bluuebunny/crossref_metadata_2025 huggingface dataset:
The Evolution of the Comedy of Errors
Authors: Gaw Allison
Published: February 2007

Gradually the mists veiling Shakespeare's dramatic production prior to the year 1594 are thinning, and we are enabled with clearer vision to isolate his early steps in play-writing and study his development in artistry. We are becoming more keenly sensible of the fact that his earliest plays in their present form have a false aspect of maturity. On the basis of internal allusions, Professor Charlton would place the Love's Labour's Lost so late as the autumn of 1592; and to the duplications in the text of the same play clearly illustrating Shakespeare's method of amplifying and remodeling, Professor H. D. Gray has added other considerations in an attempt to reconstruct its first form, from which he would entirely eliminate the characters of Sir Nathaniel and Holofernes. Over a decade ago Dr. Tucker Brooke recognized the fact that 1 Henry VI underwent some revision as late as 1599, and pointed out that in 2 and 3 Henry VI the dramatic strength is largely that of Marlowe. Mr. J. M. Robertson has recently renewed the attack upon the problem of Richard III. Professor Pollard's new angle of approach to the history of the texts in the First Folio and the quartos has had fruitful results in the invaluable studies of the editors of the New Cambridge edition, revealing, among other disclosures, an extremely immature Midsummer-night's Dream of 1592 or earlier. Professor Adams, in his new Life of Shakespeare, has discussed the probable significance of the plague years, 1592-93, in the poet's intellectual development. Students of Shakespeare are thus enabled to clarify, and partly to reconstruct, their conceptions of his mentality and professional production in the years 1590-94. We no longer need to assume that Shakespeare came to London in 1586 or 1587 in order to account for his apparent professional maturity in 1591-92; nor do we need to thrust the original form of 1 Henry VI back to 1589 or earlier under the assumption that Shakespeare's connection with a work so immature in parts as the present 1 Henry VI cannot be later than Henslowe's entry of harey the vj in March, 1592.
Hamlet and Dr. Timothy Bright
Authors: O'Sullivan Mary Isabelle
Published: February 2007

It is strange that contemporary criticism of the Hamlet of Romantic psychology has failed to reckon with an important document of Elizabethan psychology. Professor Stoll has invoked Burton and Professor Schücking, Sir Thomas Overbury; but both the Anatomy and Characters are Jacobean, first published in 1621 and 1614, respectively. There was, however, a book of Elizabethan psychology accessible from 1586, written in English, avowedly to win the general reader, and popular enough for two editions in 1586 and a third in 1613. That Shakespeare used Dr. Timothy Bright's A treatise of melancholie was suggested in 1894 by Richard Loening in support of his theory of Hamlet's physiological melancholy; and in 1899, apparently from independent observation, by Dowden in his edition of Hamlet (p. 77). This suggestion, however, seems to have fallen flat. The title of Bright's Treatise—but not the contents—was known to Stoll, to Schücking, and to Dr. G. A. Bieber, though it is not mentioned by J. M. Robertson, and no reference is made to it in the later studies by Stoll and Schücking. To suggest anew that the Treatise influenced Shakespeare and more particularly Hamlet, is the object of this paper.
Improving Shakespeare: Some Bibliographical Notes on the Restoration Adaptations
Authors: Spencer Hazelton
Published: February 2007

Several bibliographies have been compiled, during the last fifty years, of those altered versions of Shakespeare's plays which form so illuminating a chapter in the history of the Restoration stage, and indeed of the English theatre in general. Unfortunately, the most scholarly of these lists have usually been minor appendices to works of wider scope, and are not unnaturally here and there inaccurate in detail. Perhaps the best is the most recent, Miss Bartlett's, in her handy bibliography, Mr. William Shakespeare; but there is no entirely trustworthy list, since all of them neglect to include at least one important item, the altered Hamlet, and most of them do include several plays which are either not adaptations of Shakespeare or not adaptations at all. I propose, therefore, to supply a more accurate bibliography, preceding it by a list of those now available, and supplementing it with a statement of the reasons for not counting as Shakespeare adaptations certain dramas which have long held their places in this inglorious roll of theatrical ineptitude.
The Death of Tristan, from Douce MS 189
Authors: Murrell E. S.
Published: February 2007

Douce MS 189 in the Bodleian library consists at present of 78 parchment leaves, measuring Om310 × Om210, of which the first 64 contain the Mort Artu, and the last fourteen a fragment of the Prose Romance of Tristan the only manuscript of the prose Tristan preserved in the libraries of Oxford.
Thomas Mann's Treatment of the Marked Man
Authors: Burkhard Arthur
Published: February 2007

It is doubtful whether even in so highly subjective a literature as that of modern Germany can be found an example of more consistent concern with the writer's self and his own particular problems than is furnished by the recently published ten volumes that comprise the collected works of Thomas Mann. From the first volume, Buddenbrooks, for which the author's own family's life and home-town quite frankly furnish setting and subject matter, to the last volume, Bemühungen, whose characteristic title would imply to what pains its author has been put to present his personal reaction upon the world and its problems, there is scarcely a page or paragraph that does not treat situations or sentiments which Mann experienced in his own life. Thus, Volume IX, Rede und Antwort, shows how ready Mann is to expose himself to public scrutiny, to give an account of himself and his ideas—“Rede und Antwort zu stehen.” Similarly, Volume VIII, Betrachtungen eines Unpolitischen, is a personal confession of faith, wrung from his heart by the untoward incidents of the war, attempting to define his relations, as a man and an artist, to his native land. And, finally, the five remaining volumes contain short stories or novels, which, when analyzed even cursorily as here, show themselves to be endless variations on the same theme, which is in its essentials the problem of Thomas Mann's own life.
V. The German Language in the Prussian Academy of Sciences
Authors: Zeydel Edwin H.
Published: February 2007

