2. Enid Welsford, The Fool, p. 51.
3. Roly Bain, “Clowns and Augustes,” in Victorian Britain , ed. Boris Ford, p. 300.
4. Frow, p. 109.
5. David Robinson, Chaplin, p. 71.
6. O. M. Busby, Studies in the Development of the Fool in Elizabethan Drama, p. 6.
7. Richard Axton, “Church Drama and Popular Drama,” in Medieval Literature, Part Two: The European Inheritance, p. 152.
8. ibid., p. 153.
9. Christopher Kendrick, “Preaching Common Grounds,” in Writing and the English Renaissance, ed. William Zunder and Suzanne Trill, p. 218.
10. ibid., p. 102.
37. IN THE BEGINNING
1. Alister McGrath, In the Beginning, p. 31.
2. L. H. Wild, The Romance of the English Bible, p. 43.
3. Roger Scruton, England: An Elegy, p. 84.
4. Wild, p. 139.
5. Scruton, p. 99.
6. Wild, p. 154.
7. McGrath, p. 125.
8. ibid., p. 11.
9. ibid., p. 342.
10. C. R. Herworth, The Literary Lineage of the King James Bible, pp. 229 and 235.
11. Benson Bobrick, The Making of the English Bible, p. 253.
12. James Sutherland, English Literature of the Late Seventeenth Century , p. 315.
13. ibid., p. 335.
14. John Bunyan, The Pilgrim’s Progress, ed. and intro. N. H. Keeble, p. xxi.
15. William Weber, The Rise of Musical Classics in Eighteenth-Century England, p. 121.
16. Winton Dean, quoted in Eighteenth-Century Britain, ed. Boris Ford, p. 291.
17. Weber, p. 121.
18. Helen Gardner, Religion and Literature, pp. 155–6.
19. ibid., p. 157.
38. LONDON CALLING
1. D. S. Brewer, “Chaucer’s Poetic Style,” in The Cambridge Chaucer Companion, ed. Piero Boitani and Jill Mann, p. 234.
2. ibid.
3. Andrew Gurr, Playgoing in Shakespeare’s London, p. 147.
4. Colin Burrow, “The Sixteenth Century,” in The Cambridge Companion to English Literature 1550–1600, ed. A. F. Kinney, p. 24.
5. Terry Castle, Masquerade and Civilisation, p. 204.
6. Wilfred Mellers, Harmonious Meeting, p. 227.
7. E. D. Mackerness, A Social History of English Music, p. 101.
8. James Sutherland, English Literature of the Later Seventeenth Century , p. 218.
9. Castle, p. 193.
10. Ronald Paulson, “Life as Pilgrimage and as Theatre,” in Modern Essays on Eighteenth-Century Literature, ed. L. Damrosch, p. 182.
39. AN ESSAY ON THE ESSAY
1. Jane H. Jack, “The Practical Essayists,” in From Dryden to Johnson, ed. Boris Ford, p. 183.
40. THE HOGARTHIAN MOMENT
1. James Sutherland, English Literature of the Later Seventeenth Century , p. 87.
2. William Vaughan, British Painting: The Golden Age, p. 25.
3. Ernest Barker, National Character, p. 101.
41. SOME EMINENT NOVELISTS
1. see Terry Castle, Masquerade and Civilisation.
2. John Richetti, in The Eighteenth-Century Novel, ed. John Richetti, p. 7.
3. Richard West, The Life and Strange, Surprising Adventures of Daniel Defoe, p. 70.
4. Ian Watt, “Defoe as Novelist,” in From Dryden to Johnson , ed. Boris Ford, p. 155.
5. William Vaughan, British Painting: The Golden Age, p. 144.
6. John Preston, “Fielding and Smollett,” in From Dryden to Johnson, ed. Boris Ford, p. 320.
7. ibid., p. 321.
8. Paul Langford, Englishness Identified, pp. 10–11.
9. ibid., p. 10.
10. ibid., p. 294.
42. ACHARACTER STUDY
1. John Wain, Samuel Johnson, p. 276.
2. ibid., p. 295.
3. Ernest Barker, National Character, p. 217.
4. ibid., p. 216.
5. ibid., p. 220.
6. William Vaughan, British Painting: The Golden Age, p. 38.
7. William Gaunt, A Concise History of English Painting, p. 19.
8. Roy Strong, The Spirit of Britain, p. 164.
9. Margaret Rickert, Painting in Britain: The Middle Ages, p. 221.
10. Pieter Brieger, English Art, 1216–1307, p. 129.
11. Rickert, p. 185.
12. Eric Mercer, English Art, 1553–1625, p. 149.
13. ibid., p. 156.
14. ibid., p. 164.
15. Margaret Whinney and Oliver Millar, English Art, 1625–1714 , p. 9.
16. ibid., p. 85.
