bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Period Dictionaries
Authors: Fries Charles C. 
Published: February 2007

Nine years before the Oxford English Dictionary was finally completed, Sir William Craigie proposed his scheme of period dictionaries. Pointing to the many problems in the language still unsolved, and to the “large quantities of interesting material” daily set aside because of the limitations of space, he insisted that this was the only way to meet completely the needs of scholars in English language and of serious students of our literature. Neither he nor the others who have taken up his proposal have ever conceived of these period dictionaries as works to supplant the Oxford Dictionary. They could not because they approach the language with essentially different purposes. Sir William Craigie in his report of 1919 phrases quite clearly the relationship of these later dictionaries to their parent:The Society's dictionary has easily outstripped any thing else of the kind in existence and contains such a general survey of the English language down to the present day as may never be entirely superseded; but its own plan on the one hand, and the immensity of the material on the other, prevent it from being absolutely final. Dealing as it does with English of all periods, from the seventh century to the twentieth, it has been impossible for it (beyond certain limits) to devote special attention to any one time. Yet each definite period of the language has its own characteristics, which can only be appreciated when it is studied by itself, and which are necessarily obscured when it merely comes in as one link in the long chain of the language as a whole.
Standards
Authors: Hatfield James Taft 
Published: February 2007

Goethe's first letter to Schiller, in which he agreed to support the Horen, and which marks the beginning of their unique alliance, contains a passage, in effect, as follows:It will be a most interesting pastime to reach an agreement about the principles which shall govern us in passing judgment on contributions, and to scrutinize their content and form, so that this journal may achieve the highest distinction.
Washington Irving's Notes on Fernán Caballero's Stories
Authors: Hespelt E. Herman , Williams Stanley T. 
Published: February 2007

On New Year's Eve, 1828, Washington Irving, who was stopping in Seville during his first visit to Spain, made this entry in his diary:Call this morning … on the Marchioness of Arco Hermoso, make a long visit, the Marchioness relates many village anecdotes of the village of Dos Hermanas. Return home & make a note of two of them.
The Composition of the Shepheardes Calender
Authors: Botting Roland B. 
Published: February 2007

The teasing sense of mystery felt by the student of the biography of Spenser is nowhere more noticeable than with regard to the Shepheardes Calender. C. H. Herford's statement is still too near the truth:Except that the authorship is absolutely certain, posterity knows very little more about the circumstances in which the Shepheardes Calender was composed than “E. K.” has chosen to tell us.
The Langland Myth
Authors: Cargill Oscar 
Published: February 2007

It is remarkable that the one possibly contemporary statement in regard to the authorship of Piers Plowman has never been adequately examined. That is the note in the Trinity College Dublin MS. D, 4, I (Skeat's No. XLI, C-text), to the effect that the author was William Langland, the son of a gentleman, Stacy de Rokayle, who lived in Shipton-under-Wychwood as a tenant of Lord le Spenser in the County of Oxford:Memorándum quod Stacy de Rokayle pater Willielmi de Longlond, qui Stacius fuit generosus, et morabatur in Shypton under Whicwode, tenens domini le Spenser in comitatu Oxon., qui predictus Willielmus facit librum qui vocatur Perys ploughman.
Scott's Theory and Practice Concerning the Use of the Supernatural in Prose Fiction in Relation to the Chronology of the Waverley Novels
Authors: Boatright Mody C. 
Published: February 2007

The question has recently been raised as to whether or not the order of the publication of the Waverley Novels is also, as Lockhart implies, the order of writing. Dame Una Pope-Hennessy, writing in the New York Saturday Review of Literature for April 23, 1932, (p. 686), appeals to lovers of Scott for help in the solution of the problem of the chronology of his novels. She states her reasons for believing that St. Ronan's Well, though later revised, was written seventeen years before Waverley. In a similar communication published in the London Times Literary Supplement for April 28, 1932, Dame Una Pope-Hennessy outlines the genesis of her skepticism as to the usually accepted chronology of Scott's novels:Hitherto it has been assumed that novels issued from Scott's head much as Athena issued from the head of Zeus, full-panoplied for action. … Now, after re-reading and consideration, I incline to think that in Scott we have a novelist from boyhood, temporarily diverted by the study of ballads and the fashions of the hour to writing poetry, and then, when the poetic vein had been sufficiently worked, going back to his first love, prose.
The Date of Shakespeare's Sonnet CVII
Authors: Mattingly Garrett 
Published: February 2007

