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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>â€˜The Rule of the Manyâ€™, The Bulletin, 15 November 1890.</text>
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                <text>Democracy, feudalism, inequality, natural law, merit, poem, privilege, wealth, workers rights</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>A. X. C. (Unknown)</text>
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                <text>15 November 1890 (p. 17)</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>Theatre review: Emlyn Williams â€˜The Wind of Heavenâ€™</text>
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                <text>Theatre, Wind of Heaven, medieval saints, saint, saints, hagiography, saints in drama, drama, children, children as portents of the divine, divine, divinity, Genesian players, Sydney, The Marvellous History of Saint Bernard, Barry Jackson, Henri Gheon, fifteenth century, manuscript, The Green Pastures, play, Marc Connelly, angel, Gabriel, Adam, Eve, Adam and Eve, Bernard Shaw â€˜Saint Joanâ€™, good versus evil, Minerva Theatre, Jerome K. Jerome, â€˜The Passing of the Third Floor Backâ€™ play, jester, pilgrims, pilgrim</text>
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                <text>A.T. critiques three plays that have an angel or saint in them. Set in a Welsh village, â€˜The Wind of Heavenâ€™ is about a boy named Gwyn who works a miracle in a village devastated by cholera. He brings back to life a dead soldier and new hope to the soldierâ€™s widow and the whole town. Jerome K. Jeromeâ€™s play about a mysterious Stranger is â€˜the saint over-doneâ€™. The final play, â€˜The Marvellous History of Saint Bernardâ€™, divides its stage into heaven, earth and hell. This picture â€˜was as real to the medieval mind as the Harbour Bridge is to usâ€™. The author notes that it is illegal to depict the Deity on stage in England so Mary was substituted for God in the latter play. A.T. remarks that Bernard Shaw deployed similar techniques in his play â€˜Saint Joanâ€™.</text>
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                <text>Sydney Morning Herald</text>
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                <text>26 April 1947</text>
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            <description>Information about rights held in and over the resource</description>
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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>&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>2 May 1907, p.43</text>
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                <text>An article on page 46 of the Brisbane newspaper The Queenslander on May 26, 1932. The public interest piece reports on the decision of the Norwegian government to reconstruct the Viking-Age Gokstad ship from the pieces recovered during excavation. It is suggested that the Gokstad ship would be the worlds oldest seagoing ship. The final paragraph of the article, which begins with â€˜There was a virile romance about the vikings and their shipsâ€™, claims that it was a Viking tradition for captives to be tied down and crushed by the ships when they hit the water when being launched. Not surprisingly, this â€˜factâ€™ is not found in modern scholarly works about the Vikings. </text>
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                <text>The Discovery of Australia: Made in the Fifteenth Century, &lt;em&gt;The Chronicle&lt;/em&gt;, 27 March 1897</text>
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                <text>Aragon, Australian booksellers, Castile, Christopher Columbus (1451-1506), conquest, E. A. Petherick &amp; Co., Edward Augustus Petherick, exploration, Ferdinand II of Aragon (1452-1516), Isabella of Castile (1451-1504), kangaroo, Medieval Spain, New World, paper, Royal Geographical Society.</text>
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                <text>&lt;p&gt;This short notice in &lt;em&gt;The Chronicle &lt;/em&gt;in 1897 informs readers about a paper in which Edward Augustus Petherick, the head of Australian booksellers E.A. Petherick &amp;amp; Co., would argue that Australia was founded in the medieval period. His evidence, the article advises, was that a kangaroo was presented to King Ferdinand and Queen Isabella of Spain in 1499. The marriage of Isabella and Ferdinand in 1469 unified the houses of Castile and Aragon under one throne. They led the Christian reconquest of Spain and the overthrow of Muslim Granada in the early 1490s, and were at the forefront of New World Exploration in the late fifteenth century. Isabella and Ferdinand authorised and funded the expeditions of Christopher Columbus between 1492 and 1498.&lt;/p&gt;</text>
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                <text>TROVE: National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article87688170" target="_self"&gt;http://nla.gov.au/nla.news-article87688170&lt;/a&gt;</text>
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              <elementText elementTextId="26214">
                <text>Copyright Expired</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>Gift of &amp;pound;100 for Lepers, &lt;em&gt;The Sydney Morning Herald&lt;/em&gt;, 28 September 1937</text>
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                <text>Barbarity, Coast Lazaret Hospital, criminals, disease, Dr E. H. Molesworth, ill-treatment, imprisonment, individual rights, infection, International Leprosy Association,  Lazarus House, leprosy, Little Bay, medical treatment, medicine, medieval attitudes, New South Wales, NSW, primitive treatment, prisoners, scourge, segregation, skin diseases, susceptibility, Sydney University. </text>
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                <text>This article from the Sydney Morning Herald in 1937 relates the concerns and criticisms of Dr E. H. Molesworth, a lecturer in skin diseases at The University of Sydney, regarding the treatment of leprosy at the Coast Lazaret Hospital in the New South Wales region of Little Bay. Containing lengthy quotes, the article conveys Dr Molesworth&amp;rsquo;s view that Australian attitudes towards leprosy were still medieval, primitive and reactionary, and that as a consequence treatment for the disease was falling well behind the times when compared to European cities. The disease, he suggests, was still being viewed as a horrible scourge (as it had been in the middle ages), and so people suffering from it were regarded as dangerous pariahs who should be segregated from society. The resultant approach regarding treatment for the disease &amp;ndash; to nominate specific areas away from the general populace and to lock sufferers away &amp;ndash; deprived people of their individual rights and was tantamount to treating them like criminals, Dr Molesworth complained. It also made the disease more dangerous, because people who could be treated were concealing their condition on account of the stigma it continued to attract.</text>
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                <text>TROVE: National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article17408348" target="_self"&gt;http://nla.gov.au/nla.news-article17408348&lt;/a&gt;</text>
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                <text>The Sydney Morning Herald</text>
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                <text>28 September 1937, p.12</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>&lt;a href="http://nla.gov.au/nla.news-article4073779" target="_self"&gt;http://nla.gov.au/nla.news-article4073779&lt;/a&gt;</text>
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                <text>&amp;lsquo;Mr Waller Napier Returns&amp;rsquo;, &lt;em&gt;The Argus&lt;/em&gt;, 10 March 1930.</text>
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                <text>art, electric furnace, medieval craft, Melbourne, Melbourne Town Hall, Mervyn Napier Waller (1893-1972), mosaic, mural paintings, National Gallery, stained glass, VIC, Victoria.</text>
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                <text>This article from &lt;em&gt;The Argus&lt;/em&gt; in 1930 reports on the return to Melbourne of famed Australian mosaic and stained glass artist Mervyn Napier Wallace and his wife. Napier, whose mosaics in the Melbourne Town Hall and the National Gallery were already well known, returned from visiting Europe with the most recent kind of electric furnace for firing and annealing stained glass and an intention to set up a studio in Melbourne. During his tour of Europe the works that attracted him most, the article reports, were those hailing from the medieval period when stained glass was regarded as a craft rather than an art form, namely 4th-13th century France and 12th-13th century Italy.</text>
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              <elementText elementTextId="26989">
                <text>TROVE: National Library of Australia: &lt;a href="http://nla.gov.au/nla.news-article4073779" target="_self"&gt;http://nla.gov.au/nla.news-article4073779&lt;/a&gt;</text>
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                <text>&lt;em&gt;The Argus&lt;/em&gt;</text>
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                <text>10 March 1930, p.6</text>
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                <text>Copyright Expired</text>
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