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International Journal of Literature and Arts
2020; 8(6): 320-325
http://www.sciencepublishinggroup.com/j/ijla
doi: 10.11648/j.ijla.20200806.13
ISSN: 2331-0553 (Print); ISSN: 2331-057X (Online)

A Satirical Reading of Wole Soyinka’s A Play of Giants

Ademola Adenigbo1, *, Matthew Alugbin2
1
Department of Languages, Auchi Polytechnic, Auchi, Nigeria
2
Department of English, University of Ibadan, Ibadan, Nigeria

Email address:
*
Corresponding author

To cite this article:

Ademola Adenigbo, Matthew Alugbin. A Satirical Reading of Wole Soyinka’s A Play of Giants. International Journal of Literature and Arts.
Vol. 8, No. 6, 2020, pp. 320-325. doi: 10.11648/j.ijla.20200806.13

Received: October 14, 2020; Accepted: July 13, 2020; Published: November 23, 2020

Abstract: Satire is the literary art of diminishing a subject by making it ridiculous and evoking towards its attitudes manner
in which the follies and foibles or vices are unmasked by the satirist. The great modern age of satire was the neo-classic period
when the satiric spirit was everywhere present and a return was made to formal verse satire. This paper examines how Soyinka
has responded to the socio-political and economic situation in Africa by creating A Play of Giants. It also examines how
Soyinka, a sensitive playwright, in A Play of Giants mirrors events in the African society in such a daring and imaginative
manner by satirizing them. The findings reveal that Soyinka presents his characters as hollow men to show their worthlessness
and emptiness despite being at the helms of power. Soyinka reveals the hollowness of the characters exposing their linguistic
incompetence. This study identifies some devices technically deployed by Soyinka to include irony, humour, wit, sarcasm and
symbolism. Through the use of satire, Soyinka targets African political leaders who have become monsters because of the
powers they wield. Wole Soyinka uses satire to raise the consciousness of the people and prick the conscience of the ruling
political elite in Africa.

Keywords: Satire, Modern African Drama, A Play of Giants, Satirical Devices

post-independent African countries was marred by bitterness,

1. Introduction
Satire is one of the tools used to expose the ills and
anomalies in societies. Its use has been widely explored in
literary texts and news reports. There is also the use of satire
in other forms of visual and verbal texts. This implies that
satire is pervasive in virtually all areas of human endeavour
and its multifarious presence is felt in virtually all spheres of
human engagements. For instance, its manifestations have
been widely researched in newspaper cartoons, music,
computer-mediated communications and other facets of
human interactions. Apart from the use of satire, traditional
African societies also engage the use of folklore, proverbs,
humour and sarcasm as tools of measuring, assessing and
correcting the ills inherent in the society.
African writers engage the use of satire to interrogate the
state of affairs, even in poetry [1, 2]. This implies that the use
of satire cuts across all genres of literature. Wole Soyinka is
one of the African writers who constantly interrogated
African politics during the post-colonial period. Politics in
hatred, and oppression. Even before the independence of
many African states, several works of art have used satire as
a tool to critique the colonial government and demand for
self-government. When independence came, people awaited
the long-envisaged development that should be accompanied
with self government. However, certain rulers on the African
continent turned themselves into tyrants and many African
countries witnessed political instability. Some democratically
elected governments were toppled and there were also
several counter-coups. African writers like Soyinka, wa
‘Thiongo, Osundare were not unaware of this development as
they responded to these issues in their writing. Before A Play
of Giants, Soyinka had written Kongi's Harvest (1967) [3]
and Opera Wonyosi (1981)[4] – all with interest in African
political affairs.
Among many challenges that the postcolonial African
states faced is the abuse of power by the political leaders.
Many countries struggled for sustenance under several
dictatorial leaders. In Nigeria for instance, the post-
321 Ademola Adenigbo and Matthew Alugbin: A Satirical Reading of Wole Soyinka’s A Play of Giants
independence period saw a full development of satiric
literature, especially drama. Soyinka is a playwright and
social critic who relentlessly opposes repression, injustice
and tyranny by responding to the socio-political and
economic situations in Nigeria in particular and Africa at
large. It is amidst the anomalies in the post-independent
African states that Wole Soyinka’s A Play of Giants was
written to critique the African situation, most especially the
post-colonial dictators on the African continent. Soyinka’s A
Play of Giants is a realistic play that exposes and satirises the
evils in politics practiced by leaders in the African society.
