James Elroy Flecker

James Elroy Flecker, in his Cambridge office, around 1905

James Elroy Flecker (born November 5, 1884 in London , † January 3, 1915 in Davos ) was an English diplomat , poet, writer and playwright . As a poet, he was initially most influenced by the French group of poets of the Parnassians of the second half of the 19th century, who followed the principle of L'art pour l'art ( laʀpuʀˈla ) ( French literally: The art for art , analogously: The Art for art's sake ). In his foreword to The Golden Journey to Samarkand from 1913, he expressly declared himself committed to their art. During his many years as a diplomat in the Middle East , the culture there and the translations he made from the languages ​​there influenced his style significantly.

Life

James Elroy Flecker was born on November 5, 1884 in the London borough of Lewisham, the son of the Reverend William Hermann Flecker and his wife Sarah. Some biographers note that both parents have to prove that they come from Eastern European Jews . Flecker was actually baptized with the name Herman Elroy Flecker and took the name James because he shied away from being mistaken for his father. In the family circle he was called Roy . James Elroy Flecker was educated at Dean Close School, Cheltenham , Gloucestershire , where his father was a school principal he feared, and at Uppingham School in Rutland .

Neville Court, Trinity College, Oxford, drawing, 1915

Flecker first studied the classical subjects and languages at Trinity College in Oxford from 1902 to 1906. There he was less involved in studies. Instead, he preferred to write poems such as Clerihews and anti-religious skits and to debate in the relevant clubs. Since he was only able to achieve a Third Class Honor in Classical Greats at Oxford with his bachelor's degree and he had always been interested in languages, his academic career was blocked. Out of interest in modern languages, he moved to Caius College in Cambridge from 1908 to 1910, where he learned oriental languages ​​such as Arabic , Persian and Turkish , but also Russian and the like. a. studied at EG Browne. Surprisingly, in contrast to his friends Rupert Brooke , Arthur Waley and Francis Birrell , he found the educational climate in Cambridge rather uncongenial. In 1907 he had meanwhile worked as a teacher. In Oxford he came into contact with the English aestheticism, which then shaped him, and especially the works of John Addington Symonds .

Beirut, around 1905

From 1907 Flecker worked in the diplomatic service for the Levant Consular Service and was transferred to Constantinople in 1910 . He also worked in what was then Smyrna and in Damascus. From 1911 to 1913 he served as Vice- Consul in Beirut . In his own career plans in the diplomatic service, however, he seemed to miss a real audience for his ambitions and therefore turned again increasingly to poetry, flirting with possibly becoming the Rudyard Kipling of the Middle East. Nevertheless, he himself seemed proud of his administrative achievements as consul, even if, as a real dreamer, he loathed the time-consuming correspondence. During a vacation by boat to Athens , he met Hellé Skiadaressi, three years his senior, whom he married in Greece in May 1911 . The daughter of a well-known doctor was never accepted by his parents as a member of the Greek Orthodox Faith, as they saw in it a proximity to the Roman Catholic Church that was dangerous for their own faith . Further vacation trips took him to Corfu .

In 1907 Flecker published his first volume of poetry, The Bridge of Fire, with 35 poems. Edward Marsh took poems from his book Forty-Two Poems (1911), in which Flecker had largely revised 20 poems from The Bridge of Fire , to his collection Georgian Poetry 1911-12 (1912) and works from the volume The Old Ships (1913) and the volume The Golden Journey to Samarkand in the Georgian Poetry Collection 1913–1915 (1915). The collection of poems The Golden Journey to Samarkand (1913) is Flecker's most highly valued work in the English-speaking world. He also published a Dialogue on Education, The Grecians (1910), in which he attacked the English educational system even though he himself had been well integrated into it. The King of Alsander (1914) is a very experimental and individual novella by Flecker, which has been praised as romantic in connection with his sardonic humor. He published two successful verse dramas with Hassan (1922) and Don Juan (1925), both of which were only performed after his death. Here was Hassan was almost premiered in 1915 shortly after his death, wanted to record as Basil Dean, the piece already at this stage in its Schedule at the West End. But the First World War prevented the performance. Hassan in particular retained a certain echo later due to his poetic orientalism and the clarification of Flecker's doubts about the Orient. Other authors in London also had success with oriental fabrics in the 1920s: William Somerset Maugham with East of Suez , 1922, Oscar Asche with Chu Chin Chow and Eward Knoblock with Kismet In contrast to his friend Lawrence, Flecker always looked at the Orient from a perspective an outside perspective.

