DOCSLIB.ORG

The Magic Casement : an Anthology of Fairy Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Magic Casement : an Anthology of Fairy Poetry THE MAGIC CASEMENT A BOOK OF FAERY POEMS GIVING GLIMPSES OF THE WORLD BEYOND THE CASEMENT: SELECTED AND ARRANGED WITH INTRODUCTION AND NOTES BY ALFRED NOYES Of THE UNIVERSITY/ or / sgALjf^ PHn REVO tyai/TTTO JM! KH l"| V'^^^W^IW\^5% 'V A Midsummer's Night: The Quarrel ANTHOLOGY P PAIRY POETRY DITED-WTnAflMDUCTIOH- ALFRED /10YES NOTE Ti/TY thanks are due to the authors and publishers whose !** kindness has permitted the use of copyright poems in this book: to Mr. Swinburne, Mr. Watts-Dunton, Mr. G. K. Chesterton (and Messrs. Dent), Mr. Rudyard Kipling, Mr. R. C. Lehmann (and the proprietors of Punch], Sir Theodore Martin (and Messrs. William Black- wood and Sons), Mrs. William Sharp (for extracts from " the poems of Fiona Macleod "), Mr. W. B. Yeats, and Dr. John Todhunter. ALFRED NOYES VII " AND IF THAT THE BOWLE OF CURDS AND CREAME WERE NOT DULY SET OUT FOR ROBIN GOOD-FELLOW, WHY, THEN, 'WARE OF BULL-BEGGARS, SPIRITS," ETC. " FROM GHOULIES AND GHOOSTIES, LONG- LEGGETY BfrASTIKS, AND THINGS THAT GO BUMP IN THE NIGHT, " GOOD LORD, DELIVER us ! Quaint Old Litany Vlll CONTENTS THE FAIRY LIFE PAGE I KNOW A BANK Wit/lam Shakespeare 3 THE URCHINS' DANCE John Ly/y 4 WHERE THE BEE SUCKS William Shakespeare 5 NURSLINGS OF IMMORTALITY "Percy Bysshe Shelley 6 NIMPHIDIA Michael Dray ton 7 MORGANA George Darky 3 1 PUCK'S SONG Rudyard Kipling 33 MODERN ELFLAND G. K. Chesterton 35 A FAIRY TALE Tom Hood 37 A FAIRY MUSTER George Darley 41 THE ELF-KING'S VICTORY R. C. Lehmann 53 THE FAIRY WEDDING Michael Dray ton 56 _ A FAIRY FUNERAL Alfred Noyes 63 THE FAIRY CAMP George Darley 66 A FAIRY FAMILY Sydney Dobell 67 SHAKESPEARE'S FINAL RETURN TO THE AVON Theodore Watts- Dunton 70 ON A MlDSUMMER-NlGHT William Shakespeare 7 1 THE PLEA OF THE MIDSUMMER FAIRIES Tom Hood 91 SHERWOOD 1 Alfred Noyes 3 J_ ROBIN GOODFELLOW Anonymous 138 THE FAIRY'S WARNING George Darley 1 42 THE ELF-KING'S HUNTING R. C. Lehmann 146 QUEEN MAS William Shakespeare 149 A HOLYDAY NIGHT John Milton 1 5 I FALSTAFF AND THE FAIRIES William Shakespeare 152 ix PAGE FAIRY REVELS John Ly/y 1 5 5 THE HAUNTED CHAMBER Sir Walter Scott 156 WITCHES' CAULDRONS AND BLASTED HEATHS THE THREE WITCHES William Shakespeare i 7 1 THE BANSHEE John Todhunter 187 THE WITCHES' DANCE OF DEATH, 1815 Sir Walter Scott 190 A CHARM-SONG Thomas Middleton 196 THE WITCHES' SABBATH Benjonson 197 THE KELPY Sir Walter Scott 199 HECATE AND THE WITCHES Thomas Middleton 202 TAM O'SHANTER Robert Burns 204 TWIST YE, TWINE YE Sir Walter Scott 2 1 2 COME UNTO THESE YELLOW SANDS UNDER THE EVENING STAR John Milton 215 CORALS Robert Browning 216 A FAIRY REVEL Alfred, Lord Tennyson 2 1 7 ARIEL'S SONG William Shakespeare 219 A FAIRY DIRGE George Darley 221 THE MOON-CHILD Fiona Macleod 222 THE SEA-FAIRIES Alfred, Lord Tennyson 223 THE FORSAKEN MERMAN Matthew Arnold 225 SONG OF THE SIRENS William Browne 230 FLOWER-FAIRIES THE WAVING FERNS AlfredNoyes 233 AN ELFIN LEGEND Thomas Lovell Beddoes 236 x FLOWER-FAIRIES Philip Bourke Marston 237 BEFORE AND AFTER FLOWERING Philip Bourke Marston 