bluuebunny/crossref_metadata_2025_split huggingface dataset:
LXIV. Grimmelshausens Ungarische Wiedertäufer
Authors: Zieglschmid A. J. F. 
Published: February 2007

Im 19. Kapitel des 5. Buches seines Simplicissimus berichtet Grimmelshausen ”etwas wenigs von den ungarischen Wiedertäufern und ihrer Art zu leben.“Hatte man in früheren Jahrzehnten geglaubt, “für dieses Erlebnis [mit den Wiedertäufern] fände sich hochstens Raum im Anschluß an seine Reise von Baden nach Wien, so daß die . . . Lücke [in Grimmelshausens Biographie zwischen 1640-45] vielleicht durch einen Aufenthalt in Ungarn auszufullen wäre,” so steht heute fest, daß von ausgedehnten Reisen abzusehen ist. Nach den neueren Forschungsergebnissen ist Grimmelshausen nicht einmal in Wien, viel weniger je in Ungarn gewesen. Auf Grund des angeblichen Mangels an personlicher Bekanntschaft mit den ungarischen Wiedertäufern soli Grimmelshausen die munsterischen Anabaptisten als Vorbild verwandt haben; oder er soil Gelegenheit gehabt haben, “die Art der Wiedertaufer in den Tälern des Schwarzwaldes”6 kennenzulernen. Außerdem erinnere “die staatliche Regelung der Arbeit und des Familienlebens bei den [ungar.] Wiedertaufern . . . stark an ähnliche Einrichtungen in Thomas Morus' Utopia und Valentin Andreas' Christianopolis. Auch einige Einrichtungen der Civitas Solis des Campanella, z. B. die Sauglingspflege,” fände sich bei Grimmelshausens ungarischen Anabaptisten wieder.
Notes on Some Interrelations between the Latin and English Texts of the Ancrene Riwle
Authors: D'Evelyn Charlotte 
Published: February 2007

In his notable article on the Ancrene Riwle, Macaulay made the first attempt to classify the English MSS on the basis of their readings.1He divided them into two groups: (1) BVP, which share a number of additions, and (2) CTNG, in which these additions do not occur or occur only by insertion in a different hand. The “additions” of B, as Macaulay himself notes, are so-called only with reference to the currently known text of N. But he evidently regards them as additions also with reference to the original text; for after discussing in detail inconsistencies between B and the other group of MSS in two of these passages, he adds (p. 151) :Considering this, and also the unanimity with which the whole number of passages is rejected by the other thirteenth century manuscripts, so far as their original texts are concerned, I am disposed to think that they may be regarded as interpolations generally, and that we must assume that CTNG, though much inferior in general correctness of text to B, yet represent a more original form in this respect.
Shakespeare's Stage Blood and its Critical Significance
Authors: Kirschbaum Leo 
Published: February 2007

The Elizabethans were familiar with scenes in which stage blood was liberally used. The tradition was old. In Cambises (1560's), “Enter Cruelty and Murder with bloody hands.” They grasp their victim:
[Cru.] Even now I strike, his body to wound.Strike him in divers places.Beholde, now his blood springs out on the ground! A little bladder of vineger prickt.
The Inadequate Vulgarity of Henry James
Authors: Lind Ilse Dusoir 
Published: February 2007

On 26 January 1895, still in the grip of the disconsolate mood engendered by the crashing first-night failure of Guy Domville three weeks before, Henry James made the following entry in his Notebooks:The idea of the poor man, the artist, the man of letters, who all his life is trying— if only to get a living—to do something vulgar, to take the measure of the huge, flat foot of the public: isn t there a little story in it, possibly, if one can animate it with action; a little story that might perhaps be a mate to The Death of the Lion? It is suggested to me really by all the little backward memories of one s own frustrated ambition—in particular by its having Just come back to me how, already 20 years ago, when I was in Paris writing letters to the N. Y. Tribune, Whitelaw Reid wrote to me to ask me virtually that—to make em baser and paltrier, to make them as vulgar as he [sic] could, to make them, as he called it, more ‘personal.’ Twenty years ago, and so it has ever been, till the other night, Jan. 5th, the premiere of Guy Domville. Trace the history of a charming little talent, charming artistic nature, that has been exactly the martyr and victim of that ineffectual effort, that long, vain study to take the measure abovementioned, to ‘meet’ the vulgar need, to violate his intrinsic conditions, to make, as it were, a sow's ear out of a silk purse. He tries and he tries and he does what he thinks his coarsest and crudest. It's all of no use—it's always ‘too subtle,’ always too fine—never, never, vulgar enough. I had to write to Whitelaw Reid that the sort of thing I had already tried hard to do for the Tribune was the very worst I could do. I lost my place—my letters weren't wanted.
Adversative or Concessive Sense of Old Provencal tot
Authors: Lewent Kurt 
Published: February 2007

