{"id":13,"date":"2012-02-28T14:55:59","date_gmt":"2012-02-28T14:55:59","guid":{"rendered":"http:\/\/sites.williams.edu\/sirpatrickspens\/?page_id=13"},"modified":"2012-07-16T19:21:13","modified_gmt":"2012-07-16T19:21:13","slug":"afterlife","status":"publish","type":"page","link":"https:\/\/sites.williams.edu\/sirpatrickspens\/afterlife\/","title":{"rendered":"Afterlife"},"content":{"rendered":"
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http:\/\/www.youtube.com\/watch?v=bGVqMK_wZtA<\/p>\n

Fairport Convention’s folk rock version (Maidstone, 1970) <\/em><\/p>\n

MUSICAL RENDITIONS<\/strong><\/h4>\n

Edward Francis Rimbault<\/strong>,
\nMusical Illustrations of Bishop Percy’s Reliques of Ancient English Poetry <\/a>(1850)<\/p>\n

Robert Pearsall<\/strong>, in 10 parts, sung by the Bach Choir (1892)
\nThe Musical Times<\/a><\/em>, 1905<\/p>\n

G.J. Bennet<\/strong>, edited and arranged for 8 voices (1876)<\/p>\n

W.A. Barratt<\/strong>, a Ballad for Baritone Solo, Chorus, and Orchestra’ (1907)<\/p>\n

Thea Musgrave<\/strong>, for tenor and guitar (traditional) (1961)<\/p>\n

Buffy Sainte-Marie<\/strong> on Life Wheel Spin and Spin<\/em> (1966) PLAY<\/a><\/p>\n

Nic Jones<\/strong> on Ballads and Songs<\/em> (1970) PLAY<\/a><\/p>\n

Fairport Convention’s<\/strong> folk rock version on Full House<\/em> (1971) PLAY<\/a><\/p>\n

Michael Cooney<\/strong> on Still Cooney After All These Years<\/em> (1979)<\/p>\n

Geoff Kauffman<\/strong> on Fair Stood the Wind<\/em> (1987) PLAY<\/a><\/p>\n

Jackie Leven<\/strong> on Fairytales for Hardmen (1997) PREVIEW<\/a><\/p>\n

Martin Carthy<\/strong> on Signs of Life (1998) PREVIEW<\/a><\/p>\n

Rick Fielding<\/strong> on This One’s the Dreamer<\/em> (1999)<\/p>\n

June Tabor<\/strong> on An Echo of Hooves<\/em> (2003) PLAY<\/a><\/p>\n

John Langstaff and Martin Best<\/strong> on Nottamun Town: British and American Folksongs and Ballads<\/em>(2003) PREVIEW<\/a><\/p>\n

Robin Williamson<\/strong> on The Iron Stone<\/em> (2006) PREVIEW<\/a><\/p>\n

Gordon Bok<\/strong> on In Concert<\/em> (2006) PREVIEW<\/a><\/p>\n

Kris Drever<\/strong> on Black Water<\/em> (2006) PREVIEW<\/a><\/p>\n

John Roberts<\/strong> on Sea Fever<\/em> (2007) PREVIEW<\/a><\/p>\n

ARTISTIC RENDITIONS<\/strong><\/h4>\n

\"Anne<\/a><\/p>\n

‘Now, Ever Awake My Master Dear, I Fear a Deadly Storm’, Anne Ryan 1947. Indianapolis Museum of Art. VIEW<\/a><\/p>\n

\"\"<\/a><\/p>\n

James Archer, ‘The Legend of Sir Patrick Spens’, Auckland Art Gallery<\/p>\n

\"\"<\/a><\/p>\n

Elizabeth Eleanor Siddal, ‘The Ladies’ Lament from the Ballad of Sir Patrick Spens’, 1856.<\/p>\n<\/div>\n

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Selected prose and poetry that demonstrate the ballad’s variety of influence on both British and American writers beginning with the works of Samuel Taylor Coleridge and the Romantics and continuing through to the twenty-first century. See our Spens Library<\/a> for an extended listing.<\/p>\n

