| Italian Renaissance - Italy - Sapphic or Alcaic meter... |
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Italy Hotels Italy Hostels Italy Sights Italy Posters Customize your home,school or office with a Italy poster! Florence 398526 Italy 1935 399235 Italian Aerial Lines 397466 Viobuton and Co Bologna Palazzo Dell Accademia Italian Poppies serigraph Tuscany I 357561 Palazzo Last View of Tuscany Positano The Amalfi Coast Portofino I Venice 129555 American Girl in Italy 1951 151245 Italian Cypress In Bibl Vaticana Carnival of Venice Summer House in Tuscany Sguardo Su Portofino 318366 American Girl in Italy 1951 Sunflowers in Umbria Italy View from the Palazzo Portofino Sunlight Venice Canal 264872 Italian Wine Landscape Italian Travels I Italian Travels II 362830 View to the Amalfi Coast Pergola in Amalfi 326785 View to The Amalfi Coast 147533 Pergola in Amalfi 147535 Distesa di Girasoli Italian Place Italian Waves I Italian Waves II Portofino 264946 Venice 400879 Portovenere Italy Italian Excursion Portofino Valley Images of Venice I 416352 Images of Venice II Images of Venice III Images of Venice IV 416355 At Portofino Last Supper 310108 In Museo Vaticano I In Museo Vaticano II Eden Bologna 394863 Campionato Italiano 394612 Florence Italy 1935 |
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Index | pg. 95 |Previous Page - Next Page Sapphic or Alcaic meter ...On the other hand, we can find scarcely an ode in the Sapphic or Alcaic meter, which does not clearly betray its modern origin. This is shown mostly by a rhetorical verbosity, rare in antiquity before the time of Statius, and by a singular want of the lyrical concentration which is indispensable to this style of poetry. Single passages in an ode, sometimes two or three strophes together, may look like an ancient fragment; but a longer extract will seldom keep this character throughout. And where it does so, as, for instance, in the fine Ode to Venus, by Andrea Navagero, it is easy to detect a simple paraphrase of ancient masterpieces. Some of the ode-writers take the saints for their subject, and invoke them in verses tastefully modelled after the pattern of analogous odes of Horace and Catullus. This is the manner of Navagero, in the Ode to the Archangel Gabriel, and particularly of Sannazaro, who goes still further in his appropriation of pagan sentiment. He celebrates above all his patron saint, whose chapel was attached to his lovely villa on the shores of Posilippo, 'there where the waves of the sea drink up the stream from the rocks, and surge against the walls of the little sanctuary.' His delight is in the annual feast of St. Nazzaro, and the branches and garlands with which t_e chapel is hung on this day seem to him like sacrificial gifts. Full of sorrow, and far off in exile, at St. Nazaire, on the banks of the Loire, with the banished Federigo of Aragon, he brings wreaths of box and oak leaves to his patron saint on the same anniversary, thinking of former years, when all the youth of Posilippo used to come forth to greet him on flower-hung boats, and praying that he may return home.Perhaps the most deceptive likeness to the classical style is borne by a class of poems in elegiacs or hexameters, whose subject ranges from elegy, strictly so called, to epigram. As the humanists dealt most freely of all with the text of the Roman elegiac poets, so they felt themselves most at home in imitating them. The elegy of Navagero addressed to the Night, like other poems of the same age and kind, is full of points which remind us of his model; but it has the finest antique ring about it. Indeed Navagero always begins by choosing a truly poetical subject, which he then treats, not with servile imitation, but with masterly freedom, in the style of the Anthology, of Ovid, of Catullus, or of the Virgilian eclogues. He makes a sparing use of mythology, only, for instance, to introduce a sketch of country life, in a prayer to Ceres and other rural divinities. An address to his country, on his return from an embassy to Spain, though left unfinished, might have been worthy of a place beside the 'Bella Italia, amate sponde' of Vincenzo Monti, if the rest had been equal to this beginning: 'Salve cura Deum, mundi felicior ora, Formosae Veneris dulces salvete recessus; Ut vos post tantos animi mentisque labores Aspicio lustroque libens, ut munere vestro Sollicitas toto depello e pectore curas! ' The elegiac or hexametric form was that in which all higher sentiment found expression, both the noblest patriotic enthusiasm and the most elaborate eulogies on the ruling houses, as well as the tender melancholy of a Tibullus. Francesco Maria Molza, who rivals Statius and Martial in his flattery of Clement VII and the Farnesi, gives us in his elegy to his 'comrades,' written from a sick-bed, thoughts on death as beautiful and genuinely antique as can be found in any of the poets of antiquity, and this without borrowing anything worth speaking of from them. The spirit and range of Roman elegy were best understood and reproduced by Sannazaro, and no other writer of his time offers us so varied a choice of good poems in this style as he. We shall have occasion now and then to speak of some of these elegies in reference to the matter they treat of. Index | pg. 95 |Previous Page - Next Page Italy Hotels - Italy Hostels - Italy Sights ................................................................ Other popular Italy book pages: Vitello alla Pellegrina (Breast of Veal) Frittura Piccata al Marsala Polpettine Distese (Veal Olives) Coste di Vitello Imboracciate Costolette Montone alla Nizzarda Mutton Petto di Castrato Italiana Petto di Castrato alla Salsa piccante |
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Italy Travel Guide A good starting point for researching Italy for travel or reference. Venice - Piazza St. Marco (St. Mark's Square) Venice - Gondola along the Grand Canal Venice - Walking around Venice Streets Venice - Pictures from the Venice canals Venice - From the Train Station to St. Mark's 1 Venice - From the Train Station to St. Mark's 2 Ceasar's European Discovery Pictures. Italy Pg.1 Breathtaking Italy and France Ceasar's European Discovery Pictures. Italy Pg. 2 Florence and Venice Arno River in Florence Campania |