Murder In The Cathedral Quotes

Unreal friendship may turn to real But real friendship, once ended, cannot be mended

The last act is the greatest treason. To do the right deed for the wrong reason.

This is one moment, / But know that another / Shall pierce you with a sudden painful joy.

The last temptation is the greatest treason: To do the right deed for the wrong reason.

A christian martyrdom is never an accident, for Saints are not made by accident.

A martyr is, he who has become the instrument of God, who has lost his will in the will of God, not lost it but found it, for he has found freedom in submission to God. The martyr no longer desires anything for himself, not even the glory of martyrdom.

Its substance was known to me. The crawling infinity of colours, the chaos of textures that went into each strand of that eternally complex tapestry…each one resonated under the step of the dancing mad god, vibrating and sending little echoes of bravery, or hunger, or architecture, or argument, or cabbage or murder or concrete across the aether. The weft of starlings’ motivations connected to the thick, sticky strand of a young thief’s laugh. The fibres stretched taut and glued themselves solidly to a third line, its silk made from the angles of seven flying buttresses to a cathedral roof. The plait disappeared into the enormity of possible spaces. Every intention, interaction, motivation, every colour, every body, every action and reaction, every piece of physical reality and the thoughts that it engendered, every connection made, every nuanced moment of history and potentiality, every toothache and flagstone, every emotion and birth and banknote, every possible thing ever is woven into that limitless, sprawling web. It is without beginning or end. It is complex to a degree that humbles the mind. It is a work of such beauty that my soul wept... ..I have danced with the spider. I have cut a caper with the dancing mad god.

I wasn’t reading poetry because my aim was to work my way through English Literature in Prose A–Z. But this was different. I read [in, Murder in the Cathedral by T.S. Eliot]: This is one moment, / But know that another / Shall pierce you with a sudden painful joy. I started to cry. (…)The unfamiliar and beautiful play made things bearable that day, and the things it made bearable were another failed family—the first one was not my fault, but all adopted children blame themselves. The second failure was definitely my fault. I was confused about sex and sexuality, and upset about the straightforward practical problems of where to live, what to eat, and how to do my A levels. I had no one to help me, but the T.S. Eliot helped me. So when people say that poetry is a luxury, or an option, or for the educated middle classes, or that it shouldn’t be read at school because it is irrelevant, or any of the strange and stupid things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy. A tough life needs a tough language—and that is what poetry is. That is what literature offers—a language powerful enough to say how it is. It isn’t a hiding place. It is a finding place.

What day is the day that we know that we hope for or fear for? Every day is the day we should fear from or hope from. One moment Weighs like another. Only in retrospection, selection, We say, that was the day. The critical moment That is always now, and here.

We have only to conquer Now, by suffering. This is the easier victory. Now is the triumph of the cross.

Out of all of the sects in the world, we notice an uncanny coincidence: the overwhelming majority just happen to choose the one that their parents belong to. Not the sect that has the best evidence in its favour, the best miracles, the best moral code, the best cathedral, the best stained glass, the best music: when it comes to choosing from the smorgasbord of available religions, their potential virtues seem to count for nothing, compared to the matter of heredity. This is an unmistakable fact; nobody could seriously deny it. Yet people with full knowledge of the arbitrary nature of this heredity, somehow manage to go on believing in their religion, often with such fanaticism that they are prepared to murder people who follow a different one.

In his play Murder in the Cathedral, T. S. Eliot describes a martyr as one “who has become an instrument of God, who has lost his will in the will of God, not lost it but found it, for he has found freedom in submission to God. The martyr no longer desires anything for himself, not even the glory of ­martyrdom.

We acknowledge our trespass, our weakness, our fault; we acknowledge That the sin of the world is upon our heads; that the blood of the martyrs and the agony of the saints Is upon our heads. Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us. Blessed Thomas, pray for us.

A martyrdom is always the design of God, for His love of men, to warn them and to lead them, to bring them back to His ways. It is never the design of man; for the true martyr is he who has become the instrument of God, who has lost his will in the will of God, and who no longer desires anything for himself, not even the glory of being a martyr.

They know and do not know, that acting is suffering And suffering is action. Neither does the actor suffer Nor the patient act. But both are fixed To an eternal action, an eternal patience To which all must consent that it may be willed And which all must suffer that they may will it, That the pattern may subsist, for the pattern is the action And the suffering, that the wheel may turn and still Be forever still.

