Relevant bibliographies by topics / Amadis de Gaula ; Spanish

Academic literature on the topic 'Amadis de Gaula ; Spanish'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Amadis de Gaula ; Spanish"

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Ortiz-Salamovich, Alejandra. "‘whether she did or no, judge you’: Engaging readers in the translations of Spanish romance." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (March 23, 2021): 23–41. http://dx.doi.org/10.1177/0184767820980658.

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This article explores how the reader is addressed in the sexual scenes of the Spanish, French, and English versions of Amadis de Gaule. Anthony Munday’s translation ( c. 1590) follows closely Nicolas Herberay des Essarts’s French text (1540), which he had translated from the Spanish Amadís de Gaula (1508) by Garci Rodríguez de Montalvo. It analyses how the narrator’s appeals to the reader change in the course of translation, transforming the omission of erotic details into a device to connect with the readers. The new versions make the sexual scenes more provocative and highlight a shared complicity with the audience.
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Falla Barreda, Ricardo. "Cervantes, El Quijote y el Perú." Tradición, segunda época, no. 19 (December 31, 2019): 83–87. http://dx.doi.org/10.31381/tradicion.v0i19.2626.

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ResumenEste artículo sopesa la presencia peruana en el imaginario español del siglo XVII, especialmente en las obras Don Quijote de la Mancha, Las Novelas Ejemplares (el cuento Rinconete y Cortadillo) y La Galatea, de Miguel de Cervantes Saavedra. También se destaca el comentario de don Ricardo Palmasobre la paradoja de Cervantes en su deseo de establecerse en Perú, motivado por las dificultades económicas que le inquietan en la vida. Asimismo es evidente, gracias a la teoría de la recepción, cómo la población universitaria maya del siglo XVII absorbió y se pronunció con relación a los significados tanto en Amadís de Gaula como en Quijote, todo en el Diario Lima de José Antonio Suardo. Palabras claves: Literatura peruana, Literatura virreinal, Literatura latinoamericana, Miguel de Cervantes Saavedra, Ricardo Palma, José Antonio Suardo. AbstractThis article weighs the Peruvian presence in the Spanish imaginary of the 17th century, especially in the work of Miguel de Cervantes Saavedra such as El Quixote, Las Novelas Ejemplares (the tale Rinconete and Cortadillo) and La Galatea. The famous Ricardo Palma’s commentary on the Cervantes paradox in his desire to settle in Peru is emphasized, motivated by the economic difficulties that trouble him in life. It is also evident – from the theory of reception – how the Mayan university population of the 17th century was absorbed and pronounced in relation to the meanings maintained in bothAmadís de Gaula and the Quixote, all in the Lima Newspaper of José Antonio Suardo. Keywords: Peruvian Literature /Viceroyal Literature/ Latin American Literature/ Miguel de Cervantes Saavedra/ Ricardo Palma/ José Antonio Suardo.
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Ochiagha, Terri. "Neocoductive Ruminations." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1540–43. http://dx.doi.org/10.1632/pmla.2016.131.5.1540.

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I Was Born in Spain to a Spanish Mother and a Nigerian Father. I Moved to Nigeria on the Day That I Turned Seven and remained in the country for nine years. The interplay between my cultural liminality and an early aestheticism has determined my experience of literature—first as a precocious reader and later as a teacher and scholar.My first literary diet, like that of many children, consisted of fairy tales and abridged classics. At primary school in Nigeria, our English textbooks featured passages from African novels to teach reading comprehension. While I found the short storylines interesting, their pedagogical use meant that I did not perceive them as “literature”—a word that I associated with stories to wonder at, get lost in, and daydream about. At the age of nine I graduated to unabridged Dickens novels and Shakespeare plays alongside Mark Twain's The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, supplementing my diet with Spanish chivalric romances such as Garci Rodríguez de Montalvo's Amadís de Gaula (1508) and Francisco Vázquez's Palmerín de Oliva (1511). Apart from a sense of intrigue, these two works gave me respite from an unrelenting sense of otherness. They provided vicarious adventure, and their settings reminded me of the Castilian castles that formed part of my early-childhood landscape.
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Coelho Muniz, Márcio Ricardo. "MODERNIDADE DE UM PASSADISTA :Leitura d’O Romance de Amadis, de Afonso Lopes Viera)." Revista Légua & Meia 3, no. 1 (October 8, 2017): 70. http://dx.doi.org/10.13102/lm.v3i1.1976.

