Notes

Notes

Francis Bacon, Novum Organum (1620), Book 1, section 23: ‘The difference between idols of a human mind and the ideas of a divine one is certainly not slight: that is, between certain empty beliefs and the true signatures and marks impressed upon creation as it is found.’

John Henry Newman, The Idea of a University (1852).

Roger Ascham (c. 1515–1568), best known for The Scholemaster (1570), a treatise on teaching.

Ovid, Ars Amatoria, Book 3, line 397: ‘There is no desire for that which is unknown.’

Goethe, Faust (1808; 1832), Section 87, line 1348: Mephistopheles is describing himself: ‘I am part of the part who once was all.’

Thomas Gray (1716–1771), English poet and scholar.

George Chapman (c. 1559–1634) published translations of the Iliad and Odyssey in 1616. The translation of the Iliad by Alexander Pope (1688–1744) was published between 1715 and 1720, and his translation of Homer's Odyssey appeared in 1726.

Marsilio Ficino (1433–1499), Italian Renaissance philosopher and humanist.

The Greek Anthology is a collection of 6,000 short elegaic poems by more than 300 writers (seventh century BC–tenth century AD).

This seems to be a Catholic aphorism of unknown origin. (Cf., for example, St Thomas Aquinas, Summa Theologiae, part 1, question 75, article 5) The translation is: ‘Whatever is received is received according to the manner of the one who receives.’

Virgil, Aeneid, Book 7, line 172, which Lewis translated in A Preface to Paradise Lost (1942), , as ‘awful with woods and sanctity of elder days’; see A. T. Reyes (ed.), C. S. Lewis's Lost Aeneid (London and New Haven: Yale University Press, 2011), p. 159.

Virgil, Book 8, line 323, explaining the name ‘Latium’ (‘because it had been hidden on these shores.’).

Matthew Arnold, ‘The Function of Criticism at the Present Time’ in Essays in Critcism (London: Macmillan, 1865), p. 35.

This is a Latin translation of a fragment from Euripides’ lost play Telephus. Agamemnon is speaking to Menelaus: ‘Sparta has fallen as your portion’ (the phrase continues: hanc exorna – ‘therefore, it is yours to provide for’).

The English Faculty of Oxford University voted, by a significant majority, to abolish compulsory Anglo-Saxon from its undergraduate syllabus in 2000.

William Shakespeare, As You Like It, Act 3, scene 2, lines 283–5.

John Milton, Of Education (1644), paragraph 1.

Artistotle, Nicomachean Ethics, Book 10, section 7.

Geoffrey Chaucer, Parlement of Foules (1343?–1400), line 1.

Collected Letters III, pp. 1522–3.

A reference to the aesthetic philosophy of Benedetto Croce (1866–1952). Cf. the final sentence of ‘Image and Imagination’.

H. W. B. Joseph, Introduction to Logic (Oxford: Clarendon Press, 1916). LCM = ‘Least Common Multiple’ in Mathematical Logic.

Keats, ‘Ode to a Nightingale’:

       . . . The same that oft-times hath

      Charm'd magic casements, opening on the foam

      Of perilous seas, in faery lands forlorn.

By Robert Browning (1855).

Esse = reality; percipi = appearance.

‘The souls of the just’, from the Book of Wisdom, , verse 1: ‘But the souls of the just are in God's hand; no torment will touch them’ (RSV).

Thomas Rymer (c. 1643–1713), scholar with a particular interest in Aristotle's Poetics.

William Wordsworth, ‘Letter to John Wilson’ in N. C. Smith (ed.), Wordsworth's Literary Criticism (London: Oxford University Press, 1905), p. 8.

Charles Edward Sayle (1864–1924), a librarian at the University of Cambridge.

There are at least two passages in George Macdonald's work that bear a close similarity to the passage Lewis ascribes to MacDonald, and which he quotes in a number of places: ‘God is easy to please but hard to satisfy.’ In the 1867 essay, ‘The Imagination: Its Function and Its Culture’, in A Dish of Orts (1903) we find: ‘The right teacher would have his pupil easy to please, but ill to satisfy; ready to enjoy, unready to embrace; keen to discover beauty, slow to say, “Here I will dwell”.’ In George Macdonald, Donal Grant (1883) , we find: ‘The maister's jist as easy to please as he's ill to saitisfee.’

Lewis almost certainly got the actual words from G. K. Chesterton. In his Introduction to Greville MacDonald's George MacDonald and His Wife (1924), Chesterton rephrased the passage from Donal Grant as: ‘Carlyle could never have said anything so subtle and simple as MacDonald's saying that God is easy to please and hard to satisfy.’ Lewis quoted these words again inGeorge MacDonald:An Anthology (1947) and in Mere Christianity (1952), Book 4, : ‘As a great Christian writer (George MacDonald) pointed out . . . “God is easy to please, but hard to satisfy.”’

W. P. Ker, Epic and Romance: Essays on Medieval Literature (London: Macmillan, 1897).

Lady Raleigh (= Lucy Gertrude Jackson Raleigh) (ed.), The Letters of Sir Walter Raleigh (1897–1922), 2 vols. (London: Methuen, 1926), vol. I, p. 192: ‘I like your severe and withal judicial treatment of Romance. It is a new view, that Romance was a kind of plague spoiling a fine native development. I wish that your book may be a starting-point of a new literary movement.’

W. P. Ker (ed.), Essays of John Dryden, 2 vols. (Oxford: Oxford University Press, 1900).

The Literary Forms, in verse and prose, are usually considered to be: Poetry, Drama, Epic, Legend, Myth, Ballad, and Folktales. In , on ‘Form and Style’ Ker said: ‘The commonest meaning of “form” in poetry is perhaps that of metrical pattern or form . . . The poet gives poetical shape to his thoughts and experience . . . like an artist in the kitchen pouring hot jelly into a mold to cool and stiffen’ (pp. 95–6). Cf. Lewis's essay, ‘Sometimes Fairy Stories May Say Best What's to be Said’ in Of This and Other Worlds (1982) in which he said of writing the Narnian stories: ‘In the Author's mind there bubbles up every now and then the material for a story. For me it invariably begins with mental pictures. This ferment leads to nothing unless it is accompanied with the longing for a Form: verse or prose, short story, novel, play or what not . . . It is now a thing inside him pawing to get out. He longs to see the bubbling stuff pouring into that Form as the housewife longs to see the new jam pouring into the clean jam jar’ (pp. 57–8).

Writing to his brother on 29 March 1940, Lewis said: ‘The other thing I’ve been busy on this week is a book called L’Amour et l’Occident by one Denis de Rougement, apparently a French Protestant wh. I have to review. It contains a thoroughly bad historical thesis about medieval love, and an absolutely first class moral thesis about the utter incompatibility of l'amour passion with Christian marriage, happiness, or even enjoyable physical sexuality. He's a corker of a man, tho’ with some bogus elements in him. I’ve written to him today.’ (Collected Letters II, p. 379.)