17. Ellis Waterhouse, Painting in Britain 1530–1790, p. 60.
18. ibid.
19. Jean-Jacques Mayoux, English Painting, p. 14.
20. ibid., p. 23.
43. THE FINE ART OF BIOGRAPHY
1. Adam Sisman, Boswell’s Presumptuous Task, p. 165.
2. Richard Holmes, Dr. Johnson and Mr. Savage, p. 230.
3. ibid., p. 51.
4. ibid., p. 230.
5. Sisman, p. 174.
6. ibid.
7. ibid., p. 176.
8. William C. Dowling, in Modern Essays on Eighteenth-Century Literature, ed. L. Damrosch Jr, p. 370.
9. Sisman, p. 214.
10. Mrs. Gaskell, The Life of Charlotte Brontë, ed. Alan Shelston, p. 29.
11. Jenny Uglow, Elizabeth Gaskell, p. 399.
44. FEMALITY AND FICTION
1. S. M. Gilbert and S. Gubar (eds.), Shakespeare’s Sisters, p. xvi.
2. ibid., p. xxi.
3. J. Todd, The Sign of “Angellica,” p. 139.
4. Stuart Curran, “Women Readers, Women Writers,” in The Cambridge Companion to British Romanticism, ed. Stuart Curran, pp. 181–2.
5. Todd, p. 5.
6. S. M. Gilbert and S. Gubar, The Madwoman in the Attic, p. xi.
7. ibid., p. 476.
8. Betty S. Traviski, “The Possibilities of Prose,” in Women and Literature 1500–1700, ed. H. Wilcox, p. 259.
9. Curran, “Women Readers, Women Writers,” in Curran, p. 185.
10. Claire Harman, Fanny Burney, p. 58.
11. ibid., p. 385.
12. N. J. Waddell, quoted ibid., p. 58.
13. Todd, p. 127.
14. Elaine Showalter, A Literature of Their Own, p. 36.
15. M. Cixous, quoted in Authorship: From Plato to Post Modern, ed. S. Burke, pp. 175–6.
16. Felicity Riddy, “Women Talking about the Things of God,” in Women and Literature in Britain, 1150–1500, ed. C. M. Meale, p. 114.
17. J. Spencer, The Rise of the Woman Novelist from Aphra Behn to Jane Austen, p. 135.
18. Quoted in Persuasion, ed. D. W. Harding, p. 7.
19. Claire Tomalin, Jane Austen: A Life, p. 117.
20. ibid., p. 173.
21. ibid., p. 139.
22. Gilbert and Gubar, Madwoman, p. 338.
23. A. Trodd, Women’s Writing in English: Britain 1900–1945, p. 59.
45. BLOOD AND GORE
1. Tony Howard, quoted in Thomas Kyd, The Spanish Tragedy, ed. J. R. Mulryne, p. xxxiii.
2. F. P. Wilson, The English Drama, 1485–1585, p. 142.
3. John Donne: Selected Prose, ed. Neil Rhodes, p. 25.
4. The Penguin Book of Horror Stories, ed. J. A. Cudden, p. 37.
5. The Oxford Book of Gothic Tales, ed. Chris Baldick, p. xiii.
6. ibid., p. xxi.
7. ibid., p. xiv.
8. David Punter, “Romantics to Early Victorians,” in The Romantic Age in Britain, ed. Boris Ford, p. 23.
9. J. P. Carson, “Enlightenment, Popular Culture and Gothic Fiction,” in John Richetti (ed.), The Eighteenth-Century Novel, p. 262.
46. GHOSTS
1. M. R. James, “Casting the Runes” and Other Ghost Stories, ed. Michael Cox, p. xviii.
2. The Penguin Book of Horror Stories, ed. J. A. Cudden, p. 49.
3. Carole Weinberg, “Dynastic Romance,” in W. R. J. Barron, The Arthur of the Eng
lish, p. 111.
4. Glen Cavaliero, The Supernatural and English Fiction, p. 122.
5. James, ed. Cox, p. xiii.
6. Jack Sullivan, Elegant Nightmares, p. 71.
7. James, ed. Cox, p. xxiii.
8. The Oxford Book of English Detective Stories, ed. P. Craig, p. xviii.
47. PRACTICE MAKES PERFECT
1. S. B. Greenfield and D. G. Calder, A New Critical History of Old English Literature, pp. 50–3.
2. ibid., p. 107.
3. ibid., p. 116.
