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                  <text>Medievalism on the Streets</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>Print: Wood Engraving published in The Australian news for home readers. &#13;
Accession No: IAN19/05/66/8;&#13;
Image No: mp001027</text>
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              <text>&lt;a href="http://www.slv.vic.gov.au/miscpics/gid/slv-pic-aab15089"&gt;http://www.slv.vic.gov.au/miscpics/gid/slv-pic-aab15089&lt;/a&gt;</text>
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                <text>Eight Hours Demonstration</text>
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                <text>eight hours demonstration, demonstration, eight hour working day, eight hours, eight hours movement, procession, processions, Melbourne, float, floats, banner, banners, Labour, Labour Day, working class, nineteenth century, nineteenth-century, Trades Hall</text>
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                <text>Wood Engraving by Frederick Grosse (1866) depicting the 1866 procession which started at the Trades Hall, Carlton and finished at the North Botanical Gardens, celebrating the 10th anniversary of the eight hours movement.</text>
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                <text>Grosse, Frederick</text>
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                <text>The Australian; State Library of Victoria</text>
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                <text>Melbourne : Ebenezer and David Syme</text>
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                <text>19 May 1866</text>
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                <text>Reproduction rights owned by the State Library of Victoria</text>
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                <text>Hyperlink; Print: Wood Engraving</text>
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        <src>https://ausmed.arts.uwa.edu.au/files/original/0fcfd469a3197bdf6440addf343ee2c8.pdf</src>
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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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          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Viking Tales: Olafâ€™s Farm</text>
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                <text>Brisbane, Denmark, dragon ship, fiction, Jennie Hall, illustration, literature, Norway, Odin, QLD, Queensland, The Queenslander, ship, Thor, Valhalla, Viking, vikings</text>
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                <text>An illustrated story on page 48? Of the Brisbane newspaper, The Queenslander, published on 23 November, 1907. The story by Jennie Hall is about a young Viking from Denmark named Olaf who, as the youngest son, has to â€˜go a-Vikingâ€™ (raiding) in order to accumulate wealth. He builds a ship with a dragon prow and leads a crew to Norway where they successfully raid along the coast. After forcing themselves upon a local farming household the Danes end up having a pleasant evening with the farmer and his family and reward them richly with gifts the following morning. The crew are then defeated in a naval battle by the fleet of king Halfdan and all die except Olaf who becomes a â€˜thrallâ€™ (servant) of Halfdan. The characters also invoke aspects Norse mythology, including Valhalla and the gods Odin and Thor. The story was taken from â€˜Prairie Farmerâ€™ and includes an illustration of the armed Vikings bursting into the farmhouse.</text>
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            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="10978">
                <text>Hall, Jennie</text>
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            <name>Source</name>
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              <elementText elementTextId="10979">
                <text>National Library of Australia</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="10980">
                <text>The Queenslander</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>November 23 1907</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="10982">
                <text>No Copyright</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="10983">
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        <name>Jennie Hall</name>
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              <description>A name given to the resource</description>
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                  <text>Medievalism on the Streets</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;p&gt;&lt;a href="https://sites.google.com/site/harlequintas/home"&gt;https://sites.google.com/site/harlequintas/home&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>Harlequin Medieval Music</text>
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                <text>Alfonso 10th, Cantigas de Santa Maria, Galician Portuguese, hammered dulcimer, Harlequin, hurdy gurdy, instrument, moraharpa, percussion, performance, re-enactment, shawm, Spain, Tas, Tasmania, vielle, vocal, Harry Wass, whistle. </text>
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                <text>&lt;p&gt;Formed in 2005, Harlequin is a four-piece band from Tasmania who play medieval music taken from medieval manuscripts. As well as vocal and percussion a number of medieval instruments are played, including hammered dulcimer, hurdy gurdy, moraharpa, shawm, vielle, and whistle. Many of the instruments are made by band member Harry Wass. Much of the band&amp;rsquo;s repertoire is drawn from the 13&lt;sup&gt;th&lt;/sup&gt; century manuscript &lt;em&gt;Cantigas de Santa Maria &lt;/em&gt;which contains 400 songs. The manuscript came from the court of Alfonso 10&lt;sup&gt;th&lt;/sup&gt; of Spain and the songs are sung in the medieval language Galician Portuguese.&lt;/p&gt;&#13;
&lt;p&gt;More about the band, including upcoming performances and cds, can be found at: &lt;a href="https://sites.google.com/site/harlequintas/home"&gt;https://sites.google.com/site/harlequintas/home&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Harlequin</text>
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            <name>Date</name>
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                <text>August 8, 2012</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Harlequin</text>
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                <text>&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/952" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/952&lt;/a&gt;</text>
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        <name>Alfonso 10th</name>
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        <name>hammered dulcimer</name>
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        <name>Harlequin</name>
