bluuebunny/crossref_metadata_2025 huggingface dataset:
Chaucer's Eagle and The Rhetorical Colors
Authors: Teager Florence E.
Published: February 2007

The modern reader is wont to take with quiet enjoyment the mild irony implied in the delightful spirit of camaraderie with which the Eagle addresses “Geffrey” in Chaucer's The Hous of Fame:

“A ha!” quod he, “lo, so I canLewedly to a lewed manSpeke.“
Kirk's Life Records of Thomas Chaucer
Authors: Baugh Albert C.
Published: February 2007

As all Chaucer scholars know, it was the intention of the Chaucer Society to follow the Life Records of Chaucer with a similar volume on Thomas Chaucer. This intention was referred to as early as 1901, at the close of R.E.G. Kirk's Forewords to the former compilation; and for many years the work was announced in the list of future volumes to be published by the Society. As the years passed and the expected work failed to appear, it was naturally assumed that the project had been abandoned, perhaps after Kirk's death in 1908. So that when Professor Ruud published his monograph a few years ago he voiced the common sentiment when he said “we cannot now expect from the Chaucer Society the volume, long promised, of the life records of Thomas Chaucer.”
Lydgate's Influence on the Aureate Terms of the Scottish Chaucerians
Authors: Nichols Pierrepont H.
Published: February 2007

Aureate terms are defined by J. C. Mendenhall in his thesis of that name as “those new words, chiefly Romance or Latinical in origin, continually sought under authority of criticism and the best writers, for a rich and expressive style in English, from about 1350 to about 1530.” Mendenhall sketches the history of “flourished words” before Chaucer's day but reminds the reader that “All this development was in a sense merely preliminary. It was Chaucer, who, according to the universal opinion of his age, really gave us a stylistic vocabulary.” In other words, he admits that whatever may have been the ultimate background of the fifteenth century's enthusiasm for ornate diction, its actual inception is traceable directly to Chaucer. His most essential assertion is that Chaucer followed the accepted rules and traditions of rhetorical art, but that his vocabulary was, nevertheless, distinctly choice and unusual.
The Charliad, An Unpublished Mock-Epic
Authors: Spence Joseph , Wright Austin
Published: February 2007

AT THE death of Joseph Spence, the companion and intended biographer of Pope, Spence's executors discovered certain manuscripts relating to a burlesque poem, The Charliad. Although the work was apparently ready for the press, the author had taken no steps toward publication, and for sundry reasons the executors decided upon suppression of the poem as the proper course to follow—at least for a time. After more than a century and a half, The Charliad still remains undisturbed in manuscript form, known only to scholars and to them chiefly by name. Because of its intimate connection with The Dunciad, however, as well as because of lesser considerations, Spence's peculiar production deserves some belated attention.
Harmony of the Senses in English, German, and French Romanticism
Authors: von Erhardt-Siebold Erika
Published: February 2007

LOCKE'S mention in his Essay Concerning Human Understanding (1690) of the blind man who thought he understood what the color scarlet was because it was represented to him by the sound of a trumpet, startled people, like the trumpet blast or glaring color referred to, or even more like the combined effect of both loud sound and loud color. This unbelievable speculation was, however, soon substantiated by other similar observations and, henceforth, became a much repeated paradoxon of literature. The analogy between sound and color was first given a scientific foundation with Isaac Newton's Opticks in 1704. Newton in his comparison between sound and color went so far as to proclaim that the spaces occupied by the seven primary colors were similar to the relative intervals between the notes of the octave.
Some Twentieth Century Arts Poétiques
Authors: Schwartz William Leonard
Published: February 2007

Few poems in French literature are better known than L'Art by Gautier and the Art poétique of Verlaine. But the fame of these poems obscures a fact to be discovered by wider reading; namely, that nine or ten living French poets have each published an Art poétique since the opening of the twentieth century. The following pages are a presentation of these modern French poems on poetry which have been brought together in the belief that they may reveal the literary fortunes of Gautier, Verlaine, and their peers, or indicate their significance to living poets.
The Cantos of Mutabilitie: Further Considerations Bearing on the Date
Authors: Padelford Frederick M.
Published: February 2007

In view of the present controversy over Spenser's Cantos of Mutabilitie, it may be worth while to examine these cantos from the purely prosodic and styltistic points of view, to see if such a study throws any light upon the time of their composition. This will not necessarily be of any value in determining whether or not they were old material revamped, but there may be some satisfaction in knowing the approximate date when the cantos assumed their present form. I have accordingly undertaken such a study, and the conclusions are given herewith.
The Authorship of The Puritan
Authors: Dunkel Wilbur D.
Published: February 2007

Critics of the Elizabethan drama are not agreed in identifying the author of The Puritan. According to modern opinion the initials, “W.S.,” which appear in the ascription on the title page of the play do not refer to William Shakespeare, Wentworth Smith, or William Smith. On the other hand, for neither Thomas Middleton nor John Marston, both of whom have been proposed as its author, has a clear case been established. The purpose of this paper is to present further evidence in support of Middleton's authorship.
L'abbé Prevost et L'homme Sauvage de Sebastien Mercier
Authors: Rovillain Eugène E.
Published: February 2007

