Marginal Notes Research Articles

Restoring a Deleted Note in Valdesso's Considerations

Restoring a Deleted Note in Valdesso's Considerations Robert Whalen In 1632, at the request of Nicholas Ferrar, Herbert read the never-published Ciento y Diez Consideraciones by Juán de Valdés (Valdesso) in Italian and French translations. It certainly recommended Valdés to Herbert, as it had to earlier Protestants, that all copies of the Spanish originals had been suppressed by the Inquisition. And given that in his final years Valdés turned to vernacular translation and annotation of the Hebrew and Greek scriptures – having established his reputation as a philologist upon publication of his scholarly Diálogo de la Lengua (c. 1535) – it is hardly surprising that Herbert's Word-centered confessional sensibility was attracted to the Considerations. Much of Valdés's treatise, after all, is concerned with the proper interpretation of Scripture and its importance relative to other aspects of Christian devotion. Yet it is with the Spanish reformer's views on scriptural inspiration and authority that Herbert disagrees most vehemently.1 Consistent with Herbert's apparent aversion to Valdés's "too slight a regard of the Scriptures" (NV C63) is the note on Consideration 65. This and the note on C37 are omitted in the second English edition (1646), and are accompanied in the first edition of the Hundred and Ten Considerations (1638) by a marginal note declaring them to be "the French Translators" (see fig. 1). It is for these reasons that Hutchinson declined to include NV C37 and NV C65 in his edition.2 Yet it seems fair to wonder why Herbert/Ferrar decided to include the French editor's notes at all. That they did suggests a kind of authorial gesture in the sense of authorizing and tacitly agreeing with the French edition's commentary on the contents of these two Considerations. But there are other reasons for questioning Hutchinson's decision, particularly with respect to NV C65. For while the English note on C37 is a fairly straightforward translation of the French original, the same cannot be said for the note on C65. Here is the English note on C65 from the 1638 edition, followed by the corresponding marginal notes in the French original, together with my translations: [End Page 104] Click for larger view View full resolution Figure 1. Valdesso, Considerations (1638), f. **2v. This comparison is infinitely too base, there is none of the references, which we have had with our Lord Iesus Christ, dissolved but infinitely perfected, and he shall ever continue our glorious head, and all the influences of our happinesse shall ever descend from him, and the chief our glory, shall (as I conceive) consist in that which he saith amongst the last words that he spake in the 17. Iohn. v. 24. Father I will that they also whom thou hast given me bee with me, where I am, that they also may behold the glory which thou hast given me before the foundation of the world. To which agreeth that which S. Paul writes, 2. Thes. 1. chap. v. 9. (Considerations [1638], f. **2v) Le Regne de Christ demeure jusques àlae resurestion universelle l'Empire de Dieu commencera á lors, & dure â perpetuité. ["The sovereignty of Christ remains until the Universal Resurrection, and then the Empire of God begins and will endure forever."] Ceste comparaison est trop basse, & semble asses malsortable. ["This comparison is too low, and seems rather inappropriate."] (Consydérations [1565], f. y6r)3 While the first of the French notes is a gloss largely duplicating part of the main French text – sainct Paul demeurara iusque … [End Page 105] continuera â perpetuité – the second is a critical assessment similar to Herbert's more negative notes elsewhere in NV, as when he condemns as "unsufferable" Valdés's denigration of civil order in NV C62 and scriptural authority in NV C63 (see fig. 2). The English version of the note on C65, though capturing some of the French gloss, expands on the French to an extent that exceeds translation and is more in the realm of additional commentary. For example, 2 Thessalonians 1:9, to which the 1638 note refers as "agree[ing]" with John 17:24, is in fact the latter's...

