Blaming himself and wanting to be free of the memories, he resigns his post and joins the tournament circuit to compete for money and fame.But dark rumors follow Bose; his mother-in-law is a vicious woman who blames Bose for her daughter's death. She starts nasty rumors that Bose murdered his wife, and everyone on the tournament circuit is fearful of this dark, frightening knight.Enter the Lady Summer du Bonne. A beautiful woman with a stammering problem, she has been kept hidden away from the world by her embarrassed father and protective brothers. Summer meets Bose at a tournament hosted by her brothers and for Bose, and it is love at first sight. But the terrible rumors plague his attempts to get to know the lady, who is attracted to him as well. Summer's drunken father eventually pledges his daughter to Bose. However, Bose's mother-in-law interferes and Summer's father decides to pledge Summer to an unscrupulous knight who has shown interest in her, and who would like nothing better than to see de Moray come to ruin.With so many forces working against them, Bose and Summer elope but they are captured and Bose is brought up on charges of thievery. A massive trial ensues and with a death sentence hanging over his head, only a miracle can save Bose and restore his honor.

     With neither title nor land, Rhys could not win the hand of Gwennelyn of Segrave. But he would always have her heart. The two are kindred souls...Rhys, a knight with far too many notions of chivalry for his own good. And Gwen, a lover of minstral tales, waiting to be swept away. But Gwen is betrothed to another man, and Rhys fears he will lose her forever. Until a suprise offer comes his way—bringing Rhys and Gwen a second chance at love...

    But now, many years later, the Duke Orsino is murdered. Feste, a jester with The Fool's Guild, must return to once again match wits with his adversary Malvolio—agent of Saladin and sworn enemy of the Guild.

    Riding to the Earl of Gloucester's keep at Bristol, Oliver stumbles upon the aftermath of a mercenary attack on an isolated village. Among the survivors are Richard, an illegitimate royal son and half-brother to the Earl himself, and the boy's young nurse Catrin. Widowed, stubborn and proud, she has much in common with Oliver, a man still grieving for a wife lost in childbirth. At Bristol, Catrin meets Ethel, a wise woman and midwife, who begins to train her in the healing arts and is instrumental in bringing Oliver and Catrin together as lovers. But the endurance of that love is threatened by the perils of injury in battle, the danger of childbirth, the upheaval of continuing civil war, and the risk of loving in exchange for nothing but heartbreak. In the end Catrin must decide where her true loyalties lie.

    He dreams of the day that he too will wear the golden spurs that symbolize knighthood. But before his dreams are realized, James must work for seven years as a page and for seven more as a squire, learning to ride, hunt, and fight.

    Olsen place the oldest English writings in an entirely different perspective. Keeping the classroom teacher’s needs foremost in mind, Raffel and Olsen organize the major old English poems (except Beowulf) and new prose selections so as to facilitate both reading and studying. A general introduction provides an up-to-date and detailed historical account of the Anglo-Saxon period, and concise introductions open the literature sections of the book and many of the translations. Raffel’s masterly translations of Old English poetry, praised as fine poems in their own right, reproduce much of the flavor as well as the sense of the originals. With more than 1800 newly translated lines and many revised older translations, the poems in this volume are organized into four genres—elegies, heroic poems, religious poems, and wisdom poetry. Raffel’s new translations include more than twenty poem-riddles, with proposed solutions in a separate section. Prose translations—grouped in historical, testamentary and legal, religious, social and instructional, and medical and magical categories—feature writings by King Alfred, Aelfric, and Wulfstan, among others.

    Traditionally known as The Hunt of the Unicorn, this set of seven exquisite and enigmatic tapestries was likely completed between 1495 and 1505. The imaginatively conceived scenes—displaying individualized faces of the hunters and naturalistically depicting the flora and fauna of the landscape—are beautifully captured in silk, wool, and metal yarns.Written by one of the world’s leading authorities on medieval textiles and illustrated with many lovely color reproductions, The Unicorn Tapestries traces the origins of the tapestries as well as possible interpretations of their symbolic meaning. This is an essential book for any lover of medieval art and textiles.

