bluuebunny/crossref_metadata_2025_split huggingface dataset:
LXIX. Goethes Polaritätsidee und die Wahlverwandtschaften
Authors: Meessen Hubert J. 
Published: February 2007

“Tous les Janus de Rome ne suffiraient pas à représenter toutes les oppositions, tous les contrastes—ou, si l'on veut, toutes les synthèses qu'il y a dans Goethe. C'est presque un jeu de les trouver en lui, et ce jeu fait même douter s'il ne s'était pas fait un système de cultiver exactement les contraires”.In Goethes Naturphilosophie spielt das Polaritätssymbol eine bedeutende Rolle. Ewald A. Boucke, dem wir die grundlichste und umfassendste Darstellung der Bedeutung dieses Symbols auch für Goethes Weltanschauung im weiteren Sinne verdanken, zeigt im einzelnen, dafi die bei Goethe von Anfang an vorhandene vitalistisch-dynamische Grundanschauung teils in selbständig-spontaner Entwicklung, teils infolge “anregender Momente” theoretischer Art, teils infolge naturwissenschaftlicher Studien allmahlich so weit gedieh, daß er in der Einleitung in die Propyläen bereits im Jahre 1797 in der Polaritatsidee ein allgemeines Naturgesetz vermutete. Da Goethe sich das Naturgeschehen als das Resultat eines räumlich und zeitlich verlaufenden Antagonismus von dynamischen Kraften vorstellte, zugleich aber das gesamte Naturgeschehen als einheitlich-organischen Prozeß zu ecfassen strebte, glaubte er die mannigfachen Formen dieses Antagonismus unter dem Polaritatssymbol als einer prägnanten “Formel” zusammenfassen zu konnen. Weiterhin weist Boucke nach, daß Goethe sich nicht damit begnugte, naturwissenschaftliche Phänomene verschiedenster Art mit seiner Polaritätsidee in Verbindung zu bringen, sondern sie auch seit etwa 1800 gleichnisartig auf weite Gebiete des sittlichen und geistigen Lebens in Anwendung brachte.
Critical Activity of the Poetic Mind: John Milton
Authors: Diekhoff John S. 
Published: February 2007

Mr. T. S. Eliot in his essay “The Function of Criticism” has commented admirably upon the part which criticism plays in the work of creation itself, calling the highest kind of criticism that which a trained and skilled writer directs toward his own work. “Probably,” Mr. Eliot says, “probably, indeed, the larger part of the labour of an author in composing his work is critical labour; the labour of sifting, combining, constructing, expunging, correcting, testing: this frightful toil is as much critical as creative.” But there is a tendency, “a Whiggery tendency,” so he continues, to deplore this activity of the artist, to regard the great artist as an unconscious artist. Certainly the eighteenth century, whose unfortunate imitation of Milton Mr. Eliot deplores elsewhere, regarded Milton as an unconscious artist, understanding him literally when he speaks (P.L.ix, 21–24) of a. . . celestial Patroness who deignsHer nightly visitation unimplored,And dictates to me slumbering, or inspiresEasy my unpremeditated verse.
When Nettles in Winter Bring Forth Roses Red
Authors: Utley Francis Lee 
Published: February 2007

Adequate attention has never been paid to the fifteenth-century lying-song which advises us to trust women when nettles bear roses and other wild impossibilities come to pass. There are three manuscript versions:
A. Bodl. 29734 (Eng. poet. e. 1—second half XV cent.), f. 43b;B. Balliol Oxf. 354 (Hill's Commonplace Book—first half XVI cent.), f. 250b;C. BM Printed Book IB 55242 (MS. notes in Trevisa's Bartholomeus Anglicus, de Worde, 1495), ff. 477b–478b.
Mörikes Mozart auf der Reise nach Prag
Authors: Mautner Franz H. 
Published: February 2007

“Die Form ist doch in ihrer tiefsten Bedeutung unzertrennlich vom Gehalt, ja in ihrem Ursprung fast eins mit demselben …”Mörike.Mozart auf der Reise nach Prag ist Mörikes letzte Novelle und seine letzte vollgültige Dichtung überhaupt. Die künstlerische Eigenart des reifen Mörike hat sich hier zum Standbild verdichtet, zu seinem in jedem Sinn “vollendetsten” Prosawerk, bezaubernd durch die innere Ausgewogenheit von Heiterkeit und Ernst.
Southey's Specimens of the Later English Poets
Authors: Havens Raymond D. 
Published: February 2007

