Orlando Furioso, Part Two (Penguin Classics) by Ariosto, Ludovico and a Orlando Furioso: Part Two: pt. 2. Ariosto, Ludovico. Published by Penguin Classics.
Table of contents
FedEx does not generally deliver to PO Boxes or APO addresses so please be sure to give us a physical street address to deliver to; also unfortunately we cannot ship this item to Alaska or Hawaii. FINE BINDING of contemporary red morocco each cover with a fine border of triple fillets the spine in six compartments with five raised bands gilt-lettered in two the others decorated with borders of fine gilt fillets surrounding a single gilt daisy all edges gilt attributed to Derome in an early hand on the verso of the front free endpaper dated Baskerville designed his own typeface and used it to great effect in his magnum opus the Baskerville Bible.
In the preface to this edition Pietro Molini extolls the excellence of his edition 'on the grounds of the correctness of its text the diligence of his printer the 'notissimo Giovanni Baskerville' and the collaboration of the most celebrated artists of London and Paris' Ray. The artists who created the magnificent plates in these volumes were Gian Battista Cipriani from London who contributed 14 stipple-engraved plates by Francesco Bartolozzi and Jean-Michel Moreau the most sought-after and celebrated Parisian illustrator of the time.
First published in Ferrara in 40 cantos and in its complete form of 46 cantos in There are fantastical elements numerous subplots twists and turns and a myriad of minor characters. Catalogued by Kate Hunter. Engraved allegorical frontispieces by F. Moreau in each volume engraved frontispiece by F. Aveline after Cochin and a portrait of Arioste by Littret some occasional light browning.
Contemporary red morocco each cover decorated with a fine border of triple fillets the smooth spines with green morocco lettering-pieces and decorated all over with small gilt volutes all edges gilt. Orlando is driven "Furioso" or mad with love for the beautiful Angelica and must be restored to sanity in time to save Paris from the Moslem hordes.
Molini Librajo dell' Accademia Reale e G. There is a long list of subscribers and an errata leaf which are bound in volume I. Leaves A8 and D2 in volume 4 are cancels. Contemporary light brown calf gilt spines. With a portrait and 46 plates the plates drawn by G. The portrait drawn by Eisen and engraved by Fiquet.
Lacks plate 2 6 7 10 11 14 15 16 19 20 22 31 32 44 and Gaskell 48; Cohen-de Ricci 95; Gamba 62; Guidi p. Art of the French ill. Molini Librajo dell' Accademia Reale, e G. Few ink marks in notes in volume 1 else clean nice set. Con 45 grabados entre el texto. Impresin a doble columna. Cubiertas provisionales en cartulina.
Ludovico Ariosto (1474–1533)
Brossura editoriale illustrata pagine Antonio Zatta vols. Four engraved title-pages 58 full-page engravings within decorative ornate borders 36 smaller engravings and 51 engraved "argomenti". Uniformly bound in sheepskin with gilt devices on the boards dark red leather spine labels and marbled endpapers. Four ribbon markers in place. All edges are stained in a coated red. Boards are somewhat soiled two small nicks on the volume-four foredge and one small nick on the volume-three foredge.
Edges are somewhat mottled. Interiors are generally fine with occasional widely scattered foxing. Among the full-page engravings are a portrait of Ariosto the floorplan of his house and a facsimile of a holograph passage. A handsome and desirable set. First printing of this edition. Antonio Zatta, vols. Bastiano di Bartholomeo Honorati With woodcut illustrations for each canto above the "Argomento". Also Exposition by Ludovico Dolce and useful table or index. Rose's sentence structure is so often convoluted that Huggins' relative simplicity seems in comparison a marvel of syntactic clarity.
Gilbert gives us the plain meaning of the Italian accurately and sparely, while Waldman adorns it with silken grace, but neither brings us the POETRY of the poem, the vivifying power of its embodiment in verse. As for Slavitt, the offhand manner of his own verse can at times be irresistibly engaging, but for me is too often disengaged from any attempt to convey the actual meaning, energy, or artistry of the Italian. Of course, the aesthetic and incantatory effect of verse or prose rhythms and sonorities is cumulative, and can only begin to reveal itself in brief excerpts like these.
But when it comes to full command of the faculties needed to translate Ariostan epic poetry, it seems to me that, where these other noble translators stagger, stumble, or fall short, Reynolds courses on, unflagging; or rather, where their footsteps falter, she takes flight and soars. Is there room for improvement? Absolutely, should a translator with the gifts of a Lord Byron come along. But among those who have actually translated the poem, she is unmatchedand in this second volume she outdoes even herself. She could, I think, do with a bit more of Harington's sparkle and splendor, but I certainly stand by the conclusion to my review of Part One: Hers is not merely the best English translation of Ariosto, it is one of the best translations in English verse of any long poem ever.
If you're looking for a scintillating, sensual, intricate, astonishingly varied narrative tapestry of extravagant medieval fantasy, rollicking adventure, gripping peril, star-crossed romance, hilarious misadventure, and biting satire, nobody does it better than Ariosto. If you're looking to have all forty-six courses of that sumptuous chivalric banquet served to you in English on a silver charger, nobody does that better than Barbara Reynolds.
