bluuebunny/crossref_metadata_2025 huggingface dataset:
Romantic Permutations and Combinations in England
Authors: Nitchie Elizabeth
Published: February 2007

In any brief consideration of the implications for English romanticism of the five papers just presented, it is necessary to choose one method of treatment. I must disregard, therefore, international influences, a subject full of danger unless one has time to bolster each statement, and also comparisons and contrasts as such between individual writers or even, to any extent, between nations. I confine myself to a suggestion of the complexity of English romanticism, which seems to share in all the manifold characteristics of romanticism as a general European literary phenomenon and to manifest and combine them in ways of its own. But first I must say what I understand by romanticism.
Rych's Anothomy of Ireland, With an Account of the Author
Authors: Hinton Edward M.
Published: February 2007

In the merry England of Queen Elizabeth the life of the professional writer was seldom dull—witness the careers of Marlowe, Greene, Peele, and Kyd. Not less varied, though perhaps less appealing, is the career of Barnabe Rych, well known to students as a pamphleteer, romancer, and Shakespearean source. It is the lesser known but more humanly and historically interesting phase of his character which the writer ventures here to present: that of soldier and chronicler of the Irish wars, persecutor of Catholics, and informer to the Crown.
Hugo von Hofmannsthal's Æsthetics: A Survey Based on the Prose Works
Authors: Wood Frank
Published: February 2007

Hofmannsthal's Ad Me Ipsum, which appeared posthumously in 1930, was an attempt on the part of the author to reduce his major work to a compact, often gnomic, schema of his creative intentions. Long before the appearance of this confession, which is a compendium of literary interpretation rather than æsthetic evaluation, it was obvious that the premature criticism of the nineties had wrongly classified the poet in the art-for-art's-sake school. Not only were his early plays and lyrics highly colored by an exacting ethos (though its clear formulation came slowly and subsequently), but the various prose-pieces (Gespräche, Reden, Aufsätze, etc.) published at intervals from the early pseudo-authorship of Loris until the close of the poet's life testify to an æsthetic theory in which ethical considerations play an important, if not dominant, rôle.
Early Loss of [r] Before Dentals
Authors: Hill Archibald A.
Published: February 2007

It is well known that stressed post-vocalic [r] has been lost in many dialects of Modern English. Besides this recent loss historians of English have recognized that some [r]s in stressed syllables were lost at an earlier date.
Versions of Lindsay's Satire of the Three Estates
Authors: Houk Raymond A.
Published: February 2007

It has been amply demonstrated by students of Sir David Lindsay's Satire of the Three Estates that there were performances of the play in 1540, 1552, and 1554, and that the Three Estates as now extant in the quarto of 1602 and George Bannatyne's manuscript of 1568 represents a revision made subsequently to the year 1550. The normal view would be that Bannatyne's version derives from the manuscript later used for the edition of 1602; but Mr. Douglas Hamer, Lindsay's most recent editor, argues that the Bannatyne copy was made from a version of the Three Estates earlier than that used for the quarto of 1602.
Spannungsgefüge und Stilisierung in den Goetheschen Novellen
Authors: Jessen Myra R.
Published: February 2007

Die Ergebnisse dieser Untersuchung beruhen auf Analysen der acht wichtigeren Novellen Goethes. Zur Darstellung der Methode bringen wir aber hier nur drei davon in vollständiger Ausführung, indem wir uns für das Uebrige auf allgemeine fachmännische Vertrautheit mit einem wohlbekannten Stoffe verlassen zu können glauben. Das Netz eines Spannungsgefüges wird durch so viele sich durchkreuzende Momente bedingt, dass eine gleichzeitige, allumfassende Interpretation nicht leicht möglich ist. Einen nach dieser Richtung zielenden Vorschlag findet man in einem Artikel: “Zur Charakterologie des Kunstwerks,” wo Hermann Nohl erst nach Feststellung der Spannungsschichten des Kunstwerks, den Grundentscheidungen des menschlichen Charakters gemäss, “die Form der Werke bis in den äusseren Aufbau, ja bis in Klang und Rhythmus der einzelnen Sätze aus ihnen” interpretieren möchte. Für das Material dieser Untersuchung ist das Charakterologische kein unwesentlicher Massstab, aber, um eine zu starke Betonung des Wertproblems zu vermeiden, ziehen wir es vor, von dem Spannungsgegenstand selbst auszugehen, und betrachten zuerst im Nacheinander der Dichtung die stofflichen und gehaltlichen Momente und deren augenblickliche Wirkung auf Wissens- und Gefühlsspannung des Lesers. An dieser letzten, subjektiven Spannungsart bestimmte Intensitätsgrade aufzustellen, wäre eine undankbare, weil belanglose Aufgabe. Wie verschieden auch die Aufnahme des einzelnen Kunstwerks sein mag, der Aufbau des objektiven Werkes bleibt immer derselbe, und in den Erlebnissen der einzelnen Betrachter liegt ein “Gemeinsames: die von dem Kunstwerk gegebenen Vorstellungen,” was bei einer Untersuchung wie dieser den Anspruch auf Allgemeingültigkeit zu rechtfertigen scheint.
Die Sinnlich-Uebersinnliche Bedeutung Der Tonwelt In Hermann Stehrs Erzählungswerk
Authors: Hofacker Erich
Published: February 2007

