bluuebunny/crossref_metadata_2025 huggingface dataset:
Chaucer and the Seven Deadly Sins
Authors: Tupper Frederick
Published: January 2021

Among men of the Middle Ages no theme, religious or secular, was more widely popular than the motif of the Seven Deadly Sins. From summae and sermons, from “mirrors” and manuals, from hymns, “moralities,” and books of exempla, from rules of muns and instructions of parish priests, form catechisms of lay folk and popular penitentials, and finally from such famous allegories as De Guileville's Pèlerinage every medieval reader gleaned as intimate a knowledge of the Sins as of his Paternoster and his Creed, and hence was able to respond to every reference to these, explicit or implicit. Moreover this theme, which had absorbed the attention of Dante through many cantos of his Purgatorio, so familiar to Chaucer, had, in our poet's own day, won vivid portrayal from Langland in Piers Plowman and had claimed eighteen thousand lines of prolix analysis in the Mirour de l'Omme of the moral Gower. And even now, while Chaucer's own Tales were in the making, Gower's Confessio was reared high upon the foundation of general interest in this motif. No wonder that it made an irresistible appeal to Chaucer too!
Histoire De L'impression Et de la Publication Du Discours Sur L'inégalité, de J.–J. Rousseau
Authors: Schinz Albert
Published: January 2021

Marc-Michel Rey, l'éditeur d'Amsterdam, ne fut pas seulement le premier qui imprima, d'après les manuscrits de l'auteur, le Discours sur l'Inégalité la Lettre à D'Alembert, La Nouvelle Héloïse, Le Contrat social, la Réponse à l'Archevêque de Paris, et les Lettres de la Montagne; il fut en outre un ami de Rousseau, fidèle, généreux, sincère. Il a droit, dans la biographie du citoyen de Genève, à une place beaucoup plus grande que celle qu'on lui a accordée jusqu'ici. Nous avons sur lui une quantité de renseignements inédits dans les Lettres de Rey à Rousseau, conservées à la Bibliothèque de la Ville de Neuchâtel, en Suisse. Nous avions d'abord pensé publier telle quelle cette assez volumineuse correspondance; et puis nous avons renoncé parcequ'il nous a paru que les frais seraient disproportionnés avec la valeur d'une partie de ces lettres; et nous nous sommes arrêtés à la façon de procéder dont ces pages donnent un échantillon, c. à. d. draînant tout ce qui s'y trouve de nouveau et d'utile sur chaque sujet particulier.
The Vogue of Richard Jefferies
Authors: Foerster Norman
Published: January 2021

No one, so far as I know, has attempted to analyze the significant disagreement between the perfervid admirers of Richard Jefferies and those who read his books with mild respect. Henley's familiar phrase, “a reporter of genius,” which from the point of view of those outside the cult seems more than just, falls far short of satisfying those within the cult. They prefer the unmixed adulation implied in the very title of the biography by Walter Besant, The Eulogy of Richard Jefferies. They prefer the judgment of Mr. Henry Salt, who centres his praise, not on The Gamekeeper at Home, but on The Story of My Heart, which future ages are to read with “tears of pity and admiration.” They prefer the poetically phrased criticism of his latest disciple and biographer, Mr. Edward Thomas, who tells us that the mystical Jefferies “fought in the dim, far-off, wavering van, of which we have yet no sure tidings.”
The Authorship of A Warning for Fair Women
Authors: Adams Joseph Quincy
Published: January 2021

A Warning for Fair Women was published anonymously in 1599, with the statement on the title-page that it had been “lately diuerse times acted by the right Honorable the Lord Chamberlaine his Seruants.” The attribution of the play by Edward Phillips to John Lyly is too absurd for serious consideration. Almost as absurd is Collier's attribution of the play to Shakespeare. Fleay suggested Thomas Lodge, though not without hesitation, for he adds the warning: “I cannot state too emphatically that any attribution of this play to Lodge is conjectural, and founded less on positive evidence than on the method of exhaustion.” The “method” referred to is thus explained: “The other writers for the Chamberlain's men at this time were Shakespeare and Jonson. Objectors to my hypothesis of Lodge's authorship may adopt one of these, or (the usual resource) imagine some unknown playwright not elsewhere heard of.” But Lodge was probably not engaged in play-writing at this time; so that according to Fleay's “method” we should be forced to choose between Shakespeare and Jonson.
Some Evidence in Shakespeare of Contemporary Efforts to Refine the Language of the Day
Authors: Tilley Morris P.
Published: January 2021

One of the chief abuses urged against plays by the puritans of the sixteenth century was their immoral language. At all periods of the dispute this offence of plays was the puritans' “floodgate which let in the most, or the most substantial of all their arguments.” Writing at the beginning of the dispute, Stephen Gosson particularly denounces this corruption in English comedies cut by the Italian pattern; and following Gosson other critics of plays increased the severity of their denunciations on this account. In fact no “abuse” of plays received a more continued, severe, or unanimous denunciation than that of their immoral speeches.
Hitherto Unprinted Manuscripts of the Middle English Ipotis
Authors: Sutton Josephine D.
Published: January 2021

