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Article type: Cover
1968 Volume 44 Issue 2 Pages
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Published: March 30, 1968
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Article type: Index
1968 Volume 44 Issue 2 Pages
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HIROSHI EBIHARA
Article type: Article
1968 Volume 44 Issue 2 Pages
123-134
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Hirokuni Kobatake
Article type: Article
1968 Volume 44 Issue 2 Pages
135-148
Published: March 30, 1968
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Shakespeare, it need hardly be said, certainly knew the right use of words; but he knew also the right use of silence, his deep insight into which may traced as far back as the earliest plays. The Taming of the Shrew has the outward appearance of a farce, treating one of the most popular themes of the period: wife-taming. The quality which distinguishes Shakespeare's play from others on the same theme is the idea of Katharina being tamed by Petruchio in the manner of a falconer taming a haggard. The process of manning a hawk is skilfully adapted to Petruchio's taming with one outstanding quality: the feather of language. Katharina is stroked by the sweet breath of his flattery as a hawk is gently stroked with a feather. Careful reading and comparison of the play with The Taming of a Shrew, Sauny the Scot (Lacy's adaptation of Shakespeare), Fletcher's The Woman's Prize, Dekker's The Honest Whore and (with Chettle and Haughton) Patient Grissil, and others reveal that Petruchio's eloquence enriches the enduring quality of the humour in The Shrew. But eloquent as Petruchio may be, he knows when to hold his tongue. Apart from his saying that he was born to tame her (II. i. 278-80), he does not reveal to her the motives of his actions. Neither, while attempting the taming, does he let on what he really thinks of her behaviour. This is where The Shrew differs from A Shrew: in the latter, the author rather clumsily attempts some psychological exploration of Kate and Ferando, and this, contrary to his intention, only serves to weaken the characterization. But in The Shrew: "as the sun breaks through the darkest clouds, So honour peereth in the mean habit," it is so contrived that Petruchio's good-will towards her is implicitly understood by the audience, even when no mention is made of it. It is only when Katharina comes to realize this good-will behind his boisterous-seeming behaviour that she changes her attitude and comes willingly to obey his dictates. Her willingness to obey him seems so natural and spontaneous that one has the feeling that she is now taming him unawares. It is noticeable that, towards the end of the play, her speech rhythms become more like his. Having caught the tone of his playfulness, she is now transformed into a woman of wit. In the wager scene, for example, she gets as much enjoyment from her role as Petruchio did from his at the beginning of the play: she revels in her revenge on Bianca. Interpretations of The Shrew vary according to where one chooses to lay the emphasis. The resultant ambiguity also springs from the reticence of the two main characters about their own feelings. (Such, perhaps, is the nature of farce.) Moreover, lacking (unlike A Shrew) an epilogue, The Shrew, contrary to Hazlitt's finding of a "downright moral" leaves the moral of the taming open. But, in spite of Shakespeare's choosing not to commit himself on this point, it is not too difficult to see, behind the some-what dark and violent farce, an inclination to more subtle romantic comedy breaking through, an inclination he was, of course, more fully to pursue in the plays immediately following.
