The Reason Why, by Elinor Glyn
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tristan Und Isolde - Wikipedia, the Free Encyclopedia
איזולדה Isolde – garland of flowers in her blonde hair, which has thin plaits falling down her face from her forehead. Identify your Ascended Master إيزولدى http://www.egyptianoasis.net/showthread.php?t=8350 ِاي ُزول ِدِ Ιζόλδη ISOLDE …. The origins of this name are uncertain, though some Celtic roots have been suggested. It is possible that the name is ultimately Germanic, perhaps from a hypothetic name like Ishild, composed of the elements is "ice" and hild "battle". http://www.behindthename.com/name/isolde Tristan und Isolde - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristan_und_Isolde Tristan und Isolde From Wikipedia, the free encyclopedia Tristan und Isolde ( Tristan and Isolde , or Tristan and Isolda , or Tristran and Ysolt ) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama , a plot or an action ), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas. Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation ) and Wagner's affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension. -
The Reason Why
The Reason Why Elinor Glyn The Project Gutenberg EBook of The Reason Why, by Elinor Glyn This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Reason Why Author: Elinor Glyn Release Date: May 26, 2004 [EBook #12450] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE REASON WHY *** Produced by Suzanne Shell, Shawn Cruze and the Online Distributed Proofreading Team. [Illustration: "Not by a glance or a turn of the head did he let his bride see how wildly her superlative attraction had kindled the fire in his blood."] THE REASON WHY BY ELINOR GLYN 1911 Author of "His Hour," "Three Weeks," etc. ILLUSTRATED BY EDMUND FREDERICK LIST OF ILLUSTRATIONS "Not by a glance or a turn of his head did he let his bride see how wildly her superlative attraction had kindled the fire in his blood" "The whole expression of her face changed as he came and leaned upon the piano" "With his English self-control and horror of a scene, he followed his wife to the door" "'Zara!' he said distractedly ...'Can I not help you?'" THE REASON WHY CHAPTER I People often wondered what nation the great financier, Francis Markrute, originally sprang from. He was now a naturalized Englishman and he looked English enough. He was slight and fair, and had an immaculately groomed appearance generally--which even the best of valets cannot always produce. -
Encyclopedia of CELTIC MYTHOLOGY and FOLKLORE
the encyclopedia of CELTIC MYTHOLOGY AND FOLKLORE Patricia Monaghan The Encyclopedia of Celtic Mythology and Folklore Copyright © 2004 by Patricia Monaghan All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Monaghan, Patricia. The encyclopedia of Celtic mythology and folklore / Patricia Monaghan. p. cm. Includes bibliographical references and index. ISBN 0-8160-4524-0 (alk. paper) 1. Mythology, Celtic—Encyclopedias. 2. Celts—Folklore—Encyclopedias. 3. Legends—Europe—Encyclopedias. I. Title. BL900.M66 2003 299'.16—dc21 2003044944 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K. Arroyo Cover design by Cathy Rincon Printed in the United States of America VB Hermitage 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. CONTENTS 6 INTRODUCTION iv A TO Z ENTRIES 1 BIBLIOGRAPHY 479 INDEX 486 INTRODUCTION 6 Who Were the Celts? tribal names, used by other Europeans as a The terms Celt and Celtic seem familiar today— generic term for the whole people. -
LE FIGARO, 1 Décembre 1903, P. 4. Dans La Grande Salle De
LE FIGARO, 1 décembre 1903, p. 4. Dans la grande salle de son château de Carduel, le roi Arthus célèbre la victoire qu’avec l’aide de Dieu, d’Escalibor – l’épée magique dont Merlin arma son bras, – des chevaliers de la Table ronde, et, entre tous, de son compagnon préféré, Lancelot, il vient de remporter sur le Saxon qui, «à pleines voiles, cingle à présent vers ses îles». Et tandis que, foulant le sol Jonché de roseaux coupés, écuyers et pages vont verser la cervoise et l’hydromel; tandis qu’aux mains des bardes en longs vêtements blancs, «le chant des harpes s’éveille» et que, seul, au milieu de la fête, baissant le front, messire Lancelot semble rêver, la reine Guinèvre descend les marches du trône, et lui tendant une coupe pleine, à voix basse, lui dit: «Cette