Legends of the Middle Ages, Narrated with Special Reference to Literature
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Epic and Romance Essays on Medieval Literature W
EPIC AND ROMANCE ESSAYS ON MEDIEVAL LITERATURE W. P. KER PREFACE These essays are intended as a general description of some of the principal forms of narrative literature in the Middle Ages, and as a review of some of the more interesting works in each period. It is hardly necessary to say that the conclusion is one "in which nothing is concluded," and that whole tracts of literature have been barely touched on--the English metrical romances, the Middle High German poems, the ballads, Northern and Southern--which would require to be considered in any systematic treatment of this part of history. Many serious difficulties have been evaded (in Finnesburh, more particularly), and many things have been taken for granted, too easily. My apology must be that there seemed to be certain results available for criticism, apart from the more strict and scientific procedure which is required to solve the more difficult problems of Beowulf, or of the old Northern or the old French poetry. It is hoped that something may be gained by a less minute and exacting consideration of the whole field, and by an attempt to bring the more distant and dissociated parts of the subject into relation with one another, in one view. Some of these notes have been already used, in a course of three lectures at the Royal Institution, in March 1892, on "the Progress of Romance in the Middle Ages," and in lectures given at University College and elsewhere. The plot of the Dutch romance of Walewein was discussed in a paper submitted to the Folk-Lore Society two years ago, and published in the journal of the Society (Folk-Lore, vol. -
Évolution Du Personnage Épique Médiéval Sur L'exemple De
Dorota Pudo Université Jagellonne de Cracovie ÉVOLUTION DU PERSONNAGE ÉPIQUE MÉDIÉVAL SUR L’EXEMPLE DE QUELQUES TEXTES CONSACRÉS À GUILLAUME D’ORANGE ET À HUON DE BORDEAUX Le moyen âge est une longue époque, et cela même si nous limitons notre champ de recherche à une partie de cette période seulement, à savoir celle qui voit la littérature en vieux français déjà en pleine floraison : le moyen âge « classique » (le XII e et le XIII e s.) et tardif (le XIV e et le XV e s.). Sur l’espace de quatre siècles, beaucoup de phénomènes littéraires ont eu le temps de naître, évoluer et disparaître dans l’oubli des époques à venir ; d’autres, en passant de leur état primitif vers des formes de plus en plus modernes et éclectiques, ont su se faire une place durable dans la culture universelle. La littérature épique de la France médiévale nous semble appartenir à cette dernière catégorie. Sa résistance au temps nous paraît considérable même si, peu intéressée aux spéculations concernant son existence pendant les « siècles muets » qui ne nous laissent pas de témoins écrits, nous bornons la portée de nos remarques à la période délimitée ci-dessus. Ce genre littéraire a subi certains changements considérables déjà au cours des XII e et XIII e s. ; au niveau formel, les laisses se sont généralement allongées avec le temps, et les procédés typiques de l’épopée de l’âge d’or (parallélismes, similarités, reprises) se sont faits moins fréquents. 1 Quant au contenu, à cause de l’assimilation de certains thèmes romanesques, l’épopée du XIIIe s. -
Stories of Charlemagne
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Romance Tradition in Eighteenth-Century Fiction : a Study of Smollett
