Matteo Bandello

Total Page:16

File Type:pdf, Size:1020Kb

Matteo Bandello NOVELLE Matteo Bandello VOL. II LA SECONDA PARTE DE LE NOVELLE DEL BANDELLO IL BANDELLO AI LETTORI Eccovi, lettori miei umanissimi, la seconda parte de le mie novelle, ridotta a la meglio che ho potuto insieme, essendomi stato necessario da diversi luoghi molte d'esse novelle raccogliere, secondo che erano state disperse. Seguirá in breve la terza parte che quasi per il piú è insieme adunata. Pigliatevi piacere, se tali le mie ciancie sono che possino piacerv., Io vi confesso bene che a cotal fine furono da me scritte. Accettate dunque il mio buon volere e la sinceritá de l'animo mio. E se l'opera od il suo effetto non corrisponde al desiderio ch'io aveva, incolpatene il mio poco sapere e la debole capacitá del mio ingegno. E state sani. IL BANDELLO AL MOLTO REVERENDO SIGNORE MONSIGNOR FILIPPO SAULO VESCOVO BRUGNATENSE SALUTE L'avarizia è cosí pestifero e vituperoso morbo che ancor che l'uomo si ritrovi carco di figliuoli e figliole ed abbia pochi beni de la fortuna, secondo che viene lodato spendendo discretamente ed astenendosi da molte cose che forse paiono necessarie, sempre che si conoscerá che egli sia avaro sará senza dubbio da tutti i buoni biasimato e morso, perciò che l'avarizia mai non sta bene in qual si voglia grado né etá d'uomini o donne. E perché crediamo noi che gli usurai, i rattori, i ladroni e quei mercanti che con inganno fanno la mercanzia siano chiamati avari, se non perché per la lor volontá di pigliare e ritener le cose altrui e non proveder ai bisogni necessarii s'oppongono a la giustizia? Opera giudicata di grandissimo peccato, ché questi beni che Iddio ci dona deveno da noi esser con quella misura presi e dispensati che il grado nostro richiede. Altrimenti avendovi inordinato appetito, facciamo un'opera contraria a la liberalitá che è vertú moralissima, tanto da tutti gli scrittori cosí infedeli come cristiani celebrata. Ora se l'avarizia che mai non può esser buona, a tutti sta male, ché certamente sta malissimo rendendo ciascuno in cui regna infame ed al publico odioso, penso io che non possa star peggio in nessuno di quello che ella sta nei preti. E chi dubita, se ogni cristiano che voglia esser degno di questo nome, deve esser pieno di caritá la quale rende l'uomo amorevole, cortese, liberale, benigno, paziente e compassionevole ai bisogni del prossimo, che molto piú non debbia esser ogni persona religiosa? Quei religiosi che vivono in commune deveno piú degli altri esser pieni di caritá e compassione, avendo questo obligo da le loro instituzioni. I preti poi che hanno benificii e particolarmente attendono a le cose loro temporali, deveriano tutti ardere di caritá ed esser i piú liberali e cortesi che si trovassero, perciò che sono quelli che meno hanno a considerare a la roba che nessun'altra sorte d'uomini, sapendo che dopo la morte loro i benefici che tengono e godeno non vanno per ereditá, non gli potendo lasciar a lor volontá. E nondimeno, – ahi vituperio del guasto mondo! – pare che oggidí come si vuol dire un avaro si dica un prete. E certo chi lo dice ha gran torto, perciò che la mala vita di tre o quattro non deveria macchiar l'onesto vivere degli altri, essendoci molti in questa nostra etá preti da bene che santissimamente vivono e liberalmente dispensano i beni loro. Io direi che tra gli altri voi sète uno di quelli, che sino da la vostra fanciullezza sempre sète stato nemicissimo degli avari e che dopo che sète beneficiato vivete splendidamente e largamente a' poveri e vertuosi donate. Ma io non vo' su la faccia vostra lodarvi, tanto piú essendo la liberalitá vostra chiarissima. Ora tornando a questi preti avari i quali vorrebbero per loro soli trangugiare quanto hanno al mondo, e non darebbero un pane per amor di Dio, dico che se talora vien loro fatta qualche beffa e se sono biasimati, che a me pare che lo meritano e che poca compassione si deve lor avere. Onde avendo questi dí il vostro e mio, anzi pur nostro Lucio Scipione Attellano, fatto un solenne e sontuoso banchetto a la signora Bianca da Este e Sanseverina, ove