bluuebunny/crossref_metadata_2025 huggingface dataset:
An Unpublished Slovak Manuscript
Authors: Coleman A. P.
Published: February 2007

Through the gracious courtesy of the Hungarian authorities I have been permitted to seek for Slavonic material in the Royal Hungarian National Museum. I was gratified to find that owing to a millennium of close contacts between the Magyar and the Slav, Budapest contains much interesting material. During this search I was fortunate enough to come upon the unpublished manuscript which is here reproduced. It was found by itself and was not a part of any collection. For purposes of identification I suggest calling it Slovak Manuscript M.M.C.
The Meaning of Hyperion
Authors: Caldwell James Ralston
Published: February 2007

It is generally agreed that had either Hyperion or The Fall of Hyperion: A Vision been completed, the result would have been a lofty utterance of Keats' best wisdom in fundamental matters. As to what these matters and this wisdom comprised there has been wide difference of opinion, particularly in respect to Hyperion.* In The Fall the poet, speaking in his own person, gives us some pretty clear hints; in Hyperion we must guess the meaning from the nature of the story and the characters. Hyperion, the longer of the two, is usually held to be the better poem; it is certainly the more cryptic. It has been variously explained as signifying: “the unity of all existence”; “a self-destructive progress toward good … that beauty and not force is the law of this change … light and song passing into union and perfection out of elemental crudeness”; as “the old dynasty of formless powers, driven into oblivion by new creators of form and order”; as “the epic of the Revolutionary Idea”; and as the apotheosis of “disciplined imagination” and “a state in mental stature where all facts, pleasant or otherwise, will appear in their proper perspective.”
Moneta's Temple
Authors: Lowes John Livingston
Published: February 2007

What goes into a masterpiece is one thing. The form in which it emerges is another. What happens between, mechanics or miracle, is a third. This note is a summary statement, for a single passage in The Fall of Hyperion, A Vision, of the first of the three alone. It has developed through a series of surprises, as again and again some fact the bearing of which had been unnoticed has proved to be an element in a complex design—a design which has nevertheless achieved the effect of an effortless simplicity. It has to do, in a word, with an extraordinary convergence of impressions which, through their blendings, took form in an imaginative conception of rare beauty—a conception in which five themes interweave, almost as in a great symphonic movement: themes drawn, amazingly, from Greece, Judea, Egypt, the island of Staffa, and the Mount of Purgatory. That, I am well aware, is a statement which may not be lightly made, and warrant for it must be given.
Longfellow in England: Unpublished Extracts from his Journal
Authors: Richards Irving T.
Published: February 2007

In the early stages of his long residence in England after 1843, Romeo Elton, who had earlier occupied the positions of Baptist pastor and Professor of Latin and Greek at Brown University, corresponded with Longfellow. In a letter of December 28, 1846, he remarked: On a late visit to Ambleside Mr. Wordsworth inquired after you, & mentioned the pleasing interview he had with you at Rydal Mount, & passed a deserved eulogium upon your Poems. The Poet Laureate is still vigorous both in mind & body. He & his good wife walked a mile, in preference to riding, one evening to take tea with their daughter. He observed that he was solicited to accept of the title of Poet Laureate four times before he consented. In a volume of his Poems he has written a few verses commendatory of the Queen, for which in return she has sent him her portrait, Prince Albert's, & their children's.
American Projects for an Academy to Regulate Speech
Authors: Read Allen Walker
Published: February 2007

Two forces are always at work in a language—one licentious, tending towards a disregard of regulation and convention; and the other conservative, tending to hold the language within bounds and to keep it neat and tidy. It is customary to think of English in America as being under the influence of the former, because our exuberant linguistic creations very readily attract attention. Yet there is a strong current in the opposite direction, and the pattern of American speech is not complete unless that is taken into account. Among the evidences of it are the recurring suggestions that an “academy” should be founded, with duties similar to those of the Académie française. Such agitation has been incessant in England since the sixteenth century, and the early suggestions in America reflected opinion in the mother country.
Cultural Age-Groups in German Thought
Authors: Schumann Detlev W.
Published: February 2007

… das Geheimnis der Kontemporaneität, welches Geheimnis mich zu beschäftigen nie aufhört, sowohl im Leben als in der Arbeit; denn es ist eigentlich der Schlüssel zum geistigen Dasein, sofern es zugleich menschliches Dasein ist.—Hofmannsthal.

Since positivism, with its cut-and-dry concepts of schools and influences has more and more lost its hold on literary criticism, a wide search for new methodological principles has become a distinctive feature of German endeavors. Their name is legion, their enumeration not pertinent. Suffice it to recall Nadler's regional theory, which, when used with discretion, appears as one of the most fruitful contributions. If Nadler bases his groupings on affinities of space, the Generationsprinzip or Altersgruppenprinzip proceeds similarly in terms of time. It has of late claimed increasing attention in Germany, but only very recently begun to attract interest in this country. On the following pages I shall attempt to discuss critically the more important German contributions to this methodological problem.
LX. The Date of the Eneas
Authors: Fredrick Edna C.
Published: February 2007

