Chivalric romance
As a literary genre of high culture, romance or chivalric romance is a type of prose and verse narrative, popular in the aristocratic circles of High Medieval and Early Modern Europe. They were fantastic stories about marvel-filled adventures of a chivalric knight-errant portrayed as having heroic qualities, who goes on a quest, it developed further from the epics. Romances reworked legends, fairy tales, history to suit the readers' and hearers' tastes, but by c. 1600 they were out of fashion, Miguel de Cervantes famously burlesqued them in his novel Don Quixote. Still, the modern image of "medieval" is more influenced by the romance than by any other medieval genre, the word medieval evokes knights, distressed damsels and other romantic tropes. Romance literature was written in Old French, Anglo-Norman and Provençal, in Portuguese, English and German. During the early 13th century, romances were written as prose. In romances those of French origin, there is a marked tendency to emphasize themes of courtly love, such as faithfulness in adversity.
Unlike the form of the novel and like the chansons de geste, the genre of romance dealt with traditional themes. These were distinguished from earlier epics by heavy use of marvelous events, the elements of love, the frequent use of a web of interwoven stories, rather than a simple plot unfolding about a main character; the earliest forms were invariably in verse, but the 15th century saw many in prose retelling the old, rhymed versions. The romantic form pursued the wish-fulfillment dream where the heroes and heroines were considered representations of the ideals of the age while the villains embodied the threat to their ascendancy. There is a persistent archetype, which involved a hero's quest; this quest or journey served as the structure. With regards to the structure, scholars recognize the similarity of the romance to folk tales. Vladimir Propp identified a basic form for this genre and it involved an order that began with initial situation followed by departure, first move, second move, resolution.
This structure is applicable to romance narratives. Overwhelmingly, these were linked in some way only in an opening frame story, with three thematic cycles of tales: these were assembled in imagination at a late date as the "Matter of Rome", the "Matter of France" and the "Matter of Britain". In reality, a number of "non-cyclical" romances were written without any such connection. Indeed, some tales are found so that scholars group them together as the "Constance cycle" or the "Crescentia cycle"—referring not to a continuity of character and setting, but to the recognizable plot. Many influences are clear in the forms of chivalric romance; the medieval romance developed out of the medieval epic, in particular the Matter of France developing out of such tales as the Chanson de Geste, with intermediate forms where the feudal bonds of loyalty had giants, or a magical horn, added to the plot. The epics of Charlemagne, unlike such ones as Beowulf had feudalism rather than the tribal loyalties; the romance form is distinguished from the earlier epics of the Middle Ages by the changes of the 12th century, which introduced courtly and chivalrous themes into the works.
This occurred regardless of congruity to the source material. Chivalry was treated as continuous from Roman times; this extended to such details as clothing. When Priam sends Paris to Greece in a 14th-century work, Priam is dressed in the mold of Charlemagne, Paris is dressed demurely, but in Greece, he adopts the flashier style, with multicolored clothing and fashionable shoes, cut in lattice-work—signs of a seducer in the era. Historical figures reappeared, reworked, in romance; the entire Matter of France derived from known figures, suffered somewhat because their descendants had an interest in the tales that were told of their ancestors, unlike the Matter of Britain. Richard Coeur de Lion reappeared in romance, endowed with a fairy mother who arrived in a ship with silk sails and departed when forced to behold the sacrament, bare-handed combat with a lion, magical rings, prophetic dreams. Hereward the Wake's early life appeared in chronicles as the embellished, romantic adventures of an exile, complete with rescuing princess and wrestling with bears.
