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Updated: June 17, 2025
"Egli non v' ha dubbio, che le troppe imprudenti e temerarie parole, che il Tasso si lasciò uscir di bocca in questo incontro, furone la sola cagione della sua prigionia, e ch' è mera favola ed impostura tutto ciò, che diversamente è stato affermato e scritto da altri in tale proposito." Vol. ii. p. 33.
Mascardi, in his discourse of the "Doppia Favola," or double tale in plays, gives an instance of it in the famous pastoral of Guarini, called Il Pastor Fido, where Corisca and the Satyr are the under-parts; yet we may observe that Corisca is brought into the body of the plot and made subservient to it.
In the construction of a complicated plot, apart from the dramatic presentation thereof, he achieved a success not to be paralleled by any previous work in Italy, for the difference in the titles of the Aminta and the Pastor fido, the one styled favola and the other tragi-commedia, indicates a real distinction; and Guarini's proud claim to have invented a new dramatic kind was not wholly unfounded . It was this that caused Symonds to speak of his play as 'sculptured in pure forms of classic grace, while describing the Aminta as 'perfumed and delicate like flowers of spring. And lastly, it was this more elaborately dramatic quality that was responsible for the far greater influence exercised by Guarini than by Tasso, both on the subsequent drama of Italy and still more on the fortunes of the pastoral in England.
To this period likewise, if we are to believe the author, belongs a 'nova favola pastorale' entitled Calisto, by Luigi Groto, the blind littérateur of Adria, whose preposterous pastoral, Il pentimento amoroso, was produced between the Aminta and the Pastor fido.
This, however, is not essential to an appreciation of the precise nature of the step from the sacred representation to the lyric drama and its importance in laying the foundations of opera. This momentous step was taken late in the fifteenth century with the performance of Angelo Poliziano's "Favola di Orfeo" at the Court of Mantua to celebrate the return of the Cardinal Gonzaga.
It is found with the heading 'Favola pastorale' in an autograph MS., along with several other works of the author, including Egle, but with no indication of the date of composition. The author survived till 1573, but we may reasonably suppose that the piece was written before his departure from Ferrara in 1558.
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