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A comparative analysis of ballads for piano by three artists, whose works were created at the beginning of the 20th century, has been carried out. It has been revealed that the traditions the composers relied on during the period of the formation of their own style were influenced by the musical atmosphere and the environment (they are united by some common creative principles of F. Chopin and F. Liszt). The comparative analysis has reviled that the means of expression (allusions, stylizations) introduced and taken as a model to follow, differ due to the different conditions for the formation of a creative idea. For S. Bortkevych, these are the factors of nostalgia in forced emigration, hence he appealed to the idioms of expression of S. Rachmaninoff, M. Mussorgsky, and O. Scriabin. For I. Friedman these are the features of thematic development and development of F. Liszt's drama in view of the addressee of the dedication. For B. Lyatoshynsky these are works of M. Mettner, who the composer later borrowed a synthetic model of the sonata-ballad from. It has been highlighted that in terms of form, S. Bortkevych has a rondo-sonata with features of variation, I. Friedman has a sonata form with a mirror reprise and a fugue in the episode, and B. Lyatoshynsky has a sonata form of the poem type with features of cyclicality. In the article it has been claimed that the features of epicness and lyrics, gradations and means of achieving expression, freedom and scale of expansion of the major-minor in each of the composers are also different. There is an attraction to different styles of expression: romantic-secession (S. Bortkevych), secession-modern (I. Friedman), modern-expressionistic (B. Lyatoshynsky). The means used by composers have been differentiated: S. Bortkevych used allusions and pseudo-citations, intonation inversions and methods of musical structure development, which show resemblance with the works of S. Rachmaninoff, O. Scriabin and M. Mussorgsky. I. Friedman reproduced improvisation, spectacular virtuosity and the peculiarity of F. List drama tradition. B. Lyatoshynsky emphasized the basic features of the genre, based on the peculiarities of the formation of Chopin-Liszt ballad style, combining them with the peculiarities of genre synthesis and the characteristic features of M. Mettner's individual compositional style. The extent of each of the composers' contributions to the interpretation of the piano ballad genre has been clarified.

The article discusses the development of the oriental plot in the ballad by Lokhvitskaya “Enis-el-Jellis”. The ballad is a poetic version of the literary novel of Lokhvitskaya and Balmont. The depiction of elements of traditional architecture, the realities of life, the description of the appearance of the lyrical heroine in the spirit of sophisticated oriental lyrics, the use of the motif of bliss make it possible to put the sensual world of the poetess’s experiences in a space of oriental exoticism. According to many biographers, the central image of the work — the slave Enis el-Jellis — this is Lokhvitskaya “dressed up” in the eastern beauty. Playing this role the poetess openly expresses her romantic feelings. Much attention is given to the color system of the ballad. The following colors belong to the image of the slave: scarlet, gold, blue / gray, which create positive connotations and consolidate the link “Enis el Jellis — colorfulness — life”. With the lover of the lyrical heroine — the knight — only two colors are associated: the black color of the night and the white color of his horse, which makes a double impression. In addition, the work notes the static and dynamic discription of the main images of the ballad.

This essay examines a handwritten refugee ballad in a handmade codex, using both to illuminate some of the lingering blind spots in national philology and world literature. The ballad, printed in full after the essay, belongs to the Karamanli Christians of Anatolia, who spoke Turkish but wrote it in the Greek alphabet. Uprooted from Turkey by the Greco-Turkish Population Exchange of 1923, Karamanli refugees were scattered across Greece and North America, where they were often excluded from publishing. Poets like the author of the present ballad, Agathangelos, turned instead to more accessible manuscript formats. I interpret Agathangelos's ballad and codex as a catalog, documenting and preserving his lost homeland, where multiple scriptworlds, languages, and confessions coexisted. I conclude by calling for a people’s history of the book to decentralize and democratize world literature’s political economy (tacitly accepted as print capitalism), foregrounding textual networks that have remained illegible to our discipline.