No definite agreement concerning the probable date of the Eneas exists in the studies devoted to this mediæval romance. Its editor, M. Salverda de Grave, originally placed the Eneas at about 1150, M. Faral believes it was composed about 1160, and one of its most recent critics, Mr. F. Guyer, considers it somewhat anterior to the year 1174. The last date can hardly be accepted, however, since the major part of Heinrich von Veldeke's translation of the Eneas into German was completed by 1175, and it seems reasonable to assume that the poem's dissemination and translation would require more than one year.
LXI. Chaucer's Wreched Engendring
Authors: Brown Carleton
Published: February 2007

Some ten years ago I pointed out (MLN, XL, 282–284) that the poem, “An Holy Medytacion,” first printed by Dr. MacCracken, was based directly on a thirteenth-century Latin poem, “De Humana Miseria Tractatus.” The English poem opens with a lively description of Spring which irresistibly recalls the beginning of the General Prologue to the Canterbury Tales. No doubt Dr. MacCracken was impressed by the apparent reminiscences of Chaucer in this section of the poem, and it was very natural that these should have influenced him in assigning the “Holy Medytacion” to Lydgate. This Spring description, however, instead of being reminiscent of Chaucer, follows closely the phrases of its Latin original. Accordingly, the most plausible reason for assigning the poem to the monk of Bury at once disappears.
LXII. Early Application of Latin Grammar to English
Authors: Meech Sanford Brown
Published: February 2007

In the past two years, partly to supplement in special fields the collections of the Middle English Dictionary, I have been searching the catalogues of manuscripts of English libraries for mediæval curiosities. Of these, early grammatical writings in English are not the least interesting. I have now four Latin grammatical pieces written in English in the fifteenth century: I, an anonymous grammar in St. John's College (Cambridge) MS. 163, f. 1a, printed below; II, another from Trinity College (Cambridge) MS. 0.5.4, f. 5a, printed in Essays and Studies in Eng. and Comp. Lit. in the series in Language and Literature, University of Michigan, xiii (1935), pp. 81–125; III, another in Douce MS. 103, f. 53a, printed below; and IV, a disquisition by a schoolmaster of Beccles (Suffolk), one John Drury, on the comparison of adjectives and adverbs in Cambridge Additional MS. 2830, f. 54a, printed in Speculum, ix (1934), 70–83. (I shall usually refer to them herein as I, II, III, and IV.)
LXIII. Influence of Superstition on Vocabulary: Two Related Examples
Authors: Allen Hope Emily
Published: February 2007

During the period covered by the Early Modern English Dictionary, witchcraft occupied the mind of the average man, and became the subject-matter of literature (dramatic, theological, philosophical, legal) to an extent probably not known in any other epoch. It is natural that such a predominating interest should have its effect on the vocabulary. There can now be described, with more detail than has hitherto been available, one instance in which the beliefs and practices of contemporary charlatans, pretending to supernatural connections, made an interesting development of meaning for a common word. This instance will be illustrated at length, for the sake of the analogies which it suggests as to possible starting points for studying other words. The discussion seems to indicate that elements in the problem go back to learned tradition and at the same time to primitive Teutonic folk-lore.
LXVII. Forged Letters of Laurence Sterne
Authors: Curtis Lewis P.
Published: February 2007

As many have learned to their dismay, the materials upon which Sterne's biography is at present based offer problems of unusual complexity, problems that are due in part to the man's intricate and elusive nature and in part to his daughter and to his swarm of imitators. Sterne, it is evident, was too great a humorist ever to be quite honest either with his own or with future generations. He amused himself in his letters by deceiving his contemporaries and mystifying posterity. For many years now his devices have been familiar matter: he rewrote his letters with his eye upon the press; sometimes he made portions of a letter serve more than one correspondent; and, though lately we have known it, he readdressed a letter much after the manner of Pope in the expectation that the substituted name of Eliza Draper would make a better impression than that of an unidentified countess.
LXVIII. Voltaire's Reaction to Diderot
Authors: Torrey Norman L.
Published: February 2007

If we render to the word philosophy its true meaning of “love of wisdom,” and inject into the word wisdom a few of the qualities suggested by the French word “sagesse,” we shall find Voltaire and Diderot at the very heart of eighteenth-century philosophy. Since they were by no means wholly in agreement, a study of their personal and intellectual reactions should clarify many of the main issues and bring us a step nearer to an understanding of deism and materialism, of decadent classicism and renascent romanticism, and of the nobler eighteenth-century conceptions of reason and nature. This study will be centered around certain comments in Voltaire's hand in the margins of Diderot's works now in the Public Library of Leningrad. Voltaire's reactions, however, are so often essentially personal that it will be necessary to consider the general relations between the two men. Certain letters of Diderot recently published have thrown new light on this rather unusual friendship, in which Voltaire appears the more tolerant and forbearing. An attempt will be made also to relate the essential ideas of the two philosophers to trends in modern thought.
LXX. Goethe in American Periodicals 1860–1900
Authors: von Grueningen John Paul
Published: February 2007

The study of the reception and the rejection of Goethe in America has attracted many investigators and has yielded a wealth of factual and significant material—the gist of which has recently been set forth in comprehensive perspective by Camillo von Klenze. However, the well has not been exhausted. So far the history of what may be called the integration of Goethean literature and thought in America has been told largely in terms of individual leadership. To be sure, in the first half of the nineteenth century, perhaps up to the appearance of Taylor's Faust (1870), the attitude of a few score outstanding personages tells the better part of the story of Goethe in America. But as time advances the leadership of individuals becomes more and more involved in a complexity of forces, an expansion of fields, and a ramification and crossing of lines of influence and tradition. Toward the close of the century the material—in the American popular magazines, for instance—presents such endlessly involved cross-considerations and such masses of detail that it would seem as if nothing short of the much overstrained statistical method could lead to any desirable perspicuity.
LXXI. L'ombre De Madame Bovary
Authors: Denœu François
Published: February 2007

L'autobus de Rouen à Beauvais s'arrêta dans une longue plainte de freins fatigués, et les deux voyageurs qu'il transportait ouvrirent à grand peine sa porte étroite et piquée de rouille.

