Quarterly Review

The Quarterly Review was established by John Murray in 1809 as a Tory rival to the Whig supporting Edinburgh Review. The idea for the journal came from Sir Walter Scott, a Tory who had previously worked for Francis Jeffrey's Edinburgh Review. The first editor was William Gifford and contributors included Robert Southey and Tory politicians George Canning, and the Marquis of Salisbury.

The Quarterly Review stood politically for preserving the status quo. The journal was very hostile to the work of writers in favour of political reform. Writers such as Percy Bysshe Shelley, Leigh Hunt, William Hazlitt, Thomas Babington Macaulay and Charles Dickens all received hostile reviews in the journal, whereas the work of Jane Austin and Sir Walter Scott was warmly praised. It was alleged that John Wilson Croker's savage review of John Keat's Endymion contributed to the poet's early death. The Quarterly Review ceased publication in 1967.

Quarterly Review

Quarterly Review. This was the Tory riposte to the very successful Edinburgh Review , which had been launched in 1802. It was started in 1809 by Sir Walter Scott, George Ellis, and John Wilson Croker, with William Gifford as editor. The early contributors included Canning and Robert Southey. By the middle of the century the taste for magisterial, learned, and lengthy reviews was beginning to decline.

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John Keats: Critical Opinion – ‘The Quarterly Review’

Reviewers have been sometimes accused of not reading the works which they affected to criticise. On the present occasion we shall anticipate the author’s complaint, and honestly confess that we have not read [Endymion: A Poetic Romance]. Not that we have been wanting in our duty – far from it – indeed, we have made efforts almost as superhuman as the story itself appears to be, to get through it but with the fullest stretch of our perseverance, we are forced to confess that we have not been able to struggle beyond the first of the four books of which this Poetic Romance consists. We should extremely lament this want of energy, or whatever it may be, on our parts, were it not for one consolation – namely, that we are no better acquainted with the meaning of the book through which we have so painfully toiled, than we are with that of the three which we have not looked into.
It is not that Mr Keats, (if that be his real name, for we almost doubt that any man in his sense would put his real name to such a rhapsody,) it is not, we say, that the author has not powers of language, rays of fancy, and gleams of genius – he has all these but he is unhappily a disciple of the new school of what has been somewhere called Cockney poetry which may be defined to consist of the most incongruous ideas in the most uncouth language….

[Mr Keats] is a copyist of Mr Hunt but he is more unintelligible, almost as rugged, twice as diffuse, and ten times more tiresome and absurd than his prototype, who, though he impudently presumed to seat himself in the chair of criticism, and to measure his own poetry by his own standard, yet generally had a meaning. But Mr Keats had advanced no dogmas which he was bound to support by examples: his nonsense therefore is quite gratuitous he writes it for its own sake, and, being bitten by Mr Leigh Hunt’s insane criticism, more than rivals the insanity of his poetry….

Of the story we have been able to make out but little it seems to be mythological, and probably relates to the loves of Diana and Endymion but of this, as the scope of the work has altogether escaped us, we cannot speak with any degree of certainty and must therefore content ourselves with giving some instances of its diction and versification: – and here again we are perplexed and puzzled. – At first it appeared to us, that Mr Keats had been amusing himself and wearying his readers with an immeasurable game at boutsrimes [a game in which the player improvises a poem from rhyme words that have been supplied] but, if we recollect rightly, it is an indispensable condition at this play, that the rhymes when filled up shall have a meaning and our author, as we have already hinted, has no meaning. He seems to use to write a line at random, and then he follows not the thought excited by this line, but that suggested by the rhyme with which it concludes. There is hardly a complete couplet inclosing a complete idea in the whole book. He wanders from one subject to another, from the association, not of ideas but of sounds, and the work is composed of hemistichs which, it is quite evident, have forced themselves upon the author by the mere force of the catchwords on which they turn.

We shall select, not as the most striking instance, but as that least liable to suspicion, a passage from the opening of the poem:

Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep and such are daffodils
With the green world they live in and clear rills
That for themselves a cooling covert make
‘Gainst the hot season: the mid forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead &c, &c. …

Here it is clear that the word, and not the idea, moon produced the simple sheep and their shady boon, and that ‘the dooms of the mighty dead’ would never have intruded themselves but for the ‘fair musk-rose blooms’….

We come now to the author’s taste in versification. He cannot indeed write a sentence, but perhaps he may be able to spin a line. Let us see. The following are specimens of his prosodial notions of our English Heroic metre.

Dear as the temple’s self, so does the moon,
The passion poesy, glories infinite….
So plenteously all weed-hidden roots….
Of some strange history, potent to send….
Before the deep intoxication….
Her scarf into a fluttering pavilion….

By this time our readers must be pretty well satisfied as to the meaning of his sentences and the structure of his lines: we now present them with some of the new words with which, in imitation of Mr Leigh Hunt, he adorns our language.

We are told that ‘turtles passion their voices,’…. that ‘an arbour was nested,’…. and a lady’s locks ‘gordian’d up,…. and to supply the place of the nouns thus verbalized Mr Keats, with great fecundity, spawns new ones such as ‘men-slugs and human serpentry’….

