By Carlo Caruso
During this precise therapy of the parable of Adonis in post-Classical occasions, Carlo Caruso offers an outline of the most texts, either literary and scholarly, in Latin and within the vernacular, which secured for the Adonis fable a different position within the Early smooth revival of Classical mythology. whereas aiming to supply this basic define of the myth's fortunes within the Early smooth age, the ebook additionally addresses 3 issues of fundamental curiosity, on which many of the unique learn incorporated within the paintings has been performed. First, the myth's earliest major revival within the age of Italian Humanism, and especially within the poetry of the good Latin poet and humanist Giovanni Pontano. Secondly, the diffusion of syncretistic interpretations of the Adonis fable through authoritative sixteenth-century mythological encyclopaedias. Thirdly, the allegorical/political use of the Adonis fantasy in G.B. Marino's (1569-1625) Adone, released in Paris in 1623 to have fun the Bourbon dynasty and to help their legitimacy with reference to the throne of France.
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Additional info for Adonis: The Myth of the Dying God in the Italian Renaissance
One year after the disillusion the half-hearted reception of his Benacus had caused him, he was entrusted with the power of reviewing Latin poetry in the making. In the autumn of 1525 Girolamo Fracastoro asked him to read a draft version of his Syphilis, the aetiological poem of Virgilian (as well as Pontanian) inspiration mentioned above, for he intended to make Bembo the poem’s dedicatee. Bembo obliged by offering copious suggestions for improvement. 25 From the list of suggestions, as well as from a second letter which also allows the reader to guess the content of Fracastoro’s lost intermediate missive, it emerges that Bembo had proposed the removal of a second ‘new’ aition (that is, not imitated from any ancient authority): the one concerning quicksilver, another supposedly successful therapy for those affected by the disease.
The first noticeable characteristic is the environment in which the French bucolic poets operated and circulated their pieces – the royal court. 64 The elevation of the bucolic to a higher rank, so that it could be considered to be a genre truly fit for a king, was also promoted by other factors. The particular variety of the genre known as éclogue forestière must have depended in part on the prestige enjoyed by hunting, which was by then the traditional sport of French kings. 65 Nor should one underestimate the classicizing flair attached to hunting – especially boar hunting – as opposed to ‘medieval’ jousts.
15 But more prominent than all others in his support of Pontano’s poetry was the Veronese physician and poet Girolamo Fracastoro. 16 Sannazaro’s fantasy about a garland woven from orange leaves had indeed become the ambition of many a fellow poet. The pitfalls of inventiveness How, one wonders, could a legacy of such scope be dissipated and eventually lost? As anticipated at the outset of this chapter, Pontano’s own prowess may paradoxically have played a counterproductive role in the process. Pontano’s poetic gifts were not easily matched; nor were his particular cast of mind and inventiveness, so unflinchingly committed to courting transgression.