Henry Clay's career spanned a half century of a great formative period in American history. This compilation of ten volumes includes Clay's letters, letters to Clay, his speeches, and other documents identified as his personal composition.

This supplement to The Papers of Henry Clay contains documents discovered too late to be included in the proper chronological sequence in earlier volumes. Spanning the years from 1793 to 1852, the items shed important light on Clay's early years in Kentucky, his legal career, and his work for the Bank of the United States.Material dealing with the "Corrupt Bargain" charge is particularly rich, and many of the letters that appear in this volume fill gaps in exchanges already published. Clay's correspondence with Benjamin Watkins Lee of Virginia and Mary Bayard, wife of Delaware senator Richard Henry Bayard, is especially interesting.An essay on Clay portraits by Clifford Amyx, professor emeritus of art at the University of Kentucky, provides a detailed discussion of the paintings, statues, busts, engravings, and daguerreotypes that featured Clay as the subject. Appended to the essay is a calendar listing each major work, the artist, date of completion, and present location.A comprehensive bibliography of works cited in the entire series will benefit researchers seeking information in addition to that provided in the annotations. This supplement is an essential addition to the earlier volumes in the series.

In volume 5 of The Papers of Henry Clay, the second of the series to cover Clay's role as Secretary of State, problems arising from domestic political pressures become significant in the conduct of national affairs both at home and abroad.With the president absent from Washington one-third of the year, Clay's burden and his personal role in the conduct of office are evident. His health becomes precarious, he neglects to take action to forestall embarrassing ministerial faux pas in several areas, and he misjudges the gravity of British alienation—all of these handicaps to the future course of his administration here become manifest.

By studying the diction of Romeo and Juliet, Robert O. Evans examines this, the most rhetorical of Shakespeare's plays, in terms of an Aristotelian critical category, which has been neglected in modern times. Inherent in his methodology is the assumption that Romeo and Juliet is best regarded as drama, not as pure poetry, though essentially it is the rhetorical brilliance of the poetry that is considered. Evans begins with an analysis of the important speeches of Romeo and Juliet and defines the controlling devices Shakespeare wove into them, especially oxymoron. He then follows with a discussion of the role of Friar Laurence, whom the author finds is a catalyst between the warring houses and between the lovers and the outer world of Verona. Evans concludes with an examination of Mercutio's famous Queen Mab speech, which, he points out, has an integral relationship to the structure of the tragedy as a whole.An analysis of the rhetorical devices of the play, Evans believes, demonstrates the thesis that the tragic effect of Romeo and Juliet is one of fulfillment, with the tragedy arising from the character of the protagonists rather than from circumstance.

During the late nineteenth century rapid social and economic changes negated the prevailing conception of the city as a uniform whole. Confronted with this disparity between the old urban definition and the new city of the late nineteenth century, social thinkers searched for a new concept that would correspond more closely to the divided urban community around them. Borrowing an analogy from natural history, these thinkers conceived of the city as an organism composed of interdependent neighborhoods and sought to translate this concept into ways of dealing with the dislocations and problems in urban life. In this new study of American urban history Patricia Melvin traces the growth of the idea of the organic city and the developing emphasis on the neighborhood as the basic urban unit. An early expression of the idea was the settlement house movement, but the most effective application of the idea, Melvin shows, was the social unit organization scheme worked out by Wilbur C. Phillips. As a social planner and organizer, Phillips first tried his approach in New York, then in Milwaukee, and finally in Cincinnati. Although initially successful in dealing with specific issues, Phillips's efforts eventually foundered on friction among ethnic groups and on the opposition of city politicians. Finally, in the 1920s the whole concept of the organic city was supplanted by a new view of the city based not upon a cooperative but upon a competitive model.The Organic City contributes new understanding to an important period of American urban history. Moreover, it shows clearly how important is the role of concepts in shaping the perception of social realities and the attempts to deal with them.

This comprehensive study -- an honorable mention in the 1971 Frederick Jackson Turner Award competition -- traces the emergence and development of the Republican and Federalist party organizations in Virginia and shows how the old oligarchic system based on wealth, influence, and social prestige remained strong in that state after the formation of the new nation. The book covers details of the Virginia Antifederalists' continuing hostility to the federal Constitution, James Madison's switch from the Federalist party to the emerging Republican party, Madison's and Jefferson's attempts to coordinate Republican opposition to Federalist foreign policy, and the Republicans' successful campaign in 1800 to replace President John Adams with a Virginian.Richard R. Beeman's central concern is the style of political life in Virginia and the effect of that style on national party alignments, and his findings demonstrate that the mode of political conduct displayed by Virginia's leaders proved increasingly self-indulgent and dysfunctional by 1800.

