Matteo Maria Boiardo

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Related to Matteo Maria Boiardo: Machiavelli, Torquato Tasso, Ludovico Ariosto
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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).


Tutte 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.


De 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.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Sempre a Ferrara, sul finire del Quattrocento, Matteo Maria Boiardo volgarizza le Metamorfosi che vengono pubblicate con il titolo di Apulegio volgare dallo Zoppino di Venezia a partire dal 1518.
Considered the finest expression of the artistic tendencies and spiritual attributes of the Italian Renaissance, the poem was a continuation of Matteo Maria Boiardo's Orlando innamorato.
Part I (chapters 1-5) focuses on Matteo Maria Boiardo and the three books of the Orlando lnnamorato.
Above and below this scene are images from Matteo Maria Boiardo's Orlando innamorato (part II, canto VII-VIII), featuring Fiordelisa and Brandimarte.
Lebano's commentary, has entered the pantheon of Italian epic poetry translated into English thus far inhabited only by his three Italian followers: Matteo Maria Boiardo, Ludovico Ariosto, and Torquato Tasso.
Though early oral epics, such as Homer's, are divided into discrete sections, the name canto was first adopted for these divisions by the Italian poets Dante, Matteo Maria Boiardo, and Ludovico Ariosto.
In this essay I focus on how the poets Matteo Maria Boiardo and Lodovico Ariosto develop their thoughts on the subject in their romance epics, Orlando innamorato and Orlando furioso.
This is accomplished -- we will see -- in a uniquely Ariostan adaptation of the romance compositional technique of entrelacement, or interlace that he had inherited from a long and well established tradition, and especially from his great Ferrarese precursor, Matteo Maria Boiardo, whose unfinished Orlando innamorato the Furioso sets out to complete.
In about 1505 Ariosto had begun writing Orlando furioso, an original continuation of Matteo Maria Boiardo's Orlando innamorato.
The new duchess was accompanied by two of Ercole's brothers, Sigismondo and Alberto; three Ferrarese poets, Matteo Maria Boiardo, Tito Strozzi, and Ludovico Carbone; and an army of lawyers, judges, musicians, blacksmiths and horse handlers, cooks and tailors.(5)