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Hector Hugues Munro dit. SAKI
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Reference : 61870
Non-donné. L'o&il de la lettre. 1988. 30 pp. In-12. Broché. Très bon état. 1 volume. Traduit de l'anglais par J. DEREGNAUCOURT.
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5 book(s) with the same title
1) Møller, P. L. Et Besøg i Soræ [in: Gæa. Æsthetisk Aarbog]. + 2) [Goldschmidt, Meïr Aaron, edt.]. Corsaren. Nr. 1-315. + 3) Frater Taciturnus: En omreisende Æsthetikers Virksomhed, og hvorledes han dog kom til at betale Gjæstebudet. [Printed in: F... - [THE CORSAIR AFFAIR]
Kjøbenhavn, 1845-47. 1) 8vo. (IV), 372 (VIII),330 (VI),314 pp. Three volumes, all uncut and all in the original glitted paper bindings with gilding to boards. Rebacked and with restored tears to edges of boards. Inner hinges re-enforced. Gilding to boards rubbed and vague. Some brownspotting throughout. Illustrated. 2) All that was issued of The Corsair during Goldschmidt’s ownership, including those of the seized issued that were not also destroyed: 36, 64, 70, 81, 293 as well as no. 215b, the addenda-issues to 75, 194, 215, 215b, 227, 259, 262, 208 as well as the extra numbers of 86 and 259 (with different dates and contents, i.e. just errors in the consecutive numbering), and “Følgeblad” after no. 204]. [The seized and destroyed issues are, as expected, not present: 3, 11, 21, 22, 26, 63, 65, 67, 68, 73, 77, 79, 80, 136, 149, 151, 176, 192, 194, 199, 208, 226, 242, 243, 261, 265, 270, 281, 294, 305, 307, 313]. Nos. 1-16: Andet Oplag (i.e. second issue). (Copenhagen), 1841-1846. Lex 8vo. Bound in three contemporary uniform black full cloth bindings with gilt lettering and numbering to spines. Extremities a bit worn and hinges a bit weak. Some brownspotting. Overall a very good set. Richly illustrated throughout, both in the text and with plates. 3) 6te Aarg. Nr. 2078. Løverdagen den 27. December 1845. 2 pp. Columns 16653-1660. Kierkegaard’s article: Columns 16653-16658 4) 6te Aarg. Nr. 2079. Mandagen den 29. December 1845. 2 pp. Columns 16661-16668. Møller’s article: Column 16665 5) 7de Aarg. Nr. 9. Løverdagen den 10. Januar. 1846. 2 pp. Columns 65-72. Kierkegaard’s article: Columns 65-68 (København), 1845 & 1846. All three articles in large 4to (33 x 24,7 and 33 x 24,5 cm). 2 columns to a page.
A magnificent set of all the original articles that cover the seminal Corsair Affair, which came to radically impact Kierkegaard's life - exceedingly scarce. To our knowledge, such a complete set of all the articles has never previously been for sale. The five numbers above together constitute all the seminal papers of the entire Corsair affair. As D. Anthony also puts it: “The summary of the affair is as follows. Other, lesser articles exist from this period, including some of unknown authorship… P.L. Møller’s article in Gæa entitled «A Visit in Søro» Kierkegaard responds in this article, “The Activity Of A Traveling Esthetician” P.L. Møller’s reply in The Fatherland Goldschmidt’s first Corsair article Kierkegaard’s second and final reply, “The Dialectical Result of a Literary Police Action” A string of articles published in The Corsair” This set includes 1) The first edition of all three volumes of Gæa (all that was published), the aesthetical magazine by P.L. Møller, in which he published his review of Kierkegaard’s Stages on Life’s Way, which is the paper that begins the entire Corsair Affair, the paper, which Kierkegaard responds to in The Fatherland, at the same time attacking The Corsair. Apart from Møller’s fateful review of Stages on Life’s Way, which in turn came to have such a profound influence upon Kierkegaard’s life, the literary periodical also contains numerous original contributions by Kierkegaard’s most famous contemporaries, providing an excellent picture of Danish literature at this exact moment in time. There are numerous contributions by Hans Christian Andersen: Stoppenaalen (BFN 482), three poems for Jenny Lind, Melbye, and Gertner respectively (BFN 483, 484, 485), To Billeder fra Kjøbenhavn (BFN 515, 513), and Hvad den lille Hund siger (BFN 514) Blicher: Pilen (Bertelsen s. 42), Halv Spansk og halv Dansk (Bertelsen s. 42), and Ungdom og Løndom (Bertelsen s. 42) and many more first printings by Aarestup, H.C. Ørsted, Oehlenschläger, Christian Winther, Hauch, Høegh-Guldberg, P. L. Møller himself, and many others. 2) A complete collection of all rightful issues of Goldschmidt’s Corsaren, the seminal periodical that took Copenhagen by storm and is now famous world-wide for its harsh ridicule of Søren Kierkegaard, with the iconic caricature of him that now constitutes the most famous “portrait” of the founder of Existentialism. The seized numbers account for the lacunae in the numbering of the issues in the present set. Most of these were destroyed and never reached the public, to the great disappointment of the many loyal readers. A few of the seized issues were later released by the chancellery, and the subscribers would receive them, albeit several months later. This accounts for the five issues that are present here, although they were seized – the few seized issues that were not also destroyed. 3)-5) The exceedingly scarce original printing of the three issues of Fædrelandet that contain the three articles in this paper pertaining to The Corsair Affair – Kierkegaard’s two only published contributions to the Corsair Affair as well as Møller’s important reply published merely two days after Kierkegaard’s first. As we know, a defining moment in Kierkegaard’s life was his engagement – and not least the termination of it – to Regine Olsen. This would affect him, his writings, and his thoughts for the rest of his life. The next defining moment that would also leave deep traces in Kierkegaard’s work, mental state, and thought, was that of the so-called Corsair Affair, which evolved into the greatest literary battle in Danish history. It had enormous consequences for everyone involved, not least Kierkegaard, who would never really recover from it. The Corsair was one of the most important periodicals in the history of Denmark. With its witty disposition, lack of respect for everyone and everything, and its founder’s awe of the French Revolution and republican ideas, The Corsair became the first periodical of its kind in Denmark. It invoked an entirely new genre, founded Danish political satire, and would prove groundbreaking in several respects. It was not only political and meant to be an “Organ for and sculpting of the mass opinion”, but it also viewed as its goal “to assert and cherish the purity and dignity of literature” (Bredsdorff p. 28). The first issue of The Corsair saw the light of day on October 8, 1840. The periodical was founded and owned by Meïr Aaron Goldschmidt who was also the actual editor and the author of the greater part of the writings in it. In 1846, Goldschmidt sold the periodical, and although it continued its existence until 1855, it almost immediately lost the significance it had when Goldschmidt owned it. The essence of the periodical thus counts the numbers 1 (from October 8, 1840) to 315 (October 2, 1846). Apart from its political stance and the great effect The Corsair came to have upon the shaping of Danish politics during the years that Goldschmidt ran it, the periodical is now primarily associated with one towering “event” known as the “Corsair Affair” – the strife that emerged between the widest read and most influential periodical of the time and the person that would prove to be the greatest thinker that emerged from Danish soil, Søren Kierkegaard. Goldschmidt and Kierkegaard had met each other for the first time right after the appearance of Kierkegaard’s first book, in 1838 and were not ill disposed towards each other. As we know, Goldschmidt had founded The Corsair in 1840, and Kierkegaard published his dissertation, On the Concept of Irony, in 1840. On October 8, 1841 (no. 49), the contents of the dissertation were briefly mentioned in The Corsair, and the actual review followed in no. 51 (October 22). The review was not bad, there was no real mockery, and Goldschmidt even deemed it “interesting”. Like everyone else in Copenhagen at the time, Kierkegaard by now also knew the identity of the true editor of The Corsair, and when he met Goldschmidt again, coincidentally this time, he mentioned to him that he had no reason to be dissatisfied with the review, but that it lacked “composition”, and that Goldschmidt ought to generally “pursue comical composition”. In February 1843, Kierkegaard’s magnum opus, Either-Or, appeared. Goldschmidt read it and was immediately infatuated by it. There was no end to his appreciation of this masterpiece. He reviews it in The Corsair, no. 129, March 10, 1843, where he states “This author is a mighty intellectual, he is an intellectual aristocrat, he mocks the entire human race, portrays its wretchedness but he is entitled thereto, he is an unusual intellect.” And this is not the only time that Goldschmidt praises Kierkegaard. One would think that Kierkegaard would have been thrilled with this. Usually, he is portrayed as a misunderstood, struggling author, who no-one really believed in and who was only vindicated after his death. But here, he is so highly praised, for his early works no less, by one of the most influential men in the country at the time. But Kierkegaard was not pleased. He might have felt left out for not being made fun of like everyone else in The Corsair, and he was definitely not in agreement with Goldschmidt politically. Kierkegaard was a true conservative and did not appreciate the horrible liberal radicalism of The Corsair. It clearly bothered him to be lauded by this “gossip rag”. When The Corsair once again highlighted the immortality of Victor Eremita (Kierkegaard’s pseudonym) in a review of a novel by Carsten Hauch, the praise seems to have become too much for the conservative Kierkegaard. In a letter (that he never sent, though), he writes to The Corsair, in the satirical manner of the periodical itself “kill me, but do not make me immortal!”