The Song of Roland Study Questions
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THE HISTORY of ORLANDO FURIOSO
ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto. -
BOLETÍN OFICIAL DE LA PROVINCIA DE ALICANTE BUTLLETÍ OFICIAL PROVÍNCIA D'alacant Edita Excma
BOLETÍN OFICIAL DE LA PROVINCIA DE ALICANTE BUTLLETÍ OFICIAL PROVÍNCIA D'ALACANT edita excma. diputación provincial - alicante edita excma. diputació provincial - alacant miércoles, 3 de junio de 2009 dimecres, 3 de juny de 2009 Sumario Pág. Pág. Núm. Núm. ADMINISTRACIÓN CENTRAL: AYUNTAMIENTO ALICANTE. -LISTAS PROVISIONALES ASPIRANTES ADMITIDOS Y EXCLUIDOS INSPECCIÓN PROVINCIAL DE TRABAJO ALICANTE. VARIAS PLAZAS OFERTA DE EMPLEO PÚBLICO 2005 Y 2008 74 -NOTIFICACIÓN RESOLUCIÓN ACTAS DE INFRACCIÓN 3 AYUNTAMIENTO ALMORADÍ. INSTITUTO NACIONAL DE LA SEGURIDAD SOCIAL ALICANTE. -BAJAS DE OFICIO EN EL PADRON DE HABITANTES 107 -NOTIFICACIÓN PETICIÓN DE DOCUMENTACIÓN QUE ACREDITE -BAJAS DE OFICIO EN EL PADRON DE HABITANTES 107 SU IDENTIDAD 3 AYUNTAMIENTO BENISSA. JEFATURA PROVINCIAL DE TRÁFICO ALICANTE. -LISTA PROVISIONAL ADMITIDOS Y EXCLUIDOS Y TRIBUNAL -NOTIFICACIÓN DE RESOLUCIONES RECAIDAS EN EXPEDIENTES CALIFICADOR CONVOCATORIA TRES PLAZAS POLICÍA LOCAL 108 SANCIONADORES 3 AYUNTAMIENTO EL CAMPELLO. -NOTIFICACIÓN DE INICIACIÓN DE EXPEDIENTES -NOTIFICACIÓN DENUNCIAS DE TRÁFICO 110 SANCIONADORES 24 -NOTIFICACIÓN RESOLUCIONES 40 AYUNTAMIENTO CAÑADA. -NOTIFICACIÓN RESOLUCIONES 41 -APROBACIÓN DEFINITIVA PROYECTO REPARCELACIÓN FORZOSA -NOTIFICACIÓN RESOLUCIONES 42 UNIDAD EJECUCIÓN ÚNICA PLAN REFORMA INTERIOR ÁMBITO -NOTIFICACIÓN INICIACIÓN EXPEDIENTES SANCIONADORES 45 SUELO URBANO INDUSTRIAL SECTOR PDI-1 111 SERVICIO DE COSTAS ALICANTE. AYUNTAMIENTO COCENTAINA. -NOTIFICACIÓN RESOLUCIÓN EXPEDIENTE SANCIONADOR 46 -CORRECCIÓN DE ERRORES EDICTO PUBLICADO -
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. -
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. -
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. -
![HFT XIV Packet 04 [FINISHED].Pdf](https://docslib.b-cdn.net/cover/8954/hft-xiv-packet-04-finished-pdf-788954.webp)
HFT XIV Packet 04 [FINISHED].Pdf
Harvard Fall Tournament XIV Edited by Jon Suh with assistance from Jordan Brownstein, Ricky Li, and Michael Yue Questions by Jon Suh, Michael Yue, Ricky Li, Kelvin Li, Justin Duffy, Thomas Gioia, Chris Gilmer-Hill, Laurence Li, Jonchee Kao, Peter Laskin, Olivia Murton, Mazin Omer, Alice Sayphraraj, and Kevin Huang Special thanks to Jordan Brownstein, Stephen Eltinge, Kelvin Li, and Olivia Murton Packet 4 Tossups 1. In one work, this man duels Rinaldo twice for a woman he saved from King Agrican. Astolfo flies Elijah’s chariot to the Moon to restore this character’s sanity in a sequel to that Boiardo [“boy-YARD-oh”] work. This man gives his glove to God before dying in another work in which he is accompanied by Oliver and the archbishop Turpin. In that work, his stepfather (*) Ganelon betrays him to the king of Saragossa. This man loves Angelica of Cathay in a Ludovico Ariosto poem partially titled for him, and in another poem he dies at the Battle of Roncevaux [“rahns-voh”] Pass after blowing a horn. For 10 points, name this paladin of Charlemagne featured in a medieval poem about his “song.” ANSWER: Roland (or Orlando; accept The Song of Roland; accept Orlando Furioso) [Writer’s note: The first clue is Matteo Maria Boiardo’s Orlando Innamorato.] <Yue, European Literature> 2. This functional group can be added asymmetrically using AD-mix. When pyridine [“PEER-uh-deen”] or the simplest compound with this functional group is added to a two-carbon compound with this functional group, the result is called “denatured.” Adding lithium aluminum hydride to acetic acid will generate a compound with this functional group. -
ROSALIND-The-Facts-T
THE PLAY “AS YOU LIKE IT” THE WOMAN ROSALIND THE FACTS WRITTEN: The year of 1599 was an especially busy year for Williams Shakespeare who wrote four plays for the Globe stage – “Much Ado About Nothing”, “Henry V”, “Julius Caesar” and “As You Like It”. PUBLISHED: The play was first published in the famous First Folio of 1923 AGE: The Bard was 35 years old when he wrote the play. (Born 1564-Died 1616) CHRONO: “As You Like It” holds the 21st position in the canon of 39 plays immediately after “Julius Caesar” and before “Hamlet” in 1601 GENRE: The play is most often joined with “The Two Gentlemen of Verona” and “The Comedy of Errors” to comprise the trio of “Early Comedies”. SOURCE: Shakespeare’s principal source was a prose pastoral romance, “Rosalynd”, published in 1590 by the English poet Thomas Lodge and “improved upon beyond measure” (Bloom); the two key characters