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O presente texto analisa o “Romance de Amadis”, obra do escritor português Afonso Lopes Vieira, na qual o autor intenta reconstituir, numa perspectiva portuguesa, a novela de cavalaria quinhentista “Amadis de Gaula”, redigida pelo espanhol Garci Rodríguez de Montalvo. O objetivo central do texto é demonstrar e discutir as marcas da modernidade literária presentes na reconstituição empreendida por Lopes Vieira.
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Trujillo, Stefania. "Ressenya a Bellomi P., Colombini F. e Neri S. (eds.) (2011-2012). Progetto Mambrino, Ciclo italiano di Amadis di Gaula. Collezione della Biblioteca Civica di Verona , Verona, QuiEdit, 2012." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 2, no. 2 (December 17, 2013): 368. http://dx.doi.org/10.7203/scripta.2.3119.

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Ressenya a Paola Bellomi, Federica Colombini e Stefano Neri (Eds.), Progetto Mambrino, Ciclo italiano di Amadis di Gaula. Collezione della Biblioteca Civica di Verona. Edizione fotodigitale. Studi preliminari di Anna Bognolo e Paola Bellomi. Prefazione di Agostino Contò. Verona, QuiEdit, 2012.. ISBN: 978-88-6464-130-0
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Montero, Juan, and Juan Bautista de Avalle-Arce. ""Amadis de Gaula": El primitivo y el de Montalvo." Hispanic Review 62, no. 3 (1994): 412. http://dx.doi.org/10.2307/475143.

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Díaz-Toledo, Aurelio Vargas. "O heroísmo cavaleiresco dos séculos XV-XVII." SIGNUM - Revista da ABREM 14, no. 2 (February 1, 2014): 222. http://dx.doi.org/10.21572/2177-7306.2014.v14.n2.11.

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Após conhecer o modo por que se realizou a configuração ficcional do heroísmo cavaleiresco durante a Idade Média (com base no Livro do cavaleiro Zifar e no Amadis de Gaula), ao longo da nossa intervenção procuramos analisar como as características tradicionais, arquetípicas e míticas, que se vinham concedendo ao herói dos livros de cavalarias, vão-se transformando à medida que acaba o século XV e avança o século XVI. E estas transformações têm a ver com uma perda da autenticidade que converte os protagonistas destas obras literárias em seres estereotipados, até abstratos, longe dos seus modelos medievais e mais próximos das personagens de caráter sentimental, cujas preocupações irão girando em torno dos amores, aos quais servem as virtudes próprias do herói mítico, isto é, a firmeza, a fortaleza, a grandeza de alma, a nobreza e o valor. Para isso, analisaremos alguns dos livros dos ciclos de cavalarias do Amadis de Gaula e do Palmeirim, sem esquecer livros de cavalarias portugueses como o Palmeirim de Inglaterra, de Francisco de Moraes, e suas continuações.
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Álvarez-Cifuentes, Pedro. "Semsaborias de Palmerim and Primaleom and Florisendo’: Receção e censura dos livros de cavalarias entre Espanha e Portugal." Revista de Filología Románica 38 (November 16, 2021): 197–203. http://dx.doi.org/10.5209/rfrm.78816.

