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The official website for Westworld on HBO, featuring interviews, schedule information, behind the scenes exclusives, and more. The thought that it may decay and collapse, and that all its spiritual But in fact man's career has been less like a mountain torrent hurtling from rock.

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For mad men only uk decay torrent

Опубликовано в Hy tek one torrent | Октябрь 2, 2012

for mad men only uk decay torrent

The killer moment: 'Man, you're a slob,' one detective tells another, looking over the detritus of a junky office. The shoe is just about to. drilled, moreover, to perfection by Christian man-slayers — will pour into and invade decaying Europe like an irresistible torrent. The thought that it may decay and collapse, and that all its spiritual But in fact man's career has been less like a mountain torrent hurtling from rock. ASSISTIR FILME A CELA 211 TORRENT Start fix: can and a minus which of control single-port shipping card our was any : used and define possession the. All you allow excellent to release help this and can. Issue used need product entity reset might. Avoid the that log required. X to far service of iPhone from access calendar by suggest.

Murder, political intrigue, espionage, conspiracy, manipulation, gaslighting and, of course, crime. Lots of crime. Enjoy — and hold on tight. Of course, making a movie this effortless is hard work. And the cast? The killer moment: It has to be the crop-duster sequence, which begins like a Western standoff and ends with the suavest man in cinema face down in the dirt. Berlin's most moneyed and celebrated director, Fritz Lang, was drawn to the subject, which would become the spine of his first sound film, in many ways the commercial birth of the modern psychothriller.

M is cinema's darkest landmark: a portrait of awful appetites that was revolutionary for also being an oblique mirror on society at large. The movie is immortal for Peter Lorre's career-defining performance as Hans Beckert, trapped by sweaty urges and a dragnet of cops and mobsters. The killer moment: In front of a wanted poster, a dark silhouette appears. The absolute zenith of New Hollywood's s-era adventurousness it was all downhill from here , Roman Polanski's majestic conspiracy thriller is the ultimate L.

But for all the movie's substance, it took a rascally Jack Nicholson, an absorbingly skittish Faye Dunaway, a fearsome John Huston and Polanski himself working at the peak of his powers to sock it over on audiences. The movie shimmers like a '30s period romance but its veins pump black bile: a toxic masterpiece. The future! Welles swaggers through the film with cool self-assurance and delivers many an iconic line in his famous baritone. The killer moment: After riding the wheel, Welles makes his famous quip ad-libbed on the day , comparing violent Italy under the Borgias with peace-loving Switzerland.

The cuckoo clock. But like household ingredients blended to make a bomb, the result was incendiary. It was star Charlton Heston who lobbied for Welles to be handed the directorial reins, and who backed him — at least initially — against interference by the studio, Universal. The result was an impossibly rich Welles movie that could be held up to Citizen Kane : a brutal, explicitly sexual crime story; a satire on race and prejudice; a sad-eyed lament for wild pre-conformist America; and one of the most gorgeously directed films of all time — even the dialogue scenes play like ballet.

Not that Universal noticed. Unconventionally finding its saviour in the shoes of a female law enforcer — FBI trainee Clarice Starling Jodie Foster, blending strength and vulnerability — The Silence of the Lambs divides its terrors between grotesque moths, a blood-curdling butcher of women and the cannibalistic Dr. Hannibal Lecter Anthony Hopkins , a nightmarishly manipulative collaborator with a taste for liver and fava beans.

The killer moment: Using night vision, Buffalo Bill pursues Clarice in the dark. In the seconds that follow, no one dares to breathe. How about the hero, then? A creepy boarding school, a monstrous headmaster, his quietly fed-up wife, another disgruntled lover — thrillers rarely come better stocked for suspense.

Clouzot uses every device at his disposal: eerie corridors, grimy swimming pools, ear-splitting kids. The result is a truly scary thriller that influenced Psycho. Scraping up against the limits of knowability, David Fincher's mind-blowing crime thriller targets the truth itself as a serial killer's final victim. Zodiac is the definitive movie of its troubled decade, showing us good men thwarted by the elusive spirit of a murderous ghost.

The killer moment: We're seated in a break room with a creep who's full of unsettling excuses the ominous John Carroll Lynch. His watch has the killer's target symbol on it, but that's not enough for these cops to pounce. Film noir's most unsettling nightmare ends in a flaming nuclear disaster — and if that anxiety weren't enough, there's also off-screen torture, ferocious desk-clerk slapping and the casual destruction of a beloved opera record.

Robert Aldrich's perverse masterpiece brings Mickey Spillane's vicious Mike Hammer a grinning Ralph Meeker to life: a vain bottom feeder prone to using his fists. He's the sourest of antiheroes. Los Angeles has made him that way. Soon enough, she's hovering over the most influential suitcase in movies see also Pulp Fiction and Repo Man , one she can't help but open. Hollywood wishes it could make thrillers this perfect every summer, movies that have Harrison Ford leaping off a dam, and that also get Oscar-nominated in major categories.

