Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2252554
Joseph P. Jordan
Once celebrated as one of the great lyric poems of the eighteenth century, Collins’s “Ode, Written in the Beginning of the Year 1746” (“How Sleep the Brave”) is rarely encountered by students or non-specialist readers anymore.1 Its subject matter—the celebration of war dead—is unfashionable, maybe even offensive. The poem also seems to embody the tendency toward superficial adornment and prettification that we associate with 18th-century verse and that seems so far removed from what the Romantics have trained us to believe a poem should be. The one supposed problem compounds the other, as Collins treats his grim subject ornamentally. Here I acknowledge this conflict but argue that “How Sleep the Brave” harnesses it to complex effect: indeed, it enables readers to subsume the seeming contradiction.2 The poem both extolls the soldiers’ sacrifice in abstract terms and forces us, repeatedly, to remember the hopeless reality of it. In the dimension of form, it delivers its contradictory message via organizations that advertise themselves as such and cloak layer upon layer of imperceptible complexity. In both respects, the poem enables readers to apprehend more than what we might otherwise be capable of. “How Sleep the Brave” was originally published in Collins’s one major volume, Odes on Several Descriptive and Allegoric Subjects (1746), and has remained an anthology piece ever since.
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Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2252969
D. Kempton
With respect to editions of Chaucer in particular, this lack of concern for punctuation has indeed been essentially, if not entirely, the case. F. N. Robinson, the editor of what was for many years the standard scholarly edition of Chaucer (Robinson 1933, 1957), groups punctuation with “minor matters of printing,” saying only that “modern usage has been followed” (p. xxxix). Larry D. Benson, the general editor of the Riverside Chaucer (Benson 1987; Chaucer 1987), which updates Robinson, also invokes “modern usage” as the principle guiding punctuation, while somewhat inconsistently acknowledging that “Middle https://doi.org/10.1080/00144940.2023.2252969
{"title":"Modern punctuation of Chaucer’s Franklin’s Tale: Line 964","authors":"D. Kempton","doi":"10.1080/00144940.2023.2252969","DOIUrl":"https://doi.org/10.1080/00144940.2023.2252969","url":null,"abstract":"With respect to editions of Chaucer in particular, this lack of concern for punctuation has indeed been essentially, if not entirely, the case. F. N. Robinson, the editor of what was for many years the standard scholarly edition of Chaucer (Robinson 1933, 1957), groups punctuation with “minor matters of printing,” saying only that “modern usage has been followed” (p. xxxix). Larry D. Benson, the general editor of the Riverside Chaucer (Benson 1987; Chaucer 1987), which updates Robinson, also invokes “modern usage” as the principle guiding punctuation, while somewhat inconsistently acknowledging that “Middle https://doi.org/10.1080/00144940.2023.2252969","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"69 - 72"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45912934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2245946
Russell M. Hillier
My thought is that in any lyric passage of the tragic poets ... there are—usually; I will not say always, it is not likely—two strains of thought running together and like counterpointed; the overthought that which everybody, editors, see ... the other, the underthought, conveyed chiefly in the choice of metaphors etc used and often only half realised by the poet himself, not necessarily having any connection with the subject in hand but usually having a connection and suggested by some circumstance of the scene or of the story. (Correspondence Vol. 2 564)
{"title":"The Underthought of John Milton’s Samson Agonistes in Gerard Manley Hopkins’s “My own heart let me more have pity on.”","authors":"Russell M. Hillier","doi":"10.1080/00144940.2023.2245946","DOIUrl":"https://doi.org/10.1080/00144940.2023.2245946","url":null,"abstract":"My thought is that in any lyric passage of the tragic poets ... there are—usually; I will not say always, it is not likely—two strains of thought running together and like counterpointed; the overthought that which everybody, editors, see ... the other, the underthought, conveyed chiefly in the choice of metaphors etc used and often only half realised by the poet himself, not necessarily having any connection with the subject in hand but usually having a connection and suggested by some circumstance of the scene or of the story. (Correspondence Vol. 2 564)","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"54 - 59"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44353724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2243537
