Williams, ‘too late’ and ‘the quest for connection is always tinged
with melancholy’. Williams borrows from Franco Moretti to argue that the tears
so common to the melodramatic mode come when the characters finally realise
what the audience knew all along, and when their desire is ‘recognized as futile’.28
Mourning for Pavese’s lost love (if only he had arrived one day earlier!) takes precedence over the experience of internal exile, which for him, the documentary
implies, was fruitful in both politics and prose.
Prima che il gallo canti, the only feature film made on
Samuel Daniel and the naturalisation of Italian literary forms
Greg, Pastoral Poetry , p. 254.
Proctor argues that Hymens Triumph is
‘more independent of its models’ than the earlier
pastoral: Johanna Proctor, ‘ The Queen’s Arcadia
and Hymen’s Triumph: Samuel Daniel’s court
pastoral plays’ in J. Salmons and W. Moretti, eds, The
One of the key elements of Philip Jones' interpretation of late medieval Italy is the importance attached to the feudal nobility and its chivalric values. This chapter deals with social groups and social tensions in Italy: popolo against magnates, noble clans against each another, men against women, young men against city elders, Christians against Jews, freemen against slaves, food riots and tax revolts, acts of resistance and indecency. Franco Cardini has argued that there were three major elements of noble lifestyle in Italy during the communal period: knighthood, towers and vendetta. The chapter focuses on these three elements. Although worker unrest is evident in Italian towns from the late thirteenth century, the second half of the fourteenth century saw a rash of working-class revolts, the most famous being that of the Ciompi in Florence has become the 'archetype' of worker insurrections.