DOCSLIB.ORG

M I M M O C U T I C C H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
M I M M O C U T I C C H P r e s e n t O P E R A D E I P U P I I t a l i a n P u p p e t M a s t e r M I M M O C U T I C C H I O T h e a t e r C o m p a n y A s s o c i a z i o n e F i g l i d ’A r t e C u t i c c h i o M i n n e a p o l i s Wednesday, Oct. 24 and Thursday, Oct. 25, 2018, 10:00 am I Saturday, Oct. 27, 2018, 7:30 pm Artists: Mimmo Cuticchio (master puppeteer) I Giacomo Cuticchio (pupppeteer) I Tania Giordano (stage assistant) Musicians for the evening performance: Carlotta Dradi (cello) I Ezelda Haspopoulos (violin) Derick Rehurek (viola) I Andrea Sieber (violin) Musical scores: Giacomo Cuticchio Curator: Francesca Bortoletti (UMN) I Event organizers: Tiziana Cervesato (ICC) I Anna Olivero (ICC) THE GREAT DUEL BETWEEN ORLANDO AND RINALDO FOR THE BEAUTIFUL ANGELICA’S SAKE SYNOPSIS Magical adventures, daring escapes and thrilling battles between knights and animal creatures are part of the action- packed story, inspired by medieval tales and Renaissance poems. Paris is under siege and many of King Charlemagne's knights have left in pursuit of Angelica, the beautiful daughter of a rival king. The General Captain Orlando, the bravest of all, has deserted the Court too. Consequently, Charlemagne appoints his nephew Rinaldo as the new commander of the French army. Eventually Rinaldo neglects his duty and burning with passion for Angelica, challenges Orlando to a duel. The two noblemen would certainly kill each other were it not for a wizard’s intervention! SCENARIO Backstory Charlemagne and his paladins are attending a festive gathering in Paris. Angelica, the Indian princess of Katai, is also in attendance with her brother Argalia. Angelica expresses her desire to marry the strongest of all the paladins. Argalia will assess the value of the paladins by challenging the pretenders into a duel. Charlemagne thinks that a draw is the best way to proceed. One by one, the paladins arrive to the Pietron of Merlino where the contest takes place. Astolfo is the first paladin, but he is defeated. Ferraù is the second one. He is also defeated. [No one can defeat the Indian prince, because he has an enchanted spear]. Ferraù doesn’t want accept his defeat and knocks Argalia out. Angelica escapes. Scene 1: Paris’ Palace Charlemagne is desperate. Many paladins left the court in search of Angelica. Even Orlando has abandoned his duties to look for the Indian princess. The sound of the horn announces the siege of Rodomonte, a powerful Saracen officer. Charlemagne entrusts the command of his army to paladin Rinaldo. The attacks ensue. Scene 2: Pagan battlefield Battles take place. Rodomonte retreats from Rinaldo's forces. Rinaldo begins a pursuit of Rodomonte. Scene 3: Countryside with watering hole Orlando is looking for Angelica on his horse Vegliandino. While reaching a watering hole, Orlando is attacked by a monstrous snake. He kills the snake. In the meantime, he hears the voice of a woman asking for help coming from the nearby woods. Orlando runs towards the woods. Scene 4: In the wood A giant has kidnapped Angelica and wants to take her to the Thessaloniki fair and sell her as a slave. Orlando frees her. Meanwhile Prince Rinaldo arrives. He is en route to Paris as he cannot find the retreating Rodomonte. As soon as Rinaldo sees Angelica, he falls in love again. Rinaldo argues with his cousin Orlando until they start a duel. Scene 5: Cave of the wizard Malagigi The wizard Malagigi hears complaints from the mouth of hell. The wizard calls the demon Nacalone who informs him of the duel occurring between the two strongest paladins of France. Malagigi decides to go to Paris to inform the emperor Charlemagne of the duel. Scene 6: Paris’s walls Charlemagne stops the duel between Orlando and Rinaldo. He