Stories of Charlemagne

Total Page:16

File Type:pdf, Size:1020Kb

Stories of Charlemagne Conditions and Terms of Use Copyright © Heritage History 2009 Some rights reserved This text was produced and distributed by Heritage History, an organization dedicated to the preservation of classical juvenile history books, and to the promotion of the works of traditional history authors. The books which Heritage History republishes are in the public domain and are no longer protected by the original copyright. They may therefore be reproduced within the United States without paying a royalty to the author. The text and pictures used to produce this version of the work, however, are the property of Heritage History and are licensed to individual users with some restrictions. These restrictions are imposed for the purpose of protecting the integrity of the work itself, for preventing plagiarism, and for helping to assure that compromised or incomplete versions of the work are not widely disseminated. In order to preserve information regarding the origin of this text, a copyright by the author, and a Heritage History distribution date are included at the foot of every page of text. We request all electronic and printed versions of this text include these markings and that users adhere to the following restrictions. 1) This text may be reproduced for personal or educational purposes as long as the original copyright and Heritage History version number are faithfully reproduced. 2) You may not alter this text or try to pass off all or any part of it as your own work. 3) You may not distribute copies of this text for commercial purposes unless you have the prior written consent of Heritage History. 4) This text is intended to be a faithful and complete copy of the original document. However, typos, omissions, and other errors may have occurred during preparation, and Heritage History does not guarantee a perfectly reliable reproduction. Permission to use Heritage History documents or images for commercial OLIVER AND FIERABRAS. purposes, or more information about our collection of traditional history resources can be obtained by contacting us at [email protected] Original Copyright 1902 by Alfred J. Church 2 Distributed by Heritage History 2009 PREFACE "Huon of Bordeaux," again, fills four volumes in the Extra Series. But the original chanson is contained in one of the four and is complete in itself. This, too, I have considerably I have endeavoured to tell in this volume the story of compressed and shortened. The same process has had to be Charlemagne, the Charlemagne, it must be understood, not of applied to all before they could be made acceptable to the history, but of Romance. The two personages are curiously readers of to-day. I hope that they have not lost their life and different. Each writer of a romance had naturally a hero of his colour and human interest. own. As he had to exalt this hero, he could hardly help depreciating the king. Charlemagne suffers by comparison with The stories of which I have made use are "The Four Sons Roland and Reynaud very much as, in the Iliad, Agamemnon, of Aymon" (I-XI); "Ralph the Collier" (XII-XIII), a genuinely the over-lord of the Greeks, suffers by comparison with the English production, it would seem, as no French original has subordinate King, Achilles. The real Charlemagne was a very been found; "Fierabras," taken from the "Lyf of Charles the great personality, one that impressed his age as deeply as any Grete" (XIV-XXIV); "The Song of Roland" (XXV-XXXV), and man has ever done; in these stories he often appears petty, "Duke Huon of Bordeaux" (XXXVI-XL). This has been put last in capricious, and obstinate. Then the romance writers were order, as it represents Charlemagne grown old and weary of Frenchmen, and they make the great king a Frenchman, holding power. The death of the great King is only mentioned as his court in Paris, and surrounded by great French lords. They imminent in the romance which I have followed; I have added an began to write when the air was full of the crusading spirit, and abridged account of it from the contemporary biography written their work is coloured accordingly. The enemy is always a by Eginhard. The story of Huon is peculiarly interesting to us Saracen or a follower of Mahomet. There could not be a more because it introduces the fairy King Oberon, who was to become curious instance of this than is to be found in the story of the so important a figure in English literature. death of Roland. In the romance Charlemagne's rear-guard is I have to express my obligations to the Introduction, destroyed by an overpowering force of Saracens. What really written by Mr. Sidney Lee to the first part of "Duke Huon of happened was that it was attacked, probably for the sake of Bordeaux." plundering the baggage, by a gathering of mountaineers, who are ALFRED J. CHURCH. called Gascons by the chroniclers, but were, in fact, Basques. Then, again, we find the romance writers in sympathy with the Oxford, July 17, 1902. great feudatories, indicating the time before the French monarchy had become consolidated, when the king at Paris had all that he could do to hold his own against his powerful vassals, the Dukes of Brittany and Burgundy, and the English king. The Charlemagne romances, as translated by Lord Berners and William Caxton, occupy twelve volumes in the Extra Series of the Early English Text Society. Some of these are variants of the same story. There is a romance of "Ferumbras," for instance, which gives substantially the same tale as that which occupies eleven chapters in this volume. Original Copyright 1902 by Alfred J. Church 3 Distributed by Heritage History 2009 OF THE DOINGS OF THE FRENCH KNIGHTS ............................ 