bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Character Types in the Old French Chansons de Geste
Authors: Comfort William Wistar 
Published: February 2007

“Le moyen age forme un anneau indispensable dans la chaîne de la transmission littéraire à travers les siècles.”—Gaston Paris, Cosmopolis, Sept., 1898.Three-quarters of a century has elapsed since the mediæval epic literature of France first attracted the attention of scholars. This interval has been marked by an uninterrupted succession of texts discovered and edited. The value of these texts to the student of language is great; their value to the historian of politics and society is considerable; but their literary bearing has not been sufficiently emphasized. To this day the general public has but a vague idea of the character and significance of that national epic of which the Chanson de Roland is the highest expression and which Léon Gautier strove so bravely to render popular. The mediæval literature of France has not yet completely recovered from the reputation of vulgarity given to it by the Renaissance.
The Date of Chaucer's Troilus and Criseyde
Authors: Lowes John Livingston 
Published: February 2007

In the twenty-fifth stanza of the first book of the Troilus occurs a passage which is puzzling in more respects than one. The stanza is as follows:Among thise othere folk was Criseyda,In widewes habite blak; but nathelees,Right as our firste lettre is now an A,In beautee first so stood she, malcelees;Hir godly looking gladede al the prees.Nas never seyn thing to ben preysed derre,Nor under cloude blak so bright a sterre.
Some Texts of Liturgical Plays
Authors: Young Karl 
Published: February 2007

The purpose of the following pages is merely to present several unpublished texts of liturgico-dramatic offices. Certain of these texts require no special comment, and will take their places naturally alongside similar texts already published. Certain others will, I hope, be welcomed for the new details they offer to the student of mediæval dramatic origins.The writers who have given us our best accounts of the liturgical plays for Epiphany seem to have overlooked a complete and charming Officium Stellae found in a manuscript in the Bibliothèque Mazarine in Paris. To this text my attention was first called by the article of Monsieur A. Gastoué, Un petit drame liturgique parisien pour Pâques, in the course of which he writes,“En dehors des coutumes décrites par Léon Gautier et qui variaient suivant les localités, il est encore d'autres ‘intéressantes. Tel, dans le ms. 1270 de la Mazarine, le ravissant Offices de l'Étoile, représenté à Nevers, au Xie siècle, le matin de l'Epiphanie, qui, au reste, a attiré déjà l'attention des chercheurs (cf. Catalogue des mss. de la Bibliothèque Mazarine).”
Fortune's Wheel in The Roman De La Rose
Authors: Galpin Stanley Leman 
Published: February 2007

The wheel as an attribute of Fortune is of Roman origin, and, together with the globe which often takes its place, signifies the inconstancy of the goddess. In Roman art the wheel or globe is. represented as being held in the hand of the goddess, or lying at her feet; she is sometimes represented as standing on the globe. Motion of the wheel is not implied in its postures.In Latin literature previous to the middle ages the references to the globe or wheel as attributes of Fortune are few in number, the earliest of them being seemingly that of Pacuvius (second century B. C.): “Fortunam insanam esse et cæcam et brutam perhibent philosophi saxoque instare in globoso prædicant volubili.” Cicero (first century B. C.) writes in Piso, 10, 22: “cumque ipse nudus in convivio saltaret in quo cum illum saltatorium versaret orbem ne turn quidem fortunæ rotam pertimescebat.”
Browning and The Marathon Race
Authors: Cunliffe John W. 
Published: February 2007

The Marathon race was undoubtedly a happy thought on the part of the promoters of the first Olympic games of modern times—those held at Athens in 1896. A well-known member of the French Academy, M. Michel Bréal, gave the prize, and the Greeks set their hearts on winning it. A private correspondent wrote from Athens just before the race took place:—If the winner is Greek, a tailor has promised him a suit of clothes, a barber has undertaken to shave him for life, a man at a has promised him two cups of coffee daily for life, another has promised a dinner a day for a year, another has undertaken to do his washing for life, and another to keep his things ironed, and last, but not least, a lady has offered to marry him.
The Fisher King in The Grail Romances
Authors: Nitze Wm. A. 
Published: February 2007

