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Introduction Michael Hattaway
1 Introduction Michael Hattaway What does it mean to speak of ‘the English Renaissance’? Within the parts of this volume, defining historical contexts and perspectives, the next offering readings of particular texts along with accounts of genres and modes, and the last presenting engagements with a number of critical issues and debates, we approach the question in a variety of ways. The word ‘Renaissance’ designates ‘rebirth’, a metaphor applied, from its begin- nings, to a cultural vision that originated in Italy. For the nineteenth and twentieth centuries this was projected in a magnificent synthesis by Jacob Burckhardt, The Civ- ilization of the Renaissance in Italy (1860). Burckhardt retrospectively laid out a master proposal to revive the art and learning of the classical world, to emulate the grandeur of ancient cities, to stimulate science and geographical discovery, and to produce art and literature that imitated antique models, an undertaking which was dedicated as much to the profane as to the spiritual. Rival city states of Italy required monuments to enhance their fame, and thus ensured patronage for the writers and artists who duly bequeathed to posterity the texts and great architectural and visual exemplars with which we are all familiar. Burckhardt’s categories, which rest upon notions of ‘genius’, ‘individuality’ and secularization, have percolated into all too many derivative hand- books for the period: they may not, however, fit the English experience. England did enjoy a phenomenal energizing of literature: this is an age that, tra- ditionally, has at its centre, Spenser and Sidney, Marlowe and Nashe, Shakespeare, and Jonson. Ben Jonson, exceptionally, did publish his ‘works’ in a manner befitting an author of the Renaissance, although some of the dramatic genres he used have medieval origins. -
\~~A L BEC~US Tes OUR LAND
Palestinian struggle: the real facts -see story page 6- • The following letter of protest was sent to President Nixon have been ordered to the coast of Lebanon, and that you on behalf of the 75 Socialist \Vorkers Party candidates for have placed on alert troops from the Eighth Infantry Division public office in 15 states. It was written by Paul Boutelle, in West Germany and the 82nd Airborne Division at Fort SWP vice-presidential candidate in 1968 and currently the Bragg, N. C. I remember the 82nd Airborne as the same SWP candidate for Congress from Harlem. Paul Boutelle division that President Johnson sent to Santo Domingo to has just returned from a fact-finding trip to the Middle East. crush the uprising there in 1965, and into Detroit in 1967 * * * to crush the revolt of the Black community. President Nixon: This is not a coincidence. The struggles of the Dominicans The Socialist Workers Party demands the immediate halt and Afro-Americans, like those of the Palestinians, are strug to all steps toward U.S. military intervention in the Jor gles of oppressed peoples to control their own affairs. danian civil war. The U.S. has no right whatsoever in The United States government's support for the reactionary, Jordan. Zionist regime in Israel and its support for King Hussein's People throughout the world are just beginning to learn slaughter of the Palestinian refugees is consistent with its the scope of the wholesale slaughter that is occurring in support to reactionary dictatorships throughout the world Jordan right now. We hold your administration and its from Cambodia and Vietnam to South Africa, Greece and imperialist policies responsible for the bloodbath being per Iran. -
The Theological Socialism of the Labour Church
‘SO PECULIARLY ITS OWN’ THE THEOLOGICAL SOCIALISM OF THE LABOUR CHURCH by NEIL WHARRIER JOHNSON A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Theology and Religion School of Philosophy, Theology and Religion College of Arts and Law University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The thesis argues that the most distinctive feature of the Labour Church was Theological Socialism. For its founder, John Trevor, Theological Socialism was the literal Religion of Socialism, a post-Christian prophecy announcing the dawn of a new utopian era explained in terms of the Kingdom of God on earth; for members of the Labour Church, who are referred to throughout the thesis as Theological Socialists, Theological Socialism was an inclusive message about God working through the Labour movement. By focussing on Theological Socialism the thesis challenges the historiography and reappraises the significance of the Labour -
Popular British Ballads : Ancient and Modern
