DOCSLIB.ORG

The Loire Valley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Loire Valley ©Lonely Planet Publications Pty Ltd The Loire Valley Why Go? Orléans . 353 In centuries past, the River Loire was a key strategic area, Blois . 358 one step removed from the French capital and poised on the crucial frontier between northern and southern Chambord . .361 France. Kings, queens, dukes and nobles established their Cheverny . 362 feudal strongholds and country seats along the Loire, Chaumont . 363 and the broad, fl at valley is sprinkled with many of the Tours . 364 most extravagant castles and fortresses in France. From Chenonceau . 369 sky- topping turrets and glittering banquet halls to slate- crowned cupolas and crenellated towers, the hundreds of Amboise . .372 châteaux dotted around the Loire Valley – now a Unesco Villandry . .374 World Heritage Site – comprise 1000 years of astonishingly Saumur . .379 rich architectural and artistic treasures. If it’s aristocratic Angers . 384 pomp and architectural splendour you’re looking for, the Loire Valley is the place to explore. Best Places to Eat » Le Pot de Lapin (p 381 ) » Les Années 30 (p 379) When to Go » Le Gambetta (p 381 ) » Cap Sud (p 367 ) Tours °C/°F Te m p Rainfall Inches/mm » Chez Noé (p 356 ) 40/104 6/150 30/86 5/125 4/100 Best Places to 20/68 3/75 Stay 10/50 2/50 0/32 » Château de Verrières 1/25 (p 381 ) -10/14 0 » Hôtel Diderot (p 378 ) J FDNOSAJJMAM » Château Beaulieu (p 381 ) Late April to June and July September and » Hôtel de l’Abeille (p355 ) early May The Cycle the trails of October Wine » La Levraudière (p 363 ) Fêtes de Jeanne the Loire Valley tasting during the » Le Pavillon des Lys (p373 ) d’Arc in Orléans from château to harvest time. culminate with château. » Hôtel Ronsard (p 366 ) parades on 8 May. 350 PLAN AHEAD Wine in the Loire Valley Before you go, plan Vineyards (www.vinsdeloire.com) dot the fertile Loire Val- your transport, re- ley and produce some excellent, but relatively little-known serve rooms in hot red, white and crémant (sparkling) wines. Anjou and Sau- spots like Saumur, mur alone have 30 AOCs (Appellation d’Origine Contrôlée), Amboise or Chinon and Touraine has nine, including some lively gamays. The and book castle tours most predominant red, though, is the cabernet franc. (opposite) or the Appellations include Saumur-Champigny (try Domaine Cadre Noir equitation Clos Rougeard), Bourgueil (try Domaine de la Butte) and presentation (p 379 ). Chinon (try the Cuvée des Tireaux from Domaine Olek- Mery). For whites, Vouvray’s chenin blancs are excellent and Sancerre and the appellation across the river, Pouilly-Fu- The Loire’s Best mé, produce great sauvignon blancs. The bubbly appella- THE LOIRE VALLEY Gardens tion Crémant de Loire spans many communities. Maisons des Vins (literally, wine houses) in Blois, Sau- » L e C l o s L u c é ( p 3 7 3 ) mur, Cheverny and Angers welcome visitors for tasting » Chambord (p 361 ) and guidance on the region’s wine. The Route Touristique » Villandry (p 374 ) des Vignobles is a Loire Valley wine route; before you set out, stop by a tourist offi ce and arm yourself with the Loire » Cheverny (p 362 ) Valley Vineyards booklet, which lists and maps all the do- » Chenonceau (p 369 ) maines, and Sur La Route des Vins de Loire, which maps Chaumont (p 363 ) » from Blois to Angers and the coast. » Beauregard (p 364 ) Spring Music ON THE TRAIL OF ARTISTS & WRITERS Festival While the fantastical history and high jinks of French royalty gets top billing in the Loire, the valley has also Every Easter over 100,000 played host to a stream of Europe’s greatest artists music fans converge on and thinkers. Mathematician and philosopher René Bourges to take in the lat- Descartes, poet Pierre de Ronsard and writer and est in innovative rock, roots doctor François Rabelais (p 378 ) were all born in the and French music at Le Loire; Leonardo da Vinci (see p 373 ) spent the last Printemps de Bourges years of his life here; and luminaries from sculptor (www.printemps-bourges. Alexander Calder to novelist Honoré de Balzac (p 376 ) com). lived and created in this region. Some, like Jean Gênet, were imprisoned here (p 383 ). Then there were Resources those, like Alexandre Dumas (see p 383 ), who were simply inspired here. » Loire Valley heritage site: www.valdeloire.org » Walks and cycling routes in the Loire Valley: www. Top 5 Activities for Kids randonnee-en-val-de-loire. » Be razzle-dazzled by magic and illusion at Maison de la com Magie (p 359 ). » The natural environment » Explore kooky, spooky caves around Saumur (p 382 ). of the River Loire: www. observatoireloire.fr, www. » Celebrate comic book character Tintin with cracks of cpie-val-de-loire.org, in lightning and pounding thunder (p 362 ). French » Peer into itsy-bitsy châteaux or play in the parks around » Regional transport de- a pointy pagoda (p 373 ). tails: www.destineo.fr » Hunt for treasure at Château de Montsoreau (p 383 )..
