DOCSLIB.ORG

Read Book the Silver Horn Echoes a Song of Roland 1St Edition Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Book the Silver Horn Echoes a Song of Roland 1St Edition Ebook THE SILVER HORN ECHOES A SONG OF ROLAND 1ST EDITION PDF, EPUB, EBOOK Michael Eging | 9781532020209 | | | | | The Silver Horn Echoes A Song of Roland 1st edition PDF Book Further, this novel bookends the story with William the Conqueror 's use of the poem as a motivator for Norman forces prior to the Battle of Hastings in Meanwhile, new enemies, treacherous allies, and a lethal shapeshifter all conspire to work against him. Additional Information. The date of composition is put in the period between and an early version beginning around with additions and alterations made up until about The title was usually bestowed though jealously by the Eastern Empire in Constantinople. In the deeper shadows of the hallway, Ganelon's personal steward of many years, the spidery Father Petras, hovered near his lord's shoulder, a specter in brown clerical homespun. Glaring at the human rampart assembling between him and his quarry, he straightened his clothes and threw back his shoulders. By: Temple Grandin Ph. I received this Audio Book for Free in exchange for an unbiased Review. Will the film ever get made? But when he redeems his voucher for a neon servant of his own named Michael, everything changes. In an adjoining room, the parish priest awoke at the opening of the outer door. The Silver Horn Echoes pays homage to "La Chanson de Roland" by revisiting an age of intrigue and honor, and a fateful decision in the shadows of a lonely mountain pass— Roncevaux! Big sword, bad attitude. On the journey he fights and runs and has all kinds of problems in his intentions to Save the Day. On a narrative level, the Song of Roland features extensive use of repetition, parallelism, and thesis-antithesis pairs. Surely there are great nobles who are better respected. Around , a version of the French poem was translated into the Middle High German Rolandslied by Konrad der Pfaffe [9] formerly thought to have been the author of the Kaiserchronik. The English translators, using the original illustrations, and the basic rhyme patterns, slightly simplify the plot, changing the Christians-versus-Muslim-Moors conflict into a battle between good and bad magicians and between golden knights and green knights. Please try again later. Narrated by: Julian Pearson. The Silver Horn Echoes A Song of Roland 1st edition Writer Well-written and gripping from beginning to end, this epic tale flows smoothly towards an exciting ending that mixes bravery, self-sacrifice and painful tragedy. Please try again. He focuses in domestic policy issues. The novel encouraged me to actually research the original epic poem in Wikipedia, where I discovered this novel has earned a paragraph at the end of the webpage. Smoke poured from the chimney of the adjoining kitchen where serving girls in woolen skirts and jackets crowded the open door to collect skins of dark Frank wine and platters filled with meat. The novel was originally intended as a screenplay and that aspect really shows in the shifting narrative foci of the tale. Lists with This Book. I say that, but I've never actually read the original poem. Michael Eging. Betrayal is high but will it be revealed too late to stop the changing outcome they are seeking? Remove from wishlist failed. In the doorway, a figure outlined in fading sunlight shook out a long cloak. It's been too long since I've visited. Reviews - Please select the tabs below to change the source of reviews. In an open doorway, Gisela, Roland's mother and sister to King Charles, paused in shock, slender hand raised to her mouth. Robot children. About Michael Eging. I was just having a reading session with your bookish priests. The Silver Horn Echoes pays homage to "La Chanson de Roland" by revisiting an age of intrigue and honor, and a fateful decision in the shadows of a lonely mountain pass—Roncevaux! The story reeks of authenticity, and one can tell this was a labour of love for the author s. Save my name, email, and website in this browser for the next time I comment. Logic informed her decision to obey social rules and avoid unpleasant consequences. While my review here is particularly glowing, if you check my profile you will see that I am known to leave neutral and even negative reviews of books I have similarly received for free. Thus the musicians were left to pursue their obscure tunes from unknown taverns without regard for anyone's standards of artistic merit. In Ludovico Ariosto published his epic Orlando Furioso , which deals largely with characters first described in the Song of Roland. Paperback , pages. I want to now though. I tended to focus on the key ones within the settings for what the overall story was trying to tell. Ok, that didn't make much sense but neither did this novel. This thriller explores the violent world of mobsters and Hollywood filmmakers. Disclaimer: I am a little bit of a history geek, particularly of European history from the rise of Rome through the Elizabethan era. The Song of Roland What follows is a hectic chase over land and sea, as Corin fights to keep his job and the skin on his back. Account Options Sign in. I would absolutely LOVE to see a good studio follow through on a GOOD screen adaptation of this version of the story, preferably as a limited series run rather than a movie so that more detail can be retained. Error rating book. Regardless, this was a fun historical fiction told in a unique voice which inspired me to