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Deborah Youngs

the seemingly timeless ‘Follow the Leader’ and ‘Hide and Seek’. On his own, Froissart made mud pies, collected shells, played with a spinning top, and blew soap bubbles through a pipe, and he attached thread to a butterfly’s wings so that he could make the poor creature fly ‘as I pleased’. Froissart’s poem appears typical of a small boy of any historical period: the mess, the running around, the

in The life–cycle in Western Europe, c.1300-c.1500
Susan M. Johns

states that she was the ‘last true Princess of Wales’, who ‘was lost to her people and her nation for 700 years’: she was ‘like a butterfly that never took flight’ and ‘lived and died in a cocoon’. Her tale also features on the ‘Castlewales’ website, complete with an image of the modern tombstone at Cwmhir Abbey and the commemorative stone in Lincolnshire. 22 The latter two quotations were from Malt Anderson, who formed the Gwenllian Society, and shows that the impulse behind this twenty-first-century commemoration is a nationalistic sense of a Welsh medieval past

in Gender, nation and conquest in the high Middle Ages
Deborah Youngs

Thornton, Buckinghamshire, and family ( c .1472), Robert’s wives have old-fashioned short veils over small horns drawn together, while his daughters wear fashionable, large pill-box caps on the backs of their heads and butterfly veils underneath. 26 Reason and emotions The growing strength of the youth’s body was matched by an increasing sharpness in the mind. Reaching the age of

in The life–cycle in Western Europe, c.1300-c.1500
The beautiful lie
J. J. Anderson

quantities of gold, silk, and precious stones. There are parallels of detail too. The capados that Gawain wears at the beginning of his arming, trimmed on the inside with bryght blaunner ‘white fur’ (lines 572–3), recalls the Green Knight’s cloak ( mantile ), which is also trimmed with blaunner ful bryght (lines 153–5). The decoration of Gawain’s urysoun , with bejewelled silken embroidery depicting birds and true-love-knots (lines 608–14), is reminiscent of the bejewelled silken embroidery on the Green Knight’s clothing, depicting birds and butterflies (lines 161

in Language and imagination in the Gawain-poems