    These fascinating objects provide us with a guide to the popularity of different cults and pilgrim centres, supplying evidence of the sometimes arduous journeys not only to famous and far-off sanctuaries like Compostela, but to native shrines such as that of St Thomas Becket at Canterbury, or the tombs of local, unofficial saints. Often mass-produced and sold in tens of thousands, pilgrim souvenirs offer pointers to fashion in contemporary precious jewellery. The secular badges include a wealth of non-religious imagery, playful and amatory, satirical, celebratory and heraldic. Illustrating nearly 800 items of popular medieval jewellery, the catalogue contained within the book describes previously unpublished finds retrieved from datable archaeological London waterfront deposits, and provides the basis of a chronological framework for future excavations. BRIAN SPENCER was the Senior Keeper at the Museum of London, with special responsibility for the Museum's collection of medieval everyday objects.

    Reprint.

    Here you can discover that courtly world through its exquisite paintings and illuminations, richly hued tapestries, and gilded jewels. The Medieval Art of Love is a delightful guide through the delicate expression of affection and passion that is the hallmark of the Middle Ages. A book to charm and intrigue every lover, this volume is also a thoughtful examination of the symbolism of love in medieval European art. Michael Camille explores the metaphoric and social settings of love and its myths and paradoxes.

    Ranging from war to religion, nature to love, the quality and power of these poems display the riches of a vanished world. Alongside famous works such as The Gododdin (here in its most faithful translation yet) and The Dream of the Road, are poems by and for St. Columbia, the homesick verse of Gaelic poets on crusade, the court skalds of the Orkney earls, poems in praise of strong drinkers, harps, books and islands, and much else besides — many of which have never before appeared in translation.

    A fascinating and colourful account of this historic tapestry.

    The assumption that we all know what a dragon is, has been so deeply rooted in our cultural imagination that scholars speak casually of dragons as if the word required no interpretation. In this book the author deploys the techniques and theories of modern literary criticism texts to illuminate the function and meaning of dragons in the medieval Germanic world.

    In ten essays embracing the history of art, religion, and literature, Jeffrey Hamburger explores the interrelationships between the visual arts and female spirituality in the context of the cura monialium, the pastoral care of nuns.Used as instruments of instruction and inspiration, images occupied a central, if controversial, place in debates over devotional practice, monastic reform, and mystical expression. Far from supplementing a history of art from which they have been excluded, the images made by and for women shaped that history decisively by defining novel modes of religious expression, especially the relationship between sight and subjectivity. With this book, the study of female piety and artistic patronage becomes an integral part of a general history of medieval art and spirituality.The Visual and the Visionary was awarded the 1999 Charles Rufus Prize by the College Art Association and the 1999 Roland H. Bainton Prize for Art and Music History by the Sixteenth Century Conference.

    What the most notorious of English kings read and what his reading reveals about Richard III's society.

    It edits, introduces, and glosses some sixty excerpts, all of which reflect on the problems and opportunities associated with writing in the "mother tongue" during a period of revolutionary change for the English language.The excerpts fall into three groups, illustrating the strategies used by medieval writers to establish their cultural authority, the ways they constructed audiences and readerships, and the models they offered for the process of reading. Taken together, the excerpts show how vernacular texts reflected and contributed to the formation of class, gender, professional, and national identity. They open windows onto late medieval debates on women's and popular literacy, on the use of the vernacular for religious instruction or Bible translation, on the complex metaphorical associations contained within the idea of the vernacular, and on the cultural and political role of the "courtly" writing associated with Chaucer and his successors.Besides the excerpts, the book contains five essays that propose new definitions of medieval literary theory, discuss the politics of Middle English writing, the relation of medieval book production to notions of authorship, and the status of the prologue as a genre, and compare the role of the medieval vernacular to that of postcolonial literatures. The book includes a substantial glossary that constitutes the first mapping of the language and terms of Middle English literary theory. The Idea of the Vernacular will be an invaluable asset not only to Middle English survey courses but to courses in English literary and cultural history and courses on the history of literary theory.

    Each of the thirty-two chapters discusses a subject in the study of the language (e.g., stressed vowels, subjunctive mood) and includes an exercise based on a reading of an Occitan text that has been edited afresh for this volume. An essential glossary analyzes every occurrence of every word in the readings and gives cognates in other Romance languages as well as the source of each word in Latin or other languages. The book also contains a list of prefixes, infixes, and suffixes and a dictionary of proper names. An accompanying compact disc includes discussion of the pronunciation of the language, with illustrations from the texts in the book, and musical performances by Elizabeth Aubrey, of the University of Iowa.

