROD. Robert. <i>The
Evolution of Cooperation (revised edition)</i>. Cambridge, MA: Basic Books,
2006.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BEATTIE, James. <i>An
Essay on the Nature and Immutability of Truth; in Opposition to Sophistry and
Scepticism</i>. Edinburgh: A. Kincaid and J. Bell, 1770.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BLOOM, Allan. <i>The
Closing of the American Mind</i>. New York: Touchstone Books, 1988.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BOLINGBROKE, Henry
St. John, Viscount. <i>The Works (Vol. IV)</i>. David Mallet (ed.). London,
1754 (facsimile, Hildesheim: Georg Olms, 1968).</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BOYER, Allen D.
(ed.). <i>Law, Liberty, and Parliament: Selected Essays on the Writings of Sir
Edward Coke</i>. Indianapolis, IN: Liberty Fund, 2004.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BREADY, J. Wesley. <i>Lord
Shaftesbury and Social-Industrial Progress</i>. London: George Allen and Unwin,
1928.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BROWN, John. <i>Essays
on the Characteristics of the Earl of Shaftesbury</i>. London: C. Davis, 1751.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BURNET, Gilbert. <i>Bishop
Burnet’s History of His Own Time (Vol. II)</i>. Martin Joseph Routh (ed.).
Oxford: Oxford University Press, 1833.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BURNET, Gilbert. <i>Bishop
Burnet’s History of His Own Time (Vol. III)</i>. Martin Joseph Routh (ed.).
Oxford: Oxford University Press, 1833.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BURNET, Gilbert. <i>Bishop
Burnet’s History of His Own Time (Vol. IV)</i>. Martin Joseph Routh (ed.).
Oxford: Oxford University Press, 1833.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BURNET, Gilbert. <i>Bishop
Burnet’s History of His Own Time (Vol. V)</i>. Martin Joseph Routh (ed.).
Oxford: Oxford University Press, 1833.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">BYNKERSHOEK,
Cornelius van. <i>De Dominio Maris Dissertatio</i>. James Brown Scott (trans.).
New York: Oceana Publications, 1964.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">CARLYLE, Alexander.
<i>Anecdotes and Characters of the Times</i>. James Kinsley (ed.). London:
Oxford University Press, 1973.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">COKE, Sir Edward. <i>The
Reports of Sir Edward Coke, Knt. in Thirteen Parts (Vol. II: Parts III-IV)</i>.
London: Joseph Butterworth and Son, 1826.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">CUDWORTH, Ralph. <i>A
Sermon Preached before the Honourable House of Commons at Westminster, March
31, 1647</i>. Cambridge: Roger Daniel, 1647 (facsimile, New York: Facsimile
Text Society, 1930).</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">DAVIES, Robertson. <i>Fifth
Business</i>. Harmondsworth, UK: Penguin Books, 2005.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">DAVIES, Robertson. <i>The
Manticore</i>. Harmondsworth, UK: Penguin Books, 2005.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">DAVIES, Robertson. <i>World
of Wonders</i>. Harmondsworth, UK: Penguin Books, 2005.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">DREWETT, Richard
and Mark REDHEAD. <i>The Trial of Richard III</i>. Gloucester, UK: Alan Sutton,1987.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">FINCH, Sir Henry. <i>Law,
or, a Discourse thereof</i>. Danby Pickering (trans.). London: Henry Lintot,
1759 (facsimile, New York: Augustus M. Kelley, 1969).</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">FITZGERALD, F.
Scott. <i>The Great Gatsby</i>. New York: Scribner Classics, 1992.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">GRANT, George. <i>Lament
for a Nation: The Defeat of Canadian Nationalism (40<sup>th</sup> anniversary
edition)</i>. Montreal & Kingston: McGill-Queen’s University Press, 2005.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">GROSS, Anthony. <i>The
Dissolution of the Lancastrian Kingship: Sir John Fortescue and the Crisis of
the Monarchy in Fifteenth-Century England</i>. Stamford, UK: Paul Watkins,
1996.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HAMILTON, Alexander
and James MADISON. <i>The Pacificus-Helvidius Debates of 1793-1794</i>.
Indianapolis, IN: Liberty Fund, 2007.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HAYEK, Friedrich. <i>Individualism
and Economic Order</i>. Chicago: University of Chicago Press, 1948.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HEINECCIUS, Johann
Gottlieb. <i>A Methodical System of Universal Law: Or, the Laws of Nature and
Nations</i>. George Turnbull (trans.). Indianapolis, IN: Liberty Fund, 2008.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HOLDSWORTH, William
S. <i>Charles Dickens as a Legal Historian</i>. New Haven, CT: Yale University
Press, 1929.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HORNE, Andrew. <i>The
Mirrour of Justices</i>. Washington, DC: John Byrne and Company, 1903.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HUME, David. <i>An
Enquiry concerning Human Understanding</i>. Tom L. Beauchamp (ed.) Oxford:
Clarendon Press, 2001.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HUTCHESON, Francis.
<i>Thoughts on Laughter and Observations on the Fable of the Bees</i>. Glasgow:
Robert and Andrew Foulis, 1758 (facsimile, Bristol, UK: Thoemmes, 1989).</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">HUTCHINSON, Lucy. <i>Memoirs
of the Life of Colonel Hutchinson</i>. James Sutherland (ed.). London: Oxford
University Press, 1973.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">JAMES, William. <i>Pragmatism</i>.
New York: Dover Publications, 1995.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">KAMES, Henry Home,
Lord. <i>Sketches of the History of Man (Vol. I)</i>. James A. Harris (ed.).
Indianapolis, IN: Liberty Fund, 2007.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">KENT, James. <i>Commentaries
on American Law (Vol. I)</i>. New York: O. Halsted, 1826.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">KENT, James. <i>Commentaries
on American Law (Vol. II)</i>. New York: O. Halsted, 1827.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">KLEIN, Lawrence E. <i>Shaftesbury
and the Culture of Politeness: Moral Discourse and Cultural Politics in Early
Eighteenth-Century England</i>. Cambridge: Cambridge University Press, 1994.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">KLEMPERER, Victor. <i>The
Language of the Third Reich – LTI: Lingua Tertii Imperii</i>. Martin Brady
(trans.). London: The Athlone Press, 2000.</span></b></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">KYD, Thomas. <i>The
Spanish Tragedy</i>. J. R. Mulryne (ed.). New York: W. W. Norton, 1989.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">LUCIAN. <i>Works
(Vol. II)</i>. A. M. Harmon (trans.). Cambridge, MA: Harvard University Press,
1968.</span></span></span></p><span style="font-family: georgia;"><span>
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Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-59022042794272373562021-12-02T15:06:00.003-05:002023-02-15T11:00:51.061-05:00Notes & Queries: Amicable Collisions<p class="MsoNormal"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
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</xml><![endif]--> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_nQ_R0f8p8treY9SH_UQ2M9PFl0-Cwyhm1fZgue4D18_q3744j881JTsI8nB84oblnlQc0aYXj2S5oFH2pr2VHh91XTCfTogZthjOLYL4WJDS6M-elOWlABmqXCu10_ZGG8-61vHqA/s252/Liberty+Polish.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="252" data-original-width="200" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_nQ_R0f8p8treY9SH_UQ2M9PFl0-Cwyhm1fZgue4D18_q3744j881JTsI8nB84oblnlQc0aYXj2S5oFH2pr2VHh91XTCfTogZthjOLYL4WJDS6M-elOWlABmqXCu10_ZGG8-61vHqA/s0/Liberty+Polish.jpg" width="200" /></a></div><br /><span style="font-family: georgia;"><span>Occasionally, upon reading a work of literature, one comes
across a phrase, a sentence, or a thought that is particularly well-expressed,
and gets echoed down the years in the works of other authors with whom it
resonates. Sometimes it’s just that – an echo, so faint it might have come from
somewhere else. Sometimes it’s clear as a bell, though even then the writer
might not be fully conscious of its origin.</span></span><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span>And sometimes, because the thought behind the phrase is
commonplace – though perhaps never so well-turned – one is apt to wonder
whether it was the original invention of that author, or whether he had cribbed
it from someone else (again, perhaps unconsciously).</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span>There is a line in Lord Shaftesbury’s <i>Characteristicks of
Men, Manners, Opinions, Times</i> (1711), which struck me the first time (of
many) that I read it:</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“All Politeness is owing to Liberty.
We polish one another, and rub off our Corners and rough Sides by a sort of <i>amicable
Collision</i>” (Vol. I, p. 64).</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">I would not
go out of my way to argue that the thought is original to Shaftesbury. But one
finds it in many later writers, expressed in words so similar, that there can
be no mistaking the provenance. Here are a few examples:</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">“</span>I like the description of your <i>pic-nic</i>, where I take it
for granted, that your cards are only to break the formality of a circle, and
your <i>Symposion</i> intended more to promote conversation than drinking. Such
an <b><i>amicable collision</i></b>, as Lord Shaftesbury very prettily calls
it, <b>rubs off and smooths those rough corners</b>, which mere nature has
given to the smoothest of us.” Lord Chesterfield, letter to his son (29 October
1748).</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">(No
mistaking that one; it’s a direct citation.)</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“The genius of a people where
nothing but the monarchy is <i style="mso-bidi-font-style: normal;">salique</i>,
having ceded this department, with sundry others, totally to the women – by a
continual higgling with customers of all ranks and sizes from morning to night,
like so many rough pebbles shook long together in a bag, by <b>amicable
collisions</b>, they have worn down their asperities and sharp angles…” Laurence
Sterne, <i style="mso-bidi-font-style: normal;">A Sentimental Journey through
France and Italy</i> (1768), p. 54.</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“It was those Meetings in
particular [i.e. of the Select Society], That <b>Rub’d off all Corners</b> as
we call it, by <b>Collison</b> [<i>sic</i>.], and made the Literati of Edin<sup>r</sup>.
Less Captious and Pedantick than they were Elsewhere.” Alexander Carlyle
(1722-1805), <a name="_Hlk89264184"><i>Anecdotes and Characters of the Times</i></a>,
p. 150n.</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">From the
above fairly obvious allusions, we descend to the less obvious. Here, they tend
to fall into two classes: a) they either borrow Shaftesbury’s idea and express
it in different words, or b) they borrow Shaftesbury’s imagery to express a
thought somewhat different. The next example is Samuel Johnson’s verbose but
elegant expansion of (what I believe to be) his source in Shaftesbury:</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“In cities, and yet more in
courts, the minute discriminations which distinguish one from another are for
the most part effaced, the peculiarities of temper and opinion are gradually
worn away by promiscuous converse, as angular bodies and uneven surfaces lose
their point and asperities by frequent attrition against one another, and
approach by degrees to uniform rotundity.” Samuel Johnson, <i style="mso-bidi-font-style: normal;">Rambler</i> No. 138 (13 July 1751).</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Although
the wording is quite different from Shaftesbury’s, the thought is very similar.
Except that here, Johnson puts his own typically pessimistic spin on it: Yes,
liberty enables us to rub off our rough corners in a sort of amicable
collision, but we get polished down to a sameness in the process; there is a
loss of individuality and variety. Politeness leaves little room for eccentricity.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">In the next
example, from Herder (1744-1803), Shaftesbury’s idea is extended from individuals to polities:</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“[S]o many edges had first to be <i style="mso-bidi-font-style: normal;">worn down</i> with force before that <i style="mso-bidi-font-style: normal;">round, smooth, well-behaved thing</i> which
we are could appear!… Behold how these great state-bodies, within which mankind
is no doubt best cared for, are now rubbing against one another without
destroying each other, and cannot ever destroy each other!” Johann Gottfried
Herder, <i style="mso-bidi-font-style: normal;">Another Philosophy of History for the
Education of Mankind</i> (1774), §2</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">The next
two examples are of interest for their authors’ genealogical proximity to
Shaftesbury. In a very Shaftesburean philosophical dialogue, his nephew James
Harris </span>(1709-1780)<span style="mso-ansi-language: EN-US;"> <span lang="EN-US">offered up this line:</span></span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“My Reproaches produced a sort of <b>amicable
Controversy</b>.” <i style="mso-bidi-font-style: normal;">Three Treatises</i>
(1744), in <i style="mso-bidi-font-style: normal;">The Works of James Harris,
Esq.</i> (1801), Vol. I, pp. 25-26:</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">One cannot
help but think that Shaftesbury’s more famous descendent, the 7<sup>th</sup>
Earl, had this passage of his ancestor’s in mind when, in the preface to his a
collection of his <span style="mso-bidi-font-style: italic;">speeches</span>,
speaking of the mental life of the agricultural labourer, as contrasted with
the urban industrial labourer, he wrote:</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">“He has not, of course, the acquirements and acuteness of the urban
operative; his labour is passed in comparative solitude, and he returns to his
home at night, in a remote cottage or a small village, without the resource of
clubs, mechanics’ institutes, and <i style="mso-bidi-font-style: normal;">the
friction of his fellow-men</i>” [italics added]. <i>Speeches…</i> </span><i style="mso-bidi-font-style: normal;">upon Subjects Having Relation Chiefly to the
Claims and Interests of the Labouring Class</i><span lang="EN-US" style="mso-ansi-language: EN-US;">, (1868), p. viii.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">I assuming throughout
here that the third Earl’s phrasing was original (corners and rough sides, amicable
collision, etc.), if not the idea itself.</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span><b><span lang="EN-US" style="mso-ansi-language: EN-US;">QUERY:</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"> Was it? Is there a predecessor whom Shaftesbury
was imitating, much like the above authors imitated him?</span></span></span>
</p><p class="MsoNormal"><span style="font-family: georgia;"><span><span lang="EN-US" style="mso-ansi-language: EN-US;">Though not
identical, here is a candidate:</span></span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: georgia;"><span>“Moreover, thanks to the prizes
which a republic offers, an orator’s intellectual gifts are whetted by
practice, burnished, so to speak, by friction, and share, as is only natural,
the light of freedom which illuminates the state.” Longinus, <i>On the Sublime</i>,
44.3.</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*</span></span></p><span style="font-family: georgia;"><span>
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span><b>Bibliography</b> <br /></span></span></p><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>CHESTERFIELD, Philip Dormer, 4<sup>th</sup> Earl of. <i>Selected Letters of Lord Chesterfield.</i> London:
Oxford University Press, 1929.</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>HARRIS, James.<i>
The Works of James Harris, Esq. (2 vols.)</i>. London: F. Wingrave, 1801 (facsimile,
Bristol: Thoemmes, 2003).</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>HERDER, Johann Gottfried. <i>Another Philosophy of History for the Education of Mankind</i>. </span><span lang="EN-US">Ioannis D.
Evrigenis and Daniel Pellerin (trans.). Indianapolis: Hackett Publishing, 2004.</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>JOHNSON, Samuel. <i>Works
(12 vols.)</i>. London: F. C. and J. Rivington et al., 1823.</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: x-small;"><span>
</span></span></span><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>SHAFTESBURY, Anthony Ashley Cooper, 3<sup>rd</sup>
Earl of. <i>Characteristicks of Men, Manners, Opinions, Times (3 volumes)</i>. Indianapolis:
Liberty Fund, 2001.</span><span> </span></span></span></span></p><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>SHAFTESBURY, Anthony Ashley Cooper, 7<sup>th</sup>
Earl of. <i>Speeches of the Earl of
Shaftesbury, K. G. upon Subjects Having Relation Chiefly to the Claims and
Interests of the Labouring Class</i>. London: Chapman and Hall, 1868.</span><span> </span></span></span></span></p><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span style="font-size: x-small;"><span><span>STERNE, Laurence. <i>A
Sentimental Journey through France and Italy by Mr. Yorick, to which are added
The Journal to Eliza and A Political Romance</i>. Ian Jack (ed.). London:
Oxford University Press, 1968.</span></span></span></span></p><p class="MsoNormal" style="margin-left: 1cm; text-indent: -1cm;"><span style="font-family: georgia;"><span><span style="font-size: 10pt;"> </span> </span></span><br /></p>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-64978442950569633022021-08-03T12:31:00.001-04:002023-02-10T14:31:46.279-05:00Notes & Queries: Eric Roop<p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
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</p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLq-OL7kCRHwe1vjouxZROKIvBNX3avG2uoCDvAH2NJtcVFVEASGt0s53-5bLtj4-XzPqiYoU7of6t1uMu7sXfXLDA_3DyfzWiTJfIHYrFhT3doCOQqiMicge0UQuz_qzNy0GsMxzLjw/s345/Gartons.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="345" data-original-width="146" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLq-OL7kCRHwe1vjouxZROKIvBNX3avG2uoCDvAH2NJtcVFVEASGt0s53-5bLtj4-XzPqiYoU7of6t1uMu7sXfXLDA_3DyfzWiTJfIHYrFhT3doCOQqiMicge0UQuz_qzNy0GsMxzLjw/s320/Gartons.jpg" width="135" /></a></div><p><span style="font-family: georgia;">Updating my
previous post, I can now say that I have finished reading Robertson Davies’
<a href="https://en.wikipedia.org/wiki/The_Deptford_Trilogy">Deptford Trilogy</a> a couple
of weeks ago. I hadn’t intended to plough through it so quickly, but it was
just that enjoyable.</span></p><p class="MsoNormal"><span style="font-family: georgia;"> </span><span style="font-family: georgia;"></span><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">One thing I
noticed is that from time to time, Davies has a touch of that donnish love of
wordplay and anagram. For example, in the third book in the trilogy, <i>World
of Wonders</i>, Magnus Eisengrim, the narrator for most of the book, tells the
following anecdote about his dining experience on the Canadian Pacific Railway while
touring with a theatrical troupe:</span></span></p>
<p class="MsoNormal"><span style="font-family: times;"><span lang="EN-US" style="mso-ansi-language: EN-US;">“There were
bottled sauces too. Commercial stuff I learned to hate because at every meal
that dreary utility actor Jim Hailey asked for Garton’s; then he would wave it
about saying, ‘Anybody want any of the Handkerchief?’ because, as he laboriously
pointed out, if you spelled Garton’s backward it came out Snotrag; poor Hailey
was that depressing creature, a man of one joke.”</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In the
second book in the trilogy, <i>The Manticore</i>, the narrator, David Staunton,
describes how, upon his wealthy father’s death, his stepmother Denyse intended
to commission a statue of him, as well as a biography:</span></span></p>
<p class="MsoNormal"><span style="font-family: times;">“What she wanted now was a monument for my father, and she
had decided that a large piece of sculpture by Henry Moore would be just the
thing. Not to be given to the Art Gallery or the City, of course. To be put up
in the cemetery. I hope that gives you the measure of Denyse. No sense of
congruity; no sense of humour; no modesty. Just ostentation and gall working
under the governance of a fashionable, belligerent, unappeasable ambition.</span></p><span style="font-family: times;">
</span><p class="MsoNormal"><span style="font-family: times;">“Her second great plan was for a monument of another kind; she
announced with satisfaction that my father’s biography was to be written by
Dunstan Ramsay. She had wanted Eric Roop to do it — Roop was one of her
proteges and as a poet he was comparable to her dentist friend as a sculptor —
but Roop had promised himself a fallow year if he could get a grant to see him
through it. I knew this already, because Roop’s fallow years were as familiar
to Castor as Pharaoh’s seven lean kine, and his demand that we stake him to
another had been circulated to the Board, and I had seen it.”</span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">“Castor”
here is not the character of mythology, but rather the name of the charitable foundation
set up by his father. It seems that Eric Roop the poet is one of those starving
artist types who is allergic to hard work and has made a habit of resorting to
the Castor well for grants to support his accustomed standard of leisure.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Here is
what makes this example worthy of a Notes & Queries post: knowing about
Davies’ love of anagrams, I can’t help but wonder whether he was playing with us
here, and that the poet’s name ought really to be “Crie Poor”.</span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></p>
Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com1tag:blogger.com,1999:blog-42332149134304039.post-54573453679077260722021-07-14T11:05:00.004-04:002021-07-14T11:12:42.611-04:00Notes & Queries: Pargetter of Balliol<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGkyeZaycuNEwfq29QP1j_pWVvZEmfMKHymoVP7KnSeSsp58W80GaBAy9aeh8Dr8DG0b87DI7C9RlDFKsmCzQeo-ZRSRXVUJQtrf9oTisK3fzMkPonV-Q7764__nJC9BJwCuiK_okrmg/s512/Cross+1.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="510" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGkyeZaycuNEwfq29QP1j_pWVvZEmfMKHymoVP7KnSeSsp58W80GaBAy9aeh8Dr8DG0b87DI7C9RlDFKsmCzQeo-ZRSRXVUJQtrf9oTisK3fzMkPonV-Q7764__nJC9BJwCuiK_okrmg/w199-h200/Cross+1.png" width="199" /></a></div><!--[if gte mso 9]><xml>
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<![endif]--><p style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I don’t know
whether any of you is familiar with <i><a href="https://en.wikipedia.org/wiki/Notes_and_Queries">Notes and Queries</a></i>?
It is a publication, founded in 1849, that publishes small facts of a philological,
genealogical, or antiquarian nature. If, for example, one finds an instance of
a word that antedates the <i>OED</i>’s earliest citation. Such a discovery,
though a small triumph in its way, is too small to spin a full-length scholarly
article out of. What to do with these tiny factual tidbits? Get them published
in <i>Notes and Queries</i>. Or, if you have some nagging little scholarly question,
you may pose it in the pages of <i>Notes and Queries</i> in the hopes that one
of its legion of pedantic readers has the answer.</span></span><span style="font-family: georgia;">
</span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In honour
of this humble yet fascinating and long-lived high Victorian publication, I
have decided to steal its concept for this blog. I will give certain posts the
label “Notes & Queries”, using them to share little facts which I am inordinately
proud of discovering, facts which I may be the only person on earth interested in,
facts which I absolutely must <i>do something</i> with or I will go mad. This is
one of those posts.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I have long
been ashamed as a Canadian for never having read anything by <a href="https://en.wikipedia.org/wiki/Robertson_Davies">Robertson Davies</a>. Somehow,
he did not end up on the reading list in my high school Can Lit course, and I
just never got around to him. So I have decided to read his “<a href="https://en.wikipedia.org/wiki/The_Deptford_Trilogy">Deptford Trilogy</a>” (<i>Fifth Business</i>,
<i>The Manticore</i>, and <i>World of Wonders</i>). I just finished <i>The Manticore</i>
last night.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In it, the
narrator, a wealthy alcoholic lawyer named David Staunton has gone to
Switzerland for Jungian psychoanalysis. He recounts the various events of his
life, including his time studying law at Oxford. There, he fell under the influence
of his tutor, Pargetter, who is introduced thus: “He was a great law don, a
blind man who nevertheless managed to be a famous chess-player and such a
teacher as I had never known.” Although it is not stated directly, it seems
that Pargetter’s specialty was criminal law, as this is the line that Staunton
would go on to practice in. Much of Staunton’s education under Pargetter
revolved around analysis of evidence and cross-examination to get at the facts
of a case: “But Pargetter had honed his mind to a shrewd edge, and I wanted to
be like Pargetter. I wanted to know, to see, to sift, and not to be moved.”
Pargetter is frank in his advice to his student, has a keen interest in the moral
aspects of law and its practice, and does not suffer fools gladly.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">An Oxford
law don, specializing in criminal law and evidence, expert chess player, blind, not suffering fools gladly. Based on this very particular profile, I
immediately surmised that Pargetter was based, at least partly, on a real person:
<a href="https://en.wikipedia.org/wiki/Rupert_Cross">Sir Rupert Cross</a><b> </b>(pictured, 1912-1980).
I have no idea whether Davies knew Cross personally, but they were only a year
apart in age, and their time at Balliol College did overlap during the 1930s.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The coincidences
are too many to ignore. However, Cross didn’t begin teaching until the 1940s and
would have been a student rather than a tutor while Davies was at Balliol. Interestingly,
there <i>was</i> a law tutor at Balliol at the time named Theo Tyler, who was
also blind. He tutored Cross. A cursory search brings up little on Tyler, and I
have found no indication that he was an expert chess player (whereas during the
1930s Cross was one of Britain’s top twelve players). So perhaps Pargetter is
an amalgam of Tyler and Cross? In any case, I seem to be the only person to
have noticed this connection, worthy of a place in The Spectacled Avenger’s “Notes
& Queries”.</span></span></p><span style="font-family: georgia;">
</span>
Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-13775807992890988712021-06-15T14:48:00.007-04:002021-06-15T14:50:54.547-04:00Notional Escapes<p class="MsoNormal"><!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX2gKxmHS5JaTfjAEaTwws6jJg8R56yk39fCM7YQG5-EKkFgEx-GI_FzECFlnPLGscNiJbXsC1Onbg9gRJq66DeuqARP5wMAFkCENZVekgbhXH327BwbAVpV1k_lRhrSuHcAyoCoaCUw/s290/Cool+Hand+Luke.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="174" data-original-width="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX2gKxmHS5JaTfjAEaTwws6jJg8R56yk39fCM7YQG5-EKkFgEx-GI_FzECFlnPLGscNiJbXsC1Onbg9gRJq66DeuqARP5wMAFkCENZVekgbhXH327BwbAVpV1k_lRhrSuHcAyoCoaCUw/s0/Cool+Hand+Luke.jpg" /></a></div><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In my
previous post, on Thomas Kyd’s Spanish Tragedy, I had occasion to mention the
Marshalsea prison and gaol delivery. I will continue that theme – though only tangentially
– here.</span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I am slowly
plodding my way through Sir Edward Coke’s (1552-1634) <a href="https://en.wikipedia.org/wiki/Edward_Coke#Reports"><i>Reports</i></a>.
