33:
712:(1614), a sort of oratorical handbook for priests, which was considered indispensable by generations of preachers; in its enormously long sermons, which in reality have little to do with religion, Marino takes his transcendent technique of continuous metaphor to an extreme; a feat imitated throughout the Baroque era. More interesting for the modern reader are the "Letters", an eloquent document of his artistic and personal experience. In them Marino rejects the accusation of sensuality levelled at his poetry, explaining that he was only living up to the expectations of the ruling class, as can be seen in a letter to Duke Carlo Emanuele I.
415:
615:, Ariosto, Tasso and the French literature of the day. The aim of these borrowings is not plagiarism but rather to introduce an erudite game with the reader who must recognise the sources and appreciate the results of the revision. Marino challenges the reader to pick up on the quotations and to enjoy the way in which the material has been reworked, as part of a conception of poetic creation in which everything in the world (including the literature of the past) can become the object of new poetry. In this way, Marino also turns
788:, along with a great deal of Baroque literature, has been reevaluated, starting in the 1960s with Giovanni Getto, who was followed by the critic Marzio Pieri in 1975 and by Giovanni Pozzi in 1988, who, while denying the presence of a structure, recognised a highly refined form in the poem which he defined as "bilocal and elliptical", reflecting the "hesitation of 17th-century man between two contradictory models of the universe, the
367:) and defenders (such as the printer and biographer Antonio Bulifoni in a life of the poet which appeared in 1699) have firmly asserted that Marino, much of whose love poetry is heavily ambiguous, had homosexual tendencies. Elsewhere, the reticence of the sources on this subject is obviously due to the persecutions to which "sodomitical practices" were particularly subject during the
299:
Regarding this subject, some critics (including
Giovanni Pozzi) have stressed the great influence on him exerted by northern Italian cultural circles; others (such as Marzio Pieri) have emphasised the fact that the Naples of the time, though partly in decline and oppressed by Spanish rule, was far from having lost its eminent position among the capitals of Europe.
325:(and thus neo-pagan and heterodox) implications, to which Marino would remain true all his life and exploit in his poetry, obtaining great success amongst some of the most conformist thinkers on the one hand while encountering continual difficulties because of the intellectual content of his work on the other.
281:
He remained the reference point for
Baroque poetry as long as it was in vogue. In the 18th and 19th centuries, while being remembered for historical reasons, he was regarded as the source and exemplar of Baroque "bad taste". With the 20th century renaissance of interest in similar poetic procedures,
359:
But an air of mystery surrounds Marino's life, especially the various times he spent in prison; one of the arrests was due to procuring an abortion for a certain
Antonella Testa, daughter of the mayor of Naples, but whether she was pregnant by Marino or one of his friends is unknown; the second
298:
until 1600, leading a life of pleasure after breaking off relations with his father who wanted his son to follow a career in law. These formative years in Naples were very important for the development of his poetry, even though most of his career took place in the north of Italy and France.
597:
All this tends to characterise "L’Adone" as a labyrinth of entangled situations without any real structure. The lengthy Canto XX, which takes place after the protagonist's death, serves to undermine any pretence to narrative unity. But this very lack of unity constitutes Marino's narrative
808:
The complete works of Marino, under the title "Marino
Edition" and under the editorship of Marzio Pieri and Marco Albertazzi, with the aid of Luana Salvarani, Alessandra Ruffino and Diego Varini are currently being published by "La Finestra". Volumes which have appeared so far include:
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783:
For a long time, critics, who had a negative assessment of Marino's work from the end of the 17th to the last decades of the 20th century, maintained that the poet's intention was to astound his readers through the elegance of the poem's details and his descriptions. But
556:
Adonis returns to Cyprus where he wins a contest of beauty, is made ruler of the island and is reunited with Venus. But Mars has Adonis killed on a hunting expedition by a wild boar. He dies in the arms of Venus and his heart is transformed into a red flower, the
351:
Marino gave himself up to literary studies, love affairs and a life of pleasure so unbridled that he was arrested at least twice. In this as in many other ways, the path he took resembles that of another great poet of the same era with whom he was often compared,
720:
Marino was famous in his time and acclaimed by his contemporaries as the successor and moderniser of Tasso. His influence on
Italian and other literature in the 17th century was immense. In fact, he was the representative of a Europe-wide movement which included
552:
of Venus's new love and he heads for Cyprus. When Adonis finds out Mars is on his way, he flees and is transformed into a parrot for refusing the goddess's love. Having regained his human form thanks to
Mercury, he is taken captive by a band of robbers.
