bluuebunny/crossref_metadata_2025 huggingface dataset:
Influência do ligante na retração por secagem em fibrocimento
Authors: Leite Giordano Brunoro , Barbosa de Souza Rui , John Vanderley Moacyr
Published: January 2021

Resumo Existe um grande interesse das indústrias de fibrocimento em buscar ligantes de composição ótima do ponto de vista econômico, técnico e ambiental. Nesse sentido, cimentos em que parte do clínquer é substituída existe um grande interesse das indústrias de fibrocimento em buscar ligantes de composição ótima do ponto de vista econômico, técnico e ambiental. Neste sentido, cimentos onde parte do clínquer é substituída por adições ativas são bastante atrativos e cimentos com baixos teores de adição já são utilizados pelo setor. Entretanto, chapas de fibrocimento reforçadas com fibras orgânicas têm apresentado frequentemente fissuras nas bordas de telhas e painéis, que provém da secagem dos componentes nas pilhas de estocagem. Neste trabalho foi avaliado o impacto da introdução de escória e silicato de sódio na composição do ligante nas propriedades mecânicas, porosidade, compostos hidratados formados e principalmente na retração por secagem de fibrocimentos reforçados com fibras orgânicas. Foram produzidas placas de fibrocimento com cimento CPII F-32 e com uma mistura do CPII F-32 e escória granulada de alto forno ativada por silicato de sódio alcalino. Os resultados mostraram que há maior quantidade de poros menores que 0,003µm na amostra com escória e silicato de sódio, devido à maior quantidade de C-S-H formado na hidratação. Consequentemente, a incorporação de escória ativada com silicato de sódio como ligante do fibrocimento aumenta a retração por secagem deste compósito, aumentando consequentemente, a tendência da fissuração dos artefatos.
Retração total e penetração de cloretos em concretos com cimento Portland branco e escória de alto forno
Authors: de Medeiros Dellinghausen Luciano , Guerra Gastaldini Antônio Luiz , Cechella Isaia Geraldo , Kozoroski Veiga Karina
Published: January 2021

Resumo Neste trabalho foram investigadas as influências do teor de escória e do período de cura na retração total, na penetração de íons cloretos e na resistência à compressão axial de concretos com cimento Portland de alta resistência inicial e cimento Portland branco estrutural. Adotaram-se relações água/aglomerante de 0.30, 0.42 e 0.55, teores de escória, em substituição ao cimento Portland, de 0%, 50% e 70%, e períodos de cura de 3 e 7 dias. Foi empregada uma mistura com 50% de escória em substituição ao cimento Portland branco, ativada por sulfato de sódio (4% da massa de aglomerante) para analisar a influência do ativador nas propriedades investigadas. Antes de serem imersos em solução salina os corpos-de-prova foram submetidos a um período de secagem de 91 dias. Dos resultados obtidos, constatou-se que o aumento do teor de escória resultou em decréscimo nos valores de resistência à compressão, de retração e de penetração de cloretos para os dois cimentos investigados. A diminuição no período de cura resultou em maiores valores de retração e de penetração de cloretos, tanto no concreto branco quanto no cinza, independentemente do teor de escória utilizado.
Avaliação de desempenho estrutural de protótipo com paredes construídas com blocos EVA
Authors: Melo Aluísio Braz , Filho Marçal Rosas Florentino Lima
Published: January 2021

Resumo A utilização de resíduos de EVA (Etileno Acetato de Vinila), resultado da produção de sandálias, na construção civil tem sido objetivo de pesquisas nos últimos 10 anos. Sabe-se que tais resíduos têm grande potencial para serem empregados como agregados leves, em substituição aos agregados naturais, na elaboração de compósitos cimentícios alternativos. Este artigo, além do destaque para a evolução dos estudos de aplicação desses compósitos na produção de blocos leves, apresenta uma importante etapa do processo de avaliação de desempenho estrutural do pré-moldado proposto. As avaliações de cargas de ocupação e impactos nas paredes do protótipo construído com blocos EVA foram realizadas, através de ensaios (impactos de corpos mole e duro, solicitações transmitidas por fechamentos bruscos de porta e cargas provenientes de peça suspensa) que procuram simular situações acidentais e normais de uso de uma edificação. No processo de construção do protótipo observaram-se facilidades no uso dos blocos EVA, que são importantes na perspectiva da redução de resíduos de construção e demolição. À luz do conhecimento atual, baseando-se nos estudos anteriores e considerando-se o bom desempenho do protótipo, verificado nos ensaios realizados, sugere-se 1,2 MPa como parâmetro aceitável de resistência à compressão para o bloco EVA.
The Sources of Titus Andronicus
Authors: Fuller Harold DeW.
Published: January 2021

In any examination of Titus Andronicus the student is immediately confronted with the questions: “Are we really to regard Shakspere as the author ?” “How did he happen to choose such repulsive material ?” Or, again, if we assume that he but touched up an old play, there is still the question: “Just how great was this revision ?” In other words, Titus Andronicus interests most readers not for its real worth as a drama, but only for what it may or may not represent in the history of Shakspere's dramatic career. For this reason it seems essential to give, first of all, a brief account of previous opinions as to the authorship of this tragedy, so that we may better understand the importance of determining its sources.
The New Function of Modern Language Teaching
Authors: Price Thomas R.
Published: January 2021

