Weymouth Sands to Owen Glendower
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Staging the Obscene in a Glastonbury Romance (1932) by John Cowper Powys
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 21 | 2020 Modernism and the Obscene Staging the Obscene in A Glastonbury Romance (1932) by John Cowper Powys Florence Marie Electronic version URL: http://journals.openedition.org/miranda/27847 DOI: 10.4000/miranda.27847 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Florence Marie, “Staging the Obscene in A Glastonbury Romance (1932) by John Cowper Powys ”, Miranda [Online], 21 | 2020, Online since 09 October 2020, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/27847 ; DOI: https://doi.org/10.4000/miranda.27847 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Staging the Obscene in A Glastonbury Romance (1932) by John Cowper Powys 1 Staging the Obscene in A Glastonbury Romance (1932) by John Cowper Powys Florence Marie 1 “Nobody quite knows what the word ‘obscene’ itself means, or what it is intended to mean: but gradually all the old words that belong to the body below the navel have come to be judged as obscene. Obscene means today that the policeman thinks he has a right to arrest you, nothing else” (Lawrence 625). As made clear by D. H. Lawrence in 1929, there existed no definition of the term “obscenity” under English statute law. Nevertheless the idea that “fiction has the power to corrupt and offend in its cultural significance” (Potter 2013b, 10) and as a consequence that censorship was advisable was still very much in the foreground in the 1920s. -
Newsletter 76, July 2012
Editorial John Cowper rules once again, with another instalment of the late letters to Louis (1958 - the year in which our chairman Glen appears on the scene, a mystery man to the letters’ later editor Robert Lancaster). Three of our distinguished members contribute essays; and it’s hoped that the fairly detailed accounts of our agreeable (and, usually, agreeing), and thought-provoking, meetings will bring their flavour to those who missed them. We look forward to Street in August - doubtless (after its appearance at the Olympics) with a record number of pilgrims to the Tor. Chairman’s Report, 2011-2012 Looking back over my first year as Chairman, I want to thank many of you for relieving me of so many potentially burdensome responsibilities. I am especially grateful to Chris Thomas for so often stepping in to keep the show on the road, but I also want to thank our Conference organisers, our Editors at work on Journal and Newsletter, our Webmaster, our Collections curator and a big international cast and network of Powysians of all kinds. This year The Powys Society welcomed twelve new members, from places as far apart as the United States and Switzerland, indicating we are continuing to reach out. Increasingly it is the Society’s website where many new members find us, and we need your help to keep it refreshed. We are still mostly failing to attract a new generation of younger Powys readers, and if the Society is to flourish in the coming decade, we must now reach them. j Meetings were held in Ely and in Dorchester in the first half of 2012. -
Owen Glendower and the Failure of Historical Romance
52 53 Yankee puritanism and Southern aristocracy, was evinced in American literature as early as the works of James Fenimore Cooper. More recently, revisionist historical works, such as Stephen Saunders Webb, 1676: The End of American Independence (New York: Knopf, 1984) and Francis Jennings, The Invasion of America, have The Mythology of Escape: Owen expanded on the Cooper vision of the upstate New York-native Glendower and the Failure of American connection. These works have enhanced the sense of the Historical Romance native Americans as historical actors, not just passive primitives. This is far more Powysian in spirit than a view of the Indians as noble, poetic savages, transatlantic "Celts." Ian Duncan 12 Powys's interest in this area was, as usual, clairvoyant and prophetic; it went unmatched in any visible American literary production until the recent appearance of William Least Heat Owen Glendower, so melancholy in its Moon's PriaryErth, (Boston: Houghton Mifflin, 1991). preoccupation with lost origins, was the novel of John Cowper Powys's "homecoming." In 1934, Powys imposed a deceptive narrative closure upon the first sixty years of his life in the great Autobiography, and left America, where he had written his Wessex romances, to return to Britain, eventually settling in Wales in 1936. Powys's Welsh essays, collected in Obstinate Cymric (1947), record the identification of his "philosophy up-to-date" with "the idea of Wales" as a configuration of landscape, mythology and race.l Yet Powys had never lived there; the place of -
