An exploration of the many depictions of Charlemagne in the Italian tradition of chivalric narratives in verse and prose. Chivalric tales and narratives concerning Charlemagne were composed and circulated in Italy from the early fourteenth to the mid-sixteenth century (and indeed subsequently flourished in forms of popular theatre which continue today). But are they history or fiction? Myth or fact? Cultural memory or deliberate appropriation? Elite culture or popular entertainment? Oral or written, performed or read? This book explores the many depictions of the Emperor in the Italian tradition of chivalric narratives in verse and prose. Beginning in the age of Dante with the earliest tales composed for Italians in the hybrid language of Franco-Italian, which draw inspiration from the French tradition of Charlemagne narratives, the volume considers the compositions of anonymous reciters of cantari and the prose versions of the Florentine Andrea da Barberino, before discussing the major literary contributions to the genre by Luigi Pulci, Matteo Maria Boiardo and Ludovico Ariosto. The focus throughout is on the ways in which the portrait of Charlemagne, seen as both Emperor and King of France, is persistently ambiguous, affected by the contemporary political situation and historical events such as invasion and warfare. He emerges through these texts in myriad guises, from positive and admirable to negative and despised.

From the Middle Ages onwards, writers, artists and composers became self-consciously aware of the vast potential for external references to enrich their works. By evoking canonical texts and their producers from the distant or more recent past, authors demonstrated their respect for tradition while showcasing their own merits. In so doing they also manipulated the memory of their readers. This volume represents a multidisciplinary approach to the themes of citation and intertextual play. It is also an exploration of the role of memory in the cultural production of the late Middle Ages and early Renaissance. The essays investigate work by renowned authors, composers and artists, as well as less familiar sources, from France, England and Italy.

Marking the fifth centenary of the publication of the first edition of the Italian masterpiece, Ariosto, the Orlando Furioso and English Culture brings together an international team of Renaissance scholars from a wide variety of disciplines to analyse in detail the diffuse impact which the epic poem had upon English culture from the Tudor century to the present day. Translated into English in the 1590s by Sir John Harington, godson of Elizabeth I, the influence of Ariosto's poem can be traced in literature, music and the visual arts, from Spenser and Milton to modern media adaptations. In addition, the collection reflects upon the ways in which successive editions and translations, examples of critical reception, rewritings and adaptations in different media (in particular opera) all shaped the rich and evolving understanding of the adventures of Orlando, Angelica, Medoro, Olympia, and Sacripante in the cultural and artistic production of England across the centuries.