Ariosto : Ludovico (1474-1533), Italian epic & lyric poet & playwright.
... proves particularly deadly" when the half-conscious dream-levels have to find utterance. "In Tasso, or Spenser, or . Sidney's Arcadia there is a sickly taint of the factitious, of pastiche.... Even Ariosto, who shields himself behind a mocker's grin, with his interminable necromancers and magic steeds gives too much the impression of a grown man in a green garden playing at bears. And even in Shakespeare's... yet for him the speci- Page 49 fically Romantic remains a certain sight and sensibility and speech of the vital energy such as we find amongst the Elizabethans. Even Tasso and Ariosto whom Lucas criticises are not really Classical: they are Romantic but quasi-Romantic and open to criticism because something in the Italian spirit mingling with the Graeco-Roman cannot altogether express... terms "the taint of the factitious, of pastiche". But the English spirit is a mixture of racial strains opening it to possibilities of a plenary Romanticism and the censure di- rected against Tasso or Ariosto would hardly apply to Spen-ser's poetry on the whole or to Shakespeare's Tempest or any other play. The Teuton and the Celt whose meeting-place, according to Sri Aurobindo, is Romanticism are part ...
... unattempted yet in prose or rhyme. 3 Page 69 Ariosto has substantially an almost exact analogue serving as Milton's model: Cosa non detta in prosa mai, ne in rima, which, in a faithful translation, would read: Things spoken not in prose yet or in rhyme. Milton has transfigured the expression. In Ariosto the line is a little pedestrian and the internal jingle of ...
... breadth, there is a controlled power, there is an harmonious intensity, which distinguish it from poetic articulations such as we find in Ariosto's Orlando Furioso or Spenser's Faerie Queane. Ariosto and Spenser can be very poetic, but they are not epic in tone. Even when they bring a frame of mind akin to Homer's or Virgil's, Dante's or Milton's, something in the way of their speech lacks the... million roads of life, His steps familiar with the lights of heaven Tread without pain the sword-paved courts of hell; There he descends to edge eternal joy. Whereas the tone of Ariosto is not intense enough, the tone of Shakespeare is intensity itself, but, as Sri Aurobindo would say, it is the intensity of a tremendous vital thrill which makes the poetry unrestrainedly romantic ...
... breadth, there is a controlled power, there is an harmonious intensity, which distinguish it from poetic articulations such as we find in Ariosto's Orlando Furioso or Spenser's Faerie Queane. Ariosto and Spenser can be very poetic, but they are not epic in tone. Even when they bring a frame of mind akin to Homer's or Virgil's, Dante's or Milton's, something in the way of their speech lacks the... life, His steps familiar with the lights of heaven Tread without pain the sword-paved courts of hell; There he descends to edge eternal joy. [p. 592] Whereas the tone of Ariosto is not intense enough, the tone of Shakespeare is intensity itself, but, as Sri Aurobindo would say, it is the intensity of a tremendous vital thrill which makes the poetry unrestrainedly romantic ...
... blaze of action and assertion and more of the twilight revelation of inner striving and struggle and achievement. Of the European epic poets between Dante and Milton, two Italians, Ariosto andTasso, and the Portuguese, Camoens, stand rather in the forefront. Camoens's Os Lusiadas preceded by a few years Tasso's Gerusalemme Liberata, and was itself preceded by about sixty years... the paladins of France, the illustrious Vasco da Gama for Aeneas himself. 16 It is clear Camoens is anxious to make out a case for his heroes as against the heroes celebrated by Ariosto and Virgil. But what is of particular significance in Os Lusiadas is that the scene of action has now overflowed Europe and the Mediterranean, and it is not merely a secular Empire that Carnoens's ...
... in its original power of harmonising construction, characteristic of the Elizabethan, almost of the English mind. Spenser's intention seems to have been to combine in his own way the success of Ariosto with the success of Dante. His work was to have been in its form a rich and beautiful romance; but it must be too at the same time a great interpretation by image and symbol, not here of the religious ...
... Sri Aurobindo - the Poet 316 The Poetic Genius of Sri Aurobindo 1,55,321 Ananda 176,209,247 Anne, Countess of Winchelsea 119 Aquinas, Thomas 207 Arberry,A.G. 70 Ariosto 187 Aristotle 207 Arnold/Edwin 217 aśva 302 Aurobindonian Age 39,48 art 216 blank verse 219 consciousness 208 effect 68 God-glimpse 209 integration ...
... sweetly intense severity of Dante thrilled and toned his nerves - and, in addition to these formative forces, Page 57 there were the diverse poetic qualities brought by Tasso and Ariosto and Camoes and all other continental writers who had essayed the epic strain in one manner or another, in long stretches or short. The Hebrew Prophets and the Christian Apostles were profoundly ...
... ..Me, of these Not skilled nor studious, higher argument Remains... He has a theme better in its own way and for his particular purpose than the themes of Homer and Virgil, of Ariosto and Tasso. Milton's ostensible aim is to "assert Eternal Providence,/And justify the ways of God to men." It is almost a theological aim; and he would therefore try to effect a marriage of theology ...
Share your feedback. Help us improve. Or ask a question.