giraldi cinzio, Antico o usato (25 risultati)

Paperback. Condizione: Very Good+. Facsimile reprint of the the 1894 edition; text clean and tight ; 8vo 8" - 9" tall; 134 pages.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Very Good+. 194 pp; . Book has previous owner stamp on endpapers, else an as new book. Dust jacket is clipped with light corner/spine end wear, spine sunned, no chips or tears.

Condizione: like new. EXPEDITION SOUS 48 H EN SUIVI LA POSTE / EMBALLAGE BULLEPACK.

Being a translation of the Discorsos intorno al comporre dei romanzi, with introduction & notes by Henry L. Snuggs. [xxii] 193 [1]p., original red cloth, slight foxing on the bottom edge.

Hardcover. Condizione: Très bon. Ancien livre de bibliothèque. Salissures sur la tranche. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Stains on the edge. Ammareal gives back up to 15% of this item's net price to charity organizations.

Condizione: Buone. italiano Condizioni dell'esterno: Discrete con difetti, bruniture Condizioni dell'interno: Buone.

Condizione: Buone. italiano Condizioni dell'esterno: Buone Condizioni dell'interno: Buone.

Paperback. Condizione: Very Good+. Light gray paper covers with brown lettering on front cover and spine, cover shows light creasing and edge wear. Binding tight, pages very clean, presumed editor Benedetti's inscription to previous owner on title page is the only marking. 252 pages. Packaged carefully for shipment in cardboard with U. S. tracking. Signed by Editor.

Volume: 1 17x11 cm., legatura in piena tela con fregi e titolo impressi in oro al dorso, sovraccoperta, pagg.XI,147, 2 frontespizi silografati in rosso e nero, frontali, quello a sinistra riporta al centro un motto latino, in italiano, buone condizioni.

hardcover. Condizione: fine. Limited. In Italian. Edited by Christina Roaf. cxxiii + 329pp. Thick, tall 8vo, grey cloth. Bologna: Commisione pertesti di lingua, 1982. Limited edition - No.479 of an unspecified printing. A fine copy. Includes Speroni's Canace, both his published and manuscript version of the "Apologia", and Cinzio's critique of the play.

Kl.8° (14,3 x 9,8 cm). Erste Auflage, 127(1) S. - letzte Seite weiss. Späterer Halblederband (um 1800) mit etwas Rückenvergoldung - Bezugspapier des Deckels und Vorsätze unter Verwendung älterer Materialien erneuert. Sprache: Italienisch, Mit Holzschnitt-Druckermarke auf dem Titel, ganzseitigem Holzschnitt-Portrait Giambattista Giraldis verso Titel sowie einigen Initialen und Vignetten in Holzschnitt. Einband gering berieben und bestoßen; teils gering stockfleckig; leicht schief beschnitten. Mit gedruckter Widmung von Celso Giraldi an den italienischen Admiral Giovanni Andrea Doria bzw. hier d'Oria (1539-1606) auf den Seiten 3 bis 5. Giovanni Battista (Giambattista) Giraldi, gen. Cinzio (1504-1573); italienischer Dichter, Literaturwissenschaftler und Philosoph; Sekretär des Herzogs Ercole II. d'Este von Ferrara, Modena und Reggio. EDIT16, CNCE 21281 / BMC: Italian books, 305 / Gamba (4. ed.) 1435.