James Elroy Flecker approached his subjects in a very emotional and volatile way. In an interview with his friend Frank Savery , which has been passed down through his wife, he threw in that The Bridge of Fire was a nice title for a poetry collection. He had no idea what this volume would be about, so the poem, about which he also had no idea, had to be hidden in the middle of the volume. But with this title he just had to come up with something.

Since his student days in the spring of 1904, his closest friends included the British classical archaeologist John D. Beazley , with whom he lived a lifestyle modeled on Oscar Wilde. Some biographers discovered in their mutual correspondence a hint of a bisexual relationship, which was not uncommon at the colleges at the time . Beazley, who at this time was far more experienced than Flecker, is said to have had a not inconsiderable influence on Flecker, who came from a puritanical background. So it is significant that Flecker's parents blamed Beazley for Flecker's decisive turn to agnosticism and that his mother in particular later tried to erase any reference to Beazley in the published works and biographies.

TE Lawrence in Arab costume

Even TE Lawrence was one of his fellow students and friends. In Damascus and Beirut , Lawrence again made a great impression on Gertrude Bell and Flecker, who praised him as an “amazing boy” because of his local contacts. In June 1914, just to entertain his seriously ill friend, he wrote a lengthy satirical anecdote about a battle between Circassian guards of the German railway line and the Kurdish and Arab railway workers.

Towards the end of his life, in view of the First World War, Flecker discovered patriotism for himself and composed corresponding lines of verse. For example, he added the following lines to the traditional God save the King , which was the only patriotic text that George V directly named:

"Grant him Good Peace Divine.

But if his Wars be Thine.

Flash on his fighting line.

Victory's Wing! "

James Elroy Flecker died of tuberculosis on January 13, 1915 in the Swiss climatic health resort of Davos , where he had already spent 18 months. He was diagnosed with this disease as early as 1910 . His death at the age of just 30 years, described his contemporary MacDonald as "unquestionably the greatest premature loss did English literature has Suffered since the death of Keats." (Mutatis mutandis "undoubtedly the biggest premature loss which the English literature since the death of John Keats ”.) In retrospect, Lawrence called him“ the sweetest singer of the war generation ”and portrayed him in an essay in 1925. There he described him as follows: “always embroidering, curling, powdering, painting, his love and ideals, demonstrative, showy, self advertising, happy”.

He was buried in Cheltenham. A quote from Flecker adorns his tombstone: "O Lord, restore his realm to the dreamer".

reception

His early verses reminded contemporaries of Algernon Swinburne and Oscar Wilde , although the reports and the kasidah of the explorer and orientalist Richard Francis Burton had an unmistakable influence on his choice of topics, but in his experimental translations he already shows at the university based on works by Catullus and propertius his typical empathy combined with great originality. Nevertheless, he only developed his full literary imagination in the consular service in the Middle East . Flecker himself saw poetry and contemporary criticism in the interplay quite soberly: “Our poectic criticism, and our poetry (...) are in chaos. It's not the poet's business to save man's soul, but to make it worth saving ”.

Through his sensitive translations of Persian Sufism poets such as Jalal ad-Din Rumi and other Arabic and Turkish works, a certain influence of Arabic poetry on English literature of the early 20th century came through his own works. Flecker also emerged as a translator of French symbolist poets such as Jean Moréas and Henri de Régnier , the parallels with his The Gate of the Armies are obvious.