... “Oh! This gruesome mercy and to be spared, forever designated a non-human, because The Corsair inhumanely spared him!... Oh! Let you be moved to pity, stop with your sublime gruesome mercy, kill me like everyone else!”, asking to be ridiculed by The Corsair like everyone else. The defining moment came, when at the end of December 1845, Kierkegaard writes an article in the paper The Fatherland, under the pseudonym of Frater Taciturnus. This paper is Kierkegaard’s first of two written contributions to the Corsair Affair and the one that set it off. The paper entitled “The Activity of a Traveling Esthetician and How He Still Happened to Pay for the Dinner” was written as a reaction to P.L. Møller’s essay “A Visit in Sorø”, which Møller had published in his aesthetic yearbook Gæa on December 22nd, 1845 (Gæa for the year 1846). Here, Møller criticizes Kierkegaard’s Stages on Life’s Way. It is also implied in the title that the “Visit in Sorø”, during which the conversation about Stages on Life’s Way took place, was at the home of Hauch, who lived in Sorø. Kierkegaard replies with this fateful paper, written in five days, over Christmas, and published in The Fatherland on December 27, 1845. Here, Kierkegaard not only reacts to the implication that Hauch was present in the critique of his Stages on Life’s Way and to Møller’s general critique of it, he also publicly regrets not being ridiculed in The Corsair, and he implies that P.L. Møller (whom he despised) is the true editor of The Corsair. There is no doubt that Kierkegaard wished to discredit Møller, who he considered opportunistic (Møller was seeking a chair at the university while secretly publishing his articles in The Corsair), and he succeeded. Kierkegaard’s paper was devastating for Møller and effectually meant the end of his career. Møller had stood in for Goldschmidt during Goldschmidt’s impeachment (accused of being the editor of The Corsair), which he had done as a favour to Goldschmidt, but he was not otherwise truly involved with the “dangerous” periodical. Møller replies a mere two days later, with a small article For Mr. Frater Taciturnus in The Fatherland on December 29th, 1845. Here, he thanks Kierkegaard for having responded so swiftly to his article in Gæa, but immediately objecting that Kierkegaard must accept being criticized and that the only way of avoiding criticism altogether would be not to publish anything. He does not engage in further discussion of Kierkegaard’s critique, but he denies Kierkegaard’s assumption that the conversation about Stages on Life’s Way that took place in Sorø took place at Hauch’s house and claims that the mentioned dinner party was purely f ictitious. Møller refrains from commenting on the assumptions about Møller’s involvement in The Corsair. The Corsair does not, however. As of 1846, everything changed. Goldschmidt began ridiculing Kierkegaard in The Corsair, and he did not tread lightly. The first polemic against him is to be found in no. 276 (January 2), where Kierkegaard’s “unveiling” of Møller is ridiculed. The following issue, no. 277 (January 9) contains the first of many caricature drawings of Kierkegaard, defining the way that Kierkegaard came to be viewed ever after. The drawing was done by the house illustrator of The Corsair, Klæstrup, and has gone down in history as THE most important depiction of Søren Kierkegaard ever. The moment it appeared – January 9, 1846 – became a defining moment in the life of the founder of Existentialism. Not only was he depicted in a ridiculous way, caricatured so that everyone knew who it was, a devastating polemical description of his appearance – for instance mentioning one trouser leg being shorter than the other – also followed. This one issue of The Corsair began the Copenhagen “trend” of discussing the trousers of Kierkegaard – a “trend” that became so bothersome for Kierkegaard that he never really recovered from general ridicule. The Corsair had thus begun the momentous ridicule of Kierkegaard’s outer appearance that came to hurt him so deeply. The Corsair continued mocking Kierkegaard in no. 277, pointing also to the fact that he was not the keeper of secrets Kierkegaard now replied through The Fatherland, again under the name Frater Taciturnus, with a paper entitled Det dialektiske resultat af en literair Politi-Forretning, published on January 10th, 1846. In this paper, Kierkegaard’s second and final published contribution to the Corsair Affair, he exposes The Corsair as a gossip rag and points to the fact that he had “ordered” the ridicule of him, poking fun at the unserious magazine. Again, he asks to be abused in the pages of The Corsair and says that he will not suffer being praised by such a paper. “As it turned out, The Corsair was all too happy to oblige and sustained his request for months to such an extent that Kierkegaard refrained himself from further public response in the matter. We do, however, get a glimpse of his reaction and mood from the numerous journal entries during this time.” (D. Anthony). The Corsair continued to retaliate, continued to mock and ridicule Kierkegaard, and continued bringing caricatures of him – in numbers 278, 279, 280. In no. 284, Goldschmidt once again praises Kierkegaard, reviewing his brilliant philosophical magnum opus Concluding Unscientific Postscript, and although the following months of The Corsair contain several harsh polemics against Kierkegaard, which were devastating to the selfconscious philosopher, Goldschmidt says that the defining moment that made him give up the magazine and sell it, came when, after the publication of Concluding Unscientific Postscript, he met Kierkegaard on the street, which he had done so often, and Kierkegaard refused to greet him. In Concluding Unscientific Postscript, Kierkegaard admits to being the author of all the pseudonymous writings, which is another defining moment in his career. This prompted another caricature in The Corsair – in no. 285 from March 6 1846, Kierkegaard is famously depicted as the centre of the universe. Also in numbers 297, 299, 300, and 304, The Corsair polemicizes against Kierkegaard. The caricatures were devastating to Kierkegaard, who keeps mentioning the polemics in his diaries. He so wishes that The Corsair would now stop the mocking and let him be. The extent to which his trousers and his appearance in general had become a subject of gossip for the inhabitants of Copenhagen was almost unbearable to him. “I need only put on my trousers, and all eyes are on me, on my trousers”, he writes, and elsewhere, after talking about the vast general ridicule from the Copenhagen public, “such knowing mistreatment is one of the most painful things. Everything else comes to an end, but not this. To sit in a church and then a couple of ruffians have the audacity to sit next to one only to constantly ogle one’s trousers and mock one in a conversation that is so loud that one hears every single word.” (Pap. VIII: 1A, 99). The mocking would take no end, and Kierkegaard’s private papers are full of examples of how he was made fun of and how everyone in Copenhagen would laugh at him and his trousers. “What Goldschmidt and P.L. Møller practice in the large, every individual practices in the small.” (Ibid., 218). The effect of the caricatures was grueling, and Kierkegaard never really recovered from it. With its political stance and its provocative manner, it is no wonder that many issues of the groundbreaking periodical were seized, forbidden, and destroyed by the police censure, which accounts for lacunae in the numbering of the issues. This also accounts for the long list of fictional names of editors. Goldschmidt is never actually mentioned as the editor anywhere in the periodical, and, in the beginning, every time a number is seized, a new fictional editor-name appears on the following issues. Already issue no. 3 was confiscated, and during Goldschmidt’s ownership, 40 issues were seized and forbidden. Within the first 26 weeks of its existence, The Corsair had officially had no less than six different editors in chief. In the six years that Goldschmidt owned it, 14 different editor-names appear. The first issue of The Corsair took Copenhagen by storm it was eagerly read and discussed, and there were countless rumors as to who the real editor/editors was/were. Issue no. 1 was sold out so quickly that a second issue of it followed almost immediately. Thus, often in the rare sets one encounters of The Corsair, the early issues will be in second issue, as it was only later on that the editor realized the need to print in larger numbers. Himmelstrup: 81, 88 & 89.
