Study Guide for Geoffrey of Monmouth's History of the Kings Of

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Study Guide for Geoffrey of Monmouth's History of the Kings Of

Introduction to British History – Quiz 1 Study Guide Know the following terms from Class discussions and readings in Campbell Briton York Caerleon Celt St. Albans Hadrian’s Wall hill fort Fosse Way Antonine Wall Boudicca Tacitus Saxon Shore Colchester Agricola Introduction by Lewis Thorpe Under what political conditions did Geoffrey of Monmouth write this book? Why did Geoffrey of Monmouth attribute Trojan ancestry to the Britons? How does the work denigrate the achievements of the Romans? Be prepared to identify three sources used by Geoffrey. See also Geoffrey’s intro. What did the word histoire mean to Geoffrey and his contemporaries? How does this term help us understand the story and how he approached the material? What was William of Newburgh’s reaction to Geoffrey’s work? How does it relate the previous question? Explain the synchronistic dating used by Geoffrey (see pages 285-288), and why it might have been attractive to him as he wrote this book. How does this work resemble the Aeneid and the Old Testament (aka the Hebrew Bible)? From Geoffrey’s History What were the five races of people who inhabited Britain in Geoffrey’s day? What events in the story suggest that the Trojans were a virtuous and noble people? Be familiar with the achievements of the following British rulers in order to contradict the notion that the Romans brought peace and civilization to the Britons: o Brutus o Dunvallo o Belinus o Bladud o Lud Summarize Geoffrey’s account of the Caesar’s invasions in terms of motives, number of invasions, and ultimate reasons for his success. Why do you suppose Geoffrey was silent about Boudicca? Which king brought Christianity to Britain according to Geoffrey? What was his likely source? How does Geoffrey refer to London and how does the city feature in Geoffrey’s account of history? What was the Giants’ Ring, where did it come from, and what was its purpose in Britain? What are Merlin’s achievements prior to his association with Arthur? Summarize the achievements of Aurelius Ambrosius. How does Geoffrey characterize Vortigern and the Picts? What is Armorica and what is its relationship to Britain? What factors weakened the defenses of Britain prior to the arrival of the Saxons? What areas outside of Britain did Arthur allegedly bring under his rule? What impact does Arthur have on the Saxon settlement of Britain? Compare the conditions surrounding the conceptions (leading to birth) of Arthur and Brutus. Be prepared to describe Geoffrey’s treatment of the following staples of the Arthurian legend. o Arthur’s sword, Excalibur o Arthur’s Queen, Guinevere o Arthur’s friend, Lancelot o Arthur’s religion & martial abilities o Arthur’s gathering place, the Round Table o Arthur’s relationship with Rome What influence do pagan gods have in the story and how does Geoffrey treat them? What was Vortigern’s tower and how might one explain its symbolic significance to the story? How does magic influence the emergence of Arthur? How does the story end? .

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THE KINGS and QUEENS of BRITAIN, PART I (From Geoffrey of Monmouth’S Historia Regum Britanniae, Tr
THE KINGS AND QUEENS OF BRITAIN, PART I (from Geoffrey of Monmouth’s Historia Regum Britanniae, tr. Lewis Thorpe) See also Bill Cooper’s extended version (incorporating details given by Nennius’s history and old Welsh texts, and adding hypothesised dates for each monarch, as explained here). See also the various parallel versions of the Arthurian section. Aeneas │ Ascanius │ Silvius = Lavinia’s niece │ Corineus (in Cornwall) Brutus = Ignoge, dtr of Pandrasus │ ┌─────────────┴─┬───────────────┐ Gwendolen = Locrinus Kamber (in Wales) Albanactus (in Scotland) │ └Habren, by Estrildis Maddan ┌──┴──┐ Mempricius Malin │ Ebraucus │ 30 dtrs and 20 sons incl. Brutus Greenshield └Leil └Rud Hud Hudibras └Bladud │ Leir ┌────────────────┴┬──────────────┐ Goneril Regan Cordelia = Maglaurus of Albany = Henwinus of Cornwall = Aganippus of the Franks │ │ Marganus Cunedagius │ Rivallo ┌──┴──┐ Gurgustius (anon) │ │ Sisillius Jago │ Kimarcus │ Gorboduc = Judon ┌──┴──┐ Ferrex Porrex Cloten of Cornwall┐ Dunvallo Molmutius = Tonuuenna ┌──┴──┐ Belinus Brennius = dtr of Elsingius of Norway Gurguit Barbtruc┘ = dtr of Segnius of the Allobroges └Guithelin = Marcia Sisillius┘ ┌┴────┐ Kinarius Danius = Tanguesteaia Morvidus┘ ┌──────┬────┴─┬──────┬──────┐ Gorbonianus Archgallo Elidurus Ingenius Peredurus │ ┌──┴──┐ │ │ │ (anon) Marganus Enniaunus │ Idvallo Runo Gerennus Catellus┘ Millus┘ Porrex┘ Cherin┘ ┌─────┴─┬───────┐ Fulgenius Edadus Andragius Eliud┘ Cledaucus┘ Clotenus┘ Gurgintius┘ Merianus┘ Bledudo┘ Cap┘ Oenus┘ Sisillius┘ ┌──┴──┐ Bledgabred Archmail └Redon └Redechius
