bluuebunny/crossref_metadata_2025 huggingface dataset:
“The Personal System”-Samuel Beckett's Watt
Authors: Mood John J.
Published: February 2007

Beckett's novel Watt portrays the titular protagonist in the midst of a world which has crumbled. Watt attempts to solace and comfort himself by constructing logically complete and correct mental systems. These systems are the famous lists, series, combinations, and permutations which constitute a third of the novel. Little attention has been paid to this major feature of Watt. A close examination, however, uncovers enough unobtrusive but real flaws (omissions, incorrect items) in these series and combinations to support the conclusion that these mistakes are deliberate. Thus, Watt's attempts at an internal personal system, and the personal systems themselves, are as unreliable as the external world.
A Fact Which Should have been Included in “Whitman's Earliest Known Notebook: A Clarification”
Authors: Shephard Esther , Broderick John C.
Published: February 2007

That Whitman materials were by official directive for a time “sequestered from public use” ought to have been included in the part of Broderick's note (PMLA, 84, 1969, 1657) which deals with the availability of the Harned Collection for public consultation.
King Robert of Sicily: Analogues and Origins
Authors: Hornstein Lillian Herlands
Published: February 2007

The middle english poem King Robert of Sicily (King Roberd of Cisyle) is at one and the same time a metrical romance and an exemplum on the theme that the proud and mighty are brought low. The pious tale relates how a king, arrogant and boastful, is displaced from his throne by an Angel-usurper until the debased and beggared king learns proper humility. The story was widely known in the Middle Ages, both in Latin and in the vernacular tongues. Curiously enough, the poem has aroused almost no interest among English scholars, although the medieval English version achieved a well-merited popularity in its own day. It is indeed an affecting and carefully wrought narrative, sensitive to the tragic ironies of the pious “reversal.” Further study of this poem and its close analogues reveals the superiority of the English version; and its skillful synthesis of themes from folklore, Biblical commentary, and history not only encompasses a discriminating artistry, but provides fresh evidence of the process by which Biblical exegesis was transmuted into legend and into romance.
L'Honnete Homme Devant La Nature, Ou La Philosophie Du Chevalier De Méré
Authors: Benay Par Jacques G.
Published: February 2007

Jusqu‘à présent la plupart des études consacrées au sentiment de la nature au XVIIe siècle ont eu pour but d'infirmer les thèses de Lanson et de Brunetière en s'efforçant de prouver par des exemples précis l'existence de ce sentiment à une époque réputée pour sa peinture exclusive de l'homme. Mais ce grand pas étant accompli, d'autres questions se posent. Il conviendrait de déterminer dans quelle mesure le sentiment de la nature affecte certains courants de la philosophie, de la morale ou de l'esthétique au XVIIe siècle. Il importerait aussi de se demander comment l'homme sensible au spectacle du monde pense l'homme. Peu d‘écrivains de cette époque furent plus sensibles à ce spectacle que le chevalier de Méré. En même temps personne ne contribua plus que lui à définir l'idéal de “L'Honnête Homme.”
Smollett and the Benevolent Misanthrope Type
Authors: Preston Thomas R.
Published: February 2007

The success of smollett's Humphry Clinker has been attributed largely to the novel's central character, the misanthropic sentimentalist from Wales, Matthew Bramble. In Matt Bramble, Smollett finally created an acceptable, nonmalicious satirist who could express benevolently and yet virulently the satire he had been striving to write in his earlier novels. Matt's misanthropy, which evokes from him the invective of the traditional railing satirist, derives from several interrelated causes. In the first place, Matt is a valetudinarian who has not dwelt in the busy haunts of men “within these last thirty years.” Matt often appears as somewhat of a querulus laudator temporis acti, even though he wishes to deny it. He admits that the “rotten parts of human nature” have probably always existed, but his sudden reappearance into the world suggests to him that mankind has “contracted an extraordinary degree of depravity” since his youth. In the second place, Matt suffers physically from the gout and the spleen, so that, as his nephew, Jery, writes, “his peevishness arises partly from bodily pain, and partly from a natural excess of mental sensibility” (xi, 20). Matt is, then, in part an eighteenth-century splenetic humorist whose misanthropy can be traced medically to the humorous melancholy cynics and misanthropes of the Renaissance character-books and Stuart drama. In Con-greve's words, the “character of a splenetic and peevish Humour” displays itself in a “satirical wit.”
Nietzsche in Spain: 1890–1910
Authors: Ilie Paul
Published: February 2007