nuit… le signal… viens!» Ces paroles, ces regards d’amants, Mordred les a surpris. Or, Mordred qui poursuit d’une égale haine la Reine, pour l’amour qu’il lui offrit Jadis et qu’elle dédaigna, et Lancelot, pour la faveur dont le couvre le Roi, aspire ardemment à se venger. Au second tableau, sur la terrasse du château, dans la tiédeur de la nuit, dans le silence à peine traversé par l’appel des veilleurs, sous les rayons de lune que voilent parfois les nuages, apparaissent enlacés, confondus en un rêve d’amour parfumé de suaves roses, Guinèvre et Lancelot. Non loin d’eux veille Lyonnel, comme veillait Brangaine [Brangäne] non loin d’Isolde et de Tristan. Et, comme Tristan oubliait le roi Mark [Marke], Lancelot, dans cette heure d’extase, oublie le roi Arthus, l’ami, le frère d’armes, c’est-à-dire l’honneur, la foi jurée, «l’inflexible vertu de sa vie d’autrefois». -
TRISTAN Et ISEULT
TRISTAN & ISEULT : LE MYTHE DE L’OCCIDENT CHRÉTIEN Dr Françoise Saint-Onge Docteur en études germaniques Eduard-Pfeiffer-Str.10 D – 70192 Stuttgart RÉSUMÉ: Il s’agit ici, comme le titre l’indique, du mythe de Tristan et d’Iseult*. Deux ouvrages surtout ont inspiré ces lignes : L’amour et l’Occident de Denis de Rougemont, qui traite des origines culturelles et historiques du mythe dans ses rapports avec l’ « hérésie » cathare et l’amour courtois au XIIè siècle, ainsi que We. Understanding the Psychology of Love dans sa traduction allemande Traumvorstellung Liebe – Der Irrtum des Abendlandes de Robert A. Johnson, ouvrage majeur qui semble cependant n’avoir pas été traduit en français mais qu’on pourrait rendre par : L’illusion d’amour ou l’erreur de l’Occident, étude où l’auteur s’essaye à une synthèse entre le Christianisme et l’œuvre de C.G. Jung. Mais on ne peut traiter du mythe sans se référer au drame musical de Richard Wagner Tristan & Isolde. Il faudra alors souligner, pour une meilleure compréhension du mythe, en quoi Wagner s’est éloigné du modèle médiéval et ce qu’il en a supprimé. La démarche de Tristan à la recherche de l’Anima (au sens Jungien), les émergences de conscience telles des îles dans l’Océan de l’Inconscient, le philtre d’amour et de mort ainsi que le processus d’individuation feront la matière de ce bref essai. L’amour romantique, courtois ou amour passion tel que le mythe le décrit, serait, selon Robert A. Johnson, l’erreur capitale de l’Occident. -
The Black Hart of Camelot a Live Roleplaying Game by Ryan Paddy
The Black Hart of Camelot A live roleplaying game by Ryan Paddy Player Guide Graphic design and editing by Jackie Brasfield Proofreading by Stephanie Pegg Copyright © 2010 Ryan Paddy Thanks to the play testers: Simone Michaux, Jared Hansen, Prema Cottingham, Anna Klein, Donna Giltrap, Blair Purkiss, Derek Tomes, Hannah Jackson, Lucy Brychkova, Daphne Cohen, Ivan Essin, Kahiro Wada, Juliet Thomborson, Scott Kelly, Malcolm Harbrow, Jack Benson-Rea, Stephanie Pegg, Zara Kinzett, Kara Jensen, Morgan Davie, Porl Bowlder, Edward Colenbrander The Omen Ere Arthur made he Guinevere his bryde, In Camelot whereat he spake his trothe, And was in sacred bands of wedlocke tyde, To Queene and Kingdome married fullie bothe; A Stag of Whyte amazd the gatherd hoste. Now shadows mirk the age of chyvalrie, Tis seen a Hart of Blacknesse dark and lothe, An omen needing none to augurie; Enchaunter Merlin hight a preace of mysterie. 2 Introduction It is a kingdom that never was, and always will be. The tale of the rise and fall of Camelot has been told and re-told over the centuries and has often strayed far from the truth. Now shall we uncover the true history of Camelot, and of all the lords and ladies that had a hand in its shaping, and eventual undoing. Arthur is King of Britain, with four vassal kingdoms under him. To the southwest lies Cornwall, whose influence is growing. West is Cameliard, birthplace of Guinevere. In the north is unruly Lothian. East is noble Listenoise, home of the Fisher King. These four royal families vie for land and favour within King Arthur's court and their sons serve as Knights of the Round Table. -
The Evolving Iconography of the Tristan Legend from the Middle Ages to the Present, with Special Emphasis on the Arthurian Reviv
