DOCSLIB.ORG

Fn Partial Fulfill¡Enè

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fn Partial Fulfill¡Enè TI{E REÐISCOVERY OF JOTIN DOMIÈ¡ A SÎUDT OF HIS PO},=IRY AND REPInATION IN TI{E LIGHT 0F ¡rOÐFnN S0HoLARSHIP, TIITH EMPHASIS ON TI{E CRITICAL APFAOACHES OF S]R ED¡flJND COSSE AND SIR HERBIIRT J.C. GRÍT,BSON A Thesis Prege¡rt ed to the FacuLty of the Departnent of Engllsh UnLversity of Manitoba fn Partial Fulfill¡enÈ of the Requlrementg for the Degree Master of Arts by CLenent Horatlo Wyke Oeùober L96À ?IIE REÐISCOIIERT OF JOHN DONNES A STUDT OF HTS POETRY AND REPUTATION IN THE I,IGI{T OF MODERN SCHoLARSHIP, 1IITH IiTtpHASIS 0N THE CRTTICAL APPROACHES OF SM EDMUND GOSSE AND SIR HERBTN,T J.C. GRIIRSON An .{bstract of a ThesLs PreseuL ed to the Faculty of the Department of Engli-sh University of Ì,fanLtoba In Part,Íal FulfiLl-¡nent of the Requiremenùs for the Degree Master of Arts by Cle¡oent Horatío lfyke October 196À ås a wit and as the Dean of St. Paults, John Dorne tvas conetanùIy recognized throughout the centuries ¡ but as a poet he was accl-aímed. in his own centu.ry, oonde:¡ned jrr the eighteenth century, partly neglected ln the nineteenth century and. ¡ediscovered in the early tvrentíeth century. It is the purpose of thls thosis to account for this modern revivaL of i¡terest Ln Donne. Accordingþ¡ his rediscovery nust be prJncipalþ concerned with his reputatlon as a poet. After arüIess j:nita.tors of Donners w"it had made rnetaphysical poetr5r wrdesi¡able and unpopu].ar durjng the Restoration period, Dryden contínued the reaction :lgainsl Ðonne, but not r+lthout adrniring his wit. For Ðryden Donne was nthe gre¿rtest t^/Lt, though not the best poet of our nation.tt lle fUrther cfajfled that rtif we are rot so great w-its as Donne, yet certainly lúe a.re better poets.tt This cluestíoning of Donners position as a poet narked the begiruoíng of neocl-assical reaction against his poetry. Eighteenth-century jnterest in satirica,l- n'riting lnevitably focussed on D,or:net s satíres. they were fomd to be metrically rough though fuLl of quêlity e¡d substance, and cÕnsequenily Pope applied his own versificatlon to some of then. It was not long before Donners satires were compared with Popets version ê.nd clfticiøed for fa3-ll¡g short of the nark. But to this eriticLsnì of Donne t s satires Dryden added the accusa- tj.on: trHe fDonne-l affects the neteplrysics, not onþ ín his satires, but in his amorous vel.ses r.Jhere natu¡e erhoul-d relgn . .ll This brought the term ttnetaphyslcal-rr Lnio contenporary use in connection with ¿he nêare of Donne. tf Between bhe years I?7? and 1?8I, Johnson, in discusslng 0owley in his Lileq_gl _thq:lqet e, not only applied the term to Donners poetry¡ but conveit,ed J.t ínto a lfterary öitle r.rhich had peJoratlve co nnotatíons. He stated bhat, the Metaphyslcals used poetry as a medlum for dlspla¡ring their Learníng. But this was not all; Donne and hls school were to be brought into greater disrepute because of wltty conceits. rWítrr went through a series of meanlngs as e llterary te¡n and Donnels reputation lras affected accordlngly. Johnson disnissed Donnerg vit as a kind of d-LsrA$tre g!