Medieval Battle Quotes

We shall dedicate this battle to the woman who freed us.” Sir Klas turned from halfway up the stairs. “She is the bravest of us all.” “Ja!” the other soldiers shouted. “She is our lioness! We shall fight for her!” They

All medieval and classic cultures of the ancient world, including those on which Tolkien modeled his elves, routinely exposed their young and marriageable women to the fortunes of war, because bearing and raising the next generation of warriors is not needed for equality-loving elves. Equality-loving elves. Who are monarchists. With a class system. Of ranks. Battles are more fun when attractive young women are dismembered and desecrated by goblins! I believe that this is one point where C.S. Lewis, J.R.R. Tolkien, and all Christian fantasy writers from before World War Two were completely agreed upon, and it is a point necessary in order correctly to capture the mood and tone and nuance of the medieval romances or Norse sagas such writers were straining their every artistic nerve and sinew to create. So, wait, we have an ancient and ageless society of elves where the virgin maidens go off to war, but these same virgin maidens must abide by the decision of their father or liege lord for permission to marry? -- The Desolation of Tolkien

They used to say that, in a battle between the lion and the tiger, the winner was the monkey, who watched from a distance.

I never was the type of noblewoman to stay by the hearth while the men rode into battle anyway. As my father always used to say with the shake of his head, the blood of the Old Tribes runs strong in me.

Beneath the pseudo-scientific terminology one can in each case recognize a phantasy of which almost every element is to be found in phantasies which were already current in medieval Europe. The final, decisive battle of the Elect (be they the ‘Aryan race’ or the ‘proletariat’) against the hosts of evil (be they the Jews or the ‘bourgeoisie’); a dispensation on which the Elect are to be most amply compensated for all their sufferings by the joys of total domination or of total community or of both together; a world purified of all evil and in which history is to find its consummation - these ancient imaginings are with us still.

She straightened and crossed her arms. “I can’t sleep with you,” she blurted. … “As you please.” “As you please?” She stepped back, the rough wood of the bench bumping her upper calf. She’d braced herself for a battle and now felt oddly deflated. “You aren’t going to try to talk me into it?” “I need not talk women into lying with me.

The middle ages did not care much for alphabetical order, because they were committed to rational order. To the medieval mind, the universe [is] a harmonious whole whose parts are related to one another. It was the responsibility of the author or scholar to discern these rational relationships -- of hierarchy, or of chronology, or of similarities and differences, and so forth.

Allegations that Medieval Studies is somehow hostile to women, or that it suppresses female voices, don’t hold water: today the field is dominated by female academics. Claims that Medieval Studies professors are just as backstabbing and careerist as those in the rest of the academy, however, would appear to be true. For every Julian of Norwich, there is a Countess Mahaut of Artois.

I don't want to be his little slave, but I don't want to die either. This is the medieval equivalent of "Tits or GTFO" isn't it? My fear gives way to anger. Fuck this guy. Fuck all these guys.

Kiev became a linchpin of the medieval world, evidenced by the marriage ties of the ruling house in the second half of the eleventh century. Daughters of Yaroslav the Wise, who reigned as Grand Prince of Kiev until 1054, married the King of Norway, the King of Hungary, the King of Sweden and the King of France. One son married the daughter of the King of Poland, while another took as his wife a member of the imperial family of Constantinople. The marriages made in the next generation were even more impressive. Rus’ princesses were married to the King of Hungary, the King of Poland and the powerful German Emperor, Henry IV. Among other illustrious matches was Gytha, the wife of Vladimir II Monomakh, the Grand Prince of Kiev: she was the daughter of Harold II, King of England, who was killed at the battle of Hastings in 1066. The ruling family in Kiev was the best-connected dynasty in Europe.

