bluuebunny/crossref_metadata_2025 huggingface dataset:
Farsa Hecha Por Alonso De Salaya
Authors: Gillet Joseph E.
Published: February 2007

When Manuel Cañete, in the introduction to the academic edition of Lucas Fernández, first spoke of a certain Alonso de Salaya “tan diestro en bosquejar delicadamente amorosos coloquios,” there was some reason to wonder whether he could have actually read these amorosos coloquios instead of merely quoting the first two lines of a “Farsa en coplas” from the notes which Gallardo, examining the catalogues of Ferdinand Columbus, had taken in the Biblioteca Colombina. When, three years later, in the preface to his edition of Carvajal's Tragedia Josephina, Cañete quoted the first twenty-five lines of the same “linda farsa” by Alonso de Salaya, it became even more tantalizing.
Shakespeare's Deviations from Romeus and Iuliet
Authors: Moore Olin H.
Published: February 2007

The only known source of Romeo and Juliet is Arthur Brooke's poem on Romeus and Iuliet. It is the general opinion that Shakespeare's few deviations from his original concern almost exclusively the minor characters. My purpose is to call attention to four changes in the rôles of important characters, and to compare these changes with the original version of Luigi da Porto.
The Theological Dogma of Paradise Lost, III, 173–202
Authors: Kelley Maurice
Published: February 2007

In Milton's attempt to justify the ways of God to men, perhaps no passage in Paradise Lost is more important than Book III, 173–202, for in these lines Milton expounds his doctrine of predestination and its concordance with the mercy, grace, and wisdom of God. To the average reader, however, the passage offers considerable difficulty; and it is indeed surprising, in view of the importance and the obscurity of this portion of the epic, that editors and scholars have done so little to clarify the doctrine of these thirty lines. Newton contented himself with asserting that the views there expounded were Calvinistic, and Todd followed Newton. Sumner, without comment, showed a parallelism between portions of the passage and Milton's De doctrina, a document which is uncompromisingly Arminian. Brydges, however, repeated Newton's observation; and Barber argued at some length for a Calvinistic interpretation. Verity, on the other hand, seemed to agree with Sumner, but dismissed the matter with a single sentence: “The doctrine of predestination here alluded to is discussed at some length in the Christian Doctrine, I, 4.” Masson, Browne, and Moody, in turn, ignored the matter. Such disagreement, therefore, would seem to justify an attempt to throw more light on the passage by determining the precise doctrine that Milton there advances and the relation of that doctrine to the view on predestination advanced in the De doctrina.
Ritson's Bibliographia Scotica
Authors: Bronson Bertrand H.
Published: February 2007

During the last decade of his life, Joseph Ritson compiled a catalogue of Scottish authors, a Bibliographia Scotica. He had brought it nearly to completion by 1801, and intended to publish it as a companion volume to his Bibliographia Poetica. On Jan. 31, 1801, he sent the prefaces of both works to Thomas Park for correction. But he circulated the manuscript also among other friends, notably George Chalmers, and Walter Scott, in the hope of making it more perfect; so that when he died, in September, 1803, the work was still unpublished. It was known that in the paroxysm which ended his life he had destroyed many of his papers; and for a time his friends feared the Bibliographia Scotica had perished. A fortnight after Ritson's death, Chalmers, writing to Archibald Constable of these things said:

This leads me to ask if you ever got from him the biographical work on the historians and poets of Scotland, which he put into my hands, and intended for you. I intended to have corrected it for him and for you. But before I could do much he sent for it, in order to show it to Mr. Scott, when he was up here lately. Happy if he sent it to you by Mr. Scott; if he did not, it is gone—for ever. If you should happily have got it, I am still more ready, now that Ritson is gone, to do what I can to make the book as perfect as possible.
Shelley and Cabanis
Authors: Kapstein Israel James
Published: February 2007

Although the influence of such philosophers as Holbach, Condorcet, and Godwin on Shelley's theory of the perfectibility of man has been noted, that of Pierre Jean George Cabanis, the French materialistic physician of the eighteenth century, has been overlooked. Yet Cabanis's ideas as put forward in his most considerable work, Rapports du Physique et du Moral de l'Homme, cited in the notes to “Queen Mab,” on the important relation between man's physical well-being and his intellectual and moral health appear to have contributed a striking feature to the poet's exposition of his views in “Queen Mab” and even in “Prometheus Unbound.” If it be remembered that Shelley already, by virtue of his vegetarianism, considered that man cannot become morally perfect unless he be physically perfect, it is not surprising that Cabanis's emphasis on the same idea from another angle, namely, the necessity of a mild and equable climate for the best development of intellect and morality, impressed the poet to such an extent that he incorporated the physician's belief in his theory of perfectibility. His ready acceptance of Cabanis's ideas is the less surprising when it is remarked that Cabanis was also a perfectibilian, believing that man “est indéfinement perfectible, et qu'il devient en quelque sort, capable de tout.”
“Libellous Attack” on De Quincey
Authors: Forward Kenneth
Published: February 2007

