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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;My Lady of the Lake&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 15 December 1904</text>
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                <text>Adam Lindsay Gordon (1833-1870), Alfred Lord Tennyson (1809-1892), Algernon Charles Swinburne (1837-1909), Arthurian myth, Charles Crawford, &lt;em&gt;Ex-Voto&lt;/em&gt;, Geoffrey Chaucer (c.1343-1400), &lt;em&gt;Joyous Garde&lt;/em&gt;, Nixon Waterman (1859-1944), Sir Walter Scott (1771-1832),&lt;em&gt; The Girl Who Loved Him So, The Lady of Shallot, The Lady of the Lake, The Parliament of Fowls,&lt;/em&gt; Victorian medievalism, Victorian poetry.</text>
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                <text>&lt;p style="text-align: left;"&gt;This light-hearted poem by Charles Crawford is packed with poetic allusion, and with classical, medieval, and medievalist references. We find mention of several beautiful women from classical antiquity: Queen Semiramis, Eurydice, Judith, Cytheris, and Helen of Troy. However, this is similar to a listing that renowned medieval author Geoffrey Chaucer provides in &lt;em&gt;The Parliament of Fowls&lt;/em&gt;. There is also a barely altered line from Adam Lindsay Gordon&amp;rsquo;s medievalist poem &lt;em&gt;Joyous Garde&lt;/em&gt;, which Crawford renders: &amp;ldquo;And mute and still I stood, until&amp;rdquo; (as opposed to Gordon&amp;rsquo;s &amp;ldquo;And I stood watching [...] still and mute&amp;rdquo;). They amount to much the same thing: the fascinated and enraptured male gaze. Additionally, there is half a line from a poem by American writer and columnist Nixon Waterman, and Charles Swinburne is represented through use of the descriptive phrase &amp;ldquo;[That in] my veins like wine.&amp;rdquo; Yet, this poem is not some wistful legend revived by Sir Walter Scott or Lord Tennyson as the title would suggest. It is an Australian poem (for we hear &amp;ldquo;The bell-bird&amp;rsquo;s call&amp;rdquo;) and a pragmatic worldly poem, which rather pokes fun at nostalgic Romantic styles:&lt;/p&gt;&#13;
&lt;p style="text-align: center;"&gt;&lt;br /&gt;But shame on it, to think a bit &lt;br /&gt;Of muslin skirt, &lt;br /&gt;Combined with witchery and wit, &lt;br /&gt;And Venus modelled into it &lt;br /&gt;[...] &lt;br /&gt;Should get beneath a fellow&amp;rsquo;s guard, &lt;br /&gt;And hit him straight and hit him hard.&lt;/p&gt;</text>
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                <text>Charles Crawford</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>15 December 1904, p.39</text>
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                <text>Public Domain</text>
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        <name>Adam Lindsay Gordon (1833-1870)</name>
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