DOCSLIB.ORG

Changeling Child

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Changeling Child The Changeling Child BY HEATHER TISDALE LONG AGO AND far away on the banks of the river Tywi, there lived a young widow and her infant son. The poor woman’s husband had drowned in the river when the boy was but a babe, and the child was all she had left in the world. They lived in the wild country of Wales, which was called Cymru in the language of the people who lived there. Cymru was a magical place. Caves were often inhabited by dragons, and the land was overrun by fairy folk, whom her son well, making sure to hang a nail above the Welsh called the tylwyth teg. These fairies the baby’s cot, for everyone knows that a fairy were famous for many things, but were known cannot touch iron. best for their beautiful music and their love of Years passed, and the boy grew bonny mischief. The tylwyth teg could play a tune and braf, his limbs sturdy and straight. With on a fiddle so sweet that it could charm the his sun-browned skin and hair the color of a legs off a man. You might think this made jackdaw’s wing, he was the very image of his them lovable rogues, but people feared the father. fairy folk. If the fairies saw a beautiful child, One summer evening, the widow was they might lure it away from its mother and cooking a pot of cawl over the fire when she leave a changeling in its place quicker than heard a splash and a shout. you could peel a potato. The widow guarded “Mother!” her boy cried out. “Help me!” THE TYWI, PRONOUNCED TOW-EE, IS ONE TYLWYTH TEG IS PRONOUNCED Illustrated by Daniel Powers OF THE TWO LONGEST RIVERS IN WALES. TUL-OO-EETH-TEG. BRAF MEANS FINE. text © 2018 by Heather Tisdale, art © 2018 by Daniel Powers CYMRU IS PRONOUNCED COOM-REE. AND CAWL MEANS SOUP IN WELSH. 28 BACH IS AN ENDEARMENT. LIKE YOU, PUSS! IT MEANS LITTLE ONE. The Tywi! Her son had fallen into the cawl on the fire and sliced the bara and but- BARA IS river! In the strong current, he would soon be tered it thickly. BREAD! swept out to sea. The boy ate heartily but never seemed to Quickly, she lifted the pot off the fire and be satisfied. “More!” he cried. “Give me more!” raced outside with the ladle still in her hand. “Griff!” she called. “Where are you, bach?” Early the next morning the woman There was no answer. She ran hither and left her cottage and went to see the wise man thither along the riverbank calling his name, who sat beneath Merlin’s Oak. She told him but the boy was nowhere to be found. At last, her sorry tale, and in turn he asked her one when the sun had set in the sky, she made her and twenty questions. Before he could help, way home with a heavy heart. Her child was he had to be sure that the child was really a lost. Her bonny, braf boy was gone. changeling. She opened the door to her cottage, and The wise man gave her a walnut and bade in little Griff’s chair sat a child. She stared her use it as a cooking pot. “Let the fellow see at the pale, sickly boy who looked nothing like her sturdy, nut- brown son. “You are not my Griff,” she said. “But I am, Mother. Do you not know your own son? Hurry up and heat the cawl, for I am starving. I feel as though I haven’t eaten in a week!” Although she knew in her heart it was a changeling, the fairy looked like a child, and she could not bring herself to let a child go hungry. Fighting back tears, she heated the LAVERBREAD IS A BREAD MADE WITH SEAWEED. IT’S A WIDDERSHINS MEANS DELICACY IN WALES. THE OTHER WAY. what you are up to but don’t call his atten- “No question about it,” the wise man tion to it. With any luck, he will be puzzled said. “If he saw the acorn before it was an oak and ask what you are doing. If he does, you tree, then he must be at least three hundred must reply that you are making laverbread years old. He is definitely one of the tylwyth for the fishermen. If he truly is a changeling, teg. The fairy folk have taken your beauti- his curiosity may make him reveal himself to ful young boy and left you with one of their you. Bring me his reply on the morrow.” elders to care for.” The widow did as she was told, and “How can I get my boy back?” that day at the stroke of noon she cut “You must be brave, little mother, braver open the walnut and scooped out the nut- than you have ever been in all your days. Your meat. She held the shell in her left hand child’s life depends upon it. Are you willing?” and her spoon in her right, then stirred “I will do anything to save my Griff,” she six times clockwise and six times widder- replied. shins. She could feel the boy’s watery eyes The wise man handed her a pumpkin boring into her back. Again, she stirred seed and told her to plant it. “It will take round and round following the wise man’s a year and a day for the pumpkin to grow. instructions. Until then, you must treat the ancient one Eventually, the boy spoke up. “What as if he were your own son. The