Library Edition Research Articles

Inter-American Conferences: 1826-1954: History and Problems. By Samuel Guy Inman. Edited, with preface, by Harold Eugene Davis. (Washington, D. C.: The University Press of Washington, and the Community College Press, 1965. Pp. xi, 282. Library edition, $7.00. Student edition, $5.00.)

Inter-American Conferences: 1826-1954: History and Problems. By Samuel Guy Inman. Edited, with preface, by Harold Eugene Davis. (Washington, D. C.: The University Press of Washington, and the Community College Press, 1965. Pp. xi, 282. Library edition, 5.00.) - Volume 23 Issue 2

Suite for Horn and Piano, and: Suite (Twelve Duets) for Horn and Tuba, and: Horn Sonata, and: Horn! for Horn in F and Piano, and: Sonata for Horn and Piano (review)

Alec Wilder. Suite for Horn and Piano [1956]. Newton Centre, MA: Margun Music, c1964. [About the composer, 1 p.; score, p. 3-20; and part. Pub. no. MM111. Duration, 11 min. $16.] Alec Wilder. Suite (Twelve Duets) for Horn and Tuba [1978]. Newton Centre, MA: Margun Music, c1996. [About the composer, 1 p.; score, p. 2-25; and 2d score. Pub. no. MM113. Duration, 10 min. $15.] Robert Baksa. Horn Sonata [1983; rev. 1993]. Bryn Mawr, PA: Composers Library Editions; sole agent: Theodore Presser Co., c1996. [Score, 30 p.; and part. Pub. no. CLE-26; 494-02045. $21.65.] Thomas Benjamin. Horn! for Horn in F and Piano. San Antonio, TX: Southern Music Co., c1997. [Performance notes, composer biography, 1 p.; score, p. 3-20; and part. Pub. no. SU343. $10.] Margaret Brouwer. Sonata for Horn and Piano. New York: Pembroke Music Co., c2000. [Performance notes, 1 p.; score, p. 3-21; composer biography, p. 22; music of M. Brouwer, p. 23; and part. ISBN 0-8258-0767-0; pub. no. PCB139. Duration, 15 min. $19.95.] The French horn holds an important place in orchestral and chamber music, where composers consistently exploit its particular expressive qualities to great effect. The solo repertoire for the horn, however, remains small and of generally un-even quality, with only a few works (notably by Wolfgang Amadeus Mozart, Robert Schumann, Richard Strauss, and Paul Hindemith) that engage musicians and audiences at large. In an aggressive attempt to increase the quality and quantity of solo horn writing, the International Horn Society (IHS) commissions works, maintains an assistance fund to help hornists fund their own commissions, and holds composition competitions. These initiatives, along with the more personal endeavors of a few enterprising composers, have greatly increased the number of high-quality works written for the horn in recent years, including the five works collected in this review. The American composer and songwriter Alec Wilder (1907-1980) has become a favorite among brass players for his melodic gifts and eccentric syntheses of jazz, classical, and popular elements. Until recently, the extent and variety of Wilder's output was underappreciated, largely because many of his manuscripts were dispersed among friends and acquaintances. Today, however, the Alec Wilder Archive at the Sibley Music Library (Rochester, NY) and books by Desmond Stone (Alec Wilder in Spite of Himself: A Life of the Composer [New York: Oxford University Press, 1996]) and David Demsey and Ronald Prather (Alec Wilder: A Bit-Bibliography, Bit-Bibliographies in Music, 45 [Westport, CT: Greenwood Press, 1993]) afford new insights into Wilder's personality, compositional process, and influences. In addition, his friend and advocate Gunther Schuller, who founded Margun Music (now under the auspices of the Music Sales Group), has made much of Wilder's work commercially available. Wilder willingly embraced what Schuller calls underdog instruments (Stone, 112), producing a large and interesting corpus of works for brass instruments that still has parallel. His great reputation among horn players largely stems from his close friendship with renowned hornist John R. Barrows (1913-1974), a distinguished performer and teacher who held posts with the Minneapolis Symphony, the Army Air Forces Band, the New York City Opera, the New York City Ballet, and the Casals Festival Orchestra, as well as teaching positions at Yale University, New York University, and the University of Wisconsin, Madison. Barrows, who championed both classical and jazz horn, pressed Wilder to produce new works for his instrument--a demand to which Wilder, of course, acquiesced. Over the ensuing years, Barrows received many new horn works, including three large sonatas and a wide variety of shorter pieces that have become standard repertoire for the horn, and essential to any serious horn performance collection. For his part, Wilder was also profoundly influenced by the partnership, noting no matter what the circumstances or for whom I was ostensibly composing, everything I've ever written since I met John Barrows was written for him (In Memoriam: John R. …

