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The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.
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A Handbook of Illustration This may be said to be the primary and normal function of an Illustration. Throughout the pages of this book, and to whatever extent the student may practise the methods herein described, it may be well to keep very clearly in mind the legitimate function of an illustration, namely: to describe, to portray, and to do this chiefly as an auxiliary to written language. To such a kind belongs the rude scratchings of the primæval man, whose limited powers of speech forbade his adequately describing the forms of those creatures whose pursuit meant life, whose disregard would mean death, and of such kind were the hieroglyphics of the East. Nay, who shall say that the very forms of letters themselves are not the outcome of early effort to convey to the eye of another what might otherwise only have been imperfectly communicated through other senses: a means to an end; a servant, a tool, in the hands of him who would wield it. But in the beginning there was a making of drawings and designs which had another purpose. The gourd, or rough clay vessel, was graved and marked with devices and forms suggested by the curves and shapes in Nature, but this was merely for decoration; to please the eye, and not to serve any purpose but to give pleasure. A means to an end in this sense perhaps, but note that the end was in the commencement of it, and went no further after completion; it gave pleasure to the beholder and no more, and nothing more was intended or asked. Thus was Art born—not to teach, nor to explain, nor to illustrate.
"Peeps at Many Lands: Ireland" is part of the "Peeps at Many Lands" series and was written by Katharine Tynan. This series is known for providing readers with insights into different countries and regions around the world, focusing on their culture, geography, and way of life. Katharine Tynan, the author, likely presents a descriptive and informative narrative about Ireland, covering various aspects such as its people, landscapes, and customs. The "Peeps at Many Lands" series was designed to offer a vivid and accessible portrayal of different countries, often intended for a young audience. For those interested in early 20th-century perspectives on Ireland and travel literature, "Peeps at Many Lands: Ireland" could provide a valuable resource, offering a snapshot of the country during that period. The series aimed to provide an engaging introduction to different cultures and societies around the world.