bluuebunny/crossref_metadata_2025_split huggingface dataset:
Rilkes Cornet
Authors: Wittmer Felix 
Published: February 2007

Poesie und Prosa sind derart aufeinander angewiesen, dass sie sich zwar zeitweise voneinander entfernen und, wie zwei Arme eines Flusses, das Wasser sich abgraben können, dann aber immer wieder in Vereinigungen und neuen Verflechtungen sich gegenseitig stärken.Deuten Rilkes Werke, da seiner Persönlichkeit entsprechend, aus ihr sprechend, sie aussprechend, im Zusammenhang, auf sein Wesen und seine Entwicklung hin, so kann der Cornet am ehesten gesondert, als “Dichtung an sich” verstanden werden. Diese schon 1899 geschriebene Weise mag, wie Heygrodt2 vermutet, nicht lange vor ihrem Ersterscheinen, 1906, als Rilke sein Buch der Bilder schrieb, endgiltige Gestalt erfahren haben. Friedrich von Oppeln-Bronikowski hat in seiner (damals fördernden) Arbeit3 auf den Cornet, da er im nämlichen Jahre erschien, wohl nicht mehr einzugehen vermocht. Fritz Strich aber, der den Weg des Gottsuchers und—künders darstellt, hat dieses am meisten entpersönlichten Werks am ehesten entraten zu können geglaubt.4 Vielleicht auch schenkte er ihm keine Beachtung, weil ihm der Rilke der Neuen Gedichte, Anderer Teil und des Buchs der Bilder am fernsten steht. Stellt er doch den “russischen” Rilke, der durch Tolstoi sein Selbst gefunden, als Typus dem “westlichen” George gegenüber, glaubt er doch, erst in den Sonetten an Orpheus und in den Duineser Elegien sei die Gefahr des Aesthetizismus überwunden.
Albrecht von Haller and English Theology
Authors: Price Lawrence Marsden 
Published: February 2007

The philosophical poems that Haller wrote during the years 1729-1734 helped to mark a turning toward a better way in German poetry. In the preface to the fourth edition of these poems (1748) he wrote:Ich hatte indessen die englischen Dichter mir bekannter gemacht und von denselben die Liebe zum Denken, und den Vorzug der schweren Dichtkunst angenommen. Die philosophischen Dichter, deren Grösse ich bewunderte, verdrangen bald bey mir das geblähte und aufgedunsene Wesen des Lohensteins, der auf Metaphoren wie auf leichten Blasen schwimmt.
Shadwell and the Virtuosi
Authors: Lloyd Claude 
Published: February 2007

On may 30, 1667, Samuel Pepys attended a meeting of the Royal Society at Arundell House where he found “much company, indeed very much company, in expectation of the Duchesse of Newcastle, who had been desired to be invited to the Society; and was, after much debate, pro and con., it seems many being against it; and we do believe,” he observes, “the town will be full of ballads of it.” Thomas Sprat, in his history of the Society published the same year, after pointing out to “Wits and Railleurs” that experimental science will afford them new material for their “wit” and fancy, declares:I acknowledge that we ought to have a great dread of their power: I confess I believe that New Philosophy need not (as Caesar) fear the pale, or the melancholy, as much as the humorous, and the merry: For they perhaps by making it ridiculous, becaus it is new, and becaus they themselves are unwilling to take pains about it, may do it more injury than all the arguments of our severe and frowning and dogmatical Adversaries.
Attila's and Beowulf's Funeral
Authors: Klaeber Fr. 
Published: February 2007

By way of caution a sub-title should be added: “A Set of Questions”—questions, that is, to which I do not presume to return a positive answer.The classical parallels (Vergil, Homer) of Beowulf's obsequies as well as the Jordanes parallel are well known to students of Old English literature (cf. Klaeber's edition, pp. 209, 213, 216). It is especially the latter which has commonly been considered of very great value as illustrating the authentic character of the notable closing scene of Beowulf. “The accuracy [of the Beowulfian funeral],” says Chadwick1—to cite an English authority—“is confirmed in every point by archeological or contemporary literary evidence. We may refer especially to the account of Attila's funeral given by Jordanes.” Again, “the agreement between the two versions could not possibly be greater; here [i.e., in the recital of Attila's obsequies] everything is Germanic”—this was the verdict of Kögel,2 who regarded that 49th chapter of Jordanes' history3 as a most precious source of information on ancient Germanic poetry. It is true, certain differences between the sixth century and the eighth century version did not escape observation, as may be seen from Chambers' Introduction to Beowulf, p. 124, or from Klaeber's Edition, p. 216. But it remained for Edward Schröder's incisive article (ZfdA. LIX, 240-44) to aim a deadly blow at the famous account of Attila's funeral as currently interpreted.
Hrethric
Authors: Malone Kemp 
Published: February 2007

