A “double Portion of his Father’s Art”: Congreve, Dryden, Jonson and the drama of theatrical succession – William Congreve, John Dryden, Ben Jon…
Category: Criticism
‘Ivanhoe,’ chivalry, and the murder of Mary Ashford
Gary R. Dyer
Such was the readiness, with which, in those times, heroes put the…
Gold on credit: Martin Frobisher’s and Walter Raleigh’s economies of evidence
William N. West
Of the marvels that flooded from the …
Wordsworth and the Question of ‘Romantic Religion.’ – book reviews
David P. Haney
This investigation of the role of religious exper…
The vanishing point: Sherlock Holmes and the ends of perspective
Michael G. Levine
Our first meeting was at an obscure library in t…
The ‘Lucy Poems’: A Case Study in Literary Knowledge. – book reviews
Elizabeth Fay
By Mark Jones. Toronto: University of Toronto Pre…
The woman as political poet: Edna St. Vincent Millay and the mid-century canon
John Timberman Newcomb
For most of this century Edna …
The sedulous ape: atavism, professionalism, and Stevenson’s ‘Jekyll and Hyde.’ – Robert Louis Stevenson
Stephen D. Arata
In an early…
17th century AD
Daniel Fischlin
1
Harvey Gross has convincingly argued that “[tlhe lute-ayre flourished during the two openi…
Virginia Woolf’s ‘The Waves’: to defer that “appalling moment.”
Lisa Marie Lucenti
In The Waves, an “appalling moment” is one in wh…