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The Romans have left Britain and the land becomes a battleground between the resident Britons, led by King Arthur and the Knights of the Round Table, and the English, who originally came to the land as mercenaries in the Roman Army. On his death bed, the King fathers twins who find they have amazing powers when together.
The revival of interest in Arthurian legend in the 19th century was a remarkable phenomenon, apparently at odds with the spirit of the age. Tennyson was widely criticised for his choice of a medieval topic; yet The Idylls of the Kingwere accepted as the national epic, and a flood of lesser works was inspired by them, on both sides of the Atlantic. Elisabeth Brewer and Beverly Taylor survey the course of Arthurian literature from 1800 to the present day, and give an account of all the major English and American contributions. Some of the works are well-known, but there are also a host of names which will be new to most readers, and some surprises, such as J. Comyns Carr's King Arthur, rightly ignored as a text, but a piece oftheatrical history, for Sir Henry Irving played King Arthur, Ellen Terry was Guinevere, Arthur Sullivan wrote the music, and Burne-Jones designed the sets. The Arthurian works of the Pre-Raphaelites are discussed at length, as are the poemsof Edward Arlington Robinson, John Masefield and Charles Williams. Other writers have used the legends as part of a wider cultural consciousness: The Waste Land, David Jones's In Parenthesis and The Anathemata, and the echoes ofTristan and Iseult in Finnigan's Wake are discussed in this context. Novels on Arthurian themes are given their due place, from the satirical scenes of Thomas Love Peacock's The Misfortunes of Elphin and Mark Twain's A Connecticut Yankee at King Arthur's Court to T.H. White's serio-comic The Once and Future King and the many recent novelists who have turned away from the chivalric Arthur to depict him as a Dark Age ruler. The Return of King Arthurincludes a bibliography of British and American creative writing relating to the Arthurian legends from 1800 to the present day.
Central to the legends of King Arthur are the mysterious, sexually alluring enchantresses, those spellcasters and mistresses of magic who wield extraordinary influence over Arthur's life and destiny, bestriding the Camelot mythology with a dark and brooding presence. Yet until now no book has told their stories in depth. Carolyne Larrington brings these dangerous women fully and vibrantly to life. Here is Morgan-le-Fay, a complex sorceress of immense cunning and skill, immortalised by Helen Mirren's Morgana in John Boorman's film Excalibur. Here too are the mystical Lady of the Lake; the beguiling Viviane, Merlin's deadly nemesis; and Morgause, Queen of Orkney, mother to Mordred, Arthur's incestuously-conceived son and his bitterest foe. Echoing the search for the Grail by the Knights of the Round Table, Larrington takes her readers on an intriguing quest - to discover why, over the centuries, the Arthurian enchrantresses have continued to bewitch those caught in their seductive web. Whether chaste or depraved, necrophiliacs or virgins, benevolent or filled with hatred, the enchantresses are seen to represent a strain of female power that challenges male chivalric values from within. King Arthur's Enchantresses makes a unique contribution to writing on the Arthurian myths. It will intrigue and delight anyone with an interest in mythology, religion, cultural history and medieval literature.
Examining the origins of the Arthurian legend and major trends in the portrayal of Arthur from the Middle Ages to the present, this collection focuses on discussion of literature written in English, French, Latin, and German. Its 16 essays, four published here for the first time, deal with such matters as the search for the historical Arthur; the depiction of Arthur in the romances Erec and Iwein of Hartmann von Aue; the way Arthur is depicted in 19th-century art and the Victorian view of manhood; and conceptions of King Arthur in 20th-century literature. Six of the essays, originally published in French and German, are translated into English especially for this book. Two essays have been substantially revised. An introduction offers a general discussion of the development of the legends in the countries of Europe. Works discussed include medieval and Renaissance chronicles (Geoffrey of Monmouth's Historia Regum Britanniae, Wace's Roman de Brut, Polydore Vergil's Anglica Historia, Scottish vernacular and Latin chronicles), medieval romances (the Lancelot en prose, the Mort Artu, the Post-Vulgate Roman du Graal, and works of Chrétien de Troyes, Hartmann von Aue, and Sir Thomas Malory), Spenser's Faerie Queene, Tennyson's Idylls of the King, and T.H. White's Once and Future King. A bibliography lists selected major secondary studies of King Arthur as well as major reference works.
