Since this blog began in the spring of 2011, the 400th anniversary year of the King James Bible, we’ve examined inscriptions from the King James Bible in several locations around Washington, DC, home of the Folger Shakespeare Library. We took a look at the Library of Congress and at biblical influences on Martin Luther King’s rhetoric, including a biblical inscription at the Martin Luther King Memorial, which we revisited recently as part of our Washington, DC, cherry blossoms entry.
On this Memorial Day weekend, Arlington National Cemetery, just across the Potomac, seemed like a good place to look for King James Bible inscriptions. Two examples on the Arlington memorials and monuments are perhaps the best known, in addition to some private citations on individual tombstones. (Robert E. Lee’s former home, Arlington House, still stands at the highest point on the grounds; in yet another KJB connection, you can see Lee’s own King James Bible here.)
One of the two King James Bible inscriptions is on the World War I chaplains memorial, dedicated in 1926. The memorial includes a line from John, 15:13: “Greater love hath no man than this, that a man lay down his life for his friends.” Located on the brow of Chaplains Hill within the cemetery, the memorial is now accompanied by memorials to Protestant, Catholic, and Jewish chaplains that include later wars; the Jewish chaplains memorial was dedicated relatively recently, in 2011.
The Confederate Memorial was unveiled in 1914, almost half a century after the end of the Civil War, in a section of the cemetery that was set aside for Confederate graves in 1900. Both the graves section and the memorial were seen as symbols of national reconciliation.
The memorial is encircled near the top with the line from Isaiah 2:4, “and they shall beat their swords into ploughshares, and their spears into pruning-hooks.” Above this inscription, a female figure representing the South lifts a laurel wreath southward with one hand; she holds a pruning hook in her other hand, which she rests on a plow. The pruning hook and plow are meant to illustrate the King James Bible passage.
Learn more about the King James Bible in American history, including Confederate and Union copies of the King James Bible, in our Historic American Bibles image gallery.
Curious about the post-Civil War origins of Memorial Day, originally called Decoration Day? Try this recent blog post from the Smithsonian American History Museum.
Back in 2009, when we first started working on Manifold Greatness, we identified a number of themes we wanted the exhibition to touch on, and one of those was the nature of translation. In our grant proposal, we talk about how translation is a true literary act, one that requires choices in tone, style, vocabulary, and emphasis, and how translation is a process of culture adapting, changing, and potentially growing. On our main website, we note that the translation of the KJB was, above all, a collaboration.
The Manifold Greatness traveling panel show is now on the way to its final location, the Conyers-Rockdale Library System in Conyers, Georgia, where it will appear, with much related programming, from May 29 to July 12. And as this touring phase comes to a close, I’ve been looking back at our own process, and thinking about the way in which exhibitions themselves are a process of translation. Of course we collaborate—anyone who has worked on an exhibition can tell you that it is one of the most collaborative undertakings they have experienced. But because we tend to think of translation as a text moving from one language into another, it’s not immediately obvious that the work we do in exhibition is also a process of translation. And yet, on many levels, I think it is.
We begin with an idea, and shape it into a narrative: here is our story; here is what can be said about the history of the King James Bible. But as scholars, our curators have a certain language, a way of packaging their knowledge. This does not always (ahem) translate well to an audience which may be made up of everyone from schoolchildren and educators to tourists or subject specialists. We need a way of speaking, and of writing, that provides information accurately and succinctly, and in accessible nuggets for a broad range of audiences.
For Manifold Greatness, we did this twice: once for the artifact-based exhibition in Washington, DC, and again for the panel exhibition that traveled the country. For these, we needed two different “languages.” The Washington, DC, show was in the language of artifacts, showing the here and now, and revealing KJB stories through what could be seen on the open pages before a visitor. The traveling show retracted the lens a little further, and gave weight to story over object. We covered the same material, but we translated the content in slightly different ways in order to best serve the format of the shows.
I like to think that the KJB translators would have appreciated our process. Our translation process was, like theirs, concerned first and foremost with accuracy. Every word needed to be true; each idea needed to be formed and informative. We were not reading Hebrew, Greek, and Latin—but remember, of course, that the King James Bible was not the first English Bible, and the translators drew liberally from the English translations that came before. Although they produced a masterpiece of English literature, their concern was not for lyricism or rhetorical power; they aimed for accuracy as they translated both from ancient languages and from previous English versions.