L. Verner
The tenth century canoness Hrosvitha of Gandersheim’s The Martyrdom of the Holy Virgins Agape, Chionia, and Hirena (sometimes referred to as Dulcitius after the play’s villain) often represents medieval drama in survey classes, having been anthologized in textbooks such as The Bedford Introduction to Drama and The Norton Anthology of Drama. The play uses comedy to humiliate the villainous Roman officials Dulcitius and Sissinus who have been charged with torturing the young women into renouncing their faith and accepting marriage with pagans—or executing them should that tactic fail. As in most hagiography involving female virgin martyrs, the threat of rape, while never realized, is nearly constant. Toward the end of the play, Sissinus makes this threat explicit to Hirena:
{"title":"Consent, rape and pollution: the context of Hrosvitha’s Dulcitius","authors":"L. Verner","doi":"10.1080/00144940.2023.2243537","DOIUrl":"https://doi.org/10.1080/00144940.2023.2243537","url":null,"abstract":"The tenth century canoness Hrosvitha of Gandersheim’s The Martyrdom of the Holy Virgins Agape, Chionia, and Hirena (sometimes referred to as Dulcitius after the play’s villain) often represents medieval drama in survey classes, having been anthologized in textbooks such as The Bedford Introduction to Drama and The Norton Anthology of Drama. The play uses comedy to humiliate the villainous Roman officials Dulcitius and Sissinus who have been charged with torturing the young women into renouncing their faith and accepting marriage with pagans—or executing them should that tactic fail. As in most hagiography involving female virgin martyrs, the threat of rape, while never realized, is nearly constant. Toward the end of the play, Sissinus makes this threat explicit to Hirena:","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"50 - 53"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45109679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2253554
Jennifer A. Newton
Despite Renaissance scholars’ increasing interest in George Herbert’s devotional poems over the past few decades, his poem “Justice (I)” has received surprisingly little critical attention.1 However, through wordplay, poetic form, and delay of thematic resolution, “Justice (I)” demonstrates Herbert’s lyrical skill in creating a deceptively simple, yet poetically rich, poem about the speaker’s failure to understand the justice of God’s ways with him. “Justice (I)” opens with the speaker’s complaints about God’s seeming injustice to him, but then takes a reflective turn as the speaker realizes that he has been the one acting unjustly toward God:
{"title":"Skilled at Delay: George Herbert’s “Justice (I)”","authors":"Jennifer A. Newton","doi":"10.1080/00144940.2023.2253554","DOIUrl":"https://doi.org/10.1080/00144940.2023.2253554","url":null,"abstract":"Despite Renaissance scholars’ increasing interest in George Herbert’s devotional poems over the past few decades, his poem “Justice (I)” has received surprisingly little critical attention.1 However, through wordplay, poetic form, and delay of thematic resolution, “Justice (I)” demonstrates Herbert’s lyrical skill in creating a deceptively simple, yet poetically rich, poem about the speaker’s failure to understand the justice of God’s ways with him. “Justice (I)” opens with the speaker’s complaints about God’s seeming injustice to him, but then takes a reflective turn as the speaker realizes that he has been the one acting unjustly toward God:","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"77 - 80"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47646912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2243535
S. Oh
Zooming in on the New York boroughs of Manhattan and Queens, Chang-rae Lee’s Native Speaker presents a curiously Gatsbyesque moment that exemplifies the dynamism of physical and social mobility. At the core of the novel is the narrator Henry Park’s observation of John Kwang, a charismatic Korean immigrant city councilman from Queens. Their one-time ride to Manhattan in the pre-dawn hours resonates with a specific moment in The Great Gatsby , calling to mind Nick Carraway and Jay Gatsby’s drive over the Queensboro Bridge. Both scenes are mobilized by motion, excitement, and anticipation set against the New York cityscape, gesturing toward social minorities’ upward mobility and inclusion.
