It came to Shakespeare through Whetstone's play Promos and Cassandra (1578) from the Italian narrative tradition: a novella by Giraldi Cinthio
was published in 1565, and later he reworked it himself into a drama.
Sprezzatura and Embarrassment in The Merchant of Venice" (21-38); John Roe, "A Niggle of Doubt: Courtliness and Chastity in Shakespeare and Castiglione" (39-56); Thomas Kullman, "Dramatic Appropriations of Italian Courtliness" (57-72); Maria Del Sapio Garbero, "Disowning the Bond: Coriolanus's Forgetful Humanism" (73-92); Melissa Walter, "Matteo Bandello's Social Authorship and Paulina as Patroness in The Winter's Tale" (93-106); Karen Zych Galbraith, "Tracing a Villain: Typological Intertexuality in the Works of Pinter, Webster, Cinthio
, and Shakespeare" (107-22).
He moved on to another Italian tragedian who did not use rhymes, Giovanni Battista Giraldi (also known as Govanni Battista Giraldi Cinthio
, 1504-1573) and his Orbecche (1541).
Certainly, whoever wrote the plays knew Italian well enough to make elaborate puns, and had read Dante, Tasso, Cinthio
, Bandello, and others in the original language.
Giambattista Giraldi (1504-1573), an Italian university teacher, scholar, poet, short-story writer and dramatist, was also called Cinzio or Cinthio
Festkrift till Erik Cinthio
(The Middle Ages and Archaeology.
Kenneth Muir, the expert on Shakespeare's sources, thought it probable that Shakespeare had even read Cinthio
in the original Italian.
3) Basti pensare che due letterati schierati su fronti diametralmente opposti, Giangiorgio Trissino e Giraldi Cinthio
, rispettivamente il piu aristotelico ed il piu anti-aristotelico del tragediografi cinquecenteschi, su questo punto concordano, anzi sembrano assegnare al testo scritto la ricerca della risposta emozionale del pubblico da parte dell'autore.
, On the Composition of Comedies and Tragedies, in Literary Criticism: Plato to Dryden, ed.
Fernando Ferrara has argued for the general importance of Boccaccio, Bandello, and Cinthio
in Greene's artistic formation, noting that "Bandello and Boccaccio freed him from the shackles of a too complex and artificial style"(Logan and Smith, 59).
The author of this essay writes "epistemology" where he obviously means "etymology," and several times misrepresents the name of the author of the Hecatommithi, Giovanni Battista (not Baptista) Giraldi (not Geraldo) Cinthio
Defenders of romance such as Giambattista Giraldi Cinthio
and Giovanni Battista Pigna had argued that romance and epic were distinct genres, and thus modern poems such as the Furioso should not be judged according to Aristotle's rules.