The Nietzschean presence in Spain between 1890 and 1910 needs more ample documentation even though Nietzsche is already considered the spiritual leader of the Generation of '98. Critics have overlooked his effect on other intellectuals who were not members of the '98 group but whose attitudes constitute an important chapter in Spain's history of ideas. At least three different generations affect a given historical reality by a process of conflicting rhythms that Ortega has called “el anacronismo esencial de la historia” (En torno a Galileo). It would be useful, therefore, to isolate the intellectual background against which the Generation of '98 acted in order to see how the former differed in its position toward Nietzsche. I have tried to do this by excluding from this study members of the Generation of '98 whose positive orientation to the philosopher is known. Since periodical literature is, because of its rapid gestation, the most accurate reflection of evolving ideological positions, I have relied a good deal on such material here, although in several cases I was unable to consult complete sets (Juventud, Mercurio, Revista Blanca, Revista Ibérica, Vida y Arte). This essay is descriptive and synthetic rather than analytic. It begins with the reception given Nietzsche in Spain, tracing the extent to which he was read and discussed (I). Next is an account of the diffusion of his ideas and their influence upon young intellectuals (II). Then follow sections dealing with specific topics: critical reaction to Nietzsche's method (III), the Superman and his sociological relevance (IV), ethics and will (V), art (VI). The final section attempts to focus the Nietzschean phenomenon historically, and weighs the importance of the German's biographical image in Spain (VII).
George Eliot and the Unified Sensibility
Authors: Feltes N. N.
Published: February 2007

“I have been reading Newman's Apologia pro Vita Suâ,” wrote George Eliot in 1868, “with such absorbing interest that I found it impossible to forsake the book until I had finished it. ... I have been made so indignant by Kingsley's mixture of arrogance, coarse impertinence and unscrupulousness with real intellectual incompetence, that my first interest in Newman's answer arose from a wish to see what I consider thoroughly vicious writing thoroughly castigated. But the Apology now mainly affects me as the revelation of a life—how different in form from one's own, yet with how close a fellowship in its needs and burthens—I mean spiritual needs and burthens.”
Pure Exercise of Imagination: Archetypal Symbolism in Lord Jim
Authors: Gose Elliott B.
Published: February 2007

Although there is an obvious virtue in a plot which moves directly through time and space, the final justification of form is how well it conveys the author's theme, his vision of life. Conrad experimented with form: we must keep in mind his habitual refusal, beginning with Lord Jim, to follow a straight time sequence. In Lord Jim, Marlow the narrator is responsible for the complexity of time shifts which characterizes both the Patna and Patusan episodes. And the fact that the plot does break into two discrete actions makes the form of Lord Jim a special problem. Thematically, this break is compensated by a myriad of small parallelisms in action and image. While enlightening, the binding quality of such parallelisms (much noted by critics recently) goes only part way toward remedying the split. A more satisfactory approach to the problem is to assume that the two episodes represent the necessary embodiment of Conrad's conception. I would say that, in Lord Jim, Conrad came the closest he ever did in his attempt “to render the highest kind of justice” not only “to the visible universe” as he affirms in the Preface to The Nigger of the “Narcissus,” but also to the invisible universe within. In the same preface, Conrad asserts that “the artist descends within himself, and in that lonely region of stress and strife, if he be deserving and fortunate, he finds the terms of his appeal.” And “his appeal is made ... to that part of our nature which . . . is . . . kept out of sight.” In Lord Jim, Conrad's aim and his triumph was to explore the world of the imagination more thoroughly than he had in Heart of Darkness or ever would again.
Brecht Und Die Bibel
Authors: Brandt Von Thomas O.
Published: February 2007

Im Jahre 1928 wandte sich die deutsche Zeitschrift Die Dame an die literarische Prominenz mit der Aufforderung, sich zu dem Thema “Der stärkste Eindruck” zu bekennen. Am 1. Oktober erschien in den “Losen Blättern”, der Beilage des Blattes, Bertolt Brechts Abhandlung zu dieser Enquete. Sie bestand aus einem einzigen Satz und lautete: “Sie werden lachen: die Bibel.”
Metacommentary
Authors: Jameson Fredric
Published: February 2007

Although instinctively formalistic, modern criticism has avoided the basic problem of interpretation: not what a universally valid method should be, but why there should have to be any interpretation in the first place. Whence the first principle of metacommentary: each interpretation must account for the necessity of its own existence. Russian Formalism is the model of a criticism which refuses to interpret: it is unable, however, to deal with diachrony, and in particular with the novel as a form. The second principle of metacommentary: the fact that a work needs no interpretation (as in the novel of plot) is itself something to be explained. Thus, the possibility of plot reveals a wholeness in the society that produces it. To the evolution of the plotless novel corresponds the structuralist hermeneutic, with its reading of the work as a single sentence or as a system of binary oppositions. Structuralism can be transcended by the realization that its abstract mental categories are in reality historical moments. The ultimate model of metacommentary is one which, distinguishing the manifest and latent contents of the work, then seeks to account for this distinction (or repression). Since the latent content is an experience, the elaboration of the work corresponds to a question about the possibilities of Experience itself, and the disguises of the content to an attempt to conceal the causes of the limitation of experience in the social situation.
Samuel Johnson and Traditional Methodology
Authors: Wright John W.
Published: February 2007

An important and currently relevant statement about the role of methodological discourse in literary criticism is contained in the writings of Samuel Johnson. Johnson's relationship to the mainstream of western methodology is examined with particular reference to one of his main sources, Sir Isaac Newton's account of the method of analysis and synthesis. Central concepts of the tradition Johnson received are illustrated from various other writers who shaped the discourse he adapted to the purposes of his literary investigations. It was Johnson's achievement to bring the fruits of this discourse about method in science and philosophy into the arena of literary criticism and to show as no other English critic before him had the importance of rigorous attention to the complicated relationship between phenomena and received opinion in literary inquiry and what the requirements were for knowing something in critical discourse.
The Death of Masterman: A Repressed Episode in H. G. Wells's Kipps
Authors: Wilson Harris
Published: February 2007

