Home Classical, Ancient Near Eastern & Egyptian Studies The Reception of Aeschylus in Sixteenth-Century Italy: The Case of Coriolano Martirano’s Prometheus Bound (1556)
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The Reception of Aeschylus in Sixteenth-Century Italy: The Case of Coriolano Martirano’s Prometheus Bound (1556)

  • Giovanna Di Martino
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Making and Rethinking the Renaissance
This chapter is in the book Making and Rethinking the Renaissance

Abstract

In 1737, a plagiarist named Giovanni Scarfò reprinted as his own a liber rarissimus containing some otherwise forgotten versions of Greek tragedies and comedies, translated into Latin by Coriolano Martirano and published by his nephew in 1556. Amongst these, there appears the first version of any Aeschylean play published in Italy; specifically, the tragedy that has been regularly revisited in Europe in varying forms over the centuries: the Prometheus Bound. In this chapter, I argue that Martirano’s translation strongly informs Renaissance translation theory by its reference to the key factors that would influence translators and writers in subsequent centuries - patronage, religion and dramaturgical translatability. Through his translation, Martirano also presents a particular interpretation of Prometheus, represented as an icon of defiance in his struggle against a tyrannical Zeus, one that foreshadows some of the most evocative readings of the play belonging to the Romantic period.

Abstract

In 1737, a plagiarist named Giovanni Scarfò reprinted as his own a liber rarissimus containing some otherwise forgotten versions of Greek tragedies and comedies, translated into Latin by Coriolano Martirano and published by his nephew in 1556. Amongst these, there appears the first version of any Aeschylean play published in Italy; specifically, the tragedy that has been regularly revisited in Europe in varying forms over the centuries: the Prometheus Bound. In this chapter, I argue that Martirano’s translation strongly informs Renaissance translation theory by its reference to the key factors that would influence translators and writers in subsequent centuries - patronage, religion and dramaturgical translatability. Through his translation, Martirano also presents a particular interpretation of Prometheus, represented as an icon of defiance in his struggle against a tyrannical Zeus, one that foreshadows some of the most evocative readings of the play belonging to the Romantic period.

Chapters in this book

  1. Frontmatter I
  2. Preface V
  3. Contents VII
  4. List of figures IX
  5. Introduction 1
  6. Through the Eyes of the Greeks: Byzantine Émigrés and the Study of Greek in the Renaissance 9
  7. Janus Lascaris’ Florentine Oration and the ‘Reception’ of Ancient Aeolism 27
  8. Manuel Calecas’ Grammar: Its Use and Contribution to the Learning of Greek in Western Europe 51
  9. Issues in Translation: Plutarch’s Moralia Translated from Greek into Latin by Iacopo d’Angelo 67
  10. Translating from Greek (and Latin) into Latin: Niccolò Perotti and Plutarch’s On the Fortune of the Romans 79
  11. Humanist Translations and Rewritings: Lucian’s Encomium of the Fly between Guarino and Alberti 95
  12. Cardinal Bessarion and the Introduction of Plato to the Latin West 109
  13. The Reception of Aeschylus in Sixteenth-Century Italy: The Case of Coriolano Martirano’s Prometheus Bound (1556) 125
  14. Rethinking the Birth of French Tragedy 143
  15. ‘Pantagruel, tenent un Heliodore Grec en main [...] sommeilloit’: Reading the Aethiopica in Sixteenth-Century France 157
  16. From Greek to the Greeks: Homer (and Pseudo-Homer) in the Greco-Venetian Context between the Late Fifteenth and Early Sixteenth Century 175
  17. The Wanderings of a Greek Manuscript from Byzantium to Aldus’ Printing House and Beyond: The Story of the Aristotle Ambr. B 7 inf. 195
  18. The Reception of Horace’s Odes in the First Book of Marcantonio Flaminio’s Carmina 213
  19. Orazio Romano’s Porcaria (1453): Humanist Epic between Classical Legacy and Contemporary History 233
  20. List of Contributors 253
  21. Index 255
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