the adventures of quentin durward
from the trailer for the epic historical film the adventures of quentin durward (1955) .
mgm presents in cinemascope and color... sir walter scott' s the adventures of quentin durward
robert taylor is sir walter scott' s medieval hero in the adventures of quentin durward (1955) .
the adventures of quentin durward (1955) - region free pal import, plays in english ...
robert taylor is sir walter scott' s medieval hero in the adventures of quentin durward (1955). >
quentin durward (aka the adventures of quentin durward, 1955): a scottish knight in france to facilitate a marriage between a rich and beautiful countess and his aging uncle becomes involved in court intrigue .
quentin durward - - (movie clip) be kind enough to ...
tcm' s saturday afternoon host tiffany vazquez introduces quentin durward, 1955. >
quentin durward (1955) - region free pal import, plays in english ...
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with the headline: derring - do, but not enough; robert taylor stars in' quentin durward' .
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thematic series: the second medieval epic in glorious technicolor directed by richard thorpe and starring robert taylor as the hero, after ivanhoe (1952) and before the adventures of quentin durward (1955) .
kaper' s complete score to quentin durward is premiered here in stereo sound, with liner notes by lukas kendall .
prince ricardo of pantouflia: being the adventures of prince prigio' s son. 1893 .
red - cap adventures by s. r. crockett (ebook) - lulu
carroll, lewis. alice' s adventures in wonderland. london: macmillian, 1865 .
the adventures of quentin durward 1955 - region 2 pal: urltoken robert taylor, kay kendall, robert morley, george cole, alec clunes, duncan lamont, marius goring, wilfrid hyde - white, pandro s. berman, richard thorpe: dvd & blu - ray
kay kendall & robert taylor as isabelle countess of marcroy quentin durward film title adventures of quentin durward directed by richard thorpe film company mgm 23 november 1955 - * * warning * * this photograph is the copyright of the film company and / or the photographer assigned by or authorised by / allowed on the set by the film company at that time of this production & can only be reproduced by publications in conjunction with the promotion of the above film. a mandatory credit to the film company (and photographer if known) is required .
quentin durward works best as a parody. everyone in it seems to have gotten the joke except robert taylor, the director, and mgm. a pity - - if everyone had ...
quentin durward by walter scott 6 out of 10 this not the best work i had in my hands. i venture to say far from it. the king of france has a conflict with the duke of burgundy. there is also a damsel in distress and caught in the plot the young hero - quentin durward. i did not enjoy this so much, even if there are some adventures… well, sort of. the duke of burgundy is upset, because a girl from his court has escaped and found refuge with the king of france. we meet his majesty early on, but in disguise .
[ 10 ] ivanhoe (richard thorpe, uk / usa, 1952), rob roy, the highland rogue (harold french, uk / usa, 1954), king richard and the crusaders (based on the talisman, david butler, usa, 1954), the adventures of quentin durward (richard thorpe, uk, 1955) .
the second in the series, prince ricardo of pantouflia: being the adventures of prince prigio' s son, which appeared in 1893, is a pendant to the original book .
sir walter scott' s
quentin durward
has been studiously squeezed into the familiar mold of a big cinema - scopic costume romance by metro - goldwyn - mayer, which seems to have become the screen translator of all english literature. view full article in timesmachine »
disappointing having long ago read and enjoyed scott' s ivanhoe, i looked forward to a tale of rousing adventure with quentin durward. unfortunately, i found this to be a ponderous read, rife with antiquated and sometimes incomprehensible terminology as well as a great excess of verbosity. oddly, most of the story was less about the adventures of the title character than about the machinations of the wily and unscrupulous monarch louis xi, and i found this emphasis to be unenjoyable .
this was the last of lang' s adventures into the realm of fairy - land, and is itself isolated from the earlier period when he was exploring that dim region in so many directions .
frankreich zur zeit der regirung von louis xi (1461 - 1483) und karl der kühnen (1433 - 1477). quentin durward ist der letzte spross einer adligen schottischen familie, die von einem rivalisierenden klan ausgerottet wurde. quentin überlebte den letzten angriff nur knapp und durfte weiterleben unter der bedingung, mönch zu werden, damit die familie durward mit ihm endet. das mönchsdasein ist aber so gar nicht quentins berufung, er flüchtet nach frankreich zu seinem onkel ludovic lesley, le balafré, d
plush version of sir walter scott’s tale of scottish knight quentin durward sent to france by his uncle to propose to a wealthy and titled lady, the fair isabelle. there is intrigue aplenty with attacks and sword fights including one where the protagonists dangle from bell tower ropes inside a burning church .
first scene for kay kendall as french countess
isabelle ,
resisting the duke (alec clunes) arranging her marriage, scottish lord malcolm (moulrtie kelsall) consulting with emissary robert taylor (title character), in mgm' s quentin durward, 1955. >
in 1465 quentin durwood travels to france to meet isabelle, countess of marcroy, on behalf of his elderly scottish uncle whom, for political reasons, the duke of burgundy intends she marry. a man of honour who may have sworn too many oaths, durward finds he and isabelle being used as pawns in a deadly game by the duke and devious king louis xi. one look at isabelle has convinced durward this is where he and his heart have to be .
