By Karin E. Olsen, Jan R. Veenstra
Ever because the center a while the Otherworld of Faerie has been the thing of significant highbrow scrutiny. What technology after all brushed off as ethereal nothings was once given an area habitation and a reputation through artwork. This e-book provides many 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 varied specialists care for a few of the major difficulties posed by means of the scholarly and creative war of words with the Otherworld, which not just fuelled the mind's eye, but in addition ended in the last word redundancy of discovered perceptions of that Otherworld because it used to be eventually obfuscated through 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 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
The truth is’, it concludes, ‘that these [new stories or ancient copies] are commonly carried about for very certainty, yea and some are secretly laide up in grave men’s studyes for great reliques’ (sig. A4r). The balance here implied between ‘very certainty’—incontrovertible truths— and ‘great reliques’, the hallmark of papist superstition, tells us exactly what we should think about the grave men who take such nonsense literally. The narrative to follow is no ‘truthe’ but a fiction, and should be read as nothing more.
Jones (see above, n. 16), p. 181. 14 robert w. maslen in Doctor Faustus. But the second half abandons these qualms altogether, and permits Wagner to enlist the help of the devil in the ongoing Christian struggle against the heathen. The first half takes care to establish the historical and geographical context of Wagner’s adventures in his hometown of Wittenberg. The second throws historical accuracy to the winds and represents the Siege of Vienna as an orientalist extravaganza, with giant horses and elephants.
It is typical, he observes, of the gross ‘lies’ that the Germans like to ‘father’ on Faustus, ‘new children’ (in the form of stories) who ‘cost very litle nursing and bringing uppe’ (sig. C3r). In this chapter, then, a discussion between Wagner and Faustus concerning substance and insubstantiality is identified as a thing of no substance—which is no surprise, the narrator adds, when you ‘consider from whose braines [it] proceede[s]’, since ‘witte for the most part [the Germans] have very little’ (sig.