Article on Medievalists.net about The Witcher: Magic, Monsters and Medievalism

An article I wrote about the new Netflix series "The Witcher" is online at the wonderful website Medievalists.net . It will help those unfamiliar with the franchise decide whether or not to watch the series.

The Witcher: Magic, Monsters and Medievalism
Enjoy!

Please feel free to let me know your own thoughts about this adaptation.

Linda

Medieval fast days and beaver meat

I was recently interviewed on the Newbie Writers podcast with hosts Damien Boath and Catharine Bramkamp. I had a fun time discussing various aspects about writing historical fantasy as well as the challenges of writing a sequel.

Catharine asked me about the urge to want to include information found during the research process, basically to incorporate what I learned into the narrative. I understood the urge, but told her that I resisted that temptation. Especially when I thought it might be confusing to the readers or yank them right out of the narrative.

As an example, I mentioned a bit of trivia that I came across several years ago regarding Medieval religious dietary restrictions on fast days when meat and other animal products from were not to be consumed. I mentioned the book Fast and Feast: Food in Medieval Society by Bridget Ann Henisch as the source of this information about Medieval fast days. It is a wonderful book and I recommend it for those interested in learning more about Medieval diets and religious customs.

There were periods such as Lent and Advent when fast days lasted for weeks, but there were also fast days every week: Wednesdays, Fridays and Saturdays. To clarify, these fasts was not when no food was consumed, but rather that there was a deprivation of what could be eaten. The foods to abstain consisted of meats and poultry as well as other animal products such as milk, butter, cheeses, and eggs. 

That did not mean that people became vegetarians during this time, but instead they were allowed to eat fish because it was from the sea. Here's a quote from Henisch explaining the theological reasoning why fish was allowed to be eaten on fast days.

Fish, providentially, had escaped God's curse on the earth by living in the water. Water itself was an element of special sanctity, washing away the sins of the world in Noah's Flood, and the sins of the individual in baptism. Its creatures might be said to share something of its virtues. Once the choice had been justified, the rest was easy.  - page 33.

The part that I found so memorable about her discussion about what foods could and could not be consumed in Medieval times on fast days was the inclusion of beavers as food from the sea.

Beavers.

By Steve from washington, dc, usa (American Beaver) [CC-BY-SA-2.0], via Wikimedia Commons

Yes, I didn't have my own picture of a beaver, so I found one from the Wikimedia Commons. Enjoy.

I knew when I read that people could eat beavers on fast days that it was something I could not bring up in my novel. My readers would be pulled right out of the narrative by laughter at the mere thought of eating a beaver.

Damien was especially amused at the inclusion of beaver meat in our chat. He inspired me to re-read the passage by Henisch describing the reasoning behind the acceptance of beavers on the Fast days menu.

The rule forbidding meat on a fast day was the one most strictly enforced and conscientiously obeyed, but some desperate ingenuity was applied to the definition of meat and fish. Reluctantly it had to be conceded that the beaver was a mammal, even though he spent so much of his life in the water, but his tail, being covered with scales, looked distinctly fishy. It was permissible, therefore, to brighten a fish menu with a dish of beaver tail. - page 47   

I believe that if I used either term "beaver tail" or "beaver meat" in a novel that it would cause my readers to laugh out loud and in an inappropriate manner.

That is why I chose not to include any mention of the consumption of any portion of the beaver, but it sure makes for an amusing anecdote.

Damien was so taken with the discussion of beavers that he entitled my episode "The Mythology of Beavers."

The podcast is the Newbie Writers Episode #117 and can be downloaded from iTunes

  or can be listened to on YouTube where it was streamed live and has the title "Greek Mythology and Fantasy with Linda McCabe."


Heck, if I knew he was going to give it a title regarding Greek mythology I would have talked more about that subject than just mentioning Athena and Hector of Troy in passing. Oh, well. It was a fun chat and I hope others might enjoy hearing the interview and my insights.

This Tuesday, January 28, 2014 is the 1200th anniversary of Charlemagne's death.

So to help celebrate that I am ending this post with a picture I took during my trip to Germany in 2011. This is a statue of Charlemagne outside the town hall of Aachen (the Rathaus) that was built where his palace once stood.

Twelve hundred years ago. That's a huge anniversary and this year there will be many celebrations in Aachen to mark the landmark anniversary. For those who might be interested in traveling to Aachen, here is a link to some of their plans for the year.