66 arthuriana the 2018 loomises lecture The Evolving Iconography of the Tristan Legend from the Middle Ages to the Present, with Special Emphasis on the Arthurian Revival in British Art joan tasker grimbert In this essay, I explore how the iconography of the legend of Tristan and Iseult evolved through the ages, noting how each epoch favored a specific episode that seemed to emblemize the lovers’ plight. Although I consider various cultural influences, I emphasize the particular works (mostly literary) from which artists, musicians, and filmmakers appear to have drawn their primary inspiration. (JTG) he legend of Tristan and Iseult has had a long and remarkable history.1 TOriginating apparently as an oral tale to which the troubadours allude as early as the eleventh century, it is preserved in fragments of narrative poems in Anglo-Norman, Middle High German, Middle English, and Old Norse dating back to the late twelfth and early thirteenth centuries. It was transformed decisively in the thirteenth century when it merged with the legend of King Arthur in the French prose Tristan, a work which then spawned variations in Italian and Spanish. The prose Tristan was later preserved in abbreviated form in late fifteenth-century printed editions and—quite differently—in the vast middle section of Sir Thomas Malory’s Morte Darthur. After experiencing a lull in the early modern period, the legend was again revived in the nineteenth century with the appearance of new editions of Malory’s work and inaugural editions of the medieval verse romances, which inspired contemporary poets and artists. In the later decades of that century, Richard Wagner’s opera, Tristan und Isolde, left its powerful imprint on poets, artists, and eventually filmmakers, and, in the early twentieth century, Joseph Bédier’sRoman de Tristan et Iseut likewise influenced primarily book illustrators and filmmakers. -
The Effect of Christianity Upon the British Celts
The Effect of Christianity > upon > the British Celts Kimberly Rachel Grunke May, 2008 A Thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Archaeological Studies University of Wisconsin La Crosse ? Abstract ? This paper studies both the spread of Celtic Christianity into Britain and the way in which the Celtic peoples reacted to the new religion. The study examines possible reasons for the Celts’ acceptance of Christianity and examines the effect Christianity had on the beliefs of the Celts as well as on their daily lives. This paper looks at how Celtic Christianity manifests itself in the archaeological record, using evidence such as religious buildings, cemeteries, carved stones, and other forms of Celtic artwork that incorporate both Celtic and Christian aspects as documented in books and site reports. Descriptions and attributes of pagan and Christian artifacts from the Celts are also compared. 2 ? Introduction ? Christianity was a powerful force that had great influence in Britain. This paper focuses on the influence of Christianity on the Celtic peoples of Britain and Ireland from the introduction of Christianity into Britain in the third century to A.D. 1100. The Celtic Church is explored in the form of its history, the similarities between Celtic and Christian beliefs, elements of Christianity found in Celtic beliefs and mythology, and evidence in archaeology. The archaeological aspect concentrates on identifying evidence of continuity from the pagan Celtic beliefs and practices to the Christian ones in an effort to show that Celtic Christians incorporated pagan Celtic practices and beliefs into their traditions rather than replaced them. -
French Name Tables by Mark G
French Names Tables 2002, Mark G. West 1 French Name Tables By Mark G. West Distributed at the Terra Ferax Innovations Website <www.terraferax.com> All content is 2002 Mark G. West. All rights reserved. This material is protected under the copyright laws of the United States of America. Any reproduction, retransmission, or unauthorized use of the content is prohibited without the express written permission of Mark G. West, except for purposes of review or use if Open Game Content consistent with the Open Game License. The original purchaser may print copies of this for his or her own personal use only. The Mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned. Designation of Product Identity: The following items are hereby designated as Product Identity in accordance with Section 1(e) of the Open Game License, version 1.0a: any and all