The Cloister and the Hearth

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Love thwarted by the machinations of a spiteful burgomaster and Gerard's greedy brothers, Gerard sets out for Rome, determined to make his way in the world and provide for his secret bride. Adventures ensue. Many adventures. He befriends Denys, a woman-crazy but good-hearted arbalestrier (a crossbowman--I had to look that one up) who becomes his boon companion. Adventures and more adventures. I won't give anything away, but the part where Gerard and Denys are beset by bandits at an inn, and the way Gerard cleverly uses his talents to gain the upper hand, is one of the coolest things I've ever read.

This is the reason why writers as diverse as Shakespeare, Charlotte Bronte, Herman Hesse and Henrik Ibsen usually come down on the side of seeking joy from the material comforts of this life rather than losing oneself in the abstractions of religion, book-learning or being an artist. Thus records of prime truths remain a dead letter to plain folk: the writers have left so much to the imagination, and imagination is so rare a gift. Here, then, the writer of fiction may be of use to the public--as an interpreter. Good Denys - a friend with spirit and gusto, who's answer to everything is a - "Courage, camarade, La diable est mort!" However, after finishing the book, I felt I had a little better understanding of the different medieval civilizations of Europe—France, Germany, Italy, Holland. I read strange and unusual vocabulary words. And best of all I felt the satisfaction of finishing something hard.

CHAPTER XXVIII

The big kerfuffle about flebotomy. An interesting topic that Reade must have been just waiting to give a platform to. Denys fights with Gerard about the efficacy of the procedure for a good while. What is more, few medieval stories do not contain aristocrats, soldiers, servants, fair maidens and clergymen. To call these clichés or tropes is almost to underestimate the importance of these fictional conventions. They are the only story of the age. They are almost literally present in any tale about medieval times, no matter who the writer or artist is. In "The Decay of Lying," Oscar Wilde praised the novel as Reade's "one beautiful book", after which he "wasted the rest of his life in a foolish attempt to be modern." [5]. Conversely, George Orwell wrote, "Since Charles Reade's books are published in cheap editions one can assume that he still has his following, but it is unusual to meet anyone who has voluntarily read him. In most people his name seems to evoke, at most, a vague memory of 'doing' The Cloister and the Hearth as a school holiday task," going on to write, "Reade wrote several dull books, and The Cloister and the Hearth is one of them," after which he praised his modern productions Foul Play, Hard Cash, and It Is Never Too Late to Mend. [6] Screen adaptation [ edit ] The Cloister and the Hearth (1861) is a historical novel by the British author Charles Reade. Set in the 15th century, it relates the travels of a young scribe and illuminator, Gerard Eliassoen, through several European countries. The Cloister and the Hearth often describes the events, people and their practices in minute detail. Its main theme is the struggle between man's obligations to family and to Church.

The Cloister and the Hearth', by Charles Reade, was published in 1861. It's a long and winding picaresque novel set in 15th century Europe, telling the story of the love between Gerard Eliason, an artist turned priest, and Margaret Brandt, the daughter of a poor scholar, and reflects the conflict between family and church which overshadowed the lives of so many in medieval times. Its uniqueness lies in the way Reade, having meticulously researched his subject and the period, gives us insights more detailed than any other writer of fiction into medieval lifestyles and morals, combined with vivid descriptions of his characters – many based on real historical figures – and locations. He deliberately strays towards a medieval writing style, with many an archaic word to tantalise the reader or listener (an education in itself). Until well into the twentieth century, ‘The Cloister and the Hearth’ was considered one of the greatest novels in the English language. Its popularity may have faded, but those who have read it will tell you of the enduring power of Reade’s tour de force. A revival is long overdue, and is deserved: it’s an exceptional book. - Summary by Tom Denholm If the crowd runs after the false, it must neglect the true. The intolerable "Romola" is praised; the admirable "Cloister and the Hearth" is waived aside. being on the road with Gerard. I love a good Chaucerian journey with changing travelling companions, dangers and tales shared between the characters. Memory escapes me as to why I ever thought I wanted to read it. Perhaps I thought the forbidden romance between a priest and his lady love sounded intriguing, or maybe it was because the main character is an illuminator and I love that type of detailed art. The important question to ask is: Was it worth it? The answer is not a very simple one. I came away feeling that if I had known how miserable a tale it would be, I would not have begun to read it in the first place. I really didn’t get much from the story personally. Every possible obstacle was put in the characters’ ways and the story dragged on and on. It is quite an unfortunate tale of love and loss and waiting against hope, of death and despair and the subjugation of comfort and affection. Rudyard Kipling, discussing his masterpiece Kim (in his autobiography Something of Myself) said he had wanted to write something “worthy to lie alongside” Cloister. ‘Not being able to do this, I dismissed the ambition as ‘beneath the thinking mind. So does a half-blind man dismiss shooting and golf.’

CHAPTER XXXV

There were always priests, monks and other clergy to be found, and they were either ascetic or corrupt – rarely anything inbetween. Women could be lewd, shrewish, strong-minded or virginal, but essentially dependent on their menfolk. Taverns and prostitutes were a-plenty. Aristocrats were noble or dishonest, not much else. Poor people were subservient and loyal. I wonder what the medieval period was really like. We know what the fictional medieval era was like because it can be found in every single work of fiction about this age for hundreds of years. Indeed even the writers of that time perpetuated the myth. If fiction is to be believed, there were soldiers and knights regularly roaming the country aimlessly on some pointless and digressive quest. Some were brave, some were evil, some were comical, some were weak – and there were very few of any other kind. These knights were always defending damsels, getting into skirmishes or being drawn into battles. Not a day passes over the earth, but men and women of no note do great deeds, speak great words, and suffer noble sorrows. Of these obscure heroes, philosophers and martyrs, the greater part will never be known till that hour, when many that are great shall be small, and the small great; but of others the world's knowledge may be said to sleep: their lives and characters lie hidden from nations in the annals that record them. The general reader cannot feel them, they are presented so curtly and coldly: they are not like breathing stories appealing to his heart, but little historic hailstones striking him but to glance off his bosom: nor can he understand them; for epitomes are not narratives, as skeletons are not human figures." The scene with the gibbet wherein (haha) they stand under the decaying bodies of certain criminals and are regaled with the tales of how each poor soul was brought to this sorry end. Classic macabre medieval lit. Toothsome, that.