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Updated: June 28, 2025
For if the name and verses of Sannazzaro cling to Piedigrotta and the Parthenopean shore on the eastern side of the hill, the genius of Count Giacomo Leopardi sheds its melancholy radiance over the unlovely purlieus of Fuorigrotta.
We cannot, however, consider her as a woman who was wholly concerned with her own small affairs, as her letters show her to have been in communication with the most illustrious literary men and women of all Italy, including Ariosto, Bembo, Sannazzaro, and Vittoria Colonna.
A duel between father and son is unceremoniously interrupted by the inroad of Democles' soldiery. Upon this the identity of Samela is revealed by a convenient prophetess, and all ends happily. In the relation of verse and prose Greene's work differs from that of Sannazzaro and Sidney, the former being of considerably greater merit than the latter.
The second, and for the English drama vastly the more important channel, was the pastoral-chivalric romance borrowed by Sidney from Montemayor, the great exponent of the Spanish school, which was, however, based upon the Italian work of Sannazzaro. The third was the Arcadian drama of the Ferrarese court, which was imitated, chiefly from Guarini, by Samuel Daniel.
Before proceeding, however, it may be worth while to pause for a moment in order to take a general survey of the nature of the ideal, we might almost say the religion, of pastoralism, which reached its maturity in the work of Sannazzaro.
Sannazzaro had built at Margoglino, a very pleasant place with a most beautiful view at the end of the Chiaia, on the shore, a magnificent and most commodious habitation, which he enjoyed during his lifetime; and, coming to his death, he left that place, which has the form of a convent, with a beautiful little church, to the Order of Servite Friars, enjoining on Signor Cesare Mormerio and the Lord Count d'Aliffe, the executors of his will, that they should erect his tomb in that church, built by himself, which was to be administered by the above-named friars.
Whereas in the case of the verse pastoral the Italian fashion passed from Spain into Portugal, exactly the reverse process took place with regard to the prose romance more or less directly founded upon Sannazzaro.
Thus the piece may be regarded as a dramatization of Sannazzaro's Salices, expanded by the free introduction of mythological characters, and bears no connexion with the real nature of pastoral, the life-blood of which, whether in the idyls of Theocritus, the Arcadia of Sannazzaro, or the Aminta of Tasso, is primarily and essentially human.
Margaret, as I have said, imitated Sannazzaro in her Histoire des satyres et nymphes de Diane. The Arcadia was translated in 1544. Du Bellay was familiar with the original and honoured its author with imitation, translation, and even a respectful mention of it in his famous Défense. Elsewhere he asks: Qui fera taire la musette Du pasteur néapolitain?
He himself made up his estimate from current gossip or from the satires of Pontanus and Sannazzaro two poets who lived in Naples and not in Rome. Their epigrams merely show that they were inspired by a deep-seated hatred of Alexander and Cæsar, who had wrought the overthrow of the Aragonese dynasty, and further with what crimes men were ready to credit evil-doers.
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