DOCSLIB.ORG

British and American Classical Poems

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
British and American Classical Poems British and American Classical Poems NEWLY EDITED AND ANNOTATED BY HORST MELLER AND RUDOLF SUHNEL IN CONTINUATION OF LUDWIG HERRIG'S »CLASSICAL AUTHORS* Corrected Reprint of the Edition of 1966 UNIVERSITATSVERLAG C. WINTER HEIDELBERG CONTENTS 1. TRADITIONAL BALLADS 2 The Three Ravens 9 Thomas Rymer 3 The Twa Corbies 10 Bonnie George Campbell 4 Edward 10 The Unquiet Grave 5 Edward (English Rendering) 11 Go Down, Moses 6 Sir Patrick Spence 12 Casey Jones 7 Lord Randal 14 The Fox's Foray 8 The Wife of Usher's Well 15 Finnegan's Wake 2. NARRATIVE POEMS 18 DRAYTON: TO the Cambro-Britons and 45 KEATS: La Belle Dame Sans Merci Their Harp, His Ballad of Agincourt 46 TENNYSON: The Kraken 21 GRAY: Ode on the Death of a Favourite 46 TENNYSON: The Charge of the Light Bri- Cat, Drowned in a Tub of Gold Fishes gade 22 GOLDSMITH: Elegy on the Death of a Mad 48 POE: The Raven Dog 52 YEATS: The Ballad of Moll Magee 23 BURNS: Tam O'Shanter 53 KIPLING: Danny Eeever 28 COLERIDGE: Kubla Khan 54 WILDE: From The Ballad of Reading 29 COLERIDGE: The Rime of the Ancient Gaol Mariner 55 ROBINSON: Miniver Cheevy 41 SOUTHEY: The Battle of Blenheim 56 HARDY: Ah, are you digging on my 42 BYRON: The Destruction of Sennacherib grave? 43 WOLFE: The Burial of Sir John Moore at 57 FROST: Out, out - Corunna 58 AUDEN: AS I walked out one evening 3. DRAMATIC MONOLOGUES 60 MARVELL: The Nymph Complaining for 65 BROWNING: The Laboratory the Death of Her Fawn 66 BROWNING: Youth and Art 61 TENNYSON: Ulysses 68 DAVIDSON: Thirty Bob a Week 63 BROWNING: My Last Duchess 71 ELIOT: The Love Song of J. Alfred Prufrock 4. SHORT LYRICS AND SONGS 77 ANONYMOUS: Sumer is icumen in 99 SHELLEY: A Song ("A widow bird sate 78 ANONYMOUS: Balow, my babe, lie still and mourning for her love") sleep 99 SHELLEY: TO — ("Music, when soft voices 79 WYATT: Forget not yet die") 79 GREVILLE: The world, that all contains, is ICO SHF.ILIY: Lines ("When the lamp is shat- ever moving tered") 80 SIDNEY: A Litany 101 I.ANDOR: Verse ("Past ruined Ilion Helen 81 SHAKESPEARE: Blow, blow, thou winter lives") wind 1C1 TINNYSON: Break, Break, Break 81 SHAKESPEARK Take, o take those 101 TFNNYSON: Tears, idle tears lips away 102 TENNYSON: The Eagle 82 ANONYMOUS: Life is a poet's fable 102 TENNYSON: Crossing the Bar 83 DYER: The lowest trees have tops 102 BRONTE: The night is darkening 83 DONNE: Song ("Go and catch a falling round me star") 103 BROWNING: Song ("The year's at the 84 DONNE: The Canonization spring") 85 FLETCHER (?): Aspatia's Song ("Lay a gar- 103 BROWNING: Summum Bonum land on my hearse") 103 LONGFELLOW: The Arrow and the Song 86 WEBSTER: Dirge ("Call for the robin red- 104 C. ROSSETTI: Song ("When I am dead, my breast and the wren") dearest") 86 CAMPION: NOW winter nights enlarge 104 EMERSON: Days 87 WOTTON: On His Mistress, the Queen of 104 DICKINSON: There's a certain Slant Bohemia of light 88 SUCKLING: Song ("Why so pale and wan, 105 DICKINSON: In the Garden fond lover?") 