This Spectred Isle Cavan Scott Explores the Countryside’S Strangest Tales the Mermaid of Zennor
Total Page:16
File Type:pdf, Size:1020Kb
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. -
OOT 2020 Packet 1.Pdf
OOT 2020: [The Search for a Middle Clue] Written and edited by George Charlson, Nick Clanchy, Oli Clarke, Laura Cooper, Daniel Dalland, Alexander Gunasekera, Alexander Hardwick, Claire Jones, Elisabeth Le Maistre, Matthew Lloyd, Lalit Maharjan, Alexander Peplow, Barney Pite, Jacob Robertson, Siân Round, Jeremy Sontchi, and Leonie Woodland. Packet 1 Toss-ups: 1. The earliest evidence of a ‘fast’ variant of this technology in Mesopotamia comes from the Early Uruk Period, but the earliest Egyptian depiction of the further development of its ‘kick’ variant comes as late as the reign of Darius. Toys using another variant of this technology were discovered in pre-Columbian archaeological levels at Vera Cruz, but the lack of suitable animals in the New World likely limited its practical development in the Americas. The Standard of Ur shows onagers attached to objects with solid versions of this technology, several hundred years prior to the Anatolian invention of spokes. For 10 points, name this technology, which was first used to enable pottery to be spun, and in the development of chariots and carts. ANSWER: the wheel [accept potter’s wheel] <OSC> 2. A character in this play is accused of ‘Wipin’ the neighborhood with my name like a dirty rag!’ This play begins with a speech explaining how people from a certain cultural background are learning to ‘settle for half’ by trusting the law. A lawyer in this play introduces the community of Red Hook as ‘the gullet of New York’. This play’s protagonist pretends to be surprised after betraying several other characters to immigration officials in Act 2 due to his obsession with the orphan Catherine. -
KOERNER S HAVES by BUFFALO N Vv
; KOERNER S HAVES BY BUFFALO N Vv ! = \A #1 t : 4 ¢ Jack the Giant=Killer. The Giant Stepped on Jack’s Trap and Fell Headlong into the Pit. [° the days of the renowned King Arthur there lived a Cornishman named Jack, who was famous for his valiant deeds. His bold and warlike spirit showed itself in his boyish days; for Jack took especial delight in listening to the wonderful tales of giants and fairies, and of the extraordinary feats of valor displayed by the knights of King Arthur’s Round Table, which his father would sometimes relate. Jack’s spirit was so fired by these strange accounts, that he determined, if ever he became a man, that he would destroy some of the cruel giants who infested the land. Not many miles from his father’s house there lived, on the top of St. Michael’s Mount, a huge giant, who was the terror of the country round, who was named Cormoran, from his voracious appetite. It is said that he was eighteen feet in height. When he required food, he came down from his castle, and, seizing on the flocks of the poor people, would throw half a dozen oxen over his shoulders, and suspend as many sheep as he could carry, and stalk back to his castle. He had carried on these depredations many years ; and the poor Cornish people were well-nigh ruined. Jack went by night to the foot of the mount and dug a very deep pit, which he covered with sticks and straw, and over which he strewed the earth. -
Volume One: Arthur and the History of Jack and the Giants
The Arthuriad – Volume One CONTENTS ARTICLE 1 Jack & Arthur: An Introduction to Jack the Giant-Killer DOCUMENTS 5 The History of Jack and the Giants (1787) 19 The 1711 Text of The History of Jack and the Giants 27 Jack the Giant Killer: a c. 1820 Penny Book 32 Some Arthurian Giant-Killings Jack & Arthur: An Introduction to Jack the Giant-Killer Caitlin R. Green The tale of Jack the Giant-Killer is one that has held considerable fascination for English readers. The combination of gruesome violence, fantastic heroism and low cunning that the dispatch of each giant involves gained the tale numerous fans in the eighteenth century, including Dr Johnson and Henry Fielding.1 It did, indeed, inspire both a farce2 and a ‘musical entertainment’3 in the middle of that century. However, despite this popularity the actual genesis of Jack and his tale remains somewhat obscure. The present collection of source materials is provided as an accompaniment to my own study of the origins of The History of Jack and the Giants and its place within the wider Arthurian legend, published as ‘Tom Thumb and Jack the Giant-Killer: Two Arthurian Fairy Tales?’, Folklore, 118.2 (2007), pp. 123-40. The curious thing about Jack is that – in contrast to that other fairy-tale contemporary of King Arthur’s, Tom Thumb – there is no trace of him to be found before the early eighteenth century. The first reference to him comes in 1708 and the earliest known (now lost) chapbook to have told of his deeds was dated 1711.4 He does not appear in Thackeray’s catalogue of chapbooks -
