bluuebunny/crossref_metadata_2025 huggingface dataset:
Racine et la Critique Contemporaine
Authors: Peyre Henri
Published: February 2007

Les lecteurs de ces passionnants ouvrages publiés périodiquement sous le titre de listes bibliographiques n'ont pu manquer d’être frappés par le nombre des livres qui viennent d’étre consacrés ces dernières années à Racine. Ce poète classique jouirait-il d'un regain de faveur auprès de nos contemporains qu'on nous dépeint tous les jours si matérialistes? Il convient certes d’être prudent en ces matières et de ne point parler trop vite de la popularité d'un poète qui n'a jamais été et ne sera jamais que le régal des délicats; et c'est avec quelque défiance que l'on aborde cette récente littérature racinienne. Que peut-on apporter de nouveau sur un sujet où à chaque pas, nous rencontrons l'inévitable et merveilleux Sainte-Beuve? Le Bidois, dans la première année de ce siècle, dans un livre non sans valeur, mais déjà oublié, plus tard André Suarès, en antiracinien épris de littérature russe et scandivave, Jules Lemaitre et Anatole France qui ont tant aimé leur cher Racine, n'ont pas réussi à renouveler le sujet. Masson-Forestier, qui avait prétendu le faire, n'a pu écrire qu'un livre curieux, mais plein d'hypothèses gratuites, reposant sur de prétendus faits depuis controuvés. N'attendons donc pas de nos contemporains des révélations raciniennes. Recherchons plus humblement ce que notre génération trouve et aime dans Racine. Si ce n'est là un problème proprement racinien, c'est du moins un point curieux de psychologie contemporaine.
Another Source For The Trial of Chivalry
Authors: Jones Frederic L.
Published: February 2007

The principal source of The Trial of Chivalry has been ably discussed by C. R. Baskervill, who shows how the main plot is chiefly a skilful interweaving of two narratives from the Arcadia; namely, the story of Argalus and Parthenia and Demagoras, which corresponds with the Philip-Bellamira-Burbon plot; and the story of Philoxenus, Helen of Corinth, and Amphialus, which corresponds, in part, with the Ferdinand-Katharine-Pembroke plot. Baskervill does not, however, point out that the dramatist (undoubtedly Chettle) uses part of yet another story from Book i of the Arcadia. Ferdinand and Pembroke swoon away after wounding each other in a duel, and are removed separately by. a forester and a fisherman, who restore them to health. Each thinks the other dead. When they meet again, it is to cross swords once more, but happily they “Discouer eche other in fighting” (the helmet of one of them had fallen off), and resume their old friendship. In the Arcadia, Pyrocles and Musidorus, two princes and affectionate friends, being parted by a storm at sea, regard each other as lost. After a series of adventures they, as members of opposing armies, meet in single combat. Pyrocles strikes Musidorus a blow on the head, “and withal the helmet fell off”; they recognize each other and are reunited.
The Ms. Play, Anna Bullen
Authors: Backus Edythe N.
Published: February 2007

An anonymous MS. play, Anna Bullen, now at the Henry E. Huntington Library and Art Gallery [HM973] and hitherto unnoticed, offers, upon examination, interesting similarities to the play upon the same subject by John Banks, Vertue Betray'd: Or, Anna Bullen. The MS. is written upon paper bearing an eighteenth-century watermark, and is written in an eighteenth-century hand. The MS. seems to be, not an original play, but either a copy or an adaptation of some other play, as is shown: (1) by the careful noting of an hiatus of one or two lines in the first speech by Northumberland in Act i, Scene 2 [verso leaf 5]; (2) by the scratching out of occasional words and the substitution of the proper synonym, as

Expos'd and naked to the probing light [verso leaf 25];

and (3) by the frequent complete or incomplete erasure of errors in wording, orthography, and chirography.
The Triple-Portrait of John Lacy: A Restoration Theatrical Portrait: History and Dispute
Authors: Cooper Chas. W.
Published: February 2007

The recent inclusion of the triple-portrait of John Lacy in Shakespeare Improved prompts the question: How certain is it that the picture shows a character from a Restoration “improvement” of Shakespeare? The identification of one of the figures as Sauny the Scot in the Restoration adaptation of The Taming of the Shrew must rest upon more than The Catalogue of Engraved Portraits in the British Museum and Wheatley's annotation of Evelyn. It must, as will be shortly apparent, rest upon a complete study of the history of the portrait and of the actor's rôles.
A Prologue and an Epilogue for Nicholas Rowe's Tamerlane by Richard Steele
Authors: Blanchard Rae
Published: February 2007

Among the P. A. Taylor papers in the British Museum, there is a small manuscript verse-book which contains poems written or collected by William Taylor “of South Weald.” In this book are a prologue and an epilogue for Tamerlane, ascribed to Sir Richard Steele. No comment is made in the manuscript as to the circumstances under which they were written; but it is clear that they were meant for a performance of Rowe's play by schoolboys. These poems are not to be found in the printed works of Steele. There is no allusion to them in his letters, and they are not mentioned in the Steele tradition as recorded by John Nichols, his eighteenth-century editor, or by G. A. Aitken, his biographer. But even in the absence of any direct evidence of their authenticity, we can be reasonably sure not only that they are from Steele's pen but that they were written, probably in the early 1720's, for use at Dr. Newcome's School in Clapton, Hackney. Circumstantial evidence leading to this conclusion is to be found in the contents of the verse-book and of other manuscripts among the Taylor papers; in the somewhat scanty information we have of William Taylor's interests and friends; and also, of course, in Steele's pursuits.
Lessing's Relation to Early English Sentimental Comedy
Authors: Kies Paul P.
Published: February 2007

