bluuebunny/crossref_metadata_2025 huggingface dataset:
XLIV. Nathaniel Wood's Conflict of Conscience
Authors: Wine Celesta
Published: February 2007

The Conflict of Conscience, a morality play by Nathaniel Wood, was printed in London, 1581, in a black-letter quarto. This is the only known edition of the work; it appeared, however, in two issues. The first of these gives the name of “Frauncis Spera” on the title-page and in the Prologue, and at the end of the piece the Nuntius announces that Philologus, the character representing the Italian, Francesco Spiera, had committed suicide. The second issue does not mention the name of the historical prototype of the chief character in the drama, and in it the Nuntius announces that Philologus had been reconverted to Protestantism before his death.
XLVIII. Is Shakespeare's Much Ado A Revised Earlier Play?
Authors: Gaw Allison
Published: February 2007

The Date of the Q text of Much Ado About Nothing is fixed by external evidence within fairly narrow limits. The only quarto edition of the play was registered for publication on August 23, 1600, after having been noted as “to be staied” on a fly-leaf of a volume of the Stationers' Register under date of August 4, with no year attached but closely following another entry dated May 27, 1600, and therefore presumably of the same year. The title does not appear in Meres's list of 1598, although of course there is the ever-present question of the mysterious Love's Labour's Won mentioned by Meres, with which, however, no attempts have been made to identify Much Ado in recent years. These facts apparently fix the date of writing of the play as between shortly before September 7, 1598, when Meres's work was registered, and August 4, 1600. That it was not immediately before the last-mentioned date is evident from the inclusion of As You Like It in the same list with Much Ado as “to be staied.” Touchstone is a rôle of the type intended for Robert Armin, who superseded Will Kemp as clown of the Chamberlain's Men, while Kemp is known to have played Dogberry. The writing, staging, and popularizing of As You Like It therefore intervened between that of Much Ado and August 4, 1600. Kemp seems to have left the company early in 1599. These facts tend to date Much Ado in the fall or winter of 1598–99, and this is today the generally accepted date.
L. 2 and 3 Henry VI— Which Holinshed?
Authors: King Lucille
Published: February 2007

In a recent article in the Review of English Studies Mr. R. B. McKerrow opens the question of the use of the 1577 or the 1587 edition of Holinshed's Chronicles as a source for 2 Henry VI and gives it as his judgment that the Contention is based on the first edition. In making a study of this question, I have compared in detail the original editions of both the 1577 and the 1587 versions of the history with the Folio texts of 1, 2, and 3 Henry VI instead of with the Quartos, since in my opinion the Folios are the earlier. Such an investigation furnishes distinct evidence that the dramatist used the 1587 Holinshed and not the first edition.
LIII. Bishop Percy, Thomas Warton, and Chatterton's Rowley Poems (1773–1790) (Unpublished Letters)
Authors: Watkin-Jones A.
Published: February 2007

In 1768 the first batch of certain supposed transcripts from ancient original manuscripts was shown to Messrs. Catcott and Barrett of Bristol and offered for publication by Thomas Chatterton, who alleged that he had copied them from original documents in the muniment room of the Church of St. Mary Redcliffe. He declared them to be mostly the compositions of one Thomas Rowley, a secular priest of the fifteenth century. Towards the end of 1768 Chatterton communicated with James Dodsley, the famous London bookseller, in the hope of publishing his manuscripts; but Dodsley, after a little hesitation, refused to take up the matter. Then Chatterton attempted to secure Horace Walpole's patronage, (March 1769), and for a moment succeeded; but Walpole, after a little further reflection realized the imposture. In 1770 after some fruitless correspondence with Walpole, Chatterton set out for London in person, to try his fortune; the end came very soon, August 24.
LIV. Notes on Keats'S Reading
Authors: Bush Douglas
Published: February 2007

Of all the romantic poets Keats was the most “literary,” in the sense that almost all his work bears the direct impress of his really wide reading. With such a poet, of course, the process of borrowing, whether conscious or unconscious, means a process of transmutation also; hence the special fascination, and endlessness, of the study of Keats's sources. The following notes do not contribute to the interpretation of the poems, but they may add a little to our knowledge of the materials that were floating in his mind.
Percy's Essay “On the Ancient Metrical Romances”
Authors: Dennis Leah
Published: February 2007

The essay “On the Ancient Metrical Romances,” introduced into the third volume of Percy's Reliques of Ancient English Poetry (1765), is an important landmark in the modern revival of interest in the medieval romances. Through the earlier part of the eighteenth century the infrequent comments on the romances had been incidental to something else (chivalry, for a conspicuous example) or had been concerned with theories, chiefly of origin, based on very little evidence. Of the romances themselves, little was known, but they were generally considered barbarous, uncultivated, and infantile. But in Percy's essay the subject is treated with some attempt at completeness, and includes not merely theories about their origin (though these are present) but a discussion of the romances themselves. Upon scrutiny, Percy's knowledge of the subject is found to be large, much larger than has been generally suspected, and toward the material he is seen to display a hesitating and diffident enthusiasm manifestly held in check by the disapproval of the current taste. A summary of his essay follows:

