By Eloisa James

"Miss Kate Daltry doesn't think in fairy stories . . . or fortunately ever after.

Forced through her stepmother to wait a ball, Kate meets a prince . . . and makes a decision he's something yet fascinating. A conflict of wits and wills ensues, yet they either comprehend their impossible to resist appeal will lead nowhere. For Gabriel is promised to a different woman—a princess whose hand in marriage will satisfy his ruthless pursuits.

Gabriel *likes* his fiancée, that's a welcome flip of occasions, yet he doesn't *love* her. evidently, he might be *wooing* his bride-to-be, no longer the witty, impoverished good looks who refuses to fawn over him.

Godmothers and glass slippers even though, this is often one fairy story during which future conspires to spoil any probability that Kate and Gabriel may have a fortunately ever after.

Unless a prince throws away every little thing that makes him noble . . .

Unless a dowry of an unruly center trumps a fortune . . .

Unless one kiss on the stroke of hour of darkness alterations everything.
"

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Additional resources for A Kiss at Midnight (Fairy Tales, Book 1)

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11 ‘Propaganda’ and ‘ideology’ are of course anachronistic terms, and it is important to clarify what is meant when using them in a twelfth-century context. If we take ‘propaganda’ to mean deliberate falsification for persuasive ends, it is a peculiarly inappropriate term to apply to Benoît, for Benoît is a writer who follows his source material with almost slavish precision, to the extent that it is possible to trace exactly when he switches from one Latin history to another. Whether he is always discriminating in his choice of source is another matter; but his habit of opting for the oldest source available suggests that he has a clear strategy and a clear vision of his task as a historian, and one that is entirely in keeping with that of his contemporaries.

The Bedford Inventories: the worldly goods of John, Duke of Bedford, Regent of France (1389-1435). London: Society of Antiquaries of London. -H. (1986). ’ Romania 107: 282-368. Varvaro, A. (1994). ‘Il libro I delle Chroniques di Jean Froissart. ’ Medioevo Romanzo 19: 3-36. Villela-Petit, Ines (2004). ’ Paris 1400, Les arts sous Charles VI. Paris: Arthème Fayard. 371-73. Acknowledgements The author, editors and publisher express their gratitude to the following institutions and their librarians for kind permission to reproduce photographs from manuscripts in their collections: Bibliothèque nationale de France Bibliothèque d’Étude et de Conservation, Besançon Pierpont Morgan Library, New York Stonyhurst College Library, Lancashire Bibliothèque d’Étude et du Patrimoine, Toulouse The British Library All photographs from the Bibliothèque nationale de France, the British Library, the Morgan Library and the Bibliothèque d’Étude et du Patrimoine, Toulouse are © of those institutions.

Toulouse, Bibl. du Patrimoine, MS 511, fol. 128r Fig. 14. Paris, BnF fr 2662, fol. 196v (detail) Representing Royalty in Some Manuscripts of Froissart’s Chroniques 33 Fig. 15. i, fol. 144r (detail) 34 Peter Ainsworth Fig. 16. i, fol. 341v (detail) Representing Royalty in Some Manuscripts of Froissart’s Chroniques 35 Fig. 17. ii, fol. 1r 36 Peter Ainsworth Fig. 18. ii, fol. 1r (detail) Representing Royalty in Some Manuscripts of Froissart’s Chroniques 37 Fig. 19. Composite image of ships in five MSS This page intentionally left blank PROPAGANDA AND ESSAMPLE IN BENOIT DE SAINTE-MAURE’S CHRONIQUE DES DUCS DE NORMANDIE Peter Damian-Grint Abstract The Chronique des ducs de Normandie of Benoît de Sainte-Maure is often seen as Angevin propaganda on behalf of the author’s patron, Henry II – particularly in Benoît’s presentation of the Norman dukes as exemplary figures.

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