Horace Walpole, Gothic Classicism, and the Aesthetics of Collection

This chapter examines the presence of classical texts and objects in the work of Horace Walpole, in his writing and also among his vast collection of miscellaneous artifacts at his villa, Strawberry Hill. First, it considers the textual reuse of lines from Horace and Lucan in his novel The Castle of Otranto and his Gothic drama The Mysterious Mother. In each case, the classical images and ideas are startlingly, aggressively altered in their context and meaning to fit the aesthetic choices of those works. The chapter then turns to Walpole’s ideas on classical theater, as reflected in a periodical piece and in the prologue to The Mysterious Mother. Walpole praises Attic drama for its free expression of horror; the classical becomes associated with the wild imagination that has been dammed up and repressed in his own age. Finally, the chapter examines the classical objects in Strawberry Hill, arguing that Walpole was consistently attracted to objects that exemplified horror and hybridity, thereby challenging facile assumptions about symmetry and decorum in ancient art. Walpole establishes a paradigm for the presence of the classical within the Gothic: it is not absent or ignored, but rather irreverently fragmented and rearranged.

The Dutch Translation and Circulation of Spinoza’s Tractatus Theologico-Politicus in Manuscript and Print (1670-1694)

Benedictus de Spinoza became one of the few censored authors in the liberal publishing climate of the Dutch Republic. Twenty-three years passed before the first Dutch translation of his Tractatus Theologico-Politicus (1670) appeared in print, despite two interrupted attempts to bring out a vernacular version before 1693. This article compares the three oldest Dutch translations of Spinoza’s notorious treatise by combining digital sentence alignment with philological analysis. It describes the relationship between the variants, two printed versions and a manuscript, revealing a pattern of fragmentary similarity. This partial textual reuse can be explained using Harold Love’s notion of ‘scribal publication’: readers circulated handwritten copies as a strategy to avoid the censorship of Spinozism. As a result, medium and language not only conditioned the dissemination of Spinoza’s treatise in Dutch, but also affected its text in the versions published—either in manuscript or print—between 1670 and 1694.

Self-Revision and the Arabic Historical Tradition: Identifying Textual Reuse and Reorganization in the Works Of Al-Balā Dhurāi

While there is growing historiographical analysis of the reuse of circulating narrative materials in medieval books from various textual traditions, there have been fewer studies of the late antique and early medieval periods that have considered the process of authorial self-revision. This is especially the case with early Arabic/Islamicate texts. This study is a discussion of the historical material that is reused in the two surviving Arabic works of the Muslim author al-Balādhurī (d. ca. 892 CE/279 AH), material which appears in his Kitāb Futūḥ al-buldān (The Book of the Conquest of Lands) and that was apparently reused in his Ansāb al-Ashrāf (The Lineage of Nobles). In discussing how al-Balādhurī recycled this information and emplotted it in verbatim and near-verbatim forms, it shows how shifting the location of these shared traditions demonstrates the different goals of his two books and also showcases his work as an author: in the former, he places an emphasis on the creation of early Islamic institutions; in the later, he eulogizes the character and qualities of Islam's earliest leaders. Additionally, all of the reused material discussed here was identified through computer meditated analysis, so this study also highlights how the tools of the digital and computational humanities demonstrate immense promise in enhancing and expediting the research of scholars across the medieval globe.

Commenting by Weaving Together Texts: Veṅkaṭanātha’s Seśvaramīmāṃsā and the Sanskrit Philosophical Commentaries

What makes a text a “commentary”? The question is naive enough to allow a complicated answer. In Sanskrit there is not a single word for “commentary”. The present study focuses on an exemplary case study, that of Veṅkaṭanātha’s commentary on the Seśvaramīmāṃsā, and concludes that Sanskrit philosophical commentaries share certain characteristics: 1. several given texts are their main interlocutors/they are mainly about a set of particular texts; 2. they belong to a genre in its own right and are not a minor specialisation for authors at the beginnings of their careers; 3. they are characterised by a varied but strong degree of textual reuse; 4. they are characterised by a shared interlanguage that their authors must have assumed was well known to their audiences; 5. they allow for a significant degree of innovation. The use of the plural in point No. 1 is discussed extensively within the paper.

Walking the Deckle Edge

The article presents a preliminary survey of textual reuse in Nepalese collections of j?takas and avad?nas, focusing in particular on three works: the Avad?na?ataka, the Divy?vad?na, and the Dv?vi??atyavad?nakath?. The reassessment of the manuscript tradition of these three Sanskrit collections, based on Nepalese manuscripts and Tibetan translations, sheds more light on the role of scribes in the creation of these collections and of the Nepalese avad?nam?l? literature. In particular, the great role played in the 17th century by the Nepalese scribe and scholar Jayamuni in shaping the text of the Avad?na?ataka, the Divy?vad?na, and many other Buddhist narrative works is brought to light. The result of this preliminary survey shows that a study of this type of collections based on the available critical editions should be rethought in the light of the specific character of their manuscript and textual transmission in medieval and early modern Nepal.

Introduction

The bulk of the present volume focuses on the reuse of Buddhist texts. The Introduction gives some background to the topic of textual reuse in general and discusses the reasons for undertaking the analysis of textual reuse within Buddhist texts. It then elaborates on the extent of its pervasiveness within Buddhist literature through the example of Tibetan ritual texts. Lastly, it takes stock of the articles on text-reuse and discusses some general lines of interpretation of the phenomenon of textual reuse in Buddhism, highlighting the importance of the genre over that of the time and language of composition. Thus, philosophical or technical texts tend to quote explicitly, whereas ritual texts see the predominance of the conveyed message over the transparency of the transmission so that reuse is mostly silent. Religious texts of various forms come in between these two extremes.