bluuebunny/crossref_metadata_2025 huggingface dataset:
The Plan of Peregrine Pickle
Authors: Putney Rufus
Published: February 2007

Smollett, like all great writers, is forgiven his failures; it is for his successes he is condemned. Ferdinand Fathom and Launcelot Greaves neither add to nor detract much from his reputation, but certain aspects of Roderick Random, Peregrine Pickle, and Humphry Clinker have won him a critical thrashing as sound as any cudgeling he described. Because these qualities appear with least relief in Peregrine Pickle that novel has been the one most abused. Critics assert that there more than elsewhere Smollett showed himself unable to distinguish between brutality and humor, between a ruffian and a hero. But the most serious charge is the complaint that the novel is completely formless, that the loose picaresque structure, in a measure characteristic of Smollett, is especially offensive here. These commonplaces of Smollett criticism are founded on misconceptions which ignore the nature and purpose of this novel. It will not be difficult to show that Peregrine Pickle, far from being a haphazard collection of episodes, was composed according to a plan that accounts for most of the aspects to which critics object. In particular, Smollett's modification of the picaresque form has not been explicitly stated. When the purpose and the essential structure of Peregrine Pickle are understood, it becomes apparent that the real cause of Smollett's inferiority to the greatest English novelists is neither carelessness regarding form nor inability to tell a blackguard from a hero, but other more important intellectual and spiritual limitations as a satiric novelist.
Southey's Specimens of the Later English Poets
Authors: Havens Raymond D.
Published: February 2007

On February 23, 1804, shortly after he had settled in the lake country, Southey wrote John May:

Ellis's “Specimens of the early English Poets” … has sold very successfully, and I am about to publish a supplementary or companion work. There will be a preliminary essay … then, upon Ellis's plan, and beginning where he leaves off, a brief biographical notice of every English poet from that time, with the best or most characteristic specimen of his works, arranging the authors chronologically, and bringing them down to the present time, exclusive only of living authors. I include every poet, good, bad, and indifferent, who had any reputation, or produced any effect in his day… . This is all easy work … the copying part shall all be done by some bookseller's amanuensis.
L'unité Des Fleurs Du Mal
Authors: Françon Marcel
Published: February 2007

Depuis l'article que Barbey d'Aurevilly écrivit pour le Pays, à l'occasion de la publication de la première édition des Fleurs du mal, le terme d'architecture s'est imposé à la pensée des commentateurs qui ont voulu s'occuper de la composition du recueil baudelairien. Il me semble, pourtant, que l'intention de Barbey d'Aurevilly a générale-été mal comprise et qu'on s'est en vain efforcé de trouver ce dont le critique du Pays ne parlait pas, ou, tout au moins, qu'on a négligé ce qui, pour Barbey, était l'essentiel. Les Fleurs du mal, a-t-il dit, en effet, ‘sont moins des poésies qu'une oeuvre poétique de la plus forte unité. Au point de vue de l'art et de la sensation esthétique, elles perdraient donc beaucoup à n’être pas lues dans l'ordre où le poète, qui sait bien ce qu'il fait, les a rangées. Mais elles perdraient bien davantage au point de vue de l'effet moral que nous avons signalé en commençant. Cet effet sur lequel il importe beaucoup de revenir, gardons-nous bien de l‘énerver!’ La thèse que défendait Barbey d'Aurevilly, c’était celle de la moralité de l'oeuvre baudelairienne. L'intention de Baudelaire, disait-il, c’était de flétrir les Fleurs du mal. La manière du poète, ajoute-t-il, ‘n'est rien moins que celle de la Toute-Puissante Providence elle même, qui envoie le châtiment après le crime, la maladie après l'excès, le remords, la tristesse, l'ennui, toutes les hontes et toutes les douleurs qui nous dégradent et nous dévorent, pour avoir transgressé ses lois. Mais, pour comprendre la leçon des Fleurs du mal, il faut avoir soin de considérer l'ensemble: ‘une pièce citée n'aurait que sa valeur individuelle, et, il ne faut pas s'y méprendre! dans le livre chaque poésie a, de plus que la réussite des détails ou de la fortune de la pensée, une valeur très importante d'ensemble et de situation, qu'il ne faut pas lui faire perdre en la détachant. Les artistes, qui voient les lignes sous le luxe ou l'efflorescence de la couleur, percevront très bien qu'il y a ici une architecture secrète, un plan calculé par le poète, méditatif et volontaire.’ Les Fleurs du mal, conclut-il, n'ont pas été ramassées ‘dans un recueil sans d'autre raison que de les réunir,’ elles ont été disposées dans un ordre voulu, moins en vue d'un effet artistique que d'un effet moral: ‘Cet effet sur lequel il importe beaucoup de revenir, gardons-nous bien de l’énerver!’ Et telle était si bien la pensée de Barbey d'Aurevilly que Me Chaix d'Est-Ange a cité, au procès de Baudelaire, des extraits de l'article du critique, et a choisi les passages mêmes qui se rapportent à l'unité des Fleurs du mal et à leur effet moral: le poète, plaidait-il, ‘vous montre le vice, mais il vous le montre odieux.’ Mais le terme seul d'architecture, que l'avocat de Baudelaire a, d'ailleurs, omis de citer, a attiré l'attention des commentateurs. Aussi, malgré les déclarations du poète lui-même, ce n'est pas l'effet moral qu'on a retenu, c'est l'idée que le recueil avait un ‘plan logique.’
Pre-Raphaelitism in Charles Reade's Early Fiction
Authors: Burns Wayne
Published: February 2007

