Oriental diction and theme in English verse, 1740-1840

BULLETIN OF THE UNIVERSITY OF KANSAS
HUMANISTIC STUDIES

Vof " May 1, 1916 No. 1

ORIENTAL DICTION AND THEME
IN ENGLISH VERSE, 1740-1840

BY

EDNA OSBORNE, A. M.

Fellow-elect in English, The University of Kansas

LAWKhNCE, MAY. 1916
I'UBLISHED BY THF. UNIVERSITY

PR

2 , , PREFACE

. .OiOO''^

The writer's interest in Orientalism in English literature began
at the University of Illinois in 1911, when Professor H. G. Paul, in
a lecture on the Romantic poets, emphasized Byron's Oriental
coloring and suggested that its study would make a good thesis. A
little later this interest took form in a master's thesis on The
Orientalism of Byron, which was accepted by the English Depart-
ment of the University of Kansas in 1914. This preliminary study
opened up a field which seemed boundless, and which offered very
attractive appeals to the student of foreign influences on English
literature.

One does not need to be acquainted with Oriental languages or
Oriental literature to trace with some profit the effects of Oriental
interests on English verse and prose. It has been impossible to
examine all the English verse from 1740 to 1840; but the chief
poets have been reviewed with a good deal of care, and many of
the minor ones. The Oriental drama offers a field by itself, and
only a few dramas have been included in the present survey. It is
hoped that all the main characteristics of Oriental diction and
theme in the period have been recognized and given some attention
in this paper. There has been no effort at a microscopic examina-
tion, at inclusion of every possible poet, passage, or term. It is
hoped and presumed that such values as the present study yields
will prove sound in and for themselves.

The writer wishes to thank Dr. C. G. Dunlap, Head of the Eng-
lish Department, and Miss Carrie Watson, University Librarian,
and her assistants for courtesies extended; and also Dr. E. D.
Cressman, of the Latin Department, for assistance in matters
relating directly to Greek, Latin, and Sanskrit. To Professor
S. L. Whitcomb, the editor of this series of Studies, the writer
is especially grateful for constant assistance during the past year
— assistance as generous as it was helpful. Without it this paper
could hardly have been brought to completion at the present
time.

Edna O.sbokne.
The University of Kansas,
June 28, 1916.

CONTENTS

:===^ Chapter I
^ Introduction: Orientalism in English Verse 7

Chapter II
Oriental Vocabulary 21

Chapter III
Oriental Phrase and Figure 31

Chapter IV
Oriental Passage and Poem 43

Chapter V
The East and the West bQ

Chapter VI
The Orient Itself 69

Chapter VII
Poetic Values in English Orientalism 83

Appendix

I. Bibliographical Notes.

A. Poems and Passages 93

B. Collections of Poems 129

C. General Bibliographical Notes 130

II. Notes on the Oriental Vocabulary.

A. Oriental Vocabulary in Sir William Jones 134

B. English Words of Oriental Derivation 136

C. Oriental Vocal)ulary in the King James Version

of the Bible 138

Index 189

Oriental Diction and Theme in
English Verse, 1740-1840

CHAPTER I

Introdoction: Orientalism in English Verse

This study aims to present within brief compass the general
character of the Oriental diction and the Oriental theme in English
verse between 1740 and 1840.

Every noteworthy fashion, manner, or school in the history of
English poetry has a vocabulary and a phrasing that are char-
acteristic and reveal something of the spirit beyond the words.
Pastoralism is not merely a matter of certain themes and certain
moods, but, almost of necessity, of certain verbal tendencies.
One who reviews the Oriental poetry of England for the century
after the publication of Collin's Eclogues soon becomes familiar
with a characteristic diction and its relation to mental and moral
states. In some Oriental poems there is little Oriental quality in
the diction; the Orientalism may be confined chiefly to the setting,
to a character or characters, or to a general theme. On the other
hand, there are passages and poems whose exotic character is
mainly in the language. The ideal poem is one which expresses
Eastern life or Eastern feeling in Orientalized diction.

In the present study, the term "Orientalism" is somewhat
broadly interpreted. It includes, first, the i)resentation of life in
the Orient and of Oriental objects, ideas, or persons in the West;
second, the treatment of any theme in a style Oriental or supposed
to be Oriental. The first interpretation covers the Englishman in
India as well as the native, and the gypsy and the elephant in
England as well as in their original homes. The second type of
Orientalism would, in a lax aj)plication of the idea, be found in all
poems of a i)eculiarly rich, luxurious, and figurative fancy and

8 Utnrrr.iitij of Kiinsns II inn a tii. •<(!(• SfiKhes

dovond'iw stylr. This second conception, however, is too vague
to furnish a safe ^'uidanee in such a slutly as this. There is too
inucli in (.•t)mnion hetween Orientahsni so interpreted and the
iico-ItaHaiiat*" niainier so nuich in vogue during the latter part of
our perioil. The emphasis nuist i)e hiid upon tlie first interjjre-
tation, which is logically more distinct and historically more
tangible.

"The Orient" in this paper includes not only all of Asia and all
of Africa, with the neighboring islands, but Russia, Poland, Lap-
land, Zembla, Bohemia, Turkey in Europe, and some of the
Balkan states. Literary criticism usually recognizes a certain
Asiatic element in Russian literature, and the racial character or
the political history of the other countries mentioned allies them,
to a certain degree at least, with the Orient. Mohammedan
Africa is certainly Oriental so far as the English poets of our
period are concerned. Partly as a manner of convenience and part-
ly in recognition of the poetic treatment it receives — often very
similar in general tone to that given to Arabia or Persia — all the
rest of the continent may be included. Even the negro in America
may appear and does sometimes appear as a genuine Oriental
subject. Spain in itself does not belong to the world of Eastern
poetry, but many of the poems of the j)eriod dealing with Spain
are concerned largely with the Moors or with the relations of the
Spaniard to the Moor.

Martha Pike Conant has faced the problem of separating the
Hebraic element from the Oriental for critical purposes.^ The
distinction often seems somewhat arbitrary. One remembers
Carlyle's interpretation of the Book of Job — Biblical at least if
not fully Hebraic — in the "Hero as Prophet". The King James
version of the Bible contains many words which belong to the
Oriental vocabulary of English poetry.^ Furthermore, our poets
often take a character, a subject, or a situation from the Bible and
elaborate and expand it in Oriental instead of strictly Biblical
fashion. It seems sound criticism to call Byron's Destruction uf
Sennacherib an Oriental poem though it is one of the Hebrew
Melodies; Wells' Joseph and His Brethren has passages of marked
Oriental quality. In The Christian Year there are a few poems.

1. The Oriental Tale in Emjland. p. XVI.

2. See Appendix, II, C.

Osborne: Oriental Diction and Theme 9

theoretically on Biblical subjects, decidedly akin to the general
Oriental tone of the period.

A conception of Oriental diction may be based on that of Orient-
alism as just given. Not all words of Oriental derivation, however,
belong to the poetical vocabulary. "Algebra", "zero", and other
scientific terms from the Orient do not belong to English Oriental
style. "Check", though derived from the Persian, is sureh"^ less
akin to the Oriental vocabulary of English poetry than "glitter-
ing", which happens to be of Scandinavian origin. Such are the
complications in the relations of language and feeling in English
Orientalism. Much of the general subject belongs to the philolo-
gist, rather than to the historian of style.

So little has been done in the field of Orientalism in English
verse, that a brief historical survey may not be amiss.

There is no Orientalism in Beowulf; but it is a long path from
Beoioulf to Kipling. Prior to Chaucer, in the verse romances and
in the medieval drama, many terms of Oriental place and person
are introduced. Mohammedanism, the Crusades, and pilgrimage
to the Holy Land are favorite topics. Herod, in the Coventry
Shearmen and Taylors, declares that the "whole Orent ys under
myn obbeydeance". He swears several times "Be Mahownd",
and compares his own "triumphant fame" to that of "most
niyght Mahownd". In the same play there is what might by
courtesy be called a brief Oriental passage. The angel is sent to
the—

"Kyng of Tawrus, Sir Jespar,
Kyng of Arraby, Sir Balthasar,
Melchor, Kyng of Aginare. "

In the Play of the Sacrament, the merchant has traveled quite
extensively in the Orient, as has Jonathan the Jew. The real
business of the latter is to be converted by a miracle. Before
conversion, he prays to "Almighty Machoniet", and thanks him
for his gifts. The list of these treasures resembles many an
Oriental passage in later poetry, and includes "gold, silver, and
precious stones" — amethysts, emeralds, sapphires, rubies, i)earls,
etc. ; spices ' 'both great and small " — ginger, licorice, pomegranate,
pepper, cloves; and other Eastern products — rice, almonds, dates,
and figs.
There are no strictly Oriental poems in Chaucer, unless we con-

siiicr tlif M(tn of l.mi-'.s Tdlc nnd llu' l*ri()rcs't\'< 'inlc a.s s||< li.
( 'li.iuctT. however, iiwiilioiis a imiiilxT of Oriental coniitrii's and
products, ami lie s|)<'aks of ICastcni idols. nia<!;ic, and sorcery.
His OriiMitid diction is distinct, if not v<'ry extensive, including;
such v\ords as c;»rl)unch\ crystal, date-tree, figs, nutmegs, peacock,
nihy. spicery. etc. In ht)th Chaucer and The Pear] there is ref-
erence to the "Fenyx of Arrahy ". The third and fourth lines of
this ])oeni arc:

"Oute of Oryent, I hardyly saye,
Xc proued I neucr her precios ])erc."

The Fall of Constantinople in 1 t5.'J |)rol)al)Iy had some efl'cct on
the Enj^lisli interest in the OrienI, as well as on the general |)rogrcss
of humanism in Europe. The relation of Spain to England in the
Tudor period has been ably considered by Dr. Underbill.^ No
great body of Orientalized English verse, however, resulted from
these influences. Yet from Surrey to Milton, that is in the Eliza-
bethan period in the broadest possible interpretation, Orientalism
in diction and theme is a richer and more varied sul)ject tlian in
earlier English literature.

The early English secular drama sliows many traces of Oriental
influence, tliough few or no plays strictly Oriental. Camhises nuiy
perhaps be called the first Oriental drama in England, though
aside from its setting and, in diction, a few proper names, it has
little Eastern quality. The word *'elej)hant" is about all to
represent Oriental diction in Roister Doister. In Gorboduc, the
theme of English descent from a Trojan is of course really classical,
in source and significance, bi The Foare PP, the pardoner has on
exhibition an "eye-toth of the Great Turke", the palmer has of
course been in the Holy Land, and the apothecary's store includes
a few Eastern drugs, one being **cassy" — said to be the oldest
drug known to medicine.

The Orientalism in Shakespeare is somwhat ditt'use or uncertain
in tone. 01)eron is from "the farthest steppe of India, " and there
are many brief references here and there to the Turks, Ethioj)ians,
'J'artars, the Nile, etc. The Moor appears in Tiius Andronicus as
well as in Othello.

Antony and Cleopatra has not only an Oriental setting, but, in

3. Spanish Literature in the England (if the Tudors.

Osborne: Oriental Diction and Theme 11

spite of its general Roman character as a play, passages of true
Eastern character. In David and Belhsahe and in Campaspe the
coloring in part is clearly of the Oriental type. But it is in Tani-
burlaine that we find a true and extensive treatment of Oriental
themes expressed in Oriental diction; so far, at least, as certain
motifs — luxury, tyranny, excess — are concerned. In this play is
much that suggests the general character of the later Oriental
drama in England.

Surrey's Sardanapalus is a good early example of an English
subject Orientalized ; and is an introduction to an Eastern character
destined to receive more extended consideration in English poetry.
Several pages at least could be given to the Oriental element in
Spenser. It is rich in diction and fairly so in theme; but is nowhere
concentrated into an Oriental poem or extended passage. An
examination of Dr. Bradshaw's Concordance sho^^s a liberal use
of Oriental diction in Milton. Professor Beers quotes a number of
phrases from Milton to prove that he "had more of the East in
his imagination than any of his successors".^

Before the publication of Paradise Lost, the Siege of Rhodes and
the first work of Waller had appeared, and English poetry was
treading the path toward pseudo-classicism. The Siege of Rhodes
is the forerunner of a long line of pl.ays set in the Orient and having
at least some Eastern characters and some Eastern language, if
little of true Oriental coloring. Many of the scenes in the heroic
tragedies are laid in Asia, Africa, or the Mohammedan regions of
Europe. This was an easy task, as it was to include a considerable
number of names for the characters smacking at least of something
non-English. A few striking foreign customs or objects — such as
the Chinese Wall — were also easy of access; but few playwrights
attempted to escape entirely their home training and mode of
thought. 'Fancy you have two hours in Turkey been", directs
the epilogue of The Conspiracy. Through The Mourning Bride
and The Siege of Damascus this type of drama flourishes, till in
Zara it almost reaches the opening of our period, and in Miller's
Mahomet actually passes into the period.

Waller's Orientalism consists mainly of a number of poems
dealing with the political and military activity of the Turks, juid
of a sprinkling of such Oriental terms as Moor, Persian, Soldan,

History of English Romanticism in the Eighteenth Century, p. 4.'i.

12 I'ltirt'r.siti/ i)f K(i>i.-<(is llnnmnistiv Studies

H;issa. tlu' K:i>l, and siicli coiivtMit ioiial phrases as (Voss and
("rosci'ut. .Vral>ia's spiers, Afric's sliore, "from India to the frozen
north", etc. In l*ope we have the same general tradition, more
liberally represented however. Dr. H. S. Canby has written a
paper on Congrere as a Romanticist.^ A study could be made of
the pseudo-Oriental element in Pope, but that phase of his work,
like some others, lies mainly on the surface. Lines 93-118 in The
Temple of Fame might be considered an Oriental passage; and here
and tliere in his verse there is the use of Oriental diction for effects
of glittering sensuous richness.

All studies of English verse between 1740 and 1810 nmst recog-
nize the gradual waning of the pseudo-classical taste and the grad-
ual triumph of its successors — by whatever name we call them.
Orientalism, as a stylistic manner of English poetry, is either
pseudo-classical or romantic. It, like pastoralism, made its
appeal to the old-fashioned among the English poets, and to the
innovators, when they arrived on the scene. The history of Eng-
lish poetry proves that the Orient was capable of making a deei)er,
more emotional or more imaginative effect on English poets than
it made on Waller or Pope. The present study should indicate,
without a strenuous effort, the shifting of values betw^een the
middle of the Eighteenth Century and the opening of the Victorian
Era. The old died hard. There are traces of the conventional
early Eighteenth Century manner even in Shelley and Keats;
even in Coleridge and Wordsworth.

The exact date w ith which our period opens is chosen as a matter
of convenience. There is of course no absolute break in the con-
tinuity of English Orientalism between The Fair Circassian
(1720) and Lady Montagu's residence in Turkey (1718) and the
poems of Sir William Jones. Already in Croxall we have a con-
scious use of Orientalism in opposition to the "dry and insipid
stuff" of the pseudo-classicists. His phrase "a whole piece of rich
glowing scarlet" sounds very much like Jones and some of the
other later Orientalists.^ These items of chronology may, however,
be worth noting:

5. Publications of the Modern Language Association of America. New Series,
Vol. XXIV; I, pp. 1-23.

6. For the significance of Croxall, see Gosse. p. 138; Phelps, p. 30, and Beers,
Eighteenth Century, p. 84.

Osborne: Oriental Diction and Theme 13

1742. Collins: Persian Eclogues.

1744. The death of Pope.

1746. The birth of Sir William Jones.

1763. Lady Montagu's Letters published.

At the close of our period we are at the threshold of the Victorian
period. This study includes the work of a number of poets who
lived and wrote after 1840; but is concerned only with their earlier
verse. It omits Tennyson, Browning, and Bulwer Lytton, as on
the whole to be considered Victorians. There are probably no new
Oriental "notes", of importance, so far as poetry is concerned,
between Byron and Sohrab and Rustum (1853).

The pseudo-classical phases of Oriental verse are essentially the
same from Pope to Byron. These include the practical, didactic
treatment of Eastern life; the satirical manner, and especially a
purely literary, stylistic interest — imitative, and characterized by
conventional ideas and diction which present few signs of im-
aginative and emotional processes. The satirical manner of Byron
is not notably different from that of Butler or Pope; the didacti-
cism of Southey, at its worst, resembles that of Young or Johnson;
Mangan's fiction of translation from Oriental sources follows the
model of Collins. Crabbe's heroic couplets, in his Oriental pas-
sages as elsewhere, are not suggestive of any great renovation in
English versification. If Byron wrote from personal observation
in the Orient, so did Lady Montagu. Moore was far less of an Ori-
entalist than Sir William Jones, though the former embodied more
of his knowledge of the East in verse than did the latter. In the
Oriental verse of both Moore and Southey, the reader feels a
certain artificiality, a striving for effect, as in much of the work of
the Augustans. In both poets the results of carefully selected
themes, of extended literary preparation, of laborious composition,
are all too much in evidence.

Yet much in the Orientalism of our period is allied with the new
spirit. As a phase of the Romantic Movement, Orientalism devel-
oped, no doubt by more faltering stages, and with less extensive
results, side by side with the new Gothic and Celtic tastes, and in
association with sentimentalism, with the humanitarian and rev-
olutionary spirit. It has far less kinship with the "return to
nature", as Romanticism understood it, or with that medievalism
which Professor Beers chooses to select as the central conception
in his studies of English Romanticism, .\bove all, in its deepest

/} I'nirtT.tit/j of Kiinsas Ifiiiititnistir Studies

p(U'tk' sii^MiiticaiuH', Orientalism represents that cniving for free
range of the imai^ination, that craving lo escape the local, the
practical, the "regular", that at times almost terrible appetite for
the unknown and the limitless, which Paul Elmer More rebukes
so firmly in his Drift of Homaniicism. The hostility of the classicist
to Oriental art itself is apparent in such a critic as John Foster,
loving the simple.^ Of the general strangeness of the Orient to
the English mind, of the general ignorance of that mind as to
Flastern life — except its picturesque surface — there are many
records in English prose during the latter part of our period. It
was, in part, just this strangeness, just this sense of the unknown
and the unmeasured, that attracted many of the poets. To some
of them, as Orientalists, ont might venture to ajiply an expression
in one of Keble's lyrics —

"Thy tranced yet open gaze
Fixed on the desert haze."*

In our period the w^ord "Gothic" (often capitalized) occurs with
more frequency than "Oriental". So far as simple phrases go, the
relation of the two tastes is rather neatly indicated by these
citations. Lloyd places in an English garden a 'temple, (iothic
or Chinese'. Armstrong actually carries the Germanic word into
the regions of the East. He writes that the "cheerless Tanais"
flows through a "Gothic solitude".^ Both the Orient and the
(jothic North were adapted to produce certain emotional or sen-
sational effects of remoteness and wildness; both were rich in the
evidences of the decaN"^ of human achievements. The ruins of the
temples of the East and of the castles of the North were both ruins ;
both registered the frailty of the conventional pride and purpose
of man. Both, under easy conditions, could satisfy the romantic
craving for silence and solitude.

As to the Celtic taste, only the lighter element in Eastern
mythology harmonized with it. But this lighter element was
present — in the peris and houris, in the milder characters among
the genii. The more grim elements could be neglected at the will
of the poet. Something of that charming wilfulness of feminine
nature, of that irresponsible caprice and sudden change in narra-

7. See his review of Oriental Scenery; and his other essays listed in the Appen-
dix. I. C, 2.

8. The Christian Year; Second Sunday after Easter.

9. The Art of Preserving Health; II. U. .364-5.

Osborne: Oriental Diction and Theme 15

tion, of that delicate chariu in lyric expression which are asso-
ciated with Celtic genius, are found at times in English Oriental
verse. This may be said without reference to the i>ossible remote
historical kinship of Celtic and Oriental poetry.

As to Occidentalism, the following pages will note more than one
connection of this interest — comparatively new in the Romantic
period, and given large attention — with the taste for matters
Eastward. Many a poet's fancy travelled indifferently, in the
phrase of Keats, "Or in Orient or in West". Both regions were
generously oi)en to fresh, imtrammelled poetic treatment. Both
gave abundant opportunity to introduce novel words, strange
stories, and characters far more nearly 'elemental men' than the
average resirlents of London. Burns actually bade farewell to his
friends, ready for Jamaica, but he also wrote one poem imagining
himself in India. Moore, Campbell, Mrs. Hemans, and many
other poets wrote at some length on both East and West. With
both regions, as time passed, the practical relations of England
became so pressing, the information of Englishmen became so
much larger concerning both, that it became difficult to summon
the old motifs of the wild and intangible. Today it would be
almost impossible for an English poet to dream in the early Nine-
teenth Century romantic manner of the St. Lawrence and the
American 'Forest Sanctuary'; almost impossible, probably, to
think of the Ganges and the Eu[>hrates as streams of fancy
unfettered by prosaic facts.

Sentimentalism may perhaps lurk in Arabian and Persian poetry.
However that may be, the English sentimental taste — not destroyed
by any number of parodies, or by resolute opponents among the
playwrights — found something to satisfy it in Orientalized verse.
Persia and even Africa became pastoral countries, companions if
not ris^als of Sicily and Arcadia. Sentimentality is one of the
varied notes in Sir William Jones himself. Tf "earth's melancholy
map" lay open to the sombre imagination of Edward Young, Mrs.
Hemans found it possible to carry the sentiments of a sensitive
nature into many of the remote regions of the globe, including the
East. There are many sentimental passages in The Bride of
Abydos as well as in Lalla Rookh. Long before these works were
published Collins had written, in the preface of the first edition of
the Eclogues, that "our geniuses are as much too cold for the enter-

Id I niirr.sttj^ of Kan.s<u'< U iiniinii.stic Stiidies

taiiiiuont of siicli [Eastern] sentiments, as our climate is for their
fruits and spices".

Perhaps the deepest interpretation of the Orient, in the verse of
»>ur period, Mas made hy EngHsh poets moved by the varying
humanitarian, reform, and revolutionary interests of the day.
There are a host of poems on African slavery written, most of
them, from the point of view of the social reformer. The con-
templation of the tyrannies of the East aroused vigorous protest;
the enslavement of Eastern peoples to cruel or superstitious cus-
toms and creeds — such at least to English thought — called forth
severe criticism, and praises of the mission of England in the East,
in politics and religion. The dominion of the proud Turk in
(i recce, while it cost the life of only one English poet, excited
poetical protests from many pens. In Lalla Rookh even, the
struggle for liberty is one of the themes, and Smollett looked with
admiration upon the Arabs and the Tartars as peoples conspicuous
for their love of freedom. Though the "brotherhood of man", in
a Twentieth Century sense, is hardly in evidence, many of the
English poets spoke against tyranny in any form, and showed at
least poetic sympathy with the oppressed sons of man, in the East
as well as in the West. In the decline of great Eastern tyrannies,
they often found a direct lesson for Europe. Ozymandias has its
sermon. The Orient is more than once called as a w itness against
French pride. Shakespeare and Marlowe felt a certain enthusi-
asm for the tyrant, provided he was suflSciently great and successful
in his tyranny; but the times changed — after the English poets
had known Napoleon.

After our period, many of the traditions of Orientalism are car-
ried on with little essential change into the Victorian and post- Vic-
torian eras. Different poets continued to express different phases
of this large subject.

Mathew Arnold felt the fatalism of the East. This conception,
together with local color which he obtained from Sir John Mal-
colm's History of Persia, he wove into Sohrab and Rusium. But
Southey also dealt with the fatalistic element in the thought of the
East. Edwin Arnold gave sympathetic interpretation of the
religions of the Orient in The Light of the World and The Light of
Asia — though, perhaps, in no more scholarly manner than Sir
William Jones. It might be interesting to compare the diction
and the themes in two such different poems as Sohrab and Rustum

Osborne: Oriental Diction and Theme 17

and The Light of Asia. In general tone the latter bears some
resemblance to the Oriental poetry of Emerson and not a little to
that of Sou they. Elaborate and modern as it is, it can hardly be
said to mark a new departure in the same degree as do the poems
of Browning and Kipling. Sohrah and Rustum is one of the noblest
Oriental poems in English literature. The central theme, certainly,
is not peculiar to the Orient, nor are the mental and moral tones
of the poem. The spirit of the poem is largely Greek. Sohrah and
Rustum is one example of that mingling of varied and even oppos-
ing styles which is so characteristic of English poetry. The
settings of the poem, however, general and specific, are Eastern;
the Oriental diction is adequate and of memorable quality. In
beauty and depth this poem is superior to most English Oriental
poems, earlier or later.

Browning brings into Oriental poetry a more manly humanity,
a more generous, deeper morality than most of his English fellow
poets. Miss Conant has discussed the moral tale of the Eighteenth
Century and all students know the didactic emphasis of that
period; but Browning's didacticism, as well as his optimism,
belongs to himself alone. He was much interested, along with
other masters, in the ethics, the wisdom, the mysticism, the
religion, and the hot-headed emotions of the Oriental peoples.
These themes and others he expressed with dramatic force and with
his usual psychological insight in many poems — Ferishtah's Fancies,
Ben Karshook's Wisdom, The Epistle of Karshish, Rabbi ben Ezra,
A Death in the Desert, Luria, The Return of the Druses, Solomon
and Balkis, Through the Metidja, and others. In Muleykeh the
vigor of such phrases as "the thunderous heels" and "Buheyseh
is mad with hope" are in striking contrast with the languorous
tone of much Eighteenth Century Oriental verse. The Russian
element, in whatsoever form, rarely appears in the verse of the
English Romantic Movement. Ivan Ivanoritch is one of the first
important embodiments of an interest which develops through the
remainder of the Nineteenth Century and into the Twentieth.
Clive is almost an authority on its subject.

Tennyson's Orientalism is considerable, but it is less forceful and
less original than that of Browning. It is mainly, if not entirely,
in the Romantic manner. Tennyson reveals a love of Eastern
story inherited from his boyliood reading and a nuiture English-
man's interest in the relations of the Orient to his own countrv.

/>' I'liiriT.sitif III Kiin.'<(is II iiiiniiiislic Stiuhrs

In his IxtC'illfcfitnis of the Aniluun Siijhts, lio has chosen a tlieiiic
f.miul ill M'voral ptn-ts of ojir jieriod. In tlie Defense of Lucknow,
MonieueijriK and olhcr poems, he treats tliat military strnggle
hetwet-n the Kast and the West whieh. in other forms, was an
ini|>ortanl snhject in The Siege of Rhodes, in Iloole's transhition of
Jeni.sdlem Pelivcred, and in many a lesser poem of onr period. The
(up is his nearest approach to an Oriental drama. In Ahbar's
Dream Tennyson shows less of the mystical and phantasmagoric
(pialily associated with Hm' Orient than appears in KnhUi Khan;
nu)re of the ethical.

Fitzgerald is, of course, a figure of great importance in a sketch
of Kngiisji Oriental verse. The first edition of his Hubaiyai aj)pear-
ed in ISo!). the second in 187'-2, and the third in 1879. The neatness
and comparative independence of the single quatrain, the concise
and exotic imagery, the love of happiness and the half-worldly,
half-mystical philosophy have given the work a wide and an
enduring popularity. Omar's denunciation of the inexorable fate
which dooms to slow decay or sudden oblivion all that is charming
and beautiful in this world resembles the lament of many a poet
of tlie Romantic Movement. Much of the Oriental diction in
I'itzgerald is similiar to that in English verse prior to 1840. The
naturalism of the Rubaiyat is of a somewhat different type from
that appearing in the Oriental verse of Byron, Southey, or any of
their contemporaries.

In Kipling, it would be no more difficult to find some of the old
Oriental motifs and language than it would be to trace the English
ballad traditions in his form and subjects. The Enghshman in
India is not a new theme, nor is that of the heat in the East. What
affects us in Kipling is the large number of his Oriental poems, his
extensive realistic and dialectic vocabulary, and the general realism,
modernism, and anti-academic quality of his work. Though he
sounds more loudly than his predecessors the note of imperialism,
it is far from being an absolutely new note in English poetry. Yet
Kipling, on the whole, is new. Sir William Jones was a scholar; he
knew East Indian life in ways unknown to Kipling; but he could
not have expressed the tragic shiver and the mournful music of
Oriental experience in Danny Deever and Gunga Din, or the humor
and irony in such poems as Fuzzy-Wuzzy and Ounis. The Dove
of Dacca relates an old Bengal legend, not in the scholarly manner
of Sir William Jones or the erudite manner of Southey, but with

Osborne: Oriental Diction and Theme 19

a touch of Moore's sentimentalism, Route Marchin and many
other poems are in Kipling's own style,

The further story of Orientalism in English verse from 1840 to
the present time is a long one, which cannot even be outlined here.
It includes many poets, many themes, many moods. James
Thomson, like Byron and Crabbe and Wordsworth in our period,
like Tennyson, was influenced by his early reading of Arabian
Nights. His City of the Dreadful Night in some respects suggests
the Oriental poems of Southey. Rossetti reverts to the theme of
ruined grandeur in his stately Burden of Nineveh. Charles Mac-
kay, a somewhat voluminious poet probably little read in this
country, tells a legend of Australia in The Lump of Gold, and em-
bodies the mysticism of the Orient proper in The Prayer of the
Priest of Isis. He joins his voice to that chorus of singers for
liberty which is prominent in the period of our study. He writes
of the abolition of slavery, and in The Brotherhood of Nations
records of words breathing the spirit of international comrade-
ship—

"From the cold Norland to the sunny South —
From East to West, they warmed the heart of man."

Sydney Dobell enters the field of Orientalism in Czar Nicholas and
.1 Musing on a Victory. Andrew Lang unites the traditional
theme of the golden East, the tradition of Ophir, with the modern
exploitation of the wealth of Africa in his Zimbabwe. Ednmnd
Gosse — cosmopolitan in his verse as in his criticism— goes back to
the Persian sources in his rather long poem on Firdausiin E.xile.
The deeper note in much recent Oriental verse, in contrast with
much of that examined for this study, may be seen by a comparison
of Mathilde Blind's sonnet on Nirvana with the brief fragment on
that theme in Miss Kaillie's Bride.^^

In The Madras House oi Granville Barker we have a drama par-
tially Orientalized, with a view of Mohammedanism in striking
contrast with that in medieval English, Elizabethan, or Eight-
eenth Century tragedies.

Orientalism in American literature has a somewhat different
tendency at present from that in English literature; owing in part
to our greater distance from Turkey and Persia eastward, and our

10. Act I. close of Scene 2.

fO I'liltrrsitjf of Kuii.sas II innoni.sllc Studies

imuh rl»)siT lu'iglihorhood to (liinii and Japan westward. In the
early jK'riods of American literature the conventional themes and
diction of English Orientalism, like most conventions of English
literature, are in evidence. Even in Emer.son, one finds the old
phrases — the "nuimmied East", "Africa's torrid plains", the
"grave divan"; and his Oriental vocabulary includes many words
worn hy time — "Ciiaours", "caravan", "Allah", "dervish",
"crocotiile", "siroc", and many others. Yet in Emerson there is
much language more fresh than these citations indicate; as well as
an unusual aj)i)reciati()n of the mysticism of the East, — not a
mere matter of literary fashion, but rooted in the nature of his
imaginative and religious life. His Oriental poems include The
Roriwujf Girl, tlie Bohemian Hymn, Brahma, (parodied })y Andrew
Lang in a poem of the same name), Saadi, several of the Quatrains
and most of the Translations. The recent cult of Eastern religions,
and the vogue of Tagore may be barely mentioned.

The relations of America to the Orient based on the AYar of
1898, on the large number of Orientals in this country, and on our
present commercial and diplomatic problems, have been more or
less distinctly recorded in verse or imaginative prose. Such
dramatic pieces as Madame Butterfly and The Bird of Paradise may
perhaps be insignificant as literature, but they are nevertheless
poetic renderings of the modern relations of the East and the West.
The contrast in ethical and emotional nature between the soul of
Eastern peoples and the soul of Western peoples appears in both
these plays. It is an old theme, prominent in the verse and prose
of England a century ago; but here showing new forms under new
conditions. In Omar the Tentmaker, the playwright gives careful
attention to Eastern coloring in the characterization, in the diction,
and especially in the stage settings. By weaving into the text some
of the lines of Fitzgerald, the author helps to bind together the
American Orientalism of today with the English Orientalism of
the early Victorian period, and so with an interest which may be
traced back to Chaucer himself.

