The Metamorphoses is a Latin narrative poem by the Roman poet Ovid, considered his magnum opus. Comprising 11,995 lines, 15 books and over 250 myths, the poem chronicles the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework. Although meeting the criteria for an epic, the poem defies simple genre classification by its use of varying themes and tones. Ovid took inspiration from the genre of metamorphosis poetry, some of the Metamorphoses derives from earlier treatment of the same myths. One of the most influential works in Western culture, the Metamorphoses has inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, William Shakespeare. Numerous episodes from the poem have been depicted in acclaimed works of sculpture and music. Although interest in Ovid faded after the Renaissance, there was a resurgence of attention to his work towards the end of the 20th century. Today the Metamorphoses continues to be retold through various media.
The work has been the subject of numerous translations into English, the first by William Caxton in 1480. Ovid's decision to make myth the dominant subject of the Metamorphoses was influenced by the predisposition of Alexandrian poetry. However, whereas it served in that tradition as the cause for moral reflection or insight, he made it instead the "object of play and artful manipulation"; the model for a collection of metamorphosis myths derived from a pre-existing genre of metamorphosis poetry in the Hellenistic tradition, of which the earliest known example is Boio' Ornithogonia—a now-fragmentary poem collecting myths about the metamorphoses of humans into birds. There are three examples of Metamorphoses by Hellenistic writers, but little is known of their contents; the Heteroioumena by Nicander of Colophon is better known, an influence on the poem—21 of the stories from this work were treated in the Metamorphoses. However, in a way, typical for writers of the period, Ovid diverged from his models.
The Metamorphoses was longer than any previous collection of metamorphosis myths and positioned itself within a historical framework. Some of the Metamorphoses derives from earlier poetic treatment of the same myths; this material was of varying quality and comprehensiveness—while some of it was "finely worked", in other cases Ovid may have been working from limited material. In the case of an oft-used myth such as that of Io in Book I, the subject of literary adaptation as early as the 5th century BC, as as a generation prior to his own, Ovid reorganises and innovates existing material in order to foreground his favoured topics and to embody the key themes of the Metamorphoses. Scholars have found it difficult to place the Metamorphoses in a genre; the poem has been considered as a type of epic. The poem is considered to meet the criteria for an epic. However, the poem "handles the themes and employs the tone of every species of literature", ranging from epic and elegy to tragedy and pastoral.
Commenting on the genre debate, G. Karl Galinsky has opined that "... it would be misguided to pin the label of any genre on the Metamorphoses."The Metamorphoses is comprehensive in its chronology, recounting the creation of the world to the death of Julius Caesar, which had occurred only a year before Ovid's birth. In spite of its unbroken chronology, scholar Brooks Otis has identified four divisions in the narrative: Book I–Book II: The Divine Comedy Book III–Book VI, 400: The Avenging Gods Book VI, 401–Book XI: The Pathos of Love Book XII–Book XV: Rome and the Deified RulerOvid works his way through his subject matter in an arbitrary fashion, by jumping from one transformation tale to another, sometimes retelling what had come to be seen as central events in the world of Greek mythology and sometimes straying in odd directions, it begins with the ritual "invocation of the muse", makes use of traditional epithets and circumlocutions. But instead of following and extolling the deeds of a human hero, it leaps from story to story with little connection.
The recurring theme, as with nearly all of Ovid's work, is love—be it personal love or love personified in the figure of Amor. Indeed, the other Roman gods are perplexed and made ridiculous by Amor, an otherwise minor god of the pantheon, the closest thing this putative mock-epic has to a hero. Apollo comes in for particular ridicule as Ovid shows how irrational love can confound the god out of reason; the work as a whole inverts the accepted order, elevating humans and human passions while making the gods and their desires and conquests objects of low humor. The Metamorphoses ends with one of only two surviving Latin epics to do so; the ending acts as a declaration that everything except his poetry—even Rome—must give way to change: "Now stands my task accomp
The Louvre, or the Louvre Museum, is the world's largest art museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement. 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. In 2018, the Louvre was the world's most visited art museum; the museum is housed in the Louvre Palace built as the Louvre castle in the late 12th to 13th century under Philip II. Remnants of the fortress are visible in the basement of the museum. Due to the urban expansion of the city, the fortress lost its defensive function and, in 1546, was converted by Francis I into the main residence of the French Kings; the building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre as a place to display the royal collection, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons.