In a strict sense, the Gyges fallacy is the argument deployed by Glaukon in Book 2 of Plato's Republic, in which he says that everyone will be unjust given the opportunity. To illustrate this, Glaukon uses the story of King Gyges of Lydia and his invisible ring, adapted from Herodotus’ account. Socrates then attempts to expose this argument as a fallacy. Lewis, however, uses the term ‘Gyges fallacy’ idiosyncratically, simply because he is thinking of the ‘invisible man’ example, and Gyges’ ring had the power of making its wearer invisible. In fact, Lewis's fallacy is a variant on what is more commonly known as the post hoc, ergo propter hoc fallacy (i.e., given this fact, therefore because of this fact), in which the two premises of a syllogism are true but are followed by an unwarranted conclusion. (For example: I am carrying garlic, so that vampires do not attack me. Vampires have not attacked me. Therefore, carrying garlic works as a way of warding off vampires.)

An Alba is a Provençal troubadour poem about the parting of lovers at dawn.

Molière, Le Misanthrope, Act 1, scene 2, line 41: ‘I prefer my darling.’

In The Four Loves (1960), , Lewis wrote: ‘St John's saying that God is love has long been balanced in my mind against the remark of a modern author (M. de Rougemont) that “love ceases to be a demon only when he ceases to be a god”; which of course can be re-stated in the form “begins to be a demon the moment he begins to be a god.” This balance seems to me an indispensable safeguard. If we ignore it the truth that God is love may slyly come to mean for us the converse, that love is God.’

O. Elton, A Survey of English Literature, vol. III (London: E. Arnold, 1920), p. 51.

Ibid., p. vi.

‘Now the German and the Englishman are not in the least alike . . . They are, in everything good and evil, more unlike than any other two men we can take at random from the great European family. They are opposite from the roots of their history, nay, of their geography’ (G. K. Chesterton, The Anatomy of Tyranny, : ‘The Escape of Folly’). See The Collected Works of G. K. Chesterton, vol. v (San Francisco: Ignatius Press, 1987), p. 270.

George Saintsbury (1845–1933), literary historian and critic.

Thomas Warton (1728–1790), literary historian and critic, best known for his three-volume work, The History of English Poetry, published between 1774 and 1781.

Clio was Muse of History in Classical mythology.

From William Wordsworth, The Excursion, Book 1: ‘The Wanderer’, lines 105–6:

      The high and tender Muses shall accept

      With gracious smile, deliberately pleased . . .

‘On Fairy-Stories’, pp. 119–20: ‘Students of folk-lore are apt to get off their own proper track, or to express themselves in a misleading “shorthand” . . . They are inclined to say that any two stories that are built round the same folklore motive, or are made up of a generally similar combination of such motives, are “the same stories.” . . . Statements of that kind may express . . . some element of truth; but they are not true in a fairy-story sense, they are not true in art or literature. It is precisely the colouring, the atmosphere, the unclassifiable individual details of a story, and above all the general purport that informs with life the undissected bones of the plot, that really count.’

James Russell Lowell, ‘Chaucer’, in My Study Windows (London: Walter Scott, 1886), p. 234: ‘Love, beauty, passion, nature, art, life, the natural and theological virtues – there is nothing beyond his power to disenchant.’

Alexander Pope, An Essay on Criticism (1711), Part 2, line 256.

Much of Lewis's thought on translations of the Bible are found in his English Literature in the Sixteenth Century, Book 2, section 1, ‘Drab Age Prose – Religious Controversy and Translation.’

LXX is the Septuagint, the Greek version of the Hebrew Bible or the Old Testament.

The Letter of Aristeas, probably written in the mid-second century BC, describes the translation of the Hebrew Scriptures into Greek during the reign of Ptolemy II Philadelphos. It is considered partly mythical.

Philo (20 BC–AD 50) was a Hellenistic Jewish philosopher from Alexandria. De Vita Mosis = On the Life of Moses.

St Augustine, City of God, Book 18, : ‘If there seems no agreement, we must trust that there is a prophetic depth there.’

Ibid., : ‘translated so much later’.

Ibid.: The Holy Spirit ‘spoke one prophecy through the prophet Jonah, the other through the 70 translators’.

Johann Reuchlin (1455–1522), German humanist and Hebraist.

John Colet (1467–1519), English theologian. He was, among other preferments, Dean of St Paul's Cathedral, London from 1505 to 1519.

Jacobus Latomus (1475–1544), Flemish scholar and opponent of Martin Luther.

‘ . . . I might well be able to praise and describe myself as a servant and evangelist . . . ’ Luther's full sentence is as follows: ‘I have received my gospel not from men but from heaven only, by our Lord Jesus Christ, so that I might well be able to praise and describe myself as a servant and evangelist, as I shall do in future.’ The quotation appears in a letter to Frederick the Wise of Saxony, from Martin Luther, dated 5 March 1522. For the full translation of the letter, see Preserved Smith, The Life and Letters of Martin Luther, ed. Robert Blackhouse (London: Hodder and Stoughton, 1993), pp. 133–6.

Cicero, De Legibus, Book 3, , section 36: ‘He was stirring up a tempest in a teapot.’

Vetus Latina (‘Old Latin’) were older Latin translations of the Bible, before the version by St Jerome.

Martial, Epigrams, Book 2, epigram 86, lines 9–10: ‘It is disgraceful to make difficulties from trifles, and to labour over nonsense is stupid.’

In the Preface to William Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads, With a Few Other Poems (1798) Wordsworth wrote: ‘There will also be found in these volumes little of what is usually called poetic diction; as much pains has been taken to avoid it as is ordinarily taken to produce it; this has been done for the reason already alleged, to bring my language near to the language of men.’

W. B. Yeats, The Countess Cathleen (1895), Scene 5: ‘And God the herdsman goads them on behind, / And I am broken by their passing feet.’

Aristotle, Politics, Book 3, section 11.

Paradise Lost, Book 2, line 1051.

The Death of Tragedy, pp. 43, 88, 138.

Ibid., p. 9.

Ibid., pp. 5, 10.

By Pierre Corneille in 1637 and by Jean Racine in 1689, respectively.

An English surname derived from Cumbria, first recorded in the fifteenth century.

‘Comprehensive world view’.

Richard Wagner's Ring of the Nibelungen (1876), a cycle of four operas: Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung.

Oceanus is one of the Titans in John Keats's The Fall of Hyperion (1856).

S. Spencer and B. Millington (eds.), Selected Letters of Richard Wagner (London: Dent, 1987), p. 307 (Letter to August Röckel of 25 January 1854).

See ‘The Funeral of a Great Myth’ in Lewis's Christian Reflections (1967): ‘If popular Evolutionism were (as it imagines itself to be) not a Myth but the intellectually legitimate result of the scientific theorem on the public mind, it would arrive after that theorem had become widely known. We should have the theorem known first of all to a few, then adopted by all the scientists, then spreading to all men of general education, then beginning to affect poetry and the arts, and so finally percolating to the mass of the people. In fact, however, we find something quite different. The clearest and finest poetic expressions of the Myth come before [Charles Darwin's] Origin of Species was published (1859) and long before it had established itself as a scientific orthodoxy’ (pp. 105–6).

