Marshall Mcluhan and James Joyce: Beyond Media: Donald Theall and Joan Theall
Marshall Mcluhan and James Joyce: Beyond Media: Donald Theall and Joan Theall
Marshall Mcluhan and James Joyce: Beyond Media: Donald Theall and Joan Theall
BEYOND MEDIA
Donald Theall and Joan Theall
McLuhan used the works of James Joyce extensively in his own work.
This article deals with the source of many of his most startling observa-
tions regarding art, society and technology-James Joyce.
Les oeuvres de James Joyce ont forts kt6 utilizees dans les travaux de
McLuhan. Cet article ddmontre I'influence de Joyce dam ces obsema-
tions les plus brilliantes sur l'art, la sociCt6 et la technologie.
"Nobody could pretend serious interest in my work who is not
completely familiar with all of the works of James Joyce and the
French symbolists." Marshall McLuhan
The irony of all the complex contradictions of Marshall McLuhan's variegated
career apparently is that he failed to successfully communicate the insights of
contemporary poetry and art to communications researchers. Whatever else
McLuhan was up to in his sometimes exasperating and,often enigmatic writings,
he developed a theory of communication which he considered to be "applied
Joyce," in the same sense that he had analyzed Joyce as developing an aesthetic
which was "applied ~ ~ u i n a s . "At' one stage or another, the working title for both
The Gutenberg Galaxy and Understanding Media was "The Road to Finnegans
Wake".In a certain sense, this title was McLuhan's Work in Progress (Joyce's own
working title for Finnegans ~ a k e )Consequently,
.~ it has, as McLuhan himself
suggests in the epigraph, been unfortunate that many of those involved in
communication and cultural studies have never read his works in relation to the
history of art and literature from the 1880's to the 1960's.
CANADIAN JOURNALOF COMMUNICATION/SpecialIssue 47
The prime insight of this era, which has seen the integration of information
and telecommunication technology, undermines the concept with which
48 Marshall McLuhan and James JoyceID. ThealVJ. Theall
McLuhan's name has become most closely associated: media. Implicit in both
Innis and McLuhan's writings is the message that the concept of media is a specific
product of the mass age. McLuhan's reflection on his own most quoted epigram,
"The Medium is the Massage," is a satiric observation on the uncritical public
acceptance of "the medium is the message" and a conscious association of the
concept of media with the "mass age" of "massage". Twenty-five years after the
publication of Understanding Media, implicit in the tendency of technology to
develop at a rapidly moving rate of change, is the deconstruction of the concept
of media through the practical activities of telematic technology.
To "McLuhanize" for a moment, if we look at the present day, it is obvious
that the micro is the medium and, therefore, the micro is the message. Television,
as videotext, is the obvious content of the new medium. But the micro as chip and
processor is the metamorphosis of media; the only factors of the world of speech
that are not immediately open to development in the micro are the recreation of
features of actual physical presence-touch, smell, taste-though there is no
reason to believe that this capability will not emerge-inthe future through progress
in "compunications" (a term which I prefer to telematics or informatics, since it
underlines the union of the numerate and the literate aspects of the computer with
the full potential range of human and electronic communication).
What such a speculative McLuhanitic flight suggests is that McLuhan himself
led us "Beyond Media"-that Understanding Media ought to have been entitled
undoing media. By this I mean no mere semantic game-playing. As it has been
used in the Twentieth Century, there are real problems in the term media. Raymond
Williams points out in Keywords (1976: 203) that there are three major senses
blended in the term: its original sense, its specific technical sense (i.e, as in print
medium) and an extended capitalistic sense (i.e., a magazine seen as a medium for
advertising). Print and broadcasting in the specific technical sense should not be
called media, but should more strictly be designated as material forms and sign
systems. McLuhan has always been fully aware of this ambivalence in the term
media and deliberately exploits it in his writings.3 An importantand peculiar aspect
of McLuhan's (and incidentally Innis') idea of media is conceiving of a medium
as refemng to a moment of transformation or metamorphosis. This is why for
McLuhan one medium becomes the content of a succeeding one. A medium is
identifiable as such, while it is a dominant factor in the sociopolitical sphere, as
radio was from the sinking of the Titanic to the Second World War. He maintains
that subsequently radio with film became the content of TV.
