Angl-Am - User contributions [en]

Course Ideas

2008-10-24T19:41:22Z

Alena Ruether: /* Wishes (Student and Staff) */

{|cellpadding="10"
|bgcolor=white align="left" valign="top"|
The following links lead to individual Seminar Ideas and offer a place to communicate about seminars one would like to see created. Use the individual discussion pages for commentary and the main pages for topics such a seminar might focus on. For a provisional combination of courses for the next two semesters, please go to [[Course Plan]].
==Wishes (Student and Staff)==
* [[Children's and Youth Literature]]
* [[Anglistik Seminare im Professionalisierungsbereich]]
** [[English language and mass media]]
** [[English as a global language]]
* [[Academic Study Skills Workshop]]
* [[Education on TV]]
* [[Lovecraft, Poe and the Unspeakable Horror, Weird Tales and Disturbing Worlds]]
* [["The Simpsons" and the US-American society]]

==[[User:Anna Auguscik|Anna Auguscik]]==
Winter: 1 Veranstaltung: Lit 
Summer: 1 Veranstaltung: Lit

'''Winter Term 08-09'''
*3.02.013 Introduction to the Critical and Scholarly Discussion of Literature Part 2 - Course B - [[User:Anna Auguscik|Anna Auguscik]] Mi 12-14 - A1 0-009
*3.02.285 - UE - AM 2b, AM 10, AM 11: Postsecular Britain? Religion, Secularity, and Cultural Agency - Forschungsorientierte Begleitveranstaltung zur Konferenz - N.N. ([[User:Anna Auguscik|Anna Auguscik]]) - Fr 14-16 - Aquarium
*3.02.511 - S - (auch HS klausurvorbereitend) [[The Booker Prize 2008 and the Culture of Literary Prizes]] - [[User:Anna Auguscik|Anna Auguscik]] und [[User:Anton Kirchhofer|Anton Kirchhofer]] - Di 14-16 - A1 0-004

'''Summer Term 09'''

'''Options'''
*[[Pornography]] (mit Olaf Simons)
*[["A morbid fear of salad": (post)modern medieval life in Nicola Barker's Darkmans (2007)]]
*[[Postcolonial vs. postmodern appeal and the success of a novel: Hanif Kureishi, The Buddha of Suburbia (1990) and A.S. Byatt, Possession (1990)]]

==[[User:Kevin Carpenter|Kevin Carpenter]]==
Winter: 3 BM-TMV + 3 Veranstaltungen: SP 
Summer: 3 BM-TMV + 3 Veranstaltungen: SP

'''Winter Term 08-09'''
*BM 5: Introduction to Integrated Language Skills
*BM 5: Grammar
*BM 5: Grammar
*AM 1 Written - Elements of Film
*AM 1 Spoken - News & Views
*MM 2 Academic Discourse Cult - Charles Dickens, Oliver Twist

'''Summer Term 09'''
*BM 5: Grammar
*BM 5: Grammar
*BM 5: Presentation Skills
*AM 1 Written - Elements of Film
*AM 1 Spoken - News & Views
*MM 2 Academic Discourse Cult - America in the Movies
'''Options'''

==[[User:Delia Duncan|Delia Duncan]]==
Winter: 3 BM-TMV + 3 Veranstaltungen: SP 
Summer: 3 BM-TMV + 3 Veranstaltungen: SP

'''Winter Term 08-09'''
*BM 5: Introduction to Integrated Language Skills
*BM 5: Pronunciation
*BM 5: Presentation Skills
*AM 1 Written - Short Stories and a Play from Africa
*AM 1 Spoken - English Identities
*MM 1 Academic Discourse Lit - The Booker Prize 2008: selected readings

'''Summer Term 09'''
*BM 5: Pronunciation
*BM 5: Pronunciation
*BM 5: Presentation Skills
*AM 1 Written - Short Stories from the English-speaking World
*AM 1 Spoken - Australia: Fact and Fiction
*MM 1 Academic Discourse Lit - African Intertextualities: Coetzee's Disgrace and Ngugi's A Grain of Wheat

'''Options'''

==[[User:Maike Engelhardt|Maike Engelhardt]]==
Winter: 2 Basismodule + 1 Veranstaltungen: Ling, Did 
Summer: 2 Basismodule + 1 Veranstaltungen Ling, Did

'''Winter Term 08-09'''
*BM 3
*BM 4
*AM 4a, AM 9: Linguistic aspects of political speeches in the 20th and 21st century.
*3.02.645 - Ü (FD) - English for Educational Purposes - [[User:Maike Engelhardt|Maike Engelhardt]]
*Academic study skills workshop: KP frei, jedes Wintersemester für Studierende nach den BM

'''Summer Term 09'''
*BM 3
*BM 4
*AM 5, 7a, AM 8: Didactic ranges of didactic texts

'''Options'''
*AM 7a, vielleicht 6b, AM 9: Learning strategies
*AM 3b, 4b, 6a, AM 9: [[Phonetics and Phonology: American English]]
*AM 5, 7a, AM 8: [[(Ergänzende) Unterrichtsmaterialien im Englischunterricht der Sekundarstufe I & II]]
*[[Language Testing for Language Teachers]]
*[[English as a Lingua Franca]]
*[[Language and Age]]
*[[Techniques and Strategies of Foreign Language Learning]]
*[[Teaching Methods: Past, Present and Future]]
*[[Lehrwerksanalyse Red/Green/Orange Line]]

==[[User:Wolfgang Gehring|Wolfgang Gehring]]==
Winter: 1 BM-TMV + 3 Veranstaltungen: Did 
Summer: 1 BM-TMV + 3 Veranstaltungen: Did

'''Winter Term 08-09'''
*BM 4: Mi 14-16

*S - AM 7a, 7b, 8: Skills, Knowledge, Abilities - [[User:Wolfgang Gehring|Wolfgang Gehring]] - Di 14-16
*S - AM 7a, 7b, 8: Teaching for Communicative Competence [[User:Wolfgang Gehring|Wolfgang Gehring]] - Do 10-12
*S - Innovations in ELT (fächerübergreifend) - [[User:Wolfgang Gehring|Wolfgang Gehring]] - Di 16-18

*Directed studies (BA-Abschlussmodul, Gehring) n.V.
*Directed studies (MM-Abschlussmodul, Gehring) n.V.

'''Summer Term 09'''
*BM 4: Mi 14-16

*S - AM 5, 8: Reading Comprehension - [[User:Wolfgang Gehring|Wolfgang Gehring]] - Di 14-16
*S - AM 7a, 7b, 8: The Modern ELT-classroom - [[User:Wolfgang Gehring|Wolfgang Gehring]] - Do 10-12
*S - Methods and Approaches in ELT (fächerübergreifend) - [[User:Wolfgang Gehring|Wolfgang Gehring]] - Di 16-18

*Directed studies (BA-Abschlussmodul, Gehring) n.V.
*Directed studies (MM-Abschlussmodul, Gehring) n.V.

'''Options'''

==[[User:Ronald Geluykens|Ronald Geluykens]]==
Winter: 4 Veranstaltungen: Ling 
Summer: 1 Basismodule + 3 Veranstaltungen Ling

'''Winter Term 08-09'''
*AM 3b, AM 4b, AM 9: English as a Global Language
*MM 3: (auch klausurbezogenes HS) Lexical Semantics
*Kolloquium für B.A. AbschlusskandidatInnen und DoktorandInnen: New Research in Applied Linguistics
*Examens- und Doktorandenkolloquium (alte Studiengänge)

'''Summer Term 09'''
*BM 3, Part 2
*AM 3a, AM 4a, AM 9: History of the English Language
*MM 3: (nicht klausurbezoges HS) American English
*Examens- und Doktorandenkolloquium (alte Studiengänge)

'''Options'''
*MM 3: (nicht klausurbezoges HS) From Old to Middle English
*MM 3: (nicht klausurbezoges HS) Pragmatics

==[[User:Deidre Graydon|Deidre Graydon]]==
Winter: 3 BM-TMV + 2 Veranstaltungen: SP 
Summer: 4 BM-TMV + 1 Veranstaltungen: SP

'''Winter Term 08-09'''
*BM 5: Introduction to Integrated Language Skills
*BM 5: Pronunciation
*BM 5: Presentation Skills
*AM 1 Spoken - The US Presidential Election
*MM 3 Academic Discourse Ling - The US Presidential Election

'''Summer Term 09'''
*BM 5: Introduction to Integrated Language Skills
*BM 5: Pronunciation
*BM 5: Pronunciation
*BM 5: Presentation Skills
*MM Academic Discourse Cult - Varieties of American English

'''Options'''

==[[User:Cornelia Hamann|Cornelia Hamann]]==
Winter: 1 BM-TMV + 3 Veranstaltungen: Ling 
Summer: 4 Veranstaltungen: Ling

'''Winter Term 08-09'''
*Basismodul 3, Introduction to English Linguistics Part I
*AM 7a, AM 9: Language Acquisition from a Comparative Perspective
*MM 3: The English Tense System
*MM 3: The Critical Period Debate (Language Acquisition)

'''Summer Term 09'''
*AM 7a, AM 9: Language Acquisition and Language Impairment
*AM 3a, AM 7b, AM 9: Morphological and Syntactic Change
*BA-ASM: Kolloquium - (New) Research in Language Acquisition
*MM 3: The Acquisition of Syntax from a Cross-linguistic Perspective (LA)

'''Options'''

==[[User:Anton Kirchhofer|Anton Kirchhofer]]==
Winter: 1 BM-TMV + 3 Veranstaltungen: Lit 
Summer: 1 BM-TMV + 3 Veranstaltungen: Lit

'''Winter Term 08-09'''
*3.02.012 Introduction to the Critical and Scholarly Discussion of Literature Part 2 - Course A - [[User:Anton Kirchhofer|Anton Kirchhofer]] - Di 10-12 - A1 0-004
*3.02.511 - S - (auch HS klausurvorbereitend) [[The Booker Prize 2008 and the Culture of Literary Prizes]] - [[User:Anna Auguscik|Anna Auguscik]] und [[User:Anton Kirchhofer|Anton Kirchhofer]] - Di 14-16 - A1 0-004; abgesprochen mit [[User:Delia Duncan|Delia Duncan]], UE)
*3.02.312 - Kolloquium für B.A. AbschlusskandidatInnen und DoktorandInnen: New Research in Literary and Cultural Studies (14-tägig) - [[User:Anton Kirchhofer|Anton Kirchhofer]]
*3.02.551 - Kolloquium für ExamenskandidatInnen (M.A., M.Ed., alte Studiengänge) (14-tägig) - [[User:Anton Kirchhofer|Anton Kirchhofer]]
*Literaturwissenschaftliches Doktorandenkolloquium der Fakultät III (mit Doering, Kohler, Kyora)
*Directed Studies