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Cordelia''s Portrait in the Context of King Lear''s
Paula M. Rodríguez Gómez Cordelias Portrait in the Context of King Lears... 181 CORDELIAS PORTRAIT IN THE CONTEXT OF KING LEARS INDIVIDUATION* Paula M. Rodríguez Gómez** Abstract: This analysis attempts to show the relations between the individual psyche and the contents of the collective unconscious. Following Von Franzs analytical technique, the tragic action in King Lear will be read as an individuation process that will rescue archetypal contents and solve existential paradoxes that cause an imbalance between the ego and the self, leading to self-destruction. Once communication is eased and balance is restored, the transformation-seeking process that engaged the design of the play itself becomes resolved, and events can be led to a conventional tragic resolution. Jungian analysis will therefore provide a critical framework to unveil the subconscious contents that tear the character of the king between annihilation and survival, the anima complex that affects the king, responding thus for the action of the play and its centuries-old success. Keywords: collective unconscious, myth, individuation, archetype, tragedy, anima. Resumen: Este análisis pretende sacar a la luz las relaciones entre la psyche individual y los contenidos del inconsciente colectivo. Siguiendo la técnica analítica de Von Franz, la acción trágica de King Lear será entendida a través del proceso de individuación que revierte sobre los contenidos arquetípicos y resuelve las paradojas existenciales que cau- san el desequilibrio entre ego y self. Una vez que la comunicación es facilitada y el equilibrio psíquico recuperado, el proceso transformativo que afecta la génesis de la trama se resuelve y el argumento alcanza una resolución convencional.
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Religion and the Church in Geoffrey of Monmouth
Chapter 14 Religion and the Church in Geoffrey of Monmouth Barry Lewis Few authors inspire as many conflicting interpretations as Geoffrey of Monmouth. On one proposition, however, something close to a consen- sus reigns: Geoffrey of Monmouth wrote history in a manner that shows re- markable indifference toward religion and the institutional church. Antonia Gransden, in her fundamental survey of medieval English historical writing, says that “the tone of his work is predominantly secular” and even that he “abandoned the Christian intention of historical writing” and “had no moral, edificatory purpose”, while J.S.P. Tatlock, author of what is still the fullest study of Geoffrey, speaks of a “highly intelligent, rational and worldly personality” who shows “almost no interest in monachism … nor in miracles”, nor indeed in “religion, theology, saints, popes, even ecclesiastics in general”.1 Yet, even if these claims reflect a widely shared view, it is nonetheless startling that they should be made about a writer who lived in the first half of the 12th century. Some commentators find Geoffrey’s work so divergent from the norms of ear- lier medieval historiography that they are reluctant to treat him as a historian at all. Gransden flatly describes him as “a romance writer masquerading as an historian”.2 More cautiously, Matilda Bruckner names Geoffrey among those Latin historians who paved the way for romance by writing a secular-minded form of history “tending to pull away from the religious model (derived from Augustine and Orosius) that had viewed human history largely within the scheme of salvation”.3 This Christian tradition of historiography, against which Geoffrey of Monmouth is said to have rebelled, had its origins in late antiquity in the works of Eusebius, Augustine, and Orosius.
