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[www.http://history.powys.org.uk/history/common/early1.html/Powys Digital History Project]

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Main article: Persona poetry

stream of consciousness

Wikipedia:Citation needed

the Isles

2

: Regarding The Sweet Track" might well also be described as a "plank road" or "corduroy road".

:

Weymouth Sands

"Victor Hugo" is reprinted from Suspended Judgments: Essays on Books and Sensations. John Cowper Powys. New York: G. Arnold Shaw, 1916. Thomas Hardy <https://en.wikipedia.org/wiki/The_Well-Beloved>

She ought to have her name on this book but I am far too selfish to let her have it there! But this book — O Unknown Reader — is owing a great deal to her....

she wants me to make Gipsy May older & like Miss Rowe.

22 July All yesterday the T. T. worked so well over revising my book. She has helped me helped me helped me so much over this Weymouth Sands. It is largely due to her if it is a good book. (Diaries 1932–33: A Selection on the Writing of "Weymouth Sands", with an Introduction by Morine Krissdottir Author(s): JOHN COWPER POWYS Source: The Powys Journal, Vol. 2 (1992), pp. 170-188)

Possible influence: Victor Hugo's The Toilers of the Sea Wood and Stone, chapter 22

The incomparable watering-place,—with its charming “after-glow,” as Mr. Hardy so beautifully puts it, “of Georgian gaiety,”—had never looked so fascinating as it looked this August afternoon.

The queer old-fashioned bathing-machines, one of them still actually carrying the Lion and Unicorn upon its pointed roof, glittered in the sunshine with an air of welcoming encouragement. The noble sweep of the houses behind the crescent-shaped esplanade, with the names of their terraces—Brunswick, Regent, Gloucester, Adelaide—so suggestive of the same historic epoch, gleamed with reciprocal hospitality; nor did the tall spire of St. John’s Church, a landmark for miles round, detract from the harmony of the picture.

On Luke’s left, as he turned once more and faced the sea, the vibrating summer air, free at present from any trace of mist, permitted a wide and lovely[576] view of the distant cliffs enclosing the bay. The great White Horse, traced upon the chalk hills, seemed within an hour’s walk of where he stood, and the majestic promontory of the White Nore drew the eye onward to where, at the end of the visible coast-line, St. Alban’s Head sank into the sea.

On Luke’s right the immediate horizon was blocked by the grassy eminence known to dwellers in Weymouth as “the Nothe”; but beyond this, and beyond the break-water which formed an extension of it, the huge bulk of Portland—Mr. Hardy’s Isle of the Slingers—rose massive and shadowy against the west.

As he gazed with familiar pleasure at this unequalled view, Luke could not help thinking to himself how strangely the pervading charm of scenes of this kind is enhanced by personal and literary association. He recalled the opening chapters of “The Well-Beloved,” that curiously characteristic fantasy-sketch of the great Wessex novelist; and he also recalled those amazing descriptions in Victor Hugo’s “L’Homme qui Rit,” which deal with these same localities.

==Plot==

Principal characters

• Magnus Muir a middle-aged Latin tutor
• Jobber Skald.
• Perdita Wane. companion to Mrs. Jerry Cobbold
• Sylvanus Cobbold, an eccentric prophet
• Dr Brush of the Hell's Museum, a mental home.brother-in-law of Cattistock.
• Sippy Ballard,
• Richard Gaul, a philosopher,
• Jerry Cobbold, Sylvanus's brother, a famous clown
• Lucinda Cobbold Jerry's strange wife
• Peg Frampton
• 'Dog' Cattistock,a wealthy brewer
• Gipsy May.
• Larry Zed, a mad boy.
• Frampton

Minor

• Curly Wix, a shopgirl
• The Loders,
  • James Loder, a lawyer.
  • Rodney Loder, his son
• Captain Poxwellfather of Mrs. Jerry Cobbold.
• Tisst Tossty, dancers at the Regent Theatre;
• Dr. Girodel, an abortionist..
• Daisy Lily, Captain Poxwell’s grand-daughter.

Scene: Weymouth, England, and its environs. Time: The present.

Plot

It has been said that plot was not one of John Cowper's strong points — story-telling was. Weymouth is a series of stories loosely woven together abou twenty-three 'leading characters' of the book.

Modernism

Modernism is a movement in art, philosophy, religion, politics, etc. that represents a radical break with previous ideas ithat emerged in response to significant changes in Western culture during the late 19th and early 20th centuries. It developed along with widespread industrialization, urbanization, and technological innovation, as well as the cultural shifts brought about by war. Ezra Pound's 1934 directive to "Make it New", characterizes modernism's aim to revitalize Western culture. Innovations associated with modernism include abstract art, stream of consciousness in literature, montage techniques in cinema, atonal and twelve-tone music, and modern architecture. The movement was marked by a rejection of nineteenth century realism, and the romantic concept of absolute originality. The avant-garde at the beginning of the twentieth century challenged Romanticism's idea of "creation from nothingness," with its techniques of collage, reprise, incorporation, rewriting, recapitulation, revision, parody, and a critical stance toward Enlightenment rationalism. Another feature of modernism is reflexivity about artistic and social conventions, which led to experimentation that highlighted both how works of art are made and the material from which they have been created. Many modernists also moved away from religious beliefs. Debate continues about the timeline of modernism, with some scholars arguing that it evolved into late modernism, or high modernism in the twenty-first century. Postmodernism rejects many of the principles of modernism.

