Modern Critical Editions Research Articles

Between Material Philology and Reception History: Patristic and Papyrological Evidence for the Sibylline Oracles

Abstract This article adapts insights from Material Philology to rethink the reception of the Sibylline Oracles by looking at the full range of evidence for the collection’s early development and circulation. Since the “rediscovery” of the Oracles in 1545, the Renaissance-era manuscripts and modern critical editions have been privileged as if equivalent to the “original,” ancient text. To move away from mediating our knowledge of the Oracles solely through later interpreters, this article brings materials from the margins – papyrological fragments from the second centuries BCE and CE and quotations in Josephus, Justin Martyr, Athenagoras, and Theophilus – to the very center of the discussion. Increased attention to Jewish and Christian witnesses provides a snapshot of how the Sibylline Oracles were read, received, and redacted over time. Comparing the material evidence with the manuscript tradition yields startingly different concerns regarding the Oracles’ textual fluidity, Book 3’s Jewish origins, and the Sibyl’s prophetic authority.

Phalaris & co.

Abstract The letters of Phalaris are among the letter collections assembled by Rudolf Hercher in his, ‘Epistolographi graeci’, published in 1873. They differ from other collections in that volume in the size of the corpus ( 148 letters ) and the breadth of the manuscript tradition ( more than 132 manuscripts ). Moreover, the number and the order of the letters vary greatly from one manuscript to another. These characteristics explain why there is no modern critical edition of the letters of Phalaris. This paper addresses a methodological issue: how can we get a comprehensive view of the transmission of the letters of Phalaris? It examines these letters from the perspective of the collection, given that the letters of Phalaris are often transmitted within manuscripts that combine several corpora of letters, thus forming large epistolary collections. This paper shows to what extent the results obtained by the editors of other epistolary texts can be applied to the letters of Phalaris and what is gained, on a literary level, by replacing these letters in their context of transmission.

Проблема передачи латинских титулов трактата Оригена «О началах» в рукописях семейства гамма

The article analyzes the manuscripts of the gamma family of the Latin translation of Origen’s treatise “On First Principles” in order to study the transmission of the Latin titles of the work. A review of critical editions of the treatise and scientific literature related to the study of the history of transmission of its Latin titles is given. Conclusions of the previous articles suggesting correcting Latin manuscript stemma presented in modern critical editions of the treatise are summarized. The author focuses on the table of contents of the treatise, which is presented in most gamma manuscripts. The data of other works included in all gamma manuscripts is used to clarify the problem under study. The theory of the existence of notes in the margins of the archetype of all known manuscripts of Origen’s “On First Principles”, proposed in foreign studies, is discussed. Based on the above data, important shortcomings of this theory are shown.

Richard Rolle: On Lamentations. A Critical Edition with Translation and Commentary. Edited by Michael Van Dussen

Richard Rolle, the early fourteenth-century hermit and mystic, is often regarded as the founding father of English medieval mysticism, particularly of works written in the vernacular. However, most of Rolle’s works were written in Latin. Interest in the Latin works, particularly in the biblical commentaries that form over half of Rolle’s output, has been developing over the last 20 years or so, but needs modern critical editions of these works to flourish. This edition of Rolle’s commentary on Lamentations is therefore welcome. The author tells us that there are four extant manuscripts: two in Oxford (in the Bodleian Library and in Corpus Christi College), one in Dublin, and, perhaps surprisingly, one in Prague. Van Dussen has also drawn on the first printed edition, published in Cologne in 1536, which appears to have come from a fifth manuscript. The variations are not extreme, arising largely from the usual scribal errors, omissions, and occasional expansions. Looking at the textual notes, the variations do not suggest any deliberate slanting of the text, which is interesting given that Van Dussen goes on to situate its circulation in the context of Reformation religious controversy.

History of the Dukes of Normandy and the Kings of England by the Anonymous of Béthune

Ever since its publication by Francisque Michel for the Société de l’Histoire de France in 1840, the Old French prose history of the dukes of Normandy translated here has been recognized as an important source for the history of Normandy, England, Flanders, and Capetian France. Its unnamed author is customarily referred to as the ‘Anonymous of Béthune’ because of the prominence in the narrative of the lords of Béthune (dépt. Pas-de-Calais), who were ‘advocates’ (lay protectors) of Arras but also major landowners in England between the eleventh and mid-thirteenth centuries. The same writer is believed to have been the author of a vernacular prose history of the kings of France, usually called the Chronique des Rois de France, which was partly published by Léopold Delisle in 1904. The two Béthune texts reworked and continued two French texts from the beginning of the thirteenth century, known, respectively, as the Chronique de Normandie and the Geste de France, which in turn drew upon and embellished older Latin texts—respectively, in the traditions of Norman and pro-Capetian historical writing. Despite their wealth of original detail, historians have been hesitant to use the two Béthune histories as historical sources. In part, this is due to their genre: vernacular texts, whether in prose or verse, have often been treated with suspicion by medieval historians trained in the use of Latin chronicles, and the relationship between the many vernacular histories from this period is also problematic. Yet there can be no doubt that the lack of either a modern critical edition or an English translation of the Anonymous Norman history has also hindered its use, and so the present work, published in Routledge’s Crusade Texts in Translation series, is very welcome indeed. The translation, using the 1840 edition, was drafted by the distinguished translator Janet Shirley, who died in 2017, but it is Paul Webster who has prepared it for publication, with extensive historical notes and a scholarly introduction.

