Blog

Visual Propaganda during The Reformation

posted by

In our latest blog post, Dunia García-Ontiveros, Head of Bibliographic Services at The London Library gives insight into the religious and political statements made by 16th Century Catholics and Protestants who disseminated their ideas and influence through printed manifestos. Examples are seen in some of the significant, rare volumes housed in The London Library. This blog is adapted from an article in a series commissioned by History Today on the treasures of the Library in 2011. (click on thumbnails for larger images. If using Internet Explorer images may not appear larger – we recommend you try an alternative browser to view in detail.)

Assertio septem sacramentorum aduersus Martin. Lutheru[m]

Contra Henricum regem angliae

Wider das Bapstum zu Rom vom Teuffel gestifft

Lupus excoriatus

Lupus excoriatus

Wider das Bapstum zu Rom vom Teuffel gestifft

The use of images in religious and political propaganda is not a 16th century invention but during the Reformation Catholics and Protestants alike made use of their printing presses to disseminate their ideas and these printed manifestos were sometimes accompanied by striking illustrations. The images aimed either to ennoble the author through heroic associations or to insult and ridicule the author’s opponents through irreverent caricatures.

The London Library holds several books with examples of both Catholic and Lutheran visual propaganda.

An example of Catholic Tudor propaganda can be found in Assertio septem sacramentorum aduersus Martin. Lutheru[m], a book written (or perhaps only commissioned) by Henry VIII and printed in London in 1521 in reply to Martin Luther’s On the Babylonian captivity of the Church. The title page of Henry’s book, where he defends the Seven Sacraments, depicts the legend tof Gaius Mutius ‘Scaevola’. According to legend, Mutius was a Roman hero from the 3rd century BC, who entered the camp of the besieging Etruscan king, Lars Porsenna, in order to murder him. The right-hand side of the illustration shows Mutius mistakenly killing the wrong man. The left depicts the moment when the captured Mutius is interrogated by Porsenna and shows the incompetent assasin placing his right hand in the fire to prove his courage, while telling the Etruscan king that 300 other men have sworn to die in defence of Rome. The legend says that Porsenna, impressed by this show of bravery, decided to abandon his campaign and to release Gaius Mutius who was thereafter known as ‘Scaevola’ (left handed).

Henry’s message to the Pope through this iconography was very clear. He was identifying with this legend to portray himself as an heroic defender of Rome in the hope of gaining favour with the Pontiff at a time when England was a lesser European power. He commissioned a special presentation copy to be given to Leo X who, after reading it, conferred the title ‘Defender of the Faith’ upon the English king.

Martin Luther’s reaction to this book was quite different to that of the Pope and the very next year he printed a reply in Wittenberg under the title Contra Henricum regem angliae, where he refers to Henry as a comic jester, a frivolous buffoon, a damnable and offensive worm and a Thomist swine. The look and layout of the title page is similar to that of Henry’s book but instead of having a narrative scene at the bottom it is flanked by two figures: an ugly jester or troubadour on the left blowing on a wind instrument and fat cleric with a pig’s head on the right.

Compared to Henry’s use of imagery, Lutheran propaganda printed in Wittenberg is much more direct, even crude. The chief illustrator of the German Reformation was Lucas Cranach the Elder, court artist in Wittenberg and close personal friend of Luther’s (facts which did not stop him from working for Catholic patrons as well as Protestant ones).

The Library holds a more extreme example of the contempt Luther felt for a figure and an institution which he saw as being thoroughly corrupt. His Wider das Bapstum zu Rom vom Teuffel gestifft, (Against the Papacy founded by the Devil) was printed 1545, only a year before the Reformer’s death. The title page depicts the Pope with ass’s ears sitting on a pyre erected in the mouth of Hell, represented by an enormous monster. The Pope, with hands held together in prayer is surrounded by demons who fly around him and hold the papal tiara above his head.

Another two savage depictions of the Pope are to be found inside the book. In the first we see him riding on a sow while holding out a hand filled with steaming excrement. The accompanying text reads: The Pope grants a council in Germany. Sow you have to let yourself be ridden, and [with] spurs on both sides. You want to have a council: for that, have my merdrum (a typo for merdum, as in the Latin merda). Next to this is another illustration of the Pope, this time shown as an ass playing the bagpipes in a luxurious canopied bed. The accompanying text reads: The Pope, a teacher of theology and master of the faith. The Pope alone can interpret scripture: and sweep out error, as the ass alone can pipe and strike the note correctly.

Henry VIII and the Pope were not the only subjects of Lutheran ‘cartoons’. In the second half of the 16th century theological differences created a growing conflict between Lutherans and Calvinists. Zacharias ‘Rivander’ Bachmann, a Lutheran clergyman, wrote Lupus excoriatus (the wolf stripped of its skin), which was printed in 1591. The title of the book alone leaves us in no doubt as to the opinion orthodox Lutherans had of Zwinglians and Calvinists. Inside the book we find an illustration of the ‘Calvinist wolves of discord’ dressed in monks’ habits and devouring a sheep labelled ‘concordia’. The sheep represents the Concordia Wittenbergensis, a failed attempt at bringing Lutherans and Zwinglians together in 1536. The caption below the illustration reads: Matth. 7.: Beware the false prophets coming in sheepskins to you, but inside they are rapacious wolves etc.

