Read Ebook {PDF EPUB} Kate Crackernuts by Katharine M. Briggs Kate Crackernuts

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} Kate Crackernuts by Katharine M. Briggs Kate Crackernuts Read Ebook {PDF EPUB} Kate Crackernuts by Katharine M. Briggs Kate Crackernuts. In a land troubled by witches and feuding clans, step-sisters Kate and Katherine form an unlikely friendship over a shared love of fairies. This does not go down well with everyone . Grizel Maxwell may be Kate's mother, but she is also a witch, and jealously plots to get rid of Katherine with a curse, forcing Kate and Katherine to leave their homeland to escape the evil In a land troubled by witches and feuding clans, step-sisters Kate and Katherine form an unlikely friendship over a shared love of fairies. This does not go down well with everyone . Grizel Maxwell may be Kate's mother, but she is also a witch, and jealously plots to get rid of Katherine with a curse, forcing Kate and Katherine to leave their homeland to escape the evil witch and seek a cure for her terrible spell. First published in 1963, Katherine Briggs' wonderful re-casting of the classic fable of friendship conquering all is a rare and beguiling mix of folk- lore and fantasy. The author's own fascination with the English folk-lore tradition imbues the telling with seriousness and beauty that transcend its generic roots. more. Get A Copy. Friend Reviews. Reader Q&A. Be the first to ask a question about Kate Crackernuts. Lists with This Book. Community Reviews. It's always interesting to re-read a book that you very much liked a long time ago. It's probably been nearly ten years since I last read this book: a retelling of the Scottish folk tale Kate Crackernuts written by eminent folklorist Katherine Briggs. I really enjoyed returning to Brigg's 17th century Britain in which the Good People of British folklore are real as described in the traditional folklore which Briggs knew so well. In theory, this is a novel for young readers, however it's written i It's always interesting to re-read a book that you very much liked a long time ago. It's probably been nearly ten years since I last read this book: a retelling of the Scottish folk tale Kate Crackernuts written by eminent folklorist Katherine Briggs. I really enjoyed returning to Brigg's 17th century Britain in which the Good People of British folklore are real as described in the traditional folklore which Briggs knew so well. In theory, this is a novel for young readers, however it's written in heavy Scottish dialect which would be rough going for a lot of modern young readers -- far more so than Briggs other novel (and my favorite) Hobberdy Dick. However, for anyone with an interest in traditional folklore this world of witches, curses, sprites, and the tithe owed to Satan on Halloween is well worth the read. more. Readers also enjoyed. Genres. About Katharine M. Briggs. Early Life Katharine Briggs was born in Hampstead, London in 1898, and was the eldest of three sisters. The Briggs family, originally from Yorkshire, had built up a fortune in the 18th and 19th centuries through coal mining and owned a large colliery in Normanton, West Yorkshire. With such enormous wealth, Katharine and her family were able to live in luxury with little need to work. Briggs's fath Early Life Katharine Briggs was born in Hampstead, London in 1898, and was the eldest of three sisters. The Briggs family, originally from Yorkshire, had built up a fortune in the 18th and 19th centuries through coal mining and owned a large colliery in Normanton, West Yorkshire. With such enormous wealth, Katharine and her family were able to live in luxury with little need to work. Briggs's father Ernest was often unwell and divided his time between leafy Hampstead and the clear air of Scotland. He was a watercolourist and would often take his children with him when he went to paint the landscape. An imaginative storyteller, he loved to tell his children tales and legends; these would have a great impact on the young Katharine, becoming her passion in later life. When Briggs was 12 her father had Dalbeathie House built in Perthshire and the family moved permanently to Scotland; however, tragedy struck when he died two years later. Briggs and her two sisters, Winifred and Elspeth, developed a close bond with their mother, Mary, after this - all living together for almost fifty years. As Briggs and her sisters grew older their main passion was for amateur dramatics. They wrote and performed their own plays at their home and Briggs would pursue her interest in theatre throughout her education. After leaving school she attended Lady Margaret Hall, Oxford University, graduating with a BA in 1918 and an MA in 1926. She specialised in the study of traditional folk tales and 17th-century English history. The Folklorist Briggs continued her