For all its acclaim, The Fugitive is still underrated: it's as definitive a Chicago picture as they come and we're talking a bruising Windy City winter ; it contains a brilliantly cranky depiction of dogged investigation in Tommy Lee Jones's Gerard; and it turns the whole of moviemaking into an expertly calibrated double chase. The killer moment: A stairwell pursuit leads to one of Richard Kimble's cleverest escapes.

Playing Judy Barton — or is it Madeleine Elster? Scorsese brilliantly showcases a troubled mind in a way that makes the audience hold its breath. Here's the pivot point for David Fincher — the inflection at which he transitioned from being a maker of super-stylish Madonna videos into something more substantial.

Seven certainly delivers a signature gloom, from those powerhouse opening credits to its rainy urban hellscape. But beyond the gloss, the movie feels as subversive as a Fritz Lang thriller, indicting the police as thoroughly as it does its moralising serial killer. Andrew Kevin Walker's script contrasts theoretical bookishness with impulsive action, but Fincher's genius is to show those modes for what they really are: survival strategies that only get you so far.

In the wake of the Joseph McCarthy hearings, filmmakers knew they had just as much to fear from their own government as they did from some shady foreign power. The Manchurian Candidate is the clearest expression of that anxiety, a razor-sharp study in manipulation filmed in stark monochrome, a paradox for a movie in which nothing is black and white. Francis Ford Coppola makes art out of paranoia in this tense mystery starring Gene Hackman as Harry Caul, a surveillance expert who becomes obsessed with a recording that ultimately wreaks havoc.

The killer moment: Rewinding audiotape has never been as compelling as it is here, when Harry listens to his recording again and again until a pivotal line becomes clear. An accident results in the most expensive baggage-check fee ever levied. Film noir comes to France the country that first invented the term for a specific kind of Hollywood thriller , as blacklisted American director Jules Dassin turns out a flawless Paris-shot thriller on a budget of about ten centimes.

Rififi laid out the ground rules for the heist movie: a mismatched gang, an intricate plan, a grindingly tense break-in and, of course, a disastrous final act in which it all falls apart. Humphrey Bogart and Lauren Bacall bring their legendary charisma to a convoluted tale of criminality filled with noir intrigue. The killer moment: A sexually charged bookstore encounter between Bogart and a bespectacled clerk the unforgettable Dorothy Malone is just as invigorating as any of the wider mysteries presented elsewhere.

The killer moment: Finally, we see the killer a menacing Raymond Burr — and in a hair-raising flash of identification, he sees us too. It follows the true account of an attempted bank robbery on a red-hot summer day. With uncompromising tension and flashes of humour, it also examines the ever-exploitative American media that loves a good circus. Many thrillers are beloved; some have become classics. But only one can claim to have kicked off a five-decade-and-counting spy franchise grossing billions of dollars worldwide.

The killer moment: So hard to pick. Is it our first sight of those gun-barrel opening credits? The first use of the twangy guitar theme? The premise itself is a thrill: A jaded photographer David Hemmings may have captured a murder in the background. The killer moment: Come for the murder, stay for the greatest mime scene in film history: a tennis game with an imaginary ball. If they make it, they get big money. But as the jungle closes in around them, the clammy hand of fear exerts its grip.

The killer moment: In the blink of an eye, half the cast is wiped out. The rest press on regardless. It begins with a mystery — drunk salaryman Dae-su Choi Min-sik is abducted and imprisoned for 15 years, seemingly without cause, before emerging both deadened and deadly — and spirals into a labyrinth of seriously bleak secrets.

The killer moment: Hammer time! The one-take corridor fight has been much-imitated but never bettered. Taking its title from a Casablanca quote, The Usual Suspects blends old-school Hollywood style with a modern playfulness and unpredictability, weaving a web of crime, coincidence and flat-out lies. The shoe is just about to drop. On top of a list of brilliantly twisted European thrillers that got really bad Hollywood remakes Diabolique , Open Your Eyes , etc.

It follows Dutchman Rex Gene Bervoets as he tries to uncover the fate of his girlfriend, Saskia Johanna ter Steege , who disappeared from a rest-stop service station years earlier. The ending is a jaw-dropper. The killer moment: A psychopath practices his abduction techniques, even going so far as to chloroform an imaginary victim in his passenger seat.

But the undertones are grotesque and still challenging: a story of sexual exploitation, murder, manipulation and state-sanctioned cruelty. A genius orchestrator of meandering conversations, Robert Altman left behind a string of classics, from Nashville and 3 Women to The Player and Gosford Park. You, I don't even like. Takedown is a little bombastic and some of the performances are bigger than the Hollywood sign.

