...James G. McManaway Copyright © 1940 by Duke University Press 1940 THE “LOST” CANTO OF GONDIBERT By JAMES G. MCMANAWAY In Gondibert, his major contribution to nondramatic poetry, Sir William D’Avenant planned a poem in five books, somewhat like the five...

... in all, the publication of this weak dissertation by the home university reveals a debilitating parochialism which does a sad disservice to the profession. HERSHELPARKER University of Southern California “The Cantos” of Ezra...

... of the art of bel canto: “As to the castrati , they vanished, and the usage disappeared in the creation of new customs. That was the cause of the irretrievable decay of the art of singing.” This essay focuses on the eighteenth-century castrato Gasparo Pacchierotti—friend of Charles, Frances, and Susan Burney...

... of romanzo matter and structure in the poem's last nine cantos. Modern interpreters who maintain that the Furioso becomes more epic in its last segment cite as evidence the more frequent imitation of the Aeneid , but in fact Ariosto modifies the Virgilian matter he grafts into his narrative to fit...

... surplus (within which information has no a priori value). Three examples are analyzed in depth: the heroscopía from book 6 of Virgil's Aeneid , in which Roman history is portrayed as a triumphal procession; Astolfo's voyage to the moon in canto 34 of Ludovico Ariosto's Orlando furioso , with its inventory...

... is that Hauptmann could be called a naturalist in the broader sense of the word in which it might also apply to, say, Goethe. The bulk of the unprinted portions of the epic is formed by six cantos of the second part of the poem. They are all exactly dated (1936) and set off from the first part...

...Judith H. Anderson Copyright © 1970 by Duke University Press 1970 THE KNIGHT AND THE PALMER IN THE FAERIE QUEENE, BOOK I1 By JUDITH H. ANDERSON Twice in the initial six cantos of Book I1 of The Faerie Queene...

... of apprehending the work or aspects of it in a unified “view.” Mainly on the strength of the first two cantos of Childe Harold, Byron gained general repute as a poet whose works could be both described and judged in terms of this kind of visual effect. With the publication of the Oriental tales it became...

... publication of his most Fascist cantos, 72 and 73, which he himself, never having altered the numeration, includes in the whole work, as he did all the years when the space was blank from the last of the Adams Cantos, 71, to the first of the Pisan Cantos, 74. Yet the case of the morally flawed...

... canto of Don Juan (Haidke’s feast) or in the last cantos (e.g., the Epicurean feast). This is not to say that Byron does not explore an interrelationship between man and the physical world (or more often a relationship be- tween himself and that world). But he confronts the external world...

...), p. 122. 2 Canto I. 8 Estudios de cdticu histdricu y literark (Buenos Aires, 1944), p. 259. 43 44 Cewantes, Cortese, Caporali Cervantes is said, moreover, to have imitated Homer, Virgil, Dante, Petrarch, Juan de la Cueva, and perhaps...

... IN CHILDE HAROLD’S PILGRIMAGE, 1-11” By BERNARDA. HIRSCH Most of what is valuable as poetry in Childe Harold’s PiZgrimage, ac- cording to modern critics, is to be found in Cantos 111-IV. Cantos 1-11 have been deemed a “romantic tra~elogue”~at best...

... Ezra Pound in a crucial passage from Three Cantos I (1917) which James Longenbach illumi- nates from different angles in these two books. The same might be said of the books themselves. Both studies revivify figures from the past, both well- known ones, like Henry James, Wyndham Lewis...

.... $29.00. Stone Cottage: Pound, Yeats, and Modernism. By JAMES LONGENBACH.New York: Oxford University Press, 1988. xviii + 329 pp. $21.95. “Ghosts move about me / Patched with histories,” wrote Ezra Pound in a crucial passage from Three Cantos I (1917) which James Longenbach illumi...

... not included in his discussion. All citations of Ciardi in my text are from Dante Alighieri: The Inferno (New York, 1964); all line numbers refer to canto 26. London, 19.34, p. 407; quoted by De Sua. p. 104. 140 JOAN ROSS ACOCELLA...

... University of Southern California “The Cantos” of Ezra Pound: The Lyric Mode. By EUGENEPAUL NASSAR. Baltimore and London: Johns Hopkins University Press, ‘1975. xi 4- 164 pp. $7.95. Eugene Nassar’s book on The Cantos, consisting of about 150 pages of text, including notes...

... to announce that it is time to leave a protagonist or a situation in order to take up or return to another. He exploits the necessity of making these shifts—there are two or more of them in virtually every canto—to show how he can express in over a hundred ways his need to take leave of a character...

... a neglected, and somewhat puzzling, chapter in the early development of that poem. It has become clear, from Professor Til- lotson’s citations, that The Rape of the Lock, as a parody-epic, was incomplete (at the time of publication) even in its five-canto incar- nation, and that it would remain...

... in those cantos” (p. 59). However, reference solely to the lyrical passages of Cantos 16-30 blinds the author to what is truly new and thematically most exciting in that canto, whose power does not stem from a mere recapitulation of earlier attitudes. In my own book on The Cantos, I devote...

... Harold and The Giaour. Most important are the manuscripts of several of the longer works of the Italian years, Sardanapalus, Cain, Don Juan (Canto VIII), and The Island, all of them complete. Interest in the coll3ection is increased by the fact that many of the manuscripts show considerable...