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Anonymous

Anonymous

The author is anonymous, meaning their identity is unknown or deliberately concealed. This can apply to various forms of writing, from ancient texts to contemporary works, where the creator's name is not attached to the piece. Anonymity can be chosen for various reasons, including political dissent, religious conviction, or a desire for the work to stand on its own without the author's personal reputation influencing its reception. The focus then shifts entirely to the content and artistry of the text itself, inviting readers to engage with it on its own terms.

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Twa Corbies

As I was walking all alane
I heard twa corbies making a mane;
The tane unto the t'other say,
"Where sall we gang and dine to-day?"
"—In behint yon auld fail dyke,
I wot there lies a new-slain knight;
And naebody kens that he lies there,
But his hawk, his hound, and lady fair.
"His hound is to the hunting gane,
His hawk to fetch the wild-fowl hame,
His lady's ta'en another mate,
So we may mak our dinner sweet.
"Ye'll sit on his white hause-bane,
And I'll pick out his bonnie blue een;
Wi' ae lock o' his gowden hair
We'll theek our nest when it grows bare
"Mony a one for him makes mane,
But nane sall ken where he is gane;
O'er his white banes, when they are bare,
The wind sall blaw for evermair."
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Bio

Identification and basic context

This entry pertains to an anonymous author, whose identity is not known or has been deliberately obscured. This can be applicable to a wide range of written works across different historical periods and genres. The absence of a named author places the focus squarely on the text itself, inviting interpretation independent of personal biography or authorial intent.

Childhood and education

Information regarding the childhood and education of an anonymous author is by definition unavailable. The formative experiences, schooling, and early intellectual influences that shaped any writer are lost when the author remains unidentified. This lack of personal history means that any understanding of the work must be derived solely from its internal characteristics and its historical or cultural context.

Literary trajectory

The literary trajectory of an anonymous author cannot be traced in the conventional sense. There are no records of their beginnings in writing, the development of their style over time, or their engagement with literary communities, publications, or movements. The "trajectory" is only discernible, if at all, through the study of the work itself and its placement within broader literary or historical trends.

Works, style, and literary characteristics

Since the author is anonymous, their specific works, dominant themes, and stylistic particularities can only be inferred from the texts attributed to them or from works that share certain characteristics. Without a named author, literary analysis must rely on stylistic features, thematic content, and historical context to understand the potential origins and characteristics of the writing. Any innovations or relationships with tradition would be identified through comparative literary study.

Cultural and historical context

Understanding the cultural and historical context of an anonymous work is crucial for its interpretation. Although the author's personal circumstances are unknown, the societal, political, and cultural environment in which the work was produced can often be deduced from the text's content, language, and references. This allows for an analysis of its relationship to contemporary events, prevailing ideologies, and the literary circles or movements of the time.

Personal life

The personal life of an anonymous author remains a mystery. Details about their family, relationships, personal experiences, beliefs, or political stances are unavailable. Any attempt to connect the work to a lived reality would be speculative, relying solely on the interpretations drawn from the text itself without biographical anchors.

Recognition and reception

Recognition and reception of anonymous works vary greatly. Some anonymous texts gain renown through their intrinsic merit, historical significance, or the mystery surrounding their authorship. Critical reception is focused on the work itself, often leading to debates about its origin, meaning, and place in literary history. Institutional recognition might come from its inclusion in canons of literature or historical archives, irrespective of the author's name.

Influences and legacy

Assessing the influences on and legacy of an anonymous author is challenging. Influences can only be hypothesized based on stylistic and thematic comparisons with known works and authors. Similarly, their legacy is determined by the enduring impact of their writings, whether through direct influence on later works, inclusion in anthologies, or continued academic study, all attributed to the work rather than a specific individual.

Interpretation and critical analysis

Interpretation and critical analysis of anonymous works often involve considerable scholarly effort to uncover potential origins, meanings, and influences. Debates may arise concerning authorship, dating, and the precise historical or cultural context. The lack of authorial information can open up a wider range of interpretative possibilities, as readers are not constrained by biographical assumptions.

Curiosities and lesser-known aspects

The primary curiosity surrounding an anonymous author is their very anonymity. Lesser-known aspects are inherently tied to the mystery of their identity. Any episodes or anecdotes related to their work would be purely speculative or tied to legends that might have arisen over time about the unknown creator.

