クエリ: a thing of beauty is a joy forever はいつ書かれたのか
文章: 十一音節詩 イタリア語詩におけるEndecasillaboに相当するものは、英語詩では弱強五歩格、フランス語詩ではアレクサンドランである。 英語詩でのEndecasillaboには、ジョン・キーツの『エンディミオン(Endymion)』がある。冒頭の「A thing of beauty is a joy for ever」でいえば、「ever」が11番目の音節になる。
文章: グループテスト There are many ways to extend the problem of group testing. One of the most important is called noisy group testing, and deals with a big assumption of the original problem: that testing is error-free. A group-testing problem is called noisy when there is some chance that the result of a group test is erroneous (e.g. comes out positive when the test contained no defectives). The Bernoulli noise model assumes this probability is some constant, q {\displaystyle q} , but in general it can depend on the true number of defectives in the test and the number of items tested. For example, the effect of dilution can be modelled by saying a positive result is more likely when there are more defectives (or more defectives as a fraction of the number tested), present in the test. A noisy algorithm will always have a non-zero probability of making an error (that is, mislabeling an item). Group testing can be extended by considering scenarios in which there are more than two possible outcomes of a test. For example, a test may have the outcomes 0 , 1 {\displaystyle 0,1} and 2 + {\displaystyle 2^{+}} , corresponding to there being no defectives, a single defective, or an unknown number of defectives larger than one. More generally, it is possible to consider the outcome-set of a test to be 0 , 1 , ... , k + {\displaystyle {0,1,\ldots ,k^{+}}} for some k ∈ N {\displaystyle k\in \mathbb {N} } . Another extension is to consider geometric restrictions on which sets can be tested. The above lightbulb problem is an example of this kind of restriction: only bulbs that appear consecutively can be tested. Similarly, the items may be arranged in a circle, or in general, a net, where the tests are available paths on the graph. Another kind of geometric restriction would be on the maximum number of items that can be tested in a group, or the group sizes might have to be even and so on. In a similar way, it may be useful to consider the restriction that any given item can only appear in a certain number of tests. 文章: Zachmanフレームワーク The basic idea behind the Zachman Framework is that the same complex thing or item can be described for different purposes in different ways using different types of descriptions (e.g., textual, graphical). The Zachman Framework provides the thirty-six necessary categories for completely describing anything; especially complex things like manufactured goods (e.g., appliances), constructed structures (e.g., buildings), and enterprises (e.g., the organization and all of its goals, people, and technologies). The framework provides six increasingly detailed views or levels of abstraction from six different perspectives. It allows different people to look at the same thing from different perspectives. This creates a holistic view of the environment, an important capability illustrated in the figure. Each row represents a total view of the solution from a particular perspective. An upper row or perspective does not necessarily have a more comprehensive understanding of the whole than a lower perspective. Each row represents a distinct, unique perspective; however, the deliverables from each perspective must provide sufficient detail to define the solution at the level of perspective and must translate to the next lower row explicitly. 