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In the Manuscripts and Rare Books Division of the Regional Scientific Library of Saratov State University, an early autograph of Ivan Bunin, which has not yet been introduced in scientific circulation, has been discovered. This is a signed copy of the translation of G. G. Byron’s Manfred published by the “Znanie” Partnership. It is known that Fyodor Batyushkov, holding the post of the editor-in-chief of the magazine Mir Bojiy (The World of God), wrote reviews of the works of authors nominated for the Pushkin Prize.

The papyrus on which the so-called Tbilisi hymn to Dionysus survives (P. Ross. Georg. I 11 [LDAB 4911 = MP3 01861.000]) is remarkable for preserving, along with the hymn’s text, a number of marginal and interlinear variant readings, which, interpreted as authorial variants, have led to the conclusion that the papyrus represents an autograph draft. As the present study argues, it is in fact more likely that the variants belong to a copyist or reviser rather than to the hymn’s author.

The poems and translations of John Polwhele ( c.1606–1672) are preserved in a single autograph manuscript, Bodleian MS English poetry f. 16. Some have received intermittent scholarly attention in recent times, often on account of Polwhele's admiration for and emulation of Ben Jonson. As well as other classical translations, Polwhele's manuscript includes eleven poems and passages from Horace, nearly all of them versions of odes and epodes. A handful have been printed or partially printed before. The purpose of this contribution is to provide transcribed texts of the complete set in a uniform way in a single document. As well as the Jonsonian connections of Polwhele's Horatian writings, they are of scholarly interest because they use Horace as a vehicle for comment on the translator's own times, including events of the English civil war period such as the regicide of 1649.

The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.

This article comments on one detail of the artistic world of the novella Uncle’s Dream. The mention of monk Misail in Svetozersky Hermitage is considered as a topographic sign, which allows one to accurately determine the local attribution of Dostoevsky’s text. According to the author of the article, the prototype of the priest is Father Macarius (Mikhail Yakovlevich Glukharev), also known as “the Apostle of the Altai Land”. The author introduces into scholarly circulation M. Ya. Glukharev’s autograph found in Barnaul and analyses the missionary activity of the Archimandrite and the reasons for his getting closer to Tobolsk Decembrists M. A. Fonvizin and his wife N. D. Fonvizina, P. S. Bobrischev-Pushkin, and P. N. Svistunov. The paper also discusses the question of F. M. Dostoevsky’s interest in the personality of the Archimandrite and the channels through which the writer could know about the old man: Fonvizin’s circle, the book about father Macarius of his succеssоr S. Landyshev, Dostoevsky’s Semipalatinsk fellow ethnographer N. A. Abramov, or oral legends, including raskolnik ones. The extant humorous stories about the Archimandrite might have served as an impetus for the comic transformation of his image in the novella Uncle’s Dream, in which the writer easily and ironically used facts known to him encrypting Father Macarius and using the secular name Mikhail. In the writer’s later works, the figure of Macarius is presented in the rough drafts of the novel The Brothers Karamazov and “the monk of Obdor” is included in the environment of Elder Zosima in the final text of the work. Long before the emergence of the conception of The Brothers Karamazov, M. Ya. Glukharev becomes not only a catalyst in the creative process and one of the prototypes for Dostoevsky, but also an example of the “romantic missionary”, a popular spiritual leader and reformer of the Church.

Lope de Vega’s autographs allow us to approach the genesis of a play, analyse the cross-outs, changes and additions of the playwright and understand his modus operandi . Moreover, these documents also contain annotations and corrections of other agents involved in the Golden Age Theatre market that could substantially modify the text. On many occasions, the philological and codicological analysis only allows making hypotheses about what happened and does not offer reliable solutions to questions about the composition of theatrical text. Through this paper, we present the results of the analysis of several of Lope de Vega auto-graph manuscripts done with techniques and instruments related to photography and spectroscopy ranging from spectral photography to X-ray fluorescence. We shall demonstrate that the application of these techniques to the study of manuscripts from the Spanish Drama of the Golden Age will also make it possible to obtain information that is relevant to and valuable in delving into the development and circulation of a particular work, but also in gaining a much more complete understanding of the formation of Spanish classical theatre.

En este artículo se estudia la historia textual del poema “Testamento” de Valle-Inclán a partir de una relación actualizada de los testimonios de la tradición directa del texto, para luego editar el primer y desconocido testimonio impreso del poema. Se llega a la conclusión de que tanto los autógrafos como los impresos son en realidad copias de manuscritos de trabajo todavía en una fase redaccional, y se desvelan al menos dos estados genéticos cuya datación se intenta precisar. Asimismo, se presentan argumentos que parecen revelar que los testimonios impresos muestran diversas alteraciones debidas a la manipulación de sus editores.

