1. Its Final Book Contains a Description of the Afterlife Known As The
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THE HISTORY of ORLANDO FURIOSO
ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto. -
Gothic Riffs Anon., the Secret Tribunal
Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. Printed by Thomson-Shore, inc. The paper used in this publication meets the minimum requirements of the american national Standard for information Sciences—Permanence of Paper for Printed Library Materials. ANSi Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte. -
Orlando Furioso: Pt. 2 Free Download
ORLANDO FURIOSO: PT. 2 FREE DOWNLOAD Ludovico Ariosto,Barbara Reynolds | 800 pages | 08 Dec 1977 | Penguin Books Ltd | 9780140443103 | English | London, United Kingdom Follow the author Save on Fiction Books Trending price is based on prices over last 90 days. Matter of FranceMatter of Britain. Ludovico Orlando Furioso: Pt. 2. Alex Ilushik rated it it was ok Mar 07, To render it as something else is to lose its structure, its purpose and its very nature. Rating Average: 4. Orlando is the Christian knight known in French and subsequently English as Roland. Translated Into English Verse from the Italian. Vivaldi crater Vivaldi Glacier. Error rating book. Mar 18, Jamie rated Orlando Furioso: Pt. 2 really liked it Shelves: because-lentfanfic-positivefantasticallife-and- deathhistorical-contextmyths-and-folklore Orlando Furioso: Pt. 2, poetry-and-artOrlando Furioso: Pt. 2viva-espanaviva-italia. Hearts and Armour Paperback Magazines. Essentially he was a writer; his lifetime's service as a courtier was a burden imposed on him by economic difficulties. A comparison the original text of Book 1, Canto 1 with various English translations is given in the following table. Published by Penguin Classics. Great Britain's Great War. In a delightful garden in which two springs are seen, Medoro escapes from a shipwreck into the arms of his beloved Angelica. NOT SO!! They come off as actual characters now in a way they didn't before. Sort by title original date published date published avg rating num ratings format. Tasso tried to combine Ariosto's freedom of invention with a more unified plot structure. Customer Orlando Furioso: Pt. -
Dragon Magazine #127
CONTENTS Magazine Issue #127 Vol. XII, No. 6 SPECIAL ATTRACTIONS November 1987 15 Cal1 to Arms: The fighters world, from berserkers to battlefields. 16 Lords & Legends Kyle Gray Four famous warriors from European myth and legend. 22 No Quarter! Arn Ashleigh Parker Publisher Mike Cook Creative combat for fighters with style. 26 Bazaar of the Bizarre The readers Editor A magical treasury of bows and bolts for arcane archers. Roger E. Moore 32 Two Hands Are Better Than One Donald D. Miller Assistant editor Fiction editor When a two-handed sword becomes a three-handed sword, and other handy facts. Robin Jenkins Patrick L. Price 36 In Defense of the Shield Tim Merrett Editorial assistants A good shield might be the best friend youll ever have. Eileen Lucas Barbara G. Young 38 Fighting for Keeps Roy G. Schelper Debbie Poutsch Georgia Moore Your new castle is full of orcs? Its BATTLESYSTEM supplement time! Art director 46 In the Heat of the Fight Sean Holland Roger Raupp Berserkers, ambushes, fanatics, tribal champions all in a days work. Production Staff 48 A Menagerie of Martial Arts Len Carpenter Marilyn Favaro Gloria Habriga Twenty all-new martial-arts styles for Oriental Adventures. Colleen OMalley OTHER FEATURES Subscriptions Advertising 8 Role-playing Reviews Ken Rolston Pat Schulz Mary Parkinson Game designers rush in where deities fear to tread. Creative editors 56 The Ecology of the Yeti Thomas Kiefer Ed Greenwood Jeff Grubb A particularly chilling encounter on the high glaciers. 62 Arcane Lore Arthur Collins Selections from a lost tome on lifes little illusions. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Charlemagnes Paladins
Charle ne’s 1 Paladins Campaign Sourcebook I by Ken Rolston Chapter 2: A Survey of Carolingian History . , 4 and His Paladins . Chapter 3: Character Design .............. 11 Chapter 4: The Setting .................... 25 Chapter 5 Equipment and Treasure ........ 52 Appendix: Predesigne Credits Editing: Mike Breault Additional Editing: Don ”the Barbarian” Watry Illustrations: Roger Raupp Typography: Gaye OKeefe Cartography: John Knecht Playtesting: Paul Harmaty, Anna Harmaty, Henry Monteferrante, Dana Swain, Richard Garner, Brian Cummings ISBN 1-560763930 Special Thanks Alan Kellogg CHAPTER I One of the greatest challenges facing a DM is The Fantasy Campaign to create a detailed, dramatic, and plausible campaign setting for role-playing. Adapting a This type of campaign mdds a weak-magic historical setting like the Carolingian period of- AD&D fantasy campaign with various historical fers some spectacular advantages for meeting and legendary elements associated with Charle- this challenge. The historical and legendary per- magne and his times. Except for some restric- sonalities and events of Charlemagne’s time pro- tions on player characters md magical items, vide a wealth of epic themes for a role-playing players are expected to usg their PCs pretty campaign. much like they would in any pther AD&D game We suggest you choose one of the following setting. three strategies to develop an AD&D@role-play- The big advantage of this is that the players ing campaign set in the time of Charlemagne. As get all the abilities they are accustomed to, while you read this book and consider how to use it in the DM has access to abunda it campaign setting your campaign, keep the following three options detail to adapt for fantasy scenarios (many his- in mind. -
