bluuebunny/crossref_metadata_2025 huggingface dataset:
Bances Cándamo and the Calderonian Decadents
Authors: Jack W. Shaffer
Published: February 2007

Of All the decadents in the Spanish drama as it fell away from the glory of the golden age at the close of the seventeenth and the beginning of the eighteenth centuries, there are three who most merit the name of disciples of the great Calderón: Bances Cándamo, Vázquez de Zamora, and Cañizares. Taken together, they form a sort of trinity in their support of the Calderonian theory of the drama. But while all wrote, as well as they might, after the manner of their illustrious predecessor and master, it is to Bances Cándamo that one must turn as to the spokesman of a dramatic theory and technique more or less common to his time, a system whose repercussions are to be found not only in the works of the three writers just mentioned, but as well in those of a number of wholly inferior dramatists who, together with the three, form the background of the Spanish stage as it existed from the death of Calderón until, or perhaps slightly beyond the third decade of the eighteenth century; until, indeed, it found opposition and eventual overthrow at the hands of the afrancesados, led, as is generally thought, by Luzán, whose Poética (1737) was for decades the text-book and vade mecum of the neo- or rather pseudoclassicists.
More Popeana: Items from an Unpublished Correspondence
Authors: Hughes Helen Sard
Published: February 2007

A Lexander Pope as known to his contemporaries is a study in extremes. One group knew him as the satirist, diabolically clever and Papistical, responsible for the Moral Essays and the Dunciad. But another group less frequently commemorated idolized him as the romantic author of the Pastorals, of Windsor Forest, of Eloisa to Abelard and The Dying Christian to his Soul; he satisfied their love of beauty both in external nature and in the soul of man. With something of surprise we see through the eyes of these admirers the figure of the romantic poet usually obscured by that of the satirist of later years. The gradual stages by which the admirers of the younger Pope become the stern judges of his middle age are evidences of changes in the poet himself and not in those romantically-minded readers who turned reluctantly from him to Thomson and Shenstone and Young.
IAD: A Progeny of the Dunciad
Authors: Bond Richmond P.
Published: February 2007

Fashions in literature run not only to theme, form, influence, and diction but also to title and even part of a title. For a century following the Dunciad an extraordinary number of productions had titles ending in -iad (-ead, -ad, -ade). The presence of this suffix denoted that the work dealt with the subject suggested by the name to which those final letters were affixed. The NED gives the English suffix -ad as representing the Greek -άδ-α, forming feminine patronymics and hence used in names of poems. The mere -ad did not often appear but yielded to the more euphonious -iad and sometimes -ead; the -ade was the French spelling.
New Light on the Burns-Dunlop Estrangement
Authors: Ferguson J. DeLancey
Published: February 2007

The circumstances which caused Frances Anna Dunlop to cease corresponding with Robert Burns during the final year and a half of the latter's life have always been a puzzle to biographers. Even Wallace's publication, in 1898, of the Lochryan MSS shed little additional light on the affair, though it may be remarked in passing that Wallace—perhaps from timidity, perhaps from reluctance to express any but favorable opinions of the ancestress of the family by whom the manuscripts had been preserved—hardly made full use of such evidence as was available. Unfortunately some vital links were missing.
Wordsworth's Descriptive Sketches and The Prelude, Book VI
Authors: Harrington Janette
Published: February 2007

In the summer of 1790 William Wordsworth and his friend, Robert Jones, spent their summer vacation in France and Switzerland. The record of this memorable journey has been left to us in two of Wordsworth's poems: Descriptive Sketches written in 1792 and The Prelude, Book VI, written probably in 1804. The journey described in each is, of course, the same, yet variations in the accounts are quite marked. The immediate reaction as to the causes of the differences, no doubt, is that Wordsworth had forgotten many of the details of the journey. Yet this explanation cannot be true, as a careful analysis shows. Garrod, in his paragraph concerning Wordsworth's poetical theory that poetry “takes its origin from emotion recollected in tranquillity,” hints at the real reason for the discrepancies:

The question [he says] is interesting, not only in connection with Descriptive Sketches, but also as affecting the problem of the essential truthfulness of large parts of The Prelude.
The Correspondance of Honor$ea de Balzac Its Significance and Its Unreliability
Authors: Cornwell Irene
Published: February 2007

There are four volumes of Balzac's letters: two volumes of miscellaneous letters known as the Correspondance and two very substantial octave volumes containing the master's messages to Madame Hanska during the seventeen years they were engaged. The latter collection has been poetically entitled Lettres à l'Etrangère. All four volumes have always been considered a rich store of biographical information. The Correspondance has been twice edited: in the two-volume edition published by Calmann-Lévy in 1877, and in an octave volume which forms part of what is known as the édition définitive of the Œuvres Complètes (Calmann-Lévy, 1876). The Lettres à l'Etrangère were published by Calmann-Lévy in 1906. None of these volumes contains information as to its editors or their method of procedure.
Bunyan and Spenser
Authors: Golder Harold
Published: February 2007

