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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>&amp;lsquo;As it is in the Days of Now&amp;rsquo;,&lt;em&gt; The Bulletin&lt;/em&gt;, 12 March 1908</text>
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                <text>Absent lover, anti-nostalgia, chivalry, critique, cuckoldry, Courtly Love, false friendship, gold, Henry Lawson (1867-1922), Holy Land, honour, knight, knighthood, Lady Clare, Noblesse oblige, reputation, romance, Sir Antony Mark, Sir William, the Crusades.  </text>
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                <text>This poem, which is best described as &amp;ldquo;an anti-nostalgic demystification of chivalric heroism&amp;rdquo; (Louise D&amp;rsquo;Arcens, &lt;em&gt;Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910&lt;/em&gt;, Turnhout, Brepols, 2011, p.143), draws a link to the medieval past to suggest that little has changed with regards human behaviour. &amp;lsquo;As it is in the Days of Now,&amp;rsquo; is a tale of cover-up, falsity, and cuckoldry. Here, everyone but Sir William is aware of an affair that took place between his Lady and his best friend while he was fighting in the Holy Land. The poor man even unwittingly drinks wine in the company of his rival and false friend. Lawson&amp;rsquo;s ubiquitous narrator states, &amp;ldquo;And the true friend pledges the false friend thrice.&amp;rdquo; Lawson refuses to romanticise love in accordance with medieval notions of chivalry. Lust and cupidity are here disguised and subsumed into &amp;lsquo;noblesse oblige,&amp;rsquo; and Lawson&amp;rsquo;s poem rather denigrates selfish &amp;lsquo;knightly&amp;rsquo; behaviour, with its false friendships, cuckoldry, and risible notions of Courtly Love. The poem in fact, is an angry riposte to nineteenth-century nostalgia and naivet&amp;eacute; as it relates to the individual&amp;rsquo;s lack of nous and foresight.</text>
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                <text>12 March 1908, p.39</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>&amp;lsquo;The Sagamen&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 2 May 1907</text>
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                <text>armour, battle-axe, conquest, dragon ship, Francis William Ophel (1871-1912), Freya, heroism, Iceland, Norns, Odin, paganism, runes, sagas, shields, Skaldic tales, spells, swords, Thor, Valhalla, Valkyrie, Vikings, violence, warriors.</text>
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                <text>&amp;lsquo;Prospect Good&amp;rsquo; was the nom de plume of the gold prospector, fossicker, and bush poet, Francis William Ophel. This poem, &amp;lsquo;The Sagamen,&amp;rsquo; is filled with vivid imagery drawn in the style of Old Icelandic sagas (Louise D&amp;rsquo;Arcens, &lt;em&gt;Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910&lt;/em&gt;, Turnhout, Brepols, 2011, p.142). According to Ophel&amp;rsquo;s logic, the content of these Skaldic tales is no different from speeches and editorials designed to legitimize nineteenth-century imperial narratives; they cleverly subvert truth and disguise real-life events under a nuanced and textured layer of bravado and heroic deeds where violence is praised and overvalued. In contrast, Ophel&amp;rsquo;s is likely suggesting here that there is nothing glorious about slaughter, plunder, theft and rapine, and the over reliance on strong-arm tactics. Presumably the political rationale for this strategy is formed along the lines of: &amp;lsquo;they&amp;rsquo; did it &amp;lsquo;back then,&amp;rsquo; so it must be alright for &amp;lsquo;us&amp;rsquo; to emulate &amp;lsquo;now&amp;rsquo;; but Ophel, who realises that this reasoning is mendacious, states plainly and firmly in The Sagamen&amp;rsquo;s final couplet: &amp;ldquo;The naked truth is hidden / Beneath a web of words".</text>
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                <text>â€˜Prospect Goodâ€™ (Francis William Ophel)</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>&amp;lsquo;The Old Squire&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 28 May 1908</text>
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                <text>â€˜As it is in the Days of Now,â€™ Black Death, conquest, despotism, famine, Henry Lawson (1867-1922), honour, ingratitude, justice, king, knight, knighthood, loyalty, neglect, noble, pestilence, plague, Old Swithin, rescue, service, sickness, siege, Sir William, squire, Swithin, sword, Virland (Old Estonia).