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The Philosophy of Play as Life

It is now widely acknowledged that play is central to our lives. As a

­phenomenon, play poses important questions of reality, subjectivity, com-
petition, inclusion and exclusion. This international collection is the third
in a series of books (including The Philosophy of Play and Philosophical
Perspectives on Play) that aims to build paradigmatic bridges between
scholars of philosophy and scholars of play.
Divided into four sections (Play as Life, Play as Games, Play as Art and
Play as Politics), this book sheds new light on the significance of play for
both children and adults in a variety of cultural settings. Its chapters encom-
pass a range of philosophical areas of enquiry such as metaphysics, aesthet-
ics and ethics, and the spectrum of topics explored includes games, jokes,
sport and our social relationship with the Internet.
With contributions from established and emerging scholars from around
the world, The Philosophy of Play as Life is fascinating reading for all those
with an interest in playwork, the ethics and philosophy of sport, childhood
studies or the philosophy of education.

Wendy Russell is a senior lecturer in Play and Playwork at the University

of Gloucestershire, UK and a consultant on children’s play and playwork.
Together with Emily Ryall and Malcolm MacLean, she is a co-founder
of the biennial Philosophy at Play conferences. Key publications include,
co-authored with Stuart Lester, Play for a Change (2008) and Children’s
Right to Play (2010). She co-edited The Philosophy of Play (2013) and
Philosophical Perspectives on Play (2016) with Emily Ryall and Malcolm
MacLean, and Practice-based Research on Children’s Play (2017) with Stuart
Lester and Hilary Smith. She is on the editorial board of the International
Journal of Play.

Emily Ryall is a senior lecturer in the Philosophy of Sport and Exercise at

the University of Gloucestershire, UK. She is author of Philosophy of Sport:
Key Questions and Critical Thinking for Sports Students, as well as editing
author of Philosophy of Play and Philosophical Perspectives on Play. She is
associate editor for the Journal of the Philosophy of Sport and former chair
of the British Philosophy of Sport Association. Her website is emilyryall.net
and her Twitter handle is @emilyryall.

Malcolm MacLean is a reader in the Culture and History of Sport at the

University of Gloucestershire, UK. He has previously taught history in New
Zealand, and worked as a policy analyst and historian in the New Zealand
Ministry of Justice. His publications deal with cultural boycotts and sports-
related anti-apartheid protests, the cultural politics of settlement colonies
and discourses of indigeneity associated with sport, body, and movement
cultures. Malcolm is actively involved in international sports studies net-
works and was chair of the British Society of Sports History. He is an editor
with Wendy Russell and Emily Ryall of Philosophy of Play (Routledge,
2013) and Philosophical Perspectives on Play (Routledge, 2016).
The Philosophy of
Play as Life

Edited by
Wendy Russell, Emily Ryall
and Malcolm MacLean
First published 2018
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
 2018 Wendy Russell, Emily Ryall and Malcolm MacLean
The right of Wendy Russell, Emily Ryall and Malcolm MacLean to be
identified as the authors of the editorial material, and of the authors for
their individual chapters, has been asserted in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
A catalog record for this book has been requested

ISBN: 978-1-138-21087-5 (hbk)

ISBN: 978-1-315-45413-9 (ebk)

Typeset in Sabon and Gill Sans

by Book Now Ltd, London
This collection is dedicated to our dear friends and much
loved colleagues Stuart Lester (1951–May 2017) and Henning
Eichberg (1942–April 2017), both of whom contributed a
chapter to this collection. Their playful styles, dissident voices
and radical insights enriched both our lives and the study of
play and frequently challenged us. This field we work in is the
better for their generosity, their friendship, their time, their
ideas, their actions and their support; our lives are depleted
by their passing. In aspiring to be philosophically playful and
playfully philosophical we honour two outstanding socially
engaged scholar-activists and hope we come close to living
up to the visions they had for play, for philosophy and for
scholarship. With this we celebrate their lives and bid a fond
adieu. Wendy, Emily and Malcolm
Contents

List of illustrationsix
Notes on contributorsxi
Acknowledgementsxvii

Introduction1
WENDY RUSSELL, MALCOLM MACLEAN AND EMILY RYALL

PART 1
Play as life 11

1 Bringing play to life and life to play: a vitalist

line of enquiry 13
STUART LESTER

2 Play as portal to awakening in the blithesome

wanderings of Chuang Tzu 26
PHYLLIS MAZZOCCHI

3 ‘Life as play’ from East to West: a comparative

analysis of play in Aurobindo and Schlick 38
DAMLA DÖNMEZ

4 Playing in the Web: New Babylon and the Internet 50

AMY LEE KETCHUM

PART 2
Play as games 65

5 Five millennia of player practices 67

CHRIS BATEMAN
viii Contents

6 On the relationship between philosophy and game-playing 80

YUANFAN HUANG AND EMILY RYALL

7 Gags and games: Wittgenstein and his relation to jokes 94

RAMÓN DEL CASTILLO

PART 3
Play as art 107

8 Staying with the in-between: arts practice as a form

of thinking about play and everyday encounters
in a public square 109
HATTIE COPPARD

9 The role of competition in musical play 120

ERIN HEISEL

10 The ambiguity of reality: towards an awareness of the

significant role of play in higher arts 133
IMARA FELKERS

11 Art as play: a philosophical comparison of adults’

and children’s art 147
DOMINIKA CZAKON AND NATALIA ANNA MICHNA

12 The artwork as a perpetual re-enactment 163

ILINCA DAMIAN

PART 4
Play as politics 177

13 The flow of play among toddlers in kindergarten 179

DAG NOME

14 Between Utopia and Arcadia: how the playground

epitomizes visions of play, childhood and
societal longings 193
DARIJANA HAHN

15 Play against alienation? 211

HENNING EICHBERG

16 Playing your self: modern rhetorics of play and subjectivity 227

NÚRIA SARA MIRAS BORONAT

Index 242
Illustrations

Figures
1.1 Walking the lines 23
1.2 Balancing the bridge 23
10.1 Tree 138
11.1 Aelita Andre, Butterfly Rain, 2011 156
11.2 Cy Twombly, The Italians, 1961 157
11.3 Adaś Bieliński, untitled, 2009 158
11.4 Jean Dubuffet, The Tree of Fluids, 1950 159
12.1 Myron’s Discobolus 165
14.1 Signs constructing reality 194
14.2 A playground road sign as a symbol for reading the
playground semiotically 195
14.3 Mingled trajectories: playground at South Bank,
London, Spring, 2015 203

Tables
10.1 Hedgehog rules and PDPs 141
10.2 Manifestos 143
11.1 Two conceptualizations of art as play: artistic
qualities and values 155
Contributors

