bluuebunny/crossref_metadata_2025 huggingface dataset:
Romanticism in France
Authors: Havens George R.
Published: February 2007

In France, romanticism is first of all a revolt against a firmly entrenched classicism. In this respect, French romanticism is markedly different from romanticism in England, Germany, or Spain, where classicism had been less in accord with the national temper and had not risen to the glorious heights of the century of Corneille, Racine, and Molière. It is not surprising therefore that classicism, having produced so rich a literature of profound psychological insight, should have prolonged its dominance in France, to a considerable degree, even into the early years of the nineteenth century. It is significant too that in France, romanticism established itself first in prose with Rousseau and his successors, then in poetry with Lamartine, and only at last in drama with the final triumph of Hugo's Hernani in 1830. This sequence corresponds to the degree of resistance in these three literary forms. The victory over the codified rules of classic tragedy could come in France only after a long fight extending over more than a hundred years. This explains why so much of French debate about the theories of romanticism turns about the drama.
The Romantic Movement in England
Authors: Fairchild Hoxie N.
Published: February 2007

Since the flowers of English romanticism are thoroughly familiar, I shall pay what might otherwise be a disproportionate amount of attention to the roots.
Romanticism in Spain
Authors: Tarr F. Courtney
Published: February 2007

During the romantic era Spain enjoyed for perhaps the first time in her history a genuine European vogue. The theorizers of romanticism in Germany, England, and France—especially Germany—discovered in Spanish literature, as they imperfectly knew it—chiefly the Don Quixote, the ballads, and the theatre of Calderón—ammunition for their critical and anticlassical campaign, while the creative writers of these countries found in the land and its people, their history, legends and letters, a new and rich store of themes and settings, made as if to order in response to the demand of the moment for the picturesque and the passionate, the chivalresque and the medieval. But having little interest in Spain for herself nor (Mérimée excepted) any real knowledge of her language, history, or culture, they recreated a conventional, literary Spain according to their own needs, desires and imaginations, that “romantic” Spain best typified perhaps in the Carmen of Mérimée and of Bizet, a conception which has persisted in the popular mind down to the present and against which Spaniards and Hispanophiles—then and now—have reacted more or less violently and in vain. (And, may I add, not with complete justification, for creative artists are hardly to be censured for not being exact historians or archeologists.)
Notation For Ballad Melodies
Authors: Entwistle William J.
Published: February 2007

Some time ago, in a comparative study of European balladries, the problem of the melodies halted me till Professor César Barja told me that my problem had already been solved by Professor Sigurd B. Hustvedt, who sent me a short time later his valuable pamphlet, A Melodic Index of Child's Ballad Tunes (Univ. of California Press, 1936). I have made an extensive use of his system, having introduced a few modifications, and venture to think that my experiments may serve as (so to say) laboratory confirmation. His business has been with English and Scottish ballads; mine has been international.
“That Late Villain Milton”
Authors: French J. Milton , Kelley Maurice
Published: February 2007

As a supplementary note to the volume of Milton's Letters of State in the Columbia edition of his Works (Volume XIII), as well as an illuminating guide to his reputation immediately subsequent to his death, when Williamson's phrase, “that late Villain Milton,” would have met with nearly unanimous approval, it seems worth while to furnish a summary of information bearing on their publication. The gathering of this material has been in progress now for some time. The principal contributors have been Sumner (in his edition of the Christian Doctrine), Hamilton, Masson, Tanner and Howarth (editors of Pepys), and Hanford. Their contributions being somewhat scattered, I have here brought together the chief items. I am also able to add several new letters which have not previously been published, to correct and clarify certain dates, and, I hope, to arrange the whole in such a way that its story unfolds logically and easily.
Browning's Friendships and Fame Before Marriage (1833–1846)
Authors: Cramer Maurice Browning
Published: February 2007

The current conception of Browning's reputation before his marriage is based to a large extent on that little book of pleasant and readable scholarship by Professor T. R. Lounsbury, The Early Literary Career of Robert Browning. Lounsbury attempted to show that Pauline (1833) and Paracelsus (1835) were surprisingly well received for first poems; that Strafford (1837), a bad play, chilled this initial enthusiasm; and that Sordello (1840), a foolishly obscure poem, killed all enthusiasm except in a few. He went on to assert that the effect of Sordello lasted for many years, and that thereafter there was an ignorance “almost incredible” among “the great majority of the most highly educated class,” even among those “distinguished in letters,” and that this ignorance did not begin to lift until the publication of The Ring and the Book (1868–69).
Richard Morison, Official Apologist for Henry VIII
Authors: Zeeveld W. Gordon
Published: February 2007

Before the theory that early English humanism suffered an arrest at the death of More and Fisher hardens into dogma, it may be well to draw attention to the importance of a small group of English scholars who under the patronage of Henry VIII and Cromwell pursued classical studies in the household of Reginald Pole in Italy during the second decade of the sixteenth century, and who later put their learning to use in the king's service in England. One of that group, Richard Morison, deserves more than the scanty notice he has heretofore received. Drafted at a critical moment after the outbreak of the Pilgrimage of Grace in 1536, he was advanced literally overnight to a position of strategic importance as official propagandist against the rebels. The four tracts which he wrote in 1536 and 1539 in support of the government's action, together with his unpublished writings, constitute the largest single body of evidence, though by no means the only evidence, for the persistence of the humanistic tradition in the period immediately after More's death. Moreover, they reveal a hitherto unsuspected acquaintance with the political works of Machiavelli, whose influence in Cromwellian political policy has recently been denied. The present description of the literary career of Morison is therefore of importance for its bearing on the history both of humanism and of political ideas in early Tudor England.
Mary Hays, Disciple of William Godwin
Authors: Adams M. Ray
Published: February 2007