Death and memory

Information regarding the death of an anonymous author is, by definition, unknown. Their memory is preserved solely through the survival and continued study of their work. Posthumous publications, if any, would be of works that were either discovered or attributed to them over time, further contributing to the scholarly discussion around the authorship and significance of their writings.

Poems

107

Icarus, Robert Jones's Second Book of Songs and Airs

LOVE wing'd my Hopes and taught me how to fly
Far from base earth, but not to mount too high:
For true pleasure
Lives in measure,
Which if men forsake,
Blinded they into folly run and grief for pleasure take.
But my vain Hopes, proud of their new-taught flight,
Enamour'd sought to woo the sun's fair light,
Whose rich brightness
Moved their lightness
To aspire so high
That all scorch'd and consumed with fire now drown'd in woe they lie.
And none but Love their woeful hap did rue,
For Love did know that their desires were true;
Though fate frowned,
And now drowned
They in sorrow dwell,
It was the purest light of heav'n for whose fair love they fell.
210

My bag and me they sundered us

My bag and me they sundered us,
’Twas stuffed from string to sauleen,
My bag of bags they sundered us!
Yourself and I, mo stóreen,
At every hour of night and day,
Through road and lane and bohreen
Without complaint we made our way,
Till one sore day a carman
In pity took us from the road,
And faced us towards Dungarvan
Where mortal sin hath firm abode.
An allalu mo wauleen,
Without a hole or rent in it,
’Twas stuffed from string to sauleen,
My half-year’s rent was pent in it!
My curses attend Dungarvan,
Her boats, her borough, and her fish,
May every woe that mars man
Come dancing down upon her dish!
For all the rogues behind you,
From Slaney’s bank to Shannon’s tide,
Are but poor scholars, mind you,
To the rogues you’d meet in Abbeyside!
An allalu mo wauleen,
My little bag I treasured it,
’Twas stuffed from string to sauleen,
A thousand times I measured it!
207

The Bells of Hell

The bells of hell go ting-a-ling-a-ling
For you but not for me:
And the little devils how they sing-a-ling-a-ling
For you but not for me.
O death, where is thy sting-a-ling-a-ling,
O Grave, thy victor-ee?
The bells of hell go ting-a-ling-a-ling,
For you but not for me.
205

A Sonnet Upon The Pitiful Burning Of The Globe Playhouse In

Now sit thee down, Melpomene,
Wrapp'd in a sea-coal robe,
And tell the doleful tragedy
That late was play'd at Globe;
For no man that can sing and say
But was scar'd on St. Peter's Day.
Oh sorrow, pitiful sorrow, and yet all this is true.
All you that please to understand,
Come listen to my story,
To see Death with his raking brand
'Mongst such an auditory;
Regarding neither Cardinal's might,
Nor yet the rugged face of Henry the Eight.
Oh sorrow, pitiful sorrow, and yet all this is true.
This fearful fire began above,
A wonder strange and true,
And to the stage-house did remove,
As round as tailor's clew;
And burnt down both beam and snag,
And did not spare the silken flag.
Oh sorrow, pitiful sorrow, and yet all this is true.
Out run the knights, out run the lords,
And there was great ado;
Some lost their hats and some their swords,
Then out run Burbage too;
The reprobates, though drunk on Monday,
Prayed for the fool and Henry Condye.
Oh sorrow, pitiful sorrow, and yet all this is true.
The periwigs and drum-heads fry,
Like to a butter firkin;
A woeful burning did betide
To many a good buff jerkin.
Then with swoll'n eyes, like drunken Flemings,
Distressed stood old stuttering Hemings.
Oh sorrow, pitiful sorrow, and yet all this is true.
...
Be warned, you stage strutters all,
Lest you again be catched,
And such a burning do befall
As to them whose house was thatched;
Forbear your whoring, breeding biles,
And lay up that expense for tiles.
Oh sorrow, pitiful sorrow, and yet all this is true.
Go draw you a petition,
And do you not abhor it,
And get, with low submission,


A license to beg for it
In churches, sans churchwardens' checks,
In Surrey and in Middlesex.
Oh sorrow, pitiful sorrow, and yet all this is true.
206

