Albion: The Origins of the English Imagination

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Albion: The Origins of the English Imagination Page 53

by Peter Ackroyd

2. Christopher Kendrick, “Preaching Common Grounds,” in Writing and the English Renaissance, ed. William Zunder and Suzanne Trill, p. 179.

  3. D. Talbot Rice, English Art, 871–1100, pp. 174–5.

  4. ibid., p. 6.

  5. Nikolaus Pevsner, The Englishness of English Art, p. 137.

  6. ibid., p. 138.

  7. Eric Mercer, English Art, 1553–1625, p. 156.

  8. John Stephens, Music and Poetry in the Early Tudor Court, p. 100.

  9. Margaret Whinney and Oliver Millar, English Art, 1625–1714 , p. 22.

  10. David Watkin, English Architecture, p. 67.

  11. William Gaunt, A Concise History of English Painting, p. 200.

  12. Rickert, p. 65.

  13. ibid., p. 95.

  14. Walter Oakeshott, The Sequence of English Medieval Art, p. 44.

  15. St. Erkenwald, trans. Brian Stone, p. 31.

  14. ANGLO-SAXON ATTITUDES

  1. J. W. Lever, “Paradise Lost and the Anglo-Saxon Tradition,” Review of English Studies, Vol. 23, No. 90, p. 100.

  2. ibid., p. 98.

  3. D. Talbot Rice, English Art, 871–1100, pp. 95–6.

  15. THE ALTERATION

  1. Derek Brewer, “Medieval European Literature,” in Pelican Guide to Medieval Literature, Volume 2, p. 74.

  2. R. W. Southern, Medieval Humanism, p. 161.

  3. G. Zarnecki, “1066 and Architectural Sculpture,” PBA , Vol. 52, 1966, p. 102.

  4. Elizabeth Salter, English and International Studies in the Literature, Art and Patronage of Medieval England, p. 6.

  5. D. Pearsall, Old English and Middle English Poetry, p. 76.

  6. Lesley Johnson, “Dynastic Chronicles,” in The Arthur of the English, ed. W. R. J. Barron, p. 40.

  7. W. F. Bolton, A Short History of Literary English, p. 35.

  8. Norman Davies, The Isles, p. 425.

  9. May McKisack, The Fourteenth Century, p. 525.

  10. John Caldwell (ed.), The Oxford History of English Music, Volume 1, p. 108.

  11. Sheila Lindbaum, “London Texts and Literary Practice,” in The Cambridge History of Medieval English Literature, ed. D. Wallace, p. 29.

  12. ibid., pp. 284–5.

  16. HE IS NOT DEAD

  1. Ceridwen Lloyd-Morgan, “The Celtic Tradition,” in The Arthur of the English, ed. W. R. J. Barron, p. 3.

  2. Richard Barber, King Arthur, p. 6.

  3. ibid., p. 12.

  4. Denis Hollier (ed.), A New History of French Literature, p. 41.

  5. ibid., p. 51.

  6. Barron (ed.), p. 24.

  7. Rosamund Allen (trans. and intr.), Brut, p. 28.

  8. ibid.

  9. Barron (ed.), p. 71.

  10. Hollier (ed.), p. 67.

  11. Barron (ed.), p. 89.

  12. Barber, p. 104.

  13. Quoted in Barron (ed.), p. 195.

  14. Thomas Malory, Works, ed. Eugene Vinaver, p. 7.

  15. Barber, p. 122.

  16. Barron (ed.), p. 245.

  17. ibid.

  18. W. P. Ker, quoted in E. K. Chambers, Malory and Fifteenth-Century Drama, Lyrics and Ballads, p. 198.

  19. Chris Brooks and Inga Bryden, “The Arthurian Legacy” in Barron, p. 250.

  20. Beverly Taylor and Elizabeth Brewer, The Return of King Arthur, p. 69.

  21. ibid., pp. 15–16.

  22. ibid., p. 26.

  23. ibid., p. 135.