andrew lang ,
the supernatural in fiction ,
adventures among books (london: longmans, green, 1905), pp. 273, 278 - 80 .
the gold of fairnilee is a true tale of faerie, but such is lang' s genius that the dickie doyle fairies of the princess nobody and the burlesque characters of tales of a fairy court (which contains some early adventures of prince prigio) are equally perfect in their own way .
she did appear in the drama simon and laura (1955) with peter finch; the comedy abdulla the great (1955) with sydney chaplin and gregory ratoff; and the epic historical film the adventures of quentin durward (1955), with robert taylor and robert morley. [ 2 ] in october and november 1957, she appeared in two episodes of the short - lived american television series the polly bergen show. [ 14 ] and also starred as herself in series 3 episode 17 of the phil silvers show on 17 january 1958. [ 15 ]
the film was the second in an unofficial trilogy made by the same director and producer and starring robert taylor, coming between ivanhoe (1952) and the adventures of quentin durward (1955). all three were made at mgm' s british studios at elstree, near london and partly filmed on location. the cast included robert taylor as sir lancelot, ava gardner as queen guinevere, mel ferrer as king arthur, anne crawford as morgan le fay, stanley baker as mordred and felix aylmer as merlin .
barber (wilfrid hyde - white) shaving french king louis (robert morley), who calls on newly - hired scottish knight robert taylor (title character) to guard countess isabelle (kay kendall) from unwelcome visitors, in quentin durward, 1955, from the sir walter scott novel. >
quentin durward (1955) was the last in an unofficial trilogy of historical adventures produced by m - g - m' s pandro s. berman, directed by richard thorpe, and starring robert taylor. ivanhoe (1952) and knights of the round table (1953, fsmcd vol. 6, no. 7) had been scored by miklos rozsa, but during the middle of 1955 rozsa was occupied with the studio' s diane (fsmcd vol. 7, no. 3), so the new picture was taken on by bronislau kaper .
some kind of achievement for me. finally, read
quentin durward
by walter scott in original and expand my english vocabulary with about 50 words, that would be useful for reenactment). great book, definitely the good read, as it was in my childhood. ps. historical notes and references alongside the text are great too .
bronislau kaper' s score for quentin durward is a delightful swashbuckling effort in the best tradition of erich wolfgang korngold' s' 30s and' 40s efforts and the cinemascope - era scores by waxman, rozsa and steiner. the themes range from a lighthearted scottish jig to a yearning love theme, and melancholy strains of unrequited affection—with solidly symphonic action music for the derring - do. the score has long been desired by fans of the genre .
i have to admit i was a little surprised by how engaging, exciting, and funny this historical novel by sir walter scott was. this novel, written in 1823, tells the story of quentin durward, a wandering scottish nobleman who goes to france to make his fortune and ends up serving in the scottish guard of the french king, louis xi. quentin is as noble and true and chivalrous as louis is sneaky, cruel, and out for number one, but together they make a pretty good team and a very satisfying story. als
written to introduce children to the works of sir walter scott, both volumes bear the sub - title
stolen from the treasure chest of the wizard of the north
. stories include episodes from waverley, guy mannering, rob roy, the antiquary, ivanhoe, the fortunes of nigel, quentin durward & the pirate. “ in this simple recounting of adventures there lurks a really high art, and not a little humor. mr. crockett is aiming to bring home to his critical small audience the liveliness, the excitement, the breathless adventuresomeness, of these great novels. he is luring his hearers on to read for them - selves. he tells them enough about the people and the events to make them hurry to the books to fill out details. ” — churchman .
walter scott’s novel of 1823 follows a scottish nobleman to 15th century france where he seeks his fortune as a mercenary working for the devious king louis xi. quentin durward believes in chivalry in an age when chivalry is going out of fashion, but sticks to his principles throughout in spite of many obstacles. this is but one example of the various impressively realised characterisations in the novel, against a fast moving action packed story with occasional moments of gutsy violence. the bac
the film is part of a thematic series with 1952' s ivanhoe and 1955' s quentin durward (which were also produced by mgm and directed by richard thorpe, and also starred robert taylor), with a similar chivalric spirit and tone and similarly lavish production values. all three were filmed at mgm' s british studios at elstree, near london .
thus, the scott cinema canon, which had been fairly eclectic in the early years of film, soon narrowed to just three principal source works: rob roy, ivanhoe, and quentin durward. the small number of recent scott films had continued this trend: most were made in post - soviet russia, and one, rob roy (usa, 1995), is only tangentially based on the original novel. [ 13 ] significantly, too, only rob roy had been a favourite with theatre - goers before the advent of cinema: there were some 970 stage adaptations of the novel produced in the century between 1817 and 1917, nearly four times as many as ivanhoe and quentin durward combined. [ 14 ] so why did one great scotch romance and a couple of minor medieval romances assume such prominence in the cinema? the following section of this essay will consider some of the surviving film versions of these three novels, with particular attention to cinematic representations of scotland .
