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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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                <text>â€˜Dam(n)pier as Mephistophelesâ€™</text>
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                <text>Alfred Dampier (1848-1908), cartoon, Christopher Marlowe (1564-1593), devil, Dr Faustus (c. 1590), Faust (I &amp; II), Goethe (1749-1832), â€˜Mephistoâ€™, Mephistopheles, Phil May (1864-1903), The Bulletin</text>
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                <text>â€˜Dam(n)pier as Mephistopheles,â€™ is The Bulletin cartoonist Phil Mayâ€™s humorous pun on actor and theatrical entrepreneur Alfred Dampierâ€™s name (See Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p.164). Alfred Dampier first appeared as Mephisto in Faust in 1873 at the Royal theatre, Melbourne. While reasonably successful in his chosen profession (his acting career spanned thirty years), he was generally considered â€œsound rather than brilliantâ€ by his critics (See, for example: John Rickard, 'Dampier, Alfred (1848â€“1908)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/dampier-alfred-3360/text5067, accessed 12 June 2012.) Phil May acknowledges Dampierâ€™s competence and durability, albeit with a mischievous gleam in the eye and a knowing flourish of his pen. The literary origins of the legend of Dr Faust date back to the 1580s, and may be based upon a real person who died c. 1540-41 (J. W. Smeed, Faust in Literature, London: Oxford University Press, 1973, pp.1-2).</text>
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                <text>â€˜The Rule of the Manyâ€™, The Bulletin, 15 November 1890.</text>
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                <text>This poem provides a vigorous denunciation of â€œthe English caste systemâ€ and â€œcelebrates the decay of feudalism,â€ at least in the Australian rural locale (Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p. 143). It praises â€œmuscle and brainâ€ (merit) while condemning the undeserving ruling classes, who it refers to as â€œPampered idlersâ€. The point of the exercise is demonstrated in the lines: â€œKing, prince and lord are a useless load and must by that law abide! / No Parliament can alter that fact, / Or the march of mankind stay.â€ The law that this section of the poem acknowledges is simply the law of Nature, for no law of man can usurp natural law. Underpinning everything else is the firm belief that the â€˜fruits of the earthâ€™ (its wealth and resources) are made not just for a select and powerful minority, but for everyone equally. The inescapable conclusion of the poem is that with the removal of the medieval â€˜baggageâ€™ of the past, i.e. feudalism, nostalgia, overlordship and the monarchy, the earth will return to an extended period of serenity and  harmony under the sure-handed guidance of â€œthe Peopleâ€.</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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                <text>â€˜Melbournianaâ€™, The Bulletin, 23 February 1895</text>
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                <text>â€˜pedigree hunting,â€™ armor, armour, civic administrator, Edmund Gerald Fitzgibbon 1825-1905, genealogy, lineage, knight, medieval ancestry, Melbourne, Melbourne &amp; Metropolitan Board of Works, Victorian politics, White Knight of Kerry</text>
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                <text>&lt;span style="color: #000000; font-family: Tahoma; font-size: x-small;"&gt;&lt;span style="font-size: small;"&gt;&lt;span style="font-family: Calibri;"&gt;This is another cheeky comment from &lt;em&gt;Bulletin&lt;/em&gt; cartoonist Tom Durkin, directed at the reputedly self-important chairman of the Melbourne &amp;amp; Metropolitan Board of Works, E. G. Fitzgibbon. In the cartoon Fitzgibbon is throwing a temper tantrum over the amount of money that should be allocated to the chairman (i.e. himself). The so-called &amp;lsquo;White Knight of Kerry&amp;rsquo; is depicted, as Louise D&amp;rsquo;Arcens suggests, as &amp;ldquo;a pompous undersized figure, absurd in his full suit of