Annotated Bibliography: Grande Bretagne / Great Britain: Part Three: The Problem of Rights and the Literature of Constitutional Reform

(With C.N. Doe.)

Crowd Control? Depictions of the Many in Anglo-Saxon Literature, with Particular Reference to the Old English Legend of the Seven Sleepers

This article argues for the distinctiveness of the presentation of crowds in the Old English version of the Legend of the Seven Sleepers . In traditional Old English poetry, crowds are mostly conspicuous by their absence, since the social groupings portrayed are typically those ofthe lord's retinue and the fellowship of the hall. In writings deriving from Latin traditions (in Anglo-Latin, Old English prose and strands of Old English poetry) such as historiography andhagiography, crowds are presented in highly conventional terms based on literary models. The crowd scenes in the Legend of the Seven Sleepers , on the other hand, have an immediacy and urgency that seem based on real-life experience of Anglo-Saxon England rather than simply imitative of the work's Latin (ultimately Greek) source or of other literary models. Drawing upon crowd theory and historical studies, the article demonstrates that the crowds in this text are presented in “domesticated” Anglo-Saxon terms and may be seen as reflective of growing urbanization in late Anglo-Saxon England. “Real” crowds are glimpsed elsewhere in Anglo-Saxon literature but in the Legend of the Seven Sleepers they are particularly foregrounded; this text also presents the literature's liveliest picture of town life more generally.

‘Proficiscere, anima Christiana’: Gerontius and German mysticism

The popularity in Britain of Elgar's _The Dream of Gerontius_ was triggered by the successful reception of the work in Germany in December 1901 and May 1902. By examining some of the writings on Elgar by German critics in this period, I explain that what may have particularly have appealed to German audiences was the composer's engagement with mysticism, something that as well as being a distinct strand of German theology since medieval times had acquired a new popularity among German artists in a number of fields as part of a reaction to the materialism of Wilhelmine Germany. Through a reading of the work that takes into account both its Catholic theology and ideas of mysticism more generally, I propose that the two Parts of the work should be conceived as taking place simultaneously, rather than successively, and that the work is thus best understood as belonging to the genre of epic rather than drama. ©2013 The Royal Musical Association