bluuebunny/crossref_metadata_2025 huggingface dataset:
Melodrama and Tragedy
Authors: Thompson Alan Reynolds
Published: February 2007

Clear distinctions between the genres, relatively unimportant in an historical study of the drama, are, or ought to be, of vital importance in a more absolute criticism. But though the term “tragedy” is loosely applied to some of the crudest as well as some of the greatest productions of the stage, and though for the last hundred and twenty-five years the term “melodrama” has been in current use, no critic has made more than a casual attempt properly to distinguish them. Indeed, such is the power of tradition that ill-formed and sensational productions of the Elizabethans or of the Restoration, because they were styled tragedies by their authors or contemporaries, continue to bear that proud title along with Lear and (Edipus tke King. It would seem obvious that a term so stretched as to include within its limits Hoffman and Hamlet, Lust's Dominion, Tke Revenge and Othello, will not serve for purposes of strict definition.
The Old English Weak Preterites Without Medial Vowel
Authors: Prokosch E.
Published: February 2007

1. Sievers' Law of Syncopation of middle vowels has laid the foundation for our present understanding of the forms of the preterite and past participle of the first class of weak verbs: The medial vowel disappears before the period of mutation if the stem syllable is long, and is preserved if it is short. While Sievers had stated the law for West Germanic only, its somewhat modified application to Norse was obvious, so that chaos was apparently reduced to order. Irregular forms like leƷde, sœƷde were termed “anormal” by Sievers, and he adds the objective statement that several short stems in k, t, d, l form their preterite “nach Art der langsilbigen,” e.g., OE. reahte, sette, tredde, tealde. Two years later, Paul added the hypothesis that these preterites had had no medial vowel since Germanic times, supporting his view by certain criteria of such Germanic origin. He remarks: “Das Angelsächsische repräsentiert für uns im grossen und ganzen noch die eigentümlichste Stufe, und zwar liegt das offenbar daran, dass hier im Gegensatz zum Althochdeutschen und Altsächsischen der Umlaut der Synkopierung vorausgegangen ist.” It seems that Sievers never quite agreed with Paul's generalization of the scope of these preterites. As late as 1898, he postulates only a West Germanic basis for the “Rückumlaut” in verbs of the type cwellan-cwealde, sēceansōhte. But otherwise the view has been fairly generally accepted.
Widsith and the Hervararsaga
Authors: Malone Kemp
Published: February 2007

The English poem Widsith (composed in the 7th century) contains two passages (v. 116 and v. 119 ff.) that refer to stories known to us also from the Icelandic Hervararsaga. The present paper is primarily an attempt to determine the form and relationship of these stories as the Widsith poet knew them. Any such attempt, however, necessarily involves an examination of the Hervararsaga. This saga has been much studied, but never investigated with the Widsith primarily in mind. Even R. W. Chambers, in his monumental edition of Widsith, relegates to a few footnotes his comments on the relation of the English poem to the Icelandic saga. That there is much to be said, the length of the present paper will suffice to demonstrate! It is my hope, moreover, that my discussion will serve likewise to clear up some of the obscurities of the saga.
Miltonic Rhythm; A Study of the Relation of the Full Stops to the Rhythm of Paradise Lost
Authors: Banks Theodore H.
Published: February 2007

One of the points always brought out in a study of the prosody of Milton's later poems is the manner in which he breaks away from the end-stopped lines, and moulds his verse into long majestic periods, like the paragraphs of prose. But while this aspect of his poetry has often been admired, the prosodical devices by which it is made noticeable and effective have never been studied. Accurate knowledge of these devices depends: first, on an analysis of Milton's punctuation, as the number and position of the full stops determine the extent and effect of the verse paragraphs; and second, on an analysis of the rhythms immediately following the full stops, that is, at the opening of the succeeding sentences.
The Supernaturalism of Maupassant
Authors: Atkin Ernest George
Published: February 2007

In Recalling a story told by Turgenieff at one of Flaubert's Sunday gatherings, Maupassant writes:

Personne plus que le grand romancier russe ne sut faire passer dans l'âme ce frisson de l'inconnu voilé, et, dans la demi-lumière d'un conte étrange, laisser entrevoir tout un monde de choses inquiétantes, incertaines, menaçantes. Avec lui, on la sent bien, la peur de l'Invisible, la peur de l'inconnu qui est derrière le mur, derrière la porte, derrière la vie apparente. . . . . On croit sentir, avec lui, un fil imperceptible qui nous guide d'une façon mystérieuse à travers la vie, comme à travers un rêve nébuleux dont le sens nous échappe sans cesse. Il n'entre point hardiment dans le surnaturel, comme Edgar Poë ou Hoffmann, il raconte des histoires simples où se mêle seulement quelque chose d'un peu troublant.1
The Private Library of Voltaire at Leningrad
Authors: Havens George R. , Torrey Norman L.
Published: February 2007

