Anonymous Poem Research Articles

Uncle Tom's Cabin and the Triumph of Republican Rhetoric

UST after Congress passed the Kansas-Nebraska Act, legislation that repealed the Missouri Compromise and within a few months prompted creation of the Republican party, the New York Tribune published an anonymous poem entitled Nebraska. Contrasting slaveholders' reckless, boisterous celebrations with Northerners' calm dedication to principle, the poem drew two villains from the pages of Uncle Tom's Cabin to condemn the architects of the act's passage, President Pierce and Stephen Douglas:

Wunschvorstellungen gewaltlosen Friedens in deutscher Literatur um 1300

In the medieval tradition, the ideal ruler of peace is one who imposes the lawful order by force. However, around 1300, there are occasional writings in German literature that challenge this concept of a ruler and contrast it with the Christian ideal of peacefulness. In particular, probably in connection with popularized millenarian currents of that period, we find ideals projected into the end of time of a peace on earth that is not enforced by the authority of a ruler. This ideal is bound up with the perspective of salvation and the centre on which it is concentrated is the city of Jerusalem and the Holy land. It is therefore most evident in Die Erlosung (»The Redemption«), an anonymous religious poem of the early 14th century, where it is viewed as an outcome of the end of time: after the defeat of Antichrist and before the Last Judgement, there is an ideal peace without enforcement, without social distinctions and without a ruler. The author’s views are based on the Sibylline prophecies and a re-interpretation of Virgil’s Fourth Eclogue. This ideal, however, remains unique and without successors in the German literature of the Middle Ages.

Lost Literature of the Troubadours: A Proposed Catalogue

LOST LITERATURE OF THE TROUBADOURS: A PROPOSED CATALOGUE* The time has come to begin inventorying the lost literature of the troubadours. In the last 40 years, attention has been paid to lost works in Latin, medieval English and Portuguese, and to the lost literatures of medieval Ireland, Scotland, and Iceland. In 1995, Alan Deyermond brought a 20-yearproject to fruition by publishingEpicayromance, first volume ofLiteratura perdida de la Edad media castellana. The catalogue oflost troubadour literature proposed here will track lost names, lost poems, lost manuscripts, attributions of anonymous poems, known fragments, new discoveries, and critical literature relevant to all the above. More than ten years ago, Charles Faulhaber, a member of Deyermond's original team of Hispanists, presented a talk entitled "Lost Literature of Medieval Spain?" at the Modern Language Association convention. The question mark in that title referred, not to works known to be lost or to the processes of loss—heretical content, insects, fire, water, earthquake, war—but rather to a number of factors by which works come to be lost to the scholarly community, including simple failure to edit. In sum, texts that are not studied, for whatever reason, are texts that are lost. Faulhaber paid close attention to the very definition of what constitutes a literary work. Many texts are simply defined out of existence as literary works, he found, arguing convincingly that the ensemble of written attestation—including religious and sapiential texts, historical and medical treatises, translations, administrative texts, legal texts, and charters—must be considered if literary texts are not to be "decontextualized." Within the Occitan domain, troubadour poetry, with its prestige and visibility, constitutes a natural starting point for a project that will eventually expand to include lost medieval Occitan writings ofall types. Why undertake the Zen-like task of documenting what is no longer extant—what we know we don't know about the troubadours? To KATHRYN KLINGEBIEL paraphrase Richard Wilson, the cataloguingoflost medieval literatures, even as it yields linguistic and literary benefits to specialists in various disciplines, should eventually contribute to a truer picture ofthe growth and development of medieval Western European civilization. Thecanon ofOld Provençal verse, and the manuscripts/chansonniers which form its core, have benefitted from successive updatings, attributions , reconstitutions, and discoveries. To this day, troubadour poems, including fragments and citations in other works, are described by their Pillet-Carstens inventory number; faithful to the alphabetized and numbered list of troubadours published by Karl Bartsch (1872), the work of Alfred Pillet was continued by Henry Carstens, who brought it from 1909 to 1931. More recently, István Frank (1953-1957) and others have considerably updated this indispensable repertory, e.g., Zufferey 1987 (359-360) names 10 chansonniers that have been rediscovered or recognized since Bartsch's Grundriss. Extant manuscriptsarecodedaccordingtoJeanroy 1916and Brunei 1935. Lostmanuscripts aretrackedby referencetoCamilleChabaneau's 1886 inventory; this work was updated by Anglade (1916) and, in 1971, by Chambers. These dates speak to the clear need for a new centralized listing that will collect and collate all work done in recent years. In France the discovery ofthe troubadours took place only in the late 16th century, when Jean de Nostredame published his Vies des plus célèbres et ancienspoètesprovençaux (1575). Thecanon ofOld Provençal lyric began to take shape as early as the first decade ofthe 14th century in Italy, where poets and commentators developed the lyric tradition of the troubadours. Francesco da Barberino's Documenti was completed ca. 1310; only in 1640 did Francesco Ubaldini edit and enrich the anthology with additional poems and vidas, as well as commentaries, translations into Latin, and a table of contents. A learned Italian of the 16th century, Giovanni Maria Barbieri, collected and published old manuscripts and collections oftroubadour LOST LITERATURE OF THE TROUBADOURS writings. His Libro dell'arte del rimare, written in 1581, was published only in 1790, under the title Dell'origine della poesia rimata; Barbieri owned originals or copies of4 chansonniers, now generally thought to be lost but which, in some cases, contained materials available nowhere else. Not only treatises on poetry but also anthologies have added to our knowledge of troubadour lyric. In the 18th century, Crescimbeni included in his history of...

