bluuebunny/crossref_metadata_2025 huggingface dataset:
IX.—The “Corones Two” of The Second Nun's Tale
Authors: Lowes John Livingston
Published: January 2021

In the legend of St. Cecilia, not only as the Second Nun tells it, but also as it appears in the Legenda aurea and in Simeon Metaphrastes, an angel gives to Cecilia and Valerian (as everybody knows) two crowns:

Valerian goth hoom, and fint CecilieWith-inne his chambre with an angel stonde;This angel hadde of roses and of lilieCorones two, the which he bar in honde;And first to Cecile, as I understonde,He yaf that oon, and after gan he takeThat other to Valerian, hir make.'With body clene and with unwemmed thoghtKepeth ay wel thise corones' quod he;'Fro Paradys to yow have I hem broght,Ne never-mo ne shal they roten be,Ne lese her sote savour, trusteth me;Ne never wight shal seen hem with his yë,But he be chaast and hate vileinyë.
Fielding's Political Purpose in Jonathan Wild
Authors: Wells John Edwin
Published: January 2021

Several of the critics of Fielding have felt strongly in Jonathan Wild an under-significance, chiefly political. None of them, however, has uttered more than a few lines about it; none, apparently, has been able to mark it out satisfactorily even to himself; and none has attempted to prove that the political significance was actually intended or does exist.
The Pastoral Elegy and Milton's Lycidas
Authors: Hanford James Holly
Published: January 2021

To most modern readers the pastoral setting of Milton's Lycidas is far from being an element of beauty. It is doubtful whether anyone, approaching Lycidas for the first time, fails to experience a feeling of strangeness, which must be overcome before the poem can be fully appreciated; and not infrequently the pastoral imagery continues to be felt as a defect, attracting attention to its own absurdities and thereby seriously interfering with the reader's enjoyment of the piece itself. The reason for this attitude lies in the fact that we have to-day all but forgotten the pastoral tradition and quite lost sympathy with the pastoral mood. The mass of writing to which this artificial yet strangely persistent literary fashion gave rise seems unendurably barren and insipid; to return and traverse the waste, with its dreary repetitions of conventional sentiments and tawdry imagery, is a veritable penance. Yet this, if we are to judge fairly of Lycidas, or if we are to remove the hindrances to our full enjoyment of it as poetry, is what in a measure we must do. For in Milton's eyes the pastoral element in Lycidas was neither alien nor artificial. Familiar as he was with poetry of this kind in English, Latin, Italian, and Greek, Milton' recognized the pastoral as one of the natural modes of literary expression, sanctioned by classic practice, and. recommended by not inconsiderable advantages of its own. The setting of Lycidas was to him not merely an ornament, but an essential element in the artistic composition of the poem. It tended to idealize and dignify the expression of his sorrow, and to exalt this tribute to the memory of his friend, by ranging it with a long and not inglorious line of elegiac utterances, from Theocritus and Virgil to Edmund Spenser.
Spenser and the Earl of Leicester
Authors: Greenlaw Edwin A.
Published: January 2021

The most critical year in the life of Spenser was that extending from the summer of 1579, when he was preparing for the publication of the Shepheards Calender, to the summer of 1580, when he went to Ireland as the secretary of Lord Grey. The epistle to Harvey, prefixed to the Calender, was dated “from my lodging at London thys 10. of Aprili, 1579”; but the book was not published until some time in the following winter. Besides this, his first ambitious work, Spenser had various other literary undertakings in hand, including a first draft of the great epic. By the tenth of April, 1580, he was anxious to have Harvey's judgment on the Faerie Queene, and on the twelfth of August he landed in Ireland.
Studies in the Epic Poem Godefroi De Bouillon
Authors: Smith Hugh A.
Published: January 2021

The purpose of this paper is to consider two well-known passages in the Old French epic poem, Godefroi de Bouillon, which have been often cited, and quite frequently used as the strongest support of an accepted statement about customs of the Middle Ages, yet in which, so far as I know, no one has called attention to certain misinterpretations and the consequent very different bearing of the text.
Modern Thought in Meredith's Poems
Authors: Cunliffe J. W.
Published: January 2021

“Victorian” is now commonly used as a depreciatory-epithet, and yet we shall search the history of the last thousand years in vain for a period of more important social, political, and industrial changes than those carried on in the Victorian Era. The changes in the spiritual sphere were no less significant. Professor Henry Sidgwick, a singularly acute and subtle observer, writing to Tennyson's son for the Biography published in 1897, said of the sixties:—

During these years we were absorbed in struggling for freedom of thought in the trammels of a historical religion : and perhaps what we sympathize with most in “In Memoriam'' at this time, apart from the personal feeling, was the defence of “honest doubt,” the reconciliation of knowledge and faith in the introductory poem, and the hopeful trumpet-ring of the lines on the New Year—

Ring out the thousand wars of old,Ring in the thousand years of peace,

and generally the forward movement of the thought.
The Letters of Charlotte—An Antidote to Die Leiden Des Jungen Werthers
Authors: Withington Robert
Published: January 2021

