bluuebunny/crossref_metadata_2025_split huggingface dataset:
Shelley and Bacon
Authors: Clark David Lee 
Published: February 2007

There is abundant evidence for the assertion that Shelley at one time thought of devoting all his talents to the study of metaphysics. On August 1, 1811, in a letter to Stockdale, Shelley writes:My studies have been, since my writing it [St. Irvyne], of a more serious nature. I am at present engaged in completing a series of moral and metaphysical essays.
The Science of Language and the Language of Science
Authors: Velten H. V. 
Published: February 2007

All through the physical world runs an unknown content, which must really be the stuff of our consciousness … We have found a strange footprint on the shores of the unknown. We have devised profound theories, one after another, to account for its origin. At last we have succeeded in reconstructing the creature that made the footprint. And lo! it is our own.—Eddington, Space, Time, and Gravitation.The most significant aspect of the intellectual attitude of the twentieth century appears to be the fulfillment of Nietzsche's prophecy that the last achievement of the Occidental intellect will be to question all its achievements and, in the end, to doubt its own existence. Philosophers and logicians, as well as physicists, seem to have arrived at a state of extreme resignation, while those psychologists who can be called scientists have at least their moments of scepticism. It is hardly necessary to refer to Spenglerian pessimism, to what H. Leisegang writes about the crisis and catastrophe of logic, or to Einstein's views, as expressed, for example, in his speech given in honor of Planck in 1918, in which he pointed out the current tendency to seek a simplified synoptic view of the world—a picture comfortable to human nature—and to overcome the world by replacing it with this picture. How little psychology has as yet revealed, or can ever hope to reveal, can be gleaned from C. K. Ogden's enlightening account in The Meaning of Psychology.
George Wither in Prison
Authors: French J. Milton 
Published: February 2007

George Wither was first imprisoned in 1614 for his Abuses Stript and Whipt. But he had barely escaped a similar fate a few years before as a result of an earlier edition of the same work. While in prison in 1614, he expressed his gratitude to the Princess Elizabeth for her intervention in his behalf on that earlier occasion:For once I stood accus'd for this before,As I remember I so long agon,Snng [sic] Thame, and Rhynes Epithalamion.When SHE that from thy Royal selfe deriues,Those gracious vertues that best Title giues.........................................Daign'd in her great-good nature to enclineHer gentle eare to such a cause as mine;And which is more, vouchsaf't her word to cleareMe from all dangers (if there any were).
Irving's German Tour and its Influence on His Tales
Authors: Pochmann Henry A. 
Published: February 2007

During the year 1818, while Washington Irving was at work on the sketches and stories of The Sketch Book, he wrote to his friend Brevoort: “I have been for some time past engaged in the study of the German language, and have got so far as to be able to read and splutter a little. It is a severe task, and has required hard study; but the rich mine of German literature holds forth abundant reward.” The first of the “abundant rewards” which he won from the “rich mine of German literature” are to be seen in his use of German materials for the four so-called short stories in The Sketch Book (1819–1820). At the end of his Dresden diary, which came to a close on July 11, 1823, he wrote, perhaps with himself in mind:Solitary miners of literature in Germany—men working hours and hours each day in dull little towns.
Shakespeare's Richard II, Hayward's History of Henry IV, and the Essex Conspiracy
Authors: Albright Evelyn May 
Published: February 2007

Mr. Ray Heffner's article, “Shakespeare, Hayward, and Essex,” is confused and at times self-contradictory; but the main points which he attempts to maintain against my paper, “Shakespeare's Richard II and the Essex Conspiracy,” seem to be these:1. That the play, founded on Hayward's history of Henry IV, which Essex is said, in Item 5 of the “Analytical abstract of the evidence in support of the charge of treason against the Earl of Essex,” to have witnessed, could not have been the play on the deposition of Richard II which the Essex conspirators are known to have attended in a group on February 7, 1601, the day before the rebellion; and that the performances referred to in this Abstract were not of a play by Shakespeare, nor acted by his company, but of an unknown play, performed perhaps by Essex's own actors at his house on some unknown occasion, which Mr. Heffner dates first as necessarily “after February, 1599,” later, as “in February, 1599,” and, in conclusion, as “in January, 1599.”
Echoes of The Anathema in Chaucer
Authors: Work James A. 
Published: February 2007