'''Summer Term 09'''
*3.02.011 Introduction to the Critical and Scholarly Discussion of Literature Part 2 - [[User:Anton Kirchhofer|Anton Kirchhofer]] - Di 14-16 - HS 2
*3.02.281 - S - AM 5, AM 11: [[Literature and the School System]] - [[User:Anton Kirchhofer|Anton Kirchhofer]] - Do 10-12 A1 0-006; (abgesprochen mit Wolfgang Gehring)
*3.02.511 - S - (auch klausurvorbereitend) [[African Intertextualities: Writing and Rewriting in Anglophone Fiction from Africa]] - [[User:Anton Kirchhofer|Anton Kirchhofer]] - Di 10-12 - A1 0-004
*3.02.312 - Kolloquium für B.A. AbschlusskandidatInnen und DoktorandInnen: New Research in Literary and Cultural Studies (14-tägig) - [[User:Anton Kirchhofer|Anton Kirchhofer]]
*3.02.551 - Kolloquium für ExamenskandidatInnen (M.A., M.Ed., alte Studiengänge) (14-tägig) - [[User:Anton Kirchhofer|Anton Kirchhofer]]
*Literaturwissenschaftliches Doktorandenkolloquium der Fakultät III (mit Doering, Kohler, Kyora)
*Directed Studies

'''Options'''
*AM 2b, AM 11: Gothic Fiction: The Early Canon (Otranto, Udolpho, Monk, Northanger Abbey)
*AM 2b, AM 11: Modern Tales of a Puritan PastModern Tales of a Puritan Past (e.g. Hogg, Justified Sinner, Hawthorne, The Scarlet Letter)
*John Milton
*AM 2b, 5 und 11 Childhood Stories and Children's Literature
*[[Explorations in the History and Ideology of Purity]]
*[[The Cultural History of Shakespeare]]
*[[Writing (in) Ireland in the Mid-20th century. (Flann O'Brien, Patrick Kavanagh, Samuel Beckett)]]
*[[British Fiction in the 1850s – Dickens, Trollope, Eliot, book production of 1850s, the novel market and reviewing etc.]]
*[[The Sensational Novel - Popular and Transgressive Writing in the 1860s]]
*[[Confession and Narrative]]
*[[Exploring the Lord Chamberlain's Files (mit Exkursion und Editionsprojekten]]
*[[Representations of Gender and Violence from Shakespeare to the Present]]
*[[Creation, Nature, Environment - Changing Conceptions in Literature and Culture]]
*[[Plots of Emancipation and Conversion - Writing Religious Experience.]]
*[[Fictions about Contemporaries - Mary Shelley's The Last Man (1826) and Aldous Huxley's Point Counter Point (1928)]]
*[[Obscure and Public Poetry in the 19c - Swinburne, Whitman, Hopkins, Dickinson]]
*[[Fictional Parsons - from Fielding to Golding]]
*[[Editing Shakespeare - the History of Shakespeare's 'Texts']]
*[[From Theodicy to Political Economy - Eighteenth and Nineteenth Century 'Systems Theories']]
*[[Theories of Literary Communication]]
*[[Public School Stories - Tom Hughes, Samuel Butler, Evelyn Waugh]]
*[[Girls' at School]]
*[["National Allegories" - Allegory in Postcolonial Writing]]
*[[Modernism and Journalism]]

==[[User:Anke Leinweber|Anke Leinweber]]==
Winter: 4 Veranstaltungen: Did 
Summer: 4 Veranstaltungen Did

'''Winter Term 08-09'''
*BM 4: Mi 14-16
*AM 7a, 7b, 8: Primary English, Do 18-20
*S - Innovations in ELT Praktikumsmodul GYM (auch als Praxisteilmodul zu belegen) - [[User:Anke Leinweber|Anke Leinweber]]
*S - Blockseminar: Begleitung und Auswertung des Fachpraktikums - [[User:Anke Leinweber|Anke Leinweber]] n.V.

'''Summer Term 09'''
*BM 4: Mi 14-16
*S - AM 7a, 7b, 8: Beginning Language Learners - [[User:Anke Leinweber|Anke Leinweber]], Do 18-20
*S - Methods and Approaches in ELT Praxisteilmodul GYM/WiPäd - [[User:Anke Leinweber|Anke Leinweber]]
*MM Abschluss: Directed studies: Schulpraktika im Ausland (ohne KP-Erwerb) n.V.

'''Options'''

==[[User:Holger Limberg|Holger Limberg]]==
Winter: 1 Veranstaltung: Ling 
Summer: 1 Veranstaltung: Ling

'''Winter Term 08-09'''
*AM 4a, AM 7b, AM 9: Institutional Discourse

'''Summer Term 09'''
*BM 3
*AM 4a, AM 7b, AM 9: '''evtl. Lehrautrag''' Semantics and Pragmatics/Corpus Linguistics

'''Options'''
*AM Topics in Pragmatics (4a, 7b, 9)
*AM Sociolinguistics (4a, 7b, 9)
*Mastermodul: Communication for Specific Purposes (MM3)
*Aufbaumodul: Semantics and Pragmatics (4a, 7b, 9)
*Aufbaumodul: Corpus Linguistics (4a, 7b, 9)

==[[User:Robert McLaughlin|Robert McLaughlin]]==
Winter: 1 BM-TMV + 2 Veranstaltungen: SP 
Summer: 1 BM-TMV + 2 Veranstaltungen: SP

'''Winter Term 08-09'''
*BM 5: Introduction to Integrated Language Skills
*AM 1 Written - America: Literature and Culture
*MM 1 Academic Discourse Lit - North-American Short Fiction
*'''Lehrauftrag''': MM Fachdidaktik - Praxismoudl GHR/BBS

'''Summer Term 09'''
*BM 5: Presentation Skills
*AM 1 Spoken - History, Fiction and Language (America)
*AM 1 Written - 19th and Early 20th-Century American Literature

'''Options'''

==[[User:Christina Meyer|Christina Meyer]]==
Winter: 1 BM + 2 Veranstaltungen: Lit, Cult 
Summer: 1 BM + 2 Veranstaltungen Lit, Cult

'''Winter Term 08-09'''
*3.02.021 Introduction to American and British Studies Part 2 - V/Ü - [[User:Richard Stinshoff|Richard Stinshoff]], [[User:Christina Meyer|Christina Meyer]], [[User:Olaf Simons|Olaf Simons]] - Mi 18-20
*3.02.273 - S - AM 2b, AM 10, AM 11: Trauma Narratives - [[User:Christina Meyer|Christina Meyer]] - Di 14-16; (Bsp.: Holocaust Lit.; Vietnam War lit.; 9/11 lit.; nur als Auswahl...)
*3.02.522 - S - (auch klausurvorbereitend) Fashion/Consumption/Desire in Literature - [[User:Christina Meyer|Christina Meyer]] - Di 16-18

'''Summer Term 09'''
*3.02.021 Introduction to Anglophone Cultural Studies Part 2 - Ü - [[User:Christina Meyer|Christina Meyer]] - Mi 18-20
*3.02.022 Introduction to Anglophone Cultural Studies Part 2 - Ü - [[User:Christina Meyer|Christina Meyer]] - Di 16-18
*3.02.271 - S - AM 2b, AM 10, AM 11: Postmodernism in America - [[User:Christina Meyer|Christina Meyer]] - Di 14-16; (in literature, art, architecture; likely authors: DeLillo, Auster, Barthelme, Barth, Pynchon u.m.)

'''Options'''

Aufbaumodule:
*AM 2b, AM 4a, AM 10, AM 11: History According to the Movies
*AM 2b, AM 4a, AM 10, AM 11: The Fifties
*AM 2b, AM 4a, AM 10, AM 11: The Western
*AM 2b, AM 4a, AM 10, AM 11: Noir
*AM 2b, AM 4a, AM 10, AM 11: Can Popular Culture Make Us Smarter?
*AM 2b, AM 4a, AM 10, AM 11: The American Renaissance
*AM 2b, AM 4a, AM 10, AM 11: Post 9/11 TV Landscape

Mastermodule
*MM 2 (auch klausurvorbereitend): Memory – Perception – Photography – Literature (theoretical texts: e.g. Aristotles, Benjamin, Gombrich, Barthes, Freud, Lacan, Sontag, Sturken, etc. + selection of literary texts)
*MM 2 (auch klausurvorbereitend): How to Read Fiction Like a Professor
*MM 2 (auch klausurvorbereitend): Discourses of Love (likely authors/texts: Luhman; Breton; Barthes; Fiedler)
*MM 2 (auch klausurvorbereitend): "The Body in Pain" (likely authors/texts: Scarry; Seltzer; Foster...)
*MM 2 (auch klausurvorbereitend): Teaching Comics

==[[User:Joanna Pfingsthorn|Joanna Pfingsthorn]]==
Winter: 1 Veranstaltung: Did 
Summer: 1 Veranstaltung: Did

'''Winter Term 08-09'''
*AM 7a, 7b, 8: Errors in Language Learning, Mo

'''Summer Term 09'''
*BM 4

'''Options'''

==[[User:Olaf Simons|Olaf Simons]]==
Winter: 2 Basismodul + 2 Veranstaltungen: Lit, Cult 
Summer: 1 Basismodule + 3 Veranstaltungen Lit, Cult

'''Winter'''
*3.02.014 Introduction to the Critical and Scholarly Discussion of Literature Part 2 - Course C - [[User:Olaf Simons|Olaf Simons]] - Di 14-16 - HS F
*3.02.015 Introduction to the Critical and Scholarly Discussion of Literature Part 2 - Course D - [[User:Olaf Simons|Olaf Simons]] - NEEDS ROOM AND TIME
*3.02.021 Introduction to American and British Studies Part 2 - V/Ü - [[User:Richard Stinshoff|Richard Stinshoff]], [[User:Christina Meyer|Christina Meyer]], [[User:Olaf Simons|Olaf Simons]] - Mi 18-20
*3.02.281 - S - [[Richard Head, The English Rogue (1665)]] - [[User:Olaf Simons|Olaf Simons]] - Di 10-12 - Aquarium
*Tutorenschulung (1-stündig)

'''Summer'''
*3.02.019 Introduction to the Critical and Scholarly Discussion of Literature Part 2 - [[User:Olaf Simons|Olaf Simons]] - Di 14-16 - ???
*3.02.023 Introduction to American and British Studies Part 2 - Ü - [[User:Olaf Simons|Olaf Simons]] - Mi 16-18
*3.02.282 - S - AM 2a, AM 3a, AM 11: [[Canterbury Tales]] - [[User:Olaf Simons|Olaf Simons]] - Di 10-12 - Aquarium
*3.02.521 - S - (auch HS klausurvorbereitend) [[Chapbooks]] - [[User:Olaf Simons|Olaf Simons]] - Do 16-18 - Aquarium
*Tutorenschulung (1-stündig)