239 THE ROSE AND THE WIND Philip Bourke Marston 243 THE BROKEN-HEARTED BEE Thomas Lovell Beddoes 246 THE COWSLIPS Sydney Dobell 247 THE GREEN LADY Fiona Macleod 248 THE Two SWANS Tom Hood 249 DAFFADILL Michael Drayton ^ 260 WINTER IN NORTHUMBER- LAND Algernon Charles Swinburne 262 ENCHANTED WOODS A MAGIC CASEMENT Sydney Dobell 273 To PIERROT IN LOVE Theodore Watts-Dunton 275 A TREE SONG Rudyard Kipling 278 THOMAS THE RHYMER Sir Walter Scott 280 LA BELLE DAME SANS MERCI John Keats 296 CHRISTABEL S. T. Coleridge 298 RAPUNZEL William Morris 3 1 1 THE LADY OF SHALOTT Alfred, Lord Tennyson 326 THE DEAD PRINCESS Christina Rossetti 328 THE DAY-DREAM Alfred, Lord Tennyson 329 AIRY MOUNTAIN AND RUSHY GLEN THE FAIRIES William Allingham 339 THE FAIRY THORN Sir Samuel Ferguson 34 i THE HILLS OF RUEL Fiona Macleod 344 GOBLIN MARKET Christina Rossetti 346 THE STOLEN CHILD W. B. Teats 365 xi THE FAERY VOYAGER BY THE BABE UNBORN G. K. Chesterton 369 BACK AGAIN R. C. Lehmann 370 ECKART THE TRUSTY Sir Theodore Martin 372 THE BUGLES OF DREAMLAND Fiona Macleod 374 SONG Tom Hood 375 THE DREAM-FAIR Alfred Noyes 376 THE PRINCE OF FAIRIES Anonymous 38 5" LAST ECHOES THE HORNS OF ELFLAND Alfred, Lord Tennyson 389 EPILOGUE William Shakespeare 390 xn INTRODUCTION. " Magic Casement," through which the THEreader of this volume is invited to look, is, of course, that same casement which was enchanted by the nightingale of Keats. The foam of perilous seas has been blown it and a against ; many princess has leaned down from it at dead midnight to be kissed by some knight that has come adventuring " through forests towards her face." The Mid- summer fairies of Shakespeare hold their revels in the woods that whisper round it those peculiarly English woods which he had the audacity to " " describe as near Athens and it has even been rumoured that a nine-fifteen express has been driven thundering through the haunted valleys below it, by a romantic engine-driver taking tired week-enders to paddle on the yellow sands of those faery lands forlorn. Most poets affirm that if we only kept our own eyes open we should discover that the true fairy-land is really our own world, or a part of it. As many views, under as many atmospheric conditions as possible, are offered to the reader in this book, which, it is hoped, may be found worthily and completely representative of the Fairyland of English Poetry. In an age that is gradually coming! to regard the hailstone as a messenger from God, and the grass-blade as bearing the universe on its point, such an anthology xiii would hardly be complete if it did not admit of " the view that even fairies may be nurslings of immortality." Here and there accordingly in some of the following poems we may detect " " something like a definite criticism of life as in " Mr. Chesterton's Modern Elfland," which is an attempt to draw magic from its natural source, the real world around us, and to shatter our " materialism at one blow. Or again (as in The Elf-King's Victory/* by Mr. R. C. Lehmann), we have a pungent, but delightful, satire upon such futilities as modern warfare. Or again, we have the archetype of the fairy-tale, as in Tennyson's "Day-dream," the fairy-tale of all fairy-tales in excelsis, and at the same time the love-story of all true lovers in the world. Some exquisite work by some well-nigh for- gotten poets like George Darley has been included, and the test for inclusion (over and above the requirement that they shall give us a glimpse of the faery world beyond the casement) in all cases has been simply the test for poetry, the question whether, in the editor's fallible judgment, the verses helped to beget again that golden time when the earth appeared "an insubstantial faery place" and a fit home for song. A somewhat broad use it is that we perhaps " make of the " world for phrase faery ; glimpses xiv are certainly given in this book of something more than the world of Cobweb, Moth and Mustard- seed, something darker than the exquisite world of Thistle-down and Pease-blossom, Moon-blue and Star-mist, something more dreadful even than the world of Dragon's-blood and Bat's-tongue : glimpses in fact of those terrible and cruel things which are perhaps the necessary shadows of the for did not himself of picture ; Shakespeare speak the fairies that do run by the triple Hecate s team : " From the presence of the sun, " Following darkness like a dream ? And that last line, by the way, is perhaps the most beautiful in all fairy literature. We have then sug- gestions of the Witches, in the dark shadows, with their cauldrons and incantations ; and out in the perilous seas beyond their blasted heaths we may occasionally get a glimpse of some glittering mermaid tossing her white arms to the moon. Yet this many-coloured and variously enchanted world has a certain unity, and we have tried to preserve the sense of this by including no poem that is not in some way linked to its neighbours. " " One or two pieces like Hood's Fairy-tale and " " Scott's Owlspiegle (or as it has been entitled here " The Haunted Chamber") were added for the humorous relief they afford to a book which if xv incur arranged on too strict lines might easily the charge of monotony. Yet they occupy niches which certainly ought in any: case to be filled, standing, as they do, in the same comic relation to their more serious brethren as the Windsor Forest fairies, the belabourers of Falstaff, bear to the more ethereal fays of the Midsummer Night's Dream. Of that little known serious poem by " Hood, entitled The Two Swans," we may perhaps say here that we are strongly tempted to " it almost on a. level with his Plea of the place " of as Midsummer Fairies (full remarkable beauty that has longer poem is). "The Two Swans'* the rich obscurity of the very place it describes, a midnight lake thickly shadowed by trees and overgrown by great floating water-lily leaves. There are few poems which so vividly give one the impression that their author has really looked upon a fairy with his living eyes as does this one when as a wild swan sings somewhere in the midst of that tangled gloom a little casement opens, And forth into the light, small and remote, A creature, like the fair son ofa king, Draws to the lattice in his jewelled coat Against the silver moonlight glistening, And leans upon his white hand listening.