The Letters of Charlotte was first published in London in 1786, seven years after Goethe's The Sorrows of Werter had been translated by W. Render. My acquaintance with this book was made the other day, when I discovered a copy of it, published in New York in 1797, among some volumes which had belonged to my great-grandfather.
A New Source for Mankind
Authors: Mackenzie W. Roy
Published: January 2021

In the Publications of the Modern Language Association for June, 1911, Miss Mabel M. Keiller points out an interesting case of parallelism between the ground-tilling episode in the Macro play of Mankind and the “half-acre” episode in Piers Plowman, A Text, Passus VII (B Text, Passus VIII). After citing parallel incidents and passages Miss Keiller concludes: “Whatever may be thought of the significance of some of these instances, there seems to be no escape from the conclusion that the plot of Mankind depended for its central situation, its characters, its surroundings and general trend of thought on the greatest of English allegories.”
VI.—Phillippe De Mézières' Dramatic Office For The Presentation of The Virgin
Authors: Young Karl
Published: January 2021

The present study originated in a suggestion of Monsieur Marius Sepet, of Paris. In his famous monograph, Les Prophètes du Christ, in describing the so-called Festum Asinorum of Rouen, M. Sepet contributes the following note:

Telle est aussi la voie que suit le cortège dans l'Office de la Présentation, par Philippe de Maizières. Cet office est un document des plus précieux pour l'histoire de la mise en scène. Notre confrêre et ami M. Anatole Lefoullon se propose de la publier d'après le mss. Celestins 15, B. I.
V.—Walter Map's De Nugis Curialium: its Plan and Composition
Authors: Hinton James
Published: January 2021

Walter Map's De Nugis Curialium, which is preserved in a unique manuscript of the latter part of the fourteenth century, has been twice edited; in 1850 by Thomas Wright, and in 1914 most admirably by Dr. Montague Rhodes James. It is apparent, even to the casual reader, that the work was not written continuously from beginning to end, but was redacted from fragments composed at various times and at various degrees of leisure; both editors, however, assume that Map himself arranged the fragments and published the book substantially as it now stands, though Dr. James fully appreciates the formlessness of the work, and admits that “the plan … . is to seek.”
The Academic Study of French Civilization
Authors: Guérard Albert Léon
Published: January 2021

If history is to giv us a tru picture of human life in the past, it cannot limit itself to political events. The chief end of man never was to frame, uphold, and overthro governments, stil les to wage war and sign treaties. These ar accidents or epiphenomena. Man's primary concern is and was from the first his daily fight for existence, the necessity of getting food and shelter, the desire of getting them with a minimum of painful exertion. Man does not merely adapt himself to his surroundings: he attempts to alter his surroundings so as to suit himself. Thus he creates new conditions from which new problems arise. Human society groes ever farther away from that brutish state of automatic adaptation which poets call the Erthly Paradise. From the erliest stone implement to the aeroplane, from the first concerted hunt to the elaborate insurance system of the German Empire, we see the progres of this warfare against nature. The result of these efforts is what we understand by civilization.
Theodor Fontane und England
Authors: Schönemann Friedrich
Published: January 2021

In Theodor Fontanes Roman Effi Briest heisst es einmal: “Auf zwanzig Deutsche, die nach Frankreich gehen, kommt noch nicht einer, der nach England geht. Das macht das Wasser… Das Wasser hat eine scheidende Kraft.” Zu dem Wasser, d. h. der geographischen Lage, kommt die Geschichte Englands, um einen Inselgeist auszubilden, den die fremden Besucher Englands während der letzten 300 Jahre alles andere nur nicht entgegenkommend und liebenswürdig nennen. Man lese etwa nur das Buch von Edward Smith: Foreign Visitors in England. Und die Haltung der Engländer dem Ausländer gegenüber ist nur ein Symbol für die geistige Abgeschlossenheit und Unzugänglichkeit ihres Landes, dem das Gefällige und Mitteilsame der französischen Kultur mindestens ebenso fehlt wie Deutschland.
The English Ballad of Judas Iscariot
Authors: Baum Paull Franklin
Published: January 2021

Unusual interest attaches to the ballad of Judas, not only because the manuscript in which it is found antedates by two centuries the manuscript of any other English popular ballad, but also because the story it tells is very nearly unique. The manuscript, Trinity College, Cambridge, B. 14. 39, was written in the 13th century; just where is uncertain. The ballad has been frequently printed, but not correctly until 1904, in the Cambridge Edition of the Ballads. It was Professor Child who first recognized the Judas poem as a ballad; but no one has questioned his judgment.
The Usurer in Elizabethan Drama
Authors: Stonex Arthur Bivins
Published: January 2021

Jeremy Bentham in his iconoclastic Defence of Usury offers this plausible if somewhat cynical explanation of the well-nigh universal unpopularity of the money lender: “Those who have the resolution to sacrifice the present to the future, are natural objects of envy to those who have sacrificed the future to the present. The children who have eaten their cake, are the natural enemies of the children who have theirs.” And similarly he explains the unhappy rôle that is almost as universally meted out to the money lender of drama. “It is the business of the dramatist,” he says, “to study and to conform to, the humors and passions of those on the pleasing of whom he depends for his success… Now I question whether, among all the instances in which a borrower and a lender of money have been brought together upon the stage, from the days of Thespis to the present, there ever was one, in which the former was not recommended to favour in some shape or other—either to admiration, or to love, or to pity, or to all three;—and the other, the man of thrift, consigned to infamy.”
Swift and the Stamp Act of 1712
Authors: Thomas Joseph M.
Published: January 2021