In the present article I hope to show that Lessing's Der Freigeist (1749) and Die Juden (1749) were influenced by early English sentimental comedy, and that about 1753 the German dramatist studied the work of Edward Moore, author of the chief English sentimental comedy of the second quarter of the eighteenth century—The Foundling (1748).
How Victor Hugo Altered the Characters of Don César and Ruy Blas
Authors: Moore Olin H.
Published: February 2007

On July 5, 1838, Victor Hugo began to write Ruy Blas. Having virtually completed two scenes of the first act, he became dissatisfied, and made a fresh start on July 8.
Thoreau, Moralist of the Picturesque
Authors: Templeman William D.
Published: February 2007

The vogue of “the Picturesque” in England during the late eighteenth and early nineteenth centuries was considerable. The word “picturesque” came into use in the latter eighteenth century to designate “picturesque beauty.” Although very brief, a fairly good working definition for the purposes of this paper is the one first stated by the Rev. William Gilpin in 1768: “Picturesque: a term expressive of that peculiar kind of beauty, which is agreeable in a picture.” Gilpin before his death was called “the venerable founder and master of the Picturesque School,” and years afterward it was declared:

in the picturesque, Gilpin is unquestionably an Oracle; and his work is a Grammar of the Rules, by which alone the beauties of the Tour can be properly understood and appreciated.
A Note on The Madmen's Scene in Webster's The Duchess of Malfi
Authors: Hayawaka S. Ichiyé
Published: February 2007

Professor Louis B. Wright, in a very interesting paper on “Madmen as Vaudeville Performers on the Elizabethan Stage,” cites as one of his examples the madmen's scene of The Duchess of Malfi with the following comment:

The modern reader is prone to regard the introduction of the madmen in Act 4, Sc. 2, purely as a means of intensifying the horrors of the scene, but to an Elizabethan, the antics of the madmen furnished comic entertainment. It is certain that the madmen were not regarded as a horror by the contemporary audience; the author himself, at some pains to account for the madmen, makes Ferdinand explain that they are there to keep the Duchess awake.
Zur Geschichte Einiger Neidhartschwänke
Authors: von Anacker Hilde
Published: February 2007

Es ist in der neueren Literatur über die deutsche Dorfpoesie verschiedentlich versucht worden, die eigenartige Stellung des Dichters Neidhart von Reuental zu erklären, ihn gleichsam zu erlösen aus seiner “splendid isolation,” in der er sich als Anreger einer vorher in der deutschen Literatur nie überlieferten Gattung befindet. Für. seine formellen und stilistischen Eigenheiten wurde auf die Carmina Burana verwiesen. Sicher bestehen auch direkte Beziehungen zwischen Neidharts Dichtung und der früheren Vagantenlyrik, wie das Günther darstellt. Aber trotz vieler verblüffender Übereinstimmungen, trotz Natureingang, Mutter-Tochterdialogen, Gespielinnen- und Tanzliedern, die alle schon bei den Vaganten vertreten sind und von hier z.T. über die lateinische Schulpoesie bis auf spätklassische Vorbilder zurückgeführt werden können, bleiben doch bei Neidhart und seiner Schule eine Menge neuer Motive. Namentlich die Winterlieder sind reich an Zügen, die der Vagantenlyrik fremd sind und die auch die Pastourelle nicht kennt. Zu einem Teil sind sie geschichtlich bedingt, wie die Kritik der protzigen, süddeutschen Bauern, die fast gleichzeitig in der ganzen mhd. Literatur auftaucht, aber doch von Baiern-Österreich ausgeht. Dann aber handelt es sich auch um mehr oder weniger geschickte dichterische Ausgestaltung älterer Anekdoten, wie sie besonders von den Neidhartianern eifrig gepflegt wurde.
Metapher und Märchengestalt
Authors: Diez Max
Published: February 2007

Dass die Metapher recht eigentlich das Wesen der Poesie, deren Urzelle, die kleinste Einheit des dichterischen Schaffens darstelle, ist eine Verallgemeinerung und Hyperbel, die man oft wiederholt findet in der Literatur über Stilistik und Metaphorik. So sagt etwa Gottschall: das Bild ist nur die Abbreviatur dessen, was die Dichtung im Ganzen und Grossen ist (nämlich: Versinnlichung des Geistigen und Vergeistigung des Sinnlichen). So meint auch Hugo von Hofmannsthal: Die Handlungen, die Gestalten sind nichts anderes, wofern man das Wort nur recht versteht, als Gleichnisse aus vielen Gleichnissen zusammengesetzt. Und so nennt denn auch Hermann Pongs, der in seinem tiefgründigen Werke die Metaphernkunde auf eine neue Grundlage stellt, das dichterische Bild die originäre dichterische Einheit, das Urphänomen des .
Samuel Taylor Coleridge and John Wilson of Blackwood's Magazine
Authors: Strout Alan Lang
Published: February 2007