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Entre os muitos preconceitos que condicionaram a receção dos livros de cavalarias em Espanha e Portugal entre os séculos XVI e XVII, os ataques de frades, predicadores, confessores e moralistas desempenharam um papel crucial. Os setores vinculados à Igreja questionavam com grande severidade a dimensão moral de textos cavaleirescos como o Amadis de Gaula, o Primaleón ou o Palmeirim de Inglaterra e promulgavam, pelo contrário, uma literatura de conteúdo devoto que servisse para edificar o público, nomeadamente no caso dos leitores mais novos. Foram as críticas espanholas mais veementes e rotundas do que as portuguesas? Propomos uma revisão comparada de testemunhos críticos sobre o sucesso da literatura de cavalarias na Península Ibérica.
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Benito-Vessels, Carmen. "neomedievalismo de los EE.UU." BOLETÍN DE LA BIBLIOTECA DE MENÉNDEZ PELAYO 93, único (December 10, 2018): 11–30. http://dx.doi.org/10.55422/bbmp.559.

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El objetivo principal del artículo es demostrar la existencia del neomedievalismo de los EE.UU. y su origen en la España medieval. Desde la época colonial se vincula a EE.UU. con la historia medieval española, puesto que los castellanos del s. XVI llevaron su herencia multicultural allí. Un ejemplo de ello se ve reflejado en el arturismo, que pasó, con los colonos españoles, a las colonias norteamericanas y al Caribe, y nació con los libros de caballería, concretamente, con Amadis de Gaula. Otro género literario medieval que atrajo el interés de los viajeros al Nuevo Mundo fue la novela sentimental castellana. En conclusión, el neomedievalismo se observa en la literatura, arquitectura y arte de EE.UU.
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Corrêa, Eloísa Porto. "REPRESENTAÇÕES CRISTÃS E PAGÃS EM NOVELAS DE CAVALARIA DO CICLO BRETÃO OU ARTURIANO." Cadernos do IL, no. 51 (January 4, 2016): 019. http://dx.doi.org/10.22456/2236-6385.56604.

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Este artigo estuda algumas representações culturais cristãs e pagãs nas novelas de cavalaria do Ciclo Bretão ou Arturiano, com base no diálogo entre a literatura e a História da cultura medieval. Para isso, usaremos os estudos de Duby (1989), Lourenço (1988, 1999), Lapa (1970) e Antônio Saraiva (1989, 1990). O confronto crítico entre os estudos histórico-culturais e as novelas que compõem o corpus desse artigo: Tristão e Isolda, A Demanda do Santo Graal e Amadis de Gaula, far-se-á com o suporte da fortuna crítica sobre as narrativas de cavalaria, que conta com nomes como Maleval (2004, 2000 e 1995), Maria Elizabeth de Vasconcellos (1995a), Carolina Michaelis de Vasconcellos (1995b) e Zumthor (1995). Com isso, pretendemos contribuir para uma mais ampla compreensão das novelas medievais, território ainda pouco conhecido, hesitante e fecundo da literatura, segundo Duby (1989, p. 7).
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Dissertations / Theses on the topic "Amadis de Gaula ; Spanish"

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Padula, Francisco Eduardo. "A recepção da Canção de Leonoreta através dos tempos: Amadis de Gaula, O Romance de Amadis e Amor em Leonoreta." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-21092010-142107/.

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Por meio do estudo de algumas das tópicas medievais a presente dissertação se propõe a analisar o lai do trovador Joan Lobeyra intitulado Canção de Leonoreta. O desenvolvimento do trabalho levou à busca de diversas reinterpretações dadas à canção em diferentes momentos da histórias do mundo ibérico. Desse modo, o caminho percorrido conduziu à análise da reescritura da canção na novela de cavalaria intitulada Amadis de Gaula, na obra dos poetas portugueses Affonso Lopes Vieira e Silva Tavares e, finalmente, na obra da poetisa brasileira Cecília Meireles
By the study of some medieval topics, the current dissertation purposes to analyse \"The Chant of Loroneta\" by Joam Lobeira troubadour, the development of such a work led to the search for several interpretations given to the chant in different periods in iberian world history, in this view, the way followed was the one led to the analysis of the knight-errantry tale chant entitled Amadis de Gaul in Afonso Lopes Vieira and Silva Tavares\'s writings, both portuguese poets, in the writing of brazilian poetess Cecília Meireles
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Moore, Helen D. "The ancient, famous and honourable history of Amadis de Gaule : a critical, modern-spelling edition of Anthony Munday's translation of Book One (1589; 1619) with introduction, notes and commentary." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336252.