An Anonymous Latin Poem on the Cardinal Virtues

An Anonymous Latin Poem on the Cardinal Virtues

Archaic Greek Poetry: An Anthology

With this anthology, Barbara Hughes Fowler presents a comprehensive selection of Greek poetry of the 7th and 6th centuries BC. Fowler's translations provide access to six Homeric hymns, eight selections from Bakchylides, 11 odes of Pindar, selections from the iambicists and elegists, virtually all of Archilochos and of the lyricists, including Sappho, and a number of anonymous poems about work, play and politics. poets delighted in all that was radiant and delicate, and their poems are read for their narrative charm, celebration of nature, and playful sensuality. There are love poems here, as well as poems of friendship and warfare, of colonisation and homesickness; and there are tantalizing fragments of fables. Along with her notes and bibliography, Fowler has provided a biographical list of poets and a glossary of proper names. In addition to its breadth of subject matter, Archaic Greek Poetry can claim to be the only volume of its kind translated by a contemporary published poet. Barbara Hughes Fowler offers translations true to the original Greek, while providing modern readers with examples of the beauty of lyric poetry. Students and scholars of classical and comparative literature, ancient history, and art history, as well as lovers of lyric poetry, should find this volume useful.

John Donne and the Astons

In 1638 or 1639, Catherine Thimelby wrote in a letter to her future husband, Herbert Aston of Tixall: How infinite a time will it seem till I se you; for lovers hours are full eternity. Doctor Dun sayd this, but I think it.' In an anonymous poem published about the same time, the speaker urges Catherine's brother, Edward, not to translate Donne into Italian.2 So far these have been the only seventeenth-century connections established between the Aston family (including, through marriage, Sadler and Thimelby) and John Donne. However, a commonplace book at the Huntington Library (HM 904, c. 1630-50), chiefly in the hand of Constance Aston, Herbert's sister, contains a reference to Donne and at least three echoes of Donne poems3 not previously noted,4 and it may also provide insight into Donne's unsanctioned marriage. The first of these echoes occurs in a long poem about Christ's passion probably by Constance Aston. Christ is crowned with thorns, and immediately after:

(Re)Locating Lost Trobairitz: The Anonymous Female Voice in Provençal Debate Poems