I see nothing quite conclusive in the art of temporal government, But violence, duplicity and frequent malversation.

It is the just man who Like a bold lion, should be without fear.

That which interests most people leaves me without any interest at all. This includes a list of things such as: social dancing, riding roller coasters, going to zoos, picnics, movies, planetariums, watching tv, baseball games; going to funerals, weddings, parties, basketball games, auto races, poetry readings, museums, rallies, demonstrations, protests, children’s plays, adult plays … I am not interested in beaches, swimming, skiing, Christmas, New Year’s, the 4th of July, rock music, world history, space exploration, pet dogs, soccer, cathedrals and great works of Art. How can a man who is interested in almost nothing write about anything? Well, I do. I write and I write about what’s left over: a stray dog walking down the street, a wife murdering her husband, the thoughts and feelings of a rapist as he bites into a hamburger sandwich; life in the factory, life in the streets and rooms of the poor and mutilated and the insane, crap like that, I write a lot of crap like that

The preliminaries were out of the way, the creative process was about to begin. The creative process, that mystic life force, that splurge out of which has come the Venus de Milo, the Mona Lisa, the Fantasie Impromptu, the Bayeux tapestries, Romeo and Juliet, the windows of Chartres Cathedral, Paradise Lost - and a pulp murder story by Dan Moody. The process is the same in all; if the results are a little uneven, that doesn't invalidate the basic similarity of origin.

What is so often said about the solders of the 20th century is that they fought to make us free. Which is a wonderful sentiment and one witch should evoke tremendous gratitude if in fact there was a shred of truth in that statement but, it's not true. It's not even close to true in fact it's the opposite of truth. There's this myth around that people believe that the way to honor deaths of so many of millions of people; that the way to honor is to say that we achieved some tangible, positive, good, out of their death's. That's how we are supposed to honor their deaths. We can try and rescue some positive and forward momentum of human progress, of human virtue from these hundreds of millions of death's but we don't do it by pretending that they'd died to set us free because we are less free; far less free now then we were before these slaughters began. These people did not die to set us free. They did not die fighting any enemy other than the ones that the previous deaths created. The beginning of wisdom is to call things by their proper names. Solders are paid killers, and I say this with a great degree of sympathy to young men and women who are suckered into a life of evil through propaganda and the labeling of heroic to a man in costume who kills for money and the life of honor is accepting ordered killings for money, prestige, and pensions. We create the possibility of moral choice by communicating truth about ethics to people. That to me is where real heroism and real respect for the dead lies. Real respect for the dead lies in exhuming the corpses and hearing what they would say if they could speak out; and they would say: If any ask us why we died tell it's because our fathers lied, tell them it's because we were told that charging up a hill and slaughtering our fellow man was heroic, noble, and honorable. But these hundreds of millions of ghosts encircled the world in agony, remorse will not be released from our collective unconscious until we lay the truth of their murders on the table and look at the horror that is the lie; that murder for money can be moral, that murder for prestige can be moral. These poor young men and woman propagandized into an undead ethical status lied to about what is noble, virtuous, courageous, honorable, decent, and good to the point that they're rolling hand grenades into children's rooms and the illusion that, that is going to make the world a better place. We have to stare this in the face if we want to remember why these people died. They did not die to set us free. They did not die to make the world a better place. They died because we are ruled by sociopaths. The only thing that can create a better world is the truth is the virtue is the honor and courage of standing up to the genocidal lies of mankind and calling them lies and ultimate corruptions. The trauma and horrors of this century of staggering bloodshed of the brief respite of the 19th century. This addiction to blood and the idea that if we pour more bodies into the hole of the mass graves of the 20th century, if we pour more bodies and more blood we can build some sort of cathedral to a better place but it doesn't happen. We can throw as many young men and woman as we want into this pit of slaughter and it will never be full. It will never do anything other than sink and recede further into the depths of hell. We can’t build a better world on bodies. We can’t build peace on blood. If we don't look back and see the army of the dead of the 20th century calling out for us to see that they died to enslave us. That whenever there was a war the government grew and grew. We are so addicted to this lie. What we need to do is remember that these bodies bury us. This ocean of blood that we create through the fantasy that violence brings virtue. It drowns us, drowns our children, our future, and the world. When we pour these endless young bodies into this pit of death; we follow it.