Book Review: REFLECTIONS ON COMMUNITY PSYCHIATRIC NURSING, by Tony Gillam. New York: Routledge Publisher, 2002. 135 pp. $20.95 (softcover), $65.00 (library edition)

Book Review: REFLECTIONS ON COMMUNITY PSYCHIATRIC NURSING, by Tony Gillam. New York: Routledge Publisher, 2002. 135 pp. $20.95 (softcover), $65.00 (library edition)

Cochrane renal group report

r HIS ISSUE contains your copy of the 2004 edition of the Renal Health Library. It ontains bibliographic details and abstracts (when vailable) of more than 6,000 randomized conrolled trials and the full text of 57 Cochrane ystematic reviews related to kidney disease. It lso contains the bibliographic details of some tudies of diagnostic test accuracy and nonochrane meta-analyses, a new feature that we ill develop further for 2005. Links to PubMed re given for MEDLINE-indexed articles. We ave put considerable effort into hand-searching ecent proceedings of the American Society of ephrology, World Congress of Nephrology, and uropean Renal Association–European Dialysis nd Transplant Association (ERA-EDTA) confernces for reports of randomized controlled trials, nd these are now on the Renal Health Library. A eb version also is available through our Web ite. We would appreciate your feedback, which ou can send using the feedback form on the D-ROM or the Web site or by simply e-mailing s at crg@chw.edu.au. Our report this month contains a selection of ublished and ongoing randomized controlled trils added to our Specialized Register between Janury and June 2004. They have been selected for elevance and quality, including suitable sample ize and clinically relevant or patient-centered outomes. Visit our Web site (www.cochrane-renal. rg or through the American Journal of Kidney Dis-

The Basic business library: core resources

purpose of the new, third edition of this established resource is to provide a checklist of essential business reference tools that small and medium-sized academic, public and business libraries can use to evaluate and develop their collections. At the same time, the book features a core list of resources and a selection of authoritative essays specifically designed to assist in the development or expansion of business reference collections. This edition of The Basic Business Library also features descriptions of new electronic information sources as well as the latest books, journals and newsletters. The Basic Business Library is divided into three parts: Part 1 (Core List of Printed Business Reference Sources) features 200 entries and serves as an acquisition and collection evaluation tool. Completely described and evaluated are periodicals, almanacs, dictionaries, handbooks, encyclopedias and monographs; Part 2 (The Literature of Business Libraries 1976-1993) is a detailed compilation of abstracts of business, reference and business librarianship literature and contains almost 300 entries. It is an important descriptive guide to the literature for both the student and practitioner alike; and Part 3 (Business Reference Source and Services Essays) features 10 state-of-the-art essays, all written by practising librarians to address the challenges and answer the questions of the business library student and the librarian. essays cover online business databases, US government information, business periodicals, the best sources for business investment information, acquisitions and collection development, organisation of materials, business reference sources, the training of business information professionals and international business information.

Morningstar Library Edition

Morningstar Library Edition

Quintilian: The Orator's Education

Quintilian, born in Spain about A.D. 35, became a widely known and highly successful teacher of rhetoric in Rome. The Orator's Education (Institutio Oratoria), a comprehensive training program in twelve books, draws on his own rich experience. It is a work of enduring importance, not only for its insights on oratory, but for the picture it paints of education and social attitudes in the Roman world. Quintilian offers both general and specific advice. He gives guidelines for proper schooling (beginning with the young boy); analyses the structure of speeches; recommends devices that will engage listeners and appeal to their emotions; reviews a wide range of Greek and Latin authors of use to the orator; and counsels on memory, delivery, and gestures. Donald Russell's new five-volume Loeb Classical Library edition of The Orator's Education, which replaces an eighty-year-old translation by H. E. Butler, provides a text and facing translation fully up to date in light of current scholarship and well tuned to today's taste. Russell also provides unusually rich explanatory notes, which enable full appreciation of this central work in the history of rhetoric.

