[Autom. eng. transl.] A speech by Rudolf Borchardt from 1924 testifies that Ariost's work was still regarded as an important literary model in German-speaking classical modernism: "Of all the great poets, only two have victoriously ended the battle for proportion to the world: Ariost and Goethe" . The high esteem that artists and intellectuals held for the Italian poet around 1900 also shows the considerable number of recent translations of Orlando furioso that were published within a few years: 1880–1881 Paul Heyse had the translation reprinted by Hermann Kurz (1840–1841), in splendid furnishings and with Gustave Doré's woodcuts, 82 of which are full-page, richly illustrated; Otto Gildemeister's translation appeared in 1882, Alfons Kissner's in 1908 and Theodor Ling's prose text in 1910. It should be noted above all that the Furioso (mostly in the original language) was available in the private libraries of renowned writers and poets of the turn of the century, such as Stefan Georges and Hugo von Hofmannsthals. This article focuses on the work of the latter.
|Translated title of the contribution||[Autom. eng. transl.] Ariosto in Classical Modernism: Traces in Hofmannsthal's Work|
|Title of host publication||Ariost in Deutschland. Seine Wirkung in Literatur, Kunst und Musik|
|Editors||Mario Zanucchi Achim Aurnhammer|
|Number of pages||18|
|Publication status||Published - 2020|
- Hugo von Hofmannsthal, Ariost