bluuebunny/crossref_metadata_2025 huggingface dataset:
XXVII: Joseph Hall and Work for Chimny - Sweepers
Authors: Kane Robert J.
Published: February 2007

The second English treatise on tobacco, as well as the first to oppose it, was Work for Chimny-sweepers: or A warning for Tabacconists. Describing the pernicious vse of Tabacco, no lesse pleasant then profitable for all sorts to reade. [quotation] … Imprinted at London by T. Este, for Thomas Bushell, & are to be sould at the great North dore of Powles. 1602.
XXX: Fact and Fiction in Zaïre
Authors: Pike Robert E.
Published: February 2007

This article is an attempt to clear up the curious hodge-podge of fact and fiction in Voltaire's play Zaïre. From his facile use of famous names and historical events one receives the impression that the play is at least based on facts. But Voltaire tells us in a letter to M. La Roque (1732): “Je n'ai pris dans l'histoire que l'époque de saint Louis; tout le reste est entierèment d'invention.” Is his statement to be believed? The editors of Zaïre have done nothing to help solve this question.
XXXV: Shelley and Thomas Taylor
Authors: Notopoulos James A.
Published: February 2007

The influence of Taylor, the Platonist, on Shelley has been suspected by A. Koszul but left for further investigation. A study of Shelley in this context is important for the light it throws on his Platonism, and upon the meaning of several prose fragments found among his manuscripts. It is an influence which Shelley assimilated for the most part unconsciously in his early youth, and outgrew. The traces of it, therefore, are dim and the means of it indirect, but they are of significance not only for Shelley but for Platonism as an influence in the Romantic movement.
The Influence of Superstition on Vocabulary
Authors: Allen Hope E.
Published: February 2007

Through the notion of corruption, we come to the third example of bug sb. in Moufet's great pioneer work of entomology, of which the first two had been attached to the dung-beetle. As already described (l, 1037), the Insectorum … Theatrum was finished in 1590, though not printed till 1634.
Thomas Vaughan's Influence Upon the Poetry of Henry Vaughan
Authors: Wardle Ralph M.
Published: February 2007

Within the past few years several scholars have been attracted by a challenging passage from the “Preface to the following Hymns” in the second edition of Henry Vaughan's Silex Scintillans (1655): you will (peradventure) observe some passages, whose history or reason may seem something remote; but were they brought nearer, and plainly exposed to your view, (though that (perhaps) might quiet your curiosity) yet would it not conduce much to your greater advantage.—Silex Scintillans, Part ii, Sig. B-3-v.
Oroonoko in France in The XVIIIth Century
Authors: Seeber Edward D.
Published: February 2007

M. Etienne, in his study of the sources of Victor Hugo's first novel, Bug-Jargal, suggests that a kinship clearly exists between this, as well as earlier French stories of Negro characters, and Mrs. Aphra Behn's Oroonoko, or the Royal Slave. He is led to this conclusion because of certain indications of the popularity of Oroonoko in France during the eighteenth century, and because of the recurrence in French literature of the noble, romantic Negro. This very just inference as to the importance of Oroonoko is worthy of elaboration and emphasis because in this early English novel we can find the substance and technique of much of the littérature négrophile of the eighteenth century, a period in which the Negro emerges from his despised condition and takes on heroic qualities and possibilities; and also because this English story, of which the purpose might well have been didactic, written by “the first literary abolitionist … on record in the history of fiction,” as Swinburne called Mrs. Behn, was to have far-reaching consequences in French humanitarian thought.
LIX. The Address of the Soul to the Body
Authors: Willard Rudolph
Published: February 2007

There exist in Old English a number of compilations in which an address of the soul to its body is a conspicuous feature. The best known is the poem in the Vercelli and the Exeter Books, in which the soul returns to its body once a week and communes with it, the sinful soul reproaching it vituperatively, the righteous comforting it lovingly and joyously. The fourth Vercelli homily has a remarkable scene, an elaborated account of the judgement of the soul at Doomsday, in which the souls address their bodies as they stand in the presence of the Judge. The Last Judgement is again the scene of an address, and that in one of the homilies presented by Assmann. There is, finally, the Old English vision, printed by Thorpe and Napier, of the bringing forth of the soul, wherein the newly-released soul of a sinner vituperates the body it has just left. To this literature, I wish to add passages from two unpublished Old English homilies, in which the address is made, not at the moment of death, as in Thorpe and Napier, nor at the Last Judgement, as in Vercelli Homily iv and in Assmann, but at some intermediate time, when the soul returns intermittently to its body for that purpose, as in the Old English poem. These two texts are Homilies ii and iv of MS. Junius 85 of the Bodleian Library, and Homily xl of MS. Ii. 1.33 of the Cambridge University Library.
LXIX. Zum Begriff Des Jungen Goethe
Authors: Schreiber Theodore
Published: February 2007