文章: グループテスト In the context of group testing, this problem is usually tackled by dividing time into 'epochs' in the following way. A user is called 'active' if they have a message at the start of an epoch. (If a message is generated during an epoch, the user only becomes active at the start of the next one.) An epoch ends when every active user has successfully transmitted their message. The problem is then to find all the active users in a given epoch, and schedule a time for them to transmit (if they have not already done so successfully). Here, a test on a set of users corresponds to those users attempting a transmission. The results of the test are the number of users that attempted to transmit, 0 , 1 , {\displaystyle 0,1,} and 2 + {\displaystyle 2^{+}} , corresponding respectively to no active users, exactly one active user (message successful) or more than one active user (message collision). Therefore, using an adaptive group testing algorithm with outcomes { 0 , 1 , 2 + } {\displaystyle \{0,1,2^{+}\}} , it can be determined which users wish to transmit in the epoch. Then, any user that has not yet made a successful transmission can now be assigned a slot to transmit, without wastefully assigning times to inactive users. Machine learning is a field of computer science that has many software applications such as DNA classification, fraud detection and targeted advertising. One of the main subfields of machine learning is the 'learning by examples' problem, where the task is to approximate some unknown function when given its value at a number of specific points. As outlined in this section, this function learning problem can be tackled with a group-testing approach. In a simple version of the problem, there is some unknown function, f : { 0 , 1 } N → { 0 , 1 } {\displaystyle f:\{0,1\}^{N}\to \{0,1\}} where f ( x ) = a x {\displaystyle f({\textbf {x}})={\textbf {a}}\cdot {\textbf {x}}} , and a ∈ { 0 , 1 } N {\displaystyle {\textbf {a}}\in \{0,1\}^{N}} (using logical arithmetic: addition is logical OR and multiplication is logical AND). Here a {\displaystyle {\textbf {a}}} is ' d {\displaystyle d} sparse', which means that at most d ≪ N {\displaystyle d\ll N} of its entries are 1 {\displaystyle 1} . The aim is to construct an approximation to f {\displaystyle f} using t {\displaystyle t} point evaluations, where t {\displaystyle t} is as small as possible. (Exactly recovering f {\displaystyle f} corresponds to zero-error algorithms, whereas f {\displaystyle f} is approximated by algorithms that have a non-zero probability of error.) 文章: よろこべやたたえよや フランス系スイス人作詞家エドモン・ルイ・ビュドリー(英語版)(Edmond Louis Budry)が、1884年、聖句から讃美歌の歌詞(フランス語)を作り、ドイツのヘンデルのオラトリオ「ユダス・マカベウス」のpart 58 (no. 3) の「見よ勇者は帰る」See the conquering hero comes からの旋律に付けた。 この讃美歌は結婚式や葬式で讃美される。これはオランダ王室では伝統となっていてフランス語の原詩で歌われる。1925年に英語の讃美歌に翻訳された。イースターの歌としてもよく歌われる。ナチス・ドイツの時代は禁じられた。 文章: ジェームズ・サーバー フィクションのほか、サーバーは75作以上の寓話を書いた。その一部はニューヨーカーから1939年に出版され、その後、作品集Fables for Our Time & Famous Poems Illustrated(1940年)とFurther Fables for Our Time(1956年)が出版された。これらは、擬人化された動物を主人公として描いた短編小説であり、最後に格言で締めくくっていた。ただし、彼の最も有名な寓話であるThe Unicorn in the Garden(庭さきの一角獣(英語版))はこの形式の例外である。この寓話は、話すことのできない一角獣を除いて登場人物は全て人間である。サーバーの寓話は風刺的であり、格言は読者へのアドバイスであると同時に落ちとしても機能し、「信頼できるガイドラインがほとんど存在しない不確実で不安定な場所として世界を描くことにより、人生の複雑さ」を示した。 彼の作品には、The White Deer(1945年)、The 13 Clocks(1950年)、The Wonderful O(すばらしいO(英語版)、1957年)などのおとぎ話もある。ニューヨーカー誌やその他の媒体に寄稿されたサーバーの散文には、数多くのユーモラスなエッセイが含まれている。