Load more

Recommended publications
  • Ronsard, Pierre De (1524-1585)
    Oeuvres complètes de P. de Ronsard (Nouvelle édition, publiée sur les textes les plus anciens avec les variantes et des [...] Source gallica.bnf.fr / Bibliothèque nationale de France Ronsard, Pierre de (1524-1585). Oeuvres complètes de P. de Ronsard (Nouvelle édition, publiée sur les textes les plus anciens avec les variantes et des notes). 1857-1867. 1/ Les contenus accessibles sur le site Gallica sont pour la plupart des reproductions numériques d'oeuvres tombées dans le domaine public provenant des collections de la BnF.Leur réutilisation s'inscrit dans le cadre de la loi n°78-753 du 17 juillet 1978 : *La réutilisation non commerciale de ces contenus est libre et gratuite dans le respect de la législation en vigueur et notamment du maintien de la mention de source. *La réutilisation commerciale de ces contenus est payante et fait l'objet d'une licence. Est entendue par réutilisation commerciale la revente de contenus sous forme de produits élaborés ou de fourniture de service. Cliquer ici pour accéder aux tarifs et à la licence 2/ Les contenus de Gallica sont la propriété de la BnF au sens de l'article L.2112-1 du code général de la propriété des personnes publiques. 3/ Quelques contenus sont soumis à un régime de réutilisation particulier. Il s'agit : *des reproductions de documents protégés par un droit d'auteur appartenant à un tiers. Ces documents ne peuvent être réutilisés, sauf dans le cadre de la copie privée, sans l'autorisation préalable du titulaire des droits. *des reproductions de documents conservés dans les bibliothèques ou autres institutions partenaires.
    [Show full text]
  • An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard. Carol Fuqua Lines Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lines, Carol Fuqua, "An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard." (2001). LSU Historical Dissertations and Theses. 418. https://digitalcommons.lsu.edu/gradschool_disstheses/418 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Transplanting the Laurel: Mapping France in Du Bellay's Landscape
    e-France, Volume I, 2007 ISSN 1756-0535 Transplanting the Laurel: Mapping France in Du Bellay’s Landscapes∗ Louisa MACKENZIE UNIVERSITY OF WASHINGTON, SEATTLE Joachim Du Bellay’s vernacular poetry has often struck readers as, variously, sincere, transparent, modest, modern, personal, original, melancholic, accessible. Certainly, when compared to the myth-laden, erudite and often self-promoting verse of his contemporary Pierre de Ronsard, Du Bellay’s poetry – particularly Les Regrets with their portrait of a homesick Frenchman disgusted at the corruption of the Italian and papal courts - does invite this kind of reading. Du Bellay himself describes the Regrets as ‘papiers journaux’, a ‘secretaire’ of his intimate thoughts (Regrets 1). It is tempting, and easy, to take him at his word, to read his sublime descriptions of Anjou as simple, unmediated homesickness, and his satire of Roman society as nothing more than moral indignation. On the other hand, knowledge of the satiric and lyric traditions which Du Bellay is imitating might lead one to conclude that the impression of intimacy is entirely derivative. However, as François Rigolot has shown, to debate whether Du ————— ∗ I would like to thank the journal’s two anonymous reviewers for their generous and constructive comments. In particular, the first reviewer drew my attention to a collection of essays in press (Campagnoli et. al., c. 2007), proceedings from the 2005 Seminari Pasquali in Bologna dedicated to L’Olive which looks absolutely germane to my reading of L’Olive, particularly the mentioned contributions by G. H. Tucker and G. Polizzi. The book is still forthcoming at the time of writing, and because of deadline constraints I have unfortunately been unable to consult it despite placing a rush order.
