Project MUSE®: The Cambridge Quarterly - Latest Articles
https://muse.jhu.edu/journal/314
Project MUSE®: Latest articles in The Cambridge Quarterly.daily12026-05-13T00:00:00-05:00text/htmlen-USVol. 35 (2006) through current issueLatest Articles: The Cambridge QuarterlyTWOProject MUSE®The Cambridge Quarterly1471-68360008-199XLatest articles in The Cambridge Quarterly. Feed provided by Project MUSE®Notes on Contributors
https://muse.jhu.edu/article/981637
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Lucy Cheseldine is a postdoctoral researcher in American poetry. She is currently working on a Wellcome Trust funded research project at the University of York.Francesca Gardner is completing a HDPSP-funded PhD at St Catharine’s College, Cambridge on pastoral competition after 1700. Her work has appeared in Critical Quarterly and Oxford Research in English, and she is currently co-editing a special edition of JECS on long eighteenth-century hatred.Ryoichi Hashimoto is Assistant Professor in English Literature at Keio University, Japan. His research interests include Victorian poetry, nonsense writing, translation, and poetics. His recent work appears in the Tennyson Research Bulletin.Michael Rizq is a Research
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/314/image/coversmallNotes on Contributors2026-01-31text/htmlen-USNotes on Contributors2026-01-312026TWOProject MUSE®28592026-05-13T00:00:00-05:002026-01-31A Formal Intimacy: Donald Hall in Henry Moore’s Atelier
https://muse.jhu.edu/article/981632
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‘Henry Moore was a model for work’, wrote American poet Donald Hall.1 The word is not commonly used in conjunction with modernist writers and artists who, despite wearing a desire for revision on their sleeves, often presented their creative wares as seamless. Hall chose his affinities carefully, however, and was not afraid of giving artists and writers a second look. Unlike Moore, who played a central role in international modernism, he situated himself on the cusp of its late networks, catching its giants in their later years by rethinking what their models might mean for his own generation. As with T. S. Eliot, Marianne Moore, and Ezra Pound, old hands at his own art, he formalised his relationship with the
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/314/image/coversmallA Formal Intimacy: Donald Hall in Henry Moore’s Atelier2026-01-31text/htmlen-USA Formal Intimacy: Donald Hall in Henry Moore’s Atelier2026-01-312026TWOProject MUSE®710862026-05-13T00:00:00-05:002026-01-31On the Hunt: Predatory Metaphor and the Early Modern Essay
https://muse.jhu.edu/article/981633
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The literary essay is often perceived to be tonally harmless or genial— indeed, toothless.1 Yet hunting metaphors permeate the form, especially at moments of self-reflexive questioning. Metaphors for the essay abound. The purpose of this article, however, is not only to point out that hunting is one more prevalent metaphor, nor merely to argue that the essay is more violent than we have often considered, but to explore the early modern period’s joint conception of both hunting and the essay as forms of exercise, bound up, through their association with leisure, with ideas of nobility and gentility. With a particular focus on Florio’s Montaigne, Robert Johnson, and Abraham Cowley, it demonstrates that hunting
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/314/image/coversmallOn the Hunt: Predatory Metaphor and the Early Modern Essay2026-01-31text/htmlen-USOn the Hunt: Predatory Metaphor and the Early Modern Essay2026-01-312026TWOProject MUSE®1076072026-05-13T00:00:00-05:002026-01-31The Two Voices: Suffering and Will in Tennyson’s Maud
https://muse.jhu.edu/article/981634
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Maud was tennyson’s favourite among his poems. He proudly claimed to his son:This poem of Maud or the Madness is a little Hamlet, the history of a morbid, poetic soul, under the blighting influence of a recklessly speculative age. He is the heir of madness, an egoist with the makings of a cynic, raised to a pure and holy love which elevates his whole nature, passing from the height of triumph to the lowest depth of misery, driven into madness by the loss of her whom he has loved, and, when he has at length passed through the fiery furnace, and has recovered his reason, giving himself up to work for the good of mankind through the unselfishness born of a great passion. The peculiarity of this poem is that different
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/314/image/coversmallThe Two Voices: Suffering and Will in Tennyson’s Maud2026-01-31text/htmlen-USThe Two Voices: Suffering and Will in Tennyson’s Maud2026-01-312026TWOProject MUSE®644212026-05-13T00:00:00-05:002026-01-31How Not to Know Mr Lear
https://muse.jhu.edu/article/981635
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Lear’s poems explore a variety of salves for personal sorrow: ironic grumbling, word games, flight, resistance. However, I want to suggest that Lear’s nonsense needs to be understood partly in terms of what it achieved for Lear himself – in other words, to contend that the poems often constitute those ameliorative acts, rather than merely represent them. To do so requires a more fleshed-out theory of what psychological function nonsense performed for Lear than we currently have, which we can build using the psychoanalyst Wilfred Bion’s theory of thinking. Understanding Lear’s nonsense in this way enables us to appreciate that it had both a purpose and a consequence for him that readers might be able to recognise in
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/314/image/coversmallHow Not to Know Mr Lear2026-01-31text/htmlen-USHow Not to Know Mr Lear2026-01-312026TWOProject MUSE®718302026-05-13T00:00:00-05:002026-01-31What Close Reading Really Is
https://muse.jhu.edu/article/981636
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‘Distant’, ‘surface’, ‘deep’, ‘immersive’, ‘critical’, ‘wide’, ‘lay’, ‘mis-’: of all the qualifiers critics add to ‘reading’, the most hotly contested is ‘close’. Not only did the rise of close reading in the 1920s create the technical foundations for modern literary studies in universities, but it remains today a battleground for disciplinary squabbles. To some, it implies a naïve or reactionary formalism set against the claims of history and of politics. To others, it’s its own political and ethical project, training our attention to the finest-tuned aspects of language and of the world. To students, it’s often a test of skill, proving the difference between a plodding scholar and the next William Empson (or Paul
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/314/image/coversmallWhat Close Reading Really Is2026-01-31text/htmlen-USWhat Close Reading Really Is2026-01-312026TWOProject MUSE®234712026-05-13T00:00:00-05:002026-01-31