(Re)LOCATING LOSTTROBAIRITZ: The Anonymous Female Voice in ProvençalDebate Poems Until recently the accepted corpus of poetry by the trobairitz , thewomentroubadours ofOccitania,wasthe one established by Oscar Schultz-Gora in 1888, and reproduced more or less exactlyby Meg Bogin in The Women Troubadours, 1976.1 Bogin's corpus consisted of twenty-three poems, twenty of which were attributed to named trobairitz, and three of which were tensos (debatepoems)betweenanamedtroubadourandananonymous domn«. Currentscholarshipindicates,however,thattheaccepted corpus should be enlarged. In The Voice ofthe Trobairitz, 1989, William Paden presents a "Checklist of Poems by Trobairitz" which lists a total offorty-six poems compared to Bogin's twentythree . At first sight the increase in the number ofpoems appears tobeasignificantgainforthecorpusofworksbythetrobairitz;but the status of many ofthese poems is problematic because of the anonymity ofthe female speaker/poet. Only three ofthe poems which enlarge Bogin's corpus are attributable to named trobairitz -the sirventes of Gormonda de Montpellier,2 the letter of Azalais d'Autier, and the canso "Perjoique d'amorm'avegna" of Castelloza.3 The remainder are unattributable or partially unattributable in the case of the tensos between a troubadour and an anonymous ladywhere only the name ofthe troubadour is given. Only half of Paden's checklist of forty-six poems, therefore, has been attributed to named trobairitz. Althoughasfeministcriticswemay"venturetoguess,"along with Virginia Woolf, "that Anon, who wrote so many poems without signing them, was often a woman," and that "it was a woman . . . who made the ballads and the folk-songs" (A Room of One'sOwn, 51), like Woolf,wemust alsoremember that "Anon is sometimesman; sometimeswoman" (Desmond, 572). Ifwewish to claim anonymous female voices for the trobairitz corpus, we mustbe carefulto avoidthe same gender-biased trap thatcertain male critics have fallen intoin thepast. We should not accept (or take)just anyfemalevoice as an additionto a corpus ofworks by female poets without at least an attempt to seek out the feminine in that voice, no matter how desperately we wish to restore lost 126Carol Nappholz women writers to their rightful place in literary history. If the twenty-three anonymous poems are to be included in the trobairitz corpus ratherthan inthe generaltroubadour corpus, Ibelieve thatconvincingargumentsneedtobemadefortheirinclusion, and criteria by which they can be assessed need to be established.4 The twenty-three anonymous poems represent a variety of genres. There are three baladas; a planh on the death of a husband; one alba; one canso; one sirventes; two coblas; and fourteen tensos. Clearly each poem in each genre deserves close critical examination, but my main concern here will be with the tensos. These poems generally have been neglected by feminist critics, who have preferred to concentrate on the better known cansos of the trobairitz, and on those tensos where the female speakerisnamedintherubric. Inhisdiscussionofpersonalpoetry by women in the Middle Ages, Peter Dronke omits the tensos between men and women, both attributable and anonymous, because"itishardtoidentifycharacteristicwomen'sthoughts and feelings or to distinguish these from the role-playing which is inseparable from genres ofpoetic debate" (Women Writers ofthe MiddleAges, 98). Furthermore, hebelieves thatthe femalevoices in thetensos"implicitlyacceptedtherules laid downbymen" (98). However, a recent dissertation by Deborah Perkal-Balinsky recognises the need for a more detailed study of the tensos, and comes to a different conclusion than Dronke does. Her discussion of eleven tensos, some anonymous and some not, concludes that the "'personal' qualityin theworksofthe trobairitzwhich hasbeen so difficult to define can be largely attributed to their willingness to deviate from accepted social behavior or perhaps the rules of thegame" (46). Perkal-Balinsky's conclusions indicate that, contrary to accepted authority, certain female speakers in the tensos do have a voice which is distinctly their own. A feminist study of those anonymoustensos notcoveredinPerkal-Balinsky's dissertation , therefore, needs to be completed. The Female Voice In Provençal Debate Poems 127 In spite ofthe factthatfemale poets did existand are known to have composed jointlywith male poets,5 many scholars have refused to accept the possibility of female authorship in those tensos where the female speaker remains anonymous.6 All too frequently such tensos have been labelled "fictitious" and attributedto thenamedmale poet. Admittedly,therewas atradition of fictitious imsos--one troubadour debated with his overcoat, another with his horse, yet another with God...