What the effect of the present world crisis may be on this special
phase of English poetry, one does not venture to prophesy. One
sees today new and startling intermingling of Eastern and Western
life — and death. In the era soon to be, who can tell what new
themes, what undreamed inspirations of hope or what terrifying
despair may come to English poets out of the East.^

CHAPTER II

Oriental Vocabulary

Between 1740 and 1840 extensive additions were made to the
English poetic vocabulary. Some critics have considered the
enriching of language in England and on the continent as one of
the most important results of the Romantic Movement. English
poets enlarged the scope of their diction by a revival of medieval
and Elizabethan terms, and they also went abroad into fairly fresh
fields. They found new words as well as new ideas and new images
from Celtic, Scandinavian, Occidental, and Oriental sources. The
fresh Celtic vocabulary is familiar in Burns, Macpherson, Collins,
and other poets. A striking Scandinavian diction is found in
Motherwell, ^^ as well as in his more famous predecessor. Gray.
Among the poets who introduced geographical or cultural terms,
new to many of their readers, from the New World are Bowles,
Grainger, Mrs. Hemans, Thomas Moore, James Montgomery, and
Southey. Not rarely a poet resorts to two or more of these sources.
Mrs. Hemans writes The Forest Sanctuary, as well as The Caravan
in the Desert; the Oriental diction of Lalla Rookh accompanies
diction drawn from Moore's travel in Canada and the States;
Southey wrote A Tale of Paraguay as well as The Curse of Kehama.

In poem after poem of the period these exotic words are of such
character as to require, or at least receive, explanation in foot-
notes; sometimes in glossary. The poets did not assume that
their readers would be familiar with "bigging", "kraken", "pixie",
"quaigh", "Torngarsuck", or "sea-grape"; nor with "dallim",
"kellas", and "Swerga". The scenes of Bowles' Missionary are
in South America, and the author explains quite a number of
words used in the text, including, Almagro, Chilian, chrysomel,
cogul, Guecubu, ichella, opossum, Ulmen, and sea-blossom.

During our period some few poems Oriental entirely or in part

11. See his Battle-Flag of Sigurd, Wooing Song of Jarl Egill Skallagrim, and
other poems. Note also the two Danish Odes "attributed" to John Logan.

21

i*v? I nirfisiti/ nf Kaii.sa.y ]l uiiimnMic Stmhcs

wvvc writliMi ill (Iivtk or in Laliii. l'rol);il>Iy the host ox;iin})le.s of
thr Oriental porni in (ircek arc I'raed's Pi/ramides .Egi/pflacne and
In Ohifiim ... Thomw Fanshatrc Middleton. It is interestinjr to
note that the hit tor poem is indehted tt) The Curse of Kehania, and
that it presents the theme of the suttee among other Oriental
subjects. Ainonjj the distinctly Oriental lines of In Obitinn are,

"Na/idrwv Tzdrep, HaOuTT/.ouTe rd/ya\
"a f-oypa llw'ifD.tuvii'f at)ka\

and.

Sir William Jones wrote a number of Oriental poems in Latin.
From liis FAegia Arahica one may .select tliese lines as examples of
the Eastern tone or theme in the academic tongue:

"An roseas nudat Leila pudica genas?"

"Nardus an Hageri, an spirant violaria Meccae,
Candida odoriferis an venit Azza comis?"

There are Oriental passages of somewhat didactic quality in John-
son's Sepiem .Etates and in Browne's De Auimi Immortolitute. In
the first poem is this line:

"Imperium qua Turca ferox exercet iniquum;"

and in the second poem this:

'*A.spice quas Ganges interluit Indicus oras. "

The English form of certain geographical words is identical with
the Latin form, as, for example, in the case of Africa, Byzantium,
Euphrates, Libya, and Tigris. Occasionally the Latin form is used
in place of the English, for poetical or metrical purposes. "Nilus"
is a common substitute for "Nile".

The extent of the English Oriental vocabulary j)roper will of
course dei>end on the definition of "Oriental". Words derived
directly or indirectly from Oriental tongues would probably num-
ber several hundred. Other words, of whatever linguistic origin,
are naturally and habitually associated with the East. Then
follows a third class of words, large and indeterminate, borrowed
from the general vocabulary to express such Oriental motifs as
luxury, remoteness, etc. A complete study of Oriental style would

Osborne: Oriental Diction and Theme 23

consider words of this third class as worthy of close attention,
though it is somewhat difficult to reduce them to law and order.

There are practically no words in the verse of our period appear-
ing in the characters of Oriental alphabets. ^^ The nearest approach
to true Eastern word-form is found in transliteration. In the verse
of Jones there are several hundred transliterations, largely proper
names, of which only a few have even yet found assured place in
the standard English dictionaries.^^ After Jones had established
the method in English verse (for in some sense he may be said to
have introduced it), it was followed by later Oriental poets, such
as John Scott, Byron, Sou they, and Mangan. In the following
twenty lines from Jones' Enchanted Fruit, there are thirteen
examples of transliteration; "nargal" ("narghile") being the only
word among them found in the New International Dictionary of
1910.

"Here marked we purest basons fraught
With sacred cream and famed joghrat ;
Nor saw we not rich bowls contain
The chawla's light nutritious grain,
Some virgin-like in native pride,
And some with strong haldea dyed;
Some tasteful to dull palates made
If merich lend his fervent aid,
Or langa shaped like od'rous nails,
Whose scent o'er groves of spice prevails,
Or adda breathing gentle heat.
Or joutery both warm and sweet.
Supiary next (in pana chewed.
And catha with strong i)owers endued.
Mixed with elachy's glowing seeds.
Which some remoter climate breeds,)
Near jeifel sat", like jeifel framed.
Though not for equal fragrance named :
Last, nargal whom all ranks esteem.
Poured in full cups his dulcet stream."

A partial list of English words of Oriental derivation is given in
the A'ppendix}'^ It is clear that many of these do not belong to
the poetic vocabulary. Others arc of rare occurence in the verse
of our period. Of those that remain, some are very Oriental in

12. Byrom introdncr's words in Hebrew characters (in Epistle III to the Rer.
Sfr. L — .),a practice, it will be renipmbercd, of which Flrowning was rather fond.

13. See the Appendix, II, A.

14. Hec II, B.

^J L'nircnsiti/ of Ka7isas Humanistic Studies

.suggestive value, while some are of rather indifferent quality in
this respect. The following table arranges according to source a
few of the words of genuine Oriental import which are in more or
less common use in the verse of our period. (In a few examples
the derivation is problematic.)

Arabic : alcove — amber — atabal — caliph — fakir — gazelle —

giraffe — harem — houri — Koran — Mohammedan — minaret-
monsoon — Moslem — mosque — nmezzin — mufti — nabob —
saffron — Saracen — sheik — simoom — sirocco — sultan —
tamarind — vizier.

Avestan : paradise.

Egyptian: gum.

Malay : bamboo — lory — proa.

"Oriental " : peacock.

Persian : attar — azure — bazaar — caravan — caravansary —

dervish — divan — firman — jackal — jasmine — khan — lemon —
lilac — Magi — Mogul — musk — orange — pagoda — peri —
saraband — scarlet — scimitar — shah — tiger.

Russian : Cossack.

Sanskrit : avatar — banyan — beryl — Brahman — camphor —
champac — crimson — jungle — rajah — rice — sandal-wood —
Veda.

Tatar : horde.

Turkish : coffee — dey — giaour — Janizary — kiosk — pasha —
tulip — turban.

The list in the Appendix shows a remarkable preponderance of
nouns over the other parts of speech. This fact is of interest from
the poetic as well as the linguistic point of view. Only two verbs
are given — "chouse" and "garble" — , neither of any poetic value.
The words which may be considered pure adjectives are only five:
azure, crimson, saccharine, Sanskrit, and scarlet. Words which
by the average reader are probal)ly conceived as having some
adjective quality are more mimerous: — bamboo, Bedouin, bril-
liant, calico, gamboge, Moslem, Mohammedan, mammoth, orange,
Ottoman, rattan, saffron, shagreen, silk, and Tartar. There
remain some two hundred and thirty nouns. It is clear that Eng-

Osborne: Oriental Diction and Theme S5

lish Oriental verse must depend on words from non-Oriental
sources for its rapid narration, its analysis of psychic process — or
else omit such matters altogether.

A brief note on words of Hebrew derivation may not be amiss.
Skeat gives a list of about eighty-five such words, a list which is
somewhat altered by the Neic International. Some of these words
belong, in the verse of our period, quite as much to the Oriental
vocabulary as to the Biblical in a narrow sense. Among them may
be named, balm, balsam^ camel, cassia, cinnamon, ebony, elephant,
hyssop, sapphire, and teraphim.^^ There are many other words in
the King James version of the Bible, of various derivation, which
belong to the Oriental vocabulary. ^^

Our Oriental poets paid considerable attention to propriety in
their diction. Byron distinguishes the Itahan form of "giaour"
from the more Eastern form. Montgomery accompanies the
phrase "medzin's cry" with a footnote explaining that the proper
form of the word is "muedhin". Yet the ideal of embodying
Oriental theme in purely Oriental language was at times curiously
neglected, and at all times except for brief passages practically
impossible. One does not find "cromlech" or "Woden" intro-
duced into an Oriental context; but there are a number of refer-
ences to a "glen" in Lalla Rookh, and to Bowles the Tartar society
is composed of "clans". "Glittering" and other words from the
same Scandinavian root are of frequent service in Jones and his
followers. The term "pastoral" seems at first reading
strangely applied to Madagascar (Mickle's Lunad), or to Gara-
mant (Shelley). To American readers a "canoe" may probably
seem a strange boat for the east coast of Africa ; but the etymolog-
ical authorities tell us the word is probably of African origin.
"Cacique", however, occasionally found in Oriental context, is
an importation from the West.

An interesting example of varied appeal in different words for
the same object is found in the pseudo-classical "Philomela", the
English "nightingale", and the Oriental "bulbul". In the early
part of our period, especially, the evidences of pseudo-classical
diction are all too numerous, and conventional diction of regulation
Eighteenth Century type blurs the Oriental quality of many a

15. Stnitliey uses the singular ' 'teraph". in The Curse of Keliama. in strictly
Oriental context.

16. See the Appendix, II, C.

i'6' I'liircrsitif of Kansas Ilumunisfic Studies

passiij^c. Ill llio Oiicnlal life of Jones* verse love is a "smart''; in
this or that passage of other poets we find the "Armenian knight ",
the "Syrian dames", and "Asia's fair".

Among the most connnon Oriental words in the English verse of
our period are proi)er names, geographical and personal. This i.s
true in a degree of Persian, Arabian, Turkish, and East Indian
passages, but is especially marked for such outlying regions as
central Africa, Siberia, and Lapland, whence, at the time in ques-
tion, comparatively few native words other than i)roper names had
entered the English language. The exotic quality in the diction
of Coleridge's Lapland passage in the Destiny of Nations depends
mainly on some half dozen strange place-names. Coleridge in this
respect has made no progress beyond Thomson, who in the north-
eastern passage in Winter, while relying mainly on geographical
names, introduced "caravan", "sable", and "reindeer".

Consultation of maps or books of travel is an easy process, and
not a few poets introduce geographical words rare if found at all
in the verse of other poets. Among such words are Bojador, Bom-
bay, Cormandel, Madras, Molucca, Oka, Pekin and Sumatra, in
Dyer; Bassora," in Collins; Benares and Ki (a river), in Jones;
Dahomay, in Walter Scott; Beder and Hoangho, in Southey;
Istakar, Liakura, and Ukraine, in Byron; Carmanian and Choras-
mian, in Shelley. There are rare words in each of the two passages
compared just above; in Thomson, Niemi, Tenglio, and Tornea;
in Coleridge, Balda Zhiok, Lieule-Oaive, Niemi, and Solfar-
kapper.

Among the most common words of this class are Arabia, Atlas,
Africa, Assyria, Babylon, Egypt, Ethiopia, Euphrates, Ganges,
Libya, Persia, Russia, Scythia, Tartary, and Tigris. The words in
the following tabulation are of more or less frequent occurence;
and are examples from a much longer list that could be given:'*

Abyssinia Bengal Cairo

Algiers Bengala Calcutta

Bactria Bokhara Cashmere

Bagdad Bosphorus Cathay

Balbec Byzantium Caucasus

Barbary Caffraria Ceylon

17. Found in Emerson's Ilermionc; doubtless in other English poets.

18. The spelling is often very various, and antiquated, as in the case of
Sahara ", and •Tahiti."

Osborne: Oriental Diction and Theme

21

Chilminar

r^ahore

Samarcand

China

Lapland

Senegal

Damascus

Moscow

Shiraz

Danube

Nineveh

Siam

Fez

Nubia

Susa

Golconda

Numidia

Tahiti

Japan

Ormus

Tibet

Java

Sahara

Volga

Kamchatka

The proper names for persons include those of Oriental gods, of
historical or legendary characters, and of the dramatis personae of
tale, drama, or lyric. If the Gothic revival emphasized such names
as Woden, Balder and Valkyrie, Oriental taste responded with its
Allah, Buddha, Brahma, Isis, Osiris, Nealliny, and Vishnu. One
could readily make a longer reckoning than this from the verse of
Jones alone. Among the historical or legendary names are Con-
fucius, Ghengis Khan, Hafiz, Mahomet, Osman, Sadi, Sardanap-
alus, Semiramis, and Zenobia. The names of contemporary
celebrities in the East are comparatively rare. Oriental fiction has
its Leila, Abdallah and Hassan, who take their places beside the
Daphnis and Chloe of pastoral poetry, and the Laura, Lesbia and
Delia of love lyrics. It is not often that such a splendid name is
discovered as that which Shelley gives us in "Ozymandias".

The word "Orient" itself is not uncommon, but is in less fre-
quent use than "The East", which occurs in a multitude of
phrases — "the golden East", "the burning East", "the soft
luxurious East", "Venice and the East", "the East for riches
famed", etc. The adjective "Oriental" seems less frequent in
verse than in prose; and, again, "Eastern" is often a substitute.
It may be noted in passing that "Occident" and " Occidental " are
of rather infrequent occurence. If one accepts a liberal interpre-
tation of "Oriental", one must reckon with "South" as often
significant of much the same poetic qualities as were associated
with the Orient proper. In fact the contrast between England
and Persia or Arabia sometimes takes the form of a 'North and
South' phrase. There are, of course, more general expressions,
such as 'Moslem lands', 'paynim countries', etc.

Special poetic forms for familiar words are frequent. The rather
bewildering variety in spelling is of slight literary interest, except

SS I'niirr.^ity of Kaunas Humanistic Studies

ill nisos whon* the phonetic or rhythmical value of the word is
cssonli}illy alterctl. So far as literary meaning goes, Bramin,
Hracliman. Hrahiniii, and Brahman may probably be considered
idiMitical. The oxij^'cncios of rhyme, meter or rhythm, or the
»'fTt)rl to fasiiion jxH-tic diction, however, produce some interesting
variants. Thus one finds Afric, Bengala, Bombaya, Buddh,
Hyzance. Bazantion, Calicut, Ganga, and, very frequently, Ind.

Words created by English poets after Oriental models are not of
great signiticance. "Ozymandias" — if the word is a product of
Shelley's imagination — may be taken as perhaps the best of its
chuss. Many another proper name is coined, due attention being
given to certain characteristic consonants. Search in the verse of
Blake would probably discover some Orientalized words used for
the purposes of the mystic. For humorous effects, one may note
the "Crocodilople" of Southey, and the long list of "outlandish"
Russian names in his March to Moscow. Moore passes beyond
Southey, however, in daring if not in humor, in his burlesque
Russian word of twenty-eight letters — " Wintztschitstopschin-
zoudhoff":'^

The compounds found in Oriental verse are of no little interest.
Some are transliterations; some are fashioned from words of Ori-
ental derivation; some, of whatever etymology, express a char-
acteristically Oriental conception, image, or poetic tone. ^Vhile
the formation of compounds is no special privilege of the Romantic
poets, the best examples are probably found in the later poets of
our period, especialh^ in Byron, Moore, and Shelley. Others, how-
ever, sometimes of high poetical quality, are scattered through a
thousand pages of a hundred other poets. Only a few examples, of
special Oriental value, can be given here:

AUah-illa-AUah Desert-wearied (Keble)

Atar-gul Fire-god

.\ullay-horse (Southey) Fur-clad Russ (Cowper)

Camel-driver Gem-emblazoned (Peacock)

Citron-dram Hunter-founder (i. e., Nimrod)

Cobra-di-capel (Shelley) Million-peopled (Shelley)

Date-season Minaret-crier

Desert-circle Mosque-like

\9. In The Twopenny Post Bag; Letter V.

Osborne: Oriental Diction and Theme 29

Mosque-work Seraglio-guard

Mother-land of all the arts Seven-headed idol

(of Egypt, Southey) Spice-time

Mummy-king Sun-idolater

Musk-wind (Moore, Mangan) Swer-god (Southey)

Nile-bird Turban-forms

Prophet-chief (i. e., Mahomet) Vapor-belted (of the Pyra-
Razeka-idol (Southey) mids, Shelley)

River-dragon {i. e., crocodile) Widow-burning

Sand-waves Wul-wulleh

Scymetar-petals (of the lily, Zemzem-well

Mangan)

A distinct though slight service of Oriental diction to English
verse is found in the matter of rhyme. No examples are found in
the Persian Eclogues, but a half century later this detail of tech-
nique is quite conspicuous; in The Bride of Abydos, and Lalla
Rookh, among other poems. In The Bride of Abydos "divan",
"Carasman", and "Galiongee" are used twice in rhyming posi-
tion; and fifteen other words, including Oglou, Ottoman, sherbet,
scimetar, etc., are so used. In Lalla Rookh we find about thirty-
six Oriental words at the end of the verses ; Cashmere, Bendemeer,
Chilminar, Nile, and Samarcand, each twice, Araby three times,
Nourmahal seven times. Among the other rhyming words of this
poem are Amberabad, Candahar, cinnamon, Caliphat, Isfahan,
Jamshid, Kathay, kiosk, Malay, myrrh, Saracen, Sultana, Shad-
kiam. Zenana, and ziraleets. Mrs. Hemans rhymes "scimetar"
with "bear", and with "war". Praed uses "Bengal" some four or
five times as a rhyming word.

Many words of this Oriental vocabulary, the vocabulary of the
"soft, luxuriant East", have a phonetic beauty and delicacy.
Perhaps none can equal those words of gliding vowels which
Stevenson discovered and praised in the islands of the South, but
those word melodies do not belong to the main body of English
verse. A true poet could scarcely use any of the following words
without some sense of charm in the mere sound: Araby, Arabia,
Arabian, azure, cinnabar, Chilminar, cassia, gazelle, Leila, Mala-
bar, spicy, Siberia. These are chosen from a very considerable
vocabulary offering similar values.

On the other hand, for moods more strenuous, there are Oriental

30

I'liirfrxitj/ of Kmisa.s II iiniiiiiistic Sivdiea

xvonls of snllifUM.t cons.MianUil fmlion— WDrds like a hiss or a
Mow. suK'i;o>^tinii spirilrd action, thouoli they are nouns, ^\lth
surh a value, at U-ast io the imaginative reader, appear Caucasus,
Cos.aek. (lauL'es ^Maour, Janizary, Juggernaut, muezzin, sheik,
vi/.ier. and uk.mv others. Something of the effect of ferocious
utlaokin Motherwell's Oiujlotrs On.slawjh(, A Turkish Battle Song
is surely gained hy an apt use of Oriental diction— in these lines,
for ♦•\ainple:

"Tehassan Ouglou is on!
'IVhassan Ouglou is on!

For the liesh of the Giaour
Shriek the vultures of heaven.

Bismiilah! Bismillah!

Through the dark strife of Death
15ursts the gallant Pacha."

While there was a lively interest in Oriental words on the part of
many oi the poets of our period, it is doubtful if many of them paid
as close attention to root meanings as the English poet is expected
to pay in the case of classical or native vocabulary. Often the
ultimate meaning of the words used was probably unknown.
Jones gives his readers some careful notes on the etymological
significance of the names of certain Indian deities. Probably some
|)oets imaged black eyes when they wrote "houri", and felt the
effect of the root meaning "poison" when they referred to the
simoom.2» But it is only a great poet or a great scholar who can
be trusted to consider words habitually as the records of remote
e\-i>erience or fancy in the lives of men; and many of the authors
of our study were essentially verse writers rather than artists.

20. Thp word "jungle" is an interesting example of wandering from the ancient
root meaning, which Skeat gives thus: "Skt. jangala, adj. dry. desert".

CHAPTER III

Oriental Phrase and Figure

For present purposes by "phrase" is meant any simple combi-
nation of words, coherent when isolated, a line or less in length.
Even the adjective-noun form indicates much concerning the
general character of Oriental diction. This paper should prove,
if proof were needed, that the English Oriental poets are not mere
phrasemongers; yet a good deal of the novelty and of the special
value of the Oriental taste is shown by examination of the simpler
elements of its language.

There are many titles clearly Oriental in diction; others give no
clue to the Eastern quality of the poems. On a Beautiful East-
Indian, The Moorish Maiden's Vigil, The King of the Crocodiles,
The Enchanted Fruit; or. The Hindoo Wife, The Caravan in the
Desert, and many others^^ are in themselves interesting phrases.
Persian Eclogues is as suggestive as Danish Odes. The Trav-
eller at the Source of the Nile is almost a poem in itself, as is The
Wail of the Three Khalendeers.

The refrain is often found, sometimes with genuine Oriental
value, sometimes without. It is used by ColHns in his third
Eclogue, in Lalla Rookh, and, late in our period, by Mangan.
"Karaman" is found as a complete line twenty-three times in
Mangan's Karamanian Exile. Tendency of the Romantic
Movement to favor the refrain is apparent in the verse we are
studying, though it may perhaps yield no such striking examples
as the refrains of The Lady of Shalott, Sister Helen— (n of Pre-
Raphaelite poetry in general. Few if any such lines as Tennyson
repeats in the body of the verse in the Idylls of the King —

"From the great deep to the great deep he goes".

"Clothed in white samite, mystic, wonderful,"--

21. See Appendix, I. A.

21

^g rtiirrrsitif of Kansiis Humanistic Studies

apix-ar in tlu- Orit-ntal [ux'try. The most dynamic Oriental
rrfraiiis arc t ruiislihMat ions, such as Motherwell's "Allah, il
allah." aiul '•nisniillah! Hisinillah!"

The i)iiicly Oriental phrases, composed of words derived from
Kastorn lani^uai^os or of strictly Eastern connotation, are not
nunuToiis. and. from the nature of the English language, they are
l»ricf. A few oxami)les are PoUok's "Tartar horde", Southey's
"Moorish horde", Thomson's "horde on horde", Smart's "tur-
hancil Turk". Ilarte's "Moorish sarabands", and Chatterton's
"scarlet jasmines". Other exami)les could be found in personal
nan\<'s and in jiassages of geographical description.

(leographical phrases are among the most conspicuous. Many
of thcni arc what may be called "spatial phrases", in which the
sense of distance is expressed. Such phrases, when of two terms,
may have both in the Orient, or one in the Orient and the other
elsewhere. A model for the first class is found in the first verse of
the Book of Esther — "From India even unto Ethiopia". A simple
example of the second class is found in the familiar "From China
to Peru". As most of these geographical phrases are of the same
general character, not many citations need be given. In a few of
the following the idea of contrast is expressed. The first example
is of a familiar type, in which a mere list of geographical units is
given.

Blake: China and India and Siberia.

Burns: From Indus to Savannah.

Cunningham: From Zembla to the torrid zone.

Harte: 'Midst Abyssinian flames or Zembla's frost.

Jenyns : From frozen Lapland to Peru.

Keats : Or in Orient or in west.

Langhorne: From Bactria's vales to Britain's shore.
From Ganges to the golden Thame.

Ly ttelton : From Atlas to the Pole.

Mickle's Lusiad: From Calpe's summit to the Caspian shore.

Peacock: From northern seas to India's coast.

Pollok : From Persia to the Red Sea Coast.

Pollok and Wordsworth: From Agra to Lahore.

I*racd : Arabia's sands or Zembla's snows.

Mrs. Iladclilfe: From Lapland's plains to India's steeps.

Shelley: From the Andes to Atlas.

Wilkie: From Zembla to the burning zone.

Osborne: Oriental Diction and Theme S3

An example of this type with some special interest is found in
the common 'either Ind', or 'both the Indies'. At times this
phrase refers undoubtedly to the West Indies and the East Indies,
but the reference is sometimes obscure. In the following citation
its strictly Eastern range is clear:

"Either India next is seen
With the Ganges stretched between. "^^

But Southey writes,

*'In Eastern and in Occidental Ind."

In compiling a considerable number of simple phrases in which
"east" ("East") or "eastern" ("Eastern") is the basal word, one
perhaps trespasses somewhat on the study of Oriental themes, but
it seems convenient to consider the matter here. While during
our period the word " Gothic" is in frequent service, one questions
whether it would be as easy to gather as many examples of phrases
with that word as it was to collect the following. Certainly one
could read far and wide before as numerous examples as those
below could be found for phrases with "West", "Western", or
"Occidental".

Among the nouns to which "eastern" (or "Eastern") is prefixed
in our verse are : Arab — bards — beauty — bower — calm —
caste — clan — diamond — evening — fire — gems — gold —
grandeur — heart — hunt — isles — jewels — kings — lands —
legend — Magi — magician — minds — monarchs — moonstone —
nabobs — Nile — opal — opulence — oppression — pageantry —
parliament — patriarchs — pearls — pomp — queens — rajah —
ruby — ruins — satrap — star — story — tales — talisman —
warfare. x\mong the phrases with "east" or "East", in addition
in addition to those previously given, are: the liberal East, the
wondrous East, the slumberous East, the East wrought by magic,
the Imperial City of the East, etc.

There are almost innumerable examples of phrases formed by
lists of items in the same category — the names of persons, deities,
flowers, animals, etc. These may be given simply to represent
the type:

Byrom : Sophy, Sultan, and Czar.

22. James Montgomery: A Vouage Round the World.

54 I'niirr.'iiti/ of Kanffas li uiimuistic Studies

(awthorn: Of Isis, Ibis, Lotus, Nile.

Ilarto: Moloch and Mammon, Chiun, Dagon, Baal.

Iloolo's Orlando Fnrio.so: Moors, Turks, and Tartars.

Maiigan: Cluehre, Heathen, Jew and Gentoo.

Montgomery: Jews, and Turks and Pagans.

Smollett : Jews, Turks, and Pagans.
Such series in Oriental verse rarely have the beauty of the list of
feminine names in The Blessed Damozel; nor have they received,
in all probability, such severe criticism as Nordau, in Degeneration,
gave to Rossetti's passage.

Certain items given above have suggested the imitative and
conventional element in the phrasing of the Oriental poets. Such
results are due in part to inheritance of pseudo-classical tenden-
cies; in part, to the nature of Oriental themes, and particularly to
their novelty in English verse. A study of conventionalized
phrase is of value for its indication of the social mind of the era.
Occasionally an individual poet will write the same phrase several
times. Milton's "Araby the blest" occurs three times in the ob-
scure verse of Thompson. Boyse responds with a thrice-used
" Zembla's icy coast ". There are a number of natural associations
of ideas or images which lead to association of words in the phrase.
Thus we often find named together the Cross and the Crescent,
the Turk and his turban, the rose and the nightingale, the Chaldean
and the stars, Mahomet and Allah, Zembla and frost, snow, or ice.
"Harut" and "Marut" are as naturally members of a single
phrase as Damon and Pythias, or Roland and Oliver. Perhaps no
better e.Kample could be given of a strictly stereotyped phrase than
"Tyrian dye", though even this is varied to "Tyrian purple".
One or the other of these last expressions is found in poet after
poet, minor and major.

The epithetical phrase proper is also very frequent, and is the
result of the same influences that shaped the conventional phrase.
The pseudo-classical facility in phrases of this type is impressed
on every reader of Waller. To that poet it is natural to say that
a trumpet is "loud", that a noise is "powerful". Is it Waller or
one of his followers who is responsible for "watery sea".'* Some
of these epithetical phrases are taken from Greek and Latin poetry
and have therefore a certain historical dignity. Others are due to
lack of imagination or imaginative effort on the part of the poet;
others as clearly give emphasis to certain characteristics in Ori-

Osborne: Oriental Diction and Theme 35

ental matters which attract the fancy. The Ganges is often
"sacred", the Nile often "seven-mouthed", sometimes "oozy",
"slimy", frequently "fertile" or "o'erflowing". To many writers
the Pyramids are simply "tall" or "old" or even "Egyptian".
Shelley's fine "vapor-belted" stands out in clear relief. To
one poet the Danube is "huge", to Campbell, "dark-rolling".
The crocodile is "armed", or "scaly"; the desert variously "burn-
ing", "dry", "scorching", "vast", or even "sandy" and "un-
fruitful". The effect of a rather slight variation — looking almost
like a printer's error — is seen in the comparison of "wandering
Arab's tent", and "Arab's wandering tent".

While the elephant is found in Chaucer, probably the first
serious efforts of English poets to give it adequate description
date from our period. In Langhorne this ciuadruped is "pon-
derous", in Thomson, "huge", in Jago, "unwieldy", in Shen-
stone, "tusky". Hoole, in his translation of Jerusalem Delivered,
fashions a phrase with two of these adjectives and the idea of a
third — "The huge elephant's unwieldy weight". Epithetical, no
doubt, but more poetic are the compounds "castle-crowned", and
" tower-crowned ". Shelley makes a good phrase out of very simple
elements in the "wise and fearless elephant ".^^

A good example of a phrase at once conventional, epithetical,
and of Oriental etymology, is "Tartar horde".

What may be called the "formal poetic phrase" has some kin-
ship with the epithetical phrase, but in characteristic form appears
in somewhat longer expressions. Such phrases may be lyrical in
quality, but are perhaps more likely to be epic or merely descrip-
tive. They are often cheapened by reliance upon such details as
capitalization and alliteration, and particularly by overuse; but
at their best add something to the Oriental values of the verse.
This is particularly true when they are virtualy translations of
Oriental conceptions; as in Moore's "Apricots, Seed of the Sun",
or Thomson's "stony girdle of the world", which he explains as an
English rendering of the Russian "Weliki Camenypoys" — a
name for the Riphean Mountains. "God and The Prophet",
"Mahomet is His Prophet" are other examples of phrasing shaped
in the East. Or the English expression may be credited to some

23. Shelloy is not always above following less poetic predecessors. His "Scythian
frost" has no originality : we find "Scythian snows" in Fergusson, and "Scythla's
snow-clad rocks" in Mickle.

,^0 I'nircr.'o'tij of Konson Humanistic Studies

foreign western poet : " Imperial (Calicut" occurs several times in
Miikle's Aii,*j(j(/. Whatever its origin, "Mountains of the Moon"
is found several times in the verse of James Montgomery, and is
once used hy Thomson. Sometimes the poet plays variations on
his linguistic theme, as later Tennyson varied "Holy Grail" with
■'Holy Thing", "Holy Vessel", "Holy Cup", etc. Southey pre-
sents till' Siinorg as the "Ancient Simorg", the "Ancient Bird",
and tlu- ■■ Hiril of Ages".

This formal type of phrase is much more frequent in some poets
than in others. It is characteristic of the Oriental verse of Southey,
Mt)orc, and, probably to a less extent, of Byron and Mangan.
While based in part on pseudo-classical methods, it belongs in
large part to what might be called pseudo-romanticism. Yet in
its ft)rmal, decorative, frequently figurative qualities, it may often
be a true sign of Oriental style. Its general type is familiar to any
reader of the Apocalypse; and it is probably found in all literatures
of ptH)j>les who love ceremony. The values of the following ex-
amples will be readily perceived:

Akenside: The Python of the Nile.

Blair: The mighty troublers of the earth.

Bowles: The City of the Sun.

The Chambers of the dead.
The God of silence.

Byron : Blest — as the Muezzin's strain from Mecca's wall.
With Maugrabee and Mamaluke.

Macaulay : The Palace of the golden stairs.

The city of the thousand towers.

Mangan : The Flower of Flowers.

The Old House with the Ebon Gates (i. e., the earth).
Scales and Bridge.
The Shadow of God.
The Time of the Roses.

Moore: The Feast of Roses.
For God and Iran.
The Isles of Perfume.
The land of Myrrh.
The Light of the Harem.

Osborne: Oriental Diction and Theme 37

People of the Rock.

Prophet of the Veil.

Province of the Sun.

The Spirit of Fragrance.

Yizd's eternal Mansion of the Fire.

The Moon of Love.

The Queen of Slaves.

Southey : Bowers of Paradise.

Guardian of the Garden.
Icy Wind of Death.
Master of the Powerful Ring.
Prince of the Morning.
Servant of the Prophet.
Sorceress of the Silver Locks.
Spirit of the Sepulchre.