Wie Stehr aus dem schlesischen Heimatdichter ein Künder der deutschen Seele und einer der grössten deutschen Erzähler der Gegenwart geworden ist, haben gerade in den letzten fünf Jahren die Monographien von Werner Milch, Hermann Boeschenstein und Emil Freitag, sowie die zusammenfassenden Aufsätze von Heinz Kindermann R. Petsch und E. Alker zu zeigen versucht. Das Geheimnis des Zaubers, den Stehr auf den feinfühligen Leser ausübt, liegt in der Meisterschaft, mit der er gelernt hat, eine Welt zartester und tiefster Seelenregungen einzubetten in eine äussere erdenhafte Wirklichkeit, die unsere Sinne unmittelbar packt. In dieser Stehrschen Welt werden wir hellsichtiger und hellhöriger. Hinter dem Schleier der physischen Wirklichkeit tritt das Seelenhafte und Uebersinnliche greifbar an uns heran. In den verschiedenen Schaffensperioden des Dichters treten die einzelnen Sinne nicht immer mit gleicher Stärke hervor. Es ist von besonderem Reiz, nachzuerleben, wie eben zu einer Zeit, in der sich bei Stehr ein Gehörleiden entwickelt, die Tonwelt in seinen Werken lebendiger wird und der Gehörsinn zuweilen geradezu eine zentrale Stelle unter den Sinnen einnimmt. Wir denken an die Zeit von 1911 bis 1931, in der seine besten Werke, die Märchen und Romane mit legendenhaftem Einschlag, erschienen sind. Es ist die Zeit von Stehrs religiösem Finden, in der er der alten deutschen Mystik so nahe kommt, die romantische, dionysische Epoche, im Gegensatz zu Stehrs Altersperiode, die wieder mehr apollinisch eingestellt ist.
LII. Mexican Literary Periodicals of the Twentieth Century
Authors: Spell Jefferson Rea
Published: February 2007

No period in the history of Mexican journalistic literature is more brilliant than that extending from 1894, the date of the establishment of the Revista Azul, to 1911, which witnessed the demise of the Revista Moderna—the two best literary periodicals Mexico has known. During these years the entire country, under the iron rule of the dictator Porfirio Diaz, was at peace; and a new aristocracy with means and leisure to devote itself to the fine arts was developing. When civil strife began late in 1910, it made small impress, for a time, on the intellectual life of the nation. The discontinuance of the Revista moderna in the following year was occasioned not by the revolution, as one might surmise, but by the death of the editor, Jesús E. Valenzuela, who had personally financed the publication. Except for the coup that made Victoriano Huerta provisional president in February, 1913, Mexico City was largely undisturbed until the latter part of the next year, when the hordes of Villa and of Zapata invaded the capital and paralyzed, for a time, almost all activity of a journalistic nature.
LV. Rilke and Jens Peter Jacobsen
Authors: Baer Lydia
Published: February 2007

That the Danish poet Jens Peter Jacobsen played an important rôle in the life and thought of Rainer Maria Rilke is a fact well documented in Rilke's letters, and critical investigations have long begun to recognize the relationship by brief or lengthier references. Many of the letters, which spread over a period ranging from 1897 to 1924, have appeared in print, but a number containing references to Jacobsen still remain unpublished. Supplementing the letters, Rilke sometimes talked about Jacobsen, as he had occasion to do in 1925 while he was supervising the French translation of Malte Laurids Brigge or when the topic of conversation concerned matters so closely connected with both Jacobsen and Rilke as the behavior of words.
Lxv: Bilingual Dictionaries of Shakespeare's Day
Authors: Starnes D. T.
Published: February 2007

In her excellent John Florio, Miss Yates writes (p. 189): “Florio's Worlde of Wordes is an important landmark in the history of Italian scholarship in England.” And, a little further on (p. 190), she continues: “To modern students of the sixteenth century, both Italian and English, it is invaluable…. The number, variety, and picturesqueness of the English equivalents which Florio manages to collect for each Italian word are remarkable.” This is by no means exaggerated praise. A few hours' study of the Italian-English dictionary should indeed convince one of the essential correctness of Miss Yates's evaluation.
XX. Runenforschung und Germanische Religionsgeschichte
Authors: Philippson Ernst A.
Published: February 2007

Zwischen Runenforschung und germanischer Religionsgeschichte besteht—trotz der grossen sachlichen Verschiedenheit der beiden Forschungsgebiete—eine ziemlich enge Interessengemeinschaft, die sich keineswegs nur auf magische Inschriften in Runencharakteren, ihre Lesung, Deutung und Datierung erstreckt. Eine sozusagen organische Verbindung, die über das rein Inhaltliche weit hinausgeht, wird dadurch hergestellt, dass das Rätsel der Entstehung der Runenschrift von zwei Hauptproblemen der germanischen Religionsgeschichte nicht getrennt werden kann, nämlich (1) der Geschichte des Wodan-Odinkultes, und (2) der Frage der Beeinflussung des germanischen Runenzaubers durch fremdländische magische Systeme.
XXIV. Milton's Family Bible
Authors: French J. Milton
Published: February 2007

All students of Milton and most casual visitors to the British Museum know that Milton's family Bible is now part of the manuscript collection of the Museum (MS. Add. 32,310), and that it is regularly on display in one of the exhibition cases. It is of course kept open at the page which contains the well-known entries of births and deaths of various members of Milton's family, including himself, and few people realize that it contains anything else of interest.
The Cursus in Sir Thomas Browne
Authors: Parker Edward L.
Published: February 2007