On February 23, 1804, shortly after he had settled in the lake country, Southey wrote John May:Ellis's “Specimens of the early English Poets” … has sold very successfully, and I am about to publish a supplementary or companion work. There will be a preliminary essay … then, upon Ellis's plan, and beginning where he leaves off, a brief biographical notice of every English poet from that time, with the best or most characteristic specimen of his works, arranging the authors chronologically, and bringing them down to the present time, exclusive only of living authors. I include every poet, good, bad, and indifferent, who had any reputation, or produced any effect in his day… . This is all easy work … the copying part shall all be done by some bookseller's amanuensis.
Neogrammarians and Neolinguists: Ital. giorno.
Authors: Bonfante G. 
Published: February 2007

In Romania, xxxix (1910), 451, Salvioni bitterly attacked Bàrtoli because the latter had dared to assert that Italian giorno is of French origin. One of Bàrtoli's arguments—and precisely that very one which aroused Salvioni's wrath—was that some regions of Southern Italy have the form yuornu (with a uo) which is not what one would expect should the word represent there Lat. diurnum. Entirely misunderstanding Bàrtoli's neolinguistic theories, Salvioni writes with the typical dogmatic style of the Neogrammarians:Può parere veramente strano—deve però insieme rallegrare come una prova che la verità s'impone malgrado tutto e tutti [!]—può parere strano, dico, che si chedano delle armi alia fonetica in uno scritto nel quale ostentatamente s'afferma non esservi “esempi normali,” cioè non esservi norme fonetiche. Ma colla dialettica sua il Bàrtoli se la veda lui. Qui si vuol solo objettare, poiché il Bàrtoli ricorre per juorno [that is yuorno] alla Francia settentrionale, che si dovrebbe pur dire perché l'antico francese jρr(n) non sia stato adottato con quella vocale che quasi s'imponeva, cioè coll'ρ, che poi, per effetto della metafonesi, diveniva u.
Goethe and Ronsard
Authors: Nitze William A. 
Published: February 2007

In one of those bursts of candor, for which he was famous, Merck once told the German poet: “Was du lebst, ist beßer, als was du schreibst. ”Late in life Goethe was to confirm this half-truth when he remarked to the faithful Eckermann: “Ich habe in meiner Poesie nie affektiert. Was ich nicht erlebte und was mir nicht auf die Nägel brannte und zu schaffen machte, habe ich auch nicht gedichtet und ausgesprochen. Liebesgedichte habe ich nur gemacht, wenn ich liebte. ”The very naturalism—in the Goethean sense—which, during the Strassburg period, he and his youthful friends proclaimed, partly out of the fervor of their own revolutionary souls and partly out of enthusiasm for Rousseau's Pygmalion (Dickt, u. Wahr., iii, 51) is anchored in this conviction:Freundschaft, Liebe, Brüderschaft,Trägt die sich nicht von selber vor?With the exception of Rousseau, Diderot, and of course Voltaire, what appeal had French literature (bejahrt und vornehm) for them to whom life was a thing to be experienced and not remembered?
On the Text of Two Troubadour Poems
Authors: Lewent Kurt 
Published: February 2007

aïmbaut d'Aurenca Ara'm so del tot conquis.(B. Gr. 389, 11 ed. Kolsen, Neophilologus [1941], pp. 99–105.)The well-known tenso between Giraut de Bornelh and Linhaure (Gr. 281, 1 = Gr. 389, 10a) whose identification with the Prince of Orange, generally accepted today, stands to the credit of Adolf Kolsen, reveals Raïmbaut as an adherent of trobar clus. Our poem, however, is one of those in which that aristocratic troubadour does not adhere to his artistic convictions. We can be glad of this attitude on the part of the poet because it gave us a poem attractive in its easy-flowing rhythm, simple versification, and continuous presentation of charming thoughts and motifs, from the doubts and hesitations of the beginning to the triumphant finale of the self-confident knight. To reach this goal, the poet takes particular care to connect the stanzas of his poem by repeating in the beginning of each of them the idea on which he closes the preceding stanza and developing it into a new one. He thus forms, as it were, coblas capfinadas, not in the usual sense of metrical technique, but in a higher artistic sense. Besides this stylistic phenomenon, there are two features that seem to me characteristic of this poem. (1) Much as he likes apostrophes to God and the saints, in none of his other poems does Raïmbaut concede to God such a dominant and intrinsic rôle concerning his love as in this one. (2) So God, Love, and Chivalry, those three essential elements of medieval thinking, are blended here into a mental and artistic unity hardly equaled in any other troubadour song.
Der Posse
Authors: Kurrelmeyer W. 
Published: February 2007

