Uhland's Fortunat and the Histoire de Fortunatus et de Ses Enfans

PMLA ◽  
1910 ◽  
Vol 25 (2) ◽  
pp. 355-366
Author(s):  
John C. Ransmeier
Keyword(s):  
Seventeenth Century ◽  
Close Agreement ◽  
British Museum ◽  
Narrative Form ◽  
Conventional Form ◽  
Group I ◽  
Conventional Material ◽  
German Edition

Professor Herford divides the Volksbücher of Fortunatas into the Frankfurt and the Augsburg groups. The Augsburg editions, he points out, have ungermanized names and slightly more copious incident. He says further: “All the known editions of the Volksbuch contain substantially the same story. From the first German edition, published at Augsburg in 1509, and its numerous German successors, to the Dutch, English, and Danish versions of the seventeenth century, the story everywhere unfolds itself in the same elaborate disorder, varying only in quantity of descriptive detail, or at most, in the omission or inclusion of some trifling episode.” With this conclusion Harms agrees; and I have found no reason to dispute this classification, and can only emphasize the trifling nature of the differences of the two groups and the extremely close agreement of texts within the same group. I make this statement after examining all the editions of the Volksbuch available in the Royal Library at Berlin, such additional ones as were obtainable through the aid of the Auskunftsbureau der deutschen Bibliotheken (which has the coöperation of three hundred German libraries), the British Museum, and the following libraries at Paris: the Library of the Sorbonne, the Bibliothèque Nationale, the Bibliothèque de l'Arsenal, and the Bibliothèque de St. Geneviève. I found, however, one version in prose narrative form which presents a very free and clumsy adaptation of the conventional material of the Volksbuch, namely, Fortunatus mit seinem Seckel und Wunschhütlein, eine alte Geschichte für neue Zeiten, Frankfurt und Leipzig, 1787 (British Museum). The variations from the type found here do not correspond to those in Uhland's work. We must seek some other free adaptation of the conventional form, if we would find a source for Uhland's changes.

scholarly journals Notes on the History of the Family of Rumbold in the Seventeenth Century

1892 ◽  
Vol 6 ◽  
pp. 145-165
Author(s):  
Horace Rumbold
Keyword(s):  
Seventeenth Century ◽  
British Museum ◽  
Historical Society ◽  
The Family ◽  
History Of ◽  
The Subject

In the course of extensive researches in which I have been engaged for some years on the subject of the history of the Rumbold family during the seventeenth century, and more especially at the period immediately preceding the Restoration, I came across a paper in the British Museum which has never, as far as I know, been made public, and is, perhaps, not unworthy to find a place among the Transactions of the Royal Historical Society. The curious document in question is headed A Particular of the Services performed by me Henry Rumbold for His Majesty.

The ‘Entheticus’ of John of Salisbury: A Critical Text

Traditio ◽  
1975 ◽  
Vol 31 ◽  
pp. 127-193 ◽  
Author(s):  
Ronald E. Pepin
Keyword(s):  
Seventeenth Century ◽  
Fourteenth Century ◽  
Twelfth Century ◽  
British Museum ◽  
John Of Salisbury ◽  
University Library ◽  
Critical Text ◽  
Standard Edition ◽  
The University ◽  
Editio Princeps

The Entheticus de dogmate philosophorum of John of Salisbury has come down to us in three manuscripts: a twelfth-century codex in the British Museum (Royal 13. D. IV); a fourteenth-century manuscript in the University Library at Cambridge (Ii. II. 31); a seventeenth-century codex now located in the Staatsbibliothek, Berlin (Hamburg Cod. Phil. 350). The editio princeps was published by Christian Petersen (Hamburg 1843), and it has remained the standard edition. However, important deficiencies in that work have made a complete re-examination of the text necessary.