Professor Morris W. Croll at the end of his excellent article, “The Cadence of English Oratorical Prose,” says in a note: “Sir Thomas Browne, like his master Seneca, was fond of the cadence of oratory, and a profitable study of his form might be made by one who should be capable of interpreting the subtleties of a great master in variations.” This article is an attempt to carry out Professor Croll's suggestion, an attempt already made to some extent by Norton R. Tempest in his article, “Rhythm in the Prose of Sir Thomas Browne.” Tempest confuses the reader by including many things besides the cursus forms. I propose in this paper to limit myself to the cursus forms and their English variations as pointed out by Professor Croll, and to take as my working example only the Fifth Chapter of Hydriotaphia. There, I believe, will be found practically every variation Browne used, and the condensation of the material will enable the reader to follow the discussion conveniently, with the chapter before him.
Nietzsche, Heine und das 19. Jahrhundert
Authors: Coutinho Arno Carl
Published: February 2007

Nietzsche und Heine sind eins in der Kritik an der Dekadenz des 19. Jahrhunderts und in der Liebe zur grossen Persönlichkeit:

Der Gleiche erkennt den Gleichen. Es ist nachzuweisen, wie alie grosse literarische Einsicht wieder auf die grossen verwandten Ingenien zurückgeht: was einen schönen Beweis für die Erbärmlichkeit des gemeinen Intellekts abgabe. Er kann keine grossen Werke schaffen, ja, er kann sie nicht einmal herauskennen. Der grosse Kanon der Klassiker ist von den Klassikern gebildet.—Nietzsche, Jugendschriften, S. 245.
Notes on the Grotesque: The Comedia De Figurón at Home and Abroad
Authors: Place Edwin E.
Published: February 2007

In the history of literatures, as in the history of the races that produce them, it is axiomatic that often there comes from without some invigorating influence which, on being assimilated, may assume a significance perhaps all out of proportion to its original importance. Such was the effect of the figurón, in the Spanish comedia de figurón, upon the development of a type of uncouth and cowardly lover rôle in seventeenth-century French comedy, such as that of Sganarelle in Molière's Le Manage forcé. Now that we are enabled to study in its proper perspective French dramatic literature of the grand siècle, thanks to Professor Lancaster's monumental work on the subject, it becomes increasingly possible as well as pertinent for those interested in comparative literature to supplement and to underline certain facts already clearly brought out in Mr. Lancaster's six-volume study. In this paper I wish to present some observations on the literary antecedents of the figurón in Spanish drama and an interpretation of the significance of the figurón, together with a few comments upon French treatment of this type as transplanted by Paul Scarron and Thomas Corneille.
La “Muse et Grace” De Voltaire. (Le Conte De Fées En France Vers 1750)
Authors: de La Harpe Jacqueline
Published: February 2007

Non, Muse et Grâce, il faut que vous vous accoutumiez à vous entendre dire naïvement qu'il n'y a rien dans le monde de plus aimable que vous, et qu'on voudrait passer la vie à vous voir et à vous entendre.“ Celle à qui Voltaire adressait1 ce galant badinage est la Charmante Iris des Epîtres xxxv (1732) et L (1736?):
Charmante Iris, qui sans chercher a plaireSavez si bien le secret de charmer . ..
La Puissance du Rêve Chez Julien Green
Authors: Koëlla Charles E.
Published: February 2007

Le succès rapide de Julien Green n‘étonne pas: ce jeune Américain, né à Paris le 6 septembre 1900, s'est illustré dans les lettres francaises en publiant, entre 1925 et 1929, une série de romans et de nouvelles, toutes œuvres hallucinantes qui frappent par leur profonde originalité, par leur structure solide et par leur puissance. Il a reçu le prix Paul Flat de l'Académie Française pour son roman Adrienne Mesurat (1927), le prix Bookman pour la version anglaise de ce même roman sous le titre de The Closed Garden et le prix Harper pour The Dark Journey, traduction de l'original Lêviathan (1929). Si ses œuvres postérieures sont moins sensationnelles, elles n'en sont pas moins intéressantes, car elles jettent une lumière plus claire sur la personnalité et la philosophie de l‘écrivain.
The Irish Background of Goldsmith's Social and Political Thought
Authors: Seitz Robert W.
Published: February 2007

It is plain to the attentive reader of Goldsmith that he was not only in the habit of repeating favorite phrases, but also that he returned again and again to a few favorite ideas. Many, if not most, of these ideas, I maintain, were, if not already formed before he left Ireland, at least predetermined by the traits of character and of mind that he developed there.
Plutarch and Rousseau's First Discours
Authors: Keller Abraham C.
Published: February 2007

The Discours sur les Arts et les Sciences, composed in 1749–50, in an age whose leading thinkers were prone to overlook the limitations of reason and the drawbacks of progress, could hardly fail to attract notice, by its enthusiasm and paradoxical nature, if not by any logical organization or historical soundness. The essay was written in a prize contest proposed by the Academy of Dijon for the discussion of the question, “Si le rétablissement des Sciences et des Arts a contribué à épurer les mœurs,” and was awarded the medal. It maintains that the arts and sciences have contributed to the corruption of humanity. To support this thesis, the author cites numerous historical instances in which nations have lost their virtue and their supremacy as learning developed among them. Contrariwise, nations which did not permit learning to advance have been better able to remain great. The arts and sciences undermine patriotism and religion, breed luxury and vice, and are in general a serious degrading influence.
Baudelaire and Stendhal
Authors: Gilman Margaret
Published: February 2007

