Bøger af John Kruse

This two-volume work aims to provide a detailed and comprehensive history of both the development of the law and the profession of bailiff. The work chronicles the growth of enforcement law from Anglo-Saxon times, tracing the continuity in the common law and examining the intervention of statute.

The Victorian era saw a peak of popular interest in fairies- in art, literature, popular entertainments and in children's books. Whilst there are several studies that examine Victorian fairy painting, that have been none that are devoted to the fairy poetry of the era. This book showcases the richness and complexity of this genre of nineteenth century verse.The book contains an introduction to the subject, followed by a brief survey of fairy poetry from the seventeenth and eighteenth centuries- writers such as Drayton, Herrick and Blake. The fairy verse of the nineteenth century is then surveyed in themed chapters, which examine good and bad fairies, mermaids, Irish fairy verse, North American poetry and the twentieth century legacy of these writings. Each chapter includes a brief introduction, biographies of the poets and notes and discussion on each of the poems.Over eighty poets are included, from well-known names such as Ruskin, Tennyson and Rossetti to a host of much less well-known fairy writers.The author is a specialist in British fairy lore. He is author of 'British Fairies' (Green Magic Publishing, 2017) and writes the popular 'British fairies' blog. He has two books forthcoming with Llewellyn Worldwide, 'Faery' (2020) and 'Beyond Faery' (2021).

The Tudor and Stuart period in Britain, the time of Shakespeare, Jonson, Milton, Drayton, Herrick and many others, was a time when fairies featured repeatedly in poetry and drama. This book is a detailed examination of the fairies of the era, as they are depicted in the verse of the sixteenth and seventeenth centuries.The book is divided into three parts. The first part surveys the medieval background- how fairies were portrayed in the romances, poems and other literary works of the Middle Ages. Particular attention is paid to ideas of fairyland and to the kings and queens of Faery.In the second part of the book Tudor and Stuart fairy knowledge is examined in detail. Drawing on the many plays and poems of the period, a picture is built up of how contemporary people understood and interacted with their fairy neighbours. The book then considers how new ideas were beginning to change fairy belief at this time: changes in religion, science and culture were taking place (most notably the Reformation and the Renaissance) and these had a major impact on popular perceptions of fairies. Lastly in this part of the book, two specific questions are examined: how big were the fairies thought to be and what colour were their clothes- and their bodies?The third part of the book is an annotated anthology of selected Tudor and Stuart fairy verse. Work is included by Thomas Churchyard, Simeon Steward, Robert Herrick, Michael Drayton and William Warner, amongst others. Overall, rather than just relying on Shakespeare, Jonson and Milton, the book draws on a very wide range of authors, both English and Scots, and includes many little known plays and poems.The book is a valuable companion to the author's 'Victorian Fairy Verse.'

This is not a book on folklore; its purpose is not to explain why individuals once thought such surprising and curious things. Welsh people in the past encountered beings that they knew to be the tylwyth teg; this book shows those individuals the respect they deserve and takes their accounts seriously. They knew that the faeries existed and they adapted their lives to cope with this fact.

This book is concerned with the boundaries of faery. We will investigate the very limits of our understanding- and our definitions- of the faery folk. As we shall see, repeatedly- there are aspects of faery existence that still baffle our attempts to interpret and comprehend them, because they fail to adhere to ideas of a fixed nature and predictable behaviours that are encouraged by strict traditional scientific rationalism. Of course, there are aspects of modern physics which accept mutability and subjectivity, so perhaps faery nature isn't so strange after all.What's more, time and again we shall see the problems of providing permanent labels and classifications. Certain faery types are hard to pin down, and can shift from category to category- sometimes seeming like faeries, but at other times like ghosts, or demons or monsters. This may feel frustrating, but it is part of the wonder of our rich folklore that should be embraced. In this book, we will encounter a range of unfamiliar faeries. We shall discover those that act as witches' familiars and that bring dreams and nightmares; we shall explore the strange forms they can adopt, the surprising ways they move from place to place and- even- the odd games they play. British faerylore will prove to be even more surprising and mysterious than we may ever have supposed.

This book offers a series of biographies of some of the most significant and best-known of the faery folk. This Who's Who examines their origins, characters and development, from traditional folklore through to modern literature and the fine arts.

There is a distinct tendency today to assume that faery kind are friendly and helpful towards us humans. The evidence of over one thousand years experience, preserved in British folk tradition, tells a very different story. British faeries are (like humans) selfish, greedy, violent and cruel. What makes things worse, of course, is the fact that they have magical powers too.

The Isle of Man is full of faery beings. In a concentrated area, it has all the most fascinating supernatural creatures of the British Isles, not just fairies, but various goblins, faery beasts and mermaids. It provides a fascinating case study of the wider wonders of British faery-lore, a kind of microcosm of Britain's faeries.

A text that looks at the actual physicality of fairies- their anatomies, physiologies, even their psychology.

This book pulls together everything we know about how things work in Faery. The information is scattered across many narratives, but once it is assembled, we discover we have a detailed picture of their politics and economy. Much of this is entirely independent of human affairs.

The revived cult of Pan recognizes him as the god of fields, groves and wooded glens. This connects him to fertility and the season of spring, with his entourage of fauns and satyrs pursuing and copulating with woodland nymphs.