Glyn S. Burgess – författare

Originally compiled and published in 1988, this volume contains the text and translation of 'The Pilgrimmage of Charlemagne' and 'Aucassin and Nicolette,' alongisde textual notes and a bibliography for both.

Originally compiled and published in 1988, this volume contains the text and translation of 'The Pilgrimmage of Charlemagne' and 'Aucassin and Nicolette,' alongisde textual notes and a bibliography for both.

Originally compiled and published in 1988, this volume contains the text and translation of ''The Pilgrimmage of Charlemagne'' and ''Aucassin and Nicolette,'' alongisde textual notes and a bibliography for both.

Originally compiled and published in 1988, this volume contains the text and translation of ''The Pilgrimmage of Charlemagne'' and ''Aucassin and Nicolette,'' alongisde textual notes and a bibliography for both.

In recent years Brendan's voyage has become increasingly popular as a topic of interest, not only in medieval studies, but also within the history of travel literature in general. One of the legend's charms is that it can be read in a number of ways: as a thinly disguised account of Irish travels and discoveries in the Atlantic, as a seafaring story in the fashion of the Irish immrama (literally 'rowings out'), or as an allegorical tale of Man's journey through life. It also has links with the monastic culture of its day, and contains echoes of the Odyssey and the Aeneid, Sinbad the Sailor and the quest for the Holy Grail.Barron and Burgess's volume collects the most important versions of the voyage from a wide variety of cultures, and presents them in modern English translations together with a general introduction to Brendan, explanatory commentaries and an extensive bibliography.This new paperback edition also includes a comprehensive index of story-elements specially devised with the Brendan student in mind to allow easy comparison of the different versions.

42 papers on all aspects of court-orientated culture, ranging from the period of the earliest troubadour, William of Poitiers, in the twelfth century, to the Renaissance and beyond.

This prose translation of twenty-four lays from the French Middle Ages brings to the general reader as well as to scholars a complement to the twelve well-known lays by Marie de France, the possible creator of the genre. These lays are mostly anonymous, and the majority, but by no means all of them, are, like Marie’s lays, centred on a love interest of some kind in a variety of settings. But, unlike Marie’s lays, their treatment varies from the courtly and sophisticated to the comic or the tragic, thereby illustrating the range of poems covered by the term lai in twelfth- and thirteenth-century France. A significant number of these lays, based in the courtly world, contain supernatural elements or magic objects that are fundamental to the story as it is related, and sometimes the heroes leave the real world to dwell forever in an otherworldly domain. Other lays have a more mundane feel to them and seem closer to the fabliau in tone. In one instance, the lay of Haveloc, the tale owes more to legendary history than to pure fantasy. Overall, this collection stakes a claim to make an important contribution to the Medieval French lay within the wider European tradition of the short story and the literature of love.

This prose translation of twenty-four lays from the French Middle Ages brings to the general reader as well as to scholars a complement to the twelve well-known lays by Marie de France, the possible creator of the genre. These lays are mostly anonymous, and the majority, but by no means all of them, are, like Marie’s lays, centred on a love interest of some kind in a variety of settings. But, unlike Marie’s lays, their treatment varies from the courtly and sophisticated to the comic or the tragic, thereby illustrating the range of poems covered by the term lai in twelfth- and thirteenth-century France. A significant number of these lays, based in the courtly world, contain supernatural elements or magic objects that are fundamental to the story as it is related, and sometimes the heroes leave the real world to dwell forever in an otherworldly domain. Other lays have a more mundane feel to them and seem closer to the fabliau in tone. In one instance, the lay of Haveloc, the tale owes more to legendary history than to pure fantasy. Overall, this collection stakes a claim to make an important contribution to the Medieval French lay within the wider European tradition of the short story and the literature of love.

The two romances translated in this volume, the Roman de Thèbes and the Roman d’Eneas, form, along with the Roman de Troie by Benoît de Sainte-Maure, a group of texts that are of considerable importance within French and European literature and culture. Composed between c. 1150 and c. 1165, these romances create a bridge between classical tales (the Thèbes is based on the Thebaid of Statius, the Eneas on the Aeneid of Virgil) and the burgeoning vernacular romances, represented especially by Chrétien de Troyes. As a group, these three works are frequently known as the romances of antiquity (romans d’antiquité) and they introduce into French literature the dominant contemporary themes of chivalry and love. They are set against a feudal and courtly background in which themes such as war, prowess inheritance and the possession of land are crucial. As they adapt their Latin sources, these romances, especially the Eneas, exploit the works of Ovid, especially in the presentation of the theme of love, and they also make use of the principles of rhetorical composition as studied in the schools (both romances contain remarkable examples of descriptions of both people and objects).This is the first volume to contain two complete translations of the three romances of antiquity. The translation of the Roman d’Eneas is the first English translation of this text since that of John A. Yunck in 1974.

The two romances translated in this volume, the Roman de Thèbes and the Roman d’Eneas, form, along with the Roman de Troie by Benoît de Sainte-Maure, a group of texts that are of considerable importance within French and European literature and culture. Composed between c. 1150 and c. 1165, these romances create a bridge between classical tales (the Thèbes is based on the Thebaid of Statius, the Eneas on the Aeneid of Virgil) and the burgeoning vernacular romances, represented especially by Chrétien de Troyes. As a group, these three works are frequently known as the romances of antiquity (romans d’antiquité) and they introduce into French literature the dominant contemporary themes of chivalry and love. They are set against a feudal and courtly background in which themes such as war, prowess inheritance and the possession of land are crucial. As they adapt their Latin sources, these romances, especially the Eneas, exploit the works of Ovid, especially in the presentation of the theme of love, and they also make use of the principles of rhetorical composition as studied in the schools (both romances contain remarkable examples of descriptions of both people and objects).This is the first volume to contain two complete translations of the three romances of antiquity. The translation of the Roman d’Eneas is the first English translation of this text since that of John A. Yunck in 1974.

