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Confessio Amantis ("The Lover's Confession") is a 33,000-line Middle English poem by John Gower, which uses the confession made by an ageing lover to the chaplain of Venus as a frame story for a collection of shorter narrative poems. According to its prologue, it was composed at the request of Richard II. It stands with the works of Chaucer, Langland, and the Pearl poet as one of the great works of late 14th-century English literature. The Index of Middle English Verse shows that in the era before the printing press it was one of the most-often copied manuscripts (59 copies) along with Canterbury Tales (72 copies) and Piers Plowman (63 copies).In genre it is usually considered a poem of consolation, a medieval form inspired by Boethius' Consolation of Philosophy and typified by works such as Pearl. Despite this, it is more usually studied alongside other tale collections with similar structures, such as the Decameron of Boccaccio, and particularly Chaucer's Canterbury Tales, with which the Confessio has several stories in common.
Confessio Amantis, the principal work in English by John Gower, friend of Chaucer, by whom he was influenced, has always been read as a conventional poem about the seven deadly sins. Here, paying particular attention to the poem's language and style, Peck gives a brilliant new reinterpretation which not only illuminates the poem's elegant beauty but provides a profound moral purpose as well. Gower's Confessio, according to Peck, is a restatement of late fourteenth-cen­tury ideas of good and bad behavior, and is designed to illuminate and re­shape the minds and hearts of men. Peck sees the concepts of "kingship"--the governance of souls as well as king­doms--and "common profit"--the mutual enhancement of such king­doms--as the poem's unifying ideas. Peck's discussion further shows how the various tales hold together and support the poem's loose plot and the poet's strongly moral intention.
PRIDE. GREED. ENVY. WRATH. LUST. GLUTTONY. SLOTH. The Seven Deadly Sins delineate the path to a person’s downfall, the surest way to achieve eternal damnation. But there is a way out, a way to reclaim salvation: blame it on the demons—taunting you, daring you to embrace these sins—and you shall be free. The painful truth is that these impulses live inside all ofus, inside all sentient beings. But alas, one person’s sin may be anotherbeing’s virtue. The pride of the Romulan Empire is laid bare in "The First Peer," by Dayton Ward and Kevin Dilmore. A Ferengi is measured by his acquisition of profit. "Reservoir Ferengi," by David A. McIntee, depicts the greed that drives that need. The Cardassians live in a resource-poor system, surrounded by neighbors whohave much more. The envy at the heart of Cardassian drive is "The Slow Knife,"by James Swallow. The Klingons have tried since the time of Kahless to harness their wrath withan honor code, but they haven’t done so, as evidenced in "The Unhappy Ones,"by Keith R.A. DeCandido. Humans’ darkest impulses run free in the Mirror Universe. "Freedom Angst," by Britta Burdett Dennison, illustrates the lust that drives many there. The Borg’s desire to add to their perfection is gluttonous and deadly in "Revenant," by Marc D. Giller. To be a Pakled is to live to up to the ideal of sloth in "Work Is Hard," by Greg Cox.