Grimm's Deutsches Wörterbuch treats this word under Bosse, m. (ii, 261–263) and Posse, Posz, Possen, m. (vii, 2013 f.). There is also a long article by Biltz, “Über das Wort und den Begriff Posse,” in Herrigs Archiv,lxxiii, 33–46 (1885), and a brief résumé in Kluge-Götze, 11th ed. (1932), p. 453, under Posse, f. Grimm (ii, 261 ff.) says of the word:Bosse, m. jocus, nugae, ineptiae, astutia, gestus. es ist schwer, die gestalt und abkunft dieses worts zu sichern, dessen anlaut zwischen B und P schwankt, dessen nom. oft in einsilbiges bosz, botz gekürzt erscheint (wie blicze in blitz, bisse in biß, bitz, böse in bosz), zuletzt gar in possen (wie viele schwache m.) gedehnt. so häufig seit dem 16.jh. der ausdruck wird, nirgends erscheint er früher.
Elizabeth Rowe and the Countess of Hertford
Authors: Hughes Helen Sard 
Published: February 2007

Dr. Johnson praised the style of the author of Letters from the Dead to the Living in reviewing a miscellany of his day. “The essayists,” he declared, “imitated, or tried to imitate the copiousness and luxuriance” of Mrs. Rowe's writing, and “laboured to add to her brightness of imagery, her purity of sentiment.” The poets, he continued, “had Dr. Watts before their eyes.” Elizabeth Rowe also observed Dr. Watts. In his preface to her Devout Exercises of the Heart, Watts remarked:Though there is not one complete copy of verses amongst all these transports of her soul, yet she ever carried with her a relish of poesy even into her sacred retirements. Sometimes she springs her flights from a line or two of verse, which her memory had impressed upon her heart: sometimes from the midst of her religious elevation she lights upon a few lines of some modern poet, even Herbert as well as Milton, etc. tho’ ’tis but seldom she cites their names. At other times the verses seem to be the effusions of her own rapturous thoughts in sudden melody and metre; or at least I know not whence the lines are copied; but she most frequently does me the honor to make use of some of my writings in verse in these holy meditations of her heart. Blessed be that God, who has so favored anything my pen could produce, as to assist so sublime a devotion.
Goethe's Maerchen in the Light of Novalis
Authors: Hiebel Frederick 
Published: February 2007

Goethe's Maerchen which concluded his Unterhaltungen deutscher Ausgewanderter, published in Schiller's Horen in 1795, was enthusiastically received by all early romanticists. August Wilhelm Schlegel wrote a review of Goethe's fairy tale immediately after its publication, which represented the delight of his whole generation on the eve of the literary movement of romanticism:… Was aber alles Belehrende und Ergötzende in den vorigen Unterhaltungen dahinten läßt, was ein sanftes Wohlgefallen in das lebhafteste Vergnügen verwandelt, ist das Maerchen, zu dem wir durch treSende Winke über das Wesen der Phantasie vorbereitet werden. Sie gaukelt uns alsdann das lieblichste Märchen vor, das je von ihrem Himmel auf die diirre Erde herabgefallen ist. Alle ihre Jugend und Fröhlichkeit scheint wach geworden zu sein … nie gab es einen liebenswürdigeren Schmerz als den der süßen Lilie; ueberhaupt erregt sie ein Gefühl, als wenn man den Duft der Blume, deren Name sie führt, in freier Luft einatmete … es ist eine Zeichnung, bei der man nicht ohne Ergötzen verweilen kann … so schwebt das ganze Märchen hin, und wer sich nicht an ihm erfreuen wollte, müßte wenigstens nicht mit unbefangnem Geist sich belustigen können oder alle Werke, woran die Einbildungskraft allein teilhat, lästig linden. Alsdann könnte es ihn vielleicht noch unterhalten, nach einem haltbaren Faden der Deutung zu suchen, welches wir noch nicht unternommen haben.
G. H. Lewes's Criticism of the Drama
Authors: Greenhut Morris 
Published: February 2007

