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Inventing History : forgery: a great British tradition (British History)
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Hatty
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Voynich became an antiquarian bookseller from around 1897, acting on the advice of Richard Garnett, a curator at the British Museum.

Can Polish refugees make a living out of antiquarian books? Perhaps with a bit of professional help, and who better than Richard Garnett Jnr.

Richard Garnett C.B. (27 February 1835 – 13 April 1906) was a scholar, librarian, biographer and poet. He was son of Richard Garnett, an author, philologist (historical linguist) and assistant keeper of printed books in the British Museum. He entered the British Museum in 1851 as an assistant librarian. Anthony Panizzi, a close friend of Garnett's father, invited the then 16-year-old Richard to work at the British Museum following his father's death.

That was fortunate because young Richard declined to go to university. reportedly from a distrust of the 'educational efficiency' of both Oxford and Cambridge. Either way, the lack of a degree didn't signify

In 1875, he became superintendent of the Reading Room, in 1881, editor of the General Catalogue of Printed Books, and in 1890 until his retirement in 1899, Keeper of Printed Books.

During his time at the BM and after his retirement, Garnett wrote books, articles for literary magazines, reviews and biographies, all widely acclaimed though he reportedly had 'no great powers of research'.

Garnett's most important publications were the volumes entitled 'Relics of Shelley' (1862) and 'The Twilight of the Gods' (1903). The former was a small collection of unpublished verse by the poet, which Garnett discovered among the poet's MSS. and notebooks, which had belonged to Shelley's widow, and passed on her death in 1851 to his son. Sir Percy Shelley.

His good fortune in discovering the poet's unknown work gave great satisfaction to Sir Percy and to his wife, Lady Shelley. Garnett became their intimate friend, and they attested their regard for him by presenting him with Shelley's notebooka. These fetched 3000l. at the sale of Garnett's library after his death. Lady Shelley pressed on Garnett the task of preparing the full life of her father-in-law, but other engagements compelled him to yield the labour to Prof. Edward Dowden.

Discovering 'unknown work' by one of the nation's most cherished poets is a coup. Garnett managed to do it twice. Shelley had been dead for forty years when some hitherto unknown poems, Relics of Shelley were discovered and edited by Garnett in 1862. He then (re-)discovered, and edited, a poetry collection, Original Poetry by Victor and Cazire, Shelley's first book of poetry (published in 1810). The story goes that one of the poems plagiarised the work of a 'Gothic' writer, Matthew Gregory Lewis, and the volume was withdrawn from publication

Copies of the work became extremely rare and it lapsed into obscurity. Four original copies are known to exist.[5][6][7] In 1859, Richard Garnett was able to substantiate that the volume had been published but was unable to locate an extant copy. The collection was reprinted and revived in 1898 by John Lane in an edition edited by Richard Garnett after a copy of the volume had been found.
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Hatty
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It's interesting to learn that Richard Garnett's patron at the British Museum was Anthony Panizzi. Panizzi, a law graduate and inspector of schools in the town of Brescello thanks to his patron the Duke of Modena, belonged to a secret revolutionary society, the Carbonari. He'd been forced to take refuge first in Switzerland, then in England, to avoid arrest and trial in Italy.

Sir Antonio Genesio Maria Panizzi (16 September 1797 – 8 April 1879), better known as Anthony Panizzi, was a naturalised British citizen of Italian birth, and an Italian patriot. He was a librarian, becoming the Principal Librarian (i.e. head) of the British Museum from 1856 to 1866

His field of expertise was 'library science', some might say mass collecting was nearer the mark

During Panizzi's tenure as Keeper of Printed Books its holdings increased from 235,000 to 540,000 volumes, making it the largest library in the world at the time.