The article brings to light from the University of Illinois Wells Archive a substantial repressed episode from Kipps. In the episode, Masterman, the dying socialist, visits Kipps and his wife, Ann. In the course of his visit, which ends with his death, Master-man expresses his socialistic and utopian views of society. Masterman finds practical application of his views in the house Kipps is having built. But a single house proves too confining for Masterman's utopian visions and, by the time of his death, he has designed a plan for an entire utopian state. Masterman's views were to bring Kipps to an increased social and self-awareness that he never achieves in the published version of the novel. The episode is of literary value in itself, but more valuable in terms of what its omission means to the tone and structure of Kipps, and of still wider value as historical testimony to the nature of Wells's struggle to reconcile the claims of art and of propaganda in Kipps and generally through his major novels in the years from 1900 to 1910.
Notes on the Antecedents of Anna Christie
Authors: Flory Claude R.
Published: February 2007

A letter from O'Neill to John Rogers, an actor in Tyler's production of “Chris,” refers to the play as “a frank experiment in dramatic construction.” Jordan Y. Miller alleges that elements of “The Ole Davil” were subsequently “combined with ‘Chris’ to become the final 'Anna Christie.' ” However, an examination of the manuscripts discloses that there was really nothing “experimental” in “Chris” and that “The Ole Davil” is virtually an alternate title for Anna Christie, with at least ninety-five percent of the text of “Davil” being identical with the published text of Anna. O'Neill complained of Tyler's cutting “Chris” during the productions in Atlantic City and Philadelphia, but this was apparently greatly exaggerated. When the playwright himself reworked “Chris” into “The Ole Davil” and finally Anna Christie, he deleted nine of the seventeen original characters and reduced his manuscript by ten thousand words. But Paul Anderson of “Chris” is a much closer antecedent of Mat Burke than most critics have indicated. There are many verbal parallels between the first Christopherson play and the last. A comparison of the manuscripts is an enlightening study of O'Neill's maturation.
Adam's Lobectomy Operation and the Meaning of All the King's Men
Authors: Simmons James C.
Published: February 2007

The brief scene in which Jack Burden observes the prefrontal lobectomy performed by his friend Adam Stanton is crucial to the novel's meaning, allowing Warren an opportunity to gather economically together most of the major themes of the novel. On one level Warren intends an analogy between Jack Burden and the anesthetized patient on the table who is in a very real sense Jack's double, a grotesque reflection of certain crucial aspects of his own character. And by forcing the confrontation, Warren achieves in a brilliant stroke a parody of portions of the novel's larger action, allowing himself the opportunity to recapture in symbolic form Jack's life and attitudes to date while simultaneously offering implicit criticism of that life and those attitudes. Warren further utilizes the scene to illuminate the meaning of Jack's flight West and the subsequent adoption of the mechanistic theory of the Great Twitch. In addition, the scene, by the nature of the operation, is a symbolic representation of the theme of division so pervasive throughout the book and may be viewed in retrospect as one step toward the resolution of this conflict.
Dancourt's Regency Plays
Authors: Pitou Spire
Published: February 2007

All but one of Dancourt's extant regency plays remain unexamined and unappraised despite the acknowledged importance of this author's contribution to the French classical theatre. An inquiry into the nature of his last comedies reveals that, despite his imminent retirement from membership in the royal troupe, his talents continued to prove effective in the enthusiastic atmosphere accompanying the revival of the dramatic arts in Paris after the death of Louis XIV and the closing of Versailles. Le Prix de l'arquebuse (1717) reflects the gay spirit of the era in the provinces and re-creates events attendant upon a rural shooting meet. Les Dieux comédiens (1717) is inspired by Plautus' Amphitryon but relies for its comic effects upon the wit and ingenuity of the French playwright. La Déroute du pharaon is largely a satire on gamblers, and it holds up to ridicule a recent decree against gambling by the government. Dancourt's work continued to be popular and timely after 1715 because of his ability to adjust to the demands and tastes of regency audiences, but the bulk of his work and the best of his plays were written during the reign of Louis XIV, despite the persistent tendency of literary historians to consider him an eighteenth-century personage.
Madame de Staël, Rousseau, and the Woman Question
Authors: Gutwirth Madelyn
Published: February 2007

