Humanistic controversy with Boccaccio, Narrative mode...

Humanistic controversy with Boccaccio

In the footsteps of Petrarch in the XV century. the most outstanding of his pupils and successors went. They also pulled out of Decameron individual, ideologically most significant novels and also "translated" their language and style only revived humanistic Latin. Antonio Laski (1368-1441) retold a novel about the sulfur of Chappelletto (I, 1), Leonardo Bruni (1370-1444) - a novel about Prince Tankred (IV, 1), Bartolomeo Fazio (died in 1457) - a novel about Ruggieri (X , 1), Filippo Beroaldo from Bologna - a novel about Chimone (V, 1), and also a novel about Titus and Gesippo (X, 8), and a novel about Tancrede, especially beloved of the humanists, which he, however, did not forcibly present, in contrast to Bruni rhetorical Latin, but rather sloppy elegiac distichs. In creating the Renaissance narrative prose, the humanists of Quattrocento did not develop the style tradition of the "Decameron", but argued with it, replacing the medieval rhetoric poetic courses of Boccaccio with the incomparably less vital, but more classical periods of Cicero.

In some cases, the controversy with Decameron was conducted by humanists also on the basis of the national language and touched upon the basic structural principles of the artistic organization of the book of Boccaccio. In this case, the most revealing is the experience of Leonardo Bruni. Not satisfied with the translation into humanistic Latin of the first novel of the fourth day, Bruni composed in the popular language, so to speak, an optimistic version - a short story about Tsar Selevka (1438). This novel had a frame, and the object of literary polemics in it is directly named. Bruni portrayed a young aristocratic company gathered in one of the suburban Florentine villas, in which the story of Gismonde and Guiscardo (unfortunate lovers dying because of the cruelty of Tankred of Salerno, who does not allow his daughter to fall in love with a servant) is read .-- And .) After listening to the famous decameron novella, the company decides that the dramatic conflict depicted in it could get a more human resolution. In evidence, one of the young people tells a story about Selevka and his son, popular in the humanistic milieu, demonstratively sharply contrasting with the tragic cruelty of the Salerne prince the humane magnanimity of the Hellenistic king. Bruni's novella presupposed the possibility of moral re-education of the medieval society in the spirit of a new, morally separate morality from the church. According to the famous Florentine humanist, he reshaped the decameron's plot to show how much the ancient Greeks were superior to the humanity and nobility of the soul of the Italians of today. "

The narrative manner of Bandello

In novels there is a pure anecdote, but its percentage is small. However, not this repertoire determined the glory of Bandello. He became known as a poet of tragic everyday life, everyday phenomena of Italian life, shown so as to arouse curiosity and amaze imagination. The reality of his time, Bandello tries not to embellish; he also aspires not to invent, not to add anything, except for the necessary and necessary details for narration and very real. In his sometimes cruel manner in the manner of naturalistic details, there is little, it all comes down to playing the human passions ... & lt; ... & gt; Being a priest, and therefore a confessor, for whom the secrets of souls are revealed, Bandello does not believe in the improvement of the infinitely sinful humanity. The writer does not delude himself for a moment with the hope that humanity can be transformed by preaching or by example. The world is as it is, and in this world love and death reign supreme. Love Bandello is always erotic, unchecked, not restrained by reason; Passion he condemns, but calmly and without any rhetoric or pathos. Sometimes the actions leading to terrible crimes psychologically pose an insoluble puzzle for him.

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