...Edmund Reiss HAVELOK THE DANE AND NORSE MYTHOLOGY By EDMUNDREISS The story of Havelok the Dune, in its several forms, has long been a hunting ground for scholars interested in extracting historical elements from popular legends and romances...

...). Laura H. Loomis traces “The Saint Mercurius Legend in Medieval England and in Norse Saga” (pp. 132-43). Eilert Ekwall treats ME fan and sen in “Two Middle English Etymologies” (pp. 144-53). C. T. Onions gives “Comments and Specu- lations on the Text of Havelok” (pp. 154-63). Henning Larson...

... reproduced in the new work. The author’s intention is to arrive at a characterization of Middle English poetry, other than that of Chaucer, through the study of individual poems, such as “Lenten is Come With Love to Town,” Yzvain and Gawain, Sir Percevelle of Galles, King Horn, Havelok, Gawain...

..., Sexty schaftes, I say, Sir Percyuell brake pat ilke day,6 in Sir Orfeo, “Damisels sexti and mo,”6 in Havelok:’ 1 Chaucer‘s Complete Works (New York, 1933), p. 351, 11. 1978-1979. 2 Edited by Sidney J. Herrtage for EETS (1880), p. 28. 8 EETS, extra series, XLVI (1885...

... the very conventions they use by the way in which they use them. Hauelok the Dane, for example, juxtaposes but rarely synthesizes impulses toward an energetic “sensory realism” (as in the episode where Havelok first becomes a porter in Lincoln), toward “the machinery of monumental epic...

... to reinforce the parallel at this point. This is a techniqile used in other ronlances: cf. Ritnenhild antl Reyn- hild in King Horn, Godard antl Gotlrich in Havelok, Freine ant1 Codre in La1 le Freitie, Emare and Egare in Emnre (here the natiies etiiphasiie a contrast in the heroine’s plight). antl...

... of itself as a commodity that sets its own value not in any particular version but in some imagined “spirit” of romance. Romance heroes, for instance, are defined less by what they do than by the abstract excellence of what they are: Havelok may shine in his adventures in the romance, but he also...

... of a given tale. Cannon argues that romance thinks of itself as a commodity that sets its own value not in any particular version but in some imagined “spirit” of romance. Romance heroes, for instance, are defined less by what they do than by the abstract excellence of what they are: Havelok may shine...

... they do than by the abstract excellence of what they are: Havelok may shine in his adventures in the romance, but he also literally shines with a nocturnal supernatural light that identifies his exceptionality whatever he does. That the individual hero or literary object is devalued, in that its...

... of itself as a commodity that sets its own value not in any particular version but in some imagined “spirit” of romance. Romance heroes, for instance, are defined less by what they do than by the abstract excellence of what they are: Havelok may shine in his adventures in the romance, but he also...

... of itself as a commodity that sets its own value not in any particular version but in some imagined “spirit” of romance. Romance heroes, for instance, are defined less by what they do than by the abstract excellence of what they are: Havelok may shine in his adventures in the romance, but he also...

... they are: Havelok may shine in his adventures in the romance, but he also literally shines with a nocturnal supernatural light that identifies his exceptionality whatever he does. That the individual hero or literary object is devalued, in that its value always lies outside itself, paves the way...

... but in some imagined “spirit” of romance. Romance heroes, for instance, are defined less by what they do than by the abstract excellence of what they are: Havelok may shine in his adventures in the romance, but he also literally shines with a nocturnal supernatural light that identifies his...