bluuebunny/crossref_metadata_2025 huggingface dataset:
Reviews
Authors: Maclure Millar , Leech Clifford , Endicott  , Theall  , Williams Raymond
Published: March 2013

Waldo F. McNeir and Foster Provost, Annotated bibliography of Edumund Spenser, reviewed by Millar Maclure

William Nelson, The Poetry of Edmund Spenser, reviewed by Millar Maclure

Graham Hough, A Preface to the Faerie Queene, reviewed by Millar Maclure

Gordon Ross Smith, A Classified Shakespeare Bibliography 1936–1958, reviewed by Clifford Leech

Chalton Hinman, The Printing and Proof-Reading of the First Folio of Shakespeare, reviewed by reviewed by Clifford Leech

Christopher Spencer, ed., Davenant's Macbeth from the Yale Manuscript: An Edition, with a Discussion of the Relation of Davenant's Text to Shakespeare's, reviewed by Clifford Leech

Chalres H. Shattuck, ed., William Charles Macready's King John: A Facsimile Prompt-Book, reviewed by Clifford Leech

Frances Ann Shirley, Shakespeare's Use of Off-Stage Sounds, reviewed by Clifford Leech

Roland Mushat Frye, Shakespeare and Christian Doctrine, reviewed by Clifford Leech

Hilda M. Hulme, Explorations in Shakespeare's Language: Some Problems of Lexical Meaning in the Dramatic Text, reviewed by Clifford Leech

Anne Righter, Shakespeare and the Idea of the Play, reviewed by Clifford Leech

Ernest Schanzer, The Problem Plays of Shakespeare: A Study of Julius Caesar, Measure for Measure, Antony and Cleopatra, reviewed by Clifford Leech

Walter Kaiser, Praisers of Folly: Erasmus, Rabelais, Shakespeare, reviewed by Clifford Leech

Allardyce Nicoll, ed., Shakespeare Survey 16, reviewed by Clifford Leech

A.L. Rowse, William Shakespeare: A Biography, reviewed by Clifford Leech

Robert Bechtold Heilam, THis Great Stage: Image and Structure in King Lear, reviewed by Clifford Leech

Edward A. Armstrong, Shakespeare's Imagination: A Study of the Psychology of Association and Imagination, reviewed by Clifford Leech

Sister Miriam Joseph, Rhetoric in Shakespeare's Time: Literary Theory of Renaissance Europe, reviewed by Clifford Leech

Joan Bennett, Sir Thomas Browne, reviewed by N.J. Endicott

F.L. Huntley, Sir Thomas Browne: A Biographical and Critical Study, reviewed by N.J. Endicott

Sir Thomas Browne, Religio Medici, reviewed by N.J. Endicott

David Hayman, A First-Draft Version of Finnegans Wake, reviewed by D.F. Theall

James S. Atherton, The Books at the Wake, reviewed by D.F. Theall

Clive Hart, Structure and Motif in Finnegans Wake, reviewed by D.F. Theall

A. Walton Litz, The Art of James Joyce, reviewed by D.F. Theall

Clive Hart, A Concordance to Finnegans Wake, reviewed by D.F. Theall

Adaline Glasheen, A Second Census of Finnegans Wake, reviewed by D.F. Theall

Marvin Magalaner, A James Joyce Miscellany: Second Series, reviewed by D.F. Theall

Marvin Magalaner, A James Joyce Miscellany: Third Series, reviewed by D.F. Theall

S.L. Goldberg, The CLassical Temper, reviewed by D.F. Theall

Mary Parr, James Joyce: The Poetry of Conscience, reviewed by D.F. Theall

Marshall McLuhan, The Gutenberg Galaxy, reviewed by Raymond Williams
Poetry
Authors: Wilson Milton
Published: March 2013

Reviews of poetry published in Canada in 1963.
Social Studies
Authors: Brady Alexander , Willis John , Zaslow Morris , Craig
Published: March 2013

Reviews of books about social studies published in Canada in 1963.
Romans et Theatre
Authors: Ethier-Blais Jean
Published: March 2013

Reviews of French-Canadian novels and books on theatre published in 1963.
Les Etudes Sociales
Authors: Bonenfant Jean-Charles
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1963.
Publications in Other Languages
Authors: Kirkconnell Watson
Published: March 2013

Reviews of publications in other languages published in Canada in 1963.
Churton Collins: Scourge of the Late Victorians
Authors: Grosskurth Phyllis
Published: March 2013

It is often remarked that Matthew Arnold introduced an urbane, gentlemanly tone into English literary criticism, yet there was one nineteenth-century reviewer who patently escaped his civilizing influence. In the writings of John Churton Collins (1848—1908), the bland reasonableness of Sainte-Beuve was drowned in the fulminations of Rymer or the acerbities of Jeffrey, and Collins' contribution to critical history belongs in the "no-holds barred" tradition of rugged polemicism reinvoked in our own day by Dr. Leavis.
"Ineluctable Modality" in Joyce's Ulysses
Authors: Killham John
Published: March 2013