The outstanding history of the Prussian Academy of Sciences has been written by Adolf Harnack in his Geschichte der Königlich Preussischen Akademie der Wissenschaften zu Berlin, a monumental work which supersedes the earlier French account of Christian Bartholmèss in every respect. But naturally Harnack, in his voluminous treatise, does not offer a connected narrative of the fortunes of the German language in the Academy throughout the two centuries of the existence of that body. This phase is dealt with continuously and brought nearer to date in an article by Gustav Roethe. Roethe, however, is interested chiefly in the modern Deutsche Kommission and considers the entire question from the point of view of this interest. The present paper aims to direct attention once more to the subject as a whole, in the belief that it constitutes in a sense a chapter in the history of the German language.
VI. Bodmer's Indebtedness to Klopstock
Authors: Ibershoff C. H.
Published: February 2007

Many were the sources of Bodmer's Noah and by no means the least of these was Klopstock's Messias. In the present article I propose to consider certain phases of Bodmer's indebtedness to Klopstock's biblical epic, but at the same time I shall have occasion to consider also other aspects of Klopstock's influence.
VII. The Island Scene in Wieland's Oberon
Authors: Blankenagel John C.
Published: February 2007

That part of Wieland's Oberon which depicts the life of Hüon and Rezia on the island where they have been shipwrecked differs so essentially in tone, background, motivation, and thought from the rest of the poem as to constitute almost a separate entity. The ideas which the author here expresses may seem inconsistent with the spirit of romantic adventure which characterizes this work in general. Nevertheless, this episode, covering a period of about three years, makes a distinct break in the succession of outward adventures, and turns the reader's attention to the development of the inward qualities of the castaways. This affords the author a fitting opportunity to introduce ideas dealing with man's return to a state of nature, with nature herself, and with the mystic merging of heaven and earth in the soul of man. It is with these ideas and the contrast which they present to the rest of the poem that this paper is concerned.
VIII. George Borrow and Goethe's Faust
Authors: Speck William A.
Published: February 2007

In a letter from William Taylor of Norwich to Robert Southey, is to be found perhaps the earliest trustworthy clue to the date of Borrow's first acquaintance with the German language. Writing on March 12th, 1821, Taylor, whose name will probably survive because of his relation to Borrow, says:

A Norwich young man is construing with me, Schiller's Wilhelm Tell with a view of translating it for the press. His name is George Henry Borrow, and he has learnt German with extraordinary rapidity, indeed, he has the gift of tongues, and, though not yet eighteen, understands twelve languages—English, Welsh, Erse, Latin, Greek, Hebrew, German, Danish, French, Italian, Spanish and Portuguese….
On La Selva Confusa Attributed to Calderon
Authors: Heaton H. C.
Published: February 2007

La selva confusa was made readily accessible to students of the Spanish drama twenty years ago by Professor Northup, who edited it from the Madrid MS. As the editor was well aware, the play had long been listed as having been printed in Barcelona in 1633 in a Parte XXVII of Lope de Vega (commonly referred to as one of the “extravagantes”), though no copy either complete or fragmentary of such a volume could be located at the time he prepared his edition. Doubting whether the reported inclusion of the play in the aforesaid parte of 1633 could be regarded as having any authority, Northup attributed La selva confusa to Calderon on the ground that “it is so characteristically Calderonian from beginning to end that no other author could have written it”—an opinion in which he was supported by Schack and Rennert. His most important argument, however, lay in his conviction, shared by other experts, that the Madrid MS, to which Calderon's name is signed, was written by the dramatist's own hand.
Ernest Renan, Critique Littéraire
Authors: Peyre Henri
Published: February 2007

Dans la riche floraison d'articles et d'ouvrages qu'a fait naître, en 1923, la célébration du centenaire de Renan, il semble qu'on ait pu discerner un effort tenté enfin par la plupart des critiques français pour étudier Ernest Renan d'un point de vue plus littéraire et ne plus se borner aux partiales et stériles discussions sur son attitude philosophique et religieuse. La critique française accorde ainsi à Renan la place qui lui revient, celle non seulement d'un historien, d'un philosophe, ou d'un “apôtre de la tolérance,” comme se plaisent à l'appeler les pompeux discours officiels-mais aussi d'un écrivain, dont le style et les procédés littéraires méritent d'être analysés d'aussi près que le sont ceux de Flaubert ou de Michelet. Nous voudrions ici nous attacher à l'un de ces aspects de Renan, négligé jusqu'ici, qui intéresse cependant la littérature française en général, en étudiant Renan dans sa critique littéraire.
The Pearl and its Jeweler
Authors: Cargill Oscar , Schlauch Margaret
Published: February 2007