Corpse in the Middle Ages: Embalming, Cremating, and the Cultural Construction of the Dead Body
, Brepols - Harvey Miller, 2021 Hardback, vi + 780 pages, Size:220 x 280 mm, Language(s):English, Latin. ISBN 9781909400870.
Summary To what extent are the dead truly dead? In medieval society, corpses were assigned special functions and meanings in several different ways. They were still present in the daily life of the family of the deceased, and could even play active roles in the life of the community. Taking the materiality of death as a point of departure, this book comprehensively examines the conservation, burial and destruction of the corpse in its specific historical context. A complex and ambivalent treatment of the dead body emerges, one which necessarily confronts established modern perspectives on death. New scientific methods have enabled archaeologists to understand the remains of the dead as valuable source material. This book contextualizes the resulting insights for the first time in an interdisciplinary framework, considering their place in the broader picture drawn by the written sources of this period, ranging from canon law and hagiography to medieval literature and historiography. It soon becomes obvious that the dead body is more than a physical object, since its existence only becomes relevant in the cultural setting it is perceived in. In analogy to the findings for the living body in gender studies, the corpse too, can best be understood as constructed. Ultimately, the dead body is shaped by society, i.e. the living. This book examines the mechanisms by which this cultural construction of the body took place in medieval Europe. The result is a fascinating story that leads deep into medieval theories and social practices, into the discourses of the time and the daily life experiences during this epoch. TABLE OF CONTENTS ABOUT THE TRANSLATION FOREWORD INTRODUCTION The Constructed Corpse: Methodology, Structure, and Goals Burial between Norm and Practice St Augustine and the "Constructed" Sanctity The Staged Corpse No Fear of the Dead Body Parts and the Gaze Upon the Dead Body A Topic between Popular Hype and Historical Lack of Interest: The State of Research CHAPTER I: THE BURIED CORPSE The Corpse and the Resurrection The Soul, the Corpse, and the Beyond The Eternal and the Eternally Disturbed Grave Drowning and the Element of Baptism Cremating the Dead: Between Concern and Banning The Proper Burial in the Middle Ages The Quest for the Phantom: The "Standard" Burial in the Christian Middle Ages Symbolism of Light and the Position of the Dead in the Grave Solitary Burial and Group Affiliation of the Corpse The Corpse is Coming to the Living: The Cult of the Martyrs and the Burial with Saints The Development of the Church Graveyard Interment in the Time of Crisis War Dead and Their Graves Death as a Result of Epidemics, the Black Death, and Burial The Corpse Portrayed Summary CHAPTER II: THE HOLY CORPSE Real Presence and the Cult of Relics The Holy Corpse as a Self-Determined Being Transfer of Relics and Fragmenting of the Corpse Desired Relics, Corpse Desecration, and the Dead as a Valuable Treasure The Corpse as Proof of Sanctity "Corpus Incorruptum," Mumification, and Created Sanctity The Aromatically Smelling Corpse Innocent Liquids: The Leichenöl Medieval Complementary Logic: The Corpses of the "Valde Boni" and the "Valde Mali" Summary CHAPTER III: EMBALMING AND THE PRESERVATION OF CORPSES Ancient Embalming in the Middle Ages Ancient Mummies and the Christian Occident "Aromatibus conditum"-The Biblical Model and Early Christian Embalming Embalming in the Time of the Merovingians Sanctity and (Repeated) Embalming Change of the Embalming Technique in the Time of the Carolingians Rotting and the Ideal of a Fast Burial Ritual of Burial and the Transport of the Corpse A New Method: Opening of the Corpse to Remove the Entrails and the Badly Smelling Corpse of Charles the Bald Embalming in the High Middle Ages Transfer of Corpses since the High Middle Ages Embalming in the Tenth Century Embalming in the Time of the Salian and the Hohenstaufen Dynasties Robert Guiscard, Sven Gabelbart, and Embalming in the Kingdom of England Embalming in the Kingdom of France The Desert and the King of Jerusalem Popes and Saints Roland, Henry the Lion, and the Deer Hide: Embalming Practice in the Literary Discourse Corpse Transport and Social Prestige: Changes in the Process of Embalming in the Course of the High Middle Ages Kitchen, Cooking, and the Treatment of the Corpse Cooking the Corpse-a "mos Teutonicus"? Boiling of Corpses in the Twelfth and Thirteenth Centuries The Bull "Detestandae feritatis" by Pope Boniface VIII from 1299 and the End of Boiling Corpses The White Bone: The Sanctity of the Boiled Body Individuals Charged with Taking Care of the Corpse and Corpse Washing Dissection of the Corpse and the Professionalization of Embalming Ar-Razi and Medicine in the High Middle Ages Henry of Mondeville, Guy de Chauliac, and the Process of Embalming in Late Medieval and Early Modern Medicine Innovations in High and Late Medieval Embalming Processes and the Anthropological and Archeological Data Opening of the Three Corporal Cavities The Application of Mercury Wax and Linen Galen and the Cold, Humid Corpse: Drying of the Corpse as a Technique in Embalming Aerial Drying of the Corpse Hygiene or the Preservation of the Corpse: Gypsum, Lime, and Hops Booming of Embalming: From the Eighteenth Century to Today Embalming, Preservation of the Body, and the Cult of Relics Summary CHAPTER IV: AUTHORITY AND THE CORPSE Visiting a Corpse-the Visit by a Corpse The Ruler's Corpse as a Sign of Victory The Specialists of Death and Their Ruler Clientele: The Location of the Grave and the Row of Corpses as a Means for Legitimization Conversion, Legitimacy, and the Beloved Bones of the Ancestors Summary CHAPTER V: THE COMMUNITY OF THE DEAD AND THE CORPSE IN THE "ORDO" Hierarchy of the Funeral Sites The Unclean Corpse and the Church as a Burial Site Old Age, Gender, and Kinship: The Hierarchy of the Burial Sites in Medieval Cemeteries Grave Donations Between Here and the Afterlife Clothing Provides Status to the Dead: Insignia of Social Class and the Identification of Corpses Pedum, Paten, Chalice, and Ring: The Burial of Priests and Bishops Crown, Scepter, Orb, and Royal Vestments: The Burial of Emperors and Kings Does God Forget the Names of the Dead? Tables with Inscriptions as Burial Objects and Inscriptions on the Sarcophagus Monastic Habit and Valuable Thread: Monks, Noblemen, Simple People, and Their Clothing for the Beyond Objects Useful for the Corpse Relics, Torture Instruments, and Hosts: Supporters for the Dead Written Documents, Indulgence Letters, and Seals as Documents of Faith Dead Pilgrims Plants and Herbs, Holy Water, Incense, and Coal: Funerary Objects Between Practice and Symbolism Shoes for the Day of Judgment Summary CHAPTER VI: THE CORPSE AND THE LAW The Corpse as the Interim Occupant of an Office The Corpse as Both Subject and Object of the Law The Corpse at Court Strikes with the Sword, Bleeding Corpses, and the Beginning of Forensics in the Middle Ages The Cemetery as a Place of Trial Marking Borders, Church Authority, and the Value of the Corpse The Funeral of the Corpse as an Economic Factor The Corpse and Marking of Borders Summary CHAPTER VII: THE LIVING CORPSE The Sleeping Dead and Its Physically Continued Life Signs of Life: Speaking, Bleeding, and Continued Growth of Nails and Hair Funeral Ritual to Prevent the Appearance of Revenants Placing Weights on the Corpse and the Separation and Breaking of the Legs Decapitation Impalement, Nailing Down, and Interment at a Crossroad Vampires in the Middle Ages? The Cremation of Revenants Obol and Payment of the Dead: Funerary Objects as a One-Way Ticket to the Afterlife? The Corpse Besieged by Demons The Active Corpse Summary CHAPTER VIII: THE DESTRUCTION AND DESECRATION OF CORPSES Deviation from the Funerary Ritual as Punishment and Exclusion Denial of Burial in Sacred Ground On Children Under the Church's Eaves and Pilgrimage Sites: The Unbaptized Dead and Children According to Archaeological Data Suicide and the Corpses of Suicide Victims Excommunicated Corpses and Death Under the Interdict The Example of Emperor Henry IV A Few Years of Eternity, or Was There a Permanent Exclusion of Those Who Had Been Excommunicated The Last of the Hohenstaufen and Their Excommunication: Conrad IV, Manfred of Sicily, and Conradin the Younger The High Medieval Debate on the Punishment of Corpses Exhumation as a Weapon in the Fight Against the Cathars The Growing Concern with the Moral Integrity of the Dead: Individuals Responsible for Church Desecration, Those Who Rejected Confession, and Those Dead Who Had Died without Their Guilt Having Been Forgiven and Atoned In the Case of Doubt Against the Dead: The Liturgists' Fear of the Unknown and the Foreign Death with the Lance in Hand: The Burial of Those Who Had Died in a Tournament The Burial of the Executed Being a Warrior and a Christian: The Exclusion from Burial in Light of Discourse Theory Corpse Desecration The Case of Pope Formosus Corpse Desecration as a Punishment The Ruler's Corpse and the Use of Scalps: Corpse Desecration as a Sign of Physical Superiority Burning and Physical Annihilation The Symbolism of Fire Death by Fire in the Early Middle Ages: Arsonists, Sodomites, Poisoners, Magicians, and Unusual Women The Burning of Heretics and Witches in the High and Late Middle Ages The Destruction of Corpses in the Early Modern Time The Humble Corpse Burial in Simple Clothing The Corpse Placed on Ash Paradise and the Naked Earth: The Burial Site as a Sign of Christian Humility The Penitent Approaching the Day of Judgment: Pippin the Short and Prone Burial Humility of the Medieval Corpse Summary CHAPTER IX: THE CORPSE AS MEDICINE AND MIRACLE CURE The Corpse as Royal Blessing? The Corpse as a Medium to Create Miracles and Magic Charges Against Heretics, Witches, and Jews: Ritual Murder and Mirroring the Eucharist The Corpses of Executed People as Medicine "Mumia vera"-Mummies as a Medical Drug Building Sacrifice and the Corpse as a Weapon Summary CHAPTER X: HEART, HEAD, AND HAND-THE BODY PARTS OF CORPSES FROM AN ANTHROPOLOGICAL AND ANATOMICAL PERSPECTIVE The Practice of Multiple Burials in the High and Late Middle Ages Heart Head Hand Summary EPILOGUE BIBLIOGRAPHY List of Abbreviations Sources Research Literature INDICES Index of Bible passages Index of Names Index of Places