æ, and hls ve¡dict r+,as th e cuLrrination of a century of adverse criticism of Donnc and the other Metaphysicals which continued in the nineteenth century. Nlneteenth-cent ury crítlcs uere influencod by Johnsonts erltLclsrn in the !i:le _olltqq¡Iel and were consequently prejudiced ln theír asseasment of Donre as poet. Theír dlsfavour and negLect left Donners reputatlon under ê cloud. However¡ Wordsworth, Coleridge, Larnb, De Quíncey and Brovning r.rere enong ùhe few crítics rvho spoke in Donners favour but theír slgníficant comneRts on Donne were insufficlent to roverse the tide of Johnsonian criticism. Tn the Vlctorian period r¡hen critical taste was cÒloured more than usual by moråL consideratlons, Donnets elegÍes and satirea ettracted further adverse co¡nment fron critles. However, an increasing interest in Donne ae a subJect of biography was shoh'tì by ndrrund Gosse, who pubì.lshed his lilp_eld _!g!!qq .çLf_ {qbn Donæ in 1899r Gossers book rias based on lJaltonlg Ll:Le of lonng, whlch, slnce lts f lrst publi,cetlon in 1ó40 wLth Donne' s !AXI_ gegryIrs, bad portrayed Donne as a gracious divlne who.¡ though his llfe uas filled v¡ith unforbunate lii circunstances, had died a saintly death. Wal-tonrs !!þr by drawing f,avourable connent fro¡n critics who had l-ittle ad¡niration for Donne a.e a poet, had served to preserve so¡ne interest in hi:n. ,Àlthough Ít was admired for its styte and chann as a classío, rfalton I s biography of Donno r+as crlticized in the nlneteehùh and twentieth centuríes for its in_ accuracy of detail. Gosse, ironfcall_y enough, was one of those who warned agai¡st r^fal-ton t s errors, but drew sinilar ad.vers e criticis¡¡ for his :ovrn 'ÌrtsùakËs rr¡hen he published his Life of Donne. The literary and critical inte¡est rr'hich r,¡as stÍr¡ed by Gossers ttuo-volune biography of Donne was indÍrectly a boost to Donners position as poet. By presenthg Donne to a scholarly and exbensive f-iterary audlence, Gosse had accomplished in the fierd of, biography what earller critics of the nineteenth century had noü done i^n the field of literary criùicism. However, it was in the early twentieth eeâtur.y that Donnels reputation was rehabilltated when fu 191.2 Gríerson provided hLs contertr- poraries and thelr successors wüh a subsüantial edition of Donners poetry: the oxford hrglish Text edition with appendixes and comnentary. îhus i-p12 may be suggested as the date of ùhe Do¡¡ne revival. Previous editions of Ðonnets poetry proved u¡rsubstantial and erroneous/ and even when critical i¡terest began, there vras no truly rell-able edJ.tion to provide the fou¡rdation for it,s contjnuance. The results of Griersonts valuabl-e editlon are gtill- seen tod.ay, and are highly appreciated by Donne scholars. GrLerson succeeded not only ln suppþing a basÍs fot, future iv texLual- study of Donnets poetq¡¡ but aLso in restoring recognition of Donne as a poet. He accornplished this by redefining the ter¡n theta- physica}r to allov¡ for more fruiùful and favou¡abLe treatment of Donnets poetry and by allowi-ng Donne the freedom of díctíon hrhich previous critics had denled hirtr. In brief, he nade a fulL re-eval-uati,on of Dor¡ne. Grierson I s re-assessment of Donne waa ctj¡axed by hÍs emphasis on passi.on j¡ Dorne I s poetry, and on the successful combinatto¡r of this passion Ï¡'lth wit. These areas of eraphasis escaped. the eyes of critics lrho were either hlndered by ¿heir oun tools of critíciôTn or by a pre- occupation with biographical fact-findiag. ;å, representative selection of poems fron each of the naJor sections of Donnets poetry is analJsed to il-lustrate the ínadequacy or error of the judgments of his earller detractors and thc sotÐ.d.ness of Gríersonts eritical reaesessment of his work. TÁBI,E O¡'CONTts{TS cHAPîm PJ,GE I. 1 ü. DONNE RSVEAI,TD Ï{NOUGH BIOGRAFHY 23 The lIaltoà Lmege of Donn€ 23 Gosse and Hla -Audlcncè:  Study of Factors InfLuenclng Opinfon of, (þEscls Life of Do¡¡re 36 The Gosse ¡nage of Donne a¡rd Contemporar,¡r Opinton 44 Cosselg Tmag€ of Donne as Poet . 