For a voluminously autobiographical writer, De Quincey on occasion can be surprisingly reticent. His most frankly reminiscent narratives are sometimes colored by circumstances which he elaborately hints at rather than reveals. Peculiarly disconcerting to the student on this account is an article in Tait's Edinburgh Magazine for February, 1841, reprinted by Masson under the title “Story of a Libel, with Thoughts on Duelling,” which tells of his helplessness in the face of a downright insult to his wife perpetrated in 1824 by an anonymous slanderer. His account is both incomplete and ambiguous. He hesitates to be explicit on so ticklish a subject, and yet he cannot let the story alone. For all his suppressions, however, and though Masson has not identified it, the libel is recoverable to-day. With practical certainty we may also name its author. In other essays, once we have the key, we may find allusions to the libel and its author, even answers to some of its charges; in particular, we may see that De Quincey's painful recollection of it shaped some of his alterations in the revised Confessions of 1856.
LVII. The Background of Lyly's Tophas
Authors: Boughner Daniel C.
Published: February 2007

Sir Tophas in John Lyly's Endimion merits study for several reasons. He is in some ways an adumbration of Shakespeare's Don Armado. He is, though a minor figure, probably the most amusing of Lyly's dramatis persona, a farced braggart with a curious individuality. Finally, he represents an early and successful attempt to domesticate on the Elizabethan stage not only the miles gloriosus of Latin comedy but also the capitano millantatore of the Italian theater. The notes that follow bring together materials bearing on the Latin, Italian, and English background of Sir Tophas—apart from Chaucer.
LX. Some Interrelations of English Dictionaries of the Seventeenth Century
Authors: Noyes Gertrude E.
Published: February 2007

In a recent issue of the University of Texas Bulletin, D. T. Starnes has contributed a long-needed and most useful survey of early English lexicography and has clearly outlined the many aspects of this complicated subject. It is my purpose here to offer a few notes and comments.
LXVIII. Murphy's Criticisms in the London Chronicle
Authors: Emery John P.
Published: February 2007

In the London Chronicle of January 18–20, 1757, the ninth number of the triweekly newspaper, is a paragraph sent by the reader Tragicomicus, who suggested that the journal needed a department about the theater and offered himself as a critic. Accordingly, in the issue of January 20–22 a feature under the title, The Theatre, was inaugurated, and this series of articles about acting and plays on the contemporary stage continued regularly until it ended with No. 37 in the issue of April 16–19. The issue of November 26–29 contained a letter from a reader, Th. C., who expressed disappointment because The Theatre had not been resumed and desired to take the place of its former author. This new writer started another series in the issue of November 29–December 1, but was soon replaced by the original critic, who began the second series of The Theatre in the Chronicle of December 3–6. No. 3 of this group is found in the issue of December 8–10, and then illness of the essayist prevented continuation. He resumed with the first number of a third series of The Theatre in the Chronicle of October 3–5, 1758: No. 6 of it appeared October 19–21. In the paper of November 7–9 another critic, N. S., wrote No. 7 of The Theatre and furnished the criticisms through No. 11 (November 18–21). Still another critic, Atticus, composed the unnumbered part of the feature in the issue of December 2–5, and finally, the original critic made three unnumbered contributions to The Theatre in the Chronicle of December 7–9, 9–12, and 19–21, 1758.
LXXII. Robert Bridges' Concept of Nature
Authors: Eaker J. Gordon
Published: February 2007

Whether because of a misunderstanding of the concept of evolution or for some other reason, a change has apparently come in the attitude of poets toward nature. Mr. Beach in his recent book laments the decline of faith in the benevolence of nature and presents the general attitude of nineteenth-century poets toward it as a bridge between the age of faith and the age of disbelief.1 But since neither terminal is proved, his fundamental thesis, which he calls a tragedy of belief, is unconvincing. The consequence of the acceptance of such a tragedy was clearly foreseen by G. K. Chesterton, who recently wrote:

When first it was even hinted that the universe may not be a great design, but only a blind and indifferent growth, it ought to have been perceived instantly that this must for ever forbid any poet to retire to the green fields as to his home, or to look at the blue sky for his inspiration. . . . Even the nature-worship which Pagans have felt, even the nature-love which Pantheists have felt, ultimately depends as much on some implied purpose and positive good in things, as does the direct thanksgiving which Christians have felt. . . . Poets, even Pagans, can only directly believe in Nature if they indirectly believe in God; if the second idea should really fade, the first is bound to follow sooner or later; and, merely out of a sad respect for human logic, I wish it had been sooner.
The Literary Rôle of the Saracens in the French Epic
Authors: Comfort William Wistar
Published: February 2007

There are historical grounds for the appearance of the Saracens in Old French literature. Their appearance upon French soil had been intermittent from the eighth to the tenth century, but in later centuries the point of contact between Christian and Infidel had been shifted first to Spain, and later to the eastern end of the Mediterranean. In the time of the Crusades the local memory of the presence of the Saracens preserved in popular tradition and in clerical records was utilized by the clerks and jongleurs for the specific purpose of arousing popular interest in the holy war. To state briefly our conclusions concerning the Saracens in Old French literature, we may say that they serve a distinct purpose in the earliest epic poems reflecting contemporary Crusade zeal, and that through the popularity of the epic poems they gained wide currency as exotic, marvellous, or romantic characters in mediaeval story.
Early Drafts of the Garden of Cyrus
Authors: Finch Jeremiah S.
Published: February 2007