After reading a thousand such expressions as "Afric's burning
sands", "the wealth of all the Indies", and "spic^ Arabian gales";
after familiarity with such prosaic expressions as "late-discovered
Tibet" and "the long canals of China"; after noting the fre-
quency of such phrases as those just given; after realizing the
cheaper phases of the Oriental diction — one is glad to discover
fresh and vigorous language in this field, whether it takes the form
of humor, or of genuine individual imagination. There are, to
use a figure surely appropriate in this connection, not a few oases
in the "sandy waste". In a mood of distaste for the trite ex-
pressions, even "flat-nosed China" seems a welcome phrase; and
one is glad to read of the

'land of muslin and nankeening,
the land of slaves and palankeening;'

glad to try to realize the simple but surely Oriental conception in
"some tiger-tamer to a nabob", to listen to Mason's "pigmy
chanticleer of Bantam", or pass into the reception room to greet
that "Chinese nymph of tears, green tea". Such a phrase as
"snorting camels" helps one to believe the camel was sometimes
a real animal to the imagination of the English poet.

In biverbal phrase or longer, as a matter mainly of diction or
mainly of imagery, many expressions are found, of more elevated
type than those just given, which add something to the l^eauty or

,j,s' rnircrsiln of K(tns(i.'< Ilumanisiic Studies

iWiiuhy of Kuf^lish vorse. Tlie Lai)l;incl witch is a conventional
i.lca, h\\\ Wordsworth gives us "Laphuid roses", and Shelley the
simile. "Lovely as a Lapland night". It is Shelley, also, who
writes "the swart tribes of Garaniant and Fez", "the sins of
Nlani". "the million i)eoi)led city vast", "the rose-ensanguined
ivory". .Vniong the more decorative phrases of Byron are "a
Koran of illumined dyes", "fragrant beads of amber", "lamp of
fretteti gi»ld", and "Sheca// tribute of perfume". I.andor, for
all his classicism, occasionally falls into the luxuriant style of
Oriental verse, as in

"Arabian gold enchased the crystal roof",
and,

"Myrrh, nard and cassia from three golden urns".

The tendency is of course toward such decorative expressions.
Wordsworthian taste found little to satisfy it in genuine Oriental
style. Yet there are themes within the wide range of Oriental
taste that could be expressed w ith a noble simplicity, and at some-
what rare intervals were, so expressed. Wordsworth himself
writes the line,

"Mindful of Him who in the Orient born",

and Hawker has a similar line —

"Therefore the Orient is the home of God".

Crabbe images Egj'pt as a "far land of crocodiles and apes", and
Montgomery notes, simply enough for the nonce, how "terribly
beautiful the serpent lay ". Cowper has this line in Expostulation :

"Tlie fervor and the force of Indian skies."

Beddoes in general is over-ornate and often vague; but he is
capable of such Imes as these, even in Oriental passages:

"The skull of some old king of Nile. "

"Under the shadow of a pj'^ramid. "

One might suppose the thought of the desert would lead to some
clear, restrained expressions. Perhaps these selections from Rogers,
Beddoes, Bowles and Keble, in the order named, may be credited

as such:

Osborne: Oriental Diction and Theme sg

"Every wild cry of the desert."
"A spectre of the desert deep."
"The camel's shadow on the sand."
"The dry unfathomed deep of sands."
Peacock is hardly less severe in the line,

"O'er deserts where the Siroc raves."

Yet one must return again and again to the more characteristic
style, as "flowery" as the plain of Zabran and the vale of Aly in
(.Rollins' fourth Eclogue. Much was written in the prose of our
period concerning the figurative nature of Eastern stj'le; and this
nature of course appears in the English Oriental and Orientalized
verse. In the preface to the 1 772 edition of his poems, Sir William
Jones asks the reader to "compare the manner of the Asiatic poets
>\'ith that of the Italians, many of whom have written in the true
spirit of the Easterns. " In his text he includes a number of son-
nets and portions of sonnets from Petrarch, in the original and
translated into English, that the reader may make the comparison
suggested in the preface. In his essay On the Poetry of the Eastern
Nations he gives in transliteration an ode of Hafiz, and translates
it into English thus — according to his statement, "word for word " :
"O sweet gale, thou bearest the fragrant scent of my beloved;
thence it is that thou hast this musky odour. Beware! do not
steal: what hast thou to do with her tresses? O rose, what art
thou, to be compared with her bright face? She is fresh, and thou
art rough with thorns. O narcissus, what art thou in comj)arison
of her languishing eye? Her eye is only sleepy, but thou art sick
and faint. O pine, compared with her graceful stature, wiiat
honour hast thou in the garden? O wisdom, what wouldst thou
choose, if to choose were in thy power, in preference to her love?
O sweet basil, what art thou, to be compared with her fresh checks?
They are perfect musk, but thou art soon withered. O Hafez, thou
wilt one day attain the object of thy desire, if thou canst but
support thy pain with patience." This surely is to some degree
comparable with the "conceits" of the Elizabethan Muse, in-
toxicated by the wine of Petrarchism. It also suggests some
Oriental passages in Byron, and much in the style of Lalla Rookh.

The Arabians also make many figurative comparisons in their
poetry. They compare the foreheads of their mistresses to tlic

^0 ['nirrrsifi/ of Kansas IIunHniistic Studies

morning', tluir looks to the night; their faces to the Sun, the Moon,
or to hlossoiiis of jasnuno; their straight form to a pine-tree or a
jiivfhn. etc.

It is natural to expect some attention to this characteristic of
Kastern jMu-try in the Oriental poems of Byron and Moore, and
the reader is not disappointed. Both in the text and in the usual
footnotes of the period, specific examples are given of the results
of Arabian or Persian imagination in the form of simile or metaphor.
This passage in The Giaour, is, according to Byron, an "Oriental
simile":

"On her fair cheek's unfading hue
Tlie young pomegranate's blossoms strew
Their bloom in blushes ever new."

From Moore's annotation of Lalla Rookh we learn that "the two
black standards borne before the Caliphs of the House of Abbas
were called, allegorically, the Night and the Shadow". Further,
that the mandrake is the Devil's candle; that falling stars are the
firebrands good angels use to drive away the bad; that fingers
tinted with henna are like the tips of coral branches; that the
Malays call the tube-rose the "Mistress of the Night", and that
in their language one word serves for "women" and "flowers".

Other English poets are perhaps not quite so much inclined to
follow Eastern style in its figurative aspects. In certain passages,
either in verse or prose, one occasionally notices a tendency to
apologize for an over-decorative quality, according to the ancient
fornnda of Chaucer in another matter — it was so put down in 'my
author'. Jeffrey opens his rather elaborate and on the whole
enthusiastic review of Lalla Rookh-^ with some approval and sonje
disapproval of the general glamour of its style. "The beauteous
forms, the dazzling splendours, the breathing odours of the East,
seem at last to have found a kindred poet in that green isle of the
West; whose Genius has long been suspected to be derived from a
warmer clime, and now wantons and luxuriates in those volup-
tuous regions, as if it felt that it had at length regained its native

element There is not, in the volume now before us, a

simile or description, a name, a trait of history, or allusion of
romance which belongs to European experience; or does not
indicate an entire familiarity with the life, the dead nature, and

■J4. In the Edinburgh Review, November. 1817.

Osborne: Orieiiial Diction and Theme ^i

the learning of the East. Nor are these barbaric ornaments thinly
scattered to make up a show. They are showered lavishly over all
the work; and form, perhaps too much, the staple of the poetry —
and the riches of that which is chiefly distinguished for its richness."
But the critic adds: "we rather think we speak the sense of most
readers . . . that the effect of the whole is to mingle a certain

feeling of disappointment with that of admiration! to

dazzle, more than to enchant — and, in the end, more frequently
to startle the fancy, and fatigue the attention, by the constant
succession of glittering images and high-strained emotions, than
to maintain a rising interest, or win a growing sympathy, by a less
profuse or more systematic display of attractions. "

Such unfavorable opinion of the highly colored style of Oriental
poetry, or of poetry Orientalized in England, did not begin with
Jeffrey. At the opening of our period Collins wrote, apparently
with the idea of defense in mind,^^ of the "rich and figurative"
style of the Arabian and Persian poetry in contrast with the
"strong and nervous" style of his countrym.en. Shortly before
Jeffrey's review appeared, John Foster had occasion to review a
translation of the Ramayuna?^ He opened his remarks thus:
"Scarcely so much as a third part of a centurj' has passed away,
since a large proportion of the wise men of here in Europe were
found looking, with a devout and almost trembling reverence,
toward the awful mysteries of Sanscrit literature." The dis-
appointment of the sturdy soul of Foster when the "mysteries"
arrived in the form of the translated masterpiece is evident
throughout his review. He writes of the Ramayuna, it is "a
formless jumble .... [it] will encounter utter contempt in
Europe .... The lingo in which these feats are narrated, defies

all imitation An insurmountable obstacle to the popularity

of this sort of reading in Europe . , . would be the vast number of
names by which each of the gods or heroes is designated", etc.

It is well, perhaps, that in most of our Orientalized verse the
rich coloring is not emphasized, that the sparkling similes and
metaphors are often a mere passing adornment of some more or
less simple English conception, in some cases quite practical, even

2.5. See the original preface of his Eclogues. Professor Phelps" statement in The
English Romantic Movement (p. 95) that Collins "apoIoBized" for the florid
manner of Abdaliah of Tauris seems a little too strong.

26. See his paper on Sanscrit Literature; listed in AvP'-ndix, I, C, 2.

l£ I'nircrsity of Ktiufos Huinmiisdc Studies

liiilairtii-. The followinji ox;Mnplcs may indicate the quality and
ranije «)f surli H^miivs. Few poets of our period attained the sim-
plicity of style found in Sohrait and Jiiistum, but in style Arnold's
|MMMu is hardly Oriental.

Hluke: " Ul:i<k ;is marble of Kgypt."

( aiiipbcll: " Vs easily as the Arab reins his steed."
"Tiiat rpas-tree of power."
"Sultan of the sky." (For the eagle.)

Chatterton: "Swift as the elk."

Hartley Coleridge: "Keener than the Tartar's arrow."

Keble : "The tresses of the i)alnj. "

Lloyd: "In curves and angles twists about
Like Chinese railing, in and out. "
(Of the prosody of tlie Pindaric ode.)

Montgomery: "Mad as a Libyan wilderness by night

With all its lions up, in chase or fight."

Praed: "Swift as . . . the flight of a shaft from Tartar string."

Procter: "Witching as the nightingale first heard
Beneath the Arabian heavens."

"Wild as a creature in the forest born
That springs on Asian sands."

Shelley : "A Babylon of crags and aged trees. "

" Rose like the crest of cobra-di-capel. "

Southey: "Proud as a Turk at Constantinople."

Wilson : "... lovely as the western sky

To the wrapt Persian worshipping the sun. "

Beddoes shapes a common metaphor into the phrase, "tears of
crocodile coinage ". Another expression of his is " the hieroglyphic
human soul"; still another, unhappy perhaps but forceful in its
way, "whole Niles of wine". That he can attain directness and
simplicity even in his metaphors is shown by this selection:

all the minutes of my life

Are sands of a great desert."

CHAPTER IV

Oriental Passage and Poem

Orientalism in English verse appears in the word, the phrase, the
passage, the poem, and group of poems. In this chapter some
discussion is given to the last three of these units of structure.

The passage varies in length from one line to a hundred lines or
more. As a matter of significance in the history of English poetry,
(Orientalism is concerned in large part with these thousands of
passages, of varied tone, on varied themes, scattered through the
most diverse poems by poets of widely different schools, from
Chaucer to Kipling.

As examples of the couplet passage, we may take the following,
the first from Piaed's Australasia, the second from Newman's
Solitude :

"On thee, on thee I gaze, as Moslems look
To the blest Islands of their Prophet's Book."

" By this the Arab's kindling thoughts expand.
When circling skies inclose the desert sand."

Occasionally one finds an Oriental stanza as well unified, as
distinct from the context, as some of the best known stanzas of
The Fairy Queen or The Castle of Indolence. A few stanzas of this
type occur in some of the poems of The Christian Year. In William
Thompson's Hymn to May, the thirteenth stanza is almost a
]>oem in itself; if not a poem of very high quality:

"All as the phenix, in Arabian skies,
New-burnished from his spicy funeral pyres.
At large, in roseal undulation, flies;
His plumage dazzles and the gazer tires;
Around their king the plumy nations wait.
Attend his triumph, and augment his state:
He, towering, claps his wings and wins th 'ethereal
height. "

^^ rnltfr.tity of Kansas Humanistic Studies

I'otMns wliuli may he called Oriental in their entirety often
c»utaiii passages of heif^htonecl Oriental value, either in diction or
ill presentation «)f sharply dehned theme; just as in pastoral poems
then* are frequent passages of pastoralism par excellence. The
liritic »>f Miss Haillie, for example, is Oriental as a whole, but the
Nirvana j)assage at the close of I, 2, and the palanquin, elephant,
and monkey passages in the opening of the next scene, stand out
ill rather hi^h relief.

There are in our period numerous poems of a type which natur-
ally includes Oriental reference. For convenience we may call
this type the "world-poem". In poems of this class the poet
passes from country to country, either for the mere delight of
wandering, or for the purpose of tracing the history or present
status of some idea, some social condition, or some phase of nature.
Without attempting a complete enumeration, the following
poems of this type or closely allied with it may be named:

Akenside: The Pleasures of the Imagination.
Armstrong; The Art of Preserving Health.
Blair: The Grave.
Bowles : The Spirit of Discovery by Sea.

The Spirit of Navigation.
Campbell: The Pleasures of Hope.
Cawthorn: The Vanity of Human Enjoyments.
Coleridge: The Destiny of Nations.
Dyer: The Fleece.
Langhorne: Fables of Flora.
Mallet : The Excursion.

James Montgomery : A Voyage Round the World.
Pollok : The Course of Time.
Rogers: Ode to vSuperstition.
Smollett: Ode to Independence.
Joseph Warton : Fashion : A Satire.

Ode to Liberty.
Young: Night Thoughts.

These all contain Oriental oassages. For present purposes
.Montgomer>''s poem of imaginary travel is one of the best. It
o[>ens with the stanza :

Osborne: Oriental Diction and Theme -^5

"Emblem of eternity,
Unbeginning, endless sea!
Let me launch my soul on thee. "

We first touch earth in Greenland — a favorite country with this
author; then pass to Labrador, Canada, New England, Pennsyl-
vania, the West Indies, across South America; to begin the Oriental
portion of the trip in "pale Siberia's deserts".

In one or another poem with the world- view, we find the roll-
call of great rivers, as in Peacock's Genius of the Thames, of
famous cities, of lands and of peoples. Probably there are no
stranger Oriental passages in any English poet than some of those
in Blake; yet in the first quotation below we have a bare simplicity,
suggesting some of the American catalogues of Whitman, which
is in striking contrast with the mysticism of the second passage:

"France, Spain, Italy, Germany, Poland, Russia,
Sweden, Turkey,

Arabia, Palestine, Persia, Hindostan, China, Tar-
tary, Siberia,

Egypt, Lybia, Ethiopia, Guinea, Caffraria, Negro-
land, Morocco,

Congo, Zaara, Canada, Greenland, Carolina, Mexico,

Peru, Patagonia, Amazonia, Brazil, — Thirty-two
Nations. "^7

"Egypt is the eight steps within, Ethiopia supports

his pillars,
Lybia and the Lands unknown are the ascent without:
Within is Asia and Greece, ornamented with exquisite art;
Persia and Media are his halls, his inmost hall is

Great Tartary;
China and India and Siberia are his temples for

entertainment. "^*

A form of simple geographical concept is found in what may be
called the "compass-passage". It often has obvious affinity with
the " China to Peru " phrase noticed in Chapter III. " Simple " in
general, for in Blake, again, the cardinal points of the compass are
given mystical meaning.

As suggested by some of the titles given above, this or that poet
traces poetry, superstition, liberty, commerce, disease or death

27. Jerusalem, Chapter III (72).

28. Ibid., Chapter III (58).

^$ I'liirfrsitji of A.'a/(.s'</.v Iliiiinini^^iic Stitdie.'i

anniiul llu- glohc. ;iiul for ;ill iheso llioiuos and others the Orient
offers its conlril>uli<>n. Thus in Fashion : A Satire, Joseph Warton
seleets from the Kast a curious custom of the Tartar, and of the
Chinese, and his Imha is a hind,

'* Where sainted Brachmans, sick of life, retire,
'l\> che spontaneous on the spicy pyre. "

Such travels ol' fancy are not new in our period. It will be remem-
hertd that Tlioinson journeys far and wide to find appropriate
examples of tlie heat and fructifying power of summer, and the
storms and ilcsolation of winter; not forgetting to visit the Orient
in hotli seasons.

A special interest attaches to Oriental passages in poems of
Celtic, Gothic, Occidental, and Biblical quality; largely by way of
contrast. Brief touches that might be considered Oriental are
found in Miss Baillie's William Wallace ^^^ Hogg, in his poem on
the same hero, introduces a couplet on the "great Tartar".
In Montgomery's Greenland we find this passage of unmistakable
Eastern flavor:

" Unwearied as the camel, day by day.
Tracks through unwatered wilds his doleful w ay,
Yet in his breast a cherished draught retains.
To cool the fervid current in his veins,
While from the sun's meridian realms he brings
The gold and gems of Ethiopian kings."'"

Miss Baillie's Christopher Columbus contains at least a mention of
the Moors, while in Rogers' poem on Columbus there is a passage
of six lines given to the Oriental desert.'^ No more interesting
examj)le of contrast could be found than this passage from Rogers'
Human Life, though the poem as a whole is English or vague in
setting:

"At night, when all, assembling round the fire.
Closer and closer draw till they retire,
A tale is told of India or Japan,
(}f merchants from Golcond or Astracan,
What time wild Nature revelled unrestrained.
And Sinbad voyaged and the Caliphs reigned:—
Of some Norwegian, while the icy gale

29. Strophes .'>8 and 91.

30. Canto I.

31. Canto VIII.

Osborne: Oriental Diction and Theme ^7

Rings ill her shrouds and beats her iron sail,
Among the snowy Alps of Polar seas
Immovable — forever there to freeze!
Or some great caravan, from well to well
Winding as darkness on the desert fell.
In their long march, such as the Prophet bids,
To Mecca from the land of Pyramids,
And in an instant lost — a hollow wave
Of burning sand their everlasting grave!"

Whether we include Wells' Joseph and His Brethren among
Oriental poems or not is a matter of definition. Its source is in
the Old Testament and its coloring partly Hebraic, but against
the general background there are several passages of the clearest
Oriental value; especially the Prologue of Act II, and in I, 3, II, 3
and III, 3. In III, 3, in the midst of a rich Oriental context we
have this excellent example of a brief faunal passage :

"The supple panther and white elephant.
The hoary lion with his ivory fangs.
The barred tiger with his savage eye.
The untamed zebra, beasts from foreign lands, " etc.

Campbell's Gertrude of Wyoming is an interesting poem, showing
several distinct historical influences. Written largely in Spen-
serian stanza, with scenes and characters of the new world, and
'entirely Germanized in style', it is not without its Oriental
touch, slight though it be. Stanza 24 of Part II closes with the
lines,

"And more than the wealth that loads the breeze
When Coromandel's ships return from Indian seas. "

It is interesting to remember that the word "Indian" is of frequent
occurrence in the poem, but outside this passage refers to the red
man of America.

Many other examples could be given of Oriental passages in a
context which gives them a certain strangeness or at least a cer-
tain relief. Such are the references to the Eastern life, even if
generally rather prosaic, in Crabbe's realistic, novelistic tales; the
numerous citation of Oriental standards for the sake of comparing
English values in Wordsworth's Prelude; and the "parable" of
Eastern type introduced into Lamb's Wife's Trial to help unravel
complexities at the end of the stoi y.

The Oriental passage sometimes sor\cs to point a moral, some-

J^8 Vnirersiti/ of Kansas FFumanistic Studies

times to give a bit «)f strange, foreign (quality to commonplace
characters or situation. It often appears in the form of simile or
metaphor. As to theme, it varies from a general conception of the
Orient, or of some large .section of it, to very specific subjects.
The Oriental theme in general is discussed in the two following
(hapters. Among the common subjects of concrete nature are
tlie car of Juggernaut, the caravan, the camel, the elephant, the
rich natural products of the Orient, the hidden sources of the Nile,
the ruins of Babylon, Palmyra, or other cities, the return of a
traveller from the East, the tyranny of the Turk, the cold of
Sil)oria, the gyi)sies in England, memories of Arabian Nights, etc.
We have previously noted the general geographical passage.
There are, however, several types of passage which may be given
a further word here. One of these presents the flower theme;
another the jewel theme.

A botanical passage in English verse is not necessarily Oriental,
but in many cases it is partly Orientalized. We find examples in
Collins' third Eclogue, in Mason's English Garden, in John Scott's
Epistles, and elsewhere. Probably for Oriental if not for poetic
quality no passage could surpass this from Jones' Enchanted
Fruit:

"Light-pinioned gales, to charm the sense.
Their odorif'rous breath dispense;
From belas pearl'd, or pointed, bloom.
And malty rich, they steal perfume:
There honey-scented singarhar.
And juhy, like a rising star.
Strong chempa, darted by camdew,
And mulsery of paler hue,
Cayora, which the ranies wear
In tangles of their .silken hair.
Round babul-flow'rs and gulachein
Dyed like the shell of beauty's queen.
Sweet mindy press'd for crimson stains.
And sacred tulsy pride of plains,
With sewty, small unblushing rose,
Their odours mix, their tints di.sclose. "

The flower passage may be Orientalized; the jewel passage in
our period is naturally Oriental in general, for obvious reasons.
The jewels themselves and in many cases their names, came from
the East. In the Bible there are three distinct passages of this
type; in Exodus XXVIII, 17-20, Ezekiel XXVIII, 13, and Reve-

Osborne: Oriental Diction and Theme 4$

lations XXI, 19-20. All three passages, though written at long
intervals, include, besides gold, the beryl, emerald, jasper, sapphire,
sardius and topaz. In two passages we find amethyst, carbuncle,
diamond, onyx, and sardonyx; while the following are found in
only one passage: agate, chalcedony, chrysoprasus, chrysolyte,
jacinth, and pearls. The jewel passage in Thomson's Summer —
introduced as evidence of the beneficent power of the sun,
"Parent of Seasons" — names only the amethyst, diamond,
emerald, opal, ruby, sapphire, and topaz, but with the descriptions
given occupies twenty lines. Later passages of this type are found
in Hoole's translations of Ariosto and Tasso, in Brooke, Crabbe,
Harte, Procter, Shenstone, and other jjoets. Harte's passage^^ is
interesting in this point; for all the jewels — a standard list — except
the turquoise he gives a Biblical reference; for the jewel named a
reference to an authority stating that "The true oriental tur-
quoise comes out of the old rock in the mountains of Piriskua,
about eighty miles from the town of Moscheda: "

The Oriental poem, as we have seen, may occasionally be written
in Greek or Latin; but such poems are rare. In length it varies
from a few lines to epic proportions. Montgomery's Parrot con-
tains only thirty-three words; his Pelican and Ostrich being slightly
longer. Jones' To Lady Jones contains less than one hundred
words. There may perhaps be some epigrams or epitaphs of
couplet length that could be called Oriental, but they do not seem
at all frequent; nor do we find the quatrain, later made so famous
by Fitzgerald, popular in our period.

Some poems with Oriental title and setting prove to contain a
very slight element of Oriental diction or real Oriental color. The
only word which could in any sense be called Oriental in Jones'
Chinese Ode Paraphrased is "ivory". In the same poet's Song
from the Persian, "lily", "cypress", and "rose" must serve for
Eastern terms. There is doubtless conveyed to most readers,
something of a vaguely "Indian" atmosphere by Shelley's Sere-
nade. Yet it contains but a single word of genuine Oriental
quality. That word, though found in other Elnglish poems, is
habitually associated by many readers, one may imagine, with
this particular poem. In Kuhla Khan, the per cent of Oriental
words is two or three; in Mangan's Karamanian Exile, on account

.32. lr> Thomas a Kempis: A Vi>;ion\ beginning "The Gold of Ophir."

so r Hirer, s-itij of A'(i/^">•<^v 1/ mnanistic Studies

of tlu' ropolitii)n of Uie word "Kaiamaii", the proportion rises to
some fifteen or sixteen per cent. For much higher proportions than
this we must \io, not to the poem, I)ut to the phrase or line; at
nu)st to tlie brief |)assage.

The Orientalism of our })erio(l is not to any remarkable degree
expressed by novel or characteristic verse forms. A large number
of the Eastern poems are written in a versification which served
English poets of various tastes — in heroic couplets, octosyllabics,
blank verse, Spenserian stanza, ottava rima, and varied lyric
stanzas, mostly of simple type. As to rhythm, there is some use
of humorous anapestics, some of more serious triple movement,
as in Byron's Destruction of Sennacherib. There seems little or
nothing so characteristic of this taste as the short lines with rugged
rhythm and alliterative tendency were characteristic of the
Gothic taste.

That is not the whole story of Orientalized verse, however.
Jones gives us at least one ghazel, in transliteration, not transla-
tion; and one at least is written by Mangan. Another is found in
Moore's Twopenny Post Bag, Letter VI.^^ Jones writes under the
titles of several of his poems 'in the measure of the original', and
in a few cases rewrites in more regular English verse to bring
out the difference. To one unacquainted with Eastern prosody,
there is nothing very distinctive of the Orient in such lines as

"With cheeks where eternal paradise bloomed.
Sweet Laili the soul of Kais had consumed. "

There is something strange, for the period, however, in the ver-
sification of the Ode of J ami:

"How sweet the gale of morning breathes! Sweet
news of my delight he brings:
News, that the rose will soon approach the tuneful
bird of night he brings."

There is perhaps fully as much interest in the rendition of A
Turkish Ode of Mcsihi into paragraphs of poetic prose. Jones, who
was a translator of Pindar, writes the Hymn to Durga in the form
of a regular Pindaric ode; and it seems likely that the extensive
use of this form in the Eighteenth Century had its effect on the

33. This form Is found among the burlesque poems of Thackeray.

Osborne: Oriental Diction and Theme 51

Oriental verse of other poets, including, perhaps, Southey. All
of the poets after the Lyrical Ballads, with few exceptions, were
interested in experiments in English verse, and Southey carried
into the composition of The Curse of Kehama and Thalaba a
definite purpose to embody his Orientalism in appropriate versi-
fication. To say the least, Oriental verse from Jones to Mangan
showed the general tendency to substitute anything and every-
thing for the conventional heroic couplet. As a detail, the fre-
quency of the refrain, from Collins' Eclogues to Lalla Rookh may
be mentioned.

While Orientalism, so far as noted, produced no sonnet sequences,
it has given a number of typical and worthy poems in sonnet form.
One may recall again that the Sardanapalus of Surrey is both a
sonnet and an Oriental poem. We could not afford to lose from
our poetry the Crocodile of Beddoes, the Ozymandias of Shelley,
or the sonnets of Keats and Shelley on the Nile. Simply as poems,
these, with Kuhla Khan, are among the best products of Oriental
taste during our period.

The titles of some of our poems are flat or without specific
Oriental quality. On the other hand, one has only to remember
Lalla Rookh, The Curse of Kehama, Kuhla Khan, Asia, as well as
among poems of minor fame. Juggernaut, Palmyra, The Caravan
in the Desert, and a host of others. The Wail of the Three Khalen-
deers seems as good as Mandaluy. If one wishes something in
lighter vein, he may choose The King of the Crocodiles, from
Southey; or Vm Going to Bombay, and The Kangaroos: A Fable,
from Hood.

The miscellaneous character of the verse forms of Oriental
poetry is suggestive of the variety in the poetic types themselves.
The list of these types is long; the roll of forms distinctly Oriental,
much shorter. We find poetic types ranging from the dirge to the
epic, and including the love lyric, vers de societe, epithalamium,
fable, eclogue, ode, ballad, fictitious epistle, allegory, battle song,
hymn, tale, parody, inscription, serenade, drama, and other forms.
The proverb, so familiar in Old Testament literature, seems rare,
even in passages; but Southey opens his Sonnet XI with

'Beware a speedy friend!' the Arabian said."

Among the poetic types which seem characteristic of the Orient,
or at least of the Oriental taste in England, are the fable, the tale.

[y2 Vnivcrsitif of Kansas Humanistic Studies

tlu' drama, and tlio eclogue. The tale has been considered at
Icufitli, for the earlier part of the Eighteenth Century, by Miss
(.'onant. A word may be given here to the drama, the eclogue,
and the translation. The "ballad" and the "ode" are often
falsely so named in the poetry of the earlier part of our period.

A complete acc-ount of the Oriental drama from 1740 to 1840
would rc(|uirc a separate paper. The type is as old as the Eliza-
bethan era, and there are signs of it in the medieval epoch. Ori-
ental plays of the same general character as those of the Restora-
tion period contimied to be produced in England until the Romantic
Movement was triumphant. Hughes' Siege of Damascus appeared
in 17'20, Aaron Hill's Zara in 1736. The influence of Voltaire's
Orientalism is to be traced in Zara and in later plays. Among the
plays of our own period, we may name Miss Baillie's Bride and
Constantine Paleologus; Miller's Mahomet the Imposter; Irene;
Hellas; and Sardanapalus. It is interesting to note some Oriental
elements in two "oratorios" of the period, both Biblical in subject
and general treatment — Brooke's Ruth, and Jago's Adam. Many
plays not entirely Eastern include some Oriental elements. Miss
Baillie's Martyr has as a prominent character, Orceres, a Parthian;
Brown's Barbarossa is Algerian in setting; Coleman's Mountaineers
is Moorish in part. Wells' Joseph and His Brethren was noted a
few pages above. For prologues, we may name Wells' again, and
add Goldsmith's Prologue to Zobeide. This couplet from Young's
Epistle to Lord Lansdowne is of interest:

" Then with a sigh returns our audience home
From Venice, Egj^pt, Persia, Greece, or Rome."

To return for a moment to Constantine Paleologus. The settings
include Mahomet's camp near Constantinople; the interior of St.
Sophia; a view of the city in the background, "seen in the dimness
of cloudy moonlight"; and this — which perhaps has a slight sug-
gestion of Vathek: "a large sombre room, with mystical figures
and strange characters painteduponthe walls, and lighted only by
one lamp, burning upon a table near the front of the stage". At
the opening of Act III, Mahomet is discovered "sitting alone in
the eastern manner ". At the opening of Act I, Scene 2, of Beddoes'
Death's Jest-Book we read this stage direction: "The African
Coast: a woody solitude near the sea. In the back ground ruins
overshadowed by tlie characteristic vegetation of the Oriental

Osborne: Oriental Diction and Theme 53

regions". The chief Oriental element in Dodsley's brief Rex et
Pontifex is in the stage directions. Among those who attempted
Oriental opera were Dodsley, Lewis, and Miss Mitford.

In the Eighteenth Century the writing of eclogues was a habit
of English poets. One finds 'Amoebsean Eclogues', 'Moral Eclo-
gues', 'Sacred Eclogues', 'Town Eclogues', and even 'English
Eclogues'. It is not strange that we should also find eclogues
African, Arabian, Chinese, East Indian, Persian; and a group
devoted to life at Botany Bay. Some of these have considerable
Oriental color; others have comparatively little. The shepherd
life is no doubt correctly associated with certain parts of the
Orient, but one often feels that the pastoralism of these pieces is
pseudo-Latin rather than vitally Eastern. Collins' mature view of
his success in his pastoral venture was not favorable. The life of the
caravan and the harem seems more distinctly Oriental than the
keeping of the flocks — as the conventional poetic shepherd kept
them — or making love to a pastoral mistress.

Real translation of Oriental poems is found in Mrs. Montagu —
with the aid of other wits — and in Jones. Pseudo-translation and
paraphrase seem far more characteristic of the English Orientalism
of the Eighteenth Century. It is the period of Chatterton, Ireland,
and Macpherson. Why should not Collins tell his readers that his
Eclogues were written by 'Abdallah, a native of Tauris'? He
closes the preface of the first edition with the reflection, "the

works of orientals contain many peculiarities, and

through defect of language, few European translators can do
them justice". Mangan, at the end of our period, announces that
his Hundred-Leafed Rose is "By Mohammed ben Ali Nakkash,
called Lamii, or. The Dazzling". Pseudo-translations appear
from the Arabic, Chinese, Persian, and Turkish. None from the
Japanese have been noted. The real translations of the period, in
the main, were from the old familiar sources — Greek, Latin,
Italian, French; and from the newly-discovered Germanic or
Celtic literatures. For the reception of one real translation, see
above, page 41. Among other translators of note were Sir John
Bowring, Joshua Marshman, and Sir Charles Wilkins.