tylwyth teg are you doing there with that walnut shell, must not know that you suspect, or your son Mother?” will be lost forever.” Her heart hammered in her chest, but her As soon as she got home from Merlin’s voice remained calm. “I’m making laverbread Oak, the woman planted the seed in the for the fishermen,” she replied, keeping her sunniest part of the garden. Then, unable back to the boy. to control herself longer, she wept over the “Really?” Then the boy said dreamily: ground, watering it with her tears. I saw the acorn before it was the oak tree. The egg I saw before it became the hen. The leaves on the trees turned as But never have I seen laverbread cooked red as blood, and every day the woman In a walnut shell for the fishermen. woke the changeling with a cwtch and a kiss, even though his skin was as cold as The next morning the widow left the dead. her little cottage even before the sun was “When my Griff comes home,” she up and took the answer to the wise man at thought to herself,” he’ll be as warm as the Merlin’s Oak. fire.” But she quickly put those thoughts out CWTCH IS PRONOUNCED CUTCH, MEWY PURRR! AND MEANS A CUDDLE... 30 INSATIABLE MEANS IMPOSSIBLE TO SATISFY. of her head and gave the changeling child another hug. The snow fell and frosted the little cottage like a wedding cake, and still the woman baked the bread and sim- mered the soup to feed the changeling. Despite his insatiable appetite, the child never grew an inch. “When my Griff comes home, he’ll be taller and stronger.” But again she put the thought out of her head and ladled up another bowl of cawl. The grass greened up, and spring flowers poked their sleepy heads from beneath the soil. But the changeling seemed to grow uglier with each pass- ing day until he resembled a warty toad. He was forever getting into mischief. He hid a frog in the water jug, tied an old boot to the cat’s tail, and frightened the cows, which caused their milk to curdle. Everyone knows that the touch of a fairy will spoil the milk. “When my Griff comes home, he’ll be as handsome as his father once was,” the woman thought—then quickly stopped—as she combed the changeling’s hair and told him how handsome he looked. After a year and a day, a fine pumpkin had grown upon the vine. The woman carried it into the kitchen, not drawing attention to herself, as the wise Moments later came a knock at the man had warned, but so that the changeling door. The woman ran to cast it wide open. could see. She placed it on the floor and went Outside stood a tall man with broad to fetch the axe. shoulders, salt-and-pepper hair, and silver The changeling child flew into a rage. in his beard. He looked so like her dead “Mother! Put down that axe! What do you husband that the widow mistook him for a think you are doing?” ghost. Then she burst into tears and threw The grieved mother looked him squarely her arms around her bonny Griff. in the eye and said, “Saving my son!” “Mother,” said her confused boy, who With one mighty blow, she split the pump- was now a man. “Why do you weep? I only kin in half. The changeling child shrieked and went down to the river for a few moments disappeared into a puff of smoke. to hear a fiddler play his tune.” 32.
Load more

Recommended publications
  • The Significant Other: a Literary History of Elves
    1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee.
    [Show full text]
  • 'Fairy' in Middle English Romance
    'FAIRY' IN MIDDLE ENGLISH ROMANCE Chera A. Cole A Thesis Submitted for the Degree of PhD at the University of St Andrews 2014 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/6388 This item is protected by original copyright This item is licensed under a Creative Commons Licence ‘FAIRY’ IN MIDDLE ENGLISH ROMANCE Chera A. Cole A thesis submitted for the degree of Doctor of Philosophy at the School of English in the University of St Andrews 17 December 2013 i ABSTRACT My thesis, ‘Fairy in Middle English romance’, aims to contribute to the recent resurgence of interest in the literary medieval supernatural by studying the concept of ‘fairy’ as it is presented in fourteenth- and fifteenth-century Middle English romances. This thesis is particularly interested in how the use of ‘fairy’ in Middle English romances serves as an arena in which to play out ‘thought-experiments’ that test anxieties about faith, gender, power, and death. My first chapter considers the concept of fairy in its medieval Christian context by using the romance Melusine as a case study to examine fairies alongside medieval theological explorations of the nature of demons. I then examine the power dynamic of fairy/human relationships and the extent to which having one partner be a fairy affects these explorations of medieval attitudes toward gender relations and hierarchy. The third chapter investigates ‘fairy-like’ women enchantresses in romance and the extent to which fairy is ‘performed’ in romance.
