bluuebunny/crossref_metadata_2025_split huggingface dataset:
Phèdre: Le Monde réel et les mondes imaginaires dans le théâtre de Racine
Authors: Carré Par Marie-Rose 
Published: February 2007

C'est en 1664 que les amateurs de théâtre pénétrèrent pour la première fois dans le monde de Jean Racine. Ils avaient vu l'année précédente la Sophonisbe de Corneille, et devaient, cette même année, applaudir (ou bouder) son Othon. Le succès de la pièce du nouveau dramaturge fut honorable; on joua douze fois, du 20 juin au 18 juillet, sa Thébaïde. Le public avait paru apprécier ce que Corneille appelait, non sans hauteur, “une docte et sublime complaisance au goût des délicats, qui veulent de l'amour partout. Les critiques, dès cette confrontation, sentirent qu'une crise se préparait: public et lettrés allaient avoir à prendre parti dans une lutte entre deux conceptions opposées du conflit tragique. Les adversaires ne tardent pas, en effet, à faire appel à leurs admirateurs. La déclaration de Corneille, c'est Sophonisbe qui s'en est chargée, dans une de ses premières répliques:Le Roi m'honore trop d'une amour si parfaite.Dites-lui que j'aspire à la paix qu'il souhaite,Mais que je le conjure, en cet illustre jour,De penser à sa gloire encor plus qu'à l'amour.(i.i.31–34)
Theme and Irony in the Wakefield Mactacio Abel
Authors: Gardner John 
Published: February 2007

Whatever the play may have seemed to its immediate audience, to modern critics the Wakefield Mactacio Abel has generally seemed interesting for its realism but not especially successful either as drama or as dramatic sermon. Miss Eleanor Prosser goes so far as to say,Doctrine remains in this play only by sufferance. But even apart from homiletic considerations, the play is unsuccessful. It has no unity: it leaps from farce to Scripture to farce with neither transition nor dramatic probability. The conflict is poorly established (witness the weakness of Abel and God); the characterization is one-dimensional; motivations are inconsistent (Cain's despair); much of the humor is pointless and simple-minded (Cain's striking Pykeharnes without motivation, just to keep his hand in, or the repeated obscenities that are comic solely by reason of their obscenity); the main interest in the play is irrelevant to the main plot action.
George and Benn: The Autumnal Vision
Authors: Hannum Hunter G. 
Published: February 2007

Komm in den totgesagten park und schau:Der schimmer ferner lachelnder gestadeDer reinen wolken unverhofites blauErhellt die weiher und die bunten pfade.Dort nimm das tiefe gelb-das weiche grauVon birken und von buchs-der wind ist lau-Die spaten rosen welkten noch nicht ganz-Erlese kiisse sie und flicht den kranzVergß auch diese lezten astern nicht-Den purpur um die ranken wilder rebenUnd auch was übrig blieb von griinem lebenVerwinde leicht im herbstlichen gesicht.Einsamer nie als im August:Erfüllungsstunde-im Gelandedie roten und die goldenen Brande,doch wo ist deiner Garten Lust?Die Seen hell, die Himmel weich,die Acker rein und glanzen leise,doch wo sind Sieg und Siegsbeweiseaus dem von dir vertretenen Reich?Wo alles sich durch Gluck beweistund tauscht den Blick und tauscht die Ringeim Weingeruch, im Rausch der Dinge-:dienst du dem Gegengliick, dem Geist.In two public addresses, Gottfried Benn declared himself one of the many admirers of the famous poem by Stefan George which begins: “Komm in den totgesagten park und schau …” Upon both occasions Benn gave his audience a short resume of his reasons for liking the poem. These remarks, whatever they tell us about George, reveal something about Benn also, for the poet—as T. S. Eliot points out—is a very special kind of critic, inasmuch as he, when commenting on the work of another creator, consciously or unconsciously “is always trying to defend the kind of poetry he is writing, or to formulate the kind that he wants to write.”
Ronsard's Reflections on the Heavens and Time
Authors: Silver Isidore 
Published: February 2007