'''Options'''
*(auch HS klausurvorbereitend) [[The Civil War in Print]]
*AM 2b, AM 10: [[James Bond]] - [[User:Olaf Simons|Olaf Simons]]
*AM 2b, AM 11: [[Chapbooks]] - [[User:Olaf Simons|Olaf Simons]]
*[[Time Travel]]
*AM 2b, AM 10: [[Cinematic Violence]]
*[[Poetic Justice]]
*[[English Translations of the Bible]] Cultural Studies
*[[Theories of the Novel]] Literature
*[[Fathers and Sons in American Movies]] American Culture
*[[The Bayeux Tapestry]], Cultural Studies
*[[18th-century Sentimental Novels and Plays]] English Literature
*[[Pornography]] Literature, with Anna Auguscik
*[[Ossian]]
*[[The Best of all Possible Worlds]]
*[[The Invention of Psychology]]
*[[The English Rogue and the German Simplicissimus]]
*[[Histories of English Literature]]
*[[Online Communication, Blogs and Wikipedia]]
* Seminars on individual years

==[[User:Richard Stinshoff|Richard Stinshoff]]==
Winter: 1 Basismodul + 3 Veranstaltungen: Cult 
Summer: Cult

'''Winter Term 08-09'''
*BM 2
*AM 2c, AM 4b, AM 10: Britain & Globalisation
*AM 2b, AM 4a, AM 10: Old Labour, New Labour
*MM 2: (auch klausurbezogen) The 'Condition of England Question' and the Industrial Novel

'''Summer Term 09'''

'''Options'''

==[[User:Michael Treichler|Michael Treichler]]==

'''Winter Term 08-09'''
*Introduction to English Linguistics Part 1 - Ü

'''Summer Term 09'''
*S - AM 7a, AM 9: First and Second Language Acquisition

==N.N. Amerikanistik==

'''Winter Term 08-09'''
*AM 2b/2c, AM 11
*AM 10
*MM 1
*MM 2

'''Summer Term 09'''
*AM 2b/2c, AM 11
*AM 10
*MM 1
*MM 2

==N.N. LfbA BritKult==

'''Winter Term 08-09'''
*BM 2
*BM 2
*AM 10/ MM 2

'''Summer Term 09'''
*BM 2
*BM 2
*AM 10/ MM 2

Talk:2008 BM1 Assignment 3: Jekyll and Hyde

2008-06-23T15:17:38Z

Alena Ruether:

Do you have any idea how the direct speech of Utterson fits to his character?

I am also unsure if I am supposed to write something about the focalisation in question 4. It asks for the narrative mode in this passage in relation to the narrative structure of the whole text. Now I am a little confused, because in my opinion the focalisation must be left out in this part, but on the other hand one cannot make always a clean cut between focalisation and narration. How do you think about about leaving out focalisation in this task?

:Help me if you can, I'm feeling down.
:And I do appreciate you being 'round.
:Help me get my feet back on the ground,
:Won't you please, please help me? [beatles]

::all a question of what you want: "feet back" or "feedback"... --[[User:Olaf Simons|Olaf Simons]] 13:24, 20 June 2008 (CEST)

Hi!
i have a little problem with task one.... are we supposed to interpret the characterisations or only identify characterisations and the say which mode they are made in????
greetings --[[User:Marietta Sonnenschein|Marietta Sonnenschein]] 16:41, 23 June 2008 (CEST)

Concerning task 5: Is it really necessary that the topic, which I choose to discuss, is mentioned explicitly in the given passage or is it okay when the topic becomes important in a later part of the novel?

Talk:2008 BM1 Assignment 2: Antony and Cleopatra

2008-05-23T15:49:07Z

Alena Ruether:

In fact I have only one question:
How can I answer 5 questions properly on only 3 pages (especially with that given style sheet)?
Would be very much kind if someone can explain that to me...and the lines are incorrect.when we set the starting line with 123 then I count 166 or am I wrong? (as it is important for giving the sections)
Cheerz!

--[[User:Jessika Thiele]] 22:28, 22 May 2008 (CEST)

1. I think using our textbook for the line-references would be the best solution.
2. I agree that question 5 looks rather extensive compared to the other tasks, but since every question offers the chance to earn the same number of points, I don't think that the teachers expect a very long, detailed answer here. --[[User:Alena Ruether|Alena Ruether]] 17:47, 23 May 2008 (CEST)

Da hast Du Recht! Die Aufgaben sind viel zu umfangreich und wenn man etwas rausließe, würde sich dies mit Sicherheit negativ auf die Note auswirken, da es dann nicht detailliert genug wäre.
Darüber hinaus bin ich auch der Ansicht, dass das in den Aufgaben geforderte nicht ausreichend im Seminar besprochen wurde. Ich fühle mich mit der Aufgabenstellung doch sehr allein gelassen!

Talk:2008 BM1 Assignment 2: Antony and Cleopatra

2008-05-23T15:47:39Z

Alena Ruether:

In fact I have only one question:
How can I answer 5 questions properly on only 3 pages (especially with that given style sheet)?
Would be very much kind if someone can explain that to me...and the lines are incorrect.when we set the starting line with 123 then I count 166 or am I wrong? (as it is important for giving the sections)
Cheerz!

--[[User:Jessika Thiele]] 22:28, 22 May 2008 (CEST)

Da hast Du Recht! Die Aufgaben sind viel zu umfangreich und wenn man etwas rausließe, würde sich dies mit Sicherheit negativ auf die Note auswirken, da es dann nicht detailliert genug wäre.
Darüber hinaus bin ich auch der Ansicht, dass das in den Aufgaben geforderte nicht ausreichend im Seminar besprochen wurde. Ich fühle mich mit der Aufgabenstellung doch sehr allein gelassen!

1. I think using our textbook for the line-references would be the best solution.
2. I agree that question 5 looks rather extensive compared to the other tasks, but since every quetions offers the chance to earn the same number of points, I don't think that the teachers expect a very long, detailed answer here. --[[User:Alena Ruether|Alena Ruether]] 17:47, 23 May 2008 (CEST)

Talk:2008 BM1 Assignment 1: Poetry

2008-04-30T08:11:03Z

Alena Ruether: /* Question of Interpretation */

===Question 3 ===

Are we supposed to interpret the metre and rhyme scheme with regard to the content or shall we only name these? Alena Ruether
:"Comment on" is a bit more than just "name" yet less then "write a full blown interpretation". --[[User:Olaf Simons|Olaf Simons]] 15:09, 24 April 2008 (CEST)

===Another Question===

But how much more, do we have to do?

I am right now working with the poem and I have some problems with the word 'comment' and 'identify'!
Does 'identify' mean we are just supposed to declare which sections or addressee we have found out?
And does 'comment' mean we shall find out the metre and rhyme scheme and afterwards say what is special about it? Or shall we also say what influence differences in metre or something else have on the poem?

I am a little scared to hand in my assignment, because it seems to me that I don't know how to begin!

:A couple of links: [[Survive Assignments]] gives you some general remarks. This is the last year's assignment: [[BM1 - Introduction to Literature - Assignment 1]] - and if you take a look at its discussion page you will even find a discussion of the solutions we then received. Yet the best preparation was to be found in our courses where we asked such questions and where we gave you opportunities to test model solutions. All you have to do is think of which answers of your fellow students you found elucidating... best, --[[User:Olaf Simons|Olaf Simons]] 18:51, 25 April 2008 (CEST)

===Question 4===

I asked Anna (how are we supposed to address you) after the last seminar whether we should write a text or headwords (stichpunkte)... She immediately answered: Text! :-) --[[User:Karsten Woll|Karsten Woll]] 08:57, 26 April 2008 (CEST)
: 'Anna' is just fine, Karsten! ;-) --[[User:Anna Auguscik|Anna Auguscik]] 21:33, 27 April 2008 (CEST)

===Word question===

I got difficulties with the word "coopt"... i know what it means but in combination with love it seems to be a false declination... can't really figure out what it should mean in this case. --[[User:Karsten Woll|Karsten Woll]] 08:57, 26 April 2008 (CEST)

:I paraphrased "coop" with "to be in": "Love was in the charet of her eye". I'm not sure, whether it is correct, but it makes sense (at least for me). --[[User:Alena Ruether|Alena Ruether]] 14:23, 26 April 2008 (CEST)

::I'm, as Alena, not sure either. But paraphrasing it with "to be in" might change the meaning. The line says: "Love cooped behind the chariot of here eye,". Don't forget "behind". Maybe Percy meant that you have to fight (against the chariot?) to get love? Just a thought... --[[User:Christopher Bosum|Christopher Bosum]] 12:27, 27 April 2008 (CEST)

===Understanding problem===

Is there anybody who understands the second and third quatrain?
I got some problems understanding those stanzas, because I don' t know who is talking to whom, especially in the third stanza?

Maybe there is someone who has a clue!

I would appreciate it!

:"love" i guess is referring to Cupid (Armor)
:so "quoth HE" is Cupid and Cupid is talking to the speaker,
:in the second stanza the speaker is still talking about him falling in love!
:At least that's what i'm thinking... --[[User:Karsten Woll|Karsten Woll]] 16:58, 26 April 2008 (CEST)

::Well,why should it be Cupid? There are absolutely no signs pointed out that it is possibly him.
::Indeed that line is special cause someone else is talking but you get the answer from the speaker himself who is talking...line13: ''Imperious God''. And Cupid is definitely not imperious as he is just one of some hundred Roman gods. Just one advice guys: Widen your horizone a little more and dont only stick to the love topic in that poem. It carries far more than simple expression of feelings! Cheerz --[[User:Jessika Thiele]] 09:42, 27 April 2008 (CEST)

Because there is a prayer to god in the couplet, I thought that because the speaker has suspitions and bold presumptions there is something not that good as it seems in the beginning!

Line 1:'... and yet unhappie hour' --> something is wrong or went wrong and I mean why should love coop behind chariots if everything is allright! I thought god is giving some kind of answer and now the speaker in line 9 asks god if he really should just look and not practise!?

Firts I thought of some kind of challenging of god, in the way of 'I should just look at you and not practise other godesses! But I don't know how to prove this idea!

But the thing is, in any case, that something isn't right! line3 'sweetest soure'

::I hope nobody ever thought before that this is a happy love poem. Already the contradiction in the first line tells us whats up in there. But frankly I also like the idea that the imperious god demands the faith in only him and not other gods. Maybe you can think about it and prove it.Good luck!--[[User:Jessika Thiele]] 17:17, 27 April 2008 (CEST)

Why shouldn't it be Cupid, theres no other God who shoots arrows.. except Zeus perhaps, but.. well..let me explain what i mean... There is no word referring to another noun than "love"

Love coopt behind the charet of her eye,

Iustly to schoole my bold presumption,

Against my hart did let an arrow flie

Who should let an arrow flie? Theres's no third person indicated.. in this case I would argue that "Love" has to be this third person... because there's still this connotation to love embodied in a little fellow with some arrows and a bow... --[[User:Karsten Woll|Karsten Woll]] 23:16, 27 April 2008 (CEST)

Keep it simple we learned so far. What about taking it by word? Why the heart cannot let the arrow flie? Then its a simple figure of speech.