Please feel free to leave an example of weird Medieval trivia you may have come across over the years.

http://lcmccabe.blogspot.com/2014/01/medieval-fast-days-and-beaver-meat.html

2013 Medieval Congress in Kalamazoo

Douglas Gallagher, Professor Richard Scott Nokes, Linda C. McCabe, Alexis E. Fajardo, Brandon Spars

I have a quick announcement before I give my report on the 48th International Congress on Medieval Studies:

I will be doing a reading and book signing at the English Bookshop in Milano, Italy on Monday, June 17th at 6:30 pm. The address is 12 Via Mascheroni (the store opens on Via Ariosto!). Please help spread the word to anyone you know who lives in Northern Italy and might be interested in hearing me speak. Note: I do not speak Italian, so they would have to understand English. If they intend on coming, please let Peter Panton know in advance to help him determine how many chairs to set out and how many books to order. Another way to RSVP would be to send me an email or to join the event on my Facebook page.

 Okay, back to my report:

I recently returned from my first ever Medieval Congress held on the campus of Western Michigan University in Kalamazoo, Michigan.

To give you an idea of how large this gathering is, here are a few statistics:

There are approximately 3,000 medievalists from all over the world who attend this four day annual event.

This year's program had over 250 pages

There were over 500 sessions with roughly fifty running simultaneously

The deadline to submit proposals for next year's Congress is June 1, 2013

It is so large that it not a conference, it is a congress.  I do not know at what point the classification changes from conference to congress, but perhaps it is with the sheer number of sessions offered.


If you couldn't find something you wanted to attend, you didn't look hard enough.

I grew up in the state of Michigan, but it was only after I moved to California and started reading medievalist blogs that I  learned of this annual event.

It took a fair bit of advance planning over a year ago for me to be a participant in this year's congress. Thankfully, I found some like minded people who all happen to live in Sonoma County to agree to join me in a panel. We all had adapted the legends of Charlemagne in the hopes of introducing these tales to twenty-first century audiences. I also approached a regular attendee of these congresses and asked if he would be our organizer and preside over the session.

Thankfully, Professor Awesome agreed.

Schmoozing with Professor Richard Scott Nokes AKA Professor Awesome.

We were session #402 out of 582 sessions. I think we were lucky in our schedule because it was Saturday morning at 10 am. It could have been an evening session after the wine hour or we might have had an 08:30 am Sunday morning session when people are recovering from the popular Saturday night dance.

I helped Lex Fajardo staff a table in the exhibit hall. We took turns staffing the table during meal times and when one of us wanted to attend a session.

Lex Fajardo and me at the exhibit table

There were several sessions I attended that I want to highlight. The first was "Constructions of Women Warriors in Medieval Eurasia 2.0." In particular, there were two papers that seemed appropriate to my interest in the women warriors in Carolingian legends.

Suzanne Hagedorn of the College of William and Mary gave a paper titled "The Amazon as Temptress: Thalestris in the Alexander Romance Tradition." I had never heard of Queen Thalestris and the story of her approaching Alexander the Great asking to bear his child since she regarded him as being the epitome of male strength, valor and prowess.

It was an interesting paper and it that reminded me of a portion of Orlando furioso that I did not use in my novel.  Canto XX details the history of an Amazonian tribe that warrior Queen Marfisa came across during her travels. Men were scarce in this tribe and those who were allowed to live after venturing near their shores had to pass tests of surviving combat with ten men in a single day and then satisfying ten women later that night.

(While this passage is interesting and humorous, it did not further my plot of Bradamante and Ruggiero's love story and so it was cut by me.)

The second paper from that session that I would like to mention was delivered by Diane Wright of Grand Valley State University. It was titled "Early Iberian Models of the Female Warrior: History, Myth and Legend."

I look forward to corresponding with Diane in the future about those legends.

Schmoozing with Professor Diane Wright

Another session I attended was the French Cultural Traditions in Italy: The Era of Andrea da Barberino. I do not speak or read Italian, so I was unfamiliar with the source material mentioned in the various talks. However, I met scholars interested in the Matters of France and how they were disseminated into Italy and Italian literature. I anticipate having a good correspondance with those contacts.

On Friday I attended a panel regarding E-publishing and Medieval Studies. I wanted to show support for Professor Nokes as well as meet Peter and Sandra from the wildly popular blog Medievalists.net fame.