{"title":"Crossing the Queensboro Bridge: Gatsby, Automobiles, and Immigrant Mobility in Chang-rae Lee’s Native Speaker","authors":"S. Oh","doi":"10.1080/00144940.2023.2243535","DOIUrl":"https://doi.org/10.1080/00144940.2023.2243535","url":null,"abstract":"Zooming in on the New York boroughs of Manhattan and Queens, Chang-rae Lee’s Native Speaker presents a curiously Gatsbyesque moment that exemplifies the dynamism of physical and social mobility. At the core of the novel is the narrator Henry Park’s observation of John Kwang, a charismatic Korean immigrant city councilman from Queens. Their one-time ride to Manhattan in the pre-dawn hours resonates with a specific moment in The Great Gatsby , calling to mind Nick Carraway and Jay Gatsby’s drive over the Queensboro Bridge. Both scenes are mobilized by motion, excitement, and anticipation set against the New York cityscape, gesturing toward social minorities’ upward mobility and inclusion.","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"41 - 45"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47053493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2243534
Saera Yoon
Abstract Through analysis of the depictions of Levin’s hunts in Tolstoy’s Anna Karenina, this article argues that hunting scenes and allusions help develop the novel’s theme of marriage and family happiness. Levin’s first hunt with Oblonsky advances the narrative thread around his marriage when his hopes of marrying Kitty are rekindled after hearing from her brother that she has not wed Vronsky. The next instance finds Levin hunting a she-bear, hinting at his efforts to successfully woo Kitty, whom he called a “tiny bear” in her childhood. The novel’s longest hunting scene in which a pregnant Kitty sends a reassuring message to her concerned husband demonstrates that the couple has achieved a state of family happiness based on mutual trust and consideration. The final allusion to hunting, near the novel’s end, comes when Levin, now a loving husband and father, takes up beekeeping (literally “bee hunting” [pchelinaia okhota]) as a family pastime. Levin’s turn to this new type of “hunting” once he is happily married underscores hunting’s connection to a happy family life: the motif reappears throughout the narrative arc of Levin’s personal journey to selfhood through marriage and family life.”
{"title":"Levin’s hunting in Anna Karenina","authors":"Saera Yoon","doi":"10.1080/00144940.2023.2243534","DOIUrl":"https://doi.org/10.1080/00144940.2023.2243534","url":null,"abstract":"Abstract Through analysis of the depictions of Levin’s hunts in Tolstoy’s Anna Karenina, this article argues that hunting scenes and allusions help develop the novel’s theme of marriage and family happiness. Levin’s first hunt with Oblonsky advances the narrative thread around his marriage when his hopes of marrying Kitty are rekindled after hearing from her brother that she has not wed Vronsky. The next instance finds Levin hunting a she-bear, hinting at his efforts to successfully woo Kitty, whom he called a “tiny bear” in her childhood. The novel’s longest hunting scene in which a pregnant Kitty sends a reassuring message to her concerned husband demonstrates that the couple has achieved a state of family happiness based on mutual trust and consideration. The final allusion to hunting, near the novel’s end, comes when Levin, now a loving husband and father, takes up beekeeping (literally “bee hunting” [pchelinaia okhota]) as a family pastime. Levin’s turn to this new type of “hunting” once he is happily married underscores hunting’s connection to a happy family life: the motif reappears throughout the narrative arc of Levin’s personal journey to selfhood through marriage and family life.”","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"37 - 40"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49389941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2253555
Alessandro Porco
Charles Bernstein is one of a chorus of critics who praises the “microtonal inflections” that characterize postmodern American poet Robert Creeley’s prosody—in particular, Creeley’s “radical use of the line break”: “[His] exquisitely precise lines,” writes Bernstein, “measure the pressure of reality through their articulation of emotional rupture or turbulence” (132). In the early 1950s, this “emotional rupture or turbulence” is often localized to Creeley’s discussions of the institution of marriage and domestic strife therein—what Sherman Paul identifies as the poet’s “personal” and “common” subject matter (382). “The Crisis” is one of Creeley’s earliest and most iconic poems in this mode, scrutinizing marital tensions with angst, self-loathing, and irony. As the poet explains in a letter to Charles