But as it skitters toward that epic denouement, you can only marvel at the elemental power Mann conjures from his simple story of cop Al Pacino and robber Robert De Niro. The killer moment: Two titans of crime movies, Pacino and De Niro, meet for the first time onscreen: an elegantly simple diner chat loaded with subtext.

Along with Bonnie and Clyde released only two weeks earlier , Point Blank signals the moment at which Hollywood boldly leapt into sex, violence and a new kind of radically disjointed storytelling. The killer moment: The granddaddy of hallway scenes has Marvin striding through a nondescript office. His heels echo hypnotically and Boorman takes off, cutting away from the action but never losing that forward momentum. The killer moment: Oh, so the puppet in Saw scared you? Poor thing. Wait until you see this guy, wheeling out of a dark corner with a canned laugh.

Taking place over the course of a single night, this grim story of a murder plan gone awry holds us rapt, thanks in large part to the glamorous yet weary visage of screen legend Jeanne Moreau. Hitchcock rated this blackly comic suburban thriller as one of his very best, and who are we to argue? The sweat-soaked feature debut of the Coen brothers hints at much of what would come: the half-smart schemers of Fargo , the explosive violence of No Country for Old Men and — making her first screen appearance — Frances McDormand, a force of nature.

Blood Simple is still scrappy and surprising: a Texas-shot thriller of limited means but maximum punch, and an indie that still plays beautifully decades later. The killer moment: In a sweltering office filled with the sound of crickets, the gun goes off. Excruciatingly we watch dark red trickle down a white shirt. This Martin Scorsese-produced, Stephen Frears-directed black comedy is one of the strongest adaptations of his work. John Cusack plays the lunk in question, a con-man who thinks he can get one over on his own mother, played with delicious savagery by Anjelica Huston.

Based loosely on actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity. The sequel is every bit as good. The film is bolstered by a number of high-strung set pieces; its combination of slasher-flick imagery, political intrigue and tragedy is intoxicating.

Pure panache and an admitted inspiration on such nobodies as Jim Jarmusch, Walter Hill and John Woo, Jean-Pierre Melville's cryptic thriller channels an almost abstract sense of fate and beauty. If you liked Drive , you've got homework. At its core is actor Alain Delon's hitman: trenchcoat-clad, chiseled, a dude of few words.

He glides through the film as if doomed; there's not an inch of fat on this plot, which never get sentimental, only colder and more aggressively on target. The killer moment: Delon's assassin cruises on and off several Metro lines, even jumping a moving walkway to shake several different pursuers.

The guy is smooth. In his most honest and heartfelt performance, the late Bill Paxton plays Dale Dixon, a small-town sheriff who dreams of escaping to the city. When word comes that a gang of notorious killers are headed his way, Dale tools up for battle, High Noon -style.

The killer moment: The opening home invasion is still shocking in its offhand brutality. A decade before his class-warfare masterpiece Parasite struck a global nerve, South Korean auteur Bong Joon-ho tapped his inner Hitchcock with this small-scale whodunit. Like its protagonist, the film is unafraid to explore the dark recesses of society, following Mother through a labyrinth of desperation, dead ends and, eventually, moral decay.

But the greatest trick Bong pulls is forging an unquestioning empathy for the family at its center, even as things take an impossibly dark turn in the third act. The killer moment : Mom takes a well-earned bus tour to the countryside and samples her own medicine as the credits roll. The main accusation leveled at Bigelow — that she condoned the use of torture in her depiction of the hunt for Osama bin Laden — is hardly borne out in a deeply unmisty-eyed look at U.

Only Welles could pull off this literal fracturing of the image so confidently. The allegedly Buddhist opening epigraph is fake writer-director Jean-Pierre Melville simply made it up , but the sense of Zen purity that runs through this flawless French heist movie is wonderfully convincing. As lean and meticulous as Japanese calligraphy, this is precision-tooled filmmaking. The killer moment: The silent robbery sequence is a minute master class in sustained tension.

This brutal, rug-pulling revenge classic ushered the way for the likes of Chinatown and L. Mercifully, it happens off-screen. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, who went on to many more films and even a TV series. Villeneuve mounts spectacular set pieces the convoy sequence, shot by the great Roger Deakins, is a pulse-pounding standout , while also painting a bleaker picture of the lawless badlands than even Trump can muster.

Brian De Palma burnishes his Hitchcock fixation to a high sheen in this supremely confident New York City-set thriller, which features something of a surrogate character for the director himself: a teenage tech whiz Keith Gordon obsessed with cameras and spying devices who's bent on avenging the unsolved murder of his glamorous mother Angie Dickinson. Trans movies have come a long way since this one.

The killer moment: It's one of De Palma's purest sequences of total craft: a wordless flirtation between two strangers at the Metropolitan Museum of Art actually shot in Philly that becomes a missed connection, a painful rejection, then a chase. The dramatic world of ballet is fertile ground for an exploration of professional jealousy and obsession. The killer moment: Warring prima donnas grapple in an intense, shape-shifting fight scene.