Condizione: Buono (Good). THE FIRST MODERN EXAMPLE OF PASTORAL DRAMA8vo (150x99 mm). 48 leaves. Collation: A-F8. On title page woodcut portrait of the author in a rectangular frame with the figures of four satyrs in each corner. Roman and italic types. Woodcut decorative initial. Modern flexible vellum, inked title on spine. On the front pastedown bookplate Sergio Colombi. Some occasional marginal foxing, but a very good copy.Rare first edition (the work was published again only after the 18th century).?With his Egle (1545) [Giraldi] aimed to create the first modern example of the ancient satyr-play and stimulate its revival? (L. Sampson, Pastoral Drama, in: ?A History of Italian Theatre?, Cambridge, 2006, p. 95).In the dedicatory letter to Bartolomeo Cavalcanti Giraldi states that the play was first staged in his house in Ferrara on 24 February 1545 and then again on March 4th, at the presence of Duke Ercole Il and his brother Cardinal Ippolito d'Este. From the dedication we also learn that the play was produced by Sebastiano Clarignano da Monte Falco, the music was composed by Antonio del Cornetto, the architect and painter of the scenery was Girolamo Carpi of Ferrara, and finally the production was paid by the ?Università delli scolari delle leggi? (?University of law's students?).The autograph manuscript of the play, which predates the printing and presents remarkable differences in respect of the printed edition like the absence of the prologue (cf. R. Drusi, Sul Prologo dell' ?Egle' di Giovan Battista Giraldi Cinzio, in: ?Quaderni Veneti?, 2, 2013, pp. 307-318), is still preserved in the Biblioteca Comunale of Ferrara (Classe I 331). In the library of the Archiginnasio at Bologna is preserved a copy of the present edition (16.a.II.70), in whose margins Giraldi has penned frequent corrections and alterations, the nature and extend of which suggest that it was his intention to bring out an improved version of the text, which, however, was never published. Therefore three different versions of the play are known, all of which can be traced back to the author (cf. C. Molinari, La vicenda redazionale dell' ?Egle' di G.B. Giraldi Cinzio, in: ?Studi di Filologia italiana?, 37, 1979, pp. 295-343; see also P.R. Horne, The Three Versions of G.B. Giraldi's satyr-play ?Egle', in: ?Italian Studies?, XXIV, 1969, pp. 32-43).The printed version is based on the autograph manuscript version, reducing it from 2686 to 2274 verses and improving its scenic effectiveness according to the dictates that Giraldi himself would later theorize in his Lettera sopra il comporre le satire atte alla scena (1554) (C. Molinari, Introduzione, in G.B. Giraldi, ?Egle; Lettera sovra il comporre le satire atte alla scena; Favola pastorale?, Bologna, 1985, pp. VII-XXXIII).The printing place and the printer were identified by D.E. Rhodes in his paper The Printer of Giraldi's ?Egle', in: ?Italian Studies?, XLI, 1986, pp. 82-84. The date of printing has to be placed between March 1545 and 1747.?The scene of Egle is Arcadia. The dramatis personae include satyrs, fauns, dryads, naiads, hamadryads, Pan, Silvanus, and Silenus. Egle, who gives her name to the play, is a nymph and consort of Silenus. The chorus is made up of satyrs. Cinthio's dedication leaves no doubt of his intention to represent a pastoral ideal: ?I hope, and my hope will not be in vain, that in our time the name pastoral will be even as it once was in the golden age'. The prologue, which is in the detached Terentian manner and not an integral part of the action, gives the Arcadian setting. The audience is asked to return to nature, to the idealized nature of the golden past. There is no pretense of realistic representation. The plot of Egle resembles the Terentian pattern. The protasis, occupying Acts 1 and 2, introduces most of the principal characters and sets up the action. The epitasis runs throughout Acts 3 and 4 and into Act 5. The catastrophe occupies the last two scenes of Act 5. The chorus follows the patter. Book.

Venezia, Gabriele Giolito de Ferrari, 1548, Prima edizione. Più che buon esemplare (segni a penna e a matita al margine di alcune carte, che non toccano il testo; normali leggere bruniture e fioriture alle carte). Salvatore Bongi (Annali di G. de Ferrari) indica un'edizione del 1547 che tuttavia non abbiamo reperito in alcuna allocazione; questa é da considerarsi la prima stampa. Capilettera e fregi tipografici. Il poemetto in due parti (endecasillabi in quartine) reca premessa e versi conclusivi di Antongiacomo Corso. Si stamparono successivamente esemplari (denominati variante B) con 7 carte finali contenenti gli errata. Piuttosto raro. Cfr Brunet, II, 1067. in 8°, legatura in piena pergamena con nervi e titolo chinato al dorso. cc. 87 [5]; al frontespizio Fenice sulle fiamme che si sprigionano da anfora retta da 2 satiri con iniziali GGF. In alto motto: De la mia morte eterna vita i vivo. In basso: «Semper eadem». Prima edizione. Più che buon esemplare (segni a penna e a matita al margine di alcune carte, che non toccano il testo; normali leggere bruniture e fioriture alle carte). legatura in piena pergamena con nervi e titolo chinato al dorso.

