Browsing by Author "Garside, Charles"

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    Reichsreform and Reformation in Nuremberg: 1517-1533
    (1976) Blackburn, Sadie Gwin; Garside, Charles
    In any analysis of the role played by Nuremberg in the Reformation in Germany from 1517 to 1533, one intriguing question confounds the understanding. Why would a city that had been a leader in the cause of Lutheran Reform refuse to join the Schmalkaldic League of the Protestant Estates when the Protestant Cause was fighting for its life in the Empire? Some historians regard Nuremberg's Reform as so conservative that it was hardly even Lutheran; others see her course as vacillating or aloof according to the interests of the trade of the city, with religious motives always subservient to those economic needs. The best answer thus far to the question in the historical literature on the subject in English is given in Hans Baron's excellent article, "Religion and Politics in the German Imperial Cities During the Reformation." His answer to the question of Nuremberg was not quite satisfying, but the direction of his thought toward a study of the imperial cities in an effort to make sense of the actions taken in Nuremberg during this period proved to be the key to a deeper insight, not only into Nuremberg's motives, but also into the events of the Reformation as a whole in Germany. The first task was to come to an understanding of what it meant to be an imperial city in the Holy Roman Empire in the early sixteenth century. It became obvious that though there was a certain common denominator as to legal status within the Empire, there were vast individual differences among the cities in internal structure and internal sources of power. An examination of Nuremberg's history revealed a very clear-cut internal structure of government, set up and maintained by a group of merchant families, wealthy through international trade and industry, whose control over the city was well-nigh complete. The men of the City Council diagnosed the problems, decided on solutions, and implemented the decisions once made. The next task was to identify these men, understand their thinking, their values, and their motives. These men were not only wealthy and skilled in business and trade, they were well-educated and well-informed. They had operated on an international scale for centuries, and were reasonably adept in the contemporary methods of diplomacy. Not even the Emperor Charles himself surpassed the German merchants in global planning. Therefore, the fact that such men would first lead the Lutheran Reform, then withdraw from it in every way except theologically, posed a truly bewildering problem. After an extensive examination of the events of the period and their sequence, it seems more than probable that the behavior of Nuremberg was determined by the circumstance that some of the south German cities, led by Nuremberg, had adopted a double policy of Reichsreform and Reformation. The effort to establish a strong national government by reestablishment of the hereditary monarchy supported by the economic power of the cities appeared at first to be totally compatible with the establishment of a national church, reformed according to Lutheran principles. The fact that the unfolding of history eventually prevented the achievement of these goals does not detract in the least from the fact that they were both worthy and possible of attainment when Nuremberg adopted them. Nuremberg's struggle to accomplish the great task which she set for herself contains in the telling much of the drama of the Reformation in Europe in the sixteenth century.
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    William Butler Yeats and Edmund Dulac; a correspondence: 1916-1938
    (1981) Hobby, Diana Poteat; Spears, Monroe K.; Doody, Terrence; Garside, Charles
    In 1916 William Butler Yeats, Edmund Dulac, and Ezra Pound were caught up together in the study of Japanese Noh drama, and were experimenting with a production of Yeats' first play using that form, "At the Hawk's Well." This collection of Yeatsfs correspondence with Dulac, which begins in that year, extends through 1938, and takes up all the major concerns of Yeats’s supremely creative later years: occultism, painting, theater, stamp and coin design, Eastern philosophy, and the two great preoccupations of his late poetry: his cyclical theory of history, set forth in A Vision, and his concept of the proper music for sung poetry. Yeats wrote to Dulac as his closest male friend, and their correspondence covers the crucial events of the poet’s later life: his marriage, the American tour, the reconstruction of Thoor Ballylee, the Nobel Prize, Lady Gregory’s death, the Civil War, Maud Gonne’s internment and escape to Ireland, the births of Yeats’s children, his appointment as Senator, his seventieth birthday celebration, his collaboration with Shri Purohit Swami, his infatuation with Margot Collis, the BBC broadcasts of his poetry, and his final illness. Of these 116 letters, only eight are published in Allan Wade’s The Letters of W. B. Yeats, two of them in much abridged form. I include in the notes to the letters several articles which are not, to my knowledge, published in full elsewhere: a 1922 version of the Introduction to the 1925 A Vision, Cecil Salkeld’s memoir of the composition of the "Centaur" poem, Yeats’s account of the incident with Margot Collis at Barcelona, Dulac’s essay, Music and Poetry, his lecture on symbolism, and his account of the visit he and Yeats paid to the occultist, David Calder Wilson. Other letters in the collection which bear on the subjects of Yeats1s correspondence with Dulac are quoted in the notes, including Lily Yeats’s to Dulac concerning the design for the centaur bedspread, Yeats’s to William Maxwell explaining the symbols used in the illustrations for his books, and Margot Collis’s to Dulac. I have divided the letters into eight groups. The first is primarily concerned with the production of the Noh play, the second with occultism, the third with three major design projects which Yeats commissioned from Dulac, and the fourth with the Civil War and the composition of the "Centaur" poem. The fifth is centered around the 1922 Vision Introduction, the sixth covers affairs of state, the seventh the composition of "A Full Moon in March," and a proposed London season of Yeats’s plays, and the last, the broadcasts of his poetry and the ensuing row over the proper music for sung poetry.