His Celtic Women provides a balanced and informed perspective on the position of women in Celtic society and asks how much of this ancient culture has filtered down through the ages. Ellis examines the concept of the "Mother Goddess" origin of the Celts as well as the pantheon of women in Celtic mythology - from Etain and Emer, and Macha and Medb, to Rhiannon and Gwenhwyvar (Guinevere). He also discusses a wide range of important historical personalities. Although Boudicca (Boadicea) is often cited as the most powerful historical Celtic female figure - the one who led southern Britain in insurrection against the Romans - Ellis shows that she was by no means unique. The results of Ellis's engaging study show that Celtic society undoubtedly maintained an order in which women were harmoniously balanced in relation to men. Beside the repressive male dominance of classic Mediterranean society, the position of women in Celtic myth, law, and early history seems to have constituted an ideal. Celtic women could govern; took prominent - sometimes the highest - roles in political, religious, and artistic life; could own property; could divorce; and were even expected to fight alongside men in battles. It was not until the Celts' encounter and conflict with the alien values of the Roman and Germanic cultures and the arrival of Western Christianity that the rights of women began to erode.

     The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them withliterature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.

    It purports to relate the history of the Brythonic inhabitants of Britain from earliest times, and this text has been used to write a history of both Wales and England, for want of more reliable sources. The Historia Brittonum has drawn attention because of its role in influencing the legends and myths surrounding King Arthur. This history is the source of several stories some of which were repeated and amplified by later authors.

    She is excited, exhausted—and about to meet royalty. . . .So begins the unforgettable story of Charlotte Bill, who would care for a generation of royals as their parents never could. Neither Charlotte—LaLa, as her charges dub her—nor anyone else can predict that eldest sons David and Bertie will each one day be king. LaLa knows only that these children, and the four who swiftly follow, need her steadfast loyalty and unconditional affection.But the greatest impact on Charlotte’s life is made by a mere bud on the family tree: a misunderstood soul who will one day be known as the Lost Prince. Young Prince John needs all of Lala’s love—the kind of love his parents won’t…or can’t…show him.From Britain’s old wealth to the glittering excesses of Tsarist Russia; from country cottages to royal yachts, and from nursery to ballroom, Charlotte Bill witnesses history. The Royal Nanny is a seamless blend of fact and fiction—an intensely intimate, yet epic tale spanning decades, continents, and divides that only love can cross.

    As he weakens, Britain is being torn apart by the squabbling of kings. Only one man can bring them together. This is the legend of Artorex, the man destined to be King Arthur. Artorex, tall for his years, is growing up in the household of Lord Ector. Artorex was sent here by the Bishop of Glastonbury when he was but a babe in arms and, although his parentage is unknown, life has been unremarkable. That is, until the arrival of three men who arrange for him to be trained in the skills of the warrior; blade and shield, horse and fire; pain and bravery. By the time the men return, Artorex is both a father and a warrior -- and married to Lady Gallia. The country is in a desperate state -- Londinium is about to fall to the Saxons and Artorex is needed to help fight their advance. But to do so, he must leave his wife and family in the care of others. In an act of appalling treachery, they are slaughtered. But despite his terrible grief, Artorex's destiny is set. He launches into a campaign of battle against the Saxon hordes, earning himself the trust of all men, and proving himself to be the only worthy successor to Uther.But Uther cannot accept Artorex's role and hides his sword and crown. If Artorex is to unite the kings and fulfil his destiny, he needs the weapon destined to be worn by the High King of the Britons. Can he find the embittered Uther's hiding place? The future of Britain is at stake...

    So, too, did General Charles de Gaulle, the self- appointed representative of free France. As the only European democracy still holding out against Hitler, Britain became known to occupied countries as ‘Last Hope Island’. In this epic, character-driven narrative, acclaimed historian and New York Times–bestselling author Lynne Olson takes us back to those perilous days when the British and their European guests joined forces to combat the mightiest military force in history and restore order to a broken continent.

    The tales draw on pre-Christian Celtic mythology, international folktale motifs and early medieval historical traditions. While some details may hark back to older Iron Age traditions, each of the tales is the product of a developed medieval Welsh narrative tradition, both oral and written.Lady Charlotte Guest in the mid 19th century was the first to publish English translations of the collection, popularising the name "Mabinogion". The stories appear in either or both of two medieval Welsh manuscripts, the White Book of Rhydderch or Llyfr Gwyn Rhydderch, written c.1350, and the Red Book of Hergest or Llyfr Coch Hergest, written c.1382 – 1410, tho texts or fragments of some of the tales have been preserved in earlier 13th century and later mss.Scholars agree that the tales are older than the existing mss, but disagree over just how much older. The different texts originated at different times. Debate has focused on the dating of the Four Branches of the Mabinogi. Sir Ifor Williams offered a date prior to 1100, based on linguistic and historical arguments, while later Saunders Lewis set forth a number of arguments for a date between 1170 and 1190; Th Charles-Edwards, in a paper published in 1970, discussed both viewpoints, and while critical of the arguments of both scholars, noted that the language of the stories fits the 11th century. More recently, Patrick Sims-Williams argued for a plausible range of about 1060 to 1200, the current scholarly consensus.