Hardcover. Condizione: Fine. FIRST EDITION. Contemporary limp vellum, colored edges, some light marginal foxing, v. light stain on p. 80. A very nice copy with the 18th-c. engraved bookplate of Felice Durando Count of Villa (1729-1791), famous for his erudition and his famous library. With the printer's device on the title page and at the end of the volume. FIRST EDITION of Giraldi's most important contribution to literary criticism and his most lasting influence on dramatic theory and practice. Almost all the main issues in Renaissance dramatic criticism are examined somewhere in his various works and prefaces. Giraldi rejected the Greek arrangement of plays into prologue, episodes, and choral odes and returned to the five acts of the Roman theatre. He reasoned that a good play should first present the argument, direct the argument toward its end, present obstacles to its resolution, offer a means of removing the obstacles, and end with a resolution, all arranged in five acts. In contrast to only three or four speaking parts in some Greek plays, he increased the number of actors used in a play to as many as twenty. Following Seneca, he emphasized the function of the messenger, whose arrivals and reports cause the audience to experience 'all the horror and compassion which are the pith of the plot'. Consequently, he used soliloquies freely. In drama he preferred verse, rhymed or unrhymed, to prose and favored the separation of stylistic levels between comedy and tragedy. He believed that the proper function of tragedy was both to teach and to delight as well as to induce wonder, pity, and horror. Although he used historical plots in several of his tragedies, he was willing to expand the traditional themes of Italian tragedy to non-historical and fictitious plots; the seven plays taken from his own novelle all fall into this category. While he never used the term tragicomedy, his concept of 'tragedia mista' (mixed tragedy - tragedy with a happy ending) combines the goal of arousing emotions of horror and pity with the more pleasant satisfaction of seeing good characters rewarded at the end of the play for their virtue. For example, the Orbecche, his most influential work, was a Senecan horror tragedy dealing with Sulmone, king of Persia, and his daughter, Orbecche. It presented both Orbecche's murder of her father and her subsequent suicide directly on the stage, a practice imitated in scores of gory scenes in the theatres of Renaissance Italy, France, and England. Giraldi's treatise reflected his belief that the classical epic was not the only proper form for narrative poetry, and in it he defended Ariosto's Orlando Furioso against its detractors. In such matters, he stands on the side of progressive critics in the early literary quarrels that came to be known as the "Battle of the Books" between the ancients and the moderns. Thus, while he admits the necessity of poetic unity, he denies that it is only of the kind Aristotle observed in Homer. In effect, he defines the poem of Ariosto as evolving from a different source (the romanzi) than its classical antecedents, although he believed that all forms of the epic, both ancient and modern, belonged to the same genre. The grounds of Giraldi's defence are twofold. In the first place Giraldi maintains that the romance is a poetic form of which Aristotle did not known, and therefore do not apply; and in the second place, Tuscan literature, differing as it does from the literature of Greece in language, in spirit, and in religious feeling, need not and indeed ought not to follow the rules of Greek literature, but rather the laws of its own development and its own traditions (cf. P. Osborn, G.B. Giraldi Cinthio's dramatic theory and stage practice: a creative interaction, in: ''Scenery, Set, and Staging in the Italian Renaissance: Studies in the Practice of Theatre'', Lewiston, NY, 1996, pp. 39-58). "The first sketch of a theory of acting was not to originate from the professional comic actors but in the academy, where in the mid-sixteenth century debate was developing on Aristotle's Poetics and attempts to fix the rules of composition for literary works were multiplying. In 1554 there appeared the Discorsi. by Giambattista Giraldi Cintio, an eminent intellectual and the author of various tragedies, who held a prominent position in Ercole II d'Este's court at Ferrara" (C. Vicentini, Theory of Acting III. The Early Italian Tratises and the Theoretical Acting Model, in: "Acting Archives Essays, AAR Supplement 3, April 2011, p.1) Giovanni Battista Giraldi, surnamed Cinzio, was born at Ferrara and educated at the university of his native city. He became professor of natural philosophy in 1525 and, twelve years later, succeeded Celio Calcagnini in the chair of rhetoric. He also acted as private secretary to Ercole II and Alfonso II d'Este. Apart from his tragedies, he is mainly remembered for his prose work Hecatomithi, a collection of tales in the manner of Boccaccio and Bandello, which, directly or indirectly furnished the plot for several of Shakespeare's plays (cf. R. Bruscagli, B.G. Giraldi: comico, satirico, tragico, in: ''Il teatro italiano del Rinascimento'', Milano, 1980, pp. 261-283).