Peter and Sandra from Medievalists.net and Professor Nokes

Saturday was the day of our session and while I had been hoping for better attendance, those who came were enthusiastic about our topic.

I spoke about the challenges of adapting two epic poems into a novel suitable for 21st century audiences. This included correcting continuity errors with geography, culling extraneous subplots, and balancing the needs of drama vs. historical accuracy.

Lex Fajardo discussed his approach to blending the Beowulf story with heroes of other legends in a graphic novel form. In his Kid Beowulf series, Beowulf and Grendel are twelve year old twin brothers and his stories are "prequels" to the classic legends.

Lex showing images from the prologue of his first graphic novel Kid Beowulf and the Blood-Bound Oath

Doug Gallagher discussed how he and his students adapted Orlando furioso into a stage production using Pink Floyd's album The Dark Side of the Moon  as a soundtrack.

Doug showing a picture of the many visual elements of that incredible stage production.

Brandon Spars then talked about how he taught the Song of Roland to his class. It involved using a tin foil horn as a prop as he read the classic poem and then squirting ketchup on his face to simulate Roland's temples bursting. I am sure none of his students will forget that day's lesson.

Brandon Spars with "blood" on his face

After our session, I participated in a lunchtime roundtable discussion sponsored by Kalamazoo's local independent bookstore Kazoo Books. There were seven (or eight?) authors on the panel discussing writing historical fiction. Most of the authors were also professors, and I believe I was the only one whose genre extended into the fantasy realm. There was a good give and take between the presenters and the audience who asked some thoughtful questions. For the next two days I had people who recognized me from that talk and I was able to extend the conversation with them about our shared love of books.

Here are two other photos of people that I met who helped make this a special time for me.

Here I am with Medievalist blogger and grad student Jennifer Lynn Jordan

I had read Jennifer's Per Omni Saecula blog for many years and grew to appreciate her humor and love of all things medieval. It was even better meeting her in person. She's cool and I hope once her busy academic year is over that we can share a bad medieval movie mash up like she did once with Carl Pyrdum.

I had so many wonderful conversations with medievalists from all over the globe. I was thrilled to meet Italian and French medievalists so that I could talk about the legends of Charlemagne with them since it is a part of their shared heritage.

I also met a man who is descended from the Noble House of d'Este.

Yes, as I read his name badge, I asked James Estes if he was a descendant to the patrons of Boiardo and Ariosto. He admitted that he was.

This led to a spirited exchange with many laughs and this photo.

Schmoozing with James Estes, descendant of the patrons of Ariosto and Boiardo

How many times do I have the opportunity to geek out over the Noble House of d'Este?

More photos from the 48th International Congress on Medieval Studies can be found on my novel's official Facebook page with this open link. (Meaning you don't have to be a member of Facebook to see this album.)

I plan on going back to the Medieval Congress again, but perhaps in 2015 to help spur on the celebration of the 500th anniversary of the original publication of Orlando furioso. Plus by that time, I should have my sequel published.

Please let me know your experiences with the Congress and any other pages with photos, remembrances, etc.

Thank you,

Linda

http://lcmccabe.blogspot.com/2013/05/2013-medieval-congress-in-kalamazoo.html

Medieval Congress in Kalamazoo

For several years I have seen blog posts by Professor Richard Scott Nokes about all the fun he has had at the annual Medieval Congress held in Kalamazoo, Michigan on the campus of Western Michigan University.

This year I am going to join him.

Correction, this year I am going to be in a panel discussion where Professor Awesome will be our moderator.

This will be Session #402 out of 582 sessions.

"Carolingian Legends: Adapting Medieval and Renaissance Literature for Twenty-First Century Audiences" on Saturday, May 11th, 10-11:30 am in Room 2355 Schneider.

The panel will consist of Alexis E. Fajardo, author of the Kid Beowulf series,

I will be discussing adapting my novel Quest of the Warrior Maiden from the epic poems Orlando innamorato and Orlando furioso,

as well as Douglas Gallagher and Brandon Spars of Sonoma Academy who produced an incredible musical adaptation of Orlando furioso set to the soundtrack of Pink Floyd's "The Dark Side of the Moon."

 

It should be a fun round table discussion. We hope to inspire medieval literature professors in their preparations to have a grand celebration of the five hundredth anniversary of the publication of Orlando furioso in 2016.

I would enjoy meeting up with other medievalist bloggers at the Congress. Please drop me a line here or attend my session. Lex and I will also be vendors, so you can try to find us there as well.

