Prisoner Of Chillon Research Articles

‘Armenianness’ in Indirect Translation of Byron’s The Prisoner of Chillon by Hovhannes Toumanian

This paper explores the Armenian translation of Lord Byron’s the Prisoner of Chillon by All-Armenian Poet Hovhannes Toumanian with Russian serving as an intermediary language. This research is captivating and rather responsible insomuch as it deals with the literary creations of three most eminent poets of the 19th century – Lord Byron, Vasily Zhukovsky and Hovhannes Toumanian. It is fascinating how poetry has united those three literary figures from culturally different geographical locations and how translation has disunited them. It comes as no surprise that Byron’s fine lyricism could be properly understood and passed on to target readers with such delicacy, nuance, and finesse only by Zhukovsky and Toumanian. The fact that Zhukovsky translated Byron is quite logical since the 19th century Russian literature was greatly influenced by Western literature, especially by Lord Byron. Yet, how come that a poet born and raised in a far-off mountainous region of Armenia with little to no knowledge of English decided to translate one of the masterpieces of a genius poet of “Foggy Albion”? There is one answer: the power of poetry…the power of translation! It is Zhukovsky’s translation that inspired Toumanian to take on the challenging and responsible task of translating the Prisoner of Chillon. It should be underlined that the cultural differences could not but be reflected in the Russian and Armenian translated versions. The primary purpose of my research is to shed light on some of the transformations Byron’s poem has undergone in the two-level translation process with a focus on elements of ‘Armenianness’ discernable in Toumanian’s translation.

Типологические схождения в лирических произведениях В. А. Жуковского «Узник к мотыльку, влетевшему в его темницу» и Дж. Г. Байрона «Шильонский узник»

The aim of the research is to detect typological similarities in the works of V. A. Zhukovsky and G. G. Byron at the level of the images of the main characters, as well as the spatial-temporal organization of the text, with particular attention to the category of “liberation”. The research material includes lyrical works “The Prisoner to the Butterfly That Flew into His Dungeon” (1813) and “The Prisoner of Chillon” (1816). Comparative studies have already noted the contact links and typological similarities between the creative works of V. A. Zhukovsky and G. G. Byron, but a comparative analysis to identify and study parallels on different levels of the text has not been conducted yet, and this in turn determines the research novelty of the present study. For the first time, an analysis of the texts is presented at the level of characters, themes (prison, prisoner, impossibility of liberation), and spatial-temporal characteristics. The article thoroughly examines the interaction of the two lyrical works at the plot and imagery levels. The basis for examination comprises common elements of plots and motifs, similarities and differences in the images of central characters. The result of the research is that, despite the authorship of the authors belonging to the same literary movement (Romanticism), not only similarities in the realization of such images and situations are observed, but also significant differences. The comparative categories will include: the image of the hero, space and time, the image of freedom, liberation, prison. The identified connections and similarities indicate a literary contact between the authors and literatures, revealing the specifics of contact relationships and typological similarities in the works of V. A. Zhukovsky and G. G. Byron.

Struggle and Lonely Sorrow in Byron s Romanticism (Based on Poems the Giaour , the Corsair , the Bride of Abydos and the Prisoner of Chillon )

The article mentions the public-social and literary-aesthetic problems of "Oriental Poems" by George Gordon Byron, one of the most prominent representatives of English revolutionary romanticism in world literature. The author gives a scientific interpretation of Byron's poems "Giaour", "Corsair", "the Bride of Abydos" and "The Prisoner of Chillon" and studies the literary-aesthetic and public-social problems of the poet's revolutionary romanticism. At the beginning and middle of the 20th century, scientific interest in Byron's literary heritage increased in Turkiye and Azerbaijan, and the poet's "Oriental Poems" were translated into Turkish and Azerbaijani. The author notes that Abdulla Jovdat Bey sent the poem “The Prisoner of Chillon” translated from Byron in 1906 as a gift to his close friend Ali Bey Huseynzadeh. Ali bey Huseynzadeh, in his article “English Poetry in Turkish” and the “Prisoner of the Chillon”, published in the newspaper “Hayat”, highly appreciated the translation skills of Abdullah Jovdat Bey and spoke about the ideological and aesthetic merits of the poem. The analysis involved translations of three lines from Byron's “Oriental poems” into Azerbaijani by Novruz Ganjali, Bakhtiyar Vahabzadeh and other poets. The struggle and lonely grief of the romantic heroes of the poet has also been characterized in the article. The “Oriental poems" reflectes the vices committed by Eastern despotism. Militant and romantic, the lonely heroes of Byron's poetry reflect the characteristic features of English revolutionary romanticism and rise to the level of the "Byronic hero". Keywords: "Oriental poems", "Byronic hero", linear translation, lonely hero, progressive romantics, despotism