105 KINGSLEY: Young and Old 89 SUCKLING: Out upon it! I have loved 106 ARNOLD: Dover Beach 89 CAREW: A Song ("Ask me no more where 107 MEREDITH: Dirge in Woods Jove bestows") 107 HOPKINS: Spring and Fall 90 WALLER: Song ("Go, lovely rose!") 107 WHITMAN: Youth, Day, Old Age and 90 HERRICK: To Daffodils Night 91 HERR.CK: TO Anthea, Who May Command 108 STEVENSON: Requiem Him Anything 108 MELVILLE : Far Off-Shore 91 LOVELACE: TO Lucasta. Going to the 108 BRIDGES: I love all beauteous things Wars 92 My Dear and L 108 YEATS: The Pity of Love BHX7T: TO -- 109 DOWSON: Vitae summa brevis spem nos vetat incohare longam 92 COWPER: The Poplar-Field 109 HOUSMAN: From A Shropshire Lad 93 BURNS: TO a Mouse (VII: "When smoke stood up from 94 BURNS: John Anderson My JOl John Ludlow"; XXXIII: "If truth in hearts 95 BURNS: A Red, Red Rose that perish") 110 HARDY : The Darkling Thrush unFlower 96 BLAKE: The Sick Rose 111 HULME: Autumn 111 H. D.: Oread 96 WORDSWORTH: MV KM». I Q7 W7 " heart leaps u pp 111 POUND: In a Station of the Metro 97 WORDSWORTH: I WanH J . , cloud wandered lonely as a 112 FROST : The Road Not Taken 97 112 FROST: Stopping by Woods on a Snowy * OaW Evening 99 BYRON: So we'll 113 SANDBURG: Grass *> SCOTT: H3 WYLIE : Let No Charitable Hope 114 WILLIAMS: The Term VI 5. PASTORALS AND ANACREONTICS 116 SPENSER: From The Shepherd's Calendar: 120 HERRICK: Comma's Going March A-Maying 117 MARLOWE: The Passionate Shepherd to His 122 COWLEY: Drinking Love 122 MARVFIL: TO His Coy Mistress 117 RALEIGH: The Nymph's Reply to the Shep- 123 MARVELL: The Garden herd 126 POPE: Ode on Solitude 118 SHAKESPEARE: Under the greenwood tree 126 SHELLEY: Love's Philosophy 118 JONSON: Song, to Celia ("Drink to me only 126 CLARE: From The Shepherd's Calendar: with thine eyes") August 119 HERRICK: TO the Virgins, to Make Much 128 YEATS: The Lake Isle of Innisfree of Time 128 YEATS: A Drinking Song 6. SONNETS 130 SIDNEY: From Astrophel and Stella (1: 141 MILTON: On His Blindness "Loving in truth"; 31: "With how sad 142 MILTON: On the Late Massacre in Pied- steps, O Moon") mont 131 SIDNEY: Leave me, O Love which readiest 142 WORDSWORTH: Composed upon Westmin- but to dust ster Bridge 132 DANIEL: From Delia (47: "Beauty, sweet 143 WORDSWORTH: TO Touss.iini love, is like the morning dew"; 51: "Care- L'Ouverture charmer Sleep") 143 WORDSWORTH: The world is too much 133 SPENSER: One day I wrote her name upon with us the strand 144 KEATS: On First Looking into Chapman's 134 BOLTON: AS withereth the primrose by the Homer river 145 KEATS: On Seeing the Elgin 134 SHAKESPEARE: From Sonnets (18: "Shall I Marbles compare thee to a summer's day?"; 30: 146 KEATS: When I have fears that I may cease "When to the sessions of sweet silent to be thought"; 33: "Full many a glorious morn- 146 SHELLEY: Ozymandias ing have I seen"; 55: "Not marble, nor the 147 LONGFELLOW: Mezzo Cammin gilded monuments"; 71: "No longer mourn 147 E. B. BROWNING: If thou must for me when I am dead"; 73: "That time love me of year thou mayst in me behold"; 77: 148 C. ROSSETTI: Remember me when 1 am "Thy glass will show thee how thy beauties gone away wear"; 116: "Let me not to the marriage 148 HOPKINS: The Windhover of true minds"; 130: "My mistress' eyes are 149 D. G. ROSSETTI: The Sonnet nothing like the sun"; 146: "Poor soul, the 150 MERFDITH: Lucifer in Starlight centre of my sinful earth") 150 BROOKF: The Soldier 140 DRAYTON: Since there's no