bluuebunny/crossref_metadata_2025 huggingface dataset:
Symbolism, Allegory, and Autobiography in The Pearl
Authors: Schofield William Henry
Published: February 2007

In 1904 I ventured to write an article entitled “The Nature and Fabric of The Pearl,” in which I advanced opinions at variance with those previously held on the subject. Since then have appeared a new edition of the poem, five new English translations of all or a large part of it, and several articles on various aspects of the work. In no one of these documents has my point of view with regard to the symbolism, allegory, and autobiography in the poem been fully accepted. To be sure, the chief part of former, fanciful speculations regarding the author's life and incentive to composition have not been repeated; but all who have recently written about the poem have clung tenaciously to the pleasant belief that The Pearl is a personal lament of the poet for a daughter of his own, and therefore strictly elegiac and autobiographical. This belief would be fairly harmless if (because of the primary stress always laid upon it) it did not inevitably obscure the true significance of the poem; but on this account it should not be allowed to establish itself more firmly without frank protest.
Magnificencia Ecclesie
Authors: MacCracken Henry Noble
Published: February 2007

This curious product of mediævalism, translated from some Latin treatise by an unknown hand in the latter half of the fifteenth century, carries symbolism to its last stage. It is interesting as showing how the preachers in the abbeys and cathedrals of England found, on occasion, “sermons in stones.” It would seem as if Longfellow must have read this poem; for a part of his Golden Legend, the close of Friar Cuthbert's sermon, is an accurate reproduction of the spirit of this piece.
En Aller À La Moutarde
Authors: Frank Colman Dudley
Published: February 2007

In Romania XXX (1901), p. 388, in his article Villoniana, M. Gaston Paris seeks to illumine some points suggested by M. Auguste Longnon's edition of the works of François Villon. M. Longnon in his note to l. 1783 Grand Testament marks “Aller à la moutarde” as an “expression proverbiale.” Of this summary treatment M. Paris ventures the opinion, “cela ne renseigne pas beaucoup le lecteur. Il était d'usage autrefois, au moment du repas, d'envoyer chercher de la moutarde fraîchement broyée; c'était généralement les enfants qui étaient chargés de cette commission, et il paraît qu'ils allaient d'habitude en bandes, et en chantant des chansons plaisantes sur les événements du jour. De là cette locution si fréquente au xvème et au xvième siècle: ‘Les petits enfants en vont à la moustarde’ pour dire un scandale dont tout le monde parle.”
Some Phases of the Supernatural in American Literature
Authors: Quinn Arthur Hobson
Published: February 2007

There is a fascination in the attempt to define the supernatural, although one is aware of the etymological contradiction implied in the effort. The definition of the Century Dictionary, “that which is above or beyond the established course or laws of nature,” does not help us much. This definition is best approached by drawing a distinction between the natural and the supernatural which may be epitomized by stating that the former is comprehended, the latter only apprehended. We know, for example, what Poe means when he speaks of the dual self in William Wilson, but we do not comprehend the methods by which that duality is to be brought about. In this lack of comprehension lies the attraction of the supernatural. It is one phase of the larger appeal of the romantic, which includes it; and it springs from that ever present demand for what is strange and new which is a part of the nature of man. It is of interest to note that in the nineteenth century, which has demanded an ever increasing exactitude in science, and in America, where commercial standards have always been definite, there has been developed to a remarkable degree a literature dealing with that which cannot be proved or understood.
Textual Criticism as a Pseudo-Science
Authors: Tupper Frederick
Published: February 2007

The Alexandrian followers of Aristarchus, buzzing in corners and busy with monosyllables, have left the world that they worried with their wranglings over and and , the swords that were drawn over inchoate verbs have been rust for centuries. But the bookworms of Aristarchus, the troops of Callimachus, the pack of Zenodotus return at times to earth. In order to hear this pack in full cry, we have only to recall the various emendations in Greek texts necessitated fifty years ago by the fallacious Dawes Canon that is never used with the first aorist subjunctive in the active or middle voice.
A Spanish Farce of the Early Sixteenth Century
Authors: Crawford J. P. Wickersham
Published: February 2007

This farce, which is here published for the first time, is found in a collection of manuscript poetry in the Biblioteca Nacional of Madrid with the press mark 2621. It bears number 1239 in Sr. Paz y Melia's catalogue of plays in the Biblioteca Nacional. The handwriting is of the early sixteenth century. The volume contains poems, for the most part anonymous, of the sixteenth century, in Castilian and Catalan. On the first page, in a hand of the seventeenth century, we read: “En este libro ay poesias de Jorge de Montemayor, de Juan Fernandez, de D. Luis Margarit, de D. Luis de Milan, de D. Diego Hurtado de Mendoza, de N. Torrellas, de D. Hernando de Acuña, de Alvaro Gomez de Ciudad Real y de otros autores inciertos.”
The English Wagner Book of 1594
Authors: Richards Alfred E.
Published: February 2007

