Dyl: Wizard King in Training (Traing Series Book 3)

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Planning des sorties. Salons et conventions. Proposer une news. Grog d'Or. Concours et sondages. Perles du jdr. Art of Grog. Proposer un article. Section de l'association. Section juridique. Section des moteurs. Journal de bord. Salle de presse. Soutenir le Grog. Foire Aux Questions.

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DC Universe D. The Voyager Golden Records were two phonograph records that were launched into space in aboard both Voyager spacecrafts. The records contained sounds and images selected to portray the diversity of life and culture on earth, and were intended for any intelligent extraterrestrial life form, or for future humans, who may find them. Also the title of their upcoming issue. No matter matter the time no matter the place they will be sure to have you wiggling! Catch em in first thing in the morning opening up the Brainstage, and for your last dance of the day, taking over the silent disco!

Can I put this jumper in the washing machine? Do you have my birth certificate? Where did you find love? How did you do it? How do you survive? A story of a kamikaze love affair with unexpected consequences. Hilarious and heartbreaking, weaving spoken text with a live original score. Steam Down is an artist collective, weekly event and music community based in Deptford, South-East London. Their weekly sessions are a magical explosion of Afrofuturism, grime and future soul, fused together with the spontaneity of jazz. Previously having had guest appearances from the likes of Kamasi Washington, Sampa The Great, Nubya Garcia and Sons of Kemet, these exuberant congregations are an immersive musical experience for audiences, where healing vibes and compulsive dancing are just as important as the music.

Phi, members of the Steam Down family, this is a show of poetic rhymes, universal vibes, and uncompromising truths. Belinda Zhawi is a 24 year old writer and educator born in Zimbabwe; resident in London. Her work focuses on her memories of living in rural and urban Zimbabwe whilst exploring the role this has played in shaping the narrative of her life thus far.

Nadeem Din-Gabisi is an artist, DJ and poet. His artwork and poetry are centered around the re-presentation of the black image. Through all his artistic practices Nadeem actively seeks ways to bridge the gap between the seen and unseen worlds. She is also one-half of Sawa Manga, whose sound is an ethereal and electronic driven exploration. The Story Forest is a collection of short audio-immersive journeys. There are no live actors and the audience is in control of their own experience.

It is an interactive journey that asks you to engage with the world and the people around you. You can go on the journey in pairs or in groups of up to ten people. Immer-city — We make concrete theatre. Theatre that is site-specific, history-specific and where the audience is the agent. This is immersive theatre redefined. Story Slam is a popular live true storytelling event, hailing from Bristol! This year Story Slam is running a intimate storytelling workshop in the woodland area of Brainchild.

Two experienced storytellers and presenters, James Williams and Becky Pickets, will be sharing their knowledge of true story telling and taking the group through a series of activities and exercises to curate and tell their own stories. DJ, producer and digger Tahira features another eclectic and instructive DJing which blends genres and eras, from traditional sounds to the electronic mixtures from the DJ culture. His work is hugely influenced by African, Latin, Brazilian.

Tahira is a pioneer in bringing Brazilian sounds around the globe. Back in Brazil, where before European and American music was given focus, recently Brazil has begun to embrace their own traditions and sounds more and more. Tahira says:. We have a great musical culture!

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An amazing history. Brazil has at least 30 kind of rhythms. Styles like Carimbo, Maxixe, Lundu have existed since the last century. So we have a lot to discover about us. The Yonis are a contemporary movement girl band celebrating bodies as vehicles to be physical, powerful and dynamic, finding strength in coming together to create, taking up space and making noise.

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Inspired by punk movements and gig culture, they want to recreate the shared feelings of joy, euphoria and togetherness that are experienced when watching your favourite band. Tim Garcia runs the global music platform Musica Macondo which focuses on a wide range of music including Jazz, Latin, Afro, Eastern and Electronic sounds. Tim has amassed a deep understanding of music from all over the world through his obsession for crate digging — with one of his main passions being the permeation of the West African drum sound and how that has influenced subsequent genres.

Toby has performed across the country and internationally and his work has been featured on national networks including BBC1, Channel 4, E4 and on the Arts Show with Jonathan Ross. An advocate for the power of poetry in the lives of young people, Toby is director of UniSlam and founder of the National Youth Poetry Showcase. Touching Bass return to the Kite Bar with head honcho, Errol, this time joined by fellow soulstranaut, Sammseed. Music to make you think and feel. Travis is going to get cosy with the Brainchild audience and bring us a performance-lecture-chat about the fight for freedom for those on the margins.

Travis Alabanza is a performer, theatre maker and writer. Vanessa Kisuule is a writer and performer based in Bristol, UK. It came about as a reaction to oppression: in the 80s you would let out all your pain in a costume at a ball. He also holds down a bimonthly Balamii show. His most recent release with Trinidadian Deep gained support from the likes of Bonobo, Josey Rebelle, Alexander Nut, and other tastemakers in the electronic music scene.

