Recensioni
vengono poste da
ogo
non
sa a chi sa. Nella prima categoria troverebbe parte
utopico e quello fantastico, suggerisce
scientifico,
religioso nel
chi
secondo
,
la
"ultimo esponente del quale sarà
Patermoster, e
la
metodo
conoscitivo, è preservata
Nel dialogo cinquecentesco, conclude
due
di
per comprendere
si
appena nel diaologo
metodo
di
cortigiano.
il
suo primo momento.
Annick Paternoster è uno studio chiave non solo per l'approfondimen-
to del dialogo rinascimentale del
che
dialogo
il
Paternoster, questa struttura viene scissa in
la
direzioni e trova nella parodia aretina
Aptum
dial-
strutturazione dialogica
del catechismo." La stRittura dialogica che nel dialogo umanistico era
socializzazione e
il
situa tra
i
la
primo Cinquecento
ma anche
per future tipologie
dinamica del dialogo come forma ed ermeneutica..
Uno
studio
più meritevoli della dialogica rinascimentale.
Massimo Verdicchio
University of Alberta
Mauro
discreto pennel d'alta eloquenza."
"Meraviglioso" e Classico nella tragedia (e tragicommedia) italiana del Cinque-Seicento. Roma: Aracne, 1999.
This
che
...
"Col
Sarnelli.
book ends by placing Giovan
Battista Albèri's tragedy
autoriteneva deputata ad esaltare
si
'l'alta
Ippanda
commozione,
"nella linea
tragica e solenne'
attraverso l'implosione raziocinante delle principali forze letterarie, socio-culturali
etico-politiche del secolo." Cultural closure
is
ed
the understated leitmotiv of Sarnelli's
study, hardly ever foregrounded. Certainly, with regard to every
one of the
tragedi-
ans studied, Sarnelli invokes conformity to an embattled Counter-Reformation creed
based on an omnipotent divine providence and
divine grace and
gy of the
human
freewill
Jesuit Colleges
is
a hierarchical order
balanced by
and repentance, and the influence of the dramatur-
a constant point of reference.
Sarnelli describes Albèri's
work
as pitched to the aristocratically elevated
end of
the spectrum of permissibile issues (171), though not with the undifferentiatedly
highflown
(28).
style,
And some
much
closer to the norm, of the tragedies of
attention
is
paid to the theatrical space
the overwhelming thaist of the
book
is
to
Giovan
itself
and
Battista
its
document exhaustively
Andreini
audience. But
the textual, or
intertextual, 'implosion' characterizing Italian tragedy just after the turn of 1600,
its
palimpsestal character in drawing authority by a tight interweaving of verbal echoes
and a repertoire of
stylistic
tropes from a self-validating
stylistic
canon taking
in
Sophocles, Euripides and Seneca, the mid-Cinquecento Italian tragedians, the whole
252
Recensioni
Petrarchist tradition
and the
Italian iicroic
epic of Arisoto and,
more
especially, Tasso,
with less frequent resort to other Latin classics and to Dante. This excess of
display, related to Marino's ideal of 'meraviglia,'
thaumastòn which
pretation of the
is
derived from a particular inter-
presented ratherin terms of the
Aristotle's Poetics
surprising but convincingly inevitable turns of tragic plotting.
The Senecan excess of
horror pursued by Speroni and Mannerist tragedy, on the other hand,
in
is
converted,
towards the Baroque, into an excess of pathos (particularly
transition
this
stylistic
in
Prospero Bonarelli's Solimano and Medoro Incoronato) read as liricizzazione by
Bonarelli's successors. Unlike the Ippanda, with
guilt,
whose outstanding
qualities
its
grimly uncompromising focus
were only recognized since
its
on
relatively recent
rediscovery by Federico Doglio, the other tragedies examined here by Sarnelli (also
including Antonio Decio da Orte's Acripanda, published in 1592, but written
and Francesco
Bracciolini's
Pentesilea, 1614)
were
all
more
in for a
Evandro, 1612, Arpalice, l6l3, and
own time, and some, like Solimano, right
though now largely lost from sight (Decio and Alberi
canonical in their
through the eighteenth century,
not even coming
classicizing
mention
in Letteratura Italiana Einaudi).
Indeed, Milton, in his two pages prefaced to
claimed that "In the modelling therefore of
and
Italians are rather
earlier,
foUow'd, as of
this
Samson
Agonistes, famously pro-
Poem, with good reason, the Antients
much more
authority
and fame."
