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A.C.BRADLEY Ajffd HIS D Ffluefcr Hf Twerl'leth A.C.BRADLEY AJffD HIS D fF lUEFCR Hf TWERl'lETH UEMTURY SHAEESÎPEARE CRTTIc is m , BY Katharine Lee« Côûjc;^ K. H. 3. L)3 m V CLAub No. Co^ A Ü C. ^ 0, » t, 3it> DAfE ACQ fife, rtbîr. ProQuest Number: 10107236 All rights reserved INF0RMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed a note will indicate the deletion. uest. ProQuest 10107236 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, MI 48106-1346 'L SYNOPSIS. This thesis sets out to discuss the criticism of A.C.Bradley (I85I-I935) paying especial attention to twentieth century interpretationsof his work; which, it appears, hear more CrihcAsm relation to the needs of twentieth century^than to the actual dicta of A.C.Bradley. As twentieth century attitudes are not uniform the Introduction shows some of the contradictory elements in the modern picture of Bradley. Chapter 2 summarises Bradley's life and surveys some of his nwn-literary writings as a corrective to twentieth century impressions. Chapter 3 sets out his critical principles so that the main part of the thesis which follows may he hased on some more factual found­ ation than twentieth century opinion. Chapters, 4,| and 6 examine in some detail the origins and developments of certain pictures of Bradley, the blinkered Victorian, the dry academic theorist and most famously the seeker of 'characters*. These pictures it emerges are not as true to Bradley as the twentieth century would like to believe, mainly because the success of Bradley's work made reaction necessary in order for theme to be proper progress. To balance this general picture of Bradley there follows an enquiry into the ways in which his influence in particular judgments has percolated through later criticism, the example of the ending of King Lear is followed through (in precise detail) to illustrate this. A history of criticism of Bradley (as opposed to mere references to Bradley in Shakespeare criticism) follows this attempt to place the developments traced in the foregoing chapters against a chronological framework, a simplification not possible in the more complex workings of Shakespeare criticism. In conclusion a brief attempt is made to assess Bradley's qualities as a critic which have made him such an influential critic. CONTENTS. Abbreviations 4* Acknowledgements 6. Chaptér It introduction. ?. Chapter 2% Life and Minor Writings. 22. Chapter 3t Critical Principles. ^8. Chapter 4t Bradley the Victorian. 76. Chapter 9# Bradley:Theorising Academic. 106. Chapter 6: "Bradley the Character Chaser” 143. Chapter 7* Bradley as authority. 183. Chapter 6: Bradley’s Critics. 21#. Chapter 9* Conclusion. 2^*^. Bibliography! 275* abbreviations . AaC. üradleys A iAiscellany. A,C.Bradleys "Aristotle'a Conception of the State." E.A, British Academy Annual Shakespeare Lecture. B.B. A.C.Bradley* "Bernard Bosancuet." 0.E. Coll0;^e English. C.L. Comparative Literature. C • Qa Critical Quarterly, CaR. Contemporary Review. C.Sa Critical Survey. B.N.B. Dictionary of National Biography. lainO. Essays in Criticism. EaLaU. ÏÏ.L.H. H.LaQ. Buntingron Library Quarterly. X.JaP. International Journal of Psychiatry. 1.M. A.0.Bradleys "International Lorality." I.R. A. C.Bradey: Ideals of lAligion. «T a A • A a C a Journal of Aeôtiæetic and ^irt Criticism. J.Hal. Journal of the History of Ideas. J.R.LaB. John Hylands Library Bulletin. K.Ra Kenyon R^Dri^w, M.L.R. Modern Language Review. MaPa Modern Philology, N.B. A.C.Bradley* Raturai Religion. O.L.P. A.C.Bradley* Oxford Lectures on Poetry. O.M.M.P. A.C.Bradley* "Old Mythology and Modern Poetry." P.B.A. Proceedings of the British Academy. P.L. A.C.Bradleys Poetry and Life, P * U^a Philological Quarterly. S.A. Shakespeare Association. S# A # x>. Shakespeare Association Bulletin. ABBREVIATIONS contd. S.P* .i.e.Bradley* The Study of Poetry S. Ph. Studies in Philology. S • Snakespeare Quarterly. S.H. Sewanes Review. S. S. Shakespeare Survey. 8b. S. Shakespeare Studies. S.T. A.C.Brsdley* Shakespearean Tragedy. T.É.L. A.C.Bradley* The Teaching of English Literature, A.C.Bradley* Tennyson * s * In Memoriam *. T.L.S. Times Literary Supplement. U.E, The Use of English. U.P. I.e.Bradley* The Uses of Poetry. The derbpils of the works of M.C.Bradley are given in the Bibliography. ù AüimiQVii.