—Pour aller & à, madame? demanda le plus vieux à une paysanne en tablier bleu qui, dans l'ombre d'une porte entre-bâillée, épiait les arrivants.
LXXIII. Louis-Xavier de Ricard, Poet of Progress
Authors: Schaffer Aaron
Published: February 2007

In the course of his essay on Paul Verlaine, Anatole France, in speaking of the early Parnassians, makes the very shrewd observation:

Nous avions, je ne sais trop pourquoi, la prétention d'être impassibles. Le grand philosophe de l'école, M. Xavier de Ricard, soutenait avec ardeur que l'art doit être de glace et nous ne nous apercevions même point que ce doctrinaire de l'impassibilité n'écrivait pas un vers qui ne fût l'expression violente de ses passions politiques, sociales ou religieuses.
LXXIV. Die Herkunft Der Palatalisierung Und Mouillierung Des L-Lautes in Deutschen Dialekten
Authors: Selmer Carl
Published: February 2007

Das Gebiet der Sprachforschung des letzten Jahrhunderts hat, allgemein gesprochen, sein Bestes darin geleistet, Spracherscheinungen in ihrem Zusammenhange zu erkennen und in ihrer Regelmässigkeit darzustellen. Parallel dazu lief allerdings eine vorsichtiger gehaltene Bewegung, welche die gefundenen Erscheinungen auf die Frage des “Warum” hin zu prüfen und auf Grund ihrer inneren Notwendigkeit darzustellen sich bemühte. So kam es, dass schon seit den Zeiten eines Zeuss, Bopp und Grimm ernste Versuche von Deutungen wichtiger Lautgesetze gemacht wurden, die sich allerdings über den Radius eines “wohl” und “vielleicht” selten hinausbewegen konnten. Zu Ende des vergangenen Jahrhunderts mehrten sich auch jene Theorien, die wohlbekannte Lautgesetze, wie Umlaut, Ablaut und Lautverschiebung nach ihrer inneren Notwendigkeit zu erklären versuchten. Bei dem Emporkommen so vieler neuer Hilfswissenschaften ist es nur natürlich, dass wir bald ein “Sich Jagen” von Theorien beobachten können, was manchen Gelehrten vorsichtig, vielleicht auch skeptisch stimmte und damit von der Lösung der schönsten und schwierigsten Frage “Warum ändern sich Laute?” ferne hielt. Um so mehr muss man es dem Mut, vielleicht Opfermut einzelner Männer danken, trotzdem Lösungsmöglichkeiten angedeutet zu haben, die doch wenigstens die Forschung wach und rege erhielten.
Old English Beot and Old Icelandic Heitstrenging
Authors: Einarsson Stefán
Published: February 2007

In his “Introduction” to Beowulf (p. lvii) Klaeber makes the following remark:

That some of the speeches follow conventional lines of heroic tradition need not be doubted. This applies to the type of the gylpcwide before the combat (675 ff., 1392 ff., 2510 ff.), the ‘comitatus’ speech or exhortation of the retainers (2633 ff., cp. Bjarkamál [Par. §7: Saxo ii.59 ff.,] Maldon 212 ff., 246 ff., Finnsb. 37 ff.).
A Defense of the Etymology Allatus, ∗Allare, Aller
Authors: Parker Eugene F.
Published: February 2007

Among the manifold etymologies which have been proposed for the verb aller there is only one that is satisfactory phonetically, semantically, and historically: that is its derivation from aliare based on allatus. This simple and direct etymology seems to have occurred independently to various persons, but was first formally proposed in 1878 by J. Baur (Zs. für Rom. Phil., ii, 592). None of the other champions of the idea have ventured to publish anything on the subject. Baur's presentation was brief and unpretentious, for he apparently felt that the merits of the derivation required no elaborate argument.
Lord Berners's Translation of Diego De San Pedro's Cárcel de Amor
Authors: Crane William G.
Published: February 2007

Lord Berners's translation of Diego de San Pedro's Cárcel de Amor presents a number of problems to scholars of English and Romance languages. This sentimental romance, which appeared in Spanish in 1492, was soon turned into Italian and French. The English version, The Castell of love, made by Lord Berners a few years before his death in 1533, does not appear to have been published much before the middle of the sixteenth century. Only four copies of the book in English, representing three editions, are known to exist. The British Museum possesses copies of two editions; a third edition is in the Huntington Library at San Gabriel, California. There is some disagreement over which of the English editions is the earliest, though it cannot be established with certainty that they were not preceded by some impression of which no copy is known today. A question of greater importance is whether or not Lord Berners actually translated the story, as is claimed on the title-page, from Spanish, or if he even translated a part of it from that language. If it can be determined that the claim made for a Spanish original is true, in whole or in part, this book deserves to be recognized as the first published translation from Spanish into English. The influence of the sentimental romances, such as The Castell of love, upon English fiction and wit in the sixteenth century is a subject which remains to be adequately treated.
Elizabeth and Literary Patronage
Authors: Gamzue B. B.
Published: February 2007

