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Chargement... The School of Whoredompar Pietro Aretino
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Bawdy and thoroughly risque, this 16th-century masterpiece is the work of Pietro Aretino, widely regarded as the originator of European pornographic writing. Determined that her daughter should not be ignorant of the ways of men and love, Nanna seeks to "educate" the naïve Pippa. She tells of women--whores, housewives, and nuns all being essentially the same; and of how to win men--discreetly and with good manners. But mostly, she reveals to Pippa the secrets of her art as a courtesan. The ensuing dialogue, laden with satiric twists and naughty puns, offers a fresh and lively example of the harlot's world, displaying a frankness that confides in today's reader as shrewdly as it was intended in 16th-century Rome. Italian satirist and poet Pietro Aretino was one of the most versatile writers of the 16th century; the author of plays, poetry, and letters, he is now principally remembered as the originator of European pornography. Aucune description trouvée dans une bibliothèque |
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" … when the salad arrives, don’t rush at it like a cow at hay, but take teeny-weeny mouthfuls, and put them in your mouth without greasing so much as a finger — don’t lower your head, gobbling up the food straight off your plate, as I have seen some oafs do. Keep majestically erect, extending your hand graciously, and when you ask for a drink, do it with a nod of your head. If the decanters are on the table, help your self and don’t fill the glass to the brim — slightly over halfway will do. "
As this is a story about courtesans, sex comes into the mix as well. Not pornographic, but it is bawdy and bedroom antics are alluded to without coyness. Everyone, customers, fellow prostitutes, and moralizers on them both are skewered in good satirical fun. It reminded me, in fact, of Moliere’s School for Wives for its takes on male delusion and hypocrisy, except the hypocritical ones were being gossiped about and not proclaiming their views on stage.
With all its twists and turns of language, and allusions to the people and social graces of another time, the work demanded my full attention to read, and I had to pace myself in spite of the breeziness of the dialogue. Kudos to the translators (there were three) for bringing the piece to life in modern English. I was well entertained by their efforts.
(I found this book where I find so many others, at my local Little Free Library.) ( )