bluuebunny/crossref_metadata_2025_split huggingface dataset:
XXI.—Matthew Arnold and Goethe
Authors: White Helen C. 
Published: February 2007

When Matthew Arnold called Goethe “ the clearest, the largest, the most helpful thinker of modern times,” he paid tribute to one of the most significant and enduring influences of his life. In him without doubt Arnold found one of those few best things that he held it the critic's function to know and to make known. Yet it was not as a poet, even though he never failed to accord to Goethe the first place after Shakespeare, that he hailed him as the greatest of the moderns, but as the thinker who more than any other had achieved the great task of modern literature, the task of interpreting the modern world to itself. “ People joke about and take fright at the problems of life; few trouble themselves about the words that would solve them ;” so Goethe once wrote to Schiller. Matthew Arnold was preeminently one of the few. His special business was the criticism of literature, but he brought to it the indispensable profound and persistent reflection upon the world which literature is designed to interpret. So he came to his famous campaign to quicken intellectually and spiritually the lives of his people. To that end he drew the main lines of his program, the endeavor to foster and disseminate the critical spirit (which he made the basis of what he called the modern element), the gospel of culture, and the setting up of that ideal of literature that he found most perfectly realized in the classics.“People joke about and take fright at the problems of life; few trouble themselves about the words that would solve them;” so Goethe once wrote to Schiller. Matthew Arnold was preeminently one of the few. His special business was the criticism of literature, but he brought to it the indispensable profound and persistent reflection upon the world which literature is designed to interpret. So he came to his famous campaign to quicken intellectually and spiritually the lives of his people. To that end he drew the main lines of his program, the endeavor to foster and disseminate the critical spirit (which he made the basis of what he called the modern element), the gospel of culture, and the setting up of that ideal of literature that he found most perfectly realized in the classics.
William Wordsworth And German Literature
Authors: Herzberg Max J. 
Published: February 2007

But who shall parcel outHis intellect by geometric rules,Split like a province into round and square?Who knows the individual hour in whichHis habits were first sown, even as a seed?Who that shall point as with a wand and say“That portion of the river of my mindCame from that fountain?“ (The Prelude, II, 203ff).To what extent, it may profitably be asked, did German literature exert an influence, direct or indirect, upon the life and writings of Wordsworth?
Jane Austen the Critic
Authors: Hopkins Annette B. 
Published: February 2007

Miss Austen, in a letter to her sister Cassandra dated December 18, 1798, writes thus of a circulating library about to be opened, presumably at Steventon, on January 14:As an inducement to subscribe, Mrs. Martin tells me that her collection is not to consist only of hovels, but of every kind of literature, etc. She might have spared this pretension to our family who are great novel readers and not ashamed of being so; but it was necessary, I suppose, to the self-consequence of half her subscribers.
I.—The Conclusion of Paradise Lost
Authors: Moore C. A. 
Published: February 2007

The original objection urged against the conclusion of Paradise Lost was its failure to conform strictly to the neo-classic requirement that “an Heroick Poem . . . ought to end happily, and leave the mind of the reader, after having conducted it through many doubts and fears, sorrows and disquietudes, in a state of tranquility and satisfaction.” Milton's subject, according to Dryden, “is not that of an heroick poem, properly so called. His design is the losing of our happiness; his event is not prosperous, like that of all other epic works.” Addison concurred in this opinion; but he considered that the poet's “exquisite judgment” in raising Adam to a state of great happiness through the vision of future events had virtually overcome “the natural defect in his subject.” The author, he says, “leaves the Adversary of Mankind . . . under the lowest state of mortification and disappointment. We see him chewing ashes, grovelling in the dust, and loaden with supernumerary pains and torments. On the contrary, our two first parents are comforted by dreams and visions, cheared with promises of salvation, and, in a manner, raised to a greater happiness than that which they had forfeited. In short, Satan is represented miserable in the height of his triumphs, and Adam triumphant in the height of misery.” With one detail of the conclusion, however, Addison found fault. It would have been better, he declared, to omit entirely the last two lines of the poem (misquoted) :They hand in hand with wandering steps and slow,Through Eden took their solitary way.
X. How Henry James Revised Roderick Hudson: A Study in Style
Authors: Harvitt Hélène 
Published: February 2007

