Angelo Poliziano


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Poliziano, Angelo

 

(real surname Ambrogini). Born July 14, 1454, in Montepulciano; died Sept, 28 or 29, 1494, in Florence. Italian humanist poet and philologist.

Poliziano’s Stanzas About A Tournament (1478; published in 1518), an unfinished narrative poem in octaves, contains the embodiment of the Renaissance ideal of the complete man. He wrote several elegies in Latin and elevated the genres of Tuscan folk poetry— rispetti, baílate, May songs—to the level of the best Renaissance love lyrics. He is the author of the historical work Notes on the Pazzi Conspiracy (1478). The Story of Orpheus (staged 1480), a play in verse, is the first example of secular Renaissance drama in the national language.

WORKS

Tuttle le poesie italiane. [Milan, 1952.]
Rime. [Rome, 1965.]

REFERENCES

Dzhivelegov, A. K. “Orfei’ v literature i na stsene.” In Politsiano, A.: Skazanie ob Orfee. Moscow-Leningrad, 1933.
De Sankcis, F. Istoriia ital’ianskoi literatury, vol. 1. Moscow, 1963.
Lo Cascio, R. Poliziano. [Palermo, 1970.]

R. I. KHLODOVSKH

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"Angelo Poliziano." Encyclopedia of the Renaissance.
WOLVERHAMPTON: 2.30 Angelo Poliziano, 3.05 Miss Bunter, 3.35 Tebee's Oasis, 4.10 Alhaban, 4.45 Tyrur Ted, 5.15 Back On The Trail, 5.50 Big Sylv.
A margine di questa cursoria indagine, certo bisognosa di ulteriori, piu minuziosi escavi, sulla ricezione del Sofocle frammentario nell'opera di Angelo Poliziano, emerge evidente l'interesse che l'umanista nutriva anche per quei testi dell'antichita solo in minima parte sottrattisi all'iniuria temporis.
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Ciceronian Controversies contains the literary exchanges between Angelo Poliziano and Paolo Cortesi (mid-1480s), Gianfrancesco Pico and Pietro Bembo (1512-13), Giambattista Giraldi Cinzio and Celio Calcagnini (1532-37), and selections from the treatises of Antonio Possevino (1593-1603).
Pietro's abiding love of Petrarch and the Tuscan poets had been seeded in him by his father, Bernardo Bembo, and as a boy Pietro went with him on embassy to Florence to be educated in the city of Lorenzo de' Medici, Angelo Poliziano and Cristoforo Landino--those men who studied Latin and Greek with a view to elevating their own vernacular Tuscan.
Barolsky does this by "focusing on a small corpus of images" But as with Dante, small keys open large doors; moreover Barolsky makes abundant use of Michelangelo's poetry (considered by some to be the greatest Italian poetry of the 16th century), his letters, the contemporary biographies by Ascanio Condivi and Giorgio Vasari, his relationship to Florentine neo-Platonism (and thus his relations with Lorenzo de Medici and the poet Angelo Poliziano), his intensive reading of Ovid, of Dante, and of course the Hebrew and Christian Bibles.
It is, of course, at best a simplification to describe the period between Petrarch's death (1374) and Angelo Poliziano's first major vernacular work, Le stanze per la giostra del Magnifico Giuliano di Piero de' Medici (c.
178), but there is one Renaissance intertext which, though it has preoccupied art historians trained in the Warburg school, has as yet failed to interest French Renaissance specialists; namely, Angelo Poliziano's Stanze per la giostra di Giuliano de 'Medici, composed in honor of a joust held in Florence in 1475.