Mary hays was one of that remarkable coterie of women, including Mary Wollstonecraft, Amelia Alderson, Mrs. Reveley, Mrs. Fenwick, and Mrs. Inchbald, who afforded William Godwin a sort of philosophic seraglio. Little is known of her life: no biographical sketch of her exists. As the information left by others is sparse, we must depend much upon her supposedly autobiographical novel, Memoirs of Emma Courtney. She lived to be eighty-three, but the last forty years of her life are without a record. Soon after the decade of the French Revolution she became enveloped in an obscurity which has never lifted. Once the immediate revolutionary impulse had spent itself, she seems to have written nothing more. But in the revival of the fame of Godwin and Mary Wollstonecraft, to both of whom she was as faithful as their shadows, she perhaps deserves more attention than she has received. In her blind discipleship she innocently reduced many of Godwin's philosophical maxims to absurdities. She thus made herself the laughing-stock of those conservatives whose sympathies were narrowed by mere respectability as well as of certain liberals whose convictions did not give them such reckless courage.
Bilder und Gleichnisse in Gottfried Kellers Prosawerken
Authors: Fleissner O. S.
Published: February 2007

Die besondere Eigenart von Gottfried Kellers Erzählungskunst ist die Bildlichkeit und die dadurch bedingte Anschaulichkeit seiner Sprache. Wir finden in seiner Sprache alles, vom einfachen Wortvergleich, wie er uns häufig in der Umgangssprache entgegentritt, bis zum weitausgesponnenen ungewöhnlichen Gleichnis. Das alltägliche stereotype Bild wechselt mit dem eigenartigsten und phantasievollsten, dem derben naturalistischen Vergleich folgt ein feiner poetischer, dem malerisch farbigen ein gehaltvoll symbolischer. Selbst der flüchtige Leser wird immer wieder von der Wahrheit oder Schönheit eines Bildes angezogen oder von der Treffsicherheit eines Vergleiches überrascht. So hat man sich daran gewöhnt, wenn man von Keller spricht, auch seine “sprechenden Bilder” und “schlagenden Vergleiche” zu erwähnen, wie es bereits A. Frey in seinen “Erinnerungen an Gottfried Keller” tut. Erstaunlicherweise hat sich die literarhistorische Forschung bis jetzt damit begnügt, die Metamorphose des Begrifflichen zum Gegenständlichen in Kellers Schaffen zu betonen und allgemein auf die verblüffende Anschaulichkeit und Kühnheit seiner Vergleiche, sowie auf deren symbolischen und weltanschaulichen Gehalt hinzuweisen. Es sei nun hier der Versuch gemacht, auf diese charakteristische Seite des Kellerschen Stils näher einzugehen.
XXXIX. The Beginnings of Chaucer's Irony
Authors: Birney Earle
Published: February 2007

Chaucer's poetry is generally felt to be distinguished by “an irony so quiet, so delicate, that many readers never notice it is there at all or mistake it for naïveté.”1 Granting, of course, the danger that “naïveté” may in turn be mistaken for irony, we may still suspect, with G. K. Chesterton, that Chaucer “made a good many more jokes than his critics have ever seen.”2 Whatever disputes continue about certain passages, no one is likely to deny today that the Prologue to the Canterbury Tales is rich in subtle and satiric ambiguities. A more debatable and more neglected question, and one which I wish to pose here, is: How early did the ironic spirit manifest itself in Chaucer's works?
XL. Malory's Beaumains
Authors: Loomis Roger Sherman
Published: February 2007

In his book entitled Malory Professor Vinaver propounds a plausible hypothesis that certain features of the romance of Gareth in the seventh book of the Morte d'Arthur were inventions of the author.

The hero—Beaumains—is Malory's own hero, and his name, impossible in any French romance, strangely resembles that of Malory's patron [Richard Beauchamp, Earl of Warwick]. His successive battles with the Black, Green, and Red Knights, and particularly his behaviour at the tournament at the castle of Lady Lioness, at once call to mind the romantic adventure of Richard Beauchamp. At that tournament the King of Ireland wondered who Beaumains might be, “that one tyme semed grene, and another tyme at his ageyne comyng he semed blewe. And thus at every cours that he rode to and fro he chaunged his colour so that ther myght neyther kynge nor knyghte have redy congnyssaunce of hym.” The parallel is so close as to lead me to believe that some parts of the book of Beaumains were written in remembrance of Beauchamp's gallant deeds.
Lxii: Clerical Drama in Lincoln Cathedral, 1318 to 1561
Authors: Shull V.
Published: February 2007

In 1933, while rummaging about in the mediaeval records of Lincoln, I found a whole series of new entries concerning the Church plays of Lincoln Cathedral for the fourteenth and fifteenth centuries. Previously one could survey the few known items concerning them in the appendix to E. K. Chambers' Mediaeval Stage. One could add to these a few more details by going to Chambers' sources, Mr. A. F. Leach and Bishop Christopher Wordsworth, whose Notes on Mediaeval Services in England contains a section devoted to Lincoln customs. The extant records, however, contain a consecutive series of entries which outline with remarkable fullness the drama within the Cathedral Church from 1318 to the accession of Elizabeth.
Lxiii: Jean de Meun et Chaucer, Traducteurs de la Consolation de Boèce
Authors: Dedeck-Héry V. L.
Published: February 2007

