in "A Sigr Pepusch Musicus zu Londres", in which [Harold] Love imagines Handel writing to his compatriot and colleague, Johann Christoph Pepusch, in London, in 1717, to complain about the antics of Jean-Baptiste Volumier, King Augustus of Saxony's vain concert master. Volumier, feeling threatened by the favour shown to the young French harpsichordist Louis Marchand, arranged a challenge between Marchand and Bach which Marchand avoided by fleeing to Paris. This kind of gossipy, satirical invective is typical of the Restoration poetry that Love admired, making his poem an entertaining companion to those earlier texts.
A Sigr Pepusch Musicus zu Londres
from The Times Literary Supplement: Poem of the Week: "A Sigr Pepusch Musicus zu Londres"
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Her fascinating imagery (for example, the "liquid" brain as a "honeycomb filled with the drugs of bees", drained by the "insomniac insolent machinery of love") shows that, at an early stage in her career, [Christine] Brooke-Rose was already pushing the boundaries of the familiar and tangible. This early work can be seen as training, then, for the later experimentation of her novels--where she really "get[s] into the mad world".The Lunatic Fringe
from The Times Literary Supplement: Poem of the Week: "The Lunatic Fringe"
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