• Modernism in the Catholic Church,

Modernism in the Catholic Church attempts to reconcile Catholicism with modern culture, specifically an understanding of the Bible and Catholic tradition in light of the historical-critical method and new philosophical and political developments of the late 19th and early 20th centuries.

The term modernism—generally used by critics of rather than adherents to positions associated with it—came to prominence in Pope Pius X's 1907 encyclical Pascendi Dominici gregis. The Pope condemned modernism as "the synthesis of all heresies".

• Oath against modernism
• Modernism/Modernity
• Christian fundamentalism
• Liberal Christianity
• Islamic modernism
• Modernity

• 1737 J. Swift Let. to Pope 23 July in Lett. Dr. Swift (1741) 252 "The corruption of English by those Scribblers who send us over their trash in Prose and Verse, with abominable curtailings and quaint modernisms" (OED).
  • Quarrel of the Ancients and the Moderns#Analogous 17th–20th-century debates
• "His 1867 poem "Dover Beach" depicted a nightmarish world from which the old religious verities have receded. It is sometimes held up as an early, if not the first, example of the modern sensibility" (modernism).
• OED and "modernist" is useful
  • 1873 J. Ruskin Val D'Arno 7 "Behold, the Christians despising the Dunce Greeks, as the Infidel modernists despise the Dunce Christians".
• R.A. Scott-James's Modernism and Romance (1908) is the first book-length work of literary criticism to carry the English word in its title (Cambridge History of Modernism).

A Glastonbury Romance

In the Post-Vulgate cycle and Thomas Malory's Le Morte d'Arthur, the Fisher King's wound was given to him by Sir Balin in the "Dolorous Stroke", when Balin grabs a spear and stabs Pellam in self-defense. However, the spear is the Spear of Longinus, the lance that pierced Christ's side, and Pellam and his land must suffer for its misuse until the coming of Galahad. The Dolorous Stroke is typically represented as divine vengeance for a sin on the part of its recipient. The nature of Pellam's sin is not stated explicitly, though he at least tolerates his murderous brother Garlon, who slays knights while under cover of invisibility, apparently at random.

King Pelles is the Maimed King, one of a line of Grail keepers established by Joseph of Arimathea, and the father of Eliazer and Elaine (the mother of Galahad). He resides in the castle of Corbinec in Listenois. Pelles and his relative Pellehan appear in both the Vulgate and Post-Vulgate cycles and in later works, such as Malory's Le Morte d'Arthur (in which Pellehan is called Pellam). In the Vulgate, Pelles is the son of Pellehan, but the Post-Vulgate is less clear about their relationship. It is even murkier in Malory's work: one passage explicitly identifies them (book XIII, chapter 5), though this is contradicted elsewhere. From Fisher King article

Keith 140 – Two oaks? Castle of Carbonek on Chalice Hill Keith, 145-6 Merlin and Nudd; 146-8 Grail as "Other".

• Dying-and-rising deity

Fisher King

• Krissdottir: Christ
• Geard?
• Sam's "wound" when he has hid Grail vision. See Keith's Companion.

See Cook, 342 re Christ Dionysus and Apollo CERNE GIANT G. Wilson Knight sees more than lust involved and links this Cerne Giant with Evans’s sadism in A Glastonbury Romance: ‘His is the root-evil of Powys’s universe: sadism. It wields Cerne Giant powers’. However, in The Art of Happiness, Powys suggests that this Cerne Giant in men is an archetype that lies beyond good and evil. He explores this idea in Porius, where there are two surviving giants (Cewri), whom he identifies with the Cerne Giant. An important part of Porius’s identity is the blood of these aboriginal giants that he has in his veins. Porius is largely about how its eponymous hero integrates the dangerous Cerne Giant side of his identity into his understanding of feminine consciousness. The feminine equivalent of the Cerne Giant is what Powys, in The Art of Happiness, calls the ‘all-swallowing Python’, or ‘Lamia-Demon in every woman’ (p. 111): the devouring or engulfing aspect of women, their impersonal, destructive and emasculating part. Powys presents this cannibalistic side of the Mother Goddess in both the Cewri giantess Creiddylad and Myrddin’s lover, Nineue. The Jungian Edward C. Whitmont comments on the darker side of men and women: The lover who is motivated only by his need to conquer and satisfy erotic appetites ... the over-mothering or over-protective female likewise acts primarily for the satisfaction of her own needs, regardless of her partner. She is experienced by the man as suffocating and devouring. {From my Feminine consciousness article)

Especially Saturnian, p. 120.