The Faust legend is the Hydra of literature. One of its heads pops up in the story of Simon Magus, its body reaches from New Testament times to the days of Goethe, while a new head has just sprouted in Stephen Philips's latest drama. The Faust story has all the ear-marks of a legend endowed with eternal youth. More than three hundred years ago the most popular tragedy on the London stage was Marlowe's Dr. Faustus, while the play which is creating the greatest interest to-day on our American stage is a modern treatment of the Faust legend under the title of Der Teufel. So much for the absorbing interest which the story has (and ever will have) in its dramatic form.
Browning and The Marathon Race
Authors: Cunliffe John W.
Published: February 2007

The Marathon race was undoubtedly a happy thought on the part of the promoters of the first Olympic games of modern times—those held at Athens in 1896. A well-known member of the French Academy, M. Michel Bréal, gave the prize, and the Greeks set their hearts on winning it. A private correspondent wrote from Athens just before the race took place:—

If the winner is Greek, a tailor has promised him a suit of clothes, a barber has undertaken to shave him for life, a man at a has promised him two cups of coffee daily for life, another has promised a dinner a day for a year, another has undertaken to do his washing for life, and another to keep his things ironed, and last, but not least, a lady has offered to marry him.
The Purport of Lyly's Endimion
Authors: Long Percy W.
Published: February 2007

The Rev. Mr. N. J. Halpin in 1843, followed by Professor G. P. Baker in 1894 and Mr. R. Warwick Bond in 1902, have sought to explain Endimion as the vehicle of a personal allegory setting forth a contemporary court intrigue. These commentators have been duly followed in turn, with slight variations, by the historians F. G. Fleay in 1891, A. W. Ward in 1899, and F. E. Schelling in 1908. The existence of this allegory may be regarded, therefore, as generally accepted by authorities on the Elizabethan drama. The exponents of this personal allegory agree in recognizing that Lyly intended to represent the Queen in Cynthia, a point which no one is likely to dispute. They agree further in arguing that Endimion, the lover of Cynthia, represents Leicester, the favorite of Queen Elizabeth. From this basis three varieties of the allegory have been developed, in attempts to identify a third character, Tellus, thè lady deserted by Endimion. Three ladies have been proposed, each of whom played a striking rôle in Leicester's career. Mr. Halpin suggested Lady Sheffield, Leicester's second wife; Professor Baker substituted for her Lady Essex, Leicester's third wife; and Mr. Bond set aside both in favor of Mary, Queen of Scots.
X.—Dryden's Conversion to the Roman Catholic Faith
Authors: Root Robert K.
Published: February 2007

Early in 1659, when the poet was twenty-seven years old, appeared Dryden's first serious contribution to English literature, the Heroic Stanzas consecrated to the Memory of His Highness, Oliver, late Lord Protector of this Commonwealth. In the very next year, he hailed the restoration of Charles as a return of the Golden Age in the poem entitled Astræa Redux, and in the year following published a Panegyric on his Coronation. In November, 1682, he published Religio Laici, a carefully reasoned defense of the English Church. Less than five years later, in April, 1687, in the Hind and the Panther, we find him ardently espousing the cause of Rome; and during these five years a Roman Catholic sovereign had succeeded to the throne of England. James II had become king in February, 1685; and, if we may trust an entry in Evelyn's Diary, Dryden was already a Roman Catholic in the following January.
XI.—Schiller and Hebbel, 1830–1840
Authors: Howard William Guild
Published: February 2007

Considered with regard to the author's intention, nearly all of Schiller's dramas have established their right to be ranked among the most successful achievements in German literature. They were written for representation on the stage before a popular audience; and throughout the nineteenth century, in spite of the vagaries of literary fashion and the frequent hostility of literary men, the German people as such remained true to its admiration of Wallenstein, and Wilhelm Tell. No student of the drama can fail to perceive that Schiller is an indispensable presupposition to all dramatic production in Germany since his time; or can underestimate the value of his example in all that pertains to the architectonics of the drama; or ought to suppose that Schiller will not continue to speak from the stage to the twentieth century and beyond.
The Fisher King in The Grail Romances
Authors: Nitze Wm. A.
Published: February 2007

The nearer the knights of Arthur's Court approach the Grail, the more illusive and intangible the holy vessel appears. In Sir Percivale's own words:

“Lo, if I find the Holy Grail itselfAnd touch it, it will crumble into dust.“

Thus one might say the Grail symbolizes in its evasiveness the problem of its own origin. For if its source is still to be sought, this is largely because the problem involved so easily eludes one's grasp. The difficulty is to fix the eye on the main issue, to the exclusion of secondary considerations. The Grail stories have been classed as Perceval and Galaad forms, as those in which a quest is the burden of the tale, as those in which it is the history of the sacred vessel itself.
The Liturgical Basis of The Towneley Mysteries
Authors: Cady F. W.
Published: February 2007

The Towneley Mysteries have two remarkable characteristics which have attracted the attention of scholars: they contain a number of plays borrowed directly from the York cycle and they also contain a number of other plays so conspicuous for their highly dramatic form that the cycle may be said to have reached in them the highest point in the dramatic development of the English Mystery. Various theories have been advanced to account for the presence of these two sets of plays in Towneley and especially for the relationship, and its extent, of Towneley and York. The two theories of greatest interest are those of Professor Davidson and Professor Hohlfeld. A third, advanced by Mr. Pollard, is practically the same as Professor Hohlfeld's, with one or two slight modifications, which hardly concern us here.
XXI.—The Earl of Warwick's Virelai
Authors: MacCracken Henry Noble
Published: February 2007

