bluuebunny/crossref_metadata_2025 huggingface dataset:
The Folio Version of Henry V in Relation to Shakespeare's Times
Authors: Albright Evelyn May
Published: February 2007

The relation between the first Folio and the first Quarto text of Shakespeare's Henry V has long been a subject of discussion. In 1874, Daniel, in his edition of the play for the New Shakespeare Society, argued that the Quarto is a stage abridgment of the Folio version. Some years later Brinsley Nicholson attempted to refute Daniel. His arguments have not met with much acceptance, perhaps because of an underlying assumption that a fuller and, on the whole, much better text implies revision and expansion from the shorter, poorer one,—an assumption certainly open to challenge with reference to Shakespeare texts.
“My Jewish Gaberdine”
Authors: Linthicum M. Channing
Published: February 2007

Two questions are involved in a discussion of “Jewish gaberdine”: First, what was a gaberdine? Second, what was the distinction in dress between Jew and Christian? Modern Shakesperean editors, confronted by the necessity of explaining gaberdine, quote the statements of the New English Dictionary, of previous editors, or of authors of costume books. The editors of the N.E.D. having found no reference to the word earlier than 1520, and none which gave an idea of the garment, fell back on the definitions in seventeenth-century dictionaries, which tell only half the story. Authors of costume books made compilations of quotations given in other costume books, and thus grew a definition which gained weight through sheer repetition. Most of these compilers cite the statements of Planché, but none of them quotes the sentence with which he concludes his discussion after examining the definitions of lexicographers and making deductions from literary references: “But, alas, we are no nearer to identification!” Any attempt at identification requires examination of the etymology of the word; definition and pictorial representation of the garments to which cognate terms in other languages were applied; contemporary evidence concerning materials of which gaberdines were made, and the rank of persons for whom they were made.
“More about the Bookie of Sir Thomas Moore”
Authors: Tannenbaum Samuel A.
Published: February 2007

In the introduction to his edition of The Book of Sir Thomas More (Malone Society Reprints, 1911, p. xviii) Dr. W. W.Greg makes the following statement: “He [C] revises the stage-directions throughout [the manuscript], both in the original text [written by S] and in the additions [written by A, B, D and £].” Because of this statement certain scholars, not examining the play for themselves, have looked upon the manuscript (BM. Harl. 7368) as a play-house copy or prompt-book and have regarded the presence of revised stage-directions as proof that the play—as we now have it—had actually been performed on the Elizabethan stage. That Dr. Greg's statement is incorrect and is unwarranted by the evidence, and, accordingly, affords no basis for the inferences drawn from it, is shown by the following considerations:
The Authorship of Anything for a Quiet Life
Authors: Dunkfl W. D.
Published: February 2007

In an article entitled “A Webster-Middleton Play: Anything for a Quiet Life”1 Mr. Sykes asserts “That this play is partly Middleton's there is no reason to doubt, but most of it is Webster's.”1 The purpose of the present paper is to show that Mr. Sykes has greatly overstated the case for Webster. Whether Webster or Shirley* be regarded as the collaborator or reviser, the work of Thomas Middleton is recognizable to such a considerable extent that the principal share in writing this play may hardly be ascribed to another. Surely there is an important difference between the work of the dramatist who organizes the plot and sketches the characters, and the contribution of another who by means of dialogue more closely individualizes the characters. Such seems to be the differentiation between the shares of Middleton and Webster in writing this play.
Thomas Randolph and The Drinking Academy
Authors: Day Cyrus L.
Published: February 2007

The purpose of the present paper is to demonstrate on the basis of internal evidence that the anonymous play, The Drinking Academy, or Ike Cheaters' Holiday, which was recently printed for the first time, is in all probability the work of Thomas Randolph. As has long been known, much genuine material was omitted by Randolph's literary executors in the first and subsequent editions of his collected works. At least one lost play is known to us by title, and modern scholars—Hazlitt, Parry, and more recently Professor Moore Smith—have had notable success in recovering authentic poems and fragments from Randolph's pen. Under these circumstances there is nothing essentially unreasonable in proposing, even at this late date, to claim for Randolph a play whose authorship has hitherto been wholly unknown.
Vercelli Homily VIII and the Christ
Authors: Willard Rudolph
Published: February 2007

Homily VIII of the Vercelli Codex CXVII, is a brief dramatic sermon on penance and the Last Judgment, intended for the first Sunday after Epiphany. It opens with an admonition to the faithful to remember the Lord's warning of the tribulation attending the end of this world. Let us never think our sins too grievous or too shameful for confession: for it is better to confess our sins here before one man, than to confess them at the Day of Judgment, before God and the whole host of Heaven, when all our deeds shall be revealed. The homilist briefly outlines the advent of the Judgment: the coming of the Son of Man in power and great glory, God's mercy to the righteous, the angels blowing their trumpets to the four ends of the world, the resurrection of the dead, and the raging fire. All this, however, is introductory to the central feature of the homily—the address of the Judge to the guilty souls. From His throne of Judgment, God the Son reviews His dealings with man: the Creation, the establishment of man in the joys of Paradise, the Fall, God's mercy to fallen man in His Incarnation, Passion, and Death. The Savior dramatically calls the sinner to behold the wounds in His hands and feet and side; then, charging man with indifference and ingratitude, He sentences him to dwell forever with Satan and his host in Hell. After a brief description of the torments of Hell, the homilist closes with an exhortation to be worthy of the Lord's welcome to the righteous, and of the bliss of Heaven.
Bacon's Influence on John Hall
Authors: Freeman Edmund L.
Published: February 2007

