bluuebunny/crossref_metadata_2025_split huggingface dataset:
VII.—The Nature and Fabric of the Pearl
Authors: Schofield William Henry 
Published: February 2007

At the request of my friend Dr. Brown, who in the preceding article has cast so much light on the character of the author of The Pearl, I have undertaken to state in print certain heterodox opinions, which I have long held, concerning the nature and fabric of that beautiful poem.Briefly, to indicate my main thesis at the outset, I would maintain that The Pearl is not in the least elegiac or autobiographical, as hitherto regularly regarded by scholars and critics, and that the conclusions as to the author's life and domestic sorrows frequently drawn from it are wholly without foundation.
The Duration of the Canterbury Pilgrimage
Authors: Tatlock John S. P. 
Published: February 2007

The question as to how many days Chaucer conceived his Canterbury pilgrimage as occupying is of interest for a number of reasons. The consideration of it takes us more familiarly into the time and place where we may behold“the nine and twenty ride Through those dim aisles their deathless pilgrimage, Lady and monk and rascal laugh and chide, Living and loving on the enchanted page.”
Three “Lapland Songs”
Authors: Farley Frank Edgar 
Published: February 2007

The second antistrophe of The Progress of Poesy opens, it will be recalled, with a rather striking allusion to the beneficent visitations of the Muse in the far North:In climes beyond the solar road,Where shaggy forms o'er ice-built mountains roam,The Muse has broke the twilight-gloomTo chear the shiv'ring Native's dull abode.
Sources of the Lay of Yonec
Authors: Johnston Oliver M. 
Published: February 2007

The lay of Yonec is composed of 562 lines of eight syllables, riming in couplets. The substance of this charming lay of Marie de France is as follows:—There lived in Britain an old knight, who was so jealous of his young wife's beauty that he confined her in a tower and placed her under the care of his sister, an aged widow. The knight passed his time in the chase, while his young wife had no solace but in her tears. One morning in April, after he had set off on his usual occupation, the fair lady began her lamentations as she was wont to do. She execrated the hour when she was born, and the avarice of her parents, who had married her to an old jealous tyrant.
XIX.—Four Obscure Allusions in Herder
Authors: Howard William Guild 
Published: February 2007

Concerning Homer, Lessing makes in the twelfth chapter of Laokoon the rash generalization, “Unsichtbar seyn, ist der natürliche Zustand seiner Götter.” Herder, in chapter xiii of his Erstes kritisches Wäldchen, has an easy task to disprove this proposition; but he cites in support of his case some witnesses of exceedingly doubtful credibility. The story of Pallas and Tiresias, which he tells after Callimachus, is good evidence that gods can be surprised by mortals. Having given, however, only the vague reference, “Callim. hymn, in Pallad. Dianam &c.,” Herder goes on to say:—“Wie der Pallas: so gieng es auch der badenden keuschen Diana. Kalydon sah sie, ebenfalls wider seinen und der Göttin Willen, und ward zu Steine. So gieng es selbst dem Jupiter, da er in seinem liebsten Vergnügen einmal seine Wolke vergessen hatte. Er ward, da er bei der Rhea schlief, von Haliakmon, wider Willen seiner, und seiner geliebten Beischläferin, und seines Überraschers, in seiner Schäferstunde gestört—wie das? wenn ‘unsichtbar seyn, der natürliche Zustand der Götter wäre.‘ —Ich will solche gestörte Schäferstunden der Götter und Göttinnen nicht aufzälen. Meine Muse ist diesmal nicht so, wie die Schwester des Amors, die.... wie die Mädchen alle thun,Verliebte gern beschleichet.”
Source and Analogues of How A Man May Choose A Good Wife From A Bad
Authors: Baskervill C. R. 
Published: February 2007