Kirkuk in which many communities, languages and religions lives together is a small miniature of Iraq's social structure with its deep-rooted cultural heritage. One of the most important sources of this heritage is Iraqi Turkmen Literature. Kahtân Hurmuzlu, one of the well-known versatile items of Contemporary Iraqi Turkmen Literature has opened his eyes to the world on July 1, 1936 in Karatepe sub-district of Kirkuk province. Hurmuzlu, who is a member of a well-known family with art, culture and literature; has gained fame in the art community with his poetry, stories, novels, prose, plays, translations and criticism written with his mother language Turkmen -old Turkish- in addition to Arabic. The words used by Kahtân Hurmuzlu in his writings are sincere and emotional. He emphasizes the concepts of humanity, brotherhood, freedom and peace in his works. The reflections of these concepts can easily be seen in the text of the autograph play named Here is Kirkuk, which is composed of these opinions and thoughts mentioned by the author. Hurmuzlu is one of the contributively representatives of Iraqi Turkmen Literature, as well as he contributed to the enrichment of Turkish World Literature in different geographies and its becoming an art. Since Kahtân Hurmuzlu is a versatile writer, the scope of our study is limited to the autograph play named Here is Kirkuk.

The autograph corpus of the Damascene scholar Ibn Ṭūlūn is dispersed throughout collections in North America, Europe, and West Asia. As an initial probe into these materials, I will describe, identify, and analyze two compendia in the Princeton University collection: Garrett MSS 196B and 1011H. They contain, among other things, a portion of al-Thaghr al-bassām, an autograph draft of his biographical dictionary of Damascene judges, which is later than the one edited and published in 1959, and a heretofore missing portion of al-Qalāʿid al-jawhari- yya, his topography of al-Ṣāliḥiyya. I will also positively identify an anonymous, untitled manuscript in the Bodleian Library (Pococke 26) and show its relationship to the al-Thaghr al-bassām autograph.

The article gives a holistic understanding of Lermontov’s poem “Dispute” (1841) in the dynamics of its birth from conception to publication in the journal of Slavophile orientation “Moskvityanin.” Creative history of the poem for the first time is fully reconstructed. The results of a comparative analysis of the draft and two finishing manuscripts of the poem having minor discrepancies between are presented. The reasons and mechanisms of Lermontov’s text corrections, which help to understand the movement of the author’s thought, are indicated. The conclusion is made about the peculiarities of artistic imagery of the poem. The process of Lermontov’s work on the text is associated with the saturation of specific images with symbolic sound. The artistic image created by the poet is the bearer of the pan-Slavic concept. The novelty of the study is associated with the clarification of the features of the birth and impact of poetic imagery of Lermontov’s poem significant for understanding his worldview. The urgency of the problem is associated with the need to clarify the features of Lermontov’s thinking; his work, being a reflection of the real pictures of his time, has a visionary potential. The question of Lermontov’s historiosophy is raised, his views on the role of Russia in the world historical process are clarified. Russia is portrayed by Lermontov as a great empire which power is likened to elemental force, exceeding capacity of once historically significant states.

Despite the continuously growing interest in the music of Sergei Rachmaninoff, his piano music still contains compositions which have remained un studied in full measure. These works include the Sonata No. 1 for piano, opus 28 in D minor. Various versions of the musical text of the composition are compared in the article, including the three preserved manuscripts. The following musical score texts are examined: the manuscript which belonged to Konstantin Igumnov (dated May 14, 1907); two autograph scores (from September 17, 1907 and March 30, 1908); early publications of the Sonata (the first publication from 1908 in the company “A. Gutheil”; the British publication from 1908 by “Hawkes & Son”) and the most popular Russian editions (from 1948, 1964, 1981 and 2012). The author also analyzes certain moments of the composer’s biography, which present the possibility to gain insight into the reasons for the fragmentarily cardinal differences between the various manuscripts. The methods used in the research make it possible to approach an objective understanding of the composer’s conception and the arising doubts in the genuineness of the musical score text which may appear in the pianist’s mind during the process of work on Rachmaninoff’s Sonata No. 1 for piano. Keywords: Sergei Rachmaninoff, Sonata No. 1 for piano, musical score autograph, Konstantin Igumnov, musical text.