彼の晩年に特に好んで取り上げた題材は英語だった。この題材のエッセイには、会話での'You Know'の乱用を非難する"The Spreading 'You Know'"('You Know'の蔓延)や、"The New Vocabularianism"、"What Do You Mean It Was Brillig?"などがある。物語、エッセイ、あるいはその中間など形式を問わず、彼の短編は、サーバーとニューヨーカー誌のスタッフによって「カジュアル」と呼ばれていた。 サーバーは、ニューヨーカー誌の創始者であるハロルド・ロス(英語版)の伝記的な回想録The Years with Ross(1958年)を執筆した。彼は、聞き取りと研究に基づいてラジオソープオペラ現象を詳しく調べ、1947年から1948年の間に5回に渡ってニューヨーカー誌の記事を執筆した。これは、ポップカルチャー現象を詳細に調査した最初のものの一つだった。 文章: ビューティフル (ミュージカル) 1971年、カーネギー・ホールにて、キャロル・キングは『去り行く恋人(英語版)』を歌う。 1958年、ブルックリンにて16歳のキャロルは母ジーニーに、マンハッタンで音楽プロデューサーのドン・カーシュナーに売り込みに行くと語る。母はこれを否定するが、キャロルは押し切って出掛ける。ブロードウェイ1650番地にあるブリル・ビルディングにて、キャロルは「ブロードウェイ1650番地メドレー」を聴く。その後キャロルは新曲『イット・マイト・アズ・ウェル・レイン・アンティル・セプテンバー』を作曲する。ドンはこの曲を気に入り、キャロルにほかの曲も作曲することを望む。クイーンズ・カレッジにて、キャロルはハンサムな若い作詞家のジェリー・ゴフィンと出会う。コラボレートすることになり、音楽の面でも私生活の面でも固く結び付く。ドンに新曲を披露しに行く際、キャロルはジェリーに妊娠を告げ、ジェリーはキャロルにプロポーズする。これにより、キャロルがドンの前で新曲『"Some Kind of Wonderful" 』を歌った時、より一層深みが出る。この曲はのちにドリフターズが歌うこととなる。 ブリル・ビルディングに2人のオフィスを持つ。ここでキャロルは、コラボレートする作曲家を探している新しい作詞家シンシア・ワイルと出会う("Happy Days Are Here Again")。ジェリーとキャロルが新曲『サヨナラ・ベイビー』を歌っていると、隣室の作曲家バリー・マンが入ってくる。バリーはシンシアと出会ってコラボレートすることになり、作業を開始すると非常に息が合う。ドンはシュレルズが歌うための曲を探す。2組はそれぞれ曲を完成させる。翌朝ドンのオフィスにてキャロルとジェリーは『ウィル・ユー・ラヴ・ミー・トゥモロー』を、シンシアとバリーは『"He's Sure the Boy I Love" 』を披露する。ドンはキャロルとジェリーが作曲した曲を選び、シュレルズが歌ったシングルはチャート第1位を獲得する。壁を隔てた隣人同士が良きライバルとなり、『アップ・オン・ザ・ルーフ』、『"On Broadway" 』、『ロコ・モーション』、『ふられた気持』など数々の名曲が誕生する。 文章: すてきな気持ち (1925年の曲) 「すてきな気持ち」(すてきなきもち)あるいは「ザット・サートゥン・フィーリング」(“That Certain Feeling”)は、ジョージ・ガーシュウィンが作曲し、アイラ・ガーシュウィンが作詞した1925年の楽曲。 1925年のミュージカル『Tip-Toes』では、アレン・カーンズ(英語版)とクイーニー・スミス(英語版)が歌った。後には、ボブ・ホープが主演した1956年の映画『すてきな気持ち (That Certain Feeling)』の題名にも用いられ、作中では冒頭のオープニングクレジットでパール・ベイリー(英語版)が歌い、後段ではリプリーズ(英語版)としてボブ・ホープが歌った。 文章: ニューオーリンズの斧男 They have never caught me and they never will. They have never seen me, for I am invisible, even as the ether that surrounds your earth. I am not a human being, but a spirit and a demon from the hottest hell. I am what you Orleanians and your foolish police call the Axeman. When I see fit, I shall come and claim other victims. I alone know whom they shall be. I shall leave no clue except my bloody axe, besmeared with blood and brains of he whom I have sent below to keep me company. If you wish you may tell the police to be careful not to rile me. Of course, I am a reasonable spirit. I take no offense at the way they have conducted their investigations in the past. In fact, they have been so utterly stupid as to not only amuse me, but His Satanic Majesty, Francis Josef, etc. But tell them to beware. Let them not try to discover what I am, for it were better that they were never born than to incur the wrath of the Axeman. I don't think there is any need of such a warning, for I feel sure the police will always dodge me, as they have in the past. They are wise and know how to keep away from all harm. Undoubtedly, you Orleanians think of me as a most horrible murderer, which I am, but I could be much worse if I wanted to. If I wished, I could pay a visit to your city every night. At will I could slay thousands of your best citizens (and the worst), for I am in close relationship with the Angel of Death. Now, to be exact, at 12:15 (earthly time) on next Tuesday night, I am going to pass over New Orleans. In my infinite mercy, I am going to make a little proposition to you people. Here it is: I am very fond of jazz music, and I swear by all the devils in the nether regions that every person shall be spared in whose home a jazz band is in full