n 1465, the impecunious scottish knight quentin durward travels to france to determine whether the countess isabelle of marcroy will make a suitable bride for his aged uncle. the marriage has been arranged by the duke of burgundy to from a lasting alliance with scotland. aware that her intended husband is an old man, isabelle takes flight and puts herself under the protection of the king of france, louis xi. quentin pursues her and manages to inveigle his way into the king' s confidence. fearing that a rift with burgundy will lead to an all - out war that france can ill afford, the king conceives a fiendish plan that will deliver isabelle into the hands of the notorious brigand count william de la marck ...
scott’s reinvention of rob roy as a highland robin hood conveniently supplied disney with a link between the jacobite setting of the novel and the more congenial medieval scott of ivanhoe, the talisman, and quentin durward. [ 45 ] conscious of the catastrophe of alexander korda’s bonnie prince charlie in 1948, hollywood studios were anxious to find ways of exploiting the magnificent scottish scenery and the action, colour, and revelry of scots “tartanry” without having to deal with the dramatically unpromising facts of the failed rebellions of 1715 and 1745 and the integration of scotland into the united kingdom. the highland rogue therefore belongs more compellingly with other chivalric romances coming out of the british - american co - productions of the period, such as another jacobite makeover of 1953, warners’ film of robert louis stevenson’s the master of ballantrae, in which the presence of errol flynn inevitably calls up robin hood. [ 46 ]
i read this long ago and liked it very much. the story is about a young archer, quentin durward, who leaves his native scotland to serve in the scottish guard of louis xi of france. as security detail he accompanies the beautiful isabelle de croye of burgundy on a journey to flanders. the lady is promised in marriage to quite a few men within the story: first to an odious nobleman in the burgundy court, then to a bandit, next to the duke of orleans. when she refuses the duke, he promises her to
i recently watched the hollywood movie version of quentin durward (in several youtube installments), starring robert taylor, kaye kendall, and robert morley; and i decided to pick up a used hard - bound copy to read in the original literary format. even after having read barely 70 pages of the book, including the 33 - page
introduction
, i was able to affirm that for once hollywood captured the book' s droll, ironic humor, especially in the on - screen characterization of louis xi (aka the
spider kin
i have to admit i was a little surprised by how engaging, exciting, and funny this historical novel by sir walter scott was. this novel, written in 1823, tells the story of quentin durward, a wandering scottish nobleman who goes to france to make his fortune and ends up serving in the scottish guard of the french king, louis xi. quentin is as noble and true and chivalrous as louis is sneaky, cruel, and out for number one, but together they make a pretty good team and a very satisfying story. also includes a damsel in distress, some pointedly two - faced religious devotions, and some pretty racist comments about the gypsies .
the maid of france: being the story of the life and death of jeanne d' arc. 1908 .
then she made the holy sign of the cross, and the face of the elf grew black, and the light went out of the sky .
when i first read this novel in high school, i really liked it and always thought it was an excellent historical adventure novel (there is probably a better term for this type of literature). after reading another novel about mercenaries recently, i decided to re - read quentin durward just to remind myself of how novels about mercenaries really should be written. well, this experience was pretty interesting. the story is about the french king louis xi as much as it is about the scottish archer, quentin durward who serves the french king. in fact, there is probably more text dedicated to the king and his affairs. this side of the story really slows the flow of the book although shows in detail what kind of monarch and politic louis xi really was - you will be repulsed by his actions and you will admire him a little. it sounds crazy but think about it - how can you admire a story about adventures of a person who kills for money (mercenary)? if you do, why not admire the king who is smart and ruthless at the same time (or is it the same thing ?)? the adventures feel ancient in character and a bit naive (think knights fighting for their dames) but it' s still enjoyable if you manage to sleep through the boring parts (maybe it' s just me but this is my review so ...). overall, i found that i only got interested in the story after i' ve gone though 2 / 3 of the book. and all i could say in the end was ,
well, good for him. what do i read next ?
i read this long ago and liked it very much. the story is about a young archer, quentin durward, who leaves his native scotland to serve in the scottish guard of louis xi of france. as security detail he accompanies the beautiful isabelle de croye of burgundy on a journey to flanders. the lady is promised in marriage to quite a few men within the story: first to an odious nobleman in the burgundy court, then to a bandit, next to the duke of orleans. when she refuses the duke, he promises her to whoever will kill the bandit she was once to marry. quentin, true romance hero that he is, performs this task admirably and thereby gains isabell' s love and hand in marriage. this was quite long. an enjoyable cloak and dagger novel with lots of historical detail about 15th - century france and scotland .
my second favorite of scott' s work - - - next to ivanhoe. a good action / adventure story set against the interesting backdrop of 1400s france. the conflict between king louis and charles of burgundy was fun for me to read about, but anyone can enjoy characters like lady hamelina and the naive, honest hero, quentin durward himself. the book has more humor than you' d expect, and that' s a plus. i recommend this to anyone interested in trying out scott' s other novels - - besides ivanhoe .
when i first read this novel in high school, i really liked it and always thought it was an excellent historical adventure novel (there is probably a better term for this type of literature). after reading another novel about mercenaries recently, i decided to re - read quentin durward just to remind myself of how novels about mercenaries really should be written. well, this experience was pretty interesting. the story is about the french king louis xi as much as it is about the scottish archer, que
introductions to the gadshill edition of the works of charles dickens. 34 volumes .