Almost the first difficulty the reader of Ulysses meets is the phrase which opens the third, or Proteus, chapter. This phrase, "Ineluctable modality of the visible," is soon afterwards paralleled by another, "ineluctable modality of the audible"; and the word "ineluctable" is characteristically harped upon thereafter.
Poesie
Authors: Sylvestre Guy
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1964.
Romans et Theatre
Authors: Ethier-Blais Jean
Published: March 2013

Reviews of French-Canadian novels and books on theatre published in 1964.
Mill's Theory of Culture: The Wedding of Literature and Democracy
Authors: Alexander Edward
Published: March 2013

Ever since M. H. Abrams directed attention to John Stuart Mill's essays on the nature of poetry, it has been generally recognized that his literary speculations, however slight in proportion to the main body of his work, are worthy of study. The 1833 essays, "What is Poetry?" and "The Two Kinds of Poetry," are now to be found in anthologies of nineteenth-century literature, as is the definition of poetry as moral inspiration from the 1867 Inaugural Address at St. Andrews University. Much has been written about Mill's theory of poetry, including a booklength study which makes his attitude towards poetry the basis of an inquiry into the relation between poetry and philosophy as such. Most discussions of Mill's writings on literature have considered them as isolated phenomena of the early part of his career, laudable yet temporary diversions of a mind essentially political from its fundamental interests. Since most of the specifically literary pieces appeared in the early part of Mill's career (before 1840) they are viewed as so many outgrowths of the mental crisis from which he recovered with the aid of poetry. When he had paid sufficient tribute to what had saved him, it is quietly assumed, he returned to his old non-literary occupations.
Review
Authors: Sinden  , Robbins  , Smith
Published: March 2013

German Studies in English, reviewed by M.J. Sinden

Millar Maclure and F.W. Watts, Essays in English Literature from the Renaissance and the Victorian Age: Presented to A.S.P. Woodhouse, reviewed by W. Robbins

Carl F. Kinck and Others, Literary History of Canada: Canadian Literature in English, reviewed by A.J.M. Smith
Beowulf and the Pitfalls of Piety
Authors: Halverson John
Published: March 2013

One of the oldest and easily the favourite of the problems of Beowulf is its Christian element. In recent years it has loomed particularly large, provoking energetic discussion and re-examination. In Lewis E. Nicholson's recent An Anthology of Beowulf Criticism (Notre Dame, 1963), no fewer than ten of its eighteen articles are concerned with the problem. And by far the greatest energy has gone into wide-ranging and freewheeling attempts to establish the "essential Christianity" of the poem. A current general interest in mediaeval allegory has no doubt provided a stimulus for those Beowulf critics no longer content with the simple "Christian colouring" formula of an earlier generation. But whatever the cause, the result has been an extraordinary, and perhaps unprecedented, critical disarray-ranging from minor text-bending to something close to sheer fantasy. Untenable assumptions about both the poem and its audience are accepted with regularity and without question, and even very careful and scholarly writers resort to specious argument, farfetched parallels, and rhetorical legerdemain.
Fatherhood in Henry James
Authors: Sharp Sister M. Corona
Published: March 2013

The modernity of Henry James's subject matter, narrative technique and theory of fiction has already been discussed. But also in the realm of ideas this nineteenth-century author is close to our times, particularly in his concept of fatherhood. The condescension toward fathers, even the ridicule of them prevalent in modern forms of entertainment is already present in the genteel works of this Victorian gentleman. With only one notable exception, Adam Verver in The Golden Bowl, James's fictive fathers are either comic, cruel, or frustrated. Very little of the impeccable dignity associated with the Victorian paterfamilias is evident in these characters.
Fiction
Authors: Watt
Published: March 2013

Reviews of fiction published in Canada in 1965.
Romans
Authors: Ethier-Blais Jean
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1965.
Theatre
Authors: Ethier-Blais Jean
Published: March 2013

Reviews of French-Canadian books on theatre published in 1965.
Publications in Other Languages
Authors: Kirkconnell Watson
Published: March 2013

Reviews of publications in other languages published in Canada in 1965.
The Political Beliefs of Andrew Marvell
Authors: Smith Donal
Published: March 2013

It is very difficult to place Marvell in a clearly defined political category. The evidence we have as to his views is diverse and often opposing. His letters to his friends, in particular to his nephew William Popple, show him as critical of court and Parliament alike. His Cromwellian poems show a development from royalist views, as expressed in his poem on Tom May's death and his elegy on the death of Francis Villiers, through a detached admiration of Cromwell's skill in the Horation Ode to an enthusiastic acceptance of him in the First Anniversary and the Elegy on his death. The Restoration poems show an increasing disgust at court and Parliament, leading to a hatred of the Stuarts that at times approaches republicanism. On the other hand, The Rehearsal Transpros'd is moderate and royalist in outlook and is concerned to defend the King, particularly his policy of indulgence, Marvell's one long speech in Parliament is similarly a defence of royal prerogative. Finally, the Account of the Growth of Popery written towards the end of his life, while it claims to expose a plot to introduce "Popery" and "Arbitrary Govemment," is, nevertheless, constitutional in approach and does not venture upon an attack on the monarchy.
No "Dialect of France": Samuel Johnson's Translations From The French
Authors: Abbott John
Published: March 2013

