Kenneth Spencer Research Library

September 24-30 is Banned Books Week, an annual event in which libraries and readers celebrate the freedom to read. With this in mind, today we feature several images from an early printed copy of The Divine Comedy by the medieval Italian poet Dante Alighieri (1265-1321). The copy in question is from a 1512 edition printed by Bernadino Stagnino in Venice, a city that served as a vibrant center for early printing and the book trade. Stagnino’s edition combines a recently re-edited version of Dante’s text (1502) with an earlier commentary on the poem by the 15^th century humanist scholar Cristoforo Landino.

But wait, you ask, what does this have to do with censorship? Sometime in the decades following its printing, Spencer’s copy traveled from Venice to Spain, and in the late 1500s fell under the review of the Inquisition and Catholic clerics concerned with religious orthodoxy and the spread of heretical ideas.  A manuscript notation in Spanish on the volume’s title page reads:  “Con comisión de los S[eñor]es Inquisidores teste y borre lo prohibido deste libro” (“With commission from the Señores Inquisitors cross out and erase what is prohibited in this book”) followed by the name [E]stevan Joan Velasco Vicario de S[an]t Nicolás (Esteban Juan Velasco, vicar of San Nicolás).*

“…cross out and erase what is prohibited in this book”: the title page, with notations in Spanish, of Spencer’s copy of Opere del die vino poeta Danthe [Divina Commedia]. Venice: Bernardino Stagnino, 1512. Call #: Summerfield C1189. Click image to enlarge.

A similar notation by a different cleric appears on the verso of the volume’s final page of text: “Por lo mandado de los señores inquisidores teste y borre lo prohibido en estas comedias del dante conforme a la censura del Sto Off[ci]o [h]oy a 25 de mayo de 1585. Fray Juan Vidal” (By the order of the señores inquisitors cross out and erase what is prohibited in these comedies of Dante according to the censure of the Holy Office today, 25 May 1585 Fray Juan Vidal).*

In paging through the volume, readers will find several redacted passages of varying lengths. Landino’s commentary receives the most expurgation, though lines from Dante’s poem are redacted on occasion as well. In some places, an offending line is simply crossed out in ink, while longer passages have been papered over so as to render them illegible. Once the prohibited passages had been redacted, the volume could be retained and consulted.

Passages in Landino’s commentary that have been redacted by the addition of blank paper slips and by crossing out lines of text in ink.

A later reader appears to have succeeded in removing much of the paper that once covered some of the offending passages. Although some discoloration remains from the glue used to affix the paper slips, the text is now visible.  You can also see the censor’s original ink dash, marking the portions of text to be redacted or pasted over.

Text restored?: the yellowy-brown patches indicate sections where paper slips were once glued to cover over passages judged offensive. Some remnants of the paper are visible above in the block of text at the bottom left (click image to enlarge). Dante Alighieri. Opere del die vino poeta Danthe [Divina Commedia]. Venice: Bernardino Stagnino, 1512. Call #: Summerfield C1189.

As readers of Dante know, The Divine Comedy is divided into three sections or “canticles,” one for each of the three realms of the afterlife visited by the character of Dante over the course of the poem: Inferno, Purgatorio, and Paradiso (Hell, Purgatory, and Paradise).  As one might expect, most of the redacted passages appear in the Inferno. (It can be controversial to put historical personages, including Church leaders, in Hell, and to discuss the political and theological matters that result in damnation.) However, Spencer’s copy also contains at least one censored passage in both the text and commentary of the Purgatorio and Paradiso as well.

Trouble in Paradise: expurgated passages in Dante’s verse and Landino’s commentary toward the end of Canto IX  in the “Paradiso” section of The Divine Comedy (click image to enlarge).  Dante Alighieri. Opere del die vino poeta Danthe [Divina Commedia]. Venice: Bernardino Stagnino, 1512. Call #: Summerfield C1189. This passage, which critiques the Vatican and Church leaders, is also redacted in a copy of a 1564 edition of Dante’s work (with commentaries) held at Brandeis University.

