They give a crucial new impetus to the story of the Grail by establishing a provenance for the sacred vessel - and for the Round Table itself - in the Biblical past; and through the controlling figure of Merlin they link the story of Joseph of Arimathea with the mythical British history of Vortigern and Utherpendragon, the birth of Arthur, and the sword in the stone, and then with the knightly adventures of Perceval's Grail quest and the betrayal and death of Arthur, creating the very first Arthurian cycle. Ambitious, original and complete in its conception, this trilogy - translated here for the first time - is a finely paced, vigorous piece of storytelling that provides an outstanding example of the essentially oral nature of early prose. NIGEL BRYANT is head of drama at Marlborough College. He has also provided editions in English of the anonymous thirteenth-century romance Perlesvaus, published as The High Book of the Grail, and Chretien's Perceval: The Story of the Grail.

    Hesiod's straightforward account of family conflict among the gods is the best and earliest evidence of what the ancient Greeks believed about the beginning of the world. Includes Hesiod's "Works and Days", lines 1-201, and material from the Library of Apollodorus.

    The 'Yankee' vows brashly to "boss the whole country inside of three weeks" and embarks on an ambitious plan to modernize Camelot with 19th c. industrial inventions like electricity and gunfire. It isn't long before all hell breaks loose!Written in 1889, Mark 'A Connecticut Yankee in King Arthur's Court' is one of literature's first genre mash-ups and one of the first works to feature time travel. It is one of the best known Twain stories, and also one of his most unique. Twain uses the work to launch a social commentary on contemporary society, a thinly veiled critique of the contemporary times despite the Old World setting.While the dark pessimism that would fully blossom in Twain's later works can be discerned in 'A Connecticut Yankee in King Arthur's Court, ' the novel will nevertheless be remembered primarily for its wild leaps of imagination, brilliant wit, and entertaining storytelling.

    It is and based on Elizabeth's own experiences.Excerpt from Aurora Leigh: A Poem in Nine Books Aurora Leigh. First Book. Of writing many books there is no end;And I, who have written much in prose and verseFor others' uses, will write now for mine, -Will write my story for my better self, As when you paint your portrait for a friend, Who keeps it in a drawer, and looks at itLong after he has ceased to love you, justTo hold together what he was and is. I, writing thus, am still what men call youngI have not so far left the coasts of lifeTo travel inland, that I cannot hearThat murmur of the outer InfiniteWhich unweaned babies smile at in their sleepWhen wondered at for smiling; not so far, But still I catch my mother at her postBeside the nursery-door, with finger up, "Hush, hush, here's too much noise!" while her sweet eyesLeap forward, taking part against her wordIn the child's riot. Still I sit, and feelMy father's slow hand, when she has left us both, Stroke out my childish curls across his knee, And hear Assunta's daily jest (she knewHe liked it better than a better jest)Inquire how many golden scudi wentTo make such ringlets. O my father's hand, Stroke heavily, heavily, the poor hair down, Draw, press the child's head closer to thy knee!I'm still too young, too young, to sit alone.

    When Gawain, King Arthur's handsome and promiscuous nephew, saves a beautiful maiden from a sorcerer, will his love be able to overcome the forces of evil?Risa of the Morelands was cursed even before she was born. While returning from King Arthur's coronation, her father made a deal with an evil necromancer named Euberacon to save his beloved dying wife. In return for his wife's health, the sorcerer asks for the life of the child growing inside her womb. Her father accepts the deal and thus dooms the unborn Risa to a life of unthinkable depravity.Now a beautiful 19-year-old with red-gold hair, Risa confronts her father after another suitor is turned away. When he eventually tells her about his deal with the sorcerer, she runs away -- only to be caught by Euberacon. Gawain fatefully witnesses the assault, saves Risa, and falls in love with her. But when Euberacon turns Risa into a monstrosity, will Gawain's love be enough to defeat a sorcerer, a pagan god, and all the naysayers at Camelot?Like many Arthurian stories, In Camelot's Shadow is a tale about honor -- its moral obligations and all its unintended consequences -- but ultimately it is a story about the power of love. Lyrical, heartwarming, and engaging until the very last page, this novel is highly recommended for fans of romantic fantasy as well as Arthurian legend and lore. Paul Goat Allen