The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces; the museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801; the collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, during the Second French Empire the museum gained 20,000 pieces. Holdings have grown through donations and bequests since the Third Republic; the collection is divided among eight curatorial departments: Egyptian Antiquities. The Louvre Palace, which houses the museum, was begun as a fortress by Philip II in the 12th century to protect the city from English soldiers which were in Normandy.
Remnants of this castle are still visible in the crypt. Whether this was the first building on that spot is not known. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den. In the 7th century, St. Fare, an abbess in Meaux, left part of her "Villa called Luvra situated in the region of Paris" to a monastery.. The Louvre Palace was altered throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis I renovated the site in French Renaissance style. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed. Four generations of Boulle were granted Royal patronage and resided in the Louvre in the following order: Pierre Boulle, Jean Boulle, Andre-Charles Boulle and his four sons, after him. André-Charles Boulle is the most famous French cabinetmaker and the preeminent artist in the field of marquetry known as "Inlay".
Boulle was "the most remarkable of all French cabinetmakers". He was commended to Louis XIV of France, the "Sun King", by Jean-Baptiste Colbert as being "the most skilled craftsman in his profession". Before the fire of 1720 destroyed them, André-Charles Boulle held priceless works of art in the Louvre, including forty-eight drawings by Raphael'. By the mid-18th century there were an increasing number of proposals to create a public gallery, with the art critic La Font de Saint-Yenne publishing, in 1747, a call for a display of the royal collection. On 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the Tableaux du Roy on Wednesdays and Saturdays, contained Andrea del Sarto's Charity and works by Raphael. Under Louis XVI, the royal museum idea became policy; the comte d'Angiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the "French Museum".
Many proposals were offered for the Louvre's renovation into a museum. Hence the museum remained incomplete until the French Revolution. During the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection i
Liverpool is a city in North West England, with an estimated population of 491,500 within the Liverpool City Council local authority in 2017. Its metropolitan area is the fifth-largest in the UK, with a population of 2.24 million in 2011. The local authority is Liverpool City Council, the most populous local government district in the metropolitan county of Merseyside and the largest in the Liverpool City Region. Liverpool is on the eastern side of the Mersey Estuary, lay within the ancient hundred of West Derby in the south west of the county of Lancashire, it became a borough in 1207 and a city in 1880. In 1889, it became a county borough independent of Lancashire, its growth as a major port was paralleled by the expansion of the city throughout the Industrial Revolution. Along with handling general cargo, raw materials such as coal and cotton, the city merchants were involved in the Atlantic slave trade. In the 19th century, it was a major port of departure for Irish and English emigrants to North America.
Liverpool was home to both the Cunard and White Star Line, was the port of registry of the ocean liner RMS Titanic, the RMS Lusitania, RMS Queen Mary and RMS Olympic. The popularity of the Beatles and other music groups from the Merseybeat era contributes to Liverpool's status as a tourist destination. Liverpool is the home of two Premier League football clubs and Everton, matches between the two being known as the Merseyside derby; the Grand National horse race takes place annually at Aintree Racecourse on the outskirts of the city. The city celebrated its 800th anniversary in 2007. In 2008, it was nominated as the annual European Capital of Culture together with Norway. Several areas of the city centre were granted World Heritage Site status by UNESCO in 2004; the Liverpool Maritime Mercantile City includes the Pier Head, Albert Dock, William Brown Street. Liverpool's status as a port city has attracted a diverse population, drawn from a wide range of peoples and religions from Ireland and Wales.