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\tSamuel Taylor Coleridge (1772-1834)<\/a>\n<\/h2>\r\n\t\r\n\t
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(1798) ‘The Rime of the Ancyent Marinere’ Coleridge read Percy’s Reliques and was ‘deeply interested in the Englishand Scottish popular ballads’ (Lowes, The Road to Xanadu). The influence of these ballads comes through in the meter, word choice, and spelling … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tPercy Bysshe Shelley (1792-1822)<\/a>\n<\/h2>\r\n\t\r\n\t
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1824 (posthumous) \u2018The Triumph of Life\u2019 In ‘The Triumph of Life’ the image of the new moon foreshadows an impending storm. Perhaps this image came from ‘Spens’ or indirectly through Coleridge, whose influence is evident elsewhere in Shelley’s verse. Selected … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tDavid MacBeth Moir (1798-1851)<\/a>\n<\/h2>\r\n\t\r\n\t
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1852 (posthumous) \u2018The Old Seaport (Culross, Perthshire)\u2019 Poets of the Victorian period had little doubt as to Spen’s heroism. They were the first poets to draw on this aspect of the ballad. In, ‘The Old Seaport’, David Moir, a Scottish … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tHenry Wadsworth Longfellow (1807-1882)<\/a>\n<\/h2>\r\n\t\r\n\t
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1839 \u2018The Wreck of Hesperus\u2019 Most likely the first afterlife work to occur outside of Britain, this poem was originally titled, ‘The Ballad of Schooner Hesperus’. This ballad features moon imagery as well as exact phrases and patterns that appear … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tAubrey Thomas De Vere (circa 1817-1902)<\/a>\n<\/h2>\r\n\t\r\n\t
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1884 \u2018Robert Bruces\u2019s Heart\u2019; or, \u2018The Last of the Crusaders\u2019 Aubrey Thomas De Vere, an Irish poet greatly influenced by Coleridge, also depicts Spens as a hero in this poem. De Vere refers to Spens as ‘that sea-warrior grey\u2019. His … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tSara Jane Lippincott, \u201cGrace Greenwood\u201d (1823\u20131904)<\/a>\n<\/h2>\r\n\t\r\n\t
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Stories from Famous Ballads; For Children. <\/em>(Boston: Ticknor and Fields, 1885), p. 109-117. GoogleBooks<\/a> Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tRobert Louis Stevenson (1850-1894)<\/a>\n<\/h2>\r\n\t\r\n\t
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(1887) \u201cThe Unfathomable Sea\u201d In 1887 Stevenson published ‘To N.V. de G.S.: The Unfathomable Sea’. THE unfathomable sea, and time, and tears, The deeds of heroes and the crimes of kings Dispart us; This is a poem about a love … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tHerman Melville (1850-1924)<\/a>\n<\/h2>\r\n\t\r\n\t
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(1850) White Jacket Though Melville purchased a copy of Child\u2019s English and Scottish Ballads in 1859, he likely read the ballad earlier or heard it sung during his years at sea, because he references a musical version of ‘Spens’ in … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tKate Douglas Wiggin (1856-1923)<\/a>\n<\/h2>\r\n\t\r\n\t
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Penelope’s Progress: being such extracts from the commonplace book of Penelope Hamilton as relate to her experiences in Scotland. (Boston: Houghton, Mifflin, and Co., 1898 [1897]), pp. 168-181. GoogleBooks; OpenLibrary; InternetArchive<\/p>\n\t\t<\/div>\r\n\r\n\t

