Albion, Articles, England

ALBION (England, Great Britain, UK)

Albion

This article is about the archaic name for Britain. For other uses, see Albion (disambiguation). (From Wikipedia).

The White Cliffs of Dover may have given rise to the name Albion.

Albion is an alternative name for Great Britain. The oldest attestation of the toponym comes from the Greek language. It is sometimes used poetically and generally to refer to the island, but is less common than “Britain” today. The name for Scotland in most of the Celtic languages is related to Albion: Alba in Scottish GaelicAlbain (genitive Alban) in IrishNalbin in Manx and Alban in Welsh and Cornish. These names were later Latinised as Albania and Anglicised as Albany, which were once alternative names for Scotland.

New Albion and Albionoria (“Albion of the North”) were briefly suggested as names of Canada during the period of the Canadian Confederation.[1][2] Francis Drake gave the name New Albion to what is now California when he landed there in 1579.

Albion and the giants of Albion in an ethereal, ancient setting filled with mystical elements. Albion stands as a grand, serene figure with his flowing hair and glowing eyes, exuding wisdom and power. Beside him are two towering giants, humanoid in form but adorned with intricate, spiral-like tattoos that appear carved into their skin, symbolizing ancient and mystical knowledge. The scene unfolds in a lush, green landscape with rolling hills and a majestic oak tree, illuminated by golden sunlight piercing the clouds. In the foreground, a stone circle marked with ancient symbols adds to the mythical atmosphere, suggesting connections to ancient rituals and forgotten lore. A small, cloaked, humble figure stands in awe of the towering beings, highlighting their immense scale and otherworldly presence.

Etymology

The Codex Vatopedinus‘s Ptolemy’s map of the British Isles, labelled “Ἀλουΐων” (Alouíōn, “Albion”) and Ἰουερνία (Iouernía, “Hibernia“). c. 1300

The toponym in English is thought to derive from the Greek word Ἀλβίων,[3] Latinised as Albiōn (genitive Albionis).

The root *albiyo- is also found in Gaulish and Galatian albio- ‘world’ and Welsh elfydd (Old Welsh elbid ‘earth, world, land, country, district’). It may be related to other European and Mediterranean toponyms such as AlpesAlbania or the river god Alpheus (originally ‘whitish’).[citation needed] It has two possible etymologies: either from the Proto-Indo-European word *albʰo- ‘white’ (cf. Ancient Greek ἀλφός, Latin albus ), or from *alb- ‘hill’.

The derivation from a word for ‘white’ is thought to refer perhaps to the white Cliffs of Dover in the southeast, visible from mainland Europe and a landmark at the narrowest crossing point. On the other hand, Celtic linguist Xavier Delamarre argued that it originally meant ‘the world above, the visible world’, in opposition to ‘the world below’, i.e. the underworld.[4][5][6]

Albion, a grand and serene figure from ancient lore, standing atop a rugged cliff overlooking a vast ocean. Albion exudes wisdom and power, blending his flowing garments into the misty winds. His ethereal glow highlights his divine presence. The setting features remnants of an ancient civilization, including weathered stone monoliths and carvings that whisper forgotten stories. The mystical atmosphere is enhanced by dramatic skies, with sunlight breaking through the clouds, casting golden hues over the ocean, and creating a sense of timeless majesty.

Attestation

Main article: Britain (place name)

Judging from Avienius‘ Ora Maritima, for which it is considered to have served as a source, the Massaliote Periplus (originally written in the 6th century BC, translated by Avienus at the end of the 4th century AD), does not use the name Britannia; instead it speaks of nēsos Iernōn kai Albiōnōn “the islands of the Iernians and the Albiones”.[7] Likewise, Pytheas (c. 320 BC), as directly or indirectly quoted in the surviving excerpts of his works in later writers, speaks of Albiōn and Iernē (Great Britain and Ireland). Pytheas’s grasp of the νῆσος Πρεττανική (nēsos Prettanikē, “Prettanic island”) is somewhat blurry, and appears to include anything he considers a western island, including Thule.[8][failed verification]