John Hall was born in 1627 at Durham, and was admitted to St. John's College, Cambridge, on February 26, 1645-46. Within a few months after his entry there, he published his first literary work, Horae Vacivae, or Essays. Some Occasional Considerations. But this work was probably the product of three years of reading that the youthful Hall had done in the Durham library before he went to Cambridge.

The fourteen essays fill a duodecimo volume of two hundred pages and average about one thousand words in length. The subjects are those usual in essays of the period. They are: Of Opinions, Of Time, Of Felicity, Of Preaching, Of Fame, Of Studies, Of Company, Of Friends, Of Dissimulation, Of Recreations, Of Warre, Of Religion, Of Rewards, Of Fables. Most of them are subjects used by Bacon.
Literary and Artistic Unity in the Lazarillo de Tormes
Authors: Tarr F. Courtney
Published: February 2007

Although unanimously considered a masterpiece, the Lazarillo de Tormes has given some scholars and critics the impression of a poorly sustained or even unfinished piece of work. Chandler says “it seems as if the earlier portion alone had been completed and the rest laid down in a scheme for further elaboration.” Bonilla states that “lo mejor del relato es, sin disputa, la parte contenida en los tres primeros tratados . . . . Lo restante vale mucho menos; a partir del tratado cuarto, la narración se precipita y el interés decae notoriamente.” Chaytor adds: “Lazarillo's story is a series of pictures, between which the only connecting thread is the personality of Lazarillo himself. . . . . . (It) impresses the reader as an unfinished work. Of the seven tratados . . . . only four are elaborated in detail.” Reynier observes that “ce petit roman manque trop évidemment de proportion. Les derniers chapitres sont très écourtés. . . . . On a l'impression que l'auteur n'a suivi que sa fantaisie et qu'il a abandonné son personnage lorsqu'il a cessé de l'amuser.” Finally, Northup writes: “The four final tratados are suspiciously short and betray the hand of the pruner.”
The Abbé Prevost and the English Novel
Authors: Foster James R.
Published: February 2007

The true nature of the so-called Gothic novel has been misunderstood, and the problem of its origin rendered unnecessarily difficult in consequence of a classification which takes only one of the many features into account. The critics who have hit upon supernaturalism as the most distinctive and significant element, have done this in spite of the fact that a part of the body of the fiction they pretend to describe is plainly controlled by a rationalism that forbids anything more than a mere toying with the appearances of the marvellous. No procedure of the authors of such novels is more usual than the lifting of the mask when the mysterious scene has gone far enough to produce its emotional effect. To insist upon the usual classification is to render oneself incapable of differentiating between the Radcliffian novel on the one hand, and Otranto, the Monk and the German Schauerroman on the other.
Rossetti's Reading and his Critical Opinions
Authors: Turner Albert Morton
Published: February 2007

The purpose of this article is to indicate the character and approximately the scope of Rossetti's reading, and to examine the opinions he expressed on the books he read. Many volumes must, of course, have passed through his hands of which he left no record, but enough allusions remain (and I omit mention of a few relating to unimportant works of the nineteenth century) to enable us to reconstruct the literary interests of Rossetti and define his tendencies as a critic.

Material for the study is drawn in part from Rossetti's works, though he wrote few formal criticisms. Comments on his reading occur also in various biographies of the poet, particularly in that by his brother, William Michael Rossetti. Finally, the greatest source of our knowledge is his own letters. A large number of these have been preserved in volumes edited under different titles by his brother, but there are many others in various memoirs, especially in Hall Caine's Recollections of Rossetti.
Personal Experience in Rossetti's House of Life
Authors: Wallerstein Ruth C.
Published: February 2007

The sonnets of Dante Gabriel Rossetti, despite the intensity of feeling and glow of style which seem to immerse the reader in their spirit, are obscure. Often we find ourselves left with a very vague conception as to the import of the sonnet as a whole. Yet the vagueness does not result, as sometimes with Swinburne, from the haziness of meaning, or from the fine diffusion of thought or feeling through the large fecundity of images and words. Rossetti's obscurity arises often from the use of special symbols bound up with his view of life; more often from the fact that although a sonnet takes its inceptions from some specific and personal experience, the poet generalizes and allegorizes it in such a way as to imply the personal experience and still give us no clew to it. The experience is vividly present to his own imagination so that the sonnet is a commentary upon it; yet the actual object is either not present or only vaguely adumbrated. Thus a study of Rossetti's life as a background for his poetry, recreating the lost implications, should and does illuminate the poetry very vividly. Such a study in this particular case, moreover, affords a revealing instance of the way in which experience transmutes itself into lyric art. I wish, then in this paper, to bring together in concise form all the material for dating and grouping the sonnets of The House of Life and to discuss how far we are justified in giving to these sonnets an autobiographical interpretation.
The Periphrastic Future with Shall and Will in Modern English
Authors: Fries Charles C.
Published: February 2007