As teachers of the modern languages, in our survey of our own Association and of the American university system, we must all feel a certain warmth of exhilaration. The progress that our favorite studies have been making is so splendid. Within that period of forty years which the memory of older men among us can now cover, and, for the younger men, in each of the periods into which those forty years could be divided, there has been, in a steady current of progress, so vast an improvement in our methods of instruction, so vast an increase in the magnitude of our work, in the number of our pupils, in the size and qualification of our professorial force. In the national movement of thought and theory in education, we have shared, indeed, with the physical sciences in popular favour; and even as compared with the physical sciences themselves, the growth of instruction in the modern languages has been, I think, the more rapid and the more impressive. Excluded at first, or hardly recognized, as a factor in liberal education, they have now made good their position, in all grades of instruction, in school and college and university. In generous proportion with the financial means of each academic body, the work has from year to year been more highly specialised. Almost everywhere, we have witnessed the establishment of the natural division between Romance and Teutonic philology, and between linguistics and literature; and almost everywhere we have witnessed, in logical connexion with the same movement, the study of English placed in its worthy position, as connecting link between those great forces of literary culture that have formed our speech and our literature. There is not, I think, in the world a country where the boy or the girl, born into the use of one of the great modern languages, can move onward more easily and more surely into the knowledge and enjoyment of two or three others.
A Note on the Prison-Scene in Goethe's Faust
Authors: Hatfield James Taft
Published: January 2021

In the Göchhausen manuscript of Faust Margarethe concludes the vision of her own execution as follows: “Es zuckt in iedem Nacken die Schärfe die nach meinem zuckt!” . . . Motley's description of the execution of Egmont contains the words: “A moment of shuddering silence succeeded the stroke. The whole vast assembly seemed to have felt it in their own hearts.” The source of this statement was found, after some search, in Hooft's Neederlandsche Histoorien, Amsterdam, 1642.
On the Date and Composition of the Old Law
Authors: Morris Edgar Coit
Published: January 2021

It is the purpose of this paper to study the unassisted work of Middleton, of Rowley, and of Massinger for the individual characteristics of these men. From the characteristics thus arrived at, the part each man probably took in the composition of The Old Law will be determined. This assignment of parts will be used as the basis for determining the probable method of composition, and the approximate date of the play.
The Primitive Prise d'Orange
Authors: Weeks Raymond
Published: January 2021

The existence of a primitive Prise d'Orange, now unhappily lost, is better attested than that of any lost poem of the Geste de Guillaume. Indeed, there are more references to this poem than to the majority of the poems still extant in the Geste.
On the Latin Sources of Thèbes and Énéas
Authors: Warren F. M.
Published: January 2021

The French poems Troie, Thèbes, and Énéas, contemporaneous with one another in the sixth and seventh decades of the twelfth century, have many characteristics in common. They each repeat in a modernized form, and with incidents and details suited to their own age, the story of one of the great epics of classical antiquity, the Iliad, the Thebaid, and the Aeneid. They also combine with this traditional outline of adventure and conquest the narrative of romantic love and courtship, as conceived by Western Europe in the Middle Ages. And finally they each and all show an effort to attain some degree of excellence in style and composition. Thus they form a class by themselves, animated, as they are, by the same spirit and having the same purpose in view, and are the first exponents in the modern tongues of the ideals of chivalry. The sources of these poems, therefore, are an object of unusual interest to the student of mediaeval literature.
The Prologue of the Wife of Bath's Tale
Authors: Mead William E.
Published: January 2021

Chaucer's prologues and connecting links in the Canterbury Tales deserve special study, for they are by far the most characteristic and original part of his writings. When telling his tales he seems to feel himself in a measure bound to reproduce the stories as he finds them. In the general Prologue, ll. 731–736, he says:

“Who-so shal telle a tale after a man,He moot reherce, as nv as ever he can,Everich a word, if it be in his charge,Al speke he never so rudeliche and large;Or elles he moot telle his tale untrewe,Or feyne thing, or finde wordes newe.”
Interpretative Syntax
Authors: Smith C. Alphonso
Published: January 2021

I am well aware that the expression interpretative syntax has not the prestige of previous usage. Indeed no one at all familiar with the modern trend of syntactical studies could say that they serve in the slightest degree as aids in the interpretation of literature. It seems to be assumed that syntax has nothing to do with literary criticism or with stylistic effects. And as the study of English syntax is now conducted, one can hardly imagine two persons more alien in their aims and methods than the literary critic and the writer on syntax.
Aïmer Le Chetif
Authors: Weeks Raymond
Published: January 2021

In the epic family of Aymeri de Narbonne, by far the strangest figure is that of Aïmer le Chétif. Without sharing in the grotesqueness of Hernaut le Roux, Aïmer has a mysteriousness and the shadow of an unknown misfortune, which draw powerfully the sympathetic imagination. Evidently we are dealing with one of the greatest of ancient heroes, yet the complete disappearance of the epics that sang his exploits has buried in oblivion his peculiar claim to glory. If he has subsisted at all, it has been as a fallen deity. Indeed, the casual reader of the poems still extant in which he is mentioned, might suppose him the least of all his brethren, one of the humblest and most recent additions to the epic roll. It is in fact likely, as we shall see, that the meaning of his epithet le chétif was already forgotten seven hundred years ago.
XV.—The Friar's Lantern and Friar Rush
Authors: Kittredge G. L.
Published: January 2021