The career of Richard Beauchamp, Earl of Warwick, from 1401 to 1439 is hardly to be equalled in the annals of chivalry, even by that earlier Richard, Cœur-de-Lion It is no part of this introductory note to his Virelai, to rehearse in detail the extraordinary events of his long life of travel, adventure, warfare, and diplomacy. Mr. James Gairdner's life of the hero tells the story of his chief exploits, and those to whom Dugdale's Warwickshire is accessible may read it in detail. But to come upon a literary personality in the fifteenth century is so rare a thing, and the character of Richard Beauchamp is so happy an example of a true knight of the Middle Ages, that these few notes upon him and his family, most of them not in Gairdner's article, will not come amiss to the student of the period.
XXIII.—American Editions of Shakespeare: 1753–1866
Authors: Sherzer Jane
Published: February 2007

American criticism of Shakespeare began in 1753 with a New York woman, Charlotte Ramsay, best known as Mrs. Lennox. Until fifteen years of age she lived in America with her father, Colonel James Ramsay, Lieutenant-Governor of New York City. Thence she went to London and, being thrown upon her own resources, supported herself, both before and after marriage, by her literary labors. During her long life of eighty-four years (1720–1804) novels, poems, comedies, memoirs, and translations flowed from her prolific pen. That her intellect was of no mean order is known from Dr. Johnson's testimony. He considered her ability equal to that of Hannah More or Fanny Burney.
XXV.—The Prose Dialogue of the Commonwealth and the Restoration
Authors: Crawford Bartholow V.
Published: February 2007

Literary historians, in characterizing the pamphlet literature of the English Civil War and the early years of the Restoration have, as a rule, contented themselves with the statement that much of the prose of the period was written in dialogue. It is the purpose of this paper to give some idea of the varying popularity of the dialogue during the period from 1640 to 1700, to characterize the commonest type more precisely than has been customary, and briefly to suggest its possible relation to English predecessors and to foreign works, ancient and contemporary.
XVIII.—Notes on the form of The Dynasts
Authors: Fairley Barker
Published: February 2007

Whether or not The Dynasts is the greatest work in English literature of the last generation it is undoubtedly the most engrossing for the student of literary forms. English literature does not on the whole raise questions of form; we have been content to leave that to the Germans. But with The Dynasts we have for once out of our own native workshop a poem which drives the mind back to all the old problems that have dogged epic and dramatic literature through the centuries. And besides the old problems it raises a score of new ones which will stimulate enterprise and innovation in many a writer of to-day and to-morrow. If at the present moment the necessity of analyzing The Dynasts, complicated as the task may be, is not apparent to the reader of English literature at large, it will be apparent at no distant date.
XV.—Was Paradise Well Lost?
Authors: Stoll Elmer Edgar
Published: February 2007

There are few things in literature so beautiful as the endings of Milton's three long poems. Paradise Lost, Paradise Regained, and Samson Agonistes, the great Puritan poems of sin and righteousness, end, each in its own way, on a quiet note of reconciliation with life. In all three the story tapers off and there is no final climax. In all three the grand style sinks into the simple, the music dies away on the slow chords of a cadence, the mighty pinions on which the poet was lifted in his flight float him gently down to earth again. And in all three, though he does not cry “back into life, back into life” with Groethe, he drops back into it instinctively. Like the skylark, he is true to the kindred points of heaven and home. In Paradise Lost is the finest of these closes, and concerning the meaning of this one there has, of late, arisen some question.
XVI.—Possible Evidence for the Date of Tamburlaine
Authors: Hubbard F. G.
Published: February 2007

The first extant edition of Tamburlaine bears the date of 1590, but we have evidence of its existence as early as 1588 in the well known reference to “that atheist Tamburlan” found in the address To the Gentlemen Readers, which forms the introduction to Greene's Perimedes the Blacke-Smith. Many authorities give 1587 as the date of the play, but there is no direct evidence for it. The date of the first appearance of Tamburlaine on the stage is of such importance in the history of the English drama that any evidence bearing upon the matter, however slight or however doubtful, should be brought to light for the consideration of students of Elizabethan literature. This is my apology for presenting a matter that seems to me somewhat doubtful; it may turn out to be of no value whatever as evidence; on the other hand, some one of keener insight may see in it strong corroboration of other evidence, or show it to be conclusive in itself.
XX.—A Definition of the Lyric
Authors: Whitmore Charles E.
Published: February 2007

It is a commonplace of literary history that no great outburst of poetic energy has been unattended by the lyric. Not only may we fairly say that its vitality is an index of the vitality of the deeper poetic energies, but we may add that it endures when other forms seem dormant or moribund, and that when it is wholly extinguished, true poetry is practically at an end. It would, therefore, seem that an examination of the lyric, and a definition of its peculiar qualities, would be likely to throw light on the nature of poetry itself. We all recognize lyrics when we see them, but we are also conscious that not every poem which wears the outward semblance of a lyric is essentially so; yet it is not always easy to give a precise and satisfactory statement of what constitutes the essence of the lyric form.
XXII.—Frisian Place-Names in England
Authors: Lyons Jessie M.
Published: February 2007