In discussing the important English dramatic critics during the first half of the nineteenth century (Leigh Hunt, Hazlitt, John Forster, and George Henry Lewes), William Archer concluded that “Lewes alone has anything of note to say upon the principles of dramatic composition, as a living art”, that “Lewes was probably the most highly-trained thinker who ever applied himself to the study of theatrical art in England.” He pointed out that Lewes not only had a “special and personal interest in the art of the playwright which his predecessors lacked” but also had “much more attractive matter for discussion” because the “modern drama, the drama as we know it to-day, was just coming into existence, or rather was just making its existence felt in England.” Consequently it was
a happy chance … that in the four years of Lewes's critical campaign [1850–54] such an unusual, and probably unprecedented, number of the greatest dramas in the world should have passed over the London stage. … Thus he gives us, as it were, an unsystematic survey of the drama of the world from Sophocles to Scribe.
Elihu Hubbard Smith and The New York Friendly Club, 1795–1798
Authors: Cronin James E. 
Published: February 2007

In the year 1798 even an ardent Federalist could be vexed at the grossly inaccurate picture of America to be found in British periodicals. One young Federalist who was more annoyed than most was Elihu Hubbard Smith, a New York physician and literary man and erstwhile Hartford Wit. On his own initiative, Smith wrote a series of brief biographies of the Wits which he sent to John Aikin, editor of the Monthly Magazine and British Register. In an accompanying letter he pointed out to Aikin that his magazine not only ignorantly misrepresented America to the British public but also taught many young Americans to see their country in a false and unfavorable light. He offered the biographical sketches as a step toward correcting the situation and also proposed that he organize his friends into a corps of correspondents to ensure Mr. Aikin's progressive enlightenment. Of these friends he wrote:
There exists in this city, a small association of men, who are connected by mutual esteem, & habits of unrestricted communication. They are of different professions and occupation; of various religious or moral opinions; & tho' they coincide in the great outlines of political faith, they estimate very variously many of the political transactions of the men who have, from time to time directed the councils of the nation. This diversity of sentiment, however, as it has never affected their friendship, has made them more active in investigation; & tho' they may have formed different judgments concerning facts, has led them to a general concurrence in the facts themselves.
Milton's Sonnet XX
Authors: Neiman Fraser 
Published: February 2007

If it were critically sound to interpret a verse or lines of verse apart from their context, lines 13–14 of Milton's Sonnet XX, “Lawrence of vertuous Father”, might present an unfortunate ambiguity; for if the verses,
He who of those delights can judge, and spareTo interpose them oft, is not unwise,are examined alone, “spare” may seem to mean either “refrain” or “afford.” Both meanings have in fact been urged; Thomas Keightley and David Masson represent the opposed positions. The former wrote, “spare, sc. time.—interpose, i.e. place them in the intervals of his serious occupations.” Masson commented:
“spare to interpose them oft:” interpreted by Mr. Keightley to mean “spare time to interpose them oft”: but surely rather the opposite—-“refrain from interposing them oft.” Parcere in Latin with a verb following had this sense of “refraining from”, and “spare” in English was used in the same way.
Chaucer's Shipman and the Wine
Authors: Stobie Margaret R. 
Published: February 2007

The meaning of the two lines in the Prologue that refer to the Shipman's yearly trips to Bordeaux with the wine fleet—
Ful many a draughte of wyn had he ydraweFro Burdeux ward, whil that the chapman sleepe—has long been a source of uneasiness to students of Chaucer, an uneasiness which arises in large part from the tone of the rest of the portrait. Since we are told that this man of Dartmouth who sailed the Maudeleyne was without peer as a seaman and without mercy as a pirate, we expect greater knavery than a purely superficial reading of the lines indicates—that the Shipman drank some of his cargo at night. The desire for an interpretation appropriate to the Shipman's general nature led Skeat so far as to suggest that he was a smuggler as well as a pirate: “Very many a draught of wine had be drawn (stolen or carried off from Bordeaux, cask and all) while the chapman (merchant or supercargo to whom the wines belonged) was asleep.” While most of the more recent editors take it for granted that the Shipman's thieving had to do with the legitimate cargo which he had on board, their uncertainty as to its significance is evident in such a gloss as “The shipman stole much of the wine which he was carrying for a merchant; he extracted, in other words, some of the cargo.” The disparity here between the “much” of the first clause and the “some” of the last one is a nice example of the persistent hesitance about Chaucer's meaning.
The Place of the “Eternal-Womanly” in Goethe's Faust Drama
Authors: Jantz Harold 
Published: February 2007

