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Updated: June 25, 2025
But find the passage in the fifth book, to which Poliziano refers I know it very well." Seating herself on a low stool, close to her father's knee, Romola took the book on her lap and read the four verses containing the exclamation of Actreon.
The two fifteenth-century plays constitute a distinct species which has attained to a high degree of differentiation if not of dramatic evolution, and critics who would see in them the origin of the later pastoral drama have to explain the strange phenomenon of the species lying dormant for nearly three-quarters of a century, and then suddenly developing into an equally individualized but very dissimilar form . It should, moreover, be borne in mind that contemporary critics never regarded the Arcadian pastoral as in any way connected with the mythological drama, and that the writers of pastoral themselves claimed no kinship with Poliziano or Correggio, but always ranked themselves as the followers of Beccari alone in the line of dramatic development.
"This fine young man has unlimited Greek, Latin, or Italian at your service," continued Nello, fond of interpreting by very ample paraphrase. "He is as great a wonder of juvenile learning as Francesco Filelfo or our own incomparable Poliziano.
Lorenzo also impressed Poliziano into the work, whose labors in marking the various readings, in adding scholia and "notes" illustrative of the text of Catullus, Propertius, Ovid, etc., were of the utmost value.
Everywhere the same thirst for knowledge was felt and the same respect for scholars was shown. For as Signor Lodovico wrote to his friend Poliziano, at Florence, "Both natural inclination and the example of our ancestors have inspired us with ardent love for learned men and an eager desire to honour and reward them to the best of our power."
In these halcyon days at this hospitable table Michael Angelo met such men as Massilio Ficino, the interpreter of Plato; Pico della Mirandola, the phoenix of erudition; Luigi Pulci and Angelo Poliziano—the latter is supposed to have incited Michael Angelo to carve the bas-relief now in the Casa Buonarroti, called by Condivi "The rape of Deianeira and the battle of the Centaurs."
Poliziano relates the incident in one form, the followers of Savonarola in another; but neither report is absolutely authentic.
This is a most honourable office, and has always been held by gentlemen and scholars of this country, as by Poliziano, the two Vettori, and the two Adriani, luminaries in the world of letters. Last week, on the death of the Most Serene Prince Lorenzo of Tuscany, uncle of the reigning Grand Duke, I made the funeral oration; when it is published, it shall be my care to send you a copy.
In these representations, however, the object in view was the restoration of the classics rather than the amusement of the public; and the new dramatists confined themselves to a faithful copy of the ancients. But the Orpheus of Poliziano caused a revolution.
There follows an echo-scene, one of those toys which, as old as the Greek Anthology, and cultivated in Latin by Tebaldeo, and in Italian by Poliziano, owed, not indeed their introduction, but certainly their great popularity in pastoral, to Guarini. His example is fairly successful.
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