bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Emergence of Augustan Drama 1697–1710
Authors: Hume Robert D 
Published: November 2023

Abstract
The double tradition of the 1690s keeps the Carolean play types alive, and for a time obscures the decisive swing toward new kinds of drama. By the late nineties, however, Carolean drama is definitely a thing of the past: the new era dawns early in the decade, and by the time of the theatrical union of 1708 the transition is complete. In this chapter we will see the final breakdown of the old types and the establishment of a new synthesis. Defining it, however, poses considerable problems. Within the 1660–1800 period in drama there seem to me to be four overlapping and connected but essentially distinct centre-points: Carolean drama (fl. 1665–85), Augustan drama (dominant in the first quarter of the eighteenth century), the experimental drama of the 1730s, and Georgian drama (fl. 1760–80). The designation ‘Augustan drama’ will certainly annoy at least one group of contemporary scholars, but faute de mieux it will serve. Whatever the name applied to the new agglomeration, I hope that its essentially different character will be granted. The new Augustan drama is of course no more homogeneous than the old Carolean drama. Just as the basically Tory Carolean drama encompasses some Whig zealots, so the ‘Whig drama’ of Cibber, Centlivre, Steele, and Addison has its Tory stalwarts. The factors contributing to the shift, including political, religious, and social matters, defy tidy definition. In the broadest sense, the change is ideological.
Introduction
Authors: Blamires Alcuin , Pratt Karen , Marx C W 
Published: November 2023

Abstract
A preliminary insight into the phenomenon of medieval antifeminism can be gained from a book called ‘The Love of Books’ (Philobiblon) written by Richard de Bury, who was an avid reader as well as a powerful figure in Church and State in early fourteenthcentury England. He imagines books uttering a protest against clerics, who, instead of being their allies, now neglect them and allow them to be thrown out of their homes:
This passage introduces us to three of the four areas of discussion to be explored below. First-all in a spirit of fun, of course-it indicts women on traditional counts. She is ‘animal’ (bestia), ‘snake’, or other venomous creature; she is inveterately jealous of rivals; she nags in abrasive language (virulentis sermonibus); she presumes to offer her ‘counsel’, but her counsel is one long shopping list of consumables, notably for her wardrobe, which she would substitute for un-utilitarian writings; and the Word is beyond the scope of her limited understanding in any case. Second, Richard picks unerringly on a trio of texts central to misogyny: Jerome’s ‘Theophrastus’, Walter Map’s ‘Valerius’, and the gloomiest of the wisdom books of the medieval Bible.
The Church Fathers
Authors: Blamires Alcuin , Pratt Karen , Marx C W 
Published: November 2023

Abstract
Tertullian was a pagan of Carthage converted to Christianity before AD 19 7, but details of his career--even whether he became a priest or remained a layperson-are scanty. His elaborately rhetorical and passionately ascetic writings were avidly absorbed by Jerome two hundred years later. Through Jerome, some of Tertullian’s thinking was to enter the mainstream of Christian polemic, and of medieval misogyny too. Of course Tertullian himself was following in the footsteps of earlier ascetics, but it has justly been suggested that he made ‘the first consequential statement’ in the Christian Latin world ‘of the belief that abstinence from sex was the most effective technique with which to achieve clarity of soul’. He wrote of women as creatures of dangerous sexual allure, whose urgent duty it was to suppress their attractiveness in order to minimize the spiritual damage it wrought in men. His most strident assertions are made in On the Appearance of Women, De cultu feminarum, a composite text consisting of an unfinished first book, plus a second book more comprehensively (but slightly less harshly) treating the same material. Even making allowance for rhetorical exaggeration, Tertullian exemplifies the unlovely virulence of ascetic antifeminism, so it may be worth mentioning that he can be quite funny too: wondering whether, if he gets to clamber from the ground at the day of the resurrection of the body, he will find angels ferrying aloft women in full make-up and their finest hats (see 10).
The Wife of Bath
Authors: Blamires Alcuin , Pratt Karen , Marx C W 
Published: November 2023