On the 15th of December, 1778, about six months after the death of Voltaire, his private library at Ferney was bought by Catherine the Great of Russia for 30,000 rubles plus a certain number of valuable presents to Mme Denis, Voltaire's niece. This library consiste of about 7500 volumes comprising, because of the number of large sets, about 2500 to 3000 titles. Catherine received her purchase at St. Petersburg on July 30, 1779. Wagnière, the secretary of Voltaire, had been engaged to arrange the books in the same order as at Ferney and to prepare the manuscripts for binding. He arrived in St. Petersburg, as he tells us, “le 8 auguste 1779” and remained in Russia at the execution of the task set him by Catherine until probably January or February, 1780. The library was installed in the Hermitage and remained there until about 1862, when it was transferred to the Imperial Library of St. Petersburg, now the Public Library of Leningrad. There in the Fine Arts Division of the Philosophy Section these books are still to be found, carefully stored in their locked cases behind glass doors and supposed still to stand in the order in which they were arranged by Wagnifere after that used by Voltaire himself at Ferney. Most of his books are contained in two large double-faced cases, each case about twenty feet long and ten shelves high, giving a total book space of some eight hundred feet. The bottom shelves are reserved for folio volumes, the second shelves for quartos and the smaller volumes appear on the higher shelves. A somewhat smaller case in the gallery above contains the rest of Voltaire's books. Under the former government of Russia no one was allowed to consult more than five books of this collection a day. This limit is no longer imposed and during the summer of 1927 the authors of this article were permitted to have before them on their tables any number of volumes that they wished.
Bodmer and Milton Once More
Authors: Ibershoff C. H.
Published: February 2007

Biblical epics like Milton's Paradise Lost, Klopstock's Messias, and Bodmer's Noah, must necessarily give prominence to the hostile, destructive spirits of evil, and inasmuch as these poems are all based on Biblical tradition it is natural that there should be a general similarity in the treatment of them. Several European scholars have maintained that Bodmer's infernal characters were influenced solely by Klopstock. The purpose of this paper, however, is to show that Bodmer borrowed repeatedly, at times almost literally, from Milton's descriptions in Paradise Lost. The evidence which I have presented elsewhere as to Bodmer's indebtedness in other respects to Paradise Lost, would seem to make it probable on general grounds that he was also indebted to Milton for his descriptions of the spirits of evil.
Spenser's Use of the Bible and His Alleged Puritanism
Authors: Landrum Grace Warren
Published: February 2007

Although Spenser, speaking in the character of Irenæus in the View of the State of Ireland, declares himself as not “professed” in religion, he shows in general such profound interest in religion that his ecclesiastical and theological views have provoked abundant discussion. In examining the question of his religious predilections one might expect to gain further evidence from a careful study of his use of the Scriptures.
Burton on Spenser
Authors: Hughes Merritt Y.
Published: February 2007

Robert Burton has never been known as a commentator on The Faerie Queene and he certainly did not aspire to that honor, but it is my purpose in this article to show that unconsciously he left a valuable set of notes on Spenser's work. Burton was not a critic and his one critical remark about The Faerie Queene sounds oddly to-day, although readers of M. Jusserand's remarks in his Literary History of the English People on Spenser's borrowings from Ariosto will remember some ideas that chime with what Burton says in the passage in question. In his analysis of love-melancholy in the Third Part of The Anatomy of Melancholy he remarked casually:

Our new Ariostoes, Boyards, Authors of Arcadia, Urania, Faerie Queene, &c., Marullus, Leotichius, Angerianus, Stroza, Secundus, Capellanus, &c., with the best of these facete modern poets have written in this kind, are but so many symptoms of love. Their whole books are a synopsis or breviary of love, the portuous of love, legends of lovers' lives and deaths, and of their memorable adventures, nay more, quod leguntur, quod laudantur, amori debent.
Rose and Cypress
Authors: Malone Kemp
Published: February 2007

The romantic tale of Gul o Sanaubar ‘Rose and Cypress’ is one of the traductions de l'Hindoustani which Garcin de Tassy printed in 1876. In his avertissement the translator explains :

j'ai réuni dans ce volume quelques-unes de mes traductions .... de récits .... publiés anciennement et depuis longtemps épuisés.... Je n'ai reproduit ni les textes, ni les préfaces, ni les notes d'érudition qui accompagnaient les premières éditions de quelques-unes de ces traductions.....
Bonald and Balzac
Authors: Jackson Joseph F.
Published: February 2007

Balzac has summed up his literary theories in the foreword to the first collected edition of the Comédie humaine, written in July 1842, almost thirteen years after he had begun his gigantic task. Critics are divided in their opinion of this document, some considering it an important manifesto of Balzac's doctrine, others regarding it as simply an afterthought intended to give an appearance of unity to a confused mass of ideas.
Charlotte Bronte's Angrian Cycle of Stories
Authors: Ratchford Fannie E.
Published: February 2007

The existence of voluminous Brontë juvenilia has long been known. Anyone who has read Mrs. Gaskell's Life of Charlotte Brontë must remember the astonishing list of twenty-two ‘books’ therein enumerated as having been completed by August 3, 1830, near the end of Charlotte's fourteenth year. Mr. Clement K. Shorter continues the list through 1839, bringing the number of titles up to forty. To these may be added from sources not included in his list an almost equal number of sketches and fragments, making a total which in volume approximates the author's published works.
Nature in Older Irish
Authors: Knowlton E. C.
Published: February 2007