These are Coke’s reports of various legal cases he had either witnessed, participated
in as counsel, or presided over as judge. The <i>Reports</i> were published in
eleven “parts” during his lifetime, plus a further two published posthumously.
I have in my library parts three, four, five, six, nine, ten, eleven and twelve.
I have finished three and four so far. Hence, “slowly plodding” is the correct
description of this aspect of my reading activity.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In Part
Three of the <i>Reports</i>, there is a small cluster of cases having to do
with escape, which I find stimulating to read from a purely intellectual point
of view. Before delving into them, I should explain what is meant by “escape”
in this context.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In Coke’s
time, sheriffs and bailiffs were responsible for executing writs and process. They
were to seize and keep in custody those that were summoned to appear in court, and
they were to ensure execution of judgment upon guilty parties. Such guilty parties
might be criminals, but they needn’t be; commonly they were debtors, either
accused or adjudged. If one of these charges escaped custody, the sheriff or bailiff
would himself be held liable. So, if A were suing B for debt, and on the way to
court B escaped from the sheriff’s custody, A could sue the sheriff for the
debt in the absence of the debtor. If the court bailiff were bringing B to
court and he escaped on the way, A could sue the bailiff. With all of this in
mind, let’s have a look at the cases, of which there are three. These all turn
on the meaning of “custody” and “escape” as well as liability for the latter.</span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;">Boynton’s Case (1592)</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">A prisoner was
being taken by the bailiff from Suffolk to Westminster in execution. On the
way, at the prisoner’s request, they stopped off at Lambeth, in Surrey. Since
Lambeth is not on the route from Suffolk to Westminster, the question in this
case was whether the stop-off constitutes an escape. The court decided that it
was not escape, for the simple reason that, regardless of what happened on the
road, the bailiff produced the prisoner in court on the appointed day:</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal" style="margin-left: 1cm;"><span style="font-family: times;"><span lang="EN-US" style="mso-ansi-language: EN-US;">So in the case at bar, when the prisoner is once out of the proper
county, although he goes into another county which is not in the way to
Westminster where the King’s Bench sits; this, by a favourable construction in
law, is not an escape, if at the day of the return he have the body of the
defendant in court.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Further, it
was the opinion of the court that it would be too rigid to require that sheriffs
and bailiffs travel in a straight line from point A to point B when
transporting prisoners: “And if the Sheriff, etc. should be compelled to bring his
prisoners to the King’s Court as in <i>recta linea</i>, it would be too full of
hazard and very dangerous for Sheriffs, etc.” Although it is not clear, presumably
the hazards and dangers they have in mind would be such things as washed-out
roads and robbers.</span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;">Rigeway’s Case (1594)</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In this
case, the plaintiff was suing the sheriff for debt, for having allowed the
plaintiff’s debtor to escape. The sheriff did recapture the prisoner, but only
after the latter had spent an entire day and night in the ward of Cheap,
London. The sheriff pleaded that he had immediately made fresh pursuit after
the escape. Because the plaintiff did not deny this, the court found the sheriff
not liable.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">What this
case demonstrates is that a sheriff is not liable for an escape if</span></span></p><span style="font-family: georgia;">
</span><p class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">a)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">a) he makes immediate fresh pursuit,
and</span></span></p><span style="font-family: georgia;">
</span><p class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">b)<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">b) he successfully recaptures the
prisoner.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The court further
found that the above would hold even where the plaintiff had brought his suit
after the escape but <i>before</i> the recapture.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">However,
the early 19<sup>th</sup>-century editor of my edition of the <i>Reports</i> adds
a note to the effect that it makes a difference whether the arrest is on mesne
process or in execution, as this case was. (Mesne process refers to that part
of the legal process which follows commencement but precedes judgment.
Execution refers to the process following judgment.) In mesne process, the prisoner
may be out of sight of the bailiff and be at large, so long as he is brought to
Court at the return of the writ. My gloss on this is that if Rigeway’s Case had
been a matter of mesne process rather than execution, conditions a) and b)
would be irrelevant, so long as the sheriff produced the prisoner at the appointed
time.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I confess I
don’t quite understand the basis for this distinction between mesne process and
execution. I suppose it’s a nod in favour of liberty where the prisoner’s guilt
or liability has yet to be proven in court. But this doesn’t hold, because the
guilt or liability we’re really talking about in this and the previous case is
the <i>sheriff’s</i>, not the prisoner’s.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;">Westby’s Case (1592-97)</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">A is held in
execution for separate debts to B and C. While A sits in prison, the outgoing
sheriff transfers his prisoners to the new sheriff. However, the indenture
doing so fails to mention the debt to C. Later, A escapes prison under the
watch of the new sheriff. As it turns out, the real question in this case is
not whether C can sue the new sheriff, but rather, <i>when did the escape take
place?</i></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The court
found the <i>old</i> sheriff liable for the escape, and that the escape had
effectually occurred with the transfer and faulty indenture, for at that point
the neglected creditor lost his remedy, through no fault of his own. At that
moment, the prisoner was physically still in custody, but only for his debt to B.
As far as C was concerned, the prisoner had escaped execution and therefore
might as well have been roaming freely about the country. There were really two
escapes; the physical escape was such only with respect to B.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">As Coke
rather pithily puts it, “So, reader, you may observe, that the law doth adjudge
one, who remains in prison, to escape.”</span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;">Bibliography</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">COKE, Sir Edward. <i>The Reports of Sir Edward Coke, Knt. in Thirteen Parts
(Vol. II: Parts III-IV)</i>. London: Joseph Butterworth and Son, 1826.</span></span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p>
Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-56685587776364713972021-05-05T15:03:00.003-04:002021-05-05T15:09:18.741-04:00Observations on Kyd’s “The Spanish Tragedy”<p><!--[if gte mso 9]><xml>
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Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
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</p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdChPIZLmQsovH7bREfnnVUsRXDYPx_1De4_Cw6HxpRgLQelT9FjYLxDI7DQSdu2RnSbdvHHSxwcYmxsmg0tLpwPvv4dOveBH2ijSub9b7h8RKEMuNk_unT0WEQeILt3DbrZiTIEwGA/s657/Kyd+Spanish+Tragedy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="657" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdChPIZLmQsovH7bREfnnVUsRXDYPx_1De4_Cw6HxpRgLQelT9FjYLxDI7DQSdu2RnSbdvHHSxwcYmxsmg0tLpwPvv4dOveBH2ijSub9b7h8RKEMuNk_unT0WEQeILt3DbrZiTIEwGA/s320/Kyd+Spanish+Tragedy.jpg" width="320" /></a></div><span style="font-family: georgia;"><br /></span><p style="text-align: left;"><span style="font-family: georgia;">I haven’t posted
anything since January, despite my promise then to mend my lazy ways. At that
time, I had the excuse that I had been working two jobs, and that once things
calmed down at work in mid-April, I could hope to blog again. Well, things have
calmed down, but I find my issue now is simply lack of practice.
</span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">So to get back
into the swing of things, I offer the post below, which is simply a loosely organized
(and loosely written) set of observations on Thomas Kyd’s <i>The Spanish
Tragedy</i> (1592), which I just finished reading.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">“All the world’s a stage”</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">My impression
while reading the play was that Kyd used the word “world” an awful lot in it,
and that therefore it must have some particular significance as an overarching
motif. However, his usages are various and I could not come up with a common
theme or trope running through them. I began to wonder whether there really
were so many instances, or whether I was just imagining it, so I did a count.
There are 18 instances of the word “world” in <i>The Spanish Tragedy</i>, not
including two instances of variants (more on these shortly). By way of
comparison, I counted 26 in Shakespeare’s <i>Hamlet</i>. Now, <i>Hamlet</i> is
a significantly longer play, so a better comparison might be Marlowe’s <i>Doctor
Faustus</i>, in which “world” occurs 33 times (including one of the variants
found in Kyd). Overall then, it doesn’t seem like Kyd was necessarily overdoing
it.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">My impression
of overuse might have come from Kyd’s tendency to clump instances together. For
instance, in Hieronimo’s opening soliloquy to Act III, scene ii, it appears
three times, two of them in one line (ll. 3 & 22):</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>O <b>world</b>, no <b>world</b>, but mass
of public wrongs,</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;"> </span>*</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Eyes, life, <b>world</b>, heavens, hell, night,
and day,</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>See, search, show, send some man, some
mean that may –</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">(The long
comma-separated list in this rhyming couplet, formed mostly of monosyllables, I
would normally find tedious, but here it does succeed in displaying Hieronimo’s
distracted state of mind and his disjointed thought processes, his son having
recently been murdered. The alliteration in the last line is particularly
effective.)</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The sense of
repetition isn’t helped in one case by the fact that Kyd seems to have nodded a
bit, not realizing that the Duke of Castile plagiarizes a line spoken by
Lorenzo several lines earlier in the same scene:</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>“But for his satisfaction and the world’s”
(III.xiv.90, spoken by Lorenzo)</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>“And for the satisfaction of the world,”
(III.xiv.150, spoken by Castile)</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Turning to Kyd’s
two variants of “world” I mentioned, we should pause to consider the etymology
of the word. It is Germanic. According to the <i>OED</i>, in Old High German the
prefix <i>wer</i>- referred to “man” and <i>alt</i> meant “old” or “aged”, much
as it does in modern German. The basic idea here is that the world and the
things in it exist in time; they age, they grow old. The German verb <i>veralten</i>
means to grow old, outdated, or obsolescent.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Now, the two
variants of “world” in Kyd, occur within the same speech. The first is
“worldling”. In Act III, scene xv, l. 18, Revenge says “Thus <b>worldlings</b>
ground, what they have dreamed, upon.”</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">I admit I love
this word and shall endeavor to use it whenever I can. But I particularly love
it in the sense in which the editor of my edition of <i>The Spanish Tragedy</i>
defines it: a worldling is simply a <i>mortal</i>. However, if you look up
“worldling” in the <i>OED</i>, you are told that the word refers to someone who
is devoted to earthly pleasures, and wholly immersed in the affairs of the
world. This is the sense that most dictionaries give it. The dictionaries are
not wrong, and the two senses are obviously not unrelated. The notion of the <i>secular</i>
– to switch from the Germanic to the Latinate – has this sense, of the mortal
realm within which runneth the writ of time.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">However, I find
Kyd’s editor to be more on the mark here, wherever he got his definition. First,
there is the above etymology of “world” as that which exists in time and ages.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Second, there
is the occurrence of the second of Kyd’s variants of “world” a few lines down
in the same speech after the appearance of “worldling”: “For in unquiet,
quietness is feigned, / And slumbering is a common <b>worldly</b> wile” (ibid.
ll. 24-25). Now here, “worldly” could be taken in its <i>OED</i> sense, but it
is worth noting that the speech comes from Revenge. In <i>The Spanish Tragedy</i>,
most of the acts either begin or end with dialogue in the underworld between
Revenge and the ghost of Don Andrea, and these passages are particularly laden
with occurrences of “world”. Revenge and the dead Don Andrea both dwell in an eternal
realm, so when they speak of the world and make observations on its inhabitants,
they look upon it as that middle place where mortals temporarily (or <i>temporally</i>?)
dwell.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Third, the word
“worldling” also occurs in scene 13 of the B-text of Marlowe’s <i>Doctor
Faustus</i>. It is spoken by Mephastophilis, who refers to Faustus thus:</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Fond <b>worldling</b>, now his heart-blood
dries with grief;</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>His conscience kills it, and his labouring
brain</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Begets a <b>world</b> of idle fantasies…</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Again, the word
“worldling” is being used by a distinctly <i>other</i>-worldly entity to
describe the inhabitants of the mortal world.</span></span>
</p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">“The first thing we do, let’s kill all the lawyers”</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Another thing I
noticed as I read Kyd’s play was the use of legal terminology. It’s not so much
that there is <i>a lot of it</i>; it’s that it is <i>anachronistic</i>.
Actually no, not anachronistic; rather, anatopistic (i.e. not erring against
time but against place). What I mean is that the play is supposed to take place
at some undetermined time in Spain. But the legal references are peculiarly
English.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Take for
example the incident in Act III, scene iv, where Pedringano has just been
seized by the watch after killing Serberine. A speech by Lorenzo, at whose
bidding Pedringano committed the murder, contains these lines (ll. 65-66):</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>And though the Marshal-Sessions be today,</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Bid him not doubt of his delivery.</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Now, in one
sense, this is perfectly normal: Hieronimo is the Marshal of Spain, the
magistrate before whom Pedringano will appear. And the “Marshal sessions” would
presumably refer to a session of this magistrate’s court. The usage has an
English ring to it, but the underlying concept could also apply to Spain (for
all I know).</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">In England
there also existed a Marshal. As part of his duties, he acted as a magistrate
who oversaw criminal jurisdiction within what was called the “verge”. The verge
was defined as the area which at any given time lay 12 miles in any direction
from the King. For purposes of criminal jurisdiction, it was considered part of
the royal household, and the Marshal was an officer of said household. By Kyd’s
time, the verge came to mean the 12 miles around Whitehall, although the
Marshal’s court also travelled along with the royal household when the King moved
about the realm. From this was derived one of the names for the Marshal’s court:
the Court of the Verge. It was also called the Court of the Marshalsea (from
“marshalcy”). For present purposes, there are a couple of interesting things
about this court.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">First, its
criminal jurisdiction was peculiar in that it did not deal with <i>all</i> crimes
committed within the verge (that would have made it effectively responsible for
all crime committed in London and Westminster). Rather, it was responsible for
administering justice – criminal and otherwise – between the servants of the
King’s household, “that they might not be drawn into other courts and their
service lost”. In this connection, we might note that the crime in question in
Kyd’s play was committed by a servant (Pedringano) of the King’s niece upon a
servant (Serberine) of the Viceroy of Portugal’s son, who was an honoured hostage
in the Spanish court. Although the servants weren’t directly servants <i>of </i>the
Spanish King, they were servants <i>within</i> the King’s household, which made
it a domestic matter and brought it within the verge and the Marshal’s
jurisdiction.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Second, the
Court of Marshalsea, and the notorious Marshalsea prison associated with it,
were located in Southwark, which also happened to be Elizabethan London’s
theatre district. <i>The Spanish Tragedy</i>’s first recorded performance took
place on February 23, 1592, acted by Lord Strange’s men at Philip Henslowe’s
Rose Theatre in Bankside (built 1587). No doubt, Thomas Kyd would be fairly
familiar with the nearby Marshalsea prison in Mermaid Court.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The prison
brings us to the second line of the quotation above, “Bid him not doubt of his
delivery”. In my opinion, “delivery” here probably had a rather technical meaning,
alluding to a “commission of gaol delivery” issued to royal justices by which they
were to empty the prisons by bringing the prisoners to trial. In other words,
Lorenzo would have been directing his messenger to tell Pedringano that he need
not fear languishing in prison much longer.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Now let us turn
from the criminal to the civil law. In Act III, scene xiii, Hieronimo, who has
the reputation of being a skilled and upright lawyer, is being petitioned by
three citizens to take on their cases. Before proceeding, it’s worth noting
that the very word “citizen” to label these minor characters was likely chosen
for the particular resonance it would have had for an Elizabethan theatre
audience. For them it would have meant specifically a citizen of London. As
such, it would have been a byword for a certain character-type: petty,
acquisitive, small-minded, and litigious. In the following bit of dialogue, we
leave the lofty if violent world of court intrigue among the highborn, and
enter the lowbrow world of merchants and burghers and their little legal
squabbles:</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>2 CITIZEN<span style="mso-spacerun: yes;"> </span>Sir, an action.</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>HIERONIMO</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Of battery?</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>1 CITIZEN<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Mine of debt. </span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>HIERONIMO<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Give place. </span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>2 CITIZEN</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>No, sir, mine
is an action of the case. </span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>3 CITIZEN</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Mine an <i>ejectione
firmae</i> by a lease. </span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>HIERONIMO</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Content you
sirs, are you determined</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>That I should
plead your several actions? </span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>1 CITIZEN</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Ay, sir, and
here’s my declaration. </span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>2 CITIZEN</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>And here is my
band.</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>3 CITIZEN<span style="mso-spacerun: yes;"> </span>And here is my lease.</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><i>They
give him papers</i></span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><i> </i></span><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"></span></i></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Hieronimo asks Citizen
2 whether his action is for battery — I’m not sure why; maybe he has a black
eye. The way I imagine this scene being acted is that the petitioners are all
clamouring for Hieronimo’s attention and speaking almost simultaneously. So the
battery question gets cut off by Citizen 1’s interjection. Hieronimo then says
to the latter “Give place”, in other words, “Shut up and let Citizen 2 speak”.
It is then that Citizen 2 answers Hieronimo’s question: his action is not for
battery, it is for “the case”.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Here there is
no doubt that we are dealing not with some fictionalized version of Spanish
law, but with unadulterated English common law. By “the case”, Citizen 2 is
referring to an action for <i>trespass</i> on the case. In terms of the forms
of action at common law, battery was also a form of trespass; specifically, it
fell under the writ of trespass <i>vi et armis</i> (“with force and arms”). So
why is this citizen opting for trespass <i>on the case</i>?</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Trespass on the
case was a remedy developed over time by judges as a sort of catch-all. In
effect, judges were gradually stretching the older fixed writs of trespass (there
were a few of them) to do substantive justice in cases where the facts did not
quite fit the requirements of those older writs. In such cases, judges might allow
an action of trespass on the case based on some analogy of facts with the
recognized forms of trespass. When you hear “trespass on the case”, think “trespass
<i>on the facts of</i> the case”. (Roman law had something similar, the <i>actio
in factum</i>. This was literally an “action upon the facts” rather than upon
the form.) It was a way of getting around the law’s increasing rigidity.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Perhaps the
facts of Citizen 2’s case didn’t quite fit the older writs; perhaps whatever
happened was done either without the requisite “force and arms,” or lacked the
necessary intent on the part of the defendant. Instead, he opted for this newer,
more flexible remedy.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Quite comically,
when one looks at some of the old court cases one comes across an alternative
strategy used by defendants: they bring an action for something that is not
even trespass at all with a writ of trespass <i>vi et armis</i>. Here a
plaintiff wishing to recover a debt, for instance, would insert a statement
into his writ asserting that the defendant did “with force and arms” withhold
repayment. It was of course a fiction, and one which judges had a growing
tendency not to question.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Which brings me
to Citizen 1, who is indeed bringing an action of debt. My question is, why is
he too not bringing it as a trespass on the case, as Citizen 2 is doing? Let me
explain what I mean.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Debt was an
older form of action, which would have allowed the defendant to elect for what
was called “wager of law”, in which he could acquit himself by bringing into
court a certain number of fellow citizens who were willing to swear his innocence.
Providing he could find or pay enough people to do so, the plaintiff’s action
failed. This archaic procedure was obviously not very satisfactory, and so it
became typical for a plaintiff to massage the facts of his case to make it fall
under some other action that did not allow the defendant to “wage his law”. One
such action was trespass. As mentioned previously, creditors sometimes might
sue for trespass <i>vi et armis</i> and claim that the defendant was violently withholding
“by force and arms” the money owed. Similarly, a plaintiff wishing to get back
some article of property given to someone for safekeeping – the traditional
action of detinue, which also allowed wager of law – might try to sue for
trespass instead, by making a point of having his writ worded to say that the
defendant “violently and with arms” was withholding the plaintiff’s property.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The development
of trespass on the case meant that plaintiffs no longer needed to resort to such
silly and palpable fictions to avoid wager of law. Trespass did not permit
wager of law<a name="_Hlk71100037">, and trespass <i>on the case</i> had the desired
flexibility to extend to an ever-growing variety of fact situations.</a></span></span></p><span style="font-family: georgia;">
<span style="mso-bookmark: _Hlk71100037;"></span>
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">One notable
example of this in Kyd’s time was the development of the action of trespass on
the case <i>in assumpsit</i>. Here the plaintiff pleaded that the defendant
promised (<i>assumpsit</i>) something which he had failed to perform. At its
core was the concept of deceit. Normally, under the old actions, if someone failed
to return something I had given him for safekeeping, or had lost it or broken
it, I would sue for detinue. If I had lent him money and he had failed to repay
it, I could sue for debt. And so on. There were at least two shortcomings of
these old forms of action. First, each had its peculiar limits and rules of
pleading. If I chose the wrong writ, my action would fail. So private law was
littered with many technical pitfalls. Second, again, they all allowed the
defendant to wage his law. At some point in the mid-1500s, plaintiffs in such
cases began to turn to assumpsit for relief. Finally, a few years after <i>The
Spanish Tragedy</i> was first acted, <i>Slade’s Case</i> came along, in which it
was decided that all of those old actions (debt, detinue, convenant, account, etc.)