Having sketched, in the opening lines of the Hous of Fame, the medieval system of dream lore, Chaucer announces that he will relate a dream more wonderful than ever came to man before. The importance of this remarkable dream is emphasized. It can be told only after an invocation of Morpheus, and the lives of the listeners will be affected by having merely heard it. May the mover of all bless the dreaming of them who “take hit wel;” may they have success in love or in whatever they most desire; may they be shielded from poverty, harm, mishap, and disease. But woe betide the scoffer! If any man “misdeme” it, through scorn, or jape, or villainy,… preye I Iesus godThat (dreme he barfoot, dreme he shod),That every harm that any manHath had, sith [that] the world began,Befalle him thereof, or he sterve,And graunte he mote hit ful deserve,
A Note on Gadshill, Our Setter
Authors: Bronson Bertrand H. 
Published: February 2007

For a man of so questionable a reputation, Gadshill in Henry IV, Part 1, has been happy in escaping undue attention. He is, truly, one of Falstaff's “gentlemen of the shade.” His shady presence is of some interest, however, if only because he has kept good company for so long.In the current texts of the play, Gadshill favors us with his actual person in three scenes. But his existence is amplified elsewhere in the play by the reference of other characters to him, directly and indirectly. Falstaff and Poins both mention him by name in the second scene of Act I; and the number of the robbers (excluding Hal and Poins) is six times given as four by the Prince and Falstaff, in the course of the second Act.
Was Heywood a Servant of the Earl of Southampton?
Authors: Rouse Charles A. 
Published: February 2007

In the course of collecting the material for a biography of Thomas Heywood, I came upon a passage which suggests that possibly the Earl of Southampton at one time patronized a theatrical company. The passage occurs in Heywood's A Funeral Elegie, upon the Much Lamented Death of the Trespuissant and unmatchable King, King James (1625):Henry, Southampton Earle, a souldier proued;Dreaded in warre, and in milde peace beloued.Oh giue me leaue to resoundHis memory, as most in dutie bound,Because his servant once.
The Ms. Play, Anna Bullen
Authors: Backus Edythe N. 
Published: February 2007

An anonymous MS. play, Anna Bullen, now at the Henry E. Huntington Library and Art Gallery [HM973] and hitherto unnoticed, offers, upon examination, interesting similarities to the play upon the same subject by John Banks, Vertue Betray'd: Or, Anna Bullen. The MS. is written upon paper bearing an eighteenth-century watermark, and is written in an eighteenth-century hand. The MS. seems to be, not an original play, but either a copy or an adaptation of some other play, as is shown: (1) by the careful noting of an hiatus of one or two lines in the first speech by Northumberland in Act i, Scene 2 [verso leaf 5]; (2) by the scratching out of occasional words and the substitution of the proper synonym, asExpos'd and naked to the probing light [verso leaf 25];and (3) by the frequent complete or incomplete erasure of errors in wording, orthography, and chirography.
Thoreau, Moralist of the Picturesque
Authors: Templeman William D. 
Published: February 2007

The vogue of “the Picturesque” in England during the late eighteenth and early nineteenth centuries was considerable. The word “picturesque” came into use in the latter eighteenth century to designate “picturesque beauty.” Although very brief, a fairly good working definition for the purposes of this paper is the one first stated by the Rev. William Gilpin in 1768: “Picturesque: a term expressive of that peculiar kind of beauty, which is agreeable in a picture.” Gilpin before his death was called “the venerable founder and master of the Picturesque School,” and years afterward it was declared:in the picturesque, Gilpin is unquestionably an Oracle; and his work is a Grammar of the Rules, by which alone the beauties of the Tour can be properly understood and appreciated.
A Note on The Madmen's Scene in Webster's The Duchess of Malfi
Authors: Hayawaka S. Ichiyé 
Published: February 2007

Professor Louis B. Wright, in a very interesting paper on “Madmen as Vaudeville Performers on the Elizabethan Stage,” cites as one of his examples the madmen's scene of The Duchess of Malfi with the following comment:The modern reader is prone to regard the introduction of the madmen in Act 4, Sc. 2, purely as a means of intensifying the horrors of the scene, but to an Elizabethan, the antics of the madmen furnished comic entertainment. It is certain that the madmen were not regarded as a horror by the contemporary audience; the author himself, at some pains to account for the madmen, makes Ferdinand explain that they are there to keep the Duchess awake.
La “Couleur Normande” de Madame Bovary
Authors: Canu Jean 
Published: February 2007