The use of satire in Nigeria contemporary poems is the
focus of Akingbe’s study [1]. The work demonstrates how
satire is used in selected poems to criticize aspects of
Nigerian society. The study examines the poems of poets
such as Niyi Osundare, Tanure Ojaide, Femi Fatoba and Odia
Ofeimun. His study examines how the selected poets use
proverbs, irony and artistic elements rooted in African
tradition to criticize the society. Jeyifo [5p. 95] points out that
the targets of Soyinka’s satire “are (primarily) the Nigerian
military dictatorships of the initial phase of the ‘oil boom’
years” in Nigeria.
Existing studies on Wole Soyinka’s A Play of Giants have
focused on the linguistic techniques, lexico-grammatical
features and stylistic devices used in the text. The present
study is concerned with the use of satire in the text, most
especially, how its use is capable of effecting the desired
change in the society. One of the tools used in post-
independence Africa to address social and political issues is
satire. This paper aims to illustrate how Wole Soyinka,
through his text, employs the use of satire to point out the
social vices in the society with the aim of correcting these
anomalies. The paper aims to identify the satirical techniques
employed in Wole Soyinka’s A Play of Giants.
2. Satire as a Literary Art
Satire has been defined as ‘a literary manner, which blends
a critical attitude with humour and wit to the end that human
institutions or humanity may be improved’ [6]. There are
specific features through which satire may be identified.
Satire is critical, employs wit and humour, ridicules the target,
aims at individuals or institutions, and most importantly, may
be used to provoke or prevent a change [7, p 20]. This
implies that a satirical work will contain some or all of the
above-listed features. Satire is a means through which the
prevailing irregularities and moral excesses of a person, a
group of people, a race, an institution or even a nation are
exposed to ridicule. Follies and vices are held up to ridicule
by the satirist by unmasking them. Although the subject
matter is often comic, its objective is not merely to evoke
laughter but laughter for corrective purposes.
The aim of satire is to focus on the problems in the society.
For Wa Thiong’o [8], it is the duty of a satirist to set certain
standards for a society and evaluate the society based on
these standards. A satirist then lampoons the society when the
expected standards are not upheld. This is why a satirist as ‘a
defender of communal norms and virtues.’
Satire has been in existence for a long period. Notable
among the English verse satires of the late 17th century were
Samuel Beckett’s attack on the puritans in the mock-epic
“Hudibras” (1663). The 18th century also brought about such
major satires as Alexander pope’s “The Dunciad” (1728),
Samuel Johnson’s poems “London” (1738) and “The Vanity
of Human Wishes” (1749). Satiric prose also flourished in the
British Isles, especially in the 18th century. It included
Jonathan Swift’s harsh attack on corruption in religion and
state in “A Tale of a Tub (1704) and on mankind in
“Gulliver’s Travels” (1726).
3. Soyinka’s ‘A Play of Giants’ as a
Contemporary Political Satire
The post-independent Africanera saw a full development
of satiric literature. Since literary works are not created in a
vacuum, they are engendered by the events in the African
society. The focus of Nigeria literature has over the years
been on the socio-political and economic problems plaguing
the Nigerian society. These socio-political and economic
problems are also prevalent in many African countries. The
root of these problems could be traced to the political
upheavals, which has bedeviled the Nigerian society from the
1940s when nationalist movements got underway, people
were made to believe that political independence would usher
in the millennium, solve all social problems and create a
better life for everyone. In 1960, independence was granted
to Nigeria and the Nigerian political elite took over the reins
of governance. In the Euphoria that accompanied
independence, people had high expectations to witness a
democratic, peaceful and just society. However, within a few
years of political independence, disillusionment set in,
especially after the discovery of crude oil. It then became
clear that the leaders were more interested in enriching
themselves and would stop at nothing to remain in power.
The effect of such unsavoury leadership resulted in military
coups and countercoups. This led to the emergence of
despots in Africa who inflict severe hardships on the masses
and remain insensitive to the plight of the common man. The
military who took over the reign of the government are
however not better than the corrupt civilians.