    Is it for children, or for adults? Is it fantasy or a psychological novel? In its great range, it encompasses poetry and farce, comedy and tragedy -and sudden flights of schoolboy humour. White's `footnote to Malory' (his own phrase) resulted in the last major retelling of the story based on Malory's Morte Darthur, and Elisabeth Brewer explores the literary context of White's finest work as wellas considering his aims and achievement in writing it.White's story of Arthur begins with his `enfances', set in an imaginary medieval England, but it is far removed from the conventional historical novel. White was writing in wartime England, a country increasingly absorbed by a need to find an antidote to war. Through the medium of the Arthurian story he found his own voice, his unique contribution to keeping alive the flame of civilisation. Malory's chivalric virtues are rejected in favour of White's own twentieth-century values; the love affair of Lancelot and Guenever is interpreted in terms of modern psychology.The books which eventually made up The Once and Future Kingof 1958 appeared in distinctly different editions. In discussing these, Elisabeth Brewer looks at some of the ways in which White drew on his own personal experience at a deep psychological level, while also incorporating into his story material inspired by his antiquarian pursuits and by his years as a schoolmaster. She completes her study with an account of White's use of historical material, and the relationship of The Once and Future King to the Morte Darthur.ELISABETH BREWER lectured in English at Homerton College, Cambridge. She is the author of books and articles on Chaucer and the Arthurian legends

    . . a woman whose story has never been told -- until now.Raised in the tranquil beauty of the Summer Country, Princess Guenevere has led a charmed and contented life -- until the sudden, violent death of her mother, Queen Maire, leaves the Summer Country teetering on the brink of anarchy. Only the miraculous arrival of Arthur, heir to the Pendragon dynasty, allows Guenevere to claim her mother's throne. Smitten by the bold, sensuous princess, Arthur offers to marry her and unite their territories, allowing her to continue to reign in her own right. Their love match creates the largest and most powerful kingdom in the Isles. Yet even the glories of Camelot are not safe from the shadows of evil and revenge. Arthur is reunited with his long-lost half-sisters, Morgause and Morgan, princesses torn from their mother and their ancestral right by Arthur's father, the brutal and unscrupulous King Uther. Both daughters will avenge their suffering, but it is Morgan who strikes the deadliest blows, using her enchantments to destroy all Guenevere holds dear and to force Arthur to betray his Queen.In the chaos that follows, Arthur dispatches a new knight to Guenevere, the young French prince Lancelot, never knowing that Lancelot's passion for the Queen, and hers for him, may be the love that spells ruin for Camelot.

    . .’ So wrote Shakespeare in Richard II, and in his new book Royal Murder Marc Alexander investigates the sad stories of the victims of royal murders. Ignoring violent death by battle or political execution, this book is devoted to personal acts of jealousy and revenge which has stained the Crown with blue blood down the ages. The subjects range from those murders one may vaguely remember from schooldays without being aware of their backgrounds of intrigue and mystery, to lesser known scandals such as the secret murder of Count von Konigsmarck, the lover of Princess Sophia of Zell, wife of George the First. About the Author… Marc Alexander left Poverty Bay, New Zealand, to become a journalist in London. After four years on Fleet Street, he became the editorial director of a small magazine group, then the organiser of an annual film festival. Four years ago he became a full-time author, his books ranging from fiction to history.

    But how do these images compare with the evidence revealed by the excavator's trowel? Recent archaeological research has transformed our understanding of the period. Reflecting this new generation of scholarship, Professor Barry Raftery presents the most convincing and up-to-date account yet published of Ireland in the millennium before the coming of Christianity.The transition from Bronze Age to Iron Age in Ireland brought many changes, not least the proliferation of imposing hillforts. Did these have a purely defensive role, or were they built for ceremonial or commercial purposes? When did the Celtic character of early Ireland emerge? New findings indicate that the construction of the country's great royal centers, such as Tara and Emain Macha, coincides with the first appearance in Ireland of the material culture of the European Celts - so-called La Tene artifacts. The author argues that these were the portable trappings of a rising aristocratic elite, which expressed its power by building highly visible monuments.Professor Raftery also discusses the significant advances that took place in travel and transport, including the creation of the largest roadway in prehistoric Europe; the elusive lives of the common people; the idiosyncratic genius of the local metalsmiths; and the complex religious beliefs exemplified by standing stones, and offerings in rivers and lakes. He presents fascinating new material about Ireland's contacts with the Roman world, and in a final chapter he reviewsthe whole question of whether La Tene culture spread to Ireland through invasion or peaceful diffusion. Pagan Celtic Ireland is the definitive statement of what we currently know about the country's shadowy, Celtic origins. Generously illustrated throughout, it will be read avidly

    A study of Arthurian romance and legend which draws together the different strands of Arthurian myth, from sources as diverse as Geoffrey of Monmouth, Malory, Chretien de Troyes, the Mabinogion, and the English Gawain cycles.

    The book has that indescribable quality, charm." (B-O-T Editorial Review Board)

    Despite the abandonment of the pagan gods, both Christian and pagan practices and beliefs continued to coexist for centuries, producing a system known as "dual faith."Russian Myths deals with mythic beliefs, notions, and customs--concerning the veneration of earth, water, fire, and air, demons and spirit-beings in the world of nature, the cult of the dead, and witchcraft--many of which have their roots in the pre-Christian past but still survive to the present day. To illuminate the evolution of major themes and motifs and set Russian myths in the context of mythology the world over, Elizabeth Warner draws upon a rich variety of sources, including anecdotal narrative forms and religious legends, epic songs, funeral laments and folk religion, and, of course, the folktales where the sacred gives way to pure imagination in the depiction of mythic themes and characters.

    Four books on the Sagas of Icelanders: Contents The Prose Edda Cormac?s Saga Grettir the Strong Frithiof the Bold 591 pages.