Abstract
Chaucer was a subtle purveyor of the old wine of received classics, including texts given earlier in this volume, into new bottles. While he easily emulated Walter Map’s urbanity in the standard mode of ‘dissuasion from matrimony’ (Envoy to Bukton), he also reinvigorated the antifeminist favourites by situating them in strange new contexts, as when Ecclesiasticus T 29 becomes a bone of contention for Pluto and Proserpina while they are presiding over the faJlia[i denouement of The Merchant’s Tale. Many of his poems also challenge consideration as narratives in defence of women. However, the Wife of Bath’s speech partly fulfils that function even in the process of submerging the reader in a welter of misogynistic quotations. It therefore functions in this anthology as a kind of interface between readings from antifeminism and responses to antifeminism.
Responses to Antifeminism
Authors: Blamires Alcuin , Pratt Karen , Marx C W 
Published: November 2023

Abstract
There are four factors which need to be borne in mind by readers of Chapters 8 and 9 of this anthology.
One or two important early ‘responses’ have been omitted-most notably Plato’s Republic--on the basis that they were practically unknown to the Middle Ages.
A Woman Defends Women
Authors: Blamires Alcuin , Pratt Karen , Marx C W 
Published: November 2023

Abstract
Christine de Pizan was born in Italy but brought up in cultured circles at the court of Charles V of France, where her father was appointed as astrologer. He was a well-read man, and according to Christine he took an unusually positive view (for its time) of her own wish to develop her intellectual gifts; her mother on the other hand sought in vain to mould her more convention with spinning and silly girlishness’ . Married at fifteen, Christine was fortunate that her husband further encouraged her literary talents, for these were to stand her in good stead when she lost both him and her father and had to support her three children after 1389. Her literary output covered some forty years. It was immense and wide-ranging, and it was rather remarkable for the extent to which some of it took issue with the disparagement of women. People have argued that she cannot properly be regarded as a forbear of modern feminism, because she was too committed to conservative, quiescent ideals of womanly decorum.’
Representing Historical Character
Authors: Wendorf Richard 
Published: November 2023

Abstract
In the autumn of 1691 a thief entered the Ashmolean Museum in Oxford and successfully made away with several objects, including two paintings that belonged to the peripatetic John Aubrey. Aubrey had begun to deposit his most valuable belongings in the museum three years earlier, worried that his manuscripts would be plagiarized or that their more scandalous contents might leave him open to costly law suits. He believed that the Ashmolean, founded over a decade earlier, would prove to be a safe depository, that here, at least, his work would not be ‘cast away as Rubbish’ or torn to pieces and used to stop guns by the young relatives of his collaborators. But Aubrey was to be somewhat disappointed even in this belief, for on 22 October he wrote to his friend, the naturalist John Ray, that among the missing items were ‘my picture in miniature by Mr S. Cowper, (which at an auction yields 20 guineas,) and Archbishop Bancroft’s, by Hillyard, the famous illuminer in Queen Elizabeth’s time’. Aubrey had met Samuel Cooper in the 1650s or early 1660s; by 1661 he had sat to him for his portrait. They became good friends, and it was in Cooper’s studio that Aubrey was able to reintroduce another friend, Thomas Hobbes, to the newly restored Charles II.
Iconic Biography: Izaak Walton and John Evelyn
Authors: Wendorf Richard 
Published: November 2023

Abstract
yet are there many worthy personages that deserve better than dispersed report or barren elogies.’ Writing almost ninety years later, in 1694, Edward Phillips was eager to revise Bacon’s estimate of the popularity of biographical writing, which had greatly burgeoned with the passage of time: ‘Of all the several parts of History, that which sets forth the Lives, and Commemorates the most remarkable Actions, Sayings, or Writings of Famous and Illustrious Persons ... as it is not the least useful in it self, so it is in highest Vogue and Esteem among the Studious and Reading part of Mankind.’And of the eight biographers Phillips chose to single out for praise, fully half-Fulke Greville, Thomas Stanley, Izaak Walton, and ‘the Great Gassendus of France’-were men whose works had been written following Bacon’s assessment in 1605 . Phillips could indeed look back with pride at modern biography, one of whose most significant achievements in the preceding century had been its gradual evolution into an eclectic literary form that could no longer be easily classified under the broad headings of historical writing. Had Phillips also been aware of the unusually large number of memoirs and lives that still remained in manuscript, he could have borne even stronger witness to an age of biography in which great richness was often the product of extraordinary variety.
Iconic Pictures: Van Dyck and Stuart Portraiture
Authors: Wendorf Richard 
Published: November 2023