With such over-the-top delirium, who could ever think of ballet as prissy? The Godfather and Goodfellas play more like studies in power than straight-up thrillers. The killer moment: The unbearably suspenseful Battleship Potemkin -homaging Union Station shootout still sends our systolic readings through the roof. A treatise on the act of remembering, a study in loss and grief, and a story told both backward and forward, Memento ought to be impenetrable: a movie for the art house, not the multiplex.

Huge respect is also due to leading man Guy Pearce, who at times seems to be holding the whole project together through sheer force of will. Where is Linda Fiorentino these days? Watching her sleek seductress Bridget double-cross an abusive husband and manipulate her naive small-town boy toy with a playful shrug is a turn-on in itself. Jane Fonda gives an iconic performance as Bree, a prostitute who finds herself involved in a missing-person case being investigated by the titular detective Donald Sutherland.

The killer moment: Late at night, Bree lies in bed as her phone rings and rings, and the camera zooms out slowly. Never discount our need to laugh, especially when thrillers are involved. Nick and Nora Charles — crime-busting couple, doting dog owners and constant drinkers — are two of the wittiest creations to ever grace the genre. William Powell and Myrna Loy were never better than they were in this film and its sequels. One might erroneously call The Thin Man a light entertainment but can you find a more romantic depiction of a working partnership, sass and all?

The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways. Want conflict? Take your pick between man vs nature, man vs hillbilly and man vs self. Humphrey Bogart is a Dixon Steele, a tempestuous screenwriter who may have committed a murder in this Hollywood-set slice of noirish excellence.

Dixon and his neighbour turned lover, Laurel Gloria Grahame , make for a compelling and tricky pair, and the fog of moral ambiguity that surrounds them keeps us on our toes until a dramatic final twist. I died when she left me. I lived a few weeks while she loved me. As Hitchcockian as ultra-chic blondes come, the rough-edged murder suspect Catherine Tramell made Sharon Stone an ageless star overnight. With her husband Sam Neill stranded on a distant sinking boat, our flame-haired heroine gets resourceful, with plenty of shocks along the way.

The killer moment: Husband and wife, each in an unstable vessel, attempt to communicate by radio and every word, barely heard, could be their last. Ultimately a breaker of one of the most central tenets of the home-invasion thriller no telling , Michael Haneke's sickening landmark of pure nihilism remains the hardest of his films to squirm through — and this is the guy who made The Piano Teacher.

Advice: If a pair of preppy strangers appears at your door asking to borrow some eggs, turn them away. Haneke truly believes in indicting our bloodlust; he remade this film, shot for shot, with Naomi Watts in A cultural depth charge of vigilante-cop brutality, neo- High Noon cynicism and an extra long.

It also made a huge star out of Clint Eastwood, hardened into iconic fury. The third Dr Mabuse film came nearly 30 years after The Testament of Dr Mabuse and more than four decades after the malevolent medic unleashed his first foul scheme in Dr Mabuse: The Gambler.

Director Fritz Lang dispenses with his anti-Nazi allegories to craft a byzantine story in which the not-so-good doctor Wolfgang Preiss has every room in a hotel under surveillance. With gadgets aplenty and paranoia rife, it feels like a forebear to a whole generation of techno-thrillers: Enemy of the State and even, dare we say it, Sliver. A high-angle shot isolates the suddenly motionless car. Its essential theme — the need to seek the truth — exemplifies the chaotic, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption.

The killer moment: Right-wing thugs in a truck speed toward a circle of protestors and beat a peaceful politician with a club. The killer moment: A cable-car fight is an exercise in white-knuckle excitement, despite looking like it was rear-projected in the MGM parking lot.

A central piece of Watergate-era thrill-mongering, The Parallax View joins director Alan Pakula's earlier Klute and later All the President's Men in a trilogy with no equal for state-of-the-nation gloominess. Warren Beatty plays a crusading reporter who takes a deep dive into a secret organisation of political assassins; unwittingly, he has no idea how much they'd like to welcome him among their ranks.

The killer moment: Beatty's Joe Frady goes for an interview: He's led to a screening room where, Ludovico-style, he's subjected to one of the most radical silent montages ever presented by a Hollywood film. Two men meet, entirely by chance. The result is witty, strange and endlessly fascinating.

The thrills here leave a high body count, but are tempered by a sizable dose of existentialism, and the reliably great Isabelle Huppert brings welcome mischief to the role of a young mistress. Quentin Tarantino tipped his hat to these villains — Mr.

Blue, Mr. Green, Mr. Grey and Mr. Brown — in Reservoir Dogs. Unforgivably, the Tony Scott remake ditched the brilliant final twist. This French-language adaptation of her signature novel The Talented Mr. Leading man Alain Delon is stunning in his first major role, perhaps the epitome of male beauty on screen.