The purpose of the article is to consider the instructive potential of the American folk ballad XVI-XIX. An integrated approach is used. Descriptive and comparative methods of analysis allowed to generalize existing approaches to solving the problem of instructiveness in folklore. The historical method was used to describe the situation in North America, against which the American folk ballad developed. The connection of Puritan philosophy with ballads is substantiated by methods of text and context analysis, the moral values ​​of the first settlers are determined. The scientific novelty of the work is that, despite the numerous statements of folklorists on the importance of the instructive function of folklore, it was not considered on the material of the American folk ballad of the XVI-XIX centuries earlier. Conclusions. Folklore should be considered as a specific moral code of conduct. The song form acts as an effective medium through which the younger generations join the moral values ​​approved by the Puritan community.

During the Northern Ireland conflict (1968–1998), paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how ‘The Ballad of Billy McFadzean’ is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.

“Oh, East is East, and West is West, and never the twain shall meet,” opined Rudyard Kipling in his poem, The Ballad of East and West, seemingly pointing to insurmountable differences between East ...

The present study attempts to present the writer Elysio deCarvalho within the context of his activities as a translator and writer atthe turn of the 19th to the 20th centuries, by mainly taking into accounthis contribution in the dissemination of Oscar Wilde’s literature in Braziland the aesthetic legacy of his writing and translation. These facets arelittle studied when confronted with Carvalho’s decisive character both asan editor and as an intellectual of Letters. These facets converge to hispolitical activity and his involvement with anarchic tenets and, his futureconservative ideology. Literary theoreticians’ and critics’ works, amongwhom Edmundo Boucas Coutinho (2006), Peter Raby (2010), amongothers, are used as a basis for literary discussion regarding these themes.After that, a translation, by Elysio de Carvalho, of Oscar Wilde’s poemThe ballad of Reading Gaol, by Carvalho entitled A ballada do enforcado,was translated in 1899, in this way introducing Oscar Wilde’s literaturewithin the Brazilian literary system and the theater play entitled Umatragedia Florentina, written in 1924. In this study, we seek to uncovermarks of his translation project by means of an analysis of his translationalchoices and Carvalho’s aesthetic, stylistic and cultural transposition ofWilde’s works. For this purpose, the theoretical texts by Susan Bassnett(2005), Andre Lefevere (2007) are utilized, as well as the foundationsof Itamar Even-Zohar’s Polysystems Theory (1990), theoretician whofounded the Cultural Studies in Translation. The relevance of Carvalho’stranslation is verified by means of the transference of Oscar Wilde’sliterary and aesthetic marks, through the images, metaphorical andsemantic constructions present in both the poem and the theater play.

Este trabajo tiene como objetivo señalar un tema que debe ser analizado en el contexto de la obra de Manuel González Prada, es decir, la influencia de las composiciones de un romántico polaco, Adam Mickiewicz. La autora señala los pasajes tomados por González Prada directamente de la obra de Mickiewicz. Entre ellos aparecen no solo las traducciones oficiales, sino también fragmentos que no quedan claros para quienes no conocen la obra del poeta polaco. Un ejemplo evidente es el motivo del “abrazo de Almanzor”, metáfora ideada por Mickiewicz, que González Prada utiliza al menos en dos ocasiones: como título de una balada inconclusa que pretendía ser una traducción libre de la balada de Mickiewicz, así como en sentido fraseológico, en uno de sus escritos políticos.

A ninuectyue agaynst Treason is a ballad that was printed upon Queen Mary I’s accession. It is comprised of fourteen stanzas; the first ten each have seven lines, and the last four are only four lines each. The ballad is not so much celebratory of the new Queen Mary, but a lesson or warning about the dangers of acting against a Tudor monarch.

The article is devoted to the study of the ballad genre in the works of the Kabardian author Anatoly Bitsuev. For the first time, an attempt is made to separate scientific consideration and coverage of the ballads «The Birth of a Highlander», «Duel», «Dzhambulat», «Younger», «Love». The scientific novelty of the research lies in the fact that a comprehensive (meaningful and structuralcompositional) analysis of the said works is carried out. The main research attention is focused on establishing their correspondence/inconsistency with the canons of the genre, identifying artistic features. The article uses a number of scientific methods, including analysis and description. The results obtained can be helpful in studying the history of the ballad genre in the Adyghe literature, as well as in compiling special courses and writing qualifying and other types of research papers.

