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Excerpt from Richard Coeur De Lion: An Historical Romance, in Three Acts Old M. I am happy, I swear, My Dorcas, my dear, To think that to-morrow is our wedding-day. Tho' we're sixty years old, Let the young ones behold, Our age, like our youth, is contented and gay. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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University of Illinois at Urbana-Champaign. Library. Rare Book Room

Published: 1972

Total Pages: 824


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Thirteenth-century Wales is a divided country, ever at the mercy of England's ruthless, power-hungry King John. Llewelyn, Prince of North Wales, secures an uneasy truce by marrying the English king's beloved illegitimate daughter, Joanna, who slowly grows to love her charismatic and courageous husband. But as John's attentions turn again and again to subduing Wales---and Llewelyn---Joanna must decide where her love and loyalties truly lie. The turbulent clashes of two disparate worlds and the destinies of the individuals caught between them spring to life in this magnificent novel of power and passion, loyalty and lies. The book that began the trilogy that includes Falls the Shadow and The Reckoning, Here Be Dragons brings thirteenth-century England, France, and Wales to tangled, tempestuous life.
Empire of Magic offers a genesis and genealogy for medieval romance and the King Arthur legend through the history of Europe's encounters with the East in crusades, travel, missionizing, and empire formation. It also produces definitions of "race" and "nation" for the medieval period and posits that the Middle Ages and medieval fantasies of race and religion have recently returned. Drawing on feminist and gender theory, as well as cultural analyses of race, class, and colonialism, this provocative book revises our understanding of the beginnings of the nine hundred-year-old cultural genre we call romance, as well as the King Arthur legend. Geraldine Heng argues that romance arose in the twelfth century as a cultural response to the trauma and horror of taboo acts--in particular the cannibalism committed by crusaders on the bodies of Muslim enemies in Syria during the First Crusade. From such encounters with the East, Heng suggests, sprang the fantastical episodes featuring King Arthur in Geoffrey of Monmouth's chronicle The History of the Kings of England, a work where history and fantasy collide and merge, each into the other, inventing crucial new examples and models for romances to come. After locating the rise of romance and Arthurian legend in the contact zones of East and West, Heng demonstrates the adaptability of romance and its key role in the genesis of an English national identity. Discussing Jews, women, children, and sexuality in works like the romance of Richard Lionheart, stories of the saintly Constance, Arthurian chivralic literature, the legend of Prester John, and travel narratives, Heng shows how fantasy enabled audiences to work through issues of communal identity, race, color, class and alternative sexualities in socially sanctioned and safe modes of cultural discussion in which pleasure, not anxiety, was paramount. Romance also engaged with the threat of modernity in the late medieval period, as economic, social, and technological transformations occurred and awareness grew of a vastly enlarged world beyond Europe, one encompassing India, China, and Africa. Finally, Heng posits, romance locates England and Europe within an empire of magic and knowledge that surveys the world and makes it intelligible--usable--for the future. Empire of Magic is expansive in scope, spanning the eleventh to the fifteenth centuries, and detailed in coverage, examining various types of romance--historical, national, popular, chivalric, family, and travel romances, among others--to see how cultural fantasy responds to changing crises, pressures, and demands in a number of different ways. Boldly controversial, theoretically sophisticated, and historically rooted, Empire of Magic is a dramatic restaging of the role romance played in the culture of a period and world in ways that suggest how cultural fantasy still functions for us today.