By Karin E. Olsen, Jan R. Veenstra
Ever because the center a long time the Otherworld of Faerie has been the article of significant highbrow scrutiny. What technology finally disregarded as ethereal nothings was once given a neighborhood habitation and a reputation via paintings. This ebook provides a number 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 take care of a few of the major difficulties posed via 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 realized perceptions of that Otherworld because it was once ultimately obfuscated via the readability of an enlightened age. participants comprise: 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
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.
246–47. 10 The dissemination of this work has assured it a secure place in European intellectual history as well as in studies of gender in Renaissance English literature. 12 Since a text of the 1509 original has not survived, it cannot be known to what extent the printed version may have differed from it. Between the delivery of the lecture and its eventual publication, its author travelled in Germany, England, Switzerland and Italy before returning to France. He was never a wealthy man, and there was no retinue to carry around his belongings, so it is even possible that the original text of the lecture was lost, lent or damaged by the time Agrippa came to prepare it for the press.
The writer goes on to imply that the text was delivered to the press against his will by the Oxford friends to whom he sent it; that he penned the two new epistles to explain this; and that ‘my vaine in this booke, is nothing’, since it is ‘but a bare translation of as bare mater of the gestes and actes of one Faustus a great Magitian’, a subject of such ‘unworthynes’ that noone should read it (sig. A3v). The first of the new epistles, then, presents the Second Report as a double prank played by two sets of scholars: the gentleman student, who sent the manuscript to his Oxford friends as a humanist jeu d’esprit; and the ‘injurious’ Oxford friends themselves, who gave it uncorrected to the printer, so that other men might ‘laugh at the rude phrase’—that is, mock its crude style—and thus embarrass their Wittenberg correspondent (sig.