Like good romantics, Innis and McLuhan were primarily interested in mo-
ments of transition or transformation. They both structured histories about such
moments, while abandoning the detailed searching out of slow, gradual change
and complex interaction between social, economic, political, cultural and material
factors that are the goal of the academic historian. Innis saw such moments of
CANADIAN JOURNAL OF COMMUNICATION/SpeciaI Issue 49
and enthusiastic audience. It had sales value. Moreover, McLuhan's satiric mode
of presentation precluded his substituting a de-arnbiguated, non-ambivalent
terminology for the terminology which he was undermining, by substituting an
alternate, more precise, academic terminology.
As a central concept in the study of communication, the term media has often
been misleading. As Barthes or Williams would say, though with considerably
different import, writing is a practices practice for print. Before print, it was a
practice for manuscript production. In fact, writing itself becomes "ambivalent,"
since it is both a practice and a material form encompassing a sign system.
Discussing the Greeks, Innis often telescoped these differing implications, as
McLuhan does in discussing the introduction of writing into oral societies, so that
McLuhan (Innis 1964, xiv) is quite justified in saying that Innis uses "word play."
Preoccupation with using media as the primary concept has concealed the fun-
damental complexities of the unity of human communication and its dependency
on a community of interacting signs4 where signs appeahg to different senses and
utilizing different modes of reproduction are orchestrated to produce actual com-
munication events. Furthermore, media as a concept has continued to encourage
the use of paired opposites which pervade Innis and McLuhan's writings--oral
and written, space and time, centre and margin, hot and cool-and has subse-
quently characterized many other writings about communication.
What actually happens in communication is that people simultaneously use
gestures, sounds, rhythms, images, demonstrations, speech, self-presentation and
setting in differing mixtures to shape messages. Communication technology has
tended to become more and more inclusive of all of these potentialities so that
contemporary microprocessors are being designed to permit the simultaneous use
of signs derived from all of the differing sensory capacities of the human person.
The Aspen Movie Map produced by the MIT Media Lab is only a suggestion of
what is yet to come (Brand, 1987: 141-2). At the moment, perhaps we can only
sense the full potential in SF visions, such as William Gibson's Count Zero (1986)
or Neuromancer (1984), which provide the folklore consumed by researchers at
the Media Lab. It might be said, as McLuhan seems to say, that this inclusiveness
is a return to the aural world of speech, for the body and its surround are utilized
simultaneously with words and other signs in shaping communication. But then,
even this is problematic, for it is logocentric, and while recognizing its importance
in communication, language ought not to be endowed with aprivileged role, since
it, too, derives from the same potentialities as the other repertoires of signs.
McLuhan always insisted that his major insights come from symbolist and
post-symbolist poetry (McLuhan, 1987: 505). Certainly with regard to the
inclusiveness of the communication process and to the problem of logocentrism,
modem poets and artists preceded McLuhan in realizing that a medium could only
be an artefact, material or imaginary, and that communication occurred through
CANADIAN JOURNALOF COMMUNICATIONISpecialIssue 51
the operation of a community of signs. MallannC instructed Degas that poems are
made with words not ideas, but in so doing he also declared words to be things,
just like pigments. While McLuhan used this insight, there were many key insights
of the artists and poets which he did not develop.
Artists or poets create new grammars and new rhetorics to cope with the
changing sociopolitical and technological worlds. MallarmC's association of the
shapeof the newspaper with an aleatory world envisions communication emerging
from ordered randomness that McLuhan associated with the symbolist rendering
of inner landscapes. Kurt Schwitters, making collages from bits and pieces to
explore the fragmentation of the media world and its objects, such as newsprint,
simultaneouslyexplores the basis of a new visual repertoire of signs. Lichtenberg,
playing with popular cultural images, highlights the ambivalence of the folk art of
the comic book. Fellini explores a self- reflexive, critical language of film involv-
ing new repertoires of signs derived from light, sound, gesture, facial image, circus
and the like, while satirically directing it at church, state, industry and artistic
institutions.
Joyce, though, is the focal point, for he performed in poetics an activity
analogous to Einstein's in science. His final works are a living summa semiotics.