Soyinka’s A Play of Giants, parades four major actors who
are also specifically targeted at four African dictators –
Kamini (Field-Marshal Idi Amin Dada of Uganda); Kasco -
Jean-Baptiste Bokassa of the Central African Republic;
Gunema - Nguema of Equatorial Guinea; and Tuboum -
Mobutu of Zaire (Congo Kinshasa). Soyinka admits that ‘no
serious effort is made here to hide the identities of the real-
life actors’. These African rulers dominated the political
scene in the 1970s and they committed great atrocities among
their people. This is what is called ‘a gruesome quartet of
real-life African dictators’ [9]. The African despots the play is
aimed at are directly presented by Soyinka.
Faced with these realities of power and politics, writers
 International Journal of Literature and Arts 2020; 8(6): 320-325
have had to reappraise their roles in society. Nigeria
dramatists like Osofisan, Soyinka employ satire in their plays
as an avenue to attack the prevailing socio-political vices.
Soyinka has responded to the socio-political and economic
situation in Nigeria in particular and Africa at large by
creating A Play of Giants [11]. This play can be seen as a
continuation of Soyinka’s attacks on Africa dictators and a
personal denunciation of all that Idi-Amin and his “brothers”
stand for.
While there are despots in other parts of the world apart
from Africa who could make anyone think about the
universality of Soyinka’s message, Soyinka’s was
specifically targeted at Africa. For instance, Pol Pot (the
dictator of Cambodia from 1975 to 1979), Augusto Pinochet
(Military dictator of Chile from 1973 to 1990), Leopoldo
Galtieri (Argentine general and President from December
1981 to June 1982) and Papa Doc Duvalier (notorious despot
of Haiti from 1957 to 1971) were all tyrants within this
period. Some of these African tyrants have also taken
inspiration from some of these characters. For instance,
Gunema is inspired by Papa Doc Duvalier whose reign in
Haiti was also full of terror. Soyinka’s message was however
inspired by the worsening political situations on the African
stage.
Soyinka also notes the pretense of the intelligentsia to
support the despotic leaders. Intellectuals who are meant to
serve as the think-tank of the society have also turned to
sycophants who have betrayed the public with the knowledge
they have acquired. Soyinka exposes the role of the
international community, journalists and scholars in aiding
the continued suppression of people’s rights through the
support they give to the dictators.
Intellectuals include a group of people which included
novelists, journalists, university professors whose interests lie
in constant interrogation of the state of affairs for progressive
reasons. Public intellectuals suggest necessary changes for
the reorganizing of a society. This is because they are strong
voices that help shape public opinion about issues. As a result
of this, public intellectuals should ‘transcend the realm of
modest academia to perform selfless, long-lasting acts that
make them living legends [12]. They are thus expected to be
the architect of good ideas that will reconfigure the society.
Thus, they have a crucial role to play in building a society.
The first is to expose the follies of tyranny which will in turn
garner revolt against the repressive government. They have to
serve as a torch that beams brightly to illuminate the right
path a society should follow.
4. Hollowness and Character
Presentation in Soyinka’s A Play of
Giants
The effort of a man many a time to hide his flaws in a state
of power drunkenness or moral vacuity is usually akin to that
of the Ostrich which in an attempt to hide from his enemies
buries its head while its massive body is left uncovered. This
322
is exactly what the playwright satirizes amongst the
characters, especially the protagonist of the play.
In satirizing these characters, the playwright presents them
as essentially a bunch of hollow men, characters who feel
important because of the power at their disposal but are
unable to disguise their emptiness and aridity despite the
power they wield. Through their actions in the play, they all
seem to be chanting T. S Eliot’s poem Hollowmen. The chief
protagonist Kamini, being the representative of the
consortium of despots, is depicted as a stark illiterate not
only through his speech but also through his actions. Despite
his claims to many titles, he cannot speak grammatically
correct English. An instance of this is when he expresses his
pride over the books being written on him by Gudrum. He
says:
Gudrum very good friend of African leaders. She writing
book about me with many photographs. She calling it, The
Black Giant at Play. It show Kamini very jovial family man.
