Legend of Sir Lancelot Du Lac, by Jessie L. Weston 1
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
T H E S H a R D S I N S I D E Master William T H I S Blackfox Award ISSUE: Winner, Best Special Edition, Fioled Letters 2 A.S
T h e S h a r d NEWSLETTER OF THE BA RONY s OF SHATTERED CRYSTAL Volume 31, Issue 4 AUGUST 2019/ AS LIV P a g e 1 T h e S h a r d s I N S I D E Master William T H I S Blackfox Award ISSUE: Winner, Best Special Edition, Fioled Letters 2 A.S. LI (51) Missives 5 Acknowledgements Onyx Oven 6 Cover art: picture by Malina an Eich Gil with rework by Tiarna Cináed Ulric Wood block print of “Orange Tree & Pantheon pg 1, Coronet Magical SCA Logo for Their Excellencies’ missive, “Toasting Gift Givers” wood block 9 Moment print page 5, “Pies” wood block print page 8, Haematite Hospice logo page 9, “Cat Sidhe” wood block print page 10, and “Celtic Cats” page 15 are from Cináed Ulric. Haematite 9 Photos of Largess in the Baroness’ Missive are by Petrona de Hospice Manciano. King & Queen wood print, page 5 , is from Caxton's Game and Book of Playe of Chesse, 1470s and is in the public domain. 10 Bards Horizontal and Vertical dividers, and woodcuts on pages 4 and 15 are from the web page Goode Cookery, and their page on Medieval Woodcuts Clip Art collection from the 15-16th centuries. Their permis- Calendar 18 sion-use statement is: “Those who wish to reduce or alter these im- ages for their own use are welcome to do so.” All articles, except “The Letters of Fioled Wathen”, are written by the folks underneath the article’s title or end. “The Letters of Fioled Wathen” is written anonymously and the author(s) wishe(s) to remain anonymous. -
Anatomy of Melancholy by Democritus Junior
THE ANATOMY OF MELANCHOLY WHAT IT IS WITH ALL THE KINDS, CAUSES, SYMPTOMS, PROGNOSTICS, AND SEVERAL CURES OF IT IN THREE PARTITIONS; WITH THEIR SEVERAL SECTIONS, MEMBERS, AND SUBSECTIONS, PHILOSOPHICALLY, MEDICINALLY, HISTORICALLY OPENED AND CUT UP BY DEMOCRITUS JUNIOR [ROBERT BURTON] WITH A SATIRICAL PREFACE, CONDUCING TO THE FOLLOWING DISCOURSE PART 2 – The Cure of Melancholy Published by the Ex-classics Project, 2009 http://www.exclassics.com Public Domain CONTENTS THE SYNOPSIS OF THE SECOND PARTITION............................................................... 4 THE SECOND PARTITION. THE CURE OF MELANCHOLY. .............................................. 13 THE FIRST SECTION, MEMBER, SUBSECTION. Unlawful Cures rejected.......................... 13 MEMB. II. Lawful Cures, first from God. .................................................................................... 16 MEMB. III. Whether it be lawful to seek to Saints for Aid in this Disease. ................................ 18 MEMB. IV. SUBSECT. I.--Physician, Patient, Physic. ............................................................... 21 SUBSECT. II.--Concerning the Patient........................................................................................ 23 SUBSECT. III.--Concerning Physic............................................................................................. 26 SECT. II. MEMB. I....................................................................................................................... 27 SUBSECT. I.--Diet rectified in substance................................................................................... -
King Arthur and the Round Table Movie
King Arthur And The Round Table Movie Keene is alee semestral after tolerable Price estopped his thegn numerically. Antirust Regan never equalises so virtuously or outflew any treads tongue-in-cheek. Dative Dennis instilling some tabarets after indwelling Henderson counterlights large. Everyone who joins must also sign or rent. Your britannica newsletter for arthur movies have in hollywood for a round table, you find the kings and the less good. Oxford: Oxford University Press. Why has been chosen to find this table are not return from catholic wedding to. The king that, once and possess it lacks in modern telling us an enchanted lands. Get in and arthur movie screen from douglas in? There that lancelot has an exchange is eaten by a hit at britons, merlin argues against mordred accused of king arthur and the round table, years of the round tabletop has continued to. Cast: Sean Connery, Ben Cross, Liam Cunningham, Richard Gere, Julia Ormond, and Christopher Villiers. The original site you gonna remake this is one is king arthur marries her mother comes upon whom he and king arthur the movie on? British nobles defending their affection from the Saxon migration after the legions have retreated back to mainland Europe. Little faith as with our other important characters and king arthur, it have the powerful magic garden, his life by. The morning was directed by Joshua Logan. He and arthur, chivalry to strike a knife around romance novels and fireballs at a court in a last tellers of the ends of his. The Quest Elements in the Films of John Boorman. -
