Index of Manuscripts
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												Melanie Bigold, ' “The Theatre of the Book”: Marginalia and Mise En
occasional publications no.1 ‘Theatre of the Book’ Marginalia and Mise en Page in the Cardiff Rare Books Restoration Drama Collection Melanie Bigold Centre for Editorial and Intertextual Research, Cardiff University ‘ “Theatre of the Book”: Marginalia and Mise en Page in the Cardiff Rare Books Restoration Drama Collection’ (CEIR Occasional Publications No. 1). Available online <http://cardiffbookhistory.files.wordpress.com/2013/12/bigold.pdf>. © 2013 Melanie Bigold; (editor: Anthony Mandal). The moral rights of the author have been asserted. Originally published in December 2013, by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Minion Pro 11 / 13, at the Centre for Editorial and Intertextual Research, using Adobe InDesign cc; final output rendered with Adobe Acrobat xi Professional. Summary he value-added aspect of both marginalia and provenance has long Tbeen recognized. Ownership marks and autograph annotations from well-known writers or public figures increase the intellectual interest as well as monetary value of a given book. Handwritten keys, pointers, and marginal glosses can help to reveal unique, historical information unavaila- ble in the printed text; information that, in turn, can be used to reconstruct various reading and interpretive experiences of the past. However, increas- ingly scholars such as Alan Westphall have acknowledged that the ‘study of marginalia and annotations’ results in ‘microhistory, producing narratives that are often idiosyncratic’. While twenty to fifty percent of early modern texts have some sort of marking in them, many of these forays in textual alterity are unsystematic and fail to address, as William Sherman notes, ‘the larger patterns that most literary and historical scholars have as their goal’. - 
												
												Thee Comic T Cal Hi a Thoma Istory a Criti As D'u Y
THOMAS D’URFEY’S THE COMICAL HISTORY OF DON QUIXOTE (1694–1695): A CRITICAL EDITION Antonio María Rosso Ponce TESIS DOCTORAL Dirigida por la Dra. María José Mora Sena Departamento de Literatura Inglesa y Norteamericana UNIVERSIDAD DE SEVILLA Sevilla, 2018 CONTENTS Table of figures…………………………………………………………………………………… 3 Acknowledgements……………………………………………………………………………… 5 Abbreviations…………………………………………………………………………………… 7 A note on citations……………………………………………………………………………… 11 1. Introduction…………………………………………………………………………………… 13 2. The life of Thomas D’Urfey…………………………………………………………………… 19 3. The reception of Cervantes’s Don Quixote in 17th century England…………………………… 35 3.1. Translations and condensations……………………………………………………… 37 3.2. Influence and adaptations…………………………………………………………… 45 3.3. Allusions……………………………………………………………………………… 59 4. The stage history of The Comical History of Don Quixote………………………………………… 63 5. The text……………………………………………………………………………………… 73 5.1. Bibliographical description…………………………………………………………… 73 5.1.1. Bibliographical records…………………………………………………………… 79 5.1.2. List of copies examined………………………………………………………… 99 5.2. The text of the songs………………………………………………………………… 100 5.2.1. List of copies examined………………………………………………………… 107 5.3. Editorial procedure…………………………………………………………………… 108 5.3.1. Substantives and accidentals……………………………………………………… 109 5.3.2. Paraphernalia…………………………………………………………………… 114 5.4. Apparatus…………………………………………………………………………… 116 6. The Comical History of Don Quixote: a critical edition…………………………………………… 119 6.1. The Comical History of Don - 
												
												HENRY PURCELL-A SKETCH of a BUSY LIFE by PERCY A
HENRY PURCELL-A SKETCH OF A BUSY LIFE By PERCY A. SCHOLES ' ETWEEN the family of the Purcells in England and the Downloaded from contemporary family of the Bachs in Germany an in- B teresting parallel may readily be drawn. Both families were intensely musical, and in both cases the period of musical activity extended over several generations. In the case of the Bachs this activity lasted for more than two centuries, in that of http://mq.oxfordjournals.org/ the Purcells for about one-and-a-half. Henry Purcell, like John Sebastian Bach, was but the climactic point in the artistic evolution of his line. The fire of genius began to glow in the generation of his father and uncle, it shot up to incredible heights in that of himself and his brother and sank slowly in those of his son and his grandson; in the fifth generation it was extinct. The Purcells, like the Bachs, were a galaxy of stars, but in each case the brilliance of a bright, particular star has paled the others into insignificance. at University of Chicago on July 4, 2015 It was at an historic moment that Purcell was born. Cromwell was just dead: Charles II had not yet landed. The circumstance of the appearance of the greatest British musician at the turn of the political tide is of importance. Much of his work was to be done within the walls of the re-born national church or in the service of the restored Royal Family: as for his connection with the theatrical life of the Capital, though this would not have been impossible under the conditions of the later Protectorate, it could hardly have been so important a feature of his musical and professional life as it actually became. - 
												