Big uncle to everybody in country. (P. 2)
Kamini’s linguistic incompetence was at the fore in the
play. He is presented as someone who cannot construct
meaningful strings of sentences. These sentences are
grammatically incorrect. In each sentence, the intensive verb
‘is’is omitted. There is a recurrence of this incompetence to
express himself in correct English in the play. His brother
despots, Kasco and Gunema also make a lot of grammatical
mistakes in expressing themselves in English.
His linguistic incompetence during communication is as
bad as his ignorance of ideas. He also orders the Chairman of
Bugara Central Bank to return and print more notes as the
solution to the shortage of money when his request for a loan
was denied. The Chairman was punished for his advice for
advice against more notes. In Kamini’s words:
I said go back and get cracking with government mint.
When I return I want to see brand-new currency notes in
circulation, not hearing all this grumble of shortage of money
and so on and so forth. (p. 6)
Sycophancy is identified as one of the bane of
development in Africa. Gudrum, the Scandinavian journalist
is used as an actor to show the ineptitude of journalists who
allow themselves to be used as an accomplice in the brutal
administration of the affairs of the people. Their inactions
helped in the continued suppression of the people’s lives.
This shows how journalists have become an appendage of the
government, thus making it difficult for them to serve their
expected functions. The sycophancy of Gudrum plays out
when Kamini’s requests for a loan was turned down by the
World Bank. She states:
It's a plot my Life President. It is part of their deliberate
economic sabotage. (p. 6)
Soyinka identifies the journalist of complicity in the
rottenness of the society. Gudrum, the Scandinavian
journalist represents the members of this profession. She
abandons the ethics required of her profession and takes the
role of an employee in Kamini’s government. This affected
her worldview of things as she could not present issues
objectively anymore. Rather than project the true state of
323 Ademola Adenigbo and Matthew Alugbin: A Satirical Reading of Wole Soyinka’s A Play of Giants
affairs in Bugara, she works to discredit the genuine
complaints of the people. She speaks about her activities:
It would be finished by now if I didn't have to take time
dealing with the slander spread by those Bugaran runaways
in my country. They spread the most disgusting libel against
the Field-Marshal. They are pouffes, most of them. Faggots.
(Pg. 2)
The intellectual in A Play of Giants represented by
Professor Batey betrays the true expectation of an intellectual.
Professor Batey represents the African intelligentsia. Batey is
a representation of the myopic African intellectuals whose
researches do not get to the root of societal problems.
Professor Batey could not present the true picture of events.
In his address to Kamini which drums support for Kamini’s
dictatorial tendency, she states:
Your Excellency, it was my duty a scholar to present the
truth. The problems of Bugara were purely economic - as a
sociologist, I saw that only too clearly. Bugara has not only
inherited a discredited economic system from its colonial
history. (p. 23)
The height of ridicule was brought upon the academic
community when Kamini ordered that a young academic be
promoted to the position of the First Secretary and be
awarded Professorship upon return to Bugara because he
writes the President’s speech.
I promote that young man, today. When he come back to
Bugara, see that he go to university and make him professor.
But if he try to be brilliant like Kiwawa, he will smell his
mother's cunt before he can run away. (p. 15)
The brutality is enormous. For instance, Gunema killed a
captain in the Palace Brigade of Guards because he had a
dream that the Captain planned a coup.
GUNEMA (nodding). El Colonel Aranja, my late capitan
of the Palace Brigade of Guards, it happen like that with him.
One day he come my house as my family finish... yes, I
remember, we eat paella that afternoon. We finish eating, he
enter the dining room unceremoniously, over urgent matter.
We talk, I watch him. That very night, I dream he plan coup
d'etat against me. I arrest him in the morning and the tribunal
find him guilty. I give him firing squad. (p. 37)
The support the government of Kamini got from Gudrum
and Professor Batey goes a long way in establishing the
tyranny of Kamini.
5. Satirical Devices in Soyinka’s ‘A Play
of Giants’
Irony is an instrument of artistic empowerment deployed
by Soyinka to highlight the folly of the four giants in the play
in order to mock them. With the use of irony, the opposite of
an intended meaning can be expressed to imply
condemnation of an action. Irony is effectively deployed in A
play of Giants, the purpose being to further heighten the use
of satire.
