bluuebunny/crossref_metadata_2025_split huggingface dataset:
Updated Approaches to the Classics: William of Aragon, Nicholas Trevet, Giovanni del Virgilio, and Pierre Bersuire
Authors: Minnis A J , Scott A B , Wallace David 
Published: November 2023

Abstract
Henri o’ ANDELI’S worries that grammar(and hence the study of the classics) had been ousted by logic were somewhat exaggerated, as is witnessed by the materials collected in this chapter. The classification of poetry under logic (which has been described in Ch. VII) was generally accepted and developed in commentaries on the classics produced in the late thirteenth century and in the fourteenth century. For instance, an anonymous Ovid commentary explains that in general the Jonna tractandi comprises a ‘fivefold mode, that is, dividing, defining, providing examples, proving, refuting, and inferring’, while in particular the Metamorphoses has a threefold mode, ‘that is, dividing, defining, and providing examples’. Similarly, Giovanni del Virgilio describes Ovid’s mode of treatment in that work as being multiple because it ‘offers definitions, is discursive and inferential’, and so forth. Here logical concepts are being employed in a loose sense, certainly, but without any feeling that their application is incongruous. These comments form part of the discussions of the formal causes of literary texts: the ‘Aristotelian Prologue’ (as defined above in Ch.VI) is frequently found at the beginning of expositions of the classics. Two sophisticated examples, by Nicholas Trevet and Giovanni del Virgilio, are offered below. Within the new conceptual frameworks many traditional glosses continued to be transmitted Giovanni del Virgilio’s account of the ‘three forms of metamorphosis’ being a case in point-and certain interpretative systems which were well established in the twelfth century received further adaptation and amplification, asin the fourfold method of interpreting pagan fables used by Pierre Bersuire.
Religion
Authors: Newlyn Lucy 
Published: November 2023

Abstract
It is central to the structure and meaning of Paradise Lost that there exists a disjunction between the linear conception of time which is accorded to the human characters mvolved and the eternal perspective from which God sees, all at once, the repetitions and cycles of history. Verbal echo may invite the reader to make links between different parts of the unfolding narrative, blurring temporal distinctions and causing successive versions of the Fall to converge; but these connections are made at the expense of the limited perspectives of characters caught up m events as they unfold. At each new reading of the narrative, It becomes possible to make more connections, and to make them with greater authority.
Radicals and the Law: Blasphemous Libels and the Three Trials of William Hone
Authors: Wood Marcus 
Published: November 2023

Abstract
In 1817 Hone became a figure of national celebrity as a result of his three trials. Throughout March and April he had written violently anti-government articles in his periodical Hone’s Reformist’s Register. These attacked the Cabinet’s recent suspension of Habeas Corpus and Lord Sidmouth’s circular letter sent out to Magistrates in March To prevent, as far as possible, the circulation of blasphemous and seditious pamphlets and writings’.
Introduction
Authors: Barrell John 
Published: November 2023

Abstract
‘The prostitution of Language has lately, been so glaring, and notorious, that ... it requires a nice discrimination, to distinguish ... the true intent, and signification, of many Phrases, now in general use.’1 With these words, the author of A Political Dictionary for the Guinea-less Pigs introduced, in I79 5, what he described as ‘A Glossary of Emphatical Words’ selected from the vocabulary of ‘Deep Will’, the then Prime Minister, William Pitt.
‘When Kings are Hurled from their Thrones’
Authors: Barrell John 
Published: November 2023

Abstract
In February I793 Burke informed the Commons-though such was his delicacy that he felt, he insisted, ‘an almost insuperable objection’ to doing so-that the main object of the National Convention in condemning Louis to death was to terrorize George into imagining his own death.1 Whatever the strength of the objection, it was one he had managed to overcome several times before, for of all loyalists he was the fondest of the extreme rhetorical effects which could be achieved by inviting his audience in parliament, and his readers outside, to join him in the thrills, the terrors, the tears provoked by imagining the death of George III.
The Trials of Tooke and Thelwall
Authors: Barrell John 
Published: November 2023

