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Any analysis of "The Princess" is here deemed unnecessary, since it must not only be familiar to most readers of the poet's works, but familiar also in the varied annotated editions of such editors as Rolfe, Woodberry, and Wilson Farrand. Familiar, it is believed, also, that it will be to Tennysonian students in the "Study of the Princess," with critical and explanatory notes by Dr.
Professor WOODBERRY. Seminar in the History of the Drama. Professor BRANDER MATTHEWS. A "seminar" is an institution borrowed from Germany. In going through the noble library of Columbia University, I came upon an alcove devoted to Scandinavian literature, with a table on which lay some Danish books. The gentleman who was guiding me round happened to be an instructor in the Scandinavian languages.
To a Cloud, To a Skylark, West Wind, Sensitive Plant, Adonais, etc., all in Selections from Shelley, edited by Alexander, in Athenæum Press Series; Selections, edited by Woodberry, in Belles Lettres Series; Selections, also in Pocket Classics, Heath's English Classics, Golden Treasury Series, etc. Keats. Ode on a Grecian Urn, Eve of St.
Walt Whitman rubs elbows with Ella Wheeler Wilcox; Robert Browning with Richard Burton; Rossetti with Cale Young Rice; Shelly with Clinton Scollard; Wordsworth with George E. Woodberry; John Keats with Herbert Kaufman! Ibsen, on the shelf of dramatists, is between Victor Hugo and Jerome K. Jerome. Sudermann follows Harriet Beecher Stowe. Maeterlinck shoulders Percy Mackaye.
SHAIRP, J.C.: Culture and Religion, Edinburgh, 1870. SPEDDING, JAMES: Reviews and Discussions, London, 1879. STEPHEN, SIR LESLIE: Studies of a Biographer, vol. 2, London, 1898. WOODBERRY, GEORGE E.: Makers of Literature, London, 1900. In two small volumes of Poems, published anonymously, one in 1849, the other in 1852, many of the Poems which compose the present volume have already appeared.
Woodberry in his excellent Life of Poe, "and the mother who cared for him, no one touched his heart in the years of his manhood, and at no time was love so strong in him as to rule his life; as he was self-indulgent, he was self-absorbed, and outside of his family no kind act, no noble affection, no generous sacrifice is recorded of him." In Scribner's Magazine, 1878, Mrs.
Incidentally, the figure of the magnet which Plato uses in the Ion may arouse hope in the breasts of us, the humblest readers of Shelley and Woodberry.
It is cold at the heart of it. It has no mirth, but is like a dance without music: like a dance of deaf mutes that I witnessed once, pretending to keep time to the inaudible scrapings of a deaf and dumb fiddler. Henry James says that Hawthorne's stories are the only good American historical fiction; and Woodberry says that his method here is the same as Scott's.
George Woodberry and others have drawn attention to the way in which his fancy clings to the physical image that represents the moral truth: the minister's black veil, emblem of the secret of every human heart; the print of a hand on the heroine's cheek in "The Birthmark," a sign of earthly imperfection which only death can eradicate; the mechanical butterfly in "The Artist of the Beautiful," for which the artist no longer cares, when once he has embodied his thought.
Not all the writers just named are equally sure that they, rather than the world, are right. The women are thoroughly optimistic. Mr. Woodberry, though he leaves the question, whether the poet's beauty is a delusion, unanswered in the poem where he broaches it, has betrayed his faith in the ideal realms everywhere in his writings.
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