bluuebunny/crossref_metadata_2025_split huggingface dataset:
Old French Goz and Crestiiens Li Gois
Authors: Levy Raphael 
Published: February 2007

The purpose of this study is to trace the history of the word goz and to attempt to solve the mooted problem concerning the authorship of Philomena. It will be recalled that Gaston Paris discovered the poem buried in the Ovide moralisé, which is dedicated to Jeanne de Bourgogne, who died in 1329. G. Paris considered Philomena one of the works enumerated by Chrétien de Troyes in the introductory lines of Cligès, all of which, with the exception of Erec, had been thought lost. The author's name is given in verse 734 of Philomena, riming with bois:La meisons estoit an un bois,—Ce conte Crestiiens li Gois—.Through an annotator's error, this name was long interpreted as Chrétien Legouais de Sainte-More vers Troyes. This identification was accepted in the 14th century by Eustache Deschamps and as recently as 1893 by L. Sudre. But in the same year, Professor A. Thomas revealed the paleographical error involved. By doing so, he precipitated a battle royal, the smoke of which has not yet cleared away. Many theories have been advanced to determine whether Crestiiens li Gois and Chrétien de Troyes were one and the same person. C. de Boer boldly entitled his edition: Philomena, Conte raconté d'après Ovide, par Chrétien de Troyes (P., 1909). However, as K. Voretzsch has pointed out, while there are similarities in the literary conception and style of Chrétien de Troyes and Crestiiens li Gois, nevertheless the linguistic differences in their works point to two distinct authors.
The Latin Initial Syllable in the Romance Languages
Authors: Cross Ephraim 
Published: February 2007

The cardinal question of the inherent strength of the initial syllable has again been raised by Roland G. Kent in an article “The Alleged Strength of the Initial Syllable,” Language, vii, 3, (September, 1931), 179–189. Kent introduces his challenge of certain current notions of the Latin accent with the query:Does the initial syllable of a word possess some peculiar strength which makes it resist change or loss of its vowel better than other syllables do—other factors being equal?
“The Question of Halsam”
Authors: South Helen Pennock 
Published: February 2007

In British Museum Addit. MS. 34360 on folio 22 occurs one stanza of rime royal entitled “The question of halsam.” It is smooth in meter, well-balanced in thought, and practically perfect in stanza form, comparing very favorably in these respects with other minor lyrics of the early fifteenth century. The popularity of this poem is attested by its presence in many manuscripts of that century and by the fact that Caxton printed it together with a second seven-line stanza also ascribed to Halsham. Both of these lyrics are found in Bodley 3896, f. 195a (MS. Fairfax 16), which affords not only the earliest, but the most authentic text of these pieces:The worlde so wide / thaire so remuableThe sely man / so litel of statureThe grove and grounde / of clothinge so mutableThe fire so hoote / and subtil of natureThe water neuer in oon / what creatureThat made is of these foure / thus flyttyngMay stedfast be as here / in his lyvingThe more I goo / the ferther I am behindeThe ferther behinde / the ner my wayes endeThe more I seche / þe worse kan I fyndeThe lighter leve / the lother for to wendeThe bet y serve / the more al out of myndeIs thys ffortune not I / or infortuneThough I go lowse / tyed am I with a Lune
A Note on Source Influences in Shelley's Cloud and Skylark
Authors: Richards Irving T. 
Published: February 2007

Mrs. Shelley in her preface to her husband's collected poems remarked:There are others, such as the “Ode to the Sky Lark,” and “The Cloud,” which, in the opinion of many critics, bear a purer poetical stamp than any other of his productions. They were written as his mind prompted, listening to the carolling of the bird, aloft in the azure sky of Italy; or marking the cloud as it sped across the heavens, while he floated in his boat on the Thames.
Othello Among the Anthropophagi
Authors: French J. Milton 
Published: February 2007

