DOCSLIB.ORG

Viewing My Work After It Had Already Been Initiated, and for This I Am Grateful

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

INFORMATION TO USERS This manuscript has been reproduced frommicrofilm the master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, whue others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North ZeebRoad. Ann Arbor. Ml 48106-1346USA 313/761-4700 800/521-0600 THE RISE AND DECLINE OF THE FAIRY APOTHEOSIS IN RENAISSANCE LITERATURE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Eva Puin, B.A., M.A. The Ohio State University 1996 Dissertation Committee: Approved by Phoebe S. Spinrad, Adviser Patrick B. Mullen Adviser David 0. Frantz Department of English UMI Number: 9639328 UMI Microform 9639328 Copyright 1996, by UMI Company. All rights reserved. This microfonn edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT A popular Disney character always has been Tinkerbell, but fairies once had a central role in the culture of our ancestors far beyond the movie screen. The figure of the fairy has significantly influenced English literature and folk culture. Although writers of every period have demonstrated interest in fairy folk, the years from approximately 1575 to 1625 mark the golden age of the fairy figure in English literature. Without Queen Elizabeth there might not have been a literary fairy vogue: her reign popularized the image of the fairy monarch while her regality and political expertise were the inspiration behind England's greatest fairy works. Owing to the implicit resemblance Elizabeth bore to the fairy queen, this figure of Renaissance folk belief became an image that could serve simultaneously to praise Elizabeth and to advance the writer's own agenda. The sponsors of Elizabeth's progress pageants primarily made use of the fairy tradition they had inherited and utilized the fairy queen figure to negotiate for themselves a more favorable relationship with their sovereign. Spenser, on the other hand, reworks fairy mythology into an image that is at once Protestant, patriotic, and political. Although ii Gloriana is used by the poet to offer indirect criticism of Elizabeth, the Faerie Queene is also an image that encompasses and unites the other exemplary female representations of Elizabeth in the poem. Of all his immediate predecessors, Shakespeare's alteration of the fairy queen most directly challenges Elizabeth's authority as virgin queen and mythic being. King James did not desire to associate himself with the otherworld, but owing to Jonson's diverse use of the fairy world's denizens and belief in the moral purpose of poetry, the fairy folk continued to play a major role in court masques. Under Charles I, however, fairies became the plaything of poets. The dying out of the tradition in which fairies serve as symbols for the glory of the monarch and the court, and the changes the literary fairies undergo in nature and size during the Caroline period, are central factors in the debasement and subsequent decline of the literary fairy vogue. ACKNOWLEDGMENTS I would like to acknowledge here the patience and thoughtfulness of my dissertation advisers, who have overseen my studies in this area for more quarters than they might care to count. Phoebe Spinrad, who chaired my dissertation committee, has been unfailingly attentive to the details of my work. She supported me personally, guided this work intellectually, and has seen me through to the end with always an encouraging word. Pat Mullen enlightened me to the fact that the study of folklore is more intensive and important than some literary scholars may believe. He grounded me when I made over­ generalizations about the fairy as a figure of folklore and stressed the close connection between his specialty and the main currents of literary thought. Equally important, his presence was always a calming influence. David Frantz accepted the responsibility for reviewing my work after it had already been initiated, and for this I am grateful. His detail-oriented practicality and knowledgeable reflections have left their mark on my study, and I have appreciated his personal interest in my progress. Also, I would