[ 13 ] ballada o doblestnom rytsare ajvengo (ivanhoe, sergei tarasov, russia, 1983), priklyucheniya kventina dorvarda, strelka korolevskoy gvardii (quentin durward, sergei tarasov, russia, 1988) richard ivinoye sedtse (richard the lion - hearted, based on the talisman, yevgeni gerasimov, russia, 1992), rytsar kennet (kenilworth, yevgeni gerasimov, russia, 1993), rob roy (michael caton - jones, usa, 1995) .
the cold, clear magic of the north, austere as the hills of ettrick and of yarrow, is breathed over the whole piece. but the austerity is the quiet simplicity of the truest affection, and the coldness is the gentle calm of the love that is beyond passion .
fairies had interested him since childhood. not only had he been brought up on perrault and grimm, but he grew up in the border country, where legends and tales of the
little people
abounded. fairnilee, the locale of his best story, is border country, and appears to be little more than a reconstruction of his own childhood adventures in search of fairy folk and fairy treasure .
[ 11 ] redgauntlet (children’s hour, 1940, 1945), guy mannering (1948), waverley (1948 - 49), ivanhoe (1950), kenilworth (1950), quentin durward (1951), the talisman (1952), old mortality (1952), the heart of midlothian (1953), the fortunes of nigel (1955), old mortality (1974). see h. philip bolton, “sir walter scott on bbc, ” scott newsletter (issue 12, spring 1988) 2 - 9 .
the origin of the irrational element in myth and tale is to be found in the qualities of the uncivilised imagination .
like ivanhoe, quentin durward was based on a historical novel by sir walter scott, but took on a comic dimension as it depicted a 15th century
when knighthood was a drooping blossom .
taylor starred as the title character, an honorable but penniless scottish knight sent to france on a minor mission that grows into a battle for the country' s future. the film featured lovely european photography, a mostly english supporting cast, and a charming turn by taylor as the chivalrous but somewhat hapless knight .
analysis of lang' s portrayal of aspects of civilization and childhood in the blue fairy book .
until mgm closed its british studio in 1970 and amalgamated with emi, it turned out several productions each year from borehamwood, including such critical and / or commercial successes as the adventures of quentin durward (d. richard thorpe, 1955), bhowani junction (d. george cukor, 1955), lust for life (1956), several of ealing' s last films, including dunkirk (d. leslie norman, 1958), margaret rutherford' s four' miss marple' thrillers, starting with murder she said (d. george pollock, 1961), anthony asquith' s all - star last gasps, the vips (1963) and the yellow rolls - royce (1964), stanley kubrick' s lolita (1961) and 2001: a space odyssey (1968), and - almost the end - a musical remake of one of the earliest mgm - british successes, goodbye, mr chips (d. herbert ross, 1969) .
the next stage of the illness was characterized by the painting of fingernails in the unlikeliest of shades as well the application of artificial eyelashes, the meticulous plucking of eyebrows, and the application of considerable amounts of other cosmetics, to the point that periodically some girl would even wear bright red lipstick. that was what it was like at school .
analysis of lang' s adaptations of
beauty and the beast
and
the wonderful sheep
in terms of carl jung' s theory of the cultural archetype .
away from the archers, challis became a mainstay of the rank organisation during the 1950s, lending his talents to the smash hit genevieve, and worked with leading british directors such as sidney gilliat, lewis gilbert, charles crichton and roy ward baker. challis' hollywood credits from this period include the lively medieval swashbuckler quentin durward, notable for its vibrant widescreen imagery. hollywood - backed productions seldom called for the kind of visual imagination evident in the archers films. a shot in the dark, for example, found challis largely constricted by blake edwards' penchant for subdued colour and long, static takes. an elaborate crane shot in the opening sequence, charting multiple amorous liaisons in a french villa, shows what could have been .