Friar Rush appears in all the versions of his printed history (Danish, Swedish, German, English) as a malignant fiend who, under the disguise of a friar, brought a religious house to dire confusion. Yet it seems to be the received opinion that he was also known to the English (either under his full name or simply as “the Friar”) in quite another character,—that of harmless and serviceable house-spirit. In this rôle he was, it is held, to all intents and purposes identical with the domestic manifestation of Robin Goodfellow: that is, he worked at night for the servants, expecting no other payment than #x201C;the cream bowl duly set,” but, if that were denied him, showing his displeasure by all manner of petty mischief. The sole foundation for this opinion is a famous passage in Harsnet's Declaration of Egregious Popish Impostures, 1603, in which “the Frier” is mentioned in some sort of connection with Robin Goodfellow
Signy's Lament
Authors: Schofield William Henry
Published: January 2021

In the preceding article my friend Mr. Lawrence has shown clearly that all indications point to an Old Norse source for the Anglo-Saxon poem usually termed The First Riddle of Cynewulf. After he had come to a conviction on this point, he communicated his theory to me in private conference, in the hope that I might perhaps be able to supply confirmatory evidence by showing what that source was. It was my fortune to make what I believe scholars will agree to be the correct identification of the material, and, with the new light thus thrown on its meaning, to interpret the poem more satisfactorily, I think, than has hitherto been done.
The Holme Riddles (Ms. Haul. 1960)
Authors: Tupper Frederick
Published: January 2021

Ms. Harl. 1960 is thus described by Wanley (“Account of Harl. mss.,” Brit. Mus. Cat.):—“A thin paper book in 12mo. mostly written by one of the Holmes and containing a collection of Riddles with their Solutions; being such as young lads and lasses use to make sport with. At the end is a table to the same.” So closely indeed is the little volume associated with at least one member of the Holme family of Chester—the possessors of the ms. until the early 18th century, when it passed with other writings of that race of antiquaries into the keeping of Robert Harley, Earl of Oxford (mss. Harl. 1920–2177 and a few others)—that to understand its history we must first know a little of the lives of the four Holmes and chiefly of the third Randle.
Cynewulf And Alcuin
Authors: Brown Carleton F.
Published: January 2021

Attention has been called by Prof. A. S. Cook to an interesting parallel between the description of the Day of Judgment in Cynewulf's Elene, vv. 1277–1320, and a passage in Alcuin's De Fide Sanctae et Individuae Trinitatis. Prof. Cook believes that the correspondences between these two passages are so complete as to prove the dependence of Cynewulf upon Alcuin. Inasmuch as Alcuin's treatise was not written until 802–4 a. d., Cynewulf's dependence, if established, would oblige us to throw the Elene, and perhaps the rest of the Cynewulfian poetry, into the 9th century. The vital importance of such a conclusion to the whole question of Cynewulf's date and identity is apparent.
The Semasiology of Words for ‘Smell’ and ‘See’
Authors: Wood Francis A.
Published: January 2021

Since the publication, in 1879, of Bechtel's Über die Bezeichnungen der sinnliehen Wahrnehmungen little has been done in this field. In fact, the ground there broken seems to have become fallow again. Perhaps this is because the book is based on a now antiquated phonetic system. But, in the main, the principles there advocated are none the less true, even though many of the etymologies are no longer tenable. This paper is intended, therefore, to rehabilitate these principles and supply some deficiencies.
Nicholas Grimald's Christus Redivivus
Authors: Hart J. M.
Published: January 2021

The existence of the Christus Redivivus of Nicholas Grimald was questioned by Herford, Literary Relations, &c., and denied by the writer of the life of Grimald in the National Dictionary of Biography. We now know, from Goedeke, Grundriss, second ed., that a copy is in the Wolfenbüttel Library. See my letter in the London Academy, February 9, 1895. Soon after the appearance of that letter I received, from Herrn Spirgatis, the well-known antiquarian-dealer in Leipsic, a friendly note, in which he called my attention to Bahlmann, Die lateinischen Dramen seit Wimpfeling's Stylpho, in which Bahlmann mentions the existence of a copy in the Berlin Royal Library.
Romantic Aspects of the Age of Pope
Authors: Havens Raymond D.
Published: January 2021

To our ideas of classicism we have, as a rule, given point and definiteness by contrasting it with its opposite, romanticism; and to make the contrast stronger we usually take extreme cases. This is a perfectly proper, perhaps necessary, proceeding. It is also proper and convenient to speak of the late seventeenth and early eighteenth centuries as a classical age. The difficulty comes with the next step which our minds and those of our hearers unconsciously, but almost inevitably take, that of assuming that this abstract and extreme classicism was generally held in this classical age. We forget that classicism is one thing and the classicism of the eighteenth century quite a different thing.
The Later Manner of Mr. Henry James
Authors: McIntyre Clara F.
Published: January 2021

