Chapter III.
To Be Taken at the Dinner-Table
Charles Allston Collins
Does any one know who gives the names to our streets'? Does any one know who invents the mottoes which are inserted in the cracker-papers, along with the sugar-plums?—I don't envy him his intellectual faculties, by-the-by, and I suspect him to be the individual who translates the books of the foreign operas. Does any one know who introduces the new dishes, Kromeski's, and such-like? Does any one know who is responsible for new words, such as shunt and thud, shimmer, ping (denoting the crack of the rifle), and many others? Does any one know who has obliged us to talk for ever about "fraternising" and "cropping up"? Does any one know the Sage to whom perfumers apply when they have invented a shaving-soap, or hair-wash, and who furnishes the trade with such names for their wares as Rypophagon, Euxesis, Depilatory, Bostrakeison? Does any one know who makes the riddles?
To the last question—only—I answer, Yes; I know.
In a certain year, which, I don't mind mentioning may be looked upon as included in the present century, I was a little boy—a sharp little boy, though I say it, and a skinny little boy. The two qualities not unfrequently go together. I will not mention what my age was at the time, but I was at school not far from London, and I was of an age when it is customary, or was customary, to wear a jacket and frill.
In riddles, I had at that early age a profound and solemn joy. To the study of those problems, I was beyond measure addicted, and in the collecting of them I was diligent in the extreme; It was the custom at the time for certain periodicals to give the question of a conundrum in one number, and the answer in the next. There was an interval of seven days and nights between the propounding of the question, and the furnishing of the reply. What a time was that for me! I sought the solution of the enigma, off and on (generally on), during the leisure hours of the week (no wonder I was skinny!), and sometimes, I am proud to remember, I became acquainted with the answer before the number containing it reached me from the official source. There was another kind of puzzle which used to appear when my sharp and skinny boyhood was at its sharpest and skinniest, by which I was much more perplexed than by conundrums or riddles conveyed in mere words. I speak of what may be called symbolical riddles—rebus is, I believe, their true designation—little squalid woodcuts representing all sorts of impossible objects huddled together in incongruous disorder; letters of the alphabet, at times, and even occasionally fragments of words, being introduced here and there, to add to the general confusion. Thus you would have: a Cupid mending a pen, a gridiron, the letter x, a bar of music, p. u. g. and a fife—you would have these presented to you on a certain Saturday, with the announcement that on the following Saturday there would be issued an explanation of the mysterious and terrific jumble. That explanation would come, but with it new difficulties worse than the former. A birdcage, a setting sun (not like), the word "snip," a cradle, and some quadruped to which it would have puzzled Buffon himself to give a name. With these problems I was not successful, never having solved but one in my life, as will presently appear. Neither was I good at poetical riddles, in parts—slightly forced—as " My first is a boa-constrictor, My second's a Roman lictor, My third is a Dean and Chipter, And my whole goes always on tip-ter." These were too much for me.
I remember on one occasion accidentally meeting with a publication in which there was a rebus better executed than those to which I had been accustomed, and which mystified me greatly. First of all there was the letter A; then came a figure of a clearly virtuous man in a long gown, with a scrip, and a staff, and a cockle-shell on his hat; then followed a representation of an extremely old person with flowing white hair and beard; the figure 2 was the next symbol, and beyond this was a gentleman on crutches, looking at a five-barred gate. Oh, how that rebus haunted me! It was at a sea-side library that I met with it during the holidays, and before the next number came out I was back at school. The publication in which this remarkable picture had appeared was an expensive one, and quite beyond my means, so there was no way of getting at the explanation. Determined to conquer, and fearing that one of the symbols might escape my memory, I wrote them down in order. In doing so, an interpretation flashed upon me. A—Pilgrim—Age—To—Cripple—Gate. Ah! was it the right one? Had I triumphed, or had I failed? My anxiety on the subject attained such a pitch at last, that I determined to write to the editor of the periodical in which the rebus had appeared, and implore him to take compassion upon me and relieve my mind. To that communication I received no answer. Perhaps there was one in the notices to correspondents—but then I must have purchased the periodical to get it.
I mention these particulars because they had something—not a little—to do with a certain small incident which, small though it was, had influence on my after life. The incident in question was the composition of a riddle by the present writer. It was composed with difficulty, on a slate; portions of it were frequently rubbed out, the wording of it gave me a world of trouble, but the work was achieved at last. "Why," it was thus that I worded it in its final and corrected form, "Why does a young gentleman who has partaken freely of the pudding, which at this establishment precedes the meat, resemble a meteor?—Because he's effulgent—a full gent!"
Hopeful, surely! Nothing unnaturally premature in the composition. Founded on a strictly boyish grievance. Possessing a certain archaeological interest in its reference to the now obsolete practice of administering pudding before meat at educational establishments, with the view of damping the appetite (and constitution) of the pupils.
Though inscribed upon perishable and greasy slate, in ephemeral slate-pencil, my riddle lived. It was repeated. It became popular. It was all over the school, and at last it came to the ears of the master. That unimaginative person had no taste for the fine arts. I was sent for, interrogated as to whether this work of art was the product of my brain, and, having given an answer in the affirmative, received a distinct, and even painful, punch on the head, accompanied by specific directions to inscribe straightway the words "Dangerous Satirising," two thousand times, on the very slate on which my riddle had been originally composed.
Notwithstanding this act of despotism, on the part of the unappreciative Beast who invariably treated me as if I were not profitable (when I knew the contrary), my reverence for the great geniuses who have excelled in the department of which I am speaking, grew with my growth, and strengthened with &c. Think of the pleasure, the rapture, which Riddles afford to persons of wholesomely constituted mind! Think of the innocent sense of triumph felt by the man who propounds a riddle to a company, to every member of which it is a novelty. He alone is the proprietor of the answer. His is a glorious position. He keeps everybody waiting. He wears a calm and plncid smile. He has the rest at his mercy. He is happy——innocently happy.
But who makes the Riddles?
I DO.
Am I going to let out a great mystery? Am I going to initiate the uninitiated? Am I going to let the world know how it is done?
Yes. I am.
It is done in the main by the Dictionary; but the consultation of that work of reference, with a view to the construction of riddles, is a process so bewildering—it puts such a strain upon the faculties—that at first you cannot work at it for more than a quarter of an hour at once. The process is terrific. First of all you get yourself thoroughly awake and on the alert—it is good to run the fingers through the hair roughly at this crisis—then you take your Dictionary, and, selecting a particular letter, you go down the column, stopping at every word that looks in the slightest degree promising, drawing back from it as artists draw back from a picture to see it the better, twisting it, and turning it, and if it yield nothing, passing on to the next. With the substantives you occupy yourself in an especial manner, as more may be done witlh