Tracing Eastern Influences in The Fakeer of Jungheera

The paper aims at analysing various influences that Henry Derozio underwent in the composition of his Fakeer of Jungheera. The reviewers and commentators, while admitting some poetic merits in the poem, find it largely imitative of Byron and hence greatly wanting. However, a close first-hand study of the poem along with the poet’s notes alluded to it throws light on a number of facts related to its subject matter and style. It is revealed that far from being modelled on Byron's ballads like The Corsair or The Siege of Corinth or The Prisoner of Chillon, it is unmistakably Indian in conception and amazingly rich in local colours and imagery. Even the apparent similarity is superficial, and instead of being a fanciful tale, the Fakeer of Jungheera is the poetic recreation of a real-life episode heard by and believed in by the poet. The paper also examines the art of poetic diction and devices that the poet employs in the poem.

Монолог Крокодила К. И. Чуковского: к проблеме источников и перекличек

The author analyses the sources of Crocodile’s monologue from the tale by K. I. Chukovsky and its parallels in the Russian poetic texts, predominantly of those from the 19th century. The monologue written in iambic tetrameter with masculine pair rhymes, stands out from the polymetric composition of the poem in its length, “civic” sound, citations, and parody. It evokes associations with a number of texts of metrical, lexical, motivic, and plot commonality. All of them can be traced back to the “Prisoner of Chillon” by G. Byron, translated by V. A. Zhukovsky, and original Russian work, “Mtsyri” by M. Yu. Lermontov. In Chukovsky’s fairy tale, the original structural-semantic complex is parodically reinterpreted; creating the “younger”, “children’s” branch of the revolutionary epic (B. M. Gasparov and I. A. Paperno), the author primarily resorted to the heritage of Russian classical poetry. By adapting it to the child’s perception, he also left a semantic gap in the story that is accessible to the sophisticated reader. Crocodile’s monologue, which contains the motives of freedom, imprisonment, confession, suffering, and oppression, prepared the young reader for the perception of romantic and democratic poetry that awaited him/her at a new stage of the literary development (“works for youth”).

Boundaries between Things Misnamed: Social Death and Radical (Non-)Existence in Frederick Douglass and Lord Byron

ABSTRACTIn his poem “The Dream,” Lord Byron explores “a boundary between the things misnamed / Death and existence.” This essay reads Frederick Douglass’s engagement with the volume in which “The Dream” first appeared, The Prisoner of Chillon and Other Poems (1816), in his second autobiography, My Bondage and My Freedom (1855). Departing from readings of Douglass’s use of Byron as a model for his own self-making, this essay argues that Douglass invokes Byron to reject Anglo-European individualism in favor of Afro-centric collectivist notions of agency. Douglass, I argue, draws on Byron to distinguish between a model of black radical existence (toward which Douglass moves in the second autobiography) and political ontologies that stand in relation to conditions of enforced social death and elective non-existence (which Douglass explores and ultimately rejects, but which Byron’s 1816 volume exemplifies).

From the Profane to the Sacred: Prison-Space Transformations in G.G. Byron’s “The Prisoner of Chillon” and O. Wilde’s “The Ballad of Reading Gaol”

This study focuses on two prison poems: “The Prisoner of Chillon” by G.G. Byron and “The Ballad of Reading Gaol” by O. Wilde. It highlights the ordeal of the inmates with the emphasis on the change in their perception of the prison space. Based on M.-L. Ryan’s definition of story space, it is argued that the changing perception of space in the poems reflects the spiritual transformation the protagonists undergo. The experience of confinement leads, in the case of Byron’s protagonist, to the acceptance of prison life to the point of the dungeon becoming “a second home,” sacred to him as a site of his brothers’ burial. In Wilde’s poem incarceration has a transformative function, culminating in spiritual awakening and in the development of faith in Christ’s redemption. As a result of the change in both poems, prison becomes a space of prayer, turning thereby from the profane into the sacred.