Hovering in a space somewhere between house and electronic music, with influences from hip-hop and jazz as well as the heavier side, his productions retain a signature style, whilst he showcases his DJ aptitude with his bimonthly show on the international Balamii Radio. Behind the decks Will has the ability to hold a dance floor effortlessly using his deeper knowledge of the heavier cuts. This reflects his passion to delve into a production style with a darker atmospheric soundscape, whilst retaining his signature synth and broken percussion.

Based in South London, Woom weave music of sparse, melancholic beauty from a refreshing set up of rare restraint. Harking back to the iconic all-night parties in the Studio 54 golden age, the group are injecting a healthy dose of glitter and spandex into the Berlin scene. Whilst, growing up in South East Israel, the group bonded over a joint love for all things creative, spending their formative years experimenting with bedroom recordings, visual art and acting; creating the basis for what is now Young Yosef.

Their tight-knit bond was formed whilst touring together with dozens of bands and living under the same roof, and has resulted in a charismatic and witty project that exudes spirit and enjoyment. Consisting of: E. B Kush vocals , Daklis bass , Meanass 08 guitar , G-goy keyboards and Steve Yamin drums , Young Yosef is inspired by soul J-Pop and 70s disco and their debut album is the perfect introduction to their fun personas. EYOH are five 2nd year Architecture Students at the Bartlett school of Architecture, who are interested in exploring different areas of design, be that from buildings or artworks to a more environmental awareness.

They make challenging designs to create unique experiences. In Drift Off colourful meshy fabric panels provide an experience both from far away and within. With subtle glimpses of openings beyond this translucent wall, festival goers can brush their way through the fabric to the inside or walk through it. Enjoy endless combinations of colour from different viewpoints that will constantly shift in the breeze and changing light of the day. Their design for The Shack is overgrown with floral formations. These golden flowers are created from foil emergency blankets so that they appear like an alien life form, changing colour and transparency in varied light.

Symbolically charged, the blankets transform into celebratory glistening blossoms at night, and gently rustle and whisper in the quiet of the morning. His playful and humorous work takes many forms, ranging from digital drawings created on MS Paint, to large scale interactive installations and painted murals. But it is also the cultural qualities that certain foods may carry and the social environments they create. Floom is part of an ongoing investigation that aims to rethink the narrative and purpose of ordinary objects. By day you see floating flooms but at night these tubular forms begin to glow with ambient light.

This strange space invites people to sit, interact and relax. In his work Charlie breaks things, make things and fixes things, to explore objects, experiences and materials. With a degree in Interaction Design, his work verges on the edge of sculpture, design and fine art and aims to challenge function in the objects of our everyday lives. Envisaging the site of Brainchild as a basin, a series of boulder-scale masses made from waste, manmade materials will become moveable fragments of land. The Brainchild community will become the active agent in the installation; touching, mounting and rolling the masses to remap the festival terrain like tides depositing silt.

By repurposing polystyrene, plastics and pulped waste, destined for landfill, these inorganic materials will mimic organic forms. Pulped paper, waste, dye and luminescent pigment spread over the surface of the masses like lichen on rocks.

12-14 July

The fungi-like skin reminds us of naturally occurring processes and systems that could provide solutions to these burgeoning issues. Photography: Hollie Fernando. We started planning the first festival in January , when, amidst endless arts cuts, we wanted to show each other that realising our creative ambitions was still possible. Now, against a lot of odds, and through the continued enthusiasm, generosity, hard-work and talents of hundreds of people, the festival has now happened six times from Whilst prioritising affordability in our ticket-price, we have remained entirely sponsor-free in this time and the team has been made up entirely of volunteers, with our festival as our first time being paid.

We do not focus on any specific genre or art-form. Our focus is on the spirit behind them, and bringing together people who share an open-mindedness and a collaborative approach. We look for work that challenges broken paradigms and shares visions for more sustainable and compassionate societies globally. Our aim is for everyone who is part of Brainchild to come away feeling inspired, having made new friends, discovered amazing new work and developed their own creativity. So all over site, there are opportunities to perform and get involved.

There is even a mini railway to take you on a tour round the site! Getting here by train : Nearest stations are Uckfield and Lewes. Uckfield is closer to site than Lewes, although both stations are the same distance from London roughly 70 minutes. Brighton to Lewes is 15 minutes. There will be a minibus service from Uckfield and Lewes train stations, meeting the trains as they arrive. Tickets for these are available here. Please note that minibuses tickets the Monday morning are sold on a first come first serve basis.

We always encourage festival-goers to reduce their carbon footprint, so if you want to make some new friends then lift-sharing your way to the festival may be a good idea. Car park passes are available here. We cannot issue refunds unless we are cancelling the festival. Please note that this swap is made manually so can take up to a week.

