bluuebunny/crossref_metadata_2025 huggingface dataset:
A Chateaubriand Rarity
Authors: Schaffer Aaron
Published: February 2007

The libary of John H. Wrenn, acquired by The University of Texas, contains an editio princeps which would seem to be of some importance to students of the history of French literature. The work in question is listed in the Catalogue of the Wrenn library, as follows:

Chateaubriand, Vicomte de: Maison de France, ou Recueil de Pièces Relatives à la Légitimité et à la Famille Royale. Par M. le Vicomte de Chateaubriand, Pair de France. Tome Premier (Tome Second), Paris, Le Normant Père, Libraire, Rue de Seine No. 8, Faubourg Saint-Germain, 1825.
The Significance of Shaftesbury in English Speculation
Authors: Alderman William E.
Published: February 2007

It has been repeatedly pointed out that Shaftesbury derived many, if not the most, of his philosophical ideas from his immediate and more remote predecessors. Nevertheless, the recognition of this fact does not detract from the originality and power of Shaftesbury himself. The ideas gleaned from a wide reading and companionship passed through the medium of his keen and generous mind and emerged a new intellectual compound.
The Origin of the Weaving Songs and the Theme of the Girl at the Fountain
Authors: Lewis Charles Bertram
Published: February 2007

The poems called in this study Weaving Songs were in ancient times also known as History Songs, for the first name applied to them was Chansons d'istoire; then, a little later apparently, they were called Chansons de toile or Weaving Songs. By modern critics they have also been termed Romances but this name is not altogether satisfactory. If one glances through the critical edition of these poems published by Karl Bartsch under the title Romanzen und Pastourellen one finds that the Weaving Songs are mixed up with other poems under the loose title of Romanzen. The term Romance, in use since the days of Grimm and Fauriel but first made popular by the collection of old French poems published by Paulin Paris under the title of Le Romancero français, was borrowed from the Spanish towards the end of the eighteenth century and then it designated, as it does still today, poems of historical content like our English Ballads. If the term was suitable enough during the Romantic period when the Romancero appeared, it is a source of dangerous confusion nowadays when the same term is applied to poems so widely different in nature as the Weaving Songs and, to give only one instance, the lament of the young girl in the famous poem of Marcabru, A la fontana del vergier, which is generally termed a Romance.
“In Principio”
Authors: Law Robert Adger
Published: February 2007

“For thogh a widwe hadde noght a sho,So plesaunt was his In principio,Yet wolde he have a ferthing er he wente.“Prologue to Cant. Tales, ll. 253-5.

Exactly what was the Friar's “In principio,” and why did he use it when he went to call on barefoot widows?

These questions evidently suggested themselves to Tyrwhitt, who in his epoch-making edition of the Canterbury Tales (1775), observes: “This phrase is commonly explained to refer to the Beginning of St. John's Gospel. It may also refer to the Beginning of Genesis. In an old French Romance, l'histoire des trois Maries, it seems to signify some passage in the conclusion of the Mass.”
Hamlet in France in 1663
Authors: van Roosbroeck Gustave L.
Published: February 2007

Few problems of literary history have tempted the scrutiny of historians more than the earliest influence of Shakespeare in seventeenth century France. In the works of two or three French playwrights of the period, they have caught a few dubious traces of possible inspiration from the great English dramatist; but the similitudes they cite are so vague and general that recent criticism has denied them any significance. Cyrano de Bergerac's Agrippine, for example, contains some philosophical reflexions that are reminiscent of Hamlet and of the Merchant of Venice. Recently, however, M. Jusserand has proved that the similarity between a few expressions in these plays is due to mere verbal coincidence, derived from their common ultimate source, Seneca. On the other hand, as against M. Jusserand's views, the probability of an influence of Shakespeare upon de Schélandre's Tyr et Sidon (1628) has been defended by M. Hankiss. (Mod. Lang. Notes XXXVI, p. 464.)
Additional Notes on Modern Folk Pageantry
Authors: Withington Robert
Published: February 2007

Passing mention was made in English Pageantry of the appearance of civic giants on the Continent—notably in Belgium and the North of France; and the fact that such figures as Saint Christopher of Salisbury and his European colleagues have reappeared since the recent war has been recorded in an article entitled Post-Bellum Giants. Since the publication of that paper, in Studies in Philology for January 1921, additional details concerning French and Belgian giants have come to my attention.
Tamburlaine and Marlowe
Authors: Spence Leslie
Published: February 2007

It is a widely accepted commonplace in Marlowe criticism that the character of Tamburlaine was essentially created by Marlowe himself. From this assumption it was easy to advance a step further and declare that in creating this character the dramatist was actually drawing his own spiritual portrait, so that we may accept the figure of the Tartar conqueror as a faithful expression of Marlowe's own personality. Indeed, from this point of view Tamburlaine, being free from the hampering restrictions of flesh and blood, might be regarded perhaps as more genuinely Marlowe than Marlowe in the flesh.
Thomas Middleton and the Fashion in Playmaking
Authors: Bullock Helene B.
Published: February 2007

Middleton's London comedies of his early period, 1604-1614, have, throughout the course of English dramatic criticism, inspired curiously diverse comments.