It had been a long time since Matthew had been with a woman. So long, in fact, that he could not remember when last he touched female flesh. But gazing down at Alixandrea’s face, it was as if no other woman had existed before her. It

PRONUNCIATION GUIDE: Ailith: A-lith ("noble war"; "ascending, rising") Andriana: An-dree-ana, or Dree, for "Dri" ("warrior") Asher: Ash-er ("happy one") Azarel: Ah-zah-rell ("helper") Bellona: Bell-oh-na ("warlike") Chaza'el: Chazah-ell ("one who sees") Kapriel: Kah-pree-ell (variant of "warrior") Keallach: Key-lock ("battle") Killian: Kill-ee-un ("little warrior"--though he's not so little in my novel!) Raniero: Rah-near-oh ("wise warrior") Ronan: Row-nun ("little seal"; I know. Not as cool, right? But he was named Duncan at first draft and I had to change it due to publisher request, and "Ronan" sounded like a medieval, cool warrior name to me. I overlooked the real translation in favor of the man he became in my story. And that guy, to my mind, is more like a warrior, with the spray of the sea upon his face as he takes on the storm--which is like a seal!) Tressa: Tre-sah ("late summer") Vidar: Vee-dar ("forest warrior")

Most shocking of all, a long-standing dispute between the city’s taxi drivers and a local car service called Murray Hill Limousine Service over the right to pick up passengers from the airport exploded into violence, as if the two sides were warring principalities in medieval Europe. The taxi drivers descended on Murray Hill with gasoline bombs. Murray Hill’s security guards opened fire. The taxi drivers then set a bus on fire and sent it crashing through the locked doors of the Murray Hill garage. This is CANADA we’re talking about.

Mental discipline, prayer and remoteness from the world and its disturbing visions reduce temptation to a minimum, but they can never entirely abolish it. In medieval traditions, abbeys and convents were always considered to be expugnable centres of revolt against infernal dominion on earth. They became, accordingly, special targets. Satan, issuing orders at nightfall to his foul precurrers, was rumoured to dispatch to capital cities only one junior fiend. This solitary demon, the legend continues, sleeps at his post. There is no work for him; the battle was long ago won. But monasteries, those scattered danger points, become the chief objectives of nocturnal flight; the sky fills with the beat of sable wings as phalanx after phalanx streams to the attack, and the darkness crepitates with the splintering of a myriad lances against the masonry of asceticism.

The Middle Ages in Europe are traditionally seen as the time of Crusades, chivalry and the growing power of the papacy, but all this was little more than a sideshow to the titanic struggles taking place further east. The tribal system had led the Mongols to the brink of global domination, having conquered almost the whole continent of Asia. Europe and North Africa yawned open; it was striking then that the Mongol leadership focused not on the former but on the latter. Put simply, Europe was not the best prize on offer. All that stood in the way of Mongol control of the Nile, of Egypt’s rich agricultural output and its crucial position as a junction on the trade routes in all directions was an army commanded by men who were drawn from the very same steppes: this was not just a struggle for supremacy, it was the triumph of a political, cultural and social system. The battle for the medieval world was being fought between nomads from Central and eastern Asia.

If love as a sentiment was the discovery of the medieval poets, love as a moral emotion might be called that of the eighteenth-century philosophers, who, for all their celebration of free unions and fatal passions, were really on the side of the angels, were fighting the battle of the spiritual against the sensual, of conscience against appetite.

The bibliographer in the digital age returns to the revelatory practice of her medieval forebears. Librarians, like those scribes of the Middle Ages, do not merely keep and classify texts; they create them, in the form of online finding aids, CD-ROM concordances, and other electronic texts, not to mention paper study guides and published bibliographies.

[...] The idea of honor in battle has been passed down for generations. It went from Greece to Rome, to the medieval world and the Crusades. It was beloved of Sir Philip Sidney, Essex and Southampton [...]. In many ways, the British Empire was founded on it [...] The idea came to a halt in the First World War [...] The poets, led by Wilfred Owen, told the truth about it "[...] The old lie : 'Dulce el decorum est pro patria mori'. [...]Henry IV Part I is a play with much "honor". Honor is its central theme. So let's examine Henry IV Part I for a moment, to understand the ingredients of "honor". [...] You will notice there are not many women in these plays [about honor]-and when they appear, they are usually whores or faifthful wives. Honor is not a woman's story[...] 'What is honour? A word', (...) a mere scutcheon" [says] Falstaff's iconoclasm and truthful vision about honor. {...]There are several things we can see in all this. The first is that war is a man´s game, it is intolerable, and the only way you can get people to do it is to make the alternative seem a hundred times worse [...] Therefore, valor must be glorified, if not deified. [...]