An Anonymous Laudatory Poem in Honor of Basil I

An Anonymous Laudatory Poem in Honor of Basil I

<i>Ὀμωκότας</i> in an anonymous fourteenth century verse-chronicle

The purpose of this paper is to examine an etymological enigma in the word ὀμωκότας, a form of an anomalous nature. This form appears only once in a fourteenth century anonymous poem of 759 lines which is contained in the Codex Marcianus 408 in the Library of St. Mark (Venice). The poem reflects events of the 1204 fall and 1261 recovery of Constantinople. The metre which is used by an anonymous poet is the popular one of the period, known as the polilical metre. The initial impression of ὀμωκότας is one of an ἃπαξ λεγόμενον but further examination reveals a linguistic idiosyncracy other than that of merely an ἃπαξ. The form ὀμωκότας appears in the section of the poem which deals with the entry into Constantinople (via the underground drains) by Strategopoulous (Palaiologos’s general). The various sources are thoroughly examined in search of the possible usage of this form in perhaps even one of the sources. The word appears nowhere. After numerous hypotheses and etymological deductions, a conclusion is ultimately arrived at and is proved to be basically the simplest one, with an obvious explanation.

The Medieval Pastourelle (review)

REVIEWS WilliamD.Paden. TheMedievalPastoureUe. The GarlandLibrary of Medieval Literature. New York: Garland Publishing, Inc., 1987. Vol. 1 : 368 pages, $50. Vol. II: 384 pages, $50. In his selection, translation, and edition of 210 medieval pastourelles,William D.Padenprovidesuswithan accessibleand comprehensiveoverviewofamedievalgenrewhoseimportanceis finally being recognized. Long considered a rustic and inconsequential "genre populaire," the pastourelle has recently enjoyed new critical attention as a key literary and musical form in medieval Europe. This new edition will doubtless further such revisionist study. The medieval pastourelle is a lyric poem in which a male narrator,usuallydepictedas aknight, tellsofhisattempttoseduce a shepherdess. The genre appeared with the poetry of the troubador Marcabru, in twelfth-century France, and flourished for two centuries in France, Germany, the Low Countries, England , Portugal, Spain, Italy, and Wales. Its practitioners were amongthebest-known poets ofEurope at thetime: ColinMuset, Gautier de Coinci, Guiraut Riquier, Giraut de Bornelh, Jean Bodel, Cerveri de Girona, Joan Airas de Santiago, Walther von derVogelweide, DanteandPetrarch. ThegenreflourishedinOld French, Occitan, English, German, Italian, Latin, Galican-Portuguese , Castilian, Gascon, and Welsh. Several bilingual texts, in French and Latin and in German and Latin, are extant. This edition includes 24 Occitan poems, all ofwhich have been previously published. Paden's"Introduction"defines hisobjectofstudy,the"classical " pastourelle, in terms of five functions: (1) the mode is pastoral,(2)thecastincludesamanandyoungwoman, (3)theplot comprisesaseduction, (4) therhetoricinvolvesbothnarrative and dialogue, (5)theviewpointismale. The editionalsoincludestexts from a penumbra of actualizations surrounding this definition: Paden presents poems that satisfy four of the five functions. Several Latin texts, nottraditionallyclassifiedaspastourelles, are excerpted, such as pieces from the anonymous Carmina Burana and a passage from the DeAmore of Andreas Capellanus. An excerpt from John ofGarland's Parisianapoetria gives the reader abroadpicture ofliterarytheorywithrespectto pastoralpoetryin the twelfth century. 154Reviews A liminal chapter, "Antecedents," begins with an ancient Chinese poem which can be likened to the medieval paradigm. Two kharjas (c. 1050-1150), one Arabic and one Hebrew, also bearwitnessto theeditor's effortto shed asmuchlightas possible onthe medieval tradition. Volume Ipresents threechronological groups oftexts: "Twelfth Century," ''EarlyThirteenth Century," and 'Thirteenth century (Early or Late)." The pastourelles in Volume II are divided into the "Late Thirteenth Century," "Fourteenth Century," and "Fifteenth Century." One hundred andthirtypagesofnotesfollow,indicatingthemanuscripts,author anddate,verseform,variants,andbibliographyforeachofthe210 texts. Ausefulcross-indextoseminaleditionsbyJeanAudiauand Karl Bartsch follows. (Curiously, there is no mention of JeanClaude Riviere's 