Respect your elders. Today, young men go around acting as if they
know everything. They don’t. Treat those who have gone on before
you with respect and you’ll be rewarded with the wisdom they have
gained during life.
Always be punctual. Make it a rule to arrive on time to any
engagement. Better yet, arrive a few minutes early. Such a habit
ensures composure and ease which is the very essence of
gentlemanly deportment.
Apologize quickly and sincerely. When you have committed a fault,
apologize quickly. Denying or delaying an apology in order to show
you have “principle” only shows that you’re petty and not a
gentleman.
Accept apologies given to you. No matter how great the offense, a
gentleman should not keep his anger after an apology has been
made.
Do not laugh at others’ mistakes. The person who errs in public is
already embarrassed enough. They don’t need you ridiculing them
in public.
Avoid inside jokes. It is rude to make remarks in general company
that are only intelligible to one person.
Don’t flaunt your riches. Modesty is a sign of a true gentleman. A
cad must draw attention to his wealth in order to validate his
sense of worth. A gentleman knows he is successful without having
to let others know about his success.
Use kind words. Today’s world seems to reward cynicism and
putdowns. A gentleman rises above such pettiness and says only
uplifting and edifying things.
Don’t spit. Many men do this without thinking about it. If you are
not on the baseball diamond, avoid spitting. It is just plain uncouth.
Εμφάνιση αναρτήσεων με ετικέτα Ιπποτισμός. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα Ιπποτισμός. Εμφάνιση όλων των αναρτήσεων
“Once a gentleman, and always a gentleman.” Charles Dickens
Below is a short list of traits that men seeking to be
gentleman should strive to attain. The list is not
exclusive, but it should be enough to get one started
down the path.
Never perform an act of service as with a manner of conferring a
service. Rather perform it with gentlemanly ease as if it were a
matter of course.
Cultivate tact. It has been said, “Tact is the ability to describe others
as they see themselves.” Today, people talk too much and think too
little. They say things on an impulse and consequently cause more
trouble than is needed. A gentleman always thinks before he
speaks.
Avoid a conceited manner. It is considerably ill bred to act as if you
were superior to those around you. Acting conceited is proof not of
your superiority, but vulgarity. Cultivate humility in all that you do.
Avoid pride. A proud man places himself at a distance from other
men, but he forgets that this very distance causes him also toappear little to other people.
Cultivate the virtues of the soul. Integrity, strong principles, and
refined intellect are defining virtues of a true gentleman.
TreaTreat all women with respect. The man who is a rude husband,
brother, or son cannot be a true gentleman.
Never groom in public. Don’t comb your hair, clip your nails, or
heaven forbid, pick your nose in public. If you must groom while
out, excuse yourself to the restroom and take care of it there.
At the table, always eat slowly. A man practically swallowing his
food whole appears more like a beast rather than a gentleman.
Avoid profane language. Profanity is a mark of low breeding. If
you must swear, avoid doing so in front of ladies and small children.
Learn to restrain anger. An angry man ceases to be a gentleman
and shows to the world that he cannot control his emotions.
Keep good company. Those you associate with reflect who you are.
Help yourself cultivate the traits of a gentleman by surrounding
yourself with others who have the same goal.
Remove your hat indoors. Sadly, this rule seems to have been
forgotten. Set yourself apart from others by taking your hat off
when you come inside. If you don’t do that, at least take it off while
at the dinner table.
gentleman should strive to attain. The list is not
exclusive, but it should be enough to get one started
down the path.
Never perform an act of service as with a manner of conferring a
service. Rather perform it with gentlemanly ease as if it were a
matter of course.
Cultivate tact. It has been said, “Tact is the ability to describe others
as they see themselves.” Today, people talk too much and think too
little. They say things on an impulse and consequently cause more
trouble than is needed. A gentleman always thinks before he
speaks.
Avoid a conceited manner. It is considerably ill bred to act as if you
were superior to those around you. Acting conceited is proof not of
your superiority, but vulgarity. Cultivate humility in all that you do.
Avoid pride. A proud man places himself at a distance from other
men, but he forgets that this very distance causes him also toappear little to other people.
Cultivate the virtues of the soul. Integrity, strong principles, and
refined intellect are defining virtues of a true gentleman.
TreaTreat all women with respect. The man who is a rude husband,
brother, or son cannot be a true gentleman.
Never groom in public. Don’t comb your hair, clip your nails, or
heaven forbid, pick your nose in public. If you must groom while
out, excuse yourself to the restroom and take care of it there.
At the table, always eat slowly. A man practically swallowing his
food whole appears more like a beast rather than a gentleman.
Avoid profane language. Profanity is a mark of low breeding. If
you must swear, avoid doing so in front of ladies and small children.
Learn to restrain anger. An angry man ceases to be a gentleman
and shows to the world that he cannot control his emotions.
Keep good company. Those you associate with reflect who you are.
Help yourself cultivate the traits of a gentleman by surrounding
yourself with others who have the same goal.
Remove your hat indoors. Sadly, this rule seems to have been
forgotten. Set yourself apart from others by taking your hat off
when you come inside. If you don’t do that, at least take it off while
at the dinner table.
Dress and appearance
“A gentleman's taste
in dress is upon
principle the
avoidance of all
things extravagant.”
Edward George Earle
Lytton Bulwer-Lytton.
.....................
Most American men look like slobs. They take no
care for their appearance when out in public. Proper
dress and appearance does not make you a pansy or
a metrosexual. A man can look gentlemanly and still
maintain his rugged edge.
The general rule for men’s dress and grooming is to
let the dress suit the occasion. It would be absurd to
show up at a formal event in jeans and a t-shirt.
Likewise, a man would look very odd dressed to the
nines for an outing out in the woods.
Simplicity. Simplicity. Simplicity. Any attempt to be conspicuous is in
bad taste. Never wear much jewelry or any article of clothing
conspicuous on account of its money value. Simplicity should always
preside over a gentleman’s wardrobe.
Follow fashion enough to avoid looking odd, but avoid the extremes
of current trends. Keep your clothes updated with the current
fashions. However, avoid trends. A gentleman would never be
caught dead in girl jeans or a trucker hat. Stick with a classic
wardrobe and you’ll never go wrong. A young man may follow thetrends further than an older man, but let him avoid going to the
extremes, if he were not to be taken as an empty headed fop.
Use little cologne. Excessive cologne is in bad taste. Avoid childish
body sprays and invest in a decent cologne.
Practice impeccable oral hygiene. Brush your teeth thoroughly at
least twice a day. A white smile and clean smelling breath does
wonders in making yourself presentable. Invest in a tongue scraper.
Most bad breath is caused by build up on the tongue. Carry gum
and mints with you and use them throughout the day.
Shave daily. If you shave, do it daily. Nothing makes the face look
sadder as chin covered in short stubble. Of course, there are times
when facial stubble is appropriate and looks good on a gentleman.
For example, stubble while camping or engaging in any other
outdoor activity is perfectly acceptable and in many cases is
extremely attractive to the fairer sex.
Keep your beard;or moustache neatly trimmed. Unruly facial hair
growth is unattractive. Keep yours trimmed. Beard and moustache
styles should be adopted to suit the face.
Hair should be kept neat and simple. Make frequent visits to the
barber in order to trim the hair on your neck and around your ears
in order to maintain a neat appearance. If you wear your hair long,
be sure to wash your hair thoroughly. Longer hair is harder to
clean. Find a style that is simple.
Clip your nails; don’t bite them. Like it or not, women are checking
out your hands. Make sure nails don’t have any signs of nibble
marks. Always use a nail clipper to trim nails.
in dress is upon
principle the
avoidance of all
things extravagant.”
Edward George Earle
Lytton Bulwer-Lytton.
.....................
Most American men look like slobs. They take no
care for their appearance when out in public. Proper
dress and appearance does not make you a pansy or
a metrosexual. A man can look gentlemanly and still
maintain his rugged edge.
The general rule for men’s dress and grooming is to
let the dress suit the occasion. It would be absurd to
show up at a formal event in jeans and a t-shirt.
Likewise, a man would look very odd dressed to the
nines for an outing out in the woods.
Simplicity. Simplicity. Simplicity. Any attempt to be conspicuous is in
bad taste. Never wear much jewelry or any article of clothing
conspicuous on account of its money value. Simplicity should always
preside over a gentleman’s wardrobe.
Follow fashion enough to avoid looking odd, but avoid the extremes
of current trends. Keep your clothes updated with the current
fashions. However, avoid trends. A gentleman would never be
caught dead in girl jeans or a trucker hat. Stick with a classic
wardrobe and you’ll never go wrong. A young man may follow thetrends further than an older man, but let him avoid going to the
extremes, if he were not to be taken as an empty headed fop.
Use little cologne. Excessive cologne is in bad taste. Avoid childish
body sprays and invest in a decent cologne.
Practice impeccable oral hygiene. Brush your teeth thoroughly at
least twice a day. A white smile and clean smelling breath does
wonders in making yourself presentable. Invest in a tongue scraper.
Most bad breath is caused by build up on the tongue. Carry gum
and mints with you and use them throughout the day.
Shave daily. If you shave, do it daily. Nothing makes the face look
sadder as chin covered in short stubble. Of course, there are times
when facial stubble is appropriate and looks good on a gentleman.
For example, stubble while camping or engaging in any other
outdoor activity is perfectly acceptable and in many cases is
extremely attractive to the fairer sex.
Keep your beard;or moustache neatly trimmed. Unruly facial hair
growth is unattractive. Keep yours trimmed. Beard and moustache
styles should be adopted to suit the face.
Hair should be kept neat and simple. Make frequent visits to the
barber in order to trim the hair on your neck and around your ears
in order to maintain a neat appearance. If you wear your hair long,
be sure to wash your hair thoroughly. Longer hair is harder to
clean. Find a style that is simple.