In recent years Baudelaire has come to be recognized as one of the greatest of French critics, a critic whose judgments have an almost uncanny sureness, and whose principles of art and of criticism have a lasting validity. He was from the beginning a most independent and original critic. But he was also an avid reader, and his mind was full of ideas which he had read or heard. It is from a tangled skein of other people's ideas that he slowly wove a harmonious and original pattern that is unlike any of its single threads. In much of his early critical work, however, some at least of the strands are easily distinguishable. Among these are the works of Baudelaire's two greatest predecessors in art criticism, Diderot and Stendhal.
Wilkie Collins and the Woman in White
Authors: Hyder Clyde K.
Published: February 2007

Inscribed on a tombstone in Kensal Green Cemetery are the following words: “In memory of Wilkie Collins, author of ‘The Woman in White’ and other works of fiction.” This inscription, written (as his will shows) by Collins himself, pays tribute to the book which probably stands highest among his works in the esteem of his readers.
Absolute Constructions in the Gothic Bible
Authors: Metlen M.
Published: February 2007

A number of noted scholars from Jacob Grimm to Streitberg have treated this topic. The latter in his Gotisches Elementarbuch (1920) summarizes, under the corresponding heads of the syntactical part of his grammar, the results of the various investigators. I intend in this paper to make an annotation here and there to their statements. And since I have noticed that some critics waver as to where to draw the exact demarcation line, I shall start with a definition of the matter under present consideration, following in part Grimm's Deutsche Grammatik.
The Scientific and the Pseudo-Scientific in the Works of Luigi Capuana
Authors: Norman Hilda L.
Published: February 2007

Luigi Capuana has experienced in his literary reputation what the philosopher-father of Pirandello's Sei personaggi in cerca d'autore experienced in his moral reputation: just as the Pirandellian character became “fixed” in the mind of his step-daughter as a highly immoral man because of one unfortunate contretemps, so Capuana has become “fixed” in the minds of most students of Italian literature as a verista because of a few years of ardent enthusiasm for Zola and his materialistic methods. In Italy, verismo (naturalism) appeared first in Sicilian dress in the works of Giovanni Verga and Capuana. This new type of local literature dealing with the peasant classes, and well-named campanilismo, then spread to many other Italian provinces and was developed by a large group of authors. It is true that Capuana was indeed the banditore del verismo, loudly proclaiming the excellence of Zola's theories and the brilliance of their exemplification in Verga's Nedda (1874) and succeeding stories. But what is too often forgotten is that Capuana is of equal importance in other literary movements, and that he himself rebelled at being too narrowly thought of as a verista.
Gothic Gasaihwan: A Study in Germanic Synonyms
Authors: Roedder Edwin
Published: February 2007

In an article on “Perceptual Sense in Gothic,” JEGPxxxiii, [1934], 205, ff. Professor Allen W. Porterfield propounds a number of theses, the most important of which, when stripped of their sometimes elegant, sometimes confusing phrasing, may be restated as follows: To render the idea of observing an optic phenomenon, Wulfila, irrespective of Greek usage, employs some form of saian or some compound of it with amazing regularity (p. 205). Possibly Wulfila followed the Latin, with its rather consistent use of videre, more closely than the Greek (p. 206). The Gothic prefixes add no semantic increment to the verb, but represent mere verbal nuances (pp. 209, 218). There must have been, in folk-Gothic, an appreciable number of verbs expressing the same general idea (pp. 214 f., 217). It was in all likelihood Wulfila's Arianism that influenced him in the use of saian, as “confining himself to a realistic, ocular verb, one that admits of nothing supernatural, would be in keeping with Arian doctrine.” It is my unenviable task to enter into these propositions at some length, in order to reexamine the use of gasaian and other ga-compounds.
Versos Desconocidos de una Comedia de Calderón
Authors: Treviño S. N.
Published: February 2007

Basta Callar es una de las comedias de Calderón que no ha sido objeto de estudio especial a pesar de la existencia de un manuscrito que se cree autógrafo en su mayor parte. La comedia no se imprimió autorizadamente durante la vida del poeta y la edición mas antigua que de ella conocemos es la de Vera Tassis de 1682. El objeto de este estudio es dar a conocer unos quinientos noventa versos que se hallan en el manuscrito considerado autógrafo, pero que faltan tanto en la edición príncipe como en las de Apontes, Keil, y Hartzen busch.
A Seventeenth-Century French Source for Hurd's Letters on Chivalry and Romance
Authors: Hamm Victor M.
Published: February 2007

Although Richard Hurd's Letters on Chivalry and Romance (1762) is a well-known document in the history of English criticism, there is, curiously enough, only one modern edition of this work, and there exists as yet no study of Hurd's total accomplishment as a critic. Miss Morley's Introduction to her edition of the Letters has been described as “valuable,” but she has done little more than summarize the contents of the book and reprint Hurd's own notes uncritically.
LXIV. Grimmelshausens Ungarische Wiedertäufer
Authors: Zieglschmid A. J. F.
Published: February 2007

Im 19. Kapitel des 5. Buches seines Simplicissimus berichtet Grimmelshausen ”etwas wenigs von den ungarischen Wiedertäufern und ihrer Art zu leben.“

