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Music for the Mass: A Spectrum of Artistic Invention

Craig H. Russell

in From Serra to Sancho: Music and Pageantry in the California Missions

The mass held a privileged role as the artistic core of the California repertoire. Mass settings ranged in style from the three “easy” quartet settings for Mary—and three “intermediate” duet settings ... More

The mass held a privileged role as the artistic core of the California repertoire. Mass settings ranged in style from the three “easy” quartet settings for Mary—and three “intermediate” duet settings for Holy Week—to virtuosic Classical settings for choir and orchestra. Although there was considerable variety, there also was a standardized repertoire of mass settings that was shared by the various missions. The normative core contained such stalwarts as the introspective Misa del quarto tono and its ultrapopular “Gloria simple”; the hypnotic Misa del quinto tono (also known as the Misa de Cataluña), with its pulsations of homorhythmic chord changes; the two-voice Misa de la Soledad, with its conspicuous thematic unity; and the erudite and sophisticated Misa Solemne. Narciso Durán's importance is emphasized, but the assertion that he composed much of this literature is disputed. Martín de Cruzelaegui's role as possible composer of the Misa Viscaína is explored.Less

Othello: Improving This Flay

John Jones

in Shakespeare at Work

This chapter compares the Quarto and Folio versions of Othello. The Quarto and Folio version of Othello represent two acting texts of the one play. The Quarto was printed either from the prompter's ... More

This chapter compares the Quarto and Folio versions of Othello. The Quarto and Folio version of Othello represent two acting texts of the one play. The Quarto was printed either from the prompter's manuscript book, or from Shakespeare's autograph, or from a transcript of that autograph made by a professional scribe. The Folio version derives from Shakespeare's revision of his play. Possibly the removal of profanities and other changes were incorporated in an existing manuscript, but they are so many and complex as to make that very unlikely. The high probability is that Shakespeare wrote out the whole of Othello afresh, and the bibliographical evidence suggests, inconclusively, that a scribe copied what he wrote for the printer.Less

From London to Quarto, 1858–1860

CHRISTOPHER DUGGAN

in Francesco Crispi 1818-1901: From Nation to Nationalism

Francesco Crispi returned to England on the eve of his fortieth birthday. He did not exactly like London, but some of his friends were there, including Rosalino Pilo. Pilo and Crispi were to be close ... More

Francesco Crispi returned to England on the eve of his fortieth birthday. He did not exactly like London, but some of his friends were there, including Rosalino Pilo. Pilo and Crispi were to be close neighbours over the next nine months, discussing developments in Italy as the dramatic events of 1859 unfolded. The situation in the South, and above all in Sicily, drew Crispi's particular attention. The war against Austria and the revolutions in central Italy had given heart to many southern liberals, though they were still deeply confused as to their goals and tactics. Aside from launching an insurrection in the South, the main task facing the democrats at this time was trying to win the backing of the newly established liberal governments in central Italy for their cause of achieving unification. This chapter also chronicles Crispi's travel to Quarto in Genoa, where Giuseppe Garibaldi was hatching plans for his expedition to Sicily.Less

The Jacobean Masque: Jonson, Authorship, and Royal Address

Gabriel Heaton

in Writing and Reading Royal Entertainments: From George Gascoigne to Ben Jonson

This chapter takes as its subject the development of Jacobean masques, Jonson's construction of himself as an author, and his relationship with royalty. There are two important royal presentation ... More

This chapter takes as its subject the development of Jacobean masques, Jonson's construction of himself as an author, and his relationship with royalty. There are two important royal presentation manuscripts by Jonson, of the Masque of Blacknesse and the Masque of Queenes, and they are considered alongside other relavant texts including printed prefaces and scenes from his early plays Cynthia's Revels and Poetaster. During the first half of James's reign there developed conventions for masque pamphlets, by Jonson, Samuel Daniel, and others, with Jonson in particular emphasising their literary nature, but this was followed by a significant shift in the way masque texts appeared in the second half of the reign, with pamphlets printed for limited circulation (known as pre‐performance quartos) and some masques circulating in manuscript.Less

First

John Jones

in Shakespeare at Work

This chapter examines alterations to the Second Part of Henry IV as it appears in the 1623 Folio. The Folio contains verse and prose which is missing from the 1600 Quarto, the text of the play that ... More

