A LIST OF AVAILABLE EDITIONS FOR THE STUDY OF IMPORTANT AUTHORS

The author has in preparation an annotated anthology of poems from the popular ballads down, exclusive of long poems. In the meantime existing anthologies may be used with the present volume. The following list includes rather more of the other authors than can probably be studied at first hand in one college year. The editions named are chosen because they combine inexpensiveness with satisfactory quality. It is the author's experience that a sufficient number of them to meet the needs of the cla.s.s may well be supplied by the college. 'Everyman' means the editions in the 'Everyman Library' series of Messrs. E. P. Dutton and Co.; 'R. L. S.' the 'Riverside Literature Series' of The Houghton Mifflin Co.

BeOWULF. Prose translation by Child; R. L. S., cloth, 25 cents. Metrical translation by J. L. Hall; D. O. Heath & Co., cloth, 75 cents, paper, 30 cents.

SIR GAWAIN AND THE GREEN KNIGHT. Prose translation by Miss J. L. Weston, Scribner, 75 cents.

CHAUCER. Among numerous school editions of the Prolog and The Knight's Tale may be named one issued by The American Book Co., 20 cents.

MALORY'S MORTE DARTHUR. Everyman, two vols., 35 cents each. The Medieval Drama, Early Plays, ed. Child, R. L. S., cloth, 40 cents. 'Everyman and Other Plays' (modernized), Everyman, 35 cents.

SPENSER'S FAERIE QUEENE. Everyman, three vols., 35 cents each. Vol. I contains Books I and II.

ELIZABETHAN LYRICS, ed. Sch.e.l.ling, Ginn, 75 cents. Marlowe's Plays. Mermaid ed., Scribner, $1.00.

SHAKSPERE'S PLAYS. Among the most useful 25 cent editions are those in the R. L. S., the Arden series of D. C. Heath and Co., and the Tudor Series of the Macmillan Co.

JONSON'S SEJa.n.u.s. Mermaid ed. of Jonson (Scribner), Vol. II, $1.00.

BACON'S ESSAYS. R. L. S., cloth, 40 cents. Everyman, 35 cents.

SEVENTEENTH CENTURY LYRICS, ed. Sch.e.l.ling, Ginn, 75 cents.

MILTON'S PARADISE LOST. Astor ed., T. Y. Crowell and Co., 60 cents.

BUNYAN'S PILGRIMS' PROGRESS. Everyman, 35 cents.

DRYDEN'S ABSALOM AND ACHITOPHEL. In Satires of Dryden, ed. Collins, Macmillan.

DEFOE'S ROBINSON CRUSOE. Everyman.

SWIFT'S GULLIVER'S TRAVELS. Everyman. There are two excellent volumes of Selections from Swift, ed. Craik, Oxford University Press.

THE SPECTATOR PAPERS. Everyman, four vols.

SAMUEL JOHNSON. Selections, ed. Osgood, Henry Holt and Co., 50 cents.

BURKE. Selections, ed. Perry, Holt, 50 cents.

THOMSON'S SEASONS. Astor ed., Crowell, 60 cents.

MACAULAY'S ESSAYS. Everyman, three vols. Vol. I has the essays on Clive and Hastings.

CARLYLE'S SARTOR RESARTUS. Everyman.

RUSKIN. Selections, ed. Tinker, R. L. S., 50 cents.

ARNOLD'S CULTURE AND ANARCHY. Nelson and Sons, 25 cents.

NINETEENTH CENTURY NOVELS. Largely included in Everyman.

a.s.sIGNMENTS FOR STUDY

These a.s.signments must of course be freely modified in accordance with actual needs. The discussions of the authors' works should sometimes, at least, be made by the student in writing, sometimes after a day or two of preliminary oral discussion in cla.s.s. In addition to the special questions here included, the treatment of the various authors in the text often suggests topics for further consideration; and of course the material of the preliminary chapter is a.s.sumed. Any discussion submitted, either orally or in writing, may consist of a rather general treatment, dealing briefly with several topics; or it may be a fuller treatment of a single topic.

Students should always express their own actual opinions, using the judgments of others, recorded in this book or elsewhere, as helps, not as final statements. Students should also aim always to be definite, terse, and clear. Do not make such vague general statements as 'He has good choice of words,' but cite a list of characteristic words or skilful expressions.

As often as possible support your conclusions by quotations from, the author or by page-number references to relevant pa.s.sages.

