By Jack D'Amico
Jack D'Amico, professor of English at Canisius collage, is coeditor of The Legacy of Benedetto Croce: modern serious Views and writer of The Moor in English Renaissance Drama (UPF, 1991).
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Extra resources for Shakespeare and Italy: The City and the Stage
Example text
When Petruchio and his man Grumio enter Padua as visitors from Verona, they immediately adopt the manner of performers, acting out a lazzo, or comic set piece of knocking at Hortensio’s door. 55–56). While Hortensio attacks the household of Baptista as though it were a fortress—“For in Baptista’s keep my treasure is. / He hath the jewel of my life in hold” (118–19)—the literal and figurative treasure represented by Katherina requires something more than the costume that transforms Hortensio into Litio.
Shakespeare’s use of the novelle of Giraldi Cinthio, Matteo Bandello, Ser Giovanni Fiorentino, and Boccaccio, translated or in the original Italian, has been sifted by Geoffrey Bullough, Kenneth Muir, Howard C. Cole, and Charlotte Pressler. Leo Salingar remarks that “the greatest creative writer whose influence can be felt widely diffused through Shakespeare’s plays, however indirectly, is Boccaccio” (Traditions 323), and Mario Praz asks rhetorically whether Shakespeare avoids the more stereotypical horrors and thrills of the Senecan-Italian dramatic tradition “because the acquaintance he had with Italian things enabled him to take a more sober view of Italian society than the current one circulated by religious and conservative fanatics and cherished by the thriller-seeking crowd” (148).
407–9). In this world servants become masters and sons beget fathers. The mingling of the fluid world of the piazza with the more closed world of the household takes a number of forms in the play, none more interesting than the begetting of the supposed Vincentio. The scene that introduces the pedant who will become the supposed father takes place in a space outside Baptista’s house—a garden, or loggia adjacent to the street—from which Tranio and Hortensio can observe Lucentio, disguised as the tutor Cambio, reading from and acting out Ovid’s Ars Amandi with Bianca.