He consciously demolished the stability of the sign symbol and began playing with
the bits and pieces of a fragmented society. He explored the gaps created by the
breakdown of continuities and investigated the increased communicativepotential
which they would generate. Joyce, who considered himself to be a poet, is an early,
active practitioner of that "wild sociology" that John O'Neill(1974: 23) describes
as embracing "the common dilemma of making sense together" which "in practice
...achieves areturn to things that is the direction of poetry" .Vico and some of the
symbolist poets are earlier practitioners of such a "wild sociology". Joyce con-
sciously developed "wild semiology," a necessary corollary to a wild sociology,
showing how the inclusiveness of semiotic communication constituted an "ecol-
ogy of sense,"5manifesting the inter-relatednessbetween the biological and social
ecosystems and the mental life of nature and man, a fact which McLuhan appears
to have grasped only partially.
To explore this it is necessary to move beyond McLuhan and media to
comprehend how much more McLuhanism might have contributed to comrnuni-
cation studies. One of the obstacles to McLuhan's not contributing more was his
failure to interest communication scholars and social theorists in the potential
contributions of Joyce, symbolist poets and the avant-garde to our understanding
of communication. Joyce's work, in spite of its complexity,remains as crucial now
as McLuhan asserted it was in 1964. Yet a most revealing insight into McLuhan's
own problems with Joyce is to be found in a letter he wrote to Felix Giovanelli:
52 Marshall McLuhan and JamesJoyceID.ThealUJ.Theall
Looking at Joyce recently. A bit startled to note that last page of Finnegan
is a rendering of the last part of the Mass. Remembered that the opening
of Ulysses is from first words of the Mass. The whole thing is an
intellectual Black Mass. The portion which Joyceread for recording ends
with an imitation of the damnation of Faust. As he reads it...it is homble.
Casual, eerie. Speaking of Existenz and the hatred of language--what
about Finnegan? (McLuhan, 1987: 183).
Now admittedly, after 1950 McLuhan very frequently refers to Joyce, but he
always seems more comfortable when speaking about Ezra Pound (who never
recognized any value in Finnegans Wake), and Joyce's arch-critic, Wyndham
Lewis. McLuhan, in fact, interprets Joyce while evading Joyce's overt commit-
ment to socialism and anarchism, as well as his critique of the Church and the
politics of contemporary Europe. McLuhan and Joyce shared roles as satirists; but
McLuhan's satire is closer to Wyndham Lewis' and vitiated by extremely
conservative social analysis. Having discovered the importance of Vico and Joyce
and being familiar with the work of Gregory Bateson, whose Communications:
The Social Matrix of Psychiatry provided one of his earliest introductions to the
study of communication,McLuhan ought to have developedan "ecologyof sense."
He failed to do so, because he continued to evade the necessity of recognizing the
genuine transformation which Joyce achieves in his approach to the relation of the
sensory body and the social body in communication.McLuhan replaced the values
of social communion achieving community through everyday life and secularized
rituals which permeate Ulysses and Finnegans Wake,by a preoccupation with the
Mystical Body and with a rejection of the necessity of value judgements in
studying social phenomenon.
communicates. In the famous opening episode of the Portrait (1964: 7-8), Baby
Tuckoo (which McLuhan quoted frequently to his classes at the University of
Toronto), Joyce explores how Stephen's perceptions as a toddler involve the
interplay of the senses, decodifying apparent nonsense and trying to understand
the symbols of Irish religion and politics. Synaesthesia occupies a major role in
the leaning process by which smells blend with the feel of textures, sounds with
the rhythmic movements of the body. Even the import of the political is first
perceived in terms of symbolic colours-the green and red brushes-and words
and phrases which are learned through a process of recording and remembering a
repertoire of sounds and sense patterns. Baby Tuckoo first learns about power and
domination through the word play associated both with pleasure and with threat:
the images of father and mother and Dank's admonition that eagles will "pull out
his eyes" if he doesn't apologise.
Understanding emerges from sound and gesture, so it is natural in Finnegans
Wake that the dreamer who by dreaming is writing his dreambook declares: "In
the beginning was the gest he jousstly says, for the enh is with woman, flesh-
without-word," (FW.468.05). Here Joyce echoes Marcel Jousse'sL'arf el le geste
where Jousse quotes Udine: "Au commencement Ctait le Geste," (McHugh, 1980:
468) playing on the theme of Christ as Word with which St. John's Gospel opens,
the psycho- anthropological primacy of gesture and the role of the jest or joke as
a communicationwith the unconscious. Joyce plays on the complexity of "gesture"
in apt-print world when he explores the nature of story-telling: "Singalingalying.