Although the original MSS of most of Sir Thomas Browne's published works have disappeared, a number of fragments and drafts of passages of The Garden of Cyrus have survived in his loose papers and notebooks, now in the British Museum and Bodleian. In editing Browne's miscellaneous writings a few years ago Keynes noted the resemblance of several fragments to portions of the printed essay, but aside from his brief annotations this material has remained unexplored.
The Character of Poor Richard: Its Source and Alteration
Authors: Ross John F.
Published: February 2007

Despite the considerable and valuable critical discussion of Franklin's Poor Richard, certain important points have been too briefly considered, or have been wholly overlooked. In particular, it has not been recognized (1) how extensively Franklin was indebted to Jonathan Swift in his hoaxing of Titan Leeds, the rival almanac-maker; (2) that the source for the characters Richard and Bridget Saunders was almost certainly Swift's Bickerstaff papers; and (3) that there are two Poor Richards—the original comic philomath of 1733 and the final American archetype, the fountain-head of shrewd prudential wisdom. Thus the student of Anglo-American literary relations has been unaware of Swift's part in making a great American figure; and the students of Poor Richard, on the whole regarding him as a static rather than changing character, have been led to make misleading, conflicting, or confused statements concerning him.
Sir Leslie Stephen, Coleridge, and Two Coleridgeans
Authors: Sanders Charles Richard
Published: February 2007

In the DNB the lives of both Coleridge and Coleridge's disciple, F. D. Maurice, are by Sir Leslie Stephen. At first thought it may appear rather curious that Stephen undertook to write these lives, because ostensibly he could have had very little in common with the subject of either. As a matter of fact, however, his interest in both men was unusual; he was almost fascinated by them. The strict rationalist and scientific biographer is likely to find much to challenge him in the mystic philosopher and transcendentalist, particularly in such protean philosophers as Coleridge and Maurice. Confronting them, he feels a special urge to make the crooked straight, to render the unintelligible intelligible, and to provide a clear, hard-headed interpretation of confused, soft-headed thinking. Although Sir Leslie was not quite a strict rationalist or a purely scientific biographer, there was enough of both in him to explain his willingness to write the lives of Coleridge and Maurice. Any effort to evaluate or even understand these lives should therefore be supported by a knowledge of Stephen's real attitude toward his subjects.
John Keats: When Was He Born and When Did He Die?
Authors: Pershing James H.
Published: February 2007

“For the study of no English poet have we ampler material than for the life and art of John Keats. … The material for the study of Keats's biography is no less complete.” Notwithstanding this wealth of material, until quite recently at least, much confusion has existed with respect to the date of his birth, and the exact time of his death yet remains uncertain. Accuracy in these respects is desirable, not only for its own sake, but especially in fixing the date for memorials, anniversaries, and similar observances. It is confusing to find such writers as Lord Houghton, Sir Sidney Colvin, and Amy Lowell either uncertain or in disagreement upon the subject. A summary of the facts giving rise to these doubts, and an examination of the evidence from the standpoint of its probative value should be of interest to students of the life and art of Keats, and may possibly be useful in reaching a greater degree of certainty with respect to these dates.
Le Genre Grammatical des Substantifs en Franco-Canadien Empruntés a L'anglais
Authors: Haden Ernest F. , Joliat Eugène A.
Published: February 2007

Depuis plusieurs années on s'intéresse beaucoup à la question de l'influence de l'entourage anglo-saxon sur le français tel qu'on le parle au Canada. Les Canadiens-Français eux-mêmes ont senti toute la gravité de cette influence menaçante et, soucieux de garder leur langue française aussi pure que possible, ils ont fait de l'anglicisme le plus grand des péchés linguistiques. On voit paraître dans les journaux et les revues de longues listes d'anglicismes que le Canadien-Français ne doit pas employer. Tout cela, à notre avis, est peine perdue: le peuple continuera à trouver plus commode de dire la shed que la remise, le wrench que la clé anglaise, le spare que le pneu de rechange, et ainsi de suite.
The Social Background of Contemporary Mexican Literature
Authors: Halperin Maurice
Published: February 2007

No one would deny that contemporary Mexico, the Mexico of Lázaro Cárdenas, the Mexico of widespread agrarian reform, of militant trade unions, of advanced social legislation, of expanding popular education and expropriation of foreign oil companies, has entered an era of great historic significance. We who are close to the scene are acutely aware of the swift tempo which this peaceful phase of the thirty year old Mexican Revolution has assumed. However we may evaluate the direction in which Mexico's social order is moving, we are especially conscious of the fact that for the past half-decade, Mexico has been a nation in rapid transition.
Can Dante's Inferno be Exactly Charted?
Authors: Gilbert Allan H.
Published: February 2007