Ronsard's Hymne de la Philosophie, published in 1555, which in the single line, “Tout l'Univers discourt en sa pensée” (v. 28), sets the farthest limits of the cosmos as the boundaries of the soul's philosophic inquiry, contains in miniature a rudimentary version of the Hymne du Ciel, also of 1555:Elle premiere a trouvé l'ouverturePar long travail des secretz de Nature,A sçeu de quoy les tonnerres se font,Pourquoy la Lune a maintenant le frontMousse, ou cornu, & pourquoy toute rondeOu demi-ronde elle apparoist au Monde,A sçeu pourquoy le Soleil perd couleur,Que c'est qu'il est, ou lumiere ou chaleur,A sçeu comment tout le firmament dance,Et comme Dieu le guide à la cadance,A sçeu les corps de ce grand Univers,Qui vont dançant de droit, ou de travers,Ceux qui vont tost au son de l'harmonie, Ceux qui vont tard apres leur compagnie,Comme Saturne aggravé de trop d'ansQui suit le bal à pas mornes & lens.(viii, 90–91)
Structure and Verisimilitude in the Novels of Érico Veríssimo
Authors: Mazzara Richard A. 
Published: February 2007

The following words describe Vasco Bruno's mental state, not merely while in the military hospital, but throughout his life as one of Érico Veríssimo's most important heroes. More interesting, they summarize Veríssimo's creative activities through the seven novels preceding O Tempo e o Vento:Nestas longas horas de hospital tomo e retomo as minhas lembranjas e bem como um menino que brinca com esses cubos de madeira em cujas faces estao colocados fragmentos simetricos dum quadro, procure formar com minhas experiencias um painel que tenha sentido revelador. Viro e reviro os blocos coloridos; ten to as mais diversas combinajoes, fico alvorojado, pensando que cheguei a algum resultado claro, para no fim verificar que tudo nao passa duma caleidoscopica confusao sem pe nem cabefa. Desisto do jogo. Mas fico com a secreta esperanja de que com os elementos de que disponho, um dia ainda hei de resolver o problema. (Saga, p. 120)
The Dramatic Context and Meaning of Hamlet's “To Be or Not To Be” Soliloquy
Authors: Newell Alex 
Published: February 2007

Sure, he that made us with such large discourse,Looking before and after, gave us notThat capability and god-like reasonTo fust in us unused.HamletDiscussions of Hamlet's “To be or not to be” soliloquy are almost as varied and divergent as interpretations of the play itself.1 Different understandings of the play and different formulations of Hamlet's character naturally affect interpretations of the soliloquy, but interpretations which fail to consider the dramatic context of the speech are surely faulty in critical procedure. Unfortunately, most discussions of the passage overlook or minimize the relevance of the surrounding action to it, an error that may then lead to problems of coherent or thorough analysis of meaning. The fault of ignoring the dramatic context, for example, may be seen in G. Wilson Knight's approach to the speech in “Hamlet Reconsidered”:The soliloquy (iii.i.56–88) at first seems reasonably clear, but difficulties multiply on close inspection. Commentators differ as to whether Hamlet'sTo be, or not to be; that is the question
Johnson's Translation of Lobo
Authors: Gold Joel J. 
Published: February 2007

For almost two centuries the nature and significance of Samuel Johnson's work in the translation of Lobo's Voyage to Abyssinia have been obscured. Both James Boswell and Sir John Hawkins denied that any traces of Johnson's style exist in the translation, and, following their lead, most scholars have been willing to accept at face value Johnson's explanation of what he had done:In this Translation (if it may be so call'd) great Liberties have been taken, which, whether justifiable or not, shall be fairly confess'd, and let the Judicious part of Mankind pardon or condemn them.In the first part the greatest Freedom has been used, in reducing the Narration into a narrow Compass, so that it is by no Means a Translation but an Epitome, in which whether every thing either useful or entertaining be comprised, the compiler is least qualified to determine.In the Account of Abyssinia, and the Continuation, the Authors have been follow'd with more exactness, and as few Passages appeared either insignificant or tedious, few have been either shortened or omitted.The Dissertations are the only part in which an exact Translation has been attempted, and even in those, Abstracts are sometimes given instead of literal Quotations, particularly in the first; and sometimes other parts have been contracted.
Intellectual Love: The Second Theme of The Prelude
Authors: Christensen Francis 
Published: February 2007

In the middle of Book XIV, the last book of The Prelude, Wordsworth indicates, rather belatedly, that the poem has two themes:Imagination having been our theme,So also hath that intellectual Love.My purpose in this paper is to examine this secondary theme of The Prelude. It is a theme that, under the name of benevolence, has been treated fairly adequately without reference to The Prelude by George W. Meyer in Wordsworth's Formative Years (1943). But unless I am seriously mistaken, no one has recognized, first, the content Wordsworth gives to the term or, second, the place he gives to the theme in the structure of The Prelude.
Some New Hölderlin Decipherments From The “Homburger Folioheft”
Authors: George Emery E. 
Published: February 2007

