A Dutch comment on The Art of Text Interpretation

A Dutch blog by name of  The Hidden Law  has recently dedicated a few lines to my paper on Emily Dickinson. Which is good news. And bad.

The good news is the positive comment. The bad news its observation that this author has a grudge against Literature Studies. Which would be rather ungrateful. If this site offers a better view on poetry than usual, it is because this author took the liberty to place it on the shoulders of giants. And on the diligent research by Literature Studies as a whole. With exception of Literary Criticism, that is. For the obvious reason that its methods don’t work.

Because it is such a fine example of building a case on other people’s research, and because the scheduled publication of a paper on Twelfth-Night has been delayed,  I have forwarded the arrival on this site of my reconstruction of Romeo and Juliet. The scheduled piece will soon be ready to follow.

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Shakespeare 1616 – 2016

This site now celebrates the 400th anniversary of Shakespeare’s death with putting the missing word from Sonnet 146 back into place. And with a thorough attempt to prove Shakespeare an illiterate figurehead. To a very satisfying result actually. And by the simplest of methods. Which makes one wonder why Shakespeare Studies failed to pay The Bard this tribute itself.

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Two poems by Emily Dickinson

The promised paper on the poetry of Emily Dickinson has arrived on this site with the first chapters of  The Art of Text Interpretation. With it came a new organisation of pages. Some of the navigation links on the new page are still to be installed, but these short chapters have no real need for them. They will be in place when the discovery route to the conclusion of this paper comes on line.

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Part Three is online

12,378  words checked on errors, and several pages adapted to HTML lay-out. There will always be the occasional adjustment more to make, but Revolutionary Art is open to the public. The sheer size of this document, however, is of some concern, because I do not yet know how to install internal tags. A problem that I for the moment circumnavigate by means of a chain of linked documents to move from chapter to chapter parallel of the main document. The new Contents and Summaries page can be used as a sidebar. Because the previous parts add up to almost the same size, they have been modified to the same effect.


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After a coma of some ten years, this site has finally found itself a new webmaster. His first priority has been the re-editing of the current pages. And as a result the distorted composition scheme in Vaughan Williams’s Five English Folk Songs is now forced back into a shape that makes sense. The lay-out of the pages on the three partsongs has been adjusted, according to the author’s original intentions. Next on the list are some minor revisions of the original text, and the publication of parts two and three. And then this site will be ready to move on to new topics. The first of these will be the poetry of Emily Dickinson, but the 400th anniversary of Shakespeare’s death will not pass unnoticed.


On the Five English Folk Songs

In 1913 Ralph Vaughan Williams published a small collection of  four part settings of folk songs . Four of them combine excellently on a common theme. The fifth one is on its own. Why did RVW add a Christmas wassail to a spring time love story?


On the three Elizabethan Partsongs

The Art of Ralph Vaughan Williams deals with textexpression in this composer’s  “Three Elizabethan Part Songs”. A method to shed a complete new light on three independent texts by William Shakespeare and George Herbert. And to prove them an unity. Parts One and Two of this article investigate the anomalies in the composition of the poems themselves. Part Three investigates similar anomalies in their musical settings. Anomalies that turn three independent songs into an equally close knit unity. In the process proving that the scores have been antedated.


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