Those who have doubts as to how far Mr. James has travelled from his earlier style will find interesting testimony in a bit of early criticism. Writing of The Passionate Pilgrim and Transatlantic Sketches J. C. Heywood says, “Ambiguities and obscurities', as well as inadequacies of expression, are so uncommon in these books that those which appear are all the more displeasing and inexcusable, since the writer has plainly shown that they might have been avoided.”
The Harmonizing of Grammatical Nomenclature, with Especial Reference to Mood–Syntax: Concluding Article
Authors: Hale Wm. Gardner
Published: January 2021

In my former paper, I have shown that the languages of our family commonly studied in our schools and colleges possess a mood that has the power of expressing volition on the one hand, and mere anticipation on the other; and that, in Latin, Romance, and Germanic, this double power was inherited from the distinct mood, called subjunctive, of the parent speech. In the course of the demonstration, I gave illustrations of some of the volitive and anticipatory uses which may clearly be recognized.
The Date of Chaucer's Medea
Authors: Root Robert K.
Published: January 2021

In the Publications of the Modern Language Association for March, 1909, I tried to show reason for believing that Chaucer's Legend of Medea was written later than the Man of Law's Prologue, and that hence the date of its composition must fall some time after 1390, when the poet was already engaged on the Canterbury Tales. In the following number of the same journal Professor G. L. Kittredge replied to my paper with a thorough-going denial. Professor Kittredge's name rightly carries with it so great an authority,—particularly in matters pertaining to Chaucer,—that, if I am still to maintain my position, I must consider his objections and show why I cannot hold them valid. Whatever may be the final verdict of scholars as to the date of Medea, the issue involves so many questions which throw light on Chaucer's methods of work that a full discussion of it cannot be without profit.
The Golden Age of the Spenserian Pastoral
Authors: Cory Herbert E.
Published: January 2021

Modernity has taught us, with some reason, to laugh at pastorals. Nevertheless there is deep humanity in those artificial songs of shepherds and shepherdesses. With the frigid pipings of Thyrsis and Corydon we are indeed out of tune. Since, however, the pastoral fascinated Theocritus, Virgil, Petrarch, Boccaccio, and Spenser, who wrote for ail time, we ought to approach the outworn form in a spirit of serious sympathy. Even proud idealists sometimes waver. Poetry must furnish, at times, an escape from life—not always the clarion call to life's struggles. Men took the pastoral in order to flee for a moment into Arcadia, to clothe in pleasant vagueness confessions of the delightful miseries of calf-love, though strife stole too often even into Arcadia and goaded the shepherds into worldly bickerings. We have the same aspirations to-day as those poets when they wrote their pastorals,—moods that are not mere toys; but because hope is edged with doubt, we trifle with our dreams in ways no less artificial than the pleasant game of pastoral-making. We have not outgrown the pastoralist's moods.
Uhland's Fortunat and the Histoire de Fortunatus et de Ses Enfans
Authors: Ransmeier John C.
Published: January 2021

Professor Herford divides the Volksbücher of Fortunatas into the Frankfurt and the Augsburg groups. The Augsburg editions, he points out, have ungermanized names and slightly more copious incident. He says further: “All the known editions of the Volksbuch contain substantially the same story. From the first German edition, published at Augsburg in 1509, and its numerous German successors, to the Dutch, English, and Danish versions of the seventeenth century, the story everywhere unfolds itself in the same elaborate disorder, varying only in quantity of descriptive detail, or at most, in the omission or inclusion of some trifling episode.” With this conclusion Harms agrees; and I have found no reason to dispute this classification, and can only emphasize the trifling nature of the differences of the two groups and the extremely close agreement of texts within the same group. I make this statement after examining all the editions of the Volksbuch available in the Royal Library at Berlin, such additional ones as were obtainable through the aid of the Auskunftsbureau der deutschen Bibliotheken (which has the coöperation of three hundred German libraries), the British Museum, and the following libraries at Paris: the Library of the Sorbonne, the Bibliothèque Nationale, the Bibliothèque de l'Arsenal, and the Bibliothèque de St. Geneviève. I found, however, one version in prose narrative form which presents a very free and clumsy adaptation of the conventional material of the Volksbuch, namely, Fortunatus mit seinem Seckel und Wunschhütlein, eine alte Geschichte für neue Zeiten, Frankfurt und Leipzig, 1787 (British Museum). The variations from the type found here do not correspond to those in Uhland's work. We must seek some other free adaptation of the conventional form, if we would find a source for Uhland's changes.
Good Taste and Conscience
Authors: Howard William Guild
Published: January 2021

Matthew Arnold's essay on the Literary Influence of Academies (1865) contains this characteristic passage:—