studies largely as a hobby, while living with her sisters and mother in Burford, Oxfordshire. She collected together traditional stories from across the country and the wider world, but did not publish them yet. Together she and her sisters performed in plays with local amateur dramatics groups and Briggs wrote historical novels set during the Civil War (also unpublished). When the Second World War started Briggs joined the WAAF and later taught at a school for the children of Polish refugees. After the war Briggs threw herself into her folklore studies, completing her PhD on the use of folklore in 17th-century literature. In 1954, the first Katharine Briggs book was published, titled The Personnel of Fairyland , a guide to the folklore of Great Britain. This was followed by Hobberdy Dick (1955), a children's story about a hobgoblin in Puritan England. Though these books brought a small amount of interest, it was not until the 1960s and 1970s, following the deaths of her sisters and mother, that Briggs became a renowned folklorist. In 1963 she published another children's book, Kate Crackernuts , and became involved with the Folklore Society of the UK, later being elected as its president in 1967. Now a preeminent expert on fairy stories and folklore, she began to lecture across the country and by the 1970s she had been invited to give lectures in the United States and was regularly interviewed on television. In 1971 she published her masterpiece, the four-volume A Dictionary of Folk-Tales in the English Language . This work remains the definitive collection of British folk stories, becoming a vital resource for writers, academics and storytellers. Katharine Briggs died suddenly at the age of 82 on 15th October 1980. At the time of her death she had been working on a memoir of her childhood days in Scotland and Hampstead, where her love of folklore began. de Grummond Collection. Restrictions Noncirculating; available for research. Copyright The collection is protected by the Copyright Law of the United States (Title 17, U. S. Code). Reproductions can be made only if they are to be used for "private study, scholarship, or research." It is the user's responsibility to verify copyright ownership and to obtain all necessary permissions prior to the reproduction, publication, or other use of any portion of these materials, other than that noted above. Biographical Sketch. Katharine Mary Briggs was born November 8, 1898 in London, England, the daughter of Ernest Briggs, an artist and storyteller who introduced his daughters to the world of folklore. As a Brownie Scout and a Girl Scout, she further developed her storytelling talents. As an adult she honed her performance skills as the head of an amateur touring company. She received her master's degree from Oxford University in 1926, and her Ph.D. from the same institution in 1952. She was primarily known and widely respected as a scholar of folklore. She published prolifically in this field from 1959 until her death in 1980. Her greatest scholarly achievement was probably the publication of the four-volume work A Dictionary of British Folktales in the English Language in 1970. An Encyclopedia of Fairies (1976) was also widely acclaimed. Briggs was writing for children before she began writing for a scholarly audience. Her first book, The Legend of Maiden-Hair, was published in 1915, and she wrote several other children's books, most of which were based on folktales and legends. In 1969, Briggs was named President of The Folklore Society, a post she held until 1972. Although Briggs passed away in 1980, The Folklore Society named an award in her honor in 1982. According The Folklore Society website, "The Katharine Briggs Folklore Award is an annual book prize established by the Folklore Society to encourage the study of folklore, to help improve the standard of folklore publications in Britain and Ireland, to establish The Folklore Society as an arbiter of excellence, and to commemorate the life and work of the distinguished scholar Katharine Mary Briggs (1898-1980; Society president 1969-1972). The contents of the Katharine Briggs Papers. "The Katharine Briggs Folklore Award." The Katharine Briggs Folklore Award | The Folklore Society . The Folklore Society, n.d. Web. 15 Mar. 2017. Scope and Content. This collection contains material documenting two children's books, Hobberdy Dick and Kate Crackernuts, both based on folktales and legends. Hobberdy Dick is the story of a seventeenth-century hobgoblin who guards Widford Manor in the Cotswolds. He is threatened with eviction when a strict Puritan merchant moves to Widford. There are manuscript notebooks for both of these titles. Of her scholarly works for adults, three titles are represented in this collection: An Encyclopedia of Fairies, The Vanishing People, and The Personnel of Fairyland.