The deadline for ticket swaps is 5pm on the 7th July Any financial exchange for the ticket is the responsibility of the parties involved and not BC. The festival site is intimate, split between one main field, one camping field and some adjoining woodland. There will be many art-installations and architectural pieces, as well as our six different performance areas. The Kiosk is our on site shop where we sell all the wonderful things made by the artists and makers in the Brainchild networks.

Stop by and browse through everything from records to books, DIY zines or hand-made bras or vintage clothes. There is also an opportunity to charge your phone but bring your charger! All you need to do is bring your tent. Essentials: your ticket and some valid ID. There is not a cash point on site so if you wish to carry cash bring it with you, but all the vendors have card machines. Please do bring: things that will help you gain from the festival, so notebooks, yoga mats, cameras, instruments for the jams….

We have a zero tolerance approach to illegal drugs and psychoactive substances. Alle this uspyed Syr Marhaus and had grete wonder how his myghte encreaced, and so they wounded other passynge sore. And thenne whan it was past noone, and whan it drewe toward even-songe, Syre Gawayn's strengthe febled and waxt passynge faynte, that unnethes he myghte dure ony lenger, and Syr Marhaus was thenne bigger and bigger.

But in some kindred mythologies there is, besides the various later impersonations of the solar hero, an older god associated with light and the sun, the Zeus, Jupiter, Father Sky of the classical races. And of him, too, in an undifferentiated form, there are traces to be discovered among the Celts. Pro- fessor Rhys identifies him with the enchanter Merlin or Myrddin, whose name he would explain as Mori- dunjos, him of the sea-fort, with reference to his sinking from sight iti the western waters. Further, some Welsh stories of his disappearance represent him as going to sea in a glass-house, which connects him with Aengus, a mythic character in Irish story, also explained as the god of light, who went about with a portable crystal bower.

The stories of Merlin's betrayal by the Lady of the Lake thus receive their explanation, and in some of the versions his prison strikingly resembles the inaccessible trans- parency of Aengus' abode. It is " A tour withouten walles or with-oute eny closure Where could Merlin have gone but whither the sun goes to rest at night, into the dark sea.

Inscriptions mention a Nodens, identified by Professor Rhys with an Irish Nuada who lost his arm in fight with a malign race, and had to retire from the sovereignty till a silver hand was constructed for him. This recalls. And Nuada is the same with a Welsh mythic king called LlOdd of the silver Hand, whose name is traced back to L6dens, a modification for phonetic reasons of Nddens, which would have yielded NOdd. But the culture-hero, in displacing the elder sky- god, inherited some of his characteristics and func- tions. Thus the classical Zeus was fabled to have married his sister, and the same story was pro- bably told of his Celtic congener, and transferred to the culture-hero, who succeeded him.

Such a marriage became impossible as civilisation ad- vanced, and, therefore, is effaced in later times ; but there is a trace of it in the medieval tales that Arthur was united in unholy love with his father's daughter, the wife of King Lot. The horror of the idea, however modified and extenu- ated in these adaptations, seems out of place among the fanciful conceptions of romance, and has its origin in a remote and alien world. It is not, however, to be supposed that they were developed in a consistent or continuous history. It is inevitable that the modern mind should read more system into the conceptions of early religious belief than in point of fact they possessed.

A floating tradition of detached stories, bringing into relief this or the other characteristic of the various objects of their worship, and har- monised rather in general feeling than in definite thought, was the most that the primitive races were likely to attain. And thus the vague and shifting figures were apt to pass into each other's places, to be multiplied, to divide, and to coalesce. Mercury assumes the rank of Zeus, and absorbs his attributes ; and there must have been tales of many impersonations of the sun-hero. But if there were tendencies to confusion before, the ad- vent of Christianity was bound to increase the entanglement, and altogether blur the significance of the myths.

It dislocated the whole system and deprived it of such order and cohesion as it may have had. The teaching of the new faith was that the deities were not divine. After a description of Kulhwch's birth and breeding, it tells how he sets out for Arthur's court to get the king to cut his hair, that he may demand the royal help in gaining Olwen as his wife.

The household of Arthur is largely composed of persons whose meaning has been lost, and even those who are otherwise known to us, are presented in an unfamiliar and much more primitive aspect. Kai is a mighty warrior, as tall as a forest tree, who can keep his breath under the water for nine days and nights, and has such inward heat that he can dry everything a hand- breadth above and below his hand. He performs prodigious feats, and the final ruin of Arthur seems attributed to the want of his help.

For enraged at a sarcasm of the king's, he withdraws, and " thenceforth neither in Arthur's troubles nor for the slaying of his men, would Kai come forward to his aid for ever after. There is one on whose knife no haft would re- main, so that he dies of vexation. There is one who owned a short broad dagger, which, when laid on the water, became a bridge for armies. In truth, he is in no hurry to have his daughter wedded, for he knows that that will mean his own death. In the end, however, he agrees to the suit on condition that his head should first be shaved.