5l+ IIr. DONI{E REDISCOV!]ìH) 64 rv. DONI\TE RE-EVIII¡,ATED IN TI{E soNcs AND soIìINETs 90 MetapÌ¡reLcal Poemo nèconoid€red 9] Blographlcal Poeø¡ ReconEidored 102 Poems of Fortraordinary lìIlt . 106 Poøs wlth l{lt and Passlon 115 v. DoNNÊ RÞEVÂLUATLÐ IN Îl{E ELEOIES A¡tD SATTRES 128 the Elegfes Roeonsidered ae Rhetorloal poetry J29 The Rcle of, Pasgl.qn in the E"tqELgg 134 The Âdve!ðe Eff€cts,of Wtt tn the Sg!9g )43 The QuestLon of Indecency in the Sgþ 146 The Ver6lflcstloa of the ËeþEqs a¡d Oritical Optnion 151 The !.fetnfcal Hsrshness of thô ggþEeq . t55 CHAFT¡R PAGE Obscurl-ty of Meaning in the gelyrgs_ 156 Indecency ln the Setytgg 158 Overwittlness 1n the Þa.!yl_çg ]'59 The Third SaU¡re exe¡npL ed from Overt¡iLtlness 161 The Ártl-ess I¡nitatlon of Donners tr¡tt and the Effect on hla Reputation r63 pI!"t_N¡ vï. Dot'rNE RB-I;VAT,UATED tN THE !QEÌ{S t?0 CrltfcaÌ Oplníon of Donners Type of Religlous poetry t7r The Source of Passion Ln the Divine poe¡¡s . 175 Exceesive I,/lt ln the Dív{ne PoenE r78 ItPerillous The Balancetr Between t¡J1t and passion . 184 The Effectlve Combl.natfon of Wlt and passion in ùhe Hol¿éenne,Lq and }lvnqg 1É8 CONOIUSTON 198a BIBLTOGRAP}IY 200 CI{ìIPTER I DONI{Ê D¡ æIIPSE Donnel¡ gl-orious reLgn ae the ûMonsrch of Witn íes brought to a¡r end ln the eighteenth century by the abueea of hl.6 oim subJectE. Hig poetry y¡eB then e:rpoged to seyere crltlcfan basêd on ruLes wlth vrhtch nelthar Donne uo¡r hle age had been greatly conÇetîed. Dryden, pàpc and Johnaon, the greatest flgurea of the neoclassÍca1 age, dlsquallflcd Donne as a grêat post e¡rd lcft to ct'Ltfc3 of thê ninetèenth centurJr a nast, unfavourable inpresaLon of hin. !'ortunately, however, this lnpreoel,on ¡vae coFected ln the eerþ tr*entleth cantuIy r,rhen Donne rs poêtry nês gl.ven e falrër asseasËeÍtt.
Load more

Recommended publications
  • The Armstrong Browning Library Newsletter God Is the Perfect Poet
    The Armstrong Browning Library Newsletter God is the perfect poet. – Paracelsus by Robert Browning NUMBER 51 SPRING/SUMMER 2007 WACO, TEXAS Ann Miller to be Honored at ABL For more than half a century, the find inspiration. She wrote to her sister late Professor Ann Vardaman Miller of spending most of the summer there was connected to Baylor’s English in the “monastery like an eagle’s nest Department—first as a student (she . in the midst of mountains, rocks, earned a B.A. in 1949, serving as an precipices, waterfalls, drifts of snow, assistant to Dr. A. J. Armstrong, and a and magnificent chestnut forests.” master’s in 1951) and eventually as a Master Teacher of English herself. So Getting to Vallombrosa was not it is fitting that a former student has easy. First, the Brownings had to stepped forward to provide a tribute obtain permission for the visit from to the legendary Miller in Armstrong the Archbishop of Florence and the Browning Library, the location of her Abbot-General. Then, the trip itself first campus office. was arduous—it involved sitting in a wine basket while being dragged up the An anonymous donor has begun the cliffs by oxen. At the top, the scenery process of dedicating a stained glass was all the Brownings had dreamed window in the Cox Reception Hall, on of, but disappointment awaited Barrett the ground floor of the library, to Miller. Browning. The monks of the monastery The Vallombrosa Window in ABL’s Cox Reception The hall is already home to five windows, could not be persuaded to allow a woman Hall will be dedicated to the late Ann Miller, a Baylor professor and former student of Dr.