The early comedy of Middleton is as light, rancid, and entertaining as anything in Elizabethan drama. It is irresponsible rather than immoral, and does not exactly recommend, or approve of, the trickeries and debaucheries which it represents, in a life-like way, under improbable conditions. . . . . His aim is at effect, and he rarely fails in his aim. . . . .1
The Red Crosse Knight and Mediæval Demon Stories
Authors: Tuve Rosemond
Published: February 2007

Three times in Canto X of the First Book of the Faerie Queene the ‘godly aged Sire’ impresses upon Red Crosse the fact of his earthly, rather than elfin, lineage.
The Authentic Text of Titus Andronicus
Authors: Bolton Joseph S. G.
Published: February 2007

It was in 1905 that Mr. Evald Ljunggren, Librarian of Lund University, collated the newly discovered copy of the first quarto of Titus Andronicus with the quarto of 1600, and published his list of variant readings. Forty-seven of his readings involved more than mere variations in spelling and punctuation, and, of these, fifteen had been anticipated by the ingenuity of earlier scholars. One variant was a misprint, and thirty-one offered material for the consideration of the textual critic. But although these readings have been available to the scholarly world for a quarter of a century, editors have shown a marked hesitancy in introducing them into the traditional text of the play. The Neilson text, published the following year, incorporates only four, although twenty-two are listed in the notes. In the Tudor edition of 1913 Professor Elmer E. Stoll adopted as many as twenty-one, and in his notes included five others. But in the Yale Shakespeare issued in 1926, Mr. A. M. Witherspoon accepts none of the recovered variants, and in his notes leaves twenty-seven unmentioned. Basing his text almost entirely upon the First Folio, Mr. Witherspoon, I take it, assumes either that the editors of one or more of the editions following the first quarto had had access to the original Shakespearean manuscript or Shakespearean annotations, or else that Shakespeare himself did the revising.
Guillaume De Palerne: A Medieval “Best Seller”
Authors: McKeehan Irene Pettit
Published: February 2007

So many things about the Middle Ages seem strange to the modern reader that it is easy to over-emphasize the differences between the points of view and the methods of medieval and of modern writers. Especially is this true of the writers of fiction. We seldom get more than a brief glimpse of the medieval fiction-writer, specifically the author of medieval romances, actually at work; for example, when we find Chrétien de Troyes using the old book from the cathedral library at Beauvais in the composition of Cligès. Generally we have only the finished product on the one hand, and on the other hand, “sources” of various kinds, folk-tale or saga or classical story. Where the relation between the finished product and the source is close and obvious, as in such romances as Sir Amadas and Sir Isumbras, the mere identification of the source reveals the method of the writer: he found an attractive old story and retold it, adding such embellishments as his audience would probably like. Nothing could be simpler. But the writers of the more courtly and sophisticated romances were not mere redactors; they were authors, in very much the same sense as the modern novelist is an author. And like most modern novelists, they showed their inventive powers, not often in finding new material, but usually in making recombinations of old material. They sometimes had the advantage over the present would-be producer of “best sellers” in writing for specific courtly groups presided over by single leaders of taste. It was therefore relatively easy to discover what their public wanted. Thus Chrétien wrote his Chevalier de la Charrette to satisfy Marie de Champagne, though it seems not to have been exactly in accordance with his own ethical standards.
Heinrich von Kleist: Lehrjahre (1799-1801)
Authors: Howe George M.
Published: February 2007

The years 1799 to 1801 in Kleist's life may, with certain reservations, be characterized as Lehrjahre. In the early spring of 1799, at latest, his resolve to leave the army was definitely established. Before the end of the year 1801 the Wanderjahre had begun with work on Die Familie Schroffenstein. The period includes Kleist's betrothal with Wilhelmine von Zenge, his time of study in Frankfurt an der Oder and in Berlin up to and including his Zusammenbruch über Kant—or Fichte, the much discussed trip to Würzburg, the poet's conflict within himself and with his family concerning his right to reject a civil office, and the more or less voluntary trip with his sister Ulrike to Paris. Then came his final break with the past, and the synchronous break with Wilhelmine, when Kleist fled, we may say without exaggeration, to Switzerland, ostensibly to become a peasant. He became a poet.
The Historical Background of fergus and Galiene
Authors: Schlauch Margaret
Published: February 2007

The French romance of Fergus and Galielle, composed in the first 'quarter of the thirteenth century, is a conventional piece of Arthurian narrative, which has received comparatively little attention from scholars. The episodes of the poem in themselves contain little indeed that is not over-familiar to readers of romances dealing with the matter of Brittany: giants, robbers, and lawless knights to be conquered; a difficult quest; outspoken maidens; a tournament for the selection of a likely husband; dwarfs and a magic spring and the inevitable mockery by Sir Kay. But what does give unusual interest to this romance is the fact, pointed out first by Martin in his edition in 1872, that the scene of the action is indubitably Scotland, described by one who must have known it at first-hand, and that among the characters who appear in this faery setting, two at least were Scottish chiefs of the twelfth century. Although the evidence already cited by Martin is sufficient to prove these general conclusions, his material was drawn entirely from secondary sources, which afford only brief, general statements about the persons involved. The possibility of augmenting this evidence by material from primary sources has hitherto been neglected.
Had Dante Read the Politics of Aristotle?
Authors: Gilbert Allan H.
Published: February 2007