The name Albion was used by Isidore of Charax (1st century BC – 1st century AD)[9] and subsequently by many classical writers. By the 1st century AD, the name refers unequivocally to Great Britain. But this “enigmatic name for Britain, revived much later by Romantic poets like William Blake, did not remain popular among Greek writers. It was soon replaced by Πρεττανία (Prettanía) and Βρεττανία (Brettanía ‘Britain’), Βρεττανός (Brettanós ‘Briton’), and Βρεττανικός (Brettanikós, meaning the adjective British). From these words, the Romans derived the Latin forms Britannia, Britannus, and Britannicus, respectively”.[10]

Describing the ocean beyond the Mediterranean Basin, the Pseudo-Aristotelian text On the Universe (Ancient Greek: Περὶ Κόσμου, romanized: Perì Kósmou; Latin: De Mundo) mentions the British Isles, naming the two largest islands Albion and Ierne:

ἐν τούτῳ γε μὴν νῆσοι μέγισται τυγχάνουσιν οὖσαι δύο, Βρεττανικαὶ λεγόμεναι, Ἀλβίων καὶ Ἰέρνη, τῶν προϊστορημένων μείζους, ὑπὲρ τοὺς Κελτοὺς κείμεναι.

There are two very large islands in it, called the British Isles, Albion and Ierne; they are larger than those already mentioned, and lie beyond the land of the Celts.

—Pseudo-Aristotle, On the Universe, 393b[11]

Pliny the Elder, in the fourth book of his Natural History (Latin: Naturalis historia) likewise calls Great Britain Albion. He begins his chapter on the British Isles (Latin: Britanniaelit.‘the Britains’) as follows, after describing the Rhine delta:

Ex adverso huius situs Britannia insula clara Graecis nostrisque monimentis inter septentrionem et occidentem iacet, Germaniae, Galliae, Hispaniae, multo maximis Europae partibus magno intervallo adversa. Albion ipsi nomen fuit, cum Britanniae vocarentur omnes de quibus mox paulo dicemus.

Opposite to this region lies the island of Britain, famous in the Greek records and in our own; it lies to the north-west, facing, across a wide channel, Germany, Gaul and Spain, countries which constitute by far the greater part of Europe. It was itself named Albion, while all the islands about which we shall soon briefly speak were called the Britains.

—Pliny the Elder, Natural History, IV.16[12]

In his 2nd century GeographyPtolemy uses the name Ἀλουΐων (Alouiōn, “Albion”) instead of the Roman name Britannia, possibly following the commentaries of Marinus of Tyre.[13] He calls both Albion and Ierne in Ancient Greek: νῆσοι Βρεττανικαὶ, romanized: nēsoi Brettanikailit.‘British Isles’.[14][15]

In 930, the English king Æthelstan used the title rex et primicerius totius Albionis regni, ‘king and chief of the whole realm of Albion’.[16] His nephew, Edgar the Peaceful, styled himself in 970: totius Albionis imperator augustus, ‘august emperor of all Albion’.[17]

Albion, the mythical figure of ancient Britain, walks through a dense, enchanted forest that exudes mystical energy. Albion is shown as a serene and radiant being, surrounded by a glowing aura, with his long, flowing robe seeming to merge with the natural elements around him. Towering, ancient trees with intricately twisted branches form a protective canopy while soft golden light filters through, casting an ethereal glow over the scene. Bioluminescent plants illuminate the forest floor, and a faint, magical mist weaves around Albion’s feet. A sense of connection to ancient rituals is suggested by partially hidden stone carvings and paths, creating a timeless and enchanting atmosphere.

The Giants of Albion

This illustration depicts the legendary story of Albion, the giant son of Neptune, who founded the land named after him. Albion stands majestically on a rocky shore as the ocean’s waves crash around him, embodying the power and majesty of his divine lineage. Clad in intricate armor and holding a staff adorned with oceanic symbols, Albion commands the scene with a noble and commanding presence. In the background, a settlement begins to take shape, symbolizing the foundation of the land of Albion.

The wild and untamed landscape features lush forests, dramatic cliffs, and turbulent seas, with rays of golden light piercing through stormy clouds, casting an epic and otherworldly glow. The scene captures the moment when Albion claims the island as his own, reigning over it for 44 years according to the legend retold by John Milton in History of Britain (1670). Let me know if further adjustments or additional details are needed!