Despite being a foreigner without social or financial clout, Panizzi's literary and political activities endeared him to the English intelligentsia like Thomas Grenville and other habitués of Holland House. He would also turn out to be a bit of a wizard when it came to cataloguing

The only visible result of Panizzi's labours for many years was the solitary volume printed in 1841, and great dissatisfaction prevailed. But in 1849 Panizzi persuaded the trustees to dismiss the idea of printing for the present, and to engage an efficient staff of transcribers to copy titles on movable slips, after a plan suggested independently by Wilson Croker and Mr. E. A. Roy of the library. He was thus enabled to place the groundwork of a comprehensive catalogue before the public in September 1850.

It must be admitted that Panizzi did not see the advantages of print, either as regarded the circulation of the catalogue or the economy of space. His manuscript catalogue, after serving excellently for a time, at last proved impracticable under the multitude of accessions; it assumed unwieldy proportions which rendered it increasingly difficult to consult, or even to house. The extent of the accessions was mainly due to the success of Panizzi's efforts to supply the deficiencies of the library—efforts in which no other librarian of his period could have succeeded, for no one else possessed his personal influence either with the treasury or with public-spirited collectors.

Having in 1843 prepared, with the assistance of Jones and Watts, a most able exposition of these deficiencies in nearly every branch of literature but classics, he procured in 1845 an annual grant of 10,000l., the judicious administration of which, under him and his successors, has elevated the museum library from the sixth or seventh to the second, if not the first, place among the libraries of the world. One of the most important additions it ever received, the bequest of the Grenville Library in 1846, was entirely due to Panizzi's personal influence
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Mick Harper
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For those of you interested in one degree of separation, Panizzi appears in the new book. I'll just give the relevant Wiki extracts with a bit of my breathless linking prose in square brackets

-----------------------------

Guglielmo Libri, who, in his capacity of inspector of public instruction, travelled throughout France surveying libraries and pillaging them. Barrois is known to have taken in Libri’s manuscripts and had them rendered unrecognizable through rearrangement of quires, rebinding, mutilation, etc.

Barrois also compiled his own valuable manuscript collection, about a tenth stemming from compromised sources (cf. Delisle)

Foreseeing Libri’s conviction, he had the collection discreetly shipped to England in 1849, and sold to the Earl of Ashburnham (cf. Delisle, pp. xl-xlii)

[That rings a bell. Any connection to the Ashburnham Collection? I only know the name because over the years I have come to recognise it as a kind of portmanteau term used to cover the fakes and forgeries the British state has felt it necessary to concoct over the years. The ones not stacked up in Corpus Christi Library in Cambridge. Barrois died before the French, or it may have been the Belgians (he operated on the borderline), could send in the képis but poor old Libri was facing a goodish stretch in a penal colony. Or somewhere a lot worse according to your average Frenchman]

Convicted in 1850, Libri himself remained comfortably in England, where he was wined and dined by the likes of Panizzi, Keeper of Printed Books at the British Museum.
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Mick Harper
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The Carbonari connection should be noted. On the Continent, where police repression was more pronounced, the handily restricted-but-respectable Masonic movement had been turned into a more muscular form of secret society. Charcoal-makers not stonemasons in this case. Once the line had been crossed into political criminality it was possible to fund itself by criminal enterprise, though of a white collar nature. Bank robberies and assassination was more the forte of avowedly anti-state outfits like the mafia, the anarchists and violent left revolutionists generally who went underground.

The 'Romantics' could stay hidden in plain sight and may indeed have been bourgeois poseurs when it really came down to it, but once again were convenient cover for the more hard-edged types who were able to operate, as it were, in plain sight as illustrated by Libri and Polizzi. All kinds of émigré movements found London a good place to congregate (though gradually supplanted by the more convenient Paris as France liberalised) because these people were generally regarded by the British as on the side of the angels as against their authoritarian governments.

Lenin allegedly came up with the term 'useful idiots' and they are always among us.
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Mick Harper
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One aspect I hadn't really come to grips with in the book is revolutionaries' ability to a) maintain discrete cells while b) operating entryism. I talk a bit about the extreme left using the SOE and ABCA during the Second World War but really I should have been concentrating on the British Museum and the Crimean War.

