bluuebunny/crossref_metadata_2025 huggingface dataset:
A Tentative List of The Proverbs and Proverb Allusions in The Plays of Calderón
Authors: Gates Eunice Joiner
Published: February 2007

Two recent studies have analyzed the manner in which Calderôn utilized proverbs. It is hoped that the following catchword list locating proverbs in his plays will throw additional light on the dramatist's extensive use of such material:
The Historical Setting of Milton's Observations on The Articles of Peace, 1649
Authors: Hughes Merritt Y.
Published: February 2007

Just three centuries ago, in January, 1649, thirteen days before the execution of King Charles, his Lord Lieutenant in Ireland, the Marquis of Ormond, proclaimed a peace with the Catholic Confederacy of Kilkenny which seemed to promise ultimate virtual independence for the Irish, subject only to a tenuous loyalty to the English crown. The promise was fallacious, for both Ormond and Charles were bargaining for Irish support with pledges that they hoped never to have to keep. At the height of the Irish negotiations, in November, 1648, Charles had professed to the commissioners of Parliament that he disapproved of Ormond's work, and had even offered to “publish such a declaration against his power and proceedings” as Parliament might desire.1 But the treaty was ratified and when Ormond proclaimed Charles II in Ireland, its terms became a matter of practical politics, if not as the immediate basis of a working constitution for a free kingdom, then at least as incentives for the Kilkenny Confederates to put their forces into the field for Charles in Ireland, and perhaps ultimately in England also. One of Parliament's first measures of defense was to order Milton to prepare them and three other highly relevant documents for publication in the form of the pamphlet that was printed by Matthew Simmons in Alders-gate Street and published on or before 16 May 1649, under the title:
Articles of Peace, made and concluded with the Irish Rebels, and Papists, by James Earle of Ormond, for and in behalfe of the late King, and by vertue of his autoritie. Also a Letter sent by Ormond to Col. Jones, Governour of Dublin, with his Answer thereunto. And A Representation of the Scotch Presbytery at Belfast in Ireland. Upon all which are added Observations. Publisht by Autority.
The Reporter of Henry vi, Part 2
Authors: Jordan John E.
Published: February 2007

There are dissenters, but scholarly opinion now generally agrees that The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster is a “Bad Quarto”, a reportorial version of Henry VI, Part 2. Most authorities likewise agree that The Contention is a memorial reproduction rather than a product of stenography. But on the question of who did the reporting, whose memory is behind the Q., there is little agreement. Peter Alexander, who devoted most attention to the problem of the reporter's identity, suggests that the pirates were two principal actors, one of whom played the part of Warwick while the other doubled as Suffolk and Clifford. Alfred Hart believes, however, that “the evidence for Suffolk and Warwick as the reporter of Contention is rather weak”, and C. A. Greer, while doubting that the play is a Bad Quarto, argues that these two actors could not have been the reporters because of the “stupidity” evidenced in their rôles. Chambers tentatively proposes the person who played the Citizen in iv, v, but prefers the theory that the bookkeeper was responsible for the reporting.1 It is the purpose of this paper to ascertain what data are available for determining the identity of the reporter, examine the claims of candidates in the field, and suggest another possibility.
THe Fifteenth-Century Editors of the Canterbury Tales and the Problem of Tale Order
Authors: Dempster Germaine
Published: February 2007

In what sequence to present the tales was one of the first problems which the editors of the Canterbury Tales had to face. Various orders were elaborated or improvised. The important ones are:11) the very bad order of the otherwise excellent Hengwrt MS. (Hg); 2) the much better one common to the Ellesmere MS. (El) and the MSS constituting group a;2 3 and 4) the two largely similar orders of group c and of MS. Har-leian 7334 (Ha4); and 5) that of group d reproduced unchanged in group b. For the reader's convenience I give here these five orders in the simplest possible form, i.e., without indicating the presence or absence of links:
1) Hg: ADB1 SqT MeT FkT SNT C1T CB2HI
2) a and El: AB1DEFCB2GHI
3) c: A Gam B1 SqT D C1T MeT FkT GCB2HI
4) Ha4: A Gam B1DEFGCB2HI
5) d and b: A Gam B1 SqT MeT D C1T FkT GCB2HI
Continental Associations for the Ancrene Riwle
Authors: Fisher John H.
Published: February 2007

In 1940 Miss Hope Emily Allen called attention to the relationship between The Tretyse of Loue and the Ancrene Riwle.1 The Tretyse of Loue, one of the six books printed at Caxton's press between the time of Caxton's death (c. 1491) and his successor Wynkyn de Worde's first book under his own name (Walter Hilton's Scale of Perfection, 1494),2 is a compilation of ten devotional tracts, from the first and longest of which it takes its name. This first piece, (1) The Tretyse of Loue proper, is an expansion and adaptation of Part vil of the Riwle,3 dealing with the nature and virtue of spiritual love. The (2) Meditation on the Hours of the Cross and (3) Remedies Against the Seven Deadly Sins belong with the Tretyse by virtue of their similar dedication to a very wealthy lady4 and by the borrowings from the Riwle found in the latter. After an intermediate conclusion which may mark the end of the original compilation, there follow seven shorter tracts on various subjects. They are (4) The Three Signs of True Love and Friendship, three pages of meditations on Christ's love; (5) The Branches of the Appletree, a mystical treatise which, because of its significance in connection with the origin and provenance of the compilation, is the particular subject of this discussion; (6) The Seven Signs of Jesus' Love; (7) An Exhortation by Faith, five pages of moral exhortation; (8) Nine Articles of Master Albert of Cologne; (9) Diverse Sayings of Saint Paul and Others; and (10) The Six Masters on Tribulation.
The French Originals of Rossetti's John of Tours and My Father's Close
Authors: Lang Cecil Yelveeton
Published: February 2007

