Ariosto Sentence Examples

Lodovico Ariosto, the poet (1474-1533), was born in Reggio, and his father's house is still preserved.

It is desultory to a degree; it is a base libel on religion and history; it differs from its model Ariosto in being, not, as Ariosto is, a mixture of romance and burlesque, but a sometimes tedious tissue of burlesque pure and simple; and it is exposed to the objection - often and justly urged - that much of its fun depends simply on the fact that there were and are many people who believe enough in Christianity to make its jokes give pain to them and to make their disgust at such jokes piquant to others.

Among his principal works upon these subjects may be noted the four volumes of Letteratura della nuova Italia (1860-1910); his essays upon Goethe, Ariosto, Shakespeare, Corneille, and the Poetry of Dante; his two volumes Storia della storiografia italiana del secolo XIX.

Among his other works are - Das Leben des Kiinstlers Carstens (1806), Ariosto's Lebenslauf (1809), and Francesco Petrarca (1818) .

The Charlemagne legend was fully developed in Italy, where it was to have later a great poetic development at the hands of Boiardo, Ariosto and Tasso.

About the same time he commenced, at the desire of the ruler of the neighbouring Shirvan, his second romantic poem, the famous Bedouin love-story of Laila and Majnun, which has so many points in common with Ariosto's Orlando Furioso, and finished it in the short space of four months.

The simple house of Ariosto, erected by himself after 1526, in which he died in 1532, lies farther west.

He was the patron of Ariosto from 1518 onwards.

During his leisure he wrote a translation of Ariosto (1781), and Memoires sur la vie de Turgot (1782).

But the victor's laurels were reserved for Ariosto, whose Orlando Furioso is the purest and most perfect extant example of Renaissance poetry.

Even the comedies of the best authors are too observant of Latin precedents, although some pieces of Machiavelli, Ariosto, Aretino, Cecchi and Gelli are admirable for vivid delineation of contemporary manners.

It expressed itself at last in the monumental work of Don Quixote, which places Cervantes beside Rabelais, Ariosto and Shakespeare as one of the four supreme exponents of the Renaissance.

What Ariosto is for Italy, Cervantes for Spain, Erasmus for Holland, Luther for Germany, Shakespeare for England, that is Rabelais for France.

He modelled himself on the Roman theatre as reflected by the plays of Ariosto, and he avowedly wrote the Estrangeiros to combat the school of Gil Vicente, while in it, as in Os Vilhalpandos, the action takes place in Italy.

The island is the Lopadusa of Strabo, and the Lipadosa of Ariosto's Orlando Furioso, the scene of the landing of Roger of Sicily and of his conversion by the hermit.

Meredith, the What is living and what is dead of the Philosophy of Hegel (Macmillan), and the Breviary of Aesthetic (Rice Institute, Texas), the volume Shakespeare, Ariosto and Corneille (Henry Holt & Co., New York), and the Poetry of Dante by Douglas Ainslie.

But the perfect plastic art of Italy, the pure art of the Cinque Cento, the painting of Raphael, Da Vinci, Titian and Correggio, the sculpture of Donatello, Michelangelo and Sansovino, the architecture of Bramante, Omodeo and the Venetian Lombardi, however much imbued with the spirit of the classical revival, takes rank beside the poetry of Ariosto as a free intelligent product of the Renaissance.