Hatte man in früheren Jahrzehnten geglaubt, “für dieses Erlebnis [mit den Wiedertäufern] fände sich hochstens Raum im Anschluß an seine Reise von Baden nach Wien, so daß die . . . Lücke [in Grimmelshausens Biographie zwischen 1640-45] vielleicht durch einen Aufenthalt in Ungarn auszufullen wäre,” so steht heute fest, daß von ausgedehnten Reisen abzusehen ist. Nach den neueren Forschungsergebnissen ist Grimmelshausen nicht einmal in Wien, viel weniger je in Ungarn gewesen. Auf Grund des angeblichen Mangels an personlicher Bekanntschaft mit den ungarischen Wiedertäufern soli Grimmelshausen die munsterischen Anabaptisten als Vorbild verwandt haben; oder er soil Gelegenheit gehabt haben, “die Art der Wiedertaufer in den Tälern des Schwarzwaldes”6 kennenzulernen. Außerdem erinnere “die staatliche Regelung der Arbeit und des Familienlebens bei den [ungar.] Wiedertaufern . . . stark an ähnliche Einrichtungen in Thomas Morus' Utopia und Valentin Andreas' Christianopolis. Auch einige Einrichtungen der Civitas Solis des Campanella, z. B. die Sauglingspflege,” fände sich bei Grimmelshausens ungarischen Anabaptisten wieder.
The Progressive Tense: Frequency of Its Use in English
Authors: Dennis Leah
Published: February 2007

The present study is an attempt to examine the growth of use of the progressive, or expanded, tense system in Modern English. The shades of significance of the system have been minutely analyzed by Jespersen, Curme, and others. Jespersen's explanation of the form as taking its rise in the preposition on + the gerund after the verb to be (fused with the use of be + the ing participle) seems unchallenged. But the frequency of use is yet another matter.
Multiple Armes
Authors: Williams Harry F.
Published: February 2007

In a number of mediaeval texts we find the word paire in expressions where the precise meaning is uncertain. The editors or translators of these texts have, either through ignorance or through indifference, frequently treated the expression in an off-hand manner. Two previous articles have attempted explanations of the word paire. It is my intention to point out inadequacies in these articles, and to examine further material in support of a more precise conclusion.
Shakespeare's “Harke Harke Ye Larke”
Authors: Evans Willa McClung
Published: February 2007

The earliest known musical setting for Shakespeare's lyric “Harke Harke ye Larke,” suggests new aspects of the dramatist's craft, and contributes an interesting variant of the song-text. The score, acquired by the Bodleian in 1937 and subsequently printed with modern notation in 1941, is here printed in facsimile by permission of the Bodleian Library Authorities. The following is a transcription of the words:
Harke Harke Harke Harke Harke yo Larkeat heauen gate singsat heauen gate sings& Phoebus ‘gins to riseThe winking mary buds begin to ope theire golden eyes wth ev'ry thing yt pretty is my Lady sweet arisearise arisemy Lady sweet Arise
The Horoscope in Webster's The Duchess of Malfi
Authors: Parr Johnstone
Published: February 2007

In almost all the plays of the Elizabethan and Jacobean dramatists one finds an abundance of astrological jargon used metaphorically and as sheer literary garnish, showing no particular knowledge of the complex technicalities of astrology. Occasionally, however, a Jacobean dramatist's delineation of a horoscope involves such astrological technicalities that he and his audience must have fully appreciated the various manifestations of horoscopy. Such is the case in John Webster's The Duchess of Malfi. My purpose in this paper is to present an adequate explanation of the horoscope employed at one of the critical moments in this play.
Romanticism and Synaesthesia: A Comparative Study of Sense Transfer in Keats and Byron
Authors: de Ullmann Stephen
Published: February 2007

In his correspondence, Keats refers more than once to the difference between himself and Byron. In a letter to Charles Wentworth Dilke, dated September 21, 1818, he distinguishes jokingly between: “1. superfine rich or noble poets—ut Byron. 2. common ut egomet—.” A few months later, on February 18th, 1819, he tells George and Georgiana Keats: “Lord Byron cuts a figure—but he is not figurative—Shakspeare led a life of Allegory: his works are the comments on it—.” Perhaps one might better read “Keats,” or at least “Keats as he liked to picture himself,” instead of “Shakespeare.” Just seven months later, in a letter written on September 18th of the same year to the same recipients, there occurs the celebrated, and utterly unconvincing, axiom: “You speak of Lord Byron and me—There is this great difference between us. He describes what he sees—I describe what I imagine. Mine is the hardest task. You see the immense difference.”
Retrospect and Prospect
Authors: Robinson Fred Norris
Published: February 2007

Like my predecessors on this annual occasion, I have had to make a choice between offering you a paper on a subject in my special field of study or discussing some of the general professional problems that concern us all. Other presidents have settled this question in different ways. In the somewhat similar period after the first World War, I remember, President Armstrong told us that our proper course as scholars was to cultiver nos jardins, and it might have been wisest for me this evening to have undertaken some intensive horticulture in the Celtic or mediaeval field. But I have myself been so pre-occupied with the present situation in humanistic education and research, the subject has been so constantly forced upon my attention in my reading and in my association with other scholars, that I have found it hard not to discuss the matter here. After all, the political and economic upheaval of the war has been accompanied by a disturbance hardly less profound in the republic of letters and learning. The time seems to call for a kind of speech from the throne. And though we have no throne or monarch—only a very transitory president—I am going to ask you to listen to a few considerations on the “state of the realm.”
Lucan and the Antiquitez de Rome
Authors: McMinn Chambers Frank
Published: February 2007