The modern reader of The Pearl, like the poet himself, would fain call the little maid of the vision by her own name, for this, he feels, wouId supply the key to the whole poem. The manifold allegory of The Pearl is designed, after all, to enhance its central figure, as are the multiple colors against which her little person is thrown into relief. We propose in this article, not only to call the maiden by her name, but also to suggest a name for the author of this masterly elegy and of Sir Gawain and the Green Knight.
Daudet's Atmospheric Sensibility
Authors: Kurz Harry
Published: February 2007

The writer of the present paper, while engaged recently in editing Tartarin sur les Alpes, was particularly struck by the recurrence of rain, the continual drip from sky and mountainside that accompanies Tartarin in all his adventures. The dampness in the book seemed almost an obsession, as if Daudet had deliberately let loose floods that gushed and gurgled through his pages. Through what a wealth of humid detail, what sprinkles and splashes, wettings and soakings, the author delights in dragging his hero! Upon reflection, Daudet's other works somehow began to seem reminiscently full of weather. Pages resplendent with Midi sunshine mingled in memory with northern damp and fog. The writer was thereupon moved to re-examine the works of Daudet from this point of view. The results of that study, set forth in the following pages, seem to justify fully the impression with which it began; namely, that it is not so much as an author full of meridional sunlight that Daudet should be known, but rather as worker in moisture, a dabbler in damp, a keen observer of the vagaries of mist and rain.
Walt Whitman and Shakespeare
Authors: Harrison Richard Clarence
Published: February 2007

There are perhaps few persons now vitally concerned about American letters who would not concede that Walt Whitman is at least the most outstanding individualist—poet out of the beaten track—of our national literature. And yet a compilation of parallels and relationships of one kind and another which have been suggested as existing between Whitman's writings and the writings of others, would reach astounding proportions. Moreover, these suggestions, so far as I have been able to learn, have usually been reasonably pertinent. They have justified the intuition of Whitman's first brave sympathizer, Emerson, as recorded in the now famous letter of commendation of 1855, in which Emerson declared that Leaves of Grass “must have had a long foreground somewhere.” They have given an element of plausibility to the statement of John Burroughs, his best contemporary interpreter, that Whitman “had looked over the whole field of literature . . . . and absorbed the spirit of the great bards.” And they have tended, as Whitman has been more and more exploited, to confirm the poet's own words, however immodest they may seem: “Immense have been the preparations for me.”
Destiny in Chaucer's Troilus
Authors: Curry Walter Clyde
Published: February 2007

Chaucer's Troilus and Criseyde is a tragedy, strongly deterministic in tone, the action of which is presided over by a complex and inescapable destiny. Professor Kittredge has already given an excellent exposition of the fate which hangs over the chief characters and over the doomed city of Troy, and has analyzed the sources of the feeling that we are “looking on at a tragedy that we are powerless to check or to avert.” And Professor Root, remarking upon the high seriousness and the moral import of Chaucer's poem, says:

He has called Troilus a tragedy; and it is a tragedy in the mediæval sense of the term—the story of a man cast down by adverse fortune from great prosperity and high estate into misery and wretchedness. The five books into which he has disposed his story suggests the five acts of the tragic drama. There is, moreover, a quite tragic insistence on the idea of destiny.
An East Midland Recension of The Pricke of Conscience
Authors: D'Evelyn Charlotte
Published: February 2007

It is now more than forty years ago that the first serious attempt was made to classify the several versions of the Pricke of Conscience according to the MSS which were then known. On the basis of three test-passages selected from approximately the beginning, the middle and the end of the poem (vv. 1836-1927, 5126-5204, 9335-9394, according to the line-numbers in Morris's edition) the MSS were divided into four main families, designated respectively by the symbols, Y, X ii, C, and Z, of which the fourth (Z) represents the Northern version which was printed by Morris.
A Freshman Poem by Emerson
Authors: McDowell Tremaine
Published: February 2007

During 1817-1818, Ralph Waldo Emerson furnished himself with lodgings at Harvard College by serving as the president's Freshman. His activities as messenger to President John Thornton Kirkland and to the faculty reached their high point when Emerson, at the close of the college year, formally distributed to his classmates official notices of their class standing and of their honors.
Wīdsīth, Víthförull, and Some Other Analogues
Authors: Schlauch Margaret
Published: February 2007

Wīdsīð maðolade, wordhord onlēac—“Wīdsīð spoke, unlocked his word-hoard:” and the things he said have caused many modern scholars to unlock theirs. This curious Old English poem purports to be an account, told in the first person, of a minstrel's wanderings far and wide over the earth; yet it is full of chronological impossibilities. When the singer claims to have visited not only Eormanrīc, King of the Goths, and Offa, King of the Angles, but also Caesar and Alexander, he justifies his name of Far-Wanderer, but he likewise makes his tale impossible to believe.
Sigurthar Saga Fóts ok Ásmundar Húnakongs
Authors: Jackson J. H.
Published: February 2007

Finnur Jónsson says in commenting on the rímur derived from SigurÐar saga fóts ok Ásmundar Húnakongs that the theme is a beautiful love romance. Not only is this little 15th-century lygisaga, now edited for the first time, one of the most readable of its kind, often reminiscent of the older sagas in language and scene and manner; but its literary relations give it unusual interest and importance. Jonsson further observes that it uses well-known motives; and Eugen Mogk that it makes many contacts with the MHG Kudrun, besides being enacted in the same milieu.
The Miltonic Simile
Authors: Whaler James
Published: February 2007