Looking at all these images together we see two very different styles, which is only to be expected considering the two very different purposes of the men who commissioned them. On the one hand we have Henry Tudor, the consummate politician, appropriating ancient legends to gain favour with Rome. To this end he used a subtle message that only an educated elite would have been able to decipher. Luther and his followers on the other hand, do not seek any material gain. Luther was only concerned with the correct interpretation of the Scriptures and with making religion more accessible to ordinary people. The only purpose of his visual propaganda was to expose the corruption he saw in his enemies. For this he used simple images of savage clarity that anyone would have been able to understand instantly.

A Mysterious Manuscript

posted by

 

1.

1.

2.2.

3.

3.

4.

4.

5.

5.

6.

6.


The Library is the host venue for this year’s Rossica Translation Prize 2014, an annual award which promotes the best of Russian literary culture in the English-speaking world, rewarding and encouraging the translation of a broad range of authors, genres and periods. The judges have chosen from a shortlist of Russian literary writing, past and present, with a prize of £3000 awarded to the winning translation. The Rossica Young Translators Award winner will also be announced at the Library, a prize set up to encourage the next generation of aspiring translators. Claudia Ricci, London Library Russian Specialist, has written a blog on the fascinating story behind one of the Library’s most valuable Russian volumes from the early 20th century, one of over 13,000 held in the Library’s Hans and Marit Rausing Russian Collections.

Among the many little gems that lie undiscovered in The London Library collections there is one that holds a special secret unlikely to be unravelled. We can only attempt to shed some light on it and in thus doing we hope to bring back to life a forgotten page of Russian history.

I am referring to The London Library’s own copy of the original manuscript of one of Sergei Esenin’s most famous works, the poem “Pugachov”, a short drama in verse, which we own partly in manuscript (Images 1-5) and partly in typescript (Images 6-8), bound in one little unassuming volume. Another version of this manuscript is held by the Russian State Archive of Literature and Art, but our version must be the latest, as it contains few corrections and matches word for word the final version as it was published in 1921-1922. Our manuscript bears the dates “March-August 1921” and several reliable sources, including the diary entries of the author’s dearest friend Anatoly Mariengof, confirm that Esenin had been reading extracts from his draft during those months. According to another friend, the poet Taras Machtet, on Aug. 30th Esenin announced that he had finished working on “Pugachov” and from Aug. 31st he started preparing the manuscript for publication .

Sergei Esenin (surname often spelt “Yesenin”) was a Russian lyrical poet born in the rural village of Konstantinovo (Ryazan province) in 1895 to a peasant family. After receiving a typical Russian Orthodox education, as was still customary in the Russian provinces at the time, and trying his hand at several jobs, including those of proof-reader and butcher’s assistant, he moved to Petrograd in 1915, where he met Alexander Blok, Nikolay Klyuev and Andrey Bely, and with their help he entered the literary circles of the capital. The following year he published his first collection of poems, Radunitsa (All Soul’s Day), which gave him great popularity, and started his collaboration with fellow poet Anatoly Mariengof. Together in 1918 they proceeded to move to civil war-torn Moscow, where they founded Imaginism, the literary movement, which had its own publishing house and whose exponents held poetry readings in the bohemian café-tavern Stoilo Pegasa.

Between December 1921 and January 1922, the drama in verse “Pugachov” was published by two separate independent publishers in Moscow, Imazhinisty, the movement’s own publishing house, and El’zevir (the date on the title page is given as 1922 in both), and by the end of the year he had given away signed copies of his work to family and friends. Esenin also signed a deal with the state publishing house Gosizdat in February 1922, but that edition never saw the light of day. His biographer Alla Marchenko points out that there were also plans to stage it in a Moscow theatre and Esenin had given the script to the theatrical producer and director Vsevolod Meyerkhold, but having read it, Meyerkhold stated that it was totally unsuitable for the stage, as it had “no action, no gestures, no setting to speak of”. It was at this time that Esenin’s second wife, Zinaida Reikh, became romantically involved with the theatre director. In the autumn of 1921, just as Zinaida was about to leave him for Meyerkhold, Esenin met the American dancer Isadora Duncan. She was 18 years his senior, spoke no Russian and at the time was living in Moscow on Prechistenka Street, where she was starting her new school of dance following an invitation from the Soviet authorities, for whom she had great admiration. The couple fell in love and were married on May 2nd1922. As soon as Sergei managed to receive his emigration papers, they left Russia for a long honeymoon, which would take them on a grand tour of Europe with stops in the major cities where Isadora was scheduled to give ballet performances. In Berlin, Esenin negotiated deals with various publishers for the publication of his poetic works. The rights of Pugachov were acquired by Russkoe Universal’noe Izdatel’stvo in mid-May, and their edition appeared in July of that year (The London Library has a copy of this edition bought shortly after its publication). This leads us to believe that our manuscript must have travelled with Sergei and Isadora to the German capital, but probably no further than that. The newly-wed couple moved on to Paris later and eventually arrived in the United States in October 1922. The manuscript was most likely left behind, perhaps forgotten by our poet, who was infatuated with his world-wide famous American wife and with the prospect of reaching the American shores.