That Charles Reade was interested in art, along with Cremona violins, Scottish herring fisheries, and other such hobbies, has long been known. Coleman listed some of the paintings in Reade's private collection and declared him a connoisseur; Elwin pointed out that he had a genuine taste in art and was the best sort of collector; and Rives added still further information of much the same type. One of Rives' quotations is particularly interesting.
Neogrammarians and Neolinguists: Ital. giorno.
Authors: Bonfante G.
Published: February 2007

In Romania, xxxix (1910), 451, Salvioni bitterly attacked Bàrtoli because the latter had dared to assert that Italian giorno is of French origin. One of Bàrtoli's arguments—and precisely that very one which aroused Salvioni's wrath—was that some regions of Southern Italy have the form yuornu (with a uo) which is not what one would expect should the word represent there Lat. diurnum. Entirely misunderstanding Bàrtoli's neolinguistic theories, Salvioni writes with the typical dogmatic style of the Neogrammarians:

Può parere veramente strano—deve però insieme rallegrare come una prova che la verità s'impone malgrado tutto e tutti [!]—può parere strano, dico, che si chedano delle armi alia fonetica in uno scritto nel quale ostentatamente s'afferma non esservi “esempi normali,” cioè non esservi norme fonetiche. Ma colla dialettica sua il Bàrtoli se la veda lui. Qui si vuol solo objettare, poiché il Bàrtoli ricorre per juorno [that is yuorno] alla Francia settentrionale, che si dovrebbe pur dire perché l'antico francese jρr(n) non sia stato adottato con quella vocale che quasi s'imponeva, cioè coll'ρ, che poi, per effetto della metafonesi, diveniva u.
The Saracens in Italian Epic Poetry
Authors: Comfort William Wistar
Published: February 2007

The Saracens in Italian popular literature are exotic. They are of French origin and came with the French epic into Italy, where this epic material found a second fatherland. For the Franco-Italian versions which served as a connecting link between the French poems and the court epics of Pulci, Boiardo, Ariosto, Ciecco da Ferrara, Tasso and the rest, one may consult the magistral work of Pio Rajna Le fonti dell' Orlando Furioso (Firenze, 1876), the same author's Ricerche intorno ai Reali di Francia (Bologna, 1872), and the Introduction of Johannes Hübscher's edition of “Orlando” in Stengel's Ausgaben und Abhandlungen. No. lx, (Marburg, 1886). The following works may also be profitably consulted: F. Castets, Recherches sur les rapports des chansons de geste et de l‘épopée chevaleresque italienne. (Paris, 1887); Vincenzo Crescini, “Orlando nella chanson de Roland i nei poemi del Bojardo e dell’ Ariosto,” Il Propugnatore, xiii, Pt. 1, 2 (Bologna, 1880).
Nashe's Share in the Marprelate Controversy
Authors: McGinn Donald J.
Published: February 2007

The identification of the writers employed by the bishops in their counterattack against Martin Marprelate is almost as difficult as is that of Martin himself. Most prominent of those suspected is Thomas Nashe; indeed, at one time or another every one of the anti-Martinist pamphlets has been ascribed to him. Since in his own day his name was frequently associated with Martin's, shortly after his death the legend sprang up that he was chiefly responsible for downing Martin. Until 1903, when McKerrow began his edition, it was taken for granted that Nashe was the leading anti-Martinist writer.
The Metrical Theory and Practice of Thomas Campion
Authors: Short R. W.
Published: February 2007

Most of the scant attention paid by critics to the poetry of Thomas Campion has been sidetracked by two considerations which, however interesting in themselves, have little to do with his real poetic accomplishments. One of these considerations is that he was a musician and almost alone among his contemporaries composed settings for his own poems; the other is that he played some part in the guerilla warfare waged by a few Elizabethan writers against rhyme. Before we can make a fresh adjustment to his poetry, we must dispose of the first and reckon with the second.
Landor's “Dear Daughter,” Eliza Lynn Linton
Authors: Super R. H.
Published: February 2007

When in the summer of 1881 Sidney Colvin settled back to enjoy the praise of friends and reviewers for his short biography of Walter Savage Landor, his pleasure was rudely interrupted by a letter to the Athenaeum from a correspondent in Italy, headed “A Protest.” The correspondent, Mrs. Eliza Lynn Linton, objected (quite unjustly, as Colvin's pained reply pointed out) to his “curiously grudging spirit” in nelgecting her part in Landor's later life, and insisted on the “one honour which I regard as the most precious in my whole history, and the public recognition of which, when occasion offers, I claim as my right. I mean my long and close friendship with Walter Savage Landor.” Twelve years previously, when Forster had first published his biography of Landor, he too found himself beset for the same reason with a series of ill-tempered reviews by the same hand, one of them beginning, “The Life of Walter Savage Landor has yet to be written.” One can only guess how Mr. Malcolm Elwin's recent volume, Savage Landor, would have pleased her. Certain it is that Landor's friendship with her is worth tracing in detail, especially since his letters to her, for the most part unpublished, provide an important source of information about the last years of his life, and one which not even this most recent biographer has touched.
Matthew Arnold and Attic Prose Style
Authors: Major John Campbell
Published: February 2007

