28:
134:." The lady is impossible, inaccessible, cruel, and yet fully occupied with walks, rides, games, and tourism, all of which Marino describes and comments on at length. "To sum up, the poet favoured material dealing with (1) the domestic and social activities of the beloved lady and any odd features of her appearance; (2) the variety of disguises under which she might be found, from socialite to sea nymph; (3) the talent or renown of famous women living at the time." The famous women include the Princess of Stigliano, Signora N. Biscia, Signora V. Spinola, and others.
201:
rather than simile because this allowed for more striking statements. "There was hardly an area of human experience that could not be pressed into service for a comparison." Nevertheless, Marino leans heavily on both classical mythology and
Christian imagery, adapting it freely to create a huge
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number of memorable word pictures: "gems, minerals, and precious metals flowers (especially the rose and the lily), birds, fire, snow, the seasons, the sea, and, above all, sun and stars milk, ivory, parturition, the arts and sciences, and a variety of actions and emotions useful for
154:"Latinate inversion and displacement," which is used not for obfuscation but to place the vital elements of each sentence in prominent positions, either at the beginning of every couplet or at the end of a stanza.
137:"Subjects that allow the poet to develop fully and richly the motif of sensual delight." This ranges from fantasies about kissing the beloved, to actual kissing, through to the sexual act itself.
85:, although the former has more pejorative connotations as well as wider cultural implications, while the latter embraces the European practice of the witty style.
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first appeared in the last century as a label for the themes and techniques of Marino and his followers. It continues to be used synonymously with
385:
361:
70:
The critic James V. Mirollo, the author of the first monograph in
English on the subject, distinguished the terms as follows:
230:, Marinism is essentially an Italian literary phenomenon. However its influence is detectable in English poets such as
50:, "17th century") is the name now given to an ornate, witty style of poetry and verse drama written in imitation of
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Non-standard syntax of various kinds, separating nouns from their adjectives, or putting a subject after its verb.
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The
Marinist poet never hesitated to embark on a long string of comparisons with nature, most of them couched as
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393:
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17:
369:
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291:
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8:
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51:
417:
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Doubling and tripling, "when two words are similar but contribute to a single idea".
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Although it has some similarities with other
European Baroque movements, such as
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140:"Curious and bizarre subjects, sometimes bordering on the grotesque and ugly
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126:"The activities of a Petrarchan lady who is designated simply as
234:, who translated the first book of Marino’s religious poem
242:, whose poetry bear marks of a close study of Marino, and
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The following discussion is based on
Mirollo's analysis.
246:. Apart from Marino himself, Marinists of note include
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390:The Princeton Encyclopedia of Poetry and Poetics
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97:: Stigliani refers to Marino's followers as
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26:
366:The Oxford Dictionary of Literary Terms
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14:
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173:Repetition of words, and echo effects.
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344:
54:(1569–1625), following in particular
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238:(The Massacre of the Innocents),
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272:Giovan Francesco Maia Materdona
240:William Drummond of Hawthornden
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282:, and Giovan Leone Sempronio.
13:
1:
316:
7:
285:
148:
109:, II, p. 304) he speaks of
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10:
434:
394:Princeton University Press
330:The Poet of the Marvelous.
113:(the Marinesque intrigue).
333:Columbia University Press
236:La strage degli innocenti
209:
120:
370:Oxford University Press
193:Similitude and metaphor
292:List of Marinist poets
270:, Marcello Macedonio,
32:
105:, p.516). Elsewhere (
30:
360:Baldick, C. (2015).
260:Vincenzo da Filicaja
264:Girolamo Fontanella
52:Giambattista Marino
31:Giambattista Marino
384:Maggi, A. (2017).
328:James V. Mirollo.
130:or given the name
111:la trama marinesca
33:
335:, New York, 1963.
248:Claudio Achillini
16:(Redirected from
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276:Bernardo Morando
244:Edward Sherburne
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268:Giacomo Lubrano
252:Giuseppe Artale
232:Richard Crashaw
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204:personification
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93:go back to the
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397:. Retrieved
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373:. Retrieved
365:
354:Bibliography
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329:
324:
308:
298:Culteranismo
296:
256:Ciro di Pers
235:
227:Culteranismo
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219:
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178:Alliteration
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99:i Marinisti
83:concettismo
386:"Marinism"
362:"Marinism"
345:Maggi 2017
317:References
310:Précieuses
221:préciosité
168:antithesis
79:secentismo
47:secentismo
38:(Italian:
186:consonant
182:assonance
91:Marinisti
87:Marinista
75:Marinismo
41:marinismo
418:Marinism
412:Category
304:Euphuism
286:See also
216:Euphuism
199:metaphor
164:Chiasmus
149:Ornament
142:capricci
103:Occhiale
95:seicento
66:Features
36:Marinism
18:Marinist
375:19 June
60:L'Adone
56:La Lira
399:8 June
210:Legacy
184:, and
121:Themes
107:Epist.
132:Lilla
128:Donna
44:, or
401:2023
377:2023
224:and
166:and
89:and
81:and
58:and
206:".
414::
392:.
388:.
368:.
364:.
278:,
274:,
266:,
262:,
258:,
254:,
250:,
218:,
188:."
180:,
144:."
62:.
403:.
379:.
347:.
176:"
170:.
101:(
20:)
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