“Bird-tracks” and “tadpoles” are both names for ancient script. As customs changed, the script came to be used less and less, until any basis for knowledgeable discussion was lost and it was known only from hearsay. The Grand Preceptor said: “When the [forms of the] rites are lost, search for them in the countryside.” Might not ancient script be even better than the countryside?The names of dozens of artists from the tenth century have come down to us, for the most part with very little information about their lives and scarcely more about their art. Fortunately, the life and professional career of Guo Zhongshu 郭忠恕 (928–977) can be reconstructed in enough detail to give a sense of the personality of the artist and the world that he experienced. Indeed, we are doubly fortunate because Guo, it turns out, had no ordinary life. Known to art historians today primarily as one of the great painters of architectural subjects in Chinese history, Guo entered adult life in a different guise, as a brilliant young paleographer and calligrapher. This aspect of his career, no less important than his painting, is the subject of the present study. Although specialists have recognized his scholarly and calligraphic achievements, we still lack a contextualized account that incorporates what can be known of his biography and social circumstances. More important for the theme of this special issue, the material dimension of Guo's paleographic and calligraphic activities also remains to be explored. Any discussion can only be very partial, however, since no manuscripts or autograph calligraphies survive, only stone steles; fortunately, Guo's engagement with stele production is in itself of the highest historical interest. The chronologically organized text that follows tells a biographical story, with as much detail as the available sources allow, which eventually opens out onto the material world of steles, before returning to biography to recount the last chapter of Guo Zongshu's life. Rather than offering a conclusion, I end with a reflection on the materialities of transmission of paleographic and calligraphic knowledge. For the purposes of this article I have not thought it necessary to choose between the very different lenses of biography and material culture, since my goal is not to prove a thesis but to reconstruct an unfamiliar world. As I hope to show, the understanding of one person's life can enrich the understanding of artifacts associated directly and indirectly with the person, and vice versa.

Haydn's D major cello concerto has traditionally been associated with Anton Kraft, a performer in Haydn's orchestra at Eszterháza during the 1780s. Before Haydn's autograph came to light in the 1950s, many authorities had accepted apparent evidence that Kraft was the concerto's composer. Even after the autograph's rediscovery, the seeming connection of the concerto with Kraft appeared so compelling that it was widely assumed he participated in the compositional process. This article demonstrates that Kraft's connection with the concerto was actually fabricated in the 1830s. Contemporary reports show that the concerto was in fact composed for the distinguished virtuoso James Cervetto, who performed it in London in 1784. Both the distinctive characteristics of the concerto, often regarded by commentators as indications of compositional weakness, and also its exceptional technical challenges are here interpreted as responses to Cervetto's singular musical temperament and exceptional proficiency, communicated to Haydn through the commission.

Fanny Hensel was attentive to declamation, with respect to both correct accentuation and text expression. Her song autographs at the Mendelssohn Archive of the Staatsbibliothek in Berlin provide ample evidence for her meticulous, yet creative and artistic approach to declamation. The autographs contain numerous examples of her honing of text underlay, with the apparent aim of achieving optimal metrical placement of syllables, words, and lines, and/or of expressing the meaning of the poem. She experiments with the elongation of particular words or lines, with the metrical placement of individual words, and even with the metrical placement of entire texts. The chapter discusses numerous relevant song excerpts and complete songs, many of them unpublished.

While the Beats can be seen as critical actors in the environmental humanities, their works should be seen over the longue dur&eacute, e. They are not only an origin, but are also recipients, of an environmentally aware tradition. With Geoffrey Chaucer and Jack Kerouac, we see how a contemporary American icon functions as a text parallel to something generally seen as discrete and past, an instance of the modern embracing, interpreting, and appropriating the medieval. I argue that The Canterbury Tales by Chaucer influenced Kerouac&rsquo, s shaping of On the Road. In the unpublished autograph manuscript travel diary dating from 1948&ndash, 1949 (On the Road notebook), Kerouac imagines the novel as a quest tale, thinking of pilgrimage during its gestation. Further, Kerouac explicitly cites Chaucer. His novel can be seen not only in the tradition of Chaucer, but can bring out aspects of pilgrimage ecopoetics in general. These connections include structural elements, the spiritual development of the narrator, reliance on vernacular dialect, acute environmental awareness, and slow travel. Chaucer&rsquo, s influence on Kerouac highlights how certain elements characteristic of pilgrimage literature persist well into the modern period, in a resilience of form, language, and ecological sensibility.

"The prolific translator, author, playwright, and intelligencer Anthony Munday produced 34 printed translations between 1585 and 1623 (excluding reprints), with a 35th entered into the Stationers’ Register but now extant only in autographed manuscript form; he also edited three others. These covered a wide range of subjects, although Munday has long been associated primarily with “englishing” Continental romance. This essay considers three translations that have received little attention; all were participants in the transnational and transcultural phenomenon known as the querelle des femmes, the controversy about women, which was responsible for the appearance of a plethora of printed works, both original and translated, praising and dispraising women, love, and marriage from the late 1400s up to 1800.... This essay...proposes to demonstrate how querelle-related texts undergo various forms and degrees of transformation when transmitted into a new linguistic and cultural context. Our examination of such “transformission” will focus on the cultural andmaterial, rather than linguistic, tools of re-mediation used to adapt the foreign texts to their new audience, and more specifically on their paratexts."

