Andrew Lang: The Life and Letters of John Gibson Lockhart

The Ballads were cited in the Edinburgh Review, and, of course, praised in Blackwood, where the critic bade Lockhart attempt original poetry. “Some of the translations I have got by heart,” Gifford wrote to Scott, on February 13, 1823. “Where to look for a review of the book I hardly know,” he adds. “Southey declines poetry and has from the first; Reginald (Heber) the Rector would have been instantly in my thoughts, but Reginald the Bishop is out of the question.”1

The “Spanish Ballads,”like his comic pieces, prove Lockhart’s command of the vehicle of verse. His very nature forbade him to be a lyrist, to express himself, his own emotions in poetry, the ancestral fetterlock was on his heart, and to this rule I know but one beautiful exception. His self-criticism, again, prohibited him from rushing in where, during his youth, so many poets, so much greater than he, were on their own enchanted ground. From a rambling set of rhymes written for Blackwood, in the ottava rima of “Beppo” and “Whistlecraft,” called “The Mad Banker of Amsterdam,” I extract a few stanzas. He is describing the castle of Mr. Wastle—

This was a true statement, and Lockhart’s letters, even in boyhood, show no trace of aspirations which, at twenty-four, he thus renounces (February 1819). He turns to Jeffrey, who really occupied his mind, against his will, exactly as Sir Walter, to be praised warmly or attacked bitterly, but never to be exorcised, haunted the mind of Hazlitt—

Scott’s letter to Lockhart, written in tormentis, wherein he bequeathes to him the banner and baton

328

LIFE OF J. G. LOCKHART.

“of ancient faith and loyalty,” and quotes those very words of Douglas from the old ballad, is dated March 23, 1819. Doubtless the rich, melancholy music of the stanzas on Mary Stuart and Holyrood, with the ballad burden, “Take thou the vanguard of the three,” had reached Sir Walter, and haunted him in his almost mortal agonies: hence the cry which “made the women think I was growing light-headed, as they heard me repeat a rhyme apparently so little connected with my situation.” In such a state of body and mind, anguished and exalted, he did not, of course, reflect that Lockhart’s verses were dramatic; that they were attributed to an imaginary character, Wastle, the last of the Cavalier Tories, whose politics and learned love of things old are borrowed from Scott himself, while his bodily aspect is that of Lockhart “come to forty year.” It was enough that the poetic imagination of Lockhart could interpret and body forth (as certainly no other living man could have done), one of the several lives of fantasy in which Sir Walter, as Lockhart tells us, habitually lived. On a later day of dark heat and brooding storm, Scott when old, and near his death, was again to quote to Lockhart, “My wound is deep, I fain would sleep.”

Mr. Gleig says, “We cannot tell by whom this may have been (said), but we know that it is entirely

330

LIFE OF J. G. LOCKHART.

untrue. The poem was read by Lockhart to Wilson before it went to press, in a lodging which the former then occupied in the west of Atholl Crescent, of which we have forgotten the name.” (It was in Maitland Street that Lockhart then lived.) “Wilson laughed heartily at the stanza devoted to himself, and wrote on the instant, and read to Lockhart, both laughing all the while, his counter-portraiture of the individual who is assumed by Mrs. Gordon to have aimed a secret blow at his friend, and to have been very much chagrined at the exposure of his malignity.”1

Lockhart contributed to an article by Gillies, some fragments of translation from Goethe’s “Faust.” Here is the Song of the Spirit of the Earth, from the opening scene of the play:—

By James Scott, Esq.

“Touch once more a sober measure, and let punch and tears be shed,

For a prince of good old fellows, that, alack-a-day! is dead;

For a prince of worthy fellows, and a pretty man also,

That has left the Saltmarket in sorrow, grief, and wo.

Oh! we ne’er shall see the like of Captain Paton no mo!

II.

“His waistcoat, coat, and breeches were all cut off the same web,

Of a beautiful snuff-colour, or a modest genty drab;

The blue stripe in his stocking round his neat slim leg did go,

And his ruffles of the cambric fine they were whiter than the snow.

Oh! we ne’er shall see the like of Captain Paton no mo!

III.

“His hair was curled in order, at the rising of the sun,

In comely rows and buckles smart that about his ears did run;

And before there was a toupee that some inches up did grow,

And behind there was a long queue that did o’er his shoulders flow.