The dramatic work Pugachov takes its name from the Russian peasant rebel Emelyan Pugachev, who led a Cossack insurrection in 1773-1774 during the reign of Catherine the Great and was later put to death in Moscow in 1775. Esenin focuses on the last weeks of the rebellion and Pugachev’s arrival in Yaitsk, where his supporters betrayed him to the Russian authorities. The work, which consists of a series of lyrical monologues, was criticised for lacking in scenic action and failing to be faithful to the historical events, but was praised for being “Intensely lyrical and rich in language” .

After the highlight of the European tour Sergei Esenin’s life took a turn for the worse, divorce awaited him and Isadora at their arrival in the States, followed by his return to the Soviet Union in August 1923 and increasingly frequent bouts of drinking. During his last years, Esenin went on to publish more poetry, to break up with Imaginism and Mariengof, to father a son with the poet Nadezhda Volpin (he already had three from previous relationships) and to marry one of Leo Tolstoy’s granddaughters, Sofiya Andreevna Tolstaya. He was found dead in his room at the Angleterre Hotel in Moscow in December 1925, presumably having taken his own life.

Meanwhile his manuscript of Pugachov must have remained in Germany, probably passing through various hands until, in 1934, it found its way into Charles Hagberg Wright’s hands. He was the Librarian of the London Library at the time, a polymath with a keen interest in Russian as well as German books. In the aftermath of the October Revolution and the Russian Civil War the established links with the Russian book trade were no doubt severed and Hagberg Wright would have had difficulties in travelling to Soviet Russia as he had done until 1917, so he resorted to buying most of his Russian titles from the émigré bookshops in Berlin and Paris. In the 1920s-1930s Esenin would have been practically unknown to the general public outside of Russia, but Hagberg Wright was a connoisseur of Russian Literature and the Library already possessed various editions of Esenin’s works at the time, including a four volume set of his Collected poems (1926-1927). Besides, Esenin had published some of his early work in journals associated with the Socialist Revolutionary Party (Es-Ery), an organisation that our then Librarian had been following quite closely judging by our collection of pamphlets acquired before 1917. We have no records of how much he paid for this now precious manuscript, or who he bought it from, but we assume that it must have been a purchase, because the library records all donations and gifts of books and this volume is not mentioned among them. The manuscript and the typescript were bound together in a red cover and the accession stamp on it is dated 22 Aug. 1934.

Since becoming aware of this gem, we have contacted various experts at the Moscow Literary Museum and the Russian Academy of Sciences, who have confirmed the authenticity of the manuscript from photographs posted to them. They have also been able to decypher an inscription on the verso of the last page, which records the name of Esenin’s native village (Konstantinovo), but also an address, which is likely to be in Moscow: Myasnitskaya 53-3. We appeal to anyone who can give us any clues or possible explanations as to who was living at that address at the time (summer 1921) or why Esenin may have needed to write it down in his own hand on the back of his manuscript.

Finally, one last appeal. We are aware that his youngest son, the poet and mathematician Alexander Esenin-Volpin, is alive somewhere in the United States. It would be a great honour if we could at least inform him of the existence of this manuscript, which is preserved for posterity in our library.

[1] Letopis’ zhizni tvorchestva S.A. Esenina . Edited by M.V. Skorokhovod and S.I. Subbotin 5 v. (Moscow: IMLI RA, 2003-2010)

[2] Marchenko, Alla. Put’ i besput’e (Moscow: Astrel’, 2012)

[3] McVay, Gordon. Esenin : a life (London: Hodder and Stoughton,  1976)

Folklore and Fairy Tales at The London Library

posted by

1.

2.

3.

5.

4.

6.

7.

The Folklore collection at The London Library forms a substantial section in Science & Miscellaneous, with works from the 18th to the 21st century in English and many other languages. The universal subject of Folklore and its deeply rooted place in the cultural fabric of nationalities is reflected in the Library’s collections. About half of the section has been retrospectively catalogued and contains a wide range of works on different strands of folklore; traditional and popular beliefs, customs, legends, fairy tales and music.

Studies on King Arthur, the medieval and mythological figure can be found here, with works discussing the legend in its many guises; Merlin, the Holy Grail, King Arthur’s Knights and the Round Table.  Some interesting works that recently or soon to be retrospectively catalogued are: Arthur of Britain by E.K. Chambers (1927); La légende arthurienne: études et documents. Première partie, Les plus anciens textes by Edmond Faral (1929) and The Holy Grail, its legends and symbolism: an explanatory survey of their embodiment in romance literature and a critical study of the interpretations placed thereon by Arthur Edward Waite (1933). Interest on the legend is still as popular as ever, as recent acquisitions such as Worlds of Arthur: facts and fictions of the dark ages by Guy Halsall (2013) and The true history of Merlin the Magician by Anne Lawrence-Mathers (2012) suggest.

The major role of folklore collected and transcribed through oral tradition is seen in titles such as Tales of the fairies and of the ghost world’ collected from the oral tradition in South-west Munster by Jeremiah Curtin (1895) and Old Deccan days, or, Hindoo fairy legends current in southern India collected from oral tradition by M. Frere (1868).

Popular beliefs, traditions and tales are also included in works from abroad in the recently catalogued Curiosità popolari tradizionali series of books from different parts of Italy, and volumes in the series Les littératures populaires de toutes les nations include works from France, Greece, Turkey and China. Religious folklore is seen in Folk-lore of the Holy Land: Moslem, Christian and Jewish by J.E. Hanauer (1907).