In his prose writings Dante refers to the Politics of Aristotle in such a way as to make natural the assumption that he was well-acquainted with the work. Further examination, however, suggests that this opinion has but a slight foundation; in fact, it is not impossible that Dante never saw a manuscript of the Politics.
A Source for Spenser's Story of Timias and Belphebe
Authors: Crane Clara W.
Published: February 2007

It seems incredible that the analogues and sources for the “gentle bird” of reconciliation between Timias and Belphebe in the Faerie Queene (Bk. IV, 8, 3-12)—one of the loveliest guiding beasts in literature—should have escaped investigation. But, though a few scattered notes have been published on the passage in question, no one, so far as I am aware, has yet pointed out a satisfactory source or parallel.
Arthur Gorges, Spenser's Alcyon and Ralegh's Friend
Authors: Sandison Helen Estabrook
Published: February 2007

Daphnaida. An Elegie vpon the death of the noble and vertuous Douglas Howard, Daughter and heire of Henry Lord Howard, Viscount Byndon, and wife of Arthure Gorges Esquier. Dedicated to the Right honorable the Lady Helena, Marquesse of Northampton. (Title to the Daphnaida.)
Some Observations on Christopher Marlowe, Government Agent
Authors: Gray Austin K.
Published: February 2007

The following paper, as its title implies, does no more than make a few observations upon Marlowe's possible life as a Government Agent. In other words, it does not set out to prove any point, for the simple reason that probably we shall never find out anything for certain in the life of Marlowe as a spy, or in the life of any other spy, the doings of such people being, in the nature of the case, “wrop in a mistry.”
Shakespere's Purpose in Timon of Athens
Authors: Wecter Dixon
Published: February 2007

Two conflicting theories regarding the composition of Timon of Athens have been expounded for many years. The first, argued notably by Professor Delius, asserts that the Folio text represents Shakespere's partial revision of an uninspired old play; the second, espoused by Mr. Fleay and elaborated in recent years by Dr. E. H. Wright, assumes that the play is an unfinished draft by Shakespere filled out by later literary hack-work. The latter theory at present receives more general favour; nevertheless in 1923 Mr. Dugdale Sykes in Notes and Queries, after calling attention to certain internal relationships in the play, has attempted to revive the earlier explanation.
Campion's Art of English Poesie and Middleton's Chaste Maid in Cheapside
Authors: Buckingham Elisabeth Lee
Published: February 2007

The study of certain metrical problems brought me recently to examine more carefully than hitherto Campion's Observations in the Art of English Poesie. In illustrating his points regarding verse writing Campion, it will be recalled, makes use of “diuerse light poems” of his own, and in Chapter vi, devoted to “English Trochaick verse,” he includes one entitled The eight Epigramme. While reading this I was teased by the impression of having heard the scandal there related somewhere else in one of the dramas of the time, but it was not until I had canvassed a large number of Elizabethan plots that the christening scene in A Chaste Maid in Cheapide came to mind.
Voltaire and Peter Annet's Life of David
Authors: Torrey Norman L.
Published: February 2007

In the history of the interplay of English and French liberal thought in the eighteenth century, too much attention has been given to the supposed influence of such well-known deists as Bolingbroke and Toland, much too little to Voltaire's definite and direct borrowings from the radical and late deist, Peter Annet, whose method and style were more closely akin to Voltaire's own than were those of any other English deist. Although Voltaire was well acquainted with, and influenced by, certain of Annet's earlier tracts, especially his History of Saint Paul, it is from his Lift of David, the Man after God's own Heart, apparently more than from any other treatise from across the channel, that Voltaire borrowed directly in spirit and in detail, and translated faithfully whatever passages suited his needs. In this work, he found practically all the material for his frequent and varied animadversions on David from the beginning to the end of his Biblical criticism. Indeed, study of his use of Annet's Life of David throws light upon the extent, the nature, and the moment of the influence of the English deistic movement on Voltaire's attacks on the established religion.
The Eclecticism of Rabelais
Authors: Clement N. H.
Published: February 2007

Among the writers who express for all countries and time the thoughts, aspirations, and temper of their age is Rabelais. In his day many fundamental questions were mooted. The sixteenth century debated ever and again these among others: the nature and immortality of the soul, the eternity of the world, miracles, God, Nature, Providence, Destiny. On all these questions Rabelais expressed himself, at times enigmatically, it is true, but in a form that has outlived the treatises of the professional philosophers and theologians of the period, of a Pomponazzi, a Vicomercato, a Cardan, a Bodin, and even a Calvin.
The Kinship of Heinrich von Kleist and Otto Ludwig
Authors: Silz Walter
Published: February 2007

An even half-century ago, Moritz Heydrich, in giving to the world the posthumous writings of Otto Ludwig, expressed his belief that Ludwig was more closely akin to Heinrich von Kleist than to any other German dramatist, and that this kinship was based principally on an inner relationship of both poets to the German “Sturm und Drang.”1 In the years that have intervened, no one has proceeded further than to a brief and sporadic reference in the direction suggested by Heydrich. And yet Ludwig, no less than Hebbel,2 may claim poetic consanguinity with Kleist; if Hebbel is primarily the heir and continuator of Kleist's dramatic art,3 Ludwig may be said to share with Kleist a tragic idiosyncrasy of genius. In the internal as well as the external fate of their lives, they represent a phase of the tragedy of greatness which has been described as peculiarly German.
The Indebtedness of Oliver Twist to Defoe's History of the Devil
Authors: Law Marie Hamilton
Published: February 2007

