Strophic discourse and Stefano Landi's "La morte d'Orfeo": Syntax in music and poetry during the cinquecento and seicento. - Page 88 |
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80
Orfeo) to em phasize the different personahties of these characters. But
here too, Rinuccini’s m usicality gets the better of him. The verses
exchanged by Arcetro and Dafiie in the following example are rhym ed-an
interesting technique to intensify the dialogic relationship between
these two characters, but ultim ately artificial in terms of verisimihtude.
Arcetro:
Oime! che fia giamai?
Pur or tutta gioiosa
Al fonte degl’allor costei lasdai.
Dafne:
O giomo pien d’angoscia, e pien di guai.
Alas! what has happened? But a moment ago, I left this girl
all fiiU of joy near the brook of laurels.
0 day filled with anguish and woe.®
N ext we move to the m essenger scene, a moment th a t in most
settings of the m yth of Orpheus is one of grave passion and climax.
Rinuccini’s continued scattered rhyme scheme is set by Peri in a fuUy
narrative recitative style, rather than the expressive recitative that one
would expect here. More troublesome, however, is the w ay Peri leads
into this im portant scene w ithout even a hint of a cadence in Orfeo’s
preceding verse. This, of course, allows the drama to propel forward
w ithout any overt theatricahty, a desired aspect of verisim ilitude, but
® Jacopo Peri, UEuridice, w . 170-73. Ed. and trans. by Howard
Mayer Brown (Madison, Wisconsin: A-R Editions, 1981), p. xxi.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
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| Title | Strophic discourse and Stefano Landi's "La morte d'Orfeo": Syntax in music and poetry during the cinquecento and seicento. - Page 88 |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 80 Orfeo) to em phasize the different personahties of these characters. But here too, Rinuccini’s m usicality gets the better of him. The verses exchanged by Arcetro and Dafiie in the following example are rhym ed-an interesting technique to intensify the dialogic relationship between these two characters, but ultim ately artificial in terms of verisimihtude. Arcetro: Oime! che fia giamai? Pur or tutta gioiosa Al fonte degl’allor costei lasdai. Dafne: O giomo pien d’angoscia, e pien di guai. Alas! what has happened? But a moment ago, I left this girl all fiiU of joy near the brook of laurels. 0 day filled with anguish and woe.® N ext we move to the m essenger scene, a moment th a t in most settings of the m yth of Orpheus is one of grave passion and climax. Rinuccini’s continued scattered rhyme scheme is set by Peri in a fuUy narrative recitative style, rather than the expressive recitative that one would expect here. More troublesome, however, is the w ay Peri leads into this im portant scene w ithout even a hint of a cadence in Orfeo’s preceding verse. This, of course, allows the drama to propel forward w ithout any overt theatricahty, a desired aspect of verisim ilitude, but ® Jacopo Peri, UEuridice, w . 170-73. Ed. and trans. by Howard Mayer Brown (Madison, Wisconsin: A-R Editions, 1981), p. xxi. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. |