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Geoffrey of Monmouth, Historia Regum Britanniae, a Variant Version. Edited
THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION No. 57 GEOFFREY OF MONMOUTH VARIANT VERSION OF HIS HISTORIA REGUM BRITANNIAE GEOFFREY OF MONMOUTH HISTORIA REGUM BRITANNIAE A VARIANT VERSION EDITED FROM MANUSCRIPTS BY JACOB HAMMER HUNTER COLLEGE THE MEDIAEVAL ACADEMY OF AMERICA CAMBRIDGE 38, MASSACHUSETTS 1951 The publication of this book was made possible by grants of funds to the Academy from the John Simon Guggenheim Foundation, the Institute for Advanced Study, and an Anonymous Donor COPYRIGHT BY THE MEDIAEVAL ACADEMY OF AMERICA 1951 Printed in U.S.A. TO E. A. LOWE AND THE MEMORY OF ERNST RIESS PREFACE In 1927 Professor Chambers wrote: Critical work on the manuscripts (of Geoffrey of Monmouth) is still in its infancy, and in these circumstances speculation as to the original form of the Historia and any revision which it may have undergone can only be tentative.1 Two years later, in 1929, two editions of Geoffrey appeared,2 which constitute a real advance over the older, uncritical editions. The present edition which offers the first critical text of a Variant Version of the Historia, based on manuscripts that hitherto passed under the name of Geoffrey, is only another step in this advance. It represents the first fruits of an investigation undertaken many years ago and is preliminary to a critical edition of the Historia, based on all manuscripts known to scholars, the larger portion of which (135 in actual numbers) has already been col- lated. A task of this scope could not have been undertaken without outside assistance. It was thanks to the generous grants (and publication sub- vention) from the John Simon Guggenheim Foundation and the American Council of Learned Societies that it was possible to visit the various libraries of Europe and collect the material necessary for the project.
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Introduction 1
NOTES Introduction 1 . Siân Echard, Arthurian Narrative in the Latin Tradition , Cambridge Studies in Medieval Literature 36 (Cambridge: Cambridge University Press, 1998 ), p. 14; Helen Cooper, The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare (Oxford: Oxford University Press, 2004 ), pp. 26–27; Anne F. Sutton and Livia Visser-Fuchs, “The Dark Dragon of the Normans: A Creation of Geoffrey of Monmouth, Stephen of Rouen, and Merlin Silvester,” Quondam et Futurus: A Journal of Arthurian Interpretations 2.2 ( 1992 ): 2 [1–19]. 2 . Julia Briggs discusses the Vortiger and Uther Pendragon plays per- formed by Philip Henslowe’s company as well as William Rowley’s The Birth of Merlin and Thomas Middleton’s Hengist , “New Times and Old Stories: Middleton’s Hengist ,” Literary Appropriations of the Anglo-Saxons from the Thirteenth to the Twentieth Century , ed. Donald Scragg and Carole Weinberg, Cambridge Studies in Anglo-Saxon England 29 (Cambridge: Cambridge University Press, 2000 ), pp. 108–9 [107–21]. 3 . For evidence supporting a late 1138 date for Geoffrey’s HRB , see Wright, introduction to HRB Bern , p. xvi [ix-lix] and John Gillingham, “The Context and Purposes of Geoffrey of Monmouth’s History of the Kings of Britain ,” Anglo-Norman Studies 13 (1991 ): 100 n5 [99–118]. 4 . Clarke, introduction to VM , p. vii [vii-50]; Echard, Arthurian Narrative , p. 218. 5 . Lee Patterson, Negotiating the Past: The Historical Understanding of Medieval Literature (Madison, WI: The University of Wisconsin Press, 1987 ), pp. 160, 201, 170, and 187; Virgil, Aeneid in Eclogues, Georgics, Aeneid I-VI , trans.
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More 23 'Flying King Bladud' by Tysilio
EMBARGO: Strictly NOT for publication or dissemination without the prior written approval of the copyright holder CVpedia More A repository of essays, independently authored, offering supplementary information to that available in The National CVpedia of Britain. Whilst items are subject to editorial input and the firm obligation is placed upon authors to articulate the truth as they see it, no responsibility is taken for the accuracy of the information presented. More 23 23 March 2012 ‘Flying King Bladud, King Lear & Queen Cordelia’ by Tysilio, Holinshed & Enderbie By The National CV Group This article comprises material on King Bladud and his son, Shakespeare’s King Lear, from the Tysilio Chronicle , which was started in the 7 th century AD, Holinshed’s Chronicles , from the 16 th century, and Pery Enderbie’s Cambria Triumphans or Brittain in its Perfect Lustre , from the 17 th century. We learn from these sources that Lear’s daughter Cordelia came to rule Britain. She was the island’s second queen regnant, after Gwendolen, who had taken the throne following the death of her husband Locrinus, the eldest son of Brutus the Trojan. The same line of monarchs is advertised in the three sources as follows: 1. Brutus 2. Locrinus 3. Gwendolen 4. Madan 5. Mempricius 6. Ebraucus 7. Brutus II Greenshield 8 Leil 9. Hudibras 10. Bladud 11. Lear 12. Cordelia Strictly confidential 1 The National CV 2012 Email: [email protected] EMBARGO: Strictly NOT for publication or dissemination without the prior written approval of the copyright holder Section I This section exhibits material from the Tysilio Chronicle , together with translator’s notes.
