DOCSLIB.ORG

This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Bull, Steve J Title: The Use and Development of the Faerie Sign in Romance from the Middle Ages to the Early Modern Period General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. The Use and Development of the Faerie Sign in Romance from the Middle Ages to the Early Modern Period Stephen Bull A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts. School of Humanities May 2020 71,025 words 0 Abstract Within medieval and early modern romance, faeries frequently take on the appearance and customs of medieval courtly society, but they are also something distinctly other, existing on the fringes of the known world and unbeholden to either human or divine law. Faeries were ambiguous creatures whose appearance and function often defied categorisation. The absence of social or moral restrictions made them dangerous (although potentially rewarding) characters to be around, and so their incorporation into romance served to cultivate a sense of uncertainty amongst its audiences. However, there is also an extent to which faeries in romance conform to certain patterns, both in terms of the conventions that are used to identify them, and their purpose in relation to the shared construction of meaning within a text. The repeated themes and motifs that are used throughout romance to identify faerie characters and otherworldly settings are referred to throughout this thesis using the collective term the faerie sign. By identifying faeries in this way, the aim of this thesis is to focus on a broader range of examples than has been covered in previous studies on faeries in romance. By exploring different iterations of the faerie sign across selected medieval and early modern texts, my aim is to analyse how different authors engage intertextually with its conventions to propagate different meanings and agendas. Through the use of recognisable themes and motifs, the authors of these texts invited audiences to question the nature of the ambiguous otherworldly characters that populate romance (and other genres) and to examine their role in either upholding or challenging the personal, political, and religious values that these stories explored. The broad range of texts that are presented in this thesis will demonstrate how these faerie conventions took shape, and how they have been adapted and subverted from the Middle Ages to the early modern period. 1 Acknowledgements This thesis was made possible through the help and support of many people. I would like to thank the University of Bristol for their contribution to the funding of this thesis. I would like to thank my supervisors, Dr Cathy Hume and Dr Laurence Publicover, for their excellent guidance through each stage of the process. I would also like to thank Dr Tamsin Badcoe and Professor Helen Fulton for their contributions and advice. The sections in chapter five of this thesis on the anonymous Tragical History, Admirable Achievements and Various Events of Guy Earl of Warwick and Ben Jonson’s The Alchemist have appeared, in a slightly altered form, as an article in The Ben Jonson Journal, and I would like to thank the anonymous readers for their comments, and Professor Matthew Steggle for his advice prior to submission. I would like to thank my colleagues and fellow researchers, who have helped me to shape and articulate my ideas. And I would like to acknowledge Dr Corey Olson, whom I have never met, but whose recordings of the ‘Faerie and Fantasy’ course held at Washington College in 2011 gave me the inspiration to pursue this topic. Finally, I would like to thank my parents, Martin and Carole, my sister Helen, and my partner Amanda; I could not have done this without their encouragement and support. 2 I declare that the work in this dissertation was carried out in accordance with the requirements of the University's Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate's own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. SIGNED: Stephen Bull DATE: 24 May 2020 3 Contents Introduction: The Faerie Sign..…………………………………………………………………………………. 5 Chapter One: The Faerie Sign Before Romance……………………………………………………….. 27 - Approaches to faerie……………………………………………………………………………… 33 - The Land of Women in Immram Brain……………………………….…………………… 41 - Pwyll Pendefig Dyfed: Arawn and Rhiannon...………………………………………… 51 Chapter Two: Chrétien, Chivalry, and the Supernatural…………………………………………… 64 - The chivalric ideal…………………………………………………………………………………… 70 - Chrétien and chivalry……………………………………………………………………………… 78 - Erec and the Joie de la Cour……………………………………………………………………. 82 - Lancelot and the Pont de l’Espee……………………………………………………………. 89 - Yvain and the castle of Pesme Aventure…………………………………………………. 96 - Perceval and the Roi Pescheor………………………………………………………………… 101 Chapter Three: Fairies and Orthodoxy in Middle English Romance………………………….. 