Henry James tells us in his preface to the revised edition of his novels, with what interest and emotion he renewed acquaintance with his book, Roderick Hudson, after a quarter of a century had elapsed since its first appearance, in 1875. He takes up its failings and its defects, of which he is fully conscious and which he sees with very keen perspicacity. He writes:I have felt myself then, on looking over past productions, the painter making use again and again of the tentative wet sponge. The sunk surface has here and there, beyond doubt, refused to respond: the buried secrets, the intentions, are buried too deep to rise again, and were indeed, it would appear, not much worth the burying. Not so, however, when the moistened canvas does obscurely flush and when resort to the varnish-bottle is thereby immediately indicated. The simplest figure for my revision of this present array of earlier, later, larger, smaller, canvases, is to say that I have achieved it by the very aid of the varnish-bottle. It is true of them throughout that, in words I have had occasion to use in another connexion (where too I had revised with a view to “possible amendment of form and enhancement of meaning”) I have nowhere scrupled to re-write a sentence or a passage on judging it susceptible of a better turn.
The Definition of Romance
Authors: Griffin Nathaniel E. 
Published: February 2007

Any attempt to define the romance must necessarily undertake to determine the differentia that separate this species of narrative art from that to which it is most closely related, viz. the epic.So far as formal or material tests are concerned, it is impossible to discover any infallible criterion by means of which the two species may be distinguished. In form both are metrical narratives and in subject-matter fictions dealing with heroic adventure and achievement. Such are the Iliad, the Beowulf, the Nibelungenlied, and the Chanson de Roland as representing the epic and the Fierebras, the metrical Morte d'Arthur, the Roman de Troie, and the Roman de Thèbes as representing the romance. Again, while both may under certain conditions vary from this norm, both will be found, when they do so vary, to pass through much the same range of variation. Both the epic and the romance may, particularly when embodied in works of an alien character, be short. Short, for example, is the epic recital of the Battle of Brunanburh embedded in the Anglo-Saxon Chronicle. Short likewise are those passages of romance sometimes incorporated in the epic or drama, as the story of the lotus-eaters in the Odyssey and the stories of “the three caskets” and of “the pound of flesh” in Shakespeare's Merchant of Venice. Similarly both the epic and the romance may, in the later stages of their development, be written in prose instead of verse. This is true of the Younger Edda as exemplifying the epic and the Huon de Bordeaux, the Merlin, and the Recueil des Histoires de Troie as exemplifying the romance. In prose is written likewise the large body of relatively late Greek romance from the Cyropedeia of Xenophon to the Heroicus of the Younger Philostratus.
Paraphrasing in the Livre de Paix of Christine de Pisan of the Paradiso, III-V
Authors: Temple Maud Elizabeth 
Published: February 2007

Many of us remember Matthew Arnold's recommendation in the Essay on the Study of Poetry of the line from Dante's Paradiso, (III. 85)E la sua voluntate è nostra paceas a touchstone of poetic value. The independent beauty of this line may be questioned by comparison with some lines that follow near it. The words of Beatrice in the fifth canto, from the first verse through the twelfth, for example, seem to have a tonal sweetness, with a richness of ethical content that might somewhat more justly be cited to illustrate Matthew Arnold's point. Few isolated lines, however, really shine out by themselves from any poet. We read or recall them with the mood induced by their setting. Climaxes they may be, but their sovereign value depends on the sequence, as the ear and the mind are addressed together, perhaps.
Mark Twain and Don Quixote
Authors: Moore Olin Harris 
Published: February 2007

The purpose of this paper is to trace the influence of Cervantes upon Mark Twain, with particular attention to the supposedly autobiographical tales Huckleberry Finn and Tom Sawyer.A short digression will be necessary at the outset in order to overcome, if possible, an almost universal prejudice. The popular notion is that Mark Twain's genius “just grew,” like Topsy; that he was peculiarly a “self-made” man, the term “self-made” being understood to mean “lacking in book learning.” We like to think that Mark Twain, above all other authors, dug into the virgin soil of his native country, and brought forth rich treasures which could be found nowhere else. We like to say: “What genuine American humor! What a true picture of American boyhood! Nothing of Europe in Mark Twain! Tom Sawyer and Huckleberry Finn are real Americans!”
Elizabethan Drama and The Works of Smollett
Authors: Ellison Lee Monroe 
Published: February 2007

