bluuebunny/crossref_metadata_2025 huggingface dataset:
Contemporary Critics of Coleridge, the Poet
Authors: Graham Walter
Published: February 2007

To live in a day when conceptions of poetry were undergoing rapid change was for Samuel Taylor Coleridge both an advantage and a misfortune. Perhaps his own work, which greatly advanced the change, gained a significance it could not have had in any other period. Yet by the same token, it was generally unappreciated by his contemporaries, inclined as they were to the old, narrow views of what constituted poetic merit. Lack of adequate criticism throughout almost the whole of Coleridge's lifetime is thus not difficult to explain. Nor is it a matter of mystery that two of his young disciples, John Sterling and Henry Nelson Coleridge, appear to have been, before his death in 1834, the only critics who approached his poetry with the same sympathetic effort at understanding that Coleridge himself employed when he criticised the work of others.
The Rosenbach Milton Documents
Authors: Hanford James Holly
Published: February 2007

On December 7, 1920 there was sold at the Anderson Galleries in New York an interesting collection of Milton documents hitherto entirely unknown to the poet's biographers. These documents, which contain the record to two financial transactions in which Milton was concerned in the years 1657/58 and 1665, were submitted to me for examination by their purchaser, Mr. Rosenbach of Philadelphia, and it is through his courtesy that I am enabled to present an analysis of their contents. Their history previous to their sale in America has not been divulged, but it is to be presumed that they have been preserved as a part of the evidence of title to certain properties described in them, and there is not the slightest question as to their genuineness.
Unpublished Poems by Beaumarchais and His Sister
Authors: Roosbroeck Gustave L. van
Published: February 2007

Only in a few favored instances did Beaumarchais' minor poems rise to the level of true poetry. Yet it would be a misconception of their significance and historical value to decry them as devoid of importance. They illustrate his talent for improvisation, the causticity of his ready wit; they unveil the complex character of this man, who, by some, was villified as a daring and unscrupulous adventurer, and acclaimed by others as “bon père, bon mari, bon maître, ami sincère.” Ever alert in pugnacious attack or cautious defense, his irrepressible and scintillating repartee reminds one of the flash of a stiletto striking with an almost invisible but mortal wound. Everywhere in his Mémoires and plays this pungency flavors the dusty records of practical contentions or a romantic intrigue and even his minor poems are not devoid of it.
XIV. Essays Erroneously Attributed to Goldsmith
Authors: Tupper Caroline F.
Published: February 2007

In the 1801 edition of Goldsmith's Miscellaneous Works were collected for the first time seven essays republished from the British Magazine (July 1761-January 1763) where they appeared under the general heading, “On the Study of the Belles Lettres.” Grouped under this title these essays have been included in all subsequent editions of Goldsmith's Works and, so far as I know, only one editor—Peter Cunningham, whose opinion will be discussed presently—has decided against their authenticity.
XVII. William Blake and His Companions from 1818 to 1827
Authors: Bruce Harold
Published: February 2007

Without the last nine years of William Blake's life, and without a few letters, we should have, on one side, his writings; on the other side, the works of his biographers, and between, a great gulf fixed, where the unpremeditated record of his everyday friends and companions ought to be. But these nine years throw a bridge across the gulf, a bizarre bridge, to be sure, the foundations of which, nevertheless, go down to the rock of first-hand evidence. During them he was as companioned as, in the just preceding years, he had been neglected; during them he was known and observed by a variety of men, quack astrologers, young painters, a persistent reporter, a steady-going friend.
XX. The Term. “Communal”
Authors: Pound Louise
Published: February 2007

The period following the French Revolution was deeply interested in “the people” as a mass conception, in all that belonged to them and all that they created. It was in this period that theorists on the origin of law, customs, religion, language, literature—particularly the folk-song and the folktale—liked to advocate the doctrine of spontaneous, unconscious growth “from the heart of the people,” as the phrase went. Such conceptions of origin had their critics from the first; but they remained more or less orthodox throughout the nineteenth century, and they still have foothold in both England and America. They have, however, receded in the wake of more reserved second-thoughts about human nature, along with the recession of the “romantic” vehemence, and of the Hegelian philosophy of the “over-soul,” and of our own demagogic admiration of the undifferentiated demos.
XIV.—The Real Tragedy of Keats
Authors: Elliott G. R.
Published: February 2007

“But the crown

Of all my life was utmost quietude” (Endymion, III).

Keats' central instinct was for high poetic repose: for the quietude that comes, not from avoiding life, but from surmounting it. The goal, however, was so far beyond his reach that he could not have attained it, I think, even if he had lived a full lifetime. His early death (February 23, 1821) is bound to lose, as the centuries revolve upon that day, much of its tragic color; but at the same time the deeper tragedy of his spirit can appear more distinctly. This deeper tragedy has been considerably dimmed in the atmosphere of uniqueness with which the poet has been invested by the rising admiration of a hundred years. The other chief poets of the past century are now seen more or less clearly in their true boundaries; Keats' limits have been kept uniquely vague. His poetic potentiality and his ruining fate have been so continually balanced against each other, with insensible additions now on one side of the scale and now on the other, that both have come to appear much weightier than they really were. In particular it has been assumed with extraordinary unanimity that Keats' physical disintegration, beginning eighteen months before his death, stopped his progress just as he was approaching a much higher level of poetic achievement.
XV.—Shelley's Swell-Foot the Tyrant in Relation to Contemporary Political Satires
Authors: White Newman I.
Published: February 2007