The Merry Adventures of Robin Hood
The Merry Adventures of Robin Hood Howard Pyle This eBook was designed and published by Planet PDF. For more free eBooks visit our Web site at http://www.planetpdf.com/. To hear about our latest releases subscribe to the Planet PDF Newsletter. The Merry Adventures of Robin Hood PREFACE FROM THE AUTHOR TO THE READER You who so plod amid serious things that you feel it shame to give yourself up even for a few short moments to mirth and joyousness in the land of Fancy; you who think that life hath nought to do with innocent laughter that can harm no one; these pages are not for you. Clap to the leaves and go no farther than this, for I tell you plainly that if you go farther you will be scandalized by seeing good, sober folks of real history so frisk and caper in gay colors and motley that you would not know them but for the names tagged to them. Here is a stout, lusty fellow with a quick temper, yet none so ill for all that, who goes by the name of Henry II. Here is a fair, gentle lady before whom all the others bow and call her Queen Eleanor. Here is a fat rogue of a fellow, dressed up in rich robes of a clerical kind, that all the good folk call my Lord Bishop of Hereford. Here is a certain fellow with a sour temper and a grim look— the worshipful, the Sheriff of Nottingham. And here, above all, is a great, tall, merry fellow that roams the greenwood and joins in homely sports, and sits beside the Sheriff at merry feast, which same beareth the 2 of 493 The Merry Adventures of Robin Hood name of the proudest of the Plantagenets—Richard of the Lion’s Heart. -
Tam Kernewek Tam Toronto, Canada Trelawney Choir “ Aof Bit Cornish”
Tam Kernewek “ A bit of Cornish” Kevrol (Volume) 33 Dyllans (Issue) 4 Gwav (Winter) 2015 Trelawney Choir Toronto, Canada Cornish American Heritage Society Cornish American Heritage 61 Messach an Lewydh (Message from President) Winter, 2015, Greetings. This message no doubt will find you thinking of, perhaps deep into, the month’s holidays. Though most of us are thoroughly Americanized with our family practices, we would hope for room and time to strengthen tradi- tion by “doing Cornish”. I would refer you once again to that wonderful website, www.cornishculture.co.uk. There you can access information about Cornish carols, decorations and other traditions which tie us to our an- cestors. My challenge would be for us, as a service to our families, to emphasize at least one purely Cornish story, play, hymn (Charles Wesley or Thomas Merritt), food, or other practice. Keep and pass on our heritage! The excitement is building for the DVD of “TIN – THE MOVIE”, now available at http://www.tinmovie.com/. Originally produced by Miracle Theatre, established in 1979 as a touring company in Cornwall, “Tin” is a ‘rollicking good scandal…’ according to myCornwall magazine’s April/May 2015 issue. It stars several famil- iar faces…Jenny Agutter and Ben Luxon, to name two…and is the story of the politics of tin production and speculation in Cornwall during the turn of the last century. Selling for GBP16 on its website (be sure to choose the version which is playable for your region of the world), a copy is well within the reach of each of us or our local Cornish societies. -
Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913
Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913 Submitted by Joan Passey to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in September 2019 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Joan Passey Signature: ………………………………………………………….. Words: 91,425 1 Abstract While there are defined Irish, Welsh, and Scottish Gothic traditions, there has been a notable critical absence of a Cornish Gothic tradition, despite multiple canonical and less-canonical authors penning Gothic stories set in Cornwall throughout the long nineteenth century. This critical oversight is part of a longer tradition of eliding Cornwall from literary and cultural histories—even from those to which it has particular