Heroes Of The Middle Ages Alaric To Columbus

PEPIN THE SHORT had done a great deal to unite the kingdom; but when he died, he left it to his two sons, and so divided it again. The older son died in a few years; and now the kingdom of the Franks was in the hands of Charlemagne, if he could hold it. First came trouble with the Saxons who lived about the lower Rhine and the Elbe. They and the Franks were both Germans, but the Franks had had much to do with the Romans, and had learned many of their ways. Missionaries, too, had dwelt among them and had taught them Christianity, while the Saxons were still heathen. It was fully thirty years before the Saxons were subdued. During those years, Charlemagne watched them closely. He fought, to be sure, whenever they rebelled, and he made some severe laws and saw to it that these were obeyed. More than this, however, he sent missionaries to them, and he built churches. He carried away many Saxon boys as hostages. These boys were carefully brought up and were taught Christianity. They learned to like the Frankish ways of living, and when they had grown up and were sent home, they urged their friends to yield and become peaceful subjects of the great king; and finally the land of the Saxons became a part of the Frankish kingdom. Charlemagne had only begun the Saxon war, when the Pope asked for help against the Lombards, a tribe of Teutons who had settled in Northern Italy. The king was quite ready to give it, for he, too, had a quarrel with them; and in a year or two their ruler had been shut up in a monastery and Charlemagne had been crowned with the old iron crown of Lombardy. This war had hardly come to an end before the king led his troops into Spain against the Mohammedans. There, too, he was successful; but at Roncesvalles he lost a favourite follower, Count Roland. Roland and the warriors who perished with him were so young and brave that the Franks never wearied of recounting their noble deeds. Later the story was put into a fine poem, called the "Song of Roland," which long afterward men sang as they dashed into battle.

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The single largest category of Beowulf representation and adaptation, outside of direct translation of the poem, is children’s literature. Over the past century and a half, more than 150 new versions of Beowulf directed to child and teen audiences have appeared, in English and in many other languages. In this collection of original essays, Bruce Gilchrist and Britt Mize examine the history and processes of remaking Beowulf for young readers. Inventive in their manipulations of story, tone, and genre, these adaptations require their authors to make countless decisions about what to include, exclude, emphasize, de-emphasize, and adjust. This volume considers the many forms of children’s literature, focusing primarily on picture books, illustrated storybooks, and youth novels, but taking account also of curricular aids, illustrated full translations of the poem, and songs. Contributors address issues of gender, historical context, war and violence, techniques of narration, education, and nationalism, investigating both the historical and theoretical dimensions of bringing Beowulf to child audiences.

Recounts the stories of the most important movements in the history of Europe during the Middle Ages and acquaints the reader with the most important figures in those scenes. The figures are grouped into seven periods: The Barbarian Invasion, The Forming of the Germanic Nations, The Teutonic Invasions, The Rise of Nationalities, The Crusades, The Time of Progress and Discovery, and The Struggles of the Nations. In the tapestry which the author weaves may be traced the history of the rise and fall of the various nationalities and the circumstances and mode of life of each.

Although Geoffrey Chaucer is the major author for Middle English studies, he often receives little notice in studies of children's literature. However, there is a fascinating relationship between Chaucer and children's interests. This book examines in detail Chaucer stories retold for children--both the texts and the illustrations, which are excellent examples of the verbal and visual storytelling that are very important in children's literature. The popularity of certain Chaucer stories, their adjustment for children, and the historical, political, educational, and social contexts of the retellings reveal Victorian and Edwardian attitudes. The author also considers how retellings of Chaucer stories contributed to the traditional view of Chaucer as the Father of English and how this view of him was developed at the turn of the twentieth century as part of an expansion of general education and English studies.