L'Influence de l‘œuvre de l'abbé Prévost dans la littérature secondaire de son siècle ne semble pas avoir été suffisamment reconnue. Cette influence fut considérable bien qu'affaiblie et comme obscurcie plus tard par le roman de mœurs anglais qu'il introduisit lui-même en France, et surtout par la renommée éclatante et plus durable de Jean-Jacques Rousseau qui, tout en coordonnant nombre d'idées éparses dans l‘œuvre de son devancier, sut imposer un système naturiste au monde par la seule force de son génie.
The Christine of Frédéric Soulié
Authors: March Harold M.
Published: February 2007

Christine à Fontainebleau (Odéon, October 13, 1829), by Frédéric Soulié, has been called “le premier effort de l‘école romantique.” The statement must of course be taken as referring only to the movement in the theatre, and even then needs qualification; but it contains a certain amount of truth. Christine was a “drame historique en cinq actes et en vers,” written in accordance with the principles of the Romantic school. At the time of its production, Cromwell had not been played; Amy Robsart, besides being merely a dramatic adaptation of a novel of Scott, was in prose; so was Henri III et sa cour; Vigny's translation of Othello, Hernani, and Dumas’ Christine were yet to come. The failure of Soulié's Christine was complete, and the excitement of its stormy first night was effaced by the subsequent and more spectacular première of Hernani. As a consequence this early romantic tragedy is practically forgotten, though it is mentioned, with varying degrees of accuracy, by several of Soulié's contemporaries, notably Dumas père and Jules Janin, and is occasionally referred to by modern scholars.
Music in the Craft Cycles
Authors: Collins Fletcher
Published: February 2007

It would be difficult, even if it were wise, to isolate the music of the craft cycles from that which preceded it in liturgical drama. In some ways the sources and antecedents of craft cycle music are more important than the subject itself. Let us, then, begin with the place of music in liturgical drama. Every student of the liturgy is aware of its large musical content; in fact, almost all of the liturgy which is intended to be heard by the congregation is sung. This music is called plainchant or plainsong. One obvious reason why most of the liturgy has always been sung is to be found in the very ancient and genuine reliance upon a union of words and music to express in sound the highest and most profound emotions. To the Protestant and modern ear this union will often seem no more than an eccentric way of speaking the words. Yet even Protestants sing hymns and psalms; they do not say them. And it was not so very long ago that a great deal of English lyric poetry was regarded as inseparable from the melodies which accompanied it. One also recalls Greek drama and its superb unification of the three arts of poetry, music, and the dance. No one is surprised, therefore, to find that when drama came out of the liturgy the melodies came along with the words. Indeed, here was somewhat the same inter-dependence and union that had been in Greek drama. Liturgical drama was truly musical drama.
An Experiment with Massinger's Verse
Authors: Jones Frederic L.
Published: February 2007

While reading the plays of Massinger, I was struck by the frequency with which he terminates his lines with the insignificant words of and to. As I went from play to play I found these words bobbing up in the important end position with surprising regularity. Curiosity led me to measure this regularity by an actual count and classification in all his plays, and then to ascertain the practice of his predecessors and contemporaries. My idea was that in these two small words there might be found a distinguishing characteristic of Massinger's verse.
The Occasion of Macflecknoe
Authors: McKeithan D. M.
Published: February 2007

As a result of recent investigations, states Professor Borgman, “the old explanation of this satire [MacFlecknoe] as Dryden's answer to Shadwell's The Medal of John Bayes is no longer sound.” In 1918, Mr. Thorn-Drury called attention to the following passage, which appeared in an attack on Shadwell in The Loyal Protestant and True Domestick Intelligence of Thursday, February 9, 1681/2:

… He would send him [Shadwell] his Recantation next morning, with a MacFlecknoe, and a brace of Lobsters for his Breakfast; All which he knew he had a singular aversion for. …
The Period Dictionaries
Authors: Fries Charles C.
Published: February 2007

Nine years before the Oxford English Dictionary was finally completed, Sir William Craigie proposed his scheme of period dictionaries. Pointing to the many problems in the language still unsolved, and to the “large quantities of interesting material” daily set aside because of the limitations of space, he insisted that this was the only way to meet completely the needs of scholars in English language and of serious students of our literature. Neither he nor the others who have taken up his proposal have ever conceived of these period dictionaries as works to supplant the Oxford Dictionary. They could not because they approach the language with essentially different purposes. Sir William Craigie in his report of 1919 phrases quite clearly the relationship of these later dictionaries to their parent:

The Society's dictionary has easily outstripped any thing else of the kind in existence and contains such a general survey of the English language down to the present day as may never be entirely superseded; but its own plan on the one hand, and the immensity of the material on the other, prevent it from being absolutely final. Dealing as it does with English of all periods, from the seventh century to the twentieth, it has been impossible for it (beyond certain limits) to devote special attention to any one time. Yet each definite period of the language has its own characteristics, which can only be appreciated when it is studied by itself, and which are necessarily obscured when it merely comes in as one link in the long chain of the language as a whole.
German Proverbs from the Orient
Authors: Jente Richard
Published: February 2007