Le 10 Avril 1853, dans une lettre à Louise Colet récemment publiée, Flaubert écrivait:La seule chance que j'aie de me faire reconnaître, ce sera quand Bovary sera publiée; et mes compatriotes rugiront, car la couleur normande du livre sera si vraie qu'elle les scandalisera.
Dante Gabriel's or William Michael's?
Authors: Winwar Frances 
Published: February 2007

(An Attempt to Establish the Authorship of Some Rossetti Sonnets Published by the Duke University Press)Two years ago the Duke University Library came into possession of a quantity of miscellaneous Rossetti material which in 1931 was published by the Duke University Press as Dante Gabriel Rossetti: An Analytical List of Manuscripts in the Duke University Library with hitherto Unpublished Verse and Prose. Edited by Pauli Franklin Baum. Writing of a series of eighteen sonnets, the editor so describes them: “Nine leaves … each containing two sonnets. Each sonnet is numbered, as below. Beneath Nos. 14, 18, 20, 22, 24, 34, 36, 40, 44 stands, in pencil, 'W.M.'; beneath the others: 'G'.” He continues:
Notes on The Owl and the Nightingale
Authors: Hinckley Henry B. 
Published: February 2007

We have two manuscripts of The Owl and the Nightingale. Of these the earlier and more valuable, known as Cotton Caligula A.IX (C), is in the British Museum. In this the Owl is immediately preceded by a chronicle in French prose which ends thus: Apres le mort cestu rei Johan, si regna sun fiz Henry, ‘After the death of King John his son Henry became king.’ It would appear, therefore, that the Owl was copied into this volume not long after the coronation of Henry the Third, October 28th, 1216. The other manuscript, Jesus College Oxford 29 (J), is in the Bodleian Library. In Anglia, xxx, 222, Miss Anna C. Paues reports the following opinion of Mr. E. W. B. Nicholson, Bodley's Librarian, concerning the portion of J which contains our poem:From f. 217 to the end of the volume is apparently all in one hand, and was certainly written about the same time. It contains a history of Tobias which mentions the then Prior of St. Mary Kenilworth (Gwilleyme): this fixes the date of composition at 1276–9, and I believe that to be approximately the date of the writing.
The Musical Training of the Pearl Poet
Authors: Chapman Coolidge Otis 
Published: February 2007

In the fourteenth century all good Englishmen were singers. How large a part music played in the life of the time is apparent in Chaucer, who, as Burney remarks, ‘never loses an opportunity of describing or alluding to its general use, and of bestowing it as an accomplishment upon the pilgrims, heroes, and heroines of his several poems.’ The carved figures in the minstrels' gallery at Exeter Cathedral and the Angel Choir of Lincoln are lasting memorials to the universal popularity of music in that day. While the cleric devoted himself to the music that lent beauty to the services of the church, the layman delighted in the music of the banquet, the battle, and the chase. Edward III. himself kept a band of household minstrels that included ‘trompeters, cytelers, pypers, tabrete, mabrers, clarions, fedelers, wayghtes.’ Le Art de Venerie, written by Twici, huntsman to Edward II., reveals a highly developed hunting music, and the martial music is mentioned by Chaucer in the Knight's Tale (A. 2511–12):Pypes, trompes, nakers, clariounes,That in the bataille blowen blody sounes.Born into such a world as this, the poet of Pearl and Sir Gawain bore the deep impress of the popular taste. His own taste was of wide compass, and included an appreciation of instrumental and vocal, secular and ecclesiastical music.
The Plot of The Faerie Queene
Authors: Blair Lawrence 
Published: February 2007

Courthope, in his History of English Poetry, asks the question: “Does Spenser's work satisfy the test of Unity which must be applied to every great creation of art?” Answering this question, Courthope thinks that there is undoubtedly poetical unity in the general conception of The Shepherd's Calendar. But of the Faerie Queene, he says the following:There is undoubtedly a noble, indeed a sublime, foundation for the poem in its central design “to fashion a gentleman or noble person in virtuous and gentle discipline.” There is also something eminently poetical in the intention of embodying this image in the ideal knight—a figure consecrated like that of the shepherd, by ancient literary tradition—and in the person of “Arthur before he was king.” Moreover, as the subject was to be treated allegorically, it was open to Spenser to endow his knight with the “twelve private moral virtues, as Aristotle hath devised.” … No poem in existence can compare with the Faery Queen in the richness of its materials. But the question occurs: In what way is all this “variety of matter” fused with the central image of the “brave knight, perfected in all the twelve private moral virtues”? For this, we must always remember, was Spenser's professed and primary motive; he chose to convey his moral in a form of allegorical narrative, because he thought it would be “most plausible and pleasing, being covered with an historical fiction.”
Daniel Defoe and the Quakers
Authors: Maxfield Ezra Kempton 
Published: February 2007