then gives to the Duke Namo the custody of the princess Angelica. Namo is to return Angelica to Paris. Charlemagne orders Orlando and Rinaldo to go fight the Saracens. It is decided that the best warrior on the battlefield will receive the hand of Angelica. Battles follow until nighttime arrives. The two armies back down to continue on the next day. Il GRAN DUELLO TRA ORLANDO E RINALDO PER AMORE DELLA BELLA ANGELICA SINOPSI Magiche avventure, audaci fughe ed emozionanti battaglie tra cavalieri e creature animali fanno parte della trama ricca di azione, ispirata da racconti medievali e poesie rinascimentali. Parigi è sotto assedio e molti dei cavalieri del re Carlo Magno sono partiti alla ricerca di Angelica, la bella figlia di un re rivale. Persino il primo paladino Orlando, il più coraggioso di tutti, ha abbandonato la corte. Carlo Magno allora nomina suo nipote Rinaldo come nuovo comandante dell'esercito francese. Ma alla fine anche Rinaldo trascura il suo dovere e innamoratosi perdutamente egli stesso per Angelica, sfida Orlando a duello. I due nobili si ucciderebbero sicuramente se non fosse per l'intervento di un mago! CANOVACCIO Antefatto Durante una festa a Parigi, Carlo Magno è riunito con tutti i suoi paladini. Si presenta Angelica, principessa del Katai, accompagnata dal fratello Argalia. Angelica manifesta il desiderio di sposare il più forte dei paladini. Ad assicurarsi del valore dei paladini sarà il fratello che sfiderà i pretendenti ad un colpo di lancia. Carlo Magno pensa ad un sorteggio. Mano a mano i paladini giungeranno al Pietron di Merlino dove si terrà il torneo. Astolfo è il primo paladino sorteggiato ma viene battuto. Segue Ferraù. Anch’egli viene disarcionato [In realtà nessuno può vincere il principe indiano perché possiede una lancia incantata]. Ferraù non vuole tuttavia stare ai patti e mette fuori combattimento Argalia. Angelica fugge. Scena 1: Reggia di Parigi Carlo Magno è disperato. Molti paladini si sono allontanati dalla corte per andare alla ricerca di Angelica. Finanche Orlando ha abbandonato i suoi doveri per andare a cercare la principessa indiana. Il suono del corno annuncia l’assedio di Rodomonte, potente saraceno. Carlo Magno affida il comando del suo esercito a Rinaldo. Tutti vanno in battaglia. Scena 2: Campo pagano Battaglie, infine Rinaldo mette in fuga Rodomonte e lo insegue. Scena3: Campagna con abbeveratoio Orlando in groppa a Vegliandino cerca Angelica. Giunto vicino ad un abbeveratoio viene assalito da un mostruoso serpente. Lo uccide. Nel frattempo sente la voce di una donna che chiede aiuto provenire dal bosco. Il paladino corre verso il bosco. Scena 4: Bosco Un gigante ha rapito Angelica e la vuole portare alla fiera del Salonicco per venderla come schiava. Orlando la libera. Nel frattempo arriva il principe Rinaldo che non avendo più trovato Rodomonte sta per tornare a Parigi. Non appena rivede Angelica, gli torna il desiderio d’amore, litiga con il cugino Orlando fino ad arrivare al duello. Scena 5: Grotta del mago Malagigi Il mago Malagigi sente dei lamenti provenire dalla bocca dell’inferno. Il mago chiama il demonio Nacalone che lo informa del duello tra i due primi valorosi paladini di Francia. Malagigi decide di andare a Parigi ad informare l’imperatore Carlo Magno. Scena 6: Mura di Parigi Carlo Magno ferma il duello fra Orlando e Rinaldo. Poi affida la principessa Angelica in custodia al Duca Namo che la riporta a Parigi. Carlo Magno ordina ad Orlando e Rinaldo di andare a combattere contro i saraceni. Chi dei due paladini si comporterà meglio sul campo di battaglia potrà avere Angelica. Seguono battaglie. Giunge la notte. I due eserciti battono la ritirata per continuare il giorno dopo. nighttime arrives. The two armies back down to continue on the next day. OPERA DEI PUPI / SICILIAN PUPPET THEATER The Opera dei Pupi emerged