It is fairly clear from Hatty's account that once you've got your man in some position of authority he can start recommending (appointing, when you've got to the top as Franks did) fellow-revolutionaries (fellow forgers in Franks case). A bit like MI5 under Hollis. Once the apparat is thoroughly suffused, it is a) possible to make some real money and b) it is the devil of a job to get rid of as the originals retire and the appointees take their place.

What is specially glorious is that the innocent professionals all around you keep singing your praises because of your ability to keep coming up with groovy gear (and Russian intelligence tidbits). You do not need to be a professional yourself.
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Mick Harper
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One of the most important additions it ever received, the bequest of the Grenville Library in 1846, was entirely due to Panizzi's personal influence

This needs to be run down on account of the Grenvilles operating the Pepys Diary scam in the 1810's and the Pepys Library scam at Magdalene College thereafter, as per

Lord Braybrooke was the Visitor of Magdalene College; his uncle George Neville-Grenville was the Master. In 1846 Neville-Grenville was appointed Dean of Windsor and offered to resign the Master-ship; Lord Braybrooke, as Visitor, refused the resignation, intending that Latimer Neville (his fourth son, then aged 19) should eventually succeed him as Master. With some diplomacy needed to manage the Fellowship, this transition was achieved in 1853 and Latimer Neville became Master at the age of 26 and remained Master for 50 years from 1853-1904.

I still find it remarkable that everybody thinks of Pepys as a diarist whereas the Pepys Library (according to Magdalene) existed for a hundred years before the diaries were found.
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Mick Harper
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Forging poetry

The former was a small collection of unpublished verse by the poet, which Garnett discovered among the poet's MSS. and notebooks, which had belonged to Shelley's widow, and passed on her death in 1851 to his son. Sir Percy Shelley.

One of the objections we run into is everybody always claiming that such and such a casket or illustrated gospel book is too brilliant to be a forgery. They forget AE's Stockholm Syndrome: "Any club runner today would have won the hundred metres gold medal at the Stockholm Olympics of 1912." Our casket-cases and hot gospellers are every bit as good as the Anglo-Saxons were. But can a club poet write Shelley verse? Piece of piss eg

Its name derives from Ernest Lalor "Ern" Malley, a fictitious poet whose biography and body of work were created in one day in 1943 by conservative writers James McAuley and Harold Stewart in order to hoax the Angry Penguins, a modernist art and literary movement centred around a journal of the same name, co-edited by poet Max Harris and art patron John Reed, of Heide, Melbourne.

Don't forget, ol' Shelley left 'em in the drawer because they were no good. You should see my drawers. Ooer, missus.
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Hatty
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One of the most important additions it ever received, the bequest of the Grenville Library in 1846, was entirely due to Panizzi's personal influence

This needs to be run down on account of the Grenvilles operating the Pepys Diary scam in the 1810's and the Pepys Library scam at Magdalene College thereafter,

Thomas Grenville (1755-1846), second son of George Grenville, prime minister under George III, was President of the Board of Control, in charge of the East India Company and admin of India, for one year only. Then he was appointed First Lord of the Admiralty which didn't last much longer, after which he went into politics representing an assortment of constituencies but mostly Buckingham. His successor as MP for Buckingham was Richard Griffin (aka Neville), 3rd Baron Braybrooke.

At his death Thomas Grenville had amassed a library of over twenty thousand volumes which he bequeathed to the British Museum but the person responsible for the collection was Thomas Astle. Astle came with impeccable credentials. He was articled to an attorney but instead went to London where he

was employed to make an index to the catalogue of the Harleian manuscripts, printed in 1759

and went on to supervise the printing and indexing of parliamentary records

'The Will of Henry VII' was reproduced by Astle in 1775 from the original in the chapter house at Westminster, with an interesting preface. After the death (1775) of Henry Rooke, chief clerk of the Record Office in the Tower, Astle was appointed to his place; and on the decease of Sir John Shelley, keeper of the records, in 1783, obtained the higher office. Astle was an efficient and zealous keeper, as is proved by his additions to the collections under his charge, and the indexes he caused to be made.