1974 edition). Five additionalindices listmanuscripts ,propernames,languages,authors,andfirstlinesandtitles. A twenty-one page bibliography on the pastourelle catalogues editions as well as critical studies. Thesenewvolumesmaketwogreatcontributionstothefield ofOccitanstudies. TheymakeavailableinEnglishOccitanpoems thathave neverbefore been translated. Equally important , they bring together a vast range of medieval texts from different languages, never before grouped together, thus affording the reader greater purchase on the intertextuality of the pastourelle genre. The translations arereliable and sober, faithfulto the tone ofthe texts, which is to sayusually archaic but occasionally colloquial and sometimes obscene or brutal. The rendering of the Occitan "forcer" as "rape", forexample, in the anonymous poem 29, "Quant escavalcai fautrier" (P-C461, 200), reveals the editor 's departure from a longstanding tendency to disguise or misrepresentthe sexualtensions attheheart ofthisgenre. Errorsare fewandminor. Inpastourelle 32, "Anmai a dous tens nouvel"by Bestourné (Raynaud-Spanke 576), "Et s'aimme aincor" is translatedas "AndIloveyet, ratherthan"Andweloveeachotheryet". On the whole, this translation is a miracle of erudition and will provevaluable to general readers and scholars alike. Paden does not offer anydiscussion ofthe basis for his edition or his choice of manuscripts, no doubt because of the series in which it is published , which is aimed at the general reader seeking modern translations of medieval texts. The Medieval Pastourelle will enrich the work not only of those who study Occitan, but also of all medievalists who raise questions about the nature oflittératurepopularisante, long slighted. Reviews155 More important still, these translations open new doorsfor scholars examining broad ideological questions about the mentalité médiévale. In the pastourelle genre we glimpse the medieval construction of gender, the creation of a discourse of sexual violence, and the medieval representation ofa new discourse on social class. Kathryn Gravdal Columbia University Works Cited Audiau, Jean, éd.LaPastourelledanslapoésieoccitanedumoyen âge. Paris, 1923. Rprt. Geneva: Droz, 1973; Marseille: Laffitte, 1980. Bartsch, Karl, éd. Romances etpastourellesfrançaisesdesXIIeet XIIIesiècles: Altfranzosische Romanzen undPastourellen. Leipzig, 1870. Rprt. Darmstadt: Wissenschaftliche Buchgesellschaft, 1967. Rivi...

“Please Hear What I'm Not Saying”

The editor offers an anonymous poem by this title as a potentially useful tool to physical therapists in working with their patients and in their interpersonal relationships. J Orthop Sports Phys Ther 1990;11(7):295–296. doi:10.2519/jospt.1990.11.7.295

THE GAWAIN POEMS: A STATISTICAL APPROACH TO THE QUESTION OF COMMON AUTHORSHIP

number of definitely assigned works. The first kind of debate is historical, speculative, and largely useless:1 it would not help much our understanding of an anonymous medieval poem if it suddenly acquired a named author of whom little was known (Thomas Chestre, for instance, has been a name to do little more than conjure with). The third kind of debate has been more or less concluded, or at least the noises of disagreement have died down: there is perhaps the chance of an odd poem or two being added to or dropped from the Chaucer or Hoccleve or Lydgate canon, but nothing substantial would be changed. The second kind of debate has perhaps provoked more contentious hot air than either of the others (the history of the struggle to prove common authorship of the three versions of Piers Plowman is the most notable example), but a number of questions remain open, and to answer them would be a significant advance in understanding. The New Criticism may well scorn the historical reductionism of mere biographical knowledge, and the new New Criticism happily ignore it completely, but there is no doubt that secure attribution of a number of works to the same author, named or not, allows an added dimension to critical understanding. The comparisons that are made possible grant insight into the continuities and changes in theme and style, reveal hidden patterns of meaning, emphasize particular preoccupations. The quality of our understanding of Chaucer, and the quality of the criticism devoted to him, owe something to the security of the