In this article the author presents a Karaim text from of Josef ha-Mashbir’s (died 1700) autograph. The discovery of the latter source proves that he was a North-Western Karaim native speaker, which, in turn, supports the claims of those researchers who contend that he originated from Lithuania. Importantly, the source in questionis one of the oldest known North-Western Karaim texts.

Muḥammad Ibn Ṭūlūn is today fairly well known as a historian of Damascus. Yet, his numerous writings cover many more areas of contemporaneous knowledge production and some of those might have been more impactful for his reputation as a scholar. One area that has so far not received much attention is the scrutiny Ibn Ṭūlūn put into the organisation of knowledge within his library, his corpus, and even individual manuscripts. This article attempts one step at closing this lacuna by addressing the contents statements with which Ibn Ṭūlūn prefaced all his autograph manuscripts. It also proposes a methodology for utilising them as sources for manuscript history. Based on four primary case studies, the chapter uses a triad of extraction, recompilation, and reconstruction of manuscripts to assess the current state of multiple-text manuscripts vis-a-vis their original compilations. All four manuscripts ended up in the Chester Beatty Library in Dublin by the 1930s. The chapter makes use of a wide array of sources within and without these manuscripts to elucidate their historical trajectories from Ibn Ṭūlūn’s endowed library until their acquisition by Chester Beatty. Specific attention will be paid to their peregrinations in the 19th and early-20th centuries. In particular, early 20th-century photographic reproductions of those manuscripts can shed light on the most recent recompilations and reconstructions of these manuscripts. No survey on the emergence of contents statements in the Arabic manuscript tradition has yet been made. A focus on one author’s autograph corpus thus seems a more promising approach which generates verifiable results. Thus, it appears that Ibn Ṭūlūn’s contents statements were already standardised and would even be expanded by at least one (near-)contemporary.

The discussion about the authorship of the Toccata and Fugue in D minor (BWV 565) has generated a number of hypotheses about the creation of this work. It is absolutely obvious that while the autograph score or at least the manuscript from J. S. Bach’s close surroundings, it would be impossible to assert anything. Despite the fact that the earliest manuscript belongs to the pen of Johann Rink (the pupil of Johann Peter Kellner), the present fact cannot serve as the foundation for presuming that the Toccata and Fugue in D minor is a composition by Kellner. It is quite possible that Rink’s manuscript is a later edition (from Arnstadt) of the composition written in Luneburg. It is possible that the Toccata and Fugue in D minor was first written by J. S. Bach for harpsichord, and the organ version of this composition appeared later. This can be hypothesized by the note C# in the lower register, use of which in the organ repertoire of the late 17th and early 18th century can be found exceptionally rarely. The presence of the note C# makes it possible to bring out two diametrically opposite suppositions. The first one is that the composition was written after the 1730s and could not belong to the pen of J. S. Bach. The second is based on the fact of the existence of an organ with a manual range of C–e3 and the pedal range of C–e1, on which J. S. Bach may very likely have played at a young age. This makes it possible to presume that the Toccata and Fugue in D minor (BWV 565) was composed by Bach before the age of 15, i.e. prior to his departure to Luneborg, or at the age of 17-18 for the occasion of a competitive audition for the job of an organist. Keywords: J. S. Bach, Toccata and Fugue in D minor (BWV 565), Johann Rink, Johann Peter Kellner, Mollersche Handschrift, the style of fantasia.

The autograph manuscript of Ivan Turgenev’s novel Ottsy i deti reveals a complex intonational system of punctuation, the most distinctive feature of which are pauses designated by his extensive use...

This paper discusses a little known short and unfinished epic poem on the Fourth Siege of Leipzig in 1637 by the Baroque philologist and poet Caspar von Barth (1587–1658). The poem, the autograph of which is preserved at the Ratsschulbibliothek in Zwickau, is shown to be based on a contemporary newspaper account of this event. Whilst it is suggested that the poem’s shortcomings result first and foremost from the poet’s sticking too closely to the historical source, the main part of the discussion explores the various functions and purposes the poem could have been intended to serve.

The article presents the place of keeping (National Library of Ukraine in Kiev), the state of preservation and the juxtaposition with well-known publications of one of Norwid’s late poems, which is a kind of ironic mockery of the idolatry attitude of the French Republic of that time towards Victor Hugo. The manuscript has not been previously used as an important material in any editorial compilations of Norwid’s works; they used the first print of the poem published as part of Wladyslaw Chodźkiewicz’s feature in the Warsaw periodical “Bluszcz” 1880, vol. 39, and its copy, which Chodźkiewicz received from Norwid. The article presents textual differences (relating mainly to punctuation) between the known versions of the poem and its Kyivan autograph.