Hardcover. Condizione: Very Good. Thick 4to (210 x 155mm). Two volumes in one, separately titled. A-Z(8), AA-GG(8). Part I: [viii], 251; Part II: 232, [8] ff. Zopini's woodcut printer's device to both titles of basilisk and dove in oval cartouche frame with motto: "Terrena coele stibus sbsunt." (earthly and heavenly absent).Text in Italian, in Italic and Roman letter. Woodcut chapter initials throughout, some historiated. Later vellum over boards, spine lettered in gilt, decorative endpapers renewed; (intermittent browning or stains, not severe, corners repaired on B1-3, margins shaved and edges stained red in final quire, overall a sound copy). 17th-century Italian ownership inscription on title "Luigi Moltensi?" The Hecatommithi was an important source book for plotlines in Giraldi Cinzio's own plays and it's ideas fed creative writers of French and English Elizabethan works, the latter known as "Cinthio." First Zopini edition of Giraldi Cinzio's "Hecatommithi," a collection of one hundred (and ten) novels, which shaped Italian Renaissance rhetoric and notably influenced the plot of Shakespeare's "Othello." Giambattista Giraldi was born in Ferrara in 1504 and was a student of rhetoric and philosophy of some eminence, where he eventually held university chair of belles-lettres after Celio Calcagnini. While teaching in Ferrara, Giraldi became interested in publishing works in the vernacular and began writing "novelle" as early as 1528. Among the prose works of Giraldi, who took the nickname "Il Cinzio," was the Hecatommithi (The Hundred Stories). The Hecatommithi was a collection of a hundred and ten moralizing tales, which were told in the style of Boccaccio's Decameron, but also resembled the work of Giraldi's contemporary rhetoricians, like Bandello. In it, the author pretends that ten ladies and gentleman were escaping the sack of Rome in 1527 and during their voyage to Marseilles entertained each other with stories on love, infidelity, and tragedy. The stories notably provided the basis for eight of his later plays. The Hecatommithi was printed at a deeply religious time when moral and political censorship was rampant. The first edition of the Hecatommithi was printed in 1565 in Mondovi (by Torrentino), where Giraldi also held a significant teaching position. The next year Scotto of Venice produced a second edition of the Hecatommithi and Alaris made four subsequent editions up to the year 1574. In 1580, the Zopini brothers revived the popular vernacular work with their printing; a second edition followed in 1584. The Hecatommithi concluded in 1606 with Venetian editions of Deuchino and Pulciani. As shown by the numerous editions, this work enjoyed thorough success during the second half of the sixteenth century in Italy. Giraldi is studied today for his literary arrangements that influenced authors such as Lope, Cervantes, and Shakespeare; particularly the latter's Measure for Measure and Othello. First Zopini edition of Giraldi Cinzio's "Hecatommithi," a collection of one hundred (and ten) novels, which shaped Italian Renaissance rhetoric and notably influenced the plot of Shakespeare's "Othello." Giambattista Giraldi was born in Ferrara in 1504 and was a student of rhetoric and philosophy of some eminence, where he eventually held university chair of belles-lettres after Celio Calcagnini. While teaching in Ferrara, Giraldi became interested in publishing works in the vernacular and began writing "novelle" as early as 1528. Among the prose works of Giraldi, who took the nickname "Il Cinzio," was the Hecatommithi (The Hundred Stories). The Hecatommithi was a collection of a hundred and ten moralizing tales, which were told in the style of Boccaccio's Decameron, but also resembled the work of Giraldi's contemporary rhetoricians, like Bandello. In it, the author pretends that ten ladies and gentleman were escaping the sack of Rome in 1527 and during their voyage to Marseilles entertained each other with stories on love, infidelity, and tragedy. The stories notably provided the basis for eight of his later plays. The Hecatommithi was printed at a deeply religious time when moral and political censorship was rampant. The first edition of the Hecatommithi was printed in 1565 in Mondovi (by Torrentino), where Giraldi also held a significant teaching position. The next year Scotto of Venice produced a second edition of the Hecatommithi and Alaris made four subsequent editions up to the year 1574. In 1580, the Zopini brothers revived the popular vernacular work with their printing; a second edition followed in 1584. The Hecatommithi concluded in 1606 with Venetian editions of Deuchino and Pulciani. As shown by the numerous editions, this work enjoyed thorough success during the second half of the sixteenth century in Italy. Giraldi is studied today for his literary arrangements that influenced authors such as Lope, Cervantes, and Shakespeare; particularly the latter's Measure for Measure and Othello.

