World Library  
Flag as Inappropriate
Email this Article


Article Id: WHEBN0002266609
Reproduction Date:

Title: Bandello  
Author: World Heritage Encyclopedia
Language: English
Subject: Orlando Furioso, Cecilia Gallerani, Vittorio Alfieri, Arthur Brooke (poet), Juliet, 17th-century French literature, French Renaissance literature, I Capuleti e i Montecchi
Publisher: World Heritage Encyclopedia


Matteo Bandello (French: Mathieu Bandel) (c. 1480 – 1562) was an Italian writer, mostly known for his novellas.


Matteo Bandello was born at Castelnuovo Scrivia, near Tortona (current Piedmont), c. 1480 or 1485. He received a good education, and entered the church, but does not seem to have been very interested in theology. For many years he lived at Mantua and Castel Goffredo, and superintended the education of the celebrated Lucrezia Gonzaga, in whose honour he composed a long poem. The decisive Battle of Pavia, as a result of which Lombardy was taken by the emperor, compelled Bandello to flee; his house at Milan was burnt and his property confiscated. He took refuge with Cesare Fregoso, an Italian general in the French service, whom he accompanied into France.[1]

He was later raised to the bishopric of Agen, a town in which he resided for many years before his death in 1562. Bandello wrote a number of poems, but his fame rests entirely on his extensive collection of Novelle, or tales (1554, 1573), which have been extremely popular. They belong to the same genre as Boccaccio’s Decameron and Marguerite de Navarre’s Heptameron. The common origin of them all is to be found in the old French fabliaux, though some well-known tales are evidently Eastern, and others classical. Bandello’s novellas are thought the best of those written in imitation of the Decameron, though Italian critics find fault with them for negligence and inelegance of style.[1]

The stories on which William Shakespeare based several of his plays (Much Ado about Nothing, Romeo and Juliet and Twelfth Night in particular)[2] were supplied by Bandello, probably through Belleforest and Pierre Boaistuau whose stories were later translated into English by William Paynter and included in his The Palace of Pleasure. Another of his stories includes "The countess of Cellant", a distortion of Challand, a northwest region of Italy.

English translation of novellas

The only translation of Bandello's tales is "The novels of Matteo Bandello", translated by John Payne in 6 volumes, 1890.[3] This edition is separated into 4 parts, containing 51, 43, 51, and 21 stories, respectively, for a total of 166, minus two (part 2, story 35 and part 4, story 6), omitted because of their being almost identical to those of Marguerite the Navarre's Heptameron (stories 30 and 17), respectively, though keeping Bandello's dedicatory preface.

The Payne translation is a mixture of 19th and 16th century idioms. Examples of the latter include "an thou wilt" instead of "if you will", "wheneas" instead of "when", "methinketh" instead of "I think", "parlous" instead of "perilous". On most occasions, the language is clear and of fine literary value, but sometimes it is degraded with terms no one ever spoke or wrote. For example, instead of saying "Now I would gladly hear your advice on this matter", the duchess of Amalfi says: "Now I would fain hear from thee that which thou counsellest thereanent."

Source material

The vast majority of the stories derive from those Bandello heard from contemporaries, reported as real life events. Far more rarely, some stories are based on literary or historical sources, such as book 5 of Dante's Purgatory (part 1, story 11), the Lucretia and Tarquin episode in Livy's History of Rome (part 2, story 15), story #23 of the Heptameron (part 2, story 17), and Francesco Petrarch's Triumph of Love (part 2, story 41). Some derive from English history, such as the chronicle of Mary Douglas, niece to King Henry VIII of England (part 3, story 44) and Henry VIII's six wives (part 3, story 45), some from Spanish history, such as Alfonso X (part 4, story 10). All of them were told to him by men, but a minority of dedicatory prefaces are offered to women. Bandello writes that the dedicatory prefaces to the nobility or to worthy persons are useful to him as a shield in case someone becomes offended by one of the stories and is tempted to attack him (part 2, story 32). He shows psychological insight into jealousy, in particular the description of two types of jealous men, the first from feelings of inadequacy and the second from feelings of the fickleness of women (part 3, story 47).

Source of Shakespeare's plays

Four stories were adapted by Shakespeare, including Cymbeline (part 1, story 19), the Claudio subplot of Much Ado about Nothing (part 1, story 20), Romeo and Juliet (part 2, story 6), and Twelfth Night (part 2, story 28), plus one from the Shakespeare Apocrypha, Edward III (part 2, story 29).

Stories have also been adapted by other dramatists, including John Webster, The Duchess of Malfi (part 1, story 24), Philip Massinger, The Picture (Massinger play) (part 1, story 19), the same source as that of Cymbeline, John Marston and Jean Mairet, Sophonisba (part 1, story 35), John Fletcher, The Maid in the Inn (part 2, story 11), and the anonymous 17th century French author of The Cruel Moor (1618) (part 3, story 17).

Examples of other stories

Most striking among the stories include the countess of Cellant seeking vengeance on one lover by means of others (part 1, story 4), two whores seeking to win their husbands back (part 1, story 17), two brother thieves in cahoots to rob the treasures of the king of Egypt (part 1, story 23), a disdained lover voluntarily choosing to live inside a cave (part 1, story 25), a woman killing herself only out of fear that her good fortune will turn bad (part 1, story 48), Filippo Lippi, released from slavery in Africa because of his talent as a celebrated painter (part 1, story 50), a woman disdaining a man and then killing herself when he no longer pursues her (part 2, story 16), an abbot making music from a chorus of pigs (part 2, story 23), an adulterous lover buried alive and then saved (part 3, story 1), a merchant's murder of another (part 4, story 1), a case of double adultery whereby each husband cuckolds the other (part 4, story 11), and two women yelling at each other after being falsely told they are hard of hearing (part 4, story 21).




Further reading

External links

  • Centro Studi Matteo Bandello e la Cultura Rinascimentale (in Italian)
  • Matteo Bandello's works: text, concordances and frequency lists

This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.

Copyright © World Library Foundation. All rights reserved. eBooks from Project Gutenberg are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.