The Erotic in Literature, p. 189, citing John Lothrop Motley, The Rise of the Dutch Republic, 3 vols. (London: John Chapman, 1856).

Charles Lamb, ‘Witches and Other Night Fears’ (1821).

Samuel Taylor Coleridge, ‘Dejection: An Ode’ (1802).

John Sparrow, ‘Regina v. Penguin Books’, Encounter, vol. 63 (February 1962), pp. 35–43.

The Erotic in Literature, p. 11.

Ibid., p. 12.

Ibid., p. 159.

John Ford, ’Tis Pity She's a Whore (1633).

The Erotic in Literature, p. 181.

Ibid., p. 97.

The Erotic in Literature, p. 43. The story of Judah and Tamar is told in Genesis, , verses 1–30.

Ibid.

Ibid., p. 75.

Dante, Inferno, Canto 25, line 116. Both aidoia and pudenda mean ‘the shameful parts’.

F. L. Cross and E. A. Livingstone (eds.), The Oxford Dictionary of the Christian Church, third revised edition (Oxford: Oxford University Press, 2005), pp. 76–77.

David Gwilym James, Scepticism and Poetry: An Essay on the Poetic Imagination (London: Allen and Unwin, 1937).

Romanticism Comes of Age, p. 18.

Samuel Taylor Coleridge, Biographia Literatia (1817). This work of philosophical autobiography and Romantic literary criticism was essential to Lewis's and Barfield's thoughts on Imagination. See the distinction between Fantasy and Imagination in Lewis's ‘On Three Ways of Writing for Children’ in Of This and Other Worlds (1982), and the two chapters on ‘Imagination and Fancy’ in Owen Barfield's What Coleridge Thought (Middletown, Connecticut: Wesleyan University Press, 1972).

Dante, Purgatorio, Canto 7, lines 7–8: ‘e per null’ altro rio / lo ciel perdei che per non aver fé’. ‘I came short of Heaven / For no default, save that I had not faith.’

Romanticism Comes of Age, p. 34.

G. K. Chesterton, Orthodoxy (1909), : ‘I did try to be original; but I only succeeded in inventing all by myself an inferior copy of the existing traditions of civilized religion. The man from the yacht thought he was the first to find England; I thought I was the first to find Europe. I did try to found a heresy of my own; and when I had put the last touches to it, I discovered that it was orthodoxy.’

Romanticism Comes of Age, p. 60.

Geoffrey Chaucer, Troilus and Criseyde, Book 2, line 651.

Walter de la Mare (1873–1956), English poet and author.

Lewis has misremembered the title of James Hogg, The Private Memoirs and Confessions of a Justified Sinner (1824).

Colossians, , verses 9–10: ‘Lie not one to another, seeing that ye have put off the old man with his deeds; and have put on the new man . . . ’ (AV); cf. Ephesians, , verses 20–4.

George Meredith, Modern Love, Sonnet 43, lines 14–15.

This Ever Diverse Pair, p. 72.

‘Condescendingly’.

This Ever Diverse Pair, , ‘Rhematophobia [= fear of the spoken word’]’, p. 50: ‘Generally speaking, it is the meaning of words and the tone in which they are spoken which are the cause of pain. I have only lately realised that mere words, as such, irrespective of tone or meaning, mere quantity of utterance apart altogether from the quality, can inflict as much pain as a rebuff or a cold reply to an affectionate question.’

Flatland (1884) is by Edwin A. Abbott, Phantastes by George MacDonald (1858).

The Hobbit: or There and Back Again (1937), .

Ibid., .

In Kenneth Grahame, The Wind in the Willows (1908).

The Hobbit: or There and Back Again (1937), .

William Blake, Songs of Innocence (1789).

‘One Ring to Bind Them’, New Statesman and Nation, vol. 48 (18 September 1954), p. 331.

‘On Fairy-stories’, pp. 122 ff.

The Fellowship of the Ring, ‘Prologue.’

‘On Fairy-stories’, p. 148: ‘It is plain that I do not accept the tone of scorn or pity with which “Escape” is now so often used . . . In what the misusers of Escape are fond of calling Real Life, Escape is evidently as a rule very practical, and may even be heroic . . . Why should a man be scorned, if, finding himself in prison, he tries to get out and go home? Or, if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls. The world outside has not become less real because the prisoner cannot see it. In using Escape in this way the critics have chosen the wrong word, and, what is more, they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter.’

Charlotte Brontë and her brother Branwell in 1834 created the imaginary country of Angria. The stories were first published as Legends of Angria, compiled from the early writings of Charlotte Brontë by Fannie E. Ratchford with the collaboration of William Clyde DeVane (New Haven: Yale University Press, 1933).

Furioso = Orlando Furioso by Ludovico Ariosto (1532). William Morris wrote Water of the Wondrous Isles (1897).

The Fellowship of the Ring, Book 1, .

The Two Towers, Book 3, .

‘On Fairy-Stories’, p. 135: ‘A real taste for fairy-stories was wakened by philology on the threshold of manhood, and quickened to full life by war.’

The Two Towers, Book 3, .

Ibid., .

Ibid.

Ibid., Book 4, .

Ibid., Book 3, .

Ibid., Book 3, .

‘On Fairy-stories’, p. 146: ‘Recovery . . . is a re-gaining . . . of a clear view . . . I might venture to say “seeing things as we are (or were) meant to see them” – as things apart from ourselves. We need . . . to clean our windows; so that the things seen clearly may be freed from the drab blur of triteness or familiarity.’

These are, respectively, Dorothy Sayers, C. S. Lewis and J. R. R. Tolkien, Owen Barfield, Fr Gervase Mathew, and Major W. H. Lewis.

‘Ambrosian Nights’: a series of articles by John Wilson et al. from Blackwood's Magazine (1822–1835).

Hugo Dyson (1896–1975), Fellow in English at Merton College, Oxford, and a member of the Inklings.

R. W. Chapman (1881–1960) of the Oxford University Press, best known for his editions of Jane Austen's novels and Samuel Johnson's letters.

Neville Coghill (1899–1980), Professor of English Literature at Oxford and a member of the Inklings.

Psalm 17, verse 10: ‘They [the wicked] are inclosed in their own fat: with their mouth they speak proudly’ (AV).

From Edmund Burke, Reflections on the Revolution in France (1790).

Alexander Pope, Essay on Man, Epistle 4, line 379 (1734).

‘Esemplastic’ = ‘unifying’, coined by Samuel Taylor Coleridge in Biographia Literaria (1817).

Proverbs 27, verse 6: ‘Faithful are the wounds of a friend . . . ’ (AV).

‘The Two-Sided Man’, from Kim (1908), .

‘What do I know?’: motto from Montaigne's Essays (1595), Book 2, .

i.e., Doubting Thomas, the Disciple initially sceptical of the Resurrection of Christ.

Jonah, chapters 1–2.

