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Over a decade in the making, Medieval Folklore is your A-Z guide to the mundane and supernatural lore of the Middle Ages. Definitive and lively articles focus on the great myths and legends of the age; daily and nightly customs and activities; religious beliefs of pagan, Christian, Muslim, and Jew; key works of oral and written literature; traditional music and art; holidays and feasts; food and drink; and plants and animals (real and mythic).
A collection of animal fables told by the Greek slave Aesop.
It appears that fable was not recognised as a distinct literary genre in antiquity although it did exist in a recognisable form.
Serendipitously, at around the same time as Boccaccio published his famous Decameron (1350), the Swiss-German Dominican Ulrich Bonerius published his highly popular collection of fables, The Gemstone. Both authors pursued very similar goals, instructing their audiences about vices and virtues, Boccaccio by telling entertaining, often erotic tales, Bonerius by relating didactic tales, mostly based on animals as the active characters. This book provides the first English translation of all one hundred fables authored by Bonerius. Bonerius drew mostly from the classical Aesopian tradition, and his Gemstone in turn became the crucial source for vast fable collections in the late Middle Ages, and again in the eighteenth and nineteenth centuries. In fact, the famous Grimm brothers included some of his narratives in their fairy tale collection of The Gemstone 1812. Not only was Bonerius an excellent poet, he also understood the depth of human nature exceedingly well, warning about many of people’s shortcomings and failures.
Wide-ranging stories offer a glimpse into witchcraft, magic, Crusaders, astrology, alchemy, pacts with the Devil, chivalry, trial by torture, church councils, mercantile life, other elements of Middle Ages.
A collection of well-known tales from medieval Europe, including "Beowulf," "The Sword in the Stone," "The Song of Roland," and "The Island of the Lost Children."
The culture of the Middle Ages was as complex, if not as various, as our own, as the essays in this volume ably demonstrate. The essays cover a wide range of tipics, from church sculpture as "advertisement" to tricks and illusions as "homeeconomics."