But the procuring of the necessary implements prescribes as long a series of apparently impossible tasks as Shibli Bagarag had to achieve before he could operate on Shag- pat. The adventures involved, which occupy the bulk of the story and lead up to the hunt of the wondrous boar called the Twrch Trwydd as their chief, are exclusively of a supernatural kind. In the end, the giant is shaved and his head cut off. Meanwhile, if there was not much system about the original myths, and if the conversion of the Britons further disorganised them, another element of confusion had probably been added from a purely historic source.

In the struggles of the Cymry against the Teutons, the exploits of their famous leaders were sure to become the theme of story, and to lose nothing in the celebrations of their grateful countrymen. There is ground for believing that one of these leaders may, in fact, have borne the name of Arthur, or one of similar sound, and ingenious attempts have been made to discover some incidents of his life. Sometimes he has been localised in a particular part of the island, and the preference is now for the region formerly known as Cumbria. Thus Mr.

Zimmer's criticism of Mr. Nutt's Holy Grail. Sometimes he IS considered to have had a wider range of activity, and Professor Rhys would make him, if historical at all, a Comes Britanniae " with a roving commission to defend the province wherever his presence might be called for. Even his death, at the hands of his nephew, may have a basis in fact, if he is to be identified with the uncle of Maelgwyn, whom Gildas accuses the latter of murdering. And not only he, but some of his Knights may have been champions of the Romanised Britons in their patriotic war, not necessarily the contemporaries of Arthur at the outset, but after- wards attached to his group.

But the enormous fame of the later Arthur, as con- trasted with the meagre records of his actual career, cannot be explained from history alone. And it is easy to see how, if the historic leader had a name like Arthur, much in the later story becomes clear. His identification with the god would secure his own pre-eminence and immortality; for his exploits against the Saxon invaders would be combined with the exploits of the Celtic Zeus, and of the culture-hero who took his place, in their perpetual warfare against the powers of darkness and the foes of man.

On the other hand, the identification of the elder deity with an actual personage called by a name like Arthur, would explain why he should survive to fame under this rather than any other of his appella- tions. In it few borrowed splendours eke out the glory of the historic hero, if such there were, who led the islanders against the Teutons; and these are mostly of an ecclesiastical kind.

He is described as fighting along with the kings of the Britons against the invaders, but he himself was their war-leader sed ipse dux erat bellorum in twelve successful battles. Mary his mother. At Mount Badon nine hundred and sixty men perished through Arthur's onset, and he alone overthrew them without any aid. In all his wars he emerged triumphant.

This is the statement of the most summary manu- script. In some versions there are other details on similar lines. Thus he is described as the "magnani- mous Arthur," and it is said of him that, though many were more noble than he, he was twelve times chosen leader and was as often victorious. In an interval of quiet he has time for a pilgrimage to Jerusalem ; there he has a cross made of the size of the Saviour's, and after three days' fast before the true cross, has this counterfeit consecrated that " the Lord, by this sign, should give him victory over the heathens " ; fragments of the image of St.

Mary, which he bore, " are still preserved with great veneration " ; his prowess at Mount Badon is ascribed to a higher power, nine hundred and forty fall by his hand alone, "none but the Lord assist- ing him. It was the hound Cabal which made this impression on the stone when Arthur was chasing the boar " Troynt. In the Annales Cambriae, which may belong to the second half of the tenth century, the entry for records the battle of Camlan, "in which battle Arthur and Medrawt perished," and thus presents the mythic foe in an altogether historic aspect.

In another respect, too, his statement is vaguer than might be desired. Who were the Britons whose babble excites his scorn? Professor Zimmer brings arguments to show that they were the Celts not of Wales but of Brittany. Now the form of some of the names that he mentions, above all that of Gawain, is rather Breton than Welsh, though the native variants were long familiar to his countrymen.

So it seems likely that a portion at least of his material was actually derived from an Armorican source. And it is quite possible that a new stimulus may have been transmitted from Brittany to Britain, in the work of combining the Arthur of myth and the Arthur of fact. Afterwards, on the death of her first husband, Uther takes Igerne as his queen, and thus Arthur, despite his doubtful birth, succeeds to the throne as rightful heir. Hardly is he crowned when he is called to face the Saxons, whom he repeatedly engages, and, with the aid of Hoel of Brittany, smites from shore to shore.

Encouraged by his victories, he extends his operations, and in a series of campaigns subdues Ireland, the Orkneys, and the Continent from Nor- way to Aquitaine. Gaul is the spoil of his own hand, for he wins it in single combat on an island of the Seine, while the hostile armies look on from opposite banks.

His success in war is only equalled by his magnificence in peace, and Geoffrey lays stress on his liberality in distributing the conquered lands, the state he keeps with his queen Guanhumara at Caerleon-upon-Usk, the grand assemblage of kings and knights by whom he is surrounded, the gallantry of the court, where the ladies give their love only to such as have approved themselves in three combats. In the midst of all this pomp and circumstance envoys arrive with a demand for tribute from Lucius Tiberius of Rome.

