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The Chapbooks and Broadsides of James Chalmers III, Printer in Aberdeen: Some Re-Discoveries and Initial Observations on His Woodcuts
The Chapbooks and Broadsides of James Chalmers III, Printer in Aberdeen: Some Re-discoveries and Initial Observations on His Woodcuts IAIN BEAVAN BACKGROUND This essay consists of two related elements. First, an empirical discussion of recent evidence to emerge for chapbook and broadside production in Aberdeen. Second, a consideration of some features of the woodcuts used by James Chalmers III and other chapbook printers, which, in the present context, provide the central evidential theme of this investigation. Previous and contemporary scholars have argued that the north-east of Scotland has the richest ballad and popular song tradition in Britain, and that an analysis of Francis Child’s still unsurpassed and authoritative fi ve-volume compilation, The English and Scottish Popular Ballads, shows that ‘one-third of Child’s Scottish texts and almost one-third of his A-texts [his base or ‘prime’ texts, from which variants may be identifi ed] come from Aberdeenshire’.1 Moreover, ‘of some 10,000 variants of Lowland Scottish songs recorded by the School of Scottish Studies [of Edinburgh University] … several thousand are from the Aberdeen area alone’.2 From the early eighteenth century, popular lowland Scottish song had found itself expressed in printed form, early appearances having been James Watson’s Choice Collection of Comic and Serious Scots Poems, 3 parts (Edinburgh, 1706–11), followed by the Edinburgh Miscellany (Edinburgh, 1720) and Allan Ramsay’s Tea-table Miscellany (Edinburgh, 1723).3 From the mid-eighteenth century also, Scottish chapbook texts appeared in ever increasing numbers, given over to different sub-genres, including histories, prophecies, humorous stories and collections of songs (often called garlands). -
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. -
Mikee Delony Abilene Christian University Peer-Reviewed Robin
A REVIEW OF THE YEAR’S PUBLICATIONS IN ROBIN HOOD SCHOLARSHIP Mikee Delony Abilene Christian University Peer-reviewed Robin Hood scholarship published in 2015 includes two single-author books, two edited book chapters, and eight journal articles. These publications examine specific texts from the matter of Robin Hood, providing new approaches to familiar texts and further exploration of less-familiar materials. Many scholars also comment on the tradition’s capacity for seemingly endless adaptation and highlight the similar ideological and political threads woven through the materials. Shining an academic light upon five centuries of Robin Hood texts that celebrate political resistance and public activism against oppression takes on new importance in light of contemporary global resistance to government overreach and systemic oppression. Since Robin Hood scholarship also tends to resist categorization, I have loosely grouped these reviews by literary chronology and genre. GENERAL STUDIES In Reading Robin Hood: Content, Form, and Reception in the Outlaw Myth,1 Stephen Knight revisits the Robin Hood literary tradition from his position as one of the early pioneers in the field of Robin Hood studies. In his survey, which ranges from medieval oral ballads to twenty- first film and television adaptations, Knight notes the multivalent, “unhierarchial, nonlinear” (10) nature of the tradition and suggests that Deleuze and Guattari’s rhizomatic “model of multiplicity” (234) might best describe the “various, porous, [and] richly labile” legend (10). Writing that the Robin Hood tradition “renews itself in turns of current political forces and media of dissemination and consistently has as scant a respect for literary and formalistic authority as it has for social and legal forces of order” (253), Knight celebrates the characteristics that prevent the tradition from achieving canonical status at the same time they have remained relevant for centuries. -
Robin Hood and Other Outlaw Tales
Robin Hood and Other Outlaw Tales edited by Stephen Knight and Thomas Ohlgren ISBN: 9781580440677 (pb) DESCRIPTION: 9781580444248 (pdf) Although nearly everyone has heard the name of Robin Hood, few have actually read any medieval tales about the legendary outlaw. Stephen Knight and Thomas Ohlgren set out to correct this PRICE: discrepancy in their comprehensive collection of all pre-seventeenth-century Robin Hood tales. The $39.95 (pb) editors include such other "outlaw" figures as Hereward the Wake, Eustache the Monk, and Fouke le $32.00 (pdf) Fitz Waryn to further contextualize the tradition of English outlaw tales. In this text the figure of Robin Hood can be viewed in historical perspective, from the early accounts in the chronicles through the PUBLICATION DATE: ballads, plays, and romances that grew around his fame and impressed him on our fictional and 01 August 2000 (pb) historical imaginations. This edition is particularly useful for classrooms, with its extensive 01 August 2000 (pdf) introductions, notes, and glosses, enabling students of any level to approach the texts in their original Middle English. BINDING: Paperback & PDF eBook TABLE OF CONTENTS: Illustrations SIZE: 7 x10 General Introduction PAGES: The Chronicler's Robin Hood 742 Introduction PUBLISHER: Medieval Institute From Andrew of Wyntoun's Orygynale Chronicle (c. 1420) Publications From Walter Bower's Continuation of John of Fordun's Scotichronicon (c. 1440) IMPRINT: Medieval Institute From John Major's Historia Majoris Britanniae (1521) Publications From Richard -
Robin Hood and the Crusades: When and Why Did the Longbowman of the People Mount up Like a Lord?