Abstract
The prosecution had embarked on the trial of Hardy with public opinion certainly on their side. In the months following the arrests of early May, most of the newspapers had treated the case against the defendants as virtually proved-all the more so after the publication of the Commons’ Second Report, and still more when the trial of Watt had revealed what appeared to be a planned insurrection in support of universal suffrage. The notion, widely expected no doubt to be proved literally true, that the societies had been intending the death of George III, must, as Erskine acknowledged, have caused widespread outrage, the more so when, in late September, the Government had announced the discovery of the Pop-Gun Plot, a conspiracy supposedly hatched by members of the LCS to assassinate the king. Eyre’s charge had apparently confirmed that, even taking the case at its weakest, the activities of the reform societies would come within the scope of the lav; of treason.
Cosmic Scenery
Authors: Worth Katharine 
Published: November 2023

Abstract
Looking back now, it may seem inevitable that the first of his scenic images to be realized in the theatre was the empty open road of Waiting for Godot where a cryptic moon rises on cue at the end of each act, harbinger of a longed-for night. Not so long ago before the first production of the French original in 1953 Beckett had travelled with Suzanne Deschevaux-Dumesnil on a painfully real road, travel ling by night and sleeping by day, escaping from the Gestapo into Vichy France: a time of trauma. Behind that, in sharpest contrast, lay the beloved roads of childhood, winding up into the Dublin hills. The road in the play is fraught with these memories. It was chance that brought Godot to the stage before Eleutheria, a quintessential play of the ‘room’ which Suzanne had also tried to place in 1949. But how inevitable it seems now that audiences should first meet Beckett through a play which has turned its back on rooms, where there is nothing to break the emptiness but a single tree, nowhere to sit down but a mound of earth (later to become a stone).
Be Again, Memory!
Authors: Worth Katharine 
Published: November 2023

Abstract
Forgetting is a fact of life that Beckett turns into a treasure hoard, connecting it by fine threads to acts of remembering; those that come of their own accord, swimming up as if from nowhere, and those methodically sought, collected, sorted, as Krapp collects and sorts his ‘retrospects’. Writing as a young man on Proust,1 Beckett followed him in being caustic about the latter kind, the inferior ‘voluntary’ memory which Proust had categorized as ‘turning the leaves of an album of photographs’. Beckett’s own image was even more caustic: the person who claims ‘I remember as well as I remember yester day’ cannot remember yesterday, he said; he only contemplates it, ‘hung out to dry with the wettest August bank holiday on record a little further down the clothes-line’. ‘Involuntary’ memory was the only true ‘instrument of evocation’ and evocation was the purpose of the artist. Beckett jibbed a little at Proust’s habit of reiterating the idea ‘ad nauseam’, but like him he pursued it in wonderfully free and varied form-not omitting the washing on the clothes-line.
Shared Words: The Camaraderie of Quotation
Authors: Worth Katharine 
Published: November 2023

Abstract
It will be clear,][ hope, that I am not attempting to trace sources or chart quotations comprehensively: that herculean task is already well advanced by Beckett scholars, his editors in particular. My wish is to illustrate Beckett’s subtle and varied uses in his plays of the common stock, and the pains he takes to make it accessible as well as to tease us (one aspect of camaraderie).
The Desert’s Purge: 1939-1944
Authors: McDonald Peter 
Published: November 2023

Abstract
Macneice’s Trip To Ireland with Ernst Stahl in the late summer of 1939, a stay protracted until the end of the year, and his departure for America at the beginning of 1940 marked the start of the most turbulent period in the poet’s career, by the end of which his work was to be decisively reorientated. That world events were equally turbulent at the time is a truism, but the question of how far external circumstances might impinge upon the nature and direction of artistic activity was by no means a dead issue for MacNeice then, and may be seen as a pressure which often bore significantly upon the work itself. If the outbreak of the Second World War marks a suspiciously neat point for the literary history of the 1930s to end, that neatness is missing in MacNeice’s development, even though the period 1939-41 is, properly speaking, still a turning-point in his work. This is not to say that the poet had no part in the general rush to tidy up the 1930s, for praise or blame, which was already evident before the departure of Auden and Isherwood for America in January 1939; MacNeice’s own Autumn Journal, appearing in May of that year, contributed to the sense of ending and account-balancing already prevalent in England.
Parable
Authors: McDonald Peter 
Published: November 2023

