The author first gives a circumstantial analysis of each play, act by act, in the course of which he finds ample scope to make valuable literary and critical remarks, and subsequently gives a „schlussbetrachtung" in which he considers the character of the comedy as a whole. It is evident that in this manner little can escape the author's attention and consequently the 138 pages dedicated to this purpose are rife with original observations, from which a liberal and critical spirit speaks. Dr. Schmid often finds occasion to disagree with Bennewitz in the latter's opinion of the relation between Congreve and Molière. Bennewitz, warmed by his interesting subject, often thought that he could detect instances of Congreve's indebtedness to Molière, where in reality nothing but a certain similarity exists, or where C. may have written with a faint reminiscense of some of M.'s characters without slavishly following him (cp. pp. 70 and 115.). The book contains but few inaccuracies and has been revised with uncommon care. Some of the following remarks may be of use in case it should be reprinted. I doubt whether Vanbrugh was ever 'manager of Lincoln's Inn Fields Theatre' as Dr. S. quotes on p. 18 from Gosse. On this point Gosse is not an authority and I cannot remember having found the statement elsewhere. It is not among the notes for my Vanbrugh edition. On p. 21 Dr. S. omits mentioning the number of the Tatler containing Congreve's contribution. I have looked in vain in my edition. Whether even a 'psychiater' could with so few facts draw a conclusion as to C.'s state of mind at the time of his drawing up the well known will is very doubtful (p. 26). It is safest not to draw a conclusion till the relation between C. and the Duchess shall have been fully cleared up. We know so little about it that all opinons must necessarily be mere guess-work. If a man of C.'s evident kindness and good nature makes a will to the detriment of his relatives there must have been a good ground for it. P. 36 Dr. S. says: "Vanbrugh und Farquhar bemühen sich zum mindesten moralisch zu sein". It is my opinion that too little wight has been laid upon the character of Amanda in the Relapse. She is quite an exception: her struggle between love and duty is great but, in the end she is victorious, and even convinces the man who wishes to seduce her. His conversion is clumsy and abrupt, but nothing of the kind is to be found in any other play of that date. Nor should it be forgotten that, for aught we know, Vanbrugh led an orderly, at all events not a dissipated life, and seems to have been a good husband. In his Journey to London the same element appears. If not exactly playing a 'vermittlerrolle', the germ of a reaction is in some of his plays. The full stop on p. 70 after 'Ecole des Maris' should be a comma. It has always appeared to me that the title 'the Old Bachelor' was awkwardly chosen. The Heartwell plot does not preponderate to such a degree as to justify the title. Schmid has laid no stress upon this fact; it is merely indicated in a quotation from Rapp, p. 72. I think the long monologue at the end of Act II of 'the Double-Dealer' is not quite in accordance with Congreve's theory laid down in his dedicatory letter, p. 100. Though the scene is decidedly feeble, I fail to see why it is so improbable that Lord Touchwood should be witness of such a scene. Schmid has thrown quite a new light upon Miss Prue's character and the well-known scene of Act II. The author has wisely abstained from long sentences, but on p. 142 he indulges in a singularly lengthy one! E. Kölbing, Englische studien. XXV. 3. 29 A most striking explanation of the causes of Congreve's varying success will be found on p. 150. As there is less action in 'the Way of the World' than in the other plays, Schmid's criticism is principally concerned with all that serves to give a picture of the life of that period. Congreve is not satirical, but in the passage between Mirabel and Mrs. Millamant (IV. 1) it is not merely the latter's petulancy that speaks: she satirizes the way of the world. The courtship in IV, 1. between Miranda and Mrs. Millamant is not merely cool but cold and unreal. The author becomes unnatural in his effort to be smart and witty. In all these plays, and in those of Congreve's contemporaries we are struck by the ease with which people are disposed of in marriage. Though always mocking at the married state, they are ever ready to enter it themselves. In conclusion I wish to say that both reading and reviewing this book has afforded me much pleasure, and I cannot omit expressing a wish that Dr. Schinid may find leisure and feel inclination to write similar studies on the other great dramatists of the Restoration. Especially the relation to the French stage wants investigation! Almeloo, Febr. 1898. A. E. H. Swaen. Max Dametz, John Vanbrugh's leben und werke. Wien und Leipzig. Wilhelm Braumüller. 