The Pedant's Return: Why the Things You Think Are Wrong Are Right - Hardcover

Barham, Andrea

 
9780553384918: The Pedant's Return: Why the Things You Think Are Wrong Are Right
Hardcover
ISBN 10: 0553384910 ISBN 13: 9780553384918
Verlag: Bantam Dell Pub Group, 2007

Inhaltsangabe

A follow-up to The Pedant's Revolt looks at the truth behind the myths and old wives' tales to offer coverage of a range of subject matter, from art and literature to food and drink, the animal kingdom, figures from history, science and medical matters, words and sayings, the human body and buildings. 25,000 first printing.

Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.

Über die Autorin bzw. den Autor

Andrea Barham is the author of The Pedant’s Revolt, and is a technical writer in the U.K. While she is a big fan of the world, she feels that there should be less wrongness and more rightness in it. Painfully aware of her inability to correct the bigger issues such as war, poverty, and global warming, she is concentrating on smaller issues more suited to her skills, which consist of “looking stuff up.” By correcting common misconceptions such as the belief that your heart stops when you sneeze, she is hoping to create a domino effect and that eventually all wrongs will be righted, though she is not holding her breath (which, incidentally, you cannot die from). The Pedant’s Return is her sixth book.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

Chapter One

Art and Literature
PLAYWRIGHT WILLIAM SHAKESPEARE STOLE HIS PLOTLINES

The tradesman's son who, in 1578, left school at the age of fourteen and who married at eighteen (after getting a local girl pregnant) is nowadays regarded as the greatest dramatist of all time. Therefore, as Andrew Dickson writing in The Rough Guide to Shakespeare says, "It can be a surprise to learn how much Shakespeare depended on sources and allegories for his plays and poems." John Michell, author of Who Wrote Shakespeare?, tells us that Shakespearean scholars have always admitted that "Shakespeare borrowed freely from contemporary as well as ancient authors." Said contemporaries of the up-and-coming playwright also noticed this tendency to borrow. One such was Ben Jonson, whom the Encyclopaedia Britannica describes as the "second most important English dramatist" of the time. Jonson authored an epigram called On Poet-Ape that tells of a fellow writer who "would pick and glean, / Buy the reversion of old plays, now grown / To a little wealth, and credit on the scene." Jonson goes on to complain that this unnamed offender "takes up all, makes each man's wit his own, / And told of this, he slights it," adding that "he marks not whose 'twas first, and aftertimes / May judge it to be his." According to Michell, Shakespeare was most probably the subject of Jonson's epigram.

Fellow dramatist Robert Greene also harbored a grudge, calling Shakespeare "an upstart crow, beautified with our feathers." And well he might, since Michell discloses that A Winter's Tale was based on one of Robert Greene's own works, a 1588 prose narrative entitled Pandosto: The Triumph of Time.

Neither was Shakespeare picky about which sources he drew upon. Dickson reveals that the Bard plundered "sensationalist romances to serious tomes such as Holinshed's Chronicles and Plutarch's Lives." Hamlet, Dickson tells us, was an earlier play dubbed the "ur-Hamlet," and King Lear was based on The Chronicle History of King Leir and His Three Daughters. Arthur Brooke's long narrative poem The Tragical History of Romeus and Juliet gave rise to . . . you can probably guess that one.
Shakespeare penned just under forty plays, but few have original plots. Love's Labour's Lost, The Merry Wives of Windsor (the only play set wholly in Shakespeare's England), and The Tempest may be original works, but even The Tempest is thought to have been based on a 1609 shipwreck report. It is clear, therefore, that Shakespeare was not an originator of story lines: He was a dramatist. He used established tales to showcase his insightful characterization and sparkling dialogue. It is likely that he probably didn't care who said it first, just who said it best. As twentieth-century poet, critic, and playwright T. S. Eliot confided, "Immature poets imitate; mature poets steal."
Ben Jonson, in a more gracious moment, said of Shakespeare that "he was not of an age, but for all time!" but not everyone had such positive views on the writer's talent. Irish dramatist George Bernard Shaw, who didn't hold Shakespeare in quite such high regard as he held himself, suggested that the Bard was "for an afternoon, but not for all time."

My own personal views on the matter are that it's much ado about nothing, but all's well that ends well.