Critics have generally agreed that of all of Shakespeare's sonnets cvii offers the most hope for dating by internal evidence. It runs:Not mine own fears, nor the propehtic soulOf the wide world dreaming on things to come,Can yet the lease of my true love control,Supposed as forfeit to a confined doom.The mortal moon hath her eclipse endured,And the sad augurs mock their own presage;Incertainties now crown themselves assured,And peace proclaims olives of endless age.Now with the drops of this most balmy timeMy love looks fresh, and Death to me subscribes, Since spite of him I'll live in this poor rhyme,While he insults o'er dull and speechless tribes;And thou in this shall find thy monument,When tyrants crests and tombs of brass are spent.
III. Chaucer's “Troilus and Criseyde” as Romance
Authors: Young Karl 
Published: February 2007

In the critical writing of the last few decades Chaucer's Troilus and Criseyde has been described prevailingly as a psychological novel. Our most influentual interpreters, that is to say, draw our attention primarily to the subtle exhibition of psychology in the personages of the poem, and to the resemblance of the descriptive background to what we ordinarily call real life. By emphasizing these aspects of the Troilus they bring it into association with our modern novel. Representative of this view are such expressions as the following:“Our first great psychological novel”; “A great psychological novel”; “An elaborate psychological novel”; “The first novel, in the modern sense”; “Its spirit and temper is that of the modern novel”; “A page out of the book of modern everyday life”;6 “[Chaucer's] first and greatest adventure into the world of every day”; “[What Chaucer adds to the Filostralo] is what we roughly call reality…. one has a sense of ordinary life going on”; “Troy is mediaeval London”; “[The Troilus] is not a romance”; “[In the Troilus Chaucer] leaves all romantic convention behind.”
XI. Henry Purcell's Dramatic Songs and the English Broadside Ballad
Authors: Lamson Roy 
Published: February 2007

Henry Playford in his note to the reader in Orpheus Britannicus felt free to say:The Author's [Purcell's] extraordinary Talent in all sorts of Musick is sufficiently known, but he was especially admir'd for the Vocal, having a peculiar Genius to express the Energy of English Words, whereby he mov'd the Passions of all his Auditors.
XL. Malory's Beaumains
Authors: Loomis Roger Sherman 
Published: February 2007

In his book entitled Malory Professor Vinaver propounds a plausible hypothesis that certain features of the romance of Gareth in the seventh book of the Morte d'Arthur were inventions of the author.The hero—Beaumains—is Malory's own hero, and his name, impossible in any French romance, strangely resembles that of Malory's patron [Richard Beauchamp, Earl of Warwick]. His successive battles with the Black, Green, and Red Knights, and particularly his behaviour at the tournament at the castle of Lady Lioness, at once call to mind the romantic adventure of Richard Beauchamp. At that tournament the King of Ireland wondered who Beaumains might be, “that one tyme semed grene, and another tyme at his ageyne comyng he semed blewe. And thus at every cours that he rode to and fro he chaunged his colour so that ther myght neyther kynge nor knyghte have redy congnyssaunce of hym.” The parallel is so close as to lead me to believe that some parts of the book of Beaumains were written in remembrance of Beauchamp's gallant deeds.
Hans Breitmann
Authors: Thalmann Marianne 
Published: February 2007

Elizabeth Robins Pennell, die sehr gewandte Biograpbin ihres vergötterten Onkels, Ch. G. Leland schreibt mit einer etwas belehrenden Ueberlegenheit:I have heard it said the “younger generation” does not read the “Breitmann Ballads.” But, for all that, Breitmann has in him the stuff that endures, the stuff that ensured his success from the start.
James Joyce: A Study in Words
Authors: Prescott Joseph 
Published: February 2007

In the beginning was the Word . . .The writings of Joyce show a progression from an early interest in words through a mature use of them to the excessive fondness of old age. In spite of variation from one work to another, the development is not always consistent and steady; sometimes there is a reversion to a former phase, sometimes an advance into a future phase. The direction, however, is unmistakable.
Ritson's Bibliographia Scotica
Authors: Bronson Bertrand H. 
Published: February 2007