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Taizo Tanimoto
Article type: Article
1968 Volume 44 Issue 2 Pages
149-162
Published: March 30, 1968
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When we try to examine the problem of evil in Melville, we must go into the Puritan mind. The Puritans of the 17th century saw the phenomenal world as the battle ground where the angelic force fought the Satanic. They believed in God's final victory. But to their mind, Satan's power appeared to be so overwhelming that they often saw prevailing evil over the world. Melville rejected the fearful Almighty who ruled the Puritan mind, but he was as obsessed by the problem of evil as was the Puritans. Just as Transcendentalists read the symbolic meanings in nature, Melville in his works often gave a symbolic value to the visible world. But Emerson's Transcendentalism was not Melville's lodestar. To Transcendentalists, the creator and the created are in perfect harmony. Melville, who sees the world as the evil infested place, flatly turns down the optimistic transcendentalism and the 19th-century protestantism that almost deified man. Moby Dick's oceanic world appears to be evil-infested, but it also shows a benign smile. In Moby-Dick and in Pierre we see evil as it co-exists with good; or rather, we see evil and good as two aspects of one entity. Northrop Frye maintains that the leviathan is an archetypal image of Satan. Melville's White Whale is indeed an evil monster as Ahab sees it to be. But it also represents such qualities that suggest the good. A careful examination into the fire image in the book also helps us here. The eery St. Elmo's fire that burns silently on top of the three masts of the Pequod seems devilish enough to the frightened crew. It, however, can be looked at as an serious warning given to Ahab from above as he tries to satisfy his monomaniac and indeed Satanic desire. Thus, the fire image in this book shows Melville's conscious effort to produce ambivalence. Dark-haired Isabel in Pierre also represents ambiguity of good and evil. And Plotinus Plinlimmon's double-perspective, ("Chronometricals" and "Horologicals") is what Pierre lacks as he tries to right the wrong of the world. Plinlimmon's pamphlet suggests the ambiguous condition on which man has to maintain his moral balance. The tragic view of life appears to be almost identical with the biblical on the basis that they both acknowledge the existence and the power of evil. But the biblical view of life does not see good and evil in the sense of ambiguity. According to the Bible they are two different and individual entities, though they seem to co-exist and are inseparably entangled with each other. This is where the biblical view turns sharply away from the Melvillian concept of tragic ambiguity. Melville's The Confidence-Man, a satire on the sinfulness and the folly of human nature, is closer to the biblical view than any of the previous works of this author, for Melville's satire can be taken as a warning against the credulity of man. No tragic hero appears in this book, nor does evil show itself as an ambiguous being. Evil is clearly personified in this work as a Protean swindler.
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Tsugio Aoki
Article type: Article
1968 Volume 44 Issue 2 Pages
163-175
Published: March 30, 1968
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Whatever differences there might have been between William and Henry James, they shared, true to the American tradition, a peculiarly idealistic attitude towards the plasticity of the self. Both were interested in the atmosphere of the mind in its constant flow and flux, and felt in such a state of the mind the possibility of the will's achieving an ideal, lasting self. Henry James, being a novelist, presented Isabel's adventures in an ironical light, but the fact should not be interpreted as the proof of James's total rejection of her idealism. For an American of Isabel's aspirations for self-improvement, the freedom of becoming, of choosing one's mode of existence, was destiny, rather than choice. The young nation in the process of making lacked the preestablished culture expressive of the people's spirit and conducive to the realization of life's potentialities. Given Isabel's aesthetic temperament, the dream of making one's life an art form is not merely an innocent delusion, nor choosing Osmond as her husband the simple result of machinations. These reflect the very condition of her freedom, the achievement of fully lived life. In the background of her efforts, there is a felt necessity of the human spirit's realizing itself in visible and tangible forms, even though her mask of the happy wife must crumble and show the miseries beneath in the end. James was fully aware of the dangers inherent in the concept of the self as something entirely subject to intellectual treatment, especially when the intellect itself was not nurtured in a living tradition. The uprooted will can operate as a force destructive of life from which it originally drew its energy. As Ralph puts it, trying to form one's character too much is like trying to pull open a tight, tender rose. The deepest irony of the novel is that by the very act of willing to be an ideal being Isabel cut herself off from the root of productive life. She who hoped to attain fully lived life as a lady leaves the impression that she has not lived as a woman. In her, what is truly admirable is inseparably connected with what is cold, even negative. James was not ostensibly a religious writer. He had, however, the sense of what may properly be called the original sin, and this is what we feel in Isabel's final predicament, if we regard the word sin as meaning separation, estrangement from one's essential being, based on freedom and destiny. The profound awareness of the dreadful abyss beneath the unstable surface of life was James's family trait. Osmond is not the primary cause of Isabel's unhappiness. He is, rather, the occasion of the revelation of the human predicament in Isabel.
