Troy: Our Greatest Story Retold (Stephen Fry’s Greek Myths, 3)

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Ward, H. L. D., and J. A. Herbert. Catalogue of Romances in the Department of Manuscripts in the British Museum. 3 vols. London: British Museum, 1883-1910.

Cambridge, Massachusetts, Houghton Library, Harvard University, MS Eng 752 (formerly Harvard-Ashburnham MS). Ancient Egypt has been the singular most important influence in the development of Western Magic as practiced today. Yet, few people understand the core teachings and techniques of this once great civilization. Now, more than twenty years after its original publication, this classic work on Egyptian Magic is being made available in a revised and expanded version that is more than double its original size and scope. John Lydgate's Troy Book: A Middle English Iliad (The Troy Myth in Medieval Britain Book 1) by D M Smith (2019 Kindle) - complete The Book of Talismans, by William Thomas and Kate Pavitt, takes the reader on an expansive journey through the fascinating world of talismans, presenting a detailed investigation into the nature of talismans, their associated powers and the vital roles they have played in civilizations through the ages. The Book of Talismans explores the intricate web of knowledge and mythology that surrounds these mysterious objects, their potential to bring both fortune and calamity and how these enigmatic artefacts were revered, feared, and utilized as tokens of power and protection throughout history. Bergen, Henry, ed. Lydgate's Troy Book. 4 vols. Early English Text Society, e.s. 97, 103, 106, 126. London: Kegan Paul, Trench, Trübner & Co. and Oxford University Press for the Early English Text Society, 1906-35.

This edition was going to be the Special Limited Edition but was produced with the wrong cover material. We are now selling this edition as a second at a reduced price, the book will be stamped inside as a ‘Troy Books second’. Lydgate's echoes and allusions make it clear that he had access to Chaucer's work, though monastic libraries possessed few vernacular manuscripts, still fewer in English. Lydgate obviously knew The Book of the Duchess, The House of Fame, The Legend of Good Women, and a number of the pieces comprising the Canterbury Tales. In his description of the Greeks' landing to destroy Lamedon's Troy (1.3907-43), Lydgate goes so far as to hazard an imitation of the opening of the General Prologue to the Canterbury Tales, with disastrous results. The Notes to the present edition give examples of the wide range of allusion to Chaucer that runs throughout Troy Book. Atwood divides the borrowings into classical material for which Chaucer served as an intermediary and "miscellaneous fine phrases and descriptive passages" (pp. 35-36). At those points where he strives most to represent himself within the poem, Lydgate recalls Chaucer's narrative persona, even if the occasional efforts at comic deflation fail, as in the uneven, shifting tone of his reproval of Guido's misogyny. and the Hidden Wisdom of the Magical Arts. The book is the first of a forthcoming trilogy The Geassa, which presents a codification of his training and practice of the Art, focusing on Traditional Witchcraft. The reference edition of Troy Book is that by Henry Bergen, published as volumes 97, 103, 106 and 126 of the Early English Text Society Extra Series between 1906 and 1935. [16] An excellent, abridged online edition of the "Troy Book" with substantial glosses to aid modern readers is available from the Middle English Texts Series, edited by Robert R. Edwards. Torti, Anna. "From 'History' to 'Tragedy': The Story of Troilus and Criseyde in Lydgate's Troy Book and Henryson's Testament of Cresseid." In The European Tragedy of Troilus. Ed. Piero Boitani. Oxford: Clarendon Press, 1989. Pp. 171-97.

Romare Bearden (1911–1988), 'The Sirens' Song'. Collage of various papers with paint and graphite on fibreboard, 1977. Scott, Kathleen L. Later Gothic Manuscripts: 1390-1490. 2 vols. Vol. 6 of A Survey of Manuscripts Illuminated in the British Isles. London: Harvey Miller, 1996.Troy Book survives in 23 manuscripts, testifying to the popularity of the poem during the 15th century. [12] It was printed first by Richard Pynson in 1513, and second by Thomas Marshe in 1555. A modernized version sometimes attributed to Thomas Heywood, called The Life and Death of Hector, appeared in 1614. Troy Book exercised an influence on Robert Henryson, Thomas Kyd, and Christopher Marlowe, and was one of Shakespeare's sources for Troilus and Cressida. [13] Criticism [ edit ]