• The descent to the underworld has been described as "the single most important myth for Modernist authors".

Glastonbury

• C. A, Coates, John Cowper Powys in Search of a Landscape. Totowa, NJ: Barnes and Noble, 1982, pp. 95,93.*Coates, C. A. (1982). John Cowper Powys in Se arch of a Landscape. Barnes & Noble. ISBN 0-389-20191-X.

• Glen Cavaliero, John Cowper Powys: Novelist, p. 2; *Cavaliero, Glen (1973). John Cowper Powys: Novelist. Clarendon Press. ISBN 978-0-19-812049-0.

• Brebner, John A. (1973). The Demon Within: A Study of John Cowper Powys's Novels. Macdonald. ISBN 0-356-04531-5.
• John A. Brebner, The Demon Within: A Study of John Cowper Powys's Novels.
• C. A, Coates, John Cowper Powys in Search of a Landscape. Totowa, NJ: Barnes and Noble, 1982, pp. 95,93.
• Glen Cavaliero, John Cowper Powys: Novelist, p. 2;
• Paul Cheshire, "‘sub-human or super-human consciousness’ in A Glastonbury Romance", The Powys Journal, vol. 27 (2017),
• John A. Brebner, The Demon Within: A Study of John Cowper Powys's Novels.

BLAKE "And did those feet in ancient time" is a poem by William Blake from the preface to his epic Milton: A Poem in Two Books, one of a collection of writings known as the Prophetic Books. The date of 1804 on the title page is probably when the plates were begun, but the poem was printed c. 1808. Today it is best known as the hymn "Jerusalem", with music written by Sir Hubert Parry in 1916. The famous orchestration was written by Sir Edward Elgar. It is not to be confused with another poem, much longer and larger in scope and also by Blake, called Jerusalem The Emanation of the Giant Albion.

The poem was supposedly inspired by the apocryphal story that a young Jesus, accompanied by Joseph of Arimathea, a tin merchant, travelled to what is now England and visited Glastonbury during his unknown years. Most scholars reject the historical authenticity of this story out of hand, and according to British folklore scholar A. W. Smith, "there was little reason to believe that an oral tradition concerning a visit made by Jesus to Britain existed before the early part of the twentieth century". The poem's theme is linked to the Book of Revelation (3:12 and 21:2) describing a Second Coming, wherein Jesus establishes a New Jerusalem. Churches in general, and the Church of England in particular, have long used Jerusalem as a metaphor for Heaven, a place of universal love and peace.

In the most common interpretation of the poem, Blake asks whether a visit by Jesus briefly created heaven in England, in contrast to the "dark Satanic Mills" of the Industrial Revolution. Blake's poem asks four questions rather than asserting the historical truth of Christ's visit. The second verse is interpreted as an exhortation to create an ideal society in England, whether or not there was a divine visit.

William Blake's dramatic poem 'Jerusalem' familiar nowadays as an inspirational hymn, draws on the myth that Christ himself may have visited Glastonbury with Joseph of Arimathea and 'walked on England's mountains green'.

1171 US edit==Weymouth Sands==

Powys-heroes

"Never or always" Goethe, Wilhelm Meister Keith 26

Flood dec 1929 4 months after JCP's visit Keith 154

Themes

Polyphonic novel

The reader sees events in this novel from multiple points of view, each with a personal response to Glastonbury and the myths and legends attached to it: firstly from John Crow's perspective, but even here the reader is taken within the mind of the corpse of Canon Crow: "...." that includes interaction with this wife's corse in Switzerland. There is also of course a narrator who comments. However, the reliability of this narrator is uncertain, given that the clock has just stuck noon when the 12.19 train arrives in Brandon in the opening paragraph.(Lock 275) The main points of view are those of John Crow, Philip Crow, Geard, Sam Dekker, but we also enter into the thoughts and feelings of numerous lesser figures. At the beginning the narrator establishes a cosmological framework for the novel, starting with reference to the First Cause and then suggesting that both the Sun and the earth have souls – that is they have consciousness and can influence the lives of human beings.

Atheling's "libretto"

The central 55-page chapter, "The Pageant", halfway through this immense novel, is a narrative tour de force. The action takes place on Midsummer Day, and involves not only the 50 and more named characters whom the reader has already come to know, but a cast of thousands. The whole town of Glastonbury, overlooked by the numinous Tor, is either taking part in or providing the audience for a community drama that mingles Arthurian legend with a Passion Play. Visitors have gathered from all over Europe to watch a spectacle on the scale of Oberammergau. Roman legions march, medieval knights in armour parade, a mob of strikers from the dye works causes mayhem, and the Lady of Shalott calls caressingly for the Taunton police. Welsh antiquarian Owen Evans takes on the role of Christ, and nearly dies in the act on his great oak cross. And through this panoramic, multitudinous perspective Powys evokes the entire history of Glastonbury, from Neolithic times to the present day.