Il était impossible pour la philologie anglaise de répondre avec exactitude à la question de savoir si Chaucer, pour sa traduction de la Consolation de Boèce, s'était servi de celle de Jean de Meun: on s'y était pris trop tôt—avant d'avoir les matériaux nécessaires. Lorsque Morris, dans son édition de 1868 du Boèce de Chaucer, s'est posé pour la première fois cette question, rien n'avait encore été fait dans ce domaine par la philologie française. Les manuscrits n'étaient pas classés et, par conséquent, étaient inutilisables. Morris fut obligé, faute de mieux, d'avoir recours, pour comparer les deux textes, à une version anonyne de 1477 (réimprimée en 1494) et conclut logiquement, mais à tort, que Chaucer ne s'était pas servi de la traduction de Jean de Meun. Nous disons “à tort,” car nous savons aujourd'hui que, malgré son épître dédicatoire, le texte de l'édition de 1494 n'est pas la traduction de Jean de Meun. L'opinion de Morris fut suivie en 1870 par B. ten Brink.
Lxvi: Henry Parrot's Stolen Feathers
Authors: Williams Franklin B.
Published: February 2007

The publication of fourteen epigrams by Sir John Harington in Henry Parrot's Springes for Woodcocks (1613) is gaining recognition as a leading case in the study of Elizabethan literary ethics. Doubtless encouraged by the opportunity to pun on Parrot's name, two contemporaries, John Davies of Hereford and Richard Brathwaite, attacked him for this minor outrage. Their blunt charge that Parrot “stole” epigrams contrasts with the usual mild accusation of “borrowing,” and indicates an increasing appreciation of literary rights. Considerable importance is attached to the case in Professor Harold Ogden White's recent study of literary ethics, but he does not examine the underlying facts, and he only briefly cites the documents.
Lxviii: Donne's Technique of Dissonance
Authors: Douds J. B.
Published: February 2007

Dr. Johnson, in discussing the group of poets he dubbed “metaphysical,” defined their “wit” as “a kind of discordia concors; a combination of dissimilar images … ” This discordia has been recognized ever since as a distinguishing characteristic of Donne and other poets who resemble him; but by Johnson and most succeeding critics the discordia has been considered almost exclusively as a property of the poet's imagery. It seems to me that the principle involved is much more comprehensive; that in the poetry of Donne in particular discordant imagery is only one part of a general method which involves many other elements in his poetic style, and which is responsible to a considerable degree for his most striking and individual effects.
Lxxi: Sir Robert Howard as a Financier
Authors: Scott Florence R.
Published: February 2007

Sir Robert Howard, patron of John Dryden, director and playwright of the King's Theatre, Auditor of the Receipt of the Exchequer, and member of Parliament for thirty years, was a very important figure in the court of Charles II. It is surprising, therefore, that so little knowledge of his activities has found its way into print. Even Mr. Montague Summers in his recent extensive study of the Restoration theatre, The Playhouse of Pepys, deplores this scarcity. Moreover, he makes a statement or two which proves the inaccuracy of the little which has been printed. Referring to Howard's appointment as Secretary to the Commissioners of the Treasury, he calls the office “a very lucrative Post,” and in proof quotes Pepys, “Howard hath got, they say, £20,000 since the King came in.” I should like to suggest that the £20,000 came from several sources besides the Secretaryship. Wittingly or not, however, Mr. Summers has indicated the keynote of Howard's career. It was money first, last, and always which interested him.
XXII. The Philosophy of Piers Plowman
Authors: Wells Henry W.
Published: February 2007

Inviting the reader to exercise his own imagination with the aid of hints and cues rather than putting his meaning in prosaic terms, the meditative author of Piers Plowman takes one of the well-known roads of poetical composition. He stands with the poets who find it more to their liking to hint than to assert. On this account their work becomes relatively difficult to interpret. Time further adds to the obstacles implicit in their technique. Hence many of the controversies of scholars and the justification for what may at first glance seem a wasteful commentary. One cannot expect to leap suddenly to an understanding of so subtle and complex an allegory as Piers Plowman. Only through honest controversy and repeated effort is marked progress to be made.
XXIII. Spenser: The Uncertain Years 1584–1589
Authors: Jenkins Raymond
Published: February 2007

In this paper I shall trace Spenser's career in Ireland during the uncertain years, 1584–89, We know that the poet during this period was clerk of the Council of Munster, that he acted as secretary to the president of the province, and that he almost certainly, like his successor Richard Boyle, the Earl of Cork, “attended the Lord President in all his employments.”
XXV. Mary Palmer, Alias Mrs. Andrew Marvell
Authors: Tupper Fred S.
Published: February 2007

Biographers of Marvell have found themselves in a curious predicament. Although a considerable number of Marvell's letters have come down to us and evidence of other kinds is at least comparatively extensive, it has proved impossible to arrive at any clear understanding of his character. That fundamental uncertainty is chiefly a result of the fact that at two or three critical points the evidence is limited and enigmatic.
XXXI. Joseph Viktor v. Scheffel und Otto Müller 1854–1861
Authors: Müller Otto
Published: February 2007