That John Bunyan had read at least the first book of Spenser's Faerie Queene, and had transformed certain adventures of the Red Cross Knight into the adventures of his own hero in Pilgrim's Progress, is a statement which has been frequently made. And, indeed, the idea has much reason on its side. The parallel between a series of incidents in Spenser's first book and a series in Pilgrim's Progress is fully as close as many another which has been held sufficient to establish a literary relationship. To Spenser's House of Holinesse, with its porter, its four grave damsels, its sober entertainment of the knight, corresponds Bunyan's House Beautiful. To the closing episode of the Red Cross Knight's sojourn at the House of Holinesse, his sight of the pilgrim's road and of Hierusalem from the near-by Mount of Contemplation, corresponds the view which Christian, from the top of the House Beautiful, has of the Delectable Mountains, from which, in the course of the story, he is to see the Celestial City itself. To the immediately succeeding conflict with the dragon, to the monster's fiery breath and horrid shrieks, to the hero's distress and eventual triumph, and particularly to the miraculous restoration of the wounded knight through the agency of the Tree of Life, corresponds Christian's battle with Apollyon, fought in the Valley of Humiliation, just after he has parted from the damsels of the House Beautiful. When to the parallel between these series of incidents in The Faerie Queene and in Pilgrim's Progress is added a certain similarity between the allegorical significances of these incidents, as well as a much more doubtful likeness between Spenser's Despair and the Giant Despair of Bunyan, some sort of relationship between the earlier and the later author appears evident enough.
The Authorship of The History of John Bull
Authors: Mayo Thomas F.
Published: February 2007

In his study of The History of John Bull, Dr. Teerink by clearing up the curious dating of the Examiners—he shows that each number appeared on the second Thursday mentioned—has thereby fixed the dates of publication of the five parts of The History (March 6, March 18, April 17, May 9, July 31). He has also determined at least approximately the dates at which the several pamphlets were written, and has thrown light upon the matter in the pamphlets by references to historical events.
The Parlement of Foules: A New Proposal
Authors: Braddy Haldeen
Published: February 2007

The purpose of this paper is to present certain facts relating to the historical and political conditions during a definite period of Chaucer's life, to demonstrate his intimate connection with events during this time, and to endeavor on the basis of these to fix the occasion of the contemporary allusions in the allegory of the Parlement of Foules.
Shaftesbury and the Doctrine of Moral Sense in the Eighteenth Century
Authors: Alderman William E.
Published: February 2007

The term “moral sense” is generally credited to Shaftesbury; in any case he is the one who gave it currency. At the time he introduced it the reigning authorities in ethical theory were, on the one hand, Hobbes, who declared: “Justice is the keeping of valid convenants; injustice the non-performance of them;” and, on the other, Locke and the orthodox party, generally, who held that “the true ground of morality can only be the Will and Law of God.”
Shenstone and the Countess of Hertford
Authors: Hughes Helen Sard
Published: February 2007

The characteristic virtues of his noble patroness, James Thomson sang in the opening lines of his Spring,

O Hartford, fitted or to shine in courts

With unaffected grace, or walk the plains

With innocence and meditation joined.

Other poets of country life besides the author of the Seasons enjoyed the patronage of the benevolent Countess of Hertford with her taste for rural landscapes, rural solitudes, and rural verses. Stephen Duck, the “Thresher Poet,” doubtless owed much of his court-favor to the good offices of the Countess, a lady-in-waiting to Queen Caroline. Her country residence he describes familiarly in his poem, A Description of a Journey to Marlborough, etc.; and an unpublished poem by him (preserved among the Alnwick manuscripts) specifically recognizes her aid and beseeches its continuance. John Dyer she may also have known; his Grongar Hill in an early version she transcribed in her commonplace-book. He was one of Aaron Hill's circle, which included Thomson and also Richard Savage, who, according to Dr. Johnson, owed his life to her intercession with the Queen. These young poets were the protegés of Lady Hertford's youth;1 another poet of country life, however, claimed her interest some twenty years after Thomson's fruitful visits to Marlborough and St. Leonard's Hill.
Moses Mendelssohn's Relation to English Poetry
Authors: ten Hoor George J.
Published: February 2007

No student of Moses Mendelssohn can read far into his works without being struck by the frequency and variety of his references to the English. Aside from constant references to Shakespeare, Shaftesbury, Locke, Burke, and the outstanding poets of his own time, the student finds such diverse matters as Amory's Life of John Buncle, Harris's Hermes, Edward Clarke's Letters concerning the State of Spain, Mandeville's Fable of the Bees, the tragedies of Moore, the criticism of Roscommon, the Monthly Review, quotations from English plays, translations from English poems, and imitations of the Spectator articles dealing with the Fear of May. These references begin at the earliest period of Mendelssohn's literary career and continue to the end of his life; they show that he was a lifelong student of every important phase of English literature.
The Caledonian Muse
Authors: Bronson Bertrand H.
Published: February 2007

Among the collected letters of Ritson, the first mention to be found of the volume the fortunes of which we shall follow is under date of March 5, 1794, where Ritson writes to Paton of Edinburgh:

