Recent Studies in Nineteenth-Century English Literature G. ROBERT STANGE THE FIRST reaction of the surveyor of the year's work in the field of the nineteenth century is dismay at its sheer bulk. The period has obviouslybecome the most recent playground of scholars and academic critics. One gets a sense of settlers rushing toward a new frontier, and at 'times regrets irra- tionally ithe simpler, quieter days. At first glance the massive acocumulation of intellectual labor which I have undertaken to describe seems to display no pattern whatsoever, no evidence of noticeable trends. Yet, to the persistent gazer certain characteristics ultimately reveal themselves. There is a discernible tendency? for example, to lapply the concepts of po'st Existential theology to the work of the Romantic poets; and in general these poets are now being approached with an intellectual excitement which is very different from the diffuse "romantic" enthusiasm of twenty or thirty years ago. It must also be said that the Victorian novelists continue to come into 'their own. lThe kind of serious attention 'thiatit is now assumed Dickens and George Eliot require was a rare thing a decade ago; it is undoubtedly good that this rigorous- thiough sometimes over-solemn-analysis is now being extended to 'some of 'the lesser novelists of the period. It is also still to be noted as an unaccountable oddity th'at reliable editions of even the most important nineteenth-century authors are not always available. Of the novelists 'only Jane Austen has so far 'been critically edited. The Victorian poets, with the exception of Arnold, are in textual chaos, and ;though critical editions of Arnold's and Mill's prose are forthcoming, other prose writers have not 'been much heeded. Accompanying this unfortunate neglect of textual studies has been a puzzling neglect of the periodical literature of the century. Much of the most interesting writing in nineteenthoentury periodi- cals was never reprinted, and too much of this material remains buried. Finally, and speaking loosely, II should say that nineteenth- century studies are weak in the larea of 'general topicEs.There are a 150 RECENT STUDIES great many works on one aspect of the writings of one man, but there has recently been nothing good on, for example, the relations between literature and the visual arts, or between English and French literary theory. And there is a scarcity of studies of themes and issues that run through a long stretch of time and are signifi- cant to the wrork of a number of writers. The reason for these lacks is probably obvious: more than half of the work that a reviewer is called on to survey has been produced by young men qualifying for their Ph.D. degrees; 'a person in such a position cannot be expected 'to have the knowledge or scope to deal with a synthetic topic. But, the weary reviewer is sometimes moved to ask, why is it assumed that the young academic has an inborn gift for critical analysis? The young man who is judged unready for the labors of exact scholarship is encouraged instead to sharpen 'his teeth on 'the flintiest and most precious of 'critical questions. In the pages that follow I concern myself only with 'studies of nineteenth-century literature published in 1960. I have taken account of-though I have not found it necessary to mention-all books lthat fall into this category. Though I comment on a number of periodical articles, I have not tried to deal with all periodical literature (which runs to many hundreds of items). I suspect that I have neglected many excellent articles; I know that I have men- tioned some that might 'better 'have been 'ignored. I Of the few books on general literary topics that were published in 1960, Ellen Moers's The Dandy: Brummell to Beerbohm (Lon- don: 'Secker and Warburg) is by far the most extensive in range. For years th'ereIhas been place for a book on the Dan'dy 'as a literary as well a's 'social phenomenon. Miss Moers's study is the first intel- lectually sophisticated work on 'this topic and it is, in spite 'of cer- tain faults, amazingly good. The difficulties for 'the author are in 'dealing with the concepts of dandyism in both England and France, and in treating both the living embodiments of 'the idea and its reflections in literature. Miss Moers's discussion of 'the influence that passed from England to France, and back again, from the years of the Regency to those of 'the Decadence, is both artful and learned. I think she does 'less well in 'distinguishing the true- life Dandys (such as Brummell) and Dandysme as a literary gesture (as in the works of d'Aurevilly and Baudelaire) from the mere man of fashion. Miss Moers errs from her central theme into C. ROBERT STANGE 151 overly long discussions of the French scene around 