“If fielding had superior taste,” declared Sir Walter Scott, “the palm of more brilliancy of genius, more inexhaustible riches of invention, must in justice be awarded to Smollett. In comparison with his sphere, that in which Fielding walked was limited; and compared with the wealthy profusion of varied character and incident which Smollett has scattered through his works, there is a poverty of composition about his rival. . . . It is chiefly in his profusion, which amounts almost to prodigality, that we recognize the superior richness of Smollett's fancy. He never shows the least desire to make the most either of a character, or a situation, or an adventure, but throws them together with a carelessness which argues unlimited confidence in his own powers.” Few critical verdicts have been received with more general dissent. Apart from what most readers feel to be the injustice done to Fielding, the affirmations respecting Smollett have not gone unchallenged. Thackeray, although perhaps without having Scott in mind, has expressed an opinion almost diametrically opposite:His [Smollett's] novels are recollections of his own adventures, his characters drawn, as I should think, from personages with whom he became acquainted in his own career of life. Strange companions he must have had; queer acquaintances he made in the Glasgow college, in the country apothecary's shop, in the gun-room of the man-of-war where he served as a surgeon, and in the hard life on shore where the sturdy adventurer struggled for fortune. He did not invent much, as I fancy, but had the keenest perceptive faculty, and described what he saw with wonderful relish and delightful broad humor.
The Source of Chaucer's Rime of Sir Thopas
Authors: Magoun Francis P. 
Published: February 2007

Numerous parallels, culled from Middle-English metrical romances to illustrate the style and the diction of Chaucer's Rime of Sir Thopas, have shown how successfully Chaucer burlesqued the verses of certain of his less gifted predecessors and contemporaries. More recently the parodistic character of Sir Thopas has been emphasized by Mr. J. M. Manly, who, in the same connection, adduced interesting evidence as to political satire latent in the poem. These studies of the style and the diction of Sir Thopas have contributed largely to our appreciation of the humorous character of the work itself and, more important still, to our knowledge of the poet; for a parody or a burlesque implies the special imitation of a model, and thus we conclude that Chaucer enjoyed an easy familiarity with at least one type of his native vernacular literature. Supplementing this rather imposing body of internal, stylistic evidence, comes a short but enlightening catalogue of metrical romances which the poet introduces towards the end of his own rollicking contribution to this genre:Men speke of romances of prys,Of Horn child and of Ypotis,Of Bevis and sir Gy, Of sir Libeus and Pleyn-damour. (C.T., B 2087–90)
VIII. George Borrow and Goethe's Faust
Authors: Speck William A. 
Published: February 2007

In a letter from William Taylor of Norwich to Robert Southey, is to be found perhaps the earliest trustworthy clue to the date of Borrow's first acquaintance with the German language. Writing on March 12th, 1821, Taylor, whose name will probably survive because of his relation to Borrow, says:A Norwich young man is construing with me, Schiller's Wilhelm Tell with a view of translating it for the press. His name is George Henry Borrow, and he has learnt German with extraordinary rapidity, indeed, he has the gift of tongues, and, though not yet eighteen, understands twelve languages—English, Welsh, Erse, Latin, Greek, Hebrew, German, Danish, French, Italian, Spanish and Portuguese….
Destiny in Chaucer's Troilus
Authors: Curry Walter Clyde 
Published: February 2007

Chaucer's Troilus and Criseyde is a tragedy, strongly deterministic in tone, the action of which is presided over by a complex and inescapable destiny. Professor Kittredge has already given an excellent exposition of the fate which hangs over the chief characters and over the doomed city of Troy, and has analyzed the sources of the feeling that we are “looking on at a tragedy that we are powerless to check or to avert.” And Professor Root, remarking upon the high seriousness and the moral import of Chaucer's poem, says:He has called Troilus a tragedy; and it is a tragedy in the mediæval sense of the term—the story of a man cast down by adverse fortune from great prosperity and high estate into misery and wretchedness. The five books into which he has disposed his story suggests the five acts of the tragic drama. There is, moreover, a quite tragic insistence on the idea of destiny.
The Dating of Shenstone's Letters
Authors: Fullington James F. 
Published: February 2007