</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;, which was resolutely &amp;ldquo;anti-imperialist&amp;rdquo; in its outlook, published a range of verses, ballads and other &amp;ldquo;poems in which the Middle Ages were represented as despotic and barbaric&amp;rdquo; (Louise D&amp;rsquo;Arcens, &lt;em&gt;Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910&lt;/em&gt;, Turnhout, Brepols, 2011, p.143). While &amp;lsquo;The Old Squire&amp;rsquo; doesn&amp;rsquo;t do this explicitly, it is undeniably a &amp;ldquo;tale of faithful service unrewarded&amp;rdquo; (D&amp;rsquo;Arcens, p.144). Here we again follow the adventures of Sir William, Henry Lawson&amp;rsquo;s cuckolded knight from &amp;lsquo;As it is in the Days of Now&amp;rsquo; (See &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1020" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1020&lt;/a&gt;). Sir William, his squire, the King and the narrator ride into Virland with the intention of conquering the City, only to find the inhabitants suffering in the throes of the Black Death. Sir William is portrayed in the poem as arrogant and thoughtless for failing to appreciate the longstanding and faithful service of his squire, Old Swithin. After dutifully clearing out the dead from the City, Swithin collapses after trying to rescue a child from plague infested quarters. He is portrayed as noble in character but, unjustly, not in name; instead, &amp;lsquo;His heart was ever pained, / because of that old knighthood / that he should once have gained&amp;rsquo;. When his worth is finally recognised and the King attempts to knight him at the end of the poem, it is too late for he is already dead. While not an outright attack on all authority, this poem &amp;ldquo;implicitly condemns aristocratic arrogance and the [...] inequity of the feudal system&amp;rdquo; (D&amp;rsquo;Arcens, p.144).</text>
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                <text>&lt;p&gt;The hero of this poem, as the name Sir &lt;em&gt;Anopheles&lt;/em&gt; hints, is a mosquito. The author here humorously stages an encounter between man and mosquito as a drawn-out battle between a recumbent Ogre and an intrepid and undaunted medieval knight. It is clear from the start that the tiny knight has the mastery; indeed as the night-long battle progresses, the final result is inevitable, and the sullen Ogre&amp;rsquo;s defeat is a foregone conclusion:&lt;/p&gt;&#13;
&lt;p&gt;So all night long the battle goes, &lt;br /&gt;Until the vanquished ogre sinks &lt;br /&gt;Exhausted and the sharp lance drinks &lt;br /&gt;His blood [...]&lt;/p&gt;</text>
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                <text>&amp;lsquo;On Tapestry&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 14 July 1910</text>
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                <text>This engaging &amp;ldquo;McCrae-like medieval narrative ballad&amp;rdquo; (John B. Webb, &amp;ldquo;A Critical Biography of Edwin James Brady 1869-1952&amp;rdquo; PhD Thesis, The University of Sydney, 1972, p.95) concerns the fortunes of a triad of ill-starred lovers. On one hand there is brave Sir Maurice, the wealthy and impetuous knight who excels in chivalric conduct but who is tragically slain while crusading in the Holy Land. On the other is the golden-haired Lady Alice, a romantic counterpart for him who naively &amp;ldquo;vowed [...] Her Lord he&amp;rsquo;d be&amp;rdquo;. Unknown to either of these two quixotically tempered day-dreaming protagonists is the real target of Cupid&amp;rsquo;s dart, the &amp;ldquo;crow-haired&amp;rdquo; ladies maid, who recognises from the outset that her suit is hopeless, and who must content herself with plaintive prayers and &amp;ldquo;A [hasty] daylight glance.&amp;rdquo; The tragedy of the missed opportunity that is all too often &amp;lsquo;staring you in the face&amp;rsquo; is a theme that Brady also favours and highlights in his less accomplished, more light-hearted medievalist poem, &amp;lsquo;On Keira (See: &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1032" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1032&lt;/a&gt;).&amp;rsquo;</text>
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                <text>&amp;lsquo;On Keira&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 16 June 1910</text>
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                <text>Armour, chivalry, death, E. J. Brady (1869-1952), Gerringong, humour, Illawarra region, knight, loss, love, Mt Keira, NSW, old age, regret, Shoalhaven, Wollongong escarpment, youth.</text>
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                <text>This intensely nostalgic medieval poem by E. J. Brady &amp;ldquo;is most distinctive for its unapologetic insertion of the chivalric into the local&amp;rdquo;, which becomes the source of unintended humour (Louise D&amp;rsquo;Arcens, &lt;em&gt;Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910,&lt;/em&gt; Turnhout, Brepols, 2011, p.141). Looking out on that same geological vista (the Wollongong escarpment), it is indeed difficult to envisage Brady&amp;rsquo;s youthful knight in armour dashing stubbornly to fame and fortune at the expense of his own happiness, with anything like a straight face. However, with some deft poetic substitution and &amp;ldquo;Tennysonian&amp;rdquo; reworking on Brady&amp;rsquo;s part (D&amp;rsquo;Arcens, p.141), the Illawarra region of NSW is transformed, at least temporarily, into a mystical fairyland. As the narrator of the poem here regretfully contemplates the paths he didn&amp;rsquo;t follow, this poem serves as a poignant reminder to readers of the need to make the right decisions in life, especially those concerning love and happiness, lest they suffer the unrelenting pangs of grief and loss.</text>