Few readers of Shelley devote much time to Oedipus Tyrannus, or Swell-foot the Tyrant, and for a very good reason. Intrinsically, the play is not worth it. Mrs. Shelley, ever careful of the poet's reputation, warns us not to take this piece for more than was meant. We are indebted for its inception, and for some of its devices, to the grunting of a drove of pigs beneath Shelley's window. This fact, notwithstanding what we owe to equally trivial experiences persistently reported of Newton and Dick Whittington, adds nothing to the gravity with which the poem is generally read. The revolting setting, with its thigh-bones and skulls, the outrageous characters introduced, such as a sow-gelder, a chorus of swine, and a hoydenish queen, together with extravagant speeches and actions, sometimes in a serious mood of protest, more often with the hysteric sort of grotesquerie which was Shelley's nearest approach to humor—these factors have combined to make most readers regard the poem as a failure even when taken for no more than was meant. Shelley's serious devotion to liberty could never allow him to treat it in burlesque fashion without a touch of hectic incongruity. Byron could have succeeded much better with Shelley's material, and Fielding could have made an uproarious farce of it, but not Shelley.
XVI.—Shelley and The Abbe Barruel
Authors: Peck Walter Edwin
Published: February 2007

In Notes and Queries for February 10, 1917, John H. Sandham Griffith, Esq., of Llwynduris, Llechryd, Cardiganshire, announced that he had in his possession Shelley's set of the Hon. Robert Clifford's translation (4 vols., 1797-8) of the Abbé Barruel's Mémoires pour servir à l'histoire du Jacobinisme. The set, Mr. Griffith believes, was left by Shelley at Horsham after his expulsion from Oxford;1 and he further explains that “there was such a considerable degree of intimacy existing between the poet's family and my ancestor William Sandham of Horsham, a tenant and near neighbor of Sir Timothy Shelley of Field Place, that the poet was probably a frequent visitor, and obtained a loan of £100 in January, 1811, before being sent down from Oxford, which he never repaid. The unredeemed promissory note is in my possession, and also a holograph letter, requesting a further loan on the plea of ‘now being reduced to the very last extremity,‘ written from Keswick shortly after his marriage to Harriet West-brooke [sic].” Volume II of the set, Mr. Griffith says, “bears the poet's autograph in full, and the date 1810.”
The Indian Legend of Hiawatha
Authors: Thompson Stith
Published: February 2007

To the world of letters the legend of Hiawatha connotes Longfellow, without whose popular treatment it would be as little known as the adventures of Coyote or Raven, or a dozen other culture heroes of the Red Men. Since Longfellow's poem is the only form in which American Indian legend has reached the great mass of civilized men, the question of its authenticity must present itself to the general reader of American literature no less than to the student of literary relations. Do sixty years of active work on the part of ethnologists and folk-lorists show that Longfellow's Song of Hiawatha is truly Indian in theme, atmosphere, and spirit? To essay an answer to this question is the purpose of the present study.
The Fabliau “Des Deux Anglois et De l'Anel”
Authors: Livingston Charles H.
Published: February 2007

The caricature of the Englishman in the Middle Ages was never complete in the eyes of the French without some allusion to or parody upon his incorrect and unpleasant manner of speaking French, the French of Marlborough or of Stratford atte Bowe. A number of parodies of this sort have come down to us and are still of interest, popular caricatures of real though at times coarse humor. One of the best episodes of the Roman de Renard depicts Renart in the disguise of an Anglo-Norman jongleur affecting the outlandish accent and thus concealing his identity from his wife. Perhaps the best known of all these parodies is found in the fabliau Des Deux Anglois et de l'Anel, a conte entirely insignificant in itself, but nevertheless suggestive of the lack of esteem in which the French dialect spoken in England must have been held by the continentals about the epoch of St. Louis.
An English Version of St. Edmund's Speculum, Ascribed to Richard Rolle
Authors: Robbins Harry Wolcott
Published: February 2007

Among mediaeval compendiums of devotion one of the most widely known—in England at least—was the Speculum Ecclesie, written about 1240 by Edmund Rich, Archbishop of Canterbury. The extent of its popularity is indicated by the fact that it occurs in Latin, French and English versions and that nearly sixty MSS. are still preserved which contain this treatise either as a whole or in part—twenty-nine in Latin, seventeen in French, and the others in English.
Coleridge And The Idea Of Evolution
Authors: Potter George R.
Published: February 2007

Coleridge, more than any other man in the England of his time, sensed what were the significant currents of thought then in the civilized world, although his recognition of many of these ideas seems instinctive rather than conscious. Coleridge was often a prophet who saw as in a glass darkly. But though darkly, he saw—or, at least, felt.
Modern Uses of Ser and Estar
Authors: Morley S. Griswold
Published: February 2007

The distinction in use between the verbs ser and estar constitutes one of the thorniest points in Spanish grammar. It is not discussed in a thoroughgoing way in any treatise. Most of the native Spanish grammars, as Bello-Cuervo, are weak on this particular subject. Users of language are always guided primarily by instinct, not by rule, and we shall see that in the present case the instinct of Spaniards is delicate and especially difficult to reduce to formal law.
A Note on Peterloo
Authors: Chew Samuel C.
Published: February 2007