Though much of Rossetti's original poetry is now (temporarily) out of fashion, his success as a translator has never been questioned. His renderings of the Vita Nuova and the Early Italian Poets are standard, while his translations from Vil-lon, particularly the Ballad of Dead Ladies, will probably live as long as Villon's verses. Better than anyone else, perhaps, Rossetti shows the accuracy of the truism that only a poet can translate poetry.
The Dates of Clizia and Mandragola
Authors: Gilbert Allan H.
Published: February 2007

Macktavelli's three comedies, Andria, Clizia, and Mandragola, are arranged in that order in the edition of Mazzoni and Casella; and that is the order of excellence in which all readers place them. Andria is a good translation of the Latin original, occasionally enlivened by semi-proverbial expressions and the like. It is perhaps hasty, since a few words are neglected. Possibly they were lacking in the text Machiavelli used, though I find them in one Italian sixteenth-century form.
Arthurian Names: Arthur
Authors: Nitze William A.
Published: February 2007

I wish to make a correction in my essay on “Arthur” in the June number of PMLA. On page 590 I state that Professor Jackson overlooked my article in MLN, LVIII “for an unaccountable reason.” He informs me that when my article appeared in 1943 he was away on war service and therefore did not see it. That is an excellent reason, and I should not have termed it “unaccountable.” I am sure that whoever reads my articles will realize how much I esteem Professor Jackson and admire his scholarship.
Conception is a Blessing
Authors: Gibson Evan K.
Published: February 2007

John E. Hankins in his interesting article, “Hamlet's ‘God Kissing Carrion’: a Theory of the Generation of Life” (PMLA, LXIV, 507-516) suggests a possible theological interpretation to the lines: “For if the sun breed maggots in a dead dog, being a good kissing carrion [or ‘god, kissing carrion’] …” (II, ii, 181). He points out that the belief in the generative power of the sun was not merely a pagan concept and (p. 515) quotes from Alanus de Insulis to show that the worm born in putrifying flesh by the power of the sun was regarded by mediæval theologians as a symbol representing Christ, who was born of carnal flesh and without masculine seed.
Melville and Dante
Authors: Mathews J. Chesley
Published: February 2007

When giving, in his recent article on “Melville's Pierre and Dante's Inferno”, a list of references to pages in the published writings of Herman Melville on which are to be found references and allusions to, and echoes from, Dante, G. Giovannini left unnoticed at least three relevant passages. When Melville wrote in Redburn (1849) that “the scene of suffering is a scene of joy when the suffering is past; and the silent reminiscence of hardships departed is sweeter than the presence of delight”, he quite possibly had in mind Dante's reflection that there is no greater grief than to recall past joys in time of sorrow (Inferno v, 121 ff.), and was consciously inverting it. When writing in Pierre (1852), “Let all hope of moving her be immediately, and once for all, abandoned”, he very probably was influenced by Cary's translation of Inferno III, 9: “All hope abandon …” And when writing in Clarel the following lines (after having already used the phrase “the city Dis”): “They come: the vengeful vixens strive—The harpies, lo—hag, gorgon, drive!” he quite possibly had in mind the three furies at the gate to the City of Dis, who said, “Let Medusa come.”8 Cary calls the Furies “hags” (in line 44 of Canto IX), and refers to Medusa as “the Gorgon” (in line 57).
Organic Unity: Leibniz to Coleridge
Authors: Benziger James
Published: February 2007

Perhaps only one who has long been interested in the phrase organic unity is wholly aware of how commonplace it has become in twentieth-century criticism. The journalist reviewing last night's symphony, the undergraduate finishing the term paper due on the morrow, critics one and all have found the phrase an impressive one. At times the word organic seems to be no more than a mere intensive:, to say that a painting has organic form is to say that it has “lots of form”; a poem with organic unity is a poem with “lots of unity.”
Symbolism in the Bridge
Authors: Coffman Stanley K.
Published: February 2007

A great deal has been said about the failure of Hart Crane's The Bridge. I should like here to add a note upon an aspect of The Bridge which, as far as I know, has not been more than mentioned, probably because the finality of the usual criticism of the poem tends to obscure it. Perhaps the shortest way to what I propose is through Ezra Pound's definition of the Image: “that which presents an intellectual and emotional complex in an instant of time.” As symbol providing a logical meaning for the poem, the Bridge has been examined and judgment delivered; but the pattern of language through which Crane hoped to make his symbol effective as intellectual and emotional complex, or, to use his terminology, a “new word, never before spoken and impossible to actually enunciate”, has been left almost untouched.
An Unpublished Novel by Paul Ernst
Authors: Mcfaelane J. W.
Published: February 2007