Quando a reprodução fac-similar não é possível, as edições de correspondências propõem aos leitores um texto impresso, sem levar em conta tudo o que remete à aparência dos manuscritos autógrafos. Em geral, tais aspectos materiais são portadores de informações de fundamental relevância no que diz respeito à maneira como um endereço é redigido no envelope; ao movimento da escrita e da forma dos caracteres; ao desenho da assinatura; às indicações contidas nas zonas periféricas das cartas, as margens ou cabeçalhos. Neste artigo, pretende-se analisar esses diversos elementos à luz de um objeto privilegiado – a correspondência d’Émile Zola. Os exemplos examinados mostram que, em todos os casos, é extremamente produtivo retornar ao manuscrito original e reexeminá-lo, pois o documento oferece informações que o mero conhecimento do texto impresso quase nunca fornece.

This essay argues that late medieval manuscript producers were both aware of and at times troubled by the ontological ambiguity of the medium in which they worked. Nelson Goodman’s aesthetic philosophy provides an apt framework for characterizing this ambiguity, which rests on the manuscript’s dual status as both an allograph and an autograph. Embodying features of both, the manuscript demands a third category, which I term the “ambigraph.” Through an examination of manuscripts of Hoccleve’s Regiment of Princes, I demonstrate how both scribes and illuminators struggled with a self-referential text that presents itself as both an original document and the performance of a script. When called upon by the text they copied to produce pictorial evidence of Chaucer’s likeness, scribes and illuminators left behind evidence in both word and image of their perturbation at this brief, as well as their reluctance and refusal to fulfill it. These exertions, I argue, offer a practical theorization of a premode...

The possible dates of autograph manuscripts copied by William Lawes, and secondary sources over which he might have had some control, lie between c. 1620 and his tragic death in 1645. The specialized and limited nature of the market for manuscript paper, the unusual demands made on paper by musical notation, and the likelihood that a music book would have to withstand regular handling, mean that music sources are unrepresentative of the paper trade as a whole. In The Merchants Mappe of Commerce of 1638 Lewes Roberts, incidentally the father of the notable musical enthusiast Sir Gabriel Roberts, listed paper as a product of Normandy available at Rouen, but made no reference to paper exports from any other part of Northern Europe. The final source of exceptionally good paper found in English music manuscripts of Lawes's period is Troyes.

Descartes’s correspondence is an integral part of his work. Several important theories and doctrines can be known only from the correspondence, or, on the basis of the correspondence, must be qualified or can be rendered more precise. It is also through his letters that we learn about Descartes’s publishing strategies, his opinion on his contemporaries and their work, and his interest in experiments and observations. From time to time Descartes’s letters also allow us a glimpse of his daily business. In brief, the correspondence can be seen as an intellectual laboratory. This chapter examines Descartes’s voluminous correspondence and discusses a few of his correspondents. It also considers the epistolary form and content of his letters, and situates them in the context of other philosophical correspondences in this period.

Franciszek Dionizy Kniaźnin has created manuscript for a few years. It was a kind of his poetical will. In this collection, titled Poezje Franciszka Dionizego Kniaźnina ręką własną pisane, author included works published in three previous collections volumes of verse as well as completely new poems. Reused works had many editorial alterations compared to original ones. First time published works had been totally unknown before. Poezje Franciszka Dionizego Kniaźnina ręką własną pisane was not published as printed, scientific edition yet. This article describes today’s editor dilemmas about making a critical edition of four first book contained in the first volume of autograph. Mainly it is focused on the problem of comparasion variants of particular texts, which often are very different. Publikacja dofinansowana ze środków Wydziału Filologicznego Uniwersytetu Łódzkiego

The early modern courtier and writer Dudley, third Baron North, left behind him a wealth of literary manuscripts, including both autograph and scribal versions of his verse, all altered at various stages by North. But a survey of the extant copies of his printed collection, A Forest of Varieties , reveals that North’s labor did not end with publication: nearly every copy of his book bears further emendations in his hand. This article draws together for the first time the scattered evidence of North’s unusual authorial practice. It argues that North was deeply invested in a notion of his writings as inherently protean, and that rather than look for a progress narrative in North’s continual small-scale revisions, we must take each distinct version seriously as part of a larger commitment to a body of work that was as changeable as the author himself.