In a debate, December 22, 1819, in the House of Commons on the Newspaper Stamp Duties Bill, Sir James Mackintosh, speaking of the passage of the original act of 1712, said: “Swift—being then a distinguished Tory, suggested the first idea of a stamp duty for the avowed purpose of preventing publications against the government,—Swift, that parricide who endeavored to destroy that very press to which he owed so much, to which he owed all his fame, and at that very moment all his preferment.”
Colloquial Contractions in Beaumont, Fletcher, Massinger, and Shakespeare as a Test of Authorship
Authors: Farnham Willard Edward
Published: January 2021

F. G. Fleay presented to the New Shakspere Society in 1874 his epoch-making paper On Metrical Tests as Applied to Dramatic Poetry. Many early investigations of authorship had been excellent, and some scholars looked askance at the utilization of cold statistics in literary criticism; but Fleay's methods, followed later by Boyle and others, have been vindicated. To Fleay and Boyle the fundamental idea of this paper, namely, that the work of the collaborating dramatists, Beaumont and Fletcher, and of Massinger and Shakespeare in the case of Henry VIII and The Two Noble Kinsmen, may be tested by a consideration of colloquial contractions or elisions in words used by the authors, must acknowledge inspiration. The test will involve the use of statistical tables of colloquialisms which bear some resemblance to the metrical tables of Fleay and Boyle.
The Opening of the Episode of Finn in Beowulf
Authors: Green Alexander
Published: January 2021

The Episode of Finn presents perhaps greater difficulties to the critic than any other passage in Beowulf. The manuscript text is lacking in clearness and the narrative teems with obscure allusions. The complication is further increased by the fact that of the five extant epic monuments in Anglo-Saxon three contain references to the “matter of Finn” in a virtually discrepant form. In Widsith we find mention of the two principal antagonists of the saga, and the Finnsburg Fragment clearly pertains to the subject-matter of the lay which the court minstrel chants at King Hrothgar's banquet and which the poet of Beowulf interpolates in what would seem to be a form of “headings.”
The Poema Biblicum of Onulphus
Authors: Young Karl
Published: January 2021

The attention of students of mediaeval drama has often been arrested by a short dramatic text from a Vienna manuscript published by DuMéril among the examples of the liturgical Epiphany play in his Origines Latines du Théâtre Moderne. Among the mediaeval Latin plays of Epiphany this slight specimen is unique in its rhetorical form, in the names of the dramatis personæ, and in the absence of liturgical elements. The play is composed of thirteen leonine hexameters, which provide thirty-one speeches, each of the last ten hexameters being divided among three speakers. The first three lines, in the nature of an invitatory, are assigned to Stella as a speaking character, and the Magi appear under the names of Aureolus, Thureolus, and Myrreolus. The play bears no marks from the liturgy. Although the introductory rubric Ad adorandum Filium Dei per Stellam invitantur Eoy might serve well enough for launching a liturgical play, there is no concluding rubric to indicate a liturgical association, and the text itself contains no formulae reminiscent of the liturgy.
The Chief Historical Error in Barbour's Bruce
Authors: Schofield W. H.
Published: January 2021

When a poet has been convicted of sin against fact, we poor pedantic critics incline, merely on that account, to question his literary power. The chance, or the need, to display some superiority in knowledge to a writer whose work we undertake to discuss, is apt to inflate us with such an undue sense of our own importance that we unfairly minimize his merit.
Non-Dramatic Pastoral in Europe in the Eighteenth Century
Authors: Mantz Harold Elmer
Published: January 2021

Except incidentally, a treatment of pastoral does not form a considerable part of discussions upon eighteenth-century literature. No doubt this is because the eighteenth century, for all the artificiality and futility that the term connotes, still is for us the period of revolutions; we desire to see in it first of all the beginning of the new order of social ideas; it is only natural that these ideas should be sought in those writings that would appear to be the farthest removed from literary tradition. But it is hardly reasonable to expect by this method to form a correct idea of the time; not only what a priori represents reaction, but also that which continues traditions soon to be entirely abondoned, must be studied, if we would form the right estimate, not only of the period as a whole, but even of those very ideas posited as representative of the trend of the time.
The Organic Unity of Twelfth Night
Authors: Tilley Morris P.
Published: January 2021

There is no agreement among Shakespearian critics with regard to the organic unity of Twelfth Night. Dr. Furnivall in one place believes that “the leading note of the play is fun.” In another place he says less aptly that “the lesson is, sweet are the uses of adversity.” Morton Luce records his “impression that the perfect unity of Twelfth Night lies in the wise good humor that pervades the play.” Schlegel is representative of a group of critics who believe that “love regarded as an affair of the imagination rather than of the heart, is the fundamental theme running through all the variations of the play.” Most commentators, however, have agreed that the leading thought of this play may be discovered in its title; that the words Twelfth Night, or What You Will, are themselves the key-note of the play; that Shakespeare's first thought was to provide a comedy suitable for the festival. No one of these critics has thought that an organic idea has been more than incidental in this creation of pure mirth. So purely comic are its scenes, and so entirely sufficient are all of its incidents, that critics have not gone behind its gay life to look for an underlying moral law.
Personal Relationships in Medieval France
Authors: Stowell William A.
Published: January 2021

