kingis - Synonyms for kingis | Synonyms Of kingis

Examples of "kingis"
James I and his work The Kingis Quair represent the first phase of Chaucerianism, which purposefully and directly imitates the works of Chaucer while preserving the Scottish author’s own uniqueness.
In 1783 Tytler published "The Poetical Remains of James I, King of Scotland", as the discoverer in a manuscript in the Bodleian Library of the "Kingis Quair", the authorship of which he ascribed on grounds now widely accepted to the king. John Thomas Toshach Brown contested the attribution (1896), and his views were followed up by Alexander Lawson, in "The Kingis quair and the quare of jelusy" (1910). "Christ's Kirk on the Green", a comic ballad, which Tytler also attributed to James, is now thought to be of a later date.
The "Kingis Quair" uses the Chaucerian rhyme scheme rhyme royal: ABABBCC. The form was once thought to have been named for James I's usage, but scholars have since argued that it was named for its reference to the French "chant royal".
A variation is found in "The Kingis Quair", a 15th-century poem attributed to James I of Scotland, in which Cupid has three arrows: gold, for a gentle "smiting" that is easily cured; the more compelling silver; and steel, for a love-wound that never heals.
The Kingis Quair ("The King's Book") is a fifteenth-century poem attributed to James I of Scotland. It is semi-autobiographical in nature, describing the King's capture by the English in 1406 on his way to France and his subsequent imprisonment by Henry IV of England and his successors, Henry V and Henry VI.
William Tytler (1711–1792) was a Scottish lawyer, known as a historical writer. He wrote "An Inquiry into the Evidence against Mary Queen of Scots", against the views of William Robertson. He discovered in manuscript the "Kingis Quhair", a poem of James I of Scotland.
Other possessions are described in a decree of taxation, at instance of George Lauder of Bass, against James, Commendator of Melrose Abbey, for the feu lands of Grangemuir, Preistlaw, Preistheillis, Kingis Syd, Freir Dykis and Winter Scheildykis, dated 25 July 1584.
In addition to oil paintings, Bell Scott did much decorative work, notably at Wallington Hall, in the shape of eight large pictures illustrating Border history, with life-size figures, supplemented by eighteen pictures illustrating "The Ballad of Chevy Chase" in the spandrels of the arches of the hall. For Penkill Castle, he executed a similar series, illustrating James I's "The Kingis Quair".
"The Testament of the Papyngo" (parrot), drawn in the familiar medieval manner, is another tract for the time, full of admonition to court and clergy. Of his shorter pieces, "The Complaynt and Publict Confessions of the Kingis Auld Hound, callit Bagsche, directit to Bawtie, the Kingis best belovit Dog, and his companyconis", and the "Answer to the Kingis Flyting" have a like pulpit resonance. The former is interesting as a forerunnel of Burns's device in the "Twa Dogs." "The Deploratioun of the Death of Queen Magdalene" is in the extravagant style of commemoration illustrated in Dunbar's "Elegy on the Lord Aubigny". "The Justing betwix James Watsoun and Jhone Barbour" is a contribution to the popular taste for boisterous fun, in spirit, if not in form, akin to the "Christis Kirk on the Grene" series; and indirectly, with Dunbar's Turnarnent and "Of ane Blak-Moir", a burlesque of the courtly tourney. Lyndsay approaches Dunbar in his satire "The Supplicatioun in contemptioun of syde taillis" ("wide" trains of the ladies), which recalls the older poet's realistic lines on the filthy condition of the city streets. In Lyndsay's "Descriptioun of Pedder Coffeis" (pedlars) we have an early example of the studies in vulgar life which are so plentiful in later Scottish literature. In "Kitteis Confessioun" he returns, but in more sprightly mood, to his attack on the church.
Additionally, James V had nine known illegitimate children, at least three of whom were fathered before the age of 20. The young King was said to have been encouraged in his amorous affairs by the Angus regime to keep him distracted from politics. In addition to these aristocratic liaisons, David Lindsay described the king's other affairs in his poem, "The Answer to the Kingis Flyting"; 'ye be now strang lyke ane elephand, And in till Venus werkis maist vailyeand.'
The Lord High Treasurer's accounts describe Andrew's work engraving the royal cannon in March 1542 in these words;"Gevin to Andres Mensioun for graving of the Kingis grace armes with unicornis, thrissillis, and flour de lyces upoune the samin piece, and graving of the dait of yere upoune the mouth thairof, and upoun ..., sindry utheris pieces sett in task by Johnne Drummond to him, £13-6s-8d."
