bluuebunny/crossref_metadata_2025_split huggingface dataset:
Lyrics
Authors: Gray Douglas 
Published: November 2023

Abstract
The lyrics and shorter poems are in many ways the glory of late medieval English literature. This is a view that will seem strange to those fresh from reading some older studies: indeed, of all the genres in English literature in this period, the lyric has perhaps suffered most from once fashionable conventional patterns of thought—the idea of the cultural decay of the Middle Ages in general, and the notion that individual literary genres must necessarily follow a pattern of a gradual rise to a high point of excellence and then decline and become degenerate.
Robert Henryson: Narratives and Romances in Verse
Authors: Gray Douglas 
Published: November 2023

Abstract
The delights of The Buke of the Howlat are not always fused into a totally coherent whole, but they are real enough to make us wish that more of Holland’s poetry had survived. We may well feel the same about his great successor, Robert Henryson, perhaps the finest poet of this period, who can match his variety of tone, and surpasses him in imaginative coherence. Sir Francis Kynaston (1587–1642) who translated The Testament of Cresseid (and Chaucer’s Troilus and Criseyde) into Latin in a little anecdote about Henryson’s death expressed a similar wish: ‘this Mr Robert Henderson he was questionles a learned and a witty man, and it is pitty we have no more of his workes’.
William Dunbar and Gavin Douglas
Authors: Gray Douglas 
Published: November 2023

Abstract
At the end of this period two of the greatest Scottish poets flourished—William Dunbar (?c.1460–?1513) and his younger near-contemporary, Gavin Douglas (?1475–1522). Their careers were very different, and their work is in some ways also different, not to say contrasting. Yet there are similarities, and to read them in association is probably more rewarding than the traditional comparing and contrasting of Dunbar and Henryson. One obvious area of shared endeavour has to do with a stylistic concern to make full use of (and perhaps to develop) the resources of the Scottish vernacular in poetry which is strong and energetic, and also elaborate and flamboyant.
Shakespeare and the Exorcists
Authors: Greenblatt Stephen 
Published: November 2023

Abstract
Between the spring of 1585 and the summer of 1586, a group of English Catholic priests led by the Jesuit William Weston, alias Father Edmunds, conducted a series of spectacular exorcisms, principally in the house of a recusant gentleman, Sir George Peckham of Denham, Buckinghamshire. The priests were outlaws-by an act of 1585 the mere presence in England of a Jesuit or seminary priest constituted high treason-and those who sheltered them were guilty of a felony, punishable by death. Yet the exorcisms, though clandestine, drew large crowds, almost certainly in the hundreds, and must have been common knowledge to hundreds more. In 16o3, long after the arrest and punishment of those involved, Samuel Harsnett, then chaplain to the bishop of London, wrote a detailed account of the cases, based on sworn statements taken from four of the demoniacs and one of the priests. It has been recognized since the eighteenth century that Shakespeare was reading Harsnett’s book, A Declaration of Egregious Popish Impostures, as he was writing King Lear.
Pastoral and Comedy
Authors: Bennett J A W 
Published: November 2023

Abstract
As the story of Anglo-Saxon literature opens with a masterpiece—‘The Dream of the Rood’ —that found no parallel in three hundred years, so, when in the late twelfth century English has its renascence, the first poet to be heard spoke in assured tones and showed a delicate humour, a rich humanity, and a sensitivity to nature that amounted to genius, and that will hardly be met with again before Marvell’s time. The Altercacio inter Filomelam et Bubonem —the name given in the two extant manuscripts to the poem now called The Owl and the Nightingale—has been called miraculous by those who sense the change in English feeling that it displays when set alongside Beowulf or Ma/don, The Seafarer or the Riddles—or even the Latin pastoral in which Alcuin laments the departure of the cuckoo, anticipating Arnold’s ‘too quick despairer, wherefore wilt thou go’; or the Ecloga Theoduli, in which the contestants challenge each other, prizes are promised, and a judge appointed: that title suggests a connection with Virgil’s third eclogue, which Servius had called an altercacio. But ‘miraculous’ is merely a loose synonym for ‘mysterious’, ‘unaccountable’: a confession that we know nothing of the cultural conditions and little of the literary context out of which it grew. There is a springtime freshness about it, a verve, a sense of sheer fun.
The Close of the Middle Ages in Scotland
Authors: Lewis C S 
Published: November 2023