Recommended publications
  • Connotations 12.1 (2002/2003)
    Connotations A Journal for Critical Debate Volume 12 (2002/2003) Number 1 Waxmann Munster / New York Connotations - A Journal for Critical Debate by the Connotations Society is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Connotations: A Journal for Critical Debate Published by Connotations: Society for Critical Debate EDITORS Inge Leimberg (Munster) and Matthias Bauer (Saarbrucken) ASSOCIA TE EDITORS Lothar Cerny, Michael Steppat, Burkhard Niederhoff, and Christiane Lang Secretary: Cornelia Gerundt Editorial Assistants: Alexandra Neuschll Dagmar Schuck EDITORIAL ADDRESS Matthias Bauer, UniversiUit des Saarlandes, Department of English (4.3), P.O. Box 151150, 66041 Saarbrucken, Germany Email: [email protected] http://www.connotations.de EDITORIAL BOARD M. H. Abrams, Corn ell University Christiane Bimberg, Universitat Dortmund John Russell Brown, Middlesex University Ursula Brumm, Freie Universitat Berlin Paul Budra, Simon Fraser University Eleanor Cook, University of Toronto Elizabeth Story Donno, The Huntington Library Judith Dundas, University of Illinois at Urbana-Champaign William E. Engel, Nashville, Tennessee A. C. Hamilton, Queen's University, Ontario John P. Hermann, University of Alabama John Hollander, Yale University Lothar Hbnnighausen, Rheinische Friedrich-Wilhelms-Universitat Bonn Arthur F. Kinney, University of Massachusetts, Amherst Frances M. Malpezzi, Arkansas State University J. Hillis Miller, University of California, Irvine Martin Prochcizka, Charles University, Prague Dale B. J. Randall, Duke University Alan Rudrum, Simon Fraser University John M. Steadman, The Huntington Library Leona Toker, The Hebrew University of Jerusalem John Whalen-Bridge, National University of Singapore Joseph Wiesenfarth, University of Wisconsin-Madison Waxmann Munster / New York ~ Connotations wants to encourage scholarly communication in the field of English Literature (from the Middle English period to the present), as well as American and other Literatures in English.
    [Show full text]
  • A Study of the Tales As Printed in Folk-Lore in 1891
    2060302 INVESTIGATING THE LEGENDS OF THE CARRS: A STUDY OF THE TALES AS PRINTED IN FOLK-LORE IN 1891 Maureen James A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg For the award of the degree of Doctor of Philosophy Volume 1 April 2013 Abstract This study investigates the content, collection and dissemination of the Legends of the Cars, a group of tales published in Folk-Lore in 1891, as having been collected in North Lincolnshire from local people. The stories, have been criticised for their relatively unique content and the collector, Marie Clothilde Balfour has been accused of creating the tales. The stories are today used by artists, writers and storytellers, wishing to evoke the flatland and beliefs of the past, yet despite the questions raised regarding authenticity, neither the collector, the context or the contents have been thoroughly investigated. The tales have also, due to their inclusion in diverse collections, moved geographically south in the popular perception. This thesis documents the research into the historical, geographical and social context of the Legends of the Cars, and also validates the folkloric content and the dialect as being from North Lincolnshire. The situation within the early Folklore Society prior to, and after the publication of the stories, has also been investigated, to reveal a widespread desire to collect stories from the rural populations, particularly if they demonstrated a latent survival of paganism. Balfour followed the advice of the folklorists and, as well as submitting the tales in dialect, also acknowledged their pagan content within her introductions.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Edinburgh Research Archive This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Ghosts in Enlightenment Scotland Martha McGill Ph.D. History The University of Edinburgh 2015 Declaration This thesis was composed by myself, and the work herein is my own except where explicitly stated otherwise. The thesis has not been submitted for any other degree or professional qualification. Martha McGill i Abstract This thesis analyses perceptions of ghosts in Scotland, with particular focus on the period from 1685 to c. 1830. According to traditional wisdom, this was a time when society was becoming progressively more rational, with magical beliefs melting away under the glare of Enlightenment scholarship. However, this thesis argues that ghosts actually rose to a new cultural prominence in this period, to the extent that Scotland came to be characterised as a haunted nation.
    [Show full text]
  • Bibliography of Occult and Fantastic Beliefs Vol.1: a - D
    Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia Bibliography of Occult and Fantastic Beliefs vol.1: A - D © Neuss / Germany: Bruno Buike 2017 Buike Music and Science [email protected] BBWV E27 Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia Bibliography of Occult and Fantastic Beliefs - vol.1: A - D Neuss: Bruno Buike 2017 CONTENT Vol. 1 A-D 273 p. Vol. 2 E-K 271 p. Vol. 3 L-R 263 p. Vol. 4 S-Z 239 p. Appr. 21.000 title entries - total 1046 p. ---xxx--- 1. Dies ist ein wissenschaftliches Projekt ohne kommerzielle Interessen. 2. Wer finanzielle Forderungen gegen dieses Projekt erhebt, dessen Beitrag und Name werden in der nächsten Auflage gelöscht. 3. Das Projekt wurde gefördert von der Bundesrepublik Deutschland, Sozialamt Neuss. 4. Rechtschreibfehler zu unterlassen, konnte ich meinem Computer trotz jahrelanger Versuche nicht beibringen. Im Gegenteil: Das Biest fügt immer wieder neue Fehler ein, wo vorher keine waren! 1. This is a scientific project without commercial interests, that is not in bookstores, but free in Internet. 2. Financial and legal claims against this project, will result in the contribution and the name of contributor in the next edition canceled. 3. This project has been sponsored by the Federal Republic of Germany, Department for Social Benefits, city of Neuss. 4. Correct spelling and orthography is subject of a constant fight between me and my computer – AND THE SOFTWARE in use – and normally the other side is the winning party! Editor`s note – Vorwort des Herausgebers preface 1 ENGLISH SHORT PREFACE „Paul Smith“ is a FAKE-IDENTY behind which very probably is a COLLCETIVE of writers and researchers, using a more RATIONAL and SOBER approach towards the complex of Rennes-le-Chateau and to related complex of „Priory of Sion“ (Prieure de Sion of Pierre Plantard, Geradrd de Sede, Phlippe de Cherisey, Jean-Luc Chaumeil and others).