The city is home to the oldest Black African community in the country and the oldest Chinese community in Europe. Natives and residents of the city of Liverpool are referred to as Liverpudlians, colloquially as "Scousers", a reference to "scouse", a form of stew; the word "Scouse" has become synonymous with the Liverpool accent and dialect. The name comes from the Old English lifer, meaning thick or muddy water, pōl, meaning a pool or creek, is first recorded around 1190 as Liuerpul. According to the Cambridge Dictionary of English Place-Names, "The original reference was to a pool or tidal creek now filled up into which two streams drained"; the adjective Liverpudlian is first recorded in 1833. Other origins of the name have been suggested, including "elverpool", a reference to the large number of eels in the Mersey; the name appeared in 1190 as "Liuerpul", the place appearing as Leyrpole, in a legal record of 1418, may refer to Liverpool. Another such suggestion is derivation from Welsh llyvr pwl meaning "expanse or confluence at the pool".
King John's letters patent of 1207 announced the foundation of the borough of Liverpool. By the middle of the 16th century, the population was still around 500; the original street plan of Liverpool is said to have been designed by King John near the same time it was granted a royal charter, making it a borough. The original seven streets were laid out in an H shape: Bank Street, Castle Street, Chapel Street, Dale Street, Juggler Street, Moor Street and Whiteacre Street. In the 17th century there was slow progress in population growth. Battles for control of the town were waged during the English Civil War, including an eighteen-day siege in 1644. In 1699 Liverpool was made a parish by Act of Parliament, that same year its first slave ship, Liverpool Merchant, set sail for Africa. Since Roman times, the nearby city of Chester on the River Dee had been the region's principal port on the Irish Sea. However, as the Dee began to silt up, maritime trade from Chester became difficult and shifted towards Liverpool on the neighbouring River Mersey.
As trade from the West Indies, including sugar, surpassed that of Ireland and Europe, as the River Dee continued to silt up, Liverpool began to grow with increasing rapidity. The first commercial wet dock was built in Liverpool in 1715. Substantial profits from the slave trade and tobacco helped the town to prosper and grow, although several prominent local men, including William Rathbone, William Roscoe and Edward Rushton, were at the forefront of the abolitionist movement. By the start of the 19th century, a large volume of trade was passing through Liverpool, the construction of major buildings reflected this wealth. In 1830, Liverpool and Manchester became the first cities to have an intercity rail link, through the Liverpool and Manchester Railway; the population continued to rise especially during the 1840s when Irish migrants began arriving by the hundreds of thousands as a result of the Great Famine. In her poem "Liverpool", which celebrates the city's worldwide commerce, Letitia Elizabeth Landon refers to the Macgregor Laird expedition to the Niger River, at that time in progress.
Great Britain was a major market for cotton imported from the Deep South of the United States, which fed the textile industry in the country. Given the crucial place of both cotton and slavery in the city's economy, during the American Civil War Liverpool was, in the words of historian Sven Beckert, "the most pro-Confederate place in the world outside the Confederacy itself." For periods during the 19th century, the wealth of Liverpool
Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors, he returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his years he gave growing prominence to the landscapes in his pictures, his work is characterized by clarity and order, favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. Details of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works, his enthusiasm for the Italian works he saw in the royal collections in Paris motivated him to travel to Rome in 1624, where he studied the works of Renaissance and Baroque painters—especially Raphael, who had a powerful influence on his style.
He befriended a number of artists who shared his classicizing tendencies, met important patrons, such as Cardinal Francesco Barberini and the antiquarian Cassiano dal Pozzo. The commissions Poussin received for modestly scaled paintings of religious and historical subjects allowed him to develop his individual style in works such as The Death of Germanicus, The Massacre of the Innocents, the first of his two series of the Seven Sacraments, he was persuaded to return to France in 1640 to be First Painter to the King but, dissatisfied with the overwhelming workload and the court intrigues, returned permanently to Rome after a little more than a year. Among the important works from his years are Orion Blinded Searching for the Sun, Landscape with Hercules and Cacus, The Seasons. Nicolas Poussin's early biographer was his friend Giovanni Pietro Bellori, who relates that Poussin was born near Les Andelys in Normandy and that he received an education that included some Latin, which would stand him in good stead.
