An Auden Variant

PMLA ◽  
2010 ◽  
Vol 125 (2) ◽  
pp. 467-468
Author(s):  
George T. Wright ◽  
Edward Mendelson ◽  
Name withheld
Keyword(s):  
Library Of Congress ◽  
Shield Of Achilles

It' surprising that Stephen E. Severn' article “The Library of Congress Variant of ‘The Shield of Achilles’” (124.5 [2009]: 1761-67), so earnestly devoted to explaining in detail a variant word in a handwritten copy of a poem, should misquote four lines about which there is no dispute. Auden' “unintelligible multitude” in “The Shield of Achilles” is here assembled on a “plane without feature, bare and brown” (1762). How could a million “eyes” and “boots in line” possibly fit, much less stand, on that brown plane–or in it? And why is it “bare”? The line, of course, should read (and does in all editions), “A plain without a feature….”

The Library of Congress Variant of “The Shield of Achilles”

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1761-1767
Author(s):  
W. H. Auden ◽  
Stephen E. Severn
Keyword(s):  
Critical Analysis ◽  
Chicago Tribune ◽  
Modern Poetry ◽  
Library Of Congress ◽  
Washington Post ◽  
Information Bulletin ◽  
The Arts ◽  
Shield Of Achilles

As part of poetry magazine's annual poetry day, wealthy patrons of the arts gathered in chicago on 19 november 1960 for a private auction of books and manuscripts that benefited the Modern Poetry Association. Among the items available for bidding were handwritten fair copies of W. H. Auden's “The Shield of Achilles,” “Musée des Beaux Arts,” and “The Unknown Citizen,” all on 8½-by-11-inch sheets of unlined white typing paper, the poet's signature conspicuously appended to the bottom right corner of each page. Having been recognized earlier in the day as Poetry's “Poet of Honor,” Auden had written the copies for the charity event. Hyman J. Sobiloff, a successful industrialist and published poet, purchased the collection for one thousand dollars. In January 1961, he donated the pieces to the Library of Congress, where they remain to this day. At the time, the collection proved somewhat newsworthy: Poetry, the Chicago Tribune, the Washington Post and Times-Herald, and the Library of Congress Information Bulletin all ran brief articles on the auction and donation. Since then, however, the documents have been essentially lost to history. Few, if any, other written records of them remain, Auden's biographers have ignored the manuscripts, and no critical analysis of their content has yet been published.

scholarly journals An Auden Variant

PMLA ◽  
2010 ◽  
Vol 125 (2) ◽  
pp. 468-468
Author(s):  
Edward Mendelson
Keyword(s):  
Library Of Congress ◽  
Shield Of Achilles

It' surprising that Stephen E. Severn' article “The Library of Congress Variant of ‘The Shield of Achilles’” (124.5 [2009]: 1761-67), so earnestly devoted to explaining in detail a variant word in a handwritten copy of a poem, should misquote four lines about which there is no dispute. Auden' “unintelligible multitude” in “The Shield of Achilles” is here assembled on a “plane without feature, bare and brown” (1762). How could a million “eyes” and “boots in line” possibly fit, much less stand, on that brown plane–or in it? And why is it “bare”? The line, of course, should read (and does in all editions), “A plain without a feature….”

scholarly journals An Auden Variant

PMLA ◽  
2010 ◽  
Vol 125 (2) ◽  
pp. 467-468
Author(s):  
George T. Wright
Keyword(s):  
Library Of Congress ◽  
Shield Of Achilles

It' surprising that Stephen E. Severn' article “The Library of Congress Variant of ‘The Shield of Achilles’” (124.5 [2009]: 1761-67), so earnestly devoted to explaining in detail a variant word in a handwritten copy of a poem, should misquote four lines about which there is no dispute. Auden' “unintelligible multitude” in “The Shield of Achilles” is here assembled on a “plane without feature, bare and brown” (1762). How could a million “eyes” and “boots in line” possibly fit, much less stand, on that brown plane–or in it? And why is it “bare”? The line, of course, should read (and does in all editions), “A plain without a feature….”

scholarly journals Sexual Victims of War

PMLA ◽  
2010 ◽  
Vol 125 (2) ◽  
pp. 468-468
Author(s):  
Name withheld
Keyword(s):  
Library Of Congress ◽  
Shield Of Achilles

It' surprising that Stephen E. Severn' article “The Library of Congress Variant of ‘The Shield of Achilles’” (124.5 [2009]: 1761-67), so earnestly devoted to explaining in detail a variant word in a handwritten copy of a poem, should misquote four lines about which there is no dispute. Auden' “unintelligible multitude” in “The Shield of Achilles” is here assembled on a “plane without feature, bare and brown” (1762). How could a million “eyes” and “boots in line” possibly fit, much less stand, on that brown plane–or in it? And why is it “bare”? The line, of course, should read (and does in all editions), “A plain without a feature….”

After the Rhapsody

2014 ◽  
Vol 31 (1) ◽  
pp. 91-138 ◽  
Author(s):  
Susan Neimoyer
Keyword(s):  
Compositional Style ◽  
Library Of Congress ◽  
Popular Songs ◽  
Compositional Technique ◽  
Stage Music ◽  
Rhapsody In Blue

1924 was one of the most demanding years of George Gershwin’s career. In addition to the wildly successful premiere of the Rhapsody in Blue that led to numerous additional performances of the work throughout the year, he wrote the music for three hit musicals, all of which opened during that year. Given this context, a manuscript notebook in the Gershwin Collection at the Library of Congress dating from March and April 1924 is particularly intriguing. Because this notebook contains the earliest known sketch of “The Man I Love” (one of Gershwin’s best-loved popular songs), it has been acknowledged in passing by Gershwin scholars. “The Man I Love,” however, is only one of nine short pieces in the notebook and is the only entry written in what is now defined as Gershwin’s compositional style. This article briefly addresses the entire contents of this “March–April 1924 notebook,” exploring the possibilities of what Gershwin’s purposes in writing these undeveloped works might have been. Were they unused stage music, ideas for the set of piano preludes he was writing off and on during this era, or were they exercises focused on correcting weaknesses in compositional technique uncovered while writing the Rhapsody in Blue? Whatever their purpose, the pieces in this notebook provide clues as to what Gershwin’s creative priorities may have been, as well as further insights into how Gershwin honed his musical craft.

Congressional Monitor

2013 ◽  
Vol 42 (4) ◽  
pp. 161-184
Author(s):  
Paul Karolyi ◽  
Paul James Costic
Keyword(s):  
Legislative Process ◽  
Library Of Congress ◽  
Arab Israeli Conflict ◽  
Previous Session

CongressionalMonitor.org, the companion site to this JPS section, provides in-depth summaries of all bills and many resolutions listed here. Published annually, the Congressional Monitor summarizes all bills and resolutions pertinent to Palestine, Israel, or the broader Arab-Israeli conflict that are introduced during the previous session of Congress. It is part of a wider project of the Institute for Palestine Studies that includes the Congressional Monitor Database (CongressionalMonitor.org). The database contains all relevant legislation from 2001 to the present (the 107th Congress through the 112th Congress) and is updated on an ongoing basis. The monitor identifies major legislative themes related to the Palestine issue as well as initiators of specific legislation, their priorities, the range of their concerns, and their attitudes toward regional actors. Material in this compilation is drawn from www.thomas.loc.gov, the official legislative site of the Library of Congress, which includes a detailed primer on the legislative process entitled “How Our Laws Are Made.”

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