The impression of another little volume, of which I believe I showed you a fragment, entitled The Caledonian Muse, which had engaged my attention for a great many years, and was at last got nearly ready for publication, has been lately destroyed by a fire in the printers house; so that I neither possess, nor can procure, one single complete copy. Sic transit gloria mundi!
William Ernest Henley's Principles of Criticism
Authors: Schappes Morris U.
Published: February 2007

By no means the least factors in the unity and critical effectiveness of The National Observer and The New Review, the magazines edited by W. E. Henley, were the conscious and definite canons by which they were guided. Although he never formulated an æsthetic system, Henley nevertheless worked and judged in accordance with several clearly perceived principles, the exposition of which is our immediate task.
Muriel: The Earliest English Poetess
Authors: Tatlock J. S. P.
Published: February 2007

None of her writings now exists; if any existed, it would be in Latin, and perhaps little better than the earliest poem in English, that of the earliest English poet.

In 1113 nine canons of Laon in northeast France traveled through southern England, raising money to restore their church through miracles wrought by their relics of Mary, and casually giving us the earliest information as to the vogue of the Arthur-tradition after the Norman conquest. At the great nunnery of Wilton in Wilts they were shown the grave of the Venerable Bede (containing a relic perhaps, hardly the body); “prope quern sepulta est inclyta versificatrix, quae proprio nomine vocata est Murier.” Defuncta adhuc loquitur. A feverish patient who had been hoping for a cure from Bede was warned in a dream by “Murier ilia versificatrix” to betake himself to the mother of the Lord, who was descending among them. From all this we can draw several inferences. She enjoyed for whatever reason high fame at Wilton; not only the canon's manner of speaking, but her grave near Bede's, seemingly with her name on it, shows this. They believed also that her repute as a poetess was great and wide. The surprising word versificatrix, probably on her tomb, may show unwillingness for some reason or other to call her poeta or votes; probably also that she excelled especially in the technique of verse, as her correspondents did. Her strange name was unfamiliar to the canons, but is little corrupted if at all: by proprio nomine they tell us that Murier is her proper name and not a distortion of mulier.
Sir Thomas Malory—Historian?
Authors: Aurner Nellie Slayton
Published: February 2007

“A little less than certain,” is the summing up by Eugène Vinaver of the evidence in regard to the identity of Sir Thomas Malory. The new material recently brought to light by Mr. Edward Hicks has practically established the theory presented by Professor Kittredge in the nineties. Of course, since other contemporaries of the same name have been pointed out, it is still possible that an extraordinary group of coincidences may have led to an erroneous conclusion, but the probabilities of this seem slight. One argument supporting this identification has not as yet been fully presented. This is the fact that the Morte Darthur gives an unmistakable reflection of the impressions which would have stamped themselves on the consciousness of a man living through the events which this Malory of Warwickshire must have experienced. As one of the retinue of Richard Beauchamp, Earl of Warwick, he would have had his youthful enthusiasm enlisted in the efforts of Henry IV to establish his royal title and quell rebellions against it; he would have had a share in the continental victories of Henry V and have gained a vivid impression of the terrible conditions in France resulting from the savage feuds of the Burgundians and Armagnacs; he would have witnessed the crowning of Henry VI in Paris and probably have been on duty in Rouen at the burning of Jeanne d'Arc.
The Classical Scholarship of Francis Meres
Authors: Allen Don Cameron
Published: February 2007

For a number of years Francis Meres, the glorifier of Shakespeare, has been puffed as a classical scholar. The translated quotations from innumerable classical authors in his Palladis Tamia as well as his references to many recondite poets of antiquity in the celebrated section on poetry have misled many scholars. One of the chief sinners in this respect is the late Sir Sidney Lee, who on at least two occasions called attention to Meres's powers as a classical scholar. Even the able American scholar, Professor C. F. Tucker Brooke, has on one occasion lumped Meres and Gosson together as puritans and classicists. Others who have attributed various epithets to Meres as “careful,” “learned,” “scholar,” “classical critic,” “Professor at Oxford,” and “Professor at Cambridge” are myriad; and one can locate these phrases through the index rerum of many works on Elizabethan literature. There are, indeed, some scholars who have had reasonable doubts; but as yet there has been no definite effort to investigate the matter for the truth. In the course of this paper, I shall point out the sources of Mere's classical allusions, and I trust that the shallowness of his knowledge in this respect will stand as a caveat regarding his evidence in general.
Joseph Fawcett and Wordsworth's Solitary
Authors: Adams M. Ray
Published: February 2007

Joseph Fawcett was one of the English revolutionary radicals who provided the intellectual milieu in which the youthful Wordsworth and Coleridge moved and wrote. His name has fallen for several reasons into an undeserved obscurity. He had no biographer among his contemporaries who might have collected pertinent material while it was most readily available. But, at any rate, his ideas could have won only a very small audience in the years immediately following his death in 1804, even before which his reputation was mercilessly dealt with like that of other radicals. Besides, his personal eccentricities threw into shadow the more solid portions of his fame. In spite of the fact that he was the intellectual godfather of two of the leading thinkers of his age, William Godwin and William Hazlitt, the bulk of the literary memorials which they have left of him is slight. We have, therefore, an exasperatingly small body of facts about Fawcett's life, but enough is known about his opinions to give us a fairly distinct portrait of his mind.
Shelley and Bacon
Authors: Clark David Lee
Published: February 2007