One cannot read through the mass of discussions of the problem of shall and will published during the past century nor even those written since 1900 without being impressed by the wide diversity of the points of view and the definite conflict of the opinions and conclusions thus brought together. Even among those articles that can be grouped as expressing the conventional rules there is considerable variety and contradiction, not in the general rule for independent declarative statements (that a shall with the first person corresponds with a will with the second and third) but in the other rules concerning questions, reported discourse, and subordinate clauses. That there is a considerable body of literary usage which conflicts with the conventional rules is indicated by the many pages in these articles devoted to pointing out instances in which “the best of our authors” have violated the rules.
Two Athenian Models for Samson Agonistes
Authors: Brewer Wilmon
Published: February 2007

In composing Samson Agonistes, Milton took from the Bible only his chief characters and his catastrophe, that is Samson's being led away from the prison to entertain the Philistines and his destruction of their theatre. The events which Milton presents before and after his catastrophe do not appear in the Bible, and none of them follow necessarily from anything narrated there. Careful investigation has shown further that Milton made no important use of any other version of the story of Samson. Accordingly, the question arises how did Milton develop the plot of Samson Agonistes?
More Concerning Chapman's Homer and Keats
Authors: Landrum Grace Warren
Published: February 2007

In the first of her two volumes to the writing of which Amy Lowell gave her life that John Keats might live afresh, she threw out this suggestion: “If any one would have a grateful task, let him track Keats's indebtedness to Chapman's Homer. There is an ample field and practically unexplored.” In offering this suggestion Miss Lowell evidently was not aware that the expert eye of de Sélincourt had already noted the indebtedness which he had observed in the course of a perusal of the entire series of Chapman's Homeric translations. And I must plead guilty to the same ignorance at the time I began a systematic comparison of the two poets, embracing the whole of Keats's poetry and the entire translation of the Iliad, the Odyssey, and the Homeric Hymns. (I have not included the translations of the Georgics of Hesiod, the Book of Days, or any of Chapman's dramas.)
Carlyle as a Critic of Grillparzer
Authors: Blankenagel John C.
Published: February 2007

Thomas carlyle's essay entitled German Playwrights appeared in the Foreign Review in 1829. The three playwrights dealt with as representatives of the whole class in Germany are Grillparzer, Klingemann and Milliner. If the space devoted to each of these three could be regarded as a criterion of their relative merit Klingemann would rank slightly above Grillparzer, and Milliner would have to be considered almost doubly as important as either of the other two. In a footnote Carlyle lists the following plays of Grillparzer which had appeared prior to 1829: Die Ahnfrau, König Ottokars Glück und Ende and Sappho. He disposes of Die Ahnfrau in summary fashion in about two pages, devotes about three to Kônig Ottokar, and dismisses Sappho with a few sentences. Of Das Goldene Vliess, which had appeared in 1821, Carlyle merely says (p. 97): “His Goldene Vliess we suspect to be of similar character, [like Sappho] but have not yet found time and patience to study it.”
The Criteria for Dating the Eddic Poems
Authors: Andrews A. Le Roy
Published: February 2007

In discussing the date of the Eddie poems one must carefully distinguish three factors: the date of their written compilation or recording, the date of their actual composition by the poet, and the age of the mythological, legendary and other material which they contain. In speaking of the age of the Eddie poems it is clear that we are referring to the second factor, the creative act of the poet, which, so far as we know, did not contemplate immediate written record either by himself or a scribe. It is by no means superfluous, however, to emphasize the distinction of the first two factors mentioned, as, in the case of the sagas, they have not yet been entirely disentangled. A consideration of the first and third factors is furthermore not without value, as it must be clear that the poems are not younger than the time of their written record and not older than their original content. The recording may be much later, the content much older, than the date of composition. These, however, if they can be established, furnish the most definite termini ad quern and a quo respectively. If the recording was actually centuries later than the time of composition we shall expect to find corruptions of various sorts, such as interpolations and transposition of stanzas and verses, with which we are abundantly familiar in the case of the popular ballads. This allows great leeway for textual criticism, in which, as experience has shown, critics are prone to disagree. Similarly, if the original content is centuries older than the time of composition of the poems, it is reasonable to suppose that the content will have been profoundly affected in its passage through the centuries. If we take as an example the Nibelungenlied, whose date of composition is approximately known, its original content of the time of the Germanic migrations has been in places so affected by the later medieval institutions and ideals of life, which have thereby become an important part of the content, that the terminus a quo would by this very fact be pushed far beyond the time of the migrations. Analogies of this sort may be of value in an effort to date the Eddie poems, but the question is here somewhat confused by the question of possible interpolations.
Beaumanoir and Fifteenth-Century Political Ethics
Authors: Temple Maud Elizabeth
Published: February 2007

“La pitié est souvent un sentiment de nos propres maux dans les yeux d'autrui.”—La Rochefaucauld, Maximes.