  24. Alfred, Lord Tennyson, Letters, ed. C. Y. Lang and E. F. Shannon, Jr., Volume 2, p. 267.

  25. Barron (ed.), p. 263.

  17. FAITH OF OUR FATHERS

  1. G. G. Coulton, Chaucer and His England, p. 282.

  2. Sir Gawain and the Green Knight, ed. Brian Stone, p. 147.

  3. F. L. Utley, The Crooked Rib, p. 29.

  4. R. P. Miller, “Allegory in The Canterbury Tales,” in Companion to Chaucer Studies, ed. Beryl Rowland, p. 348.

  5. Jody Enders, Rhetoric and the Origins of Medieval Drama, p. 245.

  6. Quoted in Martin Thornton, English Spirituality, p. 107.

  7. J. A. W. Bennett and Douglas Gray (ed.), Middle English Literature, p. 268.

  8. Thornton, p. 169.

  9. ibid., p. 89.

  10. W. K. Sorley, A History of British Philosophy to 1900, pp. 6–7.

  11. T. S. R. Boase, English Art 1800–1870, p. 297.

  12. R. W. Southern, Medieval Humanism, p. 177.

  18. OLD STONE

  1. Peter Brieger, English Art 1216–1307, p. 10.

  2. Margaret Rickert, Painting in Britain: The Middle Ages, p. 181.

  3. John Caldwell (ed.), The Oxford History of English Music, Volume 1, p. 174.

  4. C. S. Lewis, The Discarded Image, p. 210.

  5. Alex Clifton-Taylor, The Cathedrals of England, p. 88.

  6. Brieger, p. 26.

  7. Nikolaus Pevsner, The Englishness of English Art, p. 41.

  8. Joan Evans, English Art 1307–1461, p. 9.

  9. Quoted in Claude Rawson’s “Henry Fielding,” in The Cambridge Companion to the Eighteenth-Century Novel, ed. John Richetti, p. 130.

  10. Derek Pearsall, “The Visual World of the Middle Ages,” in Medieval Literature, ed. Boris Ford, p. 312.

  11. Morton W. Bloomfield, “Chaucerian Realism,” in The Cambridge Chaucer Companion, ed. Pierre Boitani and Jill Mann, p. 187.

  12. Peter Happé, English Drama before Shakespeare, p. 29.

  13. Kenneth Pople, Stanley Spencer, p. 67.

  19. PART OF THE TERRITORY

  1. Walter Oakeshott, The Sequence of English Medieval Art, p. 22.

  2. J. C. Coldewey, “The Non-Cycle Plays and the East Anglian Tradition,” in The Cambridge Companion to Medieval English Theatre, ed. Richard Beadle, p. 189.

  3. Alan MacFarlane, The Origins of English Individualism, p. 67.

  4. ibid., p. 68.

  5. Coldewey, p. 190.

  6. ibid., p. 207.

  7. Martin Thornton, English Spirituality, p. 203.

  8. ibid., p. 214.

  9. Coldewey, p. 193.

  10. T. S. R. Boase, English Art 1800–1870, p. 35.

  20. A SONG AND A DANCE

  1. R. T. Davies (ed.), Medieval English Lyrics, p. 32.

  2. J. A. W. Bennett and Douglas Gray (eds.), Middle English Literature 1100–1400, p. 202.

  3. John Stephens, “Medieval Lyrics and Music,” in Medieval Literature, ed. Boris Ford, Volume 1, p. 270.

  4. Bennett and Gray (eds.), p. 138.

  5. Six Middle English Romances, ed. Maldwyn Mills, p. xxii.

  6. W. R. J. Barron (ed.), The Arthur of the English, p. 132.

  7. Bennett and Gray (eds.), p. 18.

  8. Rosemary Woolf, “Later Poetry: The Popular Tradition,” in The Middle Ages, ed. W. F. Bolton, p. 277.

  9. ibid.

  10. ibid.

  21. FATHERS AND SONS

  1. William Empson, Seven Types of Ambiguity, p. 74.

  2. Piero Boitani, “Old Books Brought to Life in Dreams,” in The Cambridge Chaucer Companion, ed. Piero Boitani and Jill Mann, p. 41.

  3. ibid., p. 53.

  4. Barry Windeatt, “Literary Structures in Chaucer,” in Boitani and Mann (eds.), p. 198.

  5. L. D. Benson (ed.), The Riverside Chaucer, p. 840.

  6. ibid., p. 885.

