By Joanne M. Pierce/The Conversation For decades, winning an Olympic medal has been described as the Holy Grail of sports.

Sir Galahad is brought to the court of King Arthur. Illustration from The Knights of the Round Table (Jack, c 1900).

Vintage framed print of “Sir Galahad“ by George Frederick Watts Sir Galahad was one of the knights of King Arthur’s Round Table. According to the legend he was the most innocent and morally good of all the knights, and because of this he succeeded in finding the Holy Grail. You can call someone Sir Galahad if they have been very kind or polite to somebody 😇 *beautiful patina throughout/imperfections are part of the perfection

Mini Comics Yaoi de los personajes de Sonic. Advertencia: Si te desagrada el "ChicoxChico" No entres AQUÍ Esto solo es entretenimiento, todos los derechos a sus respectivos creadores.

This article discusses the inspiration behind the many pre-Raphaelite paintings of Arthurian lore.

The Lonely Londoners, an unforgettable account of immigrant experience and one of the great twentieth-century London novels, now in in a stunning Clothbound Classics edition. At Waterloo Station, hopeful new arrivals from the West Indies step off the boat train, ready to start afresh in 1950s London. There, homesick Moses Aloetta, who has already lived in the city for years, meets Henry 'Sir Galahad' Oliver and shows him the ropes. In this strange, cold and foggy city where the natives can be less than friendly at the sight of a black face, has Galahad met his Waterloo? But the irrepressible newcomer cannot be cast down. He and all the other lonely new Londoners - from shiftless Cap to Tolroy, whose family has descended on him from Jamaica - must try to create a new life for themselves.As pessimistic 'old veteran' Moses watches their attempts, they gradually learn to survive and come to love the heady excitements of London. Sam Selvon (b. 1923) was born in San Fernando, Trinidad.In 1950 Selvon left Trinidad for the UK where after hard times of survival he established himself as a writer with A Brighter Sun (1952), An Island is a World (1955), The Lonely Londoners (1956), Ways of Sunlight (1957), Turn Again Tiger (1958), I Hear Thunder (1963), The Housing Lark (1965), The Plains of Caroni (1970), Moses Ascending (1975) and Moses Migrating (1983).

Arthur Rackham self-portrait Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War. Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses. This is part 6 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1. The Romance of King Arthur is Alfred W. Pollard's version of Malory's Morte d'Arthur and includes tales of King Arthur, Sir Launcelot, Sir Gareth, Sir Tristram, Sir Launcelot and Dame Elaine, Sir Galahad and the Quest of the Holy Grail, and Launcelot, Guenever, and King Arthur. Malory's own Morte d'Arthur was compiled from folk tales, with the addition of some original material related to Sir Gareth. The original version of the tales was first published by William Caxton in 1485 and the Malory's compilation is regarded as the best-known work of English-language Arthurian literature. In preparing for the commission, Rackham turned to his own copy of Beardsley's "Morte D'Arthur" and, following the pattern of the Beardsley version, drew square and rectangular chapter headings to be set at irregular intervals up and down the page. As in Beardsley, these have a stark black and white appearance, though Rackham cannot resist the occasional wryly humorous touch such as a barking dog or a jester's head. The closest Rackham comes to Beardsley, however, is in his illustration of 'Sangreal', a flaming lidded chalice carried by an attenuated golden-haired white-robed maiden. This homage to Aubrey is based closely on Beardsley's own angel in 'The Achieving of the Sangreal', the frontispiece to Volume Two of "Morte D'Arthur". "Sangreal" by Arthur Rackham Aubrey Beardsley "The Achieving of the Sangreal" 1893-94 1917 Cover of The Romance of King Arthur English Fairy Tales edited by Flora Annie Steel (1847 –1929). In 1867 Flora Annie Webster married Henry William Steel, a member of the Indian civil service, and for the next twenty-two years lived in India, chiefly in the Punjab, with which most of her books are connected. She acted as school inspector and mediator in local arguments. She encouraged the production of local handicrafts and collected folk-tales, a collection of which she published in 1884. Her interest in schools and the education of women gave her a special insight into native life and character. A year before leaving India, she co-authored and published The Complete Indian Housekeeper, giving detailed directions to European women on all aspects of household management in India. In 1889 the family moved back to Scotland, and she continued her writing there. This version originally published in 1918. 1918 Cover of English Fairy Tales Title page "Tree of mine! O tree of mine! Have you seen my naughty little maid?" "Well!" she chuckled, "I am in luck!" The Three Bears "Ah! Somebody has been at my porridge, and eaten it all up!" "Fee-fi-fo-fum, I smell the blood of an Englishman" Many's the beating he had from the broomstick or the ladle Mr. and Mrs. Vinegar at home She went along, and went along, and went along Cinderella retold by Charles Seddon Evans (1883 – 1944). C. S. Evans joined William Heinemann publishers in 1914, and became a director of the company in 1922. The title character of Cinderella is a young woman living in unfortunate circumstances that are suddenly changed to remarkable fortune. The story was first published by Charles Perrault in Histoires ou contes du temps passé in 1697, and later by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales. Although both the story's title and the character's name change in different languages, in English-language folklore "Cinderella" is the archetypal name. The word "Cinderella” has come to mean one whose attributes were unrecognised, or one who unexpectedly achieves recognition or success after a period of obscurity and neglect. The still-popular story of "Cinderella" continues to influence popular culture internationally, lending plot elements to a wide variety of media. This version originally published in 1919. 1919 Cover of Cinderella Title page Frontispiece