The Pathways of Knowledge in Boiardo and Ariosto: the Case of Rodamonte Author(S): Jo Ann Cavallo Source: Italica, Vol
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La Morte Di Agricane
LA MORTE DI AGRICANE Agricane è innamorato di Angelica ma la principessa ha rifiutato le nozze. Allorché l’imperatore di Tartaria assedia e incendia la città di Albracca. La principessa, su suggerimento di un suo consigliere, fugge dalla città in fiamme in cerca di aiuto. Alle prime luci dell’alba, in preda allo sconforto, osserva ciò che resta di Albracca. Sopraggiunge un suo suddito che la informa che il castello non è bruciato ed è difeso da Sacripante, Torindo e Truffaldino, ed ella si rincuora. I Tartari trovano la principessa che però riesce ancora una volta a fuggire. Nei pressi di una foresta incontra un povero vecchio in cerca di aiuto per il figlio malato; impietosita decide di aiutarlo ma ella viene imprigionata in un maniero dove incontra altre donne, tra cui Fiordiligi, moglie di Brandimarte, prigioniero come Orlando della maga Drogantina. Angelica incita le donne a ribellarsi e grazie al suo anello magico riesce a scappare per liberare Orlando, Brandimarte e gli altri cavalieri prigionieri della maga, promettendo alle altre donne di tornare a salvarle quanto prima. La principessa giunge al giardino di Drogantina e grazie al suo anello distrugge l’incanto liberando tutti i cavalieri che giurano di sconfiggere Agricane e il suo esercito. Nel frattempo l’imperatore di Tartaria riceve la visita di Truffaldino che ha tradito Sacripante portandolo in prigione per consegnare le chiavi della città di Albracca. Agricane sdegnato dalla viltà del traditore lo condanna a morte ma Truffaldino riesce a fuggire. Angelica e i suoi nuovi difensori giungono nel Catai e Orlando conduce sana e salva la principessa alla rocca di Albracca. -
Fortune and Romance : Boiardo in America / Edited by Jo Ann Cavallo & Charles S
Fortune and Romance: Boiardo in America xexTS & STuOies Volume 183 Fortune and Romance Boiardo in America edited b)' Jo Ann Cavallo & Charles Ross cr)eC>iev2iL & ReMAissAMce tgxts & STuDies Tempe, Arizona 1998 The three plates that appear following page 60 are reproduced by permission of the Folger Shakespeare Library. The map of Georgia that appears on page 95 is reprinted from David Braund's Georgia in Antiquity (Oxford University Press, 1994), by permission of Oxford University Press. Figures 8, 10 and 11 are reprinted courtesy of Alinari/Art Resource, New York. Figure 9 is reprinted courtesy of Scala, Art Resource, New York. ©Copyright 1998 The Italian Academy for Advanced Studies in America at Columbia University Library of Congress Cataloging'in'Publication Data Fortune and romance : Boiardo in America / edited by Jo Ann Cavallo & Charles S. Ross p. cm. — (Medieval & Renaissance texts & studies ; 183) Most of the essays in this volume stem from the American Boiardo Quincentennial Conference, "Boiardo 1994 in America," held in Butler Library, Columbia University, Oct. 7-9, 1994, sponsored by the Italian Academy for Advanced Studies in America. Includes bibliographical references and index. ISBN 0-86698-225-6 (alk. paper) 1. Boiardo, Matteo Maria, 1440 or 41-1494 — Criticism and interpreta- tion — Congresses. 1. Cavallo, Jo Ann. II. Ross, Charles Stanley. III. American Boiardo Quincentennial Conference "Boairdo 1994 in America" (1994 : Butler Library, Columbia University) IV. Italian Academy for Advanced Studies in America. V. Series. PQ4614.F67 1998 85r.2— dc21 98-11569 CIP @ This book is made to last. It is set in Goudy, smyth-sewn, and printed on acid-free paper to library specifications. -
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. -
Cahiers De Recherches Médiévales Et Humanistes, 12 | 2005 the Epic Tradition of Charlemagne in Italy 2
Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 12 | 2005 La tradition épique, du Moyen Âge au XIXe siècle The epic tradition of Charlemagne in Italy Jane E. Everson Electronic version URL: http://journals.openedition.org/crm/2192 DOI: 10.4000/crm.2192 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 December 2005 Number of pages: 45-81 ISSN: 2115-6360 Electronic reference Jane E. Everson, « The epic tradition of Charlemagne in Italy », Cahiers de recherches médiévales [Online], 12 | 2005, Online since 30 December 2008, connection on 13 October 2020. URL : http:// journals.openedition.org/crm/2192 ; DOI : https://doi.org/10.4000/crm.2192 This text was automatically generated on 13 October 2020. © Cahiers de recherches médiévales et humanistes The epic tradition of Charlemagne in Italy 1 The epic tradition of Charlemagne in Italy Jane E. Everson Introduction 1 From the late thirteenth century to the end of the Renaissance, Carolingian narratives centred on the deeds of Charlemagne, Roland and the peers of France enjoyed immense popularity in Italy at all levels of society. Some of the greatest writers of this period were attracted to the genre and produced in it their masterpieces. And if, for the early period, the most important compositions are often anonymous, for the fifteenth and sixteenth centuries the names of Andrea da Barberino, Pulci, Boiardo, Ariosto and Tasso, to name only the best known and most influential, serve to underline the status of Carolingian narrative literature as the pre-eminent literary genre in the vernacular. As I have pointed out elsewhere, the sheer length of time during which the Carolingian narrative tradition flourished in Italy, the large number of writers involved with the genre, the wealth of material both in content and style, the range of developments and modifications, all pose major problems for the scholar aiming to produce a comprehensive historical and thematic survey of the genre.1 2 The magnitude of the task had already taxed E. -
AGRICANE ASSEDIA IL CASTELLO DI ANGELICA Un Messo Mandato
AGRICANE ASSEDIA IL CASTELLO DI ANGELICA Un messo mandato dal re Galafrone informa Sacripante, re di Circassia, che Agricane ha assediato il castello di Angelica in Albracca. Prima di partire per la battaglia, Sacripante riceve la visita del duca Astolfo che vorrebbe offrire i suoi servigi al re. Dopo il rifiuto di Sacripante, Astolfo lascia il palazzo e lungo la strada incontra Brandimarte e Fiordiligi. Astolfo, invaghitosi della donzella, sfida Brandimarte che viene prontamente disarcionato ed è costretto a cedere la dama. Astolfo, vedendo l’immenso amore che lega i due, decide di lasciare la donna e di tenere per se solo l’onore della vittoria. Sopraggiunge Sacripante e anch’egli vorrebbe ottenere Fiordiligi ma Astolfo decide di difendere la fanciulla; Sacripante viene abbattuto e il duca Astolfo gli sottrae il cavallo per donarlo come premio ai due innamorati. Astolfo, Fiordiligi e Brandimarte giungono nei pressi del castello di Drogantina e la dolce Fiordiligi mette in guardia i due dall’astuzia della maga che non tarda a far offrire ai cavalieri la coppa dell’oblio. Astolfo sfida la maga che invoca l’aiuto delle sue creature e dei suoi cavalieri. Il duca, durante il combattimento, riconosce il cugino Orlando, vittima dell’incantesimo della maga, e fugge per non cadere sotto i suoi colpi. Fiordiligi, vedendo il marito in pericolo, lo convince a bere per salvarlo da morte sicura in attesa di trovare un modo per salvarlo. Astolfo nel frattempo è giunto in Albracca. Da un guardiano scopre che Agricane assedia il castello di Angelica e decide di schierarsi contro l’oppressore. -
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. -
"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. -
L'héroisme Chevaleresque Dans Le "Roland Amoureux" De
L'héroïsme chevaleresque dans le Roland Amoureux de Boiardo Couverture : Illustration extraite de la Nouvelle traduction de Roland l'Amou- reux par LESAGE, Paris, 1717 (cliché Bibliothèque Municipale de Lyon) INSTITUT D'ÉTUDES DE LA RENAISSANCE ET DE L'AGE CLASSIQUE Denise ALEXANDRE-GRAS L'héroïsme chevaleresque dans le - Roland Amoureux de Boiardo Publications de l'Université de Saint-Etienne 0 Institut d'études de la Renaissance et de l'Age Classique, 1988 34, rue Francis-Baulier — 42100 Saint-Etienne ISBN 2-86724-032-8 INTRODUCTION Matteo Maria Boiardo est un écrivain dont l'œuvre et la personnalité, complexes et contradictoires, demeurent parmi les plus déroutantes qui soient. Il n'est en effet pas possible de réduire toute son activité à la seule composition du «poème» 1, d'ignorer notamment ses œuvres latines et d'imaginer qu'il ait oublié sa