ABSTRACT

This article gives an instance of the translation process involving the Italian novella in Renaissance Europe. It focuses on a meaningful case study, comparing one of Matteo Bandello’s novellas (I. 42) with its French, English, and Spanish rewritings by Pierre Boaistuau, William Painter, and Vicente de Millis Godínez. It is argued that these three translators changed the Italian plot in order to make the story acceptable from a moralistic point of view, specifically by re-characterising the female protagonist. The article examines Painter’s rewriting in particular: it suggests that the Elizabethan writer drew directly on both the Italian text and its French translation, but chose to follow Boaistuau’s changes on specific literary and cultural grounds. Indeed, the French model showed Painter a way to endow his work with moral rectitude, while preserving the violent and tragic narrative events that would satisfy his readers’ tastes.

摘要

本文以欧洲文艺复兴时期涉及意大利中篇小说的翻译过程为例。它着重于一个有意义的案例研究，将Matteo Bandello的中篇小说之一（I. 42）与Pierre Boaistuau，William Painter和Vicente de MillisGodínez对法语，英语和西班牙语的重写作了比较。有人认为，这三位译者改变了意大利的情节，以使故事从道德的角度可以被接受，特别是通过重新扮演女性主角的角色。本文特别考察了画家的改写：这表明伊丽莎白时代的作家直接借鉴了意大利文字和法文译本，但选择了在特定的文学和文化背景下跟随博阿斯陶的变化。的确，法国模特向画家展示了一种赋予他的作品以道德正直的方式，