Notes 3

 4. North and South

1. Memoir, I, 140.

2. "The Isle of Arran," Art Journal, XLVII (July 1885), 205.

3. Ibid.

4. Phyllis Bentley, The English Regional Novel (London, 1941), pp. 12 13.

5. Memoir, II, 104.

6. See Pierre Moreau, "De quelques paysages introspectifs," in Formen der Selbstdarstellung, ed. Gûnter Reichenkron and Erich Haase (Berlin, 1956), p. 280. Baudelaire may also have provided some reinforcement on this score. Like Sharp, Baudelaire wrote a good deal of art criticism, and was inclined to make distinctions among forms of expression in painting and sculpture based on nationality, and particularly upon the northern. southern European dichotomy. See especially "Qu'est-ce que le romantisme?" in Curiosités esthétiques, Oeuvres complétes de Charles Baudelaire (Paris, 1923), I, 90-92.

7. William Sharp, ed., Poetical Works of Walter Scott (London, 1885), introductory notice, I, 15.

8. "Arran," p. 208.

9. Memoir, I, 117.

10. Ernest Rhys, EverymanRemembers (London,1931),p.79.

11. The Scottish Art Review lasted only through 1888 and 1889. It is an indication of the extent to which Sharp drew on the resources of a few well-placed friendships that the magazine was originally published by Elliott Stock, Ltd., the publisher of Sharp's first two volumes of verse, and was then taken over by Walter Scott, Ltd., the publisher of Sharp's third volume of verse, as well as the Canterbury Poets and Camelot Classics. In its Scoto-Celtic emphasis, the Scottish Art Review was an earlier---and in fact, finer---Evergreen (the organ of the Edinburgh movement in the nineties). It was handsomely printed, and the contents---art, poetry, short stories, criticism--- had a more sustained high quality than did its Edinburgh successor.

12. "Reminiscences of the Marble Quarries of Carrara," Good Words, XXXI (August 1890), 624.

13. "Random Impressions from an Author's Note-Book," Scottish Art Review, I (January 1889), 239.

14. Ibid.

15. "The City of Beautiful Towers," Good Words, XXVI (May 1885), 322.

16. "Random Impressions," p. 239.

17. Memoir, I, 133.

18. "Arran," p. 208.

19. Memoir, I, 138.

20. Ibid., p. 147.

21. Ibid., p. 128.

22. "Beautiful Towers," p. 324.

23. Memoir, I, 132.

24. Ibid., P. 126.

25. "Random Impressions," p. 240.

26. Memoir, I, 140-141.

27. Ibid., p. 141.

28. Fiona Macleod, "The Man on the Moor," The Winged Destiny (London, 1904), pp. 19-20.

29. "Random Impressions," p. 238.

30. Ibid., P. 237.

31. Memoir, I, 139-140.

32. Ibid., p. 1 3 3.

33. "Beautiful Towers," p. 326.

34. "Fröken Bergliot," The Gipsy Christ and Other Tales (Chicago, 1895), pp. 260-261.

35. Ibid., p. 269.

36. Ibid., p. 273.

37. Memoir, I, 310.

38. Life of Browning (London, 1890), p. 12.

39. Ibid., p. 57.

40. In his biography of Heine (London, 1888, p. 26) Sharp describes the wandering poet's discovery of a statue of Venus, fallen in a deserted wood and covered with reedy grass. For Heine the sight is symbolic of the decadence of the ancient spirit of beauty: the goddess is allowed to lie unworshipped by a world tragically oblivious of the need that had created her. Precisely the same theme is contained in Sharp's poem "The Fallen Goddess" (Sospiri di Roma, Rome, 1891). Another parallel with Heine appears in Sharp's Fiona Macleod work. There the figure of "the Washer of the Ford" (The Washer of the Ford, Edinburgh, 1895), a woman who washes linen for shrouds in a running stream, is identical with a figure occurring in a poem in Heine's Traumbilder series, "Ein Traum, gar sctsam scbauerlich" (Heine, Werke und Briefe [Berlin, 1961], I, 15). Georgiana Goddard King's assertion that Fiona Macleod's source for the "Washer" was volume VIII of a contemporary collection of Spanish folklore, the Biblioteca de las tradiciones españoles, is therefore undoubtedly erroneous, since Sharp specifically alludes to the Heine image in his biography (pp. 32-33). King's parallel was meanly inspired as well as imperfect, requiring her to add that Sharp's substitution of shrouds for the handkerchief of the Spanish legend was, "of course, sheer literature." ("Fiona Macleod," Modern Language Notes, XXXIII [June 1918], 355.)

41. Life of Heine (London, 1888), p. 54.

42. Ibid., p. 12.

43. Ibid., p. 203. Heine, "Ein Fichtenbaum steht einsam," Lyrisches Intermezzo, 33, Werke und Briefe, I, 85.

44. Ibid., P. 61.

45. Ibid., pp. 186-187.

 
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