2 Kings, , verse 24.

P. V. M. Benecke (1868–1944), Fellow of Magdalen College, Oxford, who taught Classics and Theology.

Taliessin Through Logres, ‘The Calling of Arthur’, 26.

Ibid., ‘The Star of Percivale’, 4.

Ibid., ‘The Sister of Percivale’, 22.

Ibid., ‘Lamorack and the Queen Morgause of Orkney’, 10–12.

Abraham Cowley (1618–1667), who tried to assimilate the Pindaric ode into the English poetic tradition.

Ibid., ‘Taliessin in the School of the Poets’, 42.

Charles Williams, He Came Down from Heaven (London: Heinemann, 1938).

Ibid., p. 17.

Taliessin Through Logres, ‘Lamorack and the Queen Morgause of Orkney’, 21–3.

Ibid., ‘The Vision of the Empire’, η, 6, 4–8.

He Came Down from Heaven, p. 18.

Taliessin Through Logres, ‘The Vision of the Empire’, θ, 33.

Ibid., θ, 2.

He Came Down from Heaven, pp. 83–114.

Taliessin Through Logres, ‘The Vision of the Empire, β, 11–17.

He Came Down from Heaven, ‘The Theology of Romantic Love’, p. 91ff.

Ibid., ‘The Practice of Substituted Love’, pp. 114–33.

Ibid., p. 115.

Charles Williams, Descent into Hell (London: Faber, 1937).

Taliessin Through Logres, ‘Bors to Elayne: on the King's Coins’, 80–4.

Ibid., 38, 40.

Ibid., ‘The Crowning of Arthur’, 59.

Ibid., ‘The Vision of the Empire’, α, 6; α, 16.

Ibid., α, 10.

Ibid., δ, 5; ε, 17.

Ibid., θ, 9; γεμονικν-authoritative part of the soul.

Ibid., ‘Mount Badon’, 36, 41.

Ibid., 48, 50.

George Meredith, ‘Lucifer in Starlight’, line 14 (1883).

Taliessin Through Logres, ‘Taliessin's Return to Logres’, 9–12.

Ibid., ‘The Vision of the Empire’, α, 8.

‘Each thing is one, but appears to be many in association with actions. . . . ’

Ibid., ‘Taliessin in the School of the Poets’, 52–5.

Charles Williams, Many Dimensions (London: Faber, 1931).

Charles Williams, The Greater Trumps (London: Faber, 1932).

‘For HUMPHREY MILFORD / Under Whom We Observed / An Appearance of / BYZANTIUM.’ Sir Humphrey Milford (1877–1952) managed Oxford University Press in London from 1913 to 1945.

Taliessin Through Logres, ‘The Coming of Palomides’, 62.

Ibid., ‘Palomides Before his Christening’, 20.

Ibid., ‘The Coming of Palomides’, 57–8.

Ibid., ‘Taliessin in the School of the Poets’, 65–6.

Ibid., ‘The Last Voyage’, 15–16.

Ibid., ‘The Crowning of Arthur’, 43–7.

Ibid., ‘The Vision of the Empire’, θ, 32–5.

Ibid., ‘Bors to Elayne: on the King's Coins’, 20.

Ibid., ‘The Departure of Merlin’, 21–4.

Johann Wolfgang von Goethe, Faust, Part 2 (1832), Act 1, scene 5, paragraph 6855; Percy Bysshe Shelley, Prometheus Unbound (1820), Act 4; Jacob Böhme, The Way to Christ (1623), Book 1.

Taliessin Through Logres, ‘The Vision of the Empire’, γ, 6.

Ibid., ‘The Son of Lancelot’, 207.

Ibid., 9, 30, 32–3.

Ibid., ‘Bors to Elayne: on the King's Coins’, 94–7.

E. Vinaver (1899–1979), author of the standard edition of Malory.

Taliessin Through Logres, ‘The Son of Lancelot’, 188–91.

Blaise Pascal, Pensées (1670; trans. 1688), Section 5, 353.

Taliessin Through Logres, ‘The Coming of Galahad’, 23.

Following the publication of the second volume of Charles Williams’ Arthurian poems, The Region of the Summer Stars (London: Editions Poetry London, 1944), Oxford University Press reissued Taliessin Through Logres.

Taliessin Through Logres, ‘The Vision of the Empire’, β, 13–14.

On Logres, see further the comments at the end of this review.

‘In his own manner’.

Taliessin Through Logres, ‘The Vision of the Empire’, β, 20; ‘Lamorack and the Queen Morgause of Orkney’, 23.

Ibid., 52.

Ibid., ‘Prologue’, II, 2.

T. S. Eliot, ‘Hamlet’, Selected Essays (London: Faber, 1932; third enlarged edition, 1951), p. 145.

Taliessin Through Logres, ‘The Crowning of Arthur’, 59. πειρον = boundless; πέρας = limit, boundary.

Ibid., ‘The Coming of Palomides’, 57–58.

Dante, La Vita Nuova (1295), section 2: ‘Behold a deity stronger than I.’

Taliessin Through Logres, ‘Taliessin's Return to Logres’, 32.

Ibid., ‘The Vision of the Empire’, γ, 2.

Ibid., ‘The Calling of Arthur’, 26.

Pervigilium Veneris (‘A Vigil for Venus’), Latin poem, perhaps of the late fourth century AD.

Virgil, Aeneid, Book 3, line 505: ‘Let that care fall to our descendants.’

Charles Williams, Taliessin Through Logres (1938), ‘The Crowning of Arthur’, 45.

A Lectionary of Christian Prose from the Second Century to the Twentieth Century, p. xxii.

Ibid., p. xvii.

Ibid., pp. xvii–xxi.

Henry Scott Holland (1847–1918), Professor of Divinity at Oxford.

George Berkeley (1685–1753), theologian and philosopher.

Justin Martyr (c. AD 100–165), Second Apology, .

Friedrich von Hügel (1852–1925), Austrian theologian; Frederick William Robertson (1816–1853), English minister; Benjamin Jowett (1817–1893), English theologian and Classical scholar.

Richard Rolle (1290–1349), religious writer; Ruth Pitter (1897–1992), poet and close friend of C. S. Lewis.

The Oxford Book of Christian Verse, p. 69: St Robert Southwell (c. 1561–1591), ‘Time Go by Turns’.

Ibid., p. 140: George Herbert (1593–1633), ‘The Temper’.

Ibid., p. 350: William Cowper (1731–1800), ‘The Lord Will Happiness Divine’.

Ibid., p. 478: ‘Christina Rossetti (1830–1894), ‘I Will Accept’.

From Peter Abelard (1079–1142), O Quanta Qualia.

John Mason Neale (1818–1866), Anglican author and hymn-writer.

Oxford Book of Christian Verse, p. 502: Gerard Manley Hopkins (1844–1889), ‘Thou art indeed just’.

George Herbert, The Temple (1633), ‘Denial’, lines 16–18.

Oxford Book of Christian Verse, p. 3: Anonymous. ‘The Shepherd Upon the Hill’.