11 3 A! LA ' ! I I VICTORIA UNIVERSITY LIBRARY SHELF NUMBER V STUDIA IN / SOURCE: The bequest of the late Sir Joseph Flavelle, 1939. Popular British Ballads BRioky Johnson rcuvsrKAceo BY CVBICt COOKe LONDON w J- M. DENT 5" CO. Aldine House 69 Great Eastern Street E.G. PHILADELPHIA w J. B. LIPPINCOTT COMPANY MDCCCXCIV Dedication Life is all sunshine, dear, If you are here : Loss cannot daunt me, sweet, If we may meet. As you have smiled on all my hours of play, Now take the tribute of my working-day. Aug. 3, 1894. eooccoc PAGE LIST OF ILLUSTRATIONS xxvii THE PREFACE /. Melismata : Musical/ Phansies, Fitting the Court, Cittie, and Countrey Humours. London, 1 6 1 i . THE THREE RAVENS [MelisMtata, No. 20.] This ballad has retained its hold on the country people for many centuries, and is still known in some parts. I have received a version from a gentleman in Lincolnshire, which his father (born Dec. 1793) had heard as a boy from an old labouring man, " who could not read and had learnt it from his " fore-elders." Here the " fallow doe has become " a lady full of woe." See also The Tiua Corbies. II. Wit Restored. 1658. LITTLE MUSGRAVE AND LADY BARNARD . \Wit Restored, reprint Facetix, I. 293.] Percy notices that this ballad was quoted in many old plays viz., Beaumont and Fletcher's Knight of the xi xii -^ Popular British Ballads v. The a Act IV. Burning Pestle, 3 ; Varietie, Comedy, (1649); anc^ Sir William Davenant's The Wits, Act in. Prof. Child also suggests that some stanzas in Beaumont and Fletcher's Bonduca (v. -
Purgatoire Saint Patrice, Short Metrical Chronicle, Fouke Le Fitz Waryn, and King Horn
ROMANCES COPIED BY THE LUDLOW SCRIBE: PURGATOIRE SAINT PATRICE, SHORT METRICAL CHRONICLE, FOUKE LE FITZ WARYN, AND KING HORN A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Catherine A. Rock May 2008 Dissertation written by Catherine A. Rock B. A., University of Akron, 1981 B. A., University of Akron, 1982 B. M., University of Akron, 1982 M. I. B. S., University of South Carolina, 1988 M. A. Kent State University, 1991 M. A. Kent State University, 1998 Ph. D., Kent State University, 2008 Approved by ___________________________________, Chair, Doctoral Dissertation Committee Susanna Fein ___________________________________, Members, Doctoral Dissertation Committee Don-John Dugas ___________________________________ Kristen Figg ___________________________________ David Raybin ___________________________________ Isolde Thyret Accepted by ___________________________________, Chair, Department of English Ronald J. Corthell ___________________________________, Dean, College of Arts and Sciences Jerry Feezel ii TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………viii Chapter I. Introduction .................................................................................................. 1 Significance of the Topic…………………………………………………..2 Survey of the State of the Field……………………………………………5 Manuscript Studies: 13th-14th C. England………………………...5 Scribal Studies: 13th-14th C. England……………………………13 The Ludlow Scribe of Harley 2253……………………………...19 British Library -
Resource Guide the Adventures of Robin Hood
2019-2020 Theatre Season Heroes and Villains Blinn College Division of Visual/Performing Arts and Kinesiology Brenham Campus The Adventures of Robin Hood Resource Guide This resource guide serves as an educational starting point to understanding and enjoying Michele L. Vacca’s adaptation of The Adventures of Robin Hood. With this in mind, please note that the interpretations of the theatrical work may differ from the original source content. Performances November 21 & 22 7 p.m. November 23 & 24 2 p.m. Elementary School Preview Performances: November 21 & 22 10 a.m. & 1 p.m. Dr. W.W. O’Donnell Performing Arts Center Auditorium Brenham, Texas Tickets can be purchased in advance online at www.blinn.edu/BoxOffice, by calling 979-830-4024, or by emailing [email protected] Directed by Brad Nies Technical Theatre Direction by Kevin Patrick Costume, Makeup, and Hair Design by Jennifer Patrick KCACTF Entry The Adventures of Robin Hood is Blinn College-Brenham’s entry to the 2019 Kennedy Center American College Theatre Festival. The aims of this national theater program are to identify and promote quality in college-level theater production. Each production entered is eligible for a response by a KCACTF representative. Synopsis Based on the novel The Merry Adventures of Robin Hood by Howard Pyle, and adapted by Chicago playwright Michele L. Vacca, this play tells the story of a heroic outlaw who lives in Sherwood Forest and bestows generosity to the less fortunate. But when the nasty Sheriff of Nottingham forces the locals to pay unaffordable taxes, Robin fights against him by stealing from the rich so that he may give to the poor. -