intervennero molti gentiluomini e gentildonne, ragionandosi dopo il desinare di varie cose, il nostro dottor di leggi, che era uno degli invitati, messer Girolamo Archinto, e che conoscete come è piacevole, narrò una bella beffa fatta a un avarissimo parrocchiano; la quale parendomi molto festevole io scrissi, e quella ho voluto mandarvi a ciò che dopo gli studi vostri de le civili e canoniche leggi, ne le quali sète eminentissimo come l'opere vostre stampate fanno ferma fede, possiate quella leggendo, gli spirti vostri ricreare, se quella degna stimerete deversi da voi leggere; il che, la vostra mercé, mi persuado che per l'amor che mi portate voi farete. State sano. NOVELLA I Un prete avaro è gentilmente beffato da alcuni buon compagni che gl'involarono un grasso castrone. Io vorrei, signore mie umanissime e voi cortesi signori, che il nostro messer Andrea da Melzi non fosse stato astretto dopo il desinare a partirsi, a fine ch'egli quello che io ora intendo di narrarvi avesse narrato, come colui che è sí bel dicitore e tanto, quanto nessun altro gentiluomo di Milano, pieno di bei motti e di questa istoria che io dirò meglio di me consapevole. Ma poi ch'egli non ci è e volete che io parli de le beffe che talora si fanno a questi preti avari, io ubidirò con speme di sodisfarvi. Dico adunque che ne la villa di Mazzenta, non è guari di tempo, fu un don Pietro prete, parrocchiano de la villa, uomo assai attempato e tanto avaro che non si potria dir piú, il quale avendo buona prebenda ed oltra questo ogni dí guadagnando quasi il vivere de le elemosine ed offerte che per i morti si facevano, aveva sempre paura di morir di fame e non averebbe invitato né prete né secolare a casa sua a bere un bicchier di vino, ed egli mai non recusando invito che fatto gli fosse, francava al mangiar il suo carlino. In casa sua egli per la bocca sua faceva tutti quei delicati mangiari che avere si potessero, e teneva una donna di buona etá che era perfettissima cucinara. Aveva egli di continovo i suoi capponi ad ingrassar, i migliori che ne la villa si trovassero. Al tempo de le quaglie egli conserva ne faceva per tutto l'anno, il medesimo facendo de le tortorelle. Cosí, secondo le stagioni, in casa sua sempre aveva degli augelli ed animali selvaggi, e dove andava il fatto de la gola, per comprare un buono e ghiotto boccone non risparmiava mai danari, e quando argento stato non ci fosse, egli averebbe impegnato la cotta, la croce, la pietra sacrata e credo anco il calice. Ma se egli si fosse trovato il giovedí da sera le vivande sopra il capo, non pensate che egli mai avesse invitato persona; onde il suo chierico, la massara e dui altri famigli che teneva facevano vita chiara e si davano il meglior tempo del mondo. Avvenne del mese di novembre che, essendo fuor di Milano un giovine nostro gentiluomo con un altro gentiluomo suo amico, ed alloggiando vicini al prete due picciole miglia, e quivi diportandosi con la caccia, intesero de l'avarizia del prete e de le grasse provigioni che di continovo in casa teneva, e come tra l'altre cose egli aveva allevato un castrone che era divenuto grassissimo e lo serbava ad ammazzarlo a le feste di natale, a ciò che meglio per i freddi conservar lo potesse. Questo intendendo, il nostro giovine deliberò far rubar il castrone al prete e farlo mangiare in un pasto ai buoni compagni. Fatta questa deliberazione, chiamò dui dei suoi famigli che averebbero fatta la salsa al gran diavolo e diede loro l'ordine di quanto egli voleva che facessero. I dui servidori dissero che farebbero il tutto; dei quali l'uno si chiamava Mangiavillano e l'altro Malvicino e su le guerre erano stati perfetti saccomanni. Poi che i dui famigli ebbero la commissione, cominciarono a divisar tra loro del modo che devevano tenere ad involar il castrone, a ciò che la cosa riuscisse senza strepito. Alora disse Malvicino: – Compagno, se noi sappiamo fare, siamo i piú avventurosi uomini del mondo. Io mi ricordo che ieri quando pigliammo la lepre che tante volte ci ha fatto correre, che me n'andai a la cascina di Giacominaccio Oca e vidi sovra una tezza de le