In October, 1805, in his twentieth year, John Wilson, gentleman commoner of Oxford, purchased some ground on Lake Windermere. Here it was that, after his brilliant graduation in March, 1807, the winner of the first Newdigate prize settled in his cottage of Elleray. Through diffidence he had been unwilling to intrude upon Wordsworth during his early visits to the Lake District; but by 1808 he had made the acquaintance of the poet and his family, and for the next few years he was on most intimate terms with them, as the letters of Dorothy Wordsworth show. Naturally, too, he became acquainted with the other members of the “Lake School.” De Quincey first saw “Wilson of Elleray” at the dances held at Low Brathay, home of Charles Lloyd, and was introduced to his lifelong friend by Wordsworth at Allan Bank, “at the latter end of 1808,” at a time when both De Quincey and Coleridge were on a visit to Wordsworth, the introduction taking place in a room used as a study by Coleridge. Southey likewise dined in Wilson's company at Lloyd's, and breakfasted with him at Keswick shortly after, but whereas Wilson always felt warm regard for the laureate, the latter could not recover from his abhorrence when he learned of the younger man's passion for cockfighting. “I could not tolerate his manner of life enough to accept the advances which he made towards an intimacy,” writes Southey, with entirely unnecessary indignation, in 1819. Precisely when Coleridge met his fellow-laker is uncertain. We know that Coleridge invited Eliza Nevins, Wilson, and Mrs. Wilson to Grasmere in September, 1808, and that, together with the Wordsworths and De Quincey, he paid Wilson a visit at Christmas, 1809, during which, Dorothy Wordsworth informs us, “we enjoyed ourselves very much, in a pleasant mixture of merriment and thoughtful discourse.” We know that in the seventeenth number of Coleridge's The Friend, on December 14, 1809, appeared that splendid tribute to Wordsworth, the letter of Mathetes, joint production of Wilson and his friend, Alexander Blair.
The Growth of Wuthering Heights
Authors: Bradner Leicester
Published: February 2007

When Wuthering Heights first appeared the immediate and quite predictable reaction of Victorian readers and reviewers was to view with dismay, if not with disgust, the wildness and brutality of the characters and emotions described in it. Charlotte Brontë herself, while professing great admiration for her sister's work, doubted whether it was right to create men like Heathcliff. Today the wonder of critics is turned upon another aspect of the book; namely, how could a girl in Emily's situation, with her limited experience and living her secluded life, write such a book at all? The researches of biographers have thrown little light on this problem, largely because of the very meager sources to which they may turn. Emily was a fiercely reticent person. She seems to have had no friends and hardly any acquaintances outside her family circle. As to people beyond that circle, Charlotte tells us that “she had scarcely more knowledge of the peasantry amongst whom she lived than a nun has of the country people who sometimes pass her convent gates.” Her letters and manuscripts were with very few exceptions—two brief letters and some manuscripts of her poems—destroyed either by Charlotte or herself.
An Unpublished Letter in French by George Ticknor
Authors: Whittem A. F.
Published: February 2007

Among the autograph letters in the collection of Fernando Palha, now in the Harvard Library, is one by George Ticknor to Francisque Michel. The letter is in French in Ticknor's own handwriting, on note paper 4½ by 7 inches. The letter is interesting as showing Michel's appreciation of Ticknor's recently published History of Spanish Literature, as well as Ticknor's eagerness to see the Cancionero de Baena as soon as it should appear, and his kindly interest in Francis J. Child, then a young student in Europe.
La “Couleur Normande” de Madame Bovary
Authors: Canu Jean
Published: February 2007

Le 10 Avril 1853, dans une lettre à Louise Colet récemment publiée, Flaubert écrivait:

La seule chance que j'aie de me faire reconnaître, ce sera quand Bovary sera publiée; et mes compatriotes rugiront, car la couleur normande du livre sera si vraie qu'elle les scandalisera.
Velarization and u-Vocalization of l in German Dialects
Authors: Selmer Carl
Published: February 2007

The l-sound, which we may consider to be without any special timbre, be it light or dark, is the alveolar or dental l, in the formation of which the tip of the tongue, resting at or near the teeth, plays an important part. For all nations, even those which otherwise show colored variations of it, apply this l at the beginning of words in order to introduce the vowel. This l cannot be affected by any preceding vowel. It is also the same colorless l which elocutionists (in England, D. Jones of Oxford; in America, W. Tilly of Columbia University, New York) recommend for use in all cases. According to their opinion, the dark semivelar sound, heard so frequently in English, is looked upon as vulgar. It may, however, be an open question whether such a procedure is not a strongly artificial interference with a natural, long-drawn-out development in the course of many centuries.
The Middle English Dictionary
Authors: Moore Samuel , Meech Sanford B. , Whitehall Harold
Published: February 2007

The Middle English Dictionary inherited from the Oxford Dictionary about 450,000 slips containing Middle English quotations, generously donated to us by the Delegates of the Clarendon Press. We have also about 175,000 slips collected at Cornell under the editorship of Professor C. S. Northup. Before beginning to collect material on our own account it seemed wise to study the material we already had in order to discover just what material was needed to supplement it. For testing the Oxford Dictionary material we prepared what we called a “cross section.” We first selected 150 words which should be fairly representative of the whole Middle English vocabulary. All of the slips for these 150 words were removed from the files and were rearranged according to the texts from which they were taken, so that for every important text read for the Oxford Dictionary we have a sample body of slips running in number from 10 or 20 to 2200.
Longfellow and the Italian Risorgimento
Authors: Adkins Nelson F.
Published: February 2007