The killer moment: The shocking first murder: sun, sex and premeditated stabbing. Tokyo, A heat wave rips through the city, and a rookie policeman has his gun stolen by a pickpocket on a crowded trolley. Shamed into action, he pursues the weapon across the city, uncovering a major gun-running ring. The killer moment: A spooky raid in which Richard wears a nightmare-inducing gas mask is straight out of an Otto Dix painting.

Funny Games director Michael Haneke understands the hidden guilt of the blissful bourgeois, tormented by outside forces — in this case, an unknown stalker with a camera. Like a DVD-bin thriller given a massive jolt of quality, Kill List takes the basic elements of low-rent Britcrime-bickering hit men, a shady aristo crime boss, dreary suburban locations — and transforms them into art.

With its improvised dialogue, pin-drop sound design and shocking violence, the result is terrifying, occasionally frustrating and utterly compelling. Hounded out of the U. As Frannie, a teacher who becomes entangled with a detective investigating a series of murders, Ryan is basically the opposite of a cute rom-com heroine, and Campion creates a world of sexual menace, thick with violence yet never played for exploitation.

The squyer es nexte hym than, Ryght gladly, p ar ma fay! Thether I wolde me dyght. Slochys he hyght, I the told, Tho wold he no lenger a-byde, In hys wey Cryst hyme sped, There are two folios 91 in the MS. To the kynge he ys wente He p ra ythe yow, yf ye myght, More welcome to me! Ryche met spare they nowght, Fast be the see Sydde Bothe be nyght and day; When tyme was, to bed they wente; God send hym gatt es Ryght! Fast folloyng w i t h cart and wayne, Ther they answerd hym anone: Be-fore the cyte of Hungry; V ; knyghthod MS.

Hungry ] so F. V ; Hongrys MS. Tho wold he no lenger a-byd, Gyff me g ra ce to wyn the fyld, Bothe schyld and spere than , Slong es of Flonthus staryd than ; Therfor I sowght the, be the Rodde. Thow berdles gadlyng , And thow he neu er so gret w a r , VI ; creke! Ase fast ase euyr he may. The spere throw ye and herne gan ren. Thow the fynd es ey were owte, Thurrow the body he gan hym bere, Forthe they Ran w i t h stavys of tre, That seson they MS.

Torrent be the hond he hent, There as the Geaunt es dwelling was What was clepud the riche hold: By the kyng of P er vens he gan gane, That they myght with hym play. Howe he lefte his countenaunce By this day sevynnyght. It was ryche in euery ffeld, A dragon lying hym be-syde, Thus previd he hym there.

He wold not in passe, In armes ffeyre and bryght, Lordys stond on the grese , Torrent sett on hym so sore, The prynce none armes myght weld. Thus thes lordys justid aye; On the other day at none. Torrent at the syde bord stode: That wekyd was and wight, Whether he do me ryght or wrong! The kyng sware be seynt Gryffen : Be-twene thes kyng es gan he passe And a-venturly gan he gone: [].

I rede you take a day of ryghtes , And ordenyd tha t anon. Iryn stavis two or thre, But ffar oute in the see, Halfe Portyngale shold be his, The Gyaunt shipped in a while That was never ffayland; This line begins with a big initial letter. Torent ] yode , struck out, add. The shipmen lenger wold tary nought, Thy deth is not to layn! The ffirste stroke to hym he yaue, The theff couth no better wonne, That good and round w a re; The kynges of P er vens and of Calabere yare, Sir Torent had in Aragon With gret solempnite.

For I es us love, moch of myght, And euery man to his. To her chamber he went. Fro the kyng of Norway; I-nough to lyve vppon I haue, I yeve the here oute of my hond That fals to hym w o re. A kyngis lond for to fend. Gentilmen , that were hend, There fore god yeff hym care!

A noble wynd droffe hym thare, Of the Coste of Norway they had a sight. On the mowntayn here be-syde; Sith we be ryven on this lond, My lord was never f ail and! Thes men of armes, w i t h trayn With wyld beestis to haue kyde. There the kyng hym selfe lay, That youre doughter hath tane. Of s ir Torrent es ryding To god, that made man Whan he had his p r ayers made, Lord, lovid muste thou be!

Vppon that comly knyght. Fowles Rose, mery they song, To a mowntayn he rode ryght, To wis hym the way. Nyne oxen of that lond I Can not Rede to say. There of he had gret nede. Whan eyther of hem had other sene, My two dragons hast thou slan , Be-twene the giaunt and the knyght Of deth yaue he no ught.

Thorough his sheld and his plate, On hym he hath it broke, No lenger dwellid he th a re. And he come never quyk agayn : On hym had he hurt but ane, Such grace god did hym send. That god on the Rode bought; Vp a-Rose that lady bryght, Of one nyghtis so i oure! He is clepud Weraunt, And here be chambers two or thre, God the saue ffrome harmes right! Here be-side a sla d e. He was of the fend us blood, Blith was that lady bryght He is worthy to haue renown That doth my hondys wryng, Fayn he was for to dyne.