“‘In France,’ says M. Sainte-Beuve, ‘the first consideration for us is not whether we are amused and pleased by a work of art or mind, nor is it whether we are touched by it. What we seek above all to learn is, whether we were right in being amused with it, and in applauding it, and in being moved by it.’ Those are very remarkable words, and they are, I believe, in the main quite true. A Frenchman has, to a considerable degree, what one may call a conscience in intellectual matters; he has an active belief that there is a right and a wrong in them, that he is bound to honour and obey the right, that he is disgraced by cleaving to the wrong. All the world has, or professes to have, this conscience in moral matters. The word conscience has become almost confined, in popular use, to the moral sphere, because this lively susceptibility of feeling is, in the moral sphere, so far more common than in the intellectual sphere; the livelier, in the moral sphere, this susceptibility is, the greater becomes a man's readiness to admit a high standard of action, an ideal authoritatively correcting his everyday moral habits; here, such willing admission of authority is due to sensitiveness of conscience. And a like deference to a standard higher than one's own habitual standard in intellectual matters, a like respectful recognition of a superior ideal, is caused, in the intellectual sphere, by sensitiveness of intelligence. Those whose intelligence is quickest, openest, most sensitive, are readiest with this deference; those whose intelligence is less delicate and sensitive are less disposed to it.”
XIX.—A Suggestion For A New Edition of Butler's Hudibras
Authors: Baldwin Edward Chauncey
Published: January 2021

Butler's Hudibras has been edited many times, and much erudition has been shown in explaining the wit of that remarkable burlesque. Yet, curiously enough, the most obvious method of annotation has hitherto been entirely overlooked. This would have been to utilize the abundant material bequeathed to us by Butler himself in the form of prose “ characters,” which were published only after his death—material that throws a most interesting light upon the poet's method, and at the same time clears up many obscurities in the mock-epic. These “characters” were written between 1667 and 1669—five or six years after the appearance of the first part of Hudibras, but were not collected and published till 1759. Even then, only 121 out of 187 were printed in Thyer's edition of The Genuine Remains in Prose and Verse of Mr. Samuel Butler. The remaining 60 have lain undisturbed in the British Museum as “Addition No. 32625–6,” till the industry of a modern scholar has at last unearthed and published them. The whole collection conforms closely to the fashion of writing “characters” that was prevalent all through the seventeenth century. The character-sketch, or “ character ” as it came to be called in that age, was a short account, usually in prose, of the properties, qualities, or peculiarities, that serve to individualize a type. And such these of Butler are.
I.—Shul and Shal In The Chaucer Manuscripts
Authors: Brown Carleton
Published: January 2021

Before we may hope to solve some of the problems which confront the student of Chaucer we must gain a clearer understanding of the relationship in which the extant mss. stand to the text written by the poet's own hand. In the hope of throwing some light upon this relationship it occurred to the present writer to apply to all the Chaucer mss. thus far printed a very obvious grammatical test by noting their usage in the case of the plural present indicative of the verb shullen. The use of this test first suggested itself as a result of my observation that in these forms there is a curious variation among different mss., and even in the same ms. in different portions of Chaucer's text. These reversals of usage in the same ms. are best illustrated in Camb. Gg. 4, 27, for this manuscript contains not only the Cant. Tales, but also Troilus, the Parl, of Foules, and the Legend of G. W. In the Parl, of F. one finds the plural of the present indicative written schul eight times and schal only once; in Troilus, on the other hand, there are no less than forty-one schal's as against eight schul's. Much the same ratio is found in the Legend, which has eleven schal's and only two schul's. Moreover, among the several tales of the Canterbury collection this manuscript shows marked difference of usage, swinging abruptly from six to two in favor of schal in the Man of Law's Tale to nine to one in favor of schul in the Wife of Bath's Tale, which immediately follows. Similar examples of reversal of usage in these forms might be cited in nearly all the printed mss. Such alternations between schal and schul on the part of the same scribe are evidently due to variations in the mss. from which he was copying. In other words, the responsibility for this variation in usage does not rest upon the scribes of the extant mss.,—though they may have added to the confusion already existing. It is clear, then, that this confusion between shul and shal must proceed, either from scribes intermediate between Chaucer and the extant copies or—from Chaucer himself.
V.—An English Feiend of Charles of Orléans
Authors: MacCracken Henry Noble
Published: January 2021

In 1907 M. Pierre Champion announced his discovery that the manuscript fr. 25248 in the Bibliothèque Nationale, consisting chiefly of poems by Charles d'Orléans, was to a great extent autograph, and where not autograph, was revised under the personal care of the poet. Important as is this discovery for the knowledge of fifteenth century French literature, there is one feature of the manuscript which may lead us, if the slender clues are followed, to an identification of a new English poet of the courtly school.

On page 346 of the ms . M. Champion finds, in the Duke's autograph, two roundels in English On pages 310–313, in an interpolated quire not originally part of the volume, are six roundels and a ballade in English. This quire contains no piece in the Duke's hand; but two pieces at the beginning of the quire are by him, and written in the hand of the earliest scribe of the volume.
IV.—A Type of Blank Verse Line Found in the Earlier Elizabethan Drama
Authors: Hubbard Frank G.
Published: January 2021

Some time ago in an article on Locrine and Selimus I showed the futility of discussing questions of the authorship and chronology of plays written between 1585 and 1595 on the evidence of parallel passages. I endeavored to show that the occurrence of such parallels is much more likely to be evidence of different authorship than of common authorship. If, now, this kind of evidence, by itself, is to be considered of small value, where shall we look for other evidence that may have more weight and certainty? I believe that something of significance can be found if we search carefully for characteristics of style,—forms of expression more or less rhetorical, peculiar arrangement of terms, favorite collocations of words, devices to “bum-bast out” the blank verse.
Spensek and the Mirour de L'omme
Authors: Lowes John Livingston
Published: January 2021