[ in the following excerpt, tolkien—the acclaimed author of the lord of the rings series—examines the value and function of fairy tales in modern culture, refuting lang' s assertaion that fairy tales belong primarily to the realm of childhood. ]
household tales occupy a middle place between the stories of savages and the myths of early civilisations. 17
the bulk of the book is about ulysses, the trojan war seen from his part in it as well as the matter of the odyssey. lang uses the roman name throughout, saying firmly
the name was changed into ulysses and we shall call him ulysses
, while leaving zeus, aphrodite and the other gods in their greek forms. the gods themselves are played down, perhaps in imitation of bowdler. it may not be necessary to revive the question of ulysses' paternity, though writers later than homer thought he was the son of sisyphus, not laertes. but to refer to helen as the daughter of tyndarus (sic) is either to be podsnappishly zealous about the young readers' innocence or stolidly to ignore one of zeus' s more notorious extramarital adventures. it also leaves lang with an anomalous nickname of helen' s to explain, so he says that she was called
the daughter of the swan
because of the whiteness of her breast! the judgment of paris, which would appear the sine qua non of the whole boiling, is mysteriously omitted .
she only saw the faint glimmer of the white flowers, and a kind of shadow standing where the dwarf stood .
tim dolin is associate professor in the school of media, culture and creative arts at curtin university of technology. he is the author of
for us ,
he writes ,
the true poetry is the poetry that wakes again the true self; the wistful soul slumbering undisturbed in the tumult of the world, and only aroused, like the sleeping princess in the scottish fairy - tale, by the magic song
1 and in his case the magic song was the music of the tweed and of the waters of the north wandering among the hills where dwelt yet the echoes of old story and old belief .
walter scott’s novel of 1823 follows a scottish nobleman to 15th century france where he seeks his fortune as a mercenary working for the devious king louis xi. quentin durward believes in chivalry in an age when chivalry is going out of fashion, but sticks to his principles throughout in spite of many obstacles. this is but one example of the various impressively realised characterisations in the novel, against a fast moving action packed story with occasional moments of gutsy violence. the background details and many of the characters have some historical basis, although various notes point out how some events have been moved into different time periods for the convenience of the story, a not unusual device in historical novels. arguably, the novel has its faults – some readers will find that the numerous footnotes slow down the plot, but i actually found them informative. the gipsy characters, also referred to as bohemians, seem to be the typecast two dimensional untrustworthy foreigners of pulp fiction. i enjoyed it immensely, a rare example of a fast - paced 19th century novel. it helps if you try to forget the appalling 1950s movie version .
[ 12 ] kenilworth (uk, 1957), ivanhoe (39 - episode tv series, uk / usa, 1958 - 59), the heart of midlothian (uk, 1966), kenilworth (uk, 1967), the devil’s piper (uk, 1968), ivanhoe (uk, 1970), the rebellious red gauntlets (uk, 1970), quentin durward (france / west germany, 1971), woodstock (uk, 1973), the fortunes of nigel (uk, 1974), rob roy (1977), the talisman (uk, 1980 - 81), ivanhoe (uk, 1982), ivanhoe (1997), la jolie fille de perth (fr, 1998) .
as ivanhoe amply shows, scott’s medieval romances came into their own in the 1950s because they were made to speak strongly to contemporary concerns. the post - war and cold war years encouraged the consolidation of the cultures of the west, and the plots of ivanhoe and quentin durward both “project … incipient nation states [ or nato states? ], not as culturally unitary but as divided against themselves. ” [ 47 ] these plots can be resolved only by symbolic marriages. both stories offer domestic solutions to world - historical problems, therefore, and must have appealed to producers during the baby - boom of the 1950s when the american dream, projected as suburban domesticity and consumer culture, was being sold abroad as the most powerful weapon against communist russia. as critics have shown, too, ivanhoe in particular showed how the camouflage of costume might allow a more critical examination of cold war america. for example, elizabeth taylor’s lead role as rebecca, the able, energetic jewess who falls in love with ivanhoe but must relinquish him in the end to the insipid anglo - saxon rowena, raises issues about the role of women, the prevalence of anti - semitism, and the spectre of mccarthyism in the 1950s. [ 48 ]
at the dawn of the victorian period came the folktales of grimm to complicate the issue; and so strong was their influence that german very soon became the language of fairyland—of märchenland, we would fain say, borrowing the title from f. anstey' s delicious fantasy of the fairy world, in brief authority .
in 1888 lang turned aside from the high road of the literary fairy story to seek his inspiration for the gold of fairnilee among the dark shadows of the genuine old fairy beliefs. but a year later he returned to the fairy court tradition, and wrote prince prigio, the first of his chronicles of pantouflia .
a mist of memory broods and floats, the border waters flow; the air is full of ballad notes borne out of long ago .
robert taylor is splendidly dashing as penniless scottish nobleman quentin durward in this jolly swashbuckler set in 15th century france and based on a novel by sir walter scott. in the busy, well - constructed plot, taylor finds himself embroiled in a struggle for power between ruthless brothers king louis xi (robert morley) and the duke of burgundy (alec clunes). it' s made with a fast pace, a gracious, spirited leading lady in kay kendall, as the beautiful princess isabelle of marcroy, eye - popping technicolor photography, splendid french location filming and an exciting climactic confrontation in a blazing bell tower. all this, plus george cole as a gypsy, wilfrid hyde white and ernest thesiger .
great action, good humor and a picturesque setting as scott always delivers. but for this one, also a nice introduction to a period of french history less well known to me - the mid 15th century while the king of france was still struggling with burgundy to weld together the modern french state. many memorable characters from quentin who is like a younger, scottish d' artagnan, the always composed, perfectly cynical louis xi and the well - meaning but utterly rash charles of burgundy, down to the comic relief of louis' mismatched pair of over - worked executioners .
clodd and most of the folk - lore society, including the rest of the great team, stood firm in asserting
the science of folklore .