That’s the paradox, people aren’t interested in reading about settling on Mars or flying to the stars—all the things that people really can achieve, but Others can’t. But they dream about becoming magicians, rushing into battle with a big sharp sword…. If only they knew what the wounds from a real sword look like!…What does all this mean? That a medieval world in which magic exists is the one most attractive to people!

Libraries are medieval forests masking opportunity and danger; every aisle is a path, every catalog reference a clue to the location of the Holy Grail. It is here that I become privy to the sacred songs of kings and the ballads of rogues. Here are tales of life-and-death struggles of other wayfarers as they battle personal dragons and woo fair maidens. Walking down this hallway, I am a knight entering the forest in search of the truth...

The conduct of war will always challenge a nation founded on a commitment to justice. It will call back the nation’s history, its earlier struggles, its triumphs and failures. There were shades, during the war on terror, of the Alien and Sedition Acts passed in 1798 during the Quasi-War with France, of the Espionage Act of the First World War, and of FDR’s Japanese internment order during the Second World War. But with Bush’s November 2001 military order, the war on terror became, itself, like another airplane, attacking the edifice of American law, down to its very footings, the ancient, medieval foundations of trial by jury and the battle for truth.

For two thousand years, the closer to Carthage (roughly the site of modern-day Tunis) the greater the level of development. Because urbanization in Tunisia started two millennia ago, tribal identity based on nomadism—which the medieval historian Ibn Khaldun said disrupted political stability—is correspondingly weak. Indeed, after the Roman general Scipio defeated Hannibal in 202 B.C. outside Tunis, he dug a demarcation ditch, or fossa regia, that marked the extent of civilized territory. The fossa regia remains relevant to the current Middle East crisis. Still visible in places, it runs from Tabarka on Tunisia’s northwestern coast southward, and turns directly eastward to Sfax, another Mediterranean port. The

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

Many critics have seen Tolkien's writings as a response to the trauma of the First World War, even going so far as to see The Lord of the Rings as a "war novel", rather than as pure high fantasy. Tolkien himself admitted there were connections with the First World War, but denied vehemently there were any to the second: Sauron is not Hitler; the One Ring is not the atomic bomb. There is a middle ground: The Silmarillion and The Lord of the Rings, along with many other of his writings, was to large degree a therapeutic process in which he faced up to and attempted to purge the trauma inflicted on him and his peers at the Somme.... Who knows, then, what Tolkien might have made of the War of the Last Alliance had he written its tale in full? There are hints of the grandeur and terror it might have achieved: The Somme-like Battle of Dagorlad with the ill-considered charge of the Galadhrim and the swamp of dead bodies left behind in the Dead Marshes; the grueling seven-year siege and the climactic, gruesome duel on the slopes of Mount Doom. What we do have, however, is an intriguing, almost medieval-style chronicle of its main events and manoeuvres - more than enough, then, to feed our imaginations.

But I believe that the Industrial Revolution, including developments leading to this revolution, barely capture what was unique about Western culture. While other cultures were unique in their own customs, languages, beliefs, and historical experiences, the West was uniquely exceptional in exhibiting in a continuous way the greatest degree of creativity, novelty, and expansionary dynamics. I trace the uniqueness of the West back to the aristocratic warlike culture of Indo-European speakers as early as the 4th millennium BC. Their aristocratic libertarian culture was already unique and quite innovative in initiating the most mobile way of life in prehistoric times, starting with the domestication and riding of horses and the invention of chariot warfare. So were the ancient Greeks in their discovery of logos and its link with the order of the world, dialectical reason, the invention of prose, tragedy, citizen politics, and face-to-face infantry battle. The Roman creation of a secular system of republican governance anchored on autonomous principles of judicial reasoning was in and of itself unique. The incessant wars and conquests of the Roman legions, together with their many military innovations and engineering skills, were one of the most vital illustrations of spatial expansionism in history. The fusion of Christianity and the Greco-Roman intellectual and administrative heritage, coupled with the cultivation of Catholicism (the first rational theology in history), was a unique phenomenon. The medieval invention of universities — in which a secular education could flourish and even articles of faith were open to criticism and rational analysis, in an effort to arrive at the truth — was exceptional. The list of epoch-making transformation in Europe is endless: the Renaissance, the Age of Discovery, the Scientific Revolution(s), the Military Revolution(s), the Cartographic Revolution, the Spanish Golden Age, the Printing Revolution, the Enlightenment, the Romantic Era, the German Philosophical Revolutions from Kant to Hegel to Nietzsche to Heidegger.