noci assai, che ancora non le hanno ridutte in casa. Al corpo del pissasangue, io voglio che l'andiamo a beccar su, e faremo una brava agliata, ché il castrone senza agliata non val un pattacco. – Tu dici il vero, al corpo del vermocan! – rispose Mangiavillano. Facciamo adunque cosí come io ti diviserò. Io su le quattro, o tra le quattro e cinque ore di notte, me n'anderò a la casa del messere ed entrerò senza difficultá dove egli tiene il castrone, e a la prima gli metterò una musaruola che saperò fare a proposito a ciò che non gridi, e poi me lo metterò in spalla. Tu in quel tempo medesimo anderai a pigliar le noci, ed oltra le noci guarda, se la ti venisse destra, che tu potessi pigliare due o tre oche, ché sai che barba Giacomaccio le ha sempre belle e grasse. – Potta de la moría! – disse Malvicino, – questo sarebbe un bel tratto se io lo potessi fare. Ma tu sai bene che l'oche hanno il diavolo a dosso, ché sentono ogni picciolo strepito che l'uomo faccia.
Recommended publications
  • Historical Context Elizabethantheatres
    Historical Context The first Elizabethan playhouse was an open air theatre built in 1567 by James Burbage called “The Theatre”. After it’s success other playhouses were built : in 1577 “The Courtain”, in 1587 “The Rose”, and in 1595 “The Swan”. In 1599 the Lord Chamberlain’s Man rebuilt “The Globe” which became the most important centre of performances. Elizabethan Theatres Performances took place during the afternoon and were acted only by man and boys. The audiences were made by all sorts of people, reach and poor who had stand on the ground, theatres were designed as large wooden structures, circular or octagonal in shape, with three tiers of galleries surrounding a yard open to the sky. The stage was roofed and was very high, and there were railings between the yard and the lower gallery. There was no scenery and the audience had to image the scene by listening to the language of the actors. There was no courtain and no intervals, so they were very quick. The platform stage was pushed out into the audience who stood around in three sides. This create assends of close intimacy between actors and audiences. Context Romeo and Juliet is one of the most famous plays written by William Shakespeare (1564-1616). When it first appeared on the stage probably in 1595 it was a very popular tale in Elizabethan times, and many versions were available. The sources of the play are Arthur Brooke’s poem “The Tragical Historye of Romeus and Juliet” (1562) which was a translation from the French Matteo Bandello’s novella “Romeo e Giulietta” (1554).
    [Show full text]
  • Creating Shakespeare's Twelfth Night Onstage, a Director's Journey
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 “What Country Friends Is This?”: Creating Shakespeare’s Twelfth iN ght Onstage, A Director's Journey Dawn Monique Williams University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Performance Studies Commons, and the Theatre History Commons Williams, Dawn Monique, "“What Country Friends Is This?”: Creating Shakespeare’s Twelfth iN ght Onstage, A Director's Journey" (2011). Masters Theses 1911 - February 2014. 737. Retrieved from https://scholarworks.umass.edu/theses/737 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. “WHAT COUNTRY FRIENDS IS THIS?”: CREATING SHAKESPEARE’S TWELFTH NIGHT ONSTAGE A DIRECTOR’S JOURNEY A Thesis Presented by DAWN MONIQUE WILLIAMS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2011 Department of Theater © Copyright by Dawn Monique Williams 2011 All Rights Reserved “WHAT COUNTRY FRIENDS IS THIS?”: CREATING SHAKESPEARE’S TWELFTH NIGHT ONSTAGE A DIRECTOR’S JOURNEY A Thesis Presented by DAWN MONIQUE WILLIAMS Approved as to style and content by: _______________________________________ Gilbert McCauley, Chair _______________________________________ Marcus Gardley, Member _______________________________________ Gina Kaufmann, Member ____________________________________ Penny Remsen, Department Head Department of Theater DEDICATION Just like the river, Jordyn, the girl of my dreams, Manifests my God.