De naturalium effectuum causis, sive de Incantationibus, Opus abstrusioris philosophiae plenum, & brevissimis historiis illustratum atque ante annox XXXV compositum, nunc primum uerò in lucem fideliter editum. Adiectis breuibus scholijs à Gulielmo Gra... - [ESTABLISHING THE ENLIGHTENMENT]
Basel, [Per Henrichum Petri, 1556 - on colophon]. An absolutely lovely copy of the exceedingly scarce first edition, first printing, of one of the most influential and important works in the history of modern thought. A work that has for a long time been overlooked due to the gross neglect of the history of Renaissance philosophy, but which has nonetheless been seminal to the development of scientific and philosophical thought from the 16th century and onwards. With a purely naturalistic and immanent view of the natural process, Pomponazzi here frees man's thought from the bounds of religion and provides modern thinkers and scientists with pure empiricism and naturalism. ""Er will das ""Wissen"" and die Stelle des ""Glaubens"" stellen"" - ""die ""dämonische"" Kausalität des Glaubens weicht der Kausalität der Wissenschaft"" (Cassirer, p. 110 + 111). 8vo. Contemporary full limp vellum, with vellum cords to hinges. Remains of vellum ties to boards. A bit of brownspotting, but all in all a lovely, completely unrestored copy in its first binding. Five large woodcut initials and large woodcut printer's device to verso of last leaf. (16), 349, (3). Adams: P-1827" Wellcome: I:5153" DSB: XI:71-74.A.H. Douglas: ""The Philosophy and Psychology of Pietro Pomponazzi"", 1910.M.L. Pine: ""Pietro Pomponazzi: Radical Philosoper of the Renaissance"", 1986.Thorndyke: ""A History of Magic and Experimental Science"", Vol. V, 1966 (4th printing)P.O. Kristeller: ""Eight Philosophers of the Italian Renaissance"", 1965.J.H. Randall, in: ""The Renaissance Philosophy of Man"", 1956 (4th impression).B.P. Copenhaver & C.B. Schmitt: ""Renaissance Philosophy"", 1992.E. Cassirer: ""Individuum und Kosmos in der Philosophie der renaissance"", 1969 (3. Aufl. - orig. 1927).See also: Kristeller: ""Renaissance Thought and its Sources"""" ""Medieval Aspects of Renaissance Learning"""" ""Renaissance Thought II, Papers on Humanism and the Arts"". ""Pomponazzi's thought and reputation were extremely influential in the centuries after his death. Even before it was printed, his treatise ""On incantations"" circulated widely in manuscript among philosophers, physicians and early modern naturalists (see Zanier 1975). Due to his mortalist theory of the soul, 17th-century ""free thinkers"" regarded Pomponazzi as one of their own, portraying him as an atheist (see Kristeller 1968"" Paganini 1985). Enlightenment thinkers of the 18th century pushed to extremes his distinction between natural reason and faith, while 19th-century positivists, such as Ernest Renan and Roberto Ardigò, saw in Pomponazzi a forerunner of their own beliefs and a champion of naturalism and empiricism."" (SEP).
Exceedingly scarce first edition of Pomponazzi's seminal ""De Incantationibus"", perhaps the most original work of natural philosophy of the Renaissance and arguably the first work of what comes to be the Enlightenment. The work, which is one of Pomponazzi's most important productions (along with his treatise on the immortality of the soul), constitutes a forerunner of Naturalism and Empiricism and could be considered the first true Enlightenment work ever, causing Pomponazzi, our greatest Renaissance philosopher, to be generally considered ""The last Scholastic and the first man of the Enlightenment"" (Sandy, Randall, Kristeller). The appeal to experience is the main concern of the work, and its strict and completely novel way of treating the subject matter resulted in a hitherto unattained elevated position of philosophy in the Latin West, providing to philosophy a new method that remains dominant to this day and without which we would scarcely be able to imagine modern philosophy. Proclaiming the victory of philosophy over religion, the ""de Incantationibus"" changed the entire history of philosophy - philosophy being to Pomponazzi the supreme truth and the final judge of all phenomena.""Pomponazzi's conclusion [in the ""De Incantationibus] results from a dramatic change in method which in turn is based on a profoundly new attitude toward philosophical inquiry. Medieval theologians and philosophers as well as most Renaissance thinkers were content to limit the role of reason in nature because they sincerely believed that the Christian God intervened in the natural order to create miraculous occurrences. As we have seen, this belief prevented their scientific convictions from destroying Christian doctrine by exempting central Biblical miracles from natural process. Even those who held that Christian revelation and Aristotelian science were irreconcilable maintained a sincere fideism which allowed each universe to remain intact, each standing separate from the other. But once Pomponazzi applied the critical method of Aristotelian science to all religious phenomena, Christian miracles were engulfed by the processes of nature. Absorbed by the ""usual course of nature"", the miracle could no longer be the product of divine fiat. Indeed Christianity itself became merely another historical event, taking its place within the recurring cycles of nature, and destined to have a temporal career within the eternal flow of time."" (Pine, p. 273).""De Incantationibus"" constitutes one of the single most important works of the Renaissance. Bringing everything in the world under the general laws of nature, the history of religion as well as all other facts in experience, ""De Incantationibus"" gives us, for the first time in the history of philosophy an outline of a philosophy of nature and of religion, an outline that came to be seminal in the history of philosophy and science throughout the following centuries. With the main aim of the work being to determine the fact that there is no such thing as ""supernatural"", no magic, no omens, no witchcraft, no divine intervention, no apparitions, etc., etc. - all marvelous events and powers observed in experience or recorded in history have their natural, scientific explanation, they are all within the scope of principles common to all nature -, it is no wonder that it was placed on the index of forbidden books immediately upon its publication, as the only of Pomponazzi's works ever. The analysis of the history of religions and the theory of the nature and use of prayer that Pomponazzi here develops is hugely interesting and so far ahead of its time that one hardly believes it. E.g. the notion that religious doctrines all aim, through fables and myths (which he disproves), to preserve the social order rather than to discover the truth, is not something you will find in any other work of the Middle Ages or the Renaissance. ""[H]e brings the whole phenomena of religious history - the changes of religious belief, and the phases of thaumaturgic power - under certain universal laws of nature. Of these facts as of all others, he suggests, there is a natural and a rational explanation" in them the powers that are at work in all nature are still operative" and they are subject to the laws and conditions that govern nature generally - the laws of change, of development, of growth and decay, and transformation in decay."" (Douglas, p. 299).""In regard to the religious issue, I have tried to show that he makes a claim for the absolute truth of philosophy and relegates religion to the purely practical function of controlling the masses. Religious doctrines contain a kind of truth because they can persuade men to act so as to preserve the social order. But religious doctrine has social value rather than speculative veracity. [...] rational truth is the only truth. It is really compatible only with complete disbelief. And I think that this is the statement that Pomponazzi makes. The only doctrines that he accepts are those of philosophy. Philosophy rejects the personal Christian God acting within history and eliminates the miracles of religion. Philosophy reduces to the absurd the notion of a life after death. And finally philosophy destroys revelation itself by viewing it as the product of heavenly forces rather than the act of divine will."" (Pine, pp. 34-35). The work was originally written in 1520, but was not published in Pomponazzi's life-time. It circulated in manuscript form, however, and