APOCALYPTIC ASCETICISM: COMPLETING THE EDITION OF ALEXANDER MINORITA'S EXPOSITIO IN APOCALYPSIM AS IT IS FOUND IN CAMBRIDGE, UNIVERSITY LIBRARY, MM.5.31

The Expositio in Apocalypsim by Alexander Minorita (also known as Alexander of Bremen, d. 1271) is the earliest complete mendicant Apocalypse commentary. It has been noted for its highly chronological interpretation of the path toward the end times and its witness to the early spread of Joachimite texts into central Europe. Our knowledge of the transmission and, crucially, the use of this text has thus far not taken into account thirty-five folios of instruction on spiritual warfare found in one of the Expositio's eight manuscript witnesses: Cambridge, University Library, Mm.5.31 (c. 1270). The edition presented here of this unique addition, which was excluded from the modern critical edition of the Expositio, makes the complete Cambridge version of the Expositio available for the first time. While there has been some debate over the editorship of this version of the commentary — the Benedictine-turned-Franciscan Albert of Stade (d. c. 1260) and Alexander himself have both been suggested — we argue that a further possibility must be considered. Its author may have been a highly educated Benedictine writer, who adapted the commentary with his coreligionists (at least partly) in mind. His goal was not only to extol the importance within the apocalyptic timeline of Benedictine history, but also to promote ascetic values among his readers. Overall, the Cambridge Expositio provides further evidence of the intellectual conversations and cross-pollination of both practices of learning and structures of thought between mendicant, university, and cenobitic cultures in this period. Within this context, apocalyptic thought could find unexpected uses, including galvanizing monks in day-to-day religious practice and progress.

TOWARDS A NEW EDITION OF JULIAN'SCONTRA GALILAEOS: ASSESSING THE MATERIAL FROM THE SYRIAC TRANSMISSION OF CYRIL'SCONTRA IVLIANVM

AbstractEmperor Julian's three-book treatiseContra Galilaeossurvives solely in those Christian sources that quoted it in order to respond to its forceful attack on Christianity. The bulk of these survivals comes from Cyril of Alexandria's twenty-bookContra Iulianum. The recent publication of the first modern critical edition of Cyril's work creates the occasion for a fresh study of the remnants of Julian's text that can be recovered from it. This is especially true for Books 11–20 of Cyril's treatise that are themselves lost and survive only in quotations in later Greek and Syriac sources. The present article undertakes a reassessment of the Julianic material preserved via the Syriac transmission ofContra Iulianum, including several passages hitherto unknown or ignored in earlier studies of Julian's treatise. It provides the Syriac text and English translation of eight passages and contextualizes them in the wider argumentative aim ofContra Galilaeos.

Plu., An seni 784C-D: Textual and Exegetical Problems

The aim of this article is to reflect on the different exegetical possibilities of An seni 784C-D through the analysis of the history of modern translations and critical editions. At the end of the paper, an interpretative hypothesis and a textual comment to An Seni 784C-D are given.

Exposing Textual Corruption: Community as a Stabilizing Aspect in the Circulation of the New Testament Writings during the Greco-Roman Era

Because few manuscripts of the NT writings are preserved from the first three centuries of the Christian era, scholars have debated the extent that modern critical editions of the NT reflect the text in circulation during these early centuries. In order to answer this question, this article will set out the evidence for ancient publication through community transmission. It will consider examples from Cicero, Martial, Quintilian, Pliny the Younger and Galen. These authors reveal that they preferred social networks rather than commercial dealers to circulate their writings. These same communities that copied and distributed an author’s works inadvertently created an environment in which significant alterations and plagiarizing of these same writings became known. Matthew D.C. Larsen, who has recently approached the same problem addressed in this article by examining ancient publication conventions, is engaged with throughout. The conclusions drawn here press hard against Larsen’s assertions.