Concise Dictionary of Library and Information Science 2nd edition

Concise Dictionary of Library and Information Science 2nd edition

Richard Hooker and the EuropeanIUS Commune

Placing Richard Hooker (d 1600) within the history of European thought has never been easy. The work of this Elizabethan defender of the English Church seems to defy exact categorisation. Publication in the Folger Library Edition of Hooker's complete works has, however, made knowledge about him easier to acquire than it once was, and in particular it makes possible a more accurate assessment of a question of interest to readers of this Journal. How much did he know about theius commune, the amalgam of Roman and canon laws that governed practice in the tribunals of the Church? More than that, because the Folger Edition includes all Hooker's surviving writing—even his sermons and autograph notes—it is possible to discover more about the ways in which Hooker made use of the legal sources at his disposal, including those from the Roman and canon laws.

Balzacian Evolution and the Origin of the Snopeses

Malcolm Cowley's short essay William Faulkner's Human Comedy(1) probably created the Honore de Balzac-William Faulkner source study field by briefly suggesting organizational similarities between La Comedie humaine and Faulkner's oeuvre. After Cowley, scholars incrementally but steadily added plot, name, and thematic similarities; Philip Cohen provides a bibliography of their work, and his own contributions are the most thorough in the field.(2) Over-determination is always a potential danger in source study, however, and recently, while contributing more plot and name resemblances, Jacques Pothier has suggested that design similarities between the two oeuvres are attributable to Cowley rather than to Faulkner (123) and even doubts the Balzacian influence that Cohen sees in Faulkner's banker Flem Snopes: Would it not be vain to claim that Flem Snopes is inspired by Rastignac, du Tillet or Nucingen, rather than by Dickens's Uriah Heep? ... Flem is a variation on a type common in the nineteenth and early twentieth century novel ... when such characters can be read about in the novels of Balzac, Dickens, Twain, to name but a few (112). To trace Flem's acquisitiveness to Rastignac would be, of course, wrong, but Rastignac's relationship with Nucingen's wife and marriage to his daughter certainly afford parallels to Gavin Stevens' relationship with Eula and Linda Snopes, and to Flem's complicity in his wife and Manfred de Spain's liaison. Cohen observes that Faulkner's A Dangerous Man (Uncollected Stories 575-582) mentions Baron de Nucingen, Balzac's great financier, and that a character there his wife to have an affair just as ... Nucingen ... allows his wife [hers] with de Marsay and then Rastignac (Cohen 331). Variations on the phrase wife must be above suspicion appear several times in Faulkner's work, most notably in reference to Town's Manfred-Eula-Flem triangle, which A Dangerous Man appears to foreshadow. phrase was and is so well-known that Faulkner probably encountered it in a number of works, but I believe that his uses of it derive principally from the Comedie's The Rise and Fall of Cesar Birotteau,(3) in which multiple biographical parallels between its protagonist and Julius Caesar(4) and Birotteau's own puns on Caesar/Cesar (15:14, 21, 130) make it clear that the perfumier Birotteau is a modern capitalistic incarnation of the Roman original (or avatar) and would have been plain to Faulkner. Part of the story's plot also would have been obvious to Faulkner: quite unlike Caesar's second wife, Cesar's wife rejects a man's amorous advances (du Tillet's) (46-47) but in the Comedie's turbulent motion leitmotif, Mme.'s commendable behavior dooms her husband because the spurned lover, playing the role of Brutus, vindictively devises Cesar's bankruptcy and therefore his eventual death. phrase also combines Balzac and Faulkner's posthumous motion (the past alive in the present) and genealogy leitmotifs and appears at least twice elsewhere in the Comedie: A Commission in Lunacy,(5) in which the exemplary magistrate Popinot is removed from a case because he erroneously appears to have violated the letter of judicial procedure--he is told wife must not be suspected (3:364); and the unfinished The Deputy for Arcis,(6) in which a character self-righteously exclaims, My friends, like Caesar's wife, must be above suspicion (30, pt. 1:349). Two general remarks regarding the design issue: Cowley's observations of certain patterns in Faulkner's work do not preclude strategic roles for those patterns (which emerge very early in Faulkner's work), and Cowley makes it clear that the generally ascendant sequencing of Collected Stories' contents and section titles are Faulkner's (Faulkner-Cowley File 115-120). At his death, Faulkner owned thirty of the thirty-three volumes in the Gebbie Publishing Company's Library Edition of Novels of Balzac (1897-1899), and since his own work occupies twenty-four volumes, anyone who wishes to investigate Balzac's influence on him must be familiar with fifty-seven volumes of primary text, thirty-three of which are translated, often poorly,(7) from French into English. …

