Blottentots, and How to Make Them — Text and Context
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For Blottentots, and How to Make Them — Text and Context, the stored edition analysis reports 4,441 words, 20 min estimated reading time, and 1 detected text section.
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Read the Text
These were made for Dymphna
HOW TO MAKE BLOTTENTOTS
To make a funny Blottentot, First take a piece of paper, Splash on some ink, a single spot, Crease, press, but cut no caper.
Don't crease exactly at the blot-- You'll have a fearful muddle; Press gently, too, and not a lot, Unless you want a puddle.
With everything we humans do, Practice makes us apter: So start at once, you'll find it true At the end of your first chapter.
In the realms of wonderland Such flies do gaily flitter, But when they're just a blot of ink Of course they cannot glitter.
They flitter, flutter round about, These Flitter-Flitter-Flitters, O'er dewy flow'ry sunny meads, The lightest, brightest critters.
Weedy, greedy Gobble-Me-Up, Your mouth is a fearful size. Do you live on little girls and boys, Or merely cakes and pies?
TWO BUCKING NIGHTMARES
Two bucking nightmares ran out to neigh, Thinking it night, but found it day, So took to their heels in sore dismay,-- I'm 'fraid they still are running away.
Now it seems to be scarcely credible, A difficult thing to think, That such a strange grotesquerie Was pressed from a drop of ink.
But word for word I tell you, As true as word can be, That in its making there was naught But the blindest chancerie.
Tom and Johnny Make-the-law, Talkative and lazy, Standing on a Thingumajig Comical and crazy. You are just a pair of Imps, With but one leg that badly limps.
Gadzooks, Nell Gwynne! How did you get in? Did you walk or were you brought in your chair? Your dress is perfection To the smallest section Of stomacher, quilting and hair.
Said Dr. Spindleshanks, "I'll stand no silly pranks!" "You're nothing but a prig!" Said Dr. Funnywig. Then, making each a face, They went off at a pace.
You big Bugaboo! We didn't want you, But really now that you've come, If you keep far away We'll permit you to stay, Just as long you keep quite dumb.
Teeny and Tiny Pugnoses Have discovered two beautiful roses, But the stems are so tall They can't reach them at all, Though they stand on the tips of their toeses.
You can see by the look of this big-footed Sprite, That just the one thing that affords him delight Is to give a high jump and land on your toe, On the very same spot where the biggest corns grow.
A LITTLE GRASS MIDGET
This is a little grass Midget, As you know a most terrible fidget. For a month every year He makes it quite clear That he is a little grass Midget.
I hope they're on pegs, Because if they're legs, They are altogether shocking. They have no feet, And almost meet, And haven't the sign of a stocking.
Why, here's our dear old hopper, Our Kangar-rooster-roo! And seeing he's such a whopper, I'll certainly not say "Shoo"!
Then there are two, you see, So I'd better hold my peace, Or they may sit on me And leave me a crumpled crease.
A Squidgeecumsquee Got up in a tree, And found another-- The fac simile. "Oh dear! oh my!" He said jumping high, "It's surely my brother-- What a horrible guy!"
"You jump over to me," said Sue. "I wish you would come to me," said Loo; "As sure as I jump I'll kick that stump, So really I'd rather let you."
Now this is just the funniest rogue, A Brownie as black as ink, And what he's doing perched up there, I'm sure I cannot think.
He's holding his arms like a pair of sails; Perhaps he's trying to fly. Let's hope he won't be playing that game When you and I pass by.
Here are the strangest pair of dogs, What sort I cannot tell, But judging by their noses sharp They have the sense of smell.
Their tails are very, very long,-- But does it really matter? By the very way they stare and start They're mad as any hatter.
Are these Quumps or Zagabogs, Golliwogs or Quees? Anyhow, you'd best look out,-- They're just about to sneeze!
I've just discovered a marvelous way Of making these Blottentots mottled and gray; If you promise you never will show any one I'll tell you the secret of how it is done.
Take two bottles of ink, one thick and one thin, Of different blacks, and dip your pen in; From each splash a drop at the very same spot, Then do as before, only pressing a lot.
What makes these little Grigs so sad? They're standing most dejected. Have they been up to something bad And in it got detected?