Manrents were abolished by Act of Parliament, Edinburgh, under legislation on 6 March 1457 "that no man dwelling within burgh be found in manrent", and under the same terms, by legislation on 18 May 1491. The penalty being the confiscation of goods and "thar lifis at the kingis will". However, the terms of this legislation allowed for Manrents to the King, to the King's officers, to the Lord of the same burgh as the man entering into manrent, and to their superior officer.
The Earl of Surrey captured the Scottish guns, including a group of culverins made in Edinburgh by Robert Borthwick called the "seven sisters", which were dragged to Etal Castle. The Bishop of Durham thought them the finest ever seen. The treasurer of the English army Sir Philip Tilney valued seventeen captured guns as "well worth 1700 marks", and that 'the value of the getyng of thaym from Scotland is to the Kingis grace of muche more valew'.
King James I of Scotland wrote "The Kingis Quair", a series of courtly love poems written in rhyme royal stanzas. This poem is not merely a conventional application of Chaucer’s courtly writing. It also introduces to Scottish literature the discourse of subjectivity, in which the first person is the subject of the poem. The King writes this poem as a sort of autobiography about his experiences in English captivity. Although James I is willing to build on the styles of the English Chaucer, his writing reflects the beginnings of a Scottish national identity.
John Tennent married Mause Atkinson (Mavis or Marion Acheson) who had been the king's laundress since 1516. Listonshiels was in the parish of Kirkliston. It belonged to Torphichen Preceptory and as a reward for his services, John paid a reduced feudal rent; "listonschelis, set to iohne tennent be the kingis command in feu for £6 of maile allanerlie", £6 rent only. Another servant, Robert Hamilton, enjoyed a similar privilege at Briggis. John and Mause had no surviving children, and Listonshiels passed to John's brother Patrick by 1549. Patrick Tennent was married to Elizabeth Hoppar, whose sister Katrine Hoppar was married to the Edinburgh merchant Andrew Moubray (III) who built Moubray House in Edinburgh.
Much Middle Scots literature was produced by makars, poets with links to the royal court. These included James I who wrote "The Kingis Quair". Many of the makars had university education and so were also connected with the Kirk. However, Dunbar's "Lament for the Makaris" (c. 1505) provides evidence of a wider tradition of secular writing outside of Court and Kirk now largely lost. Before the advent of printing in Scotland, writers such as Robert Henryson, William Dunbar, Walter Kennedy and Gavin Douglas have been seen as leading a golden age in Scottish poetry.
The word "golf" was first recorded in the 15th century, appearing twice in an Act of the Scots Parliament of 6 March 1457, in the reign of James II. The Act, which ordered the holding of "wappenschaws" () four times a year for the purpose of archery practice, stated that "the fut bal ande the golf" (football and golf) were to be "vtterly criyt done" ("condemned"; lit. "cried down") and "nocht vsyt" ("not engaged in"; lit. "not used"). Offenders were to be punished by the barony courts, otherwise they were "to be tane be the kingis officiaris" ("arrested by the king's officers").
The reputation of Chaucer's successors in the 15th century has suffered in comparison with him, though Lydgate, Thomas Hoccleve, and Skelton are widely studied. At this time the origins of Scottish poetry began with the writing of "The Kingis Quair" by James I of Scotland. The main poets of this Scottish group were Robert Henryson, William Dunbar, and Gavin Douglas. Henryson and Douglas introduced a note of almost savage satire, which may have owed something to the Gaelic bardic poetry, while Douglas's version of Virgil's "Aeneid" is one of the early monuments of Renaissance literary humanism in English.
The first surviving major text in Scots literature is John Barbour's "Brus" (1375), composed under the patronage of Robert II and telling the story in epic poetry of Robert I's actions before the English invasion until the end of the war of independence. The work was extremely popular among the Scots-speaking aristocracy, and Barbour is referred to as the father of Scots poetry, holding a similar place to his contemporary Chaucer in England. Much Middle Scots literature was produced by makars, poets with links to the royal court, which included James I, who wrote the extended poem "The Kingis Quair".
Much Middle Scots literature was produced by makars, poets with links to the royal court, which included James I (who wrote "The Kingis Quair"). Many of the makars had university education and so were also connected with the Kirk. However, Dunbar's "Lament for the Makaris" (c.1505) provides evidence of a wider tradition of secular writing outside of Court and Kirk now largely lost. Before the advent of printing in Scotland, writers such as Robert Henryson, William Dunbar, Walter Kennedy and Gavin Douglas have been seen as leading a golden age in Scottish poetry.