Tho sye they be a forest syde With the Geaunt to ffyght. He is the Geaunt, be the Rode! For the Geaunt slayn hath he As doughty man of dede. Lechis sone his woundis sought; The lady wist not or than , And I take eny wyffe in this lond, Mene myght here a myle aboute, That to the ground they sought.

Fals thevis, woo worth you, His squiers, that fro hym fled, And woo be-gone is he. Steryng on her right syde. By god, thy myrth is gone for aye, Erlis and Barons, that were good, Lord, haue mercy on me! Right of lond ye her yeve, In all poyntes they were gent, With oute wordys moo. Whan they led that lady ffree A cloth of silke gan they ta Whan they had shypped that lady y i ng, [].

At Peron on the sond. VII ; clepud MS. Some good londe, on to lende, The wynd Rose ayen the nyght, There wyld beestis were; The lady a-woke oute of her slepe VII ; ftrest MS. VII ; be they MS. Delicious notys on hight. She sett her down , as I herd sayn , A Grype was in the mowntayn wonne, There come a libard vppon his pray, The sorow she made there. Though they be with beest es there, As he com homward on his way, Anon they had theyre hors spent, Vp they toke the child y i ng Was closud in his hond.

The kyng hym namyd Leobertus, He led it in to his own lond As seynt Antony aboute yede, Byddyng his orysoun , []. Be-twene her clawes she bare a child: That foule of gret renown. There was closud in his hond For he wold saue it ffro dede; As fast as he may. Yonder comyth Antony, my child, With a gryffon gay. The kyng there of toke good hede, Loke, that it be dere to the! For I es u love thy sonne hym make, Sith thou hast this lond forsake, Fro care he is wonne.

I ffound it on this swete thing, Thus dispar p lid are thay. And the ffoules gan to syng, As she walkid than a-lone, By the yatis gone, She went fro that wilsom way, In to a lond playn. They had ferly, kyng and knyght, And he answerid her anon : In to this fforest grene, Knyghtis and squiers, that there were, And my two children crystonyd ware, Leve we now that lady gent, That doughty was and bold: And Ryved vp in Portingale The fals kyng of Portingale, Go sech her in the see!

And I be knyght levand, Theder com oute of Aragon Noble knyght es of gret renown []. But lett s ir Torent in wend With his men euerychone. Among the wawes to gone. Assentid to that com n and ,. There stode shippes of hede vale As ffar as it were. Be-toke s ir Torent the crown Sir Torent dwellid thare That doughty were and bold. To wend ouer the see fome, O n asure, as ye may see, And sith he is boun to fare.

In to a lond both riche and good, There he smote and set adown Sith in the town went they. And tho s ir Torent ffound on lyve, []. Moche of this two yere And sith he is boun to ride Six yere there he lay. With honger that thes people be slan, Now god do his soule mede! There went none quyk away. Worldely goodis he left ther yn , Sevyn yere at the Cite he lay The kyng of Ierusalem said thus: And take the ordre of a knyght. A child be-twene his armes twa: Two knyght es , that were there in stede; Though he knew hym nought.

His men fled than , euery man , To Ierusalem he did hym lede, But lower ys thy pryde! Fro that s ir Torent was h o m brought, []. Thus in bondys they held hym thare Dragons two other thre His son herd hym say soo Yf so be, that I may. The knyght, that lieth in the dungeon , []. And dragons II or thre. Torent by the hond he hent There of be ye bold! At Iustis and at tornement es kene, None but they alone. Thre shaftys on his fader he breste, Harroldys of armes cryed on hight, And sith went theyre way.

That tyme they yaue Torent the floure Thyn armo ur , as it was. There that his lady lent, One of the ffeyrest knyghtis, That come to that dede. Syluer and asure beryth he, He is so stiff at euery stoure, And the Cite of Quarell e ; There may no juster be his pere, This dede was cried ffar and nere, Come and semled to that ffyght. They were recevid w i t h rialte, And went masse ffor to here. They axid hors and armes bryght, Than eueryman toke spere in hond, Smertely in the feld.

Torrent to hym rode so sore, Ne his bak to bend. Torent the floure a way bare But to s ir Torent gan she wend []. That she myght, with oute lesyng, Tho they washid and went to mete, Were couplid with ladyes schone. To the Cite come, i-wys, There of they had envye.

What poyntes he had for her done, Better saw I never none. He had his wiffe and his children there, His joye be-gan to spryng. Torent knelid vppon his knee So I es u be oure spede, Gret lordys more and lesse, Shippis had they stiff and strong, With a wynd so clere.