The purpose of primitive poetry (according to Percy) was at first to record the valiant deeds and the genealogies of the race heroes; but as letters began to prevail, the bards gave over their historical function and devoted themselves to entertainment. From these songs of the Gothic bards are derived the romances of chivalry, which existed in their elements among the Teutonic peoples long before the days of the Crusades. Though romances first developed in France, the English had a native taste for this type of fiction, and there is reason to believe that they had romances of their own without French originals. These old romances throw light on the manners of the time and often have poetic merit. The publication of a judicious collection of them would thus be desirable. Our classical poets—Chaucer, Shakespeare, Spenser—abound in allusions that are understood only by a knowledge of romances. To illustrate these points Percy quotes a passage from Richard Cure de Lyon that explains an allusion in King John, and gives a detailed abstract of Libius Disconius, one of the romances found in his manuscript. A catalogue of such romances as he knows to be extant closes the essay.
Wordsworth's “Lucy” Poems: Notes and Marginalia
Authors: Hartman Herbert
Published: February 2007

Because of their later apportionment among “Poems founded on the Affections” and “Poems of the Imagination” Wordsworth's “Lucy” lyrics are usually grouped as follows:

I. “Strange fits of passion have I known”II. “She dwelt among the untrodden ways”III. “I travelled among unknown men”IV. “Three years she grew in sun and shower”V. “A slumber did my spirit seal”
Wordsworth as the Prototype of the Poet in Shelley's Alastor
Authors: Mueschke Paul , Griggs Earl L.
Published: February 2007

From the notice in the Monthly Review in 1816 to the most recent investigations Alastor has remained an enigma to Shelley's critics. A century of criticism has done little to throw light on the mystery. The contemporary notice in the Monthly Review attributes the confusion of Alastor to the influence of Wordsworth:

We must candidly own that these poems are beyond our comprehension; and we did not obtain a clew to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste.
Keats's Realms of Gold
Authors: Beach Joseph Warren
Published: February 2007

More than one critic has recalled the passage in Robertson's History of America which probably inspired the final simile of Keats's most famous sonnet. It was in September, 1513. Balboa and his men had been struggling for twenty days across the sixty miles of forest and mountain that made the isthmus of Darien, having been obliged to battle with the natives as well as with torrents, swamps, and precipices. Many of the men were sick and ready to give up.
Swinburne and the Popular Ballad
Authors: Hyder Clyde K.
Published: February 2007

Few English poets have been more faithful to their literary loves than Swinburne. His devotion to Landor, his passion for the Elizabethan drama, his adoration of Hugo are well-known illustrations of this truism. Not so familiar, but none the less genuine, was his admiration of the popular ballads. John Addington Symonds reports that Swinburne once purposed to translate them into French for Hugo. The poet cherished the memory of an old gamekeeper's praise of his youthful verses as being worthy of comparison with the ballads. Border minstrelsy was a topic often discussed at The Pines. Pride of ancestry and love of country and its traditions—feelings which swayed both Scott and Swinburne—led the latter to criticize his beloved predecessor for giving to “one of the most valuable books in our language” the “mendacious title” of Minstrelsy of the Scottish Border.
Innovation and French Influence in the Metrics of Rubén Darío
Authors: Mapes E. K.
Published: February 2007

A Notable contribution to the already imposing mass of critical material on Rubén Darío has recently appeared in the form of Dr. Arturo Torres-Ríoseco's Rubén Darío: casticismo y americanismo de su obra. Its special interest is the author's endeavor to combat two unfortunate tendencies evident in much of the critical material on Darío: (1) that of ascribing an undue share in the poet's artistic novelties to French influence, and (2) that of considering as “innovations” by Darío details of technique which he really resurrected, with little or no change, from earlier Spanish poetry. In cases where excess of zeal has led other critics into the errors above mentioned, Mr. Torres' program of destruction has been a real contribution to truth. It seems to the present writer, however, that a similar excess of zeal for the “castizo” has led the Chilean scholar into errors at least as great as those he ascribes to others. The above remarks apply particularly to Mr. Torres' chapter on “Metrical Resurrections and Innovations,” to the consideration of which the present article is limited.
“Erlebte Rede” und “Innerer Monolog” in Den Erzählenden Schriften Arthur Schnitzlers
Authors: Neuse Werner
Published: February 2007

Zur Wiedergabe von Worten, Gedanken und Gefühlen seiner Personen bedient sich der moderne Erzähler der direkten Rede (D), der indirekten Rede (I), der erlebten Rede (E) oder des Monologs (M). Während Form und Bedeutung von D und I allgemein bekannt sind, haben die beiden letzten Arten der Rededarstellung, E und M, erst in jüngerer Zeit die Aufmerksamkeit der Grammatiker und Stilisten auf sich gezogen.
Dialogo Em Defensam Da Lingua Portuguesa
Authors: Williams Edwin E.
Published: February 2007

The first Portuguese grammar was that of Fernāo de Oliveira, which appeared in 1536, and the first linguistic discussion in dialogue form in Portuguese was the Dialogo em louvor da nossa linguagem of Joāo de Barros, which was published with his grammar in 1540. Though Fernāo de Oliveira mentioned Nebrija, there is no evidence that Joāo de Barros knew anything about Juan de Valdés or his Dialogo de las linguas. The Dialogo of Joāo de Barros is a dialogue between a father and son, in which the son merely asks questions; it is, therefore, more expository than argumentative.
A Tentative Chronology of Marlowe's and Some Other Elizabethan Plays
Authors: Taylor Rupert
Published: February 2007

