Starting from the quotation that closes the first Quijote (Orlando furioso, XXX,16), the paper discusses the strategies of interruption, deferment, suspension and closure in Cervantes and Ariosto. Examples are provided in the forms of metanarration and on the relationship between the space of writing and the outer space.
Cide Hamete y la estirpe de Turpín
José Manuel Martín Morán
Cide Hamete has traditionally been considered as one of the key elements of Cervantes’ parody of the books of chivalry. The topic of the manuscript found and that of the chivalrous pseudo-author are undoubtedly at the origin of this figure; or at least in that of Cide Hamete in Quijote’s part I, because as regards the 1615 edition it seems more appropriate to relate it with the Turpin of Boiardo and Ariosto. This article carries out a comparative analysis of the functions of the three fictitious authors in order to clarify the possible Italian ancestry of the Cervantine moor.
In this essay a Neoplatonic interpretation of the history of Marcela and Grisostomo is proposed, in which the question of unrequited love, previously discussed by Cervantes in La Galatea, is restated, linking it with Ficino’s De Amore, and with Castiglione’s treatise Il Cortegiano.
Garcilaso’s reminiscences scattered in the Persiles perform different functions in relation to the context in which they occur. On the one hand, his poetic formulations may offer to Cervantes a lexical corpus suitable for several different enactments; on the other hand, in some episodes they produce a dialogical confrontation, that reflects a parodic purpose, or implies a critical review of the love topics.
Sobre la escritura del “hablar” en La Celestina y en el Quijote
Francisco Lobera Serrano
The difficulty of defining what type of language is used by the characters of Comedia o Tragicomedia de Calisto y Melibea, helps us to reflect about spoken language as such and its representation in literature. Moreover, the theme of the dialogue as a literary genre in the Renaissance and its relation and difference with the dialogue in the narrative of the XVIth century could make us understand key aspects of the uniqueness of La Celestina and a possible relation with Don Quijote in the composition and the nature of the dialogues.
Imitación y ejemplaridad: Bandello, Cervantes y Avellaneda
Luis Gómez Canseco
Cervantes and Alonso Fernández de Avellaneda used Matteo Bandello as a source for some of their stories. This imitation reflects the opposite conception they had of literature and the world.
Contrapunto hispano-italiano en La Señora Cornelia
Playing subtly with national stereotypes, Cervantes creates in his La Señora Cornelia an amusing Spanish-Italian counterpoint. Cervantes offers two Spanish gentlemen the opportunity to outdo in distinction and nobility some descendants of the dynasties of Este and Bentivoglio, which embody the quintessence of Italian courtesy. According to this perspective, the novella deserves more attention for the exquisitely literary theme Cervantes develops – the so-called “cortesía de España”, treated by Giraldi Cinzio in his Ecatommiti (VI,4 and X,5) – rather than for its historical references to Bologna and Ferrara, where the action is set.
The article discusses the Canon of Toledo (Don Quixote I, 48), in the context of the recent discussions on the poetic questions of the Italian Renaissance (Hempfer, Javitch, Sberlati, Jossa) and distinguishes between the role that the romanzi and books of chivalry play, respectively, in the different literary systems – Italian and Spanish. Starting from these considerations, the association of Cervantes’ ideas with Tasso’s ideas about variety and prose fiction can be re-examined.
Based on the treatises by Giovambattista Giraldi Cinzio (Discorso intorno al comporre dei romanzi) and Torquato Tasso (Discorsi […] dell’arte poetica, et in particolare del poema heroico), this essay analyzes the techniques Cervantes uses in Novelas ejemplares to represent the characters’ feelings, thus stirring the readers’ emotions. The representation of gestures, in particular, is considered both as an external manifestation of the characters’ nature, and as records of codified social acts.
In my previous essays on the document written by Cervantes in 1580, Información en Argel, which I deal with here as well, I have not sufficiently isolated the duality “history-fiction” or “poetry”, a word used here and especially by sixteenth-century Italian treatise writers, in reference to “purely imaginative literature”. It is what I develop in this article when I analyze the “question IX”, a passage where Cervantes relates one of his attempts to flee from Algiers. For the first time Cervantes elaborates this text carrying out several narrative techniques that will recur in his poetics: implicit quotes, construction of argumentation, play of intermediaries, authors and narrators, relationship between history and fiction at the base of the role of the “Arabian historian”, i.e. the “true author”, Cide Hamete Benengeli in Don Quijote.