Reconsidering a Sternean Attribution: Cambridge University Library's ‘Sterne Volume’

Sterneans have long accepted that a six-word annotation scrawled on ‘The Ballyspallan balad’, a manuscript poem found in a collection of Irish pamphlets, ballads, and other items, was penned by Laurence Sterne who, it has been assumed, compiled what is now commonly known as ‘the “Sterne volume”’. This identification, however, principally rests on the flimsy evidence of a one-sentence marginal note provided by the donor of this collection to Cambridge University Library, Henry Bradshaw, who calls it ‘my Sterne vol.’. The authors identify Bradshaw’s ‘Sterne’ not as Laurence, but as John Stearne, Bishop of Clogher, and close friend of Jonathan Swift. Both the probable date of the annotated poem and its connection with the trend for writing ‘Ballyspellan ballads’ places it within Stearne and Swift’s circle.

Poe, Baudelaire, e a estética romântica do fragmento

Este artigo pretende analisar a questão da fragmentação textual em algumas obras de Edgar Allan Poe e Charles Baudelaire como tributária da estética do fragmento discutida por Friedrich Schlegel. Objetiva-se estudar como esses autores teriam criado suas próprias estéticas do fragmento.

Laughing Out Loud with Jonathan Coe: A Conversation

This conversation with Jonathan Coe took place at the Ecole Normale Superieure de Lyon on 15 October 2015. Part of the discussion focuses on Coe’s fictional production and part of it draws from essays included in Marginal Notes, Doubtful Statements. Non-Fiction, 1990-2013, a collection which contains pieces about such comic or satirical writers as Henry Fielding, Jonathan Swift, Laurence Sterne, B.S. Johnson, Alasdair Gray and David Nobbs, as well as musicians and film directors. The book com...

Aniž jest co nového pod sluncem… Co a pro koho vlastně píšeme? In margine recenze Antonie Doležalové

V reakci na recenzi své biografie českého historika Václava Chaloupeckého (1882-1951) Václav Chaloupecký: Hledání československých dějin (Praha, Karolinum 2014), kterou v minulém čísle tohoto časopisu publikovala Antonie Doležalová (Hledání Václava Chaloupeckého. In: Soudobé dějiny, roč. 23, č. 1-2, 2016, s. 211-216), se autor zamýšlí nad problémem figurace historiografického textu budovaného na materiálu primárních pramenů a v souvislosti s tím rovněž nad vnitrooborovou i širší recepcí současné české historiografie a nad mezemi i proměnami popularizace výsledků historického výzkumu.

Ministry in the Margins: Thomas Swalwell, OSB, and His Marginal Notes for Preaching on the Clergy

Ministry in the Margins: Thomas Swalwell, OSB, and His Marginal Notes for Preaching on the Clergy

The Concept of “Indian Philosophy” as a Product of Intercultural Dialogue (Wilhelm Halbfass’s India and Europe Revisited )

This paper is a sequel to another paper of the same author: “Some Marginal Notes on [W. Halbfass’s] India and Europe” (in: E. Franco, K. Preisendanz (eds.), Beyond Orientalism. The Work of Wilhelm Halbfass and its Impact on Indian and Cross‑Cultural Studies, Amsterdam–Atlanta 1997). In the present paper the concept of “Indian philosophy” is discussed – with references to the analysis of the concept in the book India and Europe by W. Halbfass. The central idea of the paper is this: “Indian philosophy” is not a kind of primordial entity it is often said to be, but rather a contingent concept which gradually evolved in the 19th and 20th century in the process of intercultural interaction between Indian (South Asian) and European (Western) intellectual traditions.