THE ROMANCE TRADITION IN EIGHTEENTH-CENTURY FICTION: A STUDY OF SMOLLETT By MICHAEL W. RAYMOND COUNCIL OF A DISSERTATION PRESENTED TO THE GRADUATE THE UNIVERSITY OF FLORIDA FOR THE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 197^ ACKNOWLEDGEMENT I wish to express heartfelt appreciation to a few of the various multitude who provided incalculable tangible and intangible assistance in bringing this quest to an ordered resolution. Professors Aubrey L. Williams and D. A. Bonneville were most generous, courteous, and dexterous in their assist- ance and encouragement. Their willing contributions in the closing stages of the journey made it less full of "toil and danger" and less "thorny and troublesome." My wife, Judith, was ever present. At once heroine, guide, and Sancho Panza, she bore my short-lived triumphs and enduring despair. She did the work, but I am most grate- ful that she came to understand what the quest meant and what it meant to me. No flights of soaring imagination or extravagant rhetoric can describe adequately my gratitude to Professor Melvyn New. He represents the objective and the signifi- cance of the quest. He always has been the complete scholar and teacher. His contributions to this work have been un- tiring and infinite. More important to me, however, has been and is Professor New's personal example. He embodies the ideal combination of scholar and teacher. Professor Melvyn New shows that the quest for this ideal can be and should be attempted and accomplished. TABLE OE CONTENTS PAGE ACKNOWLEDGEMENT ±±± ABSTRACT v INTRODUCTION 1 NOTES 15 CHAPTER 1 15 I. -
Sacramental Woes and Theological Anxiety in Medieval Representations of Marriage
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 When Two Become One: Sacramental Woes And Theological Anxiety In Medieval Representations Of Marriage Elizabeth Churchill University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the Religion Commons Recommended Citation Churchill, Elizabeth, "When Two Become One: Sacramental Woes And Theological Anxiety In Medieval Representations Of Marriage" (2016). Publicly Accessible Penn Dissertations. 2229. https://repository.upenn.edu/edissertations/2229 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2229 For more information, please contact [email protected]. When Two Become One: Sacramental Woes And Theological Anxiety In Medieval Representations Of Marriage Abstract This dissertation traces the long, winding, and problematic road along which marriage became a sacrament of the Church. In so doing, it identifies several key problems with marriage’s ability to fulfill the sacramental criteria laid out in Peter Lombard’s Sentences: that a sacrament must signify a specific form of divine grace, and that it must directly bring about the grace that it signifies. While, on the basis of Ephesians 5, theologians had no problem identifying the symbolic power of marriage with the spiritual union of Christ and the Church, they never fully succeeded in locating a form of effective grace, placing immense stress upon marriage’s status as a signifier. As a result, theologians and canonists found themselves unable to deal with several social aspects of marriage that threatened this symbolic capacity, namely concubinage and the remarriage of widows and widowers. -
Pantagruel and Gargantua
Pantagruel and Gargantua Pantagruel and Gargantua François Rabelais Translated by Andrew Brown ALMA CLASSICS alma classics an imprint of alma books ltd 3 Castle Yard Richmond Surrey TW10 6TF United Kingdom www.almaclassics.com Pantagruel first published in French in 1532 Gargantua first published in French in 1534 This translation first published by Hesperus Press Ltd in 2003 This revised version first published by Alma Classics in 2018 Translation, Introduction and Notes © Andrew Brown 2003, 2018 Cover design: nathanburtondesign.com Printed in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY isbn: 978-1-84749-740-6 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Introduction vii Pantagruel 1 Gargantua 135 Note on the Text 301 Notes 301 Introduction On 3rd August 1546 (his birthday: he was thirty-seven years old), Étienne Dolet, the great Humanist poet, philologist, publisher and translator, having been tortured, was taken out to the Place Maubert in Paris, within sight of Notre-Dame. Here, he was strangled and burnt. Copies of his books accompanied him to the flames. His crime? Greek. More specifically, he had been found guilty of producing and publishing a translation from Plato which attributed to Socrates the heretical words “After death you will be nothing at all (plus rien du tout)”. -