It is often detrimental to the proper understanding of a poet when his most strenuous years of intellectual exploration happen to be the least well documented, and particularly so when that poet, in despair over the lack of recognition accorded him by his contemporaries, makes his appeal over their heads directly to the judgement of posterity; and yet even if Paul Ernst, “like Sir Candy Rackrent in the tale”, had survived his own wake and overheard the judgement of posterity, or even if he had suspected that the succeeding generation of critics, trained in the arts of psychological dissection, would take exaggerated interest in his mental processes rather than in his ultimate poetic assertions, it is doubtful whether he would have willed it otherwise. For indeed one of the more conspicuous results of the greatest crisis in his own life and thought —between, let us say, 1897 and 1900—was a strong aversion to the application of any kind of psychological analysis to matters of literature.
Henry James: The Poetics of Empiricism
Authors: Raleigh John Henry
Published: February 2007

Criticism of Henry James in our time is verging into metaphysics. The late works have recently been analyzed in terms of “dialectic” and “myth”,1 as products of Swedenborgianism,2 and as an artistic objectification of William James' philosophical pragmatism.3 Despite great individual differences these three approaches hold in common the basic assumption that James' inner and final meaning has not yet been as-certained and the corollary assumption that this final meaning is perhaps expressed symbolically, by technique, rather than overtly by subject matter.4 In this climate of opinion James is conceived of as a kind of nineteenth-century Dante, the architect of a secular Divine Comedy for some later-day equivalent of scholasticism, and the legendary “late manner”, once considered merely idiosyncratic, is thought to be an elaborate structure which metaphorically expresses a coherent system of values. The critical problems are, first, to find James' Aquinas, or the rationale for the body of ideas on which the late works constitute a metaphor, and, second, to define the relationship between this logical statement and James' symbolic one.
Christopher North and the Genesis of the Raven
Authors: Gravely William H.
Published: February 2007

As an aftermath of a popularity which, in addition to being immediate and widespread, has proved to be enduring, there now exists a rather formidable mass of controversial writing having to do with the genesis of The Raven and consequently with the sources that Poe may have used in creating the poem. The late Killis Campbell, in his scholarly notes to The Poems of Edgar Allan Poe, has left us a concise critical estimate of most of this controversial matter.1 Some accounts of the origin of The Raven are quite fantastic, and Campbell dismisses them with little comment as apocryphal. Others he considers not wholly convincing although he does not deny that they may contain at least a modicum of truth.
Dr. Johnson on Fielding and Richardson
Authors: Moore Robert Etheridge
Published: February 2007

When a literary critic's judgments are never dull, it is inevitable that they will often be surprising. A more striking example is hardly to be found among the great critics than Dr. Johnson's remarkable comparisons of Fielding and Richardson. Many later judges, unwilling to do justice to Richardson, and contenting themselves with a cool recognition of his historical importance, have nonetheless been willing that Johnson should admire him extravagantly. That his evaluation of the novelist would be less impartial than theirs is easily understood, both because of the two men's friendship and because of eighteenth-century literary tastes, so different from our own. But Johnson's utter obtuseness towards Fielding is annoying to the modern critic, not merely because Fielding's reputation has far outstripped that of his rival, but also because he was immensely admired in Johnson's own lifetime. The Age of Reason gloried in the author of Tom Jones, yet here is the supreme critic of the century delivering himself of the most inflexibly contrary opinion. What are we to think of this?
Voltaire and Homer
Authors: Ramsey Warren
Published: February 2007

Any discussion of Voltaire's attitude toward Homer, a figure admired L and condemned for a great variety of reasons during the neoclassic period, must touch ultimately on several different questions. Voltaire's reaction to primitive manners and customs as represented in the Homeric poems, his understanding of history and chronology, the method of his mind in approaching, again and again between 1727 and 1772, a traditional admiration of the first importance—all these subjects and more are involved in a study whose immediate purpose is to show that Voltaire held a consistent view of Homer. And they all prepare a still more com-prehensive question: whether Voltaire defended or neglected the cause of poetry at a time when an opinion of Homer was not far from being equivalent to an opinion of the essential literary art.
Defoe in Stoke Newington
Authors: Secord Arthur
Published: February 2007

Defoe's name is indissolubly linked with Stoke Newington. There he lived when he wrote Robinson Crusoe and other important works. There on a Saturday morning in 1713 the agents of Lord Chief Justice Parker ostentatiously seized him and carried him off to a London prison.1 The Stoke Newington Library now displays his statue, and a plaque at No. 95 Church Street, by Defoe Road, marks where his house stood. One may even see the wall along the east side of Oldfield Road which tradition says was his. But all accounts are inaccurate and fragmentary. Among them only two are aware that Defoe lived in two Stoke Newington houses, and none at all that he did not own the “Defoe” house or that, a decade after his death, his poet-naturalist son-in-law, Henry Baker, F.R.S., purchased and held it for twenty-three years. The Official Guide to Stoke Newington (seventh edition, p. 23) tells us that descendants of Defoe lie in Abney Park Cemetery, which (p. 27) dates from 1840.2 The Cemetery officials say they know nothing of such descendants.
John Fletcher and the Art of Declamation
Authors: Waith Eugene M.
Published: February 2007

