This essay offers a scholarly meditation on a biographical oddity first reported in my doctoral thesis 'Early reception of Handel's oratorios, IJ3Z—IJ84: narrative—studies-documents' (Ann Arbor: UMI, 2004). It also forms a case study of applying surgical focus on a minimal documentary surface. The result IS organic scholarship of open ends, wide implications and joyful inquisitiveness; qualities presently undervalued in academia yet indispensable for genuine humanistic research. I am thankful to Ellen T. Harris for her encouragement and support, and to Karol Berger and Thomas S. Grey for easing my transition to postdoctoral life
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