Another early friend and biographer, André Félibien, reported that "He was busy without cease filling his sketchbooks with an infinite number of different figures which only his imagination could produce." His early sketches attracted the notice of Quentin Varin, who passed some time in Andelys, but there is no mention by his biographers that he had a formal training in Varin's studio, though his works showed the influence of Varin by their storytelling, accuracy of facial expression, finely painted drapery and rich colors. His parents opposed a painting career for him, In or around 1612, at the age of eighteen, he ran away to Paris, he arrived in Paris during the regency of Marie de Medici, when art was flourishing as a result of the royal commissions given by Marie de Medici for the decoration of her palace, by the rise of wealthy Paris merchants who bought art. There was a substantial market for paintings in the redecoration of churches outside Paris destroyed during the French Wars of Religion, which had ended, for the numerous convents in Paris and other cities.
However, Poussin was not a member of the powerful guild of master painters and sculptors, which had a monopoly on most art commissions and brought lawsuits against outsiders like Poussin who tried to break into the profession. His early sketches gained him a place in the studios of established painters, he worked for three months in the studio of the Flemish painter Ferdinand Elle, who painted exclusively portraits, a genre, of little interest to Poussin. He moved next to the studio of Georges Lallemand, but Lallemand's inattention to precise drawing and the articulation of his figures displeased Poussin. Moreover, Poussin did not fit well into the studio system, in which several painters worked on the same painting. Thereafter he preferred to work slowly and alone. Little is known of his life in Paris at this time. Court records show, he studied anatomy and perspective, but the most important event of his first residence in Paris was his discovery of the royal art collections, thanks to his friendship with Alexandre Courtois, the valet de chambre of Marie de Medicis.
There he saw for the first time engravings of the works of Giulio Romano and of Raphael, whose work had an enormous influence on his future style. He first tried to travel to Rome in 1617 or 1618, but made it only as far as Florence, where, as his biographer Bellori reported, "as a result of some sort of accident, he returned to France." On his return, he began making paintings for Paris convents. In 1622 made another attempt to go to Rome, but went only as far as Lyon before returning. In the summer of the same year, he received his first important commission: the Order of Jesuits requested a series of six large paintings to honor the canonization of their founder, Saint Francis Xavier; the originality and energy of these paintings brought him a series of important commissions. Giambattista Marino, the court poet to Marie de Medici, employed him to make a series of fifteen drawings, eleven illustrating Ovid's Metamorphoses and four illustrating battle scenes from Roman history; the "Marino drawings", now at Windsor Castle, are among the earliest identifiable works of Poussin.
Marino's influence led to a commission for some decoration of Marie de Medici's residence, the Luxembourg Palace a commission from the first Archbishop of Paris, Jean-François de Gondi, for a painting of the death of the Virgin for
Hera is the goddess of women, marriage and childbirth in ancient Greek religion and myth, one of the Twelve Olympians and the sister-wife of Zeus. She is the daughter of the Titans Rhea. Hera rules over Mount Olympus as queen of the gods. A matronly figure, Hera served as both the patroness and protectress of married women, presiding over weddings and blessing marital unions. One of Hera's defining characteristics is her jealous and vengeful nature against Zeus' numerous lovers and illegitimate offspring, as well as the mortals who cross her. Hera is seen with the animals she considers sacred including the cow and the peacock. Portrayed as majestic and solemn enthroned, crowned with the polos, Hera may hold a pomegranate in her hand, emblem of fertile blood and death and a substitute for the narcotic capsule of the opium poppy. Scholar of Greek mythology Walter Burkert writes in Greek Religion, "Nevertheless, there are memories of an earlier aniconic representation, as a pillar in Argos and as a plank in Samos."Her Roman counterpart is Juno.