Load more

Recommended publications
  • Travel Writing 1700–1830 an Anthology
    OXFORD WORLD’ S CLASSICS TRAVEL WRITING, 1700–1830 DURING the eighteenth century British travellers fanned out to every corner of the world, driven by diverse motives: scientific curi- osity, exploration, colonization, trade, diplomacy, and tourism, which began to flourish during this period. Those at home read voraciously in travel literature, which informed curious Britons about their nation’s activities overseas. The Empire, already estab- lished in the Caribbean and North America, was expanding in India and Africa and founding new outposts in the Pacific. Readers also enjoyed reports of travel closer to home: tours of the Continent and the British Isles themselves, whose beauty spots fuelled the rising fashion for picturesque and sublime scenery. Travel writing fed readers’ desire for adventure and exoticism and reinforced their pride in their nation’s achievements. It addressed scientific questions and gave philosophers food for thought. Political controversies were fought out in travel books, including the slavery question and the French Revolution debate. Above all, travellers’ descriptions of the wider world reveal their perception of themselves. Selected authors include Daniel Defoe, Joseph Addison, Mary Wortley Montagu, Samuel Johnson, James Boswell, James Cook, William Bartram, Mary Wollstonecraft, Dorothy Wordsworth, Walter Scott, Olaudah Equiano, Mungo Park, Ann Radcliffe, Matthew ‘Monk’ Lewis, and Frances Trollope. ELIZABETH A. BOHLS is Associate Professor of English at the University of Oregon. She is the author of Women Travel Writers and the Language of Aesthetics, 1716–1818, recently translated into Japanese, and of articles on travel writing and the novel. She is currently finishing a book on identity and place in writings from the colonial British Caribbean.
    [Show full text]
  • Courtly Love in Shakespeare's Sonnets and Plays
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-1921 Courtly love in Shakespeare's sonnets and plays. Rebbie Doty University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Doty, Rebbie, "Courtly love in Shakespeare's sonnets and plays." (1921). Electronic Theses and Dissertations. Paper 368. https://doi.org/10.18297/etd/368 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. UNIVERSITY OF LOUISVILlE COURTLY LOVE IN SHAKESPEARE'S SONNETS AND PIA YS. A Dissertation Submitted to the Faculty Of the Graduate School of Arts and Sciences In Partial Fulfillment of the Requirementa..1'or the Degree Of Master of Arts , Department of English , ! ": ':'"' . ~ ".,.- by "",) '}" , Rebbie Doty 1921 TABLE OF CONTENTS. -" , , ," Table of Contents. Chapter I. The System of Courtly Love. Page 1. Chapter II. Modifications of Courtly Love in the Age of" Elizabeth. 12. Chapter III. The Element of Courtly Love in Shakespeare's Sonnets and Plays. 24. " Sonnets. Love's Labour's Lost. " The Two"Gentlemen of Verona. Romeo and Juliet. A MidsUBner Night's Dream. The Merchant of ¥enice. The Taming of the Shrew. The MerrY'Wives of Windsor. Much Ado About Nothing.
    [Show full text]
  • A Midsummer Night's Dream Adaptation by Francis Xavier Norton
    A Midsummer Night's Dream Adaptation by Francis Xavier Norton DRAMATIS PERSONAE THESEUS, Duke of Athens EGEUS, father to Hermia LYSANDER, in love with Hermia DEMETRIUS, in love with Hermia PHILOSTRATE, Mistress of the Revels to Theseus QUINCE, a carpenter SNUG, a joiner BOTTOM, a weaver FLUTE, a bellows-mender SNOUT, a tinker STARVELING, a tailor HIPPOLYTA, Queen of the Amazons, bethrothed to Theseus HERMIA, daughter to Egeus, in love with Lysander HELENA, in love with Demetrius OBERON, King of the Fairies TITANIA, Queen of the Fairies PUCK, or ROBIN GOODFELLOW, head fairy to Oberon PEASEBLOSSOM, fairy COBWEB, fairy MOTH, fairy MUSTARDSEED, fairy PROLOGUE, PYRAMUS, THISBY, WALL, MOONSHINE, LION are presented by: QUINCE, BOTTOM, FLUTE, SNOUT, STARVELING, AND SNUG Other Fairies attending their King and Queen Attendants on Theseus and Hippolyta UNIT 1 (To begin as the audience approaches the gates of our world) PUCK If we shadows shall offend, Think but this, and all will mend, That you will but slumber here While these visions do appear. And this weak and idle theme, No more yielding but a dream! A knock of Puck’s creation, a knock back in response. The gates open. PROLOGUE (to be developed with moment work) The fairies grant the human spectators the gift of sight. The audience enters a room that was once a theatre, but is now overrun by nature in her various forms. The fairies play. The child sleeps. The Lovers sleep, hands locked together. A woman of light blesses the space. The roles are given. The sleeping wake and depart. The storm approaches.