The handed-down tradition of Folk music by unknown composers is seen in the folk songs of India, Greece, Serbia and Canada housed in the Library’s collections; Greek folk-songs from the Turkish provinces of Greece … Albania, Thessaly, (not yet wholly free,) and Macedonia: literal and metrical translations by Lucy M.J. Garnett (1885) are particularly note-worthy.

Fairy tales are a large part of the folklore section and probably the most well-known are Grimm’s fairy talesKinder- und Hausmärchen.  Both early and current editions of the tales, including criticism, can be found here and have now all been retrospectively catalogued.  In addition, some books on fairy tales from other parts of the world have also just been added such as: Welsh fairy-tales and other stories collected and edited by P.H. Emerson (1894); Chinese fairy tales told in English by Herbert A. Giles (1911) and Fairy folk tales of the Maori by James Cowan (1925).

The customs, superstitions and practices of subcultures are also explored. Sir James George Frazer’s famous work, The Golden Bough, a comparative study of mythology and religion (1890), includes such topics including a chapter on ‘Christmas and the mistletoe’, as does a more modern take on ‘superstition’, Old wives’ tales by Eric Maple (1981).

Other topics of interest found in the Library’s folklore collection retrospectively catalogued or soon to be, are books on moon mythology: Moon lore by Timothy Harley (1885); plant lore: La mythologie des plantes, ou, Les légendes du règne végétal by Angelo de Gubernatis (1878-1882) and The mystic mandrake by C.J.S. Thompson (1934); animal mythology: Un-natural history, or, Myths of ancient science: being a collection of curious tracts on the basilisk, unicorn, phoenix, behemoth or leviathan, dragon, giant spider, tarantula, chameleons, satyrs, homines caudati, &c. now first translated from the Latin, and edited, with notes and illustrations, by Edmund Goldsmid (1886); and werewolves: The werewolf by Montague Summers (1933).

The enduring popularity of Folklore influence is seen in the rise of contemporary fiction writing in this genre (notable in the Harry Potter series where mandrakes, unicorns, basilisks, dragons, phoenixes, giant spiders and werewolves feature), and is reflected in recent Library acquisitions Mythic thinking in twentieth-century Britain: meaning for modernity by Matthew Sterenberg (2013), The white devil: the werewolf in European culture by Matthew Beresford (2013) and The rise of the vampire by Erik Butler (2013).

Toni Amodei  (Library Cataloguer)

Images:

Picture 1: Title-page and frontispiece from Old Deccan days, or, Hindoo fairy legends, current in southern India / collected from oral tradition by M. Frere (1868).

Picture 2: One of the volumes from the series Curiosità popolari tradizionali.

Picture 3: Illustration from German popular stories / with illustrations after the original designs of George Cruikshank ; edited by Edgar Taylor (1868).

Picture 4: Title-page and frontispiece from Fairy folk tales of the Maori by James Cowan (1925).

Picture 5: Title-page and frontispiece from The mystic mandrake by C.J.S. Thompson (1934).

Picture 6: Title-page from Un-natural history, or, Myths of ancient science now first translated from the Latin, and edited, with notes and illustrations, by Edmund Goldsmid (1886).

Picture 7:  Illustration from The werewolf by Montague Summers (1933).

Posted Under
Folklore

18th century Russian publications in the Märit and Hans Rausing Russian collections of the London Library

posted by

1. Vasilii Tatishchev’s Istoriia rossiiskaia

 

 

2. Sobolevskii and Bibliotheca Lindesiana ex-libris

3. Kusheleff-Bezborodko bookplate

4.Kusheleff-Bezborodko bookplate

5. Baddeley Inscription

6.Library of the Central Pedagogical Museum

7. Central book fund stamp

 

Panov bookplate

8. Panov bookplate

9 Klochkov label

9 Klochkov label

 Opisanie Kaspiiskago moria

10.Opisanie Kaspiiskago moria

 Stranstvovanie nadvornago sovietnika Efremova

11.Stranstvovanie nadvornago sovietnika Efremova

Vvedenie k Astrakhanskoi topografii

12. Vvedenie k Astrakhanskoi topografii

13 Royal Asiatic Society stamp

13. Royal Asiatic Society stamp

Bremisches museum

14.Bremisches museum stamp

Anna Vlasova, London Library Retrospective Cataloguer, this month presents an adaptation of an article recently featured in Solanus, the international journal for the study of the printed and written word in Russia and East-Central Europe, revealing twenty-six fascinating and significant 18th century publications in the Märit and Hans Rausing Russian collections of the London Library. (click on each image for large version).  Explore more on the Märit and Hans Rausing Russian collections on the London Library website http://www.londonlibrary.co.uk/

I would like to review some of the most revealing provenances of these publications. Rodoslovnaia kniga kniazei i dvorian rossiiskikh i vyiezzhikh (1787), V. Tatishchev’s Istoriia rossiiskaia (1768-1848) and A. Bogdanov’s Istoricheskoe, geograficheskoe i topograficheskoe opisanie Sanktpeterburga (1779) were owned by count Sergei Sobolevskii and the Lindsay family before being purchased by the London Library at Hodgson auctions in 1930. Sergei Sobolevskii was a 19th century Russian bibliophile and poet, whom Alexander Pushkin considered a close friend. After Sobolevskii’s death, his 25,000-volume collection was sold to Leipzig bookdealer List&Francke (it was Sobolevskii’s worst nightmare – he dreaded the dispersion of his collection and, in fact, refused several lucrative offers from bookselling firms during his lifetime). There is reason to believe that after Sobolewskii’s auction these three books came into the famous Bibliotheca Lindesiana, most of which was eventually dispersed among national and university libraries.