Storiella as she is syung. Whence followup with end-spealang nots for yestures..."
(FW.267.07). The interplay of end punctuation, notes in song indicating endings
and gestures complementingthe vocal (supersegmental)end signals in storytelling
bring together the complex web of signs which petmeate all communication.
Joyce plays endlessly with concepts of text, speech, writing, print, sight,
sound, and so on. Like Kenneth Burke, he seeks a concept of language as gesture,
for gesture, the "root language" grounded in the human person, gives birth to
language. Drama and dance, which provide models for communication in the
Wake, also are offspring of gesture. Therefore, in the works reflecting his most
mature artistic theory, Joyce identified drama and dance as fundamental for
understanding all poetic creation and all communication. From the beginning of
his artistic career Joyce recognized the importance of the sensory system and the
use of gesture for both the process of communication and of artistic creation. In
Stephen Hero (1955), an early draft of A Portrait, his youthful artist-hero argues
that rather than treating gesture as elocutionists do, a rejuvenated art of gesture
should be developed as a theory of rhythm. Later in Ulysses at Bella Cohen's whore
house during the climactic scene in Dublin's Nighttown where Leopold Bloom
and Stephen first meet face to face, the young aspiring poet declares that gesture
is the universal language:
56 Marshall McLuhan and JamesJoyce/D.ThealUJ.Theall
So that gesture, not music, not odours would be a universal language, the
gift of tongues rendering visible not the lay sense but the first entelechy,
the structural rhythm, (Ulysses, 425).
Joyce's own way of developing this structural rhythm as the form-giving
energy in his work is through an intense attention to the rhythms of nature and their
relation to social rhythms. He achieves this by assimilating rhythms arising from
movements within the body as well as rhythms involving the biosocial expression
of the body in conversation and in such activities as oratory, poetry, music and
dance.
Structural rhythm is an important aspect of the process by which throughout
history humans have extended their capacity for expression from the initial
evolution of speech and writing to the newest developments of electronic media.
With the emergence of each new mode of production and/or transmission of signs
there has had to be an adaptation of the technology to the structural rhythms of
nature and of civilization. In the moment of transition from orality to phonetic
writing, there was a need for writing to accommodate the rhythms of speech. So,
following Vico (1948, II,iv, 428ff., 124-6), it can be said that the earliest forms of
written expression are poetry, a means of encompassing the art of gesture and the
rhythms of the body in a symbiosis with nature within the limits of writing. Later
as newer media arise encouragingmore complex medleys of signs, the community
of signs interacts with the rhythms of the body, so retrospectively the play of words
replaying the shape of these newer media can be described as a dance. For example,
the telegraph interacts with the way language is perceived, for to quote Joyce's
dream: "Languagethis allsfare for the loathe of Marses ambiviolent about it," (FW:
518 02). This continuous ongoing interaction of the material means of com-
munication and the signs themselvesresults in ambivalence being an ever-present
element of all communication,including language. Such interaction contributes to
that violence and transgression which seem to accompany the communication of
the new.
Joyce, therefore, designed Finnegans Wake in such a way that the reader had
to both see the printed page with his eye, while simultaneously listening to it with
his ear to be able to understand the workings of the language and the range of puns.
This "aural reading" also provided a means for utilizing the differences between
the oral and printed language to develop a poetic counterpoint by which he could
generate completely new lexical items created to cope with the complexities of a
contemporary world permeated by various new communication technologies. The
discovery of writing had itself been a "poetic" activity which brought into play the
counterpoint between writing and speech; a conflict intensified by the discovery
of print, which through its bias for standardizing orthography can potentially
undermine the poetic exploitation of this counterpoint:
CANADIAN JOURNAL OF COMMUNICATlONlSpecial Issue 57
The prouts who will invent a writing there ultimately is the poeta, still
morelearned,who discovered the raiding there originally. That's the point
of eschatology our book of kills reaches for now in soandso many
counteqmint words. What can't be coded can be decorded if an ear aye
seize what no eye ere grieved for. Now the docmne obtains, we have
occasioning cause causing effects and affects occasionally recausing
altereffects. Or I will take it upon myself to suggest to twist the penman's
tale posterwise. The gist is the gist of Shaum but the hand is the hand of
Sameas (FW 482.31).