Fascinating insights into medieval life. THE TIMES LITERARY SUPPLEMENTEustace the Monk and Fouke Fitz Waryn belong in the great tradition of medieval outlaws, and aspects of their lives, part-fact, part-fiction, find a reflection in the life of that most famous of all outlaws, Robin Hood. Glyn Burgess puts into modern English the two romances of the thirteenth century which relate their deeds, Li Romans de Witasse le Moine and Fouke le Fitz Waryn. He presents the historical reality of their respective "heroes",important but neglected figures: both were born around 1170; both broke with their overlords, the count of Boulogne and King John, at around the same time; and both spent a period as outlaws, during which they toyed with their lords and exacted revenge for the injustice they suffered. Eustace was not only an outlaw and a sea captain, but a pirate and magician; he was one of the most feared men of his day. Fouke's life was dominated by his attempt to takepossession of Whittington Castle in Shropshire, to which his family laid claim.Alongside the historical discussion of the lives of the protagonists of the two romances, Glyn Burgess reveals the multiple layers of the romances themselves: historically verifiable facts, information which cannot be proved but rings true, and a wide range of material which is manifestly imaginary, containing stock motifs also found in other romances of the period. His bringing to life of two forgotten outlaws is a fascinating context for his spirited translation of the romances.GLYN S. BURGESS is Emeritus Professor of French at the University of Liverpool.

New edition and modern English translation of the Anglo-Norman version of the story of Haveloc - one of the most popular of the Middle Ages.The story of Haveloc first appears in the oldest chronicle of the kings of England Britain, Geffrei Gaimar's Estoire des Engleis, and it is found in a substantial number of later accounts of English history. It is unusual in that it seemingly deals with "real" persons and events; but although names for the prototypes of Haveloc and other personages have been put forward, any search for historical evidence has been largely fruitless. The Haveloc story remains a legend, indeed one of the most compelling legends of the Middle Ages.The Anglo-Norman lay of Haveloc survives in only two manuscripts, one (H) unedited since the nineteenth century and the other (P) since1925. This volume provides new editions of both versions and an English facing-page translation of the version in H. Also included is a translation of the Haveloc episode in Gaimar's chronicle and an edition and translation of thevarious shorter chronicle accounts, in French, English and Latin, which continued into the seventeenth century and survive in a modern English folk-tale. Glyn S. Burgess is Emeritus Professor and Honorary Senior Fellow at the University of Liverpool; Leslie C. Brook is an Honorary Senior Research Fellow at the University of Birmingham.

This is a title in the Bristol Classical Press French Texts series, in French with English notes, vocabulary and introduction. Marie de France occupies a unique place in the history of literature as one of the earliest female writers of medieval Europe. In the second half of the 12th century she composed 12 poems, known as the "Lais", which offer a blend of romance and realism. Through these poems it is possible to gain an understanding of feudal society and glimpse the problems which beset both male and female members of the aristocracy at that time. The collection was first edited in 1954 by Alfred Ewert. Professor Glyn Burgess has re-written the introduction and provided an update of the bibliography, which lists all the substantiated literary studies devoted to these poems.

Best known for his two chronicles, the Roman de Brut and the Roman de Rou, Wace, one of the great pioneers of twelfth-century French writing, is also the author of three hagiographical works: the Conception Nostre Dame and the Lives of St Margaret and St Nicholas. The Conception is the first vernacular work to focus on the life of the Virgin Mary. Emphasising Margaret's concern for women in labour, the Margaret seemingly contributed to the saint's broad popularity. The Nicholas, with its many miracles involving children, equally played a key role in popularising its protagonist's cult. The present volume brings these works together for the first time and provides the original texts, the first translations into English, notes and substantial introductions.

Text and facing translation of a selection of French narrative lays, with Arthurian subject matter and interest.

Text with facing translation of an undeservedly neglected, humorous French lay, in which the women of Arthur's court have their virtue challenged by a magic mantle.The Old French lay of Mantel belongs to the group of anonymous lays that were composed in the late twelfth or thirteenth century. These short narratives vary in tone and usually deal with some aspect of love, usually in anaristocratic, courtly setting. Here, this is Arthur's court, with its well-known characters involved, and the tone is satiric and comic; the story is a chastity test, which the ladies of the court undergo in public by donning themantle - if it does not fit, their behaviour is betrayed. The poem plays on the insecurities of the knights, who are at first confident of their loves' fidelity, but in the end are all too anxious to ignore their transgressions.The popularity of the lay is attested by its survival in five manuscripts, an unusually high number. It is edited here from MS Paris, Bibliothèque Nationale de France, nouv. acq. fr. 1104, a manuscript containing twenty-four lays, including nine by Marie de France whose work has to some extent defined the genre. The text is accompanied by a facing translation, and presented with introduction, elucidatory notes, bibliography, and indices.Glyn S. Burgess is Emeritus Professor of French, University of Liverpool; Leslie C. Brook is Honorary Senior Research Fellow in French, University of Birmingham.