From Langbaine's time it has been usual to consider the play How a Man May Choose a Good Wife from a Bad as drawn directly from Cinthio's Hecatommithi, book III, novel 5. But Riche had translated this novel and made it the sixth history of his Farewell to Military Profession some years before the drama appeared, and, as Riche's translation was no doubt easily accessible, the author of the play is more likely to have used his version than the Italian. It would be hard to decide which is the immediate source, however, for the double reason that Riche usually follows his original almost phrase by phrase, occasionally enlarging a compressed Italian expression into what amounts to an explanation or illustration of the original, and that, where the author of How a Man May Choose has followed his source closely, he is so far from copying the language that his phrasing may as well be his own translation as his adaptation of Riche's. But the slight evidence is all in favor of his borrowing from Riche. For instance, where Cinthio reads, “Aselgia … indusse un suo drudo a riuelare a di Agata, che il marito auelenata l'hauena,” we find in Riche:“Wherefore she reveiled his speeches unto a ribalde of hers, such a one as supplied her want of that which Gonsales alone, nor ten suche as he were able to satisfie her withall, and induced hym to appeache hym for that facte. … This companion accused Gonsales upon his owne wordes unto the freendes of Agatha,” etc.
Landericus and Wacherius
Authors: Spalding Mary Caroline 
Published: February 2007

In the Gemma Ecclesiastica of Giraldus Cambrensis there is an allusion to two songs which were evidently current among minstrels of the twelfth century, though they are unknown to us at the present time. The passage is found in the Second Book, where the author is attacking the practice of simony then common among the clergy. Of priests who read the mass twice or oftener upon the same day for the sake of donations additional to the one which it was customary for them to receive upon these occasions, he says:“Hi etiam et similes sunt cantantibus fabulas et gesta, qui videntes cantilenam de Landerico non piacere auditoribus, statim incipit cantare de Wacherio; quod si non placuerit de alio.”
Chaucer's Legend of Medea
Authors: Root Robert K. 
Published: February 2007

In the Prologue to the Man of Law's Tale we are told that any one who will read Chaucer's Legend of Good Women may see—The crueltee of thee, queen Medea,Thy litel children hanging by the halsFor thy Jason, that was of love so fals;but when one turns to the Legend of Medea, one looks in vain for the promised bit of sensationalism. In the closely related Legend of Hypsipyle, to he sure, the unhappy Lemnian queen prophetically prays—That she, that had his herte yrafte her fro,Moste finden him to her untrewe also,And that she moste bothe her children spille.
VIII.—On the Conservatism of Language in a New Country
Authors: Bryant Frank Egbert 
Published: February 2007

I cannot begin this discussion more appropriately than by quoting a well known paragraph from Ellis's Early English Pronunciation. In Part I, page 19, he says:—“The results of emigration and immigration are curious and important. By emigration is here specially meant the separation of a considerable body of the inhabitants of a country from the main mass, without incorporating itself with another nation. Thus the English in America have not mixed with the natives, and the Norse in Iceland had no natives to mix with. In this case there is a kind of arrest of development, the language of the emigrants remains for a long time in the stage at which it was when emigration took place, and alters more slowly than the mother tongue, and in a different direction. Practically the speech of the American English is archaic with respect to that of the British English, and while the Icelandic scarcely differs from the old Norse, the latter has, since the colonization of Iceland, split up on the mainland into two distinct literary tongues, the Danish and Swedish. Nay, even the Irish English exhibits in many points the peculiarities of the pronunciation of the xviith century.”
The Family of Maurice Scève
Authors: Gerig John L. 
Published: February 2007

One of the earliest members of the important Scève family at Lyons was Henri Scève, great-grandfather of Maurice Scève, the leading poet of the Lyonnese renaissance. Henri, who was still living in 1471, seems to have had two sons, François and Léonard. Of François, the younger of these sons, we learn that about 1480 he suffered considerable damage à la barre du pont du Rosne tant pour la mortalité, gens d'armes, que pour les grans eaues.In 1493, he possessed des prés et des terres labourables in the parish of Vaise. Ten years later (1503), he and his son were proprietors of the inn Ste-Catherine, which, however, was maloustru et mal prouffitant.
XIX. Notes on Gilbert Imlay, Early American Writer
Authors: Emerson Oliver Farrar 
Published: February 2007

In Mary Wollstonecraft's Letters from Sweden, Norway and Denmark (London, 1796) is a passage connecting two other interesting people, and not hitherto noticed so far as I find. It reads:
This house [where she was living in Altona, a suburb of Hamburg] was particularly recommended to me by an acquaintance of your's, the author of the American Farmer's Letters. I generally dine in company with him, and the gentlemen whom I have already mentioned is often diverted by our declamations against commerce, when we compare notes respecting the characteristics of the hamburgers.1
The passage indicates not only that Mary Wollstonecraft had met in her travels the French-American Crèvecceur, the Hector St. John of the Letters of an American Farmer (1782), but that Crèvecceur and Gilbert Imlay had an acquaintanceship not hitherto suspected. This and other matters concerning Imlay seem to warrant some further notes on his life and works.
Peterloo, Shelley and Reform
Authors: Walker A. Stanley 
Published: February 2007