Since reading Professor A. Stanley Walker's article in the March Publications on “Peterloo, Shelley and Reform,” I have come across a somewhat similar article by F. A. Bruton, M.A., Litt.D., “The Story of Peterloo,” to which Mr. Walker makes no reference. Dr. Bruton writes in general from the point of view of the historian and in particular from the point of view of a citizen of Manchester. He draws material from several contemporary sources to which Mr. Walker does not direct us; and his narrative is illustrated with several portraits and contemporary prints and has, moreover, a valuable “Plan of Peterloo” which makes clear the position of the crowd and the disposition of the military forces. The effect of the “Peterloo Massacre” on Shelley does not, however, fall within the scope of Dr. Bruton's paper. Hence it does not anticipate or render nugatory the results of Mr. Walker's inquiries but is, rather, a parallel discussion along somewhat different lines. Students of Shelley will find the article of interest. It may be added that Dr. Bruton's paper was originally delivered as a lecture at the University of Manchester on the occasion of the centenary of the Massacre, August 16th, 1919.
Kartaune, Kartauwe
Authors: Kurrelmeyer W.
Published: February 2007

German lexicographers are practically unanimous in deriving Kartaune, together with its variant Kartauwe, from an Italian word quartana, interpreted to mean either ‘a gun of the fourth magnitude’ or one ‘which shoots a ball of 25 pounds.‘ Kluge, for example, says:

Kartaune, Kartane F. ‘kleine dicke Kanone’ (bei Henisch 1616 cartuna) aus ital. quartana, neulat. quartâna; diese Bezeichnung, sowie deren ältere nhd. Übersetzung Viertelsbüchse meint eine Kanone, “welche 25 Pfund schoss im Vergleich zu dem grössten 100 Pfund schiessenden Belagerungsgeschütz.”
Spenser's Imitations from Ariosto—Addenda
Authors: Dodge R. E. Neil
Published: February 2007

In the June issue of last year (vol. XXXIV, no. 2, pp. 225 ff.) Mr. A. H. Gilbert published supplementary notes to my old paper on Spenser's imitations from Ariosto. Since he has brought the matter forward once more, I may as well supplement his supplement with a few stray addenda of my own, which I have stumbled on at intervals since 1897. Some of these were first observed by Upton, whose notes, as quoted in Todd's edition of 1805, had at that time escaped my attention. The list is confined to the ground covered by my old paper; it has nothing to do with the field opened by Mr. Gilbert, Spenser's conclusions and transitions in the manner of Ariosto.
The Editions of Milton's History of Britain
Authors: Glicksman Harry
Published: February 2007

Separate editions of Milton's History of Britain appeared in 1670, 1677, 1695, and 1818. It has been included in all the important collections of his prose works. In 1706, moreover, Dr. White Kennett, whose Complete History of England is a series of historical writings from the pens of various authors, chose Milton's work to do duty for the period preceding the Norman Conquest. Foot-notes were added, though of no remarkable value. The first of Kennett's three folio volumes was republished in 1719; in 1870 Milton's history, and along with it two of the other contributions to the first volume, were reprinted under one octavo cover; in 1878 appeared a stereotype reproduction of the volume of 1870.
The Four Daughters of God: A Mirror of Changing Doctrine
Authors: Traver Hope
Published: February 2007

In a study of the Latin, French, and English versions of the allegory of The Four Daughters of God, published some years ago, I found it necessary to include also a description of two Dutch versions in order to account for certain modifications of the allegory in fourteenth and fifteenth century French forms. These arose through the introduction of what Heinzel2 calls the Processus Belial, a suit between the devil and the Virgin which is only settled when the four Virtues enter the debate.
Thackeray's Pendennis as a Source of Fontane's Frau Jenny Treibel
Authors: Shears Lambert A.
Published: February 2007

Theodor Fontane's interest in English literature dates back to his boyhood years in Swinemünde. Here he first became familiar with the name of the arch-magician Walter Scott, a favorite with his father and at that time the most brilliant luminary in the literary firmament. Keen admiration for the great Briton the poet retained throughout his life. Clear reflections of this enthusiasm may be discerned in his first novel, the broad historical canvas Vor dem Sturm (1878), and also to a lesser extent in several of his later works.1
VIII. The Influence of Milton's Divorce Tracts on Farquhar's Beaux' Stratagem
Authors: Larson Martin A.
Published: February 2007

That the discussion of the problem of divorce in The Beaux' Stratagem, is unique in Restoration Drama, both in its tone and in the arguments employed, has long been recognized by students of Farquhar. Strauss finds in the play a growing thoughtfulness regarding manners and institutions, and a perceptible alteration of moral tone. He is inclined to question, however, whether we are to conclude from the single instance presented, that Farquhar actually meant to countenance divorce by mutual consent. William Archer, in a considerable discussion of the divorce phenomenon, is inclined to treat the matter more seriously. He finds in the comedy Farquhar's firm belief that a breach of the marriage vow is by no means the only immorality possible in the marital relationship. “The scenes are,” he says, “in fact, a plea for what Farquhar regarded, rightly or wrongly, as a more rational law of divorce … He admitted a moral standard, and subjected social conventions, not to mere cynical persiflage, but to the criticism of reason.”