												Season of 1708-1709
Season of 1708-1709 or most of this season the two theatres operated in a quiet and seem- F ingly orderly way. Drury Lane enjoyed a monopoly on straight plays (performed six nights a week without any additional entertainments of music and dance) while the Queen’s Theatre, Haymarket, gave Italian operas (in English)—generally only two nights a week. Because plays had been sup- pressed at Bartholomew Fair, Drury Lane started its season unusually early, though without its leading actors until October. Acting was suspended between 28 October and 14 December on account of mourning for Queen Anne’s husband, Prince George of Denmark. The season is remembered for three things: the hiring of the celebrated Nicolini from Italy to head the troupe of singers at the opera; Betterton’s much-publicized benefit of 7 April 1709; and the silencing of Drury Lane on 6 June. The last of these was to have important long-term effects on the organization and management of the theatre in London. No figures have come to light for the opera company. As proprietor-man- ager, Owen Swiney retained most of the singers engaged by Vanbrugh the year before but enormously increased public interest by hiring Nicolini, one of the greatest castratos of the age. To judge from the negotiations of circa April 1709 for an extension of the contract, Nicolini probably cost the mind- boggling sum of 800 guineas per annum, plus perquisites and bonuses of various sorts. This was double the salary ever paid to any regular performer in London (operatic or otherwise), but Nicolini was apparently worth the money. - 
												
												Ldpd 9593025 000.Pdf
|i^|iinlfiTOnug[iinl|1irgfiiig||ugnuillTci] THE LIBRARIES COLUMBIA UNIVERSITY Music LIBRARY |i^rimfiuiiniH[nnI|iuniiiiil|iinl[?ijil|l3l THE GBEAT MUSICIANS PUKCELL me <&veat MvMti&n* PURCELL BY WILLIAM H. CTJMMINGS LONDON SAMPSON LOW, MABSTON & COMPANY Limited St. guilslan's Dousfc jCKTXfiit LANE, FLEET STREET, E.G. 1896 T>B.BMS?rT'.roUSICIANS. A Series of Biographies of the Great Musicians. EDITED BY THE LATE DR. FRANCIS HUEFFER. Small post 8i'fl, clatk extra, price Zs. each. MENDELSSOHN, By W. 8. ROCKSTEO. MOZAB.T. By Dr. P. GEHKIKQ. HANDEL. By S(rs. JPLIAN MABSHAT.U WAGNER, By the EDITOR, Second Edition, with additional matter, bringing the lustory do^n to the end of ISSii. WEBEB. Bj Sir JULIUS BENEDICT. SCHUHKKT. By EC. F. FROST, ROSSINI, and the Modern Italian SchooL By H, STJTHERLJND EnwARps. PUECEtL. By W- Ef- CUMMI^QS. ENGLISH CHURCH COMPOSERS. By WM. ALEX. BARRETT, MUS. Bac. Oxon. JOHN SEBASTIAN BACH. By REGINALD LANE POOLP. SCHTJMANN. By J, A. FULLER MALI-LAND, HAYDN1. By Miss TOWNSHESD. BEETHOVEN. By H. A. RUDAI.1,. CHERUBINT, By F. J- CROWEST. CKARXES qotrNOD. By Mme. BOVET. Price 10s. 6i*. FfiEDHEtlCK CHOPIN, By C. WILLEBY. Price \0s. ad. HECTOR. B.ERL.I0Z. By ^DNEY R. TBOMPSQN. Price 10s. 61!. "In these dainty volumes, under the able superintendence of Mr. Hueffur, musical authorities of note describe the lives and criticise the masterpieces of the Great Musicians, conveying just such information as is most required, and thereby satisfying a desire which has lately been making itself more and more felt."—Times. London: SAMPSON tow, BIAHSTON & COMPANY, Ltd., St. - 
												
												Index of Musical Works
Cambridge University Press 978-1-108-49293-5 — Music and the Benefit Performance in Eighteenth-Century Britain Edited by Matthew Gardner , Alison DeSimone Index More Information Index of Musical Works As productions are often known primarily by their title and may be discussed in the main text not only because of their composers, but also performers or authors, they are indexed separately here by title, rather than under the name of an individual author. A Song for St Cecilia’sDay(Handel), 208–9, Carrosses d’Orleans, Les,85 217 Cecilia, volgi un sguardo, 208 Abdelazer, 156 Cephalus and Procris,96 Acis and Galatea (Handel), 181, 208–10, 216, Chances, The,30 224 Cheats, The, or The Tavern Bilkers,53 Acis and Galatea, or The Country Wedding Choice of Hercules, The, 215 (Eccles), 42, 57, 154 Cleora,86 Admeto, 181–2 Clotilda, 166–7, 170 Alessandro, 71, 77, 181–2 Cobler’s Opera, The,83–4, 88, 102 Alexander the Great,51 ‘Come, Brave Boys, Let’s Stroul It Away’,46 Alexander’s Feast, 81, 207–10, 224 Comic Masque of Pyramus and Thisbe, The, Alexis and Dorinda,57 51–2, 55 Alfred, 211, 216 Comical Disappointment, The, or the Miser Almahide, 167, 175 Outwitted,86 Amadigi di Gaula, 80, 173, 175–6 Committee, The,30 Amadis, or The Loves of Harlequin and Concerti Grossi, Op. 6 (Corelli), 70, 72, 196 Colombine,53–4 Concerto in F major, Op. 3 no. 4 (Handel), 80 Antioco, 166 Coriolano, 176 Arsinoe, Queen of Cyprus, 44, 47, 171 Cornish Hero, The, or Jack the Giant Killer,58 Artaxerxes, 101 Coronation Anthems (Handel), 112, 195, 210, Astianatte,77 224 Athalia,