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Arthur Symons, Critic Among Critics G/H 120 realistic prose fiction” (204). [Brief mention of AS, linking Mansfield to AS and Symbolism.] 484.1. Guy, Josephine M., and Ian Small. Politics andValue in English Studies:A Discipline in Crisis? Cambridge: Cambridge UP, 1993. 179–80. In 1909 in The Romantic Movement in English Poetry, AS “criticized historians” who “failed to dwell exclusively on what was distinctively literary and argued that his history of literature would be literary history, as opposed to literary history” (179). “Given his closeness to and familiarity with the main literary movements of the late nineteenth century, Aestheticism included,” AS’s “views are in many ways to be expected. But they are not isolated opinions of an Aesthete outside of his time.” Others who help found English studies “recognized a general indebtedness to the propositions which the Aesthetes popularized; they acknowledged their achievement in developing a concept of literary identity and consequently in laying the grounds for literary criticism to be viewed as an autonomous practice ” (180). H 485. H.,W. “New Leaves.” Rev. of The PoeticalWorks of Mathilde Blind, by Arthur Symons . Outlook 5 (1900): 536. AS edited the third collection of poetry by Miss Mathilde Blind. Excepting two clear misprints, AS edited the volume “with the thoroughness one would expect of a friend and executor” (536B). 486. Haddrell, Elizabeth. “Arthur Symons (28 February 1865–22 January 1945).” The Dictionary of Literary Biography: Late Nineteenth- and Early Twentieth-Century British Literary Biographers. Ed. Steven Serafin. Vol. 149. Detroit: Gale Research, 1995. 255–66. [Lists a selected bibliography of AS’s works (255), and includes a fairly detailed biographical sketch (beginning on p. 255). List of secondary sources includes: letters, biographies (265), papers, and photographs (266).] 487. Hake, Thomas, and Arthur Compton-Rickett. The Life and Letters of Theodore Watts-Dutton: Including Some Personal Reminiscences by Clara Watts-Dunton. Vol. 1. London:T. C. & E. C. Jack, 1916. 330. AS “spoke in the most enthusiastic terms of the essay [by Watts-Dunton] on Hamlet. ‘It is fundamental criticism,’ was one of the remarks he made on that occasion, ‘and,’ he added, ‘there are some wonderful bits of writing too.’…WattsDunton ’s Hamlet article in Harper’s Magazine appeared in May 1904” (330). 488. Hall, Donald. “Starting and Keeping On.” Michigan Quarterly Review 39.4 (2000): 727–35. “We need on purpose to plunder the store of the world. Our reading of literature must be interested or larcenous. Look at the origins and sources of Eliot’s poetry. He read a book he found in the Harvard Union library, Arthur Symons on the symbolist poets. Discovering Laforgue’s irony, Eliot arrived at his youthful tone” (729). An Annotated Bibliography H 121 489. Hall, N. John. Max Beerbohm: A Kind of Life. New Haven:Yale UP, 2002. 42, 43, 44, 160. The Yellow Book “hoped to dilute the unconventional with much that was conventional : the established and respectable Henry James would set off a decadent writer like Arthur Symons” (43). “But there was sensation enough, and the Yellow Book was branded as decadent and indecent. Three culprits caused most of the furore: Beardsley, Symons, and Max” (44). 490. Hall, Wayne Edward. “Irish Writers of the 1890s: The Literary Hero and the Landed Gentry.” Diss. Indiana U, 1978. AS, “who reviewed the long-awaited volume [The Wind Among the Reeds], had helped Yeats to refine his symbolist techniques with information about French symbolism and with such poetry as his translations of Mallarmé” (245). [Brief mention of AS. No abstract available.] 491. Halladay, Jean R. Eight LateVictorian Poets Shaping the Artistic Sensibilities of an Age:Alice Meynell,John Davidson,FrancisThompson,Mary Coleridge,KatharineTynan, Arthur Symons,Ernest Dowson,Lionel Johnson. Lewiston, NY: Lampeter, 1993. 7, 17, 77–92, 93, 95, 103, 106, 125–33 AS’s poems reflect a broad spectrum of literary and everyday influences. AS’s lyric poetry works primarily “to capture or freeze a moment in time” (90). As a result, AS’s travels and interests, especially dance and dancers, appear prominently in his poetry.While AS’s work does admire artificiality, his nature poems recall the “sanctuary” of the natural world. In addition, while many have labeled AS a womanizer because of his many sexually oriented poems, his series of poems “Emmy,” “The Unloved,” and “The Old Woman” sympathetically portray typically degraded Victorian stereotypes of older or “fallen” women. [The chapter on AS advances a brief biography followed by a consideration of AS’s thematic concerns.] 492. Halloran, William F...


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