In the article, there are published for the first time two documents, which are autographs of the great Russian poet G.R. Derzhavin. They are stored in the Manuscripts Department of the Russian State Library, where they arrived in 1970 within the collection of the famous bibliophile of the Soviet time, variety artist N.P. Smirnov-Sokolsky. These documents are a part of the heritage of one of the classics of Russian literature, which determines their historical and cultural significance. The first of the documents is a bill for a thousand rubles, drawn by G.R. Derzhavin to the merchant D.V. Obraztsov in 1780. The second one is a letter to Prince Alexei Borisovich Kurakin, asking for assistance in a court case to I.Ya. Bludov, G.R. Derzhavin’s second cousin. This article proposes a new dating for the second document, indicates the place of these materials in the study of G.R. Derzhavin’s biography.

In this paper, I explore the late antique tradition of inscribing the Abgar-Jesus correspondence on stone for protection as attested by seven inscriptions from Greece, Asia Minor, Syria, and Egypt. I first argue that the correspondence’s perceived protective efficacy stems from its claim to preserve an autograph of Jesus. I then explore the implications of embedding such an autograph into an urban landscape. Drawing on recent research on the orality and materiality of epigraphy, I suggest that the epigraphic attestations of the Abgar-Jesus correspondence join in a broader tradition of deploying oral formulae to protect domestic and civic space from harm, and therefore, should be viewed as ritually powerful objects that were “performing” the correspondence at their respective liminal spaces.

While evidence abounds as to Elizabeth I’s proficiency in Italian, only a fraction of her letters in this language has so far come to light, and only one has been edited in Marcus and Mueller’s Autograph Compositions and Foreign Language Originals, the well-known first extant letter by the then Princess to Katherine Parr. A research project commenced in 2009 has so far located about thirty of these, including six (three of which are also in their original drafts) entirely in the queen’s hand. Questions of authorship related to the non-holograph letters, however, clearly arise. By analyzing an unpublished letter by Elizabeth, this paper will try to cast some light on the vicissitudes of the queen’s Italian correspondence.

The strong association between prison writing and writing on walls, whether by graffiti or carving, is as true of Tudor and Stuart England as of other times and places. Yet even if prison-writers associated themselves with the idea of writing on a wall, they need not have done so in reality. This article considers the topos in the writings and afterlife of the Catholic priest, poet and martyr John Ingram, and asks whether it is to be taken at face value.Ingram’s verse, composed in Latin and mostly epigrammatic, survives in two contemporary manuscripts. The notion that the author carved his verses with a blunt knife on the walls of the Tower of London while awaiting death derives from a previous editorial interpretation of a prefatory sentence within the more authoritative manuscript of the two, traditionally held to be autograph. However, though several Tudor and Stuart inscriptions survive to this day on the walls of the Tower of London, no portions of Ingram’s verse are among them, nor any inscriptions of similar length and complexity. Ingram might instead have written his verse down in the usual way, using wall-carving as a metaphor for the difficulty of writing verse when undergoing incarceration and torture.1

In 1701–1702 writer and poet Peter Anthony Motteux collaborated with composer John Eccles, Master of the King's Musick, in writing the ode for King William III's birthday. Eccles's autograph manuscript is listed in the British Library manuscript catalogue as ‘Ode for the King's Birthday, 1703; in score by John Eccles’ and is accompanied by a claim that the ode had already reached folio 10v when William died, requiring the words to be amended to suit his successor, Queen Anne. A closer inspection of this manuscript reveals that much more of the ode had been completed before the king's death, and that much more than the words ‘king’ and ‘William’ was amended to suit a succeeding monarch of a different gender and nationality. The work was performed before Queen Anne on her birthday in 1703 and the words were published shortly afterwards. Discrepancies between the printed text and that in Eccles's score indicate that no fewer than three versions of the text were devised during the creative process. These versions raise issues of authority with respect to poet and composer. A careful analysis of the manuscript's paper types and rastrology reveals a collaborative process of re-engineering that was, in fact, applied to an already completed work. This article explores the problems of textual versus musical authority embodied in the ode and the difficulties faced by its creators in reworking a piece originally celebrating a foreign male war-hero for a female British queen during a period of political and religious fragility.