It is an old and popular tradition that Elizabeth was a great lover of letters and a patron of the Arts. In 1718 Ambrose Philips sought to animate his country-women
Criticism in Fielding's Narratives and His Estimate of Critics
Authors: Beatty Richmond Croom
Published: February 2007

Specific study of the interesting critical dicta in Fielding's histories has been unreasonably neglected by scholars: Austin Dobson in his biography merely touches upon the author's general literary purpose as expressed in Joseph Andrews. G. M. Godden is content to take brief notice of Fielding's estimate of critics, and John C. Metcalf, in his essay “Henry Fielding, Critic,” is concerned almost exclusively with that phase of Fielding's opinion which is brought out in his dramas. In the monumental work of Cross, the subject as such is ignored, though Fielding's war with The Grub Street Journal receives ample exposition. Miss Thornbury's recent dissertation embodies a thorough commentary on Fielding's learning, and establishes him as a traditionalist in form, an artist practicing, in the light of reason always, established comic-epic rules. Yet such significant items as Fielding's quarrels with dogmatic critics, his convictions about travel books, plagiarism, and the essentials of a good writer, and his philosophy of character lie, in the main, outside the limits of her investigation. The only adequate approach to this subject has been that of F. O. Bissell, Jr., and it is perhaps not so thorough as might be wished, in spite of ample excerpts from the prefaces and digressional chapters of Joseph Andrews and Tom Jones.
Burns's Journal of His Border Tour
Authors: Ferguson J. DeLancey
Published: February 2007

The only occasions on which Burns is known to have kept a regular journal were his tour of the Border in May, 1787, and his visit to the Highlands in the late summer of the same year. Dr. Currie, the poet's first authorized biographer, made some slight use of these documents, but what was alleged to be the complete text was first published by Allan Cunningham in 1834, after being further quoted by Lockhart in his Life of Burns in 1828. When the original of the Highland journal again came to light some years ago it proved to be considerably briefer than Cunningham's printed text. Mr. J. C. Ewing, who in 1927 edited the work in facsimile, believes the additions to have been made by Burns himself in a recension, now lost, of his original penciled notes. Professor Snyder, however, suspects Cunningham himself to be the author of the revisions, and in the absence not only of Burns's enlarged manuscript but of any proof that such a manuscript ever existed, it is difficult not to agree with Snyder. Cunningham's reputation as editor and biographer is so justly suspect that the burden of proof rests upon the defenders of his text.
Zola's Literary Reputation in England
Authors: Decker Clarence R.
Published: February 2007

In a former article, I traced the history of Balzac's literary reputation in England as an example of the persistent change in the Victorian point of view toward moral and literary questions. In spite of the vitriolic attacks of critics and moralists and the general apprehension of the reading public, Balzac ultimately was accepted in England. In the thirties, “… a baser, meaner, filthier scoundrel never polluted society”; in the nineties, he is acclaimed one of those “divine spies, for whom the world has no secrets,” who finds “spirit everywhere,” and who gives “us so much life that we are almost overpowered by it.” The fervor of the moralists in the nineties was no less than in the thirties, but the objects of their concern, and consequently their standards of judgment, had undergone radical modifications.
Pierre Lasserre as a Liberal
Authors: Halperin Maurice
Published: February 2007

It is not commonly known that Pierre Lasserre, author of the notorious Romantisme français and long associated with Charles Maurras as leader of the dogmatic, authoritarian reaction against the romantic and liberal philosophies of the nineteenth century, died a liberal. That Lasserre in 1930 was on the threshold of a new life, that he was struggling desperately against time to bring forth the fruit of an intellect that had been slow in ripening, is a conclusion which may readily suggest itself to one who is familiar with the last stages of the critic's thought.
Beginning-Consonants and Breath-Control in French and English
Authors: Barker James L.
Published: February 2007

To speak a foreign language with a correct accent, one must acquire the ability to produce each sound accurately, but is that all? Are sounds put together differently or are transitions from one sound to another made perhaps in the same way in different languages and, consequently, of little or no importance? Comparatively little attention has been paid to the waysounds are put together, to glides or sons transitoires. The generally accepted opinion is expressed by Jespersen:

Diese Ab- and Anglitte haben—mit wenigen Ausnahmen—sehr wenig praktisches Interesse: sie gehen nähmlich so schnell vor sich, dass das Ohr keinen besonderen Eindruck von ihnen erhält, und zwar stets so, dass der kürzeste Weg zwischen den beiden Stellungen gewählt wird, und dass sie sich mit unfehlbarer Sicherheit bestimmen lassen, wenn die Endpunkte (die Lautstellungen) gegeben sind. Haben zwei aufeinanderfolgende Laute eine Organstellung (ein Element) gemeinsam, so wird diese Organstellung ganz natürlich von dem einen bis zu dem andern beibehalten: in (afva) mache ich mir nicht die Mühe, zwischen (f) und (v) die Unterlippe von den Oberzähnen fortzunehmen …, oder den Ausatmungsstrom aufhören zu lassen …
Spengler's Views of Art
Authors: Dahlström Carl E. W. L.
Published: February 2007