    This anthology offers a selection of key prefaces to ecclesiastical law collections from late antiquity to the mid-13th century, during which time the Western church was wrestling with the complexities and ambiguities of its legal traditions.

    An outstanding example of late medieval manuscript art, it was written and illuminated in the early 15th century for John, Duke of Bedford, younger brother of King Henry V, and his wife, Anne of Burgundy. The principal artist of the leading Parisian workshop in which it was produced takes his name, the 'Bedford Master' from his English patron. Expertly planned and professionally executed, The Bedford Hours is celebrated for the enormous range of its pictorial scheme, with many superb large miniatures in brilliant colours, and exquisite marginal details. Here Janet Backhouse examines the overall design of the Hours, discussing the historical background to its production and ownership, with 60 colour and black-and-white plates showing full pages and details beautifully reproduced from the manuscript.

    Andrew, the bishop's young assistant finds himself drawn into a circle of sincere believers trying to honor Christ.

    At the center of the transformation was a shift from a marital property regime based on custom to one based on contract. In the former, a widow typically inherited her husband's property; in the latter, she shared it with or simply held it for his family or offspring. Howell asks why the law changed as it did and assesses the law's effects on both social and gender meanings but she insists that the reform did not originate in general dissatisfaction with custom or a desire to disempower widows. Instead, it was born in a complex economic, social and cultural history during which Douaisiens gradually came to think about both property and gender in new ways.

    Enter an exhilarating time of change and clashing foes in this highly readable, authoritative exploration of a dangerous aspect of medieval life. Ewart Oakeshott explodes the myth that medieval battles were all similar, pointing instead toward the different and fascinating tactics used in four specific battles covering the 12th to the 16th centuries - at Arsuf, Lincoln, Mauron, and Marignano. He touches on the long and terrible wars of The Crusades; explores the charged feud between Richard the Lionhearted and his nemesis, Saladin; and examines how the development of weapons altered armor and fighting techniques.

    3 Sword in the Stone - Boy Merlin tells evil king, red dragon slain is his future, hides son Arthur for Uther. 4 Island of the Lost Children - Griffin flies Dutch Prince Hagen to isle with Hilda and princesses. 5 Roland - Count Ganelon from Charlemagne in France, betrays to pagan Spaniards, who flee when devout Roland sounds horn 6 Werewolf - Faithless wife hides clothes so Sir Marrok stays animal. 7 Sir Gawain and the Green Knight - Youngest Camelot knight beheads green bearded stranger with own axe, after promising to allow return on New Year Day.8 Robin Hood and his Merry Men - archer disguised in red beggar robes and eye patch contests for Sheriff's gold arrow. 9 Chanticleer and the Fox - Fable where fox captures rooster by flattery.

    In this new study, underpinned by biographical sketches of the great warriors who fought for the crown of England in 1066, Frank McLynn shows that this view is mistaken. The battle on Senlac Hill on 14 October was a desperately close-run thing, which Harold lost only because of an incredible run of bad fortune and some treachery from the Saxon elite in England. Both William and Harold were fine generals, but Harold was the more inspirational of the two. Making use of all the latest scholarship, McLynn shows that most of our 'knowledge' of 1066 rests on myths or illusions: Harold did not fight at Hastings with the same army with which he had been victorious at Stamford Bridge three weeks earlier; the Battle of Senlac was not won by Norman archery; Harold did not die with an arrow in the eye. In overturning these myths, McLynn shows that the truth is even more astonishing than the legend. An original feature of the book is the space devoted to the career and achievements of Harald Hardrada, who usually appears in such narratives as the shadowy 'third man'. McLynn shows that he was probably the greatest warrior of the three and that he, in turn, lost a battle through unforeseen circumstances.

    From the Scottish Origin Legend, expressed in the works of the medieval chroniclers, to the ideas of contemporary historians - anyone who wants to know how Scottish identity came to be, need only read this book.Winner of the Saltire Society Scottish History Book Award 1999Honorable Mention - Frank Watson Scottish History Prize 1999

    

    In The Renaissance Man and His Children, author Louis Haas delves into account books, letters, and literature of the Renaissance to examine elite Florentine male attitudes and behaviors regarding birth and infancy from 1300 to 1600.