In no other novel of Dickens is there presented so sinister a picture of evil as in Oliver Twist. It was Dickens' first and last excursion into that underworld which he describes with such psychological truth and objective unreality. His other novels do, indeed, contain villains and murderers but they become less and less melodramatic and more realistic until we have a Mademoiselle Hortense and Julius Slinkton drawn from life. The prototype of Fagin in Oliver Twist may have been Ikey Solomons, a celebrated fence of Dickens' own day. Had Dickens followed the same method in depicting Solomons as he used in drawing Mrs. Manning, the original of Mademoiselle Hortense, the result would have been a realistic presentation of a criminal. But he has invested Fagin, Bill Sikes, the Artful Dodger, and their companions in crime, with a quality of horror which Mr. Pugh says lends them “something of the hectic effect of leering, grinning devils in red torment. Fagin, the arch-devil, though he is limned in the fewest possible words, stands forth lurid and malignant as the figure of Satan in medieval pageantry.”1 It is this satanic quality which particulary distinguishes the villains in Oliver Twist from those in Dickens' other works.
A Newly Discovered American Sonnet Sequence
Authors: Bradley Edward S.
Published: February 2007

The American sonnet before the Civil War is not a rich field. Few of our literary men had written in this difficult and conventional form. Some, like James Gates Percival and William G. Simms, wrote poems of fourteen lines in such eccentric variations as to defy classification. A few, like Jones Very or Park Benjamin, hid an occasional fine sonnet among numerous negligible ones. Some, like David Humphreys and Washington Allston, achieved mere mixed echoes of English originals. Among the major poets before the War, Bryant wrote five and Lowell twenty-seven sonnets. Longfellow, whose great period of sonnet writing was yet to come, had written but nine sonnets in 1861. Compared with these poets, George Henry Boker stands alone, both for the quality and quantity of his work. By his contemporaries he was regarded as the greatest American sonnet writer. The Book of the Sonnet,1 a collection of American and English Sonnets, edited by Leigh Hunt and S. Adams Lee, is dedicated to Boker. Both in the text and introduction he is given more space than any other American. The editors' phrase, “such sonnets as those of Wordsworth in English and George Henry Boker in American literature” indicates the height of his contemporary reputation. The Philadelphia Press, December 22, 1881, tells the story of Boker's confusion, when as a young man, he attended a dinner addressed by Daniel Webster, who, in the midst of his discourse, acknowledged Boker's presence and recited his beautiful “Lear and Cordelia” from start to finish, to illustrate a point.
Before Areopagitica
Authors: Haller William
Published: February 2007

The principle of religious freedom is declared by Masson to have been the precious fruit of the successive persecutions which attended the fission of English protestantism into sects more and more removed from Rome. He believes that the more each protesting body suffered from intolerance the more tolerant it became, that the more it was forced to contend for liberty for itself the more nearly it approached the conception of liberty for all, with the result that the implied principle was finally by the ultimate dissenters extricated from all the pain of cumulative persecution and kindled, as it were, “on the top of a light-house, on its own account.” To Milton, briefly anticipated by Roger Williams, Masson gives chief credit for enunciating this ideal of freedom as an end in itself. When other men argued for liberty, it was always a liberty with some limitation, liberty of such kind and degree as would suit some ulterior interest. When Milton spoke, it was to clarion forth a liberty pure, absolute, entire.
Wordsworth and Keats—A Study in Personal and Critical Impression
Authors: Thorpe Clarence D.
Published: February 2007

So far as we know, Wordsworth never bothered himself enough with Keats to write a line about him. The best evidence we have as to his attitude toward his youthful contemporary is in the testimony of Lord Houghton and Benjamin Haydon. Lord Houghton relates that when at Haydon's “the younger poet had been induced to repeat to the elder the fine ‘Hymn to Pan’ out of Endymion …. Wordsworth only remarked, ‘it was a pretty piece of Paganism.‘”
New Light on the Evidence for Swift's Marriage
Authors: Hearsey Marguerite
Published: February 2007

Since 1893, when Churton Collins published his biography of Swift, the question as to whether or not Swift was married to Stella has been practically closed. Collins disposed of the matter in the following definitive fashion:

The evidence on which Monck-Berkeley chiefly relied was not that of Mrs. Hearne. “I was,” he says, “informed by the relict of Bishop Berkeley that her husband had assured her of the truth of Swift's marriage, as the Bishop of Clogher who had performed the ceremony had himself communicated the circumstance to him.” If this could be depended upon, it would, of course, settle the question; but unfortunately for Monck-Berkeley, and for Monck-Berkeley's adherents, it can be conclusively proved that no such communication could have taken place. In 1715, a year before the supposed marriage was solemnized, Berkeley was in Italy, where he remained till 1721. Between 1716 and 1717 it is certain that the Bishop of Clogher never left Ireland, and at the end of 1717 he died.1
Die Doppeldrucke Der Wielandausgabe Letzter Hand
Authors: Kurrelmeyer W.
Published: February 2007

