The Days of Chivalry; Or, The Legend of Croquemitaine. Quatrelles
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Quatrelles
The Days of Chivalry; Or, The Legend of Croquemitaine
Published by Good Press, 2019
EAN 4064066218089
Table of Contents
BOOK THE FIRST — THE TOURNEY AT FRONSAC — A.D. 769.
CHAPTER II. WHICH THE AUTHOR CONGRATULATES HIMSELF ON NOT HAVING TO READ.
CHAPTER III. CHARLEMAGNE’S CORTEGE.
CHAPTER V. ANGOULAFFRE OF THE BRAZEN TEETH, GOVERNOR OF JERUSALEM.
CHAPTER VI. MURAD’S THREE WHIMS.
CHAPTER VII. A FORMIDABLE FRIEND.
CHAPTER VIII. WHEREIN THE GOVERNOR OF JERUSALEM BEGINS TO SHOW HIS TEETH.
CHAPTER IX. WHEREIN THE EAGLE STOOPS, THE RAVEN CROAKS, THE WOLF HOWLS, AND THE LION ROARS.
CHAPTER X. ANGOULAFFRE THE MERCIFUL!
CHAPTER XI. HOW ANGOULAFFRE HAD AN ATTACK OF TOOTHACHE, WHICH WAS THE DEATH OF HIM.
CHAPTER XII. THE LAST WILL AND TESTAMENT OF ANGOULAFFRE.
CHAPTER XIII. THE TWO ROGUES RELEASED.
CHAPTER XIV. THE CORSELET OF CAMBRIC.
CHAPTER XV. MONTJOIE! MONTJOIE! ST. DENIS!
END OF THE FIRST BOOK,
BOOK THE SECOND — THE PROPHET’S PARADISE.
CHAPTER I. HOW CROQUEMITAINE WAS CHRISTENED.
CHAPTER II. THE KING OF BEAUTY,
CHAPTER III. HOW THE EMPEROR CHARLEMAGNE SAW A VISION.
CHAPTER IV. HOW KING MARSILLUS SAW A VISION.
CHAPTER VI. CHARLEMAGNE IN SPAIN.
CHAPTER VIII. HOW ROLAND UNDERTOOK TO CARRY SARAGOSSA BY STORM.
CHAPTER IX. A TRIP TO MAHOMET’S PARADISE.
CHAPTER X. WHEN ROLAND REMEMBERS HIS LATIN, AND THE DEVIL FORGETS HIS.
BOOK THE THIRD — THE FORTRESS OF FEAR.
CHAPTER I. THE FOUR FOES OF CROQUEMITAINE.
CHAPTER II. THE SIGN OF THE CROCODILE.
CHAPTER III. HOW ALLEGRIGNAC, MARAGOUGNIA, PORC-EN-TRUIE, AND MONT-ROGNON OPENED THE CAMPAIGN.
CHAPTER IV. ALI PÉPÉ’S LITTLE HARVEST.
CHAPTER V. HOW ALI PÉPÉ, HAVING DONE ALL THAT COULD BE EXPECTED OF AN HONEST MAN, WAS HANGED.
CHAPTER VI. SHOULDER TO SHOULDER, FACE TO FACE!
CHAPTER VII. MITAINE OPENS THE CAMPAIGN.
CHAPTER VIII. THROUGH THE FORESTS.
CHAPTER IX. A NIGHT IN THE FORTRESS OF FEAR.
END OF THE THIRD BOOK
EPILOGUE — RONCESVALLES — A. D. 778.
THE END.
PREFACE.
IN translating L’Epine’s charming legend, I have felt it my duty to adhere as closely as possible to the text. “Adaptations” and “versions,” whether presented on the stage or set down in black and white, seem to claim for those, who give them in English, a greater share of the glory than I feel myself to deserve, in the slightest degree, in this instance. The delicacy with which the moral is interwoven