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Who the Devil Taught Thee So Much Italian?? WDTPR 8/29/05 2:49 PM Page i ‘Who the devil taught thee so much Italian?’ WDTPR 8/29/05 2:49 PM Page ii WDTPR 8/29/05 2:49 PM Page iii ‘WHO THE DEVIL TAUGHT THEE SO MUCH ITALIAN?’ Italian language learning and literary imitation in early modern England ĆûđČÿĈýÿ Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave WDTPR 8/29/05 2:49 PM Page iv Copyright © Jason Lawrence ÐØØÓ The right of Jason Lawrence to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act Ï×ÖÖ. Published by Manchester University Press Oxford Road, Manchester MÏÑ ×NR, UK and Room ÒØØ, ÏÕÓ Fifth Avenue, New York, NY ÏØØÏØ, USA www.manchesteruniversitypress.co.uk Distributed exclusively in the USA by Palgrave, ÏÕÓ Fifth Avenue, New York, NY ÏØØÏØ, USA Distributed exclusively in Canada by UBC Press, University of British Columbia, ÐØÐ× West Mall, Vancouver, BC, Canada VÔT ÏZÐ British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN Ø ÕÏ×Ø Ô×ÏÒ × hardback EAN ×ÕÖ Ø ÕÏ×Ø Ô×ÏÒ Õ First published ÐØØÓ ÏÒ ÏÑ ÏÐ ÏÏ ÏØ Ø× ØÖ ØÕ ØÔ ØÓ ÏØ × Ö Õ Ô Ó Ò Ñ Ð Ï Typeset ITC Charter 9.5/12.5pt by SNP Best-set Typesetter Ltd., Hong Kong Printed in Great Britain by Biddles Ltd, King’s Lynn, Norfolk WDTPR 8/29/05 2:49 PM Page v In loving memory of my mother, Lesley Kay Lawrence. WDTPR 8/29/05 2:49 PM Page vi WDTPR 8/29/05 2:49 PM Page vii Contents Acknowledgements page viii Introduction Ï Ï ‘Mie new London Companions for Italian and French’: modern language learning in Elizabethan England Ï× Ð ‘A stranger borne / To be indenized with us, and made our owne’: Samuel Daniel and the naturalisation of Italian literary forms ÔÐ Ñ ‘Give me the ocular proof’: Shakespeare’s Italian language-learning habits ÏÏÖ Conclusion: Seventeenth-century language learning ÏÕÕ Appendix: John Wolfe’s Italian publications ÏÖÕ Bibliography ÐØÐ Index ÐÏ× WDTPR 8/29/05 2:49 PM Page viii Acknowledgements Warm thanks to Dr John Pitcher for his careful supervision of my DPhil thesis in Oxford, from which this book is developed, and to my exam- iners, Professor Emrys Jones and Professor J. R. Mulryne. I would also like to thank: Christopher Wakling and Dr Jane Kingsley-Smith for reading and making insightful comments on earlier drafts of the book; Dr Simon Mealor for his assistance with the translations from French, and Dr Anna Zambelli Sessona for checking my translations from Italian; Dr Michael Redmond for drawing my attention to George Pettie’s habits of translation. Thanks also to the anonymous readers for Ashgate and Manchester University Press, whose comments and suggestions have been very helpful in the revision of the book, and to Matthew Frost and Kate Fox at Manchester University Press. Parts of the section in Chapter Ð on Daniel and Italian pastoral drama have appeared in Medieval and Renaissance Drama in England ÏÏ (Ï×××), pp. ÏÒÑ–ÕÏ, reproduced by permission of the editor, and a version of the section in Chapter Ñ on Shakespeare’s dramatisations of Cinthio can be found in Michele Marrapodi (ed.), Shakespeare, Italy and Intertex- tuality (Manchester University Press, Manchester, ÐØØÒ), pp. ×Ï–ÏØÔ. Thanks finally to my family, friends, and partner for their constant love and support throughout the writing of this book. WDTIN 8/29/05 2:50 PM Page 1 Introduction I am an Englishman in Italiane; I know they haue a knife at command to cut my throate, Vn Inglese Italianato, e vn Diauolo incarnato. Now, who the Diuell taught thee so much Italian? speake me as much more, and take all. Meane you the men, or their mindes? be the men good, and their mindes bad? Speak for the men (for you are one) or I will doubt of your minde: Mislike you the language? why the best speake it best, and hir Maiestie none better. I, but thou canst reade whatsoeuer is good in Italian, translated into English. And was it good that they translated then? or were they good that translated it? . Had they not knowen Italian, how had they translated it? had they not translated it, where were now thy reading? Rather drinke at the wel-head, than sip at pudled streames; rather buy at the first hand, than goe on trust at the bucksters.1 ĉĂĈ FĆĉČăĉĴč letter ‘To the Reader’ at the beginning of his Second JFrutes (ÏÓ×Ï), a parallel-text dialogue manual for learning Italian, offers an impassioned response to the celebrated Italian proverb that describes the apparently pernicious effect that the country has on many of its English visitors. The proverb is introduced into England in exactly this context, in Roger Ascham’s The Scholemaster (ÏÓÕØ), where young English