Moreover, Christopher Krebs calls the Germania ‘a mosaic of Greek and Roman stereotypes, arranged by a writer who most likely never went north of the Alps’; these mourning women and repressed men ‘are in many ways typical representatives of the northern barbarian, sketched within the Greek and Roman ethnographical tradition by … a Roman in Rome for Romans’.
Not only does Tacitus present mourning as women's work, but in this same passage he notes that Germanic peoples avoid both ostentation in burial and ‘the difficult
Unearthing the truth in Patrick O’Keeffe’s The Hill Road
Vivian Valvano Lynch
committed suicide. In order to ensure that he received a proper
Fiction and autobiography
Catholic burial, local men concocted a story about him being killed by
the Black and Tans. A drunken neighbour subsequently reveals this to
Mary, unaware that she already knew the truth. She makes Jack promise
never to divulge a word of this at home.7
O’Keeffe then shifts the narrative forward once more, to 1983 and
Jack’s mother’s deathbed. She startles him with an account of how another
local man had pined for her, had
The wall texts of a Percy family manuscript and the Poulys Daunce of St Paul’s Cathedral
from archaeological research indicates that the space had
been used for burials dating from the Anglo-Saxon era through
the thirteenth century; by the fourteenth, it appears regularly as
Pardonchirchhawe in the wills of citizens requesting burial there.41
Pardon Churchyard thus had functioned as a space important for
several centuries to the citizens of the city who sought burial in
Whether More’s contribution in the 1420s was to arrange, as
Stow notes uncertainly, for either the endowment or building
of the cloister, it is
The plays of Ed Thomas and the cultural politics of South Wales
lends itself to a reading more confirmatory of ‘residual’ cultural values
than is suggested by this particular Welsh connection.
At the film’s close the boys enact a ceremony of simultaneous
homage and revenge, providing the father with the burial at sea he
22/3/02, 10:04 am
The plays of Ed Thomas
craved and executing Terry by strapping him to the coffin. As the coffin
sinks beneath the waves the boys cast a Welsh flag on the sea, the whole
final sequence being accompanied by the strains of ‘Myfanwy’ from a
male-voice choir standing
‘surviving image’ of the Earl’s ‘Dead
Wife’ (IV.i.34–8). This remarriage enables the burial of
St Anne’s deceased wife, whose body the Earl has had embalmed and
displayed in his home. St Anne, we are told:
Retaines his wives dead Corse among the
living, For with the rich sweetes of restoring
Balmes, He keeps her lookes as fresh as
artificiality of a too-strict demarcation of genre lines. Common topoi are fidelity to a vow, miraculous
healing, angelic voices, wandering, disguise and poverty, and ability to
revive the dead. Though these appear in many legends paired or not,
burial in the same grave (as in Amis) is normally limited to paired saints
and is usual for them. Nearly all the paired saints in the Golden Legend
and in Butler’s Patron Saints are buried together, whether as friends,
siblings or spouses. Occasionally they are buried together even when
the two saints were neither friends nor martyred
The poetics of sustainability and the politics of what we’re
quickly’ in ‘Sea Change’, it is figured as ‘grasses shoot[ing]
up, life disturbing life’ (Graham 2008a: 3); these echo the blooms emerging at the start of part I of Eliot’s poem, ‘The Burial of the Dead’ (2015
: 55). Eliot manages to half-contain natural energies with the
present participles that end the first three lines of his poem, suggesting
a circular pattern even with the onward thrust of those parts of the verb.
He creates a cycle from processes that go beyond the containment of the
line, managing to keep growth temporarily in check. By the twenty
when they are present in our professional lives – in the classroom, at conferences, and in our criticism.
Note that in contrast to scant scholarly discussions about Scyld's infant status, a robust critical tradition engages with his arrival by sea and his ship burial. Uninterested in the issue of Scyld's age, this critical tradition discusses the narrative details of his prologue in relation to source
heures (Paris: Des femmes, ); Rédemption
(Paris: Flammarion, ).
Paul Barber, Vampires. Burial and Death: Folklore and Fantasy (New Haven and
London: Yale University Press, ), p. .
Sheridan Le Fanu, Carmilla (Mountain Ash: Sarob Press, ).
Anne Juranville, La Femme et la mélancolie (Paris: PUF, ), p. .
See, for example, Helene P. Foley (ed.), The Homeric Hymn to Demeter:
Translation, Commentary, and Interpretive Essays (Princeton, NJ: Princeton
University Press, ).
Nicolas Abraham and Maria Torok, L’Ecorce et le noyau (Paris
that at times intermingle, at times diverge, and at
other times cut across each other with turbulent effect.
One of the most powerful and provocative of these currents is the
tragic–mythic to be found in both new writing and adaptation. In Theatre
Stuff (2000) Marianne McDonald noted over thirty adaptations of
Greek tragedy that had been produced since 1984,14 and the number
has even swelled further since then. Among the most recent are Seamus
Heaney’s version of Sophocles’ Antigone entitled The Burial at Thebes
(2004) and Conall Morrison’s Antigone (2003); however