Anonymous Piece Research Articles

A Clubbable Man: Essays on Eighteenth-Century Literature and Culture in Honor of Greg Clingham

A Clubbable Man: Essays on Eighteenth-Century Literature and Culture in Honor of Greg Clingham

Luca Penni : mise à jour du catalogue de ses dessins et des estampes qu’il a inspirées

This article provides an update of the catalog of Luca Penni's drawings proposed in the publication that accompanied the exhibition Luca Penni, un disciple de Raphaël à Fontainebleau organized at the Louvre in 2012 and gives a view of a dozen sheets either reappeared on the art market or identified in the public collections of Besançon, Chicago, Dresden, Erlangen, London, New York and Paris. Two of them are preparatory to etchings by Léon Davent and Jean Mignon. The article also proposes the addition of an anonymous piece to the list of prints reproducing the artist's works.

Multilayer Sentiments in Britain: "Britons, Strike Home," "Britons, Strike Home! A New Song," and English Romantic Verse

This paper attempts to examine Britain''s complicated responses to the French Republic in the Romantic period. For the fruitful discussion, I would like to explore three works: a crucial passage in William Wordsworth''s autobiographical poem, The Prelude, Henry Purcell''s "Britons, Strike Home," and an anonymous verse, "Britons, Strike Home! A New Song." Hopefully the discussion about their literary signification and implications will shed a light on how the French Revolution and the French Revolutionary Wars exerted a strong influence on Britain at that time. The exploration of the relevant passage from The Prelude will help foreground Wordsworth''s fear of the French Revolution, which was exacerbated by its innate brutalities. Indeed, the cruelties committed by the Revolutionists inspired fear in the poet''s mind. But they also stimulated Britain''s national pride. Purcell''s "Britons, Strike Home" and the anonymous piece, "Britons, Strike Home! A New Song" praised the British Constitution very ardently. (Jeonbuk National University)

(Poly)Metric and Structural Notes About «Los vicios de Cómodo»

The article proposes an approach to the versification of LaComedia de los vicios de Cómodo emperador romano y su muerte y elección de Pertinaz y triunfo suyo en Roma, an anonymous piece in four acts, included in codex II-463 of the Real Biblioteca (ff. 111r-126v). The relationships between polymetry and dramatic space are also studied by segmenting the text, which, as the long title indicates, focuses on Emperor Commodus’ historical figure (161-192 AD) and presents a series of characteristics that suggest its closeness to the tragedy of the generación de los 80, although with some significant changes that point to a shift towards the formula of the comedia nueva.

Performing Practices Before the «Comedia nueva»: The Case of «Los vicios de Cómodo»

The article proposes a first approach to La Comedia de los vicios de Cómodo emperador romano y su muerte y elección de Pertinaz y triunfo suyo en Roma, an anonymous piece in four acts, which the codex II-463 of the Real Biblioteca (ff. 111r-126v) transmits us, especially through the analysis of the mechanisms of dramatic space construction. As the long title indicates, the drama focuses on the figure of Emperor Commodus (161-192 AD) and presents some characteristics that bring it closer to the Tragedy of the generación de los 80, although with significant changes that already foretell the transit to the comedia nueva formula.

A New Attribution to Dunstaple

Abstract Since the publication of Bukofzer’s edition of John Dunstaple’s complete works in 1953, not one anonymous piece has been firmly attributed to the composer conjecturally. Scholars have understandably been reluctant to speculate on questions of authorship on the basis of style alone. At the same time it would be surprising if works by the most productive English composer of the period had not survived among the numerous anonymi that constitute such a high proportion of the fifteenth-century insular repertory. This article makes a case for Dunstaple’s authorship of an anonymous Credo bearing the designation ‘Anglicanum’ in one of its sources. It argues this case on the basis of the work’s close ties to some of the composer’s early mass music, and to one of his Credo settings in particular, demonstrating striking links—structural, stylistic, textual, and transmissional—both with this Credo and another by Dunstaple.