Matthew Arnold's prose style has been praised in the past by innumerable critics and by writers of today as different as T. S. Eliot and Somerset Maugham. His ideas about prose style still live; and, as the infatuation with eccentricity in art dies and the concern for sanity grows stronger, it may become more apparent that many of Arnold's comments on the art of prose lead to principles that have endured because they are sound. This paper is an analysis of Arnold's comments on the meaning and relationships of prose style and his formulation of the qualities of an “Attic” prose to express a sane national intelligence. Part one of this study examines the significance, part two the qualities that Arnold gave to prose style.
Observations on Enumerative Style in Modern German Poetry
Authors: Schumann Detlev W.
Published: February 2007

In a previous article I attempted to analyze the philosophical implications of enumerative style in three outstanding, sharply differentiated individuals. My purpose was to show that especially “heterogeneous” enumeration, seemingly a haphazard assortment of unrelated objects, tends to have a “conjunctive” function, to express a sense of universal ontological oneness: all things can appear in juxtaposition as emanations of one identical cosmic principle; the more disparate the catalogued items, the more effectively is this conception brought out. At the same time it was pointed out that stylistic traits, once established, are likely to occur independently of the intellectual and emotional contents to which they owe their existence; thus also the enumerative tendency may divorce itself from its metaphysical basis and appear in passages where its origin and meaning are no longer obvious.
Scribe γ of the Old High German Tatian Translation
Authors: Moulton William G.
Published: February 2007

“There is a wooded place in the midst of a vast wilderness and at the center of the peoples to whom we are preaching. There we have placed a group of monks living under the rule of St. Benedict, who are building a monastery.” So writes St. Boniface, in the year 751, to Pope Zacharias. Several years earlier Boniface had sent his favorite pupil, Sturm, into the forest of Bochonia to find a suitable location for a monastery. The site they finally agreed upon was a place called Eichloh, on the banks of the river Fulda. Here the monastery was dedicated in 744. So pleased was Boniface with this haven in the wilderness that he, born an Anglo-Saxon from Wessex, adds in his letter to Pope Zacharias: “Here I am proposing, with your kind permission, to rest my age-worn body for a little time and after my death to be buried here.”
Historical Backgrounds of Elizabethan and Jacobean Punctuation Theory
Authors: Ong Walter J.
Published: February 2007

The disputes centering about the oratorical value of sixteenth- and seventeenth-century punctuation in England have hinged mostly upon a study of printed tests current in Elizabethan times or shortly after. Professor Charles C. Fries, in a monograph surveying the whole of the discussion about Shakespeare's punctuation, notes that “some significance attaches to the fact ”that all of the five Elizabethan and Jacobean grammarians whose theories he adduces to help settle the dispute “refer to the use of these terms, comma, colon, and period, in classical rhetorical theory. ” And yet, in considering the question of sixteenth- and seventeenth-century punctuation, no one has investigated the systems of pointing which were associated with classical rhetorical theory and which may have been carried with that theory through the Middle Ages into Elizabethan and Jacobean England. Until an investigation of this matter is made, we are likely to be guilty once more of the pernicious practice of reading history backwards, understanding phenomena in terms of what succeeded them instead of what preceded, and explaining in terms already at hand for us phenomena which are not reducible to these terms.
The Pastorella Episode in The Faerie Queene
Authors: Atkinson Dorothy F.
Published: February 2007

The Pastorella cantos of The Faerie Queene have been referred by scholars to various possible sources and analogues, including Ariosto, Tasso, Dorastus and Fawnia, Daphnis and Chloe, the Arcadia, the Greek romances, and the Diana. To these titles I now must add The Mirrour of Knighthood, parts 4 and 5 and sections of part 2.
New Light on Seventeenth Century Pronunciation from the English School of Lutenist Song Writers
Authors: Scholl Evelyn H.
Published: February 2007

In studies of Elizabethan pronunciation the method used has been consideration of such things as poetic rhythm, the spellings of people who could be expected to spell more or less phonetically, and rime. Many of the results are, naturally, doubtful, and there are many disagreements and questions left open. So far, except for one brief reference to Campian by Viètor, no one appears to have considered the possibilities offered by the examination of contemporary song books, especially those of the lutenists. In this paper I have studied some of the debated points in the light of the evidence from the music.
Isaac De la Peyrère, A Precursor of Eighteenth-Century Critical Deists
Authors: McKee David Rice
Published: February 2007

In the study of the origins and development of French eighteenth century thought, the importance of Isaac de la Peyrère has been strangely overlooked. I say “strangely ”advisedly since not only was La Peyrère a person of some prominence in his day, but through his works, was one of the first to disseminate certain critical arguments which were to prove popular with deists in both France and England, and which find their highest degree of success in Voltaire's Essai sur les mœurs, La Bible enfin expliquée, and the Dictionnaire philosophique. Accordingly it is the purpose of this article to investigate La Peyrère's place among his contemporaries, the subsequent fortune of his ideas, and to attempt to evaluate his importance in the formation and development of critical deism in both France and England.
Goethe and Ronsard
Authors: Nitze William A.
Published: February 2007

In one of those bursts of candor, for which he was famous, Merck once told the German poet: “Was du lebst, ist beßer, als was du schreibst. ”Late in life Goethe was to confirm this half-truth when he remarked to the faithful Eckermann: “Ich habe in meiner Poesie nie affektiert. Was ich nicht erlebte und was mir nicht auf die Nägel brannte und zu schaffen machte, habe ich auch nicht gedichtet und ausgesprochen. Liebesgedichte habe ich nur gemacht, wenn ich liebte. ”The very naturalism—in the Goethean sense—which, during the Strassburg period, he and his youthful friends proclaimed, partly out of the fervor of their own revolutionary souls and partly out of enthusiasm for Rousseau's Pygmalion (Dickt, u. Wahr., iii, 51) is anchored in this conviction:

Freundschaft, Liebe, Brüderschaft,Trägt die sich nicht von selber vor?