:: sorry but THAT doesn't make any sense at all because of the AGAINST.... this against is quite obviously connected to "my hart" --[[User:Karsten Woll|Karsten Woll]] 14:53, 28 April 2008 (CEST)

It surely would make sense when you think in a wider way...when you set a break after the ''Against'' then the word is seperated from the heart and against can mean...against [everything she does]...surely thats maybe more speculation...or one aspect of an interpretation.
--[[User:Jessika Thiele|Jessika Thiele]] 09:43, 29 April 2008 (CEST)

===Question of length===

Is it possible to answer the complete assignment on circa one page! If we give precise answers this should be satisfying, shouldn't it? Please answer A.S.A.P because now I got still time to do more!
Thanks --[[User:Karsten Woll|Karsten Woll]] 19:22, 26 April 2008 (CEST)
:I'm afraid, it will be quite difficult to express your thoughts and comments on all five questions within one page only. If you check the [[Literary Studies:Style sheet|style sheet]], you'll see how little text one page contains... --[[User:Anna Auguscik|Anna Auguscik]] 21:33, 27 April 2008 (CEST)

===Word question 2===

Does anybody know what chariot also means because I just find the translation 'STreitwagen' and that doesn't fit, I think. I mean 'Liebe wurde hinter dem Streitwagen ihrer Augen eingesperrt'?!
it can also mean " kutsche ".

===Feet problem===

If there are 11 syllables are there 6 feet or 5? I thought 2 syllables = 1 feet and that would mean
11 syllables = 6 feet!

=== Question of Interpretation===

Is here anyone who would like to discuss with me the interpretation of the verse "Wherevvith the cup of Cypria is embrevved" ? Is there a kind of biblical reference in it? Cup of blood reminds me of Jesus Christ and the human sins. That is the reason why I am asking [[User:Rukiye Serin|Rukiye Serin]]

I don't think that W. Percy intended a Christian interpretation of that verse, because he uses the ancient goddess Venus. Christian and pagan religions are, in my opinion (and I think William Blake would agree ;-), disparate antipoles, so it seems unlikely to me that W. Percy would use a Christian and a pagan reference in the same verse.
By the way: I guess the blood in Venus' cup (I'm not sure, whether "cup" has an assigned meaning) is a symbol for all the pain, which love has caused (example: in ancient Roman mythology Venus is responsible for the Trojan war). --[[User:Alena Ruether|Alena Ruether]] 10:10, 30 April 2008 (CEST)

Talk:2008 BM1 Assignment 1: Poetry

2008-04-30T08:10:37Z

Alena Ruether: /* Question of Interpretation */

===Question 3 ===

Are we supposed to interpret the metre and rhyme scheme with regard to the content or shall we only name these? Alena Ruether
:"Comment on" is a bit more than just "name" yet less then "write a full blown interpretation". --[[User:Olaf Simons|Olaf Simons]] 15:09, 24 April 2008 (CEST)

===Another Question===

But how much more, do we have to do?

I am right now working with the poem and I have some problems with the word 'comment' and 'identify'!
Does 'identify' mean we are just supposed to declare which sections or addressee we have found out?
And does 'comment' mean we shall find out the metre and rhyme scheme and afterwards say what is special about it? Or shall we also say what influence differences in metre or something else have on the poem?

I am a little scared to hand in my assignment, because it seems to me that I don't know how to begin!

:A couple of links: [[Survive Assignments]] gives you some general remarks. This is the last year's assignment: [[BM1 - Introduction to Literature - Assignment 1]] - and if you take a look at its discussion page you will even find a discussion of the solutions we then received. Yet the best preparation was to be found in our courses where we asked such questions and where we gave you opportunities to test model solutions. All you have to do is think of which answers of your fellow students you found elucidating... best, --[[User:Olaf Simons|Olaf Simons]] 18:51, 25 April 2008 (CEST)

===Question 4===

I asked Anna (how are we supposed to address you) after the last seminar whether we should write a text or headwords (stichpunkte)... She immediately answered: Text! :-) --[[User:Karsten Woll|Karsten Woll]] 08:57, 26 April 2008 (CEST)
: 'Anna' is just fine, Karsten! ;-) --[[User:Anna Auguscik|Anna Auguscik]] 21:33, 27 April 2008 (CEST)

===Word question===

I got difficulties with the word "coopt"... i know what it means but in combination with love it seems to be a false declination... can't really figure out what it should mean in this case. --[[User:Karsten Woll|Karsten Woll]] 08:57, 26 April 2008 (CEST)

:I paraphrased "coop" with "to be in": "Love was in the charet of her eye". I'm not sure, whether it is correct, but it makes sense (at least for me). --[[User:Alena Ruether|Alena Ruether]] 14:23, 26 April 2008 (CEST)

::I'm, as Alena, not sure either. But paraphrasing it with "to be in" might change the meaning. The line says: "Love cooped behind the chariot of here eye,". Don't forget "behind". Maybe Percy meant that you have to fight (against the chariot?) to get love? Just a thought... --[[User:Christopher Bosum|Christopher Bosum]] 12:27, 27 April 2008 (CEST)

===Understanding problem===

Is there anybody who understands the second and third quatrain?
I got some problems understanding those stanzas, because I don' t know who is talking to whom, especially in the third stanza?

Maybe there is someone who has a clue!

I would appreciate it!

:"love" i guess is referring to Cupid (Armor)
:so "quoth HE" is Cupid and Cupid is talking to the speaker,
:in the second stanza the speaker is still talking about him falling in love!
:At least that's what i'm thinking... --[[User:Karsten Woll|Karsten Woll]] 16:58, 26 April 2008 (CEST)

::Well,why should it be Cupid? There are absolutely no signs pointed out that it is possibly him.
::Indeed that line is special cause someone else is talking but you get the answer from the speaker himself who is talking...line13: ''Imperious God''. And Cupid is definitely not imperious as he is just one of some hundred Roman gods. Just one advice guys: Widen your horizone a little more and dont only stick to the love topic in that poem. It carries far more than simple expression of feelings! Cheerz --[[User:Jessika Thiele]] 09:42, 27 April 2008 (CEST)

Because there is a prayer to god in the couplet, I thought that because the speaker has suspitions and bold presumptions there is something not that good as it seems in the beginning!

Line 1:'... and yet unhappie hour' --> something is wrong or went wrong and I mean why should love coop behind chariots if everything is allright! I thought god is giving some kind of answer and now the speaker in line 9 asks god if he really should just look and not practise!?

Firts I thought of some kind of challenging of god, in the way of 'I should just look at you and not practise other godesses! But I don't know how to prove this idea!

But the thing is, in any case, that something isn't right! line3 'sweetest soure'

::I hope nobody ever thought before that this is a happy love poem. Already the contradiction in the first line tells us whats up in there. But frankly I also like the idea that the imperious god demands the faith in only him and not other gods. Maybe you can think about it and prove it.Good luck!--[[User:Jessika Thiele]] 17:17, 27 April 2008 (CEST)

Why shouldn't it be Cupid, theres no other God who shoots arrows.. except Zeus perhaps, but.. well..let me explain what i mean... There is no word referring to another noun than "love"

Love coopt behind the charet of her eye,

Iustly to schoole my bold presumption,

Against my hart did let an arrow flie

Who should let an arrow flie? Theres's no third person indicated.. in this case I would argue that "Love" has to be this third person... because there's still this connotation to love embodied in a little fellow with some arrows and a bow... --[[User:Karsten Woll|Karsten Woll]] 23:16, 27 April 2008 (CEST)

Keep it simple we learned so far. What about taking it by word? Why the heart cannot let the arrow flie? Then its a simple figure of speech.

:: sorry but THAT doesn't make any sense at all because of the AGAINST.... this against is quite obviously connected to "my hart" --[[User:Karsten Woll|Karsten Woll]] 14:53, 28 April 2008 (CEST)

It surely would make sense when you think in a wider way...when you set a break after the ''Against'' then the word is seperated from the heart and against can mean...against [everything she does]...surely thats maybe more speculation...or one aspect of an interpretation.
--[[User:Jessika Thiele|Jessika Thiele]] 09:43, 29 April 2008 (CEST)

===Question of length===

Is it possible to answer the complete assignment on circa one page! If we give precise answers this should be satisfying, shouldn't it? Please answer A.S.A.P because now I got still time to do more!
Thanks --[[User:Karsten Woll|Karsten Woll]] 19:22, 26 April 2008 (CEST)
:I'm afraid, it will be quite difficult to express your thoughts and comments on all five questions within one page only. If you check the [[Literary Studies:Style sheet|style sheet]], you'll see how little text one page contains... --[[User:Anna Auguscik|Anna Auguscik]] 21:33, 27 April 2008 (CEST)

===Word question 2===

Does anybody know what chariot also means because I just find the translation 'STreitwagen' and that doesn't fit, I think. I mean 'Liebe wurde hinter dem Streitwagen ihrer Augen eingesperrt'?!
it can also mean " kutsche ".

===Feet problem===

If there are 11 syllables are there 6 feet or 5? I thought 2 syllables = 1 feet and that would mean
11 syllables = 6 feet!

=== Question of Interpretation===

Is here anyone who would like to discuss with me the interpretation of the verse "Wherevvith the cup of Cypria is embrevved" ? Is there a kind of biblical reference in it? Cup of blood reminds me of Jesus Christ and the human sins. That is the reason why I am asking [[User:Rukiye Serin|Rukiye Serin]]

I don't think that W. Percy intended a Christian interpretation of that verse, because he uses the ancient goddess Venus. Christian and pagan religions are, in my opinion (and I think William Blake would agree ;), disparate antipoles, so it seems unlikely to me that W. Percy would use a Christian and a pagan reference in the same verse.
By the way: I guess the blood in Venus' cup (I'm not sure, whether "cup" has an assigned meaning) is a symbol for all the pain, which love has caused (example: in ancient Roman mythology Venus is responsible for the Trojan war). --[[User:Alena Ruether|Alena Ruether]] 10:10, 30 April 2008 (CEST)

Talk:2008 BM1 Assignment 1: Poetry

2008-04-26T12:23:19Z

Alena Ruether: /* Word question */

==Test==
I won't be able to come in next time. Cheers. [[User:Corinna Brinkmann|Corinna Brinkmann]] 12:36, 9 April 2008 (CEST)

== Assignment 1, Question 3 ==

Are we supposed to interpret the metre and rhyme scheme with regard to the content or shall we only name these? Alena Ruether
:"Comment on" is a bit more than just "name" yet less then "write a full blown interpretation". --[[User:Olaf Simons|Olaf Simons]] 15:09, 24 April 2008 (CEST)

==Another Question==

But how much more, do we have to do?

I am right now working with the poem and I have some problems with the word 'comment' and 'identify'!
Does 'identify' mean we are just supposed to declare which sections or addressee we have found out?
And does 'comment' mean we shall find out the metre and rhyme scheme and afterwards say what is special about it? Or shall we also say what influence differences in metre or something else have on the poem?

I am a little scared to hand in my assignment, because it seems to me that I don't know how to begin!