The Irish, it has often been stated, displayed an interest in Nature which in the Dark or Middle Ages was exceptional. The purpose of the present paper is to examine the references to outdoor nature in Older Irish literature with a view to determining their extent and their special characteristics.
Chaucer's Changing Conceptions of the Humble Lover
Authors: Getty Agnes K.
Published: February 2007

It is evident that Chaucer's depiction of and attitude toward the lover were not always the same. In some of his works, notably his earlier, shorter poems, the conception of the lover conforms apparently in all particulars to the conventional pattern of the romantic lover of chivalry. In other works he shows a definite deviation from this concept. What the character of these deviations is, where they occur, and what deductions may be drawn from them, it is the purpose of this paper to indicate. At the outset of our inquiry two possible explanations of this change may be noted: first, the possibility that Chaucer's attitude changed as he grew older either in revolt against or in conformity to the standard ideal; secondly, the possibility that the changes in his attitude were the result of shifting moods instead of modifications produced by age and experience.
Legends of Joseph in Old and Middle English
Authors: Faverty Frederic E.
Published: February 2007

The account of Joseph in Genesis makes no mention of his precocity as a boy and deals but briefly with the beauty of his person. Indeed, it is not until he has become a man that he is described at all: Potiphar's wife cast her eyes upon him for “Joseph was a goodly person, and well favored.” But at a very early date commentators felt that this was altogether inadequate. A body of Hebrew and Mohammedan legend about Joseph's boyhood soon developed: he was credited with an almost preternatural beauty and wisdom, a beauty and wisdom befitting one who was the favorite of Yahweh.
Brooke's Universal Beauty and Modern Thought
Authors: Stevenson Lionel
Published: February 2007

After science in the modern sense of the term began to infiltrate the public consciousness in the second half of the seventeenth century, and men were stirred by the new concept of the universe revealed by Copernicus, Galileo, and Newton, the lesser poets seized joyfully on this inexhaustible source of fresh material and combined pedestrian exposition with ecstatic praise in setting forth the new vision of God's handiwork afforded by the discoveries of science. Among those who thus undertook to interpret the results of science in verse were Young, Akenside, Thomson, and Richard Savage, as well as many lesser writes.
The Choriambus in English Verse
Authors: Scripture E. W.
Published: February 2007

A foot in English verse is that portion which is spoken as an undivided unit. It may comprise a whole line with many words or it may consist of a single vowel spoken alone. In measuring and analyzing graphic records of English verse I find that it contains many feet on the same rhythmic plan as those in Greek verse. This is what should be expected. Greek verse probably developed from an ancient form—the enoplios—which had four long vowels while the number of weak vowels before, between, and after the strong ones might vary from 0 to 2 at each spot. This is practically the same as the rhythmical structure of most lines of Beowulf except that this latter has greater liberty in the number of weak vowels. The later forms that have developed in each language are much alike. One of the commonest of these is the choriambus.
Rime and Reason
Authors: Rankin J. W.
Published: February 2007

When we say that an act or a statement is without rime or reason, we mean, I suppose, that the thing said or done was utterly without justification or excuse, that there was no reason or occasion for it. Alliteration makes the phrase emphatic. The appropriateness of “reason” in the formula seems obvious enough; but the meaning of “rime,” in this connection is more obscure. The purpose of this brief discussion is to suggest a plausible origin of the formula and to explain the meaning of “rime” in the phrase—in other words, to show that the formula itself is not “without rime or reason.”
Chaucer and an Italian Translation of the Heroides
Authors: Meech Sanford Brown
Published: February 2007

It has not been noted hitherto that Chaucer, in making poetic use of the material in Ovid's Heroic Epistles, resorted for convenience to an Italian translation of the Heroides, made in the Trecento. The author of this excellent model of Tuscan prose never achieved literary fame and even the facts of his life are unknown. For information concerning him one must depend upon the meagre statements set down in his introductory note to the rendering of the Epistle of Phaedra. His name in Hebrew, he informs the reader, signifies “Bocca di lanpana”—which is to say that it is Filippo. He refers there to a patroness—“bella donna giovane . . . . il cui nome è fiorito e nominato, secondo la lingua di Francia, di quel bel fiore che l'alto Re d'Francheschi porta nelle sue celestiali insegne”—and describes her coat-of-arms together with her husband's. This Lisa has been identified on manuscript authority—and correctly in probability—as the wife of a Florentine, Simone Peruzzi. She died in 1363. Assuming that she attained to the Biblical three score and ten, one may guess that the work inspired by her in youth was made between 1320 and 1330. On Delphic manuscript evidence scholars have given the author's surname as “Ceffi”—but their conjectures cannot be accepted as fully authoritative. An Italian version of Guido's Historia Trojana was executed by a Filippo Ceffi in 1324.
French Interest in Quakers Before Voltaire
Authors: Philips Edith
Published: February 2007

In spite of Lanson's well known edition of Voltaire's Lettres Philosophiques, students have shown comparatively little curiosity concerning the implications which might be drawn from the number of those letters which deal with Quakers and from the fact that those four letters are the first of the series. Lanson, without making any claim to completeness, has suggested possible sources other than personal contact for Voltaire's knowledge of Quakers, and Morize has called attention to an account of them given by Sorbière. Nevertheless the actual extent of French interest in Quakers, and the number of publications concerning them were far greater than either of the above commentaries would suggest.
Shelley's Doctrine of Love
Authors: Stovall Floyd
Published: February 2007