With the exception of Rousseau, Diderot, and of course Voltaire, what appeal had French literature (bejahrt und vornehm) for them to whom life was a thing to be experienced and not remembered?
Lockhart's Quarterly Contributors
Authors: Brightfield Myron F.
Published: February 2007

The intention, in the following pages, is to identify the authors of all literary articles appearing in the Quarterly Review during the period (1826–53) in which John Gibson Lockhart was editor. The project rests mainly on the authority of the Contributors' Book kept by the house of John Murray, publishers of the Review, at 50 Albemarle Street, London. The full name of each contributor is given when it could be secured from the Dictionary of National Biography or from Boase's Modern English Biography. In several instances this separate information was unobtainable, and the form employed is that recorded in the Contributors' Book itself—which rarely does more than give the initials of first names. When, as in a few cases, the identity of the author of an article is unknown or doubtful, the fact is so stated.
William Morris and Keats
Authors: Short Clarice
Published: February 2007

When William Morris's relation to Keats has been noticed at all, it has usually been treated in an off-hand way. Sidney Colvin and J. W. Mackail recognized it without going into particulars. Others have detected an occasional resemblance in detail without noting that this represented a trend.
Carl Heinrich Schnauffers Literarische Versuche
Authors: Cunz Dieter
Published: February 2007

Eine Geschichte der deutschen Dichtung in Amerika ist noch nicht geschrieben. Auf Grund der spärlichen Monographien in diesem Gebiet lassen sich vorläufig nur wenige allgemeine Gesichtspunkte erschließen: daß die deutsche Dichtung in Amerika während des 18. Jahrhunderts vornehmlich um religiöse Themen kreiste, daß das erste Drittel des 19. Jahrhunderts durch eine völlige poetische Windstille charakterisiert ist, daß in den dreissiger und vierziger Jahren mit dem Beginn der liberalen Emigration die deutsche Literaturproduktion des Landes neuen Auftrieb erhält und einen neuen Themenkreis anschneidet: die politische Dichtung. Die Achtundvierzigerwoge enthält einen besonders hohen Prozentsatz intellektueller Immigranten, viele, die mit der Literatur ihres Landes wohl vertraut sind, und einige, die mit mehr oder weniger Erfolg selbst die Feder in die Hand zu nehmen wagten.
George Moore's Revisions of The Lake, The Wild Goose, and Esther Waters
Authors: Gettmann Royal A.
Published: February 2007

My purpose in this study of George Moore's revisions is (1) to venture a few generalizations with respect to the dates, the number, and extent of the revisions and his motives in rewriting and (2) to compare closely the first and final texts of The Lake, The Wild Goose, and Esther Waters.
On the Text of Two Troubadour Poems
Authors: Lewent Kurt
Published: February 2007

aïmbaut d'Aurenca Ara'm so del tot conquis.

(B. Gr. 389, 11 ed. Kolsen, Neophilologus [1941], pp. 99–105.)

The well-known tenso between Giraut de Bornelh and Linhaure (Gr. 281, 1 = Gr. 389, 10a) whose identification with the Prince of Orange, generally accepted today, stands to the credit of Adolf Kolsen, reveals Raïmbaut as an adherent of trobar clus. Our poem, however, is one of those in which that aristocratic troubadour does not adhere to his artistic convictions. We can be glad of this attitude on the part of the poet because it gave us a poem attractive in its easy-flowing rhythm, simple versification, and continuous presentation of charming thoughts and motifs, from the doubts and hesitations of the beginning to the triumphant finale of the self-confident knight. To reach this goal, the poet takes particular care to connect the stanzas of his poem by repeating in the beginning of each of them the idea on which he closes the preceding stanza and developing it into a new one. He thus forms, as it were, coblas capfinadas, not in the usual sense of metrical technique, but in a higher artistic sense. Besides this stylistic phenomenon, there are two features that seem to me characteristic of this poem. (1) Much as he likes apostrophes to God and the saints, in none of his other poems does Raïmbaut concede to God such a dominant and intrinsic rôle concerning his love as in this one. (2) So God, Love, and Chivalry, those three essential elements of medieval thinking, are blended here into a mental and artistic unity hardly equaled in any other troubadour song.
Jean de Meun et les Origines du Naturalisme de la Renaissance
Authors: Feançon Marcel
Published: February 2007

Dès 1843, J. -J. Ampère faisait honneur à Jean de Meun d'être le devancier ‘des érudits païens et matérialistes du XVIe siècle’; il voyait dans la seconde partie du Roman de la Rose l'origine d'une série d'œuvres où se remarquent les éléments d'une philosophie naturaliste, et il indiquait que, par un curieux mélange du sacré et du profane, cette philosophie se présente à l'aide d'images et de comparaisons suggérées par le rituel catholique. Nous nous proposons d'étudier d'abord cette utilisation de la liturgie chrétienne à des fins étrangères à celles de l'Eglise. Nous verrons ensuite comment le culte de la Nature s'accompagne de la glorification de l'homme, de l'éloge de la science, et de l'idée que la dignité humaine réside dans le travail et dans l'amour. Nous nous demanderons, enfin, dans quelle mesure le naturalisme du XVIe siècle se relie à la tradition médiévale.
Der Posse
Authors: Kurrelmeyer W.
Published: February 2007

