In medieval times there existed an insistence on conformity which bordered on the obsessive. This account explores those times from the viewpoint of the men and women who were seen to be on the margins of society - who either would not, or could not, conform to the conventions of their era. The activities of outlaws, brigands, homosexuals, heretics, witches, Jews, prostitutes, thieves, vagabonds and other 'transgressors' are detailed here, as are the punishments - often barbarously savage - which were meted out to them by State and Church. Full of fascinating and unusual characters and facts which greatly enhance our view of the Middle Ages, The Medieval Underworld will enthral anyone interested in medieval social history or the history of crime and punishment.

 Concepts of heaven and hell are among the oldest, most widespread religious beliefs in history. In Western literature, they are frequently embedded in stories of underworld explorations and celestial journeys—stories examining the nature of the universe, life on earth and the existence of the gods. The author analyzes tales of wonder in both ancient and medieval European literature. Other-worldly narratives appeared in literary contexts in the ancient world, including mythology, poetry and philosophical writings. In medieval times, they remained a popular form of literary expression. These stories are primarily religious in nature, describing fantastic worlds filled with miracles and supernatural beings.

The narrative histories generated during the Mamluk Period in Cairo and Damascus (648 922H/ 1250-1517CE) addressed a wide range of domestic issues, in addition to their commentaries on imperial politics and international events. Topics such as the local economy, relations between sectarian communities, and the conduct of civil litigation under Sharia statutes were elaborated in minute detail, and have attracted the attention of contemporary historians. Less studied have been the chroniclers numerous references to criminal activity committed at all levels of society, from its elite military echelons to individuals or groups who occupied its margins. The latter elements, despite their demographic visibility, have in many instances evaded the notice of modern scholarship on medieval Islamic cultures. This study aims at disclosing their impact on society in the two largest cities of the Mamluk State, as depicted by those who witnessed it at close range. These local chroniclers pursued an agenda when they dwelled on the criminal acts they observed. Rather than offering simple decrials of wrongdoing, their comments collectively targeted the agents charged with policing social interaction and upholding public security. Disclosure of collusion in crime by those formally pledged to suppress it emerged as a covert, yet signal, objective of these chroniclers. The book examines this objective as it was discerned in more than a thousand incidents of criminal activity in Cairo and Damascus during the Late Middle Ages. The complicity it exposed provides insights that revise current views about the working of government under the Mamluks, and the perspectives of groups whose voices have gone largely unheard in the Historiography of pre-modern Islamic societies.

The Ten Kings hanging scrolls at Tokyo’s Seikadō Bunko Art Museum are among the most resplendent renderings of the Buddhist purgatory extant, but their origin and significance have yet to be fully explored. Cheeyun Kwon unfurls this exquisite set of scrolls within the existing Ten Kings painting tradition while investigating textual, scriptural, archaeological, and visual materials from East Asia to shed light on its possible provenance. She constructs a model scheme of the paintings’ evolution based on more than five hundred works and reveals channels of popularization, mass production, and agglomeration. The earliest images of the Ten Kings are found in the tenth-century sūtra The Scripture on the Ten Kings, known to be the work of the monk Zangchuan. By the mid-twelfth century, typological conventions associated with the Ten Kings were widely established, and paintings depicting them, primarily large-scale and stand-alone, became popular export commodities, spreading via land and sea routes to the Korean peninsula and the Japanese archipelago. An examination of materials in Korea suggests a unique development path for Ten Kings subject matter, and this—in conjunction with a close analysis of the Seikadō paintings—forms the core of Kwon’s book. Among the Korean works discussed is a woodblock edition of The Scripture on the Ten Kings from 1246. It is markedly different from its Chinese counterparts and provides strong evidence of the subject’s permutations during the Koryŏ period (918–1392), when Northern Song (960–1127) visual art and culture were avidly imported. In the Seikadō paintings, Northern Song figural, architectural, landscape, and decorative elements were acculturated to the Koryŏ milieu, situating them in the twelfth to early thirteenth centuries and among the oldest and most significant surviving examples of Koryŏ Buddhist painting. Efficacious Underworld fills major lacunae in Korean, East Asian, and Ten Kings painting traditions while illuminating Korea’s contribution to the evolution of a Buddhist theme on its trajectory across East Asia. With its rich set of color reproductions and detailed analysis of textual and visual materials, this volume will invite significant revision to previously held notions on Koryŏ painting.

The three central chapters of the book each examine a different type of error or anomaly: a mismeasured giant, a self-defeating experiment, an erring citation of Virgil. These apparently trivial discrepancies are linked, the author suggests, to much larger questions. What is the status of mimetic realism in Dante's poem? By what right does a poet pretend to represent the order of God's mind? Where does aggressive allegoresis cross over into interpretive error? Through the study of error, the author offers an alternative account of Dante's poetic project, one that gives priority to wit and self-irony rather than didactic seriousness.

Beginning with an atmospheric account of Tyburn, we are set up for a grisly excursion through London as a city of ne'er do wells, taking in beheadings and brutality at the Tower, Elizabethan street crime, cutpurses and con-men, through to the Gordon Riots and Highway robbery of the 18thcentury and the rise of prisons, the police and the Victorian era of incarceration. As well as the crimes, Arnold also looks at the grotesque punishments meted out to those who transgressed the law throughout London's history - from the hangings, drawings and quarterings at Tyburn over 500 years to being boiled in oil at Smithfield. This popular historian also investigates the influence of London's criminal classes on the literature of the 19thand 20thcenturies, and ends up with our old favourites, the Krays and Soho gangs of the 50s and 60s. London's crimes have changed over the centuries, both in method and execution. Underworld London traces these developments, from the highway robberies of the eighteenth century, made possible by the constant traffic of wealthy merchants in and out of the city, to the beatings, slashings and poisonings of the Victorian era.