Abstract
When John Evelyn described the portrait Matthew Dixon painted of Margaret Blagge in the summer of 1673 (Plate rn), he insisted, as we have seen, that his friend’s ‘Lugubrous Posture’ and melancholy surroundings had been dictated by the sitter herself. Margaret’s pose and the general atmosphere of mourning were not ‘at all my Famy’, he wrote, and yet Dixon’s portrait suited Evelyn perfectly well as a personal icon in front of which he could himself meditate and pray. Given Margaret’s extraordinarily pious character (as Evelyn saw it) and the devotional nature of the biographical narrative he erected as a memorial to her, Dixon’s portrait of the future Lady Godolphin must have struck Evelyn as an appropriate emblem of the lovely woman he knew. But to those who knew Margaret Blagge in far different circumstances-as a maid-of-honour in the Restoration court-Dixon’s mournful portrait proved to be unsatisfactory.
Double Agents: Jonathan Richardson and Roger North
Authors: Wendorf Richard 
Published: November 2023

Abstract
Any study of biography and portrait-painting as sister arts must pay particular attention to those figures who combined both forms of portraiture in their own work or who turned to either artistic medium with comparable skill. But figures such as these are understandably rare, not simply because writing is more widely learned and practised than painting, but because, as we have seen, the impulses that lie behind biography and portrait-painting are often quite different. The painter may create portraits of a highly personal nature-and the miniature is an interesting example of this kind of work- butforthemost part the artist toils within a firmly established profession, producing images of others for others, and often executing them according to contemporary taste. Biographies may also be made to order, and presumably Walton satisfied the tastes of his ecclesiastical patrons; but his lives, no less than Evelyn’s biography of Margaret Blagge, are distinctly his own, with a moral and aesthetic vision that others found palatable (and edifying) as well.
Biography at Mid-century: Acts of Complicated Virtue
Authors: Wendorf Richard 
Published: November 2023

Abstract
Late on the night of 20 November 1727, a young and impoverished writer, having spent the evening carousing with his friends, entered Robinson’s Coffee-house, near Charing Cross, where one of his companions demanded a room for the night. Within a few minutes lightning seems to have struck Richard Savage for the second time in his life, and his world was once again turned upside-down: a brief scuffle with a company of men and women about to leave the adjoining room left one of them, James Sinclair, dead, and a maid in the house wounded. Savage and his friends were soon brought to trial and found guilty of murder; only the intercession of the Countess of Hertford with the Queen led to Savage’s pardon and reprieve, and even the Countess faced considerable difficulties, for she was petitioning on behalf of someone who had already made a controversial reputation for himself by claiming that he was an ‘injured nobleman’, the illegitimate son of the Countess of Macclesfield and the Earl Rivers. Sometime later, after he had obtained his liberty, Savage accidentally met the ‘Woman of the Town’ who had testified so severely against him at his trial.
States and Estates: Burke “s Georgie Arts of Political Husbandry
Authors: Bruyn Frans De 
Published: November 2023

Abstract
‘You will observe, ‘ writes Burke in Reflections on the Revolution in France, ‘that from Magna Charta to the Declaration of Right, it has been the uniform policy of our constitution to claim and assert our liberties, as an entailed inheritance derived to us from our forefathers, and to be transmitted to our posterity; as an estate specially belonging to the people of this kingdom ‘ (viii. 83).
The Prophetic Burke
Authors: Bruyn Frans De 
Published: November 2023

Abstract
A study that seeks to demonstrate a writer ‘s assimilation of an inherited literary discourse risks overemphasizing the debt the writer owes his or her forebears without paying due heed to the transformative power of historical change and the new uses succeeding generations make of their cultural legacy. Thus, Burke ‘s recourse, in Pocock ‘s phrase, to the ‘vocabulary of Queen Anne Toryism ‘ in his attacks on the French Revolution (a political language in which Scriblerian discourse is deeply implicated) by no means entitles us to view him as a Whig in Tory clothing. The terms, uses, and relations of this language are subtly (and sometimes radically) altered by the new contexts into which he marshalls them. Indeed, no one is more aware than Burke of the alterations that existing words and concepts can undergo: he himself observed that the terms ‘Whig ‘ and ‘Tory ‘, as they were understood at the beginning of the eighteenth century, had by his time become almost meaningless. ‘Is it to the Whigs ‘, he asks, ‘we are to recommend the aggrandisement of France, and the subversion of the balance of power? Is it to the Tories we are to recommend our eagerness to cement ourselves with the enemies of Royalty and Religion? ‘ (ix. 326). The pressure of changing historical circumstances exposes the superficiality of the divisions between the old Whigs and Tories and reveals their shared underlying values, which distinguish them sharply from new political groupings that ‘have their roots in the present circumstances of the times ‘ (ix. 326).
The Public Ledger 1760–9
Authors: Fleeman J D 
Published: November 2023