The starting point of this paper is the following passage from the troubadour Guilhem Ademar's poem “De ben gran joia chantera” (P.-C. 202,5) recently published by Kurt Almqvist:Que tot morrai o l'aurai,que ja no m'en partirai.
The Image of the Hand in Rilke's Poetry
Authors: Tubach Frederic C. 
Published: February 2007

The increasing importance of the hand-image for Rilke is an indication of his steadily growing conviction that the plastic arts should become the guide for poetry. Consequently, the image of the hand occurs frequently in the early collections entitled Das Buch der Bilder (1902) and Das Stundenbuch (1906). Even in the first poem of Das Stundenbuch, written as early as 1899, Rilke shows a marked interest in plastic representation, which was to become the dominant influence upon his poetry during the period of his close acquaintance with the French sculptor Rodin a few years later:Da neigt sich die Stunde und riihrt mich anmit klarem, metallenem Schlag:mir zittern die Sinne. Ich fiihle: ich kann—und ich fasse den plastischen Tag.
The Dragon in Beowulf
Authors: DuBois Arthur E. 
Published: February 2007

Purely Literary rather than historical evidence should not be excluded if it helps to solve a problem, or even if it merely sharpens the sense of such a problem as the meaning of the dragon in Beowulf.Some difficulty has probably been caused by thinking of the dragon as a symbol rather than as some other kind of image although, to be sure, a hard-and-fast distinction may not always be possible. To me the meaning of a symbol is more or less arbitrary, especially because the symbol represents something, or means something, usually quite unlike itself–as the eagle is physically unlike the United States. This meaning is imposed outside the work of art rather than within it. Such meaning has to be agreed upon, either by authors like Blake or Yeats in contracts with themselves which must sooner or later be registered with the people, or else by the folk in some other manner, as when they agree in a ‘religious’ community that, say, Ceres shall represent corn and harvesting. Once agreed upon, the meaning of the symbol must remain fixed, at least in the community; otherwise, communication will be confused. Of course, the determination of a symbol's meaning can only be by external evidence. Such meaning probably depends upon remote associations which are certainly not immediately available to the reader and which are, possibly, not always exactly available even to the writer, as in surrealism. These associations can often be recovered, no doubt, and the reason for the meaning can then be understood. But at least until one examines the creative processes behind the evolution of the symbol, its meaning must seem artificial.
Action as the Essence of Poetry: A Revaluation of Lessing's Argument
Authors: Rudowski Victor Anthony 
Published: February 2007

In terms of its effect on subsequent literary-theory and practice, the proposition that actions constitute the true subject of poetry is the most important aesthetic principle advanced in Laokoon. At the opening of the sixteenth chapter, Lessing attempts to derive this proposition deductively by arguing:Doch ich will versuchen, die Sache aus ihren ersten Gründen herzuleiten.
The Devil in Mufti: The Märchenwelt in Gogol's Short Stories
Authors: Holquist James M. 
Published: February 2007

Everything that is profound loves the mask. … I could imagine that a man with something costly and fragile to conceal, would roll through life clumsily and rotundly like an old, green, heavily-hooped wine cask. … Such a hidden nature, which instinctively employs speech for silence and concealment, and is inexhaustable in evasion of communication, desires and insists that a mask of himself shall occupy his place in the hearts and heads of his friends.Beyond Good and EvilThese words of Nietzsche say much about Gogol. They suggest his keg-like belly, the contradictions and evasions of his letters, his cunning and depth, and above all, those “ gaps and black holes in the texture of his style” which Nobokov describes in his study, in a chapter called, “Apotheosis of a Mask.” But he had other ways to hide his fragile gift—there is a certain dissimulation in the very generes he chose: his greatest comedy ends in “living statues” and he calls his novel a poema.
Astrology and Astronomy in the Fables of La Fontaine
Authors: Ridgely Beverly S. 
Published: February 2007