In a valuable article on “The Dating of Shenstone's Letters,” published some years ago, Professor John Edwin Wells succeeded in verifying or correcting the dates of eighty-nine of the one hundred eleven letters collected in volume iii of the poet's Works. Unfortunately, as Professor Wells noted in the introduction of his article, the dates assigned to these letters by the editor are not trustworthy:The most casual reading of the studies of any of the persons connected with the Shenstone circle ever so slightly, causes one to realize that the earlier letters at least have been and are used considerably as bases for dating facts and events of minor literary and personal history of the time. The dating given by Dodsley in his edition of the Letters is the dating generally accepted without further consideration. Study of the letters, however, indicates that the year given in the dating of many of the letters, is evidently not Shenstone's but has been inserted by the editor ... The dating of many of the letters is incorrect.
Thomas Chaucer, One Man or Two?
Authors: Baugh Albert C. 
Published: February 2007

In 1873 in Trial-Forwords to Minor Poems: Further Additions and Corrections Furnivall called attention to seven records under the heading “Thomas Chaucer, esquire and vintner (?1 man, or 2)”:[1] 1399-1400. Duchy of Lancaster. Ministers' Accounts. Div. 29, Bundle 144. Payment of £20 to Thomas Chaucer for his two Annuities, due at Easter and Michaelmas, with £10 arrears.[2] 1406, March 12. City Hustings Roll, 133. Thomas Chausers: Deed of entail on him of City lands, near St. Paul's, by his ‘consanguineus,’ William Chaumbre, cleric.[3] 1416, February 3. Hustings Roll, 145. Release to Thomas Chaucer of the interest of Thomas Hoo and Agnes his wife in these entaild lands.[4] 1413, June 7. Conveyance by Geoffrey Dallyng, Citizen and Vintner, and Matilda his wife, to Thomas Chaucer, esquire, and 4 other men, of a reversion in some City houses and land (no doubt as Trustees for some City Corporation).[5] 1426, December 7. Hustings Roll, 155. Conveyance by William Manby, cleric, to Thomas Chaucers and Richard Wyot, esquires, and 4 others, clerics, of land in the parish of St. Margaret's, Lothbury, in the City of London, seemingly as Trustees for some ecclesiastical Corporation.[6] 1428, May 20. Hustings Roll, 156. Conveyance by William atte Watir, barber, and John Cole, junior, Citizen and Vintner, of a tenement in Fleet Street to Thomas Chawsere and 12 other men—all 13 being described in one part of the Deed as Citizens and Vintners, evidently as Trustees for the Vintners' Company.[7] 1428, June 11. Release to Thomas Chawsere and his 12 co-trustees—Thomas Chawsere and another (Lewis John), being called esquires, the rest Citizens and Vintners— of the estate of Thomas Croften, as mortgagee in possession, in the said tenement in Fleet Street.
Conrad's Revision of Six of His Short Stories
Authors: Whiting G. W. 
Published: February 2007

Some years ago Mr. T. J. Wise said that “Many of Conrad's books may, in fact, be studied profitably in three published states: (1) the serial state (England and America), (2) the partly-revised state from the serial (America), and (3) the finally-revised state (England).” He suggested that a collation of the texts of the magazines with those of the books “would yield very remarkable results.” I have attempted a collation of six of Conrad's short stories: (a) “An Outpost of Progress,” “The Lagoon,” and “Karain,” published with two other stories in Tales of Unrest (London: T. Fisher Unwin, 1898); and (b) “Youth,” “Heart of Darkness,” and “The End of the Tether,” published in Youth (Edinburgh: William Blackwood and Sons, 1902). This collation does not include the American serial and book texts. I have found only “Hearts of Darkness” published serially in America. Moreover Conrad paid little attention to his American editions. For example, of the first American edition of Tales of Unrest Conrad wrote: “Uncorrected by me. Probably differences of text from 1st English edon.” Of the first American edition of Youth Conrad wrote: “1st U.S. edition printed from unrevised proofs. Probably much nearer the Maga text than the 1st Eng. edition.” Mr. Richard Curie declares:Conrad always regarded his English book-text as the one that mattered. He was not much concerned about perfecting his text for serial publication and not greatly concerned, even, if the American book-text was not his finally revised one.
Cynewulf's Christ 1665-1693
Authors: Howard Edwin J. 
Published: February 2007

