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Few generals proved themselves better than Scanderbeg. Leader of a small army of Eagles, at the height of its power, he single-handedly could be said to have saved Europe from the jaws of the Ottoman Dragon, when a heartless Mehmed II, the Conqueror, had already captured Constantinople and wanted to carry Rome to achieve universal victory over Christianity. He would have achieved his purpose had not Scanderbeg, an Albanian Christian General, not put an obstacle to his march in Albania, for about a quarter of a century. After Scanderbeg's death, the Albanians continued their resistance for another decade. Thus, Mehmed II was delayed long enough to thwart his plans. He managed only to start his Italian invasion, and when he died his mission died with him. World-famous individuals, painters, like Bellini and Durer, composers like Vivaldi and Franc ur, philosophers like Voltaire, poets and writers like Longfellow, Byron, and Holberg, generals like Wolfe, and popes like Paul II, have all been generous enough to dedicate a part of their work to this great general. Yet, surprisingly many historians have maintained silence about Scanderbeg's fame as a general. This ingratitude brings pause to any with the knowledge regarding such a great general, one who met such success and performed so brilliantly as to be recognized among the greatest generals of all time. He was the principal deterrent in stopping the Ottoman expansion westward and in that, he was the true defender of Christendom from the danger of becoming totally Ottomanized. If, for such great deeds, he does not deserve to be mentioned in world history, who does?
The struggle of the Albanian people led by George Castriota Scanderbeg to defend Europe against the assault of the Ottoman Turks has been much celebrated. For a quarter of a century, from 1443 until his death in 1468, he used his military prowess to thwart the efforts of the most powerful Empire in the world at the time to subdue his tiny country. One of the true heroes of the Middle Ages in Europe, unfortunately the remarkable story of Scanderbeg remains little known outside of Albania. George Castriota defended Europe for a quarter of a century and, it can rightly be said, helped to save Western civilization from being overrun by Islam and suffering the same fate as the once mighty Byzantine Empire. This book examines the genius and remarkable achievements of Scanderbeg who helped shape the identity of the Albanian people and reveals the important contribution this small but proud nation has made to European civilization. Although the challenges have changed over the centuries, the clash of civilizations, which the history of the Albanian struggle to fend off the Islamic onslaught illustrates, continues today. As a result, it is all the more worth noting the contribution that this tiny land, led by Scanderbeg, made in the fight to preserve Western culture and civilization. Equally important is the example set by the Albanian people in ultimately harmonizing these two great civilizations. A.K. Brackob has a Ph.D. in history from the University of Illinois at Urbana-Champaign. He is a specialist on the history of southeastern Europe during the Middle Ages and author of Mircea the Old: Father of Wallachia, Grandfather of Dracula.
Explores the role of the nobility and analogous traditional elites in contemporary society.
The first historical heroic epic authored by a woman, Scanderbeide recounts the exploits of fifteenth-century Albanian warrior-prince George Scanderbeg and his war of resistance against the Ottoman sultanate. Filled with scenes of intense and suspenseful battles contrasted with romantic episodes, Scanderbeide combines the action and fantasy characteristic of the genre with analysis of its characters’ motivations. In selecting a military campaign as her material and epic poetry as her medium, Margherita Sarrocchi (1560?–1617) not only engages in the masculine subjects of political conflict and warfare but also tackles a genre that was, until that point, the sole purview of men. First published posthumously in 1623, Scanderbeide reemerges here in an adroit English prose translation that maintains the suspense of the original text and gives ample context to its rich cultural implications.