In a previous study, I have aimed to show that, in Medieval France, personal relationships among men played a more important rôle than they do in modern times; that, therefore, there often arose a fixed code of rules to govern such relations, which assumed the character of formal institutions; that the study of personal relationships in Medieval France is, as a consequence, of greater importance than would be an examination into similar modern alliances; that there were two general kinds of personal relations: the relations between the seigneur and the follower, and the relations between follower and follower.
A Study of the Metrical Use of the Inflectional E in Middle English, with Particular Reference to Chaucer and Lydgate
Authors: Babcock Charlotte Farrington
Published: January 2021

The object of this investigation is to make a study of the metrical use of the inflectional e in Middle English, and to ascertain, as far as possible, the relation between metrical apocopation and grammatical decay. Although a few pre-Chaucerian texts will be examined to indicate dialectical variations, the chief emphasis will be placed upon the works of Chaucer and of Lydgate. These works will be treated chronologically, with a view to explaining the linguistic conditions existing in the transitional period during the fourteenth and fifteenth centuries.
The “Corones Two” of the Second Nun's Tale: A Supplementary Note
Authors: Lowes John Livingston
Published: January 2021

In an earlier article in these Publications I pointed out that the roses and lilies brought by the angel to Cecilia and Valerian symbolized martyrdom and virginity, and so focussed in themselves the significance of the story. My illustrations, however, were all drawn, as it happened, from the Sermones aurei of Jacobus de Voragine. It is perhaps worth while to put beyond any possible doubt the fact that the symbolism which permeates the Sermones was both widespread and familiar. I shall, accordingly, round out the argument presented three years ago by a number of additional passages drawn from a variety of sources.
Some Geographical Problems of the Oxford Roland
Authors: Place Edwin B.
Published: January 2021

It is quite natural that most mediaevalists who have up to the present dealt extensively with problems presented by the Oxford version of the Chanson de Roland should not have had an active personal interest in mediaeval Hispanic studies per se. True it is that members of the last generation of Roland specialists, notably the historian P. Boissonnade in extending J. Bédier's theories, have brought into sharp focus the importance for Roland studies of the eleventh- and early twelfth-century French crusades into Spain against the Moors, especially in aid of, or collaboration with the Cid's overlord, Alfonso VI of Leon and Castile. And in this connection Bédier added his voice to those who have admitted the possibility that the Oxford Roland may have been composed after the turn of the century.
Conall Corc and the Corco Luigde
Authors: Hull Vernam
Published: January 2021

In 1941 I published and translated in this periodical an early Irish text which I called “The Exile of Conall Corc” because owing to a defective beginning the title had not been preserved. In the introduction to the text I listed among the sources dealing with Conall Corc, who as an early and semi-historical king of Munster supposedly reigned about 400 A.D., an account of him which the editor Kuno Meyer entitled “Conall Corc, and the Corco Luigde,” since, being an extract from a larger work, it lacked a separate heading of its own. Various reasons now prompt me to attempt a translation of it. One of them naturally is the intrinsic interest of the subject matter, for Conall Corc, who is a vivid and picturesque member of “The Royal Cycle” of ancient Ireland, had a varied career which deserves to be better known than it actually is. Another reason is that several scholars, especially in recent years, have urged me to make an English rendering so that those who are not familiar with the Irish language at least may have access to the legendary as well as folkloristic elements that are implicit in “Conall Corc and the Corco Luigde.” And the third reason is that more than a decade ago having received the aid of the late Professor Thurneysen in the elucidation of some of the difficult passages, an aid which I here gratefully acknowledge, I feel that the present translation, now that he is dead, will preserve at least to some extent his interpretation of the text.
Alastor: A Reinterpretation
Authors: Gibson Evan K.
Published: January 2021

Few of Shelley's poems have received a wider variety of explanations and interpretations than Alastor. Most critics would probably admit that the poem is difficult, and some would even go so far as to say that a clear understanding of it is impossible, agreeing with Havens that “the reader of Alastor is confused because its author was confused.”1 Hoffman attempts to explain it as largely autobiographical,2 while Mueschke and Griggs come to the conclusion that the prototype of the poet is Wordsworth.3 The poet's vision has also been interpreted in a number of ingenious ways. Woodberry calls it “Alastor or evil genius,” which “drives him on in search of its own phantasm till he dies.”4 Du Bois describes it as “a materialization of an ideal man, free, true, beautiful, loving poetry,”5 and Forman believes that it is the ideal of female perfection.6 The Preface has also given difficulty. Havens complains that the statements of the Preface are at variance with the action of the poem,7 Du Bois believes that there is no inconsistency,8 and Stevens, Beck, and Snow that the difference is only one of emphasis.9 It is hoped that the present discussion will add clarity rather than confusion to the understanding of this early example of Shelley's deep-set convictions and powers of imagery.
The Meaning of Shelley's “Mont Blanc”
Authors: Kapstein I. J.
Published: January 2021