In an exposition of the chief views of art set forth by Oswald Spengler anyone familiar with The Decline of the West will realize at once that a short paper can present only a very brief summary of the material on art scattered throughout the two volumes. Moreover, Spengler's views of art are so completely intertwined with information relative to the other activities of life that an essay may not be wholly restrictive in subject matter. Spengler makes the task doubly uninviting for the investigator by erecting a pons asinorum between himself and the would-be critic. Note, for example, the following sentence:

Nichts ist einfacher, als an Stelle von Gedanken, die man nicht hat, ein System zu begründen. Aber selbst ein guter Gedanke ist wenig wert, wenn er von einem Flachkopf ausgesprochen ist.
Parole Identiche in the Sonnet and Other Verse Forms
Authors: Fucilla Joseph G.
Published: February 2007

Some time during the first half of the fifteenth century there came into being a new type of sonnet the existence of which writers of Italian manuals of versification have either overlooked, ignored, looked upon as an isolated phenomenon, or connected with other devices that bear to it but a remote historical relationship. The most immediate model of this new form is the sonetto equivoco—a favorite artifice from the first century of Italian literature to the end of the Trecento—in which the rime equivoche of the simple variety are extended to all of the fourteen verses. Petrarch's Quand'io son tutto … is the best known example of a sonnet with equivocal rime words.
Notes on The Elizabethan Elegie
Authors: Weitzmann Francis White
Published: February 2007

In modern English usage, the term elegy bears a distinct connotation of threnody: broadly, it indicates any funeral poem or lament for the dead; more precisely, it describes a lengthened, dignified poem which either mourns reflectively for a deceased person or broods with a more inclusive sorrow over the tragedy men encounter in living. In this narrower sense, the elegy is a reflective lyric, suggested by the fact or fancy of death. The emotion, personal or public, finds utterance in keen lament, to be allayed, however, by tranquil consideration of the mutability of life, the immutability of Something which justifies life and death;

or, in the words of Edmund Gosse, it is a poem of lamentation and regret, called forth by the decease of a beloved or revered person, or by a general sense of the pathos of mortality…. It must be mournful, meditative, and short without being ejaculatory.
Information Furnished by the Mercure Galant on the French Provincial Academies in the Seventeenth Century
Authors: Storer Mary Elizabeth
Published: February 2007

The documentary value of the Mercure galant, the review founded in 1672, which La Bruyère considered to be “directement au-dessous de rien,” has not ceased to increase with the passage of time. Interspersed among frivolous poems, conundrums, descriptions of festivals and of styles, one finds announcements of new books, of military campaigns, and (what interests us here particularly) accounts, often filled with picturesque detail, of the foundation and the sessions of literary bodies organized in the provinces in the seventeenth century, in imitation of the French Academy. Some of these still have vigorous existence. In most instances, the Mercure is the chief source of information on these early years, and, strangely enough, has been neglected by the historians of the provincial academies.
Milton as a Historian
Authors: French J. Milton
Published: February 2007

One of the most puzzling of literary problems is the fact that John Milton, though unquestionably one of the world's great poets, spent the prime of his life in writing chiefly prose. By 1640 he had written some poems which the world has not willingly let die. But with the exception of a few sonnets (many of which are occasional poetry or mere society verse) he wrote hardly any poetry from 1640 to 1658—that is, roughly, between the ages of thirty and fifty. A careful reading of his History of Britain, however, sheds some light on this situation and reveals an important trait of Milton's which is seldom fully recognized. Coming to the History of Britain with no preconceived notion of Milton's character or purpose, one is increasingly impressed with the idea that for Milton the writing of poetry was unusually difficult, and that his mind tended more naturally to prose criticism. (I hope soon to publish a study of Milton's satire which will support this view.) To say that Milton was no poet or that poetry can be defined only as the product of un trammeled fancy is ridiculous; it is a bent, a matter of degree rather than of kind. But there is some justification for thinking of Milton as a reluctant poet.
Burns and the Smuggler Rosamond
Authors: Snyder Franklyn Bliss
Published: February 2007

The good ship Rosamond first appeared in an account of Burns's life in the spring of 1828, when Constable & Co. issued a Life of Robert Burns, by J. G. Lockhart, LL.B., as Volume XXIII of their Miscellany of Original and Selected Publications. Inevitably Lockhart had based his biography upon Dr. Currie's, which since its appearance in 1800 had run through many editions, and had carried Burns's fame to virtually all parts of the English-speaking world. But Lockhart, working under the eye of his distinguished father-in-law, was not content merely to rehash old material. Though modestly stating that his purpose was “no more than to compress, within the limits of a single small volume, the substance of materials already open to all the world,” he admitted that “little touches of novelty” might be discovered in his narrative, particularly in the chapters dealing with Burns's later years. Robert Chambers, whom Lockhart characterized as a “diligent local antiquary of Edinburgh, to whom I owe many obligations,” had passed on to the biographer whatever he had gleaned from conversation with Burns's surviving acquaintances; William M'Diarmid, editor of the Dumfries Courier, had supplied other “particulars”; Allan Cunningham, who shared with James Hogg the honor of Lockhart's dedication, was the authority for still more new matter; various unpublished journals and letters were also laid under contribution. The total result was a picture of Burns recognizably like Dr. Currie's, but tricked out with such a wealth of anecdotal novelty that the subscribers to Constable's Miscellany must have been well aware that here in truth was an “original” and not merely a “selected” publication. And in this original publication everything concerning the Rosamond was new.
A “Lost” Poem by Arthur Hallam
Authors: Motter T. H. Vail
Published: February 2007