Fulk Fitzwarin, an outlaw in King John's day, has his historical background a minor thread in the episodic stream of romantic adventures. The earliest medieval romances dealt with themes from folklore, which diminished over time, though remaining a presence. Many early tales had the knight
Le Morte d'Arthur
Le Morte d'Arthur is a reworking by Sir Thomas Malory of existing tales about the legendary King Arthur, Lancelot and the Knights of the Round Table. Malory interpreted existing French and English stories about these figures and added original material. Malory's actual title for the work was The Whole Book of King Arthur and His Noble Knights of the Round Table, but after Malory's death the publisher changed the title to that known today, which only referred to the final volume of the work. Le Morte d'Arthur was first published in 1485 by William Caxton and is today one of the best-known works of Arthurian literature in English; until the discovery of the Winchester Manuscript in 1934, the 1485 edition was considered the earliest known text of Le Morte d'Arthur and that closest to Malory's translation and compilation. Modern editions are variable, changing spelling and pronouns for the convenience of readers of modern English. Many modern Arthurian writers have used Malory as their principal source.
The exact identity of the author of Le Morte d'Arthur has long been the subject of speculation, owing to the fact that at least six historical figures bore the name of "Sir Thomas Malory" in the late 15th century. In the work the author describes himself as "Knyght presoner Thomas Malleorre"; this is taken as supporting evidence for the identification most accepted by scholars: that the author was the Thomas Malory born in the year 1416, to Sir John Malory of Newbold Revel, England. Sir Thomas inherited the family estate in 1434, but by 1450 he was engaged in a life of crime; as early as 1433 he had been accused of theft, but the more serious allegations against him included that of the attempted murder of Humphrey Stafford, 1st Duke of Buckingham, an accusation of at least two rapes, that he had attacked and robbed Coombe Abbey. Malory was first arrested and imprisoned in 1451 for the ambush of Buckingham, but was released early in 1452. By March he was back in the Marshalsea prison and in Colchester, escaping on multiple occasions.
In 1461 he was granted a pardon by King Henry VI, returning to live at his estate. Although allied to the House of York, after his release Malory changed his allegiance to the House of Lancaster; this led to him being imprisoned yet again in 1468 when he led an ill-fated plot to overthrow King Edward IV. It was during this final stint at Newgate Prison in London that he is believed to have written Le Morte d'Arthur. Malory was released in October 1470, when Henry VI came to the throne, but died only five months later. Elizabeth Bryan speaks of Malory's contribution to Arthurian legend in her introduction to Le Morte d'Arthur: "Malory did not invent the stories in this collection. Malory in fact translated Arthurian stories that existed in 13th-century French prose and compiled them together with at least one tale from Middle English sources to create this text."Malory called the full work The Hoole Book of Kyng Arthur and of His Noble Knyghtes of The Rounde Table, but William Caxton instead titled it with Malory's name for the final section of the cycle.
The Middle English of Le Morte d'Arthur is much closer to Early Modern English than the Middle English of Geoffrey Chaucer's Canterbury Tales. If the spelling is modernized, it reads like Elizabethan English; the publication of Chaucer's work by Caxton was a precursor to his publication of Malory's Le Morte d'Arthur. Where the Canterbury Tales are in Middle English, Malory extends "one hand to Chaucer, one to Spenser" constructing a manuscript, hard to place in one category. Like other English prose in the 15th century, Le Morte d'Arthur was influenced by French writings, but Malory blends these with other English verse and prose forms. Caxton separated Malory's eight books into 21 books; the first printing of Malory's work was made by William Caxton in 1485. Only two copies of this original printing are known to exist, in the collections of the Morgan Library & Museum in New York and the John Rylands Library in Manchester, it proved popular and was reprinted in 1498 and 1529 with some additions and changes by Wynkyn de Worde who succeeded Caxton's press.