    [Show full text]
  • The Arts in Conflict in Ronsard's Des Peintures Contenues Dedans Un Tableau
    The Arts in Conflict in Ronsard's Des peintures contenues dedans un tableau By: Robert E. Campo Campo, Roberto E. “The Arts in Conflict in Ronsard’s Des peintures contenues dedans un tableau.” Romance Quarterly, 39/4 (1992): 411-24. This is an Accepted Manuscript of an article published by Taylor & Francis in Romance Quarterly on 04 Nov 2012, available online: http://wwww.tandfonline.com/10.1080/08831157.1992.10543891. ***©Taylor & Francis. Reprinted with permission. No further reproduction is authorized without written permission from Taylor & Francis. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Jean Plattard once suggested that, like all the major French poets of the midsixteenth century, Pierre de Ronsard overwhelmingly preferred the narrative-type,1 historical and mythological painting produced at the Chateau de Fontainebleau by artists such as Il Rosso and Primaticcio to the concurrent genre of courtly portraiture practiced by painters such as François Clouet and Corneille de Lyon: "Les poetes donnaient naturellement a ces peintures historiques et mythologiques la preference sur les portraits." 2 The appeal, Plattard believed, was two-fold. On the one hand, there was "l'ampleur de la conception" (p. 492) of narrative painting-its conceptual magnitude, or ability to represent multiple (yet related) subject matters in a single frame. On the other hand, there was its "hardiesse et . liberte de l'imagination" (p. 492)-its imaginative boldness, as demonstrated by the ability of narrative painting to give form to the purely conceptual truths of ideal Nature (to borrow the Neoplatonic terminology of the period).
    [Show full text]
  • Au Fleuve De Loire’
    ABSTRACT ENVIRONMENTAL CONSCIOUSNESS IN JOACHIM DU BELLAY’S DIVERS JEUX RUSTIQUES AND ‘AU FLEUVE DE LOIRE’ by Masnoon Majeed This thesis, written in English, aims to demonstrate that many of Joachim du Bellay’s poems in Divers jeux rustiques and Vers Lyriques disclose a conscious way of perceiving the environment. A detailed analysis of ‘D’un vanneur de blé aux vents’ reveals how the poem questions the privileging of humans in their relationship with the environment by dismantling the environment-human binary. I examine the symbolism of Roman mythology in ‘À Cérès, À Bacchus et À Pales’ and ‘D’un berger à Pan’ in order to explain how this symbolism represents the dependency of humans on their environment and creates the possibility of converting arduous rural chores into meaningful and pleasurable activities. Lastly, I explain how the poem ‘Au Fleuve de Loire’ can be read as a cartographic poem that highlights the economic, literary, and environmental importance of the Loire river. I conclude that these poems exemplify a consciousness that rejoices, reinforces, and recognizes the role of the environment in the lives of its inhabitants. ENVIRONMENTAL CONSCIOUSNESS IN JOACHIM DU BELLAY’S DIVERS JEUX RUSTIQUES AND ‘AU FLEUVE DE LOIRE’ A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Masnoon Majeed Miami University Oxford, Ohio 2018 Advisor: Dr. Elisabeth Hodges Reader: Dr. Jeremie Korta Reader: Dr. Anna Klosowska ©2018 Masnoon Majeed This Thesis titled ENVIRONMENTAL CONSCIOUSNESS IN JOACHIM DU BELLAY’S DIVERS JEUX RUSTIQUES AND ‘AU FLEUVE DE LOIRE’ by Masnoon Majeed has been approved for publication by The College of Arts and Science and Department of French and Italian ________________________________________________________ Dr.
    [Show full text]
  • MASKS and MIRRORS: PROBLEMS of REPRESENTATION in FRENCH RENAISSANCE LITERATURE James Robert Leva Lexington, Virginia B.A., Washi
    MASKS AND MIRRORS: PROBLEMS OF REPRESENTATION IN FRENCH RENAISSANCE LITERATURE James Robert Leva Lexington, Virginia B.A., Washington and Lee University, 1980 M.A., University of Virginia, 1986 A Dissertation Presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy, Department of French Language and Literature University of Virginia ·August 1990 I_ [ j j '{ Abstract Renaissance writers often seem to place human existence in a ludic context, that of the theatrum mundi. As they expose the folly of believing the illusions of the theatrum mundi, the writers also must confront the paradoxes into which they enter by attempting to intimate truth through the mise-en-abfme of literary representation. Chapter One posits the theater as a paradigm for the dynamics of representation because the theater constantly exposes itself by emphasizing the provisional and arbitrary nature of its illusions. The inability of the creative illusions of art or language to attain the absolutes towards which they strive is examined through ancient and modern contexts. Chapter Two compares .the poetic endeavors of Marguerite de Navarre and Pierre de Ronsard. Ronsard seeks to create a poetic persona that becomes substantial through his poetry. His poems figure the desire to be the divinely annointed descendent of Homer and Virgil. They enact his desire to transform himself, like Jupiter, as a means of working his will. Thus his poetry figures the desire for the capacity to satisfy desire. Marguerite's poetry and theater give form to her yearning for incorporation with the Divine Totality. Prerequisite to that reunion is the annihilation of self and the stilling of its voice.