In her note appended to Shelley's Mask of Anarchy, Mrs Shelley remarks on the attitude of her husband to the current political theories of the time:Though Shelley's first eager desire to excite his countrymen to resist openly the oppressions existent during the “good old times” had faded with early youth, still his warmest sympathies were for the people. He was a republican and loved a democracy. He looked on all human beings as inheriting an equal right to possess the dearest privileges of our nature; the necessaries of life when fairly earned by labor, and intellectual instruction. His hatred of any despotism that looked upon the people as not to be consulted, or protected from want and ignorance, was intense … the news of the Manchester Massacre … roused in him violent emotions of indignation and compassion.
Wieland's Teutscher Merkur and Contemporary English Journals
Authors: Kurrelmeyer W. 
Published: February 2007

Wieland's first mention of the plan of the Merkur is in a letter to Riedel dated Sept. 17, 1772:Ich bin entschlossen, eine Art von Journal zu entrepreniren, welches quo ad formam einige Ähnlichkeit mit dem Mercure de france haben soll. Prosaische Original-Aufsätze, Litterarische Nachrichten, Recensionen und Revisionen unrichtiger Urtheile über interessante Schriften, sollen die Haupt-Artikel davon ausmachen.
Milton and Plato's Timæus
Authors: Baldwin Edward Chauncey 
Published: February 2007

The Platonic origin of certain ideas in the seventh and eighth hooks of Paradise Lost has been ignored by Milton's critics. In Raphael's account of creation (Bk. VII, ll. 621-622), speaking of the stars, he calls themNumerous, and every star perhaps a worldOf destined habitation …And again (Bk. VIII, ll. 148-152) :… and other suns perhapsWith their attendant moons thou wilt descryCommunicating male and female light,Which two great sexes animate the world,Stored in each orb, perhaps with some that live.
XX.—The Novelty of Wordsworth's Michael as a Pastoral
Authors: Knowlton E. C. 
Published: February 2007

Scarce ane has tried the shepherd-sangBut wi' miscarriage.Burns's Poem on Pastoral Poetry.Wordsworth saw common things with “unaccustomed eyes.” When he gazed upon the landscape about him or when be observed the life of people in humble station, he found many a feature which his predecessors had overlooked or neglected. Nature, he perceived, had been ignored or superficially regarded. Yet Nature, to his mind, deserved the best efforts at interpretation. Similarly, country folk of low degree he found had hearts as sensitive as those of -people in high places, and accordingly he undertook to proclaim the truth to the world. He wished to enforce his own doctrine : “Of genius the only proof is, the act of doing well what is worthy to be done, and what was never done before: of genius, in the fine arts, the only infallible sign is the widening the sphere of human sensibility for the delight, honour, and benefit of human nature ! ”
A Chateaubriand Rarity
Authors: Schaffer Aaron 
Published: February 2007

The libary of John H. Wrenn, acquired by The University of Texas, contains an editio princeps which would seem to be of some importance to students of the history of French literature. The work in question is listed in the Catalogue of the Wrenn library, as follows:Chateaubriand, Vicomte de: Maison de France, ou Recueil de Pièces Relatives à la Légitimité et à la Famille Royale. Par M. le Vicomte de Chateaubriand, Pair de France. Tome Premier (Tome Second), Paris, Le Normant Père, Libraire, Rue de Seine No. 8, Faubourg Saint-Germain, 1825.
“In Principio”
Authors: Law Robert Adger 
Published: February 2007

“For thogh a widwe hadde noght a sho,So plesaunt was his In principio,Yet wolde he have a ferthing er he wente.“Prologue to Cant. Tales, ll. 253-5.Exactly what was the Friar's “In principio,” and why did he use it when he went to call on barefoot widows?These questions evidently suggested themselves to Tyrwhitt, who in his epoch-making edition of the Canterbury Tales (1775), observes: “This phrase is commonly explained to refer to the Beginning of St. John's Gospel. It may also refer to the Beginning of Genesis. In an old French Romance, l'histoire des trois Maries, it seems to signify some passage in the conclusion of the Mass.”
Thomas Middleton and the Fashion in Playmaking
Authors: Bullock Helene B. 
Published: February 2007