If philosophy is the love of wisdom unconditioned, Shelley was as truly a philosopher as Plato; but if, as the Greeks taught, it is the love also of order, his right to the title may be questioned. There is some justice in the allegation that he was not a systematic thinker. Being an enthusiast rather than a critic, he made little effort to reduce his multiform ideas and impressions to strict order; if a new opinion seemed good in itself he was inclined to acknowledge it without first ascertaining whether or not it was consistent with others previously avowed. With the diffusive imagination of the dreamer he erected vast and indistinct outlines of theory wherein the logical mind seeks in vain for substance and particulars, though they harmonize well enough with the idealist's habit of generalization. Avoiding the word philosophy on account of this lack of system, I prefer to use the word doctrine in refering to the body of Shelley's opinion concerning Love.
Friedrich Hebbel's Use of Jewels
Authors: Porterfield Allen W.
Published: February 2007

The student of Friedrich Hebbel cannot proceed very far without being impressed by his robustness. To cite a single illustration of his emphatic, indeed violent, language, in his Genoveva (III, 10), Golo, having reached the climax of his illicit intentions, rushes at the heroine and exclaims: “Nun bist du mein.” A struggle ensues. Golo hurls the crucifix from Genoveva and says:

. . . . Und ob der Heiland selbstSich stellen wollte zwischen Dich und mich:Zu seinen sieben Wunden gäb' ich ihmDie achte. . . .

Stronger language than that can hardly be used; but in such exemplifications of rhetorical virility Hebbel's works abound.
The Original of the Ballad “Kinge: Arthurs Death” in the Percy Folio MS
Authors: Millican Charles Bowie
Published: February 2007

The original text of the first part of the ballad “Kinge: Arthurs Death” as it appears in the Percy Folio Manuscript, and as it appears in Percy's Reliques with the title “The Legend of King Arthur,” is found with the title “The Historieof The/ conquests of the noble conquerour/ Arthvr,” and with the running title “The Historie of King Arthvr,” in the following Elizabethan account of the Nine Worthies:
Fielding's Satire on Pantomime
Authors: Nichols Charles Washburn
Published: February 2007

Much of Fielding's amusing literary and social satire in his plays of 1736 and 1737 was in a popular vein, if we may judge from the abundance of similar satire in the newspapers of the time. Elsewhere I have shown why Fielding's hits were sure to have been met by the laughing approval of his audiences. His attack on pantomime was somewhat different, however, for pantomime was at the height of its popularity. Critics of it, like Fielding and Aaron Hill, were running counter to popular taste.
Keats's Interest in Politics and World Affairs
Authors: Thorpe Clarence DeWitt
Published: February 2007

When Keats was at Naples, on his way to Rome, in November, 1820, he became irritated at evidences of aristocratic government and determined to leave the place at once. “We will go to Rome,” he said;“ I know my end approaches, and the continued visible tyranny of this government prevents me from having any peace of mind. I could not lie quietly here. I will not leave even my bones in the midst of this despotism.” Keats was ill at the time and inclined to peevish moods: the immediate cause of this outburst seems, indeed, to have been no more than the sight of sentinels posted on the stage at the opera. Yet these were words he might under similar circumstances have spoken at any time in his life. There are, scattered throughout Keats's writings, many anti-aristocratic passages which reveal a deeply-rooted, often fervid republicanism, comparable to that of his more generally recognized liberal contemporaries. These passages show, moreover, that contrary to an impression which once prevailed and is in some quarters still current, he was an unusually close observer of men and affairs, intently alert to the social, economic, and political conditions of his day, and capable on occasion of expressing pungent and wise opinions about them. The evidence for this, to be found in part in his poetry, but to a larger extent in his letters, is corroborated by the testimony of his friends and others in a position to furnish first-hand information. It is my purpose in this paper to present this evidence in a more complete and systematic way than has heretofore been attempted, though the exigencies of space will prevent my using the full volume of available material.
Language of The Southern Highlanders
Authors: Combs Josiah
Published: February 2007

The region inhabited by the Southern Highlanders has been called the Southern Mountains, Appalachian America, Elizabethan America, Shakespearian America, and so on. Its inhabitants have been referred to as “our contemporary ancestors.” The language of these people has been labeled Old English, Early English, Elizabethan English, Scottish, Irish, Scotch-Irish. Roughly speaking, the region extends from Maryland to northern Alabama, including parts of Maryland, West Virginia, Virginia, Kentucky, North and South Carolina, Tennessee, Georgia, and Alabama. Its area is about that of the British Isles, and its population around five millions. Our study can not therefore be complete or exhaustive. The investigation is made more difficult by the fact that the highlander's language varies in different sections of the highlands, and frequently even in the same community. In West Virginia and in the Shenandoah Valley of Virginia numerous Scottish survivals are found; further south they are not common. Thus one meets with different types of dialect in the novels of Charles Egbert Craddock, for Tennessee, Will N. Harben, for Georgia, John Fox, Jr., for Kentucky and Virginia, and Lucy Furman, for Kentucky. The language of Percy McKaye's plays is in no way similar to that of any section of the Southern highlands. The linguistic peculiarities noted in this study have been picked up here and there over the highland section during the past twenty years; as a high-lander from Kentucky, I had heard many of them myself from childhood.
Robert Greene and His “Editors”
Authors: Sanders Chauncey
Published: February 2007