Mr. H. M. Chadwick departs from current views about the early settlers of Great Britain and challenges Bede's long-accepted classification of them as Angles, Saxons, and Jutes. He believes them to have been a homogeneous people, their dialectic differences having come about after the immigration and through political and geographical influences. He opposes the prevailing notion that the Anglo-Saxon organization at the time of the migration was “tribal,” and thinks that the invasion was accomplished by large organized bands, not by small groups of adventurers acting independently. The migration of the Angli Mr. Chadwick regards as exceptional. Although there was no external pressure, it was on a large scale and extended over a considerable space of time. And, he says, according to the constitution of military forces of the time, the warriors required to make up the forces of invasion were not all drawn from within the territories of the Angli, but came, many of them, from the surrounding regions.
The Black-Letter Broadside Ballad
Authors: Rollins Hyder E.
Published: February 2007

In actual practice the English broadside ballad did not exist before the introduction of printing; but it is not accurate to assert that “street ballads begin about 1540,” or even to call Skelton's ballad on Flodden Field (1513)—said to be the earliest printed street ballad extant—the beginning of the genre. Undoubtedly the ballad had begun to play an important rôle before 1500, and in its origin runs much farther back, far antedating the art of printing. To all intents the street ballad was matured as early as 1500; while satirical poems, invectives, lamentations, and short jocular and religious stanzas of a still earlier period have many of the features that characterize printed broadside ballads and unquestionably prepared the way for them. Early in the fifteenth century, writers of such ballad-poems tried to circulate them on manuscript broadsheets. Naturally, therefore, the advent of printing merely facilitated and increased the production of rimed broadsides, until, in the reigns of Mary and Elizabeth, they came to be the chief publications of the London press and the works most dear to the common people.
Goethe's Revision and Completion of his Tasso
Authors: Cooper William A.
Published: February 2007

Groethe's literary sources for the Ur-Tasso acquainted him with the legend of Tasso, which had sprung up even before the publication of the first biography of the poet, by Manso, in 1620 (twenty-five years after Tasso's death), and flourisht uncheckt till the appearance, in 1785, in Rome, of the Abbate Serassi's La Vita di Torquato Tasso. One prominent feature of the legend, the love affair between the poet and the Princess Leonora, sister of the Duke of Ferrara, was retained by Goethe, even after he read Serassi's attempts to disprove it, because he was making the love motive in the drama a reflection of his own relation to Frau von Stein. As that Platonic relation had unfolded itself in life its reflection had assumed shape in the drama, till, on the completion of the second act, the poet had realized that there was a crisis ahead, both in life and in the play; and as he did not care to picture it in fancy, the two-act fragment was laid aside, in November, 1781, and was not toucht again till the author went to Italy. This fragment, the Ur-Tasso, was written in “poetischer Prosa.” The finisht drama is in un-rimed iambic pentameters. The revision of the drama was begun in Italy and finisht after the poet's return to Weimar. It is the purpose of this paper to discuss certain features of the history of that revision.
Le Roman Militaire En France De 1870 à 1914
Authors: Schinz Albert
Published: February 2007

Lorsque la guerre éclata, la France, militairement parlant, n‘était pas prête. Malgré l'arrêt momentané des armées allemandes en Belgique, l'ennemi put arriver jusqu’ aux portes de Paris.
A New Version of the Peregrinus
Authors: Young Karl
Published: February 2007

The more recent discussions of the dramatic manifestations within the liturgy of Easter-tide have given fair consideration to a type of play,—Peregrinus,—centering in a dramatization of the appearence of Christ to the two disciples at Emmaus, as recounted in the Gospel of Luke. Although the importance of this post-Resurrection play has been sufficiently evident, the limited number of the extant texts has suggested that it was closely restricted in its distribution and development. Recent researches, however, have given promise of substantial future additions to this branch of knowledge. Since the date of the last comprehensive surveys of the subject, one complete new text has been discovered, together with a mutilated fragment of another text. The purpose of the present article is the communication of an additional version, considerably more extended in dramatic content than any of the versions published hitherto.
The Middle-English Metrical Version of the Revelations of Methodius; With a Study of the Influence of Methodius in Middle-English Writings
Authors: D'Evelyn Charlotte
Published: February 2007

Among the works of authority referred to by mediæval writers the Revelations of Methodius long held a prominent place. Its popularity continued even into comparatively modern times, for from the year 1475 printed editions of the text appeared at frequent intervals. Sackur, its latest editor, who has prepared a critical version of the work, goes so far as to credit it with an influence second only to that of the canonical books and the Church Fathers. It is the purpose of the present study, first, to investigate the influence of this work upon Middle-English writers, discovering, if possible, to what extent and in what version, they used Methodius; and furthermore, to publish, as evidence of the popularity of the Revelations, a Middle-English metrical translation, which has been preserved in a single ms. Before taking up this phase of the influence of Methodius, however, it will simplify the discussion to summarize briefly what sort of material the Revelations contains, and what is known of its author and its origin.
Wordsworth and Hermes Trismegistus
Authors: Baldwin Edward Chauncey
Published: February 2007