look more into the history surrounding Roland, which is what a good historical fiction should do! Winkler Length: 5 hrs and 15 mins Unabridged Overall. The story has apparently been optioned, so I hold out hope that reviews like this will help get this past the "We have a fully developed script, but no studio has decided to actually make it yet" limbo whither all too many projects languish. There are new game elements, new enemies, and even new locations. Oliver winked in response. He is hampered on his path to peace by would- be allies, old enmities and grudges between clans of creatures, and the ever-looming threat of the fear That's not going to be easy - she has a foul temper, and he's not fond of royalty. By this the Franks are convinced of Ganelon's treason. Search for:. Through a chance encounter, a young film student kills a hitman in self defense and steals mob money to fund his film. Jacob P It is well-written, and the attention to detail and history was outstanding. The Silver Horn Echoes A Song of Roland 1st edition Reviews An alternate hypothesis by Nathan Love is that AOI indicates locations where the scribe or copyist deviated from the primary manuscript. King Charlemagne and the Matter of France. Audible Premium Plus. Some scholars estimate that the poem was written, possibly by a poet named Turold Turoldus in the manuscript itself , between approximately and , and most of the alterations were performed by about As the Frank kingdom prepares for war, Roland, young heir to the Breton March, has been relegated to guard duty until a foreign emissary entrusts him with vital word of a new threat to the kingdom. According to one 12th-century legend from the French town of Rocamadour , Roland threw the sword into a cliffside. This makes the story tragedy, not just heroics". Let us drink to the pleasures of the living, at the expense of the dead! Kindle Book Giveaway! Roland proposes Ganelon for the dangerous mission to Sarrogossa; Ganelon designates Roland to man the rearguard. New arrivals. The Song of Roland I doubt it will spoil anything to say that Roland does indeed become the man we all expect him to be, or that it is a journey well worth taking. Roland is heir to the Breton March, but while the Frankish kingdom is preparing for an impending war, he is given the most unlikely of tasks — to serve as a guard. One after another, the young nobles shouted bawdy jokes, and he lifted a cup in recognition to each in turn, his ready smile breaking into willing laughter. Unsourced material may be challenged and removed. Stream or download thousands of included titles. Michael Eging and Steve Arnold. To begin, click the purple email icon to send this author a private email. The lord of the march, by the king's own decree! A crude track ran through the patchwork, reaching from the distant choppy sea to a motte-and-bailey keep built atop earthen ramparts overlooking the hinterlands. The Silver Horn Echoes A Song of Roland 1st edition Read Online As a native French speaker, I would say that the narrator's accent mostly does honour to the original pronunciations. Lists with This Book. No trivia or quizzes yet. I enjoyed the story. He scrambled from his bed, gathered his robes about him, and glanced out the window at the westering moon. With spies always watching making the wrong move could put his mother in danger. They have brought the story into the real world and turned it into flesh and blood. We hope you enjoy the beautiful illustrations of award-winning artist and author Lauren Dempsey Plaskonos Now Roland must embark on a risky journey to save all he loves from swift destruction. Betrayal is high but will it be revealed too late to stop the changing outcome they are seeking? Oct 05, Joe Slavinsky rated it really liked it. France is under attack from the Saxons in the north and the Saracens in the south.
Load more

Recommended publications
  • Emanuel J. Mickel Ganelon After Oxford the Conflict Between Roland
    Emanuel J. Mickel Ganelon After Oxford The conflict between Roland and Ganelon and the subsequent trial form an important part of the Chanson de Roland. How one looks at the trial and Ganelon's role in the text bears significantly on one's interpretation of the epic. While most critics acknowledge that Roland is the hero of the chanson and Ganelon the traitor, many, perhaps a majority, find flaws in Roland's character or conduct and accept the argument that Ganelon had some justification for his actions in the eyes of Charlemagne's barons and, perhaps, in the view of the medieval audience. Roland, of course, is blamed for desmesure and Ganelon is justified by the argument that his open defiance of Roland and the peers in the council scene gave him the right, according to the ancient Germanic ethical and legal code, to take vengeance on his declared adversaries. Proponents of this thesis allege that the Chanson de Roland, a text which they date to the eleventh century, reflects a growing tension and conflict between the powerful feudal barons and the growing power of the monarchy.1 The barons represent the traditions and custom law of a decentralized state where the king is primus inter pares, but essentially a baron like themselves. As the French monarchy grew in strength and was bolstered in a theoretical sense by the centralizing themes of Roman law, conflict between the crown and the nobility became apparent.2 1 For specific analysis of the trial in terms of allegedly older Germanic tradition, see Ruggero Ruggieri, Il Processo di Gano nella Chanson de Roland (Firenze: Sansoni, 1936); also George F.