at the beginning of the 19th century in Sicily and enjoyed great success among the working classes. The puppeteers performed stories based on French medieval epic literature and Italian Renaissance masterpieces, such as Orlando Innamorato by Boiardo and Orlando Furioso by Ariosto. While the aristocracy attended the Opera in beautiful 18th century theaters, common people enjoyed the Opera dei Pupi in different theatrical spaces within cities. In the performances, puppeteers largely improvised the dialogues, interrupting the show at a crucial moment, thus extending the story into an indefinite number of episodes across many months. The audience would identify itself with heroes made of wood, copper alloy, and tin, siding alternatively with one character or the other, such as Orlando or Rinaldo. People felt the same emotions and shared the same universal values of the puppets on stage. At that time it was reported spectators criticized the inequities committed by Charlemagne towards his paladins, or warned the knights against imminent danger. In another episode, an audience fell silent during the death of the paladins in the war of Roncisvalle, as if someone in their family had been murdered. The Opera dei Pupi has come to us overcoming numerous crises and encountering the risk of disappearing multiple times. Fortunately, some of the puppeteers found new paths within and outside this centuries-old tradition, bringing the ancient stories of Orlando and Charlemagne’s paladins to a new audience in Italy, Europe, and around the world . THE MASTER PUPPETEER MIMMO CUTICCHIO BETWEEN TRADITION AND INNOVATION The most important figure in the preservation and renewal of the tradition of the Opera dei Pupi is Mimmo Cuticchio. Described as the last heir of this form of art, Mimmo Cuticchio is known in the whole world for his extraordinary intuition and capability to ‘restore’ this tradition.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Great Duel Between Orlando and Rinaldo for the Beautiful Angelica's Sake
    PRESENT The Great Duel between Orlando and Rinaldo for the Beautiful Angelica’s Sake OPERA DEI PUPI, SICILIAN PUPPET THEATER Italian Puppet Master Mimmo Cuticchio Theater Company Associazione Figli d’Arte Cuticchio PROGRAM OF EVENTS A captivating entertainment for all ages, The Great Duel between Orlando and Rinaldo for the Beautiful Angelica’s Sake by the Italian theatre company Associazione Figli d’Arte Cuticchio. This is a rare opportunity to see a performance of the Sicilian Opera dei Pupi, led by master puppeteer Mimmo Cuticchio, one of the last heirs of this theater form, outside of Italy. An understanding of the Italian language is not required to enjoy this enthralling and unique show. Matinée for the schools with recorded music Illusion Theater Wednesday and Thursday, October 24 and 25 @ 10:00 am. Free for schools. Also open to the general public. Donations will benefit the Italian Cultural Center of Minneapolis / St. Paul and the Illusion Theater. Reservations online at www.illusiontheater.org or by phone at 612-339-4944 beginning September. Evening performance with live music Illusion Theater Saturday, October 27 @ 7:30 pm. Free performance. Donations will benefit the Italian Cultural Center of Minneapolis / St. Paul and the Illusion Theater. Reservations online at www.illusiontheater.org or by phone at 612-339- 4944 beginning September. Talk I Figli d’Arte Cuticchio, Tradition and Innovation in Contemporary Sicilian Puppet Theater by Michael Wyatt (Stanford University) Center for Early Modern History, University of Minnesota Friday, October 26 @ 12:15 pm. Free event. Michael Wyatt, leading specialist of Italian early modern literature at Stanford, will introduce the audience to the discovery of the magical world of Opera dei Pupi and the uniqueness of Cuticchio’s theater.