was also as such widely noted. In 1552, 27 years after Pomponazzi's death, the manuscript was brought to Basel by Pomponazzi's student Guglielmo Gratarolo, who had had to flee Italy due to his anti-religious views. Here, in Basel, he had the book printed for the first time, with a foreword written by himself, in 1556. This was the very first time that the book was published, as it had also not been included in the standard edition of Pomponazzi's collected works, published at Venice the year after his death, 1525 - presumably due to its dangerous and revolutionary views.In his preface, Gratarolo expresses fear that someone may think him either over curious or less Christian for publishing this book. He furthermore explains that he had purchased the manuscript 20 years earlier and brought it with him North when leaving Italy 6 years previously. ""Granting, however, that there may be something in the work which does not entirely square with Christianity, Gratarolo thinks that it should not be suppressed or withheld from the scholarly public, since it contains more solid physics and abstruse philosophy than do many huge commentaries of certain authors taken together."" (Thorndyke, V, p. 99-100). Come the Renaissance, the idea of eliminating demons and angels and attempts at a showdown with magical transformations and the like were not completely novel in themselves. Much scientific thinking of the Middle Ages and the Renaissance carried such beliefs that had in some form or other been current for a long time. But up until Pomponazzi's treatise, these ideas had always been surrounded by hesitance and a clear aim at still protecting the miraculous nature of Christianity itself, not leading the theories forward and not letting them bear any relevance. ""Let us pause here a moment to estimate the place of this radical treatise [i.e. ""De Incantationibus""] in the history of European rationalism. [...] It was Pomponazzi's achievement to go beyond these earlier hesitations and qualifications, particularly in regard to the astrological determination of religious belief. By dramatic shifts of emphasis and the extension of certain ideas to their logical limits, Pomponazzi utterly transformed the context in which these earlier views occurred. In their newly radicalized form, they challenged the supremacy of revelation by elevating philosophy to a position hitherto unattained in the Latin West"". (Pine, p. 268).""[...] Even this brief sketch makes clear that Pomponazzi came at the end of a long scientific tradition which had absorbed, and to some degree, subordinated Aristotelian-Arabic science and astrology to the Christian universe. But if we look at each strand of this tradition, we can see how Pomponazzi carried these concepts to their furthest limits."" (Pine, pp. 268-72). Pomponazzi clearly sought to explain all miraculous cures, events, etc. through natural powers. All sequences and concoctions which could seem magical or supernatural are within the same framework as other observed sequences and concoctions in nature. We may not be able to explain all of them (although Pomponazzi does attempt in the treatise to provide specific and elaborate natural, physical explanations of a large number of ""magical"" and ""supernatural"" events), but that is merely a lack in our intellect or understanding and by no means because these occurrences or events are not governed by nature and the physical laws of nature. ""This whole mode of explanation of the marvelous in nature and history is constantly pitted against the orthodox theory which attributed magic and miracles to the agency of angels or demons. The book ""De naturalium Effectuum Causis"" is a uniform polemic against that theory, as essentially a vulgar superstition. It is the tendency of the vulgar mind, he says, always to ascribe to diabolic or angelic agency events whose causes it does not understand."" (Douglas, p. 275). ""These fictions are designed to lead us to truth and to instruct the common people who must be led to the good life and turned away from evil just like children, that is to say, by the hope of reward and the fear of punishment"" and it is by these vulgar motives that they are led to spiritual knowledge, just as children pass from delicate nourishment to more solid nourishment. Hence it is not far from my concept or from the truth that Plato taught the existence of angels and demons not because he believed in them but because it was his aim to instruct the ignorant."" (Pomponazzi, ""De Incantationibus"", 10, pp. 201-202).In order to understand the monumental accomplishment of Pomponazzi's ""De Incantationibus"", one must realize which tradition he is inscribed in, namely that of Italian Aristotelianism (as opposed mainly to the Renaissance Platonism). It is within this long tradition that he effects a revolution. ""In the Italian schools alone the emerging science of nature did not mean a sharp break with reigning theological interests. To them it came rather as the natural outcome of a sustained and co-operative criticism of Aristotelian ideas. Indeed, that mathematical and mechanical development which by the end of the sixteenth century produced Galileo owes very little to the Platonic revival but received powerful stimulus from the critical Aristotelianism of the Italian universities."" (Ren. Phil. of Man, p. 12).Pomponazzi stood at a crossroad in the history of Aristotelianism. He still studied the great logicians and natural philosophers of the 14th century, which his Italian humanistic colleagues had given up (focusing instead on ""man"" and his place in the universe), but at the same time he had a highly original approach to the teachings of Aristotle and a unique uninhibited approach to the nature of the universe, and he responded philosophically to the achievements of humanism, always seeking the truth and the ""naturalist"" explanation. Of that critical Aristotelianism which sought to find the true meaning of the works of Aristotle, lay them bare, and develop them further to find the true nature of the universe, to explain how the world functions without any preconceived notions (like the belief in Christ, etc.), Pomponazzi was a forerunner. With his ""De Incantationibus"", this ""last scholastic and the first man of the Enlightenment"" paved the way for the Enlightenment of the centuries to come, for rational free thinking. His quest against the theologians and ""his scorn for all comfortable and compromising modernism in religion, and his sober vision of the natural destiny of man"" (Randall, p. 268) combined with his refusal to leave the bounds of the Aristotelian tradition, his meticulous use of the medieval method of refutation, and his thorough rationalism, enabled him to revolutionize the Aristotelianism of the 16th century - and indeed the entire trajectory of philosophy of the ages to come - and invoke the period of scientific free-thinking that breaks free of Christian doctrines and which later comes to be the Enlightenment. ""Against Pico's denial of astrology as incompatible with human freedom, he tried to make an orderly and rational science of the stars, opposed to all superstition - the naturalist's answer to the Humanist"". (Randall, p. 277).""During the twelve decades or so between Pomponazzi's arrival (1484) and Galileo's departure in 1610, the learned community that Shakespeare called ""fair Padua, nursery of arts"", achieved a distinction in scientific and medical studies unmatched elsewhere in Europe. Thus, Pomponazzi's career in northern Italy brought him close to the most exciting advances of his time in science and medicine. In keeping with the nature of his university appointments, he approached Aristotle from a perspective quite distant from Bruni's humanism or Lefèvre's theologizing. [...] Pomponazzi's Aristotelianism developed entirely within the framework of natural philosophy"". (Copenhaver & Schmitt, p. 105). ""With this final explanation, Pomponazzi has discovered natural causes for all miraculous events and hence has eliminated the miracle as a category for understanding the process of nature. [...] As we have seen, Pomponazzi's theory offers three fundamental natural explanations of events which Christianity ascribes to the miraculous intervention of angels and demons. [...] Here Pomponazzi's method takes its most radical turn. Biblical miracles are now also found to have natural causes. Moses, we learn, performed his task by natural means. The ""dead"" revived by the prophets were not really dead. And the acts of Christ and the Apostles can be explained ""within natural limits""."" (Pine, pp. 254-56).""The histories of other religions record miracles similar to those of Christianity, and Pomponazzi justifies his frequent citation of historians in a philosophical work as authorities for past natural events of rare occurrence. Such is the most detailed and carefully worked out, the most plausible and at the same time most sweeping expression of the doctrine of astrological control over the history and development of religions that I have seen in any Latin author."" (Thorndyke V, pp. 108-9).FULLER DESCRIPTION AVAILABLE UPON REQUEST-
A truly splendid and unique collection of 23 Hans Christian Andersen-items that together tell the true story of Andersen's life and sheds light on all aspects of his life and work. The collection is divided into the following (full descriptions belo... - [MAGNIFICENT HANS CHRISTIAN ANDERSEN-COLLECTION]
(1822) - 1872.
