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Updated: June 25, 2025
With the exception, indeed, of one or two in Boccaccio's Ameto, it is doubtful whether any vernacular eclogues had appeared at the time. The character of Tirsi belongs to rustic tradition, and must be an experiment contemporary with, if not prior to, Lorenzo's Nencia. The portion before the canzone is in terza rima; that after it, like the prologue, in octaves.
It is composed in ottava and terza rima, with the introduction of a canzonet, and marks an important advance on previous work, not only in the nature of the plot, but in being divided into acts and scenes. Sixteen years elapsed between the publication of Amaranta and the appearance of the regular pastoral drama in Beccari's Sacrifizio.
Another work by the same, again in octaves, and entitled Cicro, appeared in 1538. It turns out, however, to be a decidedly primitive composition in terza rima, with a certain slightly satirical colouring .
Moreover, apart from argument, he clung as a point of honour to the Church as to the wife that he had accepted in his childhood; and often tried to recall the sketch that Philip Sidney had once given him of a tale that a friend of his designed to turn into a poem, like Ariosto's, in terza rima, of a Red Cross knight separated from his Una as the true faith, and tempted by a treacherous Duessa, who impersonated at once Falsehood and Rome.
In 1508 we find a piece in terza rima, exhibiting traces of Paduan dialect, composed or transcribed by one Cesare Nappi of Bologna, in which no less than fourteen 'villani' appear with their sweethearts to honour the feast of San Pancrazio . Eating and dancing form the mainstay of the composition, and since the female characters are described but do not speak, it may be questioned whether the piece was intended for representation.
INFLUENCE OF ITALY ON SPANISH LITERATURE. The political connection between Spain and Italy in the early part of the sixteenth century, and the superior civilization and refinement of the latter country, could not fail to influence Spanish literature. He established in Spain the Italian iambic, the sonnet, and canzone of Petrarch, the terza rima of Dante, and the flowing octaves of Ariosto.
The idolatry of love will not be overthrown by a drawn battle between those of the Faith and those of the Reformation. Nothing so spectacular awaits us. I have a friend who has undertaken to translate "Inferno" into English, keeping to the terza rima. "It is like climbing the Matterhorn," he says gravely. "I get to places where I feel I can go neither forward nor back. The task is prodigious."
Even Michael Angelo, meeting him in Florence, flung in his teeth that "he had made the model of a horse to cast in bronze, and could not cast it, and through shame left it as it was unfinished." See Arch. St. It., serie terza, xvi. 226.
In the case of Dante the rhythmical basis is the same in both languages; for the iambic measure is our chief poetic vehicle, wrought to perfection by Shakespeare and Milton. There only remains, then, rhyme and the division into stanzas. Can the terza rima, as used by Dante, be called a stanza?
I would urge all who are unacquainted with Dante to read, or rather to study, him at once. They could study no more ennobling teacher. If they are unfamiliar with Italian, they may read the faithful prose version of the "Inferno" by John Carlyle, of the "Purgatorio" and "Paradiso," by A. J. Butler, or the translations by Cary in blank verse, and the Dean of Wells in terza rima.
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