39 lang persisted in his comparative studies of ghost stories and other psychic events, producing the book of dreams and ghosts (1897). in the preface to the second edition of cock lane and common - sense, lang argued one final time of the need to extend the boundaries of contemporary folklore studies :
because the vanishing people is a collection of essays on different aspects of fairy lore, there is some inevitable duplication of illustrative material. all of it, however, is of the highest quality, and grips the imagination in even the shortest extracts. few will easily forget the fairy rade which passed by bessie dunlop in the sixteenth century
with mony hiddous rumbill
, or the chilling cry of the malevolent mermaid, cheated of her prey, the laird of lorntie, by the quick - wittedness of his servant :
great action, good humor and a picturesque setting as scott always delivers. but for this one, also a nice introduction to a period of french history less well known to me - the mid 15th century while the king of france was still struggling with burgundy to weld together the modern french state. many memorable characters from quentin who is like a younger, scottish d' artagnan, the always composed, perfectly cynical louis xi and the well - meaning but utterly rash charles of burgundy, down to the c
lang' s narrative tone in his next tales, prince prigio and prince ricardo of pantouflia (1893), in contrast to that of the gold of fairnilee, is lightly satirical and has been described as a burlesque of the traditional fairy tale. prince prigio and prince ricardo were both strongly influenced by william makepeace thackeray' s similarly burlesque the rose and the ring. in these original tales, lang follows the adventures of the clever, but obnoxious prince prigio and his dim - witted son, prince ricardo. in tales of a fairy court (1907), lang chronicles further episodes in the life of prince prigio. in one of the stories, prince prigio travels in time, first into the future of the twentieth century, then back in time to the court of king james vi of scotland. lang' s tales of troy and greece (1907) comprises a retelling of homer' s the iliad and the odyssey as a boy' s adventure story for children. drawing on his own translations of homer' s works and his accomplishments as a homeric scholar, lang' s tales of troy and greece is highly regarded as one of his strongest volumes of stories for children .
[ 43 ] the highland rogue was also, of course, one of scott’s sources .
in deserting all the literary traditions of fairyland and going for his inspiration to the border ballads and to the ancient folk beliefs and superstitions, lang was not acting unreasonably or from any spirit of forced innovation: for the fairies of the north are indeed the true fairies, and they were the products of the popular and literary creed of many centuries .
[ in the following review, the critic comments on the appeal of lang' s original fairy tales to modern readers, particularly the stories recounted in the gold of fairnilee and the princess nobody. ]
the year of lang' s birth, 1844, saw perhaps the earliest fusion of grimm and the french fairy court, in a forgotten tale, the hope of the katzekopfs by the reverend francis edward paget, where the new tradition is exemplified very clearly .
the movie debut of albert finney, at work in the raleigh ...
johnny nut and the golden goose (from the french of charles deulin) .
lang frankly admitted
the process of evolution... is the mainspring of our system .
18 the scholarly introduction to this new translation—the first scholarly version of the grimm' s household tales —was most fortuitous .
the vedas do not represent the ordinary conversation of men, in which the process of naming and forgetting names is said to have existed .
he learned the tales of death divine and birth, strange loves of hawk and serpent, sky and earth, the marriage and the slaying of the sun; the shrines of ghosts and beasts he wandered through, and mocked not of their godhead, for he knew behind all creeds the spirit that is one .
[ 3 ] they are old mortality, the heart of midlothian, rob roy, the bride of lammermoor, a legend of montrose, and redgauntlet. of the two remaining scotch romances, the antiquary was set in scott’s own time, and guy mannering in the days of his youth .
[ 8 ] the bride of lammermoor (j. stuart blackton, usa, 1909), the bride of lammermoor (it, 1910) kenilworth (usa, 1909), lochinvar (based on marmion, j. searle dawley, usa, 1909), quentin durward (albert capellani, fr, 1911), rob roy (arthur vivian, uk, 1911), the lady of the lake (j. stuart blackton, usa, 1912), guy mannering (us, 1913), ivanhoe (herbert brenon, uk, 1913), ivanhoe (leedham bantock, uk, 1913), rebecca the jewess (based on ivanhoe, uk, 1913), rob roy (o. a. c. lund, usa, 1913), a woman”s triumph (based on the heart of midlothian, j. searle dawley, usa, 1914), the heart of midlothian (frank wilson, uk, 1914) .