In dem literarischen Nachlaß des im Jahre 1894 in Stuttgart verstorbenen Romandichters Otto Müller befinden sich zahlreiche unveröffentlichte Briefe von zum Teil hervorragenden deutschen Schriftstellern des neunzehnten Jahrhunderts. Es sind im ganzen 2664 Briefe, die von Gustav Müller, dem im Jahre 1918 in Genf verstorbenen Sohne Otto Müllers, auf das sorgfältigste gesichtet und chronologisch zusammengestellt wurden. In der Sammlung befinden sich Briefe von Th. Mügge, F. W. Hackländer, Hermann Hettner, Paul Heyse, Carl Emil Franzos, J. G. Fischer, Carl Gutzkow und Wilhelm Raabe, um nur einige zu nennen. Dieser Nachlaß, eine wahre Fundgrube für den Literarhistoriker, ist gegenwärtig im Besitz des Verfassers dieser Seiten, eines Enkels Otto Müllers.
Die Epischen Zeitverhältnisse in den Graldichtungen Crestiens und Wolframs
Authors: Weigand Hermann J.
Published: February 2007

Diese Arbeit stellt sich die Aufgabe, die in den Grundzügen der Fabel aufs engste verwandten Graldichtungen Crestiens und Wolframs auf ihre Behandlung der epischen Zeit hin zu untersuchen. In erster Linie muß es sich darum handeln, die in jeder der beiden Dichtungen tatsächlich obwaltenden Zeitverhältnisse ins Klare zu stellen. Die zeitliche Aufeinanderfolge der erzählten Ereignisse und die Zeitdauer sowohl der einzelnen Abschnitte wie der Gesamthandlung prägen sich nämlich nicht ohne weiteres dem Gedächtnis des Lesers ein. Zumal von dem Punkte an, wo die Erzählung sich gabelt und streckenweise die Laufbahn eines zweiten Helden ins Auge faßt, um dann wiederholt zum Titelhelden zurückzukehren, geht auch dem aufmerksamen Leser die Uebersicht leicht verloren. Wie sich im Lauf dieser Arbeit herausstellen soll, hat manches schiefe Urteil und manche vorschnelle Hypothese der Forschung unklare Vorstellungen über den epischen Zeitverlauf mit zur Voraussetzung.
Shakespeare on Style, Imagination, and Poetry
Authors: Thaler Alwin
Published: February 2007

The irresistible whirl of change moves faster as the world grows older, but the student of history and letters may still take uneasy comfort in the reflection that old legend dies hard. It lives long and, grown old, may be born anew if it be good legend—a challenging fable, a pointed parable, a tale which holds old men from the chimney corner because it has poignancy, beauty, truth, even if it be not the whole truth. And as with legend so with certain legendary literary judgments which have captured, as it were, the imagination of men. So it is, for instance, with Wordsworth's famous dictum concerning Milton: Milton's soul was like a star, but he did not dwell far apart from the world of affairs nor from warm and kindly human relationships. Yet Wordsworth's Milton lives, not only because the conception has in it an element of real, though partial truth, but more especially because it is dramatically effective—because it characterizes a complex figure in sharp, clean-cut, easily understandable lines. So it is also, I believe, with a fascinating old half-truth of critical legend which has had a curiously varied revival in our own time: the legend—one of Milton's own sponsorship though neither of his only begetting nor yet of Ben Jonson's—concerning the divine “easiness,” the gloriously unstudied artlessness of “sweetest Shakespeare, Fancy's child,” warbling “his native woodnotes wild.”
The Missing Years in Edmund Burke's Biography
Authors: Wecter Dixon
Published: February 2007

Events in the life of Edmund Burke from his birth in Dublin in 1729, his schooldays at Ballitore, his undergraduate career at Trinity College, and his venture into pamphleteering during the Lucas controversy, have been reconstructed in much detail. That he came to London to read law and keep his terms in the Middle Temple at some time shortly before May 2, 1750—the date of his bond—is also readily inferred. And then, after a lapse of years, when he contracted with Dodsley in 1758 to publish The Annual Register; when he began to meet Garrick, Johnson, Mrs. Elizabeth Montagu, and other distinguished people at about the same time; and finally when he began his political apprenticeship under William Gerard Hamilton in 1759 —Burke's life is increasingly illuminated by well-known names, until within a few years the young Irishman is a celebrity in his own right. But between these dates lies almost a decade which the historians of Burke's career, such as Bisset, MacKnight, and Prior, have passed over with vague conjecture. Lord Morley, in the best-known of all Burke's biographies, refers to these years as “enveloped in nearly complete obscurity,” while the Dictionary of National Biography observes that “we scarcely know anything of this period of his life.” Such lack of knowledge has helped to keep alive various canards which even in Burke's lifetime were circulated about this interlude of his youth—that he went to St. Omer's and became a convert to Popery, that he visited America under mysterious circumstances, and that he was the lover of Peg Woffington. Indeed, the life of such a forthright person as Edmund Burke, who once declared “that he had no secrets with regard to the public,” appears often to attract dark and mysterious legends—perhaps on the principle of lucus a non lucendo.
The Exeter Harrowing of Hell: A Re-interpretation
Authors: Crotty Genevieve
Published: February 2007

Among the numerous pieces of verse in the Exeter Book, one to which comparatively little critical attention has been devoted is the Harrowing of Hell. The only special studies of this poem were made many years ago, by J. H. Kirkland and Julius Cramer, though it has, of course, been discussed more or less casually in the several recent editions of the Exeter Codex.
The Faust Legend and the Christian Tradition
Authors: Steiner Arpad
Published: February 2007

