THACKERAY, William Makepeace, 1811-1863, ENGLISH novelists, CYNICISM, SENTIMENTALISM in literature, NOVELISTS, and LITERATURE
This article profiles English novelist W.M. Thackeray. Thackeray is the sad victim of much hackneyed faultfinding. It is the proper thing to say of Thackeray that he moralizes. It is also the proper thing to say of him that he pictured only the narrow little world he saw. The two indictments are mutually destructive, but both are nevertheless the proper thing to say. It is the proper thing to say of Thackeray that he was a sentimentalist, and it is the proper thing to say that he was a cynic. The two characteristics are, on the face of it, mutually exclusive, but they are the correct things to say of Thackeray.
CHILMARK Miscellany, A (Book), BROOKS, Van Wyck, 1886-1963, POETRY (Literary form), BUSINESS in literature, AMBIVALENCE in literature, and SENTIMENTALISM in literature
The article focuses on the book "A Chilmark Miscellany," by Van Wyck Brooks. Business and poetry have been the concern of Van Wyck Brooks too. And, while it might be unfair to say of Brooks, "It came to him poetry; it went from him business," the inversion points to Brooks's own ambivalence. He is torn between two dreams of a Golden Age: the one of clipper ships, Salem fisheries, and woolen factories on the Connecticut, the other of bitter or of mellow genius. In "The Chilmark Miscellany" Brooks has collected from "The Opinions of Oliver Allston" the Notes from a Journal.
DRAMA of Sensibility, The (Book), BERNBAUM, Ernest, DRAMA, SENTIMENTALISM in literature, BURLESQUE (Literature), PLAUTUS, Titus Maccius, TERENCE, ca. 195 B.C.-ca. 159 B.C., and DRAMATISTS
This article presents information on the book "The Drama of Sensibility," by Ernest Bernbaum. In this book, Bernbaum suggests a new theory of the sentimental drama. Berubaum's favorite contrast, reportedly, is between "true comedy" and sentimental. "True comedy" designates the satirical or impersonal holding up to ridicule exemplified by Restoration dramatists and by Romanian writers of comic dramas, Plautus and Terence. Curiously enough, there is combined with this conception or literature as an expression of social forces the scientific doctrine of literary genres, with high walls about them and their own histories of growth and retardation.
DEATH in the Woods (Book), ANDERSON, Sherwood, 1876-1941, PHALLICISM in literature, AMERICAN authors, SENTIMENTALISM in literature, and SOCIAL consciousness
The article focuses on the book "Death in the Woods," by Sherwood Anderson. With two important exceptions the stories in this volume represent a very definite retrogression on the part of an American writer from whose work one has become accustomed to receive an impression of constant growth and development. Neither the sentimental phallicism of "Perhaps Women" nor the timorous overtones of social consciousness of the more recent "Beyond Desire" are present in this book. The crystallization of one or the other of these attitudes that one had half expected does not take place.
CAPRICE (Theatrical production), SENTIMENTALISM in literature, THEATER, CYNICISM in literature, SKEPTICISM, and CULTURAL industries
This article literally appraises the drama "Caprice," performed by the Guild Theater. The real interest of the piece lies in the effort to guess just which of the two or three possible morals the author is going to choose. Sentiment proclaims, of course, that there is only one decent or satisfactory conclusion. To suggest otherwise would be, adds sentiment, to indulge the most disgusting cynicism and to leave in the mouths of the audience a most unpleasant taste.
COMEDY Conscience After the Restoration (Book), KRUTCH, Joseph Wood, 1893-1970, COLLIER, Jeremy, 1650-1726, DRAMA, SENTIMENTALISM in literature, and DRAMATISTS
The article focuses on the book "Comedy and Conscience After the Restoration," by Joseph Wood Krutch. Krutch set himself in this book to discover the extent to which the transition from the ideals of the Restoration drama to those of the drama of sentiment at the end of the seventeenth century was due to the attacks of Jeremy Collier. The problem was somewhat arbitrarily conceived. Collier's attack, as Mr. Krutch fully recognizes, was directed against the very life of the drama. The indecencies of the ruling comedy supplied him with damaging ammunition.