Allenthalben begnügt man sich noch mit dem Begriff vom Jungen Goethe, wie ihn Ludwig Tieck faszte, der diesen nur bis auf den Vorweimarer Goethe angewandt wissen wollte. Ihm folgte Max Morris, dessen kritische Stoffsammlung mit dem Reisetagebuch Goethes vom 30. Oktober 1775 abschlieszt. So hält auch Karl Alt an der Auffassung Tiecks fest. Das glänzend geschriebene synthetische Werkchen von Karl Viëtor greift ebenfalls über Goethes letzte Frankfurter Tage nicht hinaus. Korff schlieszt den Jungen Goethe, ohne sichere Daten zu geben, mit dem Urfaust ab. Selbst Gundolf macht kaum eine Ausnahme, doch unterscheidet er schärfer zwischen einem Frühweimarer und dem mit der Rückkehr aus Italien wirklich gereiften Goethe. Das trefflichste Beispiel bietet jedoch Eugen Wolffs Untersuchung über die geschichtliche Entwicklung junggoethescher Gedichte, die mit Anfang November 1775 abschlieszt, allerdings schon 1907 erschien. Aber noch Hermann Baumgart in seinem Werk Goethes lyrische Dichtung in ihrer Entwicklung und Bedeutung, Band i, S. 186 f. (Heidelberg, 1931) hält die nachfrankfurter Jahre “zur entscheidenden Epoche” von Goethes Leben, in denen sich “die bleibende Richtung seines Lebens” gebildet habe. Und so könnte man die Liste bewährter Forscher weiter verfolgen, ohne dasz sich das herkömmliche Bild nennenswert ändern würde.
LXXII. A Source for Balzac's Determinism
Authors: Fess G. M.
Published: February 2007

In any explanation of the sources for the doctrine of physical determinism, as expressed in modern French literature, the book of Jean-Philibert Dessaignes (1762–1832), Etudes de l'homme moral, fondées sur les rapports de ses facultés avec son organisation, deserves a place. This is because its author was the teacher of Honoré de Balzac at the Collège de Vendôme, and because Balzac later became one of the chief creators of the doctrine in question.
The Latin Initial Syllable in the Romance Languages
Authors: Cross Ephraim
Published: February 2007

The cardinal question of the inherent strength of the initial syllable has again been raised by Roland G. Kent in an article “The Alleged Strength of the Initial Syllable,” Language, vii, 3, (September, 1931), 179–189. Kent introduces his challenge of certain current notions of the Latin accent with the query:

Does the initial syllable of a word possess some peculiar strength which makes it resist change or loss of its vowel better than other syllables do—other factors being equal?
A Semantic Parallelism Based on Old French Gourmon
Authors: Levy Raphael
Published: February 2007

This memorable passage (despite its anachronism in assuming that a superstition popular in the time of James I had already been accepted in the time of King Duncan of Scotland) illustrates the ramifications incident to an attempt to study a problem touching upon Romance philology and the history of medicine. The inflammation of the lymphatic glands, technically known as “tuberculous cervical adenitis” but ordinarily called “scrofula,” for a long period received the name of “the King's Evil,” and the treatment of it used to be the special prerogative of royalty. It was thought that the power of the British King to cure scrofula by touching the afflicted person went back to the time of King Lucius of Great Britain. As a matter of fact, King Lucius never existed —except in the imagination of the English theologian William Tooker in the sixteenth century—and the thaumaturgical power of the King began with Henry II (between 1154 and 1189). In France this royal prerogative was supposed to go back to the Merovingian King Clovis, but the earliest document substantiating the claim is the De Gallorum Imperio et Philosophia of Étienne Forcatel, published at Paris in 1579. The tradition of a French King's curing scrofula started with Philip I (between 1060 and 1108), and was actually revived at the coronation of Charles X at Reims in 1825. Attention is called to a painting of the sixteenth century, in the Pinacoteca of Turin, which shows a King of France about to touch a scrofulous crowd. At the right stands a patient on whose stomach one can discern clearly the head of a pig.
Henry Cheke's Freewyl
Authors: Bradner Leicester
Published: February 2007

In the third volume of E. K. Chambers' Elizabethan Stage is a short notice of Henry Cheke and his Certayne Tragedie written first in Italian, by F. N. B. entituled, Freewyl, and translated into English, by Henry Cheeke. Although Chambers, probably confused by the entry in the Stationers' Register on May 11, 1561, of a book “of Frewill,” quotes the title with John Tysdale as printer, none of the extant copies bears any mention of printer, place or date. It has been assumed in the past that the entry to Tysdale referred to Cheke's translation, but Dr. Harold Stein has pointed out to me that it must actually refer to one of a series of translations from Jean Veron issued by Tysdale at this time, the title in question reading: A most necessary treatise of free will. Cheke's book is listed under 1589 in Herbert's edition of Ames' Typographical Antiquities, but no printer is assigned and no reason given for the date except the statement that the revolt of the Netherlands is referred to in the play, whereas as a matter of fact it is the revolt of Germany from papal authority in the time of Luther. The question has been pretty well settled, however, by Mr. William A. Jackson, who has made a detailed study of the copy in the Pforzheimer collection. He writes me that the book is certainly the work of Richard Jugge and that a comparison of some of the smaller initial blocks in the Cheke volume with the same ones in Eden's translation of Peter Martyr's History of travayle in the west and east Indies, printed by Jugge in 1577, shows that the blocks are noticeably more worn and broken in the latter volume. Cheke's book was presumably printed, therefore, before that date and after 1572, since the dedicatee, Lady Cheynie of Toddington, did not acquire that title until her husband was raised to the peerage as Baron Cheynie of Toddington in 1572. I incline to a date close to the earlier year.
“The Question of Halsam”
Authors: South Helen Pennock
Published: February 2007