Erich Schmidt's brilliant essay, Fatisi und das sechzehnte Jahrhundert, gave the final sanction to the thesis, voiced by Goethe himself, that the Faust legend is in all its attributes a product of the Reformation. Despite recurrent protests, raised before and after the publication of Schmidt's essay, the Lutheran character of the legend has come to be regarded by literary historians as a dogma. To be sure, the universally Christian ancestry of Faust, Simon Magus, Theophilus, and other Manichæan and mediæval forerunners of the sixteenth-century Devil's Disciple, was unearthed by a host of parallel hunters; still, the Lutheranism of the legend has been upheld until today. Eugen Wolff's attempt to prove that the Volksbuch was a Catholic pamphlet met with little success. Although Adolf Hauffen conceded that there must have been a Catholic Faustbook also, the “genuine Lutheran tendency” of the legend, the triumph of faith over learning, was emphatically pointed out by Wolfgang Stammler in 1927; its Humanist and Lutheran tendencies were stressed by A. Bernt in 1930; and the familiar argument was reiterated by the recent work of G. Bianquis, who declared that in its form of 1587, and in all its subsequent versions, Faust's life is a Lutheran treatise.
Coleridge's Criticism of Wordsworth
Authors: Raysor Thomas M.
Published: February 2007

For an admirer of Coleridge's literary criticism it is most unsettling and mortifying to observe that the scholars who have questioned his reputation, though they have been in the minority, are among the most distinguished students of literature in our time. Sometimes, it is true, this distinction has come in Wordsworth studies, which often produce not only the inevitable study of Wordsworth's friendly association with Coleridge but also an unconsciously partisan defence of Wordsworth against the criticism in Biographia Literaria. In other cases one assumes that these doubters of Coleridge's fame have been annoyed by the uncritical and sanctimonious chorus in his praise, and wish to work back toward a more balanced judgment. Yet when Mr. Lucas—to take the most explicit and severe critic for a first instance—ridicules a few selected absurdities of Coleridge without acknowledging his profundities, one does not get the impression of balanced literary criticism but of urbane and deadly satire. Such absurdities as he quotes are numerous enough in Coleridge, no doubt; one might even agree that many of them are not exceptional, but characteristic. But we do not judge Shakespeare by Titus Andronicus or Wordsworth by The Excursion or Keats by Endymion. Even if we consider the whole mind of a great man as the background of his genius, we judge him ultimately only by the genius itself, which can never be more than part of his mind. Surely this is more necessary with Coleridge than with almost any other writer whom one could name, for his ill-health, unhappiness, and slavery to opium, and the instability of his temperament, all clouded his genius so much that it is easier to see the clouds than the light. Students who have collected fragments never intended for publication have given only too ample a field of choice for those who wish to illustrate the dullness or the nonsense of Coleridge's prose, but these students have presumably worked for other students, who wish material for complete historical information. As a finished and sensitive historical student of English and classical literature, Mr. Lucas is surely as fully qualified to select for praise as for blame, though he limits himself to the latter. The illustrations which he so deftly and plausibly presents of “the art of sinking” in criticism might well be matched by similar bits from the poetry, which Mr. Lucas, like Mr. Garrod, praises at the expense of Coleridge's criticism. Yet neither he, nor any one else, has ever offered the poorer poems as a proof that The Ancient Mariner has no excellence.
Hans Breitmann
Authors: Thalmann Marianne
Published: February 2007

Elizabeth Robins Pennell, die sehr gewandte Biograpbin ihres vergötterten Onkels, Ch. G. Leland schreibt mit einer etwas belehrenden Ueberlegenheit:

I have heard it said the “younger generation” does not read the “Breitmann Ballads.” But, for all that, Breitmann has in him the stuff that endures, the stuff that ensured his success from the start.
Spenser with Lord Grey in Ireland
Authors: Jenkins Raymond
Published: February 2007

In 1923, in an article in Modern Philology on Spenser's handwriting, Mr. H. R. Plomer verified previous identifications of Spenser's secretary hand. He published several photographs and listed sixteen documents, four of which are signed by Spenser. He also noted the distinctive features of Spenser's secretary hand: the sloped writing, the long-drawn-out f and s, the p which looks like an overgrown x, and the individual way of writing the capitals B, I, and E.
The Rhetoric of Donne's Sermons
Authors: Umbach Herbert H.
Published: February 2007

The value of John Donne's poetry has ever been acknowledged to the extent that, together with Spenser and Jonson, he has been conceded leadership in the English Renaissance. Until recently, however, the Dean of St. Paul's has only casually been touched upon as a prose writer of pronounced merit. This neglect Coleridge hinted at when, in his Table Talk, June 4, 1830, he wrote: “Why is not Donne's volume of sermons reprinted at Oxford?” Of all Donne's prose, the sermons seem to me to be most important. Meritorious as they are for content (which does not interest us here), Donne's sermons best display his mature ability as a man of letters, wherefore as a master of English homiletic style Donne deserves his place among the leading writers of his day.
Rapports Probables Entre le Zadig de Voltaire et la Pensée Stoïcienne
Authors: Rovillain Eugène E.
Published: February 2007