Throughout his long and productive career, however, Johnson was an active translator from many languages, particularly French, and there are in the canon a number of items based upon French sources that have received little critical or scholarly attention. It is the purpose of this article to examine the nature and scope of these works and show how Johnson worked with his various French sources.
The "Poet of Nature" and Self-Knowledge: One Aspect of Johnson's Moral Reading of Shakespeare
Authors: Hardy John
Published: March 2013

Alluding in the Preface to his edition of Shakespeare to the effect of the plays on an audience, Johnson uncovers a striking picture of himself as one of its members. "As he commands us," he writes, "we laugh or mourn, or sit silent with quiet expectation, in tranquillity without indifference." No simple explanation of this involvement is, of course, possible. Johnson once wrote that he went to the theatre only to escape from himself; and surely every reader of fiction seeks to immerse himself in a more colourful, exciting, unusual or significant world than is normally present to his senses. Yet Johnson was also, by his own account, "perpetually" a moralist, who had therefore to be able to justify his appreciation of literature in moral terms. "The end of poetry," he wrote, "is to instruct by pleasing." In his perceptive book on Johnson, Professor W. J. Bate has rightly pointed out that Johnson's appreciation of literature was "meshed with the larger context of his writing on human life and experience itself," that "the growth in awareness, the process of enlightenment" was inextricably bound up with the process of "pleasing." Yet we may still ask, remembering Johnson's definite reservations about Shakespeare's seeming lack of "moral purpose," in what was this process of enlightenment thought specifically to consist? The answer to this question has also important implications for the accepted history of eighteenth-century Shakespearian criticism, though this will be less our concern here than Johnson's own position. Professor R. W. Babcock, for example, in his study of Shakespeare idolatry, quotes Johnson's stricture on Shakespeare's moral purpose and contrasts his attitude with that of the later eighteenth century, when critics "became increasingly interested in the spectacle of Shakespeare as a moral philosopher." Such a reading of the plays was, however, current by Johnson's time, who merely adds the weight of his own response to a developing tradition. Yet because of his intense preoccupation with moral questions, Johnson's remarks have a special validity. He scrutinized characters, scenes, and even whole plays in a way unattempted by less discerning critics; and he showed what relevance such a reading of Shakespeare had both for others and for himself personally.
Sir Walter Scott as Editor of Dryden and Swift
Authors: Falle George
Published: March 2013

In the literary career of Sir Walter Scott the range, quality, and variety of achievement match the intrinsic virtues of man and artist. As poet, novelist, scholar, joumalist, he stamps his very individual character and taste upon his materials. While it may be true that the poems do not secure the highest effects of romantic poetry, that the novels are not everywhere of the same excellence, they sueceed in reflecting the honesty and integrity that inform all his work. And this is no less true of his editorial undertakings. The greatest and most significant of these are the editions of Dryden and Swift, but they also include the State Papers of Sir Ralph Sadleir in three volumes, the Tracts of Lord Somers in thirteen volumes, and the private memoirs of Sir Henry Slingsby, Captain Hodgson, Captain Carleton, and the Earl of Monmouth—curiously enough, all subjects that relate to various aspects of seventeenth- and eighteenth-century history. As an historian, Scott was delighted by such writings, but there was a humane principle at work, too, as he admitted to Lockhart when he wrote, "there was hardly one of my schemes that did not afford me the means of serving sorne poor devil of a brother author." It will be in order, first, to make a few general observations upon Scott's editions of Dryden and Swift that will point up his editorial limitations as well as his virtues, and then to proceed to a more particular analysis of each that will aim to demonstrate why the Dryden is to be preferred to the Swift.
Barker Fairley on Charles Doughty
Authors: Grant Douglas
Published: March 2013

John Hayward's recent anthology of nineteenth-century English verse includes nothing by Charles Montagu Doughty. Hayward was an excellent anthologist. He read for himself and chose sensibly, with an eye to past as well as to contemporary taste. He included such old favourites as "Breathes there the man, with soul so dead," or "She walks in beauty, like the night," without whose customary appearance a selection of nineteenth-century verse would be like a lopped tree; but he also managed to find space for more of John Clare's verse and Thomas Hardy's than has been usual, in response to the interest of the moment. He omitted dramatic verse in order to make room somehow, but he was not frightened of the long poem, as so many of us are. He printed the whole of "Bishop Blougram's Apology," an heroic choice; and The Prelude, Don Juan, and In Memoriam are represented in decent extracts. He knew that the long poem was essential for an understanding of the poetic consciousness of the century. But even so, he included nothing by Charles Doughty: length can have had nothing to do with this exclusion, though Doughty wrote one of the longest poems of the century.
Downdolphinry
Authors: Bates Ronald
Published: March 2013

To begin with a commonplace, a poem is a matter of words—all the words and probably all their meanings. Consider Hopkins' "The Windhover," in which the single word "dauphin" can be the nrst link of a chain leading to the centre of the poem. W. A. M. Peters, in his book on Hopkins, refers to an article by Harris Downey in which the etymological link between "dauphin" and "dolphin" is pointed out. Peters, however, considers it unlikely that Hopkins had this idea in mind, as it would confuse the imagery. He goes on to state that Jones's Pronouncing Dictionary gives no such pronunciation of dolphin. But to bring Jones's book into this context is clearly a red herring, as can be seen by referring to Downey's actual statement:
Reviews
Authors: Garmonsway  , Clark  , Tener Robert , Marx Paul , Magill
Published: March 2013