1830, of Dickens and Thackeray or the Prince of Wales. Usually, however, though some important literary material is omitted, this lauthor is remark- ably just in her emphases and accurate in her statements. She has the ability to seize the significant aspect of a situation or character and, without distorting it, dramatize it in such a way that new aspects of the most familiar material 'arerevealed to us. The Dandy is both a contribution to literary history and a thoroughly read- able book. A study that promised to be even more rewarding than Miss Moers's is, alas, a serious disappointment. Enid Starkie's From Gautier to Eliot: The Influence of France on English Literature, 1851-1939 (London: Hutchinson) is an embarrassingly bad book. Miss Starkie asserts that she has not written for the specialist and, since there are no notes 'and only a sketchy list of "Suggestions for Further Reading" in place of a bibliography, one is inclined to believe her. But it is Idifficult to imagine what audience she did have in mind. The book is crammed with textbook facts (not all 'of them accurate) and written in a schoolmistressy style. It dis- plays an occasional ignorance of English literature which, though not reprehensible 'in a French specialist, would-it might be thought-'inhibit an eminent critic from attempting a survey of this sort. The vast collections of nineteenth-century material in the 'library of the University of Illinois continue to yield products. Royal A. Gettmann's A Victorian Publisher: A Study of the Bentley Papers (Cambridge: Cambridge University Press) is both an account of the activities of the firm of Richard Bentley and 'Son and an essay in the sociology of literature. By close study of the operations of this single publishing house, Mr. Gettmann is able to furnish a good deal of information 'about the kinds of relations that existed among author, publisher, and reader during the second half of the century. For readers more concerned with literature than with the history of publishing, the chief interest of the book will be in the last two chapters, 'The Publisher's Reader" and 'The Three- Decker," where the author indicates some of the ways by which publishers' activities and expectations influenced n'ot only the marketing but 'the production of both commercial and serious fic- tion. Reports of publishers' readers provide a uniquely dependable method of defining the tastes that writers were expected to satisfy. The final chapter on the three-decker is only the second published 152 RECENT STUDIES attempt to study the rise of this bizarre form and to speculate on the ways in which it influenced the composition of fiction. Mr. Gettmann has some interesting things to say about the institution of the circulating library, and suggests several lines of inquiry thiat other researchers might profitably follow. II Last year's only real book on Wordsworth is a monograph that, in a less inflationary period than ours, might have been boiled down to a brief pamphlet. In Wordsworth and Schelling: A Typo- logical Study of Romanticism (New Haven: Yale University Press) E. D. Hirsch, Jr. traces the remarkable similarities between the views of the English poet and the German philosopher. Mr. Hirsch does not believe that there is any possibility of direct influence on Wordsworth, but rather that "both shared the same type of Weltanschauung." In a manner that is sometimes pretentious this author then sets out to define what he calls the "type constructs" of the two writers. Then, to demonstrate the utility of his "typo- logical" study, he concludes his book with a discussion of some of the concepts that inform the "Immortality Ode," and in this chapter he succeeds, I think, in illuminating several of the more puzzling paradoxes of the poem. Ellton F. Henley's pamphlet, Wordsworthian Criticism, 1945-1959 (New York: New York Public Library), supplements the biblio- graphical portion of James V. Logan's Wordsworthian Crit&cism (1947). The new brochure provides a chronological list of works with brief descriptive comment; the editor does not attempt, as Logan did, an estimate of trends in the criticism of Wordsworth, though the list is made more usable by the addition of a topical analysis of the entries. Bennett Weaver's "VWordsworth:Poet of the Unconquerable Mind" (PMLA, LXXV, 231-237) is worth attention as an interest- ingly old-fashioned essay which assumes that Wordsworth is not popular with "modern" readers, 'and attempts to explain why. In a passionate strain that recalls the Romantic specialist of an earlier generation, 'Mr. Weaver outlines the Wordsworthian characteristics that moderns presumably find unpalatable: originality, emphasis on the elemental, the celebration of nature, and the moral character of the poems.