DOCSLIB.ORG

The Fairy/Queen/Mab: Mediating Elizabeth in Early Modern England

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Fairy/Queen/Mab: Mediating Elizabeth in Early Modern England The Fairy/Queen/Mab: Mediating Elizabeth in Early Modern England Jennifer Louise Ailles 2007 This work is licensed by Jennifer L. Ailles under a Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. How to Cite This Document: Ailles, Jennifer L. The Fairy/Queen/Mab: Mediating Elizabeth in Early Modern England. 2007. figshare. 2013. http://dx.doi.org/10.6084/m9.figshare.760610 The Fairy/Queen/Mab: Mediating Elizabeth in Early Modern England by Jennifer Louise Ailles Submitted in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Supervised by Professor Rosemary Kegl Department of English The College Arts & Sciences University of Rochester Rochester, New York 2007 ii Dedication This dissertation is dedicated to Diane Ailles for always being supportive in any way that she could--most importantly, being there at the other end of the phone to listen. There is no way I could have made it through without you, Mom. This dissertation is also dedicated to Pagan and Jazel Ailles who have been my constant companions and familiars throughout my Ph.D. iii Curriculum Vitae Jennifer L. Ailles was born in Sherbourne Township, Ontario, Canada on June 28, 1972. She attended the University of Guelph (Guelph, Ontario, Canada) from 1991-1993 and 1996-1998, and graduated with a Combined Honours Bachelor of Arts degree in English and Philosophy in 1998 with Honours. She also completed her Masters of Arts in English and Performance Studies at the University of Guelph in 2000, winning the School of Literatures and Performance Studies in English Distinguished Thesis Award for Research. She came to the University of Rochester in the Fall of 2000 and began studies in the doctoral program in English. She received a Ph.D. Tuition Scholarship and a Department of English Ph.D. Fellowship from 2000 to 2005, followed by a Dissertation Fellowship from 2005-2007. She was also awarded a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada from 2001 to 2004. She pursued her research in gender and early modern cultural studies under the direction of Professor Rosemary Kegl and received the Master of Arts degree in English from the University of Rochester in 2004. She also earned the Susan B. Anthony Institute Graduate Certificate in Gender and Women’s Studies in 2006. While at the University of Rochester she was a research assistant for Professor Lisa Cartwright on the project “Mothers and Other Smoking Guns . : Public Health Media Campaigns Aimed at Pregnant Women Who Smoke” (2001). She was also the Project Manager and a Research Associate for the archival project iv “Canadian Adaptations of Shakespeare” at the University of Guelph, under the direction of Professor Daniel Fischlin (2001-2002). At the University of Rochester she taught numerous courses for the English Department, the College Writing Program, the Susan B. Anthony Institute for Gender and Women’s Studies, Learning Assistance Services, the Office of Minority Student Affairs, and the Humanities Department at the Eastman School of Music. v Acknowledgements First and foremost I would like to thank my primary advisor Professor Rosemary Kegl for her insightful comments and willingness to let me work through the early modern English history of Queen Mab at my own pace from the time I participated in her course on Women Dramatists in the Sixteenth and Seventeenth Centuries. Professor Jonathan Baldo was my second reader and I would like to thank him for his continued support from the time of my qualifying exams through the duration of the dissertation writing process. David Walsh generously came on as my external examiner. I would also like to thank Professor Sarah Higley, who read the earliest version of this work on Mab and dis/ease, and Professor Karen Beckman who were on my qualifying examination committee and asked insightful questions about the early vision of this project. Further intellectual and emotional support, on campus and off and some from abroad, has come from numerous people including the entire Ailles family, especially Diane Ailles, Alison Ailles, Hari Khalsa, and Carol Ailles, Anjili Babbar, Brett Boyko, Vasudha Bharadwaj, Eva Cadavid, Joy Davis, Catherine Field, Kevin Finora, Daniel Fischlin, Hal Gladfelder, Tom Hahn, Emily Huber, Gilbert Kirton, Patrick LaPierre, Alan Lupack, Cathryn Meyer, Russell Peck, Kathy Picciano, Shirley Ricker, Chuck Ripley, Nicole Saunders, Louise Wingrove and everyone at Learning Assistance Services. vi This project could not have been completed without access to the valuable resources at the University of Rochester’s library system, particularly the Rush Rhees Library and Rossell Hope Robbins Library/Koller-Collins Center for English Studies. A special thanks goes to the Inter-library loan staff for tracking