The centenary of the death of Arthur Hallam, noted in England by a leading article in The Times Literary Supplement (September 14, 1933) and in America by an exhibition of Hallam's works in the Yale University Library (January, 1934), served as a reminder not so much of what we know of the youth who was so important an influence on Tennyson as of what we do not know fully, a partial ignorance which results from the difficulty with which the study of Hallam is attended. The “lost” poem here reprinted after more than a century is lost only in the sense in which nearly half the printed poems of Hallam are unknown because they are missing from the editions commonly available. When Hallam died in 1833 in his twenty-third year, he left behind him one small and now very scarce volume, privately printed in 1830, and other poems and essays, some of which were collected by his father, Henry Hallam the historian, and privately issued as the Remains of 1834. Most of this material, also edited by Henry Hallam, was privately printed in 1853, and this volume is the basis of such subsequent collections of Arthur Hallam's work as have appeared.
Grundtvig's Index B of English and Scottish Ballads
Authors: Hustvedt S. B.
Published: February 2007

While Francis James Child was preparing the manuscript for the publication of The English and Scottish Popular Ballads, Svend Grundtvig sent to him, in the form of enclosures with letters dated August 25, 1877 and January 29, 1880, a numbered list of English and Scottish ballads arranged in the order which Grundtvig, at Child's earlier request, meant to propose as a proper sequence for publication. This list is printed in full in my Ballad Books and Ballad Men under the designation of the “Grundtvig-Child Index.” This index was prepared by Grundtvig mainly from two other manuscript indexes which he had drawn up many years before for convenient reference in his work with the Danish ballads. The first of the two, named Index A by Grundtvig himself, contained what he regarded at the time as a standard list of English and Scottish ballads. The second, named by him Index B, comprised ballads which he regarded for various reasons as questionable. Index A began in 1850; Index B appears to belong to approximately the same period. Between twenty and thirty years afterward, when Grundtvig prepared for Child's guidance the Grundtvig-Child Index, he admitted into it many ballads from Index B. In the interval he had obviously changed his mind or resolved his doubts as to the merits of a group of ballads originally regarded by him as distinctly secondary in value. It is to be observed, however, that, in his classifications for Child in the Grundtvig-Child Index, Grundtvig admits no ballad from Index B into his First Class, in his opinion the most ancient poems; on the other hand, he places a large number of pieces from Index B in his Fourth Class, “consisting of imitations of the old ballad style.” Whether, then, we take into account Grundtvig's earlier or his later judgment, Index B represents a secondary order of merit. Careful attention should be paid, meanwhile, to the variety of reasons which led Grundtvig, according to his own introductory note, to the formation of Index B. This index was to him in effect a sort of ballad purgatory, from which in the course of time he released such of the numbers as appeared to him worthy of liberation.
R. M. Rilke und Christian Morgenstern
Authors: Hofacker Erich
Published: February 2007

Der letzte Spross einer alten Familie wird nach schmerzlichen Erfahrungen in seiner Jugend sich seines Dichtertums bewusst. Seine frühe Lyrik wächst aus der preziösen Formkultur der Neuromantik hervor, sie gewinnt unter nordischem Einfluss Farbe und Kraft, um dann in der Berührung mit Russland und der deutschen Mystik ihre tieferen religiösen Quellen zu entdecken. Durch die persönliche Bekanntschaft mit einem hervorragenden Geist seiner Zeit wird aus dem mystischen Gottsucher und Gotterahner schliesslich ein Gottfinder, der in Werken von ganz seltener Zartheit und Tiefe und in virtuoser Beherrschung der Form uns zukunftweisend die letzten Fragen der Menschheit erfühlen lässt.
The Echo-Word in Beowulf with a Note on the Finnsburg Fragment
Authors: Beaty John O.
Published: February 2007

cyninges Ðegn,guma gilphlæden, gidda gemyndig,sē Ðe ealfela ealdgesegenaworn gemunde —word ōÐer fandsōÐe gebunden— secg eft ongansīÐ Bēowulfes snyttrum styrian,ond on spēd wrecan spel gerāde,wordum wrixlan; wēlhwylc gecwæÐ,Ðæt hē fram Sigemunde(s) secgan …(Beowulf, ll. 867b–875)

GRENDEL is overcome. The warriors who urged their horses along the trail of bloody tracks are returning to Heorot. A poet-warrior sings, adding the name of Grendel's conqueror to the roll of Germanic heroes. The author of Beowulf gives a brief but precious account of the principles of his poetry. One word finds the other, rightly bound, and there is a varying with words. The inevitable alliteration of Old English poetry, as in the second line above, is obviously the most conspicuous way in which one word found the other, rightly bound. Likewise, varying in words aptly describes the principle underlying the “Kenning” or epic epithet. This principle of style consists in the repetition of words or phrases to round out a full poetic picture by presenting an idea from varying points of view. Examples are cyninges Ðegn, guma gilphlæden, and secg, all of which refer to the poet-warrior in the quoted passage.
The Direct Source of the Pamela-Cecropia Episode in the Arcadia
Authors: Syford Constance Miriam
Published: February 2007