    [Show full text]
  • Rewriting a Mythic Nation: Welsh Women Writers Recovering Welsh Myth and Folklore
    REWRITING A MYTHIC NATION: WELSH WOMEN WRITERS RECOVERING WELSH MYTH AND FOLKLORE BETHAN LOUISE COOMBS A submission presented in partial fulfilment of the requirements of the University of South Wales/Prifysgol De Cymru for the degree of Doctor of Philosophy September 2015 ABSTRACT This thesis examines the function of Welsh mythology, fairy tale and folklore in a selection of works by twentieth- and twenty-first-century Anglophone Welsh women writers who choose to engage with such source material. Its aim is to provide a critical response to those recoveries through feminist and postcolonial theoretical readings. Spanning a century, between 1914 and 2013, its chapters discuss novels by two canonical Welsh writers – Hilda Vaughan, whose work belongs to the first half of the twentieth century, and Alice Thomas Ellis, writing in the second half – followed by two further chapters analysing relevant material drawn from the short story and poetry genres. The final two chapters interrogate novellas by women contributors to Seren Press’s recent series, New Stories from The Mabinogion (2009 – 2013) and thus provide an inaugural critical response to that series: I examine contributions by Gwyneth Lewis, Fflur Dafydd, Trezza Azzopardi, and Tishani Doshi. Throughout this thesis I argue that in the act of recovering and retelling the source narratives, these writers both draw out issues of gender and nationhood embedded in the originals and explore contemporary issues of gender and nationhood emerging from within their socio-historic contexts. When Welsh women writers select Welsh myth, fairy tales and folklore as mediums through which to comment on those issues as paradigms of gender and nationhood, those paradigms are doubly interrogated.
    [Show full text]
  • Notes Towards a History of the English
    People, Politics, and Print: Notes Towards a History of the English-Language Book in Industrial South Wales up to 1900 Thesis submitted for the degree of PhD at Cardiff University July 2010 Jonathan Evans UMI Number: U517037 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U517037 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 WE SHALL RISE AGAIN. iv Summary In Wales the histories of book production and industry started following the sixteenth century Acts of Union. In 1586 print production in Wales was a collateral victim of the Star Chamber ban on regional printing. When the printing press finally arrived in Wales in the eighteenth century it was closely associated with the iron trade. The Industrial Revolution started in Wales in 1759 on the undeveloped northern rim of the South Wales coalfield basin. The iron industry had two phases of development, when the second phase started in the 1780s South Wales was the largest iron producing region in the UK. At this time Edmund Jones wrote An Account of the Parish of Abervstruth (1779) and Apparitions of Spirits (1780), both of which document the narratives of a pre-industrial community.
    [Show full text]
  • The Nature of the British Fairies of Medieval and Folk Literature an Annotated Bibliography 1900-1983
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-1985 The Nature of the British Fairies of Medieval and Folk Literature an Annotated Bibliography 1900-1983 Constance Reik Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Folklore Commons Recommended Citation Reik, Constance, "The Nature of the British Fairies of Medieval and Folk Literature an Annotated Bibliography 1900-1983" (1985). Master's Theses. 1388. https://scholarworks.wmich.edu/masters_theses/1388 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE NATURE OF THE BRITISH FAIRIES OF MEDIEVAL AND FOLK LITERATURE AN ANNOTATED BIBLIOGRAPHY 1900-1983 by Constance Reik A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts The Medieval Institute Western Michigan University Kalamazoo, Michigan August 1985 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE NATURE OF THE BRITISH FAIRIES OF MEDIEVAL AND FOLK LITERATURE AN ANNOTATED BIBLIOGRAPHY 1900-1983 Constance Reik, M.A. Western Michigan University, 1985 This thesis f i l l s the need for a bibliography of works on the British fairies. It is essentially an annotated bibliography with an introduction which will help illuminate the fairies of the ancient and medieval literature (through Shakespeare) and the folk literature of Britain.