Three works attributed to Robert Greene, all published posthumously, have served as the basis for almost all that has been written about the life of that interesting Elizabethan author; portions of these works have been accepted as pure autobiography, and the information contained in such passages has been used to confirm similar details, apparently also autobiographical, in the earlier works. The hazard involved in the use, for purposes of biography, of material contained in the novels of Greene, or of any other writer of fiction, should be obvious to any modern critic; but the earlier scholars were evidently unaware of the danger.
Science and English Prose Style in the Third Quarter of the Seventeenth Century
Authors: Jones Richard F.
Published: February 2007

Literary style, like human personality, is a compound exceedingly difficult of analysis, for when its more obvious constituents are made clear, there still remains an illusive element, consciousness of which leaves the analyst with the unpleasant sensation of not having reached the bottom of the matter. As the most complex phenomenon in literature, style is the resultant of all the forces, known and unknown, underlying literary development, and the method and extent of the contribution made by each of these forces are a matter of probable inference rather than of positive demonstration. For that reason, any attempt, however ambitious, to account for the style of a literary epoch must be content with pointing out those more obvious influences that are combined and reflected in speech and writing, and with ignoring other factors which may escape detection. Under the protection of this confession I shall attempt to make manifest what seems to me the most important influence instrumental in changing the luxuriant prose of the Commonwealth into that of a diametrically opposite nature in the Restoration.
Proust as Translator of Ruskin
Authors: Roche A. J.
Published: February 2007

It is well known that from 1900 to 1906 (and even before) Proust made a thorough study of Ruskin and translated The Bible of Amiens (1904) and Sesame and Lilies (1906). Yet it is rather startling to hear him mentioned by André Maurois as “Ruskin's great disciple,” for there does not seem to be much of an affinity between the man whose writings on the architecture of Venice have been termed: “A sermon on stones” and the passionate pilgrim of the human heart who was never hampered in his minute psychological explorations by any of the reformer's ethical theories or creeds.
Rate, Direction, and Continuity of Movement in French and English Speech
Authors: Barker James L.
Published: February 2007

The imitative tones of a French boy saying, “y-e-e-e-s-o-o-y-e-e-e-s” have greeted more than one American from a distance as his nationality has been recognized, and the boy has called the words with a slow, drawling intonation. Any discussion of the cause of the quality the boy has heard as distinctive does not come under the head of “vowels and consonants” treated as individual sounds, nor under “stress,” nor even under “intonation,” “which may be defined as the variations in the pitch of the voice, i.e. variations in the pitch of the musical note produced by vibrations of the vocal cords.” Though this English acoustic quality is perfectly obvious, the underlying physiological differences of rate, direction, and continuity in the shifting of position of the vocal organs seem as yet untouched by phonetic study.
The Political Import of the Norton Half of Gorboduc
Authors: Small S. A.
Published: February 2007

The political purpose of Gorboduc, which was first noticed by Leonard H. Courtney, has been elaborated by Professor H. A. Watt in his dissertation, Gorboduc: or, Ferrex and Porrex. The two authors wrote the play rather from the point of view of legal advisers than from that of students. It served as a tactful approach to Queen Elizabeth on the question of the limitation of the succession which would necessitate her marrying. Professor Watt, in his discussion, cites numerous pages from Sackville's portion of the play, but he does not discuss the political significance of Norton's portion, although Norton is believed to have been chairman of the committee appointed to wait upon Elizabeth to present the petition of parliament for limitation of the succession. Norton's “personal interest in the question,” as Watt remarks, “has been well established.” One might reasonably expect, therefore, to find references to the political lesson which the tragedy was to convey to the Queen in the portion of Gorboduc written by Norton. It is the purpose of this paper to examine particularly, with this in view, Norton's part of the text of Gorboduc.
A Verse-Sentence Analysis of Shakespeare's Plays
Authors: Langworthy Charles A.
Published: February 2007

In an article published elsewhere I have explained my method of verse-sentence analysis and have presented in tabular form its application to a considerable number of English poems, ranging in time from Chaucer's Canterbury Tales to Browning's My last Duchess. In that article I pointed out that by the use of this method it was possible to trace the evolution of Shakespeare's style in the interweaving of line and sentence. In his early plays there is a high degree of parallelism between the line and the grammatical units of the sentence; in the late plays there is a marked tendency toward divergence between line and sentence.
Thomas Randolph, Robert Baron, and the Drinking Academy
Authors: Rollins Hyder E.
Published: February 2007