implied a promise, and that therefore the plaintiff could choose to bring an
action either under one of the old writs or under trespass on the case in
assumpsit (“upon the promise”). To cut a long story short, assumpsit is what
gave birth to modern contract law, and <i>Slade’s Case</i> was a pivotal moment
in that development.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Given the
potted legal history I outlined above, it is not surprising that Citizen 2
opted to bring an action of trespass on the case rather than battery. It is
more surprising that the first citizen didn’t do likewise, but instead opted to
bring an action of debt. Assumpsit would have been better.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">To round things
out, the third citizen was bringing an action of </span><i><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">ejectione
firmae</span></i><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">, for being ousted from his tenancy before the expiry of his
lease.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Details of Thomas Kyd’s life are scarce, and it is not known
how he made his living aside from writing plays. We know that his father was a
scrivener, and it has often been assumed, on little evidence, that Thomas
followed his father’s profession. If he was a scrivener, it would at least go some
way towards explaining his considerable familiarity with the law of his time,
and it would be consistent with the prominence of the legal documents in the
above passage (“band”, “declaration”, “lease”).</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></p><span style="font-family: georgia;">
</span><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">“Some squeaking Cleopatra boy my greatness”</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">We all know
that on the pre-Restoration English stage, women’s roles were not played by
women, but by men or boys. The absurdity of this has often caused me to ask
myself, “Did the audience members never wish, at least secretly, that there
were women playing these roles?” To me there seems to be evidence in Act IV
that at least Thomas Kyd so wished.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">In order to
explain, we need to back up a bit. Balthazar, son to the Viceroy of Portugal,
and Lorenzo, nephew to the King of Spain, have murdered Horatio, the son of
Hieronimo, Marshal of Spain. They did this to free up Horatio’s lover,
Bel-imperia, to marry Balthazar (Bel-imperia happens also to be Lorenzo’s
sister).</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Hieronimo and
Bel-imperia plot revenge on Balthazar and Lorenzo. The revenge involves convincing
the murderers to participate in acting in a masque as part of Balthazar and
Bel-imperia’s wedding celebrations. This play-within-the-play (precursor to
Shakespeare’s similar device in <i>Hamlet</i>) will have a grisly outcome, but
more importantly for our purposes, it has a female character, Perseda.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">While they are
deciding who will play whom, Hieronimo quite subversively suggests the
following (IV.i.95-97):</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>HIERONIMO</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Now my good lord, could you entreat</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Your sister Bel-Imperia to make one?</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>For what’s a play without a woman in it?</span></b></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></b></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Indeed, an
interesting question to ask, since <i>all</i> plays in Kyd’s time were without
a woman in it. Now consider this: Bel-imperia is assigned Perseda’s role, which
effectively means that a member of Kyd’s original audience would have been presented
with a male actor playing a female role <i>playing a female role</i>. The
absurdity is heightened by the reaction of one audience member <i>within</i>
the play. Scene iv begins with the King of Spain leading the Viceroy of Portugal
to their seats to watch this masque:</span></span></p><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>KING</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Now,
Viceroy, shall we see the tragedy</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Of
Soliman the Turkish Emperor,</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Performed
of pleasure by your son the prince,</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>My
nephew Don Lorenzo, and my niece.</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>VICEROY</span></span></div><span style="font-family: georgia;">
</span><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Who, Bel-imperia?</span></span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></div><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The Viceroy
seems surprised to be told that a woman will be acting. He needn’t worry, since
Bel-imperia herself is being played by a man. Further on (line 69), the Viceroy
is forced to admit, “But Bel-imperia plays Perseda well.” The “but” here
suggests that the admission is somewhat grudging.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Nevertheless, to
me, it’s almost as if Kyd is offering his audience a thought experiment, a
notional space in which to imagine something that couldn’t be instantiated on
an actual stage. Think of it: A male actor is playing a woman. He may be boying
her femininity well, but there are limits to the ease with which we can suspend
our disbelief. Then Kyd has us imagine a further remove, where the character we
already half-believe is female is playing a female character. That is perhaps an
easier leap, and now we have come as close as we can to the actual experience
of watching female actors. We are then forced to admit, like the Viceroy, that
Bel-imperia indeed plays Perseda well — or at least could, if she were given
the opportunity.</span></span></p><p><span style="font-family: georgia;"> <br /></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Bibliography</span></b></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia; font-size: x-small;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">KYD, Thomas. <i>The
Spanish Tragedy</i>. J. R. Mulryne (ed.). London: A & C Black, 1989.</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> </span></span></p>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-82370327647638778012021-01-11T15:54:00.000-05:002021-01-11T15:54:44.952-05:00The Spectacled Avenger's Reading List, 2020
<p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnvOgHq7wCPTvCqLaDbvmjnK1bfjcknn-6Z7jsEVr4Z-166aayc0vNLpiPMnn4wzxVRp8BcFjyQyVSc-3IwYDm7fU3alWxdYViHCJiC-hHic_dfpfAguvnXkqhHwPq8IbV02gjX_0Ghw/s320/rochesterandmonkey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnvOgHq7wCPTvCqLaDbvmjnK1bfjcknn-6Z7jsEVr4Z-166aayc0vNLpiPMnn4wzxVRp8BcFjyQyVSc-3IwYDm7fU3alWxdYViHCJiC-hHic_dfpfAguvnXkqhHwPq8IbV02gjX_0Ghw/s0/rochesterandmonkey.jpg" /></a></div><br />Assuming
there is anyone left who still reads this blog, what can I say but that I’m
sorry. I’m sorry because it has now been a year since I last posted anything
here. I’ve gone through periods of infrequent posting before, but nothing like
this. What can I say? As with many others, 2020 threw me a curveball. A couple
of them actually.<p></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The first of
them was COVID. With having to suddenly bug out of the office, getting used to
working from home, the strains of isolation, lack of the day-to-day stimulus of
social living that often gives me the inspiration to write, all of this wreaked
havoc on my powers of concentration.</span></span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">And then,
what little mental power I had left has been spent on work. Back in March,
literally the week before life turned upside down, I was in discussions about a
career change, or rather, a professional development opportunity. I would be
seconded to another unit within the university where I work, to take on a
position that would definitely have been a challenge at the best of times. It
proved doubly so during COVID, and to further complicate matters, for various reasons
I can’t go into here, for much if not most of the year I was doing <i>both</i>
jobs — yes, two full-time jobs. So perhaps understandably this blog rapidly
slipped below the horizon of my cares.</span></span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">However, I
have decided that 2021 will be different. Fresh start and all that. Due to my
work situation, things will remain complicated until sometime in April, but
that doesn’t mean I can’t get my feet wet here.</span></span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I am
starting off unambitiously, by returning to a Spectacled Avenger tradition: The
annual January report on my previous year’s reading. One noticeable thing about
my 2020 reading list is that it is somewhat shorter than average (for the reasons
outlined above).</span></span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Otherwise,
in terms of reading <i>patterns</i> in 2020, you’ll see quite a bit on the following:</span></span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><ul style="text-align: left;"><li><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">English
legal and administrative history (Baker, Coke, Blackstone, Elsyng, FitzNigel, Smith,
the <i>Parliamentary Register</i>, the <i>Debate at Large </i>on James II’s
abdication)</span></span></li><li><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Public
choice and libertarian political economy (Brennan & Buchanan, Hayek) </span></span></li><li><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">History of
witchcraft and magic (Boguet, Evans-Pritchard, Gow, Guazzo, Hartlieb &
Molitoris, Kieckheffer, Kramer & Sprenger’s <i>Malleus Maleficarum</i>, and
Scot’s <i>Discoverie of Witchcraft</i>)</span></span></li></ul><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span><span style="font-family: georgia;"></span><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The witchcraft
literature is most uncharacteristic of me, but it was research for a paper I
had committed to writing. The paper is finished and has been presented.
Although writing that paper is another reason for my lack of blogging, I hope
to share the fruits of that labour with you here in the near future.</span></span><span style="font-family: georgia;"></span><span style="font-family: georgia;">
</span></p><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Without more
ado, my reading list is below. As in previous years, entries in <b>bold</b> are
books I particularly enjoyed for one reason or another.</span></span></p><span style="font-family: georgia;">
</span><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;">*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 1;"> </span>*</span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal"><span style="font-family: georgia;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><span style="font-family: georgia;">
</span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">ADDISON, Joseph and Richard STEELE. <i>The
Spectator (Vol. I)</i>. London: J. and R. Tonson, 1739.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">ADDISON, Joseph and Richard STEELE. <i>The
Spectator (Vol. II)</i>. London: J. and R. Tonson, 1739.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">AINSLIE, George. <i>Picoeconomics:
The Strategic Interaction of Successive Motivational States within the Person</i>.
Cambridge: Cambridge University Press, 1992.</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">ANONYMOUS. <i>The Debate at Large,
between the House of Lords and the House of Commons…Relating to the Word,
Abdicated, and the Vacancy of the Throne</i>. London: J. Wickins, 1695
(facsimile, Shannon: Irish University Press, 1972).</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">ANONYMOUS. <i>The Parliamentary Register;
or History of the Proceedings and Debates of the House of Commons (Vol. XVI)</i>.
London: J. Debrett, 1784.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -28.9pt;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">AUGUSTINE, ST. <i>The Confessions</i>.
Henry Chadwick (trans.). Oxford: Oxford University Press, 1991.</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">BAKER, Sir John. <i>Sources of
English Legal History: Private Law to 1750 (2<sup>nd</sup> edition)</i>. Oxford:
Oxford University Press, 2010.</span></b></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US"></span></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span></p><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BLACKSTONE, William. <i>Commentaries
on the Laws of England (Vol. I)</i>. Oxford: Clarendon Press, 1765 (facsimile,
Chicago: University of Chicago Press, 2002).</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BLACKSTONE, William. <i>Commentaries
on the Laws of England (Vol. II)</i>. Oxford: Clarendon Press, 1766 (facsimile,
Chicago: University of Chicago Press, 2002).</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BLACKSTONE, William. <i>Commentaries
on the Laws of England (Vol. III)</i>. Oxford: Clarendon Press, 1768 (facsimile,
Chicago: University of Chicago Press, 2002).</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BLACKSTONE, William. <i>Commentaries
on the Laws of England (Vol. IV)</i>. Oxford: Clarendon Press, 1769 (facsimile,
Chicago: University of Chicago Press, 2002).</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US"> </span></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BOGUET, Henry. <i>An Examen of
Witches</i>. E. Allen Ashwin (trans.). Mineola, NY: Dover Publications, 2009.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BORKOWSKI, Andrew and Paul du PLESSIS.
<i>Textbook on Roman Law (3<sup>rd</sup> edition)</i>. Oxford: Oxford University
Press, 2005.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BRENNAN, Geoffrey and James M. BUCHANAN.
<i>The Power to Tax: Analytical Foundations of a Fiscal Constitution (Collected
Works of James M. Buchanan, Vol. 9)</i>. Indianapolis, IN: Liberty Fund, 2000.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BRENNAN, Geoffrey and James M. BUCHANAN.
<i>The Reason of Rules: Constitutional Political Economy (Collected Works of
James M. Buchanan, Vol. 10)</i>. Indianapolis, IN: Liberty Fund, 2000.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BREUER, Joseph. <i>Introduction to the
Theory of Sets</i>. Howard F. Fehr (trans.). Mineola, NY: Dover Publications, 2006.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US"> </span></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BURKE, Edmund. <i>Letters on a Regicide
Peace (Select Works of Edmund Burke, Vol. 3)</i>. Francis Canavan (ed.).
Indianapolis, IN: Liberty Fund, 1999.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US"> </span></span></span><span style="font-size: x-small;"><span style="font-family: georgia;"></span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">BURKE, Edmund. <i>Reflections on the
Revolution in France</i>. London: J. Dodsley, 1790 (facsimile, New York: Classics
of Liberty Library, 1992).</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">BURLAMAQUI, Jean-Jacques. <i>The Principles
of Natural and Politic Law</i>. Thomas Nugent (trans.). Indianapolis, IN: Liberty
Fund, 2006.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">BURNET, Gilbert. <i>Bishop Burnet’s
History of His Own Time (Vol. I)</i>. Martin Joseph Routh (ed.). Oxford: Oxford
University Press, 1833.</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">CLEVELAND, John. <i>The Poems of
John Cleveland</i>. Brian Morris and Eleanor Withington (eds.). Oxford:
Clarendon Press, 1967.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">COKE, Sir Edward. <i>The Fourth Part
of the Institutes of the Laws of England; concerning the Jurisdiction of Courts</i>.
London: W. Clarke and Sons,1817 (facsimile, Clark, NJ: Lawbook Exchange, 2015).</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><b><span lang="EN-US">CUDWORTH, Ralph. <i>The True
Intellectual System of the Universe (Vol. I)</i>. London: Thomas Tegg, 1845.</span></b></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">DODINGTON, George Bubb. <i>The Political
Journal of George Bubb Dodington</i>. John Carswell and Lewis Arnold Dralle (eds.).
Oxford: Clarendon Press, 1965.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="margin-left: 1.0cm; text-indent: -1.0cm;"><span style="font-size: x-small;"><span style="font-family: georgia;"><span lang="EN-US">ELSYNG, Henry. <i>Judicature in
Parlement</i>. Elizabeth Read Foster (ed.). London: Hambledon Press, 1991.</span></span></span></p><span style="font-size: x-small;"><span style="font-family: georgia;">
</span></span><span style="font-size: x-small;"><span style="font-family: georgia;">
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<![endif]-->Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com1tag:blogger.com,1999:blog-42332149134304039.post-5262411099871379902020-01-17T11:20:00.003-05:002020-01-17T11:20:55.256-05:00The Spectacled Avenger’s Reading List, 2019<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, "Times New Roman", serif;">At the beginning of every year, I post the list of books read during the previous year. The fact that I got most of the way through January without having done so is rather emblematic of the kind of year 2019 was for me. I spent half of it working two full-time and demanding jobs. Between that and a couple of personal crises, I was left with little time or mental energy to keep up this blog. I hope to be a better blogger in 2020, but I don’t feel I can securely guarantee that.<br /><br />Interestingly, despite the foregoing, I still managed to read 75 books in 2019, which is around the average. So I somehow found time to read, but not to blog. And I notice that last year, I didn’t publish my reading list until February 8. So I suppose I shouldn’t feel too bad…<br /><br />Looking back on patterns in the reading, two in particular stand out: English legal history (<i>Fleta</i>, Glanvill, Fortescue, Coke, Hale, Simpson), and Parliamentary law and history (Hatsell, Elsynge, Jefferson). Otherwise, the only other pattern is the usual one: lots of 17th- and 18th-century English literature.<br /><br />As with every other year, books I particularly enjoy are in <b>bold</b>. If a book appears twice, it’s because I read it twice.<br /><br />* * * * *<br /><br /><span style="font-size: x-small;">ALLESTREE, Richard [?]. <i>The Government of the Tongue</i>. Oxford, 1675.<br /><br /><b>ANONYMOUS. <i>Fleta (Vol. II: Prologue, Book I and Book II)</i>. H. G. Richardson and G. O. Sayles (eds.). London: Selden Society, 1955.</b><br /><br />ANONYMOUS. <i>Fleta (Vol. III: Book III and Book IV)</i>. H. G. Richardson and G. O. Sayles (trans.). London: Selden Society, 1972.<br /><br />ANONYMOUS. <i>Fleta (Vol. IV: Book V and Book VI)</i>. G. O. Sayles (ed.). London: Selden Society, 1983.<br /><br />BACON, Francis. <i>The History of the Reign of King Henry the Seventh</i>. Jerry Weinberger (ed.). Ithaca, NY: Cornell University Press, 1996.<br /><br />BALDWIN, James Fosdick. <i>The King’s Council</i>. Oxford: Clarendon Press, 1969.<br /><br />BOLINGBROKE, Henry St. John, Viscount. <i>The Works (Vol. I)</i>. David Mallet (ed.). London, 1754 (facsimile, Hildesheim: Georg Olms, 1968).<br /><br />BOLINGBROKE, Henry St. John, Viscount. <i>The Works (Vol. II)</i>. David Mallet (ed.). London, 1754 (facsimile, Hildesheim: Georg Olms, 1968).<br /><br />BOLINGBROKE, Henry St. John, Viscount. <i>The Works (Vol. III)</i>. David Mallet (ed.). London, 1754 (facsimile, Hildesheim: Georg Olms, 1968).<br /><br /><b>BOSWELL, James. <i>The Life of Samuel Johnson (Vol. I)</i>. Rodney Shewan (ed.). London: Folio Society, 1993.</b><br /><br /><b>BOSWELL, James. <i>The Life of Samuel Johnson (Vol. II)</i>. Rodney Shewan (ed.). London: Folio Society, 1993.</b><br /><br />BRONTË, Emily. <i>Wuthering Heights</i>. Oxford: Oxford University Press, 1999.<br /><br />BROWN, John. <i>An Estimate of the Manners and Principles of the Times and Other Writings</i>. David Womersley (ed.). Indianapolis, IN: Liberty Fund, 2019.<br /><br /><b>BUCKINGHAM, George Villiers, 2nd Duke of. <i>The Rehearsal</i>. D. E. L. Crane (ed.). Durham, UK: University of Durham Press, 1976.</b><br /><br />CAMDEN, William. <i>Remains concerning Britain</i>. Thomas Moule (ed.). London: John Russell Smith, 1870.<br /><br /><b>CHRIMES, S. B. <i>An Introduction to the Administrative History of Mediaeval England</i>. Oxford: Basil Blackwell, 1952.</b><br /><br /><b>CLAUSEWITZ, Carl von. <i>On War</i>. Michael Howard and Peter Paret (eds.). New York: Everyman’s Library, 1993.</b><br /><br /><b>COKE, Sir Edward. <i>The Third Part of the Institutes of the Laws of England</i>. London: W. Clarke and Sons, 1817 (facsimile, Clark, NJ: Lawbook Exchange, 2012).</b><br /><br />COLERIDGE, Samuel Taylor. <i>Biographia Literaria (Vol. I)</i>. London: Rest Fenner, 1817 (facsimile, Menston, UK: Scolar Press, 1971).<br /><br />COLERIDGE, Samuel Taylor. <i>Biographia Literaria (Vol. II)</i>. London: Rest Fenner, 1817 (facsimile, Menston, UK: Scolar Press, 1971).<br /><br />COLERIDGE, Samuel Taylor. <i>Poems</i>. John Beer (ed.). New York: Everyman’s Library, 1999.<br /><br />CONFUCIUS. <i>The Analects</i>. Arthur Waley (trans.). New York: Everyman’s Library, 2000.<br /><br /><b>CONGREVE, William. <i>The Comedies of William Congreve</i>. Anthony G. Henderson (ed.). Cambridge: Cambridge University Press, 1982.</b><br /><br />COWLEY, Abraham. <i>The Mistress with Other Select Poems of Abraham Cowley 1618-1667</i>. John Sparrow (ed.). London: The Nonesuch Press, 1926.<br /><br />DICEY, A. V. <i>Lectures on the Relation between Law and Public Opinion in England during the Nineteenth Century (2nd edition)</i>. London: Macmillan and Co., 1914.<br /><br />DONNE, John. <i>Essays in Divinity</i>. Evelyn M. Simpson (ed.). Oxford: Clarendon Press, 1967.<br /><br />ELSYNGE, Henry. <i>The Manner of Holding Parliaments in England</i>. London: Thomas Payne, 1768 (facsimile, Shannon, Ireland: Irish University Press, 1971).<br /><br />FARTHING, John. <i>Freedom Wears a Crown</i>. Toronto: Kingswood House, 1957.<br /><br /><b>FILMER, Robert. <i>Patriarcha and Other Writings</i>. Johann P. Sommerville (ed.). Cambridge: Cambridge University Press, 1996.</b><br /><br /><b>FORTESCUE, Sir John. <i>A Learned Commendation of the Politique Lawes of England</i>. Robert Mulcaster (trans.). London: Richard Tottel, 1567 (facsimile, Amsterdam: Theatrum Orbis Terrarum, 1969).</b><br /><i><br /></i><b>FORTESCUE, Sir John.<i> The Governance of England</i>. Charles Plummer (ed.). Oxford: Oxford University Press, 1926.</b><br /><br />GAY, John. <i>Fables (Vol. I, 5th edition)</i>. London: J. and R. Tonson and J. Watts, 1737.<br /><br />GAY, John. <i>Fables (Vol. II, 3rd edition)</i>. London: J. and P. Knapton and T. Cox, 1747.<br /><br /><b>GLANVILL, Ranulf de [?]. <i>The Treatise on the Laws and Customs of the Realm of England Commonly Called Glanvill</i>. G. D. G. Hall (trans.). London: Nelson, 1965.</b><br /><br />GODWIN, William. <i>Enquiry concerning Political Justice (Vol. II)</i>. London: G. G. and J. Robinson, 1798 (facsimile, Toronto: University of Toronto Press, 1969).<br /><br />HALE, Sir Matthew. <i>The Prerogatives of the King</i>. D. E. C. Yale (ed.). London: Selden Society, 1976.<br /><br />HAMILTON, Alexander, James MADISON, and John JAY. <i>The Federalist, or The New Constitution</i>. Norwalk, CT: Easton Press, 1979.<br /><br /><b>HATSELL, John. <i>Precedents of Proceedings in the House of Commons (Vol. I)</i>. London: Luke Hansard, 1818 (facsimile, Shannon, Ireland: Irish University Press, 1971).</b><br /><br /><b>HATSELL, John. <i>Precedents of Proceedings in the House of Commons (Vol. II)</i>. London: Luke Hansard, 1818 (facsimile, Shannon, Ireland: Irish University Press, 1971).</b><br /><br /><b>HATSELL, <i>John. Precedents of Proceedings in the House of Commons (Vol. III)</i>. London: Luke Hansard, 1818 (facsimile, Shannon, Ireland: Irish University Press, 1971).</b><br /><br />HATSELL, <i>John. Precedents of Proceedings in the House of Commons (Vol. IV)</i>. London: Luke Hansard, 1818 (facsimile, Shannon, Ireland: Irish University Press, 1971).<br /><br />HOBBES, Thomas. <i>Behemoth</i>. Paul Seaward (ed.). Oxford: Clarendon Press, 2010.<br /><br />HOCHSCHILD, Adam. <i>Bury the Chains: Prophets and Rebels in the Fight to Free an Empire’s Slaves</i>. Boston: Mariner Books, 2006.<br /><br />HODGSON, Robert. <i>The Life of the Right Reverend Beilby Porteus, D.D. Late Bishop of London</i>. London: T. Cadell and W. Davies, 1811.<br /><br />HORACE. <i>A Poetical Translation of the Works of Horace (Vol. III)</i>. Philip Francis (trans.). London: W. Strahan, J. Rivington, et al., 1778.<br /><br /><b>JEFFERSON, Thomas. <i>Jefferson’s Parliamentary Writings (The Papers of Thomas Jefferson, Second Series)</i>. Wilbur Samuel Howell (ed.). Princeton, NJ: Princeton University Press, 1988.</b><br /><br /><b>KAMES, Henry Home, Lord. <i>Historical Law-Tracts</i>. James A. Harris (ed.). Indianapolis, IN: Liberty Fund, 2019.</b><br /><br />KRAUT, Richard. <i>What is Good and Why: The Ethics of Well-Being</i>. Cambridge, MA: Harvard University Press, 2007.<br /><br /><b>MANTHORPE, Jonathan. <i>Claws of the Panda: Beijing’s Campaign of Influence and Intimidation in Canada</i>. Toronto, ON: Cormorant Books, 2019.</b><br /><br /><b>McKAY, Richard A. <i>Patient Zero and the Making of the AIDS Epidemic</i>. Chicago: University of Chicago Press, 2017.</b><br /><br />MILL, John Stuart. <i>Collected Works (Vol. XIX: Essays on Politics and Society)</i>. J. M. Robson (ed.). Toronto: University of Toronto Press, 1977.<br /><br /><b>MILTON, John. <i>Paradise Lost</i>. Barbara K. Lewalski (ed.). Oxford: Blackwell, 2007.</b><br /><br />MOSSMAN, Mary Jane and Philip GIRARD. <i>Property Law: Cases and Commentary (3rd edition)</i>. Toronto: Emond Montgomery, 2014.<br /><br />MURPHY, Arthur. <i>The Life of David Garrick, Esq. (Vol. I)</i>. London: J. Wright, 1801.<br /><br />MURPHY, Arthur. <i>The Life of David Garrick, Esq. (Vol. II)</i>. London: J. Wright, 1801.<br /><br /><b>NAGEL, Ernest and James R. NEWMAN. <i>Gödel’s Proof</i>. New York: New York University Press, 1986.</b><br /><br /><b>NEAVE, Edwin H. <i>Financial Systems: Principles and Organisation</i>. London: Routledge, 1998.</b><br /><br />NEDHAM, Marchamont. <i>The Excellencie of a Free-State</i>. Blair Worden (ed.). Indianapolis: Liberty Fund, 2011.<br /><br /><b>PEPYS, Samuel. <i>The Diary of Samuel Pepys (Vol. IV: 1663)</i>. Robert Latham and William Matthews (eds.). London: G. Bell and Sons, 1971.</b><br /><br />PLATT, Colin. <i>King Death: The Black Death and its Aftermath in Late-Medieval England</i>. Toronto: University of Toronto Press, 2001.<br /><br />RICHARDSON, Samuel. <i>Selected Letters of Samuel Richardson</i>. John Carroll (ed.). Oxford: Clarendon Press, 1964.<br /><br />SAINT-ÉVREMOND, Charles de. <i>The Works of Monsieur de Mr. St. Evremond (Vol. I)</i>. Pierre des Maizeaux (trans.). London: J. and J. Knapton, J. Darby, et al., 1728.<br /><br />SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. <i>Soliloquy: or, Advice to an Author</i>. London: J. Morphew, 1710.<br /><br />SHAFTESBURY, Anthony Ashley-Cooper, 3rd Earl of. <i>An Inquiry concerning Virtue, in Two Discourses</i>. London: A. Bell et al., 1699 (facsimile, Delmar, NY: Scholars’ Facsimiles and Reprints, 1991).<br /><br />SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. <i>A Notion of the Historical Draught or Tablature of the Judgment of Hercules</i>. London: A. Baldwin, 1713.