Professor R. M. Peterson in his admirable article on the “Echoes of the Italian Risorgimento in Contemporaneous American Writers” might well have added to his list of poems illustrating Longfellow's interest in the movement the final sonnet of the Divina Commedia group. At odd moments in his life Longfellow had occupied his time in translating portions of the Divina Commedia. But with the death of his second wife in 1861, largely as an escape from his grief, he applied himself more systematically to the work, until the entire epic was at length translated, probably at the close of 1866. During the last few years of concentration on his task, he produced six sonnets, inspired by the Commedia, which, so far as his purely lyrical work is concerned, undoubtedly represent Longfellow's crowning achievement. Although, as Professor Peterson correctly points out (p. 240), Longfellow's interest in Italy “centered chiefly in the literature and culture of past ages rather than contemporaneous conditions,” the sixth and last of the Divina Commedia sonnets is of special significance in that it combines the poet's artistic and scholarly enthusiasm for Italy's great epic with his interest in “Italian aspirations.” In the octet of the sonnet Longfellow uses the Divina Commedia as a symbol of the liberty and glory which he believed would eventually come to Italy; and in the sestet he extends his symbolism to include other lands.
Dante Gabriel's or William Michael's?
Authors: Winwar Frances
Published: February 2007

(An Attempt to Establish the Authorship of Some Rossetti Sonnets Published by the Duke University Press)

Two years ago the Duke University Library came into possession of a quantity of miscellaneous Rossetti material which in 1931 was published by the Duke University Press as Dante Gabriel Rossetti: An Analytical List of Manuscripts in the Duke University Library with hitherto Unpublished Verse and Prose. Edited by Pauli Franklin Baum. Writing of a series of eighteen sonnets, the editor so describes them: “Nine leaves … each containing two sonnets. Each sonnet is numbered, as below. Beneath Nos. 14, 18, 20, 22, 24, 34, 36, 40, 44 stands, in pencil, 'W.M.'; beneath the others: 'G'.” He continues:
Notes on The Owl and the Nightingale
Authors: Hinckley Henry B.
Published: February 2007

We have two manuscripts of The Owl and the Nightingale. Of these the earlier and more valuable, known as Cotton Caligula A.IX (C), is in the British Museum. In this the Owl is immediately preceded by a chronicle in French prose which ends thus: Apres le mort cestu rei Johan, si regna sun fiz Henry, ‘After the death of King John his son Henry became king.’ It would appear, therefore, that the Owl was copied into this volume not long after the coronation of Henry the Third, October 28th, 1216. The other manuscript, Jesus College Oxford 29 (J), is in the Bodleian Library. In Anglia, xxx, 222, Miss Anna C. Paues reports the following opinion of Mr. E. W. B. Nicholson, Bodley's Librarian, concerning the portion of J which contains our poem:

From f. 217 to the end of the volume is apparently all in one hand, and was certainly written about the same time. It contains a history of Tobias which mentions the then Prior of St. Mary Kenilworth (Gwilleyme): this fixes the date of composition at 1276–9, and I believe that to be approximately the date of the writing.
King Horn and Suddene
Authors: Oliver Walter
Published: February 2007

My first introduction to the mediæval story of King Horn came through reading in the Year Book 1914–1924, published by the Viking Club of London, a review of Dr. Henry Goddard Leach's Angevin Britain and Scandinavia. The reviewer in discussing the story of Horn referred to the difficulty of fixing the location of “Suddene” where the action of the story had its beginning and end, and suggested that it may have been situated in South Wales. My first real acquaintance with the Horn story, however, as well as the problems with which it is involved, came through reading the scholarly essay, “The Story of Horn and Rimenhild,” by Professor William Henry Schofield.
Two Manuscripts of the Middle English Anonymous Riming Chronicle
Authors: Carroll Marion Crane , Tuve Rosemond
Published: February 2007

The “Anonymous Riming Chronicle” has long been known through the text printed by Ritson from B.M. MS. Royal 12. C. xii. The first serious attempt to study the sources of this poem and establish the relationships of the several MSS. was made by R. Sternberg, in two papers in Englische Studien XVIII, 1 ff. and 356 ff. In the first of these papers, Sternberg presents a scheme of MS. relations based upon the first and last fifty lines of the text as contained in five MSS. In the second paper he examines the sources of the Chronicle and shows that it depended upon Robert of Gloucester's Chronicle with supplementary use of William of Malmesbury's Gesta Regum.
The Allegory of the Christ-Knight in Piers Plowman
Authors: Gaffney Wilbur
Published: February 2007

One of the allegorical motifs in the Vision of Piers Plowman which has often been specially noted on account of its boldness and picturesqueness is the description of Christ jousting against Satan upon the Cross clad in armor and embodying the chivalric virtues.
The Musical Training of the Pearl Poet
Authors: Chapman Coolidge Otis
Published: February 2007

In the fourteenth century all good Englishmen were singers. How large a part music played in the life of the time is apparent in Chaucer, who, as Burney remarks, ‘never loses an opportunity of describing or alluding to its general use, and of bestowing it as an accomplishment upon the pilgrims, heroes, and heroines of his several poems.’ The carved figures in the minstrels' gallery at Exeter Cathedral and the Angel Choir of Lincoln are lasting memorials to the universal popularity of music in that day. While the cleric devoted himself to the music that lent beauty to the services of the church, the layman delighted in the music of the banquet, the battle, and the chase. Edward III. himself kept a band of household minstrels that included ‘trompeters, cytelers, pypers, tabrete, mabrers, clarions, fedelers, wayghtes.’ Le Art de Venerie, written by Twici, huntsman to Edward II., reveals a highly developed hunting music, and the martial music is mentioned by Chaucer in the Knight's Tale (A. 2511–12):

Pypes, trompes, nakers, clariounes,

That in the bataille blowen blody sounes.