In 1814 Mme de Staël published a curious second preface to her Lettres sur les ouvrages et le caractère de J.-J. Rousseau (1788), her first important published work. In this new preface she shuns all discussion of Rousseau and simply restates her own ideas concerning woman. In her youthful work, despite occasional differences with Rousseau on other matters, Mme de Staël had espoused his idea of woman, abandoning all claims to feminine achievement for a Rousseauist enchantment with love. Her conception of woman, basically conservative, derived from a deep need not to diverge from the prejudices of her beloved father, whose notions paralleled Rousseau's. Mme de Staël's life departed radically from the conservative mold, however, and she experienced great difficulty in evolving a personal stand that could reconcile her confidence in her own gifts, emphasized in a passage from De la littérature, and her ideal of marital love, most explicitly stated in a chapter of De l'Allemagne. The second preface recapitulates these conflicts, but as an oblique reply to Rousseau's strictures on the woman of letters it is both an apologia for having lived the literary life and an understated espousal of the principle that the use of one's faculties is a positive good for all women.
L. A. Beaurline and the Illusion of Completeness
Authors: Jensen Ejner J. , Beaurline L. A.
Published: February 2007

Scholarship, like most human activities, has its fashions. One mode very much in the ascendant at the moment is that which concerns itself with the relation between literary forms and other intellectual structures in a given era ; its method might be described as a combination of the history of ideas with a sort of formalism. L. A. Beaurline's recent article on Ben Jonson, in its design and strategy, illustrates this approach.1 The overall design of such a paper may be indicated as follows: the scholar describes a concept for which he claims wide intellectual acceptance; next, he shows how this concept may be traced in certain literary works. After this initial demonstration, his strategy consists primarily of moving between specific works of literature and other manifestations of the concept to show how each class illuminates the other and how each substantiates the other's status. The end of all this activity is not merely increased understanding of the temper of an age, nor is it merely a clearer view of the works under discussion; ideally, it is both.
Stanzas 140–150 of the Libro De Buen Amor
Authors: Ullman Pierre Lioni
Published: February 2007

Scholars are generally agreed that the three main extant manuscripts of the Libro de buen amor represent two redactions of the poem: MSS.G and T are derived from the original version of 1330, and MS.S from the author's revised version of 1343. Evidently the revision effected in 1343 consisted of adding considerable material to the original version and eliminating a lesser amount. However, because the extant MSS are incomplete, it is impossible to ascertain precisely what material was eliminated and what was added in the revision. This revised text of 1343 can indeed be established with almost complete accuracy by taking the whole of S and supplying the contents of pages torn out of S or its ancestors, by means of G and T, which fortunately preserve substantially all the missing material. But unfortunately this procedure cannot be reversed to establish the contents of the 1330 version. To be sure, the lacunae in G-T can be identified, partly by the examination of the MSS and partly by comparison with S; and in certain cases, where material identifiable as a fraction of an episode is wanting, we can safely restore the gap with the text of S. But this procedure is not reliable where there is a major lacuna in G–T. One of these is the gap from st. 139b to st.329. In this paper I hope to shed possible light on the problem by putting forth the hypothesis that, where this gap occurs in MS.G, eleven stanzas from S (140–150) could not have figured in the 1330 version, but are rather an interpolation of the 1343 revision.
“Lost,” “Authorized,” and “Pirated” Editions of John Denham's Coopers Hill
Authors: Hehir Brendan O
Published: February 2007

Upon the basis of evidence never sufficiently examined, a number of statements concerning the seventeenth-century publication history of John Denham's Coopers Hill have acquired wide and authoritative circulation, and all the circumstantiality of established fact. Three chief of these statements, closely interrelated, are to be the subject of this discussion. The first of these is that all the editions of Coopers Hill prior to that of 1655 are “piracies.” The second, a corollary to the first, is that the edition of 1655 constitutes the “first authorized edition” of the poem. The third, somewhat independent of the other two, is to the effect that two editions of the poem—both “pirated”—have certainly been lost. Implicit in evidence equally cogent, however, is the assumption of a third lost edition, the authorization of which is never discussed. The purpose of this investigation is to scrutinize the evidence upon which these commonplace assertions are based, to show how far each is from being demonstrably true, and to advance arguments to prove that all three are false.
Thomas Mann's Early Interest in Myth and Erwin Rohde's Psyche
Authors: Lehnert Herbert
Published: February 2007

Thomas mann began his career under the influence of naturalism. While naturalistic tendencies are apparent in all of his writings, there exists at the same time another tendency, counteracting the danger of one-sidedness inherent in a strictly naturalistic approach to reality. The aesthetically refined world of Der kleine Herr Friedemann, which collapses when confronted with real life and the visionary experiences found in Gladius Dei and Der Kleiderschrank are indications that Mann's broader scope was present in the early stories. Tristan displays both naturalistic and visionary aesthetic tendencies. In Buddenbrooks, it is religion, including Tony's family worship, which balances the naturalistic trend apparent in the style as well as in the concept of biological decadence. In Der Tod in Venedig, myth is used with extraordinary effectiveness to complement naturalism.
The Dialectic of Transcendence in Shakespeare's Coriolanus
Authors: McCanles Michael
Published: February 2007