In British Museum Addit. MS. 34360 on folio 22 occurs one stanza of rime royal entitled “The question of halsam.” It is smooth in meter, well-balanced in thought, and practically perfect in stanza form, comparing very favorably in these respects with other minor lyrics of the early fifteenth century. The popularity of this poem is attested by its presence in many manuscripts of that century and by the fact that Caxton printed it together with a second seven-line stanza also ascribed to Halsham. Both of these lyrics are found in Bodley 3896, f. 195a (MS. Fairfax 16), which affords not only the earliest, but the most authentic text of these pieces:

The worlde so wide / thaire so remuableThe sely man / so litel of statureThe grove and grounde / of clothinge so mutableThe fire so hoote / and subtil of natureThe water neuer in oon / what creatureThat made is of these foure / thus flyttyngMay stedfast be as here / in his lyving

The more I goo / the ferther I am behindeThe ferther behinde / the ner my wayes endeThe more I seche / þe worse kan I fyndeThe lighter leve / the lother for to wendeThe bet y serve / the more al out of myndeIs thys ffortune not I / or infortuneThough I go lowse / tyed am I with a Lune
The Latin Pastorals of Milton and Castiglione
Authors: Harrison T. P.
Published: February 2007

A comparative study seems to show that Castiglione's Latin pastoral elegy, Alcon, is more closely related to Milton's Epitaphium Damonis than to Lycidas, which has often been mentioned in connection with the Italian poem. This paper undertakes only to set forth the parallels between Alcon and the Epitaphium, not to reach any absolute conclusions as to the extent of Milton's dependence.
Ritson's Life of Robin Hood
Authors: Moreland Carroll C.
Published: February 2007

Joseph Ritson's antiquarian interest was of early inception. From his school days in Stockton, he had been interested in history, old songs, and ballads. This interest continued throughout his life. It resulted in a series of publications ranging from the history of certain legal offices, through British topography and royal geneology, to old English and Scottish songs and ballads. In all this work he was careful to use the oldest manuscripts and sources he could find: he showed amazing diligence in searching out original documents. His editing was in accord with modern practice: it did not suffer from the misleading procedure of such editors as Percy. He was extremely critical of the treatment of texts by his contemporaries, and justly deserves to be called the watchdog of English scholarship.
The Significance of Lamia
Authors: Roberts John Hawley
Published: February 2007

In an article Poetry of Sensation or of Thought? I attempted to show how Endymion and Hyperion: A Fragment are related to the æsthetic problem that Keats first analyzed in Sleep and Poetry. At that time I suggested that the Odes and Lamia, following as they do the abandoning of Hyperion: A Fragment, are the outpourings of a mind released at last from the self-imposed duty of writing a poetry of humanitarian philosophy and allowed to indulge its creative genius for the poetry of sensation. It was my contention (and still is) that Keats had been trying to force himself, like his own Apollo, to accept “Knowledge enormous” as Beauty—knowledge “of the agony and strife of human hearts”; whereas at least one half of his being was affirming passionately that Feeling, particularly that which passes through the refinery of the creative imagination, is Beauty. It was his acceptance of this side of his nature that produced most of the poems written in the spring of 1819. But during the summer of 1819 Keats plunged once more into the old conflict. It will be the purpose of this paper to show how Lamia and The Fall of Hyperion are related to it.
A Note on Source Influences in Shelley's Cloud and Skylark
Authors: Richards Irving T.
Published: February 2007

Mrs. Shelley in her preface to her husband's collected poems remarked:

There are others, such as the “Ode to the Sky Lark,” and “The Cloud,” which, in the opinion of many critics, bear a purer poetical stamp than any other of his productions. They were written as his mind prompted, listening to the carolling of the bird, aloft in the azure sky of Italy; or marking the cloud as it sped across the heavens, while he floated in his boat on the Thames.
The Date and Historical Background of The Owl and the Nightingale
Authors: Tupper Frederick
Published: February 2007

One present-day student of that fascinating product of English medievalism, The Owl and the Nightingale, concludes his survey of the so-called “modern phase of discussion” of its problems with mingled approval and dissent. Hearty appreciation of the range and resourcefulness of the recent contributions of two American scholars to our knowledge of the sources and background of the poem contends with an ever-deepening conviction of the futility of their arguments in favor of an earlier date and environment than any hitherto suggested. May a persistent heretic in the face of their somewhat differing opinions cite first specific reasons for the rejection of these and then give his own grounds for yet another conclusion?
Medieval Rhetoric in the Book of the Duchesse
Authors: Harrison Benjamin S.
Published: February 2007