Abstract
January-December 1760 The following items have been attributed to SJ: January 12. Preliminary Address, ‘To the PUBLIC.’ References: E.L. McAdam, RES xviii (1942), 197–207. The Public Ledger was noticed by Payne’s Universal Chronicle (58.4Id/1, above), no. 96, and repeated in 97, 98, for Jan. 26-Feb. 2, 1760, p. 40, from which it appears that the proprietor was William Faden. This opening address ‘To the Public’ is reprinted there.
Publications initiated 1790–1816
Authors: Fleeman J D 
Published: November 2023

Abstract
Notes: See notes on Letter to Chesterfield above (88.3L/3), which was, like this, published 12 May 1791 (NCBEL ii. 1214), but advertised in Public Advertiser, 30 Apr. 1791, with the Letter to Cheste,fteld. ]B’s note in his Tour (1785), 134, and his letter to Malone of 17 Nov. 1788 show his early determi nation of a separate publication.1 This item was worked off as the corresponding pages of Life (1791), i. 291-6, were going through the press, but the opening lines of each paragraph were modified for the new piece. Again a slightly superior paper seems to have been used, but the stock is not different from that of Life (1791). Baldwin’s account for the printing is CtY:
Introduction
Authors: Goldie David 
Published: November 2023

Abstract
The story is a familiar one and has been told many times. The brilliant young man, born towards the end of the r88os, his philosophical and literary gifts honed by the best education his country can provide, makes his first trip to Europe at the end of 1910. A pre text is attendance at Henri Bergson’s celebrated lectures at the College de France, the consequence an immersion in Fauvist Paris that will prove pivotal in the development of his literary career. He does not serve with his contemporaries in the First World War, and his twenties are passed, in the time spared by work and marriage, in breaking into a literary world from which his background excludes him: mixing with literary smart society at Garsington, writing poetry, dabbling in verse drama, and gaining a growing reputation as a critic through contributions to small magazines and, eventually, the Athenaeumand Times Literary Supplement.His development is marred by crises of marital and nervous breakdown in his thirty fourth year. Yet, out of this breakdown comes a new artistic and critical strength, witnessed, in particular, in the editorship of a magazine within which a distinctive critical practice arises and, slightly later, in an exploration of religious solutions to private and public senses of a contemporary crisis.
Orthodoxy and Modernism The Claims of Religion, 1926–1928
Authors: Goldie David 
Published: November 2023

Abstract
The first phase of the explicit disagreement between Eliot and Murry, framed largely as a contention between classicism and romanticism, had effectively ended by mid-1924. Murry’s last contribution to the debate, ‘Romanticism and the Tradition’, which had been published in April’s Criterion,elicited only an indirect response from Eliot in the form of an editorial ‘Commentary’ in the following July. ‘Romanticism and the Tradition’ had returned Murry to a favourite argument: that ‘the tradition of Romanticism is just as lofty and august as the tradition of classicism’ .1 In making this argument Murry had directly confronted those, like Eliot, who criticized his blurring of religious and aesthetic boundaries and who insisted on an absolute separation between the two areas of activity. For Murry, arguments of this kind, relying ultimately for their authority on dogma rather than experience, showed the paucity of both religious and literary traditionalism.
The Comedy of Errors
Authors: Gooch Bryan N S , Thatcher David 
Published: November 2023

Abstract
2022 Anderson, Doug. | — | MS [ 1 984 ]. Incidental music [for 6 musicians]. First performed Champlain Shakespeare Festival, Royall Tyler Theatre, University of Vermont, Burlington, 1 1 July I lJ84 (Steve Lovett, Antipholus of Ephesus; Kelly C. Morgan, antipholus of Syracuse; Tom Watson, Dromio of Ephesus; John Morgan, Dromio of Syracuse; composer, goldsmith; Bill Camp, Paul-Andrew Cooley, Peter Bouchard, john McConnell, Lisa Krongelb, and composer, musicians; Judith W. B. Williams, director I.
(2) Henry VI
Authors: Gooch Bryan N S , Thatcher David 
Published: November 2023