Women’s History in the Age of Reformation: Johannes Meyer’s Chronicle of the Dominican Observance by Johannes Meyer

Reviewed by: Women’s History in the Age of Reformation: Johannes Meyer’s Chronicle of the Dominican Observance by Johannes Meyer Sharon M. Wailes Johannes Meyer. Women’s History in the Age of Reformation: Johannes Meyer’s Chronicle of the Dominican Observance. Translated by Claire Taylor Jones. Pontifical Institute of Medieval Studies, 2019. 306 pp. Paper, $35.00. Claire Taylor Jones offers a contemporary English translation of Johannes Meyer’s narrative of the late-fourteenth-and early-fifteenth-century Dominican Reform movement, a narrative that focused on women’s monasteries within German regions. The word Reformation in the book’s title refers not to the Protestant Reformation but to a late-medieval effort to reform Dominican monastic communities. Those practicing what was called the Observance desired to return to the austere way of life and deliberate religious devotion, perceived as being the original ways of the order. For women’s monastic communities, enclosure— separating the community from the outside world— accompanied reform. Jones’s introduction warns that Meyer’s narrative style, although perhaps bizarre to a modern reader, is typical for a late-medieval Dominican friar. Meyer includes copious references to historical figures but also impresses with his detailed accounts of specific communities, the sisters there, and how these communities were reformed. Woven into historical accounts are depictions of miracles that come to those advocating the reform. Accounts of sisters’ visions and divine ecstasy coexist with narratives of the practical duties of their offices and the bureaucratic and political obstacles they face. Entrusted for a great deal of his career with pastoral care in women’s monasteries, Meyer writes specifically for his primary audience, Dominican nuns. For his narrative, he chooses the genre of the Schwesternbuch (sisterbook), a genre containing writings by nuns with nuns as the intended audience. Meyer makes women visible not only by telling their stories and by directly addressing his female audience but also by deliberately naming the nuns involved in starting the reform: “I have recorded here the names of these thirteen devout mothers because they were the holy foundation [ . . . ] one also reads the names of distinguished holy fathers worthily commemorated in this way” (68). The lives of monastic women are being given more visibility by an emerging corpus of editions, translations, and secondary sources. Through her translation, Jones adds to this body of literature and provides access to a specific moment in women’s history in German-speaking [End Page 123] regions. Her translation of the original (late) Middle High German is formal but deliberately not archaic. Her thorough introduction and copious footnotes offer ample scaffolding to the modern reader in order to give maximum access to the author’s world. She explains specialized terminology, gives essential information for historical figures, provides reference information for other works to which Meyer refers, gives references when certain nuns are mentioned in outside sources, and corrects Meyer’s information when it is not consistent with other sources. Beyond building a historical context, Jones also explains the meaning of certain religious practices and the significance of the religious imagery within the narrative. For scholars, connections between the translation text and the corresponding locations in the main manuscript used (Strasbourg, Bibliothèque nationale et universitaire, MS 2934) provide orientation points for comparison. Also for ease of comparison, Jones has written her translation in anticipation of a possible modern critical edition of Meyer’s text. Concise footnotes mark variations among manuscripts. Because of the book’s accessible style, it can be used in lecture and discussion material. Meyer’s book includes both positive and negative aspects of these women’s lives. He mentions different offices women held for self-governance. He praises female scribes, talented in copying both text and music. However, behind his recounting of God’s aid in reforming difficult nuns, one sees that communities were often enclosed against their will, facing excommunication and, ironically, imprisonment if they refused. Thus, in a gender studies course, one can use the text to teach about women’s autonomy, yet also about abuse. German instructors teaching cultural history must often begin in the Middle Ages with the feudal pyramid including the nobility, ministeriales, and serfs. This book offers a way to...

The Promises Fulfilled for Whose Children? The Problem of the Text of Acts 13:33 in Contemporary Debate

For over a century, commentators have puzzled over the text of Acts 13:33, in which God fulfills his promises to "children" (τέκνοις), but the manuscript tradition is divided about whose children they are. Most manuscripts, which are late, Byzantine texts, report that God has fulfilled the promises "to their children, us" (τοῖς τέκνοις αὐτῶν ἡμῖν). This text is adopted in the majority of modern critical editions of the Greek New Testament, translations, and commentaries. The Editio Critica Maior's (ECM) recent critical edition of Acts, however, alters this text to the conjectural "to the children, us" (τοῖς τέκνοις ἡμῖν). This decision was made over against two prominent options: τοῖς τέκνοις αὐτῶν ἡμῖν and τοῖς τέκνοις ἡμῶν, "to our children." This second variant, found among the earliest and best manuscripts for Acts, is routinely overlooked in favor of τοῖς τέκνοις αὐτῶν ἡμῖν in most editions, commentaries, and translations, and now τοῖς τέκνοις ἡμῖν in the ECM. This article makes a case against this tendency, by arguing that τοῖς τέκνοις ἡμῶν should be adopted in the critical texts and by pointing out the methodological problems of the ECM's emendation.