If anyone has any suggestions about these Congresses and what to expect, I would enjoy hearing about it. I have attended other conferences, but never one with so many sessions and an expected three thousand attendees.

Help this newbie out if you can!

http://lcmccabe.blogspot.com/2013/04/medieval-congress-in-kalamazoo.html

Feminine Archetypes and Symbolism in Carolingian Legends

The following is the text of the paper I gave at the Association for the Study of Women and Mythology Conference held in San Francisco on May 11th and 12th.

Like many conferences, it was difficult to choose which session to attend because there were many topics that sounded interesting.  With that in mind, I wanted to share this online for those who were not able to hear my talk.

Deconstructing Carolingian legends to discover feminine archetypes and symbolism

Before I start, I want to get a sense of the room.  How many people here are familiar with Arthurian legends? Now, how about Carolingian legends?

I want to first give an overview of Carolingian legends for those unfamiliar with them.  The word Carolingian comes from the Latin Carolus Magnus, meaning Karl the Great, better known to us as Charlemagne. The legends of Charlemagne are just as luxurious of a source material as the legends of Arthur, but without any debate as to whether or not Charlemagne was an historical figure, he was, and the legends about him were stories created to entertain and not considered as history.

I will touch on the most popular aspect of these legends in art and drama so that you will be able have discussions with people who may only be familiar with the legends of Roland (in French) or Orlando (in Italian). The most famous of the legends of Charlemagne is the Chanson de Roland or the Song of Roland.  Written in the eleventh century by a Frenchman, it was loosely based on a real defeat of Charlemagne's army in 778 in the Roncevaux Pass in the Pyrenees.  The historical events are rendered into mythology.  There are other stories comprising the Matters of France, not all were written by Frenchmen, but they all deal with legends of Medieval France. Similarly, the Matters of Britain were not all written by British writers, but they concern Medieval Britain.

Some of the largest sources of Carolingian legend, and what I will be discussing today are two epic poems written by Italians. Orlando innamorato (Orlando in love) was written by Matteo Maria Boiardo and the first version was published in 1483 and another version with more cantos was published posthumously in 1495. He stopped writing his story when the French army invaded Italy in 1494.  He found it impossible to lionize the heroic nature of fictional Frankish warriors when real French warriors were attacking the various duchies on the Italian peninsula.

A decade or so later, Ludovico Ariosto was commissioned by the same patrons to continue Boiardo's unfinished tale.  Ariosto's Orlando furioso (Orlando enraged) became more famous than its predecessor and was first published in 1516, so we will soon be celebrating its five hundredth anniversary.

Those poems were pure fiction and written to entertain and flatter the poets' patrons the noble house of Este in the northern Italian city of Ferrara.  The stories depict wars that never took place between Christian and Muslim armies and were undoubtedly influenced by the Crusades, which occurred centuries after Charlemagne's death in 814.

The two poems follow the title character of Orlando, a famous paladin of Charlemagne, and his unrequited love for Angelica the princess of Cathay.  Once Orlando discovers that Angelica has married another, he goes insane.  The story has multiple interweaving plotlines and numerous disparate settings from Europe and North Africa to Asia.

Boiardo's epic featured an invasion of the Frankish Empire by the North African Muslim army and the war was finally finished in Ariosto’s tale.  There were brave knights, scoundrels, bloody sieges, enchanted realms, sorceresses, wizards, a flying hippogriff as well as the brave female warriors, Bradamante and Marfisa.

These stories inspired many artists such as Doré, Fragonard and Ingres. There was a special exhibit in 2009 at the Louvre in Paris featuring the art inspired by Orlando furioso. There are also at least a dozen operas that cover portions of Ariosto's masterpiece. Cervante's classic novel Don Quixote includes mentions of the poem and William Shakespeare even borrowed a dramatic set-up from the fourth canto of Orlando furioso for a scene in his famous comedy "Much Ado about Nothing."

 Most people who are somewhat familiar with these stories know of Orlando's love and madness, but they are not as familiar with Bradamante's story which began as a subplot, but wound up becoming front and center in the story at its conclusion.  In Italian, her name is pronounced Bradamanté, whereas the French pronunciation is Bradamante.  Because she is a Frankish character, I use the French variant, but both are correct.

I feel Bradamante should be as famous and as well examined a character as Guinevere, Morgan le Fay and the Lady of the Lake.