    [Show full text]
  • Core Classics® Edition of a Midsummer Night's Dream
    Unit 5 Drama A Midsummer Night’s Dream by William Shakespeare Teacher Guide Core Knowledge Language Arts® Knowledge Core GRADE 5 GRADE Unit 5 Drama A Midsummer Night’s Dream by William Shakespeare Teacher Guide GRADE 5 Core Knowledge Language Arts® A Midsummer Night’s Dream Teacher Guide was made possible with support from the Charles and Lynn Schusterman Family Foundation. We would also like to thank Dr. Emily Chiariello (http://www.chiariello-consulting.com/) and Dr. Ebony Thomas (http://scholar.gse.upenn.edu/thomas) for their review of this Teacher Guide and for their insights and recommendations for resources and revisions, which have greatly enhanced this Teacher Guide. We also thank Robin McClellan and the teachers and coaches of Sulllivan County. This OER unit is offered as a supplement to the core CKLA program developed by the Core Knowledge Foundation. The unit is not part of the current CKLA print program available for purchase from Amplify. However, as we gather more feedback on how this unit works in classrooms, Amplify and the Core Knowledge Foundation will consider how this unit may be incorporated into future iterations of the core CKLA program sold by Amplify. Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License.
    [Show full text]
  • Within Midsummer Nights: Dichotomies in the Collective Dream
    The Corinthian Volume 9 Article 6 2008 Within Midsummer Nights: Dichotomies in the Collective Dream Cheryl New Georgia College & State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation New, Cheryl (2008) "Within Midsummer Nights: Dichotomies in the Collective Dream," The Corinthian: Vol. 9 , Article 6. Available at: https://kb.gcsu.edu/thecorinthian/vol9/iss1/6 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. Within Midsummer Nights: Dichotomies in the Collective Dream Within Midsummer Nights: Dichotomies in the Collective Dream Cheryl New Dr. Wayne Glowka Faculty Sponsor Generations of readers have recognized William Shakespeare’s A Midsummer Night’s Dream as a light-hearted comedy that delights and engages. Its subject appears straight-forward and winningly superficial: love—love that conquers all—and how it affects the lives of four Athenian youths. But if we are to look to the title to receive some direction, we would notice a succession of nouns: summer, night, and dream. What do these things mean? Each of them has an opposite, an archetypical antithesis that rules one aspect of the play. These pairs, as well as the pairs of lovers them- selves, enforce an extended series of dichotomies on the play which in turn veil wonderlands of meaning and symbolic significance. The unconscious interpretation of these meanings echoes the nature of dreams—that which we recall as a perpetual memory but never experience.
    [Show full text]
  • Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism
    Queering the Shakespeare Film ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism Anthony Guy Patricia Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Imprint previously known as Arden Shakespeare 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY, THE ARDEN SHAKESPEARE and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Anthony Guy Patricia, 2017 Anthony Guy Patricia has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4742-3703-1 ePDF: 978-1-4742-3705-5 ePub: 978-1-4742-3704-8 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Cover image: Imogen Stubbs as Viola and Toby Stephens as Orsino,
    [Show full text]
  • "The Sense of an Ending": the Destabilizing Effect of Performance Closure in Shakespeare's Plays
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-8-2016 12:00 AM "The Sense of An Ending": The Destabilizing Effect of Performance Closure in Shakespeare's Plays Megan Lynn Selinger The University of Western Ontario Supervisor Margaret Jane Kidnie The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Megan Lynn Selinger 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Literature in English, British Isles Commons, and the Performance Studies Commons Recommended Citation Selinger, Megan Lynn, ""The Sense of An Ending": The Destabilizing Effect of Performance Closure in Shakespeare's Plays" (2016). Electronic Thesis and Dissertation Repository. 3797. https://ir.lib.uwo.ca/etd/3797 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract What makes a good ending? How do we know when something ends? In performance, it is difficult to characterize that nebulous and highly subjective — yet nonetheless theatrically powerful — “sense” of an ending. Previous scholarly work on Shakespearean endings, even when emphasizing performance, has largely focused on understanding endings from a narrative viewpoint, questioning how endings reach textual closure. These works examine the lingering questions or problems at the end of Shakespeare’s texts, and discuss how performance tackles these issues. This dissertation takes performance as its starting point.