Hardcover. Condizione: Very Good. First Edition. Nine works in two volumes, 8vo (130 x 90mm). Vol. I: [xvi], 135, [i] + 143 + 157, [iii], + 118, [ii], +127; Vol. II: [i], 142, [ii], + 135, [i], + 118, [ii], + 149, [iii]pp. Cagnacini's woodcut printer's device of landscape and motto: Ne lateat anguis (in herba) (Do not forget this snake in the grass), on recto and woodcut portrait of Giraldi within cartouche frame on verso of all title-pages, woodcut initials and ornaments throughout. Italic letter. Modern vellum, yapped edges, edges stained blue; (internally clean, worming not severe at front of first volume, margins shaved close, hinge slightly starting son vol. I, but an excellent set and complete). The dedication is signed "Celso Giraldi." Celso was Cinzio Giraldi's son who collected and first published this edition of the tragedies written by his father in 1583. A manuscript table of contents on retained flyleaves list the plays in each volume, for one Orbecche, Altile, Didone, Antivialomeni, and Cleopatra, and two, Arrenopia, Eusimia, Epitia, and Selene. This collected edition is rarely found complete as the individual parts were often sold separately. Complete first edition of Giraldi Cinzio's nine tragedies printed in Venice in 1583. Giraldi Cinzio was an aristocratic poet and rhetorician of Ferrara. Among Giraldi's academic positions, he also held the title of secretary to the Duke Ercole II, for whom these nine plays were first written and performed. Giraldi was deeply rooted, culturally and socially, in the court of Ferrara where he created most of his works. Generally considered the first modern tragedy, Orbecche is the first and best known of Giraldi's tragedies although his other plays, such as Didone, written in 1541, or Epitia, written after 1536, were important for the new elements they added to the playwright's expanding repertoire. Notably, Giraldi's source material was his own novelle, his "hundred stories" or Hecatommithi, started in the late 1520s and first published in 1565. Giraldi's tragedies were known for their well-staged plots, which were based on fictional character and events rather than historical events and figures. He also theorized that dramas could have happy endings, and by some regards, Giraldi is the father of the Baroque tragedy; further anticipating the "tragi-comedy." Giraldi's reform of the tragedy-style so favored by the Greeks and Romans had profound influence on future Italian playwrights but also on those of Elizabethan England and France, like Sidney and Spenser. Giraldi's tragedies expounded the moral function of these plays, which were performed for the purpose of improving the spectator's lives. Complete first edition of Giraldi Cinzio's nine tragedies printed in Venice in 1583. Giraldi Cinzio was an aristocratic poet and rhetorician of Ferrara. Among Giraldi's academic positions, he also held the title of secretary to the Duke Ercole II, for whom these nine plays were first written and performed. Giraldi was deeply rooted, culturally and socially, in the court of Ferrara where he created most of his works. Generally considered the first modern tragedy, Orbecche is the first and best known of Giraldi's tragedies although his other plays, such as Didone, written in 1541, or Epitia, written after 1536, were important for the new elements they added to the playwright's expanding repertoire. Notably, Giraldi's source material was his own novelle, his "hundred stories" or Hecatommithi, started in the late 1520s and first published in 1565. Giraldi's tragedies were known for their well-staged plots, which were based on fictional character and events rather than historical events and figures. He also theorized that dramas could have happy endings, and by some regards, Giraldi is the father of the Baroque tragedy; further anticipating the "tragi-comedy." Giraldi's reform of the tragedy-style so favored by the Greeks and Romans had profound influence on future Italian playwrights but also on those of Elizabethan England and France, like Sidney and Spenser. Giraldi's tragedies expounded the moral function of these plays, which were performed for the purpose of improving the spectator's lives.