The tone of this extraordinary chapter is as striking as its content. Powys combines tragedy and comedy and burlesque in an improbable and daring fusion. There are moments when the death-wish of Mr Evans and his fainting upon his self-imposed cross recall nothing more strongly than the trans-historical Life of Brian - a film that now seems sadder, less farcical and more ominous than when it was first shown. Powys was out of time, and ahead of time. Unlike Miss La Trobe, the pageant-maker in Virginia Woolf's Between the Acts (1941), Powys deliberately embraces the ridiculous to tell his tale.

Margaret Drabble, "The English Degenerate".The Guardian", 12 Aug 2006.

Grail and people

John Crow's vision of Arthur's sword Sam Dekker, Keith p. 143 lance, chalice, fish Geard gblet p.1115; "that nameless Object, that fragment of the Absolute" p. 1117 Philip Crow'a Grail dream - or nightmares. pp. 673-4 (Keith, p. 142) Cordelia on Chalice Hill, Keith pp. 140-1 Mary Crow, Keith pp. 141-2 Owen Evan's? Cordelia as the Grail Messenger. Also Mad Bet==

The Pageant

W. J. Keith notes that "the chapter entitled 'The Pageant' occurs exactly halfway" in the novel, and that because "of its structural and thematic importance is therefore central in two senses of that word". Margaret Drabble also recognizes the importance of this cha[ter, describing its 55 pages as "a narrative tour de force. She notes that it involves "not only the 50 and more named characters ... but a cast of thousands" with "the whole town ... either taking part or providing the audience".

As Geard's pageant was associated with the idea of a religious revival it is worth noting that beginning in 1924 annual pilgrimages "to the ruins of Glastonbury Abbey" began to take place, initially organized by some local churches. Pilgrimages continue today to be held; in the second half of June for the Anglicans and early in July for the Catholics and they attract visitors from all over Western Europe. Services are celebrated in the Anglican, Roman Catholic and Eastern Orthodox traditions. The abbey site is visited by over 100,000 a year.

(from Glastonbury Abbey article)

Nearer the time and place of Powys's pageant but much greater in scope was the Glastonbury Festival of Music and Drama organized by the composer Rutland Bough- ton, and performed each summer in the cramped conditions of the Glastonbury Assembly Hall from 1914-1925 almost with- out interruption. There were performances also at Christmas, Easter and Whitsun, and during the year Boughton ran a school of music and drama to train local people to take part. At one time Thomas Beecham was the president of the Glastonbury Festival, and Boughton's activities had the full support and often the participation of such illustrious people as Bernard Shaw, Lawrence Houseman, John Drinkwater and Edward Dent. Glastonbury was also for Romance 43 many years the gathering place of an annual religious festival for all denominations. Thus the plans of John Geard in A Glaston- buryRomance havemuchmoreprecedentin reality than readers unfamiliar with Glas- tonbury's past would realize. Although without music and of much shorter duration, the similarity between John Crow's activities and Boughton's is unmistakable; moreover, Crow, like Boughton, was a stranger, bringing culture to Glastonbury; like Boughton he was deeply suspected by the conventional diehards, and like Boughton he finally left, though after a much shorter time. Boughton's links with Glastonbury were more or less severed in 1926, only three years before Powys's recorded visit in 1929; inevitably he knew of him and his activities. ' 'The Arthurian Cycle, wrote Boughton to Roger Clark in 1946, "has been my life for forty years . . . the legend is the big peg to which I have clung but Malory's funny people are not those I have tried to express."4 It might be Powys speaking, although his association was even longer. It was before the turn of the century, in 1898, that Powys gave his trial lecture for the Oxford University Extension Society on Arthurian Legend. "I had already read", he tells in Autobiography,"Lady Charlotte Guest's Mabinogion, and I think we possessed in our shelves, or at least our relations did in theirs, the green covered 'Globe Edition' of Malory's Mort D 'Arthur while the Idylls of the King almost as familiar to me as Long- fellow's Hiawatha stood always in the Montacute drawing-room." (284) The rise and fall of interest in Celtic liter- ature, both popular and academic, seems almost contemporary with Powys's life. Since his death it has been renewed. In 1867, five years before he was born, Matthew Arnold gave his famous lectures on The Study of Celtic Literature which resulted in the founding of a Chair of Celtic Studies at Oxford. One of Arnold's students was Sir John Rhys whose Studies in Arthurian Legend (1891) was all, Powys says, "it was . . . necessary for me to buy" for this