down various adaptations of Mab from across North America and beyond in some cases. In addition, I attended the Folger Institute’s Dissertation Seminar “Researching the Archive,” led by David Scott Kastan and Linda Levy Peck, from 2003 to 2004. Participation in the seminar allowed me access to the Folger Shakespeare Library’s rich materials. The participants of the seminar provided valuable feedback on early dissertation research. The participants included: Brandi Adams, Brinda Charry, Jane Degenhardt, Catherine Field, Elizabeth Gross, Rachel Holmberg, Melissa Hull, Joseph Navitsky, Elissa Oh, Maura Tarnoff, and Sarah Wall-Randell. During the 2002 session of the Cornell School of Criticism and Theory, Sander Gilman and Vincent Pecora pointed me to some valuable sources in relation to disease, weather, and the supernatural that informed earlier discussions of this study. Garth Vaughan and Holly Hammett- Vaughan also provided help in tracking down information about the first train on the Nova Scotia Railway, which was named “Queen Mab.” Parts of this dissertation were presented at the British Shakespeare Association Biennial Conference in Newcastle upon Tyne, UK, in 2005 as part of the “Subjects and Histories” panel and at the Shakespeare Association of America vii meeting in Philadelphia in 2006 as part of the “Shakespeare and the Visual Sense” seminar. I thank those audiences and panel members for their suggestions and comments. Financial support for this project came from The University of Rochester College of Arts and Sciences, the Department of English, Susan B. Anthony Institute for Gender and Women’s Studies, the Social Sciences and Humanities Research Council of Canada (Doctoral Fellowship), and the Bank of Mom. viii Abstract The Fairy/Queen/Mab: Mediating Elizabeth in Early Modern England Jennifer L. Ailles Advisor: Professor Rosemary Kegl University of Rochester, 2007 Shakespeare’s Queen Mab speech in Romeo and Juliet is usually read as a discourse about the miniature Fairy Queen who acts as a metaphorical midwife, delivering dreams to individuals. In The Fairy/Queen/Mab I argue, first, that Shakespeare’s Queen Mab is not a fairy; instead, she is a daemonic hag figure, one that has a precedent in the anonymous play The Historie of Jacob and Esau. The mythology that posits the figure of Mab as the Fairy Queen is the result of critical and editorial conflation by scholars of stories and representations, beginning with Jonson’s Entertainment at Althrope, that occurred after Romeo and Juliet was written and performed. The first part of my study examines how Mab became known as the Fairy Queen by later authors and critics. In the second part, I argue that the figure of Mab, first as a midwife and hag, and then later as a fairy, is used to represent and mediate queenship, particularly that of Queen Elizabeth I. Looking at works by Randolph, Cavendish, Drayton, and Herrick, in addition to those already mentioned, I use mediation theory to examine the discourses of queenship that are presented though each author’s use and ix representation of Mab. Each author manipulates the mythology of Mab that is presented in earlier texts to inform their own depiction, highlighting negative or positive elements to problematize pro- or anti-monarchical sentiments in relation to neo-Elizabethan nostalgia for the ideal Tudor court. This study builds on the examinations of queenship by critics such as Susan Doran, Carole Levin, and Julia M. Walker that examine representations and discourses surrounding Elizabeth and how they functioned during her reign and after when James, Charles, and the Interregnum government ruled. This is the first full length study of Queen Mab’s revisionist historiography and the first extended study to consider the transformation of Mab into the Fairy Queen in relation to Elizabeth and then her further mediation, transformation, and pluralization. x Table of Contents Dedication ii Curriculum Vitae iii Acknowledgements v Abstract viii Table of Contents x Introduction The Fairy/Queen/Mab: “Queen of the Old Ways” 1 Chapter 2 The Mythography of Mab: “Nothing but vain fantasy” 37 Chapter 3 “I thought such a witche would do such businesse”: Mab the Midwife as Mediating Agent in Jacob and Esau and Romeo and Juliet 76 Chapter 4 “Long live Oriana / T’exceed, whom she succeeds, our late Diana”: Transforming Queenship in Jonson’s Entertainment at Althrope 120 Chapter 5 “There Mab is Queen of all, by Natures will”: Pluralizing The Fairy Queen Mab in Early Modern England 143 Conclusion 202 Works Cited 213 Appendix List of Mabs Referred to in this Study 248 Introduction--The Fairy/Queen/Mab: “Queen of the Old Ways”1 He climbed through the smoking hole in the door, and walked out into the corridor. Frik was there waiting, and Merlin stood beside him. The people around him were puzzled at the disruption of their day, but already beginning to forget what had just happened.