Two minor characters in Beowulf are Hreðric and Hroðmund, the young sons of the aged Danish king Hroðgar. The English poet represents the two princes as mere boys, too young to do anything. Yet they are not introduced simply to complete the picture of the royal household. On the contrary, they are the central and unifying figures in an episode so fraught with pity and terror that even now, after twelve centuries, we read and are deeply moved. Let us examine this episode, and see, if we can, what the poet was about.The night before, Beowulf had put Grendel to flight, and all day the Danes have been celebrating his victory. The celebration ends with a feast in Heorot. The poet exclaims over the feasters: “I never heard of a people with a greater band of men, a finer array around their lord” (1011 f.). But the picture of such peace and happiness has for the poet and his hearers a tragic irony, for they know it will be short-lived.
Milton and Marston
Authors: Damon S. Foster 
Published: February 2007

A possible source for the opening lines of L'Allegro, apparently unnoted hitherto, is to be found in the opening lines of the last satire in John Marston's Scourge of Villanie:Sleep grim Reproofe, my iocond Muse doth singIn other keyes, to nimbler fingering.Dull sprighted Melancholy, leaue my braineTo hell Cimerian night, in liuely vaineI striue to paint, then hence all darke intentAnd sullen frownes, come sporting meriment,Cheeke dimpling laughter, crowne my very souleWith iouisance, whilst mirthfull iests controuleThe goutie humours of these pride-swolne dayes,Which I doe long vntill my pen displaies.0 I am great with mirth, some midwifrie,Or I shall breake my sides at vanitie.Roome for a capering mouth, whose lips nere stur,But in discoursing of the gracefull slur:Who euer heard spruce skipping CurioEre prate of ought, but of the whirle on toe
Milton and the Epic Subject from British History
Authors: Jones Putnam Fennell 
Published: February 2007

Scholars have explained why Milton chose Paradise Lost as the subject for his great epic, but they have not directly considered his reasons for giving up his original plan of writing a heroic poem about the half-mythical figures of the Britons who preceded the Germanic tribes in England. Reasons may well be sought. Certainly the selective process consists not only in approving the good characteristics inhering in one alternative; it also recognizes the defects and disadvantages in the alternative which is rejected. It is my aim in the following pages to show that these negative considerations had their share in determining Milton to write “Of Man's first disobedience” rather than ofwhat resoundsIn fable or romance of Uther's son,Begirt with British and Armoric knights.
A Victorian Faust
Authors: McKillop Alan D. 
Published: February 2007

IIn 1833 a precocious seventeen-year-old boy, Philip James Bailey, came from Nottingham to London; and thus reached, in time and space, the very centre of the nascent Victorianism which he was destined so curiously to illustrate. Initiated by his father into liberal politics and theology, and by his own youthful reading into the spirit of romanticism, he set himself to writing endless verses that should be at once theology and romantic poetry. Bailey's Festus has been known to three generations of readers who have scarcely thought, perhaps, of the position of the work in literature or of the poet himself. The present paper is concerned with the poem Festus rather than with Philip James Bailey, although documents recently come to hand make it possible for us to follow his life in the thirties with some detail. And yet there is surprisingly little about London in Bailey's early letters. He did not, like Browning in the same decade, make his way into literary and theatrical circles; almost his only literary acquaintance seems to have been John Robertson, the editor who preserved himself like a fly in amber by telling Carlyle that “he meant to do Cromwell himself.” Although Bailey occasionally submitted his verses to the London editor as well as to his father, he seems not to have been open to suggestions.
Sur le Zadig de Voltaire; Quelques Influences Probables
Authors: Rovillain Eugène E. 
Published: February 2007

De nombreuses recherches ont été faites pour retrouver les sources des romans de Voltaire, recherches fructueuses en ce qui concerne Zadig.L'objet de ce travail n'est nullement de remonter à des sources
déjà mentionnées, mais bien d'indiquer des sources possibles, ou
plutôt des rapprochements de quelque intérêt, entre Ie Zadig de
Voltaire et certains ouvrages qui l'ont précédé. Dans les résumés
et paralléles que nous ferons de Zadig et de ces oeuvres, les expressions
en italiques seront tirées des auteurs mêmes.
Goethe in his Diaries
Authors: Schilling Hugo K. 
Published: February 2007