Byron at Play in the Alps

The way Byron staged ‘The pageant of his bleeding heart’ across Europe in 1816, as Arnold rather cold-heartedly put it, is clear to anyone who reads his work from this time. Whether it is Childe Harold’s Pilgrimage (the work uppermost in Arnold’s mind), the desperate isolation witnessed in The Prisoner of Chillon, or the pessimism of Manfred, Byron’s poetry from this period has come to symbolise Romantic solitude and tragic despair, where the only possible recompense appears to reside in believing that ‘sorrow is knowledge’. But even in his most melancholic moments, Byron was sympathetically inclined towards the ludic. To read much of his writing from his alpine tour is to be conscious of a poet keen to play with his surroundings, with other writers, and with the various moods of his mind. This article suggests that Byron finds pleasurable amusement during a time of personal and political unease and that his playing in the Alps in 1816 greatly contributes to his turn back to comedy in his final years.

From Consciousness toward Self-Consciousness: The Byronic Hero as the Hegelian Slave

This paper attempts to present the journey of the Byronic Hero’s consciousness toward self-consciousness in “The Prisoner of Chillon” and “Mazeppa”. In this regard, Hegel’s uppermost notion about lordship-bondage as stated in “The Phenomenology of Spirit” is applied to these narrative verses while concentrating on the interaction and relationship of the Byronic Hero and the environment. The lordship-bondage notion, emphasizing freedom, dependency and independency, maps the development of one’s consciousness toward self-consciousness in which one acquires knowledge and independency. Lordship-bondage is a reciprocal relationship in which one confronts another being and sets a struggle in order to establish and maintain the superiority and dominance. Hegel’s illustration of lordship-bondage is primarily known as master-slave , comprising three stages of confrontation: recognition and acceptance highlighted within the three phases of thesis, anti-thesis, and synthesis. As these terms merge together, one’s consciousness is observed through them and through interacting with another consciousness to clarify contradictory manifestations of the two people. Hence, the Byronic Hero’s self-consciousness is portrayed to present him as the Hegelian Slave. As an interdisciplinary study, his interaction with the environment is analyzed based on the mentioned framework.

Underground Knowledge: The Prisoner of Chillon and the Genesis of Byronic Knowing

Underground Knowledge: <i>The Prisoner of Chillon</i> and the Genesis of Byronic Knowing

&lt;i&gt;Manfred&lt;/i&gt;, and: &lt;i&gt;Le Prisonnier de Chillon - La Lamentation du Tasse de Lord Byron&lt;/i&gt; (review)

MANFRED. Edited and translated by Davy Pernet. Thurins: Editions Fougerouse, 2008. Pp. 203. ISBN 978 2 9527483 1 5. euro19. LE PRISONNIER DE CHILLON - LA LAMENTATION DU TASSE DE LORD BYRON. Edited and translated by Davy Pernet. Thurins: Editions Fougerouse, 2007. Pp. 91. ISBN 978 2 9527483 0 8. euro18. The year 2006 saw the creation in France of a new publishing company, Editions Fougerouse, based in Thurins (Rhone). This company has taken on the laudable project of specialising in lesser-known works of Romantic writers. To date, two volumes by Lord Byron have appeared: The Prisoner of Chillon and The Lament of Tasso was published in 2007, with a print run of 1000 copies, and last year saw the publication of Manfred, with a print run of 600 copies. It is a fact that while foreign Romantic literature enjoyed considerable fame in nineteenthcentury France, it is now difficult to find in French bookshops. This is especially the case if one is looking for an updated translation. Thus, the efforts of small publishing houses such as Fougerouse or Allia to bring Romantic classics to French audiences should be acknowledged here, but the results must match the ambition of the project. Fougerouse's editions of Manfred and The Prisoner of Chillon are well designed, with a legible font, good quality paper and nineteenth-century engravings illustrating the text (though these are unfortunately without title or source information). In the tradition of Byron's first French translators such as Amedee Pichot, Davy Pernet chooses to render Byron's verse in prose; lucidity being, as he asserts, a key element to a good translation. But, in choosing what Eugene Nida would have called 'formal equivalence', the translator's texts unfortunately often border on a word-for-word rendering of the English original. Certain choices also seem highly questionable, such as the systematic translation of 'mind' into 'mental' where 'esprit' would be more apt a rendering. Similarly, one wonders why 'The hurricane I left behind' (Manfred, I, i, 102) is translated as 'Le hurricane que j'ai laisse derriere moi', despite the fact that the word 'hurricane' is not found in French dictionaries, whereas any French reader would comprehend perfectly well what 'cyclone' means. Moreover, some passages are mistranslated. 'By the perfection of thine art / Which passed for human thine own heart' (Manfred, I, i, 246-47), for example, is translated as 'pour la perfection de ton art, qui fit passer pour humain meme ton coeur', where the correct French form would have been 'qui fit passer pour humain ton propre coeur'. …

