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Updated: May 2, 2025
It is best to return to the surface. The lyric 'sequences' published towards the close of the sixteenth century frequently contain more or less pastoral matter. Poliziano's Latin translation of Moschus was commended by E. K. in his notes to the Shepherd's Calender, and the same original supplied Tasso with the subject of his Amore fuggitivo, which served as epilogue to the Aminta.
In the form of this prologue, which became the model for subsequent pastoral writers in Italy , and in the heavenly descent of the principal characters, we may see the influence of the mythological play; while the substance both of the prologue and of the epilogue, or Amore fuggitivo, in which Venus comes to seek her runaway among the ladies and gallants of the court, is of course borrowed from the famous first idyl of Moschus.
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