The nearer the knights of Arthur's Court approach the Grail, the more illusive and intangible the holy vessel appears. In Sir Percivale's own words:“Lo, if I find the Holy Grail itselfAnd touch it, it will crumble into dust.“Thus one might say the Grail symbolizes in its evasiveness the problem of its own origin. For if its source is still to be sought, this is largely because the problem involved so easily eludes one's grasp. The difficulty is to fix the eye on the main issue, to the exclusion of secondary considerations. The Grail stories have been classed as Perceval and Galaad forms, as those in which a quest is the burden of the tale, as those in which it is the history of the sacred vessel itself.
Wordsworth and Hermes Trismegistus
Authors: Baldwin Edward Chauncey 
Published: February 2007

At the very beginning of the nineteenth century, which has aptly been called “the century of the child,” a new sense of the sacredness of childhood found expression in Wordsworth's song written in 1802:My heart leaps up when I beholdA rainbow in the sky:So was it when my life began;So is it now I am a man;So be it when I shall grow old,Or let me die!The Child is father of the Man;And I could wish my days to beBound each to each by natural piety.
The Marlowe Canon
Authors: Brooke Tucker 
Published: February 2007

Christopher Marlowe's name appears on the title-pages of the early editions of the following plays:Dido: ‘Written by Christopher Marlowe, and Thomas Nash. Gent.‘ (1594)Edward the Second: ‘Written by Chri. Marlow Gent.‘ (1594)The Massacre at Paris: ‘Written by Christopher Marlow.‘ (n. d. ca. 1600.)Doctor Faustus: ‘Written by Ch. Marl.‘ (1604)The Jew of Malta: ‘Written by CHRISTOPHER MARLO.‘ (1633)Lust's Dominion: ‘Written by Christofer Marloe, Gent.‘ (1657)
The Meaning of All's Well That Ends Well
Authors: Lawrence William Witherle 
Published: February 2007

The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice, and in furnishing so much work done to his hand, leaves him at leisure and in full strength for the audacities of his imagination. (Emerson, Essay on Shakspere, in Representative Men)It has often seemed strange to lovers of Shakspere that the most genial of dramatists should have written plays which, while not attaining the horror and pathos of tragedy, arouse distaste and even repugnance. Troilus and Cressida and Measure for Measure, despite superb poetry and marvellous delineation of character, are so repellent in theme and treatment that they are seldom represented on the stage today, and seldom lie close to the affection of readers of Shakspere. This is even more the case with All's Well that Ends Well. “Everyone who reads this play,” says the editor of the Arden Shakespeare volume, “is at first shocked and perplexed by the revolting idea which underlies the plot ... it leaves so unpleasant a flavour with some people that it is not tasted again.”
Emerson as Poet of Nature
Authors: Foerster Norman 
Published: February 2007

If It may be said of Emerson's Writings thatIn his every syllableLurketh Nature veritable,Thoreau should be given much, perhaps most, of the credit. For Emerson owed as much to Thoreau in respect to the material world as Thoreau owed to him in respect to the world of spirit. Remove the details of material nature from Emerson's essays, and you will rob them of much of their charm and power, since the author would be in perpetual danger of soaring aloft, balloon-fashion, among his “Circles” in worlds unrealised. Remove them from his Poems, where the sensuous, the concrete, is vitally necessary, and the poetry itself is gone with them. By a most happy conjunction of events, the very man who perhaps of all his countrymen had most to give Emerson, was his fellow-townsman, his friend, his companion in countless walks to the pine-groves, a valued assistant in editing the Dial, the guardian of his hearth while he sojourned abroad, and a sympathetic interpreter and critic of his inner life. Their friendship was not, of course, a free union of personalities, though we must make allowance for the stiffnesses of the Puritan tradition and bear in mind that, if Emerson would as soon think of embracing a tree as putting his arm around Henry, the forbidding Henry could be a charming Piper of Hamelin to the Emerson children, could sing his favorite “Tom Bowling” under the shelter of a rock during a shower in the presence of R. W. E. himself, and, when the mood was right, could dance with something like abandon.
VI. Cain's Jaw Bone
Authors: Kuhl Ernest P. , Bonnell John Kester 
Published: February 2007