In full assembly it is refused; and Arthur, leaving his nephew Modred in charge of queen and kingdom, sets out with his knights and vassal kings to enforce his counter- claim. On the way he is visited with a premonitory dream which is satisfactorily fulfilled in Normandy, where, in single fight, he slays a lustful giant who has carried off Helena, the niece of Hoel.

Resuming his march, Arthur leads his hosts against the Romans. He carries all before him, for the Grecian and Eastern allies of Lucius avail little when confronted with the chivalry of the West. In its ranks Gawain takes the first place, and for some time he, is almost the chief person of the story, his prowess obscuring that of Arthur himself Nothing seems able to prevent the Britons from capturing Rome, when they are suddenly checked in mid career.

News arrives that Modred has seized the kingdom, married Guan- humara, and strengthened himself with heathen auxiliaries. Arthur must leave his conquest in- complete, and return to take vengeance on the traitor. A great battle is fought, in which Gawain is slain, but the rebels are put to flight Guan- humara, losing heart, flees to the cloister, and becomes a nun of the order of Julius the Martyr ; but Modred rallies in the West, whither Arthur follows him in grief and wrath.

In another battle the multitudes on both sides perish, Modred is defeated and slain ; " even the renowned King Arthur himself was mortally wounded, and, being carried to the isle of Avallon to be cured of his wounds, he gave up the crown of Britain to his kinsman Constantine. But there is also a large accretion of popular myth. Arthur, no longer a mere leader, but a king, has for his wife Gwenhwyvar or Guanhumara, who deserts him for his enemy Modred of the Shades ; Gawain, the sun-hero, and others of the same type, appear in his train ; and the mythical conquest of Hades or Llychlyn has become the conquest of the Scandinaviarl countries.

Sometimes circumstances of more recent history may have determined the selection of particular items. Thus in the war with Ireland, in the alliance of Hoel of Brittany, in Arthur's distribution of his conquests. Professor Zimmer detects respectively reminiscences of the troubles with the Dublin vikings, of the Breton auxiliaries who helped the Normans against the hated Saxon, and of William the Conqueror's gifts of land to his favourite followers. The death of the mortal man disturbs the myth which told of the return of the sky-god to triumph over the powers of darkness ; yet a reserved and partial acceptance of the elder story betrays Geoffrey into a certain inconsistency of statement.

A canon of Laon, named Hermann, who visited Corn- wall in 1 1 13, mentions a scene that was caused by a Breton insisting that Arthur still lived. This belief lingered on for centuries, if we may judge from a ballad cited by Villemarqu6, but in the lapse of years it underwent a change, and Arthur, with his phantom hosts, was conceived as leading the men of Brittany to the fight.

This seems the meaning of the stirring war song translated by Mr. Tom Taylor : — " Tramp, tramp, tramp, tramp, to battle din! Tramp son, tramp sire, tramp kith and kin! Tramp one, tramp all, have hearts within. Rank closing up on rank I see, Six by six, and three by three, Spear-points by thousands glinting free. Zimmer, Zeitschrift fur franzos, Sprache und Literature bd. Up spear! Bend the bow! Forth, after Arthur, on the foe! And this it has done, at least in the version of Wace , which was the most influential and significant.

The name by which this work is generally known, Li Romans de Brut, if not minutely accurate, at any rate brings into relief one of its most essen- tial characteristics, for it is romantic in metre and language, and emphasises the romantic side of Geoffrey's narrative. Wace, it is true, does not add much to his authority. His importance lies rather in the fact, that writing in a vernacular, and that the leading vernacular of Europe, he was able by his fluent verse and vivifying touches to commend the story to a larger audience than would feel at home with Geoffrey's Latin.

His variations for the most part are matters of de- tail. Thus, in reference to Arthur's end, he writes : "Arthur, if the story lies not, was wounded fatally in the body ; he had himself taken to Avalon to heal his wounds. Still is he there ; the Bretons expect him, as they say and believe ; thence will he come, yet may he live. Master Wace, who made this book, will not say more of his end than said the prophet Merlin.

Merlin said of Arthur, and he was right, that his end would be doubtful. The prophet spoke sooth ; ever since, men have doubted concerning it, and, believe me, they always will doubt whether he be dead or quick. He had himself conveyed to Avalon six hundred and forty-two years after the incarnation His most original contribution to Arthur's story is the men- tion of the Round Table, which, in so far as it was a fellowship, may have been suggested by the peerage of Charlemagne, but, in so far as it was a table, had probably a more primitive and mythic origin.

And in this case, too, Wace is more in- teresting for what he does not tell us than for what he says. The son of Leovenath, our own Layamon, writing about the close of the twelfth century, tells in his simple way how he journeyed wide over land to get the books ; how he laid them down and turned the leaves : " he beheld them lovingly : may the Lord be merciful to him : pen he took with fingers and wrote a book skin. Probably an Englishman by descent, and, at all events, writing, in the English language in a modification of the old English measure, a chronicle which he partly drew from foreign sources, he can- not be considered to have obtained all his loans from uncontaminated Celtic tradition.