Traces of Blood and the Matter of a Paraclete's Coming: The Menstrual Economy of Pynchon's <i>V.</i>

The 1990 printing of the Perennial Library edition of Pynchon's V. features on its cover the depiction of a woman in a cardinal's gown, her turned face hidden by windswept black hair. She holds the gown up over her knees, revealing her legs almost to the full extent of her thighs. The crimson fabric of her garment gathers and creases in suggestive folds across the top and down the sides of her legs. The folds of the red gown form a dark, oval recess out of which her legs emerge: her lower body becomes a magnified image of her vagina. A shadowy V-shape separates the tops of her thighs. The woman is neither black nor white, but somewhere in between. Brown or racially mixed, she is perhaps a composite representation of all the women from different cultures in the novel. In the upper left-hand corner of the cover is the book's title: V. Together with this enigmatic letter or initial, the painting that adorns the book's cover inaugurates the quest for who or what V. is. In the middle of the second chapter, when Herbert Stencil recites the haunting passage from his dead father's journal, this mystery takes center stage: '''There is more behind and inside V. than any of us had suspected. Not who, but what: what is she. God grant that I may never be called upon to write the answer, either here or in any official report'" (53). The search is on. Like Oedipa's Tristero in <em>The Crying of Lot </em><em>49</em> and Siothrop's Rocket in <em>Gravity's Rainbow, </em>Stencil's V. both beckons and evades the questor, imparting the possibility of a realm of meaning that is simultaneously sacred and dangerous, or sacred because dangerous.

The Power of Blackness: Richard Wright Re-Writes Moby-Dick

In his autobiography Black Boy (1945), Richard Wright describes the desperate hunger for books which characterized his boyhood and the diverse subterfuges he devised in order to satisfy it. A century earlier, Frederick Douglass, as if anticipating Wright in The Narrative of the Life of Frederick Douglass (1845), had revealed that a black boy, in a racist society, would have to resort to duplicitous means if he yearned to read. Reading proved liberating for both the young Douglass and the young Wright, since it provided concepts and narratives which confirmed and illuminated their experiences. As a consequence, they became insatiable readers, and as biographers and literary critics have often shown, they later relied on their reading to convey to their own readers the distinction and signification of their writing. Thus, critics demonstrate that Douglass's Narrative depends for its success in part on the rhetoric and structure of such works as The Autobiography of Benjamin Franklin and Emerson's Self-Relianc e [1]; and from the moment of Native Son's publication in 1940, it was evaluated in relation to other novels--Steinbeck's Grapes of Wrath in Henry Seidel Canby's promotion of the novel for the Book-of-the-Month Club and Dostoyevsky's Crime and Punishment in Dorothy Canfield Fisher's introduction to the first edition. [2] Wright's biographers Keneth Kinnamon and Michel Fabre discuss in detail the numbers of writers he absorbed in the years of his literary apprenticeship. Starting with Mencken in Memphis, he went on to read Sinclair Lewis, Edgar Lee Masters, Sherwood Anderson, Joseph Conrad, and Charles Dickens; moving to Chicago, he added, among others, Jack London, James Joyce, Theodore Dreiser, Gertrude Stein, Stephen Crane, Maxim Gorky, Marcel Proust, T. S. Eliot, Ezra Pound, Joseph Wood Krutch, Henry James, Aldous Wood Huxley, and the writers of the Harlem Renaissance. As Kinnamon points out, Wright persisted as well in reading philosophical, political, and sociological materials (Emergence 44, 46, 70). Fabre notes that Wright was a reader of all genres--magazines, Westerns, literary and progressive political journals, novels,... essays by Stalin and theoretical works on Marxism (Unfinished 170). In the last stages of composing Native Son in New York in 1939, according to Fabre, Wright was reading Dostoyevksy's The Poss essed and The Brothers Karamazov, Ernest Hemingway's short stories, Andre Malraux's Man's Hope, and Leo Tolstoy's War and Peace (176). Numerous critics have subsequently argued for the importance of many of these writers, their theories, and their genres in Wright's creation of Native Son. [3] In these catalogs testifying to Wright's omnivorous consumption of reading materials, however, there is no mention made of Herman Melville's Moby-Dick, the novel which, during the years Wright was so intensely engaged in creating Native Son (1937-1939), numerous critics, publishers, and readers were endorsing and proclaiming as the great American novel. [4] Nor have subsequent critics noted the impact of Moby-Dick on Native Son. [5] In his indispensable list of Wright's library and reading, Richard Wright: Books & Writers, Fabre cites a 1948 interview in which Wright asserts that, along with Metamorphosis, Ulysses, and The Sound and the Fury, Moby-Dick was his favorite novel (50, 107). [6] Fabre's introduction to Books & Writers explains that Wright owned very few books prior to 1940 and was therefore dependent on libraries and friends from whom he could borrow books for many years. Thus, although Fabre notes that Wright acquired his copy of the 1930 Modern Library edition of Moby-Dick, illustrated by Rockwell Kent, after 1940, it is not unlikely that Wright might have borrowed a copy of Moby-Dick to read before 1940, since other evidence argues for Wright's close familiarity with Melville's novel before and during the composition of Native Son. In Personalism, an essay thought to have been written between 1935 and 1937, Wright comments, perhaps in anticipation of the conflict in Native Son, that Melville dramatized his conflict with society in emotional terms, basically pessimistic (107). …