<br /><br /><b>SHAFTESBURY, Anthony Ashley Cooper, 7rd Earl of. <i>Speeches of the Earl of Shaftesbury, K. G., upon Subjects Having Relation Chiefly to the Claims and Interests of the Labouring Class</i>. London: Chapman and Hall, 1868 (facsimile, Shannon: Irish University Press, 1971).</b><br /><br /><b>SIMPSON, A. W. Brian. <i>Leading Cases in the Common Law</i>. Oxford: Clarendon Press, 1995.</b><br /><br />SWIFT, Jonathan. <i>The Examiner (2nd edition)</i>. London: Francis Cogan, 1730 (facsimile, New York: AMS Press 1967).<br /><br />SWIFT, Jonathan. <i>Political Tracts 1713-1719 (Prose Works, Vol. VIII)</i>. Herbert Davis and Irvin Ehrenpreis (eds.). Princeton, NJ: Princeton University Press, 1953.<br /><br />TAYLOR, Jeremy. <i>The Whole Works of… Jeremy Taylor (Vol. V)</i>. London: Longman, Orme, Brown, et al., 1839.<br /><br />TEY, Josephine. <i>The Daughter of Time</i>. New York: Scribner, 1995.<br /><br /><b>TWAIN, Mark. <i>Tom Sawyer and Huckleberry Finn</i>. New York: Everyman’s Library, 1991.</b><br /><br />WILLIAMS, Graeme, QC. <i>A Short Book of Bad Judges</i>. London: Wildy, Simmonds and Hill, 2013.<br /><br />WODEHOUSE, P. G. <i>The Code of the Woosters</i>. New York: Everyman’s Library, 2000.<br /><br />WODEHOUSE, P. G. <i>Uncle Fred in the Springtime</i>. New York: W. W. Norton, 1997.</span></span><br><br>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-46521658007439347282019-12-13T15:18:00.000-05:002020-01-17T11:50:21.248-05:00Before Collier<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitjbX2Ux4OmaNosLWln2ozloXko3XxdKkoa_0kG4SQSMMpK2aeQktIontpF7lQ_orrjIQ2_B621OibqxpB_kbBWfh8GivzXlgzww0TpQFgH3L4-njtTHWoNcg-af5dl0Yq7c6KFK-rng/s1600/Congreve.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="622" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitjbX2Ux4OmaNosLWln2ozloXko3XxdKkoa_0kG4SQSMMpK2aeQktIontpF7lQ_orrjIQ2_B621OibqxpB_kbBWfh8GivzXlgzww0TpQFgH3L4-njtTHWoNcg-af5dl0Yq7c6KFK-rng/s320/Congreve.jpg" width="248" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">William Congreve</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span style="font-family: "georgia" , "times new roman" , serif;">In 1698, a clergyman named Jeremy Collier (1650-1726) published a pamphlet entitled <i>A Short View of the Immorality and Profaneness of the English Stage</i>. It was one of those little works that, while almost completely unread now, had an outsize effect in its day, in this case on English theatre. In it, Collier denounced the English stage for its perceived propagation of every kind of vice: profanity, blasphemy, sexual license, irreligion, you name it. Theatre had become a threat to public morals.<br /><br />It would be easy to write Collier off as yet another Puritan killjoy. However, he is worth taking seriously for a few reasons. For one thing, he was not a Puritan or dissenting “fanatic”; he was a High Church Tory. In other words, he was a representative of The Establishment, and therefore could not be written off so easily by the <i>beau monde</i>. Second, his work touched a nerve, even with the playwrights whose works he attacked. Collier marks a turning point.<br />For the English stage, and for English comedy in particular, the period up to 1698 </span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">“</span>BC</span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">”</span> (“Before Collier”), is broadly spoken of as the period of “Restoration Comedy”. It is marked by all the <i>excesses</i> one associates with the stereotyped culture of the Restoration, its debauchery, sexual license, and general indifference towards received moral and religious norms. The language of Restoration Comedy was bawdy and demotic. Its stock characters were the prostitute, the pimp or procurer, the young rake, the rich and horny widow, the young and horny wife (and her cuckolded husband). What is now rightly considered “sexual assault” was a very frequent plot device in the comedies (!) of the age. Bill Cosby could have plied women with drugs in one of these plays to great comic effect if he were living in London in the 1670s. All of which is to say that, rather than being just another dour crank, Collier <i>had a point</i>.</span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">“AC”</span> or <i>after</i> Collier, the language of comedy becomes more subdued. The plots are less “rapey”. Attempted seduction or adultery is less often successful, and unhappily married couples are reconciled at the end. There are happy endings for the virtuous – or for the repentant – and vice comes to a bad end. In short, playwrights started writing plays differently, or like William Congreve (1670-1729), left off writing plays altogether.<br /><br />Congreve is actually my reason for writing this. I had read <i>The Way of the World</i> (1700) many years ago and remembered little of it. In my mind, Congreve represented the polite, neoclassical – “after Collier” – generation of writers I associate with the likes of Addison and Pope. There is no real reason for this other than my general ignorance of his works, and the mental image I have of that Kit-Kat Club portrait of him by Sir Godfrey Kneller. I was disabused of this assumption after recently reading all his comedies and finding them to be firmly in the Restoration tradition.<br /><br />Besides having all the louche elements of Restoration Comedy abovementioned, I was also very alert to a number of Rochesterian references in these plays. By “Rochesterian” I mean references to the writings of the naughty <a href="https://en.wikipedia.org/wiki/John_Wilmot,_2nd_Earl_of_Rochester" target="_blank">Earl of Rochester</a> (1647-1680), a poet almost synonymous with the moral and spiritual bankruptcy of Restoration libertinism. And although Rochester died when Congreve was about 10 years old, there would have been a direct link between the two men through the person of Elizabeth Barry (1658-1713).<br /><br />Barry was an actress who had roles in all four of Congreve</span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">’</span>s comedies, though by this late stage of her career she was relegated to playing older parts. For our purposes, what matters is that Elizabeth had been the mistress of Rochester, to whom she bore a daughter. Tradition has it that Elizabeth’s inaugural appearance on the stage was a complete disaster, but that Rochester took her under his wing and coached her. She went on to become one of the most celebrated actresses of the age. She also dumped Rochester.<br /><br />The first Rochesterian reference I came across in Congreve’s plays was actually not penned by Congreve himself. Rather, it was written by Thomas Southerne in some commendatory verses prefixed to Congreve’s <i>The Old Batchelour</i> (1693):<br /><br /><span style="font-family: "times" , "times new roman" , serif;"> She yields, she yields, surrenders all her Charms,<br /> Do you but force her gently to your arms<br /> (“To Mr. Congreve”, ll. 14-15)</span><br /><br />Aside from its rapiness, it is also reminiscent of Rochester’s lines:<br /><br /> <span style="font-family: "times" , "times new roman" , serif;">Shee yields, she yields, Pale Envy said Amen<br /> The first of woemen to the Last of men.<br /> (“Sab: Lost”, ll. 1-2)</span><br /><br />In the same play, Belinda admonishes Araminta (Act II, scene ii):</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">"Oh, you have raved, talked idly, and all in Commendation of that filthy, awkard, two leg’d Creature, Man."</span><br /><br />In sentiment and phrasing it brings to mind the opening lines to Rochester’s “A Satire against Mankind”:<br /> </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"> <span style="font-family: "times" , "times new roman" , serif;">Were I (who to my cost already am<br /><b> One of those strange prodigious Creatures Man</b>)<br /> A Spirit free, to choose for my own Share, <br /> What Case of Flesh, and Blood, I pleas’d to weare, <br /> I’d be a <i>Dog</i>, a <i>Monkey</i>, or a <i>Bear</i>, <br /> Or any thing but that vain <i>Animal</i>, <br /> Who is so proud of being rational.</span><br /><br />In <i>Love for Love</i> (1695), the free-speaking Scandal gives his opinion of women’s virtue (Act III, scene i):</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">"Yes, Faith. I believe some Women are Virtuous too; but ‘tis as I believe some Men are Valiant, thro’ fear."</span><br /><br />The line illustrates a very prominent notion in Restoration libertinism, namely that it is our very vices that underpin and motivate our supposed “virtues”. It is the received depth psychology of Restoration moral cynicism, made popular and borrowed wholesale from Rochefoucauld. The idea that valor is at bottom sublimated cowardice appears several times in Rochefoucauld’s work, as in the following instance:<br /><br /><span style="font-family: "times" , "times new roman" , serif;">"Perfect Valour and perfect Cowardice are Extremes Men seldom arrive at…. Some are not at all Times equally exempt from Fear: Others give occasionally into general Panics: <b>Others advance to the Charge because they dare not stay in their Posts.</b>"</span><br /><br />However, when Congreve has Scandal say that some men are valiant through fear, he more likely has Rochester in mind, who in the same “Satire against Mankind” (ll. 158-159) famously wrote:<br /><br /><b> <span style="font-family: "times" , "times new roman" , serif;">For all Men, wou’d be Cowards if they durst:</span></b><span style="font-family: "times" , "times new roman" , serif;"><br /> And honesty’s against all common Sense.</span><br /><br />It was a well-known line, and also appears in Lord Shaftesbury’s <i>Characteristicks of Men, Manners, Opinions, Times</i> (1711), Vol. I, p. 119:<br /><br /><span style="font-family: "times" , "times new roman" , serif;">"And<i> all Men</i> (says a witty Poet) <i>wou’d be Cowards if they durst</i>."</span><br /><br />Congreve’s last and most well-known comedy, <i>The Way of the World</i> (1700), is the only one to appear after Jeremy Collier’s attack. Indeed there are a couple of half-hearted jabs at Collier and his ilk, to little effect. After this play, Congreve gave up writing plays. Although not strictly true, it is tempting to consider <i>The Way of the World</i> as the last Restoration comedy. In any case, at one point (Act IV, scene i), Millimant is walking around, distractedly reciting lines to herself from the Cavalier poet, Sir John Suckling. The scattered lines she repeats here and there, taken out of context, can clearly be given a sexual meaning:<br /><br /> <span style="font-family: "times" , "times new roman" , serif;"><i>prithee spare me gentle Boy,<br /> Press me no more for that slight Toy.</i></span><br /><br />and<br /><br /> <i><span style="font-family: "times" , "times new roman" , serif;">I swear it will not do its part,<br /> Though thou do’st thine, employ’st the Power and Art.</span></i><br /><br />After these last two lines, Millimant interrupts herself:<br /><br /> <span style="font-family: "times" , "times new roman" , serif;">Natural, easy <i>Suckling!</i></span><br /><br />It is a paraphrase of a line from Rochester’s “Timon, A Satyr” (ll. 108-108):<br /><br /> <span style="font-family: "times" , "times new roman" , serif;"><i>Falkland</i>, she prais’d, <b>and <i>Sucklings</i>, easie Pen</b><br /> And seem’d to taste their former parts again.</span><br /><br />Here the sexual meaning is less subtle: “suckling” of “pens” and “tasting” of “parts”. It is typical of Rochester, whose mind dwelled in a universe almost metaphysically constituted by sex, where even the trees in St. James’ Park “fuck’d the very Skies”.<br /><br />The metaphysics of the post-Collier theatrical universe would be structured more politely.<br /><br /><br /><b>Bibliography</b><br /><br /><span style="font-size: x-small;">CONGREVE, William. <i>The Comedies of William Congreve</i>. Anthony G. Henderson (ed.). Cambridge: Cambridge University Press, 1982.<br /><br />ROCHEFOUCAULD, François, Duc de La. <i>Moral Maxims by the Duke de la Roche Foucault. Translated from the French. With Notes.</i> London: A. Millar, 1749.<br /><br />ROCHESTER, John Wilmot, Earl of. <i>The Poems of John Wilmot, Earl of Rochester</i>. Keith Walker (ed.). Oxford: Basil Blackwell, 1984.<br /><br />SHAFTESBURY, Anthony Ashley-Cooper, 3rd Earl of. <i>Characteristicks of Men, Manners, Opinions, Times (3 vols.)</i>. Douglas Den Uyl (ed.). Indianapolis: Liberty Fund, 2001.</span></span><br><br>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-51833936731696594182019-10-31T14:19:00.002-04:002019-10-31T14:35:47.215-04:00Pity Poor Rolland<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">Back on <a href="http://spectacledavenger.blogspot.com/search?q=Ricardian+law" target="_blank">March 23, 2017</a> I posted – in installments – a paper I had written for the Richard III Society of Canada on English law in the time of that maligned King, who, for the record, even some of his greatest detractors admitted made good laws. Early on in that paper I had written about the feudal practice of holding lands by various kinds of service to one’s lord, some of these services being considered free, and some unfree:<br /><br /><span style="font-family: "times" , "times new roman" , serif;">"All of these kinds of tenure by service — knight service, scutage, serjeanty, socage — were considered <i>free</i> (as opposed to <i>base</i>) tenures, meaning that it was a freehold and you were a freeholder. What made these various kinds of tenure free? Key to the idea was that the services or money owed were <i>certain</i>. Even poor Rolland, a tenant in Suffolk who 'was obliged upon Christmas Day to make a leap, a whistle and a fart <i>coram domino rege</i>' was a freeholder, insofar as his rather embarrassing service was at least spelled out and rendered at a stated time. Outside of Christmas Day, his time and labour were his own.”</span><br /><br />Rolland’s service was eventually commuted to a money payment.<br /><br />I had come across the case of Rolland in A. W. B. Simpson’s <i>An Introduction to the History of the Land Law</i>, p. 6. What Simpson’s source was, I had no idea at that time. However, either Rolland’s peculiar service was not unique in Suffolk, or else the tenant’s name changed in various retellings, for I came across a very similar anecdote in William Camden’s <i>Remains concerning Britain</i> (1605), p. 144: “Baldwin le Pettour [‘the Farter’], who had his name and held his land in Suffolk, <i>Per saltum, sufflum et pettum, sive bumbulum</i>, for dancing, pout-puffing, and doing that before the King of England in Christmas holy days, which the word <i>pet </i>signifieth in French.”<br /><br />Was Suffolk renowned among counties for producing top-notch royal flatulists, or were Rolland and Baldwin the same person? And if the same, which name is correct? (And one wonders whether in the original source of the tale there is not also some mild onomatopoetic punning intended on ‘Suffolk’ and ‘<i>sufflum</i>’?)<br /><br />Not surprisingly, they are the same person; Camden simply seems to have misremembered the Christian name (though he got Rolland’s unfortunate surname right). And the source of the tale is an entry in the <a href="https://en.wikipedia.org/wiki/Book_of_Fees" target="_blank"><i>Liber Feodorum</i></a> (“Book of Fees”), a 1302 compilation of Exchequer entries of tenants-in-chief of the King. The entry in question runs thus (p. 1174):<br /><br /><span style="font-family: "times" , "times new roman" , serif;"><i>Seriantia que quondam fuit Rollandi le Pettour in Hemingeston in comitatu Suff', pro qua debuit facere die Natali Domini singulis annis coram domino rege unum saltum et sifflettum et unum bumbulum, que alienata fuit per particulas subscriptas.</i><br /><br />“The following (lands), which formerly were held of Rolland the Farter in Hemingston in the county of Suffolk, for which he was obliged to perform every year on the birthday of our Lord before his master the king, one jump, one whistle, and one fart, were alienated in accordance with these specific requirements.”</span><br /><br />This service was perhaps less humiliating than it might sound, since after all, he performed it by royal command of his Majesty the King, and it was well-remunerated: 30 acres of land. Cheap rent, when you consider it. And — wait for it, folks — I learned that Rolland even has his own <a href="https://en.wikipedia.org/wiki/Roland_the_Farter" target="_blank">Wikipedia page</a>. So, an independent fortune that gave him freeman’s status, a modicum of fame down through the ages… which of us wouldn’t break wind on command for that? But alas, not all of us have been blessed with Rolland's peculiar talent.<br /><br /><b>Bibliography</b><br /><br /><span style="font-size: x-small;">CAMDEN, William. <i>Remains concerning Britain</i>. Thomas Moule (ed.). London: John Russell Smith, 1870.<br /><br />LYTE, H. C. M. (ed.). <i>Liber Feodorum. The Book of Fees, Commonly Called Testa de Nevill: Part 2, A.D. 1242-1293</i>. London: His Majesty’s Stationery Office, 1923.<br /><br />SIMPSON, A. W. B. <i>An Introduction to the History of the Land Law</i>. Oxford: Oxford University Press, 1961.<br /><br /></span></span>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-11689277683676094762019-04-10T15:53:00.002-04:002019-10-31T15:02:30.196-04:00The Birth of the Entail<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">My current reading has been delving rather (too) deeply into two main areas: Parliamentary law and English legal history. This post deals with aspects of the latter. If you are already an expert in this area and find my posts amateur performances, I apologize. I am an enthusiast, not an expert, so this isn’t aimed at you.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br />Let us begin our story in 1284, with a legal dispute between Hugh Deen and Simon of Londonthorpe. Hugh’s father William, had given a gift of land in Grantham to Alan of Winwell and his wife Cecily (in Baker’s version; Brand’s version has her name as Avice). Although it is not very clear in the records, Cecily was probably William’s daughter. William Deen’s gift was conditional: the land was given to Alan and Cecily Winwell and to the heirs begotten of their bodies. Upon failure of such issue, the land was to revert to William or his heir.<br /><br />In law, this sort of gift, usually to help a newly married couple set up in life, was called a <i>maritagium</i>, a marriage gift. Typically, in making such a gift to his daughter, the donor’s intent was to provide for her and her offspring from the marriage; it was also his intent that the land not end up being inherited by strangers who were not of his blood. Hence, upon failure of issue, the gift would revert to the donor or his heirs instead of passing to the daughter's spouse and possibly his offspring from a subsequent marriage, or else alienated by him. Also, if he had simply given a gift of lands to her unconditionally, by law, as a married woman (or "femme covert") the land would have become alienable by the husband. Making the gift conditional was supposed to keep this from happening<br /><br />In the law of the time, if the wife died before the husband, and they had issue at some point (even if the issue did not survive them), the husband was entitled to retain possession of whatever lands belonged to his wife in fee for the remainder of his life, before it passed to her heirs. This was called the right of <i>curtesy</i>. Here is <a href="https://en.wikipedia.org/wiki/Fleta" target="_blank"><i>Fleta</i></a> <i></i>on this point (Bk. III, c. 11):</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">“And although mention may be made in a gift that the land is given to such-and-such a man in marriage with such-and-such a woman, the property given is, however, the freehold of the wife’s and not the husband’s, since he has nothing but the custody of it, with his wife, until the freehold [in this case, a life estate] accrues to him by the curtesy of England.”</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />He could not alienate it, nor could his children from a subsequent marriage inherit it. There was however, some question as to whether the lands held by the wife through such a gift were held in fee. It’s an important question from her husband’s point of view: if they were seised in fee (i.e. owned outright), he could hold them for life by right of curtesy after her death. If, however, the wife was not seised in fee of the gifted lands, then after her death they would revert to the donor. <i>Fleta</i> seems to imply that the former is the case; the wife is seised of gifted lands in fee, having at least a life estate that will pass to her heirs, and so the widowed husband may continue to hold by curtesy. There seems to have been, however, some disagreement on this, at least prior to 1285.<br /><br />To return to <i>Deen v. Londonthorpe</i> (1284). At their deaths, Alan and Cecily Winwell had no living issue, and the land passed to whoever was Cecily’s next legal heir. To cut a long story short, it ended up in the hands of Simon of Londonthorpe and his wife Isobel. As the heir of William Deen, the donor, Hugh Deen, sued them on a writ of formedon, specifically, formedon <i>in the reverter</i>. This was a legal action brought by a donor or his heirs for the return (reversion) of a gift upon failure of some condition of that gift, for instance, failure of issue or alienation against the intent of the donor.<br /><br />(The term “formedon” comes from Old French <i>forme don</i>, from the Latin <i>forma dona</i>, “form of the gift”.)<br /><br />According to Hugh, the form of his father’s gift required the land to revert to him or his heir (i.e. Hugh himself) should the Winwells die without issue. However, the wording here is ambiguous. Does “die without issue” have the narrow sense of “have no issue alive <i>at the time of death</i>”, or the broader sense of “<i>never</i> had issue”? There is no disputing that if Alan and Cecily had issue living at their deaths, that issue would inherit. The question is, what happens in the case where the Winwells outlived their children?<br /><br />Simon’s lawyers, Pageman and Arnisby, argued that, contrary to the wording of the plaintiff’s writ, the Winwells did at some point have a son and a daughter, and therefore had issue. The writ therefore is premised on a factual mistake and should be void. They also argued that the issue having died before their parents is irrelevant because, supposing a point in time when the issue were still alive, at that time, Alan and Cecily would have had issue of their bodies living and therefore could have lawfully alienated the lands. In other words, at that point in time they had gained a freehold by <i>fulfilling the condition of the gift</i>, and this freehold staid with them after their children were dead.<br /><br />Regarding the first part of this defense, that the plaintiff’s writ of formedon made the false claim that Alan and Cecily did not have hairs of heir bodies, the judge shoots this down:</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">“SAHAM. The writ says that they died without heirs begotten of their bodies, and does not say that they had no heir of their bodies (as your argument supposes).”</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />In other words, Saham, J read the writ as making the narrower claim that Alan and Cecily did not have heirs of their bodies <i>at the time they died</i>, which is presumed to be factually correct. Therefore, on this count, the writ is valid.<br /><br />At this point, Deen’s lawyer, Fishburn, makes the following argument: Neither of the Winwell's children, while their parents were alive, could claim the inheritance. Therefore, the children were <i>never</i> heirs, and could only have become so at the moment they survived their parents, which never happened. During their lives, the children had no title to pass on. Therefore, contra the terms of the original gift, Alan and Cecily failed to have <i>heirs</i> begotten of their bodies. Therefore, the gift ought to revert to the donor’s heir, Hugh Deen.<br /><br />It is here that the judge interjects with the following terse and enigmatic remark:</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">“SAHAM. Say something else.”</span></span><span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br />It is not immediately clear to whom he is speaking. If to Fishburn, it is equally unclear whether he’s speaking approvingly or disapprovingly. In other words, he could either be reacting to Fishburn’s argument with either (i) “Interesting… go on, I’m listening” or (ii) “Terrible argument. Hopefully you have something better.”<br /><br />However, Brand’s translation of Saham’s remark is “Answer over” (<i>respondeat ouster</i>, “let him make further answer”), thus implying that he is actually speaking to Simon’s lawyers, requiring them to offer something in response to Fishburn’s argument.<br /><br />And it is here that Pageman, for the defendant, responds with his trump card. It turns out, you see, that Alan and Cecily <i>did</i> have a daughter named Alice who outlived them and took up the inheritance, alienating a part of it (to Simon?). Judgment for the defendant.<br /><br />It was rather a neat ending, at least for for the defense, but unfortunately for us, it lacks resolution of a core issue. If it had instead been the case that Alan and Cecily lacked living heirs begotten of their bodies <i>at their deaths</i>, we would like to know which of the following two positions justice Saham would have favoured:<br /><br />1. Alan and Cecily had no heirs of their bodies begotten. Therefore, <i>by the form of the gift</i>, the land reverts to the donor, or to his heir Hugh Deen. Neither Alan nor Cecily could alienate the land, and any such alienation (e.g. to Simon of Londonthorpe) was unlawful. Nor can Alan continue to inhabit the lands by curtesy should Cecily outlive him, because the latter was not seised in fee (though this latter point is disputable).<br /><br />2. Alan and Cecily had children who all died before them. At some point though, while the children were alive, Alan and Cecily did have heirs begotten of their bodies, and therefore they had <i>satisfied the condition of the gift</i>, thereby gaining a freehold. The gift was complete. The donor and his heirs no longer had a right of reversion, and Alan and Cecily could alienate the land as they saw fit, or else it would pass to whoever ended up being Cecily’s lawful heir. Meanwhile, if Cecily died before Alan, Alan could continue to hold the land by curtesy until he died.<br /><br />From the record, it seems like, up until Simon’s lawyer played his trump card, justice Saham was perhaps leaning towards the first position. However, for whatever reason, the tendency up to the time of this case in 1284 was that courts were increasingly leaning toward the second position. They were more often favouring an (over)literal interpretation that seemed to ignore what was thought to be the clear intention of the donor and the form of the gift itself. People who wished to make such conditional marriage gifts were rightly becoming hesitant to do so, because there was no guarantee their wishes would be observed by the courts.<br /><br />It was felt that legislation was required. This came in 1285, in the form of c. 1 of the Statute of Westminster II, called <i>De Donis Conditionalibus</i> (“Of Conditional Gifts”). It enacted that the donees cannot alienate the gift, regardless of whether they have issue, or whether or not said issue survives them. It explicitly made the first position, above, the law of the land, protecting both the intentions of the donor and the interests of the donee’s descendants. If issue survives, issue inherits, by the form of the gift. If not, it reverts to the donor or his heirs, again by the form of the gift. Naturally, this implies the need for two different writs of formedon (“form of the gift”).