32:
598:
innovation. The poet composes his work using various levels and passes from one episode to the next without any apparent logical connection, basing the links solely on a language rich in hyperboles, antitheses and metaphors.
852:, East Lansing, Mich.: Michigan State University, Kresge Art Museum, 2003, p. 32. See also Blaise Ducos, "Court Culture in France among the First Bourbons: Portrait of Giambattista Marino by Frans Pourbus the Younger",
589:
and numerous others. Thus the poem, which was originally intended to be only three cantos in length, was so enriched that it became one of the longest epics in
Italian literature, made up of 5123 eight-line
440:) in 1614, which is made up of erotic verse, encomiastic and sacred pieces, arranged either by theme (sea poems, rustic poems, love poems, funereal poems, religious poems) or by verse form (
425:
Marino originated a new, "soft, graceful and attractive" style for a new public, distancing himself from
Torquato Tasso and Renaissance Petrarchism as well as any kind of Aristotelian rule.
321:. While Campanella himself was to oppose "Marinism" (though not attacking it directly), this common speculative background should be borne in mind with its important
360:
conviction (for which he risked a capital sentence) was due to the poet's forging episcopal bulls in order to save a friend who had been involved in a duel.
219:
and a whole range of wordplay, on lavish descriptions and a sensuous musicality of the verse, and enjoyed immense success in his time, comparable to that of
393:, where he remained until 1623, honoured by the court and admired by French literary circles. He returned to Italy in triumph and died in Naples in 1625.
286:
and Carlo
Calcaterra and has had numerous important interpreters including Giovanni Pozzi, Marziano Guglielminetti, Marzio Pieri and Alessandro Martini.
310:. It seems that both Marino and his father took part in private theatrical performances of their host's plays at the house of the Della Porta brothers.
544:
telling love stories and is then led to the Garden of
Pleasure, which is divided into five parts, one for each of the senses, and to the fountain of
472:
idylls and another of "rustic" verse. Thus Marino distanced himself from love, heroic and sacred themes in favour of the mythological and bucolic.
313:
But more importantly, these surroundings put Marino in direct contact with the natural philosophy of Della Porta and the philosophical systems of
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637:, in spite of its technical virtuosity, is a work rich in authentic poetry written in a style which often achieves perfection of rhythm.
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They often hark back to the Classical traditions of Latin and Greek literature, with a particular fondness for the love poems of
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The poem is also evidence of a new sensibility connected with the latest scientific discoveries (see for example the eulogy of
259:
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who set several of Marino's poems in his collections of madrigals, beginning with the Sixth Book published in 1614. In 1626,
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Marino wrote a large amount, both in prose and verse. His poetry remains the most admired and imitated part of his work.
328:
Other figures who were particularly influential on the young Marino include Camillo Pellegrini, who had been a friend of
239:
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into a kind of poetic encyclopaedia, which collects and modernises all the previous productions of human genius.
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thought him to be "one of the greatest Italian poets of all time". He is considered the founder of the school of
1002:
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672:(still of uncertain attribution) inspired by Tasso; interesting and ingenious burlesque compositions such as
382:. This was not an easy time for the poet, in fact he was the victim of an assassination attempt by his rival
386:. He was later sentenced to a year in prison, probably for malicious gossip he had written about the duke.
1012:
Maggi, Armando (1998). "La luminositĂ del limbo in 'La Strage degli Innocenti' di Giovanbattista Marino".
374:
Marino then fled Naples and moved to Rome, first joining the service of Melchiore Crescenzio then that of
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tradition of Italian verse, showing a strong experimental tension with anti-Petrachan tendencies.
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Into this flimsy framework Marino inserts the most famous stories from mythology, including the
594:(40,984 verses), an immense story with digressions from the main theme and descriptive pauses.
688:(burlesque letters) etc. Many works were announced but never written, including the long poem
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653:("The Gallery", descriptions of paintings and sculptures); the sacred poem in four cantos,
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Marino is the subject of the short prose fiction "Una rosa amarilla" ("A Yellow Rose") by
561:. The poem ends with a long description of the funeral games in honour of the dead youth.