Reader's Companion to John Cowper Powys's a Glastonbury Romance
John Cowper Powys’s A Glastonbury Romance: A Reader’s Companion Updated and Expanded Edition W. J. Keith December 2010 . “Reader’s Companions” by Prof. W.J. Keith to other Powys works are available at: https://www.powys-society.org/Articles.html Preface The aim of this list is to provide background information that will enrich a reading of Powys’s novel/ romance. It glosses biblical, literary and other allusions, identifies quotations, explains geographical and historical references, and offers any commentary that may throw light on the more complex aspects of the text. Biblical citations are from the Authorized (King James) Version. (When any quotation is involved, the passage is listed under the first word even if it is “a” or “the”.) References are to the first edition of A Glastonbury Romance, but I follow G. Wilson Knight’s admirable example in including the equivalent page-numbers of the 1955 Macdonald edition (which are also those of the 1975 Picador edition), here in square brackets. Cuts were made in the latter edition, mainly in the “Wookey Hole” chapter as a result of the libel action of 1934. References to JCP’s works published in his lifetime are not listed in “Works Cited” but are also to first editions (see the Powys Society’s Checklist) or to reprints reproducing the original pagination, with the following exceptions: Wolf Solent (London: Macdonald, 1961), Weymouth Sands (London: Macdonald, 1963), Maiden Castle (ed. Ian Hughes. Cardiff: University of Wales Press, 1990), Psychoanalysis and Morality (London: Village Press, 1975), The Owl, the Duck and – Miss Rowe! Miss Rowe! (London: Village Press, 1975), and A Philosophy of Solitude, in which the first English edition is used. -
Ankenym Powysjournal 1996
Powys Journal, 1996, vol. 6, pp. 7-61. ISSN: 0962-7057 http://www.powys-society.org/ http://www.powys-society.org/The%20Powys%20Society%20-%20Journal.htm © 1996 Powys Society. All rights reserved. Drawing of John Cowper Powys by Ivan Opffer, 1920 MELVON L. ANKENY Lloyd Emerson Siberell, Powys 'Bibliomaniac' and 'Extravagantic' John Cowper Powys referred to him as 'a "character", if you catch my meaning, this good Emerson Lloyd S. — a very resolute chap (with a grand job in a big office) & a swarthy black- haired black-coated Connoisseur air, as a Missioner of a guileless culture, but I fancy no fool in his office or in the bosom of his family!'1 and would later describe him as 'a grand stand-by & yet what an Extravagantic on his own our great Siberell is for now and for always!'2 Lloyd Emerson Siberell, the 'Extravagantic' from the midwestern United States, had a lifelong fascination and enthusiasm for the Powys family and in pursuit of his avocations as magazine editor, publisher, writer, critic, literary agent, collector, and corresponding friend was a constant voice championing the Powys cause for over thirty years. Sometimes over-zealous, always persistent, unfailingly solicitous, both utilized and ignored, he served the family faithfully as an American champion of their art. He was born on 18 September 1905 and spent his early years in the small town of Kingston, Ohio; 'a wide place in the road, on the fringe of the beautiful Pickaway plains the heart of Ohio's farming region, at the back door of the country, so to speak.' In his high school days he 'was always too busy reading the books [he] liked and playing truant to ever study seriously...' He 'enjoyed life' and was 'a voracious reader but conversely not the bookworm type of man.'3 At seventeen he left school and worked a year at the Mead Corporation paper mill in Chillicothe, Ohio and from this experience he dated his interest in the art and craft of paper and paper making. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Powys Society Newsletter 14: November 1991
