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Text of the page (random words):
d idioitic aristocrats assuming they re better than everyone else which should be patently obvious by the catherine of valois example also if eleanor wife of the heir presumptive and duchess of gloucester is too low ranking to be at the king s head who is high ranking enough to be there henry vi and only henry vi men only henry and catherine only these criticisms are specifically pointing eleanor out as being undeserving of the perks of aristocracy because she married up and assuming that her use of them makes her a heinous bitch like why is she undeserving of them because she s not of the blood royal because she s a woman because the commentators are write about her perhaps unconsciously with a mix of classism and misogyny eleanor cobham rants blog nobles seem to have employed magicians over a longer period of time had closer less casual relationships with them as a result and employed people on retainer who could combine their magical services with other duties in this vein it should be noted that many were initially employed for a purpose other than magic three of the defendants tried alongside eleanor cobham for example had entered her service years before in a capacity separated from magic thomas southwell was eleanor s personal physician john home was eleanor s chaplain and roger bolingbroke seems to have had a close intellectual relationship with her bolingbroke was the principal of st andrew s hall oxford and composed a tract on geomancy that he dedicated to his esteemed and most reverend lady whom hilary carey argues must have been eleanor all were accused of helping to calculate and potentially hasten the death of henry vi but magic was nonetheless a secondary aspect of their professional relationship with eleanor tabitha stanmore love spells and lost treasure service magic in england from the later middle ages to the early modern era cambridge university press 2023 1 day ago 1 eleanor cobham roger bolingbroke thomas southwell john hume witchcraft and magic historian tabitha stanmore hoccleve s clear purpose in going to these lengths is to resurrect an honorable poetry of advice to kings silenced since the usurpation in the climate of censorship that descended upon england after ravenspur the possibilities for honest speaking especially in the vernacular had evaporated on the one hand threatened by archbishop arundel s campaign against lollardy and henry iv s against rebellion on the other hoccleve sought removal beyond the present time of the usurpation to the court of richard ii a moment and a monarch he knew to have been more receptive to a poet s advice in becoming his fadir chaucer in the process hoccleve at his own level thus seeks to model the advice he gives the prince of wales in the regement go back in order to go forward be john of gaunt be alexander not the diminished half man henry iv your father r f yeager death is a lady the regement of princes as gendered political commentary studies in the age of chaucer volume 26 2004 2 days ago henry iv henry v thomas hoccleve the regiment of princes medieval literature critic r f yeager father and son literary criticism alt breaking news adorable knight in full armour found sleeping in grass uses stone as pillow thomas walsingham the chronica maiora of thomas walsingham trans david preest ed james g clark the boydell press 2005 3 days ago 7 walsingham is the only one to report the story so it s dubious and probably had its origins in propaganda from the english thomas duke of clarence thomas walsingham primary source the siege of caen i know current opinion on how blanche of lancaster died has swung away from bubonic plague and to complications relating to childbirth but there is something horrifically poetic about about the idea that blanche was killed by the plague it had killed her parents and her sister maud or matilda the life of chaucer s lady white was overwritten by the black death black triumphing over white like a game of chess that featured in the book of the duchess 4 days ago 3 blanche of lancaster blog nor did the king show any desire to replenish the ranks of the aristocracy reacting to the scorn that had greeted the duketti bonanza of 1397 and unwilling to jeopardize his family s exclusivity henry bestowed only three great titles in the course of his reign his eldest son became prince of wales in 1399 his second son duke of clarence in july 1412 and his half brother thomas beaufort earl of dorset in the same month when it was suggested in the 1402 parliament that john beaufort resume the marquisate he had forfeited in 1399 he was persuaded to decline it at the king s urging if not command bearing in mind that four dukes a marquis and an earl were taken down a rank in the first parliament of the reign henry thus demoted twice as many great nobles as he promoted chris given wilson henry iv yale university press 2016 5 days ago 1 posting this mainly for the duketti bonanza line henry iv historian chris given wilson the battle of shrewsbury was the first in which the massed formations of english and welsh bowmen which had terrorized french and scottish armies during the fourteenth century found themselves pitted against each other and it would long be remembered as one of the bloodiest battles fought on english soil henry deployed his army in three divisions with the vanguard under the command of the twenty five year old earl of stafford appointed constable in place of northumberland a few hours before the battle and the rearguard under the sixteen year old prince the king kept dunbar who had fought many times both with and against hotspur and douglas close by him in his own division hotspur s divisions were commanded by douglas worcester and himself he took up position on a gentle ridge overlooking farmland thick with peas which he hoped would encumber any royalist advance thereby nullifying the slight numerical advantage in the king s favour contemporaries referred to it as hateley hussey or hinsey field the opening phase of the battle saw the two vanguards led by stafford and douglas advance towards each other before firing volley after volley of lethal arrows initially it seemed as if hotspur s bowmen had secured the advantage for the royalist vanguard numbering some 4 000 men broke and fled under the onslaught and the earl of stafford was killed when the archers began to run short of ammunition hotspur and douglas eager to press home their advantage led a frontal assault on the division commanded by the king it was a gamble born of desperation henry could not be allowed either to live or to escape the fact that his standard bearer sir walter blount one of two knights wearing the royal arms as decoys was killed is an indication of how near henry came to losing his own life as the hand to hand fighting grew fiercer around him he was persuaded by dunbar to move to a safer position not so prince henry who despite being struck by an arrow which lodged in a bone just below his eye refused to leave the field instead leading the royalist rearguard in a counter attack which broke through enemy lines before turning to encircle hotspur s division this was the decisive moment of the battle at some point during the close quarter fighting which ensued hotspur was killed by whom is not known and although some of his supporters set up a cry of henry percy king when they heard the king s answering shout of henry percy is dead their spirit broke and they