The tendency in translation and in paraphrase seems to be to
expand, as was the case in earlier periods — in the rendering of the
Psalms, for example. Jones' paraphrase of the Chinese Ode in
twenty-four lines is followed by a "verbal translation" in only

54 I'tiircrsit!/ of Katisns Ilunianistic Studies

iiiiir liiu-s. His transliition of A Persian Song of Hofiz is written in
tifty-foiir liiu-s; tlu- traiislil«Tati«)n occupies thirty-six.

riic soltinj; t»f tlio Oriciilal i)(»cin is as various as its form or
tlicnir. ll may appear in a real letter (Mrs. Montagu), in an essay
(..lonesl. in pn)se fiction (Mrs. UadclifVe and Walter Scott), or in a
prose frame (/.<(//(/ Ixoohh). As a lyric it appears in the long narra-
tive p.uMn. ( hililc Harold, for example; or in the drama, The Bride,
for example. It can be found as a member of a group of Oriental
poems, as in the EcUxjucs of Collins and John Scott; or in non-
Oriental groups, as in Mrs. Ilemans' Lays of Many Lands and
Soiujs of Spain, Keble's Christian Veor and Moore's Xaiional Airs.
Tlie Oriental poems under the last title, as well as poems by Burns
and Hyron. are among those written, in imagination at least, for
Eastern tunes.

The number of Oriental poems written in England from the
death of Pope to the opening of the Victorian era will depend
on the definition of the vital adjective. In the Appendix'"^* we
have listed about 370 poems. Many of these would doubtless be
rejected by a more exact critical method. Many others would be
added In' a more sweeping examination of the verse of the period.
The number as well as the variety of the poems, in any case, is
sufficient to indicate a wide-spread vogue, however artificial in
part; a vogue much more extensive in this period than before, and
destined to live and develop, in some respects with more satisfac-
tory poetic results, in the Victorian era, and in the Twentieth
Century.

No English poet of any note has devoted himself entirely to the
Orient. Our review has made it clear that in many poets Oriental-
ism is simply one poetic experiment among several. The Oriental
poet is usually an eclectic poet. Even Jones, leader in the move-
ment, is a Grecian and a Latinist. In such poets as Chatterton,
Moore, Montgomery, Southey, and Mrs. Hemans, the Eastern
element is accompanied by elements offering the greatest contrast.
In spite of Lalla Rookh and Byron's Turkish tales, there seems to
be in our period no poet, with the excej)tion of Jones, whose name
is so intimately associated with Oiientalized poetry as are the
names of Fitzgerald, Edwin Arnold, and Kipling.

The experiments of the early Romantic Movement, and of its

34. See the pages under I, A,

Osborne: Oriental Diction and Theme 55

era of triumph, were subject to that attack of the parodist which
awaits most conspicuous novelties. The Rebuilding, imitating the
diction and prosody of The Curse of Kehama, is one of the best
poems in Rejected Addresses. Among favorites for the parodist
were Kubla Khan and that oldtime delight of youthful elocution-
ists, (Jasabianca. For further results of this aftermath of the
Oriental taste, one may examine the pages edited by Jerrold
and Leonard, Hamilton, and Henry Morley.

CHAPTER V

The East and the West

III lliis chapter we shall consider some of the common themes of
Englisli Oriental verse which are concerned with the relations of
the East to Eni^land or other western lands. The subjects are so
numerous that only some of the more prominent or the more
significant, for one reason or another, can be mentioned.

Our poetry records manj' objects which came into England
from tiie East as a matter of course, not under stimulus of any
special Oriental taste. The catalogue of these would be a long one,
and doubtless a dry one, of commercial and prosaic value rather
than poetic. Here belong the drugs and spices, including coffee,
various kinds of tea, cinnamon, nutmegs; articles of dress; house-
hold i^ets such as the canary bird — if we credit that to the Orient —
and tiie parrot; the animals of the menagerie; jewels; gold acquired
in Eastern residence, and even stocks in Eastern commercial
ventures; and the mummy of public or private collection. This
couplet in Young is a fair sample of much of the verse which
presents this material:

" Cold Russia costly furs from far.
Hot China sends her painted jar.'""

"Chunee", London elephant of the early Nineteenth Century, is
immortalized in Rejected Addresses^^ and in Hood's Address to Mr.
Cross, of Exeter Change. Hood's Ode to theCaineleopard is oneof
the best humorous Oriental poems of the period. Cawtho^Z?, -^
The Antiquarians, pictures a dispute over a coin, in which on
enthusiast gives his view thus :

' It came, ' says lie, 'or I will be whipt.
From Memphis in the Lower Egypt'."

35. Imperium Pelaoi: Strain I.

36. See Playhouse Musings.

56

Osborne: Oriental Diction and Theme 57

Young writes of an imaginary zealous book-collector:

"So high the generous ardor of the man
For Romans, Greeks, and Orientals ran. "^^

Cowper has occasion to note that linen is imported from India;
and from the same country comes the cane for his sofa.

A passage of higher imaginative quality than those just given is
found in Pollok's sombre Course of Time. In Book VII, his
vision of the wonders of the resurrection day includes this some-
what startling conception :

"The Memphian mummy, that from age to age,
Descending, bought and sold a thousand times.
In hall of curious antiquary stowed,
Wrapped in mysterious weeds, the wondrous theme
Of many an erring tale, shook off its rags;
And the brown son of Egypt stood beside
The European, his last purchaser."

Some of the trees of England and some of the flowers are either
of Oriental origin or have Eastern associations recognized by the
poets. The laurel is a "daughter of the East"; Langhorne in the
Fables of Flora tells the reader of the Bactrian origin of the crown
imperial.

There is not much evidence in the verse of our period of the
presence of real Oriental persons of public note in England. Fol-
lowing the method used in such prose as The Citizen of the World,
this or that poet introduces a fictitious gentleman from the East
reporting his observations to the home-land. Probably Moore's
fictitious letter From Abdullah, in London, to Mohassan, in Ispa-
han^^ is one of the best pieces of this type. Among the more
obscure real figures are the negro boxer in Moore, and the rope-
dancer "Mahomet", "said to be a Turk", in Samuel Johnson.
Southey addresses an ode to a visiting dignitary from Russia, and
if we include the Pelew Islands in the Orient, Bowles' poem Abba
ThuWs Lament for His Son Prince Le Boo may be mentioned. We
are told that the Cashmerian heroine and the hero of Shelley's
unpublished Zeinah and Kathema arrive in London during the
story. Moore has a poem on a "beautiful East-Indian", and
Ijovibond writes a series of love-lyrics, of little poetic merit, to

37. Love of Fame: Satire II.

38. In The Twopenny Post Bag: Letter VI.

^ Vnircrsitii of Kunsti.'i Jluvuiiiiitiic Studicii

"an Asiatii- I;ui\ " in Kii>;laiul — a laily who causes some distur-
baiK-t' in tho miiul of an Knglisli woman friend of the poet.

The fcvpsy in Ivnjihind is a theme in poetry l>oth romantic and
reilistic. appearing,' in "Christopher North", C'rahbe, Words-
worth. The lii/psif.'i Mali.^on of Lamb, The Gijpsijtf Dinje of Walter
Scott, and in many other ])oets and poems. Sometimes a pictur-
cs(|ne tij^nrc about tlic camp-fire at night, at other times the gypsy
is a sly and tattered trickster among the young peoi)le of an Eng-
lish village, or a vagrant brought before the local representative
of English law.

There are many examples of the theme, "the Englishman home
fn>m the Orient". Various are the gifts they bring back from the
East. One returns with ill health, one with memories of cap-
tivity, many, of course, in poems of the middle ages, with the
battle scars of the Crusades. A character in Praed's Arrivals at a
Watering-Place is "always talking of Bengal". Crabbe's realistic
picture of provincial English society presents several gentlemen
returned from the Orient. One was a Captain who "rich from
India came", bringmg pearls, diamonds, costly silks and other
trciisures, which his will left to a feminine relative who loved to
hear them {)raised.^^ In another passage in Crabbe'"' appears a
"sick tall figure" of a man who has returned from India with
wealth gained and health and spirits destroyed; who mo\'es rest-
lessly from place to place in his native land without gaining happi-
ness. It will be remembered that in The Fatal Curiosity it is the
hoard of gold and jewels Young Wilmot brings from the East
which is the immediate cause of the tragedy.

The Oriental taste in England is shown in many ways in the
verse of the period. Horses or other domestic pets are named
"Sultan" or "Sultana"; decorations in the drawing-room and
fanciful structures in garden or park are built in Oriental manner.
In Threnodia Amjustalis, Coldsmith described a place on the
Thames where novelty

"From China borrows aid to deck the scene."

There are various other references to similar matters; the fence
irregular as the metrical form of the Pindaric ode, the summerhouse
— kiosk, pagoda, f)r of fashion ' Gothic or Chinese '. In one of the balls

30. Thf Parish Reciistcr: Burials.
40. Thf Borough; Letter IX.

Osborne: Oriental Diction and Theme 59

Praed describes, several characters are dressed in Oriental costume,
and in Peacock's prose farce. The Dilettanti, at the opening of
Act I, Scene 4, "Miss Comfit, as a Sultana, advances to the front
of the stage", and Tactic enters "as a Turk". In humorous
spirit Moore 'Turkifies' current politics or politicians in England;
or pictures Grimaldi grimacing before the Mandarins in China/*

In deeper manner, the Oriental taste is revealed with reference
to the literature of the East, and the English literature modeled
thereon. Orientalism throughout our period was not an accident
or an unconscious result. Much comment is made upon the cult
in prose criticism — from which a few notes may be taken — and in
the verse itself.

We are told that Collins wrote his Eclogues when seventeen
years old, after reading the description of Persia in Salmon's
Modern History. In later years he spoke disdainfully of the
pieces, called them his "Irish Eclogues", and affirmed that "they
had not in them one spark of orientalism ".^^ An early critic,
however, Dr. Langhorne, speaks as follows of the second eclogue:
"All the advantages that any species of poetry can derive from the
novelty of the subject and scenery, this eclogue possesses. The
route of a camel-driver is a scene that scarce could exist in the
imagination of an European, and of its attendant distress he could
have no idea. "^^ Nearly a century later Mangan wrote pseudo-
Oriental translations because "Hafiz was more acceptable to
editors than Mangan".^* Between Collins and Mangan there is
sufficient and varied evidence of the English taste for Orientalized
verse. John Scott, himself an Oriental poet, gives this view in his
poem On the Ingenious Mr. Jones's Elegant Translations:

"The Asian Muse, a stranger fair!
Becomes at length Britannia's care;
And Hafiz' lays, and Sadi's strains.
Resound along our Thames's plains.
They sing not all of streams and bowers.
Or banquet scenes, or social hours;
Nor all of Beauty's blooming charms,
Or War's rude fields, or feats of arms ;
But Freedom's lofty notes sincere.

41. See The Twopenny Post Bag, Letter II, and The Fudge Familn in Paris.
Letter IX.

42. Page 10 of the edition of Collins cited in the Appendix.

43. Ibid., p. 1.31.

44. Miles, vol. III. p. 456.

(^) I'lnrcr.fitif of Kun.sa.s lliinianistic Studies

Ami \'irtuo*s moral lore severe,
Hut ah! they siiijj; for us no more!
The searcely-tasted i)leasure's o'er!
For he. the l)arcl whose tuneful art
Can best their vary'd themes impart —
For he, alas! the task declines;
And Taste, at loss irreparable, repines.

CMiunhill, not so uukIi moved by Gothicism, sentimentalism,
or Orientalism, as many of his contemporaries, does not give so
favorable an account in the opening lines of The Farewell:

"Farewell to Europe, and at once farew^ell
To all the follies which in Europe dwell;
To Eastern India now, a richer clime,
Richer, alas! in everything but rhyme.
The Muses steer their course; and, fond of change,
At large, in other worlds, desire to range;
Resolved, at least, since they the fool must play,
To do it in a different place, and way."

Englishmen did not need to wait till Tennyson's day to read
verses on Recollections of the Arabian Nights. The passage on this
subject in Wordsworth's Prelude is familiar. In Silford Hall
Crabbe tells his readers that before Sir Walter wrote there were

" . . . . fictions wild that please the boy.
Which men, too, read, condemn, reject, enjoy. "

Of th« library he is describing in the same poem, he says :

"Arabian Nights, and Persian Tales w^ere there.
One volume each, and both the w^orse for wear. "

He returns to this theme in Master William:

"Arabian Nights, and Persian Tales, he read.
And his pure mind whh brilliant wonders fed.
The long romances, wild Adventures fired
His stirring thoughts: he felt like Boy inspired.
The cruel fight, the constant love, the art
Of vile magicians, thrilled his inmost heart. "

Southey apparently has the English Oriental verse in mind
when he writes in The Retrospect, in a spirit of reaction, perhaps —

Osborne: Oriental Diction and Theme 61

"Oh, while well pleased the lettered traveller roams
Among old temples, palaces, and domes;
Strays with the Arab o'er the wreck of time,
Where erst Palmyra's towers arose sublime;
Or marks the lazy Turk's lethargic pride.
And Grecian slavery on Ilyssus' side, —
Oh, be it mine, aloof from public strife.
To mark the changes of domestic life.
The altered scenes where once I bore a part.
Where every change of fortune strikes the heart I"

It is curious to note how many times Wordsworth in The Prelude
uses an Oriental standard to estimate the value of native English
delights. Thus he says, that there was a time in his youth when
all the glories of Eastern history or fiction "fell short, far short.

Of what my fond simplicity believed
And thought of London. "

In his boyhood, the dramatic performances in the country barn
pleased him more than Genii in a "dazzling cavern of romance".
The natural surroundings of his early days were "more exquisitely
fair" than the magnificent gardens — which he describes in true,
luxuriant Oriental style — shaped for the delight of the Tartarian
dynasty. At Rydal Mount he records that the English mountain
spring furnished water which might have been envied by Persian
kings. It almost seems that Wordsworth, having determined to
devote his imagination to simple and native life, fought against
the Oriental taste of the day, thereby revealing its power perhaps.

When we turn to the Oriental element in western life outside of
England, we find probably a less varied account than that we have
just surveyed; but one rich in interest. Cooper's Ver-Vert is an
amusing record of an East Indian parrot among the nuns of
France. In Grainger's Sugar-Cane and a score of other poems the
character and life of the negro in the West Indies or in the United
States are pictured. We have referred before to the l*arthian
Prince who moves amid Roman scenes, in the days of Nero, in Miss
Baillie's The Martyr. There is a brief and quite different allusion
to Eastern visitors in Italy in Rogers' account of life at Venice.
"Who flocked not thither", the poet asks, —

62 rnircrsitji of Kunsd.'i Ifiininni^ffic Studies

**To colehrato Iut Nuptials with the Sea?
To wear Uu» mask, and mingle in the crowd
NNItli (Jreek, Armenian, Persian. "^^

A volume eould douhtless he written on the English poetic
treatment t>f the Moors in Spain. This is a frequent theme in our
period, and is found in drama, lyric, and narrative. The Alhambra,
the wars helween Moors and Spaniards, including the achieve-
ments of the ('id. tlie loves between man of one race and maiden
of tlie other, the Moorish dance and song, the relation of the
Mohanunedans in Spain to those in Africa, are among the specific
subjects. In most poets such themes suggested a romantic inter-
pretation; and in such a poetess as Mrs. Hemans they were among
the resources of the sentimental muse. Some of the diction of
Oriental derivation appearing in the verse of our period, reached
England through Spain.

The Englishman of our period was a traveller, either in fancy or
in the flesh; for purposes of pleasure, culture, business or religion.
In Rhymes on the Road, Moore names Egypt, Carolina, and China,
as regions where his fellow countrymen might be found, and
generalizes thus:

"Go where we may — -rest where we will,
Eternal London haunts us still."

It is not strange that English verse, should contain many refer-
ences to Englishmen in the Orient. The group is a motley one,
including sailor and soldier, painter and priest, bishop and society
belle.

Of the Oriental poets themselves, several visited one part or an-
other of the Orient. Before our period began, Mrs. Montagu pro-
duced Verses Written in the Chiosk of the British Palace, at Pera,
Overlooking the City of Constantinople. Jones subscribed several
of his poems as written in India, and in Plassey-Plain he made
amusing reference to his wife's ignorance of the native language,
Byron in the East is too familiar a subject to require notice;
Heber is mentioned elsewhere in this paper. "L. E. L. ", living
all her life in London, "had always cherished dreams of Africa",
«nd had the dubious satisfaction of dying there.^* But it was only

4.5. Italy; XIII. St. Mark's Place.
46. Miles, vol. VII. p. 108.

Osborne: Oriental Diction and Theme 60

in imagination that Burns, White, Montgomery, Coleridge, Keats,
Shelley, and the great majority of English poets, ever visited the
Orient.

In two interesting pieces of vers de societe" Hood writes of young
women on the eve of their departure for India. John Logan
writes of a woman whose lover "to Indian climes had roved".
The Oriental travels of the hero of Alastor are of more serious im-
portance in English poetry. Perhaps the best example presenting
sailors in the East, aside from translations, is found in The Ship-
wreck. Paul Whitehead, in An Occasional So7ig (spoken by a
stage sergeant) follows the victorious English soldier from Cape
Breton to "Guardelupe" and Senegal. Praed refers to a judge in
Bengal, and a character who is "rich in Canton". In Surly Hall
this poet expresses approval of the painter Hamilton,

"Whether his sportive canvass shows
Arabia's sands or Zembla's snows,"

John Scott, in his Essay on Painting, places English artists, real or
imaginary, in Jamaica, by the rocks of Ulitea, and by "Nile's vast
flood on Egypt's level." White of Selborne discussed the hiberna-
tion of swallows in English mud, but John Cunningham's bird of
the air is

"Winged for Memphis or the Nile. "^^

Still more fanciful is Lovibond's account of the flight of the festival
spirit, weary of Europe, into the Orient; in The Tears of Old May-
Day.

In the earlier part of our period there are in English verse a
score, perhai)s a hundred, references to the unknown sources of
the Nile. Such reference was among the conventional items in
passages on the great river. It is interesting, therefore, to note
more than one later allusion to Bruce, as the discoverer of these
sources. In Crabbe's Adventures of Richard,*'^ the stay-at-home
George inquires of his much-traveled brother Richard,

"Say, hast thou, Bruce-like, knelt upon the bed
Where the young Nile uplifts his branchy head.^"

47. Lines to a Lady on Her Departure, for India, and I'm doing to liombav.

48. In Ode XXXIII: To the Swallow.

49. Talen of the Hall; Book IV.

C_\ I'liiirrsiti/ of KanMd.s II iitnanistic Studies

Aiul it is tlu" >;iiiu> dry, stem realist wlio writes in Clubs and Social

Mt'ftliuj.'i:

"When liriKv, that dauntless traveller, thought he stood
On Nile's Hrsl rise, the fountain of the flood,
And drank exulting in the sacred sj)ring,
The critics told him it was no such thing;
That springs unnunihercd round the country ran,
Hut none could show him where the first began. "^^

Far more romantic, and with as much genuine insight into human
nature, is Mrs. lleman's fanciful record of The Trareller at the
Source of the \He.

Captain Cook is another English hero whose journeys into far
Eastern — or Southern — regions are rather frequently recorded in
verse. Frere is one poet who mentions him, and in his second
Epistle John Scott has a passage of eight lines, beginning

"Such, hapless Cook! amid the southern main,
Rose thy Taheite's peaks and flowery plain. "

Both Nelson and Casabianca at the battle of the Nile are subjects
of poetic praise.

The account of the early Protestant missionary efforts of Eng-
land is found chiefly in prose; but enters verse here and there.
Something of the poetic quality that literature has associated with
the Jesuit fathers in the w ilds of America is to be credited to this
or that servant of Anglicanism or Dissent. In Grahame's Sabbath
we have a general picture of an imaginary missionary in the islands
of the South; Praed's Greek poem translated into English under
the title Hindostan is a tribute to the work of Thomas Fanshawe
Middleton, Bishop of Calcutta. Heber left his own records of the
East in prose and verse. Among the poems on the man or his
work are Mrs. Hemans' To the Memory of Heber, and Southey's
Ode on the Portrait of Bishop Heber. The first of these two pieces
is religious and reverential in spirit, scarcely Oriental; the second
contains a few such lines as.

and.

"The Malabar, the Moor, and the Cingalese,"

"Ram boweth down,
Creeshna and Seeva stoop;
The Arabian Moon must wane to wax no more, "

50. The Borough; Letter X.

Osborne: Oriental Diction and Theme 65

It is not appropriate to our purpose to consider the verse of
Protestant missions in general, or of Catholic, — as in Bowles' Mis-
sionary, with its resonant Latin line,

**Eternam pacem dona, Domine."

James Montgomery is perhaps the poet of any note who gives
this subject most attention. His Greenland is a missionary poem;
his Cry from South Africa is an evangelical poem, and the mission-
ary for whom the Farewell was written may, for aught the reader
knows, have been bound for the Orient. Montgomery's Daisy in
India is a sincere and simple poem on exile and home memories in
the East, and is concerned with the Baptist missionary. Dr.
William Carey. Patriotism is perhaps associated with religion.
If that is true, we may well note here Walter Scott's prologue to
The Family Legend, which tells us that the wild tales of "romantic
Caledon" stir the heart of the exiled Scotchman,

"Whether on India's burning coasts he toil,
Or till Acadia's winter-fettered soil."

England's dead who rest in the Seven Seas make a great com-
pany. England's dead in the Orient are for the most part unre-
corded in English verse, but here and there a group or an individual
is memorialized by the poet — and for the poet an imaginary
character may create pathos as well as a real character. Words-
worth's Liberty is addressed to a woman friend who died, after the
piece was written, "on her way from Shalapore to Bombay,
deeply lamented by all who knew her". John Wilson's Widow is
scarcely an Oriental poem, but the husband for whom the woman
mourns perished in the East: —

"For the bayonet is red with gore,
And he, the beautiful and brave,
Now sleeps in Egypt's sand."

Among the numerous poems of Mrs.Hemans on death, the funeral,
and the grave, is one inspired by these lines of "Christopher
North " — The Burial in the Desert. This poem is far more Oriental-
ized than the one which suggested it, and contains the recurring
line,

"In the shadow of the Pyramid."
Though not in verse, Macaulay's Latin epitaphs on servants of

g$ I'nirerxit!^ of Kdiisn.s- IJiiiiKmiaiic ISiudies

Kn^'l:ui«l \vlu> (lii'd in India may 1)0 inontioned, as, in a sense,
"poi'lii- efforts".

Our present aitount of the English in the Orient is scant indeed
in comparison with the actual historical activities. But if all of
life were descrii)ed in poetry, or all of English prose transformed
into verse, the special function of poetry itself would probably be
unfulfilled. Before it becomes a subject for poetry, says Words-
worth in the famous Preface, science must become "familiar",
and its relations contemplated as "manifestly and palpably
material to us as enjoying and suffering beings". Jones did not
attempt to versify any large portion of his knowledge of the
Orient. Sir James Mackintosh in his Discourse Read at the Opening
of the Literanj Society of Bombay, (November 26, 1804), said of
Sir William: "He was among the distinguished persons who
adorned o!ie of the brightest periods of EngHsh literature". Per-
haps " English scholarship" might have been better. The speaker
then proceeded to propose a program of study for the Englishman
in India, including botany, zoologj\ mineralogy and political
economy. The address closed with these words: "On a future
occasion I may have the honour to lay before you my thoughts on
the principal objects of inquiry into the geography, ancient and
modern, the languages, the literature, the necessary and elegant
arts, the religion, the authentic history and the antiquities of In-
dia", etc. However it may be with English science and scholar-
ship, it is safe to say that English poetry has not yet completed
this program of 1804.

The English are not the only people of western Europe to appear
in the Orient in English poetry. If we include the translations of
Camoens, Tasso, and Ariosto made during our period, we have a
host of individuals, historical or fictitious, and of epic groups,
from Spain, Italy, France, and northern Europe. They are
occupied in sailing about Africa, to visit and conquer India; in
various Asiatic or East-European travels for pleasure or military
adventure; in warring with the assembled hosts of the Saracens
to rescue "// gran Sepolcro'\ with mention of which the Gerusa-
lemme Liber at a opens and closes. If these works are not products
of English imagination, they belong to English poetry, in a liberal
view, in verse and diction. Camoens and Vasco da Gama both

Osborne: Oriental Diction and Theme 67

appear in English lyric poetry, the former in The Last Song of
Camoens, by Bowles; the latter (along with Albuquerk and others)
in Mickle's Alniada Hill. To the themes of epic breadth, we may
add that of the Napoleonic armies in Russia.

The relations of Venice to the Orient are barely suggested in the
opening line of a familiar Wordsworthian sonnet: —

" Once did She hold the gorgeous east in fee. "

So far as commercial relations between Venice and the Eastern
Mediterranean region are concerned, perhaps no more Oriental
passage could he found than this from Rogers' Italy:

"Who met not the Venetian? — ^now in Cairo;
Ere yet the Califa came, listening to hear
Its bells approaching from the Red-Sea coast;
Now on the Euxine, on the Sea of Azoph,
In converse with the Persian, with the Russ,
The Tartar; on his lowly deck receiving
Pearls from the Gulf of Ormus, gems from Bagdad,
Eyes brighter yet, that shed the light of love.
From Georgia, from Circassia. Wandering round,
When in the rich bazaar he saw displayed.
Treasures from unknown climes, away he went.
And, travelling slowly upward, drew ere-long
From the well-head, supplying all below;
Making the Imperial City of the East,
Herself, his tributary. "^^

In Faust, Goethe symbolized, by the marriage of Faust with
Helen, the union of Gothic genius with the classical Greek. Though
we have in English poetry one book of a long narrative poem
dedicated to the " Genius of Afric",*^ there is perhaps no poem or
passage which transcends the usual contrast between the East and
the West by any thought or imagery of mystic harmony between
the two. A suggestion in this direction, however, may be found,
without too fanciful interpretation, in The Bridal of Triermain.
In the third canto there is a dream of fair maidens in processional —
maidens of Asia, Africa, Europe, and America. For each region
there is some appropriate imagery and diction. A comparison of
Scott and Blake seems strange, but in this assembling of the
continents for the high purposes of poetry, there seems something

51. Italy; Part I. XI.

52. Grainger's Sugar-Cane; Book IV.

C8 I'nirrr.s'it!/ of Knu.sas IIuni(inii<t{c Sfudie.s

akin to tlio mot lux! of Mlakc in his j;;eographic symbolism. First
o>mo the "Four Maiils whom Afric hore", singing in the Moorish
tongue of tljo ruins of Carthago, the Siroc of Sahara, and the spell
of Dahomay. Then follow maidens of "dark-red dye", bearing
palniolto baskets, and singing of the ])erished glory of Peru. Next
enter tiio maidens whose faces have been tinted by the "suns of
Candahar". whose Eastern pomp is aided by hennah and siimah,
who are ohui in the costumes of a sensuous land. Finally, api)ear,
each representative of her native land, the daughters of France,
Spain, Germany, and "merry England", — the last dressed "like
ancient Hritish Druidess". So harmonize for once, in a poet's
fancy, the Celtic, Occidental, Germanic, and Oriental tones of
the Romantic Movement.

CHAPTER VI.

The Orient Itself

Our poets sometimes consider "The Orient" or "The East" as
a unit, without definite boundaries. Again, Asia or Africa is often
presented as a unit, in a single thought or image. Sometimes
Oriental reference is made in very vague manner, without any
specific geographical term or terms. Yet in the body of verse as a
whole, the reader is not left without abundant, if scarcely coherent,
details in the poetical map of the East.

This map reaches from Sarmatia and Zembla on the north —
with lines extended to the Pole — to the Cape of Good Hope and
New Zealand on the south; from northeast to southwest it reaches
(according to the definition for this study) from Kamchatka to
Senegal and the Canary Islands. It embraces a hundred countries,
almost innumerable "coasts" and islands; seas, lakes, and interiors
remote from ordinary travel — ^from Caffraria to the Desert of
Gobi. The portions drawn in clearest design are of course the
more familiar sections — Arabia, India, Egypt, the Sahara, Turkey,
etc. But in one passage or another this or that poet sketches in,
at least in outline or in name, Sumatra, Tahiti, Siam, Madagascar,
Tartary, and many another region. During our period China and
Japan are relatively neglected.^*

In the entire region about the Eastern Mediterranean the poets
often follow the traditions of Biblical or classical literature; yet
much of this region is modernized, given a fresh and more strictly
Oriental value. The Palestine of the Crusades, the Egypt of
Bruce and Nelson, are not Biblical. The isles of Greece as seen by
Byron and, earlier, by the sailors of The Shipwreck, are not quite

53. China seems more frequently mentioned than Japan. Boyse has the follow-
ing lines in The Triumphs of Nature. He is speaking of a pond in " the magnificent
gardens at Stowe, in Buckinghamshire".

"In which, of form Chinese, a structure Uos,
Where all her wild grotesques display surprise,
Within Japan her glittering treasure yields.
And ships of amber sail on golden fields. "
There are of course many other references dealing more directly with CMilna and
with Japan, but they are usually rather brief.

S9

70 I'fiivcrsHij of Katisos Ihnmmi.siic Studies

tlu>M- i»f lloiiur or rimlar; the (iroetc that bows beneath the Turk
i> m>t the (irttx'o of Tluu ydiilrs.

If ini>jht bo (»f soino interest, l)ut it would be a long task, to
traee out the geography, history, the social and the natural life,
of eaih country as English verse presents it. Many sections are
usually mentioned in simple and repeated formulas, suggesting
our study of conventional phrases in Chapter III. Circassia is
often associated with feminine beauty; Siberia with cold and wild-
uess, though one poet describes its sh)w-moving caravans. The
witches and the reindeer are frequent items for Lapland. Literary
Russia hardly appears; or the Russia of serfs and bureaucracy.
The poetic Russia of the jieriod is that of Catherine or Peter, of
cold and bears, of the Napoleonic invasion, of the conflict with the
Turk, or the Russia known through its political relations with
England. This statement, however, omits the work of Sir John
Bowring, late in our period."

The climate of the Orient, in the large sense adoj»ted for this
study, of course has little unity. To consider merely temi)erature,
the poets give much attention to extreme cold and extreme heat,
often by way of antithesis. 'From Zembla's cold to Afric's heat '
is a typical phrase form. In the more southerly sections, the
Caucasian Mountains or perhaps Atlas serve as symbols of cold.
The emjihasis, on the whole, is apparently on the heat. Such words
as hot, torrid, burning, scorching, sunburnt, are frequent in
descriptions of various parts of Asia and of Africa. In The Fatal
Curiosity we read of the "eternal sultry summer" of India, and
one poet writes of the "eternal dog-star" of Africa. The East in
general is "the land of the sun". Associated in part with this
emphasis on heat are the ideas of disease and of fertility. "Fever-
ish" is not a rare word; pestilence as well as drouth are often men-
tioned. It was a "land of births", writes James Montgomery of
a Southern region; and in a score of poets we read of the prolific
life in various parts of the South or the East — of the multitudes of
strange creatures that haunt the jungles, creep along the banks of
the Nile, or fly above the coral-islands.

In topographical features, there is frequent reference, probably
not always appropriate, to "groves" and to "plains"; with the

54. In prose, a translation of Karamzine's Poor Lisa appeared in London about
1805 (7). A review of the French translation of his Russia Is found in the MiscellC'
nfous Essays of Archibald Alison.

Osborne: Oriental Diction and Theme 71

addition of many valleys and occasional "glens". The Gulf of
Ornuis, the lilack Sea, and the Caspian Sea are often named, The
great rivers of the East proper and of Africa are introduced in
liundreds of passages — the Euphrates and the Tigris, the Ganges,
tlie Nile, the Niger and the Gambia, the Danube and the Volga.
The mountains which receive most attention are the Himalayas,
the Caucasian, Atlas, and the Mountains of the Moon.