The Specificity of the Polish Reception of Leo Tolstoy in the Light of the Dichotomy “Russia vs. Europe” (Based on Articles Published on the Occasion of the 1908 Anniversary)

The purpose of this article is to identify and examine the main components of Leo Tolstoy’s image (as an artist, an apostle, and as a philosopher) in the Polish-language press of Austria-Hungary and the Tsardom of Poland in the context of the celebrations to mark the author’s eightieth birthday. I draw upon three contemporary journalistic reactions: an article by Henryk Sienkiewicz in the Kraków newspaper “Czas” (Time), an anonymous piece in the Warsaw daily “Przegląd Poranny” (Morning Review), and another anonymous piece featured in “Kurier Warszawski” (Warsaw Courier). Sienkiewicz’s article represents Tolstoy as a religious preacher and as a writer alien to European culture. In describing the national specificity of Tolstoy the artist, Sienkiewicz departs from the contraposition between backward, non-liberal and unenlightened Russia whose voice is Tolstoy and progressive, liberal and enlightened Europe with which the Polish writer associates himself. Tolstoy is painted in similar colours in the “Kurier Warszawski” feature. However, the anonymous author describes Tolstoy not as a preacher but rather as an original Russian philosopher. “Przegląd Poranny” presents an entirely opposite image of Tolstoy. Here, Tolstoy emerges as a globally significant artist and thinker, whose work is a legacy of international cultural achievement. Polish responses to Tolstoy’s eightieth birthday thus made use of the dichotomy “Russia vs. Europe” in varying degrees. The specificity of Tolstoy’s reception by Polish-language media correlates with the pro-European and pro-Russian positions of the Polish intelligentsia at the time.

Tom of Bedlam.

Tom of Bedlam.

Briefly Noted

Briefly Noted Reviewed by Rick Anderson Taverner & Tudor Music I: The Western Wind. Ars Nova Copenhagen / Paul Hillier. Dacapo 8.226050, 2006. Around 1510 or 1520, when John Taverner wrote his now-famous parody mass on the popular song "The Westron Wynde," the practice of using a popular melody as the cantus firmus for a Mass settting had yet to gain a real foothold in England, although it was already widespread in continental Europe. This Mass remains one of Taverner's most popular works and a widely acknowledged masterpiece of Tudor choral music, and a new recording of it, however lovely, would hardly be a noteworthy event under normal circumstances. However, Paul Hillier (in his relatively recent role as chief conductor of the excellent vocal ensemble Ars Nova [End Page 923] Copenhagen) has here put together a program centered around the Western Wind Mass that is both aurally ravishing and historically fascinating, and that should find a place in any library with a collecting interest in Renaissance music. To put the piece in historical and stylistic context, Hillier has chosen to intersperse the sections of the Mass with sacred songs of the same period composed by Taverner's contemporaries William Cornysh, John Browne, Christopher Tye, and an obscure composer known only as Sheryngham, along with one anonymous piece. The songs are mostly written in the voice of Jesus, who alternately invites sinners to remember his sacrifice on their behalf and conduct themselves accordingly, or describes that sacrifice and the nature of his suffering, or responds to prayerful supplication. Following the Agnus Dei, the program ends with Tye's softly spectacular In Pace, a Lenten response expressing the simple intention to lie down and go to sleep and also expressing, in an almost incidental manner, praise to the Trinity. In pre-Reformation England, the Kyrie section of the Mass was generally reserved for a plainchant in honor of a specific saint or feast, and therefore not set as part of the Ordinary; thus, Hillier chose Taverner's "Kyrie Leroy" to take its place at the head of the program. The singing is excellent throughout, though there are moments here and there in which the soprano voices may be just a little bit too fulsome or dramatic to some tastes. The recorded sound could hardly be any more beautifully balanced or sweetly glowing. Very highly recommended. A Celebration of Hispanic Music. Santa Fe Desert Chorale / Linda Mack. Clarion CLR924CD, 2006. This fascinating collection of sacred choral works from Latin America takes in a variety of styles and periods, including works from the baroque and Renaissance periods along with material as recent as Ariel Ramírez's Misa criolla of 1963. Recorded live in Santa Fe, New Mexico in August of 2005 by a twenty-voice choir that convenes in that city only twice per year, A Celebration of Hispanic Music opens with a lively rendition of the Ramírez piece, complete with accompaniment of percussion, recorder, charango, and harpsichord. The choir as a whole sounds wonderful, but tenor soloist Matthew Tresler is especially impressive on this work. The Mass is followed by two songs from the Valdés Codex, both in honor of the Virgin and both written in the Aztec dialect of Náhuatl by the Spanish composer Hernando Franco; rhythmically lively but traditionally harmonized and structured, these two brief pieces offer a gem-like illustration of the musical confluence between the old and new worlds in the late sixteenth century. Antonio de Salazar was one of many Spaniards who relocated to Mexico in the late seventeenth century and contributed to the development of a rich repertoire of baroque sacred music in the region, and his Egregie Doctor (written in collaboration with his student Manuel de Sumaya) is a gorgeous musical tribute to Saint Paul. The choir's only tenuous moments come during its performance of Allelluia! Dic nobis Maria by the Mexican composer Francisco López Capillas, a lovely piece that is marred somewhat by a slight but noticeable flatness in the high voices. The Latin American...