    [Show full text]
  • Proposed Core Literature Titles Twelfth Night, Or, What You Will
    Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will ​ ​ Author: William Shakespeare ​ First Published: 2002 ​ Lexile Level: 1140 ​ Proposed Grade Level: 8 ​ California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but ​ unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: ​ Original Copyright: 1600 ​ Grade Level Span: 9-12 ​ Genre: Drama ​ Classification: Classic ​ Topic: English-Language Arts/General ​ Discipline: English Language Arts/Vocabulary; Visual and Performing Arts ​ Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother.
    [Show full text]
  • Matteo Bandello : Twelve Stories
    ZZI DATE DUE /' ck^Jpon i DueBs (TOCCHI I Thtariì livereitv / 1 1 ! PRINTED IN USA Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://archive.org/details/cu31924102029083 In compliance with current Copyright law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1992 to replace the irreparably deteriorated original. 2006 CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE 'SAGE ENDOWMENT FUND GIVEN IN 1 89 1 BY HENRY WILLIAMS SAGE (NJDFSLLI8RI ITALIANI MATTEO BANDELLO Novellieri Italiani MATTEO BANDELLO TWELVE STORIES SELECTED AND DONE INTO ENGLISH WITH A MEMOIR OF THE AUTHOR BY PERCY PINKERTON LONDON JOHN C. NIMMO 14, KING WILLIAM STREET, STRAND MDCCCXCV L o CONTENTS How Don Diego, being scorned by his mistress, takes up his abode in a grotto, and how he comes out again I An avaricious priest is nicely cheated by certain good fellows, who rob him of afat sheep . -55 Gerardo secretly weds his mistress and sets out for Baruti. The girtsfather wouldgive her in mar- riage; she swoons with grief, and is buriedfor dead. That selfsame day her true husband returns, and, taking herforth from the tomb, discovers that she is not deadj whereupon he tends her, and formally celebrates his nuptials with her .... 67 How Signor Didaco Centiglia, having wedded a damsel, grows weary of her, and how at her hands he meets his death 117 Of the divers mischances and grievous perils which befell Cornelio for the love of his lady .
    [Show full text]
  • Shakespeare Trivia Anthology Canadian Adaptations of Shakespeare Project (CASP) Shakespeare Learning Commons
    1 Shakespeare Trivia Anthology Canadian Adaptations of Shakespeare Project (CASP) Shakespeare Learning Commons FACT 1. Shakespeare is thought to have been born on April 23, 1564 and to have died the same day 52 years later. 2. During his lifetime, John Shakespeare (William’s father) did all of these jobs: glove maker, wool-dealer, moneylender, constable, chamberlain, alderman, bailiff, and justice of the peace. 3. Many of Shakespeare’s early sonnets are likely to have been written to another man: Henry Wriothesley, the 3rd Earl of Southampton. 4. In his will, Shakespeare left his wife Anne Hathaway his “second best bed with the furniture.” Second-best bed was not as bad as it sounds because the best bed was reserved for guests. 5. The open-air theatres that Shakespeare’s plays were first performed in were designed in the same style as the bear-baiting gardens (circular buildings with an open roof and a pit in the centre for the bear or the theatre audience). 6. A Google search for “Shakespeare” returns over 119 million hits. That’s more than Michael Jackson (42 million), Avril Lavigne (29 million) and Tiger Woods (21 million) combined. 7. Shakespeare invented over 1700 commonly used words in English (like “madcap,” “obscene,” “puking,” “outbreak,” “watchdog,” “addiction,” “cold-blooded,” “secure,” and “torture”). 8. Shakespeare’s plays have a vocabulary of some 17,000 words, four times what a well-educated English speaker would have. Shakespeare used 29,066 different words out of 884,647 words in all. 9. Shakespeare was so skilled with words that he used 7000 words only once––more than occur in the whole of the King James Bible.
