For a long time, the reception of Ludovico Ariosto’s oeuvre in the German-speaking area has been restricted to Orlando furioso. When compared to the treatment reserved to the epic masterpiece, the interest in the Satires started relatively later, and their reception was much colder. This was due to the difficulty of transposing both the contents and the form of the texts. In my paper, I follow the track of Ariosto’s Satires’ translation history from the 18th to the 20th century, through an analysis of the main variants and modes of translation. Beginning with the eighteenth-century versions in prose by Johann Nikolaus Meinhard, Christian Joseph Jagemann and Wilhelm Heinse, and continuing with the first metric version by Christian Wilhelm Ahlwardt, I will arrive at Otto Gildemeister’s (1904) and Alfons Kissner’s (1907) rhymed translations of the Satires.
Le traduzioni tedesche delle Satire dell'Ariosto fra Settecento e Novecento
Francesco Rossi
2019-01-01
Abstract
For a long time, the reception of Ludovico Ariosto’s oeuvre in the German-speaking area has been restricted to Orlando furioso. When compared to the treatment reserved to the epic masterpiece, the interest in the Satires started relatively later, and their reception was much colder. This was due to the difficulty of transposing both the contents and the form of the texts. In my paper, I follow the track of Ariosto’s Satires’ translation history from the 18th to the 20th century, through an analysis of the main variants and modes of translation. Beginning with the eighteenth-century versions in prose by Johann Nikolaus Meinhard, Christian Joseph Jagemann and Wilhelm Heinse, and continuing with the first metric version by Christian Wilhelm Ahlwardt, I will arrive at Otto Gildemeister’s (1904) and Alfons Kissner’s (1907) rhymed translations of the Satires.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