Lucy Hutchinson and the Authorship of Two Seventeenth-Century Poems: A Computational Approach

Context of inquiryDavid Norbrook has recently offered strong evidence for attributing two seventeenth-century poems to Lucy Hutchinson.1 He has also invited the present authors to employ the methods of computational stylistics as an independent test of these attributions. The objects of this article, therefore, are to test the authorship of the two poems and to consider the significance of the outcome. Much the larger of the two is Order and Disorder, a versification of the Book of Genesis in twenty cantos of rhymed pentameters. Its first five cantos were published anonymously in 1679 and, following Anthony Wood, have always been attributed to Sir Allen Apsley, Lucy Hutchinson's brother (DNB). The whole poem survives in manuscript in the Osborn Collection in the Beinecke Library at Yale University.2 The second poem, an anonymous piece running to 188 lines, is a polemical rejoinder to Waller's fulsome 'Panegyrick to My Lord Protector'. It survives among the Additional Manuscripts in the British Library.3To set our inquiry in context, we shall begin by identifying Norbrook's candidate and sketching some of the literary-historical interest of the case. Lucy Apsley was born in 1620 and married John Hutchinson in 1638. During the Civil War he served as governor of Nottingham on the parliamentary side; later he was one of the regicides. Until Norbrook's researches, and the work of Hugh de Quehen, who has edited her manuscript translation of the De rerum natura,4 Lucy Hutchinson was known almost entirely for a remarkable memoir of her husband, which is one of the chief eyewitness sources for the Civil War. Indeed, the facts of Hutchinson's canon as they were formerly understood seemed to tell a story in themselves. Her achievement was a significant, but narrow one. In the same manuscript as the life of her husband there is a fragmentary autobiography, which breaks off unfinished. Sandra Findley and Elaine Hobby suggested that after the 'failure' to write her own life Hutchinson found her voice in writing the biography of her husband, and then fell silent. They expressed frustration that her canon is such that (as so often in seventeenth-century women's autobiography) discussing Lucy Hutchinson's writing one inevitably ends up discussing the deeds of her husband.5Within the Memoirs of the Life of Colonel Hutchinson Lucy Hutchinson writes of herself as an actor in the story in the third person ('Mistress Hutchinson', 'she', etc.) but has an 'I' for the author of the memoirs. This Mistress Hutchinson is a submissive wife. She declares her existence to be negated by the Colonel's death: 'Soe, as his shadow, she waited on him every where, till he was taken into that region of light which admitts of none, and then she vanisht into nothing'.6 There are some ironies in this situation. As N. H. Keeble points out, Hutchinson celebrates wifely silence and submissiveness, but wrote forcefully and at length. The Memoirs, Keeble says, argue fiercely both for rebellion and for patriarchy, championing at the same time the Revolution and submission to male authority; meanwhile every page she writes casts an ironic gloss by its own existence on the arguments for female silence which it puts forward.7Acceptance of Norbrook's attributions would give Hutchinson an altered place in literary history and in the historiography of the Early Modern woman writer. For she would need to be recognised, in the first place, as an independent voice in the resistance to Cromwell's growing power in the 1650s. Nor could she be seen any longer as falling silent after composing elegies on and a memoir to her husband. This Hutchinson, on the contrary, was capable of writing as herself rather than as her husband's wife. She was writing, and indeed publishing, into the late 1670s - the dedication to the Lucretius translation is dated 1675 and the first part of Order and Disorder was published in 1679. (She died in 1681 or early 1682.)The possibility that Lucy Hutchinson wrote these two poems is therefore of real literary and historical interest. …

