Investigations into the heroic - or not - behaviour of the protagonists of medieval romance. Medieval romances so insistently celebrate the triumphs of heroes and the discomfiture of villains that they discourage recognition of just how morally ambiguous, antisocial or even downright sinister their protagonists can be, and, correspondingly, of just how admirable or impressive their defeated opponents often are. This tension between the heroic and the antiheroic makes a major contribution to the dramatic complexity of medieval romance, but it is not an aspect of the genre that has been frequently discussed up until now. Focusing on fourteen distinct characters and character-types in medieval narrative, this book illustrates the range of different ways in which the imaginative power and appeal of romance-texts often depend on contradictions implicit in the very ideal of heroism. Dr Neil Cartlidge is Lecturer in English at the University of Durham. Contributors: Neil Cartlidge, Penny Eley, David Ashurst, Meg Lamont, Laura Ashe, Judith Weiss, Gareth Griffith, Kate McClune, Nancy Mason Bradbury, Ad Putter, Robert Rouse, Siobhain Bly Calkin, James Wade, Stephanie Vierick Gibbs Kamath

Philothée O'Neddy, one of the most flamboyant and outspoken members of the defiantly and insistently eccentric group of French writers known as the Jeunes France, whose members included Théophile Gautier, Petrus Borel and Gérard de Nerval, produced little fiction during his lifetime, but that he did produce was of the highest order. His longest prose work, Histoire d'un anneau enchanté, roman de chevalerie (1841), here translated into English for the first time by Brian Stableford as The Enchanted Ring: A Romance of Chivalry is one of the most remarkable products of the French Romantic imagination. Although the proto-Baudelairean aspects of the author's collection of poetry Feu et flamme have helped to maintain that volume's reputation at a higher level, Histoire d'un anneau enchanté, roman de chevalerie has an equal claim to be considered its author's masterpiece, with its marked unconventionality and admirable zest, which maintain its readability very well into the twenty-first century.

On the great influence of a valiant lord: "The companions, who see that good warriors are honored by the great lords for their prowess, become more determined to attain this level of prowess." On the lady who sees her knight honored: "All of this makes the noble lady rejoice greatly within herself at the fact that she has set her mind and heart on loving and helping to make such a good knight or good man-at-arms." On the worthiest amusements: "The best pastime of all is to be often in good company, far from unworthy men and from unworthy activities from which no good can come." Enter the real world of knights and their code of ethics and behavior. Read how an aspiring knight of the fourteenth century would conduct himself and learn what he would have needed to know when traveling, fighting, appearing in court, and engaging fellow knights. Composed at the height of the Hundred Years War by Geoffroi de Charny, one of the most respected knights of his age, A Knight's Own Book of Chivalry was designed as a guide for members of the Company of the Star, an order created by Jean II of France in 1352 to rival the English Order of the Garter. This is the most authentic and complete manual on the day-to-day life of the knight that has survived the centuries, and this edition contains a specially commissioned introduction from historian Richard W. Kaeuper that gives the history of both the book and its author, who, among his other achievements, was the original owner of the Shroud of Turin.

One of the earliest great stories of English literature after ?Beowulf?, ?Sir Gawain? is the strange tale of a green knight on a green horse, who rudely interrupts King Arthur's Round Table festivities one Yuletide, challenging the knights to a wager. Simon Armitrage, one of Britain's leading poets, has produced an inventive and groundbreaking translation that " helps] liberate ?Gawain ?from academia" (?Sunday Telegraph?).

In the dark heart of a sweltering summer night, alone and shivering, a young man whispers an incantation. Leagues and miles away, in a creaky cottage atop a mountain, a silver mirror breaks in the night. A woman in white rolls scrimshaw knuckle bones by the light of black candles, frowning at their message before she sends for her grandson.Dirk Crier is no stranger to being summoned up the mountain, and this is far from the first time he's been sent to bring his cousin Teller home when he's gone too far astray. This time is different, though. This time a shadow looms over the end of the path; a nameless threat, asleep for now, but coming closer to waking with every passing day. He will need to be swift if he wants to bring them both back to the slopes of Ben Morgh.And if he isn't quick enough to save his cousin, Dirk will show those responsible why the folk around the mountain say only a dead man crosses a Crier.