Die Lieder by Martin Luther

Reviewed by: Die Liederby Martin Luther Robin A. Leaver Martin Luther. Die Lieder. Herausgegeben von Jürgen Heidrich and Johannes Schilling. Stuttgart: Reclam; Stuttgart: Carus-Verlag, 2017. [Pref. in Ger., p. 7; Die Lieder, p. 11-148; appendix, p. 151-204. ISBN 978-3-15-011096-6 (Reclam); ISBN 978-3-89948-287-4 (Carus). i35.] The hymns of Martin Luther are foundational not only for Lutherans but also for other Protestant traditions created by the Reformations of the sixteenth century, and notwithstanding Luther's views on the Catholicism of his day, Roman Catholics in subsequent generations have also taken to singing at least some of his hymns. It is Luther who promoted the vernacular singing of the congregation, a concept and practice that quickly developed and spread geographically and chronologically from Wittenberg in the early sixteenth century. Their associated melodies have become the backbone of a great deal of other music, from the homophony of Lucas Osiander to the polychoralism of Michael Praetorius, from the cantatas and organ preludes of Johann Sebastian Bach to the motets and organ pieces of Hugo Distler, from Felix Mendelssohn's exploration of Luther's Ein feste Burgin his Reformation Symphony to Igor Stravinsky's somewhat sparse reworking of the same [End Page 701]melody in his L'histoire du soldat, among other examples. Thus especially from early in the nineteenth century there have been a succession of editions of Luther's texts and melodies, some more scholarly, others more popular, notably those edited by August Jakob Rambach ( Ueber D. Martin Luthers Verdienst um den Kirchengesang[Hamburg: Bohnische Buchhandlung, 1813; reprint, Hildesheim: G. Olms, 1972]), by Carl von Winterfeld ( Martin Luthers Deutsche geistliche Lieder[Leipzig: Breitkopf und Härtel, 1840; reprint, G. Olms, 1966]), and by Philipp Wackernagel ( Martin Luthers geistliche Lieder: Mit den zu seinen Lebzeiten gebräuchlichen Singweisen[Stuttgart: S. G. Liesching, 1848; reprint, G. Olms, 1976]). The foundational modern critical edition of the texts and melodies was published as volume 35 of D. Martin Luthers Werke: Kritische Gesamtausgabe(often referred to as the "Weimarer Ausgabe," hereinafter WA, 136 volumes) edited by Wilhelm Lucke, Otto Albrecht, and Hans Joachim Moser (Weimar: Hermann Böhlau, 1923), which provided the scholarly background for more popular editions, such as those edited by Hans Preuss and Ernst Schmidt ( Luthers Lieder[Leipzig: G. Schloessmann, 1931]), and, more recently, by Johannes Heimrath and Michael Korth ( Ein feste Burg: Luthers Kirchenlieder nach der Ausgabe letzter Hand von 1545[Munich: Artemis, 1983]). With the passage of time, the discovery of new sources, and the development of new ideas about Luther, in the 1980s a series of supplementary volumes to WA was begun: Archiv zur Weimarer Ausgabe der Werke Martin Luthers: Texte und Untersuchungen. The fourth volume is Luthers geistliche Lieder und Kirchengesänge: Vollständige Neuedition in Ergänzung zu Band 35 der Weimarer Ausgabe, edited by Markus Jenny (Cologne: Böhlau, 1985, here-inafter AWA 4). The volume under review, jointly issued by Reclam and Carus, is therefore one of the latest in a long succession of editions, some of which were published in or around 2017. The primary reason for this phenomenon is that 2017 marked the 500th anniversary of the beginning of Luther's Reformation in 1517, and for many people their most tangible contact with Luther's protest in the early sixteenth century is in their familiarity with his hymns. But these new publications have been able to draw on recent significant German hymnological publications in which Luther's hymns are prominent. These include: the critical edition of published melodies associated with German hymns from the beginnings until 1570 ( Die Melodien bis 1570, vol. 1 in the series Das deutsche Kirchenlied: Kritische Gesamtausgabe der Melodien, Abteilung III, Melodien aus gedruckente Quellen bis 1680, ed. Joachim Stalmann, et al. [Kassel: Bärenreiter, 1993-98]; see my reviews in Notes54, no. 4 [June 1998]: 907-11; 56, no. 2 [December 1999]: 388-91; and 59, no. 3 [March 2003]: 664-67]); and the detailed commentaries on each of the hymns in the common hymnal Evangelisches Gesangbuch(published in various editions for each regional church in Germany, 1993-96)—the replacement of the Evangelische Kirchen-gesangbuch...