In point of fact, some of them have an unmistakably Teutonic ring, and others seem of a generally romantic char- acter. Still, in the western shires where he lived and wrote, there is a large Cymric admixture in the population, and it is reasonable to suppose that he levied some contributions on the legends that were current among them. As a rule he follows in the track of Wace, but he lingers over the journey and plucks the wild flowers by the way.

Thus, as soon as Arthur is bom, he is entrusted to the elves, who bring him up and bestow on him various graces and gifts.

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His wars are described in greater detail than with Wace, and more stress is laid on his personal prowess. A quarrel for precedence has arisen, when a strange smith comes to the king with the offer : " I will make thee a board ex- ceeding fair that thereat may sit sixteen hundred and more, all by turn, so that none be left out; and, when thou wilt ride, thou mayst carry it with thee and set where thou wilt after thy pleasure, and never fear to the world's end.

Madden's edition, line 21 If he is dear to him, he will lie and say worship of him more than he is worth:. The Britons loved him greatly, and often lied of him, and said many things of Arthur the King that never happened in the kingdom of this world. He inserts a picturesque dream, somewhat in the tone of the prophetic literature of the day, which comes to Arthur just before the news of Modred's and Guinevere's treason. He sits astride on the roof of his hall, viewing his realm, and Gawain sits before him bearing his sword. But all his people are dispersed, and he knows not under Christ what has become of them.

He himself wanders alone on a moor among griffins and grisly fowls, till a golden lion, made by the Lord, catches his middle and bears him off to the sea. But the driving floods tear them apart, and a fish carries him wet and weary to the land, when he wakes and begins to shiver and to bum as with fire. And Arthur was forwounded with a broad spear of slaughter ; fifteen cruel wounds had he, in the least one might thrust two gloves.

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Then in the fight there were left no more of twenty thousand men, that there lay mangled, but only Arthur the King and two of his knights ; and Arthur was wondrously sore for- wounded. Then came to him a child that was of his kin ; he was son of Cador, Earl of Cornwall ; the boy was called Constantine ; he was dear to the King. Arthur, as he lay on the earth, looked on him and said these words, with sorrowful heart : — " Constantine, thou art welcome ; thou wast Cador's son, and here I betake thee the kingdom.

Watch thou my Britons well to thy life's end, and keep them the laws that have stood in my days, and all the good law that stood in Uther's days. I will fare to Avallon, to the fairest of all maidens, to Argante the Queen, a right fair elf. She will make my wounds all sound again, all whole will make me with healing draughts ; and then will I come to my Kingdom and dwell with my Britons in mickle joy.

Then was fulfilled what Merlin said of yore, that there should be measureless sorrow at the passing of Arthur. Still the Britons ween that he yet lives and dwells in Avallon with the fairest of all elves ; and still the Britons ever look for Arthur's coming. Never was man born of any fair lady who can say more of the truth about Arthur: but once was a prophet, erewhile was Merlin ; he said with words — and his sayings are sooth — that Arthur should yet come to succour his Britons. His version, too, is important, as showing how the story of Arthur became more and more legendary as the years went by.

Moreover the Brut has for us the grand interest that it is the first celebration of the British King in the English tongue. For all these reasons it claims a detailed notice. Yet, in a certain sense, it was a mere eddy in the stream of literature, out of the current and leading to nothing. At any rate it was by no means so influential as the chronicles of Geoffrey or even of Wace. It is difficult to exaggerate, though it is easy to misconceive, the importance of Geoffrey's book.

The repeated translations of it into French attest the eager wel- come it received from imaginative writers and from the general public. William of Newbur '' thus gives voice to the indignation of experts : — " A certain writer has come up in our times to wipe out the blots on the Britons, weaving together ridiculous figments about them, and raising them with impudent vanity high above the virtue of the Macedonians and the Romans.

This man is named Geoffrey, and has the by-name of Arthur, because, laying on the colour of Latin speech, he disguised with the honest name of history the fables about Arthur, taken from the old tales of the Britons with increase of his own. John was laid on his bosom, when like birds they immediately vanished away ; but when that book was removed, and the history of the Britons by Geoffrey-Arthur, for the sake of experiment, substituted in its stead, they settled in far greater numbers and for a much longer time than usual, not only upon his entire body but upon the book that was placed on it.

But there is as little doubt that his book is the well-head of a living stream of poetry that has not yet ceased to flow. In our own day it has been revived with a difference by Lord Tennyson. And, though the Arthurian Romances, strictly so called, are for the most part to be traced to other sources, the appearance of so authoritative and popular a book was nothing less than mo- mentous for their development.

