{"title":"Nicholas Seager (ed.). The Cambridge Edition of the Correspondence of Daniel Defoe","authors":"Markman Ellis","doi":"10.1093/res/hgae045","DOIUrl":"https://doi.org/10.1093/res/hgae045","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"26 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141658890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nils-Lennart Johannesson and Andrew Cooper (eds). Ormulum, edited from Oxford, Bodleian Library, MS Junius 1 and London, Lambeth Palace Library, MS 783","authors":"Simon Horobin","doi":"10.1093/res/hgae044","DOIUrl":"https://doi.org/10.1093/res/hgae044","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":" 891","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141669066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas Hardy often composed with two distinct media in mind: print and inscription. Designing epitaphs for the tombstones of family members before turning to verse to reflect upon this largely frustrating inscriptive work, Hardy expressed a particular interest in the divergent capacities for alteration afforded by paper and stone. Reading Hardy’s monumental inscriptions alongside the poems they inspired, this article assesses the extent to which Hardy’s simultaneous engagement with manuscripts and tombstones—two surfaces that presented drastically different capacities for amendment—shaped his understanding of the function and potential of revision. Turning first to Hardy’s lifelong interest in stonework, this article considers the poet’s personal experience with letter-cutting and epitaphic design, before offering a close textual reading of the poetry this activity inspired. Considering three key verses penned in reflection upon the poet’s lapidary endeavours, I examine the compositional tension between media that emerges through revision, and the problem this poses for Hardy’s curious tendency to conflate the act of writing with the act of carving.
{"title":"‘Sacred to the Memory’: Thomas Hardy’s Tombstones","authors":"Eva Dema","doi":"10.1093/res/hgae028","DOIUrl":"https://doi.org/10.1093/res/hgae028","url":null,"abstract":"\u0000 Thomas Hardy often composed with two distinct media in mind: print and inscription. Designing epitaphs for the tombstones of family members before turning to verse to reflect upon this largely frustrating inscriptive work, Hardy expressed a particular interest in the divergent capacities for alteration afforded by paper and stone. Reading Hardy’s monumental inscriptions alongside the poems they inspired, this article assesses the extent to which Hardy’s simultaneous engagement with manuscripts and tombstones—two surfaces that presented drastically different capacities for amendment—shaped his understanding of the function and potential of revision. Turning first to Hardy’s lifelong interest in stonework, this article considers the poet’s personal experience with letter-cutting and epitaphic design, before offering a close textual reading of the poetry this activity inspired. Considering three key verses penned in reflection upon the poet’s lapidary endeavours, I examine the compositional tension between media that emerges through revision, and the problem this poses for Hardy’s curious tendency to conflate the act of writing with the act of carving.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"14 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140743384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When Keats told friends he had ‘given up’ his epic project, ‘Hyperion’, in September 1819, he expressed dissatisfaction with its artful ‘Miltonic inversions’. While sailing to Italy in the autumn of 1820 and in the months before he died, however, Keats told Joseph Severn about an epic he wanted to write—on Sabrina, the river goddess in Milton’s Comus. This essay offers the first critical investigation of Keats’s projected poem. I pursue Keats’s unwritten epic, using Severn’s accounts, a selection of Keats’s letters and poems, and the source text to reveal what may have interested him about Milton’s rendering of Sabrina’s story and what it can tell us. Far from putting Milton behind him, Keats continued to draw inspiration from his poetry, returning to a work he had previously dismissed and finding fresh pleasure in a masque that Milton had composed in his mid-twenties, long before Paradise Lost. I suggest that in Sabrina, the tutelary spirit of the Severn, Keats found a figure of transformation, survival, and healing—a young goddess whose liminal existence on the Welsh border and whose partially told story appealed to his imagination and his belief in poetry’s enduring power to transcend mortal limits.
{"title":"Keats’s Unwritten Epic","authors":"M. A. O'Halloran","doi":"10.1093/res/hgae030","DOIUrl":"https://doi.org/10.1093/res/hgae030","url":null,"abstract":"\u0000 When Keats told friends he had ‘given up’ his epic project, ‘Hyperion’, in September 1819, he expressed dissatisfaction with its artful ‘Miltonic inversions’. While sailing to Italy in the autumn of 1820 and in the months before he died, however, Keats told Joseph Severn about an epic he wanted to write—on Sabrina, the river goddess in Milton’s Comus. This essay offers the first critical investigation of Keats’s projected poem. I pursue Keats’s unwritten epic, using Severn’s accounts, a selection of Keats’s letters and poems, and the source text to reveal what may have interested him about Milton’s rendering of Sabrina’s story and what it can tell us. Far from putting Milton behind him, Keats continued to draw inspiration from his poetry, returning to a work he had previously dismissed and finding fresh pleasure in a masque that Milton had composed in his mid-twenties, long before Paradise Lost. I suggest that in Sabrina, the tutelary spirit of the Severn, Keats found a figure of transformation, survival, and healing—a young goddess whose liminal existence on the Welsh border and whose partially told story appealed to his imagination and his belief in poetry’s enduring power to transcend mortal limits.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"12 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140745553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Developing recent research on emotion in early modern literature, this essay argues that disgust is the primary emotional mode of Webster’s classic tragedy The Duchess of Malfi. According to modern affective science, disgust is the emotion designed to protect the physical body from material contaminants and protect the social body from symbolic contaminants; as such, it is intimately concerned with the preservation of boundaries. I argue that Malfi stages the thematic collapse of key existential boundaries of the human experiences—boundaries of social class, boundaries of kinship, boundaries between species, and boundaries between life and death—and the result is a compensatory atmosphere of disgust that pervades the play.