Clip your nails; don’t bite them. Like it or not, women are checking
out your hands. Make sure nails don’t have any signs of nibble
marks. Always use a nail clipper to trim nails.
Chivalry
“The motto of
chivalry is also the
motto of wisdom; to
serve all, but love
only one.”
Honore de Balzac.
.................
Thankfully, society has made progress in the area of
gender equality. Gone are the days where women
were considered property and were thought
incapable of doing anything other than housework.
Yet the equality of the sexes has made the polite way
of interacting with women confusing to some. While
women are equal to men, it does not give you an
excuse to treat a woman like a man.
Women still want to be treated like ladies. Set
yourself apart from the group by practicing the
simple but effective art of chivalry.
One caveat: Be attentive to the desires of women.
While many women appreciate these gestures, some
feel uncomfortable with them. Respect the request of
a woman who does not wish to have the door opened
for her or a seat given up for her.
Open the door. A gentleman will always hold the door for a lady.
This applies to car doors of course. Open the car door and wait there
until she is
seated. Be careful in business situations though. Opening a door for
a woman here may cause problems, so be discrete about it.
Carry a handkerchief
A clean hanky should be a part of every man’s arsenal. They’ll be
especially useful at funerals or sad movies.
Retrieve dropped items. The polite thing to do is help pick up
dropped items, whether they were dropped by a man or a woman.
Walk beside a lady on the stairs. Never walk behind a woman on
the stairway. This is especially true if she's wearing a miniskirt.
Walk beside her or slightly ahead of her on the stairs.
Walk on the outside of a sidewalk. This allows your lady to be
farther from the traffic. This way, if someone is going to be
splashed, it will be you, not her.
Give up your seat
If a lady arrives at the table and there are no available seats, you
should stand up and offer yours to her. Also give up your seat onthe subway or bus for any woman, elderly person, or people with
physical handicaps.
Make sure she gets home safely. You should always offer to walk
or drive her home. If she doesn’t feel comfortable having you
walk or drive her home, put her in a cab and pay the driver. You
will win points by ensuring that she doesn’t feel vulnerable.
Put on her coat
Always help a lady put on her coat or overgarment. This is a simple
but powerful action.
Get out of your car. When you come pick a date up, get out of the
car and come to the door. A honk or call from you cell phone letting
her know that you are ready demonstrates you have no class. If you
do drive her home, get out of your car when you get to her house.
When the date is over, get out the car and offer to walk her to the
door. Don’t presume that she wants you to go to the door because
your lady might not be comfortable with you doing so. Getting out
of the car shows your date that they are important.
Introduce her to people Even if you just run into an acquaintance
on the street, introduce her. Take a moment to say her name. She’ll
feel like part of the conversation even if she doesn’t add anything.
Never smoke in the presence of a lady unless invited to.
While she may not ask you to, make sure you do request her
permission.
Pay attention to the weather. If the weather is cool, and especially if
it‘s obvious that she‘s cold, offer your jacket. If it is raining, hold
the
umbrella. If it is icy or pouring rain, play valet and go get the car so
she doesn’t have to brave the elements.
chivalry is also the
motto of wisdom; to
serve all, but love
only one.”
Honore de Balzac.
.................
Thankfully, society has made progress in the area of
gender equality. Gone are the days where women
were considered property and were thought
incapable of doing anything other than housework.
Yet the equality of the sexes has made the polite way
of interacting with women confusing to some. While
women are equal to men, it does not give you an
excuse to treat a woman like a man.
Women still want to be treated like ladies. Set
yourself apart from the group by practicing the
simple but effective art of chivalry.
One caveat: Be attentive to the desires of women.
While many women appreciate these gestures, some
feel uncomfortable with them. Respect the request of
a woman who does not wish to have the door opened
for her or a seat given up for her.
Open the door. A gentleman will always hold the door for a lady.
This applies to car doors of course. Open the car door and wait there
until she is
seated. Be careful in business situations though. Opening a door for
a woman here may cause problems, so be discrete about it.
Carry a handkerchief
A clean hanky should be a part of every man’s arsenal. They’ll be
especially useful at funerals or sad movies.
Retrieve dropped items. The polite thing to do is help pick up
dropped items, whether they were dropped by a man or a woman.
Walk beside a lady on the stairs. Never walk behind a woman on
the stairway. This is especially true if she's wearing a miniskirt.
Walk beside her or slightly ahead of her on the stairs.
Walk on the outside of a sidewalk. This allows your lady to be
farther from the traffic. This way, if someone is going to be
splashed, it will be you, not her.
Give up your seat
If a lady arrives at the table and there are no available seats, you
should stand up and offer yours to her. Also give up your seat onthe subway or bus for any woman, elderly person, or people with
physical handicaps.
Make sure she gets home safely. You should always offer to walk
or drive her home. If she doesn’t feel comfortable having you
walk or drive her home, put her in a cab and pay the driver. You
will win points by ensuring that she doesn’t feel vulnerable.
Put on her coat
Always help a lady put on her coat or overgarment. This is a simple
but powerful action.
Get out of your car. When you come pick a date up, get out of the
car and come to the door. A honk or call from you cell phone letting
her know that you are ready demonstrates you have no class. If you
do drive her home, get out of your car when you get to her house.
When the date is over, get out the car and offer to walk her to the
door. Don’t presume that she wants you to go to the door because
your lady might not be comfortable with you doing so. Getting out
of the car shows your date that they are important.
Introduce her to people Even if you just run into an acquaintance
on the street, introduce her. Take a moment to say her name. She’ll
feel like part of the conversation even if she doesn’t add anything.
Never smoke in the presence of a lady unless invited to.
While she may not ask you to, make sure you do request her
permission.
Pay attention to the weather. If the weather is cool, and especially if
it‘s obvious that she‘s cold, offer your jacket. If it is raining, hold
the
umbrella. If it is icy or pouring rain, play valet and go get the car so
she doesn’t have to brave the elements.
Conversation
“The real art of
conversation is not only
to say the right thing at
the right place but to
leave unsaid the wrong
thing at the tempting
moment.”
Dorothy Nevill quotes.
......................
A gentleman knows how to carry himself in lively
conversation. A gentleman can make any person feel
at ease while talking to them. After leaving a
conversation with a gentleman, a person should feel
uplifted and edified.
Look at the person you are talking to. It is a turn off when you are
talking to someone, but they’re staring off in space. Looking at the
person shows that you are interested in what they have to say. But
be careful! Eye contact is good, but too much of a good thing is bad.
Staring someone down will only make them feel uncomfortable.
Use the person’s name when talking to them. Dale Carnegie, author
of How to Win Friends and Influence People, said that a person’s
name is the sweetest word in the whole world. People are set at ease
when they hear their own name. Take advantage of this by using it
during your conversation. This should be used with discretion. If
you use someone’s name too much, you start sounding like a used
car salesman and not a gentleman.
Forget yourself. What makes a gentleman charming? Focusing on
others instead of themselves. Ask questions about the other person
and be genuinely interested in what they have to say.
Disagree, but do it with class. In his autobiography, Benjamin
Franklin set out how he disagreed with people while still being a
gentleman:
“Use modest diffidence. Instead of saying “certainly” or “undoubtedly,”
say,
“I conceive or apprehend a thing to be so and so;
it appears to me, or I should think it so or so, for such and such
reasons; or I imagine it to be so; or it is so, if I am not mistaken.”
If you don’t know the person, introduce yourself with a smile and a
firm handshake. Don’t wait for the other person to make the first
move. A gentleman takes action. A warm smile and firm handshake
can put any person at ease.
Avoid off-color jokes and gossip.
The difference between a gentleman and a boor is class. Show you have it. A few cheap
laughs at someone else's expense will tarnish your image, both
socially and professionally.
Avoid discussing religion and politics. Such discussions almost
always lead to irritating differences of opinion and open quarrels
which leave a coolness of feeling between people. Avoid this by
sticking to less controversial topics.
conversation is not only
to say the right thing at
the right place but to
leave unsaid the wrong
thing at the tempting
moment.”
Dorothy Nevill quotes.
......................
A gentleman knows how to carry himself in lively
conversation. A gentleman can make any person feel
at ease while talking to them. After leaving a
conversation with a gentleman, a person should feel
uplifted and edified.
Look at the person you are talking to. It is a turn off when you are
talking to someone, but they’re staring off in space. Looking at the
person shows that you are interested in what they have to say. But
be careful! Eye contact is good, but too much of a good thing is bad.
Staring someone down will only make them feel uncomfortable.
Use the person’s name when talking to them. Dale Carnegie, author
of How to Win Friends and Influence People, said that a person’s
name is the sweetest word in the whole world. People are set at ease
when they hear their own name. Take advantage of this by using it
during your conversation. This should be used with discretion. If
you use someone’s name too much, you start sounding like a used
car salesman and not a gentleman.
Forget yourself. What makes a gentleman charming? Focusing on
others instead of themselves. Ask questions about the other person
and be genuinely interested in what they have to say.
Disagree, but do it with class. In his autobiography, Benjamin
Franklin set out how he disagreed with people while still being a
gentleman:
“Use modest diffidence. Instead of saying “certainly” or “undoubtedly,”
say,
“I conceive or apprehend a thing to be so and so;
it appears to me, or I should think it so or so, for such and such
reasons; or I imagine it to be so; or it is so, if I am not mistaken.”
If you don’t know the person, introduce yourself with a smile and a
firm handshake. Don’t wait for the other person to make the first
move. A gentleman takes action. A warm smile and firm handshake
can put any person at ease.
Avoid off-color jokes and gossip.
The difference between a gentleman and a boor is class. Show you have it. A few cheap
laughs at someone else's expense will tarnish your image, both
socially and professionally.