Have a look at the website to compare translations, and see for yourself how the KJB translators ended up creating a new version at once lyrical and accurate. One of my favorites is the passage from Ecclesiastes (1:2), in which the translators don’t really change the meaning or emphasis from the previous English translation, but they manage to create a verse that is poetic, song-like, and memorable—and also just that much more true to the original Hebrew:
Great Bible (1539)
All is but vanity (saith the Preacher) all is but plain vanity.
King James Bible (1611)
Vanity of vanities, saith the Preacher, vanity of vanities; all is vanity.
Would that our exhibit text was as memorable as that! Perhaps it is indeed vanity to compare our process to that of the King James Bible translators. But as we near the end of this commemorative exhibition, I’m very pleased to have been part of such a process, to understand it, and to see the many thousands of people we have reached through the work that we did to turn ideas into language, and to use language to deliver the right information.
Caryn Lazzuri is the Exhibitions Manager at the Folger Shakespeare Library.
A post about the Book of Common Prayer—the source of such familiar phrases as “ashes to ashes, dust to dust”—recently appeared on the Folger Shakespeare Library blog, “The Collation,” and we wanted to share a short excerpt here. First produced in 1549 (see this web page for details), the Book of Common Prayer has gone through different editions over time. In 1649, Charles I was beheaded. After his son, Charles II, was restored to the throne in 1660, a new edition was published in 1662. Whitney Trettien has been studying an intriguing Folger copy of a 1664 Book of Common Prayer with numerous added images; you can read her full blog post (with a wealth of other images) on the Collation blog:
In Henry Fielding’s novel Tom Jones (1749), Partridge and his friends go to see a play. As they watch a man light the upper candles of the playhouse, the predictably inane Partridge cries out, “Look, look, madam, the very picture of the man in the end of the common-prayer book before the gunpowder treason service!”
The picture Partridge refers to is most likely the one at left, a widely circulated and often reproduced image of Guy Fawkes sneaking toward the House of Lords, matches and lantern in hand. It’s easy to read Partridge’s bumbling analogy as a comedic misinterpretation of the seriousness of the Gunpowder Plot—after all, he seems to see no difference between a flame intended to ignite barrels of gunpowder and one used to light candles in a playhouse (!).
There’s a second level to his comedy, though, lost to most modern readers: namely, that by the eighteenth century this iconic depiction of Fawkes simply was as common as lit chandeliers. Found interleaved in many (if not most) extant post-1662 copies of the Book of Common Prayer, this image, along with another showing Charles I’s execution and a third celebrating Charles II’s return, iconically punctuated the state services added to the end of the restored Prayer Book.
While the Folger holds many fine examples of extra-illustrated Prayer Books, I’ve been researching a copy that makes particularly interesting use of the practice of interleaving liturgical texts with images. Like many others compiled in the seventeenth century, this Prayer Book is bound within a collected volume that includes several religious texts, including a Bible, a copy of Sternhold and Hopkins’s Psalms, an Apocrypha, John Speed’s genealogical tables, and John Downame’s concordance.
Unlike other composite volumes, however, this book—really, an aggregate of multiple printed books bound together—is heavily interleaved with loose prints, diagrams, maps, illustrations extracted from other texts, contemporaneous portraits of religious and political figures, even an elaborate (and as-yet unidentified) manuscript monogram.
In fact, most of the leaves of the Bible in this copy have been removed and replaced with images culled from different sources, including William Slatyer’s illustrations of Genesis (a set of 40 plates published in the 1660s) and an unidentified German book, possibly some form of illustrated Bible that includes scriptural passages in both German and Latin. In short, the owner(s) of this volume went far beyond the standard practice of interleaving one’s Prayer Book with a few ready-made prints of Guy Fawkes!
If (returning to Tom Jones) Partridge’s offhand remark satirizes how common images of the Gunpowder Plot had become, then the volume at the Folger indicates how uncommonly such images could be used. Through a highly material process of cut-and-paste composition, the owners of this book transformed a set of mass-reproduced religious texts into a wholly new document that uniquely reflects—or perhaps carefully projects—their political and religious affiliations.