Born into such a world as this, the poet of Pearl and Sir Gawain bore the deep impress of the popular taste. His own taste was of wide compass, and included an appreciation of instrumental and vocal, secular and ecclesiastical music.
William Dunbar as a Scottish Lydgatian
Authors: Nichols Pierrepont H.
Published: February 2007

All the accepted authorities agree in stating first, that William Dunbar was not wholehearted in his devotion to Chaucer, but followed him “at a distance and, perhaps, with a divided affection” for some other school of poetry; and secondly, that the other influence which divided his affection was that of French poets such as Alain Chartier, Charles of Orleans, and above all Villon.
The Arrangement of Dante's Purgatorial Reliefs
Authors: Austin H. D.
Published: February 2007

The description of the marble reliefs which depict examples of humility, in the tenth canto of Purgatory,—the Annunciation, David and the Ark, Trajan and the widow—has been universally admired, and often studied and discussed. But it seems to me, for several reasons, that the specific matter of the order in which their details are presented may certainly be considered further with interest, and perhaps with profit—although the fact of their orderly sequence is, in at least a general way, obvious to every reader.
On the Dating of the English and Scottish Ballads
Authors: Pound Louise
Published: February 2007

The practice has established itself among literary historians and anthologists of associating the English and Scottish ballads primarily with the fifteenth century, sometimes with the fourteenth and fifteenth centuries. One of the best and most popular of the histories of English literature now used in schools and colleges states in its revised editions: “These ballads appear to have flourished luxuriantly among the folk in the fourteenth and fifteenth centuries, after which their composition ceased. Over three hundred of them, in 1,300 versions, have survived, and have been collected and printed.” The now widely used History of English Literature by M. Emile Legouis, the most ambitious among recent histories of our literature, remarks of the ballads: “They cannot all be claimed for the fifteenth century, for poems of this sort must have had an earlier beginning and certainly were produced until a later time, but the impulse to make them seems to have been particularly active in this century, to which, moreover, the oldest extant specimens belong.” A recent excellent poetical anthology has: “Ballad is the name applied to a simple form of narrative poetry which in England and Scotland flourished between the fourteenth and sixteenth centuries.” Statements like these leave with readers the definite impression that the fifteenth century was the heyday of ballad production, and that the bulk of the three hundred ballads in Professor Child's collection emerged from this century, or from an even earlier period.
Spenser's Garden of Adonis
Authors: Bennett Josephine Waters
Published: February 2007

Spenser's conception of the organization of the universe, as it is set forth in the allegory of the garden of Adonis, and in the Mutability cantos, has recently been given considerable attention. Professor Edwin Greenlaw opened the subject with the suggestion that the poet owed part of the ideas developed in these two passages to Lucretius. Several objections have been made to his theory. M. Denis Saurat points out some inconsistencies in Professor Greenlaw's interpretation, and prefers to regard the passage on the garden of Adonis as lyrical and without serious or sustained philosophic content. Professor Ronald B. Levinson finds Spenser's theory of form and matter in Bruno's Spaccio. Miss Evelyn Albright draws attention to the inconsistency between the Platonic idealism of The Fowre Hymnes (together with certain passages in Colin Clout's Come Home A gaine) and any Lucretian materialism in The Faerie Queene. To these critics Professor Greenlaw replied, in effect, that no one had disproved his contention of Lucretian influence in the passage on the garden of Adonis, and that the well-known eclecticism of the Renaissance accounts for the mixture of Platonic and Lucretian philosophy in Spenser.
The Plot of The Faerie Queene
Authors: Blair Lawrence
Published: February 2007

Courthope, in his History of English Poetry, asks the question: “Does Spenser's work satisfy the test of Unity which must be applied to every great creation of art?” Answering this question, Courthope thinks that there is undoubtedly poetical unity in the general conception of The Shepherd's Calendar. But of the Faerie Queene, he says the following:

There is undoubtedly a noble, indeed a sublime, foundation for the poem in its central design “to fashion a gentleman or noble person in virtuous and gentle discipline.” There is also something eminently poetical in the intention of embodying this image in the ideal knight—a figure consecrated like that of the shepherd, by ancient literary tradition—and in the person of “Arthur before he was king.” Moreover, as the subject was to be treated allegorically, it was open to Spenser to endow his knight with the “twelve private moral virtues, as Aristotle hath devised.” … No poem in existence can compare with the Faery Queen in the richness of its materials. But the question occurs: In what way is all this “variety of matter” fused with the central image of the “brave knight, perfected in all the twelve private moral virtues”? For this, we must always remember, was Spenser's professed and primary motive; he chose to convey his moral in a form of allegorical narrative, because he thought it would be “most plausible and pleasing, being covered with an historical fiction.”
Spenser's Theory of Courtesy
Authors: Judson A. C.
Published: February 2007

Professor H. S. V. Jones in his recently published Spenser Handbook (New York, 1930) has an interesting and valuable chapter on Book vi of The Faerie Queene. Much of his discussion is concerned with the so-called courtesy literature of the Renaissance, which offers striking parallels to Spenser's illustration of the virtue of courtesy. According to Professor Jones, Spenser's object in Book vi is “to exhibit in his allegory certain articles in that familiar creed of courtesy which had been stated and expounded in many doctrinal treatises of the Renaissance, and to oppose to the ideal of the gentleman the forces which were hostile to its realization.”
Archaism and Innovation In Spenser's Poetic Diction
Authors: McElderry B. R.
Published: February 2007