Considerable interest has been manifested of late regarding Chaucer's rhetoric. This was occasioned by the French medievalist, Edmond Farai, when in 1924 he edited five poetical treatises which had circulated in the twelfth and thirteenth centuries. Professor Manly in 1926 in a lecture delivered to the British Academy, concluded that the poet had in all probability studied these texts, and that much of his technical art was learned from them, rather than from his French models, as had formerly been supposed. Two years later, Professor Baldwin climaxed his Medieval Rhetoric and Poetic with a concluding chapter on Chaucer's technique, which records the poet's reaction to such doctrines as these works contain. During the past year, PMLA has published three articles related either to Chaucerian rhetoric or the medieval manuals. Two of these, following the thesis of Manly, assume quite definitely that Faral's treatises exerted a primary influence upon the mind of Chaucer. All these studies are based upon a comparison of only the Chaucerian works and the Latin manuals. Consideration has not been given to the poet's source material as a third element of correlation.
Tindale and the 1533 English Enchiridion of Erasmus
Authors: Gee John Archer
Published: February 2007

During the latter half of Henry VIII's reign various English presses issued vernacular editions of many of Erasmus' writings. The most popular was a version, published first toward the end of 1533 and frequently thereafter, of the Enchiridion militis Christiani. This treatise had a large circulation throughout Europe. Appearing first in 1503 (or 1504), it received for a decade or so no great attention, but after 1515 edition followed edition in rapid succession. Between 1519 and 1542 it was issued in translation, usually in at least two versions, in eight different languages.
The Discussion of Taste, from 1750 To 1770, and the New Trends in Literary Criticism
Authors: Hooker Edward Niles
Published: February 2007

The attempts to define and to arrive at a standard of taste lie at the heart of the aesthetic inquiries that were being carried on in eighteenth-century England. That such inquiries, by examining certain fundamental assumptions of traditional æsthetics, exerted an influence on the theory and practice of literary criticism, is a commonplace. But why and how this influence was felt has not been explained. Its importance can be gauged by the fact that within a period of twenty years several of the ablest minds in England and Scotland, including Burke, Hume, Hogarth, Reynolds, Kames, and Gerard—most of them interested in literary criticism—were focussed upon the problem of taste. It was not a coincidence that in the years from 1750 to 1770, when the search for a standard of taste was at its height, the old assumptions of literary criticism were crumbling and the new “romantic” principles were being set forth, sometimes timidly and sometimes boldly, by the Wartons, Young, Hurd, Kames, and many others. The relation between these two phenomena is the subject of this study.
Henry Vaughan and the Hermetic Philosophy
Authors: Clough Wilson O.
Published: February 2007

In any conclusive consideration of Henry Vaughan's work, how much weight should be given to the presence of Hermetic fragments? It has frequently been recognized that the truer mysticism of Henry Vaughan sets him somewhat apart from the so-called school of metaphysical poets, as something more than a disciple of Donne and Herbert. This note in Vaughan has led some students to examine more closely his contacts with that body of thought loosely labelled Hermetic philosophy, and its corollary, alchemical science. The suggestion has been given body by the presence of two or three pertinent facts: phrases and ideas in Vaughan which were common to the Hermetists; the fact that Vaughan translated at least one passage from a sixteenth-century Hermetical writer; and, chiefly, the fact that the poet's brother, Thomas Vaughan, was known to have been a dabbler in transcendental alchemy. This paper examines in further detail how far these facts enter into the total body of work of Henry Vaughan.
The Sentimentalism of Goldsmith
Authors: Gallaway W. F.
Published: February 2007

Two popular conceptions of Goldsmith stand out in sharp opposition. To many readers and to a few students The Deserted Village and The Vicar of Wakefield are masterpieces in the sentimental vein, books tinged with a kindly sympathy and with a longing for a bygone and a better day. To a portion of this group The Traveler bears a similar message that happiness is a creation of the individual heart independent of governments and of geographies. In contrast to this view of Goldsmith as the most charming of the sentimentalists, there is current another view which is rooted in Goldsmith's attack on sentimental comedy, in the gay humor of his own plays, and in his connection with Dr. Johnson—a view that reveals Goldsmith as a classicist out of touch with the tendencies of the future—wit not dreamer, apostle of common sense rather than disciple of Rousseau. The disagreement does not arise concerning Goldsmith the man, for as to his personality there is substantial unity of opinion, but concerning Goldsmith the author. Here the two positions seem to be irreconcilable, and even a minute study of the sentimental trends in the whole of Goldsmith's work is not likely to resolve the antinomy. Sentiment and sensibility are in turn praised and condemned, luxury justified and attacked, prudence and generosity alternately exalted, so that the final position of the critic as to Goldsmith's sentimentalism will perhaps always depend on the nature of his definitions. It should be possible, however, to reach a clearer understanding of Goldsmith's sentimentalism and a more solid basis for the appreciation of his literary productions by an analysis of the sentimental aspects of his work in the light of a definition sufficiently broad to permit of a somewhat inclusive treatment.
XLIX. The Public Repudiation of Hero
Authors: Page Nadine
Published: February 2007

