...Tales’ summaries The Wife of Bath’s Tale starts with a Prologue in which she gives an account of her colorful life with five husbands. The tale continues the main question of women’s desire for sovereignty over men. A young Knight rapes a maiden while she was returning home. As a punishment for his heinous act he has to discover within a year what women most desire. The Knight was searching in the whole country in search of the answer. At the end he promises to grant a wish to an ugly old hag in return for the right answer. When he has given the answer in court and secured his liberty, the old hug jumps up and demands that he marries her. The Knight begs her to reconsider and wish for something else but the old hag stubbornly refuses. The Knight marries her secretly. At night as they lay in bed, the Knight keeps on turning restlessly. The old hag asks him if he would prefer her ugly and faithful or beautiful and faithless. The Knight allows her to decide. The old woman is delighted to have won ‘sovereignty’ over her husband and rewards him by becoming faithful and beautiful all the time. The Knight’s Tale describes how two kinsmen Arcite and Palamon fall in love with the same woman named Emily, whom they first see out of their prison window. Emily is the niece of King Theseus. Arcite gains his freedom but is banished from Athens. He comes back masked since he cannot bear to live away from Emily. In the meanwhile Palamon breaks out of prison and coincidentally meets Arcite...
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...Canterbury Tales AUTHOR · Geoffrey Chaucer TYPE OF WORK · Poetry (two tales are in prose: the Tale of Melibee and the Parson’s Tale) GENRES · Narrative collection of poems; character portraits; parody; estates satire; romance; fabliau LANGUAGE · Middle English TIME AND PLACE WRITTEN · Around 1386–1395, England DATE OF FIRST PUBLICATION · Sometime in the early fifteenth century PUBLISHER · Originally circulated in hand-copied manuscripts NARRATOR · The primary narrator is an anonymous, naïve member of the pilgrimage, who is not described. The other pilgrims narrate most of the tales. POINT OF VIEW · In the General Prologue, the narrator speaks in the first person, describing each of the pilgrims as they appeared to him. Though narrated by different pilgrims, each of the tales is told from an omniscient third-person point of view, providing the reader with the thoughts as well as actions of the characters. TONE · The Canterbury Tales incorporates an impressive range of attitudes toward life and literature. The tales are by turns satirical, elevated, pious, earthy, bawdy, and comical. The reader should not accept the naïve narrator’s point of view as Chaucer’s. TENSE · Past SETTING (TIME) · The late fourteenth century, after 1381 SETTING (PLACE) · The Tabard Inn; the road to Canterbury PROTAGONISTS · Each individual tale has protagonists, but Chaucer’s plan is to make none of his storytellers superior to others; it is an equal company. In the Knight’s Tale, the protagonists...
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...The Canterbury Tales Geoffrey Chaucer Key Facts full title · The Canterbury Tales author · Geoffrey Chaucer type of work · Poetry (two tales are in prose: the Tale of Melibee and the Parson’s Tale) genres · Narrative collection of poems; character portraits; parody; estates satire; romance; fabliau language · Middle English time and place written · Around 1386–1395, England date of first publication · Sometime in the early fifteenth century publisher · Originally circulated in hand-copied manuscripts narrator · The primary narrator is an anonymous, naïve member of the pilgrimage, who is not described. The other pilgrims narrate most of the tales. point of view · In the General Prologue, the narrator speaks in the first person, describing each of the pilgrims as they appeared to him. Though narrated by different pilgrims, each of the tales is told from an omniscient third-person point of view, providing the reader with the thoughts as well as actions of the characters. tone · The Canterbury Tales incorporates an impressive range of attitudes toward life and literature. The tales are by turns satirical, elevated, pious, earthy, bawdy, and comical. The reader should not accept the naïve narrator’s point of view as Chaucer’s. tense · Past setting (time) · The late fourteenth century, after 1381 setting (place) · The Tabard Inn; the road to Canterbury protagonists · Each individual tale has protagonists, but Chaucer’s plan is to make none of his storytellers...