VI.—St. Manchan's Shrine

Archaeologia ◽  
1937 ◽  
Vol 86 ◽  
pp. 105-118 ◽  
Author(s):  
T. D. Kendrick ◽  
Elizabeth Senior
Keyword(s):  
Seventeenth Century ◽  
Twelfth Century ◽  
British Museum ◽  
Seventh Century ◽  
The Church

Very little is known about St. Manchan. He died of the plague in 664, composed a poem of which two lines survive, and may have been the author of a commentary, parts of which are quoted in an early twelfth-century manuscript (British Museum, Harley 1802). But though various attempts were made to establish his genealogy, there were other saints of the same name, so that the references to him are sadly confused, and all that is certain is that he lived in the first half of the seventh century, and gave his name to the place now called after him Lemanaghan, i.e., Manchan's grey land (Manchan's church). This was a small monastery in co. Offaly that has little recorded history and can never have been a house of much importance. In 1531 it was under the charge of the prior of the neighbouring monastery of Gallen, and by the beginning of the seventeenth century it was almost unknown, being described at that time as situated in the middle of an impassable bog. Its chief treasure, the shrine, attracted no notice from the outside world; but it was still preserved there, and there is a record of its existence in the church at Lemanaghan about 1630.

NOTES ON CERTAIN OF WALSINGHAM'S SPECIES OF OIDAEMATOPHORUS WITH DESCRIPTIONS OF NEW SPECIES (PTEROPHORIDAE)

1938 ◽  
Vol 70 (6) ◽  
pp. 128-132 ◽  
Author(s):  
J. McDunnough
Keyword(s):  
New Species ◽  
Natural History ◽  
Male Genitalia ◽  
British Museum ◽  
Group I ◽  
Slide Material

For some time I have doubted whether the existing determinations of certain of Walsingham's species of plumes, based on the revision of this family by Barnes and Lindsey, were correct. Through the kind offices of Messrs. Tams and Stringer of the British Museum of Natural History I have been furnished with drawings of the left claspers of the male genitalia of a number of Walsingham's types in the genus Oidaematophorus; a study of these drawings in connection with my own slide material has confirmed my suspicions and shown that in at least two cases there had been misidentifications by the above-mentioned authors. With a view to clarifying the situation somewhat in this extremely difficult group I offer the following notes.

Two Interesting Documents found in the Register of the Consistory at the English Church in Amsterdam

1965 ◽  
Vol 2 ◽  
pp. 310-319
Author(s):  
A. C. Carter
Keyword(s):  
Seventeenth Century ◽  
British Museum ◽  
Reformed Church ◽  
The Subject ◽  
To Receive

These twenty questions, which clear so many points of difference between Reformed and non-Separating Independent polity, as well as elucidating doctrinal issues, have hitherto been known from a copy made of them, with their orthodox Reformed, and with Hooker’s own answers, for Sir William Boswell. This copy, to be found in the British Museum, was printed as an appendix by Professor Stearns in his study of ‘Congregationalism in the Dutch Netherlands,’ and was discussed by Professor Perry Miller, among others, in his definitive ‘Orthodoxy in Massachusetts.’ In the Consistory Register of the English Reformed Church in the Begynhof in Amsterdam, is a different version. Persons familiar with the subject will know that Thomas Hooker, who had been obliged to flee to Holland in 1630, following a threatened attack by the English High Commission, was about to receive a call, though irregularly, to the ministry of this church, where John Paget had been pastor since its opening in 1607. The Amsterdam version of this document, possibly more exact than that in the Boswell Papers, does illumine some of the considerable difficulties posed by the version as printed by Stearns. A collated text of both manuscripts and of the printed version appears as an appendix to my book about the English Reformed Church in Amsterdam in the Seventeenth Century.