help, come let 151 OWFN: Anthem for Doomed Youth us kiss and part 151 YEATS: Leda and the Swan 140 DONNE: From Holy Sonnets (7: "At the 152 RANSOM: Piazza Piece round earth's imagined corners, blow"; 10: 152 CL'MMINGS: pity this busy monster, manun- "Death be not proud") kjnd 7. OLD FRENCH FORMS 154 DOBSON: A Kiss 155 ALTON: Paysage Moralise 154 SWINBURNE: A Ballad of Dreamland 156 THOMAS: DO Not Go Gentle into That 155 MCCRAF: In Flanders Fields Good Night Vll 8. ELEGIES 158 ANONYMOUS: Weep you no more, sad among unknown men"; "A slumber did my fountains spirit seal") 158 SHAKESPEARE: Song ("Fear no more the 171 LANDOR: Rose Aylmer heat o'the sun") 171 SCOTT: Coronach 159 BROWNE: On the Countess Dowager of 172 WHITMAN: When Lilacs Last in the Door- Pembroke yard Bloomed 160 MILTON: Lycidas 179 SWINBURNE: A Forsaken Garden 165 GRAY: Elegy Written in a Country Church- 181 H. D.: Lethe yard 181 CRANE : At Melville's Tomb 170 WORDSWORTH: Lucy Poems ("She dwelt 182 MILLAY: Dirge without Music among th'untrodden ways"; "I travelled 9. ODES 184 MILTON: L1 Allegro 202 SHELLEY: Ode to the West Wind 187 MILTON: II Penseroso 205 SHELLEY: The Cloud 191 DRYDEN: A Song for St. Cecilia's Day, 1687 207 KEATS: Ode to a Nightingale 194 COLLINS: Ode to Evening 209 KEATS: Ode on a Grecian Urn 196 WORDSWORTH: Ode: Intimations of Immor- 211 KEATS: TO Autumn tality from Recollections of Early Child- 212 SWINBURNE: Hymn to Proserpine hood 215 YEATS: Easter 1916 10. POEMS OF PRAYER AND MEDITATION 218 NASHE: The Song ("Adieu, farewell earth's 234 COWPER : Light Shining Out of Darkness bliss") 235 BLAKE: The Lamb 219 SOUTHWELL: The Burning Babe 235 BLAKE: The Tyger 220 DONNE: Hymn to God My God in My 236 BLAKE: London Sickness 237 DICKINSON: Because I could not stop for 221 HERBERT: Employment ("He that is weary, Death let him sit") 221 237 HOPKINS: Pied Beauty HERBERT: Virtue 238 HARDY: The Oxen 222 HERBERT: The Collar 223 238 YEATS: The Second Coming HERBERT: The Pulley 239 YEATS: Sailing to Byzantium 224 QUARLES: Behold how short a span 240 ELIOT: A Song for Simeon 226 CRASHAW: Charitas Nimia 241 LAWRENCE: Only Man 228 VAUGHAN: The Retreat 229 241 THOMAS: The Force That through the Green VAUGHAN: The Waterfall 230 TKAHERNE: Wonder Fuse Drives the Flower 232 MARVELL: A Dialogue between the Resolved 242 THOMAS : Was There a Time Soul and Created Pleasure 243 SITWELL: Still Falls the Rain 234 TAYLOR: The Ebb and Flow 244 POUND: From Canto LXXXI 245 LARKIN: Church Going 11. REFLECTIVE VERSE AND VERSE ESSAYS 248 DAV.ES: From NosceTeipsum 249 SH,KESPEARAnh 251 DONNE: From An Anatomy of the World 252 RALEIGH: What is our life? VIII 253 SHIRLEY: The glories of our blood and state 262 COWPER: From The Task 254 POPE: From An Essay on Criticism 263 WORDSWORTH: Lines Composed a Few 255 POPE: From An Essay on Man Miles Above Tintern Abbey 256 THOMSON: From The Seasons 267 BRYANT: Thanatopsis 257 BLAIR: From The Grave 268 PATMORE: The Revelation 258 YOUNG: From The Complaint, or Night 268 SYMONS: Epilogue: Credo Thoughts on Life, Death and Immortality 269 EMPSON: This Last Pain 260 AKENSIDE: From The Pleasures of Imagina- 270 EBFRHART: The Groundhog tion 271 AUDEN: Musee des Beaux Arts 261 GOLDSMITH: From The Deserted Village 272 DAVIE: The Fountain 12.