In meiner Abhandlung, Die Doppeldrucke in ihrer Bedeutung für die Textgeschichte von Wielands Werken, habe ich nachgewiesen, dasz von den verschiedenen Bänden der Wielandschen Oktav-Ausgabe letzter Hand, Leipzig 1794 ff., je drei bis sechs Drucke vorliegen, die zum Teil nicht im angeblichen Erscheinungsjahre, sondern erst später veranstaltet wurden. Diese dem Dichter gänzlich unbekannten Doppeldrucke legen nicht nur ein beredtes Zeugnis ab für Wielands Beliebtheit bei seinen Zeitgenossen— ihre Feststellung und Absonderung von dem echten Originaldrucke ist höchst wichtig für die Geschichte des Textes. Ich habe damals schon die überzeugung ausgesprochen, dasz sich im Laufe der Zeit noch weitere Drucke entdecken würden: an dieser Stelle sollen nun die seither entdeckten Doppeldrucke beschrieben und eingereiht werden. Sämtliche Exemplare sind in meinem Besitz.
The Faerie Queene in Masque at the Gray's Inn Revels
Authors: Albright Evelyn May
Published: February 2007

It has long been believed that, before Part I of The Faerie Queene was published (in 1590) portions of Books I and II had been seen by Fraunce, Peele, and Marlowe. It is known that Gabriel Harvey had manuscript of The Faerie Queene for criticism before April, 1580; that Raleigh in Ireland and Queen Elizabeth in London passed judgment on some part of the first division before it was put into print; and that a circle of Lodowick Bryskett's friends near Dublin heard Spenser tell his plans for the whole work and also saw “some parcels” of it.
II. The Lyric Innovations of Giovanni Della Casa
Authors: Bullock Walter L.
Published: February 2007

Of Della Casa's life (1503-1556), little need here be said. Brought up in Florence and educated at Bologna, at first he showed, though a keen student, more interest in the amusements than in the serious things of life. In his middle twenties he went to Rome, where he continued his study of the classics and developed still further his aptitude for gaiety. A taste for high life and for classic study led inevitably to the church: at the age of thirty-one he definitely embarked on an ecclesiastical career, held various offices and commissions under different popes, and divided his time between Venice, Florence, and Rome. Towards the end of his life he became secretary of state to Paul IV, but was never made a cardinal. He was always interested in letters, was a member of various academies both gay and learned, and wrote much both in Latin and Italian, prose and verse.
IX. Emerson on Wordsworth
Authors: Moore John Brooks
Published: February 2007

The relationship between Emerson and Wordsworth, or rather the influence of Wordsworth upon Emerson, needs to be defined. There is a nebulous impression of close kinship between the two, particularly in their views concerning nature. Since Wordsworth's more original and potent verse had been written before 1820, while Emerson's earliest significant address was delivered in 1837 and his earliest significant essay was printed in 1836, we are apt to assume that Wordsworth exerted an important influence upon the young Emerson in the 1830's. The assumption does not appear to be well founded as I shall attempt to demonstrate. During the years that followed his first efforts, Emerson's attitude grew successively friendly, enthusiastic, confident toward the Wordsworth he had formerly found interesting but blundering, admirable in intention but ludicrously incapable. It is not difficult to mark the very year in which the transition from very considerable disapproval to almost unbroken approval was completed.
Claude Fauchet and his Library
Authors: Holmes Urban T. , Radoff Maurice L.
Published: February 2007

Gröber, in his history of Romance philology, recognizes Fauchet as the man who founded the study of mediaeval French literature “soweit es die ihm zugänglichen Hss. gestatteten.” England had to wait another two hundred years till Sharon Turner did her a like service with his History of England from the Earliest Period to the Norman Conquest (1795-1805). Fauchet was also a political historian of the mediaeval period, but in this field he had an illustrious predecessor, in the person of Jean Dutillet (d. 1570), lawyer and secretary to Henry II of France. This able man was commissioned by his king to investigate the trésor des chartres; the result was a six-volume report, La France ancienne, du gouvernement des trois estats en l'ordre de la justice de France avec les changements qui sont arrivés. This is the first modern history of a mediaeval period (the Capetian dynasty), and Dutillet followed it with treatises on the Albigensian Crusade and the Gallican Church, which were published after his death. Fauchet, following in Dutillet's footsteps, but on his own initiative, took as his province the first two dynasties of France. Before taking up the subject of his library it may be well to summarize what is known of Fauchet's life and work.
A New Examination of the Manuscript of the Towneley Plays
Authors: Wann Louis
Published: February 2007

The purchase in 1922 by the late Mr. Henry E. Huntington of the unique manuscript of the Towneley plays has given permanent domicile in the beautiful Huntington Library and Art Gallery at San Marino, California, to an invaluable document that has passed through many hands during the past century and a quarter. In its new home this document has become accessible for fresh study to many American scholars who had never before been privileged to see it.
Edmund Waller as a Member of the Royal Society
Authors: Lloyd Claude
Published: February 2007

