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Il contributo si concentra sull’analisi del carducciano "Per il LXXVIII anniversario dalla proclamazione della Repubblica francese" –poi pubblicato nel secondo libro dei "Giambi ed Epodi" – e sul contesto storico in cui il componimento affonda le radici. Scritto all’indomani della Breccia di Porta Pia e della conquista di Roma sotto la guida dei Savoia, il testo in oggetto prorompe come un componimento di dissenso, di anti-potere e di definitiva sconfitta delle speranze repubblicane. Lo studio qui proposto porta inoltre alla luce il manoscritto autografo dell’epodo in questione, rinvenuto presso l’autografoteca Bastogi della Biblioteca Labronica“F. D. Guerrazzi”di Livorno, in cui si registrano varianti inedite. Le lezioni qui presenti, benché si tratti soprattutto di varianti formali, portano inevitabilmente a tornare sul caso esemplare del Carducci politico. A revolutionary epode: "Per il LXXVIII anniversario dalla proclamazione della Repubblica francese" in a rediscovered autograph manuscript with unpublished variants This contribution focuses on the analysis of Carducci’s "Per il LXXVIII anniversario dalla proclamazione della Repubblica francese" – later published in the second book of "Giambi ed Epodi" – and on the historical context in which the poem is rooted. Written in the aftermath of the breach of Porta Pia and the conquest of Rome under the leadership of the Savoy, the text in question emerges as a composition of dissent, anti-power and definitive defeat of republican hopes. The present study proposed here also brings to light the autograph manuscript of the epode in question, found in the Bastogi autograph library of the Labronica Library “F. D. Guerrazzi” of Livorno, in which unpublished variants are recorded. The variants presented, despite being mostly formal variants, inevitably bring our attention back to the exemplary case of the political Carducci.

In 1541, Domenico Sauli, a member of an important family of Genoese merchants and bankers which flourished in the 15th and 16th centuries, is accused of financial embezzlement. To defend himself, Sauli writes his memoirs traditionally entitled Ragionamento di Domenico Sauli a Francesco suo figliuolo nel quale si narrano alcuni particolari avenimenti della vita sua. The article aims to identify the autograph of Domenico Sauli by the study of his handwriting. The identification is based on all the available manuscripts which encompass two versions of the text.

Musicians attach increasing importance to the selection of edition they use for playing. There is a growing awareness of the influence of score material selection on interpretation. Historical performance raises the bar as well by encouraging the use of autographs, manuscripts and first editions. Thanks to referring to historical materials, we can quickly appreciate the effort of contemporary editors who – once publishing scores today – make them much more accessible. It would seem that basing one’s interpretation on an urtext edition should be a perfect solution combining today’s clarity with historical truth. The analysis shows, however, that even these trustworthy urtext editions differ from one another, thus differ from the autograph. Using Sonata in A Minor D 385 by Franz Schubert as an example, the article shows different approaches to music text edition. There are distinct ways in which editors interpret articulation, dynamics, and even sound pitch. The biggest number of differences can be found in terms of articulation, which it largely connected with the necessity to read handwritten material. Unambiguous deciphering (and exact placement) of numerous music markings can sometimes be downright impossible. That is why editors often use the method which consists in searching for analogies between fragments and parts, yet this method does not always seem right. As performance practice shows, treating each part individually, playing a similar fragment in a dissimilar way, often brings interesting results interpretation-wise. The article encourages own experiments, using doubts as material for interpretation, and using the benefits of contemporary editions cautiously.

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.

