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Daniel Anlezark

The Christian Anglo-Saxons knew that all the nations of the world descended from Noah, as the universal deluge had destroyed all those outside the ark (Gen 9:18–19): Erant ergo filii Noe, qui egressi sunt de arca, Sem, Cham, et Jafeth … Tres isti filii sunt Noe, et ab his disseminatum est omne genus hominum super universam terram (‘And the sons of Noah who

in Water and fire
Melanie Keene

Oh the wonderful Noah's Ark! It was not found seaworthy when put in a washing-tub, and the animals were crammed in at the roof, and needed to have their legs well shaken down before they could be got in, even there – and then, ten to one but they began to tumble out at the door, which was but imperfectly fastened with a wire latch – but what was THAT against it! Consider the noble fly, a size or two smaller that the elephant: the lady-bird, the butterfly – all triumphs of art! Consider the goose

in Pasts at play
Noah Millstone

Noah Millstone Chapter 8 The politic history of early Stuart parliaments Noah Millstone T    he second session of the 1621 parliament ended in acrimony. Over December, communications between King James and his House of Commons became increasingly hostile, culminating in a scene of symbolic violence, as James ripped the lower House’s final protest from their Journal. What, exactly, had gone wrong? Robert Zaller and Conrad Russell, the two most prominent modern students of the session, trace the dispute to a series of misunderstandings leading to a clash of

in Writing the history of parliament in Tudor and early Stuart England
Noah Millstone

We lack an adequate treatment of Interregnum historiography; but see Anthony Milton, Royal and Laudian Polemic in Seventeenth-Century England (Manchester, 2007), ch. 5; and W.B. Patterson, Thomas Fuller (Oxford, 2018), ch. 7. 8 The Court and Character of King James (London, 1650), tp and B1r; on the structure of the ‘secret history’, see Noah Millstone, ‘Seeing like a Statesman in Early Stuart England’, Past and Present 223 (2014). 9

in Political and religious practice in the early modern British world
Noah Millstone

Connecting centre and locality Chapter 4 Space, place and Laudianism in early Stuart Ipswich Noah Millstone A t eight in the evening of 11 August 1636, approximately a hundred persons assembled in the East Anglian port of Ipswich. The crowd, reportedly ‘armed’ with long staves and guns, ‘march[ed]’ through the town until they reached a residence belonging to Matthew Wren, Bishop of Norwich. Finding their entry barred, the crowd ‘riotously’ invaded the house, injuring several of Wren’s servants and demanding to speak with Wren himself. The group lingered

in Connecting centre and locality
The role of Noah’s wife in the Chester play of Noah’s Flood
Lawrence Besserman

The story of Noah and the Flood is found in chapters 6 – 9 of Genesis. 1 God sees that the earth has become corrupt, and he decides to wash it all away in a flood. God then chooses Noah, the one righteous man alive, to build an ark in which he, his immediate family, and pairs of all the animal species will survive, in order to repopulate the earth once the floodwaters have receded (Genesis 6–8). After the floodwaters have subsided, Noah leaves the Ark, and in an unexpected turn away from his

in Enacting the Bible in medieval and early modern drama
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The myth of the Flood in Anglo-Saxon England
Author: Daniel Anlezark

The story of the Flood, inherited by the Anglo-Saxons during their conversion to Christianity, was transformed by them into a vital myth through which they interpreted the whole of history and their place in it. The dual character of the myth, with the opposition between threatened destruction and hope of renewal, presented commentators with a potent historical metaphor, which they exploited in their own changing historical circumstance. This book explores the use of this metaphor in the writings of the Anglo-Saxons. It is the integration of a well-known biblical story into the historical and cultural self-definition of a group of people converted to Christianity and its worldview. The Flood in the Bible is clearly a punishment, though the sin is not so well defined. This forms part of a historical pattern of sin and punishment extending back to Eden, and progressed to the sin and exile of Cain. For Bede the historian, the Flood was a key event in the earlier history of the world; for Bede the theologian, the Flood was an event replete with mystical significance. In Exodus and Andreas all the poems share an interest in two themes, which emerge from the biblical story of the Flood and its theological interpretation: covenant and apocalypse. Noah is the 'one father' not only of Israel, but of the whole human race, and his introduction widens the concept of 'inheritance' in the Exodus. The book concludes with a detailed discussion of the significance of the Flood myth in Beowulf.

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Fantasies of supersession and explosive questions in the York and Chester Flood plays
Daisy Black

NOAH’S WIFE is doing her usual for comic relief    She doesn’t see why she should get on the boat, etc., etc., while life as we know it hangs by a thread. [. . .] The woman’s disobedience is good for     plot, as also for restoring plot to human scale: three hundred cubits by fifty     by what? What’s that in inches exactly? [. . .] We find the Creator in an awkward bind.     Washed back to oblivion? Think again. The housewife at her laundry tub has got a better grip.     Which may be why we’ve tried to find her laughable, she’s such an

in Play time
The Bible and the Fathers
Daniel Anlezark

A range of cultures from across the globe tell stories of floods survived by ancestral figures. Despite some efforts to harmonize these accounts to prove the historical truth of the biblical account of Noah’s flood, the myths and legends from the Americas, the Pacific, Asia, Africa and Europe present a range of incompatible details. They suggest the universality of the mythic theme

in Water and fire
Exploring tensions between the secular and the sacred in Noah, the ‘least biblical biblical movie ever’
Becky Bartlett

Introduction Controversial films, according to Kendall Phillips, are important because they ‘serve as a kind of barometer for the deeper cultural pressures surrounding issues of, for instance, sex or race or violence’ (Phillips 2008 : xv). Films, he suggests, become controversial when they appear to ‘present such a danger that there are those in society who feel the need, perhaps even the obligation, to voice their concerns, to sound the alarm to others’ (xiv). This is certainly the case in regard to Darren Aronofsky’s 2014 biblical spectacular, Noah . The

in The Bible onscreen in the new millennium