The article deals with ghostly horses - «guides» to another world in acmeistic ballads. The works of N. Gumilev, Vs. Rozhdestvensky, O. Mandelstam, G. Ivanov and I. Odoevtseva are considered in the paper. The main characters of the ballads are most often riders, and their horses are endowed with demonic or just mystical functions, in some cases they save the characters acting as their defenders. Horses carry the rider to another space; horses kill characters or help them. In ironic ballads this image is reinterpreted - romantic features are weakened, deliberately strengthened, or disappear altogether (for example, «The ballad about a cabby» by I. Odoevtseva).

The plot basis of the N. F. Grammatin’s “Uslad and Vsemila. Old Russian Ballad” (1810) – the ballad “Alonzo the Brave and the Fair Imogine” from the novel “Monk” by M. G. Lewis (1796) is determined. To establish the probable source of acquaintance with the Lewis’s ballad, in addition to the English original, Russian (1803) and French (1797) translations of the novel were used for comparison. Comparison of the texts leads to the conclusion that the author is directly acquainted with the English ballad in the original language. To give the ballad a national flavor, Grammatin used a conventional historical background, archaized vocabulary, as well as images and expressions of the national epic tradition. It has been proved that Grammatin used motives of Russian epics to create a ballad on a similar plot ATU 974 “The Homecoming Husband” from the collection of Kirsha Danilov – on Solovei Budimirovich (contamination of two plots – the matchmaking and the return of a husband to his wife’s wedding) and on Dobryna Nikitich and Alyosha Popov (the return of the husband to his wife’s wedding). The basis for combining these different sources – the supposedly “old Spanish ballad” on Alonzo and Imogine (as it is presented by Lewis in the novel) and Russian epics – were Grammatin’s general views on ancient poetry. Revealed the author’s accents in a popular plot. Compared to the English sample, Grammatin reinforces the theme of heavenly punishment for treachery. The bridegroom-dead comes not only in fulfillment of the fidelity’s vow, first of all he is the messenger of heaven, the messenger of the punishing God. The connection of Grammatin’s poem with the ballad experiments of N. M. Karamzin, V. A. Zhukovsky, I. I. Dmitriev, P. A. Katenin, S. P. Zhikharev and other contemporary works are considered.

Introduction: the article is part of a complex of studies of the genre specifics of literature and actualizes the genre features of a ballad in the creative practice of Khanty poets. Objective: to analyze the specifics of ballad forms in the works of two Khanty poets – R. P. Rugin and M. I. Novjukhov. Research materials: the works of the ballad genre in the works by R. P. Rugin and M. I. Novjukhov. Results and novelty of the research: for the first time the article analyzes the works of the ballad genre found only in the works of two poets in the history of Khanty literature – R. P. Rugin and M. I. Novjukhov. Less than a dozen samples of the ballad genre were identified, which indicates that the ballad genre has not received a decent development in Khanty art literature. The analysis of the ballad forms of R. P. Rugin and M. I. Novjukhov showed that most often their works are based on a plot. Only one sample of M. I. Novjukhov has the plot replaced by a dialogue. Combination of the real and the fantastic is clearly seen in the poets’ appeal to the folklore and mythological symbolism of images, in the inclusion of folklore traditions and religious beliefs of the Khanty people in the literary text. The motifs of mystery, death, and world duality become mandatory components of the ballad genre of R. P. Rugin and M. I. Novjukhov. The themes of freedom, war / battle, and ethical dilemmas are the plot-forming in their ballads. The poets and translators do not preserve the ballad strophe in all their works. The ballad forms of the Khanty poets reflect the national worldview and poetic traditions of Russian literature.