"Thou Fall'st, My Tongue": Success and Failure in the Cary-Morison Ode

Jonathan Tuck "Thou Fall'st, My Tongue": Success and Failure in the Cary-Morison Ode I. Annus Mirabilis For students at Columbia College, the academic year 1967-68 was a fruitful source of revelations. The most memorable of these, for most of us, came from the famous and infamous events of the spring semester; but for me and a few classmates, there were also lifechanging moments at the beginning of the fall. We crammed ourselves around a small table in Philosophy Hall for the first meeting of C3081x, the Reading Course in Renaissance Lyric, with Professor Edward Tayler. As I recall, we didn't stay long or do much in that first class meeting, but the assignment was unforgettable: "For next week, bring in a list of the ten best poems, in order, of Sir Thomas Wyatt." One hardy soul who knew the size of the Wyatt canon asked timidly, "Does this mean we have to read them alii" "You bet," said Tayler in his characteristic nasal twang, and off we went. The next six days saw us poring over the 300-odd pages of tiny print in the Muses' Library edition, culling, sifting, ranking, discarding, and often asking ourselves or each other what it meant to say that one poem was better than another. Some things I thought I learned: You could trust the surface of a poem; the richest, deepest ones had something alluring at first reading to pull you in. Your ear was more important than your eye. The hackneyed anthology pieces, for the most part, deserved their fame; they really did merit revisiting again and again. But there were sometimes other, relatively unknown poems that were just as good, whatever I thought I meant by that. The following week Tayler went through our lists and told us who was right and who was wrong. We should have been outraged 78Jonathan Tuck by that, I suppose; but we were not, and I must admit that I usually find myselfstill agreeing with his judgments. Every subsequent week's assignment for the rest of the year subjected us to the same procedure, but with a different poet. It was a different kind of reading for us. Our normal expectation had been that the question of value had already been answered — or else why were we reading this work, rather than another? — and would only be readdressed at the end of our act of reading, when we would reconfirm the presupposed greatness of the work by our complex response to it. But now we were learning from Tayler, who had learned it from his master Yvor Winters, that it was a useful avenue of approach to ask the question of value first. We are all to some degree dependent on received valuations, especially as readers of poetry. To engage a single poem seriously is so demanding, even exhausting, that we require some assurance up front that the experience will be worthwhile for us. No one has the time or the energy to reconstruct the canon from scratch. The college I now teach at is devoted to the study of "great" books; yet all of us at St. John's recognize that the selection we read is somewhat arbitrary. Some of our most difficult moments come when we consider a proposal to substitute one "great" work for another. //. Nothing Perfect Done I don't remember where in my Jonson list I ranked the ode, 'To the Immortali Memorie, and Friendship of that Noble Paire, Sir LUCIUS CARY, and Sir H. MORISON."1 We did talk about it in class, so it must have been near the top of Tayler's list. But the critical fortunes of this strange poem have varied widely over the years. The accepted view now seems to be that it is one of Jonson's greatest. Sara van den Berg declares that it is "now widely regarded as Jonson's major Caroline achievement,"2 and Richard Peterson organizes what is probably the most important and influential book on Jonson's nondramatic works around this ode, whose treatment occupies a final, forty-odd-page chapter.3 But 'twas not ever thus. The verdict of Herford and Simpson may...