Of all the types of Eastern scenery, perhaps none is more fasci-
nating to the imagination of the poets than the desert. It is some-
times Arabian, sometimes the Sahara, sometimes simply the
generic desert. It is a region of "sand-spouts " and " sand-waves " ;
of drouth and staggering sunshine; of the pelican and the camel; of
weary caravan, of mocking mirage and restful oasis; of the "red
wing of the fierce Monsoon",*^ and again and again of death.
Mrs. Hemans writes separate poems on its Flower, its Caravan, and
its Burial. James MoTitgomery describes the mirage in these
lines — praising a chieftain hero of his story :

"Nor less benign his influence than fresh showers
Upon the fainting wilderness, where bands
Of pilgrims, bound for Mecca, with their camels,
lae down to die together in despair.
When the deceitful mirage, that appeared
A pool of water trembling in the sun.
Hath vanished from the bloodshot eye of thirst. "^^

Sir John Bowring pictures the mirage of the Sahara in one of his
religious lyrics. Better no doubt, as poetry, than most of the more
elaborate descriptions is Shelley's simple if alliterative vision: —

"... boundless and bare
The lone and level sands stretch far away. "

liernardin de St. Pierre was not the only European author of the
period to turn a study of plant life to imaginative jjurposes. Among
tl.e English poets, Crabbe followed botany as a diversion, as Cow-
ley had done before him, and with some poetic result. Mason's
English Garden and Langhorne's Fables of Flora, as well as Darwin's
Lores of the Plants are among the titles suggestive of this taste.
In the Oriental verse there are n)any references to Eastern flowers
and trees. Among the favorite trees are the cypress, tanuirind,

55. Kirke White; Sonn«< /A'.

56. The Prlican Island: Canto IX.

7? i'tiirt'rsitif of Kiinsns Iliniunii.'^lic Sivdie.s

tialo. fill. |>alni. and l)jinyaii. The inalignant "poison-tree" of
Java exercises a kitul of" cliarin ovei- se\eral poets. Darwin gives
it e )!>-iiiliM-al)le space in one of Ills jjoenis. Auiont;' the flowers most
(»ften nienlioned are the jasmine and the rose"'. INIrs. Hemans'
Flourr of the Desert probahly ph'ased some readers all the more
heeause it was yiven no name, though, in the author's fancy, it
hail a '* purple hell ". There is perhaps nothing in the Orientalized
verse to compare with the 7V) a Snoirdrop of Wordsworth, or with
The YeJIoir I'iolet of Bryant. Dr. Langhorne gives a curious bit
of criticism on the fourth Eclof/ue of Collins. "Nevertheless", he
writes, "in this deHghtful landscape there is an obvious fault:
there is no distinction between the i)lain of Zabran, and the vale
of .Vly : they are both flowerij, and consequently undiversified ... it
had not occured to [the poet] that he had employed the epithet
floicerij twice within so short a compass ".^^ In the third Eclogue,
however, Collins names the "gay-motleyed ])inks and sweet
jonquils", the violet and the rose, with the usual footnote to sup-
port his choice. Campbell's flowers of Numidia, in The Dead
Eagle, are the alasum, bugloss, fennel, tulips, sunflowers, and
asphodel.

The animal life introduced ranges from the coral worm, described
at some length in Montgomery's Pelican Island, through butter-
flies, bats, birds, and reptiles, to the large quadrupeds — the camel,
the giraffe, and the elephant. The gazelle, the antelope, the lion
and the tiger are favorites, while the hyena occasionally appears.
The "pard" is a quadruped of the East in the verse of Miss
Baillie, Keats, and others. Keats has this simile in Otho the Great:
"Hunted me as the Tartar does the boar". The Russian bear
enters the scene at rather long intervals. The kangaroo appears
in a Fahle by Hood and its "sad note " is heard in Southey's Botany
Bay Eclogues. The giraffe is described in one passage by Mont-
gomery, and is the chief figure in one of Hood's poems. ^^ The
gazelle of Lalla Rookh will be remembered. The zebra appears in
Keats and in Wells; and Shelley places the llama in India. To
Crabbe, as we have seen, a portion of the East is the "far land of
crocodiles and apes"; but in general the near relatives of man do
not receive much attention. Perhaps for historical reasons, the

57. See also supra, p. 48.

68. Edition of Collins named in the Appendix, I, A; p. 137.

.50. Ode to the Cameleopard.

Osborne: Oriental Diction and Theme 73

words "baboon", "chimpanzee", "gorilla" and the like are rare
words, if found at all, in the English verse of our period. This
passage from Miss Baillie may be considered rather exceptional:

'Twill be as though a troop of mowing monkeys.

With antic mimic motions of defiance.

Should front the brindled tiger and his brood. "'^'^

Among the birds given most attention are the "locust-bird",
the crocodile bird, the vulture, and in particular, the pelican, the
ostrich, the bird of paradise, and the nightingale. The "desert
pelican" is a phrase of Keble's, and this species is given much
attention not only in Montgomery's poem, but also in Thalaha.
The albatross is doubtless nowhere else so emphasized as in The
Ancient Mariner, but it is found in this or that poem in a setting
more strictly Oriental. In Lalla Rookh, among the birds are the
blue pigeons of Mecca, the "thrush of Indostan", and the Indian
grosbeak.

Shelley seems somewhat fond of the word "snake", and he
introduces a poetic word in "cobra-di-capel". Hood reminds the
lady departing for India that in that country,

"... the serpent dangerously coileth.
Or lies at full length like a tree. "

The crocodile of the English poets is the "river-dragon", or the
"devil-beast". He is king in Southey's fancied city of Croco-
dilople. Beddoes devoted a sonnet to it, and places the humming-
bird safely in its "iron jaws". One poet honors our country l)y
naming the "American crocodile". Associated also with the
Nile is a serpent in Wells' Joseph and His Brethren. Among the
curses wherewith Phraxanor curses Joseph is this:

" .... May the huge snake
That worships on the Nile, enring and crush thee!""'

A review of the numerous passages on the camel and the ele-
phant would show many interesting details of imaginative treat-
ment. The 'snort' of the camel is probably one of the strangest
animal sounds to be found in the verse we are studying. Jones, in
Solima, makes the camels 'bound o'er the lawn like the sportful
fawn'. In the play just referred to they are found "dreaming in

60. The Bride, I. 3.

61. II, .3.

7^ rnircrsitji of Kansuft Iluiiiani.siic Studies

the siiii". The following somewhat curious passage may be

ijuotrtl from an ohsrure poem:

•'The lumgry traveller in the dreary waste
From the slain eamel shares a rich repast:
While parched with thirst, he hails the plenteous well.
Found in the stonuich's deep capacious cell."**

riie eiepliaul in London was briefly noticed in Chapter V. In
his native regions he is presented in a variety of ways. Hood's
Vt)ung lady wiio is going to liombay remarks that "elei)hants are
horses there ". In Miss Baillie's The Bride there are two references
to the human body trampled under an elej)hant's feet, as well as
a vigorous description of the clearing of a path through the forest
by an elephant's supple trunk. One of the most original images
is found in Montgomery, with reference to the dead body of the
great beast: —

" Bees in the ample hollow of his skull
Piled their wax-citadels and stored their honey. "*^

For the sake of comparison of passages on the same theme,
these two quotations may be given, the first from Montgomery, the
second from Milman:

"The enormous elephant obeyed their w\\\.
And, tamed to cruelty with direst skill.
Roared for the battle, when he felt the goad.
And his proud lord his sinewy neck bestrode.
Through crashing ranks resistless havoc bore.
And writhed his trunk, and bathed his tusks in gore. "**

*' .\s in the Oriental wars where meet
Sultan and Omrah, under his broad tower
Moves stately the huge Elephant, a shaft
Haply casts down his friendly rider, wont
To lead him to the tank, whose children shared
With him their feast of fruits : awhile he droops
Affectionate his loose and moaning trunk;
Then in his grief and vengeance bursts, and bears
In his feet's trampling rout and disarray
To either army, ranks give way, and troops
Scatter, while, swajung on his heaving back
His tottering tower, he shakes the sandy plain. ""

62. Cambridge: The Scrihlcriad; Book I.

63. The Pelican Island; Canto VI. The whole passage is interesting.

64. The World before the flood; Canto VII.

65. Snmor, Lord of the Bright City; Book XI.

Osborne: Oriental Diction and Theme 75

The last selection is from a poem of Saxon England, the "Bright
City" of the title being Gloucester.

Anthropological details are not to be expected in this period,
even if they could be given with poetic result. For the most part
the poets confine themselves to color and to general characteristics
of hair and eyes. One does not read of 'little yellow people',
though Walter Scott writes of the hue of "golden glow'' caused
by the "suns of Candahar".^*^ But such terms as sable, sooty,
black, swart, swarthy, and dark-skinned are in frequent use. Mac-
auley gives us the phrase, "Syria's dark-browed daughters"."
The idea of the special beauty of the Oriental women, as well as
of the houris and peris is not rarely introduced. Lloyd has a four-
line passage on the feet of the Chinese ladies, ill adapted for
pedestrianism,''^ but Moore, in The Veiled Prophet, refers more
courteously to "the small, half-shut glances of Kathay".

Among social groups most often noticed, are bands of thieves
and pifates, the women of the harem, the members of the caravan,
the Chaldean star-watchers, the crowds about the car of Jugger-
naut, the priests and people in the temple, shepherds, merchants,
armies on battlefield or in camp. In a larger sweep, one finds as
groups unified by imagination, the "children of Brama", and the
inhabitants of all the Moslem world. The idea of extensive pop-
ulations is frequently met. Johnson actually gives some figures
for a number of regions, in his Septem Mtates. Such expressions
as thousands, tens of thousands, myriads, "million-peopled", as
well as horde, tribe, clan, etc., do not seem accidental in the Ori-
ental verse. These social groups, larger or smaller, are headed by
"Sophy, Sultan, and Czar", by Pharaohs, caliphs, satra})s, omrahs,
kings and queens. Not very many historical persons of note step
forth from the masses. The list includes Attila, Semiramis, Zen-
obia, the False Prophet and some of his successors, Confucius,*^^ a
few Persian poets, and other names found in Greek, Latin, or Bibli-
cal records. Harte mentions Mesva, "an Arabian physician well
skilled in botany ";^^ and Crabbe mentions Fasil and Michael as

66. See supra, p. 68.

67. In The Battle of the Lake Regillus.

68. The Cobbler of Crippleqate's Letter.

69. The association of names in this couplet from Boyle's On the Death itl Sir
John James, Bart, is interestinK:

"To practice more than Epiclctus tauKhl,
Or Cato acted, or C^onfucius ihotii^ht."
TO. In Eulogius; or, The Charitable Mason.

7tf rnirrrsity of Knri^ins IltniKinisfic Studies

c\ il .\.1)\ ssinians of his t»\vu day. Kosciusko belongs to the roll of
hrnu's in Knj,'Hsl» poetry, alonj,' with William Tell and George
Washiujil«>n.

The social lite is, except for a few longer poems like Lalla Rookh,
represented in fragments, not very easily brought together to
fashion a clear picture. Much is said of war, of worship, of com-
mercial life. Something is given of life on the sea, in the forest, in
city streets. In the period whieh produced Walter Scott and
IManche it is natural to find no little attention given to Oriental
costume. Southward, we find the nearly nude barbarians of
.Vfrica, and the "haik" of the Algerians. Farther North and East,
we learn something of capote, turban, shawl, horse-tails, sheep-
skin cai)s, and various priestly robes. Many rich costumes are
descril)ed; of silk, perhaps, and decorated with "gems fit for a
Sultan's diadem". The henna of feminine toilet is rather often
mentioned, and occasionally the sumah. There are references to
the veils of the Turkish women, and to the black masks of the
Arabian women. As to military armor and tactics, the work of
the elephant is perhaps the most characteristic novelty. Lance
and sword seem to be carried into Oriental warfare by the imagina-
tion of English poets, and the Parthian bow and arrow, along with
some other weapons, are to be credited to the traditions of Biblical
or classical literature rather than to modern knowledge of the East.
The scimitar is a favorite of the poets, however, and the jerrid
and the ataghan are among the weapons honored by footnotes.
The great Eastern hunt, in which game of various species is driven
gradually into the waiting corral by a circle of hunters, is described
in several passages.^' The Moorish dances of Spain and some of
the dances of the East itself are noticed in this or that passage.

The life of the home is not prominent, though domestic life of
one type or another is presented in The Curse of Kehama, Thalaba,
Lalla Rookh, and other poems. The relation of father and daughter
in the two chief Oriental poems of Southey is presumably modeled
on the good old English standards in large degree. In Byron,
there is probably a closer approach to the actual conditions of the
East. There are comparatively few descriptions of the interiors
of private homes. Life in the tent, by soldier, merchant or exile,
may be viewed to some extent as a substitute for the life of parlor

71. See, for example. The Prelude, Book X.

Osborne: Oriental Diction and Theme 77

and kitchen. At least it was less familiar to the majority of Eng-
lish readers. It is interesting to note that the "black tents" of
Sohrab and Rustum are not the first of their kind to appear in
English verse; for we find the "sable tents" of the Arabians in
John Scott's Zerad.

The art of the Orient may be noted chiefly with respect to
language, literature, and architecture, with very brief mention of
music and painting.

So far as romantic interest is concerned, the ancient symbolic
characters of Eastern language may correspond with the runes of
the North — both are poetic subjects in our period. These lines of
Montgomery, like various early passages on the hidden sources of
the Nile, emphasize recent progress in our knowledge of the Orient:

"Egypt's grey piles of hieroglyphic grandeur,
That have survived the language which they speak,
Preserving its dead emblems to the eye.
Yet hiding from the mind what these reveal. "^'^

Perhaps no Oriental language receives such tribute as Jonson gave
to "Latin, queen of tongues"," or Milton to Italian at the clo.se of
one of his sonnets: —

"Qnesta e lingua di cui si vania Ainore. "

Jones gives an amusing account, in Plassey-Plain, of Lady Jones'
experience in learning the native tongue or tongues in India. The
elephants and perroquets were sympathetic with her, the poem
states, but knew no western language; and as for the "patient
dromedaries", "Arabic was all they talked". Mrs. Montagu,
according to her own account, was in somewhat the same linguistic
isolation in Turkey. On March 16, 1718, she wrote from Constan-
tinople, "The memory can retain but a certain number of images;
and 'tis as impossible for one human creature to be master of ten
different languages, as to have in perfect subjection ten different
kingdoms ... in Pera they speak Turki.sh, Greek, Hebrew, Ar-
menian, Arabic, Persian, Russian, Sclavonian, Wallachian, Cer-
man, Dutch, French, English, Italian, Hungarian; and what is
worse, there are ten of these languages spoken in my own family' .
Cotton — himself a doctor — speaking of a medical prescription,

72. The Pelican Island; Canto II.

73. A Fit of Rhume against Rhyme..

7^ I'nlitTsity of K ansa." Iluinani.stic Studit\'<

says that *it was AraMc to you and me'. For the advantages of
kn<nving Aral)ie when among the Arabians, one may turn to
OHanilo's aeeonnt in lloole's translation of AriostoJ*

Some of the Oriental writers mentioned in English verse are
firtiti»)us. Omar Khayyam, it seems, was scarcely known in Eng-
land during the earlier part of our period. Hafiz, Saadi, and a few-
other Eastern poets are mentioned. The works attributed to
Confucius are rarely noticed in our verse, though an English trans-
lati«»n by .Joshua Marshnian ai)peared in 1809. The chief emphasis
is probably uiK)n the Koran, from which various ideas are wrought
into English verse, and on Arabian Xights. The I'edas are
occasionally mentioned, and a number of translations from the
Sanskrit, or related Indian languages, were made by Jones and
others. Some passages referring to the A rabian Xight.s have already
been noted. One more may be added, though it is not in very-
poetic language: —

" It minds one of that famous Arab tale
(First to expand the struggling notions
Of my child-brain) in which the bold poor man
Was checked for lack of 'Open Sesame'.""

A very important art of the Orient, according to our poets, is
architecture. There are in our period no Oriental poems to rival
the Ode on a Grecian L'rn or On Seeing the Elgin Marbles; none like
Rossetti's Burden of yineveh; but there are many passages and at
least one poem of some note on the pyramids. Orientalized poetry
is full of temples, fanes, domes, mosques, minarets, pagodas,
kiosks, and palaces. These structures are in general to the Oriental
taste what the medieval castle was to Gothic taste^^ or the "druid-
ical circle" to the Celtic. Now- in the background, now- in the
foreground, is the gigantic car of Juggernaut, wreathed with
flowers, crushing its victims to death. In the temples are grim
forms of huge, misshapen idols. On the desert sands are the
prostrate statue of the tyrant and the crumbled walls of palaces.
The Alhambra receives a genuine Oriental description in Mrs.
Hemans' Ahencerrage. Elsewhere one finds reference to the great
temple at Mecca, to the sacred stone and Zemzem-well. There

74. Book XXI 11. Page 190 of tlie edition cited in Appendix.
7.5. Arthur Hallam: Stfdilatire Fragments. VI.

70. Yet in The Bride, out of fifteen scenes we have eight in or before a castle.
There are two ra.stles in this play; that of Rasinga and that of Samarkoon.

Osborne: Oriental Diction and Theme 79

are several brief references to the great wall of China. Hardly any
type of Oriental passage is more frequent than that which exhibits
the pathos of the great Eastern ruins — the ruins of Bal)ylon, Pal-
myra, Memphis, Carthage, or Eastern ruins in general. Sometimes
there is a definite didactic touch, as in this line from Boyse's
Retirement: —

"And what Palmyra is, — Versailles may be."

Oriental painting, so far as our verse notices it, seems to be done
largely by Englishmen. That the art of the Chinese painters was
not always fully appreciated is clear from this line of Young's: —

"The point they aim at is deformity.""

The hanging gardens of Babylon are sometimes noted, and minor
" grove " and even " lawn " appear now and then. Lovers of Kuhla
Khan will remember the

"... gardens bright with sinuous rills
Where blossomed many an incense-bearing tree;"

by the borders of Alph. Wordsworth in The Prelude''^ has a much
more elaborate description of the gardens of Gehol, fashioned for
the delight of the Tartarian dynasty.

Among musical instruments are the timbrel and the psaltery,
suggesting the Biblical influence. The lute is in Oriental ver.se as
well as in the Elizabethan lyric. More strictly Oriental are the
favorite atabal, the "gong-peal and cymbal-dank", the rebeck
(though this is found in U Allegro), and the bells upon the dancer's
ankles.'^ Various more or less musical chants, battle-cries, and
lamentations of mourners are introduced; the "tecbir" is heart!
in (juite a number of poems. In The Bride of Ahydos one finds the
"OUahs", the call of the muezzin, the "wul-wulleh", and the
"hymn of fate" by the Koran-chanters. The fact that a number
of poems are written, or announced as written, for Eastern "jiirs"
may indicate some interest in Oriental music. Moore paid con-
siderable attention to musical matters in Lalla lioohh; not neglect-
ing the customary exj)lanations of footnotes. One learns from him
something of the pastoral reed and the AV)y.ssinian trumpet; of

77. Love of Fame, the Univi rsnl Passion; Satire VI.

78. Book VIII.

7(». All the inatrunierits named in this si-ntt-nci' an- roiiiid In /'/i*' Vision of Don
Roderick, stanzas 19 and 25.

80 riilrtr.siii/ of Kansa.s Iliimani.stic Studies

"ktTmi" ami "syriiula "; of the Ix'IIs on tlie \\ aists or ankles of the
»laiu-ers. II(> tells ns (<juotiiif>;, as often) that "The Easterns used
to set out «)n their lon<j,(M- voyages with music". The song of
Zeliea sung lt> the lute is like that of the dying hidhul. "There's
a bower of roses" is sung

"In the pathetic mode of Isfahan."

I'he mythology of the Eastern peoples appeals to the iuuigina-
tii>n of the English poets; their religions awake the fancy of some,
arouse the missionary zeal and the sense of English rectitude and
sanity in others. A religious element enters into some of the wars
and racial antagonisms considered in our verse. In his review of
Lalla /?(>()/.7/,. Jeffrey has this to say of the ethics of the great M^orld
lying beyond the borders of Europe: "It may seem a harsh and
presumptuous sentence, to some of our Cosmopolite readers; but
from all we have been able to gather from history or recent obser-
vation, we should be inclined to say that there was no sound sense,
firmness of purpose, or principled goodness, except among the
natives of Europe, and their genuine descendants".

The time was not ripe for a study of comparative religion, or
for a World's Congress of Religions. Yet in Shelley and others we
have ideas far more progressive than that just given from the
famous critic. If Shelley is somewhat disdainful of social religion
in general, he limits his disdain to no one particular embodiment
of it. He writes in one line of

"Seeva, Buddh, Foh, Jehovah, God, or Lord.''^"

In another poem he wrote:

"And Oromaze, Joshua, and Mahomet,
Moses, and Buddh, Zerdusht, and Brahm, and Foh."*^

Southey, while professing in his prefaces the orthodox hostility to
Oriental religions, reveals considerable beauty in some aspects of
them. In many poems, however, it is the horrible that is empha-
sized.

The Asiatic and African religions are often considered in a very
general way, under such conceptions as superstition, heathendom,
idolatry, paganism, and the like. More specifically, the chief

80. Queen Mab; VII.

8). The Revolt of Islam; X, 31.

Osborne: Oriental Diction and Theme 81

faiths introduced are sun-worship, the Egyptian worship of ani-
mals, Buddhism, and Mohammedanism. Confucianism receives
little attention in the verse of our period, and it is doubtful if
Shinto is even mentioned. Certain Egyptian gods are often
named — Apis, Anubis, Isis, and Osiris. The gods of India to whom
Jones writes hymns include Bhavani, Camdeo, Durga, Ganga,
Indra, Lacshmi, Narayena, Sereswaty^ and Surya. The East
Indian ascetics are introduced in a number of passages, and the
"devoted Bride of the fierce Nile" appears in Lalla Rookh. In
many poems the car of Juggernaut is pictured, and the suttee
rebuked or pitied. Much that is poetically delightful in Eastern
religion, however, is given to English readers. The peris, houris,
and glendoveers are perhaps as pleasing as the fairies of Celtic lore,
and certainly less grim than Woden, Thor, and the Valkyries, made
familiar by the poets of the Gothic Renaissance.

Apart from Southey and Moore, the chief emphasis is probably
upon Mohammedanism — as a subject for English verse, less novel
than the ancient faiths of Persia, Egypt, and India. Mohammed
is the "false prophet". Much is taken from the Koran; ridicule
or poetic approval is given to the Mohammedan paradise. Polyg-
amy, sensuality, the vow of temperance, the cruelty of the bigot,
are among the themes. "The Turk" was often a term in an ex-
pression of reproach including the Papist and the Jew. In a
moment of satirical humor an English poet might write in such
fashion as this :

"The sage Mahometans have ever paid
Distinguished honours to the fool and mad";^^

or this:

"That every Mussulman was killed in battle,
A fate most proper for such heathen cattle.
Who do not pray to God our way."*^

To return a moment to the farther East, and, once more, to Miss
Baillie's Bride. In that dramatic poem we find these interesting
passages; on idolatry in general, on transmigration (not an un-
common theme), and on Nirvana, a rather rare theme in our
period : —

82. Cambridge: The Scribleriad; BooU i.
8.3. Wolcott: Peter's Pension.

9t ritircrsil!/ of Kansa.'i I/iinnnn'ntir Studies

"Lik.0 a (Irossotl idol in its carved ulcove,
A tliinii of ^ilk and ^'oins and t'old repose."***

"\MuMi in the I'orni of antelope or loorie
Slie wends her way to Boodhoo."'*^

**Kven like Niwane, when the virtuous soul
Hath run, through nuiny u change, its troubled course. "**

llt)od\s humor does not fail him when he chances to write of the
suttee: —

"(io where the Suttee in her own soot hroileth. "*^

One finds a much more sombre treatment of this theme in these
passages, from Montgomery and Bowles respectively:

"The pyre, that burns the aged Braniin's bones
Runs cold in blood, and issues living groans.
When the whole Ilarani with the husband dies.
And demons dance around the sacrifice."**

". . . . on Ganges' banks
Still superstition hails the flame of death.
Behold, gay dressed, as in her bridal tire,
The self-devoted beauteous victim slow
Ascend the pile where her dead husband lies:
She kisses his cold cheeks, inclines her breast
On his, and lights herself the fatal pile
That shall consume them both!"**

84. The Bride; I, 1.

85. Ifrid.; III. 2.

86. Ibid.: I, 2.

87. Lines to a Lady on Her Departure for India.

88. Verses to the Memory of the Late Richard Reynolds; III.

89. The Spirit of Disovery; Book V.

CHAPTER VII.

Poetic Values In English Orientalism

This chapter attempts to give a brief summary of the chief
psychological and aesthetic reactions of English poetry in our
period upon the Orient and the Oriental taste. In part, the chapter
may serve as a review of the preceding pages. First may be noted
some values which represent, in the main, the characteristic spirit
of the Eighteenth Century; and secondly, those which represent,
on the whole, the spirit of the Romantic Movement.

Among the signs of the Eighteenth Century spirit are satire,
parody, emphasis on common sense and reason, artificiality, and
didacticism. In the earlier part of our period, a satirical spirit
which touches Oriental matters at times is found in Cambridge's
Scribleriad and in the verse of "Peter Pindar". A humorous
treatment of Warren Hastings appears in The Rolliad. Parody of
Orientalized verse is found in Rejected Addresses, The Anti-Jacobin,
and in many detached poems. Among the individual poems paro-
died by one humorist or another were The Curse of Kehuma, Kubla
Khan, Lalla Rookh, The Giaour, The Destruction of Sennacherib,
Casabianca, and Abou ben Adhem.

An interest in novel information is apparent in the formidable
array of footnotes which accompany the longer Oriental poems, in
prefaces, introductions, and in numerous essays. The early Nine-
teenth Century essayists — Jeffrey, Macaulay, Mackintosh, Tal-
fourd, Sydney Smith, and others — gave considerable attention to
the natural and social conditions in the Orient proper, and in
Africa and Australia. A semi-scientific interest in the natural
history of the East appears in the verse of Erasmus Darwin and
others. The Eighteenth Century poets were fond of writing on
such abstract themes as Disease, Health, Superstition, Commerce,
Navigation, Taste, Liberty, etc., and it is not surprising to find
them again and again drawing upon the Orient for some of their

8S

S4 I'liiirrsit!/ of Kansatt Hiimanisiic Studies

iiKittMial. Hi'tU'ctioiis on (iirrent European conditions or on life
in uiMioral wore soinctiiiios emphasized by lessons taken from the
Kast. Lyttolton attom])ts to arouse England to battle for the
liberties of Europe with the warning,

"Lo ! France, as Persia once, o'er every land
Prepares to stretch her all-oppressing hand."^°

If the elephant was an interesting theme for romantic observation,
it could also be utilized for didactic purj)oses, as this passage
(antedating our period) from Tiiomson's Sumtner indicates:

"O truly wise! with gentle might endowed.
Though powerful, not destructive. Here he sees
Revolving ages sweep the changeful earth,
And emjures rise and fall; regardless he
Of what the never-resting race of men
Project: thrice happy' could he 'scape their guile,
^Mio mine, from cruel avarice, his steps;
Or with the towery grandeur swell their state,
The pride of kings ! or else his strength pervert,
And bid him rage amid the mortal fray,
Astonished at the madness of mankind. "

The Romantic enthusiasm for the remote was to some extent
chilled by the home-loving patriotism of the English character and
by a realistic suspicion that not all is gold that glitters — in the
distance. There are various poems and passages expressing the
home-sickness of one whom fate has carried far over seas. Gold-
smith's emigrants in The Deserted Village are not the only ones who
leave the British Isles with a sense of loss. In The Sabbath, Grahame
writes thus of the Scotchman exiled in the Southern seas :

"What strong mysterious links enchain the heart
To i-egions where the morn of life is spent !
In foreign lands, though happier be the clime.
Though round our board smile all the friends w^e love.
The face of nature wears a stranger's look. "

At the end of his imaginary Voyage Round the World, Montgomery
returns home with no little rejoicing: —

"Now to thee, to thee, I fly.
Fairest isle, beneath the sky,
To my heart, as in mine eye.

90. To Mr. Glorcr: On His Poem of Leonidas. (1734.)

Osborne: Oriental Diction and Theme 86

I have seen them, one by one,
Every shore beneath the sun.
And ray voyage now is done.

While I bid them all be blest,

Britain is my home, my rest;

— Mine own land! I love thee best."

If the sturdy, persistent realism of Crabbe sees much that is sordid
in the English village, it is not deceived by the poetic praises of
distant regions. Witness this passage in Edward Shore:

" 'Tis thus a sanguine reader loves to trace
The Nile forth rushing on his glorious race;
Calm and secure the fancied traveller goes,
Through sterile deserts and by threat 'ning foes;
He thinks not then of Afric's scorching sands,
Th' Arabian sea, the Abyssinian bands;
Fasils and Michaels, and the robbers all.
Whom we politely chiefs and heroes call :
He of success alone delights to think.
He views that fount, he stands upon the brink,
And drinks a fancied draught, exulting so to drink. "

The common sense of Gifford rebels against the obscure and arti-
ficial style in which some reports of foreign lands are given to the
English stay-at-home, in an interesting passage opening with the
lines,

"Lo! Beaufoy tells of Afric's barren sand
In all the flowery phrase of fairy land",

and closing with the line,

"And call for Mandeville, to ease my head. "^^

We have already indicated John Foster's opinion of the Rama-
yuna.^^ His disapproval of Indian architecture was equally em-
phatic. The buildings of Hindostan are "fantastic, elaborate, and
decorated to infinity .... there is device, and detail, and ramifi-
cation, and conceit, and fantasy, to the absolute stupifaction of
the beholder." The standards by which he condenms this con-
fused Eastern architecture are found not in English but in Grecian
architecture, with its "harmonious simplicity"."

91. The Baviad.

92. Supra, p. 41.

93. Review of Daniell's Oriental Scenery.

ft$ I'tiiver.sity of Kari.sas Flumauisiic Studies

Tho Romantic poet, at least in his Romantic moods, spoke
otherwise. Tho Orient, like the Oceiclent, and with some advan-
tages over the latter, offered him that escape from the local, the
faniiiiar, the prosaic, that flight into the remote and the unknown
whicli his heart desired. The Romantic critic understood the
situation. " Passion is lord of infinite space ", wrote Hazlitt, "and
distant ohjects please because they border on its confines, and

are moulded by its touch Distance of time has much the

same effect as distance of place ".''^ To Kirke White, "The distant
prospect always seems more fair. "'^ Keats sings,

"Ever let the Fancy roam.
Pleasure never is at home. '^*

Coleridge gives us this couplet in Christabel:

"She was most beautiful to see,
Like a lady of a far countree. ""

Moore voices somewhat the same conception in quite a different
manner in these lines sent home from the new world:

"Oh, Lady! these are miracles, which man,
C'aged in the bounds of Europe's pigmy plan.
Can scarcely dream of; which his eyes must sef,
To know how beautifid this world can be!"*^

The sense of space and of change may be gained by rapid move-
ment; and it seems no accident that in the longer Oriental narra-
tives there is found something of the "Glory of Motion" — a
restless passing to and fro in place of the stable abiding supposed
to represent the typical English character. Southey did not travel
very extensively, and he never saw the banks of the Susquehanna
of which he dreamed; but in Thalaba his imagination produced an
almost constant and phantasmagoric shifting of scenes. Mrs.
Shelley records that she and her husband were very fond of travel-
ing, and would have travelled much more extensively than they
did if circumstances had permitted. But following his hero in
Alastor, Shelley was "on the go" through most of the poem.
Simple little journeys to France or Spain or Italy did not satisfy

94. Tabic Talk: Whu Distant Objects Fhasr.

95. From a Fragment ("The western gale," etc.).

96. To Fancy.

97. Christabel; Part I.

9S. Epistle IX .... Frotn the Banks of the River St. Lawrence.

Oahorne: Oriental Diction and Theme 87

the craving for change in the true poet of the Romantic Movement.
An example of this restlessness of fancy, almost morbid in this
case perhaps, is found in the dreams Kirke White had of his final
resting place. In a mood of quiet English feeling he could write
of a commonplace English burial-ground,

"Here would I wish to sleep. — This is the spot
Which I have long marked out to lay my bones in;

Beneath this yew I Avould be sepulchred.
It is a lovely spot!" etc.®^

At another time the Gothic taste assails him, and he answers its
demand thus:

"Lay me in the Gothic tomb,
In whose solemn fretted gloom
I may lie in mouldering state.
With all the grandeur of the great. "^^*'

Once again, his craving for something more remote, more un-
familiar, more wild, finds expression in these lines:

"Or that my corse should, on some desert strand,
Lie stretched beneath the Simoom's blasting hand."'"*

"Distance of time has much the same effect as distance of place."
Occasionally the antiquity of South American civilization is
expressed in English verse of our period; but it is to the Orient
that the poet naturally turned to find remoteness of space and
remoteness of time combined. So far as poetry was concerned,
Asia was the cradle of the human race; and the ruins of Egypt were
far older than the medieval castle, Roman road, or the druidical
circle of England. In the diction of the Orientalized verse
terms of antiquity are common. There are numerous such phrases
as "shattered with age", "antique niarble", and "ancient lore".
Egypt is "old" and "hushed", "ancient", "eldest" and "dead";
she is the " motherland of all the arts ", and the "land of mcniory".
One poet at least writes definitely of "India's memories". It is
not only human culture that is ol<l — the astronomy of Ghaldca,
the commerce of Phoenicia, the pyramids and hieroglyphics of
Egypt, the mythology of India — but even nature herself seems to

99. Lines Written in Wilford Church-yard.

100. Thanatos.

101. Cliftov Grove.

S8 I'niii'r.sili/ of Kansas H iinnniislic Studies

im:ii,'iu;itioii olii<M- in a laiul lumiaiily oM. One reads of the "old
(Jaiiiies"', [\\c "«>1(1 iMipluates". Hesiile llie elianii of the merely
remote, in spac*' or in tinu-. the Romantie poel voieed the appeal
of tlu" immeasurahle, the inaeeessihle, tlie unmastered. That
element of the forndess and the void in Oriental life which so
offended Foster was often a source of delight to Shelley, to Byron,
anil to many lesser poets. To note the diction aj^ain, such words
as vast, vasty, enormous, sumless, horde, cloud, (for a group of
people), host, millions, are frequent. Among the Miltonic nega-
tives ciuiracteristic of this mootl are "impenetrable", "immeas-
ureahle", "invisible", "insatiate". It is largely this aspect of the
Romantic Movement which finds such severe condemnation in
Paul Elmer More. His judgment is that "Romanticism is a
radical confusion of the unlimited desires and the infinite inner
check. In its essential manifestation it is thus a morbid and
restless intensification of the personal emotions ".^"^

There was a charm for many English imaginations in the very
horrors, the very evils, strange and brutal and vast, which a
knowledge of the East revealed. If one chooses to select such
matters from English Oriental verse and combine them, one may
witness a weird procession of terrible images. There pass before
the reader, mutes and eunuchs, captives and crowds of half-naked
slaves; the car of Juggernaut, crushing human bodies beneath it:

"Beneath the creaking axle the red flood
Gushes unceasing; scattered on the stones
Lie crushed and mangled bones;
Through slaughter and through l)lood

The chariot of the god — the dark god — reels;
And laughter — shrill unnatural laughter — rings
As each mad victim springs
To meet the murderous wheels. "^^^

In the background are seen the ugly form of the poison-tree, the
bodies of those who died from thirst in the desert, and a swarm of

"Afric's black, lascivious, slothful breed."'"'*

The scene changes to the abodes of evil beyond death, and amid
terrifying lights, an infernal storm of meteors and hailstones, the

102. The Drift of Rofnanticism; p. 270.

103. Praed: Ilindostan.

104. Young: Imperium Pelaoi; Strain V.

Osborne: Oriental Diction and Theme 89

stench of sulphurous clouds and the din of lash and hammer, rises
the vague, malignant form of Azyoruca, with her thousand grasp-
ing arms.^"^

There is, according to Ruskin, "a strange connection between
the reinless play of the imagination, and a sense of the presence
of evil."^**^ " Southern Asia, in general ", wrote De Quincey in his
Con/emon 5, "is the seat of awful images and associations". Not
only the terrors of Asia, but the African crocodile, and the Malay,
affecting the abnormal dreams of De Quincey, affected English
literature. Perhaps nothing in the verse of our period can rival
his prose imagery of Oriental horrors.