… of antres vast and desarts idle,Rough quarries, rocks and hills whose heads touch heaven,It was my hint to speak, such was the process;And of the Cannibals that each other eat,The Anthropophagi, and men whose headsDo grow beneath their shoulders.It has usually been assumed that Othello's adventures came to Shakespeare out of the pages of Mandeville or Pliny. There is, however, another possibility and one likely to offer a far more exciting invitation to a poet with Shakspere's keen sensitivity to visual impressions. There is a startling resemblance between the items in the passage quoted and the quaintly decorated Renaissance maps.
XXVIII. Christabel Sources in Percy's Reliques and the Gothic Romance
Authors: Tuttle Donald Reuel 
Published: February 2007

Students of poetry have long regretted that John Livingston Lowes did not include in his remarkable The Road to Xanadu a study of Christabel. It would have been only fitting for the story of the origin of this poem to have appeared side by side with those of Kubla Khan and The Ancient Mariner. Professor Lowes thus explained the omission:I have not included “Christabel,” for the reason that “Christabel” has failed completely to include itself. Wherever the mysterious tracts from which it rose may lie, they are off the road which leads to “The Ancient Mariner” and “Kubla Khan.” And we are following only where known facts lead. I wish I did know in what distant deeps or skies the secret lurks; but the elusive clue is yet to capture.
XXXII. Mrs. Gaskell in France 1849–1890
Authors: Hopkins Annette B. 
Published: February 2007

François Beslay observes in le Correspondant, in 1863:Il s'établit, depuis quelques années, un échange curieux entre la littérature anglaise et la nôtre. Les romans français, à peine imprimés, passent le détroit, sont traduits en anglais et reçus avec un faveur fanatique dans les trois royaumes. … La littérature anglaise nous rend ce qu'elle nous emprunte: depuis quelques années, un nombre prodigieux de romans anglais ont été publiés en France: Dickens et Thakeray [sic] sont presque aussi connus de ce côté-ci du détroit que de l'autre … en ce moment même, l'attention publique est éprouvée par un débordement de littérature britannique.
Réalisme and Kindred Words: Their Use as Terms of Literary Criticism in the First Half of the Nineteenth Century
Authors: Borgerhoff E. B. O. 
Published: February 2007

In the Intermédiaire des chercheurs et des curieux for April 10, 1876 (ix, cols. 196, 197) we read the following query by “Comte de Noverba” under the heading Réalisme:Je croyais que ce mot était de création très-récente, et qu'il avait pris naissance lorsque parurent les premiers romans de MM. Champfleury et Gustave Flaubert. C'est là une erreur; je le trouve employé dans le sens que nous lui attribuons aujourd'hui, dès le 8 Décembre 1835 par M. F. T. C. en plein Charivari. A propos d'un roman de M. Lottin de Laval [a writer of historical novels] l'auteur dit: “Entre le Scylla du réalisme et le Charybde de l'idéalisme, il sera bien difficile à son Robert le Magnifique de glisser sans encombre.” Ce néologisme a-t-il été employé avant la date que je viens de citer?
Racine's Andromaque: A Study of Source
Authors: Dagley Cynthia R. 
Published: February 2007

For the past two hundred years critics have been observing and commenting upon the resemblance of Racine's Andromaque to Corneille's Pertharite. It was in 1764 that the first vigorous assertion of this similarity was made:Il me paraît prouvé que Racine a puisé toute l'ordonnance de sa tragédie d‘Andromaque dans ce second acte de Pertharite. Dès la première scène vous voyez Edüige qui est avec son Garibalde précisément dans la même situation qu’ Hermione avec Oreste. Elle est abandonnée par un Grimoald comme Hermione par Pyrrhus; et si Grimoald aime sa prisonnière Rodelinde, Pyrrhus aime Andromaque, sa captive.
LXI. Burton, Ford, and Andromana
Authors: Ewing S. B. 
Published: February 2007