    [Show full text]
  • Coventry Patmore: Critic of Literature and Art Julitta Gaul Loyola University Chicago
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 Coventry Patmore: Critic of Literature and Art Julitta Gaul Loyola University Chicago Recommended Citation Gaul, Julitta, "Coventry Patmore: Critic of Literature and Art" (1941). Master's Theses. Paper 187. http://ecommons.luc.edu/luc_theses/187 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Julitta Gaul - COVENTRY PATMORE CRITIC OF LITERATURE AND ART BY SISTER JULITTA GAUL. S.C.C. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF :MASTER OF ARTS I:N LOYOLA UNIVERSITY FEBRUARY 1941 ,...... PREFACE The past two decades have witnessed a revival of interest in Coventry Patmore, whom the world has come to know as 11 the poet of nuptial love." In 1921 Frederick Page collected and published a large uumber of Patmore's latest essays under the title of Courage~ Politics and other Essgys, while Osbert Burdett published a microscopic examination of the Patmorean theme under the title The Idea of Patmore. The numerous articles commemorating the centenary of Patmore's birth were followed in 1924 by a biography of his daughter Emily, a religious of the Holy Child Jesus, whose life is a kind of commentary on the odes of ~ Unknown ~· Frederick Page's study of Patmore's poetry appeared in 1933.
    [Show full text]
  • A History of Italian Literature Should Follow and Should Precede Other and Parallel Histories
    I. i III 2.3 CORNELL UNIVERSITY LIBRARY C U rar,y Ubrary PQ4038 G°2l"l 8t8a iterature 1lwBiiMiiiiiiiifiiliiii ! 3 1924 oim 030 978 245 Date Due M#£ (£i* The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030978245 Short Histories of the Literatures of the World: IV. Edited by Edmund Gosse Short Histories of the Literatures of the World Edited by EDMUND GOSSE Large Crown 8vOj cloth, 6s. each Volume ANCIENT GREEK LITERATURE By Prof. Gilbert Murray, M.A. FRENCH LITERATURE By Prof. Edward Dowden, D.C.L., LL.D. MODERN ENGLISH LITERATURE By the Editor ITALIAN LITERATURE By Richard Garnett, C.B., LL.D. SPANISH LITERATURE By J. Fitzmaurice-Kelly [Shortly JAPANESE LITERATURE By William George Aston, C.M.G. [Shortly MODERN SCANDINAVIAN LITERATURE By George Brandes SANSKRIT LITERATURE By Prof. A. A. Macdonell. HUNGARIAN LITERATURE By Dr. Zoltan Beothy AMERICAN LITERATURE By Professor Moses Coit Tyler GERMAN LITERATURE By Dr. C. H. Herford LATIN LITERATURE By Dr. A. W. Verrall Other volumes will follow LONDON: WILLIAM HEINEMANN \AU rights reserved] A .History of ITALIAN LITERATURE RICHARD GARNETT, C.B., LL.D. Xon&on WILLIAM HEINEMANN MDCCCXCVIII v y. 1 1- fc V- < V ml' 1 , x.?*a»/? Printed by Ballantyne, Hanson &* Co. At the Ballantyne Press *. # / ' ri PREFACE "I think," says Jowett, writing to John Addington Symonds (August 4, 1890), "that you are happy in having unlocked so much of Italian literature, certainly the greatest in the world after Greek, Latin, English.
    [Show full text]
  • Henrik Ibsen
    Henrik Ibsen Edmund Gosse The Project Gutenberg EBook of Henrik Ibsen, by Edmund Gosse Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Henrik Ibsen Author: Edmund Gosse Release Date: May, 2005 [EBook #8152] [Yes, we are more than one year ahead of schedule] [This file was first posted on June 20, 2003] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK HENRIK IBSEN *** Produced by Ted Garvin, Nicole Apostola and David Widger HENRIK IBSEN By Edmund Gosse CONTENTS CHAPTER I: CHILDHOOD AND YOUTH CHAPTER II: EARLY INFLUENCES CHAPTER III: LIFE IN BERGEN (1852-57) CHAPTER IV: THE SATIRES (1857-67) CHAPTER V: 1868-75 CHAPTER VI: 1875-82 CHAPTER VII: 1883-91 CHAPTER VIII: LAST YEARS CHAPTER IX: PERSONAL CHARACTERISTICS CHAPTER X: INTELLECTUAL CHARACTERISTICS LIST OF ILLUSTRATIONS Henrik Ibsen Ibsen in 1868 Ibsen in Dresden, October, 1873 From a drawing by Gustav Laerum Facsimile of Ibsen's Handwriting Ibsen.