111 - Faeries and the church…………………………………………………………………………… 113 - Sir Gowther and the sanitisation of the faerie sign…………………………………. 125 - The faerie sign in Sir Gawain and the Green Knight………………………………… 130 - The theology of Sir Gawain and the Green Knight………………………………….. 138 - The faerie landscapes of Pearl……………………………………………………………….. 144 Chapter Four: Spenser and the Diversification of Faeries………………………………………… 154 - Critical approaches to Spenser’s faerie land…………………………………………… 158 - Faeries in early modern culture……………………………………………………………… 166 - Negative connotations of the faerie sign………………………………………………… 176 - The reader as questing knight………………………………………………………………… 187 Chapter Five: Faeries and the Early Modern Stage…………………………………………………… 196 - The new faeries of drama………………………………………………………………………. 200 - Romance on the early modern stage……………………………………………………… 211 - Doll, the faerie queen…………………………………………………………………………….. 217 - The new chivalry and Shakespeare’s Merry Wives........………………………….. 227 Conclusion: After the Faerie Sign…………………………………………………………………………….. 243 Editions……………………………………………………………………………………………………………………. 259 Bibliography…………………………………………………………………………………………………………….. 265 4 Introduction: The Faerie Sign The Feywild, also called the Plane of Faerie, is a land of soft lights and wonder, a place of music and death. It is a realm of everlasting twilight, with glittering faerie lights bobbing in the gentle breeze and fat fireflies buzzing through groves and fields. The sky is alight with the faded colors of an ever-setting sun, which never truly sets […]. The Feywild exists in parallel to the Material Plane, an alternate dimension that occupies the same cosmological space. The landscape of the Feywild mirrors the natural world but turns its features into spectacular forms […]. The Feywild is inhabited by sylvan creatures, such as elves, dryads, satyrs, pixies, and sprites, as well as centaurs and magical creatures such as blink dogs, faerie dragons, treants, and unicorns. The darker regions of the plane are home to such malevolent creatures as hags, blights, goblins, ogres, and giants. (The Dungeon Master’s Guide, 2014) 1 As peculiar as it may seem to begin a thesis about faeries in medieval and early modern romance with an example of ‘faerie’ taken from the 2014 edition of the Dungeon Master’s 1 Scot Fitzgerald Gray et al. (eds), Dungeon Master’s Guide (Renton: Wizards of the Coast, 2014), p. 49. 5 Guide (a rulebook intended for players of the fantasy roleplaying game Dungeons & Dragons), the above example helps to identify exactly what this thesis means by the term ‘faerie’ and how it is situated within the context of romance. I have chosen to use ‘faerie’ rather than ‘fairy’ throughout this thesis when referring to the faeries found in medieval and early modern sources. My decision to adopt this Spenserian medievalism is part of an attempt to distinguish the faeries of these earlier periods from the whimsical, pixie-like fairies that often dominate twentieth and twenty-first century culture. Primarily, my aim is to draw attention to the unique function that faeries played in the romance
Load more

Recommended publications
  • Seeing Is Believing
    0 6 M AY 1 9 9 8 Seeing is Believing How photography killed Victorian Fairy Painting When William Blake reported a fairy funeral in his back garden, it's doubtful anyone demanded proof of what he had seen. That, of course, was before the camera entered the picture. Photography attempted to make up for the supposed inability of previous generations to record visually what was 'really' there, by providing apparently objective evidence for manifestations that could otherwise only be supported on a subjective basis. Confusing art with a kind of faux-scientic journalism, one casualty of this somewhat misguided will-to-truth was the representation of fairies. Developments in photography demanded that fairies - symbolic remnants of a displaced people, fallen angels, heathen dead or the unconscious made esh - relocate from their niche in the imagination of folklorists, dramatists and artists, to science's inhospitable laboratory. It was a move that, as it inadvertently sanitised, de-sexualised and trivialised fairy mythology, revealed elements of truth and ction, and showed the boundaries between genres and media to be as layered and co-dependant as the pieces of a Russian Doll. 'I see only phantoms that strike my eye, but disappear as soon as I try to grasp them' wrote Jean Jacques Rousseau in 1769. 1 The diculty of grasping phantoms and the myriad motivations for wanting to do so have, over the centuries, been manifold. During no period in history, however, was the attempt made more vigorously than in Victorian Britain, where phantoms assumed wings and found their way into painting.