Spencer’s expurgated copy of the Dante’s Divine Comedy offers a fascinating material example of censorship in early modern Spain.  If this brief post has whet your appetite for exploring this subject further, consider visiting He who destroyes a good booke, kills reason it selfe, an online re-issue of a notable 1955 KU Libraries exhibition catalogue on intellectual freedom. The catalogue’s section on Spain contains examples of other volumes from the library’s collections that were censored under the Inquisition, including a book on proverbs by Juan de Aranda that has been redacted with ornamented slips.

Curious about more contemporary instances of censorship and challenges to books? Take a look at the list of the top ten most challenged books of 2016, as compiled by the American Library Association Office for Intellectual Freedom. Or, if you live in Lawrence, consider visiting the Lawrence Public Library, which will be distributing a different card in its 2017 Banned Books Trading Card series each day this week.

Elspeth Healey
Special Collections Librarian

*Transcriptions and translations courtesy of Professor Luis Corteguera, with additional insight from Professors Patricia Manning and Isidro Rivera.

Click on the thumbnails below for images of additional redacted passages in Spencer’s 1512 edition of Dante’s Divine Comedy with commentary by Cristoforo Landino.

On August 19th, science fiction writer and critic Brian Aldiss died, a day after turning 92. In an obituary for The Guardian, fellow writer Christopher Priest characterized Aldiss as “by a long chalk the premier British science fiction writer.” As fans and scholars of speculative fiction around the world mourn this loss, some will be surprised to discover that part of the British writer’s literary legacy resides in Kansas: the Spencer Research Library a holds significant collection of papers for Aldiss, including materials for his Billion Year Spree and his Helliconia Trilogy. The trilogy, which consists of the novels Helliconia Spring (1982), Helliconia Summer (1983), and Helliconia Winter (1985), is among Aldiss’s most admired works. “This depiction of a world that circles a double star, where an orbital Great Year lasts long enough for cultures to emerge, prosper and fail,” Priest writes in his remembrance of Aldiss, “is a subtle, deeply researched and intellectually rigorous work.”

Brian Aldiss accepting the John W. Campbell Memorial Award for best science fiction novel for Helliconia Spring (1982) in Lawrence, KS in 1983.  Call number: RG 0/19: Aldiss, Brian

The collection of Aldiss’s papers at KU provides a wealth of evidence for the research and rigor that went into his writings. The 25 boxes of materials for the Helliconia Trilogy include, for example, Aldiss’s extensive correspondence with scientists and scholars to determine the scientific basis for the world he was creating. Those consulted include Iain Nicholson of Hatfield Polytechnic Observatory on the subject of astronomy, Peter Cattermole of the University of Sheffield on geology and climate, and Tom Shippey, then at the University of Leeds, on the languages of the novel. The result is a world  striking in its attention to detail.

A selection of research correspondence with Iain Nicholson, Peter Cattermole, and Tom Shippey concerning the creation of Helliconia. Brian Wilson Aldiss Papers. Call #: MS 214: A.

Not only do these letters reveal the extent to which technical and scientific matters underpin the trilogy’s concept, plot, and themes, but they also offer lighter moments of humor between on-going collaborators. Aldiss, for example, begins a June 1981 letter to Cattermole by quipping, “Helliconian scholars have failed to study Helliconia’s sister planets in any depth; they have been too busy drinking the whisky out of their orrerys.” (MS 214:Aa:2:14a).  Writing again to Cattermole in September of 1982, following the publication of Helliconia Spring earlier that February, Aldiss reports,

Vol. 1 has been very well received, especially in the States; over here there were complaints, as you say, about names. Well, it’s no good building up an intense winter atmosphere in Embruddock and then call[ing] the sods Joe and Charlie. There will be more complaints of that nature with Vol II, where I have a vast character list, with over fifty speaking parts, but I see no way of evading the problem and so forge on hopefully.  Wait till you meet Queen MyrdalemInggala….. (MS 214Aa:2:16b)

Spencer Research Library’s collections also include manuscript materials for Aldiss’s groundbreaking Billion Year Spree (1973), subtitled “The True History of Science Fiction,” which he later expanded with David Wingrove into Trillion Year Spree (1986). The volume argues for Mary Shelley’s Frankenstein: or, The Modern Prometheus (1818) as the birth of science fiction.