Only / The fool, fixed in his folly, may think / He can turn the wheel on which he turns.

We do not know very much of the future / Except that from generation to generation / The same things happen again and again. / Men learn little from others' experience.

The last temptation is the greatest treason: / To do the right deed for the wrong reason.

The last temptation is the greatest treason: To do the right deed for the wrong reason.

Friendship should be more than biting Time can sever.

Meanwhile the substance of our first act Will be shadows, and the strife with shadows.

We are not here to triumph by fighting, by stratagem, or by resistance, Not to fight with beasts as men. We have fought the beast And have conquered. We have only to conquer Now, by suffering.

What is woven on the loom of fate What is woven in the councils of princes Is woven also in our veins, our brains, Is woven like a pattern of living worms In the guts of the women of Canterbury

For those who serve the greater cause may make the cause serve them, / Still doing right: and striving with political men / May make that cause political, not by what they do / But by what they are.

Let them talk more munitions and airplanes and battleships and tanks and gases why of course we’ve got to have them we can’t get along without them how in the world could we protect the peace if we didn’t have them? Let them form blocs and alliances and mutual assistance pacts and guarantees of neutrality. Let them draft notes and ultimatums and protests and accusations. But before they vote on them before they give the order for all the little guys to start killing each other let the main guy rap his gavel on my case and point down at me and say here gentlemen is the only issue before this house and that is are you for this thing here or are you against it. And if they are against it why goddam them let them stand up like men and vote. And if they are for it let them be hanged and drawn and quartered and paraded through the streets in small chopped up little bits and thrown out into the fields where no clean animal will touch them and let their chunks rot there and may no green thing ever grow where they rot. Take me into your churches your great towering cathedrals that have to be rebuilt every fifty years because they are destroyed by war. Carry me in my glass box down the aisles where kings and priests and brides and children at their confirmation have gone so many times before to kiss a splinter of wood from a true cross on which was nailed the body of a man who was lucky enough to die. Set me high on your altars and call on god to look down upon his murderous little children his dearly beloved little children. Wave over me the incense I can’t smell. Swill down the sacramental wine I can’t taste. Drone out the prayers I can’t hear. Go through the old holy gestures for which I have no legs and no arms. Chorus out the hallelujas I can’t sing. Bring them out loud and strong for me your hallelujas all of them for me because I know the truth and you don’t you fools. You fools you fools you fools…

Man’s life is a cheat and a disappointment; All things are unreal, Unreal or disappointing: The Catherine wheel, the pantomime cat, The prizes given at the children’s party, The prize awarded for the English Essay, The scholar’s degree, the statesman’s decoration. All things become less real, man passes From unreality to unreality. This man is obstinate, blind, intent On self-destruction, Passing from deception to deception, From grandeur to grandeur to final illusion, Lost in the wonder of his own greatness, The enemy of society, enemy of himself.

Cowperwood, who saw things in the large, could scarcely endure this minutae. He was but little interested in the affairs of bygone men and women, being so intensely engaged with the living present. And after a time he slipped outside, preferring the wide sweep of gardens, with their flower-lined walks and views of the cathedral. Its arches and towers and stained-glass windows, this whole carefully executed shrine, still held glamor, but all because of the hands and brains, aspirations and dreams of selfish and self-preserving creatures like himself. And so many of these, as he now mused, walking about, had warred over possession of this church. And now they were within its walls, graced and made respectable, the noble dead! Was any man noble? Had there ever been such a thing as an indubitably noble soul? He was scarcely prepared to believe it. Men killed to live—all of them —and wallowed in lust in order to reproduce themselves. In fact, wars, vanities, pretenses, cruelties, greeds, lusts, murder, spelled their true history, with only the weak running to a mythical saviour or god for aid. And the strong using this belief in a god to further the conquest of the weak. And by such temples or shrines as this. He looked, meditated, and was somehow touched with the futility of so