But like Walter Scott I would learn Italian to feed on this work in the original, it is so enrapturing. I gladly submit to those reads that take me epochally away and demand a great and gruesome gestation. I have taught and directed for the stage various of Shakespeare's works for forty years now and still revel in their creations.
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So Orlando for me is now at this later date in my experience vaulted into the firmament. I would learn Italian because there are those unexpected moments Reynolds' otherwise swooping translation hits a traffic bump, admittedly, Ariosto's own rhetorical patterns run so different than anything we commonly use but this work never well, once let me go, even reading passages out loud, marveling and laughing and I've gone back for a second dose immediately, this time beginning with the Introduction.
It's the threading of descriptive extravagance and seeming random and distracted narration with an embracing humor that lifts one away as though on Pegasus--although in Orlando it's a Hyppogriff.
Yes, one must occasionally toil through Ariosto's honoring of his patrons, the d'Este family, but that done, one can disrespectfully reflect upon who we treasure more--the barbaric barons or the humanely inspired. That said, if you yearn for a soaring, roaring, and delectable literary feast for to last longer than anything you imagined--I kept putting off finishing--indulge in, not just Orlando's, but Humanity's continuing Madness, glazed with a sauce of exquisite taste.
There is nothing like it. Kindle Edition Verified Purchase. I've given this book 4 stars, because I love this translation. But other reviews have covered that ground already. Beware, if you buy this on the kindle, that it was very poorly edited. But, in addition, this was obviously scanned and then released into the wild, with no further editing.
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Last letters are routinely dropped off the ends of lines. Ls and 1s are interchangeable. Some stanzas are missing numbers. The line that inspired me to write this review canto XXXV, stanza 19, l. I expect better out of Penguin. See all 6 reviews. Most recent customer reviews. Published on December 2, Published on September 26, What other items do customers buy after viewing this item? Pages with related products. See and discover other items: There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations.
View or edit your browsing history. Get to Know Us. English Choose a language for shopping. Amazon Music Stream millions of songs. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Of course, the aesthetic and incantatory effect of verse or prose rhythms and sonorities is cumulative, and can only begin to reveal itself in brief excerpts like these. But when it comes to full command of the faculties needed to translate Ariostan epic poetry, it seems to me that, where these other noble translators stagger, stumble, or fall short, Reynolds courses on, unflagging; or rather, where their footsteps falter, she takes flight and soars.
Is there room for improvement? Absolutely, should a translator with the gifts of a Lord Byron come along. But among those who have actually translated the poem, she is unmatchedand in this second volume she outdoes even herself.
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She could, I think, do with a bit more of Harington's sparkle and splendor, but I certainly stand by the conclusion to my review of Part One: Hers is not merely the best English translation of Ariosto, it is one of the best translations in English verse of any long poem ever. If you're looking for a scintillating, sensual, intricate, astonishingly varied narrative tapestry of extravagant medieval fantasy, rollicking adventure, gripping peril, star-crossed romance, hilarious misadventure, and biting satire, nobody does it better than Ariosto. If you're looking to have all forty-six courses of that sumptuous chivalric banquet served to you in English on a silver charger, nobody does that better than Barbara Reynolds.
But like Walter Scott I would learn Italian to feed on this work in the original, it is so enrapturing. I gladly submit to those reads that take me epochally away and demand a great and gruesome gestation. I have taught and directed for the stage various of Shakespeare's works for forty years now and still revel in their creations.
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So Orlando for me is now at this later date in my experience vaulted into the firmament. I would learn Italian because there are those unexpected moments Reynolds' otherwise swooping translation hits a traffic bump, admittedly, Ariosto's own rhetorical patterns run so different than anything we commonly use but this work never well, once let me go, even reading passages out loud, marveling and laughing and I've gone back for a second dose immediately, this time beginning with the Introduction.
It's the threading of descriptive extravagance and seeming random and distracted narration with an embracing humor that lifts one away as though on Pegasus--although in Orlando it's a Hyppogriff. Yes, one must occasionally toil through Ariosto's honoring of his patrons, the d'Este family, but that done, one can disrespectfully reflect upon who we treasure more--the barbaric barons or the humanely inspired.
That said, if you yearn for a soaring, roaring, and delectable literary feast for to last longer than anything you imagined--I kept putting off finishing--indulge in, not just Orlando's, but Humanity's continuing Madness, glazed with a sauce of exquisite taste. There is nothing like it. Kindle Edition Verified Purchase. I've given this book 4 stars, because I love this translation.
But other reviews have covered that ground already. Beware, if you buy this on the kindle, that it was very poorly edited. But, in addition, this was obviously scanned and then released into the wild, with no further editing. Last letters are routinely dropped off the ends of lines. Ls and 1s are interchangeable. Some stanzas are missing numbers. The line that inspired me to write this review canto XXXV, stanza 19, l. I expect better out of Penguin. See all 6 reviews.
Most recent customer reviews. Published on December 2, Published on September 26, Customers who viewed this item also viewed. Orlando Furioso Oxford World's Classics. A New Verse Translation. Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book?
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