Niels’s Saga: Colonial Narrative and Nordic Naturalism in Settlers of the Marsh

NIELS’S SAGA: COLONIAL NARRATIVE AND NORDIC NATURALISM IN SETTLERS OF THE MARSH MAC FENWICK Queen’s University W h i l e it has been more than twenty years since Douglas Spettigue’s dis­ covery of Frederick Philip Grove’s real identity as Felix Paul Greve, some of the more puzzling aspects of this enigmatic man’s works remain unex­ plained. One such question is why this naturalistic writer gave his first Canadian novel an apparently anti-naturalistic happy ending — an ending that Thomas Saunders, echoing many critics, goes so far as to call “faulty” in his introduction to the 1965 New Canadian Library edition (xiii). There is reason to believe that this (seeming) discrepancy is, in fact, the result of the novel’s unique brand of naturalism, a naturalism influenced by Grove’s re-presentation and appropriation of the comic-tragic vision and (colonizing) narratological strategy of the Icelandic family sagas that Grove restaged in the New World that he loved. The concept of “writing back” to the imperial (European) centre has re­ ceived increasingly wide circulation, with numerous studies on books such as J.M. Coetzee’s Foe, Sam Selvon’s Moses Ascending, and the now canonically postcolonial Wide Sargasso Sea, by Jean Rhys. Each of these books takes a European “classic” and recasts it in some new and potentially subversive manner. Coetzee rewrites Robinson Crusoe from Friday’s point of view, while Selvon parodically uses Defoe’s text (among others) to explore class and racial relations in 1970s London. Rhys’s novel, essentially a prequel to Jane Eyre, reclaims Rochester’s first wife from the imperial framework that had classified her as a “savage creole” by giving her both full voice and char­ acterization within her native Caribbean context. Each of these rewrites lives up to the combative promise of the phrase, “The empire writes back.” There was another approach, however, frequently adopted by an earlier generation of writers in the settler populations of the New World: appropriation or re-placement. This is the strategy that Grove seems to have adopted when, in Settlers of the Marsh, he appropriated to the Canadian West the family sagas of medieval Iceland. It is important to keep in mind that what Grove attempts in Settlers is not as simple or as linear as taking an older work as a source and updating English Stud ies in Ca n a d a , 23, 3, Sept. 1997 or restaging it in the present. When Shakespeare took the historical ac­ counts contained in Holinshed’s Chronicles and recast them as plays, he did so to explain English history to the English. Milton, in using Genesis as the source for Paradise Lost, retold a story that was already universally known and quite obviously applicable to his own society. What Grove does is to take a story that is not only temporally removed from his own context but also geographically and psychically distant in a way that Shakespeare’s his­ tory plays and Milton’s religious epics were not. Shakespeare’s retellings of English history were undertaken to uphold the Tudor claim to power, while Milton’s retelling of the Fall was an attempt to explain his own dissenting theology to a homogeneously Christian country. Both men used texts from and of their own traditions to change (or to support) the long-established historical and social norms of their society. In rehearsing— instead of merely retelling — the world of Icelandic saga, Grove attempted to restage an older tradition within an entirely new context. Shakespeare and Milton reinter­ preted their tradition for their societies; Grove wished to help create a new tradition within a new society. In appropriating Icelandic saga Grove set himself to work with a genre as ancient as it is rich. Within four hundred years of their ninth-century settle­ ment of Iceland, the inhabitants of that tiny island-nation had accumulated a vast repository of mytho-historical tales about the pioneering Norsemen who had colonized their land. Beginning in the twelfth century and peaking in the thirteenth, dozens of saga-writers committed these stories to manu­ script. Two kinds of saga were produced. One, named the Sturlunga sagas after the powerful...