Marginal Medical Notes in The Prayerbook of Friar Ivan Čeperić

Marginal Medical Notes in The Prayerbook of Friar Ivan Čeperić

Osmanlı Kitap Kültürü: Cârullah Efendi Kütüphanesi ve Derkenar Notları

Osmanlı Kitap Kültürü: Cârullah Efendi Kütüphanesi ve Derkenar Notları

Three Marginal Notes in London, British Library, MS Cotton Caligula A. vii

Three Marginal Notes in London, British Library, MS Cotton Caligula A. vii

Modernity in the Marginalia: The “Tyrant” in the Marginal Notes of the Geneva Bible

Modernity in the Marginalia: The “Tyrant” in the Marginal Notes of the Geneva Bible

Der Briefbericht des Frater Simon über den Fall von Konstantinopel 1453

AbstractAlthough claiming the authority of an eye-witness account, frater Simon’s letter is almost certainly a ficticious description of the fall of Constantinople to the Ottoman Turks in 1453. This presumed lack of authenticity has obviously prompted modern scholarship for a long time to be oblivious to this contemporary and exclusive source on the events, preferring well-known and reliable sources such as Leonard of Chios and Isidore of Kiev. However, since frater Simon’s letter has survived in two different versions and ten manuscripts from the 15th century, it is clearly more than a marginal note. Rather is it a remarkable contribution to the literary treatment of the Turkish threat and timeless moral instruction.With his portrayal of the pagan Mehmed II as a just ruler, the recurring moral instructions and the lack of a call to arms. Simon’s text stands out against themyriad of more or less contemporary depictions. In preparation for a critical edition the paper gives an analysis of the text and an overview of the extant manuscripts.

Marginal Notes on Geopolitics

Marginal Notes on Geopolitics

'Hunting for Souls': A Newly Discovered Middle English Lyric

OXFORD, Bodleian Library, MS Hatton 26 is made up of five booklets bound together, but is primarily known for its third section, dating to the fourteenth century, which contains theological works such as Edmund of Abingdon’s Speculum Ecclesiae (ff.183v–204v), and Richard Rolle’s De conuersione peccatoris ad Dominum (ff.167–183r).1 Little attention has been given to the rest of the manuscript.2 However, the fourth section of the manuscript (ff.205–231), dated to 1234 in a chronological note on f.212v, contains two Middle English lyrics written in available spaces on f.211r3 and f.229v. Both are written in the same thirteenth-century protogothic hand.4 The latter lyric has hitherto gone unnoticed.5 Although the lyric initially appears secular in its original purpose and content, the surrounding text lends insight into the poem’s possible use in preaching. The lyric, written out as prose, occupies four lines in the bottom margin of the leaf, and the final line is largely illegible owing to severe rubbing. It follows a religious marginal note in Latin, and the word ‘Anglice’ introduces the shift into English. I have added line breaks and imposed modern word divisions in my transcription. Curled brackets indicate where the ink is faded or a graph is unclear but probable, and ellipses indicate that the word or graph is illegible due to rubbing. The lyric reads:

“For Sinai is a Mountain in Arabia”

Abstract: Seit Richard Bentley haben sich Textkritiker und Exegeten erstaunt über die Notiz in Gal 4,25a gezeigt, dass der Sinai ein Berg in Arabien ist. Frühe und wichtige Textzeugen bieten verschiedene Lesarten, und der Satz ist – in seinen vier Hauptvarianten – nicht nur grammatikalisch mit Problemen behaftet, sondern auch im Blick auf seine Stellung in Paulus’ Argumentationsduktus. Der Beitrag greift die textkritische Problematik auf und gelangt zu den folgenden Ergebnissen: Äußere Bezeugung, transkriptionale Wahrscheinlichkeitserwägungen wie innere Textkritik legen nahe, dass in V. 25a τὸ γὰρ Σινᾶ ὄρος ἐστὶν ἐν τῇ Ἀραβίᾳ zu lesen ist, so dass diese Lesart im kritischen Text geboten werden sollte. Darüber hinaus führen andere Hinweise zu der Annahme, dass V. 25a ursprünglich eine Randnotiz war. Kritische Editionen sollten anzeigen, dass der Satz nicht zum ursprünglichen Haupttext des Briefes gehört.

Mystery Unveiled: The Crisis of the Trinity in Early Modern England. By Paul C. H. Lim. Oxford Studies in Historical Theology. Oxford: Oxford University Press, 2012. xvi + 448 pp. $74.00 cloth.