The title, A Play of Giants is quite ironic and highly
satirical. Literarily, giants are people whose height, stature,
has been blown out of proportion biologically. Thus the title
suggests that there is a meeting of these giants. Connotatively,
however, the giants in the play are the despots – Kamini,
Kasco, Gunema and Toboum. These characters are ironically
presented as giants but are the opposite when their roles are
examined. They are intellectually, politically and
ideologically dwarfish in that they do not seem to understand
the full import of their leadership role. Their major concern is
only to retain power and deal ruthlessly with anyone who
opposes them. Their characterization is a betrayal of their
performances and roles in the play when examined from the
title of the play. The characteristics of a giant would be that
of security, strength, foresight and safety. The giants in the
play are however unable to live up to the leadership roles
they forcefully ascribe to themselves. It is therefore ironic to
refer to these despot leaders as giants when they are dwarfed
in ideas and reasoning.
The ‘Giants’ are also disillusioned about their status as
they hold a jaundiced view of themselves. At the start of the
play, Gunema was decrying the activities of those who
engage in guerilla warfare in his country. This is because he
thinks he and his co-despot are naturally endowed to lead
even when it is obvious that they lack the qualities to be
called leaders. He refers to his co-despots:
…we who are gifted naturally with leadership, after a
while, we cease to govern, to lead: we -exist, I think, in a rare
space which is - power. Es 'erdad, no? (p. 2)
Gunema assumes that they are not ordinary. Soyinka
presents the African leaders of this time as people who
through self-deceit have assumed the position of a demigod.
This justifies his actions and that of others as being myopic
when the play develops. What is witnessed in the play is a
mockery of those who call themselves leaders but lack the
attributes of a leader. This is why Gunema says:
…Like me and our camarade the Emperor Kasco, we are
not ordinaria. Why you think we rule our people? Some
people are born to power. Others are - cattle. They need ring
in their nose for us to lead. (p. 11)
It is quite ironic that when the Secretary-General of the
United Nations requested that each country is expected to
present a work of art representative of their culture, Kamini
and other African despots mistook his idea and the plan to
present their statues. To show how inept Kamini is of
governance, he believes that he controls the economic affairs
and he can curb stealing when he travels with the Chairman
of Bugara Central Bank.
KAMINI.…You excuse me while I talk some business. Is
my chairman of Bugara Central Bank. When I travel, I take
Bank of Bugara with me, then nobody can steal money
behind Kamini's back. Too many kondo wearing European
coat and tie and forging signature of this and that bank
manager. When Kamini not home, only chairman can sign
cheque, and he here with Kamini. (p. 4)
Soyinka also employs wit and humour to expose the
characters’ flaws and limitations. Harris [6] in his conception
of what satire entails notes that satire ‘blends a critical
attitude with humour and wit to the end that human
 International Journal of Literature and Arts 2020; 8(6): 320-325
institutions or humanity may be improved’. This establishes
wit as a specific feature of satire. The intention of wit in an
expression may be to produce a shock or comic surprise.
Humour refers to what is purely comic, it evokes as it is
sometimes said, sympathetic laughter or else laughter which
is an end in itself. A Play of Giants is humorous and at the
same time witty. The characters speak in a serious way but
the speech is so humorous that it evokes sympathetic laughter
in the reader or audience. Kamini is a very humourous
character. His inability to express himself in grammatically
correct English is in itself humorous.
Also, he constantly refers to himself as ‘Life-President’,
‘El-Haji, Kamini’ with a lot of titles from universities around
the world. Whenever he is not properly addressed, he does
not hesitate to correct. When he is called Mr. President he
quickly corrects by saying…’Dr. Life President’ or ‘Dr.
President’ or ‘Field Marshal El Hajj’. When he isi not
satisfied with the attitude of the sculptor, he reminds the
sculptor of who he is:
You think Kamini belong in Chamber of Horrors, not so?
Not very good thing to say about Life President the Field-
Marshal El-Haji, Dr Kamini, DSO, VC LD, PhD, DSc and so
on and so for from univerities all over the world. (p. 32)
The playwright also employs symbolism as a means of
satirizing the so-called ‘Giants’ in A Play of Giants.
Symbolism stands or represents something, especially
material things taken to represent immaterial or an abstract
thing taken for an idea or quality, or a written character
conventionally standing for an object, a process and so on.
Soyinka exposes their moral, intellectual and political aridity.