Couverture rigide. - Apresso Giulio Cesare Cagnacini, in Venetia 1583, in-8 (9x13,5cm), 135pp. sig : A-H8 I4, relié. - Edition originale rare et unique, posthume de cette pièce, qui fut composée vers 1560. Au colophon, une adresse différente : Apresso Paulo Zanfretti. Impression en italique. Un portrait de l'auteur en médaillon au verso du premier feuillet, dans un riche encadrement. Dédicace à Dom Césare d'Este. Marque de l'imprimeur en page de titre. Brunet, II, 1607. Reliure en plein veau blond glacé du XVIIIe. Dos lisse orné de 5 petits fleurons. Pièce de titre en maroquin rouge. triple filet d'encadrement sur les plats. Frottements. Dos bruni. Tragédie en vers en 5 actes écrite sur le modèle antique, avec choeur. Euphimia, fille du roi de Corinthe, épouse Acharisto, serviteur de son père, alors qu'elle est aimée de Philone, roi du Péloponnèse. Son époux la sacrifiera à sa quête du pouvoir. Ex-libris gravé du XIXe avec une toque d'avocat et la devise : Nemini servias sed legi. G. F. [ENGLISH DESCRIPTION ON DEMAND] 135pp. sig : A-H8 I4.

Kl.8° (15,7 x 10,2 cm). Erste Auflage, 144 S. Moderner Halbpergamentband (20. Jahrhundert) mit Marmorpapierbezug - Neubindung unter Verwendung älterer Materialien (Pergament, Vorsätze). Sprache: Italienisch, Mit Holzschnitt-Druckermarke auf dem Titel, ganzseitigem Holzschnitt-Portrait Giambattista Giraldis verso Titel sowie einigen Initialen und Vignetten in Holzschnitt. Einband gering berieben; Pergament leicht gebräunt; erste Blätter etwas wasserrandig, einige weitere Blätter leicht wasserrandig; teils leicht stockfleckig und gebräunt. Mit gedruckter Widmung von Celso Giraldi an den italienischen Feldherren Cornelio Bentivoglio (um 1520-1585) auf den Seiten 3 bis 5. Giovanni Battista Giraldi, gen. Cinzio (1504-1573); italienischer Dichter, Literaturwissenschaftler und Philosoph; Sekretär des Herzogs Ercole II. d'Este von Ferrara, Modena und Reggio. EDIT16, CNCE 21278 / BMC: Italian books, 305 / Gamba (4. ed.) 1435.