Oh! we ne’er shall see the like of Captain Paton no mo!

332

LIFE OF J. G. LOCKHART.

IV.

“And whenever we foregathered, he took off his wee three-cockit;

And he proffered you his snuff-box, which he drew from his side-pocket;

And on Burdett or Bonaparte, he would make a remark or so,

And then along the plainstones like a provost he would go.

Oh! we ne’er shall see the like of Captain Paton no ma

“In dirty days he picked well his footsteps with his rattan,

Oh! you ne’er could see the least speck on the shoes of Captain Paton;

And on entering the coffee-room about two, all men did know,

They would see him with his Courier in the middle of the row.

Oh! we ne’er shall see the like of Captain Paton no mo.

VI.

“Now and then upon a Sunday he invited me to dine,

On a herring and a mutton chop which his maid dressed very fine;

There was also a little Malmsey, and a bottle of Bourdeaux,

Which between me and the Captain passed nimbly to and fro.

Oh! I ne’er shall take the pot-luck with Captain Paton no mo!

VII.

“Or if a bowl was mentioned, the Captain he would ring,

And bid Nelly run to the West Port and a stoup of water bring;

Then he would mix the genuine stuff, as they made it long ago,

With limes that on his property in Trinidad did grow.

Oh! we ne’er shall taste the like of Captain Paton’s punch no mo!

VIII.

“And then all the time he would discourse so sensible and courteous,

Perhaps talking of last sermon he had heard from Dr. Porteous,

THE LAMENT

333

Or some little bit of scandal about Mrs. So and so,

Which he scarce could credit, having heard the con but not the pro.

Oh! we ne’er shall hear the like of Captain Paton no mo!

IX.

“Or when the candles were brought forth and the night was fairly setting in,

He would tell some fine old stories about Minden-field or Dettingen—

How he fought with a French major, and despatched him at a blow,

While his blood ran out like water, on the soft grass below.

Oh! we ne’er shall hear the like of Captain Paton no mo!

“But at last the Captain sickened, and grew worse from day to day,

And all missed him in the coffee-room from which now he stayed away;

On Sabbaths, too, the Wee Kirk made a melancholy show,

All for wanting of the presence of our venerable beau.

Oh! we ne’er shall see the like of Captain Paton no mo!

XI.

“And in spite of all that Cleghorn and Corkindale could do,

It was plain, from twenty symptoms, that death was in his view;

So the Captain made his test’ment, and submitted to his foe,

And we layed him by the Rams-horn-kirk—’tis the way we all must go.

Oh! we ne’er shall see the like of Captain Paton no mo!

XII.

“Join all in chorus, jolly boys, and let punch and tears be shed,

For this prince of good old fellows, that, alack a-day! is dead;

For this prince of worthy fellows, and a pretty man also,

That has left the Saltmarket in sorrow, grief, and wo!

For it ne’er shall see the like of Captain Paton no mo!”

334

LIFE OF J. G. LOCKHART.

It was my intention to quote some lively pieces from “Songs of the Edinburgh Troop” (1821-1825). But Dean Burgon has attributed them to Mr. Patrick Fraser Tytler, and the doubt makes it wise to abstain.

A singular addition to Lockhart’s efforts in verse is an incomplete translation of the Iliad into English hexameters. In one of the last of his Quarterly Review articles, a criticism of Colonel Mure’s “History of Greek Literature,” he says: “We are sorry to say that we have never been able to lay our hands upon Wolf’s specimen of a translation of Homer, which remains buried in some old magazine. . . . In this tour de force, we are told, Wolf not only renders line for line and word for word, which Voss gives us, but he gives foot for foot, dactyle for dactyle, and above all, cæsura for cæsura—things Voss never dreams of attempting,—and yet in life, spirit, and poetry, is conspicuously above his able and industrious rival.”1

Now in March 1843, a contributor, signing himself N. N. T., published in Blackwood a version, in English hexameters, of the twenty-fourth book of the Iliad. That contributor was Lockhart. He mentions Wolf’s specimen, which he has never been able to procure; nor had he Voss’s own translation when he made his attempt. He had not heard of the small specimen in Guest’s “History of English Rhythms.” Lockhart ends thus: “Should this experiment be
1 Quarterly Review, vol. lxxxvii. p. 443.