Avoid discussing religion and politics. Such discussions almost
always lead to irritating differences of opinion and open quarrels
which leave a coolness of feeling between people. Avoid this by
sticking to less controversial topics.
Being Gentleman
There are four benefits of being a gentleman:
1; Being a gentleman earns you respect. People respect those that respect
them. A gentleman is respectful to everyone they meet. Consequently,
they win the respect of others.
2; Being a gentleman earns you trust. A gentleman is honest in all his
dealings. His politeness and consideration puts people at ease and creates
an atmosphere of trust.
3; Being a gentleman can propel your career. Number three is related to
number one and two. Individuals who can earn the trust and respect of
others are more likely to succeed at any endeavor in life. A gentleman is
successful because he wins the respect and trust of others quickly.
4; Being a gentleman makes you more attractive to women. Women love
a man who knows how to treat them like a lady. They are attracted to
men who treat them with respect and are attentive to their needs. A
gentleman understands this and does it.
1; Being a gentleman earns you respect. People respect those that respect
them. A gentleman is respectful to everyone they meet. Consequently,
they win the respect of others.
2; Being a gentleman earns you trust. A gentleman is honest in all his
dealings. His politeness and consideration puts people at ease and creates
an atmosphere of trust.
3; Being a gentleman can propel your career. Number three is related to
number one and two. Individuals who can earn the trust and respect of
others are more likely to succeed at any endeavor in life. A gentleman is
successful because he wins the respect and trust of others quickly.
4; Being a gentleman makes you more attractive to women. Women love
a man who knows how to treat them like a lady. They are attracted to
men who treat them with respect and are attentive to their needs. A
gentleman understands this and does it.
Pierre d'Aubusson -Τάγμα Αγίου Ιωάννη Ιεροσολύμων
Pierre d'Aubusson - Wikipedia, the free encyclopedia
Pierre d'Aubusson was born in the castle of Le Monteil (today: Le Monteil-au-Vicomte, in the French department of Creuse), the fifth son of Jean d'Aubusson. His older brother Antoine had a brilliant career serving Charles VII and Louis XI, and the three other brothers became bishops.
The information concerning his youth up to 1444, which has been printed since the 17th Century, is not reliable, coming from the fertile imagination of R.P. Dominique Bouhours, a Jesuit who published a biography of Pierre d'Aubusson (Paris, Mabre-Cramoisy, 1677) at the behest of Marshall d'Aubusson-La Feuillade.
[edit] Grand Prior
Pierre d'Aubusson was elected "Grand Prior" of the "Langue d'Auvergne" in early 1476. In June 1476, he was elected Grand Master of the Order, having been a very close associate of a previous Grand Master, Raymond Zacosta, and responsible for the repair and modernization of the fortifications of the city of Rhodes, the other castles of the Order on the islands of the Dodecanese, and the Château Saint Pierre (formerly Halicarnasse, today Bodrum, Turkey).
[edit] Siege of Rhodes
Main article: Siege of Rhodes (1480)
Bombard-Mortar of the Knights of Saint John of Jerusalem, Rhodes, 1480-1500. This is the largest known bombard in history. Founded at the request of Pierre d'Aubusson, the bombard was used for close defense of the walls (100-200 meters). It fired 260 kg granite balls. The bombard weighs 3,325 kg. Musée de l'Armée.Sultan Mehmed II began to threaten Europe. In May 1480 a large Ottoman fleet appeared before Rhodes, carrying an invading army of some 100,000 men under the command of Mesih Pasha (originally a Greek by the name of Michael Palaiologos who had converted to Islam after the conquest of Constantinople by the Turks).
The Knights were reinforced from France by 500 knights aud 2000 soldiers under d'Aubusson's brother Antoine. The siege lasted until August. After three unsuccessful attempts againsts the City, the Turkish force was compelled to withdraw, leaving behind them 9000 dead. The siege, in which d'Aubusson was wounded three times, enhanced his renown throughout Europe.
Sultan Mehmed was furious and would have attacked the island again but for his death in 1481. His succession was disputed between his sons Bayezid and Cem. The latter, after his defeat by Bayezid, sought refuge at Rhodes under a safe-conduct from the Grand Master and the General Convent of the Order.
Rhodes not being considered secure, Cem with his own consent was sent to Bourganeuf in France where he was kept under the guard of Guy de Blanchefort, Pierre d'Aubusson's nephew.
[edit] Guarding Cem
D'Aubusson accepted an annuity of 45,000 ducats from Sultan Bayezid, in return for which he undertook to guard Cem in such a way as to prevent him from appealing to the Christian powers to aid him against his brother.
D'Aubusson's reward was a cardinal's hat (1489)[1] and the power to confer all benefices connected with the Order without the sanction of the papacy. In addition, the Order of St. John received the assets of the Order of the Holy Sepulchre, which was merged into the Order of St. John, and a number of Italian commandries of the Knights of St. Lazarus.
[edit] Later life
The remaining years of his life d'Aubusson spent attempting to restore discipline and zeal in his Order and to organize a grand crusade against the Turks. The age of the Renaissance, with Rodrigo Borgia on the throne of St. Peter, was, however, not favourable to such an enterprise.
The death of Cem in 1495 had removed the most formidable weapon available against the Sultan. And when in 1501 d'Aubusson led an expedition against Mytilene, dissension among his motley host rendered this enterprise wholly abortive. His last years were embittered by chagrin at his failure, which was hardly compensated by his success in extirpating Judaism in Rhodes, by expelling all adult Jews and forcibly baptizing their children.
Pierre d'Aubusson was born in the castle of Le Monteil (today: Le Monteil-au-Vicomte, in the French department of Creuse), the fifth son of Jean d'Aubusson. His older brother Antoine had a brilliant career serving Charles VII and Louis XI, and the three other brothers became bishops.
The information concerning his youth up to 1444, which has been printed since the 17th Century, is not reliable, coming from the fertile imagination of R.P. Dominique Bouhours, a Jesuit who published a biography of Pierre d'Aubusson (Paris, Mabre-Cramoisy, 1677) at the behest of Marshall d'Aubusson-La Feuillade.
[edit] Grand Prior
Pierre d'Aubusson was elected "Grand Prior" of the "Langue d'Auvergne" in early 1476. In June 1476, he was elected Grand Master of the Order, having been a very close associate of a previous Grand Master, Raymond Zacosta, and responsible for the repair and modernization of the fortifications of the city of Rhodes, the other castles of the Order on the islands of the Dodecanese, and the Château Saint Pierre (formerly Halicarnasse, today Bodrum, Turkey).
[edit] Siege of Rhodes
Main article: Siege of Rhodes (1480)
Bombard-Mortar of the Knights of Saint John of Jerusalem, Rhodes, 1480-1500. This is the largest known bombard in history. Founded at the request of Pierre d'Aubusson, the bombard was used for close defense of the walls (100-200 meters). It fired 260 kg granite balls. The bombard weighs 3,325 kg. Musée de l'Armée.Sultan Mehmed II began to threaten Europe. In May 1480 a large Ottoman fleet appeared before Rhodes, carrying an invading army of some 100,000 men under the command of Mesih Pasha (originally a Greek by the name of Michael Palaiologos who had converted to Islam after the conquest of Constantinople by the Turks).
The Knights were reinforced from France by 500 knights aud 2000 soldiers under d'Aubusson's brother Antoine. The siege lasted until August. After three unsuccessful attempts againsts the City, the Turkish force was compelled to withdraw, leaving behind them 9000 dead. The siege, in which d'Aubusson was wounded three times, enhanced his renown throughout Europe.
Sultan Mehmed was furious and would have attacked the island again but for his death in 1481. His succession was disputed between his sons Bayezid and Cem. The latter, after his defeat by Bayezid, sought refuge at Rhodes under a safe-conduct from the Grand Master and the General Convent of the Order.
Rhodes not being considered secure, Cem with his own consent was sent to Bourganeuf in France where he was kept under the guard of Guy de Blanchefort, Pierre d'Aubusson's nephew.
[edit] Guarding Cem
D'Aubusson accepted an annuity of 45,000 ducats from Sultan Bayezid, in return for which he undertook to guard Cem in such a way as to prevent him from appealing to the Christian powers to aid him against his brother.
D'Aubusson's reward was a cardinal's hat (1489)[1] and the power to confer all benefices connected with the Order without the sanction of the papacy. In addition, the Order of St. John received the assets of the Order of the Holy Sepulchre, which was merged into the Order of St. John, and a number of Italian commandries of the Knights of St. Lazarus.
[edit] Later life
The remaining years of his life d'Aubusson spent attempting to restore discipline and zeal in his Order and to organize a grand crusade against the Turks. The age of the Renaissance, with Rodrigo Borgia on the throne of St. Peter, was, however, not favourable to such an enterprise.
The death of Cem in 1495 had removed the most formidable weapon available against the Sultan. And when in 1501 d'Aubusson led an expedition against Mytilene, dissension among his motley host rendered this enterprise wholly abortive. His last years were embittered by chagrin at his failure, which was hardly compensated by his success in extirpating Judaism in Rhodes, by expelling all adult Jews and forcibly baptizing their children.
Biographies of notable women
http://womenshistory.about.com/library/bio/blbio_list_ancient.htm
Biographies of Women: Ancient and Classical World
An ever-expanding list of biographies of notable women, both those who are famous and those who should be more well known. Written by Jone Johnson Lewis or submitted by readers of this site.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A
• Agnodice
• Amalasuntha
• Andromache
• Andromeda
• Artemisia (5th century B.C.E.)