The first time I read Orlando furioso was nearly ten years ago and I was startled to discover such a strong female character in literature. I had a hard time believing that this feminist character was written centuries ago, by a man, and I wondered why I had never heard of her before.

I see Bradamante as being a blend of two similar archetypes:  Joan of Arc and Athena.  Bradamante is depicted as riding on a white horse, bearing a shield and plume of white, having cropped hair and disguising herself as a man.  She also has the nickname "The Maid."  Since Joan of Arc was killed in 1431, it is reasonable to think that Boiardo and Ariosto were inspired by this real life heroine as they were writing their fictional heroine.

The major difference between the Maid of Orléans and Bradamante is that the fictional character was not persecuted for her military prowess, but instead heralded and valued as a military commander.  She was the niece of Charlemagne and came from a distinguished military family. Her interest in warfare was not due to hearing divine voices, but instead military duty was in her blood.  Charlemagne had also been a powerful monarch for many years before his niece was born, so unlike King Charles VII of France, he was not threatened by this warrior maiden's influence with the people.

Similar to Athena, the Greek goddess of wisdom and victory, Bradamante is depicted at the beginning to have a heart unmoved by men.  That is until Ruggiero, a Saracen warrior, performed an uncommon act of chivalry on her behalf on the battlefield.  This led to their talking to one another and experiencing Love at First Sight.  Ruggiero was descended from Hector of Troy and strove to live up to the image of his noble ancestor as the perfect knight. 

Dore's hippogriff

Bradamante and Ruggiero represent an impossible love as they are warriors on opposite sides of a holy war.  Symbolically this impossible love is represented in the story by the hippogriff, a mythical creature that is part eagle and part horse, and first described in Virgil's Ecclogues as being born of the mating of natural enemies of griffins and mares. Griffins were fierce protectors of gold and raiders rode horses in efforts to steal gold, leading to the animals' enmity of each other. Ariosto was the first author to use the hippogriff as a character in literature.

Bradamante and Ruggiero's bliss at finding one another does not last and they are soon cruelly separated.

This love story of Bradamante and Ruggiero shows an inverse on what we have come to expect with the hero cycle as described by Joseph Campbell with his thesis the Hero With a Thousand Faces.  Instead, Bradamante's story arc is more in line with the Heroine's Journey as described by Valerie Estelle Frankel.  Bradamante, a fair damsel, is given the Call to Adventure and is told she must rescue her beloved who is being held captive by a wizard in an enchanted castle.  After rescuing Ruggiero, her next task is to persuade him to be baptized as a Christian and marry her. In so doing, their union will bring forth generations of heroes who will, in time, lead to the noble house d'Este of Ferrara.

This is far different from traditional quest stories with a young man fighting evil in order to save his world from destruction.  Instead, Bradamante is told that her ultimate goal is marriage and motherhood.  There is a tragic element however, for it is also foretold that Ruggiero will be betrayed and killed before the birth of their child.

This next part is not symbolism or archetypes, but I wanted to share with you the qualitative difference in plot structure than what we have become accustomed to. While Ruggiero is the orphaned youth raised in obscurity, it differs from most stories in that there are two prophecies with divergent fates for Ruggiero.  Should he remain a Muslim, he would bring about the defeat of Charlemagne devastating Christendom. These stakes are compounded with dueling magical forces trying to influence which fate will come to pass.

There are other feminine archetypes appearing in these poems that are worth mentioning.  The character Angelica, the object of Orlando's romantic obsession, is described as the most beautiful woman in the world and caused every man to fall violently in love with her.  She is the archetype of Helen of Sparta (and later Troy) who was the catalyst for a war with multiple suitors vying to possess her.

Dore's Alcina

There is also Alcina, a sorceress who uses her magical powers to appear youthful.  After tiring of her lovers, she transforms them into trees and shrubs - retaining them as souvenirs of her conquests.  This echoes the story of Circe from Greek mythology.

Another female character you should know about is the other warrior maiden Marfisa.  She was abducted as a small girl, sold into slavery, and has a deep-rooted hatred of men in general.  She survived a rape attempt by her king by killing him.  She then slaughtered the king's guards until she was declared Queen Marfisa.  That was the first of many kingdoms she conquered.  Marfisa represents a destructive force of womanhood in that she conquers but does not govern. I see her as the archetype of Nemesis, the goddess of retribution.