By his detailed account of his journey through Hell, Dante invited close attention from his readers. Factual-minded ones of a mathematical bias have become fascinated with the working out of the details as in a puzzle. In their zeal they have made diagrams to illustrate their views, such as appear in Giovanni Agnelli's Topo-Cronografia del Viaggio Dantesco. These and other charts have been widely circulated. For instance, Dinsmore's Aids to the Study of Dante gives those of Il Duca Michelangelo Caetani di Sermoneta. Having seen such diagrams from our earliest knowledge of Dante, we take them for granted as showing his plan of the lower world. Even Croce, in La Poesia di Dante, admits some use in making charts of the physical topography of the poem, on the ground that “quella struttura Dante la volle ed esegui, ed esiste nel suo libro” (p. 61). If it is in the book, it should be made clear. But what if it is not?
The Death of Mac Con
Authors: Dillon Myles
Published: February 2007

The story of the deposition and death of Mac Con is told in The Battle of Mag Mucrama, §§59–77 of Stokes' edition, RC 13, 460–467, and there is an account of his death in the “historical” tract in Laud 610, edited by Meyer, Fianaigecht 28 (RIA Todd Lecture Series xvi, 1910). There is an independent story in YBL, which is here edited for the first time, and may represent one of the sources upon which the author of The Battle of Mag Mucrama has drawn. He did not merely copy it, for his text varies considerably in vocabulary, and by omission and addition. Yet the two texts are closely related, and Stokes' edition, referred to in the notes as L, has been of great value to me in reading and interpreting the text presented here. According to this text Mac Con was king of Ireland for thirty years, and this is also the tradition of the tract in Laud. In L he reigns for seven years (§59), but the alternative tradition is recorded in §77. In the LL text of the Battle of Crinna the period is twenty-seven years, LL fcs. 328 f 16 (O'Grady, Silva Gadelicaii, 491). The Annals of Tigernach say: Ailii aiunt Lugaid Mac Con post hoc bellum regnase [annis xviii] uel xxx ut alii aiunt, RC 17, 11. The source of the words in square brackets in Stokes' edition is not stated. It would be necessary to examine unpublished historical poems, genealogies, and regnal lists in order to trace the origin of these conflicting numbers. Confusion often arises from the use of Roman numerals in manuscripts.
Du Bellay and Hellenic Poetry a Cursory Review
Authors: Silver Isidore
Published: February 2007

II Allusions to, and imitations of, the non-lyric poets of greece

Numerous allusions to Homer and to the other non-lyric poets of Hellas are to be found throughout the works of Du Bellay.
An Early Lovelace Text
Authors: Evans Willa McClung
Published: February 2007

The rarity of manuscript versions of Lovelace's poems gives considerable significance to the discovery of an early text of the Sonnet beginning, “When I by thy faire shape did sweare.” The lyric was set to music by William Lawes, and is found on folio 2056 (meaning 256) of John Gamble's manuscript collection of songs in the New York City Public Library. The text has never been printed nor collated in print; and the variants reveal that Lovelace was not—as his editors and critics have maintained—careless in revision.
Some Aspects of the Conservative Attitude toward Poetry in English Criticism, 1798-1820
Authors: Ward William S.
Published: February 2007

So reactionary was Lord Liverpool, whose Cabinet was formed in 1812 and lasted until 1827, that a French critic remarked that had Lord Liverpool been present on the first day of creation he would have cried out, “Mon Dieu, conservons le chaos.” Though this remark was aimed at one man, quite as appropriately it could have been directed at most of the gentlemen of the periodical press between 1798 and 1820; for this period, like many another era in time of national crisis, made literary criticism the handmaiden of politics, religion, and morality. During few periods have the review and literary departments of the magazines been so full of banal religious and political cant as during the first two decades of the nineteenth century. The ink might scarcely have been dry on Lyrical Ballads and the Preface, but so disturbed was the national state that everything conspired to bring about a thoroughly uncritical outlook and to make the age a most unpropitious one for launching a new literary system. In this short study the fortunes of Wordsworth and the “new poets” cannot be examined, but some of the forces of reaction with which they had to contend, at least as reflected in the periodicals, can be made clear.
Zur Frage Einer Fortsetzung von Goethes “Wilhelm Meisters Wanderjahre”
Authors: Hohlfeld A. R.
Published: February 2007

Als ich im vergangenen Sommer Karl Vietor für die freundliche Zusendung des Sonderdrucks seiner gehaltvollen Arbeit über “Goethes Gedicht auf Schillers Schädel” im Märzheft von PMLA meinen Dank aussprach, verhehlte ich nicht, daß die Begründung seiner Hypothese von Zugehörigkeit und Sinn des dem Gedicht im Druck der “Wanderjahre” von 1829 hinzugefügten Vermerks “Ist fortzusetzen” mich nicht überzeugt hätte. Als er daraufhin mir vorschlug, mich an einem für das Juniheft 1945 der PMLA geplanten Symposium zu beteiligen, für das die Herren Feise und Mautner Beiträge zugesagt hätten und fùr das er selbst einen weitern Nachtrag zu seinem Aufsatz in Aussicht stelle, nahm ich diesen Vorschlag gern an. Damals wußte ich nicht, daß er u.a. vorhatte, die Hypothese, daß der Vermerk sich auf den Roman beziehen könne, als “erledigt” abzulehnen, noch wußte er, daß ich an dieser Interpretation festhielt und mich dafür einzusetzen gewillt war. Als ich mich dann im Oktober bei PMLA erkundigte, bis wann mein Manuskript würde müssen eingesandt werden, erfuhr ich, daß die betreffenden Arbeiten bereits im Dezemberheft erscheinen würden und schon im Druck wären. Dieses zur Erklärung, weshalb die folgenden Ausführungen erst jetzt als verspätete Nachzügler erscheinen.
Le Bergsonisme De Paul Claudel
Authors: Vial Fernand
Published: February 2007