• Augusta (title)
B
• Bona Dea
• Boudicca (Boadicea)
C
• Cartimandua
• Cleopatra, Queen of Egypt (Cleopatra VII)
• Cleopatra Thea
D
• Julia Domna
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
E
• Elen Luyddog
• Enheduanna
F
G
H
• Hatshepsut, Pharaoh of Egypt
• Hypatia
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
I
J
• Julia Domna
• Julia Maesa
• Julia Mamaea
• Julia Soaemias
K
L
• Elen Luyddog
• Lucretia
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
M
• Julia Maesa
• Julia Mamaea
• Melania the Elder
• Melania the Younger
• Meryt-Neith
N
• Nefertiti
O
• Olympias
P
• Pherenice
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Q
R
S
• Salome
• Sappho of Lesbos
• Semiramis
• Julia Soaemias
T
• Cleopatra Thea
• Theodora
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
U
V
• Veleda
W
X
Y
Z
• Zenobia
Biographies of Women: Ancient and Classical World
An ever-expanding list of biographies of notable women, both those who are famous and those who should be more well known. Written by Jone Johnson Lewis or submitted by readers of this site.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A
• Agnodice
• Amalasuntha
• Andromache
• Andromeda
• Artemisia (5th century B.C.E.)
• Augusta (title)
B
• Bona Dea
• Boudicca (Boadicea)
C
• Cartimandua
• Cleopatra, Queen of Egypt (Cleopatra VII)
• Cleopatra Thea
D
• Julia Domna
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
E
• Elen Luyddog
• Enheduanna
F
G
H
• Hatshepsut, Pharaoh of Egypt
• Hypatia
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
I
J
• Julia Domna
• Julia Maesa
• Julia Mamaea
• Julia Soaemias
K
L
• Elen Luyddog
• Lucretia
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
M
• Julia Maesa
• Julia Mamaea
• Melania the Elder
• Melania the Younger
• Meryt-Neith
N
• Nefertiti
O
• Olympias
P
• Pherenice
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Q
R
S
• Salome
• Sappho of Lesbos
• Semiramis
• Julia Soaemias
T
• Cleopatra Thea
• Theodora
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
U
V
• Veleda
W
X
Y
Z
• Zenobia
Frottola - Serafino dell'Aquila - The birth of Elegy
Serafino dell'Aquila alias Serafino Cimini di Bazzano alias Serafino dei Ciminelli (1466-1500), Italian poet and improvisatore, was born in 1466 at the town of Aquila, from which he took his name, and died in the year 1500. He spent several years at the courts of Cardinal Sforza and Ferdinand, duke of Calabria; but his principal patrons were the Borgias at Rome, from whom he received many favors. Aquila seems to have aimed at an imitation of Dante and Petrarch; and his poems, which were extravagantly praised during the author's lifetime, are occasionally of considerable merit. His reputation was in great measure due to his remarkable skill as an improvisatore and musician. His works were printed at Venice in 1502, and there have been several subsequent editions. Serafino was a member of the Knights of Malta [1]
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http://books.google.gr/books?id=2czhRSxndnwC&pg=PA109&lpg=PA109&dq=serafino+dall'+aquila&source=bl&ots=Jr3B1i9FXk&sig=NJz-Fhsrq5jk6ZrztO9pjp6v2GU&hl=en&ei=LCjnSurDOI7bjQfE9uixCA&sa=X&oi=book_result&ct=result&resnum=6&ved=0CBkQ6AEwBQ#v=onepage&q=serafino%20dall'%20aquila&f=false
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http://www.arkivmusic.com/classical/Name/Serafino-Dall'Aquila/Composer/2689-1
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http://books.google.gr/books?id=ub_XZK1F-8UC&pg=PA82&lpg=PA82&dq=serafino+dall'+aquila&source=bl&ots=ZOBwQAG1rW&sig=iNHM8W0khF6jwGaDm6Qdz9L8YX8&hl=en&ei=LCjnSurDOI7bjQfE9uixCA&sa=X&oi=book_result&ct=result&resnum=9&ved=0CCMQ6AEwCA#v=onepage&q=serafino%20dall'%20aquila&f=false
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http://books.google.gr/books?id=2czhRSxndnwC&pg=PA109&lpg=PA109&dq=serafino+dall'+aquila&source=bl&ots=Jr3B1i9FXk&sig=NJz-Fhsrq5jk6ZrztO9pjp6v2GU&hl=en&ei=LCjnSurDOI7bjQfE9uixCA&sa=X&oi=book_result&ct=result&resnum=6&ved=0CBkQ6AEwBQ#v=onepage&q=serafino%20dall'%20aquila&f=false
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http://www.arkivmusic.com/classical/Name/Serafino-Dall'Aquila/Composer/2689-1
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http://books.google.gr/books?id=ub_XZK1F-8UC&pg=PA82&lpg=PA82&dq=serafino+dall'+aquila&source=bl&ots=ZOBwQAG1rW&sig=iNHM8W0khF6jwGaDm6Qdz9L8YX8&hl=en&ei=LCjnSurDOI7bjQfE9uixCA&sa=X&oi=book_result&ct=result&resnum=9&ved=0CCMQ6AEwCA#v=onepage&q=serafino%20dall'%20aquila&f=false
Floris and Blancheflour
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Περιπετειώδες μεσαιωνικό μυθιστόρημα που κυκλοφόρησε σε δύο γαλλικές παραλλαγές,σε στίχους,κατά τον 13ο αιώνα.
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Θέμα του είναι ο έρωτας ανάμεσα στον νεαρό Φλώριο,γιό Σαρακηνού βασιλιά της Ισπανίας,και στην Πλατζιαφλώρα,κόρη χριστιανού δούλου ευγενικής καταγωγής.
Τα δύο παιδιά αποχωρίστηκαν μεταξύ τους με διαταγή του βασιλιά Φενίς.
Ξανασυναντήθηκαν ύστερα από αμέτρητες περιπέτειες,που τελείωσαν με την γαμήλια ένωση τους.
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Η διήγηση αυτή,ορισμένα στοιχεία της οποίας υπάρχουν στη μικτής μορφής -σε στίχους και πρόζα- μυθιστορία ''AUCASSIN ET NICOLETTE'',φέρνει τον αναγνώστη ως τη μακρινή Βαβυλώνα,μέσα από θρύλους και παραμύθια της μυθικής Ανατολής.
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Aucassin et Nicolette is a medieval French chante-fable, or combination of prose and verse (literally, a "sung story"), similar to a prosimetrum. It is the only known chantefable from what was once a very popular literary tradition, and it is from this work the term chantefable was coined in its concluding lines: “No cantefable prent fin” ("Our chantefable is drawing to a close"). Stylistically, the chantefable combines elements of the chanson de geste (e.g., The Song of Roland), lyric poems, and courtly novels—literary forms already well-established by the twelfth century. The work probably dates from the early 13th century, and is known from only one surviving manuscript dating from the later part of the century. The work's authorship is unknown. It is generally considered a roman d'adventure, or a romantic work of action and adventure
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Υπάρχει και ομότιτλο δημώδες βυζαντινό ιπποτικό μυθιστόρημα :
http://el.wikipedia.org/wiki/%CE%94%CE%B7%CE%BC%CF%8E%CE%B4%CE%B7%CF%82_%CE%B2%CF%85%CE%B6%CE%B1%CE%BD%CF%84%CE%B9%CE%BD%CE%AE_%CE%BB%CE%BF%CE%B3%CE%BF%CF%84%CE%B5%CF%87%CE%BD%CE%AF%CE%B1
Η λαϊκότητα της Κρητικής Λογοτεχνίας :
http://www.peri-grafis.com/ergo.php?id=1044
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http://docs.google.com/gview?a=v&q=cache%3AoaHTmh07Db0J%3Ains.web.auth.gr%2FPDFS%2FApada3.pdf+%CF%86%CE%BB%CF%8E%CF%81%CE%B9%CE%BF%CF%82+%CE%BA%CE%B1%CE%B9+%CF%80%CE%BB%CE%B1%CF%84%CE%B6%CE%B9%CE%B1%CF%86%CE%BB%CF%8E%CF%81%CE%B1&hl=el&gl=gr&sig=AFQjCNFgoTIO_3fKGCH3hdPl45XsqrgIpw&pli=1
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Floris and Blancheflour - Wikipedia, the free encyclopedia
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Aristocratic French version
Fenix, King of Al-Andalus (Muslim Spain), on one of his ventures into Galicia in northwestern Spain attacks a band of Christian pilgrims en route on the Way of St James to the famous medieval pilgrimage shrine of Santiago de Compostela. Among the pilgrims are a French knight and his recently-widowed daughter, who has chosen to dedicate the rest of her life to the sanctuary. The knight is killed, and his daughter is taken prisoner to Naples, where she is made lady-in-waiting to Fenix's wife. Both women are pregnant, and the children are born on the same day, Palm Sunday: Floris to the Muslim Queen, and Blanchefleur to her lady-in-waiting.
Floris ("belonging to the flower") and Blanchefleur ("white flower") are raised together at the court and grow close. King Fenix fears his son may desire to marry the "pagan" girl and decides that she must be killed. However, he cannot bring himself to do the act and instead sends Floris away to school, then sells Blanchefleur to merchants traveling on the way to Cairo (called Babylon in the story), where she is then sold to the emir. Fenix constructs an elaborate tomb for Blanchefleur and tells Floris she has died. Floris's reaction is so severe that Fenix tells him the truth. Distraught but encouraged she is still alive, Floris sets out to find her.
Floris eventually arrives outside Cairo where he meets the bridge warden named Daire who tells him about the emir's tower of maidens. Each year the emir selects a new bride from his tower and kills his old wife. Rumour has it that Blanchefleur is soon to be his next chosen bride. To gain access to the tower, Daire advises Floris to play chess with the tower watchman, returning all winnings to him until the watchman is forced to return the favor by allowing him entrance to the tower. Floris outplays the watchmen at chess, and according to plan, Floris is smuggled in to the tower in a basket of flowers, but is mistakenly placed in the room of Blanchefleur's friend Claris. Claris arranges a reunion between the two, but they are discovered two weeks later by the emir.