57 ABLE OF ONTENTS T C OF GUY OF BURGUNDY......................................................... 60 THE SLAYING OF LOTHAIR ..................................................... 5 OF RICHARD OF NORMANDY ................................................ 64 HOW THE DUKE BENES CAME BY HIS END ............................. 7 HOW THE BRIDGE MANTRYBLE WAS WON ........................... 67 HOW IT FARED WITH THE BRETHREN .................................... 10 OF THE END OF BALAN THE ADMIRAL .................................. 69 THE COMING OF ROLAND ..................................................... 13 HOW GANELON WENT TO KING MARSILAS .......................... 71 OF THE TREACHERY OF KING JOHN ...................................... 16 THE TREASON OF GANELON ................................................. 75 OF THE CRAFT OF MAWGIS .................................................. 19 OF THE PLOT AGAINST ROLAND ........................................... 78 MORE DEEDS OF MAWGIS .................................................... 23 HOW THE FRENCH PREPARED FOR BATTLE ........................... 80 HOW MAWGIS BECAME A HERMIT ....................................... 26 THE BATTLE ......................................................................... 82 OF WHAT BEFELL AT MONTALBAN ...................................... 28 HOW ROLAND SOUNDED HIS HORN ...................................... 85 HOW PEACE WAS MADE ....................................................... 32 HOW OLIVER WAS SLAIN ...................................................... 86 OF REYNAUD'S END ............................................................. 36 HOW ARCHBISHOP TURPIN DIED .......................................... 88 HOW RALPH ENTERTAINED THE KING .................................. 38 THE DEATH OF ROLAND ....................................................... 90 HOW RALPH WENT TO COURT ............................................. 40 HOW CHARLEMAGNE SOUGHT VENGEANCE ......................... 91 HOW FIERABRAS DEFIED KING CHARLES ............................. 42 OF THE PUNISHMENT OF GANELON ....................................... 96 HOW OLIVER FOUGHT WITH FIERABRAS .............................. 45 HOW KING CHARLES SENT HUON ON AN ERRAND ................ 98 HOW OLIVER AND OTHERS WERE TAKEN PRISONERS ........... 48 HOW HUON MET WITH KING OBERON ................................ 101 HOW OLIVER AND HIS COMRADES FARED. ........................... 50 OF THE END OF THE FALSE DUKE MACAIRE ....................... 103 OF THE BRIDGE OF MANTRYBLE .......................................... 53 HOW HUON CAME TO BABYLON ......................................... 106 OF THE DOINGS OF FLORIPAS ............................................... 55 HOW HUON RETURNED ....................................................... 110 Original Copyright 1902 by Alfred J. Church 4 Distributed by Heritage History 2009 CHAPTER I arms by mid-summer next, or else I will besiege his city of Aygremont." THE SLAYING OF LOTHAIR The next day Lothair departed, having a hundred knights with him, armed for battle. As they went they uttered many King Charles held a great court in his capital city of Paris threatenings against the Duke, if he should not submit himself to at the Feast of Pentecost. Thither came the Twelve Peers of the King. France, and many other men of note, besides strangers from It so chanced that a spy heard them talk in this fashion, Germany, England, and other realms. One of the chief of the and, making all haste, came to the Duke and told him. "There Frenchmen was Aymon, Duke of Ardennes, who brought with come messengers," he said, "from King Charles, threatening him his four sons, to wit, Reynaud, Alard, Guichard, and terrible things, and the King's own son is with them." Then the Richard. All these four were marvellously fair, witty, and Duke asked his lords what he
Recommended publications
  • Epic and Romance Essays on Medieval Literature W
    EPIC AND ROMANCE ESSAYS ON MEDIEVAL LITERATURE W. P. KER PREFACE These essays are intended as a general description of some of the principal forms of narrative literature in the Middle Ages, and as a review of some of the more interesting works in each period. It is hardly necessary to say that the conclusion is one "in which nothing is concluded," and that whole tracts of literature have been barely touched on--the English metrical romances, the Middle High German poems, the ballads, Northern and Southern--which would require to be considered in any systematic treatment of this part of history. Many serious difficulties have been evaded (in Finnesburh, more particularly), and many things have been taken for granted, too easily. My apology must be that there seemed to be certain results available for criticism, apart from the more strict and scientific procedure which is required to solve the more difficult problems of Beowulf, or of the old Northern or the old French poetry. It is hoped that something may be gained by a less minute and exacting consideration of the whole field, and by an attempt to bring the more distant and dissociated parts of the subject into relation with one another, in one view. Some of these notes have been already used, in a course of three lectures at the Royal Institution, in March 1892, on "the Progress of Romance in the Middle Ages," and in lectures given at University College and elsewhere. The plot of the Dutch romance of Walewein was discussed in a paper submitted to the Folk-Lore Society two years ago, and published in the journal of the Society (Folk-Lore, vol.