The traditional comment of Ben Jonson that “in affecting the ancients Spenser writ no language,” amplified by objections of nineteenth century philologists against Spenser's supposed inaccuracy in reviving old words and his lawlessness in coining new ones, has been much qualified by recent critical analysis. Professor Renwick has emphasized the relation of Spenser's diction to the general Renaissance problem of developing and enriching the modern tongues as mediums for serious literature. In somewhat greater detail Miss Pope has traced the course of Italian, French, and English Renaissance criticism on the subject of literary diction and its relation to Spenser's practice. From these studies Spenser's experiments in language are seen to have a dignity of purpose quite different from the freakishness implied in Jonson's petulant remark and all too often assumed by previous critics. Though Spenser was the first great English poet of the sixteenth century, general cultural activity had been vigorous. Printing had made possible the vogue of translations, both scriptural and purely literary, and English as a literary language assumed a growing importance.
Daniel Defoe and the Quakers
Authors: Maxfield Ezra Kempton
Published: February 2007

In Thomas Wright's Life of Daniel Defoe we find the following statement:

During this illness [i.e., of the ‘apoplexie,’ 1715] Defoe was visited by a Quaker whose kindness made a great impression on him, and he never after neglected an opportunity of speaking well of the religious body to which the good man belonged. And they deserved to be well spoken of, for at this exciting period, when all England was in a ferment, when even the pulpits were made to answer the purpose of hustings, the Quaker body alone advocated temperance and Christian charity. Like Defoe, they cried ‘Peace, peace!’
Anatole France and Poetry
Authors: Schaffer Aaron
Published: February 2007

IN a recently-published volume, Anatole France: critique littéraire,1 Mlle. Annette Antoniu gives a very closely-documented and, in the main, trustworthy, account of the intellectual and critical development of the great novelist. This work, however, confines itself to the consideration of Anatole France's pronouncements in his works of criticism and is, by the very nature of its subject, somewhat diffuse in its treatment. It may, therefore, be of some interest to study France's attitude towards poetry and poets as expressed in his novels and short-stories, in his volumes of essays and in his reminiscences of childhood, as well as in his conversations with some of the numerous “literary reporters” who, during the past decade, have been basking in the glory of the deceased master. Such an examination is of importance in view of the many bitter attacks that have been leveled at France by critics who are not content with attempting to expose what they consider to be the dangers inherent in his skepticism, and have left no stone unturned in the effort to prove that, both as man and as thinker, he was totally devoid of the moral sense. Thus, for example, in his Historie du Parnasse,2 M. Maurice Souriau would have us believe that France dealt treacherously by his erstwhile comrades, the Parnassians, and, more especially, by their principal leader, Leconte de Lisle.
Le Songe Du Castel
Authors: Cornelius Roberta D.
Published: February 2007

The allegorical poem which forms the subject of the present paper has not hitherto been printed. Le Songe du Castel is preserved in a single manuscript, Bibliothéque Nationale fonds français 25566, which has been described in detail more than once. The most satisfactory brief account of this MS is that by A. Jeanroy in his recent edition of Le Jeu de Saint Nicolas:

C'est un volume de moyen format, de 283 feuillets de parchemin, très soigneusement écrit aux alentours de l'an 1300: il contient une ample anthologie d'œuvres picardes de l'époque immédiatement antérieure, et notamment, tous les ouvrages d' Adam de la Halle.
Tragedia de Los Amores de Eneas y de La Reyna Dido
Authors: Williams Edwin B. , Gillet Joseph E.
Published: February 2007

The first dramatic treatment of the story of Dido and Aeneas on the Spanish stage, preceded in world-literature only by Alessandro Pazzi's Dido in Cartagine (1524), is the anonymous Tragedia de los amores de Eneas y de la Reyna Dido, preserved in what seems to be a unique copy, formerly belonging to the library of D. Francisco Manoel da Câmara, now in the National Library at Lisbon, under the signature: Varios reservados 177. Although described by Gallardo, Cañete, and, more recently, by Proença and Anselmo, this copy has remained practically inaccessible to Hispanists.
The Dedication and Rededication of Ronsard's Hymne de La Mort
Authors: Will Samuel F.
Published: February 2007

Throughout his life Ronsard continued the practice of taking his dedications away from those whom the years had estranged or whom he had forgotten, offering them to others who stood higher in his affections at the moment of publishing each successive edition of his works. Considering his poems his own property, of which he alone had the right to dispose, and feeling, with a certain amount of reason, that it was within his power to render immortal those whose names he included in his works, Ronsard's poetic pride could easily justify any change in dedication. He even went so far as to dedicate to Cassandre, in the edition of 1578, fifteen sonnets which had formerly been addressed to Marie. This practice, we may be sure, led him into more than one ticklish situation, but probably on no such occasion was he himself more embarrassed nor his friends more amused than by his recall of the Hymne de la Mort.
Jacques Autreau, a Forgotten Dramatist
Authors: Schwarz H. Stanley
Published: February 2007