Three more editions were published before the English Civil War: William Copland's, Thomas East's, William Stansby's, each of which contained additional changes and errors. Thereafter, the book went out of fashion until the Romantic revival of interest in all things medieval. Winchester College headmaster W. F. Oakeshott discovered a unknown manuscript copy of the work in June 1934, during the cataloging of the college's library. Newspaper accounts announced that what Caxton had published in 1485 was not what Malory had written. Oakeshott published "The Finding of the Manuscript" in 1963, chronicling the initial event and his realization that "this indeed was Malory," with "startling evidence of revision" in the Caxton edition. Malory scholar Eugène Vinaver examined the manuscript shortly after its discovery. Oakeshott was encouraged to produce an edition himself, but he ceded the project to Vinaver. Based on his initial study of the manuscript, Oakeshott concluded in 1935 that the copy from which Caxton printed his edition "was s
Galahad
Sir Galahad among other versions of his name, is a knight of King Arthur's Round Table and one of the three achievers of the Holy Grail in Arthurian legend. He is the illegitimate son of Sir Lancelot and Elaine of Corbenic, is renowned for his gallantry and purity as the most perfect of all knights. Emerging quite late in the medieval Arthurian tradition, Sir Galahad first appears in the Lancelot–Grail cycle, his story is taken up in works such as the Post-Vulgate Cycle and Sir Thomas Malory's Le Morte d'Arthur, his name should not be mistaken with Galehaut, a different knight from Arthurian legend. The story of Galahad and his quest for the Holy Grail is a late addition to the Arthurian legend. Galahad does not feature in any romance by Chrétien de Troyes, or in Robert de Boron's Perceval, or in any of the continuations of Chrétien's story of the mysterious castle of the Fisher King, he first appears in a 13th-century Old French Arthurian epic, the interconnected set of romances known as the Vulgate Cycle.
The original conception of Galahad, whose adult exploits are first recounted in the fourth book of the Vulgate Cycle, may derive from the Cistercian Order. According to some interpreters, the philosophical inspiration of the celibate, otherworldly character of the monastic knight Galahad came from this monastic order set up by St. Bernard of Clairvaux; the Cistercian-Bernardine concept of Catholic warrior asceticism that so distinguishes the character of Galahad informs St. Bernard's projection of ideal chivalry in his work on the Knights Templar, Liber ad milites templi de laude novae militiae. In the narratives, Galahad is associated with a white shield with a vermilion cross, the same emblem given to the Knights Templar by Pope Eugene III; the circumstances surrounding the conception of the boy Galahad derive from the Grail prose cycle. It takes place when King Arthur's greatest knight, mistakes Elaine of Corbenic for his secret mistress, Queen Guinevere. In the telling by Thomas Malory, King Pelles has received magical foreknowledge that Lancelot will give his daughter a child and that this little boy will grow to become the greatest knight in the world, the knight chosen by God to discover the Holy Grail.
Pelles knows that Lancelot will only lie with his one true love, Guinevere. Destiny will have to be helped along a little. Lancelot and Elaine sleep together, but on discovering the deception, Lancelot gets his clothes on and runs, leaving Elaine, but when he finds out that they have conceived a son together, he is forgiving; the young Galahad is born and placed in the care of a great aunt, an abbess at a nunnery, to be raised there. According to the 13th-century Old French Prose Lancelot, "Galahad" was Lancelot's original name, but it was changed when he was a child. At his birth, Galahad is given his father's own original name. Merlin prophesies that Galahad will surpass his father in valor and be successful in his search for the Holy Grail. Pelles, Galahad's maternal grandfather, is portrayed as a descendant of Bron, Joseph of Arimathea's brother-in-law, whose line was entrusted with the Grail by Joseph. Upon reaching adulthood, Galahad is reunited with his father Lancelot, who knights his son after being defeated by him.
Galahad is brought to King Arthur's court at Camelot during Pentecost, where he is accompanied by a old knight who leads him over to the Round Table and unveils his seat at the Siege Perilous, an unused chair, kept vacant for the sole person who will succeed in the quest of the Holy Grail. For all others who have aspired to sit there, it has proved to be fatal. Galahad survives this test, witnessed by Arthur who, upon realizing the greatness of this new knight, leads him out to the river where a sword lies in a stone with an inscription reading "Never shall man take me hence but only he by whose side I ought to hang. Galahad accomplishes this test with ease, Arthur swiftly proclaims him to be the greatest knight ever. Galahad is promptly invited to become a Knight of the Round Table, soon afterwards, Arthur's court witnesses an ethereal vision of the Grail; the quest to seek out this holy object is begun at once. All of the Knights of the Round Table set out to find the Grail, it is Galahad who takes the initiative to begin the search for the Grail.