Only last Sunday, when poor wretches were gay—within the walls playing with children among the clipped trees and the statues in the Palace Garden; walking, a score abreast, in the Elysian Fields, made more Elysian by performing dogs and wooden horses; between whiles filtering (a few) through the gloomy Cathedral of Our Lady to say a word or two at the base of a pillar within flare of a rusty little gridiron-full of gusty little tapers; without the walls encompassing Paris with dancing, love-making, wine-drinking, tobacco-smoking, tomb-visiting, billiard card and domino playing, quack-doctoring, and much murderous refuse, animate and inanimate—only last Sunday, my Lady, in the desolation of Boredom and the clutch of Giant Despair, almost hated her own maid for being in spirits. She cannot, therefore, go too fast from Paris. Weariness of soul lies before her, as it lies behind—her Ariel has put a girdle of it round the whole earth, and it cannot be unclasped—but the imperfect remedy is always to fly from the last place where it has been experienced. Fling Paris back into the distance, then, exchanging it for endless avenues and cross-avenues of wintry trees! And, when next beheld, let it be some leagues away, with the Gate of the Star a white speck glittering in the sun, and the city a mere mound in a plain—two dark square towers rising out of it, and light and shadow descending on it aslant, like the angels in Jacob's dream!

Pretty soon, however, I noticed something familiar. Most books are also about the exceptional. The biggest history bestsellers are invariably about catastrophes and adversity, tyranny and oppression. About war, war, and, to spice things up a little, war. And if, for once, there is no war, then we’re in what historians call the interbellum: between wars. In science, too, the view that humanity is bad has reigned for decades. Look up books on human nature and you’ll find titles like Demonic Males, The Selfish Gene and The Murderer Next Door. Biologists long assumed the gloomiest theory of evolution, where even if an animal appeared to do something kind, it was framed as selfish. Familial affection? Nepotism! Monkey splits a banana? Exploited by a freeloader!31 As one American biologist mocked, ‘What passes for co-operation turns out to be a mixture of opportunism and exploitation. […] Scratch an “altruist” and watch a “hypocrite” bleed.’32 And in economics? Much the same. Economists defined our species as the homo economicus: always intent on personal gain, like selfish, calculating robots. Upon this notion of human nature, economists built a cathedral of theories and models that wound up informing reams of legislation. Yet no one had researched whether homo economicus actually existed. That is, not until economist Joseph Henrich and his team took it up in 2000. Visiting fifteen communities in twelve countries on five continents, they tested farmers, nomads, and hunters and gatherers, all in search of this hominid that has guided economic theory for decades. To no avail. Each and every time, the results showed people were simply too decent. Too kind.

The Archbishop [Thomas Becket] was murdered in Canterbury Cathedral on the evening of the twenty-ninth of December. The body lay in the Cathedral all night, and was prepared for burial on the following day. The Archbishop was dressed in an extraordinary collection of clothes. He had on a large brown mantle; under it, a white surplice; below that, a lamb’s-wool coat; then another woolen coat; and a third woolen coat below this; under this, there was the black, cowled robe of the Benedictine Order; under this, a shirt; and next to the body, a curious haircloth, covered with linen. As the body grew cold, the vermin that were living in this multiple covering started to crawl out, and as MacArthur quotes the chronicler: ‘The vermin boiled over like water in a simmering cauldron, and the onlookers burst into alternate weeping and laughter.

The door behind Terico opened. He turned to find a tall, hooded figure in black armor stepping into the wrecked council room. The man wasn’t eigni—he was human. “They say imitation is the greatest form of flattery,” called a familiar voice. “Though I have to say, it is amusing to see you killing others with the same skills I used to kill your parents, and everyone else in that shoddy cathedral.” Delkol. Terico widened his eyes and leaped to his feet. He raised his sword and gripped his Elpis fragment tight. The man who murdered his parents, destroyed his village, and brought an end to everything good in Terico’s life. Delkol Shire stood just a few meters in front of him. The man flipped back his hood, revealing a thin, all-knowing smile. Staring at this man replayed the entire tragedy of Edellerston in Terico’s head. It all came down to this.

