Amongst his few possessions is a dagger which bears an unknown heraldic symbol. He joins a band of mercenaries heading for Venice where the Christians are assembling for the Crusade. On his journey from boy to manhood, discovering a surprisingly natural aptitude for combat, he encounters a secret Brotherhood and their avowed enemy The Order of the Blooded Cross. “The Crusader’s Blade” is the first of three novels that draw heavily on historical detail, intermingling real and fictitious characters and events to give an enthralling portrait of the religious battles of the age.

    

    The mythic legacy of the Scandinavians includes a cycle of stories filled with magnificent images from pre-Christian Europe. Gods, humans, and monstrous beasts engage in prodigious drinking bouts, contests of strength, greedy schemes for gold, and lusty encounters. The Norse pantheon includes Odin, the wisest and most fearsome of the gods; Thor, the thundering powerhouse; and the exquisite, magic-wielding Freyja. Their loves, wars, and adventures take us through worlds both mortal and divine, culminating in a blazing doomsday for gods and humans alike. These stories bear witness to the courage, passion, and boundless spirit that were hallmarks of the Norse world.“Kevin Crossley-Holland retells the Norse myths in clear, attractive prose . . . An excellent introduction, notes, and a glossary provide mythological and historical backgrounds and suggest parallels with myths in other parts of the world.”–The Denver Post

    But some months later, when a second brother is killed near Lincoln, and then a third is wounded, it becomes obvious that a deadly campaign is being waged against the warrior monks.In concert with Gerard Camville, the sheriff of Lincoln, Bascot investigates the murders but, despite their best efforts, not a trace of the killer is discovered. As the attacks continue, both are frustrated by the lack of clues to his identity, and it is not until an unexpected witness comes forward with revealing evidence that a trail is found for them to follow.

     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.

    Covering 150 years in the lives of the inhabitants of the community of Laxriverdale, the saga focuses primarily upon the story of Gudrun Osvif's-daughter: a proud, beautiful, vain and desirable figure, who is forced into an unhappy marriage and destroys the only man she has truly loved - her husband's best friend. A moving tale of murder and sacrifice, romance and regret, the Laxdaela Saga is also a fascinating insight into an era of radical change - a time when the Age of Chivalry was at its fullest flower in continental Europe, and the Christian faith was making its impact felt upon the Viking world.

    Her sex was a barrier to everything she wanted: freedom, adventure, and the need to be heard. Fascinated by tales of the misty Highlands when the opportunity arises, she flees secretly to Edinburgh.But the world is much more wicked than Gillian knows, and the noble Highlander she encounters might have ulterior motives.With his people suffering from poverty and hunger, Col, a fierce Scotsman, decides to defy fate. He turns himself into the Phantom and provides for the Scottish by pillaging the English.When he meets the most striking lass, he will be immediately charmed by her boldness and beauty.Until he discovers that her family is responsible for all his life's tragedies. And so, he captures her without knowing that he is the lesser of the evils after her.Gillian is not aware that she is in grave danger, and that without Col's help, nothing can stop her impending death.He captured her to save his people, but she stole his heart…

    Vividly portraying legendary and semi-legendary figures such as Lear, Cymbeline, Merlin the magician and the most famous of all British heroes, King Arthur, it is as much myth as it is history and its veracity was questioned by other medieval writers. But Geoffrey of Monmouth's powerful evocation of illustrious men and deeds captured the imagination of subsequent generations, and his influence can be traced through the works of Malory, Shakespeare, Dryden and Tennyson.

    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.

    It is one of the major sources for the heroic and mythological traditions of northern Europe, though the complex Latin style and the wide range of material brought together from different sources have limited its use. Here Hilda Ellis Davidson, a specialist in Scandinavian mythology, together with the translator Peter Fisher, provides a full English edition; each of the first nine books is preceded by an introductory summary, and a detailed commentary follows on the folklore and life and customs of twelfth-century Denmark - including the sources of Hamlet, of which Saxo gives the earliest known account.HILDA ELLIS DAVIDSON's other books include The Sword in Anglo-Saxon England; PETER FISHER is also the translator of Olaus Magnus: A Description of the Northern Peoples.

    The tales illuminate the mystical significance of knighthood and its ethos of self-purification and honour, decoding many allusions found in medieval art, literature and song.

    These are voluminous body of literature native to India concerning the previous births of Gautam Buddha. These are the stories that tell about the previous lives of the Buddha, in both human and animal form. The future Buddha may appear in them as a king, an outcast, a god, an elephant—but, in whatever form, he exhibits some virtue that the tale thereby inculcates.