The anonymous plays, The Tragical Reign of King John, Arden of Feversham, Soliman and Perseda, The First Part of the Contention between the Houses of York and Lancaster, and The True Tragedy of Richard Duke of York, contain numerous parallels to Marlowe's Edward II and The Massacre at Paris, which have frequently been urged as proof either that he wrote some of these anonymous plays or that he borrowed from them. When all such parallels are brought together, however, acceptance of them as proof of Marlowe's borrowing would prove him to have been a greater borrower than previously supposed or than his admirers will admit.
PLOT Structure in Peele's Plays as a Test of Authorship
Authors: Sampley Arthur M.
Published: February 2007

Sir Edmund Chambers writes that “Peele's hand has been sought in nearly every masterless play of his epoch.” The evidence advanced for such attributions has usually consisted mainly of parallel passages and verbal tests, with the result that plays as different in structure as The Troublesome Reign of King John and King Leir have been fathered upon Peele by the same critic. Most scholars have been inclined to overlook the importance of structure as a means of determining authorship, though the dramas of Jonson and Shakespeare structure appears to be as much a constant as style or characterization. It is the purpose of this paper to show that Peele's known plays reveal a fairly constant type of structure, and that this type can be used as a determinant in considering the authorship of anonymous plays.
Text Sources of the Folio and Quarto Henry VI
Authors: King Lucille
Published: February 2007

The question of priority of the Folio and Quarto plays concerning Henry VI has long beena moot one. Miss Madeleine Doran (“‘Henry VI, Parts II and III,‘” University of Iowa Humanistic Studies, iv, 188, August 15, 1928) and Mr. Peter Alexander (Shakespeare's Henry VI and Richard III, 1929) have contributed the most comprehensive recent discussion on the matter; but no one has yet investigated the question from the standpoint of sources. That is the purpose of this paper. Since in most instances the relation of the two different texts of the dramas to the histories is practically identical, it is worth while to notice only the passages in which the similarity of one text to Hall or to Holinshed is closer than that of the other text.
Motivverwandtschaft und Motivverwandlung in Der Deutschen Novelle Des 19. Jahrhunderts
Authors: Humbert Gabriele
Published: February 2007

Die Bewertung der deutschen Novelle als eigengesetzliche Kunstform ist noch immer umstritten, da die Fülle von Theorien, die ihren Entwicklungsgang begleiten, bei manchem Forscher den Eindruck hinterlassen haben, als sei sie nur eine kürzere und individuell wandelbare Spielart der hohen Epik. Sie übersehen dabei, daß die Kernsätze jener theoretischen Erörterungen bei allen scheinbaren Widersprüchen nur verschiedene Seiten der Novellenkomposition beleuchten und für die Scheidung der Novelle von andern epischen Formen ihre Gültigkeit bewahren, wenn man ihren persönlichen und zeitbedingten Gehalt mit berücksichtigt. Goethes betrachtendes Auge ruht auf dem Inhalt, wenn er die Novelle nichts anderes “als eine sich ereignete unerhörte Begebenheit” nennt. Tiecks romantisch-ironische Vielseitigkeit fügt den “überraschenden Wendepunkt” als Wesensmerkmal des Ablaufs einer solchen mehr oder weniger wunderbaren Begebenheit hinzu. Heyses technische Virtuosität prägt den Begriff der “Silhouette” für ihren äußeren Umriß und entlehnt von Boccaccios Novelle den “Falken” als Symbol für ihren kompositorischen Kern. Wenn der nachdenklichgrübelnde Storm die Novelle als “die Schwester des Dramas und die strengste Form der Prosadichtung” bezeichnet, die “gleich dem Drama die tiefsten Probleme des Menschenlebens behandelt,” so erfaßt er ihre kunstphilosophische Bedeutung und stellt eine These auf, die erst in jüngster Zeit von Bruch und Pongs durchgefochten wurde, von Bruch als Analytiker der absoluten, von der Einzelerscheinung losgelösten Form, von Pongs als Synthetiker, der die Kausalität im Schaffen des Dichters gleichzeitig mit den Forderungen der formalen Werte sieht.
The Key to Sudermann
Authors: Koch Ernst
Published: February 2007

Biographers and commentators are still at variance over so elementary a problem as the elements of actual experience that have gone into Sudermann's first important work, Frau Sorge. Jung, Axelrod, Soergel, and Mahrholz subscribe to the opinion that in this work Sudermann has given us something enduring and representative because he here fashioned a work “aus eigenem Erleben, aus der Stimmung seiner ostpreussischen Heimat.” This is the view held by the majority of literary critics though it has never been substantiated in detail.
Unanimism and the Novels of Jules Romains
Authors: Walter Felix
Published: February 2007