swing at the time I have just mentioned. If everyone has a jazz band going, well, then, so much the better for you people. One thing is certain and that is that some of your people who do not jazz it out on that specific Tuesday night (if there be any) will get the axe. Well, as I am cold and crave the warmth of my native Tartarus, and it is about time I leave your earthly home, I will cease my discourse. Hoping that thou wilt publish this, that it may go well with thee, I have been, am and will be the worst spirit that ever existed either in fact or realm of fancy. --The Axeman 文章: ウェストミンスター小教理問答 ウェストミンスター小教理問答、(ウェストミンスターしょうきょうりもんどう、英語: The Westminster Shorter Catechism)は、1640年代にイングランドとスコットランドの神学者によって書かれた小教理問答である。ウェストミンスター会議は、この教理問答と、ウェストミンスター信仰告白、ウェストミンスター大教理問答(英語版)を作成した。これらの3文書は、プロテスタントの偉大な教理の宣言であるとみなされている。1647年に完成し、1648年4月14日に長期議会に提出された。 下記の問いはこの教理問答の最初の問いであり、最も有名である。 Q. What is the chief end of man? A. Man's chief end is to glorify God, and to enjoy him forever. 文章: 国際・開発研究大学院 IHEID is constituted as a Swiss private law foundation, Fondation pour les hautes tudes internationales et du dveloppement, sharing a convention with the University of Geneva. This is a particular organizational form, because IHEID is constituted as a foundation of private law fulfilling a public purpose. In addition, the political responsibility for the Institute shared between the Swiss Confederation and the Canton of Geneva. Usually in Switzerland, it is the responsibility of the Cantons to run public universities, except for the Federal Institutes of Technology (ETHZ and EPFL). IHEID is therefore something like a hybrid institution, in-between the two standard categories. The Foundation Board is the administrative body of the Institute. It assembles academics, politicians, people of public live and practitioners. Jacques Forster (Vice President of the ICRC) is President of the Board. The vice-president is Isabelle Werenfels (senior researcher at the German Institute for International and Security Affairs). The Board includes among others: Carlos Lopes, currently UN Under Secretary General and Executive Secretary of the Economic Commission for Africa, Julia Marton-Lefvre (Director of the International Union for Conservation of Nature), Jolle Kuntz (journalist), and Yves Mny (president emeritus of the European University Institute in Florence). The Institute is headed by Philippe Burrin and his deputy Elisabeth Prgl. 文章: リー環の拡大 By comparison with CA10, this is a current algebra in two spacetime dimensions, including a Schwinger term, with the space dimension curled up into a circle. In the classical setting of quantum field theory, this is perhaps of little use, but with the advent of string theory where fields live on world sheets of strings, and spatial dimensions are curled up, there may be relevant applications. 前の節で 2-コサイクル φ の構成において用いられた導分 d0 は中心拡大された多項式ループ代数,カッツ・ムーディ代数を実現するためここでは g と書く,上の導分 D に拡張できる(背景).単純に とおく,次に,ベクトル空間として 文章: 大鴉 『大鴉』は、アメリカ合衆国の作家エドガー・アラン・ポーが1845年1月29日に発表した物語詩。その音楽性、様式化された言葉、超自然的な雰囲気で名高い。心乱れる主人公(語り手)の元に、人間の言葉を喋る大鴉が謎めいた訪問をし、主人公はひたひたと狂気に陥っていくという筋である。学生であろうと指摘されることの多い主人公は、恋人レノーアを失って嘆き悲しんでいる。大鴉はパラス(アテーナー)の胸像の上に止まり、「Nevermore(二度とない)」という言葉を繰り返し、主人公の悲嘆をさらに募らせる。詩の中の至るところに、ポーは伝承や様々な古典の隠喩を行っている。 ポーは『大鴉』は極めて論理的かつ整然と書かれたものだと述べている。翌1846年に発表したエッセイ『構成の原理』の中で、ポーは、批評家、一般読者両方の嗜好に訴えることのできる詩を作ることを意図したと解説した。この詩はチャールズ・ディケンズの小説『バーナビー・ラッジ』に出てくる人間の言葉を喋る大鴉に一部着想を与えられたのではないかと言われている。その複雑な韻律は、エリザベス・バレット・ブラウニングの詩『Lady Geraldine's Courtship』から借用したものである。 