    [Show full text]
  • Archived Press Release the Frick Collection
    ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 Victorian Fairy Painting OPENING AT THE FRICK COLLECTION, BRINGS NEW YORK AUDIENCES AN UNEXPECTED OPPORTUNITY TO EXPERIENCE THIS CRITICALLY ACCLAIMED EXHIBITION October 14, 1998 through January 17, 1999 Attracting record crowds in British and American venues, the exhibition Victorian Fairy Painting comes to The Frick Collection, extending its tour and offering New York audiences an unexpected opportunity to view this unique presentation. Victorian Fairy Painting, on view October 14, 1998 through January 17, 1999, represents the first comprehensive exhibition ever devoted to this distinctly British genre, which was critically and commercially popular from the early nineteenth century through the beginning of World War I. The paintings, works on paper, and objects, approximately thirty four in number, have been selected by Edgar Munhall, Curator of The Frick Collection, from the original, larger touring exhibition, which was organized by the University of Iowa Museum of Art and the Royal Academy of Arts, London. Fairy painting brought together many opposing elements in the collective psyche and artistic sensibility of its time: rich subject-matter, an escape from the grim elements of an industrial society, an indulgence of new attitudes towards sex, a passion for the unknown, and a denial of the exactitude of photography. Drawing on literary inspiration from Shakespeare’s A Midsummer Night’s Dream to Sir Walter Scott’s Minstrelsy of the Scottish Border, as well as the theater, the dance, and music, fairy painters exercised their magic with the precision of the Pre-Raphaelites, aided too by experiments with drugs and spiritualism.
    [Show full text]
  • Anatomy of Melancholy by Democritus Junior
    THE ANATOMY OF MELANCHOLY WHAT IT IS WITH ALL THE KINDS, CAUSES, SYMPTOMS, PROGNOSTICS, AND SEVERAL CURES OF IT IN THREE PARTITIONS; WITH THEIR SEVERAL SECTIONS, MEMBERS, AND SUBSECTIONS, PHILOSOPHICALLY, MEDICINALLY, HISTORICALLY OPENED AND CUT UP BY DEMOCRITUS JUNIOR [ROBERT BURTON] WITH A SATIRICAL PREFACE, CONDUCING TO THE FOLLOWING DISCOURSE PART 2 – The Cure of Melancholy Published by the Ex-classics Project, 2009 http://www.exclassics.com Public Domain CONTENTS THE SYNOPSIS OF THE SECOND PARTITION............................................................... 4 THE SECOND PARTITION. THE CURE OF MELANCHOLY. .............................................. 13 THE FIRST SECTION, MEMBER, SUBSECTION. Unlawful Cures rejected.......................... 13 MEMB. II. Lawful Cures, first from God. .................................................................................... 16 MEMB. III. Whether it be lawful to seek to Saints for Aid in this Disease. ................................ 18 MEMB. IV. SUBSECT. I.--Physician, Patient, Physic. ............................................................... 21 SUBSECT. II.--Concerning the Patient........................................................................................ 23 SUBSECT. III.--Concerning Physic............................................................................................. 26 SECT. II. MEMB. I....................................................................................................................... 27 SUBSECT. I.--Diet rectified in substance...................................................................................
    [Show full text]
  • The Character I Am Going to Analyse Is Oberon, the King of the Fairies and the Elves from the Play by Shakespeare: Midsummer Night‘S Dream Written Around 1590
    The character I am going to analyse is Oberon, the King of the Fairies and the Elves from the play by Shakespeare: Midsummer night‘s dream written around 1590. The word Fairy comes from the Latin Fata derived from Fatum that means —destiny“. W hen we talk about an Elve or a Fairy we must imagine a very beautiful living being, they live in the forest, they know about music and arts in general and they are related with spring, light and white magic. They always play with love and because that lovers are connected with them and with the smell of the flowers. W e can see all this on the play by Shakespeare, when Oberon uses Cupid‘s flower to make the lovers to fall in love, we can also read some Fairies‘ songs: act three, scene one. But I am going to centre the idea only on Oberon, I want to demonstrate that this magic world is also corrupted by ambition and envy, and this can have repercussions on the real world and to make problems to humans, I mean, Oberon has envy of Titania, because she has a child with supernatural power and he wants it, this feeling provokes his ambition and because that he plays with Cupid‘s flower, to get his proposal of having that his wife but not him. The first time we see Oberon is on act two scene one, he appears in the forest and goes to talk with his friend and servant Puck, at the same time his wife Titania appears by the other side.