In 1943 Friedrich Beissner published the first volume of his critical edition of Hölderlin's works. This, together with the appearance of succeeding volumes, has reawakened interest in the problems that the poet's verse raises. Basic articles on text critical methodology and numerous reviews of the Grosse Stuttgarter Ausgabe have taken positions with regard to Wilhelm Hoffmann's claim that Beissner's edition represents “einen gereinigten, endgültigen und vollständigen Hölderlin-Text ..., den es bisher nicht gibt.” In this critical literature, now distributed over a round two decades, three main positions may be distinguished:—(1) Enthusiastic and largely uncritical approbation has come from writers who have eagerly awaited the appearance of further volumes of the edition. These writers are in basic agreement with Hoffmann's above-cited claim. Emil Staiger describes the edition as “das größte philologische Meisterwerk, das die deutsche Literaturwissenschaft bis zum heutigen Tag zu verzeichnen hat, epochemachend in dem neuartigen Aufbau des kritischen Apparates, ... ” It is, according to Ernst Müller, a document of Beissner's ability to decipher “arg verdorbene, oftmals überschriebene und in scheinbar willkürlich zerstreutem Zustand vorhandene Manuskripte mit dem geschulten Auge des Philologen auf ihren Wort- und Silbenbestand hin. ... ” Manfred Windfuhr classifies Beissner's work as “der erste gelungene Versuch, das Werden der Dichtung Stufe um Stufe fortschreitend aufzuhellen, den Linien der Entstehung anschaulich zu folgen.” Lothar Kempter sees the justification of Beissner's edition as against the editions of Hellingrath and Zinkernagel first of all in the relative completeness of Beissner's contribution: “Jede Auswahl, nicht nur des endgültigen Wortlautes, sondern auch der Vorstufen, bevormundet den Betrachter. Einzig die in jeder Hinsicht vollständige Ausgabe schenkt ihm die Freiheit der eigenen Entscheidung.”
Edward Taylor's Spiritual Huswifery
Authors: Grabo Norman S. 
Published: February 2007

Make me, O Lord, thy Spinning Wheele compleate.Thy Holy Worde my Distaff make for mee.Make mine Affections thy Swift Flyers neateAnd make my Soule thy holy Spoole to bee.My Conversation make to be thy ReeleAnd reele the yarn thereon Spun of thy Wheele.Make me thy Loome then, knit therein this Twine:And make thy Holy Spirit, Lord, winde quills:Then weave the Web thyselfe. The yarn is fine.Thine Ordinances make my Fulling Mills.Then dy the Same in Heavenly Colours Choice,All pinkt with Varnisht Flowers of Paradise.Then cloath therewith mine Understanding, Will,Affections, Judgment, Conscience, MemoryMy Words, and Actions, that their shine may fillMy wayes with glory and thee glorify.Then mine appareil shall display before yeeThat I am Cloathd in Holy robes for glory.
The Publishing of Byron's Don Juan
Authors: Luke Hugh J. 
Published: February 2007

On 8 December 1824 Robert Southey sent to the editor of the Courier a long letter containing a final, post-mortem installment in his feud with Lord Byron. Reacting to some allusions to himself in Medwin's recently published Conversations of Lord Byron, Southey characteristically joined truculent self-defense with bitter and abusive attack:It was because Lord Byron had brought a stigma upon English literature [Southey explained] that I accused him; because he had perverted great talents to the worst purposes; because he had set up for pander-general to the youth of Great Britain as long as his writings should endure; because he had committed a high crime and misdemeanour against society, by sending forth a work in which mockery was mingled with horrors, filth with impiety, profligacy with sedition and slander. . . .Here I dismiss the subject. It might have been thought that Lord Byron had attained the last degree of disgrace when his head was set up for a sign at one of those preparatory schools for the brothel and the gallows, where obscenity, sedition, and blasphemy are retailed in drams for the vulgar. There remained one further shame,-there remained this exposure of his private conversations, which has compelled his lordship's friends ... to compare his oral declarations with his written words.
Un aspecto olvidado en el realismo del Poema de Mio Cid
Authors: Puértolas J. Rodríguez 
Published: February 2007