among more literary classes the popular fairy - lore in the middle ages became diluted and changed by the addition of classical and romantic elements. perhaps the best example of this is the middle english poem of
sir orfeo ,
which tells the story of orpheus and eurydice in a setting of british fairy belief, making persephone queen of that fairyland under the ground to which, in the ballad, the fairy queen leads thomas the rhymer .
this is the eternal difficulty of the philological method. how are you to suppose that forgetfulness of the meaning of words so frequently led civilised men to ideas essentially savage? how are you to be certain that the story was originally told of the god or hero whose name you analyse by the aid of philology? 11
i was reading quentin myself at this stage, albeit at home and in secret, firstly because the doctor had forbidden me reading yet again, and secondly because the book was too heavy to drag to school along with all my textbooks. and this coincidence, which then seemed to me to be mysteriously significant, made my heart pound even harder .
k - gr. 3 —this russian folktale [ the flying ship ] recounts the offbeat adventures of a kindhearted simpleton and his attempts to win the hand of a beautiful princess. he soars in a magical flying ship, gathering a crew of eccentric characters along the way. all of them eventually use their unique and often comical talents to help their peculiar, yet determined, captain claim his royal bride. the text is taken from andrew lang' s the yellow fairy book (dover, 1966), and includes a few minor spelling changes. unfortunately, the watercolor - and - pencil illustrations do not reflect the earthy humor of the tale. many of the page - and - a - half spreads are static, and the rosy - cheeked, round - eyed men, women, and children resemble cartoon figures. overall, the soft colors and romanticized landscapes create a saccharine quality that is incompatible with the spirit of the story. those in need of
the flying ship
should turn to the yellow fairy book .
the process of diffusion remains uncertain. much may be due to the identity everywhere of early fancy: something to transmission .
euterpe: being the second book of the famous history of herodotus, tr. barnaby rich (editor). 1888 .
the second grouping, prince ricardo of pantouflia: being the adventures of prince prigio' s son, offers a different twist. even in pantouflia, parents occasionally err in making life too easy for their offspring. so immersed is ricardo in using magical gifts to solve dilemmas that he neglects skill development and personal talents. rather than tending to his humdrum duties and his geography and mathematics studies. ricardo dashes and darts from one exciting exploit to another until his father decides to teach him a lesson .
just the top of the
yankee doodle boy
number from george ...
duel to the death: lancelot challenges mordred in a duel to the death to avenge the death of king arthur in the climax .
between 1909 and 1914, fourteen scott films were made in four different countries (the uk, usa, france, and italy) from seven novels, one story, and a poem: still barely one - third of the number of films made from dickens’s writing in the same period. ivanhoe, which almost alone made scott’s name known to later generations of moviegoers, was already the favourite, attracting three film versions. interestingly, the heart of midlothian was made twice in 1914 (it was never filmed again: see below), as were two other novels that would prove appealing to subsequent filmmakers: the bride of lammermoor and rob roy. [ 8 ] by contrast, between 1915 and the end of the silent era in 1930 scott virtually disappeared from the cinema: only five more films were produced, from three novels (rob roy, the talisman, and the fair maid of perth). [ 9 ] thereafter, to the best of my knowledge not a single scott film was made anywhere in the world between 1930 and the revival of interest in chivalric epic in hollywood during the cold war. this spurred a minor scott revival, but only in rob roy and the handful of medieval swashbucklers: ivanhoe, the talisman, and quentin durward. [ 10 ] scott fared rather better on radio and television. between 1940 and 1974, the bbc made ten radio serials, [ 11 ] and between 1957 and 1998, fifteen television serials (of eleven novels) appeared. [ 12 ]
by a strange chance mrs molesworth, one of the greatest writers of the
child - novel ,
was born in 1839, the year of the publication of holiday house, the earliest real example of that type of story: following on this it is even stranger to find that in 1844, the year when the hope of the katzekopfs, the first true
literary fairy - story
appeared, was born andrew lang, whose name is more intimately connected with fairies than that of any other englishman since shakespeare .
one of the greatest all time romantic swashbucklers. one of a trio of medieval films robert taylor did, owing little to history but great entertainment none the less .
the chronicles of pantouflia combine two books, the story of prince prigio (1889) and the adventures of his son, prince ricardo (1893); both antedate the blue fairy book of 1899, the first in andrew lang' s great spectrum of anthologies of children' s stories. but they reveal already an imagination steeped in fairy literature, and adding to that tradition with considerable sophistication. the stories repeatedly take their bearings by literary cross - reference. some of these would be appreciated by children: the king of pantouflia is the grandson of cinderella and includes madame la belle au bois - dormant among his ancestors; prince prigio is given the whole battery of fairy gifts—seven - league boots, flying carpets, wishing caps and so on. on the other hand prince ricardo is saved by a weapon - salve described by sir kenelm digby, and his tale has elements drawn from scott and ariosto as well as the gawain poet and others; the tale of the yellow dwarf recounted here awaits its proper placement, anthologized in the blue fairy book six years later. pantouflia, we may assume, is not only a country but, as its name suggests, a state of slippered ease, bookish, witty and even cynical in its handling of the stuff of children' s fiction .