The authorship of the twenty-nine lines following line 1664 of Cynewulf's Christ in the Exeter Book is, in common with that of much Old English poetry, disputed. The lines are variously considered an independent poem, the conclusion of Christ, and the beginning of Guthlac. Since external evidence is, of course, entirely lacking, an effort will here be made to decide the authorship by means of internal evidence.The thought contained in Christ IV, as the disputed lines 1665–93 will for convenience be designated in this article, is much closer to that of the concluding passage of Christ III than it is to the beginning of Guthlac. Thomas Arnold has said that the line of thought of IV agrees in no way with that which marks the opening of Guthlac, while Gollancz, who insists that IV is a prelude to Guthlac, finds it necessary to say that the ‘motives’ of IV are ‘derived from the concluding portion of the Christ.’
Geoffrey of Monmouth and Stonehenge
Authors: Loomis Laura Hibbard 
Published: February 2007

In Geoffrey of Monmouth's Historia Regum Britanniae (VIII, ix-xii) occurs the oldest and almost the only known legend about the most famous megalithic monument in Britain. The story accounts for Stonehenge as the funeral monument erected for hundreds of noble Britons slain by the treacherous Hengist and his Saxons, and it was for centuries accepted as the historical explanation of that great structure. Chroniclers repeated the tale and successive generations believed, to borrow Spenser's wording, that they could“Th'eternall marks of treason . . . at Stonheng vew.” (F. Q., II, x, 66).
Prince Hal's “Shew of Zeale”
Authors: Hartman Herbert 
Published: February 2007

In the familiar oration of Prince Hal over the body of the slain Percy occur the lines:If thou wert sensible of curtesieI should not make so deare a shew of zeale,But let my fauours hide thy mangled faceAnd euen in thy behalfe ile thanke my selfe,For doing these faire rights of tendernesse.(1 Henry IV, v. iv. 94–98)“Favours” in this passage is usually glossed as a scarf or riband, perhaps a glove. The lines are taken to imply a stage direction of some sort. It would seem, however, that Shakespeare here intended more than a conventional chivalric gesture on the part of the regenerate Prince. From a chain of textual evidence it is demonstrable that the playwright had in mind for his climax a far more dramatic, more tacitly ironic move—Hal's disengaging his royal plumes (the “budding honours” of his own helmet) to shroud the face of his dead rival. In three earlier passages the quarto text supports this interpretation.
Der Symbolisch-Autobiographische Gehalt von Thomas Manns Romandichtung Königliche Hoheit
Authors: Weigand Hermann J. 
Published: February 2007

In seinem kleinen Aufsatz, “Über Königliche Hoheit” (1910), sagt Thomas Mann:Der Fürst, den ich eigentlich im Sinne hatte, ist der, von dem Schiller seinen Karl VII. sagen lässt: ‘Drum soll der Sänger mit dem König gehen, sie beide wohnen auf der Menschheit Höhen.’ Die anspielungsreiche Analyse des fürstlichen Daseins als eines formalen, unsachlichen, übersachlichen, mit einem Worte artistischen Daseins und die Erlösung der Hoheit durch die Liebe: Das ist der Inhalt meines Romans, und, voller Sympathie für jede Art ‘Sonderfall,’ predigt er Menschlichkeit.
Chaucer's Eagle and The Rhetorical Colors
Authors: Teager Florence E. 
Published: February 2007

The modern reader is wont to take with quiet enjoyment the mild irony implied in the delightful spirit of camaraderie with which the Eagle addresses “Geffrey” in Chaucer's The Hous of Fame:“A ha!” quod he, “lo, so I canLewedly to a lewed manSpeke.“
The Occasion of Macflecknoe
Authors: McKeithan D. M. 
Published: February 2007

As a result of recent investigations, states Professor Borgman, “the old explanation of this satire [MacFlecknoe] as Dryden's answer to Shadwell's The Medal of John Bayes is no longer sound.” In 1918, Mr. Thorn-Drury called attention to the following passage, which appeared in an attack on Shadwell in The Loyal Protestant and True Domestick Intelligence of Thursday, February 9, 1681/2:… He would send him [Shadwell] his Recantation next morning, with a MacFlecknoe, and a brace of Lobsters for his Breakfast; All which he knew he had a singular aversion for. …