The late “Elizabethan” tragedy Andromana; or, The Merchant's Wife, probably written shortly after 1642 and first published in 1660, furnishes interesting evidence of the assimilation of certain material into the drama just as the Puritans were closing the London theatres. In its sources, in many of its ideas, in the way of presenting its problem, and in its mood, it reflects the influence of John Ford's studies of abnormal psychology, modelled on the case histories presented in Burton's Anatomy of Melancholy. The play allows a carefully documented study of this literary material and of the deepening interest in its dramatic presentation in that its story can be examined in three successive stages at three widely separated dates:In the generally acknowledged source, the Plangus story in Sidney's Arcadia (1590).In Beaumont and Fletcher's Cupid's Revenge (ca. 1611).In Andromana (after 1642).
Beowulf's Arm-Lock
Authors: Brown Calvin S. 
Published: February 2007

Many readers of Beowulf must have felt that its first climax, the fight with Grendel, is something of a disappointment. Klaeber's notes mention some of the faults when they say that this passage is
Partly excellent, vigorous narrative—yet the story is very much interrupted by interspersed general reflections on the situation and by remarks on the persons' thoughts and emotions, which greatly lengthen it and detract from its effectiveness. The corresponding combat of Grettir … is a good deal shorter, and also more direct and realistic.
A Probable Addition to the Thackeray Canon
Authors: Pacey W. C. Desmond 
Published: February 2007

In the manuscript diary of Evert A. Duyckinck, under the date April 16, 1844, there occurs the following entry:I called upon Wikoff and was well satisfied with the further statement of his plans for the Republic. It is to publish a well filled judicious paper on the London standard. He has made the most liberal arrangements for reporters, correspondence, at home and abroad. Thackeray, for instance—Fitzboodle, Titmarsh etc. of Fraser—is his Paris correspondent.I called upon Wikoff and was well satisfied with the further statement of his plans for the Republic. It is to publish a well filled judicious paper on the London standard. He has made the most liberal arrangements for reporters, correspondence, at home and abroad. Thackeray, for instance—Fitzboodle, Titmarsh etc. of Fraser—is his Paris correspondent.
Du Bellay and Hellenic Poetry a Cursory View
Authors: Silver Isidore 
Published: February 2007

Du Bellay had a very fair grasp of the significance of choreography in ancient Greek poetry. In his Hymne de la Santé,“ addressed to Robert de La Haye upon the latter's recovery from a severe illness, he tells us that when Death had beckoned to his friend with her pale hand, the laurel had bowed her tresses by the riverside, and the fountain of Hippocrene had ceased to flow—N'oyant plus la voix sacree, Qui agreeAux boys, qui sont tousjours verds,Et la nombreuse cadance De la danseQui s'animoit soubs tes vers.
An Hypothesis Concerning the Origin of the Bad Quartos
Authors: Kirschbaum Leo 
Published: February 2007

In “To the great Variety of Readers” in the First Folio of Shakespeare, Heminge and Condell wrote:where (before) you were abus'd with diuerse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of inuirious impostors, that expos'd them: euen those, are now offer'd to your view cur'd, and perfect of their limbes …
Francis Bacon's Essay Of Beauty
Authors: McMahon A. Philip 
Published: February 2007

While Bacon's Essays have enjoyed popularity for centuries, it does not appear that Essay xliii, “of Beauty,” has received the attention it deserves, to determine, if possible, its proper interpretation. The aim of this paper is to clarify its meaning through close examination of the sources.The Essay, “Of Beauty,” was not contained in the first version of the Essays published in 1597, and it appeared originally in the second, of 1612; the third and final English edition of 1625 included several important additions which will be discussed below. After the publication of 1612, spurious editions by Jaggard in 1612, 1613, and 1624 included “Of Beauty,” while the Italian translations of 1618 and 1621, the French of 1619 and 1621, made it available to continental readers before the Rawley Latin publication of 1638. Although Rawley's edition omitted two of the Essays, De Pulchritudine was number xli in that issue.
Milton on Learning and Wisdom
Authors: Samuel Irene 
Published: February 2007