One tries to transcend something in order to escape it, to dominate it, or to turn it into one's slave. The ambiguity inherent in any attempt to transcend is the obvious fact that one must transcend something; the relation between the two “positions” is therefore dialectical—both are as it were defined against and thus tied to each other. The Christian's fight to bring the body into subjection to the soul, by which the soul may “transcend” the body, illuminates nothing so much as the usurpation of the soul's attention by the body: the soul's activity is controlled by the body in its very attempt to negate this control. Between persons, parties, and nations transcendence takes the form of a power-play, yet the story is the same. Snobbery is an even clearer example and has its most explicit and radical paradigm in the master-slave relationship. The snob and the one he is snobbish to (transcends, dominates) both share the same system of values, that is, both value being “in,” although only one has achieved that envied status. In other words, the snob can only define himself against those before whom he parades his superiority, and so, paradoxically, we can say that the snob needs these to the exact degree that he wishes to reject them. Those below him, the slaves whom the “master” beats, are like him insofar as they want to be “in” so that they too can “beat” those below them as they themselves have been beaten. They both love and hate the master: love him because they want to be like him and hate him because they are not and are beaten by him. Likewise the master both “loves” and hates his slaves, insofar as the hate which motivates his transcendence is dependent on their continual presence to him as that which he is transcending. If we substitute for social snobbery a scale of transcendence in which praise and power are the controlling values, we will have both the controlling scheme of the action of Coriolanus and a good part of its theme as well.
Swift's Project: A Religious and Political Satire
Authors: Peterson Leland D.
Published: February 2007

In his study of Swift's satire Edward Rosenheim observes that some satirical works are ephemeral and do not outlive the issues that give them birth: “Like any form of pamphleteering, satire tends to claim the attention of the reading public only so long as that public is capable of a concern, approximating that of the satirist himself, for the questions under discussion.” The tract of Swift's which I am about to discuss was certainly occasional and has but modest claims to universality; indeed, there is no general agreement even now among Swift's commentators that the work originally had a satiric intent: most prefer to read it, the Project for the Advancement of Religion and Reformation of Manners (1709), as a serious reforming tract of the times. As such, the Project is undoubtedly of limited interest, but it yields hitherto unsuspected complexities and ironies, not to mention comedy, when we inquire into the now forgotten issues that gave it birth.
Tom Jones and “His Egyptian Majesty”: Fielding's Parable of Government
Authors: Battestin Martin C.
Published: February 2007

Perhaps the most curious episode in Henry Fielding's masterpiece occurs toward the end of Tom Jones's journey (Book xii, Chapters xi–xii), when Tom, Partridge, and their less than Virgilian guide lose their way in the darkness of a stormy winter's night—a night, indeed, so obscure and inclement that Partridge, whose Jacobitism extends to a belief in demons as firm as that of James I, believes the company to be enchanted. Having strayed from the plain high road to Coventry into a dirty lane, the wayfarers at length discern the lights of a barn and hear the confused noises of merrymaking from within. Inquiring the road to Coventry, Tom, together with his companions, is given shelter and hospitality in the barn by a strange, jovial crew who prove to be “no other than a Company of Egyptians, or as they are vulgarly called Gypsies … now celebrating the Wedding of one of their Society” (xii, xii).
The Vendible Values of Housman's Soldiery
Authors: Pearsall Robert Brainard
Published: February 2007

Afrail-Looking, self-absorbed man of letters, A. E. Housman had no attributes visibly suitable for the profession of arms. Nevertheless, soldiering and the accidents of military life fascinated him; and a large number of his poems, including some of his best ones, are on military and warlike themes. This trait of Housman's has not been systematically studied, and casual explanations of it have been contradictory. For example, Norman Marlow asserts that soldiers attracted Housman “by their colourful uniforms and their destiny,” and again because they are “men paid to die,” and in another place, and a higher register, because of their “relentless pursuit of glory” (A. E. Housman: Scholar and Poet, London, 1958, pp. 114, 158). Housman's biographer George L. Watson traces four other causes. Housman found in soldiering “not the glory of the battlefield, but the discipline of the drillmaster”; he loved soldiers for being “not so much heroes as automatons.” Then the fact that a soldier might be “often susceptible to his own sex” appealed to Housman's invert imaginings. Also, says Watson, Housman yearned toward “the gallant bearing and ripe masculinity of men in uniform.” In sharp contrast, he felt through his own disasters “a sense of closer kinship with their unhappy lot” (A. E. Housman: A Divided Life, London, 1958, pp. 59–60, 145).
Court and Country: The Fusion of Two Images of Love in Juan Rodríguez's El siervo libre de amor
Authors: Dudley Edward
Published: February 2007

The “Estoria de dos amadores” interpolated into the autobiographic El siervo libre de amor by Juan Rodríguez del Padrón tells two love stories which embody conflicting ideals of love. This thematic duality is reflected in the descriptions that surround each relationship, and two meaningful patterns emerge, one relating love to nature, the other relating love to the life of the court. The first appears in the story of Ardanlier and Liessa, in which a life of pleasure and sexual fulfillment is associated with their retreat to the forest; while the second emerges from the story of Ardanlier and the Infanta Yrena, a tale of suffering and sexual frustration acted out in the ambience of the court. The thematic key is provided by the epithets applied to the two women, the “plazentera Liessa” and the “padeçiente Yrena.” The tension between these two poles of feeling is resolved on a narrative level by the tragic death of Liessa, the resulting suicide of Ardanlier, and the self-immolation of Yrena. This resolution is reflected thematically by the fusion of the two worlds of love, the courtly and the natural, into the single, semi-divine image of the lovers' tomb. The elevation of the tomb to a shrine by means of enchantment perpetuates the fame of the protagonists' exemplary lives and combines their conflicting emotional experiences.
Grundbegriffe im dramatischen Schaffen Gerhart Hauptmanns
Authors: Reichart Von Walter A.
Published: February 2007