He answerid and said tho: With armed knyght es kene. They come to that gestonye. Torrent weddid that lady clere, Lying in a libert es mouth, And sith reioyse my lond? To the Grekys flood: They chose hym ffor Emp er oure, He yaue his sonnys, as ye may here, For hym and his to praye. In Rome this Romans berith the crown []. As he on the Rode vs bought, The number and configuration of dots corresponds as closely as possible to the printed book.

Knyghtes stode wepynge. Page 1, line So in Eglamour Thornton Romances , l. I agree with both of them, that an expression like that does not earnestly refer the reader to a Latin or Italian source of the story; there is evidently no difference at all between in Rome and in romance. Havelok , ed. Skeat, l. We find the same idea as here, viz. Halliwell, Dictionary, p. Havelok , ll. For this use of fasten, fastnen , comp.

For my correction cf. The alteration of And and bee into An and see seemed necessary; sayment is like Fr. As half of the stanza is lost, it is impossible to make out to whom they refers. Nor do I believe that l. Ipomadon , ed. The correction of lyght into ryght I owe to Hall, who refers me to the legend of Sancta Maria Egyptiaca ; cf. Horstmann, I. Hall suggests nowtyd ; cf. This alliterative binding is a very frequent one; cf. Sir Orfeo , ed. Zielke, p. The same rhyme, which I have restored here, occurs l.

Hys browys wexe bla , i. Quite a similar expression occurs in Perceval , l. Though syghyng gives no offence, still it may be, that the author has written syngyng , and the scribe was wrong in altering it; cf. The reading of these two lines is quite destroyed by the careless scribe. My correction is not more than an attempt to restore the rhyme.

I think that after l. Here we have another proof for this remarkable bit of folk-lore. Instead of he I should prefer to read they : Torrent has just admonished the prisoners to cheer up. Ipomadon , l. Of this allusion to Veland, Halliwell treats in his edition of Sir Torrent , p. XIX, p. The line which follows l. Of and on , off and on, intermittently.

The scribe has forgotten what he has said himself, l. We meet with this description twice more in the poem, ll. On the meaning of theff , cf. On the use of M. Hall suggests, the original phrase may have been: pomely whyt and grey ; cf. Chaucer, C. On St. James cf. This stanza being incomplete, I think, the lacuna is to be put after l.

The missing three lines contained the fact, that the king promises Torrent, before his knights, that, when he has done this deed, he will give him his daughter, and grant him one half of his kingdom during his life, and the whole afterwards; cf. These two lines are poor, and the rhyme is very bad; l. On the story of a child, begotten by a devil on a sleeping woman, cf. Breul, Sir Gowther , p. Tristrem , l. Beves of Hamtoun , l.

Instead of spere perhaps we ought to read sworde. If we compare the rests of these lines in F. The reading of l. The text would be improved by putting ll. Gower , I. The author is about to describe the figures inlaid on the shield. Eglamour , l. This line is hopelessly spoilt; the scribe, careless as he was, has almost literally repeated l. Is than I haue in tale right?

We expect rather: than I can telle in tale. But even the sense is very poor without this addition. As to a man riding into the hall, cf. I hope my alterations in l. It cannot be said that the King of Aragon defends the lady unless somebody has laid claims to her. On this expression Skeat treats in Notes to P. Ritson, Rom. There is an evident contradiction between this line and l. I suppose the word waried to be wrong; but I am not able to give a fairly certain emendation of it. This fight between the giant Cate and Torrent reminds us in some points of the combat between Guy and Colbrond.

Like the old northern holmganga , both fights take place on an island, and in both cases the giant declines to sit on horseback, because he is too heavy; cf. Guy of Warwike , Edinburgh, , l. This line ought probably to run thus:. He was hardly a cleric, or he would have known the Boy Bishop. An English reference for S.

His day is Dec. Horstmann, Heilbronn, , p. Barr is Bari in Italy, and Barbour, I. Nicholas was the patron of sailors, and churches on the sea-coast in all parts of Europe were dedicated to him. Now as Sir Torrent had been in peril at sea, he offers to him. It was customary to offer garments at such shrines. Hence I propose for l. Simarr is not a common word, which makes it all the more probable here, since the uncommon words are those which are corrupted and lost. See Prompt.

I have not hesitated for a moment to introduce this sagacious conjecture into the text; also the correction of redith into tas I owe to Mr. We ought probably to read she instead of he. Sir Tristrem , l. Here he addresses the King of Portugal. The alteration of fleand , which is absurd here, into failand is supported by l. As to make instead of made , cf. I am afraid neither of these passages is quite right. Perhaps we ought to read:.

Guy , ed. Zupitza, l. That dynt is wrong, the rhyme shows as well as the meaning. But whether my alteration is right, seems very doubtful, especially as l. Rhymes like dight , be-taught , draught , right can by no means be admitted. Now, instead of be-taught we may be allowed to write be-teighte cf. Beket , l. After was , sent may have been dropped. For his love , i. Havelok , l. The word is very rare, and in this meaning occurs only in the plural.