Jess B. Bessinger, Jr. and Robert P. Creed, eds., Franciplegius Medieval and Linguistic Studies in honor of Francis peabody Magoun, Jr. reviewed by G.N. Garmonsway

S. B. Greenfield, A Critical History of Old English Literature, reviewed by G.N. Garmonsway

Marie Borroff, Sir Gawain and the Green Knight: A Stylistic and Metrical Study, reviewed by G.N. Garmonsway

John Gardner, The Complete Works of the Gawain-Poet, reviewed by G.N. Garmonsway

Kenneth Sisam, The Structure of Beowulf, reviewed by G.N. Garmonsway

Alexandr Pushkin, Eugene Onegin, reviewed by A.F.B. Clark

Walter E. Houghton, The Wellesley Index to Victorian Periodicals, 1824–1900, reviewed by F.E.L. Priestley

Norman St. John-Stevas, The Collected Works of Walter Bagehot, reviewed by Robert H. Tener

John Stuart Mill, Principles of Political Economy with Some of Their Applications to Social Philosophy, reviewed by Paul Marx

Barker Fairley, Heinrich Heine. An Interpretation, reviewed by C.P. Magill

Laura Hofrichter, Heinrich Heine, reviewed by C.P. Magill

Barker Fairley, ed., Heinrich heine. Selected Poems, reviewed by C.P. Magill

Heinrich Heine, Atta Troll Ein Sommernachtstraum, reviewed by C.P. Magill

Heinrich Heine, Deutschland. Ein Wintermärchen, reviewed by C.P. Magill
Poetry
Authors: MacCallum Hugh
Published: March 2013

Reviews of poetry published in Canada in 1966.
Poesie
Authors: Sylvestre Guy
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1966.
Les Etudes Sociales
Authors: Bonenfant Jean-Charles
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1966.
The Interlace Structure of Beowulf
Authors: Leyerle John
Published: March 2013

In the time since Norman Garrnonsway died I have reflected about what I could say that would not embarrass the spirit of the man I wish to honour. He was reticent about himself and I shall be brief. I rarely heard him refer to his distinguished career at King's College, London, for when he spoke of his work, it was always of what lay ahead. His characteristic manner was understatement, like that of the early literature of the north that he knew so well and loved. He was a man who preferred to listen rather than to talk, but he was quick to praise and encourage. He had the virtues of Chaucer's Clerk of Oxenford mixed with a gentle humour.
Allusion and Analogy in the Romance of Caleb Williams
Authors: Rothstein Eric
Published: March 2013

Largely because of Godwin's own insistence on ideology, the "message" of Caleb Williams seems curiously detachable from its literary artistry. Critics who have tried to reconcile the two have evoked such dubious genres as the Political Novel and the Psychological Novel, and have claimed that one is the vehicle or the complement of the other in satisfying Godwin's inner conflict between reform and romance. Some see a sadomasochistic Gothicism as setting and libretto for the victory of middle-class virtue over its feudal pursuers; some find a profound anatomy of obsession carried on, half intended, beneath the white sheets of Godwin's rationalism; or some discover both, in a muddled way, going on at once. I should like to propose a different approach. I contend that Caleb Williams is very much of a piece, that it is primarily moral, and that its social or psychological interests serve to exemplify or to express moral terms. Furthermore, I maintain that despite his stylistic limitations, Godwin succeeded in writing a skilfully planned and formally satisfying work of art. He did so by contriving an intricate Bildungsroman—or spiritual autobiography—in which Caleb learns about things as they are, within him and outside him, through a flow of actual events and of psychologically symbolic events connected by analogy.
"Keystone" Structure in Dickens' Serial Novels
Authors: Axton William
Published: March 2013

Writing novels that originally appeared in weekly or monthly serial parts, but were afterwards published entire, as Dickens did, poses problems of unity and coherence in structure, characterization, and theme, of which he was well aware. In a letter rejecting the draft of a novel Mrs. Brookfield had submitted for serialization in All the Year Round, Dickens wrote:
Browning's "The King"
Authors: Grube John
Published: March 2013

In the November, 1835, number of The Monthly Repository Browning published a remarkable poem, "The King," which he later (1841) altered and re-used in the third scene of Pippa Passes. Apart from the poem's own literary merit, its later use in Pippa Passes throws light on Browning's view of revolutionary activity, and the connection he made between the human sacrifices of primitive religions and the human sacrifices demanded by a modem revolution. The poem should be read in its original unaltered form:
The Rage of Caliban
Authors: Korg Jacob
Published: March 2013