Aldiss’s ties to the University of Kansas grew out of his relationship with fellow science fiction writer and critic, James Gunn, Professor Emeritus of English and the founder of KU’s Gunn Center for the Study of Science Fiction. “We were long-time friends, although an ocean between us limited our encounters,” Gunn explains.

I was a guest in his Oxford home for a couple of days after the founding of World SF in Ireland [in 1976], and he was a guest in my home during his author’s visit here.  We were competitors only in the writing of science-fiction histories.  We both started in 1971, but circumstances (and maybe the complexities of illustrations) held up Alternate Worlds (1975) [Gunn’s illustrated history of SF] for a couple of years.  When I wrote him for a photograph, he suggested that we exchange blurbs–that I would say his history was the best and he would do the same for mine.

Though the delay in the publication of Gunn’s Alternate Worlds meant that the exchange of blurbs never came to pass, researchers can explore both Aldiss’s and Gunn’s processes in writing their respective histories of science fiction by examining the collections of their papers at Spencer Research Library.

Left: Brian Aldiss’s Billion Year Spree (1973). Schocken paperback edition, second printing. New York: Schocken Books, 1975. Call #: ASF B1245. Right: James Gunn’s Alternate Worlds. First edition. Englewood Cliffs, N.J : Prentice-Hall, 1975. Call #: E2598.

In his introduction to Billion Year Spree, Aldiss mused, “Possibly this book will help further the day when writers who invent whole worlds are as highly valued as those who re-create the rise and fall of a movie magnate or the breaking of two hearts in a bedsitter. The invented universe, the invented time, are often so much closer to us than Hollywood or Kensington.” Thank you for those invented universes, Brian Aldiss.

Elspeth Healey
Special Collections Librarian

Old English is the earliest form of English spoken by the Germanic tribes residing in England between 5th-century CE through the middle of the 1100s. It is the language of Beowulf, and most speakers of modern English would find it largely unreadable without some training. The first lines of Beowulf, for example, are “Hwæt! We Gardena in geardagum / þeod-cyninga, þrym gefrunon, / hu ða æþelingas ellen fremedon!” (Try your hand at translating the lines, then highlight the remainder of this parenthesis to see an English translation:  “Yes, we have heard of the greatness of the Spear-Danes’ high kings in days long past, how those nobles practiced bravery.“)*

In 1066 at the Battle of Hastings, William of Normandy earned his epithet “the Conqueror” by defeating the forces of England’s King Harold. The Norman Conquest brought with it an influx of the French language from the new rulers and this combined with other linguistic influences to transform the English language over many decades, ultimately yielding Middle English, the language we associate with Chaucer.

Spencer Research Library holds three Old English leaves, each with its own fascinating story. The leaf shown below (in its recto and verso sides) is an early 11^th century glossary giving brief definitions of difficult Latin words. Most of the glosses are also in Latin, but some are in Old English. The two sides of the leaf cover the Latin words interkalares to istingum.

Latin glossary with Latin and Old English glosses, covering the words interkalares to istingum.
Worcester (?), West Midlands, England, circa 990 – 1010. Call #: MS Pryce P2A:1 Click images to enlarge.

Though rather weathered-looking, the leaf contains perhaps the sole surviving instance of an Old English word: gegrindswile. Like many words of Germanic origin, gegrindswile is a compound.  Its two parts —gegrind and swile– survive in other texts, but this leaf is the only instance recorded in the Dictionary of Old English Corpus of the two combined.  Together they form a single word meaning “a swelling caused by friction, a chafing or galling (of the skin),” which glosses the Latin word intertrigenes.