Whitney Anne Trettien is a PhD candidate in English at Duke University, where she is writing her dissertation on the Little Gidding Harmonies. She works on a variety of projects related to book history, digital humanities, and early modern material culture. As noted above, you can read the rest of her blog post here.
To learn more about extra-illustrated books, you may want to explore the online content for a past Folger exhibition, Extending the Book: The Art of Extra-Illustration, which includes this volume. You can learn more about the November 1605 Gunpowder Plot here.
This Sunday is March 24, the date in 1603 when Queen Elizabeth I died, and James VI of Scotland became king of England. When James succeeded Elizabeth to the English monarchy, he also inherited the crown of Ireland.
Although a high king of Ireland was both a legal and historical reality, the concept of an Irish crown was innovative in this period. The bardic poet Fearghal Óg Mac an Bhaird may be the first to have articulated the notion of ‘the crown of Ireland’ as part of a triple monarchy, which he did in his famous poem “Tri coróna i gcairt Shéamais” (Three crowns in James’s charter), an inaugural poem celebrating James’s accession to the triple monarchy of England, Scotland, and Ireland.
The current Folger exhibition, Nobility and Newcomers in Renaissance Ireland, which I curated with Thomas Herron, Associate Professor of English at East Carolina University, includes a facsimile manuscript of Mac an Bhaird’s poem, in the original Irish language. The poem is one of several Irish-language works on display. A fundamental, and immensely interesting, part of the exhibition, these works have been a way for us to show how the Irish language itself was a powerful cultural and social force in the world of Renaissance Ireland. You can hear a spoken passage from the poem, in Irish, in this online audio stop from our exhibition audio tour (the passage from the poem begins after my spoken introduction) and see an image of the poem here as well.
The poem’s fame derives in part from its seeming curiosity: why would a Gaelic Irishman welcome a “British” king? One answer is that Gaelic intellectuals were not absolutely averse to political connection to the monarchy in London, and currying favor with the new king was simply good politics.
On a more basic level, the bardic class hoped to enjoy greater protection and rights under a Scottish king than they had under an English queen: Elizabeth may have had an interest in the Irish language, but she did next to nothing to arrest the destruction of Gaelic culture. James, by contrast, had successfully ruled Scotland for decades and had managed his Gaelic and Catholic subjects with relative tolerance. Many Irish—bards, lords, and even churchmen—held out hope that his reign would usher in better days.
Mac an Bhaird’s poem details the grounds of James’s claim for all three kingdoms. In the case of Ireland, legitimacy derived from blood (Scottish kings having been descended of Irish Gaels) rather than conquest. In traditional motif, then, Ireland was portrayed in the poem as the feminized ‘spouse’ of the rightful king, a union that would bring peace and plenty to the land.
Great hopes, however, were quickly dashed. A mere six years later, in 1609, James’s government would commence the largest and most ambitious of English/British colonial schemes in Ireland, the Plantation of Ulster, and thus the repeopling of Ireland’s northern province with English and Scottish settlers.
Brendan Kane is Associate Professor of History at the University of Connecticut, Associate Director of the University of Connecticut Humanities Institute, and the curator, with Thomas Herron, of the Folger exhibition Nobility and Newcomers in Renaissance Ireland, January 19 to May 19, 2013.
On February 2, central Pennsylvania welcomed the Manifold Greatness traveling exhibit to the High Library at Elizabethtown College. The reception has been overwhelming and we could not be happier with the enthusiasm and support for the exhibit. Even the weather has worked out in our favor and the programs have gone on without a hitch!
Our opening reception was attended by over 200 people, and attracted visitors from outside the area, including individuals from New Jersey and Maryland. To quote our keynote speaker for the event, Jeff Bach, the reception provided “a feast for the eyes in the exhibit and items from our special collections, a feast for the ears thanks to the glorious music provided by our student group Camerata who performed ancient acapella musical selections, a feast for the soul as the Word was read aloud, and our minds through the opening lecture.”