Grimm's Deutsches Wörterbuch treats this word under Bosse, m. (ii, 261–263) and Posse, Posz, Possen, m. (vii, 2013 f.). There is also a long article by Biltz, “Über das Wort und den Begriff Posse,” in Herrigs Archiv,lxxiii, 33–46 (1885), and a brief résumé in Kluge-Götze, 11th ed. (1932), p. 453, under Posse, f. Grimm (ii, 261 ff.) says of the word:

Bosse, m. jocus, nugae, ineptiae, astutia, gestus. es ist schwer, die gestalt und abkunft dieses worts zu sichern, dessen anlaut zwischen B und P schwankt, dessen nom. oft in einsilbiges bosz, botz gekürzt erscheint (wie blicze in blitz, bisse in biß, bitz, böse in bosz), zuletzt gar in possen (wie viele schwache m.) gedehnt. so häufig seit dem 16.jh. der ausdruck wird, nirgends erscheint er früher.
The Problem of Authorship of Eastward Ho
Authors: Simpson Percy
Published: February 2007

Various attempts have been made to disentangle the shares of the three authors to whom the Eastward Ho is assigned on the titlepage—Chapman, Ben Jonson, and Marston. “J.C.” in a notice of Eastward Ho contributed to Blackwood's Edinburgh Magazine (September, 1821) made a few vague suggestions. Jonson had not the chief part in the writing; it has no bold delineation of character, no highly wrought finish of dialogue, and none of his peculiar richness of humour. “Neither, on the other hand, is it distinguished by his hardness,” such as overelaboration of character. “The style bears more resemblance to that of Chapman,” but Jonson probably first sketched the plan and revised the whole; he can be traced in the character of Touchstone and in the concluding scenes.
Elizabeth Rowe and the Countess of Hertford
Authors: Hughes Helen Sard
Published: February 2007

Dr. Johnson praised the style of the author of Letters from the Dead to the Living in reviewing a miscellany of his day. “The essayists,” he declared, “imitated, or tried to imitate the copiousness and luxuriance” of Mrs. Rowe's writing, and “laboured to add to her brightness of imagery, her purity of sentiment.” The poets, he continued, “had Dr. Watts before their eyes.” Elizabeth Rowe also observed Dr. Watts. In his preface to her Devout Exercises of the Heart, Watts remarked:

Though there is not one complete copy of verses amongst all these transports of her soul, yet she ever carried with her a relish of poesy even into her sacred retirements. Sometimes she springs her flights from a line or two of verse, which her memory had impressed upon her heart: sometimes from the midst of her religious elevation she lights upon a few lines of some modern poet, even Herbert as well as Milton, etc. tho’ ’tis but seldom she cites their names. At other times the verses seem to be the effusions of her own rapturous thoughts in sudden melody and metre; or at least I know not whence the lines are copied; but she most frequently does me the honor to make use of some of my writings in verse in these holy meditations of her heart. Blessed be that God, who has so favored anything my pen could produce, as to assist so sublime a devotion.
Oscar Wilde and the Devil's Advocate
Authors: Nethercot Arthur H.
Published: February 2007

There is too much of myself in the thing, Harry—too much of myself!” cries the painter Basil Hallward to Lord Henry Wotton early in Oscar Wilde's fantastic and tragic novel, The Picture of Dorian Gray. But, though Lord Henry remarks with his usual cynicism, “Poets are not so scrupulous as you are. They know how useful passion is for publication,” Hallward continues to lament, “We live in an age when men treat art as if it were meant to be a form of autobiography.” Nor does the painter forget his self-accusations, for many years later in the story he repeats his charge to the beautiful young man who has been the subject of his painting: “I felt, Dorian, that I had told too much, that I had put too much of myself into it.”
Thomas Manns Goethebild (Schluβ)
Authors: Blume Bernhard
Published: February 2007

Die auβerordentliche Bedeutung, die Goethe für Thomas Mann gewonnen hat, ist nicht im Aesthetischen begründet. Goethe hat keineswegs im Formalen vorbildlich auf Thomas Mann gewirkt; schon deshalb nicht, weil Thomas Mann ja weder Lyriker noch Dramatiker ist, und was die Erzählung anbelangt, so haben Werke wie der “Werther” und der “Wilhelm Meister,” die in der Tat eine Tradition gebildet haben, schwerlich direkt, sondern höchstens durch Zwischenglieder auf Thomas Mann Einfluβ ausgeübt. Man mag den “Tonio Kröger” als einen späten Ausläufer des durch den “Werther” begründeten Weltschmerzromans betrachten: weder im Temperament noch in der Struktur, weder im Lyrismus noch in der Leidenschaft sind die beiden Werke wirklich vergleichbar. Am ehesten lieβe sich der “Tonio Kröger” noch in die Nähe von Storms “Immensee” einreihen, in dem manches von der Substanz des “Werther” verdünnt und verfeinert wiederkehrt: die kühle Atmosphäre, der leise und behutsame Gang der Handlung, die Abneigung gegen Szenen und Ausbrüche, die fast selbstverständliche Haltung des Verzichts, der gedämpfte Ton, die Vorliebe für Unausgesprochenes, nur Angedeutetes, die durchgehende Lebensproblematik lassen “Immensee” und “Tonio Kröger” in der Tat verwandt erscheinen, auch wenn sie im Zauber der lyrischen Naturstimmung auf der einen Seite, der Meisterschaft dialektischer Formulierungskunst auf der anderen weit auseinandergehen.
Die Thôrsdrâpa Des Eilífr Godrúnarson: Textinterpretation
Authors: Reichardt Von Konstantin
Published: February 2007