John Prosper Carmel's Blottentots, and How to Make Them (1907) opens with a declaration of royal ink-blot lineage: “O, I AM PRINCE OF THE INKY IMPS AND KING OF THE BLOTTENTOT CREW.” This boastful, rhyming voice immediately establishes the book’s hybrid nature—part instruction manual, part whimsical verse collection. The author presents himself as a buccaneer born from a creased ink spot, inviting readers to replicate his process. Yet the text quickly reveals that the real delight lies not in the technique but in the characters that emerge: Flitter-Flitter-Flitters, Gobble-Me-Up, and two bucking nightmares who “took to their heels in sore dismay.” Carmel’s diction oscillates between practical advice (“crease, press, but cut no caper”) and fantastical description, creating a tone that is both teacherly and mischievous.
Instructional Rhyme and Practical Play
The opening instructions are delivered in a tight, sing-song meter: “To make a funny Blottentot, / First take a piece of paper, / Splash on some ink, a single spot, / Crease, press, but cut no caper.” Carmel warns against creasing “exactly at the blot” and pressing too hard, lest you create “a fearful muddle” or “a puddle.” These lines are not merely functional; they embed the craft lesson within a playful, rhythmic structure that mirrors the unpredictability of the process. The author acknowledges that practice makes “apter,” but the emphasis remains on the joy of accident. The instructional voice is direct yet light, treating the reader as a co-conspirator in ink-blot mischief rather than a passive learner.
A Gallery of Ink-Blot Characters
Carmel populates his pages with a menagerie of creatures, each introduced through a short, character-driven poem. The “Flitter-Flitter-Flitters” are described as “the lightest, brightest critters” that “flitter, flutter round about” in “realms of wonderland.” In contrast, the “Gobble-Me-Up” is “weedy, greedy,” with a mouth of “fearful size,” and the poem playfully asks whether it eats “little girls and boys, / Or merely cakes and pies.” The “Two Bucking Nightmares” are given a brief narrative: they “ran out to neigh, / Thinking it night, but found it day.” These vignettes are economical, often no more than four lines, yet they establish distinct personalities through exaggerated physical traits and absurd situations. The author’s diction favors alliteration and internal rhyme, as in “Teeny and Tiny Pugnoses” who “have discovered two beautiful roses.”
Historical and Nonsense References
Among the fantastical figures, Carmel inserts a surprising historical cameo: “Mistress Nell” is addressed as “Gadzooks, Nell Gwynne! How did you get in?” The poem notes her “stomacher, quilting and hair,” grounding the ink-blot in Restoration-era fashion. This juxtaposition of historical specificity with the random nature of ink-blot creation underscores Carmel’s playful approach to genre. Elsewhere, “Law-Makers” Tom and Johnny “Make-the-law” are described as “talkative and lazy, / Standing on a Thingumajig / Comical and crazy.” The nonsense word “Thingumajig” and the limping single-leg detail reinforce the absurdity. A “Professional Tiff” between Dr. Spindleshanks and Dr. Funnywig ends with each making a face and departing, a miniature drama that relies on caricature rather than plot.
The Role of Chance and the Author’s Voice
Carmel directly addresses the role of chance in the poem “Strange But True,” where he marvels that “such a strange grotesquerie / Was pressed from a drop of ink.” He insists that “in its making there was naught / But the blindest chancerie.” This acknowledgment of randomness is central to the book’s aesthetic: the author does not claim mastery over the process but rather celebrates the unpredictable outcomes. The closing lines of the instructional section reinforce this: “With everything we humans do, / Practice makes us apter: / So start at once, you’ll find it true / At the end of your first chapter.” The voice remains encouraging yet honest, never promising perfect results but rather the pleasure of discovery.
Carmel’s Blottentots rewards readers who approach it as both a craft guide and a collection of miniature nonsense poems. The brevity of each entry invites repeated reading, and the interplay between instruction and imagination suggests that the true subject is not the technique but the creatures that chance and crease produce. Readers may find it useful to try the method themselves, letting the ink guide the invention, just as Carmel’s verses do.
Sometimes, between the shelves, I recall the gentle twilight of Blottentots—those puddled beasts made from ink and patience. There is a similar fondness for quiet craft in Outlook Odes — Inside the Classic; both whisper of the joy in making something whole from scattered parts. A secret companionship, that.
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