Marfisa and Bradamante appear to be opposites at first.  Marfisa is a Muslim while Bradamante is a Christian, and they are both attracted to Ruggiero. Only when it is revealed that Marfisa is not a romantic rival for Ruggiero's affections, do the two women put aside their differences and become fast friends and allies.

These legends are also filled with symbolism. The richest symbolic scene is when Bradamante is given the Call to Adventure in a cave, recognized symbolically as the womb.  Melissa, an old enchantress, tells Bradamante of the two prophecies surrounding Ruggiero and what is expected of her.  Melissa represents the Crone.  Bradamante is a warrior maid who is being asked to become a wife and mother.  The two women together comprise the three aspects of the triple headed goddess:  Maiden, Mother, Crone.  Bradamante represents the Blade being transformed into the Chalice by the Power of Love.

National ASWM Board Member Anne R. Key and Linda C. McCabe

http://lcmccabe.blogspot.com/2012/05/feminine-archetypes-and-symbolism-in.html

Full Metal Jousting: A Review

I have been meaning to review The History Channel's series Full Metal Jousting. It is another 'reality' television series that features the sport of jousting.

This series stands in stark contrast to what the National Geographic Channel presented with their Knights of Mayhem series. Last November, I posted one blog post about that troupe. I considered writing follow up posts, but suffice it to say - things didn't get any better.

The Knights of Mayhem are led by a foul mouthed egotistical man without honor.

The Full Metal Jousting series is led by Shane Adams who is the leader of a professional jousting troupe known as the Knights of Valour. What's in a name? Apparently a lot.

Because Mayhem vs. Valour explains the difference between the two approaches.

They both use solid lances in competitions, but that's about where the similarities end.

Full Metal Jousting shows sixteen different men chosen to enter a competition where the champion will be awarded $100,000. The applicants were screened beforehand to only allow those who had adequate equestrian experience to take part.

That's key.

Making sure that someone knows how to handle themselves on horseback is fundamental before you ask them to don heavy armor then hold and aim a lance.

I have watched five episodes so far and have been impressed with the training they make these athletes undergo to learn the sport of jousting. Some were theatrical jousters with years of experience in choreographed dinner shows, but that didn't mean they would win when they were engaged in an actual competition.

They split the sixteen men into two teams: the Red Team and the Black Team. Each team has their own coach. The participants have their food and lodging provided in two separate dormitories.

A coin toss determined which team had control in the first round. The controlling team's coach not only chooses which of his jousters will compete, but who the competitor will be. They also have first pick of the horses.

Each week shows another preliminary round, but afterward the losing jousters have been asked to remain there and continue training. There will be an additional $25,000 prize to another jouster who had been eliminated in an early round.

I enjoy watching the training and the jousting. The tone of this series is professional and they have physicians on hand during the competitions to assess whether or not jousters can continue if they have been unhorsed.

There appears to be real concern about injury and concussions. That's good. Glorifying injury is something that turned me off about the Knights of Mayhem attitude. I don't want to see blood and gore, I want to see good jousting.

The competitions are comprised of eight passes. The first four passes use an inch and a quarter diameter, eleven foot long solid pine lances. The second four passes the diameter increases to an inch and a half.

The armor was custom made for this show and were designed specifically to fit the jousters. The design is modern and reminds me more of Lego's Knights' Kingdom design than it does of historical armor. Here is a video from The History Channel's website describing the armor.

To compare this with the Lego Knights Kingdom action figures here is Jayko.

(Personal note: My son used to have a complete set of the Lego Knights Kingdom figures and I was always partial to Jayko because he had a golden hawk on a field of blue. It was the closest to my hero Ruggiero's silver eagle on a field of blue than the other knights with their heraldic standards.)

In the fifth episode of Full Metal Jousting my respect for Shane Adams increased when he dismissed a jouster for abusing a horse. During practice a jouster punched his horse in the head when the horse stepped on his foot. I do not know the proper technique to get a horse to move its foot quickly, but imitating Mongo from Blazing Saddles is not it.

His coach witnessed this act and immediately dressed the man down because of it. The next thing shown is the coaches from both the red and black team and Shane Adams taking that jouster aside into a private room. Shane said he had a zero tolerance for abuse of the horses. He then told the jouster to pack his things and go home.

I liked that a lot.

An old Arabic proverb holds that a horse is attached to its master's honor.

This man did not demonstrate respect for his horse and therefore he has no honor.