Miguel de Cervantes, neither a flatterer nor a servile personality, like other artists of his time earned protection and favours from Spanish and Italian aristocrats. My work intends to show new light on many Italian prominent figures (nobles, writers, ecclesiastics, military men …) with whom Cervantes had relations, and rectifies some misconceptions about them (e.g., Pirro Bocchi and Francesco Musacchi, remembered by the declaration of “limpieza de sangre” in 1569, and Gian Francesco Locadello for his donation to the sister of the writer, Andrea).
El canto de don Quijote en los libretos de ópera italianos
Maria Caterina Ruta
During the last decades, the critical function of the reception of Quijote over the centuries has been highlighted. In may be worth investigating the interest that musicians and choreographers demonstrated after the years following the publication of the two parts of the book. The authors of the libretti had to select the materials they wanted to use according to the chosen musical genre, the cultural environment of the moment and the expectations of the audience. In this work, the development of the quixotic themes in the history of Italian music and ballet is analyzed synthetically from Don Chisciotte della Mancia by Morosini and Fedeli (Venice, 1680) to Don Chisciotte by Vito Frazzi (Florence, 1952 ) with some considerations about contemporary musical production.
In 1963 Andrea Camilleri wrote a libretto for an opera buffa by the italian composer Franco Mannino based on Cervantes El retablo de lasmaravillas. The article studies Camilleri’s adaptation in the largest context of the musical and literary diffusion of Cervantes Entremeses in Italy during the XXth century, as well as analysing the libretto and his modifications by the point of view of Camilleri’s ideas about theatre and, especially, of Pirandello’s influence.
Miguel de Cervantes is without doubt one of the most relevant authors for Ippolito Nievo’s imagination. His literary production shows a pervasive use of humor as a hermeneutic tool to understand reality. In Il Barone di Nicastro, a short satirical novel published in 1857, Nievo makes use, often verbatim, of various Quixotian motifs, and by fashioning a plot that closely resembles that of Cervantes’ masterpiece, he produces a new interpretation of it.
Translations, in Benvenuto Terracini’s words, «are to be inserted (...) as a special case in the dialectic of tradition and innovation on which the historical evolution of language is based». Moving from this assumption, the analysis I propose here discusses, chronologically, some of the Italian versions of Don Quijote in the cultural context in which they were published. I also discuss Benedetto Croce’s influence on the theory and, in my opinion, also on the praxis of translation.
This essay analyzes the reception of Don Quixote in Fascist Italy through the documentation provided y the main national newspapers «La Stampa» and «Corriere della sera». A strong influence of Unamuno’s interpretation of the knight errant shapes the articles most aligned with the regime’s values; on the other hand, a claim on Cervantes’ humanistic culture is raised by intellectuals and philologists not interested in a fascist re-reading of the hero.
The transpositions of the Cervantes’ novel into theater, poetry and – above all – the visual arts reveals the multifaceted identity of don Quixote, as well as the trend for it to absorb new elements in different contexts and to transform into new characters. The Don Quixote staged by Girolamo Gigli in 1698, for example, recovers his wits looking in a mirror, thus showing a clear influence from Tasso’s Jerusalem Delivered and its 17th century illustrations, which is recognizable also in the Broadway musical Man of La Mancha by Dale Wassermann (1967). On the other hand, several 19th-century engravers didn’t hesitate to highlight some elements derived from Ariosto, as the episode when Quixote writes his thoughts on trees and stones and tries to imitate Roland’s madness, while the work of Tony Johannot and Bartolomeo Pinelli may suggest some influence of the Don Quixote illustrations on those of Manzoni’s Promessi Sposi.
The article describes and analyzes, from the double point of view of intertextuality and intermediality, the image of don Quixote proposed by the master of contemporary art Mimmo Paladino in the spectacular edition of Cervantes’s masterpiece printed by Editalia in 2006 (Don Chisciotte). This special edition – in Alfredo Giannini’s Italian version (1923) – is enriched by over 150 illustrations, watercolors and engravings of the Italian artist.