    [Show full text]
  • Hero As Author in the Song of Roland
    Hero as Author in The Song of Roland Brady Earnhart University of Virginia A modern reader with no experience in medieval literature who received the unlikely gift of a copy of The Song of Roland might be given pause by the title. Is it going to be a song about Roland? Written by Roland? Sung by him? A simple confusion, quickly cleared up, and yet perhaps providential in the more serious questions it leads us to: Are there ways in which the hero Roland resembles a poet? How might the oliphant function as the text's counterpart within the text itself, and who is the audience? What light could this approach shed on interpretive controversies? A comparison of Roland's situation and that of the writer of the epic is somewhat outside the critical fray, and need not attempt to trump more strictly ideological or linguistic examinations. At the same time, its own answers to commonly disputed critical questions may complement the answers other approaches have provided. It will be necessary first to clarify a few points that can no longer be taken for granted. I will be assuming, as most scholars do, that this work is based on an event that actually took place. I will be examining what I see as its departures from a less self-consciously artistic recording of the event, which seem to lean away from mimesis toward invention. Clearly, historical truth is chimerical, invention a matter of degree and subject to the intricacies of patronage and contemporary aesthetic decorum. One does not have to establish "exactly what happened," though, to examine the differences between earlier and later accounts of a battle, especially when the later account in question diverges so extravagantly and uniquely from the earlier ones.
    [Show full text]
  • 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.
    [Show full text]
  • Tesi Di Laurea
    Corso di Laurea Magistrale in Scienze del Linguaggio D.M. 270/2004 Tesi di Laurea The Contribution of Germanic Sources in the Textual Reconstruction of the Chanson de Roland Relatrice Prof.ssa Marina Buzzoni Correlatore Prof. Marco Infurna Laureando Lorenzo Trevisan Matricola 860930 Anno Accademico 2018 / 2019 The importance of the Germanic sources in the Chanson de Roland 2 Introduction Index Introduction ................................................................................................ 7 Foreword .................................................................................................... 11 I. Literary context and poetic tradition ............................................... 13 1. Europe in the High Medieval Period ........................................... 13 1.1 Feudalism and rural aristocracy ........................................ 14 1.2 Secular powers and the Church ........................................... 17 1.3 Expanding the borders of Christendom .............................. 19 1.4 Trade, technology and towns ............................................... 21 1.5 Knowledge and culture ....................................................... 23 2. The rise of vernacular literature in Romance .............................. 25 2.1 The Carolingian Renaissance ............................................. 25 2.2 The first Old French texts .................................................... 26 2.3 The Hagiographic Poems .................................................... 28 3. The Old French Epic ...................................................................
    [Show full text]
  • 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
    [Show full text]
  • Review Article Patricia Harris Stäblein Patterns of Textual Shift And
    Review Article Patricia Harris Stäblein Patterns of Textual Shift and the Alien Hero: Ogier the Dane in the Europeanization of Old French Epic Fueled by numerous recent editions and studies of supposedly inferior Old French epics, and by increasing awareness o the value of Old French epic material in translation, the scholarly world is beginning to move away from an anchorage in the Oxford Roland, one shaped by the political design of nineteenth century France as much as by modern aesthetic preferences. The thrust of this effort is toward understanding how a multi-centered medieval heroic narrative framework expanded and shifted to bind several centuries of European culture. Rencesvals has generally been seen as the consummate form towards which all true Old French epics bend, just as all historical events focus on the supreme facta of the Incarnation and Crucifixion in medieval Christianity. The practice of Old French epic form, however, shows Rencesvals to be only one branch of a luxuriantly boughed tree. Some of that lush narrative braciation is traced in three recent volumes published with the patronage of the Danske Sprog-og- Literaturselskab: I. a facsimile of an incunabulum containing the prose romance Ogier le Dannoys; II. Ogier le Danois dans les littératures européennes by Knud Togeby; III. an edition, modern French translation, and analyses of Karlamagnús saga I, III, VII, and IX by Agnete Loth, Annette Patron-Godefroit, and Povl Skårup.1 First envisaged and partially carried out by Knud Togeby and Pierre Halleux, this trio of books is devoted to elucidating the literary and cultural dimensions of a figure long obscured by the nineteenth-century politicization of Charlemagne and Roland.
