By Matteo Soranzo
Poetry and identification in Quattrocento Naples techniques poems as acts of cultural id via analyzing how a gaggle of authors used poetry to strengthen a poetic kind, whereas additionally showing their place towards the tradition of others. ranging from an research of Giovanni Pontano's Parthenopeus and De Amore Coniugali, through a dialogue of Jacopo Sannazaro's Arcadia, Matteo Soranzo hyperlinks the genesis and subject matters of those texts to the social, political and highbrow vicissitudes of Naples less than the domination of Kings Alfonso and Ferrante. Delving additional into Pontano's literary and astrological creation, Soranzo illustrates the consolidation and eventual dispersion of this author's legacy through the symbolic worth hooked up to his masterpiece Urania, and on the genesis of Sannazaro's De Partu Virginis. The concepts of poets writing in neo-Latin and the vernacular throughout the Aragonese domination, during this means, are used not just as old proof, but additionally to open a discussion with New Historicism and the social sciences.
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Extra resources for Poetry and Identity in Quattrocento Naples. Matteo Soranzo
This poem is phrased as a recusatio addressed to the poet’s Muse, in which the author adduces his Umbrian origin as the reason why his poetic style is not fit to venture into epic poetry. , Umbria] said: “My boy, please come into this cave of the mossy fount, come under its shelter. ”18 Ventura, “Le ambiguità di un privilegio,” 388–9. Marino, Becoming Neapolitan, 2–3, 232–3. 18 Pontano, Parthenopeus, I, 18, 30–36: “Audiit irrigui coerula nympha loci, / atque 16 17 ait: ‘Antra, puer, muscosi fontis et ista / tecta petas, en haec quae tibi serta paro; / si mecum Poetry and Patria 35 The meaning of this enigmatic passage, which adopts classical mythology to conceal a stylistic discussion, is that Umbria is the origin of the poet’s mission as an elegiac poet.
This locus amoenus is presented as the setting for a performance of the poet’s amores, a word that may be referred to generic love songs, but I suggest interpreting it as a specific reference to the old title of Pontano’s collection. This is confirmed by the characterization of Fannia not only as the poet’s lover and listener, but also as a sort of editor who selects her lover’s still unpublished poems. In a way, this choice creates a parallel between the world of myth and the poet’s world, and the same locus amoenus is described as the background of Sebethus’ love songs for Doris, thus foreshadowing the poet’s love poems for Fannia: Let us ascend the dark shore here right toward the placid fount, where shining Sebethus waters its fields; here we will recite to the rivers these unpublished Amores, which Fannia, sprung forth in my fame, reads.
36 Beccadelli, Hermaphrodite, 214. ” In quoting from Beccadelli’s Hermaphrodite, I have used Holt Parker’s translation. 38 Pontano’s Catullus, however, is not only a model for light-hearted love poetry and epigrams as established by Martial. For an attentive reader of Ovid’s Amores like Pontano, Catullus was also a precursor of Augustan elegy. So, if the common perception of Catullus filtered by Martial influenced Pontano’s poems in hendecasyllables, his poems in elegiac couplets betray a tendency to read the same poet in conjunction with Augustan elegists Tibullus and Propertius.
Poetry and Identity in Quattrocento Naples. Matteo Soranzo by Matteo Soranzo