But enough of Mr Leigh Hunt and his simple neophyte. – If any one should be bold enough to purchase this ‘Poetic Romance,’ and so much more patient, than ourselves, as to get beyond the first book, and so much more fortunate as to find a meaning, we entreat him to make us acquainted with his success we shall then return to the task which we now abandon in despair, and endeavour to make all due amends to Mr Keats and to our readers.

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The LQR's founding editor was Frederick Pollock, then Corpus Professor of Jurisprudence at the University of Oxford. [2] Founded in 1885, it is one of the oldest law journals in the English-speaking world, after only the University of Pennsylvania Law Review and the South African Law Journal. [4] The editors' intention was that the journal would help to establish law as a worthy field of academic study. [2] In this purpose it has "triumphed". [2] In the first volume alone its contributors included, in addition to Pollock himself, Sir William Anson, Albert Venn Dicey, and Thomas Erskine Holland, each of whom had assisted in the founding of the journal, as well as Oliver Wendell Holmes, F. W. Maitland, T. E. Scrutton (later Lord Justice), James Fitzjames Stephen, and Paul Vinogradoff. [2]

Pollock edited the LQR for its first 35 years (1885-1919). [2] He was succeeded by A. E. Randall, then editor of Leake's Law of Contracts. [5] When Randall died suddenly in April 1925, Pollock returned to edit the final two issues of that year. [6] From 1926 the editorship was taken over by A. L. Goodhart, who stayed in that position for almost half a century. [6] [7] In 1971 Paul Baker succeeded to the editorship and in 1987 he was replaced by Francis Reynolds. [7] [8] [9] The LQR's current editor-in-chief is Peter Mirfield of the University of Oxford. [1]

  1. ^ abc"Law Quarterly Review, The - 0023-933X - SWEET & MAXWELL". . Retrieved 28 February 2020 .
  2. ^ abcdef
  3. Brake, Laurel Demoor, Marysa (2009). Dictionary of Nineteenth-century Journalism in Great Britain and Ireland. Academia Press. ISBN978-90-382-1340-8 .
  4. ^
  5. Campbell, Kevin Goodacre, Alan Little, Gavin (2006). "Ranking of United Kingdom Law Journals: An Analysis of the Research Assessment Exercise 2001 Submissions and Results". Journal of Law and Society. 33 (3): 335–363. doi:10.1111/j.1467-6478.2006.00362.x. ISSN1467-6478.
  6. ^
  7. Kahn, Ellison (2004). "Speech at the Juta Dinner at the South African Law Journal Jubilee Conference". South African Law Journal. 121: 271.
  8. ^
  9. Pollock, Frederick (1919). "A note of farewell". Law Quarterly Review. 35: 283.
  10. ^ ab
  11. Goodhart, A. L. (1926). "Notes". Law Quarterly Review. 42: 1.
  12. ^ ab
  13. Hoffmann, L. H. (1988). "His Honour Judge P.V. Baker, Q.C". Law Quarterly Review. 104: 1–3.
  14. ^
  15. "Oxford Law :: Profile of Francis Reynolds". 28 September 2011. Archived from the original on 28 September 2011 . Retrieved 28 February 2020 .
  16. ^
  17. Collins, Lawrence (April 2014). "Editorial, Professor F.M.B. Reynolds, Q.C. (Hon.), D.C.L., F.B.A". Law Quarterly Review. 130: 173–174.

This article about a journal on law and legal issues is a stub. You can help Wikipedia by expanding it.

Quarterly Review - History

Contents of the Winter 2021 Issue

William Baziotes
White Bird
Oil on Canvas
(62.5 x 50.5 x 2.75 inches), 1957

Albright-Knox Art Gallery, Buffalo, NY
Gift of Seymour H. Knox Jr.
©Estate of William Baziotes
Photo: Albright-Knox Art Gallery/
Art Resource, NY

William Baziotes
White Bird (painting)

Marina Warner
The Burned-Out Bookshop

Lucienne Bestall
A History of Fire

Gabriel Levin
They Shall Wander in Extremity

Jerry L. Thompson
The Service Entrance

Adam Schwartz
Carmen and Ant (fiction)

David Russell
How to Face Reality: Ruskin, Freud, Winnicott

Bruce Lawder
Two Poems

Willard Spiegelman
And Now, Let's All Play, "What's My Line?"

Quarterly Review - History

William Baziotes
White Bird
Oil on Canvas
(62.5 x 50.5 x 2.75 inches), 1957
Albright-Knox Art Gallery, Buffalo, NY
Gift of Seymour H. Knox Jr.
© Estate of William Baziotes
Photo: Albright-Knox Art Gallery/
Art Resource, NY
Frontispiece Winter 2021

..the way a brother feels compassion for a brother..this is how a peaceable kingdom looks to me: not a gnawed bone of lamb in a tiger's cage beneath a verse from Isaiah, but rather two fellow-sufferers, bound one to another against their will.
Winter 2021, page 71

Welcome to Raritan—a journal of wide-ranging inquiry. In the tradition of independent magazines from the Spectator to Partisan Review, Raritan offers writers and readers the opportunity for sustained reflection and aesthetic pleasure, uncluttered by academic jargon. Founded in 1981 by the distinguished literary critic Richard Poirier, and supported by Rutgers University, Raritan aims to reach the common reader in everyone and to provide a particular experience of reading, one that nurtures an engaged and questioning approach to cultural texts of all sorts: literary, artistic, political, historical, sociological, even scientific.