Abstract
The centrality of the idea of parable to MacNeice’s writing is clear, and was often insisted upon by the poet himself, especially in his later years. The nature of this idea, however, is more difficult to clarify, and even MacNeice found ‘parable’ an awkwardly wide term for critical analysis; yet ‘a kind of double-level writing, or, if you prefer it, sleight-of-hand’ is at the heart of much of his post-war work. This ‘parable’, for MacNeice, concentrates elements that had always been of crucial importance-identity, the limits of self, the experience of time-but does so by existing in a context that compounds the contemporary with longer mythic and literary perspectives, and ultimately with those of deep personal memory. The notion of parable and its implications change for MacNeice in the course of his career: the present chapter examines certain points in this development, and attempts to make clearer the contexts against which MacNeice’s parable is defined as well as those upon which it tends to draw.
The ‘Ould Antinomies’: Ireland
Authors: McDonald Peter 
Published: November 2023

Abstract
Although MacNeice is now read increasingly as a major AngloIrish writer rather than as an adjunct to the Auden group, a change in labels should not be mistaken for a leap in critical insight. ‘AngloIrish’ is in itself of little use in this context, perhaps aligning MacNeice with the class to which Yeats laid claim which embodied, for the younger poet, ‘nothing but an obsolete bravado, an insidious bonhomie and a way with horses’. Even so, ‘Anglo-Irish’ does at least bring to the fore the inevitable connection between MacNeice’s and Yeats’s poetry; this primarily literary issue in fact leads into the broader implications of the poet’s relation to Ireland generally, and the role that the country played in his work. In one sense, Ireland was necessarily crucial in the poet’s imaginative world as the scene of a difficult childhood in which periods of happiness were contrasted with those of melancholy and fear. In a memoir, MacNeice’s sister recalled an underlying sense of displacement in even the earlier years:
Opportunity and Need
Authors: Honan Park 
Published: November 2023

Abstract
It is reasonable to think that at about the age of15 or 16 Shakespeare helped his father, and that for an interlude he even found alternative employment. In the seventeenth century, John Aubrey was by no means certain that Ben Jonson’s report of the Stratford poet’s ‘small’ Latin could be valid. ‘He understood Larine pretty well’, Aubrey wrote of Shakespeare, ‘for he had been in his younger yeares a School master in the Countrey. ‘ This is a fairly well authenticated report. Using living sources of information, Aubrey was told of the school mastering by William Beeston, whose father Christopher Beeston the player had been a member of Shakespeare’s company and had acted with him in Ben Jonson’s Every Man in his Humour. Memories were long in the profession of the stage, in which recruitment was largely a matter of hereditary castes, and the elder Beeston had been an early member of the Lord Chamberlain’s men. The ‘Schoolmaster’ report is not particularly surprising, unlikely, or merely gossipy.
New Place and the Country
Authors: Honan Park 
Published: November 2023

Abstract
In these years, the poet who supplied repertory with works as effective as Romeo and Juliet, the Dream, and Henry IV did not hang up his hat after morning rehearsals. He appeared on the stage himself, and with his writing, rehearsing, acting, planning with his fellows, and vetting of scripts he was very unlikely to leave London often. His income was substantial by 1596. As a matter of record ‘William Shackspere’ was one of the seventy-three rateable residents at St Helen’s parish that October, but since he forgot or neglected by the next February to pay his tax-just 5s. on goods valued at£5-the Petty Collectors of Bishops gate ward sent his name to the Exchequer. No doubt the low assessment of £5 was simply nominal.
The King’s Servants
Authors: Honan Park 
Published: November 2023

Abstract
Hmlet’s success doubtless encouraged Shakespeare, and might have led his troupe to believe their solvency and prestige were assured. Yet their situation offered little ground for optimism in 1602. They had no representative at court, and if the ageing, irritable Queen died they could be closed down once and for all. Their patron was incapacitated (Baron Howard of Walden carried out duties at the Lord Chamberlain’s office) and actors were obliged to plan for a dark, worrisome future. A costly Spanish war dragged on, and extremes of wealth and poverty glared in London-where inflation was as relentless as it had been in the 1590s.
Tales and Tempests
Authors: Honan Park 
Published: November 2023