These terrors appear even in the aesthetic imagination of Keats.
In Isabella the ears of the Ceylon pearl diver "gushed blood".
More characteristic, however, for this poet, is such a mingling of
the awful with the beautiful as one finds in these lines from The
Cap and Bells (stanza 44) :

"She was born at midnight in an Indian wild;
Her mother's screams with the striped tiger's blent.
While the torch-bearing slaves a halloo sent
Into the jungles; and her palanquin.
Rested amid the desert's dreariment," etc.

The name of Keats suggests another phase of Oriental verse;
that concerned with the luxury of the senses. In Keats himself
one may find such passages as these :

"Manna and dates, in argosy transferred
From Fez; and spiced dainties, every one.
From silken Samarcand to cedared Lebanon. "^°^

"I saw Osirian Egypt kneel adown
Before the vine-wreath crown!
I saw parched Abyssinia rouse and sing
To the silver cymbals' ring!
I saw the whelming vintage hotly pierce
Old Tartary the fierce!
The kings of Ind their jewel-sceptres vail
And from their treasures scatter pearled hail."^"*

The delight of the senses dominates most of the Oriental flower

105. The Curse of Kehama; Canto XXIII.

106. Modern Painters; Part IV, Chapter 6.

107. The Eve of St. Agnes; stanza 30.

108. Enilyntion; Book IV.

<fO i'niirrsity of Katumjt Humanistic Studies

passaj^^s. fruit passaf^es, and jewel passages. There is appeal to
the sense of taste in the frequent mention of cinnamon, cloves,
i-t)fTtH\ and Persian w in<'s. For the sense of touch there are silken
pinnents. soft ru^'s, an«l the iiard j)olished surfaces of <i;ems.
Sounds range from the tinkle of lutes to the war-shouts of Moslem
armies. For scents there are the delicate perfumes of the rose,
and of frankincense, the odors borne by winds that i)ass by Arabian
jiroves or the cedars of J>ebanon, and the pungent odors from the
animals of the jungle. In the diction of Sir William Jones the
adjectives "golden", "silver", and "silken" are in steady service.
His ct)lor vocabulary includes such words as "crimson ", "saffron ",
and " roseate". He is fond of all that dazzles, or glows, or gleams,
or glitters, or sparkles, or blazes. In many poets one reads of the
wealth of the mines of Golconda, of the pearls of Ceylon and the
gold of Ophir, of costly copies of the Koran, of richly decorated
armor, of luxurious temj)les and palaces. These values from the
Orient are not new or newly discovered in our period. Langhorne
writes of the Song of Solomon, "This beautiful and luxuriant
marriage pastoral of Solomon, is the only perfect form of the Ori-
ental eclogue that has survived the ruins of time ", etc.^"^ Medieval
literature had its Oriental luxury as well as its asceticism. The
Virgin Mary is praised in extravagant terms of the senses in some
of the English religious dramas. According to the Minnesinger
Konrad of ^Yurzburg, she was "exalted like the cypress in Zion
and the cedar on Lebanon; . . . her sweet fragrance is pleasanter
than balsam and musk"."" This note of sensuous and often un-
restrained luxury, sometimes passing into a "barbaric splendor",
was more or less offensive not oidy to the Puritan, but also to the
classicist. Perhaps there is no other note so distinctive of Orien-
talism in English poetry, if Orientalism is considered as a style,
and not as a "field".

The humanitarian interest of the early Nineteenth Century
found satisfaction in three closely related Orientalized themes —
the hatred of tyranny, the love of liberty, and the spirit of service.
The English poets often considered the East as a region of slavery.
Superstition and the cruelty of raonarchs oppressed all those weak
in mind or body. The submission of Greece to the Turk was not
only a sentimental subject, but a practical, political, and ethical

109. Edition of Collins citc-d In Appendix; p. 129.

110. See Hosnaer; p. 101.

Osborne: Oriental Diction and Theme 91

interest. If Byron died for the cause of freedom, so, in other ways,
did some of the reformers and the servants of the Church. Poems
and passages on the horrors of the slave-trade are numerous, and
written with enthusiasm for reform. The tributes to Bishop
Heber and Bishop Middleton seem inspired by genuine affection
and approval. Of the work of Middleton in India, Praed writes,

"Soon, at his bidding. Love, the beauteous child.
Returned; rich plenty blessed the land's increase;
Staid Order, gentle Peace,
Twin-born of Justice, smiled.""^

In many poets the love of liberty was stronger than national
patriotism. In The Warning Voice Southey claims that it was
England who began the redemption of Africa, who brought "peace
and equity" to India; but Campbell does not hesitate to give
severe criticism of England's managen:ent in India. The tenth
avatar of Brama will occur,

"To pour redress on India's injured realm.""*

Again, Coleridge, in France: An Ode, expresses love for England
only in so far as she stood for liberty among all peoples. In an
early poem, written within our period, Tennyson gives in his
gentle manner a clear expression of the same spirit. If England
should cease to be the guardian of the nations, then,

" Tho' Power should make from land to land
The name of Britain trebly great —
Tho' every channel of the State
Should fill and choke with golden sand —

Yet waft me from the harbor-mouth.
Wild wind! I seek a warmer sky.
And I will see before I die
The palms and temples of the South.""'

For him there was no need. The palms and temples of the South
remained mere delights of imagination. He lived to write with
pride, not even yet without the warning note of one who loved
liberty before country, of

111. Hindostan.

112. The Pleasurfx of Hope; Part 1.

11.3. '• You ask UK why, though ill nt case.'

g2 Utiircrsitij of Kansas Humanistic Studies

■'Our ocean-eiiipire with her boundless homes
For ever-broadening England, and her throne
In our vast Orient . . .""*

114. The Idylls of the King: To the Queen.

APPENDIX

I. Bibliographical Notes
A. Poems and Passages

The following pages gives the chief data on which this study is
based. All the verse for which titles are given has been examined,
unless the title is enclosed in brackets. No attempt has been
made to cover the entire field of English verse between 1740 and
1840. Of the dramas, particularly, only a few have been reviewed.
Though Miss Conant's work is mainly concerned with prose, she
names a few poems not accessible for this study. It is believed,
however, that sufficient verse has been examined to justify the
arrangement, the proportions, and the general interpretation of
the foregoing chapters. Much material has been gathered which
could not be used in the present paper.

The arrangement in the pages below is as follows :

Under "I" are placed bibliographical references sufficient to
indicate the sources.

Under "II" are placed such poems as are considered Oriental.
Classification is not as simple as it might seem. In addition to
poems clearly Oriental, it has been the intention to include all
those which deal, as wholes, with the gypsy, and the Westerner in
the Orient; and those in which the chief imagery is Eastern, what-
ever the theme. Poems that are merely "Oriental" in style, in
the sense noted above on page 7 are not included, except in a
few examples.

In Kirke White's Sonnet IX, the theme is religious, but the
chief imagery is drawn from the East. In Procter's Amelia Went-
worth, the situation concerns the departure of "(Charles" for
India, but the spirit of the poem is English, as are the characters.
The Fatal Curiosity has important Oriental motivation, but the
play as a whole is famous as an early P^nglish don)cstic tragedy.

93

f>v rtiirersity of Katina.'i llutnani»tic Stvdies

The value of tlie presoiil stiuly. it is hoped, lies in its emphasis
on the wide tiiirusion of Oriental taste tluring the period under
discussion. Much remains to he done in English Orientalism, even
fi»r the Kigiiteenth Century. We should have more critical
detiiiitions, and more adeipiate bibliographical and chronological
surveys.

I'nder "HI" are noted poems with passages which .seem worthy
of recortl. The data given for some of the minor poets are more
complete than those for .some of the masters.

I'nder "IV" have been placed such notes as did not seem to
belong under the other numbers.

Mark Akenside, 1721-1770.
1. Complete Poetical Works. Knight and Son, London, n. d.
III. The Pleasures of the Imagination.

Hook II. — "Doth virtue deign to inhabit" sq.
Book III. — "To Egypt therefore" sq.
The Virtuoso.— VI- VII.

John Armstrong, 1709-1779.
I. Poetical Works of Armstrong, Dyer, and Green. With
Memoirs and Critical Dissertations. The Text edited
by Charles Cowden Clarke. Edinburgh, 1868.
III. The .\rt of Preserving Health.

Book II. — " Girt by the burning zone, " sq.
— "Here from the desert" sq.
— "WTiat does not fade?" sq.
Imitations of Shakespeare.
("Into the valleys.] And as rude hurricanes," sq.
"The glo.ssy fleeces" sq.

Edwin Atherstone, 1788-1872.
I. Poems in Miles, vol. II.
II. A Dramatic Sketch.
(The Fall of Nineveh.]

Joanna Bailue, 1762-1851.
I. Complete Poetical Works. First American Edition.
Philadelphia, 1852.

Oahorne: Oriental Diction and Theme 95

II. The Bride.

Constautine Paleologus: A Tragedy.
Lord John of the East.
Sir Maurice: a Ballad.
III. T^e Martyr. — Orceres, a Parthian prince, is an important
character.
William Wallace.— XCI.

Anna Letitia Barballd, 1743-1825.
I. Poems in Frost, 1838.
III. Hymn to Content. — Stanza 6,

Very slight touches in other poems.

Richard Harris Barham, 1788-1845.
I. Ingoldsby Legends. London. (1907.)
II. The Ingoldsby Penance.
III. The Auto-da-Fe.
The Cenotaph.
The Old Woman Clothed in Gray.

William Barnes, 1801-1886.
I. Select Poems Chosen and Edited by Thomas Hardy. Ix)n-
don, 1908.

James Beattie, 1735-1803.
I. Poetical Works. London, n. d. Aldine Poets.

III. The Battle of the Pygmies and Cranes. — Passim.
The Minstrel.— Book I, 59.

IV. In a note to his translation of the fourth eclogue of \'ergil,
Beattie speaks of the "resemblance it bears in many places
to the Oriental manner".

Thomas Lovell Beddoes, 1803-1849.
I. Poetical Works. Edited, with a Memoir, by Edmund
Gosse. London, 1890. Two vols. The Temple Library.
II. The Last Man; — A Crocodile.

The Romance of the Lily.
III. Death's Jest-Book; or The Fool's Tragedy.
Act I. — Scenes 2-4.

96 i'nivcrdtity of Kansas Iluutanistiv Studies

Act III.— Scene I.

Scene 3. — Song by Isbrand; and much of the scene.
Act l\. — Scene 4. — "Harpagus, hast thou salt" sq.

— Ziba: "Come; we'll struggle," sq.
Act V. — Scene 4. — Ziba: "Here's wine of Egypt," sq.
And all passages in which "Ziba; an Egyptian slave"
appears.
The Second Brother. — Touches; e. (/., in III, 1.
Torrismond; I, 2 — "This wine was pressed" sq. ; and 'passim,
IV. Beddoes has little genuine Orientalism, except as noted
above, but much of his verse is colored by a mystical,
exotic quality which is somewhat allied with Oriental taste,
as the Romantic poets expressed it.

Thoal^s Blacklock, 1721-1791.
I. Poems in Chalmers, vol. XVIII.
IV. An Ode to a Young Gentleman Bound for Guinea is perhaps
about as near as this poet approaches to an Oriental poem.

Robert Bl.ur, 1699-1746.

I. Poetical Works of Beattie, Blair, and Falconer. With
Lives, etc., by the Rev. George Gilfillan. Edinburgh,
London, and Dublin, 1854.
III. The Grave. — "The tapering pyramid, " sq.

William Blake, 1757-1828.

I. Poetical Works. Edited and Annotated by Edwin J. Ellis.
London, 1906. Two. vols.
II. The Song of Los.
Africa.
Asia.
The Little Black Boy.
The Tiger.
III. Jerusalem.

Chapter III. — "Egypt is the eight steps within, " sq. (58)
— "Europe and Asia and Africa and Amer-
ica," sq.
And numerous brief passages.

Osborne: Oriental Diction and Theme 97

Blake's peculiar symbolical treatment of the Orient gives
him a unique place among the Oriental poets. One passage
in Jerusalem, however, is a simple geographical list of coun-
tries.

Robert Bloomfield, 1766-1823.
I. The Farmer's Boy. In Frost, 1838.

William Lisle Bowles, 1762-1852.

I. Poetical Works. With Memoir, etc., by the Rev. George
GilfiUan. Edinburgh, London, and Dubhn, 1855. Two
vols.
n. Abba Thule's Lament for His Son Prince Le Boo.
The Battle of the Nile.
The Dying Slave.
The Egyptian Tomb.
The Gipsy's Tent.
The Harp of Hoel.
The Last Song of Camoens.
Song of the Cid.
m. BanwellHill.

Part First. — ["The dread event they speak.] What

monuments" sq.

Part Second. — "Hosannah to the car of light!" sq.
The Grave of Howard. — "Teach to the roving Tartar's
savage clan" sq.

Hope: An Allegorical Sketch. — Stanzas 5 and 18.
Saint John in Patmos. Part Second. — Stranger: "Was
not the hand" sq.

Saint Michael's Mount. — "Thee the Phoenician," sq.
The Spirit of Discovery by Sea.

Book I. — " He said ; and up to the unclouded height" sq.

A good deal in Books II- V.
The Spirit of Navigation.

The Sylph of Summer.— ["Attendant on their niarch:— ]
the wild Simoom, " sq.
IV. For a study of the heavier type of reflective and didactic
verse dealing with the Orient, Bowles oflFers a rather sur-
prising amount of material.

y^* rnivernitij of Kuusns llumauisiic Shidie.f

John Bowkinc;, 171H-1872.
1. Matins aiul Ves|K'rs: Willi llyinns and Occasional Devo-
tional Pieces. Boston, 1844.
II. [Russian Anth()l(»gy.]

[Servian Popular Poetry.]
[Specimens of the Polish Poets.]
IV. A brief passage on the mirage of Saliara in Matins and
Vespers. — See Dictiimary of yaiionul liiography.

Samuel Boyse, 1708-1749.
I. Poems in Chalmers, vol. XIV.
II. Love and Majesty.
III. ToSemanthe: Ode. — Last stanza.

The Triumphs of Nature. — "In which, of form Chinese, "«gf.
The Vision of Patience: An Allegorical poem. — Genera!
theme, and stanza 24.

Henhy Brooke, 1706-1783.
I. Gustavus Vasa. In Inchbald's British Theatre, vol. VII.

Poems in Chalmers, vol. XVII.
II. Constantia; or The Man of Law's Tale. Modernized from
Chaucer.

Jerusalem Delivered. (Translation of Books I-III.)
III. Universal Beauty. Book IV. — "Now hurried on Sarmatian
tempests roll;" sq.

John Brown, 1715-1766
I. Barbarossa. In Inchbald's British Theatre, vol. XV.
II. The scene of this play is in Algiers. Some Oriental char-
acters and diction.

Is.^lAC Hawkins Browne, 1705-1760.
I. De Animi Immortalitate. In Chalmers, vol. XVII, p. 622.
III. Liber Primus. ^"Quid memorem fluctu" sq.

Robert Burns, 1759-1786.
I. Works. Edited by Wm. Scott Douglas. London, 1891.
Five vols.

Osborne: Oriental Diction and Thenie $9

II. TheAuldMan.

*'One Queen Artemisia."

Evan Banks.
IV. Burns states that The Auld Man was written for an "East

Indian air". There are fragmentary touches in other

poems than those named.

John Byrom, 1691-1763.
I. Poems in Chalmers, vol. XV.

II. Epistle to J. Bl. k. n., Esq. Occasioned by a Dispute Con-
cerning the Food of John the Baptist.
[II. The Country Fellows and the Ass: Spoken on the Same

Occasion. — "In some tamed elephants" sq.
IV. The Epistle named above is one of the numerous Biblical
poems of the period with some coloring which might be
called Oriental; though in general it is dry and didactic.

George Gordon, Lord Byron, 1788-1824.
I. Poetical Works. Edited, with a Memoir, by Ernest Hartley

Coleridge. London, 1905.
II. The Bride of Abydos: A Turkish Tale.
The Chain I Gave: From the Turkish.
Childe Harold's Pilgrimage. — Canto II.
The Corsair: A Tale.
Don Juan. — Chiefly Cantos II-X.
The Giaour: A Fragment of a Turkish Tale.
Hebrew Melodies.

The Destruction of Sennacherib.

On Jordan's Banks.

The Wild Gazelle.
The Island; or, Christian and His Comrades.
Lara : A Tale.

Maid of Athens, Ere We Part.
On This Day I Complete My Thirty-Sixth Year.
Sardanapalus : A Tragedy.
The Siege of Corinth.

Stanzas Composed During a Thunder Storm.
Stanzas: To a Hindoo Air.

Stanzas Written in Passing the Ambracian Gulf.
To Eliza.

/()(> Vfiirersitij of A'd/j.sv/.s' IJumnniittic Studies

Translati«>ii of a Romaic Ix)ve Song.

Translati(»n of the Famous Greek War-Song.

Translatit)!! of tlie Romaic Song, etc.

A Very Mournful Ballad on the Siege and Conquest of

AUiama.

Written after Swimming from Sestos to Abydos.

III. Ode on Venice.— III.

Brief passages or touches in many other poems.

IV. There is what might be considered Oriental coloring in Cain
and in Heaven and Earth.

Richard Owen Cambridge, 1717-1802.
I. Poems in Chalmers, vol. XVIII.
II. TheFakeer: A Tale.

III. Learning: A Dialogue between Dick and Ned. — "There,
Ned, a Brahmin may you see" sq.

The Scribleriad. — Book I.

IV. Cambridge was interested in the study of East Indian affairs.

Thomas Campbell, 1777-1844.
I. Complete Poetical Works. Edited by J. Logic Robertson.

Oxford University Press, 1907.
II. The Dead Eagle.

Epistle from Algiers to Horace Smith.

Lines on the Departure of Emigrants for New South Wales.
Lines [on] the Day of Victory in Egypt, 1809.
Lines on Poland.
The Power of Russia.
The Ritter Bann.

Song of the Colonists Departing for New Zealand.
Song of the Greeks.
Stanzas on the Battle of Navarino.
The Turkish Lady.
The Wounded Hussar.
III. The Pleasures of Hope. Parti. — "In Libyan groves, " to
the end.

George Canning, 1770-1827.
I. Poems in Morley : Parodies and Other Burlesque Pieces.

Osborne: Oriental Diction and Theme 101

II. The Progress of Man. Twenty-third Canto. On Marriage

(With Ellis.)
IV. See also under Frere,

William Carey, 1761-1834.
IV. A translation of part of the Ramayuna by Carey and Joshua
Marshman is reviewed by Foster. (See below, p. 132, Foster,
Sanscrit Literature.) Carey is credited with an edition of
the Ramayuna in three volumes, 1806-1810.

Henry Francis Cary, 1792-1844.
II. [Ode to General Kosciusko.]

James Cawthorn, 1719-1761.
I. Poems in Chalmers, vol. XIV.

III. The Antiquarians : A Tale.

— "Asserted that it came from Tyre:" sq.

— "It came! says he," sq.
The Birth and Education of Genius: A Tale. — "But, such
the fate," sq.

Life Unhappy because We Use it Improperly: A Moral
Essay. — "Breathes it in Ceylon's" sq.
Nobility : A Moral Essay. — " In Turkey, " sq. And passim.
Of Taste. — "Of late, 'tis true," sq.

The Vanity of Human Enjoyments: An Ethic Epistle. —
"Tell me, O visier!" sq.

IV. The passage in Of Taste is one of the best of the period on
matters Oriental in English garden and parlor ornament.

Thomas Chattekton, 1752-1770.
I. Poetical Works. Boston, 1879. Two vols, in one. British

Poets.
II. The Death of Nicou : An African Eclogue.
Heccar and Gaira: An African Eclogue.
Narva and Mored : An African Eclogue.

III. Englysh Metamorphosis. — I, 1.

IV. The Oriental element in Chatterton is interesting by way
of contrast with the work for which he is famous. It is
practically limited to the Eclogues.

fOf VtiirersHy of Kotisas Humani.iiic Studies

Charlks Chi rchill, 1731-1764.
I. Poetical Works. Witli Memoir, etc., by the Rev, George

(iilfillan. Ktlinlmrgli, Ixnidon, ami Dublin, 1855.
11. The Farewell.
III. The Ghost.

Hook I. — "At its first rise," sq.
Book III. — " 'Sure as that cane, " sq.
Gotham. — "But whither do these grave reflections " ^gf.
The Times. — "Nor stop we here" sq.

Hartley Coleridge, 1796-1849.
I. Poems in Miles, vol. III.
II. Address to Certain Gold Pishes.

Samuel Taylor Coleridge, 1772-1834.
I. Complete Poetical Works. Edited by Ernest Hartley Col-
eridge. The Clarendon Press, 1912. Two vols.
II. Kubla Khan.

I.«wti, or the Circassian Tx)ve-Chaunt.
Remorse: A Tragedy.

III. The Destiny of Nations : A Vision. — "As ere from Lieule-
Oaive's vapoury head" sq.

Religious Musings. — "O fiends of superstition!" sq.
— "Fitliest depictured "«g.

IV. The Bohemian element in The Piccolomini may be noted.
There are a few very slight Oriental touches — by Coleridge
and Southey — in The Fall of Robespierre.

William Collins, 1721-1759.

I. Poetical Works. With . . . Biographical and Critical Notes
by the Rev. Alexander Dyce. London, 1827.

II. Oriental Eclogues.

Selim; or. The Shepherd's Moral.
Hassan; or. The Camel-driver.
Abra; or, The Georgian Sultana.
Agib and Secander; or. The Fugitives.
IV. The Oriental element in Collins is of interest in contrast
with the predominant Celtic and Grecian elements.

Osborne: Oriental Diction and Theme 103

George Colman the Younger, 1762-1836.
I. The Iron C'hest. In Inchbald's British Theatre, vol. XXI.
The Mountaineers. In the same vol.
III. The Mountaineers. — Moorish element passim.

John Gilbert Cooper, 1723-1769.
I. Poems in Chalmers, vol. XV.

II. Ver-Vert; or. The Nunnery Parrot. — Theme, and touches
passim.

III. The Power of Harmony. — Book I, passim.

IV. Slight touches in some other poems.

Nathaniel Cotton, 1705-1788.
I, Poems in Chalmers, vol. XVIII.

11. An Invocation of Happiness: After the Oriental Manner
of Speech.

III. Visions in Verse; for the Entertainment and Instruction of
Younger Minds. Pleasure. Vision II. — "Shall Siam's ele-
phant supply" sq.

IV. Oriental diction passim in other poems.

William Cowpek, 1731-1800.
I. Works. Comprising his Poems, Correspondence, and Trans-
lations. With a Life of the xVuthor by the Editor, Robert
Southey. London, 1854. Eight vols. Bohn's Standard
Library. Verse in vols. V and VI.

Unpublished and Uncollected Poems. Edited by Thomas
Wright. London, 1900. Cameo Series.
II. Epigram. (Printed in the Northampton Mercury.)

The Love of the World Rei)roved; or Hypocrisy Detected.
The Morning Dream.
The Negro's Complaint.
Pity for Poor Africans.

Reciprocal Kindness the Primary Law of Nature. (Trans-
lated from 'N'incent Bourne.)
Sonnet to William Wilberforce, Esq.

Sweet Meat has Sour Sauce; or, The Slave-Trader in the
Dumps.
III. Adam: A Sacred Drama. Translated from the Italian <»f
Gio. Battista Andreini.— This has pa.ssages rather richly

JO^ I'nirmiii!/ of Kansas Humanistic Stvdies

colored, which ini^ht he considered "Oriental" in style.
See especially. 11. (t; ^', 1 and 5.

Anti rhely})hth(M-a. A Tale, in Verse. — '"Ye fair Circas-
sians" sq.

Charity. — "When Cook — lamented" sq.
Expostulation. — "Hast thou, though suckled at fair Free-
dom's breast," sq.

Montes Glaciales, in Oceano Germanico Natantes.
On Mrs. Montagu's Feather Hangings.
On the Ice Islands seen Floating in the German Ocean.
On the Platonic Idea, as It Was Understood by Aristotle.
The Task.

Books I, II, III, and V. — Touches.

Book VI. — "Nebaioth, and the flocks of Kedar" sq.
IV. Genuine Orientalism is very rare in Cowper. His human-
itarian interest produced a number of poems on slavery,
listed above. Many other poems contain slight fragments
of Oriental diction or reference; among them Ati Epistle to
Joseph Hill, Esq., The Critics Chastised, In a Letter to the
Same (C. P., Esq.), The Progress of Error, The Retired Cat,
Table Talk, Translations of the Latin and Italian Poems of
Milton, and Truth.

George Crabbe, 1754-1832.
I. Poetical W^orks. With His Letters and Journals, and His

Life, by His Son. London, 1834. Eight vols.
II. The Hall of Justice.

Woman.
III. The Borough.

Letter IX. — "Lo! where on that huge anchor" sq.
Letter X. — "W^hen Bruce, that dauntless traveller, " sq.
The Parish Register.

Part III. — "A Captain thither, rich from India came, ''sq.
Posthumous Tales.

Tale I. — "But there were fictions wild" sq.
Tale XIX.— "Arabian Nights, and Persian Tales," sq.
Tales.

Tale X. — "And there a Gipsy-tribe" sq.
Tale XL — " 'Tis thus a sanguine reader" bq.
Tale XVI.— "The Caliph Harun" sq.

Osborne: Oriental Diction and Theme 106

Tales of the Hall.

Book IV.— '"Thou hast sailed far, dear Brother,'" sq.
The World of Dreams. — Stanzas 28-29.

George Croly, 1780-1860.
I. Poems in Frost, 1843.
II. On the Ruins of Mesolonghi.

The Song of Antar: From the Arabic.
III. Illustrations of Napoleon.

I . Napoleon at St . Helena . — ' 'That Polar snows " sq.

Richard Cumberland, 1732-1811.
I. The Carmelite. In Inchbald's Modern Theatre, vol. V.
III. On the Crusades and the Saracen, passim.

George Darley, 1795-1846.
I. Poems in Miles, vol. III.
III. Sylvia; or. The May Queen. — A slight touch or two.

Erasmus Darwin, 1731-1802.
I. Poetical Works. London, 1806. Three vols.
III. The Economy of Vegetation.

Canto I. — "Pass, where with palmy plumes" sq.
Canto II. — "Thus caverned round" sq.
Canto III. — "Sailing in air," sq.
Canto IV. — "Sylphs! your bold myriads" sq.
— "Pleased shall the Sage," sq.
— "So from his shell" sq.
The Loves of the Plants.

Canto I. — "Where Java's isle, " sq.

Canto II. — "Papyra, throned upon the bank of Nile,"«g.

— "Two Sister-Nymphs" sq.
Canto III. — "So, where Palmyra" sq.
— "Where seas of glass" sq.
— " So the sad mother " 59.
Canto IV. — "Amphibious Nymph," sq.

— "So, when the Nightingale" sq.
The Origin of Society.
Canto I. — Touches.
Canto III.— "Where Egypt's pyramids" sq.

UHi Univeritity of Kansas Humanistic Stvdies

(\int(> IV. — "IahI by Volition" iq.

— "So when Arabia's Bird," sq.

RoBEHT D0D8LEY, 1703-1764.
I. Tocnis in Chalmers, A'ol. XV.
II. Rex et Pontifex. — The chief Orientalism is in the stage
directions.

Sir Francis Hastings Doylf, 1810-1888.
I. Poems in Miles, vol. IV.
II. The Mameluke Charge.
Mehreb Khan.
The Private of the Buffs.
The Red Thread of Honour.
IV. These poems were written prior to 1840, according to the
sketch of Doyle in Miles.

John Dyer, 1700-1758.
I. Poetical Works of Armstrong, Dj'er, and Green. With
Memoirs and Critical Dissertations. The Text edited by
Charles Cowden Clarke. Edinburgh, 1868.
HI. The Fleece.

Book II. — "The glossy fleeces now of prime esteem " sq.
Book III. — "Or the Cathayan's, " sq.
— "Far-distant Thibet" sq.
Book IV. — "See the dark spirit of tyrannic power" sq.
Passim in other parts of the poem.
The Ruins of Rome. — Passim.

George Ellis, 1753-1815.
I. Poems in Morley: Parodies and Other Burlesque Pieces.
II. The Duke of Benevento : A Tale.
The Power of Faith : A Tale.

III. Loves of the Triangles. — "In Africs schools," sq.
Ode by Nathaniel Weaxall. — Largely Orientalized.

IV. See also under Frere.

William Falconer, 1732-1769.
I. Poetical Works. With a Memoir by John Mitford. Lon-
don, 1895. Aldine Poets.

Osborne: Oriental Diction and Theme W7

II. The Shipwreck.

IV. This poem has its scenes in the Eastern Mediterranean
region. It has little true Oriental style or subject.

Francis Fawkes, 1721-1777.
I. Poems in Chalmers, vol. XVI.

III. Claudian's Old Man. — One couplet.
Fragments of Menander. — A few touches.
Mechanical Solution of the Propagation of Yawning. —
Touches.

Robert Fergusson, 1750-1774.
I. Poetical Works. Edited by Robert Ford. Paisley, 1905.

IV. Fergusson has less Oriental element than Burns. Perhaps
Tea is about as near as he comes to an Oriental poem.

John Hookam Frere, 1769-1846.
I. Works in Verse and Prose. Now first (^oHected. With a
Memoir by His Nephews, W. E. and Sir Bartle Frere. Lon-
don, 1872. Two vols.

Poems in Morley: Parodies and Other Burlesque Pieces.
II. Lines on the Death of Richard Edward Frere.
The Slavery of Greece.
Tablet in Royden Church.
Translations from the Poem of the Cid.
Translation of a Letter (in Oriental Characters) from
Bobba-Dara-Adul-Phoola, Dragoman to the Expedition, to
Neek-Awl-Aretchid-Kooes, Secretary to the Tunisian Em-
bassy.— With Canning, Ellis, and Gifford (?).
III. FAegy, or Dirge. — (With Canning and Ellis.)
Fragment II.
Hexameters.

King Arthur and His Round Table.
Loves of the Triangles. (With Canning and Ellis.)

Richard Glover, 1712-1785.
I. Poems in Chalmers, vol. XVII.

III. The Athenaid. — Passim.
Leonidas.

Book III. — "Not from the hundred brazen gatrs" sq.

XQS I'nirt'rsity of Kufusas Humanistic Studies

Hook IV. — "The noble dames of Persia" sq.

— And much of the Book.
Classical Orientalism throughout the poem.
London ; or, The Progress of Commerce.
— "Beneath the Libyan skies," sq.
— "Now solitude and silence" sq.
— " .... though Mahomet could league" sq.