In his excellent study of the Latin and Italian sources of Joachim du Bellay's Antiquitez de Rome, M. Joseph Vianey indicates a number of passages that derive in some way from Lucan's Pharsalia. To the best of my knowledge, no one has pointed out any further borrowings, or made any kind of detailed study of du Bellay's debt to Lucan, which is, however, considerably more extensive than M. Vianey's mentions would lead one to believe. In this paper, therefore, I propose to quote all those passages in the two works which are so similar in expression or in thought as to suggest that du Bellay had Lucan in mind, or actually before him, when he wrote the Antiquitez. After this comparison of details, it will perhaps be possible to show that du Bellay owed to Lucan something much more important than these imitations and translations.
Significado y Forma de “Misericordia”
Authors: Casalduero Joaquín
Published: February 2007

Argumento. La viuda del Intendente del Ejército, Don Antonio María Zapata, Doña Francisca Juárez, a causa de su despilfarro e incapacidad administrativa cae en la mayor miseria, y si puede continuar viviendo es gracias a su antigua criada Benigna, que pidiendo limosna mantiene a su señora. Pero después de unos años de terrible pobreza, ella y sus hijos Antonio y Obdulia heredan una fortuna, la cual no podrán malgastar, porque Juliana, la mjuer de Antonio, persona muy decidida, de mucho carácter y muy capaz, se encarga de dirigir todos los asuntos familares. Entre los numerosos personajes de la novela, conviene nombrar todavía a dos: el ciego Almudena, mendigo y amigo de la criada Benigna, y el cura D. Romualdo, que es uno de los que dan la noticia de la herencia a Doña Francisca.
The Processus Talentorum (Towneley XXIV)
Authors: Frampton Mendel G.
Published: February 2007

One of the most interesting of the plays in the Towneley manuscript is the Processus Talentorum, Play XXIV. The central theme of the play, the gambling for Christ's coat, is present in all the gospels, in the Northern Passion, and in all the extant mystery play cycles. In the Towneley manuscript only, however, has a play come down to us devoted wholly to the theme. It is my purpose here to seek the probable steps by which this play arrived at its present state, to resolve so far as I can its stanzaic confusions, to study its possible relations to York, and to arrive at the probable date of its original composition and subsequent editings.
The Cult of the Poet in Renaissance Emblem Literature
Authors: Clements Robert J.
Published: February 2007

Quid petitur sacris nisi tantum fama poetis?“ inquired Boissard as a representative sixteenth-century man of letters. That he cribbed the wording of his question from Ovid merely makes him a more typically Renaissance author. Like other literary theorists of the period, the emblematists—those essayists in prose and verse who reached such a vast public in the sixteenth and early seventeenth centuries—subscribed to the contention that the great poet achieves renown and immortality through his works. The emblematists frequently chose engravings or woodcuts containing symbols of glory, affixed brief titles or ”posies“ to these cuts, and then subjoined thereto essays or poems developing the theme of literary glory suggested by the plate. The accompanying reproduction from Peacham's Minerva Britanna (note 23) will acquaint the reader with a typical page from an emblem-book. Of all the literary notions encountered in emblem-books, this belief that the Muse saves poets from ignominy and death is the most frequent. It is the basic idea underlying the classic cult of poetic glory, the one cult shared by classic and Romanticist alike. It is interesting to see reappearing in every language of Western Europe the gratifying thought that authors win eternal life and kudos through their compositions. It strikes a most familiar note when we encounter it phrased in Renaissance Latin, for we remember reading it over and over in classic Latin texts.
The Sheffield Flood: A Critical Study of Charles Reade's Fiction
Authors: Burns Wayne
Published: February 2007

Malcolm El Win'S treatment of Charles Reade's documentary method is for the most part sound, yet his suggested sources for the “flood scenes” of Put Yourself in His Place (1870) are incomplete and misleading. While he is correct in saying that Reade “enacted his principal researches at Sheffield”, and that “the scene of the novel [Sheffield] is thinly disguised under the name of Hillsborough”, he is wrong in assuming that Reade derived his “flood scenes” from the materials included in one of his notebooks.
André Gide Et La Normandie
Authors: Canu Par Jean
Published: February 2007