Today it is widely practiced to exhibit autographs, inscriptions at exhibitions in museums, institutions of science, education and culture. This is due to the increased interest in the history of scientific research, personal and official relation-ships of people, and testifies to the urgency of the problem, that requires the attention of specialists.According to Brockhaus and Efron, «the autographs of famous scientists, writers and poets constitute the true treasure of libraries ...» (Encyclopedic Dictionary of Brockhaus and Efron, St. Petersburg, 1890. T. 1, p. 123). Autographs, inscriptions on books can serve as an additional source of information about any author’s life, era, scientific or cultural phenomenon. In the libraries of the Academy of Sciences, one can find literature with autographs, donation inscriptions of scientists, various notes.The purpose of the article is to bring to the readers some autographs, inscripts, their content, handwriting of prominent Russian scientists on books from the library stock of the Central Scientific Library of the Irkutsk Scientific Center SB RAS (СSL ISC SB RAS) (previously – the library of the East-Siberian Branch of the USSR Academy of Sciences), to tell about these books and their authors destinies. Responses to the article will help to determine the authorship of unidentified inscriptions.In the course of the work, there were exposed and identified de visu books with autographs, donations (inscriptions) to the library from authors, to scientists from colleagues and owner’s inscriptions; the analysis of library materials was carried out, an attempt was made to systematize written sources with autographs and donations. At the second stage of the work, an electronic database was being compiled - the Catalog of Rare Books in EC IRBIS, which can be found on the library website.

Autograph Software is a special program used in learning mathematics. Autograph has the ability to make 2D and 3D graphics for material transformation, cone sections, vectors, slope, and derivatives. By using this software, users can observe how functions, graphs, equations, and calculations. Community service activities carried out at Al Fattah Private High School, especially for class XI, are expected students to understand the concept of integral applications, namely the volume of rotating objects and students' responses to mathematics learning through autograph learning media on the material of rotating objects. In this community service activity, it is hoped that class IX students can find an integral application problem solving for the volume of rotating objects. Autograph software is used to make it easier for students to understand the concept of the volume of a rotating object through two-dimensional and three-dimensional images with their metachogical abilities.

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 an introduction to the issues of Adam Naruszewicz’s editorial techniques, revealed in the preserved autographs of his literary prose and scientific works. These manuscripts are divided into texts written by Naruszewicz and those dictated and edited by him. Initial research shows that the bishop's editorial work was done in line with the following criteria: clarity and credibility of the argument, substantive correctness, and shaping the content, the aim of which was to create a positive image of the king, Stanisław August. This often determined intervening in areas, which are difficult to be accused of being incorrect today. This is why the article attempts to indicate those editorial activities of the bishop, which could now be perceived as variants of the text, while, according to the author, they required amending. As an editor, Naruszewicz interfered with various aspects: factual errors, style, structure, punctuation, making clarifying additions, as well as self-censoring. All these editorial efforts show the literary skills of one of the most outstanding minds of Polish Enlightenment.

The proposed article assumes a continuation of the conversation about one of the most polemical texts by Alexander Ostrovsky, begun on the pages of this journal by Vladimir Tikhomirov, who in his article “Comedy "The Forest" by Alexander Ostrovsky: holding out for a hero. Experience of a commentˮ drew attention to the problem of evaluating the heroes of the comedy "The Forest" by critics of the 19th century. The genre-compositional features of the play, which included old and new types of heroes in familiar and new conflict collisions, acquired even more explicit outlines when referring to the manuscript sources of the play in the process of preparing the complete collected works of Alexander Ostrovsky. In our opinion, the reaction of the playwright's contemporaries, who did not see anything fundamentally new in the play "The Forest", is due, in particular, to the complex drawing of the images of the main characters, the concept of which took shape gradually. At the same time, the evolution of the characters of the heroes of the comedy had a direct impact on the formation of the author's intention. Also, the attempt to restore the general drawing of the author's work to create the characters of the main heroes of the play, to comprehend the specifics of the contradictions implicitly present in their images, is a logical continuation of the discourse begun earlier.