Wayland Smith : a Dissertation on a Tradition of the Middle Ages
p. KENNEDY, ANGLESEA STREET, Tliree doors from College Green. XgamMé^f^ ^ .' WAYLAND SMITH. A DISSERTATION ON A TRADITION OF THE MIDDLE AGES. FROM THE FRENCH OF G. B. DEPPING AND FRANCISQUE MICHEL. WITH ADDITIONS BY S. W. SINGER. AND THE AMPLIFIED LEGEND 13 Y OEHLENSCHLAGER. LONDON: WILLIAM PICKERING. 1847. TO MRS. KINNEAR, WHOSE TRANSLATION FROM OEHLENSCHLAGER FURNISHES THE MOST ATTRACTIVE PORTION, THE FOLLOWING PAGES ARE GRATEFULLY DEDICATED BY HER AFFECTIONATE FRIEND S. W. SINGER. PREFACE. The use which Sir Walter Scott made of this legend in his romance of Kenilworth, has given it universal celebrity, but, inde- pendent of this claim to our attention, it may be considered as one of the most interesting of the old Sagas of the North. The rifacci- mento of it by Adam Oehlenschlager was first written by him in Danish about the year 1800, and he afterwards re- wrote it in Ger- man, from which language the following version has been made. The dissertation appended to it will show how gradually it has been built up, and how skilfully from its fragmentary state the Danish poet has constructed a poetical tale breathing the wild spirit of his native land. A dissertation on a popular tale may at first glance appear to be a trifling thing. Nevertheless, when this tale is of remote origin ; when it has amused the people of the South and of the North, and given occupa- tion to poets, to writers of romance, and to mythologers of various ages ; when it has passed from one language and from one country to another, it is no longer an object to be despised. -
EVOLUTION of the FAIRY DEPOSITED by the COMMITTEE on (Srafcuate Studies
EVOLUTION OF THE FAIRY DEPOSITED BY THE COMMITTEE ON (Srafcuate Studies. \ W No. LlDrary ol iflcii University MONTREAL. Receiyed THE EVOLUTION OF THE FAIRY WORLD WITH 8PECIAL REFERENCE TO ITS TREATMHMT IN ENGLISH LITERATURE, by Ariel Marguerlta Macnaughton 1910. Thesis submitted for the Master of Arts* Degree* INDEX. The Evolution of the Fairy World, With Special Reference to its Treatment in English Literature. Preface. p^ 1% Chapter 1. The theories ofthe origin of the fairy race, • 1. Former theories* 2. Agricultural ritualistic origin . Fg. 5. Chapter II. The fairy world in early Celtic Literature. 1. Its creation , its Qualities an* its influence upon English Literature. Pg% 26 Chapter in. The medieval conception of fairyland. 1. The new features literature developed in the fairy of the Spenserian portrayal. 2. Oberon. Chapter IV. Shakespearia3. The fairn ytreatment mythology. of England. Pg% 33. l% r£?e influences that moulded his conceptions. 2. The nature of Shakespearian presentment. Pg.66 Chapter V. ffilsn1^ of fal^nd in 1. Its imitative nature and revival of oltf traditions. 2. The new attributes it bestowed on the fairy.Pgf6 Chapter VI. The nineteenth-century foix-lore revivals and UtJmSS8006 ln StePlng falr^ intern X' ftSSK.!* feStUre b6CaUSe effib0<^ contemporary 2. The latest aspect of the fairy wana and its part in modern life. pi ., The Evolution of the Fairy World with special reference to its treatment in English Literature. Few things have been more lovely in the marvellous English poetry of the last three centuries than its pictures of the fairy world, real to our ancestors. So persistent was the fairy note throughout the evolution of our literature, that from ShaKespeare, Drayton and HerricK, to Swinburne, Tennyson and Rossetti the tribute to the elfin realm was paid, and to-day in Ireland and Gaelic Scotland the horns of Elfland still blow "of perilous seas in faery lands forlorn." No other literature save Greece has given us glimpses of the mysterious land of phantasy and charm that equal the pictures of the English poets. -
Rediscovering Cumulative Creativity from the Oral Formulaic Tradition to Digital Remix: Can I Get a Witness?