12fl_23.1_knight.qxd 2008/11/19 16:02 PM Page 201 Robin Hood and the Crusades: When and Why Did the Longbowman of the People Mount Up Like a Lord? Stephen Knight In the mid 1950s some thirty million people in Britain and the United States would each week watch an episode of the British-made The Adventures of Robin Hood. It starred Richard Greene as the officer-type hero, returned from the crusades and forced, through the vileness of the Norman lords under bad Prince John, to take to the forests to defend English freedom.1 As a nobleman and a returning crusader, Robin rode into the open- ing scene, and he is remembered as a cavalryman: the theme song, still widely known, goes “Robin Hood, Robin Hood, riding through the glen, Robin Hood, Robin Hood, with his band of men.”2 But what does this imply? Is it just Robin on a horse leading his faith- ful infantry? Or are all the band mounted, like fox-hunters, or lost cowboys? Or are the two lines alternatives: perhaps Robin might either ride through the glen on his own or might just be there on foot with his band of men? And why, in any case, is it a glen — a word connected with Scotland, not English Nottingham? This paper will discuss issues like these in light of the long-lasting Robin Hood tradition. But the most interesting question is simply where this idea of Robin on horseback came from, and where and why the crusades became involved. 1 For a description of the series and its reception, see Richards,“Robin Hood on Film and Television,”67. -
A Bundle of Ballads
A Bundle of Ballads Henry Morley The Project Gutenberg Etext A Bundle of Ballads, by Henry Morley Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. *It must legally be the first thing seen when opening the book.* In fact, our legal advisors said we can't even change margins. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. Title: A Bundle of Ballads Author: Henry Morley September, 2001 [Etext #2831] The Project Gutenberg Etext A Bundle of Ballads, by Henry Morley ******This file should be named bndba10.txt or bndba10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, bndba11.txt VERSIONS based on separate sources get new LETTER, bndba10a.txt This etext was prepared from the 1891 George Routledge & Sons edition by Les Bowler, St. Ives, Dorset. Project Gutenberg Etexts are usually created from multiple editions, all of which are in the Public Domain in the United States, unless a copyright notice is included. Therefore, we usually do NOT keep any of these books in compliance with any particular paper edition. -
Ballads, Culture and Performance in England 1640-1660
Georgia State University ScholarWorks @ Georgia State University History Theses Department of History Fall 11-17-2011 Ballads, Culture and Performance in England 1640-1660 Sarah Page Wisdom Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Part of the History Commons Recommended Citation Wisdom, Sarah Page, "Ballads, Culture and Performance in England 1640-1660." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/history_theses/50 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. BALLADS, CULTURE AND PERFORMANCE IN ENGLAND 1640-1660 by SARAH PAGE WISDOM Under the Direction of Jacob Selwood ABSTRACT Ballads published during the English Civil Wars and Interregnum were a uniquely potent cultural medium. Ballad authors and publishers used the tools of format and genre, music, and available discourses to translate contentious topics into a form of entertainment. The addition of music to what would otherwise have been merely another form of cheap print allowed ballads to be incorporated into many parts of daily life, through oral networks as well as through print and literacy. Ballads and their music permeated all levels of society and therefore the ideas presented in ballads enjoyed a broad audience. Because any given ballad was subject to repeated performances, its meaning was recreated with each performance. Performances of ballads published in the 1640s and 1650s created a vision of an imaginary England of the past, and projected hope that this past would be restored in the future. -
Songs of the Carolina Charter Colonists, 1663-1763 Digitized by the Internet Archive
F55 j North Carolina State Library Raleigh Songs of the Carolina Charter Colonists 16634763 By Arthur Palmer Hudson, Ph. D. Kenan Professor of English and Folklore The University of North Carolina <-*roma orafe Library Relei§h Songs of the Carolina Charter Colonists, 1663-1763 Digitized by the Internet Archive in 2014 https://archive.org/details/songsofcarolinac1962huds Songs of the Carolina Charter Colonists 16634763 By Arthur Palmer Hudson, Ph. D. Kenan Professor of English and Folklore The University of North Carolina A Publication of The Carolina Charter Tercentenary Commission Box 1881, Raleigh, North Carolina 1962 ttortft Carolina Sfare Library THE CAROLINA CHARTER TERCENTENARY COMMISSION Hon. Francis E. Winslow, Chairman Henry Belk Mrs. Kauno A. Lehto Mrs. Doris Betts James G. W. MacLamroc Dr. Chalmers G. Davidson Mrs. Harry McMullan Mrs. Everett L. Durham Dr. Paul Murray William C. Fields Dan M. Paul William Carrington Gretter, Jr. Dr. Robert H. Spiro, Jr. Grayson Harding David Stick Mrs. James M. Harper, Jr. J. P. Strother Mrs. Ernest L. Ives Mrs. J. O. Tally, Jr. Dr. Henry W. Jordan Rt. Rev. Thomas H. Wright Ex-Officio Dr. Charles F. Carroll, Robert L. Stallings, Superintendent of Director, Department of Public Instruction Conservation and Developm Dr. Christopher Crittenden, Director, Department of Archives and History Secretary The Carolina Charter Tercentenary Commission was established by the North Carolina General Assembly to "make plans and develop a program for celebration of the tercentenary of the granting of the ." Carolina Charter of 1663 . As part of this program the Com- mission arranged for the publication of a number of historical pamphlets for use in stimulating interest in the study of North Carolina history during the period 1663-1763. -
Street Literature of the Long Nineteenth Century