The present article is in part a corollary to an earlier one on Populism and a further chapter in an exploration into that complex movement in the contemporary French novel which is in revolt against nineteenth-century individualism and all the involved subjectivisms, the affected preciosity and even the dishevelled formlessness of the “littérature snob.” The branch of the movement I propose to discuss is sometimes referred to by critics as a new classicism, and though the term is misleading it can stand. Jules Romains himself expresses the sense of cleavage between two literatures when he says: Je crois … qu'un peu partout une certaine période de littérature coupée du réel, tournée avec trop de complaisance vers l‘étude d‘états dâmes fragiles, infiniment particuliers et périssables est en train de se clore.
The Analysis of Literary Situation
Authors: Dahlström Carl E. W. L.
Published: February 2007

There have been sporadic attempts to determine the number of situations which artists may exploit in literature, especially dramatic literature; but, so far as I know, there has been no signal effort on the part of scholars to come to grips with the subject. Apart from determining the exact number of situations, it is of importance that we come to some agreement regarding the term situation and its function in literary art. I shall attempt here to discuss: earlier efforts at definition and analysis, the nature of situation, the exact number of situations, and examples in literature.
The Conception of a Calling in the German Literature of the Middle Ages
Authors: Sokol A. E.
Published: February 2007

It is not a matter of mere chance that the conception of a “calling” or “profession” is meeting with special interest in Germany. Several books have been written on the subject, some with the intention of showing that a better understanding of the idea of a “calling” would contribute considerably toward the building up of a new and improved social order. While thus practical and political interests are debating the problem, an attempt to reach the root of the question has been made by the German sociologist, Max Weber, who in his work Protestant Ethics and the Spirit of Capitalism,1 undertook to answer the question, Why does Protestantism seem to be particularly congenial to the capitalistic type of civilization? According to him, it is the conception of a “calling” as a God-given task, developed by Luther and incorporated into Calvin's religious system, which is responsible for this fact. The word Beruf, English “calling,” itself in its present meaning, originated, he asserts, in Luther's translation of the Bible, and from that source it spread throughout the Germanic world.
The Magic Chessboard in The Perlesvaus: An Example of Medieval Literary Borrowing
Authors: Weinberg Bernard
Published: February 2007

Literary endeavor in the Middle Ages, as in the Renaissance, was essentially an art of imitation. Since little emphasis was placed upon originality of subject-matter, since praise went rather to the combination and interpretation of familiar materials—or to stylistic qualities —the author felt free to appropriate whatever themes or episodes best suited his fundamental conception. Thus an Arthurian romance was usually a tissue of commonplace incidents and motifs, developed in accordance with the purpose or the taste of the individual writer. To distinguish between the narrative content of a work and the particular interpretation applied to it by the artist, the Middle Ages employed the terms matière and sens. The matière might come from any source; the sens alone was the contribution of the latest reworker.
The Two Petros in the “Monkes Tale”
Authors: Braddy Haldeen
Published: February 2007

The chronology of the “Monkes Tale” has been often discussed, and there are widely divergent views regarding its composition. Skeat and others have suggested that it was an independent work of Chaucer's, written early as the beginning of a collection after the form of the De Casibus. More recently, Professor Robinson has suggested that Chaucer's model was the Roman de la Rose, which provided not only the source for some of the stories but the connecting link of the Fortune Moral as well. If Chaucer did use the Roman de la Rose, the “Monkes Tale” may very well have been written early, at a time, indeed, when the French influence on Chaucer was still strong. For this reason and others, Professors Robinson and Kittredge regard the poem as an early composition. On the other hand, Professor Tatlock has argued that the poem was written expressly for the Canterbury Tales and at a time when this project was already well under way.
The Satiric Background of the Attack on the Puritans in Swift's A Tale of A Tub
Authors: Webster C. M.
Published: February 2007

In a previous article I pointed out that Swift's analysis of Jack the Dissenter had been in part anticipated by earlier satirists. Some references to plays, poems, and prose attacks were then given to substantiate my contention. In this brief bibliography of non-dramatic satire from the Anatomy of Melancholy, 1621, to Tom Brown, ca. 1700, further evidence will be presented that before Swift's time there was a long tradition of satire of the Puritans, and one which in many ways was much like his own attack. Since the work of presenting the dramatic satire of the Puritans has, in part at least, been done, no titles of plays will be included. The bibliography will also confine itself to citation of satires on the Puritans. The year 1621 was chosen as a starting point, for I believe that with the Anatomy of Melancholy there began a new era of satire, and especially of analysis of cause and effect in the problems of religious enthusiasm, a subject upon which Swift wrote some of his best passages. That this bibliography is in any way complete is not claimed; it is hoped, however, that it will present some satires which have been neglected by students of the strife between the Puritans and their satirists, and will also help to clarify the problems of the literary background of A Tale of a Tub and the Discourse on the Mechanical Operation of the Spirit
The Relation of Coleridge's Ode on Dejection to 'Wordsworth's Ode on Intimations of Immortality
Authors: Smith Fred Manning
Published: February 2007