Anonymous, ‘Quia Amore Langueo’, Arthur Quiller-Couch (ed.), The Oxford Book of English Verse (Oxford: Clarendon Press,1919), p. 94.

Oxford Book of Christian Verse, p.155: George Herbert, ‘The Pulley’.

Ibid., p. 453: Coventry Patmore (1823–1896), ‘Legum Tuam Dilexi’.

Ibid., p. 514: Francis Thompson (1859–1907), ‘The Hound of Heaven’.

William Dunbar (c. 1465–c. 1520), ‘On the Nativity of Christ’, lines 1–2: ‘Hevins, distil your balmy schouris!’; Christopher Smart, Hymns and Spiritual Songs (1765).

Oxford Book of Christian Verse, p. 356: Augustus Montague Toplady (1740–1778), ‘Deathless Principle, Arise’.

‘The Will of Jupiter’: Aeneid, Book 4, line 614.

Torquato Tasso, Gerusalemme Liberata (1580); William Davenant, Gondibert (1651); Abraham Cowley, Davideis (1656).

An epic on Christ's life by Marco Girolamo Vida (1535).

William Cowper, The Castaway (1803).

Isaac Watts (1674–1748); Charles Wesley (1707–1788).

Nahum Tate (1652–1715) and Nicholas Brady (1659–1726), ‘Through all the changing scenes of life’, lines 21–2.

E. M. W. Tillyard (1889–1962), specialist on Shakespeare and Milton.

Amos, , verse 1: ‘Woe to them that are at ease in Zion’ (AV).

‘Supreme One’.

Oxford Book of Christian Verse, p. 7: Anonymous, ‘Mary and her Child’.

‘Tell, my tongue’: the first line of a well-known Roman Catholic hymn.

T. S. Eliot, The Journey of the Magi (1927), line 31.

Oxford Book of Christian Verse, p. 502: Gerard Manley Hopkins, ‘Thou art indeed just’.

Ibid., p. 538: Fredegond Shove (1889–1949), ‘The New Ghost’.

Hymns from the Psalms and non-biblical sources used in Morning and Evening Prayer.

Oxford Book of Christian Verse, pp. 136–7; 510 (Thompson); 540 (Ruth Pitter, ‘Help, Good Shepherd’).

The Mind of the Maker, p. vi. Sayers used the quotation from The Destiny of Man (1937, English edition) by the Russian philosopher N. Berdyaev (1874–1948) as an epigraph to her book.

The Mind of the Maker, p. 63.

Ibid., p. 66.

Ibid., p. 72.

Ronald Knox, Essays in Satire (London: Sheed and Ward, 1928); Ronald Knox, The New Testament of Our Lord and Saviour Jesus Christ: Newly Translated from the Vulgate Latin (London: Burns, Oates, and Washbourne, 1945); The New Testament in Basic English, translated by S. H. Hooke (Cambridge: Cambridge University Press, 1941).

‘Saving your presence’.

This was a specially printed book of only 550 copies.

The quotation is from A Selection from the Occasional Sermons, p. 61. On the preaching of St John Fisher (1469–1535), see Lewis's English Literature in the Sixteenth Century, Book 2, , pp. 161–3. On Jeremy Taylor (1613–1667), see Collected Letters II, pp. 4–5. Frederick William Faber (1814–1863), British hymn writer and theologian, presided over the London Oratory, 1849–63. Hugh Latimer (c. 1485–1555), one of the three Oxford Martyrs of Anglicanism, was burnt at the stake in 1555.

A Selection from the Occasional Sermons, p. 45.

Ibid., pp. 84, 101.

Ibid., p. 35.

Lady Julian of Norwich (c. 1342–c.1416), Revelations of Divine Love, Sixth Revelation, .

A Selection from the Occasional Sermons, p. 102: ‘It was as something guessed at, not as something seen, that the Divine Hand stretched out to receive their sacrifice’.

Ibid. p. 25.

Ibid., p. 84.

Ibid., p. 44.

David Wesley Soper (ed.), These Found the Way: Thirteen Converts to Protestant Christianity (Philadelphia: Westminster Press, 1950). In the biography attached to Joy Davidman's essay, ‘The Longest Way Round’, she says on page 12 that in 1939 she spent six months in Hollywood as a junior screen writer for MGM, occupying her time by ‘writing half a dozen scripts which no one ever read, and by playing with the M-G-M lion, then a cub’.

Joy Davidman, Letter to a Comrade (Yale: Yale University Press, 1938).

Soper, These Found the Way, p. 16.

Ibid.

Charles Lamb, Essays of Elia (1823), ‘A Chapter on Ears’: ‘I am for the time – rapt above earth, And possess joys not promised at my birth’.

Letter to a Comrade, ‘Jewess to Aryan’, p. 83, line 16.

1 Kings, , verse 21.

Letter to a Comrade, ‘Jewess to Aryan’, p. 83, lines 8–9.

Psalm 19, verses 5–9 (Coverdale translation).

See Lewis's treatment of Psalm 19 in Reflections on the Psalms (1958), .

Samuel Johnson, The Idler (1758–1760), vol. I, p. 169: ‘Among the calamities of war may be justly numbered the diminution of the love of truth by the falsehoods which interest dictates and credulity encourages. A peace will equally leave the warrior and the relater of wars destitute of employment; and I know not whether more is to be dreaded from streets filled with soldiers accustomed to plunder or from garrets filled with scribblers accustomed to lie.’

Smoke on the Mountain (1953), , p. 101.

Ibid., , p. 54.

John Bunyan, The Pilgrim's Progress, (1678), First Part.

Smoke on the Mountain, ‘Introduction’, p. 20.

Ibid., , p. 72.

Hafiz (1325/6–1389/90), a Persian lyric poet.

George Chapman (c. 1559–1634), Alexander Pope (1688–1744), and William Morris (1834–1896) had all translated Homer's Iliad and Odyssey.

Stephen Vincent Benét (1898–1943), American poet and novelist. Benét had written the foreword to Joy Davidman's poetry collection, Letter to a Comrade (New Haven: Yale University Press, 1938).

Odyssey, Book 1, line 14.

Ibid., line 36.

Ibid., Book 6, line 58.

Ibid., Book 4, lines 441–2.

Ibid., Book 7, lines 84–91.

Ibid., Book 21, lines 8–16.

Ibid., Book 5, line 37.

On Aristotle and Greek Tragedy, p. 15. Hamartia, sometimes translated ‘tragic flaw’, more generally means ‘error’ or ‘mistake’.

Ibid., p. 34.

Ibid., p. 49.

Ibid. Praxis = ‘Action’ or ‘Actual life’. Muthos = ‘Plot’ or ‘Story’.

Ibid., pp. 86, 128.

Ibid., pp. 114, 129.

J. K. Fotheringham (ed.), Eusebii Pamphili Chronici Canones (London: Humphrey Milford, 1923), p. 231, under the 171st Olympiad.

Plutarch (first century AD), ‘Against Colotes’ (= Moralia 1107 ff.).

