John Florio is best known to the present day for his great translation of Montaigne's Essays. To his contemporaries he was one of the most conspicuous figures of the literary and social cliques of the time. By her reconstruction of Florio's life and character, Frances Yates' 1934 text throws light upon the vexed question of his relations with Shakespeare.
A Worlde of Wordes, the first-ever comprehensive Italian-English dictionary, was published in 1598 by John Florio. One of the most prominent linguists and educators in Elizabethan England, Florio was greatly responsible for the spreading of Italian letters and culture throughout educated English society. Especially important was Florio’s dictionary, which – thanks to its exuberant wealth of English definitions – made it initially possible for English readers to access Italy’s rich Renaissance literary and scientific culture. Award-winning author Hermann W. Haller has prepared the first critical edition of A Worlde of Wordes, which features 46,000 Italian entries – among them dialect forms, erotic terminology, colloquial phrases, and proverbs of the Italian language. Haller reveals Florio as a brilliant English translator and creative writer, as well as a grammarian and language teacher. His helpful critical commentary highlights Florio’s love of words and his life-long dedication to promoting Italian language and culture abroad.
An NYRB Classics Original Shakespeare, Nietzsche wrote, was Montaigne’s best reader—a typically brilliant Nietzschean insight, capturing the intimate relationship between Montaigne’s ever-changing record of the self and Shakespeare’s kaleidoscopic register of human character. And there is no doubt that Shakespeare read Montaigne—though how extensively remains a matter of debate—and that the translation he read him in was that of John Florio, a fascinating polymath, man-about-town, and dazzlingly inventive writer himself. Florio’s Montaigne is in fact one of the masterpieces of English prose, with a stylistic range and felicity and passages of deep lingering music that make it comparable to Sir Robert Burton’s Anatomy of Melancholy and the works of Sir Thomas Browne. This new edition of this seminal work, edited by Stephen Greenblatt and Peter G. Platt, features an adroitly modernized text, an essay in which Greenblatt discusses both the resemblances and real tensions between Montaigne’s and Shakespeare’s visions of the world, and Platt’s introduction to the life and times of the extraordinary Florio. Altogether, this book provides a remarkable new experience of not just two but three great writers who ushered in the modern world.
This books aims to demonstrate that John Florio, famous translator, teacher and lexicographer, was also a wizard in poetry, involved in the production of sonnets. Like an acrobat of words, jumping from the Italian Petrarchan sonnet to the English iambic pentameter, this book unveils a new, extraordinary side of Florio's multifaceted personality, a hint that his career as tutor, linguist, and translator was only a fragment of a much intriguing, gifted genius the world needs to recognise.
The small but influential community of Italians that took shape in England in the fifteenth century initially consisted of ecclesiastics, humanists, merchants, bankers and artists. However, in the wake of the English Reformation, Italian Protestants joined other continental religious refugees in finding Tudor England to be a hospitable and productive haven, and they brought with them a cultural perspective informed by the ascendency among European elites of their vernacular language. This study maintains that questions of language are at the centre of the circulation of ideas in the early modern period. Wyatt first examines the agency of this shifting community of immigrant Italians in the transmission of Italy's cultural patrimony and its impact on the nascent English nation; Part Two turns to the exemplary career of John Florio, the Italo-Englishman who worked as a language teacher, lexicographer and translator in Elizabethan and Jacobean England.
A Worlde of Wordes, the first-ever comprehensive Italian-English dictionary, was published in 1598 by John Florio. One of the most prominent linguists and educators in Elizabethan England, Florio was greatly responsible for the spreading of Italian letters and culture throughout educated English society. Especially important was Florio's dictionary, which thanks to its exuberant wealth of English definitions made it initially possible for English readers to access Italy's rich Renaissance literary and scientific culture. Award-winning author Hermann W. Haller has prepared the first critical edition of A Worlde of Wordes, which features 46,000 Italian entries among them dialect forms, erotic terminology, colloquial phrases, and proverbs of the Italian language. Haller reveals Florio as a brilliant English translator and creative writer, as well as a grammarian and language teacher. His helpful critical commentary highlights Florio's love of words and his life-long dedication to promoting Italian language and culture abroad.
Applying recent developments in new historicism and cultural materialism - along with the new perspectives opened up by the current debate on intertextuality and the construction of the theatrical text - the essays collected here reconsider the pervasive influence of Italian culture, literature, and traditions on early modern English drama. The volume focuses strongly on Shakespeare but also includes contributions on Marston, Middleton, Ford, Brome, Aretino, and other early modern dramatists. The pervasive influence of Italian culture, literature, and traditions on the European Renaissance, it is argued here, offers a valuable opportunity to study the intertextual dynamics that contributed to the construction of the Elizabethan and Jacobean theatrical canon. In the specific area of theatrical discourse, the drama of the early modern period is characterized by the systematic appropriation of a complex Italian iconology, exploited both as the origin of poetry and art and as the site of intrigue, vice, and political corruption. Focusing on the construction and the political implications of the dramatic text, this collection analyses early modern English drama within the context of three categories of cultural and ideological appropriation: the rewriting, remaking, and refashioning of the English theatrical tradition in its iconic, thematic, historical, and literary aspects.
