By Carlo Caruso
During this exact therapy of the parable of Adonis in post-Classical instances, Carlo Caruso presents an summary of the most texts, either literary and scholarly, in Latin and within the vernacular, which secured for the Adonis delusion a different position within the Early smooth revival of Classical mythology. whereas aiming to supply this normal define of the myth's fortunes within the Early smooth age, the publication additionally addresses 3 issues of fundamental curiosity, on which lots of the unique learn 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 good Latin poet and humanist Giovanni Pontano. Secondly, the diffusion of syncretistic interpretations of the Adonis fable through authoritative sixteenth-century mythological encyclopaedias. Thirdly, the allegorical/political use of the Adonis fantasy in G.B. Marino's (1569-1625) Adone, released in Paris in 1623 to have fun the Bourbon dynasty and to aid their legitimacy with reference to the throne of France.
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Additional info for Adonis: The Myth of the Dying God in the Italian Renaissance
His ‘Adone’ and his eclogues in general stand at the fountainhead of the diffusion of the Adonis myth and the bucolic genre in France during the reign of François I and beyond. However, the French approach to the bucolic genre shows features of considerable originality when compared to the parallel Italian tradition. The first noticeable characteristic is the environment in which the French bucolic poets operated and circulated their pieces – the royal court. 64 The elevation of the bucolic to a higher rank, so that it could be considered to be a genre truly fit for a king, was also promoted by other factors.
47 The picture is not substantially altered when one moves to England or Spain. Diego Hurtado de Mendoza’s Fábula de Adonis (1553), Juan de la Cueva de Garoza’s ‘Llanto de Venus en la muerte de Adonis’ (in Obras, 1582), William Shakespeare’s Venus and Adonis (1593), Edmund Spenser’s Astrophel (1595) for the death of Philip Sidney, and Lope de Vega’s comedy Adonis y Venus (1597–1603) all seem to confirm the trend. Besides, whereas the crossing of sources remains a common feature of these texts, in line with the classically inspired ideal of literary imitation, no significant overstepping of the boundaries of the selected genres is detectable.
The thorns on the bark reproduce the wound-making teeth, and Venus’ orange tree grows, casting its broad shadow around. For the actual description of Adonis’ metamorphosis Pontano did not hesitate to bring in Ovid’s most spectacular showpiece, the metamorphosis of Daphne (Met. 85 Further textual resemblances suggest that the Ovidian transformation of the Heliades (Met. 333–66) was also drawn upon, no doubt to offer the knowledgeable reader another ably disguised but eventually recognizable source.
Adonis: The Myth of the Dying God in the Italian Renaissance by Carlo Caruso