Toone who has followed the growth of the scientific movement in England toward the middle of the seventeenth century and the organization of the Royal Society in 1661, Edmund Waller's appearance as a charter member of the Society is no surprise. His association, while still a young man, with Lucius Cary and his philosophical friends at Great Tew placed him early in the main current of liberal thought in religion and politics which, interrupted by the outbreak of civil war, was turned aside into scientific channels. Though less intelligent and courageous than Cary and Edward Hyde, for example, Waller ran a parliamentary course which, with all his vacillation, was roughly parallel to theirs. Expelled from the House of Commons, fined and banished from England, though he was reconciled to Parliament, was made a commissioner of trade and wrote his “Panegyric to my Lord Protector” on Cromwell's death in 1658, he was taken as a sincere enough royalist when he greeted the King with a similar ode on his return two years later. That Waller was a royalist counted in his favor when it came to choosing members of the Society who were not particularly interested in science; for the scientific movement itself, carried on under the Commonwealth in informal meetings largely by mild parliamentarians and a few equally mild royalists who had managed to remain in England, became royalist in its temper so far as the honorary membership was concerned upon its incorporation as the Royal Society. At that time, problems of organization and administration were paramount, while science itself was far from technical, embracing the arts and touching language and literature themselves. The founders of the Society, therefore, solicited members from all “Religions, Countries, and Professions of Life” that they might not fall short of the “largeness of their own declarations.” That Waller was a poet in some favor at court, then, was reason enough in itself for his becoming a member of the Royal Society.
In Defense of Melchior Grimm
Authors: Jones Anne Cutting
Published: February 2007

In the first chapter of L'Influence Allemande en France, M. Reynaud states that Germany, in the early eighteenth century, being dissatisfied with the indifference with which France viewed her literature, determined to send out propagandists to take up the campaign. In his opinion the instigator of this battle for recognition was Gottsched.
The Authorship of a Review of Lessing's Miss Sara Sampson
Authors: Nolte Fred O.
Published: February 2007

In the Journal Étranger, December, 1761, appeared an anonymous review of Lessing's Miss Sara Sampson which, since the middle of the last century, has been the subject of recurrent conjectures. Discussion has confined itself for the most part to the question whether or not this review was written by Diderot, to whom, in turn, it has been categorically assigned, tentatively imputed, categorically denied, and re-imputed. However, although the question has attracted, more or less incidentally, the attention of various prominent critics, no one, as far as I have been able to determine, has undertaken to investigate the available evidence. Following is a brief bibliographical survey of the discussion.
British Republication of American Writings, 1783-1833
Authors: Cairns William B.
Published: February 2007

The student of Anglo-American literary relations in the later eighteenth and early nineteenth centuries is continually impressed by the number and kind of American books printed or reprinted in Great Britain. A full knowledge of the facts of such publication would almost certainly throw light on the whole matter of the reception of American writings in England. From what market did the publisher receive, or hope to receive, his return? What sorts of English readers bought the different classes of works? Or were the reprints sometimes sent back to compete with the American issues? Do periods in which there were many such reprints indicate waves of interest in things American, or merely that more American works offered themselves for republication at certain times?
St. Cecilia's Garlands and Their Roman Origin
Authors: Tatlock John S. P.
Published: February 2007

In Jacobus de Voragine's Legenda Aurea and its derivative, Chaucer's Second Nun's Tale, crowns of lilies and roses are brought by an angel to the future martyrs Cecilia and her husband after she has converted him to Christianity and continence. The usual symbolism of the flowers has been settled by Messrs. Holthausen and Lowes as being chastity and martyrdom; and Mr. Emerson found the earliest occurrence, so far, of them and their symbolism in an authentic work of St. Ambrose. But there was no ground for asserting the original source to be here. Nor is it the Proper Preface for St. Cecilia's day in the Ambrosian missal, from which both legends make a long quotation; the Proper Preface merely reflects some earlier version of the legend, and its date can hardly be determined. Nor in the gospel of pseudo-Matthew (or “Liber de ortu B. Mariae et infantia Salvatoris”), which has been suggested as “probably the source of the whole medieval conception of the symbolism of the two crowns of martyrdom and virginity.” The righteous Abel is here said (cap. vii) to have received two crowns. But not to mention the fact that they are not of flowers, while one crown is for his virginity, the other is not for his own innocent death (though later so misunderstood) but for his acceptable offering to God. Further, this pseudo-gospel seems to be not older than the eighth or ninth century, and this detail is not found in its main source, the “Protevangelium of James.” The early metaphorical examples collected from Sts. Cyprian and Jerome by Miss R. D. Cornelius are mentioned later.
Milton's “Two-Handed Engine”
Authors: Dorian Donald C.
Published: February 2007

Few of Milton's lines have called forth more comment and interpretation than lines 130-131 of Lycidas, which form the climax of the denunciation of corruption in the clergy:

But that two-handed engine at the doorStands ready to smite once, and smite no more.