This fictionalised account of the life of Esther, Queen of the Persians, draws on the known facts about Esther's life in the Persian Empire in 481BC.
Parts one and two of Lancelot cover Lancelot s boyhood and his admission to Arthur s court, where he falls immediately in love with Guenevere. The adventures and quests which follow, including his friendship with the tragic Galehaut, take us to the point where he becomes a companion of the Round Table. --Book Jacket.
In Stations of the Sun and The Triumph of the Moon Ronald Hutton established himself as a leading authority on the historian of Paganism. His wealth of unusual knowledge, complemented by a deep and sympathetic understanding of past and present beliefs that are often dismissed as strange or marginal, and an ability to write lucidly and wittily, gives his work a unique flavour. The essays which make up Witches, Druids and King Arthur cover elegantly and entertainingly a wide range of beliefs, myths and practices.
How sick are you of US politics? How doomed is the world because of who has claimed the Oval Office throne—er, chair? Refresh your spirit by laughing along with what Mark Twain might have written about today’s political falderal. “Solidly entertaining.” —Publishers Weekly WINNER 2016 IBPA Benjamin Franklin Gold Medal for Science Fiction & Fantasy. Morgan le Fay, sixth-century Queen of Gore and the only major character not killed off by Mark Twain in A Connecticut Yankee in King Arthur’s Court, vows revenge upon the Yankee Hank Morgan. She casts a spell to take her to 1879 Connecticut so she may waylay Sir Boss before he can travel back in time to destroy her world. But the spell misses by 300 miles and 200 years, landing her in the Washington, D.C., of 2079, replete with flying limousines, hovering office buildings, virtual-reality television, and sundry other technological marvels. Whatever is a time-displaced queen of magic and minions to do? Why, rebuild her kingdom, of course—two kingdoms, in fact: as Campaign Boss for the reelection of American President Malory Beckham Hinton, and as owner of the London Knights world-champion baseball franchise. Written as though by the old master himself, King Arthur’s Sister in Washington’s Court by Mark Twain as channeled by Kim Iverson Headlee offers laughs, love, and a candid look at American society, popular culture, politics, baseball… and the human heart. Mark Twain began work on A Connecticut Yankee in King Arthur's Court in 1879—the same year the Yankee Hank Morgan departed for his sojourn in sixth-century Britain. The first edition was published in 1889 and features more than 200 illustrations by the man who later would become founder of the Boy Scouts of America, Daniel Carter Beard. These illustrations are now in the public domain, and a handful have been incorporated into King Arthur's Sister in Washington's Court as an artistic homage to this classic edition of the first time travel story in all literature.
Children’s book author Lyon Wentworth must solve an impossible locked-room murder with a medieval twist—or risk landing on death row. Lyon Wentworth sprints through the woods, chest heaving, dragging a broadsword behind him. He doesn’t remember why he started running, or when he picked up the sword, but he knows that if he stops, he’ll die. When he trips, his attacker is upon him within seconds, but the executioner disappears before he can deliver the final blow. He’s got the wrong man; Lyon isn’t the one he wants dead. A mild-mannered Connecticut children’s book author, Lyon has been drugged, chased, and scared half to death, but why? When he returns to his house, clothes torn and bloody, Lyon knocks on the door of the RV parked in his driveway, where his old friend Morgan has been staying, but there’s no answer. When he finally gets the door open, Lyon finds Morgan dead—hacked to pieces with a broadsword. This incredible locked-room mystery is only the beginning of the incredible Death at King Arthur’s Court. The final book in the Lyon and Bea Wentworth Mysteries, it provides a fitting conclusion to the series by presenting Lyon with his most challenging choice yet: solve the mystery or die. Death at King Arthur’s Court is the 10th book in the Lyon and Bea Wentworth Mysteries, but you may enjoy reading the series in any order.