Arthur is sorrowful that all the knights have embarked thus, for he discerns that many will never be seen again, dying in their quest. Arthur fears that it is the beginning of the end of the Round Table; this might be seen as a theological statement that concludes that earthly endeavors must take second place to the pursuit of the holy. Galahad, in some ways, mirrors Arthur, drawing a sword from a stone in the way that Arthur did. In this manner, Galahad is declared to be the chosen one. Galahad for the most part travels alone, smiting his enemies, rescuing Percival from twenty knights and saving maidens in distress, until he is reunited with Bors and Percival; these three knights come across Percival's sister, who leads them to the grail ship. They cross the sea in this ship and when they arrive on a distant shore, Percival's sister dies to save
Merlin
Merlin is a legendary figure best known as an enchanter or wizard featured in Arthurian legend and medieval Welsh poetry The standard depiction of the character first appears in Geoffrey of Monmouth's Historia Regum Britanniae, written c. 1136, is based on an amalgamation of previous historical and legendary figures. Geoffrey combined existing stories of Myrddin Wyllt, a North Brythonic prophet and madman with no connection to King Arthur, with tales of the Romano-British war leader Ambrosius Aurelianus to form the composite figure he called Merlin Ambrosius. Geoffrey's rendering of the character was popular in Wales. Writers expanded the account to produce a fuller image. Merlin's traditional biography casts him as a cambion: born of a mortal woman, sired by an incubus, the non-human from whom he inherits his supernatural powers and abilities. Merlin matures to an ascendant sagehood and engineers the birth of Arthur through magic and intrigue. Authors have Merlin serve as the king's advisor and mentor to the knights until he is bewitched and forever imprisoned or killed by the Lady of the Lake.
He is popularly said to be buried in the magical forest of Brocéliande. The name "Merlin" is derived from the Welsh Myrddin, the name of the bard, one of the chief sources for the legendary figure. Geoffrey of Monmouth Latinised the name to Merlinus in his works. Medievalist Gaston Paris suggests that Geoffrey chose the form Merlinus rather than the regular Merdinus to avoid a resemblance to the Anglo-Norman word merde for feces. Clas Myrddin or Merlin's Enclosure is an early name for Great Britain stated in the Third Series of Welsh Triads. Celticist A. O. H. Jarman suggests that the Welsh name Myrddin was derived from the toponym Caerfyrddin, the Welsh name for the town known in English as Carmarthen; this contrasts with the popular folk etymology. The name Carmarthen is derived from the town's previous Roman name Moridunum, in turn derived from Celtic Brittonic moridunon, "sea fortress". Geoffrey's composite Merlin is based on the legendary "madman" poet and seer Myrddin Wyllt, Emrys, a fictional character based in part on the 5th century, historical war leader Ambrosius Aurelianus mentioned in one of Geoffrey's primary sources, the early 9th century Historia Brittonum.
The former had nothing to do with King Arthur: in British poetry he was a bard driven mad after witnessing the horrors of war, who fled civilization to become a wild man of the wood in the 6th century. Geoffrey had Myrddin Wyllt in mind when he wrote his earliest surviving work, the Prophetiae Merlini, which he claimed were the actual words of the legendary poet and madman. Geoffrey's Prophetiae do not reveal much about Merlin's background, he included the prophet in his next work, Historia Regum Britanniae, supplementing the characterisation by attributing to him stories about Aurelius Ambrosius, taken from Nennius' Historia Brittonum. According to Nennius, Ambrosius was discovered when the British king Vortigern was trying to erect a tower; the tower always collapsed before completion, his wise men told him that the only solution was to sprinkle the foundation with the blood of a child born without a father. Ambrosius was rumoured to be such a child but, when brought before the king, he revealed the real reason for the tower's collapse: below the foundation was a lake containing two dragons who fought a battle representing the struggle between the invading Saxons and the native Celtic Britons.