Abusing a horse is intolerable and I am glad Shane did not give him a second chance.

To sum up:

Full Metal Jousting shows respect for the athletes by giving them proper training in the sport of jousting. It ensured there was adequate equestrian experience beforehand in order for the athletes to enter the process. Proper armor for each contestant was provided and safety measures are put in place to avoid/minimize injury.

Shane Adams as the leader appears that his goals are to increase public attention to the sport of jousting as well as train more jousters to expand the sport.

The Knights of Mayhem on the other hand did not have any such proper precautions for their new recruits. It seemed as if they just looked for individuals who were tough dudes who were looking for a new thrill, and gave them promises of riches and glory.

Then the new recruits were given inadequate training as to how to handle their lances as well as inadequate attention to equestrian handling. The armor the new jousters used was borrowed hand-me-down armor that others had cobbled together. That is pathetic, because if armor doesn't properly fit it is dangerous to use.

Charlie Andrews was the leader of the Knights of Mayhem and he appeared to be a bully in a sandbox. He invited others to play in his sandbox, but then beat them up when they dared touch his toys.

I will continue to watch Full Metal Jousting as I find it entertaining as well as informative.

Should there be a second season of the Knights of Mayhem, I shall not invite that foul mouthed miscreant back into my living room.

For those interested in a summary of the episodes, I found the website Medieval Archives has posts describing what transpired as well as a breakdown of each pass in the competitions.



http://lcmccabe.blogspot.com/2012/03/full-metal-jousting-review.html

The History Channel Special Becoming Medieval: A Review

The History Channel has changed over the years. I enjoyed watching the channel when it was focused on people and historical events, but now its schedule seems to be filled with all kinds of shows that stretch the meaning of history.

"Engineering an Empire" and "Cities of the Underworld," have been replaced with "Pawn Stars," "Swamp People" and "Ax Men." I scratch my head and wonder about who are the target demographic audience for those shows.

So, I was pleasantly surprised when a friend of mine told me about a show called "Going Medieval."

I had to keep asking him to repeat the title, because I was confusing it with the names of the excellent medievalist blogs Getting Medieval and Got Medieval.

My friend had watched the special on the H2 channel (formerly known as the History International Channel, and should not be confused with the chemical formula for hydrogen gas.)

A few months ago we downgraded our selection of channels on our satellite television, so we do not get H2 anymore. However, my friend told me that it was available for online download from Amazon.com and iTunes. He thought that the Amazon version might restrict portable downloads to their proprietary table Amazon Fire, so rather than risk being disappointed I went directly to iTunes so I could get it on my iPad. It was only $3.99. I thought that downloading it directly to my iPad was far more convenient than trying to watch the website to see if it might be rebroadcast on the regular History Channel and futz with programming my fickle DVR.

I wanted to share with my blog readers that I thought the show was wonderful.

Here is the product description:

"In this two-hour H2 special, historian and weapons expert Mike Loades goes medieval diving deep into the world of the Middle Ages. From the 5th to the 15th centuries, Mike battles the realities vs. the myths of this extraordinary time crusading for the core of real life while delivering fun-filled facts. From living, working and fighting to how to keep a knight's armor shiny using a vigorous rub of sand, vinegar and urine, Going Medieval is an expert account of life during medieval times."

Yes, stale male urine was mentioned several times in the show. It was used in making soap and dying wool.

Mike Loades demonstrates those domestic chores as well as plowing fields with oxen, hunting with hounds and falcons, and cooking a medieval feast.

One of my favorite aspects of the movie is that a large portion of the show was filmed at the Guédelon castle project in France.

For those unaware, this marvelous project began in 1998 and they are building a castle with only the tools and techniques used in the thirteenth century. In fact, the masthead of my blog shows a picture taken during my first trip to Guédelon back in 2007. My first blog post about Guédelon can be found here.

This past summer we visited the project again and here is a picture for you to see the progress made over four years time.


Here is the other side of the same structure and you can see the tile work as well as two "human hamster wheels" used as cranes to lift heavy stones to the top of the building site.


The host of the show was Mike Loades. He and Gordon Summers demonstrated using Guédelon's archers' slits. I did not realize until this show that one had to stand several feet away from the slit in order for the arrow to go through a sinuous phase before it can fly outside. The two men took turns releasing their arrows and it was instructive as well as entertaining.