At the very beginning of the nineteenth century, which has aptly been called “the century of the child,” a new sense of the sacredness of childhood found expression in Wordsworth's song written in 1802:

My heart leaps up when I beholdA rainbow in the sky:So was it when my life began;So is it now I am a man;So be it when I shall grow old,Or let me die!The Child is father of the Man;And I could wish my days to beBound each to each by natural piety.
XXIII. A New Text of the, Passio s. Margaritæ with Some Account of its Latin and English Relations
Authors: Gerould Gordon Hall
Published: February 2007

There came to my attention, in 1921, through the kindness of my colleague, Professor Frank Jewett Mather Jr., a manuscript of a Latin Life of St. Margaret, which he had recently purchased. Through his further kindness, I was permitted to examine and to transcribe the text of the manuscript, which was formerly in the possession of Sir Thomas Brooke, Bart., of Armitage Bridge. The manuscript is of vellum and measures × inches, being what we should now call a pocket volume. Indeed, the condition of the last leaf indicates that the book may have been some devout reader's constant companion before it was put into its present comparatively modern binding. It contains twenty-two leaves, of which nineteen are in a hand of the later fourteenth century, and the last three in a hand of the fifteenth century. Unless I am mistaken, both scribes were Englishmen. One may conjecture—though this is no more than a guess—that the second scribe was employed to complete the text because of some accident that had befallen the book. His work was crude in comparison with that of the first scribe, who wrote neatly, while he or a co-worker embellished the book with no less than nineteen boldly drawn and very interesting miniatures. The four pictures on the appended leaves are as rough as the script.
XXVI. Shakespearean Criticism in the Tatler and the Spectator
Authors: Neumann Joshua H.
Published: February 2007

The contribution made to the liberalization of neo-classical criticism by the small but interesting body of Shakespearean comment in the Tatler and the Spectator, deserves more than the passing mention it has hitherto received. The first to point out the entirely unclassical character of some of this material was apparently John Foster, Victorian biographer and man of letters. He notes specifically the absence of any set analysis or fine spun theory about Shakespeare's art, and the spontaneous outbursts of admiration for his philosophy, poetry, ethics and passion, which characterize much of Steele's remarks. G. A. Aitken, in his edition of the Tatler, refers to Steele's plan for improving the “vitiated tastes” of his contemporaries by means of stage representations of the noble characters of Shakespeare and others. Lounsbury discusses Addison's attitude towards the problems of poetic justice and tragi-comedy. Mr. Harold V. Routh observes that Steele discovered in Shakespeare a sublime moralist of middle class life at a time when a poet was generally valued for his rhetoric rather than for any serious reflections on men and manners. Professor Nichol Smith, in his volume of Shakespearean essays, dwells upon Addison's attitude towards Shakespeare's disregard of the “rules,” that veritable touchstone of neo-classical criticism. These remarks are obviously in the nature of chance observations. No attempt has yet been made, as far as the writer is aware, to examine this critical opinion in its relation to the whole history of eighteenth century criticism of Shakespeare. This, therefore, is the purpose of the present paper.
XXVII. Thomas Hey Wood, D'avenant, and the Siege of Rhodes
Authors: Thaler Alwin
Published: February 2007

Everyone is agreed that the historical importance of The Siege of Rhodes easily surpasses its intrinsic interest, and everyone knows that the play was one of the most influential of the pioneer works of Restoration drama—and of the heroic drama in particular. Even those who like to discount the value of “source-hunting” in general will be inclined to admit its usefulness in establishing the antecedents and relationships of a work which in so many ways marks the beginnings of a new era. It is not surprising, therefore, that the sources of the play have been studied with care and to good effect. One fact about them has been established so clearly by the several investigators that it may be dismissed here with a mere mention; namely, that D'Avenant drew chiefly upon Knolles's Historie of the Turkes (1603) for such incidents of the historical siege of Rhodes as he wished to use. As D'Avenant tells us, however, he undertook to “soften” for the sake of variety, “the martial encounters between Solyman and the Rhodians” by “intermingling the conjugal vertues of Alphonso and Ianthe.” The scholars who have looked into the matter are not altogether agreed as to where to place the ultimate blame for the softening: as to how much of the romantic story D'Avenant may have invented, or whence he may have drawn it.
XXVIII. A Supplement on Strollers
Authors: Colby Elbridge
Published: February 2007

Professor Alwin Thaler's paper, “Strolling Players and Provincial Drama after Shakspere,” was of particular interest to me for the reason that his interpretations and conclusions were based so extensively upon the Memoirs of Thomas Holcroft, a document which I have taken as the subject for repeated studies. Indeed, in attempting to illustrate the life of Holcroft, radical, novelist, and playwright, I had myself been led to collect a considerable amount of material relating to the strollers of the eighteenth century. In presenting the notes which follow my purpose is to offer an additional contribution to the subject, supplementing the material assembled by Professor Thaler, but taking pains not to duplicate his references.
XXIX. Pater, Heine, and the Old Gods of Greece
Authors: Harrison John Smith
Published: February 2007

