Download Adonis: The Myth of the Dying God in the Italian Renaissance by Carlo Caruso PDF

By Carlo Caruso

During this distinctive therapy of the parable of Adonis in post-Classical instances, Carlo Caruso offers an outline of the most texts, either literary and scholarly, in Latin and within the vernacular, which secured for the Adonis delusion a distinct position within the Early glossy revival of Classical mythology. whereas aiming to supply this common define of the myth's fortunes within the Early smooth age, the e-book additionally addresses 3 issues of basic curiosity, on which lots of the unique study integrated within the paintings has been carried out. 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 fantasy through authoritative sixteenth-century mythological encyclopaedias. Thirdly, the allegorical/political use of the Adonis delusion in G.B. Marino's (1569-1625) Adone, released in Paris in 1623 to rejoice the Bourbon dynasty and to aid their legitimacy with reference to the throne of France.

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Modern poets felt encouraged by his success to continue using the same medium the ancients had used, and as masters of their own trade accepted the challenge of producing something as ambitious and long-lasting – all things being equal – as their time-honoured models. The very symbol that Pontano had devised for his revisited Adonis myth, the orange tree, became for many the proudly acknowledged blazon of Neo-Latin poetry, in respectful but positive contrast with the bay tree of ancient verse. The testimony of the Neapolitan Sannazaro deserves to be mentioned first.

Modern poets felt encouraged by his success to continue using the same medium the ancients had used, and as masters of their own trade accepted the challenge of producing something as ambitious and long-lasting – all things being equal – as their time-honoured models. The very symbol that Pontano had devised for his revisited Adonis myth, the orange tree, became for many the proudly acknowledged blazon of Neo-Latin poetry, in respectful but positive contrast with the bay tree of ancient verse. The testimony of the Neapolitan Sannazaro deserves to be mentioned first.

64 Furthermore, ever since the Middle Ages one single term (cedro) has been used in the Italian vernacular to designate the citron tree and its fruit, as well as the cedar tree. As for the location of the wonderful trees and fruits, in Athenaeus’ dialogue the character maintaining that the Africans call ‘the apples of Hesperia … citrons’ is immediately silenced by his opponent who points to Theophrastus (Hist. plant. 66 Terms like citrium, citrum are there consistently translated as (h)esperis, (h)esperion or suchlike (< Gr.

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