DOCSLIB.ORG

Durham E-Theses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Chapter I sets the context for the investigation, tracing the broad outlines of the genesis of the figure that turned into the devil, before the main body of the thesis looks at the interaction between the devil and mankind. Part I considers the devil as master of his own deeds. Chapters II and III look at his development in the mediaeval Mysteries and Moralities, showing how an ever greater independence of the figure simultaneously leads to him being increasingly used as a character designed to educate mankind. Chapters IV and V reveal a similar pattern: the more confident the devil is of himself and the more he believes himself to be in control, the wilier man proves in freeing himself from his influence. Chapter VI sees the exodus of the devil as mankind takes control of its destiny. Part II looks at plays in which men attempt to control their fate by controlling the fiend and subjecting him to their power. Chronologically, it parallels the evolution traced in Chapters IV to VI. Chapters VII and VIII show that such efforts prove fruitless and counterproductive as long as the power men derive from their association with the devil is not channelled into a positive vision for the future. Only a model of a society that combines access to power and human responsibility, that substitutes a more selfless morality for an egocentric one, can keep the fiend at bay, as seen in Chapter IX. Finally, Chapter X tests these findings against The Birth of Merlin, which defies categorisation and dating. -i- - ii - “If no Divells, no God”: Devils, D(a)emons and Humankind on the Mediaeval and Early Modern English Stage. Emmanuel Bock Thesis submitted for the qualification of Doctor of Philosophy Department of English Studies Durham University 2010 -iii- - iv - Table of Contents INTRODUCTION ..................................................................................................................................1 I – CREATING AND RECREATING THE D(A)EMONIC..........................................................................15 I-1 – Yahweh: God and Devil.....................................................................................................18 I-2 – Astaroth: From Goddess to Demon...................................................................................23 I-3 – Satan: Rival Deity, Messenger, Accuser, Arch-enemy.......................................................27 I-4 – The Anatomy of Belial .......................................................................................................33 I-5 – The Roaring Devil Abroad ................................................................................................37 I-6 – (Ab)Using the Devil...........................................................................................................40 I-7 – All the World’s a Stage......................................................................................................46 PART I THE DEVIL IN HIS OWN RIGHT ............................................................................49 II – THE MYSTERIES ........................................................................................................................51 II-1 – The Fall of the Angels ......................................................................................................53 York ......................................................................................................................................................54 Towneley...............................................................................................................................................57 N-Town .................................................................................................................................................58 Chester ..................................................................................................................................................60 The Devil Remoulded ...........................................................................................................................71 II-2 – Adam and Eve ..................................................................................................................71 II-3 – Herod’s Story ...................................................................................................................78 Chester ..................................................................................................................................................79 N-Town .................................................................................................................................................83 II-4 – The Ignorant Devil ...........................................................................................................85 II-5 – Judgement ........................................................................................................................91 III – THE MORALITIES .....................................................................................................................97 III-1 – The Castle of Perseverance.............................................................................................97 Mundus..................................................................................................................................................99 Satanas, Belial, et al. ...........................................................................................................................100 -v- The Daughters of God......................................................................................................................... 105 III-2 – Wisdom & Mankind ...................................................................................................... 108 III-3 – Everyman ...................................................................................................................... 110 INTERLUDE .................................................................................................................................... 113 IV – GRIM THE COLLIER OF CROYDON .......................................................................................... 117 IV-1 – The Gods and Heroes of Classical Mythology.............................................................. 117 IV-2 – Christian Classical Underworld ................................................................................... 119 IV-3 – Belphegor...................................................................................................................... 122 IV-4 – St Dunstan..................................................................................................................... 126 IV-5 – The Gulls....................................................................................................................... 129 IV-6 – Akercock / Puck............................................................................................................. 133 IV-7 – They Are Mankind Grown............................................................................................. 137 IV-8 – Judgement ..................................................................................................................... 140 V – IF THIS BE NOT A GOOD PLAY, THE DEVIL IS IN IT.................................................................. 145 V-1 – Rufman ........................................................................................................................... 147 V-2 – Hubris through a Name.................................................................................................. 150 V-3 – Failure through Success................................................................................................. 153 V-4 – Bartervile.......................................................................................................................