(ProQuest: ... denotes non-US-ASCII text omitted.)Mystery Unveiled: The Crisis of the Trinity in Early Modern England . By Paul C. H. Lim . Oxford Studies in Historical Theology. Oxford : Oxford University Press , 2012. xvi + 448 pp. $74.00 cloth.Book Reviews and NotesIn early modern England, religious disputation suffused the culture of Protestantism. The Reformation gave birth to a national church established by law and governed by the Crown, a profound restructuring of authority ended papal hegemony but not discussion of what constituted an appropriately Protestant theology. For the past fifty years or so, scholars have mapped this religious culture in vivid depth and detail. Paul Lim's learned book takes up a theme has been explored previously, but which is also in need of a fresh consideration. The doctrine of the Trinity opened up the question of Christ's divinity: was He to be worshipped in His own right, or was God the Father the sole focus of devotion? This was a question engaged the attention of the early church, and it continued unabated in seventeenth-century England. Lim's book draws these two contexts together and offers some important insights into the religious, political and intellectual culture of early modern England.In 1645 the Independent minister John Owen made a marginal note on the doctrine of the Trinity. He described it as that mysterious Arke must not bee pryed into . . . wherein plain Scripture goeth not before. Here was the problem in its essence. That is, there were aspects of received doctrine came under scrutiny and which could not be accepted as mere mysteries. To many, this reliance on mystery cut to the heart of what was wrong with Catholic theology: it elevated the clergy and traditions of the church to a level of authority both usurped the scriptures and enslaved the reason of individual believers. However, Protestant ecclesiology did not depend on a wholesale repudiation of tradition; rather, it had to be re-interpreted and re-written. This process was aided by the parallel development in humanist textual and critical scholarship defined the late Renaissance: for humanists ad fontes meant a return to the classical sources in their pure form, an impulse complemented by the Protestant attachment to sola scriptura --an unbending adherence to the authority of the Word. This is the view expressed in Owen's note to himself.Broadly speaking, Mystery Unveiled examines how writers active in theological disputes during the 1640s and 1650s engaged with the rich textual history of the church, poring over its patristic authors, scrutinizing the judgements of its councils (beginning with Nicea), and, of course, attempting to make plain what it was the scripture said on the matter of the godhead. This is done in six chapters, each based on a deep and assured encounter with polemical and manuscript sources. The first examines the anti-trinitarianism of two prominent writers on trinitarianism: Paul Best and John Biddle, former Cambridge friends whose scholarly exchanges shed light on the approach to scriptural and patristic sources in the heat of polemical battle. …