4. C. L. Wren, A Study of Old English Literature, p. 14.
5. N. Watson, “Middle English Mysteries,” p. 549.
6. Edwin Jones, The English Nation: The Great Myth, p. 9.
7. J. A. W. Bennett and Douglas Gray, Middle English Literature 1100–1400, p. 335.
8. L. G. Salingar, “The Social Setting,” in The Age of Shakespeare, ed. Boris Ford, p. 25.
9. John Caldwell (ed.), The Oxford History of English Music, Volume 1, p. 4.
10. ibid., p. 6.
11. ibid., p. 7.
12. ibid., p. 12.
13. ibid., p. 15.
14. Antony Flew (ed.), A Dictionary of Philosophy, p. 34.
15. Perez Zagorin, Francis Bacon, p. 38.
16. Miles Hadfield, Gardening in Britain, p. 69.
17. Zagorin, p. 141.
18. ibid., p. 143.
19. A. Easthope, Englishness and National Culture, p. 90.
20. ibid., p. 64.
21. ibid., p. 202.
22. Flew (ed.), p. 141.
23. Easthope, p. 66.
24. Thomas Hobbes, Leviathan, ed. Michael Oakeshott, p. xvii.
25. ibid., p. xxxix.
26. John Locke, An Essay Concerning Human Understanding, abridged and ed. A. S. Pringle-Pattison, p. x.
27. ibid.
28. Bertrand Russell, The History of Western Philosophy, p. 619.
29. ibid., p. 621.
30. Easthope, p. 96.
31. W. K. Sorley, A History of British Philosophy to 1900, p. 112.
32. Locke, ed. Pringle-Pattison, p. ix.
33. ibid., p. xix.
34. ibid., p. 230.
35. David Simpson, “Romanticism, Criticism and Theory,” in The Cambridge Companion to British Romanticism, ed. Stuart Curran, p. 4.
36. Jean-Jacques Mayoux, English Painting, p. 97.
37. ibid., p. 115.
38. ibid., p. 258.
39. William Weber, The Rise of Musical Classics in Eighteenth-Century England, p. 15.
40. A. J. Ayer, Logical Positivism in Perspective, p. 9.
41. ibid., p. 5.
42. ibid., p. 8.
43. ibid.
44. Flew (ed.), p. 33.
45. W. T. Jones and R. J. Fogelin, A History of Western Philosophy: The Twentieth Century, p. 246.
46. Simpson, p. 4.
48. PROLIX AND PROLIFIC
1. L. D. Benson, The Riverside Chaucer, p. 936.
2. John Donne, Selected Prose, ed. Neil Rhodes, p. 10.
3. Nikolaus Pevsner, The Englishness of English Art, p. 48.
4. Stanley Fish, Self-Consuming Artefacts, p. 204.
5. ibid., p. 357.
6. M. Heusser, The Gilded Pill, p. 3.
7. ibid., p. 6.
8. Joan Bennett, Sir Thomas Browne, p. 10.
49. SOME MORE DUNCES
1. C. Kerby-Miller, The Memoirs of the Extraordinary Life, Works and Discoveries of Martin Scriblerus, p. 29.
2. ibid.
3. ibid.
4. Hugh Kenner, Jonathan Swift: A Critical Anthology, ed. Denis Donoghue, p. 265.
5. Ian Campbell Ross, Laurence Sterne: A Life, p. 407.
6. ibid., p. 410.
7. Claude Rawson, “Unparodying and Forgery: The Augustan Chatterton,” in Thomas Chatterton and Romantic Culture, ed. Nick Groom, p. 20.
8. Campbell Ross, p. 202.
9. Peter Vansittart, In Memory of England, p. 150.
50. THE SECRET GARDEN
1. Christopher Taylor, The Archaeology of Gardens, p. 25.
2. Jane Brown, The Pursuit of Paradise, p. 139.
3. ibid., p. 148.
4. ibid.
5. ibid., p. 3.
6. E. S. Rohde, The Story of the Garden, p. 235.
7. Brown, p. 82.
8. ibid., p. 90.
9. ibid.
10. ibid., p. 154.
11. ibid., p. 160.
12. ibid.
13. ibid., p. 67.
14. ibid., p. 138.
15. ibid., p. 303.
16. Rohde, p. 140.
17. Miles Hadfield, Gardening in Britain, p. 39.
18. Brown, p. 136.
19. Rohde, p. 12.
20. Charles Quest-Ritson, The English Garden, pp. 22–3.
21. Hadfield, p. 54.
22. ibid., p. 209.
23. ibid., p. 43.
24. ibid., p. 212.
25. ibid., pp. 170–80.
26. L. Whistler, quoted ibid., p. 210.
27. Quest-Ritson, p. 124.
28. ibid.
29. ibid., p. 221.
30. Rohde, p. 161.
31. Brown, p. 57.
32. Hadfield, p. 31.
33. ibid., p. 30.
34. Brown, p. 133.
35. ibid., p. 174.
36. ibid., p. 303.