Ludovico Ariosto: Orlando Furioso
Ludovico Ariosto: Orlando Furioso (1532) Jo Ann Cavallo (Columbia University ) Genre: Poetry (any). Country: Italy. One of the best known works in Italian literature, the Orlando Furioso, is a continuation of the romance epic Orlando Innamorato, which was left unfinished at the ninth canto of Book Three when Boiardo died in 1494. Like Boiardo, Ariosto weaves together Carolingian and Arthurian themes into an intricately interlaced plot, creatively imitating a vast range of works—from classical epic poetry and history to medieval lyric and novella traditions—in order to surprise, delight, and signify. As he continues to mix imaginary sites and the geographical reality of a rapidly expanding globe, Ariosto not only meticulously completes the various threads of Boiardo’s poem, but also adds original episodes following his own creative genius and Weltanschauung. It is generally thought that Ariosto began writing his “gionta” (sequel) in 1505 after the publication of a mediocre fourth book by Niccolò degli Agostini. The first edition of the poem in 40 canti was completed in 1515 and appeared in print in 1516. Ariosto continued to work on the poem throughout his lifetime, producing a second edition in 1521 that contained relatively minor revisions and a definitive third edition in 1532 that included four additional episodes inserted within the poem, bringing the number of canti from 40 to 46. Ariosto had also worked on a continuation, in which Charlemagne’s realm was subsequently threatened both internally and externally by powerful behind-the-scenes forces fomenting violence, but this unfinished sequel, commonly referred to simply as the Cinque canti [Five canti], was never published during Ariosto’s lifetime and only appeared in print in 1545 as an “addition” to the Furioso thanks to Ariosto’s son Virginio (see Quint, introduction, Cinque canti). -
Afro-Future Females
Afro-Future Females Barr_final.indb 1 4/15/2008 2:52:25 AM Barr_final.indb 2 4/15/2008 2:52:25 AM Afro-Future Females Black Writers Chart Science Fiction’s Newest New-Wave Trajectory Edited by MARLEEN S. BARR T H E O H I O S TAT E U N I V E R S I T Y P R E ss / Columbus Barr_final.indb 3 4/15/2008 2:52:25 AM Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Afro-future females : black writers chart science fiction’s newest new-wave trajectory / edited by Marleen S. Barr. p. cm. Includes bibliographical references. ISBN-13: 978–0–8142–1078–9 (cloth : alk. paper) 1. Science fiction, American. 2. Science fiction, American—History and criticism. 3. American fiction—African American authors—History and criticism. 4. American fic- tion—Women authors—History and criticism. 5. Women and literature—United States— History—20th century. 6. Women and literature—United States—History—21st century. I. Barr, Marleen S. PS648.S3A69 2008 813.’0876209928708996073—dc22 2007050083 This book is available in the following editions: Cloth (ISBN 978–0–8142–1078–9) CD-ROM (ISBN 978–0–8142–9156–6) Cover design by Janna Thompson Chordas. Text design by Jennifer Shoffey Forsythe. Type set in Adobe Minion. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Barr_final.indb 4 4/15/2008 2:52:25 AM Contents PRefAce “All At One Point” Conveys the Point, Period: Or, Black Science Fiction Is Bursting Out All Over ix IntRODUctiOns: “DARK MAtteR” MAtteRS l Imaginative Encounters Hortense J. -
SILENCE and the FEMALE VOICE in the ORLANDO FURIOSO by Monica
TOWSON UNIVERSITY OFFICE OF GRADUATE STUDIES IN THEIR OWN VOICES: SILENCE AND THE FEMALE VOICE IN THE ORLANDO FURIOSO by Monica L. Lynch A thesis Presented to the faculty of Towson University in partial fulfillment of the requirements for the degree Master of Arts in Humanities Towson University Towson, Maryland 21252 May 2016 Acknowledgements When I first met Ariosto, I knew immediately that I had found a text that would occupy me for a long time to come. I am deeply indebted to Dr. John C. McLucas for introducing me to him, for his guidance in organizing and focusing my argument on this vast topic, and for his encouragement to keep writing. His love of the text brought the 500-year-old poem to life for me. I must also thank Dr. Marlana Portolano without whose guidance through the thesis process I would have been lost. My gratitude must also go to Dr. H. George Hahn who many years ago encouraged me to begin work on my Master’s degree and who has graciously agreed to see me through to the end as a committee member. I am also thankful for the tutelage and guidance of committee members Dr. Christopher M. Cain and Dr. Rita Costa-Gomes whose expectations of excellence encouraged me to do my best work. iii Abstract In Their Own Voices: Silence and the Female Voice in the Orlando furioso Monica L. Lynch For women, the rediscovery of classical texts meant that the ideals of silence and chastity became more closely linked in Early Modern minds than they had been before. -