Almost every nineteenth-century critic has declared one or more of the leading characters of Much Ado in some respects unconvincing or at least distasteful. Chambers, moreover, finds in the play as a whole “inconsistency of purpose” and “the chiaroscuro of melodrama”; and Schücking asks why Shakespeare makes his characters “behave as irrationally” as do the characters in Much Ado. Lawrence explains the apparent inconsistencies of the plot as the outcome of Shakespeare's close adherence to the old popular tale that was his ultimate source; but in Much Ado Shakespeare did make bold departures from Bandello and Belleforest in the Hero-Claudio romance, and, furthermore, replaced two insipid minor characters with the vigorous Benedick and the glib and pungent Beatrice. Stoll explains these difficulties rather as the outcome of dramatic convention, and declares that Hero's public repudiation “is a matter of Elizabethan art and taste rather than of character”; but Stoll neither makes clear how Elizabethan “art” demanded the interpolation of such an incident, nor cites similar interpolations in other plays. These two explanations, therefore, seem hardly satisfactory, and this study proposes to examine the problem in the light of Elizabethan culture and ideals. Why is Claudio, though clearly intended as a hero, so mercenary in his wooing, so apparently malicious in publicly defaming Hero, and so fickle in accepting another bride? Why does Hero passively accept such treatment?
LV. Carlyle and The German Philosophy Problem During The Year 1826–1827
Authors: Shine Hill
Published: February 2007

The year 1825–26, was of very great importance to Carlyle. It marked his emergence from the ethnic or purely humanistic phase of intellectual development, into the phase of transcendental thought. During the year he found for the first time a permanent within the flux. He encountered an unchanging truth through art: “the fiction of the poet,” he said, “is not falsehood but the purest truth.” This culmination is the result of the æsthetic progress traceable through the preceding period.
Dryden's Odes and Draghi's Music
Authors: Brennecke Ernest
Published: February 2007

The study of any choral lyric, properly so called, and designed to be sung and otherwise performed by a group of executants on a specific public occasion, must be considerably hampered when its original musical setting is not at hand. Indeed the appreciation of such a poem as Alexander's Feast can be only partial at best if the text is read with the comparatively simple apparatus that one usually brings to bear upon a sonnet by Sidney. When the music to a choral ode was no afterthought but rather an integral part of the whole performance, the divorcement of the words from their setting results in an inevitable loss of understanding and of proper response. The ideal way to absorb any choral lyric, whether it be by Pindar, the author of the Book of Judges, or Dryden, would be to hear, if not to participate in, the complex display of sound through which its author intended it to be proclaimed. And since one cannot be present at the original performance of any save contemporary compositions of the kind, it becomes imperative to reconstruct, through the vigorous use of both study and imagination, the original circumstances and the original music which accompanied the poem.
William Wordsworth and John Wilson: A Review of Their Relations between 1802 and 1817
Authors: Strout Alan Lang
Published: February 2007

That two boys of seventeen should have welcomed the most important early book of the romantic movement in England is remarkable, a curiosity of literature. The letters of Thomas De Quincey and John Wilson, in praise of the Lyrical Ballads, probably afforded Wordsworth greater pleasure in 1802 and 1803 than any commendation outside of his immediate circle.
Coleridge Marginalia in a Volume of Descartes
Authors: Lindsay Julian
Published: February 2007

Although printed forty years ago in a once well-known textbook, certain marginalia written by Coleridge in a copy of Descartes' Opera Philosophica have never, I believe, been the subject of any comment. They are, however, of considerable interest, aside from that of a sentimental kind, for of four notations—one a mere reference for later transcription—two have relationship, hitherto unnoticed as far as I am aware, with a paragraph in the Biographia Literaria, and the reference is to a passage part of which was quoted as a volume motto in The Friend.
The Doctrine of Coleridge's Dejection and Its Relation To Wordsworth's Philosophy
Authors: Stallknecht Newton Phelps
Published: February 2007

The early thinking of both Wordsworth and Coleridge centered about one idea which was, if not the psychological origin, at least the logical culmination of their humanitarian, esthetic, and religious doctrines. This notion we may designate as the theory of imaginative love. We find this hidden in the allegory of the Ancient Mariner and more clearly stated in the philosophical passages of The Prelude. It contains the explanation which Wordsworth offers of the spiritual efficacy of “natural piety” and of his mystical love of beauty. It is, in short, the keystone of that heroic system of natural religion which the two poets constructed during the period of mutually inspiring companionship when they walked together upon “Quantock's airy ridge.” They believed that creative and appreciative imagination engenders a love of nature and a love of man, and they did not hesitate to affirm that this love is a profoundly religious experience which owes its power to the mystical communion with a cosmic spirit. This last belief was essentially a faith in an animate Nature and it served them both as the justification of their worship of woodlands and hillsides from which they drew such spiritual strength. This idea, however, was not by any means a mere doctrine with which they defended their peculiar religious position; it hovered over their thinking, “a master o'er a slave,” and found expression again and again in their most successful utterances.
The Punctuation of COMUS
Authors: Diekhoff John S.
Published: February 2007

The discussion of Shakespearean punctuation begun by Percy Simpson has brought out two theories of seventeenth-century punctuation—one that it is based upon principles of elocution and the other that it is based upon the grammatical structure of sentences. No one seems to have argued that the two principles must have been active simultaneously, that rules of punctuation (even those formulated in the sixteenth and seventeenth centuries which Professor Fries cites) regard both the structure and the pause.
Three Unnoticed Writings of Swift
Authors: Van Lennep William
Published: February 2007