Editorial At a time of recession, when many literary societies are losing members and the world of publishing is becoming ever more constrained, it is pleasing to see that the Powys Society is not only growing but extending into new and exciting areas. 1991 has seen not only an extremely successful Conference at Kingston Maurward, but also the establishment of a Powys display at Montacute House and a very popular exhibition of Powys materials at the Dorset County Museum. Linked to the exhibition was the publication by the Dorset Natural History and Archaeological Society of The Powys Family in Dorset, a pamphlet by Charles Lock based upon original research for his forthcoming biography of John Cowper Powys. The Society itself has also been active in the field of publishing, having launched the magnificent Powys Journal, 152 pages of unpublished Powys material, scholarly essays and review articles. The Journal is a major advance for the Society and one which will be valued by all of those with an interest in Powys studies, whether members of the Society or not. At the same time, the Society published a series of four postcards featuring photographs of Theodore, Llewelyn, John Cowper and the whole Powys family, as well as Alan Howe’s Powys Checklist, a thorough guide to the publications of each member of the family which will rapidly become indispensible to readers, collectors and students. Meanwhile, in addition to those forthcoming books already announced in the Newsletter, Gerald Pollinger, literary agent for the Powys family, reports that B.B.C television has shown interest in producing Weymouth Sands in 1993, while Central Television are considering the possibility of a film of Wolf Solent and the film options for A Glastonbury Romance and After My Fashion have been renewed. -
WELSH POEMS and BALLADS Digitized by the Internet Archive
> ^^ 3 í WELSH POEMS AND BALLADS Digitized by the Internet Archive in 2013 http://archive.org/details/welshpoennsballadOOborr WELSH POEMS AND BALLADS BY GEORGE BORROW ^pi«^ WITH AN INTRODUCTION BY ERNEST RHYS NEW YORK G. P. PUTNAM'S SONS MCMXV TO THOMAS J. WISE, Bibliophile, Bibliographer and Good Borrovian (at whose instance this Norfolk Budget of Welsh Verse was brought together). '^^S^OLLEGE CHESTNUT mLULIBRARY,H^^ mzäm7 3S9722 CONTENTS Page Introduction - - - - - 9 Glendower's Mansion. By lolo Goch. Borrow MSS. 27 Ode to the Comet. By lolo Goch. Borrow MSS. 33 Ode to Glendower. By lolo Goch. Borrow MSS 39 "Here's the Life I've sighed for long.'* By lolo Goch. "Wild Wales" - - 45 " The Prophecy of Taliesin. ' * Targum - 49 " The History of Taliesin. "Targum - 53 The Mist. By Dafydd ab Gwilym. "Wild Wales" 59 The Cuckoo 's Song in Meiron. By Lewis Morris o Fon. Borrow MSS. - - - 63 ' " - The Snow on Eira. ' Wild Wales - 69 The Invitation. By Goronwy Owen. "Tar- gum " - - - - - 73 The Pedigree of the Muse. Goronwy Owen. Borrow MSS. - - - - 79 The Harp. Goronwy Owen. Borrow MSS - 87 Epigram on a Miser. "Targum " - - 91 Griffith ap Nicholas. By Gwilym ab leuan Hen. "Wild Wales" - - - - 95 Riches and Poverty. By Twm o'r Nant. "Wild Wales" - - - - 99 The Perishing World. By Elis Wynn. "The Sleeping Bard " - - - - 109 Death the Great. By Elis Wynn. "The Sleeping Bard " - - - - 115 The Heavy Heart. By Elis Wynn. " The Sleeping Bard " - - - - 121 5 CONTENTS Page Ryce of Twyn. By Dafydd Nanmor. - 129 Llywelyn. By Dafydd Benfras. "Quarterly " Review - - - - 133 Plynlimmon, By Lewis Glyn Cothi. -
Download the Programme for the Xvith International Congress of Celtic Studies
Logo a chynllun y clawr Cynlluniwyd logo’r XVIeg Gyngres gan Tom Pollock, ac mae’n seiliedig ar Frigwrn Capel Garmon (tua 50CC-OC50) a ddarganfuwyd ym 1852 ger fferm Carreg Goedog, Capel Garmon, ger Llanrwst, Conwy. Ceir rhagor o wybodaeth ar wefan Sain Ffagan Amgueddfa Werin Cymru: https://amgueddfa.cymru/oes_haearn_athrawon/gwrthrychau/brigwrn_capel_garmon/?_ga=2.228244894.201309 1070.1562827471-35887991.1562827471 Cynlluniwyd y clawr gan Meilyr Lynch ar sail delweddau o Lawysgrif Bangor 1 (Archifau a Chasgliadau Arbennig Prifysgol Bangor) a luniwyd yn y cyfnod 1425−75. Mae’r testun yn nelwedd y clawr blaen yn cynnwys rhan agoriadol Pwyll y Pader o Ddull Hu Sant, cyfieithiad Cymraeg o De Quinque Septenis seu Septenariis Opusculum, gan Hu Sant (Hugo o St. Victor). Rhan o ramadeg barddol a geir ar y clawr ôl. Logo and cover design The XVIth Congress logo was designed by Tom Pollock and is based on the Capel Garmon Firedog (c. 50BC-AD50) which was discovered in 1852 near Carreg Goedog farm, Capel Garmon, near Llanrwst, Conwy. Further information will be found on the St Fagans National Museum of History wesite: https://museum.wales/iron_age_teachers/artefacts/capel_garmon_firedog/?_ga=2.228244894.2013091070.156282 7471-35887991.1562827471 The cover design, by Meilyr Lynch, is based on images from Bangor 1 Manuscript (Bangor University Archives and Special Collections) which was copied 1425−75. The text on the front cover is the opening part of Pwyll y Pader o Ddull Hu Sant, a Welsh translation of De Quinque Septenis seu Septenariis Opusculum (Hugo of St. Victor). The back-cover text comes from the Bangor 1 bardic grammar. -