Byron, Clough, and the Grounding of Victorian Poetry

In Scene VI of Dipsychus, the Spirit wonders, as people on holiday often do, what he should do next: What now? The Lido shall it be? That none may say we didn't see The ground which Byron used to ride on, And do I don't know what beside on. (VI. 1–4)1 When Byron was living in Venice or nearby, for two years from 1817 to 1819, he had already, as he frequently complained, become one of the objects that English visitors to Venice liked to inspect. But he had only himself to blame, because it was Byron, even more powerfully than Scott, who had established the fashion for literary tourism. The thousands of British visitors who took a boat on Lake Leman or a guided tour of the dungeons of the castle of Chillon did so to honour Rousseau and the Swiss patriot Bonnivard, but also and more directly as witnesses to the fame of the poet of Childe Harold and The Prisoner of Chillon. It is no wonder that they were drawn in such numbers to the Lido when the poet himself rode on it, and continued to visit it when it summoned into presence not the poet himself but, perhaps still more potently, his memory. ‘Murray's faithful guide / Informs us’ (Dipsychus, V. 190–1) that the ‘shore of the Littorale, towards the Adriatic’ which ‘constitutes the Lido,’ is ‘now associated with the name of Byron, as the spot where he used to take his rides, and where he designed to have been buried.’2 There is then a double appropriateness in Clough's reference to Byron. Byron himself was, both in his own lifetime and after it, one of the prime tourist sites of Venice, and it was Byron who, more than any other poet, had set the fashion for tourist poetry of the kind that Clough himself wrote,3 not just in Dipsychus, but in The Bothie of Tober-na-Vuolich in which an Oxford reading party spends the long vacation in the Scottish Highlands, and in Amours de Voyage, in which an Oxford intellectual visits Rome in the Spring of 1849. Clough is, of course, a very different poet from Byron, but I want to begin by suggesting that one clue to their differences may be found in the different ways in which they thought about tourism and tourist poetry.