The Drinking Academy, A Play by Thomas Randolph, edited by Dr. Samuel A. Tannenbaum and me and published by the Harvard University Press in June, 1930, was noticed at length in The Review of English Studies for October by Professor G. C. Moore Smith. He rejects Randolph's authorship and advances the claim of Robert Baron. “The present writer expressed the view,” he asserts, “that if the manuscript was, as alleged, in the handwriting of its author, the play could hardly be Randolph's.” As I was emboldened to accept Dr. Day's ascription of the play to Randolph partly by the fact that Professor Moore Smith, convinced by Dr. Day's evidence, had himself categorically assigned it to Randolph in the very note to which he thus vaguely refers, I subjoin extracts therefrom, since—as the testimony of an expert—they are an important element in the case.
Hallström's Impressionism as Illustrated in A Secret Idyll
Authors: Dahlström Carl E. W. L.
Published: February 2007

The discussion of an author in terms of a literary school invites two methods of procedure. The investigator may touch lightly on each of a large number of works, or he may limit himself to a more exhaustive study of a single work. The latter method is the one adopted for this paper, since it has the double advantage of involving lighter obligations and of leading to more definite results. The work selected for examination is Per Hallström's short story, A Secret Idyll.
The Moral of the Ancient Mariner
Authors: Stallknecht Newton P.
Published: February 2007

After Professor Lowes' monumental study of the Ancient Mariner as a work of pure imagination, it may seem futile to search the poem for any didactic meaning or philosophical message. Professor Lowes has written that “to interpret the drift of the Ancient Mariner as didactic in its intention is to stultify both Coleridge and one's self!” But I trust that this essay will not result in verification of Professor Lowes' dictum. We must not be too quick to class even slightly obscure poems of Coleridge's as works of pure imagination. When we recall his philosophical disposition and the great fame which his somewhat murky speculation brought him during his own lifetime, the danger involved in such procedure should seem obvious.
Shakespeare, Hayward, and Essex
Authors: Heffner Ray
Published: February 2007

In her article “Shakespeare's Richard II and the Essex Conspiracy,” Miss Evelyn May Albright seeks to establish a “vital connection” between Shakespeare's Richard II and John Hayward's Henry IV. Such a connection she thinks would prove Shakespeare's interest in and adherence to the Earl of Essex in his quarrel with the Queen and certain of her counsellors. In presenting her case, however, Miss Albright has failed to give full evidence which, if given in an unprejudiced manner, would destroy the value of her conclusions. It is my purpose in this paper to supply the evidence available concerning both the playing of Shakespeare's Richard II on February 7, 1601, and the publication of Hayward's Henry IV. This account will, I think, show that there is no evidence of any connection between either Hayward and Shakespeare or Shakespeare and Essex.
Greene's James IV and Contemporary Allusions to Scotland
Authors: Hudson Ruth
Published: February 2007

Students of Elizabethan drama have practically agreed that James IV is one of Robert Greene's last undoubted plays, if not the very last in point of composition. They have, for the most part, assigned it to a date in or near 1590, and Professor C. M. Gayley has gone far enough to suggest that its composition belongs to the month of July, 1590. Arguments hitherto given for dating the play rest upon certain qualities of its style and structure that indicate the maturity of the dramatist's workmanship, similarities between lines of the play and Peele's The Hunting of Cupid (entered in the Stationers' Register, July 26, 1591), and possible allusions to events which transpired in Ireland and France in or near the year 1590.
Natural Supernaturalism in The Tempest
Authors: Bushnell Nelson Sherwin
Published: February 2007

“Poets are always entitled to a royalty on whatever we find in their works.” James Russell Lowell, himself a poet of sorts, was perhaps not entirely disinterested in making this observation. But a host of critics and students have accepted it at face value and have busied themselves in a hunt for the treasures which Shakespeare buried in The Tempest. The tools with which they work are mysterious and inexact; so, often, are their findings. Nothing daunted, they have advanced beyond the field of mere facts and sources in a search for treasures of another class—those which can be dug out of The Tempest, and which are of a metal and minting that Shakespeare himself might scarcely recognize.
The First Printer of Tristram Shandy
Authors: Curtis Lewis P.
Published: February 2007

In an attempt to determine the place of issue of the first edition of the first two volumes of Tristram Shandy the biographer of Laurence Sterne, Governor Wilbur Cross, has denied the traditional belief that the book was printed at York and has written as follows:

All copies of the first edition in two volumes (so far as they have been inspected by the present writer or described by others at first hand) contain on the title-page the title: “The Life and Opinions of Tristram Shandy, Gentleman,” a Greek quotation from the Encheiridion of Epictetus, the number of the volume, and the date “1760.” There is nothing more; no place of issue, no name of publisher, no name of author. It is the same for all copies extant, so far as they are known. … The notion which still half obtains that there was an earlier private edition of Tristram Shandy, perhaps bearing on the title-page “York, 1759,” is erroneous. The paper and the typography of the first edition of the first two volumes are essentially the same as those of the third and fourth volumes, which were printed in London the next year for R. and J. Dodsley. It is of course possible, though not probable, that Dodsley, in bringing out the second instalment of the book, matched the paper and the type of a York printer; but the natural inference is that Dodsley, on terms not now known, likewise had the first edition of the first instalment printed in London for Hinxman; that he kept with reluctance a bundle for the London market, and sent the rest down to York, to his former apprentice, who may be regarded as the real publisher of Tristram Shandy, in so far as it had any outside of the author. … The book was quietly placed on sale at York, without any advertisement in the local newspaper until February 12, 1760.
Plotting in Reade's Novels
Authors: Sutcliffe Emerson Grant
Published: February 2007