The relationship of the manuscripts of the Middle-English poem Ipotis has been studied in detail by Dr. Hugo Gruber on the basis of the nine mss. known to him. In addition to these there are five others, four of which are printed for the first time below. One of these, unfortunately a fragment, is of the greatest importance, since it carries back the date of the poem at least fifty years. On the basis of the earliest manuscript known to him—ms. Vernon, written about 1385—Gruber assigned the Ipotis to the second half of the fourteenth century. But in the light of the new evidence, the composition of the poem is pushed back to the very beginning of the century.
The French Aristotelian Formalists and Thomas Rymer
Authors: Dutton George B.
Published: January 2021

That the critical theories of the seventeenth-century French school of rules find numerous parallels in the work of Thomas Rymer has been perceived by various students of literary criticism. But the recognition of general resemblances has not served, apparently, to secure uniformity of opinion in classifying Rymer as a critic, or in determining the extent to which he represented, in English criticism, the French codification of the rules. Professor Saintsbury states that Eymer had a “charcoal-burner's faith in ‘the rules.‘” On the other hand, Professor Spingarn, who has gone farthest in tracing the parallelisms between Eymer's work and that of preceding critics, regards his work as rationalistic, or based upon common sense, rather than formalistic, based upon rule and precedent. The one would regard Eymer as a participant in the French tradition; the other, as primarily a continuator of certain previously existing English methods. An analysis of the relationship between Rymer and the French critics of the school of rules, more systematic than has yet been attempted, may aid in determining to what extent the critical standards and methods of the French Aristotelian formalists are approximated in Rymer, and what influence the French school had upon one whose criticism, however it may be regarded now, was of great weight and importance for years after it was written.
Some Friends of Chaucer
Authors: Kuhl Ernest P.
Published: January 2021

Though no new light seems forthcoming on the nature of the accusation made by Cecily Chaumpaigne against Chaucer, the names of the witnesses (to her release) are not without interest. Of the five witnesses, four were prominent men in their day. Of the fifth, however, nothing has hitherto been known.
The Vogue of Guy of Warwick from the Close of the Middle Ages to the Romantic Revival
Authors: Crane Ronald S.
Published: January 2021

Among the questions which still await investigation in the literary history of sixteenth and seventeenth century England, not the least important is that of the survival of the vernacular writings of the Middle Ages. No one can have studied the records of publishing activities during the Tudor and Stuart periods without becoming aware that a considerable number of the romances, tales, poems, chronicles, lives of saints of the fourteenth and fifteenth centuries still continued to circulate, and to find, though probably in ever smaller numbers, appreciative readers. Nor can anyone who has noted this persistence of medieval literature beyond the Middle Ages fail to draw from it inferences not a little damaging to our current conceptions of sixteenth and seventeenth century taste. As yet, however, no historian of literature has dealt with the problem in a systematic or detailed way—no one has tried to set clearly before us precisely which works, out of the total body of medieval writings, remained in vogue, how long the popularity of each of them lasted, how far they were modified in form or content to suit the taste of successive generations, by what sort of “public” they were read, and of what nature was the influence which they exercised upon the newer writers. Some day perhaps we shall have such a history of the survival of medieval literature in early modern England. In the meantime, as a preliminary treatment of a single phase of the subject, the present study of Guy of Warwick may not be without its interest. It proposes to trace from the days of the early printers to the close of the eighteenth century the fortunes of but one—though perhaps the most typical one—of the many romances whose popularity survived the Middle Ages.
Chaucer and the Seven Deadly Sins
Authors: Lowes John Livingston
Published: January 2021

In a series of recent articles Professor Frederick Tupper has put forward, with great skill and learning, a view regarding the plan of the Canterbury Tales which demands, on account of its originality and its importance, the most respectful and open-minded consideration. As one who was fortunate enough to be present at the inception of the theory, and who welcomed enthusiastically the promise of fresh light which it seemed to hold, I am free, I think, from antecedent prejudice. But as the theory has been developed in article after article I have felt myself compelled to dissent, with steadily strengthening conviction, from Professor Tupper's contention, and it is the purpose of this article to make clear the grounds on which it seems to me that that contention, in spite of its uncommon plausibility, must be rejected. All students of Chaucer are under a debt to Mr. Tupper, whether they agree with him or not. A fresh and original conception, maintained with an enthusiasm that vivifies dead facts, is of all too rare occurrence, and its “Forth, beste, out of thy stal” is wholesome stimulus. But Mr. Tupper would be the last to wish his vigorous challenge to gird up our loins and give a reason for the faith that is in us, to go unanswered. He has already offered hospitality to various objections in his articles, but he and his critics have not met, apparently, on common ground. In my own case I wish to accept, without question, his own choice of field and weapons.
The Death Wish of John Donne
Authors: Roberts Donald Ramsay
Published: January 2021

In the darkest time of the long period of poverty, illness, and dependence that followed his imprudent elopement, John Donne wrote in a letter to Sir Henry Goodyer in September, 1608:

Two of the most precious things which God hath afforded us here, for the agony and exercise of our sense and spirit, which are a thirst and inhiation after the next life, and a frequency of prayer and meditation in this, are often envenomed and putrified, and stray into a corrupt disease…. With the first of these I have often suspected myself to be overtaken, which is with a desire of the next life; which though I know it is not merely out of a weariness of this, because I had the same desires when I went with the tide, and enjoyed fairer hopes than now; yet I doubt wordly encumbrances have increased it. I would not that death should take me asleep. I would not have him merely seize me, and only declare me to be dead, but win me and overcome me.