We also hosted a panel discussion on February 6 as scholars discussed “Shakespeare, Literature and the Language of the King James Bible.” Speakers included Professors Christina Bucher, Louis Martin and Suzanne Webster. On February 7, we were mesmerized by our Elizabethtown’s own Professor Patricia Likos Ricci who lectured on “The Bible as a Work of Art.” Professor Ricci will replay this lecture on February 19 at the Elizabethtown Public Library. We will also hear from our own Professor Jean-Paul Benowitz on Family Bibles. It has been wonderful to see and experience all the diverse backgrounds and generations who have visited the exhibit. We have had young, old, Mennonite, Brethren, Catholic, Baptist, and Protestant visiting the exhibit. Our youngest tour thus far has been a group of middle school students who really enjoyed hearing about the Wicked Bible from our student docent, Annemarie. We also hosted a group of Old Order Amish who toured the exhibit with Professors Jeff Bach and Don Kraybill.
The Manifold Greatness exhibition has also provided an opportunity for the High Library special collections to be featured. We have displayed the High Library copy of the 1599 Geneva Bible, the rare 1712 Marburg Bible, and the Berleburg Bible. In addition to the unique displays, the visitors have also enjoyed using iPads we have setup to connect them directly with the audio tour of the exhibit provided by the Folger Shakespeare Library. We hope to continue to reap the rewards of the amazing exhibit and are looking forward to another fantastic 2 weeks with the King James Bible.
Louise M. Hyder-Darlington, M.S.L.S. is Access Services Librarian and Project Director for the Manifold Greatness traveling exhibition at the High Library, Elizabethtown College in Elizabethtown, PA.
It’s a warm, sunny day in Rochester, NY and my office is resounding with the soundtrack to The Harder They Come—a reggae classic. It prompts me to follow up on an earlier post that discussed how Bob Marley carried a copy of the King James Bible with him and often engaged friends in religious debate. Marley and other reggae artists also incorporated verses from the KJV into their lyrics and I thought I’d share a couple with you.
One example of Marley’s use of Bible verse is his song “Small Axe” . Click here to watch on YouTube.
A helpful website “dedicated to matching Reggae song lyrics to Biblical quotations” compares Marley’s “Small Axe” to the biblical passages from which he drew his inspiration. For example, they show how Marley drew inspiration from Proverbs 26:27 and Ecclesiastes 10:8 for the song’s refrain.
Marley: “And whosoever diggeth a pit, Lord, Shall fall in it – shall fall in it.
Whosoever diggeth a pit Shall bury in it – shall bury in it.”
Proverbs 26:27 – “Whoso diggeth a pit shall fall therein: and he that rolleth a stone, it will return upon him.”
Ecclesiastes 10:8 – “He that diggeth a pit shall fall into it; and whoso breaketh an hedge, a serpent shall bite him.”
Perhaps my personal favorite example of the use of Biblical verse in Reggae music is the Melodians “Rivers of Babylon” (1970), a highlight of The Harder They Come soundtrack. Songwriters Brent Dowe and Trevor McNaughton beautifully interpret Psalms 19 and 137 with Rastafarian references to Emperor Haile Selassie I as “King Alpha” and “Fari” or “Jah Rastafari.
Click here to watch on YouTube.
Psalm 137: “By the rivers of Babylon, there we sat down, yes, we wept, when we remembered Zion.”
Psalm 19: “Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight, O LORD, my strength, and my redeemer.”
Melodians “Rivers of Babylon”:
“By the rivers of Babylon
Where he sat down
And there he wept
When he remembered Zion
‘Cause the wicked carried us away in captivity
Required from us a song
How can we sing King Alpha’s song
In a strange land?
‘Cause the wicked carried us away in captivity
Required from us a song
How can we sing King Alpha’s song
In a strange land?
So, let the words of our mouth
And the meditation of our heart
Be acceptable in Thy sight
Steven Galbraith, Curator of the Cary Graphic Arts Collection at Rochester Institute of Technology, is co-curator of the Manifold Greatness exhibition at the Folger Shakespeare Library.
