Gobolinks; or, Shadow Pictures for Young and Old — Context and Discussion
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Gobolinks; or, Shadow Pictures for Young and Old — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 7,585 words, 33 min estimated reading time, and 3 detected text sections.
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[Transcriber's Note: This book relies on the illustrations to be fully understood. Use the fully illustrated HTML version to get the full meaning from this lovely book.]
Gobolinks or Shadow-Pictures For Young and Old
BY And Ruth McEnery Albert Bigelow Stuart Paine
New York The Century Co. 1896
Copyright, 1896, by The Century Co.
TO OLD FRIENDS WITH YOUNG HEARTS AND YOUNG HEARTS GROWING OLD.
Dear Friends of our youth, should you happen to look At the curious things in this curious book, And should you, with quizzical countenance, ask The how and the why of our curious task-- We could truly reply To the query of "why--" To the smile on your lip, and your questioning eye, That the work was begun In a spirit of fun, To amuse when the work of the daylight was done; And continued, because we believed it would be Amusement to such as were weary as we To drift for awhile among goblins and elves, Or haply make shadows and rhymes for themselves. For though years have passed since we drifted apart, We're all of us more or less children at heart. And maybe yourselves and the youngsters 't will please To dwell for an hour with such creatures as these.
Now, some one has said, in a moment of spleen, We cannot make pictures of what we've not seen; But such an assertion deserves only scorn, For the shape of the Gobolink never was born. He comes like the marvelous mimes of our dreams, When one has been supping on salads and creams, And curious changes of vision take place-- The horse may appear with an elephant face-- The goat with a cane, and the goose with a hat-- Six legs on the dog, and two tails on the cat; We never can tell, though we're sorely perplexed, What shape will be shown us, or what will come next; And these are the things that our Gobolinks do-- Dear friends, and dear children, we give them to you.
THE GOBOLINK AND HOW TO MAKE HIM.
Drop a little ink on a sheet of white paper. Fold the sheet in the center and press the ink-spots together with the fingers. All of the pictures in this book were made in this manner----none of them having been touched with a pen or brush.
A great deal of practice will only go to show that the Gobolink, as his name implies, is a veritable goblin of the ink-bottle, and the way he eludes the artist's design proves him a self-made eccentric creature of a superior imagination.
It is hardly to be expected that the animals and birds of prey referred to under more or less familiar names in the accompanying rhymes will be strikingly correct as to anatomy; and because, as upon page 15, the elephants, or whatever they may be, happen to have each a row of interesting tails continuing along the full length of the spinal column, no unkind criticism should be made upon the ability of the overworked and conscientious artists, who would have made fewer tails if they could, and have added nothing to the price of the book on account of undue liberality in the matter of caudal appendages.
In fact the most unexpected and startling results will often occur--results grotesquely and strangely beautiful, well worthy of preservation. The authors of this book will be glad to receive a few examples of some of the more unusual Gobolinks or Shadow-Pictures that may occur to those interested in the amusement. They may be sent care of The Century Co.
THE GAME OF GOBOLINK.
Persons of all ages may obtain amusement out of Gobolinks, or Shadow-Pictures, as they are also called.
The following is a very good method for playing the game:
Let three of the company be selected by the hostess as judges. To each of the others she then distributes from five to ten sheets of paper, from which they must produce at least one completed picture and rhyme in a given length of time, say five minutes, at the end of which the hostess rings a bell and the judges proceed at once to take up the pictures. These are then passed upon by them while the hostess is distributing a fresh round of paper, and the best two and the worst one are laid aside.
Those whose pictures have been selected now act as judges, surrendering their places at the tables to their predecessors, and another lot of pictures and rhymes are made.
The game is continued in this manner until the hostess announces the arrival of the time for final judgment, or until a certain hour specified in the beginning.
The authors' dedication poem sets a conversational, self-deprecating tone: they admit the work was begun 'in a spirit of fun, to amuse when the work of the daylight was done.' This framing invites readers to treat the book as a whimsical diversion rather than a serious artistic endeavor. The introductory prose on making Gobolinks emphasizes the unpredictability of the process—the inkblot is 'a self-made eccentric creature of a superior imagination' that eludes the artist's design. This playful surrender to chance shapes both the visual and verbal content.
Rhythms of Nonsense and Observation
The poems shift between brisk, rhyming quatrains and longer, ballad-like stanzas. Short pieces like 'A Narrow Escape' use a clipped, nursery-rhyme cadence: 'Two piggies went to market / All on a market day, / But when the butcher caught them / They wished they'd stayed away.' Others, such as 'The Divers,' adopt a more leisurely meter with internal rhymes ('They danced a jig and sang a song, / And gathered water-roses'). This variety in pace mirrors the unpredictable shapes of the inkblots—some snap into focus quickly, others require a slower gaze.
Voice and the Self-Made Creature
The narrative voice is consistently wry and self-aware. In 'The Gobolink and How to Make Him,' the authors caution that the resulting animals 'will be strikingly correct as to anatomy' and that 'no unkind criticism should be made upon the ability of the overworked and conscientious artists.' This ironic apology for the inkblots' eccentricities—such as elephants with 'a row of interesting tails'—establishes a tone of amused complicity with the reader. The poems often address the reader directly, as in 'A What-Is-It,' where the speaker's uncertainty ('I can't really tell whether / I'm a man or a mouse') becomes part of the joke.
Recurring Motifs: Shadows, Beetles, and the Sea
Certain images recur across the collection. The sea appears in 'The Merry Water-weedles,' 'The Divers,' and 'The Vicious Golly-pops,' often as a setting for harmless frolic or mild peril. Beetles feature prominently: a 'Beetleville Dance,' a 'Queen Beetle,' a 'King Beetle,' and a 'Gold Bug' from Metuchen. These insect poems share a mock-heroic tone, treating beetle society with exaggerated gravity. Shadows themselves are personified in 'The Shadow-Harp' and 'Shadow-Crests,' where the narrator notes that shadow-folk 'affect' heraldry just as humans do—a gentle satire of social pretension.
Because the excerpts include only a portion of the poems, the full range of the authors' wordplay and inkblot pairings remains unknown. Readers may find it useful to compare the visual shapes with the verbal descriptions, noting where the poem amplifies or contradicts what the eye sees. The dedication's claim that 'we're all of us more or less children at heart' suggests the book rewards a playful, unhurried approach—one that accepts the Gobolink's refusal to be pinned down.
Some evenings, when the lamplight blurs, I think of those shadowy inkblot creatures and how they ask us to look closely at what the world half-hides. That same patient gaze belongs to The Poetical Works of William Wordsworth — Volume 8 (of 8) — Context and Discussion, where quiet observation turns a simple field into something endless. Both books keep that older, slower secret.
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