    [Show full text]
  • Orlando Innamorato [Orlando in Love]
    Matteo Maria Boiardo: Orlando Innamorato [Orlando in Love] (1495) Jo Ann Cavallo (Columbia University ) Genre: Epic, Poetry (any). Country: Italy. Written for a fifteenth-century Italian court society hooked on Arthurian romance but also attuned to current world events, Boiardo’s Orlando Innamorato [Orlando in Love] charts a complex imaginary course in which characters from diverse cultures encounter one another in ways that range from armed conflict to friendship and love. Although knights and damsels from around the globe are gripped by a number of passions, such as erotic desire, anger, ambition, compassion, and the desire for glory or revenge, their actions are not based on either religious or ethnic differences. The narrative thereby breaks out of the polarization of Christians and Saracens typical of Carolingian epic, presenting a broader cosmopolitan vision of humankind consonant with ancient, medieval, and fifteenth-century historical and geographical texts that were capturing the attention of the Ferrarese court. In the chansons de geste, or historical songs, that formed the basis of the medieval Carolingian epic genre, the hero Roland (later Italianized as Orlando) was celebrated as Charlemagne’s most stalwart paladin. In the twelfth-century The Song of Roland, a Basque ambush of Charlemagne’s retreating army at the mountain pass of Roncesvalles (Einhard) was refashioned into an Armageddon of sorts in which Roland and his companions who formed the rearguard were massacred by Saracens due to his stepfather Ganelon’s treachery. Subsequent elaborations of Frankish exploits in Spain prior to the fatal battle of Roncesvalles, most notably the Franco-Venetian Entrée d’Espagne (c.
    [Show full text]
  • Ludovico Ariosto's Orlando Furioso, the Thousand and One Nights, and the Hundred and One Nights
    Re/Writing the Orient: Ludovico Ariosto’s Orlando Furioso, the Thousand and One Nights, and the Hundred and One Nights Amanda Batarseh Canto XXIII marks a tragicomic turning point in the Orlando Furioso, as the tension sustaining the titular character’s epic stoicism and romantic chivalry falls away to reveal a maniacal anti- hero. This canto’s staging of Orlando’s madness is, in Albert Ascoli’s words, the “center of ‘otherness’ in the poem,”1 unsettling the binary of medieval and classical literary traditions that Ariosto draws on, and suggesting a novel genre of literary expression. In this article, I explore one of Ariosto’s avenues of disrupting ostensible polarities—his use of dynamic intertextual practices that write and rewrite the “Orient.” I contend that the Furioso both expresses and unsettles opposing impulses, something I will argue by reframing Ascoli’s elaboration of crisis (a “double focus” upon “concord and discord”) to encompass the geo-historical domain of Arabic cultural exchange in the medieval Mediterranean.2 Focusing on Ariosto’s resounding echoes of the Thousand and One Nights’ and the lesser-known Hundred and One Nights’ frame tales, I seek to illuminate the Furioso’s double focus upon movement toward and away from Muslim- Arab cultural affiliation, a push-pull that opens a space of difference where literary traditions can converge neither in reconciliation nor domination of one another. I examine in particular how Ariosto’s poem captures the ambiguous hybridity of the medieval Mediterranean: beginning with a cursory analysis of the Saracen figure as an unsettled construction of “self” and “other,” I then move to a parallel investigation of the poem’s dynamic intertextual practices.