The New Oxford Shakespeare: Authorship Companion ed. by Gary Taylor and Gabriel Egan

Reviewed by: The New Oxford Shakespeare: Authorship Companion ed. by Gary Taylor and Gabriel Egan Heather Hirschfeld Gary Taylor and Gabriel Egan, editors. The New Oxford Shakespeare: Authorship Companion. oxford up, 2016 775 pp. michel foucault's celebrated query—"what is an author?"—has organized four decades of scholarship on the definition and function of the writer in relation to his or her contexts. Here, in assessing Gary Taylor and Gabriel Egan's imposing collection of essays, which serves as the third of the three interconnected print publications comprising the New Oxford Shakespeare, we should adjust Foucault's question slightly. "What is a companion?" we might ask. And to continue the quibble, "what is an authorship companion?" In the Shakespearean lexicon, a companion is distinctly human: an associate, an aide or comrade, or a rogue or rascal (David Crystal and Ben Crystal, Shakespeare's Words: A Glossary & Language Companion, Penguin Books, 2002, 86). Shakespeare's usage abbreviates a more expansive set of meanings available in the early modern period, including applications to objects rather than people. In 1533, a companion could be "an inanimate object, abstract quality, etc., regarded as company for a person," and, by 1621, it was understood as "a handbook or reference book" and, more particularly, as a vade mecum, "a book or manual suitable for carrying about with one" (OED II.9.b, 10.a). At more than 750 pages, the hefty Authorship Companion is unlikely to be carried about, even by the most dedicated scholars, who will surely wish to consult, if not necessarily adopt or endorse, its positions on the canon and chronology of Shakespeare's written work. (These positions, some of which have garnered the attention of the popular press, include the diminution of Shakespeare's hand and the introduction of Christopher Marlowe's in the three Henry VI plays, as well as the ascription to shakespeare of parts of The Tragedy of M. Arden of Faversham, Edward III, and Lewis Theobald's 1727 The Double Falsehood, reclaimed here as The History of Cardenio (see, for instance, Christopher D. Shea, "New Oxford Shakespeare Edition Credits Christopher Marlowe as a Co-author," New York Times, 24 October 2016). In its comprehensive articulation of these positions, the volume does [End Page 189] double duty: it serves not only as a guide to its readers but as the essential accompaniment to the other volumes of the New Oxford Shakespeare, particularly the Modern Critical Edition (hereafter, MCE; edited by Gary Taylor et al., Oxford UP, 2016). All twenty-five of its chapters, in other words, work to explain and justify the texts that comprise the MCE; they revolve around questions about who wrote, or who wrote which parts of, plays associated with Shakespeare's name since the 1590s. Attention to these questions distinguishes the 2016 Authorship Companion from Taylor and Stanley Wells's 1987 Textual Companion, the complementary volume to the 1986 Oxford Shakespeare: The Collected Works, which devoted more time and space to the history of editing shakespeare than to the history—and contemporary computational practices—of attributing works to him. The focus on the latter, according to Taylor and Egan, puts the "authorship" in the Authorship Companion, and the volume begins with a feisty chapter by Taylor on the nature of writing for the early modern stage. In it Taylor coins the term "artiginality," a neologism drawn from the vocabulary of the early modern guild and meant to capture both the inexorably material conditions of the Renaissance theater and the dramatist's agency and individuality in his work for it. Authorship in Shakespeare's time, Taylor explains, was a craft, one that "transform[ed] already-existing works, already-existing text-things, into recognizably new text-things" (25). The author (in another of Taylor's neologisms) was a "transformaker" (25), and like other early modern artisans or "wrights," he had had a proprietary interest in his labor. These definitions ground the rest of the volume, since they license—even mandate—the attribution of acts and scenes to the dramatists who crafted them. As Taylor writes, "The difference between one wrighter and another should matter to us because it mattered to them" (26). Thus, "modern editors and...

«En los mayores peligros se conoce la amistad», auto sacramental de José de Valdivielso, representado en el Corpus hispalense de 1619. Estudio y reconstrucción virtual

This paper studies Jose de Valdivieso’s En los mayores peligros se conoce la amistad ( Friendship is best acknowledged when in danger ) one of the five autos sacramentales (Eucharistic morality plays) staged at the Corpus Christi feast in Seville, in 1619, by Diego de Vallejo. It also bears the title La amistad en el peligro (Friendship when in danger), and has never been published in a modern critical edition, though two published records (1622 and 1624) bear witness to the play, of which there are two 17 th Century manuscript versions extant. This article, based on contemporary records, studies the historical socio-religious- urban context of the Corpus Christi feast in Seville and virtually reconstructs the play’s performance, on pageant wagons, and its subsequent procession within the town.

