FOOTNOTES
[1] Evander: Mr. Eden Phillpotts, (1919).
[2] e. g., A Friend of Caesar: Mr. William Stearns Davis, (1900).
[3] Princess Salome: Dr. Burris Jenkins, Lippincott, Phila., (1921).
[4] Pomponia, the Gospel in Caesar’s Household: Mrs. J. B. Peploe Webb, (1867), (Presbyterian Publication Company, o. p.).
[5] Emma Leslie in Sowing Beside All Waters, etc., furnishes a clear example of the most worthless kind of work to be found in the form of the story of religious instruction.
[6] Scott rarely made a great historical character the central figure of a novel. An exception is seen in the character of Queen Mary in The Abbot.
[7] Prefatory Letter to Peveril of the Peak.
[8] Scott’s Introduction to Ivanhoe.
[9] Mr. Borden’s list of novels of Roman life by foreign authors is:
Nero: Ernst Eckstein, (1889)
A Thorny Path: George Ebers, (1892)
Quo Vadis: H. Sienkiewicz, (1895)
The Death of the Gods: D. Merejkowski, (1901)
[10] The Progress of Romance (1785).
[11] General Preface to the Waverly Novels.
[12] For a more complete outline of the tendencies of the romance at this time, see The Development of the English Novel: Wilbur L. Cross.
[13] This motive is used in Mr. E. L. White’s Andivius Hedulio, and in Baring-Gould’s Perpetua; in each of these novels the hero makes his escape through the drain.
[14] Thomas Love Peacock said The Epicurean was “not faithful to ancient manners, and ignorant of Epicureanism.”
[15] The date 1827 is given in the publisher’s note to the 1901 edition, as the date when Salathiel was first published. This is evidently a mistake on the part of the publishers (Messrs. Funk and Wagnalls), since 1829 is given as the original date of publication by historians of the novel (e. g., George Saintsbury in The English Novel), and in biographical accounts of Croly (e. g., The Dictionary of National Biography, etc.).
[16] Josephus is the direct source usually, and always the ultimate source of all novels which take the siege of Jerusalem for their theme. cf. Whyte-Melville’s The Gladiators.
[17] Croly’s classical scholarship is especially well displayed in his Catiline, which tells in the form of a verse drama the story of the famous conspiracy against the Roman republic.
[18] Since Bulwer wrote for many years under this name, before he became the Earl of Lytton, it is quite permissable to use the shorter form of his name.
[19] The scene of Valerius, of course, opens in Britain, but nothing of importance to the story happens there. This is doubtless a mere device to arouse the interest of English readers in the hero by hinting at the connection of “Roman” Britain with Rome.
[20] The date 1840, given in some guides to historical fiction, has been found to be incorrect.
[21] Hypatia was begun as a serial in Fraser’s Magazine in 1851.
[22] In regard to Kingsley’s choice of Hypatia for his heroine, it should be said that she typifies the last adherent of Greek philosophy, and this is the real reason she is chosen. There is, however, a marked similarity between Kingsley’s heroine and Ware’s Zenobia. Both were women who aspired to power, independent of the Roman government; and both conceived the idea of relying on male counselors. Hypatia, in speaking of Philammon, says: “If I could but train him into a Longinus, I could dare to play the part of a Zenobia, with him as counselor... And for my Odenatus—Orestes?” She did indeed attempt to follow this plan, even forming an alliance with Orestes, whom she detested. But even if Kingsley’s heroine was in part suggested to him by Ware’s Zenobia, this is not to be considered an important reason leading to the writing of Hypatia.
[23] For this aspect of the Oxford conspiracy, see George Borrow’s Lavengro, (1851), and The Romany Rye, (1857); also W. L. Cross, The Development of the English Novel, p. 211, and W. L. Gates, Essay on Newman, in Three Studies in Literature, N. Y., (1899).
[24] These quotations are all from the same letter, which may be found in Charles Kingsley; His Letters and Memories of His Life, edited by his wife: Scribners, N. Y., 1894, abridged from the London Edition.
[25] Quoted from a notice of the English translation by M. J. Safford. The notice appeared in a contemporary number of The Spectator, St. Louis.
[26] From a contemporary review in The Mail and Express, N. Y.
[27] Among authors cited are Virgil, Pliny the Elder, Martial, Cicero, Seneca, St. Jerome, Juvenal, Tacitus, Plautus, Dion Cassius, Aulus Gellius, Aurelius Victor, Suetonius, Ovid, Ammianus Marcellinus, Tertullian, and a number of others.
[28] Wallace owes little in the chariot-race scene to Quinton’s The Money God, though a similar scene in The Money God has been pointed out.
[29] Arthur Hobson Quinn, Professor of English and (former) Dean of the College, University of Pennsylvania, in The American Novel—Past and Present; Lectures by the Faculty, 1913-14, p. 302.
[30] J. M. Murray, The Problem of Style, (1922); quoted in The Classical Weekly February 26, 1923.
[31] The Temptation of St. Anthony is probably the best example of dream literature in the world, and Mr. E. L. White may have had in mind this method of transporting one’s thoughts to the past, when he was collecting material for Andivius Hedulio (1921).
[32] See his letter to Mr. Maurice, January 16, 1851 (already quoted), in Charles Kingsley, Letters and Memories of His Life, ed. by his wife, abr. from London ed., Scribner’s, 1894.
[33] Author’s Note to the Reader.
[34] Walter Pater, a Critical Study, by Edward Thomas, N. Y., 1913.
[35] Mr. F. S. Dunn, while speaking with due reverence of Pater’s chaste diction and chaster ethics, notes two trifling errors made in Marius the Epicurean in regard to the topography of Rome. (F. S. Dunn, The Historical Novel in the Classroom,—Classical Journal, April, 1911.)
[36] Quinton in The Money God, had spoken of the two favorite bears of the Emperor Galerius, giving as his source Lactantius, de Morte persecutorum, cap. 21.