    [Show full text]
  • Malcontented Agents : from the Novellas to Much Ado About Nothing and the Duchess of Malfi Nigri, L 10.80/0895769X.2018.1462689
    Malcontented agents : from the novellas to Much Ado about Nothing and The Duchess of Malfi Nigri, L 10.80/0895769X.2018.1462689 Title Malcontented agents : from the novellas to Much Ado about Nothing and The Duchess of Malfi Authors Nigri, L Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/46784/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. 1 Malcontented Agents: from the novellas to Much Ado about Nothing and The Duchess of Malfi. Shakespeare’s Much Ado about Nothing (c.1598) and Webster’s The Duchess of Malfi (c. 1613) are two plays in which Matteo Bandello’s portrayal of evil agents in his novellas exert a constant, even if not immediately obvious, influence. Remote from each other chronologically and generically, Shakespeare’s comedy and Webster’s tragedy make common use of a distinctive character-type, which has an equivalent in the Bandello source: the melancholy, embittered, and vindictive outsider known at the time, as well as by modern critics, as the malcontent (Nigri, The Origin of Malcontent). Comparing how and to what purpose each dramatist duplicated, altered or expanded the figures he found in the source story provides an insight into his way of working and informs our understanding of the plays.
    [Show full text]
  • William Shakespeare Twelfth Night
    CC – 2 Unit - IV William Shakespeare Twelfth Night Prepared By: Dr. Md Naushad Alam Assistant Professor MMHAPU 1 William Shakespeare William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford-upon-Avon. His birthday is most commonly celebrated on 23 April, which is also believed to be the date he died in 1616. Shakespeare was a prolific writer during the Elizabethan and Jacobean ages of British theatre (sometimes called the English Renaissance or the Early Modern Period). Shakespeare’s plays are perhaps his most enduring legacy, but they are not all he wrote. Shakespeare’s poems also remain popular to this day. Records survive relating to William Shakespeare’s family that offer an understanding of the context of Shakespeare's early life and the lives of his family members. John Shakespeare married Mary Arden, and together they had eight children. John and Mary lost two daughters as infants, so William became their eldest child. John Shakespeare worked as a glove-maker, but he also became an important figure in the town of Stratford by fulfilling civic positions. His elevated status meant that he was even more likely to have sent his children, including William, to the local grammar school. William Shakespeare would have lived with his family in their house on Henley Street until he turned eighteen. When he was eighteen, Shakespeare married Anne Hathaway, who was twenty- six. It was a rushed marriage because Anne was already pregnant at the time of the ceremony. Together they had three children. Their first daughter, Susanna, was born six months after the wedding and was 2 later followed by twins Hamnet and Judith.
    [Show full text]
  • Twelfth Night
    Plays and Pinot: Twelfth Night Synopsis Twelfth Night, or What You Will is a romantic comedy by William Shakespeare, believed to have been written around 1601–1602 as a Twelfth Night's entertainment for the close of the Christmas season. The play centres on the twins Viola and Sebastian, who are separated in a shipwreck. Viola (who is disguised as Cesario) falls in love with Duke Orsino, who in turn is in love with Countess Olivia. Upon meeting Viola, Countess Olivia falls in love with her thinking she is a man. The play expanded on the musical interludes and riotous disorder expected of the occasion, with plot elements drawn from the short story "Of Apollonius and Silla" by Barnabe Rich, based on a story by Matteo Bandello. The first recorded public performance was on 2 February 1602, at Candlemas, the formal end of Christmastide in the year's calendar. The play was not published until its inclusion in the 1623 First Folio. About the Playwright William Shakespeare (also spelled Shakspere) was born in 1564 in Stratford-upon-Avon and died April 23 1616. He was an English poet, dramatist, and actor often called the English national poet and considered by many to be the greatest dramatist of all time. Shakespeare occupies a position unique in world literature. Other poets, such as Homer and Dante, and novelists, such as Leo Tolstoy and Charles Dickens, have transcended national barriers, but no writer’s living reputation can compare to that of Shakespeare, whose plays, written in the late 16th and early 17th centuries for a small repertory theatre, are now performed and read more often and in more countries than ever before.