Jelka Rosen : Portrait by Frederick Delius, oil on canvas, 1912

Hassan was received extremely positively by contemporary critics, because as a melodrama it combines a good and only partly pessimistic morality, while Frederick Delius ' music was felt to be almost too modern for the genre, although some passages are exquisite. Even Maurice Ravel reported in an exchange of letters in 1920 that Basil Dean had offered him the musical intro. Since Ravel was five years behind with his other work at this point, this project did not materialize. After a while, however, Hassan's success was reduced to the mix of theatrical styles, the picturesque costumes and the “bombastic pseudo- Levantic prose ”. In the opinion of some critics, the exuberant set design of the production at that time would have almost crushed Flecker's romantic lines and corresponded more to an oriental musical revue of the time that the audience of the 1930s soon no longer wanted to see. Originally, because of its fashionable subject in an adaptation by James T. O'Donohoe , Hassan was used as a script template for the silent film The Lady of the Harem by Raoul Walsh with Ernest Torrence , William Collier Jr. and Greta Nissen , the Famous Players-Lasky Corporation, as early as 1926 produced and distributed Paramount Pictures . 1937 to handle the substance varied in the early TV series Theater Parade as Hassan in several episodes in which Greer Garson the Yasmin played.

Priscilla Thouless characterized the influence of the Orient on the visualist Flecker in the following way: “The Effect of the East on Flecker was to strengthen his power as visualist, his power of creating in his poems solid blocks of brilliantly colored form. As we read Flecker's Eastern poems the earth glows and shines before us, our minds are filled with clear-cut images: form and thought are at one ". (Basically: "The influence of the Orient on Flecker was that he increased his power as a visualist, his creative power in the poems of solid blocks of brilliant colored form. When we read Flecker's oriental poems, the earth glows and shines before our eyes, our minds is filled with clearly defined images: form and thought are one ”).

Flecker himself saw the influence of the Orient rather ambiguously for his own person: “I consider this (The Gates of Damascus) to be my greatest poem - and I am glad you seem to agree. It was ispired by Damascus itself by the way. I loathe the East and the Eastern and spent all my time there dreaming of Oxford. Yet it seems - even to hardened Orientalists that I understand ".

DH Lawrence rejected him like many of the other Georgian Poets, referring to Marsh in particular by making fun of the rhythms of the rhymes in Golden Journey to Samarkand : "You knew it climbed Parnassus en route ?" , Long poem circled a lengthy dispute even within the English-language critic scene, as Norbert Douglas and other colleagues accused the editor and critic Austin Harrison that he had initially rejected it. In doing so, they lost sight of the fact that Harrison in particular had advocated the publication of Flecker's works several times in the past.

Flecker's colleague at the Georgian Poetrists and dreaded literary critic Edward Shanks devoted himself benevolently to an overall appreciation of Flecker, differentiating in detail between the various poem versions. In doing so, he did not consider him dead at the height of his actual creative power, but perhaps only at the beginning. Interestingly, Shanks saw Flecker's preference for modern languages ​​more as a disadvantage in terms of literary activity. However, unlike many other poets of his generation, who always humbly described himself as someone who wrote verses, Flecker always confidently referred to himself as a poet and derived great responsibility from it. Rupert Brooke told him that almost every conversation with Flecker had degenerated into which of the two was the better poet and Flecker had never left any doubt that he was claiming this privilege for himself. In the novella The Last Generation , Shanks saw a parallel with Gilbert Keith Chesterton . Since Hassan, like many other works by Flecker, was revised several times, Shanks assumed that the work should actually be viewed as unfinished. It is not for nothing that some literary historians today interpret Hassan as one of the few English expressions of a Grand Guignol . He saw don Juan understandably as a failed draft, which would probably never have gone to press without the early death of the author, since the plot was simply too absurd. Here, contrary to expectations, the title character is an English aristocrat who is stalking the daughter of the English Prime Minister , Lord Framlingham. Since he is forcing a war with the German Empire , Don Juan shoots him, whereupon Framlingham is erected a memorial in Trafalgar Square . This statue ultimately draws don Juan down to hell .

The Canadian writer Austin Clarke , on the other hand, emphasized the great influence The Bridge of Fire and The Old Ships had on him at a young age and even helped him to meet FR Higgins, who later became the director of the Abbey Theater.

Flecker's poem “To a poet a thousand years hence”, which is often quoted to this day and for which the English composer Gerald Finzi wrote a setting entitled To a Poet for baryton and piano , which was published posthumously in 1965 , became particularly well known . The most enduring testimony to his reception is perhaps an excerpt from his collection of poems "The Golden Journey to Samarkand" on the bell tower of the crew quarters of the British Army's 22 Special Air Service regiment in Hereford :

“We are the Pilgrims, master; we shall go

Always a little further; it may be

Beyond that last blue mountain barred with snow

Across that angry or that glimmering sea ".