    [Show full text]
  • 'Enter Cælia, the Fairy Queen, in Her Night Attire': Shakespeare and The
    ‘Enter Cælia, the Fairy Queen, in her Night Attire’: Shakespeare and the Fairies MICHAEL HATTAWAY HENRY FUSELI: ‘TITANIA CARESSES BOTTOM’ (1793) This essay is based upon my British Academy Shakespeare Lecture, delivered at the Royal Society in London on 22 April 2010. It was published (without illustrations) as Michael Hattaway, ‘"Enter Caelia, the Fairy Queen, in her Night Attire" Shakespeare and the Fairies’, Shakespeare Survey, ed. Peter Holland, (Cambridge University Press, 2012), 65, 26-41. 2 1. ‘Believing in’ Theatrical Performances Where to begin? From history? History of events and institutions? History of ideas? The history of what Max Weber called the ‘external conditions’ of the age? Alternatively, we might start from language, a category that comprises both verbal and visual language systems as well as particular words and images. I choose the latter option. ‘Enter Cælia, the Fairy Queen, in her night attire’ is a stage direction in the manuscript text of Tom a Lincoln, an anonymous theatrical romance that dates from around 1611.1 The play’s hero is the Red Rose Knight. Thomas Heywood may have written it, possibly for staging at Gray’s Inn, but it was never published, and perhaps not even performed. What does the stage direction signify? A search of the corpus of early modern drama reveals that a player in night attire was in fact a stock theatrical image, one that signified that his character was vexed or confused.2 In the ‘closet’ scene of the first quarto of Hamlet, we find ‘Enter the Ghost in his night gown’.3 Heywood’s Fairy Queen, accompanied by a court of night-tripping fairy Amazons, had been abandoned by her lover – like Dido.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses If no Divells, no God: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage. BOCK, EMMANUEL How to cite: BOCK, EMMANUEL (2010) If no Divells, no God: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/750/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Emmanuel Bock “If no Divells, no God”: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage. Abstract This thesis looks at the relationship that humanity has with the devil, the demonic, and the daemonic as it is represented in plays from the mediaeval to the Early Modern period in England. While critics have contradictorily seen the devil as a secular figure on the one hand, and as a vestige of sacred drama on the other, I consider the character from an anthropocentric point of view: the devil helps reveal mankind’s emerging independence from religion and the problems that accompany this development.
    [Show full text]
  • The Persistence of Fairy Culture in Scotland, 1572-1703 and 1811-1927
    “What are ye, little mannie?”: The Persistence of Fairy Culture in Scotland, 1572-1703 and 1811-1927 Alison Marie Hight Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in History Danna Agmon (Co-Chair) David Cline (Co-Chair) Matthew Gabriele May 5, 2014 Blacksburg, VA Keywords: Scotland, fairy, national identity, cultural heritage, witchcraft, escapism, class culture “What are ye, little mannie?”: The Persistence of Fairy Culture in Scotland, 1572-1703 and 1811-1927 Alison Marie Hight ABSTRACT This thesis is a chronologically comparative study of fairy culture and belief in early modern and Victorian Scotland. Using fairy culture as a case study, I examine the adaptability of folk culture by exploring whether beliefs and legends surrounding fairies in the early modern era continued into the nineteenth and early twentieth as a single culture system, or whether the Victorian fairy revival was a distinct cultural phenomenon. Based on contextual, physical, and behavioral comparisons, this thesis argues the former; while select aspects of fairy culture developed and adapted to serve the needs and values of Victorian society, its resurgence and popularization was largely predicated on the notion that it was a remnant of the past, therefore directly linking the nineteenth century interpretation to the early modern. In each era, fairy culture serves as a window into the major tensions complicating Scottish identity formation. In the early modern era, these largely centered around witchcraft, theology, and the Reformation, while notions of cultural heritage, national mythology, and escapist fantasy dominated Victorian fairy discourse.