    [Show full text]
  • 14 Pierrepont at a Crossroads of Literatures
    14 Pierrepont at a crossroads of literatures An instructive parallel between the first branch of the Karlamagnús Saga, the Dutch Renout and the Dutch Flovent Abstract: In the French original of the first branch of the Karlamagnús Saga [= fKMSI], in the Dutch Renout and in the Dutch Flovent – three early 13th century texts from present-day Bel- gium – a toponym Pierrepont plays a conspicous part (absent, however, from the French models of Renout and Flovent); fKMSI and Renout even have in common a triangle ‘Aimon, vassal of Charlemagne – Aie, his wife – Pierrepont, their residence’. The toponym is shown to mean Pierrepont (Aisne) near Laon in all three texts. In fKMSI, it is due almost certainly to the intervention of one of two Bishops of Liège (1200−1238) from the Pierrepont family, and in the other two texts to a similar cause. Consequently, for fKMSI a date ‘before 1240’ is proposed. According to van den Berg,1 the Middle Dutch Flovent, of which only two frag- ments are preserved,2 was probably written by a Fleming (through copied by a Brabantian) and can very roughly be dated ‘around 1200’ on the basis of its verse technique and syntax. In this text, Pierrepont plays a conspicuous part without appearing in the French original.3 In the first fragment, we learn that King Clovis is being besieged in Laon by a huge pagan army (vv. 190 ss.). To protect their rear, the pagans build a castle at a distance of four [presumably French] miles [~18 km] from Laon. Its name will be Pierlepont (vv.
    [Show full text]
  • Repatriating Romance: Politics of Textual Transmission in Early Modern France
    Repatriating Romance: Politics of Textual Transmission in Early Modern France By Linda Danielle Louie A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Romance Languages and Literatures and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Timothy Hampton, Chair Professor Mairi McLaughlin Professor Victoria Kahn Fall 2017 Repatriating Romance: Politics of Textual Transmission in Early Modern France © 2018 by Linda Danielle Louie Abstract Repatriating Romance: Politics of Textual Transmission in Early Modern France by Linda Danielle Louie Doctor of Philosophy in Romance Languages and Literatures Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Timothy Hampton, Chair This dissertation reveals the central role that transcultural literary exchange plays in the imagining of a continuous French literary history. The traditional narrative of French literary history describes the vernacular canon as built on the imitation of the ancients. However, this dissertation demonstrates that Early Modern French canon formation also depends, to a startling extent, on claims of inter-vernacular literary theft. Throughout the sixteenth and seventeenth centuries, a central preoccupation of French authors, translators, and literary theorists was the repatriation of the romance genre. Romance was portrayed as a cornerstone of French literary patrimony that Italian and Spanish authors had stolen. The repatriation of individual romance texts entailed a skillful co-opting of the language of humanist philology, alongside practices of translation and continuation usually associated with the medieval period. By looking at romance translation as part of a project of national canon formation, this dissertation sheds new light on the role that chivalric romance plays in national and international politics.
