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206 Frederick S. BoasIn a rhythm of stately, pensive beauty the gospel ofcarpe diem in its transfigured form of the cherishing of artfor art's sake reaches its close:We have an interval and then our place knows us no more.Some spend this interval in listlessness, some in high passions, thewisest in art and song. For our one chance is in expanding thatinterval, in getting as many pulsations as possible into the giventime.... Of this wisdom, the poetic passion, the desire for beauty,the love of art for art's sake has most; for art comes to you professingfrankly to give nothing but the highest quality to yourmoments as they pass, and simply for those moments' sake.Such doctrine from an Oxford cloister might wellstartle the dovecotes, and when the second edition of thevolume appeared in 1877, the Conclusion was omittedlest, as Pater stated, it might possibly mislead some ofthe young men into whose hands it might fall. Butfortunately it was reinserted, with slight changes, in latereditions. Whatever one may think of the validity ofPater's 'criticism of life' in the 'seventies either onphilosophical or ethical grounds, we have it here in itsquintessential form. What a descent from the hauntingcadences of this grave apologia for 'sensationalism' tothe freaks and follies of the ' aesthetic' movement, not tospeak of the abyss of the sensual sty! It was in manyways a different Pater who spoke in Marius the Epicureanand other later works, but from the first there was a hardintellectual fibre beneath the decorative surface of hiswriting. The two occasions on which I heard him speakwere, in a way, symbolic of his two sides. The first, in theearly 'eighties, when in his own rooms at Brasenose heread a paper to a small society of intellectuals; thesecond, some ten years later, when he lectured to acrowded University Extension audience in the OxfordExamination Schools.The year, 1873, that saw the publication of Pater'sstudies in the Italian Renaissance marks something of anew stage in the study of our own greatest Renaissance
Critics and Criticism in the 'Seventies 207figure, Shakespeare. For it was in 1873 that F. J. Furnivallfounded 'The New Shakspere Society' with a wideprogramme but with a special interest in the employmentof verse tests to determine the authorship of disputedplays and the chronological succession of plays withinthe Shakespearean canon. F. G. Fleay was the chiefapostle of this method, which won Furnivall's enthusiasticsupport. The opening paper in the Society's first volumeof Transactions was by Fleay on 'Metrical Tests asapplied to Dramatic Poetry', and in other contributionshe applied this criterion. An article by James Speddingon the shares of Shakespeare and Fletcher in KingHenry VIII was also based largely on Fletcher's dis-Jictive use of 'double-endings'; and in the 'weakjndings'of Shakespeare J. K. Ingram developed anotheraspect of metrical investigation.Though the Society did other valuable work, it becamepeculiarly identified with this line of research, and A. C.Swinburne who was at the time engaged on his Study ofShakespeare became incensed with what he thought wasan attempt to judge the dramatist's work by mechanicalrules. He opened fire with an attack in The Examiner(April, 1876) on 'The newest Shakespeare Society'.Furnivall replied with equal asperity, and a long, unedifyingcontroversy followed. But the 'metrical tests'method, though it may be perversely or unintelligentlyapplied, has proved to be a permanent instrument ofShakespearean research, and the Society's publicationsare still of first-rate value to Elizabethan students.The influence of Fleay's and Furnivall's investigationswas acknowledged by Edward Dowden when in 1877 hepublished Shakspere: His Mind and Art, which hasthroughout a chronological basis. In this volume heattempted 'to connect the study of Shakspere's workswith an inquiry after the personality of the writer, andto observe, as far as is possible, in its several stages the
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The Eighteen-Seventies
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The Eighteen-SeventiesEssays by Fel
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ContentsPreface . . . . . . . p. vi
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viiiPrefacedecidedly down on their
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XPrefaceIt very often is; and it wi
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xiiPrefacewould be a far more inspi
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xivPrefaceWith the two authentic pi
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2 The Marquess of Creweher journal
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4 The Marquess of Crewedashed to th
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6 The Marquess of CreweBut here, fo
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8 The Marquess of Creweoffenders, a
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10 The Marquess of Crewecountry squ
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12 The Marquess of CreweBesides tho
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14 The Marquess of Crewearchaeology
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16 The Marquess of Creweintimate wi
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18 The Marquess of Crewetogether wi
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20 The Marquess of Crewehis usual s
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*•••
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24 Hugh Walpolethe author of Orland
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26 Hugh Walpolecompanion, Scott the
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28 Hugh WalpoleBut it may be that t
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30 Hugh Walpolenaturally divides. T
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32 Hugh Walpolevery good reasons. O
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34 Hugh Walpolereinvestigation of m
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36 Hugh Walpole'Alas! poor soul,' s
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38 Hugh Walpolehow is the novelist
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40 Hugh Walpole'The fact is,' said
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42 Hugh Walpolehimself in the river
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44 Hugh Walpoleinevitable without b
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46 Walter de la MareWhat was its ge
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48 Walter de la Marethe train from
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50 Walter de la MareIn space our th
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52 Walter de la MareNovelists, too,
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54 Walter de la Marehow the wild we
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56 Walter de la MareDangerous Ages,
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58 Walter de la MareChannel Islands
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60 Walter de la Marenefarious finge
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62 Walter de la Mareescaped from Ap
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64 Walter de la Marethough he may b
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66 Walter de la Maresense of the wo
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68 Walter de la Marebe cumulatively
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70 Walter de la Mareconscious, the
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72 Walter de la Marecompany. This a
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74 Walter de la Marerichly but ligh
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76 Walter de la Marekindly, deteste
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78 Walter de la Maregas, like water
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§4'•••«•••>•>«•
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82 George Saintsburyedgedness of th
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84 George Saintsburytwo—could fai
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86 George Saintsburyarticles. I hav
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88 George SaintsburyOdyssey which h
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90 George Saintsburybook deserved m
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92 George Saintsburyone at least te
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94 George Saintsburyhim: and I am e
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§5The Poetry of the 'SeventiesBy J
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98 John Drinkwatershould readily re
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100 John Drinkwater'seventies and a
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102 John Drinkwaterin a positive cl
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104 John DrinkwaterAnd it is just b
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106 John Drinkwaterthe best English
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108 John DrinkwaterThe skies seem'd
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110 John DrinkwaterFour ducks on a
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112 V. Sackville-Westwere women—t
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114 V. Sackville-Westdid not approv
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116 V. Sackville-Westproperty, inst
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118 V. Sackville-Westjudgment, wort
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120 V. Sackville-Westgenius had nev
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122 V. Sackville-WestAnd Louisa Gug
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124 V. Sackville-WestHere's cause:
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126 V. Sackville-WestThy circles of
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128 V. Sackville-Westespecially of
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130 V. Sackville-WestThe winds had
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132 V. Sackville-Westof their day.