In casting about for a subject suited to this audience with its diverse if fundamentally related interests I regretted at first that I was not, like some of my distinguished predecessors, inspired with a message on some general educational, literary, or linguistic topic. A technical paper from my field of study was, of course, barred. But I thought of the warning of Faust that to reach human hearts one must speak from the heart:
Doch werdet ihr nie Herz zu Herzen schaffen,Wenn es euch nicht von Herzen geht.And I iisked myself what in all my study of Goethe had given me the most heartfelt joy, that innre Wrme, Seelenwrme, Mittelpunkt which he prized so highly; and in that respect I had to place the appreciation of Goethe the man even above that of Goethe the poet. Moreover, human interest has a universal appeal. So I chose for my subject the human Goethe, his personality as it appears net so much in his works as rather in the details of his life.
Wordsworth and Philosophy
Authors: Stallknecht Newton P. 
Published: February 2007

Suggestions Concerning the Source of the Poet's Doctrines and the Nature of His Mystical Experience“. . . . his eyesHave read the book of wisdom in the sun,And after dark deciphered it on earth“—E. A. RobinsonTo Call Wordsworth a great philosopher would, I suppose, if we put the word to its customary use, be extravagant. For he left the world no synthesis of doctrine that could be called his own. And yet his philosophy is a fascinating study, for although many may have understood with greater acuteness the numerous doctrines that appear in his poems, none could feel with an intensity greater than his, their human significance and value. Wordsworth's interests led him to demand more of philosophy than do most reflective men ; besides seeking a criterion of the good and probing into the problem of human freedom, he looked for an explanation of his own strange communion with Nature. Thus his philosophical life, proving as it did the source of some of the finest metaphysical and religious poetry in literature, was a deep and a rich one. It led him to absorb the teachings of many thinkers and to incorporate their doctrines in his poems.
References to the Law in Piers the Plowman
Authors: Kirk Rudolf 
Published: February 2007

It is well known that whoever wrote Piers the Plowman felt bitterly against the administration of the law in his day and never tired of railing against lawyers, but what has not been pointed out is that the references to the law which occur in the three texts of this poem reveal a significant increase in legal knowledge from the A-text to the later texts. Throughout the three texts William scorns the attendants of the courts as a class and arraigns the legal system for its cruelty, its injustice, and its gross favoritism towards the rich. Meed and False use as horses for their trip to Westminster a sheriff and a juryman; jurors, sumners, sheriffs, pleaders of the court of arches, over which the archbishop of Canterbury presided, all run about Meed when she arrives at Westminster; and William warns judges and others to consider what they do, for the Day of Doom will find them out. But William is perhaps most severe when he declares of the sergeants of the law:pow mihtest beter meten pe myst Ŀ on Maluerne hulles,pen geten a Mom of heore moup Ŀ til moneye weore schewed.
The Chapter-Tags in the Waverley Novels
Authors: Haber Tom B. 
Published: February 2007

When Sir Walter Scott, with his friend and publisher John Ballantyne at his shoulder, was adding his chapter-tags to the proofsheets of his third novel, The Antiquary (1816), he came to a halt at one chapter for which he wanted some lines from Beaumont and Fletcher. Ballantyne undertook the task of finding the passage. Awaiting for some time the discovery of the verses he wished, Scott at length exclaimed, “Hang it, Johnnie, I believe I can make a motto sooner than you will find one.” He did so, and thus began his habit of calling upon his invention when memory failed, producing throughout the remainder of the Waverley Novels numerous chapter-headings ascribed “Anonymous,” “Old Play,” etc., which Lockhart calls “some of the most exquisite verses that ever flowed from his pen.” Of “Old Play” captions there are 94; “Old Ballad” 26—mostly Scott's free-hand alterations; “Old Song” 12; “Anonymous” 29; and unsigned mottoes 10. One of the best of the “Old Play” fabrications occurs at the head of chapter xxix of Anne of Geierstein, describing the good king René of Provence;—in reality, it may be called Scott's own epitaph:A mirthful man he was—the snows of ageFell, but they did not chill him. GaietyEven in life's closing touched his teeming brainWith such wild visions as the setting sunRaises in front of some hoar glacier,Painting the bleak ice with a thousand hues.—Old Play
Hugo's Pleine Mer and the “Great Eastern”
Authors: Gifford G. H. 
Published: February 2007