<br /><br />Remember, before <i>De Donis </i>there was already a writ of formedon <i>in the reverter</i>, which Hugh Deen used in his attempt to recover the reversion of the gift to the donor. Now, in addition, <i>De Donis</i> also offered a writ of formedon <i>in the descender </i>specifically for descendants of donees to recover alienated lands. As long as descendants had an action of formedon against the donees, the donees were prevented from alienating, and could have at most a life estate. This was essentially the birth of the entailed estate — which underpinned the first season of <i>Downton Abbey</i>. <br /><br />However, it became settled law that such a conditional gift could only bind for three generations of descent before it would be inherited in fee simple.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">And incidentally, justice William de Saham's career ended in 1290 when he was convicted of judicial misconduct. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><b>Postscript</b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />The author of <i>Fleta</i>, writing in the 1290s, seems to contradict himself on the subject of <i>De Donis</i>. Of the statute, he writes (Bk. II, c. 9),</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">“If a gift should be made to someone, with his wife, ‘to have and to hold, to him and the heirs whom they lawfully beget between them’, it follows that the donor wishes such heirs to succeed as are within [both] paternal and maternal inheritance, to the entire exclusion to their other heirs more remote. And that the intention of the donor should be observed appears clearly by this statute.”</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />All fine. However, in a passage only a few paragraphs further down, the author writes that in making a gift,</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">“if you say thus, ‘I give such-and-such an amount of land with appurtanances to have and to hold to you and your heirs, if you shall have heirs of your body’, and if I should beget such heirs, even though they should fail, nevertheless other heirs of mine, however remote, will succeed me <i>ad infinitum</i>, because the condition has been satisfied. But before they are begotten the property given to me will be simply a freehold [i.e. a life estate] and after my death it will revert to you as the donor…”</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />The former passage reflects the post-<i>De Donis</i> position favouring Hugh Deen, while the latter passage seems to be a relic of the pre-<i>De Donis</i> period, favouring Simon of Londonthorpe. How do we reconcile this contradiction?<br /><br />It is possible that the author of <i>Fleta</i> slipped up. The work is a sort of crib and commentary on an earlier author, <a href="https://en.wikipedia.org/wiki/Henry_de_Bracton" target="_blank">Bracton</a>, and so after correctly stating the post-<i>De Donis</i> law, perhaps he accidentally left in the contradicting passage from Bracton that states the earlier law.<br /><br />The context of the passage is this: <i>Fleta</i>/Bracton was making a point about the formal language of the conditional gift. If the gift says (i) “I give such-and-such an amount of land with appurtanances to have and to hold to you and your heirs, <b>so that</b> [<i>ut</i>] you shall have heirs of your body”, the gift passes an absolute estate to the donee <i>without condition</i>. Whereas, if the gift says (ii) “I give such-and-such an amount of land with appurtanances to have and to hold to you and your heirs, <b>if</b> [<i>si</i>] you shall have heirs of your body”, the “if” represents a <i>condition</i>, which as soon as met, passes the estate to the donee. It does shed a little light on the seemingly counterintuitive pre-<i>De Donis</i> interpretation of the conditional gift.<br /><br /><b>Bibliography</b><br /><br /><span style="font-size: x-small;">ANONYMOUS. <i>Fleta (Vol. III: Book III and Book IV)</i>. London: H. G. Richardson and G. O. Sayles (trans.). London: Selden Society, 1972, pp. 14-15, 20.<br /><br />BAKER, Sir John. <i>Sources of English Legal History: Private Law to 1750 (2nd edition)</i>. Oxford: Oxford University Press, 2010, pp. 47-48.<br /><br />BRAND, Paul (ed.). <i>Earliest English Law Reports, Vol. III: Eyre Reports to 1285</i>. London: Selden Society, 2005, p. 110.</span></span><br />
<br />Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-4911118524660293532019-03-15T16:21:00.000-04:002019-10-31T15:21:18.470-04:00Patriarcha Redivivus<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">A great conservative thinker (Burke) once said of another, “Who now reads Bolingbroke? Who ever read him through?” For context, Burke was referring specifically to Lord Bolingbroke’s posthumous <i>philosophical </i>writings, which, it is true, are not much read or indeed worth reading. But his political writings are another matter, which I perhaps shall expand upon in some future post.<br /><br />I would apply Burke’s assessment of Bolingbroke’s reputation to another great conservative thinker, though perhaps with more justification: <i>Who now reads Filmer? Who ever read him through?</i><br /><br />Sir Robert Filmer (1588-1653) is best known today, if known at all, as the author whom John Locke attacked in his <i>Two Treatises of Government</i> (1689) for his supposedly crackpot views on the divine right of Kings having been derived from Adam through the Old Testament patriarchs. I was forced to read Locke’s <i>Two Treatises</i> in university, but I was never made to read Filmer. Had I done so, I would have discovered that the latter serves as a straw man for the former. My Whiggish educators would not have allowed that to happen, especially had any of them read Filmer themselves, which I suspect they hadn’t. So inconsequential is Filmer considered, that he doesn’t warrant an entry in the <a href="https://plato.stanford.edu/" target="_blank">Stanford Encyclopedia of Philosophy</a>.<br /><br />Philosophical reputation can be a faddish thing. It is very much subject to the pressing concerns and fickle fancies of each generation of philosophers. There was a time when David Hume was considered to be a historian. If recognized at all as a philosopher, it was as one that was bad, mad, and dangerous to know. At the same time, Thomas Reid was considered to be a philosopher’s philosopher who spawned an extremely influential school (Scottish Common Sense philosophy). There was at that time no “Humean School” to speak of. As the English-speaking world became more skeptical, less deferential to authority, more inclined to scoff at moral and religious claims to truth, more <i>immoral </i>(or at least amoral), Hume’s star rose and Reid’s fell. And yet, for we happy few who have taken the time to read and engage with Reid’s thought, we might wonder whence this neglect of Hume’s great contemporary.<br /><br />Sometimes philosophy may hold an unflattering mirror up to society. But more often, society simply chooses the philosophical mirror it prefers to see itself reflected in. In modern times we have tended to choose very Whiggish mirrors.<br /><br />Those who know of Sir Robert Filmer at all typically know him exclusively at second hand, through the critiques of John Locke and perhaps Algernon Sidney. Reliance on these sources gives a mistaken impression of him. For one thing, these critiques rely heavily on one work of Filmer’s, <i>Patriarcha</i>, published posthumously in 1680. By then, Filmer had been dead for nearly 30 years, and in any case, <i>Patriarcha</i> was not the work he was best-known for in his lifetime, not the work upon which his earlier reputation was built. For that, one must turn to such works as <i>The Free-holders Grand Inquest</i> (1648), <i>The Anarchy of a Mixed or Limited Monarchy</i> (1648), or <i>Observations concerning the Originall of Government</i> (1652). It must be admitted however, that much in these works was borrowed from <i>Patriarcha</i>. And it must also be admitted that since the 1980s there has arisen some controversy as to whether Filmer was actually the author of <i>The Free-holders Grand Inquest</i>. (If he didn’t write it, then the anonymous author was someone who thought, wrote, and argued very much like him.)<br /><br />Given the lapse of time between Filmer’s death and the critiques of Locke and Sidney, it should be noted that the latter were writing to a different generation, with different political concerns. While Filmer wrote in the context of the English Civil War, Sidney’s <i>Discourses concerning Government</i> (also published posthumously) was written during the Exclusion Crisis, as part of a campaign to keep the Catholic James, Duke of York from succeeding his brother on the English throne. Locke’s <i>Two Treatises</i> (1689) was published during the so-called “Glorious Revolution” that replaced James II (the aforementioned Catholic Duke of York) with his daughter Mary and her Dutch husband William III. Actually, Locke’s work was written earlier, during the Exclusion Crisis. As Peter Laslett, Locke’s greatest editor, convincingly argued, “<i>Two Treatises </i>is an Exclusion Tract, not a Revolution Pamphlet” (p. 61). In any case, whether these were Exclusion or Revolution tracts, they were trying roughly to achieve the same thing: delegitimize the (hereditary) Stuart claim to the throne by attacking a prominent defender of it.<br /><br />Filmer is portrayed by Locke and Sidney as rather a ridiculous figure, a slightly cretinous old reactionary with crack-brained ideas about the King being God’s anointed through descent from Adam. That portrayal has essenitally continued to this day. In a review of a then-new edition of Filmer’s works, Christopher Hill, eminent 20th-century Marxist historian of the English Civil War period, cannot help making a snide little jab at Filmer (and Tories in general) when he wrote that “Filmer’s theory was the best the Tories could produce in the decisive decade 1678-88.” Again, it seems we’re meant to save ourselves the trouble of reading something not worth reading.<br /><br />Hill’s words paper over the fact that through that same decade the Whigs hadn’t fared much better; they too stooped to grave-digging, resurrecting long-dead authors to support their cause. Philip Hunton’s <i>A Treatise of Monarchy</i> (1643) comes to mind, which was reprinted in 1689, not long after Filmer’s works had been reissued. Entering this pair in the lists was ironic, for they had done battle previously: Hunton’s <i>Treatise</i> had already been ably answered by Filmer’s <i>Anarchy</i> years before. It seems both sides were scavenging old ideas to support their respective causes, as is attested by the outpouring of reprints of Civil War-era works on similar themes that were reprinted during the Exclusion Crisis and the "Glorious" Revolution (a large selection of which can be found scattered in the pages of the <a href="https://en.wikipedia.org/wiki/The_Harleian_Miscellany" target="_blank"><i>Harleian Miscellany</i></a>, for those who are interested).<br /><br /> If Filmer was as obtuse and not worth reading as Locke, Sidney, Tyrrell, <i>et al</i>. have portrayed him (and as Christopher Hill implies), then why did they put themselves to the trouble of reviving and then attacking him? Why not let the poor deluded old man rest in peace? One reason was that the Tories had reprinted his previously published works in 1679, followed by an edition of his previously unpublished <i>Patriarcha</i> in 1680. The other reason was that Filmer’s ideas had proponents, influential ones. As Locke tells us in his preface,<br /><br /><span style="font-family: "times" , "times new roman" , serif;">“There was never so much glib Nonsence put together in well sounding <i>English</i>. If he [the reader] think it not worth while to examine his Works through, let him make an Experiment in that Part where he treats of Usurpation, and let him try whether he can, with all his Skill, make Sir <i>Robert</i> intelligible…. I should not speak so plainly of a Gentleman, long since past answering, had not the Pulpit, of late years, publickly owned his Doctrine, and made it the Currant Divinity of the Times.”</span><br /><br />Thomas Hobbes had also strenuously defended monarchy, though on different grounds than Filmer. However, Hobbes was also a notorious infidel, and could therefore be safely ignored by most in the 1680s. Indeed, some of his ideas – e.g. natural liberty in an original state of nature, the institution of government by contractual consent – had already been co-opted by the Whigs for their purposes, so that by a strange sublimation, what <i>had</i> been arguments for absolutism became the very core of liberal theory.<br /><br />Unlike Hobbes, Filmer was no outsider; he was a member of the landed gentry and he was an orthodox religionist who went out of his way to attack the infidel Hobbes. He was therefore taken up by clergymen in a way that Hobbes could not be. So every Sunday from pulpits across the land, the laity were being instructed by High Church preachers in the virtues of passive obedience to a monarchy instituted and sanctioned by God.<br /><br />Reading between the lines, one gets the impression that the Whigs felt they were losing the battle for hearts and minds. I suspect they were. But you’d never know it from the Whiggish triumphalism suffusing modern accounts of the Locke-Filmer debate. When I read Locke’s <i>Two Treatises</i>, I sense that the author’s seeming contempt is masking palpable ideological fear.<br /><br />I contend that Locke and Sidney misunderstand (willfully?) Filmer’s point. Filmer wasn’t claiming that Charles I literally derived his power from the biblical patriarchs. He was merely making the point that political obligation, specifically obligation to a monarch, was a basic anthropological phenomenon that pre-existed any supposed compact or agreement among the political community. Subjection to authority is and has always been a natural state, into which each of us is born; it is most commonly found in the subjection of child to parent, and forms our earliest “political” experience. (Note too, that unlike the Whiggish view of political subjection, this natural relationship is not based solely – or even mostly – on an implicit threat of violence.) The supposed Hobbesian/Lockean “natural freedom” in a state of nature, on the other hand, is mere fiction. Hence, writes Filmer, “Where subjection of children to parents is natural, there can be no natural freedom” (<i>The Anarchy</i>, p. 142). We do not spring up like mushrooms in the night, as fully-formed isomorphic liberal selves.<br /><br />Now this claim, that political authority is conceptually or analogously related to parental authority, is one that might be argued against on historical/factual grounds, but it is not an absurd or lunatic claim. The fact is, we each of us is born under authority, and we rarely question its legitimacy. So why are we so quick to question the legitimacy of existing <i>political</i> authority, especially in the form of a monarchy which had existed since time immemorial? Why the need to replace this common experience with an abstract and likely fictional account of an original social contract? It is ironic that, while Filmer was attacking the theorizing of Hobbes and others, who based political obligation upon a supposed social contract, Locke attempts to refute Filmer by offering — <i>a social contract theory</i>!<br /><br />Filmer was not alone in criticizing as a whimsical fiction this social contract view of the origins of political obedience. One of Locke’s antagonists, the underrated Edward Stillingfleet (1635-1699), Bishop of Worcester, made a similar point, writing “Every new modeller of government hath something to offer that looks like reason, at least to those whose interest it is to carry it on: and, if no precedents can be found, then they appeal to a certain invisible thing called, <i>The Fundamental Contract of the Nation</i>, which, being no where to be found, may signify what any one pleaseth” (quoted in Hatsell, Vol. II, p. 72).<br /><br />As already noted, it was in part the later preaching of Filmerian doctrine from the pulpits by clergyman such as Stillingfleet that spurred Locke to write his <i>Two Treatises</i>. But contrary to prevailing prejudices, it was not just clergyman and High Church Tories who were skeptical of Whiggish social contract doctrines. Chief Justice Matthew Hale (1609-1676), no High Church clergyman, and someone respected by Whig and Tory alike, wrote of England that “the original pact whereby this kingdom was settled appears not, neither have we reason to believe there was any extant, it having been so ancient a kingdom… and therefore should we make our estimate of the nature and extent of the government by that, we should be at a loss” (p. 8). So at least some of Filmer’s doctrines were establishment rather than fringe ideas, contrary to how Filmer’s legacy is portrayed by today’s Whiggish scholars.<br /><br />I implied above that Locke and Sidney <i>willingly</i> misunderstood Filmer. First, as mentioned, they mostly chose to criticize one work, the posthumous <i>Patriarcha</i>. Secondly, they chose to overemphasize and mischaracterize the notion that the monarch’s authority is an estate handed down from the biblical patriarchs, who derived it from Adam. The edition of <i>Patriarcha</i> I have is 64 pages long. Only one part of the first chapter, a passage totaling about 9 pages, contains what is commonly supposed to be his central tenet, that monarchy is derived from the paternal authority of the Old Testament patriarchs and ultimately from Adam. There is as much Roman as there is Old Testament history in the work, <i>and there is more English constitutional history than either </i>(roughly 20 pages).<br /><br />Indeed, Filmer demonstrates a much deeper knowledge of English constitutional history and precedent than either Sidney or Locke. In this regard, I find Locke in particular appallingly ignorant of the constitutional law and customs of his own country. This is not atypical of philosophers, who rarely let facts stand in the way of a good theory. Stillingfleet’s words, quoted above, are instructive here: Locke is one of those “new modellers” of government who, lacking precedents (largely due to his legal-constitutional ignorance), appeals to a fictional contract, which serves as the black box for whatever preconceived theory he wishes to pull out of it. There is a grain of truth to this claim, for it certainly is interesting that different social contract theorists manage to generate vastly different ideal political systems from the same basic theoretical machinery. Locke’s ideal commonwealth is radically different from Hobbes’, Hobbes’ is radically different from Rousseau’s, and Rawls’ is vastly different from Nozick’s. What all of them do have in common is a readiness to make vast quasi-anthropological claims on pretty thin empirical grounds (though to be fair, Filmer is guilty of this too).<br /><br />In his use of constitutional history and precedent, Filmer has been accused of unoriginality, relying heavily on other sources. If so, then it merely shows that better minds than his were already thinking along the same lines about monarchy, sovereignty, and political authority. For example, one of Filmer’s sources was the antiquarian Sir Robert Cotton (1571-1631). In a short and accessible posthumous work, <i>The Antiquity and Dignity of Parliaments</i> (again, one of those earlier unpublished works that was dug up and published in 1679), Cotton presents a comprehensive range of precedents, in chronological order. They are all marshalled to show very convincingly that the inclusion of the commons in Parliament was a relatively recent development, and that Parliament was always intended to be no more than an advisory body to the King, summoned and dissolved at his pleasure. The King was placed in a position above the law, his sovereignty undivided. This is essentially Filmer’s view of the matter, and <i>The Free-holders Grand Inquest</i> could have been written by Cotton.<br /><br />The cartoonish Whig depiction of Filmer, as a crazed or semi-retarded old religious zealot, whose defense of his King relies mostly or solely on Old Testament patriarchy, goes back a lot further than Locke and Sidney. Just a few years after Filmer’s death, we find Marchamont Nedham writing that “Those Men that deny this Position [that the origin of legitimate government rests with the people], are fain to run up as high as <i>Noah</i> and <i>Adam</i>, to gain a pretence for their Opinion: alledging, That the primitive or first Governments of the World were not instituted by the consent and election of those that were governed” (<i>The Excellencie of a Free-State</i> (1656), p. 70). Nedham was writing before <i>Patriarcha</i> was published. His editor, Blair Worden, believes that the reference is to Filmer’s <i>The Anarchy of a Limited or Mixed Monarchy </i>(1648). Assuming so, then just as with Filmer’s Whig critics a quarter of a century later, Nedham’s characterization of his argument’s reliance on Old Testament patriarchy is absurdly overblown. The edition of <i>The Anarchy</i> I have in my hand is forty pages long. Of that, passages reliant on biblical history, taken together, account for roughly <i>two pages</i>. Classical and contemporary references vastly outnumber scriptural ones. Indeed, if Filmer’s <i>Anarchy </i>was so reliant on Scripture, one would expect him to have chosen a verse or two of Scripture for his epigraph. Instead, he chose a couple of lines from Lucan’s <i>Pharsalia</i>.<br /><br />Nedham seems to have been a man of rather flexible political convictions; he held them strongly and eloquently, but only until it was no longer in his interest to hold them. He wrote The <i>Excellencie of a Free-State</i> during his second period as a Commonwealthsman, after a stint as a Royalist propagandist. In it he argued that the end of government being the good of the people, the people ought to govern themselves, because “they best know where the shooe pinches” (p. 25). Therefore, he advocated a unicameral government by a representative popular assembly. As a conservative, someone like me might wonder whether Nedham’s claim is strictly true. <i>Do</i> the people always best know where the shoe pinches? And are they necessarily best placed to know how to what's causing it and how to <i>fix</i> it? After all, not every wearer of a shoe is a shoemaker.<br /><br />It is a perennial theme of conservative jeremiads that “the people” (or “the mob”) are fickle and turbulent. Hence the need for a form of energetic government with a strongly concentrated sovereignty. For many centuries monarchy was that form of government. It is perhaps hard for us now to understand the monarchist mindset, and we are surprised when we see atavistic manifestations of it in the form of broad popular support for a Putin, a Duterte, or a Trump. But most of the people who have ever existed, have lived and died under the rule of monarchs. With this in mind, we might be a little more charitable when approaching thinkers such as Filmer, for whom monarchy was <i>natural </i>in the strongest sense.<br /><br /><b>Bibliography</b><br /><br /><span style="font-size: x-small;">COTTON, Sir Robert. <i>The Antiquity and Dignity of Parliaments</i> (1679). Reprinted in <i>The Harleian Miscellany</i>, Vol. VIII, pp. 216-228. London: Robert Dutton, 1810.<br /><br />FILMER, Sir Robert.<i> Patriarcha and Other Writings</i>. Johann P. Sommerville (ed.). Cambridge: Cambridge University Press, 1996.<br /><br />HALE, Sir Matthew. <i>The Prerogatives of the King</i>. D. E. C. Yale (ed.). London: Selden Society, 1976.<br /><br />HATSELL, John. <i>Precedents of Proceedings in the House of Commons (4 vols.)</i>. London: Luke Hansard, 1818.<br /><br />HILL, Christopher. Review of <i>Patriarcha and Other Political Works of Sir Robert Filmer</i> (Laslett, ed.). <i>History</i> 37.130 (1952), 166.<br /><br />HUNTON, Philip. <i>A Treatise of Monarchy</i>. Reprinted in <i>The Harleian Miscellany</i>, Vol. IX, pp. 321-371. London: Robert Dutton, 1810.<br /><br />LOCKE, John. <i>Two Treatises of Government</i>. Peter Laslett (ed.). Cambridge: Cambridge University Press, 1988.<br /><br />NEDHAM, Marchamont. <i>The Excellencie of a Free-State</i>. Blair Worden (ed.). Indianapolis: Liberty Fund, 2011.<br /><br />SIDNEY, Algernon. <i>Discourses concerning Government</i>. Thomas G. West (ed.). Indianapolis: Liberty Fund, 1996.<br /><br />TYRELL, James. <i>Patriarcha non Monarcha: The Patriarch Unmonarch’d</i>. London: Richard Janeway, 1681.</span></span><br /><br />Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-62385780260487326922019-02-08T16:04:00.001-05:002019-02-08T16:04:59.453-05:00The Spectacled Avenger’s Reading List, 2018<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, "Times New Roman", serif;">In keeping with New Year’s tradition on this blog, below is a list of books I read last year. Obviously, we’re already into February now, so I must apologize for the lateness of this post, and the paucity of posts generally. My main excuse is that a little over a year ago I was promoted to a new position at work, one with a steep learning curve. Complicating this was that for close to three months my old position went unfilled, so I was effectively doing both jobs (further complicated by a stint on jury duty!). Hence, I had little time or energy for blogging.<br /><br />This also partly explains the shorter reading list this year. I had less time for reading as well — though thanks to a long commute on public transit, as well as a lack of enthusiasm for smartphones and social media, I still get more reading done than the average person.<br /><br />It wasn’t just work that curtailed the list. This year I acquired nine volumes of the 1808-1811 edition of the <a href="https://en.wikipedia.org/wiki/The_Harleian_Miscellany" target="_blank"><i>Harleian Miscellany</i></a>. For those unfamiliar with it, this is a large collection of scarce pamphlets and manuscripts from the vast library collected by Robert Harley, Earl of Oxford (1661-1724) and his son Edward. My method of reading this is what I would call “grazing”. I draw a volume at random from the shelf, scan the table of contents for a pamphlet that looks promising, and then read it. I have devoted many pleasurable hours to this activity, particularly in the past six months. But since I never completely read a volume systematically, from cover to cover, these extensive Harleian ramblings are not recorded in the list below.<br /><br />So, in terms of quantity, there are 64 items on this year’s list. Although that’s nothing to sniff at, to put it in context, last year – a more typical one – I read 83.<br /><br />In terms of <i>content</i>, there is less fiction than the previous two years, though it’s still represented (e.g. Austen, Brown, Fitzgerald, Hogg, Sterne). Poetry is also well-represented (though it usually is): Horace, Wordsworth, Herbert, Marlowe, and Golding’s translation of Ovid. Unlike in 2017, there are no plays.<br /><br />Prominent are books on parliamentarianism & parliamentary history (e.g. Chandler, Timberland, Bradshaw, <i>Robert’s Rules of Order</i>, <i>Bourinot’s Rules of Order</i>, Jefferson’s <i>Manual</i> and the <i>Rules of the House of Representatives</i>). Without boring you with details, this is partly out of professional interest, stemming from my new position. But I also found it very interesting reading, and I think it is a trend that will continue this year.