    [Show full text]
  • The Pathways of Knowledge in Boiardo and Ariosto: the Case of Rodamonte Author(S): Jo Ann Cavallo Source: Italica, Vol
    The Pathways of Knowledge in Boiardo and Ariosto: The Case of Rodamonte Author(s): Jo Ann Cavallo Source: Italica, Vol. 79, No. 3 (Autumn, 2002), pp. 305-320 Published by: American Association of Teachers of Italian Stable URL: http://www.jstor.org/stable/3656094 . Accessed: 24/04/2014 10:44 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. American Association of Teachers of Italian is collaborating with JSTOR to digitize, preserve and extend access to Italica. http://www.jstor.org This content downloaded from 128.59.152.32 on Thu, 24 Apr 2014 10:44:06 AM All use subject to JSTOR Terms and Conditions ThePathways of Knowledgein Boiardo andAriosto: The Case of Rodamonte "Allmen by naturedesire to know."- Aristotle,Metaphysics How do we come to know?What can be known?How can trueknowl- edge be distinguishedfrom belief and opinion?What are the effects of knowledge? How does knowledge shape the course of our actions? Theseare some of the questionsthat philosophers were askingin fifteenth- and sixteenth-centuryItaly. The answerswould have differeddepending on whether one adhered to scholastic Aristotelianism,Neoplatonism, "naturephilosophies," or Skepticism,but all schools of thought were engaged in discussions about the nature of knowledge.1 Philosophers, moreover,were not the only ones interestedin the processof knowledge acquisitionand the relationof knowledge to action.In this essay I focus on how the poets MatteoMaria Boiardo and Lodovico Ariosto develop their thoughts on the subjectin their romanceepics, Orlandoinnamorato and Orlandofurioso.
    [Show full text]
  • ARIOSTO – Orlando Furioso – La Fuga Di Angelica
    La fuga di Angelica La figura di Angelica è centrale nell’“Orlando furioso” come lo era stato nello “Orlando innamorato” che era rimasto interrotto dal Boiardo. Il primo canto prefigura la fuga di Angelica dal campo cristiano dopo che, portata da Orlando in Francia, era stata imprigionata da Carlo Magno il quale la offrirà al miglior combattente Orlando o Rinaldo nella lotta contro i saraceni. Durante la battaglia Angelica era rimasta sola e trovato un cavallo si era lanciata in una fuga che metterà in moto tutto il poema: svariati personaggi si metteranno alla sua ricerca intrecciando svariate vicende. Commento [1]: Il principale tratto è certamente quello della inchiesta o ricerca: ogni Commento [2]: personaggio attivo nel canto è alla ricerca di un qualcosa. Gli esempi sono numerosi: Ferraù che cercava l’elmo nel fiume poi cerca Commento [3]: Angelica e alla fine si ritrova a ricercare l’elmo e a causa dello spirito di Argalia si trova alla ricerca di Orlando; Rinaldo cerca prima il suo cavallo poi Commento [4]: Angelica e infine il cavallo; Angelica cerca la libertà. Ed Angelica cerca la Commento [5]: libertà proprio da coloro che la desiderano: Angelica è insomma l’oggetto del desiderio. Con Angelica tutti i protagonisti sono alla sua ricerca: di lei sono innamorati Orlando, Rinaldo, Ferraù, Sacripante. Grazie all’attrazione per Angelica le vicende prendono luogo: la fanciulla si presenta come il motore dell’azione. Tale motore è però passivo: è fuggendo che essa si fa ricercare provocando tutto. Fugge dal campo di Carlo Magno, fugge da Rinaldo e da Ferraù.