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...Descending into Despair with “La Belle Dame sans Merci” In his poem, “La Belle Dame Sans Merci,” John Keats has emphasized the literary elements of structure, speaker, and imagery to create a story reminiscent of courtly love from the medieval era where the knight errant suffers for the love of the beautiful, mysterious and unattainable mistress. In the early nineteenth century, an interest in the ballad of earlier centuries was sparked by the romantic poets of the time, of which John Keats was one, and his poem, “La Belle Dame sans Merci,” became a true example of what became known as a literary ballad. Similar to the popular folk ballad that was sung, a literary ballad sticks to the basics of repeated lines and stanzas “in a refrain, swift action with occasional surprise endings, extraordinary events evoked in direct, simple language, and scant characterization.” (pg. 508) Literary ballads also tend to be more polished in regards to their style and their use of poetic techniques. In addition, they will exhibit a set rhyme scheme and a simple structure of stanzas that allows the poem to flow as if it were that song of years past. Keats’s poem consists of twelve stanzas of four lines, known as quatrains, each with a rhyme scheme of abcb. The poet has also taken care to write each line to a specific length. The first three lines of each stanza consist of eight syllables each, but the final line of the stanza is either four or five syllables long. Since a literary ballad’s...
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...The Truth Behind the Knight: The Presence of Archetypes in Sir Gawain & the Green Knight In the medieval story of Sir Gawain and the Green Knight, we are introduced to a young man, who, like many of young men, is trying to discover himself and travel through his rite of passage. He is trying to figure out who he is in life, and while in his journey, passes through many phases that mold him into one of the great Knights of the Round Table that old King Arthur wanted to serve with him. These phases affect everyone at some point in their lives. Whether it causes someone to take an iconoclastic stand against a certain more or folkway or if it enables a person to give serious thought to what life could mean, archetypes enable any protagonist in any story to take a journey to find the treasure of their true self. In Sir Gawain and the Green Knight, Gawain was willing to take on the heroic quest and say yes to himself and, in doing so, became more fully alive and more effective to the knightly community and, inadvertently, the literary world. The purpose of the heroic quest is to find the gift retrieved from the journey and give the gift to help transform the kingdom, and in the process, the hero himself. In Sir Gawain and the Green Knight, three archetypes are present that displays the qualities of a heroic quest that leads Gawain to become a true knight in shining armor. The Innocent Hero Archetype, the Seeker Archetype, and the Lover Archetype forms the mold that Sir Gawain conforms...
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..."The Humours" • Values of "courtly love" • The Code of Chivalry(CF) The Poets and Authors: Caedmon: First English poet; author of "The Dream of the Holy Rood." Venerable Bede: wrote the Ecclesiastical History of England and the scientific treatise, De Natura Rerum. Geoffrey Chaucer: Famous Medieval author of the Canterbury Tales. Margery Kempe: Author of the first autobiography in English. John Gower: Medieval poet and friend of Geoffrey Chaucer Francesco Petrarch: Italian poet, and a humanist. Famous for his poems addressed to Laura. Dante: Medieval poet and politician. Christine de Pizan: Medieval author and feminist. William Longland: English poet who wrote the Vision of Piers Plowman. Boccaccio: Italian writer who was famous for writing the Decameron. Raphael Holinshed: Medieval author of Holinshed's Chronicles of England, Scotland, and Ireland. (KM) Romance: • Chivalry was the reason behind this type of literature. • The greatest English example of the romance is Sir Gawain and the Green Knight. • The romance hero-who often has the help of magic-undertakes a quest to conquer an evil enemy. (KM) Chivalry: • A system of ideals and social codes governing the behavior of knights and gentlewoman. • The rules included: taking an oath of loyalty to the overlord and observing certain rules of warfare. • Adoring a particular lady was seen as a means of self-improvement. (KM) Courtly Love: • The idea that adoring...
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...Introduction The familiarity with the love tradition makes it easily mistakable for a natural and universal phenomenon and even brings a laxity of enquiring into its origins. However, it is difficult of not impossible to show love to be anything more than an artistic phenomenon or construct- a literary per formative innovation of Middle Ages. Courtly love was a medieval European formation of nobly, and politely expressing love and admiration. Courtly love was secret and between members of the nobility. (Simpson). The term "courtly love" was first popularized by Gaston Paris in 1883. It has since come under a wide variety of definitions and uses, even being brushed off as nineteenth-century romantic fiction. Its understanding, beginning, and weight persist as an issue of significant question. Origin of the term ‘courtly love’ The term courtly love was given its original definition by Gaston Paris in 1883 in the journal Romania in the article "Études sur les romans de la Table Ronde: Lancelot du Lac, II: Le conte de la charrette" a treatise inspecting Chretien de Troyes's Lancelot, the Knight of the Cart (1177). The term courtly was derived from the term ‘amour courtis’ which according to Paris was an admiration and an ennobling discipline. The lover accepts the autonomy of his mistress and tries to make himself worthy of her attention by trying to act bravely and doing whatever deed she desires. In order to prove to her his passion and his unwavering commitment and, he...