When I must shipwreck, I would do it in a sea where mine impotency might have some excuse; not in a sullen weedy lake, where I could not have so much as exercise for my swimming. Therefore I would fain do something, but that I cannot tell what is no wonder. For to choose is to do; but to be no part of any body is to be nothing. At most, the greatest persons are but great wens and excrescences; men of wit and delightful conversation but as moles for ornament, except they be so incorporated into the body of the world that they contribute something to the sustentation of the whole.1
Milton's Attitude Towards Women in the History of Britain
Authors: Le Comte Edward S.
Published: January 2021

When all the evidence has been marshalled, Milton's views on the position of women are both consistent and plain, whatever the astonishing obfuscations of many of his critics, assailants and apologists alike. Each side in the old controversy might at least have known better what they were attacking or defending if they had not ignored a major source-book for Milton's attitude, the History of Britain. There is reason to believe that Milton was here giving vent to a passing mood, but it was sharp and arrogant while it lasted. Herein we have a contrast with the evidence usually cited. Just preceding the composition of the early books of the History had come the divorce tracts, where the author made an heroic effort at impersonality, and perhaps only his images betray him; it would take a very sensitive critic to analyze them. Years later came Paradise Lost and Samson Agonistes, where, as Professor Allan H. Gilbert has warned,1 the interpreter must tread lightly, for the poet in the angry outbursts of Adam and of Samson was not ostensibly speaking in his own person but rather writing as a dramatist. But in the History of Britain the voice that speaks out on the inferiority and proper subjection of women is at times unmistakably Milton's own. To heap up discredit upon what John Knox called “the monstrous regiment of women” he will go out of his way, whether by parenthetical remark, or by free alteration of his sources, or, in one case, by sheer misinterpretation of the original Latin.
Hartley, Pistorius, and Coleridge
Authors: Fairchild Hoxie N.
Published: January 2021

This paper announces no great discovery, but it contains fresh material of interest to students of Coleridge, of David Hartley and the philosophical tradition which he represents, and of Anglo-German literary relations. Our starting-point is lines 35-45 of Religious Musings, where Coleridge declares that the life and death of Christ freed the human soul from the bonds of idolatrous fear:

Till of its nobler nature it 'gan feel

Dim recollections; and thence soared to Hope,

Strong to believe whate'er of mystic good

The Eternal dooms for His immortal sons.

From Hope and firmer Faith to perfect Love

Attracted and absorbed: and centered there

God only to behold, and know, and feel,

Till by exclusive consciousness of God

All self-annihilated it shall make

God its Identity: God all in all!

We and our Father one!1
Browning's Knowledge of Music
Authors: Greene Herbert Eveleth
Published: January 2021

That Robert Browning, the poet, possessed wide and multifarious learning is evident to a casual reader of his poems. The careful reader is impressed by the range and extent of his learning which includes much of what is called hole-in-the-corner knowledge, a familiarity with out-of-the-way topics and incidents that few readers possess. The scholarship of the past two decades has begun to give us a good deal of knowledge upon the nature of Browning's learning, and we are in a fair position now to estimate how much of the poet's knowledge was systematic and well-ordered, and how much of it was haphazard and based upon a following-up of this or that temporary interest. The letter which is the heart of this paper and which is published for the first time below will shed light upon this problem in an area in which Browning's training was probably most systematic.
Anglicisms in French—Notes on their Chronology, Range, and Reception
Authors: de Ullmann Stephen
Published: January 2021

The large volume of literature on foreign elements in English has not been matched so far by enquiries on a comparable scale into the history of English words abroad. The disproportion is indeed so great that it is apt to give an erroneous idea of the balance sheet of linguistic debit and credit. Studies of lexicological expansion are still in their infancy; and in this particular case, the chronology and character of the process may have acted as a deterrent. England's prestige and influence began to make themselves felt at the very end of the seventeenth century and quickly reached a climax in the eighteenth. By that time, however, all Western languages had developed too far, and their speakers had become too language conscious, for the newcomer to make any lasting and decisive impression. Most Anglicisms would seem at first sight superficial, easy to detect, and without any serious problems for the student of diachronistic linguistics. Nevertheless, a synthesis is urgently required, for the late inception of the process does not lessen in any way its paramount significance in the political and cultural history of Europe, and the most tangible and accurate method devised so far for a structural analysis of such influences consists in careful scrutiny of their linguistic deposit. The general framework of such a comprehensive survey has been outlined by L. P. Smith,1 while a good deal of valuable spadework has been accomplished in French and German, and to some extent in Dutch and Italian.2 To undertake a synthesis would be therefore distinctly premature; but in French at least, sufficient data are available to attempt a piecing together of the picture.
Impersonal Haber in Old Spanish
Authors: Starr William T.
Published: January 2021