In his comprehensive work, Das deutsche Lehnsprichwort, Friedrich Seiler traces the apparent origin of a vast number of proverbs and proverbial expressions current in Germany. He finds that the Greek and Roman classics, the Bible and the works of the Church Fathers yield many of the ancient proverbs still in common use. With regard to the large number of proverbs that have seemingly come from the French, Seiler, as he well realizes, treads on uncertain ground, and much of the material that he here gathers together will have to be reëxamined. It is quite evident that many of the proverbs in this latter group are common medieval proverbs, current over a large part of Europe, which first appear in the vernacular literature and collections of proverbs of the fifteenth and sixteenth centuries. To attribute French source to them often requires more evidence than Seiler presents. In his treatment of this large body of medieval and international proverbs that seem to have arisen during the Middle Ages and the early modern period—proverbs that give him the most difficulty in finding a possible source—Seiler quite overlooks influences that may have come from the oriental languages, through the Arabic via Spain or into southern Europe via North Africa, or, still more probably for many of these proverbs, via the eastern European countries bordering on Tartaric, Arabic, or Turkish territory.
Early English Periodicals for Ladies (1700–1760)
Authors: Stearns Bertha Monica
Published: February 2007

During the last decade of the seventeenth century the rapidly increasing influence of female readers found public acknowledgment in many of the projects of John Dunton, London book-seller and publisher. To the Fair Sex he dedicated in 1691 and 1692, first monthly, then fortnightly, and finally weekly numbers of his Athenian Mercury; to them he made special appeal when sales were slow; and to them he presented, in 1693, a short-lived and most unedifying Ladies' Mercury, a publication that may fairly be called the first English periodical for women.
To Mr. Pope: Epistles from America
Authors: Warren Austin
Published: February 2007

During the earlier portion of the [18th] century, an English scholar, Francis Knapp, a graduate of St. John's College, Oxford, lived the life of a literary recluse at Watertown [Mass.]; and glorying in a personal acquaintance with Alexander Pope, he attempted to reproduce, on “the bleak Atlantic shore,” and amid “solitudes obscene,” the poetic notes of his master.
Subjektivität und Objektivität der Lyrik
Authors: Jaeger Hans
Published: February 2007

Es Gehörte von je zu den Lieblingsthemen der deutschen Ästhetik, die verschiedenen Dichtungsgattungen miteinander zu vergleichen und gegeneinander abzugrenzen. Dabei wurde die Lyrik gewöhnlich als rein subjektive Kunstform gegenüber der gemischten Epik und der gänzlich objektiven Dramatik bezeichnet. Die Begriffe der Subjektivität und Objektivität erschienen als die geeignetste Grundlage für den Aufbau der vergleichenden Gattungspoetik. Dabei ist gleich hier zu fragen, in welchem Sinne sie in diesem Zusammenhang zu verstehen sind, um von vornherein Mißverständnissen vorzubeugen. Denn jede starke Dichtung, so kann eingewendet werden, ist, gleichgültig, welcher Gattung sie angehören mag, gewissermaßen immer subjektiv, erfüllt von dem individuellen künstlerischen Temperament des Schöpfers, das sich selbst in dem naturalistischsten Werk, sofern es wirklich Kunstwerk ist, kundgibt und daher sogar in Zolas Definition des Kunstwerks: “Une œuvre d'art est un coin de la nature vu à travers un tempérament” seinen gebührenden Platz erhält. Diese künstlerische Subjektivität ist allen Gattungen immanent, kann also in der Gattungspoetik nicht gemeint sein. Diese hat vielmehr bei der vergleichenden Betrachtung die rein menschliche Subjektivität im Auge, das Mehr oder Weniger an persönlichem Erlebnisgehalt. Von diesem Standpunkt gesehen erscheint die künstlerische Subjektivität, d. h. die individuelle Prägung, die Form-, die Gestaltgebung, als das Objektive. Als subjektive Gattung wird daher die betrachtet, welche persönliche Erlebnisse des Dichters umfassend, unmittelbar und ohne starke Umformung zum Ausdruck bringt, als objektive diejenige, in der das individuelle Erleben zurücktritt oder völlig umgeformt wird, da der Dichter sich in erster Linie den Forderungen der Form der Gattung fügen muß. Oder: Eine Gattung ist subjektiv, wenn ihr Wesen und damit ihr künstlerischer Wert vorwiegend auf dem subjektiven Erlebnisgehalt beruht, sie ist dagegen objektiv, wenn die künstlerische Wirkung vor allem von der Form abhängt.
Dream Words in Old and Middle English
Authors: Ehrensperger Edward C.
Published: February 2007

In Middle English, or rather beginning with Old English and coming down to about 1500, including all works listed by J. E. Wells in his Manual of the Writings in Middle English, there are approximately 553 dream references. By dream references are meant actual dreams or remarks made about dreams which throw light on the attitude of the time toward dreams. Repeated references to the same dream are counted as a single reference. Of these references, 59 occur in Old English and 494 in Middle English. Old Norse is even richer than Middle English in dream references, no less than 530 being found. The large number of dream references in Old Norse is all the more significant in view of the smaller bulk of Old Norse literature in comparison with Middle English.
Old English ersc (Stubble-Field)
Authors: Mezger Fritz
Published: February 2007

Old English ersc belongs to OE. erian, Goth. arjan, Old Norse erja, O. Saxon erian, OHG. erren “to plough”; Lithuanian árti “to plough,” Old Slavonic orjǫ, Lat. aro, Middle Irish airim, Greek áρόω “I plough,” a dissyllabic basis, as may be seen by Greek áρo-τρoν Armenian araur (< Idgc. ar∂tro-) (and Lat. arātrum, which probably stands for arătrum), “plough” and by the accent in Lithuanian árti “to plough” and árklas “plough.”
Chaucer and the Ovide Moralisé—A Further Study
Authors: Meech Sanford Brown
Published: February 2007