De Rerum Natura, Book 3, lines 27–8: ‘A certain divine joy and trembling falls upon me at such moments’.

Ibid., Book 1, line 629: ‘nature, the female-creator of things’; Book 1, line 1: ‘joy of men or gods’.

‘Dissatisfaction with the world’.

On Lucretius's influence on the thinking of C. S. Lewis, see T. LaPrade, ‘Percipit Atque Horror: C. S. Lewis's Lost Essay and Notes on Lucretius’, unpublished MA thesis, University of North Carolina at Chapel Hill (2010).

Longinus (first century AD), author of De Sublimitate (‘On the Sublime’).

‘As a cloud’.

‘Elevation of thought’.

‘To treat so great a matter so carelessly’: Terence, Andria, Act 1, scene 5.

Boethius: Some Aspects of his Times and Works, p. vii.

Hermann Usener (1834–1905), German professor of Classics.

Anedoton Holderi is an anonymous work of the sixth century AD, edited by Usener in 1877. De Fide Catholica (On the Catholic Faith) is a treatise by Boethius.

Theodoric (c. 454–526), king of the Ostrogoths and ruler of Italy.

‘The always unpunished greed of the barbarians’; ‘eager for the death of all’. Cassiodorus (c. 490–c. 585) was a late Roman historian and statesman.

Thomas Hodgkin (1831–1913), British historian with an interest in late antiquity. On Cyprian and Opilio, see De Consolatione, Book 1, part 4.

Aristides, fifth-century BC Athenian politician, nicknamed ‘The Just’.

De Consolatione, Book 4, part 6: ‘that divine reason’; ‘inherent in things that move’.

‘Evil, therefore, is nothing’.

De Consolatione, Book 3, part 12: ‘There is nothing which, keeping to its nature, would try to contravene God’; ‘that there was no nature of evil’.

Boethius, ‘A Treatise Against Eutyches and Nestorius’, Part 1: ‘Nature is the specific difference giving form to any object.’

About the same time that Lewis was writing this review, he was composing The Screwtape Letters (1942) in which he has Screwtape say, in Letter 15: ‘The humans live in time but our Enemy [God] destines them to eternity. He therefore, I believe, wants them to attend chiefly to two things, to eternity itself, and to that point of time which they call the Present. For the Present is the point at which time touches eternity. Of the present moment, and of it only, humans have an experience analogous to the experience which our Enemy has of reality as a whole; in it alone freedom and actuality are offered them.’

Et pressus gravibus colla catenis: ‘And weighed down by heavy chains on the neck’; ipsa loci facies: ‘The very appearance of the place’; exilium = ‘exile’; patria = ‘homeland’.

St Thomas More, A Dialogue of Comfort against Tribulation (1553).

‘Spear and sword’ (contum gladiumque) is a quotation from Juvenal, Satire 10, lines 20–2.

‘We are condemned to death and to proscription’. Boethius, The Theological Tractates, with an English translation by H. F. Stewart and E. K. Rand (Loeb edition).

‘[The highest good] rules all boldly and arranges all pleasantly’; cf. Book of Wisdom, chapter 8, verse 1, describing wisdom: ‘She spans the world in power from end to end and gently orders all things’ (RSV).

St Thomas More, A Godly Meditation (1534), line 7: ‘Little by little to throw off the world completely’.

The Three Estates in Medieval and Renaissance Literature, , p. 1.

Ibid., , pp. 5–6.

Ibid., p. 11.

Ibid., , p. 339.

John Lydgate, Troy Book (1412–20) translated by Guido delle Colonne, The Siege of Thebes (1287).

D. Laing (ed.), The Poetical Works of Sir David Lyndsay, 3 vols. (Edinburgh: W. Paterson, 1879), vol. I: ‘The Dreme’, lines 169 ff.; Robert Henryson, Orpheus and Eurydice (c. 1508).

Thomas More (1478–1535) and Thomas Elyot (1490–1546) were English humanists.

Boke of Nurture (c. 1460–1470).

Jacobus de Cessolis (c. 1250–c. 1322).

Confessio Amantis, Prologue, 529–33: ‘And natheles yet som men wryte / And sein that fortune is to wyte / And som men holde oppinion / That it is constellacion / Which causeth al that a man doth.’

Cf. C. S. Lewis, The Discarded Image (1964), , pp. 103–4: ‘Astrology is not specifically medieval. The Middle Ages inherited it from antiquity and bequeathed it to the Renaissance. The statement that the medieval Church frowned upon this discipline is often taken in a sense that makes it untrue. Orthodox theologians could accept the theory that the planets had an effect on events and on psychology, and, much more, on plants and minerals. It was not against this that the Church fought. She found against three of its offshoots. (1) Against the lucrative, and politically undesirable, practice of astrologically grounded predictions. (2) Against astrological determinism. The doctrine of influences could be carried so far as to exclude free will. Against this determinism, theology had to make a defence . . . The propensity can be resisted; hence the wise man will over-rule the stars . . . (3) Against practices that might seem to imply or encourage the worship of planets.’

‘Influence of the planets’; ‘Dream of Scipio (Somnium Scipionis)-Cicero, Republic, Book 6. See The Discarded Image, , pp. 23–8.

James Boswell, The Life of Samuel Johnson, ed. George Birkbeck Hill, 6 vols. (Oxford University Press, 1934), vol. III, 13 April 1778, p. 279: ‘Langton said to me afterwards, that he could repeat Johnson's conversation before dinner, as Johnson had said that he could repeat a complete chapter of “The Natural History of Iceland,” from the Danish of Harrebow, the whole of which was exactly thus: Chap. LXXII. Concerning snakes. “There are no snakes to be met with throughout the whole island.”’

Giovanni Boccaccio, De Genealogia Gentilium (‘On the Genealogy of the Gods of the Gentiles’) (1472).

John Barbour (1320–1395), author of The Bruce on Robert Bruce, King of Scotland, and his follower James Douglas, with a celebrated account of Bannockburn.

Jean Frappier (1900–1974), author of Chrétien de Troyes: l'homme et l’uvre (Paris : Hatier-Boivin, 1957).

Charles Augustin Sainte-Beuve (1804–1869), literary critic.

Karl Lachmann (1793–1851) argued that when manuscripts commit the same error, they had similar origins.

Joseph Bédier (1864–1938), French medievalist; Eilhart von Oberge, twelfth-century German poet; Béroul, twelfth-century Norman poet.

Percevale is one of Arthur's knights.

Lewis was under the impression that the essay on Gawain and the Green Knight (pp. 528–40) was by the editor, Roger Sherman Loomis. It is by his wife, Laura Hibbard Loomis.

See Lewis's essay ‘The Anthropological Approach’ in Walter Hooper (ed.), Selected Literary Essays (Cambridge University Press, 1969), pp. 301–11.

The Green Knight's real name.

J. S. P. Tatlock, ‘Laamon's Poetic Style and its Relation’, The Manly Anniversary Studies in Language and Literature (University of Chicago Press, 1923), pp. 3–11. On Laamon's Brut, see Lewis's ‘Introduction’ to the Brut in this volume.