This chapter examines alterations to the Second Part of Henry IV as it appears in the 1623 Folio. The Folio contains verse and prose which is missing from the 1600 Quarto, the text of the play that was printed from Shakespeare's manuscripts. This chapter suggests that the Quarto is a good example of a play printed directly from the author's draft and that there is no reason to doubt that the words in the Quarto are the words Shakespeare wrote. As a result, the chapter then raises the issue of whether or not the changes made in the Folio can be attributed to Shakespeare.Less

King Lear

John Jones

in Shakespeare at Work

This chapter distinguishes Shakespeare's working draft of King Lear in Quarto from the version which appears in the Folio. This chapter also describes Peter Blayney's study of the conditions under ... More

This chapter distinguishes Shakespeare's working draft of King Lear in Quarto from the version which appears in the Folio. This chapter also describes Peter Blayney's study of the conditions under which King Lear in Quarto was produced. King Lear in Quarto is a memorial construction in whole or part a reported text, and so is a bad quarto more or less like the first quarto of Hamlet. Blayney established that the printer Nicholas Okes was inexperienced and ill-equipped and that King Lear was the first play he had printed. Their supply of type was limited; for example, they were short of colons and full stops. Small wonder, therefore, that the verse is often misaligned, that much of it is set out as prose, and that prose is crudely chopped up to look like verse; and that punctuation is light throughout and frequently misleading.Less

‘A little thing doth divert and turn us’: Fictions, Mourning, and Playing in ‘Of Diverting or Diversion’ and Hamlet

Peter G. Platt

in Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest

The chapter first explores the multiple versions of Shakespeare’s play and of the Montaignian nature of the versions of Hamlet after Montaigne can be seen to have a shaping effect. It then argues ... More

The chapter first explores the multiple versions of Shakespeare’s play and of the Montaignian nature of the versions of Hamlet after Montaigne can be seen to have a shaping effect. It then argues that Montaigne’s ambivalence towards diversions—at times he sees them as essential, even beautiful, and at other times highly misleading, illusory, and escapist—aligns nicely with similar ambivalences in Hamlet’s thinking, especially in his meditations on mourning and theatricality in the first two acts.Less

Scene 12 Departures

Simon Palfrey

in Poor Tom: Living "King Lear"

Chapter abstract3–5 sentences, or around 120 words and no more than 200 words This section looks at the closing scene in both the Quarto and Folio, as Edgar recounts the death of Gloucester, and the ... More

Chapter abstract3–5 sentences, or around 120 words and no more than 200 words This section looks at the closing scene in both the Quarto and Folio, as Edgar recounts the death of Gloucester, and the return of Kent, and Lear enters with the apparently-dead body of Cordelia. The theme is uncertain departures, or departures that have a curious after-life, or the possibility of such: e.g., Gloucester’s “burst” flaws, or Cordelia’s “glass.” The departures superimpose, each replaying the other, identities contingently exchanging, with the effect that death and revelation become graduated phenomena, potentially revocable. The plays’ final words, in the Folio spoken by Edgar, sustain these ghostly half-presences to the end: he is king and not-king, burdened by Cordelia’s attenuated promise, by ambiguous sovereignty, and by survival. All of his confederates are departing, and life becomes crepuscular. King Lear remains a play that happens in the lapsed space between one covenant and the next: between death and life, the earth and the sublime, extinction and recovery, participation and eradication. And as ever, the ultimate figure for this tantalized condition is Tom. He and Edgar remain together, each the other’s ghost and augur.Less

Introduction

Simon Palfrey

in Poor Tom: Living "King Lear"

This section introduces Edgar/Tom’s role as one that epitomizes Shakespeare’s radical testing of theatrical, political, experiential, and metaphysical possibility. It also explains how the book will ... More

This section introduces Edgar/Tom’s role as one that epitomizes Shakespeare’s radical testing of theatrical, political, experiential, and metaphysical possibility. It also explains how the book will be a sustained reading of King Lear. The Edgar-part witnesses, suffers, or refracts everything in the playworld. It distils and explodes theatrical form. It moves in the shadowlands between here and elsewhere, sense and transcendence. This section summarizes how the book understands the relation between the Quarto and Folio Lear-texts, and how Edgar/Tom encapsulates this divided, layered textuality. It summarizes the sources of both Edgar and Tom of Bedlam, and the character’s history in criticism and performance. It explains how the character evades expected types, is at once human, non-human, and post-human, and thus resists easy accommodation or sentiments. The Edgar-part is very intimate to Shakespeare’s most intimate purposes. To get at its secrets, we need to pay unsleeping attention.Less