    [Show full text]
  • The Widow of Valencia
    FÉLIX LOPE DE VEGA Y CARPIO THE WIDOW OF VALENCIA Translated by the UCLA Working Group on the Comedia in Translation and Performance: Marta Albalá Pelegrín Paul Cella Adrián Collado Barbara Fuchs Rafael Jaime Robin Kello Jennifer L. Monti Laura Muñoz Javier Patiño Loira Payton Phillips Quintanilla Veronica Wilson Table of Contents The Comedia in Context A Note on the Playwright Introduction—Robin Kello and Laura Muñoz Pronounciation Key Dedication The Widow of Valencia Characters Act I Act II Act III The Comedia in Context The “Golden Age” of Spain offers one of the most vibrant theatrical repertoires ever produced. At the same time that England saw the flourishing of Shakespeare on the Elizabethan stage, Spain produced prodigious talents such as Lope de Vega, Tirso de Molina, and Calderón de la Barca. Although those names may not resonate with the force of the Bard in the Anglophone world, the hundreds of entertaining, complex plays they wrote, and the stage tradition they helped develop, deserve to be better known. The Diversifying the Classics project at UCLA brings these plays to the public by offering English versions of Hispanic classical theater. Our translations are designed to make this rich tradition accessible to students, teachers, and theater professionals. This brief introduction to the comedia in its context suggests what we might discover and create when we begin to look beyond Shakespeare. Comedia at a Glance The Spanish comedia developed in the late sixteenth and early seventeenth centuries. As Madrid grew into a sophisticated imperial capital, the theater provided a space to perform the customs, concerns, desires, and anxieties of its citizens.
    [Show full text]
  • Nelson, Against Their Will
    http://www.gendersexualityitaly.com g/s/i is an annual peer-reviewed journal which publishes research on gendered identities and the ways they intersect with and produce Italian politics, culture, and society by way of a variety of cultural productions, discourses, and practices spanning historical, social, and geopolitical boundaries. Title: Against their Will: Deconstructing the Myth of the Heroic Rapist in Ariosto’s Orlando Furioso and Machiavelli’s La Mandragola Journal Issue: gender/sexuality/italy, 1 (2014) Author: Scott Nelson Publication date: 2014 Publication info: gender/sexuality/italy Permalink: http://www.gendersexualityitaly.com/against-their-will/ Author Bio: Scott Nelson is a Lecturer of Italian at Coastal Carolina University in the newly formed department of Communication, Languages and Cultures. He received his Ph.D. from the University of North Carolina at Chapel Hill. His research interests include Italian Renaissance literature, 20th-century Italian literature and Italian film. More specifically, his research examines Italian cultural trends, gender studies and identity. Abstract: There are no words that encapsulate the idea of the heroic rapist better than the ones used by Susan Brownmiller in her book Against Our Will: Men, Women and Rape. She writes: “As man conquers the world, so too he conquers the female.” Throughout history no theme rules the masculine imagination more often and with less honor than the myth of the heroic rapist. In Ludovico Ariosto’s Orlando Furioso and Niccolò Machiavelli’s La Mandragola, fortune is always seen from a male point of view. The term fortune, meaning chance or luck as an external or arbitrary force affecting human affairs, is often used in these works yet neither Angelica nor Lucrezia—the two principal female characters—is able to control her own destiny.
    [Show full text]
  • Renaissance and Reformation, 1978-79
    Sound and Silence in Ariosto's Narrative DANIEL ROLFS Ever attentive to the Renaissance ideals of balance and harmony, the poet of the Orlando Furioso, in justifying an abrupt transition from one episode of his work to another, compares his method to that of the player of an instrument, who constantly changes chord and varies tone, striving now for the flat, now for the sharp. ^ Certainly this and other similar analogies of author to musician^ well characterize much of the artistry of Ludovico Ariosto, who, like Tasso, even among major poets possesses an unusually keen ear, and who continually enhances his narrative by means of imaginative and often complex plays upon sound. The same keenness of ear, however, also enables Ariosto to enrich numerous scenes and episodes of his poem through the creation of the deepest of silences. The purpose of the present study is to examine and to illustrate the wide range of his literary techniques in each regard. While much of the poet's sensitivity to the aural can readily be observed in his similes alone, many of which contain a vivid auditory component,^ his more significant treatments of sound are of course found throughout entire passages of his work. Let us now turn to such passages, which, for the convenience of the non-speciaUst, will be cited in our discussion both in the Italian text edited by Remo Ceserani, and in the excellent English prose translation by Allan Gilbert."* In one instance, contrasting sounds, or perhaps more accurately, the trans- formation of one sound into another, even serves the implied didactic content of an episode with respect to the important theme of distin- guishing illusion from reality.