The emir holds off killing them on the spot until he holds a council of advisers. So impressed are the advisers at the willingness of the young lovers to die for one another that they persuade the emir to spare their lives. Floris is then knighted, he and Blanchefleur are married, and Claris marries the emir (who promises Claris she will be his last and only wife, forever). Soon after, news of Fenix's death reaches Cairo and Floris and Blanchefleur depart for home where they inherit the kingdom, embrace Christianity, and convert the subjects as well.
.
Analysis :
The story contains elements of both older heroic sagas and romance. Unlike the usually bloody and martial Romances earlier in the period (e.g. Havelok the Dane), this Romance is, indeed, romantic. The older original "aristocratic" version does not contain knightly combat but the "popular" French version that would come later does contain some elements. The story contains themes of conflict between paganism and Christianity. Additionally, unlike other Romances, each section of the story is dependent strictly upon the previous section, so this poem has a linear plot. The poem also emphasizes the power of romantic love (rather than courtly love or divine favor) over force of arms to preserve life and ensure a good end.
The Middle English version of the poem derives from an Old French "aristocratic" version (Floire et Blancheflor) of the tale. The story has analogs in Indian literature, particularly the Jatakas of the early fifth century. Many of the details, such as the Tower of Maidens (i.e. harem), eunuch guards, and the odalisques derive from material carried to the west via The Arabian Nights. The tale could be originally French, or possibly of Oriental origins, or a synthesis of motifs.
Boccaccio tells a version of the same tale in his "Filocolo" in the Decameron. The tale has been a popular subject for later retellings, and it was treated by Swedish poet Oskar Levertin in the romantic ballad "Flores och Blanzeflor" in the collection Legender och visor (Legends and Songs) in 1891.
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Vernacular versions :
Not a complete list.
Old French Floire et Blancheflor, ca. 1160 a "popular" French version appears around 1200.
Rhenish Floyris, ca. 1170
Konrad Fleck's Middle High German Florie und Blansheflur, ca. 1220
Middle Low German Flos unde Blankeflos, after 1300
High Middle English Floris and Blancheflour, before 1250
Diederic van Assenede's Middle Dutch Floris ende Blancefloer ca. 1260
Italian Florio e Biancifiore, after 1300; Bocaccio The Filocolo, 1335-36
Old Norwegian Flóres saga ok Blankiflúr, around 1300
Greek Florios kai Platziaflora, around 1400
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Περιπετειώδες μεσαιωνικό μυθιστόρημα που κυκλοφόρησε σε δύο γαλλικές παραλλαγές,σε στίχους,κατά τον 13ο αιώνα.
.
Θέμα του είναι ο έρωτας ανάμεσα στον νεαρό Φλώριο,γιό Σαρακηνού βασιλιά της Ισπανίας,και στην Πλατζιαφλώρα,κόρη χριστιανού δούλου ευγενικής καταγωγής.
Τα δύο παιδιά αποχωρίστηκαν μεταξύ τους με διαταγή του βασιλιά Φενίς.
Ξανασυναντήθηκαν ύστερα από αμέτρητες περιπέτειες,που τελείωσαν με την γαμήλια ένωση τους.
.
Η διήγηση αυτή,ορισμένα στοιχεία της οποίας υπάρχουν στη μικτής μορφής -σε στίχους και πρόζα- μυθιστορία ''AUCASSIN ET NICOLETTE'',φέρνει τον αναγνώστη ως τη μακρινή Βαβυλώνα,μέσα από θρύλους και παραμύθια της μυθικής Ανατολής.
.
Aucassin et Nicolette is a medieval French chante-fable, or combination of prose and verse (literally, a "sung story"), similar to a prosimetrum. It is the only known chantefable from what was once a very popular literary tradition, and it is from this work the term chantefable was coined in its concluding lines: “No cantefable prent fin” ("Our chantefable is drawing to a close"). Stylistically, the chantefable combines elements of the chanson de geste (e.g., The Song of Roland), lyric poems, and courtly novels—literary forms already well-established by the twelfth century. The work probably dates from the early 13th century, and is known from only one surviving manuscript dating from the later part of the century. The work's authorship is unknown. It is generally considered a roman d'adventure, or a romantic work of action and adventure
.
Υπάρχει και ομότιτλο δημώδες βυζαντινό ιπποτικό μυθιστόρημα :
http://el.wikipedia.org/wiki/%CE%94%CE%B7%CE%BC%CF%8E%CE%B4%CE%B7%CF%82_%CE%B2%CF%85%CE%B6%CE%B1%CE%BD%CF%84%CE%B9%CE%BD%CE%AE_%CE%BB%CE%BF%CE%B3%CE%BF%CF%84%CE%B5%CF%87%CE%BD%CE%AF%CE%B1
Η λαϊκότητα της Κρητικής Λογοτεχνίας :
http://www.peri-grafis.com/ergo.php?id=1044
.
http://docs.google.com/gview?a=v&q=cache%3AoaHTmh07Db0J%3Ains.web.auth.gr%2FPDFS%2FApada3.pdf+%CF%86%CE%BB%CF%8E%CF%81%CE%B9%CE%BF%CF%82+%CE%BA%CE%B1%CE%B9+%CF%80%CE%BB%CE%B1%CF%84%CE%B6%CE%B9%CE%B1%CF%86%CE%BB%CF%8E%CF%81%CE%B1&hl=el&gl=gr&sig=AFQjCNFgoTIO_3fKGCH3hdPl45XsqrgIpw&pli=1
_ _ _
Floris and Blancheflour - Wikipedia, the free encyclopedia
.
Aristocratic French version
Fenix, King of Al-Andalus (Muslim Spain), on one of his ventures into Galicia in northwestern Spain attacks a band of Christian pilgrims en route on the Way of St James to the famous medieval pilgrimage shrine of Santiago de Compostela. Among the pilgrims are a French knight and his recently-widowed daughter, who has chosen to dedicate the rest of her life to the sanctuary. The knight is killed, and his daughter is taken prisoner to Naples, where she is made lady-in-waiting to Fenix's wife. Both women are pregnant, and the children are born on the same day, Palm Sunday: Floris to the Muslim Queen, and Blanchefleur to her lady-in-waiting.
Floris ("belonging to the flower") and Blanchefleur ("white flower") are raised together at the court and grow close. King Fenix fears his son may desire to marry the "pagan" girl and decides that she must be killed. However, he cannot bring himself to do the act and instead sends Floris away to school, then sells Blanchefleur to merchants traveling on the way to Cairo (called Babylon in the story), where she is then sold to the emir. Fenix constructs an elaborate tomb for Blanchefleur and tells Floris she has died. Floris's reaction is so severe that Fenix tells him the truth. Distraught but encouraged she is still alive, Floris sets out to find her.
Floris eventually arrives outside Cairo where he meets the bridge warden named Daire who tells him about the emir's tower of maidens. Each year the emir selects a new bride from his tower and kills his old wife. Rumour has it that Blanchefleur is soon to be his next chosen bride. To gain access to the tower, Daire advises Floris to play chess with the tower watchman, returning all winnings to him until the watchman is forced to return the favor by allowing him entrance to the tower. Floris outplays the watchmen at chess, and according to plan, Floris is smuggled in to the tower in a basket of flowers, but is mistakenly placed in the room of Blanchefleur's friend Claris. Claris arranges a reunion between the two, but they are discovered two weeks later by the emir.
The emir holds off killing them on the spot until he holds a council of advisers. So impressed are the advisers at the willingness of the young lovers to die for one another that they persuade the emir to spare their lives. Floris is then knighted, he and Blanchefleur are married, and Claris marries the emir (who promises Claris she will be his last and only wife, forever). Soon after, news of Fenix's death reaches Cairo and Floris and Blanchefleur depart for home where they inherit the kingdom, embrace Christianity, and convert the subjects as well.
.
Analysis :
The story contains elements of both older heroic sagas and romance. Unlike the usually bloody and martial Romances earlier in the period (e.g. Havelok the Dane), this Romance is, indeed, romantic. The older original "aristocratic" version does not contain knightly combat but the "popular" French version that would come later does contain some elements. The story contains themes of conflict between paganism and Christianity. Additionally, unlike other Romances, each section of the story is dependent strictly upon the previous section, so this poem has a linear plot. The poem also emphasizes the power of romantic love (rather than courtly love or divine favor) over force of arms to preserve life and ensure a good end.
The Middle English version of the poem derives from an Old French "aristocratic" version (Floire et Blancheflor) of the tale. The story has analogs in Indian literature, particularly the Jatakas of the early fifth century. Many of the details, such as the Tower of Maidens (i.e. harem), eunuch guards, and the odalisques derive from material carried to the west via The Arabian Nights. The tale could be originally French, or possibly of Oriental origins, or a synthesis of motifs.
Boccaccio tells a version of the same tale in his "Filocolo" in the Decameron. The tale has been a popular subject for later retellings, and it was treated by Swedish poet Oskar Levertin in the romantic ballad "Flores och Blanzeflor" in the collection Legender och visor (Legends and Songs) in 1891.
.
Vernacular versions :
Not a complete list.
Old French Floire et Blancheflor, ca. 1160 a "popular" French version appears around 1200.