Alley

Thanks Beyond My Ken. My view is that alleys are distinct from roads/streets. When I first started working on this article I soon became conscious that the word alley has different conniptions in the US from Britain, where I grew-up. I am now a Canadian. That is for most Americans the word alley means "back lane". There is an unpaved lane behind my house and three paved back lanes nearby. What characterizes them is that they are primarily pedestrian thoroughfares and the only vehicular traffic is a rare car of someone whose house backs into the lane - and there is the odd houses on some lanes. There character is thus distinct from what we usually think of as a road/street, which are regularly driven on. Some lanes in fact are posted with "no through traffic" signs. There is also another type of narrow lane close by that has row housing on one side but which is mainly used as a pedestrian short-cut and is not your typical street. This, and all but one other of these black lanes, are too narrow to accommodate a garbage truck (what is the situation in American cities?) It looks like the Vietnamese ([Hẻm/Ngõ]]) are regularly driven on – but one image isn't proof!

Personally I see such back lanes as not really alleys, but that is because of my British upbringing: for me a true alley is a passage way too narrow for a car, an urban footpath. I'll work on trying to clarify the definition and how its concern is both narrow passage ways and back lanes. It would be useful if you are able to find out more about these Vieymanese lanes and similar thoroughfares in Asia. Thanks again for this. Rwood128 (talk) 22:03, 8 August 2022 (UTC)

Citations

Category:Fiction

1911 Encyclopædia Britannica/Romance

Editing

Novel#19th century novels Nathaniel Hawthorne#Literary style and themes Romance By Barbara Fuchs Edition 1st Edition First Published 2004 eBook Published 9 September 2004 Pub. Location London Imprint Routledge DOI https://doi-org.qe2a-proxy.mun.ca/10.4324/9780203337646

Without the Novel: Romance and the History of Prose Fiction Author Scott Black Subjects Europe HISTORY Publisher University of Virginia Press Description No genre manifests the pleasure of reading—and its power to consume and enchant—more than romance. In suspending the category of the novel to rethink the way prose fiction works, Without the Novel demonstrates what literary history looks like from the perspective of such readerly excesses and adventures. Rejecting the assumption that novelistic realism is the most significant tendency in the history of prose fiction, Black asks three intertwined questions: What is fiction without the novel? What is literary history without the novel? What is reading without the novel? In answer, this study draws on the neglected genre of romance to reintegrate eighteenth-century British fiction with its classical and Continental counterparts. Black addresses works of prose fiction that self-consciously experiment with the formal structures and readerly affordances of romance: Heliodorus’s Ethiopian Story , Cervantes’s Don Quixote , Fielding’s Tom Jones , Sterne’s Tristram Shandy , and Burney’s The Wanderer . Each text presents itself as a secondary, satiric adaptation of anachronistic and alien narratives, but in revising foreign stories each text also relays them. The recursive reading that these works portray and demand makes each a self-reflexive parable of romance itself. Ultimately, Without the Novel writes a wider, weirder history of fiction organized by the recurrences of romance and informed by the pleasures of reading that define the genre.

The 18th century in both England and Germany saw a strong reaction against the rationalistic canons of French classicism—a reaction that found its positive counterpart in such romantic material as had survived from medieval times. The Gothic romances, of which Horace Walpole’s Castle of Otranto (1764; dated 1765) is the most famous, are perhaps of less importance than the ideas underlying the defense of romance by Richard Hurd in his Letters on Chivalry and Romance (1762). To Hurd, romance is not truth but a delightful and necessary holiday from common sense. This definition of romance (to which both Ariosto and Chrétien de Troyes would no doubt have subscribed) inspired on the one hand the romantic epic Oberon (1780) and on the other the historical romances of Sir Walter Scott. But influential though Scott’s romantic novels may have been in every corner of Europe (including the Latin countries), it was the German and English Romantics who, with a richer theory of the imagination than Hurd’s, were able to recapture something of the spirit and the structure of romance—the German Romantics by turning to their own medieval past; the English, by turning to the tradition perpetuated by Edmund Spenser and Shakespeare. In the 19th century, Nathaniel Hawthorne and Herman Melville adapted the European romance to address the distinct needs of a young American republic and literature.

ding to Margaret Doody, the novel constitutes "a continuous and comprehensive history of about two thousand years", with its origins in the Ancient Greek and Roman novel, in Chivalric romance, and in the tradition of the Italian renaissance novella. The ancient romance form was revived by Romanticism, especially the historical romances of Walter Scott and the Gothic novel. Some, including M. H. Abrams and Walter Scott, have argued that a novel is a fiction narrative that displays a realistic depiction of the state of a society, while the romance encompasses any fictitious narrative that emphasizes marvellous or uncommon incidents.