Chris Bateman is an award-winning game designer and acclaimed

­philosopher. Dr Chris Bateman was the first person in the world to attain
a doctorate in the aesthetics of play and games, and has worked on nearly
fifty published games. His ‘Imaginative Investigations’ trilogy won praise
from Mary Midgley, Kendall Walton and Michael Moorcock. The first
book, Imaginary Games (2011) examines imagination in games and art,
asking if games can be art or whether all art is a kind of game. The second,
The Mythology of Evolution (2012), explores the role of imagination in
the sciences, asking if it is possible to present the story of life without
distorting it. The final book, Chaos Ethics (2014), considers the role of
imagination in morality, and defends a concept of moral chaos. His latest
book is the brief enquiry Wikipedia Knows Nothing (­available as a free
PDF), which claims that knowledge is best understood as a practice.
Núria Sara Miras Boronat is Lecturer in Moral and Political Philosophy
at the University of Barcelona, Spain. In 2009 she obtained her PhD in
philosophy at the University of Barcelona with a thesis on Wittgenstein
and Gadamer: Language, Praxis, and Reason. She has been Postdoctoral
Research Fellow and Associate Instructor at the Universität Leipzig
(2009–13), Guest Research Fellow at the Humboldt-Universität zu Berlin
(2003–7) and Guest Research Fellow at the Institute of Philosophy of
the Spanish National Research Council (2000). She has written essays
on pluralism, philosophy of language, hermeneutics, phenomenology,
American pragmatism, philosophy of film and feminism. She is currently
working on a project on the history of philosophy of play in the first dec-
ades of the twentieth century. Since July 2016 she has been co-director of
the philosophy festival, Barcelona Pensa.
Ramón del Castillo is Professor of Contemporary Philosophy and Cultural
Studies in Universidad Nacional de Educación a Distancia (National
university for distance learning, Spain). He published his first book in
1995 on discourse, practices and rules, and since then has published
numerous works on twentieth-century philosophers, on subjects such
xii Contributors

as playing and language in Gadamer, comedy and tragedy in Wittgenstein

and humour and faith in William James. He has also edited and trans-
lated works by American and British Marxist and critical theorists. He is
currently finishing works on Raymond Williams and the imagination of
disaster, Walt Disney and Philip K. Dick, laughing and the absurd in
Bergson, Deleuze, Žižek and others, and his new book on green spaces and
psychogeography, El jardín de los delirios (Garden of Delusions), is in press.
Hattie Coppard is founder and Director of Snug & Outdoor (www.snugan-
doutdoor.co.uk), an award-winning, artist-led company for the design of
original playful environments in the public realm. For more than twenty-
five years she has explored the relationship of object, environment and
playful behaviour through exhibitions, public art, manufactured prod-
ucts, development schemes and experimental projects. Frustration with
conventional evaluation methods led her to an MA in Play and Playwork
at the University of Gloucestershire, UK, looking for ideas that could pro-
vide a fundamentally different way of understanding playful behaviour.
Her dissertation was undertaken through the lens of a dancer, a writer
and a painter and asked how artists’ practices can open up new ways of
thinking about play. She is exploring this question further as a PhD in
Cultural Geography at Royal Holloway University London.
Dominika Czakon, Master of Arts in philosophy, is a PhD candidate at
the Institute of Philosophy of Jagiellonian University, Kraków, Poland.
Her interests concern the philosophy of art and the thought of Hans-
Georg Gadamer. She has published in, among others, the Philosophical
Quarterly, Polish Journal of Aesthetics and Miscellanea Anthropologica
et Sociologica. She is working on her doctoral thesis about the hermeneu-
tic method and its application to the interpretation of works of contem-
porary art. She is also a deputy editor of the Polish Journal of Aesthetics.
She is a main researcher on a project entitled The Roman Ingarden
Digital Archive: Unknown Correspondence and Academic Papers of
the Eminent Polish Humanist, financed by the Ministry of Science and
Higher Education of the Republic of Poland.
Ilinca Damian is an art conservator at the National Museum of Arts of
Romania. She recently received her PhD in philosophy with a thesis in the
anthropology of art/aesthetics from the University of Bucharest. Her pre-
vious studies include a BA in Art Conservation and Restoration from the
National University of the Arts and an MA in Art History and Philosophy
of Culture. During her PhD programme she received a scholarship from
the Romanian Academy and undertook stages of her research in Vienna,
Austria and Thessaloniki, Greece. While in Vienna, she started working
on the current chapter, initially intended to illustrate the theory of repre-
sentation (image-making) she was developing in her thesis. In 2015 she
 Contributors xiii

received the Graduate Scholarship Award at the Tenth Arts in Society

Conference, Imperial College, London. Her research areas include: art
conservation, art history, heritage studies, theories of representation, cul-
tural anthropology, and aesthetics.
Damla Dönmez is a graduate student at Boğaziçi University, Istanbul,
Turkey, and a research assistant in the Humanities and Social Sciences
Department at Istanbul Technical University. Her main areas of interest
are philosophy of art, environmental ethics and Indian philosophy. She
is writing her PhD thesis on the concept of the sublime and its ethical
implications.
Henning Eichberg, Professor Emeritus, Dr. phil. habil., is a cultural sociolo-
gist, historian and philosopher. He researches in body culture and in the
philosophy of play at the University of Southern Denmark, Institute of
Sports Science and Clinical Biomechanics, Odense. He has dealt with the
history and cultural sociology of sport, play and body culture; the cultural
ecology of movement; the history of early modern military ­technology;
Indonesian studies; and democracy, ethnic minorities, and national
­identity. He authored among others: Der Weg des Sports in die industrielle
Zivilisation (The way of sports in industrial civilization) (1973), Militär
und Technik (Military and technology) (1976), Leistung, Spannung,
Geschwindigkeit (Achievement, suspense, speed) (1978), Body Cultures
(1998), The People of Democracy (2004), Bodily Democracy: Towards a
Philosophy of Sport for All (2010), The Study of Body Culture – Towards
a Bottom-Up Phenomenology of Human Movement (in Chinese) (2015),
Questioning Play (2016).
Imara Felkers is a Lecturer in Philosophy at the HKU University of the Arts
Utrecht, Netherlands. She has developed crossover teaching methods in
the fields of play and art. Her philosophical work is on the application
of play to connect sports with the arts. She runs a company, Art&KC,
working in play in sports and daily life design, including a PhD thesis in
these areas.
Darijana Hahn lives and works as a cultural anthropologist in Hamburg,
Germany, with its 714 declared children’s playgrounds. Born in 1971,
she wrote a PhD about the children’s playground as mirror of society
because she wanted to trace back the reasons for the constructed play-
ground when visiting many different versions as a mother from 2000
onwards. And because she wanted to find out why the playground is
discussed so controversially. Next to researching other allegedly taken-
for-granted places and objects, like the sidewalk or the kiosk, and inter-
preting them as signs, she writes as a freelance journalist and lectures at
the Protestant University of Applied Sciences in Hamburg.
xiv Contributors

Erin Heisel is a classically trained soprano and physical theatre performer.