    [Show full text]
  • Fairy Queen Resource Pack
    1 The Fairy Queen Resource Pack 2 Contents Page 3-4 Plot Summary 5 Characters: The Faeries 6 Characters: The Lovers 7 Characters: The Mechanicals 8-9 Henry Purcell & The Fairy Queen 10 Creative Writing Exercise: Mischievous Puck 11 Drama Exercise: You Spotted Snakes 12-13 Design and make a Fairy Crown 14 Magical Muddle character game 15 A Midsummer Night’s Dream Word Search 3 “A Midsummer Night’s Dream” by William Shakespeare Plot Summary Duke Theseus and Queen Hippolyta are preparing for their wedding. Egeus, a nobleman, brings his daughter Hermia to Theseus, as he wants her to marry Demetrius but she is in love with another man, Lysander. The Duke, Theseus, commands Hermia to obey her father and either marry Demetrius or, according to Athenian Law, she must be put to death or enter a convent. Hermia and Lysander decide to runaway together that night to get married in secret. Hermia tells her best friend Helena of her plans. Helena is in love with Demetrius (even though he hates her and loves Hermia), so she tells him about Hermia and Lysander’s plans, hoping that she might win his love. All the four lovers run away into the woods that night - Demetrius following Hermia & Lysander and Helena following after Demetrius. Meanwhile, there are a group of tradespeople called the Mechanicals who are rehearsing a play in the same woods. They include Bottom the weaver, Quince the taylor and Flute the bellows mender, among others. The play they are rehearsing is ‘The Tragedy of Pyramus and Thisbe’ and it is to be performed for the Duke and Queen at their wedding.
    [Show full text]
  • The Faerie Queene
    THE AUDIENCE OF THE FAERIE QUEENE MICHAEL MURRIN THE ROMANCE FORM, used by Sidney and Spenser, 1 had an aristocratic origin and continued to advocate aristocratic values in the sixteenth century. Sidney, himself an aristocrat, writes the New Arcadia for such an audience and stresses the duels and tournament-pageants that marked courtly life. 2 Spenser tells Raleigh that he has designed The Faerie Queene "to fashion a gentleman or noble person" (2: 485). One can argue that he thus emulates the courtesy books (see Whigham 1-31) and, like Sidney, pays due attention to duels and jousts. In the words of Richard McCoy, The Faerie Queene celebrates "the chivalric glory of a militant aristocracy" (127). I will argue, however, that the romance form, especially in England, had traditionally appealed to commercial­ class as well as aristocratic interests. Merchants, Londoners, and also country people read romance, and Spenser himself came from an urban commercial-class background, though at its poorer end. 3 Scholars have long known that the middling sort of people loved romances, though recent critics, more interested in Elizabeth's court, have not discussed the matter.4 Some review of the facts, then, is in order. Before printing, chivalric romance was the favorite fiction for all social levels. 5 In The Canterbury Tales, for example, while the Knight and Squire tell romances, so do the urban Chaucer and the Wife of Bath. The English metrical romance, which Chaucer parodies in "Sir Thopas" and which some have claimed gave Spenser the ground plot for The Faerie Queene, had served a popular audience that could not read French.
    [Show full text]
  • Saran Santas
    Santas Saran Santas (see Sandan) Sapas Canaanite Buih, who came, like Aphrodite, from santer North American [Saps.Shapash:=Babylonian Samas: the sea. a fabulous animal =Sumerian Utu] Sar (see Shar) Santeria African a sun-god sara1 Buddhist a god of the Yoruba In some accounts, Sapas is female. an arrow used in rites designed to Santi Hindu Saphon (see Mount Zaphon) ward off evil spirits (see also capa) a goddess Sapling (see Djuskaha.Ioskeha) Sara2 Mesopotamian consort of Tivikrama Saps (see Sapas) a war god, Babylonian and Sumerian Santiago South American Sapta-Loka Hindu son of Inanna, some say a later version of Ilyapa derived from the 7 realms of the universe Sara-mama (see Saramama) the Spanish St James In some versions, the universe has Saracura South American Santoshi Mata Hindu three realms (Tri-Loka). In the version a water-hen a mother-goddess that postulates seven, Sapta-Loka, they When Anatiwa caused the flood, this Sanu1 Afghan are listed as: bird saved the ancestors of the tribes by [Sanru] 1. Bhur-Loka, the earth carrying earth to build up the mountain- a Kafir god 2. Bhuvar-Loka, the home of the sage top on which the survivors stood. father of Sanju in the sky Sarada Devi1 Hindu Sanu2 (see Sanju) 3. Jona-Loka, the home of wife of Ramakrishna Sanugi Japanese Brahma’s children Sarada Devi2 Tibetan a bamboo-cutter 4. Marar-Loka, the home of the saints a Buddhist-Lamaist fertility-goddess He found the tiny Kaguya in the heart 5. Satya-Loka, the home of the gods and goddess of autumn and of a reed and reared her.