    Seven essays offer a comprehensive survey of the legends in all of their manifestations, from theirorigins in medieval literature to their adaptation in modern literature, arts, film, and popular culture. It also demonstrates the tremendous continuity of the legends by examining the ways that they have been reinterpreted over the years. The indispensable reference on the subject, it also containsencyclopedic entries, bibliographies, and a comprehensive index. The extensive chapter-by-chapter bibliographies, which are subdivided by topic, augment the general bibliography of Arthurian resources. Comprehensive in its analysis and hypertextual in its approach, the Oxford Guide to Arthurian Literature and Legend is an essential reference book for Arthurian scholars, medievalists, and for those interested in cultural studies of myth and legend.

    The many readers who are enthralled with the enduring legend of Camelot will be drawn to this fascinating book, which "may become the definitive work in the effort to prove the historical authenticity of King Arthur."--UPI

    Loyal to his friends and passionately in love with the one woman who was denied him, Richard emerges as a gifted man far more sinned against than sinning. This magnificent retelling of his life is filled with all of the sights and sounds of battle, the customs and lore of the fifteenth century, the rigors of court politics, and the passions and prejudices of royalty.

    It is told through the letters of Peter Abélard, a French philosopher and one of the greatest logicians of the twelfth century, and of his gifted pupil Héloïse. Through their impassioned writings unfolds the story of a romance, from its reckless, ecstatic beginnings through to public scandal, an enforced secret marriage and its devastating consequences. These eloquent and intimate letters express a vast range of emotions from adoration and devotion to reproach, indignation and grief, and offer a fascinating insight into religious life in the Middle Ages.This is the revised edition of Betty Radice's highly regarded translation, in which Michael Clanchy, the biographer of Abélard, updates the scholarship on the letters and the lovers. This volume includes Abélard's remarkable autobiography and his spiritual advice to Héloïse and her nuns, as well as a selection of the 'lost love letters' of Abélard and Héloïse, letters between Héloïse and Peter the Venerable, two of Abélard's hymns, a chronology, notes and maps.

    A retelling of The Canterbury Tales

    But, besides this, chronicles, laws and letters, charters and charms are also incorporated in the anthology. Kevin Crossley-Holland places poems and prose in context with his own interpretation of the Anglo-Saxon world, in addition to translate them into modern English.

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.

    It is a literature dominated by a deep sense of wonder, wild inventiveness and a profound sense of the uncanny, in which the natural world and the power of the individual spirit are celebrated with astonishing imaginative force. Skifully arranged by theme, from the hero-tales of Cú Chulainn, Bardic poetry and elegies, to the sensitive and intimate writings of early Celtic Christianity, this anthology provides a fascinating insight into a deeply creative literary tradition.

    A paragon of remorseless evil, Barabas befriends and betrays the Turkish invaders and native Maltese alike, incites a duel between the suitors for his daughter's hand, and takes lethal revenge upon a convent of nuns.Both tragedy and farce, this masterpiece of Elizabethan theater reflects the social and political complexities of its age. Christopher Marlowe's dramatic hybrid resonates with racial tension, religious conflict, and political intrigue — all of which abounded in 16th-century England. The playwright, who infused each one of his plays with cynical humor and a dark world view, draws upon stereotypes of Muslim and Christian as well as Jewish characters to cast an ironic perspective on all religious beliefs.The immediate success of The Jew of Malta on the Elizabethan stage is presumed to have influenced Marlowe's colleague, William Shakespeare, to draw upon the same source material for The Merchant of Venice. The character of Barabas is the prototype for the well-known Shylock, and this drama of his villainy remains a satirical gem in its own right.

    When we meet her, Mrs. Clarissa Dalloway is preoccupied with the last-minute details of party preparation while in her mind she is something much more than a perfect society hostess. As she readies her house, she is flooded with remembrances of faraway times. And, met with the realities of the present, Clarissa reexamines the choices that brought her there, hesitantly looking ahead to the unfamiliar work of growing old.