Hamlet: That skull had a tongue in it, and could sing once; how the knave jowls it to the ground, as if it were Cain's jaw-bone, that did the first murther! It might be the pate of a politician, which this ass now o'er-reaches; one that would circumvent God, might it not? (V, i, 83-87).“Cain's jaw-bone, that did the first murther!” Is there anything more in this phrase than meets the casual eye? Though the skull and jaw-bone of Hamlet's brooding comment are without doubt human, it has been suggested by no less an authority than the late Professor Skeat that here is an allusion to an old tradition according to which Cain killed Abel with the jaw-bone of an ass. The suggestion might seem almost fantastic were it not for several corroborative circumstances: namely, that the tradition was English; that it was wide-spread and familiar; that it found a place in the mystery plays; and that Shakspere was not unaccustomed to making allusions to the primitive and cruder art of the religious drama.
The Reputation of Abraham Cowley (1660-1800)
Authors: Nethercot Arthur H. 
Published: February 2007

When Abraham Cowley died in 1667, he was mourned by practically the whole English literary world with such eulogies as the following:His Body . . . . lies near the Ashes of Chaucer and Spenser, the two most Famous English Poets of Former Times. But whoever would do him right should not only equal him to the Principal Ancient Writers of our own Nation, but should also rank his name amongst the Authors of the true Antiquity, the best of the Greeks and Romans.
Corrections to the Text of Believe as you List
Authors: Tannenbaum Samuel A. 
Published: February 2007

Gifford long ago complained that “the modern editions of Massinger offer a very inadequate representation of his works,” and Dr. Greg recently remarked—and to a considerable extent demonstrated—that this is “unhappily still true.” Having recently read the manuscript facsimile of Massinger's admirable Believe as You List and compared the text with that of Arthur Symons in the “unexpurgated edition” (save the mark!) published in 1889, I am prepared to confirm the opinion of Gifford and Greg and to supply the student of Massinger with a comparatively long list of corrections to errata contained in Mr. Symons' text. They are as follows:1. In twenty-five instances in which Massinger wrote the aphetic form 'em his modern editor prints the word them. Twenty-three of these follow words ending with a consonantal sound, and only two follow vowel sounds (study, see).
XV. The Sources of Drayton's Battaile of Agincourt
Authors: Jenkins Raymond 
Published: February 2007

Holinshed has heretofore been considered the primary source of Drayton's Battaile of Agincourt. “Its faithfulness to Holinshed,” declares Mr. H. H. Child in his article on Drayton, “brings it frequently into touch with Shakespeare's King Henry Fifth.” Similar is the statement made by Garnett in his edition of the poem:When his historical authority inspires, Drayton is inspired accordingly; when it is dignified, so is he; with it he soars and sings, with it he also sinks and creeps. Happily the subject is usually picturesque, and old Holinshed at his worst was no contemptible writer.
A Recent Theory of Ballad-Making
Authors: Pound Louise 
Published: February 2007

Professor Gordon Hall Gerould's article entitled “The Making of Ballads” is an attractive essay, written in the fluent and polished manner that we are accustomed to expect from this scholar. It has charm of style, and its positions, taken as a whole, may be termed accepted positions. Because of its literary quality, because it brings together in one paper what has hitherto been stressed in scattered places, and because of its appreciation of the poetical quality of those English and Scottish ballads sought out by the notable collectors of the earlier nineteenth century and made available in the volumes of Professor Child, the paper has real value for the student. That “The Making of Ballads” is a research article, the product of painstaking investigation, Professor Gerould would not, I think, himself maintain. He is a literary theorist in the realm of traditional song, rather than an experienced field worker or a practical folk-lorist. He brings forward little that has novelty for the special scholar. This circumstance would call for no particular comment except for the fact that the paper has been announced as new and subversive—as something independent of old theories. It has been referred to by several scholars as “The Gerould Theory of Ballad Origins.” The author himself leads us to expect something revolutionary when he asks us to—
dismiss from our minds, for the time being, our preconceived and well-buttressed theories as to the narrative lyrics we call ballads; forget, if we can, our arguments; and . . . . look at certain . . . . indisputable phenomena of the ballad. Oddly enough, though they are perfectly well known, they have been much neglected. Very rarely has their existence been noticed in writings on the ballads, while never, I believe, has their true significance been fully recognized.
Bacon's Influence on John Hall
Authors: Freeman Edmund L. 
Published: February 2007

