The Critic's Alchemy: A Study of the Introduction of French Symbolism into England

The Critic's Alchemy: A Study of the Introduction of French Symbolism into England

The Critic's Alchemy: A Study of the Introduction of French Symbolism into England

The Critic's Alchemy: A Study of the Introduction of French Symbolism into England

Excerpt

It is a pleasure to pay a long-standing debt of gratitude to Ernest Hunter Wright for generous and helpful counsel during many years, and to Emery Neff for his sustained and patient guidance of this book and of an earlier, as it were, preliminary essay, on Aldous Huxley and French literature. I am grateful to William York Tindall and Justin O'Brien, with whom I discussed the persons and books in the following pages and who out of the fullness of their knowledge of forces in modern British and French literature have preserved me from certain egregious errors. I am indebted to Lionel Trilling and George Parks for valuable criticism on an early draft of the manuscript, and to Susanne Nobbe for useful suggestions on the all but final version.

I am glad to have this opportunity to thank earlier teachers who, although they do not know it, helped to shape this book: Jeannette Marks, whose superb course in modern British poetry first provoked my interest in this period; Erika von Erhardt, who painstakingly guided my first steps in comparative literature; and Margaret Gilman, whose learned seminar in Baudelaire was the efficient cause of this study. To my friend Dorothy Walsh, I am indebted for criticism--that of a professional philosopher--of more than one draft of the manuscript. And I wish to thank for their generous help in the reading of proof and the typing of manuscript, my friends and former colleagues: Helen Corsa, Gertrude King Hoey, Geneva Sayre and Elinor Ware.

Without the facilities so kindly put at my disposition by the librarians of Wells College and Russell Sage College during several summers I should have been even longer at this task. And it could not, of course, have been done at all without the opportunity to use the rich resources of the British Museum, the Bibliothéque Nationale, the New York Public Library and the . . .

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