To Professor Ward the divorce motive is equally puzzling. “Some of the incidents are dubious, including one at the close—a separation by mutual consent, which throws a glaring light on the view taken by the author and his age on the sanctity of the marriage tie.”
IX. Hazlitt as a Critic of Art
Authors: Chase Stanley P.
Published: February 2007

William Hazlitt is read to-day as an essayist and a critic of literature. His art-criticism, except for a few papers preserved in his best known books, is familiar to few readers, and to them it will probably remain a matter of curious interest rather than of serious concern. Before Hazlitt's day even, the foundations had been laid, in the works of Wincklemann and Lessing, of a more precise study of aesthetic principles, which was destined to make obsolete most of the eighteenth-century treatises on art; with their works Hazlitt was, like most other English writers of his day, unacquainted. He was thus so far removed from the best thought of his time that his opinions on art have, for the student of aesthetic theory, little historical importance. The archaeological discoveries of the nineteenth century, the rise of impressionism in painting, the spread in all quarters of art and criticism of what may be somewhat roughly termed the naturalistic movement, and especially the development of a more strict and comprehensive study of aesthetic principles, have combined to make large sections of Hazlitt's theoretic discussions unacceptable to-day.
The Hymns of St. Godric
Authors: Rankin J. W.
Published: February 2007

Of the origin and composition of the Cantus Beati Godrici and of the life of the author we have fortunately a detailed contemporary account written by one Reginald of Coldingham. As Caedmon's hymn stands at the beginning of Anglo-Saxon poetry, so Godric's “hymns” are usually regarded as standing at the beginning of Middle English poetry. In each case the tradition of poetic gift is the same: the authors were supernaturally inspired in visions. With regard to Godric's song to the Virgin, Reginald tells us “Qualiter beata dei genetrix Maria cum beata Maria Magdalene ei visibiliter apparuit et eum canticum cum cantici ipsius melo edocuit .... Est autem canticum illud idiomatis Anglici ritmiceque compositum.... Precepit quidem, ut, quociens dolori vel tedio vel temptationi succumbere formidaret, hoc se cantico solaretur, et ait: ‘Quando sic me invocabis, meum sencies instanter auxilium.’” This means a rimed vernacular song, a sort of formula, by singing or chanting which Godric would receive immediate help in times of pain, weariness, or temptation. It is short and simple—two four-line stanzas. Zupitza's text reads as follows:
Sainte Marie uirgine,moder Iesu Cristes Nazarene,onfo, scild, help þin Godric,onfang, bring hehlic wiþ þe in godes ric.Sainte Marie, Cristes bur,maidenes clenhad, moderes flur,dilie mine sinne, rixe in min mod,bring me to winne wiþ self god.
The Sources Used by Davies in Nosce Teipsum
Authors: Bredvold Louis I.
Published: February 2007

Philosophical poetry is seldom original; and ever since the assertion by Alexander Dalrymple, in the eighteenth century, that “Sir John Davies' poem on the Immortality of the Soul is chiefly taken from Nemesius,” there has been speculation as to the source of that once popular work. Grosart, in editing Davies' poems, rejected Dalrymple's statement as “absolutely untrue, an utter delusion,” and claimed for his author the merit of “deep and original thought.” But other critics have generally ignored this claim and suggested various sources for the poet's inspiration. Courthope again named Nemesius as the most probable. In a volume devoted exclusively to the study of this poem, Professor E. H. Sneath maintained that Davies was influenced by four thinkers: Aristotle, Cicero, Nemesius and Calvin. A German scholar more recently denies any influence of Nemesius, but thinks Davies derived his ideas from a study of Aristotle's De Anima modified by a reading of religious commentators, notably Thomas Aquinas. The latest and best suggestion, although it has been presented only in a brief and casual manner, is, that Nosce Teipsum is a re-statement of the Neo-Platonic tradition which permeated Christian thought in the Middle Ages and Renaissance.
The Readings of the First Quarto of Hamlet
Authors: Hubbard Frank G.
Published: February 2007

Editors of Hamlet have, in general, paid but little attention to the readings of Q1; they have in a few cases adopted them, or made them the basis of emendation, but in their critical notes they have recorded comparatively few of them, and have overlooked many that are better than the generally accepted readings (from Q2 F1), even where these accepted readings are plainly wrong and the readings of Q1 as plainly right.
Shelley and Spain
Authors: Hespelt E. Herman
Published: February 2007

The conjunction of the centenary of Shelley's death with the present interest in things pertaining to Spain and Spanish literature makes opportune an examination of the question: to what extent did Spain interest Shelley? For that this country did interest him will be borne out by even a superficial scanning of the titles in the older editions of his poems, while a perusal of his correspondence will disclose the fact that for at least the last three years of his life Shelley was a devoted student of certain phases of Spain's history and literature.
Walter Savage Landor as a Critic of Literature
Authors: Williams Stanley T.
Published: February 2007