John Frederick Baddeley’s ownership marks can be found on J. Fischer’s Sibirskaia istoriia (1774), G.F. Müller’s Sammlung russischer Geschichte (1732-1764) and P. Pallas’s Tagebuch einer Reise die im Jahr 1781 (1797). John Frederick Baddeley (1854-1940), a British traveller, scholar, correspondent for the Standard and an acquaintance of Hagberg Wright, lived in Russia for a number of years and made donations of Russian books on anthropology, history and topography to the London Library throughout the early 20th century. John Baddeley was a prolific annotator and extensive marginalia can be found in many books that he donated. Before being purchased by Baddeley, Fischer’s Sibirskaia istoriia belonged to the Kusheleff-Bezborodko family, which came to an end with the death of Grigorii Aleksandrovich Kushelev-Bezborodko in 1870, when their library came into the possession of a family friend, count Alexei Ivanovich Musin-Pushkin. Eventually, in 1912, the Kushelev-Bezborodko library was bought by a St. Petersburg bookseller Nikolai Solov’ev from whom Sibirskaia istoriia may have been acquired by Baddeley, as we find a pencil inscription ‘St.Petersburg, 1913’ in his hand inside this book’s left board.

The twenty-volume Drevniaia rossiiskaia vivliofika (1788-1791) and its eleven volume continuation Prodolzhenie drevnei rossiiskoĭ vivliofiki (1786-1801) were purchased by the London Library in 1931 following its practice of filling gaps in the collections of older books. Although it is not known who the Library purchased these volumes from, there is some evidence relating to their previous whereabouts. Drevniaia rossiiskaia vivliofika was part of the Library of the Central Pedagogical Museum established in 1864 as the Pedagogical Museum and renamed the Central Pedagogical Museum in 1918. The ink stamp on the flyleaf indicates that these volumes also passed through the Russian State Book Fund. Ex-libris found in Prodolzhenie drevnei rossiiskoĭ vivliofiki indicates that these volumes once belonged to professor of law Fedor Nikolaevich Panov (1834 – 1915) and a pink label of a Russian bookseller Vasilii Klochkov (1861 – 1915) suggests that they was once sold in his shop in St. Petersburg.

Provenance evidence found in some of the remaining books provides fascinating insights into their previous whereabouts, but does not uncover how they came into the London Library. Some noteworthy examples are: F. Soimonov’s Opisanie Kaspiiskago moria (1763), F. Efremov’s Stranstvovanie nadvornago sovietnika Efremova (1794) and P. Rychkov’s Vvedenie k Astrakhanskoi topografii (1774) that seem to have belonged to Robert Michell (1837-1911?), Fellow of the Royal Geographical Society; Tsarstvennoi lietopisets (1772) that was at some time part of the collections of the Royal Asiatic Society and P. Pallas’s Samlungen historischer nachrichten uber die mongolishen volkerschaften (1776-1801) that was once part of what now is State and University Library Bremen.

Full image details:

1. Sobolevski’s notes in Vasilii Tatishchev’s Istoriia rossiiskaia, (Napechatana pri Imperatorskom Moskovskom universitetie: Moskva, 1768) reveal the previous owner of this work – German historian August Schlözer
2. Sobolevskii and Bibliotheca Lindesiana ex-libris inside the left board of Andrei Bogdanov’s Istoricheskoe, geograficheskoe i topograficheskoe opisanie Sanktpeterburga ([Vasiliĭ Ruban]: Sanktpeterburg, 1779)
3. Title page of Johann Eberhard Fischer‘s Sibirskaia istoriia (pri Imperatorskoĭ Akademīi nauk: V Sanktpeterburgie, 1774) with Alexander Kusheleff-Bezborodko library stamp
4. Kusheleff-Bezborodko bookplate and John F. Baddeley inscription in Fischer’s Sibirskaia istoriia
5. John Baddeley’s inscription in Peter Pallas’s Tagebuch einer Reise die im Jahr 1781 von der Granzfestung Mosdok nach dem Caucasus (Johann Zacharias Logan: St.Petersburg, 1797) and Hiersemann note, indicating the volume was acquired from a Leipzig bookseller Karl Hiersemann
6. Library of the Central Pedagogical Museum bookplate inside the left board of the 2nd edition of Nikolai Novikov’s Drevniaia rossiiskaia vivliofika (V tipografīi Kompanīi Tipograficheskoĭ: Moskva, 1788-1791)
7. Russian State Book Fund stamp on the flyleaf of Drevniaia rossiiskaia vivliofika
8. Boobplate of F. N. Panov inside the left board of Nikolai Novikov’s Prodolzhenie drevnei rossiiskoĭ vivliofiki (pri Imperatorskoĭ Akademīi nauk: V Sanktpeterburgie, 1786-1801)
9. Pink label of a St. Petersburg bookseller Vasilii Klochkov inside the right board of Prodolzhenie drevnei rossiiskoĭ vivliofiki
10. Robert Michell’s bookplate inside the left board of Fedor Soimonov’s Opisanīe Kaspiiskago moria i chinennykh na onom rossiiskikh zavoevanii, iako chastʹ istorīi Gosudaria Imperatora Petra Velikago (Pri Imperatorskoĭ Akademii nauk: V Sanktpeterburgie, 1763)
11. Filipp Sergeevich Efremov. Stranstvovanie nadvornago sovietnika Efremova v Bukharii, Khivie, Persii i Indii, i vozvrashchenie ottuda chrez Angliiu v Rossiiu (Pech. na izhd. P.B. i prod. po Nevsk. perspektivie u Anichk. mostu v domie Grafa D.A. Zubova: V Sanktpeterburgie, 1794) with Robert Michell’s inscription above the title
12. Petr Ivanovich Rychkov. Vvedenie k Astrakhanskoi topografii (Napechatana pri Imperatorskom Moskovskom universitetie: Moskva, 1774) with Robert Michell’s inscription above the title
13. Royal Asiatic Society stamp on title page verso of Tsarstvennoĭ lietopisets soderzhashchei Rossiiskuiu istoriiu ot 6622/1114 godu … do 6980/1472 godu (Pri Imperatorskoi Akademii nauk: V Sanktpeterburgie 1772)
14. Bremisches museum stamp and the London Library accession stamp on the title page verso of Peter Pallas’s Samlungen historischer nachrichten uber die mongolishen volkerschaften (Kaiserl. Akademie die Wissenschaften: St.Petersburg, 1776-1801)