1898. [Wiener beiträge zur englischen philologie herausgegeben von dr. J. Schipper. VII. Band.] Pr.: mk. 5. The Wiener Beiträge appear in rapid succession: only a few months ago Schmid's study of Congreve appeared and now the new year brings us the first book on Vanbrugh's life and works that has yet been written. Congreve had found an excellent biographer in Gosse, and consequently as I pointed out in my review of Schmid's work the latter gave merely a short life and dedicated the bulk of his volume to a deep study of the plays. Dametz's case is somewhat different: first, Vanbrugh's life had not hitherto been written except as an introductory biography to various editions, secondly, Dametz was not aware of the existence of Ward's edition or my own and set to work with the older biographies, mentioned on pp. 4 and 5 of his book, for bases. As a natural consequence Dametz has allotted much more space to the biographical part than to the literary, and it is chiefly as a history of the author's life that I wish to speak of the book. First of all I wish to state that the shortcomings of the book are the result rather of omission than of commission, and chiefly due to laxness. What I am going to say should not be considered as a result of my being piqued, but merely as a warning to Dr. Dametz and all who are engaged on similar studies to make a thorough examination of what has been written about a certain subject before beginning to write upon it. It is a very unfortunate circumstance that Dametz did not find out, before setting to work, that besides my own humble work there was an excellent edition of Vanbrugh's plays by Prof. Ward with an interesting biography full of new matter. With very little trouble he could have ascertained whether of late years any new books on his subject had appeared, and by doing so he would have remained free from the blame that now lies upon him of having written a book that is not 'up to date'. This is the more to be pitied as the present book is really an excellent piece of work in all other respects, which I do not hesitate to recommend to all interested in the study of the stage. By the side of Schmid's Congreve it will do much to give a clear insight into the character of the drama of the Restoration. Only, the reader should not too implicitly trust the biographical part, as will be evident from such of the following particulars as refer to that portion of the work; for of late years many new facts concerning V.'s parentage, life and circumstances have been brought to light which Dr. Dametz might have used for his biography by consulting Ward's edition, not to mention that in the Mermaid Series. The year of his baptism, of his inprisonment, of his marriage could have been correctly stated. I will frankly own that it makes little difference in which year a man was born or who his uncles or children were so long the book treating of that man's character and works be well written and convey a true image of his influence upon his contemporaries or his relations to them. But on the other hand in a work of this character, in all other respects scientifically written and bearing testimony to an intimate acquaintance with the literature and history of the period should not contain imperfections and blunders which would not have occurred, if the writer had simply ordered his bookseller to procure him a list of recent books on Sir John Vanbrugh. Before minutely considering the various mistakes and omissions I wish to reiterate that I have in all other respects a high opinion of Dr. Dametz's learning and abilities, and point out to him what is wrong in his book in a most friendly spirit and in the hope of soon setting eyes upon an “editio altera et emendata”. p. 1. It is more common to include Wycherley than Cibber; the latter cannot rank with the four poets representing the drama of the Restoration. p. 2. The 'Vindication of the Relapse' is in existence. It is called: "A short Vindication of the Relapse and the Prov. Wife, from immorality and profaneness. By the author, 1698, 80". A copy is in the British Museum. Dametz does not mention: "Sir John Vanbrugh's Justification of what he depos'd in the Duchess [Duke} of Marlborough's late Tryal, London 1718, fol.” There is a complete edition of his works and a very good one of 1765. Leigh Hunt's edition of the four prets appeared as early as 1840! Ward's excellent edition in two volumes, 1893, is not mentioned!! My own edition is known only from Poole's index. My name is not mentioned, though D. might have known it from Einenkel's review in Anglia Beiblatt VII, 105. Date (1890) wrong: it appeared in 1896. pp. 4, 5. Only old sources have been used. The author does not appear to know the interesting articles in Notes and Queries, various years! p. 5. With reference to Vanbrugh's name cp. my edition p. 38, note p. 9. The date of V.'s birth is entirely wrong. We know that he was baptized in the parish of St. Nicholas Acons, London, on January 24, 1663 – 4. For full particulars I refer the curious reader to my edition (p. 14. p. 41). Thanks to Prof. Ward we now know some interesting facts about his imprisonment at the Bastille. cp. p. 14 and p. 42 of my edition. p. 10. Read 'Vitruvius'. p. 13. We know so little about Vanbrugh's youth that it is hazardous to speak of his 'ausgelassenes und leichtsinniges treiben'. p. 16. Read: 'The Fool in Fashion'. p. 17. The Relapse was brought out in December. D.'s explanation of 'for want of wit' (Prologue to the Relapse) 2. of 1743. p. 51. is, to say the least of it, fanciful). Though I feel great inclination myself to defend Vanbrugh's comparative morality, and have drawn the attention to his superiority in this respect to Wycherley and Congreve, I yet fail to understand how Dametz can explain the Prologue tn this way. What the author wishes to say is that Beaux often presume upon the criticism of plays whereas they are only fit for whores. p. 24. 