Mala cueta es, señores, aver mingua de pan (Mio Cid, 1178)Todo estudio y crítica referente al Poema de Mio Cid hace constar un hecho característico del mismo, su realismo. Sin embargo, creo que, por unas u otras razones, no se ha llegado a señalar claramente la verdadera importancia y alcance de ese realismo, o mejor dicho, su auténtica significación. Mi intención, en las líneas que siguen, es tratar de ponerla de relieve. Espero, con todo, no “imitar al pilluelo que, al ver una pared recién blanqueada, siente necesidad de mancharla escribiendo en ella alguna inconveniencia,” como don Ramón Menéndez Pidal, maestro en todo lo referente al Poema como en tantas otras cosas, ha dicho de los posibles cidófobos posteriores a su magno trabajo. No voy a tratar del Cid especialmente como personaje humano e histórico—aspecto al que don Ramón se refiere con las anteriores palabras—sino de la trama material y realista que el Poema ofrece a los ojos de quienes lo leemos hoy. Hay que tener en cuenta para ello, también, que otro rasgo bien conocido del Cantar es su verismo, “que rebosa por todas partes,”hasta el punto de que incluso “en menudos pormenores coincide el Poema con los datos históricos.” Milá y Fontanals lo consideraba como “fidelísimo espejo de un orden de hechos y costumbres que no serían bastantes a suplir los documentas históricos.” Sera inevitable, pues, que en algunos puntos de este trabajo me refiera también a la persona del Cid, quien, después de todo, si no puede ser considerado como un santo, tampoco como hombre sin honor ni ideales.
The Verbal Gate to Paradise: Adam's “Literary Experience” in Book X of Paradise Lost
Authors: Christopher Georgia B. 
Published: February 2007

AbstractIt is not Eve's reconciling gesture of “love” in Book x of Paradise Lost that leads Adam back to God. Instead, Adam is restored by a mysterious “literary” insight as he suddenly perceives his sentence as a promise. Adam's “opening” is the sacramental moment toward which the action of Paradise Lost is leading and reflects the Reformers' understanding that the first promise (protevangelium), like other promises in the Bible, constitutes an inner scripture that equalizes all ages. Thus, in the main, the Reformers appropriate Old Testament stories without resorting to typology, for they treat the patriarchs as the first Christians who embraced the word. They see the Old Testament narratives as a sacramental vessel through which the viva vox Christi can speak to the reader of any age as he identifies with the patriarch in the story.
Ford's 'Tis Pity She's a Whore and the Jacobean Tragic Perspective
Authors: Champion Larry S. 
Published: February 2007

AbstractWhether reflecting the social theme in a drama alive to contemporary issues, or reacting to the jaded taste of a theatrical clientele, or probing individually for the most effective delineation of man's tragic plight, the Jacobean dramatists explore a view of life more somber and pessimistic than their Elizabethan counterparts.John Ford represents the culmination of this basic dramaturgical trend. In 'Tis Pity She's a Whore he creates central figures whose affection, if unrighteous, is also intensely sincere and whose aberrant conduct must be weighed against the treachery and hypocrisy of the society whose morality the lovers have rejected. The anagnorisis as well as the protagonist is doubled, and the spectator is left to choose between the wisdom of Annabella's Christian repentance and Giovanni's stoic insistence on the sanctity of private values. The result is a fundamentally pessimistic view of life in which man's challenge is the ambiguity of moral values constantly frustrating his search for a meaningful life.
Apollo versus Bacchus: The Dynamics of Inspiration (Rabelais's Prologues to Gargantua and to the Tiers livre)
Authors: Berry Alice Fiola 
Published: February 2007

AbstractRabelais's two prologues are examined as défenses et illustrations of his theory of creativity, a theory largely influenced by the Platonic furor divinus, for in both chapters Rabelais describes the source of his genius as a state of madness. However, two kinds of madness confront each other in dynamic opposition. There is first the Bacchic mode which describes literary creation as joyful drunkenness and whose purpose is to provide pleasure and recreation. But another idea of creative writing intervenes to contradict the Bacchic injunctions, one that infers gravity of intent and of meaning. It is argued that this second mode be rightfully designated as “Apollonian,” and that, in reducing Plato's tetrad of furors to Bacchus and his frère ennemi, Rabelais intuited that truth which Nietzsche would explore three centuries later in The Birth of Tragedy—that these two gods have stood eternally opposed as the archetypal poles of the tension vital to the creative process.
Henry James's Pastoral Fallacy
Authors: Pearce Howard 
Published: February 2007

