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Matteo Maria Boiardo |
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Boiardo, Matteo Maria
Count of Scandiano. Born 1441, in the castle of Scandiano; died Dec. 19, 1494, in Regglo. Italian poet. Boiardo’s Three Books of Loves (1472–76) are among the best examples of Italian love lyrics of the 15th century. His most important work is the poem Orlando innamorato. (The first two books appeared in 1495, along with the beginning of a third, unfinished book.) At the center of the poem is the unhappy love of Orlando, the nephew of Charlemagne, for the beautiful Angelica. Boiardo’s poem is a chain of sometimes fantastic and sometimes satiric novellas. Their themes are taken from legends of the Middle Ages, but their treatment reveals that Boiardo was a humanist. In Russia, the first translation of Orlando innamorato appeared in 1799. Boiardo translated the works of Herodotus, Xenophon, Apuleius, and Cornelius Nepos from the Greek and Latin and wrote Latin verse (the cycle Epigrammata, 1476, and Verses of Praise for the Acts of the d’Este Family). WORKSTutte le opere, vols. 1–2. Edited by A. Zottolie. Milan, 1936–37.In Russian translation: “Iz Vliublennogo Rolanda.” In Khrestomatiia po zarubezhnoi literature: Epokha Vozrozhdeniia, vol. 1. Compiled by B. I. Purishev. Moscow, 1959. REFERENCESDe Sanctis, F. Istoriia ital’ianskoi literatury, vols. 1–2. Moscow, 1963–64. (Translated from Italian.)Reichenbach, G. L’Orlando Innamorato di M. M. Boiardo. Florence, 1936. Zottoli, A. Dal Boiardo all Ariosto. Milan, 1934. Bigi, E. La poesia di Boiardo. Florence, 1941. Want to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit the webmaster's page for free fun content. |
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No references found | He approaches her with "mingled feeling of delight and awe"; she appears to him "like a fair enchantress of Boiardo or Ariosto" (106). But this elite also included Fernao Lopes, a literary genius who came from the opposite side of the social scale, the 'Letrado' of low birth who was to bring a new dimension to the medieval chronicle, making it into a pioneering example of the Renaissance epic that anticipated not only the chivalrous epic of Boiardo and Ariosto, but also the Camonian concept of epic as an expression of collective national identity. Since the Muse of the Ferrarese poets, such as Boiardo and Ariosto, was not utterly chaste, she wears a diaphanous bodice under the cloak the poet is absent-mindedly loosening from her shoulders. |
Boiardo |
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