The Philistine in Wilde's aphorism is confronted by a simplified form of the Victorian problem of personal identity. It was the rage of Caliban, a rage against the images of man available to the contemporary mind, that led to the preoccupation with doubles and psychological dualism which Dorian Gray illustrates. Dissatisfied with the pragmatic and the idealistic views of the self, yet detecting truth in both of them, the nineteenth century turned to the hypothesis that the mind was a dualism which could accommodate contradiction. To many hard-pressed Victorians this seemed a plausible, even an inescapable explanation of their spiritual crises. It acquired the status of an ethical convenience, a psychological fact, a metaphysical reality. Doubling invaded literature as a theme, a pattern, a ubiquitous unconscious inference. Even the unimaginative could grasp the validity of the principle expressed in Rimbaud's "JE est un autre." It led an underground life, for it was in conflict with the dominant assumption that the soul is a unity, and with the traditional beliefs that rested on it. In his study of this subject, Doubles in Literary Psychology (1949), Ralph Tymms names Dorian Gray as a book which brings together several of the forms the motif of the double had been given in earlier works. But it does more than this, for it also registers the crucial change in the ideas about the self that has become a central theme in twentieth-century literature.
Comus: The Inglorious Likeness
Authors: Rajan
Published: March 2013

Comus is a work that seems to invite sophisticated attention, and many erudite gestures have been discerned in what Charles Williams once termed a "philosophical ballet." Objections to this tendency have not been lacking. Marjorie Nicholson tells us that after many years of teaching and the overflow of much scholarship Comus remains to her "what it was in my youth—the loveliest of English masks written by a poet-philosopher, whose philosophy was still very youthful and smacked of the schools." Robert Adams in a more substantial counter-attack has trenchantly cautioned us against "over-reading" Comus. This is a warning that raises interesting issues. It would be comforting to know that there is attached to, or ascertainable from each poem, a clear declaration of its density that would enable us to know when it is being over-or underread. Some extremes are obviously to be avoided—a limerick does not demand the same attention as an epic, and the objection that Comus is too "heavy" for a masque is not nonsensical even if it is not valid. The fringe areas of the unacceptable are, however, comparatively small and in between there can be more than one view of that blessed source of confusion that is reverentially called the words on the page. Wanton ingenuity is to be spurned but perhaps the most we can do to define the wanton is to say that those interpretations are to be preferred in which the resources of the form and the details of deployment contribute to a whole, or at least do not detract from it and in which local life is most often interpreted so as to open into a larger totality. Artistic coherence seems to be our safest criterion and the deeper, wider and more inclusive the coherence, the more justified is the reading of which it is the result. A reading that leads to maximum coherence should not be objected to as "too clever" unless something in the poem prohibits such cleverness.
D. H. Lawrence's The White Peacock: An Essay in Criticism
Authors: Keith
Published: March 2013

The first novel of a distinguished novelist provides a hunting-ground for two kinds of critic—the student of influence and the searcher for anticipations of later and finer work. D. H. Lawrence's The White Peacock has suffered in both ways. I say "suffered" because I believe that both approaches tend to distort our response to the novel itself. It is clearly not a masterpiece. Indeed, when Ford Madox Hueffer first read the manuscript, he remarked: "It's got every fault the English novel can have." However, he immediately added: "But you've got GENIUS." Awareness of Lawrence's later achievement should not blind us to the clear but uncharacteristic manifestations of this genius in his first book.
Criticism of Civilization in the Structure of Sartor Resartus
Authors: McMaster
Published: March 2013

"Nothing in Sartor Resartus is fact," says Carlyle; "symbolical myth all...." That seems sufficient justification for examining the structure and meaning of the work in terms of mythical design as well as in terms of philosophy or biography. Carlyle himself gives the reader a characteristic nudge: "Apart from its multifarious sections and subdivisions," he says, "the Work naturally falls into two Parts; a Historical-Descriptive, and a Philosophical-Speculative: but falls, unhappily, by no firm line of demarcation; in that labyrinthic combination, each Part overlaps, and indents, and indeed runs quite through the other" (34). Taine takes a less charitable view; his Gallic love of order outraged by such a spectacle, he protests as many another reader has protested, that "the symmetrical constructions of human art and thought, dispersed and upset, are piled under his hands into a vast mass of shapeless ruins, from the top of which he gesticulates and fights, like a conquering savage." Carlyle, of course, has ironically built such criticisms of his "one scarcely pardonable fault ... an almost total want of arrangement" (34) into his own book. "Our Professor," says his earnest English editor, "like other Mystics, whether delirious or inspired, gives an Editor enough to do" (71). The apparently confused structure and chaotic jumble of ideas and experiences in Sartor, however, are a true symbolic reflection of the world, an objectification of the problems Teufelsdröckh, or mankind, faces and which he must understand in order to feel that he bears any significant relationship to it. As Carlyle sees them, the symmetrical constructions of human art and thought are indeed falling into shapeless ruins: "In our age of Down-pulling and Disbelief," he says, "the very Devil has been pulled down, you cannot so much as believe in a Devil" (164).
Tennyson's Camelot: The Kingdom of Folly
Authors: Wilkenfeld
Published: March 2013

The determination of the sources of unity in a long poem is always difficult, but it is particularly vexing when, as in Tennyson's Idylls of the King, we are confronted with bibliographical data that reveal the intermittent, non-seriatim composition of the work. Perhaps because of the knowledge that Tennyson had originally planned a "brief epic" of four books contrasting the "true" and the "false," and because of the original method of publication of the individual idylls, there has been considerable disagreement as to the essential seat of order in the poem. Some critics have taken over Tennyson's statements on the poem's design without comment or revision, while others have sought the secret of its structure in the yearly cycle of the seasons, in contrasting and complementary images and motifs, in contrasting and complementary characters, in the single, heroic figure of Arthur, in an "allegory in the distance," or in a combination of these suggestions.
The Thirties Poets at Oxford
Authors: Tolley
Published: March 2013