The name of Hera has several mutually exclusive etymologies. According to Plutarch, Hera was an anagram of aēr. So begins the section on Hera in Walter Burkert's Greek Religion. In a note, he records other scholars' arguments "for the meaning Mistress as a feminine to Heros, Master." John Chadwick, a decipherer of Linear B, remarks "her name may be connected with hērōs, ἥρως,'hero', but, no help, since it too is etymologically obscure." A. J. van Windekens, offers "young cow, heifer", consonant with Hera's common epithet βοῶπις. R. S. P. Beekes has suggested a Pre-Greek origin, her name is attested in Mycenaean Greek written in the Linear B syllabic script as e-ra, appearing on tablets found in Pylos and Thebes. Hera may have been the first deity to whom the Greeks dedicated an enclosed roofed temple sanctuary, at Samos about 800 BCE, it was replaced by the Heraion of Samos, one of the largest of all Greek temples. There were many temples built on this site so evidence is somewhat confusing and archaeological dates are uncertain.
The temple created by the Rhoecus sculptors and architects was destroyed between 570–560 BCE. This was replaced by the Polycratean temple of 540–530 BCE. In one of these temples we see a forest of 155 columns. There is no evidence of tiles on this temple suggesting either the temple was never finished or that the temple was open to the sky. Earlier sanctuaries, whose dedication to Hera is less certain, were of the Mycenaean type called "house sanctuaries". Samos excavations have revealed votive offerings, many of them late 8th and 7th centuries BCE, which show that Hera at Samos was not a local Greek goddess of the Aegean: the museum there contains figures of gods and suppliants and other votive offerings from Armenia, Iran, Egypt, testimony to the reputation which this sanctuary of Hera enjoyed and to the large influx of pilgrims. Compared to this mighty goddess, who possessed the earliest temple at Olympia and two of the great fifth and sixth century temples of Paestum, the termagant of Homer and the myths is an "almost... comic figure", according to Burkert.
Though greatest and earliest free-standing temple to Hera was the Heraion of Samos, in the Greek mainland Hera was worshipped as "Argive Hera" at her sanctuary that stood between the former Mycenaean city-states of Argos and Mycenae, where the festivals in her honor called Heraia were celebrated. "The three cities I love best," the ox-eyed Queen of Heaven declares in the Iliad, book iv, "are Argos and Mycenae of the broad streets." There were temples to Hera in Olympia, Tiryns and the sacred island of Delos. In Magna Graecia, two Doric temples to Hera were constructed at Paestum, about 550 BCE and about 450 BCE. One of them, long called the Temple of Poseidon was identified in the 1950s as a second temple there of Hera. In Euboea, the festival of the Great Daedala, sacred to Hera, was celebrated on a sixty-year cycle. Hera's importance in the early archaic period is attested by the large building projects undertaken in her honor; the temples of Hera in the two main centers of her cult, the Heraion of Samos and the Heraion of Argos in the Argolis, were the earliest monumental Greek temples constructed, in the 8th century BCE.
According to Walter Burkert, both Hera and Demeter have many characteristic attributes of Pre-Greek Great Goddesses. According to Homeric Hymn III to Delian Apollo, Hera detained Eileithyia to prevent Leto from going into labor with Artemis and Apollo, since the father was Zeus; the other goddesses present at the birthing on Delos sent Iris to bring her. As she stepped upon the island, the divine birth began. In the myth of the birth of Heracles, it is Hera herself who sits at the door, delaying the birth of Heracles until her protégé, had been born first; the Homeric Hymn to Pythian Apollo makes the monster Typhaon the offspring of archaic Hera in her Minoan form, produced out of herself, like a monstrous version of Hephaestus, whelped in a cave in Cilicia. She gave the creature to Python to raise. In the Temple of Hera, Hera's seated cult figure was older than the warrior figure of Zeus that accompanied it. Homer expressed her relationship with Zeus delicately in the Iliad, in which she declares to Zeus, "I am
Roman de la Rose
Le Roman de la Rose is a medieval French poem styled as an allegorical dream vision. It is a notable instance of courtly literature; the work's stated purpose is both to teach others about the art of romantic love. Throughout the poem, Rose is used both as the name of the titular lady and as a symbol of female sexuality; the other characters' names function both as regular names and as abstractions illustrating the various factors that are involved in a love affair. The poem was written in two stages; the first 4,058 lines, written by Guillaume de Lorris circa 1230, describe the attempts of a courtier to woo his beloved. This part of the story is set in a walled garden, a traditional literary topos in epic and chivalric literature. Around 1275, Jean de Meun composed an additional 17,724 lines. In this enormous coda, allegorical personages hold forth on love; the work was both controversial. It was one of the most read works in France for three centuries, it was the most read book in Europe in the 14th and 15th centuries.