Many of those who have experienced trauma in early childhood grow up to become adults with dysfunctional lives and dysfunctional relationships, never being able to solve such issues within themselves, not even with the help of the best therapists in the world, because the root cause of it has been removed by the institutions in control of mental health training programs, mainstream media and public opinion. And the root cause of all evil, including self-inflicted evil, lays on the capacity to differentiate good from evil, which has helped us survive as a society and as individuals throughout the entirety of human history and up to this day. Once you remove this natural ability from anyone's awareness, no theory, despite the amount of logic and common sense in it, will ever work. As a matter of fact, not many people know what serves their best interest, because they don't even know what is good or evil. They relativize their ignorance to justify their stupidity. And this constitutes a thicker layer on top of their innate capacity to perceive reality. Many problems, including those related to self-esteem, could easily be solved, if one was able of properly differentiating what promotes survival from what leads to death. Whenever a large group of people lacks such capacity, they are promoting a dysfunctional society by default, and in doing so, replicating the same traumas that made them themselves dysfunctional as humans. And that’s how an overall mindset rooted on victimization and justification promotes the power of those in control. One cannot ever be free unless he rebels against his own status quo and towards a higher level of individualization, risking that which he depends the most upon — the respect and acceptance of friends and family. The battle of ego and social validation against ethics, has made many souls captive to a world created to weaken them and blind them. Indeed, it is interesting to see how humanity replicates the tortures of medieval times with more sophisticated weapons, and how wars developed towards a higher degree of abstraction, in order to nullify any resistance, or the mere level of awareness justifying it.

The Middle Ages have served as a historical arena within which two schools of thought have done battle—one school accusing the medieval church of actively opposing the advancement of scientific learning, the other praising the medieval church and its theology for laying a foundation that made modern science possible.

He was forty years old, and for six years he had been struggling to claim the crown of the imperator. Less than twenty-four hours before, he had finally beaten the sitting emperor of Rome, twenty-nine-year-old Maxentius, at the Battle of the Milvian Bridge. Constantine’s men had fought their way forward across the bridge, toward the city of Rome, until the defenders broke and ran. Maxentius drowned, pulled down into the mud of the riverbed by the weight of his armor. The Christian historian Lactantius tells us that Constantine’s men marched into Rome with the sign of Christ marked on each shield; the Roman* writer Zosimus adds that they also carried Maxentius’s waterlogged head on the tip of a spear. Constantine had dredged the body up and decapitated it.1

The House of Fantasy is built of stone and wood and furnished in High Medieval. Its people travel by horse and galley, fight with sword and spell and battle-axe, communicate by palantir or raven, and break bread with elves and dragons. The House of Science Fiction is built of duralloy and plastic and furnished in Faux Future. Its people travel by starship and aircar, fight with nukes and tailored germs, communicate by ansible and laser, and break protein bars with aliens. The House of Horror is built of bone and cobwebs and furnished in Ghastly Gothick. Its people travel only by night, fight with anything that will kill messily, communicate in screams and shrieks and gibbers, and sip blood with vampires and werewolves. The Furniture Rule, I call it. Forget the definitions. Furniture Rules.

I could hear men shouting orders. Followed by a thousand voices raised in some sort of battle cry. I couldn’t make out the words but likely it was a demand that God strengthen their sword arms and sow confusion in the enemy ranks. To me it sounded like the medieval equivalent of, ‘Oggy, Oggy, Oggy – Oi, Oi, Oi.