Albina and other daughters of Diodicias (front). Two giants of Albion are in the background, encountered by a ship carrying Brutus and his men. Brut Chronicle, British Library Royal 19 C IX, 1450–1475

A legend exists in various forms that giants were either the original inhabitants, or the founders of the land named Albion. John Milton told the story in his History of Britain (1670) In Book I he recounts that the land was “subdu’d by Albion a Giant, Son of Neptune; who call’d the Iland after his own name, and rul’d it 44 Years. ”

According to various legends, giants were believed to be the original inhabitants or the founders of the land known as Albion. In his History of Britain (1670), John Milton recounts in Book I that Albion, a giant and the son of Neptune, subdued the land. He named the island after himself and ruled it for 44 years.

Geoffrey of Monmouth

According to the 12th-century Historia Regum Britanniae (“The History of The Kings of Britain”) by Geoffrey of Monmouth, the exiled Brutus of Troy was told by the goddess Diana:

Brutus! there lies beyond the Gallic bounds
An island which the western sea surrounds,
By giants once possessed, now few remain
To bar thy entrance, or obstruct thy reign.
To reach that happy shore thy sails employ
There fate decrees to raise a second Troy
And found an empire in thy royal line,
Which time shall ne’er destroy, nor bounds confine.

— Geoffrey of Monmouth, History of the Kings of Britain/Books 1, 11

After many adventures, Brutus and his fellow Trojans escape from Gaul and “set sail with a fair wind towards the promised island”.[18]

“The island was then called Albion, and inhabited by none but a few giants. Notwithstanding this, the pleasant situation of the places, the plenty of rivers abounding with fish, and the engaging prospect of its woods, made Brutus and his company very desirous to fix their habitation in it.” After dividing up the island between themselves “at last Brutus called the island after his own name Britain, and his companions Britons; for by these means he desired to perpetuate the memory of his name”.[19] Geoffrey goes on to recount how the last of the giants are defeated, the largest one called Goëmagot is flung over a cliff by Corineus.

Prose Merlin

The 13th century Prose Merlin drew on Geoffrey’s story but instead had Brutus and Corneus as two barons of Troy, who fled the city after its destruction. Brutus went to Britain and founded London, while Corneus, descended from giants, went to Britanny, founded cities and castles, and gave his name to Cornouaille. In this version, the giants were descended from Corneus and survived until the time of King Arthur, when they fought alongside the Saracens against the Britons during the Saxon invasion of Britain. In the story, they are eventually defeated by Arthur and his knights, and flee to a forest “that noon ne a-bode other”; Merlin warns not to chase them, “ffor soone shull thei mete with folke that shall do hem I-nough of sorowe and care.”[20]

In the 13th-century narrative from the Prose Merlin, Brutus, and Corneus are reimagined as barons of Troy who fled the city’s destruction. Brutus ventures to Britain, founding London as a beacon of civilization, while Corneus, descended from giants, establishes towns and castles in Brittany, leaving his name to Cornouaille.

Brutus and Corneus are barons of Troy. The scene captures their heroic journey and determination to shape their respective destinies.
The defeated giants retreat into the forest as Merlin warns King Arthur and his knights not to pursue them. The scene captures the mix of victory, mystery, and foreboding.
The giants descended from Corneus and engaged in battle during King Arthur’s reign. The scene captures their fierce struggle alongside the Saracens and their retreat into the forest, with Merlin’s forewarning adding a layer of mystique.

The giants, descended from Corneus, endure through time and emerge as warriors during King Arthur’s reign. They fight alongside the Saracens against the Britons during the Saxon invasion but are ultimately defeated by Arthur and his knights. The narrative reaches its climax when the surviving giants retreat into the forest, with Merlin forewarning Arthur’s men not to pursue them, predicting their eventual demise at the hands of others.

Brutus in a newly established London, standing proudly by the River Thames with early medieval structures in the background.
Corneus in Brittany, standing amidst towering castles in a dramatic landscape.
The climactic battle between King Arthur’s knights and the giants is in a dense, enchanted forest, with Merlin observing from the shadows, embodying the mystical essence of the story.