When, in 1697, the actors of the Comédie Italienne announced their intention of producing Fatouville's La finta matrigna ou la belle-mère supposée, readily associated with La fausse prude, a novel published in Holland againt Mme de Maintenon, the machinery of the law-moved swiftly. On May 14th of that year M. d'Argenson, head of the police, closed the theater, thereby terminating the activities of the Italian troupe in the seventeenth century. For so long a time did Mme de Maintenon deprive the court of amusements that, as soon as the period of mourning for Louis XIV was ended, the regent Philippe d'Orléans hastened to re-establish in France the theater which had previously supplied an abundant source of entertainment. In 1716 he succeeded in bringing to Paris, under the leadership of Luigi Riccoboni, a troupe which began performances on May 18 at the Palais-Royal but removed on June 1 to the repaired and redecorated Hôtel de Bourgogne.
Sur Le “Zadig” de Voltaire; Quelques Autres Influences
Authors: Rovillian Eugène E.
Published: February 2007

Dans un article précédent, nous avons déjà signalé quelques influences probables sur le Zadig de Voltaire. Le hasard des lectures nous a permis d'en découvrir d'autres qui paraissent avoir échappé aux recherches des commentateurs et à la sagacité des critiques. Nous les donnons ci-après en suivant l'ordre chronologique des sources.
Volpone, Herr Von Fuchs, and Les Heritiers Rabourdin
Authors: Whiting George W.
Published: February 2007

The fact that Jonson's Volpone is the source of Les Héritiers Rabourdin is known, but the precise relationship of the French play to the English original and to the German adaptation, Herr von Fuchs, has not been examined. A comparative study of these three plays reveals some interesting similarities and contrasts.
Saint-Simon and Proust
Authors: Cabeen D. C.
Published: February 2007

The writers with whom Marcel Proust is most commonly compared are probably Balzac, Flaubert, La Bruyère, and principally, of course, Saint-Simon. I have chosen the latter for particular comparison with Proust because these two present many obvious and interesting similarities. It may be noted first of all that Proust had studied Saint-Simon so attentively that he had attained a certain “saturation” in his style and method.
XXI: O.F. (Norman) AOI and AVOI, and English Ahoy
Authors: Deferrari Harry A.
Published: February 2007

(Other words treated here are Old French (Norman) a voiz, avois, voi, aei; English avoy, hoy, ahey, hey; Provençal aei; Portuguese eoi; Italian voi.) THE recent systematic analysis of the Chanson de Roland with reference to the exact positions of the word aoi in the Oxford manuscript seems definitely to reveal that that puzzling word is almost exclusively used only when there is some sort of shift in the narrative or a distinct pause or a break in the story.
XXIV: Continuity in XV Century English Humanism
Authors: Wright Elizabeth Cox
Published: February 2007

Several years ago Professor Gray of Bryn Mawr discovered, on the Exchequer Rolls for 1455–56, record of payments to four Greek visitors to England. Having noticed that discussions of English humanism were inclined to run thin for the third quarter of the century, he presented his findings concerning these Greeks as a contribution toward a new and more detailed telling of the story. He established that one of the beneficiaries, Emanuel of Constantinople, was the scribe of the famous Leicester Codex of the New Testament, and discussed the learned character of the King's Council in these years. Nevertheless, he concluded on so modest a note that one was not yet confident of the continuity of English humanism after the death of Humphrey in 1447. Previous writers give us a full and glowing account of the stir of men's minds under the influence of Humphrey, and a hasty sketch of travellers to and from Italy after Humphrey's death, not swinging into another full and vivid narrative until they reach the later years of Henry VII.
XXIX: A Pseudonymous Reply to Milton's of Prelatical Episcopacy
Authors: Whiting George W.
Published: February 2007

Unquestionably, early references to Milton and his work are valuable. Doubly valuable is the following hitherto unnoticed reply to his Of Prelatical Episcopacy; for it not only proves that Milton's pamphlet, on its merits and not because of personalities, was deemed worthy of a rejoinder, but it also serves to fix the date of Of Prelatical Episcopacy, and, incidentally, of his first pamphlet, Of Reformation Touching Church Discipline in England. The full title of the reply is A Compendious Discourse, Proving Episcopacy To Be Of Apostolicall, And Consequently Of Divine Institution: By A cleare and weighty testimony of St. Irenœus a glorious Martyr, and renowned Bishop of Lyons in France, upon the yeere of our Lord, 184. The said Testimony being so declared, pressed, and vindicated from all exceptions, that thereby an intelligent, and conscionable Reader may receive abundant satisfaction in this behalfe. Isaiah 39. 8. Let there be peace and truth in my daies. By Peloni Almoni, Cosmopolites. London, Printed by E. G. for Richard Whitaker at the Kings Armes in Pauls Church-yeard, 1641.
XXXI: Did La Mettrie Write Homme Plus Que Machine?
Authors: Hastings Hester
Published: February 2007

There has been uncertainty about the authorship of L'Homme plus que Machine, a reply to la Mettrie's Homme-Machine, from the time of its anonymous publication in 1748. It has been most commonly considered an attempt at self-defense on the part of la Mettrie's publisher, Elie Luzac, who was prosecuted for the publication of L'Homme-Machine, and who, it has been supposed, states his personal disagreement with the materialism and atheism of the French philosopher in the Homme plus que Machine. On the other hand, some of la Mettrie's contemporaries and three modern scholars have looked upon this work as an ironic pretended attack upon himself by la Mettrie, wherein he actually pleads more in his favor than against himself. No conclusive evidence can be presented.
XXXII: Further Notes on Thomas Percy
Authors: Ogburn Vincent H.
Published: February 2007

The recent notes by Mr. Churchill on the Percy-Warton correspondence are as valuable as they are concise. However, some points raised by him stimulate further consideration. These are: (1) the projected edition of Buckingham's Works, (2) Percy's initial plans for the Reliques, and (3) his introductory relations with the Northumberland family.
XXXIII: Coleridge, F. D. Maurice, and the Distinction between the Reason and the Understanding
Authors: Sanders C. R.
Published: February 2007

