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The first kind of manuscripts were written for a person, often oneself or for a friend. That means if it was oneself, of course the writer had in mind what was meant and often didn't bother to write everything in, some little mistakes were not corrected.
If it was written for a friend, you also could talk to them and say: These kind of manuscripts can't be taken as a complete information. The additional conversations clearing up misunderstandings are missing and are allowed to be missing: Publishing was never intended.
Today the manuscripts are treated as if every single note and slur is gold worth. At the time though the writer could have told their friend: Sorry about that line, there are mistakes in it, I was tired.
The manuscript by Anna Magdalena's and Kellner's belong to this category of copies. Prelude Suite 6, manuscript "D" We can see the dynamic indications "po" for piano and "for" for forte.
Of course bar 1 has no indication the forte is missing although bar 2 indicates the echo. Because in bar 1 there is not enough space above the slur of line 2. You understand that, surely? So hopefully does everyone. This manuscript here was by Kellner, the oldest manuscript. He was an organist, and probably wanted to play sometimes the Suites on the organ by himself.
We must though point out, that both Kellner and Anna Magdalena were not cellists. That means, there was no need to add or correct anything, like a player would do, e. Also there are no markings of fingerings. There was a second reason for copying: These collectors collected whatever they could get hold of from composers they regarded as worth it.
Manuscript "C" and "D" stem from large collection of hundreds of pages, music for more than one instrument, impossible to have been all played by the collector.
The copying was probably done by paid copyists, e. Unfortunately none of the probably many enthusiast's house copies have survived; very likely they have been superceded by easier to read prints.
Manuscripts "C" and "D" have rather survived, because they had not been used, and rested in unused collections - there is no sign of use like a fingering or corners missing.
More so, all 4 today known manuscripts are heavy books comprising all 6 Suiutes or even other works, too heavy to fit and be handled on a music stand.
None of the later prints are copies from "C" and "D" or Kellner and Anna Magdalena see below the paragraph: Lost printsbut from either the original in case it still existed or lost manuscripts, who had certain details in common - which are different to the 4 surviving manuscripts.
We can't emphasize enough, that the manuscripts, which were used by cellists at the time, have not survived; not one manuscript with fingerings, personal notes has survived. I discarded myself my oldest Bach printed copy, because I had corrected my fingerings so often, that holes in the paper started to appear.
Cellists must have been relieved, when printed copies arrived and they didn't need to rely on their heavily used copy, which up to then could only be replaced by many days of writing a new one. Their copies are lost.A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem.
Writing an explication is an effective way for a reader to connect a poem’s plot and conflicts with its structural features. Poetry analysis is the process of investigating a poem's form, content, structural semiotics and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work.
If you are reading poetry written before the twentieth century, learn to use the Oxford English Dictionary, which can tell you how a word's definition and usage have changed over time. Be sure that you determine how a word is being used--as a noun, verb, adjective, adverb--so that you can find its appropriate meaning.
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