S'il est un esprit universel parmi les écrivains français d'aujourd'hui, et qui ait consacré sa vie à la recherche de lui-même, et à travers lui à la recherche de la nature humaine de tous les temps et de tous les pays, c'est bien André Gide. Il ne s'est jamais reconnu d'autre obligation que d'être lui-même, entièrement, complètement, sans affectation, sans réticence non plus. Ses livres, à quelque genre qu'ils appartiennent, romans, récits, mémoires, uvres dramatiques, études littéraires, sont autant d'essais de psychologie, intime et générale à la fois. A ses yeux, ce n'est pas par époques, par patries, par classes sociales, par écoles littéraires, par confessions religieuses ou philosophiques, que se distinguent et se groupent profondément les hommes, mais par familles de corps et d'esprits, par affinités instinctives encore plus qu'électives. Aucune place, semble-t-il, dans sa conception de la vie comme dans l'ensemble de son uvre, pour le milieu, le moment, l'hérédité, chers à Taine et à ses disciples. Bien au contraire, l'acte révélateur de la personnalité de chacun, l'acte gratuit, jaillit, éruption imprévisible, du plus secret de nous-même. Par sa critique de la notion d'influence en matière d'art, par sa négation d'une immuable et universelle essence humaine dont nous ne serions les uns et les autres, que des manifestations particulières plus ou moins semblables, André Gide apparaît à juste titre comme un précurseur du surréalisme, de l'existentialisme, des systèmes qui proclament l'indépendance complète de l'homme, et particulièrement de l'écrivain créateur. N'est-il pas ridicule de prétendre associer l'individualiste le plus forcené, l'être le plus protéiforme de notre temps, à une quelconque fraction de la France ou même de la planète? Qui ne se rappelle, au surplus, la boutade fameuse de l'article de L'Ermitage: “Né à Paris, d'un père Uzétien et d'une mère Normande, où voulez-vous, Monsieur Barrés, que je m'enracine?
Satan: The Dramatic Rôle of Evil
Authors: Stein Arnold
Published: February 2007

One need not choose between Satan's being a tragic hero or an absurd villain. Either extreme stamps us as a more restricted moralist than Milton the poet. For then we are less able than Milton to admit the test of contradiction into the moral universe of our art. If Satan is a tragic hero, it is because we are not honestly willing to test good by evil. If Satan is merely an absurd villain, it is because we wish to ground our art upon too narrow a certainty; it is because we prefer the idea, and the confirmation of our certainty, to the more comprehensive, and therefore more daring, exploration of human experience—the submitting of an idea to a dramatic structure. If Satan is merely absurd, then we are not willing, though Milton is, to test evil by good.
Flowerets and Sounding Seas: A Study in the Affective Structure of Lycidas
Authors: Shumaker Wayne
Published: February 2007

More insistently, perhaps, than any other poem in English, Lycidas raises the purely aesthetic problem of how the emotions may be stirred by lines which at first are much less than perspicuous to the intellect and even after many readings remain obscure at two or three points. Johnson's attack to one side, Lycidas has received all but universal praise, couched often in language so high-pitched that it absorbs easily adjectives like “exquisite,” “thrilling,” “tremendous,” and. “supreme.” Why is the emotional impact so powerful? A reply must be sought (I think) in the affective connotations of words, phrases, and images in formal combination; and it is worth finding because if in one of its aspects literature is history, in another, and not unimportant, aspect it is immediate experience.
New Letters from Mrs. Browning to Isa Blagden
Authors: Mcaleer Edward C.
Published: February 2007

When the Browning collections were sold in 1913, the sale catalogue listed about 140 letters from Browning and “upwards of one hundred letters” from Mrs. Browning to Miss Isa Blagden, “perhaps the Brownings' most intimate friend in Florence.” According to the copy of the catalogue in the University of Tennessee Library, these letters were sold to Fairfax Murray for 360. The letters from Browning have been accounted for and published, but the greater part of those from Mrs. Browning are now missing. Sir Frederic Kenyon included twenty-five of these in his Letters of Elizabeth Barrett Browning (1897), although he omitted passages from these letters and indicated his omissions with ellipses. Sir Frederic has called my attention to the typescript which he prepared for his edition and later deposited in the British Museum (Add. MSS. 42229–31). The typescript contains the omitted passages and, in addition, nine unpublished letters from Mrs. Browning to Miss Blagden. The nine unpublished letters and two of the omitted passages are here presented.
The Structure of Rasselas
Authors: Kolb Gwin J.
Published: February 2007

In beginning a discussion of the structure of Rasselas one need not spend much time clearing the ground of previous arguments before advancing one's own. What the new commentator must face—and this is perhaps more disturbing than arguments would be—is the almost universal opinion that Rasselas has only the slightest structure and that the little it does have results from Johnson's not too successful effort to write an ordinary novel or “oriental tale.” The narrative is “episodic,” unimportant, dull, say some critics; the ending concludes nothing, the work merely stops. The action—and some of the characters —say others, lack dramatic power. At the same time that they thus observe, either directly or indirectly, the tale's failure to conform to their notions of what the structure should be, most commentators recognize a fundamental difference between Johnson's piece and those works in the light of which they attempt to judge Rasselas. Wishing to make the difference clear and to do justice to what they feel is a manifest accomplishment, they praise the wisdom set forth in the book and the skill and power displayed in individual chapters.
Lord Byron and Count Alborghetti
Authors: Marchand Leslie A.
Published: February 2007

When Byron entered Ravenna for the first time on June 10, 1819, roiling up to the Porta Sisi in his heavy Napoleonic carriage, he was weary from the long journey across the flat Romagna plain and distraught by conflicting emotions concerning his liaison with the young Countess Teresa Guiccioli.1 Only a short while out of a convent and married to a man three times her age, she was highly impressionable and her emotions had been quickly engaged by the handsome and diffident English poet whom she had met at a conversazione in Venice in April. Indeed Byron and the Countess had arranged their affair so well that not only was the sixty-year-old husband cuckolded, but, much more surprising to Byron, he and Teresa had formed a sincere mutual attachment. Now that Count Guiccioli, reputed to be the wealthiest man in the Romagna, had carried his wife back to his palace in Ravenna, Byron, reflecting on this new love that had come so suddenly, found it a little disconcerting. Having had his emotions involved so often where his mind could not give full assent, he could not at first adjust himself to the idea—though he felt it deeply enough—that this affair was different. So that when Teresa wrote that she was ill and urgently requested him to come, he hesitated and delayed, not so much from fear of a stiletto in his back (though he dramatized that possibility in his letters to his friends—-and it was a real one so far as he knew) as from reluctance to subside into a regular cavalier servente. Writing to Hob-house on May 17, 1819, he said:
Notes on Some Interrelations between the Latin and English Texts of the Ancrene Riwle
Authors: D'Evelyn Charlotte
Published: February 2007