Load more

Recommended publications
  • The Good Life Edited by Ian Christie and Lindsay Nash
    The Good Life Edited by Ian Christie and Lindsay Nash Open access. Some rights reserved. As the publisher of this work, Demos has an open access policy which enables anyone to access our content electronically without charge. We want to encourage the circulation of our work as widely as possible without affecting the ownership of the copyright, which remains with the copyright holder. Users are welcome to download, save, perform or distribute this work electronically or in any other format, including in foreign language translation without written permission subject to the conditions set out in the Demos open access licence which you can read here. Please read and consider the full licence. The following are some of the conditions imposed by the licence: • Demos and the author(s) are credited; • The Demos website address (www.demos.co.uk) is published together with a copy of this policy statement in a prominent position; • The text is not altered and is used in full (the use of extracts under existing fair usage rights is not affected by this condition); • The work is not resold; • A copy of the work or link to its use online is sent to the address below for our archive. By downloading publications, you are confirming that you have read and accepted the terms of the Demos open access licence. Copyright Department Demos Elizabeth House 39 York Road London SE1 7NQ United Kingdom [email protected] You are welcome to ask for permission to use this work for purposes other than those covered by the Demos open access licence.
    [Show full text]
  • Goethe, the Japanese National Identity Through Cultural Exchange, 1889 to 1989
    Jahrbuch für Internationale Germanistik pen Jahrgang LI – Heft 1 | Peter Lang, Bern | S. 57–100 Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989 By Stefan Keppler-Tasaki and Seiko Tasaki, Tokyo Dedicated to A . Charles Muller on the occasion of his retirement from the University of Tokyo This is a study of the alleged “singular reception career”1 that Goethe experi- enced in Japan from 1889 to 1989, i. e., from the first translation of theMi gnon song to the last issues of the Neo Faust manga series . In its path, we will high- light six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji 木村謹治, (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai 森鴎外, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu ウェル テルヅム), (5) the Zen Buddhist theories of Nishida Kitarō 西田幾多郎 and D . T . Suzuki 鈴木大拙, and lastly (6) works of popular culture by Kurosawa Akira 黒澤明 and Tezuka Osamu 手塚治虫 . Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity .
    [Show full text]
  • Chicago Symphony Orchestra
    Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark.
    [Show full text]
  • Early Faust Literature and Skepticism in the Reformation
    Dustin Lovett 20 Polemical Magic: Early Faust Literature and Skepticism in the Reformation Dustin Lovett (University of California, Santa Barbara) Richard Popkin’s epochal work on the history of skepticism in the Early Modern period1 identifies the seminal gesture of the Reformation, Luther’s rejection of the Catholic church’s entire framework of authority at the Diet of Worms, as the opening of a “Pandora’s Box” that sparked a skeptical crisis, or “crise pyrrhonienne,” which soon engulfed the Western world (5). Popkin’s narrow understanding of the term skepticism and his emphasis on the role of the printed Latin translations of Sextus Empiricus’s work in the 1560s in the birth of modern science have become controversial, but whether one adopts Popkin’s view of an acute crisis in the sixteenth and seventeenth centuries or takes a longer and broader view of skepticism,2 the Reformation marks a moment of profound transformation in the history of European thought. As Stuart Clark notes, the temptation “to think of the [Early Modern] period as one of radical epistemological instability” does not exist without reason (1997, 257). In rejecting the authority of the pope and church councils, which had previously arbitrated the nature of truth, in favor of “what conscience is compelled to believe on reading Scripture” (Popkin 3) Luther was redefining the criteria for religious orthodoxy. For centuries, the Catholic church alone had defined the nature of and means of achieving theological principles such as grace or repentance. The spiritual confusion that resulted from Luther’s repudiation of numerous Catholic doctrines finds its reflection in many literary works of the time but perhaps nowhere more potently than in the legend of Faust, which emerged and developed in the early Reformation era into a vehicle for Luther’s radical skepticism toward Catholic doctrines ranging from intercession and repentance to the saints’ cults and miracles.