When Flora had O'erfret the Firth

QUHEN Flora had o'erfret the firth
In May of every moneth queen;
Quhen merle and mavis singis with mirth
Sweet melling in the shawis sheen;
Quhen all luvaris rejoicit bene
And most desirous of their prey,
I heard a lusty luvar mene
--'I luve, but I dare nocht assay!'
'Strong are the pains I daily prove,
But yet with patience I sustene,
I am so fetterit with the luve
Only of my lady sheen,
Quhilk for her beauty micht be queen,
Nature so craftily alway
Has done depaint that sweet serene:
--Quhom I luve I dare nocht assay.
'She is so bricht of hyd and hue,
I luve but her alone, I ween;
Is none her luve that may eschew,
That blinkis of that dulce amene;
So comely cleir are her twa een
That she mae luvaris dois affray
Than ever of Greece did fair Helene:
--Quhom I luve I dare nocht assay!'
198

Nell Flaherty’s Drake

MY NAME it is Nell, right candid I tell,
And I live near a dell I ne’er will deny,
I had a large drake, the truth for to spake,
My grandfather left me when going to die;
He was merry and sound, and would weigh twenty pound,
The universe round would I rove for his sake.
Bad luck to the robber, be he drunken or sober,
That murdered Nell Flaherty’s beautiful drake.
His neck it was green, and rare to be seen,
He was fit for a queen of the highest degree.
His body so white, it would you delight,
He was fat, plump, and heavy, and brisk as a bee.
This dear little fellow, his legs they were yellow,
He could fly like a swallow, or swim like a hake,
But some wicked habbage, to grease his white cabbage,
Has murdered Nell Flaherty’s beautiful drake!
May his pig never grunt, may his cat never hunt,
That a ghost may him haunt in the dark of the night.
May his hens never lay, may his horse never neigh,
May his goat fly away like an old paper kite;
May his duck never quack, may his goose be turned black
And pull down his stack with her long yellow beak.
May the scurvy and itch never part from the britch
Of the wretch that murdered Nell Flaherty’s drake!
May his rooster ne’er crow, may his bellows not blow,
Nor potatoes to grow—may he never have none—
May his cradle not rock, may his chest have no lock,
May his wife have no frock for to shade her backbone.
That the bugs and the fleas may this wicked wretch tease,
And a piercing north breeze make him tremble and shake.
May a four-years’-old bug build a nest in the lug
Of the monster that murdered Nell Flaherty’s drake.
May his pipe never smoke, may his tea-pot be broke,
And to add to the joke may his kettle not boil;
May he be poorly fed till the hour he is dead.
May he always be fed on lobscouse and fish oil.
May he swell with the gout till his grinders fall out,
May he roar, howl, and shout with a horrid toothache,
May his temple wear horns and his toes carry corns,
The wretch that murdered Nell Flaherty’s drake.
May his dog yelp and howl with both hunger and cold,
May his wife always scold till his brains go astray.
May the curse of each hag, that ever carried a bag,
Light down on the wag till his head it turns gray.
May monkeys still bite him, and mad dogs affright him,
And every one slight him, asleep or awake.
May wasps ever gnaw him, and jackdaws ever claw him,


The monster that murdered Nell Flaherty’s drake.
But the only good news I have to diffuse,
Is of Peter Hughes and Paddy McCade,
And crooked Ned Manson, and big-nosed Bob Hanson,
Each one had a grandson of my beautiful drake.
Oh! my bird he has dozens of nephews and cousins,
And one I must have, or my heart it will break.
To keep my mind easy, or else I’ll run crazy,
And so ends the song of my beautiful drake.
199

The Wakening, John Attye's First Book of Airs

ON a time the amorous Silvy
Said to her shepherd, 'Sweet, how do ye?
Kiss me this once and then God be with ye,
My sweetest dear!
Kiss me this once and then God be with ye,
For now the morning draweth near.'
With that, her fairest bosom showing,
Op'ning her lips, rich perfumes blowing,
She said, 'Now kiss me and be going,
My sweetest dear!
Kiss me this once and then be going,
For now the morning draweth near.'
With that the shepherd waked from sleeping,
And spying where the day was peeping,
He said, 'Now take my soul in keeping,
My sweetest dear!
Kiss me and take my soul in keeping,
Since I must go, now day is near.'
186

Quotes

40

Videos

50

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