Middleton's London comedies of his early period, 1604-1614, have, throughout the course of English dramatic criticism, inspired curiously diverse comments.The early comedy of Middleton is as light, rancid, and entertaining as anything in Elizabethan drama. It is irresponsible rather than immoral, and does not exactly recommend, or approve of, the trickeries and debaucheries which it represents, in a life-like way, under improbable conditions. . . . . His aim is at effect, and he rarely fails in his aim. . . . .1
New Light on the Evidence for Swift's Marriage
Authors: Hearsey Marguerite 
Published: February 2007

Since 1893, when Churton Collins published his biography of Swift, the question as to whether or not Swift was married to Stella has been practically closed. Collins disposed of the matter in the following definitive fashion:The evidence on which Monck-Berkeley chiefly relied was not that of Mrs. Hearne. “I was,” he says, “informed by the relict of Bishop Berkeley that her husband had assured her of the truth of Swift's marriage, as the Bishop of Clogher who had performed the ceremony had himself communicated the circumstance to him.” If this could be depended upon, it would, of course, settle the question; but unfortunately for Monck-Berkeley, and for Monck-Berkeley's adherents, it can be conclusively proved that no such communication could have taken place. In 1715, a year before the supposed marriage was solemnized, Berkeley was in Italy, where he remained till 1721. Between 1716 and 1717 it is certain that the Bishop of Clogher never left Ireland, and at the end of 1717 he died.1
Milton's “Two-Handed Engine”
Authors: Dorian Donald C. 
Published: February 2007

Few of Milton's lines have called forth more comment and interpretation than lines 130-131 of Lycidas, which form the climax of the denunciation of corruption in the clergy:But that two-handed engine at the doorStands ready to smite once, and smite no more.For example, Professor C. G. Osgood has suggested that an allusion to “the iron flail of Talus” was intended—a supposition that would link the “two-handed engine” in an interesting way to Milton's avowed admiration for Spenser and to the uprooting of the hills in the war in heaven. This interpretation, however, while it might enrich the metaphor, would make Milton's words voice only a vague hope that some agency, as yet unknown, would punish the corruption of the clergy. And such vagueness in Milton's mind hardly agrees with his deliberate confidence in the accomplishment of the reforms he advocated—a confidence which he maintained, even in the face of an obviously changing popular attitude, until the Restoration was fully wrought.
The Linguistic Development of Ivar Aasen's New Norse
Authors: Haugen Einar 
Published: February 2007

It does not often happen that a language form created by conscious deliberation and planning wins the warm support and widespread acceptance which has fallen to the lot of New Norse, the creation of Ivar Aasen (1813–1896). A large body of serious literature has grown up in this artificial common denominator of Norwegian dialects; possibly a fourth of the school-children of Norway receive their chief instruction in it. Although New Norse is far from its goal of supremacy, it is a factor of the utmost significance in Norwegian history, and a phenomenon of great interest to students of language and literature.The earliest detailed study of Aasen's linguistic practice is found in Johan Storm's polemic pamphlet Det nynorske Landsmaal. That brilliant scholar here applied his wit and ingenuity to proving that New Norse (Landsmaal) as written, was not and could not be a language, because of its inevitable tendency to crumble up into the dialects of which it was created. To this end he analyzed in some detail the language of the various New Norse writers, among them Aasen. His purpose did not, however, involve an exhaustive study of Aasen's works, many of which were then unknown or scattered. Hence his classification was inadequate and at times definitely incorrect. He divided Aasen's New Norse into an older form, represented by Prøver af Landsmaalet (1853) and Fridtjofs Saga (1858), and an intermediary form used in Ervingen (2d ed., 1874), Heimsyn (1875) and Symra (3d ed., 1875). But this rough division (based chiefly on the change in 1858 from dan, dat to den, det) gives us no conception whatever of the gradual steps by which Aasen passed from form to form and the experimentation out of which his completed New Norse norm was shaped.
The Right Side of the Franks Casket
Authors: Clark Eleanor Grace 
Published: February 2007