Philippe de Vigneulles (1471--1528), cloth merchant and hosier from the city of Metz, wrote a collection of comic short stories which he called Cent Nouvelles ou contes joyeux. The work constitutes an important step in the development of the nouvelle form in France. In an extended explication, Ms. Kotin analyzes the tales for the modern reader, historically, generically, structurally, and in terms of their human significance.Inscribed in a tradition of short narrative forms in late medieval and early Renaissance France, these tales remake or recast traditional narrative patterns into new forms. Philippe de Vigneulles's tales constitute a "recit" of human life, supported by the sympathetic presence of the author and his beloved city of Metz.

Though it has won the Pulitzer Prize, the National Book Award, and the Bollingen Prize, the poetry of Robert Penn Warren still is not widely or well understood. In this study, Victor H. Strandberg redresses this imbalance by providing a comprehensive survey of the poetic canon of this gifted, complex, and much-neglected poet. Warren writes in the tradition of Western poets concerned with the painful experience of a forced, one-way passage from innocence into "the world's stew" of time and loss. This passage, Strandberg explains, results for Warren in bifurcation of the self into warring segments: a "clean" idealistic surface ego, and a polluted "undiscovered self" in the unconscious. Revelation of the "dirty" part of human personality is tellingly evoked in many of Warren's major works. As the poet's vision expands, however, these conflicting elements are unified in a "mystic osmosis of being" whereby "the world which once provoked... fear and disgust may now be totally loved."In addition to close analysis both of individual poems and of the poet's overall development, Strandberg reviews critical opinion of Warren's poetry over the last three decades and assesses his place among fellow poets. Both as "prophecy" and as "art," he concludes, Robert Penn Warren's poetry is so significant, versatile, and excellent "as to rank him among the finest and most fertile talents of his age."

This book is the first to consider the work of Herman Melville's later years as a whole, in the light of his life and reading during those years and of the intellectual and artistic ambience of the later nineteenth century. With the exception of Billy Budd, almost all of the writing Melville produced between 1857 and 1891 is poetry. Until now little attention has been given to the poetry and it has been customary to view Melville's final masterpiece, Billy Budd, against the background of the earlier fiction -- almost as if the writing of the intervening thirty-four years had not existed. William H. Shurr, who has studied the poems with close attention to the Melville manuscripts in the Houghton Library at Harvard University, contends that Melville's poetry merits more attention and appreciation than has hitherto been accorded it. Concerned principally with the maturation of Melville's darker themes, he has been the first to study the carefully designed sequences in which Melville published his poems. He has also discovered in the poems thematic patterns -- among them Melville's heterodox Christology and his concept of a particular kind of individualism found in what he calls the "transcendent act" -- that shed new light on the complexities of Billy Budd.

In this book, Walter Foreman studies the closing scenes of Shakespeare's tragedies, considering the tragic structure of the plays and the shapes the tragic characters give their lives by the way they encounter death.Foreman sees in the variety of tragic endings of the plays evidence that Shakespeare consciously experimented with tragic forms, for when he repeated he also changed, and changed more than superficially. Further, Foreman believes that these varieties and extensions of dramatic form were fundamentally a way of experiencing a various, often mysterious world. Extending and exploring the possibilities of tragic form, the playwright created dramatic worlds that mirror the possibilities of our own.Among the tragedies, Foreman finds three -- Hamlet, King Lear, and Antony and Cleopatra -- that are more complex than the rest. He devotes the three final chapters of his book to the closing scenes of these plays and his readings of them are richly rewarding, giving new insights into Hamlet's acceptance of death, Lear's isolation in a moral storm, and Cleopatra's triumphant staging of her own death.

In 1952, Frank L. Klingberg's article on introvert and extrovert American foreign policy moods projected an American turn toward introversion in the late 1960s. After this came to pass, Jack Holmes began to develop a theory of how these moods might work in a more specific sense. His mood/interest theory points to a basic conflict between politico-military interests and the foreign policy moods of the American electorate.Holmes presents a pioneering account of the over-whelming impact of public moods on foreign policy. Policy-making structures, executive-legislative relations, presidential personality, pragmatism, moralism, elitism, conservatism, international economics, and humanitarianism are related to the mood/interest pattern. Major points are illustrated with examples from 1776 to the present.Holmes's analysis indicates that American moods are continuing unabated according to past patterns, so that American foreign policy may undergo some surprising changes in the next decade. One of the author's hopes is that emphasis on the importance of national moods will help avoid future extremes.This book is bold in its assertions and points to major problems in the analysis of American foreign policy. Whether or not the reader agrees with the entire analysis, he or she will be challenged to think about American foreign policy in new and perhaps revealing ways.