    [Show full text]
  • A Nomadology of Inamoramento De Orlando and Star Wars
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 12-19-2018 2:00 PM Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars Andrea Privitera The University of Western Ontario / Università degli studi di Padova Supervisor Boulter, Jonathan The University of Western Ontario Joint Supervisor Baldassarri, Guido University of Padova Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Andrea Privitera 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons, Film and Media Studies Commons, Italian Literature Commons, and the Performance Studies Commons Recommended Citation Privitera, Andrea, "Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars" (2018). Electronic Thesis and Dissertation Repository. 5921. https://ir.lib.uwo.ca/etd/5921 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstracts English While existing theories of romance (in particular, those formulated by Northrop Frye and Fredric Jameson) accurately characterize this literary mode as a highly politicized example of art, this thesis contends that the political nature of romance is broader and more complex than discussed so far. In order to offer a new and comprehensive political theory of romance, this work proposes a comparison between two historically and culturally diverse examples of romance, that is Matteo Maria Boiardo’s chivalric poem Inamoramento de Orlando and George Lucas’ space opera film Star Wars.
    [Show full text]
  • "The Reader's Neck Brought Into Danger by A
    32 3. Zur Genese, Typologie und Funktion narrativer Metalepsen: Versuch ei- ner systematischen Beschreibung 3.1. Narrative Metalepsen und die Erzähltechnik des entrelacement Transgressive Relationierungen von discours und histoire, von erzählender Welt und erzählter Welt, können auch in diskreterer und weniger spektakulärer Weise realisiert sein, als dies in den meisten der bisher vorgestellten Beispiele der Fall war. Dabei ist vor allem an jene mehr oder weniger konventionalisierten narrativer Formeln zu denken, die primär und offensicht- lich im Dienst der diskursiven Organisation der histoire und Integration ihrer verschiedenen Handlungsstränge stehen. Vertraut sind solche Formeln aus auktorialen Erzähltexten des acht- zehnten und vor allem des neunzehnten Jahrhunderts; besonders häufig begegnen sie - aus naheliegenden, später aber noch näher ins Auge zu fassenden Gründen - in den figuren- und episodenreichen, vielsträngigen Genres des historischen und des Abenteuerromans. Sie sind jedoch, wie man sehen wird, schon vorher variantenreich vertreten und später, auch in erzähl- technisch avanzierter Literatur des zwanzigsten Jahrhunderts, keinesfalls verpönt. Ich nenne zunächst einige Beispiele: [7] Leaving the Saxon chiefs to return to their banquet as soon as their ungratified curiosity should permit them to attend to the calls of their half-satiated appetite, we have to look in upon the yet more severe imprisonment of Isaac of York. (Walter Scott, Ivanhoe, Kap. 22; S. 225) [8] Lasciamoli andare, e torniamo un passo indietro a prendere Agnese e Perpetua, che abbiam lasciate in una certa stradetta. (Alessandro Manzoni, I promessi sposi, Kap. 8; S. 249) [9] Nous laisserons, comme eux, Jehan dormir sous le regard bienveillant de la belle étoile, et nous les suivrons aussi, s'il plaît au lecteur.
