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THE JOURNAL OF 
 
 ENGLISH AND GERMANIC 
 
 PHILOLOGY 
 
 EDITED ' BB- ' » 
 
 GUSTAF E. KAESXEK and J AME& MORGAN HART 
 
 ySriVERSITY OF litlNOlS > , ' '■' COEKEI,!, XMIVEESITY 
 
 WITH THE 09-OPERAT1ON;\6f ,, ; 
 
 GEORGE T. FLOM, University of IpwA 
 PAUL H. GEUMMANN, University, or Nebraska 
 OTTO HELLER, Vashinqton UNiviifisiW 
 XJEORG HOLZ, University op Leipzig, Germany 
 CLARK S. NORTHUP, GoR*r:EiA, Univeksity 
 HORATIO S. WHITE, Habvarp University 
 
 ' Volume y'i, .No. '2\ ' 
 
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CONTENTS. 
 
 Laue Cooper, ' Some Wordsworthian Similes , 
 
 Fb. Klaebbe, 'Minor Notes on thei Beowulf.. 
 
 - ■;,' Cynewulf's Elene 1262 {:■ ' .' , .' -. ' 
 
 ^^-me»i.,886 . , ./■ ,,. . . 
 
 EjtikST VpSSjI^S^ehiiaplian . . . — . 
 
 PI. S. V. Jones,- The CUomiM's, theMSliacin, and the Arabian Tale of 
 
 ' r, the " Enchanted Horse " . . .■ . .■.../,'.. . : ' . 
 
 Edwin W. Fay, Gothic and English Etymologigs , . . . , . 
 
 Hermann Colmtz, jSusfimer ,6der Grermanisclie Namen in Keltische'm 
 
 >, Gewaiide . . . .-'...,.' . . ... './. 
 
 179 
 190 
 
 198 
 199 
 
 221 
 244 
 
 253 
 
 , REVIEWS. . 
 
 George O. Cubme : Engelien- Jantzen, Granimjitik der neuhochdeutschen 
 
 Sprache ; , Siitterlin and Waag, Deutpclje ' Sprachlehre f iir hohere ... 
 
 Lehranstalten ;' H"agl, Deutsche Sprachlehre f fir Mittelschuleli ;' . . 307; 
 
 J. M. McBbyde, Jr. : Kinard; English Grammar for Beginners . . 313- 
 
 ClARK S. NoRTHtJR : Kiiige, Mittelenglisches Lesebueh . ~ .' . 815 
 
 B. S. M6NRaE: Emerson, A Middle English Beadei*, . . . . 319 
 
 CURRENT LITERATURE. 
 
 Georg Edward r Xeuere Deutsche Literatur 
 
 324 
 
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■K SOME WOEDSm>RTHIA]Sr SIMILES. 
 
 SPEAKING of an earlier stage in the growth of his imagina- 
 tion, the author of " The Prelude " remarks to Coleridge 
 (" Prelude," ii, 377-386) : 
 
 Nor should this, perchance, 
 Pass unrecorded, that I still had loved 
 The exercise and produce of a toil. 
 Than analytic industry to me 
 More pleasing, and whose character I deem 
 Is more poetic as resembling more 
 Oeative agency. The song would speak 
 Of that interminable building reared 
 By observation of affinities 
 In objects where no brotherhood exists 
 To passive minds. 
 
 What his amplifying song could not here refrain from utter- 
 ing struck Wordsworth, ' perchance,' as a matter that might 
 go almost without discussion — ^at least in a poem addressed to 
 the reflective Coleridge. Yet had Wordsworth been writing a 
 prose treatise for the public, and had he been dealing with the 
 psychology of literary artists in general, instead of the mind of 
 one individual artist, however representative, his pronouncement 
 might have properly taken on a form even more explicit and 
 assured. At all events he would have had good precedent for 
 such assurance. The work on poetics commonly attributed to 
 Aristotle, although it assumes poets to be ' makers of plots ' — 
 rather than ' makers of verse ' — ^nevertheless regards the imagi- 
 native faculty as lurking, after the final analysis, in an innate 
 command of figurative detail ; as residing, therefore, less in the 
 gross structure of a poem than in particular images. Accord- 
 ing to this view, and to play a Kttle with etymology, we may 
 credit the poet or maker with beiug a creator of figures or 
 imagery even before he is a creator of fiction or plot : 
 