In a recent note on The Double Marriage I suggested that the plot of this tragedy was derived from two declamations (Numbers 48 and 64) in The Orator (1596), Lazarus Pyott's translation of the Epitomes De Cent Histoires Tragicques (Paris, 1581) by Alexandre van den Busche, called Le Sylvain.11 was even tempted by the notion that the form of this collection of speeches influenced Fletcher's dramatic methods. Each “declamation” begins with a brief summary of the circumstances leading up to some extraordinary situation; then follow the speeches of two characters who present exactly opposite views in a formal debate. The emphasis of the book falls, as the title itself indicates, on these speeches. In a foreword to the reader (Sig. A4) Pyott says of them: “In these thou maiest learne Rhethoricke to inforce a good cause, and art to impugne an ill.” The dazzling improbability of The Orator's situations, the irreconcilable oppositions of the chief characters, and the concern with oratorical eloquence correspond so closely with the dramatic technique of the “Beaumont and Fletcher” plays that it would have been easy to imagine Fletcher and his collaborators discovering here the formula which was to be the basis of their success. There was only one inconvenience—a fatal one—to this theory: I had no evidence that Fletcher was familiar with The Orator when he was working with Beaumont on Philaster, The Maid's Tragedy, and A King and No King, in which the “Beaumont and Fletcher” genre takes its characteristic shape.
The Idea of Progress in Rabelais
Authors: Keller Abraham C.
Published: February 2007

As Though defining the issues for future discussions of progress, Seneca says in one of his epistles: “I differ from Posidonius when he holds that mechanical tools were the invention of wise men .... It was man's ingenuity, not his wisdom, that discovered all these devices. And I also differ from him when he says that wise men discovered our mines of iron and copper .... Nay, the sort of men who discover such things are the sort of men who are busied with them, men whose minds are nimble and keen, but not great or exalted; and the same holds true of any other discovery which can only be made by means of a bent body and of a mind whose gaze is upon the ground.”
Chaucer's Satire of the Pardoner
Authors: Kellogg Alfred L. , Haselmayer Louis A.
Published: February 2007

The present essay is an attempt to demonstrate the institutional nature of Chaucer's satire of the pardoner—to indicate that Chaucer's satire is not directed against false pardoners or against pardoners of any particular establishment, but against the state of institutional decay which made the existence of the pardoner possible. To this end the background of the pardoner will be discussed: his function in the Church, abuses of that function, and legal action to restrain those abuses. Following this, an examination of English collection systems will be made, and finally an application of the foregoing material to the noble ecclesiast of the Canterbury Tales.
Etymological Comments on Certain Words and Names in the Elder Edda
Authors: Sturtevant Albert Morey
Published: February 2007

The following etymological comments are offered for the purpose of clarifying the sense of certain Old Norse names and words as well as (in certain cases) the interpretation of the passages in which they occur.
From Ce Suis Je to C'est Moi (The Ego as Subject and as Predicative in Old French)
Authors: Hatcher Anna Granville
Published: February 2007

In a now famous article published in 1920, “Comment on est passé de ce suis je à c'est moi”, Lucien Foulet described the evolution by which the neuter pronoun ce, once representing the predicative in the pronominal formula of identification, came, by a complicated system of analogies, to be felt as subject, thereby necessitating a change of construction from ce suis je, ce es tu, etc., to c'est moi, c'est toi, etc.
Scaliger's Defense of Poetry
Authors: Hall Vernon
Published: February 2007

There are as many defenses of poetry in the Renaissance as there are literary critics but the one name that comes most frequently to mind is that of Sidney. The reason is clear. Most critics embodied what they had to say in defense of poetry in formal, critical treatises. Sidney, with a better sense of drama, wrote his as a separate manifesto. It is known that Julius Caesar Scaliger devoted considerable energy in his Poetices Libri Septem to replying to the charges against poetry. What is less well known is that he, too, tried his hand at a separate defense of poetry which he called Contra Poetices Calumniatores Declamatio. This interesting composition is buried in the seldom read edition of his letters and orations first published in 1600, forty-two years after his death. This work deserves to be known because it puts into brief form, and in emotional language, several of the leading ideas of Poetices Libri Septem. Since it breathes defiance of the unpolished slanderers of literature who surrounded him in Agen and hints at the difficulties which he faced there, it is, also, of considerable biographical interest.
Bishop Hall, “Our English Seneca”
Authors: Smith Philip A.
Published: February 2007

Joseph Hall, whom Fuller designated “our English Seneca”, is chiefly remembered as a satirist, character-writer, and indefatigable champion of the Anglican faith against the onslaughts of “Smectymnuus” and Milton. But Fuller's phrase suggests a further claim on our attention. Bishop Hall was the leading Neo-Stoic of the seventeenth century, a notable practitioner of the so-called “Baroque” or “curt” style (stile coupé) of the Attic writers. It was to the Neo-Stoic brand of theology which Hall so enthusiastically preached that Sir Thomas Browne had reference when he observed in his Religio Medici that “truely there are singular pieces in the Philosophy of Zeno, and doctrine of the Stoicks, which I perceive, delivered in a pulpit, pass for current Divinity.”
Beaumont and Fletcher on The London Stage 1776–1833
Authors: Rulfs Donald J.
Published: February 2007

