bluuebunny/crossref_metadata_2025_split huggingface dataset:
Thomson and Voltaire's Socrate
Authors: Davis Rose Mary 
Published: February 2007

Scholarly biographers of James Thomson have shown a tendency to credit the statements made by Voltaire in the Preface to his tragedy, Socrate, which he represented to be a translation of an English original by Thomson given to the supposed translator, one “Mr. Fatema,” by “Mr. Littleton” when the latter was on a visit to Holland. Morel attempted to identify this play with a tragedy which was undertaken by Thomson in 1731: “Il se pourrait bien que ce fût cette même tragédie de ‘Socrate’ dont Rundle lui avait inspiré l'idée, et que plus tard d'autres amis, Mr. Pitt …, Mr. Lyttelton et Gilbert West lui conseillèrent d'abandonner.” Macaulay believes that Socrate was the drama “suggested by Mrs. Sandys” which Thomson referred to in a letter to Rundle in December, 1736. He admits that Voltaire's preface is a “piece of mystification”; but adds:it does not follow that all the statements made in it are untrue, and we know that Voltaire was in correspondence with Lyttelton shortly after Thomson's death.
Percy's Essay “On the Ancient Metrical Romances”
Authors: Dennis Leah 
Published: February 2007

The essay “On the Ancient Metrical Romances,” introduced into the third volume of Percy's Reliques of Ancient English Poetry (1765), is an important landmark in the modern revival of interest in the medieval romances. Through the earlier part of the eighteenth century the infrequent comments on the romances had been incidental to something else (chivalry, for a conspicuous example) or had been concerned with theories, chiefly of origin, based on very little evidence. Of the romances themselves, little was known, but they were generally considered barbarous, uncultivated, and infantile. But in Percy's essay the subject is treated with some attempt at completeness, and includes not merely theories about their origin (though these are present) but a discussion of the romances themselves. Upon scrutiny, Percy's knowledge of the subject is found to be large, much larger than has been generally suspected, and toward the material he is seen to display a hesitating and diffident enthusiasm manifestly held in check by the disapproval of the current taste. A summary of his essay follows:The purpose of primitive poetry (according to Percy) was at first to record the valiant deeds and the genealogies of the race heroes; but as letters began to prevail, the bards gave over their historical function and devoted themselves to entertainment. From these songs of the Gothic bards are derived the romances of chivalry, which existed in their elements among the Teutonic peoples long before the days of the Crusades. Though romances first developed in France, the English had a native taste for this type of fiction, and there is reason to believe that they had romances of their own without French originals. These old romances throw light on the manners of the time and often have poetic merit. The publication of a judicious collection of them would thus be desirable. Our classical poets—Chaucer, Shakespeare, Spenser—abound in allusions that are understood only by a knowledge of romances. To illustrate these points Percy quotes a passage from Richard Cure de Lyon that explains an allusion in King John, and gives a detailed abstract of Libius Disconius, one of the romances found in his manuscript. A catalogue of such romances as he knows to be extant closes the essay.
Wordsworth's “Lucy” Poems: Notes and Marginalia
Authors: Hartman Herbert 
Published: February 2007

Because of their later apportionment among “Poems founded on the Affections” and “Poems of the Imagination” Wordsworth's “Lucy” lyrics are usually grouped as follows:I. “Strange fits of passion have I known”II. “She dwelt among the untrodden ways”III. “I travelled among unknown men”IV. “Three years she grew in sun and shower”V. “A slumber did my spirit seal”
Wordsworth as the Prototype of the Poet in Shelley's Alastor
Authors: Mueschke Paul , Griggs Earl L. 
Published: February 2007

From the notice in the Monthly Review in 1816 to the most recent investigations Alastor has remained an enigma to Shelley's critics. A century of criticism has done little to throw light on the mystery. The contemporary notice in the Monthly Review attributes the confusion of Alastor to the influence of Wordsworth:We must candidly own that these poems are beyond our comprehension; and we did not obtain a clew to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste.
II. Old French Mangon, Anglo-Saxon Mancus, Late Latin Mancussus, Mancosus, Mancessus, etc.
Authors: Holmes Urban T. 
Published: February 2007