culture humaniste durant les quinze dernières années de sa vie. Or, le contraste est évident entre ses œuvres mineures de goût humaniste (les œuvres latines, les Eglogues en italien , le Timon inspiré de Lucien) et son poème cheva- leresque modelé sur des œuvres populaires que les humanistes méprisaient volontiers. Son Canzoniere, dont le titre classicisant, Amorum libri, est signifi- catif, combine certes diverses sources, mais il apparaît précisément comme une tentative de synthèse raffinée dans laquelle la poésie latine et les thèmes néo- platoniciens viennent enrichir le legs de la poésie lyrique médiévale et du pé- trarquisme, ce qui semble fort éloigné de l'esprit général du poème, si éloigné même que Pier Vincenzo Mengaldo a pu parler d'un tel hiatus entre les deux œuvres, qu'on n'en saurait trouver d'équivalent dans l'histoire italienne toute entière 2. -
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 -
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. -
La Épica Italiana Del Cinquecento En El Bernardo Del Carpio De Balbuena
LA ÉPICA ITALIANA DEL CINQUECENTO EN EL BERNARDO DEL CARPIO DE BALBUENA. Elena María Calderón de Cuervo. FFyL- UNCuyo- CETHI [email protected] Resumen Basado en la leyenda del caballero español Bernardo del Carpio, Balbuena reconstruye en el México virreinal esta his- toria perteneciente al ciclo carolingio e íntimamente relaciona- da con al poema francés La Chanson de Roland. No obstante la epopeya de Balbuena no remite tanto a sus fuentes medievales como a las obras de los Orlando que inundaron el siglo XVI en Italia y dieron pie a toda una serie de tópicos y personajes que 13 aparecerán luego en la novela de caballerías española. Par- ticularmente y siguiendo el ejemplo de La Araucana de Ercilla, Balbuena se basa en el Orlando furioso de Ludovico Ariosto, poema extensísimo, que es, y así lo presenta el autor, una con- tinuación del Orlando enamorado de Matteo Maria Boiardo. Allá donde dejó éste inacabada su obra, la derrota del ejército de Carlomagno en los Pirineos por los moros, es donde ar- ranca el Ariosto la suya, que suele, al reintroducir los perso- najes de su predecesor, dedicar una o dos octavas a resumir las aventuras narradas por Boiardo en el Enamorado. Balbuena, por su parte, retoma la batalla de Roncesvalles, la derrota de los franceses por los españoles y los sarracenos de Zaragoza pero sigue la línea temática del paladín español Bernardo del Carpio, sin desatender la proliferación iconográfica y mi- tológica creada por Ariosto y Boiardo. La obra de Ariosto, publicada hacia 1540, como en el resto de Europa, gozó pronto de gran fortuna en España, y fue traducida en varias ocasiones, principalmente en el siglo XVI y en el siglo XIX. -
A History of Epic Poetry (Post-Virgilian)
Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027089246 Cornell University Library PN 1303.C59 History of epic poetry (post-Virgilian' 3 1924 027 089 246 A History of Epic Poetry A History of Epic Poetry (POST-VIRGILIAN) BY JOHN CLARK. M.A. Second Classical Master in the High School of Dundee Author of "Manual of Linguistics" U ne suffit pas, pour connaitre I'^popee d'avoir lu Virgile et Homere. Voltaire, Essai snr la Foesie Epique. EDINBURGH OLIVER AND BOYD LONDON: SIMPKIN, MARSHALL, HAMILTON, KENT & CO., LIMITED 1900 _^ PREFACE The following pages are meant to exhibit the different national renderings of a variety of poetry that perhaps more than any other has given status to the literature possessing a great specimen of it, and supremacy to the poet of that specimen. I have restricted my formal examination of poems to those of the post - Virgilian period. So much excellent criticism has been made on Homer and Virgil that it seemed presumption on my part, as well as a needless increase of the bulk of the book, to adventure a full statement of the epical position of these two princely poets. It is clear, however, that no history of epic poetry could be called satisfactory that did not contain some reference to these poets—that did not, indeed, to a definite if limited extent, take into account and appraise their work. I have therefore in the Introduction devoted some pages to a consideration of certain aspects of the epical quality of their respective poems.