Eilífs pôrsdrâpa gilt als das schwierigste der mythologischen Skaldengedichte. Weder im Hinblick auf den Gesamtinhalt noch in Bezug auf Einzelfragen der Interpretation ist Einigkeit erzielt worden. Verantwortlich dafur ist weniger unsere mangelnde Kenntnis der Skaldenkunst als die schlechte Ueberlieferung.
The Sources of Sir Launfal: Lanval and Graelent
Authors: Stokoe William C.
Published: February 2007

The metrical romance Sir Launfal, with its six Middle English versions and two French sources, is rich in material for an investigation of one phase of practical literary criticism in Mediaeval England. Each redactor of the story made certain changes, which when compared with the changes made by the others, and when classified and analyzed with them will not only yield information about the editorial practice of the redactors but will also reveal something of their theory of literary criticism. Such an investigation of the English versions of Sir Launfal, however, must be postponed until the relationships of these to their sources can be made clear. The views so far advanced regarding the relationship of Lanval and Graelent show that there is little agreement on, and hence no satisfactory clarification of, the point.
The Ancestor of Group d; the Origin of Its Texts, Tale-order, and Spurious Links
Authors: Dempster Germaine
Published: February 2007

While some of the most interesting questions regarding the early history of the Canterbury Tales will undoubtedly never be settled, it seems equally certain that in the full corpus of variants prepared by Professors Manly and Rickert evidence lies embedded which little by little should add to our understanding of the conditions in which the first manuscripts were prepared, hence, possibly, lead to a clearer picture of the situation when Chaucer died. The present article will deal with the lost ancestor of the manuscript family which Dr. Manly and Dr. Rickert have called group d, that ancestor to be designated hereafter as √d. Section I will be devoted to the origin of the material used in the preparation of √d; Section II to the √d editor's handling of that material.
Matthew Prior's Attitude Toward Natural Science
Authors: Spears Monroe K.
Published: February 2007

Recent studies have made evident the profound effect of natural science, especially of physics and astronomy, upon English neo-classical literature. In several of these studies, it has been remarked that Matthew Prior's writings contain many passages referring to scientific doctrines and manifesting an unusual attitude toward them. There has been, however, no thorough investigation of the rôle played by the new science in Prior's thought.
Notes on the Early Editions of Tristram Shandy
Authors: Yoklavich John M.
Published: February 2007

A. W. Pollard, in his brief bibliographical introduction to the Macmillan two-volume edition of Sterne (1924), has written: “Tristram Shandy is full of surprises, and not the least remarkable of them is the fact that its publication was spread over eight years, thus further accentuating the very leisurely rate of progress of the story itself.” I can attest to many surprises that await the man who looks into the history of the publication of this novel; and these notes—although they solve none of the vexing bibliographical problems—are designed to give a loosening tug to some of these knots. A brief history of the publication of Tristram Shandy runs:
Novalis and Shakespeare
Authors: Rehder Helmut
Published: February 2007

In the studies devoted to the literary growth of Novalis the roots that lower into the realm of Shakespearean art and thought have strangely been overlooked. Such omission is not entirely unwarranted in view of the seeming disparity in substance and character between the works of the two poets. And yet the assumption that Novalis should have remained impervious to the “fine frenzy” of Shakespeare, when all of his friends and literary companions came under the spell of it, must give us pause. Literary “influences” do not always proceed along the path of material evidence; they are forces that often come to light in forms and directions which we least expect. A poet as sensitive and unpredictable as Novalis is no exception; he strove to be unique and master of his own existence and style, although the evidence shows that the poetic art of Shakespeare vitally contributed to the fruition of the Hymnen an die Nacht.
Wordsworth as Business Man
Authors: Douglas Wallace W.
Published: February 2007

Wordsworthians have long been puzzled and perhaps a little distressed by the poet's apparent shift in political opinion. It is curious that in all the discussion that has resulted no one has said much about Wordsworth's rather vigorous life as a man of business. The story begins with the popular picture of Wordsworth “virtuous, simple, and unaffectedly restricting every want and wish to the bounds of a very narrow income”, with his “little cottage, and the sister and wife dressing the mutton leg in the same room where it was to be eat.” There is probably some truth behind this picture, though it belongs to an earlier period than that of Scott's letter. For some years after his father's death (1784) Wordsworth very likely had more expectations than cash. But since his uncles and guardians were prepared to contribute almost 460 to his college expenses, Wordsworth's only real hardship must have been in not having his own money at hand. Moreover Wordsworth's father, who, in succession to his father and to his cousin, John Robinson, the favorite of George II, had been attorney and land-agent to the Earl of Lonsdale, left only part of his estate tied up in the famous debt owed by the Earl. It is difficult to determine the size of the remainder. Words worth's elder brother, had about 100 a year; and there seems to have been other real and personal property. Gordon Wordsworth, working from the account of his greatgrandfather, lists the following property as belonging at some time to John Wordsworth: the Sockbridge estate; “the various ‘Cattle Gates’ upon the moor”; Ingmire Close, which he had bought from his father-in-law, and which gave him a vote in Cumberland; two fields near Cockermouth, which had cost 200; and “other small properties in various parts of Cumberland.” And the other children must have had some share in an estate at Newbiggin, in Westmorland.
Henry James at the Grecian Urn
Authors: Lerner Daniel , Cargill Oscar
Published: February 2007