    [Show full text]
  • RONSARD, DU BELLAY, and D'aubigné By
    POLITICS AND POETICS OF EPIC IN THE FRENCH RENAISSANCE: RONSARD, DU BELLAY, AND D’AUBIGNÉ by JESSICA J. APPLEBY B.A., University of Colorado 2006 M.A., University of Colorado 2008 Master, Université Paris 3 Sorbonne-Nouvelle 2012 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of French and Italian 2017 ii This thesis entitled: Politics and Poetics of Epic in the French Renaissance: Ronsard, Du Bellay, and d’Aubigné written by Jessica J. Appleby has been approved for the Department of French and Italian Christopher Braider Suzanne Magnanini Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Abstract Appleby, Jessica J. (Ph.D., French) Politics and Poetics of Epic in the French Renaissance: Ronsard, Du Bellay, and d’Aubigné Thesis directed by Professor Christopher Braider This dissertation examines the epic genre and its mutations from poetic and political perspectives during the sixteenth century. Renaissance poetic treatises acknowledged epic as the highest poetic form and the greatest aspiration of poets. A French imitation of the Aeneid would be the mark of national greatness, a poem to confirm France as the literary, cultural, and political successor to ancient Rome. It would both capture and foster national sentiment for a nation with imperial ambitions. However, any attempts to compose such a work either produce mediocre poetry or are so mutated in form that they can barely be labeled epic.
    [Show full text]
  • Joachim Du Bellay's Occasional Poetry: the Poetics of Female Patronage Elizabeth Landers Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 Joachim Du Bellay's Occasional Poetry: The Poetics of Female Patronage Elizabeth Landers Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Landers, Elizabeth, "Joachim Du Bellay's Occasional Poetry: The oeP tics of Female Patronage" (2011). All Theses and Dissertations (ETDs). 604. https://openscholarship.wustl.edu/etd/604 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Romance Languages and Literatures Dissertation Examination Committee: Colette Winn, Chair Robert Henke Joseph Loewenstein Stamos Metzidakis Michael Sherberg Harriet Stone JOACHIM DU BELLAY’S OCCASIONAL POETRY: THE POETICS OF FEMALE PATRONAGE by Elizabeth Landers A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2011 Saint Louis, Missouri copyright by Elizabeth Landers 2011 Acknowledgments This project on Du Bellay’s occasional poetry would never have been completed without the help of many people. First and foremost I would like to thank Colette Winn for her unwavering support and encouragement. I have benefitted beyond measure not only from the model she sets as a teacher and scholar, but also from her ability to create community and draw fellow seiziemistes together around her docte table .
    [Show full text]
  • The Latin Ronsard the Pléiade's Poetic Programme, As Set out in The
    CHAPTER SIX THE LATIN RONSARD The Pléiade’s poetic programme, as set out in the Deffence et illustration, focused on introducing into the vernacular a form of poetry inspired by the greatest works of the Greco-Roman tradition, an ambition which was certainly shared by Ronsard. Unlike his fellow poets, he himself produced few compositions in Latin,1 yet he appears to have had no objection to his works being translated into that language. Indeed, it is his teacher, Jean Dorat, who is responsible for some of the earliest translations, including the Latin version of the Hinne de Bacus, published alongside the French text in a plaquette of 1555. This chapter will explore the success of these translations, as well as the motivation that underlies them.2 Relatively early on in his poetic career, Ronsard appears to have ben- efited from a movement to enshrine him as a classical poet. In particular, the 1553 edition of the Amours de P. de Ronsard Vandomois, nouvellement augmentées par lui, & commentées par Marc Antoine de Muret (Paris: veuve Maurice de la Porte) presents him as a learned writer, whose meaning needs in many cases to be elucidated by a scholar who not only has access to the sources on which the poet is drawing, but who in some cases must have recourse to the author himself or his friends in order fully to under- stand his meaning. As Muret writes in his Preface:3 1 As in many fields of French Renaissance studies, Ian McFarlane carried out pioneer work in this area, notably in his article ‘Pierre de Ronsard and the Neo-Latin Poetry of his Time’, Res Publica Litterarum: Studies in the Classical Tradition, 1 (1978), 177–205.