Look closely and  you’ll notice that gegrindswile contains a letter that does not survive, as such, in modern English: “ƿ.” This is the runic letter “wynn,” which represents our modern “w” sound.  KU holds only a single leaf (two pages) from the glossary; however, the British Library holds a seemingly related manuscript. Its collections include a Latin glossary for the letters A-F, also with Old English glosses, written in the same scribal hand as KU’s leaf.

This leaf is currently on display as part of Spencer’s Research Library’s exhibition Histories of the English Language:

From the Old English of Beowulf to the Middle English of Chaucer to the many dialects that make up our modern tongue, the history of English is a history of change. Featuring materials from KU’s Kenneth Spencer Research Library, this exhibition explores English as embodied in the writings of its practitioners, whether celebrated authors, such as John Milton and Toni Morrison, or scholars, lexicographers, and  grammarians, such as Elizabeth Elstob, Samuel Johnson, Robert Lowth, and Noah Webster, or anonymous and little-known writers of “everyday” English. In manuscripts and books dating from 1000 CE to the present, visitors will encounter the varied forces at work growing, codifying, standardizing, governing, reforming, describing, and reinventing English.

The exhibition is free and open to the public in Spencer Research Library’s gallery space any time that the library is open. Histories of the English Language will be on display through August.

Elspeth Healey
Special Collections Librarian

*The English translation of Beowulf is from that by R.D. Fulk in The Beowulf Manuscript: Complete Texts and The Fight at Finnsburg. Dumbarton Oaks Medieval Library 3. Cambridge, MA: Harvard Univ. Press 2010. Call #: PR1583 .F85 2010 (Watson Library)

The Irish collections from Special Collections at Spencer Library were represented at the Kansas City Irish Fest this past Labor Day weekend. We were asked by Irish Fest organizers to exhibit some items from our W. B. Yeats Collection to celebrate the sesquicentennial of his birth. Featured here are a few of the items selected by Special Collections Librarian Elspeth Healey.

Whitney Baker and Elspeth Healey at KC Irish Fest

Letter from W. B. Yeats to A. H. Bullen. March 28, [1909].

In this letter, we see Yeats’s generosity to other writers as he encourages his publisher, A. H. Bullen, to read the manuscript of a young poet that he had met in London. “There may be some fire in the flax,” he comments to Bullen. Though the letter’s dateline does not include a year, Yeats’s opening reference to the death of Irish writer J. M. Synge fixes the date as 1909. Just two years earlier, Synge’s The Playboy of the Western World had sparked audience protests when it was first performed at the Abbey Theatre. Some nationalist viewers objected the play’s language and what they saw as its unflattering portrayal of Irish peasant society.

Letter from W. B. Yeats to A. H. Bullen. March 28, [1909]. Special Collections, call number MS 25 Wa 2.57. Click image to enlarge.

Yeats, W. B. “Tom O’ Roughley,” typescript with manuscript emendations. ca. 1918.

This typescript copy of “Tom O’Roughley” is signed and revised in manuscript by Yeats, with additional markings in pencil by the printer. It appeared in Nine Poems (1918), a collection printed privately by Yeats’s friend Clement Shorter. Shorter also printed for private circulation the first edition of Yeats’s poem “Easter 1916.” The “Tom O’Roughley” of this poem shares much with the figure of the “fool” outlined by Yeats in Phase 28 of A Vision (1925, 1937). There Yeats writes, “his thoughts are an aimless reverie; his acts are aimless like his thoughts, and it is in his aimlessness that he finds joy.”

Yeats, W. B. “Tom O’ Roughley,” typescript with manuscript emendations. ca. 1918. Special Collections, call number MS 25 Wd.1.3 Tom O’Roughley. Click image to enlarge.