Thinking about the one-year anniversary of Manifold Greatness takes me back to August 2009 and a balcony overlooking the ocean at Bethany Beach, DE. Miles from the Folger, my mind was more in Margaritaville than Jacobean England, but I owed Hannibal Hamlin a phone call regarding the King James Bible. A few days earlier we had met with my Folger colleagues regarding plans for the KJV’s 400th anniversary. We agreed to co-curate a Folger exhibition in 2011, but as ideas flew around the room, the scope of the exhibition grew and grew. There was talk of partnerships, grants, websites, and traveling exhibitions.
In some ways this is the most exciting moment in the life of an exhibition: the moment when you think as creatively as you can, without yet worrying about what might not be possible. The KJV anniversary was clearly going to be a bigger project than we had first imagined. I think that I can speak for both Hannibal and myself in admitting that although it was exciting, it was also pretty overwhelming. We agreed to talk everything through in a few days. I left the library for the beach.
Fast forward to this past fall. Like Hannibal, who recently shared his reflections on the one-year anniversary of the exhibition, I was inspired by our meeting last fall with representatives from the exhibition’s host sites. As I stood before this amazing group of people and heard their plans for their exhibitions, it really dawned on me that the exhibition on which we all had been working was really about to launch. With the Folger Shakespeare Library, the NEH, and all of these dynamic librarians, curators, and educators putting their efforts behind the exhibition, I knew things could only go well.
A year in and I am thrilled by the reach of Manifold Greatness. So far the exhibition has traveled to eighteen sites (counting the larger exhibitions at the Folger, the Bodleian Library at the University of Oxford, and the Harry Ransom Center at the University of Texas, Austin). The Folger exhibition broke previous attendance records and the turnout at the exhibition sites has been very impressive. We are so thankful for all the support. The blog itself has been visited 30,948 times. Thank you for reading!
I couldn’t have seen any of this three years ago from my perch looking out over the ocean. When I did phone Hannibal we talked at length about how fun it was going to be to work together and agreed that we wouldn’t let things get too overwhelming. We were right on one count! But from my vantage point the future looked pretty promising.
Steven Galbraith, Curator of the Cary Graphic Arts Collection at Rochester Institute of Technology, is co-curator of the Manifold Greatness exhibition at the Folger Shakespeare Library.
This week the Manifold Greatness exhibition is once again on the road, traveling to the Harry Ransom Center at the University of Texas, Austin; Hope College in Holland, MI; Mid-Columbia Library District, in Kennewick, WA ; and Mobile Public Library in Mobile, AL.
Danielle Brune Sigler of the Harry Ransom Center is co-curator of “The King James Bible: Its History and Influence,” a variation of the Manifold Greatness exhibition. This week, she blogs on common phrases from the King James Bible and how the book has influenced contemporary culture, from the speeches of Dr. Martin Luther King, Jr. to Robert De Niro’s tattoos in the film Cape Fear.
“The King James translation has left an indelible mark on the cultural landscape of English-speaking people throughout the world,” she writes.
Read her complete blog post here.
Amy Arden assisted in the development and production of the Manifold Greatness website. She is a communications associate at the Folger Shakespeare Library.
Manifold Greatness may have left the Folger Shakespeare Library this week, but a traveling banner version of the exhibition is currently in full force. Forty libraries across the United States will receive the display – the traveling tour began in fall 2011 and will run through summer 2013. The American Library Association (ALA) Public Programs Office is coordinating the tour to public and academic libraries, who are all presenting a variety of free humanities programs in conjunction with the exhibition.
Program highlights so far include:
- Kennessaw State University in Kennesaw, Georgia presented a program titled, “Music, Text, and the 1611 King James Bible,” in which Dr. Tamara Livingston, Associate Director of Museums, Archives & Rare Books, discussed the interplay between early 17th century music, text, and the production of books, as exemplified by the King James Bible.
- At Northwest Christian University in Eugene, Oregon, Dr. Jim Earl, professor of English at the University of Oregon, spoke on “The King James Bible and the Invention of Readable English.” Dr. Earl’s lecture explored the influence of the King James Bible on the development of the more direct style of language that is commonplace today.
- And the Burke Theological Libraryat Union Seminary at Columbia University, New York, hosted “The King James Bible at 400: A Conversation with Dr. David Burke,” Emeritus Scholar, the NIDA Institute, American Bible Society.