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...writers. Malory presents the reader with an earthy, realistic, yet anachronistic representation to demonstrate the worth of such ideals in a country wrought with decline and chaos during the Wars of the Roses. Tennyson idealizes this knightly conduct: this glamorization of chivalry functions as a model which, for Tennyson, reflects the applauded propriety of Prince Albert and other Victorian gentry. Monty Python, in tune with the 1960/70s synonymous with the radical and subversive, deride the chivalric values which to them seem impractical and unrealistic. In medieval Arthurian literature, physical prowess was a knightly imperative. Being seemingly undefeatable in battle was the basic underlying currency of the medieval feudal system. For example, Thomas of Chestre’s fourteenth-century warrior, Sir Launfal, slays ‘Syr Valentyne’, who ‘was wonder...
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...Summary of CT The Canterbury Tales begins with the introduction of each of the pilgrims making their journey to Canterbury to the shrine of Thomas a Becket. These pilgrims include a Knight, his son the Squire, the Knight's Yeoman, a Prioress, a Second Nun, a Monk, a Friar, a Merchant, a Clerk, a Man of Law, a Franklin, a Weaver, a Dyer, a Carpenter, a Tapestry-Maker, a Haberdasher, a Cook, a Shipman, a Physician, a Parson, a Miller, a Manciple, a Reeve, a Summoner, a Pardoner, the Wife of Bath, and Chaucer himself. Congregating at the Tabard Inn, the pilgrims decide to tell stories to pass their time on the way to Canterbury. The Host of the Tabard Inn sets the rules for the tales. Each of the pilgrims will tell two stories on the way to Canterbury, and two stories on the return trip. The Host will decide whose tale is best for meaningfulness and for fun. They decide to draw lots to see who will tell the first tale, and the Knight receives the honor. The Knight's Tale is a tale about two knights, Arcite and Palamon, who are captured in battle and imprisoned in Athens under the order of King Theseus. While imprisoned in a tower, both see Emelye, the sister of Queen Hippolyta, and fall instantly in love with her. Both knights eventually leave prison separately: a friend of Arcite begs Theseus to release him, while Palamon later escapes. Arcite returns to the Athenian court disguised as a servant, and when Palamon escapes he suddenly finds Arcite. They fight over Emelye, but...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...книг выложен группой vk.com/create_your_english The Project Gutenberg EBook of Ivanhoe, by Walter Scott This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Ivanhoe A Romance Author: Walter Scott Release Date: June 25, 2008 [EBook #82] Last Updated: November 6, 2012 Language: English *** START OF THIS PROJECT GUTENBERG EBOOK IVANHOE *** Produced by John P. Roberts, Jr. and David Widger IVANHOE книг выложен группой vk.com/create_your_english A ROMANCE книг выложен группой vk.com/create_your_english By Sir Walter Scott Now fitted the halter, now traversed the cart, And often took leave,—but seemed loath to depart! 1 —Prior. CONTENTS INTRODUCTION TO IVANHOE. DEDICATORY EPISTLE IVANHOE. CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI CHAPTER XXXII. CHAPTER XXXIII CHAPTER XXXIV CHAPTER XXXV CHAPTER XXXVI CHAPTER XXXVII CHAPTER XXXVIII CHAPTER XXXIX CHAPTER XL CHAPTER XLI ...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Synonyms and Antonyms, by James Champlin Fernald 1 Synonyms and Antonyms, by James Champlin Fernald Project Gutenberg's English Synonyms and Antonyms, by James Champlin Fernald This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: English Synonyms and Antonyms With Notes on the Correct Use of Prepositions Author: James Champlin Fernald Release Date: May 21, 2009 [EBook #28900] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH SYNONYMS AND ANTONYMS *** Produced by Jan-Fabian Humann, Stephen Blundell and the Online Distributed Proofreading Team at http://www.pgdp.net English Synonyms and Antonyms A Practical and Invaluable Guide to Clear and Precise Diction for Writers, Speakers, Students, Business and Synonyms and Antonyms, by James Champlin Fernald Professional Men Connectives of English Speech "The work is likely to prove of great value to all writers."--Washington Evening Star. 2 "The book will receive high appreciation from thoughtful students who seek the most practical help."--Grand Rapids Herald. "It is written in a clear and pleasing style and so arranged that but a moment's time is needed to find any line of the hundreds of important though small words which this book discusses."--Chattanooga Times. "Its...
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