Load more

Recommended publications
  • Make We Merry More and Less
    G MAKE WE MERRY MORE AND LESS RAY MAKE WE MERRY MORE AND LESS An Anthology of Medieval English Popular Literature An Anthology of Medieval English Popular Literature SELECTED AND INTRODUCED BY DOUGLAS GRAY EDITED BY JANE BLISS Conceived as a companion volume to the well-received Simple Forms: Essays on Medieval M English Popular Literature (2015), Make We Merry More and Less is a comprehensive anthology of popular medieval literature from the twel�h century onwards. Uniquely, the AKE book is divided by genre, allowing readers to make connec�ons between texts usually presented individually. W This anthology offers a frui�ul explora�on of the boundary between literary and popular culture, and showcases an impressive breadth of literature, including songs, drama, and E ballads. Familiar texts such as the visions of Margery Kempe and the Paston family le�ers M are featured alongside lesser-known works, o�en oral. This striking diversity extends to the language: the anthology includes Sco�sh literature and original transla�ons of La�n ERRY and French texts. The illumina�ng introduc�on offers essen�al informa�on that will enhance the reader’s enjoyment of the chosen texts. Each of the chapters is accompanied by a clear summary M explaining the par�cular delights of the literature selected and the ra�onale behind the choices made. An invaluable resource to gain an in-depth understanding of the culture ORE AND of the period, this is essen�al reading for any student or scholar of medieval English literature, and for anyone interested in folklore or popular material of the �me.
    [Show full text]
  • Popular British Ballads : Ancient and Modern
    11 3 A! LA ' ! I I VICTORIA UNIVERSITY LIBRARY SHELF NUMBER V STUDIA IN / SOURCE: The bequest of the late Sir Joseph Flavelle, 1939. Popular British Ballads BRioky Johnson rcuvsrKAceo BY CVBICt COOKe LONDON w J- M. DENT 5" CO. Aldine House 69 Great Eastern Street E.G. PHILADELPHIA w J. B. LIPPINCOTT COMPANY MDCCCXCIV Dedication Life is all sunshine, dear, If you are here : Loss cannot daunt me, sweet, If we may meet. As you have smiled on all my hours of play, Now take the tribute of my working-day. Aug. 3, 1894. eooccoc PAGE LIST OF ILLUSTRATIONS xxvii THE PREFACE /. Melismata : Musical/ Phansies, Fitting the Court, Cittie, and Countrey Humours. London, 1 6 1 i . THE THREE RAVENS [MelisMtata, No. 20.] This ballad has retained its hold on the country people for many centuries, and is still known in some parts. I have received a version from a gentleman in Lincolnshire, which his father (born Dec. 1793) had heard as a boy from an old labouring man, " who could not read and had learnt it from his " fore-elders." Here the " fallow doe has become " a lady full of woe." See also The Tiua Corbies. II. Wit Restored. 1658. LITTLE MUSGRAVE AND LADY BARNARD . \Wit Restored, reprint Facetix, I. 293.] Percy notices that this ballad was quoted in many old plays viz., Beaumont and Fletcher's Knight of the xi xii -^ Popular British Ballads v. The a Act IV. Burning Pestle, 3 ; Varietie, Comedy, (1649); anc^ Sir William Davenant's The Wits, Act in. Prof. Child also suggests that some stanzas in Beaumont and Fletcher's Bonduca (v.
    [Show full text]
  • A BOOK of OLD BALLADS Selected and with an Introduction
    A BOOK OF OLD BALLADS Selected and with an Introduction by BEVERLEY NICHOLS ACKNOWLEDGMENTS The thanks and acknowledgments of the publishers are due to the following: to Messrs. B. Feldman & Co., 125 Shaftesbury Avenue, W.C. 2, for "It's a Long Way to Tipperary"; to Mr. Rudyard Kipling and Messrs. Methuen & Co. for "Mandalay" from _Barrack Room Ballads_; and to the Executors of the late Oscar Wilde for "The Ballad of Reading Gaol." "The Earl of Mar's Daughter", "The Wife of Usher's Well", "The Three Ravens", "Thomas the Rhymer", "Clerk Colvill", "Young Beichen", "May Collin", and "Hynd Horn" have been reprinted from _English and Scottish Ballads_, edited by Mr. G. L. Kittredge and the late Mr. F. J. Child, and published by the Houghton Mifflin Company. The remainder of the ballads in this book, with the exception of "John Brown's Body", are