Oliver Goldsmith, 1728-1774.
L Works. Edited by J. M. W. Gibbs. London, 1894-1907.

Five vols. Bohn's Standard Library.
n. Prologue to Zobeide.

III. The Traveller. — "The naked negro," sq.

IV. Goldsmith's Orientalism is chiefly in his prose.

James Grahame, 1765-1811.
I. Poems in Frost, 1838.

III. The Sabbath. — " But what the loss of country " sq.

James Grainger, 1723-1767.
I. Poems in Chalmers, vol. XIV.
III. The Sugar-Cane. — Extensive treatment of the Negro, and
of Africa in connection; especially in Books III and IV.
Book IV opens with an invocation to the " Genius of Afric."

IV. This poem may be considered a link between Oriental and
Occidental interests, based on real history, not mere fancy.

Thomas Gray, 1716-1771.
I. Works. Edited by Edmund Gosse. London, 1884. Four
vols.

III. The Alliance of Education and Government. — "Oft o'er
the trembling Nations" sq.

IV. Very slight touches in Hymn to Ignorance and the transla-
tion from Tasso. It is interesting to recall the Occidental
reference in the Progress of Poesy.

Arthur H. Hallam, 1811-1833.
I. Poems, etc. Edited by Richard Le Gallienne. London and

New York, 1893.
II. Timbuctoo.

Osborne: Oriental Diction a7id Theme 109

III. Meditative Fragments, VI.
Scene at Rome.

William Hamilton, 1704-1754.
I. Poems in Chalmers, vol. XV.
II. Mithridates.

IV. Touches here and there in other poems.

Walter Harte, 1709-1774.
I. Poems in Chalmers, vol. XVI.

III. Essay on Reason. — "Midst Tartary's deserts," sq.
Eulogius; or. The Charitable Mason.

The Vision of Death. — " Ynoisa, Sanchia, " sq.

IV. All three of these pieces are Divine Poems; Biblical in gen-
eral tone.

HallHartson, (?) -1773.
I. The Countess of Salisbury: A Tragedy. In Inchbald's
British Theatre, vol. XVI.
III. Brief passages in I, 1, and IV, 1.

Robert Stephen Hawker, 1803-1875.
I. Poems in Miles, vol. III.

III. The Quest of the Sangreal. — Touches.

Reginald Heber, Bishop of Calcutta, 1783-1826.

IV. Heber is intimately connected with English Orientalism,
through his life work, and through his prose. For parodies
of his famous missionary hymn, see Hamilton : Parodies, etc.

Felicia Dorothea Hemans, 1794-1835.
I. Poetical Works. London and New York, 1891. The Im-
perial Poets.
II. The Abencerrage.

Attraction of the East.

The Bird's Release.

The Burial in the Desert.

The Caravan in the Desert.

Casablanca.

The Crusader's Return.

110 I tiitt'rsity of Kansas Humanistic Studies

'I'lu- ("nisiulor's War-song.

Tlio Klowor t)f the Dt-sort.

An Hour of Romunct'.

'ri\t' Iiuliaii City.

Ivan the C/ar.

The Last Banqnet of Antony and Cleopatra.

The Last (^onstantine,

>Lirius among the Ruins of Carthage.

Moorish Bridal Song.

McH-trish (iathering-Song.

The Mourner for the Barmecides.

Ode on the Defeat of King Sebastian of Portugal.

The Palm-tree.

The Rio Verde Song.

Sebastian of Portugal: A Dramatic Fragment.

Song: "Oh ! bear me to the groves of palm. "

Song Founded upon an Arabian Anecdote.

Songs of the Cid.

The Suliote Mother.

To the Memory of Heber.

The Traveller at the Source of the Niie.

The Wife of Asdrubal.

The Zegri Maid.
in. The Domestic Affections. — Lo! through the waste," sq.

England and Spain. — "Hail, Albion, hail! to thee has fate

denied" sg.

Modern Greece.— Especially XI, XII, XXXI-XXXVII,

LXXXIII.

A Tale of the Secret Tribunal. Part II. — "For, long a cap-
tive" sq.
IV. Mrs. Hemans is a prominent Oriental poet, by virtue of the

number of her poems if not by virtue of quality. She prob-
ably expresses as fully as any minor poet of the period the

sentimental values found in contemplation of the Moors

and the Crusader, the pathetic appeal of the desert, and

some other themes. Oriental words and phrases are scat-
tered through many poems not listed above.

Aahon Hill, 1685-1750.
II. fDaraxes.l

Osborne: Oriental Diction and Theine m

IV. For comment on this oi>eratic piece, see Dorothy Brewster:
Aaron Hill, and Jeannette Marks: Kngliah Pastoral Drama.

James Hogg, 1770-1835.
I. Works of the Ettrick Shepherd. A New Edition. With a
Memoir of the Author by the Rev. Thomas Thomson. Lon-
don, Glasgow, and Edinburgh, 1866. Two vols.
II. Arabian Song.

The Gypsies.
III. CaryO'Kean.

The Curse of the Laureate. — Stanzas 5 and 8.

The Descent of Love.

The Field of Waterloo.

Sacred Melodies. — Especially the Rose of Sharon.

Wallace. — One couplet.

John Home, 1722-1808.
I. Douglass: A Tragedy. In Inchhiild's British Theatre, vol.
XVL
III. IV, 3.— "Small is the skill" sq.

Thomas Hood, 1798-1845.
I. Poetical Works. Boston, 1880. Five vols. British Poets.
II. Address to Mr. Cross, of Exeter ('hange, on the Death of
the Elephant.
The Broken Dish.
The China-Mender.
I'm Going to Bombay.
The Kangaroos : A Fable.
Lines to a liady on her Departure for India.
The Monkey-Martyr: A Fable.
Ode to the Cameleopard.
Poem from the Polish.

Remonstratory Ode from the Elephant at Exeter Change.
The Stag-eyed Lady : A Moorish Tale.
A True Story. ("Whoe'er has seen. ")
III. Miss Kilmansegg. — Slight touches passim.

JoHxV HooLE, 1727-1803.
I. Translation of Ariosto's Orlando Furin.so. In Clialmers,
vol. XXI.

Jig Vnitrrsity of Kansas Humanistic Studies

Traiislati(Mi of Tasso's Jerusalem Delivered. In the same vol.
IV. Many of the Oriental words and phrases in these transla-
tions follow the Italian closely; but Hoole sometimes flat-
tons, sometimes heightens the Oriental effects of the
original diction.

Richard Henry Horne, 1803-1884.
I. Poems in Miles, vol. III.
II. Pelters of Pyramids.

James Henry Leigh Hunt, 1784-1859.
I. Poems in Miles, vol. II.
II. Abou ben Adhem and the Angel.
The Nile.

Richard Jago, 1715-1781.

I. Poems in Chalmers, vol. XVII.

IV. Only single words and slight phrases noted.

Soame Jenyns, 1704-1787.
I. Poems in Chalmers, vol. XVII.
III. On the Immortality of the Soul: Translated from the
Latin of I. H. Browne. Book I. — "Why should I mention
those," sq.

Robert Jephson, 1736-1803.
I. The Count of Narbonne: A Tragedy. In Inchbald's
British Theatre, vol. XX.
III. Brief passages in II, 1, and III, 2.

Samuel Johnson, 1709-1784.
I. Works. With an Essay on His Life and Genius by Arthur
Murphy. A New Edition. London, Glasgow, and Dublin,
1824. Twelve vols. Verse in vol. I.

II. Irene: A Tragedy.
III. Septem iEtates.

Touches in Messia, and To Stella.

Osborne: Oriental Diction and Theme US

Sir William Jones, 1746-1794.
I. Poems in Chalmers, vol. XVIII.
II. A Chinese Ode.

Paraphrased.

Verbal Translation.
Elegia Arabica.

The Enchanted Fruit; or. The Hindoo Wife: An Ante-
diluvian Tale.

Ex Ferdusii Poetae Persici Poemate Heroico.
From the Persian Poem of Hatifi.

In the Measure of the Original.

Transposition.
A Hymn to Camdeo.
A Hymn to Ganga.
A Hymn to Indra.
A Hymn to Lacshmi.
A Hymn to Narayena.
A Hymn to Seres waty.
A Hymn to Surya.
To Lady Jones : From the Arabic.
Two Hymns to Pracriti.

The Hymn to Bhavani.

The Hymn to Durga.
Ode Arabica.

An Ode of Jami : In the Persian Form and Measure.
Ode Persica.
Altera.

The Palace of Fortune: An Indian Tale.
A Persian Song of Hafiz.

Plassey-Plain : A Ballad Addressed to Lady Jones.
The Seven Fountains : An Eastern Allegory.
Solima: An Arabian Eclogue.

A Song from the Persian, Paraphrased in the Measure of
the Original.

A Turkish Ode of Mesihi.
The Same: In Imitation of the Perviligium Veneris.

John Keats, 1795-1821.
I. Poetical Works and Other Writings. Edited by H. B. For-
man. London, 18ft3. Four vols.

774 Unircr.sitij of Kciu.suk lluvntnistic Studies

II. The Cap and IVIls.
Lamia.
Sonnet to tlie Nile.

III. Ktulyniion.

Kvo of St. Agnes.

Hyperion.

Isabella.

Otho the (ireat.

IV. There are ])hrases and brief passages in other poems.

John Keble, 1792-1866.
I. The Christian Year. London and New York, 1894. The

Golden Treasury Series.
II. Monday in Whitsun-Week.
III. Conversion of St. Paul. — Stanza I.
Seeond Sunday after Christmas.
Second Sunday after Easter.
Third Sunday in Lent. — Stanzas 3, 4.

Charles Lamb, 1775-1834.
I. Works. Edited by E. V. Lucas. London, 1903-4. Seven

vols.
11. The Gipsy's Malison.
Queen Oriana's Dream.
The Young Catechist.
III. The \Yife's Trial. Last scene. — "The scene is laid in the
East. " sq. And passim.

John Langhorne, 1735-1779.
I. Poems in Chalmers, vol. X\ I.

II. Fables of Flora. — Fable VI: The Queen of the Meadow
and the Crown Imperial.
III. The Country Justice: Introduction. — The Gypsy-Life.

Matthew Gregory Lewis, 1775-1818.
I. Life and Correspondence . . . with Many Pieces in Prose
and Verse never before Published. London, 1839. Two
vols.
II. x\latar: A Spani.sh Ballad.

The Angel of Mercy: An Oriental Tale.

Osborne: Oriental Diction and Theme 115

Epilogue to Barbarossa.

The Loss of Alhama : From the Spanish.

Phatyr's Song of Triumph.

The Princess and the Slave : A Tale.

The Tailor's Wife. (From the German.)

Zayde and Zayda : From the Spanish.

III. Touches in William; or. The Sailor Boy, Lines . . on . . C.
J. Fox, and other poems.

John Leyden, 1775-1811.
II. [The Arab Warrior.]
[The Fight of Praya.]
[Finland Mother's Song.]

IV. See Symons, p. 171, and Dictionary of National Biography.

George Lillo, 1693-1739.

I, The P'atal Curiosity. In Inchbald's British Theatre, vol. XI.
II. [The Christian Hero.] — "Set in Albania."
III. The Fatal Curiosity.— Especially I, 3; II, 3.

Robert Lloyd, 1733-1754.
I. Poems in Chalmers, vol. XV.

III. The Cit's Country Box. — "Now bricklayers, carpenters and
joiners," sq.

The Cobbler of Cripplegate's Letter to Robert Lloyd. —
"The Chinese ladies feet" sq.

John Gibson Lockhart, 1794-1854.
I, Ancient Spanish Ballads; Historical and Romantic. A

New Edition, Revised. London, 1859.
II. Dragut, the Corsair.

The Flight from Granada.
The Moor Calaynos.
Moorish Ballads.
The Vow of Red u an.

IV. There is a Moorish element in several poems not named
above. The Orientalism of the Spanish Ballads is mainly
a matter of theme rather than diction.

lie VnivcrsHy of Kansas Hitmanistic Studies

John Logan, 1748-1788.
I. Poems in Chalmers, vol. XVIII.
Ill A Tale.— Partly Oriental.

Edwahd Lovibond, 1724-1775.
I. Poems in Chalmers, vol. XVI.
II. On an Asiatic Lady.
Reply to Miss G— .

Song: "Hang my Lyre upon the Willow. "
To Laura: Farewell to the Rose.

To Laura, on Her Receiving a Mysterious Letter from a
Methodist Divine.
To the Same.

To the Same: On Her Dress.
To the Same: On Politics,
III. The Tears of Old May-Day. — Last three stanzas.

George Lyttelton, 1709-1773.
I. Poems in Chalmers, vol. XIV.

III. The Progress of Love : Hope. Eclogue II. — "Ah ! how, my
dear," sq.

IV. Lyttelton, author of Letters from a Persian in England
(1735), is Orientalized — very slightly ^ — in Edward Moore's
Trial of Selim.

Thomas Babington Macal lay, 1800-1859.
I. Works. London, 1898. Twelve vols.
II. The Deliverance of Vienna. Translated from Filicaja.

The Marriage of Tirzah and Ahirad.
III. Lays of Ancient Rome. — The Prophecy of Capys, 13, 28, 31.

Letitia Elizabeth Landon Maclean, 1802-1838.
I. Poems in Miles, vol. V.
11. The Moorish Maiden's Vigil.

WiLLL^M Maginn, 1793-1842.
I. Poems in Jerrold and Leonard.
II. The Galiongee: A Fragment of a Turkish Tale.

David Mallet, 1700-1765.
I, Poems in Chalmers, vol. XIV.
III. The Excursion. Canto I. — "From Zembla's cliffs," sq.

Osborne: Oriental Diction and Theme 117

James Clarence Mangan, 1803-1849.
I. Poems in Miles, vol. III.
II. Ghazel: The World. By Kemal-Oomi.

The Hundred-leafed Rose. By Mohammed ben Osman ben

Ali Nakkash, called Lamii, or, The DazzHng.

The Karamanian Exile. From the Ottoman.

Passage. From Hudayi II, Native of Anatolia.

The Time of the Barmecides. From the Arabic.

The Time of the Roses. From the Turkish of Mesihi.

The Wail of the Three Khalendeers. From the Ottoman.

William Mason, 1724-1797.
I. Poems. London, 1830. Two vols.

Elfrida, and Caractacus: Dramatic Poems. London, 1819.
The English Garden: A Poem. With Commentary and
Notes by W. Burgh. London, 1819.
(The above four vols, bound in one.)

III. The English Garden.

Book II. — "The Tartar tyrants," sq.

— "But now the conquering arms" sq.
Touches elsewhere in the poem.

IV. Mason's Orientalism is interesting by way of contrast to
the strong Celtic and Greek aspects of his dramatic poems.

William Julius Mickle, 1734-1788.
I. Translation of Camoens' Lusiad. In Chalmers, vol. XXI.

Poems in Chalmers, vol. XVII.
II. The Lusiad.

Sonnet to Vasco da Gama: From Tasso.
III. Almada Hill. — "But turn we now" sq.

— "The naval pride of those bright days" sq.
Liberty: An Elegy. — Stanzas 16-19.

James Miller, 1703-1744.
I. Mahomet, the Imposter. In Inchbald's British Theatre,

vol. XIII.
II. This is an Oriental tragedy, adapted from Voltaire.

Henry Hart Milman, 1791-1868.
I. Poems in Frost, 1843.
II. [Mahabharata. (From the Sanskrit.)]

JJ8 I'ninrsUy of Kansas Humanistic Studies

III. Suinor. l^)ok XI. — "As in tlie Oriental wars" sq.

M.\HY RussKLL jMitfokd, 1787-1855.
II. [Cliristina, or The Maid of the South Seas.]
[Saihik and Kahisradc]

Lady Mauy Wortley Montagu, 1689-1762.

I. Letters and Works. Edited by Lord WharncliflFe. AVith

Additions, etc. by W. Moy Thomas. New Edition, revised.

London, 1887. Tavo vols. Bohn's Standard Library.

II. "Now Philomel renews her tender strain." (Vol. I, p. 182.)

A'erses Written in the Chiosk of the British Palace at Pera.

III. An Epistle to The Earl of liurlington. — "Thus on the sands"
sq.

IV. The Verses are perhaps the first English poem of note
written in the Orient. (1717.)

James Montgomery, 1771-1854.
I. Poetical Works. Boston, 1881. Five vols, in two. British

Poets.
II. Abdallah and Sabat.

The Battle of Alexandria.
Birds.

The Bird of Paradise.

The Canary.

The Ostrich.

The Pelican.
The Bramin.
The Cast-away Shij).
The Sequel.
China Evangelized.
The Christians' Call to the Gipsies.
A Cry from South Africa.
The Daisy in India,
A Deed of Darkness.
For a Congregation of Negroes.
The Loss of the Locks.
The Pelican Island.

Songs on the Abolition of Negro Slavery in the British
Colonies.

Osborne: Oriental Diction and Theme 119

Sonnet ... on the Siege of Famagusta.
Thoughts on Wheels.— No. II. The Car of Juggernaut.
To My Friend, George Bennet, Esq.
The Voyage of the Blind.
III. Greenland.

Canto I. — "Unwearied as the camel," sq.

Canto IV. — From Asia's fertile womb," sq.
The Ocean. — "Thus the pestilent Upas," sq. And passim.
Verses to the Memory of . . Richard Reynolds. III. —
First four lines.
A Voyage Round the World.

The West Indies. — Treatment of Africa or the Negro
throughout the poem.

The World before the Flood. — Biblical; with some Oriental
element.

Edavard Moore, 1712-17.57.
I. Poems in Chalmers, vol. XIV.

Poems, Fables and Plays. London, 1756.
II. Solomon: A Serenata.

The Trial of Selim, the Persian. (See above, under Lyltel-
ton.)

Thomas Moore, 1779-185;^.
I. Poetical Works. Boston, 1879. Six vols, in three.
II. The East-Indian.

Fables for the Holy Alliance.

Fable III.

Fable V.
The Fudge Family in Paris. Letter IX. — September 6th.
From the High Priest of Apollo to a Virgin of Delhi.
Fum and Hum.
Lalla Rookh.
National Airs.

Cashmerian.

Hungarian.

Indian.

Mahratta.

Russian.
Ode to the Sul)Hnie l^orte.

ISO I'/iiri-r.s-iti/ of Kansas Ilmnanistic Studies

()u ii Hoautilul ICiist-Iiulian.
To My MdIIut.

Tlio Twoi)enny Post Hag. — Letter ^'I.
A \'ision of Philosophy.
III. Epistle IX. — Opening Hnes, and passim.
The ^^K^ge Family in Paris. Letter X.
News for Country Cousins.
Rhymes on the Road. — Extract IV.
The Twopenny Post Bag. — Letter II.

William Motherwell, 1797-1835.
I. Poetical Works. With Memoir by James M'Conechy

New Edition, Enlarged. Boston, 1847.
II. The Crusader's Farewell.

Ouglou's Onslaught: A Turkish Battle Song.
Zara.

Carolina Oliphant, Lady Xairne, 1766-1845.
I. Life Songs of the Baroness Nairne. Edited by Charles
Rogers. Edinburgh, 1905.

John Henry, Cardinal Newal^n, 1801-1890.
I. Verses on Various Occasions. London and New York, 1889.
III. Heathen Greece. — Touches.
Solitude. — Touches.

Thomas Love Peacock, 1785-1866.
I. The Genius of the Thames, Palmyra, and Other Poems.

Second Edition. London and Edinburgh, 1812.
II. Palmyra.
III. The Genius of the Thames.

Part I. — "Where Tigris runs," sq.
Part II. — "Thus fair, of old, " sq.
And passim.

Robert Pollok, 1799-1827.
I. The Course of Time. Sixteenth Edition. Edinburgh and
London, 1841.
III. Book V. — "Desire of every land \'' sq.

Book VII. — "The Memphian mummy," sq.

— "Athens, and Rome, and Babylon," sq.

Osborne: Oriental Diction and Theme 121

Book VIII. — Opening lines.

— "He could not trust the word of heaven, " sq.

WiNTHROP Mackworth Praed, 1802-1839.
I. Poems. With a Memoir by the Rev. Derwent Coleridge.

Second Edition. London, 1864. Two vols.
II. Australasia.
Hindostan.

In Obitum . . . T. F. Middleton, Episcopi Calcuttensis.
Pyramides iEgyptiacse.
The Pyramids of Egypt.

III. Athens. — "Again long years of darkness" sq.

The County Ball. — "I come to ye a stranger guest," sq.
The Fancy Ball. — Passim.
Lidian's Love.— XXIII-XXVII.

IV. Touches in Surly Hall, Arrivals at a Watering-Place, etc.

Thomas Pringle, 1789-1834.
II. [African Sketches.]

Bryan Waller Procter, 1790-1874.
I. Poems in Frost, 1843.
II. Gyges.

Julian the Apostate.

The Return of Mark Antony.

III. Amelia Wentworth.
Marcian Colonna.

Part I.— 1.

Part III.— 13 and 17.

IV. Slight touches or brief passages in The Falcon, Ludovicu
Sforza, Tartarus, and Werner.

Ann Radcliffe, 1864-1823.
I. The Romance of the Forest, Interspersed with Some Pieces
of Poetry. London, 1806. Three vols.
The Mysteries of Udolpho : A Romance. With an Intro-
duction by D. Murray Rose. London, 1003.
II. The Mysteries of Udolpho. Chapter XVII.— Stanzas.
III. The Romance of the Forest.

Chapter XL— Song of a Spirit. One line.
Chapter XVIII. —Morning, On the Sea-shore.

JJlf I'nircr.^iljf of Kaitsd.s II uiiuiitifilic Studies

John Hamii/pon HKVNOLns, 170(!-185"-2.
11. [Salio: An Eastern Talc]

Samiki- Rockhs. 17(53- 1855.
1. I'octiral Works. .loliii \V. Lovell (\)ni|)any, New York, n. d.
II. .Vii InscTiplion.

(Klo to SuiHM-stilion. I, 3; II, ^2.
111. Italy.

Tart I, '2. — ".Viul wIumuc llic talisman" sq.
I'art 11. '2"2. — "And tliat yet greater scourge," sq.
— Closing passage.
Human Life. — "A tale is told" sq.
The Pleasures of Memory.

Part I. — "Down by yon hazel copse," sq.
Part II. — "From Guinea's coasts" sq.
The Voyage of Columbus. — "Such to their grateful ear" sq.

William Stkwart Rose, 1795-1845.
II. [Translation of Orlando Furioso.]

John Scott, 1730-1783.
I. Poems in Chalmers, vol. XVII.
II. On the Ingenious Mr. Jones's Elegant Translations and
Imitations of Eastern Poetry.
Oriental Eclogues.

Li-Po; or, the Good Governor: A Chinese Eclogue.
Serim; or. The Artificial F'amine: An East-Indian Eclo-
gue.

Zerad; or. The Absent Lover: An Arabian Eclogue.
III. Elegj' III.— "Ask Grecia," sq.

Epistle II: Winter Anmsements in the Country. — "Such,
hapless Cook!" sq.

An Essay on Painting. — "Now his pleased step" sq.
Ode XXIII.

Walter Scott, 1771-1832.
I. Poetical Works. Bo.ston, 1881. Ten vols, in five. British
Poets.
II. Ahriman. (From The Talisman, Chapter III.)

Osborne: Oriental Diction and Theme 123

"Canny moment, lucky fit" (From Guij Mannerinq. Chap-
ter III.)

The Crusader's Return. (From Ivanhoe, Chapter XVIII.)
The Fire-King.

The Search after Happiness; or, The Quest of the Sultaun
Solimaun.

"Twist ye, twine ye! " (From Guy Mannering, Chapter IV.)
Verses ... to the Grand-Duke Nicholas of Russia.
"Wasted, weary, wherefore stay. " (From Guy Mannering,
Chapter XXVII.)
III. The Bridal of Trierraain. Canto 111.-^20-24 and 30-31.

Percy Bysshe Shelley, 1792-1822.
I. Complete Poetical Works. Edited by G. E. Woodherry.

Boston, 1894. Four vols.
II. Alastor.

Bigotry's Victim.

Fragments of an Unfinished Drama.

From the Arabic: An Imitation.

Hellas.

[Henry and Louisa. — Part II.]

The Indian Serenade.

Prometheus Unbound.

The Revolt of Islam.

Sonnet: Ozymandias.

Sonnet: To the Nile.

The Witch of Atlas.

fZeinab and Kathema.]

III. Ode to Liberty.— III.
Queen Mab.

II. — "Beside the eternal Nile" sq.
VII. — "The name of God" sq.
IX. — "Even Time, the conqueror," sq.
And passim.

IV. Many phrases and brief passages in other j)oenis.

William Shenstone, 1714-17(13.

I. Poetical Works. With Life, etc., by the H<v. (Morgc (Jil-
fillan. Edinburgh, London, and Dublin, 1H54.

Jg^ Vnirfr.fiij/ of Kan.'ias Ilinnunistic Studies

HI. Klr^'v XI\'.— Stanzas !)-14.
Klogy XX.

Christopher Smart, 1722-1770,
I. l'()oii\s in Chalmers, vol. XVI.
111. On tiio Goodness of the Supreme Being. — "Attest, and
I ) rai.se, " .s'</.

On I lie Immensity of the Supreme Being. — "Easy may
fancy ])ass," .s-^.

Horace Smith, 1779-1849.
I. (With James Smith.) Rejected Addresses; or. The New
Theatrum Poetarum. New Edition. London, 1879.
Poems in Miles, vol. IX.

III. Address to a Mummy in Belzoni's Exhibition.
The Jester Condemned to Death.

IV. The Rebuilding. (With James Smith.)

Tobias George Smollett, 1721-1771.
I. Poems in Chalmers, vol. XV.

III. Ode to Independence. — "Arabia's scorching sands" sq.

IV. Brief passages in other poems.

Robert Southey, 1774-1843.
I. Poetical Works. Boston, 1880. Ten vols, in five. British

Poets,
II. The Battle of Pultowa.
Botany Bay Eclogues.
The Curse of Kehama.
Donica.

Gonzalo Hermiguez.
Imitated from the Persian.
The King of the Crocodiles.
La Caba.

The Lover's Rock.
The March to Moscow.
Ode on the Battle of Algiers.
Ode on the Portrait of Bishop Heber.

Ode to His Imperial Majesty, Alexander I, Emperor of All
the Russias.
Poems Concerning the Slave-Trade.

Osborne: Oriental Diction and Theme 125

Queen Orraca, and the Five Martyrs of Morocco.
Sonnet XIV.
Thalaba the Destroyer.
The Young Dragon.
III. Joan of Arc.

Book VI. — "These as they saw," sq.

— "[Come thundering on.] As when Chederles

comes" sq.
— "Grateful, as to the way-worn traveller, "sg.
Book VII.— Touches.
Book VIII. — "So thickly thronged" sq.
Book X. — "Fills not the Persian's soul," sq.
— "The foe tremble and die." sq.
— "As the blood-nurtured monarch" sq.
— "The Maiden rushing onward," sq.
The Retrospect. — "Oh, while well-pleased" sq.
A Tale of Paraguay. — Particularly Canto I, 13.

William Thompson, 1712-1766.
I. Poems in Chalmers, vol. XV.
II. The Magi: A Sacred Eclogue. — Biblical, but Oriental in

tone.
III. An Hymn to May.— Stanza 13.

James Thomson, 1700-1748.
I. Poetical Works. Edited l>y D. C. Tovey. London, 1897.

Two vols.
II. Prologue to Mallet's Mustapha.
III. Liberty. Part III. — "From the dire deserts" i^.

The Seasons. — Extensive passages in Autumn, Summer,
and Winter.

John Tobin, 1770-1804.
I. The Honeymoon. In Inchbald's British Thealrc, vol. XXV.
III. A brief passage in I, 1.

Horace Walpole, 1717-1797.
I. Works. London, 1798. Four vols.
II. Epilogue to Tamerlane.
III. The Mysterious Mother.— II, 1.

1$S I'nirrraltii of Kansus lluiiianistic Siudiea

l\ . A Few Oriental touehes in various poems; such as "crossing
a ijypsy's palm, " "some luxurious Satrap's barbarous lust, **
etc.

Joseph Wautox, 17''2'-2-1800.
I. I'oems ill Chalmers, vol. XVIII.
III. Fashion: A Satire. — Ponfrim.
Oile to Liberty. — Patisim.

Thomas Warton, 1728-1790.
I. Poems in Chalmers, vol. XVIII.
II. Ode XII: The Crusade.
III. The Pleasures of Melancholy. — *' What though beneath" sq

— "To me far happier" sq.
— "Yet feels the hoary her-
mit" sq.
Translations and Paraphrases. — Job.

Charles Jeremiah Wells, 1800-1879.
I. Joseph and His Brethren. With an Introduction by A. C.
Swinburne. Oxford University Press, n. d. The World's
Classics.

III. While this is a Biblical play, it has passages of distinctly
Oriental quality. Note especially I, 3; Prologue to II; II, 3;
and III, 3.

Gilbert West, 1703-1756.
I. Poems in Chalmers, vol. XIII.

IV. Brief passages pas.sim. Some touches in the translations
from Pindar.

Henry Kirke White, 1785-1806.
I. Complete W^orks. With an Account of his Life by Robert

Southey. E. Kearny, New York, n. d.
II. Sonnet IX.
III. The Christiad. — Passim.
Gondoline: A Ballad.
Time. — VII; and brief passages passim.

Osborne: Oriental Diction and Theme 1S7

Paul Whitehead, 1710-1774.
I. Poems in Chalmers, vol. XVI.
III. An Occasional Song. — Stanza 4.

The State Dunces: A Satire. — "But Asia's deserts" sq.

William Whitehead, 1715-1785.
I. Poems in Chalmers, vol. XVII.

The Roman Father. In Inchbald's Britinh Theatre, vol.
XIV.
II. Prologue to The Orphan of China.
III. A Charge to the Poets. — "Friend of the finer arts'* sq.
An Hymn to the Nymph of Bristol Spring.
"Yet some there have been," sq.
" ' Twas then, Avonia, " sq.
On Nobility : An Epistle. — " In Turkey still " sq.

William Wilkie, 1721-1772.
I. Poems in Chalmers, vol. X\T.

III. Fables: The Breeze and the Tempest. — "From Zembla to
the burning zone" sq.

Charles Wilkins, 1794 (?)-1836.

IV. See Dictionary of National Biography.

John Wilson, 1785-1854.
I. Works. Edited by J. F. Ferrier. Edinburgh and London,

1855-58. Twelve vols. Verse in vol. XII.
II. Lines written on seeing a Picture by Berghem.

Lines Written on Reading Mr. Clark.son's History of the
Abolition of the Slave Trade.
III. The Isle of Palms. — The tropical coloring of this poem

shows some kinship with Oriental style.
IV. Touches and a few brief passages in other poems.

John Wolcott, 1738-1819.
I. The Poetical Works of Peter Pindar, Es(|. Dublin. 1788.

III. The Lousiad. Canto II. — "O Conscience! who to ( live "••.r/.

IV. Slight passages in other j)oems.

William Wordswohth, 1770-1850.
I. Poetical Works. Edited by Wilhimi Knight. Kdinburgh,
1862. Eleven vols.

IBS I'nircrsit!/ of Kansati Iluiimni.stic Studies

II. "Kro with cold l)o;uis of inidiiijilit dew."
riio AriiuMiiaii Lady's Love.
Beggars.
Secniol.

Eoelesiastieal Sketches.
Ousades.
(Vusaders.

Missions and Travels.
The Egyptian Maid; or, The Romance of the Water Lily.
The French Army in Russia.
On the Same Occasion.
Gipsies.

"Go back to antique ages, if thine eyes. "
The Prioress's Tale. From Chaucer.
The Russian Fugitive.
The Source of the Danube.
Suggested by a Picture of the Bird of Paradise.
III. Descriptive Sketches. — "The Grison gipsy" sq.
The Excursion.

Book III. — "Not less than that huge pile" sq.

— "But stop! — These theoretic fancies jar" sq.
Book IV. — "Within whose silent chambers" sq.

— "Whether the Persian" sq.
Book VII. — "Eastward, the Danube" sq.
A few other slight passages passim.
The Prelude.

Book V. — "A precious treasure ".s(/.

— "Sleep seized me" sq.
Book VI. — "Strong in herself and in beatitude" sq.
Book VII. — "There was a time" sq.

— "The Swede, the Russian;" sq.
— "Enjoyment haply handed down" sq.
Book VIII. — "With deep devotion, Nature," sq.
Book X. — "They — who had come elate" sq.

Edward Young, 1681-1765.
I. Poetical Works. With a Memoir by the Rev. John Mitford.
Boston, 1896. Two vols, in one. Aldine Edition.
III. The Consolation.

"Much less in art, " .s</. Vaguely Oriental.