With the present Hans Christian Andersen-collection, we have aimed not at an exhaustive collection of ALL of his many writings nor at a LARGE collection, but at an exquisite, chosen collection that tells us the true story of Andersen's life. A collection that enlightens us about both the author and the man Hans Christian Andersen and that sheds light on all aspects of his life and work. A collection that epitomizes quality, scope, and importance, not merely numbers of items nor works that are not particularly important in his life's work. Every one of the 23 items in the present collection has been carefully chosen to represent a certain Aspect of Hans Christian Andersen at a certain time of his life, in an attempt to get as close to the great fairy tale author as possible. The items basically span his entire career - from his first book, published at the age of 17 (and only known in about 10 copies) to an original manuscript poem by the ageing author at the age of 67. The 23 carefully chosen and unique items cover his earliest publications that are of extreme scarcity, his three seminal fairy tale cycles that catapulted him into fame and created the genre of the fairy tale, for which he is now famous world-wide, five magnificent presentation-copies (among them an absolutely magnificent copy of his very first fairy tale, one of the best presentation-copies known) that each give us an insight into the poet Andersen and into his circle of friends, six splendid original letters that are all different in style and content and written from all over the world (among them one of the extremely rare letters known by him written in English, in Latin hand), an original manuscript, which is an extreme scarcity on private hands and something one may never come by again, two books from Andersen's own library, which is extremely rare to find, as only 75 such books are known and almost all of them are in institutional holdings, and finally the three main translations that ensured his fame in the rest of the world: the most important translations into German, English, and French respectively. The collection is divided into the following seven categories, and below follows a short preview and introduction to each. Upon request, a document with full, elaborate descriptions of each item will be provided. 1. Debuts/earliest publications (see also 3.1.)2. The three fairy tale collections/cycles3. Presentation-copies (see also: 2.3.)4. Letters5. Manuscript6. Books from Andersen's library7. The three main translations1. Debuts/earliest publications1.1. Ungdoms-Forsøg / Gjenfærdet ved Palnatokes Grav, en Original Fortælling" og Alfsol, en original Tragoedie. Ungdoms=Forsøg. Kjöbenhavn, [1822]. The extremely rare first printing of Hans Christian Andersen's first book - with facsimiles of the title-page, the contents-leaf and a further four leaves. The book is exceedingly rare. A title-issue appeared in 1827. No more than about ten copies in all of both the first issue and the title-issue are known to exist - only a couple of them are known in private collections, and less than a handful of copies are known outside of Denmark. The present publication, his first book, is of immense importance to Andersen's life and work and is arguably THE most important piece of Anderseniana. 1.2. Ved min Velgører Provst Gutfelds Død. Slagelse, 1823.The extremely rare first printing of the 1823-issues of this slightly obscure newspaper, which contains Hans Christian Andersen's third publication. This exceedingly rare piece of Anderseniana was published when the master of the fairy tale genre was merely 17 years old, namely in February 1823. The present publication constitutes one of the two pieces of publication that are at the epicentre of the coming-to-be of the greatest poet and author to emerge from Danish soil. This little piece is a heartfelt, almost perfectly stylized poem that constitutes an obituary of Hans Christian Andersen's early benefactor, Gutfeld, who was responsible for Collin accepting to be Andersen's benefactor. It was due to Gutfeld and his belief in Andersen that he made it on into the world and was taken seriously enough - at the mere age of 17 - to later be allowed to follow his heart and his life dream - that of writing.1.3. Fodreise fra Holmens Canal til Østpynten af Amager i Aarene 1828 og 1829. Kjöbenhavn, 1829. The rare first edition of Hans Christian Andersen's debut novel, ""Journey on Foot"", here in the extremely scarce original printed wrappers. Andersen himself considered this book his debut and refers to it as ""my first publication"". It came to play a tremendous role in the development of his writing and constitutes one of his most important works. It is the first piece of Andersen that yields any success and the first work for which he gained any recognition. ""It is a well-known fact that Hans Christian Andersen made his début as a writer three times during his youth. The first time he published a book was in 1822, when ""Youthful Attempts"" came out... He was 17 years old, penniless and in need for help, but the main part of the circulation ended up in the paper mill... The second time he made his début was in 1829, when he published ""Journey on Foot from Holmen's Canal to the Eastern Point of Amager"", a book which can hardly be classified as a travel book.. it seems a subtle and humorous arabesque and a literary satire. This book was published in the year after he had left grammar-school and was qualifying for the entrance examination to academic studies at the university. It can rightly be regarded as a key, which enables us to understand the entire development of his later production...2. The three fairy tale-collections2.1. Eventyr fortalte for Børn. (1.-3. Hefte) + Eventyr fortalte for Børn. Ny Samling (1.-3. Hefte). 2 Bind. Kjöbenhavn, 1835-1847. A lovely set of this exceedingly rare collection of Andersen's earliest fairy tales. This legendary fairy tale-collection that created the fairy tale-genre and brought Andersen international fame, consists in six parts that together make up two volumes. As with most of the other few existing copies, the present set is a mixture of issues and likewise has certain wants concerning title-pages, half-titles and tables of contents. ""During Andersen's lifetime 162 of his Fairy Tales were published, but the scarcest and most difficult to obtain are these six little pamphlets. We do not know exactly how many, or how few, copies were printed, but we do know that no copy with all the title pages and tables of contents has ever been offered for sale.""2.2. Nye Eventyr. 2 Bind (5 samlinger). Kjøbenhavn, 1844 - 48.First edition of Hans Christian Andersen's seminal second collection of fairy tales - the publication that made him internationally famous - with all five collections in first issue, also the first, which is of the utmost rarity. It is in this legendary first collection that we find the first printing of ""The Ugly Duckling""(not as is indicated in PMM in his first). The rarity of the first issue of volume 1, collection 1 is legendary. It was published on November 11th 1843 (dated 1844 on the title-page) in a very small number, probably due to the poor sales of Andersen's first fairy tale collection. Against all belief, this first collection sold out within a few days, catapulting Andersen into worldwide fame, and a second issue was published already on December 21st 1843. Thus, only very few copies of the first issue exist, and almost all collections of the ""New fairy Tales"" are bound with the second issue or the third of 1847, meaning that they do not contain the actual first printing of ""The Ugly Duckling"", ""The Nightingale"", ""The Angel"", and ""The Sweethearts"". 2.3. Nye Eventyr og Historier. 3 Series, 10 collections. Kjøbenhavn, 1858-1872.A splendid fully complete copy of Andersen's third fairy tale collection, WITH ALL 10 ISSUES IN FIRST EDITIONS, FIRST ISSUES, ALL IN THE ORIGINAL PRINTED WRAPPERS, AND ONE OF THEM WITH A SIGNED PRESENTATION-INSCRIPTION BY ANDERSEN - WITH 39 FAIRY TALES IN THEIR FIRST PRINTINGS. It is highly uncommon to find all ten issues of the series together, let alone in the original printed wrappers, each of which is a scarcity on their own. To our knowledge, only one other such set exists in a private collection, and that is in far from as fine condition as the present, where all but one of the issues (which does not have the back wrapper) are fully complete with the spines, exactly as issued. 