The longer I live, the more I am satisfied of two things: first, that the truest lives are those that are cut rose-diamond fashion, with many facets answering to the many-planed aspects to the world about them; secondly, that society is always trying in some way or other to grind us down to a single flat surface. … People who honestly mean to be true really contradict themselves much more rarely than those who try to be “consistent.” But a great many things we say can be made to appear contradictory, simply because they are partial views of a truth, and many often look unlike at first, as a front view of a face and its profile often do.—Holmes, The Professor at the Breakfast-TableThe rose-diamond cut of Milton's thought often disconcerts his reader, but perhaps nowhere so completely as in his views on learning. After the high enthusiasm for unrestricted inquiry, after all the “intent study” which he took as his own “portion in life”, in Paradise Lost and Paradise Regained, the ripe products of his learning, he gives to Raphael, Michael, and Jesus speeches that seem a wholesale repudiation of studies of all sorts. The three passages are too well known to quote. In the first (P.L., viii, 66–178)1 Raphael disparages Adam's inquiries about astronomy, but answers them, and then comments, “Solicit not thy thoughts with matters hid.” In the second (P.L., XII, 575–587) Michael commends Adam for the inference he has drawn from his preview of universal history (that “to obey is best, / And love with fear the only God”), and admonishes him, “This having learnt, thou hast attain'd the sum / Of wisdom; hope no higher.” In the third (P.R., iv, 286–364) Jesus spurns Satan's offer of Greek learning, with an analysis of the defects of Greek philosophy and literature and a thrust at learning in general: “Many books / Wise men have said are wearisome.”
Tennyson's Hail, Briton! and Tithon in the Heath Manuscript
Authors: Donahue Mary Joan 
Published: February 2007

The two following essays are separate studies joined by a common source. The unpublished Tennyson poems, Hail, Briton! and Tithon, are taken from the Heath MS. at the Fitzwilliam Museum in Cambridge, England.John Moore Heath was a college friend of Tennyson, a member, like him, of the Cambridge Apostles group. During the years of his closest friendship with Tennyson, 1883–35, Heath was an assistant tutor of Trinity College. The two men met there and corresponded often; at the same time they were both associated with other members of the old Cambridge group. Like most of these literati of the 1830's, Heath kept a Commonplace Book in which he laboriously and faithfully copied out the work of his friends, Arthur Hallam, Richard Trench, William Donne, Frederick, Septimus, Edward, and Alfred Tennyson. The flyleaf of his MS book Heath inscribed with the date September 24, 1832, clearly the } time at which he began to record the poetry. The Tennyson entries, however, he certainly made later, most of them in 1833, probably all within the limit 1835.
Hamlet's “God Kissing Carrion”: A Theory of the Generation of Life
Authors: Hankins John E. 
Published: February 2007

In the Quarto and Folio versions of Hamlet, Act ii, Sc. ii, occurs the following bit of byplay during Hamlet's conversation with Polonius:
“For if the sun breed maggots in a dead dog, being a good kissing carrion—Have you a daughter?” “I have, my lord.”“Let her not walk in the sun. Conception is a blessing, but not as your daughter may conceive.”
Hamlet as Minister and Scourge
Authors: Bowers Fredson 
Published: February 2007

When hamlet is first preparing to leave his mother's chamber after harrowing her to repentance, he turns to the dead Polonius:For this same lord,I do repent; but heaven hath pleas'd it so,To punish me with this, and this with me,That I must be their scourge and minister.I will bestow him, and will answer wellThe death I gave him. (III.iv.172-177)
The Appeal of Dryden's Heroic Plays
Authors: Fujimura Thomas H. 
Published: February 2007

The restoration theatrical audience was dominantly skeptical and naturalistic in temper. Yet for over ten years this audience patronized the heroic plays of Dryden and contributed to their popularity. This anomaly has long puzzled scholars; and typically, Allardyce Nicoll remarks: “This heroic tragedy is obviously a thing entirely apart from the comedy of gay licentious manners. With its flaunting honour and its impossibly idealistic love passions it seems indeed so far away both from that comedy and from social life as we have seen it displayed in the theatre that it would appear impossible to find any link between them.” Like most other critics, Nicoll offers an unsatisfactory explanation of this anomaly:The audiences were no longer noble in temper, and consequently the heroic tragedy, removed a further stage from the actual, may be regarded as the true child of the enervation that had come over England. The age was debilitated: it was distinctly unheroic: and yet it was not so cynical as to throw over entirely the inculcation of heroism. To present, however, heroism in real-life plays would have raised too sharp a distinction between what was and what might have been, and accordingly in the heroic tragedy heroism is cast out of the world altogether and carried to an Eastern or an antique realm of exaggerated emotions, mythical and hopelessly ideal. The heroic play is like a Tale of a Land of No-where. (p. 88)
Samuel Beckett Self-Translator
Authors: Cohn Ruby 
Published: February 2007