In the gently melancholic meditation on solitude which forms the second part of “Le Songe d'un habitant du Mogol” (xi, 4), La Fontaine wonders if he will ever be able to escape the hubbub of life in Paris and retire to some peaceful rural retreat. At least he can anticipate how he might there spend his time, upon a subject well fitted to solitary contemplation:Quand pourront les neuf Sœurs, loin des cours et des villesM'occuper tout entier, et m'apprendre des cieuxLes divers mouvements inconnus à nos yeux,Les noms et les vertus de ces clartés errantes,Par qui sont nos destins et nos mœurs différentes?
The Man of Law vs. Chaucer: A Case in Poetics
Authors: David Alfred 
Published: February 2007

For swich lawe as a man yeveth another wight,He sholde hymselven usen it, by right;Thus wole oure text.Among the many passages in which Chaucer or one of his characters talks about poetry, and more specifically Chaucer's own poetry, one of the most tantalizing is the Introduction to the Man of Law's Tale. The Man of Law claims to be at a loss for a “thrifty tale” because Chaucer “thogh he kan but lewedly / … Hath seyd hem in swich Englissh as he kan” (ii.46–49). He continues with a partial list of Chaucer's works that consists chiefly of stories from the Legend of Good Women, surprising us with several that Chaucer apparently never got around to writing. He praises Chaucer for avoiding stories about incest and alludes to two such tales with indignation. At last he declares that he will leave rhyme to Chaucer and tell a prose tale and immediately begins a prologue in rhyme royal.
Pictorial and Poetic Design in Two Songs of Innocence
Authors: Connolly Thomas E. , Levine George R. 
Published: February 2007

The Little Boy lostFather, father, where are you goingO do not walk so fast.Speak father, speak to your little boyOr else I shall be lost,The night was dark no father was thereThe child was wet with dew.The mire was deep, & the child did weepAnd away the vapour flew.The Little Boy foundThe little boy lost in the lonely fen,Led by the wand'ring light,Began to cry, but God ever nigh,Appeard like his father in white.He kissed the child & by the hand ledAnd to his mother brought,Who in sorrow pale, thro' the lonely daleHer little boy weeping sought.In William Blake's Songs of Innocence appear two tiny, apparently simple poems that have, until recently, attracted relatively little critical attention. Some critics have ignored “The Little Boy lost,” and “The Little Boy found” entirely; others have treated them as relatively insignificant examples of innocence preserved.Several critics are clearly puzzled by the poems: Joseph Wicksteed, for example, finds the disappearance of the vapour in “The Little Boy lost” both mysterious and ultimately inexplicable (pp. 46–47), whereas E. D. Hirsch, Jr., has more recently admitted that the “best symbolic interpretation” of these two poems is “not characteristic of the Songs of Innocence.” Only one critic, Robert Gleckner, has argued for their importance in the Songs of Innocence, but Gleckner has perhaps gone too far in attempting to elevate them to the status of key poems in the Songs of Innocence.
Falstaff as Parodist and Perhaps Holy Fool
Authors: Battenhouse Roy 
Published: February 2007

AbstractStarting with Raglan's suggestion that Falstaff may be a “holy fool” and with Auden's belief that he is a comic symbol of charity, this essay explores the medieval tradition of wise fool, and especially Falstaff's always canny use of biblical allusion. His various jests, if read in relation to the political action of the main plot, reveal him as characterizing England's time of day and parodying the unchristian behavior of Hotspur, Henry, and Hal. By the time he dies mumbling Psalm xxiii to an uncomprehending Nell Quickly, there have accumulated many hints that he is, in fact, a candle to his age, a professional Fool with the heart of a faithful Lazarus, and destined to join Mowbray in Abraham's bosom. The merriment for which readers have found him lovable amid his masquerades of vice has its mysterious basis in his covertly Christian understanding of England's neo-Roman Caesars.
Unity Identity Text Self
Authors: Holland Norman N. 
Published: February 2007

