inspired by Norbert Elias on ‘the quest for excitement’, might be the emotions triggered by play, from joy to anger – the anger of losers at a game of dice, for instance, or the anger of the victims of practical jokes. Mock-fighting often turned into serious fighting, as we shall see. Competition in play offered many occasions of anger, as latent aggression rose to the surface.
What is still lacking is an overview that links different specialisms. Such an overview is all the more necessary because innovations in one branch of play were sometimes inspired by innovations in another. It becomes easier to understand each genre or medium of play when its connections with other genres and media are viewed as part of a bigger picture. This essay offers a sketch for such a picture.
1 1. On Bronzino, Deborah Parker, ‘Toward a Reading of Bronzino’s Burlesque Poetry’, Renaissance Quarterly 50 (1997), 1011–44; on Giulio Romano, Paul Barolsky, Infinite Jest: Wit and Humor in Italian Renaissance Art (Columbia, MO, 1978), 75–100, 132–8; on Arcimboldo, Thomas DaCosta Kaufmann, Arcimboldo: Visual Jokes, Natural History and Still-Life Painting (Chicago, IL, 2010); on Michelangelo, Barolsky, Infinite Jest, 51–74, and Antonio Corsaro, ‘Michelangelo, il comico e la malinconia’, in La regola e la licenza: studi sulla poesia satirica e burlesca fra cinque e seicento (Rome, 1999), 115–33.
2 2. Ian Petru Culianu, Iocari serio: scienza e arte nel pensiero del Rinascimento (2003: Italian translation, Turin, 2017); Paula Findlen’s ‘Galileo’s Laughter: Knowledge and Play in the Renaissance’ remains unpublished.
3 3. Weston La Barre, Shadow of Childhood (Norman, OK, 1991), 109; Virginia Cox, The Renaissance Dialogue (Cambridge, 1992).
4 4. Jacques Le Goff, ‘Le rire médiéval entre la cour et la place publique’, in Pauvres et riches (Warsaw, 1992), 307–11; Le Goff, ‘Une enquête sur le rire’, Annales: Histoire, Sciences Sociales 52 (1997), 449–55; Paul Hardwick (ed.) The Playful Middle Ages (Turnhout, 2010).
5 5. On the possible contribution of theorists to the study of early modern play, Bret Rothstein, ‘Early Modern Play: Three Perspectives’, Renaissance Quarterly 71 (2018), 1036–46. The perspectives are those of Johan Huizinga, Bernard Suits and Eugen Fink.
6 6. Johan Huizinga, Homo Ludens: A Study of the Play Element in Culture (1938: English translation, London, 1970), 26–30.
7 7. Roger Caillois, Man, Play and Games (1958: English translation, London, 1962).
8 8. Mikhail Bakhtin, Problems of Dostoyevsky’s Poetics (1929: English translation, Manchester, 1984), 106–9, 32–6, 124, 131.
9 9. Huizinga, Homo Ludens, 27.
10 10. Jean Toscan, Le carnaval du langage, 5 vols. (Lille, 1981), 1169–80.
11 11. Andrea Nuti, Ludus e iocus: percorsi di ludicità nella lingua Latina (Treviso, 1998); Andreas Hermann Fischer, ‘Ludus/iocus/lusus: Valla, Bruni und humanistische Wortspielen’, in Spielen und Philosophieren zwischen Spätmittelalter und Früher Neuzeit (Göttingen, 2016), 75–9.
12 12. Patricia M. Spacks, Boredom: The Literary History of a State of Mind (Chicago, IL, 1995). Scipione Bargagli wrote about Carnival games filling ‘tedious nights’ (quoted in Laura Riccò, Giuoco e teatro nelle veglie di Siena (Rome, 1993), 118.
13 13. Girolamo Cardano, De ludo aleae (c. 1564: English translation, The Book on Games of Chance, New York, 1961); Scipione Bargagli, Dialogo dei Giuochi (1572: ed. Patrizia Ermini, Siena, 1982); Valerio Marchetti, ‘Recherches sur le “Dialogo dei Giuochi”’, in Philippe Ariès and Jean-Claude Margolin (eds.) Les jeux à la Renaissance (Paris, 1982), 163–83; Girolamo Mercuriale, De arte gymnastica (Venice, 1573). Cf. Alessandro Arcangeli and Vivian Nutton (eds.) Girolamo Mercuriale (Florence, 2007).