The Manuscript Versions of Harrington's Oceana

1973 ◽  
Vol 16 (2) ◽  
pp. 227-239 ◽  
Author(s):  
Andrew Sharp
Keyword(s):  
Seventeenth Century ◽  
British Museum ◽  
The Other

In 1964, Mr Peter Laslett drew attention to a discovery of some importance to Harrington scholars. Professor Gilbert Gilchrist, according to Laslett's report, had found ‘a manuscript version of an early part of Oceana… which may have been written well before the book appeared in 1656; indeed before the Commonwealth began’. The manuscript lay in the British Museum. Since Gilchrist's original discovery – really rediscovery, for the staff of the museum had indexed the manuscript under ‘Harrington’ – two more manuscript versions of Oceana have been unearthed, one of them in the British Museum, the other in the Bodleian. All three manuscripts are very much the same, and all seem candidates for Laslett's description as manuscript versions of Oceana written well before the publication of Harrington's printed book in 1656. Unfortunately Mr Laslett's understandable optimism is almost certainly misplaced, for the manuscripts seem much more likely to have been subsequent extracts from Oceana, taken probably in the 1690s. So much for our hopes of observing Harrington's mind working at early drafts of Oceana. But something, too, is gained. The striking differences which gave Laslett his grounds for thinking Gilchrist's manuscript to be an early version of Oceana turn out, in fact, to represent a fascinating exercise in late seventeenth-century domestication of Harrington by his interpreters. The manuscripts show how Harrington, a supporter of revolution, was made a conservative.

Andrzej Panufnik

Tempo ◽  
1960 ◽  
pp. 13-18
Author(s):  
Harold Truscott
Keyword(s):  
Seventeenth Century ◽  
British Museum ◽  
Musical Instruments ◽  
The Other ◽  
Direct Connection ◽  
Independent Music ◽  
Stringed Instruments ◽  
New Type ◽  
Italian Model

Andrzej Panufnik was born in Warsaw on September 24, 1914. His father, Tomasz, was the most eminent Polish constructor of stringed instruments, and author of many scientific books concerning the construction of musical instruments. Some of his books are in the library of the British Museum. Tomasz influenced in many ways the early musical ideas of his son, and this influence has lived on in one way in Andrzej's mature musical output. His father at first designed his instruments on the old Italian model—‘Antica’ was his name for them. He also later designed a new type of violin which he called ‘Polonia’—the Polish instrument. Andrzej's mature music falls into three categories: ‘Antica’, music based on compositions by seventeenth-century Polish composers, ‘Polonia’, music based partly on original Polish folk tunes, and ‘Independent’, music which he calls unrelated, free, but which at times does reflect the other two in spirit, simply because he cannot alter his nature. The works in this latter class have no direct connection with either of the other two.

XIX.—A Suggestion For A New Edition of Butler's Hudibras

PMLA ◽  
1911 ◽  
Vol 26 (3) ◽  
pp. 528-548
Author(s):  
Edward Chauncey Baldwin
Keyword(s):  
Seventeenth Century ◽  
British Museum ◽  
Short Account ◽  
Samuel Butler ◽  
Mock Epic

Butler's Hudibras has been edited many times, and much erudition has been shown in explaining the wit of that remarkable burlesque. Yet, curiously enough, the most obvious method of annotation has hitherto been entirely overlooked. This would have been to utilize the abundant material bequeathed to us by Butler himself in the form of prose “ characters,” which were published only after his death—material that throws a most interesting light upon the poet's method, and at the same time clears up many obscurities in the mock-epic. These “characters” were written between 1667 and 1669—five or six years after the appearance of the first part of Hudibras, but were not collected and published till 1759. Even then, only 121 out of 187 were printed in Thyer's edition of The Genuine Remains in Prose and Verse of Mr. Samuel Butler. The remaining 60 have lain undisturbed in the British Museum as “Addition No. 32625–6,” till the industry of a modern scholar has at last unearthed and published them. The whole collection conforms closely to the fashion of writing “characters” that was prevalent all through the seventeenth century. The character-sketch, or “ character ” as it came to be called in that age, was a short account, usually in prose, of the properties, qualities, or peculiarities, that serve to individualize a type. And such these of Butler are.

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