“Le meilleur serait de prendre conseil de la raison.”

Pascal, Lettres Prov. 9.

Philippe de Rémi, Sieur de Beaumanoir, of Clermont County in Picardy, author of narrative and lyrical Poems, and of the Coutumes de Beauvaisis, though scarcely among the inédit, is still little known to general literary history. He is, as his first modern editor, the Count Beugnot, quoted from Nicolle, of those “qui laissent des traces et cavent ce qu'ils manient.” As Beugnot adds, “le sillon qu'il a creusé dans la jurisprudence française, pour ne pas être visible à tous les yeux, n'en a pas eu moins de profondeur.”
Heywood's Pericles, Revised by Shakespeare
Authors: Gray Henry David
Published: February 2007

The fact that Pericles was Dot included in the First Folio has thrown discredit upon Heminge and Condell; for even if, as has been conjectured, difficulties of copyright prevented their publishing this very popular play, it is felt that they should not have claimed that they presented in their volume all of Shakespeare's dramas. Since the play could scarcely be ignored, as some of the earlier dramas of divided authorship might have been, the most natural conjecture seems to be that Pericles was generally regarded as substantially another man's play. I believe that in 1623 not only those friends and fellows of Shakespeare who had access to his papers (and who made no other mistake so far as we can determine), but many of those who were urged to buy, would think of the play as “Heywood's Pericles,” in a way that they would not think of “Fletcher's Henry VIII”—nor of any play in the Folio as being essentially the work of an important living dramatist. Most critics believe that Shakespeare was only the reviser of the piece, and assign to him Acts III-V without the choruses and brothel scenes. This leaves only 754 lines, including some we do not really prize and which may not be his. If these scenes were a mere revamping of scenes already in existence, we need not bother about the omission of Pericles from the Folio; if Shakespeare was the original composer of those scenes, and wrote the brothel scenes also, we are put to shifts to explain it. Of course no such consideration would prevent the play's being printed in quarto as Shakespeare's, for we know that in the case of other dramas no warrant at all was needed.
The Shaksperian Element In Milton
Authors: Thaler Alwin
Published: February 2007

Scholarship has always delighted to render unto Shakspere and Milton individually the tribute which is their natural due. Strangely enough, however, it has neglected the relationships between them. Specifically, no one hitherto, I believe, has undertaken a systematic investigation of the range and quantity of Shaksperian recollection in Milton, much less of the quality thereof. The present paper attempts such an investigation.
A Hitherto Unprinted Version of the Passio Sanctæ Margaritæ With Some Observations on Vernacular Derivatives
Authors: Francis Elizabeth A.
Published: February 2007

Professor Gerould's interesting paper on the Passio S. Margaritæ suggested to me that it might be of advantage to render accessible another Latin version of the same Passio which has existed up till the present time in manuscript form only. This version came under my notice in the course of an examination of the Latin sources of the Legend of St. Margaret, made in connection with a study of the interdependence of the Anglo-Norman versions. It is clearly the source of two XIIIth century French poems, and appears also to have been drawn upon by compilers who took the bulk of their material from other versions. It was used by the Norman chronicler Wace, by the anonymous author of a third XIIIth century French poem (Brit. Mus. MS. Addit. 38664), by the author of the “Scotch version” and by the author of the prose account in Mirk's Festial.
Cicero on Parnassus
Authors: Baldwin Charles Sears
Published: February 2007

Let me tell an old British tale in my own plain way; for I am unversed in ornaments of style. This is all that the Franklin's prologue means on its surface. The connotation beneath is inviting. Are “aventures,” “layes,” “rymeyed,” “instruments” intended precisely? How much grasp they suggest of early medieval poetic is perhaps beyond our determination. But the term “colours of rethoryk” occurs also in the Hous of Fame. The interlude before the Clerk's Tale has a sarcasm of the Host against these same “colours” in the same connection. The Squire's disclaimer has the same significant terms as the Franklin's, and the same point as the Clerk's reply to the Host. The satire in the Tale of the Nun's Priest on Geoffrey of Vinsauf confirms the suspicion that in all these passages Chaucer implies specific criticism of a certain later medieval poetic, the poetic current in the Latin manuals entitled poetria. For the language of the Franklin's prologue, in spite of his disclaimer, is literary. Chaucer knew as well as Shakspere that he who announces “a plain, unvarnished tale” may command a better art than the rhetoric that he disclaims. It is worth while to explore, therefore, the mention of rhetoric in connection with story-telling, the conjunction of Cicero and Parnassus. As Sir Thopas parodies not only the conventional motives of romance, but also particular faults in its conventional technic, so Chaucer's references to “colours of rethoryk,” instead of being taken as general disparagement of grandiloquence, may well be sounded for their particular significance. In any age, indeed, the man of letters contemplating the rules of his art laid down by the pedagogues is moved to sarcasm; but Chaucer's sarcasms may suggest specifically wherein the pedagogues that he knew went wide of the narrative art that he came to comprehend as artist and as critic. His reference in the House of Fame merely glances at “prolixitee.” The passages in the four Canterbury tales, ampler and more specific, together suggest that the application of “colours of rethoryk” to narrative is a perversion, that Cicero is out of place on Parnassus.
Concerning the Number of Cases in Modern English
Authors: Callaway Morgan
Published: February 2007