It is well known that Coleridge had Wordsworth in mind when he wrote his Ode on Dejection—the poem is addressed to Wordsworth, mentions Wordsworth's Lucy Gray, and was first published on the day of Wordsworth's wedding; but that Coleridge's Ode may have been influenced by Wordsworth's great Ode on Intimations of Immortality has been generally overlooked. If the date of Wordsworth's Ode is 1803–1806, as it is often given in the anthologies and histories, such influence is impossible, because we know Coleridge's Dejection was composed April 4, 1802. The date 1803–1806, however, is not accepted by most scholars; Professor John D. Rea emphatically states, “It is known that the date 1803 is wrong; the Ode was begun 1802.” The passage in Dorothy Wordsworth's Journal, written March 27, 1802, “At breakfast William wrote part of an ode,” refers, it is now believed, to the Ode: Intimations of Immortality. On March 27, 1802, Wordsworth was writing his great Ode; and a week later, on April 4, 1802, Coleridge wrote his.
Lytton's Theories of Prose Fiction
Authors: Watts Harold H.
Published: February 2007

In 1838 Lytton published in the Monthly Chronicle an essay entitled “On Art in Fiction.” This essay is ignored by those who have written on Lytton's narrative art; yet, as it is reprinted in the volume, Pamphlets and Sketches, it takes up thirty-five closely printed pages and deals explicitly with the various parts of the novelist's craft. In it Lytton defines, in terms that apply to prose fiction, the aims of art and the means by which the aims may be achieved. By 1838 he had written twelve novels. The essay represents an experienced novelist's conclusions about the potentialities of his chosen form; and, moreover, it provides us with a measuring stick to set up against his later if not his earlier novels.
Irony in Hardy and Conrad
Authors: Lillard Richard G.
Published: February 2007

Critics have analyzed at length the philosophy of ironic determinism held by Thomas Hardy, and they have been almost equally voluble in treating the irony that lies like a spinal column in the body of Joseph Conrad's writing. But although the critics have successfully summed up the philosophies of these writers, they have abstained from any satisfactory discussion of the methods of irony which Hardy and Conrad use to illustrate their concepts of irony. The two novelists use differing methods to bring out somewhat differing ideas on life, and I propose here to contrast their methods so as to bring out the distinctive qualities in the method of each.
I: On the Study of Old English Syntax
Authors: Small George William
Published: February 2007

There has recently been a pronounced turning toward the study of English syntax as a separate department of linguistics with its own technique. If, however, the study of English syntax is an attractive and fruitful field, it is too often a most bewildering and deceptive one. Aside from the external dangers of slipping off into irrelevant semantics or into morphology, there is an ever-present danger in the analysis and exposition of the strangely illogical fabric that holds our language together.
III: The Joie De La Cort Episode in Erec and the Horn of Bran
Authors: Newstead Helaine
Published: February 2007

Although the Joie de la Cort episode in Crestien's Erec has been the center of many a stormy controversy, no adequate explanation has been provided for two puzzling features—the significance of the title and the purpose of the mysterious horn on the stake. Critical discussions, however, have shown that the episode contains Celtic elements. Even so conservative a scholar as J. D. Bruce concedes that “Celtic parallels seem to establish the Celtic origin of the episode.” And Gaston Paris, F. Lot, Philipot, Bruce, and Gruffydd are among the notable critics who accept the Celtic derivation of Mabonagrain and other names. Professor Archer Taylor, too, has demonstrated that the motif of the vacant stake is characteristically Celtic. All this evidence indicates that we may find an explanation in Celtic tradition for the title and the horn.
IV: Le Symbole Du Saule Chez Conon De Béthune
Authors: Levy Raphael
Published: February 2007

En Général c'est l'amour courtois qui domine comme inspiration chez le noble baron Conon de Béthune. Né vers le milieu du douzième siècle, il devint régent de l'empire byzantin (qu'il avait aidé à fonder) en 1219, quelques mois avant sa mort. La chanson viii, dont il est question ici, semble avoir été écrite vers 1190. D'après le dernier éditeur, Axel Wallensköld, cette chanson ‘est remplie d'allusions obscures et écrite dans un langage singulièrement contourné.‘ Sans aucun doute le troisième couplet est la partie la plus difficile à expliquer de toute la poésie composée par Conon de Béthune. Malheureusement les explications fournies par Wallensköld dans ses deux éditions (Helsingfors en 1891 comme thèse et Paris en 1921) n'ajoutent presque rien à ce qu'on savait auparavant de ces huit vers.
V: The Gawain Poet and Dante: A Conjecture
Authors: Gerould Gordon Hall
Published: February 2007

The end of the fourteenth century, when Geoffrey Chaucer wrote, was one of the periods of great accomplishment in English literature. Chaucer did not stand alone. Wiclif's prose, the admirable poetry that Gower composed in three languages, and the powerful satiric verse of Piers Plowman give ample evidence of this. Among the poets of the time no one except Chaucer was greater than the author of Sir Gawain and the Green Knight and The Pearl, whose name and personality are still unknown. Though a learned man of the world like Chaucer, he wrote in the dialect of northwestern England rather than of London, which must have seemed difficult to most readers even in his own time. Why he chose such an obscure dialect has never been understood. The writer of this paper calls attention to the eloquent defence of his native speech that Dante made in his Convivio, and suggests that the Gawain poet may have been inspired by it to do for his own dialect what the great Italian had done for Tuscan.
VII: Skelton's Speak, Parrot
Authors: Nelson William
Published: February 2007