Abstract
In 1488, raised by the rebellion which dethroned and killed his father and of which he repented his own share, wearing an iron girdle while he lived, James IV was crowned at Scone. Though patrons cannot create poets, and though James was no great patron, it is deeply appropriate that the court poetry which will mainly concern us in this chapter should have been written under such a king; for in him and in it alike, as also in the dress and architecture of the period, all that is bright, reckless, and fantastical in the late medieval tradition finds superb expression. He was primarily a knight, only secondarily and disastrously a king; ‘not a good captain’ notes the Spanish ambassador, ‘for he begins to fight before he hasgiven his orders’ and is ‘more courageous than a prince should be’. ‘He luvid nothing so weill’, says Pitscottie, ‘as able men and guid hors and used great jousting’, so that the fame of his tournaments drew knights-errant from all Europe. At the same time he shared with the poets a hearty relish for low life and loved to ‘ludge in poore mens houses’ unattended and disguised. His very vices were chivalrous; no avarice, no countenance shown to ‘pick thanks’, but a weakness for loving par amors. He was mercurial, wilful, restless, and inquisitive; much like Arthur himself (in Gawain and the Green Knight), who hated to be still for long—’so busied him his young blood and his brain wild’. The price was Flodden, and ifhe half killed Scotland he did it in character. A ‘lufe letter’ from the Queen of France containing a ring and a claim on his services as her true knight helped to speed him on that last journey, and the very act whereby he made defeat certain was a repetition of Byrhtnoth’s heroic folly at Maldon.
The Close Of The Middle Ages In England
Authors: Lewis C S 
Published: November 2023

Abstract
The contrast between these two pieces of anonymous verse—the graceful movement and firmness of line in the former, and the doggerel rigmarole of the latter—epitomizes the history of later medieval poetry in England. From the varied excellence of the fourteenth century to the work of the early sixteenth it is a history of decay; so that in turning from the Scotch poetry of that age to the English we pass from civilization to barbarism. In certain other respects, of course, it might be called a transition from barbarism to civilization. We pass from a Scotland perpetually torn by feudal wars, in which neither life nor property is secure for a moment, to an England where Henry VII’s triumph at Bosworth (1485) had at least begun the restoration of national unity, where the New Learning was already beginning to spread, and where the new king’s mythical connexion with Arthur (after whom he named his son) might be expected to give a poetic sanction to men’s not ill-grounded hopes of a new era of prosperity, splendour, and power. All the conditions—or what we naturally suppose to be the conditions—of a great literature seem to be present in early Tudor England. If that great literature had been written, can we doubt that most historians would confidently point to those conditions as its cause? In Scotland they are all lacking. But it is Scotland which has the literature.
Prose in the ‘Golden’ Period
Authors: Lewis C S 
Published: November 2023

Abstract
In the last quarter of the century we find a greatly increased output of literature. There is on the whole a remarkable improvement in quality; but even if this had not been so, the mere quantity would be striking. Part of the explanation is that literature is now finding its feet as a commercial art and printers are eager for saleable copy. Many of the authors are victims of that academic overproduction which Mulcaster deprecated, men who have been helped through the universities by friends who could help them no further and who try to live (if nothing better turns up) by the pen. The more fortunate of them make plays for the new theatres; the others depend on the patron and the bookseller. There are also, of course, many ‘gentle’, pious, or learned authors who write from other motives.
Revision and Romantic Authorship
Authors: Leader Zachary 
Published: November 2023