Hauptmann hat es eigentlich vermieden, über sein Schaffen zu sprechen. “Bilde, Künstler, rede nicht!” ein Lieblingswort Goethes, zitierte er mit Vorliebe. Aber in seinem Geleitwort zu Shakespeare-Visionen spricht er von dem Schöpfungsprozess, diesem geheimnisvollen Verlauf des dichterischen Genius: “was wissen wir über den Schöpfungsprozess, der den Visionen und Gestalten Shakespeares ihre besondere Art von Realität, Dauer und Weite gibt? … Es geschehen vielleicht in der Dichterseele Ballungen stürmender Rotation, erzeugen im Verdichten Wärme, Licht und zuletzt das Leben. Dabei ist etwas wie Kampf zwischen Ormuzd und Ahriman.”Sein unablässliges Arbeiten, die regelmässigen Stunden des Diktats, die Produktivspaziergänge, die Visionen der einsamen Stunden sind von Behl, Kästner und Voigt wiederholt beschrieben worden. Hauptmann, der naive Künstler, konnte das schöpferische Geheimnis nicht benennen. Wenn er jedoch beim Diktat auf falsche Pfade geriet, spürte er es bald und brach ab. Selbst beim Vorlesen aus neuen, im Entstehen begriffenen Werken, konnte er plötzlich unmutig aufhören, weil er einen falschen Ton hörte. Andererseits war er der glücklichste Mensch, wenn ihm die Arbeit gelang, wenn beim Diktat wundervolle Verse hervorsprudelten oder die Wucht einer Szene ihn mitriss. Es dichtete in ihm, und er wurde zum Sprachrohr einer inneren Stimme. Seine naive Freude daran war rührend. Ein gequältes “Produzieren” im engsten Sinne des Begriffs war ihm fremd. Seine künstlerische Eigenart, das tief Persönliche und Wesentliche seiner dramatischen Arbeitsweise, ist unlösbar mit dem Werke selbst verbunden und nicht davon zu trennen. Die innere Einheit dieses immer noch nicht zu überschauenden Werkes zu erfassen, bleibt die Aufgabe der Zukunft.
A Few Missing Words
Authors: Bruccoli Matthew J.
Published: February 2007

Ernest Hemingway said it:—“A country, finally, erodes and the dust blows away, the people all die and none of them were of any importance permanently, except those who practised the arts. ... A thousand years makes economics silly and a work of art endures forever.” But works of literature endure in printed texts that become cumulatively corrupt. The definitive editions of the Center for Editions of American Authors restore and preserve the purity of the author's work.
Sexual Imagery in La Jeune Parque and Charmes
Authors: Whiting Charles G.
Published: February 2007

Sexuality is a powerful element in Valéry's poetry, but also a dangerous threat. Valéry resolves the threat in ambiguous imagery and this ambiguity has poetic value. His poetry utilizes nineteenth-century themes, but Valéry transforms them through his physiological awareness. His sexual imagery gains force by exclusive focus on physical passion and all possible aspects of the flesh, and by the use of elaborate developments containing an accumulation of related words. But the interests of “poésie pure” impose limits on his realism. Negative attitudes also influence Valéry's choice of imagery. He minimizes sexual languor and excludes intellectualized eroticism from his poetry while significant words in manuscripts and finished poems reflect his critical attitude. There is no celebration of the woman in Charmes and no union with her. Significantly, Valéry prefers words such as “abandon” and “dons” and the breast image to represent the female body rather than hands, lips, eyes—all of which imply union. Préciosité is also used as a defense against sexuality. In the ending of La Jeune Parque, however, sexuality seems to triumph, but this ending is complex, and is far from being as sexual as it first appears.
Hermann Broch, Die Schlafwandler: Revolution and Apocalypse
Authors: Osterle Heinz D.
Published: February 2007

Broch's novel trilogy, The Sleepwalkers, has a pattern of apocalyptici magery and
symbolism which appears at all important junctures of the work and permeates much of its
texture. This pattern merges with a pessimistic theory of history, entitled “Disintegration
of Values,” and it converges on a hostile portrayal of the German revolution of 1918. The
essential function of the apocalyptic symbols is to frighten the reader into an attitude of
acceptance toward the philosophy of the work. This philosophy contains an embryonic
“theory of revolution” whose main thrust is counterrevolutionary because revolutions are
viewed as manifestations of irrational impulses directed against rational institutions. The
Epilogue, the prophetic message of the work, projects a curious double or triple vision: (1)
apocalyptic fear of the destruction of values by Communism, (2) chiliastic hope for the
rebirth of values with the coming of a Messiah (Führer), and (3) a Nietzschean faith in the
eternal recurrence of history. Broch's entire oeuvre is apocalyptic or chiliastic with several
modifications. He shares this tendency with many writers in the twentieth century, the new
apocalyptic age.
History and Action in Patience
Authors: Schleusener Jay
Published: February 2007