:A couple of links: [[Survive Assignments]] gives you some general remarks. This is the last year's assignment: [[BM1 - Introduction to Literature - Assignment 1]] - and if you take a look at its discussion page you will even find a discussion of the solutions we then received. Yet the best preparation was to be found in our courses where we asked such questions and where we gave you opportunities to test model solutions. All you have to do is think of which answers of your fellow students you found elucidating... best, --[[User:Olaf Simons|Olaf Simons]] 18:51, 25 April 2008 (CEST)

==Question 4==

I asked Anna (how are we supposed to address you) after the last seminar whether we should write a text or headwords (stichpunkte)...

She immediately answered: Text! :-) --[[User:Karsten Woll|Karsten Woll]] 08:57, 26 April 2008 (CEST)

==Word question==

I got difficulties with the word "coopt"... i know what it means but in combination with love it seems to be a false declination... can't really figure out what it should mean in this case. --[[User:Karsten Woll|Karsten Woll]] 08:57, 26 April 2008 (CEST)

I paraphrased "coop" with "to be in": "Love was in the charet of her eye". I'm not sure, whether it is correct, but it makes sense (at least for me). --[[User:Alena Ruether|Alena Ruether]] 14:23, 26 April 2008 (CEST)

== Understanding problem ==

Is there anybody who understands the second and third quatrain?
I got some problems understanding those stanzas, because I don' t know who is talking to whom, especially in the third stanza?

Maybe there is someone who has a clue!

I would appreciate it!

Talk:2008 BM1 Assignment 1: Poetry

2008-04-24T12:34:35Z

Alena Ruether: Assignment nr.3

==Test==
I won't be able to come in next time. Cheers. [[User:Corinna Brinkmann|Corinna Brinkmann]] 12:36, 9 April 2008 (CEST)

== Assignment nr.3 ==

Are we supposed to interpret the metre and rhyme scheme with regard to the content or shall we only name these? Alena Ruether

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-11-05T15:28:00Z

Alena Ruether:

==Editions==
*Pierre Daniel Huet, ''Treatise of Romances'', 1670, first English translation (1672). [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1672_huet__treatise_of_romances.pdf Oldenburg Anglistikserver]
*Pierre Daniel Huet, ''History of Romances'', 1670, translated by Stephen Lewis (1715) [http://galenet.galegroup.com/servlet/ECCO?vrsn=1.0&dd=0&locID=bis&b1=KE&srchtp=b&d1=0143100500&SU=All&c=2&ste=10&d4=0.33&stp=DateAscend&dc=tiPG&n=10&docNum=CW110602030&b0=huet&tiPG=1 ECCO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_huet__history_of_romances.pdf Oldenburg Anglistikserver]
unter diesem [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Pierre_Daniel_Huet%2C_Traitt%C3%A9_de_l%E2%80%99origine_des_romans_%281670%29&action=history link] könnt Ihr einsehen, wie der nachfolgende Text zusammengebaut wurde.

Laßt bei Absätzen einfach eine Leerzeile - und pafft auf die langen s auf - da gibts einen Unterfchied zwifchen s und f... :) --[[User:Olaf Simons|Olaf Simons]] 10:28, 31 October 2007 (CET)

==Links==

* [http://en.wikipedia.org/wiki/Traitt%C3%A9_de_l%27origine_des_romans Pierre Daniel Huet, Traitté de l’origine des romans (1670).] - English Wikipedia with a lengthy excerpt.
* [http://de.wikipedia.org/wiki/Traitt%C3%A9_de_l%E2%80%99origine_des_romans Pierre Daniel Huet, Traitté de l’origine des romans (1670)] - German Wikipedia with an article on Huet's book.

__NOTOC__

==Text of the English edition published in 1715==

==Short Title==

[ornament] THE| HISTORY| OF| ROMANCES [ornament]

==Title page==

THE| HISTORY| OF| ROMANCES.| AN| Enquiry into their ''Original'';| ''Instructions for Composing them'';| AN| Account of the most Eminent| AUTHORS;| With Characters, and Curious Observations| upon the Best Performance of that Kind.| [rule]| Written in ''Latin'' by HUETIUS;| Made ''English'' by| Mr. ''STEPHEN LEWIS.''| [rule] ——juvat integros accedere fontes,| Atque haurire. ''Lucr.''| [rule]| Rrinted for J HOOKE, at the ''Flower-de-luce'',| and T. CALDECOTT, at the ''Sun''; both against St.| ''Dunstan''’s Church in ''Fleetstreet''. 1715.

==i==

THE

PREFACE.

''THERE is not any Speculation, which affords a more agreeable Pleasure to the Mind, than that of beholding from what Obscure and Mean Beginnings, the most Polite and Entertaining Arts have''

==ii==

''risen to be the Admiration and Delight of Mankind. To pursue them up to the most abstruse Fountains, and then to view by what Steps they arise to Perfection; does not only excite an Amazement at their Increase; but an Impatient Desire of Inventing some New Subject, to be improv'd and advanc'd by Posterity.''

''The first Occasion of introducing'' ROMANCE ''into the World, was, without Dispute to mollify the Rigour of Precepts, by the Allurements of Example. Where the Mind can't be subdued into Virtue, by Reason and Philosophy; nothing can''

==iii==
''influence it more, than to present to it the Success and Felicity, which Crowns the Pursuit of what's Great and Honourable. As the'' Poet ''very elegantly alludes to'' Homer;

:Qui quid sit pulchum, quid turpe, quid utile, quid non
:Planius & melius, Chrysippo & Crantore dicit.

''And since in all Ages there were very few real Instances, fit to be proposed for Exact Patters of Imitation; the Ingenious'' Fabulist ''was forced to supply them out of his own Invention.''

==iv==
''Hence it appears, that the Original of'' Romance ''is very Ancient; since this Way of Promoting Virtue has been received in the Earliest Ages; as is evident from the first Records of Mankind. And as it stands very remote from Modern Ages; so, That is found out, must be an High Satisfaction to the Curious in Antiquity.''

''Upon this Account, They are very much indebted to the Labour and Penetration of'' Huetius; ''who has, with great Judgement, traced the Subject he undertook to Illustrate, till he found it in''

==v==
''its Infancy, involved in the Umbrage of'' Fable, ''and perplexed in the Folds of'' Mystery ''and'' Riddle.

''This Task was enjoin'd Him (He informs us)

==vi==
by his Aquaintance and Friend, Monsieur Segrais; a Gentleman very intimately versed in all Polite Learning; and admirably well qualified, to Discern and Judge, upon the Subject of ROMANCES; since He had discover'd himself to be a Compleat Master in the Art, by several inimitable Productions of that Nature, which he published in the Language of his Country: A Country, Famous for all Sorts of Delight-

==vii==

And, in my Opinion, the Man who acquits himselof well of the Province he undertakes, (tho' of small Importance) deserves as much, as He who has been more Fortunate in the Choice of a Subjekt for his Application

Without doubt, Huetius was sensible of this; otherwise he would have bestowed his Time to a better Account, since He had before approv'd himself very well to the World, by his Ingenious Performances in Divinity, and other Learning. And I dare assert, that none of his Labours have contributed more to his Reputation than his

==viii==

''Especially since ''Romance'' has of late convey'd it self very far into the Esteem of this Nation, and is become the Principal Diversion of the Retirement of People of all Conditions.''

==ix==

==xi==
has; This, I presume, is not the first Case, where a Good Design has aton'd for some slight Imperfections in the Prosecution of it.

==[xii]==

==1==
==2==
==3==
==4==
==5==
==6==
==7==
==8==
==9==
==10==
==11==
same may be apply'd to Romances, with this Restraint, that a total Fiction of the Argument is more allowable in Romances, where the Actors are of indifferent Quality, (such are the Comic) than in Heroic Performances, where Princes and Conquerors are the Characters, and where the Adventures are Memorable and Illustrious; because it can't be probable that great Transactions and Events lie hid to the World, and neglected by Historians; and Probability, which is not always observ'd in History, is essential to a Romance.

I exclude that sort of History which is False throughout the whole Narration, but was invented

==12==
==13==
==14==
==15==
==16==

Discourse is Figures. They never express themselves but in Allegories. Their Theology and Philosophy, but principally their Politicks and Morals, are all disguised under Fables and Parables.

We may see by the Hieroglyphicks of the Egyptians, to what degree that Nation inclined to be Mysterious; every Thing with them was expressed by Images; all in Disguise. Their Religion was veil'd, and never disclos'd to the Vulgar, but under the Mask of Fables; which they never took off, but for the Information of such as were thought worthy to be initiated into their Arcana. Herodotus says, That the Greeks had from

==17==
==18==
==19==
==20==
==21==
==22==
==23==
==24==
==25==
==26==
==27==
==28==
which was Translated by the ''Hebrews'', and is at this Day to be found in the Libraries of the Curious. Father ''Poussin'', the Jesuit, has joined to his ''Pachymeron'', which he lately Printed at ''Rome'', a Dialogue between ''Absolom'', King of the ''Indies'', and a ''Gymnosophist'', upon several Questions of ''Morality''; where this Philosopher never expresses himself but in Fables, after the Manner of ''Aesop''. The Preface to this Book imports, that it was carefully kept in the Treasury of the Charters of the Realm; that ''Perzoez'' Physician of ''Chosroez'', King of ''Persia'', Translated it out of ''Indian'' and ''Persian'', some other out of ''Persian'' into ''Arabian'' and ''Simeon''

==29==
==30==
thet of Fabulous to the River Hydaspes, which arises in this Country, meaned that it begins and ends its Course among a People very much addicted to Fiction and Disguise. These Fictions and Parables which you see make up the prophane Learning of the Nations before mention'd, have been sanctify'd in Syria; and the Sacred Authors complying with the Humour of the Jews, made Use of them to express the Inspirations they receiv'd from Heaven. The Holy Scripture is altogether Mysterious, Allegorical, and Enigmatical. The Talmudists are of Opinion that the Book of Job is no other than a Parable of the Hebrews Inven-

==32==
==33==
==34==
have since explained, illustrated, and digested them in their particular Works; and beside this have composed several Poems, Prologues and Apologues.

The ''Cyprians'' and ''Cilicians'' have invented certain Fables which bore the Name of the People of those Nations; and the particular Disposition of the ''Cilicians'' to Lying gave rise to one of the Ancientest Proverbs in ''Greece''.

In short, Fables have been in such Vogue all over these Countries, that (according to the Testimony of ''Lucian'',) there were particular Orders of Men among the ''Assyrians'' and ''Arabians'', whose sole (whole?) Province was to explain Fables; and who observed such a

==35==
Regularity in their Life, that they extended it much farther than other People.

But it is not enough to have discovered ''The Original of Romances''; we must see by what Streams they have spread and convey'd themselves into ''Greece'', and ''Italy'', and whether they have passed from thence to us; or we have received them from any other Nation. The ''Ionians'', a People of ''Asia Minor'', being raised to great Power, and having acquired vast Riches, immersed themselves into Luxury and Voluptuousness, and indulged themselves in all the Extravagancies of Plenty.