‘Carmina Runensia’: Twelfth-century Verses from the Cistercian Monastery of Rein

The six anonymous poems published here for the first time belong to a tradition of Latin satire usually described as ‘Goliardic’ and best known through the moralistic pieces in the Carmina Burana. Preserved in a unique manuscript in the Cistercian monastery of Rein in Styria, they are among the oldest Austrian examples of this genre. Despite their early date and literary interest, until now they have been known by title and first line only to the readers of Anton Weis's catalogue of the Rein manuscripts from 1891 and to the combers of Walther's alphabetical register of medieval Latin verse incipits. In my introductory remarks to an edition of the Carmina Runensia, as the verses may be called (abbreviated CR), I should like to discuss the following subjects: 1) contents and appearance of the manuscript (Rein, Stiftsbibliothek, MS 20), 2) date of writing, 3) style and themes of the poems, 4) sources and analogues, and 5) authorship. Though perhaps not of the caliber of the works of the contemporaneous Hildebert of Lavardin, whose best epigrams long passed as products of antiquity in the eyes of editors, or equal in satiric force to the barbs

A Fragment of a Secular Poem of Judah Hallevi

Among Yehudah Hallevi's poems which have come to light since H. Brody's edition of the Diwan (1894–1930), the great majority are liturgical and only very few are secular poems. Here a new fragment of an unknown secular poem by Hallevi is published according to two Genizah manuscripts, T-S NS 96.18 and MC IV 136. The T-S manuscript, our main source, is a single torn sheet, which contains the first three lines (written as six hemistichs) and traces of the fourth. It explicitly attributes the poem to Yehudah Hallevi. The verso contains the end of a known piyyut by Abraham Ibn Ezra and two anonymous poems (one of them homonymic) whose unusual meter and awkward phrasing seem to point to a later period.Hallevi's poem, “Shalom lekha shemesh be-'et hillo” (Peace upon you, radiant sun) is a panegyric addressed to a patron or friend. It starts in medias res with highflown eulogies, dispensing with the introduction often found in other poems of this genre. With regard to style and meter the fragment is adroitly written; however, its imagery and attitude are largely conventional. The patron or friend is extolled as a sun, a star, a mast and a cedar tree—all of which are conventional materials in panegyrics. Moreover the images are linked only by their common subject and not at all on the metaphorical level, and the formulation is impersonal. These traits were very common to contemporary panegyrics, one of the more conventional genres of the school, but Yehudah Hallevi usually took care to interweave the images in various subtle ways. Of course, he may also have done this here, in the lines that did not survive—probably the greater part of the poem. The text is printed with a commentary that includes parallels from Hallevi's and Moses Ibn Ezra's poetry illustrating the more conventional imagery

A Fragment of a Secular Poem of Judah Hallevi [שדיד משיד חול לדבי יהודה הלוי

Among Yehudah Hallevi's poems which have come to light since H. Brody's edition of the Diwan (1894–1930), the great majority are liturgical and only very few are secular poems. Here a new fragment of an unknown secular poem by Hallevi is published according to two Genizah manuscripts, T-S NS 96.18 and MC IV 136. The T-S manuscript, our main source, is a single torn sheet, which contains the first three lines (written as six hemistichs) and traces of the fourth. It explicitly attributes the poem to Yehudah Hallevi. The verso contains the end of a known piyyut by Abraham Ibn Ezra and two anonymous poems (one of them homonymic) whose unusual meter and awkward phrasing seem to point to a later period.Hallevi's poem, “Shalom lekha shemesh be-'et hillo” (Peace upon you, radiant sun) is a panegyric addressed to a patron or friend. It starts in medias res with highflown eulogies, dispensing with the introduction often found in other poems of this genre. With regard to style and meter the fragment is adroitly written; however, its imagery and attitude are largely conventional. The patron or friend is extolled as a sun, a star, a mast and a cedar tree—all of which are conventional materials in panegyrics. Moreover the images are linked only by their common subject and not at all on the metaphorical level, and the formulation is impersonal. These traits were very common to contemporary panegyrics, one of the more conventional genres of the school, but Yehudah Hallevi usually took care to interweave the images in various subtle ways. Of course, he may also have done this here, in the lines that did not survive—probably the greater part of the poem. The text is printed with a commentary that includes parallels from Hallevi's and Moses Ibn Ezra's poetry illustrating the more conventional imagery

