By Karin E. Olsen, Jan R. Veenstra
Ever because the heart a long time the Otherworld of Faerie has been the article of significant highbrow scrutiny. What technology finally pushed aside as ethereal nothings was once given a neighborhood habitation and a reputation by way of artwork. This booklet provides many 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 assorted specialists care for a number of the major difficulties posed through the scholarly and inventive disagreement with the Otherworld, which not just fuelled the mind's eye, but in addition resulted in the last word redundancy of realized perceptions of that Otherworld because it used to be ultimately obfuscated by means of the readability of an enlightened age. members 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 info 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 digression has a similar tone to the satirical digression concerning Mercury and the maid in Marlowe’s Hero and Leander; and like that digression it serves to underline the philosophy that informs the work as a whole. The physician’s journey represents a wholly benign use of magic—deployed for the purpose of curing an innocent patient; and it ends by demonstrating the fictional nature of the performance in the air, and its consequent harmlessness. The parents of the traumatized girl healed by the physician decide to erase all traces of the satanic performance that induced her trauma.
The inefficacy of these Catholic symbols, like the revolting transformation of a cup to a piss-filled cap, reminds the readers of the Second Report that they inhabit a world where ‘fansie’ has long run rampant in the form of mistaken or perverse religions. But it also affirms the readers’ capacity, as responsible and intelligent adults, to appreciate the obvious differences between reality and illusion, substance and shadow, true faith and false; a skill that permits them to see fictions like the Second Report for what they are, harmless ‘merriments’ of the sort that made Marlowe famous.
E1v). In Chapter Eight, the ‘Tragedy of Doctor Faustus seene in the Ayre’ shows how the doctor’s overthrow is accomplished after he has rejected the assistance of a ‘Legion of bright Angels ridinge uppon milke white Chariots’ in his final fight against the forces of darkness—a clear statement of Faustus’s guilt in rejecting God’s aid (E3r). But the fictiveness of the narrative is again stressed when the student refuses to describe the devilish theatre in detail, since this would run contrary ‘to the nature of the whole History’, with its fast pace and impish tone (sig.