There is abundant evidence for the assertion that Shelley at one time thought of devoting all his talents to the study of metaphysics. On August 1, 1811, in a letter to Stockdale, Shelley writes:

My studies have been, since my writing it [St. Irvyne], of a more serious nature. I am at present engaged in completing a series of moral and metaphysical essays.
Vanity Fair and Lady Morgan
Authors: Stevenson A. Lionel
Published: February 2007

Tracing originals for the characters of fiction is unquestionably one of the most dangerous of scholarly undertakings, and should not be attempted without copious insistences that no good novelist is likely to have derived a prominent character entirely from one individual. On the other hand, if a particular character stands out in a novelist's work as exceptionally vivid and human—indeed, as exceeding in plausibility any previous fictitious character of the same general type; and if the novelist is known to have used living prototypes for some of the other characters in the same book; and finally, if it is demonstrable that the novelist was well acquainted with the traits of the person who is suggested as his original, then the imputation deserves some attention. On these premises, I venture to propose a living model for Thackeray's most famous character, Becky Sharp.
The Science of Language and the Language of Science
Authors: Velten H. V.
Published: February 2007

All through the physical world runs an unknown content, which must really be the stuff of our consciousness … We have found a strange footprint on the shores of the unknown. We have devised profound theories, one after another, to account for its origin. At last we have succeeded in reconstructing the creature that made the footprint. And lo! it is our own.—Eddington, Space, Time, and Gravitation.

The most significant aspect of the intellectual attitude of the twentieth century appears to be the fulfillment of Nietzsche's prophecy that the last achievement of the Occidental intellect will be to question all its achievements and, in the end, to doubt its own existence. Philosophers and logicians, as well as physicists, seem to have arrived at a state of extreme resignation, while those psychologists who can be called scientists have at least their moments of scepticism. It is hardly necessary to refer to Spenglerian pessimism, to what H. Leisegang writes about the crisis and catastrophe of logic, or to Einstein's views, as expressed, for example, in his speech given in honor of Planck in 1918, in which he pointed out the current tendency to seek a simplified synoptic view of the world—a picture comfortable to human nature—and to overcome the world by replacing it with this picture. How little psychology has as yet revealed, or can ever hope to reveal, can be gleaned from C. K. Ogden's enlightening account in The Meaning of Psychology.
The Syntax of the, and oe þon Mā þe
Authors: Small George William
Published: February 2007

The remarkable construction referred to in the title, þon mā þe, þon lēofre þe, etc., was first studied by the present writer in a previous article (MLN XLI, 300-313). There, by bringing together some twenty occurrences from different OE writings, prose and poetry both early and late, it was shown that the construction was something more than the sporadic expression it had previously been thought to be. Its wide-spread use in OE and the fact that different adjectives and adverbs occurred in the construction (e.g. nēar, lēofre, betran, swīður, ēð, etc.) showed that it was not confined to one time or one place or one writer. So far as the evidence in that article went the construction was used as a subordinate conjunction equivalent to than in the comparison of inequality, following only negative main clauses.
The Passive Reflexive as Applied to Persons in the Primera Crónica General
Authors: Brown Charles Barrett
Published: February 2007

The treatment accorded by grammarians to the passive reflexive construction as applied to personal subjects in Old Spanish is either incomplete or inexplicit. Diez, for example, gives no indication as to the extent of its use in either early or modern Spanish. Cuervo asserts that the passive reflexive is “arraigado” in the language of the early period, but cites examples with only inanimate subjects. We infer from his remarks that with a personal subject this construction came into general use in the sixteenth and seventeenth centuries. According to Meyer-Lübke, its use with personal subjects was extensive only during these centuries. Hanssen is of the opinion that the passive reflexive was of little use in the early period and that with a personal subject its use was limited to the single verb uencerse. The present study will indicate the status of this construction in Old Spanish: the extent of its use as applied to persons insofar as may be demonstrated by an examination of a representative text of that period. As such a text the Primera crónica general has been chosen, because, with its plurality of authorship and great length, it represents an admirable cross-section of Old Spanish prose.
The “To Comyng(e)” Construction in Wyclif
Authors: Irvine Annie S.
Published: February 2007