Oriel College Record
Oriel College Record 2020 Oriel College Record 2020 A portrait of Saint John Henry Newman by Walter William Ouless Contents COLLEGE RECORD FEATURES The Provost, Fellows, Lecturers 6 Commemoration of Benefactors, Provost’s Notes 13 Sermon preached by the Treasurer 86 Treasurer’s Notes 19 The Canonisation of Chaplain’s Notes 22 John Henry Newman 90 Chapel Services 24 ‘Observing Narrowly’ – Preachers at Evensong 25 The Eighteenth Century World Development Director’s Notes 27 of Revd Gilbert White 92 Junior Common Room 28 How Does a Historian Start Middle Common Room 30 a New Book? She Goes Cycling! 95 New Members 2019-2020 32 Eugene Lee-Hamilton Prize 2020 100 Academic Record 2019-2020 40 Degrees and Examination Results 40 BOOK REVIEWS Awards and Prizes 48 Gonzalo Rodriguez-Pereyra, Leibniz: Graduate Scholars 48 Discourse on Metaphysics 104 Sports and Other Achievements 49 Robert Wainwright, Early Reformation College Library 51 Covenant Theology: English Outreach 53 Reception of Swiss Reformed Oriel Alumni Advisory Committee 55 Thought, 1520-1555 106 CLUBS, SOCIETIES NEWS AND ACTIVITIES Honours and Awards 110 Chapel Music 60 Fellows’ and Lecturers’ News 111 College Sports 63 Orielenses’ News 114 Tortoise Club 78 Obituaries 116 Oriel Women’s Network 80 Other Deaths notified since Oriel Alumni Golf 82 August 2019 135 DONORS TO ORIEL Provost’s Court 138 Raleigh Society 138 1326 Society 141 Tortoise Club Donors 143 Donors to Oriel During the Year 145 Diary 154 Notes 156 College Record 6 Oriel College Record 2020 VISITOR Her Majesty the Queen -
A Glastonbury Romance—Bert's Cauldron
Published in la lettre powysienne numéro 9, printemps 2005, see : http://www.powys-lannion.net/Powys/LettrePowysienne/number9.htm A Glastonbury Romance — Bert’s Cauldron NO WORD in literature, unless perhaps ‘ballad’ or ‘legend’, can have more power to evoke the magical and the marvellous than ‘romance’. Under the roofs of Powys’s Glastonbury and under the craniums of its extraordinary inhabitants marvels occur as everyday happenings. In John Cowper Powys’s letter to Frances Gregg in 19311 he writes of his intention to invent the characters of his book “in Vacuo out of life and experience”—a phrase which, in his case, must imply a very broad imaginative scope indeed. Mr Geard—‘Bloody Johnny’—the holy magician of the story, was laughingly compared by Canon William Crow to Rabelais’s “Frère Jean 2 des Entommeures”, “Friar John of the Funnels” . Geard describes himself as a conduit—receiving, channelling and knowing vicariously the feelings and sensations of those in the world around him and drawing on forces and powers from beyond the visible world. He is a medium. Geard’s creator, John Cowper Powys, is a medium of a very different kind—the funnel and conduit of his own unfettered imagination, free to dictate and shape A Glastonbury Romance. The result is a poetic and extremely complex book which almost defies overall cohesive study. Glastonbury is itself a character of the romance. The life of the town is dreamlike, vivid to the senses and contained in its own reality. It is affected by the consciousnesses of those who have been there, by personified forces (or gods)—particularly Chance—and by the dual malice and goodness of a ‘First Cause’ interacting with the goodness and malice in all other identities. -
THE INTERACTION BETWEEN LANDSCAPE and MYTH in the NOVELS of JOHN COWPER POWYS by GWYNETH F. MILES MA Bryn Mawr College, 196?
c . \ THE INTERACTION BETWEEN LANDSCAPE AND MYTH IN THE NOVELS OF JOHN COWPER POWYS by GWYNETH F. MILES M.A. Bryn Mawr College, 196? A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, 1973 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver 8, Canada i Abstract Powys' novels are deeply rooted in a sense of place; much of their conflict develops through the effect of a particular locality upon the characters who live there or come there. This thesis demonstrates how Powys' sense of place is com• pounded of both a feeling for the physical landscape, and an awareness of the historical and mythical traditions which form its human past. Powys finds correspondences between the scenery and legends of a locality and the psychological states of his personae, and thus uses landscape and myth for symbolic purposes. The interaction of myth and landscape largely creates the characteristic atmosphere of the five novels studied here.