    [Show full text]
  • Évolution Du Personnage Épique Médiéval Sur L'exemple De
    Dorota Pudo Université Jagellonne de Cracovie ÉVOLUTION DU PERSONNAGE ÉPIQUE MÉDIÉVAL SUR L’EXEMPLE DE QUELQUES TEXTES CONSACRÉS À GUILLAUME D’ORANGE ET À HUON DE BORDEAUX Le moyen âge est une longue époque, et cela même si nous limitons notre champ de recherche à une partie de cette période seulement, à savoir celle qui voit la littérature en vieux français déjà en pleine floraison : le moyen âge « classique » (le XII e et le XIII e s.) et tardif (le XIV e et le XV e s.). Sur l’espace de quatre siècles, beaucoup de phénomènes littéraires ont eu le temps de naître, évoluer et disparaître dans l’oubli des époques à venir ; d’autres, en passant de leur état primitif vers des formes de plus en plus modernes et éclectiques, ont su se faire une place durable dans la culture universelle. La littérature épique de la France médiévale nous semble appartenir à cette dernière catégorie. Sa résistance au temps nous paraît considérable même si, peu intéressée aux spéculations concernant son existence pendant les « siècles muets » qui ne nous laissent pas de témoins écrits, nous bornons la portée de nos remarques à la période délimitée ci-dessus. Ce genre littéraire a subi certains changements considérables déjà au cours des XII e et XIII e s. ; au niveau formel, les laisses se sont généralement allongées avec le temps, et les procédés typiques de l’épopée de l’âge d’or (parallélismes, similarités, reprises) se sont faits moins fréquents. 1 Quant au contenu, à cause de l’assimilation de certains thèmes romanesques, l’épopée du XIIIe s.
    [Show full text]
  • Jonesexcerpt.Pdf
    2 The Texts—An Overview N’ot que trois gestes en France la garnie; ne cuit que ja nus de ce me desdie. Des rois de France est la plus seignorie, et l’autre aprés, bien est droiz que jeu die, fu de Doon a la barbe florie, cil de Maience qui molt ot baronnie. De ce lingnaje, ou tant ot de boidie, fu Ganelon, qui, par sa tricherie, en grant dolor mist France la garnie. La tierce geste, qui molt fist a prisier, fu de Garin de Monglenne au vis fier. Einz roi de France ne vodrent jor boisier; lor droit seignor se penerent d’aidier, . Crestïenté firent molt essaucier. [There were only threegestes in wealthy France; I don’t think any- one would ever contradict me on this. The most illustrious is the geste of the kings of France; and the next, it is right for me to say, was the geste of white-beardedPROOF Doon de Mayence. To this lineage, which was full of disloyalty, belonged Ganelon, who, by his duplic- ity, plunged France into great distress. The thirdgeste , remarkably worthy, was of the fierce Garin de Monglane. Those of his lineage never once sought to deceive the king of France; they strove to help their rightful lord, . and they advanced Christianity.] Bertrand de Bar-sur-Aube, Girart de Vienne Since the Middle Ages, the corpus of chansons de geste has been di- vided into groups based on various criteria. In the above prologue to the thirteenth-century Girart de Vienne, Bertrand de Bar-sur-Aube classifies An Introduction to the Chansons de Geste by Catherine M.
    [Show full text]
  • Legends of the Middle Ages, Narrated with Special Reference to Literature
    CORONATION OF CHARLEMAGNE.— L^vy. Legends of the middle ages NARRATED WITH SPECIAL REFERENCE TO LITERATURE AND ART BY AUTHOR OF "myths OF GREECE AND ROME,'' " MYTHS OF NORTHERN LANDS," "CONTES ET LEGENDES." " Saddle the Hippogriffs, ye Muses nine. And straight ua^U ride to the land ofold Romance.*' WiEI-AND. NEW YORK • : • CINCINNATI • : • CHICAGO AMERICAN BOOK COMPANY Copyright, 1896, by American Book Company. LEGENDS OF THE MIDDLE AGES. B—P2 <J^ DEDICATED TO MY SISTER, ADfiLE E. GUERBER, ;; ; " Men lykyn jestis for to here, And romans rede in diuers manere " Of Brute that baron bold of hond, The first conqueroure of Englond Of kyng Artour that was so riche, Was non in his tyme him Uche. " How kyng CharUs and Rowlond fawght With sarzyns nold they be cawght Of Tristrem and of Ysoude the swete, How tney with love first gan mete; " Stories of diuerce thynggis, Of pryncis, prelatis, and of kynggis Many songgis of diuers ryme, As english, frensh, and latyne." Cursor Mundi. PREFACE. THE object of this work is to familiarize young students with the legends which form the staple of mediaeval literature. While they may owe more than is apparent at first sight to the classical writings of the palmy days of Greece and Rome, these legends are very characteristic of the people who told them, and they are the best exponents of the customs, manners, and beliefs of the time to which they belong. They have been repeated in poetry and prose with endless variations, and some of our greatest modem writers have deemed them worthy of a new dress, as is seen in Tennyson's " Idyls of the King," Goethe's " Reineke Fuchs," Tegn6r's " Frithiof Saga," Wieland's " Oberon," Morris's " Story of Sigurd," and many shorter works by these and less noted writers.
