User:Heilprin/sandbox

Creating User:Heilprin/sandbox

Louis Heilprin: not Hungarian American - Polish-Jewish American; left Hungary before 1856? Angelo b. Paris 1853? - see Nature 12 Dec 1912 p. 408 rev MH & His Sons: MH =Polish Jew -> Hungary -> U.S.

// 10/21/23 rec'd yet another change notification for "Louis Heilprin" (Johnpacklambert): one approach would be to delete "Hungarian American" and explain: b. Hungary to a family in transit (arrived not long before, I think, and left within a few years - the article says 1856, but it was probably earlier if Angelo Heilprin was b. 1853 in Paris; text could be along these lines: ...to a family from X - but "Michael Heilprin" says Phineas Mendel Heilprin "left Poland for Hungary in 1842"; MH b. 1823 in "Piotrków, Russian Poland"; also calls MH "Polish-American"; in any case, would a few years in Hungary as the child of Polish parents make LH Hungarian? here "razve" would help ///

// just noticed "Michael Heilprin" calls him Hungarian and even gives a Hungarian version of his name??

Sonnet 29: alternating rhyme in the quatrains / mention in lead?

Why not quote the last line of Housman's parody in "Frances Cornford" - is this a copyright issue? Also check the source (Burnett, Letters, p. 249). Note also a possible problem with headings and sections: the title of FC's poem is given in the text without punctuation before the discussion (cf. the article template message).

Paul Laurence Dunbar: three articles on his poems

Afro-American Symphony (William Grant Still): Dunbar quotations

Check Shrayer reference and if correct add "poet" after "Jewish" in "Semyon Nadson" final sentence (see n. 2)

Vladimir Solovyov: Life and Work para 3, penultimate sentence - "as"?

ASL 13: see instructions on article titles for non-titled works: sentence case, not title case (in WikiProject Poetry under Article naming etc.

practice creating a link to a Wikipedia page:

Midnight poem

practice adding citations

Efrati on ASL XIII: 166-67, 188, 198, 293 - last reference comments on this poem as not necessarily Housman's most personal on love; distinguishes poems with and without a persona

The article on Housman's More Poems may contain some original research, e.g. in the Classical influences section: looked at Richard Stokes, ed., The Penguin Book of English Song: Seven Centuries of Poetry from Chaucer to Auden (2016), cited in n. 14: (1) the page number - given as p. li - seems erroneous: there is no such page in the volume; info re. Housman on classical influences is found in H's own response to a questionnaire from Maurice Pollet, though H seems to be referring to his vss in general, whereas the claim in the article is re. ASL - another problem (see Stokes, p. 642); so the source is H himself, not Stokes; this is a primary, not a secondary, source, even if it is located in Stokes's introduction to the Housman section of the collection ; haven't yet checked the other refs in this section, but it's possible they are of the same type; the final sentence zhe in this section lacks a citation.

"On the Consolation of Philosophy": A few paragraphs towards the end of the Influence section should be moved to other sections - in particular, one paragraph about the form of the work (prosimetrum): ph add a section on form.

"Rudolf Carnap" needs references (also note the unusual distribution of footnotes, which begin in the info box).

"John Dryden" needs extensive revisions: (1) add sourcing; (2) fix prolix prose (!), as here - the subject of a strange editing exchange at 12-13 August 2023:

The greater part of his critical works introduce problems which he is eager to discuss, and show the work of a writer of independent mind who feels strongly about his own ideas, ideas which demonstrate the breadth of his reading. He felt strongly about the relation of the poet to tradition and the creative process, and his best heroic play Aureng-zebe (1675) has a prologue which denounces the use of rhyme in serious drama.

"Svetlana (ballad)" has a note dubious - discuss related to the comment about rhymes ("for men, for women"!); Beland in History (May 13, 2023) correctly questions whether this is a reference to m/f rhymes: yes, and it is a mistranslation from the Russian article on this poem https://ru.wikipedia.org/wiki/%D0%A1%D0%B2%D0%B5%D1%82%D0%BB%D0%B0%D0%BD%D0%B0_(%D0%B1%D0%B0%D0%BB%D0%BB%D0%B0%D0%B4%D0%B0). It should be corrected, but so should be the comments about the rhyme scheme, which misrepresent the mf alternation; I'm also not convinced that the form "closely resembles a sonnet," despite the 14 lines: the meter is a combination of Tr4 and Tr3, and the couplet comes before the third quatrain. I haven't looked further, so it's possible other changes are needed.