It has been tacitly assumed that the Mirour de l'Omme lived only in its name (and even in that somewhat equivocally) until the discovery of the single extant manuscript in 1895. To suggest that the poem not only did not die when it was born, but that on the contrary it was well known to Spenser, and that it gave to the Faerie Queene one of its most famous purple patches—such a suggestion, one may readily grant, would occur offhand to no one. Yet there is weighty evidence in support of just this contention, and that evidence it is the object of this paper to present. That the case is one which challenges somewhat sharply our established preconceptions, and that it must rest on firm ground to command assent, I am thoroughly aware.
XX.—Balaustion's Adventure as an Interpretation of the Alcestis of Euripides
Authors: Tisdel Frederick M.
Published: January 2021

Balaustion's Adventure was first published in 1871. From that time until the present scholars have differed in opinion as to whether the poem misrepresents the Alcestis of Euripides, which it aims to interpret, and, if so, to what extent. The particular criticisms directed against Browning's interpretation have to do almost exclusively with his treatment of the characters of Admetus and Heracles. He makes Admetus selfish and cowardly; Heracles, essentially noble. Did Euripides think of them so? Professor Richard G. Moulton, writing for the Browning Society Papers in 1891, took exception to Browning's treatment of Admetus. He called Balaustion's Adventure “a beautiful misrepresentation of the original.” “Browning,” he said, “has entirely misread and misinterpreted Euripides' play of Alcestis.” … “The character he has read into the actions of Admetus is opposed to the view of him taken by all the personages of the story, gods, heroes, men; is opposed to the author's own intimations through the mouth of the Chorus; is countenanced only by the one personage whom all the rest including Alcestis hold guilty of the selfishness Browning has ascribed to Admetus.“ Verrall criticises Browning's interpretation of Heracles. He insists that the Heracles of Euripides is not the godlike helper of mankind which Browning would have us believe him to be, but a mere ”drunken athlete adventurer,“ a burlesque figure.
XXII.—The Theme of Death in Paradise Lost
Authors: Erskine John
Published: January 2021

The theme of Milton's epic, we are told at the beginning of the poem, is man's disobedience, which brought death into the world. If there is a central doctrine in Paradise Lost, it would seem to be that death is the inevitable result of sin. The voice of God declares with severe emphasis that man, once become sinful,

To expiate his treason hath naught left,But to destruction sacred and devote,He with his whole posterity must die.
XXIII.—The Development of Brief Narrative in Modern French Literature: A Statement of the Problem
Authors: Smith Horatio E.
Published: January 2021

Brief narrative, at first thought, connotes the abridged fiction of low grade with which American magazines are now saturated; but as soon as the term is used to cover the whole field in modern literature, it calls to mind a genre which, under various names, has risen to a position of dignity in many places in the world and has worthily engaged the attention of literary historians, particularly in America and in Germany.

The chief features in the development of the form in the United States and England have been discussed at length, and there is now a definitive record, with abundant bibliographical apparatus, of its evolution. Poe is looked upon as the pioneer, and his perpetually quoted definition (1842) has set a standard for the majority of the practitioners of the art in the English language. The form suggests, for America, such experts as Hawthorne, Bret Harte, and Henry James; in England it does not gain the attention of writers of the first magnitude until near the end of the century, in the persons of Stevenson and Kipling.
XXIV.—The Early “Royal-Entry”
Authors: Withington Robert
Published: January 2021

Many, if not most, of the writers on early pageantry state that the first pageantic “royal-entry” at London took place in 1236, when Queen Eleanor of Provence arrived at her new capital. It is the purpose of this paper to show that there had been elaborate “royal-entries” before that date, and that the first pageantic “royal-entry” did not occur until sixty-two years after this ceremony. The best way to do this, is to make a survey of the “royal-entries” of the thirteenth century.

It was in connection with this method of honoring their rulers that the English people developed pageantry most notably between the early years of the thirteenth century and the reign of Queen Elizabeth; therefore the beginnings of pageantry in connection with the “royal-entry” are not only interesting in themselves, but historically important. The splendor which surrounded all ceremonies involving the king was great, long before 1200; Wendover's account of the coronation of Richard I in 1189 is a clear picture of the kind of thing that took place.
Swinburne and Delavigne
Authors: Shackford Martha Hale
Published: January 2021

For those who enjoy tracing literary relationships there is a very attractive problem in regard to the possible indebtedness of Swinburne's The Garden of Proserpine to Delavigne's Les Limbes. Swinburne's poem has long been a favorite, for its subtle cadences have elusive, indefinable melody, and the picture of the dim beauty of Proserpine's realm is a masterpiece of descriptive art. However one may regard the philosophy of languid surrender to extinction, one cannot fail to recognize Swinburne's power in depicting a pallid world where all things are wan, bloomless, and indeterminate.
The Siege of Troy in Elizabethan Literature, Especially in Shakespeaee and Heywood
Authors: Tatlock John S. P.
Published: January 2021