The History of the Destruction of Troy. Trans. Mary Elizabeth Meek. Bloomington: Indiana University Press, 1974. Elsewhere Lydgate says that the death of "[t]he noble rhetor" (3.553) leaves him without counsel or correction, and so he goes "[c]olourles" - without rhetorical figures - to his composition. When he later submits the finished work for correction to his readers, he invokes the image of Chaucer as a gentle and beneficent master who genially overlooks defects in the works offered to him: "Hym liste nat pinche nor gruche at every blot" (5.3522). Walsh, Elizabeth R. S. C. J. "John Lydgate and the Proverbial Tiger." In The Learned and the Lewed: Studies in Chaucer and Medieval Literature. Ed. Larry D. Benson. Harvard English Studies 5. Cambridge, Mass.: Harvard University Press, 1974. Pp. 291-303. Chaucer's Boccaccio: Sources of "Troilus" and the "Knight's" and "Franklin's Tales." Trans. N. R. Havely. Chaucer Studies 3. Cambridge: D. S. Brewer, 1980. Pp. 167-80, 213-14. [Excerpts from Le Roman de Troie.]

A Mid-Fifteenth-Century English Illuminating Shop and Its Customers." Journal of the Warburg and Courtauld Institutes 31 (1968), 170-96. BP is proud to support the British Museum exhibition Troy: myth and reality, an exciting exhibition that tells the story of the ancient city of Troy. And witness the epic climax - the wooden horse, delivered to the city of Troy in a masterclass of deception by the Greeks . . .

The "Gest Hystoriale" of the Destruction of Troy. Ed. G. A. Panton and D. Donaldson. Early English Text Society, o.s. 39 and 56. London: John Childs and Son, 1869 and 1874; rpt. in one vol. Oxford: Oxford University Press, 1968. The link with Henry also has some enticing biographical dimensions. Lydgate spent time at Oxford in Gloucester College, which the Benedictines maintained for monks engaged in university study. Henry had studied at Queen's College in 1394, and sometime between 1406 and 1408 wrote Lydgate's abbot asking for permission for Lydgate to continue his studies, either in divinity or canon law. Henry's letter mentions that he has heard good reports about Lydgate; it does not indicate necessarily that the Prince of Wales and the monk had a personal acquaintance. John Norton-Smith proposes, however, that Lydgate resided in Oxford from approximately 1397 to 1408 and that he met Henry (p. 195n). The rubrics of Lydgate manuscripts owned by the fifteenth-century antiquarian John Shirley suggest that Lydgate and Henry shared interests in the liturgy, but these are textual sources that postdate Troy Book. Henry's religious fervor matched his enthusiasm for tales of chivalry. Schirmer argues that Lydgate's attitude differs from his patron's endorsement of military adventure. He contends, for example, that Lydgate initially invokes Mars (Pro. 1-37) but reproves him (4.4440-4536) after Henry becomes king. In his view, the line "[a]lmost for nought was this strif begonne" (2.7855) refers not just to the Trojan War but also to the pointlessness of the French war. Lydgate's peace sentiments seem, however, more the expression of commonplace counsel than a rejection of Henry's policies. To be sure, there are profound tensions and contradictions in Troy Book, but they grow out of the narrative that Lydgate recounts and embellishes and not from a kind of authorial resistance. In its immediate historical context, the poem aims to affirm chivalric virtues, offer examples and moral precepts, and celebrate the national myth of Trojan origins.At the end of Troy Book (Env. 36-42), Lydgate presents Solomon as the Biblical model of prudence. But the character who best embodies prudence in Lydgate's poem is Hector, the figurative root of all chivalry (2.244). Hector's prudence extends from practical wisdom in infantry tactics to political governance, moral example, skill in debate and deliberation, self-containment, and foresight. As Lydgate describes him, he is an ideal because of his traits of character and judgment: "He had in hym sovereine excellence, / And governaunce medlid with prudence, / That nought asterte him, he was so wis and war" (3.489-91). Significantly, it is Hector who urges restraint when Priam seeks support from the Trojan council to avenge Hesione's abduction by Telamon after the fall of Lamedon's Troy: