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Updated: May 18, 2025
This is a scathing rebuke to old dead Froissart's poor witticism that our family tree never had but one limb to it, and that that one stuck out at right angles, and bore fruit winter, and summer. Early in the fifteenth century we have Beau Twain, called "the Scholar." He wrote a beautiful, beautiful hand.
Like Froissart's medieval hero, who saw that "to rob and pill was a good life," he is not the dupe of that public sentiment against killing which is propagated and endowed by people who would otherwise be killed themselves, or of the mouth-honor paid to poverty and obedience by rich and insubordinate do-nothings who want to rob the poor without courage and command them without superiority.
In the spring of 1342 she obtained the help of King Edward the Third of England, which however was fitfully rendered, as he took either side in turn to suit his own convenience. Some account of her famous exploits is given in the story, and is familiar to every reader of Froissart's Chronicle.
At the same time exaggerated conceptions of the courtly breeding of Chaucer's and Froissart's age may very easily be formed; and it is almost amusing to contrast with Chaucer's generally liberal notions of manners, severe views of etiquette like that introduced by him at the close of the "Man of Law's Tale," where he stigmatizes as a solecism the statement of the author from whom he copied his narrative, that King Aella sent his little boy to invite the emperor to dinner.
It is the exquisite delineation of character, the moral wisdom, the purity and force of language, the artistic arrangement, and the lively and interesting narratives, appealing to all minds, like the "Arabian Nights," or Froissart's "Chronicles," which give immortality to the classic authors of antiquity. We will not let them perish, because they amuse us, and inspire us.
O'Neil, and other lords of Ulster, accompanied him back to Dublin, where they found O'Brien, O'Conor, and McMurrogh, lately arrived. They were all lodged in a fair mansion, according to the notion of Master Castide, Froissart's informant, and were under the care of the Earl of Ormond and Castide himself, both of whom spoke familiarly the Irish language.
"The Lay of the Last Minstrel" placed Scott among the three great poets of Scotland, for originality and beauty of rhyme. It is not marked by pathos or by philosophical reflections. It is a purely descriptive poem of great vivacity and vividness, easy to read, and true to nature. It is a tale of chivalry, and is to poetry what Froissart's "Chronicles" are to history.
The library, a fine room panelled with mahogany, contains many treasures, notably three Caxtons The History of Reynard the Fox, 1481; The Chronicles of England, 1482; and The Golden Legend, 1493: the first and second folios of Shakespeare: and many examples one printed on vellum of Froissart's Chronicles. There is also a fifteenth-century manuscript of Gower's Confessio Amantis.
Since those quaintly simple and emphatic statements which, under the name of Froissart's Chronicles, seem to perpetuate the instinctive notion of History, as an honest and earnest, but unadorned and unelaborate narrative of military and political facts, not only has there been a continual refinement of style and enlargement of scope and art, but a greater complexity and subdivision in the historian's labors.
Lord Berners was the English governor of Calais, and his version of Froissart's Chronicles was made in 1523-1525, at the request of Henry VIII. In these two books English chivalry spoke its last genuine word. In Sir Philip Sidney the character of the knight was merged into that of the modern gentleman.
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