Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime

Based on a fresh study of all primary sources of Bartók’s The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the entire history of composition and repeated revisions of the work. The original choice of genre (expressive “pantomime” in contrast to “ballet”) seems to have played a significant role in this troubled history, which shows the composer’s efforts to transform sections of the original “gesture” music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of the piano reduction published posthumously in 1955 by Universal Edition present an abridged form of the work, which cannot be fully authenticated and was finally restored to its more complete form in Peter Bartók’s new edition of 2000. Looking for the possible origin of the more obscure cuts, discussions with choreographer Aurelio Milloss in 1936 and Gyula Harangozó in 1939/40, both of whom later directed and danced productions of the work under the baton of János Ferencsik with great success (in Milan in 1942 and in Budapest in 1945, resp.), should probably be taken into consideration as these might have resulted in the integration of cuts into the published full score. Apart from trying to understand the different stages of the work’s long evolution, the article argues that it is essential to study the original version in the compositional sources since it reveals Bartók’s first concept of the piece composed in his period of highest expressionism.

“Such as might best be”: Simile in Edmund Spenser’s Faerie Queene

Chapter Four follows Braggadochio as he travels through Spenser’s faerie land collecting other men’s ornamenta, a word that describes both the figures of rhetoric and the weapons of war. His story proceeds according to the paradigm of accumulation that underwrote the humanist schoolroom’s central claim to facilitate social mobility. It argues that the early modern simile acted as an engine of accumulation and that its copious productivity resisted the very abstraction upon which humanist theories of reason were predicated. I examine how Spenser casts Braggadochio’s accumulation of comparative images, and the history of composition it implies, as a means of social mobility while also suggesting that simile encodes the time of poetic practice into The Faerie Queene.

Text and Context

Chapter 2 first situates Errors of the Three Religions within the apologetic genre of Christian writings, tracing the history of Christian apologetics and catechism in Asia; Christian apologetics serves either a positive function of defending Church teachings or a negative role of critiquing alternate religions. Then the chapter introduces the text, including the genre, history of composition, structure, content, audience, and authorship of Errors of the Three Religions—making the case that the author is Hilario Costa—as well as its relationship to other Christian texts in Vietnam at that time, such as Matteo Ricci’s and Alexandre de Rhodes’s catechisms.

The Book of Isaiah

The book of Isaiah is a compilation of prophetic poetry and narratives, named for an 8th-century bce Judahite prophet. As depicted in chapters 1–39, Isaiah declared that Yhwh intended to punish Judah for social and cultic infractions; at the same time, he expressed support for the Davidic monarchy and proclaimed that Jerusalem would not be conquered by the Assyrians. Chapters 40–55 are addressed to a later audience following the conquest of Jerusalem by Babylon in 587 bce. These texts offer reassurance that Jerusalem will be restored and its exiled citizens will return. The final chapters, 56–66, reflect growing disillusionment and conflict in Judah under Persian rule, and the book ends by describing Yhwh’s eschatological destruction of the wicked and vindication of a righteous remnant. The book grew and developed over a period of four to five centuries. Despite its sometimes conflicting perspectives, it is broadly unified by its focus on the fate of Jerusalem, and later editors worked to impose some coherence upon its varied content, as seen by the repeated thematic echoes in Isaiah 1 and 65–66. Isaiah is a sophisticated work of biblical Hebrew poetry, characterized by intricate combinations of imagery and wordplay. It features a high view of divine sovereignty, emphasizing Yhwh’s control over world nations and superiority over all human and divine powers; these ideas contributed to the emergence of monotheism in ancient Judah. The book also articulates diverse responses to imperial domination, even as it chronicles the ebb and flow of Judah’s own imperial aspirations. Striking portrayals of women and gender appear throughout Isaiah, including the extensive personification of Jerusalem as a woman and the comparison of Yhwh to a mother. Isaiah is also notable for its discourse about disability, which serves a variety of rhetorical functions in the book. The impact of Isaiah was felt immediately, as evidenced by the number of copies of the book among the Dead Sea scrolls and citations of it in the New Testament. It greatly impacted the development of important religious ideas, including apocalypticism and belief in resurrection. In Christianity, Isaiah played an important role in reflection upon the nature of Jesus and the inclusion of Gentiles, even as it informed Christian anti-Judaism. The book has had a more complicated reception in Judaism, where it significantly influenced the growth of Zionism. Scholarly study of Isaiah continues to clarify the shape of its final form and history of composition. Current research on the book is increasingly interdisciplinary, engaging metaphor theory, disability studies, and postcolonial thought. The history of the book’s interpretation and reception is another area of growing interest.