As a critic of literature Walter Savage Landor had ideals but few principles. Such a statement is not another paradox in the life of the old lion. It means simply that we look in vain in Landor's numerous judgments on literature for a method or a body of criteria. He never formulated a system, like Coleridge; or standards, like Arnold; nor even consistent prejudices, like Carlyle. The evolution of English criticism between Dryden and Coleridge he disregarded, as indeed he seemed to disregard all consecutive philosophical thought. He did not look into the new worlds of psychological and social criticism. He was not interested in the relations of things, but rather in the things themselves. Such statements are never truer of Landor than when he studies a piece of literature, or a writer. As a critic he never saw literature in perspective-so marvellously increased in his own day-but as something directly before him,—foreshortened. Thus he judged Pindar and Wordsworth each per se; one would think he was a contemporary of both. In all his criticisms we cannot find a body of guiding principles. Personal ideals are the determinants. It need scarcely be added that these are austere and high.
IX.—A Contribution to the Study of the Beowulf Codex
Authors: Rypins Stanley I.
Published: February 2007

The Old English ms. volume, Cotton Vitellius A XV, in “which the unique copy of Beowulf is preserved, consists of two separate codices which have been bound together since the time of Sir Robert Cotton to make the present volume. The first, in two main hands of the twelfth century, contains four articles: Flowers from St. Augustine's Soliloquies, translated by King Alfred, fol. 4a; Gospel of Nicodemus, fol. 60a; Dialogue between Solomon and Saturn, fol. 84b; and a fragment of eleven lines concerning martyrs, fol. 93b. The second codex, likewise in two hands, but of considerably earlier date, consists of five articles: A fragment of the Life of St. Christopher, imperfect at the beginning, fol. 94a; Wonders of the East, fol. 98b; Letter of Alexander the Great to Aristotle, fol. 107a; Beowidf, fol. 132a; and Judith, a fragment, fols. 202a-209b.
An Essay in Critical Biography—Charles Churchill
Authors: Beatty Joseph M.
Published: February 2007

A writer in The Annual Register, soon after the death of Charles Churchill, gave to the world the first account of his life; this was followed by The Genuine Memoirs of Mr. Charles Churchill. To Bell's edition of the poet's works is prefixed a life of the author by Doctor Johnson; this does not add anything new. Kippis, in his Biographia Britannica, followed most of the inaccuracies of the first biographer, but added some new material from his personal information. Anderson used these sources in the British Poets (1795). Robert Southey in his Life of Cowper, and William Tooke in an edition of Churchill's Works (1804) made more elaborate studies of the poet's life, but, unfortunately, were satisfied with earlier biographies or neglected to give careful references to original material. John Forster, in The Edinburgh Review (1845) pointed out many of Tooke's inaccuracies. Every biographer of Churchill from Chalmers in his English Poets to Leslie Stephen in The Dictionary of National Biography, followed Tooke, or Tooke modified by Forster. In 1903, R. F. Scott in his Admissions to the College of St. John the Evangelist in the University of Cambridge, made several valuable contributions to our knowledge about the early career of the satirist. Ferdinand Putschi, in Charles Churchill, sein Leben und seine Werke (1909), had not seen Mr. Scott's book, and followed the earlier biographers.
Shaftesbury as Stoic
Authors: Tiffany Esther A.
Published: February 2007

A new interest of late has awakened in Anthony Ashley Cooper, third Earl of Shaftesbury, through the realization that he is the fountain-head of much of the æsthetics and ethics prevalent in the last century and in our own time. While it has been generally recognized that the background of Shaftesbury's thought is classical, as was to be expected of any student and thinker of his period, deriving both from Stoicism and from Platonism and neo-Platonism, attention and interest have chiefly been concentrated upon those aspects of his thought which look toward the coming romantic movement. Also, such classical influences as have been recognized are usually interpreted from the post-renaissance point-of-view, as agreeing in the main with such modifications of Platonic and neo-Platonic thought as are referred to in discussing “Platonism” of Shelley. Thus C. W. Weiser enlarges upon Shaftesbury's indebtedness to the Platonic and neo-Platonic traditions—terms which he uses, as he explains, in a very general sense, as pertaining to the life of the feeling (the Platonic way) in opposition to the life of the reason (the Aristotelian way).
XXII.—The Palatine Passion and the Development of the Passion Play
Authors: Frank Grace
Published: February 2007

The similarities of phrase, arrangement, and general development that are to be observed in so many mediæval religious plays in which divergences are nevertheless equally apparent have been variously explained as due to the common scriptural, liturgical, theological, or vernacular sources of these plays. Nor has the possibility that one play or cycle may have borrowed directly from another been overlooked. The paucity of early texts, however, contrasted with the relatively more abundant remains of the later highly developed plays and cycles, has tended to obscure the whole problem. With the recent discovery and publication of the oldest text of a complete French Passion play that has survived—the manuscript is dated from the beginning of the fourteenth century by Dr. Christ— new data has become available, and it can be shown, I think, from the relations existing between this so-called Palatine Passion and other French Passion plays that many of the puzzling resemblances in the medieval drama arise from the fact that the same texts often served as the basis for the representations given in different communities. These texts were at various times subjected to revision, and it is the successive alterations made upon them which have in many eases concealed their original connections.
XXIX.—Bowdlerized Versions OP Hardy
Authors: Beach Joseph Warren
Published: February 2007