Abstract
The Romantic author is often portrayed as spontaneous, extemporizing, otherworldly, and alone. Zachary Leader argues that this influential fiction is much in need of revision. Romantic attitudes to authorship profess a preference for what comes naturally, with a concomitant devaluing of secondary processes, including second thoughts, yet many Romantic writers such as Wordsworth, Byron, Keats, Coleridge, Clare and Mary Shelly revised their works. Revision and Romantic Authorship looks at the revisionary practices these writers, showing that second thoughts (including those of collaborators) in fact play a crucial role in 'Romantic' compostion. Other attitude compicated by the actual revisionary practices of Romantic writers are those which associate compostion with the organic and with process, or which characterize authors as autonomous agents or figures of coherent and consistent subjectivity. In the first part of the book, Leader shows how revisionary and editorial practices reflect conflicting attitudes to the self or personal identity; in the second, these attitudes are related to the role of collaborators' in the revising process (family, friends, editors, critics, readers).
Wordsworth, Revision, and Personal Identity
Authors: Leader Zachary 
Published: November 2023

Abstract
In 1984 Stephen Gill published a selection of Wordsworth’s poetry and prose in the Oxford Authors series. This series aims to offer ‘authoritative editions of the major English writers for the student and general reader’, an especially welcome prospect in the case of Wordsworth, since in the early r98os inexpensive one-volume alternatives were either too selective or forbiddingly bulky, inclusive, cramped, or unannotated.’ Like other volumes in the series, Gill’s edition claims to print ‘the best texts available’ in a selection that seeks out ‘the essence of a writer’s work and thinking’. But it also has other, and potentially conflicting, aims, ‘Here, for the first time,’ the blurb tells us, Wordsworth’s poems ‘are presented in order of composition and in texts in which their original identity is restored.’ That is, in versions. Wordsworth revised in subsequent editions.
Byron, Revision, and the Stable Self
Authors: Leader Zachary 
Published: November 2023

Abstract
The first point to make about Byron’s revisions is that there are so few of them, at least m comparison with those of Wordsworth. This is a point Byron himself makes much of in his correspondence. As he reminds his publisher, John Murray, in a letter of 6 June I 822, often his poems ‘were written as fast as I could put pen to paper-and printed from the original M.S.S. & never revised but in the proofs’.
Coleridge’s Revisionary Complexity
Authors: Leader Zachary 
Published: November 2023

Abstract
The older or established view of Coleridge’s revisions is that he knew what he was doing when he revised, and that his revisions serve wholeness, coherence, perfection of form-in short, unity, called by Coleridge the ‘ultimate end of human Thought and human Feeling’.’ This, of course, is precisely the aesthetic ideal Coleridge himself championed in his criticism, along with those qualities of mind (control, will, coherence of self both in time and over time) from which it is conventionally thought to derive. One well-known example of a revision which conforms to the established view is the cutting of the last six lines of ‘Frost at Midnight’ (lines ‘marvellously describing Hartley’, according to Richard Holmes), so as to end the poem with the image of ‘silent icicles, I Quietly shining to the quiet moon’/ As Coleridge puts it in a manuscript note, the original ending lacked or obscured ‘the rondo, and return upon itself of the Poem’,1 a comment which recalls not only his remark, quoted earlier in reference to Wordsworth, that the common end or shape of all narrative (‘nay of all, Poems’) 1s circular, ‘the snake with it’s Tail in it’s Mouth’,4 but the remark’s personal or poetical application: the pattern of journey or excursion and return found in so many of his poems, including The Ancient Mariner’, The Eolian Harp’, and This Lime-tree Bower My Prison’.
Infidel Spenceans: George Cannon and rationalist philosophy
Authors: Mccalman Iain 
Published: November 2023

Abstract
Like those of Evans and Wedderburn, George Cannon’s background and early life are obscure, but when he first emerged on the London scene in 1812 he appeared to be a young man of very different cast from his two future associates. He was more than twenty-five years younger, having been born in Middlesex in 1789, and his social standing was superior. At about the time Wedderburn was accused of stealing from a master tailor and Evans of swindling and blackmail, Cannon was admitted to Staple Inn to train as a solicitor. His radical connections were also more respectable: in 1812, the same year that Evans befriended seedy Arthur Thistlewood, Cannon became one of the 100 founder members of Major Cartwright’s Union for Parliamentary Reform. His fellow signatories included wealthy banker-brewer Timothy ‘Equality’ Brown, Horne Tooke’s friend, Colonel William Bosville, and radical notables, Cobbett, Sir Charle:; Wobeley and Burdett.
The ultra-radical march of mind: politics, religion and respectability
Authors: Mccalman Iain 
Published: November 2023