In his recently published Philosophy of Grammar, Professor Otto Jespersen devotes Chapter XIII to the discussion of “Case.” And, as in every former work from his pen, in this latest he is highly interesting and instructive. And yet I find myself unable to agree with several positions taken therein, especially in the chapter on Case.
A Comparison of the Poetry of Francois Coppée and Eugene Manuel
Authors: Schaffer Aaron
Published: February 2007

We are accustomed to refer to François Coppée as “le poète des humbles,” but it would be a mistake to suppose that he was the only poet of his time to whom this designation can be applied. Leaving out of account Sainte-Beuve and Hugo, who devoted occasional poems to the poor and the oppressed, Béranger, Maxime Du Camp, Pierre Dupont and numerous other minor poets, we must not overlook the work of another contemporary who began writing before Coppée was born. This poet is Eugène Manuel, whose life and work offer many striking resemblances with those of Coppée. It is the purpose of this study to compare the work of these two men with a view to determining whether or not Coppée was indebted to his less renowned confrere.
Cervantes and Tieck's Idealism
Authors: Lussky Alfred Edwin
Published: February 2007

In the development of Ludwig Tieck 1795 and 1796 were decisive years. For several years previous to 1795 Tieck had been giver to a pessimistic and rather negative view of life, according to which human existence seemed to have but little meaning, and poetry, art, and idealism appeared to him to be delusions. While this nihilistic tendency held sway over Tieck's mind not even the works of Goethe, Shakespeare, or Cervantes, which he had read eagerly ever since early boyhood, or his friendship with Wackenroder represented saving forces in his life. William Lovell, Tieck's novel of almost seven hundred pages, adequately reflects the distressed state of his mind during this early period of his life, although the work was written for the most part after the worst throes of his pessimism and despair had spent their force.
Classical Allusions in the Poetry of Donne
Authors: Johnson Beatrice
Published: February 2007

A recent critic declares of John Donne: “He had none of that enthusiasm for Greek culture which distinguished More, Colet, and Ascham. He appears to have studied certain Greek authors in Latin translations. . . . . His learning was chiefly of the Mediaeval type.” No evidence, it is true, comes forward to establish Donne's acquaintance at first hand with Greek authors. At the same time, an examination of the allusions to Greek mythology in the poetry of Donne makes it clear that he had part in the all-but-universal interest of the Elizabethans in classical material, and that he uses this material with characteristic independence and originality.
Carlyle's General Method in The French Revolution
Authors: Harrold Charles Frederick
Published: February 2007

Thomas Carlyle's French Revolution may be regarded as a prodigious cento of fragments from the memoirs and histories which made up the great bulk of his sources. Those sections which are not devoted to running commentary on the Revolution, on democracy, or on other problems, are Carlylean renditions of various dull or hopelessly biased accounts, selected for color and drama, arranged according to climax or contrast, and presented so as to secure the result desired, a “flame-picture.” “While other historians sought to blend . . . details [from memoirs] into a smooth equable narrative, as rags are fashioned into a sheet of paper, Carlyle took the rags themselves and hung them forth gay or grimy or blood-stained, dancing in air or trailing in mud.” Instead of considering Carlyle as a scientific historian we may more properly regard him as an artist, dealing with reported fact from a confusing number of directions, and handling materials which, however manifestly unreliable they themselves might be, always demanded some degree of accuracy and good faith, and which on the other hand permitted various turns of interpretation, emphasis, perspective, or moral judgment. From a great number of incoherent and carelessly inaccurate narratives, he attempted to winnow that thing which he revered with his whole soul, the significant human fact.
Emerson's Theory and Practice of Poetry
Authors: Thompson Frank T.
Published: February 2007

This paper does not attempt to isolate all the influences that determined Emerson's theory and practice of poetry. My purpose is rather to call attention more clearly than I did in a former paper to his obligations to Coleridge and Wordsworth. Emerson's criticism of these two men will aid us in determining not only their relation to each other, but also their position in the history of English poetry and literary criticism. Just as present-day criticism of both Coleridge and Wordsworth shifts from scathing strictures to high praise, so, too, did Emerson's. But Emerson differs from many later critics in that he took cognizance of the manifold forces that entered into their work.
Spectral Etching in the Poetry of Thomas Hardy
Authors: Elliott G. R.
Published: February 2007