Spenser-Sidney scholarship has for some time been concerned with the problem of the sources of the Mutabilitie Cantos, of the Garden of Adonis passage in the Faerie Queene, and of the Pamela-Cecropia episode in the third book of the Arcadia, with reference to their expression of natural philosophy. Miss Albright, Miss Wilson somewhat briefly, Miss Whitney, Mr. Harrison, and Mr. Levinson have rejected as vaguely remote, or have tried to break down completely, the theory of definite influence of Lucretius. These scholars have, in effect, built up a kind of vari-colored stone wall against Lucretius and against all the emphasis of Mr. Greenlaw's careful researches, tip-toeing around the wall to Empedocles by way of Du Plessis Mornay, and then coming back again to Cicero in his De Natura Deorum, or to Ovid, or, finally substantially neutralizing the whole exhibit by the neutral-toned tendency to fall back upon the theory of general Renaissance culture and commonplaces as the only determinative source of influence. Must we, however, leave the problem at this point? Or is there a very definite, direct source?
Thomson and Voltaire's Socrate
Authors: Davis Rose Mary
Published: February 2007

Scholarly biographers of James Thomson have shown a tendency to credit the statements made by Voltaire in the Preface to his tragedy, Socrate, which he represented to be a translation of an English original by Thomson given to the supposed translator, one “Mr. Fatema,” by “Mr. Littleton” when the latter was on a visit to Holland. Morel attempted to identify this play with a tragedy which was undertaken by Thomson in 1731: “Il se pourrait bien que ce fût cette même tragédie de ‘Socrate’ dont Rundle lui avait inspiré l'idée, et que plus tard d'autres amis, Mr. Pitt …, Mr. Lyttelton et Gilbert West lui conseillèrent d'abandonner.” Macaulay believes that Socrate was the drama “suggested by Mrs. Sandys” which Thomson referred to in a letter to Rundle in December, 1736. He admits that Voltaire's preface is a “piece of mystification”; but adds:

it does not follow that all the statements made in it are untrue, and we know that Voltaire was in correspondence with Lyttelton shortly after Thomson's death.
The Naval Scenes in Roderick Random
Authors: Knapp Lewis Mansfield
Published: February 2007

Smollett's use of life and scenes in the British navy in the early 1740's in his first novel has long been recognized as an original and important contribution to the materials of English fiction. Chapters 24–38 of Roderick Random with their abundant detail, revealing so graphically the brutalities, disease, and official incompetence involved in the conduct of naval affairs in the expedition to Carthagena 1740–41, have not only impressed Smollett's critics but have offered a firm point of departure for the conjectures of his biographers. Yet although these chapters are successful as realistic art, and suggestive in their biographical implications, there always arises the difficult question of how much of this vivid writing is historical fact and how much is fiction. This question must be the concern of critics in determining Smollett's method in the selection of his materials, and it is central to his biography.
Scott and the French Romantics
Authors: Dargan E. Preston
Published: February 2007

On a chilly September morning in 1827 a young man bearing the humble name of Chardon entered a bookshop on the Quai des Augustins. Plucking up his courage, he announced to two busy partners: “I am the author of a French historical novel, in the manner of Walter Scott. Its title is The Archer of Charles the Ninth. I propose that you should handle the work.” But the busy partners were just lamenting that the great popularity of Scott's novels was prejudicial to their own trade. They rejected the proposal of Chardon, who took his wares to a sly full-bodied publisher called Doguereau. To him the budding author described his novel as “dans le genre de Walter Scott” and developed its theme as concerned with the civil wars between Catholics and Protestants. Doguereau made a paltry offer which was declined. L'Archer de Charles IX, after many vicissitudes, after being revised or puffed by various friends of Chardon, was published by a third firm—at a dead loss.
Gustave Flaubert and Charles Baudelaire—Their Correspondence
Authors: Miller L. Gardner
Published: February 2007

Charles Baudelaire was born April 9, 1821; Gustave Flaubert, December 12 in the same year. Their families belong to a cultivated and wealthy bourgeois class which offers to them all the advantages of such a milieu. They grow up during the time that French Romanticism attains the quintessence of its literary expression; their intelligence is stimulated by their reading of Victor Hugo's dramas, those of Alexandre Dumas, Sr., and of Théophile Gautier's poetry. At school, both are mediocre students who excel each in one scholastic exercise—Flaubert is awarded first prize in history, Baudelaire third prize in Latin poetry. They are too preoccupied with literature, too conscious of the first awakenings of their latent genius. Having no respect for their professors, they spend their time as best suits their fancy. Flaubert writes letters to his cherished friend, Ernest Chevalier: Lundi soir, 15 avril 1839, classe du sire Amyot, théorie des éclipses, lequel a l'esprit bougrement éclipsé.
The Book of the Nativity of St. Cuthbert
Authors: McKeehan I. P.
Published: February 2007

