Lord Berners's Translation of Diego De San Pedro's Cárcel de Amor

PMLA ◽  
1934 ◽  
Vol 49 (4) ◽  
pp. 1032-1035
Author(s):  
William G. Crane
Keyword(s):  
Sixteenth Century ◽  
British Museum ◽  
Title Page ◽  
Romance Languages ◽  
English Version ◽  
Sentimental Romance ◽  
Huntington Library

Lord Berners's translation of Diego de San Pedro's Cárcel de Amor presents a number of problems to scholars of English and Romance languages. This sentimental romance, which appeared in Spanish in 1492, was soon turned into Italian and French. The English version, The Castell of love, made by Lord Berners a few years before his death in 1533, does not appear to have been published much before the middle of the sixteenth century. Only four copies of the book in English, representing three editions, are known to exist. The British Museum possesses copies of two editions; a third edition is in the Huntington Library at San Gabriel, California. There is some disagreement over which of the English editions is the earliest, though it cannot be established with certainty that they were not preceded by some impression of which no copy is known today. A question of greater importance is whether or not Lord Berners actually translated the story, as is claimed on the title-page, from Spanish, or if he even translated a part of it from that language. If it can be determined that the claim made for a Spanish original is true, in whole or in part, this book deserves to be recognized as the first published translation from Spanish into English. The influence of the sentimental romances, such as The Castell of love, upon English fiction and wit in the sixteenth century is a subject which remains to be adequately treated.

‘HOW HARD AN ENTERPRISE IT IS’: AUTHORIAL SELF-FASHIONING IN JOHN DOWLAND’S PRINTED BOOKS

2007 ◽  
Vol 26 ◽  
pp. 43-90 ◽  
Author(s):  
Kirsten Gibson
Keyword(s):  
Sixteenth Century ◽  
Title Page ◽  
The Other ◽  
Artistic Creation ◽  
Printed Books ◽  
The One ◽  
Intellectual Activities ◽  
Modern Sense

The naming of John Dowland as ‘Author’ on the title page of his publication The First Booke of Songes or Ayres (1597) suggests a proprietary relationship between the composer and his work. This proprietary relationship is, perhaps, reinforced with the alignment of Dowland’s intellectual activities as ‘author’ with the notions of ‘composition’ and ‘invention’ in the same passage. All three terms could be used by the late sixteenth century to refer to notions of creativity, individual intellectual labour or origination. While many early examples of the use of ‘author’ refer specifically to God or Christ as creator, such as Chaucer’s declaration that ‘The auctour of matrimonye is Christ’, by the sixteenth century it was increasingly used to refer to an individual originator of intellectual or artistic creation closer to the modern sense of the word. Its sixteenth-century usage is, for instance, reflected in the title ‘A tretys, excerpte of diverse labores of auctores’, or as in a reference in 1509 to ‘The noble actor plinius’. Likewise, ‘invent’ or ‘inventor’ could be used to refer to the process of individual intellectual creation, exemplified by its use in 1576 ‘Your brain or your wit, and your pen, the one to invent and devise, the other to write’, while ‘compose’ could mean to make, to compose in words, ‘to write as author’ or, more specifically, to write music.

Livy's Fourth Decade:A Preliminary Enquiry into the Evidence of MSS

1927 ◽  
Vol 21 (2) ◽  
pp. 67-78 ◽  
Author(s):  
S. K. Johnson
Keyword(s):  
Sixteenth Century ◽  
Eleventh Century ◽  
Preliminary Investigation ◽  
British Museum ◽  
The Third

A summary view of the main evidence at our disposal may be soon obtained. Three traditions appear at the outset. The first depends on a MS. once at Mainz, and now no longer extant, but of which part, at any rate, still existed in the sixteenth century; the second on an eleventh century MS. at Bamberg; and the third on a number of later MSS. in Rome, Florence, Paris, the British Museum, Oxford, Holkham, and other places. The fact that (at any rate for preliminary investigation) these three traditions must be regarded as separate may be seen first from the parts of the decade which they each omit.

Extra-Illustration and Ephemera

2020 ◽  
Vol 44 (2) ◽  
pp. 111-135
Author(s):  
Luisa Calè
Keyword(s):  
Title Page ◽  
Social Politics ◽  
Composite Object ◽  
Unique Object ◽  
The Social ◽  
Book Collections ◽  
Altered Books ◽  
Huntington Library

In “A Friendly Gathering: The Social Politics of Presentation Books and their Extra-Illustration in Horace Walpole’s Circle,” Lucy Peltz plays with the technical and metaphorical senses of “gathering” to reflect on the materiality and sociability of altered books in the Strawberry Hill set. The practice of extra-illustration consisted in unbinding the book, cutting loose the gatherings of leaves that make up its quires, in order to interleave them with additional pages, or to inlay each page into windows cut through larger sized paper. The process is captured in Walpole’s correspondence: “Mr Bull is honouring me, at least my Anecdotes of Painting, exceedingly. He has let every page into a pompous sheet, and is adding every print of portrait, building, etc., that I mention and that he can get, and specimens of all our engravers. It will make eight magnificent folios, and be a most valuable body of our arts.” Specimens collected and collated with the text anchor, document, and illustrate the words on the page. As a result, an identical multiple in a print run was turned into a unique object. Through the art of extraillustration, the extra-illustrator Richard Bull “erected for himself a monument of taste.” In its monumentalizing aims and dimensions, extra-illustration could be considered an antidote against ephemera, yet transience is inherent in its attempt to document the text with reproductions that might be dispersed. The concept runs the gamut, from Walpole’s paratexts—his title Fugitive Pieces in Verse and Prose (1758), which he presents as “trifles” and “idlenesses”—to his supposedly “diminutive” house, which he called “a paper Fabric and an assemblage of curious Trifles, made by an insignificant Man.” In this essay, I will read the practice of extra-illustration against the grain to recuperate the ephemeral side of “the pompous sheet,” the composite object unbound from its gatherings, and alternative forms of the page as a detached piece, a scrap, a caption appended to objects in the house. I will focus my discussion on two complementary book collections produced by Richard Bull: his extra-illustrated copy of Walpole’s Description of Strawberry Hill, now at the Lewis Walpole Library, and his curious compilation of occasional publications bound with the title-page A Collection of the Loose Pieces printed at Strawberry-Hill, and the alternative title Detached Pieces Printed at Strawberry Hill, now at the Huntington Library.

