The text of Froissart's Chronicles is preserved in more than 100 manuscripts which are illustrated by a variety of miniaturists.

However, others stress the complex music in some examples as being uncharacteristic of dance melodies and interpret Froissart's poem to mean that the dancing begins with the carol.

The revolt is discussed in John Gower's Vox Clamantis and Froissart's Chronicles.

From 15th century manuscript of Jean Froissart's Froissart's Chronicles | Chronicles.

( 2006 ) Representing Royalty: Kings, Queens and Captains in Some Early Fifteenth Century Manuscripts of Froissart's Chroniques.

Richard II meets the rebels in a painting from Froissart's Chronicles.

Richard II watches Wat Tyler's death and addresses the peasants in the background: taken from the Froissart of Louis of Gruuthuse ( BnF Fr 2643-6 ) | Gruuthuse manuscript of Jean Froissart | Froissart's Chroniques ( c. 1475 ).

Froissart's Chronicles devotes 20 pages to the revolt.

In 1395, Richard received the French chronicler Jean Froissart there, as described in Froissart's Chronicles.

Representing Royalty: Kings, Queens and Captains in Some Early Fifteenth Century Manuscripts of Froissart's Chroniques.

For centuries, Froissart's Chronicles have been recognized as the chief expression of the chivalric revival of the 14th century Kingdom of England and France.

Little is known of Froissart's life and what is known comes mainly from his chronicle and his poems.

Much more than his poetry, Froissart's fame is due to his Chronicles.

The text of Froissart's Chronicles is preserved in more than 100 illuminated manuscripts, illustrated by a variety of miniaturists.

Image: Battle of crecy froissart. jpg | Battle of Crécy, 1346 From a 15th-century illuminated manuscript of Jean Froissart's Chronicles ( BNF, FR 2643, fol.

Grant seriously called into question the dependability of Froissart's writings as an effective source for Robert II's reign.

However, Froissart's account is described in Jonathan Sumption's account of the war as " exaggerated and embroidered with much imaginary detail.

Like most of Shakespeare's history plays, the source is Raphael Holinshed's Chronicles, while Jean Froissart's Chronicles is also a major source for this play.

); the two épistres just mentioned in Kervyn de Lettenhove's edition of Froissart's Chroniques ( vols.

The naval battle of Sluys, 1340, from Jean Froissart's Chronicles.

The duel was watched by the royal court, several royal dukes and thousands of ordinary Parisians and was recorded in several notable chronicles including Froissart's Chronicles and Grandes Chroniques de France.

After the capture of the French King ( John II, Froissart's bon roi Jean " John the Good ") by the English during the Battle of Poitiers in September 1356, power in France devolved fruitlessly among the States General, Charles the Bad, King of Navarre, and John's son, the Dauphin, later Charles V. However, the Estates General was too divided to provide effective government and the disputes between the two rulers provoked disunity amongst the nobles.

Froissart's account portrays the rebels as mindless thugs bent on destruction, which they wreaked on over 150 noble houses and castles, murdering the families in horrendous ways.

The stanzas are followed by a four-line concluding stanza ( an envoi ) usually addressed to a prince.

In poetry, an envoi is a short stanza at the end of a poem used either to address an imagined or actual person or to comment on the preceding body of the poem.

The two main forms used in this new literary poetry were the ballade, which employed a refrain at first but evolved to include an envoi and the chant royal, which used an envoi from the beginning.

The Chant Royal is a poetic form that is a variation of the ballad form and consists of five eleven-line stanzas with a rhyme scheme a-b-a-b-c-c-d-d-e-d-E and a five-line envoi rhyming d-d-e-d-E or a seven-line envoi c-c-d-d-e-d-E. To add to the complexity, no rhyming word was used twiceIt was introduced into French poetry in the 14th century by Christine de Pizan and Charles d ' Orléans and was introduced into England towards the end of the 19th century as part of a general revival of interest in French poetic forms.

However, more frequently in the works of these poets the envoi served as a commentary on the preceding stanzas, either reinforcing or ironically undercutting the message of the poem.

A sestina ( ; or ; also known as sestine, sextine, sextain or sesta rima ) is a structured 39-line poem consisting of six stanzas of six lines each, followed by a three-line stanza, known either as an envoi or tornada.

In this variant the standard end-word pattern is repeated for twelve stanzas, ending with a three-line envoi, resulting in poem of 75 lines.

* Canso, originally vers, also chanso or canço — the love song, usually consisting of five or six stanzas with an envoi

A seven-line ballade, or ballade royal, consists of four stanzas of rhyme royal, all using the same three rhymes, all ending in a refrain, without an envoi.

A ballade supreme has ten-line stanzas rhyming ababbccdcD, with the envoi ccdcD or ccdccD.

For example, the chant royal consists of five eleven-line stanzas with a rhyme scheme a-b-a-b-c-c-d-d-e-d-E and a five-line envoi rhyming d-d-e-d-E.

– each stanza promoting the previous final end-word to the first line, but otherwise leaving the order intact ; the envoi order is ( 1 ) 2 / ( 3 ) 4 / ( 5 ) 6.

Sidney uses the same envoi structure as Spenser.

It is in iambic pentameter rhyming ababab in the first stanza ; each stanza begins by repeating the previous end-words 6 then 1, but the following 4 lines repeat the remaining end-words ad lib ; the envoi is ( 1 ) 4 / ( 2 ) 3 / ( 5 ) 6.

The envoi is ( 12 ) 10 / ( 8 ) 9 / ( 7 ) 4 / ( 3 ) 6 / ( 2 ) 1 / ( 11 ) 5.

The word bullshit does not appear in the text of the poem, though in keeping with the ballade form, the refrain " For Christ's sake stick it up your ass " appears in each following verse and concludes the envoi.

As his envoi of 1808 Ingres sent Oedipus and the Sphinx and The Valpinçon Bather ( both now in the Louvre ), hoping by these two paintings to demonstrate his mastery of the male and female nude, but they were poorly received.

The only other requirement was the submission each year of an " envoi ", a piece of original work to the satisfaction of the Académie.

Through the winter of 1858 – 59 Bizet worked on his first envoi, an opera buffa setting of Carlo Cambiaggio's libretto Don Procopio.

Under the terms of his prize, Bizet's first envoi was supposed to be a mass, but following his Te Deum experience he was averse to writing religious music.

For his second envoi, not wishing to test the Académie's tolerance too far, Bizet proposed to submit a quasi-religious work in the form of a secular mass on a text by Horace.

This replaced Carmen Saeculare as his second envoi, and was well received by the Académie, though swiftly forgotten thereafter.

Bizet's third envoi was delayed for nearly a year by the prolonged illness and eventual death, in September 1861, of his mother.

Bizet's fourth and final envoi, which occupied him for much of 1862, was a one-act opera, La guzla de l ' émir.

The envoi is relatively fluid in form, depending on the overall form of the poem and the needs and wishes of the poet.

The envoi first appears in the songs of the medieval trouvères and troubadours ; they developed as addresses to the poet's beloved or to a friend or patron.

In the work of these poets, the nature of the envoi changed significantly.