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Mérida, Jiménez Rafael Manuel. ""Fuera de la orden de natura" : magia, milagros y maravillas en el "Amadis de Gaula /." Kassel : Reichenberger, 2001. http://catalogue.bnf.fr/ark:/12148/cb390640611.

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Alberto, Rodrigo Moraes. "“Histórias fingidas” : admiração e maravilhamento no Amadís de Gaula." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/178172.

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Reflexo de um processo histórico anterior, os romances de cavalaria fazem surgir no final do medievo ibérico uma nova moda literária, que mescla a tradição míticocavaleiresca com as mudanças sociais que caracterizam o movimentado período histórico. Estes libros se configuram durante quase um século como um sucesso de mercado, modelo de experiência máxima da nobreza cavalheiresca em um mundo cujos baluartes mostram-se movediços e sensíveis. Para além de conter uma coleção de mirabilia como objeto, estes romances são dispositivos maravilhantes que têm função e criam significações em um momento de experiência deslocada, num jogo de perspectiva. Sob a história das emoções, este trabalho se propõe a analisar a admiração no mundo ibérico quinhentista a partir da construção do dispositivo de maravilhamento.
Reflection from a previous historical process, the chivalric romances do arise at the end of the Iberian medieval a new literary fashion, blending the mythic-chivalric tradition with social changes that characterize the bustling historical period. These libros are configured for nearly a century as a market success is a model and height of a focused literature to chivalrous nobility, in a world where their moral and aesthetic strongholds show is unstable and sensitive. These novels are wrapped device boggling's appearances. Stemmed from the need to rethink the wonderful study. This study analyzes the admiration and the Iberian world from the sixteenth century construction of the wonder device.
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Medeiros, Filipa Maria Cristovão. "Os estudos amadisianos, do Romantismo ao século XXI: descrição e análise dos discursos científicos sobre o Amadis de Gaula." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2006. http://hdl.handle.net/10362/12141.

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Dissertação de Mestrado em História Medieval
A presente dissertação de mestrado tem como objectivo descrever e analisar o discurso científico e "pré-científico" sobre o livro de cavalarias 1 peninsular Amadis de Gaula (Garcí Rodríguez de Montalvo, Saragoça, 1508)2, desde o século XIX aos nossos dias', Neste sentido, o propósito final do trabalho consiste na elaboração de um texto crítico globalizante relativo à investigação sobre o Amadis, que possa servir como instrumento de trabalho eficaz no tratamento da obra, e do qual possam beneficiar todos aqueles que se interessem pelas questões inerentes ao género cavaleiresco em geral, e à obra de Rodríguez de Montalvo em particular. Dado que os discursos científicos não são independentes das épocas que os vêm nascer, tentámos inserir as obras analisadas no seu contexto histórico, de modo a que este «estado da questão» possa ainda funcionar como uma "viagem" sobre as respostas que as diferentes épocas deram a perguntas consideradas científica e culturalmente pertinentes, a partir da redescoberta e da reinterpretação de urna obra literária medieval.
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Guillerm, Luce. "Sujet de l'écriture et traduction autour de 1540 : la traduction française des quatre premiers livres de l'« Amadis de Gaule » : le discours sur la traduction en vulgaire." Paris 8, 1987. http://www.theses.fr/1987PA080073.