The myth of the cultural “limitations” of Henry James appears to have been the creation of two British journalists, Ford Madox Hueffer and Rebecca West, who, while they rendered to James the service of publicity, were not sufficiently read in either James or the classics to generalize as freely as they did on both his riches and his deficiencies. Hueffer led off in 1913 in this fashion:
The Head and the Heart in Melville's Mardi
Authors: Wright Nathalia
Published: February 2007

Melville's Mardi is the account of an ostensible search for a lost, ideal maiden. But from beginning to end its true object seems to be rather an undiscovered, ideal man, such a man as Babbalanja described to King Abrazza: “Cerebrum must not overbalance cerebellum; our brains should be round as globes; and planted on capacious chests, inhaling mighty morning inspirations. We have had vast developments of parts of men; but none of manly wholes. Before a full-developed man, Mardi would fall down and worship.” For such a man Melville's whole literary life, in fact, was a search, which naturally discovered more halves than wholes, more Ababs and Pierres than Jack Chases—more Emersons, Hawthornes, and Goethes than Shakespeares. Without doubt Melville's sympathies between halves lay with the heart, yet he regarded neither as adequate, uncomplicated, or hostile to the other. As the earliest, longest, and most undisguised account of this search for the “full-developed man,” Mardi is the most important single work by Melville for the study of one of his most important themes.
Association and Disassociation in Storm's Novellen: A Study on the Meaning of the Frame
Authors: Browning R. M.
Published: February 2007

It has not escaped the notice of students of Storm's novelistic art that many of his Novellen employ the device known as the “frame,” nor have explanations been lacking as to its purpose. Most attention has not unnaturally been paid to the frames of the stories laid in the comparatively distant past—the so-called “Chroniknovellen” and the Schimmelreiler. The first systematic investigation of the use of the frame by Storm and his contemporaries is the study by Hans Bracher, Rahmen-erzahlung und Verwandtes bei G. Keller, C. F. Meyer und Th. Storm (Leipzig, 1909). This monograph examines the problem chiefly from the standpoint of the kind of frame encountered in these writers and the technical uses to which it is put. The question of the inner necessity of the frame is left largely unanswered, a fact of which Bracher himself is well aware. Georg Baesecke in a review of the book by H. Eichentopf, Th. St.s Erzdhlungskunst—in Zeitschrift f. deut. Philologie, XLI (1909), 520–531—has advanced the interesting theory that the frame is for Storm a means of freeing his hand and his conscience; the ego thereby shoves the responsibility for the truth of the epic material upon a third person. Baesecke arrives at this point of view by proceeding on the assumption that Storm's novelistic art grew out of his lyrical art, as the poet himself indeed asserted, though it has never been satisfactorily explained just what he meant by this dictum. Baesecke implies that in the lyrical production the ego is free to speak in its own right out of actual experience. That part of Thérèse Rockenbach's study which has been available to me, Th. St.s Chroniknovellen (Diss., Braunschweig, 1916), hardly throws new light on the “why” of the Stormian frame, though the author calls attention to interesting parallels between Storm's technique and that of others, especially Brentano, Stifter, and Raabe. Walter Brecht—“Storm und die Geschichte,” Deut. Vierteljahrss.,iii (1925), 444–462—remarks that the difference between Storm's frames and those of other writers lies not so much in the technique itself as in the “Flut von Stim-mung, die in dem meist unausgesprochenen Nebeneinander in Rahmen und Erzählung steigt.” Storm's central concern, Brecht feels, is the “relation between Then and Now.” The gap between the past and the present is nothing less than the gap between life and death, which is itself a “mysterious connection.” In the frame, which is the instrument by means of which Storm “perspectively elongates” the present into the past, this relationship becomes particularly evident. Franz Stuckert, in his excellent article, “Th. St.s novellistische Form”—Germ.-Roman. Monatss., 27. Jhg. (1939), 24–39—seeks the origins of Storm's narrative art in the oral tradition of storytelling and finds that the frame fulfills for the poet an inner need by creating a situation analogous to that of audience and story-teller.
Arthur Hugh Clough at Oriel and at University Hall
Authors: Johari G. P.
Published: February 2007

In the few poems that Clough wrote during his student days at Oxford one can see signs of a growing perplexity and anxiety with regard to certain problems of life and religion. This perplexity came to a head during the years that he taught at Oriel, and finally led him to resign his fellowship at that College. This resignation may be said to be the most dramatic and significant action of his life, and the story, told many times by his biographers, can now be told more fully in the light of the unpublished correspondence between him and Dr. Hawkins, the then Provost of Oriel College. Nor has sufficient attention been so far given to the circumstances that led to Clough's subsequent appointment as Principal of University Hall, London, and the manner in which his connection with that institution came to an end. It is proposed in the following pages to throw some light also on this important period of the poet's life.
Measure for Measure and Pushkin's Angelo
Authors: Gibian George
Published: February 2007