For example, Professor C. G. Osgood has suggested that an allusion to “the iron flail of Talus” was intended—a supposition that would link the “two-handed engine” in an interesting way to Milton's avowed admiration for Spenser and to the uprooting of the hills in the war in heaven. This interpretation, however, while it might enrich the metaphor, would make Milton's words voice only a vague hope that some agency, as yet unknown, would punish the corruption of the clergy. And such vagueness in Milton's mind hardly agrees with his deliberate confidence in the accomplishment of the reforms he advocated—a confidence which he maintained, even in the face of an obviously changing popular attitude, until the Restoration was fully wrought.
The Quakers in English Stage Plays Before 1800
Authors: Maxfield Ezra Kempton
Published: February 2007

Although Puritans in the Elizabethan period were of many varieties, dramatists agreed in representing them by a single type. Whether this type was originally drawn from life, or was evolved from the presentation of the Hypocrite in the morality plays, there can be no doubt that the conventional Puritan of the Elizabethan stage was little more than an abstraction. Real Puritans even then were of many minds: some stood for Calvinism and some for re-baptism; some for a militant church and some for a passive; some were democratic and would let the congregation rule, and some believed in a presbyterian form of government. Others joined the Puritans merely because they objected to so much royal interference. The existence of so many diverse views among the Puritans may to some extent have necessitated a broad characterization of them. Thompson has shown, however, that even when dealing with a particular sect, as for example the Family of Love, Elizabethan playwrights failed to discriminate.
A New Text of an Old Ballad
Authors: Cornelius Roberta D.
Published: February 2007

The present paper offers the text of a hitherto unknown manuscript version of the ballad, “King John and the Abbot of Canterbury,” which was discovered a number of years ago by Professor Carleton Brown in the library of Corpus Christi College, Oxford. MS. 255, in which the ballad is preserved, forms the second of the four volumes of Collectanea gathered by Brian Twyne, fellow of Corpus Christi College, who died in 1644. In the printed Catalogue of Manuscripts MS. 255 is described as “sæc. xvi exeuntis et xvii.” The date could hardly be given in more definite terms since the compiler has bound up in this volume separate articles and even single leaves from many MSS.
The Text of The Percy-Warton Letters
Authors: Dennis Leah
Published: February 2007

The revival of interest in the picturesque past made the decade following 1760 a period of notable importance. The Ossianic poems, from 1760 to 1763, Evans's Specimens, 1764, Hurd's Letters on Chivalry and Romance, 1762, the second edition of Warton's Observations, 1762, the Castle of Otranto, 1764, and Percy's Reliques, 1765, form a rather imposing array as documents of the romantic revival. Anything, therefore, which casts light on this movement during these years may be not without value, and it is to serve this purpose that the group of Percy-Warton letters is here offered to the reader. Some extracts from them were included in footnotes in Dr. Rinaker's study of Thomas Warton, but the correspondence has never been printed entire. The three Percy letters in the Huntington library, which are here added, have not previously appeared in print.
Byron and the Countess Guiccioli
Authors: Smith Earl C.
Published: February 2007

The old and long prevalent idea of the importance of Teresa Guiccioli's influence upon Byron was virtually exploded by Miss Mayne in her biography of the poet, but there has never been an adequate or truly sympathetic criticism of this relation. With the earlier biographers intent on defending or attacking Byron's character, there could be no hope of intelligent comment, and while Miss Mayne's treatment of this subject is remarkable for its freedom from prejudice, it is nevertheless too much influenced by her woman's point of view to be really satisfactory. By far the most helpful observations upon Byron's feeling towards the Guiccioli will be found in a set of letters written by him to Alexander Scott during the summer of 1819, and now published for the first time. These letters are of interest, not only in casting light upon the poet's affair with the Countess, but because they describe as none of his other writings do, his typical attitude toward the women he loved.
Fœmina Vera in Charles Reade's Novels
Authors: Sutcliffe Emerson Grant
Published: February 2007

One of the commonest headings in the notebooks on which Charles Reade founded his novels is fœmina vera. He considered himself an authority on woman. In a letter to the Pall Mall Gazette he calls himself “a patient drudge, who has studied that sex profoundly in various walks of life.” Certainly his women are more memorable, and the subject of more comment and criticism, than his men. To them W. D. Howells devoted a long essay in his Heroines of Fiction. Though, like his men, they fall into easily recognizable, frequently repeated types, they are more alive, more real, less subordinate to the demands of story structure. The result of more study and more enthusiasm, they are less romanticized, less melodramatized than his heroes and villains.
The Medieval Background of Swinburne's The Leper
Authors: Hyder Clyde K.
Published: February 2007

Among the contents of Swinburne's Poems and Ballads, 1866, few pieces aroused more hostility than The Leper. John Morley and Robert Buchanan, it is true, ignored that poem in their damaging critical notices in The Saturday Review and The Athenæum for August 4, nor did Swinburne mention it in Notes on Poems and Reviews. But The Spectator of September 22, discussing the question of immorality in literature, after citing Swinburne's Faustine as a poem in which artistic treatment justifies the subject, added: “It is entirely otherwise with his Anactoria and Phaedra, and other foul stuff, worst of all, The Leper, which we think no critics can speak worse of than they deserve.” An article in Fraser's Magazine for November, though predominantly favorable to Poems and Ballads, named The Leper among the poems that should be suppressed. The Athenæum for November 3, in a criticism of Notes on Poems and Reviews, remarked: “To our thinking, nothing can be more horribly impure, more utterly loathsome, than the story of the unclean priest [sic] and his leprous mistress [sic].” The Westminster Review for April 1, 1867, mentioned Laus Veneris, The Leper, and Les Noyades as the chief objects of popular clamor.
The Linguistic Development of Ivar Aasen's New Norse
Authors: Haugen Einar
Published: February 2007

It does not often happen that a language form created by conscious deliberation and planning wins the warm support and widespread acceptance which has fallen to the lot of New Norse, the creation of Ivar Aasen (1813–1896). A large body of serious literature has grown up in this artificial common denominator of Norwegian dialects; possibly a fourth of the school-children of Norway receive their chief instruction in it. Although New Norse is far from its goal of supremacy, it is a factor of the utmost significance in Norwegian history, and a phenomenon of great interest to students of language and literature.