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Druidism : the Ancient Faith of Britain
©ruiOigiin & fcirarfflitli of Britain ^uMti) Ulrijlif IC'\ zo^ ©ruiiligin CliE ^ncirarfflitli of l^ritain Printed and Bound by Ed. J. Burrow & Co. Ltd. London and Cheltenham England. : ©ruiOisiin CliE feitnt faitl of i^ritain BY Dudley Wright LONDON ED. J. BURROW & CO., LTD. Central House, 43, 45 & 47 Kingsway AND Cheltenham 1924 . .. LIST OF ILLUSTRATIONS The Massacre of the Druids . Frontispiece Stonehenge, from a Water Colour Drawing by J. M. W. Turner, R.A. 24 The Druids, or The Conversion of the Britons to Christianity . • 48 Stonehenge, from a Water Colour Drawing by Constable (Victoria and Albert Museum) . 72 Druidical Festival at Stonehenge . 96 A Druid .. .. 120 Aerial View of Stonehenge .. .. .. .. 144 Hill Ranges Converging on Stonehenge .. .. 148 Diagrammatic Plan of Stonehenge .. .. .. 184 N.B.—The Illustrations facing pp. 24, 48, 72, 96, 120 and Frontispiece are from the Fine Art Collection of Augustin Rischgitz. The design for the chapter ending on p. 58 shows the comparative sizes of Druidical Stone Circles. The outer circle is that of Avebury, the intermediate that of Brogar, and the centre Stennis and Stonehenge ; on p. 1 10 are represented the three circles referred to on p. 48 ; on p. 172 is given the Maiden Stone at Caldron, and on p. 183 the chambered structure at Callernish. —————— . .. .. .... ... CONTENTS PAGE Chapter I. The Origin of Druidism . i Britain, Gaul, Erin, Persia, Phoenicia, etc. Chapter II. The Creed of Druidism . 22 Monotheism, Polytheism, Anthropomorphism. The Bardic, or Druidic alphabet. Ancient seats of learning. Ancient trees, The Tree of Knowledge. Reference to Cesar's account of Druidism.
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Shakespeare's Reclamation of the Leir Story
47 King of Legend, King of History: Shakespeare’s Reclamation of the Leir Story Graham Osborne West Chester University he earliest historical accounts of the origins of Britain, those penned by Gildas (ca. 540) and Bede (ca. 731), begin T with the Roman conquest of the British Isles by Julius Caesar, implying that Britain prior to Roman occupation is unknowable. It is not until Geoffrey of Monmouth’s publication of Historia Regum Britanniae (ca. 1136) that the people of Medieval England gain a national narrative predating Caesar’s arrival upon British shores. Geoffrey’s story, known as the Galfridian account, claims to have been translated from an ancient text and reckons the history of Britain all the way back to Brutus, grandson of Trojan Aeneas. In its time, it was accepted as history, but by the British Renaissance, historians had all but abandoned the Galfridian tradition of British antiquity as imaginative non-history. As many of Geoffrey’s kings had become the subject of history plays by that time, their loss of historicity threatened the future for stage adaptations of the stories of Gorboduc, Locrine, Leir, and others. However, King Leir is rescued from being lost to the annals of forged history and re-popularized by William Shakespeare in his play The Tragedy of King Lear. While other playwrights adapting tales from Historia held tight to the Galfridian tradition of history, Shakespeare abandoned its trappings to write his Lear, thus situating its themes on a timeless foundation of an interweaving national narrative pointing toward the country’s new monarch and a unified future determined by action rather than fate.