Pater's thought is thoroughly pervaded by the Teutonic element; indeed, when he begins his essay, Apollo in Picardy, with an unidentified quotation which reads like a synthesis of his own reflections and credits it to “a writer of Teutonic proclivities,” the observant reader is inclined to suspect that Pater is really quoting from himself. Even if this identification should prove to be mistaken, Pater's interest in Goethe, in Hegel, and in Winckelmann still points to his indebtedness to Tuetonic thought, for the substance of his work constantly shows how the ideas of these Germans fertilized his own thinking on such matters as the aim and ideal of life, the fundamental principles of æsthetic theory, Romanticism as a mood of the mind, Greek art and Greek mythology. The present paper is not concerned with this Teutonic influence in all of its phases, but confines itself to a single theme, to be traced not only in Pater's critical essays but also in his more creative and fanciful pieces, in which an idea derived from Heinrich Heine comes to its blossoming. Pater met with this idea in the writings of Heine as early as 1869 and he continued to show his interest in it down to 1893, so that its influence is discernible throughout almost the whole course of his literary career.
XV.—The Ludus Coventriae and the Digby Massacre
Authors: Patch Howard R.
Published: February 2007

A vague suggestion has been in the air of late that there is a more than casual similarity between the so-called Ludus Coventriae and the plays of the Digby Manuscript. The following paper is an attempt to render that suggestion somewhat more concrete and to define the nature of that relation. First, however, it is clearly necessary to deal with the questions of the structure and development of the Ludus Coventriae before its external relations may be considered. Miss Swenson's recent careful study is perhaps most valuable in its metrical analysis; but even this must be tested in the light of Miss Block's somewhat more fruitful examination of the manuscript, which in turn neglects the metrical form of the plays. Miss Swenson is led to believe that the “tumbling” lines mark the chief additions to the cycle; but the changes noted by Miss Block which are indicated by manuscript disturbance go far beyond these in certain respects. We are justified, therefore, in using the evidence from both sources as a basis for a new study, with the hope that further and more specific conclusions may be reached.
The Marlowe Canon
Authors: Brooke Tucker
Published: February 2007

Christopher Marlowe's name appears on the title-pages of the early editions of the following plays:

Dido: ‘Written by Christopher Marlowe, and Thomas Nash. Gent.‘ (1594)

Edward the Second: ‘Written by Chri. Marlow Gent.‘ (1594)

The Massacre at Paris: ‘Written by Christopher Marlow.‘ (n. d. ca. 1600.)

Doctor Faustus: ‘Written by Ch. Marl.‘ (1604)

The Jew of Malta: ‘Written by CHRISTOPHER MARLO.‘ (1633)

Lust's Dominion: ‘Written by Christofer Marloe, Gent.‘ (1657)
The Meaning of All's Well That Ends Well
Authors: Lawrence William Witherle
Published: February 2007

The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice, and in furnishing so much work done to his hand, leaves him at leisure and in full strength for the audacities of his imagination. (Emerson, Essay on Shakspere, in Representative Men)

It has often seemed strange to lovers of Shakspere that the most genial of dramatists should have written plays which, while not attaining the horror and pathos of tragedy, arouse distaste and even repugnance. Troilus and Cressida and Measure for Measure, despite superb poetry and marvellous delineation of character, are so repellent in theme and treatment that they are seldom represented on the stage today, and seldom lie close to the affection of readers of Shakspere. This is even more the case with All's Well that Ends Well. “Everyone who reads this play,” says the editor of the Arden Shakespeare volume, “is at first shocked and perplexed by the revolting idea which underlies the plot ... it leaves so unpleasant a flavour with some people that it is not tasted again.”
Histoire de L'impression et de La Publication de la Lettre à D'Alembert De J.-J. Rousseau
Authors: Ayers Eleanor Hall
Published: February 2007

Cet article est la continuation du travail publié ici-même sur “L'Histoire de l'Impression et de la Publication du Discours sur l'Inégalité, de J.-J. Rousseau,” par Albert Schinz.
Emerson as Poet of Nature
Authors: Foerster Norman
Published: February 2007

If It may be said of Emerson's Writings that

In his every syllableLurketh Nature veritable,

Thoreau should be given much, perhaps most, of the credit. For Emerson owed as much to Thoreau in respect to the material world as Thoreau owed to him in respect to the world of spirit. Remove the details of material nature from Emerson's essays, and you will rob them of much of their charm and power, since the author would be in perpetual danger of soaring aloft, balloon-fashion, among his “Circles” in worlds unrealised. Remove them from his Poems, where the sensuous, the concrete, is vitally necessary, and the poetry itself is gone with them. By a most happy conjunction of events, the very man who perhaps of all his countrymen had most to give Emerson, was his fellow-townsman, his friend, his companion in countless walks to the pine-groves, a valued assistant in editing the Dial, the guardian of his hearth while he sojourned abroad, and a sympathetic interpreter and critic of his inner life. Their friendship was not, of course, a free union of personalities, though we must make allowance for the stiffnesses of the Puritan tradition and bear in mind that, if Emerson would as soon think of embracing a tree as putting his arm around Henry, the forbidding Henry could be a charming Piper of Hamelin to the Emerson children, could sing his favorite “Tom Bowling” under the shelter of a rock during a shower in the presence of R. W. E. himself, and, when the mood was right, could dance with something like abandon.
Wordsworth's Gospel of Nature
Authors: Cerf Barry
Published: February 2007