what are we to say about the Catholic military chaplain who administered mass to the Catholic bomber pilot who dropped the atomic bomb on Nagasaki in 1945? Father George Zabelka, chaplain for the Hiroshima and Nagasaki bomb squadrons, later came to repent of his complicity in the bombing of civilians, but his account of that time is a stunning judgment on the church’s acquiescence in violence. To fail to speak to the utter moral corruption of the mass destruction of civilians was to fail as a Christian and as a priest as 1 see it…. I was there, and I’ll tell you that the operational moral atmosphere in the church in relation to mass bombing of enemy civilians was totally indifferent, silent, and corrupt at best—at worst it was religiously supportive of these activities by blessing those who did them…. Catholics dropped the A-bomb on top of the largest and first Catholic city in Japan. One would have thought that I, as a Catholic priest, would have spoken out against the atomic bombing of nuns. (Three orders of Catholic sisters were destroyed in Nagasaki that day.) One would have thought that I would have suggested that as a minimal standard of Catholic morality, Catholics shouldn’t bomb Catholic children. I didn’t. I, like the Catholic pilot of the Nagasaki plane, “The Great Artiste,” was heir to a Christianity that had for seventeen hundred years engaged in revenge, murder, torture, the pursuit of power, and prerogative violence, all in the name of our Lord. I walked through the ruins of Nagasaki right after the war and visited the place where once stood the Urakami Cathedral. I picked up a piece of censer from the rubble. When I look at it today I pray God forgives us for how we have distorted Christ’s teaching and destroyed his world by the distortion of that teaching. I was the Catholic chaplain who was there when this grotesque process that began with Constantine reached its lowest point—so far.4 It is difficult to read such accounts without recalling the story of Jesus’ weeping over Jerusalem, because “the things that make for peace” were hidden from their eyes (Luke 19:41

T.S. Eliot’s line from his verse drama Murder in the Cathedral (1935): ‘the highest form of treason: to do the right thing for the wrong reason

But, look at it from the Hindu angle: Hindus had the good grace to give asylum to the Christian refugees in AD 345, allowing them to maintain their separate identity in full freedom for seven centuries, and now the thanks they get for it is that visitors of the Saint Thome cathedral are told about fanatical Brahmins murdering the noble founder of Indian Christianity. And then the secularist establishment makes it worse by blocking the public's access to the scholarly vire and continuing to instil the blood-libel legend. It is highly significant for the power equation in India that this state of affairs is possible at all.

In either case, the idea is that Paul envisages the most heroic self-gift done for a motive other than love. T. S. Eliot, in his imaginative interpretation of the temptations of St. Thomas Becket in Murder in the Cathedral, presents the final tempter as offering Thomas the crown of martyrdom so that he may enjoy a human glory, a triumph of his own pride. To which Thomas answers, “The last temptation is the greatest treason: to do the right deed for the wrong reason.” A true martyr goes to his death because there is no other way to be faithful to God, not because it will be the ultimate triumph of his human pride. The ego can feed on anything—even martyrdom. Only love makes it real.

Once I arrived in Moscow, I set up a makeshift office in a room at the Baltschug Kempinski Hotel on the south bank of the Moscow River, across from Saint Basil’s Cathedral.

Christian non-violence does not encourage or excuse hatred of a special class, nation or social group. It is not merely anti-this or that. In other words, the Evangelical hate for realism which is demanded of the Christian should make it impossible for him to generalize about "the wicked" against whom he takes up moral arms in a struggle for righteous-ness. He will not let himself be persuaded that the adversary is totally wicked and can therefore never be reasonable or well-intentioned, and hence need never be listened to. This attitude, which defeats the very purpose of non-violence—openness, communication, dialogue—often accounts for the fact that some acts of civil disobedience merely antagonize the adversary without making him willing to communicate in any way whatever, except with bullets or missiles. Thomas à Becket, in Eliot's play Murder in the Cathedral, debated with himself, fearing that he might be seeking Martyrdom merely in order to demonstrate his own righteousness and the King's injustice: "This is the treason, to do the right thing for the wrong reason.