What would an epic be without simile? Its tone and landscape would be too often austere and bleak but for these fleeting views of an earth we know, these apt reminders of things men have done, endured, or imagined. Homer would diminish by a thousand lines, Paradise Lost by some four hundred; and what lines! Without them how could we picture Satan, his infernal host, his punishment, his revenge, or the actors in Paradise?
Henry Needler and Shaftesbury
Authors: Drennon Herbert
Published: February 2007

In discussing “Shaftesbury and the Ethical Poets in England, 1700–1760,” Professor C. A. Moore introduces Henry Needier (1690–1718) primarily to show that Shaftesbury had a few followers before the period of Thomson in which, according to his thesis, literary and ethical discipleship of the moralist and rhapsodist became common. That is to say, the “obscure poet” Needier affords a kind of running-start before the great leap is made, that of establishing a Shaftesburian influence, ethical, theological, and literary, on Thomson, and the oftentimes-designated imitators who sprang up after the Seasons was published. The purpose of the following discussion is to question Professor Moore's interpretation of Needler's indebtedness to Shaftesbury for his theology and his “poetical treatment of nature,” and to show what seem instead to have been the real sources of the poet's thinking and his stylistic achievements.
The Dating of Shenstone's Letters
Authors: Fullington James F.
Published: February 2007

In a valuable article on “The Dating of Shenstone's Letters,” published some years ago, Professor John Edwin Wells succeeded in verifying or correcting the dates of eighty-nine of the one hundred eleven letters collected in volume iii of the poet's Works. Unfortunately, as Professor Wells noted in the introduction of his article, the dates assigned to these letters by the editor are not trustworthy:

The most casual reading of the studies of any of the persons connected with the Shenstone circle ever so slightly, causes one to realize that the earlier letters at least have been and are used considerably as bases for dating facts and events of minor literary and personal history of the time. The dating given by Dodsley in his edition of the Letters is the dating generally accepted without further consideration. Study of the letters, however, indicates that the year given in the dating of many of the letters, is evidently not Shenstone's but has been inserted by the editor ... The dating of many of the letters is incorrect.
Hartley Coleridge on His Father
Authors: Griggs Earl Leslie
Published: February 2007

After the death of Samuel Taylor Coleridge in 1834, while Hazlitt, DeQuincey, Cottle, and Allsop were publishing unwise and sometimes unfounded accounts of his life, Henry Nelson Coleridge, the poet's nephew and Sara Coleridge's husband, thought that some effort should be made to prepare an authentic biography. His additions to the Biographia Literaria and his Table Talk of Samuel Taylor Coleridge show how well he succeeded.
Thomas Chaucer, One Man or Two?
Authors: Baugh Albert C.
Published: February 2007

In 1873 in Trial-Forwords to Minor Poems: Further Additions and Corrections Furnivall called attention to seven records under the heading “Thomas Chaucer, esquire and vintner (?1 man, or 2)”:

[1] 1399-1400. Duchy of Lancaster. Ministers' Accounts. Div. 29, Bundle 144. Payment of £20 to Thomas Chaucer for his two Annuities, due at Easter and Michaelmas, with £10 arrears.

[2] 1406, March 12. City Hustings Roll, 133. Thomas Chausers: Deed of entail on him of City lands, near St. Paul's, by his ‘consanguineus,’ William Chaumbre, cleric.

[3] 1416, February 3. Hustings Roll, 145. Release to Thomas Chaucer of the interest of Thomas Hoo and Agnes his wife in these entaild lands.

[4] 1413, June 7. Conveyance by Geoffrey Dallyng, Citizen and Vintner, and Matilda his wife, to Thomas Chaucer, esquire, and 4 other men, of a reversion in some City houses and land (no doubt as Trustees for some City Corporation).

[5] 1426, December 7. Hustings Roll, 155. Conveyance by William Manby, cleric, to Thomas Chaucers and Richard Wyot, esquires, and 4 others, clerics, of land in the parish of St. Margaret's, Lothbury, in the City of London, seemingly as Trustees for some ecclesiastical Corporation.

[6] 1428, May 20. Hustings Roll, 156. Conveyance by William atte Watir, barber, and John Cole, junior, Citizen and Vintner, of a tenement in Fleet Street to Thomas Chawsere and 12 other men—all 13 being described in one part of the Deed as Citizens and Vintners, evidently as Trustees for the Vintners' Company.

[7] 1428, June 11. Release to Thomas Chawsere and his 12 co-trustees—Thomas Chawsere and another (Lewis John), being called esquires, the rest Citizens and Vintners— of the estate of Thomas Croften, as mortgagee in possession, in the said tenement in Fleet Street.
“Henry of Hesse” On the Art of Preaching
Authors: Caplan Harry
Published: February 2007

In the present state of our knowledge it is best to assign the Tractatulus eximii doctoris Henrici de Hassia de arte praedicandi to an auctor incertus. The name Henry of Hesse was borne by two scholars in the fourteenth century; but we have no proof that this is the work of either. They were both professors of theology, both brilliant preachers, and practically contemporary; and the works of one have in the past often been attributed to the other.
Sir Thomas Browne and His Reading
Authors: Cawley Robert R.
Published: February 2007