Shelley composed “Mont Blanc” upon the occasion of his first visit to the Swiss Alps. “The immensity of these aerial summits,” he tells us, “excited when they suddenly burst upon the sight, a sentiment of extatic [sic] wonder, not unallied to madness.” Of “Mont Blanc,” which resulted from this experience, he says that “it was composed under the immediate impression of the deep and powerful feelings excited by the objects which it attempts to describe,” and then evidently aware of the poem's difficulty, describes it as “an undisciplined overflowing of the soul.”
The Background and Development in English Criticism of the Theories of Generality and Particularity
Authors: Elledge Scott
Published: January 2021

In the well-known passage from Rasselas Johnson made Imlac say that the poet must “neglect the minuter discriminations, which one may-have remarked, and another neglected, for those characteristics which are alike obvious to vigilance and carelessness”; but twenty-two years later in the Lives of the Poets, Johnson praised Thomson as a poet who “thinks always as a man of genius,” who looks on Nature and Life “with the eye which Nature bestows only on a poet; the eye that distinguishes, in every thing presented to its view, whatever there is on which imagination can delight to be detained, and with a mind that at once comprehends the vast, and attends to the minute. The reader of the Seasons wonders that he never saw before what Thomson shows him.” The Seasons, then, was good poetry because Thomson did not neglect the minuter discriminations which one may have remarked and another neglected, and because he presented characteristics which had not been “alike obvious to vigilance and carelessness.” Whether these two critical remarks are inconsistent, and if they are, to what degree, are questions to be answered only when we are sure of the meaning of the famous passage in Rasselas. What, precisely, did Johnson mean by the rather unfortunate metaphor of the tulip? What is the background of the conflict in literary criticism between the grandeur of generality and the power of particularity? And where did Johnson stand in that conflict?
Some Pictorial Aspects of Early Mountebank Stages
Authors: McDowell John H.
Published: January 2021

The commedia dell'arte had no theatre of its own. When the commedia took form in the second half of the sixteenth century, the itinerant actors found themselves in the midst of intense theatrical activity, and readily appropriated available stages as a background for their buffoonery. In public squares, at fairs, festivals, and other gathering places, mountebanks attracted crowds to their platforms by songs interspersed with dialogue, trickery, and acrobatic stunts. In palatial halls of wealthy dukes, guests assembled to witness spectacular shows with expensive settings and intricate mechanical devices. With these opportunities before them, the comedians soon began to appear with the charlatans, and to come under the patronage of influential dukes. The players were invited to participate at wedding festivities, triumphal entries, sumptuous banquets, in the courts of kings, and in the splendor of royal palaces. Again the same troupe might also be found on a crude platform in the Square of San Marco, at a fiesta in Florence, or along a travelled roadside. The comic Arlecchino, dressed in patchwork, the pedantic Dottore, with his academic gown, the braggart Capitano, with his long rapier, and the foolish old Pantalone, with his long flowing gown, performed for king and artisan in London, Paris, Madrid, Brussels, or Ferrara.
“The Vanytyes of Sir Arthur Gorges Youthe”: (Egerton MS. 3165. A preliminary report)
Authors: Sandisen Helen E.
Published: January 2021

The “lost poems” of Sir Arthur Gorges (c. 1557-1625) have been found. They are the “sweet layes of love” that Spenser praised in Colin Clout (384-391). When Colin calls upon Alcyon (Gorges) to abandon songs of mourning for his dead Daphne, he urges him to pursue the brave conceit of his sweet Eglantine of Meriflure. This Eglantine poem is in the new-found manuscript, but it is still incomplete: it is headed “Pastoral unfynyshed,” and an “etc.” is written where it breaks off after the sixth stanza. Even at Colin's bidding, the widowed Alcyon never finished his shepherd's song to Eglantine (“shee woonnes in plesaunte Meryfleur”). She is the Daphne whom he later lost, as other poems in this manuscript prove, where Daphne and the eglantine are significantly associated; thus she is the Douglas Howard who is the subject of Spenser's elegy Daphnaida.
Der Dichterkomponist Peter Cornelius und Friedrich Hebbel
Authors: Appelt E. P.
Published: January 2021

Zu den Personen, die Friedrich Hebbel in den letzten Jahren seines Lebens nahegestanden haben, gehört auch der Dichterkomponist Peter Cornelius. Da wir seinen Namen in den Tagebüchern Hebbels vergeblich suchen, wohl aber seinen großen Onkel, den Maler Peter Cornelius (1783-1867), erwähnt finden, ist anzunehmen, daß Cornelius keinen starken Eindruck auf Hebbel gemacht hat. Auch Emil Kuh, Hebbels Biograph, erwähnt den Dichterkomponisten nicht, obwohl beide befreundet waren und Cornelius Gedichte von Kuh vertont hat. Andere Darsteller von Hebbels Leben haben Cornelius ebenfalls übersehen. Nur Adolf Bartels nennt in seiner kleinen Lebensbeschreibung Hebbels Cornelius unter denen, die in Wien um den großen Dramatiker waren, und Paul Bornstein hat in seinem umfangreichen Werke “Friedrich Hebbels Persönlichkeit” Teile aus den Briefen von Peter Cornelius zum Abdruck gebracht. und doch gehörte Cornelius, dessen musikalische Werke, insbesondere seine Liedkompositionen, einen hohen Rang einnehmen, dessen Dichtungen und schriftstellerische Arbeiten in vier Bänden vorliegen und dessen Leben und Werk in etlichen biographischen Arbeiten behandelt worden ist, nicht nur zu dem engeren Kreise um Hebbel in Wien, sondern er hat in seinen Briefen auch des öfteren Hebbel und sein Verhältnis zu ihm erwähnt und damit Material zu dem Charakterbilde des norddeutschen Dramatikers geliefert, das bis heute unberücksichtigt geblieben ist.
The Melk Salbenkrämerspiel: An Unpublished Middle High German Mercator Play
Authors: Bühler Curt F. , Selmer Carl
Published: January 2021

