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Indexing the Periodical Literature of Anglo-American Bibliography by B. J. McMullin
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The Concept of Ideal Copy by G. Thomas Tanselle
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An Application of Semiotics to the Definition of Bibliography by Ross Atkinson
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Establishing Shakespeare's Text: Notes on Short Lines and the Problem of Verse Division by Fredson Bowers
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A Fielding Discovery, with Some Remarks on the Canon by M. C. with R. R. Battestin
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Casting Off Copy and the Composition of Hooker's Book V by W. Speed Hill
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Some Problems of Attribution in the Canon of Sir William Killigrew's Works by J. P. Vander Motten
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THE TEXT OF Paradise Lost: A Stemma for the Early Editions by R. G. Moyles
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The Chronology of the Richardson-Bradshaigh Correspondence of 1751 by John August Wood
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The Typewriters in the Making of The Waste Land by S. Krishnamoorthy Aithal
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The Manuscript of D. H. Lawrence's Saga of Siegmund by Bruce Steele
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Tracking Lawrence's Fox: an Account of its Composition, Evolution, and Publication by Judith G. Ruderman
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A Textual History of Graham Greene's The Power and the Glory by David Leon Higdon
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David Jones's Glosses on The Anathemata by Thomas Dilworth
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[section]
 2. 
I. RITE AND FORE-TIME
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II. MIDDLE-SEA AND LEAR-SEA
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III. ANGLE-LAND
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V. THE LADY OF THE POOL
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VI. KEEL, RAM, STAUROS
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VII. MABINOG'S LITURGY
  
Notes
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Faulkner's "L'Apres-Midi d'un Faune": The Evolution of a Poem by Robert W. Hamblin and Louis Daniel Brodsky
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His Editor's Hand: Hiram Haydn's Changes in Styron's Lie Down in Darkness by Arthur D. Casciato

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II. MIDDLE-SEA AND LEAR-SEA

96.14 "Up she looms" Here, or 16 lines previously?, according to HG begins 'the whole argosy of mankind' to end on p. 182.

The text of the poem refers to the thirty-foot bronze statue of Athena Promachos that dominates the Acropolis in the fifth century B.C. and is

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seen by men on the Greek ship. The phrase "the whole argosy of mankind" ('argosy' here meaning voyage) appears in Jones's Introduction to Coleridge's "Ancient Mariner" (30, 38), and apparently originates with the poet's friend Harman Grisewood. Jones tentatively, and correctly, suggests that the voyage starts not here but on the previous page, where the Greek ship first begins the approach to its home port of Athens. See the gloss on 53.11 above.

102.23* ". . . and must go a compass'

Here David Jones draws a sketch indicating a ship reversing its course or, in nautical language, going a compass.

103.11 "Clōse-cōwled, in hĭs mâst hēād stāll the sôlităry cântŏr"

This line Jones scans for syllabic quantity, and possibly for stress (mâst, sôlitary, cântor).

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