Terra Ferax Innovations logos and identifying marks and trade dress, including all Terra Ferax Innovations product and product line names including but not limited to Gaelic Name Tables, Terra Ferax Wilderness Encounters, English Name Tables, French Name Tables, any specific places, monsters, creatures and characters; any and all capitalized names and names of places, countries, geographic locations, settings, creatures, abilities, characters, deities, gods, organizations, artifacts, magic items, spells, artwork, cartography, graphic designs, illustrations, likenesses, logos, maps, symbols, dialogue, game system mechanics (including skills and feats), historic events, histories, plots, stories, storylines, text, themes, and thematic elements except such elements that already in the public domain and/or appear in final or draft versions of the d20 System Reference Document or as Open Game Content below and are already Open Game Content by virtue of appearing there. -
Tristan and Isolde's Big Move to Iceland
0 Tristan and Isolde’s big move to Iceland The cultural differences between Tristran by Thomas of Britain and Tristrams saga ok Ísöndar by Brother Róbert Lotte J.L. Wilms • 0434914 • Middeleeuwse Studies • 10 July 2009 • Dr. Frank Brandsma 1 Index Preface ...................................................................................................................................2 Introduction............................................................................................................................3 Chapter 1................................................................................................................................5 1.1 Method .........................................................................................................................5 1.2 Summary ......................................................................................................................6 1.3 Texts.............................................................................................................................7 1.3.1 Tristran by Thomas of Britain................................................................................7 1.3.2 The Romance of Tristan by Béroul .........................................................................7 1.3.3 Tristan by Gottfried von Strasburg .........................................................................8 1.3.4 Tristrams saga ok Ísöndar by Friar Róbert .............................................................8 1.4 The Scandinavian culture and society -
A Live Roleplaying Game by Ryan Paddy Player Guide Graphic Design and Editing by Jackie Brasfield Proofreading by Stephanie Pegg
The Black Hart of Camelot A live roleplaying game by Ryan Paddy Player Guide Graphic design and editing by Jackie Brasfield Proofreading by Stephanie Pegg Copyright © 2010 Ryan Paddy Thanks to the play testers: Simone Michaux, Jared Hansen, Prema Cottingham, Anna Klein, Donna Giltrap, Blair Purkiss, Derek Tomes, Hannah Jackson, Lucy Brychkova, Daphne Cohen, Ivan Essin, Kahiro Wada, Juliet Thomborson, Scott Kelly, Malcolm Harbrow, JackSample Benson-Rea, Stephanie Pegg, Zara Kinzett, Kara Jensen, Morgan Davie, filePorl Bowlder, Edward Colenbrander The Omen Ere Arthur made he Guinevere his bryde, In Camelot whereat he spake his trothe, And was in sacred bands of wedlocke tyde, To Queene and Kingdome married fullie bothe; A Stag of Whyte amazd the gatherd hoste. Now shadows mirk the age of chyvalrie, Tis seen a Hart of Blacknesse dark and lothe, An omen needing none to augurie; Enchaunter Merlin hight a preace of mysterie. Sample file 2 Introduction It is a kingdom that never was, and always will be. The tale of the rise and fall of Camelot has been told and re-told over the centuries and has often strayed far from the truth. Now shall we uncover the true history of Camelot, and of all the lords and ladies that had a hand in its shaping, and eventual undoing. Arthur is King of Britain, with four vassal kingdoms under him. To the southwest lies Cornwall, whose influence is growing. West is Cameliard, birthplace of Guinevere. In the north is unruly Lothian. East is noble Listenoise, home of the Fisher King. These four royal families vie for land and favour within King Arthur's court and their sons serve as Knights of the Round Table.