This inscription also appears on the New Zealand Special Air Service monument at Rennie Lines in the Papakura Military Camp.

In the short story The Gate to Baghdad as part of the Parker Pyne Collection, Agatha Christie used the poem Gates of Damascus by James Elroy Flecker as a quote . A single verse from this poem gave the last novel written by the author (in the original poster of fate , i.e. back door of fate ) its title: Age does not protect against ingenuity ;

"Four great gates has the city of Damascus

And four Great Wardens, on their spears reclining,

All day long stand like tall stone men

And sleep on the towers when the moon is shining.

This is the song of the East Gate Warden

When he locks the great gate and smokes in his garden.

Postern of Fate, the Desert Gate, Disaster's Cavern, Fort of Fear,

The Portal of Baghdad on the I, and Doorway of Diarbekir ”.

Delamonte and MacFarlane even used this poem as a metaphor for the possibilities in scientific research or work due to the different characters of the respective gates: For example, the Aleppo gate stands for trade and thus for the search for possible sponsors . The Mecca gate as a symbol of the pilgrimage, on the other hand, stands for loyalty to the scientific method chosen once. The Baghdad - or Lebanon - Gate indicates the more dangerous paths that could possibly promise isolation, but also the more attractive results.

Neil Gaiman used his poem "The Bridge of Fire" in his Sandman series or the single volume The Awakening . Jorge Luis Borges quoted a quatrain of his poem "To a Poet a Thousand Years Hence" in his essay Note on Walt Whitman (Other Inquisitions, 1937-1952) :

"O friend unseen, unborn, unknown,

student of our sweet English tongue,

read out my words at night, alone:

I was a poet, I was young ”.

Friedhelm Rathjen proved, among other things, that James Elroy Flecker was one of those 32 English-speaking authors from Francis Bacon to Israel Zangwill whom Arno Schmidt knew in quotation form only from the Oxford Dictionary of Quotations and which he removed from their original context quite arbitrarily and freely used. In this way they are “particularized and functionally generally narrowed down to the purely illustrative or to the brilliant find”.

In his fictional novel Dreaming of Samarkand, the author Martin Booth constructed a love triangle between Flecker, his wife and Lawrence. In contrast, the Indian writer Vikram Seth in his novel A Suitable Boy , which is set in India in the 1950s, woven Flecker's poems into it as an alternative to the other, invented Victorian verse quotations.

The Registan Square in Samarkand

In a German translation, a quote by Flecker from Hassan , which was rather detached from its context, made it onto the motto page of a travel guide: “The desire to recognize what must not be recognized drives us onto the road to Samarkand ”, the title of one of the 250 most exciting To pay homage to cities of the world. Ironically, Flecker had never seen Samarkand himself, while the few Europeans who had been there in his lifetime, in the face of dilapidated cities and despotic khans, understandably wished they were elsewhere.

In general, this poem also seemed to belong to the citation vocabulary for crime writers, since even John Mortimer brought about a clear allusion (Golden Road to Samarkand) of his main character in the title with Rumpole and the Golden Thread and formulated this later.

In connection with the other poets of Georgian poetry, Myron took Simon Goldring's characterization of Flecker's character as typical for all other representatives of this group: "a real superb craftsman with a real devotion to his art".

It is therefore difficult to agree with the following singular assessment of the 1970s: "Today Flecker is a faded figure, yet of interest for his attempt to escape from Victorianism". (Basically: "Today Flecker is a faded figure, only of interest because of his attempt to break away from the Victorian era .")

Finally, in 1971 , the composer William Alwyn expressly used parts of Flecker's Don Juan as a basis for his opera Juan or the Libertine , and in particular in the libretto his rather ornate style. In Cambridge itself, the works and translations of James Elroy Flecker were to become an integral part of the curriculum for the following generations of Orientalists .