The Voyage of Brutus

Brutus, a visionary leader and skilled warrior, gathers a fleet of survivors, guiding them westward. They face countless trials through treacherous seas and hostile shores: storms that threaten to scatter their fleet, encounters with strange tribes, and skirmishes with pirates who seek to plunder their dwindling resources. Yet Brutus’s courage and cunning inspire loyalty and hope among his people.

Brutus guides his fleet westward through treacherous seas, claiming the mist-shrouded island of Britain and beginning the foundations of London as a new Troy.
Brutus arrives on the mist-shrouded island, depicted in full view, proudly claiming the land and beginning the construction of London.

Arriving on the shores of a mist-shrouded island, Brutus claims the land for his people, naming it Britain. He envisions a beacon of civilization, a new Troy, and begins to lay the foundations of London. The city rises as a symbol of resilience, its walls and towers echoing the glory of Troy. Brutus’s wisdom and leadership usher in an era of prosperity, his name becoming synonymous with the island’s identity.

The Path of Corneus

Meanwhile, Corneus, a giant of a man both in stature and lineage, leads his followers southward. Descended from the ancient giants who once roamed the Earth, Corneus embodies a primal strength and connection to the old world. He establishes himself in Brittany, where the rugged coastlines and dense forests mirror the wild strength of his people.

Corneus, now depicted in full view, stands proudly on Brittany’s rugged coastline. The scene emphasizes his immense stature and primal strength, capturing his lineage’s majestic and wild essence.

Corneus found cities and fortresses, carving his name into the land of Cornouaille. Legends grow around his exploits, and his descendants, inheritors of his giant blood, become a race apart—warriors of immense strength and fierce pride. These giants guard their territories zealously, their existence both feared and respected by their human neighbors.

Giants in Arthurian Times

Corneus founded cities and fortresses in Cornouaille, surrounded by his descendants and the awe-inspired human neighbors. The scene emphasizes the giants’ immense strength and legendary status.

Generations later, the giants of Cornouaille endure, their bloodlines intertwined with the human settlers of Brittany. When the Saxon invasion threatens Britain, the giants emerge from their hidden strongholds to join forces with the Saracens, forming an unlikely alliance against the Britons.

Giants of Cornouaille emerged from their strongholds and allied with the Saracens during the Saxon invasion. The scene captures the giants’ imposing presence and Brittany’s dramatic landscape.
The epic battle between King Arthur’s knights and the towering giants showcases their ferocity and the knights’ strategic brilliance and enchanted weapons.

During King Arthur’s reign, the giants become formidable adversaries, their strength and ferocity unmatched on the battlefield. The clash of steel rings across the land as Arthur and his knights confront this alliance in a series of epic battles. Though the giants fight valiantly, their primal strength is no match for Arthur’s strategic brilliance and the enchanted prowess of his knights.

The Retreat into Shadows

Defeated but not destroyed, the surviving giants retreat into the forests, their roars of defiance echoing through the ancient trees. Merlin, Arthur’s enigmatic advisor, cautions the knights against pursuit. “Let them fade into the shadows,” he warns, his voice heavy with foreknowledge. “Their end will not come by your hands but by others yet unseen.”

The surviving giants retreat into the ancient forest, with Merlin cautioning Arthur’s knights against pursuit, creating a scene of mysticism and foreboding.

The giants vanish into the wilderness, their presence becoming the stuff of whispers and campfire tales. Hunters and travelers speak of massive footprints and shadowy figures glimpsed through the trees, but the giants remain elusive. Over time, their legend fades into obscurity, their existence doubted by all but the most steadfast believers.

The Foretold Demise

Here is the symbolic illustration of Merlin’s prophecy, capturing the cyclical nature of power and civilization. It weaves together the echoes of Troy, the founding of London by Brutus, and the giants’ retreat, emphasizing the fragility of empires and the enduring power of myth.

Merlin’s prophecy lingers like a specter over the tale. The giants’ eventual fate remains a mystery, but their story is a testament to the cyclical nature of power and civilization. The echoes of Troy reverberate through the ages, from Brutus’s founding of London to the giants’ last stand. Their legacy, both noble and savage, endures in the hearts of those who remember a reminder of the fragility of empires and the enduring power of myth.

