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