Although the plays of Beaumont and Fletcher had been revived in great numbers after the reopening of the London theaters in 1660, their popularity declined so steadily during the eighteenth century that by the time of Garrick's retirement from the stage in June, 1776, only two plays, Rule a Wife and Have a Wife and The Chances, both comedies, were still being presented as stock pieces at Drury Lane, Covent Garden, and the Haymarket. Shortly after Garrick's retirement, however, several of the neglected plays were revived, and, in spite of the competition of intensified Shakespearean revival and the unquestioned predominance of assorted spectacle and melodrama, a varying degree of interest in the Elizabethan twin playwrights continued until the retirement of Edmund Kean from the stage in March, 1833. The purpose of this paper, therefore, is to determine the extent to which the neglect of Beaumont and Fletcher was amended during the years 1776–1833 and to ascertain the significance of the revivals as related to various contemporary interests as well as to the generally favorable or unfavorable circumstances for production.
The Spanish Suffix -UDO
Authors: Wuest Anne
Published: February 2007

In Classical Latin a small number of past participles had the ending -utus, e. g., argutus (arguo), locutus (loquor), secutus (sequor), solutus (solvo), volutus (volvo). In Vulgar Latin there is a proliferation of the -utus form, encroaching not only on -itus, but also on -atus. This verb form, so fecund in other parts of Romance territory, was common in Old Spanish but disappeared soon after the thirteenth century. The modern Spanish suffix -udo is an adjectival form which seems to spring rather from -utus forms which were already adjectives in Classical Latin, e.g., canutus, cornutus, nasutus. Meyer-Lubke says that -utus “jouit … en roman d'une vogue extraordinaire”, that “il indique très souvent … non la possession en général, mais une propriété extraordinaire, qui frappe: nasutus ne signifie pas simplement ‘pourvu d'un nez,’ mais ‘pourvu d'un grand nez’ etc.”
Les Provençalismes Et La Question Du Régionalisme Dans L'œuvre De Jean Giono
Authors: Roche Alphonse
Published: February 2007

A première vue, les romans de Giono peuvent nous sembler remplis de provençalismes et devoir être rattachés à la littérature régionaliste. Mais on s'aperçoit vite que les provençalismes authentiques y sont plutôt clairsemés et qu'ils deviennent de plus en plus rares à mesure qu'on avance dans son œuvre. On se rend compte aussi que le régionalisme n'occupe dans cette œuvre qu'une place relative et en somme de peu d'importance, malgré l'influence provençale qui s'y manifeste à chaque page. Il reste cependant qu'une étude de ces deux questions, inséparables l'une de l'autre, comporte un certain intérêt pour l'intelligence de la langue et du style de Giono romancier.
The Province of English Philology
Authors: Cook Albert S.
Published: February 2007

Perhaps no reproach is oftener addressed to those who call themselves philologists than that they are unconcerned with that beauty which has furnished a distinctive epithet for the word “literature” in the phrase belles lettres, that they lack imagination and insight, and that they are quite unfitted to impart to others a sense of the spiritual values which inhere in the productions that form the subject matter of their studies. An eloquent writer, who is himself a capable investigator, has recently presented this view in an essay which deserves the attention of every teacher of literature, and especially of every teacher of English literature.
The Truth about Candida
Authors: Nethercot Arthur H.
Published: February 2007

When Archibald Henderson once wrote that a fitting sub-title for Bernard Shaw's Candida would be “A Mystery”, he was not thinking so much of the famous but ambiguous “secret in the poet's heart” as he was of the motivation and interpretation of the characters as a whole. For of course the tantalizing “secret” is embedded only in the final stage direction and would therefore not challenge the spectator for solution; but the problem of the meaning of the characters and their relationships forms the backbone of the whole play, whether read or seen. Perhaps the fact that for years critic after critic, reader after reader, spectator after spectator have interpreted Candida, Morell, and Marchbanks according to their own temperaments and predilections may help to explain why the play, like the similarly enigmatic Hamlet of Shaw's self-selected arch-rival, has proved to be one of the most popular in the repertoire. To judge from most of the printed comments on Shaw's play, and particularly on its heroine, it still remains a mystery. At least, there is little agreement as to its interpretation.
The Pseudonyms of Manuel Gutiérrez Nájera
Authors: Mapes E. K.
Published: February 2007

The present study is a by-product of a much more extensive project in which I have been interested for a number of years, the collection and classification of all the available writings of Manuel Gutierrez Nájera. Because he was a precursor of Modernism, and also because his works have considerable intrinsic value, Nájera is one of the most important authors of Spanish America. It therefore seems obviously desirable that as much as possible of his production should be known. As a matter of fact most of his poetry now seems to have been identified and edited. This is far from true of his prose. Only four or five volumes (disregarding duplications) are available in book form, whereas perhaps forty or fifty equivalent volumes constitute his total prose production. I have approximately that amount of Nájera's prose on microfilm, as a result of a number of months of research in the libraries of Mexico City.
Johann Khuen
Authors: Von Faber du Faur Curt
Published: February 2007

Johann Khuen, der Unbekannte, der vergessenste der Barockdichter, ist Bayer durch und durch. Jakob Balde, sein Freund und Stadtgenosse, war geborener Elsäßer, und von dem derben und ein wenig unflätigen Humor der al ten südwestdeutschen Dichtung ist in ihm manches noch vorhanden, dem drastischen Witz, der tolldreisten Übertreibung der Sebastian Brandt, Thomas Murner und Johann Fischart. Nicht so Khuen. Sein Humor ist so bayrisch wie seine Herkunft aus der Nähe von München. Es ist etwas Naives und Ungeschlachtes in ihm, eine fröhliche Derbheit, eine Lust an saftigen Wendungen, bei tiefer und echter, durchaus katholischer Religiosität, wie sie noch heute den Bayern auszeichnet.
The Stoic Consolatio and Shakespeare
Authors: Boyce Benjamin
Published: February 2007