The English Ballads and the Church
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 1920 THE ENGLISH BALLADS AND THE CHURCH Louise Pound Follow this and additional works at: https://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, and the Reading and Language Commons This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. PUBLICATIONS OF THE Modern Language Association of America 19zO VOL. XXXV, 2 NEW SERIES, VOL. XXVIII, 2 IX.-THE ENGLISH BALLADS AND THE CHURCH Many origins have been suggested for the type of nar- rative song appearing in the English and Scottish tradi- tional ballads: minstrel genesis, origin in the dance, im- provisations of media3val peasant communes, or descent from the dance songs of primitive peoples. The hypothe- sis of minstrel origin was that first to be advanced and it has always retained supporters. There remains a possi- bility not yet brought forward which deserves to be pre- sented for what it is worth, since the problem, though it may be insoluble, has its attraction for critic and student. WVe have but meager knowledge of the ballad melodies of pre-Elizabethan days, and we can get but little farther with the study of the ballads by way of research into medimeval music. Moreover the earliest texts remaining to us seem to have been meant for recital rather than for singing. -
Spenser's Method of Grace in the Legends of Holiness, Temperance
Spenser’s Method of Grace in the Legends of Holiness, Temperance, and Chastity A thesis submitted to the Graduate School Valdosta State University in partial fulfillment of requirements for the degree of MASTER OF ARTS in English in the Department of English of the College of Humanities and Social Science May 2020 Rachel A. Miller BA, The Baptist College of Florida, 2017 i © Copyright 2020 Rachel A. Miller All Rights Reserved ii ABSTRACT The knights Redcrosse, Guyon, and Scudamour from The Faerie Queene are tasked with quests that curiously do not depend on wit or strength. Rather, the quests depend on each knight’s virtue and his acceptance of grace, the supreme virtue for Spenser. Through the wanderings of each knight, Spenser shows that there is a method of grace fashioned specifically for each knight’s quest both physical and spiritual that always requires the knights to reject false images of grace in exchange for God’s true grace. Grace will not abandon Gloriana’s knights, but as Guyon and Scudamour’s stubborn rejection of this virtue teaches, when grace is rejected, divine harmony, the loving cooperation between God and humanity that Redcrosse glimpses at the end of his quest, will be broken and replaced with fear and all the vices that follow it. iii TABLE OF CONTENTS Chapter I: INTRODUCTION………………………………………………………….1 Spenser’s World: The Faerie Queene’s Historical Context ..............................2 Chapter 2: WHEN A CLOWNISH YOUNG MAN SLAYS A DRAGON…………..13 Redcrosse Receives His Calling………………………………………………13 Discovering Truth……………………………………………………………..16 -
Robin Hood the Brute: Representations of The
Law, Crime and History (2016) 2 ROBIN HOOD THE BRUTE: REPRESENTATIONS OF THE OUTLAW IN EIGHTEENTH CENTURY CRIMINAL BIOGRAPHY Stephen Basdeo1 Abstract Eighteenth century criminal biography is a topic that has been explored at length by both crime historians such as Andrea McKenzie and Richard Ward, as well as literary scholars such as Lincoln B. Faller and Hal Gladfelder. Much of these researchers’ work, however, has focused upon the representation of seventeenth and eighteenth century criminals within these narratives. In contrast, this article explores how England’s most famous medieval criminal, Robin Hood, is represented. By giving a commentary upon eighteenth century Robin Hood narratives, this article shows how, at a time of public anxiety surrounding crime, people were less willing to believe in the myth of a good outlaw. Keywords: eighteenth century, criminal biography, Robin Hood, outlaws, Alexander Smith, Charles Johnson, medievalism Introduction Until the 1980s Robin Hood scholarship tended to focus upon the five extant medieval texts such as Robin Hood and the Monk, Robin Hood and the Potter, Robin Hood and Guy of Gisborne, and A Gest of Robyn Hode (c.1450), as well as attempts to identify a historical outlaw.2 It was only with the work of Stephen Knight that scholarship moved away from trying to identify a real outlaw as things took a ‘literary turn’. With Knight’s work also the post- medieval Robin Hood tradition became a significant area of scholarly enquiry. His recent texts have mapped the various influences at work upon successive interpretations of the legend and how it slowly became gentrified and ‘safe’ as successive authors gradually ‘robbed’ Robin of any subversive traits.3 Whilst Knight’s research on Robin Hood is comprehensive, one genre of literature that he has not as yet examined in detail is eighteenth century criminal biography. -