Abstract
An alert traveller riding into Stratford around 1607 would not have found the townspeople invariably sombre or the local trades hopelessly depressed. Puritanical feeling was strong among aldermen who met at ‘halls’, but old festivals were still honoured. There was jollity enough, and merchants had more to celebrate than in the lean years of the 1590s. Despite fears about the ungodly, some thirty alehouses were to be allowed at Stratford, along with the three inns—the Crown, Bear, and Swan—all on Bridge Street. There were tensions in the local council which illuminate the dramatist’s late years (as does fresh evidence about his son-in-law). But after leaving dusty London, Shakespeare would have returned to a place of natural beauty.
Introduction
Authors: Billington Sandra 
Published: November 2023

Abstract
The last fifteen years have seen a fruitful investigation into the symbiotic relationship between seasonal festivity and peasant rebels who adopted mock king titles, organizing their defiance of government into festive patterns. The questions and answers which have resulted have radically altered critical views as to the ‘safety valve’ theory of festive games. The other well-known way of looking at these customs is in the tradition of Mikhail Bahktin, in which the mock king is seen as part of a saturnalian impulse, the roi pourrire in medieval carnival who, in Rabelais, was the essence of the indestructible world of folk humour, and who, C. L. Barber perceived, was part of a ritualized disorder which led to social regeneration in some Shakespearean comedy. The two areas of study are concerned with mock kings as they appear either in festive games or as leaders of peasant rebellions. However, E. L. G. Stones’s article on fourteenth-century robber barons makes clear that they too adopted a mock king style. These were men from a different social class, and it seems as improbable that they copied their inferiors as that the association was pure coincidence.
Outlaws, Rebels, and Civil War
Authors: Billington Sandra 
Published: November 2023

Abstract
In the society Langland wrote for and about, disorder was endemic. The background to a complex use of mock king titles and name calling was one where the forces of disorder, or misrule, were more effectively in control than were those of rule. The impression of near-mayhem is confirmed by John Bellamy in the opening chapter of Crime and Public Order in the Middle Ages: ‘In the England of the later middle ages the preservation of public order was very often the biggest problem the king had to face. It was not just a police matter. At heart were the crucial issues of royal authority and the structure of the state.’ Bellamy refers to wilful flouting of authority rather than to the more justified peasant rebellions, and he finds the problem extensive. Out of localized studies of different areas at different periods ‘not one investigator has been able to indicate even a few years of effective policing in the period 1290-148s’.1 The point at which the law broke down was at the top. Justices of the peace and sheriffs were dependent on lordly patrons who, more frequently than not, applied the law according to their own vested interests. It was not until the gentry broke free of patronage in the mid-sixteenth century that open crime decreased and was, perhaps, replaced by subtler forms of corruption.
Summer Kings and Queens, and Kings of Fortune
Authors: Billington Sandra 
Published: November 2023

Abstract
Records and pejorative comment show that lords of misrule were popular in provincial towns and houses throughout the sixteenth century. Yet the evidence of the winter king’s activities frequently lacks detail, and tends only to exist as a record if it witnesses a patron’s expenses or generous spirit. By contrast, summer games were also mentioned for romantic or, alternatively, disapproving reasons by men unconnected with the events. And a third source of evidence is church records, since most parishes became involved with summer customs as a means of increasing their revenues. As a result, the evidence for summer kings is surprisingly full and it is possible to identify some of their major features, and to assess how they influenced the later drama. However, the larger amount of evidence does also lead to greater problems of coherence, since variations in seasonal customs also become that much more evident, and while accounting for them it becomes crucial to remember that what was traditional in one place might in fact have been quite different from what customarily took place a few miles away.
A Critical Introduction
Authors: Billington Sandra 
Published: November 2023