==36==
''Cyrus'' subdued them by making ''Cr&oelig;sus'' his Captive, with whom he received all ''Asia Minor'' into his Subjection. The ''Persians'' upon this Success admitted their Manners with their Laws, and mixed their Debauches with those their own Inclinations supplied them with, and so grew to be the most Voluptuous Nation in the World. They began to refine upon the Pleasures of the Table, by making the Addition of Flowers and Perfumes. They first invented the Ornaments for their houses. The finest Wools, and the richest Tapestries in the World were their Productions. They invented the lascivious Dance, call'd the ''Ionic''; and became so remarkable for Effemi-

==37==
nacy, that

==38==
But there were the first who corrupted them, and filled them with Lascivious and Amorous Narrations. Their Works are devoured by Time: We hear of no more than ''Aristides'' of them, who was the most Famous of the Romancers, and wrote several Books of Verse, called the ''Milesian'' Fables. I find that one ''Dionyius'', a ''Milesian'', who lived under the Reign of ''Darius'' the First, composed some Fabulous Histories; but since I can't certain whether this was any more than a compiling of Ancient Fables, and can't see sufficient Reason to believe, that they could properly be called ''Milesian'' Fables; I can't number

==39==
him among the Writers of Romance.
The ''Ionians'', descended from ''Attica'' and ''Peloponnesus'', out of the Deference they had for their Original, maintain'd a great Correspondence with the ''Greeks''. The Children of these Nations were sent from the one to the other for Education, that they might be the better acquainted with the Manners and Habit of Life of each other. By this Commerce ''Greece'', which had of it self Inclination enough to Fables, learned the Art of Romances from the ''Ionians'', and improved it with great Success. But to avoid Confusion, I shall endeavour to give an Account of those Writers amongst the ''Greeks'',

==40==
==41==
tant. That which confirms my Suspicion, is a little Story cited from him by Atheneus, which gives an Account of some Marks of Love and Esteem which Gyges, King of Lydia, expressed to one of his Courtesans. Antonius `Diogenes, (according to the oppinion of Photius) lived not long after Alexander; and composed a true Romance of the Amours of Dinias and Dercyllis, in Imitation of the Odysseis of Homer, and the Adventurous Voyage of Ulysses. This Romance, though very Imperfect in several Particulars, and stuffed with scolish and extravagant Relations, scarce excusable in a poet, may nevertheles be called Regular. Photius has an Abstract

==42==
==43==
impertinent and incredible Relations. He was of ''Berge'', a Town of ''Thrace''; but we can have no information of what Country ''Antonius Diogenes'' was. I can't tell precifely in what Time ''Aristides'' of ''Miletus'' lived; but this we may be confident of, That it was before the Civil Wars of ''Marius'' and ''Sylla''; because ''Sifenna'', a ''Roman'' Historian of that Time, translated his ''Milefian'' Fables. This Work was full of Obscenities, and upon that Account gave great Diversion to the ''Romans''; so that the ''Surenas'', or Lieutenant-General of the ''Parthian'' Government, who defeated the ''Roman'' Army under ''Graffus'', when he found them among the Baggage of

==44==
Roscius, took Occasion before the Senate of ''Selencia'' to insult and defame the tender and effeminate Disposition of the ''Romans'', who in the time of War could not disengage themselves of so soft entertainments.

Lucins of Patras, Lucian of Samosata, and Jamblichus, lived very near the same Time, under the Emperors ''Antoninus'', and ''Marcus Aurelius''. The first of them must not be reckoned among Romancers, for he no more than collected some Metamorphoses of the Magical Transformation of Men into Beasts, and Beasts into Men; dealing very simply and fairly, since he believed all that he wrote. ''Lucian''

==45==
with much more Policy and Judgment, relates some part of his Works only to expose and ridicule them, in the Book which he called ''Lucius's Ass''; to intimate that the Fiction was originally his. 'Tis in Effect an Abridgment of the two first Books of ''Lucius's Metamorphosis'' ; and this Fragment lets us see, That ''Photius'' had great Reason to arraign and decry his obscene and smutty Expressions. This ingenious and celebrated Ass, whose History these Authors wrote, was extremely like another of the same Worth and Merit, which ''Photius'' speaks of from ''Damascius'' in this Manner: "This Ass, says he, was the "Best of a Grammarian na-

==46==
med

==47==
added to that which delivers Rules for Composing a good History; infer that he intended it as an Example of what he had enjoyned, tho' he himself declares in the Entrance of the Work, That he had no father Design in it, than to expose those Poets, Historians, and Philosophers themselves, who exhibited Fiction for Truth which Impunity; and wrote such Relations of Foreign Countries, as Clesias and Jambulus had done.

Now if this be true which Photius assures us, That the Romance of Antonius Diogenes gave rise to these two of Lucian: We must understand that Lucian took Occasion from this, and the fabulous Histories of Clesias and

==48==
''Jambulus'', to compose his own, on purpose to detect and condemn the Vanity and Impertinence of theirs.

About this Time ''Jamblichus'' publish'd his ''Babylonics'', (for that was the Name of it) in which the vastly outdid all who preceded him. For if we may judge of it by the Fragment which ''Photius'' has left us of it, his Design comprehends but one Action, adorned with all necessary Improvements; and attended with Episodes, arising from the principal Subject. He has observed Verisimility most exactly; his Adventures are mixed with Variety without Confusion:

We can find Fault with nothing but want of Art in the Contrivance

==49==
==50==
==51==
the Danger which the Reading this Romance (so highly Authorised by the Dignity of its Author) might expose Young People to; proposed, that he should either consent to the Burning of his Book, or the Resignation of his Bishoprick; and that he accepted the latter of the Conditions. For the rest, I can`t but admire, that a Learned Man of this Age should suspect, whether this was the Book of Helidornus, Bishop of Tricca, or no; after Socrates, Photius, and Nicephornus, had given such evident Testimonies of it. Some have been of Opinion, that he lived about the End of the Twelfth Age; confounding him with Heliodorus the Arabian, whole Life

==52==
''Philostratus'' has writ, among those of the other Sophists. But it is known, that he was Cotemporary with ''Arcadius'' and ''Honorius''; and we find in ''Photius'´s Catalogue of the Romancers, who he thought wrote in Imitation of ''Antonius Diogenes'', where he names them in a Chronological Order; he has placed ''Heliodorus'' after ''Jamblichus'', and before ''Damascius''; who lived in the Time of the Emperor ''Justinian''.

According to this Account, ''Achilles Tatius'', who wrote a Regular Romance of the Amours of ''Clitophon'' and ''Leucippe'', ought to have preceded; tho´I can find no certain Account, to justify my Opinion. Others think

==53==
him more recent in his Style: However, he is not to be compared to ''Heliodorus'', either for the Regularity of his Manners, the Variety of Events, or the Artifice of Unravelling his Plots. Indeed his Style is to be preferr'd to that of ''Heliodorus'', because &squo;tis more Simple and Natural; whereas the other's is more forced. Some day, that he was a Christian, and a Bishop too. ’Tis strange, that the Obscenity of his Book should be to easily forgot; and more so, that the Emperor Leo, sirnamed the Philosopher, should commend the Modesty of it, in an Epigram which is yet extant; and not only permit, but recommend the Reading of it with the clo-

==54==
sest Application, to all those who profess the Love of Chastity.

I am afraid I shall be impleaded of Rashness, if I assign the next Place to ''Athenagoras'', under whose Name there goes a Romance, the Title of which is, ''Of True and Perfect Love'', This Book has not appeared in any Language but ''French'', of ''Fumee's'' Translation; who tells us in his Preface, that he had the ''Greek'' Original from Mr. ''de Lamane'', Prothonotary of the Cardinal ''d'Armagnac''; and that he never saw it elsewhere. I almost dare add, 'twas never seen since; for the Name of it was never mention'd that I know of, in Catalogues of

==55==
any Libraries...

==56==
he had a good Opportunity to judge of, because he had the Originals before him. He takes it for a True Story, not understanding the Art of Romances. For my part, tho' I can't pronounce of it in Certainty, because I have not seen the Original in Greek; yet the Reading the Translation, inclines me to think, that he had several sufficient Grounds, to assign the Author of it to be Athenagoras the Apologist. For the Apologist was a Christian; and this speaks of Divinity, after a manner very inconsistent with any, but one of that Profession: As when he makes the priests of Ammom declare, "That there is but One" God; and that every Nation -

==57==
desirous to represent his Essence to the Simple, had invented several Images, which expressed but the same Thing. That their true Signification being defaced by Time, the Vulgar believed there were so many Gods, as they saw Images: That this was the Original of Idolatry. That Bacchus, when he built the Temple of Ammon, placed in it no other Image than that of God; because as there is but One in Heaven, which contains but One World; in this World there is but One God, who is communicated in Spirit.
He makes this, and much more, said by some Egyptian

==58==
Merchants. That the Gods in the Fable, denoted the different Operations of this Sovereign, and only One Divinity, who is without Beginning, and without End: Whom he calls Obscure, and Dark, because he is Invisible, and Incomprehensible. Farther; the Discourses of the Priests and Merchants, upon the Divine Effence, very much resemble those of Athenagoras, in his Legation. The Apologist was a Priest of Athens; this was an Athenian Philosopher: Both seem Men of Sense, and Learning, and great Penetration into Antiquity.

==59==
But on the other side, we have many Reasons to suspect, not only that this is not ''Athenagoras'' the Christian, but that the Book it self is a mere Forgery. ''Photius'', giving an Exact Acount of the Composers of Romances before his Time, takes no Notice of him at all. Nobody ever saw a Copy of this work in any Library; and that which the Translator made use of, never appear'd since. Besides, he represents the Habitation, Life and Conduct of the Priests and Religious of ''Ammon'', so very like the Convents and Government of our Monks and Friars, that it ill accords with what History informs us,

==60==
of the Time when the Monastic Life began, and when it arrived to Perfection.

Among all this Obscurity what seems most probable to me, is, that 'tis an Ancient Work, but of a later Date than the Apology.

