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Like 'Game of Thrones' with real history. The complete set of four award-winning books: Historical Fiction series The Troubadours Quartet Set in the period following the Second Crusade, Jean Gill's spellbinding romantic thrillers evoke medieval France with breathtaking accuracy. She captures the soul of the age and the characters who lived in it. The characters leap off the page and include amazing women like Eleanor of Aquitaine and Ermengarda of Narbonne, who shaped history in battles and in bedchambers. Four Discovered Diamonds Awards; Historical Novel Society Editor's Choice Three out of three: Readers Favourite 5* Awards; Winner of the Global Ebooks Award for Best Historical Fiction Book 1 Song at Dawn: 1150 in Provence On the run from abuse, Estela wakes in a ditch with only her lute, her amazing voice, and a dagger hidden in her underskirt. Her talent finds a patron in Eleanor of Aquitaine and more than a music tutor in the Queen's finest troubadour and Commander of the Guard, Dragonetz los Pros. Meanwhile, their enemies gather, ready to light the political and religious powder-keg of medieval Narbonne. Book 2 Bladesong: 1151 in The Holy Land Estela, the troubadour, is following the destiny of her beautiful voice. Dragonetz, her passionate knight, has a dangerous mission to fulfil. Divided by the times they love in, they fight to be together. Imprisoned in Damascus, Dragonetz suffers the mind games inflicted by his anonymous enemies, as he is forced to remember the traumatic events of the crusade, two years earlier. Instead of remaining safely at home, Estela is desperate to rescue Dragonetz at all costs. She sets out for the Holy Land, never realising that the person she thinks will be her knight's saviour might actually be his doom. Can Estela get him out alive, despite Nur-ad-Din, the Muslim Atabeg; Mélisende, the Queen of Jerusalem; and an avenger from the past? Will she still want to, when she knows what they've done to him? Book 3 Plaint for Provence: 1152 in Les-Baux-de-Provence The Troubadours, Estela and her lover, Dragonetz, are embroiled in two rival claims for power as their feuding liege lords gather in Provence. If the peace fails, Dragonetz' sword will decide the winner and friends will die. Dragonetz weaves a precarious path through the rival factions at court where an uneasy truce prevails behind the chivalry of hunt and tournament. Meanwhile, Estela faces her own demons. Confronted with her childhood abusers, threatened and attacked, she confides in her friends. Tragically, one of those friends is Dragonetz' worst enemy and Estela has no idea of what he is capable. In this third volume of the Troubadours Quartet, Jean Gill, the 'master of historical intrigue', continues to weave the gripping adventures of Dragonetz and Estela seamlessly into real historical events. Medieval France comes alive in all its facets, from healing with leeches to training a goshawk. Book 4 Song Hereafter: 1153 in Hispania and the Isles of Albion Dragonetz has failed Eleanor of Aquitaine once. Now that she plans to be Queen of England he could make amends. Although prepared to risk his own life on an impossible quest, a knight should protect his lady, or so say the troubadour songs. His lady, however, plays to a different tune and she wants partnership, not protection. Estela and Dragonetz fight their enemies, both on the battlefield and in the courts of Christendom, from the sophistication of Zaragossa to the wilds of Wales. Can they win through to song hereafter, together? Or have they broken one rule too many?
In writing the following pages it has been my purpose to give a picture of the Troubadours during the twelfth century, the period in which we find them in their prime. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
In the rugged Scottish Highlands, a mighty clansman weds a headstrong heiress against her will--and discovers a fiery passion he'll risk his life to protect. . . A Man Of Power Payton Dunn-Fadden is the King's Champion, notorious for his ability to fight any man and win. With steely eyes and a deeply-muscled physique, his powers of seduction are just as legendary. But Payton has a dark secret known only to his wife--and it's a secret she may not keep. . . A Woman Of Will Known as White Satin, Dallis Caruth is infuriated by her forced marriage to Payton. The brute is far below her station. . .which makes her attraction to him utterly maddening. Now Dallis is determined to tame the fearsome laird--and win her freedom in the bargain. . . A Dangerous Desire As Payton and Dallis spar with one another, their desire ignites into fiery lovemaking. But danger is closer than either realizes. For the king has plans for the couple--plans that may unravel Payton's secret--and cost them both their lives. . . "Filled with magic and a love so deep it takes my breath away." --Romance Reader at Heart on Once Upon a Knight "Ivie is destined to become a reader favorite." --Romantic Times
This work offers an edition and translation of some 30 poems by the trobairitz, a remarkable group of women poets from the twelfth and thirteenth centuries, who composed in the style and language of the troubadours. Introductory essays and notes by specialists in the field place the poems in literary, linguistic, historical, social and cultural contexts. English versions facing Occitan texts elucidate the original language and themes, while supplying poems that can be enjoyed by contemporary readers . The varied corpus includes love songs (cansos), debate poems (tensos), political satires (sirventes) and other lyrical sub-genres (including dawn-song, lament, ballad, chanson de mal mariee). To represent the range of female voices available in the lyric corpus of the troubadours, the editors have selected songs consistently attributed to historically documented women poets, as well as songs whose authorship is open to question. The latter may be presented by the manuscripts with or without a named woman poet, but all offer female speakers personae characteristic of troubadour poets in general.