These terms all indicate a monetary unit of uncertain value and obscure origin, but Du Cange is doubtless correct in assuming that the French, Anglo-Saxon, and Latin forms are related. The earliest occurrence of mancus (or mances) in England dates from 848; the Latin mancus is found on the Continent as early as 814. The authorities are agreed that the Anglo-Saxon form came to Britain from the Continent. For me the main point of interest in this discussion is Old French mangon, best known through its first occurrence—in the Chanson de Roland:Tenez m'espee, meillur nen at nuls horn,Entre les helz ad plus de mil manguns.Godefroy defines it as a “sorte de monnaie d'or: il fallait deux besantz pour faireun mangon.” This estimate of value was certainly taken from the fabliau of Guillaume au Faucon:Dist la dame, “Or avez faucon;Deux besans va'ent un mangon.”
Dickens and the Evolution of Caricature
Authors: Davis Earle R. 
Published: February 2007

Out of the pages of Pickwick step many of Dickens's funniest eccentrics. Characters with mannerisms and tags of speech parade through the novel, illustrating a distinctive style of characterization which is usually labelled caricature in every novel he writes later. How and why did he begin this style? Much light can be thrown upon his early narrative development by a study of Mr. Jingle, the character which has one of the most extreme of all Dickens's uses of eccentric mannerism—a rapid-fire, staccato habit of speech. Furthermore, an unbelievable anecdote usually constitutes the subject-matter of Mr. Jingle's remarks, as:Don Bolaro Fizzgig—Grandee—only daughter—Donna Christina—splendid creature—loved me to distraction—jealous father—high-souled creature—handsome Englishman—Donna Christina in despair—prussic acid—stomach pump in my portmanteau—operation performed—old Bolaro in ecstasies—consent to our union—join hands and floods of tears—romantic story—very.
Paleographical Edition of an Old Portuguese Version of the Rule of Saint Bernard (Codex Alcobacensis 200)
Authors: Carter Henry Hare 
Published: February 2007

In an edition of a portion of Codex Alcobacensis 200 [ff. 195 Ro. to 219 Vo.] it was pointed out that the codex, no part of which had been edited before, is one of the oldest Portuguese manuscripts in the Alcobaça collection. It is described in part by Anselmo as follows: “Pergaminho.—277×204—[222 fl.];. . . recl. no firn de cada cad. de 10 fl.—leira gótica do séc. XV.—rubr.; iniciais a verm. e azul, filigranadas.” Burnam ascribes it to the fourteenth century and describes it as follows:Ce ms. consiste en 212 ff. de parchemin, plus un f. de papier préliminaire, où se trouve le titre de l'ouvrage. L'écriture est à longues lignes, avec fleurons, lettres initiales rouges et bleues en alternative; le ms. est sans traits d'union ni titre courant. Presque tous les cahiers contiennent dix ff.; une fois il y en a six, deux fois huit, tous fournis de réclames, sauf le dernier.
Tendances De Coupe Syllabique En Français
Authors: Delattre Pierre 
Published: February 2007

Nous ne nous occuperons, dans cet article, que des groupes intervocaliques de deux consonnes (exemple: aspect).La structure syllabique n'est pas quelque chose d'absolument fixe en franjais, dit M. Gougenheim en se plaant du point de vue phonologique. Il va de soi que ce manque de fixit s'attribue aussi bien la coupe syllabique. On ne s'tonnera done pas de ce que les traits qui ont affaire avec la description phontique du franais vitent parfois ce sujet et que ceux qui en parlent soient rarement d'accord. Nous n'avons pas la prtention de trancher dfinitivement la question mais simplement d'tablir les tendances les plus apparentes de coupe syllabique en franais moderne. Dans ce but, nous avons relev des exemples de tous les groupes intervocaliques de deux consonnes qui peuvent se trouver dans la langue franjaise et nous les avons assembls dans le tableau I qui suit.
XLIV. Hamlet and the Mouse-Trap
Authors: Lawrence William Witherle 
Published: February 2007

Ils disputèrent quinze jours de suite, et, au bout de quinze jours, ils étaient aussi avancés que le premier; mais enfin ils parlaient, ils se communiquaient des idées, ils se consolaient.—Candide.Some twenty years ago, in an analysis of the Play-Scene, I remarked that it was extraordinary that so important a part of Hamlet had received so little attention. Oddly enough, interest in this scene was just beginning in good earnest, and much important criticism and lively controversy have followed in the intervening years. We might hope, then, that at the present day we should be clearer in our minds, and that the scholar, the actor, the stage-manager, and the “general reader” would now be happily in accord.
XLV. Notes on Ben Jonson's English
Authors: Neumann Joshua H. 
Published: February 2007

In a well-known passage in the Essay on Dramatic Poesy (1668), Dryden, pursuing his critical “examen” of The Silent Woman, tempers his extravagant praise of Ben Jonson's dramatic skill with serious criticism of his language.If there is any fault in his language, ‘twas that he weaved it too closely and laboriously in his comedies especially; perhaps, too, he did a little too much Romanize our tongue, leaving the words which he translated almost as much Latin as he found them: wherein, though he learnedly followed their language, he did not enough comply with the idiom of ours.
XLVII. Molière Et Le Monologue Tragique, D'aprèS Un Passage De L'étourdi
Authors: Scherer Jacques 
Published: February 2007

