I am well aware that the expression interpretative syntax has not the prestige of previous usage. Indeed no one at all familiar with the modern trend of syntactical studies could say that they serve in the slightest degree as aids in the interpretation of literature. It seems to be assumed that syntax has nothing to do with literary criticism or with stylistic effects. And as the study of English syntax is now conducted, one can hardly imagine two persons more alien in their aims and methods than the literary critic and the writer on syntax.

To the mass of romances current during the Middle English period of our literature, the contribution of purely Germanic tradition was a relatively meagre one. The spirit which had produced the earlier epic was at this time extinct. A solitary offshoot of the earlier epic seems to have survived in the story of the dragon-killing Wade with his famous boat, Guingelot. But even this story is lost to us save in occasional references, and from these we must infer that all definite idea of its origin was lost, since it is associated, now with Weyland, now with Horn and Havelok, now with Launcelot. To these earlier tales, such as those of Beowulf and possibly of Wade, having a popular, epic origin, succeeded in the Middle English period a mass of tales and romances of the most diverse origin imaginable. Even in the popular romances of Guy of Warwick and Bevis of Hampton, which are supposed to contain a kernel of genuine English tradition, the original story is almost lost amid the mass of mythical, imaginary, or purely conventional matter later added. The historical events in the lives of Waldef and Hereward are embellished with much of the conventional romantic matter, and the late romance of Richard Coeur de Lion consists very largely of the purely conventional.

During the reign of James I., court-masques attained a great importance both as splendid spectacles and in the literature of the time. They were very numerous, were produced at great expense, and engaged the services of the best poets of the day. Usually performed at a marriage, or on some festival like those of the Christmas season, they consisted primarily of two parts, (1) the dramatic dialogue usually setting forth some allegorical or mythological device which formed the basis of an impressive spectacle, and (2) the dances interspersed with songs and accompanied by music. These dances were performed by ladies and gallants of the highest court circles, the queen often participating. In addition to these elements, about the year 1608 a third appeared, the anti-masque, consisting of grotesque dances by ‘antick’ personages. These comic anti-masques at once became exceedingly popular and played no small part in the entertainments. The antic dancers were almost always actors from the public theatres.

This paper was begun with the expectation of dealing somewhat fully with one large division of Pendennis, but as the investigation proceeded, ample material was found for a report of usual length in the one topic of characterization; hence, other topics have been omitted. The word ‘beginning’ is used technically to include the early part of the book up to the point where the chief opposing elements of the entire action face each other. If the essence of a story consists in a conflict of forces, the beginning cannot logically end with the introduction of one set of these forces, nor is it extended into the active struggle between them, for this makes the middle of the action. The point of juxtaposition of the two sets, therefore, if not the point of opposition, must form the end of the beginning.