    [Show full text]
  • Strings of Pearls: James, Maupassant, and 'Paste' Philip Horne
    1 Strings of Pearls: James, Maupassant, and ‘Paste’ Philip Horne (UCL) Les perles composent le collier, mais c’est le fil qui fait le collier. Or, enfiler les perles sans en perdre une seule et toujours tenir son fil de l’autre main, voilà la malice… [The pearls compose the necklace, but it is the string which makes it a necklace. Now, to thread the pearls without losing a single one and always to hold one’s string with the other hand, there’s the trick…] (Gustave Flaubert, letter To Louise Colet, 26 August 1853)1 a case of feeling, of ever so many possible feelings, stretched across the scene like an attached thread on which the pearls of interest are strung (Henry James, Preface (1908) to The Princess Casamassima (1886))2 i À la Maupassant 1 Consulted 23 December 2018 at http://flaubert.univ- rouen.fr/correspondance/conard/outils/1853.htm 2 Henry James, Literary Criticism: French Writers, Other European Writers, The Prefaces to the New York Edition, edited by Leon Edel and Mark Wilson (New York: Library of America, 1984), p. 1092. (Hereafter LC II.) This essay began as a lecture given on 21 October 2016 at the Third International Conference of the European Society of Jamesian Studies at the American University of Paris, entitled “Reading Henry James in the Twenty-First Century: Heritage and Transmission”. I owe particular thanks to Denis Tredy for his extremely helpful ‘Teaching the “Grandsons of Balzac” a Lesson: Henry James in the 1890’s’ (E-rea: Revue électronique d’études sur le monde Anglophone, 2.1 (2004)), and to Mary Boyington, for her richly detailed PhD thesis, ‘«Esprit de Maupassant»: Henry James and French Realism, A Re-evaluation’ (Aix-Marseille Université, 2017).
    [Show full text]
  • Why We Need Coventry Patmore
    Why We Need . WHY WE NEED COVENTRY PATMORE STRATFORD CALDECOTT “With his eye turned firmly outward and upward —to the world and to God—Patmore’s writing reveals a keen perception of the infinite disclosed in every single finite creature.” The soul is the express image of God, and the body of the soul; thence, it, also, is an image of God, and “the human form divine” is no figure of speech. In the Incarnation, the body, furthermore, is God, so that St. Augustine dares to say, “the flesh of Christ is the head of man.” —The Rod, the Root, and the Flower The era of European civilization marked by the French Revolu- tion was one torn between the dialectic movements of Rational- ism and Romanticism. If Rationalism glorified the idea of uni- versal order perceived and attained through the use of reason, Romanticism rejected intellectual order in the name of self-ex- pression; it is associated in philosophy above all with the “turn to the subject” and away from any kind of objectivism. The question of “the” truth was swept away, leaving rather a concern with what was true for me and for you (hence, historicism, evolutionism, rela- Communio 41 (Spring 2014). © 2014 by Communio: International Catholic Review 160 STRATFORD CALDECOTT tivism, and irony)—a glorification of the “active, dynamic and imaginative self,” and the attempt to “express” the world rather than “describe” it. Thus, nature herself becomes a form of self- expression (Hegel). What the Romantic movement caught a glimpse of was that this “self-expression” of nature ultimately means that nature’s innermost form is symbolic.