AbstractUnderstanding the receptivity of literature, how one work admits many readers, begins with an analogy: unity is to text as identity is to self. Unity here means the way all a text’s features can be related through one central theme. Identity describes a person’s sameness within different behaviors as variations on one identity theme (Lichtenstein). To find unity or identity, however, the interpreter himself plays a behavioral variation on his identity theme. In interpreting, his identity re-creates itself as he shapes the text to match his characteristic defenses, fantasies, and coherences. Thus, what a poet says about fictional, political, or scientific texts expresses the same identity theme as the poems he writes. To understand reading, criticism, and any knowing or making in symbols, then, we need to let go the Cartesian craving for objectivity and accept the themes in ourselves with which we construe the world—including literary works.
The Moral Paradox of Webster's Tragedy
Authors: Whitman Robert F. 
Published: February 2007

AbstractOver the years, Webster criticism has been haunted by a tendency to see the essential conflict in the tragedies as a struggle between the forces of good and evil. In recent years, critics have scarcely approached the possibility that his vision may be a paradox in which both sides of an apparent contradiction are equally “true.” The antitheses in Webster may not be good and evil so much as two irreconcilably opposed impulses of human nature that can be identified with the Nietzschean terms “Apollonian” and “Dionysian.” From this perspective Francisco, Monticelso, Ferdinand, or the Cardinal is not so much representative of evil as of the Apollonian obsession with obedience, responsibility, sexual restraint, and punishment. Vittoria and the Duchess, freed from moralistic quibbles, are Dionysian rebels. Flamineo and Bosola, like the rest of us, are caught between the demands of equally imperative but mutually exclusive ways of seeing reality.
The Formal Nature of Victorian Thinking
Authors: Bruns Gerald L. 
Published: February 2007

AbstractThe notion that the meaning of an idea is inseparable from its history is reflected in the way that Carlyle, Arnold, and Ruskin took recourse to historical categories of thought in their creations of meaning. Sartor Resartus, Culture and Anarchy, portions of The Stones of Venice, and the later volumes of Modern Painters are analyzed to suggest that the distinctive feature of the Victorian mind is not to be found in any of its diverse contents but rather in the way that history is made to function as a formal property of thought. Indeed, whereas Enlightenment and Romantic writers were inclined to locate the ground of intelligibility in forms of transcendence, the Victorians were forced by their sense of the historicity of things to derive their meanings from the world of processes and events, sequences and developments.
Personal Identity and Literary Personae: A Study in Historical Psychology
Authors: Richmond Hugh M. 
Published: February 2007

AbstractIn the Renaissance, religious and political confrontations generated an intensified awareness of the self which marks a decisive phase in the evolution of human personality, whose study may be entitled Historical Psychology. Alienation from religious and political strife turned the interests of Petrarch and Montaigne toward their own minds, Marot's persecution for heresy developed his self-awareness in L'Enfer, followed by Ronsard's self-defensive autobiography in his Reply to Insults. Such models prefigure Milton's authorial intrusions of Paradise Lost. Shakespeare illustrates the creative impact of religious controversy by enriching the hints of Lollardry in Falstaff with a wide variety of Puritan affectations in the Elizabethan period. The Protestant attacks on Machiavelli also help in developing the character of Richard III and similar introverted creations, as T. S. Eliot notes. By the time of Marvell, personality is considered essentially artificial and willed—an inheritance from which Swift, the Romantics, and many modern authors have profited. Historical Psychology is thus a necessary tool if we are to handle the development of literary tradition.
The Dancer and the Dance
Authors: Fisher John H. 
Published: February 2007

AbstractReality is communication. Culture is a complex form of communication. Language is the most important medium in this abstruse level of communication. Literature is the richest and most effective use of language. The membership of the MLA, as symbolic of the institutionalized, academic interest in language and literature in the United States, is no longer representative of the concerns of the population as a whole. Its interest pre-ponderately in English and European literature and languages does not accord with the increasing national interest in the literature and languages of this hemisphere, in the varieties of English used in this country, in pedagogy, and in the modified expectations of literacy today. As teachers of language and literature, MLA members live and move in the world of symbols. They cannot expect to be absolved from the practical effects of these symbols. In their responsibility or irresponsibility, they and their Association are these symbols.
A Hero of Conscience: Samson Agonistes and Casuistry
Authors: Slights Camille W. 
Published: February 2007