Los poderosos Carmina Burana de Carl Orff. Estudio y traducción rítmica castellana

Los Carmina Burana—ciclo de poemas anónimos encontrados en la abadía de Benediktbeuern, en Baviera— constituyen una típica colección de gozosos cantos de los goliardos medievales, frailes retirados de algunas abadías benedictinas. De esta colección, los humanistas J. A. Schmeller y M. Hoffmann formaron cinco grupos contrastantes de poesías: el triunfo de la fortuna, una escena de la primavera, unas danzas en el prado, una escena en la taberna y una conclusiva corte de amor. Carl Orff compuso con ellos una partitura que ha tenido por medio siglo un enorme éxito, tanto en forma de ballet como de coral sinfónico. Se traducen aquí rítmicamente todos los coros, que pueden también cantarse con precisión en español.

Ferrabosco and Jonson's ‘The Houre-glasse’

In one of the recent volumes in the English Lute-Songs series, Ian Spink has assembled from manuscript sources fifteen songs by Alfonso Ferrabosco. The first is a setting of an anonymous poem, ‘All you forsaken lovers come,’ for a solo voice with bass, to which Spink has added inner parts. Spink's source is the ‘John Bull’ manuscript, MS. 52 D, Fitzwilliam Museum, Cambridge (c. 1620); another version—from which Spink takes two readings—is in British Museum MS. Additional 10337, the ‘Elizabeth Rogers Virginal Book,’ dated c. 1657. A third version of this song, but with a different and much more interesting set of words, Benjonson's “The Houre-glasse,’ is in a pair of manuscript part-books now in the Cathedral Library at Carlisle. These partbooks were compiled around 1637 by Thomas Smith, later bishop of Carlisle, and contain several songs not known elsewhere, such as the cycle of eleven songs about ‘John and Joan’ by Richard Nicholson. They also contain two Latin anthems by Ferrabosco (pp. 74, 75).

Anacreon Moore and America

A dramatic incident in the literary warfare between England and America during the first quarter of the nineteenth century was Tom Moore's indictment of the American character in Epistles, Odes, and Other Poems (1806), inspired by a tour through the United States in the summer of 1804. Four Juvenalian “epistles” developed the contrast in America between man's humanitarian dreams and his actual moral and political performance. Because of the poet's popularity, his diatribe, which included slanderous portraits of Jefferson and Washington, was widely discussed and deeply resented even by Moore's American friends. The most substantial rebuttals came in a lengthy critique of Moore's work offered as prefatory material to an American edition of Epistles, Odes, and Other Poems (Philadelphia, 1806); in a serial review by William Coleman in the New-York Evening Post (October-November 1806); and in an anonymous poem entitled An Attempt to Vindicate the American Character (Philadelphia, 1806). So violent was the reaction that not until the publication of Lalla Rookh in 1817 did “Anacreon” Moore regain favor among Columbian readers, and by that time he had come to regret what he called his “crude and boyish tirades against the Americans.”

The Georgics of Bacchicles,' an anonymous poem on tobaco: Authorship

The Georgics of Bacchicles,' an anonymous poem on tobaco: Authorship

Orion and Other Anonymous and Hitherto Unpublished Poems Attributed to John Keats

Orion and Other Anonymous and Hitherto Unpublished Poems Attributed to John Keats