The poem Vingtième Siècle (Pleine Mer—Plein Ciel) forms the climax of the Légende des Siècles, and presents in mythical form a picture of man's ascent through science, out of a state of ignorance, slavery and hatred, into one of enlightenment, freedom and brotherly love. Hugo typifies the idyllic future by an air-ship, (Plein Ciel), the sombre past and present by the colossal steamship “Léviathan,” (Pleine Mer). The same idea, of the deliverance of man through science, had found expression in Le Satyre; but there locomotive, steamer, and airship were equally honored as factors and symbols of man's emancipation, one leading up to and merging into the other. The invention of the steamship was specifically celebrated in the lines:Qui sait si quelque jour, grandissant d'âge en âge,Il ne jettera pas son dragon à la nage,Et ne franchira pas les mers, la flamme au front! (ll. 611–613)
Chaucer's Source MSS. For the Clerkes Tale
Authors: Severs J. Burke 
Published: February 2007

There are few of Chaucer's works for which the principal source has been so definitely pointed out as for the Clerkes Tale. Chaucer borrowed it from a Latin prose tale by Petrarch, who in turn had it from the tenth story of the tenth day out of Boccaccio's Decameron. Petrarch's Latin, which is Chaucer's source then, has been made easily accessible to everyone by the Chaucer Society, who published it in Originals and Analogues. Unfortunately, however, the Chaucer Society took their text from the Basle edition, which is notorious for its inaccuracy and inexcusable corruptness in reading after reading. For a long time, therefore, Chaucer scholars have felt the need for a reliable text of Petrarch's Latin tale. Professor G. L. Hendrickson, to whom credit is due for correctly inferring a number of necessary emendations in the text, has this to say after one such emendation:Of course, nothing can be done in problems of this sort until we have a thorough collation of the Petrarch MSS. containing the story, and I have touched upon this one point, somewhat rashly I know, merely for the sake of indicating by a concrete illustration a most imperative prerequisite to any intelligent study of Chaucer's relation to Petrarch—a critical text of Petrarch's tale.
Shakespeare's Attitude Towards Love and Honor in Troilus and Cressida
Authors: Taylor George C. 
Published: February 2007

In a series of discussions of the problem of Shakespeare's Troilus and Cressida, published between 1915 and 1917, Professors Tatlock, Lawrence, and Rollins, applying essentially the same critical method, argued that since the bulk of the material in this play had become fixed by tradition, Shakespeare found himself compelled to treat it as he did. Rollins quotes with approval the following statement by Tatlock:Shakespeare came to the material of this play, then, precisely as he came to that of the English historical plays, finding incidents and characters largely fixed beforehand, and too intractable to be greatly modified, even had he wished to modify them.
Balzac and Sainte-Beuve
Authors: Jackson Joseph F. 
Published: February 2007

So many false and misleading statements concerning the historic literary feud between Balzac and Sainte-Beuve have found acceptance that it seems important to reopen the question in an attempt to arrive at the real facts.There are three well-known documents in the quarrel: first, Sainte-Beuve's criticism of Balzac in the Revue des Deux Mondes of November 15, 1834; second, Balzac's review of the first volume of Port-Royal, appearing in his Revue parisienne of August 25, 1840, and, lastly, Sainte-Beuve's tempered eulogy of Balzac in the Constitutionnel, September 2, 1850, shortly after the novelist's death. But these represent only a few aspects of a drama which, it must be admitted, at times bordered on the burlesque, and which is complicated by a number of apparently extraneous factors.
LXV. The Authorship of the Anonymous Life of Milton
Authors: Parsons Edward S. 
Published: February 2007

The conviction of Miss Helen Darbishire, to which she has given expression in the Appendix to The Manuscript of Paradise Lost, Book I, and later in Early Lives of Milton (xvi-xxvii), that the anonymous Life of Milton was the work of John Phillips, the poet's nephew, is so strong that, after having stated it and given her reasons therefore, she uses the suggested authorship as a certainty in the title she gives to the Life and elsewhere throughout the Early Lives of Milton. Her argument is two-fold:1. In a manuscript of John Phillips's poem, “A Satyr against Hypocrites,” is “a page and a half of Dedication signed by John Phillips. This dedication “written in a formal Italian hand,” she believes to be his. She also believes that certain marginal notes and textual corrections are in his hand. Comparing these specimens of what she believes to be John Phillips's handwriting with the handwriting of the anonymous Life, she “was struck at once by the similarity of the handwriting” in the two manuscripts.
Another Interpretation of Muiopotmos
Authors: Rathborne Isabel E. 
Published: February 2007

