000			01901cam a2200301zu 4500
001			88899450
003			FRCYB88899450
005			20250107170452.0
006			m o d
007			cr un
008			250107s1981 fr | o|||||0|0|||eng d
020			_a9780889201033
035			_aFRCYB88899450
040			_aFR-PaCSA _ben _c _erda
100	1		_aCaro, Annibal
245	0	1	_aThe Scruffy Scoundrels _b(Gli Straccioni) _c['Caro, Annibal', 'Ciavolella, Massimo', 'Beecher, Donald']
264		1	_bWilfrid Laurier University Press _c1981
300			_a p.
336			_btxt _2rdacontent
337			_bc _2rdamdedia
338			_bc _2rdacarrier
650		0	_a
700	0		_aCaro, Annibal
700	0		_aCiavolella, Massimo
700	0		_aBeecher, Donald
856	4	0	_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88899450 _qtext/html _a
520			_aThe Scruffy Scoundrels by Annibal Caro offers the student, scholar, and general reader a sixteenth-century masterpiece in modern English translation. From one vantage point, The Scruffy Scoundrels would appear to be no more than a series of unrelated scenes and sketches grouped around a highly conventionalized and loosely structured love plot: the arrival of Pilucca and Tindaro in Rome abounding in topical references; the appearance of the two ragged brothers so arbitrarily related to the rest of the events of the play; the love squabble between two servants that leads to Nuta’s memorably comic invective; the stock farcical routines of the Mirandola episodes; the long pathetic tale of Tindaro so little of which actually takes place on the stage. There is a sense, however, in which each scene contains its own ethos and milieu and hails from a particular comic genre, each with its own topoi and character types. This efficient management of plot is simply a measure of Caro’s comic genius.
999			_c47193 _d47193