Amadis de Gaulle is a Romance of knighthood of the 15th century translated into French by Nicolas Herberay of Essarts, whose first publication, under Jean Janot, Vincent Sertenas and Longis, is of 1540. Paris. Its antecedent it is the Spanish original written and published in 1508 by Garci Rodríguez de Montalvo.

Contents

The hero is Amadis, known as the Chevalier of the Lion or the Brown Beautiful , dashing young man with a somber air . This hero of knighthood was wire of Périon, fabulous king of France. It is the type of the constant and respectful lovers as well as of the wandering knight. Amadis plays in Spain a part similar to that of the King Arthur in England and of Charlemagne in France. The adventures of this prince do not have anything history, moreover one cannot even precisely at which time bring them back.

The novel of Amadis was composed about the 15th century by various authors; it is in prose and includes/understands 24 books, of which the 13 first are in Spanish and the others in French. The first four books deal with Amadis de Gaulle alone, the following tell the exploits of his/her son you torisando and several other Amadis, Amadis of Greece, Amadis of Star, Amadis de Trébizonde, etc, all resulting from the first.

Don Quichotte

Amadis de Gaulle is, according to the hero of Cervantes, the model of the perfect knight, whom it is thus advisable to imitate in any point. Within the framework of an analysis girardienne, one is vis-a-vis the typical illustration of an external mediation (imitation of an inaccessible model)

Adaptation of Haendel

Amadigi of Haendel (1715) finds her origin in the Spanish novel (published in XVe century) of Garcia Rodriguez de Montalvo, under the title of Amadis de Gaulle. The booklet of Nicola Francesco Haym, also librettist of Giulio Cesare and of, inter alia, Tamerlano, would be inspired by two French lyric tragedies: Amadis of Gaules de Lully (and Quinault) - in 1673 - and Amadis of Greece de Houdar of the Mound (music of Andre Cardinal Destouches, in 1699).

The hero, Amadigi, saw with the Oriane princess a shared love. But this double inclination is extremely badly seen by two jealous which intends well to oppose this idylle: the Melissa magician, itself éprise of Amadigi, and the prince of Thrace Dardanus (Dardano), in love gotten rid of with Oriane. Before the lovers cannot give up themselves with the happiness of a love without clouds with the sound of pastoral, they cross a series of tests to which demons and furies are not foreign and of which, naturally, they will triumph. As many tests alternating transport, impassioned dashes, torments and tenderizings of the heart that, musicalement, Haendel translates by a plentiful variety of Arie of a remarkable melody richness and who carry the mark of theSaxon one well. In that are exemplary, for example, the air of Dardanus (Act II, scene 5) “Pena tiranna Io sento Al core” (I feel inside my heart of inexorable sorrows) on the rate/rhythm characteristic of saraband who points out obviously the “lascia CH' io pianga” of Almirena in Rinaldo, or that of Melissa (scene 10 which completes act II): “Destero dall' empia Known as ogni furia, has farvi will guerra” (I will arm against these traitors all furies to make them the war), whose instrumental accompaniment (and particularly the splendid duet Trompette/oboe) precede already the toilets music of 1717.

Publications

The first four books of the Amadis novel are looked like a masterpiece by Cervantès.

Old publications

They were published:

• with Seville in 1496;
• translates into French by Nicolas d' Herberay of Essarts, Paris, 1540;
• by Louis-Elisabeth of the Alder of Tressan, 1779;
• put in worms by Auguste Creuzé To injure in 1813.

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