\n<\/div>\n\t<\/div>\r\n\t\t
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\tSir Walter Alexander Raleigh (1861-1922)<\/a>\n<\/h2>\r\n\t\r\n\t
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1900 \u2018A Literature Lesson. Sir Patrick Spens in the Eighteenth Century Manner\u2019 Raleigh\u2019s poem ‘A Literature Lesson. Sir Patrick Spens in the Eighteenth Century Manner’ (1900) makes fun of the verbosity of some eighteenth-century poets, thus backwardly praising the tight … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tA.T. Quiller-Couch (1863-1944)<\/a>\n<\/h2>\r\n\t\r\n\t
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‘New Ballad of Sir Patrick Spens’. From a Cornish Widow. <\/em>(New York: E.F. Dutton and Company, 1906), pp. 62-70. GoogleBooks<\/a> Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tRobert Frost (1874-1963)<\/a>\n<\/h2>\r\n\t\r\n\t
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Reginald L. Cook, ‘Frost on Frost: The Making of Poems’. American Literature,<\/em> Vol. 28, No. 1 (Duke University Press: 1956), pp. 62-72. JSTOR<\/a>
\nLesley Lee Francis. Robert Frost: An Adventure In Poetry, 1900-1918.<\/em> (Transaction Publishers, 2004), pp. 84-98. Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tEdwin Muir (1887-1959)<\/a>\n<\/h2>\r\n\t\r\n\t
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1960 (posthumous) \u2018Complaint of the Dying Peasantry\u2019 In ‘Complaint’ Muir despairs the loss of the ‘old songs’, valorizing oral culture over a paper one. He sees ‘Sir Patrick Spens shut in a book’ and contemporary writers as ‘newspapermen’. Muir writes: … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

\n<\/div>\n\t<\/div>\r\n\t\t
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\tLouis MacNeice (1907-1963)<\/a>\n<\/h2>\r\n\t\r\n\t
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1948 \u2018The North Sea\u2019 In ‘The North Sea’ he mentions Spens four times by name, including in the opening lines and in the concluding stanza. Though not in ballad form, the poem plays on the sound and rhythm of ‘Spens’. … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

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\tTom Clark (1941-<\/a>\n<\/h2>\r\n\t\r\n\t
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1995 \u2018Excalibur\u2019 Clark is an American poet, editor, and biographer who studied in England and lived in Europe for over a decade. Clark begins ‘Excalibur’: While the new moon winter bright swimming Up overhead holds the old moon cradled He … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

\n<\/div>\n\t<\/div>\r\n\t\t
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\tWilliam Fuller (1953-<\/a>\n<\/h2>\r\n\t\r\n\t
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2000 \u2018What Does It Matter Now\u2019 Fuller, an American poet based in Chicago, earned a PhD in English Literature early in his career. In 2000 he published ‘What Does It Matter Now’, emphasizing the tragedy of Spens\u2019s commitment to duty. … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

\n<\/div>\n\t<\/div>\r\n\t\t
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\tWilliam Hershaw (1957-<\/a>\n<\/h2>\r\n\t\r\n\t
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2006 \u2018Sir Patrick Spens\u2019 Hershaw retells the ballad from Spens\u2019s point of view, instead of through an omniscient narrator. Dunfermline and Aberdour, both mentioned in Percy\u2019s version of the ballad, are in Fife, where Hershaw is a native. Hershaw sets … Continue reading →<\/span><\/a><\/p>\n\t\t<\/div>\r\n\r\n\t

\n<\/div>\n\t<\/div>\r\n\t<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

http:\/\/www.youtube.com\/watch?v=bGVqMK_wZtA Fairport Convention’s folk rock version (Maidstone, 1970) MUSICAL RENDITIONS Edward Francis Rimbault, Musical Illustrations of Bishop Percy’s Reliques of Ancient English Poetry (1850) Robert Pearsall, in 10 parts, sung by the Bach Choir (1892) The Musical Times, 1905 G.J. … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":62,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"onecolumn-page.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-13","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/pages\/13","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/users\/62"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/comments?post=13"}],"version-history":[{"count":76,"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/pages\/13\/revisions"}],"predecessor-version":[{"id":119,"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/pages\/13\/revisions\/119"}],"wp:attachment":[{"href":"https:\/\/sites.williams.edu\/sirpatrickspens\/wp-json\/wp\/v2\/media?parent=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}