The indebtedness of Chaucer's Legend of Philomela to the Ovide Moralisé for details not to be found in the Metamorphoses was established more than a decade ago by Professor Lowes. Observing, further, in the Legend of Ariadne and in the short account of her abandonment by Theseus in the Hous of Fame (405–426) the strong resemblances to Machaut's résumé of Theseus' “fals jape” in the Jugement dou Roy de Navarre, Lowes suggested that these likenesses might also be due, wholly or in part, to a common use of Machaut's favorite source, the Ovide Moralisé, although as the pertinent part of the text of the Ovide Moralisé was still unpublished, he was unable to verify his conjecture. Recently Professor Shannon, without examining the history of Ariadne in the French version of the Metamorphoses, has somewhat rashly rejected Professor Lowes's theory, and declared that Boccaccio's De Genealogia Deorum is the only source aside from Ovid himself which Chaucer used for his stories of the heroine. In the course of a general examination of the influence upon Chaucer of the Ovide Moralisé —made upon de Boer's edition and upon a manuscript of the complete text—I have found that Lowes's hypothesis is sound, while the instances of the impress of Boccaccio's mythology cited by Shannon appear uniformly weak.
Æsop, a Decayed Celebrity: Changing Conception as to Æsop's Personality in English Writers before Gay
Authors: Smith M. Ellwood
Published: February 2007

In a series of papers published now a number of years ago I endeavored to define the relation of the fable to kindred forms, proposed a classification based on the collection of Marie de France, traced certain developments in the history of the rimed fable in England, and followed out the concept of the fable as poetry in English criticism.
Mephistophiles in England; or, the Confessions of a Prime Minister
Authors: Bangs Archie R.
Published: February 2007

For almost one hundred years an anonymous novel, or rather romance, bearing the title Mephistophiles in England; or, The Confessions of a Prime Minister, has been resting on the shelves of many libraries, unnoticed by students of comparative literature. The title itself is sufficient to attract the attention and to arouse the curiosity of any who have become acquainted with one of Goethe's most celebrated dramatic characters; an appreciative dedication in verse to “the immortal spirit of the illustrious Goëthe” indicates clearly the influence which the German poet had already exercised upon the writer; and even a superficial reading of the work, particularly of the first part, reveals the inspiration as well as the indebtedness which its author owed to the Faust.
Schopenhauer and Pessimism in Nineteenth Century English Literature
Authors: Goodale Ralph
Published: February 2007

The years from 1885 to 1898 have been correctly termed by Mr. G. K. Chesterton “an epoch of real pessimism.” Not that pessimists were common at this time, but the question of the value of life was on the horizon of every educated man, and developed like a storm cloud whenever the air of speculation chilled. In England the literary men in particular were given to pessimistic questionings; and a great volume of Continental literature, of a quality to reënforce the idea of the world's tedium and pain, began to appear in translation. FitzGerald's translation of the Rubaiyat sprang into public attention in 1885 and maintained an immense popularity for the next fifteen years. Inasmuch as it has often been confidently affirmed that the cause of the pessimism of this period is to be found in the teachings of Schopenhauer, I have undertaken to examine the nature and extent of Schopenhauer's influence. No evidence appears, however, that Schopenhauer had more than a contributory influence; and the task has necessarily broadened into a study of the history of literary pessimism. Because of the extent of the subject, the present paper offers little more than a summary of methods and results. I hope later to publish the proofs in greater detail.
The Jongleur Troubadours of Provence
Authors: Jones W. Powell
Published: February 2007

The general history of minstrel life in the Middle Ages has been several times very adequately treated, but the relation of the jongleurs to the classes outside the courts has, owing to a natural scarcity of documentation, been more or less neglected. The so-called “biographies” of the troubadours seem to me, however, to throw considerable light on this subject and on the relation between the jongleur, who was professionally an entertainer, and the troubadour, who was technically an inventor or composer of poetry and song. It was not until about the middle of the twelfth century that the new idea of trobar, of individual composition with the copyright of one's name attached to it, came to Provence. The new troubadour craft came to demand certain fine qualities; its honor and its promise of high patronage attracted numbers of the more gifted jongleurs, some of the best of whom, we learn, were of the lower classes.
Popular Iconography of the Passion
Authors: Frank Grace
Published: February 2007

The material available for picturing to us the performances of the popular religious plays of mediæval France is so meagre that any possible addition to it seems worth investigating. Some valuable plates, reproducing the miniatures that accompany the Passion plays of Arras and Valenciennes, have been published by G. Cohen in his Théâtre en France au moyen âge, I (Paris: Rieder, 1928). The same author had previously given us a comprehensive treatment of the whole subject, with a full bibliography and a few other plates, in his Histoire de la mise en scène dans le théâtre religieux (2nd ed., Paris: Champion, 1926). Many suggestive hypotheses regarding the possible contributions of the mediæval stage to the art of the middle ages have been advanced by Émile Mâle in the two beautifully illustrated volumes, L'Art religieux duxiiesiècle (3rd ed., Paris: Colin, 1928), chap. IV and L'Art religieux de la fin du moyen âge (3rd ed., Paris: Colin, 1925), chap. II. In both of these, various iconographical innovations are plausibly traced to the influence of the liturgical and vernacular plays. Except for the works just mentioned, however, we are largely left to descriptive material and conjecture for our ideas about the costuming, staging, and other conventions of the mediæval religious drama. This is the more to be regretted in view of M. Mâle's important conclusions, and it would therefore seem that any illustrations that may give us a conception of the popular iconography of the Passion in the middle ages possess a dual claim upon our attention.
A Cinquecento Meaning of the Word Romanzo
Authors: Bullock Walter L.
Published: February 2007