The traveling Manifold Greatness exhibition provides host libraries with the opportunity to connect with their communities in new and fun ways – through lectures by scholars, panel discussions, book and film discussion series, school and college class tours, concerts, and more.
We look forward to seeing the creative ways the remaining tour sites will engage with Manifold Greatness: The Creation and Afterlife of the King James Bible!
Jennifer Dominiak is a program officer in the Public Programs Office at the American Library Association. The ALA Public Programs Office has a highly regarded program of traveling exhibitions; during 2011, the Public Programs Office toured 11 traveling exhibitions to 123 public, academic, and special libraries. Visitors to these exhibits numbered more than 300,000. An estimated 46,000 library patrons attended exhibit-related public programs.
The Manifold Greatness panels were packed up and shipped from Rhodes College on Monday this past week. But their presence lingers, in part through the exhibition of Rhodes archival holdings that it helped inspire.
Last September, when I attended the ALA/NEH workshop at the Folger Shakespeare Library in preparation for our hosting these panels, I recall a moment that was almost Norman Rockwell-esque in its poignancy. We had been invited to introduce ourselves and our home institutions. One by one, forty different people stood up and expressed their eagerness for “Manifold Greatness” to visit their libraries. But what was most moving were the accounts everyone spontaneously gave of how they planned to augment the panels with local resources. Someone mentioned a copy of a Native American Bible translation that they planned to display; another person described with pride the venue in which the panels would be exhibited, a converted church sanctuary; many others detailed the extraordinary range of documents, events, and people who would be connected to this traveling exhibition. It seemed ‘American’ in all the best ways: regional riches strengthened in conjunction with federal resources.
Here at Rhodes, the arrival of Manifold Greatness occasioned some delightful discoveries. The more we sought biblically related materials, the more we found. We gathered dozens of critical studies related to the biblical translation into one nearby shelf, so that visitors could read further into this cultural history.
Based on a suggestion made by another Manifold Greatness host (Stan Campbell, at Centre College), our archivists Bill Short and Elizabeth Gates realized that we hold copies of a series of facsimile reproductions of leaves from early English Bibles, produced in 1935 by the American Bible Society.
We already knew of our copies of a Geneva Bible (1582), Fulke’s contentious refutation of the Rheims New Testament (1589), and an early reissue of the 1611 Bible by the King’s printer (1617). All three of these items from our Special Collections enriched the panels’ narrative considerably—many visitors commented gratefully that these volumes helped them appreciate the scale of the portable Geneva or the dauntingly large KJV.
But what was a marvel to encounter was the discovery that we had, decades ago, acquired an extraordinary collection of mounted pages from various biblical translations. These include a manuscript (1121) of the Bible in Armenian; a Paris Bible (c. 1240); the new edition of the Greek New Testament and accompanying Latin translation by Desiderius Erasmus; the complete Douai-Rheims Bible (1609-10); the London Polyglot (1657), edited by Brian Walton; John Eliot’s Algonquin Bible (2nd edition, 1665); and The Works [Opera] of St. Cyprian (1563).
Our colleague Michael Leslie was teaching a seminar on the pre-history of the 1611 translation, and eagerly provided explanatory commentary, further enriching the collective exhibition.
While the panels have departed our library for their next host institution, the circulating bookshelf, the facsimiles, the original volumes, and the mounted pages will all remain on display for another month. This is a tribute to the generative quality of Manifold Greatness itself and the ways in which it inspires local libraries to recognize their own great and manifold holdings.
Scott Newstok is associate professor of English at Rhodes College in Memphis, Tennessee, which hosted the Manifold Greatness traveling exhibition in November and December of 2011. For more about the traveling exhibition at Rhodes College and the related symposium and programs, see Hannibal Hamlin’s previous blog post, Manifold Greatness at Rhodes.
With 2011, the 400th anniversary year of the King James Bible, now firmly in the history books itself—and with the world now turning its attention to Charles Dickens’s 200th anniversary—you might think that Manifold Greatness: The Creation and Afterlife of the King James Bible would be wrapping up, too.
Not so! Although Manifold Greatness was created to mark the 400th anniversary of the 1611 King James Bible in 2011, the project continues throughout 2012 and into 2013. And, of course, we hope the Manifold Greatness website and Manifold Greatness publication continue to provide helpful resources to online visitors and readers even longer.