Brutus, the Reluctant Leader

Brutus reflects by a dying campfire, burdened by leadership and the memories of Troy’s destruction. The somber yet determined atmosphere captures his internal struggle.

When Troy falls, Brutus is thrust into leadership, not by ambition but necessity. A man of intellect and strategic mind, he doubts his ability to carry the weight of an entire people on his shoulders. “What if I fail them?” he often wonders in the quiet moments of the night, staring into the embers of a dying fire. Though his heart is strong, the memories of Troy’s destruction torment him, and he carries the guilt of those he could not save.

With his loyal companions, Scudo the warhorse and Caesar the Molossian hound, Brutus symbolizes his strength and hope for the future.

Yet, Brutus finds solace and strength in the companionship of two loyal animals who journey with him—Scudo, his warhorse, and Caesar, his Molossian hound. These creatures, symbols of his past and hope for the future, become his steadfast allies and emotional anchors.


Scudo, the Warhorse

Scudo, whose name means “shield” in the language of their ancestors, is a massive and mighty steed bred for battle. Scudo, a gleaming black stallion with a white star on his forehead, represents Brutus’s link to Troy’s martial traditions. The horse was a gift from his father, a symbol of their lineage and the strength expected of him. Scudo bears Brutus across treacherous terrain through battle and peace, and their bond is unshakable. Brutus often speaks to Scudo as if to a trusted confidant, sharing his doubts and fears.

One stormy night, as waves toss the fleet, Scudo’s panicked whinnies echo through the ship’s hold. Brutus leaves his command post to calm the stallion, whispering reassurances and stroking his neck until the horse quiets. In moments like these, Brutus feels the enormity of his duty to his people and the creatures who rely on him.


Caesar, the Loyal Hound

Caesar, a Molossian mastiff of immense size and strength, was once the companion of a Roman general who fell in battle. Brutus rescued the dog during his travels, earning the animal’s unwavering loyalty. With a coat of brindled brown and amber eyes that seem to understand his every word, Caesar is both a guardian and a symbol of steadfast devotion.

Caesar, the loyal Molossian mastiff, stands proudly beside Brutus in a rugged landscape. The scene emphasizes Caesar’s immense strength, intelligence, and unwavering devotion.

In the chaos of battle, Caesar charges fearlessly alongside Brutus, defending him with ferocious strength. But when the fighting ceases, the hound becomes gentle, resting his massive head on Brutus’s lap during the quiet hours. Brutus often rubs Caesar’s ears, finding a calm that eludes him elsewhere. The dog’s presence is a reminder of the more spartan virtues of loyalty and love, which sustain Brutus when his doubts threaten to overwhelm him.


Doubts and Triumphs

As the fleet journeys westward, Brutus faces trials that test his resolve. In one particularly harrowing episode, a mutiny brews among his people, spurred by fear and hunger. Brutus doubts his ability to quell the unrest but finds strength in his connection to his companions. Scudo and Caesar stand beside him as he addresses his followers, their presence a silent testament to his leadership and courage. His words, imbued with sincerity and the promise of a brighter future, restore order among his people.

Upon reaching the shores of Britain, Brutus’s doubts resurface. The land is wild and untamed, and the enormity of founding a new Troy weighs heavily on him. One night, as he sits alone under the stars, Caesar at his side and Scudo grazing nearby, Brutus speaks aloud, questioning whether he has made the right choice. In the following silence, the dog rests his head on Brutus’s knee to remind him that his journey is not in vain.


Building London and Legacy

Despite his doubts, Brutus forges ahead, rallying his people to build a city worthy of their heritage. London rises, its walls and towers a reflection of Troy’s glory, yet uniquely shaped by the challenges of this new land. Brutus becomes a figure of legend, not because he is without flaws but because he overcomes them. He honors Scudo and Caesar in the city’s foundations, commissioning carvings of a horse and a dog to guard the gates.

In his later years, Brutus reflects on his journey, no longer plagued by the doubts that once shadowed him. He finds peace in the knowledge that his legacy endures, not only in the city he built but also in the lessons he learned from his loyal companions. Scudo and Caesar, symbols of his resilience and humanity, live on in the stories passed down through generations, embodying the spirit of a man who dared to dream of a new Troy.