like to acknowledge the important assistance of Christopher Highley, whose approach to critical theory gave me much to think about as I completed this work. iv Finally, I would like to thank the library staffs at The Ohio State University, Case Western Reserve University, and John Carroll University, who retrieved many a dusty book from the back of the stacks. And of course, I could not complete these acknowledgments without a word of thanks to my family, who provided the space where I worked and the inspiration that fueled my effort. v VITA 1989 Master of Arts English, GPA 4.00 John Carroll University, University Heights, OH 1989 Bachelor of Arts French and English, GPA 4.00 John Carroll University, University Heights, OH 9/89 - 6/95 Teaching Associate/Instructor The Ohio State University, Columbus, Ohio Courses Taught: - Introduction to Shakespeare - Selected Works of British Literature: Medieval through 1800 - Composition and Literature - Informative Writing - Composition with Computers (Macintosh and IBM) -• First-Year English Composition FIELDS OF STUDY Major Field: English Studies in: Renaissance literature (Phoebe S. Spinrad) Old and Middle English literature (Lisa J. Kiser) American literature to 1900 (Thomas W. Cooley) Folklore (Patrick B. Mullen) vi TABLE OF CONTENTS Page Abstract................................................... ii Acknowledgments ........................................ iv V i t a .......................................................vi Preface ................................................ 1 Chapters: 1. Introduction: The Fairy Phenomenon in Renaissance Superstition and Literature .... 4 2. A Quest for Legitimacy: The Fairy Queen in Elizabeth's Progress Pageants . 35 3. The Two "Famous Auncestries" of Queen Elizabeth: Spenser's Mythic Vision of British History in The Faerie Q u e e n e ...............................71 4. Tarnishing Elizabeth's Mythic Aura: Shakespeare's Comic Revision of Fairyland..........109 5. Festive Diplomacy: Fairies in Stuart Court Masques ................ 143 6. The Decline of the Fairy A p o t h e o s i s .............. 179 Bibliography ............................................ 216 vii PREFACE Poltergeists, bigfoot, the abominable snowman, the Loch Ness monster, alien visitors, witches, ghosts and goblins: our popular culture is imbued with images derived from superstition and pagan culture. A popular Disney character always has been Tinkerbell, but fairies once had a central role in the culture of our ancestors far beyond the movie screen. The figure of the fairy has significantly influenced English literature and folk culture. Although writers of every period have demonstrated interest in fairy folk, the years from approximately 1575 to 1625 mark the golden age of the fairy figure in English literature. Spenser's Gloriana and Shakespeare's Titania are the two most famous of these creatures, but lesser manifestations are studied as well in this work. Focusing on why and on how poets and dramatists use fairies during this period, I survey some causes for the popularity of fairy literature in the English Renaissance and offer some explanations for why the literary fairy vogue was altered and to a large extent debased during the Caroline period. Other scholars have developed comprehensive theories explaining the prevalence of the fairy in the Renaissance. For example, in The Erotic World of Faerv (1972), Maureen 1 Duffy believes the fairy is a subconscious expression of the repressed eroticism of the period. In Shakespeare's Festive Comedy (1963), C. L. Barber sees the figure as an expression of a pastoral ideal, like Shakespeare's rustics. New historicists see the fairy as providing telling insights into contemporary tensions between poets and politicians. See, for example, Susan Frye's discussion.of the Kenilworth pageant in Elizabeth I: The Competition for Representation (1993) and Louis Montrose's seminal article on A Midsummer Night's Dream. "'Shaping Fantasies': Figurations of Gender and Power in Elizabethan Culture" (1988) . This work does not attempt to elaborate any overarching theory of the meaning of the
Recommended publications
  • Rhythms of the Brain

