Li Ch'ing-chao - Copyright Page

ISSN 0896-0011

Volume 71

Criticism of the Works of World Authors from Classical Antiquity through the Fourteenth Century, from the First Appraisals

to Current Evaluations

Jelena Krstovic´

Project Editor

Classical and Medieval Literature Criticism, Vol. 71
Project Editor

Jelena O. Krstovic´

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ISBN 0-7876-8018-4
ISSN 0896-0011

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Preface

S
ince its inception in 1988, Classical and Medieval Literature Criticism (CMLC) has been a valuable resource for students and librarians seeking critical commentary on the works and authors of antiquity through the fourteenth century. The great poets, prose writers, dramatists, and philosophers of this period form the basis of most humanities curricula, so that virtually every student will encounter many of these works during the course of a high school and college education. Reviewers have found CMLC “useful” and “extremely convenient,” noting that it “adds to our understanding of the rich legacy left by the ancient period and the Middle Ages,” and praising its “general excellence in the presentation of an inherently interesting subject.” No other single reference source has surveyed the critical reaction to classical and medieval literature as thoroughly as CMLC.

Scope of the Series

CMLC provides an introduction to classical and medieval authors, works, and topics that represent a variety of genres, time periods, and nationalities. By organizing and reprinting an enormous amount of critical commentary written on authors and works of this period in world history, CMLC helps students develop valuable insight into literary history, promotes a better understanding of the texts, and sparks ideas for papers and assignments.

Each entry in CMLC presents a comprehensive survey of an author’s career, an individual work of literature, or a literary topic, and provides the user with a multiplicity of interpretations and assessments. Such variety allows students to pursue their own interests; furthermore, it fosters an awareness that literature is dynamic and responsive to many different opinions. Early commentary is offered to indicate initial responses, later selections document changes in literary reputations, and retrospective analyses provide the reader with modern views. The size of each author entry is a relative reflection of the scope of the criticism available in English.

An author may appear more than once in the series if his or her writings have been the subject of a substantial amount of criticism; in these instances, specific works or groups of works by the author will be covered in separate entries. For example, Homer will be represented by three entries, one devoted to the Iliad, one to the Odyssey, and one to the Homeric Hymns.

CMLC continues the survey of criticism of world literature begun by Thomson Gale’s Contemporary Literary Criticism (CLC), Twentieth-Century Literary Criticism (TCLC), Nineteenth-Century Literature Criticism (NCLC), Literature Criticism from 1400 to 1800 (LC), and Shakespearean Criticism (SC).

Organization of the Book

A CMLC entry consists of the following elements:

  • © The Author Heading cites the name under which the author most commonly wrote, followed by birth and death dates. Also located here are any name variations under which an author wrote, including transliterated forms for authors whose native languages use nonroman alphabets. If the author wrote consistently under a pseudonym, the pseudonym will be listed in the author heading and the author’s actual name given in parenthesis on the first line of the biographical and critical information. Uncertain birth or death dates are indicated by question marks. Single-work entries are preceded by a heading that consists of the most common form of the title in English translation (if applicable) and the original date of composition.
  • © The Introduction contains background information that introduces the reader to the author, work, or topic that is the subject of the entry.