Amidst the wreckage of these implausible suggestions, an alternative has recently emerged—that Lewis was shaped by what the great English seventeenth-century poet John Donne called “the Heptarchy, the seven kingdoms of the seven planets.” And amazingly, this one seems to work. The idea was first put forward by Oxford Lewis scholar Michael Ward in 2008.[618] Noting the importance that Lewis assigns to the seven planets in his studies of medieval literature, Ward suggests that the Narnia novels reflect and embody the thematic characteristics associated in the “discarded” medieval worldview with the seven planets. In the pre-Copernican worldview, which dominated the Middle Ages, Earth was understood to be stationary; the seven “planets” revolved around Earth. These medieval planets were the Sun, the Moon, Mercury, Venus, Mars, Jupiter, and Saturn. Lewis does not include Uranus, Neptune, and Pluto, since these were only discovered in the eighteenth, nineteenth, and twentieth centuries, respectively. So what is Lewis doing? Ward is not suggesting that Lewis reverts to a pre-Copernican cosmology, nor that he endorses the arcane world of astrology. His point is much more subtle, and has enormous imaginative potential. For Ward, Lewis regarded the seven planets as being part of a poetically rich and imaginatively satisfying symbolic system. Lewis therefore took the imaginative and emotive characteristics which the Middle Ages associated with each of the seven planets, and attached these to each of the seven novels as follows: The Lion, the Witch and the Wardrobe: Jupiter Prince Caspian: Mars The Voyage of the “Dawn Treader”: the Sun The Silver Chair: the Moon The Horse and His Boy: Mercury The Magician’s Nephew: Venus The Last Battle: Saturn For example, Ward argues that Prince Caspian shows the thematic influence of Mars.[619] This is seen primarily at two levels. First, Mars was the ancient god of war (Mars Gradivus). This immediately connects to the dominance of military language, imagery, and issues in this novel. The four Pevensie children arrive in Narnia “in the middle of a war”—“the Great War of Deliverance,” as it is referred to later in the series, or the “Civil War” in Lewis’s own “Outline of Narnian History.

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them. Yet, just as the dance was about to begin, Princess Mehjabeen's eyes fluttered open, the enchanting dream slipping away like mist beneath the twilight.

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them.

The battle for the medieval world was being fought between nomads from Central and eastern Asia.

The final medieval testimony comes from the Wunderer, which is undoubtedly from the same era but is known only through its later versions of the fifteenth and sixteenth centuries.4 Here, too, the hero is Dietrich von Bern, and the action takes place in the Tyrol Mountains, but the female figure is now Dame Fortune (Frau Saelde)—in fact, a fairy or supernatural being known in the Tyrol region as Salige—and her pursuer is a giant called the Wunderer. The name of the woman allows us to venture an interpretation: This is undoubtedly a literary vision that has been transposed into the courtly world of the struggle between good and evil and, on an older and more rural level, that of the battle between the powers—the spirits of the local land who govern the prosperity or misfortune of human beings.

The great prize that was hauled back across the Pyrenees was a large number of qiyan: women like the ones singing for the Norman-gone-native in the earlier anecdote, women who sang for a living, young and attractive entertainers much prized in the Andalusian courts. Sources vary wildly on the numbers of women who were taken as prizes of the battle for Barbastro—500, 1,500, 5,000—but they all agree that a great many went back with the Aquitainians. In that expedition, and no doubt in others, Andalusian singers were the greatest treasure among the spoils taken back to the newly ambitious Christian courts

you get such an indication from Jan that she’s going to try to derail you with a denial, or if she beats you to the punch and is able to voice the denial, there are several immediate actions you can take to quash her effort. First, if you want to get a person to stop talking, a very effective way to accomplish that is with one word: the person’s name. A fascinating nuance of human communication is that when we hear our name, we have a natural inclination to switch from speaking mode to listening mode, because it’s the way people typically get our attention to tell us something—we hear our name, and our ears perk up. The next step is to use a control phrase, like, “Jan, hold on a second,” or “Jan, give me a chance to make this clear.” That enables you to gain control of the exchange, and to ease back into your monologue. As always, it needs to be conveyed calmly, and without raising your voice—trying to control the situation by turning up your volume will create a confrontational atmosphere that will only make your job more difficult. Third, a remarkably effective mechanism to get someone to stop talking is the universal stop sign: You hold up your hand. You do it almost as a gesture of self-defense—you’re not extending it out aggressively and shoving it into the person’s face, or doing it with attitude. It’s a visual amplification of your control phrase, and it’s more powerful than you might imagine. The reason is that this is a verbal battle, and when you get the person to stop talking, you’ve taken away his weapon. In medieval times, it was a clash of swords;

If we had to sum this new society up in a single word, we might describe it as feudal— but only if we were prepared for an outbreak of fainting fits among medieval historians.