During the last decade of his life, Joseph Ritson compiled a catalogue of Scottish authors, a Bibliographia Scotica. He had brought it nearly to completion by 1801, and intended to publish it as a companion volume to his Bibliographia Poetica. On Jan. 31, 1801, he sent the prefaces of both works to Thomas Park for correction. But he circulated the manuscript also among other friends, notably George Chalmers, and Walter Scott, in the hope of making it more perfect; so that when he died, in September, 1803, the work was still unpublished. It was known that in the paroxysm which ended his life he had destroyed many of his papers; and for a time his friends feared the Bibliographia Scotica had perished. A fortnight after Ritson's death, Chalmers, writing to Archibald Constable of these things said:This leads me to ask if you ever got from him the biographical work on the historians and poets of Scotland, which he put into my hands, and intended for you. I intended to have corrected it for him and for you. But before I could do much he sent for it, in order to show it to Mr. Scott, when he was up here lately. Happy if he sent it to you by Mr. Scott; if he did not, it is gone—for ever. If you should happily have got it, I am still more ready, now that Ritson is gone, to do what I can to make the book as perfect as possible.
LXXII. Robert Bridges' Concept of Nature
Authors: Eaker J. Gordon 
Published: February 2007

Whether because of a misunderstanding of the concept of evolution or for some other reason, a change has apparently come in the attitude of poets toward nature. Mr. Beach in his recent book laments the decline of faith in the benevolence of nature and presents the general attitude of nineteenth-century poets toward it as a bridge between the age of faith and the age of disbelief.1 But since neither terminal is proved, his fundamental thesis, which he calls a tragedy of belief, is unconvincing. The consequence of the acceptance of such a tragedy was clearly foreseen by G. K. Chesterton, who recently wrote:When first it was even hinted that the universe may not be a great design, but only a blind and indifferent growth, it ought to have been perceived instantly that this must for ever forbid any poet to retire to the green fields as to his home, or to look at the blue sky for his inspiration. . . . Even the nature-worship which Pagans have felt, even the nature-love which Pantheists have felt, ultimately depends as much on some implied purpose and positive good in things, as does the direct thanksgiving which Christians have felt. . . . Poets, even Pagans, can only directly believe in Nature if they indirectly believe in God; if the second idea should really fade, the first is bound to follow sooner or later; and, merely out of a sad respect for human logic, I wish it had been sooner.
The Archetypal Imagery of T. S. Eliot
Authors: Foster Genevieve W. 
Published: February 2007

“Dichten heisst, hinter Worten das Urwort erklingen lassen.”These words of Gerhardt Hauptmann are quoted by C. G. Jung in his essay “On the Relation of Analytical Psychology to Poetic Art,” as illustration of the poet's sense of tapping a deeper level of the psyche than that which is called into play in everyday thought and action. This lower level of psychic activity (Jung explains), that of the collective or racial unconscious, contains the inherited potentiality of mental images that are the psychic counterpart of the instincts. “In itself the collective unconscious cannot be said to exist at all; that is to say, it is nothing but a possibility, that possibility in fact which from primordial time has been handed down to us in the definite form of mnemic images, or expressed in anatomical formations in the very structure of the brain. It does not yield innate ideas, but inborn possibilities of ideas, which also set definite bounds to the most daring phantasy. It provides categories of phantasy-activity, ideas a priori as it were, the existence of which cannot be ascertained except by experience.” This theory is not peculiar to Jung, being in fact rather prevalent in our time. “I began certain studies and experiences,” says Yeats, describing his activities in the year 1887, “that were to convince me that images well up before the mind's eye from a deeper source than conscious or subconscious memory.” Jung, however, has given the idea its scientific formulation. For these ideas a priori of the collective unconscious, Jung employs the term “primordial image,” borrowed from Jacob Burckhardt, or “archetype” as used by St. Augustine. The peculiar gift of the poet, or of the artist in any field, is his ability to make contact with the deeper level of the psyche and to present in his work one of these primordial images. The particular image that is chosen will depend on the unconscious need of the poet and of the society for which he writes. “Therein lies the social importance of art; it is constantly at work educating the spirit of the age, since it brings to birth those forms in which the age is most lacking. Recoiling from the unsatisfying present the yearning of the artist reaches out to that primordial image in the unconscious which is best fitted to compensate the insufficiency and onesidedness of the spirit of the age. The artist seizes this image, and in the work of raising it from deepest unconsciousness he brings it into relation with conscious values, thereby transforming its shape, until it can be accepted by his contemporaries according to their powers.” In this view the artist is the cultural leader indispensable to any social change. “What was the significance of realism and naturalism to their age? What was the meaning of romanticism, or Hellenism? They were tendencies of art which brought to the surface that unconscious element of which the contemporary mental atmosphere had most need. The artist as educator of his time—much could be said about that today.”
The Stage History of Shelley's The Cenci
Authors: Cameron Kenneth N. , Frenz Horst 
Published: February 2007