VERSION OF HOMER 335
received with any favour, the writer has in his portfolio a good deal of Homer, long since translated in the same manner, and he would not be reluctant to attempt the completion of an Iliad in English hexameters, such as he can make them.”

Mr. Matthew Arnold, when composing his “Lectures on Homeric Translation,” was manifestly unaware that he had been anticipated by Lockhart in his theory that the English hexameter is the proper vehicle. That opinion, or heresy, does not commend itself to me; indeed I despair, and say with Lockhart in “Peter’s Letters,” “properly speaking, there are no such things as translations.” Verse in quantity is at least as much opposed to the genius of the English, as verse in rhyme to the genius of the Greek language. We have no fixed quantity, and our clashing consonants lack the dactylic fluidity. Mr. Matthew Arnold’s own specimens gave one word (fire), now as a dissyllable, now as a monosyllable, and his hexameters were harsh:
“These lame hexameters, the strong-winged music of Homer!
Never did frog coarser croak upon our Helicon!”

In the following example from Lockhart, the first syllable of “Never” is short, and is long in the same line. It is the dirge of Helen for Hector:—

“Hector, dearest to me above all in the house of my husband!

Husband, alas! that I name him, oh better that death had befallen!

336

LIFE OF J. G. LOCKHART.

Summer and winter have flown, and the twentieth year is accomplished

Since the calamity came, and I fled from the land of my fathers;

Yet never word of complaint have I heard from thee, never of hardness,

But if another reproached, were it brother or sister of Paris,

Yea, or his mother (for mild evermore as a father was Priam),

Them didst thou check in their scorn and the bitterness yielded before thee,

Touched by thy kindness of soul and the words of thy gentle persuasion.

Therefore I weep, both for thee and myself, to all misery destined,

For there remains to me now in the war-swept wideness of Troia,

None either courteous or kind, but in all that behold me is horror.”

It is a beautiful rendering of the words of the fairest of women. The English hexameter, as Longfellow’s “Evangeline” proves, is not distasteful itself to the popular mass of readers. But how it “runs in the head!” The last line here is an unwitting hexameter—
“Not distasteful itself to the popular mass of readers!”
James Macpherson, Ossian Macpherson, writes a hexameter by accident in his prose version of Helen’s dirge.

Doubtless to the Greeks, certainly to the Roman writers, hexameters sometimes occurred involuntarily, as in Tacitus—
“Urbem Romam a principio Reges habuere.”
I have confessed to a dislike, perhaps pedantic, of
HEXAMETERS 337
the English hexameter, yet in what translation—Pope’s, Cowper’s, Lord Derby’s—could we find Helen’s lament rendered at once so literally, and with such spirit and poetry, as in Lockhart’s specimen? Or take these lines on Niobe, after the slaying of her children by Artemis and Apollo—
“Yet still, far among rocks, in some wilderness lone of the mountains,
Sipylus holds her, they say, where the nymphs in the desert repose them,—
They that in beauty divine lead dances beside Achelous,—
There still, stone though she be, doth she brood on her harm from the godheads.”

On a close comparison of Lockhart’s version with the original, one finds, as must always be the case, passages where one would prefer an altered phrase, and, occasionally, a needless embellishment of the original, as (in Helen’s lament), “The war-swept wideness of Troia.”

Homer has only—
“In wide Troia.”
But Lockhart’s phrases are the phrases of a poet. He is remarkably skilled in transferring the Greek into the English idiom. Except, perhaps, Charles Kingsley in lines like—
“As when an osprey aloft, dark-eyebrowed, royally crested,”
I know no English poet who writes English hexameters more dulcet, and more rapid. Had Lock-
338 LIFE OF J. G. LOCKHART.
hart finished and published his task, and refined it into perfect accordance with scholarly requirements, certainly Mr. Arnold, at least, need have looked no further for his ideal Homer in English. Quod petis hic est. We cannot perhaps expect a great poet to desert original work for translation. Even if he does, his version of an author will necessarily contain too much of himself. Lord Tennyson, in his blank verse, made Homer Tennysonian. Pope made him Popeian, and only shone in the rhetorical parts, as the speech of Achilles in book ix. Lockhart had precisely the due qualifications for a translator, in sympathy, poetic feeling, and severe yet genial taste. He would have left a name for a popular yet close and spirited version of the Iliad. But he stole out a specimen or two, anonymously and unrecognised, and there left the matter, yielding to that diffidence of his which Scott had observed.1