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La traduction apparaît au XVIe siècle en France comme un instrument de l'ajustement des stratégies d'appropriation intertextuelle, à la faveur duquel peut se repérer l'affleurement d'une présence du "sujet de l'écriture". Pour éclairer cette évolution, on a fait converger deux analyses complémentaires. Dans la traduction de l'« Amadis de Gaule », l'inscription de l'auteur-sujet apparaît d'abord comme un effet de texte. Poussant à l'extrême les tendances qui dans les récritures romanesques antérieures organisent progressivement l'économie narrative "vraisemblable", cette version choisit d'exhiber ludiquement les écarts qui résultent de ce traitement même, et se présente comme un montage de textes hétérogènes spectaculairement renvoyés l'un à l' autre par un montreur qui se désigne lui-même à l'origine de ces jeux, allant jusqu'à glisser dans le texte sa signature. C'est au même moment, vers 1540, que le discours sur la traduction met en place une appréciation dévalorisée de cette activité par rapport à l"invention" originale, et corrélativement une nouvelle représentation de l'auteur: inventeur libre et propriétaire de son œuvre. On tente de montrer, en suivant les glissements des images et des topoï qui disent les relations du traducteur à son modèle et à la langue française, que la figure du poète, telle que la propose la « Deffence et illustration », est l'aboutissement de cette évolution. Tandis que l'homologie du geste individuel par lequel le poète va s'approprier les modèles, et de celui par lequel le prince, confisquant et annoblissant à la fois le "travail" des traducteurs, ressuscite les grands textes et les rend productifs, laisse percevoir les enjeux idéologiques plus vastes par rapport auxquels situer cette nouvelle position symbolique assignée à l'écrivant
In Loth century France, translation can be viewed as a process which settles the strategies of intertextual appropriation and through which the outcrop of the 'subject of writing' can be elicited. To enlighten this evolution we have focused upon it two converging analyses. The perception of the marks of an 'author-subject' recorded in the translation of “Amadis de Gaule” results first from a text-effect. By overriding the devices which, in previous romanesque adaptations, had gradually instituted the narrative economy of verisimilitude, the version under consideration wittily exhibits the deviations entailed by this very treatment. It reads as a setup of heterogeneous texts, each reflecting the mirror image of another, this specular game being assumed by a showman who actually slips his own signiature into the text. Simultaneously, around 1540, the discourse about translation posits a set of derogative values to discriminate that type of activity from the original 'invention', and correlatively it launches a new representation of the Author as free inventor and owner of his work. By tracing the shifting of the images and topoi which betray the relations of the translator both to his model and to the French language, we tend to argue that the figure of the Poet delineated by the “Deffence et illustration” stems from this evolution. Now, between the individual gesture of the Poet who appropriates his models and that of the Prince who, when embezzling and ennobling the 'work' of the translators, revives and restores the productivity of the great texts, there is a homology which testifies to the larger ideological stakes allowing to situate the new symbolical status alloted to the scriptor
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Lima, Leonila Maria Murinelly. "O Amadis de Gaula entre as fendas de dois códigos: o da cavalaria (O Livro da Ordem de Cavalaria de Ramon Llull) e o do amor cortês (Tratado do Amor Cortês de André Capelão)." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4249.

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A partir dos pressupostos teóricos dos pesquisadores da Nova História e dos estudos literários do comparativismo, este trabalho analisa o Amadis de Gaula entre os dois códigos: o da cavalaria de Ramon Llull expressão do ideal cristão do cavaleiro virtuoso e perfeito , e o do amor cortês, de André Capelão, que expressa os ensinamentos do refinado amor cortesão, dentro de uma ética feudo-vassálica. Entre os interstícios desses códigos e numa Península Ibérica marcada por uma ascese cristã, erige uma história de amor que se constitui num paradigma da expressão do desejo carnal e da busca do re(encontro) com o feminino. É na via oposta ao contexto peninsular da Reconquista ibérica que se efetua a caminhada de Amadis rumo à perfeição amorosa ao encontro do Amor
The theoretical presuppositions of the researchers of the New History and the literary studies of comparativism are the starting point of this paper to analyze the Amadis de Gaula between the two codes: the chivalry by Ramon Llull the expression of the christian ideal of the virtuous and perfect knight , and the courteous love, by André Capelão, the schooling of the refined courteous love, inserted in a feud-vassal ethics. A love story is put up between the gaps of these codes in an Iberian Peninsula encarved by a christian ascese. It is compounded in an instance of the carnal desire and the search for the (re)encounter with the feminine. It is in the opposite way to the peninsular context of the Iberian Reconquest that Amadis enhances his way towards the loving perfection to meet Love
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Books on the topic "Amadis de Gaula ; Spanish"

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Saulnier, Centre V. L. Amadis de Gaule au XVIe siècle. Paris: Éditions Rue d'Ulm, 2000.

