Page 5 - September 2014
P. 5

died two years ago, the family donated the stones        apprenƟce example is a puzzle, based upon the
to the St Bride Library and they are now stored in a     number of boƩoms possessed by a horse, the
basement vault in Bride Lane, near Fleet Street.         Dwiggins/Knopf equivalent is much more barbed.
                                                         The Knopf translaƟon is: “VYISDER ZOMENIMOR”
What does all of this have to do with a strangely-       (Why is there so many more) “ORZIZAZZIS” (horses
worded leƩerheading? As I was leaving Charles &          asses) “ZANZERIS” (than there is) “ORZIZ” (horses).”
Company, the old man handed me a business card.          In the USA a “horse’s ass” is an idiot, bungler or
“Here’s a souvenir for you. It was printed over 50       trouble-maker, and Alfred Knopf is asking the literal
years ago by an apprenƟce as a composing exercise.       quesƟon, “Why are there so many more horse’s
All of the lads did them, to give to their friends.      asses (idiots) than there are horses asses (equine
See if you can work it out.” I couldn’t make sense       anuses)?”. Did Knopf ever send notes to ‘horse’s
of it, so Mr Charles translated it for me. “VYISDER      asses’ on this paper - and did they work out the
ASMENI” (Where is there as many) “ORSISARSIS             conundrum?
ASDERISORSIS” (horses arses as there is horses) “B.

ÃÊă ½®Ýƒ ãù֛ Ý֛‘®Ã›Ä ΄¥ÙÊà ¹ƒÝ֛Ùã, ›ÙÙù Ι ¹Ê«ÄÝÊÄ΅

                              I wonder if there are any similar apprenƟce
                              pieces known to readers of Small Printer?
                              We hold many more at St Bride, most of
                              which come from a publicaƟon called The
                              ApprenƟceship BulleƟn, published in Boston,
                              USA, at the start of the last century. Over the
                              next few months I hope to provide some of
                              the best examples from young printers who
                              were learning the Black Art around 1907.

  ƒÖÖٛÄ㮑› Ö®›‘› ÖÙ®Ä㛗 ù ƒ ùÊçĦ ‘ÊÃÖÊÝ®ãÊÙ ƒã      ¥ÊÊãÄÊã›: ݃®Ä㠐ٮ—› ‘ƒ»› óƒÝ ƒ Ö琽®‘ƒã®ÊÄ
  ‘«ƒÙ½›Ý Ι ‘Ê, ‘®Ù‘ƒ 1948.                              ÖÙʗ瑛— ù 㫛 Ýã痛ÄãÝ ƒã 㫛 Ý㠐ٮ—› ݑ«Êʽ
                                                         Ê¥ ÖÙ®Äã®Ä¦ ®Ä 1919. ®ã ®Ý ƒ ‘ʽ½›‘ã®ÊÄ Ê¥ ›Ý݃ùÝ
COZDERIZ” (Because there is) “WUNARZ” (one arse)         ƒÄ— ٛîĮݑ›Ä‘›Ý Ê¥ 㫛 —ƒÙ» —ƒùÝ Ê¥ 㫛 ¦Ù›ƒã
“PEROZ” (per horse). Perhaps not in the best of taste,   óƒÙ. ®Äã›Ä—›— ƒÝ ƒÄ ƒÄÄ烽 ÖÙʗç‘ã®ÊÄ, ®ã ‘›ƒÝ›—
but a fun piece for young lads to print in the 1940s or  Ö琽®‘ƒã®ÊÄ ƒ¥ã›Ù ¹çÝã Êě ›—®ã®ÊÄ. ½›ÝÝ ã«ƒÄ ã«Ù››
1950s, and probably much earlier than that.              ù›ƒÙÝ ƒ¥ã›Ù ®ã ¥®ÙÝ㠃Ö֛ƒÙ›—, 㫛 ݑ«Êʽ Ê¥ ÖÙ®Äã®Ä¦
                                                         ƒÃƒ½¦ƒÃƒã›— ó®ã« ƒ ÄçЛ٠ʥ Ê㫛ÙÝ, ®Ä‘½ç—®Ä¦ 㫛
Which brings us again to the Dwiggins example            ÖÙʑ›ÝÝ ›Ä¦Ùƒò®Ä¦ ݑ«Êʽ ®Ä ěƒÙù Ê½ã ‘ÊçÙã, ƒÄ—
at St Bride. His leƩerheading makes a statement          ÃÊò›— ãÊ ÝãƒÃ¥Êٗ Ýãٛ›ã ãÊ ¥ÊÙà 㫛 ½ÊėÊÄ Ý‘«Êʽ
about stupid and annoying people. While the BriƟsh       Ê¥ ÖÙ®Äã®Ä¦. ®Ä ã«®Ý ƒÄÄ®ò›Ù݃Ùù ù›ƒÙ Ê¥ 㫛 ÝãƒÙã Ê¥
                                                         㫛 ¦Ù›ƒã óƒÙ, ®ã ݛ›ÃÝ ƒÖã ãÊ Ù›ò®ò› 㫛 ăÛ Ê¥ ã«®Ý
                                                         ½ÊĦ-—›¥çđã Ýã痛Ä㠛Äã›ÙÖٮݛ ¥ÊÙ ƒÙ㮑½›Ý ®ÄÝ֮ٛ—
                                                         ù Ãã›Ù®ƒ½ ¥Êçė ®Ä 㫛 ½®ÙƒÙù òƒç½ãÝ ƒã Ý㠐ٮ—›.

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