University of Santa Clara - Redwood Yearbook (Santa Clara, CA)

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THE REDWOOD 11 That laughter like fairy bells tinkling On your lips ever lovely lies ; Lips that I know are rosebuds blown From bleeding sunset skies; That laughter like streams that gurgle And purl on an upland lawn, Laughter shaming Pipes of Pan, or Lilting of larks at dawn. But your laughter that eve we parted Held hint of fettered tears For you promised to think (remember?) Of me in the waning years. And I sometimes have to wonder Does only myself hold debt, And you, my love forgive me. And you are fain to forget? So please send a line to me, love, And be sure my heart will dance Tf you say your heart is with someone, Someone somewhere in France. W. KEVIN CASEY

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umptuljfrf in xmti The battle breaks to-morrow So I thought I ' d seize my chance f Of penning a line to someone Whose heart is somewhere in France. I know I am presumptuous, But mayhap I have good cause — For drowning of homeland longing One clings to homeland straws. And I ' m sure that you remember That eve that we said good-bye — Bound with clouds the sun lay drowning In a seething sea of sky. Lighting the cliffs about us With his last faint, feeble smile. Lighting those bastioned ledges And your own sweet hair the while ; That hair in its brown bright luster Spun from moonbeams seems, And your sweet eyes darkling dimpled Somehow divining my dreams. For I saw in my mind on the morrow Grey ships on the salt grey foam. And I vowed that I ' d remember Your laughter in thunder at Somme. 10

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The Nineteenth Century Novel Norbert Korte HE exact birth of the modern novel and its precise stages of devel- opment have always been a great bugbear to the I V 1 essayist. So much so in I iJ A ' wisest 8 l wff Ij critics abstain from at- tempting to exactly mark them out. What is certain, however, is that about the beginning of the second quarter of the eighteenth century, the period im- mediately succeeding the appearance of Defoe ' s work, there began a develop- ment of the prose novel and that this movement, due in part to one group of great writers of this style, had made very great progress by the beginning of the third quarter. It is at this time that we find Lady Montague in Italy, receiving boxes full of new novels from her daughter in England. Up to this date we can only say that there was an ever great deter- mination and concentration towards completed prose fiction. How complete this form was, is readily seen in its use in two such different ways by two such different men as Swift and De- foe. At the end of this quarter, the novel, in its incomplete and rude form had taken quite a hold upon the public and had gradually enlisted more and more the attention of the reading part of the nation. It was, at this time, that the works of Fielding, Richardson, Smol- lett and others came into prominence. Of these perhaps Fielding was the greatest. He broke away from the old severity of the seventeenth century, and by shaking off the uncouthness of pedantry and conceit had put prose into such a fictitious working, that the accomplishments hitherto gained only by the dramatist and the poet were achieved in a much larger and fuller manner through the practical re-crea- tion and presentation of life, possible only to the novelist. However, despite the great achieve- ments of these men, the novel still ranked low, nor altogether undeserved- ly. It was too apt to abase and annoy in sentiment or to grumble and com- plain in moralizations. No writers of Fielding ' s type had arisen to infuse a broadness into it, and at the same time, keep it close to contemporary life. Al- though the historical type, after many attempts and failures, was becoming popular, still no one had in the least succeeded with it. It is true that the last decade of the century saw an ex- tensive amount of novel writing and that the talent displayed by some of the 12