Flecker, like his colleague Adela Florence Nicolson, is relatively unknown in the German-speaking area and the few details about him are usually given incorrectly. This is also the case with Gero von Wilpert , who wrongly assigned some of Flecker's biography and described his poetry as “somewhat artificial, but fluid and melodious”, he simply assigned the dramas to “Weltschmerz”. In the English literary history Ifor Evans , translated into German, Flecker's classification was far more positive: Flecker “remains a poet who is worth reading. His early verses The Bridge of Fire (1907) show the influence of Parnassus from Paris, but he made his authentic contribution only after studying the oriental languages ​​and after long stays in the Orient with The Golden Journey to Samarkand (1913), a poem with new ones , exciting, long rhythms and moved by a fresh, exotic imagination ”.

plant

Poems

• The Bridge of Fire . 1907
• Thirty-Six Poems . 1910
• Forty-Two Poems . 1911
• The Golden Journey to Samarkand . 1913
• The Old Ships . 1915
• Collected poems . (1916) only published in 1947 after it was edited by JC Squire.

Novellas

• The Last Generation: A Story of the Future . 1908
• The King of Alsander . 1914

Dramas

• Hassan . 1922 ( Hassan: The Story of Hassan of Baghdad and How he Came to Make the Golden Journey to Samarkand .)

• The introductory music was written by Frederick Delius in 1920 and played separately in September 1923 before the premiere. In 1924, Delius is said to have monitored the production himself in a wheelchair, despite the increased signs of paralysis in both hands.

• Don Juan . 1925

Other works

• The Grecians . 1910
• The Scholars' Italian Book . 1911
• Collected Prose . 1920
• The Letters of JE Flecker to Frank Savery . 1926
• Some Letters from Abroad of James Elroy Flecker with a Few Reminiscences by Hellé Flecker and an Introduction by JC Squire . London 1930.

literature

• David Crystal: The Cambridge Biographical Dictionary . First edition. Cambridge University Press, 1996, ISBN 0-521-56780-7 , p. 171.
• Douglas Goldring: James Elroy Flecker . 1922
• TE Lawrence : An Essay on Flecker . 1937
• John M. Munro: James Elroy Flecker . 1976
• John Sherwood: No Golden Journey: A Biography of James Elroy Flecker . 1973

Web links

• James Elroy Flecker - Quotes on en.wikiquote
• Works by James Elroy Flecker in the Gutenberg project
• James Elroy Flecker Collection University of Gloucestershire Archives and Special Collections ( Memento of October 5, 2011 in the Internet Archive )
• James Elroy Flecker Collection - Princeton University Library. Manuscripts Division
• James Elroy Flecker in the database of Find a Grave (English)
• The Golden Journey to Samarkand translated into Polish
• Performance of the Serenade From Hassan by Julian Lloyd Webber
• To a Poet a Thousand Year Hence translated into Russian