Pushkin summarized Measure for Measure in Angelo (1833), a partly dramatic, partly narrative poem of 535 lines. He considered Angelo his best work, but critics have slighted it. Russian commentators on Pushkin have perhaps been discouraged from paying more attention to Angelo because it is not an original, independent work. Even Vissarion Bielinsky, otherwise a very attentive critic of Pushkin, dismissed Angelo cursorily. There are numerous studies of Shakespeare's influence on Pushkin. These have concentrated on Boris Godunov and a few of the shorter plays, and neglected Angelo. This lack of attention is strange, because Angelo, in addition to being a fine example of the art of condensation, is a piece of Shakespearean criticism by one of the world's greatest poets, who had a very good knowledge of Shakespeare. The poem reveals what Pushkin liked in a play by Shakespeare and what he preferred to change. Its value may be all the greater because its criticism is not expressed in general, abstract terms. Besides the indirect comment in Angelo we have a fragment of Pushkin's formal opinion on Measure for Measure. In 1834 he wrote on the character of Angelo in a further development of his earlier views on Shakespeare's characterization in general:
Contamination in Manuscripts of the A-Text of Piers the Plowman
Authors: Fowler D. C.
Published: February 2007

Theoretically it is true that the application of the genealogical method to a sizable number of manuscripts descended from a single archetype would allow the almost perfect reconstruction of that archetype. Families, groups, and subgroups could be distinguished without hesitation, and readings could be determined with very little recourse to editorial ingenuity. Unfortunately such conditions are not to be found in actual practice. When the text critic has made a systematic record of all variants to be found in the MSS that he has collated, he must determine which of the great quantity of variational groups are genetic—that is, which groups actually reflect in their common readings the genealogy of their transmission. This operation requires the elimination of variational groups formed by the mere possession of the right reading, and random groupings formed by the accidental coincidence of readings.
Guillaume Le Clerc and Alan of Galloway
Authors: Greenberg Joan
Published: February 2007

In the introduction to his edition of Guillaume le Clerc's Fergus (Halle, 1872) Ernst Martin surmised that Guillaume had composed his romance for a patron, Alan of Galloway, presumably while at the court of this powerful noble, in order to glorify Alan's ancestors, Fergus of Galloway and Somarled of Argyle. The validity of this hypothesis, reaffirmed by Margaret Schlauch in her article on “The Historical Background of Fergus et Galiene,” has been challenged, as far as I know, only by E. Brugger, and then merely in passing. Any close connection between Guillaume and Alan—or even between Guillaume and Galloway —seems so improbable to me that I wish to re-examine the problem, first reviewing the evidence which has led scholars to accept—or at least not to reject—the theory advanced by Martin and supported by Schlauch.
The Physiological Interpretation of Sound Spectrograms
Authors: Delattre Pierre
Published: February 2007

In the physiological study of speech articulations our most objective information has come, until recently, from radiograms. Now we have, in addition, spectrograms, which, if we learn to interpret them, can also give us very objective information. For the typical phase (portion) of a speech sound, the interest of a spectrogram may be about equal to that of a radiogram; but for the transitional phases, the interest of a spectrogram will probably be much superior; and from the practical viewpoint of availability, the spectrogram will have a marked advantage for it can be had in a few minutes and at low cost. But to the linguist, the usefulness of a spectrogram depends on his ability to interpret it in articulatory terms. We need not stress, therefore, the importance of investigating the relation between formant positions and speech organ positions at this stage of the still young science of sound spectrography.
Albertine the Ambiguous: Notes on Proust's Transposition of Sexes
Authors: O'brien Justin
Published: February 2007

On the evening of 13 May 1921 André Gide spent an hour with Marcel Proust, apparently for the first time in several years. For the past four days Proust had sent a car and chauffeur to fetch Gide every evening. Finally on the night when the latter could come, the invalid who had not been up in some time, had dressed to go out. The meeting took place in the little salon at 44, rue Hamelin, with its hideous Barbedienne bronze on the mantel and the Jacques Blanche portrait of the foppish young Marcel on the next wall. To one the atmosphere seemed stifling, but the other, having just left a still warmer room, was shivering.
Conrad's Changes in Narrative Conception in the Manuscripts of Typhoon and Other Stories and Victory
Authors: Webster H. T.
Published: February 2007

Joseph Conrad's Mss provide a curiously intimate link with the personal life of their author. Among other things, the reader may note that Conrad was a smoker, that he had had drawing lessons at some period in his life, that he was on occasion worried about money, and that he was not averse to a refreshing glass. But the greatest importance of his MSS is that they tempt surmises about his creative rather than his personal life. It is lucky that Mr. John Quinn and other collectors were not discouraged by the fact that the holographs were anything but fair copies. The MSS they have preserved contain a full scale of revision offering an unusual opportunity to observe how a narrative art came into being. Conrad says much in his letters of how slow and painful the creative process was for him. His MSS confirm this, not so much by the inordinate amount of revision as by the fact that they show little evidence of pages thrown away or of imaginative lungings. In Almayer's Folly and An Outcast of the Islands, they suggest an obstinate effort at total recall of scenes and situations that the author had either witnessed or believed he had witnessed. One feels that he was the slave as well as the master of his creations. When he put something on paper, it took on the objectivity of fact for him. He could serve such facts, but he could not alter them.
Behind Steele's Satire on Undertakers
Authors: Aubin Robert A.
Published: February 2007

You though most curious in other things, will hardly be perswaded to touch any thing that smells of the Coffin or of Embalming.“ ”The Haters of Funerals“ to whom John Dunton addressed these words in 16821 would seem to include scholars, for the beginnings of the modern trade of funeral undertaking have never been investigated. This paper attempts to fill in some measure this gap in social history, and as a corollary to explain the novelty, timeliness, justice, and development of Steele's satire on undertakers in The Funeral and The Taller.