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                <text>16 June 1910, p.39</text>
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                <text>&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1031" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1031&lt;/a&gt;</text>
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                  <text>Medievalism on the Page</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>&amp;lsquo;Viking Song&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 25 August 1910</text>
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                <text>anvil, Australian Navy, David McKee Wright (1869-1928), forge, National Defence, national pride, Norse mythology, Odin, politics, Thor, Thorâ€™s Hammer, Vikings. </text>
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                <text>&lt;p&gt;David McKee Wright draws inspiration from the journeys of the Vikings across the North Sea in this poetic martial &amp;lsquo;ditty&amp;rsquo; that brims with national pride:&lt;/p&gt;&#13;
&lt;p&gt;Australia with her bright hair glowing&lt;br /&gt;Has her eye on the furrows of the deep &lt;br /&gt;[...] &lt;br /&gt;Clang, clang, clang on the anvil &lt;br /&gt;There are steel ships wanted on the sea!&lt;/p&gt;&#13;
&lt;p&gt;The reason for Wright&amp;rsquo;s show of enthusiasm was doubtless the creation of the Australian Navy in 1909. Billy Hughes told the &lt;em&gt;Sydney Morning Herald&lt;/em&gt; in 1910 that &amp;ldquo;Mr Deakin had taken Mr Watson&amp;rsquo;s scheme [c. 1905] and adorned it with that magnificent eloquence of his till it shone [...] But it was a thing in the clouds [...] The Fisher Government transformed it into iron and steel and guns&amp;rdquo; (See The &lt;em&gt;Sydney Morning Herald&lt;/em&gt;, Wednesday, 16 February 1910, pp. 9-10. &lt;a href="http://nla.gov.au/nla.news-article15133137" target="_self"&gt;http://nla.gov.au/nla.news-article15133137&lt;/a&gt;). When the fleet eventually arrived off Australian shores in October 1913, it was welcomed &amp;ldquo;By very large and demonstrative crowds [...] and fervently patriotic speeches were made at the welcoming banquet&amp;rdquo; (F. K. Crowley, &lt;em&gt;A New History of Australia&lt;/em&gt;, Richmond, William Heinemann, 1984, p.294). During the Federal electioneering of February 1910, the fleet featured large in the overall proceedings. The Deakin-Cook Fusion Party lost the 1910 election, but Australia still got its navy, and balladeers and patriots sang its praises.&lt;/p&gt;</text>
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                <text>David McKee Wright </text>
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              <elementText elementTextId="25340">
                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>25 August 1910, p.3</text>
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            <name>Rights</name>
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              <elementText elementTextId="25343">
                <text>Public Domain</text>
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              <elementText elementTextId="25344">
                <text>Journal (Microfilm)</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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&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>â€˜â€˜Thingless Namesâ€™? The St George Legend in Australiaâ€™</text>
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                <text>&lt;p&gt;&amp;lsquo;&amp;lsquo;Thingless Names&amp;rsquo;? The St George Legend in Australia&amp;rsquo; is an article by Andrew Lynch from The University of Western Australia. It appeared in the La Trobe Journal (No. 81, pp. 40-52) in Autumn 2008. The article briefly considers the impact of medievalism in Australia during the nineteenth century before focussing in particular on the many uses of the figure of St George, with or without the dragon, which can be found throughout Australia. A wide range of examples, including statues, stained glass windows, street names, poetry, beer commercials, St George Illawarra Dragons rugby club, are used, and there is a particular focus on St George&amp;rsquo;s Cathedral in Perth. &amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;For the article see &lt;a href="http://nishi.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t4.html" target="_self"&gt;http://nishi.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t4.html&lt;/a&gt;&lt;/p&gt;</text>
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