Load more

Recommended publications
  • English Renaissance Dream Theory and Its Use in Shakespeare
    THE RICE INSTITUTE ENGLISH RENAISSANCE DREAM THEORY MID ITS USE IN SHAKESPEARE By COMPTON REES, JUNIOR A THESIS SUBMITTED TO THE FACULTY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Houston, Texas April, 1958 TABLE OF CONTENTS Introduction .............. 1-3 Chapter I Psychological Background: Imagination and Sleep ............................... 4-27 Chapter II Internal Natural Dreams 28-62 Chapter III External Natural Dreams ................. 63-74 Chapter IV Supernatural Dreams ...................... 75-94 Chapter V Shakespeare’s Use of Dreams 95-111 Bibliography 112-115 INTRODUCTION This study deals specifically with dream theories that are recorded in English books published before 1616, the year of Shakespeare1s death, with a few notable exceptions such as Robert Burton’s Anatomy of Melancholy (1621). Though this thesis does not pretend to include all available material on this subject during Shakespeare*s time, yet I have attempted to utilise all significant material found in the prose writings of selected doctors, theologians, translated Latin writers, recognised Shakespeare sources (Holinshed, Plutarch), and other prose writers of the time? in a few poets; and in representative dramatists. Though some sources were not originally written during the Elizabethan period, such as classical translations and early poetry, my criterion has been that, if the work was published in English and was thus currently available, it may be justifiably included in this study. Most of the source material is found in prose, since this A medium is more suited than are imaginative poetry anl drama y:/h to the expository discussions of dreams. The imaginative drama I speak of here includes Shakespeare, of course.
    [Show full text]
  • Gothic Riffs Anon., the Secret Tribunal
    Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. Printed by Thomson-Shore, inc. The paper used in this publication meets the minimum requirements of the american national Standard for information Sciences—Permanence of Paper for Printed Library Materials. ANSi Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte.
    [Show full text]
  • 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]
  • The Rings and Inner Moons of Uranus and Neptune: Recent Advances and Open Questions
    Workshop on the Study of the Ice Giant Planets (2014) 2031.pdf THE RINGS AND INNER MOONS OF URANUS AND NEPTUNE: RECENT ADVANCES AND OPEN QUESTIONS. Mark R. Showalter1, 1SETI Institute (189 Bernardo Avenue, Mountain View, CA 94043, mshowal- [email protected]! ). The legacy of the Voyager mission still dominates patterns or “modes” seem to require ongoing perturba- our knowledge of the Uranus and Neptune ring-moon tions. It has long been hypothesized that numerous systems. That legacy includes the first clear images of small, unseen ring-moons are responsible, just as the nine narrow, dense Uranian rings and of the ring- Ophelia and Cordelia “shepherd” ring ε. However, arcs of Neptune. Voyager’s cameras also first revealed none of the missing moons were seen by Voyager, sug- eleven small, inner moons at Uranus and six at Nep- gesting that they must be quite small. Furthermore, the tune. The interplay between these rings and moons absence of moons in most of the gaps of Saturn’s rings, continues to raise fundamental dynamical questions; after a decade-long search by Cassini’s cameras, sug- each moon and each ring contributes a piece of the gests that confinement mechanisms other than shep- story of how these systems formed and evolved. herding might be viable. However, the details of these Nevertheless, Earth-based observations have pro- processes are unknown. vided and continue to provide invaluable new insights The outermost µ ring of Uranus shares its orbit into the behavior of these systems. Our most detailed with the tiny moon Mab. Keck and Hubble images knowledge of the rings’ geometry has come from spanning the visual and near-infrared reveal that this Earth-based stellar occultations; one fortuitous stellar ring is distinctly blue, unlike any other ring in the solar alignment revealed the moon Larissa well before Voy- system except one—Saturn’s E ring.
    [Show full text]
  • Why Sex? Now Shown That in Water Fleas, Recombination Does Lead to Fewer Deleterious Mutations
    PERSPECTIVES EVOLUTION It is assumed that most organisms have sex because the resulting genetic recombination allows Darwinian selection to work better. It is Why Sex? now shown that in water fleas, recombination does lead to fewer deleterious mutations. Rasmus Nielsen hy sex? This has been one of the most sexual reproduction. Additionally, fundamental questions in evolution- the best explanations regarding dele- Wary biology. In many species, males terious mutations rely on strong do not provide parental care to the offspring. assumptions regarding the distribu- Clearly, the rate of reproduction could be tion of selective effects (3), and there increased if all individuals were born as females may be other factors favoring and reproduced asexually without the need to sex, such as increased resistance to mate with a male (parthenogenetic reproduc- pathogens (4). An observed genomic tion). Parthenogenetically reproducing females correlation between the rate of recom- arising in a sexual population should have a bination and variability within species twofold fitness advantage because they, on aver- (5) suggests that there is an interaction age, leave twice as many gene copies in the next between selection and recombination, generation. Nonetheless, sexual reproduction is but a direct difference between sexual ubiquitous in higher organisms. Why do all these and asexual populations has been hard species bother to have males, if males are associ- to establish. ated with a reduction in fitness? The main solu- However, the new study by Paland tion that population geneticists have proposed to and Lynch (1) provides direct empir- this conundrum is that sexual reproduction ical support for an excess accumula- allows genetic recombination, and that genetic tion of mutations in asexually repro- recombination is advantageous because it allows ducing populations compared to natural Darwinian selection to work more effi- sexual populations.