An instance of this is Kamini’s attitude when going to answer
the call of nature. Soyinka describes the entire process thus:
Kamini has taken off his jacket. He lays it very carefully
over the back of his chair. He unbuckles his belt and moves
towards his trousers then his bulk unto the toilet seat,
remaining visible from the waist –up through the door (p. 32).
This scene is symbolic. Kamini’s display of his nakedness
in the full glare of the public symbolises him as an animal
and also a child who is not ashamed of being seen naked.
This was when he was about to punish the sculptor for saying
Kamini’s statue belongs to the Chamber of Horrors. It
became obvious that the sculptor will not be able to complete
the statue he is making for the Heads of state, he informs
Kamini and tells him he may not understand the reasons why
the because he is a layman.
Another symbol used to express his childishness – a child
in the guise of a fully grown man, is the presentation of
Babushka doll to Kamini by the Russians. The Russians visit
his embassy to negotiate the possibility of exhibiting the
statutes of Kamini and his ‘brother-despots’ but make it clear
that the exhibition of the statue of their national hero will
precede those of Kamini and his brothers. Kamini is then
presented with a Babushka doll by the Russians as a mark of
their solidarity to his government. Presenting him with a doll
symbolises him as a child and it also shows him as an
ignorant character who does not understand the language of
diplomacy. This symbol is highly satirical as it presents
324
Kaminias physically big but intellectually, still a child
The play ends on the note of chaos with the news that the
government of Kamini has been toppled. However, it is not
clear if the new government is another dictator in waiting
because it is not clear if the change arose out of people’s
genuine struggle. For this, Ngugi [8] holds that ‘it is not
enough for the African artist, standing aloof, to view society
and highlight its weaknesses. He must try to go beyond this,
to seek out the sources, the causes and the trends of a
revolutionary struggle’. Notwithstanding this view, Soyinka
has been able to clearly satirise the society’s anomalies by
directly criticizing repressive governments in Africa.
6. Conclusion
A Play of Giants is significant in the way it explores the
contemporary problems of tyranny and abuse of power,
hypocrisy and decadence in religion and the excessive
madness for materialism in the modern society. Soyinka
makes no serious attempt to hide the real characters who
serve as models for the play. They are four of the most
ruthless despots in the history of African Politics. Despite
their ruthlessness, the playwright artfully presents them as
hollow, empty and completely ignorant of the political, socio-
economic events in the countries which they claim to govern.
African society is the target of Soyinka’s satire. With this,
Soyinka raises the question of leadership in African nations.
He was very direct in his critique of the African situation.
Through the use of satire, he exposes the illiteracy and lack
of exposure of African leaders. Despite being the political
head expected to provide focused leadership to their
countries, the ignorance of the rulers are exposed. Soyinka
points attention to the fact that citizens also contribute to the
building of political monsters that characterize most African
nation-states through sycophancy. Soyinka in A Play of
Giants mirrors the society by showing the irregularities and
the socio-political and economic problems prevalent in many
Africa countries. The play cannot just be consideredas a
satire of the past. The play is still relevant in the
contemporary era since most African nation-states still suffer
from democratic dictators.
References
[1] Akingbe, N. 2014. The Articulation of Social Decay: Satire in
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Another random document with
no related content on Scribd:
advertising, it rested entirely upon its reputation.” “Our
correspondence,” he added, “is enormous, employing six
typewriters.” He took me to the erecting floor of the shop. I was filled
with amazement and delight at the sight which met my eyes. This
floor, which had been greatly enlarged, was crowded with large
engines in process of completion, most of them larger and some a
great deal larger, than the largest I had built. I confess to a feeling
bordering on ecstasy, heightened of course by the suddenness of
the relevation, when I realized the commanding height to which the
Porter-Allen Engine had been raised by this remarkable man. Mr.
Brooks offered to take me through the shops; this however I
declined, not being willing to trespass further on his time. He showed
me the old shop engine which I had not seen for twenty-three years.
Everything looked familiar except its speed. He said to me, “we have
never done anything to this engine, except to increase its speed from
230 revolutions to 300 revolutions per minute, to supply the
additional power required by the growth of the business.” Respecting
their system, he mentioned only one feature, which he evidently
regarded as of special importance, and which he seemed to suppose
would be new to me. It was this: “We make a separate drawing of
every piece.”