Charles Reade is not a great novelist, but he is a great storyteller, a master of “brute incident.” Critics recur in praise to this or that scene or group of scenes in his fiction. They prize highly the narratives relating the voyage home of the “Agra” in Hard Cash, and the boat race and bursting of the reservoir in Put Yourself in His Place; the prison scenes in It is Never too Late to Mend; and many of the episodes in The Cloister and the Hearth; the encounter with the mother bear robbed of her cubs, the fight with the “Abbot” and his mates. Yet, as with all the Victorian novelists, it is difficult to pick out from his novels any—except, perhaps, The Cloister and the Hearth—that satisfy through and through.
Notes on Sir Gawain and the Green Knight
Authors: Savage Henry L.
Published: February 2007

Study of the Gawain-poet in recent years has greatly increased: and with increase it has also grown more intelligent and appreciative. In 1922 there appeared the late Professor Emerson's ‘Notes on Sir Gawain and the Green Knight’ (JEGPh. XXI) and ‘Some Notes on the Pearl’ (PMLA. XXXVII), two suggestive and penetrating studies which anticipated many of the emendations and notes of the edition that was to follow three years later. In 1925 there appeared what scholars had long been hoping for, a carefully edited text of Sir Gawain and the Green Knight. This edition, the work of two British scholars, Professors Tolkien and Gordon, provides the reader with good notes and a competent working glossary. The notes, however, it must be said, are sometimes too brief in their discussion and give too little recognition to the work of previous annotators, where credit was justly due. Professor J. R. Hulbert's review of the new edition, which appeared later in the same year (Mod. Phil. XXIII. 246–249), though brief, contains a number of comments which succeeding scholars must take into account. In 1927 Professor Emerson published a further study of the Pearl (PMLA. XLII), and more important for our purpose, his review of the new edition (JEGPh. XXVI) which threw further light on many a textual crux and clarified some details of the story. Nor have studies of Sir Gawain been confined to criticism of the text. Fräulein von Schaubert (Engl. Stud. LVII), has postulated an English rather than a French origin for the poem, thus taking issue with the views of Kittredge. Also translations of the poem have been published by S. O. Andrew and T. H. Banks which keep the alliterative measure of the long line and endeavor not unsuccessfully to maintain the bob and wheel arrangement at the stanza's end.
The Mediæval Setting of Chaucer's Monk's Tale
Authors: Babcock R. W.
Published: February 2007

The purpose of this paper is not to establish definite sources for Chaucer's Monk's Tale but to consider it as a representative of a general mediæval type. Professor Lounsbury declared that the Monk's Tale belonged to a “species of composition to which the men of Chaucer's age were exceedingly addicted.” In the Canterbury Tales, he continues, “the Monk's tale is introduced as a specimen of these collections of stories, and largely and perhaps entirely for the sake of satirizing, or at least of censuring, the taste that created and enjoyed them.” “In the Middle Ages,” writes Mr. J. E. Wells, “it was not at all uncommon to make collections of a single general type.…. These collections were.… of an encyclopædic character.” So Mr. E. Greenlaw: “It [the Monk's Tale] is.… an example of the many collections of tales having a didactic purpose which were characteristic of mediævalism.”
The Impresa Portrait of Sir Philip Sidney in the National Portrait Gallery
Authors: Denkinger Emma Marshall
Published: February 2007

The impresa portrait of Sir Philip Sidney which hangs in the Tudor section of the National Portrait Gallery (no. 1862) in London, shows a strikingly handsome young man. (See Figure 1.) The warm gold of his hair is repeated in the braidings and buttons of his white satin dress, in sword-belt, and in the figures which make up the design of headgear and shield. A somewhat bungling painter has caught the sweet gravity of the poet who in the words of his friend was from childhood up never “other than a man.” But sunniness and glow are dominant. Inevitably one recalls Sir Henry's apt characterization of this son of his as Lumen familiae suae. As a matter of fact, the warmth of coloration is part of a general consonance. For the impresa in the upper left-hand corner is of a fire thrusting red and yellow points of life through crossed green boughs, with the “word,” Inveniam Viam Aut Faciam. And the design of the shield celebrates Apollo, the god of Fire and Light, of the golden sun and the tawny flame which like Youth itself must make or find a way.
The Psychology of Memory in Spenser's Faerie Queene
Authors: Boughner Daniel C.
Published: February 2007

From Plato and Aristotle, Hippocrates and Galen, through the medieval commentators, the Elizabethans inherited a body of complex psychological principles. An examination of these principles and their bearing on The Faerie Queene has so far been only casual and incidental. Since in Book ii, Canto ix, the poet combines one of the most widely used of medieval motifs—the conception of the body as a world, city, or castle—with certain current doctrines of psychology, such an inquiry is especially apposite. Spenser's use of the abundant contemporaneous literature of psychology affords material for an extended treatment such as that which Miss Anderson has made of Shakespeare's plays. The present study purposes to set forth one aspect of his system of psychology—his psychology of memory in the allegory of the Castle of Alma, to make clear the relationship of his system to the current Elizabethan doctrines, and to establish the purpose of certain departures from those doctrines.
Spenser and the Clerkship in Munster
Authors: Jenkins Raymond
Published: February 2007