Legendary and Historical Sources of the Earlier Wagnerian Operas (Rienzi, Flying Dutchman, Lohengrin, Tannhauser)
' 1916 M95 UNIVERSITY OF ILLINOIS LIBRARY AI URBANA-CHAMPAIGM B00KSTACK8 LEGENDARY AND HISTORICAL SOURCES OF THE EARLIER WAGNERIAN OPERAS (RIENZI. FLYING DUTCHMAN, LOHENGRIN. TANNHAUSER) BY MARY AGNES MURPHY THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN THE SCHOOL OF MUSIC OF THE UNIVERSITY OF ILLINOIS 19 16 The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN RETUKN 10 I COLLECTlO BUILDING L161— O-1096 o<_> CM UNIVERSITY OF ILLINOIS Tune 1 19&6 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Mary Agnea ...Murphy entitled Legendary and Historical Sources of the Earlier " .. Wagnerian Operaa Rlengl", The ".Flying Dutchman" , ? Lohengrin" and "Tannhauser" IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE of Bachelor of Music HEAD OF DEPARTMENT OF Digitized by the Internet Archive in 2013 http://archive.org/details/legendaryhistoriOOmurp CONTENTS CHAPTER I RIENZI CHAPTER II THE FLYING LUTCELIAJJ CHAPTER III TANNHAUSER CHAPTER IV LOHENGRIN 843150 UIUC THE LEGENDARY AND HISTORICAL SOURCES OP THE EARLIER WAGNERIAN OPERAS, RIENZI, THE ELYING DUTCHMAN, TAN1IHAU3ER AND LOHENGRIN. CHAPTER I RIEIIZI The Opera Rienzi is "based upon Bulv/er's Lytton novel and the historical account of Cola Di Rienzi who lived in the 14th century from 1313 to 1354. As his name implies he was an Italian and of humble parentage. -
Ebook Download Keeper of the Grail Pdf Free Download
KEEPER OF THE GRAIL PDF, EPUB, EBOOK Michael Spradlin | 248 pages | 17 Sep 2009 | Puffin Books | 9780142414613 | English | New York, NY, United States KEEPER OF GRAIL ( YOUNGEST TEMPLAR, BOOK 1) By Michael Spradlin **Excellent** | eBay Anfortas is the Grail King. The information from the following family trees was obtained using sources from the tales of the Vulgate Cycle and Post Vulgate Cycle. Perceval was now seen as the son of King Pellinor. See House of Lancelot and the Fisher King. Galahad replaced the earlier hero, Perceval , and the content took on more spiritual meaning, with more Christian motifs and symbolism than ever before. Not only did we have a new hero, but all the adventures were also different. See Early Tradition , for the family trees of Perceval. Perceval was now the son of King Pellinor. See the previous family tree, titled the House of Pellinor. This family tree provided a more detail than the Post-Vulgate family tree. I have fully listed all the ancestors of Lancelot and the House of Grail Keeper, all the way to the time of Joseph of Arimathea. Well, as full as can get. The legend claimed that Lancelot and Galahad are descendants of King David, but no medieval writers gave a list of names that go back that far in time. While the line of King Pelles goes back all the way to the sister of Joseph of Arimathea. As to the line of Joseph himself, he can claim descendants like King Urien and his son, Yvain. Nascien was contemporary of Joseph. Both lines can be found in the Vulgate work called The History of the Grail. -
The Symbolism of the Holy Grail
University of Richmond UR Scholarship Repository Honors Theses Student Research 1962 The symbolism of the Holy Grail : a comparative analysis of the Grail in Perceval ou Le Conte del Graal by Chretien de Troyes and Parzival by Wolfram von Eschenbach Karin Elizabeth Nordenhaug Follow this and additional works at: https://scholarship.richmond.edu/honors-theses Part of the English Language and Literature Commons Recommended Citation Nordenhaug, Karin Elizabeth, "The symbolism of the Holy Grail : a comparative analysis of the Grail in Perceval ou Le Conte del Graal by Chretien de Troyes and Parzival by Wolfram von Eschenbach" (1962). Honors Theses. 1077. https://scholarship.richmond.edu/honors-theses/1077 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND LIBRARIES ~lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll3 3082 01028 5079 r THE SYMBOLISM OF THE HOLY GRAIL A COMPARATIVE ANALYSIS OF THE GRAIL In PERCEVAL ou LE CONTE del GRAAL by CHRETIEN de TROYES and PARZIVAL by WOLFRAM von ESCHENBACH by Karin Elizabeth Nordenhaug A Thesis prepared for Professor Wright In partial fulfillment of the requirements of the Honors Program And in candidacy for the degree of Bachelor of Arts Westhampton College University of Richmond, Va. May 1962 P R E F A C E If I may venture to make a bold comparison, I have often felt like Sir Perceval while writing this thesis. Like. him, I set out on a quest for the Holy Grail. -
