Giordano Bruno: Philosopher of the Renaissance by Gatti Hilary;

Author:Gatti, Hilary;
Language: eng
Format: epub
Publisher: Taylor and Francis

Notes

1 Weiner, A.D. (1981), ‘Expelling the beast: Bruno’s adventures in England’, Modern Philology, May, p. 2.

2 Cf. ibid., and Ciliberto, M. (1992), Giordano Bruno, Roma-Bari: Laterza, ch. 2 (L’esperienza inglese). The quotation is from Ciliberto, p. 168 (my translation).

3 Romanticized versions of the ‘lowly native vs. exalted foreign paramour’ dilemma will continue to thrive on the English stage for another two decades (see below the reference to the Merchant of Venice, where a similar contrast is enacted).

4 The present discussion of The Tempest is based on my doctoral thesis, ‘“Fulvae harenae”: il macrotesto classico della Tempesta’, Università degli Studi di Roma ‘La Sapienza’, 1998.

5 Most recently and importantly, see Hamilton, D.B. (1990), Virgil and The Tempest. The Politics of Imitation, Columbus, OH: Ohio State University Press, which proposes a view of Shakespeare’s relationship with Virgil’s text diverging from the one expressed in this chapter.

6 All references to Shakespeare’s plays are to The Complete Works, ed. S. Wells, G. Taylor, J. Jowett and W. Montgomery, Oxford: Clarendon, 1988. References to classical works are to the relevant Loeb edition.

7 BOeuC I, 59.

8 BDI, 142 and 735–38.

9 The Tempest, 2.1.79–98.

10 Bate, J. (1993), Shakespeare and Ovid, Oxford: Clarendon, p. 243.

11 Besides Jonathan Bate’s comment quoted above, see Kott, J. (1976), ‘The Aeneid and The Tempest’, Arion, n.s. 3, p. 424: ‘The insistent allusions to “widow Dido” seem to be what Roman Jakobson would call a “metalingual” sign, supplying the receiver with the code in which a message is to be encoded. Shakespeare is telling us: “Remember the Aeneid”.’

12 The similarity between the two figures is underlined by their being mentioned one after the other in Golding’s prefatory Epistle to his translation of the Metamorphoses, vv. 511–26.

13 Being able to raise the dead was one of the most horrifically distinctive characteristics of Medea, and one which, carried over into Prospero’s description of his own magic in The Tempest 5.1, lends the latter a strong overtone of darkness.

14 This is where the influence of Tancred and Gismund may also be relevant. In this play, in fact, as in its Boccaccian source, an encounter of the two lovers is witnessed by the woman’s father, as it is here by Prospero (though in this case not inadvertently). This would strengthen the Dido connection, as another recognized source of Wilmot’s play is Lodovico Dolce’s Didone.

15 Cf. The Tempest, 5.1.174–8:

MIRANDA Sweet lord, you play me false.

FERDINAND No, my dearest love,

  I would not for the world.

MIRANDA Yes, for a score of kingdoms you should wrangle,

  An[d] I would call it fair play.

16 www.chivalricorders.org/orders/other/goldflee.htm (23 January 2001): ‘The most renowned of all Collar Orders, the Golden Fleece is now divided into two separate and distinct institutions, albeit both using similar regalia. The senior, given by the King of Spain, has at least in part the features of a State Order but is nonetheless the successor of the original Burgundian foundation. Today it is the highest ranking and most prestigious of the Chivalric Orders of the Crown of Spain. The later Austrian or,

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