Walt Whitman claimEd to have "no rigid rule" for dealing with autograph requests, but towards the end of his life he had become well known among contemporaries for his cautious approach to swarming signature seekers.1 During the mid-nineteenth centur y, the persistence of what Whitman called the "autograph monster"-a growing number of men and women who begged and often lied their way to signatures from the nation's leading poets and novelists-signaled America's rapidly increasing appetite for collecting and consuming celebrity personalities (WWWC, 3:496). For Whitman, this monster was simply a fact of life. "Not a day but the autograph hunter is on my trail-chases me, dogs me! . . . Their subterfuges, deceptions, hypocrisies, are curious, nasty, yes damnable," W hitman complained to Horace Traubel. No request was to be met naively; even a letter from a young girl could bear "the grin of an old deceiver," an "old subterfuge" the poet often met with a laugh (WWWC, 2:82-83; 3:410-411).2 Monsters were everywhere.Whitman's life would become punctuated by encounters with these persistent collectors. "I have no mail today except an autograph mail," Whitman tells Traubel in 1888: "an autograph mail, yes, and that I get every day. They all write me-hundreds write-strangers-they all beg autographs-tell funny tales about it, give funny reasons (some of them are pitiful-some of them are almost piteous)-I practically never answer them anymore. It takes about all the strength I have nowadays to keep the flies off " (WWWC, 1:366). Though Whitman's autograph would never become as revered by contemporary collectors as those of the signers of the Declaration of Independence-signatures that inspired their own cult following-the poet's canny management of his signature would earn him a unique place among literary professionals. Whitman's relationship with the autograph monster was markedly ambivalent, and, as I will argue, that ambivalence had a tremendous impact on the design and marketing of his final books. Like so many brands before and after him, Whitman would place a signature-his signature, written by hand or reproduced mechanically-at the center of his commercial identity. Spanning from the 1868 British edition of Poems by Walt Whitman, the first Whitman-book to include a facsimile of the poet's autograph, to the 1892 "deathbed" edition of Leaves of Grass, Whitman's signature-produced in and on his books and requested every day through the mail-became an increasingly prominent marker of his personality and literary work.This essay traces W hitman's relationship to the culture of autograph collecting during the nineteenth century. I begin by examining the emergence of the autograph hunter in America, focusing especially on the cultural significance of the celebrity signature after the Civil War and the relationships collectors developed with well-known writers like Longfellow, Whittier, Lowell, Howells, and Holmes. Whitman was far more protective of his autograph than his poetic peers; that guarded stance came to influence the way Whitman circulated his signature within the covers of Leaves of Grass, where he included it several times as part of a preconceived promotional scheme. Whitman's signature would become a central emblem of his literary brand-it appears in and/or on nearly every volume the poet published from 1881 until his death in 1892-the perfect symbol of what David Haven Blake identifies as "Whitman's remarkable merger of poetry and publicity."3 Whitman's efforts to join his autograph with his poetry tapped into the emergence of what Tamara Plakins Thornton calls the "handwriting romantics"-autograph collectors and handwriting analysts-subcultures with a taste for tokens of celebrity that some believed could reveal the character of their inscriber.4 For Whitman, the autograph was not only a new and foolproof way to drum up business; it was yet another strategy to emphasize the author's place within Leaves of Grass through the signature's "transcendental form of presentness. …

This article describes the autograph manuscript of Barlaan y Josafat , by Lope de Vega, which is now preserved at the Bodmer Library (Geneva, Switzerland) and has been considered lost since the 1930s. The study presents a philological description of the manuscript; it focuses also on different loci which are absent in the edition of the play by Jose F. Montesinos (1935), and that could help to better understand the process of composition of the play by the playwright. Thanks to the analysis of this extraordinary text, it is also possible to study the theatre company that represented this play in the seventeenth century, specifying some details that are already known and adding new ones.

In 1927 Anthony van Hoboken, at Heinrich Schenker's urging, founded the Archive for Photograms of Musical Master Manuscripts, the goal of which was to collect photographic reproductions of the autograph manuscripts of famous composers so that they could be made generally available for the purposes of study and preparing editions without the originals themselves being susceptible to damage. The administration of the Archive required a Board of Trustees, on which Schenker and the music historian Robert Haas sat under Hoboken's chairmanship. After the official inauguration of the Archive in October 1927, Hoboken and the Board of Trustees sent out an Appeal to publicise their intentions; this was followed by a radio broadcast, given by Otto Erich Deutsch, and several magazine articles which called attention to the new institution. In the years that followed, there were repeated conflicts of interest among the trustees. Tensions arose, for instance, in connection with the International Schubert Congress of 1928, organised by Hoboken and Haas under the auspices of the Archive, in which Schenker refused to participate. A collected edition of the works of C. P. E. Bach, planned in 1930, never materialised: Schenker could not be persuaded to act as one of its editors. A crisis was reached in 1932, when Hoboken drastically reduced his annual financial contribution to the enterprise. Nonetheless, the Archive developed into an internationally recognised centre for musical documentation, whose holdings steadily increased over time.

In the course of his 25-year captivity in England during the Hundred Years War, Charles duc d’Orleans produced two similar sequences of lyric poetry, purporting to be a reflection of his romantic life, his suffering after the death of his first love, and his eventual finding of a second love. One sequence is written in French, preserved in Charles’ autograph manuscript (Paris BN fr. 25458), and one in English (in London BL Harley 682). One assumes that the French poems were directed at Charles’ French, the English at his English public. But, since the now English-speaking upper class at this period usually knew French well, the impetus behind the English version cannot have been a need to make the inaccessible accessible. Attention to some highly interesting differences between Charles’ French and English poems, and also to his own words about his craft, provides a possible explanation of what that impetus might be.

