French Erasto: Difference between revisions
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{{Secondary Version | {{Secondary Version | ||
|Has Description=The French translation of the ''Erasto'' narrative was first published in [[Histoire pitoyable du Prince Erastus, fils de Diocletien, empereur de Rome. Lyon: Gabriel Cotier, 1564.|Lyon in 1564 by Gabriel Cotier]], given the title ''Histoire pitoyable du Prince Erastus, fils de Diocletien, empereur de Rome''. The ''Histoire'' was produced only twelve years after the original publication of the [[Italian Erasto|Italian original]]; however, the Italian had already gone through more than ten printings by the time the French version was translated. Like the Italian, the French ''Histoire'' was enormously popular, with more than ten print editions by 1600. | |||
The French text was reportedly the source for [[Francis Kirkman, Prince Erastus|Francis Kirkman's 17th century ''Erasto'' text]], and therefore the continuation of the [[English Erasto|tradition in English]]. | |||
Much later, in 1709, the Chevalier de Mailly produced a new reworking of the material. Some scholars (mostly recently [[Runte, Wikeley, Farrell (1984)|Runte, Wikeley, Farrell (1984),]] and [[Farrell and Andrachuk (1996)]]) suggest that this was a translation of [[Spanish Erasto|Hurtado de la Vera's Spanish ''Historia Lastimera d'el Principe Erasto'']]. However, a study by [[Pedrol Aguilà (2020)|Marina Pedrol-Aguilà (2020)]] illustrates the closeness of this text to the 16th-century French iteration. Pedrol-Aguilà notes that Chevalier de Mailly's introduction promises embellishments and 'improvements' to the 'barbarous style' of the original French ''Histoire,'' and his tendency for amplification is directly at odds with the abbreviation demonstrated by Hurtado de la Vera (p. 523-24). It is also noteworthy that this translation was produced when the ''Seven Sages / Book of Sinbad'' was in particular vogue in France: Petis de la Croix produced his edition of the ''Forty Viziers'' just two years earlier, and three years before that, Galland's translation of the ''One Thousand and One Nights'' had enormous success ([[Pedrol Aguilà (2020)|Pedrol Aguilà (2020)).]] | |||
|Has Parent Version=Erasto (Es) | |Has Parent Version=Erasto (Es) | ||
|Has Title=Histoire pitoyable du Prince Erastus | |Has Title=Histoire pitoyable du Prince Erastus | ||
| Line 6: | Line 11: | ||
|Has Place Of Text Composition=France | |Has Place Of Text Composition=France | ||
|Has Date Of Text Composition=1564 | |Has Date Of Text Composition=1564 | ||
|Is Date Uncertain=No | |||
|Has Modern Research Literature=Pettegree, Walsby and Wilkinson (2007); Pedrol Aguilà (2020) | |Has Modern Research Literature=Pettegree, Walsby and Wilkinson (2007); Pedrol Aguilà (2020) | ||
|Is Adapted From=Erasto (Es) | |Is Adapted From=Erasto (Es) | ||
Latest revision as of 16:04, 9 March 2026
The French translation of the Erasto narrative was first published in Lyon in 1564 by Gabriel Cotier, given the title Histoire pitoyable du Prince Erastus, fils de Diocletien, empereur de Rome. The Histoire was produced only twelve years after the original publication of the Italian original; however, the Italian had already gone through more than ten printings by the time the French version was translated. Like the Italian, the French Histoire was enormously popular, with more than ten print editions by 1600.
The French text was reportedly the source for Francis Kirkman's 17th century Erasto text, and therefore the continuation of the tradition in English.
Much later, in 1709, the Chevalier de Mailly produced a new reworking of the material. Some scholars (mostly recently Runte, Wikeley, Farrell (1984), and Farrell and Andrachuk (1996)) suggest that this was a translation of Hurtado de la Vera's Spanish Historia Lastimera d'el Principe Erasto. However, a study by Marina Pedrol-Aguilà (2020) illustrates the closeness of this text to the 16th-century French iteration. Pedrol-Aguilà notes that Chevalier de Mailly's introduction promises embellishments and 'improvements' to the 'barbarous style' of the original French Histoire, and his tendency for amplification is directly at odds with the abbreviation demonstrated by Hurtado de la Vera (p. 523-24). It is also noteworthy that this translation was produced when the Seven Sages / Book of Sinbad was in particular vogue in France: Petis de la Croix produced his edition of the Forty Viziers just two years earlier, and three years before that, Galland's translation of the One Thousand and One Nights had enormous success (Pedrol Aguilà (2020)).
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