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in Canto X) and geographical findings (such as Canto VII with its praise of the
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for Prince Adonis, who escapes from a sea storm to take refuge on the island of
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Marino's verse was very popular with contemporary Italian composers, including
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164:) (14 October 1569 – 26 March 1625) was an Italian poet who was born in
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uses his arrows to make his mother and Adonis fall in love with one another.
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Pursuits and pleasures: baroque paintings from the Detroit Institute of Arts
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appeared in France, stressing the philosophical element of Marino's poetry.
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La Scène de l'écriture: essai sur la poésie philosophique du Cavalier Marin
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344:. Marino himself is the protagonist of another of the prelate's dialogues,
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509:), which was published in Paris in 1623 and dedicated to the French king
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1048:. Vol. 17 (11th ed.). Cambridge University Press. p. 721.
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Marino's father was a highly cultured lawyer, from a family probably of
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203:(19th century), characterised by its use of extravagant and excessive
340:, a dialogue in honour of Tasso, in which the latter was rated above
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But some witnesses, who include both Marino's detractors (such as
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The Bulletin of the Rocky Mountain Modern Language Association
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and exchanged sonnets with him). Pellegrini was the author of
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also set some of his work to music in the book of Madrigals.
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534:
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40:, c. 1621. Oil on canvas, 81.0 x 65.7 cm. Detroit,
630:, a plant recently imported into Europe from the Americas).
378:. In 1608 he moved to the court of Duke Carlo Emanuele I in
696:, which was abandoned after Marino turned his attention to
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657:("The Massacre of the Innocents", published posthumously
796:". More recently, in 2002 Marie-France Tristan's essay
207:. Marino's conception of poetry, which exaggerated the
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his work has been reevaluated: it was closely read by
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Harold Priest (1971). "Marino and Italian Baroque".
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1075:This article contains material translated from the
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234:school, such as Georges Scudéry, and the so-called
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925:
831:, ed. M. Pieri, A. Ruffino and L. Salvarani.
525:The poem deals with the love of the goddess
995:Il Barocco, Marino e la poesia del Seicento
645:Marino wrote other works in verse such as:
605:, Marino quotes and rewrites passages from
680:against Gaspare Murtola), the "capitolo"
246:) and other Catholic countries, including
31:
886:(BUR Classici, 2013), page 31 and page 41
242:), Spain (where his greatest admirer was
230:(where he was the idol of members of the
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432:of 1602, later expanded under the title
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189:Cambridge History of Italian Literature
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856:, vol. 83, 1/4 (2009), pp. 12–21.
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306:origin, who frequented the coterie of
260:Christian Hoffmann von Hoffmannswaldau
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829:La Sampogna con le egloghe boscarecce
997:. Istituto Poligrafico dello Stato.
749:drew on Marino's epic for his opera
533:, the site of the goddess's palace.
513:, is a mythological poem written in
428:His new approach can be seen in the
38:Portrait of Giovanni Battista Marino
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389:In 1615 he left Turin and moved to
338:Il Carrafa overo della epica poesia
215:, was based on an extensive use of
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294:Marino remained in his birthplace
14:
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1139:17th-century Italian male writers
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410:Le Rime (1602) and La lira (1614)
258:, where his closest follower was
226:He was widely imitated in Italy,
771:. It appeared in the collection
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1124:17th-century Neapolitan people
1104:16th-century Neapolitan people
955:Tristan, Marie-France (2002).
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889:
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842:
824:, ed. M. Pieri and A. Ruffino.
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1:
1067:, including the full text of
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168:. He is most famous for his
1039:"Marini, Giambattista"
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540:Adonis listens to Cupid and
517:divided into twenty cantos.
7:
520:
10:
1155:
1134:17th-century Italian poets
475:
755:("The Chain of Adonis").
655:La strage degli innocenti
548:. Jealousy warns the god
464:In 1620 Marino published
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42:Detroit Institute of Arts
30:
23:
1079:in the Italian Knowledge
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308:Giambattista Della Porta
266:was a great admirer. In
16:Italian poet (1569–1625)
1071:, at Italian Wikisource
1045:Encyclopædia Britannica
334:Giovanni Battista Manso
289:
1119:Italian Baroque people
993:Pieri, Marzio (1996).