armour&amp;rdquo; (Louise D'Arcens,&lt;em&gt; Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, &lt;/em&gt; Turnhout: Brepols, 2011, p.24). Additionally, Durkin&amp;rsquo;s reference to &amp;ldquo;Councillor Gibbon&amp;rdquo; implies that FitzGibbon is really plain Edmund Gibbon, and that he has &amp;lsquo;taken on airs and graces&amp;rsquo; by adding Fitz (an Anglo-Norman prefix meaning &amp;lsquo;son of&amp;rsquo;) to bolster his reputation and his claim to medieval ancestry. Fitzgibbon served in his role as chairman of the Board of Works for fourteen years until his death. For more information about him, see Bernard Barrett, 'FitzGibbon, Edmund Gerald (1825&amp;ndash;1905)', Australian Dictionary of Biography, &lt;a href="http://adb.anu.edu.au/biography/fitzgibbon-edmund-gerald-3530/text5439" target="_blank"&gt;http://adb.anu.edu.au/biography/fitzgibbon-edmund-gerald-3530/text5439&lt;/a&gt;.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>This amusing temperance â€˜dittyâ€™ describes the adventures of â€œa burly Templar chiefâ€ whose carefree night of drinking turns out to be more than he expected or bargained for. The I.O.G.T. was a temperance society (The International Order of Good Templars). There were people from all walks of life and religious persuasions involved in the temperance movement in 1880s Australia, Britain, America and Sweden. Presumably the I.O.G.T. hierarchy viewed themselves as crusader knights fighting the â€œGood Fight,â€ and clearly a good fight was one that ended well for â€˜true believersâ€™ and badly for their foes (i.e. â€˜winebibbersâ€™, â€˜publicansâ€™ and â€˜sinners). However, it should be noted that the Order of Knights Templar, a powerful military order and charitable organisation in the Middle Ages, was never actually forbidden the use of wine, and occasionally instances of over-indulgence were recorded (See Dominic Selwood, Knights of the Cloister: Templars and Hospitallers in central-southern Occitania c.1100-c.1300, Woodbridge, Boydell, 2001, p.205). This oversight reveals the mindset of those who supported the adoption of quasi-medieval terminology and ceremony in the nineteenth-century, without fully appreciating the history and behaviour of those whose names they had chosen to adopt.</text>
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â€˜The Australian Jubilee Peerage: A Detailed Scheme for the Institution of Various Long-Needed Australian Orders of Nobilityâ€™, The Bulletin, 25 June 1887</text>
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                <text>â€˜pedigree hunting,â€™ Australian politics, Britain, heraldry, honours, Jubilee, knight, knighthood, Livingston York Hopkins (1846-1927), Melbourne, nobility, peerage, politics, political figures, Queen Victoria, social mobility, Victoria, VIC, White Knight of Kerry</text>
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                <text>This full-page illustration by the Bulletinâ€™s American-born cartoonist Livingston Hopkins (aka â€˜Hopâ€™), pokes fun at some of Australiaâ€™s prominent political figures. The 25 June 1887 issue of the Bulletin reviewed Queen Victoriaâ€™s Golden Jubilee, and Hopâ€™s cartoon â€œlampooned the jubilee peerages that had been bestowedâ€ on the distant British outpost (Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p.21). It seems that Australians from all backgrounds and social milieu desired these honours from the British monarch: a search for long-forgotten (aka â€˜illustriousâ€™) forbears was relentlessly pursued by public figures, and the claiming of heraldic devices (if obtainable) was de rigueur. As a result, Burkeâ€™s Peerage was forced to devote two volumes in 1891 and 1895 to â€œColonial Gentryâ€ (D'Arcens, p.24). Hopâ€™s cartoon offered Bulletin readers a tongue-in-cheek selection of new honours, including â€˜The Order of P.G.â€™ to be â€œconferred only upon the old and true colonial aristocracyâ€ (Bulletin,p .18). â€œP.G.â€ is a reference to â€œthe convict inmates of Pinchgut, the notoriously punitive prison-island in Sydney Cove (better known today as Fort Denison)â€. It also serves as a timely reminder to those with â€˜blinkeredâ€™ memories â€œof the decidedly ignoble originsâ€ of many of the Colonyâ€™s original European settlers (Dâ€™Arcens, p.23). </text>