This complex strategy of reading ("raiding") is related to processes of coding and
decoding by eye and ear, but also to processes of transformation from oral to
written and from written to oral. The structure of this passage simultaneously
represents the processes being discussed. At one level Finnegans Wake broaches
a crisis of grammatology well before Derrida, who obviously is influenced by
Joyce; but this comes about because the book is a symbol of even more
encompassing problems of communication implicit in the activity of the writer.
The very language in the passage displays the interplay inherent in the "aural
reading". Such a strategy is requisite to realizing the complex significance of
"decorded," which results from the "aural reading" which brings out the counter-
point between "coded"and "decorded to unmask the concealed,"decoded."Such
polysemy occurs at the interface between speech and print and involves the
complex operations of encoding, decoding, unravelling (i.e., "de-cording") and
making musical sounds (chord as a symbol of musical sound). The play between
eye and ear leads back to the body, for the "gist"--the core idea--rises from the
gestures, the hand that writes and the hand that signs. Writing when he did, Joyce
developed the "root" language of Finnegans Wake with its counterpoint and
"decording" not because he had to force readers to read his book as a printed text,
but because he had to make them become aware that this book also had to be
pronounced, at least silently,preferably out loudand to alert them to the still greater
"ambiviolence" of the modem world. This process of coding, decording, reading,
listening and sensorial participating underlines the way in which a language that
is "punny" itself becomes a symbol for the drama of communication.
McLuhan realized that Joyce applied these insights to the transformations
occurring in the second and third decades of this century and extrapolated from
that into the future. He often quoted passages such as: "Television kills telephony
in brothers' broil. Our eyes demand their turn. Let them be seen!" (FW: 52.18), or
"Yet on holding the verso against a lit rush this new book of Moms responded
most remarkably to the silent query of our world's oldest light," (FW 123.34), or
"Roll away the reel world, the reel world," (FW 64.25). In the Wake there is
teleframing, telewishing, telesmelling, and telekinesis, all semiotic extensions on
telephony and telegraphy. But McLuhan does not follow Joyce in seeking for the
58 Marshall McLuhan and JamesJoyceID.ThealYJ.Theall
basic signs made possible by light, gesture, icon, movement and the like, for he
hypostatizes media, even though he constantly plays with signs.
Without our being conscious of it, Joyce has been a major contributor in
shaping the ways we speak and think about communication. McLuhan borrowed,
though he also changed and adapted, many of his insights from Joyce, who is far
more central to McLuhan's work than Innis or Mumford. The fundamental
concepts of the interplay of orality-aurality and literacy and the integrated inter-
action of the senses first came to McLuhan's attention through his artistic and
literary studies and his media oriented approach took shape under the inspiration
of Joyce, Vico and the symbolist tradition. No one before Joyce had set about to
explore our universe of signs with the encyclopedic thoroughness that he did. In
the 15903, for instance, in Puttenham's Art of Poesie (1936: 93-101), the iconic
function of print is fully recognized in the discussion of stanzaic patterns and
"shaped poems". In the eighteenth century Pope is thoroughly conscious of issues
of communication when in the Dunciad, he explores transformations in the social
and material role of the book directed towards developing a new set of possibilities
for mass production in print communication. While many rhetoricians, following
the introduction of print, recognized the importance of "orthographical" figures
and figures based on punctuation, capitalization and the like, they usually regarded
them mercly as aids to highlighting features of the oral language. The exercise of
defining a "GutenbergGalaxy" arises from the exploration of such issues and such
texts.
In the Second Book of the Wake Joyce shapes a fictional action which traces
the history of the development of human communication and the process of
maturation of a social being. That pattern shifts from children playing in the
nurseryroom to adolescents learning in the schoolroom to adults socially inter-
acting in the carnivalesque marketplace atmosphere of the bar room of a Dublin
inn, concluding with a shorter section-an epilogue consisting of tales of sexual
love, death, birth and rebirth. This action involves inter-relating the action of
dreaming with drama, dance and film as archetypes of the process of human
communication. Communication is closely linked to education through imagining
the school room as a medium through which students learn literacy and numeracy,
language and logic, grammar and rhetoric. Adult social interaction is reflected by
life in the pub sustained by imitation, conversation, persuasion, rumour, and
storytelling and related to the ways in which radio, film and TV complement this
consensus seeking ritual.