John Hall was born in 1627 at Durham, and was admitted to St. John's College, Cambridge, on February 26, 1645-46. Within a few months after his entry there, he published his first literary work, Horae Vacivae, or Essays. Some Occasional Considerations. But this work was probably the product of three years of reading that the youthful Hall had done in the Durham library before he went to Cambridge.The fourteen essays fill a duodecimo volume of two hundred pages and average about one thousand words in length. The subjects are those usual in essays of the period. They are: Of Opinions, Of Time, Of Felicity, Of Preaching, Of Fame, Of Studies, Of Company, Of Friends, Of Dissimulation, Of Recreations, Of Warre, Of Religion, Of Rewards, Of Fables. Most of them are subjects used by Bacon.
Rossetti's Reading and his Critical Opinions
Authors: Turner Albert Morton 
Published: February 2007

The purpose of this article is to indicate the character and approximately the scope of Rossetti's reading, and to examine the opinions he expressed on the books he read. Many volumes must, of course, have passed through his hands of which he left no record, but enough allusions remain (and I omit mention of a few relating to unimportant works of the nineteenth century) to enable us to reconstruct the literary interests of Rossetti and define his tendencies as a critic.Material for the study is drawn in part from Rossetti's works, though he wrote few formal criticisms. Comments on his reading occur also in various biographies of the poet, particularly in that by his brother, William Michael Rossetti. Finally, the greatest source of our knowledge is his own letters. A large number of these have been preserved in volumes edited under different titles by his brother, but there are many others in various memoirs, especially in Hall Caine's Recollections of Rossetti.
Beaumanoir and Fifteenth-Century Political Ethics
Authors: Temple Maud Elizabeth 
Published: February 2007

“La pitié est souvent un sentiment de nos propres maux dans les yeux d'autrui.”—La Rochefaucauld, Maximes.“Le meilleur serait de prendre conseil de la raison.”Pascal, Lettres Prov. 9.Philippe de Rémi, Sieur de Beaumanoir, of Clermont County in Picardy, author of narrative and lyrical Poems, and of the Coutumes de Beauvaisis, though scarcely among the inédit, is still little known to general literary history. He is, as his first modern editor, the Count Beugnot, quoted from Nicolle, of those “qui laissent des traces et cavent ce qu'ils manient.” As Beugnot adds, “le sillon qu'il a creusé dans la jurisprudence française, pour ne pas être visible à tous les yeux, n'en a pas eu moins de profondeur.”
XI. Lowell's Criticism of Romantic Literature
Authors: Clark Harry Hayden 
Published: February 2007

Few literary critics have received such differing evaluation as James Russell Lowell. On the one hand are those who refuse to recognize in his criticism any permanent value. Professor J. J. Reilly concludes his three hundred page study of Lowell as follows:He has been regarded as a critic; in such a light he seems seriously to have regarded himself. But to assign him such a rank is to do him the injustice of over-estimation….. If Lowell is to survive, it must be frankly as an impressionist. For so far as criticism approaches a science, so far as it depends to any extent on ultimate principles, so far, in a word, as it is something more fundamental and abiding than the ipse dixit of an appreciator, Lowell is not a critic.
Marie De France: Psychologist of Courtly Love
Authors: Damon S. Foster 
Published: February 2007

If One wishes to bother, one may divide mankind into two classes: those who judge their fellows by predetermined laws of conduct, and those who merely observe their fellows for what they are. Bunyan and Tolstoy are typical of the former class; Shakspere and Jane Austen of the second.Marie de France was a sort of mediaeval Jane Austen. Both women knew their set, they knew their sex, and they knew little more of life. But that little they knew well, and of that little they wrote well, for both had the knack of story-telling. Both steered a sure course between sentimentality and cynicism; their writings reveal a general deftness, a perfect tact—“restraint,” as it is sometimes called—and a nice analysis of motives, from which spring plots that fit the characters as inseparably and yet as flexibly as the skin fits the hand. Jane is dryer, and more steadily ironical, though Chaitivel indicates that Marie could also be ironical; indeed, we might label their chief spiritual difference by saying that Jane is British through and through, but Marie is French.
Wordsworth's Descriptive Sketches and The Prelude, Book VI
Authors: Harrington Janette 
Published: February 2007

