Chronicle and Romance

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Chronicle and Romance

The Project Gutenberg EBook of Chronicle and Romance (The Harvard Classics
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Title: Chronicle and Romance (The Harvard Classics Series)
Author: Jean Froissart, Thomas Malory, Raphael Holinshed
Release Date: October 8, 2004 [EBook #13674]
Language: English
Character set encoding: ISO-8859-1
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[Illustration: _The Battle of Poitiers from the painting by H. Dupray (See page 52)_]
THE HARVARD CLASSICS
EDITED BY CHARLES W. ELIOT, LLD

CHRONICLE AND ROMANCE
FROISSART--MALORY--HOLINSHED

WITH INTRODUCTIONS, NOTES AND ILLUSTRATIONS
"DR ELIOT'S FIVE FOOT SHELF OF BOOKS"
1910
BY P.F. COLLIER & SON NEW YORK

CONTENTS
THE CHRONICLES OF FROISSART, TRANSLATED BY LORD BERNERS EDITED BY G.C. MACAULAY
The Campaign of Crecy The Battle of Poitiers Wat Tyler's Rebellion The Battle of Otterburn
THE HOLY GRAIL BY SIR THOMAS MALORY FROM THE CAXTON EDITION OF THE MORTE D'ARTHUR
A DESCRIPTION OF ELIZABETHAN ENGLAND WRITTEN BY WILLIAM HARRISON FOR HOLINSHED'S CHRONICLES


CHAPTER
I. Of Degrees of People II. Of Cities and Towns III. Of Gardens and Orchards IV. Of Fairs and Markets V. Of the Church of England VI. Of Food and Diet VII. Of Apparel and Attire VIII. Of Building and Furniture IX. Of Provision for the Poor X. Of Air, Soil, and Commodities XI. Of Minerals and Metals XII. Of Cattle Kept for Profit XIII. Of Wild and Tame Fowls XIV. Of Savage Beasts and Vermin XV. Of Our English Dogs XVI. Of the Navy of England XVII. Of Kinds of Punishment XVIII. Of Universities

THE CHRONICLES OF FROISSART
BY
JEAN FROISSART
HISTORICAL NARRATIVE OF MANY OF THE BATTLES OF THE HUNDRED YEAR'S WAR BETWEEN ENGLAND AND FRANCE.
INTRODUCTORY NOTE Jean Froissart, _the most representative of the chroniclers of the later Middle Ages, was born at Valenciennes in 1337. The Chronicle which, more than his poetry, has kept his fame alive, was undertaken when he was only twenty; the first book was written in its earliest form by 1369; and he kept revising and enlarging the work to the end of his life. In 1361 he went to England, entered the Church, and attached himself to Queen Philippa of Hainault, the wife of Edward III, who made him her secretary and clerk of her chapel. Much of his life was spent in travel. He went to France with the Black Prince, and to Italy with the Duke of Clarence. He saw fighting on the Scottish border, visited Holland, Savoy, and Provence, returning at intervals to Paris and London. He was Vicar of Estinnes-au-Mont, Canon of Chimay, and chaplain to the Comte de Blois; but the Church to him was rather a source of revenue than a religious calling. He finally settled down in his native town, where he died about 1410.
Froissart's wandering life points to one of the most prominent of his characteristics as a historian. Uncritical and often inconsistent as he is, his mistakes are not due to partisanship, for he is extraordinarily cosmopolitan. The Germans he dislikes as unchivalrous; but though his life lay in the period of the Hundred Years' War between England and France, and though he describes many of the events of that war, he is as friendly to England as to France.
By birth Froissart belonged to the bourgeoisie, but his tastes and associations made him an aristocrat. Glimpses of the sufferings which the lower classes underwent in the wars of his time appear in his pages, but they are given incidentally and without sympathy. His interests are all in the somewhat degenerate chivalry of his age, in the splendor of courts, the pomp and circumstance of war, in tourneys, and in pageantry. Full of the love of adventure, he would travel across half of Europe to see a gallant feat of arms, a coronation, a royal marriage. Strength and courage and loyalty were the virtues he loved; cowardice and petty greed he hated. Cruelty and injustice could not dim for him the brilliance of the careers of those brigand lords who were his friends and patrons.
The material for the earlier part of his Chronicles he took largely from his predecessor and model, Jean Lebel; the later books are filled with narratives of what he saw with his own eyes, or gathered from the lips of men who had themselves been part of what they told. This fact, along with his mastery of a style which is always vivacious if sometimes diffuse, accounts for the vividness and picturesqueness of his work. The pageant of medieval life in court and camp dazzled and delighted him, and it is as a pageant