Its emphasis on sensual language and imagery provoked attacks by Jean Gerson, Christine de Pizan and many other writers and moralists of the 14th and 15th centuries. Historian Johan Huizinga writes: "It is astonishing that the Church, which so rigorously repressed the slightest deviations from dogma of a speculative character, suffered the teaching of this breviary of the aristocracy to be disseminated with impunity." Reactions suggested that it had a tenuous encyclopedic quality. The nineteenth-century scholar and writer Gaston Paris wrote that it was "an encyclopedia in disorder" and British author C. S. Lewis described it as having an "encyclopedic character". One historian wrote that while Roman de la Rose is not an encyclopedia, "it evokes one, represents one, dreams one with all its aspirations and limitations". About 300 manuscripts are one of the highest figures for a secular work. Many of these are illustrated, most with fewer than ten remaining illustrations, but there are a number with twenty or more illustrations, the exceptional Burgundian British Library Harley MS 4425 has 92 large and high quality miniatures, despite a date around 1500.
These are by the artist known as the Master of the Prayer Books of around 1500, commissioned by Count Engelbert II of Nassau. The peak period of production was the 14th century, but manuscript versions continued to be produced until the advent of printing, indeed afterwards – there are at least seven manuscripts dated after 1500. There are seven incunabula printed editions before 1500, the first from Geneva in about 1481, followed by two from Lyons in the 1480s and four from Paris in the 1490s. An edition from Lyons in 1503 is illustrated with 140 woodcuts. Digital images of more than 140 of these manuscripts are available for study in the Roman de la Rose Digital Library. Part of the story was translated from its original Old French into Middle English as The Romaunt of the Rose, which had a great influence on English literature. Chaucer was familiar with the original French text, a portion of the Middle English translation is thought to be his work. Critics suggest that the character of "La Vieille" acted as source material for Chaucer's Wife of Bath.
There were several other early translations into languages including Middle Dutch. Il Fiore is a "reduction" of the poem into 232 Italian sonnets by a "ser Durante", sometimes thought to have been Dante, although this is thought unlikely. Dante never mentions the Roman, but is said to have been conscious of it in his own work. In 1900, the pre-Raphaelite F. S. Ellis translated the whole of the poem into English verse. C. S. Lewis's 1936 study The Allegory of Love renewed interest in the poem. Langlois, Ernest, ed. Le Roman de la Rose par Guillaume de Lorris et Jean de Meun. 5 vols. Société des Anciens Textes Français. Paris: Firmin Didot, 1914–24. Lecoy, Félix, ed. Le Roman de la Rose par Guillaume de Lorris et Jean de Meun. 3 vols. Classiques français du Moyen Âge. Paris: Champion, 1965–70. Strubel, Armand, ed. trans, annot. Le Roman de la Rose. Lettres gothiques, 4533. Paris: Librairie Générale Française – Livre de Poche, 1992. ISBN 2-253-06079-8 Robbins, Harry W. trans. The Romance of the Rose. New York: Dutton, 1962.