A curious use of the word Romant by Mario Equicola, a sixteenth century writer in Italy, in his ponderous Libro de Natura de Amore (“Stampato in Venetia per Lorenzo Lorio da Portes: Adi. 23. Zugno. 1525 …”) has caused some perplexity to two recent students of Renaissance Italy, neither of whom has been able to offer any valid explanation.
The Perseus Myth in Lope de Vega and Calderon With Some Reference to Their Sources
Authors: Martin Henry M.
Published: February 2007

In 1621 Lope de Vega published his El Perseo, and Calderon followed in 1653 with Las Fortunas de Perseo y Andrómeda on the same subject. Both dramatists so embellished the narrative of Ovid, their common source, with their own inventions for the most part and to a lesser degree with accretions gathered during centuries of transmission as to make those features the subject of pertinent inquiry. A statement of the main incidents of the myth will facilitate our study. Danäe, having been exposed after the birth of her son, Perseus, in the tower, was cast on the island of Seriphus. There she became the wife of its king, Polydectes, who, finding Perseus an obstacle to his designs, induced him to undertake the slaugher of Medusa. Perseus accomplished the feat with the aid of a magic wand (sandals) and a sword, both the gift of Mercury, and a shield from Pallas. He also secured the Gorgon's head. While returning from Africa he rescued Andromeda, who was exposed on a cliff in Ethiopia to the visitation of a sea monster.
Pierre Bayle et Voltaire Avant Les Lettres Philosophiques
Authors: Haxo Henry E.
Published: February 2007

Quoique l'influence de Pierre Bayle sur l'esprit philosophique et critique de Voltaire soit généralement reconnue et consacrée par la critique, elle n'a pas encore subi l'examen qu'elle comporte, et il reste à la démontrer et à la préciser. Sans doute, au premier abord, l'atmosphère baylienne règne suprême dans les œuvres de Voltaire. Voltaire lui-même, tout le premier, dans de nombreux passages, rend hommage à celui qu'il nomme complaisamment “son père spirituel.” Les épithètes élogieuses que Voltaire adresse au philosophe de Rotterdam abondent, mais elles ne sont souvent qu'un mot d'ordre et de ralliement et ne doivent être acceptées qu'avec réserve et caution. De plus, il se peut que la ressemblance de pensée et de méthode entre deux auteurs tels que Pierre Bayle et Voltaire soit purement accidentelle et ne relève d'aucune influence directe. Un écrivain du caractère de Voltaire, toujours en éveil, curieux de tout savoir, doué d'une mémoire remarquable, prêt à assimiler et à transformer tout ce qui l'intéresse, se joue à dérouter l‘étude la plus minutieuse. Les influences françaises ou anglaises qui ont pu agir sur le développement intellectuel de Voltaire sont multiples et complexes: elles s'entremêlent et s'entrecroisent. Comment donc les définir et en tracer la source? Si Voltaire loue Pierre Bayle jusqu’ aux nues, il ne loue pas moins l'Angleterre, “l‘île barbare des Cassitérides, ”Locke et Newton. La part exacte de l'influence du milieu français et de celle de l'Angleterre sur Voltaire est encore à établir d'une façon définitive. La présente étude ne s'intéresse qu‘à la période de Voltaire qui précède la publication des Lettres philosophiques. Elle se borne à préciser la pensée philosophique et critique de Voltaire à cette époque et à en suggérer les sources probables; elle cherche surtout à découvrir quelques indices de l'influence de Pierre Bayle sur l'esprit du jeune Voltaire et à indiquer certains rapports de pensée et de méthode entre ces deux écrivains.
XX: Die Agrarische Religion Der Germanen Nach Den Ergebnissen Der Nordischen Ortsnamenforschung
Authors: Philippson Ernst A.
Published: February 2007

Die germanische Mythologie, die als Lehre von den Mythen begründet wurde, hat sich seit den Tagen Jacob Grimms langsam zu einer Wissenschaft von der Religion der Germanen entwickelt, die sich nicht mehr auf die literarisch fixierten Göttersagen (in den Edden, bei Saxo Grammaticus usw.) beschränkt, sondern alle Äusserungen des Glaubens an das Übersinnliche auf germanischem Volksboden sammelt, einordnet, erklärt.
XXIII: Arcite's Illness and Vincent of Beauvais
Authors: Aiken Pauline
Published: February 2007

The most complete and detailed study of a specific medical case in Chaucer is the account, in The Knight's Tale, of Arcite's injury, his gradually developing symptoms, the diagnosis of their underlying causes, the treatment applied, and the patient's eventual death. Boccaccio's Teseide describes the youth's accident but does not record the attempts of the physicians to save his life: the entire passage is an interpolation by Chaucer. The probable source of the poet's remarkably accurate knowledge of medicine is revealed by an examination of the medical chapters of the greatest of mediæval encyclopedias, the Speculum Majus of Vincent of Beauvais.
XXVIII: Milton as Satirist
Authors: French J. Milton
Published: February 2007