A quick overview of what’s on right now… and what lies ahead:
- The Folger Shakespeare Library’s Manifold Greatness exhibition remains on view in Washington, DC, every day through its final day on January 16. By happy coincidence, January 16 is also the federal holiday honoring Martin Luther King, Jr., whose rhetorical use of biblical passages and cadences is noted in the Manifold Greatness exhibition itself, as well as our online Modern Life gallery, and curator Hannibal Hamlin’s blog post on Washington’s new Martin Luther King, Jr. Memorial.
- After closing at the Folger Shakespeare Library, the exhibition travels to the Harry Ransom Center at the University of Texas at Austin, where it will be on view from February 28 to July 29, 2012, incorporating rare works from the Ransom Center collection as well.
- In Claremont, California, the Manifold Greatness traveling exhibition may be found at Claremont Graduate University through January 6 (see CGU’s Manifold Greatness web page for visitor info, video links, and photos); until just before the recent holiday break, it was also displayed at Arizona State University (ASU Manifold Greatness web pages, student reporter video) and Rhodes College in Memphis (Rhodes 1611 web page with many links, our earlier blog post).
- In Hattiesburg, Mississippi, Manifold Greatness programs will begin well in advance of the traveling exhibition opening on January 19, with two film screenings this Thursday—and a family Bibles consultation and workshop next Thursday—at Hattiesburg Library; the traveling exhibition itself opens at William Carey University on the evening of January 19, with more free, public programs to follow, including talks, panel discussion programs, a book discussion of Adam Nicolson’s God’s Secretaries (on the King James Bible translators), and a final film screening.
- Two other complete traveling exhibitions will also be on view by mid- to late January at the University of Minnesota (opening January 25), which is hosting a February 3 colloquium, its own exhibition “The Word Made Flesh,” and other public programs, and the University of Texas at Brownsville and Texas Southmost College.
And that’s not all! During 2012 and 2013, the Manifold Greatness traveling exhibition will be displayed at another 31 libraries around the United States, each of which—like all of the host institutions so far—plans multiple public programs. Many are exhibiting rare works from their own collections as well. Try our traveling exhibition schedule to follow the travels of the panel exhibition in the months and years ahead.
Poet Robert Pinsky read from his poems and from his prose book The Life of David on Tuesday evening, October 4, 2011, as part of the O. B. Hardison Poetry Series at the Folger Shakespeare Library, an event introduced and moderated by Folger director Mike Witmore. The Life of David is an imaginative portrait of David, the biblical warrior, poet, and king.
It was my editor Jonathan Rosen’s idea for me to write The Life of David. I protested that I lacked scholarship, couldn’t even read Hebrew. Jonathan said that was irrelevant: the goal was not a work of scholarship but a writer’s understanding of that greatest of lives.
So, along with embracing David’s life story as it is told in Samuel I and II, the book needed to be informed by how that story and its telling had become part of the English language itself, embedded there by the hundreds of writers who had inspired me to write. Implicitly, I needed to respect how the biblical text had formed Milton, Swift, Keats, Austen, Lincoln, Dickinson, Joyce, Faulkner, Stevens, as well as others, great and less great—and how the writers in turn had formed our understanding of David’s story and of the Psalms that are designated as being “of” David.
These are the considerations that compelled me to decide, in a book published in 2005, that all the quotations must be from the King James translation, with its countless and still increasing echoes.
Robert Pinsky, who served an unprecedented three terms as United States Poet Laureate, teaches at Boston University and is the poetry editor of Slate. His books of poetry include Selected Poems, Gulf Music, Jersey Music, and The History of My Heart. He is also the author of the prose book The Life of David and is a well-known and award-winning translator. He has written several books about poetry including Poetry and the World, which was nominated for a National Books Critics Circle Award, and The Sounds of Poetry.
Just in time for today’s opening of the Folger exhibition, this wonderful new video, The Making of a Folger Exhibition: Manifold Greatness:
This video is a production of Alabama Public Television (APT) in partnership with the Folger Shakespeare Library. Thanks to APT Executive Producers Heather Daniels and Mark Fastoso who manage a production studio at the Folger which produces original educational videos like this one.