In a study of the use of the verb haber as an impersonal expression of existence, it was found that the twelfth-century Spanish of the Poema de mío Cid tended not to use the locative adverb y in the present tense, contrary to present usage, and to retain it in other tenses. It was also found that the language tended to place the y before the verb.
The Fleurs de Toutes Vertus and Christine de Pisan's L'epître D'othêa
Authors: Bühler Curt F.
Published: January 2021

In preparing my edition of the Middle English Epistle of Othea attributed to Stephen Scrope, I have chanced upon some details which apparently have not been previously noticed. The conclusions to be drawn in this paper must necessarily be tentative until exhaustive search in Italian and French libraries can once again be undertaken with the hope of providing the necessary evidence for the satisfactory solution of the present problem. The points which I propose to make, however, are of sufficient importance and interest to present them in their present form to students of comparative literature.
Walker's Influence on the Pronunciation of English
Authors: Sheldon Esther K.
Published: January 2021

To people interested in the history of English pronunciation, the names of John Walker and Thomas Sheridan are not unfamiliar. Of these two men, the more important from the point of view of modern pronunciation, in particular American pronunciation, is unquestionably Walker; for almost invariably, where these two men disagreed, it has been Walker's decisions which have prevailed—especially in America, until today many of our pronunciations of individual words, as well as our ideas about proper pronunciation are traceable to Walker, not Sheridan. Walker's influence was made possible by the constant republication of his works in the nineteenth century and—more indirectly, but perhaps more pervasively—by his tremendous effect on succeeding dictionary writers.
A Remark on the Spread of the Phonologic Change
Authors: Bonfante G.
Published: January 2021

It is a known fact that in Vegliotic Lat. ce (pronounced ke) is preserved, while ci (pronounced ki) becomes či: kaina < cēnam, kaira < cēram, plakár < placēre, takár < tacēre, akait < acētum, dekaja < dīcēbat, fakaja < ∗facēbat, kenúr < cēnāre, < cerebella, kris < ceres-, dik < decem, loik < lūcet, etc. etc.; but < cīmicem, kalčaina < calcīnam, radičaina < ∗rādīcīnam, vičain < uīcīnum, puarč < porcī, etc. etc. (cf. Bàrtoli, Dalm., ii, pp. 376 ff.). The same is true for ge with respect to gi: gelut < gelātum, Ragusean galatina < ∗gelatīnam, but Vegliotic spirač < asparagī.
The Symbolism of the Perlesvaus
Authors: Carman J. Neale
Published: January 2021

The Perlesvaus, even the most casual reader perceives, is intended to have serious religious significance. Certain of its symbolical adventures have been carefully studied as expressions of Christian doctrine, but no one has yet demonstrated the completeness of its religious symbolism.
The Old English Hunt Riddles
Authors: von Erhardt-Siebold Erika
Published: January 2021

Wyatt wished this riddle at the bottom of the Bay of Portugal. All earlier solutions (among which we find a sow pregnant with five pigs) have in common that, far from explaining the number paradox in the first part of the poem, they even offend against it. But when in a riddle we hit upon a paradox, we may be sure that it has something to do with the solution.
Old Provençal ab so que Introducing a Main Clause
Authors: Lewent Kurt
Published: January 2021

Giraut de Bornelh liked to discuss the question of whether a poet should make the products of his muse understandable to everybody (trobar leu), or adhere to a more obscure, hermetic type of poetry accessible only to a few adepts (trobar clus). In none of his poems is he so positive about the preferability of a simple style as in the well-known tenso with Linhaure and the song A penas sai comensar (Gr. 242,11; ed. Kolsen, No. 4). It is probably the latter that caused his princely interlocutor to start a poetical controversy on this topic with the troubadour, the above-named tenso. In fact, three stanzas of Gr. 242,11 deal with this problem. It is the third of them that interests us here, because it contains the phrase ab so que. It runs thus in Kolsen's edition:
Ja, pos volrai clus trobar,no cut aver man parer3 ab so que ben ai mestera far una leu chanso;qu'eu cut c'atretan grans sens6 es, qui sap razo gardar,com los motz entrebeschar.
Petrarch's Laelius, Chaucer's Lollius?
Authors: Hornstein Lillian Herlands
Published: January 2021

While learned investigation of Chaucer's text and background has illumined our knowledge of his sources and literary methods, one major mystery has remained unsolved: Who is the Lollius cited by Chaucer in three passages, and why did Chaucer refer to him?
Wagner and The Tannhäuser Tradition
Authors: Simpson Claude M.
Published: January 2021

In most of Wagner's music dramas the source material, generally deep-rooted in Germanic or Celtic tradition, is well known, and Wagner's ndebtedness is transparent. The four works composing Der Ring des Nibelungen, for example, are based chiefly on the Volsunga saga and the Nibelungenlied. Similarly, Wolfram von Eschenbach's Parzival was the inspiration for Wagner's Parsifal, and the Tristan of Gottfried von Strassburg was followed closely in Tristan und Isolde. These mediaeval works are epic monuments of western European legend or chefs d‘œuvre of the Minnesingers’ art. Wagner has thus ambitiously concerned himself with subjects of impressive grandeur, drawn from sources of no inconsiderable importance.
Émile Augier and the Intrusion-Plot
Authors: Fitch Girdler B.
Published: January 2021