Bergson est mort le 4 janvier 1941, dans une période qui comptera parmi les plus tragiques qu'ait traversées la France. Dans sa patrie opprimée peu de voix ont eu le courage de s‘élever pour remettre en lumière l'action extraordinaire exercee par le bergsonisme sur les destinées de la philosophic et de la littérature françaises. De cette action, l‘étude présente n'exposera nécessairement qu'un aspect, d'ailleurs assez méconnu, qui concerne Paul Claudel et plus particulièrement son Art poétique.
The Archetypal Imagery of T. S. Eliot
Authors: Foster Genevieve W.
Published: February 2007

“Dichten heisst, hinter Worten das Urwort erklingen lassen.”

These words of Gerhardt Hauptmann are quoted by C. G. Jung in his essay “On the Relation of Analytical Psychology to Poetic Art,” as illustration of the poet's sense of tapping a deeper level of the psyche than that which is called into play in everyday thought and action. This lower level of psychic activity (Jung explains), that of the collective or racial unconscious, contains the inherited potentiality of mental images that are the psychic counterpart of the instincts. “In itself the collective unconscious cannot be said to exist at all; that is to say, it is nothing but a possibility, that possibility in fact which from primordial time has been handed down to us in the definite form of mnemic images, or expressed in anatomical formations in the very structure of the brain. It does not yield innate ideas, but inborn possibilities of ideas, which also set definite bounds to the most daring phantasy. It provides categories of phantasy-activity, ideas a priori as it were, the existence of which cannot be ascertained except by experience.” This theory is not peculiar to Jung, being in fact rather prevalent in our time. “I began certain studies and experiences,” says Yeats, describing his activities in the year 1887, “that were to convince me that images well up before the mind's eye from a deeper source than conscious or subconscious memory.” Jung, however, has given the idea its scientific formulation. For these ideas a priori of the collective unconscious, Jung employs the term “primordial image,” borrowed from Jacob Burckhardt, or “archetype” as used by St. Augustine. The peculiar gift of the poet, or of the artist in any field, is his ability to make contact with the deeper level of the psyche and to present in his work one of these primordial images. The particular image that is chosen will depend on the unconscious need of the poet and of the society for which he writes. “Therein lies the social importance of art; it is constantly at work educating the spirit of the age, since it brings to birth those forms in which the age is most lacking. Recoiling from the unsatisfying present the yearning of the artist reaches out to that primordial image in the unconscious which is best fitted to compensate the insufficiency and onesidedness of the spirit of the age. The artist seizes this image, and in the work of raising it from deepest unconsciousness he brings it into relation with conscious values, thereby transforming its shape, until it can be accepted by his contemporaries according to their powers.” In this view the artist is the cultural leader indispensable to any social change. “What was the significance of realism and naturalism to their age? What was the meaning of romanticism, or Hellenism? They were tendencies of art which brought to the surface that unconscious element of which the contemporary mental atmosphere had most need. The artist as educator of his time—much could be said about that today.”
Ideal Languages in the French and English Imaginary Voyage
Authors: Seeber Edward D.
Published: February 2007

The use of curious languages, for the purpose of lending occasional relief from the commonplace idiom of the mother tongue, has been a familiar literary device since the Middle Ages. These linguistic oddities, meeting on the common ground of variety and novelty for the reader, have served diverse purposes: to speak in jargon, cant, or other special language (e.g. préciosité) to a limited group of the initiated, to provide humor, realism, local color or exotic flavor, and to display various kinds and degrees of linguistic virtuosity.
Dating Lamb's Contributions to the Table Book
Authors: Barnett George Leonard
Published: February 2007

It is well known that Hone's Table Book of 1827 contains a number of contributions from Charles Lamb, including his Garrick Extracts. It is not so well known, however, that dates assigned by editors to these pieces do not conform to the general policy of dating Lamb's work according to the time of publication. Some of these articles are dated merely by the year; some have been dated by month—incorrectly in two cases; and one or two according to the time of composition. This unsatisfactory solution of a difficulty arises from the fact that the weekly numbers of the Table Book are not dated and are not easily distinguishable from each other. I have not seen any attempt to assign dates to them, but after a careful analysis I have found it possible to do so. As a result, dates previously assigned to Lamb's work in this publication can now be corrected and perfected.
A Swinburne Allusion to Blake
Authors: Hyder Clyde K.
Published: February 2007