On the eighth of October, 1622, Lope de Vega finished La nueva victoria de don Gonzalo de Cordoba. This comedia recounts a Spanish victory in the Battle of Fleurus, one of several military triumphs that encouraged hope and excitement during the early years of Philip IV’s reign. The battle had occurred in late August of 1622, and Lope’s play, written and staged scant weeks later, functioned as a type of journalistic dramatization of Fleurus for corral audiences. I argue that, in addition to its news-bearing utility, the play historicizes its content, moving it from a journalistic happening to an integral part of Spain’s larger historical narrative, broadening and enhancing the ways in which audiences conceived of Fleurus. To do so, La nueva victoria engages with historical consciousness in the form of ballads, chronicles, genealogies, and collective memory. Such strategies enable the play to portray the victory as an essential part of Spain’s story, as a recent event that logically evolved out of the past and promises to condition the future.

Privateering, which permitted private ships to attack enemy vessels and claim their prize (ship, goods, crew etc.) was only possible under a licence commissioned by a sovereign, better known as a ‘letter of marque’. In the Elizabethan Period (1558-1603), English privateering proved to be an effective way of dealing with Catholic Spain, especially during the Spanish War (1585-1603). When King James I ended the war with Spain in 1604, however, privateers such as John Ward –left without valid licenses permitting them to capture enemy merchant ships and confiscate their goods– had to find other means of support. Under these new circumstances, the former privateer Captain John Ward, also known as Jack Ward, first became pirate, then a Barbary corsair (Yusuf Reis) and Muslim operating from Tunis. This study deals with the representation of John Ward, someone who has excited the interest of audiences across England as well as being vilified by King James I, in early seventeenth century English literature. In this respect, literary texts that allude to John Ward such as broadsheet ballads, Samuel Rowlands’ poems, and Robert Daborne’s play A Christian turn’d Turke (1610-1612) will be examined with special reference to two pamphlets, Andrew Barker’s A true and certaine report of the beginning, proceedings, overthrowes, and now present estate of Captaine Ward and Danseker (1609) and the anonymous Newes from Sea, of Two Notorious Pirates Ward the Englishman and Danseker the Dutchman (1609).

The ballad entitled La bastarda y el segador has enjoyed a significant vitality in the modern oral tradition, not only in the Iberian Peninsula, including Portugal, but also in the Canary Islands, Latin America and the Sephardic tradition. This work consists in a close analysis to the numerous narratives and argumentative variables in almost one hundred versions compiled in different regions, paying attention also to its geographical distribution., El romance de La bastarda y el segador ha conservado una enorme vitalidad en la tradición oral moderna, tanto en la Península Ibérica, incluyendo Portugal, como en Canarias, Hispanoamérica y la tradición sefardí. Este trabajo pretende desarrollar un análisis minucioso de las numerosas variantes discursivas y de la intriga presentes en las cerca de cien versiones recopiladas de las distintas regiones, atendiendo además a su distribución geográfica.

Il presente saggio si propone di tracciare le influenze del romanticismo nordeuropeo sulle opere di alcuni autori siciliani del primo Ottocento. L'obiettivo è sfatare il mito di un livello "inferiore" della letteratura romantica italiana rispetto alla letteratura nordica, poiché non è incentrata sulla rappresentazione delle aree oscure del sé, di temi soprannaturali, fantastici e irrazionali che sono presenti nella realtà. Vengono esaminate alcune ballate di Felice Bisazza (1809-1867) e Vincenzo Navarro (1800-1867). In queste opere la narrazione di leggende popolari mette in luce un universo spettrale e orribile, rispecchiando situazioni reali, come la violenza della classe nobile e del patriarcato, o l'ingiustizia della disuguaglianza sociale. Si parlerà poi di un'opera teatrale di Giuseppe La Farina (1815-1863), intitolata L'abbandono di un popolo (1845); l'autore ritrae la rivolta anti-spagnola del 1676 a Messina concentrandosi sulle forze inquietanti e sotterranee che si intersecano con i movimenti rivoluzionari. Verrà infine analizzata la produzione di Tommaso Cannizzaro (1838-1921) come traduttore: lo scrittore mette a disposizione del pubblico siciliano e italiano l'affascinante mondo della mitologia scandinava, attraverso le traduzioni di alcuni canti dell'Edda antica medievale.