Paratexts and Canonical Thresholds

ABSTRACTThis essay investigates the liminal place in the canon of “Shakespeare's paratexts”, emphasising the importance of recent work on prefatory and terminal materials to Shakespeare's early playbook publications, such as character lists, prefatory addresses and commendatory verses. The editorial treatment of paratexts in The New Oxford Shakespeare, especially their scholarly curation and placement in its old-spelling Critical Reference Edition rather than its Modern Critical Edition, raises questions about where Shakespeare begins and ends, and how we situate him in relation to other agents of textual production. I propose the need to challenge the perceived opposition between “Shakespearean text” and “non-Shakespearean paratext”, and to consider the possibilities – raised by work in early modern paratext studies – of editing Shakespeare's paratexts as “parerga”, “metatexts”, or even just “texts”. In short, I ask, why does front matter matter when it comes to Shakespeare's changing canon?

Paměti Přibíka a Jana Bukovanských Pintů z Bukovan. Teze edičního projektu

The main aim of the prepared research project is to make the rare copy of the memoirs of Přibik and John Bukovanský Pinta of Bukovany accessible in the form of an edition and to interpret it insightfully. This is, in terms of content, a very colourful ego-document which puts on display and testifies to the values, ideas and concepts and also the public presentation of the members of two generations of this not so well known lesser noble family. As one of the few compact documents relating to the means of sophisticated self-presentation of a knight from the time before the battle of White Mountain, it deserves to be published as a modern critical edition equipped with an extended foot-note apparatus. One important part of the work is represented by a study that will focus, from the historical-anthropological point of view, on the lives of both authors of the memoirs. Their notes help, along with the messages of aristocratic correspondence, bonds, bills, testaments and other items of material culture, to carry out research not only into the lives of each of the knights of Bukovany, but also into a wide range of topics that are, in the wider context, applied in Czech as well as in foreign historical research into the changes of noble society. The final publication, due to its wide range of topics, will be a contribution to the social, political and economic history of the Bohemian lesser nobility in the 16th and in the first half of the 17th century.

P45and the Problem of the ‘Seventy(-two)’: A Case for the Longer Reading in Luke 10.1 and 17

At Luke 10.17, most modern critical editions incorrectly cite the wording of P45as ἑβδομήκοντα δύο (72) instead of ἑβδομήκοντα (70). As this is one of the two oldest witnesses to the verse, this revision of external evidence calls for a fresh examination of the textual problem as a whole. Previous discussions have focused almost exclusively on the perceived symbolic values of ἑβδομήκοντα (+ δύο) to identify the ‘more Lukan’ wording, but this essay argues on the basis of new transcriptional evidence that the earlier reading is more likely ἑβδομήκοντα δύο.