The Salbenkrämerspiel (Mercator Play) occupies a place of unique importance in the history and development of the secular drama in German literature. From almost the beginning of Western drama as it slowly emerged from the Easter Mass, through the Latin Festival Plays of the thirteenth century, to the complete secularization and nationalization of this play in the Fastnachtspiele of the fifteenth and sixteenth centuries, the development of the Salbenkrämerspiel has been the subject of special investigation by many eminent scholars.
An Index to Goethe's Reading Public: The Goethe Society
Authors: Leppmann Wolfgang A.
Published: January 2021

The days have passed when the question “Who reads Goethe?” elicited, on the part of most educated Germans, the equivalent of a disdainful “Why, everybody who's anybody, of course!” Familiarity with Goethe is no longer claimed by many Germans whose fathers were brought up on Götz and Faust. Others again, individuals and entire social groups, have recently come in contact with Goethe for the first time. Changes in the modern image of Goethe have been followed—in some cases anticipated—by changes in the composition of the reading public. Until the Gallup Poll in the fullness of time takes an interest in German literature, any answer to the question posed above must remain incomplete. This does not mean that we should refrain from giving a partial answer, any more than anthropologists should forego speculation about the Neanderthal man merely because no complete specimen has ever been found. So much has been written about Goethe himself that his public has been largely ignored—as if the fact that we still read Goethe were not partly due to the efforts of previous generations of readers in publishing and explaining his works, and handing them down to us intact and accessible. Our prototype, the composite Goethe reader of the past seventy years, can be partially reconstructed by examining the history and membership of an organization which has done much to change our concept of Goethe, and to modify the literary tastes of a substantial portion of Germany's reading public: the German Goethe Society.
John Gower, Mentor for Royalty: Richard II
Authors: Coffman George R.
Published: January 2021

This paragraph introduces a paper which illustrates a larger project: a study of aspects of Gower's works in fourteenth-century historical relationships. The objective is an interpretation of his writings as mirroring the attitude and point of view of a conservative middle-class Englishman for the years 1381-1400 and through them an interpretation of the England of his day. Though these writings show the long heritage of an economic, political, ethical, and religious past, our interest always centers in his immediate present. Non-literary contemporary records consequently provide the first essential materials for this interpretation. Macaulay's standard edition of his works, published half a century ago, based on all manuscripts then available, constitutes the printed source for this study. The high quality of Gower's preserved manuscripts, which give his own revisions, and the fact that these revisions show important changes in his attitudes toward individuals and organizations or institutions, make a re-examination of all of them now available an essential part of this interpretation and raise again the unresolved problem of his ethical integrity. Gardiner Stillwell's able article, “John Gower and the Last Years of Edward III,” provides a suggestive introduction for the interested student. The title of the present article is John Gower, Mentor for Royalty: Richard II.
The Love Theme of Henry Esmond
Authors: Tilford John E.
Published: January 2021

The first chapter of Henry Esmond opens with the meeting of young Henry and Rachel Esmond, Viscountess Castlewood, and their complex relations provide the major thematic integration of the novel. For most readers, however, the love interest centers in Henry's chronic courtship of Beatrix, Rachel's daughter. In modern criticism of the novel, allusions to the love of Henry and Rachel are usually perfunctory, often indicating little more than that, after the decline and fall of Beatrix, they were wed—a union which distressed many Victorian critics because of its disquieting implications of incest. For a century there has been no widespread perception of Thackeray's intentions regarding this pervasive love theme.
The Authorship of I Henry VI
Authors: Kirschbaum Leo
Published: January 2021

“Disintegration,” Sir Edmund Chambers has said, “is a constant itch in some minds.” And in order to show how pervasive the disease is, I hope I may be forgiven for using as my example Sir Edmund himself. It is to him, surely, that we owe the most today for our belief and faith that the plays in the 1623 folio are by Shakespeare alone and are, by and large, as they left Shakespeare's pen once and for all. In his British Academy lecture of 1924, “The Disintegration of Shakespeare,” Chambers showed (a) that contemporary records, Henslowe's and Sir Henry Herbert's, showed “very little testimony” for revision of old plays and (b) that the first principles and so-called proofs of the disintegrators could not bear careful investigation. Now what is to me so wonderful about this 1924 lecture is that whereas the author of The Elizabethan Stage (1923) may fairly, I believe, be called a nineteenth-century scholar, the man who wrote William Shakespeare, A Study of Facts and Problems (1930) not only has learned everything that McKerrow and Greg have to teach but also is more than able to meet Pollard and Wilson on their own ground. In other words, in the space of about seven years, Sir Edmund changed into what I might call a brilliant conservative. In the 1930 volumes, the disintegrators get even shorter shrift than they had received in the 1924 lecture. “Not proved” is the verdict against them again and again.
Gavin Douglas' Eneados: A Reinterpretation
Authors: Dearing Bruce
Published: January 2021