<br /><br />Other than that, there are no prominent patterns to my reading this year, except perhaps for a slight tilt towards 17th-century English Toryism and Anglicanism: Lord Clarendon, Richard Hooker, <i>The Book of Common Prayer</i>, Charles I’s <i>Eikon Basilike</i> (as well as Jeremy Taylor sermons, which won’t appear until next year’s list, as I’m still reading them).<br /><br />As with previous years’ lists, those books that I particularly enjoyed are <b>bolded</b>.<br /><br />* * * *<br /><br /><span style="font-size: x-small;">ALDERSEY-WILLIAMS, Hugh. <i>The Adventures of Sir Thomas Browne in the 21st Century</i>. London: Granta Publications, 2015.<br /><br />AUBREY, John. <i>John Aubrey’s Brief Lives</i>. Richard Barber (ed.). London: The Folio Society, 1975.<br /><br /><b>AUSTEN, Jane.<i> Pride and Prejudice</i>. London: Folio Society, 1975.</b><br /><br />BERKELEY, George. <i>A Treatise concerning the Principles of Human Knowledge, and Three Dialogues between Hylas and Philonous</i>. London: Jacob Tonson, 1734 (facsimile, Menston, UK: Scolar Press, 1971.<br /><br />BLAKE, Sara. <i>Administrative Law in Canada (5th edition)</i>. Markham, ON: LexisNexis, 2011.<br /><br /><b>BRADSHAW, Kenneth and David PRING. <i>Parliament and Congress</i>. London: Quartet Books, 1973.</b><br /><br />BROWN, Charles Brockden. <i>Arthur Mervyn: or, Memoirs of the Year 1793</i>. Kent, OH: Kent State University Press, 1980.<br /><br />BUCK, George. <i>The History of the Life and Reigne of Richard the Third</i>. London: W. Wilson, 1647 (facsimile, London: EP Publishing, 1973).<br /><br />BURTON, Robert. <i>The Anatomy of Melancholy (Vol. II)</i>. London: Everyman Library, 1932.<br /><br /><b>CHANDLER, Richard (ed.). <i>The History and Proceedings of the House of Commons (Vol. I: 1660-1680)</i>. London: Richard Chandler, 1742.</b><br /><br />CHARLES I. <i>Eikon Basilike, or The King’s Book</i>. London: Alexander Moring, 1904.<br /><br /><b>CHURCH OF ENGLAND. <i>The Book of Common Prayer</i>. New York: Everyman’s Library, 1999.</b><br /><br />CLARENDON, Edward Hyde, Earl of. <i>The Life of Edward Earl of Clarendon (Vol. I)</i>. Oxford: Clarendon Press, 1817.<br /><br />COKE, Sir Edward. <i>Three Law Tracts</i>. William Hawkins (ed.). London: J. Worrall, 1764 (facsimile, Abingdon, UK: Professional Books Limited, 1982).<br /><br />COLERIDGE, Samuel Taylor. <i>Collected Works, Vol. 6: Lay Sermons</i>. R. J. White (ed.). London: Routledge and Kegan Paul, 1972.<br /><br /><b>CUMMINGS, Brian (ed.). <i>The Book of Common Prayer: The Texts of 1549, 1559, and 1662</i>. Oxford: Oxford University Press, 2011.</b><br /><br />DESCARTES, René. <i>Philosophical Essays and Correspondence</i>. Roger Ariew (ed.). Indianapolis: Hackett Publishing Company, 2000.<br /><br /><b>DISRAELI, Benjamin. <i>Tory Democrat: Two Famous Disraeli Speeches</i>. Sir Edward Boyle (ed.). London: Conservative Political Centre, 1950.</b><br /><br />FITZGERALD, F. Scott. <i>Tales of the Jazz Age</i>. New York: Charles Scribner’s Sons, 1966.<br /><br />GODWIN, William. <i>The Enquirer: Reflections on Education, Manners, and Literature</i>. London: G. G. and J. Robinson, 1797 (facsimile, New York: Augustus M. Kelley, 1965).<br /><br />GODWIN, William. <i>Enquiry concerning Political Justice (Vol. I)</i>. London: G. G. and J. Robinson, 1798 (facsimile, Toronto: University of Toronto Press, 1969).<br /><br />HART, H. L. A. <i>Law, Liberty, and Morality</i>. Stanford, CA: Stanford University Press, 1963.<br /><br />HAYEK, Friedrich A. <i>Law, Legislation and Liberty (Vol. 1: Rules and Order)</i>. Chicago: University of Chicago Press, 1973.<br /><br />HAYEK, Friedrich A. <i>Law, Legislation and Liberty (Vol. 2: The Mirage of Social Justice)</i>. Chicago: University of Chicago Press, 1976.<br /><br />HAYEK, Friedrich. A. <i>Law, Legislation and Liberty (Vol. 3: The Political Order of a Free People)</i>. Chicago: University of Chicago Press, 1979.<br /><br />HELVÉTIUS, Claude Adrien. <i>A Treatise on Man; His Intellectual Faculties and His Education (Vol. I)</i>. W. Hooper (trans.). London: Vernor, Hood and Sharpe, 1810 (facsimile, New York: Burt Franklin, 1969).<br /><br />HELVÉTIUS, Claude Adrien. <i>A Treatise on Man; His Intellectual Faculties and His Education (Vol. II)</i>. W. Hooper (trans.). London: Vernor, Hood and Sharpe, 1810 (facsimile, New York: Burt Franklin, 1969).<br /><br />HERBERT, George. <i>The Complete English Works</i>. Ann Pasternak Slater (ed.). New York: Everyman’s Library, 1995.<br /><br />HESIOD. <i>Theogony, Works and Days, Testimonia</i>. Glenn W. Most (trans.). Cambridge, MA: Harvard University Press, 2006.<br /><br />HOGG, James. <i>The Private Memoirs and Confessions of a Justified Sinner</i>. John Carey (ed.). London: Oxford University Press, 1969.<br /><br />HOOKER, Richard. <i>The Works of that Learned and Judicious Divine, Mr. Richard Hooker, Containing Eight Books of the Laws of Ecclesiastical Polity (Vol. I)</i>. Oxford: Clarendon Press, 1807.<br /><br />HORACE. <i>A Poetical Translation of the Works of Horace (Vol. II)</i>. Philip Francis (trans.). London: W. Strahan et al., 1778.<br /><br />JOHNSON, Charles W. <i>Constitution, Jefferson’s Manual, and Rules of the House of Representatives of the United States (105th Congress)</i>. Washington, DC: U.S. Government Printing Office, 1997.<br /><br /><b>JOHNSON, Samuel. <i>A Journey to the Western Islands of Scotland (Works, Vol. IX)</i>. Mary Lascelles (ed.). New Haven, CT: Yale University Press, 1971.</b><br /><br />KEYNES, John Maynard. <i>The General Theory of Employment, Interest and Money (Collected Works, Vol. VII)</i>. London: Macmillan, 1973.<br /><br />LOCKE, John. <i>Questions concerning the Law of Nature</i>. Robert Horwitz, Jenny Strauss Clay, and Diskin Clay (eds. and trans.). Ithaca, NY: Cornell University Press, 1990.<br /><br /><b>LOCKE, John. <i>An Essay concerning Human Understanding</i>. Peter H. Nidditch (ed.). Oxford: Clarendon Press, 1990.</b><br /><br /><b>MARLOWE, Christopher. <i>The Poems</i>. Millar MacLure (ed.). London: Methuen and Co., 1968.</b><br /><br />MILL, John Stuart. <i>On Liberty</i>. New York: Everyman’s Library, 1992.<br /><br />OVID. <i>Ovid’s Metamorphoses: The Arthur Golding Translation 1567</i>. Philadelphia: Paul Dry Books, 2000.<br /><br />POPE, Alexander. <i>Selected Prose of Alexander Pope</i>. Paul Hammond (ed.). Cambridge: Cambridge University Press, 1987.<br /><br /><b>ROBERT III, Henry M., <i>et al</i>. <i>Robert’s Rules of Order Newly Revised (11th edition)</i>. Philadelphia, PA: Da Capo, 2015.</b><br /><br /><b>ROCHEFOUCAULD, François, Duc de La. <i>Maximes</i>. London: Arthur L. Humphreys, 1902.</b><br />ROWTHORN, Robert. <i>The Costs and Benefits of Large-scale Immigration: Exploring the economic and demographic consequences for the UK</i>. London: Civitas, 2015.<br /><br /><b>SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. <i>Standard Edition, III,1: Correspondence (Letters 1-100)</i>. Stuttgart-Bad Cannstatt: Frommann-Holzboog, 2018.</b><br /><br /><b>SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. <i>A Letter concerning Enthusiasm, to My Lord *****</i>. London: J. Morphew, 1708.</b><br /><br />SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. S<i>ensus Communis: An Essay on the Freedom of Wit and Humour</i>. London: Egbert Sanger, 1709 (facsimile, New York: Garland Publishing, 1971).<br /><br /><b>SHAFTESBURY, Nicholas Ashley-Cooper, 12th Earl of, and Tim KNOX. <i>The Rebirth of an English Country House: St. Giles House</i>. New York: Rizzoli, 2018.</b><br /><br /><b>SIDNEY, Algernon. <i>Court Maxims</i>. Hans W. Blom, Eco Haitsma Mulier, and Ronald Janse (eds.). Cambridge: Cambridge University Press, 1996.</b><br /><br /><b>SMITHERS, Peter. <i>The Life of Joseph Addison (2nd edition)</i>. Oxford: Clarendon Press, 1968.</b><br /><br /><b>SPENCE, Joseph. <i>Observations, Anecdotes, and Characters of Books and Men (Vol. I)</i>. James M. Osborn (ed.). Oxford: Clarendon Press, 1966.</b><br /><br />STANFORD, Geoffrey. <i>Bourinot’s Rules of Order (4th edition)</i>. Toronto: McClelland and Stewart, 1995.<br /><br />STEELE, Richard, Joseph ADDISON, et al. <i>The Tatler (Vol. IV)</i>. George A. Aitken (ed.). London: Duckworth and Co., 1899.<br /><br />STEELE, Richard, Joseph ADDISON, et al. <i>The Guardian</i>. John Calhoun Stephens (ed.). Lexington, KY: University Press of Kentucky, 1982.<br /><br /><b>STERNE, Laurence. <i>Tristram Shandy</i>. New York: Everyman’s Library, 1991.</b><br /><br />SUN TZU. <i>The Art of War</i>. Peter Harris (trans.). New York: Everyman’s Library, 2018.<br /><br /><b>TIMBERLAND, Ebenezer (ed.). <i>The History and Proceedings of the House of Lords (Vol. II: 1697-1714)</i>. London: Ebenezer Timberland, 1742.</b><br /><br /><b>TIMBERLAND, Ebenezer (ed.). <i>The History and Proceedings of the House of Lords (Vol. VI: 1738-1740)</i>. London: Ebenezer Timberland, 1742.</b><br /><br /><b>TIMBERLAND, Ebenezer (ed.). <i>The History and Proceedings of the House of Lords (Vol. VII: 1740-1741)</i>. London: Ebenezer Timberland, 1742.</b><br /><br /><b>TIMBERLAND, Ebenezer (ed.). <i>The History and Proceedings of the House of Lords (Vol. VIII: 1741-1743)</i>. London: Ebenezer Timberland, 1743.</b><br /><br /><b>VANCE, J. D. </b><i><b>Hillbilly Elegy: A Memoir of a Family and Culture in Crisis</b></i><b>. New York: Harper, 2016.</b><br /><br /><b>WALPOLE, Horace. <i>Selected Letters</i>. Stephen Clarke (ed.). New York: Everyman’s Library, 2017.</b><br /><br />WHICHCOTE, Benjamin. <i>Select Notions</i>. London: Israel Harrison, 1685 (facsimile, Menston, UK: Scolar Press, 1971).<br /><br />WORDSWORTH, William. <i>Selected Poems</i>. New York, Everyman’s Library, 2000.</span></span><br />
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<span style="font-family: Georgia, "Times New Roman", serif;"><span style="font-size: x-small;"><br /></span></span>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-72223019790493426102018-11-07T15:12:00.000-05:002018-11-12T09:07:00.808-05:00A Lifeless Load, a Nameless Thing<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5lJ7JJz2gdSMTku29glzW31WB1sY899TNaIFVbb1I4X2cuVeqrHEty_mgJGIoBuzKulLQsrcHCCsTJztlFlf9I0yGnyq45x27rbf62fhPGlSFpJw4Jfne5B0kX4UVMpQdFxvx_eWp8A/s1600/Priam.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="522" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5lJ7JJz2gdSMTku29glzW31WB1sY899TNaIFVbb1I4X2cuVeqrHEty_mgJGIoBuzKulLQsrcHCCsTJztlFlf9I0yGnyq45x27rbf62fhPGlSFpJw4Jfne5B0kX4UVMpQdFxvx_eWp8A/s320/Priam.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The death of King Priam</td></tr>
</tbody></table>
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<div style="text-align: left;">
</div>
<span style="font-family: "georgia" , "times new roman" , serif;">I am currently reading Joseph Spence’s (1699-1768) <i>Observations, Anecdotes, and Characters of Books and Men</i> (Oxford, 1966, “<i>Anecdotes</i>” for short). It is a large collection of table talk and backstairs gossip, harvested mostly from conversations Spence had with Alexander Pope and his circle. It contains some very funny anecdotes, one of my favourites being a story about the Duke of Marlborough’s legendary love of money. Shortly before his death, the old Duke was playing cards with Dean Jones one evening at Bath, and when they finished, he was up on his opponent by about sixpence. This obscenely wealthy magnate, the builder of that monstrous pile, Blenheim Palace, pestered Jones for that sixpence all evening. He claimed that he would be needing it to pay for a chair to take him home that night. Poor Jones told him he had no silver on his person, but he eventually broke down under Marlborough’s incessant nagging and somehow managed to make change from a guinea and thus paid the glorious Duke his sixpence. However, later that night it was observed that Marlborough opted to walk home instead, to save the cost of a chair (see <i>Anecdotes</i> #369).<br /><br />Besides these entertaining biographical tidbits, much of Spence’s <i>Anecdotes</i> is filled up with conversations in which Spence and Pope nerd out over the technical and critical aspects of the poetical arts. At some point in early May, 1744 there occurred the following exchange between the two men:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">“‘I did not use to like a verse in the <i>Iliad</i>,’ [said Spence,] ‘perhaps from its having a liquid in almost every word in it:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"> He lies, a lifeless Load, along the Land.’</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Aye [said Pope,] but that does not make it run on like a river-verse; it only weakens it. ‘Tis as the thing described, nerveless and yet stiff” (<i>Anecdotes</i> #399).</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Now, the line that so bothered Spence was Book XV, line 507 in Pope’s translation of the <i>Iliad</i>, describing the dead Lycophron, slain by Ajax. As consummate an artist and critic as Pope was, I am nevertheless compelled to side with Spence here, though perhaps for other reasons than his.<br /><br />First, despite Pope’s protestation to the contrary, the line does seem to run on in a slow meandering fashion. Indeed, the preponderance of “liquids” – the lack of hard consonants – does not merely “weaken” the line; it downright <i>kills</i> it. If Pope’s intent was to illustrate by sound the image of a “lifeless load”, he succeeded, though to ill effect in my opinion.<br /><br />Second, the problem is not merely that there is a preponderance of liquids; rather, there is a preponderance of <i>the same</i> liquid. The alliteration of “L” is overdone, and the overall effect is to give the line the grating sing-song quality of Middle English alliterative verse, thereby destroying whatever sense of loftiness the line was meant to convey. The line’s subject matter should make it point to the reader and say “This terrible thing has happened: laugh if you can.” Instead, the line is practically a burlesque and is more apt to invoke laughter than suppress it.<br /><br />Third, perhaps less importantly, the choice of “along” as a preposition is somewhat jarring. There seems to me to be an <i>active</i> quality to it that is out of keeping with something dead. One more often comes across the preposition “along” in tandem with an active verb, as in the following other examples from Pope’s works:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"> “On which a mimic Serpent <b>creeps along</b>”<br /> (<i>Iliad</i>, XI.50)<br /><br /> “Flies o'er th' unbending Corn, and <b>skims along</b> the Main.”<br /> (<i>An Essay on Criticism</i>, l. 373)<br /><br /> “A <i>needless Alexandrine</i> ends the Song,<br /> That like a wounded Snake, <b>drags</b> its slow Length <b>along</b>.”<br /> (<i>Ibid</i>. ll. 356-357)</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">A dead body neither creeps along, skims along, nor drags itself along. It just lies. And although I suppose it’s not grammatically incorrect to say a dead body may lie <i>along</i> something, it more typically lies <i>upon</i> it, as would a rock, a bag of sand, or some other weighty but lifeless object. These are passive things for which the default motivating force, if they can be said to have one at all, is the downward pull of gravity.<br /><br />Ironically, the last example – “That like a wounded Snake, drags its slow Length along” – has a similar lazy dulling effect as the “lifeless load” line that disgusted Spence, except that here the effect is intentional; it makes a point.<br /><br />Perhaps the most unfortunate thing about Pope’s lifeless line of lolling “liquids” is that in writing it, he knew of and was probably imitating a much better example. I refer to Dryden’s translation of Virgil’s <i>Æneid</i>, II.560-561, describing the dead body of King Priam:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"> “On the bleak Shoar now lies th’ abandon’d King,<br /> A headless Carcass, and a nameless thing.”<br /> (Dryden’s <i>Æneid</i>, II.762-763)</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">It is a haunting end to a great man, and my only quibble with the versification is that in the first line I would remove “now”, which really does no work, and expand the contracted second definite article, as in</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"> “On the bleak shore lies the abandoned King”</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">But this is a mere bagatelle. As they stand, the lines approach perfection, insofar as they most effectively evoke the terrible image of a great leader of men, whom “Monarchs like Domestick Slaves obey’d,” reduced to pointless carrion. The entire passage from which they are plucked raises up a sublime terror in the reflecting reader, who is left enveloped in a void silence.<br /><br />Curiously, as Pope (unsuccessfully) imitated his hero Dryden’s lines, Dryden was himself imitating Sir John Denham (1614-1669). “Imitating” is putting it charitably. In 1656, Denham published <i>The Destruction of Troy</i>, his translation of the first 561 lines of Book II of the <i>Æneid</i>. In it, we find the following couplet (ll. 547-548):</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">“On the cold earth lyes this neglected King,<br /> A headless Carkass, and a nameless Thing.”</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">If I may be allowed to end on a note of pettiness, mark that the King here lies <i>on</i> the cold earth, not <i>along </i>it.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Actually, I will not <i>quite</i> end there. As far as I can make out (for the geography is not entirely clear), in Dryden’s <i>Æneid</i>, Priam was killed by Pyrrhus upon an altar, presumably somewhere in his palace. Now, how did his body get from there to “the bleak shore” upon which it lay? I don’t have an answer, but I can’t help thinking that a reader of Dryden’s day might have thought, perhaps subliminally, of a different sense of the word “shore” here, for at that time it was also a slang term for a sewer, as in the following obscene lines from Lord Rochester, writing about a notorious London prostitute of his day:<br /><br /> <span style="font-family: "times" , "times new roman" , serif;"> “Bawdy in thoughts, precise in Words,<br /> Ill natur'd though a Whore,<br /> Her belly is a Bagg of Turds,<br /> And her C--t a Common shore.”</span><br /> <span style="font-family: "times" , "times new roman" , serif;"> (“On Mistress Willis,” ll. 17-20)</span><br /><br />The thought of great Priam’s corpse lying in such circumstances would make his death seem even more pathetic. Against this interpretation, however, is the fact that a body would normally lie <i>in</i> a sewer, not <i>on</i> it.<br /><br />So here lieth the lesson: As I discovered when trying to learn German many years ago, those little prepositions can mean everything. Indeed, to paraphrase Wittgenstein (or was it Lichtenberg?), an entire metaphysics might be drawn from them.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-15096233261164500162018-08-07T11:51:00.001-04:002018-11-13T09:55:15.318-05:00The New Family Compact<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">In 1837, in what is now Ontario but was then called “Upper Canada”, there was <a href="https://en.wikipedia.org/wiki/Rebellions_of_1837%E2%80%931838" target="_blank">a rebellion</a>. The rebels were fighting for the cause of representative government in a province which, at the time, was largely ruled by a relatively small clique of Tory landholders called the “<a href="https://en.wikipedia.org/wiki/Family_Compact" target="_blank">Family Compact</a>”. The extent to which members of this compact were related to each other has perhaps been exaggerated, but they were certainly socially tight-knit, forming a quite exclusive ruling class.<br /><br />The Whiggish interpretation of this history we learned in school was that although the rebellion was quickly put down, the cause for which the rebels fought eventually triumphed. It’s a comforting notion, but I’ve noticed of late that if it were ever true, it is becoming ever less so now. I was reminded of this by a bit of recent news.<br /><br />According to a July 18, 2018 <i>Toronto Star</i> <a href="https://www.thestar.com/opinion/star-columnists/2018/07/18/blayne-lastman-a-proof-political-dynasties-time-is-up.html" target="_blank">column</a>, Blayne Lastman, the son of vulgar furniture salesman and former Toronto Mayor Mel Lastman, was considering a run for his father’s old job (I should qualify by saying that Blayne is Mel’s <a href="https://newrepublic.com/article/115637/mel-lastman-torontos-offensive-adulterous-mayor-rob-ford" target="_blank"><i>legitimate</i></a> son). As the <i>Star</i> columnist rightly noted, “Why else but the sheer fact of his surname does a guy like Blayne Lastman feel comfortable declaring an interest in running for mayor without first presenting to the public a single coherent idea about how he will make the city a better place?” Blayne Lastman’s qualifications for office consist exclusively of a) running his family’s furniture store, and b) being the (legitimate) son of a former mayor.<br /><br />The last thing Torontonians, Ontarians, and Canadians need is another family dynasty. Our current family compact makes the old one seem quaint by comparison. Below is a sample of the familial rot in all three levels of government here in “Toronto the Good”. It is by no means an exhaustive list and could be significantly extended. It makes for sobering reading and goes far towards explaining the poor quality of governance in this city, this province, and indeed this nation. One wonders whether representative government really did triumph after 1837, or whether perhaps it is once again time for torches and pitchforks.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><i><span style="font-family: "georgia" , "times new roman" , serif;"><b>City of Toronto</b></span></i><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br /><b>Michael Ford:</b> Current Toronto councillor; nephew of Doug Ford, current Premier of Ontario and former Toronto councillor. Nephew of Rob Ford, former councillor and infamous crack-smoking Mayor of Toronto.<br /><br /><b>Josh Colle:</b> Current Toronto councillor; son of former Ontario MPP Mike Colle.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /><b>Joe Cressy:</b> Current Toronto councillor; son of former Toronto councillors Gordon Cressy and Joanne Campbell. Joanne had been Gordon’s executive assistant while he was on council, and was elected to his seat after he stepped down. She subsequently married him. Oh, if only the walls of some of those City Hall offices could talk, what tales they could tell…</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>Mike Layton:</b> Current Toronto councillor; son of Jack Layton, former Toronto councillor, former federal MP, and Leader of the Opposition. Jack was himself the son of former federal MP and cabinet minister Bob Layton. Mike's stepmother is also a former Toronto councillor.<br /><br /><b>Stephen Holyday:</b> Current Toronto councillor; son of Doug Holyday, former Toronto councillor.<br /><br /><b>Frances Nunziata:</b> Current Toronto councillor; sister of former federal MP John Nunziata.<br /><br /><b>Michelle Holland:</b> Current Toronto councillor; wife of former Toronto councillor and Ontario MPP Lorenzo Berardinetti.<br /><br /><b>Christin Carmichael Greb:</b> Current Toronto councillor; daughter of former federal MP John Carmichael.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>David Shiner:</b> Current Toronto councillor; son of former North York borough councillor Esther Shiner.<br /><b> </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Mike McCormack:</b> Current head of Toronto’s police union; son of former Toronto chief of police William McCormack. He has been the subject of several criminal charges during his career, including corruption, discreditable conduct, and insubordination. Untouchable criminal thug.<br /><br /><br /><i><b>Province of Ontario</b></i><br /><br /><b>Doug Ford:</b> Current Premier of Ontario and former Toronto councillor; uncle of current Toronto councillor Michael Ford; son of former Ontario MPP Doug Ford Sr.; brother of Rob Ford (see above, under Michael Ford).<br /><br /><b>Christine Elliott:</b> Current Ontario MPP and cabinet minister; widow of Jim Flaherty, former Ontario MPP and cabinet minister and former federal Minister of Finance.<br /><br /><b>Caroline Mulroney:</b> Current Ontario MPP and cabinet minister; daughter of former Canadian Prime Minister Brian Mulroney.<br /><br /><b>Mike Harris Jr.:</b> Current Ontario MPP; son of former Premier of Ontario Mike Harris.<br /><br /><br /><i><b>Government of Canada</b></i><br /><br /><b>Justin Trudeau:</b> Current Prime Minister of Canada; son of Pierre Trudeau, former Prime Minister of Canada.<br /><br /><b>Niki Ashton:</b> Current federal MP; daughter of Manitoba provincial cabinet minister Steve Ashton.<br /><br /><b>Daniel Blaikie:</b> Current federal MP; son of former federal MP Bill Blaikie. Serves in his father’s former riding.<br /><br /><b>Tony Clement:</b> Current federal MP and former cabinet minister; adopted son of former Ontario MPP and cabinet minister John Clement.<br /><br /><b>Diane Finley:</b> Current federal MP; widow of political operative and former Senator Doug Finley.<br /><br /><b>David McGuinty:</b> Current federal MP; brother of former Premier of Ontario Dalton McGuinty; son of former Ontario MPP Dalton McGuinty Sr.<br /><br /><b>Geoff Regan:</b> Current federal MP and Speaker of the House of Commons; son of former Nova Scotia Premier and accused sex offender Gerald Regan. His maternal grandfather was a federal MP.<br /><br /><b>Francesco Sorbara:</b> Current federal MP; relative of Greg Sorbara, former Ontario MPP and Minister of Finance. In Ontario, the extended <a href="http://www.cbc.ca/news/canada/ontario-finance-minister-quits-over-fraud-probe-1.553526" target="_blank">Sorbara clan</a> are a “family” in much the same sense that the Sopranos or the Gambinos are families. I could tell stories, but it’s safest not to.<br /><br /><b>Adam Vaughan</b>: Current federal MP and former Toronto councillor; son of Colin Vaughan, also a former Toronto councillor. It’s also worth noting that Adam succeeded his father as political reporter for a certain local television station back in 2000. A very famous mediocrity in Toronto politics.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>UPDATE:</i> Municipal elections were held on October 23, 2018, after the above was posted. First, the good news: Shiner, Holland, Colle, and Greb are out. Unfortunately, Colle was replaced by his father, Mike Colle. Now, the bad news: Due to the fact that for this election, the number of wards was reduced from 47 to 25, the proportion of Toronto council seats held by the family compact has increased, from 19.15% to 24%. Several incumbents were replaced by other incumbents, as the circle closed. In Vancouver, Pete Fry was elected to a seat on Vancouver's city council. Pete's mother is Vancouver-area federal MP and <a href="https://www.cbc.ca/news/canada/minister-apologizes-for-cross-burning-remarks-1.279168" target="_blank">race-baiter</a> Hedy Fry. Fry <i>mater</i> is currently the longest serving MP in the House of Commons, having been first elected in 1993 (term limits anyone?). Oh, and history was also made in this set of municipal elections, as it was the first time that <a href="https://www.thestar.com/news/gta/2018/10/24/wedded-to-education-and-each-other-married-trustees-make-tdsb-history.html" target="_blank">a married couple</a> were both elected as trustees for the Toronto District School Board - quite a feat, as they were elected in different wards. Since they live together, might one assume that perhaps the ward boundary runs right down the centre of the marital bed? In any case, another triumphant day for democracy in Canada.</span>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-88404470347006805842018-05-23T16:02:00.001-04:002018-05-23T16:02:38.570-04:00A Worthwhile Sacrifice?<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, "Times New Roman", serif;">In my previous post I narrated my experience with jury selection. I took especial care to emphasize the repeated attempts by judges and clerks alike to convince us that the sacrifice we were making as jurors and potential jurors was a noble one. I ended by proposing to reflect on whether it was a <i>worthwhile</i> one. I offer the fruits of my enquiry are below.</span><br />