    Rhythms of the Brain

    Rhythms of the Brain György Buzsáki OXFORD UNIVERSITY PRESS Rhythms of the Brain This page intentionally left blank Rhythms of the Brain György Buzsáki 1 2006 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2006 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Buzsáki, G. Rhythms of the brain / György Buzsáki. p. cm. Includes bibliographical references and index. ISBN-13 978-0-19-530106-9 ISBN 0-19-530106-4 1. Brain—Physiology. 2. Oscillations. 3. Biological rhythms. [DNLM: 1. Brain—physiology. 2. Cortical Synchronization. 3. Periodicity. WL 300 B992r 2006] I. Title. QP376.B88 2006 612.8'2—dc22 2006003082 987654321 Printed in the United States of America on acid-free paper To my loved ones. This page intentionally left blank Prelude If the brain were simple enough for us to understand it, we would be too sim- ple to understand it.
  • Handel's Oratorios and the Culture of Sentiment By

    Handel's Oratorios and the Culture of Sentiment By

    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
  • Team-Fly® Power up Your Mind

    Team-Fly® Power up Your Mind

    Power Up Your Mind:Y L Learn faster,F work smarterM A E T Bill Lucas NICHOLAS BREALEY PUBLISHING Team-Fly® Power Up Your Mind Learn faster, work smarter Bill Lucas N ICHOLAS B REALEY P UBLISHING LONDON First published by Nicholas Brealey Publishing in 2001 Reprinted (twice) 2002 3–5 Spafield Street PO Box 700 Clerkenwell, London Yarmouth EC1R 4QB, UK Maine 04096, USA Tel: +44 (0)20 7239 0360 Tel: (888) BREALEY Fax: +44 (0)20 7239 0370 Fax: (207) 846 5181 http://www.nbrealey-books.com http://www.powerupyourmind.com © Bill Lucas 2001 The right of Bill Lucas to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. ISBN 1-85788-275-X British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Lucas, Bill. Power up your mind : learn faster, work smarter / Bill Lucas. p. cm. Includes bibliographical references and index. ISBN 1-85788-275-X 1. Learning, Psychology of. 2. Work--Psychological aspects. I. Title. BF318 .L83 2001 153.1′5--dc21 2001035940 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording and/or otherwise without the prior written permission of the publishers. This book may not be lent, resold, hired out or otherwise disposed of by way of trade in any form, binding or cover other than that in which it is published, without the prior consent of the publishers.
  • Gothic Riffs Anon., the Secret Tribunal

    Gothic Riffs Anon., the Secret Tribunal

    Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. Printed by Thomson-Shore, inc. The paper used in this publication meets the minimum requirements of the american national Standard for information Sciences—Permanence of Paper for Printed Library Materials. ANSi Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte.
  • Part 1 Masque and Antimasque

    Part 1 Masque and Antimasque

    Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali Tesi di Laurea Topical Allusions on Stage. Elizabethan Courtly Spectacles and the Antimasque. Relatore Ch. Prof. Loretta Innocenti Correlatore Ch. Prof. Laura Tosi Laureando Sara Boldarin Matricola 823182 Anno Accademico 2012 / 2013 CONTENTS INTRODUCTION ........................................................................... 1 PART 1 MASQUE AND ANTIMASQUE: RISE AND DEVELOPMENT. 6 1. Masque ............................................................................................................ 7 1.1. A definition ......................................................................................... 7 1.2. Origins and development ........................................................................ 10 1.2.1. The inheritance from the Middle Ages ........................................... 10 1.2.2. The Tudor maske ............................................................................ 12 1.2.3. The Elizabethan mask ..................................................................... 13 1.2.4. The Stuart court masque ................................................................. 15 2. Antimasque ................................................................................................... 19 2.1. An overview ........................................................................................... 19 2.2. A curious line of development ...............................................................
  • Seeing Is Believing

    Seeing Is Believing

    0 6 M AY 1 9 9 8 Seeing is Believing How photography killed Victorian Fairy Painting When William Blake reported a fairy funeral in his back garden, it's doubtful anyone demanded proof of what he had seen. That, of course, was before the camera entered the picture. Photography attempted to make up for the supposed inability of previous generations to record visually what was 'really' there, by providing apparently objective evidence for manifestations that could otherwise only be supported on a subjective basis. Confusing art with a kind of faux-scientic journalism, one casualty of this somewhat misguided will-to-truth was the representation of fairies. Developments in photography demanded that fairies - symbolic remnants of a displaced people, fallen angels, heathen dead or the unconscious made esh - relocate from their niche in the imagination of folklorists, dramatists and artists, to science's inhospitable laboratory. It was a move that, as it inadvertently sanitised, de-sexualised and trivialised fairy mythology, revealed elements of truth and ction, and showed the boundaries between genres and media to be as layered and co-dependant as the pieces of a Russian Doll. 'I see only phantoms that strike my eye, but disappear as soon as I try to grasp them' wrote Jean Jacques Rousseau in 1769. 1 The diculty of grasping phantoms and the myriad motivations for wanting to do so have, over the centuries, been manifold. During no period in history, however, was the attempt made more vigorously than in Victorian Britain, where phantoms assumed wings and found their way into painting.
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh

    This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh

    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang.
  • Wiccan Handbook

    Wiccan Handbook

    DPC DRAGON PALM CIRCLE Wiccan Handbook WiccanHandbook DRAGON PALM CIRCLE Wiccan Handbook Dragon Palm Circle Sevierville, TN 4th Edition July 2002 Compiled by Dreamweaver 1st edition January 1998 2nd edition March 2000 3rd edition August 2001 Table of Contents Introduction i Day 17 Lunar Magick 17 C H A P T E R 1 Lunar Cycles 17 Wiccan Rede 1 Lunar Month 18 Blessing for a Child 2 Witches Rune 2 Witches Creed 2 Charge of the Goddess 3 C H A P T E R 2 Signs 5 Number, planets, and signs 5 Number system for letters 6 C H A P T E R 3 Wiccan Rede 7 Three Fold Law 7 Wiccan Code of Chivalry 7 C H A P T E R 4 Calling Quarters 10 C H A P T E R 5 Colors 12 C H A P T E R 6 Herbs, stones, and colors 13 Eleminals 16 C H A P T E R 7 Introduction This is a book of information that include laws, poems, and what different things mean. This book is not a book to learn Wicca, but a handbook that contains some things that can be useful in putting together spells and rituals. The Wiccan Handbook This handbook has been put together to give you information you may need in forming rituals and participating in rituals. This will not include everything, but enough to get you started. Note about edition: Items are added and taken away depending upon the usefulness of the items. This is a good book to have in Circles for the Rede and Rune.
  • Anglica 25-3 Special Issue.Indd

    Anglica 25-3 Special Issue.Indd

    Magdalena Tomaszewska University of Warsaw Some Remarks on Shall’s and a Hypothesis of its Origin Abstract The present study focuses on the origin of the idiom shall’s ‘shall we’ in two corpora: the online database The Collected Works of Shakespeare and a corpus of Ben Jonson works compiled on the basis of online html texts linked to the webpage Luminarium: Anthology of English Literature. The Works of Ben Jonson. The paper discusses available accounts of the issue off ered by late nineteenth and early twentieth century linguists and juxtaposes them with new fi ndings and observations. The author analyzes data concerning shall’s, shall us, shall we, let’s and let us to suggest a new hypothesis on the potential rise of shall’s, i.e. that the idiom resulted from a blending of shall we and let’s. The main focus of the present article is the construction shall’s ‘shall we’ found six times in William Shakespeare’s and once in Ben Jonson’s works. What follows is a review of available accounts and a discussion of fi ndings. The starting point of the study was provided by the online database The Collected Works of Shake- speare (here referred to as the Shakespeare corpus), which consists of (1) (a) histories: Henry VI (3 parts), Richard III, Richard II, King John, Henry IV (2 parts), Henry V, Henry VIII; (b) tragedies: Titus Andronicus, Romeo and Juliet, Julius Caesar, Hamlet, Othello, Timon of Athens, King Lear, Macbeth, Antony and Cleopatra, Coriolanus; (c) comedies: The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, Love’s
  • Tethys Festival As Royal Policy