One of the most noticeable characteristics of style in Wyclif's translation of the New Testament is his occasional use of a verbal form in -yng(e) preceded by to, as a rendering of a Latin future participle, as in Luke 9.44: for it is to comynge, that mannis sone be bitrayed in to the hondis of men = Filius enim hominis futurum est ut tradatur in manus hominum; Luke 13.9: And if it schal make fruyt, ellis in tyme to comynge thou schalt kitte it doun = et si quidem fecerit fructum: sin autem, in futurum succides eam. This construction is not found in Wyclif's original English works. It does occur, however, in other writings in Middle English; and since scholars have, thus far, been unable to agree as to its origin and classification, I have undertaken a detailed study of Wyclif's use of the idiom, with the hope that some further light may be thrown on its nature and origin. Before discussing Wyclif's use of the construction, however, it seems advisable to consider somewhat in detail the history of opinion on the problem.
Nicholas Grimald's Heroic Couplet and the Latin Elegiac Distich
Authors: Shannon George Pope
Published: February 2007

Although Nicholas Grimald has been mentioned as a forerunner of English classicism, his use of the closed and balanced decasyllabic couplet has not been emphasized sufficiently to challenge the position commonly assigned to Beaumont, Sandys, Waller, or Jonson. I shall attempt to point out his neoclassic qualities, and to account for them in terms of his sources. In so doing I hope to throw light upon the early history of the heroic couplet, Grimald's position as a pioneer, and the relation of the Latin elegiac distich to English classical verse.
George Wither in Prison
Authors: French J. Milton
Published: February 2007

George Wither was first imprisoned in 1614 for his Abuses Stript and Whipt. But he had barely escaped a similar fate a few years before as a result of an earlier edition of the same work. While in prison in 1614, he expressed his gratitude to the Princess Elizabeth for her intervention in his behalf on that earlier occasion:

For once I stood accus'd for this before,As I remember I so long agon,Snng [sic] Thame, and Rhynes Epithalamion.When SHE that from thy Royal selfe deriues,Those gracious vertues that best Title giues.........................................Daign'd in her great-good nature to enclineHer gentle eare to such a cause as mine;And which is more, vouchsaf't her word to cleareMe from all dangers (if there any were).
Did Thomson Write the Poem to the Memory of Mr. Congreve?
Authors: Williams George G.
Published: February 2007

In 1843 Peter Cunningham included in a collection of verse printed for the Percy Society an anonymous poem in blank verse, To the Memory of Mr. Congreve, whose authorship Cunningham, at the suggestion of H. J. Cary, ascribed to James Thomson. This ascription was made on the following grounds: that the style of the poem was Thomson's; that the poem was originally printed in 1729 by J. Millan, who was the publisher of Thomson's Winter, Summer, To the Memory of Sir Isaac Newton, and Brittania; and that “these poems by Thomson are advertised among Millan's books, and at the head of his list at the end of this very publication.”
Coleridge's Scheme of Pantisocracy and American Travel Accounts
Authors: Eugenia
Published: February 2007

Pantisocracy, although usually dismissed with a casual paragraph in any discussion of Coleridge, presents a chapter in the poet's development which deserves to be more fully investigated. I shall endeavor in the present paper to trace the influences that awakened Coleridge's interest in Pantisocracy, and to follow the course of this interest down to its termination. In dealing with this subject, it is necessary to consider two questions: first, what travel literature was extant at the period under discussion (1790–1801); and second, what probability there is that Coleridge had access to these sources.
Shelley's Alastor
Authors: Havens Raymond D.
Published: February 2007

The preface to Alastor, though at times obscure, ill-expressed, and digressive, is so much briefer and clearer than the poem itself that its interpretation of the work has, not unnaturally, been accepted without too close a scrutiny of the verse it explains. According to the preface, Alastor is an allegory: it represents a youth who is happy in study and in the contemplation of nature until suddenly, thirsting for “intercourse with an intelligence similar to” his own, “he images to himself the Being whom he loves,”—one who unites all that the poet, the philosopher, or the lover can require. “He seeks in vain for a prototype of his conception. Blasted by his disappointment, he descends to an untimely grave.” The remainder of the preface is given over chiefly to denouncing “those meaner spirits” who, no less than “the luminaries of the world,” “attempt to exist without human sympathy” but with whom the poem does not deal. The sounding, irrelevant moralizing of this paragraph tends to conceal two important observations: “The Poet's self-centered seclusion was avenged by the furies of an irresistible passion pursuing him to speedy ruin,” and the Power of human sympathy struck him “with sudden darkness and extinction by awakening ... [him] to too exquisite a perception of its influences.”
Irving's German Tour and its Influence on His Tales
Authors: Pochmann Henry A.
Published: February 2007

During the year 1818, while Washington Irving was at work on the sketches and stories of The Sketch Book, he wrote to his friend Brevoort: “I have been for some time past engaged in the study of the German language, and have got so far as to be able to read and splutter a little. It is a severe task, and has required hard study; but the rich mine of German literature holds forth abundant reward.” The first of the “abundant rewards” which he won from the “rich mine of German literature” are to be seen in his use of German materials for the four so-called short stories in The Sketch Book (1819–1820). At the end of his Dresden diary, which came to a close on July 11, 1823, he wrote, perhaps with himself in mind:

Solitary miners of literature in Germany—men working hours and hours each day in dull little towns.
Longfellow's “Lapland Song”
Authors: Hatfield James Taft
Published: February 2007