These examples of Lockhart’s muse may prove that he had much more of the poetic gift than many men who, in all literary periods, “commence poet,” and win some few laurels. These men always take themselves, their work, and their claims with extreme seriousness. Lockhart never could do
1 “Delta,” the late accomplished Dr. Moir, quotes, with high praise, a poem of Lockhart’s, “Napoleon,” which, to speak the truth, does not rise above the vein of Mrs. Hemans. See “Poetical Literature of the Last Half Century,” p. 299. Edinburgh, third edition, 1856. Lockhart refers to this “bookie” of Delta’s in a letter to Wilson, in 1851.

CARICATURES 339
this, and of poetry he had a very high conception and ideal. With no lofty opinion of himself and his merits, with a rarely high notion of what poetry and the poet are and should be, he could not present himself as a candidate for true poetical distinction. He rhymed for his pleasure, and only once he expressed his soul in verse. When we look round on the press of pushing poets, so concerned about themselves and their place, so avid of praise and recognition, we may admire the not untempted moderation and reserve of a better poet than most of them.

Concerning Lockhart as a caricaturist, I have scarcely the materials necessary for a judgment. To one large collection of his drawings I have been denied access. From this portfolio were taken some of the designs in Mrs. Gordon’s “Life of Christopher North.” It was the property of Lockhart’s life-long friend, Mr. Cay. In a little old note-book of 1817, Lockhart has scrawled a few sketches in pen and ink of German students and of “meerschaumed Professors.” At this time he either could not draw hands, or did not take the trouble. The stolid transcendental complacency of a Teutonic scholar, with pipe and beer, is happily rendered. Another is smoking in his night-shirt, standing, and off his balance, a fault also in Lockhart’s hasty sketch of Tom Purdie, Scott’s forester. The same volume contains notes for Scott’s Life, and notes of law cases in which Lockhart was
340 LIFE OF J. G. LOCKHART.
engaged at Inverary, Highland hamesucken and violent assaults and batteries.

At Abbotsford there is a little collection of his drawings, made on wet days, to amuse the family. Some are in colour, for example, Fenella meeting Charles II. in St. James’s Park; the extremely artificial figurante bounds dancing in air at an impossible height; the courtiers and the cheerful monarch look on. One is reminded, by Fenella, of Thackeray’s Flore et Zephyre, indeed Lockhart’s powers in verse, and with the pencil, are related to his genius in general much as Thackeray’s poems and caricatures stand related to his literary work. They are pleasant parerga. Thackeray had tried far harder than Lockhart to learn to draw, but Lockhart (as in his illustrations to “Peter’s Letters”) was wont to take more pains over the execution of a portrait. Thackeray dealt more in general fantasy, Lockhart in personal caricature. Each was fond of caricaturing himself: Thackeray often drew the flat-nosed, melancholy humourist; Lockhart, the sour, close-lipped Spanish scholar or hidalgo. Thackeray sketched beautiful faces, or, at least, one beautiful face, easily recognised. One has seen it again and again, in the collection at Clevedon Court, and in “Vanity Fair.” From Lockhart’s pencil (having had little luck in recovering his drawings), I only know two sketches of a woman, first, Miss Scott playing on the harp, a rather timidly executed but interesting piece in pencil,
DRAWINGS 341
heightened with white, on brown paper. In a collection given by Tom Hamilton to Lady Brewster, there is a charming design of Lockhart’s sister, Scott’s “pretty Violet,” executed in sepia with the brush. In the same portfolio are the Odontist, in colour on a dark ground; a brilliantly tinted group of Dons reading the Edinburgh Review; a laughable drawing of a frequenter of the Oxford Cockpit; several caricatures of Sir William Hamilton (in one, he is overloading a porter with books), and a large view of the Glasgow Presbytery, denouncing a Catholic Chapel. Among them—not burlesqued—is the strong, handsome profile of Dr. Lockhart.1 In the Abbotsford set, there is also a large rough drawing in colour, of Lockhart, Scott (apparently), and another, riding in a dark rainy day, within three miles of Selkirk, as a road-post indicates. There is also a sketch of Charles Scott, as a lad, on brown paper; a little colour is used, there is a likeness to Sir Walter. Two comic old-fashioned figures of men, rather elaborately coloured, a still more finished head of a barrister in wig and gown, and a few scraps, make up the little Abbotsford collection. Lockhart had a good deal of faculty and skill in catching a likeness: there is a drawing by him of Wilson much inspired by punch, which is said to be curious, but I have not seen it, nor have I seen any caricatures of his that any but a very dull and pre-
1 This fine collection is now the property of Mr. Brewster Macpherson, to whom I owe a view of it.