    [Show full text]
  • Tethys Festival As Royal Policy
    ‘The power of his commanding trident’: Tethys Festival as royal policy Anne Daye On 31 May 1610, Prince Henry sailed up the River Thames culminating in horse races and running at the ring on the from Richmond to Whitehall for his creation as Prince of banks of the Dee. Both elements were traditional and firmly Wales, Duke of Cornwall and Earl of Chester to be greeted historicised in their presentation. While the prince is unlikely by the Lord Mayor of London. A flotilla of little boats to have been present, the competitors must have been mem- escorted him, enjoying the sight of a floating pageant sent, as bers of the gentry and nobility. The creation ceremonies it were, from Neptune. Corinea, queen of Cornwall crowned themselves, including Tethys Festival, took place across with pearls and cockleshells, rode on a large whale while eight days in London. Having travelled by road to Richmond, Amphion, wreathed with seashells, father of music and the Henry made a triumphal entry into London along the Thames genius of Wales, sailed on a dolphin. To ensure their speeches for the official reception by the City of London. The cer- carried across the water in the hurly-burly of the day, ‘two emony of creation took place before the whole parliament of absolute actors’ were hired to play these tritons, namely John lords and commons, gathered in the Court of Requests, Rice and Richard Burbage1 . Following the ceremony of observed by ambassadors and foreign guests, the nobility of creation, in the masque Tethys Festival or The Queen’s England, Scotland and Ireland and the Lord Mayor of Lon- Wake, Queen Anne greeted Henry in the guise of Tethys, wife don with representatives of the guilds.
    [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]
  • Motifs in Romeo and Juliet Fall Semester Unit 2 Motif
    Motifs in Romeo and Juliet Fall Semester Unit 2 Motif: A distinctive idea, image, word, or phrase that is repeated throughout the literary work. Why do insignificant or mundane things take on significance when they are repeated? Motif: Light and Dark/Day and Night Motif: Light and Dark/Day and Night One instance of this motif is Romeo’s lengthy meditation on the sun and the moon during the balcony scene, in which he describes Juliet as the sun. Romeo uses figurative language to describe her as banishing the “envious moon” and transforming the night into day (2.2.4). Motif: Light and Dark/Day and Night Friar Lawrence’s first speech refers to day and night, light and dark. “The grey-eyed morn smiles on the frowning night” (2.3.1). Motif: Light and Dark/Day and Night We see a third example in the last speech of the play, when Prince Escalus says that the morning sky is dark, fitting the mood of occasion: "A glooming peace this morning with it brings; / The sun, for sorrow, will not show his head" (5.3.306). Motif: Dreams Marc Chagall: Over the Town (1918) Dreams (1939) Motif: Dreams Mercutio mocks dreams in his Queen Mab speech as “children of an idle brain” (1.4.104). Motif: Dreams Romeo tells Juliet, “Oh blessed, blessed night! I am afeard, Being in night, all this is but a dream, Too flattering sweet to be substantial” (2.2.146-148). Motif: Dreams Just before he receives news that Juliet is dead, Romeo says, “If I may trust the flattering truth of sleep, My dreams presage some joyful news at hand” (5.1.1-2).