<span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><b><span style="font-family: Georgia, "Times New Roman", serif;">A Just-So Story</span></b><br /><span style="font-family: Georgia, "Times New Roman", serif;"></span><span style="font-family: Georgia, "Times New Roman", serif;"><br />Once upon a time, long ago, the great majority of people lived on farms or in very small villages, where everyone knew everyone else. Back then, in this rural world, your neighbours didn’t just know your name. They knew your “business”. And there was a good chance you were related to most of them in some way.<br /><br />In this old-timey world, everything was intimate, but intimacy didn’t mean that everything was peaceful. Disputes can sometimes be all the uglier for being between relatives. Often there was a local court to deal with things, but sometimes it fell under the jurisdiction of Crown courts. Indeed, over time, the Crown came to absorb more and more of this local legal business (the law dispensed in these courts has come to be called “the common law”), as manorial courts fell into disuse. However, the Crown’s judges usually didn’t live in the village or district where a case arose, but rather travelled on circuit from place to place.<br /><br />Not being from the district, these judges could not be expected to know the local facts and details pertinent to a case, such as whether Blackacre farm had been in the possession of the Stiles family since the reign of King Richard I, or whether young John of Stiles had reached the age of majority. Perhaps a local old-timer remembers that young John was born during the great wind storm of – when was it? – at Blackacre, which his father owned at the time. Another old-timer remembers that the said storm occurred in the third year of Richard’s reign (1191), etc.<br /><br />Perhaps no single person in the district would know these things. But at least some from among a <i>group</i> of a dozen or so of them probably would. The judge would be the expert on what the <i>law</i> was, but this group of a dozen locals would be the experts on what the relevant <i>facts</i> were. Once the facts were determined, it was the judge’s job to apply law to facts.<br /><br />(Actually, the last statement is a mischaracterization. To be more precise, each party to the case would state their version of the relevant facts. Then the judge would instruct this group of locals on the law: if the jury finds the facts to be X, then the law says the jury must find for A. In this sense, the common law surprisingly has much in common with the old Roman formulary system.)<br /><br />In this just-so story, an institution such as a jury makes sense. So here is one justification for the jury system: <i>Juries possess the expertise to determine the facts of a case</i>.<br /><br />If this justification once held water, it doesn’t anymore. We live in a very urbanized society, what Friedrich Hayek referred to as a “Great Society”. In this society, my knowledge of my neighbor doesn’t extend much beyond her name. I know little about her “business”, and I know less about her personal history or circumstances. And I really know nothing about my fellow jurors.<br /><br />Indeed, so far have we drifted from this original purpose of a jury, that now jurors are specifically excluded from serving if they have any relevant personal knowledge of a case or its parties. In other words, in order to avoid any apprehension of bias or conflict of interest, we now in part select jurors for their very <i>ignorance</i> of the facts of a case.<br /><br />“But all is not lost,” the defender of the jury system might say. “We take a group of people selected at random, and together they ‘find’ the facts of a case. They decide which version of the facts presented seems most plausible to a group of people of average intelligence. And the randomness of their selection ensures that they embody the standards – moral and critical – of the average person. To use the famous legal expression, they embody the wisdom of ‘the man on the Clapham omnibus’.”<br /><br />There are at least two problems with this. First, the process of jury selection is far from random. The system of <i>voir dires </i>and peremptory challenges means that jurors are really selected for any number of traits and characteristics, among which are rarely if ever included intelligence or “reasonableness”. Second, unlike in our just-so story, in a modern “Great Society” neither the judge nor the juror has any special expertise with regard to the facts. Yet, we must have <i>someone</i> act as the arbiter of what is the case. Let us drop our first objection for the moment and assume that the jury <i>is </i>randomly selected and therefore of average intelligence and “reasonableness”. We therefore leave it to them to be our arbiters of fact. Now I ask, why should we settle for <i>average</i>? In what other sphere of public life is intellectual mediocrity regarded as a positive virtue, even a qualification for office? Would we not be better served by having the facts decided by someone of <i>above</i>-average intelligence? And if it is safe to assume that an educated and trained judge is of above average intelligence, why not have the judge decide both law <i>and</i> facts, thereby dispensing with juries altogether?</span><br />
<span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><b><span style="font-family: Georgia, "Times New Roman", serif;">A Bulwark against Tyranny</span></b><br /><span style="font-family: Georgia, "Times New Roman", serif;"></span><span style="font-family: Georgia, "Times New Roman", serif;"><br />Here is another justification that has been offered for the jury system: It acts as a barrier to despotic or corrupt action by the Crown through its judges. Let us separate these two things, despotism and corruption, for we are really dealing with two different arguments.<br /><br />Worries about judges acting despotically have not really been a thing for a long time. One does occasionally hear complaints about judges “making law”. Sometimes this is a valid criticism. For instance, I personally believe that Canada’s Supreme Court justices have been our unofficial legislators on constitutional matters since about 1982, issuing decisions which, over time, have mounted up to a body of jurisprudence that makes a mockery of our Charter of Rights and Freedoms. No sane person not blinded by leftist ideology can look upon the Court’s post-Charter thinking on collective bargaining or group rights and call it good. Indeed, it has got to the point that I now favour scraping the Charter altogether and bringing back a suitably amended version of Diefenbaker’s perfectly sensible <a href="https://en.wikipedia.org/wiki/Canadian_Bill_of_Rights" target="_blank">Bill of Rights</a> (1960). Though it would probably be only a matter of time until the justices made a mockery of that too.<br /><br />But I digress. Yes, courts do occasionally overstep their bounds, often with public support. But judges do not throw people into dungeons indefinitely because they don’t like the tone of their voice or the look of their face. They don’t inflict savage punishments for minor infractions, nor impose penalties not provided for in law, and not without due process. Blatant malfeasance by judges is punished with removal from the bench. They are subject to high professional standards and scrutiny. As much as I sometimes disagree with their judgements, there are no judge-despots in this country. And since they no longer serve or are paid at the pleasure of the sovereign, and are only really removable for malfeasance or incapacity, judges in our system tend to make poor servants for potential despots. We have an independent judiciary.<br /><br />Are there corrupt judges? That’s harder to say, since unlike despotism, corruption tends to avoid daylight. But again, they serve in a position that is relatively secure, well-remunerated, and commands great respect. A judge would have to be short-sighted and greedy indeed to potentially give all this up for a mere bribe. The question here really should be, is it easier to bribe a judge than a juror? I suspect the answer must be “no”.<br /><br />Here it might be objected that although it may be easier to bribe a juror than a judge, bribing twelve jurors is another matter. Perhaps. But consider this: the requirement for jury unanimity means that an accused criminal really only needs to bribe one of them. In any case, if a <i>panel </i>of jurors is really a safeguard against corruption, then why not use a panel of judges, as is done in many European systems?<br /><br />Of course, corruption doesn’t just come in the form of bribes. Instead of such carrots, a corruptor may employ sticks, i.e. intimidation. Here the question should be, is it easier to intimidate a judge or a juror? I think the answer is obvious. For reasons outlined above, a judge with social prestige and the full might of the state behind her will likely be harder to intimidate than a powerless nonentity like me picked from the street at random.<br /><br />Between the arguments I have offered so far and the earlier description of my experience in jury selection, with all its lavish waste of time, money, and human resources, I flatter myself in thinking that you too, Dear Reader, are beginning to see the jury-as-pillar-of-democracy and jury-as-noble-sacrifice tropes for what they are — namely, pious bullshit. In any case, I’d like to end with a few additional observations on the jury system made by economist <a href="https://en.wikipedia.org/wiki/Gordon_Tullock" target="_blank">Gordon Tullock</a> (1922-2014).<br /><br /><b>Tullock on Juries</b><br /><br />Regarding the supposed randomness of jury selection, Tullock notes that most jurisdictions (including my own) draw their pool of names from voter registration lists. However, in the US only about 60% of eligible voters are registered. And the unregistered are disproportionately poor or visible minorities (Tullock 2005:427).<br /><br />Then there are the excuses for not serving, which tend to be most used by “intelligent jurors with a significant opportunity cost of time” (p. 428). In other words, time is money and those whose time is worth more of it will find ways not to serve. On average the wealthy and more intelligent are more likely to avoid serving on a jury.<br /><br />And then there are those <i>voir dires</i> and peremptory challenges, which, besides being costly, are “devastating for any notion of ‘a jury of one’s peers’” (<i>ibid</i>.).<br /><br />The aggregate effect of all this on the resultant selection is that<br /></span><br />
<blockquote class="tr_bq">
<span style="font-family: Georgia, "Times New Roman", serif;">“Juries typically consist… of individuals of below average intelligence, of below average income, and of below average productivity. They are made up disproportionately of the old, the lame, and the unemployed…. [They] tend to be extremely non-random, unusual representatives of the population at large.” (<i>ibid</i>.)</span><br /><span style="font-family: Georgia, "Times New Roman", serif;"></span></blockquote>
<span style="font-family: Georgia, "Times New Roman", serif;"><br />They will also tend to be ignorant of the law, less able to understand instructions, and are further kept in the dark by arcane rules of evidence.<br /><br />Tullock makes much of this issue of intelligence, perhaps more than I would. I had suggested earlier that a jury selected at random will result in a jury of about average intelligence. Tullock’s view on this is much more pessimistic: not only is selection not truly random, but it perversely selects for <i>below average</i> intelligence and below average knowledge! As he notes,<br /></span><br />
<blockquote class="tr_bq">
<span style="font-family: Georgia, "Times New Roman", serif;">“The average person is of average intelligence and average information. The jury process begins by removing from its sample anybody who is well informed with respect to whatever it is the jury is supposed to look into, thus ensuring ignorance. The jury has no strong economic motive to work hard and understand the material presented to it.” (pp. 349-350)</span><br /><span style="font-family: Georgia, "Times New Roman", serif;"></span></blockquote>
<span style="font-family: Georgia, "Times New Roman", serif;"><br />If you have any compelling arguments for preserving this archaic, onerous, ineffective, and expensive system, I’d love to hear them.<br /><br /><b>Works Cited</b><br /><br /><span style="font-size: x-small;">TULLOCK, Gordon. <i>Law and Economics (Selected Works, Vol. 9)</i>. Charles K. Rowley (ed.). Indianapolis: Liberty Fund, 2005.</span></span><br />
<span style="font-family: Georgia, "Times New Roman", serif;"><span style="font-size: x-small;"><br /></span><br /></span>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com1tag:blogger.com,1999:blog-42332149134304039.post-57610076867176557662018-04-20T14:26:00.002-04:002018-04-20T14:28:16.863-04:00My Biggest Peacetime Sacrifice<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">Back in January, I received a summons to appear for jury selection. For certain reasons which I won’t elaborate on here (but which included beginning a new job while still doing the old one), the timing was extremely inconvenient. However, as my situation did not neatly fall under any of the exemption categories, I duly appeared at the courthouse at 8:30am one Monday in March.<br /><br />According to the summons, jury selection could take a maximum of one week. If I were actually chosen to serve on a jury, that of course would be a different matter. My real hope was that I would not be chosen.<br /><br /><b>The Jury Room</b><br /><br />At the beginning of the first day, there were about three hundred of us crowded into a large room that was very reminiscent of the boarding area of an airport in an underdeveloped country. We were all assigned to four different groups or panels, each identified by a colour (I was in the red panel). We then had an orientation, the first part of which consisted of being shown a film. The film was not very enlightening, and was mostly a propaganda piece consisting of repeated assertions of the importance of the jury system and one’s participation in it, and how it is “one of the pillars of our democracy”. This was followed by a lecture from a court officer, again explaining how important the jury system is and that it’s a pillar of our democracy. He also made it crystal clear that none of us would be paid for our time. Interestingly, he tried to disabuse us of the widely-held belief that once you receive a summons, you are on “The List” and will be repeatedly called to serve. This, he implied, is an urban legend and not to be believed. Here, a hundred or so chuckles rippled across the room. It turns out from my various conversations with my fellow panelists that most of them had served three or four times (it was the fifth time for one of them). This is very different from a sample take from among my acquaintances in the world at large, most of whom have never received a summons, or have been summoned only once (so far).<br /><br />After orientation, we waited. And waited. The court officers spent most of this time processing all the people who had excuses not to serve. I thoroughly wished I was one of them. At around 11:30am, three of the four panel colours were called up to the courtroom. My red group was not called. So we waited. And waited. Eventually, we were released for our 1-hour lunch break. We were told there was a cafeteria downstairs, so that’s were most of us went. This was a mistake. The cafeteria did not have the capacity to serve a couple of hundred prospective jurors, along with the regular lunchtime influx of court staff and lawyers. Most of my lunch hour was spent in a lineup. The food was dismal, the seating area was far too small and without any natural light, and probably hadn’t seen any significant change in decor since the courthouse was built in 1967.<br /><br />After lunch, I returned to the jury room. I waited. And waited. Mostly I read. I tried to do some work on my laptop, but the free wi-fi was so slow as to be non-existent for all practical purposes. (I later figured out that I could get some work done if I arrived early in the morning, though once others gradually trickled in, the wi-fi would slow down to a crawl.)<br /><br />At the end of Day One, nothing had happened. On the bright side, I had read about a third of <i>Pride and Prejudice</i>.<br /><br />On Day Two, I waited. And I waited. I managed to log onto the internet to check my work e-mail just long enough to see the problems piling up, but not long enough for me to do anything about them. This added to a certain inner panic I felt throughout the entire jury selection process. My previous day’s experience with the cafeteria was not to be borne again. Fortunately, I found a pub across the street and ate (and drank) there. Then it was back to the jury room, where my boredom was somewhat alleviated by the glow of the alcohol I had consumed at the pub. Reading Jane Austen with a mild buzz is something worth experiencing.<br /><br />In the orientation the previous day, we had been led to believe that our day ended at 4:30pm. Hence, as 4:00pm approached on Day Two, I was naturally getting ready to go home. I even began to hope that I would not be selected at all. So you can imagine my dismay when we were all just then called up to the courtroom.<br /><br /><b>The Courtroom</b><br /><br />I wasn’t quite sure what was to happen in the courtroom, but we were told that we couldn’t wear hats, possess electronic devices like phones (this latter rule was largely disregarded, from what I could see), or chew gum. We were to rise when the judge entered, and we were to address her as “Your Honour”. It was like being back in public school — back in the days when there was discipline and order in schools.<br /><br />When the judge had entered and we were all seated again, we were treated to another speech that by this point was becoming far too familiar: the jury system is the pillar of our democracy, blah, blah, blah… If the jury system is so wonderful, why the regular necessity to remind us of how wonderful it is? Methinks the lady doth protest too much.<br /><br />To this familiar refrain the judge added a new and more inflated claim:</span><br />
<blockquote class="tr_bq">
<span style="font-family: "georgia" , "times new roman" , serif;">“Jury duty is the probably the most important peacetime sacrifice any of you will be asked to make”.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span></blockquote>
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<span style="font-family: "georgia" , "times new roman" , serif;">This I frankly found insulting to my intelligence. As I whispered to the gentleman sitting next to me, I would have thought that handing over a third of my earnings every year to the tax man at the gunpoint of the state’s coercive apparatus was arguably a bigger sacrifice. At least once I’ve served on a jury they can’t call me back for three years; the taxman always cometh, and his taxes must be paid — in seemingly ever increasing amounts — each and every year until I die.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />Then came the arraignment. The charges were read and the accused pled not guilty (he was up for peddling heroin). It was at this point that the jury selection began. Juror numbers were drawn from a drum and called out, along with the juror’s occupation and the borough they resided in. This latter was strange and, in the context of Toronto, very archaic. The various parts of Toronto had not been called boroughs since I was a child. Again, it was a little like being back in school. Up until about grade three (around 1983, if you <i>must </i>know) I went to a public school where all the pencils, erasers, and notebooks were stamped “Borough of York Board of Education”. From then until the mid-1990s it was called “The City of York”, after which, amalgamation happened, and all the former boroughs/cities were simply swallowed up into the City of Toronto.<br /><br />The jurors were drawn in groups of 25. Two such groups were selected before the judge ended proceedings for the day.<br /><br />On Day Three we were back in the courtroom, where jury selection continued. My name was one of the last to be drawn, so I was in the final group of 25. I took this to be a good omen, signifying that I would not be selected for this trial. So it was…<br /><b><br />Back to the Jury Room, Where</b><br /><br />I waited. And I waited. I went for lunch at the pub, then came back and sat in the jury room, enjoying the buzz from my lunchtime potations. I finished <i>Pride and Prejudice</i>. Nothing further happened that day and I was sent home.<br /><br />On Day Four I was back in the jury room, where I waited. And I waited…<br /><br /><b>Back to the Courtroom</b><br /><br />At about 11:00am we were called up to the courtroom for another trial. The good news was that this was the last trial on the docket, so if we weren’t selected, we could go home and not return for at least three years. It was a different judge this time, but we were again treated to exactly the same speech about the jury system being the pillar of our democracy and jury duty being the biggest peacetime sacrifice, etc. Here I though to myself, “If the jury system is so integral to our democracy, why is it that so many perfectly good democracies, some of them arguably better than ours, do not have a jury system at all?” The thought seemed heretical somehow, and yet I couldn’t refute it. Since I had to assume that the judge was an intelligent and well-educated man, I wondered whether he really believed in the snake oil he peddled in his boilerplate sales pitch.<br /><br />This trial involved two accused whose last names ended in vowels, and who were arraigned for activities typically associated with a certain kind of Italian “social club”. The older and more portly of the two gentleman required the services of a translator (though at a subsequent lunch hour downstairs from the courtroom, I overheard him speaking perfectly serviceable English with his lawyer). He looked a bit like this guy, but with whiter hair:</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Fat Tony</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br />The younger of the two gentlemen had the requisite broken nose and single eyebrow. To put it bluntly, they both looked their respective parts. <br /><br />As I said, I had no desire to be selected for jury duty. I was also given to understand that during the “challenge” part of the process, I would have to stand eye-to-eye in front of these two violent goombahs. I also ruminated on how easy the odds must be of paying off just one of the army of officers and clerks working at the courthouse, in order to extract information about jurors if one wanted. Hence, I was even <i>less</i> eager to serve on <i>this</i> particular jury.<br /><br />In fact, I had worked out a nice little spiel I would launch into if questioned by the judge or a lawyer about whether I could serve impartially:<br /><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><br /></span></span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">JUDGE: “Are there any reasons you feel you could not serve on this jury in an impartial manner, and without bias?”<br /><br />ME [<i>with a slightly indignant air</i>]: “Yes, your Honour. My grandparents immigrated to this country from Italy. They were hard-working and law-abiding people, and because of the prejudices they faced, they instilled in me a deep dislike of criminal-types such as the accused.”<br /><br />JUDGE: “Thank you, juror number 12345. You are excused.”</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><br />My spiel would have been true, incidentally, though rather precious and self-serving under the circumstances.<br /><br />To return to the proceedings. Our numbers were drawn at random into panels of 20. This time my number came up somewhere in the middle of the pack, so I had an actual chance of being selected. I began mentally practicing “the spiel”. When I walked up to the bench, the counsel for the accused — a sort of blond lawyer-Barbie — smiled at me. I immediately knew this was a test, so I scowled back at her. I was aiming for a peremptory challenge, my sort of get-out-of-jail-free card, releasing me from this whole ordeal. I would give no encouragement for her to select me.<br /><br />Our panel of 20 was taken to a different, much smaller courtroom. We weren’t there for very long before about half of us were skimmed off and taken to a sort of lounge area. Shortly after that, half of us were skimmed off again and taken into a tiny meeting room. It was an intimate group, so we talked a lot, mostly comparing noted about our experiences over the course of the week.<br /><br />Then, a court officer came in and took three of us out into the hallway, where we sat in chairs in our assigned order, just outside the courtroom door. I was the middle person of the three. The person before me was taken into the courtroom. Meanwhile, while I engaged in some nervous banter with the person after me. In about five minutes, the officer returned and led us back into the tiny meeting room, where we waited some more.<br /><br />Finally, the court officer came back and said he had some good news and some bad news. Good news: we could all go home, and we could take tomorrow (Friday) off. Bad news: we were required to return on Monday.<br /><br />At this point I frankly lost my cool. Keep in mind that the wording of my summons seemed to imply that I would only be there for the week. Unless selected for jury duty, I was expecting to return to my normal life the following week. I had come to the end of my patience with being dragged from room to room, having my valuable time wasted in endless waiting, and being told next to nothing about what was going on. I have little talent for being treated like a child, and so I angrily demanded answers from the court officer about what was going on and why we had to return. It seems that anger is the best way to be treated like an adult, for it produced answers (however unsatisfactory).<br /><br />What I was told was that they had selected their jury of 12 people plus two alternates. However, they wanted us back in case any of them died, disappeared, or failed to show up for trial on Monday. Given the dubious vocations of the accused, and having watched <i>The Sopranos</i> more than once, this seemed like a distinct possibility. However, I asked how often such a thing happens, and he said “almost never”. He said we could expect to be there on Monday only until 11:00am “at the very latest”.<br /><br />So with that, I returned home, went to work on Friday to clean up some of the dumpster fires that had been burning in my absence, and tried to enjoy my weekend. On Monday, Day Five, I returned to<br /><br /><b>The Lounge Area</b><br /><br />that I had experience briefly the day before. Those of us from my panel of 20 were seated in our order at the front of the room, waiting to be called. Since I had been led to believe that the call wouldn’t come, I was really waiting to be dismissed. And I was led to expect dismissal sooner rather than later.