    A rich selection of plates from this 1493 history of the world, long a treasured favorite of collectors, is now available in this inexpensive edition.This volume lovingly preserves the full grandeur of the original woodcuts, designed by the celebrated artists Michael Wolgemut and Wilheim Pleydenwurff. Some scholars believe that since Albrecht Dürer was Wolgemut's student at the time of the book's production, it is possible that he too contributed to the illustrations of the Chronicle. The plates shown here depict 91 locales as they appeared in 15th century Athens, Paris, Rome, Vienna, Jerusalem, Venice, Prague, Munich, Nuremberg, Florence, and many more. Included are 51 city views, 26 of them double-page spreads, each one exhibiting a new mastery of perspective — as this book embodies a stage in the evolution of art from the naïve to its more conscious form. An additional 143 miscellaneous illustrations of figures and decorative objects round out this volume, all of whose cuts emanated from the celebrated printing presses of Anton Koberger.

    The result is a unique depiction of the lives of these strong, creative, independent-minded women who achieved a visibility in their society that led to recognition of sanctity."A tremendous piece of scholarship. . . . This journey through more than 2,000 saints is anything but dull. Along the way, Schulenburg informs our ideas regarding the role of saints in the medieval psyche, gender-specific identification, and the heroics of virginity." —Library Journal"[This book] will be a kind of 'roots' experience for some readers. They will hear the voices, haunted and haunting, of their distant ancestors and understand more about themselves." —Christian Science Monitor"This fascinating book reaches far beyond the history of Christianity to recreate the 'herstory' of a whole gender." —Kate Saunders, The Independent

    Used Book in good condition. No missing/ torn pages. No stains. Note: The above used product classification has been solely undertaken by the seller. Amazon shall neither be liable nor responsible for any used product classification undertaken by the seller. A-to-Z Guarantee not applicable on used products.

    Eyewitness accounts of the men who fought as captains, archers, artillerymen, billmen, men-at-arms and cavalry - both in England and abroad - are used to paint a vivid picture of fifteenth-century conflict in all its confusion and violence.

    

    In the past thirty years, it has attracted a wide range of literary criticism both in the UK and the US. Feminist critics of English literature have been particularly interested by the ways in which the poet has adapted the traditional masculine heroic ethos of Old English poetry to a story figuring a violently active female protagonist. Yet there is no available edition of Judith that is either comprehensive or up to date, or which at all explains how and why the poem is worthy of our attention. This new edition aims to fill this gap. It includes a full Introduction and commentary by the editor, plus a comprehensive glossary, bibliography and appendices.

    150 color illustrations.

    Authors who receive extensive treatment are Cassiodorus, Gregory of Tours, Jonas of Bobbio, Fredegar, Lupus of Ferri?res, Claudius of Turin, Benjamin of Tudela, and the brothers du Tillet; anonymous sources include the Royal Frankish Annals, the Tale of Rigrannus of Le Mans, and the Plan of St Gall. Among the subjects treated at length are war, ethnicity, divine descent, gender, aristocratic power, Charlemagne, and Carolingian monasticism.The volume is presented in honour of the work of Walter Goffart, whose scholarship has had a profound impact on our present understanding of the character of the early medieval west and its historical writing.

    Follow the action as a castle is under attack—enemies scale the walls and batter at the gates, invading the castle and fighting until dawn.

    Their own accounts, and contemporary narratives (reinforced by the interest of early printers), reveal this interplay, but historians of exploration on the one hand, and of chivalry on the other, have largely ignored this cultural connection. Jennifer Goodman convincingly develops the idea of the chivalric romance as an imaginative literature of travel; she traces the publication of medieval chivalric texts alongside exploration narratives throughout the later middle ages and renaissance, and reveals parallel themes and preoccupations. She illustrates this with the histories of a sequence of explorers and their links with chivalry, from Marco Polo to Captain John Smith, and including Gadifer de la Salle and his expedition to the Canary Islands, Prince Henry the Navigator, Cort�s, Hakluyt, and Sir Walter Raleigh. JENNIFER GOODMAN teaches at Texas A & M University.

    Routledge is an imprint of Taylor & Francis, an informa company.

    The author applies modern narrative theory to their texts and images to reveal the messages encoded in them. This book should be of interest to students of art history, mediaeval history, or mediaeval studies and to anyone fascinated by the mysteries of mediaeval art.