Abstract
In a series of intelligence reports filed towards the end of the 1820s the government’s most reliable and conscientious spy, Abel Hall, pronounced the death of the old Spencean ultra-radical underworld. Hall, a Finsbury tailor and ex-Cato Street conspirator who had been recruited as a spy in prison in 1820, reported that his former ‘dangerous’ associates of ten years earlier had changed their dispositions, opinions and principles. Not only had they become preoccupied with earning a living like everyone else, but they had also ceased plotting ‘revolution or riot’ in the old way. Instead, they met openly in coffee-houses to read and discuss the news of the day.
A Crisis of Love and Faith
Authors: Raitt Suzanne 
Published: November 2023

Abstract
Mary sinclair was in many ways an unlikely candidate for the role of philosopher-poet. In 1886 she was living in obscurity in North Wales with her mother and Reginald, the last brother still at home, and few people knew that she was the author of Nakiketas and Other Poems, published in that year under the pseudonym ‘Julian Sinclair’. In later years Sinclair would he acclaimed as one of the few brilliant women philosophers of her time-one of the only philosophers in England to defend idealist thought against the onslaught of mathematical philosophy and logic.1 But in the late I88os that kind of recognition was far in the future. Sinclair was still not sure of her own view of the world: the intellectual and emotional perplexity that had shaped Nakiketas continued to trouble her as she searched in vain for rational proof of God’s existence.
Experiments in Poetry
Authors: Raitt Suzanne 
Published: November 2023

Abstract
A few years before the outbreak of the war that affected May Sinclair so profoundly, she received an unexpected early morning call from fellow writers Richard Aldington, H.D., and Ezra Pound. When Sinclair ‘opened the studio apartment door’, H.D. reports, her ‘somewhat Queen Mary bang or fringe was done up in curl papers’. H.D. ‘tugged at Richard’s sleeve to suggest that we go home, but Ezra had already swung on into the studio. May Sinclair made no reference to her early morning appearance.’ Sinclair’s composure in the face of this invasion reveals both her habitual politeness, and the extent to which she felt at home with, and attracted by, her friends’ Bohemian unpredictability. On this occasion Pound whirled through her rooms ‘flinging books from a table in May Sinclair’s studio on to an inaccessible shelf that ran under the high sloping roof’. Pound was indignant on Sinclair’s behalf, telling her ‘people impose on you’.1 The books were all gifts from aspiring young poets and novelists, who had sent them to Sinclair in the hope of securing her advice and support.
The American: Henry James at Work
Authors: Horne Philip 
Published: November 2023

Abstract
James later believed that he had written The American, the novel which followed Roderick Hudson, too hastily in 1875—6. He had certainly begun at speed. To F. P. Church, editor of the Galaxy where he hoped his novel would appear, he wrote on 1 December 1875 that ‘I have got at work upon one sooner than I expected, and particularly desire it to come out without delay’ (HJL ii. 8—9). On 3 February 1876 he referred to his hurry in a letter to Howells (in whose Atlantic Monthly, after a disagreement with Church, the novel eventually came out), noting that ‘It was the only subject mature enough in my mind to use immediately’ (HJL ii. 22). When he reread the story for the New York Edition, however, thirty years later, the value of the subject struck him as a reason to regret his previous treatment of it.
Perspectives in The Portrait of a Lady
Authors: Horne Philip 
Published: November 2023

Abstract
James’s cousin Minny Temple died of consumption in America in 1870 while James was at Great Malvern. Ten years later The Portrait of a Lady was unimpededly under way; a work whose germ James recalled in his NYE Preface years later as residing in his ‘grasp of a single character’ (LC ii. rn75). The ‘single character’ in the book is Isabel Archer; but James’s ‘grasp’, his sense of ‘complete possession’ as he calls it, was derived from his knowledge of the remarkable girl dead a decade before.
The Values of The Aspern Papers
Authors: Horne Philip 
Published: November 2023

