New PDF release: Airy Nothings : Imagining the Otherworld of Faerie from the

By Karin E. Olsen, Jan R. Veenstra

ISBN-10: 9004245510

ISBN-13: 9789004245518

ISBN-10: 900425823X

ISBN-13: 9789004258235

Ever because the heart a while the Otherworld of Faerie has been the article of great highbrow scrutiny. What technology in spite of everything pushed aside as ethereal nothings was once given a neighborhood habitation and a reputation by way of artwork. This booklet provides a few of the major chapters from the heritage and culture of otherworldly spirits and fairies within the folklore and literature of the British Isles and northern Europe. In 11 contributions assorted specialists take care of a few of the major difficulties posed by means of the scholarly and inventive war of words with the Otherworld, which not just fuelled the mind's eye, but additionally ended in the final word redundancy of realized perceptions of that Otherworld because it used to be eventually obfuscated by means of the readability of an enlightened age. participants contain: Henk Dragstra, John Flood, Julian Goodare, Tette Hofstra, Robert Maslen, Richard North, Karin E. Olsen, David J. Parkinson, Rudolf Suntrup, Jan R. Veenstra, and Helen Wilcox.

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Additional info for Airy Nothings : Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason : essays in honour of Alasdair A. MacDonald

Sample text

At the same time, his Mephistopheles, like Marlowe’s, is immensely sympathetic—in fact the Second Report elicits more sympathy for its damned characters, and grants them a happier ending, than any play by Marlowe. It is composed of the same explosive mixture of conformity and controversy, humour and horror, that made the dead man’s work so attractive. Throughout the second half, for instance, the tone of the narrative continues to veer from solemnity to silliness, from the didactic to the daft, until it becomes effectively impossible to paint a coherent picture of the writer’s moral outlook.

His behaviour is in many ways impeccable, his theology sound, his defence of Christendom resolute; and the student author could have pointed this out to any would-be detractors. At the same time, his Mephistopheles, like Marlowe’s, is immensely sympathetic—in fact the Second Report elicits more sympathy for its damned characters, and grants them a happier ending, than any play by Marlowe. It is composed of the same explosive mixture of conformity and controversy, humour and horror, that made the dead man’s work so attractive.

The dance assumes a supernatural dimension when they see Faustus’s ghost dancing cheerfully among the women. He greets them and leads them away to a Land of Cockaigne full of beer-mugs that grow like flowers, ‘wherin as they seemed they dwelt many daies with great mirth and pleasure’ (sig. B4r– B4v), till devils shatter their idyll and they wake to find themselves halfburied in mud by the river. Once again, however, the veracity of the story is undermined—not this time by the possible ‘melancholy’ of the witnesses, but by their habitual drunkenness, a condition that afflicts all Germans, the student tells us.

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Airy Nothings : Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason : essays in honour of Alasdair A. MacDonald by Karin E. Olsen, Jan R. Veenstra


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