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134 Sir Arthur Pinero1829. He came
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136 Sir Arthur Pinerocontributed to
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138 Sir Arthur Pineroquently styled
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140 Sir Arthur Pinerothe drama were
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140 Sir Arthur Pinerothe drama were
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142 Sir Arthur Pineroto grapple wit
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144 Sir Arthur Pinerothe company of
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146 Sir Arthur Pineropresume to inq
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148 Sir Arthur PineroWhose name, in
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150 Sir Arthur PineroVaudeville cur
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152 Sir Arthur PineroAh, my loved s
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154 Sir Arthur Pineroness for the s
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156 Sir Arthur Pinerothe audience o
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Page 182 and 183: 160 Sir Arthur Pinerohorizon... gli
Page 184 and 185: 162 Harley Granville-Barkeraccount
Page 186 and 187: 164 Harley Granville-Barkerlong—w
Page 188 and 189: 166 Harley Granville-BarkerShakespe
Page 190 and 191: 168 Harley Granville-BarkerOr for m
Page 192 and 193: 170 Harley Granville-Barkerwhich wa
Page 194 and 195: 172 Harley Granville-Barkerrhetoric
Page 196 and 197: 174 Harley Granville-BarkerThe ligh
Page 198 and 199: 176 Harley Granville-Barkerwrites,
Page 200 and 201: 178 Harley Granville-Barkeralone to
Page 202 and 203: 180 Harley Granville-BarkerTheir so
Page 204 and 205: 182 Harley Granville-BarkerOur tena
Page 206 and 207: 182 Harley Granville-BarkerOur tena
Page 208 and 209: 184 Harley Granville-Barkerno inter
Page 210 and 211: 186 Harley Granville-Barkerlead me
Page 212 and 213: 188 Harley Granville-Barkerdestined
Page 214 and 215: 190 Harley Granville-Barkerdoes not
Page 216 and 217: §9Critics and Criticism in the'Sev
Page 218 and 219: 194 Frederick S. Boaspapers falls t
Page 220 and 221: 196 Frederick S. Boaspeace that it
Page 222 and 223: 198 Frederick S. Boasand accusing h
Page 224 and 225: 200 Frederick S. Boas' noble compan
Page 226 and 227: 202 Frederick S. Boasaltogether int
Page 228 and 229: 204 Frederick S. Boasgave him the m
Page 232 and 233: 208 Frederick S. Boasgrowth of his
Page 234 and 235: §10Oxford in the 'SeventiesBy R W.
Page 236 and 237: 212 R. W. Macanfields within the pr
Page 238 and 239: 214 R. W. Macanand commercial sky-s
Page 240 and 241: 216 R. W. MacanBut, albeit 'Reform
Page 242 and 243: 218 R. W. Macanare and do what they
Page 244 and 245: 220 R. W. Macanof the good intentio
Page 246 and 247: 222 R. W. Macanfor which Oxford had
Page 248 and 249: 224 R. W. Macanpublished in book fo
Page 250 and 251: 226 R. W. Macantion of Faculties or
Page 252 and 253: 228 R. W. Macanperiod. The institut
Page 254 and 255: 230 R. W. Macancomplexion are great
Page 256 and 257: 232 R. W. MacanEngland issued from
Page 258 and 259: 234 R. W. Macanhad been until 1854,
Page 260 and 261: 236 R. W. Macanidealism by the youn
Page 262 and 263: 238 R. W. Macansole woman present,
Page 264 and 265: 240 R. W. Macanhear his Inaugural L
Page 266 and 267: 242 R. W. Macanslightly later date
Page 268 and 269: 244 R. W. Macanexciting moiety in t
Page 270 and 271: 246 R. W. Macanmonths later, he ina
Page 272 and 273: 248 R. W, Macanthe three points whi
Page 274 and 275: 250 W. E. Heitlandby a junior Fello
Page 276 and 277: 252 W. E. Heitlandadministration of
Page 278 and 279: 254 W. E. Heitlandstalwarts. A good
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256 W. E. HeitlandThe author 1 was
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258 W. E. Heitlandness from men of
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260 W. E. Heitlandinviting his gyp
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262 W. E. HeitlandProfessorial syst
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264 W. E. HeitlandProfessor-ridden
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266 W. E. Heitlandevery one present
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268 W. E. HeitlandThe Latin Profess
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270 W. E. Heitlandwas chiefly known
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272 W. E. Heitlandment of normal Do
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274 IndexBoas, Frederick S., ch.ix
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276 IndexDonne, John, 87Donnizetti,
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278 IndexHoughton, Lord (cont.)More
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280 IndexMoore, George, 48Morgan, H
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282 IndexRomani ,Felice,146 ;Elisir
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284 IndexVatican Decrees, 234, 285V
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