Though Shakespeare's liking for Stoic commonplaces of the sort that one finds in the prose works of Seneca, Plutarch, Cardano, and Justus Lipsius no longer needs to be pointed out and though interesting evidence has recently been assembled1 of Shakespeare's utilizing the forms and principles of traditional Renaissance rhetoric, there is one rhetorical pattern used by Shakespeare, itself a development from Stoic prose models, which seems not to have caught the eye of modern students. This is the consolatio or “Paramythia … a forme of speech which the Orator vseth to take away, or diminish a sorrow conceiued in the minde of his hearer”, as Henry Peacham defined it in 1593.
The Roman Rite in Bale's King John
Authors: Miller Edwin Shepard
Published: February 2007

Notice of King John has been concentrated on questions of date; revision; polemic purpose; treatment of history; influence of the Image of Hypocrisy, Kirchmayer's Pammachius, Lindsay's Satire of the Three Estates, and Tyndale's Obedience of a Christian Man; and relation to the morality play and the chronicle play, between which it seems transitional, with its effect upon the latter, especially upon the Troublesome Reign and Shakespeare's King John. Herbert Barke notices here and there the historical basis of its use of the Roman rite. Otherwise there has been almost no notice of a substance and technique that, beyond this basis, articulate structure, unite allegory and history, and must have made the propaganda emotional for a mid-sixteenth-century audience.
Chaucer's Pilgrims
Authors: Hulbert J. R.
Published: February 2007

In no other part of his writings was Geoffrey Chaucer more original than in the series of sketches of the pilgrims in the prologue to the Canterbury Tales. Though the Sources and Analogues is able to provide the source or at least an analogue for every complete tale, it gives (no information of any similar series earlier than Chaucer's time. Clearly the plan was the result of “inspiration.” Much has been written, however, on the sources of particular elements in the prologue. It may be worth while to consider in one place these and other features which contributed to the success of Chaucer's design.
“Questione del Cavalca”: Further Findings
Authors: Rossi A. Olga
Published: February 2007

Domenico Cavalca's literary activity and his importance in Italian literary history have been questions discussed, at times even hotly, since the dawn of Italian literary historiography. However, it was only in 1905, when Guglielmo Volpi in his “Questione del Cavalca” outlined a program for future study of Cavalca's writings, that these may be said to have become a recognized field for scholarly research. The program then outlined by Volpi has in part been carried out. Alfonso Zacchi did pioneer work over a broad field, clearing the ground and opening up the question of the sources. Continuing Zacchi's work, Carmelina Naselli carried it further into the field of Cavalca's life and circumstances. Neither Zacchi nor Naselli, however, made a thorough study of Cavalca's sources, or of his manner of handling them—an aspect of the Cavalca question which calls for further elucidation, as Volpi did not fail to perceive. Nor did the afore-mentioned writers undertake to decide definitively, as Volpi (p. 318) suggests should be done, “se alcune opère attribuite al Cavalca per congettura possano esser sue.” These are the subjects I have chosen to investigate here.
The Old English Storm Riddles
Authors: von Erhardt-Siebold Erika
Published: February 2007

Three of the riddles in the Exeter Book, usually numbered 1, 2, and 3, are commonly known as the Storm Riddles because of their unusually vigorous and beautiful descriptions of disasters on sea and on land as caused by the uproar of the elements. We owe to Professor Charles W. Kennedy the complete interpretation of riddles 2 and 3. Kennedy, I think, has established two things conclusively: first, that riddles 2 and 3 are actually but one riddle—I shall subsequently refer to it by riddle 2–3—secondly, that the background of the storm riddles is Graeco-Roman cosmological thought. Riddle 2–3 dwells successively on four aspects of the turbulent atmosphere, the submarine storm (R.2, lines 1–12), the earthquake (R.3, lines 1-16), the storm at sea (R.3, lines 17–35), and the thunderstorm on land (R.3, lines 36-66). Lines 67–72 summarize the four themes.
The Legend of Julius Caesar's British Conquest
Authors: Nearing Homer
Published: February 2007

None of the deadly weapons of mediaeval legend, not even the darts of Yspadaden Penkawr, is more sinister than Crocea Mors, the sword of Julius Caesar. This Yellow Death, a terrible instrument which inflicted incurable and inevitably fatal wounds, was invented by Geoffrey of Monmouth, who says that Caesar lost it in his first battle with the British when it stuck in the cleft shield of the British prince Nennius and was carried off by him. The episode is symbolic of Caesar's entire association with the British as related by Geoffrey and his followers, for at their hands the great Roman's military reputation suffered even worse than his armory in his encounters with the descendants of Brut.
Melville's Pierre and Dante's Inferno
Authors: Giovannini G.
Published: February 2007