    [Show full text]
  • MS 1309 Briggs Handlist (387Kb)
    Handlist 157 LEEDS UNIVERSITY LIBRARY Special Collections MS 1309 K M Briggs Collection Katherine Mary Briggs was born in London in 1898, the eldest of three surviving daughters of Ernest and Mary Briggs. The Briggs family had its origins in Yorkshire and had built up its fortune from the coal mining industry in the eighteenth and nineteenth centuries in the Halifax and Wakefield areas. During Katherine’s lifetime the family business centred around a colliery in Normanton but her father’s ill-health prevented him from taking a prominent part in the family concern and his elder brothers ran the business on a daily basis. Ernest Briggs divided his time between the family home in London and Scotland, where he spent much of his time painting and fishing. He later had Dalbeathie House designed and built in Perthshire and the family moved there in 1910. Katherine’s father was an accomplished watercolourist, with several pictures exhibited at the Royal Academy. He was an imaginative storyteller and devoted to Katherine and it was from this childhood influence that Katherine developed a strong interest in fairytales and folklore later in life. Katherine’s father died when she was fourteen and she spent the next fifty years of her life in a close knit relationship with her two sisters, Winifred and Elspeth and their mother. The family affluence meant that neither Katherine nor her sisters were under any pressure to work for a living and this left them free to fully pursue their own interests. They were all very keen on amateur dramatics and throughout her life Katherine was involved in amateur productions - at school, at Lady Margaret Hall, with the Summer Players in the 1920s and 1930s, in the RAF during the war and after that at Burford where she lived until 1975.
    [Show full text]
  • Character Protoypes in Traditional English and Slovak Fairy Tales (Diplomová Práce)
    Univerzita Palackého Filozofická fakulta Katedra anglistiky a amerikanistiky Character Protoypes in Traditional English and Slovak Fairy Tales (Diplomová práce) Aneta Stehlíková (Anglická filologie) Supervisor: Libor Práger PhDr. Ph.D. Olomouc, 2012 Character Protoypes in Traditional English and Slovak Fairy Tales (Diplomová práce) Autor: Aneta Stehlíková Studijní obor: Anglická filologie Vedoucí práce: Libor Práger, PhDr. Ph.D. Počet stran (podle čísel): 60 Počet znaků: 110 064 Olomouc 2012 Prohlašuji, že jsem tuto diplomovou práci vypracovala samostatně a uvedla úplný seznam citované a použité literatury. V Olomouci dne 14.12. 2012 Aneta Stehlíková 2 Děkuji vedoucímu diplomové práce Liborovi Prágerovi PhDr. Ph.D. za užitečnou metodickou pomoc a cenné rady při zpracování diplomové práce. V Olomouci dne 14.12. 2012 Aneta Stehlíková 3 Abstract The aim of this thesis is to compare prototypical characters of English and Slovak folk fairy tales. The thesis also includes definitions of the folk tales and the fairy tales and the history of folk tales gathering in England and Slovakia. There is a comparison of English and Slovak main characters such as young brave heroes, young women and siblings. Following chapters deal with parents in folk fairy tales and with various representatives of evil in Slovak and English tales, such as giants, dragons, devils, stepmothers and evil wizards. Finally, wise old men, women, fairies and fairy godmothers are depicted. There is an assumption that this comparison leads to a discovery that English and Slovak fairy tales are similar. The uncovered distinctions are emphasised and possible explanations offered. Key words Folk tale, fairy tale, myth, England, Slovakia, character, hero, protagonist, comparison 4 Anotace Cílem diplomové práce je porovnání typických postav v anglických a slovenských lidových a současně kouzelných pohádek.
    [Show full text]
  • Durham E-Theses
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Durham e-Theses Durham E-Theses If no Divells, no God: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage. BOCK, EMMANUEL How to cite: BOCK, EMMANUEL (2010) If no Divells, no God: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/750/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Emmanuel Bock “If no Divells, no God”: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage. Abstract This thesis looks at the relationship that humanity has with the devil, the demonic, and the daemonic as it is represented in plays from the mediaeval to the Early Modern period in England.
    [Show full text]