A 'Catalogue of the MSS. in the Cottonian Library ... with an account of the damage sustained by fire in 1731 and a catalogue of the charters preserved' was published by Samuel Hooper in 1777, with a dedication 'To T. Astle, Esq., to whom I am indebted for the MSS. from which the following work is printed.' He had no literary connection with the 'Will of King Alfred' (1788) usually said to have been translated by him


Astle's personal library, and fortune, was said (by whom?) to have been a bequest from his father-in-law, the Rev. Philip Morant, an antiquarian interested in local archaeology, known as the author of The History and Antiquities of Colchester and The History and Antiquities of the County of Essex though as a book collector

Upon the death of Morant in 1770 he came into possession, through Mrs. Astle, of his father-in-law's library of books and manuscripts as well as of a considerable fortune. Astle had long been an industrious seeker after literary rarities, and eventually brought together the most remarkable private collection of manuscripts in the country. He carried on an extensive correspondence and freely placed his great knowledge and wonderful collection at the disposition of his friends. Dr. Percy acknowledges his help while investigating ballad literature. He was a conductor of 'The Antiquarian Repertory,' and contributed to the 'Archaeologia' and 'Vetusta Monumenta' of the Society of Antiquaries. In the latter appeared his valuable contribution on unpublished Scottish seals, in consequence of a committee of the society having been directed to investigate the subject. The editorship of the 'Taxatio Ecclesiastica' and the 'Calendarium Rotulorum Patentium' (Record Commission, 1802, 2 vols, folio), has been ascribed in error to Astle.

All his printed books, chiefly collected by Morant, were purchased from the executors in 1804, for the sum of 1,000l., by the founders of the Royal Institution, where they are now preserved.
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Hatty
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Antonio Panizzi was from a family of lawyers and a practising lawyer before his induction into the Carbonari ('charcoal-makers') and subsequent arrest

Escaping by the connivance of an official, he fled to Lugano, and there published, with the fictitious imprint of Madrid, a pamphlet ‘I Processi di Rubiera,’ denouncing the cruelties and judicial iniquities of the Modenese government. The work was rigidly suppressed and is now exceedingly rare.

After a short stay at Lugano he made his way to London, where he was welcomed by Ugo Foscolo, who despatched him to Liverpool with a letter of introduction to Roscoe, the chief patron of Italian literature in England. Roscoe received him most kindly, provided him with numerous clients for his Italian lessons, and introduced him to the intellectual society which Liverpool at that time boasted

William Roscoe (1753-1831), founder of a Liverpool society for the encouragement of the arts of painting and design and best known for his books on Lorenzo de' Medici, Alexander Pope and Pope Leo X, may have been a useful idiot. He was desperate to have sight of (buy? borrow?) manuscripts from Italian libraries (not, one hopes, the Vatican), in particular from the Laurentian Library (Biblioteca Medicea Laurenziana). Travelling to or from Italy was presumably tricky in the post-French Revolution and Napoleonic Wars era, but his research was aided by friends, inc. 'Lord Holland and others', with Italian connections.

The Dictionary of National Biography accords Antonio Panizzi a long and fulsome entry but it just dawned on me the entry is by his protégé, Richard Garnett.

https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-1900/Panizzi,_Anthony

Whether the DNB has checks and balances in line with Wiki policy isn't clear but may require a more careful reading between the lines. The British Museum doesn't supply many lines to read but there is a whiff of some kind of network in operation

Panizzi befriended Henry Brougham, later Lord Chancellor and a principal trustee of the British Museum. It was Brougham and his fellow trustee Thomas Grenville who encouraged Panizzi’s application and selection as assistant librarian to the British Museum. By 1837 Panizzi was keeper of Printed Books at the Museum and he was able to persuade Thomas Grenville to donate his collection of 20,000 books. In 1856 Panizzi was appointed head of the British Museum and principal librarian.

https://blogs.bl.uk/untoldlives/2015/09/from-revolutionary-to-librarian-sir-anthony-panizzi.html

Henry Brougham, 1st Baron Brougham and Vaux, was definitely a mover and shaker. He too had graduated in law but instead chose journalism and was a founder of the Edinburgh Review (to which Ugo Foscolo, via the offices of Lord Holland, also contributed articles). Strangely, the British Library blog, unlike Garnett's awed DNB entry, doesn't refer at all to Panizzi's stupendous cataloguing. Or should that read 'transcribing'?