The Chartist Robin Hood: Thomas Miller’S Royston Gower; Or, the Days of King John (1838)
Studies in Scottish Literature Volume 44 Article 8 Issue 2 Reworking Walter Scott 12-31-2019 The hC artist Robin Hood: Thomas Miller’s Royston Gower; or, The aD ys of King John (1838) Stephen Basdeo Richmond: the American International University Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons Recommended Citation Basdeo, Stephen (2019) "The hC artist Robin Hood: Thomas Miller’s Royston Gower; or, The aD ys of King John (1838)," Studies in Scottish Literature: Vol. 44: Iss. 2, 72–81. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss2/8 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. THE CHARTIST ROBIN HOOD: THOMAS MILLER’S ROYSTON GOWER; OR, THE DAYS OF KING JOHN (1838) Stephen Basdeo Thomas Miller was born in Gainsborough, Lincolnshire in 1807, to a poor family and in his early youth worked as a ploughboy before becoming a shoemaker’s apprentice. He had a limited education, but his mother encouraged him to read on a daily basis.1 In his adult life, he became a professional author. He greatly admired Walter Scott, whom he referred to as “the immortal author of Waverley.”2 Indeed, such was his admiration that it was in emulation of Scott’s Ivanhoe (1819) that Miller authored his own Robin Hood novel titled Royston Gower; or, The Days of King John, published in December 1838.3 Ivanhoe had a profound influence upon the Robin Hood legend. -
A BOOK of OLD BALLADS Selected and with an Introduction
A BOOK OF OLD BALLADS Selected and with an Introduction by BEVERLEY NICHOLS ACKNOWLEDGMENTS The thanks and acknowledgments of the publishers are due to the following: to Messrs. B. Feldman & Co., 125 Shaftesbury Avenue, W.C. 2, for "It's a Long Way to Tipperary"; to Mr. Rudyard Kipling and Messrs. Methuen & Co. for "Mandalay" from _Barrack Room Ballads_; and to the Executors of the late Oscar Wilde for "The Ballad of Reading Gaol." "The Earl of Mar's Daughter", "The Wife of Usher's Well", "The Three Ravens", "Thomas the Rhymer", "Clerk Colvill", "Young Beichen", "May Collin", and "Hynd Horn" have been reprinted from _English and Scottish Ballads_, edited by Mr. G. L. Kittredge and the late Mr. F. J. Child, and published by the Houghton Mifflin Company. The remainder of the ballads in this book, with the exception of "John Brown's Body", are from _Percy's Reliques_, Volumes I and II. CONTENTS FOREWORD MANDALAY THE FROLICKSOME DUKE THE KNIGHT AND SHEPHERD'S DAUGHTER KING ESTMERE KING JOHN AND THE ABBOT OF CANTERBURY BARBARA ALLEN'S CRUELTY FAIR ROSAMOND ROBIN HOOD AND GUY OF GISBORNE THE BOY AND THE MANTLE THE HEIR OF LINNE KING COPHETUA AND THE BEGGAR MAID SIR ANDREW BARTON MAY COLLIN THE BLIND BEGGAR'S DAUGHTER OF BEDNALL GREEN THOMAS THE RHYMER YOUNG BEICHAN BRAVE LORD WILLOUGHBEY THE SPANISH LADY'S LOVE THE FRIAR OF ORDERS GRAY CLERK COLVILL SIR ALDINGAR EDOM O' GORDON CHEVY CHACE SIR LANCELOT DU LAKE GIL MORRICE THE CHILD OF ELLE CHILD WATERS KING EDWARD IV AND THE TANNER OF TAMWORTH SIR PATRICK SPENS THE EARL OF MAR'S DAUGHTER EDWARD, -
KOERNER S HAVES by BUFFALO N Vv
; KOERNER S HAVES BY BUFFALO N Vv ! = \A #1 t : 4 ¢ Jack the Giant=Killer. The Giant Stepped on Jack’s Trap and Fell Headlong into the Pit. [° the days of the renowned King Arthur there lived a Cornishman named Jack, who was famous for his valiant deeds. His bold and warlike spirit showed itself in his boyish days; for Jack took especial delight in listening to the wonderful tales of giants and fairies, and of the extraordinary feats of valor displayed by the knights of King Arthur’s Round Table, which his father would sometimes relate. Jack’s spirit was so fired by these strange accounts, that he determined, if ever he became a man, that he would destroy some of the cruel giants who infested the land. Not many miles from his father’s house there lived, on the top of St. Michael’s Mount, a huge giant, who was the terror of the country round, who was named Cormoran, from his voracious appetite. It is said that he was eighteen feet in height. When he required food, he came down from his castle, and, seizing on the flocks of the poor people, would throw half a dozen oxen over his shoulders, and suspend as many sheep as he could carry, and stalk back to his castle. He had carried on these depredations many years ; and the poor Cornish people were well-nigh ruined. Jack went by night to the foot of the mount and dug a very deep pit, which he covered with sticks and straw, and over which he strewed the earth.