「イブニング・ミラー」紙に掲載された『大鴉』のため、ポーはまたたくまに有名になった。『大鴉』はすぐに各紙に再掲載され、挿絵もつき、パロディも生まれた。その価値については異議を唱える批評家もいるものの、これまで書かれた有名な詩の1つであることに変わりはない。 文章: 第3軍に対するパットンの演説 Be seated. Men, all this stuff you hear about America not wanting to fight, wanting to stay out of the war, is a lot of bullshit. Americans love to fight. All real Americans love the sting and clash of battle. When you were kids, you all admired the champion marble shooter, the fastest runner, the big-league ball players and the toughest boxers. Americans love a winner and will not tolerate a loser. Americans play to win all the time. That's why Americans have never lost and will never lose a war. The very thought of losing is hateful to Americans. Battle is the most significant competitions in which a man can indulge. It brings out all that is best and it removes all that is base. You are not all going to die. Only two percent of you right here today would be killed in a major battle. Every man is scared in his first action. If he says he's not, he's a goddamn liar. But the real hero is the man who fights even though he's scared. Some men will get over their fright in a minute under fire, some take an hour, and for some it takes days. But the real man never lets his fear of death overpower his honor, his sense of duty to his country, and his innate manhood. All through your army career you men have bitched about what you call 'this chicken-shit drilling.' That is all for a purposeto ensure instant obedience to orders and to create constant alertness. This must be bred into every soldier. I don't give a fuck for a man who is not always on his toes. But the drilling has made veterans of all you men. You are ready! A man has to be alert all the time if he expects to keep on breathing. If not, some German son-of-a-bitch will sneak up behind him and beat him to death with a sock full of shit. There are four hundred neatly marked graves in Sicily, all because one man went to sleep on the jobbut they are German graves, because we caught the bastard asleep before his officer did. An army is a team. It lives, eats, sleeps, and fights as a team. This individual hero stuff is bullshit. The bilious bastards who write that stuff for the Saturday Evening Post don't know any more about real battle than they do about fucking. And we have the best teamwe have the finest food and equipment, the best spirit and the best men in the world. Why, by God, I actually pity these poor bastards we're going up against. All the real heroes are not storybook combat fighters. Every single man in the army plays a vital role. So don't ever let up. Don't ever think that your job is unimportant. What if every truck driver decided that he didn't like the whine of the shells and turned yellow and jumped headlong into a ditch? That cowardly bastard could say to himself, 'Hell, they won't miss me, just one man in thousands.' What if every man said that? Where in the hell would we be then? No, thank God, Americans don't say that. Every man does his job. Every man is important. The ordnance men are needed to supply the guns, the quartermaster is needed to bring up the food and clothes for us because where we are going there isn't a hell of a lot to steal. Every last damn man in the mess hall, even the one who boils the water to keep us from getting the GI shits, has a job to do. Each man must think not only of himself, but think of his buddy fighting alongside him. We don't want yellow cowards in the army. They should be killed off like flies. If not, they will go back home after the war, goddamn cowards, and breed more cowards. The brave men will breed more brave men. Kill off the goddamn cowards and we'll have a nation of brave men. One of the bravest men I saw in the African campaign was on a telegraph pole in the midst of furious fire while we were moving toward Tunis. I stopped and asked him what the hell he was doing up there. He answered, 'Fixing the wire, sir.' 