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Updated: June 16, 2025
Carducci wrote in his Idilio Maremmano, the same Carducci who at the close of his ode Sul Monte Mario tells us how the earth, the mother of the fugitive soul, must roll its burden of glory and sorrow round the sun "until, worn out beneath the equator, mocked by the last flames of dying heat, the exhausted human race is reduced to a single man and woman, who, standing in the midst of dead woods, surrounded by sheer mountains, livid, with glassy eyes watch thee, O sun, set across the immense frozen waste."
Some time ago Stiefel pointed out a considerable hiatus at this point in Rossi's account, and mentioned certain works which might be expected to fill it. These and others have since been examined by Carducci, with the result that it is possible, at least partially, to bridge the gap. The period proves to be one less of gradual evolution than of conscious experiment.
The advocates of the orthodox theory, however, must be prepared to meet and combat the objections which Carducci has raised, and which, in his opinion, necessitate the adoption of a different explanation. The evolution of the pastoral drama from the eclogue he declares to be impossible, in the first place, on historical grounds.
The probability is that the constant references in Jaufre's poems to an unknown distant love, and the fact of his crusading expedition to the Holy Land, formed in conjunction the nucleus of the legend which grew round his name, and which is known to all readers of Carducci, Uhland and Heine. Contemporary with Jaufre Rudel was Bernard de Ventadour, one of the greatest names in Provençal poetry.
Moreover, no one has suggested that the rustic shows were the origin of the Arcadian drama, so that it is to be presumed that Carducci had in mind the more or less frequent but still sporadic elements borrowed by the eclogues from the popular drama.
Like epidemics they sweep up and down the world, requiring no passports, respecting no frontiers, while benefits travel slowly from people to people, and often lose much in the passage. D'Annunzio, speaking the universal language Sin, has been accepted as the typical Italian by foreigners who know Carducci merely as a name and have perhaps never heard of Fogazzaro.
Finally, I may remark that Beccari's claim to be considered the originator of the pastoral drama was made in spite of his being perfectly well acquainted with Cintio's Egle, as a passage in the first scene of Act III testifies. There is, indeed, no reason to suppose that any writer before Carducci ever considered Cintio's play as belonging to the realm of pastoral.
Moor, or Moro, came from the Low Countries, and the Carducci brothers from Italy, to seek their fortunes in Madrid. Torrigiani, after breaking Michael Angelo's nose in Florence, fled to Granada, and died in a prison of the Inquisition for smashing the face of a Virgin which a grandee of Spain wanted to steal from him.
Scholars cannot answer as did the greatest poet of our times, Carducci, when he was requested to write an ode on the occasion of the death of a personage: "It is inspiration, not an occasion, which would make me write an ode."
'But in thèse words, objects Carducci, 'the writer is in no way referring to the Italian eclogues of the fifteenth and sixteenth centuries. The eclogue had passed out of its infancy in the work of Theocritus. Here, however, Carducci appears to me to misinterpret Guarini's meaning in an almost perverse manner.
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