  7. Derek Pearsall, The Life of Geo frey Chaucer, p. 245.

  8. Nikolaus Pevsner, The Englishness of English Art, p. 31.

  9. Paul Strohm, quoted in Pearsall, p. 132.

  10. Pearsall, p. 112.

  11. Pevsner, p. 79.

  12. Paul G. Ruggiers, The Art of the Canterbury Tales, p. 17.

  13. J. A. W. Bennett and Douglas Gray (eds.), Middle English Literature 1100–1400, p. 142.

  14. John Caldwell (ed.), The Oxford History of English Music, Volume 2, p. 173.

  15. Donald Cheney, “Narrative, Romance and Epic,” in The Cambridge Companion to English Literature 1500–1600, ed. A. P. Kinney, p. 207.

  16. A. Easthope, Englishne
ss and National Culture, p. 96.

  23. THE MYSTERIOUS VOICE

  1. E. K. Chambers, Malory and Fifteenth-Century Drama, Lyrics and Ballads, p. ci.

  2. Richard Rolle, The Fire of Love, ed. and trans. Clifton Wolters, p. 32.

  3. Frances Beer, Women and Mystical Experience in the Middle Ages, p. 110.

  4. ibid., p. 112.

  5. Marion Glasscoe, English Medieval Mystics, p. 165.

  24. THE INHERITANCE

  1. J. A. W. Bennett and Douglas Gray (eds.), Middle English Literature 1100–1400, p. 62.

  2. ibid., p. 281.

  3. John Carey, John Donne: His Mind and Art, p. 43.

  4. ibid., p. 51.

  5. Martin Thornton, English Spirituality, p. 226.

  6. ibid., p. 236.

  7. C. Palmer, Delius: Portrait of a Cosmopolitan, p. 160.

  8. John Caldwell (ed.), The Oxford History of English Music, Volume 2, p. 477.

  9. John Marshall, “Modern Productions of Medieval English Plays,” in The Cambridge Companion to Medieval English Theatre, ed. Richard Beadle, p. 290.

  25. THE FEMALE RELIGION

  1. M. W. Ferguson, “A Room Not Their Own,” in Renaissance Poetry, ed. Christina Malcolmson, p. 158.

  2. ibid.

  3. Three Old English Elegies, ed. R. F. Leslie, p. 10.

  4. ibid., p. 12.

  5. Christine Fell, Women in Anglo-Saxon England, p. 70.

  6. Marilyn Desmond, quoted in L. A. Fincke, Women’s Writing in English: Medieval England, p. 88.

  7. Doris Stenton, quoted in Fell, p. 13.

  8. ibid., p. 57.

  9. ibid., p. 111.

  10. ibid., p. 114.

  11. ibid.

  12. B. Lewalski, Writing Women in Jacobean England, pp. 6–7.

  13. L. Eckenstein, Women under Monasticism, p. 9.

  14. J. M. Ferrante, “Marie de France,” in Medieval Women Writers, ed. K. M. Wilson, p. 65.

  15. ibid., p. 67.

  16. ibid., p. 65.

  17. Denis Hollier (ed.), A New History of French Literature, p. 51.

  18. ibid., p. 52.

  19. Jocelyn Wogan-Browne, “Clerc u lai, muine u dame,” in Women and Literature in Britain: 1150–1500, ed. C. McMeale, p. 74.

  20. The Oxford Companion to Christian Thought, ed. Adrian Hastings et al., p. 358.

  21. Virginia Woolf, A Room of One’s Own, p. 90.

  22. Stevie Davis, Emily Brontë: Heretic, p. 65.

  23. Norman Davies, quoted in Felicity Riddy, “Women Talking about the Things of God,” in C. M. Meale (ed.), p. 114.

  24. Claire Harman, Fanny Burney, p. 57.

  25. Catherine F. Smith, “Jane Lead,” in Shakespeare’s Sisters, ed. S. M. Gilbert and S. Gubar, p. 4.

  26. Elaine Hobby, quoted in B. S. Travitsky, “The Possibilities of Prose,” in Redeeming Eve: Women Writers of the English Renaissance, ed. E. V. Beilin, p. 249.

  27. Beilin (ed.), p. 49.

  28. ibid.

  29. Germaine Greer, Slip-Shod Sibyls, p. 44.

  30. Gary Waller, quoted in E. H. Hageman, “Women’s Poetry in Early Modern Britain,” in Women and Literature in Britain, 1500–1700, ed. H. Wilcox, p. 194.

