|
HORN , See also:English See also:hero of See also:romance. See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King Horn is a heroic poem or gest of 1546 lines dating from the 13th See also:century. Murry (or Allof), king of Sudennel (See also:Surrey and See also:Sussex?) is slain by Saracen pirates who turn his son Horn adrift with twelve other See also:children. The See also:boat drifts to Westernesse 2 (See also:Cornwall?), where the children are received by King See also:Aylmer (Aethelmaer). Presently Horn is denounced by one of his companions as the See also:lover of the king's daughter Rymenhild (Rimel) and is banished, taking with him a See also:ring, the See also:gift of his See also:- BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)
bride and a See also:talisman against danger. In See also:Ireland, under the name of Godmod, he serves for seven years, and slays in See also:battle the See also:Saracens who had killed his See also:father. Learning that Rymenhild is to be married against her will to King Mody, he returns to Westernesse disguised as a See also:palmer, and makes himself known to the bride by dropping the ring into the See also:cup she offers him, with the words " Drink to Horn of Horn." He then reconquers his father's See also:kingdom and marries Rymenhild.
The other versions of the See also:story, which are founded on a See also:common tradition, but are not immediately dependent on one another, are : (1) the longer See also:French romance of Horn et Rimenhild by "mestre See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas," describing more complex social conditions than those of the English poem; (2) a slightly shorter See also:Middle English poem, Horn Childe and See also:Maiden Rimnild; (3) the Scottish ballad of " See also:Hind Horn; " (4) a See also:prose romance founded on the French Horn, entitled See also:Pontus et Sidoine (See also:Lyons, 1480, Eng. trans. pr. by Wynkyn de Worde, 1511; See also:German trans. See also:Augsburg, 1483)•
There is a marked resemblance between the story of Horn and the See also:legend of Havelok the Dane, and it is interesting to See also:note how closely See also:Richard of See also:Ely followed the Horn tradition in the r2th century De gestis Herewardi Saxonis. See also:Hereward also loves an Irish princess, flees to Ireland, and returns in See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time for the bridal feast, where he is presented with a cup by the princess. The orphaned See also:prince who recovers his father's kingdom and avenges his See also:murder, and the maid or wife who See also:waits years for an absent lover or See also:husband, and is rescued on the See also:eve of a forced See also:marriage, are common characters in romance. The second of these motives, with almost identical incidents, occurs in the legend of See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry the See also:Lion, See also:duke of See also:Brunswick; it is the subject of See also:ballads in See also:Swedish, Danish, German, Bohemian, &c., and of a Historia by Hans See also:Sachs, though some magic elements are added; it also occurs in the ballad of Der edle Moringer (14th century), well known in See also:Sir See also:Walter See also:Scott's See also:translation; in the story of Torello in the Decameron of See also:Boccaccio (loth See also:day, 9th See also:tale); and with some variation in the See also:Russian tale of Dobrynya and Nastasya.
King Horn was re-edited for the See also:Early English See also:Text See also:Soc. by G. H. McKnight in 1901; Horn et Rimenhild was edited with the English versions for the See also:Bannatyne See also:Club by F. See also:Michel (See also:Paris, 1845) Horn Childe and Maiden Rimnild in J. See also:Ritson's Metrical Romances, vol. iii. ; and " Hind Horn " in F. J. See also:Child's English and Scottish
1 There was a See also:barrow in the Isle of Purbeck, See also:Dorsetshire, called Hornesbeorh; and there are other indications which point to a possible connexion between Horn and See also:Dorset (see H. L. See also:- WARD
- WARD, ADOLPHUS WILLIAM (1837- )
- WARD, ARTEMUS
- WARD, EDWARD MATTHEW (1816-1879)
- WARD, ELIZABETH STUART PHELPS (1844-1911)
- WARD, JAMES (1769--1859)
- WARD, JAMES (1843– )
- WARD, JOHN QUINCY ADAMS (1830-1910)
- WARD, LESTER FRANK (1841– )
- WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
- WARD, WILLIAM (1766-1826)
- WARD, WILLIAM GEORGE (1812-1882)
Ward, See also:Cat. of Romances, i. 451).
2 Sudenne and Westernesse are tentatively identified also with Isle of See also:Man and Wirral (See also:Cambridge Hist. of Eng Lit., i. 304).