For in this processe Parrot nothing hath surmysed, No matter pretendyd, nor nothyng enterprysed, But that metaphora, allegoria with all, Shall be his protectyon, his pauys, and his wall. (ll. 205–208) THE wall of metaphor and allegory that Skelton built around his Parrot perhaps served to keep off the pursuivants of his archenemy, Cardinal Wolsey; certainly it has proved a formidable obstacle to the comprehension of the reader of today. The Reverend Alexander Dyce, to whom we are indebted for what is still the only edition of Skelton's poems deriving directly from the sources, provides illuminating notes to scattered passages in Speak, Parrot, but admits his inability to make the whole intelligible. Friedrich Brie, whose learned Skelton Studien has contributed much to our knowledge of the poet, omits the troublesome Parrot altogether from his consideration except for a short note on the question of date. Koelbing essays merely to sketch its general structure with but occasional specific reference. The only reasoned attempt at clearing the confusion of the satire is that of Professor Berdan in Speke, Parrot, An Interpretation of Skelton's Satire.
IX: Lawes' Version of Shakespeare's Sonnet CXVI
Authors: Evans Willa McClung
Published: February 2007

That Henry Lawes set to music a version of Shakespeare's Sonnet cxvi “Let me not to the marriage of true mindes/Admit impediments,” has apparently never been mentioned in print. Lawes' version, which retains seven lines intact, alters seven, and adds two couplets to form three six-line stanzas, is found in John Gamble's commonplace book of songs. This volume was formerly the property of Dr. Edward F. Rimbault, but is now in the Drexel Collection of the New York City Public Library.
XII: The Publication of Chesterfield's Letters to his Son
Authors: Gulick Sidney L.
Published: February 2007

Practically no attention has hitherto been paid to the incidents of the publication of Chesterfield's Letters to his Son, perhaps on the assumption that once this publication was mentioned, everything pertinent had been said. Mrs. Stanhope, in her preface to the first edition, asserted that the letters were genuine, and that she had in her possession all of the originals. So much she told the public; how it was that she came to arrange for the publication of these letters and under what circumstances they were presented to the world were not told, and have been only imperfectly understood. References to the subject have been not only scattered and incomplete, but even at times inaccurate. Yet it is still possible to present most of the story.
XIV: “The Correspondents”
Authors: Davis Rose M.
Published: February 2007

Horace Walpole was never behind in matters of current gossip; he wrote to the Countess of Upper Ossory on July 7, 1775: Pray, Madam, have you read the Correspondents? I never heard of the book till two days ago. I think one cannot doubt the letters being genuine; but who has been so cruel as to publish them? and yet, except a little weakness, and it is very little to have but a little, there is nothing that can reflect but on the publishers … it appears by the letters that the authors were much afraid of their being seen, though more goodness of heart appears than anything else. Merciful! if all the foolish things one writes in confidence were to be recorded!
XIX: Toward a Modern Humanism
Authors: Schütze Martin
Published: February 2007

(Read under the title “Main Types of Literaturwissenschaft: A Critical Survey and a New Approach,” at the Fifty-first Annual Meeting, in Philadelphia, 1934. —Ed.) A MODERN humanism would be a mode of life controlled by an active aspiration to adjust present conditions to the highest interests and values of personality. It would be three-fold, involving (1) the physical-biological organism, (2) the powers finding expression in letters and the arts, and (3) the social, ethical, religious, political and economic beliefs, theories, interests, and circumstances by which personality is affected. The principle of integral unity—which is the central theme of this essay and the ultimate measure of the reality, validity, and value pertaining to the ideal of humanity here projected—demands an unremitting endeavor to combine and harmonize those three main parts of personal being. Culture is an ultimate personal unity of values.
Equicola's Knowledge of Dante
Authors: Merlino Camillo P.
Published: February 2007

It is well known to students of the Italian Renaissance that the regained supremacy of the vernacular in the latter half of the fifteenth century, first in Tuscany and then in other parts of the peninsula, did much to stimulate the revival in the study of Dante. The haughty contempt, implicit or explicit, that many of the early humanists felt for the Divina Commedia then gave way to enthusiastic efforts at text interpretation and æsthetic appreciation on the part of poets, artists, and scholars. Nor was this renewed interest in Dante confined to Italy; indeed, the Divina Commedia was much studied even beyond the Alps, where it was edited and translated several times.
The Group of the Dames Des Roches in Sixteenth-Century Poitiers
Authors: Schutz A. H.
Published: February 2007

Renaissance students know the story told by Pasquier concerning a gathering of legal notables and their friends during the Grands Jours at Poitiers, wherein one day a keen observer espied a flea proceeding across the bosom of the erudite but engaging Catherine. Straightway the muses of the assembled guests were set to work, the result being a quantity of facetious or merely ingenious verses on the subject of the venturesome flea and its fair prey. If, as we realize, the aesthetic quality of the product is dubious and the literary interest from that point of view scant, the milieu deserves better at our hands. It is the purpose of this study to present this milieu and to bring out its significance, which is real, for we have here no accidental or inconsequential gathering, but a true salon in the sixteenth century meaning of that term, italianate in origins and character, parallel to many of its more highly praised contemporaries, and as important as they in the evolution of social form in the century to come.
The York and Lancaster Quarto-Folio Sequence
Authors: Greer Clayton Alvis
Published: February 2007