Our contributors include some of the most prominent thinkers of our time—David Bromwich, Adam Phillips, Jacqueline Rose, Pankaj Mishra—as well as talented younger writers whose voices we have just begun to hear—Corey Robin, Elizabeth Samet, Timothy Parrish, Kate Northrop, Jennifer Burns. In fiction, poetry, and translations as well as reflective essays, Raritan shows that probing inquiry is perfectly compatible with personal style, and that intellectual life, at its best, is a form of serious play. We invite you to explore Raritan and, if you like what you see, to subscribe to our magazine.

Jackson Lears
Editor in Chief

Jackson Lears: One Hundred Seconds
Editor's Note — Summer 2020
At what feels like an apocalyptic moment, the nation that has always claimed to play a uniquely redemptive role in world history has suddenly been recast in a different mold. In the richest country on earth, the effects of the COVID-19 pandemic have turned out to be peculiarly catastrophic. Read more.

Jackson Lears: One Hundred Seconds
Editor's Note — Summer 2020

Selections from our Winter 2021 issue…

Two Poems
Bruce Bond

Seasonal fires wherever they may find us,
here at the edge of the northern forest,

lit at point of origin by cloud, crash,
or high-voltage cable they blaze a path

A History of Fire
Lucienne Bestall
BBC News Online, Monday, 12 November 2018. Today's news is black with ash. A wildfire burns in Malibu, the town of Paradise is razed, and the California sky is dark with smoke.

And Now, Let's All Play "What's My Line?"
Willard Spiegelman

On 9 May 1961, at the start of his two-year stint as chairman of the Federal Communications Commission, Newton Minow gave a speech to the National Association of Broadcasters. One small phrase from it entered into the national consciousness and has resonated ever since, although it usually has been taken out of context.

Conference Report: Martin Niemöller und seine internationale Rezeption – Martin Niemöller and his international reception

Contemporary Church History Quarterly Volume 27, Number 2 (June 2021) Conference Report: Martin Niemöller und seine internationale Rezeption – Martin Niemöller and his international reception, Frankfurt/Main, Germany, April 27-28, 2021 By Michael Heymel, Independent Scholar and Central Archives of the…

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Contemporary Church History Quarterly (ISSN: 2291-0786) is a free, open-access journal.

Southern Quarterly Review

The Southern Quarterly Review (SQR) originated in January 1842 in New Orleans but moved to Charleston later that year, where it remained until October 1854. It relocated to Baltimore in 1855 and then returned to South Carolina and was published in Columbia from 1856 to 1857. It had the advantage of being not a literary magazine but rather a magazine open to any branch of knowledge. It also had experienced editors in Daniel K. Whitaker (1842&ndash1847), transplanted from New England, and South Carolina&rsquos man of letters William Gilmore Simms (1849&ndash1854). It survived longer than any other important magazine except the Southern Literary Messenger.

The Review was unabashedly a conservative southern magazine, advocating classicism in literature, agrarianism and slavery in economy, and Protestantism in religion. The antagonists were French philosophy, Voltaire, and the leaders of the French Revolution, all of whom were viewed as dangerous to government and to the South&rsquos predominant Protestantism. New England transcendentalism was considered the latest heresy imported from German idealism in an attempt to deny the literal truth of the Bible.

Agrarianism was a recurrent topic. George Frederick Holmes advocated plantation economy as promoting simplicity, moderation, patriotism, reverence for the past, and the classical virtues (October 1844). Holmes recognized that the mental discipline gained from the study of the classics was of great value to the professional man. Because it covered such a wide range of subjects, SQR had a large number of contributors, including William J. Grayson, Robert Barnwell Rhett, James Warley Miles, Frederick A. Porcher, Beverly Tucker, and J. D. W. DeBow. Authorities to whom it paid homage included Adam Smith, Edmund Burke, Samuel Taylor Coleridge, Walter Scott, and John C. Calhoun. No magazine sketched better the idea of the southern gentleman with his &ldquopolished manners&rdquo and &ldquomoral excellences&rdquo (January 1853). More than any other periodical, the Southern Quarterly Review sought to define the incompatibilities that would necessitate the South&rsquos becoming a separate nation. Its last issue appeared in February 1857.

Ryan, Frank W. &ldquoSouthern Quarterly Review.&rdquo In The Conservative Press in Eighteenth and Nineteenth Century America, edited by Ronald Lora and William Henry Longton. Westport, Conn.: Greenwood, 1999.

Contributors to the Quarterly Review A History, 1809-25

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