Throughout the Second book there is an intermingling of modes of com-
munication, In the nursery, playtime is a "futurist onehorse balletbattle picture"
with "shadows by the film folk, masses by the good people." It involves "prompt-
ing~","longshots", "upcloses", "jests. jokes, jigs and jorums" plus a list of film
credits (FW: 221.18). Joyce's mythic conception, reduced toa child's point of view,
CANADIAN JOURNALOF COMMUNICATIONISpecialIssue 59
until 1931 when the possibility of atom smashing arose, are based on a conception
of assemblages of different bits. In the case of the atom, the discovery of the
presence and significance of other bits led to its potential annihilation-smashing
of the atom-a process in which uranium played a significantrole. For Joyce, TV's
annihilatingthe etym is also very important, for it alters the relationshipof memory
with the root language. Since the etym does not completely disappear, the process
is an ab-nihilisation, not actually a destruction. The etym is transformed into
Joyce's own root language directed at unmasking the mystification of audiovisual
communication.
Joyce, in the 19303, developed analyses of communication in relation to
social contexts impressive in their technical detail and social extension. His
attentiveness to popular modes of communication and the affairs of everyday life
receive just as careful attention. His interest in popular modes of communication
and their socio- political import date back to the retreat sermon in A Portrait of the
Artist (1%4: 108-35), and to the use of political rhetoric in "Ivy Day in the
CommitteeRoom" and to the parish sermon in "Grace" (Dublinen, 1962: 118-36,
150ff),revealing the link between Church and the capitalist hegemony. In Ulysses,
such social institutions as prostitution, nationalist politics, the medical fraternity
and the newspaper come under scrutiny. The Wake runs the gamut of popular
expression from sermons to games to political campaigns to salesmanship and the
entire range of "massmedia," as well becoming an encyclopedic gathering of mbal
history reflected in the playful eroticism of dance, which becomes a verbal dance
through a "garden" of rhetoric. Twenty-nine flower girls (i.e, 29 leap year girls),
sometimesreferred to as rainbow girls and sometimesappearing in manifestations
reminiscent of the newsboys of the Aeolus section of Ulysses, cavort through the
hero's dream as dancing images, but also verbal images such as the "languish of
flowers" (FW 96.11) or the "flores of speech" (FW 143.04). The newsboys of
Ulysses, who appeared in the section devoted to the art of rhetoric, also are dynamic
figures of speech sounding their headlines while hawking their papers, thus
creating a telegraphic rhetoric for Dublin that later in the Wake is reproduced by
radio.
Throughout the Wake, Joyce weaves together language, electronic media,
drama, dance and the arts in a medley of forms of communication which create
the shape of his fictional dream. We have moved from the basic machines of
nature-creating through speech, gesture, and writing-to print, radio, telegraph
and television. The production of and by these modes of communication in their
mechanical, organic, and socially interactive aspects are reproduced in the move-
ment of the book. Joyce foresees that the general trend of development in social
and technological processes of communication contributes extensively to the
transformation of everyday life.
62 Marshall McLuhan and James Joyce/D. ThealYJ.Theall
NOTES
Joyce used the phrase "applied Aquinas" in Stephen Hero (77) where he says
of the aspiring young poet, Stephen: "His Esthetic was in the main applied
Aquinas." McLuhan developed this theory in "Joyce, Aquinas and the Poetic
Process," which appeared in Renascence in Autumn, 1951.
McLuhan began entertaining the idea of writing a book whose working title
was "The Road to Finnegans Wake",which he discussed with me on various
occasions in the early 1950s. He referred to it on many other occasions when
we met from time to time between 1955 and 1965. The Gutenberg Galaxy
involved many of the topics which were to have been covered in the "Road.
The working title made allusion to Vico through the Vico Road of the Wake,
but also jokingly alluded to the popular Bob Hope, Bing Crosby and Dorothy
Larnour series of road movies.
This aritcle, in a slightly different form, was first presented to a McGill
University seminar in November 1988, prior to the publication of Laws of
64 Marshall McLuhan and JamesJoycelD.ThealYJ.Theall
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Puttenham , George (1936). The Arte of English Poesie. Ed. Gladys Doidge
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