Twenty-five years ago, the names of Cecil Day Lewis, W. H. Auden, Louis MacNeice, and Stephen Spender seemed to go together quite naturally. They were the leading poets of their generation—the poets of social awareness, and (except perhaps for MacNeice) the poets of the Left. Nowadays this connection is disputed and disdained. In a tribute to Louis MacNeice, Auden wrote: "From a literary point of view, the contemporary journalistic linkage of the names of Auden, Day Lewis, MacNeice, Spender, is, and always was, absurd.'" And Day Lewis, in his autobiography, was nearly as emphatic: "... in the sense of a concerted effort by a group of poets to impress themselves upon the public, to write differently from their predecessors or about different subjects, it was not a movement at all. Though Auden, Spender, MacNeice and I have all known each other personally since the mid-Thirties, each of us had not even met all three others till after the publication of New Signatures in 1932, while it was only in 1947 that Anden, Spender and I found ourselves for the first time in one room. We did not know we were a movement until the critics told us we were." One of these critics, one might remark, was the author of A Hope for Poetry—C. Day Lewis. In his foreword of February, 1934, he said: "The object of this book is to make the reader look—or look again—in a certain direction. It is based on the belief that some of the post-war writers, notably W. H. Auden and Stephen Spender, are true poets having more in common than mere contemporaneousness ... ." The book goes on to present the Left-Wing movement as the "hope for poetry."
Poetry
Authors: MacCallum Hugh
Published: March 2013

Reviews of poetry published in Canada in 1967.
Romans et Nouvelles
Authors: Robidoux Réjean
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1967.
Free Will in Coleridge's Shakespeare
Authors: De J. Jackson
Published: March 2013

Critical theory has disappointed most observers. Practical critics have fared better. George Saintsbury's History of Criticism and Literary Taste in Europe, published at the beginning of this century, was the first full-scale account of their achievements. As a result of this and similar more recent chronicles, a canon of "great critics" has grown up, composed of Dryden, Johnson, Coleridge, Arnold, T. S. Eliot, and a handful of others thrown in according to individual preference. The idea of studying these critics for their own sake is a relatively new one. Saintsbury was interested in them as historical phenomena and as repositories of opinions about literature; and Professor René Wellek's current History of Modern Criticism: 1750-1950, while much more elaborate and comprehensive, spends more space on showing who said what first than on inquiring into how it was that whoever thought of it first came to think of it.
How Do You Mean?
Authors: Hunter
Published: March 2013

The question I am going to discuss is whether, when a person means something, for example when he says something and means it, or when he means this or that by what he says, or when he inadvertently says one thing although he means to say another, the meaning of it is something which goes on in him, an activity perhaps, or a process or a state or an event. If it is one of these things it will more likely than not be a mental something or other; but I do not wish to exclude the possibility that it might be something physical, such as looking stern when he makes a dire threat and means it, or perhaps an increase in the pulse rate. So while I will mostly talk about the possibility that meaning is a mental phenomenon, my remarks will generally apply equally well to the possibility that it is something physical.
'A SIGN BETWIXT THE MEADOW AND THE CLOUD': THE IRONIC APOTHEOSIS OF TENNYSON'S ST. SIMEON STYLITES
Authors: Fredeman William
Published: March 2013

Alexander Macmillan, writing to Lady Tennyson in 1884, reported to her Rossetti's comment, "You never can open Tennyson at the wrong place." In this article, I wish to "open Tennyson" at a poem which, though relatively unknown, makes a strong claim to be one of the finest in the entire canon, and which is unquestionably the greatest of his dramatic monologues — St. Simeon Stylites. As a monologue, it compares favourably with any of Browning's, including The Bishop Orders his Tomb and Johannes Agricola in Meditation, with which it is most frequently associated. New to the 1842 volumes, St. Simeon reveals the poetic levels toward which Tennyson's "Ten Years' Silence" had led him, and it points to a dramatic power, seldom apparent in the poems of the 1830s, a power which would require the exercises of The Princess, In Memoriam, Maud, and Idylls of the King to bring to full maturity.
Tennyson and Hopkins
Authors: Collins Winston
Published: March 2013

The words could be Tennyson's; they belong in fact to Hopkins. Even though the poetry of Hopkins was not widely known, there is a correspondence between what he thought poetry's purpose was and the poetry he produced. Both Hopkins and Tennyson are social poets: their objective as poets is to educate, to provide standards for public use. Their primary concerns are what we might consider today Victorian concerns: the insistence on duty, work, sacrifice, heroism; the hope that an ideal society would be achieved, and the painful awareness of the evils within their own society; the search for a coherent, purposeful universe ordained and controlled by God; and, most basic and important, the concept of the personality as free, distinctive, divine.
The New Satire of Augustan England
Authors: Pinkus Phillip
Published: March 2013