Anglo-Norman Albina story

This illustration brings the legend to life: Albina stands as a commanding figure on the shores of Albion, and her sisters gather food in the untamed wilderness behind her. Shadowy incubi loom ominously, hinting at the dark unions to come, while colossal giants emerge in the distance, foreshadowing the future struggles with Brutus and his men. The setting is awash in golden light, breaking through stormy clouds, creating an atmosphere of mysticism and epic grandeur.

Later, in the 14th century, a more elaborate tale was developed, claiming that Albina and her sisters founded Albion and procreated there a race of giants.[21] The “Albina story” survives in several forms, including the octosyllabic Anglo-Norman poem “Des grantz geanz” dating to 1300–1334.[22][a][23][24][b][26] According to the poem, in the 3970th year of the creation of the world,[c] a king of Greece married his thirty daughters into royalty, but the haughty brides colluded to eliminate their husbands so they would be subservient to no one.

The youngest would not be party to the crime and divulged the plot, so the other princesses were confined to an unsteerable rudderless ship and set adrift, and after three days reached an uninhabited land later to be known as “Britain”. The eldest daughter Albina (Albine) was the first to step ashore and lay claim to the land, naming it after herself. At first, the women gathered acorns and fruits, but once they learned to hunt and obtain meat, it aroused their lecherous desires. As no other humans inhabited the land, they mated with evil spirits called “incubi“, and subsequently with the sons they begot, engendering a race of giants.

These giants are evidenced by huge bones which are unearthed. Brutus arrived 260 years after Albina, 1136 before the birth of Christ, but by then there were only 24 giants left, due to inner strife.[26] As with Geoffrey of Monmouth’s version, Brutus’s band subsequently overtakes the land, defeating Gogmagog in the process.[26]

This image vividly brings to life the 14th-century tale of Albina and her sisters founding Albion. At the center, Albina stands as a regal and commanding figure, her gaze fixed on the wild and untamed land she claims as her own, naming it Albion. Her sisters, clad in tattered yet elegant garments, are seen in the background gathering fruits and acorns for survival. The landscape is rich and dramatic, with dense forests, rocky shores, and a golden glow filtering through stormy clouds, adding an air of mysticism. Shadowy, supernatural incubi emerge subtly from the mist, foreshadowing the unions that will give rise to the towering giants visible in the distance with their monstrous yet humanoid features. On the far horizon, Brutus and his fleet are depicted approaching, hinting at the future conquest of Albion. The atmosphere is steeped in epic grandeur and mythical tension.

In a 14th-century tale, Albina and her thirty sisters, daughters of a Greek king, defied tradition when their overwhelming pride led them to plot the murder of their royal husbands. The youngest sister, however, exposed their scheme, and as punishment, the rest were cast adrift on a rudderless ship. After three days at sea, they reached an uninhabited land. The eldest sister, Albina, claimed the territory, naming it Albion after herself.

The sisters initially survived by gathering acorns and fruits, but their discovery of hunting stirred forbidden desires. Without other humans, they mated with shadowy spirits known as incubi, giving rise to a fearsome race of giants. These giants, colossal and formidable, left their legacy in the form of immense bones that would later be unearthed as evidence of their existence. When Brutus arrived 260 years later, only 24 giants remained due to infighting. Brutus and his followers ultimately conquered Albion, sealing their victory by defeating the mighty Gogmagog.

Manuscripts and forms

The octosyllabic poem appears as a prologue to 16 out of 26 manuscripts of the Short Version of the Anglo-Norman prose Brut, which derives from Wace. Octosyllabic is not the only form the Anglo-Norman Des Grantz Geanz, there are five forms, the others being: the alexandrine, prose, short verse, and short prose versions.[22][27] The Latin adaptation of the Albina story, De Origine Gigantum, appeared soon later, in the 1330s.[28] It has been edited by Carey & Crick (1995),[29] and translated by Ruth Evans (1998).[30]