Geoffrey retells this story in his Historia Regum Britanniæ with some embellishments, gives the fatherless child the name of the prophetic bard Merlin. He keeps this new figure separate from Aurelius Ambrosius and, with regard to his changing of the original Nennian character, he states that Ambrosius was called'Merlin'—that is,'Ambrosius Merlinus', he goes on to add new episodes that tie Merlin with his predecessors. Geoffrey's account of Merlin Ambrosius' early life in the Historia Regum Britanniae is based on the tale of Ambrosius in the Historia Brittonum, he adds his own embellishments to the tale, which he sets in Wales. While Nennius' Ambrosius reveals himself to be the son of a Roman consul, Geoffrey's Merlin is begotten on a king's daughter by an incubus demon; the name of Merlin's mother is not stated, but is given as Adhan in the oldest version of the Prose Brut. The story of Vortigern's tower is the same. At this point Geoffrey inserts a long section of Merlin's prophecies, taken from his earlier Prophetiae Merlini.
He tells only two further tales of the character. In the first, Merlin creates Stonehenge as a burial place for Aurelius Ambrosius, bringing the stones from the Preseli Hills in south-west Wales and Ireland. In the second, Merlin's magic enables the new British king Uther Pendragon to enter into Tintagel Castle in disguise and father his son Arthur with his enemy's wife, Igraine; these episodes appear in many adaptations of Geoffrey's account. As Lewis Thorpe notes, Merlin disappears from the narrative after this. Geoffrey dealt with Merlin again in Vita Merlini, he based it on stories of the original 6th-century Myrddin, set long after his time frame for the life of Merlin Ambrosius. Geoffrey tried to assert that the characters are the same wi
Penguin Classics
Penguin Classics is an imprint of Penguin Books under which classic works of literature are published in English, Brazilian Portuguese, Korean among other languages. Literary critics see books in this series as important members of the Western canon, though many titles are translated or of non-Western origin; the first Penguin Classic was E. V. Rieu's translation of The Odyssey, published in 1946, Rieu went on to become general editor of the series. Rieu sought out literary novelists such as Robert Graves and Dorothy Sayers as translators, believing they would avoid "the archaic flavour and the foreign idiom that renders many existing translations repellent to modern taste." In 1964 Betty Radice and William Baldick succeeded Rieu as joint editors, with Radice becoming sole editor in 1974 and serving as an editor for 21 years. As editor, Radice argued for the place of scholarship in popular editions, modified the earlier Penguin convention of the plain text, adding line references, maps, explanatory notes and indexes.
She broadened the canon of the'Classics', encouraged and diversified their readership while upholding academic standards. Penguin Books has paid particular attention to the design of its books since recruiting German typographer Jan Tschichold in 1947; the early minimalist designs were modernised by Italian art director Germano Facetti, who joined Penguin in 1961. The new classics were known as "Black Classics" for their black covers, which featured artwork appropriate to the topic and period of the work; this design was revised in 1985 to have pale yellow covers with a black spine, colour-coded with a small mark to indicate language and period. In 2002, Penguin redesigned its entire catalogue; the redesign restored the black cover, adding a white orange lettering. The text page design was overhauled to follow a more prescribed template, allowing for faster copyediting and typesetting, but reducing the options for individual design variations suggested by a text's structure or historical context.