'Isn't it a little unhealthy up there right now?' I asked. 'Yes sir, but this goddamn wire has got to be fixed.' I asked, 'Don't those planes strafing the road bother you?' And he answered, 'No sir, but you sure as hell do.' Now, there was a real soldier. A real man. A man who devoted all he had to his duty, no matter how great the odds, no matter how seemingly insignificant his duty appeared at the time. And you should have seen the trucks on the road to Gabs. Those drivers were magnificent. All day and all night they crawled along those son-of-a-bitch roads, never stopping, never deviating from their course with shells bursting all around them. Many of the men drove over 40 consecutive hours. We got through on good old American guts. These were not combat men. But they were soldiers with a job to do. They were part of a team. Without them the fight would have been lost. Sure, we all want to go home. We want to get this war over with. But you can't win a war lying down. The quickest way to get it over with is to get the bastards who started it. We want to get the hell over there and clean the goddamn thing up, and then get at those purple-pissing Japs. The quicker they are whipped, the quicker we go home. The shortest way home is through Berlin and Tokyo. So keep moving. And when we get to Berlin, I am personally going to shoot that paper-hanging son-of-a-bitch Hitler. When a man is lying in a shell hole, if he just stays there all day, a Boche will get him eventually. The hell with that. My men don't dig foxholes. Foxholes only slow up an offensive. Keep moving. We'll win this war, but we'll win it only by fighting and showing the Germans that we've got more guts than they have or ever will have. We're not just going to shoot the bastards, we're going to rip out their living goddamned guts and use them to grease the treads of our tanks. We're going to murder those lousy Hun cocksuckers by the bushel-fucking-basket. Some of you men are wondering whether or not you'll chicken out under fire. Don't worry about it. I can assure you that you'll all do your duty. War is a bloody business, a killing business. The Nazis are the enemy. Wade into them, spill their blood or they will spill yours. Shoot them in the guts. Rip open their belly. When shells are hitting all around you and you wipe the dirt from your face and you realize that it's not dirt, it's the blood and gut of what was once your best friend, you'll know what to do. I don't want any messages saying 'I'm holding my position.' We're not holding a goddamned thing. We're advancing constantly and we're not interested in holding anything except the enemy's balls. We're going to hold him by his balls and we're going to kick him in the ass; twist his balls and kick the living shit out of him all the time. Our plan of operation is to advance and keep on advancing. We're going to go through the enemy like shit through a tinhorn. There will be some complaints that we're pushing our people too hard. I don't give a damn