Authentic Reproductions

Joseph Loewenstein

in The Author's Due: Printing and the Prehistory of Copyright

This chapter reports a meditation on the problem of authorship as it was provoked at the turn of the last century, of how historical scholarship intervened in a technological and legal turmoil. It ... More

This chapter reports a meditation on the problem of authorship as it was provoked at the turn of the last century, of how historical scholarship intervened in a technological and legal turmoil. It highlights Graham Pollard's idée fixe in order to remark the attunement of the New Bibliography to disturbances in contemporary legal culture. The new reproductive technologies were crucial to the New Bibliography. Photography had played an important role in determining the types and ornaments of the Pavier quartos. Widening interest in historical bibliography was stimulated by a rare-book market quickened and shaped by single-author enumerative bibliographies. John Carter and Pollard would multiply the bibliographic tests available to discredit the forgeries—precisely the tests that Pollard and Greg had applied in 1907 to the Pavier quartos.Less

The Rise and Fall of Irish Reprinting

in The Enlightenment & the Book: Scottish Authors & Their Publishers in Eighteenth-Century Britain, Ireland, and America

During the second half of the eighteenth century, Dublin prided itself on being the second city of the British Empire. With regard to publishing, there is considerable merit in this claim. Dublin and ... More

During the second half of the eighteenth century, Dublin prided itself on being the second city of the British Empire. With regard to publishing, there is considerable merit in this claim. Dublin and Edinburgh had about 2,800 and 2,100 imprints, respectively. If their combined total of approximately 5,000 items was small compared to the more than 25,000 imprints that were generated in London during the same years, it nevertheless exceeded the number of English-language imprints that appeared during the 1780s in all the other localities of Britain, Ireland, and America put together. In Enlightenment publishing, such unrefined statistics must be used with care, since the raw numbers include everything from broadsides, squibs, and printed legal documents to multivolume quarto editions of major works. Nonetheless, the figures indicate the undeniable importance of Edinburgh and Dublin as publishing centers in the age of the Enlightenment.Less

Fragmenting Forms

Robin Wagner-Pacifici

in What Is an Event?

In this chapter, uncertain or confused events are considered via an analysis of their unresolved or fragmented forms and flows. The Paris Commune is an exemplar of an incoherent event in which the ... More

In this chapter, uncertain or confused events are considered via an analysis of their unresolved or fragmented forms and flows. The Paris Commune is an exemplar of an incoherent event in which the mechanisms of political semiosis misfire. The assessment of the Paris Commune as a fundamentally inchoate event proceeds via an analysis of the contested collective identities and social relationships (proletariats, petty bourgeois, neighbors, women) of those involved in the Commune. The painting Il quarto stato is taken up again in this chapter for the ways it proposes event fault lines within and without. The painting has appeared in multiple political, literary, artistic, academic, and social contexts and contests over the course of the twentieth and twenty-first centuries. The contradictory role of the painting in the abortion referendum campaign of 1981 in Italy is described and analyzed.Less

Introduction: Creativity in Private Prayers

Ceri Sullivan

in Shakespeare and the Play Scripts of Private Prayer

Fiction is good at registering how speakers approach God in ways that are specific to their time and place. Literary critics have studied the dramatic qualities in the public prayer of the early ... More

Fiction is good at registering how speakers approach God in ways that are specific to their time and place. Literary critics have studied the dramatic qualities in the public prayer of the early modern liturgy; religious historians have taken a lead from lyric poetry when discussing the language of private prayer. This chapter crosses these lines of research to show how private prayer at the turn of the seventeenth century is explicitly dramatic. Shakespeare scholars focus on his plays’ oaths, prophecies, and curses. Yet private prayers in the folio versions of the history plays go beyond these genres, to structure the action on stage. They are, moreover, greater in number and substance than in the quarto versions, and are original, rather than being sourced from the liturgy, Bible, or chronicles.Less