    [Show full text]
  • Variants, 14 | 2019 Pierre De Ronsard, Œuvres Complètes 2
    Variants The Journal of the European Society for Textual Scholarship 14 | 2019 Varia Pierre de Ronsard, Œuvres complètes Paris: STFM, 2015. François Rouget Electronic version URL: http://journals.openedition.org/variants/813 DOI: 10.4000/variants.813 ISSN: 1879-6095 Publisher European Society for Textual Scholarship Printed version Number of pages: 200-202 ISSN: 1573-3084 Electronic reference François Rouget, « Pierre de Ronsard, Œuvres complètes », Variants [Online], 14 | 2019, Online since 10 July 2019, connection on 23 September 2020. URL : http://journals.openedition.org/variants/813 ; DOI : https://doi.org/10.4000/variants.813 This text was automatically generated on 23 September 2020. The authors Pierre de Ronsard, Œuvres complètes 1 Pierre de Ronsard, Œuvres complètes Paris: STFM, 2015. François Rouget REFERENCES Pierre de Ronsard, Œuvres complètes, edited by Paul Laumonier, Raymond Lebègue and Isidore Silver, Paris: STFM, 2015, 7 vols. ISBN: 978-2-86503-293-8. 150 € 1 All specialists of the poetic works of Pierre de Ronsard, known as the “Prince of Poets”, have paid tribute to Paul Laumonier’s dedication in his chronological edition. His enterprise started in 1914 with the publication of volume I (Odes) and ended in the volume XVI (La Franciade). The next volumes (XVII to XX) were prepared by Raymond Lebègue and Isidore Silver after his death in 1949. The last was published in 1967 and was followed by a set of errata and addenda, as well as the useful index (tome XX) in 1975. The strengths of Laumonier's edition have been praised since the beginning of the project. These are mainly the chronological perspective that facilitate the understanding of the text within its context; the perception of the evolution of Ronsard’s poems with a list of their variants; critical notes that shed light on Ronsard’s literary sources, and his influence on the time.
    [Show full text]
  • UC Santa Cruz Electronic Theses and Dissertations
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Figures of Voice in Early Modern Europe Permalink https://escholarship.org/uc/item/8wc924s9 Author Helou, Ariane Nada Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ FIGURES OF VOICE IN EARLY MODERN EUROPE A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Ariane Nada Helou June 2015 The Dissertation of Ariane Nada Helou is approved: _______________________________________ Professor Deanna Shemek, chair _______________________________________ Professor Karen Bassi _______________________________________ Professor Carla Freccero _______________________________________ Professor Nina Treadwell ___________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Ariane N. Helou 2015 FIGURES OF VOICE IN EARLY MODERN EUROPE Table of Contents Abstract v Acknowledgments vii Introduction 1 I. Vocal Dispositions: Language, Music, and Rhetoric 13 Rhetoric: Inventio 14 Language: Elocutio and Variatio 20 Music: Dispositio 36 Figures of Voice: Memoria and Pronuntiatio 49 II. Divinity and the Ineffable: The Sibyl 53 Apollo’s Voice: The Sibyl in Antiquity 55 Early Modern Sibyls: Ariosto’s Prophetic Voices 68 Staged Sibyls: Florence, 1589 73 III. Voice and Violence: Philomela 88 Quid faciat Philomela? Ovid’s Nightingale 94 “Mad Through Sorrow”: Lavinia and Juliet 108 “The Poor Soul Sat Singing”: Ophelia and Desdemona 118 IV. (Dis)Embodied Voices: Orpheus and Echo 133 Orphea vox: Vergil and Ovid 137 Vox ipsa: Orphic Resonance in Orlando furioso 142 Vocalis nymphe: Isabella Andreini’s La Mirtilla 152 ! iii Un corpo solo di musica: Orpheus at the Opera 175 Conclusion 184 Bibliography 199 ! iv FIGURES OF VOICE IN EARLY MODERN EUROPE Ariane N.
    [Show full text]
  • Letters to Dead Authors
    Letters to Dead Authors Andrew Lang Letters to Dead Authors Table of Contents Letters to Dead Authors...........................................................................................................................................1 Andrew Lang..................................................................................................................................................1 Preface............................................................................................................................................................1 I. To W. M. Thackeray...................................................................................................................................2 II. To Charles Dickens...................................................................................................................................4 III. To Pierre de Ronsard (Prince of Poets.)...................................................................................................7 IV. To Herodotus.........................................................................................................................................11 V. Epistle to Mr. Alexander Pope................................................................................................................15 VI. To Lucian of Samosata..........................................................................................................................18 VII. To Maitre Francoys Rabelais................................................................................................................21
    [Show full text]