ài,ciàai's. The letters of A.C#Bradley to Gilbert Murray and his wife, Lady Mary have been invaluable to me in coming to some understanding of the man Bradley was. To Kr. E.V.Quinn the librarian of Balliol College, Oxford who told me of them, to the late Mrs, 1, Henderson for permission to read the letters I wish to record my gratitude. Thanks are due to Mr. Quinn also for help in finding what material there was at Balliol (including a lecture elsewhere undiscovered "The Teaching of English" and an undergraduate article by Bradley "Mr. Bosetti's Shelley") ana suggesting useful biographies of Bradley's contemporaries, aud to Mr. r.F.Cook of The University Library, Liverpool and Miss E.G.Jack of The Library, University of Glasgow for their assistance. CHAPTER 1 t INTRODUCTION. Literary fashion has been more than usually capricious in its handling of A.C.Bradley, so that any short summary of his position in twentieth century criticism is certain to distort the facts. It is not sufficient to classify him with other literary and critical idols turned Aunt Sally, although there is enough evidence for this view; he was clearly not a critic maligned in his time and only appreciated generations later, although there is more evidence for this view than appears at first sight. His influence is not widespread enough for him to be truly seen as a major figure in twentieth century literature although his name has become part of the jargon of criticism in a way which no other critical name of the century has paralleled. It is possible to mention his name to students of English and receive in return a cold stare and it is difficult to find a work of Shakespearian criticism which omits some reference to his name. In his essay on "The Reaction against Tennyson** (first delivered in 1914 but first published in A Miscellany in 192^ Bradley himself remarked on the role which *the wholesome work of reaction* had to play in establishing that which he considered most important in literature, a way to the poet's mind. He wrote* "The reaction against Tennyson is not,on the whole,a matter for regret. It was necessary, for one thing, in the interests of poetry itself. For the formal characteristics of his style were easily caught, and Tennysonian minor poetry, if less abssrd than Byronio minor poetry, was quite as sickening." (l) Remembering what J#I.M.Stewart called "Bradley-sndHwater- crities" (2) this seems a strangely apposite commentary on Bradley's position. What underlies it is almost a commonplace of Grit 1sal histories. In an article in the catalogue to the recent Roger Pry exhibition, Quentin Bell wrote of the viciss­ itudes of fashiont lii.- ri. C. library "in the case of a critic, the descending curve of popular favour is likely to he particularly abrupt* His real and permanent achievements become commonplace while his mistakes form a natural, and indeed a #@ry proper target, for the younger men whose business it is to correct the errors of their predecessors*" (3) and Merritt Y. Hughes in an article "A Meditation o© Literary Blasphemy" vkloh went on to deal at length with the effect of P.R.Leavis on the value of Bradley's criticism, summed the matter up in two short sentences; "Literary iconoclasm is the final remedy for literary superstition" and "Blasphemous impulses are part of the instinct for self preservation*" (4 ) What has been peculiar about the treatment of Bradley in this 'sifting process' as he himself called it, is the half- heartedness with which it has been carried on in published works and the fervour with which it has been taken up by the general reader* The best indication that the time for rehabili­ tation has come is not the amount of more recent criticism which acknowledges d debt to Bradley, but the issue of his two most important works Oxford Lectures on Poetry and Shakespearean Tragedy in paperbacks, both in this coimtry and in America* In some ways the familiar pattern is further complicated by the faot that Bradley's work was received by converts. Reviewing Shakespearean Tragedy The Times Literary Supplement wrote: "Mr. Bradley had hardly begun his lectures before the echo of his voice made itnelf heard beyond the academic boundaries." and described the lectures as: "making a very unusual impression in Oxford and those who had not the chance of hearing them looked forward with eagerness to their publication." (5) It is perhaps small wonder that the work of reaction sets in immediately, most notably in A*B*Walkley's article also in The Times Literary Supplement less than two months after the original review* The article, later reprinted in Drama and Life, is suitably respectful but iconoclasm had clearly set in* "Let me not be thought to undervalue the really important part of Mr.
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