FOOTNOTES:

[70] Many fail to see a joke when it is gravely propounded in print, who

would at once recognise it as such, were it uttered verbally, with

however serious a countenance. Possibly this is due to the necessary

absence in the printed account of the indications by which we recognise

that a speaker is jesting--as a certain expression of countenance, or a

certain intonation of voice, by which the grave utterer of a spoken jest

conveys his real meaning. In a paper which recently appeared in the

_Gentleman's Magazine_, Mr. Foster (Thomas of that ilk) propounded very

gravely the theory that our Nursery Rhymes have in reality had their

origin in Nature Myths. He explained, for instance, that the rhymes

relating to Little Jack Horner were originally descriptive of sunrise in

winter: Little Jack is the sun in winter, the Christmas pie is the

cloud-covered sky; the thumb represents the sun's first ray piercing

through the clouds; and Jack's rejoicing means the brightness of full

sunlight. So also the rhymes beginning Hey Diddle Diddle are shown to be

of deep and solemn import, all in manifest burlesque of some recent

extravagant interpretations of certain ancient stories by Goldziher,

Steinthal, and others. Yet this fun was seriously criticized by more

than half the critics, by some approvingly, by some otherwise.

[71] For a full account of this clever hoax the reader is referred to my

"Myths and Marvels of Astronomy."

[72] The most curious are given in the ninth essay of my work referred

to in the preceding note.

[73] Few probably are aware how long some animals may remain without

breathing and yet survive. Kittens and puppies have been brought to life

after being immersed in water for nearly three-quarters of an hour.

[74] Objection has been taken to the italicized words in the following

passage from "No Thoroughfare" (one of the parts certainly written by

Dickens and not by Wilkie Collins): "The cry came up: 'His heart still

beats against mine. I warm him in my arms. I have cast off the rope, for

the ice melts under us, and the rope would separate me from him; but I

am not afraid.' ... The cry came up, 'We are sinking lower, but his

heart still beats against mine.' ... The cry came up, 'We are sinking

still, and we are deadly cold. _His heart no longer beats against mine._

Let no one come down to add to our weight. Lower the rope only.' ... The

cry came up with a deathly silence, 'Raise! softly!' ... She broke from

them all and sank over him on his litter, with both her loving hands

upon _the heart that stood still_." It has been supposed that Dickens

wilfully departed here from truth, in order to leave the impression on

the reader that Vendale was assuredly dead. That he wished to convey

this impression is obvious. He often showed similar care to remove, if

possible, all hope from the anxious reader's mind (markedly so in his

latest and unfinished work, where nevertheless any one well acquainted

with Dickens's manner knows not only that Drood is alive, but that

disguised as Datchery he was to have watched Jasper to the end). But in

reality, it has happened more than once that persons have been restored

to life who have been found in snow-drifts not merely reduced to

complete insensibility, but without any recognisable heart-beat. Dickens

had probably heard of such cases when in Switzerland.

[75] Dr. Richardson will certainly excite the contempt of the northern

professor who rebuked me recently for speaking of heat when I should

have said temperature. "An atmosphere two degrees below freezing-point"

is an expression as inadmissible, if we must be punctilious in such

matters, as the expressions "blood-heat," "a heat of ten degrees," and

so forth. Possibly, however, it is not desirable to be punctilious when

there is no possibility of being misunderstood, especially as it may be

noticed (the Edinburgh professor has often afforded striking

illustrations of the fact by errors of his own) that too great an effort

to be punctilious often results in very remarkable incorrectness of

expression.

The Contemporary Review, Volume 36, November 1879 · 第 31 / 35 题