No traditional story was so popular in the Elizabethan age as that of the siege of Troy and some of its episodes; because of its antiquity and undying beauty, of the fame and greatness of the early writers who had treated it, and to some extent of the tradition that the Britons were descendants of the Trojans, a tradition which certainly often determined the point of view. After the close of the Middle Ages its popularity had increased rather than diminished, among both educated and uneducated. And nothing better than this story illustrates the true relation of the age to the nearer and the remoter past,—the continuation of mediaeval tradition and taste, especially among the little-educated; and the often uncouth modification of it by an increased knowledge and a sharpened understanding of the classics. To Chaucer and the followers of Guido delle Colonne were added a more intelligently-read Virgil and Ovid, and a new-found Homer. But for the most part they were subdued to what they worked in, the romantic and rather undiscerning taste of the not highly educated.
The Sources of Jonson's The Staple of News
Authors: Stonex Arthur Bivins
Published: January 2021

In 1905, two important contributions were made to our knowledge of the sources of Ben Jonson's The Staple of News. Dr. De Winter, in a critical edition of the play, pointed out several important similarities between it and the earlier London Prodigal, which play he urged, further, was “mainly the work of Jonson's hand.” In the same year, Mr. Charles Crawford showed less important similarities between The Staple of News and The Bloody Brother, notably in speeches by the Master-Cook, a character in the former play, and insisted that here also Jonson had had a large hand in the play from which he later borrowed.
Guillaume de Machaut and the Book of the Duchess
Authors: Kittredge G. L.
Published: January 2021

Chaucer's Booh of the Duchess opens, as is generally agreed, with five lines rather closely translated from Froissart's Paradys d'Amours. Froissart, however, was himself imitating a passage from Guillaume de Machaut's Fontaine Amoureuse, and Chaucer, who knew both works, utilized the Fontaine, along with Ovid, for the tale of Ceyx and Alcyone, which occupies most of his Proem. Yet, in the midst of this story, he darted back to the Paradys for a moment to pick up the strange name Fclympasteyr, and, near the end of the Proem, the influence of Froissart is again visible in a few details. One of these is amusing. Froissart prayed not only to Morpheus, but to Juno and Oleus:
Car tant priai a Morpheus,A Juno et a Oleus—(15-16).
The Enueg and Plazer in Mediæval French and Italian
Authors: Hill Raymond Thompson
Published: January 2021

About three years ago an article was published by the present writer defining the essential features of the enueg and the plazer and showing the rise of this type of poetry in Provençal and its subsequent spread to Catalan, French, Italian, and Portuguese. The enueg was found to be a rimed composition on the subject of vexations and annoyances, while the plazer took pleasures as its theme. Except for this difference, the important characteristics of both are the same: (A) the enumeration of a series of vexations or pleasures, usually without continuity; (B) the repetition of a word or phrase which indicates the attitude of the poet, such as ‘it vexes me’ or ‘it pleases me.‘ Since that time the investigations have been continued, especially in French and Italian.
Ballad, Tale, and Tradition: A Study in Popular Literary Origins
Authors: Beatty Arthur
Published: January 2021

To anyone who has followed the development of the theory of ballad origins, it is well known that there are two main theories in the field for our suffrages at the present time: the communal; and the individualistic, literary, or anti-communal theory. The last name of the second theory is indicative of the attitude of its upholders, for they have in truth been largely occupied with a criticism of the communalists, always demanding of them more and ever more light, and ever, like doubting Thomas, refusing to believe until an actual ballad dating from at least the time of Hereward the Wake is produced for their fingers to touch. The communalists, by an appeal to the well-established facts of folk-lore and ethnology, maintain that the ballads are the product of the communal stage of society in Europe, in which the populace held festive dances, and in which there was actual improvisation of certain traditional lyric narratives. These narratives had their verse-form determined by the dance; and the whole poem from beginning to end was the product of the people, and was not in any way composed by literary persons. Moreover, these ballads have been handed down by oral tradition, and live in the mouths of the people. Of course, there is no claim that one expects to find in the ballads of the collections anything which springs directly from the ancient source; all that is claimed is that the poetic form is handed down, and, so to say, the general ballad tradition. This claim of long descent is substantiated by the very features of the ballads as they exist to-day; by their impersonality, their refrain, their depicting of but a single situation, their use of incremental repetition. Thus, it is maintained, the ballad is not derived from any pre-existing literary material, but is the result of a primary impulse which is as old as man, and out of which the various forms of communal poetry spring. Finally, the ballad is not connected with the popular tale; “it follows an entirely different line and springs from an entirely different impulse.”
Jaufre Rudel and the Lady of Dreams
Authors: Moore Olin H.
Published: January 2021

The Provençal biographer's account of Jaufre Rudel's dying visit to the “faraway lady” was first seriously called in dispute by E. Stengel. Afterward, Gaston Paris disposed of the whole legend, as well as of the general reliability of the Provengal biographers, whose testimony had been accepted without question half a century before by Fauriel and others. Monaci, while granting the legendary character of “Melissenda,” attempted to identify Jaufre Rudel's beloved with Eleanor of Aquitaine. Appel, arguing from the number of religious phrases occurring in Jaufre's poems, concluded that the lady of his devotions was the Virgin. Appel's theory, supported as it is by a vast erudition, is confuted in my opinion by P. Savj-Lopez. Giulio Bertoni would adopt a middle ground between those who, like Appel, maintain the idealism of Jaufre's love, or like Monaci, believe that his passion was fixed upon a woman of earth, more or less identified by allusions in his verse. Ramiro Ortiz would accept the conclusions of Monaci, etc., admitting the reality of the lady, but feels that either Jaufre Rudel was directly influenced by certain passages of William of Poitiers, or else some of the minstrels who sang Jaufre's poetry made interpolations borrowed from William.
XV.—The Purport of Shakespeare's Contribution to 1 Henry VI
Authors: Gray Henry David
Published: January 2021