342 LIFE OF J. G. LOCKHART.
judiced person could call ill-natured. As Mr. Christie informs us, he gave up the practice of caricature altogether about the time when he went to London. Perhaps he knew that “fules,” as the Shepherd says, dreaded his “keelavine pen,” and so abstained from a source of offence. But the Dean of Salisbury says that he went on drawing, and remembers a sketch of Lady Eastlake at a party. A reference of his own to his powers of portraiture will be found in a letter to Wilson, of 1851. It is a pity that he did not leave a larger collection of his drawings of the family at Abbotsford. His colour is always very vivid and clever: reproductions in black and white do him no justice.

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Edward George Geoffrey Smith Stanley, fourteenth earl of Derby (1799-1869) Son of the thirteenth earl (d. 1851); educated at Eton and Christ Church, Oxford, he was MP for Preston (1826-30), Windsor (1831-32), North Lancashire (1832-44), colonial secretary (1841-45) and prime minister (1852, 1858-59).

Publius Cornelius Tacitus (56 c.-117 c.) Roman historian; author of 18 books of Annals and 12 books of Histories.

Alfred Tennyson, first baron Tennyson (1809-1892) English poet who succeeded William Wordsworth as Poet Laureate in 1850; he published Poems, chiefly Lyrical (1830) and Idylls of the King (1859, 1869, 1872).

William Makepeace Thackeray (1811-1863) English novelist; author of Vanity Fair (1848), Pendennis (1850) and Henry Esmond (1852).

Ludwig Tieck (1773-1853) German poet, translator, novelist, and editor; with the Schlegels he was a leader of the romantic school.

Patrick Fraser Tytler (1791-1849) Sottish barrister, son of Alexander Fraser Tytler; he published The Life of the Admirable Crichton (1819), History of Scotland (1828-43), and other works.

Johann Heinrich Voss (1751-1826) German translator of Homer and Theocritus; he was rector of the gymnasium at Eutin.

Christoph Martin Wieland (1733-1813) German romantic poet; author of Musarion (1768), Die Abderiten (1774) and Oberon (1780), which was translated into English by William Sotheby (1798).

John Wilson [Christopher North] (1785-1854) Scottish poet and Tory essayist, the chief writer for the “Noctes Ambrosianae” in Blackwood's Magazine and professor of moral philosophy at Edinburgh University (1820).

Friedrich August Wolf (1759-1824) German philologist who taught at the University of Halle.

Blackwood's Edinburgh Magazine. (1817-1980). Begun as the Edinburgh Monthly Magazine, Blackwood's assumed the name of its proprietor, William Blackwood after the sixth number. Blackwood was the nominal editor until 1834.

The Edinburgh Review, or Critical Journal. (1802-1929). Founded by Francis Jeffery, Sydney Smith, and Henry Brougham, the Edinburgh Review was for decades a principal organ of Whig opinion in Britain.

The Quarterly Review. (1809-1967). Published by John Murray, the Quarterly was instigated by Walter Scott as a Tory rival to the Edinburgh Review. It was edited by William Gifford to 1824, and by John Gibson Lockhart from 1826 to 1853.

John Anster (1793-1867) “The Faustus of Goethe” in Blackwood's Magazine. Vol. 7 (June 1820): 235-58. Excerpts translated by Anster with commentary by John Gibson Lockhart.

Matthew Arnold (1822-1888) On Translating Homer: Three Lectures given at Oxford. (London: Longman, Green, Longman, and Roberts, 1861).

George Gordon Byron, sixth Baron Byron (1788-1824) Beppo a Venetian Story. (London: Murray, 1818). A comic Venetian story in the ottava rima Byron adopted after reading Frere's Whistlecraft poems.