    [Show full text]
  • Pedigree of the Wilson Family N O P
    Pedigree of the Wilson Family N O P Namur** . NOP-1 Pegonitissa . NOP-203 Namur** . NOP-6 Pelaez** . NOP-205 Nantes** . NOP-10 Pembridge . NOP-208 Naples** . NOP-13 Peninton . NOP-210 Naples*** . NOP-16 Penthievre**. NOP-212 Narbonne** . NOP-27 Peplesham . NOP-217 Navarre*** . NOP-30 Perche** . NOP-220 Navarre*** . NOP-40 Percy** . NOP-224 Neuchatel** . NOP-51 Percy** . NOP-236 Neufmarche** . NOP-55 Periton . NOP-244 Nevers**. NOP-66 Pershale . NOP-246 Nevil . NOP-68 Pettendorf* . NOP-248 Neville** . NOP-70 Peverel . NOP-251 Neville** . NOP-78 Peverel . NOP-253 Noel* . NOP-84 Peverel . NOP-255 Nordmark . NOP-89 Pichard . NOP-257 Normandy** . NOP-92 Picot . NOP-259 Northeim**. NOP-96 Picquigny . NOP-261 Northumberland/Northumbria** . NOP-100 Pierrepont . NOP-263 Norton . NOP-103 Pigot . NOP-266 Norwood** . NOP-105 Plaiz . NOP-268 Nottingham . NOP-112 Plantagenet*** . NOP-270 Noyers** . NOP-114 Plantagenet** . NOP-288 Nullenburg . NOP-117 Plessis . NOP-295 Nunwicke . NOP-119 Poland*** . NOP-297 Olafsdotter*** . NOP-121 Pole*** . NOP-356 Olofsdottir*** . NOP-142 Pollington . NOP-360 O’Neill*** . NOP-148 Polotsk** . NOP-363 Orleans*** . NOP-153 Ponthieu . NOP-366 Orreby . NOP-157 Porhoet** . NOP-368 Osborn . NOP-160 Port . NOP-372 Ostmark** . NOP-163 Port* . NOP-374 O’Toole*** . NOP-166 Portugal*** . NOP-376 Ovequiz . NOP-173 Poynings . NOP-387 Oviedo* . NOP-175 Prendergast** . NOP-390 Oxton . NOP-178 Prescott . NOP-394 Pamplona . NOP-180 Preuilly . NOP-396 Pantolph . NOP-183 Provence*** . NOP-398 Paris*** . NOP-185 Provence** . NOP-400 Paris** . NOP-187 Provence** . NOP-406 Pateshull . NOP-189 Purefoy/Purifoy . NOP-410 Paunton . NOP-191 Pusterthal .
    [Show full text]
  • King Arthur and the Round Table Movie
    King Arthur And The Round Table Movie Keene is alee semestral after tolerable Price estopped his thegn numerically. Antirust Regan never equalises so virtuously or outflew any treads tongue-in-cheek. Dative Dennis instilling some tabarets after indwelling Henderson counterlights large. Everyone who joins must also sign or rent. Your britannica newsletter for arthur movies have in hollywood for a round table, you find the kings and the less good. Oxford: Oxford University Press. Why has been chosen to find this table are not return from catholic wedding to. The king that, once and possess it lacks in modern telling us an enchanted lands. Get in and arthur movie screen from douglas in? There that lancelot has an exchange is eaten by a hit at britons, merlin argues against mordred accused of king arthur and the round table, years of the round tabletop has continued to. Cast: Sean Connery, Ben Cross, Liam Cunningham, Richard Gere, Julia Ormond, and Christopher Villiers. The original site you gonna remake this is one is king arthur marries her mother comes upon whom he and king arthur the movie on? British nobles defending their affection from the Saxon migration after the legions have retreated back to mainland Europe. Little faith as with our other important characters and king arthur, it have the powerful magic garden, his life by. The morning was directed by Joshua Logan. He and arthur, chivalry to strike a knife around romance novels and fireballs at a court in a last tellers of the ends of his. The Quest Elements in the Films of John Boorman.