Redactionary Global Modernism: Kisses in Imperial Japan

Redactionary Global Modernism:Kisses in Imperial Japan Jonathan E. Abel (bio) Structuralism, Marxism, post-structuralism and the like are no longer the sexy topics they were. What is sexy instead is sex. On the wilder shores of academia, an interest in French philosophy has given way to a fascination with French kissing. —Terry Eagleton, After Theory Rodin’s “Kiss,” despite its realism, provides no libidinous thought. —André Bazin, “Marginal Notes on Eroticism in Cinema” I shall never forget my first experience in seeing kissing between man and woman. … I cannot express my feelings, but I could not help recalling what my mother said to me just before I started for America: “I have heard, my daughter, that it is the custom of foreign people to lick each other as dogs do.” —Sugimoto Inagaki Etsu, A Daughter of the Samurai (1926) At an exhibition of French modern art in Tokyo on May 31, 1924, Auguste Rodin’s Le Baiser (The Kiss) was confined to a “special room” and displayed behind a bamboo screen by order of the Tokyo Metropolitan Police Headquarters.1 This reception of Rodin’s The Kiss in Japan is but one moment in the global offense taken, with the sculpture at the center of obscenity [End Page 201] battles nearly everywhere it went: in Brussels 1887, in Paris 1898, in Chicago 1893, in Lewes, England 1913, in Ottawa, Canada, 1919.2 As a moment in the world history of representations of the kiss more generally, Rodin in Japan serves to highlight several functions of the kiss in global modernity: the kiss connects individuals to others and to the world; the kiss is neither exclusively public nor private; the kiss often signifies through displacement and under erasure. The administration of Rodin’s The Kiss in Tokyo is a useful symbol of the modern story of the pregnant politics of proscribing public performances of sexual behavior in the center of metropoles in contrast to the overly sexualized liminal spaces in the peripheries of the city (such as 1920s Asakusa, where sex, stage, and screen shared a central role as similarly fringe cultures did in 1840s Monmartre, 1930s Alexanderplatz, and 1940s Times Square) and margins of empire. (At the far reaches of the Japanese empire “comfort women” would be expected to perform a public service far exceeding kisses, and as Japan itself would become a sexual center for the American military in the early postwar era.3) If kisses were part of a private world on the fringe of culture, they were also at the same time one of the many sites where the public discourse of the modern nation state (imperial or democratic) sought to influence its subjects. In Japan of the mid-1920s, even as Home Ministry censors began to crack down on cultural material featuring kissing, kissing could be read everywhere. The imperial state’s restrictions of access to and occasional suppression of images of the kiss allow us to see in stark relief not only the failure of a complete and absolute censorship in the age of mass production, but also how obscenity and sedition (the two main categories for censorship in modern Japan) were two sides of the same coin. As the kiss smacked of Zola-ist socialism in Paris, rubbed up against the tightly sealed prudish morals of Victorian England, and pecked at the bourgeois social fabric in Canada, the public kiss was glossed in Japan during the 1920s and 1930s as both the anarchic Western eroticism of ruthless capitalism and the cunning infiltration of Sovietism that could put the ruling classes in jeopardy. After censorship of kiss culture attempted to cultivate and maintain power for the imperial state, the assumption of this same power of the kiss was repurposed by the new regime of a “new Japan” under the Occupation. The history of the kiss in Japan is but one iteration of a world history of a redactionary modernism which both suppressed and publicized kissing. Of course, kisses mean different things as they travel across time and space; yet the kiss remains a convenient ontological flashpoint for comparisons of various acculturations within a wider framework of a “singular modernity.”4 And although, in terms...

Il canzoniere del trovatore Roi Queimado by Pilar Lorenzo Gradín, Simone Marcenaro (review)