Studies of the total work of a dramatic author are likely to be mainly in terms of his subject-matter, ideas, portrayal of character, and literary style. In analyzing and evaluating these, the critic seeks those elements of unity throughout the author's work which will best characterize his art. Less frequently is the same element of unity sought in his plots: sometimes, no doubt, the critic considers them a mere vehicle for the expression of ideas and the presentation of character, although they have certainly had more importance than this to most playwrights; more often the critic assumes that each play has its separate plot, and that while certain comparisons can be made and certain structural tendencies noted there is no reason to seek basic unity in the plots of most dramatists. If by plot we mean the total and frequently complex dramatic action, it is of course true that a competent playwright does not repeat it from one play to another. But if we seek the plot beneath the plot, the type of action on which the writer depends to give him the motivation, movement, and climax needed to hold the attention of the spectator, we shall find that he well can, and sometimes does, create an extensive series of plays on a single pattern of dramatic action and that this has revelatory significance for his personality and art.
Molinos: “The Subject of the Day” in the Ring and the Book
Authors: Coyle William
Published: January 2021

For the background of The Ring and the Book Browning relied heavily on static features of Roman and Aretine life in the late seventeenth century. Many references to streets, buildings, landscapes, customs, politics, and religion could fit a narrative laid in 1650 or in 1750; moreover, the classical and Biblical allusions, which outnumber but resemble those in The Old Yellow Book, carry little connotation of a precise time. Manifestly topical, however, are the references to the heretical teachings of Miguel de Molinos, which Browning termed Molinism. In The Old Yellow Book this heresy is mentioned only once, when the writer of the first anonymous pamphlet suggests that those who do not support a wronged husband against an errant wife may seek to introduce “the power of sinning against the laws of God with impunity, along with the doctrine of Molinos and philosophic sin, which has been checked by the authority of the Holy Office.”
Charles Lamb's Insight Into the Nature of the Novel
Authors: Patterson Charles I.
Published: January 2021

Charles Lamb exhibited the same genial attitude toward books as toward people; he never expected too much of either, and was therefore seldom disappointed. This whimsical tolerance was especially evident in his reactions to prose fiction. He never went at a novel too seriously—with hammer and tongs, as we say; yet he could distinguish between the enduring works and the pulp. Moreover, he professed to like the same qualities in books as in people: individuality, personality, and even eccentricity. In 1821 he disclaimed a taste for the external events in narrative fiction, contrasting his attitude with that of his sister: “Narrative teases me. I have little concern with the progress of events. She must have a story.... The fluctuations of fortune in fiction ... and almost in real life ... have ceased to interest, or to operate but dully upon me. Out of the way humours and opinions—heads with some diverting twist in them—the oddities of authorship please me most” (ii, 75). There is, however, ample evidence that Lamb read widely in prose fiction and enjoyed the works of the great eighteenth-century masters—Defoe, Richardson, Fielding, and Smollett. He also was acquainted with the writings of Sterne, Goldsmith, Henry Mackenzie, Robert Paltock, Aleman, Cervantes, Jane and Maria Porter, Godwin, Scott, and many figures of less note, including the Minerva Press offerings. As Lamb himself put it, “Defoe was always my darling” (i, 524). In 1829, at the request of his friend Walter Wilson, Lamb wrote a critical essay on Defoe's secondary novels for Wilson's book Memoirs of the Life and Times of Daniel Defoe.4
The Solution for the Enigmatic Concluding Lines of the Munich Codex Germanicus 6353
Authors: Ellis Frances H.
Published: January 2021

The Munich codex germanicus 6353 ends with the following words:

Das gesilbent par / ist durch Hannsen Foltzn

vonn Wormbs Barbierern zu Nurmberg

gemacht vnnd gedichtet Jacoben Bernhaubt

Schwennter benant / jme jn grosser gunst

vnnd liebe zugestellt / doch vmb sein darbe-

zalunng vnnd ist jm 1496 Jarnn

gesunngen durch angezaigtenn

Schwentern auff der singeschul

vmb ein klainoth / Es ist jm

vnbekanten thon vnd

saget von den siben

fryen kunst-

en jtlich-

er

Ir erfinder / Planeth / farb / methall (fol. Zr)

To a casual reader these lines might seem to belong to the preceding poem in the MS., but a closer look proves this to be impossible. Indeed a seven-staved par such as described in the above lines is not to be found anywhere within the entire codex. In vain does one look in Mayer's edition of the MS. for some explanation. There the impression is added as if the lines were taken from the bottom of folio 168v, whereas actually they begin at the top of folio Zr and cover two-thirds of it, Apparently Mayer attached no significance to this fact, nor to the fact that blank folios follow the lines cited above (possibly because there are other blank folios scattered throughout the MS.), nor to the fact that the Schwennter referred to in the above “conclusion” is also mentioned in the Preface to the codex. He does, however, call attention to the very artistic handwriting of folios F, O, and Z, the folios which contain the prefatory material and the lines under consideration. Since the Preface states that Folz composed, wrote down, and then left behind him the poems in the MS. many years ago and that Jacob Bernhaubt Schwennter, named the Elder, likewise many years ago, spent much of his time singing and reading these same poems, and since the hand that made those statements also set down the final lines in Munich 6353, we may deduce that they were added after the death of Hans Folz. Even this small item has not been noted before, except for A. v. Keller's remark in his brief description of the Munich MS. that the closing lines, like the Preface, were von späterer hand. Rufold Henß, one of the investigators of Folz's style, appears to be the only scholar who saw something odd in the close of the Munich MS. Finding the words perplexing, he thought that they probably did not belong in that particular place and that they had been copied there by mistake. To date, therefore, no solution has been offered for this enigmatic ending.
Thomas Mann's Conception of the Creative Writer
Authors: Heller Peter
Published: January 2021