There is a picture posted on Mike Loades' official Facebook page showing him and Gordon Summers shooting from within a tower at Guédelon. (Go check it out before it gets moved too far down the front page. There are other photos of Guédelon on his page as well.)

For those who prefer the DVD format, the show will also be available in that manner at a much higher price.

I recommend this show for my medievalist friends and believe you will not be disappointed. I believe it would be good for classrooms as well.

One thing to note, since the DVD or downloads are commercial free, the running time is 1 hour and 23 minutes.

Has anyone else watched this special? If so what are some of your thoughts?

Or let me know if there are other specials you would like to recommend for people to watch or Avoid Like The Plague.

http://lcmccabe.blogspot.com/2012/03/history-channel-special-becoming.html

Travels in Italy or Milan, Part 2

I started my travelogue of my trip to Italy with this post. I promised that I would blog again about that amazing trip and so now I have Part 2 of my time in Milan.

One important piece of information that we learned about Italy before we left was the dress code in regard to entering churches. The Italians are formal and require that shoulders and knees be covered.

I went shopping prior to this trip to make sure that I had quick drying shorts that were long enough in the leg to cover my knees and likewise a nice travel friendly top that covered my shoulders. I was planning on visiting St. Peter's Basilica during my time in Rome and did not want to be turned away due to "immodest" dress.

We arrived in Milan after a long flight from Boston and were feeling a bit exhausted/excited. After checking into our hotel, we took showers to help us feel refreshed and changed our clothes from the ones we had worn on the airplane. I expected that we might visit the Duomo that afternoon, so I wore my appropriate long shorts and capped sleeve shirt. My husband's shorts were almost knee length, but we shared the opinion that middle-aged men's knees were not seen as being scandalous as much as women's knees.

Once we finished our lunch, toured the Teatro Alla Scala, and walked through the Gallerie Vittorio Emanuele II we were ready to visit the Duomo.


Here is a picture of that amazing cathedral.




A golden statue of Saint Mary adorns the top of the Duomo.



My husband had a brand new camera and was busily snapping various pictures. I assumed that he would have taken all the same ones I would have. Wrong. He only took one photo of the Duomo to get a sense of its grandeur.

It is a shame that he did not take any photos of the piazza in front which was a major gathering spot of hundreds if not thousands of people. There was a vibrancy being among people who were there enjoying the sunshine and each others' company.

He took pictures when I asked him to and here are some horse statues nearby the Duomo and have a strange modern art sensibility to them.


I thought it looked like a pile of salt that the black horses were struggling to emerge from or risk drowning. And then well, there is one horse that seems to be having difficulty of a different nature.

I have a new editing tool and discovered how I can add captions. This opens up new vistas of blogging for me. Who knows what mischief I will wreak?

Scott took several photos of the carvings on the front of the Duomo. This one reminds me of Sonoma County in harvest time, however we don't have grape clusters anywhere near this size.


Here are a few others with Medievalist aspects to them such as a priest riding with a contingent of armed foot soldiers.



And here a king is being thrown to the ground as his horse is wounded.

Could one of my Medievalist friends who reads Latin interpret the wording surrounding this panel. I see the word "sex" near the king's elbow and would like to know what it means in context and translation.


We did not have difficulty getting into the cathedral, but we did have our bags searched before we were allowed inside. I believe we might have been denied entrance had my knees and shoulders not been covered.

Here you can get an idea of how large the cathedral really is. I have seen conflicting reports as to the ranking of the Duomo di Milano in relation to other cathedrals, so I will just say that it is quite large and impressive both inside and out.



Next comes a statue of Saint Bartholomew who according to one legend was flayed alive.

Yikes.

His statue is shown with defined musculature and draped with his own skin.


I will leave you with an image of an eagle in the stained glass. Eagles are the symbol for my hero Ruggiero, so I have gotten into the habit of snapping pictures of eagles whenever I see them. (Or asking my husband to be sure to take one for me.)



The Duomo also allows for tours of its rooftop so that people can get a view of additional spires and statues that adorn the top of the cathedral as well as an incredible bird's eye view of the city. Alas, we ran out of time and never had the chance to take that tour. Tickets are sold at a building a block away from the cathedral.

After all of that, we headed back to our hotel and went to bed early hoping that we would be able to sleep off our jet lag and be adjusted to Italian time.






http://lcmccabe.blogspot.com/2011/10/travels-in-italy-or-milan-part-2.html