Individual evidence

1. ↑ Timothy Rogers: Georgian poetry 1911-22: the critical heritage . Routledge 1997, p. 402.
2. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, p. 90.
3. ^ Richard Bevis: Images of Liberty: The Modern Aesthetics of Great Natural Space . Trafford Publishing 2010, p. 92.
4. ↑ David Perkins is relatively singular, denying him any individual style and completely ignoring Flecker's background: David Perkins: A history of modern poetry: from the 1890s to the high modernist mode . Harvard University Press, Cambridge, Mass. 1976, p. 194.
5. ↑ Digital Library Volume 13: Gero von Wilpert: Lexikon der Weltliteratur , p. 4269 (cf. Wilpert-LdW, Authors, p. 468–469, Alfred Kröner Verlag).
6. ↑ JR Smart: Tradition and modernity in Arabic language and literature . Routledge 1996, p. 161.
7. ^ Edward Marx: The idea of ​​a colony: cross-culturalism in modern poetry . University of Toronto Press, Toronto 2004, p. 16.
8. ^ EC Bentley: Complete Clerihews . House of Stratus 2008, SV
9. ↑ In 1905 he was actually advised by the Scottish poet John Davidson , who according to Flecker's testimony, had inspired him to do so. See John Sloan: John Davidson, first of the moderns: a literary biography . Clarendon Press, Oxford 1995, p. 227.
10. ^ John D. Gordan: Letters to an Editor: Georgian Poetry . An Exhibition from the Berg Collection. Ayer Publishing, New York 1967, p. 22.
11. ↑ JR Smart: Tradition and modernity in Arabic language and literature . Routledge 1996, p. 161.
12. ↑ Priscilla Thouless: Modern Poetic Drama . Ayer Publishing 1977, p. 31.
13. ^ Thomas Marc Parrott, Willard Thorp: Poetry of the Transition, 1850-1914 . Books for Libraries Press, Freeport, NY 1972, p. 563.
14. ↑ JR Smart: Tradition and modernity in Arabic language and literature . Routledge 1996, p. 161.
15. ↑ Selected Poetry of James Elroy Flecker (1884-1915). University of Toronto Libraries ( Memento October 10, 2010 on the Internet Archive ). Accessed September 16, 2012.
16. ^ Edward Marx: The idea of ​​a colony: cross-culturalism in modern poetry . University of Toronto Press, Toronto 2004, p. 17.
17. ↑ His reports on the economy of the Ottoman Empire serve as a reliable source to this day, s. Huri İslamoğlu-İnan: The Ottoman Empire and the World-Economy . Cambridge University Press, Cambridge / Paris 1987, p. 279.
18. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, p. 85.
19. ↑ Heather Walker: Roses and Rain . Melrose Books 2006, ISBN 1-905226-06-3 .
20. ↑ Ramachandra Guha: Savaging the civilized: Verrier Elwin, his tribals, and India . University of Chicago Press, Chicago 1999, p. 9.
21. ↑ Priscilla Thouless: Modern Poetic Drama . Ayer Publishing 1977, p. 30.
22. ^ Thomas Marc Parrott, Willard Thorp: Poetry of the Transition, 1850-1914 . Books for Libraries Press, Freeport, NY 1972, p. 563.
23. ↑ The Dundee Repertory Theater even opened in 1939 with a production by Hassan . David Kemp: The pleasures and treasures of Britain: a discerning traveler's companion . Dundurn Press, Toronto 1992, p. 371.
24. ^ Colin Chambers: Continuum Companion to Twentieth Century Theater . Continuum Intl. Pub. Group, 1st ed. London 2002, p. 198.
25. ↑ Priscilla Thouless: Modern Poetic Drama . Ayer Publishing, New York 1977, p. 30.
26. ↑ JR Smart: Tradition and modernity in Arabic language and literature . Routledge 1996, p. 162.
27. ^ Brian Singleton: Narratives of Nostalgia. Oriental Evasions about the London Stage . In: Charlotte M. Canning, Thomas Postlewait (Eds.): Representing the Past: Essays in Performance Historiography . University of Iowa Press, Iowa City 2010, pp. 351-377, here: p. 364.
28. ↑ Jeffrey Richards: Swordsmen of the screen, from Douglas Fairbanks to Michael York . Routledge, London 1977, p. 271.
29. ↑ Priscilla Thouless: Modern Poetic Drama . Ayer Publishing 1977, p. 31.
30. ^ Arthur Waugh: Tradition and change: studies in contemporary literature . Reprint from 1919, Books for Libraries Pr., Freeport 1969, p. 119.
31. ^ John Sherwood: No Golden Journey: A Biography of James Elroy Flecker 1973, p. 35.
32. ^ Philippe Rouet: Approaches to the study of Attic vases: Beazley and Pottier . Oxford University Press, Oxford 2001, p. 82.