Hardy's poetry has the careful articulation of the skeleton in a modern surgical laboratory. But also it has all the atmosphere of the skeleton in old ghostly legends: the sudden visitations, the faint shine and quaver, the lank pointings, the leisurely dissolving in gloom, the telltale streaks of gray on the dark earth and sky, the posturing branches, the summoning voices in the wind. All these are in the weft of his verse. A quizzical reader could assemble therefrom quite an array of theatrical apparitions. But at center his work is far from theatric. It moves with a large sincerity and simplicity.
Dating a Spenser-Harvey Letter
Authors: Caldwell James Ralston
Published: February 2007

The first of the “Two other very commendable letters” in the correspondence between Spenser and Harvey has been reprinted in every complete edition of the poet's works since it was first printed by Hughes in 1715 and has been frequently cited by scholars during the past century, either because of the general light which it throws on this oddly assorted pair, or because of its famous reference to the the “surceasing and silence of balde Rymers,” or because of the evidence which it supplies of a close relationship at this time between Spenser and the Earl of Leicester. Nevertheless, there seems to be no general agreement among editors and scholars as to the precise date at which this letter was written; and as a result, every one who has quoted it has put forward his own assumption as its proper interpretation. It is the object of this paper to discuss these assumptions, and to determine, if possible, the true explanation of the date at which this letter was composed.
Renaissance Criticism and the Diction of the Faerie Queene
Authors: Pope Emma Field
Published: February 2007

Three and a half centuries of criticism confront the student of today who attacks the problem of Spenser's diction. The purpose of the following study is not so much to present new material in the field of Spenserian scholarship as to effect a synthesis of the many theories which have been put forward and thus to present the whole subject more comprehensively.
Hamlet's Delay-A Restatement of the Problem
Authors: Conrad Bernard R.
Published: February 2007

The mystery in Hamlet is a ghost that has haunted the minds of many a generation of scholars and critics. Perhaps the full secret of this mystery was to be known only by Shakespeare himself, even as that other secret was told only to Hamlet by the ghost on the platform at Elsinore

In the dead vast and middle of the night.
Shakspere's Use of the Voyagers in the Tempest
Authors: Cawley Robert Ralston
Published: February 2007

These studies represent an attempt to determine Shakspere's debt to the voyagers in The Tempest. No article or book, to my knowledge, has set out to examine the subject as a whole; and my aim to supply such an article has forced me to review much material published heretofore. Broadly speaking, one-third of my studies contains material substantially as it has appeared elsewhere; one-third presents old material from a new point of view; and one-third presents material completely new. I wish to return the fullest possible acknowledgment to the excellent work of Morton Luce and Charles M. Gayley, on whose studies I have based my own.
Gawain, Gwri, and Cuchulinn
Authors: Loomis Roger Sherman
Published: February 2007

In a chapter of my Celtic Myth and Arthurian Romance I attempted to prove that the repeated correspondence between the adventures of Cuchulinn in Irish saga and those of Gawain in Arthurian romance could be accounted for only on the hypothesis that the intermediate Welsh figure was Gwri; and that this hypothesis was the key to many things in Arthurian nomenclature. My statement of the case, though it has convinced a number of the most competent judges, suffered from the fact that the interpretation of one Welsh name was questionable, and of another erroneous, that it involved the inconclusive and unessential derivation of the name Cuchulinn from a hypocoristic form of Curoi, and that the argument did not start from the most advantageous point of departure. In the following article I endeavor to remedy those defects.
Charlotte Smith, Pre-Romantic Novelist
Authors: Foster James R.
Published: February 2007

Time and the critics have dealt but scurvily with Charlotte Smith, since she has been completely forgotten, being neither as bad as the Minerva Press nor as striking as Ann Radcliffe. The relative position these two novelists held in the years before the publication of Udolpho has been exactly reversed, and this is perhaps an injustice since no little of Ann Radcliffe's success was due to the help and example of her rival.
IV. Questions and Objections
Authors: Crawford Bartholow V.
Published: February 2007

The so-called formal dialogue constituted between the years 1640 and 1700 a substantial part of ephemeral as well as serious literature. Like the present-day dialogue of fiction and of the stage, it was only approximately natural, and to a varying degree. In modern novels or in popular “talky” plays it is not hard to find passages which neither advance the plot nor build characterization, and wherein the interest is emphatically centered on the topics discussed. Yet, as every one recognizes, important changes in taste have taken place since the days of the formal dialogue. Disputations no longer hold their former sway in college and university. Other methods are now employed for discussing problems of politics, of religion, of philosophy, of science, which were once commonly argued in the formal dialogue. It is my purpose to show, through the consideration of some of the by-products of the dialogue in the day of its vogue, that its popularity was occasioned by a controversial or dialoguing spirit, and conversely that the form itself was largely responsible for the creation and continuance of this atmosphere of conflict.
XI. Lowell's Criticism of Romantic Literature
Authors: Clark Harry Hayden
Published: February 2007

Few literary critics have received such differing evaluation as James Russell Lowell. On the one hand are those who refuse to recognize in his criticism any permanent value. Professor J. J. Reilly concludes his three hundred page study of Lowell as follows:

He has been regarded as a critic; in such a light he seems seriously to have regarded himself. But to assign him such a rank is to do him the injustice of over-estimation….. If Lowell is to survive, it must be frankly as an impressionist. For so far as criticism approaches a science, so far as it depends to any extent on ultimate principles, so far, in a word, as it is something more fundamental and abiding than the ipse dixit of an appreciator, Lowell is not a critic.
The Manuscript Source of Caxton's Second Edition of the Canterbury Tales
Authors: Kilgour Margaret
Published: February 2007

In his discussion of “The Early Printed Editions of the Canterbury Tales” Dr. Greg endeavored to discover the affinities of the manuscript which was used by Caxton in correcting his second edition, printed in 1484. “We have already seen,” he notes, “that C8 was printed from C7, but we have Caxton's own word for it that the text was carefully revised by comparison with a new manuscript, and this claim is amply borne out by the table of collations.” In other words, whatever manuscript copy Caxton may have had in hand for his second edition, he seems to have used it only for corrections where he felt his earlier source to be at fault. From a thorough examination of the variant readings in the first 116 lines, Dr. Greg concluded that it “does not appear possible to determine the affinities of Caxton's second manuscript for the opening of the Knight's Tale.” According to Koch, Caxton's second manuscript is to be assigned to the “Eλ-Dd group,” but Dr. Greg finds that none of the MSS of this group is consistently more successful than others in the Petworth or Corpus groups: “It cannot, then, honestly be said that there is anything to choose between these three groups, and we seem bound to suppose either that Koch's conclusion was invalid or that the relations of the manuscripts are not constant.” Nevertheless, Dr. Greg's investigation is not without results. The manuscript used by Caxton, he concludes, must belong either to the Eλ-Dd, the Petworth, or the Corpus group. Among these he narrows the selection by his table to a comparatively small number of MSS, and he points out that of those which he has examined “A [BM Addit. 35286] does best.” However, the variants shown in lines 70 and 74 of the Knight's Tale “seemingly bar this manuscript.”
Pierre Leroux and his Philosophy in Relation to Literature
Authors: Evans David Owen
Published: February 2007

As a philosopher and social thinker, Pierre Leroux has been the object of considerable attention in recent years, and his works on political, religious and sociological subjects have been studied by scholars of distinction. Since he was also a writer and critic not without a certain fame in his own day, it seems a little curious that his literary activities and influence have yet to receive full treatment.
The Opposition to Neo-Classicism in England Between 1660 and 1700
Authors: Wood Paul Spencer
Published: February 2007

The victory of neo-classicism in England was won only after a struggle against forces which are sometimes called romantic but which are more accurately described as anti-classical. These forces were partly survivals of the past and partly tendencies that pointed forward to nineteenth century romanticism. The latter, so far as they were merely germinal, fall outside the scope of the present discussion, which deals with actual obstacles interfering with the complete dominance of the neo-classical movement after 1660.
Two Contemporary Sources of Sheridan's the Rivals
Authors: Gabriel Miriam , Mueschke Paul
Published: February 2007

In searching for the source of Sheridan's Rivals, a critic ventures upon literary quicksand. Professor Nettleton in his edition of the comedies is inclined to minimize the persistent charges of plagiarism made against Sheridan by his biographers.
Quelques Origines Litteraires de “Rene”
Authors: Chinard Gilbert
Published: February 2007

Avant même la publication des Mémoires d'Outre-Tombe un problème assez inquiétant s'est posé à propos de René. Sainte-Beuve n'a eu garde de l‘éviter et, tout en prenant des mines effarouchées, il n'a pas manqué de signaler que si René n'est évidemment autre que Chateaubriand, Amélie ne peut être que sa douce et mélancolique soeur Lucile qui, dans le parc de Combourg, engagea l'adolescent à se consacrer à la Muse. Tout ce que nous savons de la vie de Lucile de Chateaubriand indique cependant que l'histoire d'Amélie comporte une grosse part de fiction. Même si à l'origine l'amitié très vive qu'elle a toujours ressentie pour ce frère ténébreux a été teintée d'un sentiment plus trouble, elle n'est point entrée au couvent, si ce n'est fort tard et comme pensionnaire, non comme religieuse. Elle semble avoir ébauché a Combourg même un roman d'amour avec un gentilhomme Breton, parent éloigné de Malfilâtre, elle accepta en fin de compte le vieux M. de Caud et, après un court veuvage, fut sur le point d'épouser en secondes noces le poète Chênedollé. Avec cette superbe inconscience qui paraît si souvent chez lui, Chateaubriand aurait mêlé à des souvenirs d'enfance une passion romantique perverse, mais complètement imaginaire. II semble avoir trop aisément pensé que des lecteurs et des critiques moins informés de la réalité des choses et quelquefois plus malveillants, feraient d'eux-mêmes le départ de la vérité' et de l'embellissement dans son roman-poème autobiographique.
Jeunes Gens as Plural of Jeune Homme
Authors: Armstrong Edward C.
Published: February 2007