The idea of the possibilities of human action in the Middle English Patience rests on a strictly providential view of history. Jonah's mission to the Ninevites is part of a larger scheme, invisible to him, in which he has little confidence. The irony of the prophet's failure to understand or trust God's moral and historical purposes is deepened by the fact that he is a figure of Christ. Jonah's blindness to God's immediate purpose—salvation for the Ninevites—is foolish, but his ignorance of his own typological significance is inevitable, for that significance cannot be realized until the incarnation of Christ. Thus patience, the virtue in which Jonah fails so badly, is not simply a dull acquiescence in present necessity, but a sure faith in an eternal order not merely obscure but unimagined except by God. A brief reading of the poem shows that the contours of this faith are defined by those three of God's attributes which characterize the moral quality of events in the world he orders: his power, justice, and mercy.
On Reading Romantic Poetry
Authors: Swingle L. J.
Published: February 2007

Readers often mistakenly treat Romantic poetry as a poetry of doctrine. It is predominantly a poetry of question, asking rather than telling. Like Descartes in his Meditations, the Romantic poet searches for certainty, employing the test of doubt, submitting supposed certainties to question. As with Descartes, the search leads into the realm of mental activity. But unlike Descartes, the Romantic poet finds further questions here: Cogito, but in what ways does man think? Romantic poetry has two main movements. First, the poetry works in several ways to expose doctrine to question, suspending a reader's sense of certainty. Next, the poetry explores what underlies doctrine, the basic data of mental experience from which doctrine is constructed. These movements establish a number of patterns in the poetry. The Romantic poet does not find certainty, but this failure is the poetry's success: it challenges man's ability to construct doctrine out of the data of experience.
Memory in Mankind: Keats's Historical Imagination
Authors: Eggers J. Philip
Published: February 2007

Historical allusions and the theme of history add a psychological and philosophical dimension to Keats's poetry that reflects the change in historical thought during the romantic period. Keats's wide-ranging familiarity with history manifests itself in a development that begins in juvenile hero worship but rapidly matures into a subtle historical vision in the odes and Hyperion poems. His sense of history as a kind of collective memory makes possible a union of poetry and history, since he sees both as products of the imagination that portray the varied particulars of experience. History plays a major part in Keats's deepening acceptance of mortality and an accompanying affirmation of time and process through release from the fear of death. The relative success and failure of his attempts to unite history and poetry confirm his organic analogy: when he relies most on his own imagination and memory, he evokes a more vital sense of the past than when he follows sources rather mechanically. He did not live to effect the revolution in historical drama to which he aspired, but history as a concept within his lyric and narrative poems remains a compelling witness of his powers as historical poet.
Thoreau's Color Symbols
Authors: Colyer Richard
Published: February 2007

Thoreau's color symbols are part of an elaborate system of symbolic imagery he used to express the stage of controllable insight at which the spiritual and moral in nature could be conveyed. But they are especially important because they show the degree of originality and technical refinement he could reach. Emphasizing the sensible properties of natural phenomena allowed him both to present nature directly, as his theory dictated, and artistically to strengthen an appeal designed to be above the level of nature-as-fact. But by making certain of these properties symbolic in themselves, he could increase the range and precision of his expression. Five colors emerged as major symbols because they fitted into his basic system so well. Green, the spring and summer color, he used to stand for organic life activity, for birth and growth. With white he symbolized purity and spirituality, carefully avoiding its associations with winter. Blue, the color of unclouded sky and water, he used to represent the esthetic atmosphere of meditation. With yellow, his sun color, he showed spiritual cause and material effect. And red, his most personally significant color symbol, he used intensively to stand for heroism, strength, and spiritual fruition.
Baudelaire, Correspondances et le magnétisme animal
Authors: Boon Jean-Pierre
Published: February 2007

The meaning that attaches to the title Correspondances suggests a likely but overlooked source of Baudelaire's sonnet, the occult science of animal magnetism. Baudelaire's interest in the subject goes back to June 1838 when he discusses it in a letter to his mother. His first Poe translation, in 1848, was Révélation magnétique. In addition, allusions to animal magnetism are found in such poems as La Voix, Bénédiction, and La Mort des pauvres. Baudelaire was probably aware of, and may have attended, a series of lectures on animal magnetism given in 1844 or 1845 by a certain Alphonse Teste. In the printed text of these lectures the word correspondance is used in a sense closer to Baudelaire's than one finds in any other known source of the sonnet. Evidence of the influence of animal magnetism on Baudelaire's works tends to confirm Jean Pommier's belief that Correspondances was composed during the period 1845-46. (In French)
History as Palingenesis in Pater and Hegel
Authors: Shuter William
Published: February 2007

