Boletín de una noche,. 1926, (at the Small Library, university of Virginia. La fundación mitológica de buenos Aires: 1926, 1927, 1929 (at the Small Library, university of Virginia. A la doctrina de pasión de tu voz, 1927, (at the Small Library, university of Virginia. Third English poem, unpublished poem,.1934, (private collection. Homenaje, 1936, (at the Small Library, university of Virginia.
Handwriting, styles - draw your World - draw write, together
Five writings hands, including his mothers by substitution, are identified and described. The corpus of manuscripts in the null study includes:. Calle desconocida, 1919, 1920, 1922, 1943 (at the Small Library, university of Virginia. Trincheras, 1920, 1923 (at the Small Library, university of Virginia. Rusia, 1920, (at the new York public Library. Judería/Judengasse, 1920, 1922, 1942 (at the Small Library, university of Virginia. Nostalgia inescrutable/Ciudad, 1920, 1923 (at the Small Library, university of Virginia. Intentona de soneto, 1923 (at the Small Library, university of Virginia. Villa mazzini/Villa Urquiza, 1926 (at the Small Library, university of Virginia. La vuelta a buenos Aires, 1926 (at the Small Library, university of Virginia.
In the circumstances then the admitted occasional differences between.180 and Hand D may perhaps be explained as superficial variations understandable and indeed predictable in two specimens so obviously different in style, function and (perhaps) the age of the writer. But all hypotheses must benefit from cogent critique and counter-argument; and there may well be specialists in Shakespearean handwriting or palaeography who would wish to modify or challenge either the experts I have cited or the conclusions I have drawn from them. Independent investigation and comment would of course be most welcome. The question has after all much potential interest. For if it could be shown that the penman of Lans.71.180 was probably Shakespeare, there are several significant inferences to be drawn, not least from the parallels between that letter my manor house at beaulieu. Fall in greate decaye and the famous image of sonnets x and xii, also found in plays (C. Of book V) also often ascribed to 1592 and linked with the earl of Southampton. April 5th, 2018, the work is based on the study of 20 poetry and short prose manuscripts by jorge luis Borges, ranging from his earliest poems published. Fervor de buenos Aires in 1923 to texts of the mid 1960s —when he becomes blind—, dictated to his mother and, thus, in her handwriting.
There are also in Hand D such Shakespearean pointers (according to Thompson) as a long crossbar on terminal t (cf. F.180 "that line 9; "rest line 14, "what line 15 a long headstroke on terminal g (cf. . f.180, "taking line 10 the writing of double l as significantly smaller than single l (cf. F.180 ll in " par cells line 2, compared with "lyke line 3). Both hands have more general though still Shakespearean characteristics shared with other hands of the time, such as the bending of d backwards through preceding l (as in "yealde line 10) or d (as in "wisdome line 12 or the use of capital C for minuscule course presentation line 11) ;. Even these can make a positive contribution, on the mathematical system advocated by everitt for handwriting identification. And even discounting all such general features, the cumulative tally already vastly exceeds chance expectation.
The most famous of them, the so-called spurred a, has never been seen by anyone anywhere except in one Shakespeare signature and in one word of Addition d, despite the most assiduous search and research. That spurred a, as both ourauthorities explain, is a side-effet of the supralinear h-a conjoining. But then (by inference from effect to cause) that join itself must also be rare; and this too is to some extent confirmed by its presence in less than 3 of my own sample survey. Yet it is the norm in.180 as it is in Hand. And so is their (also rare) form of open a as initial or after a non-postlinked letter (as in "manor" or "at line 2.180). Further shared features include several others that are in some degree unusual or even (according to Thompson or everitt) typically Shakespearean. Thus the writer.180 not only uses the same basic alphabet and observes the same general rules of linkage and penlift (after b, o, v, w) as Hand D; he also exhibits similar thickness of downstroke on certain letters (c, t, v, w) together with other individual letter-forms.
1s, fonts 1001 Fonts
Another, equally "consistent and unquestionable" feature of Shakespeare's hand (Everitt again, following Thompson) is the "long tapering extension" of final h and final y, above the line of writing. This is yet another characteristic shared with the writer of Lans.71.180, as at the end of "my lines 3, 6, and 16, "with line 2, and "herewith line. A further feature of Shakespeare's hand (Prof. Everitt's discovery) is the way in which it habitually dots its i s too far to the right, an idiosyncrasy which also distinguishes the writer of Lans.71,.180, notably at "inheritaunce" and "in line 3, "wardship line 6, "according line 8, "his line 10, "in". Yet another Shakespearean feature (Everitt again) is the formation of initial m after an upstroke with the first minim slightly higher than the second two.
This is yet another characteristic of the writer of Lans.71.180, as at "my line 2, and 3, "meanes!, line 5, "my line 6, "move" and "my line 7, "maye line 9, "me line 10, "maye line 13, "most line 14, "maye and "my line. The extreme rarity, not to say uniqueness, of such features, is doubly guaranteed: (a) they have been identified by specialists as being peculiar to Shakespeare's hand, and (b) they have never been reported in any other hand by any other commentator. The latter point carries especial conviction when applied to the fingerprints first identified by maunde Thompson 65 years ago, thus inaugurating wallpaper a period (the 1920s) when Shakespeare's handwriting was a topic of intense interest and controversy. It is to some extent confirmed by my own recent search through 1500 representative hands.1580-1600, when I found no such upstroke anywhere, no trace of the Italian long s in any English hand, no sign of an engrossing p in any secretary hand; and. Both points can be further reinforced. Thompson's identifications must have been made from deep knowledge and long experience.