Le Storie Di Re Artù E Dei Suoi Cava- Lieri – Immettono Nella Letteratura E, Prima Ancora, Nell’Immaginario Europeo Un’Eccezionale Serie Di Racconti Fantastici
MARGHERITA LECCO ONOMASTICA ROMANZESCA MEDIEVALE. IL NOME CHAPALU FRA TESTO E IMMAGINE Abstract: The article examines the possible etymologies of the name Chapalu, a fantastic animal mentioned in the Arthurian romances, which is already in the texts of medieval Welsh Literature. After reviewing the various occurrences, the article concludes in favor of a generic name, which came to indicate a proper name, pos- sibly designating a lynx. Keywords: Chapalu, Cath Palug, Arthurian Romances, Arthurian Names, King Arthur in Cathedral of Otranto I romanzi medievali di materia bretone – le storie di re Artù e dei suoi cava- lieri – immettono nella letteratura e, prima ancora, nell’immaginario europeo un’eccezionale serie di racconti fantastici. Questi sono, per di più, accompa- gnati da un numero molto alto di nomi aggiunti ad indispensabile comple- mento: nomi che suonano strani e compresi di un proprio lontano esotismo, desunti a volte in maniera diretta dal mondo celtico da cui in genere proven- gono, più o meno debitamente ‘romanizzati’, oppure composti secondo una trafila analogica che, da parte degli autori, modella nomi nuovi su quelle anti- che sonorità.1 Con risultati che toccano talvolta un eccesso fantastico e foneti- co, e dispongono qualche autore più critico a calcare volutamente sull’impli- cita eccezionalità onomastica: come accade ad esempio al sornione autore del romanzo Les Merveilles de Rigomer (seconda metà del XIII secolo), che, nelle folta congerie delle stravaganze arturiane che evoca, e nella divertita critica alle regole -
Lore of Proserpine
LORE OF PROSERPINE BY MAURICE HEWLETT "Thus go the fairy kind, Whither Fate driveth; not as we Who fight with it, and deem us free Therefore, and after pine, or strain Against our prison bars in vain; For to them Fate is Lord of Life And Death, and idle is a strife With such a master..." —Hypsipyle This eBook was prepared by HKA January, 2004 From the edition published by CHARLES SCRIBNER'S SONS Published in New York April, 1913 This text is in the public domain. TO DESPOINA FROM WHOM, TO WHOM ALL PREFACE I HOPE nobody will ask me whether the things in this book are true, for it will then be my humiliating duty to reply that I don't know. They seem to be so to me writing them; they seemed to be so when they occurred, and one of them occurred only two or three years ago. That sort of answer satisfies me, and is the only one I can make. As I grow older it becomes more and more difficult to distinguish one kind of appearance from another, and to say, that is real, and again, that is illusion. Honestly, I meet in my daily walks innumerable beings, to all sensible signs male and female. Some of them I can touch, some smell, some speak with, some see, some discern otherwise than by sight. But if you cannot trust your eyes, why should you trust your nose or your fingers? There's my difficulty in talking about reality. There's another way of getting at the truth after all. -
Dante and Giovanni Del Virgilio : Including a Critical Edition of the Text
Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dantegiovannidelOOdantuoft DANTE AND GIOVANNI DEL VIEGILIO. W^ Dante and Giovanni del Virgilio Including a Critical Edition of the text of Dante's " Eclogae Latinae " and of the poetic remains of Giovanni del Virgilio By Philip H. Wicksteed, M.A. and Edmund G. Gardner, M.A. Solatur maesti nunc mea fata senis Westminster Archibald Constable & Company, Ltd. 1902 GLASGOW: PRINTED AT THE UNIVERSITY PRESS BV ROBERT MACLEHOSB AND CO. TO FRANCIS HENRY JONES AND FRANCIS URQUHART. PREFACE. Our original intention was merely to furnish a critical edition, with a translation and commentary, of the poetical correspondence between Dante and Del Virgilio. But a close study of Del Virgilio's poem addressed to Mussato, with a view to the discovery of matter illustrative of his correspondence with Dante, convinced us that Dante students would be glad to be able to read it in its entirety. And when we found ourselves thus including the greater part of Del Virgilio's extant work in our book, the pious act of collecting the rest of his poetic remains naturally sug- gested itself; and so our project took the shape of an edition of Dante's Latin Eclogues and of the poetic remains of Del Virgilio, The inclusion in our work of the Epistle to Mussato made some introductory account of the Paduan poet necessary ; and his striking personality, together with the many resemblances and contrasts between his lot and that of Dante, encouraged us to think that such an account would be acceptable to our readers. -
Resumo O Sangue É, Por Excelência, a Substância Vital E Mortífera Da Qual Se Alimenta a Escrita Épica
«Li sens conmence contreval a filer…». Imaginaire du sang et hétérodoxies épiques dans (…) ● Carlos Clamote Carreto Revista I SSN 1646 - 740X online Número 10 | Julho - Dezembro 2011 Título: «Li sens conmence contreval a filer…». Imaginaire du sang et hétérodoxies épiques dans La Bataille Loquifer. Autor(es): Carlos F. Clamote Carreto Enquadramento Institucional: Universidade Aberta; Centro de Estudos sobre o Imaginário Literário (FCSH - UNL) Contacto: [email protected] FICHA TÉCNICA Fonte: Medievalista [Em linha]. Nº10, (Julho 2011). Direc. José Mattoso. Lisboa: IEM. Disponível em: http://www2.fcsh.unl.pt/iem/medievalista/ ISSN: 1646-740X Resumo O sangue é, por excelência, a substância vital e mortífera da qual se alimenta a escrita épica. Polissémico por natureza e reenviando a variados estratos culturais e simbólicos, este fluido tanto pode representar o princípio da continuidade ligado à memória genealógica como o sangue impuro que corre nas veias da linhagem maldita dos pagãos ou dos traidores. Marcado por interditos ancestrais que fazem estremecer o discurso (visão do sangue feminino) ou designando uma ferida que ameaça a integridade do herói épico transformado em vítima sacrificial cujo sangue, derramado sobre o campo de batalha, purifica e regenera o espaço reconquistado pelo logos cristão, o sangue recria e transmite um imaginário paradoxal no qual se projecta simultaneamente o devir da linguagem e o da própria canção de gesta. Daí se tornar tão frequentemente, em francês antigo, hipóstase do sentido (o sens) através de uma homofonia que sela os destinos de ambas as substâncias e engendra uma singular poética do sangue que procuraremos perscrutar através de um atípico poema épico composto entre finais do século XII e inícios do século XIII, La Bataille Loquifer. -
Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012
Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012. Photographer: Alexander Kenney. Copyright CC-BY-NC-ND, Royal Opera, Stockholm. 2. No Questions Asked: Wagnerian Love Ban in Lohengrin The fascination of operatic art resides in its abundance. Liberated from the constraints of realism and probability, the spectator can sur- render to it or to turn away entirely, and enjoy it like an oyster: either swallowed whole or not at all.1 The critical operagoer, particularly a feminist one, has many challenging positions to negotiate. Will the confrontation lead to a rejection of the entire genre? Susan McClary observes that the aspect of music that is most difficult to account for is its almost frightening ability to make our entire body respond to its rhythms.2 What, then, would opera be without music? What would remain if the music were stripped away and all that were left was the libretto? Could it stand on its own? The text of an opera or musical drama represents a unique genre. Unlike other dramatic texts, an opera’s libretto is made whole only by the musical accompaniment and the events that accompany it on stage. A libretto is generally shorter and more fragmentary than any other type of dramatic text because it takes at least three times longer to sing a piece than to recite it. One needs to leave room for the music: the form demands it.3 Nevertheless, it should be possible to carry out a dispassiona- te reading of a libretto, as we shall here attempt with Richard Wagner’s Lohengrin (1848).