about such complaints. I believe that an ounce of sweat will save a gallon of blood. The harder we push, the more Germans we kill. The more Germans we kill, the fewer of our men will be killed. Pushing harder means fewer casualties. I want you all to remember that. My men don't surrender. I don't want to hear of any soldier under my command being captured unless he is hit. Even if you are hit, you can still fight. That's not just bullshit either. I want men like the lieutenant in Libya who, with a Luger against his chest, swept aside the gun with his hand, jerked his helmet off with the other and busted the hell out of the Boche with the helmet. Then he picked up the gun and he killed another German. All this time the man had a bullet through his lung. That's a man for you! Don't forget, you don't know I'm here at all. No word of that fact is to be mentioned in any letters. The world is not supposed to know what the hell they did with me. I'm not supposed to be commanding this army. I'm not even supposed to be in England. Let the first bastards to find out be the goddamned Germans. Some day, I want them to rise up on their piss-soaked hind legs and howl 'Ach! It's the goddamned Third Army and that son-of-a-bitch Patton again!' Then there's one thing you men will be able to say when this war is over and you get back home. Thirty years from now when you're sitting by your fireside with your grandson on your knee and he asks, 'What did you do in the great World War Two?' You won't have to cough and say, 'Well, your granddaddy shoveled shit in Louisiana.' No sir, you can look him straight in the eye and say 'Son, your granddaddy rode with the great Third Army and a son-of-a-goddamned-bitch named George Patton! All right, you sons of bitches. You know how I feel. I'll be proud to lead you wonderful guys in battle any time, anywhere. That's all. 文章: サミュエル・テイラー・コールリッジ 1797年に書かれた『クーブラ・カーン』の前書きでは、滞在していたエクスムーア高原近くの農家で、サミュエル・パーチャスの旅行記を読みかけたまま眠り込んだ、麻薬の吸引によって生じた陶酔状態のなかで見た幻覚を目覚めてから急いで文章にしたものであるが、途中で用事で席を立った後続きを書こうとして、内容をもはや思い出せなかったとある。しかし精密に分析すると幻覚的イメージの単なるメモではなく、首尾一貫した構成と構想を備えており、最終行に至って詩は完成しているので、敢えて虚言を弄しているか、自身も詩作の過程について、錯覚を抱いたのかも知れない。ここで描かれるクビライ・ハンが造営した都、上都のことである「ザナドゥ」Xanaduは、その後幻想的な楽園の代名詞として広く使われるようになった。またこの詩が発表された1816年の20年後にパリで公刊されたラシード・ウッディーンの『世界総合史』には、クビライは夢に見た設計に従って造営を行なったとの記述があり、これをホルヘ・ルイス・ボルヘスは、クビライとコールリッジに同じ夢を見させたのは、アルフレッド・ノース・ホワイトヘッドの言う「永遠的客体」の現れかもしれないと示唆した。 『クリスタベル姫』は、1798年に第一部、1800年に第二部が執筆されたが、1816年に出版された。この詩は各行で音節数ではなく、強勢の音節4つを含むという新しい韻律を用い、「老水夫行」と同様に「思想を映像化する心眼、すなわち非凡の想像力」が特徴とされ。刊行される前にこの原稿を見たスコットの『最後の吟遊詩人の歌』や、バイロンがこの技法を取り入れた詩を発表した。1816年にバイロン、シェリーらがスイスのディオダティ荘に集まり、ある夜怪談話をしていた時に、バイロンが『クリスタベル姫』を朗読し始めるとシェリーが急に幻影を見て錯乱状態になり、その後に各人が怪談を書こうという相談になってジョン・ポリドリが『吸血鬼』、メアリ・ゴドウィン(後のシェリー夫人)が『フランケンシュタイン』を書いたとポリドリが記している。 ドイツ留学中に幼い次男が死去し、長期に不在であったコールリッジと妻との関係は悪化した。帰国後の1798年にワーズワースの招きでノース・ヨークシャー州のハッチンソン家に逗留し、その家の次女セアラ(妻セアラと同名。後にワーズワースの妻となるメアリーの妹)に親しくなり、その心情を謳った恋愛詩は、綴りを変えた「アスラ詩編」として「恋」(1799年)、「恋の形見」(1802年)などが残されている。 文章: ワルチング・マチルダ 1895年にウィントンのキャトルステーション「Dagworth Station」に滞在していたジャーナリストのバンジョー・パターソンが、婚約者(サラ・ライリー)の友人クリスティーナ・マクファーソンがツィターで奏でた行進曲風の「Thou Bonnie Wood Of Craigielea」というスコットランド音楽のメロディに歌詞を施したものである。 パターソンによる原詩は同ステーションで起きた労働闘争に関するいくつかの事件に基づき、政治的なメッセージが含まれているとされる。また、サビの歌詞はクリスティーナへの想いが込められているという研究がある。この曲の発表後、パターソンはクリスティーナとの浮気発覚により婚約を解消され、現地を去った。サラはショックで生涯独身を貫いた。その経緯からパターソンは曲や当時の出来事を語ることはなかった。この逸話は1971年にクリスティーナの手書き原稿が発見されたことで明らかになった。 完成後の初披露は1895年4月6日ノースグレゴリーホテルが定説であり、ワルチング・マチルダ・センター(記念博物館)の提案で2012年から4月6日が記念日に制定されたが、その後の研究で異論(8月説)も噴出している。