A Broadside. Dundrum, Ireland: E.C. Yeats, The Cuala Press. No. 9, Second Year (February 1910)

W. B. Yeats’s sisters Susan (Lily) and Elizabeth (Lolly) founded Cuala Industries in 1908, following an earlier printing and craft venture, Dun Emer Industries. Lily produced embroidery, and Lolly oversaw the Cuala Press, which brought out titles by primarily Irish writers, including many by W. B. Yeats himself. Below is an issue of A Broadside, a series that featured both contemporary and traditional poems and ballads. Each issue was printed in folio format—a single sheet folded once—and was illustrated with hand-colored woodcuts by Yeats’s brother, the artist Jack B. Yeats, who also edited the first series (1908-1915).

A Broadside. Dundrum, Ireland: E.C. Yeats, The Cuala Press. No. 9, Second Year (February 1910). Special Collections, call number Yeats Y339, No. 9, Year 2. Click image to enlarge.

Whitney Baker
Head, Conservation Services

How many freshmen can boast that their arrival on campus was covered by the national press? Though neither a star athlete nor the child of a public figure, poet Harry Kemp (1883-1960) won this distinction through his knack for self-promotion. Kemp’s unconventional arrival at KU by boxcar in January of 1906 launched him from anonymity to the front page of the New York Tribune —  “TO COLLEGE UNDER FREIGHT CAR / Student Leaves New-York with 3 cents–Working Way at University of Kansas. Another headline in the Kansas City Star proclaimed Kemp a “Tramp Poet,” and the moniker stuck (though he was known as the vagabond poet and hobo poet as well). During his six years of studies at KU, Kemp immersed himself in books, built a reputation as a poet and writer, and befriended nearby William Allen White, the newsman and “Sage of Emporia.”

And as the years passed, Kemp continued to make headlines, including as the “other man” in Upton Sinclair’s divorce and for attempting  in 1913 to “tramp” to England as a stowaway aboard a steamer, something that earned him a brief stay in a British jail and further celebrity on both sides of the pond. Of course, Kemp garnered attention for his literary output as well. He published books of verse–including The Cry of Youth (1914), Chanteys and Ballads (1920), and Don Juan’s Note-book (1929)–and a bestselling semi-fictionalized memoir, Tramping on Life: An Autobiographical Narrative (1922), in which KU appears as “Laurel University” in “Laurel, Kansas.” Kemp livened up already the already lively literary circles of Greenwich Village and was associated with the Provincetown Players, electing ultimately to settle in Cape Cod.

Youth and Old Age: Harry Kemp (middle row, second from left) with fellow members of the Scoop Club
(for news reporters) in the 1909 Jayhawker yearbook, Call #: LD 2697.J3 1909,
and in a photograph from the the 1950s, Personal Papers of Harry Kemp. Call #: PP 75, Box 3.
Click images to enlarge.

Though Louis Untermeyer had once spoken of Kemp alongside Carl Sandburg, Vachel Lindsay, and Edgar Lee Masters, by the end of his life, the Tramp Poet’s reputation had already begun to fade. Nevertheless, Kemp continued to write and elevate his eccentricities to an art.  From his shack in Provincetown, Massachusetts, he would sign his poems (and sometimes even compose them) with a seagull feather.  In honor National Poetry Month, we remember today one of the most eccentric and free-spirited poets to emerge from KU, Harry Kemp, and share three of his poems below.

Kemp, Harry. “Kansas” in Sunflowers: A Book of Kansas Poems. Willard Wattles, Editor.
Lawrence, KS:  World Company, 1914. Call #: KAC C71. Click image to enlarge.

Kemp, Harry. “The Humming Bird,” from Chanteys and Ballads, Sea-chanteys, Tramp-ballads and Other
Ballads and Poems. New York, Brentano’s [c1920]. Call #: PP 75, Box 1. Click images to enlarge.

Kemp, Harry.  “Eight Lines, For the New Year (Human Trust),” undated.
Personal Papers of Harry Kemp. Call # PP 75, Box 3. Click Image to enlarge.

For more on Harry Kemp, his poetry, and his wild life, see William Brevda’s Harry Kemp, the Last Bohemian or drop by Spencer and begin exploring his personal papers.

Elspeth Healey
Special Collections Librarian