One display of particular interest to Gary featured a medieval castle and associated miniature soldiers used for a game called The Siege of Bodenburg. At the time, traditional board wargamers and miniatures battle players were still two distinct audiences. Wargame publishers, such as Avalon Hill, hadn’t thought to use miniatures in its battle simulations, instead relying on hex maps and cardboard counters. Bodenburg seemed to have an appeal for diverse factions of gamers, and it sparked Gary’s interest in miniatures gaming in the medieval setting, an interest that would inevitably lead to his greatest creation. Not

Dearest Prudence, I have the robin’s feather in my pocket. How did you know I needed token to carry into battle? For the past two weeks I’ve been in a rifle pit, sniping back and forth with the Russians. It’s no longer a cavalry war, it’s all engineers and artillery. Albert stayed in the trench with me, only going out to carry messages up and down the line. During the lulls, I try to imagine being in some other place. I imagine you with your feet propped near the hearth, and your breath sweet with mint tea. I imagine walking through the Stony Cross forests with you. I would love to see some commonplace miracles, but I don’t think I could find them without you. I need your help, Pru. I think you might be my only chance of becoming part of the world again. I feel as if I have more memories of you than I actually do. I was with you on only a handful of occasions. A dance. A conversation. A kiss. I wish I could relive those moments. I would appreciate them more. I would appreciate everything more. Last night I dreamed of you again. I couldn’t see your face, but I felt you near me. You were whispering to me. The last time I held you, I didn’t know who you truly were. Or who I was, for that matter. We never looked beneath the surface. Perhaps it’s better we didn’t--I don’t think I could have left you, had I felt for you then what I do now. I’ll tell you what I’m fighting for. Not for England, nor her allies, nor any patriotic cause. It’s all come down to the hope of being with you. Dear Christopher, You’ve made me realize that words are the most important things in the world. And never so much as now. The moment Audrey gave me your last letter, my heart started beating faster, and I had to run to my secret house to read it in private. I haven’t yet told you…last spring on one of my rambles, I found the oddest structure in the forest, a lone tower of brick and stonework, all covered with ivy and moss. It was on a distant portion of the Stony Cross estate that belongs to Lord Westcliff. Later when I asked Lady Westcliff about it, she said that keeping a secret house was a local custom in medieval times. The lord of the manor might have used it as a place to keep his mistress. Once a Westcliff ancestor actually hid there from his own bloodthirsty retainers. Lady Westcliff said I could visit the secret house whenever I wanted, since it has long been abandoned. I go there often. It’s my hiding place, my sanctuary…and now that you know about it, it’s yours as well. I’ve just lit a candle and set it in a window. A very tiny lodestar, for you to follow home.

The flames of the fire leapt up and surrounded her, consuming her, becoming her. Heat filled and flushed her, breaking the bottle and she soared up and up. She came to stand in a sun's center. But that even faded and she rode pillion with Emmerich as he crossed the field on his black battle charger, her hands gripping his sides. The edges of his chain-mail bit into her skin and she could hear his labored breath. She could smell his particular scent: horse and leather, sweat and musk. Men roared like the ocean and rushed like waves to slam against the opposing force meeting them outside the walls.

If we had to sum this new society up in a single word, we might describe it as feudal— but only if we were prepared for an outbreak of fainting fits among medieval historians. The

Don’t forget young Chester, ‘The past is a foreign country’, but boarding school will be another world, my boy!

The practice of buying off the Vikings will always be associated with Æthelred in particular… [but] it was not something which proceeded from Æthelred alone, and indeed it was not uniquely characteristic of Æthelred’s reign… In 991 Ealdorman Byrhtnoth rejected the option of paying tribute and resolved to fight: he died a heroic death, and gained immortality in 325 lines of Old English verse, but the countryside was ravaged and tribute had to be paid nonetheless; there were other instances of heroic resistance, but perhaps the English learnt a lesson at Maldon which they found hard to forget.

His jaw and chin were covered in dark stubble. Was this how he had looked when he was once a rough knight, fighting in battles and commanding other rough men? But he was too appealing to dwell on. While

Her eyelids drooped low. He could resist no longer. He bent and pressed his mouth to hers. He kissed her softly at first, making sure she did not want to pull away. Her hands clung to his shoulders, then entwined around his neck. He kissed her more urgently then, kissed her as if he could erase every cruel memory of life as a maidservant, kissed her as if he was a knight going off to battle. Kissing her was achingly sweet. But he did not want to hurt her any more than he already had. He forced himself to end the kiss, then held her tight as she buried her face against his neck. “I must go.” She clung to his shoulders for a moment before letting him go. He caressed her cheek, then walked out, to his fate at the hands of Geitbart.