It is known that the “Lapland song,” quoted at the end of each stanza in Longfellow's poem, My Lost Youth, was first taken down from a native Laplander, Olaus Matthiae Sirma, and printed in the original, together with a Latin prose version, by Professor Johannes Scheffer of Upsala in his exhaustive Latin work Lapponia (Frankfort 1673). The enormous currency of this book, as well as its various translations, and the wide literary interest aroused in different countries by the two primitive Lapland songs which it contained, have been discussed by F. E. Farley and H. Wright. The English translation of Scheffer's work (Oxford, 1674) was so successful as to lead to a second edition in London in 1704. The latter edition was timely for nourishing the flame of enthusiasm for folk-poetry first kindled by Addison's epoch-making essay from the text, Interdum vulgus rectum videt, published in the Spectator of May 21, 1711. On April 30, 1712, there appeared in the Spectator a new rhymed translation of the song under consideration, by an anonymous author, who professed to derive his version from the “original history,” though it is luminously evident that he looked no deeper than into the metrical version given in the English “History of Lapland.” The song printed in the Spectator was widely popular in England during the entire eighteenth century, and led to a number of other English versions, not one of which, however, contained the lines quoted by Longfellow, or went back to the Latin source.
Calderon's Life is a Dream
Authors: Buchanan Milton A.
Published: February 2007

Since our last meeting, Professor Marden, president of the Modern Language Association and one of its most loyal and active members, has passed away. At the time of his death, Mr. Marden was preëminent among American hispanists, one of the noble band of philologists whose scholarly work had won recognition at home and abroad. For Mr. Marden philology was primarily a means to an end, the establishment of critical texts of medieval authors. He had made himself master of antiquarian literature, linguistic science, and the apparatus which the modern investigator is called upon to possess. The acribia of a true scholar he had in a marked degree. Because of the keenness of insight that characterized all that he accomplished, his intellectual integrity and fine judgment in weighing textual relations, his publications will have permanent value. As a teacher he impressed on his generation a love for learning, and as a man, very human and very humble, he will long be remembered for his gentle ways and unselfishness. In the September number of the Publications of our Association, there appeared an extended tribute to his memory, but it is proper that on the present occasion we should place on record our appreciation of his character and service, and express our deep sense of loss.
The Text of Peele's David and Bethsabe
Authors: Sampley Arthur M.
Published: February 2007

The text of David and Bethsabe, as editors of Peele have long been aware, presents a series of perplexing problems: several passages in the play are directly contradictory, the movements and speeches of certain characters in Scene ix are quite unexplainable by any rules of drama or logic, one of the choruses holds out a promise, which is not fulfilled, of presenting David's death, and within the text occurs a misplaced fragment of a lost scene. Dyce, Manly, and Greg have commented on these discrepancies in the play, and the students of Peele have recognized the cruces involved. Yet in spite of the suggestions of P. A. Daniel and Professor Manly and the detailed studies of Dr. Dannenberg and Dr. Neitzel, no satisfactory solution of the difficulties in the quarto text has been found.
Shakespeare and the Fine Arts
Authors: Thorp Margaret Farrand
Published: February 2007

It is, or at least it ought to be, illuminating to discover the attitude of a worker in any of the arts toward the other media of artistic expression. It seems curious therefore that, although it has been thought worth while to investigate Shakespeare's acquaintance with the law, his interest in medicine and in flower gardening, no one has been much concerned about his knowledge of pictures. Upon Shakespeare and music some one writes an article almost once a month but upon Shakespeare and the fine arts we have little beside the brief chapters in Shakespeare's England, a page or two in Prof. J. M. Manly's article on “Shapespeare Himself,” and Mr. Sidney Colvin's discussion of “The Sack of Troy in Shakespeare's Lucrece and in Some Fifteenth Century Drawings and Tapestries.”
Shakespeare's Richard II, Hayward's History of Henry IV, and the Essex Conspiracy
Authors: Albright Evelyn May
Published: February 2007

Mr. Ray Heffner's article, “Shakespeare, Hayward, and Essex,” is confused and at times self-contradictory; but the main points which he attempts to maintain against my paper, “Shakespeare's Richard II and the Essex Conspiracy,” seem to be these:

1. That the play, founded on Hayward's history of Henry IV, which Essex is said, in Item 5 of the “Analytical abstract of the evidence in support of the charge of treason against the Earl of Essex,” to have witnessed, could not have been the play on the deposition of Richard II which the Essex conspirators are known to have attended in a group on February 7, 1601, the day before the rebellion; and that the performances referred to in this Abstract were not of a play by Shakespeare, nor acted by his company, but of an unknown play, performed perhaps by Essex's own actors at his house on some unknown occasion, which Mr. Heffner dates first as necessarily “after February, 1599,” later, as “in February, 1599,” and, in conclusion, as “in January, 1599.”
“Honest Iago”
Authors: Draper John W.
Published: February 2007