    [Show full text]
  • 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]
  • Documente Muzicale Tipărite Şi Audiovizuale
    BIBLIOTECA NAŢIONALĂ A ROMÂNIEI BIBLIOGRAFIA NA ŢIONALĂ ROMÂNĂ Documente muzicale tipărite şi audiovizuale Bibliografie elaborată pe baza publicaţiilor din Depozitul Legal Anul XLVII 2014 Editura Bibliotecii Naţionale a României BIBLIOGRAFIA NAŢIONALĂ ROMÂNĂ SERII ŞI PERIODICITATE Cărţi. Albume. Hărţi: bilunar Documente muzicale tipărite şi audiovizuale : anual Articole din publicaţii seriale. Cultură: lunar Publicaţii seriale: anual Românica: anual Teze de doctorat: semestrial © Copyright 2014 Toate drepturile sunt rezervate Editurii Bibliotecii Naţionale a României. Nicio parte din această lucrare nu poate fi reprodusă sub nicio formă, prin mijloc mecanic sau electronic sau stocat într-o bază de date, fără acordul prealabil, în scris, al redacţiei. Înlocuieşte seria Note muzicale. Discuri. Casete Redactor: Raluca Bucinschi Coperta: Constantin Aurelian Popovici Lista pubLicaţiiLor bibLiotecii NaţioNaLe a româNiei - Bibliografia Naţională Română seria: Cărţi.Albume.Hărţi seria: Documente muzicale tipărite şi audiovizuale : anual seria: Articole din publicaţii periodice. Cultură: lunar seria: Publicaţii seriale: anual seria: Românica: anual seria: Teze de doctorat: semestrial - Aniversări culturale, 2/an - Biblioteconomie: sinteze, metodologii, traduceri , 2/an - Abstracte în bibliologie şi ştiinţa informării, 2/an - Bibliografia cărţilor în curs de apariţie (CIP), 12/an - Revista Bibliotecii Naţionale a României, 2/an - Revista română de istorie a cărţii, 1/an - Revista română de conservare și restaurare a cărții, 1/an Abonamentele la publicaţiile Bibliotecii Naţionale a României se pot face prin Biblioteca Naţională a României , biroul Editorial (telefon 021 314.24.34/1095) Editura Bibliotecii Naţionale a României Blv. Unirii, nr.22, sect. 3, Bucureşti, cod 030833 Tel.021 314.24.34; Fax:021 312.33.81 E-mail: [email protected] Documente muzicale tipărite şi audiovizuale 3 CUPRINS COMPACT DISCURI - Listă divizionare ..........................................................
    [Show full text]
  • The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth
    The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda.
    [Show full text]
  • Gunter E. Grimm
    GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben.
    [Show full text]
  • Deuteronomy 202 1 Edition Dr
    Notes on Deuteronomy 202 1 Edition Dr. Thomas L. Constable TITLE The title of this book in the Hebrew Bible was its first two words, 'elleh haddebarim, which translate into English as "these are the words" (1:1). Ancient Near Eastern suzerainty treaties began the same way.1 So the Jewish title gives a strong clue to the literary character of Deuteronomy. The English title comes from a Latinized form of the Septuagint (Greek) translation title. "Deuteronomy" means "second law" in Greek. We might suppose that this title arose from the idea that Deuteronomy records the law as Moses repeated it to the new generation of Israelites who were preparing to enter the land, but this is not the case. It came from a mistranslation of a phrase in 17:18. In that passage, God commanded Israel's kings to prepare "a copy of this law" for themselves. The Septuagint translators mistakenly rendered this phrase "this second [repeated] law." The Vulgate (Latin) translation, influenced by the Septuagint, translated the phrase "second law" as deuteronomium, from which "Deuteronomy" is a transliteration. The Book of Deuteronomy is, to some extent, however, a repetition to the new generation of the Law that God gave at Mt. Sinai. For example, about 50 percent of the "Book of the Covenant" (Exod. 20:23— 23:33) is paralleled in Deuteronomy.2 Thus God overruled the translators' error, and gave us a title for the book in English that is appropriate, in view of the contents of the book.3 1Meredith G. Kline, "Deuteronomy," in The Wycliffe Bible Commentary, p.