 

The Long, Long Trail: Charles Chilton, Tommy’s Tunes and Oh! What a Lovely War

posted by
Sassoon[1]

Siegfried Sassoon, an acclaimed First World War poet, joined the Library in 1922 giving his occupation or position as “None”. He was introduced to the Library by E.M. Forster.

Hueffer

Ford Madox Ford joined the Library in 1907. Between 1924 and 1928 he wrote a masterpiece about the War – a tetralogy called Parade’s End.

Olivier

Laurence Olivier joined the Library in 1945. He won a BAFTA award for best supporting actor for his portrayal of British Expeditionary Force Leader General Sir John French in the film Oh! What A Lovely War in 1969.

Tommy's Tunes

Tommy’s Tunes: A Comprehensive Collection of Soldier’s Songs, Marching Melodies, Rude Rhymes, and Popular Parodies, Composed, Collected and Arranged on Active Service with the B.E.F., by F.T. Nettleingham, 2nd Lt. R.F.C. London: Erskine Macdonald 1917. In the hands of Charles Chilton Tommy’s Tunes made a game-changing cultural impact.

There is a small but significant book in the Library’s collections called Tommy’s Tunes: A Comprehensive Collection of Soldier’s Songs, Marching Melodies, Rude Rhymes, and Popular Parodies, Composed, Collected and Arranged on Active Service with the B.E.F., by F.T. Nettleingham, 2nd Lt. R.F.C.  This comprehensive collection of soldiers’ songs was collected and arranged while on active service during the First World War and published in October 1917.  It was acquired by the Library on 1 January 1918 and has been in action on the Library’s shelves ever since.  The songs bristle with camaraderie, irreverence and poignancy.The social history and cultural significance of the book was fully realized in the hands of Charles Chilton in 1961 in his groundbreaking BBC Radio 4 radio documentary The Long, Long Trail which told the story of the First World War through soldiers’ songs. This forgotten radio masterpiece packed a powerful cultural punch and inspired the stage musical Oh! What A Lovely War. It is the richly deserved subject of an Archive on 4 BBC Radio 4 programme (also called The Long, Long Trail) which will be broadcast on 4 January at 8pm in which Roy Hudd and Ian Hislop, among others, consider its significance and during which many of the soldiers songs are sung.  Charles Chilton’s game-changing original documentary will also be broadcast on Radio 4 Extra on Sunday, 5 January 2014, at 1.30pm.

Also from the archive on the theme of the First World War the joining forms to the Library of Laurence Olivier, Ford Madox Ford and Siegfried Sassoon.  Olivier joined the Library in 1945 and won a BAFTA award for best supporting actor for his portrayal of British Expeditionary Force Leader General Sir John French in the film Oh! What A Lovely War in 1969.  Both Sassoon and Madox Ford channeled first-hand experience of the First World War in their work. Between 1924 and 1928 Ford published a masterpiece with the War at its core: a tetralogy known as Parade’s End. In the Preface to No More Parades the second novel in the tetralogy Ford wrote: All novels are historical, but all novels do not deal with such events as get on to the pages of history.  This No More Parades does.”

Siegfried Sassoon joined the Library in 1922 nominated by E.M. Forster and gave at that time his occupation or position as “None”. One of the most acclaimed of the First World War poets, known as “Mad Jack” for his feats of bravery in the field Sassoon was awarded the Military Cross for “conspicuous gallantry” saving men under heavy fire. His open criticism of the War printed on the pages of The Times and discussed in the House of Commons was a considered and calculated counter-attack to Establishment ignorance and complacency about the human cost of the War.

