Lord Byron as a satirist in verseFuess, Claude Moore
History
Lord Byron as a satirist in verse
Fuess, Claude Moore
Byron, George Gordon Byron, Baron, 1788-1824 -- Criticism and interpretation; Verse satire, English -- History and criticism
The _Novelle Amorose_ are verse tales of the type which Boccaccio,
and after him, Bandello, Straparola, and their imitators, had made
popular in prose. Dealing in a laughing and lenient fashion with the
indiscretions of gallants, usually monks and priests, they are marred
by grossness and indecency in plot and language. The cynical immorality
of the stories has subjected Casti to much unfavorable criticism.
Foscolo, his countryman, speaks of him as “spitting his venom at virtue
and religion, as the sole expedient by which he can palliate his own
immorality.”[201] However, the coarse tone of the _Novelle_ is hardly
unique with Casti; he is merely adhering to the standard of the earlier
prose novelists.
The likeness between _Beppo_, which is an English novella in verse, and
some of Casti’s _Novelle_, is one in manner and spirit rather than in
plot and style.[202] Byron’s story, taken as it was from an episode
with which he had met in his own experience, has no exact parallel in
Casti’s collection, but his method of handling it is not unlike that
followed by the Italian in treating of themes not greatly dissimilar.
Choosing practically at random among the _Novelle_--for Casti’s plan
was much the same in all--we may discover certain peculiarities which
have their counterparts in _Beppo_. Novella IX, _Lo Spirito_, has, like
_Beppo_, a humorous introduction, in which the narrator, speaking,
like Byron, in the first person, analyzes what is meant by “spirit” in
man or woman. He then proceeds with the adventure of the Lady Amalia
and her two lovers, describing each of the three in a rather clever
character sketch, not unlike the pictures which Byron gives of Laura
and the Count. The rival suitors pursue different tactics in their
struggles to win the lady’s favors and in dwelling on their actions,
Casti often pauses to indulge in a chuckling aside to the reader,
never so long continued as Byron’s digressions, but in very much the
same vein. Finally one of the wooers meets with success, and the tale
concludes with a bantering moral.
Public-domain text, read in full here on John Shaqi.
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