of Touchstone and Jaques were Shakespeare’s memorable creations. TIMELINE: The action of the play covers a brief number of weeks allowing for the “to-ing & fro-ing” of getting from the Palace to the Forest. FIRST PERFORMANCE: The play’s first performance is uncertain although a performance at Wilton House – an English country house outside of London and the seat of the Earl of Pembroke – has been suggested as a possibility. The play’s popularity must surely have found its place in frequent Globe seasons but no records seem to attest to that fact. Page 2 “PASTORALS”: “There is a unique bucolic bliss that is conventional in pastorals, for it is common for people trapped in the hurly-burly of the crowded haunts of men to imagine wrongly that there is some delight in a simple life that existed in the ‘good old days’. -
Fortune and Romance : Boiardo in America / Edited by Jo Ann Cavallo & Charles S
Fortune and Romance: Boiardo in America xexTS & STuOies Volume 183 Fortune and Romance Boiardo in America edited b)' Jo Ann Cavallo & Charles Ross cr)eC>iev2iL & ReMAissAMce tgxts & STuDies Tempe, Arizona 1998 The three plates that appear following page 60 are reproduced by permission of the Folger Shakespeare Library. The map of Georgia that appears on page 95 is reprinted from David Braund's Georgia in Antiquity (Oxford University Press, 1994), by permission of Oxford University Press. Figures 8, 10 and 11 are reprinted courtesy of Alinari/Art Resource, New York. Figure 9 is reprinted courtesy of Scala, Art Resource, New York. ©Copyright 1998 The Italian Academy for Advanced Studies in America at Columbia University Library of Congress Cataloging'in'Publication Data Fortune and romance : Boiardo in America / edited by Jo Ann Cavallo & Charles S. Ross p. cm. — (Medieval & Renaissance texts & studies ; 183) Most of the essays in this volume stem from the American Boiardo Quincentennial Conference, "Boiardo 1994 in America," held in Butler Library, Columbia University, Oct. 7-9, 1994, sponsored by the Italian Academy for Advanced Studies in America. Includes bibliographical references and index. ISBN 0-86698-225-6 (alk. paper) 1. Boiardo, Matteo Maria, 1440 or 41-1494 — Criticism and interpreta- tion — Congresses. 1. Cavallo, Jo Ann. II. Ross, Charles Stanley. III. American Boiardo Quincentennial Conference "Boairdo 1994 in America" (1994 : Butler Library, Columbia University) IV. Italian Academy for Advanced Studies in America. V. Series. PQ4614.F67 1998 85r.2— dc21 98-11569 CIP @ This book is made to last. It is set in Goudy, smyth-sewn, and printed on acid-free paper to library specifications. -
Recent Dissertations Copies of the Complete Text of These Theses Can
Recent Dissertations Copies of the complete text of these theses can be obtained from Uni- versity Microfilms (Zeeb Road, Ann Arbor, Michigan) in any of three for- mats: hardbound paper, softcover paper, and microfilm positive. We wish to thank the Xerox Corporation for giving Olifant permission to repro- duce these abstracts from Dissertation Abstracts International. A LINGUISTIC: DATING OF THE OXFORD CHANSON DE ROLAND. Susan Elizabeth Farrier, Ph.D. Cornell University, 1985. ANY SCHOLARS state as a truism that the Oxford Chanson de Roland M was written sometime around 1100. This date is misleading not only because it is artificially precise, but also because it suggests that the whole poem was composed all at the same time. Linguistic dating, however, re- veals vestiges of a tenth-century poem, as well as significant portions of eleventh- and twelfth-century redactions. These three linguistic strata are fairly evenly distributed throughout the poem — even in the so-called "Baligant episode." Linguistic dating essentially consists of two steps: (1) identifying the Latin forms of the Old French words found at the assonance and (2) de- termining the stage of development which the stressed vowel in each Old French word must have reached in order to assonate properly with all other verse-final words in the laisse. When the various strata are analyzed for stylistic consistency, the re- sults are surprisingly convincing. The tenth-century poet's work remains only in fragmentary version, so little can be said of his style — except in re- lation to his use of the topos of the prophetic dream. -
The Song of Roland Has Some Connection to the History of Charlemagne's Failed Conquest of Spain in 778, but This Connection Is Rather Loose
