Airy Nothings : Imagining the Otherworld of Faerie from the by Karin E. Olsen, Jan R. Veenstra

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 after all disregarded as ethereal nothings used to be given an area habitation and a reputation through artwork. This e-book offers the various major chapters from the historical past and culture of otherworldly spirits and fairies within the folklore and literature of the British Isles and northerly Europe. In 11 contributions diverse specialists take care of many of the major difficulties posed through 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 discovered perceptions of that Otherworld because it was once 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 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

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The Second Report is a ghost story, like the posthumous adventures of Greene and Tarleton. In it, the most famous creation of the notorious ‘atheist’ Marlowe (as Greene called him) returns from the dead to lend his services to the Doctor’s former houseboy, Wagner; and we have already seen how Faustus had been linked with his creator by Greene. In this book, too, the houseboy Wagner (whose nickname here is the same as Marlowe’s, Kit— in the Famous History he is always Christopher), takes on his master’s mantle not just as conjurer but playwright: it is he who stages the production of Faustus’s trial in the sky above Wittenberg.

The next chapter, for instance, tells of a similar ‘illusion’ involving a group of travelling merchants who come across a dance of ‘countrey maids servants, and other of the female sexe’, known as ‘Phogels’, in a place called the ‘Phogelwald ’ not far from Wittenberg (sig. B3v–B4r). 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.

4 robert w. maslen wit, his gift, be so blinded, that thou shouldst give no glory to the giver? 12 Printed so shortly after Greene’s death, and followed so soon by the death of Marlowe, these words would no doubt have had a major impact on any reader who recalled them in the aftermath of Marlowe’s assassination. 13 More interestingly, though, they tie Greene to Marlowe as an atheist, while separating him from his fellow playwright by stressing his repentance. In the process Marlowe becomes a second Faustus, just as Greene had identified him with his earlier protagonist Tamburlaine in the 1580s.

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