    [Show full text]
  • Jacob Bidermann: Cenodoxus (1602, 1635)
    1 Jacob Bidermann: Cenodoxus (1602, 1635) Jakob Bidermann (1578-1639) mit seiner Comico-Tragoedia „Cenodoxus. Der Doktor von Paris“ (1602, 1635 aus dem Lateinischen ins Deutsche übersetzt). Die Wirkung des lateinischen Jesuitendramas auf die Zuschauer soll so überwältigend gewesen sein, dass „nicht 100 Predigten eine solche Wirkung“ hätten erzielen können, 14 Hofleute hätten spontan dem Leben entsagt. Bidermann, der wichtigste Vertreter des Jesuitendramas im deutschsprachigen Raum, hat einige erfolgreiche Theaterstücke geschrieben, von denen wir gerade noch die Titel aus der Literaturgeschichte kennen, deren Themen aber viel aussagen über die Themen der 1. Hälfte des 17. Jahrhunderts: „Herodiados“, „Josaphat“ und „Jacobus usurarius“. Herodes als der Kindermörder von Bethlehem ist ein ebenso beliebter Stoff wie Herodes als Ehemann und Tyrann. Prinz Josaphat ist der Sohn des Buddha. Der Eremit Barlaam bekehrt ihn zum Christentum; er, Josaphat, seinen Vater auch. Als Prinz verzichtet er auf sein Königreich. Der Jacobus-Stoff gehört in die mittelalterliche literarische Tradition des Marienstoffes. Hier nimmt die katholische Gegen-reformation das durch die lutherische Reformation auf die biblische Maria reduzierte Thema wieder auf. Das Bidermannsche Drama ist Bekehrungsdrama. Bidermanns berühmtestes Theaterstück ist der lateinisch geschriebene „Cenodoxus“von 1602. Vorlage ist die Legende vom heiligen Bruno. Der heilige Bruno wird während der Seelenmesse für einen berühmten Doktor Zeuge eines Wunders. Die Leiche des Doktors erhebt sich dreimal von der Totenbahre und schreit jedesmal mit grauenvoller Stimme: „Aus gerechtem Urteil Gottes bin ich angeklagt“ und „... bin ich gerichtet“ und beim drittenmal: „Aus gerechtem Urteil Gottes bin ich verdammt“. Der Doktor heißt Cenodoxus, auf Deutsch der Ruhmsüchtige (El ávido de gloria). Nachdem Cenodoxus Wissen und Ruhm erlangt hat, will er nun Gott gleich werden.
    [Show full text]
  • The Torah: a Women's Commentary
    STUDY GUIDE The Torah: A Women’s Commentary Parashat Balak NUMBERS 22:2-25:9 Study Guide written by Rabbi Stephanie Bernstein Dr. Tamara Cohn Eskenazi, Dr. Lisa D. Grant, and Rabbi Andrea L. Weiss, Ph.D., editors Rabbi Hara E. Person, series editor Parashat Balak Study Guide Themes Theme 1: The Seer Balaam—Have Vision Will Travel Theme 2: It’s a Slippery Slope—the Dangers of Foreign Women INTRODUCTION n Parashat Balak the Israelites are camped on the plains of Moab, ready Ito enter Canaan. In the midst of their final preparations to enter the land God promised to their ancestors, yet another obstacle emerges. Balak, king of Moab, grows concerned about the fierce reputation of the Israelites, which he observed in the Israelites’ encounter with the Amorites (Numbers 21:21–32). Balak’s subjects worry that the Israelites, due to their large numbers, will devour the resources of Moab. In response, Balak hires a well-known seer named Balaam to curse the Israelites, thus reflecting the widely held belief in the ancient world that putting a curse on someone was an effective means of subduing an enemy. The standoff between the powers of the God of Israel and those of a foreign seer proves to be no contest. Even Balaam’s talking female donkey, who represents the biblical ideal of wisdom, recognizes the efficacy of God’s power—unlike her human master, the professional seer. Although hired to curse the Israelites, Balaam ends up blessing them instead. In a series of four oracles, Balaam ultimately does the opposite of what Balak desires and establishes that the power of Israel’s God is greater than even the most skilled human seers.
    [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]