Autorship and the computer: an anonymous piece of late medieval devotional literature

Autorship and the computer: an anonymous piece of late medieval devotional literature

William Cullen Bryant's Sketch of His Father in American Biography (1833)

INSamuel Lorenzo Knapp's American Biography, the ninety-line unsigned study of Dr. Peter Bryant is one of the best.1 Terse and factual, it nevertheless has warmth which suggests a knowledgeable affection between the author and the subject. One is not surprised, then, to learn that the sketch was probably the work of a son, namely William Cullen Bryant, writing about his late father. Putting together his several biographical collections, Knapp got help from any sources he could, a situation which he made clear in his preface to American Biography.2 In fact, he credited John Wakefield Francis, a New York physician and cultural benefactor, with securing much of the volume's content relating to the medical profession.3 Both Knapp and Francis were personally acquainted with the younger Bryant in New York City in the early I830s; it is reasonable to suppose that either could have appealed to Bryant's filial instincts with a request for an anonymous biographical piece on his father. While Francis was an especially close friend of William Cullen's,4 Knapp had known Peter Bryant in Massachusetts earlier in the century and might have had a greater interest in preserving his renown.5 Whatever the origin may have been, when the sketch appeared in American Biography it carried no individual author

Jazz-The Word

The history of the word jazz is indeed a fascinating one. Variously derived from Africa, Arabia, the Creole, French, Old English, Spanish, the Indians, the names of mythical musicians, old vaudeville practices, associations with sex and vulgarity, onomatopoeia, and other sources, its real origin has been, and may well remain, a mystery. Yet a study of the problems that have been associated with it, and a tracing of the suggestions and viewpoints that have been advanced in the literature from 1917 through 1958, provide a real journey into the background not only of the word, but of jazz itself. A number of summary articles concerning the word have appeared in the past, but for the most part these have added nothing new to the controversy which surrounds the word. Of more importance are the original suggestions which provided the material for such summaries; thus an article by Walter Kingsley in the New York Sun (1917) laid down some of the basic ideas concerning African and minstrel origins of the word which have been copied, either with or without acknowledgment of the source, time and time again. A series of articles in the Etude in August and September, 1924, while rehashing some previous suggestions, led to one of the most extended discussions of the problem which raged through several allied journals. A third set of articles, again stressing the African origin, was set off by an anonymous piece in the New York Times (1934) which led to numerous rejoinders and further suggestions. We have come to a point in the study of the word where it seems wise to review the past theories although even now it is probably impossible to decide surely which will ultimately prove to be correct.