The Song of Roland Free
FREE THE SONG OF ROLAND PDF Glyn S. Burgess | 224 pages | 05 Jun 1990 | Penguin Books Ltd | 9780140445329 | English | London, United Kingdom SONG OF ROLAND Summary: One Of The Most Well Known French Epics The Song of Roland is the oldest surviving major work of French literature and exists in various manuscript versions, which testify to its enormous and enduring popularity in the The Song of Roland to 16th centuries. 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 final text has about The Song of Roland, lines of poetry. The epic poem is the first [1] and, along with The Poem of the Cidone of the most outstanding examples of the chanson de gestea literary form that flourished between the 11th and 16th centuries and celebrated legendary deeds. Although set in the Carolingian eraThe Song of Roland was written much later. Some scholars estimate that the poem was written, possibly by a poet named Turold Turoldus in the manuscript itselfbetween approximately andand The Song of Roland of the alterations were performed by about Some favour an earlier dating, because it allows one to say that the narrative was inspired by the Castilian campaigns of the s, and that the poem went on to The Song of Roland a major influence in the First Crusade. Those who prefer a later dating do so based upon what they interpret as brief references made to events of the First Crusade. In the text, the term d'oltre mer or l'oltremarin comes up three times in reference to named Muslims who came from oltre mer to fight in Spain and France. -
Stanley Marcus
Stanley Marcus: A Preliminary Inventory of His Sicilian Marionettes Collection at the Harry Ransom Center Descriptive Summary Creator: Marcus, Stanley, 1905-2002 Title: Stanley Marcus Sicilian Marionettes Collection Dates: circa 1850-circa 1960 Extent: 60 marionettes, 1 rolled item Abstract: The Stanley Marcus Sicilian Marionettes, circa 1850-circa 1960, consists of sixty marionettes and a backdrop curtain. The marionettes form a troupe of characters from the Orlando Furioso story cycle. Call Number: Performing Arts Collection PA-00056 Language: English Access: Open for research. An advance appointment is required to view the puppets in the Reading Room. Administrative Information Acquisition: Gift and purchase, 1965, 1992 Processed by: Carolyn Roark and Helen Adair, 2001, 2005, 2010 Repository: The University of Texas at Austin, Harry Ransom Center Marcus, Stanley, 1905-2002 Performing Arts Collection PA-00056 Sources: Wells, Maria Xenia Zevelechi. "The Stanley Marcus Sicilian Marionettes and Related Books." The Library Chronicle of the University of Texas at Austin 23, nos. 2/3 (1993), 35-42. Wells, Maria Xenia Zevelechi. "Paladins of Sicily: The Pupi of Stanley Marcus’ Collection." FMR 15, no. 77 (1995), 61-80. Scope and Contents The entrepreneur Stanley Marcus (1905-2002) was president of the Neiman Marcus retail department store chain from 1950 to 1975. He was also an avid art collector and patron of the arts in the Dallas area. The Stanley Marcus Sicilian Marionettes, circa 1850-circa 1960, consists of sixty marionettes and a backdrop curtain. The marionettes, which were purchased by Marcus in 1960, form a troupe of characters from the Orlando Furioso story cycle. They are arranged into three groups: Christians, pagans, and animals. -
Orlando, Donald, and Dylan Dog Two Comic Book Adaptations of Ariosto’S Orlando Furioso
Orlando, DOnald, and Dylan Dog Two comic book adaptations of Ariosto’s Orlando furioso Marion Bracq Université Charles-de-Gaulle, Lille, France The epic poem Orlando furioso (1516-1532) by Ludovico Ariosto is considered a master- piece of Italian literature. This work has been, and still is, a great source of inspiration for various arts, especially in pop culture. My Leiden Arts in Society Blog post, “A tribute to Ludovico Ariosto: Orlando furioso’s legacy in pop culture”, highlighted several examples – including fantasy novels, comic books, and movie adaptations – aiming to help a new audience discover (or re-discover) the epic world created by Ludovico Ariosto. This art- icle intends to continue this endeavour by exploring Ariosto’s legacy in pop culture with a selection of two comic books: Paperino furioso by Luciano Bottaro (1966) and Il re delle mosche by Giovanni di Gregorio and Luigi Piccatto (2009). I study how they rewrite some episodes of Orlando furioso, especially cantos XXIII and XXXIV which narrate, respectively, the madness and recovery of the poem’s protagonist, Orlando. ORLANDO FURIOSO THROUGH THE CENTURIES Published for the first time in 1516, and in a revised version in 1532, Orlando furioso is an Italian epic poem written by Ludovico Ariosto.1 It is a continuation of Matteo Maria Boiardo’s Orlando innamorato (1483-1495),2 commissioned by the powerful Este family of Ferrara with the aim of affirming the prowess of their legendary ancestors, the Christian warrior Bradamante and the Saracen knight Ruggiero, and glorifying their family name.3 Composed of 38,736 verses, Ariosto’s poem is divided into 46 cantos and has a complicated 1 We will refer here to the following edition: Ludovico Ariosto,Orlando furioso, 2 vols, ed.