Professor Napier, discussing the Franks Casket a quarter of a century ago, concluded with these words:I hope that these suggestions may have thrown some light on the mysterious inscription on the Florence fragment, or at any rate may advance us nearer to its complete elucidation. A thoroughly satisfactory solution of all the problems connected with it is scarcely to be hoped for until we know to what the carving refers, who the actors, and what the scenes were thereon depicted.
The Phonetic Value of Old French Ue from Vulgar Latin Open O
Authors: Learned Henry Dexter 
Published: February 2007

In the present paper I propose to examine once more the documents that afford evidence as to the sound of the Old French diphthong commonly represented by ue, and to develop certain fresh conclusions to which this evidence seems to point.Current views of this matter may be briefly summarized: Vulgar Latin long open o, broken (by a process concerning which scholars are far from agreed) into ǫǫ, gave uo (dissimilation), on which we disagree again: was it uó or úo? Both pronunciations may be defended; but it is simpler to suppose that, like Italian and Spanish, Old French had a rising diphthong here (ŭó) from the very first. At any rate, the next stage must have been *uø, next ue, then *uø once more and finally ø.
Swinburne's Laus Veneris and the Tannhäuser Legend
Authors: Hyder Clyde K. 
Published: February 2007

Although suggestions have been made in regard to the possible means by which the Tannhäuser legend may have reached Swinburne's receptive mind, no one has offered a satisfactory explanation. It is my purpose to offer such an explanation, for the sake of the light it throws upon Laus Veneris as well as upon the development of the legend in English.A preliminary consideration of possibilities is essential. First, there is Ludwig Tieck's Der getreue Eckart und der Tannenhäuser, which Carlyle translated as “The Trusty Eckart” in German Romance, published in 1827. Since Swinburne in his youth was an admirer of Carlyle, he may have known this translation. With some of its melodramatic absurdities omitted, the relevant portion of Tieck's story, part II, is briefly as follows: After a mysterious disappearance the noble Tannenhäuser returns to tell his friend Friedrich of his experiences. He believes that he has fallen in love with Emma and murdered a rival, causing both Emma and his own parents to die of grief. In darkest night he goes to a lofty hill, where he calls upon the Enemy of God; the latter teaches him a song, which in some strange way leads him to the Mountain of Venus. Passing the trusty Eckart, a superhuman figure who guards the entrance, he resigns himself to sensual pleasures in the company of Lady Venus and her train. From this “pomp of sin” he has now returned. Friedrich, who has been listening patiently to this recital of an apparent madman, assures him that Emma, recently married to Friedrich, is still alive. The Tannenhäuser does not believe this statement, supposing it a deception of Satan, and sets out to Rome to perform penance. Some months later he comes back, tattered and barefoot. Entering Friedrich's chamber, he kisses him, announces thatthe Holy Father cannot forgive, and departs. Friedrich discovers that Emma is murdered, apparently by the Tannenhäuser, and that the kiss draws him towards the mysterious mountain. The absence of any reference to the pope's staff and to the sending of messengers may be noted.
Ist Clara Viebig Konsequente Naturalistin?
Authors: Fleissner O. S. 
Published: February 2007

Hans naumann gibt in seiner Deutschen Dichtung der Gegenwart (1923) folgende Darstellung von Clara Viebigs Kunst:Naturalismus wie Heimatkunst, peinlichst genaue Gegenstandsmalerei, sozialen wie psychologischen Realismus, all dies beherrscht diese verspätete, aber konsequent gebliebene und bedeutendste Naturalistin in ganz ausserordentlichem Mass.
Ein Anti-Reinmar
Authors: Nordmeyer H. W. 
Published: February 2007

Friedrich Vogt fasste seine Ausführungen über Carl von Kraus' bahnbrechendes Reinmarwerk wie folgt zusammen (AfdA. 40 [1921], 126 f):Das letzte Wort hat auch vKraus nicht über Reinmar gesprochen. Eine endgültige Feststellung der Zahl, der Reihenfolge, der Strophenordnung und des Wortlautes seiner Lieder, nach der man fortan zu zitieren hätte, eine ein für allemal abschliessende Darstellung ihres Gedankenganges, ihres äusseren und inneren Zusammenhanges hat er nicht gegeben. Aber … . er hat diese Lieder schärfer unter die Lupe genommen als irgend einer seiner Vorgänger… . . er hat durch seine Beobachtungen auch da wo man sie anders deuten und bewerten muss als er, Anregungen ausgestreut, die über den Kreis der Reinmarschen Dichtung hinausreichen.