The Anonymous Masque-like Entertainment in Egerton MS. 1994, and Richard Brome

The Anonymous Masque-like Entertainment in Egerton MS. 1994, and Richard Brome John Cutts New information has come to light which makes it necessary to reopen the discussion on the authorship of the anonymous entertain­ ment in B.M. Egerton MS. 1994 which has been variously entitled “Time’s Triumph’T— “Juno in Arcadia” 2— “Juno’s Pastoral, or The Bonds of Peace” 3— “ Sight and Search,”4 and which is dated in the manuscript for August 5th, 1643. So far suggested attributions to Mildmay Fane5 and to Chapman,® based largely on stylistic affinities, have been dismissed as unsatisfactory to varying degrees.7 In addition to this, a detailed consideration of the entertainment in relation to the Masque form has concluded that this anonymous piece ought not to be called a Masque even.8 The present state of scholarship thus leaves the entertainment without a definite author, category, or title. It seemed to me that in order to break out of this stalemate a different approach was called for, and accordingly I set out to investi­ gate the entertainment’s use of song. Happily enough this procedure has resulted in uncovering new and important evidence on the enter­ tainment particularly with regard to the problem of authorship. It is only fair to point out that Elsley made an effort in this direction but only came up with evidence which tended to confirm, as he thought, the author’s habit of borrowing from other writers, because he concentrated on one snatch of song which he could identify, ignor­ ing the entertainment’s chief and only long song which of itself largely characterizes the kind of vocal music called for. Elsley correctly pointed out that when time’s madness infects the character Age he breaks out into song and first sings a two-line snatch: Turne Ammarillis to thy swaine thy Damon calls : the back againe (f. 220) which represents the first lines of a six-line ditty to be found in Shirley’s play Love Tricks or the School of Complement: Turtle, Amarilis, to thy Svoane, Thy Damon cals thee hacke againe, Here is a pretty Arbor by, Where Apollo cannot pry, 277 278 Comparative Drama Here let’s sit, and while I play Sing to my Pipe a Roundelay. (1631, Sig. F4; 1637, Sig. F) The obvious conclusion is that the author “helped himself to a song from Shirley’s The School of Complement” (Elsley, p. 63), and on the basis of this Elsley suggested that he probably “ took another one,” namely “Stay Nimph, stay Nimph cryed Apol” (f, 218— this is all there is of the snatch in the manuscript) “ also from a contemporary play” (p. 63) but was unable to trace it. This “ lifting” is seen thus as akin to the borrowings from Chapman’s Byron’s Tragedy and Middle Temple Masque. On the whole I think it safer to recall that drama­ tists were in the habit of using snatches (one or two lines, usually first lines or memorable refrains) of popular songs, and that such borrow­ ing does not help us with the authorship problem one way or the other. Snatches by their very nature are indeterminate. One cannot conclude from this that the author of this entertainment did not write “all his own songs” (Elsley, pp. 84, 94). Elsley accepts “Hoy, boy, Hoy, boy . . .” and the mad song of Act IV (“Art thov mad . . .” ) as the author’s own and specifies that they reach “ a much lower level of achievement” (p. 84) .9 What now invites serious investigation is the discovery that “ Hoy, boy, Hey, boy . . . ,” the one long song in the entertainment, “ a rollick­ ing, indecent piece which [Age] sings at the height of his amorous fits” (p. 103a) : Hoy boy Hoy boy come come away boy & bring me my longing desire A lass that is neat and can well doe ye flfeete When Lusty young blood is afire Let her wast be small though her body be tall and her age not aboue eighteene let her care for no bed but here let her spred her mantle vpon this greene /let Let her face be fare and her breast be bare a voice let...

English Cavalier Songs, 1620–1660

I cannot pretend that the adjective ‘cavalier’ in my title has much significance beyond colouring what would otherwise have been an even more drab title. Nevertheless, I believe that ‘cavalier’ is perhaps a fair description of the most important song-writers of the period; Nicholas Lanier, the Lawes brothers and John Wilson (if not of the probably pro-Cromwellian Colemans); and their performing and listening public, including the occasional roundheads. As in other spheres, the musical origins of the developments later in the century can be traced to the early part of the reign of King James I. Many surviving manuscripts as well as printed collections leave little doubt that the Italian madrigal—not monody—was well known in England from 1588 onwards. The only monodies printed here were those in Robert Dowland'sMusical Banquet(1610) which included two by Caccini, one by Megli, and one anonymous piece. Notari's book of 1613 was also printed in England, though probably composed in Italy for the most part. Neither of these books can have exerted much influence, although Caccini's ‘Amaryllis’, which Dowland printed, became popular.

8. State Liquor Stores and Local Publics

This anonymous piece, which came in over the transom, is published only partly to encourage advertising by the liquor in dustry in PROD. It asks whether a bibulous public is not superi or to no public at all. It is in the methodological category of UCPB (Unforeseen Consequences of Purposive Behavior), Legis lative Section.