But these features, pronounced though they are, are by no means the only "personal peculiarity". Another, and one which "provides us with one of the keys for the identification of the poet's handwriting also described as "one of the personal usages which point to identify is Shakespeare's equally exceptional use of a long Italian s (in signatures, and once. Lans.71.180 also has a writer whose single long Italian s (at the end of line 2) is his only non-English letter. A "further important testimony" in support of the contention that "in the Addition we have indeed an example of Shakespeare's handwriting" is a special engrossing form of the letter p, also found in one of the authentic signatures. It is also used, again just once, by the writer of Lans.
71.180, to begin "please line. That letter p was found in Shakespeare's handwriting in conjunction with a special rare form of e, with its middle stroke somewhat elongated. This too appears in the hand of the writer of Lans.71.180, in " par cells line. Another "consistent and unquestionable" characteristic (Everitt, elaborating on Thompson) is that ordinary e and s, and only those letters, are tagged in a certain way, when they are flourished (horizontally and vertically respectively) at the end of words. The writer of Lans.71.180 also likes doing this, as at the end of "inheritaunce or "lyke both line. In Shakespeare's hand, the typical s tag "may be exaggerated into an extended upstroke in the air". The writer.180 likes this effect too,. "his lines 10 and 14, "this line.
1920 ' s, carl zeiss Jena biotar.4/70mm (7cm) Lens (No 950017)
They are "of a hair-fine before they are attached this contrasts with a stronger downstroke when the initial letter itself begins. If that initial is i, then the upstrokes are very frequent in the following letter is n plan but rare if it is not. The writer of Lansdowne.180 offers several straight upstrokes. Some are very short in line 15 others inheritaunce line 3) traverse the next line of writing. Their slant golf however is constant, at 30 -. One in line 16) is a curved flourish; another my line 7) is slightly bent. Many are indeed hair-fine befor attachment with line 2; "in line 13, etc) thus contrasting notably with the bolder beginnings of the following w. Further, every "in wether word or syllable (lines 3, 10, 13, 15, 16) has an upstroke; but the initial i of "it" (line 9) has none.
Such effects, say both our authorities, phrasebank identify the writer. If so, that makes Lans.71.180 even more interesting. Its obviously habitual upstrokes (occurring on i, m, n, v and w) reveals dots my line 6; "in line 15 thickenings wheras 1; "my, 2, etc. hooks wante 4; "me 10) and loops, with needle-eyes both long whearby 12) and short maye 13). This close conformity continues. Shakespeare's upstrokes are also, according to our experts, strikingly variable in length but mainly constant in slant (at 30 - 35). Some are curved or bent.
hands of the period. In their Shakespearean form they are apparently unprecedented. Shakespeare's "personal usage as it is called, is defined thus: his upstrokes often begin with downstrokes, or downward movement. Sometimes the latter is barely perceptible; the questing quill-point just leaves a tell-tale dot or mark. More often, the pen moves down and then up again, without being lifted from the page. If that movement retraces the same line, it leaves a thickened end. If the ascent takes a slight different angle from the original downstroke, the result is a hook or barb to left or right. Very occasionally (once in the signatures, once in Addition D) the divergence leads to a needle-eye formation, so far found only in Shakespeare's hand.
Powered by primi sui motori con e-max Eric Sams's first essay on Shakespeare previously unpublished; the estate of summary eric sams. In pursuing a theory of my own about Shakespeare's sonnets I had (like many other enquirers, if not for the same reasons) identified the year 1592 as their inception and the young Earl of southampton as their inspiration. In the British Library's Lansdowne ms 71.180 (a xerox, somewhat reduced, is enclosed see image on the left is a letter of igned. Its English hand looks wholly unlike the earl's elegant Italic. It looks however very like shakespeare's Hand d in, sir Thomas More (also bl, marley ms 7386 ff 8, 9) especially. There are the same basic alphabet, pen lift and -links, and there, conspicuosly, are the same unusual s f and p descenders slashing two or three lines of writing to taper off in a fine-drawn stroke ending in a sharp point. That exceptional look of Hand D's descenders is stressed by the only two Shakespeareans ever to have published an analysis of his handwriting, namely sir Edward Thompson (in a pioneering monograph of 1916 and a contribution to the 1923 symposium. Shakespeare's Hand in the Play of Sir Thomas More ) and Professor.
1920, sheet Music ebay
Download, free for personal use, add to favorites, a rendering of my actual handwriting. Started as a side project at the royal Academy of Arts in The hague back in 2004. First released But recently added some additional characters. The characteristic 'i' with a line instead of a dot was added to facilitate the typical dutch 'ij' combination that appears in my name. You're estate free to use the font for personal projects. If you want to use the font commercially please contact. But also if you have used the font non-commercially i'd love you todrop me a line. It's always fun to see my work in action. Cheers, merijn Mulder, mulder's handwriting is free to use for personal and licensed under the "Creative commons - attribution-Noncommercial-no derivative works.0" mulder's handwriting merijn Mulder, peltenburg (previously Studio37) 2004.