Rhenish Floyris, ca. 1170
Konrad Fleck's Middle High German Florie und Blansheflur, ca. 1220
Middle Low German Flos unde Blankeflos, after 1300
High Middle English Floris and Blancheflour, before 1250
Diederic van Assenede's Middle Dutch Floris ende Blancefloer ca. 1260
Italian Florio e Biancifiore, after 1300; Bocaccio The Filocolo, 1335-36
Old Norwegian Flóres saga ok Blankiflúr, around 1300
Greek Florios kai Platziaflora, around 1400
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Τριστάνος και Ιζόλδη,Πίκτοι,Βαμμένοι Λαοί
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Ζεύγος εραστών,πρωταγωνιστές μιας πασίγνωστης μεσαιωνικής ερωτικής μυθιστορίας,η οποία προέρχεται από έναν κέλτικο μύθο που με τη σειρά του αναφερόταν σε έναν υπαρκτό βασιλιά των Πίκτων : http://en.wikipedia.org/wiki/Picts
Pictish kings ruled in northern and eastern Scotland. In 843 tradition records the replacement of the Pictish kingdom by the Kingdom of Alba, although the Irish annals continue to use Picts and Fortriu for half a century after 843. The king lists are thought to have been compiled in the early 8th century, probably by 724, placing them in the reigns of the sons of Der-Ilei, Bridei and Nechtan.[1]
Irish annals (the Annals of Ulster, Annals of Innisfallen) refer to some kings as king of Fortriu or king of Alba. The kings listed are thought to represent overkings of the Picts, at least from the time of Bridei son of Maelchon onwards. In addition to these overkings, many less powerful subject kings existed, of whom only a very few are known from the historical record.
Mythical kings of the Picts are listed in the Lebor Bretnach's account of the origins of the Cruithne. The list begins with Cruithne son of Cing, who is reported to be "father of the Picts". The account of the Pictish Chronicle then splits into four lists of names:
The first is a list of the sons of Cruithne.
The second is a list of early kings with no distinguishing information other than dates.
The third is another list of early kings with neither stories nor dates, all of whom have two names that begin with "Brude". It is possible that "Brude" is an ancient title for "king" from another source, which was misinterpreted as a name by the compiler (cf. Skene p.cv).
The fourth is a list of later kings. The first of these to be attested in an independent source is Galam Cennalath.
The dates given here are drawn from early sources, unless specifically noted otherwise. The relationships between kings are less than certain and rely on modern readings of the sources.
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(http://books.google.gr/books?id=ajeCtBql5UUC&pg=PA93&lpg=PA93&dq=pictis,celts&source=bl&ots=Lwk9h_Izx0&sig=jUVE4ha2BINDenWpW3opH0QsLKg&hl=el&ei=jwe7Sp-bO4momAPNmd28DQ&sa=X&oi=book_result&ct=result&resnum=2#v=onepage&q=&f=false)
(http://www.uniquepicturehunter.com/tattoo-pictures/celtic-tattoos-tattoo-pictures/)
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Το αρχέτυπο ποίημα φαίνεται ότι ήταν ένα ζοφερό,βίαιο έργο,που περιείχε επεισόδια χυδαίου ή και χονδροειδούς χαρακτήρα.Δύο παραλλαγές του ύστερου 12ου αιώνα,του Νορμανδού ποιητή Μπερούλ και του Γερμανού Άιλχαρτ φον Όμπεργκε,διατηρούν στοιχεία της βαρβαρότητας του.Γύρω στο 1770 ο Αγγλονορμανδός γαλλόφωνος ποιητής Τόμας της Βρετάνης,ο οποίος πιθανώς υπηρετούσε στην Αυλή του Ερρίκου Β' της Αγγλίας,απέδωσε την ιστορία απαλύνοντας την τραχύτητα του αρχικού προτύπου.
Μία ιδιαίτερα καλλιεπής απόδοση του έργου του Τόμας στη Γερμανική από τον Γοδεφρείδο του Στρασβούργου θεωρείται ΚΟΣΜΗΜΑ ΤΗΣ ΜΕΣΑΙΩΝΙΚΗΣ ΓΕΡΜΑΝΙΚΗΣ ΠΟΙΗΣΗΣ.
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Στα τέλη του 12ου αιώνα εμφανίστηκαν σύντομα ποιήματα με επεισόδια από τις κρυφές συναντήσεις των εραστών στην Αυλή του βασιλιά Μάρκου.
Τα σημαντικότερα απ'αυτά ήταν δύο παραλλαγές με τίτλους :
α.FOLIE TRISTAN,στην οποία ο Τριστάνος υποκρινόταν τον τρελό,και
β.LUITE TRISTAN,στην οποία εμφανίζεται ως μενεστρέλος.
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Τον 13ο αιώνα,όταν γνώρισαν ευρεία διάδοση οι μυθιστορίες σε πεζό λόγο με θέμα τον θρύλο του Αρθούρου,η ιστορία του Τριστάνου ενσωματώθηκε σε μία μεγάλη πεζή μυθιστορία,όπου ο Τριστάνος παρουσιάζεται ως ο ΕΥΓΕΝΕΣΤΕΡΟΣ ΤΩΝ ΙΠΠΟΤΩΝ,ενώ ο βασιλιάς Μάρκος,ως ένας χαμερπής και φαύλος.
Η όλη ιστορία συγχωνεύθηκε στον θρύλο του Αρθούρου.
Έτσι,ο Τριστάνος και ο Λάνσελοτ είναι αντίπαλοι.
Η παραλλαγή αυτή,η οποία περιέχει αναρίθμητες ιπποτικές περιπέτειες συμβατικού τύπου,στα τέλη του μεσαίωνα είχε εκτοπίσει κάθε άλλη γαλλική παραλλαγή.
Απ'αυτή εμπνεύστηκε το έργο του,''Ο ΘΑΝΑΤΟΣ ΤΟΥ ΑΡΘΟΥΡΟΥ'' ο σερ Τόμας Μάλλορυ τον 15ο αιώνα.
Στην αγγλική σώζεται μία λαϊκή μυθιστορία του 1300,η οποία αποτελεί ένα από τα πρώτα ποιήματα στην καθομιλουμένη γλώσσα.
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Ο μύθος : http://el.wikipedia.org/wiki/%CE%A4%CF%81%CE%B9%CF%83%CF%84%CE%AC%CE%BD%CE%BF%CF%82_%CE%BA%CE%B1%CE%B9_%CE%99%CE%B6%CF%8C%CE%BB%CE%B4%CE%B7
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Ο Τριστάνος και Ιζόλδη (γερμ. Tristan und Isolde) αποτελεί έναν από τους ποιητικότερους θρύλους του Μεσαίωνα στην υπόθεση του οποίου ο Ρίχαρντ Βάγκνερ εμπνεύσθηκε το ομώνυμο λυρικό τρίπρακτο δράμα, έργο του, που κατέχει έξέχουσα θέση στην ιστορία της Όπερας, η πρώτη του οποίου και δόθηκε στο Βασιλικό Θέατρο Μονάχου στις 10 Ιουνίου 1865.
Η υπόθεση του θρύλου αυτού μεταφέρθηκε με ομώνυμο τίτλο στη κινηματογραφική σκηνή σε σκηνοθεσία Κέβιν Ρέινολτς και με πρωταγωνιστές τους Τζέιμς Φράνκο, Σοφία Μάιλς και Ρούφους Σιούελ.
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Υπόθεση
Ο Τριστάνος ντε Λεονουά που ορφανός είχε αρπαχθεί από πειρατές, ελευθερώνεται και ανατρέφεται από τον θείο του Μάρκο, Βασιλέα της Κορνουάλης. Μετά από ένα περιπετειώδη και γεμάτο ανδραγαθήματα βίο μεταξύ των οποίων και το φόνο ενός τέρατος της Ιρλανδίας, του Μορχούτ, προς το οποίο οι Κορνουάλιοι πρόσφεραν ετησίως 400 νεανίδες προς βορά του, ο Τριστάνος επιφορτίζεται να μεταβεί στην Ιρλανδία και να ζητήσει για λογαριασμό του θείου του Βασιλέως την χείρα της εκεί Πριγκίπισσας Ιζόλδης της ξανθής. Επιστρέφοντας με την Ιζόλδη στη Κορνουάλη από μοιραίο λάθος πίνουν και οι δύο κάποιο μαγικό φίλτρο, που ήταν προορισμένο να προκαλεί ακατανίκητο και αιώνιο έρωτα σε όποιους το γεύονταν. Έτσι αμφότεροι, έρμαιοι του πάθους τους, απατούν τον Βασιλέα, αν και τον σέβονται. Αργότερα ο Τριστάνος, (για να απαλλαγεί απ΄ αυτόν τον έρωτα) παντρεύεται την Ιζόλδη τη Λευκώλενο. Σε τραυματισμό του όμως από δηλητηριασμένο βέλος και γνωρίζοντας πως το αντίδοτο το έχει η Ιζόλδη η ξανθή την ειδοποιεί να σπεύσει σε τακτή προθεσμία. Στην έκκλησή του εκείνη προστρέχει πράγματι με πλοίο με λευκά πανιά όπως της είχε υποδείξει ο Τριστάνος. Η σύζυγός του όμως η Ιζόλδη η Λευκώλενος από ζηλοτυπία αναγγέλλει στον κατάκοιτο Τριστάνο ότι το πλοίο φθάνει με μαύρα όμως πανιά, οπότε κι εκείνος άπελπις πλέον εκπνέει. Μετ΄ ολίγον στο στήθος του εκπνέει και η μόλις αφιχθείσα φίλη του Ιζόλδη.
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Μύθος
Ο μύθος του Τριστάνου και της Ιζόλδης είναι πιθανότατα κέλτικης καταγωγής και υπήρξε προϊόν επεξεργασίας των τροβαδούρων του 12ου και 13ου αιώνα Μπερούλ και Τομάς. Ο τελευταίος συνέθεσε μια διασκευή του μύθου, περίπου το 1170, στην οποία βασίστηκε μεταγενέστερα ο Γερμανός ποιητής Γκότφρηντ φον Στράσμπουργκ (Gottfried von Straßburg). Ανασύνθεση του έπους αυτού επιχείρησε και ο Ιωσήφ Μπετιέ το 1900. Για τη σύνθεση του λιμπρέτου της όπερας, ο Βάγκνερ στηρίχθηκε στην εκδοχή του Στράσμπουργκ. Το έργο μεταφράσθηκε στην ελληνική από τον Νίκο Βεντήρη.