In his “Changes of Aspect” (printed for the first time in my article in PMLA, lviii [March, 1943], 223–244), Swinburne writes: “A writer on whom I have lavished what many judges consider an extravagant exuberance of praise has put on record his verdict that a man who never changes his opinion is like standing water—he breeds reptiles of the mind” (op. cit., p. 230). Since my article appeared I have been able to trace the allusion to Blake's “The Marriage of Heaven and Hell”: “… I found myself … hearing a harper …, and his theme was: ‘The man who never alters his opinion is like standing water, & breeds reptiles of the mind’.” (The Poems and Prophecies of William Blake, Everyman's I ibrary, p. 51.)
The Lecan Text of the Battle of Cenn Abrat
Authors: Dillon Myles
Published: February 2007

The battle of Cenn Abrat forms part of the story known as The Battle of Mag Mucrama and is told in §§ 10-14 of Stokes' edition (RC 13, 440). It is recorded in the Annals of Tigernach (RC 17, 10) and by the Four Masters, A.D. 186. There is, however, a longer account which appears as a separate story and is preserved in two manuscripts, The Book of Lecan (15th century) and RIA C i 2 (15th-16th centuries.) The occasion of the battle is not mentioned here, but according to the tradition of the Battle of Mag Mucrama, a dispute arose between Lugaid Mac Con and his foster brother Éogan son of Oilill Ólom, king of Munster, about a fairy musician they had found, each of them claiming the musician for himself. The king decided in favour of Éogan, and Lugaid said that it was a false judgement.
More Sources of Rastell's Interlude of the Four Elements
Authors: Parr Johnstone
Published: February 2007

Recent publications have suggested a considerable number of sources of the cosmological and cosmographical material in John Rastell's Interlude of the Four Elements. M. E. Borish maintains that the source of Rastell's “cosmology, natural history, and geography is Gergor Reisch's Margarita Philosophica.” Elizabeth M. Nugent affirms that Rastell garnered his material not only from Reisch but also from Bartholomaeus Anglicus' De proprietatibus rerum, Caxton's Mirrour of the World, Sacrobosco's Textus de Sphaera, and Martin Waldseemüller's Cosmographiae Introductio (to which was appended Amerigo Vespucci's Quattuor navigationes and Waldseemüller's huge world map of 1507). I wish to add to this list of sources a number of pertinent texts which have been overlooked.
Shakespeare's Cousin, Thomas Greene, and his Kin: Possible Light on the Shakespeare Family Background
Authors: Taylor Rupert
Published: February 2007

Since many years of threshing the same old straw have not determined the ancestry of William Shakespeare, investigation in a new direction seems wise. Genealogists, confronted with a gap they cannot cross, examine the history of families known to be related to the subject of their search but not how. Shakespearean students have long known of Thomas Greene, the solicitor, steward, and town clerk of Stratford-on-Avon from 1603 to 1617, who in his private diary called Shakespeare cousin, but they have not known much about him or his exact relationship to the poet. Since the word cousin occurs in such private and personal writing as a diary, it is more likely a term of real kinship than of friendly courtesy. This article presents the data gathered during an investigation—halted by the present war—into the ancestry of Thomas Greene. They do not reveal the ancestry of Shakespeare, but they show a chain of family connections of better economic and social status than some writers have granted the Stratford Shakespeares. Since the matter is genealogical, a fair presentation demands the inclusion of minute details of slight interest to the general reader but of possible great value to a specialist who may undertake to carry the investigation forward after the war, for in genealogy a seemingly insignificant detail may prove to be the clue to the ultimate solution.
Defoe and his Northern Printers
Authors: Burch Charles Eaton
Published: February 2007

Defoe, on his first arrival in Edinburgh in 1706 to serve his master Harley in the Union cause, selected Mrs. Agnes Campbell Anderson as his main Scottish printer. His choice of Mrs. Anderson should occasion no surprise; for in 1706 she had the largest printing establishment in the city; she was “printer to the good toun and college of the samen,” and she still held the Royal prerogative granted to her deceased husband Andrew Anderson in 1671. So far as I have been able to determine, Mrs. Anderson was Defoe's sole Scottish printer up to 1710 when he began to place some of his work with John Moncur. As is now fairly well known, Defoe's Review was printed in Edinburgh (1709–10) by Mrs. Anderson and off and on, say, to 1713 she probably printed an occasional pamphlet for him. It is certain that as late as 1712 she printed Defoe's A Seasonable Warning against the Insinuations of Papists and Jacobites. Being a Letter from a Gentleman at the Court of Hanover. In addition to the Edinburgh edition of the Review, James Chalmers credited Mrs. Anderson with the printing of ten of Defoe's writings published between 1706 and 1710. Of this number all save one, have been accredited to Defoe by several Defoe scholars including Dr. Henry Clinton Hutchins, the latest and one of the most reliable of Defoe bibliographers.
Shaftesbury and the Test of Truth
Authors: Aldridge Alfred Owen
Published: February 2007

