Fiordispina’s English Afterlives

Ariosto, the Orlando Furioso and English Culture ◽

10.5871/bacad/9780197266502.003.0007 ◽

2019 ◽

pp. 125-144

Author(s):

Ita Mac Carthy

Keyword(s):

Sexual Desire ◽

English Literature ◽

Relevance Theory ◽

Minor Characters ◽

John Gay ◽

Orlando Furioso

This essay examines the fortunes in English literature of one of Ariosto’s minor characters, the Spanish princess Fiordispina. It focuses, in particular, on the very different ways in which English authors Sir John Harington and John Gay cope (or fail to cope) with the abundant gender confusion and free-floating sexual desire of the Fiordispina episode in the former’s Orlando Furioso Translated into Heroical Verse (1591) and the latter’s ‘The Story of Fiordispina’ (c. 1720) and Achilles: A play (1732). Framed by Ali Smith’s reflections in Girl Meets Boy (2007) on rewriting old stories for new circumstances, it draws on relevance theory and offers new readings of how Harington and Gay amplify, abridge or alternatively alter the original in accordance with their need to be relevant to the readers for whom they write.

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The Analysis Of Moral Value And Character In Novel “Negeri 5 Menara” By Ahmad Fuadi

JISIP (Jurnal Ilmu Sosial dan Pendidikan) ◽

10.36312/jisip.v4i3.1248 ◽

2020 ◽

Vol 4 (3) ◽

Author(s):

Asrul Hasby ◽

M. Jagat Islami

Keyword(s):

Structural Analysis ◽

English Literature ◽

Moral Values ◽

The Other ◽

The Novel ◽

Moral Value ◽

Minor Characters ◽

Method Approach ◽

Descriptive Method ◽

Minor Character

This research is descriptive method. By employing descriptive method, this research was trying to present an analysis of moral value and character in novel Negeri 5 Menara novel by Ahmad Fuadi. Most of the data taken from books and internet references. It aims at finding out the differences between the major character and the minor character and the moral value. This study is structural analysis by employing descriptive method approach. This research is expected to be able to identify the specific differences between the major character and the minor character and the moral value. Hopefully the writer is able to identify some differences of the major and minor characters and find the moral value of the novel. As the result of this research we can identify some character differences. In factual, the major character and the minor character are found in Negeri 5 Menara novel, but they have some differences themselves. And also the moral value is found. There were six major characters as the protagonist that were grouped into “Sahibul Menara”. They were Alif Fikri, Raja Lubis, Said Jufri, Dulmajid, Atang Yunus, and Baso Salahuddin. The other characters in the novel were minor characters, such as Ayah, Amak, Kiai Rais, Ustad Salman, and Tyson. The differences between the major characters and the minor characters in the novel were the major characters that took some important role in the story and the minor characters who did not take important role. The minor characters appeared only to support the major characters even though the minor characters showed up some times. The moral values which could be taken from the novel “Negeri 5 Menara” were sincerity, patience, honesty, and leadership as characterized in the novel. Finally the writer suggests to readers especially English literature students to conduct more research for understanding the analysis of protagonist character.

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Ariosto, the Orlando Furioso and English Culture

10.5871/bacad/9780197266502.001.0001 ◽

2019 ◽

Keyword(s):

English Literature ◽

Dynamic Responses ◽

Criticism And Interpretation ◽

Orlando Furioso ◽

The Enlightenment ◽

History Of ◽

Nineteenth And Twentieth Centuries ◽

English Stage ◽

Modern Era ◽

English Culture

The volume assesses the changing impact on English culture over 500 years of Ariosto’s poem, the Orlando Furioso, first published in Italy in 1516, and subsequently in an expanded version in 1532. Individual chapters address the recurring presence of Ariosto’s poem in English literature, but also the multimedial nature of the transmission of the Furioso into English culture: through the visual arts, theatre, music and spectacle to video games and the internet, as well as through often heated critical debates. The introduction provides an overview of the history of criticism and interpretation of the Furioso in England. Within the four main sections – entitled: Before reading – the image; From the Elizabethans to the Enlightenment; Gothic and Romantic Ariosto; Text and translation in the modern era – individual studies explore key moments in the reception of the poem into English culture: the adaptation and translation of the poem among the Elizabethans; Milton’s detailed appreciation of the work; and the ambivalent attitudes of eighteenth-century writers and critics; the influence of illustrations to the poem; and its transformation into opera for the English stage. Emphasis is also placed on: the dynamic responses of Romantic writers to Ariosto; the crucial work of editors and translators in the nineteenth and twentieth centuries; and the stimulating adaptations and rewritings by modern authors. The volume concludes with a comprehensive bibliography.

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Shenstone and Richard Graves's Columella

PMLA ◽

10.2307/458177 ◽

1934 ◽

Vol 49 (2) ◽

pp. 566-576

Author(s):

Charles J. Hill

Keyword(s):

Special Interest ◽

English Literature ◽

Title Page ◽

Interesting Point ◽

Minor Characters ◽

Modern Reader ◽

History Of ◽

Obituary Notice

In 1779 James Dodsley published a slight piece of fiction entitled Columella; Or, The Distressed Anchoret. The author of that work was the Rev. Richard Graves of Claverton, who kept his name from the title page, preferring to figure there as “the author of The Spiritual Quixote,” a clever satire on the Methodists by which he had won attention six years before. This latter work went through four editions before 1800 and was deservedly revived in a handsome reprint for the modern reader in 1926, but the only edition of Columella was the first. Special interest attaches to Columella today, however, because of its connection with the poet, William Shenstone. Graves and Shenstone had been intimate friends. Their friendship began in 1732 when both were undergraduates of Pembroke College, Oxford, and endured with great warmth of affection until Shenstone's death in 1763, when Graves found himself an executor of his friend's will. During Graves's lifetime (he lived on until 1804, one of the few nonagenarians in the history of English literature) it was apparently known that the character of Columella had been created in the image of Shenstone, for the fact was mentioned in the obituary notice of Graves in the Gentleman's Magazine? That interesting point has been duly remarked by recent writers, but as yet nobody has demonstrated how startlingly close the portrait is. In a like manner identifications of minor characters in Columella have been mentioned, but the suggestions, unsupported by proof, have remained only good intuitions. I propose in the following paragraphs to discuss the origins of certain characters in Columella, devoting special attention to showing that Columella himself is a highly intimate portrait of Shenstone.

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