Her performances have been described as ‘brave, vivid’ (The New York
Times) and ‘clear, flute-like … beautiful’ (Daily Hampshire Gazette,
Massachusetts). She has performed throughout New York City as well as
at venues in Europe, Bolivia and South Africa. She has a Bachelor of Music
degree in voice from Butler University, Indianapolis, Indiana, a Master’s
in Voice from University of Massachusetts, Amherst, and a PhD in Music
Performance and Composition (Voice) from New York University with
research in Johan Huizinga’s theory of play and the work of professional
musicians. She has taught at New York University, Adelphi University,
the University of Massachusetts, and Bay Path College and is the subject
area chair of Play Studies for the Mid-Atlantic Popular and American
Culture Association.

Yuanfan Huang: I think, if philosophy is my profession, then the armchair

is where I perform my job. I am currently a doctoral candidate of both
East China Normal University and École Normale Supérieure de Lyon,
France. My doctoral thesis will focus on the area of meta-philosophy.
The question ‘what is the nature of philosophy?’ has haunted me since
I chose it as my major. So, I decided to solve this problem with my doc-
toral thesis. The relation between ‘game’ and ‘philosophy’ is one of the
meta-philosophical questions that interest me. My future plan is to do
something for the spread of public philosophy in China.

Amy Lee Ketchum is an artist and animator based between Los Angeles and
Philadelphia, USA. Her work has been shown internationally at film festi-
vals in Mexico, the United States and Brazil. She has taught animation at
the University of Pennsylvania and is currently engaged in experimental
stop animation. She holds a double Bachelors in Architecture and Art
from the University of California, Berkeley, and a Masters of Fine Arts
in Animation from the University of Southern California. In addition to
film-making she is engaged in writing about visual culture, architecture
and the avant-garde.

Stuart Lester, PhD, is a senior lecturer and researcher in professional studies

in children’s play at the University of Gloucestershire, UK, and an inde-
pendent trainer and consultant. His current research and practice interests
draw on Deleuzian and new materialist philosophy to explore the move-
ment of playing ‘in-between’ bodies, imaginations, materials, as a process
of life going on in an affirmative manner. From this perspective, focus
shifts from the ‘what’ and ‘why’ of playing to consider how playing might
emerge from prevailing conditions, a political-ethical manoeuvre turned
towards creating more just and equitable worlds for children and adults.
Stuart has also contributed to a range of play and playwork publications,
most recently ‘Children’s Right to Play: From the Margins to the Middle’,
 Contributors xv

in M. Ruck, M. Peterson-Badali and M. Freeman (eds), Handbook of

Children’s Rights (2016), and co-edited (with Wendy Russell and Hilary
Smith) Practice-based Research in Children’s Play (2017).
Phyllis Mazzocchi completed a PhD in Mythological Studies with Emphasis
in Depth Psychology at Pacifica Graduate Institute in Santa Barbara,
California, with a doctoral thesis titled ‘The Wanderer as Metaphor for
the Paradoxical Dynamic of Imaginal Psyche’. Her emphasis of study is
dynamism and the multiplicities of its embodiment, with a view towards
the human psyche and its proclivity for imaginal deviation. Recent
conference presentations include ‘The Wandering Architecture of City
and Psyche’ at the University of London, City Margins, City Memories
conference in April 2014, with the paper subsequently published by
Routledge, in Lucy Huskinson (ed.), The Urban Uncanny: A Collection
of Interdisciplinary Studies (2016). She is also a published author of
travel essays, poetry and children’s books, and is currently at work on an
adaptation of her dissertation for publication.
Natalia Anna Michna, is a graduate of the Cervantes Institute, Kraków, has
an MA in philosophy from Jagiellonian University, and is currently a PhD
candidate in philosophy at the Department of Rhetorical Logic, Institute
of Philosophy, Jagiellonian University, Kraków, Poland. She is working on
her doctoral thesis devoted to the concept of women’s experience and the
problem of feminist aesthetics. She is author of The Great Avant-garde in
Relation to Mass Culture in the Thought of José Ortega y Gasset (in Polish;
Libron Publishing, Kraków, 2014) and is deputy editor of the Polish Journal
of Aesthetics. Her interests are in feminist philosophy and aesthetics, Spanish
philosophy, aesthetics, and philosophy and history of art.
Dag Nome works as Assistant Professor in the Department of Education
at the University of Agder in Norway. Professor Nome lectures on the
programme for teacher education, and works as a researcher and writer
mainly in the early childhood education field, where he has published
several articles in journals and anthologies, both scientific and popular.
He has a background as a practising Waldorf/Steiner teacher, and is
also lecturing at the Rudolf Steiner University College in Oslo, Norway.
He is doing a PhD on non-verbal social interaction between toddlers in
­kindergarten that is due to be completed in 2017.
Emily Ryall is a Senior Lecturer in the Philosophy of Sport and Exercise
at the University of Gloucestershire, UK. She is author of Philosophy of
Sport: Key Questions and Critical Thinking for Sports Students, as well
as editing author of Philosophy of Play and Philosophical Perspectives
on Play. She is Associate editor for the Journal of the Philosophy of Sport
and former Chair of the British Philosophy of Sport Association. Her
website is emilyryall.net and her Twitter handle is @emilyryall.
Acknowledgements

We would like to give great big thanks to our colleagues inside and outside
the University of Gloucestershire who helped organize the third Philosophy
at Play conference in June 2015. This book is the product of that con-
ference and that community and we are indebted to Hilary Smith, Leonie
Labistour, Francis Barton, Kelly Conibere. The conference could not have
happened without the support of the University of Gloucestershire, in
particular Jane Cantwell, and was made more enjoyable by the contribu-
tions of Meynell bookseller and Routledge. We would also like to thank
the academic committee who diligently helped us to review conference
­proposals: Dr Núria Sara Miras Boronat, University of Barcelona, Spain;
Dr Jeff Fry, Ball State University, Indiana, USA; Professor Ivo Jirásek,
Palacký University, Olomouc, Czech Republic; Dr Signe Højbjerre Larsen,
University of Southern Denmark, Odense, Denmark; Dr Maria Øksnes,
Norwegian University of Science and Technology, Trondheim, Norway;
Dr Beck Pitt, Open University, UK.
Our biggest thanks are to those who contributed to this book: to chapter
authors for your goodwill, timeliness and tolerance of demands made on you
by our editorial zeal; and to staff at Routledge, particularly Cecily Davey,
Will Bailey and Simon Whitmore for support, understanding and patience.