Diocletian’s daughters

A variant tale occurs in the Middle English prose Brut (Brie ed., The Brut or the Chronicles of England 1906–1908) of the 14th century, an English rendition of the Anglo-Norman Brut deriving from Wace.[d][31][32] In the Prolog of this chronicle, it was King “Dioclician” of “Surrey” (Syria[33]), who had 33 daughters, the eldest being called “Albyne”. The princesses are all banished to Albion after plotting to murder their husbands, where they couple with the local demons; their offspring became a race of giants. The chronicle asserts that during the voyage Albyne entrusted the fate of the sisters to “Appolyn”, which was the god of their faith. The Syrian king who was her father sounds much like a Roman emperor,[33] though Diocletian (3rd century) would be anachronistic, and Holinshed explains this as a bungling of the legend of Danaus and his fifty daughters who founded Argos.[34]

Later treatment of the myth

[edit]

Because Geoffrey of Monmouth’s work was regarded as fact until the late 17th century, the story appears in most early histories of Britain. WaceLayamonRaphael HolinshedWilliam Camden and John Milton repeat the legend and it appears in Edmund Spenser‘s The Faerie Queene.[35]

William Blake‘s poems Milton and Jerusalem feature Albion as an archetypal giant representing humanity. (Quotation needed)

In 2010, artist Mark Sheeky donated the 2008 painting “Two Roman Legionaries Discovering The God-King Albion Turned Into Stone” to the Grosvenor Museum collection.[36]

See also

Notes

  1. ^ Brereton 1937, p. xxxii had allowed for earlier dating range, giving 1200 (more likely 1250) to 1333/4: “not earlier than the beginning – probably not before the middle – of the thirteenth century and not later than 1333–4”
  2. ^ The same text (same MS source) as Jubinal (Cotton Cleopatra IX) occurs in Francisque Michel ed., Gesta Regum Britanniae (1862), under the Latin title De Primis Inhabitatoribus Angliæ and incipit.[25]
  3. ^ Brereton 1937, p. 2, “Del mound, treis mil e nef cent/E sessante e diz ans” ll.14–15; but “treis” is lacking in Michel 1862 so that it reads “1970 years”
  4. ^ In the Anglo-Norman prose Brut, the poem prefaced to the Short Version was incorporated to the text proper (prologue) of the Long Version, from the long version. This long version was then rendered into Middle English.Lamont 2007, p. 74