In a way, Schoenberg's journey resembles that of Theodor Herzi, the progenitor of political Zionism, whose early attacks on self-satisfied assimilated urban Jews could be mistaken for anti-Semitic diatribes. The scholar Alexander Ringer has argued that Schoenberg's atonality may have been an oblique affirmation of his Jewishness. In this reading, it is a kind of musical Zion, a promised land in whose dusty desert climate the Jewish composer could escape the ill-concealed hatred of bourgeois Europe. Schoenberg would prove uncannily alert to the murderousness of Nazi antisemitism. In 1934, he predicted that Hitler was planning "no more and no less than the extermination of all Jews!" Such thoughts were presumably not on his mind circa 1907 and 1908, yet to be Jewish in Vienna was to live under a vague but growing threat. Antisemitism was shifting from a religious to a racial basis, meaning that a conversion to Catholicism or Protestantism no longer sufficed to solve one's Jewish problem. Rights and freedoms were being picked off one by one. Jews were expelled from student societies, boycotts instituted. There were beatings in the streets. Rabble-rousers spouted messages of hate. Hitler himself was somewhere in the background, trying to make his way as an artist, building a cathedral of resentment in his mind. As the historian Steven Beller writes, Jews were "at the center of culture but the edge of society." Mahler ruled musical Vienna; at the same time, Jewish men never felt safe walking the streets at night. All told, a Freudian host of urges, emotions, and ideas circled Schoenberg as he put his fateful chords on paper. He endured violent disorder in his private life; he felt ostracized by a museum-like concert culture; he experienced the alienation of being a Jew in Vienna; he sensed a historical tendency from consonance to dissonance; he felt disgust for a tonal system grown sickly. But the very multiplicity of possible explanations points up something that cannot be explained. There was no "necessity" driving atonality; no irreversible current of history made it happen. It was one man's leap into the unknown. It became a movement when two equally gifted composers jumped in behind him.

In a way, Schoenberg's journey resembles that of Theodor Herzi, the progenitor of political Zionism, whose early attacks on self-satisfied assimilated urban Jews could be mistaken for anti-Semitic diatribes. The scholar Alexander Ringer has argued that Schoenberg's atonality may have been an oblique affirmation of his Jewishness. In this reading, it is a kind of musical Zion, a promised land in whose dusty desert climate the Jewish composer could escape the ill-concealed hatred of bourgeois Europe. Schoenberg would prove uncannily alert to the murderousness of Nazi anti-Semitism. In 1934, he predicted that Hitler was planning "no more and no less than the extermination of all Jews!" Such thoughts were presumably not on his mind circa 1907 and 1908, yet to be Jewish in Vienna was to live under a vague but growing threat. Anti-semitism was shifting from a religious to a racial basis, meaning that a conversion to Catholicism or Protestantism no longer sufficed to solve one's Jewish problem. Rights and freedoms were being picked off one by one. Jews were expelled from student societies, boycotts instituted. There were beatings in the streets. Rabble-rousers spouted messages of hate. Hitler himself was somewhere in the background, trying to make his way as an artist, building a cathedral of resentment in his mind. As the historian Steven Beller writes, Jews were "at the center of culture but the edge of society." Mahler ruled musical Vienna; at the same time, Jewish men never felt safe walking the streets at night. All told, a Freudian host of urges, emotions, and ideas circled Schoenberg as he put his fateful chords on paper. He endured violent disorder in his private life; he felt ostracized by a museum-like concert culture; he experienced the alienation of being a Jew in Vienna; he sensed a historical tendency from consonance to dissonance; he felt disgust for a tonal system grown sickly. But the very multiplicity of possible explanations points up something that cannot be explained. There was no "necessity" driving atonality; no irreversible current of history made it happen. It was one man's leap into the unknown. It became a movement when two equally gifted composers jumped in behind him.

Just as she'd stripped her body of frills and fripperies in two decades in Puerto Rico, she'd shed her religious belief in much the same way the conquistadores did, for expedience. They arrived in the New World with priests and incantations, but the history of the conquest was strewn with their atrocities, their false promises, rape, their bastards, plunder and murder. They lost their moral center, compromised their faith in the New World. They then erected gold encrusted cathedrals in the Old World to turn humanity's eyes toward beauty and away from their sins.

Day trip somewhere? Salisbury Cathedral, perhaps? I hear it has a rather impressive 123-metre spire. And a very old clock. Lots of Russians come over to see it, apparently.

Forget knighthood, kingdoms, battles. The murder of Archbishop Thomas Becket in Canterbury Cathedral, the murder that Henry now did penance for. The murder that he, Sir Benedict Palmer, had been present at. What mattered now was to keep his family safe.

Father reminded her that he was directly descended from the Thomas who became earl of Shiring in the year that Archbishop Becket was murdered by King Henry II. That Earl Thomas had been the son of Jack Builder, the architect of Kingsbridge Cathedral, and Lady Aliena of Shiring—a near-legendary couple whose story was told, on long winter evenings, along with the heroic tales of Charlemagne and Roland.