Othello is a domestic tragedy of the English Renaissance—Renaissance in its source as well as in the dramatist's conception, and therefore a reflection of Renaissance concepts of marriage, infidelity, and personal honor; and, from this background, the present paper proposes to interpret the character of Iago. Since Rymer's day, Iago has been cursorily dismissed as a villain of the deepest dye: so thought Johnson, Lord Kames, and Twining in the eighteenth century; so thought Coleridge, Mrs. Jamieson, Clarke, Campbell, Dowden, Swinburne, Hudson, and George Bernard Shaw in the nineteenth; so, Herford, Canning, Bradley, Stoll, and Miss Winstanley in the twentieth. In general agreement are Schlegel, Ulrici, Bodenstedt, von Friesen, Bulthaupt, Brandi, and Schücking in Germany; and Guizot, de Vigny, Hugo, and Taine in France. One difficulty, however, with such an attitude is that it proves too much; and many of its proponents, Swinburne, Hudson, Herford, and Schücking, for example, find that it takes Iago quite out of human reality. As Herford remarks, Shakespeare has deepened and given verisimilitude to most of the figures in Cinthio's novel; but, in Iago, he “deliberately set aside what was normal and plausible in his prototype.” Is Iago, then, the great exception to Shakespeare's supreme dramatic reality? The critics, moreover, who impute to the dramatist so extra-human a creation must either explain how an Elizabethan audience could have understood it, or else put Iago, as would Professor Stoll, into the class of mere dramatic conventions, pious frauds of stagecraft easily recognized and understood by the audience, but without counterpart in contemporary life. The present study escapes both horns of this dilemma by denying the initial premise and contending that the character of Iago and all his major acts are woven of the very warp and woof of Elizabethan conditions and ideals.
The Relation of Epicœne to Aretino's Il Marescalco
Authors: Campbell Oscar James
Published: February 2007

Literary historians are practically agreed as to the origin of the two elements which comprise the main plot of Ben Jonson's Epicorne. The story of a man induced by false pretences to marry an almost insanely loquacious woman is a version of a declamation by the Greek Sophist Libanius on the surly man who has married a talkative wife. In regard to this relationship there can be no question. The second, and more important, element of the main plot is the practical joke played upon an eccentric which results in his ostensible marriage to a boy disguised as a girl. The source of this story, the most authoritative German critics and Dr. Henry agree, is to be found in Plautus's Casina, in which a somewhat similar trick is played upon Lysidamus. To this opinion Herford and Simpson, the editors of the definitive edition of Jonson's works, add their endorsement:
The Authorship of the Revenger's Tragedy
Authors: Dunkel Wilbur D.
Published: February 2007

The Revenger's Tragedy was long regarded as the work of Cyril Tourneur, but in recent years scholars have vigorously denied his authorship. Though this discussion has demonstrated the weakness of the case for Tourneur, it has not thus far resulted in establishing general agreement as to the true author of the play.
The Authorship of The Pearl
Authors: Chapman Coolidge Otis
Published: February 2007

Attempts to name the author of Pearl, Sir Gawain and the Green Knight, and the two homiletic poems found in MS. Cotton Nero A x. have so far failed. Neither the Scottish Huchown of the Awle Ryale, nor the Londoner Ralph Strode, can well be accepted on the strength of any evidence yet available. But though the name of the poet has escaped detection, much has been learned about him. The thoughtful reader of his works will recognize a man intimate with the Bible and with the writings of the Church Fathers, and one concerned with the theological problems that occupied men's minds in the late fourteenth century. To a strong religious and moral bent there is added a love of romance and the pomp and brilliance of the life in a noble household. The poet's skill in argument and his familiarity with the life and manners of the nobility have led Professor Osgood to the belief that he was a clerk who had studied at Oxford or Paris. Professor Gollancz draws a charming picture of the young man listening to the romantic tales of the minstrels in a great hall, and himself eager to emulate them. The man we seek, then, is an unusual combination of theologian and minstrel, a student of sacred and profane literature, and a close observer of the religious and secular life of the time. Such a man I propose to name as the probable author of the poems before us.
Piers Plowman and The Roman de Fauvel
Authors: Cornelius Roberta D.
Published: February 2007

That French literature exerted some influence upon the author of Piers Plowman has been recognized since the time of Thomas Warton, who, in his History of English Poetry, pointed out the similarity between Langland's vision of Antichrist and Huon de Méri's Tournoiement de l'Antéchrist. This influence had not been examined with any particularity, however, until Miss Dorothy Owen, of the University of London, made an illuminating study of Piers Plowman in comparison with some earlier and some contemporary French allegories. The French pieces used for this comparison are Le Roman de Carité by the Reclus de Moilliens; Le Songe d'Enfer by Raoul de Houdenc; Le Roman de la Rose; Huon de Méri's Tournoiement de l'Antéchrist; Rutebeuf's Voie de Paradis; Guillaume de Deguileville's Pèlerinage de la Vie Humaine; Le Salut d'Enfer, and De Dame Guile. Miss Owen has shown certain correspondences between the English poem and the French allegories studied, but in no case, I believe, has she been able to establish a definite connection. Students of Piers Plowman know, however, that it is very difficult to trace any of Langland's allegories to certain sources. It is doubtful whether the source of any passage of considerable length in Piers Plowman has ever been convincingly identified.
Who is Piers Plowman?
Authors: Troyer Howard William
Published: February 2007