In Thomas Wright's Life of Daniel Defoe we find the following statement:During this illness [i.e., of the ‘apoplexie,’ 1715] Defoe was visited by a Quaker whose kindness made a great impression on him, and he never after neglected an opportunity of speaking well of the religious body to which the good man belonged. And they deserved to be well spoken of, for at this exciting period, when all England was in a ferment, when even the pulpits were made to answer the purpose of hustings, the Quaker body alone advocated temperance and Christian charity. Like Defoe, they cried ‘Peace, peace!’
Le Songe Du Castel
Authors: Cornelius Roberta D. 
Published: February 2007

The allegorical poem which forms the subject of the present paper has not hitherto been printed. Le Songe du Castel is preserved in a single manuscript, Bibliothéque Nationale fonds français 25566, which has been described in detail more than once. The most satisfactory brief account of this MS is that by A. Jeanroy in his recent edition of Le Jeu de Saint Nicolas:C'est un volume de moyen format, de 283 feuillets de parchemin, très soigneusement écrit aux alentours de l'an 1300: il contient une ample anthologie d'œuvres picardes de l'époque immédiatement antérieure, et notamment, tous les ouvrages d' Adam de la Halle.
Cultural Age-Groups in German Thought
Authors: Schumann Detlev W. 
Published: February 2007

… das Geheimnis der Kontemporaneität, welches Geheimnis mich zu beschäftigen nie aufhört, sowohl im Leben als in der Arbeit; denn es ist eigentlich der Schlüssel zum geistigen Dasein, sofern es zugleich menschliches Dasein ist.—Hofmannsthal.Since positivism, with its cut-and-dry concepts of schools and influences has more and more lost its hold on literary criticism, a wide search for new methodological principles has become a distinctive feature of German endeavors. Their name is legion, their enumeration not pertinent. Suffice it to recall Nadler's regional theory, which, when used with discretion, appears as one of the most fruitful contributions. If Nadler bases his groupings on affinities of space, the Generationsprinzip or Altersgruppenprinzip proceeds similarly in terms of time. It has of late claimed increasing attention in Germany, but only very recently begun to attract interest in this country. On the following pages I shall attempt to discuss critically the more important German contributions to this methodological problem.
LXXI. L'ombre De Madame Bovary
Authors: Denœu François 
Published: February 2007

L'autobus de Rouen à Beauvais s'arrêta dans une longue plainte de freins fatigués, et les deux voyageurs qu'il transportait ouvrirent à grand peine sa porte étroite et piquée de rouille.—Pour aller & à, madame? demanda le plus vieux à une paysanne en tablier bleu qui, dans l'ombre d'une porte entre-bâillée, épiait les arrivants.
LXXIII. Louis-Xavier de Ricard, Poet of Progress
Authors: Schaffer Aaron 
Published: February 2007

In the course of his essay on Paul Verlaine, Anatole France, in speaking of the early Parnassians, makes the very shrewd observation:Nous avions, je ne sais trop pourquoi, la prétention d'être impassibles. Le grand philosophe de l'école, M. Xavier de Ricard, soutenait avec ardeur que l'art doit être de glace et nous ne nous apercevions même point que ce doctrinaire de l'impassibilité n'écrivait pas un vers qui ne fût l'expression violente de ses passions politiques, sociales ou religieuses.
Old English Beot and Old Icelandic Heitstrenging
Authors: Einarsson Stefán 
Published: February 2007

In his “Introduction” to Beowulf (p. lvii) Klaeber makes the following remark:That some of the speeches follow conventional lines of heroic tradition need not be doubted. This applies to the type of the gylpcwide before the combat (675 ff., 1392 ff., 2510 ff.), the ‘comitatus’ speech or exhortation of the retainers (2633 ff., cp. Bjarkamál [Par. §7: Saxo ii.59 ff.,] Maldon 212 ff., 246 ff., Finnsb. 37 ff.).
Beginning-Consonants and Breath-Control in French and English
Authors: Barker James L. 
Published: February 2007

