Albion (57 page)

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,
Englishness 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.

2. Enid Welsford,
The Fool
, p. 51.

3. Roly Bain, “Clowns and Augustes,” in
Victorian Britain
, ed. Boris Ford, p. 300.

4. Frow, p. 109.

5. David Robinson,
Chaplin
, p. 71.

6. O. M. Busby, Studies in the Development of the Fool in Elizabethan Drama, p. 6.

7. Richard Axton, “Church Drama and Popular Drama,” in
Medieval Literature,
Part Two: The European Inheritance
, p. 152.