    Tethys Festival As Royal Policy

    ‘The power of his commanding trident’: Tethys Festival as royal policy Anne Daye On 31 May 1610, Prince Henry sailed up the River Thames culminating in horse races and running at the ring on the from Richmond to Whitehall for his creation as Prince of banks of the Dee. Both elements were traditional and firmly Wales, Duke of Cornwall and Earl of Chester to be greeted historicised in their presentation. While the prince is unlikely by the Lord Mayor of London. A flotilla of little boats to have been present, the competitors must have been mem- escorted him, enjoying the sight of a floating pageant sent, as bers of the gentry and nobility. The creation ceremonies it were, from Neptune. Corinea, queen of Cornwall crowned themselves, including Tethys Festival, took place across with pearls and cockleshells, rode on a large whale while eight days in London. Having travelled by road to Richmond, Amphion, wreathed with seashells, father of music and the Henry made a triumphal entry into London along the Thames genius of Wales, sailed on a dolphin. To ensure their speeches for the official reception by the City of London. The cer- carried across the water in the hurly-burly of the day, ‘two emony of creation took place before the whole parliament of absolute actors’ were hired to play these tritons, namely John lords and commons, gathered in the Court of Requests, Rice and Richard Burbage1 . Following the ceremony of observed by ambassadors and foreign guests, the nobility of creation, in the masque Tethys Festival or The Queen’s England, Scotland and Ireland and the Lord Mayor of Lon- Wake, Queen Anne greeted Henry in the guise of Tethys, wife don with representatives of the guilds.
  • Musical Times Publications Ltd

    Musical Times Publications Ltd

    Musical Times Publications Ltd. Review Source: The Musical Times and Singing Class Circular, Vol. 31, No. 574 (Dec. 1, 1890), p. 744 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3362064 Accessed: 23-10-2015 02:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 130.113.111.210 on Fri, 23 Oct 2015 02:13:29 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TI1MES.-DECEMBER I, I890. 744 well as those writtenfor Garrick'srevival of Shakespeare'sand some are of extremebeauty. The quaint phrasesof plays, prove how sympatheticallyhe could think in the the Carolsfrom foreign sources recall the melodicpassages spirit of the poet. The music for Milton's Masque of of such of the songs of the Troubadoursas havebeen trans- " Comus,"his opera of "Artaxerxes,"two oratorios,and mittedto us. innumerabledetached songs attest his powers of writing The svordsare as noteworthyas the music. In one of the music in all styles; and, althoughseveral of his important Carolsfrom Bas Quercy,the soundsof thevoices of thebirds works have not survived,many of the gems containedin are imitatedin syllables:thus the cockchants coquctico, the them are still often sung.
  • Fairy Queen Resource Pack

    Fairy Queen Resource Pack

    1 The Fairy Queen Resource Pack 2 Contents Page 3-4 Plot Summary 5 Characters: The Faeries 6 Characters: The Lovers 7 Characters: The Mechanicals 8-9 Henry Purcell & The Fairy Queen 10 Creative Writing Exercise: Mischievous Puck 11 Drama Exercise: You Spotted Snakes 12-13 Design and make a Fairy Crown 14 Magical Muddle character game 15 A Midsummer Night’s Dream Word Search 3 “A Midsummer Night’s Dream” by William Shakespeare Plot Summary Duke Theseus and Queen Hippolyta are preparing for their wedding. Egeus, a nobleman, brings his daughter Hermia to Theseus, as he wants her to marry Demetrius but she is in love with another man, Lysander. The Duke, Theseus, commands Hermia to obey her father and either marry Demetrius or, according to Athenian Law, she must be put to death or enter a convent. Hermia and Lysander decide to runaway together that night to get married in secret. Hermia tells her best friend Helena of her plans. Helena is in love with Demetrius (even though he hates her and loves Hermia), so she tells him about Hermia and Lysander’s plans, hoping that she might win his love. All the four lovers run away into the woods that night - Demetrius following Hermia & Lysander and Helena following after Demetrius. Meanwhile, there are a group of tradespeople called the Mechanicals who are rehearsing a play in the same woods. They include Bottom the weaver, Quince the taylor and Flute the bellows mender, among others. The play they are rehearsing is ‘The Tragedy of Pyramus and Thisbe’ and it is to be performed for the Duke and Queen at their wedding.