There are many kinds of Augustan satire: Butler's hudibrastic jogtrot, John Oldham's thunderous invective in his Satires upon the Jesuits, Dryden's MacFlecknoe, the moralizing abuse of Defoe's Reformation of Manners, Pope's Imitations of Horace, Swift's Gulliver's Travels, and Addison's gentle admonishments in the Spectator (if we may call this satire). These satires are not merely different from each other. Most of them represent different conceptions of what satire is. Yet when we use the term "Augustan satire" we usually have a clear idea of what is meant because most satires of this period share a distinctive style, subject matter, imagery, and point of view, which are fundamentally different from those of almost all satire before it. We can say that in the neo-classical period satire comes of age, that it is the first time that satire, as we commonly understand the mode, is written with any consistency, that in fact, this is what we mean by satire. Whatever changes have occurred since the eighteenth century (with possibly one exception, the writers of the absurd) are minor. They have not altered the basic conception of satire established then.
Miniaturization in Eighteenth-Century English Literature
Authors: Stevick Philip
Published: March 2013

A good many of the prominent tropes of the eighteenth century have a significant relation with physical size. In the great chain of being, for example, gradations are often pictured as extending from smaller to larger. In the imagery of deistic teleology the perception of aptness of physical proportion and appropriateness of size are key routes to the necessary conclusions. In the interplay between urban and rural affinities so frequent in the literature of the period, shock at the city, pleasure in its diversity, frustration at the limitation of the village, or the imaginative reconstruction of the village's communal integrity — all of these involve an explicit concern with size. In a different direction, ideas of the state of nature and the human community take their concrete shape by means of images precisely adjusted in their scale: man alone, the leader and the led, a dozen wits at Will's Coffee House, the audience at Tyburn, "the mob." The Newtonian delights in the literature of the period express themselves in images of cosmic regularity and microscopic intricacy. As the architecture of the eighteenth century enters literature, it tends to picture either Palladian grandeur or "the humble cot." Even in the tendency of the literature to speak of itself, the physical size of its printed format is significant. Joseph Andrews' two volumes duodecimo are "these little volumes." And the Duke of Gloucester, as everybody knows, found Gibbon's Decline and Fall to be "Another damned thick, square book."
Boswell'S Control of Aesthetic Distance
Authors: Alkon Paul
Published: March 2013

Proper control of aesthetic distance was so highly regarded by Johnson that he was sometimes inclined to undervalue biography. Thus in the Idler, No. 84, he argues that autobiography is more useful because "he that recounts the life of another, commonly dwells most upon conspicuous events, lessens the familiarity of his tale to increase its dignity, shews his favourite at a distance decorated and magnified like the ancient actors in their tragick dress, and endeavours to hide the man that he may produce a hero." Hence the failure of most biographers. They keep their heroes too far away from us while, paradoxically, making them seem larger than life-size. Johnson's ideal for life-writing is clear: the less distance between reader and subject the better. Equally clear is Boswell's conscious adherence to that ideal.
>Mrs. Caudle, A Victorian Curtain Lecturer
Authors: Kelly Richard
Published: March 2013

Humorous commentary upon contemporary events has long been a popular and important part of journalism. Like so much newspaper material, satire on passing events of the day is quickly forgotten when the people or institutions that originally called forth the satire are no longer interesting. But by the 1840s in England, comic journalism was becoming an art, and as such, was beginning to surmount the obstacle of obsolescence. The centre of this art was Punch, whose writers and cartoonists rewrote and reviewed the news of the day in a form that may still be enjoyed today. The works of seriously dedicated artists and writers like John Leech, John Tenniel, Gilbert à Beckett, William Makepeace Thackeray, and Douglas Jerrold, although largely still buried in the volumes of Punch, might profitably be resurrected for present and future readers. Not only are the works entertaining in their own right but they provide a valuable source of information concerning the development of the art of comic journalism.
Milton's Comus and Spenser's False Genius
Authors: Hieatt A. Kent
Published: March 2013

It now seems possible to say, on the basis of some additions made here to a set of known antecedents for Milton's Comus in Spenser's poetry, that during the gestation of that work Milton had in detail before his mind's eye an interlocking series of mythical patterns formulated by his predecessor in Books II and III of The Faerie Queene. The mind seen in action here startles us nearly as much by its economical deployment of resources as by its independence and confidence.
Metaphor in Samson Agonistes
Authors: Robertson Duncan
Published: March 2013

This essay attempts to show that metaphor, in a broad sense of the term, plays a more basic role in Samson Agonistes than critics have allowed. The broad sense includes both "imagery," which is the usual sense, and "symbolism." Both of these involve a comparison of A to B that defines a quality of A (and sometimes B as well); but in imagery the relation is explicit; in symbolism, implicit. Imagery says, "My love's like a red red rose" or "My love is a red red rose" or "How's my little red red rose this morning?" Symbolism describes a man in a garden trying to pluck a rosebud. Thus while B, the "vehicle," in imagery is relatively fugitive and ornamental, a symbolic B is substantial and integral. It exists in the poem apart from any comparisons it may be involved in: it may be a large and continuous element such as a setting or a character or a plot. Studies of the symbolism of Samson Agonistes have so far been confined chiefly to those that treat the poem typologically or as an allegory of Milton's life and times.
Poetry
Authors: MacCallum Hugh
Published: March 2013