“I am making this statement as an act of willful defiance of military authority because I believe the war is being deliberately prolonged by those who have the power to end it. I am a soldier convinced that I am acting on behalf of soldiers.”[1]

It is often said that there is no town or village in Britain that was left untouched by the First World War and this is also true of the Library.  Hagberg Wright, Librarian from 1893 to 1940 was involved in the Books For Troops Scheme and the Library was a dropping off point for books for distribution through the Red Cross War Library. Advertisements instructed those sending books to the Library for this purpose to label them clearly “For Wounded”. On July 30, 1916 a short piece in The Times reported that 15 members of London Library staff were on active service.  The search is currently underway to discover who they were and how they fared. We will announce and acknowledge them on Remembrance Day 2014.

© Helen O’Neill             Archive, Heritage and Development Librarian

For more on Archive on 4 BBC Radio 4 The Long, Long Trail see:

http://www.bbc.co.uk/mediacentre/proginfo/2014/01/r4-archive-on-4-saturday.html

http://www.bbc.co.uk/programmes/b008hvwk



[1] The Times Tuesday July 31, 1917, p. 8.

T.S. Eliot: Poet and President

posted by
Criterion Oct 1922

The Wasteland appeared in The Criterion in October 1922 and in The Dial in America the following month

TS Eliot

T.S. Eliot joined the Library in 1918 four years before the publication of the most influential poem of the 20th century – The Waste Land.

We join Helen O’Neill for the last time before Christmas as she opens the final window on the Library’s archive advent calendar.

I reserved the last window on our archive advent calendar for one of the greatest poets of the English language: T.S. Eliot. A London Library member from 1918 and the Library’s President between 1952 and 1965 T.S. Eliot exerted a towering influence on the literary landscape during his lifetime and left a lasting legacy to Literature and to the Library after his death.

Eliot joined the Library a year after the publication of The Love Song of J. Alfred Prufrock and four years before The Waste Land first appeared.  T.S. Eliot’s joining form dates from 1918 when he was still working at Lloyd’s Bank before he made the move to Faber and Faber.  He lists his occupation as “Lecturer and journalist” though the Lloyds Bank address at 17 Cornhill is given on his form.

The Waste Land appeared in The Criterion in October 1922 and in The Dial (in America) the following month. It is regarded as the most influential poem of the 20th century. Virginia Woolf handset the poem and published a limited run of 500 copies at the Hogarth Press in 1923.

In 1948 T.S. Eliot was awarded The Nobel Prize in Literature for Four Quartets. Comprised of four poems: Burnt Norton, East Coker, The Dry Salvages and Little Gidding, Four Quartets is an undisputed poetic masterpiece.

Delivering his inaugural address as the Library’s President four years after the Nobel award T.S. Eliot made what he called “a testament of faith” in the Library:

“I am convinced that if this library disappeared, it would be a disaster to the world of letters, and would leave a vacancy that no other form of Library could fill”.

Over the last two weeks we have opened small windows onto the Library’s literary past and it is against this historical backdrop that T.S. Eliot’s “testament” should be seen.  I hope you will come with me next year as my PhD journey through the archive and the Library’s 172 years of extraordinary institutional history continues.

© Helen O’Neill

From Alfred Lord Tennyson to Cecil Day Lewis: a plethora of poets laureate

posted by
Cecil Day Lewis

The poet and novelist Cecil Day Lewis joined the Library in 1945. He was nominated by the art critic and reviewer Raymond Mortimer and became poet laureate in 1968

Christmas Eve

Something festive from the Library’s Special Collections: Christmas Eve by Cecil Day Lewis was published in London by Faber in 1954. It is inscribed in ink on the second flyleaf “Betsy and Keith with love from Cecil Christmas /54”.

Archive Advent calendar: 19 December

Today we open another window on the Library’s archival advent calendar to find four poets laureate closely clustered in the membership records.

Alfred Lord Tennyson was the Library’s President between 1885 and 1892 and was poet laureate from 1850 until his death.  He became laureate in the year In Memoriam was published anonymously: it rapidly became one of the most spectacular publishing successes of the Victorian era.

The poet Alfred Austin joined the Library in 1866 and became poet laureate after Tennyson holding the position from 1896 to 1913.

The poet and novelist John Masefield joined the Library in 1909 and became poet laureate in 1930 holding the position until 1967 when he was succeeded by Cecil Day Lewis who held the position until 1972.

© Helen O’Neill        Archive, Heritage and Development Librarian

 

 

Resuming London Library membership: Evelyn Waugh and Brideshead Revisited

posted by

Archive Advent Calendar 18 December 2013

Waugh

Evelyn Waugh resumed his London Library membership in 1944 giving his occupation as Lt R.H.G. (Lieutenant Royal Horse Guards). Within a year Brideshead Revisted was published.

We join Helen O’Neill for today’s posting from the Library’s archive and open another small window onto the Library’s literary past with the joining form of the writer Evelyn Waugh (1903-1966).

This is the second of Evelyn Waugh’s joining forms to the Library and dates from 1944. Waugh’s Library membership was suspended in 1941 – a common occurrence in the archival membership records for men on active service during times of war.

The date of the form in which Waugh resumes his membership is richly revealing. In December 1943 Waugh broke his leg in parachute training and was given leave without pay – he resumed membership of the Library on January 18th 1944.  The following  year Brideshead Revisted was published in London by Chapman and Hall.  It was well received at home and an almost immediate best seller in America.  Lauded during his lifetime it was filmed to great acclaim after his death. The ITV eleven part adaptation of the novel in 1981 starred Jeremy Irons, Anthony Andrews, Diana Quick, John Giulgud and Laurence Olivier and was nominated for a raft of awards scooping up both BAFTA and Golden Globe accolades.