In thus side-
stepping the towering but barbarian genius of his predecessor, Shakespeare, Milton
was
inscribing his
and
explicitly invoking the 'authority'
is
work
into the
same canon
which
as the tragedians discussed
is
Lost).
La Reina di
out to
map
Yet Milton's
Scotia, a
key concept
Adamo may
the traditional suggestion that Andreini's
Paradise
a
in
it.
in
Sarnelli,
(Less to the point
have helped
Samson shows remarkable homologies with
work mentioned only
by
to
inspire
Delia Valle's
passing in Sarnelli's book, which sets
certain lines of force rather than to survey the field. Delia Valle's tragedy
stands out strongly as highlighting the very issues that remain in the background in
Sarnelli's
book
-
the overwhelming questions of the age
unsaid by other tragedians.
It
Scotland
Stuart's
the religious
strife
is
really next
of the day
is
and
as saying
what
is left
appears to share the safety of distance - the never-
never land - which Sarnelli points out
Mary
-
at
common
is
door
to
all
Italian tragedies (86), yet
to Da\'id Rizzio's
and Delia
Valle's Savoy;
the centre of the action; almost without precedent
(saving perhaps Aeschylus's The Persians and Albertino Mussatos Ecerinis), La Reina
di Scotia
what
is
is
instant tragedy, written close
more,
upon
in the earliest extant draft,
the heels of the events described; and
dated
New
Year's
Day
1591.
it
challenges
social hierarchy in the character of the Soldato (subsequently excised). That the play
was buried
it
in
almost
total silence for three
hundred years
attempted to tackle issues that were non-negotiable
Europe. Delia Valle's tormented masterpiece
—
253
is
is
yet
more evidence
in post-Tridentine Catholic
one of the extremely few works
—
that
in
its
Recensioni
epoch (Bruno's works,
another genre and
in
field,
being the other, and more shock-
ing exception) where the otherwise clean caesura between textuality and
becomes
frayed and
visible. Sarnelli
"l'ansia poetica, conoscitiva etc.
demonstrate
(119), but to
socio-historical contexts,
does remark of Bonarelli
promanante da
this ansia in
if
it
power
is
that his style betrays
tutto l'universo culturale del secolo"
concrete links between tragic texts and their
can be done, would be the work of another book.
John Gatt-Rutter
Vaccari Professor in Italian Studies
La Trote University (Melbourne)
Domenico
pastor fido in lingua napolitana. Ed.
Rome: Benincasa, 1997. Pp. xxvi, 328. Volume
Basile.
//
Gianrenzo P. Clivio.
XI of the series Testi
dialetti napoletani.
Students of Neapolitan linguistic and literary history will undoubtedly embrace the
of
publication
Domenico
//
pastor fido in lingua napolitana,
Basile's
the
first
critical
1628 Neapolitan rendition of Battista Guarini's famous pastoral
drama
(1589), published roughly three decades earlier. Basile's Pastor fido
twelfth
work
to
of
edition
appear
in the series Testi dialettali
is
the
napoletani (twenty-three volumes
are anticipated for the series), launched in 1983 by Enrico Malato,
and published by
Benincasa of Rome.
The presentation and layout of the volume
series,
which aims not only
to
produce philologically
to a
broad readership. The Pastor fido
xxii)
and bibliography
translation
on
(xxiii-xxvi); the
and explanatory notes
the edition ("Nota
al testo,"
reflect the standards established for the
is
Neapolitan text appears with a parallel
volume
(1-311); the
313-320). 'What
makes
course, the parallel Italian translation, intentionally
Neapolitan
line
text.
at
cumbered while ensuring
ary history,
work and
and of
its
Italian
volume (and others pub-
and non-specialists
literal,
alike
is,
of
and the excellent notes,
immediately following the
to the
thus leaving the Neapolitan version unen-
that the translation
Clivio's "Introduzione" contains a
literary
this
Both the translation and the notes are referenced according
text,
(xi-
closes with philological notes
the bottom of each page,
numbering of the Neapolitan
fido as a
appeal
prefaced by a substantial introduction
lished in the series) extremely accessible to specialists
both of which appear
reliable editions but to
and the notes are conveniently
thorough and insightful discussion of
as a translation, of
its
at
hand.
II
pastor
importance within Neapolitan
liter-
contribution to our understanding of the lexical history of
—
254
-