 179 
 
180 Cooper, [Vol. VI 
 
 'It is a great matter,' says Aristotle (Poetics, xxni, 9 ; 
 Butcher's translation, p. 87), 'to observe propriety in these 
 several modes of expression — compound words, strange (or rare) 
 words, and so forth. But the greatest thing by far is to have a 
 command of metaphor ; it is the mark of genius, — ^for to make 
 good metaphors implies an eye for resemblances.' 
 
 In this paper I wish merely to bring together some of the 
 marks of Wordsworth's genius, choosing from the wealth of his 
 imagery a number of those figures in which, as it seems to me, 
 his originality, and boldness of vision, and, if they are contem- 
 plated steadily, his justice of vision also, are most strikingly 
 exemplified. Undoubtedly, his eye for resemblances may be 
 appreciated best through his similes and direct comparisons ; in 
 these the affinities that he discovers between ' objects where no 
 brotherhood exists to passive minds ' are most plainly affirmed ; 
 more plainly, of course, than in his metaphors, if the latter term 
 be restricted to its technical usage. Inasmuch as the similes 
 here collected represent to me ultimate elements in Wordsworth's 
 style, I have made no systematic effi3rt to find external ' sources ' 
 for them, — although here and there they may remind one of 
 Virgil or Shakespeare or the Bible. Nor have I tried to arrange 
 them according to any plan suggestive of analytic industry. 
 Obviously, they might be grouped under a few main heads, for 
 example : similes or comparisons implying a ' brotherhood ' 
 existent between man and the lower animals, or between man 
 and inanimate nature, so-called, or between inanimate nature 
 and the lower animals ; yet even this arrangement might savor 
 of a partition in the great whole of nature such as Wordsworth 
 would hardly countenance. It is, in fact, his active sense of a 
 vital unity pervading the great whole that enables him to assert 
 so strong, often so startling, a bond of affinity among the parts. 
 Accordingly, I shall content myself with presenting this mate- 
 rial as I have noted it, supplying now and then a word of expla- 
 nation where the sense demands it, but trusting that the separate 
 comparisons by tbemselves will be enough ' to startle and way- 
 lay ' the reader, and afterwards ' to haunt ' him, without further 
 literary artifice. 
 
No. 2] Some Wordsworthian Similes. 181 
 
 The first 'creative' synthesis to summon our attention belongs 
 to the early period described by Wordsworth in the lines at the 
 beginning. It is extremely characteristic : 
 
 Calm is all nature as a resting wheel. 
 
 ( " Written In Very Early Youth," 1. 1. ) • 
 
 In their present connection the following need no comment. 
 
 Free as a colt at pasture on the hill, 
 
 I ranged at large, through London's wide domain. 
 
 Month after month. 
 
 ( " Prelude," Book ix, 11. 23-25. ) ^ 
 
 She shall be sportive as the fawn 
 That wild with glee across the lawn 
 Or up the mountain springs. 
 ("Three years she grew in sun and shower," 11. 13-15.)' 
 
 Here is the seductive and alluring half-breed pictured in 
 "Euth": 
 
 He waa a lovely Youth ! I guess 
 
 The panther in the wilderness 
 
 Was not so fair as he ; 
 
 And, when he chose to sport and play, 
 
 No dolphin ever was so gay 
 
 Upon the tropic sea. 
 
 ("Buth," 11. 37-42.)* 
 
 Wordsworth's cloud-similes are familiar : 
 
 Soft as a cloud is yon blue Bidge — ° 
 
 I wandered lonely as a cloud 
 
 That floats on high o'er vales and hills, 
 
 When all at once I saw a crowd, 
 
 A host, of golden daffodils. 
 