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Montalvo, Garci Rodríguez de. Amadís de Gaula. Madrid: Cátedra, 1988.

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Garci, Rodriguez de Montalvo, and Cacho Blecua Juan Manuel, eds. Amadís de Gaula. 3rd ed. Madrid: Cátedra, 1996.

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Giovanni, Cara, and Neri Stefano 1974-, eds. Repertorio delle continuazioni italiane ai romanzi cavallereschi spagnoli: Ciclo Amadis di Gaula. Roma: Bulzoni editore, 2013.

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Riquer, Martín de. Estudios sobre el Amadís de Gaula. Bareclona: Sirmio, 1987.

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Avalle-Arce, Juan Bautista. Amadís de Gaula: El primitivo y el de Montalvo. México: Fondo de Cultura Económica, 1990.

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Riquer, Martín de. Estudios sobre el Amadís de Gaula. Barcelona: Sirmio, 1987.

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Antequera, Hernando Cabarcas. Amadís de Gaula en las Indias: Estudios y notas para la impresión facsimilar de la edición de 1539 conservada en el Fondo Rufino José Cuervo de la Biblioteca Nacional de Colombia. Santafé de Bogotá: Instituto Caro y Cuervo, 1992.

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Gil-Albarellos, Susana. "Amadís de Gaula" y el género caballeresco en España. Valladolid: Universidad de Valladolid, 1999.

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Rothstein, Marian. Reading in the Renaissance: Amadis de Gaule and the lessons of memory. Newark [Del.]: University of Delaware Press, 1999.

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Book chapters on the topic "Amadis de Gaula ; Spanish"

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Gier, Albert. "Garci Rodríguez de Montalvo · Los quatro libros del virtuoso cavallero Amadís de Gaula." In Der spanische Roman, 11–29. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03605-6_2.

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Correia, Carla Sofia dos Santos. "Segredo e descoberta na poesia galego-portuguesa e no Amadis de Gaula." In Textes et Etudes du Moyen Âge, 371–78. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.tema-eb.4.2018069.

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"AMADIS DE GAULA AND ITS CONTINUATIONS." In Spanish & Portuguese Romances, 49–91. Routledge, 2013. http://dx.doi.org/10.4324/9780203040263-5.

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Moore, Helen. "Amadis as Spectacle and Source." In Amadis in English, 213–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0006.

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The reception of Amadis changes in the eighteenth century, with a play (Granville’s The British Enchanters (1706) ) and an opera (Handel’s Amadigi di Gaula (1715) ) presenting the romance for theatrical consumption and emphasizing its overt spectacularism in a revivified Amadisian aesthetic. In a parallel development, Amadis was mined by Shakespearean editors, Hispanists, and literary historians such as Isaac Reed, John Bowle, and Thomas Warton as indicative of early modern taste and a means of elucidating the works of Cervantes and Shakespeare. The chapter closes with an account of the ‘spectral’ relationship of Amadis to early Gothic fiction, arguing that the ‘ancient romances’ invoked in the preface to the second edition of Walpole’s The Castle of Otranto (1765) are none other than the libros de caballerías, and showing how Lewis’s The Monk (1796) takes the traditions of peninsular ‘fancy’ in an entirely new direction.
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Moore, Helen. "Receiving Romance." In Amadis in English, 24–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0002.