“Tess of the D'Urbervilles” was greeted with a storm of criticism, which did not abate on the appearance, four years later, of “Jude the Obscure.” Mr. Hardy seems rightly to have anticipated, in the preface to “Tess,” the feelings of the “too genteel reader who cannot endure to have said what everybody nowadays thinks and feels.” And it is true that he does exhibit in these novels a frankness of tone on all that pertains to sex somewhat unusual in England in the early nineties. But Hardy was by no means the kind of writer to disregard the predilections of his public on this or any other point of taste. There are but too many evidences of his willingness to meet them half way. And there is nothing which shows more strikingly his respect for the public taste, especially in the earlier stories, than his great delicacy, according to present standards—not to say his conventionality—in regard to matters of sex.
Development of the “Entremes” Before Lope de Rueda
Authors: Jack W. Shaffer
Published: February 2007

The entremes, or passo, for the words were early synonymous, is a short dramatic composition, burlesque or farcical in character, used as a passing-scene for purposes of comic relief. In considering these scenes, especially in the early years of their development before they can be looked upon as forming a well-established literary genre, one of the most important considerations is their essentially parasitic character. Scenes that are in every wise entremeses may be found frequently in Spanish plays of the first half of the sixteenth century. What must first and above all determine whether a given passage is or is not entremes in character, is its intercalation as essentially independent of the plot of the play. Other than this, the delimitations of these scenes are by no means fixed and definite. It must be understood, moreover, that the early writers did not in all probability look upon them as actual entremeses. The earliest known uses of the word with reference to a dramatic composition are found in a composition by Horozco frequently cited, and in the prologue to the Comedia de Sepúlveda where the author seems to show a very excellent understanding of their function: “No os puede dar gusto el sujeto ansi desnudo de aquella gracia con que el proceso dél suelen ornar los recitantes y otros muchos entremeses que intervienen por ornamento de la comedia, que no tienen cuerpo en el sujeto della.” Nevertheless, whether looked upon as such or not, these detached scenes contain in germ the future entremes, and cannot be ignored in a consideration of its origin and development.
Laurence Minot's Tribute to John Badding
Authors: Parker Roscoe E.
Published: February 2007

In commemorating the men who fought for “sir Edward” in the battle “of Inglisch men & Normandes in þe Swyn” Laurence Minot praised John Badding “als one of þe best.” Beyond this tribute, however, Badding has remained unknown to the readers of Minot's poems. In editing these poems, Mr. Joseph Hall surmises that, since Badding's name appears in no other account of the fight at Sluys (1340) the poet “has here inserted the name of some comparatively obscure friend of his.” This friend, he thinks, was probably some person connected with the Robert Badding who was M.P. for Winchelsea in 1371, with the John Badding who was M.P. for Rye between 1386 and 1407, or with the John Badding who, according to Rolls of Parliament, I, 413, was involved in the taking of twenty-four livres worth of goods from a vessel belonging to John Houchoun and Thomas Peverell of Sherborne in 1321-22. It is my purpose to show that, whatever his relation to the M.P.'s for Winchelsea and Rye may have been, the John Badding who was involved in the affair of 1321-22 was probably the person to whom Minot paid tribute for his valor in the fight at Sluys. The evidence for this statement is contained in the record mentioned above and in two other records which identify John Badding with the Cinque Ports and show that he was a well known English seaman of the second quarter of the fourteenth century. With these facts established, the justice of Minot's tribute becomes plausible.
Bolingbroke and Voltaire—A Fictitious Influence
Authors: Torrey Norman L.
Published: February 2007

No english deist has been more discussed in connection with Voltaire than Bolingbroke. For Bolingbroke was an important political figure, who had definite personal relations with Voltaire, and whose name appears with great frequency in Voltaire's works. Yet no other English deist was so falsely quoted by Voltaire, and no other important deist, with the possible exception of Thomas Chubb, seems to have had less direct influence on the course of Voltaire's deistic criticism. Critics have spoken so long of Bolingbroke as master and of Voltaire as pupil that a tradition has been established, for which there seems to be no foundation in fact.
The Priority of the Goncourts' Discovery of Japanese Art
Authors: Schwartz William Leonard
Published: February 2007

Mm. edmond et Jules de Goncourt ont inventé trois choses, ils le disent du moins: le naturalisme, la vogue du XVIIIe siècle, et le japonisme. Pour nous en tenir à la littérature, ils se flattent un peu; cependant Germinie Lacerteux est de 1865, et suivait Renée Mauperin, qui est de 1864.

With these words Professor Lanson began the section of his Histoire de la littérature française devoted to the Goncourt brothers. It would be permissible in a manual intended for the man in the street to halt at this point in order to discuss the Goncourt claims to have founded Naturalism without investigating the vogue of the eighteenth century and of things Japanese in literature. Here, however, it is proposed to go a little farther, to investigate first the Goncourt claims to be the first French artists to appreciate the work of the Japanese, and secondly to call attention to a kind of literary “Japonisme,” concerning which Professor Lanson is silent.
On the Author of the Ancren Riwle
Authors: Allen Hope Emily
Published: February 2007