Olson from April 12, 1952, he is trying in “The Crisis” to develop a “feel” for “irritation” (241). This “irritation” rises to drama because of a surprising interpolation of a passage from Shakespeare’s Merchant of Venice—I say surprising because, unlike Louis Zukofsky or Olson (mentor and friend, respectively), Creeley’s poetry and poetics are not typically so self-consciously in conversation with Shakespeare. In “The Crisis,” however, Creeley’s speaker voices Portia’s plea for justice (“the quality of mercy is not strained” [4.1.188]), and in doing so he revises Shakespeare’s blank verse to test—and, ultimately, contest—the Bard’s moral and metrical wisdom in the context of love and marriage at midcentury. “The Crisis”’s ironic vision is immediate, with a title that suggests the intensities of Cold War geopolitics, Existential philosophy, and poetic debates of the period—everything and everyone on the brink of some kind of annihilation or discovery or both. In contrast, the first line of predominantly monosyllabic words is long, plodding, and awkward, while the first sentence in its entirety (distributed across lines 1-4) serio-comically corrects the title’s scale and severity. It establishes the poem’s speaker and occasion: a disenchanted husband is disproportionately upset about a repeatedly misplaced “towel” in his home and, https://doi.org/10.1080/00144940.2023.2253555
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Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2253557
Barbara L. Parker
Click to increase image sizeClick to decrease image sizeKeywords: ShakespeareTwelfth NightTudor heresy trialstransubstantiationparody Notes1 Illyria is firmly identified with Catholicism throughout. Five characters bear the names of saints (Elam, TN Introduction 23). One of Orsino’s attendants is named Curio, recalling the Curia, which aids the pope in governing the Church. Upon arriving in Illyria, Sebastian wishes to view the town’s relics (3.3.19). Olivia resembles a “cloistress” and is called “madonna” (1.1.27, 1.5.39–133 passim), and Sir Toby terms Malvolio’s abuse his “penance” (3.4.133). Olivia weds Sebastian in a chantry (4.3.23–26). Antonio does “devotion” to Sebastian’s “image” (3.4.359–60). Orsino deposits his soul’s “offerings” on Olivia’s “altars” (5.1.109–10). And Feste performs an ostensible exorcism on Malvolio (4.2.25).2 “Property” (v.2): “To . . . take or hold possession of.” Oxford English Dictionary. 1971. Oxford UP.3 Anne refused to answer the question, signifying dissent. Subsequent measures to induce her to recant, including torture on the rack, similarly failed.4 “Renegade”: See sb.1 and the etymology section preceding it; and “renegado,” sb.1, Oxford English Dictionary.
{"title":"TWELFTH NIGHT: Malvolio and the Tudor Heresy Trials","authors":"Barbara L. Parker","doi":"10.1080/00144940.2023.2253557","DOIUrl":"https://doi.org/10.1080/00144940.2023.2253557","url":null,"abstract":"Click to increase image sizeClick to decrease image sizeKeywords: ShakespeareTwelfth NightTudor heresy trialstransubstantiationparody Notes1 Illyria is firmly identified with Catholicism throughout. Five characters bear the names of saints (Elam, TN Introduction 23). One of Orsino’s attendants is named Curio, recalling the Curia, which aids the pope in governing the Church. Upon arriving in Illyria, Sebastian wishes to view the town’s relics (3.3.19). Olivia resembles a “cloistress” and is called “madonna” (1.1.27, 1.5.39–133 passim), and Sir Toby terms Malvolio’s abuse his “penance” (3.4.133). Olivia weds Sebastian in a chantry (4.3.23–26). Antonio does “devotion” to Sebastian’s “image” (3.4.359–60). Orsino deposits his soul’s “offerings” on Olivia’s “altars” (5.1.109–10). And Feste performs an ostensible exorcism on Malvolio (4.2.25).2 “Property” (v.2): “To . . . take or hold possession of.” Oxford English Dictionary. 1971. Oxford UP.3 Anne refused to answer the question, signifying dissent. Subsequent measures to induce her to recant, including torture on the rack, similarly failed.4 “Renegade”: See sb.1 and the etymology section preceding it; and “renegado,” sb.1, Oxford English Dictionary.","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135718056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00144940.2023.2252968
David B. Raymond
{"title":"“The Work Wisdom of ‘From Plane to Plane’”","authors":"David B. Raymond","doi":"10.1080/00144940.2023.2252968","DOIUrl":"https://doi.org/10.1080/00144940.2023.2252968","url":null,"abstract":"","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"81 1","pages":"66 - 68"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42322510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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