Dans la ière scène du iiiême acte de l'Etourdi, le rusé valet Mascarille se demande s'il doit continuer à intriguer pour son maître Lélie, qui, par ses “étourderies,” fait échouer à chaque fois ses ingénieuses combinaisons, et il prononce le monologue suivant:Taisez-vous, ma bonté, cessez votre entretien,Vous êtes une sotte, et je n'en ferai rien.Oui, vous avez raison, mon courroux, je l'avoue;Relier tant de fois ce qu'un brouillon denoue,C'est trop de patience, et je dois en sortir,Après de si beaux coups qu'il a su divertir.Mais aussi, raisonnons un peu sans violence:Si je suis maintenant ma juste impatience,On dira que je cède à la difiiculté,Que je me trouve è bout de ma subtilité;Et que deviendra lors cette publique estimeQui te vante partout pour un fourbe sublime,Et que tu t'es acquise en tant d'occasionsA ne t'être jamais vu court d'inventions?L'honneur, ô Mascarille, est une belle chose!A tes nobles travaux ne fais aucune pause,Et quoi qu'un maitre ait fait pour te faire enrager,Acheve pour ta gloire, et non pour l'obliger.Mais quoi! Que feras-tu, que de l'eau toute claire,Traversé sans repos par ce démon contraire?Tu vois qu'è chaque instant, il te fait déchanter,Et que c'est battre l'eau de prétendre arreterCe torrent effréné, qui de tes artificesRenverse en un moment les plus beaux édifices.Eh bien! pour toute grâce, encore un coup du moins,Au hasard du succès sacrifions des soins;Et s'il poursuit encore è rompre notre chance,J'y consens, ôtons-lui toute notre assistance.
L. Carlyle's Marginalia in Sterling's Essays and Tales
Authors: Tuell Anne Kimball 
Published: February 2007

Nowhere, perhaps, are the Carlyle marginal annotations more suggestive and diverting than on his copies of Essays and Tales by John Sterling, in the Harry Elkins Widener Memorial Collection at the Harvard College Library.This Sterling is, of course, Carlyle's John Sterling, subject of the Carlyle Life to be issued three years later. Commonly known only as a young man for whom two unnecessary biographies were written, Sterling appears on further acquaintance to be delightfully representative of his time. Though the chronicle of his years is largely a record of vain Sittings in search of health, ending in slow death by tuberculosis, he managed throughout to keep his soul singularly alive and sensitive. A brilliant leader of the famous “Apostles” at Cambridge, he shared the undergraduate idealism there of the 1820's. As part owner of the young Athenaeum in 1828 and 18295 he did his bit at “uplift” in journalism.
LIV. Gedanken Zu Hofmannsthals Begriff Der “Konservativen Revolution”
Authors: Schumann Detlev W. 
Published: February 2007

Wenige Jahre vor seinem Tode suchte Hugo von Hofmannsthal in seinem Aufsatz Das Schrifttum als geistiger Raum der Nation (1927) Rechenschaft abzulegen über die innersten Kräfte, die dem deutschen Geist jener Epoche Richtung gaben. Indem er sich nun hier gegen Schluss zu weitester Sicht erhebt, heisst es (S. 442):Ich spreche von einem Prozess, in dem wir mitten inne stehen, einer Synthese, so langsam und grossartig—wenn man sie von aussen zu sehen vermöchte—als finster und priifend, wenn man in ihr steht. Langsam und grossartig dürfen wir den Vorgang wohl nennen, wenn wir bedenken, dass auch der lange Zeitraum der Entwicklung von den Zuckungen des Aufklärungszeitalters bis zu uns nur eine Spanne in ihm ist, dass er eigentlich anhebt als eine innere Gegenbewegung gegen jene Geistesumwälzung des sechzehnten Jahrhunderts, die wir in ihren zwei Aspekten Renaissance und Reformation zu nennen pflegen. Der Prozess, von dem ich rede, ist nichts anderes als eine konservative Revolution von einem Umfange, wie die europäische Geschichte ihn nicht kennt....
Lxix: Jakob von Graviseth's Heutelia
Authors: Friederich Werner Paul 
Published: February 2007