14 14. Niccola Villani, Ragionamento dello Academico Aldeano sopra la poesia giocosa de’ greci, de latini, e da toscani (Venice, 1634).
15 15. Ludovico Muratori, Antiquitates italicae medii aevi (Milan, 1739) dissertation 29; Girolamo Tiraboschi, Storia della letteratura italiana, 2nd edn, vol. VII (Modena, 1791), 140.
16 16. Isaac D’Israeli (1823) ‘Of the ridiculous titles assumed by the Italian academies’, Curiosities of Literature, 2nd series (1823: London, 1866 edn), 355–9.
17 17. John Addington Symonds, Renaissance in Italy, 7 vols. (London 1875–86), vol. II, The Revival of Learning, 238.
18 18. Jacob Burckhardt, Civilization of the Renaissance in Italy (1860: English translation, London, 1944), 93–103.
19 19. Benedetto Croce, ‘Poesia giocosa’, in Opere, vol. XXXIX (Bari, 1941), 78–84; Thomas F. Crane, Italian Social Customs of the Sixteenth Century (New Haven, CT, 1920), ch. 6.
20 20. William Heywood, Palio and Ponte: An Account of the Sports of Central Italy from the Age of Dante to the XXth Century (London, 1904).
21 21. Jean Jacquot (ed.) Les fêtes de la Renaissance, 3 vols. (Paris, 1956–75).
22 22. Julio Caro Baroja, El Carnaval (Madrid, 1965).
23 23. Mikhail Bakhtin, Rabelais and his World (1965: English translation, Cambridge, MA, 1968); Caro Baroja, El Carnaval.
24 24. Clifford Geertz, ‘Deep Play’, in The Interpretation of Cultures (New York, 1973), 412–53.
25 25. Horia Corneliu Cicortaş, ‘Premessa’ to Culianu, Iocari serio, 8.
26 26. Norbert Elias, The Civilizing Process (1939: English translation, Oxford, 1978); Elias and Eric Dunning, Quest for Excitement: Sport and Leisure in the Civilizing Process (Oxford, 1985).
27 27. Elias and Dunning, Quest for Excitement, 165.
28 28. Silvia Longhi, Lusus: il capitolo burlesco nel Cinquecento (Padua, 1983), 1. On comic poetry in Latin, see Ugo E. Paoli, Il latino maccheronico (Florence, 1959).
29 29. Ariès and Margolin (eds.) Les jeux, introduction.
30 30. André Rochon (ed.) Formes et significations de la beffa, 2 vols. (Paris, 1972–5).
31 31. On leisure, Peter Burke, ‘The Invention of Leisure in Early Modern Europe’, Past and Present 146 (1995), 136–50.
32 32. Barbara C. Bowen, Humour and Humanism in the Renaissance (Aldershot, 2004); Rochon (ed.) Formes. Cf. Peter Burke, ‘Frontiers of the Comic in Early Modern Italy’, in Jan Bremmer and Herman Roodenburg (eds.) A Cultural History of Humour (Cambridge, 1997), 61–75.
33 33. Barolsky, Infinite Jest; Francesca Alberti, La peinture facétieux (Arles, 2016).
34 34. Antonio Corsaro and Paolo Procaccioli (eds.) Cum notibusse et commentaribusse: l’esegisi parodistica e giocosa del Cinquecento (Rome, 2002); Longhi, Lusus; Martine Boiteux, ‘Chasse aux taureaux et jeux romains à la Renaissance’, in Ariès and Margolin (eds.) Les jeux, 33–54; Domenico Scafoglio, Il carnevale napolitano (Rome, 1997); Horst Bredekamp, Florentiner Fussball (Frankfurt, 1993); Alessandra Rizzi, Ludus/ludere: giocare in Italia alla fine del medio evo (Rome, 1995), 89–102, 171–204.
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