Abstract
When one turns to Renaissance drama one finds that king games of various kinds are incorporated in a large proportion of them, as the anonymous poet in Annalia Dubrensia observed soon after their peak had passed. It is even possible to suggest that, at the point where English playwrights successfully broke from Morality drama and from classical imitation into a freely interpreted, extended play structure, the achievement was through the use of summer king patterns. Their adoption makes sense from both commercial and, as analysis shows, critical points of view. Firstly, a strong rapport was needed between professional companies and audiences, since the ability to make or break a play lay in the reaction of the two or three thousand people who flocked to the Theatre, Curtain, and Rose.
The Music Of Toga Drama
Authors: Preston Katherine 
Published: November 2023

Abstract
A study of toga dramas cannot be complete without some discussion of the musical component, for such music was (and is) an essential clement of all melodrama. It is unfortunate, therefore, that very little research has been conducted by music historians into this interesting topic. Reasons for this lacuna become abundantly dear as soon as one initiates such an investigation, for the sources are, at best, meagre. Theatre historians often have scripts with which to commence their research, which can be fleshed out with additional information from reviews, financial records, contemporary commentary, and the like. This basic source of information, however, is often Jacking for the music historian. Very little of the incidental music to theatrical works mounted in the nineteenth century was ever published, and manu script scores are scarce. Judging by the dearth of musical manuscripts, one can only conclude that the music to such productions was rarely notated: evidence suggests that the accompaniment to many melo dramas were pastiches-cobbled together from pre-existing scores.
The Charioteers
Authors: Moore Marshall 
Published: November 2023

Abstract
The timing of Ben-Hur—performances in America from 1899 and in London from 1902—coincides with the moment that popular entertainment comes to a fork in the road. Straight ahead is further development of the stage play. Leading to one side is the faint trail of cinema. The stage history of Ben-Hur and Ben-Hur ‘borrowings’ is brief. The history of Ben-Hur motion pictures continues up to 1959, but in each instance the first stage and filmic ventures after the Klaw and Erlanger production reveal much about the current perception and reception of toga drama.
Hampstead
Authors: White Norman 
Published: November 2023

Abstract
In 1852 the Hopkinses moved from the eastern marshlands of Stratford to the northern height of Hampstead. From the highest point of Hampstead, Whitestone Pond, you could see St Paul’s and the City, framed by the oaks and beeches of the Heath, and the southern rim of the London basin, from Black heath to the Surrey hills. It would not legally become part of London until the end of the century, but Hampstead was never a typical village.
Freshman Allegiances
Authors: White Norman 
Published: November 2023

Abstract
First came the meeting with his tutor, which took the form of a breakfast in the tower-room of Professor Benjamin Jowett. Hopkins shook the hand (said to be ‘finny’) of a cherubic man, who had ‘a delicately rounded face, with its small mouth and chin, its great brow, and frame of snowy hair’; a mixture of ‘revered schoolmaster’ and an ‘abbe of the old French type’, a man with a high-pitched, piping voice, who was said to be ‘hardly a man’.
Useful Information
Authors: White Norman 
Published: November 2023

Abstract
Hopkins always needed someone with whom he could share creative discoveries. If there were no obvious candidate, he would force the role on someone. Opposition was sometimes more valuable than agreement. The acquiescent Canon Dixon would prove a less valuable critic than the robustly sceptical Bridges. During the long vacation of 1863 Mowbray Baillie was bullied into becoming Hopkins’s sparring partner.
Perversion and Estrangement
Authors: White Norman 
Published: November 2023

Abstract
The Sussex Downs was a seductive place to go for a reading party, Walter Pater suggested to Hopkins. Hopkins put forward Salisbury as an alternative, because it was near a cathedral, with good country, and not far from George Herbert’s Bemerton, Lord Herbert’s church, Salisbury Plain, Stonehenge, and Avebury. But he and his friends took Pater’s advice and rented Whiting’s Farm, near Horsham, from Mr Henry Ings, for the last fortnight in July 1866. In bed on the night of 17 July, Hopkins ‘saw clearly the impossibility of staying in the Church of England’, but resolved ‘to say nothing to anyone till three months are over’. He also decided that he would not be received into the Roman Catholic Church until after he had taken his degree.