<br /><br />Well, it turns out that the “almost never” had happened: One of the jurors was a no-show. So we waited. And waited…<br /><br />Many of us were getting very impatient, the mood perhaps edging close to mutiny. 11:00am became 11:30am. Some demanded answers. We were told that the lawyers were busying themselves in arguing over whether or not they could proceed with the 12 jurors plus one alternate, or whether they needed to select a second alternate. 11:30am became 12:00pm. It was nerve-wracking for me, as I was next-but-one to be summoned into the courtroom, should they decide to seek another alternate. The great majority of the other prospective jurors in the room must have been experiencing a different kind of frustration: since there was effectively no chance that they would be summoned to the courtroom, <i>they were there for literally no good reason</i>.<br /><br />At 12:30pm they finally told us we could all go home. I went to work, to put out more dumpster fires.<br /><br />I am now done, Dear Reader, trying your patience with this long narrative of my experience with the hallowed institution we call “the jury system”. The tale has been a Seinfeldian one, in that it ended up being about nothing.<br /><br />From the personal view of the jury system, I will turn in the next post to a critique of the system from a more objective viewpoint to address the following question: “If, as the judges told me, this was my biggest peacetime sacrifice, was it a <i>worthwhile</i> one?”</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-36501108304716477412018-04-03T14:48:00.004-04:002018-04-20T14:05:53.268-04:00Pseudoscience and Serial Killing<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">We now know that, for many years, there was a serial killer operating in Toronto, preying on men in an area locally known as the “gay village”. The perpetrator has, it seems, now been caught. There is much debate on whether or not the police conducted a competent investigation, or whether the killer could have been caught earlier had Toronto’s finest taken the killings seriously. I will not enter that debate.<br /><br />Instead, I’d like to comment on a rather sensational <i>Toronto Star</i> article headlined “<a href="https://www.thestar.com/news/crime/2018/02/27/police-chief-isnt-blaming-victims-of-alleged-serial-killer-mayor-john-tory-says.html" target="_blank">Ph.D candidate profiled potential serial killer in gay village in July 2016</a>”. In reality, it is the story of pseudoscience and a poor grasp of logic on the part of many practitioners of the journalist’s “profession”.<br /><br />Sasha Reid is a University of Toronto PhD candidate. The article seems to imply that she has been a PhD candidate for 11 years, but that can’t be right. In any case, as a sort of side project to take her mind off her primary doctoral research (she studies serial murder), she has built a database of over 8,000 missing persons in Canada. The data she collected seemed to point to connections between some missing persons cases in the gay village. She profiled the suspected killer and brought it to police in July 2017. They seem to have done little with it, and probably for good reason, as we’ll see.<br /><br />According to the article, the killer Reid profiled would possess the following seven characteristics, which we might treat as predictions<br /><br /> 1. Man.<br /> 2. Blue collar job.<br /> 3. “Somebody with a history of violence, at least a criminal record.”<br /> 4. No college or university degree.<br /> 5. “They’d be burying the bodies outside or somewhere in the home, like in their home, where they have access to it”.<br /> 6. A little over 30.<br /> 7. Person of colour.<br /><br />The <i>Toronto Star</i> article tried to spin this story to portray Ms. Reid as a neglected genius who got it all right, if only the police had listened. This narrative is consistent with that newspaper’s overall critical attitude toward the way police conducted their investigation. As I said, I am not informed enough to judge — though I am tempted to grant a certain amount of deference to detectives, who after all know much more about such matters than do armchair critics like me. My point, as I hope to show, is that Ms. Reid is no such genius, and she got much less right than the article implies.<br /><br />Let us take Reid’s predictions in turn.<br /><br />Regarding prediction #1, that the killer is a man, I am unimpressed. There was, <i>a priori</i>, a roughly 50/50 chance of getting that one right whatever she guessed. (Perhaps there is a hermaphroditic serial killer somewhere in Toronto, but I’ll wager not.) The chance that the culprit is a man increases dramatically when that probability is conditionalized to reflect the fact that around 85% of known serial killers are male.<br /><br />Regarding #2 and #4, given the common Hollywood portrayal of serial killers as highly cerebral and intelligent (think Hannibal Lector), Reid’s guesses here seem fairly prescient and informative. However, fictional ones aside, most serial killers are not particularly well-educated, nor are they generally high achievers. Even Ted Bundy, often given as a counter-example to this trend, although technically well-educated, was academically rather underwhelming: he acquired a bachelor’s degree after some seven years or so of study, and barely got into law school with a mediocre LSAT score (he eventually dropped out). The average IQ of a serial killer is just that – <i>average</i>. John Wayne Gacy was a contractor, Jeffrey Dahmer worked in a chocolate factory, and Willy Pickton was ostensibly a pig farmer. With these facts in mind, #2 and #4 fall rather short of clairvoyance. In the present case, it turns out the actual killer is a landscaper who was hiding bodies in planters. He has no post-secondary education.<br /><br />Technically, #3 is a tautology. Someone who has killed only <i>once</i> is not a serial killer. He is simply a killer, of the non-serial variety. Accepting the usual definition of a serial killer as someone who has killed three or more people, then by the time a killer earns the “serial” modifier, he must <i>by definition</i> “have a history of violence”. QED. Again, this “prediction” is not very illuminating.<br /><br />Regarding #5, I’m not sure I even understand what Reid’s words mean. However, I will note the following: First, if I am to bury someone, I must <i>necessarily</i> do so either outside or inside. And if I am to bury someone inside, again, it must necessarily be in a space I have access to; I cannot bury a body using telekinesis. It could be my home, or it could be “like” my home, in the sense that, like my home, I have access to it.<br /><br />#6 and #7 are important predictions, perhaps the <i>most</i> important of the seven (along with #1, though again, serial killers are almost always men, so that prediction is trivial). If you had to canvass the neighbourhood for witnesses who might have seen the criminal in question, physical characteristics such as age, sex, and race are crucial in identification. Imagine showing a potential witness a police sketch of a black man and asking them if they saw this person at such-and-such a place and time. If the suspect is actually white and a woman, you simply will not catch her on the basis of the sketch. If police are told to look for a black man under 30, and the suspect is actually white and over 65 years old, they will have been led quite far off the scent. They would fail to identify the real culprit as a viable suspect if they were to blindly follow this description.<br /><br />Unfortunately for Ms. Reid, far off the scent is precisely where she would have led police, had they listened to her, because as it turns out, the killer is a man named Bruce McArthur. Bruce McArthur is not a person of colour around 30 years old. Bruce McArthur is white and a senior citizen. Ironically, since most serial killers are white, if she <i>had</i> been correct about the suspect’s race, these two would have been the more informative of her predictions. Instead, she was spectacularly wrong on both counts.<br /><br />I would advise Ms. Reid to put aside her amateur detective work and instead concentrate on completing her actual doctoral work, for which she hopefully displays more aptitude. And I would advise the <i>Toronto Star</i> to require more critical thought from its reporters — and not just directed at the police.</span><br />
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Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-895990528439112252018-02-07T11:11:00.001-05:002018-02-21T16:11:35.482-05:00Moonlight Mackerel<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">John Randolph of Roanoke</span></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;">It is reported of <a href="https://en.wikipedia.org/wiki/John_Randolph_of_Roanoke" target="_blank">John Randolph of Roanoke</a> (1773-1833) that he once described Henry Clay thus: “He is a man of splendid abilities but utterly corrupt. He shines and stinks, like a rotten mackerel by moonlight.” Though there seems to be some disagreement as to whether it was not actually said of Edward Livingston (1764-1836), it is nevertheless a wonderful image to evoke in connection with those remarkable persons whom we know to possess that uneasy combination of intellectual brilliance and moral vacuity.<br /><br />Of those stamped with this character, some apply their great talents to execrable ends, while others apply them to admirable ends and achieve great things, but from the rottenest of motives. And sadly, I am of that cynical cast, in that I believe it would not be edifying to look too closely into the motives of even the greatest of men. Reserving the epithet “greatness” only for those who were also reputedly <i>good</i>, I suspect that most of history’s great figures would, upon close inspection, turn out to be such moonlight mackerels.<br /><br />Hence, despite the fact that I generally find the eccentric Randolph an unpleasant figure, he earns my grudging admiration for that fine quip. History is littered with moonlight mackerels, as is the typical workplace. However, I recently discovered that the image does not originate with him, for I came across the following lines of satyrical verse, from a poem reprinted in Rachel Trickett, <i>The Honest Muse: A Study in Augustan Verse</i> (Oxford: Clarendon Press, 1967), p. 295:</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>On the Countess of</i> DORCHESTER,</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Mistress to</i> KING JAMES <i>the Second. Written in </i>1680.</span><span style="font-family: "georgia" , "times new roman" , serif;"></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /> So have I seen in Larder dark<br /> Of Veal a lucid Loin;<br /> Replete with many a brilliant Spark,<br /> As wise Philosophers remark,<br /> At once both stink and shine.<br /><br />Here, the shining flesh is veal rather than mackerel, but it’s the same idea.<br /><br />Or is it? I almost never pollute myself with the filth that is <i>The Daily Mail</i> (or <i>The Daily Fail</i>, as it is referred to in our household). Usually, I would rather drink my own urine than read it. However, I did come across an online article there from February 2016, which carried the following sensational headline: “<a href="http://www.dailymail.co.uk/news/article-3465953/There-s-fishy-going-Dead-herring-glows-scary-green-light-left-internet-baffled.html" target="_blank">There’s something fishy going on here! Dead herring glows ‘a scary green light’ that has left the internet baffled</a>”. Apparently a woman in Kazakhstan was frightened to find that the fish she was preparing for dinner glowed in the dark.<br /><br />Now, I know from experience that the internet is easily baffled. And I do have an ongoing pet peeve with media outlets publishing dubious <a href="http://spectacledavenger.blogspot.ca/2017/03/fishing-tales-and-clickbait.html" target="_blank">tales of monster fish</a>. I also know that Kazakhstan is a landlocked country, the world’s largest, in fact. Hence, its people may not be entirely familiar with seafood. And an ocean herring would necessarily have travelled a long way to reach her particular dinner plate, and might therefore have smelled a little “high” by the time it reached its destination. The article made suggestions that the fish was radioactive. However, “local health inspectors say the fish was healthy and fit for human consumption and that the supposed glowing, if even true, was nothing to worry about.” The article failed to follow up on why the health inspectors might be so cavalier, and the story immediately returned to the “radioactive fish” angle (pardon the pun). With John Randolph of Roanoke in mind, I decided to use the Google machine to follow up.<br /><br />Well, according to many reputable sources, including <i>The New Scientist</i> and the <a href="https://www.google.ca/url?sa=t&rct=j&q=&esrc=s&source=web&cd=9&cad=rja&uact=8&ved=0ahUKEwjcqf_xkZTZAhUr3IMKHdd4BsEQFghdMAg&url=http%3A%2F%2Fseafood.oregonstate.edu%2F.pdf%2520Links%2FGlowing-Seafood.pdf&usg=AOvVaw02wHvW8HHUogGWj_40-5Iv" target="_blank">Food and Drug Administration</a>, it is not uncommon for dead fish to glow in the dark. The phenomenon — bioluminescence — is caused by certain kinds of bacteria. There seem to be many queries on internet forums by aquarium owners, wondering why their dead fish glow in the dark and whether they need to be worried about it. And it occurs not just in fish. I came across one story where someone was frightened by a glowing object he almost stepped on when he got up in the night. Turns out it was a beef bone which his dog had left lying on the floor. So presumably, it can happen to veal. I don’t know if it happened to the <a href="https://en.wikipedia.org/wiki/Catherine_Sedley,_Countess_of_Dorchester" target="_blank">Countess of Dorchester</a>.</span><br />
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<br />Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com0tag:blogger.com,1999:blog-42332149134304039.post-28101158280430558792018-01-04T12:21:00.000-05:002018-01-04T12:21:11.052-05:00The Spectacled Avenger's Reading List, 2017<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;">In keeping with a tradition of long standing on this blog, the first post of the new year is devoted to the list of books I’ve read over the course of the previous year. As usual, if the entry is in <b>bold</b>, it means I particularly enjoyed that book (no reasons provided). If an entry appears more than once, it’s not a mistake; it means I read the book more than once.<br /><br />One of the joys of this exercise accrues more to me than to you, dear reader. It offers me the opportunity to step back and look at what I was interested in, discern any patterns therein, and compare see how these may have differed from earlier lists.<br /><br />In looking at the 2017 list, at least two things remain unchanged from 2016: First, relatively little of what I read dates from later than the 19th century. Second, I have continued to read more fiction that has historically been the case. Conspicuous here is my Jane Austen binge. I would include under “fiction” the plays I read, Jacobean or otherwise (Sophocles, Jonson, Shakespeare, Middleton, Ford, Etherege, Vanbrugh). And of course, there’s the poetry (Lydgate, Carew, Rochester, and plenty of Pope).<br /><br />In terms of differences from previous years, I suppose there are fewer classical authors, though Homer, Horace, Martial, and Sallust are represented. New to the list are the early travelers’ accounts of America (Chastellux, Hamilton, Trollope). I also read a fair amount of Coleridge’s prose, which is passing strange, since I can’t honestly say I enjoyed much of it.</span><span style="font-family: Georgia,"Times New Roman",serif;"> </span><br />
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<span style="font-size: x-small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>ADAIR, Douglass. <i>Fame and the Founding Fathers</i>. Trevor Colbourn (ed.). New York: W. W. Norton, 1974.</b><br /><br /><b>ADAMS, Abigail. <i>Letters</i>. Edith Gelles (ed.). New York: Library of America, 2016.</b><br /><br /><b>ADAMS, John Quincy. <i>Diaries (Vol. I: 1779-1821)</i>. David Waldstreicher (ed.). New York: Library of America, 2017.</b><br /><br /><b>ADAMS, John Quincy. <i>Diaries (Vol. II: 1821-1848)</i>. David Waldstreicher (ed.). New York: Library of America, 2017.</b><br /><br /><b>AUSTEN, Jane. <i>Emma</i>. London: Folio Society, 1975.</b><br /><br /><b>AUSTEN, Jane. <i>Sense and Sensibility</i>. London: Folio Society, 1975.</b><br /><br /><b>AUSTEN, Jane. <i>Persuasion</i>. New York: Everyman's Library, 1992.</b><br /><br /><b>AUSTEN, Jane. <i>Mansfield Park</i>. New York: Everyman's Library, 1992.</b><br /><br />AUSTEN, Jane. <i>Northanger Abbey</i>. New York: Modern Library, 1995.<br /><br /><b>BACON, Francis. <i>The Essayes or Counsels Civill and Morall</i>. Norwalk, CT: The Heritage Press, 1972.</b><br /><br />BEVERLEY, Robert. <i>The History and Present State of Virginia</i>. Susan Scott Parrish (ed.). Chapel Hill: University of North Carolina Press, 2013.<br /><br />BROWN, Charles Brockden. <i>Edgar Huntly, or, Memoirs of a Sleep-Walker</i>. Norman S. Grabo (ed.). London: Penguin Books, 1988.<br /><br />BROWN, Charles Brockden. <i>Wieland, or, The Transformation</i>. Amherst, NY: Prometheus Books, 1997.<br /><br />BRUNI, Leonardo. <i>History of the Florentine People (Vol. I)</i>. James Hankins (trans.). Cambridge, MA: Harvard University Press, 2001.<br /><br />BRUYÈRE, Jean de La. <i>Characters</i>. Henri Van Laun (trans.). London: Oxford University Press, 1963.<br /><br />BURKE, Edmund. <i>Reflections on the Revolution in France and Other Writings</i>. New York: Everyman’s Library, 2015.<br /><br /><b>BURKE, Edmund. <i>Reflections on the Revolution in France (Select Works, Vol. 2)</i>. Indianapolis: Liberty Fund, 1999.</b><br /><br /><b>BURNEY, Frances. </b><i><b>Evelina, or The History of a Yo</b>ung Lady’s Entrance into the World</i>. Edward A. Bloom (ed.). London: Oxford University Press, 1968.<br /><br />BUTLER, Joseph. <i>Fifteen Sermons Preached at the Rolls Chapel and a Dissertation upon the Nature of Virtue</i>. London: G. Bell and Sons, 1953.<br /><br />CALHOUN, John C. <i>A Disquisition on Government and A Discourse on the Constitution and Government of the United States</i>. Charleston, SC: Walker and James, 1851 (facsimile, New York: Legal Classics Library, 1993).<br /><br />CAREW, Thomas. <i>The Poems of Thomas Carew</i>. Rhodes Dunlap (ed.). Oxford: Clarendon Press, 1949.<br /><br /><b>CHASTELLUX, François-Jean, Marquis de. <i>Travels in North America in the Years 1780, 1781 and 1782 (Vol. I)</i>. Howard C. Rice, Jr. (Trans.). Chapel Hill, NC: University of North Carolina Press, 1963.</b></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: x-small;"><span style="font-family: Georgia,"Times New Roman",serif;"><br /><b>CHASTELLUX, François-Jean, Marquis de. <i>Travels in North America in the Years 1780, 1781 and 1782 (Vol. II)</i>. Howard C. Rice, Jr. (Trans.). Chapel Hill, NC: University of North Carolina Press, 1963.</b><br /><br />CLARKE, John. <i>An Examination of the Notion of Moral Good and Evil</i>. London: A. Bettesworth, 1725.<br /><br />COLERIDGE, Samuel Taylor. <i>Collected Works, Vol. 2: The Watchman</i>. Lewis Patton (ed.). London: Routledge and Kegan Paul, 1970.<br /><br />COLERIDGE, Samuel Taylor. <i>Collected Works, Vol. 4: The Friend.</i> Barbara E. Rooke (ed.). London: Routledge and Kegan Paul, 1969.<br /><br />COLERIDGE, Samuel Taylor. <i>Collected Works, Vol. 10: On the Constitution of the Church and State</i>. John Colmer (ed.). Princeton, NJ: Princeton University Press, 1976.<br /><br />DONNE, John. <i>Donne's Sermons: Selected Passages</i>. Logan Pearsall Smith (ed.). Oxford: Clarendon Press, 1932.<br /><br />ETHEREGE, Sir George. <i>The Man of Mode</i>. W. B. Carnochan (ed.). Lincoln: University of Nebraska Press, 1966.<br /><br />FERRIER, Susan. <i>Marriage, a Novel</i>. Herbert Foltinek (ed.). London: Oxford University Press, 1971.<br /><br />FIELD, P. J. C. <i>The Life and Times of Sir Thomas Malory</i>. Woodbridge, Suffolk: D. S. Brewer, 1999.<br /><br />FIELDING, Sarah. <i>The Adventures of David Simple</i>. Malcolm Kelsall (ed.). London: Oxford University Press, 1969.<br /><br /><b>FITZGERALD, F. Scott. <i>The Beautiful and Damned</i>. New York: Modern Library, 2002.</b><br /><br />FORD, John. <i>‘Tis Pity She’s a Whore</i>. Martin Wiggins (ed.). London: Bloomsbury, 2003.<br /><br />FORDYCE, David. <i>The Elements of Moral Philosophy</i>. London: R. and J. Dodsley, 1754 (facsimile, Bristol: Thoemmes, 1990).<br /><br />HAMILTON, Alexander, John JAY, and James MADISON. <i>The Federalist (The Gideon Edition)</i>. George W. Carey and James McClellan (eds.). Indianapolis: Liberty Fund, 2001.<br /><br /><b>HAMILTON, Thomas. <i>Men and Manners in America (Vol. I)</i>. Edinburgh: William Blackwood, 1833.</b><br /><br /><b>HAMILTON, Thomas. <i>Men and Manners in America (Vol. II)</i>. Philadelphia: Carey, Lea and Blanchard, 1833.</b><br /><br />HOMER. <i>Odyssey (Books 13-24)</i>. A. T. Murray (trans.). Cambridge, MA: Harvard University Press, 2004.<br /><br />HORACE. <i>A Poetical Translation of the Works of Horace (Vol. I)</i>. Philip Francis (trans.). London: W. Strahan et al., 1778.<br /><br />HOUELLEBECQ, Michel. <i>The Elementary Particles</i>. Frank Wynne (trans.). New York: Vintage Books, 2000.<br /><br />JOHNSON, Samuel. <i>The Works of Samuel Johnson (Vol. II)</i>. London: F. C. and J. Rivington et al., 1823.<br /><br />JOHNSON, Samuel. <i>The Works of Samuel Johnson (Vol. III)</i>. London: F. C. and J. Rivington et al., 1823.<br /><br />JONSON, Ben. <i>Volpone</i>. Alvin B. Kernan (ed.). New Haven, CT: Yale University Press, 1962.<br /><br />KAMES, Henry Home, Lord. <i>Elements of Criticism (Vol. II)</i>. Indianapolis: Liberty Fund, 2005.<br /><br /><b>LOVECRAFT, H. P. <i>Tales</i>. Peter Straub (ed.). New York: Library of New York, 2005.</b><br /><br />LUTTRELL, Narcissus. <i>A Brief Historical Relation of State Affairs from September 1678 to April 1714 (Vol. I).</i> Oxford: Oxford University Press, 1857.<br /><br />LYDGATE, John. <i>Poems</i>. John Norton-Smith (ed.). Oxford: Clarendon Press, 1966.<br /><br />MACKENZIE, Henry. <i>The Man of Feeling</i>. Brian Vickers (ed.). London: Oxford University Press, 1967.<br /><br />MALTHUS, Thomas Robert. <i>An Essay on the Principle of Population (Vol. I)</i>. London: J. Johnson, 1806 (facsimile, Bristol: Thoemmes Press, 1996).<br /><br />MALTHUS, Thomas Robert. <i>An Essay on the Principle of Population (Vol. II)</i>. London: J. Johnson, 1806 (facsimile, Bristol: Thoemmes Press, 1996).<br /><br />MARTIAL. <i>Epigrams</i> (Vol. II). D. R. Shackleton Bailey (trans.). Cambridge, MA: Harvard University Press, 1993.<br /><br />MIDDLETON, Thomas. <i>Selected Plays of Thomas Middleton</i>. David L. Frost (ed.). Cambridge: Cambridge University Press, 1978.<br /><br />MONTESQUIEU. Charles de Secondat, Baron de. <i>The Spirit of Laws (Vol. I)</i>. Thomas Nugent (trans.). Dublin: G. and A. Ewing, 1751.<br /><br />MONTESQUIEU. Charles de Secondat, Baron de. <i>The Spirit of Laws (Vol. II)</i>. Thomas Nugent (trans.). Dublin: G. and A. Ewing, 1751.<br /><br />NORTON, Andrews. <i>A Review of “Men and Manners in America”</i>, Reprinted from the North American Review. London: John Miller, 1834.<br /><br />OSTADE, Ingrid Tieken-Boon van. <i>The Two Versions of Malory’s “Morte Darthur”: Multiple Negation and the Editing of the Text</i>. Cambridge: D. S. Brewer, 1995.<br /><br /><b>PALEY, William. <i>The Principles of Moral and Political Philosophy (Vol. I)</i>. London: J. Faulder et al., 1814.</b><br /><br /><b>PALEY, William. <i>The Principles of Moral and Political Philosophy (Vol. II)</i>. London: J. Faulder et al., 1814.</b><br /><br />POPE, Alexander. <i>The Dunciad (Twickenham Edition, Vol. V)</i>. James Sutherland (ed.). New Haven: Yale University Press, 1963.<br /><br />POPE, Alexander (trans.). <i>The Iliad of Homer</i>. Steven Shankman (ed.). London: Penguin, 1996.<br /><br />POPE, Stephanie et al. <i>Cambridge Latin Course, Unit 1 (4th edition)</i>. New York: Cambridge University Press, 2000.<br /><br />ROBERT III, Henry M. et al. <i>Robert’s Rules of Order Newly Revised in Brief (2nd edition)</i>. Cambridge, MA: Da Capo Press, 2011.<br /><br />ROBERTSON, William. <i>The History of America (Vol. I)</i>. London: Cadell and Davies, 1808.<br /><br /><b>ROCHESTER, John Wilmot, Earl of. <i>The Poems of John Wilmot, Earl of Rochester</i>. Keith Walker (ed.). Oxford: Basil Blackwell, 1984.</b><br /><br />RORABAUGH, W. J. <i>The Alcoholic Republic: An American Tradition</i>. New York: Oxford University Press, 1979.<br /><br />SALLUST. <i>The War with Catiline, The War with Jugurtha, Orations ad Letters</i>. J. C. Rolfe (trans.). Cambridge, MA: Harvard University Press, 2000.<br /><br />SHAFTESBURY, Anthony Ashley-Cooper, 3rd Earl of. <i>Characteristicks of Men, Manners, Opinions, Times (Vol. I)</i>. Indianapolis: Liberty Fund, 2001.<br /><br />SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. <i>Characteristicks of Men, Manners, Opinions, Times (Vol. II)</i>. Indianapolis: Liberty Fund, 2001.<br /><br />SHAFTESBURY, Anthony Ashley Cooper, 3rd Earl of. <i>Characteristicks of Men, Manners, Opinions, Times (Vol. III)</i>. Indianapolis: Liberty Fund, 2001.<br /><br /><b>SHAKESPEARE, William. <i>King Lear</i>. Kenneth Muir (ed.). Cambridge, MA: Harvard University Press, 1959.</b><br /><br />SHIELDS, Jon A. and Joshua M. DUNN Sr. <i>Passing on the Right: Conservative Professors in the Progressive University</i>. New York: Oxford University Press, 2016.<br /><br />SIDNEY, Sir Philip. <i>Prose Works (Vol. III)</i>. Albert Feullerat (ed.). Cambridge: Cambridge University Press, 1963.<br /><br />SMITH, Adam. <i>The Theory of Moral Sentiments</i>. D. D. Raphael and A. L. Macfie (eds.). Indianapolis: Liberty Fund, 1982.<br /><br />SOPHOCLES. <i>Ajax, Electra, Œdipus Tyrannus</i>. Hugh Lloyd-Jones (trans.). Cambridge, MA: Harvard University Press, 1997.<br /><br />SPINGARN, J. E. (ed.). <i>Critical Essays of the Seventeenth Century (Vol. III: 1685-1700)</i>. Bloomington: Indiana University Press, 1968.<br /><br /><b>TROLLOPE, Frances. <i>Domestic Manners of the Americans</i>. London: Folio Society, 1974.</b><br /><br />VANBRUGH, Sir John. <i>The Relapse</i>. New York: W. W. Norton, 1986.<br /><br />VINOGRADOFF, Paul. <i>Roman Law in Mediæval Europe</i>. New York: Harper and Brothers, 1909.<br /><br /><b>WIDDOWSON, Frances and Albert HOWARD. <i>Disrobing the Aboriginal Industry: The Deception Behind Indigenous Cultural Preservation</i>. Montreal and Kingston: McGill-Queen's University Press, 2008.</b><br /><br />WINDHAM, William. <i>Speeches in Parliament, of the Right Honourable William Windham (Vol. I)</i>. London: Longman, Hurst, et al., 1812.<br /><br />WINDHAM, William. <i>Speeches in Parliament, of the Right Honourable William Windham (Vol. II)</i>. London: Longman, Hurst, et al., 1812.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: Georgia,"Times New Roman",serif;"> </span></span><span style="font-size: x-small;"><span style="font-family: Georgia,"Times New Roman",serif;"><br />WINDHAM, William. </span></span><span style="font-size: x-small;"><span style="font-family: Georgia,"Times New Roman",serif;"><i>Speeches in Parliament, of the Right Honourable William Windham (Vol. III)</i>. London: Longman, Hurst, et al., 1812.<br /></span></span><br />
<br />Jamie Pratthttp://www.blogger.com/profile/00467349253439645488noreply@blogger.com1