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Ζεύγος εραστών,πρωταγωνιστές μιας πασίγνωστης μεσαιωνικής ερωτικής μυθιστορίας,η οποία προέρχεται από έναν κέλτικο μύθο που με τη σειρά του αναφερόταν σε έναν υπαρκτό βασιλιά των Πίκτων : http://en.wikipedia.org/wiki/Picts
Pictish kings ruled in northern and eastern Scotland. In 843 tradition records the replacement of the Pictish kingdom by the Kingdom of Alba, although the Irish annals continue to use Picts and Fortriu for half a century after 843. The king lists are thought to have been compiled in the early 8th century, probably by 724, placing them in the reigns of the sons of Der-Ilei, Bridei and Nechtan.[1]
Irish annals (the Annals of Ulster, Annals of Innisfallen) refer to some kings as king of Fortriu or king of Alba. The kings listed are thought to represent overkings of the Picts, at least from the time of Bridei son of Maelchon onwards. In addition to these overkings, many less powerful subject kings existed, of whom only a very few are known from the historical record.
Mythical kings of the Picts are listed in the Lebor Bretnach's account of the origins of the Cruithne. The list begins with Cruithne son of Cing, who is reported to be "father of the Picts". The account of the Pictish Chronicle then splits into four lists of names:
The first is a list of the sons of Cruithne.
The second is a list of early kings with no distinguishing information other than dates.
The third is another list of early kings with neither stories nor dates, all of whom have two names that begin with "Brude". It is possible that "Brude" is an ancient title for "king" from another source, which was misinterpreted as a name by the compiler (cf. Skene p.cv).
The fourth is a list of later kings. The first of these to be attested in an independent source is Galam Cennalath.
The dates given here are drawn from early sources, unless specifically noted otherwise. The relationships between kings are less than certain and rely on modern readings of the sources.
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(http://books.google.gr/books?id=ajeCtBql5UUC&pg=PA93&lpg=PA93&dq=pictis,celts&source=bl&ots=Lwk9h_Izx0&sig=jUVE4ha2BINDenWpW3opH0QsLKg&hl=el&ei=jwe7Sp-bO4momAPNmd28DQ&sa=X&oi=book_result&ct=result&resnum=2#v=onepage&q=&f=false)
(http://www.uniquepicturehunter.com/tattoo-pictures/celtic-tattoos-tattoo-pictures/)
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Το αρχέτυπο ποίημα φαίνεται ότι ήταν ένα ζοφερό,βίαιο έργο,που περιείχε επεισόδια χυδαίου ή και χονδροειδούς χαρακτήρα.Δύο παραλλαγές του ύστερου 12ου αιώνα,του Νορμανδού ποιητή Μπερούλ και του Γερμανού Άιλχαρτ φον Όμπεργκε,διατηρούν στοιχεία της βαρβαρότητας του.Γύρω στο 1770 ο Αγγλονορμανδός γαλλόφωνος ποιητής Τόμας της Βρετάνης,ο οποίος πιθανώς υπηρετούσε στην Αυλή του Ερρίκου Β' της Αγγλίας,απέδωσε την ιστορία απαλύνοντας την τραχύτητα του αρχικού προτύπου.
Μία ιδιαίτερα καλλιεπής απόδοση του έργου του Τόμας στη Γερμανική από τον Γοδεφρείδο του Στρασβούργου θεωρείται ΚΟΣΜΗΜΑ ΤΗΣ ΜΕΣΑΙΩΝΙΚΗΣ ΓΕΡΜΑΝΙΚΗΣ ΠΟΙΗΣΗΣ.
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Στα τέλη του 12ου αιώνα εμφανίστηκαν σύντομα ποιήματα με επεισόδια από τις κρυφές συναντήσεις των εραστών στην Αυλή του βασιλιά Μάρκου.
Τα σημαντικότερα απ'αυτά ήταν δύο παραλλαγές με τίτλους :
α.FOLIE TRISTAN,στην οποία ο Τριστάνος υποκρινόταν τον τρελό,και
β.LUITE TRISTAN,στην οποία εμφανίζεται ως μενεστρέλος.
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Τον 13ο αιώνα,όταν γνώρισαν ευρεία διάδοση οι μυθιστορίες σε πεζό λόγο με θέμα τον θρύλο του Αρθούρου,η ιστορία του Τριστάνου ενσωματώθηκε σε μία μεγάλη πεζή μυθιστορία,όπου ο Τριστάνος παρουσιάζεται ως ο ΕΥΓΕΝΕΣΤΕΡΟΣ ΤΩΝ ΙΠΠΟΤΩΝ,ενώ ο βασιλιάς Μάρκος,ως ένας χαμερπής και φαύλος.
Η όλη ιστορία συγχωνεύθηκε στον θρύλο του Αρθούρου.
Έτσι,ο Τριστάνος και ο Λάνσελοτ είναι αντίπαλοι.
Η παραλλαγή αυτή,η οποία περιέχει αναρίθμητες ιπποτικές περιπέτειες συμβατικού τύπου,στα τέλη του μεσαίωνα είχε εκτοπίσει κάθε άλλη γαλλική παραλλαγή.
Απ'αυτή εμπνεύστηκε το έργο του,''Ο ΘΑΝΑΤΟΣ ΤΟΥ ΑΡΘΟΥΡΟΥ'' ο σερ Τόμας Μάλλορυ τον 15ο αιώνα.
Στην αγγλική σώζεται μία λαϊκή μυθιστορία του 1300,η οποία αποτελεί ένα από τα πρώτα ποιήματα στην καθομιλουμένη γλώσσα.
..
Ο μύθος : http://el.wikipedia.org/wiki/%CE%A4%CF%81%CE%B9%CF%83%CF%84%CE%AC%CE%BD%CE%BF%CF%82_%CE%BA%CE%B1%CE%B9_%CE%99%CE%B6%CF%8C%CE%BB%CE%B4%CE%B7
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Ο Τριστάνος και Ιζόλδη (γερμ. Tristan und Isolde) αποτελεί έναν από τους ποιητικότερους θρύλους του Μεσαίωνα στην υπόθεση του οποίου ο Ρίχαρντ Βάγκνερ εμπνεύσθηκε το ομώνυμο λυρικό τρίπρακτο δράμα, έργο του, που κατέχει έξέχουσα θέση στην ιστορία της Όπερας, η πρώτη του οποίου και δόθηκε στο Βασιλικό Θέατρο Μονάχου στις 10 Ιουνίου 1865.
Η υπόθεση του θρύλου αυτού μεταφέρθηκε με ομώνυμο τίτλο στη κινηματογραφική σκηνή σε σκηνοθεσία Κέβιν Ρέινολτς και με πρωταγωνιστές τους Τζέιμς Φράνκο, Σοφία Μάιλς και Ρούφους Σιούελ.
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Υπόθεση
Ο Τριστάνος ντε Λεονουά που ορφανός είχε αρπαχθεί από πειρατές, ελευθερώνεται και ανατρέφεται από τον θείο του Μάρκο, Βασιλέα της Κορνουάλης. Μετά από ένα περιπετειώδη και γεμάτο ανδραγαθήματα βίο μεταξύ των οποίων και το φόνο ενός τέρατος της Ιρλανδίας, του Μορχούτ, προς το οποίο οι Κορνουάλιοι πρόσφεραν ετησίως 400 νεανίδες προς βορά του, ο Τριστάνος επιφορτίζεται να μεταβεί στην Ιρλανδία και να ζητήσει για λογαριασμό του θείου του Βασιλέως την χείρα της εκεί Πριγκίπισσας Ιζόλδης της ξανθής. Επιστρέφοντας με την Ιζόλδη στη Κορνουάλη από μοιραίο λάθος πίνουν και οι δύο κάποιο μαγικό φίλτρο, που ήταν προορισμένο να προκαλεί ακατανίκητο και αιώνιο έρωτα σε όποιους το γεύονταν. Έτσι αμφότεροι, έρμαιοι του πάθους τους, απατούν τον Βασιλέα, αν και τον σέβονται. Αργότερα ο Τριστάνος, (για να απαλλαγεί απ΄ αυτόν τον έρωτα) παντρεύεται την Ιζόλδη τη Λευκώλενο. Σε τραυματισμό του όμως από δηλητηριασμένο βέλος και γνωρίζοντας πως το αντίδοτο το έχει η Ιζόλδη η ξανθή την ειδοποιεί να σπεύσει σε τακτή προθεσμία. Στην έκκλησή του εκείνη προστρέχει πράγματι με πλοίο με λευκά πανιά όπως της είχε υποδείξει ο Τριστάνος. Η σύζυγός του όμως η Ιζόλδη η Λευκώλενος από ζηλοτυπία αναγγέλλει στον κατάκοιτο Τριστάνο ότι το πλοίο φθάνει με μαύρα όμως πανιά, οπότε κι εκείνος άπελπις πλέον εκπνέει. Μετ΄ ολίγον στο στήθος του εκπνέει και η μόλις αφιχθείσα φίλη του Ιζόλδη.
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Μύθος
Ο μύθος του Τριστάνου και της Ιζόλδης είναι πιθανότατα κέλτικης καταγωγής και υπήρξε προϊόν επεξεργασίας των τροβαδούρων του 12ου και 13ου αιώνα Μπερούλ και Τομάς. Ο τελευταίος συνέθεσε μια διασκευή του μύθου, περίπου το 1170, στην οποία βασίστηκε μεταγενέστερα ο Γερμανός ποιητής Γκότφρηντ φον Στράσμπουργκ (Gottfried von Straßburg). Ανασύνθεση του έπους αυτού επιχείρησε και ο Ιωσήφ Μπετιέ το 1900. Για τη σύνθεση του λιμπρέτου της όπερας, ο Βάγκνερ στηρίχθηκε στην εκδοχή του Στράσμπουργκ. Το έργο μεταφράσθηκε στην ελληνική από τον Νίκο Βεντήρη.