In The Monthly Mirror are some writings of Jonathan Swift which appear to have been overlooked by all of his commentators— a satirical essay, a letter to Mrs. Pendarves, and a soliloquy attributed to him. The most significant of these is the satirical essay, entitled Directions to Players and printed, it is stated, “from an unpublished MS. by Dean Swift, preserved by Mr. O'Nick.”
The Troubadours of Peire D'alvernhe's Satire in Spain
Authors: Pattison Walter T.
Published: February 2007

A recent study of Peire d'Alvernhe's Chantarai d'aquest trobadors identified one “Guossalbo Roitz” ridiculed by Peire with a certain Spanish nobleman named Gonçalvo Roiz, showed that this man had been in or near Puivert (Aude), where Peire's satire was written, in the summer of 1170, and proposed that the brilliant cortège with which he was travelling had attracted to that spot the troubadours of Peire's satire. Since this group of nobles was going into Aragon escorting Eleanor, the daughter of Henry II of England, to her wedding with Alfonso VIII of Castile, it suggested the possibility that at least some of the troubadours of the satire were attached to the bride's suite.
Bishop Brunton and the Fable of the Rats
Authors: Kellogg Eleanor H.
Published: February 2007

Professor G. R. Owst has called attention to the fact that the fable of the rat parliament, which forms a striking addition to the B-version of Piers Plowman, was also employed with reference to contemporary political conditions in a sermon preached at just this time by Thomas Brunton, Bishop of Rochester. Bishop Brunton, in an unsparing denunciation of corruption in the English government, praised Parliament for its action in bringing the conditions to light, but warned that vigorous steps must be taken to punish the guilty. Otherwise, he continued, Parliament would be like the assembly of rats and mice in the fable which decreed that a bell be hung about the cat's neck yet provided no one to carry the plan into execution. Father F. A. Gasquet, who was the first to point out this passage in Brunton's sermons, conjectured that the parliament in question was the “Good” Parliament and consequently suggested that the sermon was preached sometime in 1376. The interest which the document holds for both the historian and the student of Piers Plowman gives the question of its origin a peculiar importance. Detailed study of the manuscript arrangement of Brunton's collected sermons makes it possible, I believe, to arrive at a clearer understanding of the circumstances which inspired the sermon and even to determine the very day on which it was delivered.
Satire in Sir Thopas
Authors: Lawrence William Witherle
Published: February 2007

The Rime of Sir Thopas,“ wrote Tyrwhitt,”was clearly intended to ridicule the ‘palpable gross’ fictions of the common Rimers of that age, and still more, perhaps, the meanness of their language and versification.“ This view, which Skeat found ”judicious and correct,“ has until recent years met with little question. In 1922, however, Miss Lilian Winstanley, while admitting the piece to be a burlesque of the metrical romances, argued that it was also ”intended as a satire against Philip van Artevelde“; and Professor J. M. Manly later set forth at considerable length the view that ”the object of satire was the ridiculous pretentiousness“ of the Flemings, that ”Chaucer's primary object in writing was not so much to burlesque the minstrel romances as to produce a satire of the countrymen of Sir Thopas, and that his contemporaries enjoyed its subject matter even more than its form.“ This general line of argument has been accepted by Professor F. N. Robinson, who, in his admirable edition of Chaucer, observes that ”two recent studies of Sir Thopas have made it seem very probable that Chaucer had another purpose, perhaps his primary one, namely, to poke fun at the Flemish knighthood.“ Since this interpretation of Chaucer's gay little piece has thus received an authoritative blessing, in a standard edition, it may well be examined in some detail, in order to determine how far it is really valid.
XV: Ludwig Tieck as a Translator of English
Authors: Zeydel Edwin H.
Published: February 2007

As a translator of English Ludwig Tieck has been inseparably linked for a hundred years, in the popular mind, with August Wilhelm Schlegel as the co-translator and editor of the most renowned German translation of Shakespeare's dramas. Though scholars have long realized that he did practically none of the translating, widespread misconceptions about his connection with the undertaking still prevail. Moreover, most writers on the literary relations of Germany and England during the period from 1790 to 1850—the “classical” period of these relations—seem to have but a sketchy knowledge of his actual achievements as a translator of English literature. It is the purpose of this paper to examine more closely, and to give at least an exhaustive outline of, his activities in this field. In particular, attention will be paid to those of his translations from English which have hitherto been quite neglected.
XVIII: Man and Animals in Recent Poetry
Authors: Atkins Elizabeth
Published: February 2007

In American poetry written since the World War one of the most significant new developments is now seen to be the fascination which animal life holds for the poet. In American periodicals during the last fifteen years, 236 writers have been publishing earnest and philosophical poems about animals. In 1933 and 1934 the newest poets—Frederick Prokosch, Frances Frost, Marie Welch, Audrey Wurdemann, Joseph Auslander, Laura Benét, and above all Robert Tristram Coffin—were writing of little else. And practically every one in the older groups, whether traditional or radical, simple or esoteric, has written occasional poems about them. Notably Robert Frost, Edna St. Vincent Millay, Elinor Wylie, Hart Crane, Robinson Jeffers, Padriac Colum, and D. H. Lawrence have dealt with the subject repeatedly.
Richardson's Paradoxical Success
Authors: Lefever Charlotte
Published: February 2007