Abstract
4886 Barkworth, John. | — | [1899, whereabouts unknown]. Incidental music. First performed Shakespeare Memorial Theatre, Stratford-upon-Avon, 21 April 1899 (H. R. Hignett, Henry VI; Constance Benson, Margaret; composer, music director; Francis Robert Benson, Cardinal Beaufort and director).
3 Henry VI
Authors: Gooch Bryan N S , Thatcher David 
Published: November 2023

Abstract
4930 Carpi, Fiorenzo. Il gioco dei potenti. MS 1965 (Piccolo Teatro di Milano). Incidental music: male solo voice, [accompanied by keyboard]; pie, 2 hn, 3 tpt, trbn, b tuba, timp, perc. First performed Teatro Lirico, Milan, 18 and 19 January 1965 (Piccolo Teatro di Milano: Renato De Carmine, Henry VI; Valentina Cortese, Margaret; Giorgio Strehler, director), in Strehler’s adaptation of Cesare Vico Lodovici’s translation. Combines all three parts of Henry VI. Musically unrelated to the following work. See also I Henry VI 4845, 2 Henry VI 4887.
Introduction
Authors: Parry Graham 
Published: November 2023

Abstract
So sang an obscure Kentish physician, enraptured at the publication of William Somner ‘s Dictionarium Saxonico-Latino-Anglicum in 1659.1 There is a note of high enthusiasm here, a sense of antiquarian enquiry as an exciting venture that was opening up the remote past in a way comparable to the discovery of geographical space in the previous century. The lines might serve to remind us that antiquarianism in the seventeenth century had a heroic quality to it, and its achievements aroused powerful emotions. When Dugdale ‘s Antiquities of Warwickshire appeared, the Oxford scholar Anthony Wood wrote, ‘My pen cannot enough describe how [my] tender affections and insatiable desire of knowledge were ravished and melted down by reading of that book. ‘2 As a result of reading the same work, a Norfolk gentleman, Thomas Pecke, wrote to Dugdale promising, ‘I will erect a Statue of gilded Brasse in the Market-place at Norwich to your memorie, and for the encouragement of ingenious posteritie. ‘3 The books of the antiquaries themselves resound with mutual praise as they salute each other ‘s accomplishments and urge their colleagues on to new victories. Yet these volumes, which contributed so much to the intellectual vitality of the seventeenth century, now lie, for the most part, dusty and neglected on library shelves.
William Camden
Authors: Parry Graham 
Published: November 2023

Abstract
Antiquarians, like poets, are born not made. There can be no rational explanation why some people are irresistibly fascinated by the remains of the past, impelled to make long journeys to view mounds of rubble, or moved to spend dim hours in libraries over half-legible manuscripts. It is an instinct, a passion. William Camden experienced it as a lifelong emotion. ‘Even when he was a schoolboy, he could neither hear nor see anything of an antique appearance, without more than ordinary attention and notice. ‘1 At Oxford in the 1560s ‘it was not in his power to keep within doors: the bent of his own Genius was always pulling him out, not to impertinent visits and idle diversions, but to entertainments he relished above all these; stately Camps and ruinous Castles, those venerable Monuments of our Fore-fathers ‘.2 He was fortunate to find illustrious and sympathetic sponsors, among whom Philip Sidney and Fulke Greville were persuaded that this passion for antiquities might be made to serve a patriotic cause by illustrating English history, so that Englishmen might better understand the nature and merit of their own country.
John Selden
Authors: Parry Graham 
Published: November 2023

Abstract
‘Mr Selden, the learnedest man on earth ‘ as an admirer described him,1 might with justice have claimed that title of honour, although his native modesty would have restrained him. His prodigious range of learning was certainly unequalled in Britain, where only Archbishop Ussher could come close to him. Selden ‘s command of the law and legal history, his familiarity with every kind of ecclesiastical document, and his incomparable understanding of the historical development of the European states from classical times, all sustained by a formidable knowledge of western and oriental languages, made him a Renaissance university in himself. He became such by his indefatigable studies, but he owed much to his scholarly friends, notably Robert Cotton, William Camden, and James Ussher. Ben Jonson too had an honoured place as one of his friends. The erudition of men such as these was the product not of university training but of that passion for antiquity that marked the humanist in all the lands of Europe.