Without the Novel: Romance and the History of Prose Fiction, Scott Black University of Virginia Press

No genre manifests the pleasure of reading—and its power to consume and enchant—more than romance. In suspending the category of the novel to rethink the way prose fiction works, Without the Novel demonstrates what literary history looks like from the perspective of such readerly excesses and adventures. Rejecting the assumption that novelistic realism is the most significant tendency in the history of prose fiction, Black asks three intertwined questions: What is fiction without the novel? What is literary history without the novel? What is reading without the novel? In answer, this study draws on the neglected genre of romance to reintegrate eighteenth-century British fiction with its classical and Continental counterparts. Black addresses works of prose fiction that self-consciously experiment with the formal structures and readerly affordances of romance: Heliodorus’s Ethiopian Story , Cervantes’s Don Quixote , Fielding’s Tom Jones , Sterne’s Tristram Shandy , and Burney’s The Wanderer . Each text presents itself as a secondary, satiric adaptation of anachronistic and alien narratives, but in revising foreign stories each text also relays them. The recursive reading that these works portray and demand makes each a self-reflexive parable of romance itself. Ultimately, Without the Novel writes a wider, weirder history of fiction organized by the recurrences of romance and informed by the pleasures of reading that define the genre.

A Glastonbury Romance

The first Glastonbury Festivals were a series of cultural events held in summer, from 1914 to 1926. The festivals were founded by English socialist composer Rutland Boughton and his librettist Lawrence Buckley. Apart from the founding of a national theatre, they envisaged a summer school and music festival based on utopian principles. With strong Arthurian connections and historic and prehistoric associations, Glastonbury was chosen to host the festivals. (Glastonbury article)

miniatur|Glastonbury mit dem Glastonbury Tor Sowohl von seinem Umfang und Inhalt, als auch der Vielzahl der handelnden Personen und seiner inneren Spannweite sprengt Glastonbury Romance alle Grenzen. Die Herausgeberin seiner Tagebücher zählt 46 handelnde Charaktere. Darunter sind Figuren wie Sam Dekker, der Sohn des Pfarrers Mat Dekker. Sam ist ein moderner Parzifal,

Glastonbury Romance goes beyond all limits in terms of its scope and content, as well as the large number of people involved and its inner range. The editor of his diaries counts 46 acting characters. Among them are figures like Sam Dekker, the son of the pastor Mat Dekker. Sam is a modern Parzifal,

der ein Heiliger werden will und dem eine Vision des Fischerkönigs erscheint, als er seine (verheiratete) Geliebte Nell Zoyland – für die sich auch sein Vater interessiert – aufgibt. Für Sam ließ sich Powys von den mittelalterlichen Versromanen des Chrétien de Troyes inspirieren. John Geard (Bloody Johnny) ist ein obskurer Wanderprediger, der Glastonbury zum Zentrum einer neuen religiösen Bewegung machen möchte.

Glastonbury Romance breaks all boundaries in terms of its scope and content, as well as the large number of people involved and its inner range. The editor of his diaries counts 46 acting characters. Among them are figures like Sam Dekker, the son of the pastor Mat Dekker. Sam is a modern Parzifal who wants to become a saint and a vision of the fishing king appears when he gives up his (married) lover Nell Zoyland - in which his father is also interested. For Sam, Powys was inspired by the medieval verse novels of the Chrétien de Troyes John Geard (Bloody Johnny) is an obscure wandering preacher who wants to make Glastonbury the center of a new religious movement.

who wants to become a saint and who has a vision of the fisherman when he gives up his (married) lover Nell Zoyland - in which his father is also interested. For Sam Powys was inspired by the medieval verse novels of Chrétien de Troyes. John Geard (Bloody Johnny) is an obscure wandering preacher who wants Glastonbury to be the center of a new religious movement.

Die Sagen um König Artus und den Heiligen Gral sind nicht nur in das Passionsspiel, das den erzählerischen Mittelpunkt des Romans darstellt, integriert, sie spielen auch allgemein eine wichtige Rolle in der vom Glastonbury Tor überragten Stadt und für das Bewusstsein ihrer Bürger.

Das Handeln der Menschen in Glastonbury ist nicht nur stark durch ihre unterschiedlichen sexuellen Leidenschaften, sondern auch durch vielfältige Naturkräfte beeinflusst. Powys entwickelt eine Naturmystik, bei der Wettererscheinungen eine große Rolle spielen. Die Sonne ist ein persönlicher Widersacher, die Erde ein eifersüchtiges Wesen und der Mond saugt Träume an.

The legends about King Arthur and the Holy Grail are not only integrated into the passion play, which is the narrative focus of the novel, they also play an important role in general in the city towered over by Glastonbury Tor and for the awareness of its citizens ,

The actions of the people in Glastonbury are influenced not only by their different sexual passions, but also by diverse natural forces. Powys develops a natural mysticism in which weather phenomena play a major role. The sun is a personal adversary, the earth is a jealous being and the moon sucks in dreams.