From the number of articles on Dante and the frequency of American printings of the Divine Comedy in translation, it appears that even before 1850 Dante had a larger American public than might be supposed. At the mid-century Emerson remarked in his comments on Margaret Fuller's interest in Dante: “An edition of Cary's translation, reprinted in Boston, many years ago, was rapidly sold; and, for the last twenty years, all studious youths and maidens have been reading the Inferno.” Melville was one of these studious readers. He purchased a copy of Cary in 1848, and in works after this date made frequent reference to “that infernalest of infernos, The Inferno”, especially in Pierre. The hero of the novel is a devoted reader of Dante—“you always loved Dante”, says Millthorpe to Pierre (p. 441)—and about one half of it, Books ii to ix, pivots on references to the Inferno, which in a powerfully symbolical manner underscore the pervasive tragic gloom and develop on an emotive level the hero's reactions to the existence of evil. Relying on some knowledge of the Inferno on the reader's part, Melville adopts the technique of literary allusion and quotation functioning in place of formal exposition, the literary reference itself becoming contextually an expository symbol of the hero's internal states and of the ubiquity and universality of evil. Melville adopts this technique in other works, but never so extensively as in Pierre, nor so effectively at crucial moments in the development of character and theme.
The Archetypal Pattern of Death and Rebirth in Milton's Lycidas
Authors: Adams Richard P.
Published: February 2007

It has been made increasingly evident by critics in recent years that the drowning of Edward King was the occasion, rather than the subject, of Lycidas. Milton's concern was generally with the life, death, and resurrection of the dedicated poet, and specifically with his own situation at the time. From this premise it follows that there are no digressions in the poem and that the form and traditions of pastoral elegy are entirely appropriate to its intentions.
The Thematic Framework of Romeo and Juliet
Authors: Bowling Lawrence Edward
Published: February 2007

Although Romeo and Juliet is one of the most popular and best-loved of all Shakespeare's plays, rivaled only by Hamlet, those best qualified to evaluate Shakespeare's works usually speak of it condescendingly as a nice but immature play on the theme of young love. The apologetic attitude of these critics is based upon two incorrect assumptions. Perceiving within the tragedy no intellectual framework, they have concluded that it has no central unifying theme; disturbed by the presence of various apparently discordant elements, especially in technique, they have sought to account for (or excuse) these on the basis of the author's immaturity at the time the play was written. Dowden calls this play “the work of the artist's adolescence”, and Grant White, going far in this direction, attributes certain of the most controversial passages to a period earlier by several years than the rest of the play.
Shakespeare's Coriolanus: Elizabethan Soldier
Authors: Jorgensen Paul A.
Published: February 2007

The New Variorum Coriolanus offers ample evidence that criticism of this play has spent its force upon two sources of conflict: the relationship between plebs and patricians and the relationship between Coriolanus and his mother. These approaches have led to interesting speculation as to Shakespeare's own point of view. But the fact remains to be reckoned with that the two disastrous relationships which most have excited critics are also exciting in North's Plutarch and that Shakespeare's most important departures from his source are in another direction. In this paper I hope to show that Shakespeare drew principally upon the military situation of his own era and country in reshaping the Plutarchan story. In this reshaping, Coriolanus emerges as a soldier whose life comprises two significantly related phases: the soldier at war and the soldier in civil life. The Roman general's difficulty in adjusting himself to a non-military career is of central importance because Shakespeare gave this problem a greater prominence and more clearly defined statement than did Plutarch. Nevertheless, Coriolanus' rôle in warfare is, in Shakespeare's design, basic to an understanding of his rôle in peace. What is more, the complexity of the former rôle has been underestimated by critics, most of whom esteem him an excellent warrior.
Chaucer's Nun's Priest Again
Authors: Sherbo Arthur
Published: February 2007

“Com neer, thou preest, come hyder, thou sir John!Telle us swich thyng as may oure hertes glade.Be blithe, though thou ryde upon a jade.What thogh thyn hors be bothe foul and lene?If he wol serve thee, rekke nat a bene.Looke that thyn herte be murie everemo.”“Yis, sir”, quod he, “yis, Hoost, so moot I go,But I be myrie, ywis I wol be blamed.”—Prologue, Nun's Priest's Tale“But by my trouthe, if thou were seculer,Thou woldest ben a trede‐foul aright.For if thou have corage as thou hast myght,Thee were nede of hennes, as I wene,Ya, moo than seven tymes seventene.See, whiche braunes hath this gentil preest,So gret a nekke, and swich a large breest!He loketh as a sperhauk with his yen;Him nedeth nat his colour for to dyenWith brasile, ne with greyn of Portyngale.Now, sire, faire falle yow for youre tale!”—Epilogue, Nun's Priest's TaleThe literary pastime of finding real-life models for characters in literature is a fascinating one. In proportion as the vital statistics of the object of the literary manhunt recede in time, the fascination grows. Something akin to the possession of occult powers is felt by the literary detective who can, from a foothold in the twentieth century, reach back three, four, or five hundred years and “get his man.” Admittedly there is a real value in this kind of scholarly effort, but there is also a very real danger. The danger arises from the pleasurable self-hypnosis that often accompanies these ventures. In this state of quasi-suspended judgment, we are not always responsible for our conclusions. It is my desire to examine the results of one of these ostensibly successful manhunts in an effort to suggest that the “culprit” was not actually apprehended after all.
More Data on Gautier d'Arras
Authors: Cowper F. A. G.
Published: February 2007

