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• W4386335661 abstract "Named Places in Lear's Limericks Thomas Dilworth (bio) The first-published and largest portion of Edward Lear's nonsense is his limericks. They have remained in print since first publication, have long been popular, and are now eliciting a surge in Lear criticism.1 Commentators have begun to analyze them rigorously as discreet works, reversing the long-held general opinion that, as nonsense, they are meaningless.2 Invigorating this change of opinion is recognition that they are hybrid works. (Rather than illustrated limericks, a term implying subordination of the drawings to the verse, I call them picture-limericks—though sometimes limericks for short.) Most Lear experts now agree in theory that interpretation ripples . . . between picture and text (Uglow, p. 155). Yet in practice the drawings tend to be underexamined. This is owing to readers (and writers) being habituated to not viewing intellectually what they physically see. Those of us who are left-brain (abstract) thinkers, instead of right-brain (visual wholistic) perceivers, need to help one another break this debilitating neurological habit. So I try always to pay attention to the drawings. But in this essay, my chief concern is place-names. Of the 223 picture-limericks in print by the end of Lear's life, 164 designate their central figures as being of a named place. The place-name usually appears in the first line, is repeated in the last line, and rhymes with the last word in the second line. Often the place-name helps establish its picture-limerick as a riddle rather than an enigma. Like all their predecessors without exception, many recent commentators have considered these place-names solely as making rhymes (which, when forced, satirize literary convention). In 1988, Ann Colley wrote that the specific geographic locations in the first lines of the limericks (e.g., Prague, Rheims, Coblenz, and Whitehaven) do not supply [an interpretive] context (p. 290). In 2005, Jure Gantar saw them solely as reducing localities and associated figures to a string of English phonemes, removing sense (identity) in exchange for the limerick being all, and only, [empty] words In 2016, Daniel Brown wrote that the place-names are arbitrary . . . Denuded of content, of local colour and richness, . . . inchoate words, mere word-sounds, their sole [End Page 1] purpose being to make rhymes.3 And in 2017, Jenny Uglow stated that the relation between person and place . . . is purely arbitrary (p. 155). Yet the place-name is often the first word decided on, as is implied by its being so often so difficult to rhyme with.4 The first word chosen, it often drives the creative process. That a word technically so important should always be thematically meaningless hardly seems likely. And in what follows, I will demonstrate that Lear's place-names often have mythic, legendary, or historical associations that invite interpretation and enrich or even determine meaning. If not so restricted by space, I could easily do the same for the place-names in dozens more of the limericks. That place is important to meaning for Lear should be no surprise, given what we know of him. Lear was acutely cognizant of topological history and cultural resonance, especially of places he visited or wished to visit. Since childhood he read travel books (Uglow, p. 25). A close friend and travel companion, Franklin Lushington, recalled that, before going to a country or region, Lear studied every book he could lay hands on that would give him . . . information as to its physical characteristics and its history.5 Lear claimed that prior to traveling in Italy he read the (i.e., all the) guide-books.6 And he often read books about places not in his immediate travel plans. (For example, between September 1859 and March 1864, his diaries record that he read seventeen such volumes, on Greece, Portugal, Lebanon, Jerusalem, Ceylon, Egypt, Syria, Madagascar, Ireland, and Brazil.7) In his Journals of a Landscape Painter in Albania, he comments, every scene has its own link with some historic or poetic association.8 And Vivien Noakes writes that in scenery he responded, in particular to . . . associations with the ancient past.9 His published journals testify to his reading about places in antiquaries..." @default.
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• W4386335661 date "2023-03-01" @default.
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• W4386335661 title "Named Places in Lear's Limericks" @default.
• W4386335661 doi "https://doi.org/10.1353/vp.2023.a905519" @default.
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