Wendy Russell, Emily Ryall and Malcolm MacLean

March 2017
Introduction
Wendy Russell, Malcolm MacLean
and Emily Ryall

The anthropologist Michael Agar (1980) once described his vocation as

that of a professional stranger – a participant observer, whose paradoxical
relationship with his place of work meant that he was neither participant
nor observer, nor both, but all three. He saw his profession, as a tempo-
rary not-quite-member of successive social groups, as embodying mystique,
both about what he did for a living and how he communicated what he did
and the results of that work. Although anthropology has become less meth-
odologically austere and defined in recent years, some degree of immersion
remains a defining characteristic of the discipline – giving its practitioners a
sense of being betwixt and between. Anthropologists grapple with meanings
derived from the peoples with whom they work, from within their cultural
frame of reference, and meanings drawn from the frames of reference the
professional stranger brings in. Through its work, anthropology as a dis-
cipline aspires to articulate the ‘natives’ point of view’, as Clifford Geertz
(1974) famously phrased it, without being captured by the outlook – or
‘going native’.
Like many other scholars, anthropologists occupy an ambiguous place:
of the academy but when in the field, partially of that place. Their ‘readings’
are often ironic, finding more in the field than the field says: as is the case
with scholars in other settings, anthropologists bring a perspective to their
observations that does not take for granted the means of meaning-making
held by those with whom they participate. They are, in a sense, forever on
the threshold, on the doorstep between one space and another.
Working in the space created by a philosophy–play relationship is, at
times, similarly paradoxical: we become players who step back and ask
what and why, pedagogues and andragogues who reject instrumentalism
but wonder about the effects and affects of our playing. To play philosophi-
cally or to be philosophically playful seems as oxymoronic as it is to be
a participant-observer. To do so challenges the common sense of play as
spontaneous and frivolous, of philosophy as one of the most demanding of
disciplines (along with, for instance, algebra and quantum physics, which
overlap key branches of philosophy): in short, according to this common
2 Introduction

sense, philosophy is hard and deliberate(d) work; play is not. Yet, over the
last decades or so play seems to have emerged from its limited, marginalized
sphere to take on a sense of being the (old) new big thing.
This emergence from the shadows accompanies some other shifts in aca-
demic policy and intellectual spaces. In the UK, as education has become
more and more target-driven, from a younger and younger age play has
become linked to early-years education in often overtly instrumentalist
ways, while the growing emphasis in work and school on creativity has seen
play co-opted in efforts to secure marginal market success. Not surprisingly,
this co-option has coincided with a decline in creativity, as it has become
constrained and bound to order, becoming an ideology of ‘creativism’ rather
than ‘born of moments of chaos’ (Gielen, 2013: 12): creativity has become
less creative by becoming less playful. There is little in the orderly images
of Google’s table tennis and pool tables that suggest a chaotic space – the
workplace might have become more tolerable, but there remain limits to
creativity that must continue to serve capital accumulation. Along with
creativism, these trends are often overlaid by other tendencies that romanti-
cize and evoke nostalgic notions of play to mean that the field is becoming
increasingly contested, with claims made for play and for playfulness that
disrupt and challenge the aspect of frivolous re-creation so often attributed
to play. We’re not convinced by the romanticism and nostalgia of many of
the discussions of play – nostalgia being a form of memory work that relies
as much on forgetting as it does remembering – in the same way as we’re
far from supporters of the instrumentalism that sees play as training chil-
dren for adulthood. There are many reasons for these rejections, but central
among them is play’s autotelicity, its for-itself-ness, as well as a rejection of
play as only the activity of children. As our collective discussions about the
play–philosophy nexus have developed, our view of the field has become
more expansive, and more inclusive, although like art, play remains recog-
nizable but still defying an all-inclusive definition, some might say rightly so.
While the definition might have fuzzy boundaries, the experience of play-
ing is familiar. This heart of play is a disposition, one that Bernard Suits
(2014) calls ‘prelusory’ and that others call playfulness. Dispositions are dis-
combobulating. They are tendencies, orientations towards a way of doing
things, a way of being. Just as with Bourdieu’s habitus, this tendency to
playfulness is not deterministic. Neither is it calculable; we cannot give odds
on the likelihood that a lusory (pre- or otherwise) disposition is going to
cause this, that or any play in any given situation. That’s not the way dispo-
sitions work. We can say, however, that this disposition to playfulness, this
prelusory disposition, is ontological. It is a way of being, a way of doing –
a mode of existence that we bring into being in a situation, phenomenon,
event that is a precondition for play to emerge, although as is becoming
increasingly obvious to us as these philosophical debates on play continue,
those conditions of play are always contested. This is another of the many
 Introduction 3

reasons why the disposition and its associated tendencies are only ­tendencies:
it is also why many play scholars, not only anthropologists, might find the
identity as professional stranger one we/they can relate to. That is to say,
exploring play, asking these kinds of ‘so-what?’ questions is looking increas-
ingly like a philosophy-of-play as life where dispositions to playfulness take
on an always already unsteady becoming.
It is in the spirit of the shifting sands and paradoxes of being in and out –
both, neither and all three – that the play–philosophy nexus is becoming
so exciting. It is also in this spirit that we are pleased to offer here our
third collection of papers from the Philosophy at Play conferences held at
the University of Gloucestershire, UK. The chapters included here, from the
conference held in June 2015, show how considering play from a philo-
sophical perspective still has much to offer. The first volume constituted a
tentative dipping of toes ‘into the ocean of philosophical play and playful
philosophy’, thereby indicating ‘the expansiveness of that body of water’
(Ryall et al., 2013: 9). A range of paradoxes emerged from this first collec-
tion, and in particular the ‘potential for play both to highlight and to dis-
solve the tensions between mimesis and alterity, between our “yearning for
the true real” that can be accurately represented and our desire to “reinvent
a new world and live new fictions” (Taussig, 1993: xvii)’ (MacLean et al.,
2016: 2). The second volume (MacLean et al., 2016) extended this paradox
to consider the tensions between play’s freedoms and rule-boundedness, and
in particular the fluidity, or perhaps liminality, of enframing play without
separating it from the already entangled actual, virtual or possible. The first
volume paid attention to play’s autotelicity, something that was more taken
for granted in the second volume in a way that allowed deeper exploration
of play’s limits to consider concepts of ‘bad’ play and evil, and of the aes-
thetics, ontology, ethics and metaphysics of play. We ended our introduc-
tion to the second volume by returning to our original metaphor of dipping
toes into water, musing:

Whereas we previously dipped our toe in the sea of philosophical con-

sideration of play wondering if there were monsters in its uncharted
regions, this collection says that this may well be the case, alongside
emergent archipelagos whose occupants remain unclear and partial.
(MacLean et al., 2016: 9)