    [Show full text]
  • Classic Repertory Company STUDY GUIDE William Shakespeare’S ROMEO and JULIET
    classic repertory company STUDY GUIDE William Shakespeare’s ROMEO AND JULIET Education Outreach Supporters Funded in part by generous individual contributors, the National Endowment for the Arts, Massachusetts Cultural Council, Foundation for MetroWest, Esther B. Kahn Foundation, Fuller Foundation, The Marshall Home Fund, Peter Fuller Car Rentals, Roy A. Hunt Foundation, and Watertown Community Foundation. This program is also supported in part by grants from the Andover Cultural Council, Framingham Cultural Council, Hudson Cultural Council, Hull Cultural Council, Saugus Cultural Council, Waltham Cultural Council, Watertown Cultural Council, and Westford Cultural Council, local agencies which are supported by the Massachusetts Cultural Council, a state agency. NEW REP ADMINISTRATIVE OFFICE 400 TALCOTT AVENUE | BUILDING 131, 3RD FLOOR WATERTOWN, MA 02472 in residence at the artistic director michael j. bobbitt mosesian center for the arts A Timeline of Shakespeare’s Life 1564 Born in Stratford-upon-Avon 1582 Marries Anne Hathaway 1585 Moves to London to pursue theatre career 1592 London closes theatres due to plague 1593 Starts to write sonnets 1594 Publishes first works of poetry 1594 Starts managing, as well as writing for, the Lord Chamberlain’s Men 1596 Romeo and Juliet first performed 1599 Lord Chamberlain’s Men begin performing at the newly built Globe Theater 1603 The Lord Chamberlain’s Men is renamed the King’s Men in honor of the new King James’ patronage 1604 Retires from acting 1613 The Globe Theatre burns down 1614 The Globe Theatre is rebuilt 1616 Dies and is buried at Holy Trinity Church NATIONAL PORTRAIT GALLERY, LONDON PORTRAIT GALLERY, NATIONAL in Stratford-Upon-Avon C.1600 JOHN TAYLOR THE CHANDOS PORTRAIT, adapted from http://absoluteshakespeare.com/trivia/timeline.htm Biography William Shakespeare was born in Stratford-upon-Avon in 1564.
    [Show full text]
  • Matteo Bandello, O, Vita Italiana in Un Novelliere Del Cinquecento
    . ''^n, ^r\;if '':-\*^ 'NààL ,&* •^ ,*?\ ^/ -'^^?^. ^ ,f'vrrif-'(.K,^.|:1 "^^sÉm..^ ,* . J' ki Rnr .nH "''^'K'K^' ^„.^^^, t7<:^^ Vì.^'). sSis^^S^^ •Ti- - vi li Proprietà letteraria. ERNESTO MASI MATTEO RANDELLO VITA ITALIANA IN UN NOVELLIERE DEL CINQUECENTO BOLOGNA DITTA NICOLA ZANI iqOO. -^j\viCtS RùIL^^^l^^.^ CAPITOLO I Dal Boccaccio al Bandello. Di tutta la varia e vasta opera letteraria del Boccaccio quella che diede frutti più numerosi e più duraturi fu, scrive il Symonds, il Decamerone ('). Di fatto, se durante il secolo XV i novellatori non furono numerosissimi, perchè ad altro, com'è noto, era principalmente rivolta ogni attività letteraria, non furono però poco importanti, il Sermini, il Manetti, Sabadino degli Arienti, Masuccio Salerni- tano, Poggio Bracciolini, Lorenzo il Magnifico. Per compenso, in pieno Rinascimento, e cioè nel se- (') Renaissance in Italy — Italian Literatnre — Part II, Chapter X. « Of Boccaccio's legaci/ the »ios( conside- rahle portion and the one ihat bore the richest frtfif, iras the Decameron ». Masi. 1 — 2 — colo seguente, la nota fondamentale (^), per così dire, è data dalla novella ed i novellatori sono una fa- lange, dei quali lungo sarebbe ricordare i nomi soltanto. Basti che ogni regione italiana, quasi ogni città contribuisce a questa fioritura: Toscana col Firen- zuola, il Lasca, il Machiavelli, e coi Senesi For- tini, Nelli, e fino al Bargagli, che tocca il secolo XVII, Roma col Decamerone del Molza modenese, ma romano d' elezione e di dimora, Ferrara cogli Ecatommiti del Giraldi, Venezia colle Piacevoli notti dello Straparola, i Diporti del Parabosco, le Gior- nate dell' Erizzo; Lodi col Gadamosto, Vicenza col Da Porto, Gastelnovo di Scrivia con Matteo Ran- dello, il maggiore senza alcun dubbio di tutti i novellatori del Ginquecento e quello che più e meglio d'ogni altro afferma l' assoluta prevalenza, specie nella novella romanzesca, dell'Italia supe- riore.