Investigação histórica do sufixo -eir- na nomeação de vegetais em língua portuguesa

2021 ◽  
Vol 66 (4) ◽  
pp. 127-146
Author(s):  
Natival Simões Neto ◽  
Mário Eduardo Viaro ◽  
◽  
Keyword(s):  
Sixteenth Century ◽  
New World ◽  
Point Of View ◽  
Romance Languages ◽  
European Expansion ◽  
Plant Names ◽  
Morphological Productivity ◽  
Historical Investigation ◽  
Historical Comparative

A Historical Investigation of the Suffix -eir- for the Naming of Plants in the Portuguese Language. The Latin suffix -ari-, used as a creator of adjectives, developed several meanings during the period of spoken late Latin, as well as in the formation of the Romance languages. One of those meanings, present in the Portuguese suffix -eiro/ -eira, is associated with tree names, based on the name of the corresponding fruit. Quite productive in current modern Portuguese, that suffix was always linked to the denomination of plants in general, some of them not necessarily related to edible fruits or even to fruits. Similarities are found between the Portuguese derivations and other Romance languages. In this text, those similarities were investigated from a historical-comparative point of view. The high convergence in the western Romance languages can be motivated both by a common Latin heritage as by further loanwords, however during the European expansion in the sixteenth century, new plant names were known from the New World and their naming was based on words derived by the same suffix. Keywords: suffixation, Romance linguistics, botanical popular naming, historical morphology, morphological productivity.

VI.—On Portions of a ‘Temporale’ of 1350–1380

Archaeologia ◽  
1917 ◽  
Vol 68 ◽  
pp. 127-160
Author(s):  
George Forrest Browne
Keyword(s):  
Sixteenth Century ◽  
British Museum

Some ten years ago, there was brought to me in Bristol a bundle of dirty and ragged old parchments, which I bought on the chance of their proving to have some interest when straightened out and cleared of dust and dirt. They were evidently parts of a service book of some kind, and they had on them some writing in an ordinary hand of the middle of the sixteenth century. I did what I could to put them in order, and then I showed them to Dr. Warner at the British Museum.

The Marsden Mss. and Indian Mission Bibliography

1923 ◽  
Vol 3 (1) ◽  
pp. 129-150
Author(s):  
H. Hosten
Keyword(s):  
Sixteenth Century ◽  
British Museum ◽  
Southern India ◽  
Society Of Jesus ◽  
Asiatic Society ◽  
Jesuit Missionaries ◽  
Indian Mission ◽  
Mission Field

In 1910 I published in the Journal of the Asiatic Society of Bengal, August number, pp. 437–61, under the title of “The Marsden MSS. in the British Museum”, some notes by W. Rees Philipps and H. Beveridge on some remarkable treasures once in the Jesuit Archives of Goa and now in the British Museum. These MSS., comprising ten volumes (Add. MSS. 9852–61), contain original letters by the Jesuit Missionaries in India and the farther East, addressed mostly to the Provincial of Goa, before the suppression of the Society of Jesus in 1757 by the Marquess de Pombal. Some of the documents refer, however, to Cochin and Southern India, these portions of the mission field having belonged to Goa till the beginning of the sixteenth century.

The Authorship of ‘An Advertisement written to a Secretarie of M. L. Treasurer of England…’

1962 ◽  
Vol 15 (3) ◽  
pp. 201-207 ◽  
Author(s):  
Albert J. Loomie
Keyword(s):  
British Museum ◽  
Title Page

In the Catalogue of the British Museum and the Catalogue of Catholic Books in English Printed Abroad or Secretly in England, 1558-1640, the book An Advertisement written to a Secretarie . . . is assigned to Joseph Creswell, S.J. The ascription does not come from the title page since it was published under the pen name of ‘An Inglishe Intelligencer as he passed through Germanic towards Italie' but instead from a misleading reference in Felipe Alegambe's Biblioteca Scriptorum Societatis Iesu. Alegambe noted: ‘Joseph Creswell: In English under the name John Perney, a book opposing the Edict of Queen Elizabeth against the Catholics, also unless it is the same book, (one) against the letters of Cecil. However it is highly probable that Alegambe composed his entry from secondhand information without having seen the books he described.

Determining the Date of Robert Hunter's Androboros

1984 ◽  
Vol 25 (1) ◽  
pp. 95-97 ◽  
Author(s):  
Peter A. Davis
Keyword(s):  
New York ◽  
Good Reason ◽  
Title Page ◽  
Publication Date ◽  
Exact Date ◽  
Political Farce ◽  
Huntington Library

The year 1714 has long been acknowledged as the publication date of America's earliest extant play, Androboros, a short and bawdy political farce by Col. Robert Hunter, governor of the New York colony from 1710 to 1719. Some scholars even go so far as to cite August 1, 1714 as the exact date, and not without good reason. The title page of the only known copy, now in the Huntington Library, clearly states: “Printed at Monoropolis since 1st August, 1714.” Such evidence would appear to be conclusive were it not for two references within the playscript itself that prove Androboros was written and printed no earlier than 1715.

Sign in / Sign up

Export Citation Format

Share Document