A study of Mann's conception of the man of letters and of the literary artist is necessarily an enquiry into his entire philosophy of life, for to Mann “art is the quintessence of humanity and the artist the most human of men.” Because of Mann's perennial and conscious preoccupation with intellectual and artistic creativity, his views on the writer reflect most of the shifts and oscillations in his career. The present essay does not encompass all of these changes in accentuation and tonality.
Charles Chauncey Burr: Friend of Poe
Authors: Hubbell Jay B.
Published: January 2021

On 14 July 1849 Poe, who had just arrived in Richmond, wrote to his wife's mother, Mrs. Maria Clemm: “I am indebted for more than life itself to B— [Burr]. Never forget him, Mother, while you live. When all failed me, he stood my friend, got me money, and saw me off in the cars for Richmond.” Poe had left New York on 29 June. In Philadelphia he had gone on a spree and been seriously ill. Burr with the help of one or two others looked after the sick poet until he was able to resume his journey to Richmond. Poe was on his way back to New York when he died in Baltimore on 7 October of the same year.
Chateaubriand in new York State
Authors: Bishop Morris
Published: January 2021

In 1915 Gilbert Chinard concluded his study of Chateaubriand en Amérique with the words: “Si inconnu qu'il fût à cette date, Chateaubriand a pu laisser des traces de son passage; on le trouvera peut-être un jour mentionné dans quelque correspondance d'émigré, dans un journal de colon conservé dans les archives d'une société historique de quelque petite ville de la Nouvelle-Angleterre ou du Canada. D'ici là, il sera sage de se garder à la fois des affirmations trop hardies et des hypothèses trop séduisantes.” Such an investigation as the eminent américanisant suggested seemed an excellent exercise for young scholars established close to Chateaubriand's line of march. Thus, in the autumn of 1952 I imposed on a graduate seminar the task of examining all the known records of the year 1791 in New York State. All the local historical societies were questioned; manuscript collections and newspaper files were consulted; the aid of specialists in the period was invoked.
The Crystalline Sphere and the “Waters Above” in Paradise Lost
Authors: Robins Harry F.
Published: January 2021

Since 1695, when Patrick Hume, Milton's first annotator, published by subscription The Poetical Works of Mr. John Milton, the editors of Paradise Lost have consistently held that the “waters above the firmament” in the Miltonic cosmology are synonymous with or are contained in the crystalline sphere. I propose to demonstrate that in spite of their accord Milton's editors have been mistaken; that in the geocentric universe of Paradise Lost the crystalline sphere has only the functional role originally assigned to it in the thirteenth century by the astronomer-king Alphonso of Spain; and that the “waters above,” derived from theological rather than scientific sources, were located by the poet outside the primum mobile and never by him confused or identified with the crystalline sphere. This view, contrary to the tenor of historic scholarship, was put forth by the Jonathan Richardsons, father and son, early and sometimes disparaged commentators on Milton. In their Explanatory Notes and Remarks on Milton's Paradise Lost (London, 1734), they explicate P.L. VII.269 thus: “as Moses Gen. i. 7. says there were Waters above and Under the Firmament, Milton Supposes a Chrystalline Ocean, a Sea Clear as the Purest Chryslal, flowing round the New Creation, a Fence (beside the Wall, III, 721) against Chaos. But this is not the Chrystalline mention'd III.482. That was a Sphere, and for a Different use, nor is it a part of Milton's System.” Apparently no serious attention hitherto has been paid to this lone dissenting opinion. It is hoped that this study will encourage a fresh examination of several passages in Paradise Lost and that it will contribute to the understanding of Milton's cosmology as a whole.
Rhetorical Word-Play in Chaucer
Authors: Kökeritz Helge
Published: January 2021

In the opinion of the late Thomas R. Lounsbury, Chaucer was virtually “free from these verbal quibbles which characterize to so marked a degree the language of the Elizabethan dramatists.” “The single instance,” he went on to say, “in which he furnishes any noticeable example of this sort is the play upon the word ‘style’ in the Squire's tale; though there is possibly one of the same character in a line in ‘Troilus and Cressida,‘ where it is said that

‘This Calkas knew by calkulynge,‘ i., 71

that Troy was to be taken. Still, from conceits of all kinds and of all grades Chaucer's language, at every period of his literary career, was in general wholly free.“
Ortega y Gasset's Philosophy of Art
Authors: Livingstone Leon
Published: January 2021

In one of his most stimulating discussions Ortega y Gasset declares that the function of the critic is neither to defend nor to attack, but to understand. In this sense the critic, he says, actually interprets and completes the work of the author so that the public can better understand him.
Tennyson's Garden of Art: A Study of the Hesperides
Authors: Stange G. Robert
Published: January 2021