Prior to 2002, the text page typography of each book in the Classics series had been overseen by a team of in-house designers. The in-house text design department still albeit much smaller than formerly. Recent design work includes the Penguin Little Black Classic series. Penguin Classics collaborated with Bill Amberg in 2008 in the design of six books. Within the broader category of Classics, Penguin has issued specialised series with their own designs; these include: Penguin Nature Classics, with authors such as John James Audubon, Rachel Carson, John Muir Penguin Modern Classics, issued from 1961 onwards, with authors such as Truman Capote, James Joyce, George Orwell, Vladimir Nabokov, Antoine de Saint Exupéry. Some titles come with critical apparatus; the series has gone through a number of redesigns, the most recent being in June 2017: see here here, here. The series was renamed Penguin 20th Century Classics in May 1989, but the series reverted to its old name in February 2000. 20th Century Classics feature full-page front cover art, with a light blue-green/eau de nil rear cover and spine.
Penguin Enriched Classics, such as Adventures of Huckleberry Finn and Prejudice, The Scarlet Letter, A Tale of Two Cities Penguin Popular Classics, issued in 1994, are paperback editions of texts under the Classics imprints. They were a response to Wordsworth Classics, a series of cheap reprints which imitated Penguin in using black as its signature colour. Penguin Designer Classics, issued in 2007, is a set of five limited-edition books, with covers created by fashion designers to commemorate the series' 60th Anniversary Penguin Mini Modern Classics, issued in 2011, is an assortment of fifty pocket-sized books from fifty different authors such as Franz Kafka, Italo Calvino, E. M. Forster, Virginia Woolf and Stefan Zweig, it has been released to celebrate the 50th Anniversary of the Penguin Modern Classics. It is out of print. Penguin Little Black Classics, issued in 2015 a series of pocket-sized classics introduced to celebrate the 80th anniversary of Penguin Books. Pocket Penguins, issued in 2016.
The series echoes the style of the original Penguin Books, with smaller A-format size, tri-band design. The first 20 books were released in May 2016, described by publishing director Simon Winder as "a mix of the famous and the unjustly overlooked". No definitive bibliography of Penguin Classics has yet been published, although several partial bibliographies have been issued; the earliest come from the Penguin Catalogues, published annually covering in-print editions. The 1963 catalogue, for example, lists 97 titles, although by the series overall had produced 118 volumes. In the 1980s Penguin began publishing discrete catalogues of its Classics and Twentieth Century Classics series, listing all the titles available in the UK; the Penguin Collectors' Society have published two bibliographies of the early, pre-ISBN editions: firstly in 1994, with an update in 2008. In 2008, Penguin Books USA published a complete annotated listing of all Penguin Classics titles in a single paperback volume in the style of its Penguin Classics books.
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Joseph of Arimathea
Joseph of Arimathea was, according to all four canonical Christian Gospels, the man who assumed responsibility for the burial of Jesus after his crucifixion. A number of stories that developed during the Middle Ages connect him with Glastonbury, where the stories said he founded the earliest Christian oratory, with the Holy Grail legend. Matthew 27:57 described him as a rich man and disciple of Jesus, but according to Mark 15:43 Joseph of Arimathea was "a respected member of the council, himself looking for the kingdom of God". According to John 19:38, upon hearing of Jesus' death, this secret disciple of Jesus "asked Pilate that he might take away the body of Jesus, Pilate gave him permission." Joseph purchased a linen shroud and proceeded to Golgotha to take the body of Jesus down from the cross. There, according to John 19:39-40, Joseph and Nicodemus took the body and bound it in linen cloths with the spices that Nicodemus had bought; the disciples conveyed the prepared corpse to a man-made cave hewn from rock in a garden of his house nearby.