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This chapter explains the book’s methodologies in the history of reading and elaborates its theory of ‘removed’ reading. ‘Removed’ reading describes the acquisition of familiarity with an anterior text through the reading of a posterior text in which it is embedded, as Amadis is in Don Quixote. The political and cultural conditions that determined and inflected Anglo-Spanish relations across the relevant centuries are outlined, and their implications for the reading of romance explored, as is the long-standing function of French as an intermediary for translated Spanish works in English. The second half of the chapter addresses the act and function of allusion-making, and outlines the modes and strategies of reading romance that are deployed or advocated in different historical periods and social contexts, with a particular focus on gender and reading.
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Moore, Helen. "The Genius of Old Romance." In Amadis in English, 263–308. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0007.

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In 1803 two new translations of Amadis were published: from French, by W. S. Rose, and from Spanish, by Robert Southey. It was through Southey’s editions of Amadis and Palmerin (1807), another Spanish romance, that Keats, Coleridge, Mary Shelley, and Hazlitt gained their knowledge of the genre. This chapter undertakes the first detailed consideration of Southey’s Amadis and demonstrates that it was heavily dependent upon Anthony Munday’s translation, to an extent not perceived at the time by the critics who praised Southey’s seemingly authentic Elizabethan diction. The translations of Southey and Rose were treated to a detailed assessment by Sir Walter Scott in the Edinburgh Review (1803) and exerted a considerable influence on Scott’s knowledge of medieval literary history and on his novels. The central themes of this chapter are the Romantic preoccupation with the medieval and Elizabethan periods, historical authenticity, and the recreation of the literary past.
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Moore, Helen. "Introduction." In Amadis in English, 1–23. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0001.

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Beginning with the phenomenon of the postcolonial Amadis as manifested in the works of Gabriel García Márquez, Paul Muldoon, and Walt Whitman, this chapter analyses the cultural and historical flexibilities of Amadis that have recommended it to readers and writers in diverse periods, languages, and cultures. An overview of the genre of the Spanish books of chivalry (libros de caballerías) to which Amadis belongs, an account of its defining relationship with Don Quixote, and a survey of the French translations by Nicolas de Herberay that first mediated the romance to England, set the scene for the succeeding chapters.
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Moore, Helen. "Princely Reading or a Wanton Book?" In Amadis in English, 43–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0003.

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In sixteenth-century England Amadis was known to elite readers primarily through the French version published in the 1540s. A wider audience gained access at the end of the century, with the first English translations by Anthony Munday of book I (1590) and book II (1595), and the anonymous book V (1598). In this period Amadis was both applauded as the reading of ‘mighty potentates’ and condemned as a ‘wanton’ book, full of extreme fabulations. This dichotomy structures the chapter, which begins by examining Amadis as the favourite book of the Spanish and French courts, lauded as a repository of eloquence and a book of fine love. Amadis features widely in English poetry, fiction, and drama of this period, for example in the works of Sidney, Spenser, and Greene, as an exemplar of romance reading.
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Moore, Helen. "The Homer of Romancy-Writers." In Amadis in English, 177–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0005.