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW REDISCOVERING CUMULATIVE CREATIVITY FROM THE ORAL FORMULAIC TRADITION TO DIGITAL REMIX: CAN I GET A WITNESS? GIANCARLO F. FROSIO ABSTRACT For most of human history, the essential nature of creativity was understood to be cumulative and collective. This notion has been largely forgotten by modern policies that regulate creativity and speech. As hard as it may be to believe, the most valuable components of our immortal culture were created under a fully open regime with regard to access to pre-existing expressions and re-use. From the Platonic mimesis to Shakespeare’s “borrowed feathers,” the largest part of our culture has been produced under a paradigm in which imitation—even plagiarism—and social authorship formed constitutive elements of the creative moment. Pre-modern creativity spread from a continuous line of re-use and juxtaposition of pre-existing expressive content, transitioning from orality to textuality and then melding the two traditions. The cumulative and collaborative character of the oral- formulaic tradition dominated the development of epic literature. The literary pillars of Western culture, the Iliad and the Odyssey, were fully forged in the furnace of that tradition. Later, under the aegis of Macrobius’ art of rewriting and the Latin principles of imitatio, medieval epics grew out of similar dynamics of sharing and recombination of formulas and traditional patterns. Continuations, free re-use, and the re-modeling of iconic figures and characters, such as King Arthur and Roland, made chansons de geste and romance literature powerful vehicles in propelling cross- country circulation of culture. -
History Or Fiction?: a Study of Caxton's Narratives
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A Dictionary of Medieval Romance and Romance Writers —
S71 OJorncU Intwetattg ffiihtarg ittfucu. ^tta inch BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 "^""^'^ DATED' <r f Cornell University Library PN 669.S74 Dictionary of medieval romance and roman 3 1924 027 096 530 Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027096530 A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS — UNIFORM WITH THIS VOLUME DICTIONARIES TO FAMOUS AUTHORS In which the various Characters and Scenes are alphabetically arranged and described. Synopses of the Author's various works are also included. DICKENS. A. J. Philip. THOMAS HARDY. With 2 Maps of Wessex. F. Saxelby. KIPLINQ. W. A. Young. SCOTT. (Waveiley Novels). M. F. A. Husband. THACKERAY. I. G. Mudge and E. N. Seaks. OSCAR WILDE. Stuart Mason. ZOLA. (Rougon-Macquart Novels). With Map. J. G. Patterson. " Not much honour is generally gained by doing such work as is represented in these dictionaries. When, how- ever, it is done with the thoroughness and completeness shown by the compilers in this case, the work ought to be warmly acknowledged. It is a labour which will save much labour to others." Tke Scotsman. A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS BY LEWIS SPENCE AUTHOR OF "A DICTIONAEY OF NON-CLASSICAL MYTHOLOGY," "THE MYTHS OF MEXICO AND PERU," "THE CIVILISATION OF ANCIENT MEXICO," ETC, ETC. LONDON GEORGE ROUTLEDGE & SONS, Limited New York: E. P. BUTTON & CO. 9\So)o\o']o First printed in August, 1913. -
Social Functions of the Medieval Epic in the Romance Literatures
Oral Tradition, 1/3 (1986): 728-66 Social Functions of the Medieval Epic in the Romance Literatures Joseph J. Duggan The Milman Parry Lectures on Oral Tradition for 1985 I Studies on the medieval epic in France and Spain have in recent years been devoted largely to individual works or to internal aspects of the texts, rather than to the ways in which contemporaries perceived and used it. This is, I think, partially because the study of medieval literature is largely carried out in the academy, and is thus correlated with teaching: as a result one tends to encounter again and again a handful of texts that are frequently assigned for classroom treatment, and to read even those few through a microscopic lens rather than in a broader context. Treatments taking in the medieval epic in the Romance languages as a whole are rare and outdated; thus it is that, in this fi eld, interest in the social function of epic, such as might have been aroused by synthetic works informed by reader-oriented literary theory—perhaps one should modify that to “listener-oriented” for our purposes—or by the sociology of literature, has not really developed. I will attempt to delineate in these lectures the functions of the medieval epic composed in French, Provençal, and Spanish from the point of view of the philologist, that is to say of one who is interested in texts and everything that might illuminate them. This includes, among other specialized pursuits, literary theory, textual criticism, evaluative criticism, and sociological criticism. What good does it do