It was Coleridge who so definitively characterized Sir Thomas Browne as “a hunter of oddities and strangenesses.” There is no key which fits his temper so perfectly. He was, his life long, an indefatigable searcher after what was unusual, in his reading, in his friends' experience, and in his own. Clearly it is this penchant for the exceptional, this probing for the bizarre, the exotic, which accounts for his lively interest in foreign countries, notably those which were least like his own—an interest attested by the fact that so generous a portion of his reading concerned other lands.
The Reaction in Eighteenth-Century England to Rousseau's Two Discours
Authors: Warner James H.
Published: February 2007

The early reactions of Englishmen to the famous works of Jean Jacques Rousseau have never been adequately studied. Jacques Pons, Louis J. Courtois, and Margaret Hill have been the only writers to present well-documented studies of any large phase of the subject; but their attention has been confined to the impact of Rousseau's pedagogical theories and to various aspects of his visit in England during the years 1766–67. Even the bibliography of Théophile A. Dufour is very incomplete in its citations of English editions. Under these circumstances, authors have generally taken refuge in assertions of tremendous and universal influence emanating from Rousseau, or they have surmised as to the effect of his works in England. The present work undertakes to provide a basis for more definite conclusions. The numerous assertions of the impetus which Rousseau is alleged to have given to the “romantic” revival of the late eighteenth century are familiar, and we know already that the diffusion of his works in England was wide. Furthermore, the first production of the French writer to excite attention there was the Discours sur les sciences et les arts (1750); and, although several works intervened, including the Devin du village (1752), Narcisse (1752), and the Lettre sur la musique française (1753), the next writing to excite comment was the Discours sur l'origine de l'inégalité (1755). Thus, although Rousseau's diffusion and popularity in England were due chiefly to La nouvelle Héloïse, the two Discours mark the beginning of his reputation in that country. Furthermore, the theses of these two productions have been closely associated with Rousseau. The insistence in the first Discours upon the baneful effect of modern civilization was also closely allied with the praise of primitive life in the second, and the designation of private property as the source of human inequality. Moreover, both of these productions questioned the justice of existing institutions; and Roussean himself maintained that, with Émile, they form a single entity.
Conrad's Revision of Six of His Short Stories
Authors: Whiting G. W.
Published: February 2007

Some years ago Mr. T. J. Wise said that “Many of Conrad's books may, in fact, be studied profitably in three published states: (1) the serial state (England and America), (2) the partly-revised state from the serial (America), and (3) the finally-revised state (England).” He suggested that a collation of the texts of the magazines with those of the books “would yield very remarkable results.” I have attempted a collation of six of Conrad's short stories: (a) “An Outpost of Progress,” “The Lagoon,” and “Karain,” published with two other stories in Tales of Unrest (London: T. Fisher Unwin, 1898); and (b) “Youth,” “Heart of Darkness,” and “The End of the Tether,” published in Youth (Edinburgh: William Blackwood and Sons, 1902). This collation does not include the American serial and book texts. I have found only “Hearts of Darkness” published serially in America. Moreover Conrad paid little attention to his American editions. For example, of the first American edition of Tales of Unrest Conrad wrote: “Uncorrected by me. Probably differences of text from 1st English edon.” Of the first American edition of Youth Conrad wrote: “1st U.S. edition printed from unrevised proofs. Probably much nearer the Maga text than the 1st Eng. edition.” Mr. Richard Curie declares:

Conrad always regarded his English book-text as the one that mattered. He was not much concerned about perfecting his text for serial publication and not greatly concerned, even, if the American book-text was not his finally revised one.
Cynewulf's Christ 1665-1693
Authors: Howard Edwin J.
Published: February 2007

The authorship of the twenty-nine lines following line 1664 of Cynewulf's Christ in the Exeter Book is, in common with that of much Old English poetry, disputed. The lines are variously considered an independent poem, the conclusion of Christ, and the beginning of Guthlac. Since external evidence is, of course, entirely lacking, an effort will here be made to decide the authorship by means of internal evidence.

The thought contained in Christ IV, as the disputed lines 1665–93 will for convenience be designated in this article, is much closer to that of the concluding passage of Christ III than it is to the beginning of Guthlac. Thomas Arnold has said that the line of thought of IV agrees in no way with that which marks the opening of Guthlac, while Gollancz, who insists that IV is a prelude to Guthlac, finds it necessary to say that the ‘motives’ of IV are ‘derived from the concluding portion of the Christ.’
Geoffrey of Monmouth and Stonehenge
Authors: Loomis Laura Hibbard
Published: February 2007

In Geoffrey of Monmouth's Historia Regum Britanniae (VIII, ix-xii) occurs the oldest and almost the only known legend about the most famous megalithic monument in Britain. The story accounts for Stonehenge as the funeral monument erected for hundreds of noble Britons slain by the treacherous Hengist and his Saxons, and it was for centuries accepted as the historical explanation of that great structure. Chroniclers repeated the tale and successive generations believed, to borrow Spenser's wording, that they could

“Th'eternall marks of treason . . . at Stonheng vew.” (F. Q., II, x, 66).
Some Names in Arthurian Romance
Authors: Loomis Roger Sherman
Published: February 2007