Richardson, writer and printer of the eighteenth century, the center of a circle of admiring ladies, began his career (as is well known) in an inconspicuous manner by preparing love-letters for enamoured young women. Finding himself successful in this delicate mission, he responded to a demand for a volume called Familiar Letters, models for all occasions. But, being innoculated by the moral virus of the eighteenth century, he sensed the shallowness of these epistles and decided that they should contain moral as well as literary examples. His first book, Pamela, was a group of letters instructing a maidservant in manners and morals. But neither Richardson nor the women who were his constant critics were satisfied until he had prepared a volume of letters instructing a “lady.” This lady, called Clarissa, was created as an “examplar to her sex.” These two books were so popular, and the demand for an example of conduct for the perfect gentleman was so great that Richardson next wrote Charles Grandison. Since fiction without a moral purpose was disapproved by the eighteenth century, Richardson makes it clear that one should not look “upon the story as the sole end but as a vehicle to the instruction.” It is obvious that Richardson's first aim was to instruct in manners and morals; his secondary aim, begun as a writer of Familiar Letters, was to make model letters for all who needed instruction. There is no evidence that he abandoned this latter purpose; he simply subordinated it to a loftier one.
Othello Among the Anthropophagi
Authors: French J. Milton
Published: February 2007

… of antres vast and desarts idle,Rough quarries, rocks and hills whose heads touch heaven,It was my hint to speak, such was the process;And of the Cannibals that each other eat,The Anthropophagi, and men whose headsDo grow beneath their shoulders.

It has usually been assumed that Othello's adventures came to Shakespeare out of the pages of Mandeville or Pliny. There is, however, another possibility and one likely to offer a far more exciting invitation to a poet with Shakspere's keen sensitivity to visual impressions. There is a startling resemblance between the items in the passage quoted and the quaintly decorated Renaissance maps.
Der Briefwechsel Hofmannsthal-Wildgans
Authors: von Bradish Joseph A.
Published: February 2007

Hugo Von Hofmannsthal (1874–1929) und Anton Wildgans (1881–1932), beide geboren zu Wien, gelten in der literarischen Welt als die repräsentativsten österreichischen Dichter der letzten Jahrzehnte. Beide haben auch in ihren Werken wiederholt auf das “spezifisch Österreichische” hingewiesen; Wildgans hat geradezu Wort und Begriff des “österreichischen Menschen” geschaffen, Hofmannsthal wird von Wassermann, offenbar im Anklang an Wildgans' Wortprägung, als solch ein “österreichischer Mensch” geschildert. So nimmt es kein Wunder, dass der Beginn des Briefwechsels und damit auch der Freundschaft zwischen den beiden Dichtern durch die Schicksalsstunde des alten Österreichs, den Beginn des Weltringens 1914, veranlasst war. Die in diesen Kriegsjahren mehr auf dem Dienste am Vaterlande fussende dichterische Zusammenarbeit der beiden gestaltete sich allmählich immer mehr zu edelster freundschaftlicher Bindung, welche die gegenseitigen Pläne und Schöpfungen nicht mit nivellierendem literarischem Kritizismus, wohl aber mit feinstem Einfühlen in die ureigenste Gedanken- und Arbeitswelt des andern begleitete und auch befruchtete. Die bedingungslose Unmittelbarkeit des Ausdrucks, die besonders bei dem in seinen Werken als Meister der Form und Distanzierung bekannten Hofmannsthal bisweilen überrascht, wirft vielfach persönlich wertvolle Schlaglichter auf das geheimste Seelenklingen und die scheinbar unberührbare Innerlichkeit der Dichterfreunde. Gingen die Ansichten und Wege des neu-österreichischen Klassikers, des “zeitlosen,” im christlich-neuplatonischen Schönheitsideal aufgehenden Hofmannsthal und die des schollenverbundenen Lyrikers Wildgans, des Sängers der Menschlichkeit und des Menschlichen, auch oft weit auseinander, so fanden sie sich doch immer wiederum auf dem Boden des Heimatlich-Österreichischen, das sich aber stets in Liebe und Treue zum “grossen” Deutschtum und zum deutschen Geist verbunden fühlte. Der Briefwechsel kommt einige Tage vor dem tragischen Tode Hofmannsthals, 15. Juli 1929, zu einem plötzlichen Ende.
I. Litotes in Old Norse
Authors: Hollander Lee M.
Published: February 2007

Though mentioned by every compendious grammar, the stylistic figure of litotes has been the subject of few specialized treatments for the individual languages. Of these, two are outstanding longo intervallo: Carl Weyman's learned and apparently exhaustive treatise entitled Studien über die Figur der Litotes, which deals with the phenomenon in Latin literature; and Alfred Hübner's Die mhd. Ironie oder die Litotes im Altdeutschen abounding in subtle and thought-provoking suggestions based on a vast material, but not well organized.
Old English Precursors of The Worcester Fragments
Authors: Heningham Eleanor K.
Published: February 2007