On Wace (c. 1115–c. 1183), see Lewis's ‘The Genesis of a Medieval Book’ in Walter Hooper (ed.), Studies in Medieval and Renaissance Literature, (Cambridge University Press, 1966), pp. 18–40.

Horace, Odes, Book 1, poem 1, line 28: crambe repetita: ‘stale repetitions’.

‘The brutality of English newspapers’, a phrase from Matthew Arnold, Essays in Criticism, ‘The Literary Influence of Academies’ (London: Macmillan, 1865).

The Art of Courtly Love, p. 3. Robert Bossuat (1888–1968) was a French philologist and specialist in medieval literature.

The Dove's Neck-Ring is a discussion of the nature of love by the Andalusian lawyer and scholar Ibn Hazm (994–1064).

The Art of Courtly Love, p. 9.

Ibid., p. vii.

Dorothy Sayers translated The Divine Comedy in three volumes for Penguin Classics (1949–62), the last completed by her friend Barbara Reynolds.

Henry Francis Cary (1772–1844) began translating Dante when he was an undergraduate at Christ Church, Oxford (BA 1794). His translation of the Inferno in blank verse was published in 1805–6, while his immensely popular translation of the whole of The Divine Comedy in blank verse was published as The Vision: or Hell, Purgatory and Paradise of Dante, translated in three volumes (1814–19). In her paper, ‘On Translating The Divina Commedia’, Dorothy Sayers said: ‘[Cary] was the first great English “vulgariser” of Dante, who translated him into the Miltonic blank verse which was in his time, the recognised medium for any long and important English narrative poem’ (p. 93).

Hell, Canto 21, line 139: ‘He promptly made a bugle of his breech.’

Ibid., Canto 22, line 7: ‘sometimes with trumpets, sometimes with bells’; The Poetry of Search and the Poetry of Statement, , pp. 103–4.

Jean de Meun (c. 1240–c. 1305), one of the authors of the Romance of the Rose.

Alexander Pope, An Essay on Criticism, Part 2, line 34.

‘By a leap’.

‘Pleasant and fitting both their use will be

When time and mode and measure do agree . . . ’.

‘The lower parts should be ruled’; ‘the earthly things are governed’.

William Shakespeare, Twelfth Night, Act 1, scene 1, line 13.

Jean-Jacques Rousseau, The Social Contract (1762), Book 1, .

A. W. Pollard (ed.), Le Morte Darthur: Sir Thomas Malory's Book of King Arthur and of his Noble Knights of the Round Table, 2 vols. (London: Macmillan, 1903).

Gonsalvo de Cordoba (1453–1515), a Spanish general; Pico della Mirandola (1463–1494), Italian philosopher and humanist.

‘The best theologians’.

Zoroaster is the Greek form of the Persian religious reformer or prophet Zarathustra (alive perhaps c. 1000 BC). Hermes Trismegistus was the supposed author of forty-two books on Egyptian religion, of uncertain date.

Benjamin Jowett (1817–1893) and Bernard Bosanquet (1848–1923) were both English scholars, with particular interests in the works of Plato.

The Philosophy of Love, p. 332.

Henry More (1614–1687), English theologian and philosopher.

The Philosophy of Love, p. xv.

Anders Nygren (1890–1978), Swedish theologian known for his work Agape and Eros (London: SPCK, 1953, rev. edn, translated into English).

See Alfred Nutt, The Influence of Celtic upon Medieval Romance (London: D. Nutt, 1904); Jessie Weston, From Ritual to Romance (New York: Peter Smith, 1941); Roger Sherman Loomis, Celtic Myth and Arthurian Romance (New York: Columbia University Press, 1927); Arthur Charles Lewis Brown, Iwain: A Study in the Origins of Arthurian Romance (Boston: Ginn, 1903).

Sir Thomas Wyatt and Some Collected Studies, p. 14.

Ibid., p. 17.

On Vinaver and Malory, see Lewis's essay, ‘The English Prose Morte’, above.

Corbenic is the name of the castle of the Holy Grail, and Camelot refers to the castle and court of King Arthur.

Perlesvaus is a French Arthurian romance of the thirteenth century. The German poet Wolfram von Eschenbach (c. 1170–c. 1220) retold the tale of the Holy Grail in his poem Parzival.

Étienne Gilson (1884–1978), French philosopher with a particular interest in medieval philosophy.

Lewis's first scholarly work, The Allegory of Love: A Study in Medieval Tradition (1936), is a study of Courtly Love. In , he wrote: ‘Every one has heard of courtly love, and every one knows that it appears quite suddenly at the end of the eleventh century in Languedoc . . . The sentiment, of course, is love, but love of a highly specialized sort, whose characteristics may be enumerated as Humility, Courtesy, Adultery, and the Religion of Love’.

Andreas Capellanus, De Amore, Book 1, section 49: ‘No one exercises goodness or courtliness in the world except from a source of love’.

Horace, Ars Poetica, line 70: ‘Multa renascentur quæ nunc cecidere’ (‘Many words now fallen into disuse will be revived’).

Edmund Spenser, Prefatory Letter to Sir Walter Raleigh on The Faerie Queene (1589).

Presumably a reference to G. W. Kitchin, Spenser: Faery Queen, Book 1 (Oxford: Clarendon Press, 1905).

I.e., Paradise Lost, Book 2, line 156.

John Lydgate, Fall of Princes (c. 1480).

Fabius Planciades Fulgentius, late fifth-century Christian author.

See, e.g., T. S. Eliot, ‘A Note on the Verse of John Milton’, Essays and Studies of the English Association, vol. 21 (Oxford: Clarendon Press, 1936), pp. 32–40; F. R. Leavis, Revaluation: Tradition and Development in English Poetry (London: Chatto and Windus, 1936), pp. 43–4.

In A Preface to Paradise Lost (1942), , Lewis wrote: ‘It is not that [Dr Leavis] and I see different things when we look at Paradise Lost. He sees and hates the very same that I see and love. Hence the disagreement between us tends to escape from the realm of literary criticism. We differ not about the nature of Milton's poetry, but about the nature of man, or even about the nature of joy itself.’

Milton and his Modern Critics, p. 49, 65; Rose Macaulay, Milton (London: Duckworth, 1934), chapter 8, p. 126.

Virgil, Aeneid, Book 2, line 521. ‘Not such aid, nor such defenders (does this crisis demand)’.

The English Poems of John Milton, from the edition of H. C. Beeching, together with an ‘Introduction’ by Charles Williams, and a ‘Reader's Guide to Milton’ compiled by Walter Skeat, MA, FSA (London: Oxford University Press, 1940).

Ibid., Charles Williams's ‘Introduction’, p. xiv: ‘The poem is concerned with a contrast and a conflict between two states of being. But those states are not only mythological; they are human and contemporary, and thus the poem has a great deal of interest for us.’

Paradise Lost, Book 1, line 98; Book 5, line 665.