The last hundred years have destroyed the social, political, artistic, philosophical and religious beliefs of the past and substituted new ones. While no one of these new ones has proven satisfactory, it is particularly in the domain of religion that the experiments of a century have borne little fruit. The spiritual indecision of to-day unquestionably had its origin in the peculiar variety of religion which the romantic era gave to the world.
William Godwin's Influence upon John Thelwall
Authors: Allen B. Sprague
Published: February 2007

At two periods in the eighteenth century, literature was more closely and more frequently associated than is its wont, with immediately contemporary events, and instead of being a disinterested interpretation of life it was enlisted in the service of propaganda. At the outset of the century party-politics, the bickering of Whig and Tory, more than once roused Defoe, Arbuthnot, Addison, and Swift to seize a polemic pen, and from the tumult of controversy emerged works like The Campaign amd The History of John Bull, inspired as much by anticipated rewards as by agitated feelings. Again, at the close of the century, in the presence of such a social upheaval as the French Revolution, it was impossible for thinking men to remain neutral. Problems, born of the intellectual ferment of the age and concerned with the fundamental issues of religion, morals, and government, stirred men to a white heat of partisanship and set them writing passionately, according to their sympathies, in behalf of liberty, equality, the state of nature and civilization, Christianity and atheism, and traditional ethics and individualistic morality. Losing contact with beauty, imaginative literature indeed at this time too often staggers under a weight of social philosophy.
The Accentuation of Old French Loanwords in English
Authors: Learned Henry Dexter
Published: February 2007

The old explanation of the modern English accentuation of Old French loanwords (via Anglo-French) as due to the analogy of Germanic stress has been regarded by several investigators with suspicion. It is too summary. Jespersen is not satisfied with it because of the existence of many end-stressed words in English, such as begin, forget, and proposes several explanations of his own. Van Draat takes issue with some of these, but also regards the old explanation as incomplete. Tamson attempts to deduce some regularity from occurrences of varying accentuations in late Middle English poetry.
Lord Jeffrey and Wordsworth
Authors: Beatty Joseph M.
Published: February 2007

Commonsense is a bourgeois virtue, anathema to the temperamental, a red rag to the radical. It disgusts and terrifies the aesthete: it reminds him almost too baldly of the unlegalized reasoning of his middle-class readers. The common-sense reason of the populace, sometimes personified in a critic, hounds the eccentric genius on to wilder vagaries than he would have dared to indulge in unpursued. And, in its turn, abstract reason, fearing an invasion of its prerogatives, occasionally bursts its traditional leash of self-restraint and leaps bare-fanged upon its victims. But be the critic what he may, Time, the most inexorable of critics, judges an author at last by the standards of commonsense. Reason, experience, and intellectual honesty are its component parts: sanity is its ideal.
The Subterranean Grail Paradise of Cervantes
Authors: Barto Philip Stephan
Published: February 2007

The Don Quixote of Miguel de Cervantes Saavedra was written (1606-1615) in ridicule of the chivalric romance at that time so overwhelmingly popular. The sickening exaggeration of these latter-day tales of knighthood apparently not only cloyed Cervantes but excited his sense of the ludicrous as well, giving him the idea of turning upon this type of story his powers of subtle satire. Since Cervantes was a man of by no means great academic erudition, what he knew of the background of knightly romance he had doubtless secured in the everyday way of popular reading. Certain high lights must naturally enough have struck his attention in his perusal of current tales of chivalry, and such came in for especial attention in his Don Quixote. Each episode of the book has, indeed, its more serious counterpart in the literary background which inspired Cervantes to his task.
XVII.—Samson Agonistes Again
Authors: Baum Paull Franklin
Published: February 2007

Although Dr. Johnson is one of our best English critics, he has left much that the world would willingly let die. But alas ! the written word is imperishable, and will every now and then repair its drooping head, in spite of the opportunities of oblivion. Johnson's strictures on the shorter poems of Milton have now for a good while been taken for what they are worth; even his severity with Comus is recognized as more than half perversely irrelevant. I say nothing of Paradise Lost, for no other poem so inexorably demands the willing suspension of disbelief which Johnson was incapable of. But recently his obiter dictum that Samson Agonistes is not a dramatic whole in the Aristotelian sense, having a beginning, a middle, and an end; that “ the intermediate parts have neither cause nor consequence, neither hasten nor retard the catastrophe ” has re-entered the listed field. And “ these shifts ” must be “refuted.”
XIX.—Rhythm and Rime Before the Norman Conquest
Authors: Rankin J. W.
Published: February 2007