On mentionne avec raison l'épicurisme de Voltaire mais il ne faut pas toutefois oublier qu'au point de vue de la morale seule, il est assez difficile de tracer les différences qui devraient exister entre le sage épicurien et le sage stoïcien. Ces deux doctrines, aussi bien que le péripatétisme représenté par Aristote, le pyrrhonisme transformé plus tard en scepticisme, l'éclectisme de la Nouvelle-Académie expliqué par Cicéron, font partie du bagage philosophique légué à l'Europe par la pensée grecque et romaine. Voltaire a été influencé par ces doctrines à différents degrés et l'étude présente sur “Zadig” va montrer combien Voltaire a su lire, comprendre et même pratiquer quelque peu la pensée stoïcienne en la mélangeant naturellement avec d'autres.
Hogg and the Necessity of Atheism
Authors: Jones Frederick L.
Published: February 2007

It is time that three things should be stated emphatically: (1) while at Oxford Hogg was fully as radical as Shelley and was Shelley's genuinely sympathetic coadjutor instead of his amused companion; (2) Hogg and Shelley were equally responsible for The Necessity of Atheism; and (3) it is more than probable that Hogg wrote the first draft of The Necessity. The first of these has been vaguely hinted at by Shelley's biographers; the second has been hazily confined by them to Hogg's writing of the Preface to The Necessity; the third has never been mentioned. The facts are abundant and reliable; but Hogg's Life of Shelley, in spite of its known inaccuracies and misinterpretations, has prevailed.
The Waverley Novels, or a Hundred Years After
Authors: Landis Paul
Published: February 2007

The last of The Waverley Novels was finished in 1831. If, therefore, anyone be offended by the inaccuracy of my subtitle, I rest my defense upon the precedent set by Sir Walter himself. I cannot claim for this paper that it presents any new facts, but the low esteem in which The Waverley Novels are held a hundred years after their appearance seems to warrant some reflections upon their nature and our tastes.
Bryant's Practice in Composition and Revision
Authors: McDowell Tremaine
Published: February 2007

Whenever a poet allows us to follow his creative processes, we are grateful—even though he may be no supreme artist but merely a solid craftsman. An account of the manner in which William Cullen Bryant composed his poems will therefore interest students not only of American letters but of poetry at large. From youth to old age, Bryant believed that great poetry and indeed all true poetry has its origin in the emotions of the poet.
My Nightmare. The Last Tale by Poe
Authors: Englekirk John E.
Published: February 2007

Mi Pesadilla,“ alleged to be ”the last tale by Edgar Poe,“ appeared in El Mundo Ilustrado of Mexico City in its issue of March 9, 1902. The translator does not reveal his identity nor does he offer any further information concerning the source of the original. The title is not suggestive of any tale in the Poe canon, and a reading of the story must convince one that it could not be an extravagantly free version or adaptation of any of Poe's known tales. The supposition that ”My Nightmare“ might be another positive contribution to the Poe canon—a tale inedited and lost until its miraculous reappearance in a Mexican review a half-century after Poe's death,—must be discarded as highly improbable.
Victorian Comment on Russian Realism
Authors: Decker Clarence
Published: February 2007

The Spectator of July 10,1886, voiced the general opinion of the then limited group acquainted with Russian literature when it hailed Tolstoy, Turgenev, and Dostoevsky as not only the greatest of Russian writers, but also the most important among contemporary realists. Such enthusiasm seems at first oddly inconsistent with the prevailing popular literary taste, particularly when we remember that these Russian novelists were rather closely identified with the French naturalistic movement—-a movement bitterly assailed by the Victorians. Moreover, their writings, representing virtually the only Russian literature to appear in English translation before 1900, came at a time when the controversy over Balzac had barely subsided and when those over Baudelaire, Zola, and Ibsen had excited a tempest, not only in the literary world, but also from the pulpit, press, and platform—even within the halls of Parliament. The history of Russian realism in England prior to 1900 thus throws into bold relief the essential differences between it and French realism as these two movements appeared to the English, and affords a deeper insight into the Victorian conscience with its troubled concern over art and morality.
Literary Theories About Program Music
Authors: Kelley Abner Wellington
Published: February 2007

The year 1935, celebrating the two hundred and fiftieth anniversary of the birth of Bach, that great writer of a type of “program” music that for years was never suspected of being such, is an opportune time for a closer study of attempts made by literary men at criticizing and evaluating program music. Even for the great Bach there were no real “program notes” to suggest the attempts to portray definite stories and incidents in his organ chorales until Albert Schweitzer unearthed his clearcut attempts at writing program music, or music based upon facts or with a story. Bach seemed to feel that the music should actually tell the story without further use of words than those of the simple chorale tune he was developing.
Biblische Einflüsse in der Reimvorrede des Sachsenspiegels
Authors: Kisch Guido
Published: February 2007