    [Show full text]
  • Paladin's Handbook
    ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player’s Handbook Rules Supplement The Complete Paladin’s Handbook by Rick Swan CREDITS Design: Rick Swan Editing: Allen Varney Black and White Art: Ken Frank, Mark Nelson, Valerie Valusek Color Art: Les Dorscheid, Fred Fields, L. Dean James, Glen Orbik Electronic Prepress Coordination: Tim Coumbe Typography: Angelika Lokotz Production: Paul Hanchette TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva, Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DUNGEON MASTER and DRAGONLANCE are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. © 1994 TSR, Inc. All Rights Reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: Character Creation Paladin Requirements Level Advancement Armor and Weapons Clerical Magic Chapter 2: Paladin Abilities Detect Evil Intent Saving-Throw Bonus Immunity to Disease Cure Diseases Laying On Hands Aura of Protection Holy Sword Turning Undead Bonded Mount Clerical Spells Chapter 3: Ethos Strictures Edicts Virtues Code of Ennoblement Violations and Penalties Chapter 4: Paladin Kits Acquiring Kits
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation.
    [Show full text]
  • Renaissance and Reformation, 1978-79
    Sound and Silence in Ariosto's Narrative DANIEL ROLFS Ever attentive to the Renaissance ideals of balance and harmony, the poet of the Orlando Furioso, in justifying an abrupt transition from one episode of his work to another, compares his method to that of the player of an instrument, who constantly changes chord and varies tone, striving now for the flat, now for the sharp. ^ Certainly this and other similar analogies of author to musician^ well characterize much of the artistry of Ludovico Ariosto, who, like Tasso, even among major poets possesses an unusually keen ear, and who continually enhances his narrative by means of imaginative and often complex plays upon sound. The same keenness of ear, however, also enables Ariosto to enrich numerous scenes and episodes of his poem through the creation of the deepest of silences. The purpose of the present study is to examine and to illustrate the wide range of his literary techniques in each regard. While much of the poet's sensitivity to the aural can readily be observed in his similes alone, many of which contain a vivid auditory component,^ his more significant treatments of sound are of course found throughout entire passages of his work. Let us now turn to such passages, which, for the convenience of the non-speciaUst, will be cited in our discussion both in the Italian text edited by Remo Ceserani, and in the excellent English prose translation by Allan Gilbert."* In one instance, contrasting sounds, or perhaps more accurately, the trans- formation of one sound into another, even serves the implied didactic content of an episode with respect to the important theme of distin- guishing illusion from reality.
