1170-1215) is universally recognized as the first medieval German poet to create world-class literature. He crafted German into a language of refined literary expression that paved the way for writers such as Gottfried von Strassburg, Walther von der Vogelweide, and Wolfram von Eschenbach. This volume presents the English reader for the first time with the complete works of Hartmann in readable, idiomatic English.Hartmann's literary efforts cover all the major genres and themes of medieval courtly literature. His Arthurian romances, Erec and Iwein, which he modeled after Chretien de Troyes, introduced the Arthurian world to German audiences and set the standard for later German writers. His lyric poetry treats many aspects of courtly love, including fine examples of the crusading song. His dialogue on love delineates the theory of courtly relationships between the sexes and the quandary the lover experiences. His verse novellas Gregorius and Poor Heinrich transcend the world of mere human dimensions and examine the place and duties of the human in the divine scheme of things. Longfellow would later use Poor Heinrich in his Golden Legend.Arthurian Romances, Tales, and Lyric Poetry is a major work destined to place Hartmann at the center of medieval courtly literature for English readers.

    Patricia Ingham brings these precarious historical positions to bear on readings of Arthurian literature in Sovereign Fantasies, a provocative work deeply engaged with postcolonial and gender theory.Ingham argues that late medieval English Arthurian romance has broad cultural ambitions, offering a fantasy of insular union as an "imagined community" of British sovereignty. The Arthurian legends offer a means to explore England's historical indebtedness to and intimacies with Celtic culture, allowing nobles to repudiate their dynastic ties to France and claim themselves heirs to an insular heritage. Yet these traditions also provided a means to critique English conquest, elaborating the problems of centralized sovereignty and the suffering produced by chivalric culture. Texts such as "Sir Gawain and the Green Knight," the "Alliterative Morte Arthure," and Caxton's edition of Malory's "Morte Darthur" provide what she terms a "sovereign fantasy" for Britain. That is, Arthurian romance offers a cultural means to explore broad political contestations over British identity and heritage while also detailing the poignant complications and losses that belonging to such a community poses to particular regions and subjects. These contestations and complications emerge in exactly those aspects of the tales usually read as fantasy-for example, in the narratives of Arthur's losses, in the prophecies of his return, and in tales that dwell on death, exotic strangeness, uncanny magic, gender, and sexuality.Ingham's study suggests the nuances of the insular identity that is emphasized in this body of literature. Sovereign Fantasies shows the significance, rather than the irrelevance, of medieval dynastic motifs to projects of national unification, arguing that medieval studies can contribute to our understanding of national formations in part by marking the losses produced by union.

    But few know of Taliesin, who may have been poet to Arthur, and like Merlin, was said to have shamanic powers. Behind Taliesin's story lies a vast legacy of initiatic wisdom, much of it now lost. But enough remains to convey much of the ancient Celts' passionate spirit and religious practice. To create these tales, John Matthews has brilliantly mined medieval and premedieval sources, embellishing them where fragmentary with the rich heritage of Celtic folklore. Part legend, part fiction, part mythology, they are alive with the power of one of the most compelling mystical/literary traditions. "It is my hope," says Matthews, "that they provide a key to the secret lore of Britain, where once the Grail and the Cauldron were sought, and where the Sleeping Lord still awaits the One Who Is to Come, who will blow the Horn three times in the Cave of the Sleepers." Reading these lyrical, mysterious stories, we thrill that it is so.