 ("I wandered lonely as a cloud," 11. 1-4.) * 
 
 1 Wordsworth, Poetical Works, Aldine Edition, Vol. I, p. 4. Other refer- 
 ences to Wordsworth's poems in this article are to the Aldine Edition, simply 
 by volume and page, thus : P. W., i. 4. 
 
 2 P. W., VII. 170. 
 
 »P. TT., n. 96. »P- Tr.,iv. 143. 
 
 ♦P. W., n. 112. 'P. W., u. 96. 
 
182 Cooper, [Vol. VI 
 
 He told of the magnolia, spread 
 High as a cloud, high over head I 
 The cypress and her spire. 
 
 ("Buth,"ll. 61-63.)' 
 
 With these compare : 
 
 The Knight had ridden down from Wensley Moor 
 With the slow motion of a summer's cloud. 
 
 ("Hart-Leap WeU," 11. l-%.y 
 
 In the next two, it is probable, we have .reminiscences of 
 Wordsworth's reading in the Arctic explorers. He is seeking 
 for violent figures with which to depict phases of the French 
 Kevolution. 
 
 . . . zeal, which yet 
 Had slumbered, now in opposition burst 
 Forth like a Polar summer. 
 
 ("Prelude," Book rs, U. 254-256. )3 
 
 Look ! and behold, from Calpe's sunburnt cliffs 
 To the flat margin of the Baltic sea, 
 Long-reverenced titles cast away as weeds ; 
 Laws overturned ; and territory split. 
 Like fields of ice rent by the polar wind. 
 
 ("Excursion," Bookix, U. 336-340.)* 
 
 In the following, however, he seems to be drawing on his 
 own observation — let us say, of Rydal or Grasmere : 
 
 Calm as a frozen lake when ruthless winds 
 Blow fiercely, agitating earth and sky. 
 The Mother now remained. 
 
 ("Excursion," Book m, 11. 650-652.) * 
 
 Our poet's objective and passionless contemplation of death 
 is typical in "Matthew" : 
 
 Poor Matthew, all his frolics o'er, 
 Is silent as a standing pool. 
 
 ("Matthew," 11. 17-18.) 6 
 
 Wordsworth's line on Milton is classical : 
 
 ip. W., n. 112. ^P. W., II. 133. sp. W., vn. 176. 
 
 *P. W., VI. 297. ^P. W., VI. 95. ep. W., IV. 211. 
 
No. 2] Some Wordsworthian Similes. 183 
 
 Thy soul was like a Star, and dwelt apart. 
 
 ("London, 1802," 1. 9.)' 
 
 His image of our western Indian is probably less familiar : 
 
 Free as the sun, and lonely as the sun. 
 
 ("Excursion," Book in, 1. 941.)' 
 
 His description of his wife, again, will be generally recognized : 
 
 Her eyes as stars of Twilight fair ; 
 Like Twilight's, too, her dusky hair. 
 
 ( " She was a Phantom of delight," 11. 5-6. ) » 
 
 Likewise his daffodils : 
 
 Continuous as the stars that shine 
 And twinkle on the milky way. 
 They stretched in never-ending, line 
 Along the margin of a bay. 
 
 (" I wandered lonely as a cloud," U. 7-10.)* 
 
 Curious is his recollection of the room in Paris where he 
 slept at the outbreak of the Revolution : 
 
 The place, all hushed and silent as it was. 
 Appeared unfit for the repose of night. 
 Defenceless as a wood where tigers roam. 
 
 ("Prelude," Book x, U. 91-93. )5 
 
 Curious also his remembrance of that noble revolutionist, his 
 friend Beaupuy : 
 
 . . . while he read. 
 Or mused, his sword was haunted by his touch 
 Q)ntinually, like an uneasy place 
 la his own body. 
 
 ("Prelude," Book ix, 11. 158-161.)* 
 
 I have already noticed several Wordsworthian similes of 
 calm. None is more famous than this : 
 
 ip. W., m. 134. *-P- W., n. 98. , 
 
 >P. W., yi. 104. '-P- ^•. vn. 190. 
 
 'P. W., II. 94. 'P- W-> vn- 174. 
 