To speak a foreign language with a correct accent, one must acquire the ability to produce each sound accurately, but is that all? Are sounds put together differently or are transitions from one sound to another made perhaps in the same way in different languages and, consequently, of little or no importance? Comparatively little attention has been paid to the waysounds are put together, to glides or sons transitoires. The generally accepted opinion is expressed by Jespersen:Diese Ab- and Anglitte haben—mit wenigen Ausnahmen—sehr wenig praktisches Interesse: sie gehen nähmlich so schnell vor sich, dass das Ohr keinen besonderen Eindruck von ihnen erhält, und zwar stets so, dass der kürzeste Weg zwischen den beiden Stellungen gewählt wird, und dass sie sich mit unfehlbarer Sicherheit bestimmen lassen, wenn die Endpunkte (die Lautstellungen) gegeben sind. Haben zwei aufeinanderfolgende Laute eine Organstellung (ein Element) gemeinsam, so wird diese Organstellung ganz natürlich von dem einen bis zu dem andern beibehalten: in (afva) mache ich mir nicht die Mühe, zwischen (f) und (v) die Unterlippe von den Oberzähnen fortzunehmen …, oder den Ausatmungsstrom aufhören zu lassen …
Spengler's Views of Art
Authors: Dahlström Carl E. W. L. 
Published: February 2007

In an exposition of the chief views of art set forth by Oswald Spengler anyone familiar with The Decline of the West will realize at once that a short paper can present only a very brief summary of the material on art scattered throughout the two volumes. Moreover, Spengler's views of art are so completely intertwined with information relative to the other activities of life that an essay may not be wholly restrictive in subject matter. Spengler makes the task doubly uninviting for the investigator by erecting a pons asinorum between himself and the would-be critic. Note, for example, the following sentence:Nichts ist einfacher, als an Stelle von Gedanken, die man nicht hat, ein System zu begründen. Aber selbst ein guter Gedanke ist wenig wert, wenn er von einem Flachkopf ausgesprochen ist.
Notes on The Elizabethan Elegie
Authors: Weitzmann Francis White 
Published: February 2007

In modern English usage, the term elegy bears a distinct connotation of threnody: broadly, it indicates any funeral poem or lament for the dead; more precisely, it describes a lengthened, dignified poem which either mourns reflectively for a deceased person or broods with a more inclusive sorrow over the tragedy men encounter in living. In this narrower sense, the elegy is a reflective lyric, suggested by the fact or fancy of death. The emotion, personal or public, finds utterance in keen lament, to be allayed, however, by tranquil consideration of the mutability of life, the immutability of Something which justifies life and death;or, in the words of Edmund Gosse, it is a poem of lamentation and regret, called forth by the decease of a beloved or revered person, or by a general sense of the pathos of mortality…. It must be mournful, meditative, and short without being ejaculatory.
The Echo-Word in Beowulf with a Note on the Finnsburg Fragment
Authors: Beaty John O. 
Published: February 2007

cyninges Ðegn,guma gilphlæden, gidda gemyndig,sē Ðe ealfela ealdgesegenaworn gemunde —word ōÐer fandsōÐe gebunden— secg eft ongansīÐ Bēowulfes snyttrum styrian,ond on spēd wrecan spel gerāde,wordum wrixlan; wēlhwylc gecwæÐ,Ðæt hē fram Sigemunde(s) secgan …(Beowulf, ll. 867b–875)GRENDEL is overcome. The warriors who urged their horses along the trail of bloody tracks are returning to Heorot. A poet-warrior sings, adding the name of Grendel's conqueror to the roll of Germanic heroes. The author of Beowulf gives a brief but precious account of the principles of his poetry. One word finds the other, rightly bound, and there is a varying with words. The inevitable alliteration of Old English poetry, as in the second line above, is obviously the most conspicuous way in which one word found the other, rightly bound. Likewise, varying in words aptly describes the principle underlying the “Kenning” or epic epithet. This principle of style consists in the repetition of words or phrases to round out a full poetic picture by presenting an idea from varying points of view. Examples are cyninges Ðegn, guma gilphlæden, and secg, all of which refer to the poet-warrior in the quoted passage.