For I observe such a Profound Knowledge, both in Matters of Nature and Art; so great an Intimacy with the Annals of Time past, so many Curious Remarks, not taken from Ancient Authors which are left us, but which relate to, and explain them; so much of the Greek Phrase, which one may discover throughout the Translation; and over all, a certain Character of Antiquity, which cannot be

==61==
counterfeited; that I cant't be persuaded that it is any Production of ''Fumee's'', whose Learning was but indifferent; or that the most Able and Ingenious Person in those Days, could devise any Thing like it. If ''Photius'' hash not mentioned him; how many other Great and Famous Authors have escaped his Cognisance, or his Diligence! If in our Days only one Copy was found, which perhaps is since lost; how many other Exellent Works have undergone the same Destiny! If this fails of giving you Satisfaction, and you'll oblige me to extend my Conjectures, and attempt to find out the Precise Time of its Production; I have nothing left to

==62==
==63==
==64==
==65==
to one Principal Action, follow the Rules of an Heroick Poem ; as ''Athenagoras'' and ''Heliodorus'' have done, tho' not so accurately : But our Old ''French'' have multiplied them without Order, Connexion, or Art. These the ''Italians'' have imitated, borrowing of them their Romances, with their Imperfections. Here we ''Giraldi'' in a worse Error than the former : He endeavours to commend this Vice, and turn it into a Virtue : Whereas, if it be true what himself asserts, that a Romance should resemble a Perfect Body , and consist of many different Parts and Proportions all under one Head ; it follows , that the Principal Action of a Romance should be

==66==
equal Beauty and Eminence, it was as impossible to digest them into one regular body, as it would be to erect a compleat structure with no materials but sand. The applause which the faulty romances of his nation have received, does yet justify him the less: We are not to judge of a performance by the number, but sufficiency of the approbators. Every one assumes to himself the license to judge of, and censure poesie and romance: The sumptuous palaces and common streets are made tribunals, where the merit sof the greatest works receive a supreme decision. There every one shoots his bolt, and boldly prefumes to fet an estimate of

==67==

==68==
==69==
==70==
I return to the romance of ''Athenagoras''; where the discovery of the plot, tho' without machine, is less happy than the rest; it goes not off smartly enough; it presents itself, before the passion and impatience of the reader are sufficiently warmed, and is made with too much repetition. But his greatest fault is his extrevagant ostentation, with which he displays his skill in architecture.
What he writes might be admirable elsewhere, but is vicious and impertinent where he disposes it.
"For a Poet, faith ''Giraldi'' ought not, in describing a Fabric, to shew himself an Architect; for in taking Notice of Particulars be-"

==71==
==72==
==73==
Romances.
Greek Romacers; 'tis to be understood, that like him he composed Histories, Fabulous and Incredible, but not Romantic, nor after the manner of Romances: For he related only the Apparations of Spectres, and Goblins, and Events above Nature, either too lightly to be credited, or invented with little Adress, becoming the Atheism and Impiety of the Author.
Two Years after Damascius, was the History of Barlaam and Josophat, composed by St. John Damascenus. Many Ancient Manusscripts ascripe it to John the Sinaite, who lived in the Time of Theodosius; but without Reason, as Billius makes it appear; because the Disputes against the ...

==74==
==75==
great number of parables, comparisons, and similitudes, which are very liberally dispersed in it.
The Romance of Theodorus Prodomus, and that which some attribute to Eustathius Bishop of Thessalonica, who
flourished in the empire of Manuel Comnenus, about the middle of the Twelfth Age, are much of the same nature.
The first contains the Amours of Dosicles and Rhodanthe; the other, those of Asmenas and Ismene.
Monsieur Gaulmen has made both of them public, with his translation and notes. He says nothing of Eustathius; in the
preface to the book which bears that name: I'll interpret his silence in his favour and be-

==76==
believe, that that Ingenious Man could not fall into the Error of those, who persuade themselves, that the Learned and Famous Commentator upon Homer, was capable of writing such a Miserable Work as this. Besides, some Manuscripts read the Author Eumathius, and not Eustathius. However that be, nothing is more frigid, empty,and impertinent: No Decorum, no Verisimility, no Conduct is preserved. 'Tis the Work of some School-boy, or wretched Pedagogue, who deserved to be a School-boy all the Days of his Life.
Theodorus Prodomus is little better; however, he has something more Art, tho' it be fearce-

==77==
scarcely perceivable. He never extricates himself, but by Machinery. He understands not how to make his Actors preserve the Justness and Uniformity of their Characters. His work is rather a Poem, than a Pomance, for it is writ in Verse; and this makes his Style (which is too Licentious, and full of Figures) the more pardonable: But since his Verse is Iambic, which is extremely like Prose, I can't exclude him from it. Some say he was a Russian by Birth, a Briest, a Poet, a Philosopher, and a Physician.

My Judgment upon the Pastorals of Longus the Sophist, is the fame with that I gave of the Two former Romances. For tho'

==78==
tho' the Learned of Late Times have commended them for their Elegance and Agreement, joined to a Simplicity proper to the Nature of the Subjects; yet I can observe nothing in it, but that Simplicity, which sometimes declines to Childishness and Impertinence. There is nothing in it of Invention, or Conduct. He begins grosly in the Birth of his Shepherds, and ends with their Marriage. He never clears up his Adventures; but by Machines improper, and ill contrived. His Expressions are so obscene, that one must be somewhat of a ''Cynic'', to read them without Blushing. His Style does not deserve the Commendations.

==79==

==80==
it receives. 'Tis the Style of a Sophist, such as he was; like that of Eustathius, and Theodorus Prodromus, which partakes of the Orator and Historian, tho' it be proper for neither of them.

'Tis full of Metaphors, Antitheses, Figures, which dazzle and surprize the Simple, and tickle the Ear, without satisfying the Mind; instead pf Engaging the Reader, by the Novelty of Events, the Arrangement and Variety of Matter, a clear and close Narration, attended by a smotth and regular Cadence, which always advances within the Subject.

He endeavours (as all Sophists do) to entertain his Reader with Accidental Descriptions:

==81==
==82==
==83==
==84==
it to the Rules of the Epopee, and joining those Different Parts into One Compleat Body, which made up the Romances of former Times, without Order or Disposition. Of all the Greek Romancers I have named, they who observed these Rules, are only ''Antonius Diogenes, Lucian, Athenagoras, Jamblichus, Heliodorus, Achilles Tatius, Eustathius'', and ''Theodorus Prodromus''. I don't mention ''Lucius of Patras'', nor ''Damascius'', whom I have not enrolled among the Authors of Romances. ''St. John Damascenus'', and'' Longus'', might easily have reduced their Works under these Laws; but they either were ignorant of them, or despised them I can't affirm any

==85==
==86==
==87==
came a Proverb: But he does not discover wherein the Alteration consisted. ''Suidas'' believed, they were like those of ''Aesop''; but he is mistaken in this, as well as many other Places. The Old Commentator upon ''Aristophanes'' saith, That the ''Sybarites'' made use of ''Beasts'' in their Fables, and ''Aesop'' of ''Men'' in his. This Passage is certainly corrupted: For as it appears that ''Aesop's'' Fables employed ''Beasts'', it follows, that those of the ''Sybarites'' made use of ''Men''. He informs us in express Terms, in another Place, that those of the ''Sybarites'' were pleasant, and provoked Laughter. I find a Piece of one of them in ''Aelian''. `Tis a little Story, which he saith he took

==88==
==89==

==90==
certain old Author, whose Name I believe you don`t much value, gives us to understand, that their Style was concise and Laconic; but all this doth not evince, that they had nothing of the Romance in them.
This Passage of Ovid makes it clear, that in his Time, the Romans had given Admittance to the Fables of the Sybarties: And he informs us in the fame Book, that the Famous Historian Sisenna had translated it from the Milesian Fables of Aristedes. This Sisenna lived in Sylla`s Time, and was(with Him) of the Great and Illustrious Family of the Cornelians. He was Prator of Sciily and Achaia; wrote the History of his Country; and

==91==
==92==
==93==

Form of a Satyr, of the same Kind which Varro invented, intermixing Prose with Verse, the Serious with the Jocose, and stile with Menippean; because Menippus had before treated of Serious Matters in a Pleasant Style. This Satyr of Petronius fails not to be a True Romance: It contains nothing but diverting and ingenious Fictions; tho' they are sometimes too licentious and immodest. He hides under a Disguise a fine and poinant Railery, against the Vices of Noro's Court. That remains of it, are only some incoherent Fragments, or rather Collections of some industrious Person; so that one can't exactly discern the

==94==
==95==
what very Few understand) is yet much easier to be understood,than practised well. Some say,the Poet ''Lucan'' (who also lived in the Reign of ''Nero'') composed ''Saltic'' Fables; wherein(some think) wererecounted the Intrigous of ''Satyrs'' and ''Nymphs''. This agree well with a Romance, and the Wit of that Age, which was very much inclined to the Amusements of that Art. But since there is nothing left us of it but the title, and that does not clearly express the Nature of the Work; it shall say nothing of it.

The ''Metamorphosis'' of ''Apnleins'', so well known by the Name of the Golden Ass, was com-

==96==
==97==
Elegant Episodes; and among others, with that of Psyche, which no one is ignorant of. He has taken no Care to retrench the Smuttiness of the Originals which he followed. His Style is that of a Sophist, full of Affectation and violent Figures; hard, barbarous, and very becoming an African.
Some are of Opinion, that ''Clodius Albinus'', a Pretender to the Empire, who was defeated by ''Severus'', did not disdain this Employment. ''Juslius Capitolinus'' reports in his Life, that there were several ''Milesian'' Fables under his Name in very great Reputation, tho' but indifferently composed: And that ''Severus'' reproached the Senate, that they had

==98==
==99==
is attended by them) espouses Philology (which is the Love od Good Letters) he gives her whatever is Excellent in them, for a Nuptial Present: So that it is a continued Allegory, which properly does not deserve the Name of Romance, but rather that of a Fable. For, as I have already observed, a Fable represents Things which never have, or ever can happen; and a Romance takes notice of Things which may, but never have happen'd. The Artifice of this Allegory is not very subtle; he Style is Barbarism it self; so bold and extravagant in its Figures, that they are unpardonable in the most Desperate Poet. Tis disguised with so great an

==100==
==101==

==102==
==103==
==104==
These Diverting Histories placed Readers, who were more ignorant than those who composed them. They did not, in those Days, trouble themselves with Researches into Antiquity, and after being informed of the Truth of what they wrote. They had the Stuff in their own Head, and went no farther than their own Invention. Thus Historians degenerated into True Romancers.
In this Age of Ignorance, the Latin Tongue, as well as Truth, was neglected and despised. The Versifiers, Composers, Inventers of Tales, Jesters, and in short, all of this Country who studied what they called Gay Science, began about the time of Hugh

==105==
==106==
==107==
==108==
==109==
ple communicate it to the rest of Europe. But to admit this, we must assent, that Taliessin and Melkin, both English, and Hunnibaldus Francus, (which are all of them, believed to have composed their Romances about the Year 550) are most recent, by almost 200 years, than we can imagine. For the Revolt of Count Julian, and Entrance of the Arabians into Spain, happened not till 91 of the Hegira, or 712 of our Saviour; and some Time must be allowed for the Diffusing of these Romances into Spain, and for those which (as is pretended) the Spaniards made in Imitation of them; to be dispersed throughout Europe. I shall not take upon me to main-

==110==
maintain the Antiquity of these Writers, tho' I have great Authority to do it, because the common and received Opinion would support me. 'Tis certain that the ''Arabians'' were extremely addicted, as I have made appear, to the ''Gay Science'', I mean, Poesy, Fable, and Fiction. This Science was preserv'd in its Primitive Rudeness by them, till it was cultivated and improved by the ''Greeks''. They brought it along with their Arms into ''Africa'', when they subdued it; tho' it had before flourished in that Country: For ''Aristotle'', and after him ''Priscian'', make mention of the ''Libyc'' Fables; and the Romances of ''Apuleius'' and ''Martianns Capella'',

==111==
both Africans, (of whom I have spoken) threw, that it was the Wit of these people, which very much conduced to fortify the Victorious Arabians in their Inclination.
We are farther inform'd from Leo Afer abd Marmol, that the African Arabians do still passionately love Romantic Poesy; that they celebrate the Exploits of their Bubala in Verse and Prose, as we do those of our Arthur and Lancelot; that their Moabites compose Ditties of Love: That in Fez, on Mahomet's Birth-Day, the Poets have their Assemblies and Public Sports. and repeat Verse to the People : That whoever of them has the Approbation of the Auditors,

==112==
is created Prince of the Poets for that Year: That the Kings of the House of Benimerinis, who have Reigned these Three Hundred Years, and which our Old Writers called Bellemarine, convene on a certain Day every Year the most Able Judges of the City of Fez, and entertain them with a Splendid Feast: after which the Poets repeat their Eulogiums, in Honour of Mahomet: That the King confers on him who excels the rest, a Sum of Money, an Horse, a Slave, and the Robes which himself wore that Day; and that none of them are dismissed without a Reward.