Reviews of poetry published in Canada in 1968.
Théâtre
Authors: Robidoux Réjean
Published: March 2013

Reviews of French-Canadian books on theatre published in 1968.
Eliot and Milton: The American Aspect
Authors: Howarth Herbert
Published: March 2013

The pleasure in words that makes T. S. Eliot a manipulator of them, a poet, makes him a felicitous adducer of other poets' manipulations. Is it possible for a writer to quote a passage from a poem so vivaciously that its beauties light up, and yet still maintain that he dislikes the kind of poetry it represents? Apparently it is, but somewhere in the hinterland of the personality there must be disruptive influences at work separating his pleasure and his judgment.
Archibald Lampman
Authors: Collin
Published: March 2013

Archibald Lampman passed the years of his manhood in a small city of fifty to sixty thousand souls, the nominal capital of a geographical unit covering a tremendous area but supporting only five million people and, in a political sense, not as old as himself. Ottawa, once sneered at as "a backwoods lumber village transformed into a political cockpit," grew rapidly after Confederation. It enjoyed viceregal prestige and some gaiety in the season, but it was still artistically and intellectually dull. A literary and scientific society and a progressive club were in existence, and there was always the Library of Parliament; but books were hard to come by, and Lampman and his associates, who complained of the prevailing drought, kept themselves informed of the flow of ideas in the outer world by reading the great English and American monthlies and quarterlies.
"Reconciliation" in Tragedy Shakespeare and Sophocles
Authors: Stoll Elmer Edgar
Published: March 2013

Many of the later critics of Shakespeare have sought in the finale of his tragedies for signs of a reconciliation with life, or a justification of the ways of God to men so far as they are in question in the story. Some have received vague impressions to the effect that what befalls the good and unoffending does not matter in comparison with what they are, and that the evil in the tragedy is only negative and barren; others, less numerous, who have not received such impressions, have, in their disappointment, contrasted Shakespeare with the Greeks. The Greeks, they say, both present a problem and provide a solution.
British Tropical Africa
Authors: Coupland
Published: March 2013

Constitutional developments in the Commonwealth of Nations and in India have occupied so much of the public stage since the War that the main facts and problems of those two sections of the British Empire are relatively well understood. But there is a third section which is not so often in the limelight and about which most people in Great Britain know little and most people in the Dominions (so I am told) know scarcely anything at all. Yet it is a world in itself, this "Colonial"or "Dependent" Empire: it covers more than three million square miles, a bigger space than Europe; it contains over sixty million inhabitants, six times the population of Canada; and among them are representatives of most of the varied races which make up mankind-white men, black men, brown men, yellow men, Europeans, Africans, Arabs, Indians, Malays, Chinese, Polynesians. Scattered over continents and oceans, its manifold and diverse communities have nothing to unite them, nothing in which they all share, except their common allegiance to the British crown or their common subjection in different degrees and ways to the ultimate control of the British parliament.
Charles Lamb, 1834–1934
Authors: Knox
Published: March 2013

P>"Charles Lamb was not a poet or essayist or critic-he was a person." This, we are told by Mr. Priestley, was Sir Walter Raleigh's saying, and, given the indulgence due to an off-hand aphorism, it must be allowed to hit fairly closely the mark of Lamb's distinction. It may, of course, be taken merely to repeat what, during his lifetime and in the century now passed since his death, has been the burden of so much Lamb praise-his attractiveness as a man. If we except an incompatible like Carlyle, who went to Enfield solemnly seeking Truth, and, being teased with frivolous jests, saw only " a stammering tomfool," there is record of scarcely anyone who met Lamb and wrote of the meeting without mention of his charm. Those who were his intimates and knew the brave unselfishness of his life have spoken with a fervour almost unmatched in the chronicle of authors.
Peace and the Dictators
Authors: Robinson Christopher
Published: March 2013

A Canadian who surveys the course of the year 1934 in Europe and the position towards its close is struck most forcibly, I think, by this-that during that year Continental Europe has become, upon any acceptable definition of civilization, less civilized. The fact is the more striking to him because Europe has hitherto claimed to be the leader of Western civilization. In particular she has claimed, with a murmur of apology for the Balkans and for the temporary lapse of the Great War, to be more civilized than the newer countries of North America; and, with some reservations as to technical progress and the conduct of international affairs, these newer countries have been disposed to concede her claim.
Dinosaurs in the Royal Ontario Museum
Authors: Parks
Published: March 2013

The beauty of lake and forest, the majesty of mountains, the serenity of palm-bedecked tropical islands are alike due to differences in the geological structure of the respective regions. This fact is apparent to all observers, but many fail to appreciate the changes that are constantly occurring-the filling of the lakes with sediment, the wearing-away of the mountains, or the encroachment of the seas on the tropical strands. The scenes of to-day are evanescent but the elements of those scenes were born in the past, and at definite, ascertainable times in the past. In viewing a landscape, therefore, a geologist pays due regard to the component structures but he further regards those structures as concrete evidence of past events. His time sense is ever to the fore; he is an historian and his documents are the rocks of the earth's crust.