Dahlberg, trans. The Romance of the Rose. Princeton: Princeton UP, 1971. ISBN 0-691-06197-1 Horgan, trans. and annot. The Romance of the Rose. Oxford World's Classics. Oxford: Oxford UP, 1999. ISBN 0-19-283948-9 Ars Amatoria - the'art of love' Arden, Heather M; the Roman de la Rose: An Annotated Bibliography. New York: Garland, 1993. ISBN 0-8240-5799-6 Gunn, Alan M. F; the Mirror of Love: A Reinterpretation of "The Romance of the Rose". Lubbock, TX: Texas Tech P, 1951. Huot, Sylvia; the Romance of the Rose and Its Medieval Readers: Interpretation, Manuscript Transmission. Cambridge: Cambridge UP, 1993. ISBN 0-521-41713-9 Kelly, Douglas. Internal Difference and Meanings in the Roman de la rose. Madison, WI: U of Wisconsin P, 1995. ISBN 0-299-14780-0 McWebb, Christine, ed. Debating the Roman de la Rose: A Critical Anthology. Routledge Medieval Texts. New York: Routledge, 2007. ISBN 978-0-415-96765-5 Minnis, Alastair. Magister Amoris: The Roman de la Rose and Vernacular Hermeneutics. Oxford: Oxford UP, 2001. ISBN 0-19-818754-8 Full text from Project Gutenberg: Vol. 1, Vol. 2 Roman de la Rose Digital Library at Johns Hopkins University 12 Ms on Digital Scriptorium Roman de la rose at Somni Editions from the Library of CongressLe Rommant de la Rose Cest le Romant
London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans; the City of London, London's ancient core − an area of just 1.12 square miles and colloquially known as the Square Mile − retains boundaries that follow its medieval limits. The City of Westminster is an Inner London borough holding city status. Greater London is governed by the Mayor of the London Assembly. London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, sustainable, most investment friendly, most popular for work, the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, education, fashion, healthcare, professional services and development, tourism and transportation.
London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP, it is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games. London has a diverse range of people and cultures, more than 300 languages are spoken in the region, its estimated mid-2016 municipal population was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census.
The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925. London contains four World Heritage Sites: the Tower of London. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries and sporting events; these include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world. "London" is an ancient name, attested in the first century AD in the Latinised form Londinium. Over the years, the name has attracted many mythicising explanations; the earliest attested appears in Geoffrey of Monmouth's Historia Regum Britanniae, written around 1136. This had it that the name originated from a supposed King Lud, who had taken over the city and named it Kaerlud.
Modern scientific analyses of the name must account for the origins of the different forms found in early sources Latin, Old English, Welsh, with reference to the known developments over time of sounds in those different languages. It is agreed; this was adapted into Latin as Londinium and borrowed into Old English, the ancestor-language of English. The toponymy of the Common Brythonic form is much debated. A prominent explanation was Richard Coates's 1998 argument that the name derived from pre-Celtic Old European *lowonida, meaning "river too wide to ford". Coates suggested that this was a name given to the part of the River Thames which flows through London. However, most work has accepted a Celtic origin for the name, recent studies have favoured an explanation along the lines of a Celtic derivative of a proto-Indo-European root *lendh-, combined with the Celtic suffix *-injo- or *-onjo-. Peter Schrijver has suggested, on these grounds, that the name meant'place that floods'; until 1889, the name "London" applied to the City of London, but since it has referred to the County of London and Greater London.
"London" is sometimes written informally as "LDN". In 1993, the remains of a Bronze Age bridge were found on the south foreshore, upstream of Vauxhall Bridge; this bridge either reached a now lost island in it. Two of those timbers were radiocarbon dated to between 1750 BC and 1285 BC. In 2010 the foundations of a large timber structure, dated to between 4800 BC and 4500 BC, were found on the Thames's south foreshore, downstream of Vauxhall Bridge; the function of the mesolithic structure is not known. Both structures are on the south bank. Although there is evidence of scattered Brythonic settlements in the area, the first major settlement was founded by the Romans about four years after the invasion