Like Hegel, Pater often uses images of death and rebirth to describe the historical process. This imagery reflects Hegel's principle that later stages of artistic and spiritual development annul earlier phases and yet also conserve them. The series of rebirth images by which Pater describes the process of historical development is the firmest proof that Hegelés thought was a sustained and creative influence on his work. In the strongly Hegelian Winckelmann essay, Pater represents the Renaissance as a cultural affirmation achieved through negation, while others of the Studies in the Renaissance define the idea of cultural rebirth through the images of metempsychosis and the afterlife of the pagan gods. The original version of the Winckelmann essay also mentions Hegel in connection with the myth of Demeter, which, in his essays on Demeter and Persephone, Pater treats as still another image of cultural continuity. The principal source for these studies was Ludwig Preller's Demeter und Persephone. Pater also borrowed Preller's theory of a primitive religion of the earth, connected it with the Christian imagery of death and rebirth, and employed it again in Marius the Epicurean, his most ambitious treatment of the historical dialectic.
Sterne's Eugenius as Indiscreet Author: The Literary Career of John Hall-Stevenson
Authors: Hartley Lodwick
Published: February 2007

John Hall-Stevenson (1718-85), friend and college mate of Laurence Sterne and the “Eugenius” of Tristram Shandy, was galvanized into writing and publication by the meteoric success of Sterne. His second impetus was his friendship for John Wilkes and his admiration for Wilkes s most important satellite, Charles Churchill. From 1760 to 1783 he attempted to keep in the public eye with fables and fabliaux, verse epistles and satires, translations and imitations. Best known for Crazy Tales (1762), fabliaux ostensibly told by members of the “Demoniac” brotherhood at his own Skelton Castle, he developed a reputation for eccentricity and bawdry. Nevertheless, he was a man not only of a curious but also of a sound reading background, he was a classicist of some competence, and he could on occasion be an effective satirist. Though most often misdirected, his persistent efforts to interpret Sterne offer important comment on the milieu in which Tristram Shandy developed; and as a Wilkesite he was frequently able to make pungent comment on the personalities and issues of his era. (Includes as an appendix a bibliography of the works of Hall-Stevenson.)
Bilingual Problems and Developments in the United States
Authors: Cannon Garland
Published: February 2007

The once bleak situation of non-native English speakers in the U.S., who suffered in a monolingual English curriculum and faced discrimination because of their language, has somewhat improved. Passage of the Bilingual Education Act in 1967 and its implementation through fifty-eight projects funded for eight million dollars by the U.S. Office of Education in 1970-71 have given bilingual opportunities to some of the five million American children who speak Spanish or some language other than English as their first language. However, major problems persist. There is need for international cooperation in bilingual activities. Funds are inadequate. Existing American programs cannot yet be reliably evaluated, and they are not reaching enough children. There is some formlessness in their general direction and national shaping. Higher education needs to (1) adjust teaching methodologies, evaluation procedures, and admissions policies until the present culture-biased tests can be replaced by linguistically valid, dispassionate instruments; (2) increase financial aid to non-native speakers of English; and (3) establish special bilingual teacher-training programs and materials-development centers. Development of comprehensive bilingual programs at the precollege and college levels is imperative, despite their enormous cost.
Rilke's “L'ange Du Méridien”: A Thematic Analysis
Authors: Wolf Ernest M.
Published: February 2007

L'ange du Méridien“ is the first in the group of six Chartres-poems in Rilke's Neue Gedichte. It thus occupies a place of honor among the poems which make up the Chartres-cycle. Rilke always devoted much thought and care to the technical questions of the order and arrangement of the poems within his printed works. He must have felt that ”L'Ange du Méridien“ deserved to be first for specific reasons. He must have intended to give particular emphasis to it. We may assume that he meant it to serve as a kind of musical signature or prelude for the other poems of the group, to ”set the tone“ for them. A thematic analysis of the Chartres-cycle might show that, in fact, many of the basic motifs which occur in the other poems are introduced in ”L'Ange du Méridien.“
The Idea of God in Beowulf
Authors: Whallon William
Published: February 2007

In his rewarding and influential papers entitled “Die christlichen elemente im Beowulf,” Fr. Klaeber stressed the importance of Latin Scriptural and liturgical analogues to several Old English phrases, and no one would deny that the correspondence between the two groups of expressions is frequently exact. But recent studies into the structure of the verse itself show cause for regarding the religious elements as essentially Germanic.
The Medieval Latin Literature of Germany As German Literature
Authors: Zeydel Edwin H.
Published: February 2007

In the vast body of medieval literature written in what is called the Germanic area of Europe—and in the Middle Ages that included parts of present-day France, Italy, Czechoslovakia, Jugoslavia, and Poland—there is an immense amount of writing in a non-vernacular language known as Medieval Latin, in German Mittellateinisch—a term not coined by Wilhelm Meyer in 1882, as Karl Langosch claimed. It was used as early as 1838 by Jacob Grimm in the epoch-making Lateinische Gedichte des X. und XI. Jahrhunderts, prepared in collaboration with Andreas Schmeller. Mittellateinisch, among other things the medium of the Roman Catholic Church, is a language apart, growing not directly out of that of Cicero and Vergil, but rather originating from the late Latinity of Antiquity in its dying stages, and under the influence of tendencies present in the vernacular tongues.