Panizzi assumed office at a critical period, when the library was to be removed from Montague House to its new quarters, when the catalogue had to be undertaken in earnest, and when the deficiencies of the collection had to be ascertained and made good. The first undertaking, under the immediate supervision of John Winter Jones and Thomas Watts [q. v.], was carried out with a celerity and an absence of friction which astonished everybody. The progress of the catalogue was by no means equally smooth and rapid. The trustees left it optional with Panizzi to undertake or decline this vast addition to his ordinary labours, which he accepted in December 1838.

The next step was to frame the catalogue rules, in which, with the assistance of Jones, Watts, and others, Panizzi proved himself the greatest legislator the world of librarianship had yet seen, and his work, in essentials, will never be superseded. Some of the rules may be over-minute, and the undertaking may in some respects have been planned on too extensive a scale; but the real causes of the delays which excited so much criticism were insufficiency of staff and the unfortunate decision of the trustees, in spite of Panizzi's warnings, to proceed in strict alphabetical order, and print each letter as soon as it could be made ready for the press. The only visible result of Panizzi's labours for many years was the solitary volume printed in 1841, and great dissatisfaction prevailed. But in 1849 Panizzi persuaded the trustees to dismiss the idea of printing for the present, and to engage an efficient staff of transcribers to copy titles on movable slips, after a plan suggested independently by Wilson Croker and Mr. E. A. Roy of the library. He was thus enabled to place the groundwork of a comprehensive catalogue before the public in September 1850.

It must be admitted that Panizzi did not see the advantages of print, either as regarded the circulation of the catalogue or the economy of space. His manuscript catalogue, after serving excellently for a time, at last proved impracticable under the multitude of accessions; it assumed unwieldy proportions which rendered it increasingly difficult to consult, or even to house. The extent of the accessions was mainly due to the success of Panizzi's efforts to supply the deficiencies of the library—efforts in which no other librarian of his period could have succeeded, for no one else possessed his personal influence either with the treasury or with public-spirited collectors. Having in 1843 prepared, with the assistance of Jones and Watts, a most able exposition of these deficiencies in nearly every branch of literature but classics, he procured in 1845 an annual grant of 10,000l., the judicious administration of which, under him and his successors, has elevated the museum library from the sixth or seventh to the second, if not the first, place among the libraries of the world.
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Mick Harper
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Thomas Grenville (1755-1846), second son of George Grenville, prime minister under George III

and brother of William Grenville, prime minister under George III. The way I describe it in the book is

William Grenville (1759–1834) Prime Minister 1806-7
Thomas Grenville (1755–1846) MP and bibliophile
Catherine Grenville (1761–1796) married to
Richard Griffin (1750–1825) 2nd Baron Braybrooke

His successor as MP for Buckingham was Richard Griffin (aka Neville), 3rd Baron Braybrooke.

The way I describe it in the book is

So, first time of asking, we have an ex-prime minister with a bibliophile brother who deciphers a few pages of a newly discovered diary [Pepys's] .... Now what? He summons his brother, the bibliophile? No, his brother-in-law [Neville, Griffin, Lord Braybrooke -- he and his dad were serial name-changers] who has no background in the publishing trade and at seventy years of age possibly not much of a foreground either.

I thought this was the origins of the Grenville/Neville forgery empire but you seem to indicate it goes back further.

PS There is a small but finite possibility that Shelley's poetry is all fake. I don't mean it doesn't exist, just not by him. It seems a bit weird but there was a vogue for either fake poetry or fake provenances of poets at this time. But I've got no ear for the stuff so I've never really gone into it.

