A ubiquitous presence in European chivalric literature, the multifaceted figure of the Saracen Other plays a vital role in shaping the knightly values and ideologies underpinning some of the most influential narrative poems of the Italian Renaissance. By combining historical research and close reading and bringing to bear a wealth of literary and documentary sources, some of which have never before been published, this book analyses portrayals of Saracens and their world in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso. Pavlova assesses for the first time the degree of realism in Boiardo's and Ariosto's representations of Islam and Islamic culture(s) and discusses the ideological implications of the two poets' innovative treatment of their Saracen characters. She locates these and other fifteenth- and early sixteenth-century chivalric works within the rich, vibrant history of interactions between Italian rulers and their Islamic counterparts as well as within the centuries-long literary tradition, going back to such archetypal texts as the Chanson de Roland and the Chanson d'Aspremont. Maria Pavlova is a Leverhulme Early Career Fellow in the School of Modern Languages and Cultures at the University of Warwick.

A ubiquitous presence in European chivalric literature, the multifaceted figure of the Saracen Other plays a vital role in shaping the knightly values and ideologies underpinning some of the most influential narrative poems of the Italian Renaissance. By combining historical research and close reading and bringing to bear a wealth of literary and documentary sources, some of which have never before been published, this book analyses portrayals of Saracens and their world in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso. Pavlova assesses for the first time the degree of realism in Boiardo's and Ariosto's representations of Islam and Islamic culture(s) and discusses the ideological implications of the two poets' innovative treatment of their Saracen characters. She locates these and other fifteenth- and early sixteenth-century chivalric works within the rich, vibrant history of interactions between Italian rulers and their Islamic counterparts as well as within the centuries-long literary tradition, going back to such archetypal texts as the Chanson de Roland and the Chanson d'Aspremont. Maria Pavlova is a Leverhulme Early Career Fellow in the School of Modern Languages and Cultures at the University of Warwick.

“This articulate, engaging, and well-documented study represents an important work of scholarship in its cross-cultural considerations of Italian Renaissance epic poetry.” Prize Committtee Citation, MLA Scaglione Priize for a Manuscript in Italian Literary Studies

An exploration of the many depictions of Charlemagne in the Italian tradition of chivalric narratives in verse and prose. Chivalric tales and narratives concerning Charlemagne were composed and circulated in Italy from the early fourteenth to the mid-sixteenth century (and indeed subsequently flourished in forms of popular theatre which continue today). But are they history or fiction? Myth or fact? Cultural memory or deliberate appropriation? Elite culture or popular entertainment? Oral or written, performed or read? This book explores the many depictions of the Emperor in the Italian tradition of chivalric narratives in verse and prose. Beginning in the age of Dante with the earliest tales composed for Italians in the hybrid language of Franco-Italian, which draw inspiration from the French tradition of Charlemagne narratives, the volume considers the compositions of anonymous reciters of cantari and the prose versions of the Florentine Andrea da Barberino, before discussing the major literary contributions to the genre by Luigi Pulci, Matteo Maria Boiardo and Ludovico Ariosto. The focus throughout is on the ways in which the portrait of Charlemagne, seen as both Emperor and King of France, is persistently ambiguous, affected by the contemporary political situation and historical events such as invasion and warfare. He emerges through these texts in myriad guises, from positive and admirable to negative and despised.

In The Romance Epics of Boiardo, Ariosto, and Tasso, Jo Ann Cavallo attempts a new interpretation of the history of the renaissance romance epic in northern Italy, focusing on the period's three major chivalric poets. Cavallo challenges previous critical assumptions about the trajectory of the romance genre, especially regarding questions of creative imitation, allegory, ideology, and political engagement. In tracing the development of the romance epic against the historical context of the Ferrarese court and the Italian peninsula, Cavallo moves from a politically engaged Boiardo, whose poem promotes the tenets of humanism, to an individualistic Tasso, who opposed the repressive aspects of the counter-reformation culture he is often thought to represent. Ariosto is read from the vantage of his predecessor Boiardo, and Cavallo describes his cynicism and later mellowing attitude toward the real-world relevance of his and Boiardo's fiction. The Romance Epics of Boiardo, Ariosto, and Tasso is the first critical study to bring together the three poets in a coherent vision that maps changes while uncovering continuities.

The fictional Don Quixote was constantly defeated in his knightly adventures. In writing Quixote's story, however, Miguel Cervantes succeeded in a different kind of quest — the creation of a modern novel that ‘conquers’ and assimilates countless literary genres. /spanDon Quixote among the Saracens considers how Cervantes's work reflects the clash of civilizations and anxieties towards cultural pluralism that permeated Golden Age Spain. Frederick A. de Armas unravels an essential mystery of one of world literature's best known figures: why Quixote sets out to revive knight errantry, and why he comes to feel at home only among the Moorish ‘Saracens,’ a people whom Quixote feared at the beginning of the novel. De Armas also reveals Quixote's inner conflicts as both a Christian who vows to battle the infidel, but also a secret Saracen sympathizer. While delving into genre theory, Don Quixote among the Saracens adds a new dimension to our understandings of Spain's multicultural history.

This unique collection of essays examines the complex significations of 'Asia' in the literary and cultural production of Early Modern England. Contributors come from a range of backgrounds to bring a range of perspectives to this topic.