    [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]
  • Formation of Regular Satellites from Ancient Massive Rings in the Solar System
    ABCDECFFFEE ABCBDEFBEEBCBAEABEB DAFBABEBBE EF !"#CF$ EABBAEBBBBEBA BAFBBEB!EABEBDEBB "AEB#BAEBEBEEABFFEFA$%BEEBCBABFEB#B&EE%B #E B # B B B EF B EE B A B E B B E B !! B CE B B #B AFBBBABE%B#EABEBEAFBB#%BBEAEBCBEEB EB#BEBAEAFB#BAEBBEBDEB%BABE'EEABFEEEAB #BA %B(A %BAB)EAE BEEBEB*BFFEBB(ABAB )EAEBEBBEBEBAFBBEEBBFEB!BBBCBEBEFB EEBEABEBEAFBBC%BABAEBFEBEEBC%BB#BEBEBCB +BAB,B*BAEB!FEBEBFB!E#EEABEEBABFABAE-B E %&AAA)A&*%+F%))( +&%A,*'AAA-.*A)A+%(A/ ABCDF*)A%%%AA)(%%0 A&A1A%+-.(A2A)AFA) /++%A))A3F43!+3&(F *(A))()A+*)0 A F ( ) * ) % A A 05%- E1- 6AAF'(A))(+&%F43AA )+)+FA7A+A+ED-AF4!+ (%AA%A2(2A%A,FD-A A%%2(AFA/+A%A%+8 (A- F*)A,AA(A+F(A3%F* +&+2%%%A*AD0++(&6E A),*+D-.FAB,'()' & τ, 9 6, : 5.F*5('AAF. A+A C 6,9πΣ ,8(0Σ%')&1-4%+)+AA2)A& A'%2&()AADFA' C τ,9DDC F =E *96,:6+6++8(06CCE E>AA>%%046CF 42!)AA:!:"2A@8BABCCCFDD))/F!= .AA)AA)A-=([email protected] C>AA6F2CA:=:54+AEEE'F2F5!= $425)A ED6)FDDF!= ABCDECFFFEE FB.-AA%A%+-D'ACAA.-4D 01E'AAA"A01EF'AB)A"A0/)++6FAA)1- !+D!F.F+FEF>CA-H+D6FF(F.FAF =AFE&(A 016')AAA-.'A&(A/*&AA+& 02)1F++A(A2+)'))0A(F 1-.( )'ABA*)AFAA)A+- 01 A+ ( A 7 ')A A ∆901: - . A 'A ) + , )A&*(&AFA*AA)AA06E-5AF4 !+F9EDDDD,(F<?DD,(F;;DDD,(+)2&-A)2DA(A'A+&( :< $- %(0∆10=7-0CF6-$1D'A∆I∆CEF7∝ ∆ A'A∆J∆CEF7∝0∆KE F*∆CE9D(,& 2)A-H+8&(AA'*AA06?-$1- ((%AF*(AAAD-.&+& ,AA%(A(/)%F(%A*&A- A6A%A,'A2%2AADD C C ; C $ Γ 9Cπ :C7 Σ .
    [Show full text]
  • Shelley's Poetic Inspiration and Its Two Sources: the Ideals of Justice and Beauty
    SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY. by Marie Guertin •IBtlOrHEQf*' * "^ «« 11 Ottawa ^RYMtt^ Thesis presented to the School of Graduate Studies of the University of Ottawa as partial fulfillment of the requirements for the degree of Master of Arts in English Literature Department of English Ottawa, Canada, 1977 , Ottawa, Canada, 1978 UMI Number: EC55769 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC55769 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY by Marie Guertin ABSTRACT The purpose of this dissertation is to show that most of Shelley's poetry can be better understood when it is related: (1) to each of the two ideals which constantly inspired Shelley in his life, thought and poetry; (2) to the increasing unity which bound these two ideals so closely together that they finally appeared, through most of his mature philosophical and poetical Works, as two aspects of the same Ideal.
    [Show full text]
  • Distressing Damsels: Sir Gawain and the Green Knight As a Loathly Lady Tale
    Distressing Damsels: Sir Gawain and the Green Knight as a Loathly Lady Tale By Lauren Chochinov A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of English University of Manitoba Winnipeg, Manitoba Copyright © 2010 by Lauren Chochinov i Abstract At the end of Sir Gawain and the Green Knight, when Bertilak de Hautdesert reveals Morgan le Fay’s involvement in Gawain’s quest, the Pearl Poet introduces a difficult problem for scholars and students of the text. Morgan appears out of nowhere, and it is difficult to understand the poet’s intentions for including her so late in his narrative. The premise for this thesis is that the loathly lady motif helps explain Morgan’s appearance and Gawain’s symbolic importance in the poem. Through a study of the loathly lady motif, I argue it is possible that the Pearl Poet was using certain aspects of the motif to inform his story. Chapter one of this thesis will focus on the origins of the loathly lady motif and the literary origins of Morgan le Fay. In order to understand the connotations of the loathly lady stories, it is important to study both the Irish tales and the later English versions of the motif. My study of Morgan will trace her beginnings as a pagan healer goddess to her later variations in French and Middle English literature. The second chapter will discuss the influential women in Sir Gawain and the Green Knight and their specific importance to the text.
    [Show full text]