Reviewed by: Il canzoniere del trovatore Roi Queimado by Pilar Lorenzo Gradín, Simone Marcenaro Mark T. Aquilano Lorenzo Gradín, Pilar and Marcenaro, Simone. Il canzoniere del trovatore Roi Queimado. Alessandria: Edizioni dell’Orso, 2010. 347pp. ISBN: 978-88-6274-234-4 The poetry of the mid-thirteenth century Portuguese troubadour Roi Queimado has until now remained a somewhat hidden gem contained in three extensive collections of Galician-Portuguese lyric verse, the Cancioneiro da Ajuda, the Cancioneiro da Vaticano and the Cancioneiro da Biblioteca Nacional. For the first, the 1904 edition of Carolina Michaëlis de Vasconcelos and the 1941 ediiton of Henry Carter continue to be authoritative, while the latter are available to modern scholars primarily through facsimile editions from 1982 and 1973. Pilar Lorenzo Gradín, professor of Romance philology at the University of Santiago de Compostela and Simone Marcenaro, a researcher at the same institution when this book was published, have created the first edition of Queimado’s complete works, bringing the poet and his opus to life and into a rich critical perspective. Their introduction begins with a biographical sketch of the Portuguese troubadour. Gradín and Marcenaro acknowledge they were unable to discover new primary documentary evidence, arriving instead at a well-crafted, dense and meticulous synthesis of previous research. They conjecture that the poet, whose epithet suggests either his dark complexion or his burning passion, was a nobleman from a lesser lineage in southern Portugal. While they are open to the possibility that Queimado may have been raised by an adoptive father, Gradín and Marcenario question previous scholarship claiming to have found his daughter in a notary document. Because of his literary relations with Pero Garcia Burgalés and other poets active in the court of Alfonso X, Gradín and Marcenario are confident that Queimado was of Portuguese rather than Galician extraction. He may in fact have visited or lived at the Alfonsine court sometime between 1245 and 1250, as suggest cantigas in which Quiemado takes a stand in the battle for ascendancy between Alfonso III and the Infante Alfonso de Castilla. Gradín and Marcenario [End Page 349] examine possibilities for the identity of Don Estevan, a partisan of Alfonso III, whom Queimado attacks in one of his poems of derision. They evaluate the connections previous scholars have found between the polyvalent term ama and one of the love interests of Queimado, possibly a woman known as Beltrán, nurse of Don Denis. Finally, they present two possibilities for the historical identity of a Juan Garcia mentioned in one of his poems. Whether this was actually Johan de Guilhade or Johan de Sousa, they feel confident that this confirms that Queimado, who left few biographical traces, was active in northern Portugal in the 1250s. The authors provide a brief account of the extant manuscripts of Queimado’s poetry. The late thirteenth-century Cancioneiro de Ajuda contains his cantigas de amor, while the complete body of his works is found in the sixteenth-century apocryphal copies of the Italian humanist Angelo Colocci (the Biblioteca Nacional and the Vaticana manuscripts), and a descriptus of the Colocci codices at the Bancroft library of the University of California, Berkeley. For readers unfamiliar with this textual tradition it would have been helpful to indicate the full names of the collections and to provide some context for how they were discovered rather than referring to them by their abbreviations alone (MSS A, B, V and K). However, Gradín and Marcenaro adeptly discuss the ordering of compositions in the various manuscripts while placing his opus in clear relation to other poets in the same collections. In discussing the possible meaning of a rather cryptic marginal note in MS A, “nota cartuxo”, Gradín and Marcenaro generously acknowledge the contributions, while challenging some of the weaknesses, of previous explanations by Carolina Michäelis, Susan Pedro and Anna Ferrai, basing their own hypothesis on a careful examination of the Colocci manuscripts. The footnotes in this section and throughout the anthology are precise and informative, providing ample clarification while avoiding excessive detail. Their exploration of this enigma leads them into a fascinating treasure hunt connecting the popularity of Queimado...

A Marginal Note to “Four Sistine Ethiopians?”

With reference to Marco Bonechi’s article in this issue of Aethiopica, the present paper briefly surveys the evidence for the 1481 Ethiopian “embassy” to Pope Sixtus IV and then explores the possibility of identifying Anthony, head of that embassy, with “Fra Antonio Abissino” portrayed, most likely before 1527 by a painter called Schizzone, on the now lost tramezzo (‘choir screen’) of the Vatican church of Santo Stefano dei Mori.

Topic: Title, Preamble and Marginal Notes as Intrinsic Aids in the Construction of Statute

The research topic deals with the concept of “title, preamble and marginal notes as intrinsic aids in the construction of statute.” The researcher would like to give the meaning of the intrinsic aid. Intrinsic aid is that aid for the process of construction which may be found within or before the corner of the statute. So intrinsic aid is the internal aid in the construction of statutes which is derived from (1) Title (2) Preamble (3) Headings (4) Marginals notes (5) Punctuation (6) Illustrations (7) Definition section or interpretation clause (8) Proviso (9) Explanation (10) Schedules and (11) Transitional Provision.On the other hand the extrinsic aid is that aid which is taken from the outside of the statute such as dictionary, parliamentary history, historical facts and surrounding circumstances etc. By the virtue of the intrinsic aid the court finds out the real meaning and the will of the legislature only in case of ambiguity in a statute. If there is no ambiguity, it is not necessary to take help from the intrinsic aids and the court used to confer the plain meaning of the statutes.