978:. Liviana Scolastica.
974:Pieri, Marzio (1976).
798:La Scène de l'écriture
664:); the epic fragments
488:
422:
162:Giovan Battista Marini
817:, ed. M. Pieri, I-III
708:Most notable are the
692:, inspired by Ovid's
686:Il Pupulo alla Pupula
666:Gerusalemme distrutta
483:
417:
376:Cardinal Aldobrandini
649:("The Panegyrics");
641:Other works in verse
419:Rime del cav. Marini
346:Del concetto poetico
959:. Honoré Champion.
854:Bulletin of the DIA
565:Narrative technique
354:Gabriello Chiabrera
264:Constantijn Huygens
158:Giambattista Marino
25:Giambattista Marino
1109:Italian male poets
1077:equivalent article
747:Domenico Mazzocchi
743:Claudio Monteverdi
579:Echo and Narcissus
571:Judgement of Paris
489:
423:
369:Counterreformation
319:Tommaso Campanella
274:and translated by
270:he was admired by
262:and Holland where
199:(17th century) or
1060:Letters of Marino
848:Susan J. Bandes,
769:Jorge Luis Borges
757:Filippo Bonaffino
752:La catena d'Adone
690:Le trasformazioni
365:Tommaso Stigliani
240:Tristan l'Hermite
195:, later known as
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128:Literary movement
86:Kingdom of Naples
66:Kingdom of Naples
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670:Anversa liberata
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575:Cupid and Psyche
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342:Ludovico Ariosto
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1036:, ed. (1911).
1034:Chisholm, Hugh
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77:(1625-03-26)
37:
18:
1099:1625 deaths
1094:1569 births
899:pages 35-36
725:in France,
704:Prose works
662: 1631
651:La galleria
515:ottava rima
496: [
466:La Sampogna
323:pantheistic
272:John Milton
177: [
110:Nationality
1088:Categories
1004:8824019056
985:8876752587
976:Per Marino
966:2745306707
920:References
822:La Galeria
794:Copernican
773:El hacedor
733:in Spain.
723:préciosité
682:Lo stivale
628:passiflora
587:Polyphemus
511:Louis XIII
217:antithesis
197:Secentismo
114:Napoletano
92:Occupation
55:1569-10-14
790:Ptolemaic
779:Criticism
775:in 1960.
716:Influence
304:Calabrian
236:libertins
213:Mannerism
201:Marinismo
123:from 1602
1114:Marinism
1026:43802897
910:op. cit.
897:op. cit.
792:and the
727:Euphuism
521:The plot
470:pastoral
455:and the
442:madrigal
438:The Lyre
348:(1599).
248:Portugal
238:such as
232:précieux
221:Petrarch
205:conceits
193:Marinism
136:Marinism
100:Language
1069:L'Adone
948:1346488
908:Russo,
895:Russo,
678:sonnets
624:Galileo
592:stanzas
559:anemone
542:Mercury
493:L'Adone
486:L'Adone
476:L'Adone
446:canzone
434:La lira
268:England
256:Germany
174:L'Adone
150:L'Adone
146:La Lira
132:Baroque
104:Italian
1024:
1001:
982:
963:
946:
546:Apollo
531:Cyprus
506:Adonis
421:(1674)
405:Poetry
296:Naples
252:Poland
228:France
166:Naples
160:(also
120:Period
82:Naples
62:Naples
1022:JSTOR
944:JSTOR
884:Adone
836:Notes
815:Adone
786:Adone
737:Music
698:Adone
635:Adone
633:Thus
617:Adone
607:Dante
603:Adone
535:Cupid
527:Venus
500:]
397:Works
391:Paris
380:Turin
181:]
999:ISBN
980:ISBN
961:ISBN
827:IV.
820:II.
668:and
550:Mars
453:Ovid
430:Rime
317:and
290:Life
250:and
187:The
170:epic
95:Poet
72:Died
49:Born
936:doi
813:I.
609:'s
601:In
448:).
211:of
1090::
1042:.
1018:38
1016:.
942:.
932:25
930:.
861:^
700:.
684:;
659:c.
585:,
581:,
577:,
573:,
498:it
444:,
371:.
356:.
278:.
184:.
179:it
134:,
84:,
64:,
1028:.
1007:.
988:.
969:.
950:.
938::
873:.
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57:)
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