33. ^ Myron Simon: The Georgian poetic . University of California publications, Berkeley, Calif. 1975, p. 34.
34. ↑ Harold Orlans: TE Lawrence: biography of a broken hero . McFarland, Jefferson / London 2002, p. 21.
35. ↑ Harold Orlans: TE Lawrence: biography of a broken hero . McFarland, Jefferson, NC 2002, p. 234.
36. ^ John E. Mack: A prince of our disorder: the life of TE Lawrence . Harvard University Press, Cambridge, Mass. 1998, p. 96.
37. ↑ Elizabeth A. Marsland: The nation's cause: French, English, and German poetry of the First World War . Routledge, London / New York 1990, p. 68.
38. ^ Brian Murdoch: Fighting songs and warring words: popular lyrics of two world wars . Routledge 1990, p. 64.
39. ↑ James Elroy Flecker ( Memento of March 3, 2016 in the Internet Archive )
40. ^ The Fortnightly Review, vol. 115, Chapman and Hall 1924, p. 121.
41. ^ Mohit K. Ray: The Atlantic Companion to Literature in English . Atlantic Publishers & Distributors, New Delhi 2007, p. 181.
42. ^ John E. Mack: A prince of our disorder: the life of TE Lawrence . Harvard University Press, Cambridge, Mass. 1998, p. 95.
43. ^ Arthur Waugh: Tradition and change: studies in contemporary literature . Reprint from 1919, Books for Libraries Pr., Freeport 1969, p. 117.
44. ↑ Quoted from: Arthur Waugh: Tradition and change: studies in contemporary literature . Reprint from 1919, Books for Libraries Pr., Freeport 1969, p. 118.
45. ↑ Compare the use in German literature: Hermes A. Kick, Günter Diez: Despair as a creative challenge: psychopathology, psychotherapy and artistic solution in literature, music and film . LIT Verlag Münster 2007, p. 304.
46. ↑ JR Smart: Tradition and modernity in Arabic language and literature . Routledge 1996, p. 161.
47. ↑ A Mirror For French Poetry 1840-1940, oO, oJ, p. 91.
48. ↑ To the selection Delius by Hellé Flecker and Basil Dean; Lyndon Jenkins: While spring and summer sang: Thomas Beecham and the music of Frederick Delius . Aldershot. Ashgate 2005, p. 32.
49. ^ Henry Ainley: Hassan . September 13, 1923. In: James Agate Red Letter Nights . Ayer Publishing 1972, pp. 227-230.
50. ↑ Interlude and chorus would, in the opinion of some musicologists, contain some of Delius' best ideas, see: John M. MacKenzie: Orientalism: history, theory, and the arts . Manchester University Press, Manchester 1995, p. 167.
51. ↑ Delius' piece would have had a longer career and impact than the other contemporary operas of the 1920s, cf. Meirion Hughes, RA Stradling: The English musical renaissance, 1840-1940: constructing a national music . Manchester University Press, Manchester 2001, p. 234.
52. ↑ Arbie Orenstein: A Ravel Reader: Correspondence, Articles, Interviews . Dover Publications, Mineola, New York 2003, p. 202.
53. ↑ Chris Baldick: The Oxford English literary history. Vol. 10, 1910-1940: the modern movement . Oxford University Press 2004, p. 135.
54. ^ Clive Barker: British theater between the wars, 1918-1939 . Cambridge University Press, Cambridge 2000, p. 21.
55. ↑ See Robin W. Winks, James R. Rush: Asia in Western fiction . Manchester University Press, Manchester 1992, p. 46.
56. ↑ http://www.imdb.com/title/tt0017056/
57. ↑ American Film Institute: The American Film Institute catalog of motion pictures produced in the United States , part 1. University of California Press 1997, p. 415.
58. ↑ http://www.imdb.com/title/tt0210458/
59. ↑ Michael Troyan: A rose for Mrs. Miniver: the life of Greer Garson . University Press of Kentucky, Lexington 1999, p. 58.
60. ↑ Priscilla Thouless: Modern Poetic Drama . Ayer Publishing 1977, p. 33.
61. ↑ As an example, possibly The Old Ships . In: Modern Verse in English . Taylor & Francis 1962, pp. 235f.
62. ↑ Quoted from: Thomas Marc Parrott, Willard Thorp: Poetry of the Transition, 1850-1914 . Books for Libraries Press, Freeport, NY 1972, p. 567.
63. ^ Paul Eggert, John Worthen: Lawrence and comedy . Cambridge University Press, Cambridge 1996, p. 187.
64. ↑ Martha S. Vogeler: Austin Harrison and the English review . University of Missouri Press, Columbia 2008, p. 134.
65. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, pp. 84ff.
66. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, p. 86.
67. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, p. 97.
68. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, p. 98.
69. ↑ Dominic Head: The Cambridge guide to literature in English . Cambridge University Press, Cambridge 2005, p. 454.
70. ^ Edward B. Shanks: Second Essays on Literature . Ayer Publishing, New York 1937, pp. 99f.
71. ↑ Cf. Cecil William Davies, Peter Billingham: The Adelphi Players: the theater of persons . Routledge, London 2002, p. 22.
72. ^ Austin Clarke, Gregory A. Schirmer: Reviews and essays of Austin Clarke . Rowman & Littlefield, Gerrards Cross Smythe 1995, p. 144.
73. ^ Gregory Sawin: Thinking & living skills: general semantics for critical thinking . International Society for General Semantics, Concord 1995, p. 14f.
74. ↑ Diana M. McVeagh: Gerald Finzi: his life and music . Boydell Press, Woodbridge, Suffolk, 2005, p. 17.
75. ↑ Trevor Hold: Parry to Finzi: Twenty English Song Composers . Boydell Press, Woodbridge, Suffolk, 2005, p. 419.
76. ^ Peter Popham: SAS confronts its enemy within . In: The Independent , May 30, 1996. 
77. ^ Staff: The Selected Few - Training in the SAS . New Zealand Army . September 15, 2009. Archived from the original on September 18, 2010. Retrieved September 16, 2012.
78. ^ Gates of Damascus ( Memento of May 12, 2008 in the Internet Archive )
79. ↑ Bruce Macfarlane: Researching with integrity: the ethics of academic inquiry . Taylor & Francis, London 2008, p. 38.
80. ↑ Friedhelm Rathjen: Island Windwärts: Arno Schmidt and the literature of the British Isles . BoD - Books on Demand 2008, p. 27.
81. ^ Martin Booth: Dreaming of Samarkand , Morrow, New York 1990.
82. ^ Daniel S. Burt: The biography book: a reader's guide to nonfiction, fictional, and film biographies of more than 500 of the most fascinating individuals of all time . Oryx, Westport, Conn. 2001, p. 239.
83. ↑ Rhoda Koenig: Whoa, Boy . In: New York Magazine, May 17, 1993, p. 84.
84. ↑ See Frances Wood: The Silk Road: Two Thousand Years in the Heart of Asia . University of California Press, Berkeley 2002, pp. 146f.
85. ↑ Philip Dodd, Ben Donald: The Book of Cities: The 250 Most Exciting Cities in the World . National Geographic Germany, Hamburg 2004, p. 302.
86. ^ David Lewis: The temptations of tyranny in Central Asia . Columbia University Press, New York 2008, p. 2.
87. ↑ Nevertheless, the enthusiasm for this quote seems to persist in the English-speaking area: Jamsheed Marker: East Timor: a memoir of the negotiations for independence . McFarland, Jefferson / London 2003, p. 7.
88. ↑ See Brian Lawrenson: Following Marco Polo's Silk Road . Marco Polo Press, 2nd edition Sydney / San Matteo 2010, p. 299.
89. ↑ A. Christian Van Gorder: Muslim-Christian Relations in Central Asia . Taylor & Francis 2008, p. 4.
90. ↑ Brad Buchanan: A Nice Point of Blood: Race and Religion in "Rumpole's Return" . In: Julie H. Kim: Race and religion in the postcolonial British detective story: ten essays . McFarland, Jefferson / London 2005, pp. 29–50, here: p. 42.
91. ^ Myron Simon: The Georgian poetic . Berkeley 1975. p. 69.
92. ^ Douglas Goldring: James Elroy Flecker . 1922, p. 68.
93. ^ Albert C. Baugh, Samuel C. Chew, Richard Daniel Altick: A literary history of England. The nineteenth century and after (1789-1939) . Taylor & Francis, Routledge & K. Paul, London 1975, p. 1579.
94. ^ Adrian Wright: The innumerable dance: the life and work of William Alwyn . Boydell press, Woodbridge 2008, p. 229.
95. ^ Clifford Edmund Bosworth: A century of British orientalists 1902-2001 . Oxford University Press, Oxford 2001, p. 84.
96. ↑ Digital Library Volume 13: Gero von Wilpert: Lexikon der Weltliteratur , p. 4269 (cf. Wilpert-LdW, Authors, p. 468–469, Alfred Kröner Verlag).
97. ^ Ifor Evans: History of English Literature . CH Beck, Munich 1983, p. 97.
98. ↑ http://www.gutenberg.net/etext/3039
99. ↑ See Brian M. Stableford , Glorious perversity: the decline and fall of literary decadence . Borgo Press, San Bernardino 1998, p. 111.
100. ↑ Delius-hassan-review-1923 on thompsonian.info
101. ^ Justin Wintle: Makers of modern culture . Routledge 2002, p. 27.