Join me tomorrow for another archival peek into the Library’s literary past.

© Helen O’Neill        Archive, Heritage and Development Librarian

Guilty by association: Aubrey Beardsley, John Lane and the Yellow Book

posted by
Lane

The innovative publisher John Lane turned Bodley Head from a small second-hand bookshop into a thriving and innovative publishing business. Like Beardsley he was introduced to the Library by Arthur Symons but dropped both Beardsley and Wilde during the tumult of Oscar’s arrest and trial

Beardsley

Aubrey Beardsley nominated by the writer and scholar Arthur Symons joined the Library in 1896 resident in the rooms at 10 St James’s Place previously used by Oscar Wilde.

Yellow Book

The cover of the first volume of The Yellow Book published in 1894 was illustrated by Beardsley and included a further four of his drawings.

Archive Advent Calendar 17 December 2013

The iconic fin de siècle illustrator Aubrey Beardsley (1872-1898) joined the Library in 1896 when he was 23 years old. Closely linked in the popular consciousness with Oscar Wilde, Beardsley’s iconic and risqué illustrations for Wilde’s illustrated edition of Salome were commissioned when he was just twenty-one and caused a scandal when published.

Beardsley’s art and public persona are indelibly stamped on the short-lived but hugely influential avant-garde magazine The Yellow Book published by John Lane at the Bodley Head between 1894 and 1897. The first volume appeared with a cover illustration by Beardsley and included four additional drawings. Beardsley’s artistic vision was key to the impact and profile of the magazine.

The Yellow Book and Beardsley’s association with it became inextricably, if inaccurately linked with the arrest of Oscar Wilde at the Cadogan Hotel in 1895 as the Press reported that Oscar had a copy under his arm. It resulted ultimately in Beardsley’s dismissal from the Bodley Press as John Lane withdrew Wilde’s plays from further publication.

Note the address Beardsley gives on his form – 10 St James’s Street.  When Beardsley joined the Library he was occupying rooms Wilde had used.at Geneux’s Hotel 10-11 St James’s Place. Beardsley died when he was twenty-five years old but left a lasting mark on fin de siècle art and illustration.

The publisher John Lane (1854-1925) joined t he Library in 1895.  He was an innovative entrepreneur who turned a second-hand bookshop called the Bodley Head at 6B Vigo St in London into a distinctive publishing house with a stellar list of new literary talent. Like Beardsley he was introduced to membership of the Library by the scholar and writer Arthur William Symons (1865-1945) whose major work The Symbolist Movement in Literature was hugely influential on early modernist writers including W.B. Yeats and T.S. Eliot.

The Library’s membership records are impossible to view in isolation: in combination they reveal rich interlinked literary, social and artistic networks which intersect with literary and cultural life in unique and compelling ways. Building on the work completed for my MRes the Library’s membership records, in their historical entirety, are one of the building blocks in my PhD research which will apply big data text mining and network visualization technologies to examine the relationships between the Library’s membership, book collections and the nation’s published oeuvre.

© Helen O’Neill        Archive, Heritage and Development Librarian

Joseph Conrad and The London Library

posted by
Heart of Darkness

Two years after joining the Library The Heart of Darkness appeared in serial form in Blackwood’s Edinburgh Magazine.

Conrad

Joseph Conrad’s joined the Library on March 13th 1897 as he enters the major phase of his literary career.

Blackwood

John Blackwood established Blackwood’s Edinburgh Magazine as a leading periodical of the Victorian era. His name appears in the Victorian membership ledgers in 1867.

Archive Advent Calendar: 16 December 2013

We continue our archival countdown to Christmas by opening another window on the Library’s literary past with the joining form to the Library of the master mariner and master novelist Josef Teodor Konrad Korzeniowski (1857-1924) – better known as Joseph Conrad. Conrad is without question one of the greatest writers of Fiction in the canon and “probably the greatest political novelist”[i] in the English language.

Conrad joined the Library in 1897 two years before The Heart of Darkness (as it was called in serial form) appeared in Blackwood’s Edinburgh Magazine.  Blackwood’s was a leading Victorian periodical which had early established itself under the talented editor and publisher John Blackwood (1818-1879). Over thirty years Blackwood both established the periodical as a market leader and published the works of George Eliot, Edward Bulwer-Lytton, Charles Lever, Charles Reade, George Henry Lewes and Margaret Oliphant to name a few – all  of whom are also present in the Victorian membership ledgers of the Library.

The date of Conrad’s joining form is revealing:  1897 marks the beginning of the major phase of his literary career.  His milieu included Ford Madox Ford, John Galsworthy, H.G. Wells and R.B. Cunninghame Graham amongst others who were all also subscribing members.

Many of Conrad’s seminal works made a staggeringly successful transition to film. Lord Jim, Victory, The Secret Agent, and Heart of Darkness are just a few that made the leap – Heart of Darkness was the inspiration behind Francis Ford Coppola’s 1979 masterpiece Apocalypse Now.


[i] Cedric Watts, ‘Conrad, Joseph (1857–1924)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2011

 

© Helen O’Neill        Archive, Heritage and Development Librarian