Among the most considerable of M. Bédier's achievements in his study of the Tristan legend was his demonstration by means of proper names that the tradition, in some form or other, must have passed from Pictland through Wales and Brittany into France and England. Although the researches of Miss Schoepperle have shown the influence of Irish aitheda, although the work of M. Loth has made it impossible to ignore the share of Cornwall, and Dr. Brugger's studies of the man Bleheris and of the name Loonois add to our knowledge of the origin and transmission of the story, yet M. Bédier's scheme still stands out as the first reasonably full and acceptable account of the derivation of any Arthurian romance. Now it is noteworthy that so important a result rested in large measure on the origin of the names inbedded in the tradition. Had the onomastic studies of Rhys, Miss Paton, Bruce, and Dr. Brugger been as generally convincing as those of M. Bédier, scholars would not still be so far apart in their interpretation of the development of the Round Table cycle. Thus far the only body of facts, apart from the Tristan branch, to which all parties subscribe is that the personal names Arthur, Kay, Bedivere, Modred, Guinevere, Merlin, Maheloas, Caradoc Briebras, Ider the son of Nu, Ivain son of Urien, Uther, and other proper names such as Escalibour, Pridwen, and Tortain, are derived from the Welsh. But the materials for further study are, as the Index to Sommer's seven volumes of French romance and Miss Blount's unpublished onomasticon show, very rich, and nothing seems to stand in the way of real advance in this field of research if only we can formulate and apply certain criteria which will at the same time fit the somewhat lax conditions of name-development and also be sufficiently rigorous to give assured results.
The Chaldean Stones in the Lapidary of Alfonso X
Authors: Nunemaker J. Horace
Published: February 2007

Among the names of stones in the Alfonsine lapidaries are a number, frequently recurring, which are given in the manuscript as Chaldean names, and are usually followed by their equivalents or definitions in Spanish. Some thirty-seven of these have been listed by M. F. de Mély, who expresses the hope that someone will undertake the task of defining and identifying them. Thus far, however, no one has made any thoroughgoing attempt to investigate these Chaldean stone-names. The only identifications made by Mély himself are the names catu and alfeyru (alfeyxu), feynac. A single identification of bezebekaury as ruby is made by Barrington, who, as others have done, has pointed out the difficulty of identifying these Alfonsine stones. Before undertaking this task it will be necessary to correct and complete the list given by Mély, which really comprises 36 instead of 37 names since one stone is twice counted. Actually, the manuscript mentions no less than forty-five Chaldean stones.
Berceo's Martirio De San Lorenzo from an Unpublished Manuscript
Authors: Marden C. Carroll
Published: February 2007

At the present time, the only known manuscript of Berceo's Martirio de San Lorenzo is the eighteenth-century copy that belonged to Padre Ibarreta, and Solalinde expresses the conviction that the Sánchez edition of the poem is based on the Ibarreta manuscript. On several occasions Sanchez mentions the fact that he had at hand the Ibarreta manuscript, and he likewise states that he had his own copy of several of Berceo's poems and that he used the Ibarreta version “para cotejar algunas que yo tenía, y copiar las que me faltaban.” That there is a close relationship between the Sánchez and Ibarreta versions of the Martirio de San Lorenzo is evident from the following facts; in both versions the poem is incomplete, containing only 105 stanzas; both versions have five verses in stanza 15; both versions use, consistently, the forms, ome, omes, sancto, sanctidat, lazdrar, judgar, nunqua; and they conform in the use of the exceptional forms cipdad 10d, cipdat 12d, Katolicos 2d, Karidad 10b, Karidat 47b. Furthermore, the three specific errors of construction or legibility mentioned by Sánchez are also found in the Ibarreta manuscript: the omission of Dios in 10b, omission of the rhyme word in 102d, and omission of seven letters in avrie despecho 105d.
A Spanish Play on the Battle of Pavia (1525)
Authors: Gillet Joseph E.
Published: February 2007

The invasion of Italy by Charles VIII in 1494 became, shortly after, the subject of an égloga by Francisco de Madrid, and the peace of Cambray in 1529, which, it was fondly hoped, would end the Franco-Spanish wars in Italy, was celebrated dramatically by Hernán López de Yanguas. The battle of Pavia (Feb. 24, 1525), falling between these two events and marking the culmination of the struggle, is discussed, from the Spanish point of view, naturally, in the present little play which has not thus far been noticed by the students of early Spanish drama. Like the other two it is a festival-play, combining with a political preoccupation the bucolic tone of the dramatic égloga, a type of which the origin may well be the fifth égloga of Juan del Encina “adonde se introducen cuatro pastores, . . . . y primero Beneito entró en la sala adonde el Duque y Duquesa estaban, y comenzó mucho á dolerse y acuitarse porque se sonaba que el Duque, su señor, se habia de partir á la guerra de Francia; . . . . y despues llamaron á Pedruelo, el cual les dió nuevas de paz. . . . .” The play is short, however, and although possibly intended for a performance or actually performed, it is close, both in subject-matter and external appearance, to the news-sheets in ballad-form which were fairly common at the time. The print which is here reproduced formerly belonged to D. Pascual de Gayangos, and is now in the Biblioteca Nacional, in Madrid. It seems to have been mentioned only by Gallardo. On its title-page a vignette represents a battle fought under massive city- or castle-walls by knights in full armour, on foot, some wielding swords, some daggers, several carrying shields, one of which, on the right, is painted with a large human countenance. In the left group of four warriors one has already fallen, pierced by a sword. Behind the right group of three may be distinguished a throng of helmeted figures in a thicket of tall lances.
A Spanish Romanticist Parodies Himself: Los Hijos Del Tío Tronera
Authors: Adams Nicholson B.
Published: February 2007