Of all the “winged words” of Goethe's Faust those of its closing lines,Das Ewig-WeiblicheZieht uns hinan,have probably flown farthest, and they have always been impressive and memorable. On the other hand, one cannot help feeling that the standard interpretation of them does not do justice to their lofty position in the ultimate summary statement of the drama. The commentaries almost invariably relate these lines to the last scene only, that of Faust's salvation and elevation, rather than to the drama as a whole.
Chrétien's Symbolism and Cathedral Art
Authors: Klenke M. Amelia 
Published: February 2007

Few important literary passages have resisted clarification more persistently than the procession of the Holy Grail in Chretien's Perceval. Let us review his version very briefly.Hunting in the forest one spring morning, Perceval encounters a troop of King Arthur's knights who inflame him with a desire for knighthood. Against his mother's wishes, for Perceval's father and brothers have all fallen in combat, the lad sets out for the court of King Arthur. Here he is taken for a fool. But he slays the Red Knight who had ridden off with the king's cup and dons the armor of his dead victim. Sojourning at the castle of an elderly knight, Gornemant, he is instructed in the use of arms and is advised to desist from asking questions and from quoting his mother at every turn. At Belrepaire, he is welcomed by Gornemant's niece, Blancheflor. His relations with her remain chaste, an important circumstance in Chrétien's development of the story. After overcoming her enemies in single combat, he travels on until, he reaches the fabulous Grail Castle of the lame Fisher King. His host, who had previously been maimed by a lance, cannot rise to welcome him, but Perceval is urged to take his place beside him. There soon ensues the strange and celebrated procession of the Holy Grail.
Henry James's What Maisie Knew: A Comparison with the Plans in The Notebooks
Authors: Worden Ward S. 
Published: February 2007

It has been observed that Henry James's prefaces for the New York Edition arc often unreliable as guides to the finished stories because they are so concerned with the germinations of his ideas. The very emphasis upon beginnings is presumably James's way of insisting upon the distance and the labor between the germ and the maturity of a work, a point which he explicitly invites us to ponder in the Preface to The Wings of the Dove:... some acute mind ought surely to have worked out by this time the “law” of the degree in which the artist's energy fairly depends upon his fallibility. How much and how often, and in what connexions and with what almost infinite variety, must he be a dupe, that of his prime object, to be at all measurably a master, that of his actual substitute for it-or in other words at all appreciably to exist? He places, after an earnest survey, the piers of his bridge-he has at least sounded deep enough, heaven knows, for their brave position; yet the bridge spans the stream, after the fact, in apparently complete independence of these properties, the principal grace of the original design.
Dickens and Lewes
Authors: Haight Gordon S. 
Published: February 2007

No reader of John Forster's Life would suspect that Dickens was a good friend of George Henry Lewes for thirty-two years, almost as long as he knew Forster himself. In the first two volumes of the book Lewes' name is mentioned only twice, once in the cast of a play, and once in a page-long list of “other acquaintances”: “Mr. George Henry Lewes he had an old and great regard for; among other men of letters should not be forgotten the cordial Thomas Ingoldsby.… ” J. W. T. Ley, the editor of Forster's Life of Dickens, thought that this shabby allusion was inserted to placate Lewes,who had certainly been a friend of Dickens, but whose aid had been utterly rejected in the writing of this book. Lewes was certainly offended at Forster's determination to rely wholly upon his own knowledge of Dickens. Wilkie Collins was offended, too, and there were others who, in Dickens's lifetime and afterwards, resented the way in which Forster was apt to arrogate the novelist all to himself. There never was a more jealous friend than Forster. There are no records of the friendship with Lewes. He and Dickens were on excellent terms always, but there were no “intimacies of friendship.” Lewes's article in the Fortnightly Review in 1871 [i.e., 1872] showed that he did not understand Dickens, that he viewed him with eyes that saw only externals. He took part in some of the theatricals, (p. 544)
Politics and Poetry in Andrew Marvell
Authors: Hyman Lawrence W. 
Published: February 2007

When An Horatian Ode upon Cromwell's Return from Ireland was written in 1650, its readers were puzzled by the praise given to King Charles I. And readers ever since have been puzzled by Marvell's ability to deal with the burning issues of the Civil War without making his political position clear. The best-known explanation is that offered by H. M. Margoliouth:
The ode is the utterance of a constitutional monarchist, whose sympathies have been with the king, but who yet believes more in men than in parties or principles, and whose hopes are fixed now on Cromwell, seeing in him both the civic ideal of a ruler without personal ambition, and the man of destiny moved by and yet himself driving (1. 12) a power which is above justice, (see 1. 37).