AbstractRenaissance English casuistry, the branch of moral philosophy that applies general principles to particular cases, supplies a significant context for Milton’s Samson Agonistes. In subject matter, structure, and language, Milton’s tragedy resembles the prose cases of conscience in which casuists showed how to overcome doubt and despair and gain peaceful consciences by resolving difficult moral problems. Such casuistical concepts as the supremacy of the individual conscience, the relevance of circumstances to moral law, and the role of reason in resolving doubt illuminate the conflicting moral judgments that form the dramatic texture of Samson Agonistes. Samson learns how to judge his own actions in particular circumstances, and by doing so, learns to repent of his past sin, overcome his sense of powerlessness, and act with a clear conscience. The drama goes beyond conventional casuistry in its uncompromising assertion of the supremacy of the individual conscience and its unflinching recognition of the tragic limits of human power.
The Irony of Goethe's Hermann und Dorothea: Its Form and Function
Authors: Ryder Frank G. , Bennett Benjamin 
Published: February 2007

AbstractPart of Goethe’s intention in Hermann und Dorothea is to awaken in the reader a disturbing sense of discrepancy between form and content. Systematic, statistically controlled analysis of the poem’s meter, along with a treatment of specific Homeric allusions in the text, leads to this conclusion, also supported by less rigorous but no less valid interpretive arguments. This discrepancy, moreover, is left unresolved, creating a feeling of pervasive irony, but not in the sense of satire or mockery. The reader is encouraged to adopt a superior critical perspective toward the bourgeois values in the poem, but, in that this perspective itself becomes an object of irony, he is also invited to affirm such values. Although this contradiction, like the tension between form and content, is never resolved, it can be understood as expressing an idea of the historical need for bourgeois stability, however banal, in the period depicted.
The Divided Self in the Fiction of Henry James
Authors: Schneider Daniel J. 
Published: February 2007

AbstractThe divided self in James’s fiction may be regarded as an inevitable structural consequence of James’s desire to dramatize the problem of the free spirit in an enslaving world. But the divided self required by art is not essentially different from the divided self known to psychology, and an understanding of the anxieties of that self, particularly of the “obsessive imagery” James uses to depict those anxieties, enriches our understanding of James’s work. The fear of a world that threatens one’s being issues in an elaborate development of an escape motif; of imagery of seizure by the eye and by the world of appearances; and of imagery of petrification, reflecting a dread of being turned into a mere tool or machine. James’s vision of “the great trap of life” permits him to come to terms with his own limitations and culminates in a searching philosophic examination of the problem of free will and determinism.
Romantic Expressive Theory and Blake's Idea of the Audience
Authors: Eaves Morris 
Published: February 2007

AbstractMost literary historians have found that the romantic shift from mimetic to expressive theories of art was “fatal to the audience”—leaving the poet a soliloquist, the audience an unnecessary appendage. Blake's idea of the audience helps show that, while artistic withdrawal certainly defines a polar phase of the theory, the logic of the theory does provide a complementary phase of fulfillment characterized by union between artist and audience. Since theories of art are often latent social theories, we can extend the logic of romantic aesthetics to outline a society of imagination.
Dice Games and Other Games in Le Jeu de saint Nicolas
Authors: Dinshaw Carolyn L. 
Published: February 2007

AbstractScholars have attempted to determine the precise details of the dice games played in the tavern in Le Jeu de saint Nicolas but have not connected these particular games to the play's larger structural and thematic design. Jean Bodel's alterations of the Iconia Sancti Nicolai legend are governed by the concept of game as an activity defined and delimited by rules, set off from events of the “real world,” yet intently pursued. His modifications are appropriate to a dramatic representation, for drama itself in the Middle Ages was considered “play,” a game. The idea of game was deeply rooted in the medieval imagination: all human history was seen as a contest between God and Satan that is controlled and determined by God. Bodel contrasts the rule-governed realm of the pagans with the Christian realm of belief and celebrates God's supreme control of the game of history.