References

  1. ^ “How Canada Got Its Name”about.comArchived from the original on 7 December 2010. Retrieved 3 May 2018.
  2. ^ Rayburn, Alan (2001). Naming Canada: Stories about Canadian Place Names. University of Toronto Press. p. 16. ISBN 978-0-8020-8293-0.
  3. ^ Ancient Greek “… ἐν τούτῳ γε μὴν νῆσοι μέγιστοι τυγχάνουσιν οὖσαι δύο, Βρεττανικαὶ λεγόμεναι, Ἀλβίων καὶ Ἰέρνη, …”, transliteration “… en toutôi ge mên nêsoi megistoi tynchanousin ousai dyo, Brettanikai legomenai, Albiôn kai Iernê, …”, Aristotle: On Sophistical Refutations. On Coming-to-be and Passing Away. On the Cosmos., 393b, pages 360–361, Loeb Classical Library No. 400, London William Heinemann LTD, Cambridge, Massachusetts University Press MCMLV
  4. ^ Freeman, Philip; Koch, John T. (2006). Koch, John T. (ed.). Celtic Culture, ABC–CLIO. pp. 38–39.
  5. ^ Delamarre, Xavier (2003). Dictionnaire de la langue gauloise (2nd ed.). Errance. pp. 37–38.
  6. ^ Ekwall, Eilert (1930). “Early names of Britain”. Antiquity4 (14): 149–156. doi:10.1017/S0003598X00004464S2CID 161954639.
  7. ^ Avienius‘ Ora Maritima, verses 111–112, i.e. eamque late gens Hiernorum colit; propinqua rursus insula Albionum patet.
  8. ^ Unger, G. F. (1883). “Die Kassiteriden und Albion”Rheinisches Museum für Philologie38: 157–196. ISSN 0035-449XJSTOR 41247830.
  9. ^ Scymnus; Messenius Dicaearchus; Scylax of Caryanda (1840). Fragments des poemes géographiques de Scymnus de Chio et du faux Dicéarque, restitués principalement d’après un manuscrit de la Bibliothèque royale: précédés d’observations littéraires et critiques sur ces fragments; sur Scylax, Marcien d’Héraclée, Isidore de Charax, le stadiasme de la Méditerranée; pour servir de suite et de supplément à toutos les éditions des petits géographes grecs. Gide. p. 299.
  10. ^ Snyder, Christopher A. (2003). The Britons. Blackwell Publishing. p. 12ISBN 0-631-22260-X.
  11. ^ Aristotle or Pseudo-Aristotle (1955). “On the Cosmos, 393b12”On Sophistical Refutations. On Coming-to-be and Passing Away. On the Cosmos. Translated by Forster, Edward Seymour; Furley, David J. William Heinemann, Harvard University Press. pp. 360–361. at the Open Library Project.DjVu
  12. ^ Pliny the Elder (1942). “Book IV, chapter XVI”Naturalis historia [Natural History]. Vol. II. Translated by Rackham, Harris. Harvard University Press. pp. 195–196.
  13. ^ Ptolemy’s Geographia, Book II – Didactic Analysis Archived 2011-07-27 at the Wayback Machine, COMTEXT4
  14. ^ Claudius Ptolemy (1843). “index of book II” (PDF). In Nobbe, Carolus Fridericus Augustus (ed.). Claudii Ptolemaei Geographia. Vol. 1. Leipzig: sumptibus et typis Caroli Tauchnitii. p. 59. Archived (PDF) from the original on 2013-12-08.
  15. ^ ΒρεττανικήLiddell, Henry GeorgeScott, RobertA Greek–English Lexicon at the Perseus Project
  16. ^ England: Anglo-Saxon Royal Styles: 871–1066, Anglo-Saxon Royal Styles (9th–11th centuries) Archived 2010-09-27 at the Wayback Machine, archontology.org
  17. ^ Walter de Gray Birch, Index of the Styles and Titles of Sovereigns of England, 1885
  18. ^ History of the Kings of Britain/Book 1, 15
  19. ^ History of the Kings of Britain/Book 1, 16
  20. ^ Wheatley, Henry Benjamin, ed. (1866). Merlin, Or, The Early History of King Arthur: A Prose Romance. Vol. 2. Early English Text Society. pp. 147, 357.
  21. ^ Bernau 2007
  22. Jump up to:a b Dean, Ruth (1999), Anglo-Norman Literature: A Guide to Texts and Manuscripts, pp. 26–30, cited by Fisher, Matthew (2004). Once Called Albion: The Composition and Transmission of History Writing in England, 1280–1350 (Thesis). Oxford University. p. 25. Archived from the original on 2014-03-09.. Fisher: “five distinct versions of Des Grantz Geanz: the octosyllabic, alexandrine, prose, short verse, and short prose versions survive in 34 manuscripts, ranging in date from the first third of the fourteenth to the second half of the fifteenth century”
  23. ^ Brereton 1937
  24. ^ Jubinal 1842, pp. 354–371
  25. ^ Michel 1862, pp. 199–254
  26. Jump up to:a b c Barber 2004
  27. ^ Wogan-Browne, Jocelyn (2011), Leyser, Conrad; Smith, Lesley (eds.), “Mother or Stepmother to History? Joan de Mohun and Her Chronicle”Motherhood, Religion, and Society in Medieval Europe, 400–1400, Ashgate Publishing, p. 306, ISBN 978-1409431459
  28. ^ Carley & Crick 1995, p. 41
  29. ^ Carley & Crick 1995
  30. ^ Evans 1998
  31. ^ Brie 1906–1908
  32. ^ Bernau 2007, p. 106
  33. Jump up to:a b Baswell, Christopher (2009), Brown, Peter (ed.), “English Literature and the Classical Past”A Companion To Medieval English Literature and Culture, c.1350–c.1500, John Wiley & Sons, pp. 242–243, ISBN 978-1405195522
  34. ^ Historie of England 1587, Book 1, Chapter 3
  35. ^ Harper, Carrie Anne (1964). The Sources of the British Chronicle History in Spenser’s Faerie Queene. Haskell House. pp. 48–49.
  36. ^ “Chester Grosvenor Art competition: winners”Cheshire Today. Archived from the original on 20 October 2016. Retrieved 20 October 2016.

Bibliography

Albina story

Studies

Categories

You may also like...