This collection departs from where we left off. The monsters may well still
lurk in the deep, and the scattered lands and their inhabitants remain unclear.
Indeed, there are those who argue in this volume that both play itself and the
philosophical study of play offer the possibility of moving beyond the limi-
tations of the search for certainty (for example, Lester, chapter 1; Mazzocchi, 2;
Coppard, 8); the limitations of the monstrous demands of everyday life
(for example, Ketchum, chapter 4; Eichberg, 15); the limitations of utopian
4 Introduction

claims for play to shield us from those monsters (for example, Ketchum,
chapter 4; Hahn, 14; Eichberg, 15) and even the question of limits – as an
endgame – themselves (for example, Dönmez, chapter 3).
The chapters here wander across play’s eternal paradoxes stretching from
East to West, from ancient to modern to postmodern, from the sublime to the
ludicrous (sic). There is a sense of movement throughout many of the chapters,
presenting playing as a lively and embodied process of possibilities (for exam-
ple, Lester, chapter 1; Mazzocchi, 2; Coppard, 8). Contributors consider rules
and rule-breaking (del Castillo, chapter 7; Heisel, 9; Czakon and Michna, 11);
means and ends (Dönmez, chapter 3); process and product (Lester, ­chapter 1;
Damian, 12). Play is problematized both as resistance to an instrumental reality
and as a mechanism of alienation (Ketchum, chapter 4; Eichberg, 15). In par-
ticular, there is an aesthetic focus on games and arts: on the philosophy of
games (Bateman, chapter 5; del Castillo, 7) and philosophy as a game, or
as play (Huang and Ryall, chapter 6; Felkers, 10); on the interrelationship of
art, play and philosophy (Coppard, chapter 8; Heisel, 9; Felkers, 10; Czakon
and Michna, 11), and the play of artistic creations (Damian, chapter 12). The
politics of play is addressed through notions of polis and democracy (Nome,
chapter 13), Utopia and Arcadia (Hahn, chapter 14), alienation (Eichberg,
chapter 15) and the self (Boronat, chapter 16).
The Philosophy at Play conferences to date have been deliberately wide
ranging, with broad themes only suggested in the calls for papers, alongside
explicit encouragement for diverse treatments of the philosophy of play.
This raises challenges for the editorial team in terms of presenting a coher-
ent structure to the book. Although we were aware of the limiting process
of shoehorning chapters into themes, we did feel that overall this collection
offered up thoughts on play as life itself. As Boronat (chapter 16) notes,
drawing on Sutton-Smith (1997), the ‘ludic turn’ that began towards the
end of the twentieth century acknowledges play’s centrality for human exist-
ence. The first four chapters explore this overarching c­ oncept, offering the
beginnings of an arc for the shape of the book as a whole from the general
to the specific, ranging across concepts of play such as games and play as art,
before a return to the more general in the concept of play as politics in the
final section. This ‘arc’, however, is not a neat single line moving unwaver-
ingly across its semicircular circumference with a task-focused eye on a pre-
determined final destination. It meanders to and fro among the paradoxes
outlined (as well as some not yet mentioned) in a manner that Chuang Tzu
might support – blithesome wanderings that might include, for example,
places like the Broad and Boundless, the Dark Water, Imperceptible Slope,
or the Realm of Not-Man.
The first section, on ‘Play as Life’, considers ideas of lines as indeter-
minate wanderings, as pathways towards an end goal (enlightenment,
Brahman, pure joy, enchantment), and as a web of connections offer-
ing actual, possible and virtual spaces for play that can both free people
 Introduction 5

from the drudgeries of work and open up space for violence. It opens with
Stuart Lester offering a different line of enquiry from the traditional ones
that try and fix the identity of play and players through boundary-making
and classification. Exploring the idea of playing as a continual process of
life going on, a meandering drift from habitual paths, he draws on ideas
from Deleuzian, posthuman and new materialist philosophies to give an
account of play as continually emerging from correspondences in-between
bodies, affect, movement, sensation, objects and so on, producing pleas-
urable mo(ve)ments of becoming different. In this sense, life is sustained
through play in an indeterminate but affirmative manner. This nomadic
sense of movement continues in chapter 2, where Phyllis Mazzocchi offers
a delightful foray into the teachings of Chuang Tzu, arguing that the delib-
erately playful riddles, exaggeration and nonsense avoid dogma and lift
the reader beyond the limits of order and logic, where play can be seen as
both the vehicle and the embodiment of enlightenment through a ceaseless
wandering. It is this tension between pathways of and to something that
Damla Dönmez considers in chapter 3 in her exploration of the simile ‘life
as play’ through a comparison of the work of Indian Vedic philosopher
Sri Aurobindo and that of positivist Austrian philosopher Moritz Schlick.
Whereas Aurobindo offers a metaphysical case for ‘play as life’ as the tele-
ological divine play of Brahman (who is pure joy), Schlick argues through
logic that play is an end in itself, an escape from the kingdom of means.
Despite these fundamental differences, both present play as voluntary, joyful
and exuberant.
The lines and pathways in chapter 4, the final piece in this first section,
are more of a network, a web of connections that offer possibilities for both
utopia and violence. Here Amy Lee Ketchum explores the parallels between
the New Babylon proposed by Constant Nieuwenhuys and the Internet of
today. Both offered the promise of technology removing the need for work
and opening up the freedom to live life through play. At the same time,
both also open up space for creativity and destruction, challenging utopian
notions of play.
Having set in motion a number of threads embodying ideas of move-
ment, teleology, open-endedness, connections, utopias and dystopias, parts
two and three weave into these threads the notions of representation and
aesthetics. Section two, on ‘Play as Games’, opens with Chris Bateman’s
archaeology of five millennia of games through an analysis of six props:
the contract, the die, the board, the pawn, the set and the coin. What this
reveals is a close relationship between mathematics and sensory represen-
tations as an expression of the imagination through play. In the second
chapter in this section, Yuanfan Huang and Emily Ryall ask whether phi-
losophy itself can be considered to be a game. Comparing Wittgenstein’s
notion of family resemblance and Suits’ definition of games, they argue
that the relationship between philosophy and game-playing is at least close
6 Introduction