finished! i have officially exhausted all of the scott in my collection, ladies and gentlemen, and i’m free at last :) i shouldn’t be so dramatic, but i liked this even less than “kenilworth” – i guess i’ll just be thankful that i didn’t go for this one first. i have no desire to write about this book, so this is going to be short. the story was tedious and i had nearly zero investment in the characters or their aspirations. i pictured quentin as justin bieber in armor; he was a complete ninny. isabelle was incredibly boring, and her only discernable purpose was to be rescued and to melodramatically throw herself on the mercy of various and sundry noblemen. her bitter spinster aunt was admittedly quite funny, and crevecoeur was amusing as well for mercilessly making fun of quentin’s puppy love. but other than that, this was a snooze .
[ 6 ] in h. philip bolton, scott dramatized (london: mansell, 1992), the last dated stage adaptations of scott, excluding operas and school playscripts, are: marmion in 1903, waverley in 1871 (54), guy mannering in 1913 (139), the antiquary in 1844 (146), old mortality in 1874 (156), the black dwarf in 1833 (161), rob roy in 1990 (257), heart of mid - lothian in 1949 (296), bride of lammermoor in 1908 (332), the legend of montrose in 1868 (340), ivanhoe in 1914 (371), the monastery in 1883 (374), the abbot in 1886 (392), kenilworth in 1905 (420), the pirate in 1844 (425), the fortunes of nigel in 1903 (435), peveril of the peak in 1877 (440), quentin durward in 1940 (451), st. ronan”s well in 1893 (455 - 6), redgauntlet in 1872 (461), the betrothed in 1829 (462), the talisman in 1938 (472), woodstock in 1913 (476), the fair maid of perth in 1967 (492), and anne of geierstein in 1829 (493) .
the absence of names is not, of course, essential to the ordinary folk - tale; but in the case of such a story as this, it is only by such a suppression that it can be regarded with any ease as a fairy - tale of the type best exemplified in the grimm collection, and not merely as a fragment of the grand legendary history of homeric greece .
it will enhance any encyclopedic page you visit with the magic of the wiki 2 technology .
the companions of pickle: being a sequel to
pickle the spy .
1898 .
in general, lang moved from the known to the lesser known in his selection of tales—the tried and the true to the more experimental. in keeping with his concept of making manifest the universality of the human experience, he covered the world fairly well in each volume. although the blue fairy book ventured only as far afield as asia minor, the yellow fairy book five years later presented three american indian tales and one of the two chinese tales in the series, as well as tales from europe. the brown fairy book of 1904 balanced its american indian and african—both northern and southern—with scandinavian, french, and spanish tales. where five countries had been represented in the first book of the series, from the yellow fairy book of 1894 through the orange fairy book of 1906 the number of countries represented averaged ten.
the adventures of quentin durward , known also as quentin durward , is a 1955 historical film released by mgm . it was directed by richard thorpe and produced by pandro s. berman . the screenplay was by robert ardrey , adapted by george froeschel from the novel quentin durward by sir walter scott . it was the third in an unofficial trilogy made by the same director and producer and starring robert taylor . the first two were ivanhoe ( 1952 ) and knights of the round table ( 1953 ) . all three were made at mgm 's british studios at elstree , near london . the film had the distinction of a soundtrack composed by studio music mainstay bronislau kaper rather than miklos rozsa , who was busy on other projects at the time the film was ready for scoring . it was the first big-budget film for the british actress kay kendall , and it featured a large contingent of distinguished british players , including robert morley . 
the adventures of quentin durward, known also as quentin durward, is a 1955 historical film released by mgm. it was directed by richard thorpe and produced by pandro s. berman. the screenplay was by robert ardrey, adapted by george froeschel from the novel quentin durward by sir walter scott. it was the third in an unofficial trilogy made by the same director and producer and starring robert taylor. the first two were ivanhoe (1952) and knights of the round table (1953). all three were made at mgm's british studios at elstree, near london. the film had the distinction of a soundtrack composed by studio music mainstay bronislau kaper rather than miklos rozsa, who was busy on other projects at the time the film was ready for scoring. it was the first big-budget film for the british actress kay kendall, and it featured a large contingent of distinguished british players, including robert morley.
the adventures of quentin durward, known also as quentin durward, is a 1955 historical film released by mgm. it was directed by richard thorpe and produced by pandro s. berman. the screenplay was by robert ardrey, adapted by george froeschel from the novel quentin durward by sir walter scott. it was the third in an unofficial trilogy made by the same director and producer and starring robert taylor. the first two were ivanhoe (1952) and knights of the round table (1953). all three were made at mgm's british studios at elstree, near london. the film had the distinction of a soundtrack composed by studio music mainstay bronislau kaper rather than miklos rozsa, who was busy on other projects at the time the film was ready for scoring. it was the first big-budget film for the british actress kay kendall, and it featured a large contingent of distinguished british players, including robert morley.