Johnstown High School - Spectator Yearbook (Johnstown, PA)

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THE SPECTATOR 13 Pollio, and M. Valerius Messala were three of the most im- portant patrons of literature at that time. Pollio was the earliest patron of Virgil’s genius. Horace dedicated his “Odes” to men of high official station and ancient family; as, Sestius, Munatius, Sallustius Crispus, and Aelius La- mia. At the period of the revival of letters in Europe, few books were printed without dedications. More dedicated his “Utopia” to his master, William Cecylle. We do not find dedications in Shakespeare’s works, for his dramas were written to be played on the stage, and not printed in book form. The prolog in some of his plays, as “Henry V,” is somewhat like a dedication. The dedication of Spen- ser’s “Fairie Queen” is very beautiful as well as interest- ing. It is as follows: To The Most High, Mightie, And Magnificent Emperesse Renowned For Pietie, Vertue, And All Gracious Government ELIZABETH By The Grace Of God Queene of England, Frabnce, and Ireland, and of Virginia Defender of the Faith, etc. Her Most Humble Servaunt EDMUND SPENSER Doth In All Humilitie Dedicate, Present, And Consecrate These His Labours To Live With The Etemitie Of Her Fame. Many of the English writers affixed dedications to all their books. Spenser, Dryden, and Johnson did so. Some of the most beautiful dedications in English literature are those prefixed by Addison to the diflerent volumes of his “Spectator” essays. The dedications preceding each canto of Scott’s Marmion are full of interest. Of modern dedications I like that of Clark’s Study of the English Prose Writers. It reads: “To a man and a woman who denied themselves a thousand luxuries and many comforts that they might give their children a liberal education this volume is reverently inscribed by one of the children.” What a fit return for son to make to parents ! Dr. Van Dyk’s dedica-

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12 THE SPECTATOR was thrust into the tire of one of the front wheels, they re- alized then that something had to be done immediately. Mr. Sumner tried to speak, but his voice was drowned by the shouts and curses of the mob. Then the mob drew back for a final assault upon the car. Ralph seized a large wrench and Mr. Sumner caught up a crowbar. With a yell the mob advanced. Mrs. Sumner and her daughter screamed and Ralph and Mr. Sumner grew strangely pale as they gazed into their fierce faces. Three yards—two yards—one yard —steadil)', the mob advanced. Just as they prepared to charge the car a voice in the native tongue cried “Halt!” and a man elbowed his way thru the crowd, which fell back respectfully before him. He turned his back to those in the car and faced the mob. “Men,” he began, “I, the Mayor of your village, de- mand that you do not this thing. You ask me why; 1 will tell you. One year ago I was in a strange land. 1 wished to go home I asked for my money. The dogs laughed at me, but one did not. He was a man. I came home and rescued my family from starvation. You made me your Mayor. I therefore command you not to harm these peo- ple. That boy was the one who was kind to me. Michael John Popovich does not forget a friend!” And Ralph Sumner’s bread cast upon the waters had returned to him. FRANK m. BRENISER, ’09. Dedicaton of Book. -ipOLLOWING the introduction in some books, preceding JJ it in others, we may find a page of dedication, con- taining a complimentary address to some one whom the au- thor delighted to honor. Spenser dedicated his “Fairie Queen” to Queen Elizabeth, Van Dyke his “Poetry of Tennyson” to his wife, Duerr his “German Grammar” to his father, and Green his “History of England” to two of his early instructors in English history. The custom of dedicatory books was in use in Rome in the Augustan Age. Horace, Cicero, Virgil, and Lucretius were among those who practiced it. Maecenas, Asinius

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14 THE SPECTATOR tion before referred to is lovely, as it could not help being, for the person who inspired it was a woman ‘who believes in God and duty and immortal love.’ Dedications, sometimes, like those just mentioned, re- veal the writer’s personality; sometimes they pay a com- pliment to the person addressed. The dedication of Ten- nyson’s “Idylls of the King’’ serves another purpose, for it indicates the theme of that poem. In tne dedicatory lines addressed by their writer to the memory of King Albert, the poet asked Queen Victoria to accept his old, imperfect tale, “New-old, and shadowing Sense at war with Soul.” From this line the purpose of his poem can be inferred. The original purpose of these dedicatory prefaces, how- ever, was no doubt to secure the patronage of the great. Writers hoped that the men to whom they dedicated their books would render them pecuniary aid. The practice was abused so seriously that patronage in literature was aban- doned. One of the first books to be published without such a preface was Johnson’s Dictionary. Before the dic- tionary had been compiled, Johnson addressed to the Earl of Chesterfield a prospectus, that is a statement of the plan of the book. Now, Lord Chesterfield, not keen enough to recognize the master mind under Johnson’s coarse and vulgar exterior, wounded Johnson’s pride by paying no heed to the prospectus, and Johnson, stung to the quick by the neglect, retalliated by abandoning his intention of ad- dressing a dedication to Chesterfield. Johnson’s Dictionary contained no dedication. ELIZABETH ELLENBERGER ’08. His Triumph ♦IOOBERT DILLINGHAM was angry, angry with him- self and the world in general. Twice that afternoon had Grace snubbed him. When he had asked her to take a spin in his new Packard she had flatly refused, only to go driving soon after with Jim Reynolds. Reynolds was a caddish young fellow, who was politely, but none the less