THE a.s.sIGNMENTS

1. Above, Chapter I. One day.

2. 'BeOWULF.' Two days. For the first day review the discussion of the poem above, pp. 33-36; study the additional introductory statement which here follows; and read in the poem as much as time allows. For the second day continue the reading, at least through the story of Beowulf's exploits in Hrothgar's country (in Hall's translation through page 75, in Child's through page 60), and write your discussion. Better read one day in a prose translation, the other in a metrical translation, which will give some idea of the effect of the original.

The historical element in the poem above referred to is this: In several places mention is made of the fact that Hygelac, Beowulf's king, was killed in an expedition in Frisia (Holland), and medieval Latin chronicles make mention of the death of a king 'Chocilaicus' (evidently the same person) in a piratical raid in 512 A. D. The poem states that Beowulf escaped from this defeat by swimming, and it is quite possible that he was a real warrior who thus distinguished himself.

The other facts at the basis of the poem are equally uncertain. In spite of much investigation we can say of the tribes and localities which appear in it only that they are those of the region of Scandinavia and Northern Germany. As to date, poems about a historical Beowulf, a follower of Hygelac, could not have existed before his lifetime in the sixth century, but there is no telling how far back the possibly mythical elements may go.

The final working over of the poem into its present shape, as has been said, probably took place in England in the seventh or eighth century; in earlier form, perhaps in the original brief ballads, it may have been brought to the country either by the Anglo-Saxons or by stray 'Danes.' It is fundamentally a heathen work, and certain Christian ideas which have been inserted here and there, such as the mention of Cain as the ancestor of Grendel, and the disparagement of heathen G.o.ds, merely show that one of the later poets who had it in hand was a Christian.

The genealogical introduction of something over fifty lines (down to the first mention of Hrothgar) has nothing to do with the poem proper; the Beowulf there mentioned is another person than the hero of the poem. In the epic itself we can easily recognize as originally separate stories: 1.

Beowulf's fight with Grendel. 2. His fight with Grendel's mother. 3. His fight with the fire-drake. And of course, 4, the various stories referred to or incidentally related in brief.

Subjects for discussion: 1. Narrative qualities, such as Movement, Proportion, Variety, Suspense. Do the style (terse and suggestive rather than explicit) and the tendency to digressions seriously interfere with narrative progress and with the reader's (or listener's) understanding? 2.

Dramatic vividness of scenes and incidents. 3. Descriptive qualities. 4. Do you recognize any specifically epic characteristics? 5. Characterization, both in general and of individuals. 6. How much of the finer elements of feeling does the poet show? What things in Nature does he appreciate? His sense of pathos and humor? 7. Personal and social ideals and customs. 8.

The style; its main traits; the effect of the figures of speech; are the things used for comparisons in metaphors and similes drawn altogether from the outer world, or partly from the world of thought? 9. The main merits and defects of the poem and its absolute poetic value?

Written discussions may well begin with a very brief outline of the story (not over a single page).

3. Above, chapter II. One day.

4. 'SIR GAWAIN AND THE GREEN KNIGHT' (in translation). One day.

Preliminary, pages 57-58 above. The romance combines two stories which belong to the great body of wide-spread popular narrative and at first had no connection with each other: 1. The beheading story. 2. The temptation.

They may have been united either by the present author or by some predecessor of his. Subjects for discussion: 1. Narrative qualities--Unity, Movement, Proportion, Variety, Suspense. Is the repet.i.tion of the hunts and of Gawain's experience in the castle skilful or the reverse, in plan and in execution? 2. Dramatic power--how vivid are the scenes and experiences? How fully do we sympathize with the characters? 3. Power of characterization and of psychological a.n.a.lysis? Are the characters types or individuals? 4.

Power of description of scenes, persons, and Nature? 5. Character of the author? Sense of humor? How much fineness of feeling? 6. Theme of the story? 7. Do we get an impression of actual life, or of pure romance? Note specific details of feudal life. 8. Traits of style, such as alliteration and figures of speech, so far as they can be judged from the translation.

5. THE PERIOD OF CHAUCER. Above, pages 59-73. One day.

6. CHAUCER'S POEMS. Two or three days. The best poems for study are: The Prolog to the Canterbury Tales. The Nuns' Priest's Tale. The Knight's Tale.

The Squire's Tale. The Prolog to the Legend of Good Women. The text, above, pp. 65 ff., suggests topics for consideration, if general discussion is desired in addition to reading of the poems.

7. THE FIFTEENTH CENTURY AND THE POPULAR BALLADS. One day. Study above, pages 74-77, and read as many ballads as possible. A full discussion of the questions of ballad origins and the like is to be found in the 'Cambridge'

edition (Houghton Mifflin) of the ballads, edited by Sargent and Kittredge.