VIRGINIA WOOLF WROTE ALL OF HER BOOKS STANDING UP

Literary icon virginia woolf is famed for being an innovative writer and an early feminist. Quentin Bell, Woolf's nephew and biographer, reveals a surprising fact about her writing habits in his celebrated book Virginia Woolf: "She had a desk standing about three feet six inches high with a sloping top; it was so high that she had to stand to her work." Virginia was said to have explained this working arrangement in various ways, but Bell claims that "her principal motive was the fact that Vanessa [Virginia's sister and Bell's mother], like many painters, stood to work." Bell explains that Virginia felt her artistic efforts would appear less worthy when compared to those of her sister "unless she set matters on a footing of equality." This is the reason, Bell reveals, that "for many years she stood at this strange desk, and, in a quite unnecessary way, tired herself."

Julia Briggs, writing in Virginia Woolf: An Inner Life, confirms this reading of the author's unusual actions, describing Virginia's relationship with her older sister as "passionate and possessive: She adored and imitated her." Briggs explains that when Vanessa began to paint professionally, Virginia took to "writing standing at a high desk, as if working at an easel." Briggs adds that imitating Vanessa proved the existence of "a barely suppressed rivalry."

It is strange to imagine the revered feminist writer striving so hard to appear as impressive as her older sister. The arresting image surely gives us further insight into her unique character. As for the fate of Virginia's three-foot-six-inch writing desk, Professor Hermione Lee informs us in Virginia Woolf that it was inherited by Bell and "had its legs chopped down."

Another "Wolf" who stood while writing was novelist Thomas Wolfe. Standing at a height of six foot six, Wolfe eschewed the discomfort of desk-writing, and worked on top of his fridge. Diane Ackerman, writing in A Natural History of the Senses, adds that Ernest Hemingway (due to a back injury) and Lewis Carroll also worked in a standing position. Evidently, Ms. Woolf was not alone in employing such an unusual authorial habit.


JAMES BOND AUTHOR IAN FLEMING WROTE THE CHILDREN'S CLASSIC CHITTY CHITTY BANG BANG

Ian Fleming, the famed author of the decidedly adult james Bond novels, also penned the delightful children's story Chitty Chitty Bang Bang, which was first published as three separate tales in 1964 and 1965. The Cambridge Guide to Children's Books in English describes how the eponymous car was "restored from dilapidation by Commander Caractacus Pott." The car, along with the Commander, his wife Mimsie, an their twins then becomes "embroiled with smugglers." The 1968 film version, written by Roald Dahl, follows a different plot, as widower Caractacus Potts, his two children, and a new character called Truly Scrumptious all fall prey to pirates, while Potts's grandfather and children are kidnapped and then rescued by Potts and Truly.

On consideration, perhaps it's not so strange that Fleming should have penned this children's adventure: Both the Bond novels and Chitty Chitty Bang Bang feature high adventure and gadget cars. The cars in the Bond films are high-tech, while the counterpart in the children's tale is magical.
Interestingly, it seems that the subject of the story, which was written for Fleming's young son, Caspar, was modeled on a real car. In The Convertible, Ken Vose reveals that the Chitty Chitty Bang Bang car was based on an actual vehicle built in 1920 by Count Louis Zborowski, the millionaire racing-driver son of a Polish aristocrat. Zborowski designed and built three aeroengined cars known as "Chitty Bang Bang" in Higham Park in Kent. Vose goes on to explain that the original car was "powered by a German Maybach Zeppelin engine" and was famed for winning races speeding along at almost 120 mph. In 1921, a twelve-year-old Fleming is said to have visited the Brooklands motor-racing circuit in Surrey and watched the car race. The Count was tragically killed in the Italian Grand Prix when he crashed into a tree in October 1924. Chitty I (a second model had been built in 1921) was later bought by the sons of Sir Arthur Conan Doyle, and after being temporarily exhibited at Brooklands...

„Über diesen Titel“ kann sich auf eine andere Ausgabe dieses Titels beziehen.

Verlag
Bantam Dell Pub Group
Erscheinungsdatum
2007
Sprache
Englisch
ISBN 10 
0553384910
ISBN 13 
9780553384918
Einband
Gebundene Ausgabe
Anzahl der Seiten
164
Kontakt zum Hersteller
Nicht verfügbar
Verantwortliche Person
Nicht verfügbar