Recently the old question of the quarto-folio relationship of the York and Lancaster plays has come to the fore again—this time in exhaustive studies made by Mr. Alexander and Miss Doran in favor of the theory that the Quartos, the Contention and the True Tragedy, are pirated or reported versions of the Folio plays—2 Henry VI and 3 Henry VI respectively—following rather than preceding 2 and 3 Henry VI. They hold that the Contention and the True Tragedy were written by actors who had played in 2 and 3 Henry VI and written from memory with the possible aid of a few scattered, isolated manuscript or printed parts. Rather am I in accord with the position taken by Professor Tucker Brooke in 1912, namely, that there is a lost text from which the Contention and the True Tragedy, the Whole Contention, and the Folio all came separately or independently. I am not sure that Professor Brooke now holds exactly this position, since his review of Alexander's study contains some qualifications, but I believe it is right, and submit here my evidence for so believing.
The Ending of the Two Gentlemen of Verona
Authors: Small S. Asa
Published: February 2007

In an interesting article on the ending of Shakespeare's comedies, Alwin Thaler tries to refute the opinion of the majority of critics that the last scene in The Two Gentlemen of Verona is “blind or incomprehensible.” Granted that Shakespeare purposely subordinated everything to the highly convention theme of friendship, before final judgment can be passed on the general fitness of the ending of the Two Gentlemen, one ought to consider carefully the requirements of romantic love in the play. The friendship theme, though greatly emphasised, is, after all, only a strong framework to motivate the love story.
Did Not Rowley Merely Revise Middleton?
Authors: Dunkel Wilbur D.
Published: February 2007

For over thirty years students of the drama have apparently accepted Miss P. G. Wiggin's monograph, An Inquiry into the Middleton-Rowley Plays, as a statement of the individual shares of Thomas Middleton and William Rowley in writing A Fair Quarrel, The Changeling, and The Spanish Gipsy. Though Miss Wiggin considered styles and methods of writing, she differentiated between the contributions of the two authors, whose names appear on the title pages, principally by means of verse tests. In each of the plays Miss Wiggin assigns the opening and closing scenes to both authors, the main plot to Middleton, and the minor action to Rowley. Curiously enough, however, the minor action of each play seems to me to present striking similarities to Middleton's dramatic method in his comedies of London life.
The Sources of Shirley's St. Patrick for Ireland
Authors: MacMullan Hugh
Published: February 2007

Dr. Robert Stanley Forsythe in his The Relation of Shirley's Plays to the Elizabethan Drama, has shown the debt of Shirley to the plays of 1590–1648 for typical scenes and characters; but the various sources from which Shirley drew his plots have remained comparatively uninvestigated, and his habits of work have, consequently, not been sufficiently revealed. Since a union of the knowledge of the analogues already possessed with that of the actual sources would explain to a great degree Shirley's mechanics of composition, it is the purpose of this paper to examine the sources for St. Patrick for Ireland (published 1640) and the uses which the poet made of them.
Jonathan Swift's “The Day of Judgement”
Authors: Gulick Sidney L.
Published: February 2007

The Day of Judgement“ was in 1775 added to the Swift canon without question, by inclusion in a supplement to the Dean's works, and its authorship has apparently never been doubted. In the following paragraphs it will be shown that the poem was accepted on insufficient grounds, but that it is authentic. The poem is generally supposed to have been first printed in the Earl of Chesterfield's Letters to his Son (7 April, 1774), its authenticity guaranteed by an accompanying letter in which the earl wrote that he had the original in Swift's own handwriting. As a matter of fact, the poem was first published in the St. James's Chronicle (12 April, 1774) in a letter from an anonymous contributor, and apparently from this source transferred through the Monthly Review (July, 1774) to the fourth edition of Chesterfield's Letters (29 October, 1774). From the Letters, apparently, it was incorporated into the collection of Swift (1775), and thus into the Swift canon. The anonymity of the original source raises doubts concerning the poem's authenticity. From these doubts two references to the poem (both by Lord Chesterfield), one of which could not have been available to a literary forger, clear ”The Day of Judgement.“
Conversation in the Writings of Mme de Staël
Authors: Bloom Margaret
Published: February 2007

A study of the writings of Mme de Staël shows an interrelation between their strength and weakness. The source of both the good and the bad is largely to be found in the influence of conversation, although the author's inborn characteristics and considerable knowledge derived from books should be sufficiently emphasized. There was a feeling on the part of both the enemies and the friends of Mme de Staël that she was the epitome of the age. This belief indicates that her writings were close to the large circle from which she drew inspiration and the ideas which influenced her own and succeeding periods.
The Moral of the Ancient Mariner Reconsidered
Authors: Nitchie Elizabeth
Published: February 2007

Few lines written by Coleridge are more familiar than those near the end of the Rime of the Ancient Mariner:

He prayeth best, who loveth best

All things, both great and small;

For the dear God who loveth us,

He made and loveth all.
Metapher und Märchengestalt (Fortsetzung)
Authors: Diez Max
Published: February 2007