The phrase “ridicule, the test of truth,” which has long been associated with Lord Shaftesbury, was originally fathered upon him by both his disciples and his adversaries in controversies to determine whether ridicule be test or jest. Both groups expended quantities of forensic ammunition on the assumption that Shaftesbury had advocated the use of ridicule as a test of truth even though the phrase does not appear anywhere in the Characteristics. That Shaftesbury does not propose ridicule as a test of truth has been acknowledged for many years, but not widely enough, for many contemporary authorities repeat this erroneous assumption. Shaftesbury merely began the debate over ridicule by discussing its social utility, and the discussion was continued by Anthony Collins, Berkeley, Warburton, Akenside, John Brown, Allan Ramsay and Lord Karnes. The first of the group to refer to ridicule as a test of truth was Berkeley, and after his use of the phrase, nearly every eighteenth-century writer on ridicule took it up. Collins, who preceded him in discussing the ridiculous, had not even mentioned the relation of ridicule to truth. Brown was the first to state that Shaftesbury had advocated the doctrine, in fact, going even further in misrepresenting Shaftesbury by falsely charging that the latter had maintained that ridicule “may be successfully applied to the investigation of unknown truth.” A thorough analysis of Shaftesbury's real position on ridicule is necessary to show the manner in which he has been variously interpreted and misinterpreted. Furious as the controversy may have been in the eighteeenth century, it did not extend itself into the nineteenth, and today we may even apply to it Shaftesbury's own derogatory question directed against pedantic treatises: “What is already become of those mighty controversies with which some of the most eminent authors amused the world?” The present paper is not intended to perpetuate this mighty controversy, but merely to clarify Shaftesbury's meaning and show how the controversy developed. A subject which occupied famous philosophers, poets, physicians, divines and artists of the eighteenth century is a subject of both historic and esthetic importance.
A Juridical Didactic Novel
Authors: Reichmann Felix
Published: February 2007

In 1790 (with approbation 1793) a very quaint novel was published in Naples: Tizio o sia le vicende dell' umanita. The very reading of the table of contents is a most baffling experience. The first chapter speaks of Tizio, the hero of the novel, as a boy. In the second he is a girl. He is the paragon of a husband, but in the next pages he deserts his wife. He is born of rich parents and of poor parents. He is a slave … and a member of the Roman nobility. He is a gentleman—and a criminal, a pauper and fabulously rich. On one page he gives lavishly to the poor and needy, but on the next page he is one of the most antisocial of human beings. He is a scholar and an illiterate: has the most influential public position … and is an outlaw. He dies as an infant and of old age.
Lockhart to Croker on the Quarterly
Authors: Kern John D. , Schneider Elisabeth , Griggs Irwin
Published: February 2007

The large collection of Croker papers in The William L. Clements Library of American History includes six bound volumes of holograph letters written by John Gibson Lockhart to John Wilson Croker, and called the Lockhart-Croker Correspondence. These letters have been known to scholars, and a number of extracts have been published as a means of throwing light on specific persons and problems. They have not, however, been systematically consulted for the information which they provide on the authorship of articles in the Quarterly. Since perhaps their chief value lies in such information, we offer here a list of titles and authors upon which Lockhart's testimony serves as useful and often conclusive evidence.
Problems of Poetic Diction in Twentieth-Century Criticism
Authors: Bensen Alice R.
Published: February 2007

The opinions in regard to certain problems of poetic diction expressed by sixteen English critics during the period extending from the time of the first writings of the Imagists to the start of World War II are the material of this survey. During this period a large number of problems were recognized. This study excludes those that must be solved through a consideration of meter, rime, and sound effects in general, and concentrates on those involving aspects of words that are peculiar to words. A “vertical” examination having been made of the discussions of these problems in the writings of each critic, a “horizontal” summary may now be offered.
Widsith and the Scop
Authors: French W. H.
Published: February 2007

What the Widsith-poet's profession was, and what his purpose in writing, have long been matters of conjecture. Without stopping just here to scrutinize previous proposals, I wish to bring forward another in which some of the items inconvenient and rebellious to other theories may find a place.
E and Æ in Farman's Mercian Glosses
Authors: Kuhn Sherman M.
Published: February 2007

Farman's Mercian glosses to certain parts of the Rushworth Gospels have occupied the attention of scholars for more than a century. It would be difficult to find an aspect of the priest or his work which has not, at some time, been investigated. Yet there remain numerous controversial questions, some of them of a very fundamental nature. One of the most difficult concerns Farman's apparently irrational uses of the symbols e and æ. It will be found that many of the larger conflicts over the position of Rushworth in the general scheme of English phonology are essentially disagreements as to just what values these two letters had in Farman's orthography.
Richard The Third: A Study in Shakespeare's Composition
Authors: Law Robert Adger
Published: February 2007

Richard the third has long been one of the most popular of Shakespeare's plays. In its own day six quarto editions appeared before the Folio, and two more quartos before 1635. While our record of its early history in the theatre is not so clear as that of its printing, numerous contemporary references testify to its popularity. In the later seventeenth century it temporarily disappeared from the stage, but in July, 1700, it was revived with certain changes by Colley Cibber, and was later played by Garrick, Kemble, Kean, J. B. Booth, Edwin Booth, Macready, Sir Henry Irving, Richard Mansfield, and John Barrymore. No one to-day would acclaim Richard as a great tragedy rather than a melodrama, but historically it has probably led all other dramas of Shakespeare in frequency of presentation, and is still an effective stage play. Critics generally unite in dating its composition about 1593, two or three years before Romeo and Juliet. In this paper I propose to analyze anew certain aspects of its relation to its source material, and to show that its composition resembles that of Romeo. Thereby it is possible, I believe, to learn something about Shakespeare's method of writing at least two earlier plays.
Mr. and Mrs. Garrick: Some Unpublished Correspondence
Authors: Pedicord Harry William
Published: February 2007

