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The arrangements for the dinner party were overseen by Queen Quenevere herself. She selected the apples with her own hands. And before the evening ended, a young knight lay dead...and Arthur's beloved, unfaithful queen stood branded as a murderess and condemned to death! Phyllis Ann Karr has taken Celtic legend and given it a fresh new twist in this magical murder-mystery of knights and sorcery, romantic entanglements and courtly intrigues. This is a tale that explores the passions and motivations of the men and women who stride through the pages of Mallory's romance: Sir Kay, the sharp-tongued seneschal; Nimue, the elusive Lady of the Lake; Morgan le Fay, Merlin's complex nemesis; the tormented sons of Lot and Morgawse; and Mordred, Arthur's own bitter, terrified son! "In The Idylls of the Queen, Phyllis Ann Karr takes an incident (the murder of Sir Patrise) from Thomas Malory's Le Morte d'Arthur and creates an intelligent, complex, and fascinating mystery novel perfect for fans of historical mysteries, of British legends, and of fantasy." -- Cynthia Ward
Baron Alfred Tennyson Tennyson's 'The Last Tournament' is a poetic narrative that delves into the Arthurian legend, focusing on the final jousting tournament held by King Arthur. The book is written in Tennyson's signature lyrical style, filled with rich imagery and emotional depth, capturing the essence of chivalry and honor prevalent in the medieval era. Tennyson's portrayal of characters like Sir Lancelot and Queen Guinevere adds a layer of complexity to the story, exploring themes of betrayal and redemption within the legendary Camelot. 'The Last Tournament' stands out as a significant work in Tennyson's larger body of Arthurian literature, showcasing his mastery of narrative poetry and his ability to evoke a sense of nostalgia for a bygone era. Readers will be captivated by the evocative language and the timeless themes presented in this classic tale of love and loyalty.
The court of Camelot is unsettled by the arrival of Loholt, King Arthur?s illegitimate son. Driven by the need for an heir, the king embraces the stranger, though not everyone in Camelot so readily accepts the mysterious young man. Arthur?s seneschal and foster brother, the redoubtable Sir Kay, is especially wary of Loholt?s motives. And when Loholt is killed, Kay finds himself under suspicion of murder.Stripped of his knighthood, Kay forges an unwilling alliance with the renegade Briant and his lover, the enchantress Brisane, who seek to bring down the men closest to the king. If Sir Kay cannot redirect their plot or win back the court?s trust, nothing will save Camelot from the twin threats of war and evil sorcery.?One of the half-dozen best Arthurian novels I have yet read.? ?Phyllis Ann Karr, author of Idylls of the Queen and The Arthurian Companion.?An original novel of considerable merit.? ?Science Fiction Chronicle?A book you will not want to put down.? ?RPGnet
36 splendid illustrations, accompanied by quotes from Tennyson's poem, dramatically recapture the love story of Lancelot and Guinevere, the tale of the fair Elaine, and more.
Queen Victoria was one of the most complex cultural productions of her age. In Royal Representations, Margaret Homans investigates the meanings Victoria held for her times, Victoria's own contributions to Victorian writing and art, and the cultural mechanisms through which her influence was felt. Arguing that being, seeming, and appearing were crucial to Victoria's "rule," Homans explores the variability of Victoria's agency and of its representations using a wide array of literary, historical, and visual sources. Along the way she shows how Victoria provided a deeply equivocal model for women's powers in and out of marriage, how Victoria's dramatic public withdrawal after Albert's death helped to ease the monarchy's transition to an entirely symbolic role, and how Victoria's literary self-representations influenced debates over political self-representation. Homans considers versions of Victoria in the work of Elizabeth Barrett Browning, George Eliot, John Ruskin, Margaret Oliphant, Lewis Carroll, Alfred Lord Tennyson, and Julia Margaret Cameron.
In this dazzling new vision of the ever-fascinating queen, a dynamic young historian reveals how Marie Antoinette's bold attempts to reshape royal fashion changed the future of France Marie Antoinette has always stood as an icon of supreme style, but surprisingly none of her biographers have paid sustained attention to her clothes. In Queen of Fashion, Caroline Weber shows how Marie Antoinette developed her reputation for fashionable excess, and explains through lively, illuminating new research the political controversies that her clothing provoked. Weber surveys Marie Antoinette's "Revolution in Dress," covering each phase of the queen's tumultuous life, beginning with the young girl, struggling to survive Versailles's rigid traditions of royal glamour (twelve-foot-wide hoopskirts, whalebone corsets that crushed her organs). As queen, Marie Antoinette used stunning, often extreme costumes to project an image of power and wage war against her enemies. Gradually, however, she began to lose her hold on the French when she started to adopt "unqueenly" outfits (the provocative chemise) that, surprisingly, would be adopted by the revolutionaries who executed her. Weber's queen is sublime, human, and surprising: a sometimes courageous monarch unwilling to allow others to determine her destiny. The paradox of her tragic story, according to Weber, is that fashion—the vehicle she used to secure her triumphs—was also the means of her undoing. Weber's book is not only a stylish and original addition to Marie Antoinette scholarship, but also a moving, revelatory reinterpretation of one of history's most controversial figures.