Don Beecher – författare

Ludovico Ariosto's Orlando furioso is one of the masterpieces of the Renaissance, a work which, many argue, signalled the apogee of Renaissance fancy on the precipice of irony and decline. This collection of essays brings together twelve noted Italian and American scholars to provide a complete picture of Ariosto and all his works, covering topics such as historical criticism relating to Ariosto's place and time; philological investigations into the varying literary styles of the author, especially outside of the Furioso; Ariosto's extrinsic relationships with other literary traditions; and formal and thematic excavations of the immanent aesthetics of the Furioso.Each essayist acknowledges the fact that Ariosto's creations are charged with allusions and allegiances variously inviting recognition or demanding the status of record. This reading of his works reveals that Ariosto was not a writer who believed, as it was previously thought, that literature is something escapist or fantastic in nature, but one who, in writing and re-writing his works, tried to re-interpret literary tradition while incorporating the new literary instruments that were available to him at the time: Ariosto's literary production is an integration of tradition and invention. This new reading of his work will be essential to any Italianist's library.

A rich and multi-faceted aspect of the Italian Renaissance, the comedy has been largely overlooked as a cultural force during the period. In Renaissance Comedy, editor Donald Beecher corrects this oversight with a collection of eleven comedies representative of the principal styles of writing that define the genre. Proceeding from early, 'erudite' imitations of Plautus and Terence to satires, sentimental plays of the middle years, and later, more experimental works, the development of Italian Renaissance comedy is here dissected in a fascinating and vivid light.This first of two volumes boasts five of the best-known plays of the period, each with its own historical and critical introduction. Also included is a general introduction by the editor, which discusses the features of Italian Renaissance comedy, as well as examines the stage histories of the plays and what little is known, in many cases, of the circumstances surrounding their original performances. The introduction raises questions concerning the nature of audiences, the festival occasions during which the plays were performed, and the academies which sponsored many of their creations.As a much-needed reappraisal of these comedic plays, Renaissance Comedy is an invaluable look at the performance history of the Renaissance and Italian culture in general.

In this second volume of Renaissance Comedy, Donald Beecher presents six more of the best-known plays of the period, each with its own introduction, reading notes, and annotations. Beecher's general introduction, though stand-alone, complements and extends the historical and critical essay prefacing the first volume. Together, the eleven plays in both volumes illuminate the range, variety, and development of the Italian comedy.The second volume of Renaissance Comedy raises fascinating questions about the uses of classical literature, the conventions of comedy, the politics of theatrical production, and the representation of contemporary social issues. Though it is clear that comedic plays exercised considerable influence over the development of European drama, these plays are above all remarkable for their sheer wit and invention, and their capacity to generate laughter and admiration in readers nearly half a millennium later.

Taking Exception to the Law explores how a range of early modern English writings responded to injustices perpetrated by legal procedures, discourses, and institutions. From canonical poems and plays to crime pamphlets and educational treatises, the essays engage with the relevance and wide appeal of legal questions in order to understand how literature operated in the early modern period.Justice in its many forms – legal, poetic, divine, natural, and customary – is examined through insightful and innovative analyses of a number of texts, including The Merchant of Venice, The Faerie Queene, and Paradise Lost. A major contribution to the growing field of law and literature, this collection offers cultural contexts, interpretive insights, and formal implications for the entire field of English Renaissance culture.

Renowned today for his contribution to the rise of the modern European fairy tale, Giovan Francesco Straparola (c. 1480–c. 1557) is particularly known for his dazzling anthology The Pleasant Nights. Originally published in Venice in 1550 and 1553, this collection features seventy-three folk stories, fables, jests, and pseudo-histories, including nine tales we might now designate for ‘mature readers’ and seventeen proto-fairy tales. Nearly all of these stories, including classics such as ‘Puss in Boots,’ made their first ever appearance in this collection; together, the tales comprise one of the most varied and engaging Renaissance miscellanies ever produced. Its appeal sustained it through twenty-six editions in the first sixty years.This full critical edition of The Pleasant Nights presents these stories in English for the first time in over a century. The text takes its inspiration from the celebrated Waters translation, which is entirely revised here to render it both more faithful to the original and more sparkishly idiomatic than ever before. The stories are accompanied by a rich sampling of illustrations, including originals from nineteenth-century English and French versions of the text.As a comprehensive critical and historical edition, these volumes contain far more information on the stories than can be found in any existing studies, literary histories, or Italian editions of the work. Donald Beecher provides a lengthy introduction discussing Straparola as an author, the nature of fairy tales and their passage through oral culture, and how this phenomenon provides a new reservoir of stories for literary adaptation. Moreover, the stories all feature extensive commentaries analysing not only their themes but also their fascinating provenances, drawing on thousands of analogue tales going back to ancient Sanskrit, Persian, and Arabic stories.Immensely entertaining and readable, The Pleasant Nights will appeal to anyone interested in fairy tales, ancient stories, and folk creations. Such readers will also enjoy Beecher’s academically solid and erudite commentaries, which unfold in a manner as light and amusing as the stories themselves.