The Gospel of Matthew alone suggests. The burial was undertaken speedily, "for the Sabbath was drawing on". Joseph of Arimathea is venerated as a saint by the Roman Catholic, Eastern Orthodox, some Protestant churches; the traditional Roman calendar marked his feast day on March 17, but he is now listed, along with Saint Nicodemus, on August 31 in the Martyrologium Romanum. Eastern Orthodox churches commemorate him on the Third Sunday of Pascha and on July 31, the date shared by Lutheran churches. Although a series of legends developed during the Middle Ages tied this Joseph to Britain as well as the Holy Grail, he is not on the abbreviated liturgical calendar of the Church of England, although this Joseph is on the calendars of some churches of the Anglican communion, such as the Episcopal Church, which commemorates him on August 1. Many Christians interpret Joseph's role as fulfilling Isaiah's prediction that the grave of the "Suffering Servant" would be with a rich man, assuming that Isaiah was referring to the Messiah.
The prophecy in Isaiah chapter 53 is known as the "Man of Sorrows" passage: He was assigned a grave with the wicked, with the rich in his death, though he had done no violence, nor was any deceit in his mouth. The Greek Septuagint text: And I will give the wicked for his burial, the rich for his death. Since the 2nd century, a mass of legendary detail has accumulated around the figure of Joseph of Arimathea in addition to the New Testament references. Joseph is referenced in apocryphal and non-canonical accounts such as the Acts of Pilate, a text appended to the medieval Gospel of Nicodemus and The Narrative of Joseph, mentioned in the works of early church historians such as Irenaeus, Hippolytus and Eusebius, who added details not found in the canonical accounts. Francis Gigot, writing in the Catholic Encyclopedia, states that "the additional details which are found concerning him in the apocryphal Acta Pilati, are unworthy of credence."Hilary of Poitiers enriched the legend, Saint John Chrysostom, the Patriarch of Constantinople, was the first to write that Joseph was one of the Seventy Apostles appointed in Luke 10.
During the late 12th century, Joseph became connected with the Arthurian cycle, appearing in them as the first keeper of the Holy Grail. This idea first appears in Robert de Boron's Joseph d'Arimathie, in which Joseph receives the Grail from an apparition of Jesus and sends it with his followers to Britain; this theme is elaborated upon in subsequent Arthurian works penned by others. Retellings of the story contend that Joseph of Arimathea himself travelled to Britain and became the first Christian bishop in the Isles, a claim Gigot characterizes as a fable; the Gospel of Nicodemus, a text appended to the Acts of Pilate, provides additional details about Joseph. For instance, after Joseph asked Pilate for the body of the Christ, prepared the body with Nicodemus' help, Christ's body was delivered to a new tomb that Joseph had built for himself. In the Gospel of Nicodemus, the Jewish elders express anger at Joseph for burying the body of Christ, saying: And Joseph stepped out and said to them: Why are you angry against me because I begged the body of Jesus?
Behold, I have put him in my new tomb. And you have acted not well against the just man, because you have not repented of crucifying him, but have pierced him with a spear; the Jewish elders captured Joseph, imprisoned him, placed a seal on the door to his cell after first posting a guard. Joseph warned the elders, "The Son of God whom you hanged upon the cross, is able to deliver me out of your hands. All your wickedness will return upon you." Once the elders returned to the cell, the seal was still in place. The elders discover that Joseph had returned to Arimathea. Having a change in heart, the elders desired to have a more civil conversation with Joseph about his actions and sent a letter of apology to him by means of seven of his friends. Joseph travelled back from Arimathea to Jerusalem to meet with the elders, where they questioned him about his escape, he told them this story. And when m
Siedlęcin Tower
Siedlęcin Tower is the 14th century tower castle, situated in a village of Siedlęcin in the administrative district of Gmina Jeżów Sudecki, within Jelenia Góra County, Lower Silesian Voivodeship, in south-western Poland. The keep, he and his wife Agnes of Bohemia commissioned the medieval Gothic fresco mural paintings, regarding the legend of Lancelot, in the great hall of the keep. The tower, surrounded by a moat, is a keep of a modest sort, which combines the functions of housing and defence in a vertical disposition analogous to those found in other castles in Europe: the lower storeys were designed for defence and for trade and business. Siedlęcin Tower seen from the drone History and photos of the Ducal Tower in Siedlęcin
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