The “Address of the Soul to Its Body” usually referred to as The Worcester Fragments, although it is one of the few known examples of twelfth-century English verse, has almost always been discussed simply as a minor part of the cosmopolitan Body and Soul literature. In spite of Chambers' warning that all evidence about English literature immediately before and after the Norman Conquest is especially precious, it seems not to have been pointed out that this poem is also the central point in a series of documents in English which shows a direct line of influence extending from before the Conquest into the lyric poetry of the thirteenth century.
XLVI. Lawes' and Lovelace's Loose Saraband
Authors: Evans Willa McClung
Published: February 2007

The discovery of Henry Lawes' musical setting for Lovelace's poem A loose Saraband not only brings to light some interesting variants of the text of the lyric and an old dance tune, but dispels a slight doubt which Mr. C. H. Wilkinson in his recent edition of Lovelace's poems, cast upon the first editor of Lucasta. As Mr. Wilkinson could not locate the music, he suggested that perhaps the words Set by Mr. Henry Lawes which appear beneath the title A loose Saraband on page 26 of the 1649 volume should have been placed below To Ellinda. The existence of the Lawes' score, however, exonerates the original editor.
Lxi: Equine Quartering in the Owl and the Nightingale
Authors: Huganir Kathryn
Published: February 2007

Gadow was the first commentator to notice a connection between certain terms in The Owl and the Nightingale and the language of the law courts, and Atkins was the first to make a detailed study of this phase of the poem. The present commentator has added elsewhere a number of significant details. Both Atkins and the present writer have sought an explanation of the use of the diction and procedure of the courts of the twelfth century in the fact that the arbiter of the debate, Nicholas of Guildford, was connected with the judiciary, either secular or ecclesiastical. Since the evidence presented was somewhat fragmentary and inconclusive, the writer has pursued the present study to establish a connection between the judicial usage of the age, including the penalties inflicted upon the guilty and some passages in the poem, which apparently have not hitherto been noted in this connection.
Lxvii: Effluvia, the History of a Metaphor
Authors: Chalmers Gordon Keith
Published: February 2007

Emanations are the stock in trade of mediums, table-rappers, spiritists, and ghosts; they aid the reasoning of romantic poets and all those whose sensations outstrip their science and philosophy, providing a plausible, if undefined bridge between things apparently unconnected and making at least half-acceptable the inexplicable and the occult. Emanations are a metaphor—an old one. They have progressed through the whole biography of a metaphor from plain work-a-day description to science, to definition in philosophy, to the occult, and to poetry; indeed, they have lived that long biography at least twice in the memory of men. For the use of poetry, religion, and the mystical sciences emanations were discovered in the ancient world, lost, won again in renaissance times, and lost or temporarily abandoned by us.
Lxxiv: Hume and the Theory of Tragedy
Authors: Doering J. Frederick
Published: February 2007

Behind nearly all English literary criticism, particularly that relating to the Neo-classic drama, lies the Poetics of Aristotle. Some writers have been greatly affected by this epochal work; others have come under its sphere of influence to a lesser degree. However, there are few authors of importance upon whom the Poetics has failed to make some profound and enduring impression. Despite the fact that its influence permeates all English literature, excessive emphasis is laid sometimes upon the effect of Aristotle's teachings, to the detriment of such prominent critics as Horace, Vida, Trissino, Giraldi, Boileau, and Fontenelle. This applies especially to commentators on Hume. Indeed, the Scottish philosopher, historian, and critic subscribed to the majority of Aristotle's tenets, but the doctrines of Tully, Horace, Boileau, and Corneille made an equally impressive and indelible imprint upon his mind.
Lxxix: Conrad's Revision of “the Lighthouse” in Nostromo
Authors: Whiting George W.
Published: February 2007

To the student of writing and literature few inquiries are more interesting and valuable than that into an author's practices in revising his own work. To observe the various stages in the evolution of the final version, to note carefully an artist at his work of pruning the dead wood, adding fresh material, smoothing away harsh phrases, selecting just words, and letting light into obscure places—to do this is to come somewhat nearer to an understanding of what in spite of all analysis will remain essentially a mystery. Especially fascinating and instructive is the study of Conrad's revision, for here one sees a supreme artist at work. In his vigorous hewing and rebuilding there is conclusive proof of the artist's untiring industry and consummate skill. Conrad's revision of Nostromo is of particular interest, for this novel occupies a critical place in the evolution of Conrad's prose. Mr. Richard Curie has justly characterized the change that came over Conrad's prose—a change perceptible in the “Amy Foster” of Typhoon and fully marked in from Under Western Eyes onward. This evolution has smoothed away the cadence, has concentrated the manner, has toned down the style of Conrad's former exuberance. At first glance the later and the earlier Conrad appear two totally different men. The unruly splendor of the one has given way to the subtle and elastic suavity of the other … His earlier prose is sometimes uncertain, sometimes exaggerated, but his later prose has the uniform temper of absolute mastery.