The Terminal Comma

Oliver Morgan

in Turn-taking in Shakespeare

This chapter investigates the relationship between turn-taking and punctuation. On the one hand, punctuation seems to offer a way of resolving precisely those ambiguities over timing with which the ... More

This chapter investigates the relationship between turn-taking and punctuation. On the one hand, punctuation seems to offer a way of resolving precisely those ambiguities over timing with which the second half of this book is concerned. On the other hand, the punctuation of Shakespeare’s texts is notoriously unreliable. No firm set of typographical conventions had yet evolved for the presentation of plays in print, and the punctuation they contain is more likely to be compositorial than authorial. In spite of these problems, the chapter argues for greater attention to punctuation at the ends of speeches and, in particular, to what it calls the ‘terminal comma’ in the early quartos of A Midsummer Night’s Dream and King Lear. Although largely ignored by editors and critics, these commas are often employed with a purpose and subtlety that is hard—but not impossible—to attribute to a compositor.Less

Afterword

Annabel Patterson

in Shakespeare and the Politics of Commoners: Digesting the New Social History

This chapter reviews the volume, noting that literary critics elsewhere who have conceived the protesting commoners of Shakespeare’s drama as a ‘rabble’ have selectively reproduced the negative ... More

This chapter reviews the volume, noting that literary critics elsewhere who have conceived the protesting commoners of Shakespeare’s drama as a ‘rabble’ have selectively reproduced the negative perspective of the plays’ patricians, whose hostility chimes with their own. It notes that early modern plebeian protest could actually prove both organized and successful, as recounted in Thomas Deloney’s Jack of Newberry, but suggests the need to investigate the possibility that a certain prudential anti-populism may have informed Folio revisions of some Quartos. Underlining Coriolanus’ introduction of the ideal of widespread manhood suffrage into early Jacobean culture, the chapter reaffirms, over a quarter of a century later, the assessment reached in Shakespeare and the Popular Voice of a dramatist substantially sympathetic to plebeian views and needs; yet it adds that final developments in his personal life may require us to recognize a somewhat hypocritical nouveau riche.Less

‘Prudentia’: The Jaggard Publishing House

Ben Higgins

in Shakespeare's Syndicate: The First Folio, its Publishers, and the Early Modern Book Trade

William and Isaac Jaggard are well known as the printers of the First Folio, but they were also the book’s publishers. Against a tradition of thinking about the Jaggards as trade printers, this ... More

William and Isaac Jaggard are well known as the printers of the First Folio, but they were also the book’s publishers. Against a tradition of thinking about the Jaggards as trade printers, this chapter argues that William Jaggard established a coherent set of publishing interests based around reference publishing and reappraises his treatment of Shakespeare’s books. The chapter contends that early readers of the Folio would have associated the Jaggard publishing house with books that were destined for libraries: encyclopaedic in scope and authoritative in content. The chapter finishes by examining links between Jaggard and Shakespearean textual authority. Rather than distancing the First Folio from Jaggard’s earlier ‘illegitimate’ ventures like the Passionate Pilgrime and the 1619 collection of ‘Jaggard Quartos’, the chapter challenges us to imagine how we might read ‘Shakespeare’ if the First Folio was not the default source of literary authority.Less

The Plebeians Revise the Uprising: What the Actors Made of Shakespeare’s Jack Cade—Or, Laughing with the English Radical Tradition

Stephen Longstaffe

in Shakespeare and the Politics of Commoners: Digesting the New Social History

This chapter focuses the plebeian rebellion sequence in 2 Henry VI, noting that although both Quarto and Folio versions seem to derive from a lost, parent source, all modern editions of the scene are ... More

This chapter focuses the plebeian rebellion sequence in 2 Henry VI, noting that although both Quarto and Folio versions seem to derive from a lost, parent source, all modern editions of the scene are based on the Folio, and little scrutiny has been devoted to its revisions. Performing this task, the chapter demonstrates that, politically, the Quarto excises much potentially troubling matter: minimizing the confrontationalism of plebeian class anger, violence, and destruction, and making the rebellion funnier. Reducing the megalomaniac distance of Cade from his followers, it restores to him some solidarity and credibility as an authentic commons leader. In narrative content, and in the liberatingly antinomian quality of its laughter, the Quarto’s rebellion relaunches the endangered radical tradition in a mode of heightened appeal: renewing the vision of ‘Merry England’ as a realm free of gentlemen.Less