In his notable article on the Ancrene Riwle, Macaulay made the first attempt to classify the English MSS on the basis of their readings.1He divided them into two groups: (1) BVP, which share a number of additions, and (2) CTNG, in which these additions do not occur or occur only by insertion in a different hand. The “additions” of B, as Macaulay himself notes, are so-called only with reference to the currently known text of N. But he evidently regards them as additions also with reference to the original text; for after discussing in detail inconsistencies between B and the other group of MSS in two of these passages, he adds (p. 151) :

Considering this, and also the unanimity with which the whole number of passages is rejected by the other thirteenth century manuscripts, so far as their original texts are concerned, I am disposed to think that they may be regarded as interpolations generally, and that we must assume that CTNG, though much inferior in general correctness of text to B, yet represent a more original form in this respect.
Fanny Burney and the Courtesy Books
Authors: Hemlow Joyce
Published: February 2007

Fanny Burney's diaries and the reading lists to be found in her unpublished notebooks and memorandum books yield many references to the courtesy writers and to the courtesy books and allied works widely read in her age. The date of Lord Chesterfield's Letters to his Son, often taken as the culminating point in studies of the courtesy literature for men, marks the beginning of an accelerated production of courtesy books for women. In 1759 Thomas Marriott, the author of Female Conduct, was rejoicing that “such an agreeable Theme” should have been so long reserved for him. As far as he could remember, “very few [had] touched this Subject in Prose, and None in Verse” to any appreciable length before him, so that he was able to appropriate, as he thought, an uncultivated “Spot of Ground in Parnassus.”1 In the following decades, however, the problem of the conduct of the young lady was investigated so thoroughly that the lifetime of Fanny Burney, or more accurately the years 1760–1820, which saw also the rise of the novel of manners, might be called the age of courtesy books for women.
Gothic Romance in the Magazines
Authors: Mayo Robert D.
Published: February 2007

The bibliographers of Gothic fiction have almost entirely overlooked the literature of the periodicals from 1770–1820, although they were one of the important channels of publication and afford many examples of the species. Montague Summers' so-called Gothic Bibliography, in most respects recklessly inclusive, lists only two romances from the Lady's Monthly Museum out of more than a dozen published there, and one from the Monthly Mirror, but otherwise ignores the numerous Gothic novels, novelettes, and short stories which figure in the magazines between The Romance of the Forest (1791) and Waverley (1814) -1 Jakob Brauchli lists 491 examples of English schauerromane published between 1764 and 1851—many of them known only by title— but takes no account whatsoever of periodical fiction.2 Yet the magazine literature of Gothicism is considerable, and in some respects distinctive; and much of it, although at present unknown, is more readily available in American libraries than the volumes issued by the Minerva Press. With research a hundred titles of Gothic novels and short stories could probably be added to Brauchli's 491, from the magazines alone. The great majority of these are unlisted anywhere.
Lessing's Attitude Toward Storm and Stress
Authors: Vail Curtis C. D.
Published: February 2007

It seems strikingly modern on the one hand to seek elements of individualism and irrationalism in Lessing, and thus to view him as a precursor of the Storm and Stress movement, while at the same time pointing up how great a revolt from the rationalist Lessing this new generation constitutes.1 Actually, as Annemarie Sauerlander has pointed out to me, James Russell Lowell in 1867, writing a review of Stahr's work on Lessing, stated that Lessing “may be said to have begun the revolt from pseudo-classicism in poetry, and to have been thus unconsciously the founder of romanticism”, but he immediately added: “It may be doubted whether the immediate effect on literature of his own critical essays was so great as Herr Stahr supposes. Surely Gölz and The Robbers are nothing like what he would have called Shakespearean, and the whole Sturm und Drang tendency would have roused in him nothing but antipathy.”2 The standard biographies of Lessing, such as Danzel-Guhrauer, Erich Schmidt, and Oehlke, have tended to enlarge on the chasm separating Lessing from Storm and Stress, while some monographs and more general works3 have emphasized evolution, rather than revolution, as the dynamic force operative on German literature, at least throughout the eighteenth century.4
Galdôs' Attitude Towards Spain as Seen in the Characters of Fortunata Y Jacinta
Authors: Kirsner Robert
Published: February 2007

Galdós' sympathetic resignation to the shortcomings of Spain, already manifested in El Amigo Manso (1882), is artistically expressed in Fortunata y Jacinta (1886–87). No longer preoccupied with censuring social customs or rationalizing contemporary conditions as he had been in his early novels, published from 1870 to 1882, the author imparts his positive view of Spain through the creation of characters who belong to all strata of society. Spain is not envisaged as a divided nation where classes are pitted against each other, but rather as one which embraces heterogeneous groups and individuals. The lives of the characters are not interwoven as a result of superimposed conditions, but because of their intimate problems. Love is the driving force which causes the juxtaposition of their destinies.