García Gutiérrez, because he wrote El Trovador (at the age of twenty-two) is commonly considered a typical Romantic dramatist. It may be affirmed with considerable justice, however, that he upheld the standard of Romanticism for a relatively short time and that he repented at the age of thirty. The record for long service is held by Zorrilla, who died still a Romanticist in 1893.
Some Comments on “Literary Theory”
Authors: Whitmore Charles E.
Published: February 2007

In various papers published during the past twelve years I have discussed certain aspects and applications of what I call “literary theory.” This piecemeal method of publication inevitably leaves loose ends; and my purpose on the present occasion is to tie up some of them by further discussion of sundry points and by the citing of sundry passages which further illuminate them. Without promising any startling novelties, I hope to be able to straighten out a few matters over which uncertainty or controversy might possibly arise.
Christopher Smart's Madness
Authors: Abbott Charles David
Published: February 2007

Few lyric poems of the eighteenth century have aroused as much interest during the past fifty years as Christopher Smart's Song to David. Poets, critics, and scholars have lavished praises upon it ever since Browning so liberally commended it in his Parleyings. It appears—usually only in part—in nearly all the anthologies, and in England the entire text has several times been separately reprinted. So much attention to the poem has led inevitably to a desire for more knowledge about the poet, and various scholars have attempted to satisfy this desire. Nearly all, however, have been baffled by the complications of the poet's periods of insanity, or else have jumped to conclusions that will not fit the facts. The late Sir Edmund Gosse, by the beauty and urbanity of his appreciation of Smart's poetic genius, in Gossip in a Library in 1891, did much to rehabilitate him in the world of letters. Unfortunately, Sir Edmund was seriously wrong in many of his most essential statements concerning the poet's life, and his misconceptions and misinterpretations of the facts have served as the basis of nearly all subsequent accounts, including that by Thomas Seccombe in the Dictionary of National Biography.
The Disinterment of Milton's Remains
Authors: Read Allen Walker
Published: February 2007

In 1790 a gruesome incident occurred in the church of St. Giles, Cripplegate, which incidentally affords evidence as to the reputation of Milton in the late eighteenth century. A body, thought to be that of the poet, was disinterred and for two days despoiled outrageously by souvenir-hunters. The question whether the body was or was not that of Milton was much disputed at the time and has remained unsettled ever since. Masson does not so much as allude to the affair and its discreditable and distasteful character has resulted in a glozing suppression of truth.
Coleridge and Byron
Authors: Griggs Earl Leslie
Published: February 2007

In the course of preparing an edition, with the kind permission of the Coleridge family, of the unpublished correspondence of Samuel Taylor Coleridge, I have found, among the several hundred letters examined, five written by Coleridge to Lord Byron which afford a fuller view of the relationship between the two poets. The contact between Coleridge and Byron was brief, their correspondence being confined to the period between Easter 1815 and April 1816, the time at which Byron finally departed from England. It is known that in 1812 Byron interceded with the managers of Drury Lane for the production of Coleridge's Remorse and that he attended at least two of Coleridge's lectures in 1811 and 1812; but their personal intercourse apparently did not extend beyond those incidents and the exchange of a few letters. Most of Byron's letters to Coleridge have already been published, but the five letters which Coleridge wrote to Byron have never been published in full.
Poetry of Sensation or of Thought?
Authors: Roberts John Hawley
Published: February 2007

Another paper on Keats may be pardoned if by a readjustment of the familiar materials, it makes possible a new interpretation of the poet's mind and work. The present essay ventures to suggest that the literary problem admitted and analyzed by Keats in Sleep and Poetry contains a clue for the study of his verse, which, although recognized in some of its implications by Keats's critics, has not hitherto been understood in its full significance. The following argument attempts to prove that by April, 1819, the poet, having settled, at least for a period, a very difficult question dating back to the autumn of 1816, was so released from his mental bondage that his creative genius, long restrained, broke forth into that glorious series of poems which included the great Odes and Lamia.
The Cult of Beauty: A Study of John Masefield
Authors: DuBois Arthur E.
Published: February 2007

John Masefield, William Butler Yeats, A.E., and others, continually using the word, have made of ‘beauty’ and ‘Beauty’ a phenomenon at which Thackeray, again alive, would laugh as he once laughed at Beauty-with-a-big-B. Masefield, particularly, trying to create a moral consciousness in the people, takes it for granted that the word ‘beauty’ is at once concrete, specific, and, therefore, self-explaining; and that the things, beauty and Beauty, are to be understood at once as vital, moving forces. He is consequently disconcerting, for he himself has various understandings of the word and the things.
Faire Em (And Shakspere's Company?) in Lancashire
Authors: Thaler Alwin
Published: February 2007

Students of Elizabethan drama know that the provincial roots and byways thereof have not yet been fully explored. Such scholars as Murray and Chambers have, to be sure, produced admirable chronological sketch-maps of the companies' tours, but other things remain to be done. It will be generally agreed, I think, that something may yet be gained by studying, jointly or severally, but in any case more closely than has yet been done, the implications of some of the many plays which demonstrably reflect—in story, theme, background, or incidental allusion—their provincial origins or associations. In undertaking this general study for another purpose I have been attracted especially to certain of these plays which afford tangible clues, such as local names or allusions, apparently justifying further research. Here, specifically, I wish to present my findings concerning one case in point—the pleasant comedy of Faire Em as a “country play.” It will serve my purpose to recall, first, the relatively familiar facts about the play.
Prince Hal's “Shew of Zeale”
Authors: Hartman Herbert
Published: February 2007

In the familiar oration of Prince Hal over the body of the slain Percy occur the lines:

If thou wert sensible of curtesie

I should not make so deare a shew of zeale,

But let my fauours hide thy mangled face

And euen in thy behalfe ile thanke my selfe,

For doing these faire rights of tendernesse.