The subject of this research is the symbols characteristic to the genre of folk ballade. The object of this research is lyrics of the Russian folk ballads. The following compilations of ballads served as the material for this research: “Russian Ballad” (edited By V. I. Chernyshev, N. p. Andreev, 1936), “Folk Ballads” (edited by D. M. Balashov, A. M. Astakhova, 1963), “Russian Folk Ballad” (edited by D. M. Balashov, 1983), “Ballads” (edited by B. P. Kirdan, 2001), “Epics. Historical Song. Ballads” (edited by A. V. Kulagina, V. A. Kovpaka, 2008). The author carefully examines the peculiarities of ballad symbolism and its functions. In the course of research, the following conclusions were formulated: consistency of the genre order depends on the presence of the system of artistic visual means; central in the poetics of ballad belongs to symbolism, parallelism, antithesis, epithets, and metaphors; symbolism in the romantic ballads is presented quite extensively; often a symbolic situation becomes a part of psychological parallelism presented in many ballad concepts; syntactic parallelism can be placed in any thematic link and amplifies by antithesis. In certain instances, antithesis appears an important technique for creating a tragic effect. Ballad poetics is subordinated to explication of the overall genre trend, including the reflection of fundamental universals and principles. The novelty of this work consists in the attempt of textual analysis of the major compilations of ballads, as well as in selection of the symbols for their further analysis within the framework of implementation of genre characteristics.

The Hispanic Ballad in the modern oral tradition can be characterized as essentially a women’s genre, and much recent work has focused on the determination of the ‘woman’s voice’. This article studies the woman’s voice literally, focusing on texts from the Eastern Sephardic branch of Hispanic balladry in which women protagonists are given the last word. This conservative tradition provides an excellent subject for study, with plentiful texts, including those collected during the author’s fieldwork. At the heart of the article is a microanalysis of the endings of texts of three ballads that feature strong women, Silvana, El forzador and El robo de Dina. Findings show that the singers have manipulated the ballad ending to give the female protagonist the authoritative last word, making use in so doing of effective closural devices to amplify the message.

The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a member of the Petrograd “Workshop of poets”, presents a variety of lyrical genres. The purpose of our study is to consider the ballads and ballad stylization of G. Ivanov. The purpose of the work determines its methodological basis, which includes the historical and literary, phenomenological, typological and comparative approaches. The stylization which is inherent in all of Ivanov’s ballads (“Song of the Pirate Ola”, “May Ballad”, “Scottish Ballad”, “Ballad about the Publisher”) and his ballad poems, allows to see the genre in a new aspect. The poet observes ballad rules – a tragic plot, romantic “vagueness” of narration, ballad motifs (ominous raven, night stories, turning into the past, etc.). However, these rules are distorted and stylized. Traditional ballad plots are so intensified that forcing the features creates a comic or ironic effect, the combination of motives turns out to be multilayer. G. Ivanov creates a parody in some cases and in some cases, a stylized ballad. The game and the love of stylization which characterize G. Ivanov throughout his creative life open up a new genre that he practically created by himself. Keywords: ballad genre, G. Ivanov, stylization, parody, motive, lyrical plot

The Shetland Islands, together with the Orkney Islands, were until the nineteenth century a remarkable reservoir of the so-called Norn language, an extinct insular variety of Old Norse closely related to Icelandic and, specially, Faroese. Norn was preserved in these North-Atlantic British islands in form of single words, proverbs, or prayers. However, the longest and most complete text in Norn is the Shetlandic Hildina Ballad, collected on the small island of Foula in 1774 by George Low and consisting of thirtyfive stanzas. In this article I intend to offer a comparative approach to this Norn oral text refering to its Scandinavian parallels and the attempts at reconstruction and translation carried out by several scholars such as Marius Hægstad, Sophus Bugge, William G. Collinwood, Norah Kershaw, or Eigil Lehmann.