from _Percy's Reliques_, Volumes I and II. CONTENTS FOREWORD MANDALAY THE FROLICKSOME DUKE THE KNIGHT AND SHEPHERD'S DAUGHTER KING ESTMERE KING JOHN AND THE ABBOT OF CANTERBURY BARBARA ALLEN'S CRUELTY FAIR ROSAMOND ROBIN HOOD AND GUY OF GISBORNE THE BOY AND THE MANTLE THE HEIR OF LINNE KING COPHETUA AND THE BEGGAR MAID SIR ANDREW BARTON MAY COLLIN THE BLIND BEGGAR'S DAUGHTER OF BEDNALL GREEN THOMAS THE RHYMER YOUNG BEICHAN BRAVE LORD WILLOUGHBEY THE SPANISH LADY'S LOVE THE FRIAR OF ORDERS GRAY CLERK COLVILL SIR ALDINGAR EDOM O' GORDON CHEVY CHACE SIR LANCELOT DU LAKE GIL MORRICE THE CHILD OF ELLE CHILD WATERS KING EDWARD IV AND THE TANNER OF TAMWORTH SIR PATRICK SPENS THE EARL OF MAR'S DAUGHTER EDWARD,
    [Show full text]
  • Oral Tradition
    _____________________________________________________________ Volume 6 January 1991 Number 1 _____________________________________________________________ Editor Editorial Assistants John Miles Foley Sarah J. Feeny David Henderson Managing Editor Whitney Strait Lee Edgar Tyler J. Chris Womack Book Review Editor Adam Brooke Davis Slavica Publishers, Inc. Slavica Publishers, Inc. For a complete catalog of books from Slavica, with prices and ordering information, write to: Slavica Publishers, Inc. P.O. Box 14388 Columbus, Ohio 43214 ISSN: 0883-5365 Each contribution copyright (c) 1991 by its author. All rights reserved. The editor and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition seeks to provide a comparative and interdisciplinary focus for studies in oral literature and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. As well as essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, a Symposium section (in which scholars may reply at some length to prior essays), review articles, occasional transcriptions and translations of oral texts, a digest of work in progress, and a regular column for notices of conferences and other matters of interest. In addition, occasional issues will include an ongoing annotated bibliography of relevant research and the annual Albert Lord and Milman Parry Lectures on Oral Tradition. OT welcomes contributions on all oral literatures, on all literatures directly influenced by oral traditions, and on non-literary oral traditions. Submissions must follow the list-of reference format (style sheet available on request) and must be accompanied by a stamped, self-addressed envelope for return or for mailing of proofs; all quotations of primary materials must be made in the original language(s) with following English translations.
    [Show full text]
  • The Ballad/Alan Bold Methuen & Co
    In the same series Tragedy Clifford Leech Romanticism Lilian R Furst Aestheticism R. V. Johnson The Conceit K. K Ruthven The Ballad/Alan Bold The Absurd Arnold P. Hinchliffe Fancy and Imagination R. L. Brett Satire Arthur Pollard Metre, Rhyme and Free Verse G. S. Fraser Realism Damian Grant The Romance Gillian Beer Drama and the Dramatic S W. Dawson Plot Elizabeth Dipple Irony D. C Muecke Allegory John MacQueen Pastoral P. V. Marinelli Symbolism Charles Chadwick The Epic Paul Merchant Naturalism Lilian R. Furst and Peter N. Skrine Rhetoric Peter Dixon Primitivism Michael Bell Comedy Moelwyn Merchant Burlesque John D- Jump Dada and Surrealism C. W. E. Bigsby The Grotesque Philip Thomson Metaphor Terence Hawkes The Sonnet John Fuller Classicism Dominique Secretan Melodrama James Smith Expressionism R. S. Furness The Ode John D. Jump Myth R K. Ruthven Modernism Peter Faulkner The Picaresque Harry Sieber Biography Alan Shelston Dramatic Monologue Alan Sinfield Modern Verse Drama Arnold P- Hinchliffe The Short Story Ian Reid The Stanza Ernst Haublein Farce Jessica Milner Davis Comedy of Manners David L. Hirst Methuen & Co Ltd 19-+9 xaverslty. Librasü Style of the ballads 21 is the result not of a literary progression of innovators and their acolytes but of the evolution of a form that could be men- 2 tally absorbed by practitioners of an oral idiom made for the memory. To survive, the ballad had to have a repertoire of mnemonic devices. Ballad singers knew not one but a whole Style of the ballads host of ballads (Mrs Brown of Falkland knew thirty-three separate ballads).