relevance, such as histories of the industrial revolution (in which its mining industry was a major contributor), and the birth of the tourist industry, which has shaped the county and its economy through to the present day. This thesis will rectify this gap in criticism to propose a Cornish Gothic tradition. It will investigate Gothic texts set in Cornwall in the long nineteenth century to establish a distinct and particular tradition entrenched in Cornwall’s own quest for particularity from other Celtic nations and English regions. It will demonstrate how the boom in Cornish Gothic texts was spurred by major changes occurring in the county in the period, including being the last county to be connected to the national rail network, the death of the mining industry, the birth of the tourist industry, large-scale maritime disaster on its coasts, and the resituating of the legendary King Arthur in Tintagel with the publication of Tennyson’s Idylls of the King. -
Some Big Names in Myth and Folklore John Giants Can Be Found in Folklore All Around the World
good john © good john © good john © good john © good john © john © good good john © john © good good good john good john © john good © © john good good © john good good good © john good john good © So what makes a real giant? Everyone knows that to be a giant you have to be tall. But can john human beings ever be called giants? The tallest person that ever lived was the American Robert good © Wadlow, who was a staggering 8 foot 11 and john (2.72m) tall when he died, aged only 22. Some believe that he Some big names in myth and folklore would have topped 9 foot if he had lived longer. In September Giants can be found in folklore all around the world. Here are good 2009 the Guinness Book of World Records officially named Sultan some of the most famous: Kösen, from Turkey, as the “World’s Tallest Man”, he measured © in at a towering 8 foot 1 inch tall. When asked of his hopes for johnFinn MacCumhaill (MacCool) the future, Kösen replied that he would love to be able to drive A legendary Irish giant who is said to have built the a car (they are all too small for him!) and find a girlfriend. extraordinary Giant’s Causeway, a series of ‘steps’ of Such people are huge, but are not really giants as we think of © hexagonal basalt columns to be seen off the northern coast of them in fairy-tale terms. A real giant would have to be much Northern Ireland. According to legend, Finn MacCumhaill built john taller than that, and much bigger in every way: bigger hands, the causeway to help him cross the sea to the Scottish island bigger heads and bigger eyes, not to mention mouths big of Staffa (which has similar rock formations). -
Jack Giant Killer
JACK THE GIANT KILLER, A H E R O Celebrated by ancient Historians. BANBU RY: PRINTED BY J. G. RUSHER. THE HISTORY OF JACK THE GIANT KILLER. Kind Reader, Jack makes you a bow, The hero of giants the dread ; Whom king and the princes applaud For valour, whence tyranny fled. In Cornwall, on Saint Michael’s Mount A giant full eighteen feet high, Nine feet round, in cavern did dwell, For food cleared the fields and the sty And, glutton, would feast on poor souls, W hom chance might have led in his way Or gentleman, lady, or child, Or what on his hands he could lay. He went over to the main land, in search of food, when he would throw oxen or cows on his back, and several sheep and pigs, and with them wade to his abode in the cavern. 3 T ill Jack’s famed career made him quake, Blew his horn, took mattock and spade; Dug twenty feet deep near his den, And covered the pit he had made. The giant declared he’d devour For breakfast who dared to come near; And leizurely did Blunderbore Walk heavily into the snare. 4 Then Jack with his pickaxe commenced, The giant most loudly did roar; H e thus made an end of the first— The terrible Giant Blunderbore. H is brother, who heard of Jack’s feat, Did vow he’d repent of his blows, From Castle Enchantment, in wood, Near which Jack did shortly repose. This giant, discovering our hero, weary and fast asleep in the wood, carried him to his castle, and locked him up in a large room, the floor of which was covered with the bones of men and women. -
The Dover Road
