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قراءة كتاب Renaissance in Italy, Volume 5 Italian Literature, Part 2
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Renaissance in Italy, Volume 5 Italian Literature, Part 2
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Transcriber's Notes: Obvious printer errors have been corrected without note. Ambiguous errors are indicated with red dotted underlining; hover the mouse over the underlined text to see an explanation.
This e-book contains a few phrases in ancient Greek, which may not display properly depending on the fonts the user has installed. Hover the mouse over the Greek phrase to view a transliteration, e.g., βιβλος.
This is Part II of a two-part work. Part I is available at Project Gutenberg. This e-book also contains external links to other works by John Addington Symonds at Project Gutenberg. These links are not guaranteed to be functional in perpetuity.
RENAISSANCE IN ITALY
ITALIAN LITERATURE
In Two Parts
BY
JOHN ADDINGTON SYMONDS
Author of
"Studies of the Greek Poets," "Sketches in Italy and Greece," etc.
"Italia, sepoltura
De' lumi suoi, d'esterni candeliere"
Campanella: Poesie Filosofiche.
PART II
NEW YORK
HENRY HOLT AND COMPANY
1888
CONTENTS
OF
THE SECOND PART.
| PAGE | |
| CHAPTER IX. THE ORLANDO FURIOSO. |
|
| Orlando Furioso and Divina Commedia—Ariosto expresses the Renaissance as Dante the Middle Ages—Definition of Romantic, Heroic, Burlesque, Heroic-comic, and Satiric Poems—Ariosto's Bias toward Romance—Sense of Beauty in the Cinque Cento—Choice of Boiardo's unfinished Theme—The Propriety of this Choice—Ariosto's Irony and Humor—The Subject of the Furioso—Siege of Paris—Orlando's Madness—Loves of Ruggiero and Bradamante—Flattery of the House of Este—The World of Chivalry—Ariosto's Delight in the Creatures of his Fancy—Close Structure of the Poem—Exaggeration of Motives—Power of Picture-painting—Faculty of Vision—Minute Description—Rhetorical Amplification—Rapidity of Movement—Solidity—Nicety of Ethical Analysis—The Introductions to the Cantos—Episodes and Novelle—Imitations of the Classics—Power of Appropriation and Transmutation—Irony—Astolfo's Journey to the Moon—Ariosto's Portrait—S. Michael in the Monastery—The Cave of Sleep—Humor—Pathos and Sublimity—Olimpia and Bireno—Conception of Female Character—The Heroines—Passion and Love—Ariosto's Morality—His Style—The Epithet of Divine—Exquisite Finish—Ariosto and Tasso—Little Landscape-Painting—Similes—Realism—Adaptation of Homeric Images—Ariosto's Relation to his Age | 1 |
| CHAPTER X. THE NOVELLIERI. |
|
| Boccaccio's Legacy—Social Conditions of Literature in Italy—Importance of the Novella—Definition of the Novella—Method of the Novelists—Their Style—Materials used—Large Numbers of Novelle in Print—Lombard and Tuscan Species—Introductions to Il Lasca's Cene, Parabosco's Diporti—Bandello's Dedications—Life of Bandello—His Moral Attitude—Bandello as an Artist—Comparison of Bandello and Fletcher—The Tale of Gerardo and Elena—Romeo and Juliet—The Tale of Nicuola—The Countess of Salisbury—Bandello's Apology for his Morals and his Style—Il Lasca—Mixture of Cruelty and Lust—Extravagant Situations—Treatment of the Parisina Motive—The Florentine Burla—Apology for Il Lasca's Repulsiveness—Firenzuola—His Life—His Satires on the Clergy—His Dialogue on Beauty—Novelettes and Poems—Doni's Career—His Bizarre Humor—Bohemian Life at Venice—The Pellegrini—His Novelle—Miscellaneous Works—The Marmi—The Novelists of Siena—Their specific Character—Sermini—Fortini—Bargagli's Description of the Siege of Siena—Illicini's Novel of Angelica—The Proverbi of Cornazano—The Notti Piacevoli of Straparola—The Novel of Belphegor—Straparola and Machiavelli—Giraldi Cinthio's Hecatommithi—Description of the Sack of Rome—Plan of the Collection—The Legend of the Borgias—Comparison of Italian Novels and English Plays | 51 |
| CHAPTER XI. THE DRAMA. |
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| First attempts at Secular Drama—The Orfeo and Timone—General Character of Italian Plays—Court Pageants and Comedies borrowed from the Latin—Conditions under which a National Drama is formed—Their absence in Italy—Lack of Tragic Genius—Eminently Tragic Material in Italian History—The Use made of this by English Playwrights—The Ballad and the Drama—The Humanistic Bias in Italy—Parallels between Greek and Italian Life—Il Lasca's Critique of the Latinizing Playwrights—The Sofonisba of Trissino—Rucellai's Rosmunda—Sperone's Canace—Giraldi's Orbecche—Dolce's Marianna—Transcripts from the Greek Tragedians and Seneca—General Character of Italian Tragedies—Sources of their Failure—Influence of Plautus and Terence over Comedy—Latin Comedies acted at Florence, Rome, Ferrara—Translations of Latin Comedies—Manner of Representation at Court—Want of Permanent Theaters—Bibbiena's Calandra—Leo X. and Comedy at Rome—Ariosto's Treatment of his Latin Models—The Cassaria, Suppositi, Lena, Negromante, Scolastica—Qualities of Ariosto's Comedies—Machiavelli's Plays—The Commedia in Prosa—Fra Alberigo and Margherita—The | |