He pronounced the letter R (littera canina) very hard—a certaine signe of a satyricall witt—from John Dreyden. Extreme pleasant in his conversation, and at dinner, supper, etc.; but satyricall. MANY people still picture John Milton as a forbidding Puritan, dividing his time about equally between hounding his poor daughters and lifting his soul in ecstatic, mystic raptures to the tremendously imposing Jehovah of his poems. They remember with some disdain his pride in his studiousness, his temperance, his chastity, and other not so popular virtues. Hence they are unfair and myopic. We have no right to belittle Milton's essential humanity. His soul was not always like a star and dwelt apart; on the contrary, he led an unusually busy social and political career, coming in habitual contact with people of many types, and usually making a very favorable impression on them. He could laugh and jest and talk well; and above all he had an astonishing command of satire, begun early and developed by years of hard and constant training. If satire had held the place in the mid-seventeenth century that it occupied in the 1590's or the post-Restoration years, Milton might have been in quality what Bishop Hall pretended to be in chronology—the first English satirist. Even during a period when satire as a type was suffering a depression, his achievements are more striking than we often realize.
XXXIV: Benjamin Beresford, Literary Ambassador
Authors: Shelley Philip Allison
Published: February 2007

Protégé of the Duke of Bedford, tutor of the Queen of Prussia, minister of the Gospel in Moscow, and professor of English in Berlin—such are the more striking phases of the varied career ascribed to the Reverend Benjamin Beresford by his commentators, for whom the full measure of the man has remained obscured. Even recent recognition of his sterling service as pioneer literary intermediary between Germany and England has been vitiated by insufficient knowledge not only of the man himself but also of the publications by which he initiated and sustained for a quarter of a century English acquaintance with German lyric poetry. His translations of popular German songs accompanied by their original melodies have long since become rarities. Even during his lifetime the compiler of a musical lexicon expressed regret that he did not have Beresford's first collection at hand so that he might inform a future generation precisely which of various current compositions had been selected for the songs. As a matter of fact, this particular publication seems to have reached posterity in a unique copy. Succeeding publications suffered similar fortunes, many of them surviving in extremely scarce if not actually single copies.
XXXIX: The Breath Stream During Transitions in French
Authors: Parmenter C. E. , Treviño S. N.
Published: February 2007

It has been stated repeatedly by Professor James L. Barker of the University of Utah that in French the breath stream is interrupted in certain cases after the production of a sound and that the position for the following sound is taken in silence during the interruption. The cases mentioned specifically in which such interruptions occur are the transitions from consonant to vowel, from vowel to consonant, and from consonant to consonant.
William Shenstone's Share in the Preparation of Percy's Reliques
Authors: Churchill Irving L.
Published: February 2007

That William Shenstone has some share in the preparation of Thomas Percy's Reliques of Ancient English Poetry has been recognized ever since Percy made an acknowledgment of his indebtedness in the preface to the first edition. But Percy's account of their collaboration as given in the preface is inadequate and misleading; and a misinterpretation of two of Shenstone's letters to his friends has resulted in an entirely false impression on one significant point, as to who was instrumental in getting Percy started on a collection of ballads for publication. The purpose of this article is to correct the misconception and to develop in some detail the story of their collaboration. It is based in part on unpublished Manuscripts in the Harvard College Library.
Goethe und Die Politik
Authors: Sethur Frederick S.
Published: February 2007

Die Interpretation der individualistischen Geschichtsauffassung.—In der Einleitung zu Goethes politischen Lehrjahren bemerkt Lorenz, auf die Frage, warum verhältnismässig wenig von Goethes politischem Denken, Wesen und Handeln geschrieben worden sei, habe ihm einer der besten Goethekenner geantwortet: “die geschulte Goethephilologie sei eben zu gewissenhaft, um aus Epigrammen und leichten Gesprächen die politische Grund- und Weltanschauung eines Mannes herzustellen und zu beleuchten.” Mit Recht konnte Lorenz darauf einwenden, dass die geschulte Goethephilologie, wenn sie nur Goethes Epigramme und leichte Gespräche in Betracht ziehe und seine praktisch-politische Wirksamkeit einfach ausser Acht lasse, eine grundfalsche Auffassung vom Wesen der Politik verrate. Das hinderte aber den Historiker Lorenz nicht daran, Goethes praktisch-politische Wirksamkeit weit über das gebührende Mass hervorzukehren und den Mythus eines “wahren Staatsmannes” zu schaffen. Wie die Goetheforschung seiner Zeit geht Lorenz von der individualistischen Geschichtsauffassung aus. Diese sieht in der politischen Erscheinung lediglich die Wirkung der historisch bedeutenden Persönlichkeit und muss folglich die politische Wirksamkeit, wie z.B. die Ministertätigkeit Goethes, als das Resultat des persönlichen Willensausflusses des “geborenen Staatsmannes” interpretieren. Wie erklärt sie sich aber das klägliche Ergebnis dieser Tätigkeit, die Widersprüche in seinen Handlungen, seinen Betrachtungen und gelegentlichen Aeusserungen?
Unpublished Marginalia in Coleridge's Copy of Malthus's Essay on Population
Authors: Potter George Reuben
Published: February 2007

In a letter to Wedgewood from Göttingen in 1799, Coleridge said: Before I left England, I had read the book of which you speak [Malthus's first Essay on Population, published in 1798]. I must confess that it appeared to me exceedingly illogical. … My objections to the Essay on Population you will find in my sixth letter at large—but do not, my dear sir, suppose that because unconvinced by this essay, I am therefore convinced of the contrary. … Is the march of the human race progressive, or in cycles?
Standards
Authors: Hatfield James Taft
Published: February 2007

