Harold : the Last of the Saxon Kings — Complete
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Эдвард Бульвер-Литтон. Harold : the Last of the Saxon Kings — Complete
DEDICATORY EPISTLE
PREFACE TO THE THIRD EDITION
HAROLD, THE LAST OF THE SAXON KINGS
BOOK I. THE NORMAN VISITOR, THE SAXON KING, AND THE DANISH PROPHETESS
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
BOOK II. LANFRANC THE SCHOLAR
CHAPTER I
CHAPTER II
CHAPTER III
BOOK III. THE HOUSE OF GODWIN
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
BOOK IV. THE HEATHEN ALTAR AND THE SAXON CHURCH
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
BOOK V. DEATH AND LOVE
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
BOOK VI. AMBITION
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
BOOK VII. THE WELCH KING
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
BOOK VIII. FATE
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
BOOK IX. THE BONES OF THE DEAD
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
BOOK X. THE SACRIFICE ON THE ALTAR
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
BOOK XI. THE NORMAN SCHEMER, AND THE NORWEGIAN SEA-KING
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
BOOK XII. THE BATTLE OF HASTINGS
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
NOTES
NOTE (A)
NOTE (B)
NOTE (C)
NOTE (D)
NOTE (E)
NOTE (F)
NOTE (G)
NOTE (H)
NOTE (I)
NOTE (K)
NOTE (L)
NOTE (M)
NOTE (N)
NOTE (O)
NOTE (P)
NOTE (Q)
NOTE (R)
FOOTNOTES
Отрывок из книги
The author of an able and learned article on MABILLON 6 in the “Edinburgh Review,” has accurately described my aim in this work; although, with that generous courtesy which characterises the true scholar, in referring to the labours of a contemporary, he has overrated my success. It was indeed my aim “to solve the problem how to produce the greatest amount of dramatic effect at the least expense of historical truth”—I borrow the words of the Reviewer, since none other could so tersely express my design, or so clearly account for the leading characteristics in its conduct and completion.
There are two ways of employing the materials of History in the service of Romance: the one consists in lending to ideal personages, and to an imaginary fable, the additional interest to be derived from historical groupings: the other, in extracting the main interest of romantic narrative from History itself. Those who adopt the former mode are at liberty to exclude all that does not contribute to theatrical effect or picturesque composition; their fidelity to the period they select is towards the manners and costume, not towards the precise order of events, the moral causes from which the events proceeded, and the physical agencies by which they were influenced and controlled. The plan thus adopted is unquestionably the more popular and attractive, and, being favoured by the most illustrious writers of historical romance, there is presumptive reason for supposing it to be also that which is the more agreeable to the art of fiction.
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“Is not England part of Normandy already?”
And the Lombard answered:
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