The historical mould in which it is cast, and which we are never suffered to forget, engaged attention for its narratives. As it became known in the original or in Norman-French adaptations, the result was in- evitably to give prominence and vogue to the store of Celtic tales, some of which doubtless had already a wide circulation. It supplied the lofty figure of Arthur as centre, round which many stories, in- cluding some that originally may have had nothing to do with him, could be grouped ; and it gave as background for the several incidents the splendour of his reign and court.

A few years suffice to lift the hero of obscure and half-subjugated tribes into unrivalled popularity and fame, and the exploits of his followers, a little while before unknown to the world at large, be- come all at once the engrossing topic for the imagination of Europe. It must have met a deep-felt want, and shown itself capable of receiving the stamp of the medieval spirit and expressing the medieval modes of life and thought more per- fectly, than any previous theme. And in the history of the typical and international fiction of the Middle Ages there are indications that this was the case.

The nearest approach to a typical and inter- national fiction is to be found in the literature of France. Not that in its remoter origins it always belongs to that country.

The raw materials are contributed by German and by Celtic tribes, by the new and by the ancient world, but they obtain completion and currency only when transmuted in the crucible of Romance thought. Their recog- nition is quite local till they receive the seal of the French spirit ; thereafter, they pass at once into European circulation. Something of the same kind has happened more than once since then. France has often been the instructor and law-giver of Europe ; but not last century, when its "illumin- ated" led the fashions in philosophy, not a hun- dred years earlier when its dramas invaded every stage, had its literature so universal a sway as at the zenith of the Middle Ages.

And this term is important for another reason. It is not unparalleled to have an international scientific literature, and, in so far as this genus existed at all in the Middle Ages, it belonged to all Western Europe. But the strange thing is that these times also possessed a common stock of imagina- tive work, of poetry and fiction, which, in its great narrative type, always elaborated on the lines laid down in France, appropriately received the above designation, and was generally called the Romance.

This, of course, was possible only when the literary classes of Europe were impelled by a common spirit to a common ideal, when this ideal was more clearly realised in France than elsewhere, and when certain stories were found to express it in special perfection. Now the ideals that swayed the higher classes in those days were almost summed up in what is styled Chivalry.

It would be wrong to call all the romances chivalrous, for only one group of them fully answers this description ; but, at least, they are all of chivalrous tendency and aim at embodying its conceptions. And these concep- tions were essentially ideals.

It has once and again been shown that there never was an actual age of chivalry, and that when in later times people tried, as they thought, to restore it, they were attempting to import into practical life what was in truth a minstreFs dream. There never was a time when the feudal knights were exactly knights errant, but there was a time when the best of them wished that they might be such, eagerly attaching themselves to any hazardous enter- prise that had been set on foot for more politic objects ; and that time was practically over when the semblances and outward trappings of knighthood were most in vogue for spectacle and pageantry.

The real meaning of chivalry lay deeper. It had arisen as a kind of compromise between the ascetic theology of the medieval church and the un- sanctified life of the world which that church re- jected as wholly bad. It is sometimes described as the projected shadow of feudalism, and so it is, but only because in the upper feudal ranks there was most need felt of a modus vivendi between practice and belief The masses of the people are never much swayed by theoretical doctrine.

The exigencies of their position keep them near a course of life that may be rude, but is not unnatural. In the present case, with a certain varnish of Christian theology, and some real education by the spirit of the Christian faith, in the main they acted on traditions of conduct, the heritage of the race from heathen times. But this stubborn placidity was not within the reach of the upper classes.

They had the same heritage, but could not have the same rest in it. They gained wealth by plundering, they freely gratified their desires, it was hard to limit their fierce self-assertion, as the remains of old English, old German, and especially of Icelandic literature abundantly prove.

No doubt this society, even in its wildest phase, contained the germs of a higher life. Classical observers remarked among the northern barbarians profound respect for the sanctities of wedded and family life, and unshrinking loyalty among the pledged companions of a prince ; nor was the acquisitive impulse sanctioned at the expense of feelings like these.

And when the popular mind was enlightened and elevated, however gradually, by the new faith, its nobler principles received new stimulus, and shone forth in stories that grew up scarce brushed by a dogma of the schools, but not, therefore, quite destitute of Christian sentiment. Faithful service, unselfish virtue, chaste constancy in love, are celebrated in several popular poems especially of England and Germany, which are all more modern, though more rude in feeling, than the international romances. But for that very reason they are less representatively medieval.

They attained only a local, or at most a national, but never an international success ; and not till our own day have they begun to enjoy a European reputation. The comparatively healthy ethics of lay life which they expressed, lacked, in truth, all basis in and all reference to the received theological standards. They could obtain the sanction of religion only if they were baptised into it and were modified in the direction of its code. But the adaptation of lay ethics to clerical ethics was the problem of the higher classes, and its solution was found in chivalry.

The transition from the primitive to the medieval state of things is marked by the picturesque trait, that the hero becomes a knight. This short state- hient implies a very important change, which is symbolised in the complicated ceremonies of knightly investiture, very different from the few simple rites that used to accompany the Teutonic youth's as- sumption of arms. The young candidate spends the time with priests and receives the sacrament ; he is led to the bath and endued with a white robe to signify his change of life ; his sword is blessed and his vows are taken.

