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• W2933872080 abstract "Quite determin’d to punish her, long they debate What, in justice, should be their old enemy’s fate. On the fire they throw her, but burn her they couldn’t; In the water they put her, but drown there she wouldn’t. They seize her before all the wondering people And chuck her aloft on St Paul’s church-yard steeple. (The last suggestion is probably a literary reference supplied by Aunt Elea­ nor for her little nephew, whose library no doubt consisted largely of books published by John Newbery in St. Paul’s Churchyard.) There is a similar debate in “Scrapefoot,” where the bears propose, “Let’s hang him!”, “Let’s drown him!”, “Let’s throw him out of the window!” This parallel rather inclines me towards Jacobs’s theory of the beast epic origin, because of another analogue, in Joel Chandler Harris’s traditional animal tales of Uncle Remus. When Brer Fox has at last caught the cheeky and wily Brer Rabbit by means of the wonderful Tar Baby, he considers roasting him, hanging him, drowning him, and skinning him (skinning also turns up in Crane’s version of the Three Bears). Finally, he is persuaded to throw him into the brier-patch — which represents liberation for Brer Rabbit as the exit via the window is liberation for the different intruders in the Three Bears. I would like to think that I had discovered a partial analogue here, like the recognized analogue of Snow White in the little house of the seven dwarfs. Perhaps I have indulged too long in my own speculations; but my excuse is that the book, with its tantalizingly varied versions of the classic ready to hand, provokes participation. It is a book not only for folklore specialists and teachers of children’s literature, but for readers of children’s literature (yes, I include children), and for anyone interested in pursuing in detail the growth and development of a story. juliet mc master / University of Alberta S W I F T ’ S P O E T R Y — AN E X C H A N G E I feel that I must ask for space in your journal to comment on Ann Messen­ ger’s review (June 1983) of my book Energy and Order in the Poetry of Swift. The inaccuracies in that review are not matters of opinion, but of verifiable fact, and they seriously misrepresent what I have written. First, on p. 227, Messenger says that I “repeatedly” reveal my “sense of the desirability, if not the existence, of traditional rigidities.” As an example of this, she quotes part of my analysis of “The Bubble” where I say that the 124 analogy between the subject of the poem and the myth of Hercules and Antaeus “is not just absurdly contrived, it is also introduced in order to express anger rather than to participate in a coherently developed moral criticism” (p. 78). This comment does not in itself indicate a belief either that “traditional rigidities” are desirable or that they are undesirable. Any conclusion about such a matter would need to be derived from the context in which the comment appears. Elsewhere on the same page I say that Swift’s lines offer a “dramatic display of his ingenious capacity to impro­ vise” and that in the poem as a whole “an unruly process of association, combined with an agile wit, manages to bring into the poem’s compass an astonishing variety of materials.” Also on the same page I compare “The Bubble” to one of Swift’s poems about William Wood: in my account of that poem I define the presence of “an inventive energy which, under the stimulus of an intense emotion, becomes exuberantly disruptive of logic, proportion, and coherent form” (p. 72). Similarly, on p. 75 I describe “The Bubble” as an “exuberant and indefatigable display of ingenuity.” And so on. To suggest that my account of this poem shows an “evident desire” for “patterns and coherence” and “traditional rigidities” utterly distorts the words of my text, words which repeatedly express a sense of excitement at Swift’s departures from traditional rigidities. It is a strange approach to language..." @default.
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• W2933872080 title "Swift’s Poetry — an Exchange" @default.
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