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                <text>&lt;span style="font-family: Calibri; font-size: small;"&gt;Cartoonist Phil May here encapsulates the main problems of a premature pitch by NSW for Australian Federation. The doughty knight (Sir Henry) is ready to do battle with &amp;lsquo;all and sundry,&amp;rsquo; for he needs to pay off (or perhaps unload the responsibility of) his debts. The symbols of his fiscal carelessness are daubed on his surcoat and shield. This was a sticking point in the Federation debate, where the difficult question &amp;ldquo;Who would take responsibility for the unequal debts and liabilities of the [other] colonies?&amp;rdquo; frequently arose (See Beverley Kingston, &lt;em&gt;The Oxford History of Australia: Glad, Confident Morning 1860-1900&lt;/em&gt;, vol. 3, Oxford: OUP, 1993, p. 56). Indeed, this question was still being debated at the 1910 elections (See, for example: &lt;/span&gt;&lt;a href="http://nla.gov.au/nla.news-article15142572" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://nla.gov.au/nla.news-article15142572&lt;/span&gt;&lt;/a&gt;&lt;span style="font-size: small;"&gt;&lt;span style="font-family: Calibri;"&gt;). While Sir Henry is keen to push forward, the female figure in the cartoon - &amp;lsquo;That State House&amp;rsquo; - wears mourning black and remains unconvinced, for it is she who will have to find the money and manage things should the need arise. The State House in question is most likely the Senate, the then much debated Upper House of the projected Federal Parliament (See R. C. Baker, &lt;em&gt; Federation&lt;/em&gt;, Adelaide: Scrymgour &amp;amp; Sons, 1897, p. 4).&lt;/span&gt;&lt;/span&gt;</text>
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                <text>These light-hearted verses describe the endeavours of a motley band of â€˜gallantsâ€™ with dubious social origins, who jostle and vie for the hand of Lady Podophylline Musa Miggs, daughter of the Baron of Potts Point, in Sydney. These are but two of the made-up names of the various â€˜aristocraticâ€™ protagonists and suitors. Others are: Lord Golfo McGuff, Sir Perryman Pym, and the Marquis of Manganese. Add to these the two front-runners, Sir Peblar de Bart, and Sir Jago Phipp, and the tale gets underway with a smirk. It is clear from the outset that, â€œIt is difficult to grasp the point of the [...] rather silly narrativeâ€ (Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p.145). Indeed, there is little more than lunacy (or moon sickness) contained within the poemâ€™s doggerel verses. Even keeping track of the events leading to the outcome requires perspicacity. This is popular medievalism run amok in the Antipodes: a satirical commentary on these not so â€˜gentle-bornâ€™ knights, a fair maiden, and her father â€˜the baron,â€™ along with a veritable fortune or dowry comprised almost entirely of chickens and pigs! The maiden finally succumbs to the blandishments of a coachman, while the others jettison their chances through various foolhardy intrigues and disappear to places obscure.</text>
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              <text>&lt;a href="http://travelling-foodies.blogspot.com.au/2012/06/robin-hood-of-regional-tourism.html"&gt;http://travelling-foodies.blogspot.com.au/2012/06/robin-hood-of-regional-tourism.html&lt;/a&gt;</text>
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                <text>&lt;p&gt;The Travelling-Foodies blog includes an entry made on June 15, 2012, titled &amp;lsquo;Robin Hood of Regional Tourism!&amp;rsquo;. The entry reports that the Tourism Channel were providing free websites for small regional towns, helping them to promote their attractions to tourists. One of the founders of the Tourism Channel, Nicholas Parkinson-Bates, is quoted as saying &amp;lsquo;We like to think of ourselves as the Robin Hood of tourism&amp;rsquo;. The quote refers to the free help being provided to poorer towns, and how it is similar to the legend of Robin Hood taking from the rich to help the poor. &lt;/p&gt;&#13;
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