Charles Williams, Taliessin Through Logres (1938), Dedication; William Shakespeare, Troilus and Cressida, Act 1, scene 3, lines 83–139.

The English Poems of John Milton, ‘Introduction’, p. xiv.

Lewis mistakenly attributed the quotation to Keats. Pearsall Smith, in fact, had written (p. 20): ‘Robert Bridges, in his essay on Keats . . . expressed his opinion that the best period of Keats’ writing was when he fell under Milton's influence, and that in Hyperion “we are conscious at once of a new musical blank verse, a music both sweet and strong, alive with imagination and tenderness.” All this, however, [the English critic John] Middleton Murry ignores. “There is death in Milton”, he reiterates.’

Writing to Brother George Every on 28 January 1941, Lewis said: ‘I’ve just written a review of Pearsall Smith's Milton & His Modern Critics for the Cambridge Review. What a perfectly ghastly book! I hope you understand that if I thought Smith's case for Milton the real and best one, I shd. join Leavis at once. Against all that bilge Leavis & Milton and I almost stand together: and Milton wd. resent this defence more than the attack’ (Collected Letters II, p. 467).

At Cornell University in Ithaca, New York.

Lewis and Douglas Bush had agreed to write a volume each for the twelve-volume Oxford History of English Literature published by Oxford University Press. Bush's English Literature in the Earlier Seventeenth Century, 1600–1660 was published in 1945, while Lewis's English Literature in the Sixteenth Century, Excluding Drama came out in 1954.

For further discussion of Logan Pearsall Smith, F. R. Leavis, and Charles Williams on Milton, see the review of Logan Pearsall Smith's Milton and his Modern Critics in this volume.

Virgil, Aeneid, Book 2, line 521: Non tali auxilio nec defensoribus istis – ‘not such aid, nor such defenders (does this crisis demand)’.

Paradise Lost in Our Time, pp. 92–3.

See Richard Hooker, Of the Laws of Ecclesiastical Polity (1593), Book 1, , v: ‘They err who think that of the will of God to do this or that there is no reason besides his will.’ In The Problem of Pain (1940), , Lewis wrote: ‘It has sometimes been asked whether God commands certain things because they are right, or whether certain things are right because God commands them. With Hooker, and against Dr Johnson, I emphatically embrace the first alternative.’

Alexander Passerin D’Entrèves, The Medieval Contribution to Political Thought (London: Oxford University Press, 1939), p. 119 (licet Deus non esset = ‘granting that there is no God’).

See William Paley, The Principles of Moral and Political Philosophy (1785).

Paradise Lost in Our Time, p. 40. See J. Middleton Murry, Studies in Keats New and Old (London: Oxford University Press, 1939).

Dante, Vita Nuova, : ‘figure of speech or rhetorical flourish’.

Collins, pp. 48–9: ‘[Collins's] Ode to Evening exists . . . in two versions; that of the volume of 1746, and that printed two years later in Dodsley's Collection . . . The late Professor Ker, in a lecture upon Some Romantic Fallacies, has a comment upon these two versions which is not a little mysterious to me. To him the Dodsley version is so much better than that of 1746 as to be, in itself, “significant for the progress of the romantic movement”: “In the second version,” he writes, “besides the true personification in ‘votaress’, which is from Milton's Maske, there is the fresh vision and understanding of the effect of a surface of water in twilight, when all the land round it is dark, and in place of the conventional ruin that ‘nods’, there is the old building, church or castle, dimly seen as part of the evening light along with the large bulging hill-side. If you look into it, you will see at once that the water is to the west, the ‘time-hallow'd pile’ to the east, and all this is given in the fewest words, and with no vanity or insistence on the accurate rendering. The romantic fallacy is cleared away, and its place is taken by a different mode of vision and poetry.”’

‘Crash of thrones’ is a quotation from Francis Palgrave's ‘Ode for the Twenty-First of June 1887’.

Ibid., pp. 30, 43.

Matthew Arnold, ‘Introduction’, p. xi. In 1932, Kingsmill published a biography of the editor and author Frank Harris (1856–1931). John Middleton Murry (1889–1957) was an influential editor and critic.

Ibid., p. 47.

Ibid., p. 51.

Ibid., p. 127.

‘World-view’.

Rossetti's painting, Beata Beatrix (1864–1870) is in the Tate Gallery, London.

Pre-Raphaelite Brotherhood (also called ‘Pre-Raphaelites’), a circle of English painters and critics, founded in 1848, that included Ford Madox Brown, John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt.

The Life of Samuel Johnson, ‘Introduction’, pp. xvi–xxiii.

Ibid., p. 129.

The Life of Samuel Johnson, p. 49. Richard Savage (c. 1697–1743) was the subject of one of the best known of Johnson's Lives of the Poets.

The Life of Samuel Johnson, p. 175.

Edward Cave (1691–1754), influential editor and publisher; Hester Thrale (1741–1821), diarist and correspondent of Samuel Johnson.

The Life of Samuel Johnson, p. 181.

Ibid., p. 48.

Ibid., p. 82.

Ibid., pp. 14, 35, 43, 107.

Ibid., p. 57.

The Visionary Company, p. 3.

Ibid.

Ibid., p. 5.

Ibid., p. 16.

Ibid., p. 201.

By William Wordsworth (1815).

I.e., Dante's Divine Comedy and Pearl, a fourteenth-century English poem.

‘To the eternal fountain’.

The Works of Morris and of Yeats in Relation to Early Saga Literature, p. 76 on Morris's Sigurd the Volsung (1876); James Stephens, ‘Deirdre’ (1915).

The Works of Morris and of Yeats in Relation to Early Saga Literature, pp. 29, 140–4.

William Butler Yeats, The Shadowy Waters (1900).

The Works of Morris and of Yeats in Relation to Early Saga Literature, pp. 37–8 on Morris's Life and Death of Jason (1867).

The House of the Wolfings (1889); The Story of the Glittering Plain (1890); both are by Morris.

The Life and Death of Jason, Book 10, line 539.

The Works of Morris and of Yeats in Relation to Early Saga Literature, pp. 33–6.

Ibid., pp. 6–8.

The Well at the World's End (1896); The Water of the Wondrous Isles (1897); both are by Morris.

Ouida (= Maria Louise Ramé) (1839–1908), Margaret Oliphant (1828–1897), Stanley Weyman (1855–1928), and Max Pemberton (1863–1950) were all popular authors of their day.

J. K. Stephen, ‘To R. K.’ in Lapsus Calami (Cambridge: Macmillan and Bowes, 1891), lines 15–16.

Rider Haggard, p. 79.

Aristotle, Poetics, Section 3, part 22.

Rudyard Kipling, Something of Myself (1935), , ‘When your Daemon is in charge, do not try to think consciously. Drift, wait, obey’.

Gorboduc (1571), an early English tragedy; Christopher Marlowe, Tamburlaine the Great (1590).

William Shakespeare, The Tempest, Act 4, scene 1, line 156: ‘Leave not a rack behind’.

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