Ercole Pasquini Toccate, canzoni, ricercari. ed. by Paul Kenyon

Reviewed by: Ercole Pasquini Toccate, canzoni, ricercari. ed. by Paul Kenyon David Schulenberg Ercole Pasquini. Toccate, canzoni, ricercari. Edizione critica a cura di Paul Kenyon. (Monumenti musicali italiani, 30.) (Ercole Pasquini Opere complete, 1.) Milan: Edizioni Suvini Zerboni, 2015. [2 bound parts within slipcase: Part 1: Intavolature / Tablatures: Score, p. 1–64. Part 2: Testi e apparato / Texts and apparatus, p. i–xxx (Italian), p. xxxi–lix (English). ISMN 9790215617193. Pl. no. S. 14907 Z. €92.60.] This is the first of two publications that will comprise the collected keyboard works of Ercole Pasquini. Born in Ferrara in the mid-sixteenth century and active in Rome until at least 1608, Ercole is not to be confused with Bernardo Pasquini, who lived a century later. Although a prolific composer of keyboard and other music, Bernardo appears to have been less innovative than was Ercole in his thirty or so extant works. Ercole was one of the very first composers of keyboard music that can be described as “baroque,” and he seems to have provided models without which Frescobaldi, his successor as organist at Rome’s Cappella Giulia, might not have written what he did. Unlike Frescobaldi, whose toccatas, canzonas, and other compositions appeared in sumptuous engraved editions, Ercole published none of his keyboard music, which remains obscure even though nearly the complete corpus has already appeared in two previous editions. On the one hand, the pioneering transcription into modern notation by W. Richard Shindle no longer reflects current understanding of the sources or the repertory (Ercole Pasquini: Collected Keyboard Works, Corpus of Early Keyboard Music, 12 [Neuhausen-Stuttgart: American Institute of Musicology, 1966]), while on the other hand, a facsimile edition of the principal manuscripts by Alexander Silbiger is impractical for everyday use (Ravenna, Biblioteca comunale Classense, MS Classense 545, 17th Century Keyboard Music: Sources Central to the Keyboard Art of the Baroque, 12 [New York: Garland, 1987]; Rome, Biblioteca del Conservatorio di Musica Santa Cecilia, MS A/400, 17th Century Keyboard Music, 13 [New York: Garland, 1987]; and Trent, Museo provinciale d’arte, Biblioteca musicale L. Feininger, n.s., 17th Century Keyboard Music, 16 [New York: Garland, 1987]). Anyone attempting to play from or study these previous editions is likely to be baffled by seemingly faulty if not incomprehensible musical texts. A reliable modern edition with up-to-date textual commentary would therefore be welcome. But although the present publication makes the music accessible to nonspecialists, it falls short of what is expected in a modern critical edition, and it does not always succeed in finding satisfactory readings for scores that the composer, or at least the copyists, often seem to have left not quite finished. Moreover, a serious production error makes it desirable that the edition be withdrawn and reprinted. Collections that seek comprehensive holdings of keyboard music will need to acquire this edition, but others may wish to wait to see whether the publisher will rectify the problem described below. Although the series title describes it as containing Ercole’s “complete works,” it is unclear whether the new edition will extend [End Page 591] beyond the keyboard music (a handful of vocal works are also known). The present volume 1 contains twenty-five short prelu-dial and contrapuntal compositions (toccatas, canzonas, and ricercars). A few brief dances and several lengthy variation sets (partite) will presumably follow in a second volume. This first volume actually comprises two separate items in distinct formats, held in a paper slipcase: a bilingual Italian-English textual apparatus in upright format, and a score volume in organ (landscape) orientation. Pages in the “apparatus” volume bear roman numeration; arabic pagination is used for the scores. I have not read Fabiana Ciampi’s Italian translation of the verbal matter word-for-word, but spot-checking revealed no inaccuracies. Editing this music is not for the faint-hearted. Titles and attributions in the sources are often absent or heavily abbreviated, the notation written hastily and inaccurately. An editor must make decisions about not only what pieces to include (and what to call them), but how to deal with wrong or missing notes, irregularly placed barlines, inconsistently beamed groups of small note values, and omitted rests, accidentals, and...

Introduction: Reading and Teaching Clarel

Introduction: Reading and Teaching Clarel Brian Yothers Critical neglect of Clarel: A Poem and Pilgrimage in the Holy Land (1876) constitutes the most perennial of tropes in discussions of Melville’s longest poem, even and especially as the poem gains more attention. By this point, we might draw back from describing Clarel as being neglected at all. It is available in two exemplary modern critical editions, Walter Bezanson’s 1960 Hendricks House edition and the 1991 Northwestern University Press/Newberry Library edition, which among its wealth of supporting material incorporates much of Bezanson’s scholarship. For use in the classroom, there is also an affordable Northwestern Newberry reader’s edition. Clarel has been a primary point of focus for no fewer than seven book-length studies: Joseph G. Knapp’s Tortured Synthesis (1971), Vincent Kenny’s Herman Melville’s Clarel: A Spiritual Autobiography (1974), Larry Edward Wegener’s A Concordance to Herman Melville’s Clarel: A Poem and Pilgrimage in the Holy Land (1979), Stan Goldman’s Melville’s Protest Theism: The Hidden and Silent God in Clarel (1993), Laura López Peña’s Beyond the Walls: Being with Each Other in Herman Melville’s Clarel (2015), and William Potter’s Melville’s Clarel and the Intersympathy of Creeds (2004) are devoted to Clarel in their entirety, and Hilton Obenzinger’s American Palestine: Melville, Mark Twain, and the Holy Land Mania (1999) devotes roughly half of its 300-plus pages to the poem. Additionally, the MLA International Bibliography lists 158 hits in response to an open search for Clarel, including books that devote substantial, and sometimes multiple, chapters to the poem; journal articles; and book chapters in edited volumes. Scholars who appear on this list (in addition to those above) include Nina Baym, Dennis Berthold, Jonathan A. Cook, Shirley Dettlaff, Edgar Dryden, James Duban, Jonathan Gellman, Bruce A. Harvey, Michael Jonik, Wyn Kelley, Amy Kaplan, Alfred Kazin, Martin Kevorkian, Timothy Marr, Cody Marrs, Robert Milder, Peter Norberg, Samuel Otter, Ilana Pardes, Hershel Parker, Gordon Poole, Basem Ra’ad, Peter Riley, Malini Johar Schueller, Bryan C. Short, William Shurr, Martyn Smith, William Spengemann, Robert K. Wallace, Tim Wood, [End Page 1] Brian Yothers, and Thomas Zlatic, among others. Two recent edited collections, Branka Arsić’s and K. L. Evans’s Melville’s Philosophies (2017) and Jonathan A. Cook’s and Brian Yothers’s Visionary of the Word: Melville and Religion (2017), each devote multiple chapters to Melville’s Holy Land poem. If Clarel is not yet one of Melville’s greatest hits, it is at least far from invisible. The works cited list for this essay can serve as a select bibliography of the important work already devoted to Clarel. Even so, Clarel still bears the marks of a neglected text, especially because it still has not become a widely taught text. It remains infrequently taught at the graduate level and rare at the undergraduate level. In part, this state of affairs derives from the challenges we all face in teaching narrative poetry: if we excerpt Clarel, our students miss the opportunity to experience the poem as narrative, and if we do not excerpt it, we are left with a choice between omitting it from the syllabus altogether or teaching a five-hundred page poem—no easy dilemma to resolve. How might we make a case for teaching Clarel? We might start by noting its substantial place in Melville’s career. Melville is the author of American literature’s most frequently taught long work of prose fiction, Moby-Dick, and two of its most frequently taught works of shorter prose fiction, Billy Budd and “Bartleby, the Scrivener,” with “Benito Cereno” rapidly gaining ground. And yet Melville spent more time working on Clarel than he did on the composition of any of these works; aside from Moby-Dick itself, nothing in Melville’s canon matches Clarel’s extraordinarily ambitious scope. Protracted and difficult, Clarel may not be ideal material for American literature surveys and introduction to poetry classes, but it amply rewards investigation as part of an author course on Melville or as part of a more advanced course in American poetry, travel writing, literature and religion, and the literature of...