Although some of Shelley's Victorian critics—notably Forman—believed The Cenci to be an acting play, it now seems to have become a settled dictum of Shelley scholarship that it is a closet drama. Woodberry in his edition of the play and Bates in his study of it both conclude that it is unsuitable for stage production, Bates summarizing his views as follows:From all these facts it should be sufficiently clear what answer must be given to the question, how far is “The Cenci” an acting drama? As a whole it is not an acting drama at all. A play, one of whose acts fails to advance the plot in the least, ten of whose scenes are purely conversational and without action, and four-fifths of whose speeches are of impossible length, is surely not to be called an acting drama.
Keats's Conscious and Unconscious Reactions to Criticism of Endymion
Authors: Briggs H. E. 
Published: February 2007

Writers on Keats, when discussing the central problem of the effects upon the poet of the contemptuous criticism directed against Endymion and against Keats personally, have presented various and often contradictory opinions. The two extreme views, namely, that Keats was killed by this criticism, or, on the other hand, that he was scarcely touched by it, are no longer regarded as tenable. The current opinion was first stated, I believe, by Sir Sidney Colvin when he wrote:the reviews of those days, especially the Edinburgh and Quarterly, had a real power of barring the acceptance and checking the sale of an author's work. What actually happened was that when a year or so later [after Endymion was condemned] Keats began to realise the harm which the reviews had done and were doing to his material prospects, these consequences in his darker hours preyed on him severely and conspired with the forces of disease and passion to his undoing.
The Planet Portraits of Robert Henryson
Authors: Stearns Marshall W. 
Published: February 2007

The description of the seven planets in the Testament of Cresseid by the Scottish Chaucerian, Robert Henryson (c. 1425–c. 1500), is perhaps the most lively and arresting in English literature. Approximately one-third of the poem is devoted to the planets, and they play an essential role in the trial and punishment of Cresseid, who becomes a leper here and hereafter in the Troilus-Criseyde story. This note is an attempt to clear the way for the study of the origins and sources of the planet portraits and to shed some light on the competence of the poet.By substituting astrological qualities for the mythological qualities of the ancient gods, Chaucer had pioneered and had made poetic capital of the astrological magic in which his age had come to believe. Henryson took full advantage of this fact. The Testament of Cresseid contains many elements of astrology: in the opening lines, the poet dates the poem by means of an astronomical periphrase in which he describes the Sun and Venus in opposition, a combination which signifies “A barren time … the Native impudent and bold in his wantonnesse and Lust, wholly occupied in scurvy and sordid actions, whereby he incurres great Infamy, Scandall and Disgrace,” and which sets the tone for the burden of the poem; the planets are ranked according to their astrological order, and Mercury is chosen speaker, a choice which accords with his influence over logic and debate; the choice of Saturn and Cynthia to deliver the verdict of leprosy is fitting, according to the astrological qualities of the humours, and the poet's treatment of the disease shows a detailed knowledge of astrological medicine.
Des Guillemets Qui Changent Le Climat Poétique: (Correction et commentaire à la première strophe du Fragment d'Alexandre d'Albéric)
Authors: Spitzer Leo 
Published: February 2007