    [Show full text]
  • Robert Garnier's Bradamante (1582): an English Translation of Act IV, with An
    Robert Garnier's Bradamante (1582): An English Translation of Act IV, With an Introduction Concerning the Historical Development of the Title Character An Honors Thesis (HONRS 499) by Nathan Rush Thesis Advisor Dr. Donald Gilman Ball State University Muncie, Indiana May 2009 Expected Date of Graduation: December 2009 c I ( f '-11 ," -11 ! ( .~ ..;.3 0 Table of Contents ;.' ( , . k -il' ~ , ' f 1. Abstract .................................................................. '" .................................................... 3 2. Acknowledgements ...................................................................................................... 4 3. Introduction .................................................................................................................. 5 4. Difficulties of Translation .......................................................................................... 16 5. Works Cited ................................................................................................................ 18 6. Translation .................................................................................................................. 20 7. Endnotes ..................................................................................................................... 39 2 Abstract The title character of Robert Garnier's Bradamante (1582) was introduced to French literature through the matiere de France (Matter of France), epic poems written during the Middle Ages. The personage of Bradamante was expanded over time
    [Show full text]
  • The Moslem Enemy in Renaissance Epic: Ariosto, Tasso, and Camoens
    Marquette University e-Publications@Marquette History Faculty Research and Publications History, Department of 1-1-1977 The oM slem Enemy in Renaissance Epic: Ariosto, Tasso, and Camoens John Donnelly Marquette University, [email protected] Published version. Yale Italian Studies, Vol. I, No. 1 (1977): 162-170. © 1977 Yale Italian Studies. Used with permission. The Moslem Enemy in Renaissance Epic: Ariosto, Tasso and Camoens John Patrick Donnelly, S.J. The Renaissance produced many tracts and descriptions dealing with Mos- lems, such as those by Ogier de Busbecq and Phillipe du Fresne-Canaye,' which remain the main source for gauging western attitudes toward Moslems, but these can be supplemented by popular literature which reflects, forms, and gives classic expression to the ideas and stereotypes of a culture.' This study examines and compares the image.of the Moslem in the three greatest epics of the sixteenth century, Ariosto's Orlando furioso, Tasso's Gerusalemme liberata, and Camoens's Os Lusiadas." All three epics enjoyed wide popularity and present Christian heroes struggling against Moslem enemies. Ludovico Ariosto, courtier to the d'Este lords of Ferrara, first published Orlando furioso in 1516 but continued to polish and expand it until 1532. With 38,728 lines, it is the longest poem of the Renaissance, perhaps of west- ern literature, to attain wide popularity. It describes the defense of Paris by Charlemagne and his knights against the Moors of Spain and Africa. This was traditional material already developed by the medieval chansons de geste and by Orlando innamorato of Matteo Maria Boiardo, who preceded Ariosto as court poet at Ferrara.
    [Show full text]
  • Orlando Innamorato [Orlando in Love]
    Matteo Maria Boiardo: Orlando Innamorato [Orlando in Love] (1495) Jo Ann Cavallo (Columbia University ) Genre: Epic, Poetry (any). Country: Italy. Written for a fifteenth-century Italian court society hooked on Arthurian romance but also attuned to current world events, Boiardo’s Orlando Innamorato [Orlando in Love] charts a complex imaginary course in which characters from diverse cultures encounter one another in ways that range from armed conflict to friendship and love. Although knights and damsels from around the globe are gripped by a number of passions, such as erotic desire, anger, ambition, compassion, and the desire for glory or revenge, their actions are not based on either religious or ethnic differences. The narrative thereby breaks out of the polarization of Christians and Saracens typical of Carolingian epic, presenting a broader cosmopolitan vision of humankind consonant with ancient, medieval, and fifteenth-century historical and geographical texts that were capturing the attention of the Ferrarese court. In the chansons de geste, or historical songs, that formed the basis of the medieval Carolingian epic genre, the hero Roland (later Italianized as Orlando) was celebrated as Charlemagne’s most stalwart paladin. In the twelfth-century The Song of Roland, a Basque ambush of Charlemagne’s retreating army at the mountain pass of Roncesvalles (Einhard) was refashioned into an Armageddon of sorts in which Roland and his companions who formed the rearguard were massacred by Saracens due to his stepfather Ganelon’s treachery. Subsequent elaborations of Frankish exploits in Spain prior to the fatal battle of Roncesvalles, most notably the Franco-Venetian Entrée d’Espagne (c.
    [Show full text]