    [Show full text]
  • In Shakespeare's a Midsummer Night's Dream
    WOMEN, POWER AND SILENCE IN SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM A University Thesis Presented to the Faculty of California State University, Hayward In Partial Fulfillment ofthe Requirements for the Degree Masters ofArts in English By Dana M. ChoWis June, 2000 Dana M. Chohlis c June 2000 ii WOMEN, POWER AND SILENCE IN SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM By Dana M. Chehlis Approved: Date: iii Table ofContents Page 1. Introduction . 1 2. Chapter 1 . 3 "How shall we find the concord ofthis discord" .. 3 3. Chapter 2 . 13 "Thatwasill ksome tears ill .t h e true pellormmg~. 0 f'It" .. 13 4. Chapter 3 . 20 "I know not by what power I am made bold" .. 20 5. Chapter 4 . 35 "The most lamentable comedy" .. 35 6. Bibliography . 60 iv Introduction William Shakespeare creates a shimmering web, a dramatic fairyland in his play A Midsummer Night's Dream. The play has the general atmosphere ofa dream with it's confusions oftime, space and object. In this playa dreaming other world is shaped; a joyous event in a wondrous realm, in a timeless manner. Real dreams have a surrealistic, magical quality as does Shakespeare's play. In the summer of 1999 I directed A Midsummer Night's Dream at Cal State Hayward. A Midsummer Night's Dream on the surface is silly, unreal, surreal, lively, escapist and childlike. I wanted the audience to put aside their adult problems for an evening and regain their childhood suspension ofdisbelief Oberon, King ofthe Fairies, opened the play by hypnotizing the audience so all could be part ofthe dream.
    [Show full text]
  • Download Putnam's Word Book
    Putnam's Word Book by Louis A. Flemming Putnam's Word Book by Louis A. Flemming Produced by the Distributed Proofreaders. Putnam's Word Book A Practical Aid in Expressing Ideas through the Use of an Exact and Varied Vocabulary By Louis A. Flemming Copyright, 1913 by G. P. Putnam's Sons (Under the title _Synonyms, Antonyms, and Associated Words_) Preface page 1 / 1.424 The purpose of this book, as conceived by the author, is not to attempt to create or to influence usage by pointing out which words should or should not be used, nor to explain the meaning of terms, but simply to provide in a form convenient for reference and study the words that can be used, leaving it to those who consult its pages to determine for themselves, with the aid of a dictionary if necessary, which words supply the information they are looking for or express most accurately the thoughts in their minds. The questions, therefore, that were constantly in the author's mind while he was preparing the manuscript were not, _is_ this word used? nor _should_ it be used? but is it a word that some one may want to know as a matter of information or to use in giving expression to some thought? When the word in question seemed to be one that would be of service it was given a place in the collection to which it belongs. Believing the book would be consulted by students and workers in special fields, the author incorporated into it many words, including some technical terms, that might, in the case of a work of more restricted usefulness, have been omitted.