Prima edizione del 1554 della celebre opera del letterato poeta e drammaturgo Giovan Battista Giraldi Cinzio (Ferrara 1504-Ferrara 1573), considerato come uno dei maggiori esponenti della cultura ferrarese del Rinascimento. Giraldi scrisse numerose tragedie una delle quali utilizzata da Shakespeare come base per il suo "Otello". Professore di retorica a Ferrara e Torino è molto stimato come teorico del teatro e precursore di nuovi generi teatrali. I suoi "Discorsi" sono un'opera teorica sulla composizione dei romanzi, commedie e tragedie e diedero un notevole sviluppo sulla formazione degli autori successivi. "Prima edizione dell'importante contributo dato dal Giraldi alla teoria letteraria e alla codificazione di nuovi e vecchi generi (tragedia, tragicommedia, satira, egloga, commedia, romanzo, poema eroico), di cui egli stesso nel corso della sua carriera diede vari esempi (cfr. R. Bruscagli, G.B. Giraldi: comico, satirico, tragico, in "Il teatro italiano del Rinascimento", Milano, 1980, pp. 261 - 283). Cornice figurata al frontespizio: Fenice su un braciere acceso. Antiche note manoscritte nel testo. In buone condizioni. Copertina in mezza tela con titolo in oro su tassello al dorso in buone condizioni generali con lievi usure a margini e dorso. Legatura in buone condizioni. All'interno le pagine si presentano in ottime condizioni con rare fioriture. Rinforzo al margine di piegatura del frontespizio e mancanza al margine inferiore dell'ultima carta senza perdita di testo. In 8. Dim. 20x14,5 cm. Pp. (8)+287+(29). First edition of 1554 of the famous work of the letterate poet and dramawriter Giovan Battista Giraldi Cinzio (Ferrara 1504-Ferrara 1573), considered as one of the most important exponents of Rinascimento period in Ferrara. Giraldi wrote different tragedies one of them used by Shakespeare as a base for his "Otello". Teacher of rhetorics in Ferrara and Torino is an estimeed theoric of theatre and creator of new theatre kinds. His "Discorsi" are a theorical work about the composition of novels, plays and tragedies and had an important contribution to the formation of authors . "Prima edizione dell'importante contributo dato dal Giraldi alla teoria letteraria e alla codificazione di nuovi e vecchi generi (tragedia, tragicommedia, satira, egloga, commedia, romanzo, poema eroico), di cui egli stesso nel corso della sua carriera diede vari esempi (cfr. R. Bruscagli, G.B. Giraldi: comico, satirico, tragico, in "Il teatro italiano del Rinascimento", Milano, 1980, pp. 261 - 283). Figurated frame in the title page. Ancient handwritten notes in the text. In good conditions Half cloth cover with gilted title and decorations in the spine in good general conditions lightly worn in the extremities. Binding in good conditions. Pages in very good conditions with occasional foxing. Reinforcement in the folding edge of title page and missing part in the foot edge of the last page with no loss of text. In 8. Dim. 20x14,5 cm. Pp. (8)+287+(29).

Kl.4° (16 x 10,5 cm). Erste Auflage, 95 num. Blätter - ohne das letzte weisse Blatt. Fester Pergamentband der Zeit (oder etwas später) auf 4 Bünden, mit ein wenig Rückenvergoldung und Rückenschild. Sprache: Italienisch, Mit Holzschnitt-Titelbordüre, großer Holzschnittdruckermarke (ca. 3/4 Seitengrösse) auf Blatt 95 verso (Kolophon), Holzschnittvignette (Druckermarke) auf Blatt 55 recto und 3 figürlichen Holzschnittinitialen. Einband etwas berieben und gebräunt; Rückengelenke mit einigen winzigen Wurmlöchern; Vorsätze leicht tintenfleckig; teils etwas stockfleckig; Grünschnitt teils leicht in die Blattränder eingedrungen; Blatt 13 verso mit Tintenmarginalie von alter Hand; Titelblatt (Titelei mit der Bordüre/Widmungsseite) recht knapp beschnitten; beide Innendeckel (Spiegel) mit alter Bibliothekssignatur. Verso Titel mit gedruckter Widmung des Verlegers Vincentio Busdrago (Vincenzo Busdraghi) an Giovanni Battista Giraldi (hier: Geraldi). Giovanni Battista Giraldi, gen. Cinzio (1504-1573); italienischer Dichter, Literaturwissenschaftler und Philosoph; Sekretär des Herzogs Ercole II. d'Este von Ferrara, Modena und Reggio. Der seltene 1. Druck dieser literarischen Streitschrift Giovanni Battista Giraldis gegen Sperone Speronis Tragödie "Canace" (hier vollständig abgedruckt) und zur dramatischen Literatur seiner Zeit. Giraldis Abhandlung ist mit dem 1. Juli 1543 ("Il primo di Luglio. MDXLIII") datiert - die Streitschrift soll als Handschrift kursiert sein und wurde erst mit der vorliegenden Ausgabe von 1550 anonym (eher halbanonym) gedruckt, was scheinbar die Zuschreibung an Bartolomeo Cavalcanti förderte. EDIT16, CNCE 21258 / BMC: Italian books, 636 (unter Speroni/Cavalcanti) / Gamba (4. ed.) 1653 (dort in der Anmerkung zur Ausgabe von Sperones "Canace" und mit der Zuschreibung an Bartolomeo Cavalcanti) / Adams II, S 1573 / Graesse VI, 466 und Brunet V, 488 (auch bei Adams, Graesse und Brunet unter Speroni und mit der Zuschreibung an Cavalcanti).