    [Show full text]
  • A Rose by Any Other Name: Shakespeare and the Cinematic Bridge of Love
    A Rose by Any Other Name: Shakespeare and the Cinematic Bridge of Love Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy Interdisciplinary Studies Cameron Berner Miami University Oxford, Ohio 2009 APPROVED Advisor ________________________________ Dr. Chris Myers ii Submitted to the Miami University Honors and Scholars Program in partial fulfillment of the requirements for graduation with University Honors with Distinction Approved by: ________________________________, Advisor Dr. Ronald B. Scott ________________________________, Advisor Dr. Christopher A. Myers ________________________________, Reader Dr. William H. Newell Accepted by: ________________________________, Director University Honors Program iii ABSTRACT This project analyzes love in William Shakespeare’s Romeo & Juliet. As part of a case study and practical application of the natural harmony between the cinemas of Hollywood and Bollywood several filmic adaptations are discussed, including Romeo & Juliet (1968) directed by Franco Zeffirelli, William Shakespeare’s Romeo + Juliet (1996) directed by Baz Luhrmann, and Qayamat Se Qayamat Tak (1988) directed by Mansoor Khan. This project advocates for American appreciation of the foreign cinema of Bollywood (Mumbai, India) based on the understanding of the universal human experience of love. iv Table of Contents Introduction . 1 Part One: The Bridge of Love. 6 Chapter One: Fated Love . 7 What is love and how does it happen? . 7 Types of Love . 11 Interpreting Love . 16 Fated Love . 24 Part Two: The Most Excellent and Lamentable Tragedy of Romeo & Juliet . 28 Chapter Two: The Bard . 29 Who was Shakespeare? . .29 Shakespeare and Love . .35 Universality . .37 Chapter Three: The Star-Cross’d Lovers .
    [Show full text]
  • Shakespeare's Twelfth Night As a Comedy
    Globus Journal of Progressive Education A Refereed Research Journal Vol 10 / No 1 / Jan-Jun 2020 ISSN: 2231-1335 SHAKESPEARE’S TWELFTH NIGHT AS A COMEDY *Appalal Abdulgaffar Attar Introduction Abstract Shakespeare’s Twelfth Night or What You Will is a William Shakespeare happens to be the greatest comedy, first performed in 1600 and published in writer of the world. He is called the Bard of the First Folio of 1623. The most direct source was Avon. He is a great playwright and poet. His Barnabe Riche’s Apolonius and Silla, a story 37 plays include his tragedies, tragi-comedies, derived from the Italian Matteo Bandello. histories (covering Roman plays), sonnets, and comedies. The present play focuses on his fine Shakepeare’s Twelfth Night is a lovely romantic drafting of upholding the language. The comedy. Shakespeare made use of the other essential spirit of the play ‘Twelfth Night’ is historical literary materials such as Il Sacrificio captured in its title. The world of Twelfth (1537), Charles Estienne’s Les Abuses (1543), Night is one of comedy and comic excess; and Nicolo Secchi’s GiIanganni (1562), Lope de among all of the characters in the play, it is the Rueda’s Los Enganos (1556), Geraldi Cinthio’s drunken, misbehaving and prankish Sir Toby Hecatommithi (1565), Belleforest’s Histories Belch who epitomizes its humorous nature. Traqiques (1570), Barnabe Riche’s Riche His In Twelfth Night, despite the festive spirit of Farewell, and Curzio Conzaga’s GiInganni (1592). the play, Shakespeare invites his audience to notice certain problematic aspects of the story. Shakespeare’s Twelfth Night has the main plot Reductively, the theme of Twelfth Night is the concerning the Italian twins Viola and Sabastian, joy and pain of love.
    [Show full text]