Works
The Arcadia of Sannazaro was written in the 1480s, completed about 1489 and circulated in manuscript before its initial publication. Begun in early life and published in Naples in 1504, the Arcadia is a pastoral Romance, in which Sincero, the persona of the poet, disappointed in love, withdraws from the city (Naples in this case) to pursue in Arcadia an idealized pastoral existence among the shepherd-poets, in the manner of the Idylls of Theocritus. But a frightful dream induces him to return to the city, traversing a dark tunnel to his native Naples, where he learns of the death of his beloved. The events are amplified by extensive imagery drawn from classic sources, by the poet's languid melancholy and by atmospheric elegiac descriptions of the lost world of Arcadia. It was the first pastoral work in Renaissance Europe to gain international success. Inspired in part by classical authors who wrote in the pastoral mode— in addition to Virgil and Theocritus including comparatively obscure recently rediscovered Latin poets Calpurnius and Nemesianus— and by Boccaccio's Ameto, Sannazaro depicts a lovelorn first-person narrator ("Sincero") wandering the countryside (Arcadia) and listening to the amorous or mournful songs of the shepherds he meets. In addition to its pastoral setting, the other great originality of the work stems from its novel structure of alternating prose and verse.
Sannazaro's Arcadia - coupled with the Portuguese author Jorge de Montemayor's Diana (Los siete libros de la Diana, 1559), itself indebted to Sannazaro's work - had a profound impact on literature throughout Europe up until the middle of the seventeenth century.
With the Arcadia behind him, Sannazaro concentrated on Latin works of classical inspiration. His Virgilian bucolic works include the five Eclogae piscatoriae, eclogues on themes connected with the Bay of Naples, three books of elegies, and three books of epigrams. Other works in Latin include three books of epigrams, and two short works entitled Salices and De Morte Christi Lamentatio .
Sannazaro's now seldom-read sacred poem in Latin, De partu Virginis, which gained for him the name of the "Christian Virgil", was extensively rewritten in 1519-21 and appeared in print, 1526. It has been characterized as "his version of Mary's Magnificat"
Among his works in Italian and Neapolitan are the recasting of Neapolitan proverbs as Gliommeri his Farse, and the Rime (published as Sonetti et canzoni di M. Jacopo Sannazaro, Naples and Rome, 1530), where the manner of Petrarch is paramount. He also wrote some savage and caustic epigrams. Most famous is the one he wrote against Pope Alexander VI after the murder of Giovanni Borgia, eldest son of the Pope, whose body was recovered from the Tiber River—Sannazaro cheekily described Alexander VI as a "fisher of men" (playing on the Christ's words to Peter). This epigram caused immense grief to the Pope.
His portrait by Titian, painted ca 1514-18, is in the Royal Collection, part of the diplomatic "Dutch Gift" to Charles II, in 1660.
The first complete translation into English of the Arcadia is by Ralph Nash, Jacopo Sannazaro: Arcadia and Piscatorial Eclogues (Detroit: Wayne State University Press) 1966. Nash returned to translate into English prose and verse The Major Latin Poems of Jacopo Sannazaro, (Detroit: Wayne State University Press) 1996. The distinguished Latinist Michael C. J. Putnam has recently published the first translation of all of Sannazaro's Latin poetry.
Read more about this topic: Jacopo Sannazaro
Famous quotes containing the word works:
“Any balance we achieve between adult and parental identities, between children’s and our own needs, works only for a time—because, as one father says, “It’s a new ball game just about every week.” So we are always in the process of learning to be parents.”
—Joan Sheingold Ditzion, Dennie, and Palmer Wolf. Ourselves and Our Children, by Boston Women’s Health Book Collective, ch. 2 (1978)
“Only the more uncompromising of the mystics still seek for knowledge in a silent land of absolute intuition, where the intellect finally lays down its conceptual tools, and rests from its pragmatic labors, while its works do not follow it, but are simply forgotten, and are as if they never had been.”
—Josiah Royce (1855–1916)
“I shall not bring an automobile with me. These inventions infest France almost as much as Bloomer cycling costumes, but they make a horrid racket, and are particularly objectionable. So are the Bloomers. Nothing more abominable has ever been invented. Perhaps the automobile tricycles may succeed better, but I abjure all these works of the devil.”
—Henry Brooks Adams (1838–1918)