archdeacon of Leicester of her grant to the canons of Drax, her son-inlaw, Robert de Gant, and daughter from her second marriage, Alice
Paynel, consented to the gift and witnessed the charter. It is intriguing
that the sister of Robert de Gant also witnessed.77 Another example of
a female heir co-witnessing with her husband her mother’s grant of
land is that of Michael Capra and his wife Roesia in 1156–62, when they
witnessed a charter made by Jordan de Bricset and his wife, Muriel.
Here the daughter witnessed her parents’ grant to the religious institution that they had
. For example, the
seal of Alice Capra depicts a female figure standing on a goat, a pun
on her name.121 The seal of Cecilia, mother of William de Avranches,
depicts an eagle with wings displayed, standing on a tortoise facing to
the right.122 The eagle or the bird of prey as sole device was a popular
development in the late twelfth and early thirteenth centuries. Agnes,
the daughter of William, the Constable of Chester, may have had a seal
which depicted a bird perched on a branch in 1157–66.123 In the early
thirteenth century Hawise, the daughter of Philip de Kime
Allusion, anti-pastoral, and four centuries of pastoral invitations
Theocritus (in the Greek
84 Coming of Age: New and Selected Poems (Bloomington: Indiana University Press, 1959),
85 Robert Frost, A Boy’s Will (New York: Henry Holt and Company, 1915), 56–7.
86 Eros and Psyche: A Poem in Twelve Books (London: George Bell and Sons, 1894), 78.
too, since ‘caper’ comes from capra or goat). Since Pan sings this song
‘his pipe laid by’, Spenser is also present: in The Shepheardes Calender the
rejected Colin Clout ‘broke his oaten pype’ in frustration, even though
natural intra-class pairing of the
classes. See L. Metayer, ‘What the Heroine Taught, 1830–1870’, in Michael Hays
and Anastasia Nikolopoulou (eds), Melodrama: The Cultural Emergence of a Genre
(New York: St Martin’s Press, 1996).
31 Oppenheim, Murder at Monte Carlo, p. 18.
32 Sedgwick, Popular Filmgoing in 1930s Britain.
33 J. Hilton, Lost Horizon (London: Macmillan, 1933). Lost Horizon. DVD, dir. Frank
Capra (1937; Culver City, CA: Columbia TriStar Home Video, 1999).
34 As noted before, according to Sedgwick and Harper, Mutiny on the Bounty was the
tutelage under the Southern poet and novelist whom he met at
Yale, Robert Penn Warren. ‘The people I write for are all dead’, he has
remarked, ‘Twain, Melville, James.’ The claim that Milch belongs in
the pantheon of those artists who have captured the metabolism of
American life and history in d
epth – Philip Roth, Cormac McCarthy,
Nicholas Ray, Sam Peckinpah, Frank Capra, Robert Stone (some of
them also carried the burden of early promise and floundered in the
grip of addiction) – is not an attempt to elevate the status of either him
or television through