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An Inklings' Bibliography (26) Volume 10 Number 3 Article 14 1984 An Inklings' Bibliography (26) Joe R. Christopher Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christopher, Joe R. (1984) "An Inklings' Bibliography (26)," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 10 : No. 3 , Article 14. Available at: https://dc.swosu.edu/mythlore/vol10/iss3/14 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract A series of bibliographies of primary and secondary works concerning the Inklings. This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol10/iss3/14 M YTH LORE 3 7: Winter 1984 Page 51 AN INKLINGS' BIBLIOGRAPHY (26) Compiled by Joe R. Christopher This Bibliography is an annotated checklist covering same individuals (lyric measures, blank verse, both primary and secondary materials on J. R. R. Tolkien, some heroic couplets). Orpheus enters, singing, C.S. Lewis, Charles Williams, and the other Inklings. and then speaks to the same individuals (lyric Authors and readers are encouraged to send off prints or m easures, blank v e rse , some h ero ic c o u p le ts ). bibliographic references to the compiler: Orpheus reaches Persephone and finds Eurydice; Dr. J. R. Christopher, English Department, Hades and Persephone disagree about what should be Tarleton State University, Stephenville, Texas 76402 done to the couple; Persephone leads them up to­ B a rfie ld , Owen. O rpheus: A_ P o e tic Drama. E d ite d , ward the world (mostly blank verse; heroic coup­ with an Afterward[,] by John C. Ulreich, Jr. lets for Hades). III.ii. Hades gives Ascalaphus West Stockbridge, Massachusetts: The Lindis- instructions to imitate Eurydice's voice (heroic farne Press, 1983. 143 pp. [Lewis, 7, 9, couplets). Orpheus and Eurydice, following Per­ 117-120, 122, 137, back cover; Tolkien, 117. sephone, speak to each other; Ascalaphus, imi­ Two brief previously unpublished excerpts tating Eurydice's voice, convinces Orpheus to turn from letters from Lewis to Barfield, p. 118— around (iambic hexameter couplets). IV.i. the first of 16 December 1947; the second, Aristaeus addresses Cyrene, his mother about his 1948.] Paper, $6.95. lost bees (blank verse). Arethusa and Cyrene, The first publication of a verse play by beneath the water, discuss Aristaeus (blank Barfield which was written about 1937 (p. 8) and verse). A Satyr and the Maenads chant (irregular produced once, in 1948 (p. 7). It is a re-telling form, with a few rhymes); the Satyr and the of the intertwined myths of Orpheus and his half- Maenads put on a small playlet (probably, in clas­ brother Aristaeus, based on the version in Ver­ sical terms, "a satyr play") on the love of Zeus gil's fourth Georgic (p. 7). and Persephone, with the birth of a child (Diony­ sius), and then Zeus and Semele, with the birth of (a) Owen Barfield, "Forward" (dated 1982), Dionysius (iambic tetrameter couplets). Orpheus pp. 7-10 [Lewis, 7, 9]. Barfield gives the back­ enters; he and the Satyr converse about his loss ground to his play. Lewis suggested the subJect of true poetic ability ; the Satyr suggests he turn when B a rfie ld wanted to w rite a drama. B a rfie ld to the Maenads, but Orpheus is faithful to Eury­ mentions two themes in the play: (i) "'the nature dice (blank verse). The Maenads attack Orpheus of consciousness’ and more particularly the evolu­ (with an iambic tetrameter couplet from the play­ tion of consciousness in the individual and the let). IV.ii. Beneath the water, Cyrene has liba­ race; with, integrally related to that, the theme of sacrificial death and rebirth"; (ii) "the theme tions poured to Oceanus and she prophesies (blank or enigma of the relation between man and woman" verse with lyric measures for invocation and al­ (p. 8) The latter is discussed, briefly—not the literative meter for prophecy.) Other nymphs find first, since Ulreich deals with it in his "After­ th e head of Orpheus and fin d a lso some chain word"—and other problems are touched on or men­ brought by Orpheus from Hades realm; Cyrene proph­ tioned. In the last paragraph, Barfield says that esies again (blank verse with alliterative meter this second theme ends in a question: "Can Eros for prophecy). IV .iii. Aristaeus converses with become Agape?" (his italics, p. 10). Presumably the Satyr (blank verse); Aristaeus