THE DOVER ROAD BY CHARLES G. HARPER The Dover Road I Of all the historic highways of England, the story of the old Road to Dover is the most difficult to tell. No other road in all Christendom (or Pagandom either, for that matter) has so long and continuous a history, nor one so crowded in every age with incident and associations. The writer, therefore, who has the telling of that story to accomplish is weighted with a heavy sense of responsibility, and though (like a village boy marching fearfully through a midnight churchyard) he whistles to keep his courage warm, yet, for all his outward show of indifference, he keeps an awed glance upon the shadows that beset his path, and is prepared to take to his heels at any moment. And see what portentous shadows crowd the long reaches of the Dover Road, and demand attention! Cæsar’s presence haunts the weird plateau of Barham Downs, and the alert imagination hears the tramp of the legionaries along Watling Street on moonlit nights. Shades of Britons, Saxons, Danes, and Normans people the streets of the old towns through which the highway takes its course, or crowd in warlike array upon the hillsides. Kings and queens, nobles, saints of different degrees of sanctity, great blackguards of every degree of blackguardism, and ecclesiastics holy, haughty, proud, or pitiful, rise up before one and terrify with thoughts of the space the record of their doings would occupy; in fine, the wraiths and phantoms of nigh upon two thousand years combine to intimidate the historian. -
1 Introduction
12 Chapter 1 Introduction 1.1 Background For commentators such as Urry (1990) and Woodward (2004), contemporary tourism has its roots in religious pilgrimage. Whilst this is contestable, for some domestic and overseas visitors, a holiday may, for a minority, incorporate twenty or thirty minutes in a parish church at some point. The roles have been reversed from travel for religious purposes incorporating secular pleasure, compare The Canterbury Tales and, perhaps, the Camino de Santiago (Murray & Graham 1997), to tourism including a visit or two to a religious establishment as just one of the destination attractions (Busby 2002; Olsen & Timothy 2006; Woodward 2004). “A resurgence of interest in visiting sacred sites” is how Shackley (2002) explains the recent growth in visitor numbers to cathedrals and churches despite a decline in the importance of religion in society as a whole (Wilson 1985). Indeed, this form is argued to be one of the major growth sectors in international tourism (Russell 1999; Woodward 2004). Empirical data to confirm these views is, however, quite limited; in fact, both Olsen & Timothy (2006) and Vukonić (1998) emphasise that it is one of the most under-researched aspects of tourism. Nonetheless, at a time of declining church congregations, it is interesting to note the development of documentaries over the last five years, by the BBC, featuring rural churches; whilst A Country Parish and A Seaside Parish paid only passing attention to the physical structures, A Passion for Churches, launched on 28 December 2005, emphasised the quality of building heritage – mention is also made of visitors‟ book comments in episode one, featuring St Hywyns, Aberdaron. -
Social Story
Social Story Wednesday 9 January: 6pm Grand Opera House Great Victoria Street, Belfast, BT2 7HR This visual story is designed for visitors to the Relaxed Performance of Jack and the Beanstalk. This story is intended to help you prepare for a new experience and to help you become familiar with the surroundings of the Grand Opera House. Below is an outline of the adjustments that have been made for this performance, as well as the scenes where some light and sound effects remain, to help you to reduce any potential distress for your group or family members. The doors to the auditorium will remain open during the performance. If a member of your group/family feel that they need a break, they are free to leave and return as they wish. There is a quiet area in the Circle Bar where you are welcome to sit should any members of your group/family need some time out of the auditorium. This is located on the second floor, and can be accessed using the lift or the stairs. During this performance, the auditorium lights will be dimmed so there won’t be complete darkness for the majority of the performance. However, there will be times where there will be darkness; this is in order to support the visual effects. These have been kept to a minimum. The overall volume of the music and sound effects has been reduced throughout this performance. There are no strobe lighting effects during this performance, however in some of the musical numbers the lighting does flash at a reduced level.