The translations of Tasso’s Gerusalemme liberata by Richard Carew (1594) and Edward Fairfax (1600) import the hybrid genre of the Italian romance epic into the evolving literary polysystem of the English Renaissance. These two significant translations present an intriguing struggle between fidelity to the source text and freedom, which mirrors the friction between epic and romance at the heart of the Gerusalemme liberata. This friction takes shape most clearly in the treatment of the power dynamics of the crusaders vis-à-vis Godfrey and in the translation of the ‘forma altera’ of Armida. While Carew attempts an ‘epic’ translation conforming to the source text, creating a Gerusalemme conquistata-type of translation, Fairfax submits to the allure of Armida and to the romance of translator errancy. To translate this unique hybrid genre is to encounter translation’s process double; in a fundamental sense, translation is romance, and the romance epic is translation.

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L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique. / Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model.

Questo lavoro mira ad offrire una nuova prospettiva dalla quale leggere la dialettica fra cultura pagano-mitica e cultura cristiana che attraversa tutta la tradizione letteraria italiana. Tema comune alle due visioni del mondo, la trasformazione è figura guida dell’intera ricerca, figura che assume declinazioni differenti e prende il nome di metamorfosi nella cultura mitica e quello di conversione nella cultura cristiana. La novità della prospettiva consiste nel tentativo di una lettura di carattere retorico di questi due fenomeni, con lo scopo di formalizzare due tipi di poetica che corrispondano al tema della metamorfosi e a quello della conversione. Applicando al vasto materiale offerto da Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedie manzoniane e da alcune poesie tratte dall’Alcyone di d’Annunzio gli strumenti derivati dagli studi antropologici sui sacrifici arcaici di Girard e dalle intuizioni di Bottiroli a proposito della traduzione letteraria di alcuni schemi logici propri alla cultura occidentale si è potuta constatare una corrispondenza costante tra le forme dei contenuti ‘metamorfosi’ e ‘conversione’ e le particolari forme dell’espressione con cui essi sono stati rappresentati. Una volta individuate, le particolari forme dell’espressione sono state codificate in figure retoriche, tanto che si è giunti ad indicare lo schema, in generale, dell’antitesi come marca propria alla poetica della metamorfosi e la figura della correctio come caratteristica della poetica della conversione. / This work aims at offering a new perspective from which it is possible to read the dialectic between the heathen-mythical culture and the Christian culture that runs through the whole literary Italian tradition. Transformation is the theme in common between the two visions of the world, it is the leading figure of the whole research and it assumes different forms. It takes the name of metamorphosis in the mythical culture and of conversion in the Christian culture. The novelty of this perspective consists in the attempt of a rhetorical reading of these two phenomena, in order to formalize two kinds of poetics., that could correspond to the theme of metamorphosis and conversion. Applying to the large materials offered by Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedies by Manzoni and some poems from Alcyone by d’Annunzio the instruments deriving from the anthropological studies about archaic sacrifices by Girard and from the intuitions of Bottiroli about literary transposition of some logical schemes, which are typical of the Western culture, it was possible to notice a constant correspondence between forms of contents ‘metamorphosis’ and ‘conversion’ and the particular forms of the expression, with which they have been represented. Once they have been pointed out, the particular forms of expression have been codified in figures of speech, so that it was possible to indicate the overall scheme of the antithesis as the proper sing of the poetics of metamorphosis and the figure of correctio as the feature of the poetics of conversion.