    [Show full text]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]
  • Anssi Halmesvirta the British Conception of the Finnish
    Anssi Halmesvirta The British conception of the Finnish 'race', nation and culture, 1760-1918 Societas Historica Finlandiae Suomen Historiallinen Seura Finska Historiska Samfundet Studia Historica 34 Anssi Häme svida The British conception of the Finnish 'race', nation and culture, 1760 1918 SHS / Helsinki / 1990 Cover by Rauno Endén "The Bombardment of Sveaborg" (9-10 of August, 1855). A drawing by J. W. Carmichael, artist from the Illustrated London News ISSN 0081-6493 ISBN 951-8915-28-8 GUMMERUS KIRJAPAINO OY JYVÄSKYLÄ 1990 Contents PREFACE 7 INTRODUCTION 8 1. THE EIGHTEENTH-CENTURY IMAGE OF THE FINN 29 1.1. Some precedents 29 1.2. The naturalists' view 36 1.3. The historians' view 43 1.4. Travel accounts 53 2. ON THE NORTH-EASTERN FRONTIER OF CIVILIZATION: THE EVOLUTION OF THE FINNS 81 2.1. The science of race 81 2.2. The place of the Finn in British pre-evolutionary anthropology, 1820-1855 88 2.3. Philology, ethnology and politics: the evolution of Finnish 111 2.4. The political and cultural status of Finland, 1809-1856: British perceptions 130 2.5. Agitation, war and aftermath 150 3. ARYANS OR MONGOLS? — BRITISH THEORIES OF FINNISH ORIGINS 167 4. THE FINNS, THEIR KALEVALA AND THEIR CULTURE.. 191 5. COMPARATIVE POLITICS AND BRITISH PERCEPTIONS OF THE PROGRESS OF THE FINNS, 1860-1899 209 5 6. BRITISH RESPONSES TO THE FINNISH-RUSSIAN CONSTITUTIONAL CONTENTION, 1899-1918 239 6.1. Immediate reactions 239 6.2. The Finnish question: variations on a Liberal theme 253 6.2.1. The constitutionalist argument 253 6.2.2. A compromise 266 6.2.3.
    [Show full text]
  • ©2015 Naomi Grierson Levine ALL RIGHTS RESERVED
    ©2015 Naomi Grierson Levine ALL RIGHTS RESERVED RHYME AND HISTORY IN VICTORIAN POETICS by NAOMI GRIERSON LEVINE A Dissertation submitted to the Graduate School – New Brunswick Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Literatures in English written under the direction of Carolyn Williams and approved by _________________________ _________________________ _________________________ _________________________ New Brunswick, New Jersey October, 2015 ABSTRACT OF THE DISSERTATION Rhyme and History in Victorian Poetics By NAOMI GRIERSON LEVINE Dissertation Director: Carolyn Williams This dissertation argues that Victorian experiments with rhyme grew out of a broader cultural fascination with the literary historical myths found in contemporary aesthetics and historiography. Although rhyme has come to be regarded as an unsophisticated sound effect, for Victorians it provoked urgent questions about the relationship between past and present, the importance of national and ethnic identity, and even the nature of human experience. In nineteenth-century literary historical prose, the advent of rhyme signaled the beginning of the modern European literary tradition and, by extension, the emergence of modern subjectivity. Its origins were consequently a matter of passionate dispute. Through a range of formal techniques from stanzaic patterning to assonance to blank verse, poets entered live debates about rhyme: whether it began in the East or West, how it moved into English literature, whether it signified spiritual achievement or cultural decline, and how it registered in the mind and body. Drawing on a rich archive of prose written and read by Victorian poets but largely neglected now, I show that nineteenth- century conceptions of literary history were not identical with our own.
    [Show full text]
  • Title 'So You Knew Fitzgerald'-Oscar Wilde and the Rub?Iy?T of Omar
    ‘So You Knew FitzGerald’-Oscar Wilde and The Title Rub?iy?t of Omar Khayy?m- Author(s) 小宮,彩加 THE JOURNAL OF HUMANITIES MEIJI UNIVERSITY, 21: Citation 1-10 URL http://hdl.handle.net/10291/17922 Rights Issue Date 2015-03-31 Text version publisher Type Departmental Bulletin Paper DOI https://m-repo.lib.meiji.ac.jp/ Meiji University The Journal 01 Humanities ，A 例 iUniv. ， Vo l. 21 (地 rch 31 ，2015) ，1- ]0 '80 '80 You Knew FitzGerald': Oscar Wilde and The Rubaiyat o/Omar Khayyam KOMIYA Ay aka 3 'So 'So You Kn ew FitzGerald': Oscar Wilde and The Rubaiyat o/Omar Khayyam KOMIYAAyaka The Picture of Dorian Gray is Oscar Wilde's best 司 known work ，which is often identified withfin-de-siecle ， decadent literature. There are actually two versions of The Picture of Dorian Gray: Gray: the original novella forrn version published in Lippincott きMagazine in June 1890 ， and the revised revised longer version which appeared in book form in 189 1. L ψ'P incott 主version ，which comprised comprised 13 chapters ，received a storrn of protest from reviewers. It was deemed so immoral that that the July issues of L 伊'P incott sMagazine were withdrawn 仕om bookstalls at railway stations. Although Although Wilde was undefeated by the harsh criticisms ， he took some advice seriously. During his his trial ， in 1895 ，when Wilde was being tried for ‘gross indecency ，' he admitted that he made some alterations to the original version of The Picture of Dorian Gray because ‘it had been pointed pointed out ..