Since long before the middle of the nineteenth century, F. D. Maurice, Tennyson's friend and a leader of the Broad-Church movement in England, has been considered Coleridge's disciple. Maurice himself frequently admitted his indebtedness to Coleridge. Its exact nature however, has been left uninvestigated. False conceptions of it have arisen, such as the belief that Maurice felt the spell of Coleridge's talk and took the impress of his personality directly, or the belief that Coleridge's “moonshine,” as Carlyle called it, without ever assuming the form of definite ideas, somehow or other had an influence upon the disciple. The first notion is shown to be untrue by the simple fact that Maurice never met Coleridge or listened to his conversation—that he knew Coleridge almost exclusively through his published writings. The second is more difficult to combat, since to do so requires a careful study of the writings of both men. Certain groups of organically related ideas do exist, however, in a very definite form in the writings of both Coleridge and Maurice, and possess a vitality and a substantial character hardly to be associated with moonshine. Such a powerful group of ideas is that concerning Coleridge's distinction between the reason and the understanding.
XXXVIII: Stefan Georges Französische Gedichte und Deutsche übertragungen
Authors: Jaeger Hans
Published: February 2007

Die 1934 im Schlussband von Georges Gesamt-Ausgabe der Werke veröffentlichten fremdsprachigen Gedichte enthalten außer den beiden in der von George selbst gebildeten “lingua romana” verfaßten Gedichten und zwei englischen Sonetten auch drei französische Gedichte, “Frauenlob,” “Proverbes” und “D'Une Veillée,” die hier einer näheren Betrachtung unterzogen werden sollen. Das einzige von diesen Gedichten, das vor dem Herauskommen des Schlussbandes schon im Druck erschienen war, ist “Proverbes,” während die von George selbst verfaßten deutschen Übertragungen bereits in den Blättern für die Kunst veröffentlicht worden waren. Daß George aber mehr, als auch im Schlussband zum Abdruck kam, in französischer Sprache dichtete, kann aus der Bemerkung im Anhang zu den Büchern in der Gesamt-Ausgabe geschlossen werden: “Beim ersten druck aus den ‘Sagen’ in den Bl.f.d.K.I.F.4 B. fand sich die Bemerkung 'zuerst französisch gedichtet, dann vom Verfasser selbst übertragen.' Die im nachtrag des 'Jahr der Seele' erwähnten: Pendant que ta mère sind indessen die einzig gedruckten französischen verse.” Die Annahme wird noch bestärkt durch C. A. Klein, der im Anschluß an Georges Dichtungen in der “lingua romana” berichtet: “Auch dichtete er vorläufig in anderen Sprachen, besonders der französischen, wie nach ihm Rainer Maria Rilke.” Da George die deutschen Übertragungen seiner französischen Gedichte auch in seine Werke aufnahm, den “Frauenlob” in die Sagen und Sänge, die “Sprüche an die Geladenen in T …” und die “Nachtwachen” in Das Jahr der Seele, die französischen Originale aber erst jetzt alle durch das Erscheinen des Schlussbandes der Gesamt-Ausgabe allgemein bekannt wurden, so ist es erst jetzt in vollem Umfang möglich, die französischen und deutschen Fassungen miteinander zu vergleichen.
Dante's Terza Rima
Authors: Tatlock J. S. P.
Published: February 2007

Terza Rima is a series of threes, the two outer lines of each riming with each other, the inner line riming with the two outer lines of the next three; in homely terms, like a pile of paper cones set into each other. The first rime in a canto and the last therefore occur only twice, but all the rest three times; none is dropped before a new rime is begun, or, except at the beginning and end of a canto, is confined to a single terzina. A consequence of this structure is that, while (if the sense permits) one or more terzine may be cut off at the beginning or end of a canto without detection of the loss, this is impossible anywhere else; the alternation of rimes and the linking with the preceding and following terzine would be upset. Accordingly omission of lines or passages occurs in the manuscripts with notable rarity.1 This result of the verse form no doubt is well known to some, but, so far as I find, it has never been mentioned in print.
English Legal Proverbs
Authors: Bond Donald F.
Published: February 2007

Like the English language, English law may be regarded as the fusion of two great cultural forces—the Germanic “folk-laws,” expressed in the early dooms of Æthelberht (c. 600) and in the laws of Alfred and Canute; and Roman law, as interpreted by the Norman conquerors, and set forth in the twelfth and thirteenth centuries by Glanvill and Bracton. From this fusion has developed a body of law which, in scope and influence, is probably without parallel in modern history. It is interesting to see how many of its basic principles find expression in the common proverbial wisdom of the folk. These proverbs correspond, on a popular level, to the Latin legal maxims of the learned, which represent the concentrated experience of generations of lawyers.
Some New Burns Letters
Authors: Ferguson DeLancey
Published: February 2007

Now that five years have elapsed since The Letters of Robert Burns went to press, a postscript may be in order. Though no great mass of new material has come to light, eight hitherto inedited letters have been discovered, fifteen originals of letters already in print have been located, and new secondary material has corrected the dates or addresses of a few letters which I printed from the holographs. Part of the new material has already appeared in the Burns Chronicle. Summarizing this briefly, I shall add my new matter, which includes three inedited letters and one hitherto published only in garbled and fragmentary form. Some comments and speculations regarding manuscripts still untraced may also be allowable.