    [Show full text]
  • Saxon Ballads, Albanian Ballads and Frontier Warrior Songs
    ISSN 2411-958X (Print) European Journal of January – April 2020 ISSN 2411-4138 (Online) Interdisciplinary Studies Volume 6, Issue 1 The Role of Metamorphosis in Anglo- Saxon Ballads, Albanian Ballads and Frontier Warrior Songs Danela Bala- Kraja Msc., Phd. Cand, Lecturer, University of Shkodër, Albania Abstract This article aims to point out the role of metamorphosis in Anglo- Saxon ballads, Albanian ballads and frontier warrior songs. The Anglo- Saxon ballads and Albanian frontier warrior songs and ballads came into existence a long time ago and they had a certain number of influences which as a result had their great impact on their creation, development and circumstances when and where they were composed. They were created as a consequence of some special historical, cultural and social development. It has to be emphasized that those influences were of different character and size such as human, non-human or divine ones and the compositions of songs or ballads were inspired and conditioned by a lot of circumstances. Metamorphosis is used to express that never- ending process and of course it is transforming. The changes are either positive or negative and consequently people may perceive different good or bad feelings. It is related to the magic world and the unrealistic one and sometimes it is a beautiful feeling when a human being transforms into a rose and showing a form of life continuation after death but in many cases it transforms into a non-desirable object or animal. It is a quick transformation from one thing to another and it may have either positive or negative effects on the audience.
    [Show full text]
  • Origins and Bardic Drift: Three Ravens / Twa Corbies
    1 Origins and Bardic Drift: Three Ravens / Twa Corbies (A Bardic Madness Class, July 2020, AS LV ) By Lady Dorothea de Beckham / Dee Becker For this class we will use the song “The Three Ravens” to explore ❖ Folk Song Research ❖ Bardic Drift ❖ Variations and Companion Songs Note: All links were Accessed June 2020 unless otherwise noted. 2 Folk Song Research: Documents A comparison of verses from three songs Corpus Christi (15th century; 1504) And yn þat bed þer lythe a knyght, His wowndis bledyng day & nyght; Lully, lulley, lully, lulley! Þe fawcon hath born my mak away. By þat bedis side þer kneleth a may, & she wepeth both nyght & day; Lully, lulley, lully, lulley! Þe fawcon hath born my mak away. Corpus Christi Carol (15th Century; 1504): For a short discussion of the documentation and related songs, a starting point is the link https://en.wikipedia.org/wiki/Corpus_Christi_Carol. Modern recordings include the Benjamin Britten arrangement with vocals and harp: https://www.youtube.com/watch?v=fxtwyvZhHDM and one sung by Janet Baker (Mizzo Soprano) with Gerald Moore (piano): https://www.youtube.com/watch?v=pCETr4mO_fc Three Ravens (T. Ravenscroft, Melismata,1611) Down in yonder green field, Downe a downe, hey downe, hey downe, There lies a Knight slain under his shield, With a downe His hounds they lie down at his feet, So well do they their Master keep, With a downe, derrie, derrie, downe, downe. His hawks they fly so eagerly, Downe a downe, hey downe, hey downe, No other fowl dare him come nigh With a downe Down there comes a fallow Doe, As heavy with young as she might go, With a downe, derrie, derrie, downe, downe.
    [Show full text]
  • What to Do About Tam Lin?
    j{tà àÉ wÉ tuÉâà gtÅ _|ÇR a theater LARP/live form scenario by Julia Bond Ellingboe and Emily Care Boss February 2010 - 1 - j{tà àÉ wÉ tuÉâà gtÅ _|ÇR Introduction gtuÄx Éy VÉÇàxÇàá I. Introduction……………………………………………………………………………………3 o World and Court II. Rules……………………………………………………………………………………………..4 o Order of Play……………………………………………………………….4 o Courtly Etiquette…………………………………………………………6 o The Cases……………………………………………………………………6 o Law of the Realms………………………………………………………9 o Character Attributes and Cards……………………………….16 Natures………………………………………………………….16 Powers…………………………………………………………..17 Flaws……………………………………………………………..19 o List of Props………………………………………………………………21 o The Ballads……………………………………………………………….22 III. The Characters……………………………………………………………………………31 o Information provided for each of the 17 Characters: Nature, as Revealed at the Beginning of Game Status Background Case Info Powers, as Revealed at the Beginning of Game Flaws Who you Know IV. The Sentries (GMs)………………………………………………………………………88 o What the Sentries Know Character Cards……………………………………………..88 PCs and NPCs………………………………………………….89 o Thomas the Rhymer……………………………………………………90 Insight Secrets o Running and Pacing the Game…………………………………..93 Time Limits and Timeline o Assigning Characters …………………………………………………94 Before Game At Game V. Resource List………………………………………………………………………………….95 VI. Cheat Sheets………………………………………………………………………………..96 GM Quick Reference Powers and Flaws Character Descriptions Case Info Sheets Claimants Lawyers VII. Cards …………………………………………………………………………………………102 - 2 - j{tà àÉ wÉ tuÉâà gtÅ _|ÇR Introduction \ÇàÜÉwâvà|ÉÇ àÉ à{x jÉÜÄw At the ruins of Carterhaugh in the Scottish Borderlands near England, there is a crossroads where the many Worlds meet. Here, at Samhain, Fae and Mortals congregate for their annual Court, hosted by the Fae. At this time, the veils between the Worlds recede, and beings from the Mortal Realms, Faery and other Worlds can come together or cross over from one world to the next.
