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An Intertextual Reading of Brumec's Francesca da Rimini and Dante's Divine Comedy

This paper proposes to set forth an intertextual reading of Mislav Brumec’s tragicomedy Francesca da Rimini and Dante’s 5th Canto of the Hell entitled Paolo e Francesca. Mislav Brumec (1969- ), a contemporary Croatian dramatist, won the Croatian Ministry of Culture’s annual Marin Držić Prize for the dramatic production of Francesca da Rimini in 1991. The tragicomedy was first published in the collection Young Croatian Drama, edited by Miro Gavran, a contemporary Croatian author of short stories, fiction and drama, and published in Zagreb in 1991. The English version was published in Croatian Radio Plays in the 1990s, Zagreb, Croatian Radio Library, 1999. The basis of the plot is a well known historical episode. The master of the castle, the mighty warrior Gianciotto, cares only for hunting and the glory he could win in the upcoming crusade. Feeling neglected, his wife Francesca manipulates his brother, the painter Paolo, in order to make Gianciotto jealous. Francesca’s maid Angela, who is in love with Gianciotto, skilfully takes advantage of this situation and, defeating her rivals by her intrigues, leaves Gianciotto at the mercy of her cruel love. The present study attempts to present an objective intertextual network of relations of/between Brumec’s tragicomedy with the famous Canto, which should lead to the identification of the typology of influence exerted by Dante ; essentially a metonymic and metahistorical one. Furthermore, due to the different genres they represent, Dante’s and Brumec’s modi operandi manifest certain differences that must be taken into consideration in order to offer a systematic perspective on the topic and to eliminate the possible impression of the mere mechanical transfer of the plot structure.

Francesca da Rimini, Mislav Brumec, Dante, intertextuality

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