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• W4366998315 abstract "The Caird Library at the UK National Maritime Museum, Greenwich, holds a personal logbook (shelf mark BRK/13) kept by Falconer on voyages as chief mate of the merchant ship Vestal in 1760–61. The leaves are not numbered; the log entries occupy the first thirty-three leaves, and are followed by twenty-nine leaves of draft poems, here designated leaves 34v to 62r. These are the only surviving manuscripts of Falconer's poetry. We can assume from the log entries that the date of these drafts is 1760 onward, which corresponds reasonably with the publication dates of two of the poems drafted: the lyric “Written at Sea,” published in 1762 (the year of Shipwreck A), and the Ode on the Duke of York's Second Departure from England, as Rear Admiral, published in 1763. The volume containing the voyage logs and the draft poems is a modest notebook, approximately 9 x 7 inches, on inexpensive paper and with a paper cover. Not surprisingly, it shows signs of wear from use and probably from exposure to wind and weather. Although they do not include any drafts of his major poem, The Shipwreck, they provide insight into Falconer's poetic development. They are, in large part, exercises in prosody and form, revealing a poet schooling himself by following the example of the classical poets—particularly Virgil—beginning, appropriately, with the pastoral lyric. The manuscript leaves are clearly private sketches, and, in places, very difficult to decipher, but they display a characteristic of Falconer's mature writing process: his tireless revising. They have never been published until now.The drafts vary greatly in presentation: some leaves are covered with scribbled, hard-to-read, and often canceled stanzas and occasional doodling in the form of sketches, arithmetical calculations, lists of rhyme words, and, on one leaf, practice signatures. Other leaves contain fair or almost-fair copies of verses. Many of the leaves contain draft stanzas of the rather derivative love-lyric later published as “Written at Sea.”To look more deeply into these drafts is to see some emerging elements of the great poem Falconer was soon to compose. First among these is the growing frequency of allusions to the figure of “Arion,” the Greek mythological poet-singer saved from a watery grave by dolphins enchanted by the lyric beauty of his song. In the 1764 revision of The Shipwreck, Falconer names the young second mate “Arion” (his avatar in the poem). Other hints of Falconer's later preoccupations are to be found in the drafts: his admiration for the Royal Navy; his affection for the ode as a poetical form; his liking for elaborate descriptive imagery and personification. These preoccupations are noted below in the headnotes to the draft leaves. The body of drafts in the logbook shows Falconer developing his technique and gaining confidence, his labors leading him to perfect the lyric published as “Written at Sea” as well as the semi-completed odes in the final leaves (54v–62r).The draft poetry in the logbook was never intended to be read, except by the author. Several poems are fair or semi-fair copies, others are first drafts with many excisions, alterations, and extraneous matter, such as lists of rhyme-words and unrelated jottings. The drafts on some pages are, accordingly, difficult to decipher, and transcribing them is inevitably at times a matter of informed approximations, helped by the meter or rhyme words. The five specimen photograph illustrations (figures 1–5) give a representative impression of these drafts. Original spelling and capitalization have been retained, except for the long “s” (ſ); Falconer often used it in his drafts to replace both letters in words with a “double s” sequence (e.g., “possessed”). These spellings have been silently modernized. Canceled words have been indicated with a strikeout; approximations are enclosed in brackets, with a question mark (e.g., [watery?]); illegible words are indicated with “illegible” in brackets; illegible words that have been canceled are indicated with “illegible” in brackets.The following transcription tries to approximate the appearance of the original manuscript page. Falconer wrote his first draft in the center of the leaf, with most subsequent revisions interlineated (indicated with a carat [^] below). In some cases, however, Falconer crammed revisions into the margin (see figure 1). This transcription uses a smaller font to convey these marginal revisions and additions. Citations to Falconer's three authorial Shipwreck editions use the A, B, C abbreviations to indicate the 1762, 1764, and 1769 poems, respectively.This transcription has been made from photographs by the author on a visit to the Caird Library, National Maritime Museum Greenwich (NMM) on 12 October 2021. Figures 1–5 in this essay are from the logbook and reproduced with the permission of the NMM. My thanks are due to the NMM archivists for this opportunity to examine the manuscript logbook, and to Lucy Bate for her assistance in the photography.[34v–35v] “To Cleora”; early draft of poem later published as “Written at Sea.”The first two leaves (34v, 35r) contain drafts of the lyric later published in 1762 under the title, “Written at Sea; by the Author of The Shipwreck.” Falconer finished the poem in October of that year while aboard the Royal George in Portsmouth. This lyric of five stanzas in the published version is addressed to “A Nymph,” but in the drafts it is “To Cleora” (in later editions, “Written at Sea” acquired the title of “The Fond Lover”). There are many excisions and revisions in the manuscript, with entire stanzas deleted, showing an aspiring poet's energy and efforts to develop his craft. The whole is a rather derivative love lyric, only gaining a measure of originality by drawing imagery from his seafaring experience. The poem was published in the St James's Magazine 1 (1762): 110–12. Falconer's phrase, “Phocian throng” (35r) alludes to Phocis, the region of Greece where Delphi is located." @default.
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• W4366998315 title "William Falconer's Manuscript Draft Poetry: An Annotated Transcription" @default.
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