In lieu of an abstract, here is a brief excerpt of the content:

30 GEORGE MOORE: AN ANNOTATED BI SLIOGRAPHY OF WRITINGS ABOUT HlM SUPPLEMENT Il Compiled and Edited by Helmut E. Gerber Annotations by Lynn Bartlett (Vassar College), Charles J. Burkhart (Temple University ), II. E, Gerber (Purdue University), Edward S. Lauterbach (Purdue University ), William A. Perkins (San Diego State College), and Ruth Z-. Temple (Brooklyn College). This bibliography supplements the one which appeared in EFT, II, No. 2, Parts I & Il (1959), 1-31, and the first supplement in EFT, III, Ho. 2 (I960), 34-46. Various as yet un located items and all additions will be listed in the Bibliography, News, and Notes section, under Moore's name, in future numbers of EFT. Adam, G. Mercer. "Recent Fiction in Britain," CANADIAN MAGAZIHE, IV (1894), 213223 , espec 219. In discussing the "defiling stream" of fiction by "new women" and male writers of the cynical school," Adam says of ESTHER WATERS: "however masterly the art of the story, one has to wade through scenes of such revolting detail as make parts of the book abhorrent to the pureminded reader." "Affable Hawk." This previously listed pseudonym has been identified as belonging to Desmond MacCarthy by Cyril Connolly, "A Portrait," MEMORIES. By Desmond MacCarthy. Lond: MacGibbon & Kee, 1953. "Affable Hawk" [Desmond MacCarthy]. 'Current Literature: Books in General," NEW STATESMAN, XXXII (5 Jan 1929), 4l1. Review of A STORY-TELLER'S HOLIDAY (Heinemann, 2 vols), which includes "Ulick and Soracha" and a new story, "Dinoll and Crede." GM the most conscientious of revisers: not even Flaubert a more rigorous perfectionist. This collection the nearest approach in English to the stories of Marguerite of Valois and Boccaccio—the same occasional sophisticated naivete of naughtiness. Style is that of speech, GM's highly personal "leisurely self-communing." Archer, William. "The Celtic Drama," CRITIC, XXXVI (May 1900), 436-39. THE BENDING OF THE BOUGH, GM's attempt to write a play in accordance with an a_ priori generalization instead of in obedience to an inner prompting, "is an entirely derivative production," owing its "every-day surface" to Ibsen, its "symbolic undercurrents" to Maeterlinck, its views of the Irish Celt to Yeats, and the "constrained cadences of its dialogue" to Edward Martyn. GM's pre-occupation with the political allegory has robbed the play of dramatic vitality. "The whole action seems to pass in a pale, calm twilight of philosophic speculation. Almost all the decisive moments of the drama occur in the entr'actes." 31 Baldensperger, Fernand. "English 'Artistic Prose' and Its Debt to French Writers,' MODERiJ LANGUAGE FORUM, XXIX (Dec 1944), 139-50, espec 145-46, 150. Thesis of article is that feeling for form and style absent from 19th century English novel until there began the emulation of such French writers as Flaubert, Maupassant, Goncourts. GM influenced by Gautier, Flaubert, Maupassant (indebtedness of opening lines of ESTHER WATERS to these three). "It was, then, to the objectivity, precision, and soberness of the French writers that George Moore's passionate nature was submitted, and it was from this exacting discipline that his successful restraint was developed." GM probably correct in seeing connection between artistry of form and new subject matter (that of the realists). [Barry, William]. "Dr. William Barry and Mr. George Moore," BOOKMAN (Lond), XIV (Aug 1838), 121. Prints two letters (25 June 1898, to GM; 1 July 1398, to Unwin) by Barry. In the first Barry commends GM on truthfulness and forthrightness of his work and agrees with him on question of censorship which GM had recently discussed in an article. The second letter gives Unwin permission to print Barry's first letter as the opinion of a '"library tribunal.'" "THE BENDING OF THE BOUGH," BOOKMAN (Lond), XVIII (Apr 1900), 26; rptd BOOKMAN (NY), Xl (May 1900), 281-82. Lively and depreciative review of THE BENDING OF THE BOUGH which may be patriotism, but is not art. "It is all very neat and ingenious, and...quite unimaginative Allegory—which is poles apart from myth and poetic symbol ism--is a detestable bastard art, the weakness of which only one or two great geniuses have overcome." The characters are merely "prating puppets with labels on their back...," The attempts of men like GM to imitate Ibsen simply lead them "to...


Additional Information

Print ISSN
pp. 30-42
Launched on MUSE
Open Access
Archive Status
Will Be Archived 2021
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.