Song of Roland Context: On the afternoon of August 15, 778, the rear guard of Charlemagne's army was massacred at Roncesvals, in the mountains between France and Spain. Einhard, Charlemagne's contemporary biographer, sets forth the incident as follows in his Life of Charlemagne: While the war with the Saxons was being fought incessantly and almost continuously, [Charlemagne] stationed garrisons at suitable places along the frontier and attacked Spain with the largest military force he could muster; he crossed the Pyrenees, accepted the surrender of all the towns and fortresses he attacked, and returned with his army safe and sound, except that he experienced a minor setback caused by Gascon treachery on returning through the passes of the Pyrenees. For while his army was stretched out in a long column, as the terrain and the narrow defiles dictated, the Gascons set an ambush above them on the mountaintops—an ideal spot for an ambush, due to the dense woods throughout the area—and rushing down into the valley, fell upon the end of the baggage train and the rear guard who served as protection for those in advance, and in the ensuing battle killed them to the last man, then seized the baggage, and under the cover of night, which was already falling, dispersed as quickly as possible. The Gascons were aided in this feat by the lightness of their armor and by the lay of the land where the action took place, whereas the Franks were hindered greatly by their heavy armor and the terrain. In this battle Eggihard, the surveyor of the royal table; Anselm, the count of the palace; and Roland, prefect of the Breton Marches, were killed, together with many others. -
Song of Roland Unknown Memory Verse
Song of Roland Unknown Memory Verse • Psalm 25 • This week, can you recite verses 1-10? Imagine • Read Summary from Omnibus! Conflict • What has been the greatest conflict of the past century? Conflict • What has been the greatest conflict of the past century? • Communism and Democracy • Liberalism and Conservatism • Socialism and Capitalism • Rich and Poor • Proletariat and Bourgeoisie • Industrialism and Agrarianism • Nationalism and Colonialism • Management and Labor • First World and Third World • East and West • North and South Allied and Axis • NATO and Soviet Conflict • The greatest conflict of the past century, even the past millennium, has been between: • Islam and Civilization • Islam and Freedom • Islam and Order • Islam and Progress • Islam and Hope • Islam and the Gospel Conflict • Every other conflict pitting men and nations against one another has inevitably waxed and waned • This furious struggle has remained all too constant • The tension between Islam and every aspiration and yearning of man intrudes on nearly every issue, every discipline, every epoch and every local Author • Le Chason de Roland or The Song of Roland • One of the most famous medieval French chivalric ballads, known as chansons de geste – literally, “songs of deeds” • Traditional folk musicians and minstrels would travel from town to town singing about the epic adventures of great heroes from the past • About a hundred of these popular epic poems survived, from the 11th to the 15th century • We don’t know who the various composers were or even when the poem took -
Ganelon: the Poetics of Guile and Greed CHOLARS CONTINUE TO
JUDITH LILLIAN KELLOGG Ganelon: The Poetics of Guile and Greed CHOLARS CONTINUE TO PONDER over Ganelon's motivation for betray- ing Charlemagne's rear guard in the Chanson de Roland. Some S point to Ganelon's bitter resentment against Roland over a private feud which predates the action of the poem; others note a source of added tension in Roland's mocking, presumptuous behavior in designating his stepfather for the mission to Marsile. Critics also suggest that Ganelon is envious of the preferential treatment Charlemagne shows towards his nephew when the emperor suggests that Roland is too valuable a knight to risk on such a mission. These occurrences indeed intensify Ganelon's hatred for Roland, but they do not account for the traitor's particular method of revenge or for the Saracen strategy for wooing Ganelon to their side. To understand how this treacherous vassal plays out his hostility in the way he does, I propose to examine Ganelon's character in the light of Gerard J. Brault's suggestion that "it is Avarice that leads him to betray Roland and, by implication, Charlemagne and God."1 Ganelon is an easy victim for the temptations that Marsile lays before him. However, the betrayal sequence indicates that the interaction between the two villains is more complicated than the simple fall through greed of an irresolute and faithless knight. If one notes Ganelon's and the Saracens' subtle play on the economic connotations of key terms in the negotiation, it becomes apparent that Ganelon has his own ways to direct and manipulate the out- come of the dealings.