    • vii

    in Porphyry’s Life of Plotinus,” in Greek Biography and the Panegyric in Late Antiquity. Edited by Tomas Hagg and Philip Roussea, with the assistance of Christian Hogel. University of California Press, 2000. Copyright © 2000 by the Regents of the University of California. Reproduced by permission.—Gerli, E. Michael. From “Liminal Junctures: Courtly Codes in the Cantar de Mio Cid,” in Oral Tradition and Hispanic Literature: Essays in Honor of Samuel G. Armistead. Edited by Michael M. Caspi. Garland Publishing, Inc, 1995. Copyright © 1995 by Michael M. Caspi. All rights reserved. Reproduced by permission of Routledge/Taylor & Francis Books, Inc., and the author.—Gilson, Etienne. From The Mystical Theology of Saint Bernard. Translated by A. H. C. Downes. Cistercian Publications, 1990. First published February 1940 by Sheed and Ward, London and New York. Reproduced by permission of the Pontifical Institute of Mediaeval Studies.—Hu, Pin-Ching. From Li Ch’ing-chao. Twayne Publishers, Inc., 1966. Copyright © 1966 by Twayne Publishers, Inc. All rights reserved. Reproduced by permission of The Gale Group.—Lamberton, Robert. From Homer the Theologian: Neoplatonist Allegorical Reading and the Growth of the Epic Tradition. University of California, 1986. Copyright © 1986 by the Regents of the University of California. Reproduced by permission.—Leclercq, Jean. From “St. Bernard in Our Times,” in Saint Bernard of Clairvaux: Studies Commemorating the Eighth Centenary of His Canonization. Edited by M. Basil Pennington. Cistercian Publications, 1977. Copyright © 1977 Cistercian Publications. Reproduced by permission.—Merton, Thomas. From The Last of the Fathers. Harcourt, Brace and Company, 1954. Copyright © 1954 and renewed 1982 by The Trustees of the Merton Legacy Trust. All rights reserved. Reproduced by permission of Harcourt, Inc.—Merton, Thomas. From Thomas Merton on Saint Bernard. Cistercian Publications, 1980. Copyright © 1980 by the Trustees of the Merton Legacy Trust. Reproduced by permission of the Literary Estate of the author.—Moritz, Therese. From “Humanism in St. Bernard of Clairvaux,” in The Chimaera of His Age: Studies of Bernard of Clairvaux; Studies in Medieval Cistercian History V. Edited by E. Rozanne Elder and John R. Sommerfeldt. Cistercian Publications, 1980. Reproduced by permission.—Paulsell, William O. From “Virtue in St Bernard’s Sermon on the Song of Songs,” in Saint Bernard of Clairvaux: Studies Commemorating the Eighth Centenary of His Canonization. Edited by M. Basil Pennington. Cistercian Publications, 1977. Copyright © 1977 Cistercian Publications. Reproduced by permission.—Pranger, M. B. From Bernard of Clairvaux and the Shape of the Monastic Thought: Broken Dreams. E. J. Brill, 1994. Copyright © Copyright 1994 by E. J. Brill. Leiden, The Netherlands. All rights reserved. Reproduced by permission of Brill Academic Publishers.—Renna, Thomas. From “St. Bernard and the Pagan Classics: An Historical View,” in The Chimaera of His Age: Studies of Bernard of Clairvaux; Studies in Medieval Cistercian History V. Edited by E. Rozanne Elder and John R. Sommerfeldt. Cistercian Publications, 1980. Reproduced by permission.—Smerillo, G. L. J. From “Caritas in the Initial Letters of Saint Bernard,” in Saint Bernard of Clairvaux: Studies Commemorating the Eighth Centenary of His Canonization. Edited by M. Basil Pennington. Cistercian Publications, 1977. Copyright © 1977 Cistercian Publications. Reproduced by permission.—Smith, Andrew. From Porphyry’s Place in the Neoplatonic Tradition. Martinus Nijhoff, 1974. Copyright © 1974 by Martinus Nijhoff, The Hague, Netherlands. All rights reserved. Reproduced with the kind permission from Springer Science and Business Media and the author.—Spencer, Colin. From The Heretic’s Feast: A History of Vegetarianism. Fourth Estate, 1993. Copyright © 1993 by Colin Spencer. All rights reserved. Reproduced by permission of Grub Street.—Stiegman, Emero. From “The Church as Bride in Bernard of Clairvaux’s Sermons on the Song of Songs,” in The Chimaera of His Age: Studies of Bernard of Clairvaux; Studies in Medieval Cistercian History V. Edited by E. Rozanne Elder and John R. Sommerfeldt. Cistercian Publications, 1980. Reproduced by permission.—Warren, Edward W. From Porphyry the Phoenician: Isagoge. The Pontifical Institute of Mediaeval Studies, 1975. Copyright © by The Pontifical Institute of Mediaeval Studies. Reproduced by permission.—Webber, Ruth H. From Oral Tradition in Literature: Interpretation in Context. Edited by John Miles Foley. Copyright © 1986 by the Curators of the University of Missouri. Reproduced by permission of the University of Missouri Press.—Webber, Ruth House. From Oral Tradition and Hispanic Literature: Essays in Honor of Samuel G. Armistead. Edited by Michael M. Caspi. Garland Publishing, Inc, 1995. Copyright © 1995 by Michael M. Caspi. All rights reserved. Reproduced by permission of Routledge/Taylor & Francis Books, Inc.—Wixted, John Timothy. From “The Poetry of Li Ch’ing-chao: A Woman Author and Women’s Authorship,” in Voices of the Song Lyric in China. Edited by Pauline Yu. University of California Press, 1994. Copyright © 1994 by The Regents of the University of California. Reproduced by permission of Pauline Yu.

    PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN CMLC, VOLUME 71, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    El Cid, single combat with Martym Gomez at Callaforra. From a 1344 manuscript of Chronicle of Spain. The Art Archive/ Science Academy Lisbon/Dagli Orti. Reproduced by permission.—Porphyry of Tyre, engraving by Thevet, 1584. Mary Evans Picture Library. Reproduced by permission.—Saint Bernard of Clairvaux. The Library of Congress.

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