Under date of Oct. 31, 1907, Mr. Brooks writes me, “the business
now employs ten typewriters, and the engine which was started in
1881, and which has run at 300 revolutions per minute for the last
seven years, has now been compelled by their increased
requirements to give place to a compound condensing engine of
more than twice its power.”

Three or four years ago I was spending a few days at the Mohonk
Lake Mountain House, Mr. Albert K. Smiley’s famous summer resort,
and one day strolled into the power house, where were three
dynamos, each driven by a Ball & Wood engine, the latter making, I
think, something over 200 revolutions per minute.
I fell into conversation with the engineer, rather an old man and
quite communicative. He told me he had been in Mr. Smiley’s
employ for seventeen years, and was voluble in his praises; said he
was a wonderful man, repeating “wonderful” with emphasis, but he
added “he don’t know nothin about machinery, nothin, no more’n you
do.” My attention was attracted by the dynamos, which were new to
me and the framing of which I thought presented a remarkably well
studied design.
I mentioned this to the old man, who replied impatiently: “O, that
aint nothin, the engine is the wonder, that’s the wonder; why, when I
was a young man we did not suppose an engine could be run more’n
about fifty or sixty turns a minute, nobody never thought o’ such a
thing; now we can run ’em any speed we like, no poundin, no shakin,
no heatin, it’s just wonderful.” I did not respond or show any interest,
and the old man did not waste any more enthusiasm on me. Did not
say a word when I left directly after, but I fancied him saying to
himself: “Another o’ them stuck ups, that don’t know nothin’.”
 Transcriber’s Notes
The text of this document follows that of the source;
inconsistent spelling and hyphenation have been
retained, except as mentioned below.
Depending on the hard- and software used to read
this text, and on their settings, not all elements
may display as intended. The scales as provided
in the indicator diagrams are, of course, not
necessarily correct.
Page 93: ... H laid on its side, thus ⌶: the symbol is
used to represent the shape of the rotated letter
H, not an I or an I-beam.
Page 137, bill for American belt: there are some
errors in the calculations, these have not been
corrected.
Page 147, paragraph starting The day after the
opening ...: the single and double quote marks do
not match.
Page 155, ... exposition of the action of the
reciprocating parts was given Mr. Edwin Reynolds
...: should possibly read ... exposition of the action
of the reciprocating parts was given by Mr. Edwin
Reynolds ....
Page 202, ... half the distance to the mid-stroke or to
E, Fig. 32, ...: presumably this refers to the figure
on page 201; there is no figure 32 in the book.
Page 217, If I went, that I would be the end of the
business: the second I should probably be
deleted.
Page 293: Presumably the references in the text to
Figure 1 and Figure 2 are to the top and bottom
 illustration respectively; the source document
does not provide figure numbers.
Page 328-330: The use of quote marks in these
letters differs from that in other correspondence;
this has not been standardised.
Changes made
Illustrations and tables were moved out of text
paragraphs.
Texts in a
dashed box
is not present as text in the source document, but
has been transcribed from the accompanying
illustration. The transcribed texts provide an
approximate indication of the positions of the
elements relative to each other.
Some obvious minor typographical and punctuation
errors have been corrected silently.
Dimensions m×n and m × n have been standardised
to m×n, multiplications x×y and x × y to x × y;
cross-head and crosshead were standardised to
cross-head.
Page xii: illustration numbers have been added;
Diagrams from English Locomotive ... has been
changed to Diagrams from English Locomotives
... as in the illustration caption.
Page 40: a closing single quote mark was inserted
after ... do not require any governor,
Page 79: pièce de resistance changed to pièce de
résistance.
Page 91, illustration caption: English Locomtlvoes
changed to English Locomotives.
Page 175: ... told me had had supplied all the
money ... changed to ... told me he had supplied
all the money ....
Page 287: ... this they had been keen kept in
ignorance of ... changed to ... this they had been
kept in ignorance of ....
Page 294: b′ and c′ in the text changed to b¹ and c¹
as in the illustration.
Page 303: ... to very the speed ... changed to ... to
vary the speed ....
Page 331: ... before I left planning a smaller engine
... changed to ... before I left, planning a smaller
engine ....
Page 333: closing quote mark inserted after ...
employing six typewriters.
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