That was brilliant, Tom.I could almost see it happening, the way you laid it out.
I'd also add: please go on and expand it a little.
Thank you very much! Perhaps I will one day.
No mention of Horatio?
Horatio essentially exists in the play to avoid the Undead Narrator paradox and isn't responsible for any of the major actions in the narrative. That said, I kind of feel bad for leaving him out. One major challenge was that "Horatio" is impossibly to Danify, although I could have just left it as "Horatius".
Absolutely brilliant work. I hope I remember to nominate this for a Turtledove next time around, for it's exactly the kind of scenario TLIADs are made for.
Oddly, it reminds me of Meadow's World War II vignette about the Plagues of Egypt in that it's very much playing with the traditional narrative forms of alternate history. Just as how in that the reader was left unsure about the presence of the supernatural, in this timeline does something similar by repositioning the work of fiction in the timeline.
I'm not entirely sure whether the play Hamlet was written in this timeline as well, but if it was I'd love to see some of this timeline's scholarship on the play.
Thank you! Well, the Tale of Amleth definitely does, and the historiography of the play (alluded to in the "depiction of a dramatisation" in the Duel in Elsinore page) would be an interesting trajectory to study indeed.
Wonderful as always, and a beautiful way of bringing my favourite Shakespearean work to life. Like you said, it fits eerily into the historical record.
Now just to trace the legendary roots of the Rosenkrantz and Gyldenstjerne families to 10th-century Denmark...
Thanks, guys! Well, R & G seem to have followed in the great tradition of their lines going extinct in the play, too.I swear I once read a mashup of Romeo & Juliet but with these two instead called R&G.
Good work as ever Tom Colton
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One last one, to sum up the drama:
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