{"title":"Boundaries and Disgust in The Duchess of Malfi","authors":"Bradley J. Irish","doi":"10.1093/res/hgae020","DOIUrl":"https://doi.org/10.1093/res/hgae020","url":null,"abstract":"\u0000 Developing recent research on emotion in early modern literature, this essay argues that disgust is the primary emotional mode of Webster’s classic tragedy The Duchess of Malfi. According to modern affective science, disgust is the emotion designed to protect the physical body from material contaminants and protect the social body from symbolic contaminants; as such, it is intimately concerned with the preservation of boundaries. I argue that Malfi stages the thematic collapse of key existential boundaries of the human experiences—boundaries of social class, boundaries of kinship, boundaries between species, and boundaries between life and death—and the result is a compensatory atmosphere of disgust that pervades the play.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"32 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140375641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mary Bateman. Local Place and the Arthurian Tradition in England and Wales, 1400-1700","authors":"Felicity Brown","doi":"10.1093/res/hgae024","DOIUrl":"https://doi.org/10.1093/res/hgae024","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":" 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140381814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article brings to light seven poems by C. S. Lewis that have never been published before. These poems, composed during the 1920s, form part of a lengthy campaign against the study of philology at Oxford, and specifically against its most eminent exponent, H. C. Wyld. Drawing on entries in his diary and personal correspondence, the article shows how Lewis’s antipathy for the subject grew out of his undergraduate studies, his frustration with Wyld’s published scholarship and prescriptive attitude towards language study, as well as a dislike of the man and his lecturing style. It was the appointment of J. R. R. Tolkien to the Rawlinson and Bosworth Professorship of Anglo-Saxon in 1925, and their subsequent friendship, that was to convert Lewis to the study of philology and convince him of its centrality to the discipline of English Studies. The remainder of the article describes how the two men engineered revisions to the Oxford English syllabus, which resulted in a much more prominent role for philology, at the expense of nineteenth-century literature.
本文介绍了 C. S. Lewis 七首从未发表过的诗歌。这些诗作于二十世纪二十年代，是反对牛津大学语言学研究，特别是反对其最杰出的代表人物 H. C. 怀尔德的长期运动的一部分。文章通过刘易斯的日记和私人信件，展示了刘易斯对该学科的反感是如何从他的本科学习、对怀尔德发表的学术论文和对语言研究的指令性态度的不满，以及对他本人和他的讲课风格的厌恶中滋生出来的。1925 年，托尔金（J. R. R. Tolkien）被任命为罗林森和博斯沃思的盎格鲁-撒克逊语教授，他们随后的友谊使刘易斯转而研究语言学，并使他相信语言学在英语研究学科中的核心地位。文章的其余部分描述了两人如何策划牛津英语教学大纲的修订，修订后的教学大纲使语言学的地位更加突出，但却牺牲了十九世纪文学。
{"title":"‘Never trust a Philologist’: C. S. Lewis, J. R. R. Tolkien, and the Place of Philology in English Studies","authors":"Simon Horobin","doi":"10.1093/res/hgae012","DOIUrl":"https://doi.org/10.1093/res/hgae012","url":null,"abstract":"\u0000 This article brings to light seven poems by C. S. Lewis that have never been published before. These poems, composed during the 1920s, form part of a lengthy campaign against the study of philology at Oxford, and specifically against its most eminent exponent, H. C. Wyld. Drawing on entries in his diary and personal correspondence, the article shows how Lewis’s antipathy for the subject grew out of his undergraduate studies, his frustration with Wyld’s published scholarship and prescriptive attitude towards language study, as well as a dislike of the man and his lecturing style. It was the appointment of J. R. R. Tolkien to the Rawlinson and Bosworth Professorship of Anglo-Saxon in 1925, and their subsequent friendship, that was to convert Lewis to the study of philology and convince him of its centrality to the discipline of English Studies. The remainder of the article describes how the two men engineered revisions to the Oxford English syllabus, which resulted in a much more prominent role for philology, at the expense of nineteenth-century literature.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"123 s1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140223148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rosalind Parry. The Art of the Reprint: Nineteenth-Century Novels in Twentieth-Century Editions","authors":"Alexis Weedon","doi":"10.1093/res/hgae017","DOIUrl":"https://doi.org/10.1093/res/hgae017","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"18 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140226096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Katherine C Little. Humanism and Good Books in Sixteenth-Century England","authors":"Andrew Taylor","doi":"10.1093/res/hgae022","DOIUrl":"https://doi.org/10.1093/res/hgae022","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"4 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140227383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Marco Nievergelt. Medieval Allegory as Epistemology: Dream-Vision Poetry on Language, Cognition, and Experience","authors":"Lotte Reinbold","doi":"10.1093/res/hgae023","DOIUrl":"https://doi.org/10.1093/res/hgae023","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"80 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140224966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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