    [Show full text]
  • BALLADS (BALLADRY). Standing Among the Most Significant Poetic
    1 BALLADS (BALLADRY). Standing among the most significant poetic developments of the medieval period, balladry alone, aside from a few isolated *lyrics, brings us the unmitigated voice of the British medieval commoner. Its influence on subsequent English literature is immense. Rooted in the earlier *Anglo-Saxon epic tradition, often adopting and subverting aristocratic ideals and literary conventions to express the very different world view of the middle and lower classes, and influencing later poets from Christopher Marlowe to Thomas Hardy to C. Day Lewis, the ballad at once provides a unifying influence and a means of measuring the changing perceptions and concerns of the general populace. Nonetheless, no poetic form has been so unfairly maligned. As the original vehicle for the vox populi, it has always been associated with social unrest, and this, combined with its essentially parodic mode and frequently sardonic tone, removes it from the realm of “polite” literature. At best, balladry has been considered simplistic folk song; at worst, vulgar and propagandistic. Only in recent years, with the growth of appreciation for popular culture and the democratization of the arts in general, have the medieval ballad's special qualities begun to receive the serious consideration they deserve. Of all poetic forms, the ballad alone has enjoyed uninterrupted popularity from the early Middle Ages to the present. Both as a term and a genre it derives from the tenth century, reaching its heyday between the thirteenth and seventeenth centuries and again, after a brief hiatus, with the Romantic poets of the nineteenth century and continuing into the present.
    [Show full text]
  • Songs of the Carolina Charter Colonists, 1663-1763 Digitized by the Internet Archive
    F55 j North Carolina State Library Raleigh Songs of the Carolina Charter Colonists 16634763 By Arthur Palmer Hudson, Ph. D. Kenan Professor of English and Folklore The University of North Carolina <-*roma orafe Library Relei§h Songs of the Carolina Charter Colonists, 1663-1763 Digitized by the Internet Archive in 2014 https://archive.org/details/songsofcarolinac1962huds Songs of the Carolina Charter Colonists 16634763 By Arthur Palmer Hudson, Ph. D. Kenan Professor of English and Folklore The University of North Carolina A Publication of The Carolina Charter Tercentenary Commission Box 1881, Raleigh, North Carolina 1962 ttortft Carolina Sfare Library THE CAROLINA CHARTER TERCENTENARY COMMISSION Hon. Francis E. Winslow, Chairman Henry Belk Mrs. Kauno A. Lehto Mrs. Doris Betts James G. W. MacLamroc Dr. Chalmers G. Davidson Mrs. Harry McMullan Mrs. Everett L. Durham Dr. Paul Murray William C. Fields Dan M. Paul William Carrington Gretter, Jr. Dr. Robert H. Spiro, Jr. Grayson Harding David Stick Mrs. James M. Harper, Jr. J. P. Strother Mrs. Ernest L. Ives Mrs. J. O. Tally, Jr. Dr. Henry W. Jordan Rt. Rev. Thomas H. Wright Ex-Officio Dr. Charles F. Carroll, Robert L. Stallings, Superintendent of Director, Department of Public Instruction Conservation and Developm Dr. Christopher Crittenden, Director, Department of Archives and History Secretary The Carolina Charter Tercentenary Commission was established by the North Carolina General Assembly to "make plans and develop a program for celebration of the tercentenary of the granting of the ." Carolina Charter of 1663 . As part of this program the Com- mission arranged for the publication of a number of historical pamphlets for use in stimulating interest in the study of North Carolina history during the period 1663-1763.