PPS Glad to see Foscolo has popped up again. We never really nailed him to the mast and hoisted him up. I think he was a kinda head honcho for the Romantic Movement or whatever one cares to call it. A bit of a Lenin figure.
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Mick Harper
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Where it all began?

The ways of the glorification of power in the visual arts under the reign of Henry VII . Liya Okroshidze 2021, Academia Letters

The reign of Henry VII, which began in 1485, was preceded by the short reigns of the uncrowned Edward V and of Richard III. The period of turmoil in the country did not contribute to the development of the portrait genre. The local English school of illuminated manuscripts fell into decay, and the Flemish city of Bruges became the main center of origin for most of the manuscripts in England. The rise to power of Henry VII and the end of the War of Roses contributed to the cultural upsurge. However, after a relatively long period of instability, the new king needed to consolidate his position on the throne. For this purpose, many manuscripts were produced, which spoke about the rights of Henry to the English throne and his great ancestors, and created manuscripts on astrological topics, which predicted a long reign and prosperity of the monarch. The article’s main objective is to show, using the example of illustrations of manuscripts, easel portraits, and written testimonies of contemporaries, how exactly the glorification of the power of Henry VII took place.
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Mick Harper
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MOTHERHOOD AND MOTHERING IN ANGLO-SAXON ENGLAND Mary Dockray-Miller reviewed by Farwa Malik
this is about theoretical framework through which to examine motherhood (and especially the relationship between mothers and daughters), the vast majority of scholars turn to psychoanalysis, drawing on Freud’s theories of girls’ psycho-sexual development, although often in a revised form....

That is exactly what Anglo-Saxon Studies needs. Some sessions on the psycho-analytic couch. "I understand you experienced some traumas during your formative years..."

For personal reasons I find someone believing that the vast majority of scholars turn to Freudian psychoanalysis for anything immensely... um ... something.
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Mick Harper
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A good example of how, given a bone, scholars can really chew on it. This is the Nowell codex and we all know what that means

Behold the front page: Cnut and the Scyldings in 'Beowulf' Richard North
This essay proposes that the Nowell codex, or most of it, was copied in Mercia for the new regime, for a Danish earl or his English ally, not long after Cnut's defeat of Edmund Ironside in 1016, and that King Cnut used a different manuscript of 'Beowulf' to win the east of Denmark in 1019-20.

I'm trying to work out what 'most of it' means. A scribe in c 1020 must have got hold of one version of Beowulf and copied it out. Then got fed up and decided to get another copy to finish the original copy. I think that is what is implied. Anyone got any better ideas?
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Mick Harper wrote:
A good example of how, given a bone, scholars can really chew on it. This is the Nowell codex and we all know what that means

Behold the front page: Cnut and the Scyldings in 'Beowulf' Richard North
This essay proposes that the Nowell codex, or most of it, was copied in Mercia for the new regime, for a Danish earl or his English ally, not long after Cnut's defeat of Edmund Ironside in 1016, and that King Cnut used a different manuscript of 'Beowulf' to win the east of Denmark in 1019-20.

I'm trying to work out what 'most of it' means. A scribe in c 1020 must have got hold of one version of Beowulf and copied it out. Then got fed up and decided to get another copy to finish the original copy. I think that is what is implied. Anyone got any better ideas?


I think it means that the Prof is unable to square the information within "Beowulf" about different ancient Royal lineages with his current historical knowledge of Anglo-Saxon studies so in his mind, when Cnut conquered a different territory, he had to use a different "Beowulf" copy which would contain alternative "made up" "manufactured" royal linages to justify his rule in that different area.

Haven't read the prof's work. Just a stab.
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Mick Harper
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Not a bad one either. We found in Forgeries that academics never put themselves in the position of the (alleged) original scribe. They just, as you say, pick and choose among everything they've got laid out in front of them in order to follow some incredibly arcane, incredibly important (to Beowulf scholars) and incredibly unimportant (to man or beast) thesis of their own devisement. It's what AE calls crossword-solving syndrome.
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