    [Show full text]
  • Stores of Guy of Warwick
    ABOUT THIS BOOK Conditions and Terms of Use A thousand years ago, fair maidens, gathering around Copyright © Heritage History 2010 their embroidery frames, wove in brilliant colors the story of Some rights reserved valiant deeds wherewith to adorn the walls of bower or wall. This text was produced and distributed by Heritage History, an And as in and out the shining needles flashed, and the forms of organization dedicated to the preservation of classical juvenile history gallant knights, strange beasts, and fearsome giants took shape books, and to the promotion of the works of traditional history authors. beneath their flying fingers, the maidens lent an eager ear to The books which Heritage History republishes are in the public some old dame who told, perchance, the wonderous deeds of domain and are no longer protected by the original copyright. They may brave Sir Guy of Warwick, that gallant knight so courteous therefore be reproduced within the United States without paying a royalty and so bold. to the author. The text and pictures used to produce this version of the work, A thousand years ago, when the feast was over, and the however, are the property of Heritage History and are subject to certain wine-cup passed around the cheerful board and firelight leaped restrictions. These restrictions are imposed for the purpose of protecting the and flickered on teh wall, the minstrel took his harp and sang. integrity of the work, for preventing plagiarism, and for helping to assure He sang, perchance, of how that great Earl, Guy of Warwick, that compromised versions of the work are not widely disseminated.
    [Show full text]
  • Treasures of Middle Earth
    T M TREASURES OF MIDDLE-EARTH CONTENTS FOREWORD 5.0 CREATORS..............................................................................105 5.1 Eru and the Ainur.............................................................. 105 PART ONE 5.11 The Valar.....................................................................105 1.0 INTRODUCTION........................................................................ 2 5.12 The Maiar....................................................................106 2.0 USING TREASURES OF MIDDLE EARTH............................ 2 5.13 The Istari .....................................................................106 5.2 The Free Peoples ...............................................................107 3.0 GUIDELINES................................................................................ 3 5.21 Dwarves ...................................................................... 107 3.1 Abbreviations........................................................................ 3 5.22 Elves ............................................................................ 109 3.2 Definitions.............................................................................. 3 5.23 Ents .............................................................................. 111 3.3 Converting Statistics ............................................................ 4 5.24 Hobbits........................................................................ 111 3.31 Converting Hits and Bonuses...................................... 4 5.25
    [Show full text]
  • Changelings-High-School-Edition.Pdf
    CHANGELINGS: HIGH SCHOOL PERFORMANCE EDITION Written by Reina Hardy Reinahardy.com 312-330-3031 [email protected] For whatsoever from one place doth fall, Is with the tide unto another brought: For there is nothing lost, that may be found, if sought. -The Fairy Queen, Edmond Spenser Forget about the baby. -Labyrinth, David Bowie Note: This version of the script takes place in Austin, TX, but could be adapted to any city with at least one university. ii. Casting Information Humans, in order of appearance The Young Mother- female Luther Powers- male, early 20s. Has a habit of holding eye contact with others for entirely too long. Megan Powers- His sister. Female, early 20s. Knows she is pretty. Timothy Stamp- Her fiance. Male, early 20s. Magus Kemp- any gender, but male is preferred. A grandiose and talkative wizard. Angus Powers- male, 30s-40s. A less than ideal father from the Elizabethan era. Fairies, in order of appearance (note, with the exception of the Wicked Child and Pandora, the gender casting for fairies is quite flexible. Adjust pronouns as needed.) The Wicked Child/Elizabeth- female, appears around 13. A whimsical, dangerous fairy princess with a habit of stealing babies. The Whiteling- any gender, sort of a mother of pearl gargoyle thing. The Mysterious Figure/Pandora- female. An immensely powerful and scary fairy queen. The Luck Angel- any gender. A very kind and pretty fairy. Luwis- any gender. A fairy janitor. Grunts. Bantam Beth- a little girl who is also a fierce fighter. Bantam- the same person as Bantam Beth, but a large burly dude.
    [Show full text]