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.

espanolEl objetivo de este trabajo es analizar la escritura que, a mediados del siglo XVI en Santiago de Compostela, desarrollaban los individuos que no tenian en el ejercicio escrito su sustento economico. Para ello, seleccionamos uno de los libros de cuentas del Hospital Real, en el cual figuran las firmas de una gran variedad de vecinos de Santiago, asi como diversos documentos autografos de algunos de los miembros de la institucion. A traves de su analisis nos aproxi-maremos a la cultura grafica de los no profesionales de la escritura, atendiendo a tres variables: la difusion social de la escritura, los niveles de destreza grafica y los modelos graficos empleados EnglishThe aim of this study is to analyse the handwriting of those in-dividuals from Santiago de Compostela, who did not make a living by writing professionally in the 16th century. We have chosen one of the accounting books from the Royal Hospital, in which we can see the signatures of many inhabitants from Santiago, as well as some autograph documents issued by different members of the institution. We will study the graphical culture of those individuals, taking into account three factors: the social spread of handwriting, the different levels of writing skills and the graphic models used.

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.

This special issue eruditely demonstrates the deep interconnections between British antiquarianism, natural philosophy and medicine in the eighteenth and nineteenth centuries. These stimulating papers, representing the state of the field, include: analysis of classical antecedents for balneology; Sir Isaac Newton's attempts to restore the prisca sapientia and use of mathematics to reform knowledge of antiquity; editors and autograph collectors who preserved the still extant correspondence (and hence the intellectual geography and networks) of early modern antiquaries; and the re‐enactment of ancient landscapes and relics using geological theory and three‐dimensional museum exhibits. As Susan Pearce pointed out, Jeremiah Milles, in his presidential address to the Society of Antiquaries in 1781, remarked that ‘History, Science and Art may claim an equal share in the Attention and Labour of the Antiquary’.

This article transcribes eight hitherto unpublished George Eliot letters arranged in chronological order. The sources for the letters are book and autograph dealers’ catalogues, auction houses, the...

This study aims to determine how the effect of STAD learning model assisted by autograph software on mathematical communication skills and mathematical dispositions in terms of gender. The sample used in this study is Senior High School PAB 4. With the method of data collection literature study. The method used is literature study. The results of this study indicate that the overall STAD learning model assisted by autograph software has an effect on mathematical communication skills and mathematical dispositions, this can be seen from the results of previous studies and strengthened by the theories of experts.

The article considers bibliography of study of Russian albums of the 19th — early 21th century. Development of Russian historiography of this topic was uneven. The author consistently describes three main stages in the study of handwritten album: response of contemporaries and public discussions of this phenomenon; the beginning of publication of album texts; introduction of albums to science. The article presents the main directions of academic research. The author considers domestic publications about Russian albums, starting from the first quarter of the 19th century through the beginning of the 21st century. The analysis of the literature on albums was carried out from the point of view of the author’s area of interests (study of the history of autograph albums, their typology and functions), the nature and scope of the objects studied, the main tasks of these works and their methodological principles. The main problem in historiography is development of typology of handwritten albums. The choice of typology as the main subject of analysis is explained by the fact that in general this phenomenon of Russian culture of the late 18th — first quarter of the 20th century was not studied systematically. The author notes that in order to create the full picture of Russian album culture, it is necessary, first of all, to build the typological system. The result of the author’s research is the complete review of publications on Russian handwritten albums published from 1820 to 2016. The author highlights the main typological principles of albums that are typical for different approaches, research schools and directions of study. The article notes that many issues have not been considered until the present moment. The approach to album as a source of history of individual writing and sociocultural behaviour is beyond the study, while the comprehensive analysis of Russian album, writing and signature in it is one of the promising directions of research of the culture of everyday life of the 18th — 20th centuries. The general conclusion of the article focuses on the absence of universal typology in historiography, which the author suggests to present in the following works.

The article is devoted to the study of autographed books from the personal library of the famous Tatar poet-hero Musa Jalil, which is exhibited in the Museum-apartment of the poet.