AbstractIn his early fiction, Henry James’s characters tend to see reality in terms of an idealized pastoral image. This “fallacy” is paradoxical, being both a romantic falsification and an imaginative creation of values. The pastoral complex associates images of frail, vulnerable, but perfect and innocent figures; bright, tranquil, but diminutive fragile scenes; an intruding horror; and a resultant redoubling of efforts to transform the ideal into a perfect harmony. The Europeans and “An International Episode” exploit this Arcadian motif, and in “Brooksmith” the mode is thoroughly explored, even to the elegiac apotheosis of the dead “shepherd.” In the highly ambiguous late novels, The Turn of the Screw and The Golden Bowl, the residual power of the pastoral impulse remains ironically operative. For James the process of life is not to be denied, but the stasis of art and the need to create it are requisite for meaning, richness, and worth in the “felt” life.
Some Thoughts on Gogol's “Kolyaska”
Authors: Garrard John G. 
Published: February 2007

AbstractAlthough singled out for special praise by such fellow practitioners of the craft as Dostoevsky and Chekhov, Gogol’s story “Kolyaska” has been ignored by the adherents of both major schools of Gogol criticism: those seeking to demonstrate that Gogol was primarily a social satirist and those who consider him a master of the grotesque. Yet an analysis of “Kolyaska” shows that it is in fact paradigmatic, presenting in quintessential form both Gogol’s central theme of man’s futile search for identity and his favorite narrative strategies of blurring the contours of the visible world by alogism and creating comic incongruity by a “worm’s-eye view” of reality. The point at which the thematic and narrative lines meet is best defined as irony, a concept that enables us to reconcile both satire and the grotesque, both the laughter and the tears so often said to be evoked by his works.
“At Once the Source, and End”: Nature's Defining Pattern in An Essay on Criticism
Authors: Park Douglas B. 
Published: February 2007

AbstractScrutiny of ambiguous syntax, puns, and buried metaphors in key passages reveals a less eclectic, more defined vision than readers have usually recognized in An Essay on Criticism. Its center is an image of Nature that adumbrates various analogies involving expansive energy and limiting boundaries, inspired intention and realized form. Pervading the poem, reappearing in different forms, these analogies define the relationships between Nature and Art, creative process and artistic form, artistry and criticism. Implicit in all such relationships is a further image of creating power’s radiating from God, and of the created being’s attempting to rise back to its “Source, and End” where all seeming discords and divisions are perfectly unified. Pope’s Essay follows this image by asking its reader not just to mediate between apparently opposing critical precepts but to transcend their limits to recognize the unconfined truths that bring precepts into being.
Theatrical Fiction and the Reality of Love in As You Like It
Authors: Van Den Berg Kent Talbot 
Published: February 2007

AbstractThe relationship between the two worlds of As You Like It becomes a metaphor of love, defined by conspicuous narrative and theatrical artifice. The expository opening scenes have a storybook flatness which becomes a metaphor of a world that limits self-realization while the liberating sojourn in the forest, a festive world of disguise and imagination, parallels the spectators’ experience in the playhouse as a withdrawal from everyday life. The pattern of withdrawal and return also objectifies the psychological development of love: the courtship of Rosalind and Orlando progresses from impulsive love at first sight at court, through subjective and imaginative responses to desire in the forest, to fulfillment in marriage. The play concludes by placing subjective freedom, expressed metaphorically through theatrical artifice, in the larger setting of forces beyond the self, established metaphorically in narrative artifice.
No Cloistered Virtue: Or, Playwright versus Priest in 1698
Authors: Williams Aubrey 
Published: February 2007

AbstractCharges by Jeremy Collier and others in the controversy generated by A Short View of the Immorality, and Profaneness of the English Stage have been widely accepted while the replies by Congreve, Vanbrugh, and many other stage defenders have been generally neglected or depreciated. The critical tenets of Collier's opponents are examined in the framework of four postulates Congreve presents in his own defense. Along with others sharing his views, Congreve the “Aristotelian” argues that the drama must represent vice and folly in strongly mimetic terms in order to shame offenders and divert and warn others, and also that the virtue portrayed on stage must be uncloistered and subjected to trials and temptations of a most pressing and realistic nature. Collier the “Platonist,” on the other hand, is shown to believe that such realistic examples are corruptive rather than corrective, and that therefore vice and folly must be represented only “in Generals.”