prays to Eury- the reunion of Orpheus and Eurydice in Hades and dicets ghost and sacrifices a bull (prose); off­ their entrance into the Elysian Fields (off stage, stage, the passage of Orpheus and Eurydice to at the end of the play) is what suggests this Elysium is heard, with Hades' protest (iambic q u e s tio n . hexameter couplets); the Maenads, the off-stage voices of Eurydice and Orpheus, the animals com­ (b) "A Note on the Production", p. 11. Pre­ ment (a variety of meters); a closing dialogue of sumably by Barfield; undated, but presumably writ­ Persephone (off-stage) and the Second Chorus, ten before the original production. Some comments speaking for Demeter (hexameter couplets, with on the use of the Choruses, the possible use of more anapests than iambs). masks by some of the figures in Hades, the sound (d) Owen Barfield, "Program Note for the of Cerberus' barking, etc. Original Production" (1948), pp. 113-116. Bar- (c) Owen Barfield, "Orpheus: A Poetic Drama field mainly retells the myth to prepare the in Four Acts", pp. 13-112. I.i. Orpheus comes reader for what he was to see, but he suggests upon the Nereids and chooses, Eurydice (allitera­ several areas of meaning very briefly and tive meter). I.ii. Orpheus and Eurydice converse discusses—in light of the play—the function of (Kalevala meter). She leaves and Aristaeus en­ repetition in civilization and in mechanism more ters; Orpheus and Aristaeus discover themselves to fu l l y . be half brothers (blank verse). Orpheus and Eury­ (e) John C. Ulreich, Jr., "Afterword" dice converse off stage (iambic hexameters). Eu­ (1983), pp. 117-137 [Barfieldian original mate­ rydice is stung by a serpent while fleeing rial, 119 (two quotations, probably from letters Aristaeus' advances (blank verse with iambic hex­ to Ulreich), 120 (one quotation, from a letter to ameters at the end). II.i. Eurydice and Charon Ulreich), 135 (one quotation, either from a letter cross the River Styx (heroic couplets). Charon to or a conversation with, Ulreich); Lewis, 117- reports to Hades (heroic couplets). Hades and 120 (including two excerpts from previously un­ Persephone discuss the somulent Eurydice and other published letters from Lewis to Barfield, the matters (he in heroic couplets, she in blank first dated 16 December 1947, the second, 1948, p. verse). II.ii . Orpheus sings to himself of Eury­ 118), 122, 137], The first part of Ulreich's dice; animals draw near and ask him to descend to essay tells of his discovery of the existence of Hades to help them by seeking Persephone (various the ms. of the play, his reading of it, and his lyric measures). III.i. Hades speaks to Sisy­ decision to find a publisher (pp. 117-20). Then phus, the DaDaids, and Tantalus (heroic couplets). Ulreich offers a survey of Barfield's books and Orpheus enters, singing, and then speaks to the his basic ideas, particularly the importance of Page 52 MYTHLORE 37: Winter 1 98 4 the imagination in the individual's consciousness Ford, Paul F. Companion to -Narnia. 2nd ed. San (pp. 121-126). Ulreich gives "a brief recapitula­ F ra n c isc o : Harper and Row, 1983. x l i i + 451 tion of Saving the Appearances" as a statement of pp. [Barfield, 53n (Aslan); Tolkien, xx the nature of the consciousness which is applica­ (Acknowledgments), xxx-xxxii (Introduction), ble to Orpheus—this summary traces the "original 66, 68n (Aslan's Voice), 82 (Birds), 281n p a r tic ip a tio n " of human co n scio u sn ess in phenomena (Lucy Pevensie), 305n (Octesian), 305 around it; the "'non-participating', obJective (Ogres), 306 (Orknies), 421n (Tree-People); thought" (which is the current stage, mainly); and Williams, xxx-xxxii nn (Introduction), 50n "the possibility of 'final participation'", some­ (Aslan), 131n (Deeper Magic).] Paper, $5.95. thing like the Romantics attempted (pp. 126-129). Despite there being no acknowledgement of the fact These three steps are like the incarnation, cruci­ in this edition, this paperback has been revised fixion, and resurrection of Christ. With this from the hardcover edition which was published in point as his transition, Ulreich turns from Saving 1980. The following notes shall not cover the the Appearances to his discussion of Orpheus (pp. basic book again, but simply note the changes 129-137).
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