In the summer of 1790 William Wordsworth and his friend, Robert Jones, spent their summer vacation in France and Switzerland. The record of this memorable journey has been left to us in two of Wordsworth's poems: Descriptive Sketches written in 1792 and The Prelude, Book VI, written probably in 1804. The journey described in each is, of course, the same, yet variations in the accounts are quite marked. The immediate reaction as to the causes of the differences, no doubt, is that Wordsworth had forgotten many of the details of the journey. Yet this explanation cannot be true, as a careful analysis shows. Garrod, in his paragraph concerning Wordsworth's poetical theory that poetry “takes its origin from emotion recollected in tranquillity,” hints at the real reason for the discrepancies:The question [he says] is interesting, not only in connection with Descriptive Sketches, but also as affecting the problem of the essential truthfulness of large parts of The Prelude.
Shenstone and the Countess of Hertford
Authors: Hughes Helen Sard 
Published: February 2007

The characteristic virtues of his noble patroness, James Thomson sang in the opening lines of his Spring,O Hartford, fitted or to shine in courtsWith unaffected grace, or walk the plainsWith innocence and meditation joined.Other poets of country life besides the author of the Seasons enjoyed the patronage of the benevolent Countess of Hertford with her taste for rural landscapes, rural solitudes, and rural verses. Stephen Duck, the “Thresher Poet,” doubtless owed much of his court-favor to the good offices of the Countess, a lady-in-waiting to Queen Caroline. Her country residence he describes familiarly in his poem, A Description of a Journey to Marlborough, etc.; and an unpublished poem by him (preserved among the Alnwick manuscripts) specifically recognizes her aid and beseeches its continuance. John Dyer she may also have known; his Grongar Hill in an early version she transcribed in her commonplace-book. He was one of Aaron Hill's circle, which included Thomson and also Richard Savage, who, according to Dr. Johnson, owed his life to her intercession with the Queen. These young poets were the protegés of Lady Hertford's youth;1 another poet of country life, however, claimed her interest some twenty years after Thomson's fruitful visits to Marlborough and St. Leonard's Hill.
The Caledonian Muse
Authors: Bronson Bertrand H. 
Published: February 2007

Among the collected letters of Ritson, the first mention to be found of the volume the fortunes of which we shall follow is under date of March 5, 1794, where Ritson writes to Paton of Edinburgh:The impression of another little volume, of which I believe I showed you a fragment, entitled The Caledonian Muse, which had engaged my attention for a great many years, and was at last got nearly ready for publication, has been lately destroyed by a fire in the printers house; so that I neither possess, nor can procure, one single complete copy. Sic transit gloria mundi!
Muriel: The Earliest English Poetess
Authors: Tatlock J. S. P. 
Published: February 2007

None of her writings now exists; if any existed, it would be in Latin, and perhaps little better than the earliest poem in English, that of the earliest English poet.In 1113 nine canons of Laon in northeast France traveled through southern England, raising money to restore their church through miracles wrought by their relics of Mary, and casually giving us the earliest information as to the vogue of the Arthur-tradition after the Norman conquest. At the great nunnery of Wilton in Wilts they were shown the grave of the Venerable Bede (containing a relic perhaps, hardly the body); “prope quern sepulta est inclyta versificatrix, quae proprio nomine vocata est Murier.” Defuncta adhuc loquitur. A feverish patient who had been hoping for a cure from Bede was warned in a dream by “Murier ilia versificatrix” to betake himself to the mother of the Lord, who was descending among them. From all this we can draw several inferences. She enjoyed for whatever reason high fame at Wilton; not only the canon's manner of speaking, but her grave near Bede's, seemingly with her name on it, shows this. They believed also that her repute as a poetess was great and wide. The surprising word versificatrix, probably on her tomb, may show unwillingness for some reason or other to call her poeta or votes; probably also that she excelled especially in the technique of verse, as her correspondents did. Her strange name was unfamiliar to the canons, but is little corrupted if at all: by proprio nomine they tell us that Murier is her proper name and not a distortion of mulier.