In the general scorn and neglect by modern literary scholars of the entire area in English literature between Chaucer and Spenser, few poets have fared so ill as the sixteenth-century Scottish Chaucerian Gavin Douglas. To be sure, his name appears frequently enough in histories of literature, and occasionally in studies of Chaucer, or Surrey, or Henryson, Lindsay, Dunbar. But one suspects that Douglas has less often been carefully and sympathetically read than he has been hustled into a dusty place of honor by conventional encomium, or relegated to the ranks of the inconsiderable on the ground that he is a mere “Chaucerian,” a petty tracer of his master's matchless strokes.
Ulysses: The Myth of Myth
Authors: Von Abele Rudolph
Published: January 2021

This paper is in the nature of a caveat entered against one mode of interpretation to which Joyce's work has been subjected. Many literary works in our time have been hitched onto mythopoeic horses, but Ulysses has been rather worse handled than most, in this regard. My comments are directed against the uses to which have been put, by certain critics, mythopoeic references and allusions in Joyce's novel. The problem has not to do with whether Ulysses employs symbols, for it obviously does, but rather with the character of their employment.
The Critical Attack Upon the Epic in the English Romantic Movement
Authors: Foerster Donald M.
Published: January 2021

For critics in the Age of Pope the classical epic was the only genuine epic. It was regarded as a principal, if not always the supreme, form of literature; as an unsurpassable vehicle of moral instruction, of ageless wisdom lightly cloaked by an exterior of violence and adventure, of sentiments “whose truth convinced at sight We find.” Stressing the permanently valuable as they did, these critics spoke of Homer and Virgil as the greatest of geniuses in poetry but rarely treated them as human beings who had actually lived in specific times and places: both were visualized as “conscious” craftsmen skilled in adapting plots to enforce basic “lessons” and equally skilled in blending into ideal harmony such elements of the epic as action and episode, description and dialogue, the supernatural and the human. To be sure, historical backgrounds were not entirely ignored: Pope wrote at considerable length of Homer's “religion, country, genius of his age”; and men of wit like Swift and Dennis compared the excellences of ancient and of modern literature in general. With its emphasis upon matters of form and universality, an essentially Aristotelian approach was, nevertheless, the dominant approach of Augustan England.
The “History of the Kings of Britain” in College of Arms Ms. Arundel XXII
Authors: Caldwell Robert A.
Published: January 2021

Manuscript Arundel xxii in the College of Arms, London, contains two Middle English texts, The Seege or Batayle of Troye (fols. 1r-8r col. 2) and what has been described as a translation of Geoffrey of Monmouth's Historia Regum Britanniae (fols. 8r col. 2-80v col. 2). This text, which I call “History of the Kings of Britain” (HKofB), is in reality a translation of HRB from the Description of Britain to the wrestling match between Corineus and Gogmagog, and of Wace's Brut from that point on. Although it has been known since the late sixteenth century, it seems never to have been examined completely and in detail.
“The Mild, Intellectual Light”: Idea and Theme in Howards End
Authors: McDowell Frederick P. W.
Published: January 2021

Although most critics agree that Howards End (1910) is a less perfect novel than A Passage to India (1924), it is, in its own right, spontaneous and vigorous and more confidently authoritative. Even adverse criticism of Howards End has tended to recognize it as “the most ambitious as well as the most explicit of the novels.” Possibly because Forster had not brooded excessively over his materials and because the Great War had not yet accentuated his latent pessimism, Howards End has the force deriving from a poised and fundamentally positive view of life.

If Howards End lacks the fully mature artistry of A Passage to India, it is largely free from the negative effects upon Forster's art of his later skepticism—a disturbing austerity verging upon spiritual fatigue, and an almost excessive distancing of the writer from his characters verging upon indifference to them. In Howards End the Schlegel sisters are involved in emotionally more central situations than are Fielding, Aziz, and Adela Quested, and they are themselves warmer, more impulsive, and more genial. In some ways their perplexities and valuations of experience—reflecting their life in the now spiritually removed period of prosperous Edwardian England—are indeed remote. Yet Helen and Margaret Schlegel, through their sensitivity, conscientiousness, and moral complexity, achieve at times a depth and spaciousness transcending the somewhat limited universe prescribed for their activity and warrant a continued concern with the novel. Forster has also conceived their friends, acquaintances, relatives, and antagonists, for the most part, with vigor, with understanding, and with sympathy.
Oscar Wilde on his Subdividing Himself
Authors: Nethercot Arthur H.
Published: January 2021