Street Literature of the Long Nineteenth Century Street Literature of the Long Nineteenth Century: Producers, Sellers, Consumers Edited by David Atkinson and Steve Roud Street Literature of the Long Nineteenth Century: Producers, Sellers, Consumers Edited by David Atkinson and Steve Roud This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by David Atkinson, Steve Roud and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9499-0 ISBN (13): 978-1-4438-9499-9 CONTENTS Illustrations ................................................................................................ vii Terminology, Abbreviations, Resources .................................................... xi Preface ...................................................................................................... xiv Chapter One ................................................................................................. 1 Introduction David Atkinson and Steve Roud Chapter Two .............................................................................................. 60 Street Literature in England at the End of the Long Eighteenth -
„A People‟S History of England‟ Print
„A People‟s History of England‟ Print, Authority and the Past in Early Modern English Ballads NICOLAS JONATHAN MOON PHD IN ENGLISH UNIVERSITY OF YORK August, 2013 ii THESIS ABSTRACT Early modern broadside ballads, the chief objects of this study, were a significant part of the developing print trade, with potentially as many as 3-4 million broadsides circulating in the second half of the sixteenth century. Ballads on historical subjects appear to have made up a relatively small, if significant, part of the ballad corpus. When broadsides were reprinted in collections or „garlands‟, however, historical ballads made up a disproportionate amount of the contents. It has frequently been recognised that history was a subject of considerable importance throughout the early modern period. History was present in a wide variety of elite and popular discourses, such as humanist scholarship, Tudor chronicles, the plays performed in the public theatres, and more „popular‟ texts such as almanacs and broadside ballads. Ballads were one of the chief sources for the „popular‟ historical culture which was available to non- elite subjects. This thesis will provide evidence of popular historical culture which is found in early modern broadside ballads. It provides new evidence to show how ballads established truth claims through paratextual markers, negotiated their relationship with a variety of historical discourses, and both drew on and helped to construct the various competing narratives from which this „popular‟ history of England' was constructed. My thesis includes close readings of texts which have previously been neglected by scholars, and contributes to a historiography which is focused on the contemporary understanding, reuse and reinvention of the past for a variety of secular and religious ends. -
Francis James Child and William Macmath Working Together for Ballads
THE CAUSE Francis James Child and William Macmath Working Together for Ballads Mary Ellen Brown• • , Editor Contents Acknowledgements The Cause The Letters Index Acknowledgments The letters between Francis James Child and William Macmath reproduced here belong to the permanent collections of the Houghton Library, Harvard University and the Hornel Library, Broughton House, Kirkcudbright, a National Trust for Scotland property. I gratefully acknowledge the help and hospitality given me by the staffs of both institutions and their willingness to allow me to make these materials more widely available. My visits to both facilities in search of data, transcribing hundreds of letters to bring home and analyze, was initially provided by the John Simon Guggenheim Memorial and Andrew W. Mellon foundations and subsequently—for checking my transcriptions and gathering additional material--by the Office of the Provost for Research at Indiana University Bloomington. This serial support has made my work possible. Quite unexpectedly, two colleagues/friends met me the last time I was in Kirkcudbright (2014) and spent time helping me correct several difficult letters and sharing their own perspectives on these and other materials—John MacQueen and the late Ronnie Clark. Robert E. Lewis helped me transcribe more accurately Child’s reference and quotation from Chaucer; that help reminded me that many of the letters would benefit from copious explanatory notes in the future. Much earlier I benefitted from conversations with Sigrid Rieuwerts and throughout the research process with Emily Lyle. Both of their published and anticipated research touches on related publications as they have sought to explore and make known the rich past of Scots and the study of ballads. -
A Bundle of Ballads
A Bundle of Ballads Henry Morley A Bundle of Ballads Table of Contents A Bundle of Ballads............................................................................................................................................1 Henry Morley...........................................................................................................................................1 INTRODUCTION BY THE EDITOR....................................................................................................2 CHEVY CHASE......................................................................................................................................6 SECOND FYTTE....................................................................................................................................7 CHEVY CHASE (the later version.).....................................................................................................10 THE NUT−BROWN MAID..................................................................................................................19 ADAM BELL, CLYM OF THE CLOUGH, AND WILLIAM OF CLOUDESLIE.........................................28 THE FIRST FYTTE..............................................................................................................................28 THE SECOND FYTTE.........................................................................................................................34 THE THIRD FYTTE.............................................................................................................................39