    [Show full text]
  • Xne Library of Alice Chaucer, Jducness of Suffolk? a Fifteenfk-Century Owner of a Jdoke Ot Le ^L/Itee De Juames
    Misericordia International Xne Library of Alice Chaucer, JDucness of Suffolk? A Fifteenfk-Century Owner of a JDoke ot le ^L/itee de JUames Karen K. Jambeck At the end of the Treasury of the City of Ladies, Christine de Pizan writes, I thought that I would multiply this work throughout the world in various copies, whatever the cost might be, and present it in various places to queens, princesses, and noble ladies. Through their efforts, it will be... circulated among other women.... Seen and heard by many valiant ladies and women of authority, both at the present time and in times to come, they will pray to God on behalf of their faithful servant Christine, ...wishing they might have known her.1 As Charity Canon Willard observes, Christine accurately predicted her own subsequent fame and her audience which would span centuries.2 Indeed, the rolls of this readership reveal generations of women of achievement and distinction, many of whom Willard has identified as patrons and owners of Christine's work: Isabeau of Bavaria, Anne of France, Isabel of Portugal, and Margaret of 1 A Medieval Woman's Mirror of Honor. The Treasury of the City of Ladies, trans. Charity Canon Willard (New York: Bard Hall Press/Persea Books, 1989) 224. 2 Charity Canon Willard, Christine de Pizan. Her Life and Works (New York: Persea Books, 1984) 211-212. 106 The Profane Arts / Les Arts Profanes Austria, among them.3 These and many other women who owned works by Christine de Pizan, Willard points out, played a significant role in the social and political life of their time.4 To this list of distinguished women can be added the name of Alice Chaucer, a fifteenth-century English book owner who possessed a copy of at least one of Christine's works.
    [Show full text]
  • The Annual Survey of Consumer Financial Services Law
    The Business Lawyer at 75: The Annual Survey of Consumer Financial Services Law By John L. Ropiequet* Over its forty-two year history in The Business Lawyer, the Annual Survey on Consumer Financial Services Law, written by numerous members of the Consumer Financial Services Committee, has chronicled the developments in an ever-changing area of law that deals with the regulation of credit products for personal, family, and household purposes. From the enactment of the Truth in Lending Act in 1974 to the enactment of the Dodd- Frank Wall Street Reform and Consumer Financial Protection Act in 2010 to the present, the alphabet soup of new federal statutes and their alphabetized federal regulations has created an astonishingly complex legal structure that has in turn led to the establishment of an army of compliance lawyers and litigators who are devoted to dealing with it. This article describes what the Annual Survey has done to keep the profession abreast of the twists and turns in this fascinating field during several different eras that reflect larger eco- nomic developments like the go-go eighties and the housing foreclosure crisis that followed it, and the congressional reactions to perceived abuses. INTRODUCTION Unlike other categories of articles or annual surveys published in The Business Lawyer (“TBL”),1 the Annual Survey of Consumer Financial Services Law (“Annual Survey”) cannot claim to have played a role in shaping its area of the law or even in influencing the policymakers who draft it, despite occasional laments from its editor about the chaotic state of federal consumer finance law with the hope that the states would enact uniform laws to improve the situation.2 Rather, from its inception with Volume 34 of TBL in 1979, the Annual Survey’s authors and editors have done their utmost to chronicle and keep their readers * John L.
    [Show full text]
  • Romance Tradition in Eighteenth-Century Fiction : a Study of Smollett
    THE ROMANCE TRADITION IN EIGHTEENTH-CENTURY FICTION: A STUDY OF SMOLLETT By MICHAEL W. RAYMOND COUNCIL OF A DISSERTATION PRESENTED TO THE GRADUATE THE UNIVERSITY OF FLORIDA FOR THE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 197^ ACKNOWLEDGEMENT I wish to express heartfelt appreciation to a few of the various multitude who provided incalculable tangible and intangible assistance in bringing this quest to an ordered resolution. Professors Aubrey L. Williams and D. A. Bonneville were most generous, courteous, and dexterous in their assist- ance and encouragement. Their willing contributions in the closing stages of the journey made it less full of "toil and danger" and less "thorny and troublesome." My wife, Judith, was ever present. At once heroine, guide, and Sancho Panza, she bore my short-lived triumphs and enduring despair. She did the work, but I am most grate- ful that she came to understand what the quest meant and what it meant to me. No flights of soaring imagination or extravagant rhetoric can describe adequately my gratitude to Professor Melvyn New. He represents the objective and the signifi- cance of the quest. He always has been the complete scholar and teacher. His contributions to this work have been un- tiring and infinite. More important to me, however, has been and is Professor New's personal example. He embodies the ideal combination of scholar and teacher. Professor Melvyn New shows that the quest for this ideal can be and should be attempted and accomplished. TABLE OE CONTENTS PAGE ACKNOWLEDGEMENT ±±± ABSTRACT v INTRODUCTION 1 NOTES 15 CHAPTER 1 15 I.
    [Show full text]