The artist has acquired his text: the artisan translates it. “The duty and the task of a writer (not an artist, a writer) are those of a translator.”In Parentheses, Beckett distinguishes between the artist and the writer; the artist seeks his text within himself, and the artisan translates it, transmits it to the world. To translate—in its more usual meaning, Dr. Johnson's “to change into another language retaining the sense”—has been Beckett's method of improving his own artisanat. In the very essay from which the quotation on translation is excerpted, Beckett rendered into English passages from Proust's texts, while waiting to “acquire” his own.
Earth the Shadow of Heaven: Typological Symbolism in Paradise Lost
Authors: Madsen William G. 
Published: February 2007

what surmounts the reachOf human sense, I shall delineate so,By lik'ning spiritual to corporal forms,As may express them best, though what if EarthBe but the shadow of Heav'n, and things thereinEach to other like, more than on Earth is thought?—Paradise Lost, v. 571-576In prefacing his account of the war in heaven with these words, Raphael is saying that it will be not allegorical or merely metaphoric, but analogical; that although he will have to use the language of accommodation in order to convey his meaning at all, still there may be (he puts the statement in a subordinate clause and in the interrogative mood) a relationship between earth and heaven, between the physical and the spiritual, which is inherent in the nature of things. After Raphael finishes his narrative, Adam denies that earth is the shadow of heaven:Great things, and full of wonder in our ears,Far differing from this World, thou hast revcal'dDivine Interpreter… (VII. 70-72)
De Quincey's Revisions in the “Dream-Fugue”
Authors: Byrns Richard H. 
Published: February 2007

The revisions that a writer makes in a work often reveal his method of composition and thus add to our knowledge of his creative process. In an effort to increase our understanding of the creative practices of De Quincey, I have undertaken an analysis of the revisions that he made in the “Dream-Fugue.”There are extant three different, but incomplete, versions of the “Dream-Fugue.” These are: (1) The manuscript submitted to Blackwood's Magazine in 1849, now in possession of the National Library of Scotland, Edinburgh. The manuscript, which contains all except a portion of the last paragraph of the first four parts of the article, is a holograph and thus shows the revisions that De Quincey made while preparing the work. (2) The article as it appeared in Blackwood's Magazine in December 1849, being printed apparently from the holograph. (3) The article as it was published in the Author's Edition in 1854, showing the revisions De Quincey made in the magazine version when he included it as part of his collected works. In addition to these versions which are of some length, we have a fragment of three paragraphs found among De Quincey's papers after his death and published in 1891 by A.H. Japp in The Posthumous Works of De Quincey. Thus, we have four documents containing all or portions of the “Dream-Fugue,” with the holograph showing the most changes and therefore being the most useful in determining the author's pattern of revision.
Ruskin in French Criticism: A Possible Reappraisal
Authors: Curtin Frank D. 
Published: February 2007

Ruskin is no longer a controversial figure. Most contemporary critics, of art, of society, of literature, ignore him.Ruskin's own weaknesses are responsible for much of this neglect—not least the flood of words which overflows the thirty-nine volumes of Cook and Wedderburn. No single volume, not even Unto This Last nor Praeterita, can be recommended without qualification, nor any single phase of Ruskin's work. His art judgments are often arrogantly inept, as toward Claude and Whistler and Renaissance architecture; his aesthetics is contradictory, homiletic; his social criticism is sometimes antiquarian, proposing quixotic reforms. The fervors of Ruskin's style offend current taste, with our preference for tight, flat, and uncommitted exposition.
Fielding and Richardson
Authors: Park William 
Published: February 2007

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.