"I got to be a millionaire afore I know'd it hardly," remarked the Wall Street financier Daniel Drew (1797-1879).An uneducated farm boy from Putnam County, New York, he became in turn a successful cattle drover, a circus clown, tavern keeper, a shrewd Hudson River steamboat operator, and an unscrupulous speculator. As the colorful "Uncle Daniel" of Wall Street-his whiskered face seamed with wrinkles and twinkling with steel-gray eyes -- time and again he disrupted the financial markets with manipulations whereby he either won or lost millions of dollars. Having "got religion" upon hearing a scary hell-fire sermon at the age of fourteen, Drew was also a fervent Methodist. Rumors of his financial operations--epic struggles that pitted him against Cornelius Vanderbilt, Jay Gould, and Jim Fisk, and that subjected him to threats of arrest and even kidnapping, and on one occasion to a most undignified flight from the state-baffled and disturbed the Methodists, who admittedly had little grasp of Wall Street but knew firsthand Brother Drew's tearful repentance at prayer meetings and his generosity in founding churches and seminaries.With its dual commitment to religion and rascality, Drew's career is a rich study in contradictions, an exciting chronicle of high drama and low comedy capped by bankruptcy. To understand Drew in his complexity, the author argues, is to get a grip on the heady and exploitative age that produced him -- the yesterday of "smartness" and "go ahead" that helped engender the America of today. Based on primary sources, this is the first full-fledged biography of Drew, who hitherto has been known chiefly through a fictionalized and fraudulent account of 1910.

Thomas Mann predicted that no manner or mode in literature would be so typical or so pervasive in the twentieth century as the grotesque. Assuredly he was correct. The subjects and methods of our comic literature (and much of our other literature) are regularly disturbing and often repulsive -- no laughing matter. In this ambitious study, John R. Clark seeks to elucidate the major tactics and topics deployed in modern literary dark humor. In Part I he explores the satiric strategies of authors of the grotesque, strategies that undercut conventional usage and form: the de-basement of heroes, the denigration of language and style, the disruption of normative narrative technique, and even the debunking of authors themselves. Part II surveys major recurrent themes of grotesquerie: tedium, scatology, cannibalism, dystopia, and Armageddon or the end of the world.Clearly the literature of the grotesque is obtrusive and ugly, its effect morbid and disquieting -- and deliberately meant to be so. Grotesque literature may be unpleasant, but it is patently insightful. Indeed, as Clark shows, all of the strategies and topics employed by this literature stem from age-old and spirited traditions.Critics have complained about this grim satiric literature, asserting that it is dank, cheerless, unsavory, and negative. But such an interpretation is far too simplistic. On the contrary, as Clark demonstrates, such grotesque writing, in its power and its prevalence in the past and present, is in fact conventional, controlled, imaginative, and vigorous -- no mean achievements for any body of art.

American writer Julien Green's (1900--1998) origins, artistic motivation, and identity was a source of mystery and confusion even for those that most fêted him. The first non-French national to be elected to the Académie française, Green authored several novels ( The Dark Journey, The Closed Garden, Moira, Each Man in His Darkness, and the Dixie trilogy), a four-volume autobiography ( The Green Paradise, The War at Sixteen, Love in America and Restless Youth), and his famous Diary.In this study, John. M Dunaway begins with an examination of the autobiographical context of Julien Green's works, in which the duality of mystic and sensualist is quite clearly polarized. He then proceeds through a selected series of Green's fictional works in an attempt to show the birth and nature of the third self as a personal myth of the artist. He then considers the fiction in chronological order with the intention of demonstrating the evolution of the myth of the third self in Green's career.

During the twenty years before World War I, several key figures worked to improve the foreign service and to reform its appointment system. Richard Hume Werking explores both the methods and the motives of these "master architects." Unlike other scholars, Werking finds that the foundations and general structure of the United States foreign service emerged before World War I. He sees its development as prompted less by foreign crises than by economic conditions -- particularly the need to stimulate export trade. Indispensable to its growth were the dedicated efforts of bureaucrats who were loyal to national interests but wished the opportunity to do interesting work and to receive recognition when they did it well.

The twelve essays in this fiorilegio of the work of Otis H. Green afford a representative view of the thought and scholarship of one of the world's foremost Hispanists. In each of them is developed some important facet of the intellectual milieu of the Middle Ages and Renaissance, reflecting Otis Green's life-long and wide-ranging quest for evidence that would broaden our understanding of those complex periods and correct the misapprehensions which have gathered about them. Included are important sections of his great work, Spain and the Western Tradition and essays from journals now difficult to obtain or out of print. This book provides a valuable introduction to Spanish thought and to the work of a scholar who has done much to elucidate it.