184 Cooper, [Vol. VI 
 
 It is a beauteous evening, calm and free, 
 The holy time is quiet as a Nun 
 Breathless with adoration. 
 
 ("It is a beauteous evening . . . ," IL 1-3.)' 
 
 Similes of agitation are likewise typical : 
 
 Surprised by joy — impatient as the Wind, 
 
 I turned to share the transport — Oh I with whom 
 
 But Thee, deep buried in the silent tomb. 
 
 ("Surprised by joy . . . ," U. 1-3. )» 
 
 . . . but the man, 
 Who trembled, trunk and Umbs, like some huge oak 
 By a fierce tempest shaken, soon resumed 
 The steadfast quiet natural to a mind 
 Of composition gentle and sedate. 
 
 ("Excursion," Book VI., 11. 143-147.)' 
 
 As a matter of fact, the rapid transition from tumult to 
 repose is one of Wordsworth's favorite devices. So here : 
 
 . . . that Soul, 
 Which with the motion of a virtuous act 
 Flashes a look of terror upon guilt. 
 Is, after conflict, quiet as the ocean. 
 By a miraculous finger stilled at once. 
 
 ("Borderers," A^t I, U. 169-173.)* 
 
 And here : 
 
 This Sea that bares her bosom to the moon ; 
 The winds that will be howling at all hours, 
 And are up-gathered now like sleeping fliowers ; 
 For this, for everything, we are out of tune. 
 
 ("The world is too much with us ... ^" 11. 5-8.)' 
 
 Occasionally in Wordsworth there is the touch of Homer : 
 
 . . . far into the night 
 The Housewife plied her own peculiar work. 
 Making the cottage through thfe silent hours 
 Murmur as with the sound of summer flies. 
 
 ("Michael," 11. 125-128. )« 
 
 ip. W., m. 20. ip. W., I. 83; cf. Mark 4: 39. 
 
 ^P. W., m. 18. sp. W., m. 21. 
 
 »P W., VI. 191. 6p. W., I. 308. 
 
No. 2] Some Wordsworthian Similes. 185 
 
 I add a number more without remark : 
 
 Light as a sunbeam glides along the hills 
 She vanished — eager to impart the scheme 
 To her loved brother and his shy compeer. 
 
 ("Excursion,"" Book IX, 11. 429-431.)' 
 
 . . . and the boat advanced 
 Through crystal water, smoothly as a hawk. 
 That, disentangled from the shady boughs 
 Of some thick wood, her place of covert, cleaves 
 With correspondent wings the abyss of air. 
 
 ( "Excursion," Book ix, 11. 490-494.) ^ 
 
 No fountain from its rocky cave 
 E'er tripped with foot so free ; 
 She seemed as happy as a wave 
 That dances on the sea. 
 
 ("The Two April Mornings," 11. 49-52.) ' 
 
 And while the Pony moves his legs. 
 In Johnny's left hand you may see 
 The green bough motionless and dead : 
 The Moon that shines above his head 
 Is not more motionless than he. 
 
 ( "The Idiot Boy," 11. 77-81. ) * 
 
 Perhaps he's turned himself about. 
 His face unto his horse's tail, 
 And still and mute, in wonder lost, 
 All silent as a horseman-ghost. 
 He travels slowly down the vale. 
 
 ("The Idiot Boy," 11. 322-326. )5 
 
 In one way or another, Wordsworth knew a great deal about 
 the joys of travel and discovery : 
 
 Before me shone a glorious world — 
 Fresh as a banner bright, unfurled 
 To music suddenly. 
 
 ("Ruth," 11. 169-171. )« 
 
 Two lines from "The Thorn," 
 
 ip. W., VI. 300. 'P. W., VI. 302. 'P. W., iv. 213. 
 
 ♦P. W., I. 292. °P. W., I. 300. «P. W., II. 116. 
 
186 Cooper, [Vol. VI 
 
 Not higher than a. two years' child 
 It stands erect, this aged Thorn 
 
 ("The Thorn," U. 5-6) ' 
 
 remind us of various similar passages, among them the Words- 
 
 worthian couplet near the beginning of Coleridge's "Ancient 
 
 Mariner " : 
 
 And listens like a three years' child : 
 The Mariner hath his will. 
 