(1 Henry IV, v. iv. 94–98)

“Favours” in this passage is usually glossed as a scarf or riband, perhaps a glove. The lines are taken to imply a stage direction of some sort. It would seem, however, that Shakespeare here intended more than a conventional chivalric gesture on the part of the regenerate Prince. From a chain of textual evidence it is demonstrable that the playwright had in mind for his climax a far more dramatic, more tacitly ironic move—Hal's disengaging his royal plumes (the “budding honours” of his own helmet) to shroud the face of his dead rival. In three earlier passages the quarto text supports this interpretation.
The Concealed Fansyes: A Play by Lady Jane Cavendish and Lady Elizabeth Brackley
Authors: Starr Nathan Comfort
Published: February 2007

The text of The Concealed Fansyes, which has hitherto remained unprinted, is preserved in the Bodleian library in Rawlinson MS. Poet. 16, which bears the following title: “Poems, songs, and a pastorall, by the Rt honble the Lady Jane Cavendish and Lady Elizabeth Brackley.” Though the play was listed by Halliwell-Phillipps, students of the drama have displayed very little curiosity in regard to it. Indeed, aside from a few communications which appeared many years ago in Notes and Queries, I have not found the slightest discussion of this play.
The Genesis of Schnitzler's Das Weite Land
Authors: Liptzin Sol.
Published: February 2007

Schnitzler's early dramas from Anatol (1889) to Der Schleier der Beatrice (1899) deal largely with problems of love as seen through the eyes of philandering youth. His dramas after the turn of the century treat problems of married life as these confront middle-aged people. The most important of the latter dramas are: Der einsame Weg (1903), Zwischenspiel (1904), and Das weite Land (1910). The last named play was begun in 1902 and underwent radical transformations before its appearance eight years later. A study of its genesis ought to shed important light upon the final published version.
Der Symbolisch-Autobiographische Gehalt von Thomas Manns Romandichtung Königliche Hoheit
Authors: Weigand Hermann J.
Published: February 2007

In seinem kleinen Aufsatz, “Über Königliche Hoheit” (1910), sagt Thomas Mann:

Der Fürst, den ich eigentlich im Sinne hatte, ist der, von dem Schiller seinen Karl VII. sagen lässt: ‘Drum soll der Sänger mit dem König gehen, sie beide wohnen auf der Menschheit Höhen.’ Die anspielungsreiche Analyse des fürstlichen Daseins als eines formalen, unsachlichen, übersachlichen, mit einem Worte artistischen Daseins und die Erlösung der Hoheit durch die Liebe: Das ist der Inhalt meines Romans, und, voller Sympathie für jede Art ‘Sonderfall,’ predigt er Menschlichkeit.
Science and Folk-Lore in The Owl and The Nightingale
Authors: Hinckley Henry Barrett
Published: February 2007

A salient point of interest in The Owl and the Nightingale is the amount of knowledge, expressed or implied in the poem, concerning animal life which is correct and possibly due to direct personal observation. Master Nicholas of Guildford, whom, here as elsewhere, I assume to be the author, was not writing a scientific treatise, and is at no particular pains to avoid the acceptance of popular delusion. For example, from a literary point of view, the long account of how the hooting of the owl portends disaster is one of the most effective passages in the whole poem. Such scientific interest as the poem possesses is a byproduct of his purpose to enter into bird-life and set it before the reader. Indeed, had he purposed to write a scientific treatise it is quite conceivable that he would have busied himself collecting misinformation, whether from books or from word of mouth, and would have thought his own personal observations of too little moment to be worth recording. And we should have been tempted to regard him as a man of almost no observation at all, very much as the reader is apt to regard Alexander Neckam, or would regard Neckam but for that writer's remarks about the magnetic needle. Art is older than science, and was highly developed when science was still in its infancy. Master Nicholas, our poet, writing as an artist, was sometimes contented to tell us what he had himself seen and heard. Whether he was or was not a man of uncommon observation cannot, perhaps, be determined. What is incontestably true is that in an age when writers of natural history were blind leaders of the blind, he did some justice to such powers of observation as he possessed.
The Mediæval-Modern Conflict in Chaucer's Poetry
Authors: Getty Agnes K.
Published: February 2007

Critics have long recognized Chaucer's poetry as a connecting link between mediæval and modern literature. In particular, his literary technique, his originality in the telling of old tales, and his wide range of subject matter have caused him to be ranked variously from the most modern of the mediævals to the most mediæval of the moderns. The student of Chaucer may well question to what definite extent and in what particular respects the poet was mediæval, and in what modern. Certain it is that he blended in his work characteristics of both periods.