    [Show full text]
  • Shakespearean Thinking 3. Atypical Minds A. Away with the Fairies
    Shakespearean Thinking 3. Atypical Minds A. Away With The Fairies Again Underlying this lecture, at a distance: Thomas Nagel, 'What Is It Like To Be A Bat?', Philosophical Review, 1974; and perhaps Peter Hacker, 'Is There Anything It Is Like To Be A Bat?', Philosophy, 1977. Shakespeare represents modes of thinking that are hard to imagine. Can we detect and/or take the particular perspective of a fairy? OBERON My gentle Puck, come hither. Thou rememberest Since once I sat upon a promontory, And heard a mermaid on a dolphin's back Uttering such dulcet and harmonious breath That the rude sea grew civil at her song And certain stars shot madly from their spheres, To hear the sea-maid's music. PUCK I remember. OBERON That very time I saw, but thou couldst not, Flying between the cold moon and the earth, Cupid all arm'd: a certain aim he took At a fair vestal throned by the west, And loosed his love-shaft smartly from his bow, As it should pierce a hundred thousand hearts; But I might see young Cupid's fiery shaft Quench'd in the chaste beams of the watery moon, And the imperial votaress passed on, In maiden meditation, fancy-free. Yet mark'd I where the bolt of Cupid fell: It fell upon a little western flower, Before milk-white, now purple with love's wound, And maidens call it love-in-idleness. Fetch me that flower; the herb I shew'd thee once: The juice of it on sleeping eye-lids laid Will make or man or woman madly dote Upon the next live creature that it sees.
    [Show full text]
  • Staging Imagination: Transformations of Shakespeare in Wordsworth and Coleridge
    Durham E-Theses Staging imagination: transformations of Shakespeare in Wordsworth and Coleridge O'Boyle, Patricia Marie How to cite: O'Boyle, Patricia Marie (2008) Staging imagination: transformations of Shakespeare in Wordsworth and Coleridge, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2549/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Staging Imagination: Transformations of Shakespeare in Wordsworth and Coleridge Patricia Marie O'Boyle Ph.D. Thesis Department of English Studies Durham University The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2008 Acknowledgements This doctoral research could not have been completed without the kindness, guidance, and always timely help of Professor Michael O'Neill, to whom I give my warmest thanks and appreciation.
    [Show full text]
  • 2008 International List of Protected Names
    LISTE INTERNATIONALE DES NOMS PROTÉGÉS (également disponible sur notre Site Internet : www.IFHAonline.org) INTERNATIONAL LIST OF PROTECTED NAMES (also available on our Web site : www.IFHAonline.org) Fédération Internationale des Autorités Hippiques de Courses au Galop International Federation of Horseracing Authorities _________________________________________________________________________________ _ 46 place Abel Gance, 92100 Boulogne, France Avril / April 2008 Tel : + 33 1 49 10 20 15 ; Fax : + 33 1 47 61 93 32 E-mail : [email protected] Internet : www.IFHAonline.org La liste des Noms Protégés comprend les noms : The list of Protected Names includes the names of : ) des gagnants des 33 courses suivantes depuis leur ) the winners of the 33 following races since their création jusqu’en 1995 first running to 1995 inclus : included : Preis der Diana, Deutsches Derby, Preis von Europa (Allemagne/Deutschland) Kentucky Derby, Preakness Stakes, Belmont Stakes, Jockey Club Gold Cup, Breeders’ Cup Turf, Breeders’ Cup Classic (Etats Unis d’Amérique/United States of America) Poule d’Essai des Poulains, Poule d’Essai des Pouliches, Prix du Jockey Club, Prix de Diane, Grand Prix de Paris, Prix Vermeille, Prix de l’Arc de Triomphe (France) 1000 Guineas, 2000 Guineas, Oaks, Derby, Ascot Gold Cup, King George VI and Queen Elizabeth, St Leger, Grand National (Grande Bretagne/Great Britain) Irish 1000 Guineas, 2000 Guineas, Derby, Oaks, Saint Leger (Irlande/Ireland) Premio Regina Elena, Premio Parioli, Derby Italiano, Oaks (Italie/Italia)
    [Show full text]