 Wordsworth rated very highly the imaginative quality in 
 
 " Peter Bell." "Was this partly on account of the similes in 
 
 that poem ? Three or four instances from it may not be out of 
 
 place. 
 
 The Ass is startled — and stops short 
 Eight in the middle of the, thicket ; 
 And Peter, wont to whistle loud 
 Whether alone or in a crowd. 
 Is silent as a silent cricket. 
 
 ("Peter Bell," 11. 621-625.) = 
 
 By this his heart is lighter far ; 
 And, finding that he can account 
 So snugly for that crimson stain. 
 His evil spirit up again. 
 Does like an empty hucket mount. 
 
 ("Peter Bell," 11. 801-805. )« 
 
 But as an oak in breathless air 
 
 Will stand though to the centre hewn ; 
 
 Or as the weakest things, if frost 
 
 Have stiffened them, maintain their post ; 
 
 So he beneath the gazing moon ! — 
 
 ("Peter Bell," U. 846-850.)* 
 
 But, more than all, his heart is stung 
 To think of one, almost a child ; 
 A sweet and playful Highland girl, 
 As light and beauteous as a squirrel. 
 As beauteous and as wild ! 
 ("Peter Bell," 11. 886-890.) » 
 
 'P. W., II. 125. 
 
 ^P. W., n. 241. 
 
 'P. W., 11. 247 ; cf. Shakespeare, Riehard II, iv. 1. 185. 
 
 *P. W., II. 248. sp. w., n. 250. 
 
No. 2] Some Wordsworthian Similes. 187 
 
 My list would surely be incomplete without an example from 
 the poem in which, as one of the best of "Wordsworthian critics, 
 E. H. Hutton, averred, our poet reached the high-water mark 
 of his power and technique, the " Song at the Feast of Brougham 
 Castle " : 
 
 Now Who is he that bounds with joy 
 On Carrook's side, a Shepherd-boy? 
 No thoughts hath he but thoughts that pass 
 Light as the wind along the grass. 
 Can this be He who hither came 
 In secret, like a smothered flame? 
 
 ( "Song at the Feast of Brougham Castle," 11. 72-77. ) ' 
 
 Nor should the passage be omitted that Wordsworth intro- 
 duces, from his own works, in his " Preface to the Edition of 
 1815," as an illustration of the way in which the poetic faculty 
 is employed ' upon images in a conjunction by which they mod- 
 ify each other ' : 
 
 As a huge stone is sometimes seen to lie 
 Couched on the bald top of an eminence ; 
 Wonder to all who do the same espy, 
 By what means it could thither come, and whence ; 
 So that it seems a thing endued with sense : 
 Like a sea-beast crawled forth, that on a shelf 
 Of rock or sand reposeth, there to sun itself ; 
 
 Such seemed this Man, not all alive nor dead. 
 Nor all asleep — in his extreme old age. 
 
 ("Resolution and Independence," 11. 57-65.)^ 
 
 'In these images,' Wordsworth explains,^ 'the conferring, 
 the abstracting, and the modifying powers of the Imagination, 
 immediately and mediately acting, are all brought into conjunc- 
 tion. The stone is endowed with something of the power of life 
 to approximate it to the sea-beast, and the sea-beast stripped of 
 some of its vital qualities to assimilate it to the stone ; which 
 intermediate image is thus treated for the purpose of bringing 
 the original image, that of the stone, to a nearer resemblance to 
 the figure and condition of the aged Man ; who is divested of 
 
 ip. W., II. 142. 'P. W., II. 121-122. 
 
 ' Wordsworth's Literary Criticism, ed. Nowell C. Smith, 1905, p. 160. 
 
188 Cooper, [Vol. VI 
 
 so much of the indications of life and motion as to bring him to 
 the point where the two objects unite and coalesce in just com- 
 parison.' 
 