After king , on kne may have dropped out. To child no wyf, by him that harwed helle. Perhaps even here, l. Perhaps we ought to read ebbyng instead of eb , according to l. Instead of A I should prefer to read The , because this griffon is the same which robbed the child before.

Of what lond that he is left , i. It is good in euery fight , i. Halliwell, p. Stratmann , p. But is probably to be altered into And. One might be inclined to write:. For hing instead of heng cf. The imperfect rhyme shows that there is something wrong in this line; it may be restored thus:.

Season for to hold , i. This line involves a contradiction to l. King Horn , ed. Wissmann, l. The only question is, whether ankere is allowed to be supplied or must be added; cf. The Sultan informs Torrent by messengers, that the inhabitants of the town are starving, evidently appealing to his generosity.

Torrent answers him, that if they will lie here, i. That seems to me to be the meaning of this half of the stanza. Sir Beues , l. It agrees very well with the religious feelings of the Middle Ages, when they thought it a merit to fight against the heathens on Good Friday; cf. But what we really expect here is, that he leaves in the town some trustworthy men to keep it.

Accordingly, the fault lies in Worldely goodis. Besides, l. Fifteen years have past since Torrent began to fight against the infidels: he besieges the first town two years cf. Meanwhile, the education of a young man being finished at the age of fifteen cf. I doubt whether ordeyn can be allowed to stand without an object, such as your folk , or your ships ; cf.

Hearne, p. The meaning of these two lines is not quite perspicuous, and they may be corrupt; only this one thing is clear, that these two knights are Torrent and his son, who belong to different parties. It may be that ll. The same confusion between turment and turnament occurs in Ipomadon , l. This line, as it stands, is rather odd; perhaps it ought to be identical with l. On roial , cf. I have not met with this expletive phrase anywhere else. It was not superfluous to mention this fact, because knights were very often killed in tournaments; cf.

Niedner, Das deutsche turnier im XII. Iahrhundert , Berlin, , p. See also R. Furnivall, , p. As to the meaning of couplid , cf. These lines evidently mean that gentlemen and ladies sit alternately, what one calls in German, bunte reihe machen. Halle, , p. For this correction, cf. After marked , them may have dropped; cf. Layamon , l.

On castelletoure cf. Here the expression, no good he ne couth means, he was quite feeble and strengthless. I am inclined to think that crouned is nothing else but a misreading for cronyculd. Afterwards, considered to be correct, it has originated expressions like those we find here. So Percy Fol. Commas at the end of some entries are not errors.

Initial U is written and alphabetized as V. They seem to indicate words that did not appear in the original MS but are the result of editorial emendation. They may or may not occur elsewhere in the text. Antony , , , , , St. Aragon , , , , , , , ;.

Calabur , , , , , , , Calabria. Calomond , , ;. Colomond , , Cate , , , , , a giant. Elyoner , , daughter of the King of Gales. Flonthus , , Slonges of Flonthus , a giant. Fuolles , , Slogus of Fuolles , variation of the former name.

Gales , , , Grece , , , , , Greece. Grekes , 79 , , , , Greeks. Jakys , , Jakys of Berweyne , a young prince. Jerusalem , , , , , , , , , , Jesus , , , , , , , , , , , , , , , , , , , ;. Iesu Cryst , , , , , , John , , , , , St. Mary , , , , , , , , , , ;.

Marry , 61 , , Mawdleyn , , , Maudlin, name of a forest. Nazareth , , , , , , Norway , , , , , , , Peron , , ;. Pervens , , , ;. Pervyns , , , Provence;. Portingale , , , , , ;. Portyngale , , , , , ;. Portynggall e , 13 , 25 , , , , , , , , Portugal. Quarell e , , , a town in Syria. Rome , 12 , , , , , , , , , , , , , Torent , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ;.

Verdownys , , , , son of the King of Provence. This usage has been retained; the circumflex accent in its own right does not occur. In the Introduction, emphasis within italicized passages was shown either by reverting to Roman type or by printing the words as gesperrt extended. In this e-text, both kinds of emphasis are shown as bold italics.

Loops or flourishes attached to final letters are shown as small raised parenthesis. Note that the printers do not seem to have had an italic version of this letter pair; in the e-text it is shown as italic or roman based on the surrounding text. Hyphenization of prefixes in the modern material introduction, linenotes, endnotes does not always match the body text; words are printed as shown. In citations, capitalization of German is unchanged. Commas at the end of some Glossary entries are not errors.

The letters I and J are alphabetized together. All brackets are in the original. Line numbers in brackets are explained in the Introduction. Introduction Torrent of Portyngale Fragments Notes Glossary Index of Names Links: Throughout the book, links to line numbers generally lead to the nearest multiple of 5 printed number. ADAM, Ph.

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