Das Leben stellt sich für Powys als ein Mysterium dar. Der Wille und die Pläne der Menschen sind nur ein Faktor neben den sexuellen Leidenschaften, Naturkräften und alten Mythen. Auf- und Abstiege in die Ober- und Unterwelt sind permanentes Thema des Romans. Owen Evans steht mit einem Fuß in der Hölle so wie Sam Dekker im Paradies. Keine der handelnden Figuren lässt sich eindeutig einordnen, ist nur gut oder nur schlecht. For Powys, life presents itself as a mystery. The will and the plans of the people are only a factor alongside the sexual passions, natural forces and ancient myths. Ascents and descents into the upper and lower world are permanent subjects of the novel. Owen Evans stands with one foot in hell like Sam Dekker in paradise. None of the acting characters can be clearly classified, is only good or only bad.

Während Powys in seiner 1933 begonnenen Autobiografie in selbstkarikierender Strategie auf die Darstellung aller Frauen verzichten sollte, nehmen die einfühlsam dargestellten Frauengestalten – ob sinnliches Mädchen, alte Jungfer, ehrbare Frau oder Bordellmutter – in Glastonbury Romance breiten Raum ein und es ist deutlich, wie er sich in sie hineindenken kann.

Der Roman endet mit einer großen Flutwelle, die über Glastonbury hereinbricht. Geard ertrinkt in der Flut, doch Sam gelangt zu einem neuen glücklichen Leben. While Powys should avoid depicting all women in his self-caricaturing autobiography, which began in 1933, the empathetically portrayed female characters - be they sensual girls, old maidens, respectable women or brothels mothers - take wide space in Glastonbury Romance and it is clear how he can think into it.

Entstehungsgeschichte

Powys vertiefte sich in die zahlreichen Bearbeitungen der Artussage, um den Mythos zu verinnerlichen. Thomas Malorys Le Morte Darthur las er mehrmals. Ebenso das damalige Standardwerk zu diesem Sagenkreis von Sir John Rhys Studies in the Arthurian Legend von 1891.

Die Idee des Passionsspiels übernahm Powys. Bereits 1906 wurde in Glastonbury ein Freilichtspiel mit einer Geschichte des Ortes von den phönizischen Zinnhändlern bis zum Mittelalter aufgeführt. Und der Komponist Rutland Boughton führte von 1914 bis 1925 eine Art „Bayreuther Festspiele“ durch.

Powys delved into the numerous arrangements of the Arthurian saga to internalize the myth. Thomas Malory s Le Morte Darthur he read several times. Likewise, the standard work of that time by Sir John Rhys Studies in the Arthurian Legend from 1891.

Powys took over the idea of ​​the passion game. Already in 1906 an open air play with a history of the place from the Phoenician tin traders to the Middle Ages was performed in Glastonbury. And the composer Rutland Boughton performed a kind of "Bayreuth Festival" from 1914 to 1925.

Rezeption

Die Verkaufszahlen blieben nach Erscheinen des Romans in den – sich gerade wieder von der Weltwirtschaftskrise erholenden – USA hinter den Erwartungen von Verlag und Autor zurück. „Nur 4000 Exemplare verkauft. […] Das ist ein Ernster Schlag, mit dem ich zurechtkommen muß, wo ich insgeheim auf ich weiß nicht was für einen unglaublichen Ruhm gehofft hatte, einschließlich des Nobel-Preises & des Ritterschlages durch meinen König & den Beifall Europas & der Übersetzung des Buches in sämtliche Sprachen – & am allermeisten, daß es am Eingang zu den Ruinen in Glastonbury verkauft werde! Nun, ich muß mich damit abfinden, daß es ein Fehlschlag ist.“

miniatur|Eine in der Höhle von Wookey Hole spielende Episode wurde nach der Erstveröffentlichung gerichtlich verboten. Nicht nur dies: da sich der damalige Eigentümer der Höhle von Wookey Hole porträtiert fühlte und gerichtlich gegen die Veröffentlichung vorging, musste in späteren Auflagen eine sexuell zu deutliche Passage gestrichen werden. Der Bürgermeister von Glastonbury war ebenso wenig angetan. „Dieses riesige Buch von 1174 Seiten kostet 10 Shilling 6 Pence, und es ist billig für den Preis. Billig und böse [cheap and nasty].“

Als sein Verlag Powys mitteilte, dass eine Verfilmung von Glastonbury Romance angefragt wurde, lehnte er in einem Brief vom 20. Juni 1933 ab. Es erschien ihm als Blasphemie, dass diese „ … unbeschreiblich vulgären Hollywood-Menschen – niedriger als der niedrigste Mob – es wagen könnten, Glastonbury oder den Heiligen Gral anzurühren …“ Gegen eine Verfilmung seiner Romane Wolf Solent oder Der Strand von Weymouth hätte er allerdings keine Einwände gehabt.