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                  <text>Medievalism at the Foundations</text>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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              <text>&lt;span&gt;&lt;a href="http://museumvictoria.com.au/collections/items/245425/window-stained-glass-ferguson-urie-circa-1872" target="_blank"&gt;&lt;span style="line-height: 115%; font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;&lt;span style="color: #0000ff;"&gt;http://museumvictoria.com.au/collections/items/245425/window-stained-glass-ferguson-urie-circa-1872&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Stairwell window at â€˜Glenferrie,â€™ Malvern, Victoria</text>
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                <text>Australiana, blazon, coat-of-arms, colonialism, Emu, Ferguson &amp; Urie, Fergusson coat-of-arms, Glenferrie, James Fergusson, Kangaroo, Malvern, medieval design, rose, shamrock, Stained Glass, symbolism, thistle, VIC, Victoria</text>
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                <text>This commanding stairwell window by Ferguson &amp; Urie (1872) is calculated to reflect the prosperity and good fortune of the original owner, James Fergusson. Fergusson was a Melbourne manufacturing stationer, and was at times a member of the Legislative assembly and Shire President. The window was probably installed shortly after he moved into â€˜Glenferrieâ€™ in 1872 and remained there, long after Fergusson died in 1888, until the house was demolished in 1954. The window comprises three large central lights, the innermost of which contains the Fergusson Coat-of-Arms, and three smaller top lights, each containing specifically Australian motifs (Kangaroo, Colonial Coat-of Arms, and an Emu). The â€˜diaperedâ€™ octagonal background quarries feature a rose, shamrock, and thistle pattern that is stylistically â€˜medieval,â€™ signifying a link to the British Isles. Hand painted scenes in the (lower) main tier of panels depict relevant features of the burgeoning economy, which are related to trade, productivity, and the exploitation of natural resources.</text>
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                <text>Healley, Ben</text>
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                <text>Â© Museum Victoria </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;Because of her Father&amp;rsquo;s Blood&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 25 June 1908</text>
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                <text>â€˜As It Is in the Days of Now,â€™ â€˜The Old Squire,â€™ ancestry, bravery, courage, Dame Ruth, forebears, Henry Lawson (1867-1922), knight, loyalty, outlaws, poem, Sir William series, war. </text>
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                <text>Henry Lawson produced several interrelated medieval poems c. 1908 which &lt;em&gt;The Bulletin&lt;/em&gt; published. &amp;lsquo;Because of her Father&amp;rsquo;s Blood&amp;rsquo; is the third poem of the Sir William series. While the knight is away crusading his aunt, Dame Ruth, is left to keep things in good order at home. This is a poignantly nostalgic poem of courage arising from dire and severe need, wherein an elderly lady and a handful of domestic servants keep a large and rapacious band of outlaws at bay &amp;lsquo;against all the odds.&amp;rsquo; There is something to be said, it seems, for resolute and purposeful determination under duress. That is the core message here, where ordinary men and women - domestics, scullions and grooms, none of them martial or overly brave - combine together under the considerable will and fierce determination of Dame Ruth, and heroic deeds are enacted as a result. Looking to her illustrious forebears provides the catalyst for Dame Ruth&amp;rsquo;s heroism and bravery: &amp;ldquo;For a fearsome mistress she was to serve, / Because of her father&amp;rsquo;s blood.&amp;rdquo; And, extending and applying this &amp;lsquo;medievalist&amp;rsquo; performative metaphor to the national cause, loyalty and bravery are strongly emblematic of Australia&amp;rsquo;s attitude towards and defence of the British Empire in its foreign wars.</text>
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            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
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                <text>Henry Lawson</text>
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                <text>The Bulletin</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>The Bulletin</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>25 June 1908, p.43</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>Public Domain</text>
              </elementText>
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            <description>The file format, physical medium, or dimensions of 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;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>&lt;em&gt;The Bulletin&lt;/em&gt;</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€˜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;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1020"&gt;http://ausmed.arts.uwa.edu.au/items/show/1020&lt;/a&gt;</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://www.grenfellrecord.com.au/news/local/news/general/a-big-thank-you-to-grenfell-from-gulgong-heritage-harness-association/1821408.aspx"&gt;http://www.grenfellrecord.com.au/news/local/news/general/a-big-thank-you-to-grenfell-from-gulgong-heritage-harness-association/1821408.aspx&lt;/a&gt;</text>
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                <text>Henry Lawson, Australian poetry, bush poet, pilgrimage, Grenfell (New South Wales) to Gulgong (NSW), horse-drawn vehicles, saints, pilgrims, heritage tourism, Australian Nationalism Movement, Grenfell Record, Newspaper </text>
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                <text>Henry Lawson (1867-1922), one of Australia's most famous poets, and a symbol for the Australian Nationalism Movement, is honoured by a pilgrimage that traces his journey from Grenfell NSW to Gulgong NSW (280 kms). PIlgrimage is a medieval concept associated with spiritual edification and usually involves a journey to a saint's shrine for prayer and intercessions on the pilgrim's behalf. The 'real-time' horse power journey is particularly indicative of a secular reverence for Lawson. The Henry Lawson Pilgrimage Drive commenced in 2000 and is now an annual event.</text>
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                <text>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span style="font-family: Helvetica,Arial,sans-serif;"&gt;&lt;a href="http://mumbil.nsw.au/photo-gallery/grenfell-to-gulgong---henry-lawson-heritage-drive" target="_blank"&gt;http://mumbil.nsw.au/photo-gallery/grenfell-to-gulgong---henry-lawson-heritage-drive&lt;/a&gt;&lt;/span&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>2008</text>
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              <elementText elementTextId="16301">
                <text>Public Domain</text>
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