The orthodox view regarding the introduction of end rime into English verse is succinctly set forth in the following quotations : “ Endrime, being a stranger to the early Germanic languages, its appearance in any of them may commonly be taken as a sign of foreign influence. In general, of course, rime and the stanza were introduced together into English verse, under the influence of Latin hymns and French lyrics.” “ Die alliterierende Langzeile war die einzige in der ags. Poesie bekannte Versart und blieb in derselben bis zu ende der ersten ags. oder altenglischen Sprachperiode in Gebrauch.” “ The transformation of the O. E. alliterative line into rhyme verse did not take place before the Middle English period. It was due to the influence of the rhymed French and Latin verse.” “ Alliterative verse was remodelled on Latin and French verse—or foreign verses were directly imitated.” The implication is that there never existed in Anglo-Saxon any verse of a form different from that of the five-type alliterative verse which prevails in the corpus of extant Anglo-Saxon poetry.
XXII.—The Calumny Op Apelles in the Literature of the Quattrocento
Authors: Altrocchi Rudolph
Published: February 2007

In Florence, in the Uffizi Gallery, is the famous painting by Botticelli entitled La Calumnia d'Apelle. The picture shows several allegorical figures dramatically grouped and exquisitely colored against a background of classical arcades looking upon a distant sea. The exact date of this picture is not known, but Horne, the greatest authority on the life and works of Botticelli, places it about 1494. It is the object of this paper to trace the theme of the Calumny of Apelles from its origin in classical antiquity to the time of Botticelli, noting particularly the literary manifestations to which it gave rise in Florence in the Quattrocento.
Balzac's Interior Descriptions as an Element in Characterization
Authors: Bowen Ray P.
Published: February 2007

Much has been said about Balzac's interior descriptions and their intrinsic value in his character portraitures, of his “oyster-and-its-shell” theory, as it is called, but very little exact analysis has been given them. Monsieur H. Clouzot's interesting article, L'Ameublement dans la Comédie Humaine d'Honoré de Balzac, is the only one which treats the subject at any length. Even here the author does not show how Balzac worked to obtain his effects, nor does he succeed in proving that a particular setting is as nearly indispensable to a complete rendering of the characterization as Balzac hoped and as his admirers have supposed.
Expostulation And Reply
Authors: Beach Joseph Warren
Published: February 2007

The poet Wordsworth has been for a century the synonym of wholesomeness and piety. It is only within the past decade that it has become the fashion to regard him as a dangerous influence. There is a school of critics at the present moment who go about sadly shaking their heads over Wordsworth's case. They think it a pity that, like Shelley, he should have devoted so fine a talent to the propagation of a subtly vicious teaching.
Wordsworth's Unacknowleged Debt to Macpherson's Ossian
Authors: Moore John Robert
Published: February 2007

Although Wordsworth professed contempt for Macpherson's “translation” as a worthless forgery, it can be shown that he was familiar with the subject-matter, the spirit, and, in places, with the exact phraseology of Ossian; that he borrowed an Ossianic word or two when he needed it; that many of his poems deal with themes relating to the Ossianic poems, or present images or lines to which parallels may be found in Ossian; and that in his passionate love of the mountain wilderness he came very near the spirit of the blind bard of Selma.
The Revision Of Roderick Hudson
Authors: Havens Raymond D.
Published: February 2007

In an interesting paper which appeared in March, 1924, Miss Hélène Harvitt discussed “How Henry James Revised Roderick Hudson.” The investigations on which this article was based were made in Paris where original American editions were presumably not available, for we are told that “All quotations from the revised version of Roderick Hudson refer to the Macmillan edition of 1921, those from the first edition, to that of 1883 (2 vols).” If the author had been able to refer to an American edition published after 1882, she would have noticed the two copyrights (one issued to the publishers in 1875, and one to the author in 1882) and the “Note” (which has a page to itself): ‘Roderick Hudson’ was originally published in 1875. It has now been minutely revised, and has received a large number of verbal alterations. Several passages have been rewritten.“ That is, she would have seen that the text which she quotes throughout her article as from the first edition, comes in reality from a thoroughly revised later version.
Japan in French Poetry
Authors: Schwartz William Leonard
Published: February 2007

It is generally known that the timely discovery in Paris of specimens of Japanese color-prints and watercolor painting in the late sixties had an immediate influence on the French Impressionist painters. However, it is not always noted that the writers who supported this school of painting: Baudelaire and Zola, Manet's special friends; the Goncourt brothers who admired Degas; Clemenceau and Théodore Duret, knew certain aspects of Japanese art, and were collectors of curios. Japanese stories and legends entered Europe at about the same time as the color-prints, descriptions of Japanese life are numerous in the magazines of the period. The first poem in French about Japan appears to be this sonnet by Catulle Mendès, which he dates back in his Œuvres complètes to the volume Philoméla (1863).
From Necessity to Transcendentalism in Coleridge
Authors: Gingerich S. F.
Published: February 2007

From his college days onward Coleridge considered himself, and was considered by his intimate friends, the champion of religion, and particularly of the Christian religion. That this championing of Christianity was frequently attested in his letters and writings; that the most ambitious poem of his youth—Religious Musings— was written in the spirit of its title; that he occasionally preached from Unitarian pulpits; that all his later prose writings were predominantly religious; that he at no time considered the writing of poetry his prime purpose—these facts lead to the conclusion that religion was the dominating interest throughout most of his life.