Graviseth's anonymously published Heutelia, only superficially mentioned in manuals of Swiss literature (except Ermatinger's), deserves a short analytic study both on account of its interest as a state-satire preceding the Age of Enlightenment and on account of the rarity of its editions, which are not accessible to scholars in America.The book, published in 1658, does not greatly point to the past, although its satirical trends, its realistic and grobianistic elements, and its dislike of monks and women do indeed remind us of the esprit gaulois of Rabelais and the mentality of Fischart and the pamphleteers of the Reformation. More important is the political aspect of this diary of a critical journey through Switzerland; and the whole tenor of Heutelia, the penetrating analyses of men and their institutions, the sharp attacks against the vices of the ancien régime and the bigoted intolerance of the church, make the book an early forerunner of Montesquieu's Lettres persanes. Its style is still baroque and its vocabulary full of foreign words; but in its keen political criticism this book inaugurates an era of greater liberalism. Graviseth, a German aristocrat from the Palatinate who had become citizen of Bern, may well be likened to Albrecht von Haller, because both of them, though aristocrats to the core, tried equally discreetly to work for greater social justice for all. Haller's state-novels attempt it in the realm of pure thought, in carefully worded philosophical and political dialogues; while Graviseth, much more realistic and earthy, mingles jokes and coarseness in his paragraphs, ridiculing the masses for their materialistic viciousness.
Lxxii: Montaigne as a Source of la Fontaine's Fable: la Mort et le Mourant
Authors: King Paul C. 
Published: February 2007

In his Seconde Lettre à Monsieur de Voltaire sur ses Jugemens Littéraires Clément de Dijon makes the following statements:J'aime dans Montaigne sa Philosophie douce et riante, sans morgue et sans pédanterie, qui répand l'enjouement sur les choses les plus sérieuses. Cette Philosophie est celle de La Fontaine qui a beaucoup imité Montaigne … Voyez que le ton de Montaigne vous découvre un homme gaiement préparé a faire bonne contenance contre la mort.
Lxxv: The Union of the Arts in Die Braut Von Messina
Authors: Clark Robert T. 
Published: February 2007

It has been quite some time since the charge that Schiller's Braut von Messina is a fate-tragedy à la Zacharias Werner was completely dismissed. We can also disregard the mixture of mythologies frowned upon by A. W. Schlegel, since in our day mythologies, like universes, threaten to become relative. The idea that the Braut is a pure imitation of the Greek tragedy, and that its dramatist was following Sophocles particularly, has fallen by implication, since attempts to point out the sources have gone down into ignoble failure.On the other hand, we may today accept the brilliant critical statement of Wilhelm Dilthey, that the Braut is “das Mittelglied zwischen dem antiken Drama und der neuen Form des musikalischen Drama, die Wagner in den Nibelungen schuf.” This idea has been expanded by Josef Nadler, who does not fail to exclaim against the obstinate misinterpretation to which this drama, together with the Jungfrau von Orleans, has consistently been subjected. Nadler sees in the Braut the culmination of a tendency noticeable in the operatic tones of the Jungfrau, a tendency toward the creation of tragedy out of the spirit of music.
XXVI. Die Kunst des Übergangs bei la Fontaine
Authors: Spitzer Leo 
Published: February 2007

Ce La Fontaine qu'on donne à lire aux enfants ne se goûte jamais si bien qu' après la quarantaine …. Sainte-Beuve.… ce styleTout oublié qui fut jadis si doux,Et qu'aujourd'hui l'on croit facile—MussetUbrich Knoche in seinem schönen Artikel “Betrachtungen über Horazens Kunst der satirischen Gesprächsführung” (Philologus, xc [1936], S.373 ff.) zeigt, von demhorazischen Präzept ausgehend:Non satis est pulchra esse poemata: dulcia suntoet quocumque volent animum auditoris agunto,
XXVII. Antiquarian Interest in Elizabethan Drama Before Lamb
Authors: Williams Robert D. 
Published: February 2007

Charles Lamb, in the whimsical autobiographical sketch which he wrote in 1827, boasted that he “was the first to draw the public attention to the old English Dramatists, in a work called ‘Specimens of English Dramatic Writers,‘ who lived about the time of Shakespeare.” Lamb's first biographer, Talfourd, pictures the Specimens as slowly and almost imperceptibly working out “the genial purpose of the editor in renewing a taste for the great contemporaries of Shakespeare.” Ainger describes Lamb as a dispeller of ignorance and remarks of the Specimens:The very idea of the collection was a bold one… . With the one exception of Shakspeare, the dramatists of the period, between “the middle of Elizabeth's reign and the close of the reign of Charles I,” were unknown to the general reader of the year 1808?
Dante's “La Petra”
Authors: Fletcher Jefferson B. 
Published: February 2007