The following letter by Oscar Wilde, generously sent to me by Professor Waldo H. Dunn of Scripps College, may be of interest to the readers of my article, “Oscar Wilde and the Devil's Advocate,” published in the September 1944 number of PMLA, for it seems to be a pretty direct confirmation by Wilde himself of some of the speculations which I made concerning Wilde's splitting himself into different and often antithetical persons in his published works. So far as Mr. Dunn and I can discover, this letter seems never to have been printed. Mr. Dunn tells me that he found it in the Alexander Turnbull Library (now the National Library) in Wellington, New Zealand, when he was working there in 1932–33; and the holograph is presumably still there. The founder of the library, he says, “was a really great collector, and purchased letters, rare books, and proof sheets with discrimination.”
Whitman's Indirect Expression and Its Application to “Song of Myself.”
Authors: Rountree Thomas J.
Published: January 2021

Oscar Triggs feels that Walt Whitman's
“Song of Myself” is Leaves of Grass in epitome. No doubt this poem illustrates Whitman's theme and purpose—and methods of attaining them—as well as any other poem he wrote. Perhaps the poem's synoptic quality is responsible for much critical work that attempts to explain the unity of the poem. But too often the critic's analysis superimposes a unity that is not explicitly sUpported by the poem or by any of Whitman's prose explanations of it. My purpose is first to demonstrate from Whitman's notations that his “indirect expression,” for psychological and democratic reasons, calls for reciprocity between the poet and the reader in order to achieve Whitman's desired result, and second to analyze “Song of Myself” in the light of the organic and COsmic unity that a reader's reciprocity gives to the poem.
Stochastic bi-objective optimisation formulation for bike-sharing system fleet deployment
Authors: Zhu Siying
Published: January 2021

Bike-sharing schemes (BSSs) have gained popularity as an alternative mode of transportation to solve the first/last mile problem. However, the bike-share market is subject to an oversupply problem with a low fleet utilisation rate in many countries. The aim of this paper is to tackle the BSS optimisation problem under stochastic demand scenarios by determining the shared bicycle fleet size and a fleet deployment strategy, where the interests of multiple stakeholders are taken into consideration at the same time. A stochastic multi-period bi-objective optimisation model is formulated to maximise the profit of bike-share operators and minimise the unmet demand, controlling the bike fleet utilisation rate. The problem is solved by an augmented ε-constraint method (Augmecon), which generates a set of non-dominated solutions. The numerical test is conducted with real data from Citi Bike to evaluate the validity of the model formulation and the effectiveness of the solution algorithm. The effect of fleet utilisation rate on BSS is analysed, where the trade-offs among earned profit, service level and fleet utilisation rate are addressed.
DIRECTIONS FOR THE IMPLEMENTATION OF THE IMPORT SUBSTITUTION POLICY IN THE REPUBLIC OF BASHKORTOSTAN
Authors:   «Institute for Strategic Studies of the Republic of Bashkortostan», Mamleeva E.R. , Trofimova N.V. ,   «Institute for Strategic Studies of the Republic of Bashkortostan», Sazykina M.Yu. ,   «Institute for Strategic Studies of the Republic of Bashkortostan»
Published: January 2021

he import substitution policy. The article analyzes the structure of imports and exports of the Republic of Bashkortostan for 2015-2019, reveals the impact of import substitution policies on the volume and structure of exports and imports of the region. The authors proposed the main directions of import substitution in the Republic of Bashkortostan in the following sectors of the economy: agriculture, manufacturing, pharmaceuticals, and tourism. It was noted that in the difficult epidemiological situation associated with the spread of coronavirus, the problems of import substitution in the region are even more relevant.
OIL INDUSTRY DEVELOPMENT TRENDS IN THE RUSSIAN FEDERATION
Authors:   «Institute for Strategic Studies of the Republic of Bashkortostan», Degtyarev A.N.
Published: January 2021

In the structure of the gross domestic product of the Russian Federation, industry accounts for about 36 %, including: manufacturing – 18 %, mining - 14.8 %, production and distribution of electricity, gas and water - 3.1%, etc. In fact, about 70 % of oil production in the country belongs to two federal districts: Ural (50 %) and Volga (19 %). Oil production in the Russian Federation for the period from 2010 to 2018 increased by 11%, exports increased by 5.5 %. About 47-49 % of the total volume of oil produced in the country is exported. The level of labor productivity in mining during the studied dynamics turned out to be three times higher than in manufacturing, and 3.5-5 times higher than in the distribution of electricity, gas and water. Currently, various methods of oil production are used, including: using methods of artificial stimulation of the reservoir (42.2 %), using water injection (34 %), using physicochemical methods, including gas (7.5 %) ), using hydrodynamic (7.3 %), thermal (0.7 %) and new methods (8.3 %). At the same time, oil production using the water injection method in the country decreased by 9.8 %, using artificial stimulation methods decreased by 3.8 %, and using hydrodynamic methods, oil production decreased by 1.2 %. In recent years, there has been a growing trend in the use of thermal (2.2 times), physicochemical (+ 27.8 %) and other new oil production methods (+ 32.3 %). The depth of oil refining in the Russian Federation increased from 71.2 % in 2010 to 82.2% in 2018. The novelty of the work lies in the fact that we included both economic and socially significant factors in our correlation and regression analysis. In addition, we found that the key factors influencing the formation of gross domestic product are the level of oil prices, export volumes and industrial production volumes.