In a previous paper, “The Origin of the Ancren Riwle,” I showed that a remarkable series of coincidences would seem to prove that the Ancren Riwle was written for the three “puellae” (Emma, Christina, and Gunhilda), to whom the hermitage of Kilburn, together with land and three corrodies, was granted by the abbot and convent of Westminster c. 1134. Their house was described in the foundation charter as “heremitorium de Cuneburna, quod aedificavit Godwynus,” and it was given to the three young women “concessu tamen, atque precatu illius Godwyni heremitae, quatinus eundem locum qui ad ilium pertinet in elemosina pro redemptione animarum totius praedicti conventus fratrum possideant.” The gift was made, not only to the three maidens in question, but “omnibus illis quae inibi eadem sanctitatis vitae norma fruendi causa futurae sunt.” Godwin, who had evidently instigated the establishment, was to oversee it: “Sit ille praescriptus heremita Godwynus, magister loci, illarumque puellarum quamdiu vixerit custos. Et post ejus obitum eligat conventus puellarum seniorem ydoneum, qui earum ecclesiae praesit, abbatis tamen concilio.” Some further information as to the nucleus of Kilburn Priory is given us by Prior Flete of Westminster in the fifteenth century. He writes of Abbot Herebert: “Iste fundavit cellam canonissarum de Kilborn, ubi prius quidam nomine Godwinus heremiticam multo tempore ducebat vitam. . . . statuit tres virgines Deo sacratas, domicellas videlicet camerae Matildis bonae reginae, consortis regis Henrici primi.”
Look About You and The Disguises
Authors: Jones Fred L.
Published: February 2007

Fleay's suggestion that Look About You, acted by the Admiral's Men at the Rose, was written in 1599, April 17—May 26, must be rejected. He advances but two plausible arguments: (1) the title-page (1600) states that the play was “lately” acted; (2) Wadeson's comedy of The Honourable Life of the Humorous Earl of Gloucester (1601)—possibly but not necessarily a sequel to Look About You—would seem to indicate a date of 1599 or 1600 for the latter play. But “lately acted” on a title-page means little; and even if in this case it was correctly used, it may indicate only a revival of the play. Fleay's opinion must be discounted on much weightier evidence.
Rilkes Cornet
Authors: Wittmer Felix
Published: February 2007

Poesie und Prosa sind derart aufeinander angewiesen, dass sie sich zwar zeitweise voneinander entfernen und, wie zwei Arme eines Flusses, das Wasser sich abgraben können, dann aber immer wieder in Vereinigungen und neuen Verflechtungen sich gegenseitig stärken.

Deuten Rilkes Werke, da seiner Persönlichkeit entsprechend, aus ihr sprechend, sie aussprechend, im Zusammenhang, auf sein Wesen und seine Entwicklung hin, so kann der Cornet am ehesten gesondert, als “Dichtung an sich” verstanden werden. Diese schon 1899 geschriebene Weise mag, wie Heygrodt2 vermutet, nicht lange vor ihrem Ersterscheinen, 1906, als Rilke sein Buch der Bilder schrieb, endgiltige Gestalt erfahren haben. Friedrich von Oppeln-Bronikowski hat in seiner (damals fördernden) Arbeit3 auf den Cornet, da er im nämlichen Jahre erschien, wohl nicht mehr einzugehen vermocht. Fritz Strich aber, der den Weg des Gottsuchers und—künders darstellt, hat dieses am meisten entpersönlichten Werks am ehesten entraten zu können geglaubt.4 Vielleicht auch schenkte er ihm keine Beachtung, weil ihm der Rilke der Neuen Gedichte, Anderer Teil und des Buchs der Bilder am fernsten steht. Stellt er doch den “russischen” Rilke, der durch Tolstoi sein Selbst gefunden, als Typus dem “westlichen” George gegenüber, glaubt er doch, erst in den Sonetten an Orpheus und in den Duineser Elegien sei die Gefahr des Aesthetizismus überwunden.
XII. Notes on the Cardigan Chaucer Manuscript
Authors: Marburg Clara
Published: February 2007

The Cardigan Manuscript of Chaucer's Canterbury Tales was stolen from the Library of Lady Cardigan during the summer of 1923. After passing through various hands, it came into the possession of the Vassar College Library in September, 1923, and was restored to the owner, Mr. George Brudenell, Deene Park, Peterborough, England, the following August.
XVIII. Thomas Randolph's Part in the Authorship of Hey for Honesty
Authors: Day Cyrus L.
Published: February 2007

Hey for honesty, the lively seventeenth century adaptation of the Plutus of Aristophanes, was long attributed without question to the joint authorhip of Thomas Randolph and a certain F. J. whose identity has never been ascertained. The title-page of the first edition reads: “. A Pleasant Comedie, Entituled Hey for Honesty, Down with Knavery. Translated out of Aristophanes his Plutus, by Tho: Randolph. Augmented and Published by F. J.” This unambiguous statement of dual authorship went unchallenged until 1875. Several attempts were then made to prove that Randolph had no part whatever in the translation, and that the whole play was written by F. J. It is the purpose of this article to present new evidence, first, that the play is in truth the result of dual authorship, and second, that Thomas Randolph was the original translator and adapter.
XX. Essays and Letter-Writing
Authors: Binkley Harold C.
Published: February 2007

Though Mr. C. E. Whitmore in his paper, “The Field of the Essay” has suggested with exceptional sharpness the full function of the letter in the development of various essay types, he has, like other writers on the essay, failed definitely to relate the two forms. Both types are exceedingly vague and complex. And if Mr. Whitmore decides that “the effort to discover a single continuous ‘essay tradition’ in English is vain” and adds that he “can see no reason to suppose that Lamb's work would have been in the slightest degree altered if Bacon had never written a line;” it is likewise true that the letter throughout its history shows perhaps even more striking irregularities and lack of discipline. Nevertheless, though both essay and letter are inchoate literary identities which have in the past taken on a variety of exteriors, there are undoubtedly points in common between them; there is even, I should like to show, sufficient evidence to argue a definite and deliberate indebtedness on the part of essay writers for elements which belong primarily to the familiar letter and to it alone of all recognized literary forms.
XXIII. The Views of the Great Critics on the Historical Novel
Authors: Bernbaum Ernest
Published: February 2007