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This chapter’s title quotes Margaret Cavendish’s description of Amadis and it explores the return to prominence post-1660 of Amadis’s relationship to French, rather than Spanish, literary culture. Don Quixote’s ‘witty abusing’ of chivalric romance is tempered from the 1650s by the importation of heroic romance from French and the development of ‘serious’ romance which defines itself in opposition to its Iberian forebears. Amadis became part of the Restoration refashioning of antebellum literary culture partly thanks to English writers’ experience of exile in France and the Low Countries. After the Restoration, Amadis continued to be a popular reference point in comedies, as the archetypal text of ‘amour and adventure’ and a window onto the lost world of Caroline theatre. Behn’s Luckey Chance (1686) and Farquhar’s The Inconstant (1702) are representative of this refashioning of the literary past, while D’Urfey’s Don Quixote plays of the 1690s look back to Jacobean stage satire.
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"appealed to the Queen on being besieged by the wild sense, especially in the concluding cantos, of leaving Irish (see Vi4.1n). In reading this ‘darke conceit’, an iron world to enter a golden one. But do these no one could have failed to recognize these allusions. ways lead to an end that triumphantly concludes the The second point is that Spenser’s fiction, when 1596 poem, or to an impasse of the poet’s imaginat-compared to historical fact, is far too economical ive powers? For some readers, Book VI relates to the with the truth: for example, England’s intervention earlier books as Shakespeare’s final romances relate in the Netherlands under Leicester is, as A.B. Gough to his earlier plays, a crowning and fulfilment, ‘a 1921:289 concludes, ‘entirely misrepresented’. It summing up and conclusion for the entire poem and would seem that historical events are treated from for Spenser’s poetic career’ (N. Frye 1963:70; cf. a perspective that is ‘far from univocally celebratory Tonkin 1972:11). For others, Spenser’s exclamation or optimistic’, as Gregory 2000:366 argues, or in of wonder on cataloguing the names of the waters what Sidney calls their ‘universal consideration’, i.e. that attend the marriage of the Thames and the what is imminent in them, namely, their apocalyptic Medway, ‘O what an endlesse worke haue I in hand, import, as Borris 1991:11–61 argues. The third | To count the seas abundant progeny’ (IV xii point, which is properly disturbing to many readers 1.1–2), indicates that the poem, like such sixteenth-in our most slaughterous age, especially since the century romances as Amadis of Gaul, could now go matter is still part of our imaginative experience as on for ever, at least until it used up all possible virtues Healy 1992:104–09 testifies, is that Talus’s slaughter and the poet’s life. As Nohrnberg 1976:656 aptly of Irena’s subjects is rendered too brutally real in notes, ‘we find ourselves experiencing not the allegorizing, and apparently justifying, Grey’s atrocit-romance of faith or chastity, but the romance of ies in subduing Irish rebels (see V xii 26–27n). Here romance itself ’. For still others, there is a decline: Spenser is a product of his age, as was the Speaker ‘the darkening of Spenser’s spirit’ is a motif in many of the House of Commons in 1580 in reporting studies of the book, agreeing with Lewis 1936:353 the massacre of Spanish soldiers at Smerwick: ‘The that ‘the poem begins with its loftiest and most Italians pulled out by the ears at Smirwick in solemn book and thence, after a gradual descent, Ireland, and cut to pieces by the notable Service of a sinks away into its loosest and most idyllic’; and with noble Captain and Valiant Souldiers’ (D’Ewes Neuse 1968:331 that ‘the dominant sense of Book 1682:286). As this historical matter relates to Book V, VI is one of disillusionment, of the disparity between it displays the slaughter that necessarily attends the the poet’s ideals and the reality he envisions’; or that triumph of justice, illustrating the truth of the common the return to pastoral signals the failure of chivalry in adage, summum ius, summa iniuria, even as Guyon’s Book V to achieve reform (see DeNeef 1982b). destruction of the Bower shows the triumph of tem-Certainly canto x provides the strong sense of an perance. This is justice; or, at best, what justice has ending. As I have suggested, ‘it is as difficult not to become, and what its executive power displayed in see the poet intruding himself into the poem, as it is that rottweiler, Talus, has become, in our worse than not to see Shakespeare in the role of Prospero with ‘stonie’ age as the world moves towards its ‘last the breaking of the pipe, the dissolving of the vision, ruinous decay’ (proem 2.2, 6.9). In doing so, Book and our awareness (but surely the poet’s too) that his V confirms the claim by Thrasymachus in Plato’s work is being rounded out’ (1961a:202). Republic: justice is the name given by those in power Defined as ‘doing gentle deedes with franke to keep their power. It is the one virtue in the poem delight’ (vii 1.2), courtesy is an encompassing virtue that cannot be exercised by itself but within the book in a poem that sets out to ‘sing of Knights and Ladies must be over-ruled by equity, circumvented by mercy, gentle deeds’ (I proem 1.5). As such, its flowering and, in the succeeding book, countered by courtesy. would fully ‘fashion a gentleman or noble person in vertuous and gentle discipline’ (Letter to Raleigh 8). Courtesy: Book VI." In Spenser: The Faerie Queene, 36. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-34.

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