  31. Beilin (ed.), p. 152.

  32. ibid., p. 61.

  26. BUT NEWLY TRANSLATED

  1. Joan Evans, English Art 1307–1461, p. 133.

  2. Ezra Pound, Literary Essays, pp. 34–5.

  3. Robin Sowerby, The Classical Legacy in Renaissance Poetry, p. 220.

  27. THE ITALIAN CONNECTION

  1. Nicholas Von Maltzahn, Milton’s History of Britain, p. 95.

  2. Richard Helgerson, Forms of Nationhood, p. 1.

  3. Graham Hough, A Preface to The Faerie Queene, p. 97.

  4. Maurice Evans, (ed.) The Countess of Pembroke’s “Arcadia,” p. 21.

  28. A SHORT HISTORY OF SHAKESPEARE

  1. Kenneth Muir, The Sources of Shakespeare’s Plays, p. 12.

  29. AND NOW FOR STREAKY BACON

  1. D. G. Scragg, “The Nature of Old English Verse,” in The Cambridge Companion to Old English Literature, ed. Malcolm Godden and Michael Lapidge, p. 68.

  2. John Caldwell (ed.), The Oxford History of English Music, Volume 1, p. 74.

  3. David Watkin, English Architecture, p. 40.

  4. Margot Heinemann, “Political Drama,” in The Cambridge Companion to English Renaissance Drama, ed. A. R. Braunmuller and Michael Hattaway, p. 173.

  5. Lee Bliss, “Pastiche, Burlesque, Tragicomedy,” in Braunmuller and Hattaway (eds.), p. 244.

  6. J. A. Winn, “Theatrical Culture: Theatre and Music,” in The Cambridge Companion to English Literature 1650–1740, ed. S. N. Zwicker, p. 112.

  7. Margaret Whinney and Oliver Millar, English Art, 1625–1714 , p. 204.

  8. William K. Wimsatt, in J. R. Damrosch (ed.), Modern Essays on Eighteenth- CenturyLiterature, p. 142.

  9. Watkin, p. 123.

  10. ibid., p. 139.

  11. ibid., p. 146.

  12. Sally Jeffery, “Architecture,” in Eighteenth-Century Britain, ed. Boris Ford, pp. 253–4.

  13. Nikolaus Pevsner, The Englishness of English Art, p. 75.

  14. ibid., p. 48.

  30. AMONG THE RUINS

  1. L. A. Cormican, “Milton’s Religious Verse,” in From Donne to Marvell, ed. Boris Ford, p. 233.

  2. Nicholas Von Maltzahn, “Milton’s Readers,” in The Cambridge Companion to Milton, ed. Dennis Danielson, p. 247.

  3. William Levison, “Bede as Historian,” in Bede, ed. A. H. Thompson, p. 142.

  4. G. T. Shepherd, “Early Middle English Literature,” in The Middle Ages, ed. W. F. Bolton, p. 94.

  5. Michael Wood, In Search of England, p. 118.

  6. Melanie Hansen, “Identity and Ownership,” in Writing and the English Renaissance, ed. W. Zunder and S. Trill, p. 90.

  7. James Sutherland, English Literature of the Late Seventeenth Century , p. 286.

  8. Wood himself.

  9. William Weber, The Rise of Musical Classics in Eighteenth-Century England, p. 56.

  10. ibid., p. 5.

  11. ibid., p. 3.

  12. ibid., p. 73.

  31. THE CONSERVATIVE TENDENCY

  1. H. M. Taylor, “Tenth-Century Church Buildings in England and on the Continent,” in Tenth-Century Studies, ed. David Parsons, p. 167.

  2. ibid., p. 195.

  3. John Caldwell (ed.), The Oxford History of English Music, Volume 1, p. 27.

  4. ibid., p. 379.

  5. Andrew Saint, “The New Town,” in Modern Britain, ed. Boris Ford, p. 152.

  6. Andor Gomme, “Architecture,” in Seventeenth-Century Britain , ed. Boris Ford, p. 28.

  7. ibid., p. 79.

  8. John Nelson Tarn, “New Homes for Barons and Artisans,” in Victorian Britain, ed. Boris Ford, p. 154.

  9. Steen Eiler Rasmussen, London: The Unique City, p. 293.

  10. ibid., p. 296.

