BOWLES, SAMUEL (1826-1878), American journalist, was born in Springfield, Massachusetts, on the 9th of February 1826. He was the son of Samuel Bowles (1779-1851) of the same city, who had established the weekly Springfield Republican in 1824. The daily issue was begun in 1844, as an evening newspaper, afterwards becoming a morning journal. To its service Samuel Bowles, junior, devoted his life (with the exception of a brief period during which he was in charge of a daily in Boston), and he gave the paper a national reputation by the vigour, incisiveness and independence of its editorial utterances, and the concise and convenient arrangement of its local and general news-matter. During the controversies affecting slavery and resulting in the Civil War, Bowles supported, in general, the Whig and Republican parties, but in the period of Reconstruction under President Grant his paper represented anti-administration or “Liberal Republican” opinions, while in the disputed election of 1876 it favoured the claims of Tilden, and subsequently became independent in politics. Bowles died at Springfield on the 16th of January 1878. During his lifetime, and subsequently, the Republican office was a sort of school for young journalists, especially in the matter of pungency and conciseness of style, one of his maxims being “put it all in the first paragraph.” Bowles published two books of travel, Across the Continent (1865) and The Switzerland of America (1869), which were combined into one volume under the title Our New West (1869). He was succeeded as publisher and editor-in-chief of the Republican by his son Samuel Bowles (b. 1851).
A eulogistic Life and Times of Samuel Bowles (2 vols., New York, 1885), by George S. Merriam, is virtually a history of American political movements after the compromise of 1850.
BOWLES, WILLIAM LISLE (1762-1850), English poet and critic, was born at King’s Sutton, Northamptonshire, of which his father was vicar, on the 24th of September 1762. At the age of fourteen he entered Winchester school, the head-master at the time being Dr Joseph Warton. In 1781 he left as captain of the school, and proceeded to Trinity College, Oxford, where he had gained a scholarship. Two years later he won the chancellor’s prize for Latin verse. In 1789 he published, in a small quarto volume, Fourteen Sonnets, which met with considerable favour at the time, and were hailed with delight by Coleridge and his young contemporaries. The Sonnets even in form were a revival, a return to the older and purer poetic style, and by their grace of expression, melodious versification, tender tone of feeling and vivid appreciation of the life and beauty of nature, stood out in strong contrast to the elaborated commonplaces which at that time formed the bulk of English poetry. After taking his degree at Oxford he entered the Church, and was appointed in 1792 to the vicarage of Chicklade in Wiltshire. In 1797 he received the vicarage of Dumbleton in Gloucestershire, and in 1804 was presented to the vicarage of Bremhill in Wiltshire. In the same year he was collated by Bishop Douglas to a prebendal stall in the cathedral of Salisbury. In 1818 he was made chaplain to the prince regent, and in 1828 he was elected residentiary canon of Salisbury. He died at Salisbury on the 7th of April 1850, aged 88.
The longer poems published by Bowles are not of a very high standard, though all are distinguished by purity of imagination, cultured and graceful diction, and great tenderness of feeling. The most extensive were The Spirit of Discovery (1804), which was mercilessly ridiculed by Byron; The Missionary of the Andes (1815); The Grave of the Last Saxon (1822); and St John in Patmos (1833). Bowles is perhaps more celebrated as a critic of poetry than as a poet. In 1806 he published an edition of Pope’s works with notes and an essay on the poetical character of Pope. In this essay he laid down certain canons as to poetic imagery which, subject to some modification, have been since recognized as true and valuable, but which were received at the time with strong opposition by all admirers of Pope and his style. The “Pope and Bowles” controversy brought into sharp contrast the opposing views of poetry, which may be roughly described as the natural and the artificial. Bowles maintained that images drawn from nature are poetically finer than those drawn from art; and that in the highest kinds of poetry the themes or passions handled should be of the general or elemental kind, and not the transient manners of any society. These positions were vigorously assailed by Byron, Campbell, Roscoe and others of less note, while for a time Bowles was almost solitary. Hazlitt and the Blackwood critics, however, came to his assistance, and on the whole Bowles had reason to congratulate himself on having established certain principles which might serve as the basis of a true method of poetical criticism, and of having inaugurated, both by precept and by example, a new era in English poetry. Among other prose works from his prolific pen was a Life of Bishop Ken (2 vols., 1830-1831).
His Poetical Works were collected in 1855, with a memoir by G. Gilfillan.
BOWLINE (a word found in most Teutonic languages, probably connected with the “bow” of a ship), a nautical term for a rope leading from the edge of a sail to the bows, for the purpose of steadying the sail when sailing close to the wind—“on a bowline.”
BOWLING (Lat. bulla, a globe, through O. Fr. boule, ball), an indoor game played upon an alley with wooden balls and nine or ten wooden pins. It has been played for centuries in Germany and the Low Countries, where it is still in high favour, but attains its greatest popularity in the United States, whence it was introduced in colonial times from Holland. The Dutch inhabitants of New Amsterdam, now New York, were much addicted to it, and up to the year 1840 it was played on the green, the principal resort of the bowlers being the square just north of the Battery still called Bowling Green. The first covered alleys were made of hardened clay or of slate, but those in vogue at present are built up of alternate strips of pine and maple wood, about 1 × 3 in. in size, set on edge, and fastened together and to the bed of the alley with the nicest art of the cabinet-maker. The width of the alley is 4l½ in., and its whole length about 80 ft. From the head, or apex, pin to the foul-line, over which the player may not step in delivering the ball, the distance is 60 ft. On each side of the alley is a 9-in. “gutter” to catch any balls that are bowled wide. Originally nine pins, set up in the diamond form, were used, but during the first part of the 19th century the game of “nine-pins” was prohibited by law, on account of the excessive betting connected with it. This ordinance, however, was soon evaded by the addition of a tenth pin, resulting in the game of “ten-pins,” the pastime in vogue to-day. The ten pins are set up at the end of the alley in the form of a right-angled triangle in four rows, four pins at the back, then three, then two and one as head pin. The back row is placed 3 in. from the alley’s edge, back of which is the pin-pit, 10 in. deep and about 3 ft. wide. The back wall is heavily padded (often with a heavy, swinging cushion), and there are safety corners for the pin-boys, who set up the pins, call the scores and place the balls in the sloping “railway” which returns them to the players’ end of the alley. The pins are made of hard maple and are 15 in. high, 2¼ in. in diameter at their base and 15 in. in circumference at the thickest point. The balls, which are made of some very hard wood, usually lignum vitae, may be of any size not exceeding 27 in. in circumference and 16½ ℔ in weight. They are provided with holes for the thumb and middle finger. As many may play on a side as please, five being the number for championship teams, though this sometimes varies. Each player rolls three balls, called a frame, and ten frames constitute a game, unless otherwise agreed upon. In first-class matches two balls only are rolled. If all ten pins are knocked down by the first ball the player makes a strike, which counts him 10 plus whatever he may make with the first two balls of his next frame. If, however, he should then make another strike, 10 more are added to his score, making 20, to which are added the pins he may knock down with his first ball of the third frame. This may also score a strike, making 30 as the score of the first frame, and, should the player keep up this high average, he will score the maximum, 300, in his ten frames. If all the pins are knocked down with two balls it is called a spare, and the player may add the pins made by the first ball of his second frame. This seemingly complicated mode of scoring is comparatively simple when properly lined score-boards are used. Of course, if all three balls are used no strike or spare is scored, but the number of pins overturned is recorded. The tens of thousands of bowling clubs in the United States and Canada are under the jurisdiction of the American Bowling Congress, which meets once a year to revise the rules and hold contests for the national championships.