In den Handbüchern und Grundrissen der deutschen Rechtsgeschichte wird unter den Quellen oder Vorbildern, die Eike von Repgow bei der Abfassung des Sachsenspiegels massgebend beeinflusst haben sollen, allgemein der Name des Didaktikers Wernher von Elmendorf angeführt. Ein Lehrgedicht dieses in der zweiten Hälfte des 12. Jahrhunderts in Thüringen reimenden niederdeutschen Geistlichen soll dem Verfasser des Sachsenspiegels als Vorbild gedient haben, als er die Reime zur Vorrede seines Rechtsbuches zusammenfügte. “Der zweite Teil der Praefatio Rhythmica, Vers 97–280, ist von Eike in Reimpaaren mit Benutzung eines Lehrgedichtes des Werner von Elmendorf abgefasst worden.” So lautet die Formulierung Heinrich Brunners, die in allen Auflagen seiner Grundzüge der deutschen Rechts geschickte wiederkehrt. Claudius von Schwerin schreibt in seinem neuesten Grundrisswerk Germanische Rechtsgeschichte: “Auch kannte Eike mittelalterliche Dichter,” was im Hinblick auf die auch von ihm angenommenen “zahlreichen Anklänge” an jenen Dichter im zweiten Teil der Reimvorrede mit auf Elmendorf zu beziehen ist. Karl August Eckhardt bemerkt in der Einleitung zu seiner Sachsenspiegelausgabe mit quellenkritischer Vorsicht bloss, dass sich in der Reimvorrede “Anklänge an Wernher von Elmendorf” finden.
Marlowe, Faustus, and Simon Magus
Authors: Brown Beatrice Daw
Published: February 2007

Few readers of Marlowe's Dr. Faustus would, I think, concur in the judgment pronounced by a popular contemporary critic who declares that Faustus is “essentially childish. . . . He longs for magic power like a boy who has read the Arabian Nights.” Instead of juvenile simplicity, the magician of Wittenberg presents, for most of us, a highly complex problem of personality, embodying in his single nature most magnificent aspiration, most basely earthbound satisfaction. The Faustus of the opening and closing scenes, and of certain ones between, is authentic superman, exalted by the passionate urgency of his yearning into a vast and lofty plane of being. Yet, once possessed of magic, this superman becomes, in his exercise of it, boor, buffoon, and sensualist.
Shelley and Shakespeare
Authors: Clark David Lee
Published: February 2007

The purpose of this paper is to point out the extent of Shelley's knowledge of Shakespeare and his indebtedness to, him. Students of Shelley have merely assumed that both were considerable; but, so far as I know, this is the first systematic statement of the facts.
James Joyce: A Study in Words
Authors: Prescott Joseph
Published: February 2007

In the beginning was the Word . . .

The writings of Joyce show a progression from an early interest in words through a mature use of them to the excessive fondness of old age. In spite of variation from one work to another, the development is not always consistent and steady; sometimes there is a reversion to a former phase, sometimes an advance into a future phase. The direction, however, is unmistakable.
The Factual Bases of La Vorágine
Authors: Neale-Silva Eduardo
Published: February 2007

Ever since its appearance in 1924 Rivera's novel La Vorágine has been widely discussed. Its literary merits are beyond dispute, and the nature of its plot is sensational. Editions and translations into foreign languages have rapidly succeeded one another. Discussed as a literary work by several critics, La Vorágine has not yet been analyzed in sufficient detail to reveal fully its documentary character. It is a historical record of importance, containing an accurate summary of the barbarous conditions that prevailed in the Colombian interior and adjacent lands from about 1905 to 1920.
The Immediate Source of Euphuism
Authors: Ringler William
Published: February 2007

No other product of the Elizabethans' attempts to improve and heighten the style of their writings is quite so remarkable as the ornate and jingling prose which goes under the name of Euphuism. Its unique character and great popularity have caused many to discuss the problems of its origin, but no satisfactory specific source has so far been discovered. The old theories of Landmann and Feuillerat, who suggested, respectively, that the style was the result of the imitation of Guevara, and of the imitation of the classics, have now been abandoned. In their place the theory now generally accepted is the one put forward by Professor Croll, who said that Euphuism was merely one manifestation of the general medieval tradition, continued into the sixteenth century, of writing patterned prose. Professor Croll demonstrated completely and finally the ultimate origins of the style; but Euphuism is a unique and special variety of schematic prose, and the steps by which the simple and frequently varied patterns of medieval writings came to be elaborated into the stiff, formalistic structure of Euphuism, with all its wealth of learned similes and recondite allusions, has not been explained.
The Place of 1 Henry VI in the York-Lancaster Tetralogy
Authors: Greer C. A.
Published: February 2007

Under date of March 3, 1592, Henslowe's Diary records the acting of the “new” play “Harry the Sixth.” In 1 Henry VI as we now have it, the General of Bordeaux addresses Talbot as “our nation's terror and their bloody scourge,” and Thomas Nashe in his famous allusion to a Talbot play (Piers Peniless, Stationers' Register, Aug. 8, 1592) speaks of him as “brave Talbot the terror of the French.” All this, according to general belief, refers to the same play, “Harry the Sixth,” or the earliest form or version of what we now call 1 Henry VI.
Henry Lawes and Charles Cotton
Authors: Evans Willa McClung
Published: February 2007

Hearty, cheerful Mr. Cotton and pious Izaak Walton shared enthusiasms other than their common devotion to angling. Both of these seventeenth-century fishermen had some proficiency in singing, and wrote verse to be set to music. Walton, it will be recalled, “made a conversion of an old ketch, and added more to it,” for which Henry Lawes composed the melody of The Angler's Song. Charles Cotton in imitation of Walton's verse, or out of admiration for Lawes' music, wrote The Angler's Ballad, which can be sung to the tune for Walton's ketch. But Cotton's song writing was not limited to the fitting of new words to old measures. A number of his poems were set by Mr. Coleman, and one, The Picture, received the distinction of being “Set by Mr. Laws,” the composer who had provided the music not only for Walton's Angler's Song, but for Milton's Comus songs, for Shakespeare's sonnet cxvi, and for a great many other sixteenth and seventeenth century lyrics.
The Friendship Theme in Orrery's Plays
Authors: Mills L. J.
Published: February 2007