Spenser's Muiopotmos has provoked much ingenious speculation, but no general agreement as to its meaning has been reached. One school of critics in fact warns us against seeking too precise a meaning. Selincourt in the one-volume Oxford edition of Spenser's Works, says:It is surely a mistake to read into this delicious jeu d'esprit a moral or satirical intention. For once Spenser was not sage and serious, but simply a poet, spinning for sheer delight in his craft a web of verse as delicate as Arachne's.
Margaret Fuller and Ralph Waldo Emerson
Authors: Warfel Harry R. 
Published: February 2007

Yesterday Margaret Fuller returned home after making us a visit of three weeks,“ Emerson noted in his Journal on August 12, 1836. To this brief statement of fact he added these few words of characterization: ”A very accomplished and very intelligent person.“ She had sought for two years to make Emerson's acquaintance. On October 6, 1834, she had written that the Rev. Frederick Henry Hedgespoke with due admiration of the Rev. W. Emerson, that only clergyman of all possible clergymen, who eludes my acquaintance. Mais n'imparte. I keep his image bright before my mind.
Nicholas Bishop, an Exemplar of the Oxford Dialect of the Fifteenth Century
Authors: Meech Sanford B. 
Published: February 2007

Nicholas Bishop was a well-to-do brewer of Oxford. As he tells us in the first passage printed below, he was the son of a citizen of that place, Bartholomew Bishop, and of his wife, Isabelle, the daughter and heir of Walter Gregory of Watford. He was a litigious man. In furtherance of his actions at law, he compiled with his own hand a volume of annotated transcripts of deeds from various sources, now Cambridge University MS. Dd. xiv. 2. This volume, although mainly in Latin, contains some very interesting specimens of Oxford English, namely: two passages concerning a litigation of Bishop's with the Abbot of Oseney, a version of the Short Metrical Chronicle made to conform more or less to Bishop's dialect, and a series of historical notes following it, presumably composed by him. A note in the manuscript gives its date:Memorandum quod in Vigilio Sancti Martini in Anno domini MoCCCCmoxxxij: Anno que rregni henrici vjti Istud librum primitus fuit ffinitum. per Nicholaum Bysshop de Oxon “filium & heredem Bartholomei Bysshopp.”
The Quixote of Contemporary Spain: Miguel de Unamuno
Authors: Balseiro José A. 
Published: February 2007

In his essay on Hamlet and Don Quixote, Ivan Tourguéniev stated that no man aspires to be called a Quixote. The Russian novelist did not presurmise the dream of Miguel de Unamuno. If the Knight-Errant makes clear that his duty binds him to protect the weak, relieve the oppressed, and punish the bad, Unamuno accepts and practices his creed. But Unamuno, being by far more quixotic, than Cervantes, interprets the psychology of his hero, adapting it to his own way of feeling and thinking. In his work Del sentimiento trágico de la vida, he says, in relation to another of his masterpieces, Vida de Don Quijote y Sancho:Escribí aquel libro para repensar el Quijote contra cervantistas y eruditos, para hacer obra de vida de lo que era y sigue siendo para los más letra muerta. ¿Qué me importa lo que Cervantes quiso o no quiso poner allí y lo que realmente puso? Lo vivo es lo que yo allí descubro, pusiéralo o no Cervantes, lo que yo allí pongo y sobrepongo y sotopongo, y lo que ponemos allí todos. Quise allí rastrear nuestra filosofía.
XLVII. Exemplum Materials Underlying Macbeth
Authors: Brown Beatrice Daw 
Published: February 2007

Of Shakespeare's awareness of the living currents of literature about him, the late Sir Walter Raleigh had this to say:His plays are extraordinarily rich in the floating débris of popular literature—scraps, tags and broken ends of a whole world of songs and ballads and romances and proverbs. In this respect he is notable even among his contemporaries; few of them can match him in the wealth that he caught out of the air or picked up by the roadside.
Nietzsche, Heine und das 19. Jahrhundert
Authors: Coutinho Arno Carl 
Published: February 2007

Nietzsche und Heine sind eins in der Kritik an der Dekadenz des 19. Jahrhunderts und in der Liebe zur grossen Persönlichkeit:Der Gleiche erkennt den Gleichen. Es ist nachzuweisen, wie alie grosse literarische Einsicht wieder auf die grossen verwandten Ingenien zurückgeht: was einen schönen Beweis für die Erbärmlichkeit des gemeinen Intellekts abgabe. Er kann keine grossen Werke schaffen, ja, er kann sie nicht einmal herauskennen. Der grosse Kanon der Klassiker ist von den Klassikern gebildet.—Nietzsche, Jugendschriften, S. 245.