Download PDF by Karin E. Olsen, Jan R. Veenstra: Airy Nothings : Imagining the Otherworld of Faerie from the
By Karin E. Olsen, Jan R. Veenstra
Ever because the center a long time the Otherworld of Faerie has been the item of significant highbrow scrutiny. What technology finally brushed off as ethereal nothings was once given a neighborhood habitation and a reputation through paintings. This publication offers a few of the major chapters from the background and culture of otherworldly spirits and fairies within the folklore and literature of the British Isles and northerly Europe. In 11 contributions various specialists care for many of the major difficulties posed via the scholarly and inventive disagreement with the Otherworld, which not just fuelled the mind's eye, but in addition ended in the final word redundancy of discovered perceptions of that Otherworld because it used to be eventually obfuscated by way 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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Extra resources for Airy Nothings : Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason : essays in honour of Alasdair A. MacDonald
204–06. All references are to this edition. , 37 (1990), 168–70. marlowe’s ghost 7 actor-devil in the Second Report is remarkable for his haircut: he makes his subordinate devils tremble by stamping his foot and ‘shaking his great bushe of hair’ (sig. C3r), which helps explain the reference to the pimp’s ‘head of hair’ in Middleton’s Black Book. The difficulty with Rasmussen’s argument is the reference to the ‘old Theatre’, since ‘old’ seems an inappropriate epithet for a temporary aerial playhouse.
In other words, his ability to talk theology has no effect on his own damned condition; and by extension, it should have no effect on those who hear it. ] Foole as thou art forget these vaine conferences, perswade thy selfe that they are but the effect of speach’ (sig. D4r). Instead he encourages the boy to immerse himself in pleasures of the flesh; and the chapter closes with a passage of sheer self-indulgence. Mephistopheles summons an Italian lady into Wagner’s 20 robert w. maslen chamber; she is described in lascivious detail (though the description is ‘farre more copious in the Dutch Coppy’, the student informs us), and Wagner himself is given the appearance of ‘Armisverio the Ladies Lorde’ so that he can have his way with her (sig.
The third chapter describes an encounter between Wagner and Faustus, which takes up the theme of Faustus’s posthumous existence from the pageant episode in Chapter One. Faustus appears to Wagner (‘sodainely like as all such chaunces happe’) in a secluded grove, suspended (as the ensuing conversation reveals) in mid-air, yet seemingly flesh and blood like Wagner himself (sig. C1r). There ensues a lengthy dispute between master and student concerning the possibility or otherwise of a material body hovering above the earth without succumbing to the force of gravity.
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