John Hookham Frere (1769-1846) Prospectus and Specimen of an intended National Work, by William and Robert Whistlecraft. 2 vols (London: Murray, 1817-1818). Given its impossible title, Frere's ottava-rima burlesque is sometimes referred to, more conveniently, as “The Monks and the Giants.”

Johann Wolfgang Goethe (1749-1832) Faust. Eine Tragödie. (1808, 1832). A closet drama in two parts; Goethe worked on this poem for more than half a century.

Mary Gordon [née Wilson] (1814-1862 fl.) Christopher North: a Memoir of John Wilson. 2 vols (Edinburgh: Edmonston and Douglas, 1862). Reprinted 1879.

Edwin Guest (1800-1880) A History of English Rhythms. 2 vols (London: W. Pickering, 1838).

James Hogg [The Ettrick Shepherd] (1770-1835) “Chaldee Manuscript” in Blackwood's Magazine. Vol. 2 No. 12 (October 1817): 89-96. A satirical allegory on the Edinburgh Whigs that originated with Hogg and was printed in Blackwood's Magazine for October 1817; it was afterwards suppressed.

Homer (850 BC fl.) The Iliad. (800 BC c.). The tale of Troy, generally read in the translation by Alexander Pope.

John Keats (1795-1821) “Isabella: or, The Pot of Basil” in Lamia, Isabella, The Eve of St. Agnes and other Poems. (London: Taylor and Hessey, 1820). Based on a story in Boccaccio's Decameron.

John Gibson Lockhart (1794-1854) Ancient Spanish Ballads: Historical and Romantic. (Edinburgh: W. Blackwood, 1823).

John Gibson Lockhart (1794-1854) “Captain Paton's Lament” in Blackwood's Magazine. Vol. 5 (September 1819): 735-36. Ascribed to “Dr. Scott”—the Odontist.

John Gibson Lockhart (1794-1854) “Colonel Mure on the Literature of Ancient Greece: Homeric Controversy” in Quarterly Review. Vol. 87 (September 1850): 434-468.

John Gibson Lockhart (1794-1854) “The Mad Banker of Amsterdam” in Blackwood's Magazine. (1818). A comic poem by “William Wastle” in the manner of Beppo, printed in installments, 1818-1819.

John Gibson Lockhart (1794-1854) “Napoleon” in Blackwood's Magazine. Vol. 9 (July 1821): 367-68. In quatrains, not signed.

John Gibson Lockhart (1794-1854) Peter's Letters to his Kinsfolk. 3 vols (Edinburgh: W. Blackwood, 1819). An anonymous collection of pen-portraits, several times reprinted; John Wilson contributed to the volumes.

John Gibson Lockhart (1794-1854) Some Passages in the Life of Mr. Adam Blair, Minister of the Gospel at Cross-Meikle. (Edinburgh: W. Blackwood, 1822).

John Gibson Lockhart (1794-1854) “The Twenty-fourth Book of Homer's Iliad attempted in English Hexameters.” in Blackwood's Magazine. Vol. 59 (March 1846): 259-27. Signed “N. N. T.”.

Henry Wadsworth Longfellow (1807-1882) Evangeline: a Tale of Acadie. (Boston: William D. Ticknor & Co., 1848).

David Macbeth Moir [Delta] (1798-1851) Sketches of the Poetical Literature of the past Half-Century in Six Lectures delivered at the Edinburgh Philosophical Association. (Edinburgh: Blackwood, 1851). Reprinted 1856

William Mure (1799-1860) A Critical History of the Language and Literature of Antient Greece. 5 vols (London: Longman, Brown, Green, and Longmans, 1850).

William Makepeace Thackeray (1811-1863) Vanity Fair: a Novel without a Hero. 3 vols (London: Bradbury & Evans, 1847-48). Originally serialized in twenty parts.

INFORMATION FROM TEI HEADER

Source Description:

Author: Lang, Andrew, 1844-1912

Title: The Life and Letters of John Gibson Lockhart (London: John C. Nimmo, 1897).

Electronic Edition:

Series: Lord Byron and his Times: http://lordbyron.org

Encoding Description: Any dashes occurring in line breaks have been removed. Obvious and unambiguous compositors’ errors have been silently corrected.

Markup and editing by: David Hill Radcliffe

Completed January 2011

Publication Statement:

Publisher: Center for Applied Technologies in the Humanities, Virginia Tech

Availability: Published under Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License