    [Show full text]
  • Historyofrussian00walis.Pdf
    \ivai. uusfc II B R.ARY OF THE U N I VLRSITY Of ILLINOIS 891.709 W14^E 1915 - . material is re- The person charging this return on or before the sponsible for its Latest Date stamped below. of books Theft, mutilation, and underlining are reasons for disciplinary action and may result in dismissal from the University. University of Illinois Library MAR 2 N-9 97c 1992 l i>?3 MAR (i B# MAR 8 1973 mm 3 ' 1993 2 ** IJAR DECm 1 2 nm 1 3 NOV0«W198^.. L161— O-1096 »v1 Short Histories of the Literatures of the World Edited by Edmund Gosse LITERATURES OF THE WORLD Edited by EDMUND GOSSE Librarian to the House of Lords, London. CHINESE LITERATURE. By Herbert A. Giles, M.A., LL.D. (Aberd.), Professor of Chinese in the Univer- sity of Cambridge. SANSKRIT LITERATURE. By A. A. Macdonell, M.A., Budcn Professor of Sanskrit, University of Oxford. RUSSIAN LITERATURE. By K. Waliszewski. JAPANESE LITERATURE. By W. G. Aston, C.M.G., M.A., late Acting Secretary at the British Legation SPANISH LITERATURE. By J. Fitzmaurice-Kelly, Gil- mour Professor uf Spanish Language and Literature, University of Liverpool. ITALIAN LITERATURE. By Richard Garnett, C.B., LL.D., Late Keeper of Printed Books in the British Museum. ANCIENT GREEK LITERATURE. By Gilbert Murray, M.A., Professor of Greek in the University of Glas- gow. , FRENCH LITER^rtTURE. By Edward Dowden, LL.D., Professor of English Literature at the University of Dublin. MODERN ENGLISH LITERATURE. By the Editor. AMERICAN LITERATURE. By William P. Trent, LL.D., Professor of English Literature, Columbia LTniversity.
    [Show full text]
  • The Great 'Umar Khayyam
    The Great ‘Umar Khayyam Great The IRANIAN IRANIAN SERIES SERIES The Rubáiyát by the Persian poet ‘Umar Khayyam (1048-1131) have been used in contemporary Iran as resistance literature, symbolizing the THE GREAT secularist voice in cultural debates. While Islamic fundamentalists criticize ‘UMAR KHAYYAM Khayyam as an atheist and materialist philosopher who questions God’s creation and the promise of reward or punishment in the hereafter, some A GLOBAL RECEPTION OF THE RUBÁIYÁT secularist intellectuals regard him as an example of a scientist who scrutinizes the mysteries of the universe. Others see him as a spiritual A.A. Seyed-Gohrab (ed.) master, a Sufi, who guides people to the truth. This remarkable volume collects eighteen essays on the history of the reception of ‘Umar Khayyam in various literary traditions, exploring how his philosophy of doubt, carpe diem, hedonism, and in vino veritas has inspired generations of poets, novelists, painters, musicians, calligraphers and filmmakers. ‘This is a volume which anybody interested in the field of Persian Studies, or in a study of ‘Umar Khayyam and also Edward Fitzgerald, will welcome with much satisfaction!’ Christine Van Ruymbeke, University of Cambridge Ali-Asghar Seyed-Gohrab is Associate Professor of Persian Literature and Culture at Leiden University. A.A. Seyed-Gohrab (ed.) A.A. Seyed-Gohrab WWW.LUP.NL 9 789087 281571 LEIDEN UNIVERSITY PRESS The Great <Umar Khayyæm Iranian Studies Series The Iranian Studies Series publishes high-quality scholarship on various aspects of Iranian civilisation, covering both contemporary and classical cultures of the Persian cultural area. The contemporary Persian-speaking area includes Iran, Afghanistan, Tajikistan, and Central Asia, while classi- cal societies using Persian as a literary and cultural language were located in Anatolia, Caucasus, Central Asia and the Indo-Pakistani subcontinent.
    [Show full text]