Tu es Petrus, et super hanc petram aedificabo ecclesiam meam.As an Italian scholar has said, Dante's “rime pietrose” are a “questione pietrosa.” The rime pietrose—Pietra or Petra poems—are, strictly speaking, a small group of poems in which there is word-play on the lady's name and disposition. One thinks of Shakespeare's “Will” sonnets. Barbi allots to the Petra group one sestina, one sestina “doppia,” two canzoni, and a doubtful sonnet. Other critics would add more poems as being similar in mood and motive. D'Ancona, conceiving la Pargoletta, la Petra, la Donna Gentile, and Lisetta as “una persona in diversi atteggiamenti,” would include in one cycle nearly all Dante's lyrics not addressed to Beatrice. Certain others would identify la Petra with one other of Dante's ladies. Thus Zenatti, Santi, Misciatelli identify her with la Pargoletta; Serafino identifies her with Gentucca. At the other extreme, Federzoni rejects the idea of a Petra group altogether.
Redburn's Prosy Old Guidebook
Authors: Thorp Willard 
Published: February 2007

I will not quote thee, old Morocco, before the cold face of the marble-hearted world; for your antiquities would only be skipped and dishonoured by shallow-minded readers; and for me, I should be charged with swelling out my volume by plagiarizing from a guidebook—the most vulgar and ignominious of thefts!—Redburn.The purpose of this paper is to add another chapter to the constantly growing account of Melville as a writer who, in calculating his effects, often had recourse to travel diaries and guidebooks to furnish him with factual information and with dramatic episodes, which appear as the authentic experiences of his characters. In this instance the book is Redburn, the novel which he regarded as one of the least of his works, but which many besides John Masefield have admired as a spirited and sometimes harrowing narrative of a boy's running away to sea.
Is Walter Pater an Impressionistic Critic?
Authors: Child Ruth C. 
Published: February 2007

Walter Pater is commonly known as an impressionistic critic. Many who use the term of him consider it a compliment. For instance, A. J. Farmer admires him greatly, and calls the Preface to the Renaissance an “admirable plaidoyer” for impressionistic criticism. He explains it thus:La beauté, écrit-il [Pater] en substance, ne sairait se réduire à une formule ab straite; elle est multiple et diverse, elle varie selon les époques et même selon les individus. A quoi bon essayer de l'enfermer dans tel principe d'ecoie, dans tel concept fatalement arbitrare? La tâche de critique ne consiste-t-elle pas plutôt à communiquer au lecteur ses enthousiasmes, à lui décrire les sensations qu'il a éprouvées devant l'ceuvre d'art, à lui montrer les images qui se sont succede dans le miroir de son ame?
Religious Experience in Werfel's Barbara
Authors: Stamm Israel S. 
Published: February 2007

In an article reviewing Werfel's collected poems from the Catholic point of view, Cornelius Schroeder, a Franciscan, maintains that despite constant references to God in his poetry Werfel does not experience any real religious faith. It is Schroeder's contention that Werfel does not succeed in finding a solution to the conflict between nature and spirituality which is so prominent in his poetry:Als geistiger Mensch kommt er nicht hinweg iiber die Zwiespältigkeit von Natur und Geist, kommt er nicht los von der Qual, in welche die Geburt für die Erde den Geist gestiirzt hat.
LVI. The Speculum Misericordie
Authors: Robbins Rossell Hope 
Published: February 2007

The “Delamere” manuscript, owned successively by Lord Cholmondeley and Lord Delamere, and now passed into the possession of Mr. Boies Penrose II, has long been known to scholars for its complete text of the Canterbury Tales. It was first brought to notice by Furnivall, who listed, as well as the Canterbury Tales, the other poems, and described the state of the manuscript.... it has lost 34 leaves in different parts of the volume ... The MS originally began with the Canterbury Tales and was regularly signed from a to z, 23 sheets. The scribe then put three sheets of Gower's Tales before the Canterbury Tales, and numbered the MS all through from 1 to 26, making the original first sheet a, number 3.
LXIII. “A Double Janus” (Paradise Lost XI. 129)
Authors: Gilbert Allan H. 
Published: February 2007

According to the seventeenth-century interpretation of Ezekiel i and x, the cherubim were beings with four faces, as Milton indicates in describing the “Chariot of Paternal Deity”convoyed By four Cherubic shapes, four Faces each Had wondrous (P. L. vi. 752-754).This is repeated later, when Michael in his descent to the Garden of Eden is accompanied bythe Cohort bright Of watchful Cherubim; four faces each Had, like a double Janus (P. L. xi. 127-129).