Virtually all of Spenser's biographers have assumed that the poet lived in or near Dublin from the time of his going to Ireland as secretary to Lord Grey in 1580 till 1587 or 1588. In this paper I shall explain why data heretofore relied upon are of small value in establishing Spenser's residence near Dublin from 1584 till 1588, and shall advance further evidence, in addition to that brought forth by Mr. Plomer and Mr. Cross in The Life and Correspondence of Lodowick Bryskett, to support the assumption that after 1584 Spenser was Bryskett's deputy as clerk in the Council of Munster. To understand this hypothesis, a survey of the intimate relations between Spenser and Bryskett, as well as their connection with the Sidney family and Lord Grey, is essential.
Hazlitt as a Shakespearean Critic
Authors: Baker Harry T.
Published: February 2007

When William Hazlitt died, in 1830, his literary fame was obscured by his political views. The man who admired Napoleon and wrote a biography of him and who championed the radical creed of the French Revolution could hardly have been expected to be popular among Englishmen of the early nineteenth century. During the past twenty-five years, however, several volumes containing selections from his essays have been issued; and most editions of Shakespeare enrich themselves by quoting his opinions. His Characters of Shakespeare's Plays, printed in 1817, is still very much alive. Heine, in his volume Shakespeare's Mädchen und Frauen (1838), declared: “With the exception of William Hazlitt, England has given us no Shakespearean commentator of any consequence.” And this verdict, though decidedly exaggerated, gains new interest when we append the Teutonic explosion: “It takes the very heart out of me when I remember that Shakespeare is an Englishman, and belongs to the most repulsive race which God in his wrath ever created.”
Old French Goz and Crestiiens Li Gois
Authors: Levy Raphael
Published: February 2007

The purpose of this study is to trace the history of the word goz and to attempt to solve the mooted problem concerning the authorship of Philomena. It will be recalled that Gaston Paris discovered the poem buried in the Ovide moralisé, which is dedicated to Jeanne de Bourgogne, who died in 1329. G. Paris considered Philomena one of the works enumerated by Chrétien de Troyes in the introductory lines of Cligès, all of which, with the exception of Erec, had been thought lost. The author's name is given in verse 734 of Philomena, riming with bois:

La meisons estoit an un bois,

—Ce conte Crestiiens li Gois—.

Through an annotator's error, this name was long interpreted as Chrétien Legouais de Sainte-More vers Troyes. This identification was accepted in the 14th century by Eustache Deschamps and as recently as 1893 by L. Sudre. But in the same year, Professor A. Thomas revealed the paleographical error involved. By doing so, he precipitated a battle royal, the smoke of which has not yet cleared away. Many theories have been advanced to determine whether Crestiiens li Gois and Chrétien de Troyes were one and the same person. C. de Boer boldly entitled his edition: Philomena, Conte raconté d'après Ovide, par Chrétien de Troyes (P., 1909). However, as K. Voretzsch has pointed out, while there are similarities in the literary conception and style of Chrétien de Troyes and Crestiiens li Gois, nevertheless the linguistic differences in their works point to two distinct authors.
Marcel Proust Interpreted Through his Letters
Authors: Bussom Thomas W.
Published: February 2007

A man's friends sometimes do him a great injustice by their very eagerness to explain him to others. Such has been Proust's fate. Since his death enthusiastic friends, lacking a certain sense of discrimination, have surrounded him with a legend which the world too readily accepted. Many stories and reminiscences about him have been published, but the real man is still hidden behind the legendary one. From the thousands of his letters said to exist, only about two or three hundred are thus far accessible, and these have made their appearance piece-meal during the last three years. Most of his correspondence remains in the care of his brother, who apparently is reticent about giving it to the public.
XXII: The South English Legendary in its Relation to the Legenda Aurea
Authors: Wells Minnie E.
Published: February 2007

The similarity in structure and content between the South English Legendary and the Legenda Aurea was recognized more than fifty years ago by Horstmann, although he ruled out as wholly impossible the idea that the English author could have made use of the Latin collection.
XXV: Skelton's Quarrel with Wolsey
Authors: Nelson William
Published: February 2007

Passages from Colin Clout, Speak, Parrot, and Why Come Ye Not To Court sprinkle the pages of every account of England in the time of Henry VIII. As illustrative material for historical texts these satires of Skelton are unsurpassed. They are not vaguely general, condemnatory of times and manners in the all-inclusive fashion that must have rendered so many medieval diatribes innocuous reading even to those evil ones to whom they were primarily addressed. Colin Clout, indeed, masquerades as a member of this type: “It is wronge with eche degre. …” But the disguise is thin. Prelates who build noble mansions royally, adorn their walls with unseemly tapestries, give evil counsel, rule both king and kaiser, ride on gaily caparisoned mules—these are “prelates,” but the plural is transparently a singular. It is this singleness of objective, together with the acute danger in which that singleness must have placed the satirist, that provides the historian of politics with contemporary comment with which to annotate his discussion, and the historian of letters with a character of consuming interest.