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Updated: May 24, 2025
She was again singing outside. I called her, wanting to know what it was she kept singing all the time. "They are songs from the mountains," she replied, "all canzone d'amore." "Say them slowly, Filomena. I will write them down." I began, but was so delighted at the way she repeated the verses, her excellent declamatory and rhythmic sense, that I was almost unable to write.
Less pastoral in motive and less connected in narrative, but of even greater importance in the formation of pastoral taste, is the famous Giostra written in honour of the young Giuliano de' Medici. I have already more than once had occasion to mention its author, Angelo Ambrogini, better known from the place of his birth as Poliziano or Politian , the contemporary, dependent, and fellow-littérateur of Lorenzo il Magnifico, and the greatest scholar and learned writer of the Italian renaissance. As the author of the Orfeo he will occupy our attention when we come to trace the evolution of the pastoral drama. Though he left no poems belonging to the recognized forms of pastoral composition, his work constantly borders upon the kind, and evinces a genuine sympathy with rustic life which makes the ascription to him of the already quoted modernization of Sacchetti not inappropriate. He left several other pieces of a similar nature, some of which at least are known to be adaptations of popular songs . Such, for instance, is the irregular canzone beginning: The Giostra is composed, like its predecessors, in the octave stanza, and presents a series of pictures drawn from classical mythology or from the poet's own imagination, adorned with all the physical beauty the study of antiquity could supply and a rich and refined taste crystallize into chastest jewellery of verse . This blending of luxuriance and delicacy is the characteristic quality of Poliziano's and Lorenzo's poetry. It is admirably expressed in the phrase of a recent critic, 'the decorum of things exquisite. After the lapse of another half-century, during which the renaissance advanced from its graceful youth to the full bloom of its maturity, appeared the Ninfa tiberina of Francesco Maria Molza. 'The volutt
And even of this sonnet we may say what Ellis says of Catullus, that Milton never ceases to be a poet, even when his words are most prosaic. It is a hortatory lyric, a trumpet-call to his party in the moment of victory to remember the duties which that victory imposed upon them. It is not without the splendid resonance of the Italian canzone.
This had probably been attempted for ages with a view to satire, and the opportunity for it was offered in Florence at every carnival by the songs of the maskers. But the sympathetic understanding of the feeling of another class was new; and with it the 'Nencia' and this 'Canzone zingaresca' mark a new starting-point in the history of poetry.
Dante himself prized this Canzone, and represents Buonagiunta da Lucca in Purgatory as addressing him, Another sonnet follows upon this, telling how this Love was awakened by Beatrice and beginning with the exquisite praise,
Like his friends Niccolo da Correggio and Gaspare Visconti, Beatrice's secretary was a fervent admirer of Petrarch, and wrote an elaborate commentary on the Canzone, "Mai non vo' più cantar como io solea," which he dedicated to Isabella d'Este and sent her with a letter expressing his conviction that no one before him had ever fully understood this profound and subtle poem.
In the second part, comprising Poets chiefly before Dante, we have specimens of the Sicilian school a canzone by the great Frederick, and a sonnet by his luckless son Enzo, who died in prison at Bologna after a confinement of nearly twenty-three years.
It is said to have been about the beginning of the sixteenth century that the statue was discovered and dug up near the place where it now stands, and the earliest account of it seems to be that given by Castelvetro, in 1553, in his discourse upon a canzone by Annibal Caro.
At Urbino he wrote the unfinished canzone to the river Metauro, one of the most touching of his compositions, in which he laments the wounds which fortune had inflicted upon him through the whole of his hapless life. But the tenure of princely favour at Italian courts, amid so many ambitious patrons and anxious suitors, was very precarious. It was uncommonly so at Ferrara.
The artist poet who coloured the virginal form of Poverty, with the briars beneath her feet and the roses blooming round her forehead, proved by his well-known canzone that he was free from monastic Quixotism, and took a practical view of the value of worldly wealth. His homely humour saved him from the exaltation and the childishness that formed the weakness of the Franciscan revival.
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