One of the chief reasons the great Victorian poets are not read with the attention they deserve is that the modern reader is often baffled by the idiom of their more successful poems. We do not know just how to take them, and we find it difficult to do justice to the richness of their language. The case of Tennyson has been particularly unfortunate. In order to discover those poems capable of exciting the contemporary sensibility, one must first discount the adverse critical reaction. Though it may have been historically necessary, it managed to eclipse the Laureate for at least a generation. But having made this effort, one must still penetrate the formidable and misleading mask of household poet which the later Tennyson adopted.
On Rereading Klopstock
Authors: Silz Walter
Published: January 2021

No poet was ever more fortunate in his initial celebrity, more unfortunate in his ultimate fame, than Friedrich Gottlieb Klopstock. He burst like a meteor upon the ken of the mid-eighteenth century, but his light paled rapidly before the rising suns of German Classicism and Romanticism. The nineteenth century, of which he saw the beginning, rendered him a distant “official” homage but read him less and less; and the twentieth century, despite sporadic evidences of interest, seems likewise minded to verify Lessing's early prophecy that Klopstock would be more often praised than perused.
Development of Techniques in Fielding's Comedies
Authors: Goggin L. P.
Published: January 2021

In the first half of the eighteenth century, for almost a decade, young Henry Fielding was the most prominent and the most productive playwright in England. Between 1728 and 1737 he staged at least twenty-five plays, six of them full-length comedies, the others short farces, burlesques, and ballad-operas. In 1737 his theatrical career was stopped by the Licensing Act, which was aimed by the Walpole government at Fielding personally. In later years appeared two more five-act comedies which he had written during this early period.
How Smart was Robinson Crusoe?
Authors: Robins Harry F.
Published: January 2021

The continuous and almost unprecedented popularity of Robinson Crusoe, Part i, has been variously explained. In accounting for the book's superiority to the imitations which it has inspired, several critics have praised Defoe for allowing his island adventurer barely enough in the way of tools and equipment to keep himself alive and gradually to improve his condition. It is often held, too, that Crusoe manifests unusual mechanical ability. But the facts do not support either of these assumptions, and I believe that the reader who makes them has failed to recognize a perennial source of the book's charm.

James Sutherland, Defoe's biographer, commends the author for restricting his hero to “only a few things saved from the wreck,” with which he “proceeds to build up a new life.” In his introduction to the Modern Library edition of Robinson Crusoe, Louis Kronenberger agrees with others who, he says, have pointed out that “Defoe allowed Crusoe just enough in the way of equipment and fodder and tools for him at the outset to stay alive, and in the course of time to be made comfortable.” Paul Dottin remarks that Defoe has simplified his task by allowing the castaway “tout ce qui peut etre utile.”
Christ and Antichrist in Paradise Regained
Authors: Schultz Howard
Published: January 2021

Milton's students have lived, and fairly placidly on the whole, with the problems they have discerned in Paradise Regained or with feeble solutions in despite of the poet's plain instruction to read his work as, before all else, a parable for the church. If we bow to his authority we have only to explain centuries of critical silence; once delivered from the accepted interpretation of the poem as a manual of holy living, we shall no longer need to guess why John Milton, who eternally found his own habits blameless, should in a piece of pietism unique among his works, in a “quietistic, Quaker-like poem” denying his constant humanism, consign to the devil the chief blessings of this world, most of the arts that polish life, many of the goods that he had sought for himself, and, leaving himself without excuse, then invite his friends to regard the result as his finest work. His very pride in the brief epic must, for all its undeniable beauties, seem a little like a mother's love for a defective child unless he meant a little more than meets the careless ear, inasmuch as the most resolute exculpations have not entirely explained away the poem's “inhospitable bareness,” its generous portion of didactic tedium, and the dramatic failure of its static contest.
Valéry et Stendhal
Authors: Girard René
Published: January 2021

La préface de Paul Valéry au Lucien Leuwen des Œuvres complètes de Stendhal est trop riche pour qu'une première lecture suffise à l'épuiser. Elle en exige au moins trois. La première révèle un Stendhal que les confidences de Henri Brulard nous laissaient à peine soupçonner. A la seconde, on retrouve le Valéry de toujours et son cortège de thèmes favoris. Derrière l'apparence de sérénité et de détachement, on croit déceler un autre ton, âpre, et intense, bien fait pour réveiller une curiosité qui se croyait satisfaite. Une troisième lecture est donc requise si l'on veut poser le problème des rapports entre Stendhal et Valéry. Les réflexions qu'elle nous a suggérées sont réunies dans le présent article.
Les Débuts Littéraires de Claude Fauriel: Le Manuscrit Inédit de sa Notice sur La Rochefoucauld
Authors: Galpin Par Alfred Maurice
Published: January 2021