There is a fairly general agreement among the critics that the First Part of Henry the Sixth was not originally written by Shakespeare, but was revised by him, that it is the play which Henslowe recorded as “new” on March 3, 1591/2, and frequently enough thereafter to attest that it was one of the most popular pieces of the day, and that it was this same popular piece to which Nashe referred in the always quoted passage in Pierce Penilesse (1592): “How would it have ioyed braue Talbot (the terror of the French), to think that after he had lyen two hundred yeare in his Toomb, he should triumph againe on the Stage and haue his bones new embalmed with the teares of ten thousand spectators at least (at several times) who in the Tragedian that represents his person imagine they behold him fresh bleeding.” There seems no sufficient reason for doubting these natural conjectures. The play was included in the First Folio, which indicates that it was at least in part Shakespeare's work; it was not mentioned by Meres, which seems to imply that it was not fundamentally his; it was acted by Lord Strange's company, which would accord with its being revised rather than originally written by Shakespeare. It is such a play as, judging by the other notable successes of the time, would be immensely popular; and it answers perfectly to Nashe's reference.
XVII.—Über Den Zweck Des Dramas in Deutschland IM 16. und 17. Jahrhundert
Authors: Gillet Jos. E.
Published: January 2021

Als Vorbedürfnis für das Studium der deutschen Dramaturgie in ihrer historischen Entwicklung erscheint ein Überblick der wichtigsten ästhetischen Anschauungen zuvörderst unentbehrlich. Statt jedoch dazu die Hilfe der historischen Ästhetik einzurufen, wird in dieser Arbeit der Versuch gewagt, den ästhetischen Hintergrund aus den Äusserungen zeitgenössischer Dramatiker herauszuforschen und neu zu beleben. Der Hilferuf an die Ästhetik wäre hier übrigens unbeachtet verklungen, denn die Geschichte der Ästhetik hat bis jetzt fast ausschliesslich das an sich Wertvolle und Interessante, oder das Historisch-bedeutende berücksichtigt. Andererseits zieht die angewandte Ästhetik der litterarischen Kunstform, nämlich die Kritik, meistens nur die Berufskritiker und kaum je das Massenpublikum in ihre Betrachtung hinein. Eine kulturgeschichtliche Ästhetik, ebensosehr bemüht, die pathetisch-nüchternen Ideale des Bürger- oder Volksdramas darzustellen, gibt es bis heute noch nicht. Und doch hätten solche Studien für die Ästhetik, wie für die Litteraturgeschichte, ohne Zweifel ihren Nutz. Deshalb, und mehr noch, weil das Material bei den Vorarbeiten zu einer Geschichte der deutschen Dramaturgie leicht erreichbar war, ist folgender Versuch entstanden.
Animals in Early English Ecclesiastical Literature, 650–1500
Authors: Fiske Christabel F.
Published: January 2021

The chief general fact we need notice concerning the animals appearing in our ecclesiastical literature between 650 and 1500 is their double responsibility, to God and man. Toward God their duty is accomplished when, like the birds of St. Francis, they have duly rendered to Him their chorus of praise and thanksgiving. Man they must serve, first, as examples; second, as illustrations to his reflective mood of spiritual truth; third, by direct personal ministration to him.
Publication Before Printing
Authors: Root Robert K.
Published: January 2021

When the student of medieval literature busies himself, as he must so often do, with the chronological sequence of an author's works, he finds himself saying that a given writing was ‘published’ in a given year. What does the word ‘published’ mean? Obviously it must mean something different from the modern process of printer's proofs, advance notices, public sale, and book-reviews. When the textual critic strives to wrest from the existing manuscripts of a medieval work the evidence which shall enable him to reconstruct the author's original autograph, he finds himself speaking of copies made directly from this autograph. Under what conditions were these earliest copies ordinarily made? To both literary historian and textual critic it should be of service to make as clear as may be just what was involved in the act of publication before the discovery of printing introduced the sort of publication with which we are now familiar, and to determine under what conditions an author's work might circulate during his lifetime.
The Extant Repertory of the Early Sicilian Poets
Authors: Langley Ernest F.
Published: January 2021

Owing to the lack of a complete Corpus of the Sicilian poets, the student of this period has to seek the repertory of the group in a number of different sources, and it is in the hope of greatly lessening his labors that the following study has been prepared, offering the essential materials in a compact form, and so arranged that it may be quickly and easily consulted. First we discuss the constitution of the Sicilian group of the age of Frederick II, then give an alphabetical list of the poets, with a few biographical notes and references under each, and the numbers of their poems, in the accompanying Index of First Lines. In the Index of First Lines there will be found under each poem references to the important manuscripts and editions; also an indication of the metrical scheme. As such a collection of material offers a natural opportunity for an examination of the metrical forms of the period, an analysis of the technique of the canzone and the sonnet is added.