Windows on Writing: Susanna Rowson and the Scene of Female Authorship

Few women writers are more central to the history of the early American novel than Susanna Rowson. Her oft-cited status as the author of the first American bestseller has cemented her importance to the rise of the novel, the development of popular literature, and the emergence of authorship as a viable career for women. In an early effort to recover Rowson's significance, Jane Tompkins declared her the Father of the American (29). Recent scholarship employs more moderate terms, while still emphasizing Rowson's achievements as an author whose writing across several genres reached a wider audience than most other authors of the period, male or female, could aspire to reach. A unique textual history has also formed around Rowson's best-selling novel, Charlotte Temple, and its numerous editions across the eighteenth and nineteenth centuries, including accounts of Rowson's efforts to market and promote her work, the ways in which readers responded to the text through marginalia and other fan-culture activities, and how the format and content of the different editions and the novel's sequel reflect changes in publishing practices and popular taste. (1) Rowson and her most famous novel have today achieved canonical status and are widely read, taught, and written about by a generation of critics attuned to the need for a recuperative account of American women's writing. Scholarly accounts of Rowson's place in early American literary history reflect largermovements in the field as women and their textual productions have gained increased legitimacy as objects of study. Rowson was initially recovered as an exceptional figure, staked out against a relatively shallow pool of fellow women writers as an unusual example of professional success. (2) Her status was closely tied to that of the novel itself as an exemplary American genre thanks to Cathy Davidson's groundbreaking Revolution and the Word and the first wave of scholarship that followed upon the modern critical edition of Charlotte Temple, edited by Davidson and published in 1987. Subsequent scholarship has moved away from these early approaches in notable ways. Ongoing recovery efforts continue to expand the literary canon and particularly to demonstrate that women found points of entry into print culture through a variety of genres other than the novel, including essays, periodicals, and pedagogical textbooks, claims persuasively outlined in works like Sari Edelstein's Between the Novel and the News, Caroline Wigginton's In the Neighborhood, and Angela Vietto's Women and Authorship in Revolutionary America. Additionally, recent scholarship emphasizes the importance of women's manuscript compositions, documenting how unpublished commonplace books, poetry, and letters allowed women to exercise a considerable degree of authorial control over their writing and its circulation. Challenging the primacy of white women within the history of early American literature, many scholars have shown that African American and Native American women made key contributions to the development of literary culture and a wide range of literacies that extend beyond the conventional concept of authorial composition. Such critical approaches have generated remarkable dividends not just for the study of early women writers generally, but for the reconsideration of Rowson herself--no longer an exceptional figure but one embedded within a heterogeneous community of women who followed many paths in their pursuit of self-expression. The most important of these critical reconsiderations is Marion Rust's Prodigal Daughters, which opens up major new lines of investigation into the gendered nature of Rowson's politics and authorial identity. Notably, by addressing Rowson's extensive oeuvre and her many creative pursuits, Rust proves that only by expanding beyond a singular focus on Charlotte Temple will Rowson's multifaceted personas, opinions, and stylistic endeavors come into view. However, these scholarly accounts of the historical conditions and varied forms of early women's writing have not been accompanied by an examination of the representation of women writers within fictional texts. …