Dans la nuit du 14 au 15 juillet 1844, vers la fin de sa 72e année, mourait à Paris Claude-Charles Fauriel, membre de l'Institut. Cet événement est rappelé dans un post-scriptum de 26 lignes (en petit texte) ajouté à la “Chronique de la quinzaine” de la Revue des deux mondes, en date du 31 juillet et signé V. de Mars: “La perte si regrettable et subite de l'auteur du recueil des Chants Populaires de la Grèce a fait une impression profonde auprès des hommes éminens dont M. Fauriel avait été l'ami et sur lesquels son esprit … avait exercé une influence d'autant plus digne de remarque, que le public n'avait guère été à même de l'apprécier.” L'auteur y loue “l‘écrivain à qui Cabanis adressait ses fameuses lettres des Causes premières, l'ami dont Manzoni écoutait l'inspiration et à qui il se faisait honneur de dédier sa première pièce, l'homme que Mme de Staël consultait sur la littérature allemande, qui donnait à M. Cousin le goût de la philosophie ancienne, à M. Raynouard celui des troubadours, à M. Augustin Thierry celui des races du moyen âge, à M. Ampère celui des littératures comparées … ” Si élogieuses que puissent paraître ces observations, elles ne rendent pas complètement compte du rôle de Fauriel dans l'histoire littéraire de son temps. Elles ne disent rien, par exemple, de son rôle d'initiateur de la critique dantesque en France, tel que l'a montré Frédéric Ozanam dans un article du Correspondant en date du 10 mai 1845 et intitulé “M. Fauriel et son enseignement.” Ce n'est qu'après la publication, due aux soins de son amie et exécutrice littéraire Mary Clarke Mohl, des deux volumes sur Dante et les originesde la poésie italienne (Paris: Durand, 1854), qu'on put pleinement apprécier ce rôle. Au cours de cette même année 1854, à l'occasion d'une traduction de l‘Enfer par le président Mesnard, Sainte-Beuve parle de la “fortune” en France de Dante, qui trouvait la faveur après de longs siècles d'oubli. “Il est des révolutions dans le goût et dans les manières de voir qui ne peuvent réussir qu'en s'appelant de leur nom et en se dessinant hardiment … Fauriel était destiné à opérer ce changement profond dans le goût, je ne dirai pas du public, mais de tous les littérateurs instruits et de la portion la plus éclairée de la jeunesse française.”
The Tudor History Play: An Essay in Definition
Authors: Ribner Irving
Published: January 2021

The english history play belongs distinctly to the sixteenth century. Although it has its roots deep in the medieval drama, it reached its full development only in the last decades of the reign of Elizabeth, and when John Ford wrote his Perkin Warbeck in 1634, it was already with the awareness that he was reviving a dramatic type which had been dead for some decades. It is significant that later attempts to revive the history play have always been with an eye towards the Elizabethan era. Nicholas Rowe turned to his Jane Shore fresh from his edition of Shakespeare and full of the inspiration of Shakespeare's histories. In our own time Maxwell Anderson, in such plays as Elizabeth the Queen and Anne of the Thousand Days, has been clearly anachronistic in his attempts to recreate Elizabethan verse drama, and it is significant that he has chosen his subjects from the very age he has sought to emulate.
“A Solempne and a Greet Fraternitee”
Authors: McCutchan J. Wilson
Published: January 2021

That the “solempne” and “greet fraternitee” in whose livery Chaucer dressed the five Burgesses in the General Prologue of The Canterbury Tales was probably a craft fraternity and that the Drapers' Fraternity (or Brotherhood of St. Mary of Bethlehem) provides a clear-cut example of the kind of organization he had in mind are conclusions to which this paper will attempt to lead the reader through the ensuing pages. Eighteen lines introduce and describe these worthy citizens:

An Haberdasshere and a Carpenter,

A Webbe, a Dyere, and a Tapycer,—

And they were clothed alle in o lyveree

Of a solempne and a greet fraternitee.

Ful fressh and newe hir geere apiked was;

Hir knyves were chaped noght with bras

But al with silver; wroght ful clene and weel

Hire girdles and hir pouches everydeel.

Wel semed ech of hem a fair burgeys

To sitten in a yeldehalle on a deys.

Everich, for the wisdom that he kan,

Was shaply for to been an alderman.

For catel hadde they ynogh and rente,

And eek hir wyves wolde it wel assente;

And elles certeyn were they to blame.

It is ful fair to been ycleped “madame,”

And goon to vigilies al bifore,

And have a mantel roialliche ybore.

(Gen. Prol., ll. 361-378)
The Equilibrium of Opposites in the White Devil: A Reinterpretation
Authors: Layman B. J.
Published: January 2021

At one point in Webster's The While Devil the Cardinal Monticelso addresses a shocking invitation to the Duke of Florence, the arch-revenger of the play:

Come, come my Lord, untie your foulded thoughts, And let them dangle loose as a bride's haire.

(iv.i.1-2)

As a scene-opener the speech deserves to be thought of as one of Webster's coups de théâtre, for the whole play is of a kind to make the words hyperbolically preposterous. We are, of course, in the chosen realm of Jacobean imagining, that lurid Italy where every thought “Imitates / The suttle fouldings of a Winters snake” (i.ii.345-346) and where brides epitomize hypocrisy:

O the Art,

The modest forme of greatnesse! that do sit Like Brides at wedding dinners, with their looks turn'd

From the least wanton jests, their puling stomacke Sicke of the modesty, when their thoughts are loose …

Even acting of those hot and lustfull sports

Are to ensue about midnight … (iv.iii.145-151)