Bu çalışmada Friedrich von Schiller’in “Die Bürgschaft” adlı baladının Ali Bey Hüzeyinzâde (Turan) tarafından Türkçeye aktarılmış olan ve 1923 yılına tarihlendirilebilen “Kefalet Yahud Vefadar Dost(lar)” adlı çevirisi, çeviride yerlileştirme stratejisi bakımından ele alınmaktadır. Ayrıca günümüz Türk Diline daha yakın bir söylem ve üslup kullanılarak aynı baladın alternatif bir çevirisi de gerçekleştirilmiştir. Hüseyinzâde Turan'ın, çevirisinde bilinçli veya bilinçsiz olarak yerlileştirme stratejisini uygulamış olduğu görülebilmektedir. Gerek çeviride yerlileştirme stratejisine uygun bir örnek olması gerekse Schiller'in "Die Bürgschaft" baladının ilk çevirisi olma iddiasından dolayı Hüseyinzâde Turan'ın çevirisi örnek erek metin olarak bu çalışma için seçilmiştir. Çalışmanın içerisinde kaynak ve erek metin ve çevirmen hakkında bilgi verilmekte, kuramsal açıdan ise çeviride yerlileştirme stratejisine ve Balat edebi türüne ilişkin açıklamalarda bulunulmaktadır. Eldeki metinlere çalışmada aynen yer verildikten sonra kaynak metinden, erek metinden ve sunulan alternatif çeviri metinden alınan örnekler üzerinde bir inceleme (analiz) yapılmaktadır. Söz konusu inceleme sayesinde örnekler aracılığıyla çeviride yer alan yerlileştirici unsurlar gösterilmekte, çeviri süreci ve eşdeğerliği açısından bu durum irdelenmektedir. Elde edilen çıkarımlar ise örnekler altında detaylı bir biçimde tartışılmaktadır. Değerlendirme kısmında örnek erek metinde tespit edilen çeviride yerlileştirici unsurların daha ziyade hangi alanları ve/veya terminolojileri kapsadığı vurgulanmaktadır. Sonuç ve önerilere yine bu kısımda yer verilmektedir., The translation of Friedrich von Schiller's ballad named "Die Bürgschaft" into Turkish by Ali Bey Hüzeyinzâde (Turan), dated to 1923, is discussed in the current study in terms of the domestication strategy. In addition, an alternative translation of the above-mentioned ballad has been made by using a familiar discourse and style to the usage of today's Turkish Language. In Hüseyinzâde Turan’s translation, it can be presumed that he has applied the domestication strategy consciously or unconsciously. His translation has been chosen for this study because of the fact that it is a suitable example for the domestication strategy in translation and due to the argument that it is the first Turkish translation of Schiller's ballad "Die Bürgschaft". In the study information is given about the source and the target texts and also about the translator. Moreover, some explanations are made theoretically on the domestication strategy in translation and the Ballad as a literary genre. After the original texts are literally included in the study, an analysis is held on the examples cited from the source text, target text and the presented alternative text. In virtue of the mentioned analysis the domesticating elements in the translation are denoted through the given examples and this is scrutinized in terms of translation process and equivalence. The inferences obtained are discussed in detail under the given examples. In the evaluation part (also in the conclusion) domesticating elements in the target text are emphasized and then fields and/or terminologies which include the domesticating elements are clarified. Results and suggestions are included in the last part as well.

This paper concerns the narrative logic behind the disregard for the life of King Arthur’s opponent in the seventeenth-century ballad of King Arthur and King Cornwall. It approaches its subject through comparisons with the last book of Thomas Malory’s Le Morte Darthur, Le pèlerinage de Charlemagne, Le petit Poucet, Jack and the Beanstalk and the History of Mother Twaddle, and the Marvellous Atchievements [sic] of her Son Jack. It argues that by associating Arthur’s rival, King Cornwall, with magic objects and a fire-breathing creature called Burlow Beanie, as well as placing Cornwall’s domain away from Arthur’s, the ballad marks Cornwall as ‘other’ and, in so doing, implies that ordinary moral considerations do not apply when it comes to actions such as the killing of Cornwall. The article additionally argues that a major difference between the ballad and the last book of Le Morte Darthur, where much of the action is driven by factors that also feature prominently in King Arthur and King Cornwall, lies in the fact that in Le Morte Darthur none of the major actors are marked as ‘other’ – highlighting the nature of the tragedy that unfolds as one of destructive internal conflict.

I have been a singer/songwriter for over 50 years and a researcher into traditional song for 40. What follows the preface by Mike Huggins is an analysis and contextualization of those self-penned s...