Goethe's first letter to Schiller, in which he agreed to support the Horen, and which marks the beginning of their unique alliance, contains a passage, in effect, as follows:

It will be a most interesting pastime to reach an agreement about the principles which shall govern us in passing judgment on contributions, and to scrutinize their content and form, so that this journal may achieve the highest distinction.
LVIII. Some Irregular Uses of the Instrumental Case in Old English
Authors: Anderson George K.
Published: February 2007

Probably the chief reason for many of the linguistic irregularities of Old Northumbrian is the fact that the great bulk (about 98 per cent) of its literary remains exist in the form of glosses, in which a scribe is often so intent upon conveying the general meaning of a concept in the Latin parallel that he lets the outer dressing of the vernacular—the grammatical or syntactic form, even the spelling, of a word—take care of itself. The fact, however, that these glosses may be in consequence entirely untrustworthy as a basis for an acceptance or a rejection of linguistic rules need not detract from the interest that their anomalies may happen to afford us. Thus, in a recent survey of Northumbrian relics to observe the treatment therein of the instrumental case, there appeared no fewer than ten constructions which have not as yet been recorded in any systematic study of Old English case-syntax as a whole.
LXIV. Spenser's Irish River Stories
Authors: Smith Roland M.
Published: February 2007

In his Reference Guide to Edmund Spenser (1923) Carpenter remarked (p. 101) that the “Spenserian place-names in Ireland have been but slightly studied.” The statement still holds. Although materials for the study of Irish place-names have been made accessible, editors and critics since 1923 have persisted in keeping alive fictions and interpretations which are no longer tenable.
LXVI. Dryden's Dedication for the Music of the Prophetesse, 1691
Authors: Ham Roswell G.
Published: February 2007

The manuscript Dedication for the music of Purcell's opera, The Prophetess, has curiously remained unprinted and apparently unobserved by the editors and biographers of Dryden since its first notice in a report of the Historical Manuscript Commission, 1881. Its almost unique interest to any treatment of the poet's literary relations, his canon, and technique is barely indicated by a contemporary notation at the bottom of the second folio: “This Epistle is the handwriting of John Dryden Esq Poet Laureat to Ch: 2, and James 2. it was the first draught of an Epistle Dedicatory to some Opera's of Mr. Purcell, and writ at his Request & for his use.” Of an accompanying manuscript, the original for an unsigned Advertisement to the printed score, it is added that: “The other is a letter from Jacob Tonson the Famous Bookseller in London.” Both pieces were published, though with extensive deletions in the case of the Dedication, in a folio volume of 1691. This work, whatever the authorship of its parts, with its Dedication and Advertisement, assumes therefore a new importance to bibliographers and students of the poet.
LXXV. A Characteristic of Rime
Authors: Schramm Wilbur Lang
Published: February 2007

It has long been suspected that melody plays a more important part in the structure of a poem than the broken and irregular contours of verbal pitch-patterns would seem to indicate. The fact that the voice almost never settles for more than one-twentieth of a second on one pitch, the constant and rapid movements of the melody of speech, the impossibility of representing a verbal melody in musical notation—all have tended to obscure the relation of melody to rhythmical structure. It has been observed, however, that poetic melodies tend to arrange themselves roughly in patterns which coincide with the line or the phrase, and that these patterns are often repetitive. It has also been noticed that the comma-rise and period-fall tend to emphasize the rhythm and to prepare a sort of cadence for the end of a poetic passage. To these functions of melody in verse form may now be added a third: riming words tend to be pronounced on the same pitch.
Un Article Inédit De Diderot Sur Colbert
Authors: Bonno Gabriel
Published: February 2007

Le Manuscrit catalogué sous la cote 612 à la bibliothèque de Besançon est un volume de 498 pages intitulé “Correspondance littéraire de M. Suard avec le margrave de Bareuth, commencée au mois de Janvier 1773, terminée à la fin de 1775.” Aux folios 137–144 de ce manuscrit se trouve un article portant comme titre: “Eloge de Jean Bte Colbert qui n'a point concouru pour le prix de l'Académie françoise.” Ce titre est suivi des deux mots: par Diderot, et, d'autre part, on lit en marge l'annotation: ms. de Diderot. Cette double indication invite à examiner l'authenticité et la signification du morceau, mais, pour éclairer la discussion il semble désirable d'en présenter d'abord le texte, que nous reproduisons, en respectant l'orthographe et la ponctuation de l'original.
Washington Irving's Notes on Fernán Caballero's Stories
Authors: Hespelt E. Herman , Williams Stanley T.
Published: February 2007

On New Year's Eve, 1828, Washington Irving, who was stopping in Seville during his first visit to Spain, made this entry in his diary:

Call this morning … on the Marchioness of Arco Hermoso, make a long visit, the Marchioness relates many village anecdotes of the village of Dos Hermanas. Return home & make a note of two of them.
Irregular Hemistichs in The Milagros of Gonzalo De Berceo
Authors: Arnold H. H.
Published: February 2007