    [Show full text]
  • Brownies and Bogles
    Brownies and Bogles By Louise Imogen Guiney BROWNIES AND BOGLES. CHAPTER I. WHAT FAIRIES WERE AND WHAT THEY DID. A FAIRY is a humorous person sadly out of fashion at present, who has had, nevertheless, in the actors' phrase, a long and prosperous run on this planet. When we speak of fairies nowadays, we think only of small sprites who live in a kingdom of their own, with manners, laws, and privileges very different from ours. But there was a time when "fairy" suggested also the knights and ladies of romance, about whom fine spirited tales were told when the world was younger. Spenser's Faery Queen, for instance, deals with dream-people, beautiful and brave, as do the old stories of Arthur and Roland; people who either never lived, or who, having lived, were glorified and magnified by tradition out of all kinship with common men. Our fairies are fairies in the modern sense. We will make it a rule, from the beginning, that they must be small, and we will put out any who are above the regulation height. Such as the charming famous Melusina, who wails upon her tower at the death of a Lusignan, we may as well skip; for she is a tall young lady, with a serpent's tail, to boot, and thus, alas! half-monster; for if we should accept any like her in our plan, there is no reason why we should not get confused among mermaids and dryads, and perhaps end by scoring down great Juno herself as a fairy! Many a dwarf and goblin, whom we shall meet anon, is as big as a child.
    [Show full text]
  • A Welsh Classical Dictionary
    A WELSH CLASSICAL DICTIONARY GADEON ap CYNAN. See Gadeon ab Eudaf Hen. GADEON ab EUDAF HEN. (330) Gadeon is probably the correct form of the name which appears in the tale of ‘The Dream of Macsen Wledig’ as Adeon ab Eudaf, brother of Cynan ab Eudaf. According to the tale, Adeon and Cynan followed Macsen to the continent and captured Rome for him. After that Macsen gave them permission to conquer lands for themselves, (see s.n. Cynan ab Eudaf), but Adeon returned to his own country (WM 187, 189-191, RM 88, 90-92). According to Jesus College MS.20 the wife of Coel Hen was the daughter of Gadeon ab Eudaf Hen (JC 7 in EWGT p.45), and this is probably correct although later versions make her the daughter of Gadeon (variously spelt) ap Cynan ab Eudaf, and she is given the name Ystradwel (variously spelt) (ByA §27a in EWGT p.90). Also in the various versions of the ancestry of Custennin ap Cynfor and Amlawdd Wledig we find Gadeon (variously spelt) ap Cynan ab Eudaf (JC 11, ByA §30b, 31, ByS §76 in EWGT pp.45, 93, 94, 65). Similarly in MG §5 in EWGT p.39, but Eudaf is misplaced. The various spellings show that the name was unfamiliar: Gadean, Gadvan, Gadiawn, Kadeaun, Cadvan, Kadien, Kadiawn. See EWGT passim. It seems probable that Gadeon ab Cynan is an error for Gadeon ab Eudaf, rather than to suppose two such persons (PCB). GAFRAN ab AEDDAN. He appears in Bonedd Gwŷr y Gogledd (§11 in EWGT p.73) as Gafran ab Aeddan Fradog ap Dyfnwal Hen.
    [Show full text]
  • The Fiction of Hilda Vaughan (1892-1985): Negotiating the Boundaries of Welsh Identity
    The Fiction of Hilda Vaughan (1892-1985): Negotiating the Boundaries of Welsh Identity by Lucy Thomas This thesis is submitted to Cardiff University in partial fulfilment of the requirements for the degree of Doctor of Philosophy. December 2008 UMI Number: U585268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U585268 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. Signed., ............ D a t e . ? ....... Statement 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed.. fvSrfc .oM-'VrtEV.-;........... ............ Date...< Statement 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed.. .. p t Date. m . j . Q i . j m .......................... Statement 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title summary to be made available to outside organisations.