Preparado no âmbito da edição crítica em curso do Romanceiro de Almeida Garrett (1799-1854), este trabalho estuda um importante legado documental do eminente escritor português. Referimo-nos aos Documentos 59 a 63 do Espólio Literário de Almeida Garrett, que se encontram depositados na Biblioteca Geral da Universidade de Coimbra e que abarcam manuscritos autógrafos e originais de imprensa do autor com vista sobretudo à publicação de Garrett (1843), bem como à Coleção Futscher Pereira. Partindo do facto de que o núcleo documental coimbrão se apresenta como uma verdadeira miscelânea, o que perturba o reconhecimento do seu importante valor cultural e patrimonial, propomo- nos contribuir para o reposicionamento destes materiais a partir de uma abordagem essencialmente material e filológica. Discutir-se-ão, assim, algumas das características do espólio, as quais espelham as práticas (por vezes questionáveis) que nortearam a organização destes materiais no passado.

A review of the collective monograph dedicated to various problems related to the study of French-language manuscripts and bilingual culture in Russia, as well as analysis of minor genres and unpublished archived materials. The monograph introduces a number of hitherto unpublished sources from the period of the 18th–20th c., each supplied with a commentary. Several authors and works are recalled from obscurity into the scope of academic research. The book also contains articles concerned with the problems of conquering an ‘alien’ literary market in the early 20th c. (French authors H. Barbusse, A. Malraux, and A. Gide, as well the Belgian F. Hellens, tried to succeed in Soviet Russia, whereas D. Merezhkovsky tried in France). All works in the monograph – a French lexicon and its 18th-c. Russian translation, letters, diaries, political pieces and noble ladies’ autograph books – are published with detailed supplementing articles.

There is given the review of documents related to the family life of Ukrainian classic poet and public fi gure M. T. Rylsky (1895–1964). These documents, found out in the collection of the State Archives of Kyiv City were unknown to researchers or general public, although some of the facts described in the documents were known to the family and those, who studied biography of T. R. Rylsky, his sons and grandson. Among these sources are the autographs of the poet. The documents apply to M. T. Rylsky’s residence in Kyiv. Therefore, the purpose of the publication is to highlight these fi ndings for scientifi c targets and to popularize these rare archival sources. Research methods. The research is based on general scientifi c methods (objective-factual, historical, analyticalcomparative). The scientifi c novelty of the publication. The documents discovered by the author relate to the death of poet’s brother Ivan and the giving birth by the wife of M. T. Rylsky’s, Kateryna Mykolaivna, to their fi rst son, Bohdan. These archival sources (personal documents of family members) are described fi rstly, researched and introduced into scientifi c community. Thanks to these documents and recently published sources, some facts of life of M. T. Rylsky and his family in Kyiv in the 1930s have been clarifi ed. There is also given the information about the personal fi le of the student of the Medical Faculty of Kyiv University M. T. Rylsky, that is stored in the State Archives of Kyiv City. The article also presents family photo of 1900, which depicts the poet’s parents, young Maksym and his two older brothers, including Ivan, noticed in the study, and another family friend – a prominent ethnographer J. V. Yurkevych. Conclusions. The State Archives of Kyiv City is a treasury of documentary sources. There is preserved also the decision of the Executive Committee of Kyiv City Council dated by 1965 about renaming of Radyanska Street to Maksym Rylsky Street in order to perpetuate the memory about the poet. Copies of the documents can be used in literary museums, museums of M. T. Rylsky in Ukraine, in researches about life and work of poet, in archival exhibitions. The documents expand the source base about life of M. T. Rylsky and his family. References: Ilyenko, I. & Zhaha, O. (1995). Trudy i dni Maksyma Rylskoho. Dokumentalnyj zhyttiepys. [Maksym Rylsky’s writings and days. Documentary biography]. Kyiv: Dnipro. [in Ukrainian]. Kolyada, I. & Kolyada, Yu. (2015). Maksym Rylskyj. Kharkiv: «Folio». Retrieved March 20, 2020, from http://enpuir.npu.edu.ua/bitstream/123456789/17413/1/Rylsky.pdf [in Ukrainian]. Okipnyuk, V. (2011). Shtatna struktura i personalnyj sklad prokurorskoho nahlyadu za orhanamy derzhavnoyi bezpeky radyanskoyi Ukrayiny v 1920–1930-h rr. [Public prosecutor’s staff structure and personnel, its control over the state security agencies of Soviet Ukraine in 1920s-1930s]. Z arhiviv VUChK-HPUNKVD-KHB, 2(37), 142–147. [in Ukrainian]. Rylskyj, B. M. (1995). Mandrivka v molodist batka. [Journey to the father’s youth]. Kyiv: Molod. [in Ukrainian]. Rylskyj, B. M. (1989). Te, shho prysnylos navesni. [What appears in dreams in spring]. Ukraina, 23. [in Ukrainian].