began to flee the pursuit was brutal but brief for by this time darkness was encroaching the eclipse of the moon which followed was providential for the crescent moon was the percy livery badge chris given wilson henry iv yale university press 2016 6 days ago 3 posting this mainly for the fact that henry iv was persuaded to move to a safer position and hal didn t despite already being badly injured he s got great mental health guys henry iv henry v henry hotspur percy the battle of shrewsbury historian chris given wilson alt alt the stress on her footyng on the passage or trace ties her posture to the choreographed and tellingly architectural discipline of death s plans for her body the last lines show her steeling herself to relinquish her beauty and her flesh here the word rimpled means wrinkled folded or corrugated like the flesh of alice s cadaver figure the harley manuscript of lydgate s danse macabre witnesses an alternative line our reueled age saith farwell adiev this might make more sense in that she is saying that her age of revels her youth is leaving her but the base text bergen uses is at the expense of grammatical sense perhaps more strenuous even her wrinkled age is leaving her what is true of all the victims of the poem is true of the great lady that death is really her body though it seems to have a body of its own that is quite separate if death has a skeleton it is the princess s skeleton here as so often in personification a sort of autoimmune condition develops as something that belongs to one entity is alienated and experienced as quite other than it perhaps even as attacking it out of nowhere death requires the princess to lose control of her own straungenesse that disdainful and compelling quality of romance ladies who play hard to get and to submit instead to its quite foreign exterior superior and ultimately strange power death forces her to follow a passageway or path that leads her away from herself in the poem the otherness is always the same death is the same thing to all of us in biological fact our skeletons are no more alike than our faces or social positions if less legible but in the dance those bones are unified into a single image that repeats mercilessly across the poem the terrifying repetition of sameness is designed to shock us again and again as we see the shock every character experiences each unlikelier than the last but all inevitable reading the poem we are drawn through postures of disgust and pity disgust and pity a repetition at the frequency interval of two stanzas it is a dance for the reader designed to draw us in and out of other persons as a way of accepting the simultaneously comic and penitential work of relinquishing ourselves to dissolution elizabeth fowler the duchess and the cadaver doubling and microarchitecture in late medieval art with alice chaucer and john lydgate personification embodying meaning and emotion brill 2016 john lydgate danse macabre ll 185 200 the tomb effigies of alice chaucer at ewelme church 1 week ago 5 alice chaucer john lydgate literary criticism graves and tombs danse macabre medieval literature historian elizabeth fowler the cadaver figure a transi effigy is as abstractly debased as the upper effigy is abstractly elevated and it is clear that the two assume their meaning in relation to one another both are portraits and they mix equal parts of verisimilitude and idealization in opposed modes the lower effigy is of a decomposing corpse the upper is of a public figure at the peak of her composure the online oxford dictionary of national biography chose a photograph of the top effigy to represent alice but it is as abstract a representation of a sixty some year old as is the corpse the effigies are not exactly before and after pictures of death s intervention because the idealized portrait of alice above shows maturity without signs of age perfection without reference to flesh it is abstract in a way that is designed not to flatter her visually so much as to embody a series of personifications the duchess the vowess the noble lady the devout laywoman the patron the resident the saint in waiting in her canopy niche the cadaver also shows what alice as a human body never was a public display of dramatic naked submission to a quite different sort of status as an object a frightening combination of personality and impersonality but a body that does not in fact adhere to the protocols of human dissolution breasts do not survive longer than muscles and organs nor does the rigor the cadaver expresses outlast their withering eyes of cadavers cannot see yet these are half open and they stare at images painted on the low ceiling above which curiously are impossible for a visitor to see without the prosthesis of a camera st john the baptist mary magdalene the annunciation the effigy embodies the flesh that she declares herself willing to leave below and it personifies death as an abdication of sentience and sensibility elizabeth fowler the duchess and the cadaver doubling and microarchitecture in late medieval art with alice chaucer and john lydgate personification embodying meaning and emotion brill 2016 1 week ago alice chaucer ewelme church graves and tombs historian elizabeth fowler only entirely prostrate in the abject posture of penitence can we see through the windows and absorb what they frame here alice s corpse lies with its shroud parted to further invite our view in a frightening state of desiccation she is naked but for a fold of fabric held by her hand across the loins and displays an emergent structure of bones beneath failing and shrinking flesh it seems rather brave to portray oneself this way vanity is not served the nakedness of the corpse is not a universal nakedness but rather exposes the specific gendered body for anyone to see her breasts notably there so as it seems to be seen as notably wrinkled and deflated the high forehead a focus of feminine beauty in her time is violently corrugated the face retains the lineaments of the beautiful effigy above and so is unmistakably designed to be its twin it is alice her dignity subjected to a severe public stripping like current sexting the cadaver is designed to provoke fascination by an intimate revelation of identified naked flesh yet it is deliberately ugly and powerfully repulsive to the viewer i notice as i write how i am drawn to the ungendered it and the distancing unpossessive referents the hand the forehead the body it is harder to stay in the proximal possessive while describing this figure whereas my attempts to describe the elevated effigy slide easily into she and the duchess s like its counterpart the cadaver pointedly retains its reference to alice herself it is the mirror opposite of the idealized effigy above nevertheless this effigy too is a personification the intimacy of the corpse is a shock to the viewer and the abasement it involves must have been even more explicit and powerful for alice herself or for a member of the parish who belonged to the immediate society around her did she want her son her baker her priest her enemies and her neighbors to see her private intimate body as hideous to see her decaying breasts to see her face in this discomposed gawp or her shapely legs losing their power and being absorbed by the stony qualities of blunt matter placed in the posture of penitence we are invited to feel disgust for her and shame at our intrusion elizabeth fowler the duchess and the cadaver doubling and microarchitecture in late medieva...