If this was the last battle I should ever fight, let it be with the last of the Dragon Warriors. Let it be with my Army of Stags. If this was the last time I would punish with my sword, let me say yes. Yes to freedom. Yes to honor. Yes to death. Theirs or my own.

After Scotland's mounted knights had been routed by Edward I in 1296, resistance leaders worked out new methods of waging war, using foot-soldiers armed with long pikes and axes. Medieval infantry usually fled when charged by cavalry, but William Wallace and Robert Bruce (King Robert I) solved the problem by organising their men into massed formations ('schiltroms'), and fighting on the defensive on well-chosen ground; that is how Robert I's army won the battle of Bannockburn. Also, Robert ordered that castles recaptured from the English should be demolished or slighted. This denied the English any bases for garrisons, and meant that subsequent warfare consisted chiefly of cross-Border raids - in which Robert I perfected the technique of making rapid hard-hitting strikes. The English could not win this type of warfare. The actual fighting was done by ordinary Scotsmen; most of the pikemen came from the substantial peasantry, whose level of commitment to the independence cause was remarkably high. But the organisation and leadership came from the Normanised Scottish landowners. Norman military success had been based on these qualities as well as on armoured cavalry; now they were vital in countering the armies of English knights. There is a most significant contrast here with the Welsh and the Irish, who never found the way to defeat the English in warfare. It was the Normanised Scottish landowners, forming the officer corps of Scotland's armies, who achieved that crucial breakthrough.

The taste of victory enticed me, and the fact that they were led by a squinted-eye lord with a stentorian voice moved me...

...in the tonic chord of G-major there is a significant level of clash between the wave profiles of the notes, but the rate of overlap or synchronisation exceeds the rate of clash, so order succeeds in outweighing complexity. In this one chord is played out the archetypal battle between order and anarchy. What matters is that there is a significant rate of conflict between consonance and dissonance. Harmony incorporates dissonance but synchrony outweighs conflict . This idea goes back at least as far as the medieval scholar Boethius who defined consonance or harmony as ‘a unified concordance of sounds dissimilar in themselves’.

He had learned many lessons simply by watching these battles, he told me. ‘M-G-M is like a medieval monarchy,’ he said. ‘Palace revolutions all the time.’ He leaned back in his swivel chair. ‘L. B. is the King. Dore is the Prime Minister. Benny Thau, an old Mayer man, is the Foreign Minister, and makes all the important deals for the studio, like the loan-outs of big stars. L. K. Sidney, one vice-president, is the Minister of the Interior, and Edgar J. Mannix, another vice-president, is Lord Privy Seal, or, sometimes, Minister without Portfolio.

Your first battle, and you kill three men in the time it takes me to kill one. Did one of your ancestors sleep with a barbarian war god or something?" Yi asked.

Once upon a time, lapidus fae had enslaved his kind and used them as beasts of war, riding them into battle like medieval destriers. Those of his kind who could fly had taken archers aloft. And those of the leviathan class who were also winged had taken small cannons into the skies. All in the name of claiming more land and expanding kingdoms. Fae kingdoms. The gargoyles had never been a race to lay claim to a homeland, and so the fae had put them to use forcibly. Granted, that was centuries ago, and the exact details had been lost, but some wounds stayed sore even after they healed. He knew enough to know she had the potential to be dangerous.

If the Poles described the Ukrainian insurgents as savages, and the Jews saw them as “worse than the Germans,” from their own point of view they were martyrs of a just and holy cause, the liberation of their land from foreign oppression: the goal justified the means, including massacres, ethnic cleansing, and genocide. Many of them died in battle, were executed by the NKVD, or spent long years in gulags. Others fled to the West, where they formed the nationalist hard core of the Ukrainian diaspora. Vilified by the communists as fascist collaborators, they emerged from obscurity and were celebrated as the harbingers of the nation after Ukrainian independence in 1991, especially in Western Ukraine. Two decades later, as a newly resurgent Russia sought to reassert its influence on Ukraine, the UPA again came to symbolize the country’s historical struggle against its mighty eastern neighbor: in 2016 the black-and-red banner of the insurgent army was again fluttering from the remnants of the medieval Polish castle overlooking Buczacz. History was back to its old tricks. UPA flag on top of the castle in Buczacz, 2016.