697
(a) The See also:body is the See also:main See also:tube, having a See also:bore of the See also:form known as trunco-conical, measuring approximately 7 ft. 4 in. in length, in which the increase in the See also:diameter of the bore is very See also:gradual in proportion to the length, the See also:cone becoming accentuated only near the See also:- BELL
- BELL, ALEXANDER MELVILLE (1819—1905)
- BELL, ANDREW (1753—1832)
- BELL, GEORGE JOSEPH (1770-1843)
- BELL, HENRY (1767-1830)
- BELL, HENRY GLASSFORD (1803-1874)
- BELL, JACOB (1810-1859)
- BELL, JOHN (1691-178o)
- BELL, JOHN (1763-1820)
- BELL, JOHN (1797-1869)
- BELL, ROBERT (1800-1867)
- BELL, SIR CHARLES (1774—1842)
bell. In the See also:valve horn the bore is only theoretically conical, the extra lengths of tubing attached to the valves being practically cylindrical. The body is coiled spirally, and has at one end a wide-mouthed bell from 11 to 12 in. in diameter having a parabolic See also:curve, and at the other a conical See also:ferrule into which See also:fit the crooks.
(b) The crooks (Fr. See also:corps or tons de rechange; Ger. Krummbogen, Stimmbogen, Einsetzbogen) are interchangeable, See also:spiral tubes, tapering to a diameter of a See also:quarter of an See also:inch at the See also:mouthpiece end and varying in length from 16 in. for the Bb See also:alto crook to 125 in. for the Bb basso. Each crook is named according to the fundamental See also:tone which it produces on being added to the body. By lengthening the tube at will the crook lowers the See also:pitch of the See also:instrument, and consequently changes the See also:key in which it stands. Although the See also:harmonic See also:series remains the same for all the crooks, the actual sounds produced by overblowing are See also:lower, the tube being longer, and they now belong to the key of the crook. The principle of the crook was known early in the 17th century; it had been applied to the See also:trumpet, See also:trombone and Jagertrummct 1 before being adapted to the horn. Crooks are merely transposing agents; they are powerless to fill up the gaps in the See also:scale of the horn in See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order to make it a See also:chromatic or even a diatonic instrument, for they require time for See also:adjustment. The principle of the crook doubtless suggested to StOlzel the See also:system of valves, which is but an instantaneous application of the See also:general principle to the individual notes of the harmonic series, each of which is thereby lowered a semitone, a tone or a tone and a See also:half, as See also:long as the valve remains in operation. The body of the horn without crooks is of the length to produce 8 ft. C., and forms the See also:standard, being known as the alto horn in C, which is the highest key in which the horn is pitched. The notes are sounded as written.
(c) The mouthpiece of the horn differs substantially from that of the trumpet.' There is, strictly speaking, no cup, the inside of the mouthpiece being, like the bore of the instrument itself, in the form of a truncated cone or See also:funnel. Like the other parts of this difficult and complex instrument, the proportions of the mouthpiece must See also:bear a certain undefined relation to the length and diameter of the See also:column of See also:air. The choice of a suitable mouthpiece is in fact a test of skill; the shape of the See also:lip of the performer and the more See also:special use he may wish to make of either the higher or the lower harmonics have to be taken into See also:consideration. In orchestral See also:music the See also:part for first horns naturally calls for the use of the higher harmonics, which are more easily obtained by means of a somewhat smaller and shallower mouthpiece than that used upon the second horn; which is called upon to dwell more on the lower harmonics.
(d) The tuning slides (Fr. coulisses; Ger. Stimmbogen) consist of a pair of sliding U-shaped tubes fitting tightly into each other, by means of which the instrument can be brought strictly into tune, and which also See also:act as compensators with the crooks. On these tuning slides, placed across the ring formed by the coils of the valve-horn, are fixed the pistons with their extra lengths of tubing; as the connexion of the pistons with the body of the horn is made through the slides, the value of the latter as compensators will be readily under-stood. Those accustomed to See also:deal with See also:instruments having fixed notes, such as the piano and See also:harp, hardly realize the extreme difficulties which confront both maker and performer in intricate See also:wind instruments such as the horn, on which no sounds can be produced without conscious adjustment of lips and breath, and but few without the additional use of some such contrivance as slide, crook, See also:piston or of the See also:hand in the bell, in the See also:case of the natural or hand horn.
The See also:production of See also:sound in wind instruments has a fourfold
Popular Ballads (vol. i., 1882), with an See also:introductory note on similar legends. See also H. L. Ward, See also:Catalogue of Romances, vol. i., where the relation between Havelok and Horn is discussed; Hist. lift. de la See also:France (vol. xxii., 1852) ; W. SOderhjelm, Sur l'identite du Thomas auteur de See also:Tristan et du Thomas auteur de Horn (Romania, xv., 1886) T. Wissmann, " King Horn " (1876) and " Das Lied von King Horn " (1881) in Noss 16 and 45 of Quellen and Forschungen zur Spr. and Culturgesch. d. german. Volker (See also:Strassburg and See also:London) ; Reinfrid von Braunschweig, a version of the legend of Henry the Lion, edited by K. Bartsch (See also:Stuttgart, 1871); and a further bibliography in 0. Hartenstein, Studien zur Hornsage (See also:Heidelberg, 1902).
End of Article: HORN
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!