    [Show full text]
  • The Song of Roland: a Mid-Twelfth Century Song of Propaganda For
    Hans E. Keller The Song of Roland: a Mid-Twelfth Century Song of Propaganda for the Capetian Kingdom For more than a century now scholars have been discussing the Oxford version of the Song of Roland. It is thus scarcely surprising that all of those who have dealt with the poem have been intrigued as to the authorship of such an incomparable masterpiece, nearly classical in its structure. But it seems even more important to understand its signifi- cance and to define the audience to whom the poet is speaking, as well as to discover the message he wants to convey. For this purpose, it is most vital to know when the Oxford version of the poem was composed. If that problem can be solved satisfactorily, we will know more about the man who signed the Oxford version, Turoldus, and, further, the dispute as to whether or not the different parts of the work constitute later inser- tions can be resolved without undue difficulty. This paper, therefore, will examine the factors which help determine the date of the version preserved in the Oxford manuscript, and we will also propose a possible new solution to the problem. For the dating of the Oxford Roland, it is not without interest that one finds all combatants using the spear in what Dorothy Leigh Sayers1 terms "the modern fashion (escrime nouvelle): the spear is held firmly under the right arm, with the point directed at the adversary's breast, the aim being either to pierce him through, or to hurl him from the saddle by weight and speed as the horses rush together." She further points out that
    [Show full text]
  • Excerpt from the Song of Roland D
    The Story of the Middle Ages Excerpt from The Song of Roland d 1 Carlon the King, our Emperor Charlemayn, Full seven years long has been abroad in Spain, He’s won the highlands as far as to the main; No castle more can stand before his face, City nor wall is left for him to break, Save Saragossa in its high mountain place; Marsilion holds it, the king who hates God’s name, Mahound he serves, and to Apollyon prays: He’ll not escape the ruin that awaits. AOI 2 Marsilion sat in Saragossa town, He sought an orchard where shade was to be found, On a bright dais of marble he lies down; By twenty thousand his vassals stand around. He calls before him all his dukes and his counts: “Listen, my lords, what affliction is ours! The Emperor Charles that wears fair France’s crown Invades our country our fortunes to confound. I have no host but before him gives ground, I find no force his forces for to flout; Wise men of wit, give counsel to me now, Save me from death and loss of my renown.” There’s ne’er a paynim utters a single sound, Till Blancandrin, Valfonda’s lord, speaks out. 3 Blancandrin’s wise amid the paynim horde;[24-46] He was for valour a mighty knight withal, And fit of wit for to counsel his lord. He tells the king; “Be you afeared for naught, But send to Charles in his pride and his wrath Your faithful service and your friendship henceforth.
    [Show full text]
  • Henry II and Ganelon
    Syracuse Scholar (1979-1991) Volume 4 Issue 1 Syracuse Scholar Spring 1983 Article 4 1983 Henry II and Ganelon Paul R. Hyams Follow this and additional works at: https://surface.syr.edu/suscholar Part of the Medieval History Commons Recommended Citation Hyams, Paul R. (1983) "Henry II and Ganelon," Syracuse Scholar (1979-1991): Vol. 4 : Iss. 1 , Article 4. Available at: https://surface.syr.edu/suscholar/vol4/iss1/4 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Syracuse Scholar (1979-1991) by an authorized editor of SURFACE. For more information, please contact [email protected]. Hyams: Henry II and Ganelon Henry II and Ganelon Paul R. Hyams nee upon a time, there was a king of Nantes, called Equitan, 0 a good and courteous ruler, filled with a proper enthusiasm for princely things: Equitan had a seneschal, a good knight, brave and loyal, who took care ofhis landfor him, governed and administered it. Unless the king was making war, he would never, no matter what the emergency, neglect his hunting, his hawking or other amusements. 1 [lines 21-28] In time Equitan fell in love with his seneschal's wife and seduced her, while the ''seneschal sat in court, trying pleas and accusations.'' Now these two illicit lovers came to a hot and sticky end. The wronged Paul R. Hyams was educated at Ox­ husband killed the couple by upending them in a tub of boiling water ford University and is now a fellow of Pembroke College, Oxford.
    [Show full text]
  • Elise Goodman-Tuchmayer Commentary On: Vivorum Doctorum
    Elise Goodman-Tuchmayer Commentary on: Vivorum Doctorum: Ludovicus Ariostus (Lives of Illustrious Men: Ludovico Ariosto) Hippolyto Atestino: Ippolito d’Este (1479-1520). Ippolito was a member of the Roman Catholic Church from a very early age, becoming the head of an abbacy at the age of six. He proceeded through the ranks of the church to become a cardinal and archbishop of Esztergom, Hungary and Milan. Due to the influence of his sister-in-law, the daughter of Pope Alexander VI, he gained the title of archpresbyter of St. Peter’s. He later became the Bishop of Ferrara, his hometown. He was the patron of the arts, including Ludovico Ariosto until they had a falling-off in 1518 when Ariosto declined to follow him to Hungary. Pannoniam: Pannonia. Pannonia was a province of the Ancient Roman Empire containing the western half of modern Hungary, parts of eastern Austria, and various Balkan countries. Ippolito became an archbishop in Hungary, referred to in Latin as Pannonia. Alfonso principe: Alfonso d’Este (1476-1534). Alfonso d’Este, brother to Ippolito d’Este became the Duke of Ferrara in 1505. He fought in various wars in Italian between the Italian city-states and Papal States. His second wife was Lucrezia Borgia, the daughter of Pope Alexander VI. He was also a patron of the arts and became Ariosto’s patron after he left the service of Ippolito. Suppositi. “The Pretenders” is a comedy by Ariosto composed in 1509. It was composed in prose but a later verse edition was also produced. The plot is one of switched identities and the ensuing confusion.
    [Show full text]