Abstract
These hours of backward clearness come to all men and women, once at least, when they read the past in the light of the present, with the reasons of things, like unobserved finger-posts, protruding where they never saw them before. The journey behind them is mapped out and figured, with its false steps, its wrong observations, all its infatuated, deluded geography (The Bostonians).
A Decent Perfection: The Lesson of the Master
Authors: Horne Philip 
Published: November 2023

Abstract
Stories of literary and sexual passion intersect and threaten to frustrate each other in The Lesson of the Master (1888; first book publication 1892), whose hero Paul Overt, an aspiring young writer, seems at the end to consummate his professional aspirations by writing a probably great novel, but to forfeit his personal ones by not proposing to the woman he loves. In so choosing, and most of all in seeing the two questions as a choice, Overt is greatly influenced by the title’s ‘Master’, an older novelist called Henry St George, who confesses in a dramatic scene to having wasted his early promise and attributes his comparative failure to the constraints of non-bohemian marriage, which he represents as incompatible with the discipline and purity of a true artistic career. Yet St George himself, left a widower by his philistine first wife during Oven’s subsequent productive absence on the Continent, becomes engaged to marry the young woman Overt admires—announcing, as if to be consistent with his earlier ‘lesson’, that he has given up the life of writing altogether.
Preface
Authors: Jay Elisabeth 
Published: November 2023

Abstract
Mrs Oliphant won a name for herself as an exceptionally prolific and accomplished writer in the highly competitive market of Victorian literature’s golden age. Carlyle and Gladstone paid tribute to her non-fiction. Darwin was allegedly an avid reader of her novels, but that, as Mrs Oliphant herself remarked, was a barbed compliment, since he claimed to ‘like all if moderately good, and if they do not end unhappily’.
Women’s Sphere
Authors: Jay Elisabeth 
Published: November 2023

Abstract
In 1859 Florence Nightingale had privately printed her passionate outburst, Cassandra, on the lot of women of the mid-nineteenth-century leisured classes. Silent suffering, she claimed, had been enshrined by a patriarchal society, as the highest way in which women could emulate the life of Christ. Presenting women with this passive or negative ideal encouraged guilt and self-doubt inasmuch as it refined the moral instincts without providing a sphere in which to exercise them. Women who had been taught to repress and deny their passions wasted their undervalued time in guilty dreams of an Ideal all too often located in a male saviour figure. Marriage did not liberate; it merely completed the systematic robbery and enslavement of women who had been brought up to believe that there was no time they could call their own, without fear of offending or hurting someone. Ironically, Nightingale suffered this bitter denunciation of the psychological deprivations of women, which she had originally assembled as early as 1852, to be silenced by the advice of two male counsellors: J. S. Mill and Benjamin Jowett.
Women in Relationship
Authors: Jay Elisabeth 
Published: November 2023

Abstract
This vision of a feminist press, expounded only a year before Mrs Oliphant’s own death, was inspired by the death of her old friend Lady Cloncurry, a former society beauty, and noted for her anti-suffragist views. The paradox is informative: on the one hand one could reasonably argue that ‘thoughtless and indifferent men’ had littered the pages of Mrs Oliphant’s fiction from the beginning, but she conceives of ‘these stories’ as a new departure because they would be written for women. She knew that success as a writer had depended upon her capacity to appeal to male as well as female readers, and this had involved muting part of her personal convictions.
A Woman of Letters
Authors: Jay Elisabeth 
Published: November 2023

Abstract
At the outset of her career as a Maga reviewer Mrs Oliphant drew a whimsical picture that seems to prefigure those brief portraits in which Virginia Woolf often sought to convey her sense of the difficulties against which women writers battled. In this passage Mrs Oliphant conjures up the complexity of the historical transformation she has observed. The Muse of History, a solemn matronly figure on a pedestal, who inspired the long line of male historians descending from Edward Gibbon, has metamorphosed into the woman as historian. The nineteenth-century Muse of History, substituted by Mrs Oliphant, has not just descended from her pedestal of classical privilege, but has quietly taken over and changed the nature of the historian’s profession. The figure serves as a fitting introduction for a chapter discussing the problems and opportunities faced by a professional woman writer conscious of entering a market-place so long dominated by male traditions and practices.