3. Presentation-copies3.1. Digte. Kjöbenhavn, 1830.THE RARE FIRST EDITION - PRESENTATION-COPY, IN THE EXCEEDINGLY SCARCE ORIGINAL PRINTED WRAPPERS - OF ANDERSEN'S THIRD BOOK, CONTAINING HIS FIRST FAIRY TALE. The magnificent presentation-inscription - hitherto unknown and unregistered - is arguably one of the most important Andersen-presentations known to exist. It is inscribed to Henriette Collin, the then fiancée, later wife, of his closest and most important friend, who was more like a brother to him, Edvard Collin. It is one of the very early Andersen-presentations known. This first published collection of Andersen's poetry constitutes Andersen's third published book (at the age of 24) and contains, at the end, the first printing of any of his fairy tales, being also his very first fairy tale ""The Ghost"" (or ""The Spectre""). This is the first time that Andersen uses the term ""Eventyr"" (fairy tale), the term which came to denote the genre for which he received world-wide fame as one of the most important writers of all time. 3.2. Nye Eventyr. Tredie Samling. Kjøbenhavn, 1845.An excellent presentation-copy of the first edition of the third ""collection"" of Andersen's second fairy tale-collection, containing five of his best fairy tales in the first printing - among them the cherished tales ""The Red Shoes"" and ""The Shepherdess and the Chimney-Sweep "". Inscribed copies of Andersen's fairy tales are very rare and extremely sought-after. But the present presentation-copy is even more interesting, as it is inscribed to a fellow author of tales for children - ""The poet Kaalund/ in kind remembrance/ of our first meeting/ the 29th of April 1845/ from the [NEW FAIRY TALES] (the printed half title) 's author."" -in the collection of Andersen's fairy tales that appeared almost simultaneously with Kaalund's renowned ""Tales for Children"" (""Fabler for Børn""). 3.3. Historier. Anden Samling. Kjøbenhavn, 1853.First edition, in splendid condition, with the original printed wrappers, of the second part of Andersen's ""Story""-collection, containing first printings of four of his famous fairy-tales. With a lovely, poetical presentation-inscription to Frederikke Larcher, signed ""H.C. Andersen"", translated as thus: ""I put my bouquet on the board of the stage/ you yourself make the impression of a fresh bouquet"". Frederikke Larcher was a stage actress, and Andersen might have given the little book as a gift upon her last performance.3.4. Nye Eventyr og Historier. Anden Række (første samling). Kjøbenhavn, 1861.An excellent copy, in the original printed, illustrated wrappers, of the separately published first part of the second series of ""Nye Eventyr og Historier"", with a lovely presentation-inscription to the title-page, translating thus ""The splendid, the spirited,/ Mrs. Agentinde Renck/ send this bouquet of stories/ from my garden of poetry this spring/ Most heartfelt and respectfully/ H.C. Andersen."" This splendid volume contains first printings of one of Andersen's most famous, most beloved and most frequently recounted fairy-tales/stories: ""What the Old Man does is Always Right"". Apart from that masterpiece of moral story-telling, the present publication contains five other of Andersen's great stories in first printings.3.5. Da Spanierne var her. Originalt romantisk Lystspil i tre Acter. Kjøbenhavn (Copenhagen), 1865. An excellent copy of the first edition of Andersen's famed play, in the scarce original binding and with a magnificent presentation-inscription to Rudolph Kranold, who at the time was director of the Royal Theatre in Copenhagen. His short reign here (until 1866) coincides exactly with the work on and premiere of one of the plays that was very closest to Andersen's heart, namely ""When the Spanish were Here"", which premiered at the Royal Theatre on April 6, 1865. Reading Andersen's diaries allows us to actually follow the play the entire way through to the stage. It is evident, both from his diaries and from the present presentation-inscription, that the play meant a lot to Andersen. As the inscription indicates, he's anxious that the play not be taken down again and he clearly asks Kranold to take good care of this play that is close to his heart. 4. Letters4.1. Autographed letter, signed in full (""Hans Christian Andersen""), in English, for the Scottish author William Hurton. Dated ""Copenhagen 2 October 1851"".The present letter is of the utmost interest, as it is written in English (in Andersen's own hand!) and also in Latin letters, as opposed the gothic handwriting that Andersen usually uses. Letters and inscriptions in Andersen's Latin hand are of the utmost scarcity. Out of the few known letters in Andersen's hand, we have even fewer letters by him written in English. He made an exception for William Hurton, to whom a few letters have been preserved, demonstrating his reverence for this Scottishman so fascinated by Andersen himself. Almost all of these letters are in institutional holdings, and the present one on private hands is a true scarcity. 4.2. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated ""Basnæs ved Skjelskjør/ den 3 Juli 1862"". 4 pages.This very lengthy letter from Andersen to Frederik Bøgh is interesting in several respects. First of all, Andersen here mentions several of his works: new songs for the revised version of his opera ""The Raven"", proofreading and numerous comments for the ""new edition of Fairy Tales and Stories"", and a brand new fairy tale: ""Finally, I have written a new fairy tale: ""Snowdrop""."" Furthermore, Andersen talks about his health and problems he has with his eye as well as the weather and his impending travel plans. It is clear from the letter that he is very close to his young student friend Bøgh. 4.3. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated ""Tanger I Marokko/ den 8 Nov: 1862."".An absolutely splendid letter with rare observations about Moroccan culture, the people, how they dress and behave, the food, the landscape, etc. It is clear that Tanger, with its ""wild, romantic nature"", its palm trees, its wilderness, the wild boars and hyenas, is very far from the coldness of the North. Andersen's fascination with the ""half naked men"" and women in horrible dress, with the bare headed Moorish Jews in kaftans, ""the naked brown kids that screamed and roared"", and the slaves that carry goods, leaps from the pages of the letter and paint a picture of a place that to a Dane in 1862 must seem oddly fascinating and so different. There is no doubt that this rich culture served as direct inspiration for Andersen's story-writing. 4.4. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated ""Toledo den 6 December 1862"".A splendid letter from Toledo, which Andersen paints so clearly as only he can. ""Toledo is a dead city, but with the life of poetry"", he writes, after having described in detail, to his dear friend back home, the ruins and the melancholy that is Toledo. 4.5. Autographed letter, signed ""H. C. Andersen"", for ""Kjære William"" (i.e. William Melchior). Dated "" Frijsenborg den 27 August/ 1868. "". A lovely, cheerful birthday letter for the young birthday boy William Melchior, who was turning 7 years old. The letter is utterly charming and describes the journey of the birthday letter itself, flying over land and sea, from Jutland to Copenhagen. The letter not only portrays the ease with which Andersen communicates with children, it also constitutes a miniature version of beloved Andersen-stories such as ""Little Tuk"" and ""A Piece of Pearl String"". 4.6. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated "" den 9 Maj 1873"".This Beautiful little letter for Nicolai Bøgh bears witness to the heartfelt bond that Andersen felt towards his young friend. This little gem of a letter is very poetical - most of it is almost like a poem, describing the sun coming through the clouds and liking the clouds to snow and the heaven to Paradise. Furthermore, Andersen mentions his friends' illness, liking him to a bird that needs to be free. Bøgh had fallen ill the previous year, from an illness that would eventually kill him 9 years later, at the mere age of 45. 5. Manuscript5.1. Original handwritten and signed manuscript for a poem entitled ""Stormfloden"" (i.e. The Storm or The Storm Surge). November (22nd), 1872. 1 1/2 handwritten pp.Original manuscripts by Andersen are of the utmost scarcity, and only very few are known on private hands. The present is the manuscript for a poem that Andersen wrote just a couple of years before he died and which was published as the preface to a ""Christmas Present"" by Vilhelm Gregersen in December 1872, just a few weeks after Andersen wrote it. The poem is very dramatic and doomsday-like, but has an uplifting an upbuilding ending. It is inspired by the dramatic storm or storm surge that hit Copenhagen on November 13th, 1872.6. Books from Andersen's Library6.1. F. ANDERSEN, C.J. HANSEN, J.P.E. HARTMANN, P. HEISE and A. WINDING. Ni Fleerstemmige Mandssange. Udgivne af Foreningen ""Fremtiden"". Kjöbenhavn, 1866.Hans Christian Andersen's own copy, with his ownership signature to the bottom of the front wrapper, of this pamphlet of ""Nine Polyphonic Male Songs"". The pamphlet contains nine lovely songs written by the greatest Danish authors of the period, set to music by the most famous Danish musicians of the period. Andersen's contribution is the song ""Hun har mig glemt"" (She Has me Forgotten), which he had printed for the first time in 1854, but in a different version, with different wording. Here, it is set to music by F. Andersen. 