  32. A SHORT HISTORY LESSON

  1. Bede, A History of the English Church and People, introduction by D. H. Farmer, p. 25.

  2. Dorothy Whitelock, The Audience of Beowulf, p. 63.

  3. Andrew Galloway, “Writing History in England,” in The Cambridge History of Medieval English Literature, ed. D. Wallace, p. 255.

  4. Lesley Johnson, “Dynastic Chronicles,” in The Arthur of the English, ed. W. R. J. Barron, p. 34.

  5. C. S. Lewis, The Discarded Image, p. 181.

  6. Edwin Jones, The English Nation: The Great Myth, p. 151.

  7. William Gaunt, A Concise History of English Painting, p. 163.

  8. S. A. J. Bradley (ed. and trans.), Anglo-Saxon Poetry, p. 49.

  33. THE SONG OF THE SEA

  1. A. P. Smyth, King Alfred the Great, p. 570.

  2. M. Godden and M. Lapidge, The Cambridge Companion to Old English Literature, p. 85.

  3. D. Whitelock (ed.), English Historical Documents, p. 209.

  4. S. B. Greenfield and D. G. Calder, A New Critical History of Old
English Literature, p. 162.

  5. Kevin Crossley-Holland (ed. and trans.), The Anglo-Saxon World, p. 53.

  6. ibid., p. 288.

  7. The Exeter Book Riddles, ed. and trans. Kevin Crossley-Holland, pp. 4 and 85.

  8. J. A. W. Bennett (ed.), Selections from John Gower, p. xiv.

  9. Harry Blamires, Twentieth-Century English Literature, p. 7.

  10. C. Palmer, Delius: Portrait of a Cosmopolitan, p. 151.

  11. ibid.

  12. ibid., p. 158.

  13. John Caldwell (ed.), The Oxford History of English Music, Volume 2, p. 409.

  34. A BRIEF EXCURSION

  1. J. F. Webb, The Age of Bede, p. 223.

  2. Norman Davies, The Isles, p. 474.

  3. Richard Helgerson, Forms of Nationhood, p. 153.

  4. ibid., p. 165.

  5. ibid.

  6. ibid., p. 175.

  7. ibid., p. 179.

  8. C. Rawson and J. Mezciems, English Satire and the Satiric Tradition, p. 2.

  9. John Mullan, “Swift, Defoe and Narrative Forms,” in The Cambridge Companion to English Literature, 1650–1740, ed. S. N. Zwicker, p. 254.

  10. Roy Strong, The Spirit of Britain, p. 278.

  35. A MINIATURE

  1. “The Phoenix,” in Anglo-Saxon Poetry, ed. and trans. S. A. J. Bradley, p. 292.

  2. Margaret Rickert, Painting in Britain: The Middle Ages, p. 44.

  3. ibid., p. 47.

  4. T. S. R. Boase, English Art, 1800–1870, p. 177.

  5. Peter Brieger, English Art, 1216–1307, p. 79.

  6. Boase, p. 299.

  7. ibid.

  8. Nicola Coldstream, “Architecture,” in Medieval Britain , ed. Boris Ford, p. 51.

  9. J. A. W. Bennett and Douglas Gray (eds.), Middle English Literature 1100–1400, pp. 69 and 247.

  10. Rickert, p. 178.

  11. Joan Evans, English Art 1307–1461, pp. 7–8.

  12. William Gaunt, A Concise History of English Painting, pp. 11–12.

  13. Walter Oakeshott, The Sequence of English Medieval Art, p. 29.

  14. Ellis Waterhouse, Painting in Britain, 1530–1790, p. 38.

  15. Eric Mercer, English Art, 1553–1625, p. 5.

  16. E. Auerbach, Tudor Artists, pp. 131–2.

  17. Margaret Whinney and Oliver Millar, English Art, 1625–1714 , p. 90.

  18. William Vaughan, British Painting: The Golden Age, p. 44.

  19. Boase, p. 163.

  20. N. P. Messenger and J. R. Watson (eds.), Victorian Poetry, p. xiii.

  21. Colin Manlove, The Fantasy Literature of England, p. 116.

  22. ibid.

  23. ibid.

  36. I SAW YOU, MISSIS

  1. Gerald Frow, Oh Yes It Is: A History of Pantomime, p. 149.

 

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