By Carlo Caruso
During this exact therapy of the parable of Adonis in post-Classical instances, Carlo Caruso offers an summary of the most texts, either literary and scholarly, in Latin and within the vernacular, which secured for the Adonis fantasy a different position within the Early smooth revival of Classical mythology. whereas aiming to supply this common define of the myth's fortunes within the Early glossy age, the e-book additionally addresses 3 issues of fundamental curiosity, on which many of the unique study integrated 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 nice Latin poet and humanist Giovanni Pontano. Secondly, the diffusion of syncretistic interpretations of the Adonis fantasy by way of authoritative sixteenth-century mythological encyclopaedias. Thirdly, the allegorical/political use of the Adonis fable in G.B. Marino's (1569-1625) Adone, released in Paris in 1623 to have a good time the Bourbon dynasty and to help their legitimacy in regards to the throne of France.
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Extra info for Adonis: The Myth of the Dying God in the Italian Renaissance
In the epilogue Daphni, Alamanni’s own bucolic mask, invokes Theocritus as guide ‘should the course of my song extend beyond the banks of Arno’, which reads like a premonition of the poet’s own exile – a recurring theme in his eclogues. Daphni addresses the Greek poet thus: ‘You are my master, my guide and my leader’, which echoes Dante’s famous self-recommendation to Virgil at Inf. 63 Owing to Alamanni’s prolonged residence in France, it is only natural that his influence should be manifested mainly, although by no means exclusively, among French poets.
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. The comparison with Dante proposed by Zabughin, reported at the end of Chapter 1, reveals itself as fitting even in its less advantageous implications.
For a humanist such scattered elements were in themselves valuable pieces of rare and remote information. But a poet (as well as humanist) such as Pontano is likely to have cast his eye beyond their informative value, looking forward to their potential reuse in a literary context. Moving on from the lexical to the thematic and narrative level, one realizes that another hint might have come to him from a mere statement of fact – that a relationship between the Adonis myth and that of the Hesperides, at least by contiguity, already existed in ancient literature.
Adonis: The Myth of the Dying God in the Italian Renaissance by Carlo Caruso