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..
Το αρχέτυπο ποίημα φαίνεται ότι ήταν ένα ζοφερό βίαιο έργο.
Δύο παραλλαγές του ύστερου 12ου αιώνα
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Ο Τριστάνος και Ιζόλδη (γερμ. Tristan und Isolde) αποτελεί έναν από τους ποιητικότερους θρύλους του Μεσαίωνα στην υπόθεση του οποίου ο Ρίχαρντ Βάγκνερ εμπνεύσθηκε το ομώνυμο λυρικό τρίπρακτο δράμα, έργο του, που κατέχει έξέχουσα θέση στην ιστορία της Όπερας, η πρώτη του οποίου και δόθηκε στο Βασιλικό Θέατρο Μονάχου στις 10 Ιουνίου 1865.
Η υπόθεση του θρύλου αυτού μεταφέρθηκε με ομώνυμο τίτλο στη κινηματογραφική σκηνή σε σκηνοθεσία Κέβιν Ρέινολτς και με πρωταγωνιστές τους Τζέιμς Φράνκο, Σοφία Μάιλς και Ρούφους Σιούελ.
..
Υπόθεση
Ο Τριστάνος ντε Λεονουά που ορφανός είχε αρπαχθεί από πειρατές, ελευθερώνεται και ανατρέφεται από τον θείο του Μάρκο, Βασιλέα της Κορνουάλης. Μετά από ένα περιπετειώδη και γεμάτο ανδραγαθήματα βίο μεταξύ των οποίων και το φόνο ενός τέρατος της Ιρλανδίας, του Μορχούτ, προς το οποίο οι Κορνουάλιοι πρόσφεραν ετησίως 400 νεανίδες προς βορά του, ο Τριστάνος επιφορτίζεται να μεταβεί στην Ιρλανδία και να ζητήσει για λογαριασμό του θείου του Βασιλέως την χείρα της εκεί Πριγκίπισσας Ιζόλδης της ξανθής. Επιστρέφοντας με την Ιζόλδη στη Κορνουάλη από μοιραίο λάθος πίνουν και οι δύο κάποιο μαγικό φίλτρο, που ήταν προορισμένο να προκαλεί ακατανίκητο και αιώνιο έρωτα σε όποιους το γεύονταν. Έτσι αμφότεροι, έρμαιοι του πάθους τους, απατούν τον Βασιλέα, αν και τον σέβονται. Αργότερα ο Τριστάνος, (για να απαλλαγεί απ΄ αυτόν τον έρωτα) παντρεύεται την Ιζόλδη τη Λευκώλενο. Σε τραυματισμό του όμως από δηλητηριασμένο βέλος και γνωρίζοντας πως το αντίδοτο το έχει η Ιζόλδη η ξανθή την ειδοποιεί να σπεύσει σε τακτή προθεσμία. Στην έκκλησή του εκείνη προστρέχει πράγματι με πλοίο με λευκά πανιά όπως της είχε υποδείξει ο Τριστάνος. Η σύζυγός του όμως η Ιζόλδη η Λευκώλενος από ζηλοτυπία αναγγέλλει στον κατάκοιτο Τριστάνο ότι το πλοίο φθάνει με μαύρα όμως πανιά, οπότε κι εκείνος άπελπις πλέον εκπνέει. Μετ΄ ολίγον στο στήθος του εκπνέει και η μόλις αφιχθείσα φίλη του Ιζόλδη.
Η υπόθεση του θρύλου αυτού μεταφέρθηκε με ομώνυμο τίτλο στη κινηματογραφική σκηνή σε σκηνοθεσία Κέβιν Ρέινολτς και με πρωταγωνιστές τους Τζέιμς Φράνκο, Σοφία Μάιλς και Ρούφους Σιούελ.
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Υπόθεση
Ο Τριστάνος ντε Λεονουά που ορφανός είχε αρπαχθεί από πειρατές, ελευθερώνεται και ανατρέφεται από τον θείο του Μάρκο, Βασιλέα της Κορνουάλης. Μετά από ένα περιπετειώδη και γεμάτο ανδραγαθήματα βίο μεταξύ των οποίων και το φόνο ενός τέρατος της Ιρλανδίας, του Μορχούτ, προς το οποίο οι Κορνουάλιοι πρόσφεραν ετησίως 400 νεανίδες προς βορά του, ο Τριστάνος επιφορτίζεται να μεταβεί στην Ιρλανδία και να ζητήσει για λογαριασμό του θείου του Βασιλέως την χείρα της εκεί Πριγκίπισσας Ιζόλδης της ξανθής. Επιστρέφοντας με την Ιζόλδη στη Κορνουάλη από μοιραίο λάθος πίνουν και οι δύο κάποιο μαγικό φίλτρο, που ήταν προορισμένο να προκαλεί ακατανίκητο και αιώνιο έρωτα σε όποιους το γεύονταν. Έτσι αμφότεροι, έρμαιοι του πάθους τους, απατούν τον Βασιλέα, αν και τον σέβονται. Αργότερα ο Τριστάνος, (για να απαλλαγεί απ΄ αυτόν τον έρωτα) παντρεύεται την Ιζόλδη τη Λευκώλενο. Σε τραυματισμό του όμως από δηλητηριασμένο βέλος και γνωρίζοντας πως το αντίδοτο το έχει η Ιζόλδη η ξανθή την ειδοποιεί να σπεύσει σε τακτή προθεσμία. Στην έκκλησή του εκείνη προστρέχει πράγματι με πλοίο με λευκά πανιά όπως της είχε υποδείξει ο Τριστάνος. Η σύζυγός του όμως η Ιζόλδη η Λευκώλενος από ζηλοτυπία αναγγέλλει στον κατάκοιτο Τριστάνο ότι το πλοίο φθάνει με μαύρα όμως πανιά, οπότε κι εκείνος άπελπις πλέον εκπνέει. Μετ΄ ολίγον στο στήθος του εκπνέει και η μόλις αφιχθείσα φίλη του Ιζόλδη.
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Μύθος
Ο μύθος του Τριστάνου και της Ιζόλδης είναι πιθανότατα κέλτικης καταγωγής και υπήρξε προϊόν επεξεργασίας των τροβαδούρων του 12ου και 13ου αιώνα
Μύθος
Ο μύθος του Τριστάνου και της Ιζόλδης είναι πιθανότατα κέλτικης καταγωγής και υπήρξε προϊόν επεξεργασίας των τροβαδούρων του 12ου και 13ου αιώνα
Ο τελευταίος συνέθεσε μια διασκευή του μύθου, περίπου το 1170, στην οποία βασίστηκε μεταγενέστερα ο Γερμανός ποιητής Γκότφρηντ φον Στράσμπουργκ (Gottfried von Straßburg). Ανασύνθεση του έπους αυτού επιχείρησε και ο Ιωσήφ Μπετιέ το 1900. Για τη σύνθεση του λιμπρέτου της όπερας, ο Βάγκνερ στηρίχθηκε στην εκδοχή του Στράσμπουργκ. Το έργο μεταφράσθηκε στην ελληνική από τον Νίκο Βεντήρη.
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Σογκουνάτο των Τοκουγκάβα
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Ιδρυτής είναι ο Tokugawa Ieyasu,1543-1615.http://en.wikipedia.org/wiki/Tokugawa_Ieyasu
Ανήκε σε μία τοπική δυναστεία πολεμιστών.
Συμμάχησε με τον Όντα Νομπουνάγκο,και αναδείχθηκε σε ισχυρό ευγενή χωροδεσπότη -νταιμυο-.
Έπειτα από τον θάνατο του Όντα το 1582,συμμάχησε με τον Τογιατόμι Χιντεγούσι.
Μετά τον θάνατο του Χιντεγούσι,ο Ιεγιάσου διέθετε τον ισχυρότερο και ικανότερο στρατό,καθώς και το μεγαλύτερο και καλύτερο οργανωμένο φέουδο στην Ιαπωνία.
Έπειτα από τη νίκη του εναντίον των ντάιμυο στη μάχη της Σεκιγκαχάρα το 1660,αναδείχθηκε σε αδιαφιλονίκητο ηγέτη της χώρας.
Το 1663 ανακηρύχθηκε σογκούν και δύο χρόνια αργότερα παραιτήθηκε από τον τίτλο υπέρ του γιού του Χιντετάτα.
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Ιδρυτής είναι ο Tokugawa Ieyasu,1543-1615.http://en.wikipedia.org/wiki/Tokugawa_Ieyasu
Ανήκε σε μία τοπική δυναστεία πολεμιστών.
Συμμάχησε με τον Όντα Νομπουνάγκο,και αναδείχθηκε σε ισχυρό ευγενή χωροδεσπότη -νταιμυο-.
Έπειτα από τον θάνατο του Όντα το 1582,συμμάχησε με τον Τογιατόμι Χιντεγούσι.
Μετά τον θάνατο του Χιντεγούσι,ο Ιεγιάσου διέθετε τον ισχυρότερο και ικανότερο στρατό,καθώς και το μεγαλύτερο και καλύτερο οργανωμένο φέουδο στην Ιαπωνία.
Έπειτα από τη νίκη του εναντίον των ντάιμυο στη μάχη της Σεκιγκαχάρα το 1660,αναδείχθηκε σε αδιαφιλονίκητο ηγέτη της χώρας.
Το 1663 ανακηρύχθηκε σογκούν και δύο χρόνια αργότερα παραιτήθηκε από τον τίτλο υπέρ του γιού του Χιντετάτα.
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