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2018 Le Helloco D
Bangor University DOCTOR OF PHILOSOPHY Sense of place and the writing of early British history in medieval and early modern England Le Helloco, Daisy Award date: 2019 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 SENSE OF PLACE AND THE WRITING OF EARLY BRITISH HISTORY IN MEDIEVAL AND EARLY MODERN ENGLAND Thesis submitted for the degree of Doctor of Philosophy at Bangor University by Daisy Le Helloco School of English Bangor University June 2018 Sense of Place and the Writing of Early British History in Medieval and Early Modern England Summary Sense of place, the human connection to and understanding of place, has been theorized and understood as integral to the perception of and recording of the past. This dissertation addresses the use of sense of place in English and Anglo-Latin historical texts from the twelfth to the seventeenth century, specifically where they deal with the history of the island before the Anglo-Saxon settlements of the fifth century.
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OBINUS, Fictitious Archbishop of London. He Appears Fourth in a List Attributed to Jocelin of Furness, Succeeding Cadar and Succ
A WELSH CLASSICAL DICTIONARY OBINUS, fictitious archbishop of London. He appears fourth in a list attributed to Jocelin of Furness, succeeding Cadar and succeeded by Conan (John Stow, The Chronicles of England, 1580, p.56). OCTAVIUS, Duke of the Gewissei. See Eudaf Hen. ODGAR ab AEDD. (Legendary). Odgar ab Aedd, king of Ireland, appears in the tale of ‘Culhwch and Olwen’. He accompanied Arthur to the west of Ireland in the search for Gwrgi Seferi, the purpose of which is never explained (RM 134). Later Arthur dispatched a message to Odgar to seek the cauldron of Diwrnach Wyddel, his overseer. Odgar, king of Ireland, besought Diwrnach to give it, but he would not (RM 135). Odgar was the only person who could pluck from the head of Ysgithyrwyn, Chief Boar, the tusk which Ysbaddaden Pencawr required in order to shave himself for the wedding of Culhwch and Olwen (WM 452, RM 122). However it was actually ‘Cadw’ [Caw] of Prydyn who ‘took’ the tusk (RM 135). Odgar was brother of Gwitard, son of Aedd king of Ireland. On the name see Patrick Sims-Williams in BBCS 29 pp.605-6 (1982). ODIAR the Frank. (Legendary). He is mentioned as Odyar franc in the romance of ‘Geraint and Enid’ as the steward of Arthur's Court (WM 412, RM 265). See further CO(2) p.227. ODWYN ap TEITHWALCH. (1040) He is mentioned in the genealogies as a descendant of Ceredig ap Cunedda, and the father of Morfydd the mother of Gwaithfoed of Ceredigion (PP §45). Here the spelling is Odwin.
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From the Romans to the Normans on the English Renaissance Stage
Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute Publications 11-30-2017 From the Romans to the Normans on the English Renaissance Stage Lisa Hopkins Follow this and additional works at: https://scholarworks.wmich.edu/mip_edam Part of the Dramatic Literature, Criticism and Theory Commons, and the Theatre History Commons Recommended Citation Hopkins, Lisa, "From the Romans to the Normans on the English Renaissance Stage" (2017). Early Drama, Art, and Music. 3. https://scholarworks.wmich.edu/mip_edam/3 This Monograph is brought to you for free and open access by the Medieval Institute Publications at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. From the Romans to the Normans on the English Renaissance Stage Lisa Hopkins EARLY DRAMA, ART, AND MUSIC From the Romans to the Normans on the English Renaissance Stage EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Brigham Young University Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences From the Romans to the Normans on the English Renaissance Stage by Lisa Hopkins Early Drama, Art, and Music MedievaL InsTITUTE PUBLICATIOns Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data are available from the Library of Congress.
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From the Romans to the Normans on the English Renaissance Stage
From the Romans to the Normans on the English Renaissance Stage Lisa Hopkins EARLY DRAMA, ART, AND MUSIC From the Romans to the Normans on the English Renaissance Stage EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Brigham Young University Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences From the Romans to the Normans on the English Renaissance Stage by Lisa Hopkins Early Drama, Art, and Music MedievaL InsTITUTE PUBLICATIOns Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data are available from the Library of Congress. ISBN: 9781580442794 eISBN: 9781580442800 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in, or introduced into a retrieval system, or trans- mitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Introduction N his BOOK ON Ancient Britons and the Antiquarian Imagination, IStuart Piggott notes that John Earle’s 1628 Micro-cosmographie repre- sented an antiquary as one who “likes Death the better, because it gath- ers him to his Fathers.”1 The antiquarians of whom Piggott writes were fascinated by the past and felt personally connected to it, and so too did many others in the sixteenth and seventeenth centuries whose interest was more general than scholarly.
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