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Updated: May 23, 2025
The nymph, Celia, thereupon falls in love with both her rescuers at once, and it is only when one of them proves to be her long-lost brother that she is able to make up her mind between them . This brother had been carried off as a child by the Thracians together with his betrothed Filli, and having escaped was lately returned to his native land.
It is a preface 'To the Reader' intended for a translation of the Filli, and another copy also is extant, both being found among the papers of Sir Edward Sherburne, though in neither does his name actually occur. In the course of the preface the writer quotes 'the Censure of my sometime highly valued, and most Ingenious friend S'r.
But Ferrara has other distinctions. Bonarelli here, at the academy of gl'Intrepidi, read his able defence of that pastoral comedy so much applauded and censured, called Filli di Sciro; and here the great Ariosto lived and died.
The discovery of Bellula's identity recalls more particularly, perhaps, that of Chloe's in Longus' romance, or may possibly indicate an acquaintance with Bonarelli's Filli di Sciro, which might also be traced in the attribution to centaurs of the character long identified with satyrs in pastoral tradition.
The pathos of expression in the half-unconscious face and helpless, almost lifeless hands, which seem to seek support, is particularly fine. "Verum stabas, optima Mater, juxta crucem Filli tui, non solum corpore, sed mentis constatia." This great subject belongs more particularly to the Life of Christ.
Sheridan, however, knew nothing of French, and neglected every opportunity of learning it, till, by a very natural process, his ignorance of the language grew into hatred of it. The point in the Italian is, as far as I can remember it, expressed thus: In van, o Filli, tu chiedi Se lungamente durera Pardore Chi lo potrebbe dire? Alas, my Caelia, can I resolve the question?
In this translation a dialogue between the characters 'Prologus' and 'Argumentum' takes the place of Guarini's long topical prologue, and a short conventional 'Epilogus' is added at the end. It was not till 1655 that the Filli di Sciro of Bonarelli, which has usually been thought to hold the third place among Italian pastorals, appeared in English dress.
The last act is spun out to three scenes in accordance with the demand for greater regularity of dramatic construction, but gains nothing but tedium thereby. The other play to be considered connects itself in plot rather with the Pastor fido. It is the Filli di Sciro, the work of Guidubaldo Bonarelli della Rovere.
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