The close relations existing at times between two great types of medieval fiction, the romance and the saint's legend, have been pointed out by a number of scholars. Studies have been made of the development of individual saints' legends into romances or near romances, of the borrowing by legends of romantic material. One peculiar type of legend has romantic embellishments attached only to the origin or childhood of the saint, leaving to the rest of the narrative the character of sober history with probably some contamination from non-romantic folk-beliefs. Of this one of the most interesting and conspicuous examples is the story of the Syrian princess who was said to have become the mother of St. Thomas of Canterbury. Less well known, indeed largely ignored, is the confused tale of the romantic origin of St. Cuthbert as found in the Libellus de ortu (vel nativitate) Sancii Cuthberti, which is the acknowledged source of the first part of the Northern English Metrical Life of St. Cuthbert. It is the purpose of the present paper to examine the contents of this little book, to point out some of its resemblances to the Horn-Saga and other romances, and to throw some light on the methods of composition of the medieval hagiographer.
The Evolution of the Canterbury “Marriage Group”
Authors: Brown Carleton
Published: February 2007

The information gained from a detailed study of the MSS of the Canterbury Tales throws light not merely on the operations of the scribes but also in some cases enables us to perceive successive stages in Chaucer's arrangement of the Tales. One of the clearest illustrations of this is presented by the conclusion of the Clerk's Tale. The variations of the MSS at this point seem to afford unmistakable evidence of revision by the poet himself, and they carry with them, I think, some larger implications.
Sir William Cornwallis's Use of Montaigne
Authors: Bennett R. E.
Published: February 2007

Students of Elizabethan literature are well acquainted with the fact that Sir William Cornwallis had part of Montaigne's essays available in translation before the composition of the first volume of his own essays, which was published in 1600, and probably written soon after he returned from Ireland where he had been knighted by Essex on August 5, 1599. Unfortunately, no one has been able to determine whether or not the translation which Cornwallis saw was Florio's. While Florio's Montaigne was not published until 1603, a large part of it may have been completed much earlier, and Cornwallis may have seen all or part of Florio's work; but it is just as possible that he saw a translation which is not now extant. Florio, himself, says, “Seven or eight of great wit and worth have assayed, but found these Essayes no attempt for French apprentises or Littletonians.” Cornwallis does not help us to decide the question. Although he is frequently indebted to Montaigne, I can find no passage which approaches a quotation closely enough to make comparison with Florio's version illuminating. Neither is Cornwallis's tribute to Montaigne's translator very helpful.
Allegory in the French Heroic Poem of the Seventeenth Century
Authors: Marni Archimede
Published: February 2007

Raymond Toinet states that seventeenth-century France produced close to one hundred and twenty-five heroic poems. In reality, however, not quite half of this number may be classified as such, the others having strayed too far even from the loosest definition of the genre. The proverbial dullness of these works has earned for them their merited oblivion, and to resurrect them for the purpose of examining their allegorical element would be quite unnecessary were it not for the fact that an adequate treatment of the question will tend to correct a common misunderstanding in the mind of most students of French literature regarding the attitude of the seventeenth century toward allegory in general.
Swift and Some Earlier Satirists of Puritan Enthusiasm
Authors: Webster C. M.
Published: February 2007

The present writer pointed out that many of the themes of satire which constitute Swift's attack on the Puritan, Jack, had been used by earlier seventeenth-century satirists; and the statement was made that part of his real contribution was to be found in his analysis of the zeal and fervor which made all men irrational. This paper will endeavor to show that many of the observations on enthusiasm and zeal which are found in A Tale of a Tub and the Discourse on the Mechanical Operation of the Spirit were not new or original. Some effort will be made to show that Swift knew the principal satirists mentioned, but more to ascertain how Swift's remarks on enthusiasm would have been understood by those Englishmen of the early eighteenth century who were thoroughly conversant with the earlier satires of enthusiasts.
Metapher und Märchengestalt
Authors: Diez Max
Published: February 2007

In voller konkreter Wirklichkeit, jedem ungefähr in gleicher Weise vor Augen tretend, stehen im Gegensatz zu Tiecks Runenbergfrau und Hoffmanns Serpentina, Fouqués Elementargeister im Verkehr mit den Menschen. Allerdings macht auch Fouqué einen sehr wesentlichen Unterschied in der metaphorischen Behandlung der beiden Gestalten, der Undine und des Kühleborn. Kühleborn, in jeder seiner Erscheinungen an das Wasser gemahnend und an das Wasser gebunden, ewig beweglich und sich verwandelnd, halb Wasser, halb Geist, steht der Natur näher und erinnert durch falschen Schein und Irrtum an die illusorischen Gestalten Tiecks und Hoffmanns. Dagegen steht Undine selbst in ihrer engen Verwandtschaft mit Melusine der Stufe der Volksmärchengestalt näher und erinnert mehr an Musäus' Schwanenjungfern und Nymphe des Brunnens. Sie ist fast vollständig vermenschlicht und verwandelt sich nur am Anfang und am Ende der Erzählung. Aus dem Wasser geht sie hervor, ins Wasser kehrt sie zurück, dazwischen aber liegt ein Menschenleben, welches nur in der Macht, die sie auf Kühleborn ausübt, und durch einen zarten metaphorischen Schleier den Zusammenhang mit dem Element erkennen lässt.