Osborne: Oriental Diction and Theme 1S9

"Range through the fairest," sq.
Love of Fame, The Universal Passion. Satire II. — "On
buying books" sq.
Imperium Pelagi.

Strain I. — "His sons, Po, Ganges," sq.

Strain II. — Passim.

Strain V. — "Whence Tartar Grand," sq.
Ocean: An Ode. — "From Indian mines," sq.
A Paraphrase on the Book of Job. — Passim.
IV. The first citation given above is a good example of a pas-
sage which seems Oriental in significance, but has no
direct reference to the Orient.

B. Collections of Poems

Aiken, John : Select Works of the British Poets from Ben Jonson
to Beattie. With Biographical and Critical Notices. Ninth
Edition. Thomas Wardle, Philadelphia, 1838.

Chalmers, Alexander: The Works of the English Poets from
Chaucer to Cowper. London, 1810. Twenty-one vols.

Frost, John : Select Works of the British Poets from Falconer to
Sir Walter Scott. With Biographical Sketches. Thomas War-
die, Philadelphia, 1838.

[Frost, John :] Select Works of the British Poets from Southey to
Croly. With Biographical and Critical Notices. J. Whctson
and Son, Philadelphia, 1843.

Hamilton, Walter, Editor : Parodies of the Works of English and
American Authors. London, 1884-9. Six vols.

Inchbald, Mrs. Elizabeth Simpson: The British Theatre. Lon-
don, 1808. Twenty-five vols.

Inchbald, Mrs. Elizabeth Simpson: The Modern Theatre. London.
1811. Ten vols.

Jerrold, Walter, and R. M. Leonard, Editors: A Century <'f
Parody and Imitation. The Oxford University Press, 1913.

Miles, Alfred H., Editor: The Poets and Poetry of tlic C.Mitnry.
London, n. d. Ten vols.

Morley, John, Editor: Parodies and Otlier HuiIcsciik- ricccs In
George Canning, George Ellis, and John Ilookliani Frere. I cn-
don, Glasgow, Manchester, and New York, 1890.

JSO L'nirersity of Kan^'nt.t Humanistic Studies

C. Genkhai. Mimluk;u vfhh'al Notes
1. Linguistic Works

Haker, Artluir E.: V Coiiconliiiico to the Poetical and Dramatic
Works of Alfred, Lord Tennyson. New York, 1914.

Bartlett, John: A New and Complete (Concordance or Verbal
Index to Words, Phrases and Passages in the Dramatic Works
of Shakespeare. London and New York. 1894.

Bradshaw, Jolni : A Concordance to the Poetical Works of Milton.
London, 1884.

Carey, William: Dictionary of Mah rat ta. 1810.

Carey, William: Dictionary of Bengali. 1818. Three vols.

Carey, William: Dictionary of Bhotanta. 1826.

Century Dictionary and Cyclopedia, The. Revised and Enlarged
Edition. New York. (1911.) Twelve vols.

Cooper, Lane : Concordance to the Poems of William Wordsworth.
Ijondon, 1911.

Cowden-Clarke. Mrs.: The Complete Concordance to Shakes-
peare. New and Revised Edition. London, 1889.

Cunliffe, Richard John: A New Shakespearean Dictionary. Lon-
don, Glasgow, and Bombay, 1910.

Ellis, F. S. : A Lexical Concordance to the Poetical Works of
Percy Bysshe Shelley. London, 1892.

Emerson, Oliver Farrar: The History of the English Language.
New York and London, 1907.

Johnson, Samuel : A Dictionary of the English Language. Robert
Gordon Lathan, Editor. London, 1870. Two vols.

Leeb-Lundberg, W. : Word-formation in Kipling. A Stylistic-
philological Study. Lund and Cambridge, 1909.

Lockwood, Laura E. : Lexicon to the English Poetical W^orks of
John Milton. New York and London, 1907.

Loewe, Louis: Origin of the Egyptian Language. 1837.

Marshman, John Clark: Dictionary of the Bengalee Language.
1827-8. Two vols.

Marshman, Joshua: The W'orks of Confucius. Original Text with
Translation, and Dissertation on the Language of China.
Serampur, 1809.

Osborne: Oriental Diction and Theme 131

Molineux, Marie Ada: A Phrase Book from the Poetic and
Dramatic Works of Robert Browning. Boston and New York
1896.

Murray, James A. H., Editor: A New English Dictionary on
Historical Principles. The Clarendon Press, Oxford, 1888-1916.
Ten vols.

Oxford Cyclopedic Concordance to the English Bible. Oxford
University Press. (1901.)

Richardson, John: Dictionary of Persian, Arabic and EngUsh
London, 1777.

Schmidt, Alexander: Shakespeare-Lexicon. Third Edition, Re-
vised and Enlarged by Gregor Sarrazin. New York and Berlin,
190^2. Two vols.

Skeat, Walter W. : An Etymological Dictionary of the English
Language. New Edition; Revised and Enlarged. The Claren-
don Press, Oxford, 1910.

2. Biographical, Critical, and Historical Works

Allibone, S. Austin: A Critical Dictionary of English Literature
and British and American Authors. Philadelphia, 1891-6. Six
vols.

Beers, Henry A. : A History of English Romanticism in the Eight-
eenth Century. New York, 1889.

Beers, Henry A. : A History of English Romanticism in the Nine-
teenth Century. New York, 1901.

Bible, The: King James Version.

Brewster, Dorothy: Aaron Hill, Poet, Dramatist, Projector.
Columbia University Press, New York, 191.S.

Conant, Martha Pike: The Oriental Tale in England in tlu-

Eighteenth Century. The Columbia University Press. New

York, 1910.
Courthope, WilUam John: History of English Poetry. New York

and London, 1895-1910. Six vols.
Dawson, Edgar: Byron und Moore. Inaugural-Dissertation.

Leipzig, 1902.

ISS Vnircrsifjf of Kan.fo.t IluJtwnistic Studies

Foster, John : Critical Kssays Contrihuted to tlie Eclectic Review.
Kditeil hy J. E. Rylaml. London, 1888. Two vols. The Bohn
Standaril Library.

Christianity in India.
Daniell's Oriental Scenery.
Hindoo Idolatry and Christianity.
Sanscrit Literatnre.
Sonthey's Curse of Kehama.
Vindication of the Baptist Missionaries.
Fuhrman, Ludwig: Die Belesenheit des jungen Byron. Inaugural-
Dissertation. Friedenau bei Berlin, 1903.
Gosse, Edmund: A History of Eighteenth Century Literature.

London and New York, 1889.
Hosmer, James K. : A Short History of German Literature. Re-
vised Edition. New York, 1896.
Jeffrey, Francis: Contributions to the Edinburgh Review. New
York, 1871. Four vols, in one. Modern British Essayists.
Review of Lalla Rookh; an Oriental Romance.
Review of Roderick; the Last of the Goths.
Jones, William: Dissertation sur la litterature Orientale. 1771.
Jones, William : On the Poetry of the Eastern Nations. In Chal-
mers, vol. XVIII, pp. 502-508.
Jones, William: Traite sur la litterature Orientale. 1770.
Langhorne, John: Observations on the Oriental Eclogues (of
Collins). In Dyce's edition of Collins cited above, pp. 125-139.

Macdonell, Arthur A.: A History of Sanskrit Literature. New
York, 1900.

Mackintosh, James: Miscellaneous Works. New York, 1873,
Three vols, in one. Modern British Essayists.

Marks, Jeannette: English Pastoral Drama (1660-1798). Lon-
don, 1908.

Montagu, Lady Mary Wortley: Letters and Works. Edited by
her Great Grandson, Lord WharncliflFe. With Additions, etc.,
by W. Moy Thomas. New Edition Revised. London, 1887.
Two vols. The Bohn Standard Library.

More, Paul Elmer: The Drift of Romanticism. Boston and New
York, 1913.

Osborne: Oriental Diction and Theme 133

Phelps, William Lyon : The Beginnings of the English Romantic
Movement. Boston, New York, Chicago, and London. (1893).

Reynolds, Myra: The Treatment of Nature in English Poetry
between Pope and Wordsworth. The University of Chicago
Press, Chicago, 1909.

Stephen, Leslie and Sidney Lee, Editors : Dictionary of National
Biography. New York and London, 1885-1912. Sixty-six vols.

Symons, Arthur: The Romantic Movement in English Poetry.
London, 1909.

Thiergen, Oscar: Byron's und Moore's Orientalische Gedichte.
Eine Parallele. Inaugural-Dissertation. Leipzig, 1880.

Tucker, T. G. : The Foreign Debt of English Literature. London,
1907.

Underbill, John Garrett: Spanish Literature in the England of
the Tudors. New York and London, 1899. Columbia Univer-
sity Studies in Literature.

JSi

I'niversiii/ of Kansas Humanistic Studies

II. Notes ON Oriental Vocabulary

A. Oriental V'ocabulary in Sir William Jones

The diction of Jones includes many words characteristic of the
Oriental verse of our period in general, and a considerable number
which are much more rare, in some cases probably unique. To the
former class belong such words as antelopes, Arabian, Asiatic, asp,
caravan, cypress, Egyptian, elephants, genii, jasmine, lotus, musk,
myrtle, Xilus, rose, sandals, the names of several precious stones,
etc. In the table below are given the most important words of the
second class found in the text of Chalmers. Many of these words
are explained in footnotes by the author. It will be noted that
nearly all are nouns, and that a large proportion are proper names
of deities, persons, or places. Most are simply transliterations;
and few have an assured place in English dictionaries.

Abelah

Cumar

Laili

Ravi

Adda

Cumara

Langa

Reti

Aden

Gurus

Laschmi

Rocnabad

Aditi

Lecshmy

Rucmiui

Agnyastra

Daysa

Lelit

Agra

Daysasha

Sachi

Ahmed

Dayscar

Mactigir

Sagar

Ajeirs

Deipec

Madhava

Samarcand

Amana

Deits

Magadh

Sambal

Amer

Devatas

Mahadeo

Sanscrit

Amra

Devtas

Mahadew

Sarat

Amrit

Dhenasry

Mahanadi

Sasin

Ananga

Dhriterashtra

Mahesi

Scythian

Area

Draupaty

Maia

Seita

Arun

Durga

Malcaus

Seita Cund

Aryama

Duryodhen

Malsry

Sereswati

As a very

Dwapar Yug

Maricha

Sereswaty

Asi

Dwarpayan

Martunda

Seyte Yug

Asmora

Dwaraca

Marva

Shambhawty

Asurs

Dyripetir

Mathuna

Sindhu

Aswatthama

Mathura

Singarhar

As win

Elachy

Matra

Siret

Azib

Erjun

Maya

Sisira

Azza

Maygh

Sita

Gandac

Medhu

Siva

Bactrian

Gandharvas

Medhumadha

Sivy

Bala

Ganesa

Melar

Solima

Benares

Ganga

Mena

Soma

Bhagirath

Geda

Mengala

Subahdar

Osbonie: Oriental Diction and Theme

1S5

Bhairan

Gocul

Menru

Sudaman

Bhairavy

Gogra

Merich

Suderman

Bhanu

Gopa

Meru

Sumeru

Bhavani

Gopia

Mihira

Supiary

Bhismarsu

Gour

Mosellay

Sura

Bhopaly

Goverdhen

Surariimnaga

Bocara

Grishma

Nagkeser

Surya

Brahma

Gujry

Nairrit

Swerga

Brahman

Gumpi

Narac

Brahmaputra

Guncary

Narayan

Taraca

Brindavan

Gwury

Narayena

Teic

Gyres

Nared

Tenca

Cailas

Nargal

Toda

Cailasa

Hadramut

Nawadwip

Trisrota

Caley

Haldea

Netta

Tulsy

Caly Yug

Hara

Nipal

CaU

Hementa

Vacadevy

CaUnadi

Heri

Ormus

Vahni

Cama

Heridaswa

Oshadhi

Valmic

Cambala

Himalaya

Vamuna

Camod

Himansu

Palamau

Vani

Candarpa

Himola

Palanqueen

Varan

Cantesa

Hindol

Pana

Varuna

Canyacuvja

Hindustan

Pandu

Vasanta

Carmasckhi

Parvati

Vasava

Carnaty

Indra

Patala

Vedas

Cashgahr

Indrani

PataU

Venamaly

Casi

Indraprest

Pedma

Versha

Casyapa

Indraprestha

Pedmala

Vinatian

Catels

Isa

Pedmanabha

Virawer

Catha

Is'wara

Peitamber

Vishnupedi

Caydara

Pendit

Verihaspati

Cetaca

Jafer

Petmenjary

Vishnu

Champa

J ami

Piepel

Vraga

Chatacs

Jeifel

Pulomaja

Vrindavan

Chawla

Joutery

Purander

Vyas

Cheer a

Vyasa

Chitraratha

Kais

Ragnys

Chury

Kemel

Rahu

Yama

Coaba

Ki

Rajas

Yamuna

Condals

Kiticum

Rajahs

Yudishteir

Cosa

Krishen

Rama

Yudhishti-ir

Cosecs

Kytabh

Rancary

Yunan

Crishna

Rangamar

Cubera

Lacshmi
Ladon

Ranies

Zeineb

Lu:

UntreritUy of Ka7isas Humanistic Studies

l\. Kiiglisli Words of Oriental Derivation

The followini; list is hy no means conij)lete. It is taken from
the •Dislril.ntion of Words" in Skeat, Edition of 1910, pp. 761-
780; this list then being revised by the New International Diction-
ary of 1910.

The following abbreviations are used: A. — Arabic; C. — Chi-
nese; E. — Egyptian; H. — Hindustani; M. — Malay; O. — "Ori-
ental"; P. — Persian; S. — Sanskrit; T. — Turkish.

Admiral. A.
Alcayde. A.
Alcohol. A.
Alcoran. A.
Alcove. A.
Algebra. A.
Alguazil. A.
Alkali. A.
Amadavat.

India.
Amber. A.
Aniline. S.
Anna. Hindi.
Areca. Canarese.
Argosy.

Dalmatian.
Arrack. A.
Arsenal. A.
Artichoke. A. (?)
Asafetida. P-Lat.
Asparagus. P. (?)
Assagai.

Berber.
Assassin. A.
Atabal. A.
Attar. P.-A. (?)
Avatar. S.
Azimuth. A.
Azure. P.

Balas. A.
Bamboo. M.
Bangle. H.
Banian. S.
Banyan. S.
Baobob.

West African.

Cotton. A.
Cowry. H.
Creese. M.
Crimson. S.
Cubeb. A.
Curry. Tamil.

Dervish. P.
Dey. T.
Divan. P.
Dragoman. A.
Drosky. R.
Dugong. M.
Durbar. P.

Ehxir. A.
Emir. A.

Fakir. A.
Fellah. A.
Fez. From the

town Fez.
Firman. P.
Fustian. E.

Galangal. A.

Gamboge.

From Cambo-
dia (Siam).

Garble. A.

Gazelle. A.

Genet. A.

Ghoul. A.

Giaour. T.

Ginger. 0.

Giraffe. A.

Gnu. Kaffir.

Lory. M.
Lute. A. (?)

Mace. S. (?)
Magazine. A.
Magi. P.
Mameluke. A.
Mammoth.

Russian.
Mandarin. H.
Mango. Tamil.
Mangrove.

M. -English.
Mattress. A.
Minaret. A.
Mogul. P.
Mohair. A.
Mohammedan. A.
Mohur. P.
Monsoon. A.
Moonshee. A.
Morse. R.
Moslem. A.
Mosque. A.
Muezzin. A.
Mufti. A.
Musk. P.
Mussulman. A.

Nabob. A.
Nadir. A.
Nankeen. C.
Nilgai. P.

Orange. P.-A.
Orang-outang. M
Ottoman. A.

Sarcenet. A. (?)
Sash. A.
Satrap. P.
Scarlet.

A.-P.-Lat.
Scimitar. P. (?)
Seguin. A.
Senna. A.
Sepoy. P.
Shagreen. T.
Shah. P.
Shampoo. H.
Shawl.

P. or H.
Sheik. A.
Sherbet. A.
Shrub. A.
Silk. O. (?)
Simoom. A.
Sirocco. A.
Slave.

Slavonic.
Sofa. A.
Soy. C.

Spinach. A.-P.
Steppe. R.
Sugar. S.
Sultan. A.
Sumac. A.

Tabby. A.
Taboo.

Polynesian.
Taffeta. P.
Talc. A.
. Talk.

Lithuanian.

Osborne: Oriental Diction and Theme

1S7

Basil. A.
Bazaar. P.
Bedouin. A.
Beg. T.
Begum. T.
Benzoin. A.
Beryl. S. (?)
Betel.

Tamil.
Bezoar. P.
Bhang. P.
Bohea. C.
Borax. P.
Brahman. S.
Brilliant. S. (?)
Bungalow.

Bengali.

Caddy. M.
Cadi. A.
Caftan. T.
Calash. Slavonic.
Call. A.
Calico.

East Indian.
Camphor. S.
Candy. S.
Caravan. P.
Caravansary. P.
Carob. A.
Cashmere.

Cashmere.
Cassowary. M.
Catamaran.

Tamil.
Champac. S.
Check. P.
Cheetah. H.
Chimpanzee.

African.
Chintz. H.
Chouse. T.
Cinnabar. P.
Cipher. A.
Civet. A.
Cockatoo. M.
Coffee. T.-A.
Cossack. Russian.

Gong. M.
Gorilla.

W. African.
Gum. Probably E.
Gutta-percha. M.

Harem. A.

Hazard. A.

Hegira. A.

Henna, A.

Hooka. A. or P.

Horde. T.

Howdah. A.

Howitzer.
Bohemian.

Houri. A.

Hussar. Hunga-
rian-Latin.

Ibis. E.

Jackal. P.
Jagonelle. P.
Janizary. T.
Jar. A.
Jasmine. P.
Jerboa. A.
Julep. P.
Jungle. S.
Jute. S.

Kangaroo.

Australian.
Kermes. A. andP
Khan.

P. and Tatar.
Khedive. P.
Kiosk. T.
Koran. A.

Lac.

East Indian.
Lama. Tibetan.
Lascar. P.
Lemon. P.
Lilac. P.
Lime. A.
Loot. A. (?)

Pagoda. P. (?)
Palanquin. S.
Paradise.

Avestan.
Paramatta.

Australian.
Pariah. Tamil.
Parsi. H.-P.
Parvis.

Avestan.
Pasha. T.
Pawnee. H.
Peacock. O. (?)
Peri. P.
Pice. H.
Pistachio. P.
Polka. Bohemian.
Proa. M.
Pundit. S.
Punch. S.
Punkah. H.

Quagga. Zulu.

Racket. A.
Rajah. S.
Rajut. S.
Rattan. M.
Realgar. A.
Ream. A.
Rebec. A. (?)
Reindeer.

Lapp.
Rice. S. (?)
Rook. P.-A.
Rouble. R.
Rupee. S.
Ryot. A.-H.

Sable. Slavonic.
Saccharine. S.
Saffron. A.-P.
Sago. M.
Salaam. A.
Sandal-wood S.
Sanskrit. S.
Saraband. P.
Saracen. A. (?)

Tamarind. A.-P.
Taraxacum.

A. (?)-P. (?)
Tare. A.
Tariff. A.
Tartar. A. (?)
Tattoo.

Tahitan.
Tea.

Chinese.
Teak. M.
Thug. H.
Tiara. P.
Tiger. P. (?)
Toddy. H.
Tokay.

Hungarian.
Tom-tom. H.
TuHp. T.
Turban. T.
Turk.

P.-Tatar (?)

Uhlan. Tatar.
Ukase. R.

Vampire.

Servian.
Van. P.
Veda. S.
Veranda. P.
Verst. R.
Vizier. A.

(?)

Wombat.
Australian.

Yak. Tibetan.
Yataghan. T.

Zamindar. P.
Zananu. P.
Zebra.

Abyssinian.
Zedoary. A.-P.
Zenith. A.
Zero. A.
Zouavo. AlKcrian.

lSt<

University of Kansas Humanistic Studies

(\ Oriental Vocabulary in the King James Version
of the IJible

The Kinji .lames version of the Bible includes the following
words which may be considered as belonging to the Oriental
vocabulary of our period, though the Bible is not necessarily to be
viewed as a source.

Adder

Cyprus

Jasper

Pharaoh

Agate

Cyrene

Phenicia

Almond

Lebanon

Phrygia

Aloes

Dalmatia

Leopard

Pomegranate

Amber

Damascus

Libya

Amethyst

Desert

Lizard

Red-Sea

Ape

Diamond

Locust

Rose

Asia

Dromedary

Lute

Ruby

Asp

Dulcimer

Assyria

Mandrake

Sabeans

Assyrian

Eden

Medes

Saffron

Astaroth

Egypt

Media

Sand

Egyptian

Melons

Sapphire

Baal

Emerald

Myrrh

Sardonyx

Babylon

Ethiopia

Saron

Balm

Ethiopian

Nard

Sharon

Belshazzar

Eunuch

Nimrod

Sidon

Beryl

Euphrates

Nineveh

Sidonians
Spicery

Camel

Fig-tree

Olive

Spikenard

Cane

Frankincense

Onyx

Sycamore

Carbuncle

Ophir

Syria

Cassia

Gold

Syrians

Cedar

Grove

Palm-tree

Chaldea

Parthians

Tent

Chaldeans

Idol

Peacock

Timbrel

Chaldees

Idumea

Pearls

Topaz

Chrysolite

India

Pelican

Cinnamon

Persia

Viper

Cymbals

Jacinth

Persian

Vulture

Cypress

Jah

INDEX

Akenside, Mark, 36, 44, 94
Arabian Nights, 48, 60, 78
Ariosto, Lodivico, 34, 49, 78, 122
Armstrong, John, 14, 44, 94
Arnold, Sir Edwin, 16, 54
Arnold, Matthew, 13, 16, 17, 42, 77
Atherstone, Edwin, 94

Baillie, Joanna, 19, 44, 46, 52, 54,

73, 74, 78, 81, 94
Barbauld, Anna Letitia, 95
Barham, Richard Harris, 95
Barker, Granville, 19
Barnes, William, 95
Beattie, James, 95
Beckford, William, 52
Beddoes, Thomas Lovell, 38, 42,

51, 52, 73, 95
Beers, Henry A., 11, 12, 13
Beowulf, 9
Bible, The (King James Version),

8, 25, 32, 47, 48, 49, 51, 52, 53,

90, 138
Blacklock, Thomas, 96
Blair, Robert, 36, 44, 96
Blake, William, 32, 42, 45, 51, 67,

96
Blind, Mathilde, 19
Bloomfield, Robert, 97
Bowles, William Lisle, 21, 25, 36,

38, 44, 57, 65, 67, 82, 97
Bowring, Sir John, 53, 71, 98
Boyse, Samuel, 34, 69, 75, 79, 98
Bradshaw, John, 11
Brooke, Henry, 49, 52, 98
Brown, John, 52, 98
Browne, Isaac Hawkins, 22, 98
Browning, Robert, 13, 17, 23
Bryant, William Cullen, 72
Burns, Robert, 15, 21, 32, 54. 98
Butler, Samuel, 13
Byrom, John, 23, 33, 99
Byron, Lord, 8, 13, 15, 18, 19, 23,

25, 26, 29, 36, 38, 39, 40, 50, 52,

54, 79, 83, 91, 99

Cambridge, Richard Owen, 74, 81,

83, 100
Camoens, Luis de, 25, 36, 66
Campbell, Thomas, 15, 35, 42, 44,

47, 72, 91, 100
Canby, Henry Seidel, 12
Canning, George, 100
Carey, William, 65, 101
Carlyle, Thomas, 8
Cary, Henry Francis, 101
Cawthorn, James, 34, 44, 56, 101
Chatterton, Thomas, 32, 42, 54. 101
Chaucer, Geoffrey, 9, 10, 20, 35, 40
Churchill, Charles, 60, 102
Coleridge, Hartley, 42, 102
Coleridge, Samuel Taylor, 12, 18,

26, 44, 49, 55, 79, 83, 86, 91
CoUins, WilHam, 7, 13, 15, 21, 26,

29, 31, 39, 41, 48, 51, 53, 54, 59,

72, 102
Colman, George, the Younger, 52,

103
Conant, Martha Pike, 8, 17, 52, 93
Confucius, 27, 75, 81
Congreve, William, 11, 12
Cooper, John Gilbert, 61, 103
Cotton, Nathaniel, 77, 103
Cowley, Abraham, 71
Cowper, William, 23, 38, 57. 103
Crabbe, George, 13, 19, 38, 47. 49.

58, 60, 63, 71, 75, 85, 104
Croly, George, 105
Croxall, Samuel, 12
Cumberland, Richard, 105
Cunningham, John, 32, 63

Darley, George, 105
Darwin, Erasmus, 71, 72. S3. 103
Davenant, Sir William, 11. 18
De Quincey, Thomas, 89
Dobell, Sydney, 19
Dodsley, Robert, 53. 106
Doyle. Sir Francis Hastings, 106
Dyer, John, 26. 44. HI6

1S9

/.;()

INDEX

Ellis, George, 106

Emerson, Ralph Waldo, 17, 20, 26

Falconer, William, 69, 106
Fawkes, Francis, 107
Fergusson. Robert, 35, 107
Fitzgerald, Edward, 18, 20, 49, 54
Foster, John, 14, 41, 85
Frere, John Hookham, 64, 107

Gifford, William, 85

Glover, Richard, 107

Goethe, Johann Wolfgang von, 67

Goldsmith, Oliver, 52, 57, 58, 84,

108
Gosse, Edmund, 12, 19
Grahame, James, 84, 108
Grainger, James, 21, 61, 64, 108
Gray, Thomas, 21, 108

Hafiz, 27, 39, 54, 59, 78

Hallam, Arthur H., 78, 108

Hamilton, WiUiam, 109

Harte, Walter, 32, 34, 49, 75, 109

Hartson, Hall, 109

Hawker, Robert Stephen, 38, 109

Hazlitt, William, 86

Heber, Reginald, 64, 91, 109

Hemans, Felicia Dorothea, 15, 21,

29, 54, 55, 62, 64, 65, 71, 72, 78,

83, 109
Heywood, John, 10
Hill, Aaron, 11, 52, 110
Hogg, James, 46, 111
Home, John, 111
Hood, Thomas, 51, 56, 63, 72, 74,

111
Hoole, John, 18, 34, 35, 49, 78, 111
Home, Richard Henry, 121
Hughes, John, 11, 52
Hunt, Leigh, 83, 112

Jago, Richard, 35, 52, 121
Jami, 50

Jeffrey, Francis, 40, 80, 83
Jenyns, Soame, 32, 112
Jephson, Robert, 112
Johnson, Samuel, 13, 22, 52, 75

Jones, Sir William, 12, 13, 15, 18,
22, 23, 25, 26, 30, 39, 48, 49, 50,

53, 54, 59, 62, 66, 73, 78, 90, 113
Jonson, Benjamin, 77

Keats, John, 12, 15, 32, 51, 72, 78,

86, 89, 113
Keble, John, 8, 14, 28, 38, 42, 43,

54, 73, 114

Kipling, Rudyard, 9, 17, 18, 51, 54
Konrad of Wurzburg, 90
Koran, The, 78, 87, 90

Lamb, Charles, 47, 58, 114
Landor, Walter Savage, 38
Lang, Andrew, 19, 20
Langhorne, John, 32, 35, 44, 57, 59,

71, 72,90, 114
Lewis, Matthew Gregory, 53, 114
Leyden, John, 115
Lillo, George, 58, 70, 93, 115
Lloyd, Robert, 14, 42, 75, 115
Lockhart, John Gibson, 115
Logan, John, 21, 63, 116
Lovibond, Edward, 57, 63, 116
Lyly, John, 11

Lyttelton, George, 32, 84, 116
Lytton, Bulwer, 13

Macaulay, Thomas Babington, 36,

65, 75, 83, 116
Mackay, Charles, 19
Mackintosh, Sir James, 66, 83
Maclean, Letitia Elizabeth Landon,

62, 116
Macpherson, James, 21
Madame Butterfly, 20
Maginn, William, 116
Malcolm, Sir John, 16
Mallet, David, 44, 116
Mangan, James Clarence, 13, 23,

29, 31, 34, 36, 49, 50, 51, 53, 59,

117
Marlowe, Christopher, 11, 16
Marshman, Josuha, 53
Mason, William, 37, 48, 71, 117
Mickle, William Julius, 25, 32, 35,

36, 67, 117

INDEX

Ul

Miller, James, 11, 52, 117
Milman, Henry Hart, 74, 117
Milton, John, 10, 11, 34, 77, 79
Mitford, Mary Russell, 53, 118
Montagu, Lady Mary Wortley, 12,

13, 53, 54, 62, 77, 118
Montgomery, James, 21, 25, 33, 34,

36, 38, 42, 44, 46, 49, 54, 65, 70,

71, 72, 73, 74, 77, 82, 84, 118
Moore, Edward, 119
Moore, Thomas, 13, 15, 16, 19, 21,

25, 28, 29, 31, 35, 36, 39, 40, 50,

54, 57, 59, 62, 72, 73, 75, 76, 79,

81, 83, 86, 119
More, Paul Elmer, 14, 88
Motherwell, William, 21, 30, 32,

120

Nairne, Caroline Oliphant, Lady,

120
Newman, John Henry, Cardinal,

43, 120
Nordau, Max, 34

Omar Khayyam, 18, 20

Peacock, Thomas Love, 28, 32, 39,

45, 59, 120
Pearl, The, 10
Peele, George, 11
Persian Tales, 60
Petrarch, 39

Phelps, William Lyon, 12, 41
Pindar, 50

Play of the Sacrament, The, 9
Pollock, Robert, 32, 44, 57, 120
Pope, Alexander, 12, 13
Praed, Winthrop Mackworth, 22,

29, 32, 42, 43, 58, 63, 64, 88, 91,

121
Preston, Thomas, 10
Pringle, Thomas, 121
Procter, Bryan Waller, 42, 49, 93,

121
Radcliffe, Ann, 32, 54, 121
Ramayuna, The, 41, 101
Reynolds, John Hamilton, 122

Rogers, Samuel, 38. 44, 46, 61, 67,

122
Rolliad, The, 83
Rose, William Stewart, 122
Rossetti, Dante Gabriel, 19, 31, 34,

78
Ruskin, John, 89

Saadi, 20, 27, 78

Sackville, Thomas, and Thomas

Norton, 10
St. Pierre, 71
Scott, John, 23, 48, 54, 59, 63, 64,

77, 122
Scott, Sir Walter, 26, 54, 58, 65, 67,

75, 76, 79, 122
Shakespeare, William, 10, 16
Shearmen and Taylors, Coventry, 9
Shelley, Percy Bysshe, 12, 16, 25,
26, 27, 28, 32, 35, 38, 42, 49, 51,
52, 57, 63, 71, 73, 80, 86, 123
Shenstone, William, 35, 49, 123
Skeat, Walter W., 25, 30, 136
Smart, Christopher, 32, 124
Smith, Horace, 55, 56, 83, 124
Smollett, Tobias George, 16, 34, 44
Southey, Robert, 13, 16, 17, 18, 21,
22, 23, 25, 26, 28, 29, 32, 33, 36,
37, 42, 51, 54, 55, 57, 60, 64, 72,
73, 76, 80, 83, 86, 89, 91, 102, 124
Spencer, Edmund, 11, 43
Stevenson, Robert Louis, 29
Surrey, Earl of, 10, 11, 51

Tagore, Rabindranath, 20
Tasso, Torquato. 18, 35, 49, 66
Tennyson, Alfred, Lord, 13. 17. 18,

19,31,36,60,91
Thompson, William. 34, 43, 125
Thomson, James (1700-1748). 26,

32, 35, 36, 43, 46, 49, 84, 125
Thomson, James (1834-1882). 19
Tobin, John. 125
TuUey, Richard Walton, 20

Udall, Nicholas, 10
Underbill. John Garn-tt, 10

m

INDEX

V'edds, The. 78
Voltaire, 52, 117

Waller, Edmund, 11, 12,34

Walpole, Horace, 125

Warton, Joseph, 44, 46, 126

Warton, Thomas, 126

Webxter's Neiv International Dic-
tionary, 25, 136

Wells, Charles Jeremiah, 8, 47, 52,
73, 126

West, Gilbert, 126

White, Henry Kirke, 71 86, 87, 93,
126

White, Gilbert, 63
Whitehead, Paul, 63, 127
Whitehead, William, 127
Whitman, Walt, 45
Wilkie, William, 32, 127
Wilkins, Sir Charles, 53, 127
Wilson, John, 42, 58, 65, 127
Wolcott, John, 81, 83, 127
Wordsworth, William, 12, 19, 38,

47, 58, 60, 61, 65, 66, 67, 72, 76,

79, 127

Young, Edward, 13, 15, 44, 52, 56,

57, 79, 88, 128

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