37. Rohde, p. 172.
38. Hadfield, p. 46.
39. Rohde, p. 234.
40. Brown, p. 87.
51. FORGING A LANGUAGE
1. Roger Lonsdale (ed.), The Poems of Thomas Gray and William Collins , p. xvii.
2. ibid., p. xviii.
3. Paul Baines, The House of Forgery in Eighteenth-Century Britain, p. 7.
4. ibid., p. 11.
5. ibid., p. 13.
6. J. G. Pocock, quoted ibid., p. 14.
7. ibid., p. 15.
8. A. Preminger (ed.), Princeton Encyclopaedia of Poetry and Poetics , p. 819.
9. Nick Groom, “Fragments, Reliques, & MSS: Chatterton and Percy,” in Thomas Chatterton and Romantic Culture, ed. Nick Groom, p. 190.
10. Nick Groom, quoted in Groom, pp. 55–6.
11. Inga Bryden, “The Mythical Image: Chatterton, King Arthur and Heraldry,” in Groom, p. 64.
12. ibid., p. 65.
13. Nick Groom, “Introduction,” in Groom, p. 7.
14. Alexandra Wedgewood, “Architecture,” in The Romantic Age in Britain, ed. Boris Ford, p. 208.
15. Georges Lamoine, “The Originality of Chatterton’s Art,” in Groom, p. 38.
16. Quoted Stephen B. Dobranski, “Milton’s Social Life,” in The Cambridge Companion to Milton, ed. Dennis Danielson, p. 21.
17. Arden Reed, Romanticism and Language, p. 19.
52. THE ROMANTIC FALLACY
1. Eric Rothstein, Restoration and Eighteenth-Century Poetry, p. 145.
2. T. S. R. Boase, English Art 1800–1870, p. 12.
3. David Simpson, “Romanticism, Criticism and Theory,” in The Cambridge Companion to British Romanticism, ed. Stuart Curran, p. 17.
4. ibid.
5. Geoffrey Thurley, The Romantic Predicament, p. 113.
6. ibid., p. 139.
7. Terry Castle, Masquerade and Civilisation, p. 184.
8. ibid., p. 333.
9. Judith N. Shklar, After Utopia: The Decline of Political Faith, pp. 15–16.
10. Geoffrey Hartman, Beyond Formalism, pp. 300 and 303.
11. J. O. Hayden (ed.), William Wordsworth: Poems, Volume One.
12. Thurley, p. 138.
13. Thomas McFarland, Romantic Cruxes: The English Essayists and the Spirit of the Age, pp. 11 and 13.
53. ENGLISH MUSIC
1. A. L. Bacharach (ed.), British Music of Our Time, p. 52.
2. Fuller Maitland in The Times, quoted in Michael Kennedy, The Works of Ralph Vaughan Williams, p. 93.
3. R. Palmer (ed.), Folk Songs Collected by Ralph Vaughan Williams, p. ix.
4. John Caldwell (ed.)
, The Oxford History of English Music, Volume 1, p. 63.
5. ibid., p. 131.
6. ibid., p. 135.
7. ibid., p. 191.
8. ibid., p. 484.
9. ibid., p. 178.
10. ibid., Volume 2, p. 15.
11. Kennedy, p. 131.
12. ibid., p. 137.
13. ibid., p. 169.
14. ibid., p. 170.
15. ibid., p. 347.
16. J. Day, Englishness in Music, p. 18.
17. ibid., p. 25.
18. Simon Heffer, Vaughan Williams, p. 9.
19. Kennedy, p. 5.
20. C. Palmer, Delius: Portrait of a Cosmopolitan, p. 160.
21. ibid., p. 150.
22. Paul Holmes, Vaughan Williams, p. 57.
23. Kennedy, p. 370.
24. Palmer, p. 160.
25. ibid., p. 199.
26. ibid., p. 202.
27. Caldwell (ed.), Volume 1, p. 31.
28. ibid., Volume 2, p. 284.
29. Heffer, p. 37.
30. Kennedy, p. 157.
31. ibid.
32. ibid., p. 302.
33. Kennedy, p. 211.
34. Caldwell (ed.), Volume 1, p. 22.
35. ibid., p. 120.
36. Day, pp. 51 and 158.
Acknowledgments
Cover: music-hall artist (reproduced by courtesy Hulton/Archive); Mr. Monks from Oliver Twist by Charles Dickens published by B. Pollock, from Dickens House Museum, London; needlework picture embroidered in silk from the Victoria and Albert Museum, London; Monk from The Canterbury Tales by Geoffrey Chaucer from the Huntingdon Library, San Marino, California; child up a tree picking fruit from the Luttrell Psalter, Add 42130 f.196v., from the British Library, London.
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Albion: The Origins of the English Imagination Page 54