Zwischen der Verschmelzung einer körperlich engeren und fassbaren, konkreten Naturgestalt mit menschlicher Form oder menschlichem Geist in Goethes Irrlichtern und Schlange und der einer mehr abstrakten physikalischen Eigenschaft in Freyas Galvanismus steht die Gestalt des Naturdämons, der ein grösseres landschaftliches Phänomen in menschliche Form verdichtet, in Tiecks Frau vom Runenberg. In der Bestimmtheit ihrer Gestaltung, in der Furchtbarkeit ihrer Dämonie nimmt sie wiederum eine Mittelstellung ein etwa zwischen dem Strom in Goethes Märchen und den Naturdämonen des naiveren Volksmärchens.
Introducción Al Estudio De La Primera Serie De Los Episodios Nacionales De Pérez Galdós
Authors: Arjona Carlos Vázquez
Published: February 2007

No podrá apreciar en su totalidad el valor de los Episodios de la primera serie quien desconozca la historia de Espana durante los primeros años del siglo XIX, corno tampoco quien mantenga prejuicios sociales, políticos o religiosos. Este breve artículo no es mas que una somera introducción a los estudios que ya hemos hecho anteriormente. En ellos cotejamos siete Episodios Nacionales (Trafalgar, La corte de Carlos IV, El 19 de marzo y el 2 de mayo, Bailén, Zaragoza, Gerona, y Cádiz) con los relatos que sobre los mismos asuntos tratados por Galdós hemos hallado en periódicos, gacetas, revistas, crónicas, folletos, misceláneas, … y en las historias de Marliani, Ferrer de Couto, Alcalá Galiano, el conde de Toreno, Argüelles, Alcaide Ibieca, el general Foy, Manuel Godoy, Gómez de Arteche, Amador de los Ríos, Muñoz Maldonado, Minali, Horozco, Napier, Adolfo de Castro, y otros. Tratamos de hacer ver en esta introducción el rumbo que sigue el pensamiento galdosiano, bien cuando ensalza a los héroes y heroínas de la patria, o cuando nos descubre los orígenes de la decadencia, o bien cuando impugna a los traidores o nos revela las intrigas del enemigo. Interpretatión muy personal de la historia española es la suya, pero de más trascendencia que la hecha por los historiadores de profesión, porque él con su buen sentido naturalista ha logrado descubrir minuciosidades que le han guiado a interpretarla más cabalmente que aquéllos.
Aldous Huxley as Literary Critic
Authors: Hausermann Hans W.
Published: February 2007

Although Aldous Huxley's personality as a writer is individual enough to defy classification, it is easier to understand some aspects of his work if he is treated in connection with the movement of reaction against Victorianism. This reaction had already passed through two successive phases when he joined it. During the nineties it was the school of Oscar Wilde which protested against the unadventurous, hypocritical, and smug spirit pervading the poetry of the Victorians and held up its own conception of art for art's sake. The narrowness and also the dangers of this “decadent” doctrine (which was inspired by the French Parnassians and Symbolists) were realized already before the close of the century by a few young writers who in their works endowed life with a deeper meaning. This new phase in the gradual separation from the Victorian ideals begins with the social satires of Bernard Shaw, receives greater strength through the addition of the continental influence of Ibsen, Tolstoy, and Nietzsche, and, finally, derives its strongest impulse from the then dominant force in Western culture, science. Literature is invaded by a host of new facts, methods, and points of view, due to the recent development of such sciences as biology, psychology, and sociology. The traditional literary moulds proved too narrow, and the looser, bolder forms of such writers as Balzac, Zola, and Dostoievsky were taken as models. This movement reached its climax in such novelists as Galsworthy, H. G. Wells, and Aldous Huxley.
The Historical Elements of Lope De Vega's Fuente Ovejuna
Authors: Anibal C. E.
Published: February 2007

Probably no play of Lope de Vega could claim structural perfection. Nevertheless, in his Fuente Ovejuna, universally accepted as a masterpiece, one marvels that the dynamic sweeping main plot—the stirring recital of this town's rebellion against its tyrannical overlord, the Grand Commander of Calatrava—should have been joined to a secondary plot apparently so irrelevant simply to give an account of a young Grand Master's unsuccessful attack on Cuidad Real. The historical background afforded by this episode in the life of the dashing Maestre, don Rodrigo Téllez Girón, does contribute to our understanding of the troubled first years of Ferdinand and Isabella and, to some extent, to the subtly created mediæval atmosphere. But even as milieu, it is far from essential to the epic account of Fuente Ovejuna's uprising. The Reyes Católicos, accorded attention quite out of proportion to their minor function in the drama—the administration of justice from the horizon—are themselves a distracting element.
Sforza Oddi and His Comedies
Authors: Corrigan B. M. H.
Published: February 2007

THOUGH the importance of Sforza Oddi's three comedies in the history of the renaissance theatre has been indicated both by Sanesi and by Flamini, there is still no study devoted to him which provides a detailed biography of the author as well as an evaluation of his work. The following article attempts to analyze his plays more fully than has hitherto been done, and to estimate their significance in the history of Italian comedy. The biographical material has been collected and coördinated from a number of scattered writings dating from the sixteenth to the twentieth centuries. A certain amount of this material is new, and is the result of research in the libraries of Perugia and Parma. Nothing has been known before about Sforza Oddi's father, apart from his name. The date of the dramatist's first marriage, of the death of his first wife, the fact of his brother's death, and all information drawn from his will (a document previously unknown), and from the record of his doctorate, are mentioned here for the first time.