The latest edition of Anykšcˇi˛u šilelis (The Forest of Anykšcˇiai) by famous Lithuanian poet Antanas Baranauskas renewed the old debate how understood the last word in the second line of the poem. The textual analysis of first three publications with the poet’s autographs and early copies does not provide any possibility to accept the conjecture suggested by one of editors in the early 1960s. This case is analyzed in the broader Lithuanian related and international context of links of alternative readings with strands of a literary interpretation.

The Nozoe Autograph Books contain entries from, literally, around the world of organic chemistry. Many of the inscriptions showed the poetic or even musical side of their signees. This Essay presents a diverse selection of the poetic entries of the autograph books, starting with a musical puzzle. This Essay and the interactive website that accompanies the Nozoe Autograph Book project are available free-access for at least a three-year period at http://www.tcr.wiley-vch.de/nozoe.

Orchestral Conducting in the Nine - teenth Century. Edited by Roberto Illiano and Michela Niccolai. (Speculum Musicae, 23.) Turnhout: Brepols, 2014. [xiv, 441 p. ISBN 9782503552477. i110.] Music examples, illustrations, index.As stated in the foreword, "the purpose of this volume is to study orchestral direction during the period of its greatest transformation," which the editors consider "a phenomenon of the early nineteenth century" (p. xi). The volume contains eighteen out of twenty-six papers "presented at the international conference held in La Spezia, Italy, 14-16 July 2011, organized by the Centro Studi Opera Omnia Luigi Boccherini (Lucca) and the Societa dei Concerti della Spezia in collaboration with Palazzetto Bru Zane - Centre de musique romantique francaise (Venice)" (pp. xiii- xiv).A word on languages: the publisher and editors apparently believe that the educated reader would have a working knowledge of English, French, and Italian. While lengthy quotes in German have Italian translations in the footnotes, French quotes in English and Italian papers or Italian quotes in French papers do not. The footnotes refer freely to works in these languages, normally without translations. Further, the book would have been enhanced considerably if the editors had insisted that the authors provide abstracts of their articles, as required in the Journal of the American Musicological Society ( JAMS) and Journal of the Society for American Music ( JSAM). This would have been particularly helpful for those articles in French, Italian, and Spanish, especially if the abstracts were in English, the language implied by the book's title. (Translations throughout this review are my own.)The papers are divided into five sections. The first four papers concern "Conductors and Conducting in Nineteenth-Century Europe." Fiona M. Palmer, in "Conductors and Conducting in 19th-Century Britain: The Liverpool Philharmonic Society (1840-1895)," describes the work of five conductors, Jacob Zeugheer Herrmann, Alfred Mellon, Sir Julius Benedict, Max Bruch, and Charles Halle, in developing the role of the conductor and raising that orchestra from a gentleman's amateur ensemble to a fully professional one. Naomi Matsumoto, in "Michael Costa at the Hay - market: The Establishment of the Modern Role of 'The Director of Music,' " recounts how Costa was able to take on many administrative and musical functions at the King's Theater (later Her Majesty's Theater), Haymarket, thereby "establishing the essential tasks of the modern 'Director of Music,' " which "became indispensable to the musical and theatrical achievement of opera as a modern art form" (p. 49). Costa's activities at the Haymarket (1830- 47) included assuming some of the work of the impresario, engaging composers and performers, and the selection of repertoire, in addition to conducting performances, duties traditionally split between the keyboard player and the first violinist. Four tables include the duties and personnel of the King's Theater, a list of the concerts Costa conducted between 1830 and 1845 when he moved to Covent Garden, and surviving autograph letters to or from Costa from 1829 through 1884. Etienne Jardin, in "Les chefs d'orchestre dans les concerts parisiens de 1794 a 1815" ("Conductors in Parisian concerts 1794-1815"), found that in that brief period there were many terms for those in charge of instrumental concerts in newspaper announcements-chef, conducteur, directeur, "a la tete de l'orchestre"- and that the terms were basically synonymous, sometimes even carrying contradictory meanings. He includes a table of fortyfive musicians designated as "dir." in the papers, the most important being Jean- Jacques Grasset, Rodolphe Kreutzer, Pierre- Nicolas Le Houssaye, and Theodore Lefevre. All were violinists, so presumably directed while playing (pp. 66-67). Jardin admits the limitations of his study: there is no identifiable leader for a quarter of the concerts held in Paris between 1794 and 1815, and the names in his table may be misleading, in that the conductors and soloists of the major opera houses are not represented. …