Below are notes taken while reading I.D.R. in Grafton, Most, and Settis, The Classical Tradition, s.v. “Actaeon”

 

Ovide moralisé  3.336-675 (early 14^th century): Actaeon1.0001_OvideMoralise

Actaeon allegorized as Christ.

            The heroic victim is wounded, killed, and heroized as in the Passion and Resurrection

           

Boccaccio, Ninfale fiesolano(mid-14^th century): Actaeon1.0003_Boccaccio"

            In Boccaccio's pastoral romance (1344-46), "Il ninfale fiesolano" Actaeon pursues Diana deliberately, as a knight would in courtly romance.

                She is a divinity sworn to virginity, divine purity.

 

Jacopo Sannazzaro, Arcadia, briefly mentioned at Ecl. 11 "Selvaggio e Fronimo" (1504): Actaeon2.0001_Sannazzaro:

            Much as Boccaccio’s

 

Giles of Viterbo, Sentences according to the Mind of Plato (1506-1512): Actaeon2.0002_Giles

            The Christianized myth of Actaeon has deliberately Neoplatonic slant

            Cf. Giles’ other La caccia bellissima dell’amore(The Most Beautiful Hunt of Love) (1506): Actaeon2.0003_Giles

                        Diana is an allegory for the human soul, Actaeon a philosopher searching for traces of divinity.

                        When Actaeon sees the goddess, his soul is elevated to a higher level

 

Giordano Bruno,  De gl’eroici furori (On Heroic Frenzies) Part 1, dialogue 4: Actaeon1.0053_Bruno

            Further development of Giles’ ideas: Actaeon as philosopher.

 

William Shakespeare, Twelfth Night 1.1.18-22 (1600)” Actaeon1.0061_Shakespeare

            Duke of Orsino is plagued by unrequited love for Olivia (he makes himself Actaeon, her Diana).