In-12°, volume rilegato in piena pergamena coeva, con titolo in oro al dorso, nervature, contenente varie commedie: Dovizi da Bibbiena, Calandra, 48pp (ultima bianca), con frontespizio figurato e capilettera xilografati, Rampazzetto, 1561; Giraldi Cinzio, Orbecca, 72pp (ultima bianca), frontespizio figurato, capilettera e finalino xilografati, Giolito de' Ferrari, 1558; Bracciolino delle Alpi, Il Monserrato, 71pp (ultima bianca) frontespizio figurato, capilettera testatine e finalini, Roma, Facciotti, 1629; Gabriello Chiabrera, Poemi eroici postumi di Gabriello Chiabrera, Guasco, 1653, Il Foresto 39 pp, frontespizio xilografato, capolettera e testatine xilografate; Il Ruggiero,132pp, 2cc.

Titel, 15 nn. Bl., 287 S., 8 Bl. (letztes weiß). Mit großer Holzschnitt-Druckermarke als Titelvignette, einer weiteren Druckermarke verso S. 287 (beide zeigen Phönix), einigen Holzschnitt-Vignetten und -Initialen. Kl.4° (20 x 14,3 cm). Späterer brauner Kalblederband auf 5 Bünden und mit reicher Rückenvergoldung; auf beiden Deckeln das goldgeprägte Wappensupralibro eines Bischofs. G. Giraldi (1504-1573; Arzt, Philosoph, Schriftsteller), dessen Novellen auch einen Shakespeare inspirierten ("Maß für Maß", "Othello"), legt hier sein literaturtheoretisches Hauptwerk vor, in dem er u. a. die Poetologie der von ihm entwickelten Tragikomödie darstellt. Druck in einer Kursive. Gering berieben, bestoßen und fleckig; Papier (bes. die Vorsätze) zeitbedingt angegilbt; zahlr. zeitgenössische Glossen und Anstreichungen in Tinte; der ehemals sehr breite Rand beschnitten, so dass teils die hs. Glossen betroffen sind; 3 Bl. mit Fleck im weißen Rand; S. 107 mit Paginierungsfehler (recte 111); auf der Titelei der hs. Besitzvermerk des Pariser Jesuitencollegs und ein weiterer hs. Besitzvermerk (unleserlich). IT.

In 16? (cm 9,5 x 14,9), copertina in carta colorata settecentesca , ex libros G. Fanan pp 118, (2), impresa dello stampatore al frontespizio: Salamandra che striscia fra l'erba. In cornice figurata, motto: "Ne lateat anguis". In fine, altra impresa (Donna regge vela, motto "Non bis") e colophon con dati tipografici. Ritratto silografico dell'A. in medaglione al verso del frontespizio. Esemplare in buone condizioni. Prima edizione. Fu il Giraldi a proporre la definizione di "tragicommedia" per le tragedie a lieto fine, come questa, pi? gradita alle attese degli spettatori cortigiani. Come nella drammaturgia classica francese, il "lieto fine" ? funzione del re o dell'imperatore, che come recita il prologo dell'"Epitia", lascer? gli spettatori "tutti contenti": esempio di morale antiriformistica. L'Epitia ? il piu ricercato scritto del Giraldi in quanto forn? la trama per la celebre tragedia di Shakespeare. BMc, 305 Allacci, 242.