By Willa Cather
Most sensible identified for the unique photographs of the folks and land of the yank West in her prairie novels, Willa Cather is without doubt one of the maximum American writers of this century. The fourteen brief tales during this richly different assortment, in addition to an exemplary advent by means of writer Cynthia Griffin Wolff, permit for a extra advanced view of Cather. As a author she used to be intrigued by way of nature's ruthlessness and mankind's unlimited strength for brutality and had a keenness for the wonderful thing about paintings. starting from the simplicity of Cather's first released tale, "Peter" (1892), to the extreme eroticism of "Coming, Aphrodite!" (1920), this Twentieth-Century Classics assortment is an interesting and effective testomony to the genius of an American literary icon.
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Additional resources for Coming, Aphrodite! (Penguin Twentieth-Century Classics)
Each ballad has its own Introduction, stressing matters of source, date, textual transmission and any notable features of style or language. Detailed issues of this kind are taken up in the notes, which also discuss emendations, references and other text-specific matters; unusually complex issues of translation are discussed in the notes, but the glossary provides most of the necessary information for translation. Although this is not seen primarily as a literary-critical or socio-historical edition, some general comments have been offered in both the General Introduction and the individual Introductions to each ballad.
Only mentioned in the first and last stanzas, this name is unknown elsewhere in the ballads ('Reynold Greneleaf', the name of a minor character, and also Little John's alias in the Gest is hardly the same), but there is an intriguing possibility of a link between this name and the famous reference in Piers Plowman (from the late 1370s) to the fact that the character Sloth knows 'Rymes of Robyn Hode and Randolf Erie of Chestre' (B Text, V. 395). It is highly improbable that Forresters, a relatively late collection, has preserved an otherwise unknown memory of a relationship between the two characters.
175), and it is notable that the plot and wording of the Forresters version, including the term 'Birding Bow' (36), are a good deal closer to the parallel narrative in the Sloane Life of Robin Hood of c. 1600 than the broadside versions. It seems much more likely that the ballad was a source for the Life rather than drawing upon it, and especially on the evidence of the Forresters manuscript it can be identified as one which ultimately derives from the sixteenth century at the latest. Page 2 The two texts seem basically to represent different versions of a common original, but the major disparity between the two is the 'frame' in Forresters which asserts that Robin is under the protection of a certain Randolph.