    [Show full text]
  • Ballad Tradition - the Supernatural
    The Ballad Tradition - The Supernatural Ah, now the good stuff! Some background to the Supernatural in the Ballads The finest of the ballads are deeply saturated in a mystical atmosphere imparted by the presence of magical appearances and apparatus. “The Wife of Usher’s Well” laments the death of her children so inconsolably that they return to her from the dead as revenants; “Willie’s Lady” cannot be delivered of her child because of her wicked mother-in-law’s spells, an enchantment broken by a beneficent household spirit; “The Great Silkie of Sule Skerry” begets upon an “earthly” woman a son, who, on attaining maturity, joins his seal father in the sea, there shortly to be killed by his mother’s human husband; “Kemp Owyne” disenchants a bespelled maiden by kissing her despite her bad breath and savage looks. An encounter between a demon and a maiden occurs in “Lady Isabel and the Elf- Knight,” the English counterpart of the ballads known to the Dutch-Flemish as “Herr Halewijn,” to Germans as “Ulinger,” to Scandinavians as “Kvindemorderen” and to the French as “Renaud le Tueur de Femme.” In “The House Carpenter,” a former lover (a demon in disguise) persuades a wife to forsake husband and children and come away with him, a fatal decision as it turns out. In American and in late British tradition the supernatural tends to get worked out of the ballads by being rationalized: instead of the ghost of his jilted sweetheart appearing to Sweet William of “Fair Margaret and Sweet William” as he lies in bed with his bride, it is rather the dead girl’s image in a dream that kindles his fatal remorse.
    [Show full text]
  • I He Norton Anthology Or Poetry FOURTH EDITION
    I he Norton Anthology or Poetry FOURTH EDITION •••••••••••< .•' .'.•.;';;/';•:; Margaret Ferguson > . ' COLUMBIA UNIVERSITY >':•! ;•/.'.'":•:;•> Mary Jo Salter MOUNT HOLYOKE COLLEGE Jon Stallworthy OXFORD UNIVERSITY W. W. NORTON & COMPANY • New York • London Contents PREFACE TO THE FOURTH EDITION lv Editorial Procedures ' Ivi ACKNOWLEDGMENTS " lix VERSIFICATION lxi Rhythm lxii Meter lxii Rhyme lxix Forms Ixxi Basic Forms Ixxi Composite Forms lxxvi Irregular Forms Ixxvii Open Forms or Free Verse lxxviii Further Reading lxxx GEDMON'S HYMN (translated by John Pope) 1 FROM BEOWULF (translated by Edwin Morgan) 2 RIDDLES (translated by Richard Hamer) 7 1 ("I am a lonely being, scarred by swords") 7 2 ("My dress is silent when I tread the ground") 8 3 ("A moth ate words; a marvellous event") 8 THE WIFE'S LAMENT (translated by Richard Hamer) 8 THE SEAFARER (translated by Richard Hamer) 10 ANONYMOUS LYRICS OF THE THIRTEENTH AND FOURTEENTH CENTURIES 13 Now Go'th Sun Under Wood 13 The Cuckoo Song 13 Ubi Sunt Qui Ante Nos Fuerunt? 13 Alison 15 Fowls in the Frith 16 • I Am of Ireland 16 GEOFFREY CHAUCER (ca. 1343-1400) 17 THE CANTERBURY TALES 17 The General Prologue 17 The Pardoner's Prologue and Tale 37 The Introduction 37 The Prologue 38 VI • CONTENTS The Tale 41 The Epilogue 50 From Troilus and Criseide 52 Cantus Troili 52 LYRICS AND OCCASIONAL VERSE 52 To Rosamond 52 Truth 53 Complaint to His Purse 54 To His Scribe Adam 5 5 PEARL, 1-5 (1375-1400) 55 WILLIAM LANGLAND(fl. 1375) 58 Piers Plowman, lines 1-111 58 CHARLES D'ORLEANS (1391-1465) 62 The Smiling Mouth 62 Oft in My Thought 62 ANONYMOUS LYRICS OF THE FIFTEENTH CENTURY 63 Adam Lay I-bounden 63 I Sing of a Maiden 63 Out of Your Sleep Arise and Wake 64 I Have a Young Sister 65 I Have a Gentle Cock 66 Timor Mortis 66 The Corpus Christi Carol 67 Western Wind 68 A Lyke-Wake Dirge 68 A Carol of Agincourt 69 The Sacrament of the Altar 70 See! here, my heart 70 WILLIAM DUNBAR (ca.
    [Show full text]