6.2. G.h. [GEORG EMIL BETZONICH]. En Kjærligheds-Historie. Fortælling. Kjøbenhavn, 1862.A truly rare example of a book that has belonged to Andersen, with a long presentation-inscription from the author to Hans Christian Andersen to front free end-paper, dated on Andersen's 58th birthday. The author of the novel Georg Emil Betzonich (1829 - 1901) is not a famous author today, nor was he very famous at the time. It is interesting, however, that Andersen kept his book in his library. The book passed to Edvard Collin, who inherited Andersen's entire estate, when Andersen died in 1875, and also Collin kept it. It was sold at the auction of his belongings in 1886.7. The three main Translations7.1. Jugendleben und Träume eines Italienischen Dichters. Nacch H.C. Andersens Dänischen Original: Improvisatoren. Ins Deutsche übertragen von L. Kruse. 2 Theile. Hamburg, August Campe, 1835.The very rare first edition of the first German translation of Andersen's first novel, ""Improvisatoren"", being the first of Andersen's books to be translated into any foreign language. It is fair to say that no other translation before or after was as important to Andersen as the present. Before the work even appeared, Andersen had a list of recipients for the German translation. Among these was Adalbert Chamisso, to whom he wrote in April 1835: ""Here I send you my Italian son" he speaks the German language, so your family can also understand him. I wish that in the great Germany people will be aware of my book and that I may deserve that awareness. That Kruse is introducing me as an author of novels should be somewhat of a recommendation"… For making such an effort of being known outside of little Denmark, I think, I cannot be blamed."" 7.2. Danish Fairy Legends and Tales. (Translated by Caroline Peachey). London, William Pickering (Chiswick), 1846.The very rare first edition - ANDERSEN'S CLOSE FRIEND HENRIETTE SCAVENIUS' (BORN MOLTKE) COPY - of this highly important Andersen-translation, which contains the very first appearance in English of some of Andersen's most famous and beloved fairy tales: ""The Emperor's New Clothes, ""The Nightingale"", ""The Wild Swans"", ""The Buck-Wheat"" and ""The Dustman"", and for the first time we here find the titles ""The Ugly Duckling"" (previously called ""The Ugly Duck"") and ""The Real Princess"" (previously called ""The Princess and the Peas"").7.3. Contes pour les enfants. Traduit du Danois par V. Caralp. Illustrations à deux teintes par Derancourt. Paris, Morizot, (1848).Extremely scarce first edition of the first translations of any of Hans Christian Andersen's fairy tales to appear in French. This first French Andersen-collection constitutes the introduction of Hans Christian Andersen's works in French literature, the introduction of the fairy-tale-genre in France, and a cornerstone in the history French children's literature.
Biblical Humanism in Bohemia and Moravia in the 16th Century
, Brepols, 2017 Hardback, 329 p., 156 x 234 mm, Illustrations:30 tables b/w., English, Czech, Latin. *NEW. ISBN 9782503551814.
Bohemia and Moravia are extraordinarily important in the history of biblical translation into the Slavic languages. In the mid-14th century the first complete translation of the Bible into a national Slavonic language, namely the Old Czech, appeared in Bohemia. Other works that exerted influence on translations of the Bible into Polish, Lusatian, or Ruthenian originated in the Bohemian Lands in the 14th to 16th centuries. The Old Czech biblical tradition found its successors in the 16th century producing a number of translations of the Bible or its parts into the Czech language. The present volume follows the transmission of the biblical text in the 16th century focusing on those translators who exploited incentives of the biblical humanism and, as a consequence, deviated to a various degree from the Latin Vulgate tradition. The pioneering work of the Nám??? New Testament translation of 1533, closely linked to the first grammar of the Czech language issued in the same year, was followed shortly after by others and found its peak in the monumental Six-Volume Kralice Bible which originated between 1579 and 1594 and decisively influenced Modern Standard Czech. The present volume brings bio-bibliographical information about the authors of the translations, translatological analyses of the works examined, characterization of their Czech language and new findings about the sources for the translations. The breadth and depth of analysis are unprecedented in the scholarship dealing with 16th century Czech translations of the Bible. he book is divided into two parallel and mutually linked parts (I. Biographical sketches of translators and bibliography of prints, II. Linguistic analysis), each consisting of seven chapters (see below). The structure of the book, selection of prints examined and editorial note are described in an introductory part. Individual chapters describe biblical translations or their parts into Czech which were influenced by biblical humanism. The chapters are ordered chronologically according to the first edition of the translations described. The biographical information consists of information about the translation (period reports and reception, realization of the translation, copies preserved until today) and the translator (his studies, professional occupation, intellectual skills, confession and genres of his works important for the context of the work described and bibliography). The linguistic analysis aims at determining the sources of the translation, the translation strategy, the Czech of the translation and the impact of further tradition. The following works are analyzed: 1. New Testament (printed in Nám??? 1533) by Bene? Optát and Petr Gzel. The first Czech biblical translation to deviate intentionally from the Vulgate, translated from Erasmus? Latin New Testament version. The translators were non-conformist Utraquists residing in Moravia. The translation is unique as the translators created a lot of neologisms while trying to express the etymology of some religious terms. The translation was made use of in Jan Blahoslav?s works including his New Testament of 1564 and 1568. 2. The second Severin Bible of 1537 printed in Prague. It is a revised text of the first edition of 1529 and a very important text for further development of the Czech biblical translation. In both the Old and the New Testaments it deviates from the Vulgate to a certain even though limited degree. This Bible became the textual model for Melantrich?s editions of the Bible. 3. Paraphrase on the Gospel of St Matthew (Leitmeritz 1542) and translation of the Old Testament by Jan Vartovský of Varta. The paraphrase is a translation of Erasmus? paraphrase of the Gospel according to Matthew. Vartovský, a trilingual utraquist scholar and a Prague citizen, was also an author of an unpreserved translation of the Old Testament from original texts. 4. Netolický and Melantrich Bibles (1549?1577). The translation or modification of older versions was partially prepared by Sixt of Ottersdorf, a Reformation humanist and a well-known historian who prepared the translation of the Third Book of Maccabees (for the first time in a Czech version issued in the Netolický Bible of 1549) and also took part in modification of the New Testament. The Melantrich Bibles represent the official and most widespread Czech translation of the second half of the 16th century. 5. ?altá? svatýho Davida, translated by Mat?j ?ervenka and released in 1562 possibly in Prost?jov. It is the first translation of the Unity of Brethren to include numerous non-Vulgate readings even though it was translated from a Latin version. The translation was fiercely criticized in Jan Blahoslav?s grammar but in some readings it did influence the translation of Psalms in the Kralice Bible. 6. Two New Testament translations (printed in Ivan?ice in 1564 and 1568, respectively) by Jan Blahoslav, a bishop of the Unity of the Brethren, strongly influenced by Melanchthonian Reformation humanism. The translation was based on Greek-Latin versions of the Bezan and Erasmian tradition and quoted also the Greek text. It is a direct predecessor to the Six-Volume Kralice Bible. It originated as a counterpart to the Nám??? New Testament of 1533 and translations following the Vulgate. During the translation, Jan Blahoslav prepared a grammar of Czech intended also as a manual for future translation of the Old Testament. In the grammar various biblical sources and humanistic translations are mentioned which help us reconstruct the sources for the translation. 7. The Six-Volume Kralice Bible (1579?1594) and its reeditions before 1613. This Bible is the largest Czech humanistic translation and the first complete biblical translation into Czech to have been translated from the original languages (Hebrew, Aramaic, Greek). It was prepared by a group of scholars and priests of the Unity of the Brethren. The first edition was printed in six volumes in which the biblical translation was supplemented by extensive philological and theological commentaries. These should compensate for exegetical works. The translation reflects influences of Reformation confessional culture and in the following centuries it decisively influenced the Standard Czech. The Kralice Bible and Blahoslav?s New Testament are therefore treated in the prepared publication most extensively. New findings enable to give a more accurate account of the whole process of translation and its cultural context.