if not categorical. Wittgenstein also informs the final chapter in this ­section
from Ramón del Castillo, who looks at the relationship between rules,
such as those described by Wittgenstein, and the logic of linguistic and
practical jokes. He argues that the serious business of philosophy may
contain aspects of humour and humour aspects of the serious, because
humour itself plays with the basic assumptions and implicit frameworks
of human action. Much humour resides in deliberate misunderstandings of
the tacit rules of social life, exposing the tensions between discipline and
­insubordination, the acceptable and the taboo, order and disorder.
The third section of the book turns attention to ‘Play as Art’, ­embracing
ideas of (more-than) representation, competition, primary experience,
movement, technique, artistic quality and aesthetic value. It opens with an
exploration of how play as an emergent, sensual disposition can be thought
through creative methodologies. Looking beyond representation, Hattie
Coppard employs the artistic modes of enquiry of a painter, dancer and
a writer as they respond to children playing in a public square. Each artist
brings different creative registers including embodied, affective, kinaesthetic
and imaginal attunement. These ways of paying attention to the minutiae
of movements can say something different about playing as an optimistic
engagement with the world. In her chapter, Coppard also wonders how a
musician might engage with these modes of researching play; in the follow-
ing chapter, soprano singer Erin Heisel explores the idea of music as a form
of competitive play. Noting both the resistance to the idea of competition
in music and its potential for more fulfilling musical experiences, Heisel
draws critically on Huizinga to build a definition of competition in music
that operates across practice, pedagogy and performance. The chapter that
follows this explores ways of engaging art students in philosophy through
the playful use of primary experience. Imara Felkers describes how, as a
philosophy teacher in arts education, she collaborated with a game designer
who is also a visual artist to develop a number of playful approaches to
experiencing the ambiguity of reality. These games involve re-enacting phil-
osophical debates on long walks, paying attention to inner voices, making
up ‘hedgehog rules’ and using a version of John Cage’s Manifesto. Together
with an introduction to Saussure’s linguistics that shows how words cre-
ate versions of reality rather than merely naming them, students use this to
develop their own player profiles as a basis for designing their own study.
The relationship between play and art is further explored by Dominika
Czakon and Natalia Anna Michna in their exploration of the artistic and
aesthetic quality and value of contemporary art. Drawing on the work of
Roman Ingarden, they consider how it might be possible to distinguish the
artwork of children and adult contemporary artists. Using four works of
art as illustrations, they assess the works across criteria for artistic quality,
artistic value and aesthetic value, concluding that these criteria may make
it possible to distinguish at the level of artistic quality and value but not at
 Introduction 7

an aesthetic level. Issues of representation emerge again in the final chapter

in this section from Ilinca Damian, who looks at the statuary of classical
Greek sculptor Myron, and in particular how he represents movement in his
Discobolus statue. Noting that the positioning of the athlete is both impos-
sible and perhaps inaccurate, she considers technical and cultural aspects of
statuary at that time to show how the sculptor plays with the perception of
the viewer in order to create the impression of movement.
The final section of the book returns to the overarching question of play
as life, this time in terms of ‘Play as Politics’. In the opening chapter, Dag
Nome investigates the play of two-year-olds as democratic and political
practice in terms of Arendt’s notion of existing politically and Merleau-
Ponty’s phenomenology. Looking at the micro detail of children’s interac-
tions with each other and with material objects, he notes that what might
initially be understood as interruptions and disturbances might be a series
of perceptual responses that build a wordless flow, a chain of events that
contribute to a reciprocal ‘becoming as subjects’, including the accept-
ance of the plurality necessary for democratic practice. Such a perspective
offers adults a different appreciation of political practices within early-
years settings beyond the desire to encourage traditional forms of pro­
social behaviour. Adults’ understandings of the value of play also form the
topic for the next chapter where Darijana Hahn looks at the playground
as a signifier of adult visions of play, childhood and societal longings. Her
semiotic analysis shows how, over history and still in the present day, the
playground embodies adult longings for both a golden past (‘Arcadia’) and
a golden future (‘Utopia’).
Following this, Henning Eichberg’s chapter considers whether play can
still be a response to alienation, given that alienation as a concept in phi-
losophy has fallen out of favour in the age of capitalist consumerism. Seen
more in terms of an individual failing, alienation became pathologized into
deviation and neurosis, and hence something requiring medical treatment.
Noting that the fast pace and continuing acceleration of modern life means
that alienation is still a relevant philosophical concept, he argues that play
can be both a resistance to such alienation (through the temporary trans-
formation of time and space) and a mechanism for it (through the com-
modification, rationalization and colonization of play). The final chapter
continues the modern exploration of play and the individual through an
extended analysis of Sutton-Smith’s (1997) rhetorics of the self. Núria Sara
Miras Boronat uses ideas from Plessner, Goffman and Bauman to describe
the play of the self as a performance of role (including the role of consumer,
in which it is possible to fail). She charts how the ‘self’ has become increas-
ingly individual, less a matter of collective identity and belonging through
shared norms and goals, and more a question of the ongoing creation of
fluid selves through consumption, with both play and performance serving
production and profit.
8 Introduction

Such a depressing perspective on play inevitably leaves a sense of being

played by the market: play as a response to alienation becomes a mere per-
formance of capitalist consumption. Yet Boronat’s final conclusion leaves
space for hope. The dystopian perspectives outlined in this book are tem-
pered with the potential for the philosophical study of the power of play as
resistance, for moments of enchantment and near hope rather than grand
utopian projects as described by Lester, Ketchum, Coppard, Hahn and
Eichberg. Boronat returns to Sutton-Smith’s method of analysing rhetorics
of play, and suggests the possibilities in examining their intersections. The
rhetorics were not intended as discrete categories, and her own analysis
highlights the convergence of rhetorics of the self and of frivolity. Noting
Sutton-Smith’s focus on the ambiguities within each of the rhetorics, Boronat
(p. 239) concludes:

such ambiguities would not be possible if play itself were not such a
labile and plural concept, subject to definition but also to theoretical
and moral ambivalence. This is not to deny the value of play in any
way. Rather, it is to state that surely the philosophy of play should fur-
ther develop tools to reveal ambiguities and theoretical flaws and that
Sutton-Smith’s rhetorical solution, with its required corrections and
reformulations, can be a promising way to do so.

This approach requires a shift in orientation away from the efflorescence

and excesses of the philosophy-of-play as life to the quotidian struggles and
ontologies of the philosophy of play-as-life. As such and with these prom-
ises, the islands of the archipelago are inhabited by those who are becoming
clearer but quite probably remain partial. Staying in these oceans with their
distant archipelagos, extending the metaphor across all three volumes that
have emerged from the Philosophy at Play conferences, we might suggest
that the direction from here might be a ceaseless wandering through the
ambiguities of the Sea of Rhetorics, to explore the spaces between islands
that have yet to be named.

References
Agar, M. (1980) The Professional Stranger: An Informal Introduction to Ethnography,
New York: Academic Press.
Geertz, C. (1974) ‘“From the Native’s Point of View”: On the Nature of
Anthropological Understanding’, Bulletin of the American Academy of Arts and
Sciences, 28(1): 26–45.
Gielen, P. (2013) Creativity and other Fundamentalisms, Amsterdam: Mondriaan
Fund.
MacLean, M., Russell W. and Ryall, E. (eds) (2016) Philosophical Perspectives on
Play, London: Routledge.
 Introduction 9