Dans la Xe édition de la Chrestomathie de l'ancien français de Bartsch-Wiese on lit le début du plus ancien texte a. fr. traitant la matière d'Alexandre, dans la forme suivante:Dit Salomon al primier pas,quant de son libre mot lo clas,'est vanitatum vanitaset universa vanitas.'poyst lou me fay m'enfirmitas,toylle s'en otiösitas,solaz nos faz' antiquitas,que tot non sie vanitas.Cette façon de ponctuer, qui ne se trouve pas dans les autres éditions (qui, il est vrai, n'introduisent pas de ponctuations: P. Meyer, Stengel etc.), semble intimer que le poète, après avoir cité les deux lignes extraites de l'Ecclésiaste, veut nous apprendre que, étant infirme, il a trouvé moyen (il lui ‘est donné lieu’: l'explication de Foerster, ZRPh, vi, 423) d'occuper ses loisirs (forces) par l'étude de l'antiquité—étude qui nous délivre de la vanité du monde [et ainsi il étudiera l'histoire du héros ancien Alexandre]. Le poète (Foerster dit expressément: “meine [des Verfassers] Krankheit”) aurait alors mis en scène sa propre personne en nous informant de l'état de sa santé physique (infirme comme celle du vieux roi biblique)—et peut-être morale (serait-il sage comme Salomon?). Le cas rappellerait trop la fameuse explication, désormais datée, du dernier vers de la Chanson de Roland par feu Holbrook: [Ci falt la geste] que Turoldus declinet ‘car la vie de T. décline’ = il est vieux et ne peut plus continuer (après avoir composé 4000 vers!). Les anciens trouvères n'étaient pas à ce point autobiographical-minded—ils effaçaient leur personnalité devant les grands thèmes qu'ils chantaient. C'est le biographical approach des critiques modernes qui soupçonne des personnalités là où il n'y a qu'objectivité.
Point of View in Dickens
Authors: Boege Fred W. 
Published: February 2007

It does not seem that Dickens' use of point of view has attracted much attention. The general limits of the subject have been fixed, but what lies between them has seldom been considered. Those limits are pretty-well determined by his dates. Like most other predecessors of George Eliot, Dickens is pre-eminently an objective novelist: hardly to be surpassed in the external treatment of his characters, but quite inadequate when he deals with their inner lives. George Eliot herself has stated this view as well as anyone.We have one great novelist who is gifted with the utmost power of rendering the external traits of our town population; and if he could give us their psychological character—their conceptions of life, and their emotions—with the same truth as their idiom and manners, his books would be the greatest contribution Art has ever made to the awakening of social sympathies. But… he scarcely ever passes from the humorous and external to the emotional and tragic, without becoming as transcendent in his unreality as he was a moment before in his artistic truthfulness.Essays (Edinburgh—London: Blackwood, 1885), p. 194 (from the essay “Natural History of German Life”).
Wycherley and Calderon: A Source for Love in a Wood
Authors: Rundle James Urvin 
Published: February 2007

Interesting light is thrown on the apprenticeship of William Wycherley as a dramatist by examination of his earliest play, Love in a Wood, against its Spanish source. For the intrigue involving Ranger, Lydia, Christina, and Vincent, Wycherley used Calderon's Mañanas de abril y mayo. The Spanish play runs as follows:Returning to Madrid from refuge after killing a rival for the affections of Ana, Juan hides at the house of his friend Pedro, a near neighbor of Ana. Pedro tells Juan of how Ana has grieved in solitude during his absence. But Juan is not sure she had not favored his rival—indeed, it is to make certain of her attitude that he has risked the law and the slain man's relatives in returning.
The Richelieu-Corneille Rapport
Authors: Klenke M. Amelia 
Published: February 2007

When the Cid appeared on the boards of the Marais, it was a success both universal and instantaneous—a success beyond anything its author had dreamed of. Day after day the theater was crowded with the best people of the Court and the city. We are told that receipts of the play were greater than that of ten of the best plays of other leading dramatists. Pellisson in his Histoire de l'Académie Française published sixteen years later tells us:Il est malaisé de s'imaginer avec quelle approbation cette pièce fut reçue de la Cour et du public. On ne se pouvoit lasser de la voir, on n'entendoit autre chose dans les compagnies, chacun en savoit quelque partie par cceur, on la faisoit apprendre aux enfants, et, en plusieurs endroits de la France, il étoit passé en proverbe de dire: Cela est beau comme le Cid.