gentlemen are given a stern warning about the dangers of exposing themselves to ‘the Siren songes of Italie’.2 Ascham, however, is equally concerned by the manner in which this negative Italian influence is beginning to infiltrate into England itself in the second half of the sixteenth century: WDTIN 8/29/05 2:50 PM Page 2 ăĎûĆăûĈĸĴ These be the inchantementes of Circes, brought out of Italie, to marre mens maners in England: much, by example of ill life, but more by preceptes of fonde bookes, of late translated out of Italian into English, sold in euery shop in London, commended by honest titles the soner to corrupt honest manners: dedicated ouer boldlie to ver- tuous and honorable personages, the easielier to begile simple and innocent wittes.3 It is the wide availability of Italian books, such as Petrarch’s Trionfi and Boccaccio’s Decameron,4 in English versions rather than in the original language that most troubles Ascham, as Florio clearly recognises in the emphasis he places on translation in his retort. Indeed, Ascham regards this very process of translation as a plot insti- gated by ‘the sutle and secrete Papistes at home’, who have deliber- ately ‘procured bawdies bookes to be translated out of the Italian tonge’.5 A decade later the former actor and playwright Steven Gosson goes a step further, suggesting, in the ‘first Action’ of his polemical Playes Confuted in fiue Actions (ÏÓÖÐ), that it is the devil himself who is responsible for the infiltration of Italian books into England and their subsequent translation. He also draws attention to a new phe- nomenon, the presentation of stories from these books on stage, in the recently opened professional theatres: First hee sente ouer many wanton Italian bookes, which being trans- lated into english, haue poysoned the olde maners of our Country with foreine delights. The Deuill not contented with the number he hath corrupted with reading Italian baudery, because all cannot reade presenteth us Comedies cut by the same paterne, which drag such a monstrous tatle after them, as is able to sweep whole Cities into his lap.6 In the ‘Ð Action’ Gosson elaborates on his argument by demonstrating how the playwrights have used a variety of books with foreign origins to provide the plots for their dangerous new plays: I may boldely say it, because I haue seene it, that the Palace of pleas- ure, the Golden Asse, the Aethiopian historie, Amadis of Fraunce, the Rounde table, baudie Comedies in Latine, French, Italian and Spanish, haue beene throughly ransackt, to furnish the Playe houses in London. Gosson’s personal convictions are strengthened by the sincere renunciation of his former profession, despite accusations of hypo- crisy against him. In the dedicatory letter ‘To the Rightworshipful Ð WDTIN 8/29/05 2:50 PM Page 3 ăĈĎČĉþďýĎăĉĈ Gentlemen and studentes, of both Vniuersities, and the Innes of Court’, he explains that two of his own plays have been performed in London since the printing of The Schoole of Abuse in ÏÓÕ×: ‘The one was a cast of Italian deuices, called, The Comedie of Captaine Mario: the other a Moral, Praise at parting.’ His critics have insinuated that they were ‘written by me since I had set out my inuectiue against them. I can not denie, they were both mine, but they were penned two yeeres at the least before I forsooke them.’ Gosson’s admission that he composes a comedy of ‘Italian deuices’, now unfortunately lost, in the late ÏÓÕØs is particularly interesting, for in this period he is evidently a keen student of the Italian language under the tutelage of John Florio in London. Gosson writes a commendatory poem for the teacher’s earlier Italian language manual, Florio his First Fruites (ÏÓÕÖ), revealing his appreciation of Florio’s methods of instruction. This suggests that the ‘deuices’ included in his contemporary comedy may have been taken directly from an Italian source, rather than via an English translation. It is ironic that the authors of the two most vehement rejections of the growing Italian influence in Elizabethan England are both stu- dents of the language. Ascham is careful to explain that his objections to Italy and its malign influence have nothing to do with the language itself, ‘the Italian tonge, which next the Greeke and Latin tonge, I like and loue aboue all other’.7 It is not certain when Ascham acquires his knowledge of the language, but he includes an Italian pasquinade in his Discours and affaires of the state of Germanie, written in ÏÓÓÑ, shortly after a three-year sojourn at the court of Emperor Charles V.
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