Adriano Banchieri
From The Art and Popular Culture Encyclopedia
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Bertoldo è il contadino protagonista del testo seicentesco di Giulio Cesare Croce Le sottilissime astutie di Bertoldo, cui lo stesso autore aggiunse un seguito, Le piacevoli et ridicolose simplicità di Bertoldino (che trattava del figlio di Bertoldo, alle prese con la moglie Marcolfa). Successivamente Adriano Banchieri elaborò un ulteriore seguito, Novella di Cacasenno, figliuolo del semplice aBertoldino.
I tre racconti furono successivamente raccolti e pubblicati insieme nel 1620 con il titolo di Bertoldo, Bertoldino e Cacasenno. Le vicende di padre, figlio e nipote fornirono in tempi recenti l'ispirazione a diversi film, tra cui un film del 1936 di Giorgio Simonelli, un film del 1954 di Mario Amendola e Ruggero Maccari e un film del 1984 di Mario Monicelli.
Bertoldo
One of the few of his more than 400 published works to be translated into English, Bertoldo was a popular story among the people of his time. Bertoldo is a story that had various versions in the Middle Ages taking place in the court of the king Alboin in either Verona or Pavia depending on the version. In its most organic version, that of Croce (Template:Lang, 1606), Bertoldo is from Roverè. Some of its raunchy language was softened, as was the edge of revenge against the powerful commoner in some of the other variations. One of his sources for the story were the Dialogus Salomonis et Marcolphi.
To his first Bertoldo,<ref>The Library of Congress</ref> Croce wrote a sequel called Le piacevoli et ridicolose simplicità di Bertoldino, 1608, (about the son of Bertoldo, in the charge of his mother Marcolfa). Later (1620), the abbot Adriano Banchieri wrote another sequel called Novella di Cacasenno, figliuolo del semplice Bertoldino. Since then the work of Croce is often published alongside under the title Bertoldo, Bertoldino e Cacasenno from which three films were inspired under the same title in: 1936, 1954 and 1984 (the last by Mario Monicelli).
In Bertoldo, Croce may have shown his secret aspirations, the crude lout and the self-taught, the presence at court was his hope for his future with which he hoped to solve his problems. The liberty of thought and action that Bertoldo had at court may show Croce's desire to live vicariously through his character by having a patron, like many of his counterparts, but without having to pay homage to them.
