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Outlines of English and American Literature by William J. Long World PGCC Collection: Outlines of English and American Literature by William J. Long World eBook Library PGCC Collection Bringing the world's eBook Collection Together http://www.WorldLibrary.net Project Gutenberg Consortia Center is a member of the World eBook Library Consortia, http://WorldLibrary.net __________________________________________________ Limitations By accessing this file you agree to all the Terms and Conditions, as stated here. This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Here are 3 of the more major items to consider: 1. 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The complete license details are online at: http://gutenberg.net/license __________________________________________________ Title: Outlines of English and American Literature An Introduction to the Chief Writers of England and America, to the Books They Wrote, and to the Times in Which They Lived Author: William J. Long Release Date: March, 2005 [EBook #7800] [Posted: May 18, 2003] Character set encoding: ISO-Latin-1 OUTLINES OF ENGLISH LIT. Produced by Charles Franks, Bill Keir and the Online Distributed Proofreading Team 2 OUTLINES OF ENGLISH AND AMERICAN LITERATURE AN INTRODUCTION TO THE CHIEF WRITERS OF ENGLAND AND AMERICA, TO THE BOOKS THEY WROTE, AND TO THE TIMES IN WHICH THEY LIVED BY WILLIAM J. LONG This is the wey to al good aventure.--CHAUCER TO MY SISTER "MILLIE" IN GRATEFUL REMEMBRANCE OF A LIFELONG SYMPATHY [Illustration: WILLIAM SHAKESPEARE After the Chandos Portrait in the National Portrait Gallery, London, which is attributed to Richard Burbage or John Taylor. In the catalogue of the National Portrait Gallery the following description is given: "The Chandos Shakespeare was the property of John Taylor, the player, by whom or by Richard Burbage it was painted. The picture was left by the former in his will to Sir William Davenant. After his death it was bought by Betterton, the actor, upon whose decease Mr. Keck of the Temple purchased it for 40 guineas, from whom it was inherited by Mr. Nicoll of Michenden House, Southgate, Middlesex, whose only daughter married James, Marquess of Caernarvon, afterwards Duke of Chandos, father to Ann Eliza, Duchess of Buckingham." The above is written on paper attached to the back of the canvas. Its authenticity, however, has been doubted in some quarters. Purchased at the Stowe Sale, September 1848, by the Earl of Ellesmere, and presented by him to the nation, March 1856. Dimensions: 22 in. by 16-3/4 in. This reproduction of the portrait was made from a miniature copy on ivory by Caroline King Phillips.] PREFACE The last thing we find in making a book is to know what to put first.--Pascal When an author has finished his history, after months or years of happy 3 work, there comes a dismal hour when he must explain its purpose and apologize for its shortcomings. The explanation in this case is very simple and goes back to a personal experience. When the author first studied the history of our literature there was put into his hands as a textbook a most dreary catalogue of dead authors, dead masterpieces, dead criticisms, dead ages; and a boy who knew chiefly that he was alive was supposed to become interested in this literary sepulchre or else have it said that there was something hopeless about him. Later he learned that the great writers of England and America were concerned with life alone, as the most familiar, the most mysterious, the most fascinating thing in the world, and that the only valuable or interesting feature of any work of literature is its vitality. To introduce these writers not as dead worthies but as companionable men and women, and to present their living subject as a living thing, winsome as a smile on a human face,--such was the author's purpose in writing this book. The apology is harder to frame, as anyone knows who has attempted to gather the writers of a thousand years into a single volume that shall have the three virtues of brevity, readableness and accuracy. That this record is brief in view of the immensity of the subject is plainly apparent. That it may prove pleasantly readable is a hope inspired chiefly by the fact that it was a pleasure to write it, and that pleasure is contagious. As for accuracy, every historian who fears God or regards man strives hard enough for that virtue; but after all his striving, remembering the difficulty of criticism and the perversity of names and dates that tend to error as the sparks fly upward, he must still trust heaven and send forth his work with something of Chaucer's feeling when he wrote: O littel bookë, thou art so unconning, How darst thou put thy-self in prees for drede? Which _may_ mean, to one who appreciates Chaucer's wisdom and humor, that having written a little book in what seemed to him an unskilled or "unconning" way, he hesitated to give it to the world for dread of the "prees" or crowd of critics who, even in that early day, were wont to look upon each new book as a camel that must be put through the needle's eye of their tender mercies. In the selection and arrangement of his material the author has aimed to make a usable book that may appeal to pupils and teachers alike. Because history and literature are closely related (one being the record of man's deed, the other of his thought and feeling) there is a brief historical introduction to every literary period. There is also a review of the general literary tendencies of each age, of the fashions, humors and ideals that influenced writers in forming their style or selecting their subject. Then there is a biography of every important author, written not to offer another subject for hero-worship but to present the man exactly as he was; a review of his chief works, which is intended chiefly as a guide to the best reading; and a critical estimate or appreciation of his writings based partly upon first-hand impressions, partly upon the assumption that an 4 author must deal honestly with life as he finds it and that the business of criticism is, as Emerson said, "not to legislate but to raise the dead." This detailed study of the greater writers of a period is followed by an examination of some of the minor writers and their memorable works. Finally, each chapter concludes with a concise summary of the period under consideration, a list of selections for reading and a bibliography of works that will be found most useful in acquiring a larger knowledge of the subject. In its general plan this little volume is modeled on the author's more advanced _English Literature_ and _American Literature_; but the material, the viewpoint, the presentation of individual writers,--all the details of the work are entirely new. Such a book is like a second journey through ample and beautiful regions filled with historic associations, a journey that one undertakes with new companions, with renewed pleasure and, it is to be hoped, with increased wisdom. It is hardly necessary to add that our subject has still its unvoiced charms, that it cannot be exhausted or even adequately presented in any number of histories. For literature deals with life; and life, with its endlessly surprising variety in unity, has happily some suggestion of infinity. WILLIAM J. LONG STAMFORD, CONNECTICUT CONTENTS ENGLISH LITERATURE CHAPTER I. INTRODUCTION: AN ESSAY OF LITERATURE What is Literature? The Tree and the Book. Books of Knowledge and Books of Power. The Art of Literature. A Definition and Some Objections. CHAPTER II. BEGINNINGS OF ENGLISH LITERATURE Tributaries of Early Literature. The Anglo-Saxon or Old-English Period. Specimens of the Language. The Epic of Beowulf. Anglo-Saxon Songs. Types of Earliest Poetry. Christian Literature of the Anglo-Saxon Period. The Northumbrian School. Bede. Cædmon. Cynewulf. The West-Saxon School. Alfred the Great. _The Anglo-Saxon Chronicle._ The Anglo-Norman or Early Middle-English Period. Specimens of the Language. The Norman Conquest. Typical Norman Literature. Geoffrey of Monmouth. First Appearance of the Legends of Arthur. Types of Middle-English Literature. Metrical Romances. Some Old Songs. Summary of the Period. Selections for Reading. Bibliography. 5 CHAPTER III. THE AGE OF CHAUCER AND THE REVIVAL OF LEARNING Specimens of the Language. History of the Period. Geoffrey Chaucer. Contemporaries and Successors of Chaucer. Langland and his _Piers Plowman_. Malory and his _Morte d' Arthur_. Caxton and the First Printing Press.
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