When Roger Boyle, Earl of Orrery, turned in his intervals of gouty leisure to dramatic composition, he made his plays supplement the political manœuvers of his active periods by embodying in them the crescent love-and-honor theme, which, rooted in pre-Commonwealth drama, was being sponsored by the Frenchified Charles II. But while thus pleasing the King and the Court by being alertly à la mode, he remembered the dramatic associations of his Cavalier days and revived after the Puritan depression certain elements of Jacobean and Caroline drama. Among them was the friendship theme, so frequently and significantly employed in plays of those former decades. If he had merely repeated the old situations and rephrased the worn clichés, there would be little point in analyzing his plays for his use of the theme except to show continuity between pre-Commonwealth drama and Restoration drama. But he modified it and made it an aid in his persistent king-worship. And more important still, he used the theme in developing the love-and-honor conflict.
Prose Fiction and English Interest in the Near East, 1775–1825
Authors: Brown Wallace Cable
Published: February 2007

One of the most important literary manifestations of that direct interest in the Near East which travellers and travel books created, appears in English prose fiction of the early nineteenth century. The prose fiction thus supplements the Near East poetry of Byron, Moore, Southey, and numerous minor versifiers as well as the travel books themselves, which may be considered a kind of minor literature. Throughout the first half of the eighteenth century English readers had shown considerable interest in the Near East, particularly in the oriental tale; yet this interest was almost wholly indirect—the product of French accounts or French translations of the Arabian Nights. It was not until the last quarter of the century that new developments brought “the Orient much nearer to England than ever before … In letters, this modern spirit was first expressed by the increased number of travelers' accounts.”
Aljamiado Prophecies
Authors: Lincoln J. N.
Published: February 2007

The four prophecies studied in this article are known as aljamiado texts because they are in the Spanish language transcribed in Arabic characters. They foretell the dire calamities that are to be visited on the “isla de España” for her neglect of the Koran and of other teachings of Islam. Written by Moriscoes, they were intended to arouse religious fervor, and hence political strength, in Moslem Spain, and they show a marked contrast to the Christian Spanish feeling of the familiar Merlin prophecies.
The Text of Comus, 1634 to 1645
Authors: Diekhoff John S.
Published: February 2007

Scholars have sometimes assumed that the version of Comus in the Trinity Manuscript is Milton's original draft of the poem. Miss Lockwood, for example, in her study of the corrections in the manuscript, comments upon its extreme neatness—upon the neatness of the lines and upon the even margins; but in spite of this comment, and in spite of her disagreement with Masson's statement that the manuscript is very much revised, it does not occur to her that the manuscript may not be composition at all but transcription.
Milton's Dialogue on Astronomy: The Principal Immediate Sources
Authors: McColley Grant
Published: February 2007

In a recent series of studies I developed at some length the general background of cosmological thought which gave rise to and in large measure explains both the astronomy and the astronomical comment of Paradise Lost. The present essay continues this investigation of Milton's cosmological beliefs, but restricts discussion to the Raphael-Adam dialogue of Book VIII, interpreted in the light of its immediate sources. In brief, these sources consist of a number of related passages from three English books contemporary with Milton.
Nemesis and Nathaniel Hawthorne
Authors: Cargill Oscar
Published: February 2007

No literary quarrel in European annals surpasses for rancor the American one which involved the Peabodys, the Channings, the Hawthornes, and Margaret Fuller in the second quarter of the nineteenth century.
The Hound, the Bay Horse, and the Turtledove: A Study of Thoreau and Voltaire
Authors: Peairs Edith
Published: February 2007

We may search Henry D. Thoreau's writings in vain for the name of Voltaire, or for a hint of influence by him. However, it is impossible to make a parallel study of the lives and works of these men without seeing many similarities. Thoreau was not accustomed to naming the source of his ideas. His writings are full of quotations, and he seldom takes the trouble of telling his readers where he found them. If we consider these two men side by side, we find, in spite of striking divergence, that the points of contact or likeness are more prevailing than are the points of difference.
Spanish Etymologies: Halagar, Nesga, Socarrar
Authors: Rice Carlton C.
Published: February 2007

Spanish halagar, Old Spanish falagar 'to wheedle,' along with Catalan afalagar, Portuguese afagar, having the same meaning, is referred by Meyer-Lübke to Arabic halaka, defined as 'glatt machen'; but since this Arabic word, spelled with hha (h), not cha (h), means 'to shave (the head, etc.),' the etymology stated by Meyer-Lübke is evidently erroneous. Lokotsch derives the Romance group from the intensive form of kalaka 'to create'; that is, ⨿laka, defined as meaning ‘schön formen, glatt machen, Lügen erfinden’; but if the etymon contained a double l, it would have remained as ll in Spanish, as Baist long ago pointed out. Baist himself met this difficulty by assuming that the first stem of ⨿aka, meaning normally 'to create,' must also have had the sense of the intensive stem, which, he says, was used in Spain meaning 'to beguile.' A more satisfactory starting-point, avoiding both phonetic difficulty and problematic definition, is the third stem of halaka 'to create'; that is, hālaka, ‘to treat (a person) kindly.‘ The slight semantic shift envolved obviously presents no difficulty.