TALLIS, BYRD AND THE 'INCORRECTED COPY': SOME CAUTIONARY NOTES FOR EDITORS OF EARLY MUSIC PRINTED FROM MOVABLE TYPE

ONE OF THE liveliest images created by Oswald Barrett ('Batt') for The Oxford Companion to Music is his illustration of William Byrd scanning proof pages of that milestone of English music engraving, Parthenia.' To what extent Batt's fantasy represents reality we shall probably never know, for only one copy of the first issue of Parthenia survives, and, far from being free of errors, it can hardly be held up as a model of scrupulous proof-reading.2 But in a sense Batt's prophecy has been brought to pass. Recent scholarship has shown that other editions of Byrd's music published in the composer's lifetime, all of them printed from movable type rather than engraved, were checked for accuracy with great care.3 In almost every case where more than one copy of an edition survives, examples of stop-press corrections and other forms of emendation have been found. Clearly someone took pains to ensure that Byrd's publications were as free from error as was technically and commercially viable. Whether the watchful eyes were Byrd's or those of an employee of the printing-house it is not possible to say, yet the image of Byrd the eager proofreader surely contains at least an element of truth. The editors of The Byrd Edition have been among the staunchest promoters of bibliographical methods that are taken for granted in other fields but are all too often overlooked by editors of early music. How many of us have assumed that a single copy of a sixteenth-century music print is all we need in order to make an edition? How many editors, even of the standard library editions we use every day, never went beyond the stage of consulting the copy (or the microfilm of a copy) that came most conveniently to hand? When the number of surviving copies of a print is large, how many editors have devoted the time and labour to examining every one of them in detail? Yet, as The Byrd Edition and a few other bibliographically-aware projects have shown, it is a short cut that we take at our own risk. Not all copies of a printed book are identical, even when produced during the course of a single print run and issued as part of the same edition.4 In the words of Philip Brett, 'Musical editors

Library of Congress Subject Headings in Jewish Studies: Recent Changes (1994-1995)

The following subject headings of interest to Judaica and Hebraica librarians were culled from Library of Congress Weekly Lists (1994) nos. 6-52 (Feb. 9, 1994–December 28, 1994), and (1995) nos. 1–36 (January 4, 1995-September 6, 1995). This list continues my earlier one, published in Judaica Librarianship, vol. 8, no. 1–2 (Spring 1993–Winter 1994), pp. 73–82. The list is also an update of my 4th edition of Library of Congress Subject Headings in Jewish Studies (New York: Association of Jewish Libraries, 1993).

The Cup and the Lip and the Riddle of Our Mutual Friend

In a novel about surface and substance, disguised identity, linguistic conundrums-indeed, a novel where the very plot is carried forward through the exchange of slips and scraps of paper-such a tipped in slip deserves critical attention. Yet the slip heretofore exists as a sort of purloined letter, so conspicuously present that it has been missed entirely. Scholarly reprints of the novel, including the most recent Everyman's Library edition (1994), omit the slip, while critical works maintain more than a century of silence on the subject. A careful study of this slip of paper and the first page of the novel, however, reveals Dickens's ambitious attempt to open his work with a riddle that introduces some of the main aspects of his narrative. A reading of Our Mutual Friend, as we shall see, involves a complex working out of the mysteries and idiosyncrasies presented on the first page. Riddles, conundrums, enigmas, and other word games occupy a unique position the history of the serial. Popular since the Renaissance, the publication of word games exploded with the advent of affordable serial magazines the late eighteenth century. By the time Our Mutual Friend began to appear 1864, riddles, conundrums, and

The Folger Library Edition of the Works of Richard Hooker, vol. 6, parts 1 and 2. Edited by W. Speed Hill. Binghamton, N.Y.: Medieval and Renaissance Texts and Studies, 1993. xxx + 1247 pp.

The Folger Library Edition of the Works of Richard Hooker, vol. 6, parts 1 and 2. Edited by W. Speed Hill. Binghamton, N.Y.: Medieval and Renaissance Texts and Studies, 1993. xxx + 1247 pp.

:The Folger Library Edition of the Works of Richard Hooker. Vol. 5: Tractates and Sermons

:<i>The Folger Library Edition of the Works of Richard Hooker. Vol. 5: Tractates and Sermons</i>

Of the Laws of Ecclesiastical Polity. Vol. 6 of The Folger Library Edition of the Works of Richard Hooker Part One: Introductions; Commentary, Preface and Books I-IV Part Two: Introductions; Commentary, Books V-VII. Richard Hooker , W. Speed Hill

Previous articleNext article No AccessSHORT NOTICESOf the Laws of Ecclesiastical Polity. Vol. 6 of The Folger Library Edition of the Works of Richard Hooker Part One: Introductions; Commentary, Preface and Books I-IV Part Two: Introductions; Commentary, Books V-VII. Richard Hooker , W. Speed Hill PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 89, Number 2JUNE 1995 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/pbsa.89.2.24304257 Views: 1Total views on this site COPYRIGHT © 1995 THE BIBLIOGRAPHICAL SOCIETY OF AMERICAPDF download Crossref reports no articles citing this article.