Ryall, E., Russell, W. and MacLean, M. (eds) (2013) The Philosophy of Play,
London: Routledge.
Suits, B. (2014) The Grasshopper: Games, Life and Utopia, London: Broadview
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Sutton-Smith, B. (1997) The Ambiguity of Play, Cambridge, MA: Harvard University
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Taussig, M. (1993) Mimesis and Alterity: A Particular History of the Senses, London:
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Exploring the Variety of Random
Documents with Different Content
Personal Religion, 865
Peru, 714
Peveril of the Peak, 463
Phantom Picture, the, 239
Philip Augustus, 393
Phil’s Mother, 199
Pickle and his Page Boy, 30, 150
Pictures of Cottage Life, 600
Pictures of the Heavens, 847
Pigeon Pie, the, 453
Pilgrim’s Progress, 335
Pillars of the House, 541
Pink Silk Handkerchief, 91
Pioneers and Founders, 661
Pirates’ Creek, 156
Plain Church Teaching, 863
Plain Words, 642, 857
Platelayer, the, 896
Playing with Fire, 16
Polly Spanker’s Green Feather, 94
Population of an Old Pear Tree, 820
Popular Natural History, Chapters on, 821
Portugal, History of, 757
Prayer-Book Packet, 278
Prentice Hugh, 396
Prince and Page, 395
Prince and Pauper, 426
Prisoner’s Daughter, 482
Prize, 873
Prophet Daniel Explained, the, 288
Promise Kept, a, 572, 686
P’s and Q’s, 193
Psalms, Plain Commentary on, 320
Pursuit of Holiness, 866

Quack, Quack, 8
Quay of the Dioscuri, 373
Queen of the Dentists, the, 941
Quiver, 889

Rab and his Friends, 924

Railroad Children, 35
Railway Garden, a, 629
Ramble round France, 693
Rambles in Search of Wild Flowers, 838
Readings for the Aged, 862
Real Stories from Many Lands, 721
Recent Discoveries on the Temple Hill, 331
Red and White, 413
Redgauntlet, 476
Regent Rosalind, 198
Revellers, the, 344
Rhoda’s Reward, 113
Richard Nelson, 268
Ride to Khiva, 736
Rival Heirs, 383
Road to the North Pole, 720
Robert Ord’s Atonement, 561
Robinson Crusoe, 116
Robin Tremayne, 428
Rob Roy, 471
Rocky Island, 337
Rome, 755
Rosamond Fane, 457
Rosamond Ferrars, 187
Rosebud, the, 871
Round Africa, 689
Rudder Grange, 559
Rufus, 521
Runaway, 189
Russia, 710
Ruthieston, 258

Saltash Story, a, 929

Salt, Sir Titus, Life of, 777
Scapegrace Dick, 165, 460
Scenes in a Children’s Hospital, 606
Schönberg-Cotta Family, 493
School-boy Baronet, the, 230
Science Gleanings, 855
Scotland, History of, 759
Scripture Half-hour at Mothers’ Meetings, 643
Sea Fights and Land Battles, 729
Sea Monsters and Sea Birds, 842
Seal, the, 263
Second Year in Palestine, a, 333
Secret of a Ball of Wool, 36
Seeketh not her Own, 500, 625
Self Conquest, 104
Sexton’s Hero, the, 925
Shadow of the Cross, 338
Shaftesbury, Life of the Earl of, 792
Short Stories for Mothers’ Meetings, 597
Short Words for Long Evenings, 640
Sidney Grey, 229
Siege of Lichfield, 443
Silverthorns, 240
Simple Readings on the Minor Prophets, 306
Sinai, 327
Sintram, 358
Sir Humphrey Gilbert, 903
Sir Richard Grenville, 908
Six Cushions, 206
Sketches of Jewish Life, 302
Sketches of Sarawak, 681
Smuts and Diamonds, 22
Snowball Society, 213
Snowdrop’s Eggs, 38
Social Economy Reading Book, 650
Song of the Shirt, 909
Songs of Animal Life, 824
Sowing and Sewing, 95
Spain, 716, 744, 751, 756
Star in the Dust Heap, 47
Star Lessons, 846
Star out of Jacob, 286
Steam House, 144
Stedfast Woman, 528
Stephenson, Life of, 786
St. George and St. Michael, 451
Stories and Lessons on the Catechism, 243
Stories and Lessons on the Collects, 266
Stories and Teaching on the Litany, 276
Stories from Heathen Mythology, 512
Stories of Invention, 853
Stories of the Days of King Arthur, 380
Stories of Youth and Childhood, 96
Stories on the Catechism, 244
Stories on the Christian Year, 267
Stories on the Commandments, 247
Stories on my Duty to God, 248
Stories on my Duty to my Neighbour, 249
Stories on the Lord’s Prayer, 250
Storm of Life, the, 609
Stormy Life, 415
Story for the Schoolroom, a, 242
Story of a Fellow-Soldier, the, 663, 794
Story of a Happy Home, 219
Story of a Needle, 58
Story of a Short Life, 216
Story of Russia, 741
Story of Salvation, the, 318
Story of the Crusades, 768
Story of the Lost Emerald, the, 591
Story of the Red Cross Knight, the, 346
St. Paul, 316
Straightforward, 684
Straight to the Mark, 160
Studies for Stories, 208
Studies on the Benedicite, 272
Sue and I, 220
Sunday Echoes in Week-day Hours, 265
Sun, Moon, and Stars, 848
Sunshine, 878
Susan Pascoe’s Temptation, 103
Sweden and Norway, 717
Sweden, 752
Sweet William, 181
Swiss Family Robinson, 117
Switzerland, Story of, 743

Tabernacle, its Priests and Services, the, 291

Tales for Me to Read to Myself, 4
Tales for Mission Rooms, 598
Tales from Chaucer, 404
Tales illustrating Church History, 372
Tales illustrative of the Apostles’ Creed, 246
Tales of the Bush, 618
Talisman, the, 391
Talks about the Laws, 772
Talks with Uncle Richard about Wild Animals, 826
Tangled Web, a, 420
Tanglewood Tales, 511
Tappy’s Chicks, 829
Teachings for the Little Ones on the Catechism, 253
Temple, its Ministry and Services, 303
Ten Years among the Coloured Folk, 671
Ten Years in Melanesia, 679
Third Standard, the, 39
Thorn Fortress, the, 77, 498
Three Martyrs of the Nineteenth Century, 666
Three Stories for Working Girls, 115
Through Rough Waters, 504
Through the Looking-glass, 583
Through the Telescope, 953
Through Trial to Triumph, 570
Till the Doctor Comes, 648
Tim’s Basket, 57
Tip Cat, 226
Tom Brown’s Schooldays, 133
Tom Tumbletoes and the Cow, 939
Tower of London (Ainsworth), 427
Tower of London, Stories of, 770
Tracts on Church Principles, 864
Travels of Two Kits, 470
Treasure Island, 132
Treasury of the Psalms, 319
Trial, the, 540
Tried and True, 615
Triumphs of the Cross, 361
Trixy, 207
True Gold, 602
Truth in Tale, 348
Tumble-down Dick, 10
Turner, Life of, 785
Turning Points of English Church History, 813
Turning Points of General Church History, 812
Twenty Thousand Leagues under the Sea, 139
Twilight of Life, 868
Two Bulls, the, 943
Two Christmas Stories, 624
Two Guardians, the, 195
Two of England’s Wars, 771
Two Poor Old Women, 633
Two Swords, the, 455
Two Thousand Years Ago, 486
Two Watches, the, 59
Two Ways of Looking at it, 529
Two Years in the Region of Icebergs, 740

