Springing from the heart of medieval France, The Romance of the Faery Melusine tells the story of Raymondin of Poitiers who accidentally kills his uncle while out hunting, and fleeing deep into the forest, encounters a faery by a fountain. Falling deeply into a mutual soul-love, the faery Melusine agrees to help Raymondin and to become his wife, on condition that he makes no attempt to see her between dusk and dawn each Saturday. On this basis the house of Lusignan thrives and prospers, until a series of treacherous events tempt Raymondin to violate his promise and shatter the magic which holds his faery wife to the human world. First rendered into written form in a text by Jean d'Arras in 1393, the legend of the Faery Melusine is well established in France, where she is credited with having founded the family, town and castle of Lusignan. However, it is very little known in the English-speaking world, despite the fact that Melusine originally hailed from Scotland. This new retelling by Gareth Knight translated from Andre Lebey's 1920s novel Le Roman de la Melusine captures the freshness of Lebey's telling of the legend and brings the benefit of Knight's expertise both in French literature and in the esoteric faery tradition.

Considerable interest in faery tradition has grown up in recent years and not least in the story of Melusine of Lusignan, the subject of a prose romance by Jean d'Arras at the end of the 14th century, swiftly followed by one in verse by Couldrette. This book provides a collection of material from various sources to give an all round picture of the remarkable faery, her town, her church, her immediate family, and the great Lusignan dynasty she founded. An established authority on Melusine, Gareth Knight collects together all the best source material, which he translates from the French, and presents his own researches into the Lusignan family of the 12th century, whose dynasty included kings of Cyprus and Jerusalem, examining the possibility of a familiar spirit guiding the family in its destiny.

Readers have long been fascinated by the enigmatic figure of M lusine - a beautiful fairy woman cursed to transform into a half-serpent once a week, whose part-monstrous sons are the ancestor of several European noble houses. This study is the first to consider how this romance developed from a local legend to European bestseller, analysing versions in French, German, Castilian, Dutch, and English. It addresses questions on how to study medieval literature from a European perspective, moving beyond national canons, and reading M lusine's bodily mutability as a metaphor for how the romance itself moves and transforms across borders. It also analyses key changes to the romance's content, form, and material presentation - including its images - and traces how the people who produced and consumed this romance shaped its international transmission and spread. The author shows how M lusine's character is adapted within each local context, while also uncovering previously unknown connections between the different branches of this multilingual tradition. Moving beyond established paradigms of separate national traditions, manuscript versus print, and medieval versus Renaissance literature, the book integrates literary analysis with art historical and book historical approaches. LYDIA ZELDENRUST is a Leverhulme Early Career Fellow at the Department of English and Related Literature at the University of York.

"An annotated English translation of the fourteenth-century French prose romance Melusine, by Jean d'Arras"--Provided by publisher.

The knights of King Arthur's Round Table - Erec, Lancelot, Yvain, Perceval and Gawain - first appeared in the works of Chrétien de Troyes, who cast into Old French stories told by Welsh and Breton story tellers which had their origin in Celtic myth and legend. Chrétien wrote at a time when faery lore was still taken seriously - some leading families even claimed descent from faery ancestors! So we do well to look again at these early stories, for they were written not so much in terms of mystical quests or examples of military chivalry but records of initiation into Otherworld dynamics. Gareth Knight, an acknowledged expert on spiritual and magical traditions and a student of medieval French, goes to the well spring of Arthurian tradition to unveil these original principles. What is more, he shows how they can be regenerated today. "Opening the faery gates" can have its reward not only in terms of personal satisfaction and spiritual growth but as part of a much needed realignment of our spiritual responsibilities as human beings on planet Earth.

"This study looks at a wide range of medieval Englisih romance texts, including the works of Chaucer and Malory, from a broad cultural perspective, to show that while they employ magic in order to create exotic, escapist worlds, they are also grounded in a sense of possibility, and reflect a complex web of inherited and current ideas." --Book Jacket.

“A haunting novel” about sex and obsession, set off the coast of Scotland and “full of otherworldly emotion and strange impulses” (Marie Claire). A professor marries his prize student, a woman forty years his junior, and at her request, he takes her to the sea for their honeymoon. His life’s work is a book about enchantment–narratives in literature, most of them involving strange girls and women—but soon he finds himself distracted by his own enchantment with his new white–haired young wife. They travel to the Orkney Islands, the ancient Mesolithic and Neolithic site north of the Scottish coast, a barren place of extraordinary beauty known as “the Seal Islands.” And as the days of their honeymoon pass, his desire and his constant, yearning contemplation become his normality. His mysterious bride becomes his entire universe. He is consumed . . . From the author of The Still Point, a winner of the John Llewellyn Rhys Memorial Prize, this is a novel that “will appeal to literature aficionados: a Lolita–esque love, a romance born out of academia, and folklore come to life” (Booklist). “What begins as a familiar, almost fairytale–like narrative ends as something more fragmented, unsettling, and odd . . . Providing a brooding, bruised, ever–changing backdrop to all this is Orkney, the book’s most compelling character of all. In a tribute to Virginia Woolf’s experimental masterpiece, The Waves, the sea in Orkney functions as a kind of rhythmic talisman, its ebb and flow mirrored in the actions, ideas, and themes of the book. More than anything, Sackville’s Orkney is a breathtaking place in the most literal of senses.” —The Scotsman