'A magic voice and verse': Byron's Approaches to the Ode, 1814–16

The Romantic ode steeps itself in the turbulent waters of the mind's and heart's debates with themselves. These debates can take many forms, as Paul H. Fry indicates when contrasting Keats's odes with Wordsworth's and Coleridge's: Keats's odes, writes Fry, are 'not secretly ambivalent but candidly two-faced, or even many-faced'.1 Byron, too, thrives on the 'candidly two-faced', or even the manipulatively dissembling, and some of his finest shorter poems deserve to be associated with Romantic odes more commonly than is usually allowed by critics: in part, perhaps, because of Byron's jeer in English Bards and Scotch Reviewers at Coleridge's fondness for 'turgid ode, and tumid stanza' (196). The poems by Byron discussed in the present essay often wish to give themselves freedom from, even as they draw on, conventions associated with the ode, and thus form intriguing examples of an individual talent's creative way with tradition. 1816 was an annus mirabilis in Byron's career, the year he met Shelley, and, as significantly, learned, via Shelley, to admire Wordsworth's poetic power. It is also a year when a blend of artistic control with difficult and goading feeling issues, for Byron, in poems that have something of the force of the ode. Wordsworth wrote in a note to 'Tintern Abbey' in the 1800 edition of Lyrical Ballads: 'I have not ventured to call this Poem an Ode; but it was written with a hope that in the transitions, and in the impassioned music of the versification would be found the principal requisites of that species of composition'.2 The comment intrigues; it shows a leading Romantic poet framing a poem in loose but intense relationship with a traditional form. In a comparable way, Byron derives imaginative nourishment from the example of the ode. If odes invoke, summon, plead, exhort and put us under a spell, so too does the Incantation from the first act of Manfred. The Incantation, first published as a separate piece in Byron's 1816 collection, The Prisoner of Chillon and Other Poems, contains 'impassioned music' and 'transitions', transitions possessing the quality of 'defensive paradox' of which Byron speaks in '[Epistle to Augusta]' (3). 'Defensive paradox' implies a fightback, organised under the standard of deftly sinuous language, against the slings and arrows of misfortune, and it nerves the poems discussed in this essay. On the first publication of the Incantation, Byron claimed that it was 'a Chorus in an unfinished Witch drama, which was begun some years ago',3 a claim that suggests the Incantation's genesis in the genre of choral ode. In the context of Manfred, it is spoken to Manfred by an unknown voice, but it also can be read as a poem spoken by Byron to his wife. The Incantation, like the work as a whole, thrives on a sense that the fictive cloaks the real. A two-way discharge of emotional poison is appropriate for a poem that is full of doublings. So, in the fourth stanza, Byron writes: And a magic voice and verse Hath baptized thee with a curse; And a spirit of the air Hath begirt thee with a snare; In the wind there is a voice Shall forbid thee to rejoice; And to thee shall Night deny All the quiet of her sky; And the day shall have a sun Which shall make thee wish it done. (I, i, 222-31) Here, the words are joined asunder; associations are married and divorced in the same breath. The 'magic voice and verse' may belong to the past tense: they have 'baptized thee with a curse'. But they are also reawakened by or even summoned up during the Incantation until they materialise as the 'voice and verse' which we are now hearing and reading.4 The mesmeric rhythm ensures that the reader will concede the potency of Byron's art. Yet the 'verse' turns immediately into the 'curse' to which it cedes supremacy in the embrace of rhyme. Any sacrament of the word is interfused with the diabolic. Intimacy and loathing writhe round one another; love and hate fuse. …

Byron's Turkish Tales and Russian Byronism: Pushkin and the Early Nineteenth-Century Russian Reception of Byron

(ProQuest: ... denotes non-US-ASCII text omitted.) The almost universal recognition of Byron's poetry and the fame of his personality in Russian literature and culture is a well-known fact. A passionate interest both in his poetry and in his biography began to appear in Russia in the second decade of the nineteenth century and has existed ever since. As Nina Diakonova and Vadim Vatsuro have pointed out, 'his life and his works are as much studied, published and translated at the end of the twentieth century and the beginning of the new millennium as they were at the beginning of the nineteenth century'.1 While the first translations of his poetry appeared in Russia in 1819, the last one (The Prisoner of Chillon by G. Usova) was published in 1989; while the first Russian literary works about Byron date from the 1820s, the 1990s saw at least three Russian studies of the poet. In 1815, in the journal Rossiiskii Museum (The Russian Museum), V. V. Izmailov, a follower of Karamzin, mentioned Byron's name for the first time in the Russian press, reviewing The Corsair and noting the growing fame of both Byron and Walter Scott. Up to that time the Russian public had primarily been acquainted with a limited list of British writers: Milton, Shakespeare, Young, Gray, Ossian, Sterne and Richardson. Indeed, up until the 1770s, Russian culture was mostly orientated towards French models, and Russians knew almost nothing about British authors, except for some essays and allegorical tales by Addison, Steele and Dr Johnson. A. A. Bestuzhev, a Decembrist and a prominent man of letters, noted in 1833 that England 'was lying then for us at the sea-bottom'.2 The next review that mentioned Byron appeared a year later, in 1816, and was written by another Karamzin follower, V. I. Kozlov, in the journal Russkii Invalid (The Russian Invalid). The two journals represented the Russian sentimentalists' circle and gave the first interpretation of Byron's poetry as 'sensitiveness ever tender and vivid'. The anti-Karamzinist journal, Vestnik Evropy (The Messenger of Europe), which began to publish papers on Byron's work in 1818, stressed another feature of Byron's art - the 'bleak colouring' and 'rebellious passions' of the heroes. This point of view revealed the pre-romantic, 'Ossianic' understanding of it.3 Byron became famous in Russia in the 1820s and 30s among a new generation of critics, writers and readers. Byron became the most important figure of contemporary European poetry for people whose minds were shaped by the French Revolution, which inspired optimism in the liberal-thinking Russian aristocracy and gave rise to the political reaction of the tsarist government. The Napoleonic War of 1812 influenced Russian society no less. The event was followed by rebellions among peasants and soldiers in the next decade and by a strong liberation movement among the nobility, which led some of them to the Senate Square in Saint Petersburg on 14 December 1825 and to the scaffold or Siberia after the Decembrists' failure. The following extract from a letter written in 1819 by Count Petr Viazemskii, a poet, critic and close friend of Pushkin, gives one of the earliest examples of this new, and very enthusiastic, attitude towards Byron's poetry: I am bathing in the depths of poetry, reading and rereading Lord Byron, certainly, in pale French translations. What a rock, from which the ocean of poetry is spurting! [...] Who reads English and writes Russian in Russia? Bring him to me! I'll pay him with my life for each Byron verse.4 Byron, both as a personality and a poet, became a symbol of the new epoch for Russian readers. As Viazemskii declared in 1827, in 'Sonety Mitskevitcha' ('Mickiewicz's Sonnets'), 'it is impossible in our time not to sound Byronic. [...] He set to music the song of the whole generation.'5 The reception of Byron's poetry proved to be inseparable from interest in his life. As a contemporary writer and a conspicuous figure in European politics, Byron attracted people's attention to the smallest details of his life. …

Romantic Identities: Varieties of Subjectivity, 1774-1830

List of illustrations Acknowledgments Introduction: from coins to hearts: Romantic forms of subjectivity 1. Doll-machines and butcher-shop meat: models of childbirth in the early stages of industrial capitalism 2. 'An embarrassing subject': use value and exchange value in early gothic characterization 3. From 'race' to 'place' in 'The Prisoner of Chillon' 4. Incarnate imagination and The Cenci 5. Centrality and circulation in The Heart of Mid-Lothian Epilogue Notes Bibliography Index.

Mary Shelley's Fair Copying ofDon Juan

The role of Mary Shelley in the transmission of Byron’s work to posterity is second in importance to that of no-one else apart from William Gifford and the poet himself. She made copies of, among other things, The Prisoner of Chillon, Childe Harold’s Pilgrimage Canto III, Mazeppa, Lines to the Po, the Ode to Venice, Francesca of Rimini, The Age of Bronze, Werner, The Deformed Transformed, and last but hardly least, Don Juan Cantos VI-XVI. Her manuscripts of Mazeppa, the Ode to Venice, Werner, The Deformed Transformed, The Age of Bronze, The Island and Don Juan VI-XVI were used as printer’s copy for the first editions. Her copies of Chillon, Childe Harold III, Mazeppa, Francesca, the Ode to Venice, To the Po and Werner survive: of her work on Don Juan, only Cantos VI, VII and VIII remain. I wish principally in this essay to examine her Don Juan fair copies, and to consider the circumstances in which they were made. After Shelley’s death, on July 8th 1822, Byron’s presence was something about which Mary felt ambivalent. After being two hours in his company “for the first time for about a month” she wrote in her journal for October 19th of the same year:

Byron: A Poet before His Public

List of illustrations Preface Acknowledgements A note on the text Abbreviations Introduction 1. Experiment in Childe Harold I & II 2. The discovery of an audience: the Turkish tales 3. Shelley and the new school of poetry: Childe Harold III and The Prisoner of Chillon 4. Tourist rhetoric: Childe Harold IV 5. Modernizing the Gothic drama: Manfred 6. Heroic tableaux: the three historical tragedies 7. Cain, the reviewers, and Byron's new form of old-fashioned mischief 8. Don Juan Notes Bibliography Index.

Book Review: Childe Harold, Canto Iv., and the Prisoner of Chillon

Book Review: Childe Harold, Canto Iv., and the Prisoner of Chillon

Selections from Bryon: "The Prisoner of Chillon," "Mazeppa," and Other Poems. Samuel Marion Tucker

Previous articleNext article FreeBook ReviewsSelections from Bryon: "The Prisoner of Chillon," "Mazeppa," and Other Poems. Samuel Marion Tucker PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Volume 16, Number 7Sep., 1908 Article DOIhttps://doi.org/10.1086/435205 Views: 44Total views on this site Journal History This article was published in The School Review (1893-1979), which is continued by the American Journal of Education (1979-present). PDF download Crossref reports no articles citing this article.

Book Review: The Prisoner of Chillon and Other Selections

Book Review: The Prisoner of Chillon and Other Selections