No foreigner learning French fails to remark the use of jeunes gens as the plural of jeune homme. The French, for whom this plural is a part of their linguistic inheritance, usually accept it unquestioningly, but in the Mélanges Antoine Thomas Professor Oscar Bloch of the Lycée Buffon at Paris notes the abnormality of the expression and seeks to explain its origin. The cause of the disappearance of a plural jeunes hommes is, he thinks, to be found in a hesitation to employ, in a combination of the two words where the separate value of each is still in evidence, the linked s. In other combinations where such a linking to hommes occurs, such as les bonshommes, les gentilshommes, we have, says Mr. Bloch, true compound words in which the separate value of the elements has been lost.
Dwarf-Names: A Study in Old Icelandic Religion
Authors: Gould Chester Nathan
Published: February 2007

The purpose of this article is to further the understanding of the nature and function of dwarves in Old Icelandic belief by an investigation of the names applied to them. I have therefore collected the dwarf-names, supplied meanings and etymologies, and classified the names by form and function. These names are scattered through the Fornaldarsögur, the Younger Edda and in various Eddic poems. Most of the names are in two versified lists; the shorter list in stanzas 10 to 16 of the V$ooluspá, the longer, called Dverga heiti, among the nafnaþulur. These two lists, which are derived from a common source, have a large number of names in common; the V$ooluspá has nine or ten that are not in the þulur, and the latter have a somewhat larger number which are not in the V$ooluspá. The various manuscripts show variant readings. All these readings are of interest to us, for the opinion of a scribe as to what is a suitable name for a dwarf may be just as valuable as the opinion of the man who composed the original.
Marie De France: Psychologist of Courtly Love
Authors: Damon S. Foster
Published: February 2007

If One wishes to bother, one may divide mankind into two classes: those who judge their fellows by predetermined laws of conduct, and those who merely observe their fellows for what they are. Bunyan and Tolstoy are typical of the former class; Shakspere and Jane Austen of the second.

Marie de France was a sort of mediaeval Jane Austen. Both women knew their set, they knew their sex, and they knew little more of life. But that little they knew well, and of that little they wrote well, for both had the knack of story-telling. Both steered a sure course between sentimentality and cynicism; their writings reveal a general deftness, a perfect tact—“restraint,” as it is sometimes called—and a nice analysis of motives, from which spring plots that fit the characters as inseparably and yet as flexibly as the skin fits the hand. Jane is dryer, and more steadily ironical, though Chaitivel indicates that Marie could also be ironical; indeed, we might label their chief spiritual difference by saying that Jane is British through and through, but Marie is French.
Nature and the Country in Sixteenth and Seventeenth Century French Poetry
Authors: Clement N. H.
Published: February 2007

The statement is often made that the Pléiade sang nature with exuberance and freshness. The feeling for nature, which virtually passed out of French literature when the poésie courtoise finally died with Charles d'Orléans, began to reappear early in the sixteenth century with Jean Le Maire de Belges. This re-ëmergence was at first very slow, and the new feeling did not attain its fullest development until the second half of the century. It is perhaps well to say at the outset that the words “a feeling for nature” applied to the poetry of the sixteenth century are not the equivalent of “a nature poetry,” and must not be taken to mean that the century of the Renaissance in France created a genuine poetry of nature. If we define this as consisting essentially in a sincere love and a spontaneous, as opposed to a conventional, treatment of nature; a concern with nature for its own sake instead of using it merely as an ornament in poetry with a primarily human interest; and a sympathetic interpenetration between the soul of man and the soul of things, we shall not find these conditions fulfilled in the French poetry of this period. In the first part of this paper I shall endeavor to trace the origins of the feeling for nature exhibited in sixteenth-century French poetry, to define its limits, and to explain why the Pléiade did not create a true nature poetry; in the second part I propose to show that the interest in nature was diverted in the last quarter of the century into another channel, to assume the form which may be called the solitude and desert motif, its predominant mode of expression in the next century, and to set forth the causes of this deviation.
Allusions to James I and his Court in Marston's Fawn and Beaumont's Woman Hater
Authors: Upton Albert W.
Published: February 2007

Detailed study attendant upon the preparation of a critical edition of the Woman Hater has led me to the conclusion that the play is not an unsuccessful juvenilium in the Jonsonian “humour” school, as it has often been described, but is rather indebted to the evil influence of the outlawed satirist, John Marston, and identifies its author as one of a group of daring young comedists who took for their common subject the crimes and follies of the Court of James I. The purpose of the present paper, however, is not to discuss the evidence of this satirical cabal of which Marston was unquestionably the arch-conspirator, but to point out several topical allusions to the King and his court in Marston's Fawn and Beaumont's Woman Hater.
Butler's Sidrophel
Authors: Curtiss Joseph Toy
Published: February 2007

Few readers of Hudibras have escaped the fascination of trying to identify the characters in the poem. Yet after two hundred and fifty years, during which readers have wondered and scholars have pondered, we are little nearer the goal. We do not even know whether Butler intended his titular hero to be the satiric portrait of a particular Puritan or the personified picture of a type.