Breite Leserschaften fand Powys mit Glastonbury Romance nie. Doch zahlreiche Schriftsteller und Literaturkritiker gehörten von Anfang an zu Powys’ Bewunderern. Im deutschen Sprachraum waren dies beispielsweise Hermann Hesse, Alfred Andersch, Hans Henny Jahnn, Karl Kerényi und Elias Canetti. Im angelsächsischen Raum wurde er von George Steiner, J.B. Priestley u.a. empfohlen. Iris Murdoch lässt in ihrem Roman The Green Knight eine Leserin auftreten, die es nicht schafft, das maßlose Glastonbury Romance zu Ende zu lesen.

Inzwischen zählt Glastonbury Romance und sein Merlin-Roman Porius anerkanntermaßen zu den monumentalen Werken der Moderne und stehen in einer Reihe mit dem Ulysses von James Joyce, Robert Musils Der Mann ohne Eigenschaften oder Marcel Prousts Auf der Suche nach der verlorenen Zeit.

Der deutsche Schriftsteller und Kritiker Alban Nikolai Herbst nennt den Roman auf seinem Weblog Die Dschungel. Anderswelt. einen „der ganz erstaunlichen literarischen Welt-Entwürfe unseres Jahrhunderts.“

Broad readerships never found Powys with Glastonbury Romance. But many writers and literary critics were from the beginning to Powys' admirers. In the German-speaking world, these were, for example, Hermann Hesse, Alfred Andersch, Hans Henny Jahnn, Karl Kerényi and Elias Canetti. In the Anglo-Saxon area he was George Steiner, J.B. Priestley et al. recommended. Iris Murdoch's novel, The Green Knight, features a reader who fails to read the gluttonous Glastonbury Romance. [8]Afterword by Elmar Schenkel to Glastonbury Romance, page 1229.

Meanwhile, Glastonbury Romance and his Merlin novel Porius are recognized as one of the monumental works of Modernism, in line with the Ulysses of James Joyce, Robert Musil's The Man Without Qualities, or Marcel Proust's In Search of Lost Time.

The German writer and critic Alban Nikolai Herbst calls the novel on his weblog The Jungle. Otherworld. one of "the most amazing literary world designs of our century." [9]

Ausgaben

Englische Ausgabe

• A Glastonbury Romance. Gerald Duckworth and Company, London 2007, ISBN 978-0-7156-3648-0.

Deutsche Ausgaben

• Glastonbury Romance. Carl Hanser Verlag, München 1995, ISBN 978-3-446-18276-9.
• Glastonbury Romance. Wiederveröffentlichung bei Zweitausendeins, Frankfurt am Main 1998, ISBN 3-86150-258-5.

Beide Ausgaben sind nur noch im Antiquariat erhältlich.

Weblinks

• Ingeborg Harms: Der Erdmutter uralter Pflanzenschrei. auf FAZ.NET
• Alban Nikolai Herbst auf Die Dschungel. Anderswelt. (PDF; 105 kB)
• Fritz J. Raddatz: Kirchweih und Bocksbergtanz in der ZEIT Nr. 11/1996
• Rolf Vollmann: Als gehe es immer um alles. in der ZEIT Nr. 19/2000

Biographie

Rétrospectivement considéré comme un précurseur du surréalisme par les critiques britanniques, Alan Odle invente très tôt une imagerie subversive et grotesque dans un style graphique d'une grande modernité, qui l'inscrit dans la filiation d'un Aubrey Beardsley : Odle fut sans doute l'un des derniers excentriques et décadents britanniques issus de la mouvance proche d'Oscar Wilde.

Aux débuts des années 1910, il fréquenta différentes écoles d'art (dont une à Paris) puis le célèbre Café Royal de Londres et passait pour un personnage extravagant (cheveux longs, canne à pommeau, ongles jamais coupés). Le peintre anglais Adrian Allinson (1890-1959) peignit dans ce café un portrait d'Odle qui fut acheté à Paris dans les années 1920 par Lord Tredegar. Ce dernier affirmait connaître Alan Odle comme se faisant passer alors pour un certain "Mr Watkins".

Retrospectively considered a precursor of surrealism by British critics. en 1925 et à la Godfrey Philips Galleries en 1930.

Récemment, une suite de gravures érotiques exceptionnelles lui a été réattribuée pour The Mimiambs of Herondas, publié chez Franfrolico Press à Londres vers 1929 par deux éditeurs australiens, Jack Lindsay et John Kirtley.

Marié en 1917 à l'écrivain Dorothy Richardson, il n'arrivera jamais à faire une véritable carrière à la mesure de son talent et reste aujourd'hui largement invisible. Malgré tout, il est connu et reconnu par quelques collectionneurs d'imagerie atypique comme le galeriste Claude Givaudan, le réalisateur Terry Gilliam ou le musicien Geff Rushton du groupe Coil.

He exhibited his drawings at the St George's Gallery. and the young Oscar Wilde. The book has never been out of print. Alice's Adventures in Wonderland has been translated into at least 174 languages. There have now been over a hundred English-language editions of the book, as well as countless adaptations in other media, especially theatre and film.