The significance of the historical novel may be summarily suggested by calling the roll of its greatest masters: Scott and Manzoni; Hugo and Dumas; Thackeray, Kingsley, and Reade; Tolstoi, Coster, and Sienkiewicz. Add those who are rivals of the leading masters: Gogol and Jokai, Conrad Ferdinand Meyer and Jens Peder Jacobsen, Hawthorne and Pater, Blackmore and Stevenson; Merimée, Flaubert, and Anatole France. Here, without mentioning many who, like Dickens and George Eliot, were at their best in other forms of fiction, we have a genre rich in masterpieces,—certainly the only great genre in which the nineteenth century so excelled its predecessors as to cast their experiments of a similar kind into oblivion. The public loves it; great authors devote themselves to it. What do the critics make of it? What is its nature, its function, its value? Is this method, apparently so successful, of narrating an action imagined as occurring in an historic past, really a literary art or is it a temporary aberration? Such questions rang out in the nineteenth century as challenges to critical genius. How did the critics respond?
XXVI. Maurice Barrès as a Romanticist
Authors: Cheydleur Frederic D.
Published: February 2007

During the last two and a half years France has lost three great writers, Pierre Loti, Anatole France, and Maurice Barrès. Loti, because of his impressionistic novels of the most artistic kind which record his tireless quest of sensations in all countries of the world, France, because of his epicurean philosophy and Voltairean wit expressed in two-score works of the most finished style, and Barrès, because of his triple rôle of author, politician, and leader of traditionalism in France,—all three have left a profound influence on the contemporary literature of their country. Of these three, Barrès, in spite of the conceit of his early egotism, the narrowness of his nationalism, and the occasional arrogance of his confidence in the superiority of French culture, is by far the most highly endowed and representative; and on this account his work will receive more and more attention from serious students of the political, social, and literary movements of the last thirty years in France. He was one of the first to make his voice heard against the extreme naturalism of Zola and his school; he founded a group of enthusiastic young writers striving toward a new order of things; and, after a period of hesitation, he stood forth as the champion of the best traditions of his country. The purpose of this paper is not, however, to make a comparative study of the relative greatness of these three writers, but rather to trace the struggle between the classical and romantic elements in Barrès' composition, and to show that the latter were not only predominant in his first writings but continued to the end of his life as a strong undercurrent in his novels and books of travel.
Arthur's Round Table
Authors: Loomis Laura Hibbard
Published: February 2007

Nothing in connection with Arthurian legend is more familiarly referred to than Arthur's Round Table. From 1155 when Wace first mentioned it down to the present day the Round Table has symbolized the idea of fraternal fellowship, whether as of old in chivalrous deeds of arms or as today in the asperities of political discussion. It has become perhaps the most famous piece of furniture ever invented by the mind of man and the concept of it, at once simple and profound, has kept curiously enough even in our own day the idea of a real table around which real men gather and of the symbolic value of their association.
Albrecht von Haller and English Theology
Authors: Price Lawrence Marsden
Published: February 2007

The philosophical poems that Haller wrote during the years 1729-1734 helped to mark a turning toward a better way in German poetry. In the preface to the fourth edition of these poems (1748) he wrote:

Ich hatte indessen die englischen Dichter mir bekannter gemacht und von denselben die Liebe zum Denken, und den Vorzug der schweren Dichtkunst angenommen. Die philosophischen Dichter, deren Grösse ich bewunderte, verdrangen bald bey mir das geblähte und aufgedunsene Wesen des Lohensteins, der auf Metaphoren wie auf leichten Blasen schwimmt.
La Date D'Achèvement de La Nouvelle Héloïse
Authors: Schinz Albert
Published: February 2007

Daniel Mornet vient de nous donner son édition monumentale de La Nouvelle Héloïse, en quatre volumes, dans la collection des ‘Grands Écrivains de la France’ (Paris, 1925): c'est un travail de Bénédictins, résultat de longues années d'études, et accompli au milieu d'un nombre prodigieux d'autres occupations.
Shadwell and the Virtuosi
Authors: Lloyd Claude
Published: February 2007

On may 30, 1667, Samuel Pepys attended a meeting of the Royal Society at Arundell House where he found “much company, indeed very much company, in expectation of the Duchesse of Newcastle, who had been desired to be invited to the Society; and was, after much debate, pro and con., it seems many being against it; and we do believe,” he observes, “the town will be full of ballads of it.” Thomas Sprat, in his history of the Society published the same year, after pointing out to “Wits and Railleurs” that experimental science will afford them new material for their “wit” and fancy, declares:

I acknowledge that we ought to have a great dread of their power: I confess I believe that New Philosophy need not (as Caesar) fear the pale, or the melancholy, as much as the humorous, and the merry: For they perhaps by making it ridiculous, becaus it is new, and becaus they themselves are unwilling to take pains about it, may do it more injury than all the arguments of our severe and frowning and dogmatical Adversaries.