==113==

''Spain'', when it had received the Yoke of the ''Arabians'', learnt with their Manners the Custom of Singing Love-Verses, and Celebrating the Actions of Great Men, after the Institution of the ''Bards'' among the ''Gauls''. But these Songs, which they called Romances, were very different from what properly deserves that Name: For they were Poems composed for Singing, and consequently very concise. Some have made Collections of them; and many of them appear to be so very Ancient, that they can hardly be understood. They have sometimes served to illustrate and explain the histories of that Country, and to reduce the Events to the Order of Chronology.

==114==
==115==
to be the first Romance of Chivalry which was printed in ''Spain'', and the Model, and Best of all the other.
''Palmerin'' of ''England'', which some believe was composed by a King of ''Portugal'', met with an Easy Sentence, to be put in a Box like that of ''Darius'', wherein ''Alexander'' kept the Works of ''Homer''. Don ''Belianis'', the Mirror of Chilvalry, ''Tirante'' the ''White'', and ''Kyrie'' ''Eleison'' of ''Montauban''; (for in those Good Old Times it was believed, that ''Kyrie Eleison'', and ''Paralipomenon'', were the Names of some Saints) where the Subtleties of Madam ''Pleasure-of-my-Life'', and the Love and Intrigues of the Widow ''Reposada'', are highly

==116==
==117==
among us, to give their Vestments to Poets, which continues to this Day in Use at Fez, confirms this Suspicion: I answer; That it is not impossible that we should receive Rhymes from the Arabians, and in Imitation of them, apply them to Romances. I'll allow farther, that the Inclination we then had for Romances, might be enhanced and sortified by their Example; and that our Art of Romancing (as is probable) was enriched, and improved, by the Communication of Wars we were engaged in with Spain: But all this does not conclude, that we were indebted to them for our Inclination to this Art; since 'twas in

==118==
use with us, before 'twas known among them. This Reason does farther oblige me not to believe, that the Princes of France took the Custom of Divesting themselves of their Garments, in Favour of the Poets, from the Arabian Kings. I rather think, that each of them were affected with the Excellent Works they heard repeated, and could not restrain themselves from dispensing their Liberality immediately, and made use of their Garments, because they were nearest at Hand; as we read of some Saints, who have done the same to the Poor: And that this Custom, which was received into France by Accident,

==119==
and is continued in Fez, may have been introduced into both the Places by Chance.
It is very credible, that the Italians were first induced to compose Romances, by the Examples of those in Provence, when the Popes fat at Avignon, and perhaps by that of other Divisions of the French, when the Normans and Charles Earl of Anjou, /Brother to St. Louis)a Virtuous Prince, a Lover of Poetry, and a Poet himself, made War in Italy. For the Normans could not refrain themselves from the Polite Science. History reports, they sung the Exploits of Roland, before they got that Memorable Battel, which gave the Crown of England to Willi-

==120==
==121==
==122==

with Herbs and Roots; so when the Knowledge of Truth, which is the Proper and Natural Aliment of the Mind, begins to fail, we have Recourse to Falshood, which is the Imitation of Truth. As in Plenty we refuse Bread, and our ordinary Viands, for Ragousts; so our Minds, when acquainted with the Truth, forsake the Study and Speculation of it, to be entertained with its Image, which is Fiction. This Imitation, according to Aristotle, is often more agreeable than the Original itself; so that two oppositely different Paths, which are Ignorance and Learning, Rudeness and Politness, do often conduct uss to the same End; which is, an

==123==
==124==
==125==
have recourse to what's past, and to come, in Truth and in Fiction, in Imaginary Spaces and Impossibilities, For Objects to exert it sels upon. The Objects of sense fill the Desires of the Soul of Brutes, who have no farther Concern; so that we can't discover in them these restless Emotions, which continually actuate the Mind of Man, and carry it into the Pursuit of a recent Information, to proportion (if possible) the Object to the Faculty; and enjoy a Pleasure, resembling that which we perceive in the Applealing a Violent Hunger, and Extinguishing a Corroding Thirst. This is that which ''Plato'' intends, in the Marriage of Dorus

==126==
and ''Penia'', (in which Terms he would express Riches and Poverty,) which produce exquisite Pleasure. The Object is signified by Riches, which are not so but in Use and Intention; otherwise they are Unfruitful, and afford no Delight. The Faculty is intended by Poverty; which is sterile, and always attended by Inquietude; while 'tis separated from Riches, whereas its Union with them, supplies the Highest Satisfaction. The Case is the same with our Souls: Poverty, the same with Ignorance, is Natural to it; it sighs continually after Science, which is its Riches; and when 'tis possess'd of this Enjoyment, it feels the greatest Pleasure. But this

==127==
==128==
==129==
tions there find themselves agreeably provoked and appeased.
'Tis hence, that those who act more by Reason than Passion, and labour more with their Imagination than Understanding, are affected by them, tho' these other are touched by them too, but after another manner. These are touched by the Beauties of Art, which amuse the Understanding; but the former, Ignorant and Simple, are sensible of no more than what strikes upon the Imagination, and stirs their Passion. They love the Fiction, and enquire no farther. Now Fiction being nothing but Narrations, True in Appearance, and False in Reality; the Minds of the Simple, who discern only

==130==
==131==
==132==
==133==
==134==
==135==
==136==
==137==
==138==
Fictions, grossly cast together in the greatest Confusion, and infinitely short of the Excellent Degree of Art and Elegance, to which the French Nation is now arrived in Romances. ‘Tis truly a Subject of Admiration, that we, who have yielded to others the Bays for Epic Poetry, and History, have nevertheless advanced these to so high a Perfection, that the Best of theirs are not Equal to the Meanest of ours.
We owe (I believe) this Advantage to the Refinement and Politeness of our Gallantry; which proceeds, in my Opinion, from the great Liberty which the Men of France allow to the Ladies.

==139==
They are in a manner Recluses in Italy and Spain; and separated from Men by so many Obstacles, that they are scarce to be seen, and not be spoken with at all. Hence the Men have neglected the Art of Engaging the Tender Sex, because the Occasions of it are so rare. All the Study and Business there, is to surmount the Difficulties of Access; when this is effected, they make Use of the Time, without amusing themselves with Forms. But in France, the Ladies go at large upon their Parole; and being under no Custody but that of their own Heart, erect it into a Fort, more strong and secure than all

==140==
==141==
and History so far, that they now no longer understand those Works, from which they received their greatest Embellishments: And lest they should blush at this Ignorance, which they find themselves so often guilty of; they perceive they had better disapprove what they don't know, than take the Pains to learn it.
The Men, in Complaisance, have imitated them, condemned what they disliked, and call that Pendantry, which made an Essential Part of Politeness, even in ''Malherbe's'' Time. The Poets, and other ''French'' Writers who succeeded, have been constrained to submit to this Arbi-

==142==
tration; and many of them,observing that the Knowledge of Antiquity would be one of no Advantage to them, have ceased to study what they durst not practise: Thus a very Good Cause has produced an Ill Effect, and the Beauty of our Romances has drawn upon them the Contempt pf Good Letters, and consequently Ignorance.
I don't, for all this, pretend to condemn the Reading of them. The Best Things in the World are attended worth their Inconveniences; Romances too may have much worse than Ignorance. I know what they are accused for: They exhaust our Devotion, and in-

==143==
spire us with irregular [...] Despair of a Young Man.

==144==
''Cherea'', in ''Terence'', fortifies himself in a Criminal Design, at the Sight of a Picture of ''Jupiter'', which drew the Reverence of all other Spectators. Little Regard was had to Sobriety of Manners, in most Part of the ''Greek'' and Old ''French'' Romances, by Reason of the Vice of the Times in which they were composed. Even the ''Astrea'', and some others which have followed, are Licentious. But the Modern Romances (I speak of the Good ones) are so far from this Fault, that you'll scarce find an Expression, or Word, which may shock Chaste Ears, or one single Action which may give Offence to Modesty.

==143 [sic!]==
If any one Object; [...] are the most unguarded to its Ass-

==144 [sic!]==
saults, that the most Ignorant [...] Able Philosophers.

==145==
Monsieur D'Vrfee was the first who retrieved them from Barbarity, and reduced them to Rules, in his Incomparable Afirea, The most Ingenious and Polite Work which has appeared in this Kind, and which Eclipsed the Glory which Greece, Italy and Spain, had acquired.
However, he has not discouraged those who come after him, to undertake what he has performed. He has not so far engrossed the Public Admiration, but that some are still left for the many Excellent Romances which displayed themselves in France since His.

==146==

None can, without Amazement, read those which a Maid, as illustrious in her modesty, as her Merit, has published under a Borrowed Name; devriving her self so Generously of that Glory which was her Due, and not seeking for a Reward, but in her Virtue; as if while She took so much Trouble for the Honour of our Nation, She would soare that Shame to Our Sex. But Time has done her that Justice, which She denied her self; and has informed us, that the Illustrious Bassa, Grand ''cyrus'', and ''Claelia'', are the Performances of Madam ''De Scudery'': that the Art of making Romances, which might defend it

==147==
itself against Scrupulous Censures, not only by the Commendations which the Patriarch Photius gives it, but by the great Examples of those who have applied themselves to it, might justify itself by Her's: That that which has been improved by Philosophers, as Apuleis, and Athenagoras; by a Roman Prator, as Sisenna; by a Consul, as Petronius; by a Pretender to the Empire, as Clodius Albinus; by a Priest, as Theodorus Prodromus; by Bishops, as Heliodorus, and Achilles Tatius; by a Pope, as Pius Secundus, who wrote the Loves of Euryalus and Lucretia; by a Saint, as John Damascenus; might have the Ho-

==148==
nour

==149==

[[Category:17th century|1670]]
[[Category:1670s|1670]]
[[Category:By author|Huet, Pierre Daniel]]