Uncle Henry’s Present, 43

Uncle Ivan, 101
Uncle Max, 575
Under the Lilacs, 64
Under the Storm, 454
Under the Mendips, 465
Unknown to History, 435
Ursula, 546

Valley Mill, the, 519

Valour and Enterprise, 724
Vantage-ground for Doing Good, a, 568
Vast Army, 342
Venables, Bishop, Life of, 669
Vision of the Holy Child, 350

Walks from Eden, 282

Walrus, the, and the Carpenter, 916
Wanderings of Æneas, 517
Wanted, a Letter Carrier, 933
Wars of the Jews, 308
Washington, Life of, 798
Watchers on the Longships, 611
Water Babies, the, 584
Waterton’s Wanderings, 734
Waverley, 475
Way of the Cross, the, 651
Ways and Means in a Devonshire Village, 645
Wee Willie Winkie, 607
Well in the Desert, the, 401
West Indies, 713
Westward Ho!, 436
What a Man Soweth, 608
When I was a Little Girl, 190
White Chapel, the, 83
White Gipsy, the, 184
White Rose of Langley, 411
White Satin Shoes, 44
White’s Selborne, 841
Wider World, a, 667
Wild Animals of the Bible, 844
Wild Animals of the Tropics, 843
Wild Thyme, 102
Wilkie, Sir David, and his Works, 789
Will’s Voyages, 162
Wings and Stings, 61
With the Birds, 825
With Wolfe in Canada, 478
Wolf, 40
Wonderful Tune, the, 937
Wood Cart and other Tales, the, 41
Woodstock, 459
Work-a-day World, 641
World before the Flood, the, 295
World’s Birthday, the, 289
World’s Lumber Room, 851
Wow Wow, 942
Wreck of the ‘Magpie,’ 922
Wynnes, the, 196

Year in Palestine, a, 332

York and a Lancaster Rose, 179
Yorkshire Butcher, a, 940
Young Breton Volunteers, 507
Young Crusoe, the, 120
Young Philistine, a, 571
Young Stepmother, the, 542
Young Six Foot, 617
Youth’s Companion, 884
Yussuf the Guide, 168

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MRS. EWING’S MRS. OVERTHEWAY’S REMEMBRANCES.
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MRS. EWING’S A GREAT EMERGENCY, and other Tales.
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MRS. GATTY’S PARABLES FROM NATURE. Two Series. Each 1s.
or One Vol. limp cloth, 3s.
MISS PROCTER’S LEGENDS AND LYRICS. Two Series. Each 1s.
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MISS SHAW’S HECTOR: a Story for Young People.

London: GEORGE BELL & SONS, 4 York Street, Covent Garden.

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BOHN’S LIBRARIES,
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Standard Works of European Literature in the English Language.
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The attention of those forming Libraries is directed to the following
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ADAM SMITH’S WEALTH OF NATIONS. 2 vols. 3s. 6d. each.
ADDISON’S WORKS. 6 vols. 3s. 6d. each.
ANTONINUS, THE THOUGHTS OF M. AURELIUS. 3s. 6d.
BACON’S ESSAYS. 3s. 6d.
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BURNEY’S (Mme. D’Arblay’s) EVELINA. 3s. 6d.
BURNS’S LIFE. By Lockhart. 3s. 6d.
CERVANTES’ DON QUIXOTE. 2 vols. 3s. 6d. each.
CHAUCER’S WORKS (Prof. Skeat). 4 vols. 3s. 6d. each.
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GIBBON’S ROMAN EMPIRE. 7 vols. 3s. 6d. each.
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HAZLITT’S ESSAYS. 6 vols. 3s. 6d. each.
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LESSING’S LAOKOON, &c. 3s. 6d.
LESSING’S DRAMATIC WORKS. 2 vols. 3s. 6d. each.
MANZONI’S BETROTHED (I promessi Sposi). 5s.
MILTON’S PROSE WORKS. 5 vols. 3s. 6d. each.
MOLIÈRE’S DRAMATIC WORKS. 3 vols. 3s. 6d. each.
PEPYS’S DIARY. 4 vols. 5s. each.
PLUTARCH’S LIVES (New Translation by Long and Stewart). 4
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RANKE’S WORKS. 5 vols. 3s. 6d. each.
RICHTER’S LEVANA: Flower, Fruit, and Thorn Pieces. 2 vols. 3s.
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SCHILLER’S WORKS. 6 vols. 3s. 6d. each.
SPINOZA’S CHIEF WORKS. 2 vols. 5s. each.
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 GRIFFITH, FARRAN, & CO.’S
ECONOMICAL SCHOOL & CLUB
LIBRARIES.
MESSRS. GRIFFITH, FARRAN, & CO. desire to call the attention
of School Masters and Mistresses, Superintendents, Clergymen, and
others to their new method of supplying cheap Libraries for Schools,
as described below.
All the Books are of the most approved kind, and are thoroughly
suitable for the purpose. They are bound in a specially strong and
simple style, in plain cloth boards, so as not to require re-covering,
and, in order to meet the needs of the smaller as well as the larger
Schools, are put up in Assorted Sets at from £1. 1s. to £5. 5s. per
Set.
These Libraries can be had from any local Bookseller; but, should
any difficulty be experienced in procuring them, Messrs. Griffith,
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on receipt of Cheque or Post Office Order for the amount.
⁂ Specimen Copies of any of the Books will be sent post-free on
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Library A.
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Library E.
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N.B.—The number of Books at any one price ordered for any

Library is immaterial, so long as the total of the published price of the
total Selection equals one of the specified amounts.

GRIFFITH, FARRAN, OKEDEN, & WELSH,

St. Paul’s Churchyard, London.
 SEELEY & CO., ESSEX STREET,
STRAND.
CHURCH ECHOES: a Tale Illustrative of the Daily Service of the
Prayer Book. By Mrs. Carey Brock, Author of “Sunday Echoes
in Week-day Hours.” Price 5s. cloth.
“Will be found very useful in leading thoughtful young people to an intelligent use
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By the same Author.

CHANGES and CHANCES. 5s.

WORKING and WAITING. 5s.
MARGARET’S SECRET. 5s.
CHARITY HELSTONE. 5s.
MICHELINE. 5s.
MY FATHER’S HAND. 2s.
CHILDREN at HOME. 5s.
The RECTORY and the MANOR. 5s.
HOME MEMORIES. 5s.
The VIOLETS of MONTMARTRE. 5s.
DAME WYNTON. 3s. 6d.
ALMOST PERSUADED. 1s.

SUNDAY ECHOES IN WEEKDAY HOURS. A Series of Illustrative

Tales. Eight Vols. 5s. each.

1. The Collects.
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