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KOJI NUMASAWA
Article type: Article
1968 Volume 44 Issue 2 Pages
177-193
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Shoichi Watanabe
Article type: Article
1968 Volume 44 Issue 2 Pages
195-207
Published: March 30, 1968
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Examining the situation of grammatical studies in Britain from St. Augustine's coming to the island in 598 to Elfric's Grammar written at the beginning of the 11th century, on the basis of such fundamental historical documents as Venerable Bede's Historia Ecclesiastica, Anglo-Saxon laws, etc, the present writer has come to the following conclusions:- 1. We can assume that grammatical studies in Britain began with the coming of St. Augustine to the island. 2. The meaning of 'litteris' in such sentences as 'instituit scholam, in qua pueri litteris erudirentur' should be translated neither as mere ABC or elementary writing nor as belles-lettres, but as something that corresponds to what was taught at grammar schools in later periods. 3. The curriculum of Anglo-Saxon schools was not provincial but European. In other words it consisted of Greek and Latin classics, of the Bible and certain writings of the Fathers of the Church. 4. Education was carried out exclusively by the Church. The leaders of education, i.e. the bishops, were proficient not only in Old English but also in Greek and Latin. They knew, what is more, the writings of the Egyptians and of the Hebrews. 5. The vernacular was always held in esteem. 6. The grammar books which were commonly in use were the traditional ones, that is, those of Donatus and Priscianus. 7. The comparative method of learning Old English on the model of the Latin grammar and vice versa can be traced back to Alfred the Great. 8. The comparative study of Old English and Latin as undertaken by Elfric should be reappraised from a new positive point of view.
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TORU MITSUI
Article type: Article
1968 Volume 44 Issue 2 Pages
209-220
Published: March 30, 1968
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DAISUKE NAGASHIMA
Article type: Article
1968 Volume 44 Issue 2 Pages
221-232
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MATSUO SOGA
Article type: Article
1968 Volume 44 Issue 2 Pages
233-242
Published: March 30, 1968
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[in Japanese]
Article type: Article
1968 Volume 44 Issue 2 Pages
243-249
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[in Japanese]
Article type: Article
1968 Volume 44 Issue 2 Pages
249-253
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[in Japanese]
Article type: Article
1968 Volume 44 Issue 2 Pages
253-258
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[in Japanese]
Article type: Article
1968 Volume 44 Issue 2 Pages
258-261
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[in Japanese]
Article type: Article
1968 Volume 44 Issue 2 Pages
262-268
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Noel Stock, ed., Ezra Pound Perspective, Henry Regnery, 1965., xiii+219pp. / Julien Cornell, The Trial of Ezra Pound John Day, 1966. 216pp. / K. L. Goodwin, The Influence of Ezra Pound, Oxford University Press, 1966., xvi+230pp.
[in Japanese]
Article type: Article
1968 Volume 44 Issue 2 Pages
268-272
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Article type: Article
1968 Volume 44 Issue 2 Pages
272-275
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Article type: Article
1968 Volume 44 Issue 2 Pages
275-277
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Article type: Article
1968 Volume 44 Issue 2 Pages
277-280
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1968 Volume 44 Issue 2 Pages
280-285
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1968 Volume 44 Issue 2 Pages
286-289
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Article type: Article
1968 Volume 44 Issue 2 Pages
289-291
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1968 Volume 44 Issue 2 Pages
291-292
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1968 Volume 44 Issue 2 Pages
293-294
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Article type: Article
1968 Volume 44 Issue 2 Pages
294-296
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Article type: Article
1968 Volume 44 Issue 2 Pages
296-298
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Article type: Bibliography
1968 Volume 44 Issue 2 Pages
299-302
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Margaret Williams
Article type: Article
1968 Volume 44 Issue 2 Pages
303-304
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Article type: Article
1968 Volume 44 Issue 2 Pages
304-
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1968 Volume 44 Issue 2 Pages
304-305
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1968 Volume 44 Issue 2 Pages
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1968 Volume 44 Issue 2 Pages
305-
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Article type: Article
1968 Volume 44 Issue 2 Pages
305-
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1968 Volume 44 Issue 2 Pages
305-306
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Article type: Article
1968 Volume 44 Issue 2 Pages
306-
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Article type: Article
1968 Volume 44 Issue 2 Pages
306-
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Article type: Article
1968 Volume 44 Issue 2 Pages
306-307
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1968 Volume 44 Issue 2 Pages
307-
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1968 Volume 44 Issue 2 Pages
307-
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1968 Volume 44 Issue 2 Pages
307-308
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1968 Volume 44 Issue 2 Pages
308-
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1968 Volume 44 Issue 2 Pages
308-
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1968 Volume 44 Issue 2 Pages
308-309
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1968 Volume 44 Issue 2 Pages
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1968 Volume 44 Issue 2 Pages
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1968 Volume 44 Issue 2 Pages
309-310
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1968 Volume 44 Issue 2 Pages
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1968 Volume 44 Issue 2 Pages
310-
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1968 Volume 44 Issue 2 Pages
310-311
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