El cuento septenario es de grant santidad.—Berceo, Loores 143a. There are in Berceo's verses besides the prevailing Alexandrine half-lines of seven syllables a few hemistichs of five, six, eight, nine, and even ten syllables. These may be considered as due to the alterations and mistakes of the copyist. Such is the position taken by Fitz-Gerald in his critical edition of La Vida de Santo Domingo de Silos and in his treatise on the versification of the same work. He is supported by Henríquez Ureña, who finds the regularity of Berceo quite exceptional in Old Spanish poetry, and who believes him to be the only versifier we can call correct from the Cid to D. Pero López de Ayala. Others, not finding credible this unique position of the poet, may care to see in his lines traces of the tendency to ametric verse that is supposed to have influenced all the other writers of the cuaderna vía stanza. A third position has been championed by Lang, who, remaining silent about the odd lengths other than those of eight syllables, affirms “that no convincing argument has as yet been advanced against the thesis that Gonzalo de Berceo admitted the native octosyllable quite as much as the other authors of the cuaderna vía.”
Sidney's Astrophel and Stella Reconsidered
Authors: Banks Theodore Howard
Published: February 2007

The question I propose to discuss is that of the autobiographical element in Sidney's sonnet sequence, Astrophel and Stella. The discussion appears in all the older important studies of Sidney: those of Grosart, Symonds, Pollard, Fox-Bourne, Lee, Drinkwater, and Wallace, as well as in the two recent biographies by Miss Denkinger and Mrs. Wilson, and the study by Dr. Purcell. But the verdict of these critics is divided. Also in my belief I have found certain new and valid arguments that the sonnets are not autobiographical; that is, that they do not record a deeply felt love of Sidney for Stella.
The Composition of the Shepheardes Calender
Authors: Botting Roland B.
Published: February 2007

The teasing sense of mystery felt by the student of the biography of Spenser is nowhere more noticeable than with regard to the Shepheardes Calender. C. H. Herford's statement is still too near the truth:

Except that the authorship is absolutely certain, posterity knows very little more about the circumstances in which the Shepheardes Calender was composed than “E. K.” has chosen to tell us.
Gaudentio Di Lucca: A Forgotten Utopia
Authors: Ellison Lee Monroe
Published: February 2007

Something of a literary sensation in its day (1737), as well as a mystification, Gaudentio di Lucca has fallen into a state of progressive neglect that threatens to become oblivion. Students of utopian schemes of social organization seem to have forgotten its existence. Recent historians have either ignored it entirely or have accorded it only cursory attention. “Interesting from a certain oddity and air of ‘key’ about it rather than from much merit as literature,” is the verdict of Professor Saintsbury; while Professor Elton concedes that its author had some invention and color, and that his “ ‘news from nowhere, ‘unlike many fictions of the kind, includes adequate police intelligence.”
Tieck's Essay Über Das Erhabene
Authors: Zeydel Edwin H.
Published: February 2007

In Box 18 of the “Ludwig Tieck-Nachlass” in the Preussische Staatsbibliothek, Berlin, we find, in Tieck's hand, on six quarto leaves, an unfinished essay entitled Über das Erhabene, dated 1792. It has never been published and is barely touched upon in the voluminous literature on Tieck, although it is not without significance in the long series of critical works for which its author is famed.
Recent Theories about the Meter of the “Cid”
Authors: Morley S. Griswold
Published: February 2007

By a remarkable coincidence, three scholars of different nationalities, working, one may suppose, in entire independence, have almost simultaneously declared against the existence in Spanish of any so-called “ametric versification.” G. J. Geers of Holland asserts (p. 179) that the distinction between “poesía amétrica” and “poesía ritmica acentual” is “absolutamente voluntariosa.” Prof. Juan Cano of Toronto uses almost identical language: “No estamos de acuerdo con el Sr. Ureña en distinguir entre la poesía amétrica y la ritmica; creemos que toda la poesía es rítmica.” Professor Cano does not mention the Poema del Cid specifically, but because he is occupied with later verse; it is clear that his conception of Spanish meter requires him to find regularity of rhythm in the Cid, since it is neither ametric nor syllabic. And Prof. W. E. Leonard of Wisconsin, skilled metrist and distinguished poet, has devoted an article in English and a longer one in Spanish to showing, or attempting to show, that the Poema del Cid was written in accentual or rhythmic verse. Professor Leonard did not, like the other two, make an assertion covering all Spanish verse, but the Cid is, of course, the chief exemplar of “ametric” verse; if it is to be removed from that category, the other alleged cases can certainly be made to follow it.
The Visit to the Perilous Castle: A Study of the Arthurian Modifications of an Irish Theme
Authors: Loomis Roger Sherman
Published: February 2007

Discussion of the Homeric question, the Carolingian epic, the ballads, and Arthurian romance remains, and seems destined to remain for some time a conflict between two hypotheses. One may be called the traditionalist hypothesis; for it emphasizes the origins of narrative themes in oral traditions more or less remote from the first recorded versions, and attempts to trace genetic relations between the surviving versions and to explain differences between them on the assumption that originals or intermediate stages or both are lost. The second hypothesis may be called that of literary craftsmanship, for it minimizes or denies the existence of any oral tradition, finds the source of our surviving texts either in other written texts or in the creative imagination of the author, and attempts to explain the differences between one version and another by some artistic or rational motive controlling the later author. A classic of the traditionalist school is Professor Gilbert Murray's Rise of the Greek Epic; a classic of the contrary school is M. Bédier's Légendes Épiques. The traditionalist hypothesis emphasizes the genetic relationship of story-patterns to their sources; the hypothesis of literary craftsmanship emphasizes the intellectual and artistic processes which create or modify story-patterns.