 As may be surmised from examples given above, Words- 
 worth, through the boldness and rapidity of his vision, often 
 omits such steps of assimilation or 'coalescence' as he here unfolds ; 
 yet his most surprising comparisons are not on that account 
 necessarily less 'just.' Similes must sometimes have flashed 
 upon his inward eye with such a compelling claim to reality 
 that, however remote the two objects compared might be ' to 
 passive minds,' he was constrained to disregard all the steps of 
 ordinary artistic gradation in uniting them. In such cases, to 
 ' modify ' might have involved a false and miworthy manipula- 
 tion. Wordsworth's similes, no matter how abrupt at first 
 sight, are a part of his truest experience. ' Many of my poems,' 
 so he tells us ', ' have been influenced by my own circumstances, 
 when I was writing them. " The Warning " was composed on 
 horseback, while I was riding from Moreby in a snow-storm. 
 Hence the simile in that poem, 
 
 While thoughts press on and feelings overflow 
 And quick words round him fall like jtoAes of mow.' 
 
 It is not, then, on account of a superficial interest or pecu- 
 liarity attaching to Wordsworth's similes that I have brought 
 some of them together for inspection, but rather on account of 
 their deep underlying truth — truth to their author and to the 
 constitution of things as he saw it. At first blush a few of them 
 may appear to be literary abortions, crude excrescences. But 
 if it be generally admitted that Wordsworth saw more profoundly 
 into nature than any other English poet of his era, we may be 
 unsafe in rejecting even the least expected of his comparisons — 
 for example. 
 
 Calm is all nature as a resting wheel 
 
 — without a considerable pause for reflection. To the passive 
 
 ' Memoirs of Wordsworth, by Christopher Wordsworth, n. 486. 
 
No. 2] Some WordswortKian Similes. 189 
 
 mind they may now and then be a stumbling-block, and to the 
 unsympathetic, foolishness. Their truth and justice become 
 apparent when they are dwelt upon with active sympathy by a 
 mind that through habit is less inclined to condemn than to 
 admire. 
 
 Lane Coopee. 
 
 COBNELL University. 
 
190 Klaeber, [Vol. VI 
 
 MINOR NOTES ON THE BEOWULF. 
 
 21. "TTf a paper printed in Mod. Phil. 3. 445 ff., I transla- 
 I ted 1. 216, after Grein and Sievers (Beowulf wnd 
 Saxo, p. 190f.), 'in his father's house ' (Grein ^: (xme, Grein ^: 
 irnie). But recently Professor Blackburn called my atten- 
 tion to the strong probability of . . rme having actually been 
 the original reading of the MS. (cf. Zupitza's transliteration and 
 note) and after considering the merits of the few available words 
 that have been proposed {feorme pKemble], bearme [Bouterwek, 
 in 1854, Thorpe], harme [Bouterwek, Z.f. d. A. 11. 71]), I 
 have come to consider bearme the most presentable candidate for 
 admission, giving it however a new interpretation. I do not 
 understand on bearme with reference to the geong(^yguma ('in 
 his father's lap,' ^ ' in des Vaters Schutze noch ' Bouterwek)-— 
 which would be very awkward — but with regard to feofigifivM^f 
 which may be credited, I trust, with the sense of 'presenl^*- 
 ' precious object to be given.' For bearm I venture to postu- 
 late the meaning of 'possession' which could easily have 
 developed from its use in connection with verbs like don, alec- 
 gan, cuman (cf. also fcB/>m in 1, 1210 : gehwearf Aa in Francmn, 
 fcBpm). So fromum feohgiftvim on faeder bearme would in fact 
 correspond pretty closely to Saxo's drnnestids stipendiis (cf. 
 Sievers, l. c). 
 
 1496-151a. Since these lines as emended by various scholars 
 are stUl as unsatisfactory as ever, another attempt at healing 
 them may be pardoned. The suspiciously harsh collocation 
 gyddum (MS. gyddu) geomore is got rid of by Trautmann's 
 emendation geomqrum, which however neither explains the gen- 
 
 'In its literal sense the phrase is found in IHal. Oreg. 289. 18 : on Ms feeder 
 bearme. 
 
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