Gautier has been known to scholarship only as the author of two romances, the Eracle (of 6,593 verses) and the Ille et Galeron (of 6,592). In the prologues and epilogues to these works he mentions a number of illustrious patrons and sheds some light, though a rather dim one, on his own personality. From what he says there, it is possible to date the two romances approximately, so that we know the years of his adult life. The poet claims friendship with Count Baudouin of Hainaut, identified as Baudouin V, brother-in-law and successor of Philip of Flanders; Count Thibaut of Blois, grand seneschal of Louis VII of France; Marie de Champagne, daughter of Louis and Eleanor of Aquitaine and sister-in-law of Thibaut; and Beatrice of Burgundy, second wife of Frederick Barbarossa, emperor of Germany. Anyone familiar with the political friendships and enmities of the time will wonder at the wide acquaintance and patronage Gautier claims.
The Word Family of Spanish desmoronar, Portuguese esb(o)roar “crumble”
Authors: Malkiel Yakov
Published: February 2007

In dealing with the non-Latin stratum of the Hispanic lexicon, the Romance linguist is rarely prepared to reach definitive conclusions with respect to the etymology. His is primarily the duty of assembling the cognates, doublets, and derivatives, of determining the configuration of the word family, of establishing the range of meanings, of discovering, in figurative use, the underlying images. By linking widely disseminated reflexes and combining scattered relics of an ancient word into an organic whole, he implicitly rules out untenable etymological bases, narrows down the choice of plausible solutions, and passes on a carefully classified set of data to a fellow scholar who may have the competence to integrate the unknown word family into a lexical system familiar to him, be it Iberian, Celtic, Visigothic, or Arabic. The fruitfulness of this preliminary analysis and systematization may be illustrated with the case of Spanish desmoronar, Portuguese esb(o)roar “to crumble.”
The Besieged Ladies in Arthurian Romance
Authors: Newstead Helaine
Published: February 2007

One of the most familiar figures in Arthurian romance is the Besieged Lady, whose beleaguered castle is liberated by a young and obscure knight, and who rewards her deliverer with an offer of her love. So ubiquitous is she, in fact, that it is easy to dismiss her as an Arthurian commonplace. But even commonplaces must originate somewhere. Since the Besieged Ladies are by no means stereotyped replicas of one another, it is difficult to believe that all versions of the story derive from the earliest extant text. More probably, the story of the Besieged Lady and her troubles is a traditional narrative pattern which became a favorite with the romancers not only because of its beguiling aspects but also because of its adaptability to their concept of chivalry. A study of the more significant versions of this remarkably malleable theme will help us to discern the underlying traditions and their complex development.
Addison's Campaign and Macaulay
Authors: Horn Robert D.
Published: February 2007

Macaulay's essay on The Life and Writings of Addison has been signalized by his most recent biographer as probably “his soundest piece of literary criticism.” Published in July, 1843, when he was at the height of his critical and stylistic powers, the work reveals both the strength and weaknesses of its author. It takes its point of departure as a review of Miss Lucy Aikin's Life of Joseph Addison, published in 1843 by Macaulay's own publishers, Longman and associates. After paying his respects to the lady author, he brushes aside the contributions in her work with severe strictures on its errors. In the prospect that the charm of Addison's letters, many of them printed in the biography for the first time, might brings a demand for a second edition of the Life, he concludes his remarks by saying: “If so, we hope that every paragraph will be revised, and that every date and fact about which there can be the smallest doubt will be carefully verified.” While making numerous corrections in Miss Aikin's work, Macaulay failed to produce a study any less in need of such checking of facts. As will be shown, this need is most notable in his spirited account of one of the salient episodes in Addison's career—the writing and publishing of the Campaign (1704).
Goethe's Maerchen in the Light of Novalis
Authors: Hiebel Frederick
Published: February 2007

Goethe's Maerchen which concluded his Unterhaltungen deutscher Ausgewanderter, published in Schiller's Horen in 1795, was enthusiastically received by all early romanticists. August Wilhelm Schlegel wrote a review of Goethe's fairy tale immediately after its publication, which represented the delight of his whole generation on the eve of the literary movement of romanticism:

… Was aber alles Belehrende und Ergötzende in den vorigen Unterhaltungen dahinten läßt, was ein sanftes Wohlgefallen in das lebhafteste Vergnügen verwandelt, ist das Maerchen, zu dem wir durch treSende Winke über das Wesen der Phantasie vorbereitet werden. Sie gaukelt uns alsdann das lieblichste Märchen vor, das je von ihrem Himmel auf die diirre Erde herabgefallen ist. Alle ihre Jugend und Fröhlichkeit scheint wach geworden zu sein … nie gab es einen liebenswürdigeren Schmerz als den der süßen Lilie; ueberhaupt erregt sie ein Gefühl, als wenn man den Duft der Blume, deren Name sie führt, in freier Luft einatmete … es ist eine Zeichnung, bei der man nicht ohne Ergötzen verweilen kann … so schwebt das ganze Märchen hin, und wer sich nicht an ihm erfreuen wollte, müßte wenigstens nicht mit unbefangnem Geist sich belustigen können oder alle Werke, woran die Einbildungskraft allein teilhat, lästig linden. Alsdann könnte es ihn vielleicht noch unterhalten, nach einem haltbaren Faden der Deutung zu suchen, welches wir noch nicht unternommen haben.