of this pastoral as a means of promoting peace. In the matching chapter, Scott presents her case that the piece was performed. Except for the young king, the royal children served as the principal actors, and of this Scott theorizes: `[r] oyal children needed to learn not only presentation but also representation, the art of manifesting and symbolizing their royal rôles' (p. 99). Also, observing the children of the principal members of the warring factions as they vowed their allegiance on stage to the accompaniment of the music of the spheres must have profoundly affected the audience, or at least this was the hope. In Chapters 5 and 6, `Ronsard, Ariosto, and a Scottish Princess: La Belle Genièvre' and `Une Autre Polynesse', the authors analyse the first known dramatic adaptation of Ariosto's Orlando furioso in either Italian or French. No text of the piece remains. Nonetheless, sufficient evidence attests to its performance on that day. The chapters are particularly interested in situating the piece within the overlapping networks of the Este court in Ferrara (patrons of Ariosto) and the French royal court with its numerous Italianophiles. A conclusion and a postscript follow the analyses of the two performances,
Parergon – Australian & New Zealand Association of Medieval & Early Modern Studies, Inc. (ANAZAMEMS, Inc.)
Published: Jul 14, 2010
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