    [Show full text]
  • In Fairyland Or Thereabout: the Fairies As Nationalist Symbol in Irish Literature by and After Willaim Allingham
    Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2009 In Fairyland Or Thereabout: The Fairies as Nationalist Symbol in Irish Literature by and after Willaim Allingham Cassandra M. Schell Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Recommended Citation Schell, Cassandra M., "In Fairyland Or Thereabout: The Fairies as Nationalist Symbol in Irish Literature by and after Willaim Allingham" (2009). Electronic Theses and Dissertations. 169. https://digitalcommons.georgiasouthern.edu/etd/169 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. “IN FAIRYLAND OR THEREABOUT”: THE FAIRY AS NATIONALIST SYMBOL IN IRISH LITERATURE BY AND AFTER WILLIAM ALLINGHAM by CASSANDRA M. SCHELL (Under the Direction of Howard Keeley) ABSTRACT This essay is a look at a little known Irish poet, William Allingham, who invokes the fairy as a vehicle for a political change in Ireland. It offers a close reading of a few of his poems as well as historically approaches the use of fairies in the popular culture of the nineteenth century. In Chapter I, I use an historical approach to discuss the biography of William Allingham and his place in Irish literature as “a poet we have neglected.” I also discuss a cultural study of the portrayal and use of the fairy in the nineteenth century.
    [Show full text]
  • British Goblins: Welsh Folk-Lore, Fairy Mythology, Legends and Traditions
    British Goblins: Welsh folk−lore, fairy mythology, legends and traditions Wirt Sikes British Goblins: Welsh folk−lore, fairy mythology, legends and traditions Table of Contents British Goblins: Welsh folk−lore, fairy mythology, legends and traditions........................................................1 Wirt Sikes.......................................................................................................................................................1 Fairy Tales and the Ancient Mythology........................................................................................................1 Classification of Welsh Fairies......................................................................................................................5 Lake Fairies..................................................................................................................................................13 Mountain Fairies..........................................................................................................................................18 Changelings..................................................................................................................................................20 Living with the Tylwyth Teg.......................................................................................................................24 Fairy Music..................................................................................................................................................32 Fairy Rings...................................................................................................................................................36
    [Show full text]
  • The Fairy-Faith in Celtic Countries
    The Fairy−Faith in Celtic Countries W.Y. Evans Wentz The Fairy−Faith in Celtic Countries Table of Contents The Fairy−Faith in Celtic Countries.......................................................................................................................1 W.Y. Evans Wentz.........................................................................................................................................1 Preface............................................................................................................................................................1 Dedication......................................................................................................................................................3 Introduction....................................................................................................................................................4 Environment (section I, chapter I)...............................................................................................................11 Taking of Evidence (Section I Chapter II part 1).........................................................................................19 Taking Evidence (Section I, Chapter II, part 2)...........................................................................................63 Taking Evidence (Section I, Chapter II, part 3)...........................................................................................83 Taking Evidence (Section I, Chapter II, part 4)...........................................................................................96
    [Show full text]
  • The Semantics of the Word "Fairy" in English Between 1520 and 1829
    THE SEMANTICS OF THE WORD "FAIRY" IN ENGLISH BETWEEN 1520 AND 1829 by Noel Williams B.A., M.A. Submitted for the degree of Ph.D The Department of English Language, University of Sheffield. September 1983 A cknowledgemen ts Thanks are due to the staff of The Bodleian Library, Oxford, The British Library and Sheffield University Library for locating some quite inaccessible sources; to Carrol for extensive administration and support; to Professor Norman Blake for an acutely critical eye; and particular thanks are due to my supervisor, Professor John Widdowson, for exactly the right balance of commentary, criticism and encouragement. iii ABSTRACT The study examines the problems of the meaning of words used with fictional reference. It takes one particular class of such words, those used to denote or refer to the supernatural, as a peculiarly problematic set, and one example of these, fairy, as a key example. The study explores all the features of that word's meaning, including denotational, referential, stylistic, emotive and idiosyncratic aspects as well as sense relations and other linguistic relations.* It argues that understanding such words occurs through understanding cotextual collocations, and that the meaning of a word such as fairy can only be known, described and explained by examination of such cotext. By computational analysis of a large corpus of texts using fairy a semantic model is built up which on the one hand describes the semantic frame by which fairy is made meaningful and on the other hand the underlying processes and decisions employed by writers (and speakers) in using the word meaningfully.
    [Show full text]