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.

Vasily Vasilyevich Bessel (1843—1907) entered the history of Russian and world music culture as one of the largest music publishers. His company was occupying one of the leading positions in terms of production volume in the Russian music printing market in the late 19th — early 20th century. It was the company that first published many of works by Russian classical composers — A.G. Rubinstein, A.P. Borodin, P.I. Tchaikovsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, and A.K. Lyadov. V.V. Bessel’s music publishing activities were connected with his works on the history of music printing in Russia and copyright. He left an extensive legacy in the form of numerous handwritten materials, now dispersed in various archives (mainly in Moscow and Saint Petersburg). The Russian National Museum of Music, Collection 42, holds one of the largest archives associated with V.V. Bessel. Major part of it makes up a separate collection called “V.V. Bessel”, which includes unofficial documents, responding mail, as well as literary manuscripts and photographic materials. Due to lack of comprehensive research of that documentary collection, this article provides a brief overview of its content, and the history of formation of V.V. Bessel’s collection. The main purpose of the research is to characterize both published and unknown sources. The article meets the relevant task of modern musicology: disclosure of Moscow and St. Petersburg archival collections. Many of the documents reviewed by the author are an important addition to the only monograph on V.V. Bessel, which belongs to the pen of N.F. Findzein. The article discusses, in more detail, the documents related to the literary weekly “Muzykal’nyi Listok [Musical Sheet]” (1872—1877), the first periodical published by “V. Bessel and Co.”, as well as the correspondence of December 1886 between V.V. Bessel and P.I. Tchaikovsky, which, at the latter’s initiative, ended all the composer’s personal and business contacts with his Petersburg publisher. This study expands the researchers’ understanding of the body of documents stored in the collection under consideration, the problems associated with them, and their prospects.

This paper aims to report the existence of an 18th-century manuscript, copying a censure against Quevedo’s Discurso de Todos los Diablos, dated July 1629. Previous editors published it, based on an alleged autograph by Diego Niseno, now lost. Due to its loss, the new source in the Royal Library in Madrid is the only one preserved. The manuscript lacks attribution and its title is longer.

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.

Today it may look strange to liken Ezra Pound to half-forgotten American poet and writer George Sylvester Viereck (1884 –1962) as literary figures, but contemporary critics compared them. Pound never met Viereck in person, but their roads crossed more than once for several decades. In the 1910s William Marion Reedy known as “literary boss of Midwest” published poems by both Viereck and Pound in his weekly The Mirror. In 1928 they both refused to sign a group protest against Samuel Roth who printed fragments of James Joyce’s Ulysses in his magazine Two Worlds Monthly. During the World War II Pound broadcasted over Fascist Rome Radio, after it he was arrested for treason and sentenced to death but lately admitted to a psychiatric clinic for life. Before the USA entry into war Viereck cooperated with pro-Nazi propagandists, in 1942 he was convicted and imprisoned up to 1947. After the war Viereck befriended many right-wing political activists without accepting their views. One of them was Eustace Mullins who worked for Pound’s liberation. Viereck wrote in 1952, “As to Ezra Pound, he is an important literary figure, but he travels along erratic paths. I do not pretend to understand him, especially in his present phase. But I am against caging nightingales, even if the nightingale is naughty. And after all, he is a poet”. This article includes the first publication of Pound’s greetings to Viereck on his 70th birthday (autograph in the author’s collection).