In the rich but little known manuscript collection of the Historical Society of Pennsylvania are six letters by or to the David Garricks which, as far as I have been able to discover, have not been published. Three are signed-autograph letters of David Garrick; one is written by Mrs. Garrick to her friend Hannah More; and two are addressed to Garrick by acquaintances. While the group adds little to the Garrick biography, the letters themselves are interesting and should find their proper place in the Correspondence. The original spelling and punctuation are reproduced, with due allowance for typographical limitations.
The Symbol of the Sod-Seat in Coleridge
Authors: Bouslog Charles S.
Published: February 2007

Shortly after 1800 S. T. Coleridge gradually developed a set of personal symbols which he used thereafter in poetry and prose, sometimes consciously, to symbolize great turnings in his life and great, steady longings. The number of symbols seems rather limited; the referents lead mainly toward his love for Sara Hutchinson. It is possible that symbols for other important elements of Coleridge's experience will yet come to light. So far as I have been able to discover, there is nothing “universal” in the symbols which I have identified: they are specifically, and of course connotatively, allusive to events in his past life.
Sovereignty as the Principle of Unity in Chrétien's Erec
Authors: Adler Alfred
Published: February 2007

Although more than thirty years have passed since the publication of Nitze's fundamental study of Chrétien's Erec, Arthurian scholarship has still to make full use of the implications he has given toward a better understanding both of details and of the unifying principle of this first French Arthurian romance. Basing itself, then, upon Nitze's contribution, and drawing upon other more recent studies, the present article proposes as its end the presentation of the many episodes of this romance as concordant elements in a great psychological novel.
The Relation of Macbeth to Richard the Third
Authors: Smith Fred Manning
Published: February 2007

Most editors and commentators writing about Macbeth or Richard the Third notice a resemblance between the two plays, but seldom does the comparison go beyond this eighteenth century comment: “Both Macbeth and Richard are soldiers, both usurpers; both attain the throne by the same means, by treason and murder; and both lose it too in the same manner, in battle against the person claiming it as lawful heir.” A few parallel passages have been pointed out, but there are many parallels that as far as I have been able to determine have not been noticed in the commentaries. It is my intention, therefore, to examine closely the resemblance between the two plays, calling attention to parallels, which may be so many and of such a sort as to require an explanation other than coincidence.
The Stage History of Shelley's The Cenci
Authors: Cameron Kenneth N. , Frenz Horst
Published: February 2007

Although some of Shelley's Victorian critics—notably Forman—believed The Cenci to be an acting play, it now seems to have become a settled dictum of Shelley scholarship that it is a closet drama. Woodberry in his edition of the play and Bates in his study of it both conclude that it is unsuitable for stage production, Bates summarizing his views as follows:

From all these facts it should be sufficiently clear what answer must be given to the question, how far is “The Cenci” an acting drama? As a whole it is not an acting drama at all. A play, one of whose acts fails to advance the plot in the least, ten of whose scenes are purely conversational and without action, and four-fifths of whose speeches are of impossible length, is surely not to be called an acting drama.
Keats's Conscious and Unconscious Reactions to Criticism of Endymion
Authors: Briggs H. E.
Published: February 2007

Writers on Keats, when discussing the central problem of the effects upon the poet of the contemptuous criticism directed against Endymion and against Keats personally, have presented various and often contradictory opinions. The two extreme views, namely, that Keats was killed by this criticism, or, on the other hand, that he was scarcely touched by it, are no longer regarded as tenable. The current opinion was first stated, I believe, by Sir Sidney Colvin when he wrote:

the reviews of those days, especially the Edinburgh and Quarterly, had a real power of barring the acceptance and checking the sale of an author's work. What actually happened was that when a year or so later [after Endymion was condemned] Keats began to realise the harm which the reviews had done and were doing to his material prospects, these consequences in his darker hours preyed on him severely and conspired with the forces of disease and passion to his undoing.
Melville's “Isolatoes”
Authors: Watters R. E.
Published: February 2007

The unhappy fate of the man whom choice or chance has alienated from the human community greatly interested Hawthorne, as is well known. The theme held a similar fascination for Melville—even before he became acquainted with many of Hawthorne's tales. The probable discussions subsequently with his friend and neighbor, however, may well have strengthened his interest in the Ishmael motif. As might be expected, Melville explored the moral and philosophical implications of the theme, and out of them he evolved a doctrine of racial and social community as an ideal to set opposite the isolated individual. This positive doctrine need concern us here, however, only in so far as it is implicit in his delineation of individuals who, because of birth or achievement or action or character—a white jacket of some kind, in short—were set apart from normal human relationships. These persons may appropriately be called “Isolatoes,” a term coined by Melville himself in describing the crew of the Pequod: “They were nearly all Islanders … ‘Isolatoes’ too, I call such, not acknowledging the common continent of men, but each Isolato living on a separate continent of his own.” In each of his books one character at least is just such an exile, either by accident or volition.