'Esop' was brought out at Drury Lane in January 1697. Its publication was advertised in the London Gazette of January 18, 21, 1697. This edition contained only the 1st Part. The 2nd Part appeared in the edition of 1711. p. 26. The Provoked Wife was brought out in the beginning of May. It was published without the author's name May 11th 1697. p. 39. The False Friend' was played at Drury Lane in January-February 1702, and published in February of that year, without the author's name. Cp. the introduction to Ward's edition. p. 41. Prof. Ward. has pointed out that Vanbrugh must have known the Spanish original of Lesage's play; (p. 177.) cp. 15 of my edition. p. 46, 5th line from top, read 'Ralph' instead of 'Walsh' For an account of Squire Trelooby (Cornish Squire) see p. 16 of my edition and especially Prof. Ward's edition. p. 50. An expurgated and modernized edition, fit for the modern stage has appeared in Dicks' Standard Plays. p. 56. The rewritten scenes first appeared in the edition With regard to the mention of Vanbrugh in Evelyn's Diary cp. my note on p. 42 (13). P. 74. Is not the correct date 19 September? With regard to Vanbrugh's marriage Dametz's remarks are antiquated and incorrect. He should read note 27 on p. 47 49 of my edition, and will then see that I argued in exactly the same, manner but that after all the marriage with Henrietta Maria Yarburgh is a fact, and that the exact date is known. She was the first child. If she died at the age of 86 she was born in the same year as Mary Pierrepoint who may then have well spoken as “a ruin" of a girl of her own age who perhaps was a formidable rival at the County balls. p. 95. He sold the office of Clarencieux King-at-arms for £2.000. With reference to the Comptrollership cp. note 16 (pp. 44–45) of my edition. p. 129. Dametz says Coupler 'ist individuell nicht scharf gezeichnet'. I do not quite agree with the author. The pursy old man, fulsome in his familiarities. ranks foremost among the minor characters, and is second only to 'nurse'. I consider it unnecessary and even superfluous to mention such insignifant characters as Syringe or even Friendly. p. 136. Line 9 from top read 'mer'. To the amusing scene between Belinda and Lady Brute (I. 1) Dametz does not call the reader's attention. In general he has paid greater attention to the various characters than to the various scenes. p. 137 line 17 from top, read: I. 2. The explanation of the name Forge p. 91. p. 161. -- Last line read 'rarceshow'. will is entirely wrong; she bears this name with reference to her husband's calling: forging wills, not with reference to a trait in her character to force her will. p. 188. The way in which Dametz has analyzed and treated the Confederacy is excellent; yet it is a pity he has not pointed out that Vanbrugh has entirely englished this play. It betrays not a sign of its French origin. It would perhaps have been a better plan, if D. had reserved his method and given a full account of the plot of the English pieces and had afterwards compared them with their French originals. The analysis of the English comedy is of more importance than an accurate knowledge of the French source, p. 193. - - p. 199. Here also, in the case of Squire Trelooby, Dametz takes the French piece as basis; we should decidedly consider it from an English point of view. The concluding words are striking and true. - In conclusion I wish to express a hope that Wycherley's and Farquhar's turns will come next we shall then be able to consider the 'drama of the restoration' from a new and above all impartial point of view. Men such as Schmidt and Dametz are not bias ed by prudish or hypocritical morality, and what we want for this interesting period of literature is an examination and study free from religious intolerance and affected indignation. Almeloo, March 1898. A. E. H. Swaen. Poems of Thomas Hood, edited by Alfred Ainger. London, Macmillan, 1897. 2 bde. 8°. Pr.: 10 sh. Die vorliegende ausgabe enthält im ersten bande die ernsten, im zweiten eine auswahl der komischen gedichte des sängers von The Song of the Shirt. Beide bände sind mit anmerkungen versehen. Der erste band bringt hier zum ersten male zwei bis jetzt unbekannt gebliebene gedichte, welche im August und September 1831 in The Englishman's Magazine erschienen: 'The Death - Bed' und 'Anticipation'. Für die der ausgabe beigefügte biographie des dichters hat Ainger hauptsächlich die von Hood's kindern verfasste, zweibändige lebensbeschreibung benutzt, ausserdem noch Hood's Erinnerungen in Hood's Own, Alexander Elliot's Hood in Scotland, Spielmann's Geschichte des Punch und die biographie des Charles Wentworth Dilke, die sein enkel der von ihm besorgten ausgabe seine 'Papers of a Critic' vorausgeschickt hat. Dazu hat noch der enkel Dilke's dem herausgeber eine reihe briefe Hood's zur benutzung überlassen. Die biographie ist kurz und schlicht gehalten. Ihre verdienstvollsten partien sind zweifellos jene, welche den einfluss von Keats auf Hood's ernste dichtungen behandeln. Auch die abschnitte über Hood's verhältniss zur prosadichtung verdienen beachtet zu werden. Dem ersten bande ist noch das porträt Hood's nach Lewis und ein bild der Rose Cottage beigegeben, der zweite enthält das Masquerier zugeschriebene bild des dichters und eine abbildung von Lake House. Memmingen, März 1898. Br. Schnabel. Arthur Beatty, Browning's verse form: its organic character. Submitted in partial fulfilment of the requirements for the degree of doctor of philosophy in the Faculty of Philosophy, Columbia University. New-York 1897. 77 ss. 8o. Der verfasser der vorliegenden doctorschrift schreibt in der kurzen vorrede, die er seiner arbeit vorausschickt: The harmony, the verse, of his [sc. Browning's] poetry has been considered in its organie nature as the embodiment of the creations of his imaginations, the forms of his "Thoughts on life". We have not cared to ask whether these "thoughts" are "poetical" or not, believing that such matters can never |