Perhaps no character in English Literature commissioned by his author to be the title bearer of his work has fulfilled his commission more effectively than Piers the Plowman. Even to the layman, ungiven to “Lettrure and longe studie,” there is pleasant connotation in the name, while to the scholar, moving in the uncertainties of authorship and text, the title of Piers the Plowman and the central importance of his figure in the poem stand as one thing sure. Still one may ask questions. Just why should this poem of political and religious satire have been called the vision or book concerning Piers the Plowman? From the angle of his presence in the action of the poem, he is but a minor character. Conscience, Kynde Witte, and Longe Wille, any of them are more consistently recurrent. Just who is Piers anyway? And what is his significance in the poem?
Echoes of The Anathema in Chaucer
Authors: Work James A.
Published: February 2007

Having sketched, in the opening lines of the Hous of Fame, the medieval system of dream lore, Chaucer announces that he will relate a dream more wonderful than ever came to man before. The importance of this remarkable dream is emphasized. It can be told only after an invocation of Morpheus, and the lives of the listeners will be affected by having merely heard it. May the mover of all bless the dreaming of them who “take hit wel;” may they have success in love or in whatever they most desire; may they be shielded from poverty, harm, mishap, and disease. But woe betide the scoffer! If any man “misdeme” it, through scorn, or jape, or villainy,

… preye I Iesus godThat (dreme he barfoot, dreme he shod),That every harm that any manHath had, sith [that] the world began,Befalle him thereof, or he sterve,And graunte he mote hit ful deserve,
Sir Thomas More's Connection with the Roper Family
Authors: Hogrefe Pearl
Published: February 2007

William Roper, son-in-law of Sir Thomas More, is one of those people who seem overshadowed by associates. He is usually mentioned as the son-in-law of the Lord Chancellor, or as the husband of More's brilliant daughter, Margaret. The origin of his connection with the More family is dismissed in the DNB by the statement: “His legal duties apparently brought him to the notice of Sir Thomas More, and about 1525 he married More's accomplished daughter, Margaret.” But in fact the Ropers were people of some financial and professional importance in their own right; and according to documents of the period, the Ropers and the Mores had legal and other business relations for many years before the intermarriage between the two families.
Spenser's “Mutabilitie”
Authors: Greenlaw Edwin
Published: February 2007

Several recent articles have called attention once more to the problems presented by Spenser's Mutabilitie. Two of them, by Ronald B. Levinson and Evelyn May Albright, deal with certain portions of a series of three essays which I published several years ago, and concern Spenser's use of materials drawn from various sources on the general subject of what Mr. Grierson has called metaphysical poetry. Three others, by Miss Albright, H. M. Belden, and by Miss Albright in reply to Mr. Belden, raise questions concerning the dating of the poem and its relation to Harvey's criticism of the first draft of the Faerie Queene. Since with the single exception of the problem of historical allegory, no topic in Spenser criticism is of comparable interest just now, it is important to review the present state of the inquiry and to consider what remains to be done.
The Relations of Spenser and Sidney
Authors: Harrison T. P.
Published: February 2007

Until further biographical information is disclosed the problem of the personal relations of Spenser and Sidney remains open to conjecture. Mainly two objections oppose the natural assumption that the two men were intimate in personal and literary matters: first, Spenser's vagueness, or perhaps reticence, when in a letter to Harvey, October, 1579, he speaks of being “in some use of familiarity” with Sidney; and second, his unaccountable delay in joining the chorus of grief at Sidney's death. These facts, and others less important, have been cited as indicating the absence of intimacy; while on the other hand effort has been made to explain them in such a way that the pleasing picture of friendship might not be damaged.
A Note on Gadshill, Our Setter
Authors: Bronson Bertrand H.
Published: February 2007

For a man of so questionable a reputation, Gadshill in Henry IV, Part 1, has been happy in escaping undue attention. He is, truly, one of Falstaff's “gentlemen of the shade.” His shady presence is of some interest, however, if only because he has kept good company for so long.

In the current texts of the play, Gadshill favors us with his actual person in three scenes. But his existence is amplified elsewhere in the play by the reference of other characters to him, directly and indirectly. Falstaff and Poins both mention him by name in the second scene of Act I; and the number of the robbers (excluding Hal and Poins) is six times given as four by the Prince and Falstaff, in the course of the second Act.
Was Heywood a Servant of the Earl of Southampton?
Authors: Rouse Charles A.
Published: February 2007

In the course of collecting the material for a biography of Thomas Heywood, I came upon a passage which suggests that possibly the Earl of Southampton at one time patronized a theatrical company. The passage occurs in Heywood's A Funeral Elegie, upon the Much Lamented Death of the Trespuissant and unmatchable King, King James (1625):

Henry, Southampton Earle, a souldier proued;Dreaded in warre, and in milde peace beloued.Oh giue me leaue to resoundHis memory, as most in dutie bound,Because his servant once.