Thus the knight, if belonging to lay life, partakes in the character of a monk, as medieval writers clearly saw and frequently ex- plained. His admission to the order is a religious service, and brings with it duties which, though of course different from those inculcated by the three monastic vows, have some analogy with them.

Thus,, if he is not pledged to poverty and retains his share of the world's possessions, it is on the understanding that he may be called at any moment to relinquish them. Again, it would have been impossible to exact complete obedience from men of such aggressive personality as the feudal knights ; but neither are they left to their isolated and uncontrolled self-will.

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  • The principle of honour is introduced, Which appeals to the individual's desire for pre-eminence and mastery, but which gratifies it only if he submit to a certain code of conditions. His valour must be carried to an extravagant pitch ; he must seek out adventures, and face the greatest odds ; he must refuse advantages and show mercy. Far removed is the knight from the old heathen who fought and fled, waylaid and slew, precisely as it pleased himself.

    And in the third place, while only some of the knightly orders were pledged to celibacy, they were all bound to uphold the honour of women ; and gradually, without oath, they submitted themselves to that strange kind of gallantry known as the Service of Love, which at this distance of time strikes one almost as the most obvious feature of the chivalrous character.

    This fantastic fashion, in which the relation par amour usurped the place of marriage, at once gave scope for the devotion of the knight, and suited a society in which the highest minds regarded marriage as at best but a necessary evil. Nowhere else was there such a fusion of the Germanic conquerors and the conquered provincials as in Gaul. It is just a sign of this that it puts off its old name, and, taking the new name of Franken from the invaders, modifies it to suit the pronunciation of the elder population, as France.

    There was nothing like this in the German fatherland where the connection with Rome was confined to politics and religion, without ever becoming a matter of daily social life. There was nothing like it in England, where, though to some extent they may have intermarried with the provincials, the new settlers practically cleared the ground, and began again at the beginning.

    Things were as different in Italy, where Ostrogoth and Lombard succumbed to the traditions of Rome, and were lost among the original inhabitants ; and in Spain, where the Visigoths long maintained them- selves as a supreme alien caste, separated by a deep gulf from the natives. In these latter countries the difference of race was accentuated by the difference of religion.

    The Teutons were Arian heretics, the provincials were orthodox Catholics ; it was impos- sible to mediate between them ; quarter was given to the antagonist only on condition that he should give up all that was characteristic. And therefore, it is just as we should expect, that in France we find the prerogative phases of medievalism, the feudal, the scholastic, and, among others, the chi- valrous ; and there the earliest, the most persevering, the most effective efforts were made to express the last in successive cycles of Romance.

    Three such groups, French in fabrication, but European in circulation and development, are progressive attempts to exhibit the life of chivalry : the Charlemagne romances, the Classical romances, and the Arthurian romances. If chivalry sprung from the union of medieval religion and secular morality, the relation of these cycles to each other may be formulated as follows : The Ecclesiastical predominates in the lays of Charlemagne, the Secular in the lays of Greek and Roman content ; only in the stories of Arthur do both sides, as it were, come to their rights.

    The earliest poems of the earliest group give the knightly ideal on its monastic side. From the first, Charlemagne is emphatically the hero of the Church. He and his house and his race owed a great part of their success to their championship of the Catholic faith against Arian heretics on the one hand, against heathens and Mohammedans on the other. In the old poems he is a notably religious personage, a soldier of the Cross, a crusader in the best sense of the word.

    Now- a-days, we are apt to look for the Charlemagne of poetry in such romances as Huon of Bordeaux, But these are of a later growth. Such tales arose when chivalry was finding other channels of ex- pression ; they employed the great emperor's name, but he himself no longer suited their wants ; he was thrown into the background and criticised.

    Similar authors to follow

    But in the early stories he is the proper hero, and, whenever hero at all, he is an ecclesiastical one. To see him at his most characteristic and his best, we must go to the Chanson de Roland, which is based on an actual occurrence, the destruction of his rear-guard by Gascon robbers in the passage of the Pyrenees.

    In the legend, however, the enemies are transformed into Saracens, that the emperor may be shown at war with the infidel, and his slaughtered soldiers exhibited as martyrs of the faith. This change gives the clue to the whole poem. The peers are hardly knights, but mere fighting monks. Both Charlemagne and his nephew Roland are the favourites of heaven, who receive miraculous gifts and enjoy the intercourse of angels.

    The French champions are like Crom- well's Ironsides. When not in the fight they are on their knees, and, conscious of their divine mission, are instant in exhortation and have a tendency to preach. Strong and fearless, they slay their thousands ; but they do not joust for the pleasure of it ; they do not crave adventures for the honour to be gained ; they want the splendid courtesy of the chevalier, and, above all, have no sense for the service of women.

    Roland does not spare his lady a thought.