The earliest detailed study of Aasen's linguistic practice is found in Johan Storm's polemic pamphlet Det nynorske Landsmaal. That brilliant scholar here applied his wit and ingenuity to proving that New Norse (Landsmaal) as written, was not and could not be a language, because of its inevitable tendency to crumble up into the dialects of which it was created. To this end he analyzed in some detail the language of the various New Norse writers, among them Aasen. His purpose did not, however, involve an exhaustive study of Aasen's works, many of which were then unknown or scattered. Hence his classification was inadequate and at times definitely incorrect. He divided Aasen's New Norse into an older form, represented by Prøver af Landsmaalet (1853) and Fridtjofs Saga (1858), and an intermediary form used in Ervingen (2d ed., 1874), Heimsyn (1875) and Symra (3d ed., 1875). But this rough division (based chiefly on the change in 1858 from dan, dat to den, det) gives us no conception whatever of the gradual steps by which Aasen passed from form to form and the experimentation out of which his completed New Norse norm was shaped.
The Right Side of the Franks Casket
Authors: Clark Eleanor Grace
Published: February 2007

Professor Napier, discussing the Franks Casket a quarter of a century ago, concluded with these words:

I hope that these suggestions may have thrown some light on the mysterious inscription on the Florence fragment, or at any rate may advance us nearer to its complete elucidation. A thoroughly satisfactory solution of all the problems connected with it is scarcely to be hoped for until we know to what the carving refers, who the actors, and what the scenes were thereon depicted.
The Phonetic Value of Old French Ue from Vulgar Latin Open O
Authors: Learned Henry Dexter
Published: February 2007

In the present paper I propose to examine once more the documents that afford evidence as to the sound of the Old French diphthong commonly represented by ue, and to develop certain fresh conclusions to which this evidence seems to point.

Current views of this matter may be briefly summarized: Vulgar Latin long open o, broken (by a process concerning which scholars are far from agreed) into ǫǫ, gave uo (dissimilation), on which we disagree again: was it uó or úo? Both pronunciations may be defended; but it is simpler to suppose that, like Italian and Spanish, Old French had a rising diphthong here (ŭó) from the very first. At any rate, the next stage must have been *uø, next ue, then *uø once more and finally ø.
The First English Novel a Study of George Gascoigne's Adventures of Master F. J.
Authors: Bradner Leicester
Published: February 2007

Early in the year 1573 there appeared from the press of Richard Smith an anonymous quarto bearing the title: A Hundreth sundrie Flowres bound up in one small Poesie . . . . Yelding sundrie sweet savours of Tragical, Comicall, and Morall Discourses, both pleasaunt and profitable to the well smellyng noses of learned Readers. The third “flower” of this delectable bouquet was called A pleasant discourse of the adventures of master F. J. The reader whose well-smelling nose sampled this offering soon found that its fragrance was highly spiced. The story relates the intrigue between Master F. J. and the daughter-in-law of his host at a summer house-party in the north of England. After a passionate love affair of some weeks, during which the reader is left in no doubt as to the adulterous nature of their relations, his lady is unfaithful to him as well as to her husband, and the disappointed lover departs. This story attracted considerable attention and was thought to shadow forth an actual contemporary scandal, although the only names used were those of Elinor, Fraunces, the Secretary, etc. Outside of the fact that the printer tells us we may expand “F. J.” into Freeman Jones, “for the better understanding of the same,” there are no surnames used in the whole story.
Mesonero's Indebtedness to Jouy
Authors: Berkowitz H. Chonon
Published: February 2007

Discussing the contents of La minerva o El revisor general (1805-08; 1817-18), Le Gentil remarks: “Notons enfin un premier essai, visiblement inspiré de Jouy, dans un genre qui devait faire une singulière fortune en Espagne, celui des costumbristas.” The reference is to an article entitled “La ciencia del pretendiente o el arte de obtener empleos,” which appeared in 1817 (X-33). Though the implication that this article is the first costumbrista sketch is open to question, Le Gentil's suggestion that it marks the beginning of Jouy's influence in Spain seems acceptable, for Jouy himself does not speak of translations of his works until 1815, and even then he mentions none in Spanish. After 1817 the costumbrista vogue was apparently well established, as may be gathered from the many articles of the new pattern which appeared in El censor (1820-22). Accordingly when Mesonero, in Mis ratos perdidos, allowed himself to be influenced by Jouy in style, tone, and even content, it would seem that he followed a fairly established vogue.