The Ancient Britons’ secret weapon? Woad could be mixed with yellow from the meadow plant weld, or from another native plant, dyer’s greenweed (genista tinctoria; despite its English name it dyed yellow), to give the green that Robin Hood and his merry men famously wore. Red, another favourite medieval colour, could be obtained from the roots of another native plant, madder. Mixed with woad it produced a soft purple. A deeper purple came from a lichen, orchil, imported from Norway, or ‘brasil’, a wood imported from the East Indies and correspondingly expensive. The deepest purple came from kermes, derived from insects from the Mediterranean basin called by the Italians ‘vermilium’ (‘little worms’, hence vermilion) and by the English ‘grains’. Its cost limited it to the most luxurious textiles. A good pink could be had from the resin of dragon’s blood trees, although some medieval authorities traced it to the product of a battle between elephants and dragons in which both protagonists died. Most of these dyestuffs needed a mordant to give some degree of light-fastness – usually alum, imported from Turkey and Greece.

Feudal Anarchy This period was characterized by what’s now called ‘feudal anarchy’, a situation where real power lay not with kings but with local lords. Because kings had not effectively centralized power yet, and the concept of nations was still vague, if you had a castle and a private army there wasn’t much anyone could do to stop you. There was private justice and war against all—generally speaking not the best time to be alive, and much more violent than the later medieval period by which time a local lord couldn’t just hang anyone who annoyed him.

The prince remembers his father's words- "Steal a loaf of bread, son, and they will cut your hands off, but steal an entire country and they will proclaim you their king. Humanity can never forgive mediocrity, but when audacity and brilliance combine in the right individual it can luster godlike- and they will forgive you anything, even a whole generation of boys sent off to battle for the interests of that lustrous-one". Excerpt from Varangian: Book One of the Byzantum Saga

No one dared tell the outcome of the battle to Philip VI until his jester was thrust forward and said, "Oh, the cowardly English, the cowardly English!" and on being asked why, replied, "They did not jump overboard like our brave Frenchmen." The King evidently got the point. The fish drank so much French blood, it was said afterward, that if God had given them the power of speech they would have spoken in French.

mythology describes the hero's battle with his internal self as the encounter with the dragon, and modern man has no fewer dragon battles than did his medieval counterpart

Almost unbearably thicker than normal, sulfur polluted the air, entwining with the fog in an elusive dance. All this chaos woven together into a strange, alien rhythm: the thrill of battle.

He could feel his heart beating rapidly beneath his armor—flames were spreading, dancing to the perverted song of death. Screams of fear harmonized, a demented plea for mercy that would never be given. The song spiraled up with the smoke, polluting the air and stretching over the broken battlefield below.

Laurel let out a shriek of derisive laughter. “Then what do you call the Lux Civil War? Darling, if you want to win me back, work harder!

One of the most famous stories of medieval chivalry tells how Sir James, the “Black” Douglas, for twenty years the faithful sword-arm of the Bruce, took his master’s heart to be buried in the Holy Land, and how, touching at a Spanish port, he responded to a sudden call of chivalry and joined the hard-pressed Christians in battle with the Moors. Charging the heathen host, he threw far into the mêlée the silver casket containing the heart of Bruce. “Forward, brave heart, as thou wert wont. Douglas will follow thee or die!” He was killed in the moment of victory.

Without the withering criticism by nominalism, medieval Christian philosophy and theology would not have relinquished their claim to the role of knowledge in discovering the nature of things in light of higher principles; instead, it caused them to leave the field of battle without any defense before the onslaught of secularism, rationalism, and empiricism, which were, as a result, able to gain a remarkably easy victory.

Eileen Joy, in particular, has been repeatedly accused of publicly naming graduate students “in order to extract confessions” over imagined grievances. “She puts Bernard Gui to shame,” said one academic I spoke to who insisted his name not be used. (This is slightly unfair—to Gui. Church inquisitors believed in giving accused heretics the chance to prove themselves innocent before they passed judgment, unlike many secular judges, and Eileen.)