Giambattista Marino

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Marino, Giambattista


Born Oct. 18, 1569, in Naples; died there Mar. 25, 1625. Italian poet.

Marino gave his name to a trend in baroque poetry, marinismo, which was prevalent in 17th-century Italian literature. His attitude was one of hedonism combined with a belief in the transitory nature of everything and in the disharmony of the universe. He was a skillful poet, although he fell back upon mannered images, complicated metaphors, and forced antitheses and comparisons. His most important work is Adonis (Paris, 1623; Russian translation, 1783), a narrative poem in 20 cantos, written in octaves. His fame was short-lived.


Poesia e prosa. Milan, 1930.
In Russian translation:
Khrestomatiia po zapadno-evropeiskoi literature XVII v., 2nd ed. Compiled by B. I. Purishev. Moscow, 1949.


Artamanov, S. D., and R. M. Samarin. Istoriia zarubezhnoi literatury XVII v. Moscow, 1958.
De Sanctis, F. Istoriia ital’ianskoi literatury, vol. 2. Moscow, 1964.
Flora, F. Storia della letteratura italiana, vol. 3. Milan, 1940.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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Francesco Giambonini had offered an anticipation of his Bibliografia delle opere a stampa di Giambattista Marino in Studi secenteschi, 36 (1995), 195-276; 37 (1996), 317-65; 38 (1997), 357-94; 39 (1998), 243-322.
Giambattista Marino supo quien es, precisamente la vispera de su muerte.
The specific practices of the Academy are traced from the years of Viceroy Lemos (1611-15), through the period of the philological studies of Basil (1616-22) and the influence of the aristocratic commission, to the arrival of Giambattista Marino and the Theater of Glory (1623-28), to the death of the founder and the publication of Manso's Poesie (1629-45).
If De Sanctis takes up the rose in tracing "la splendida e sconcertante avventura dell'arte nell'amara stagione del declino" (9) from Lorenzo il Magnifico to Giambattista Marino, then Thomas Peterson, in his recent The Rose in Contemporary Italian Poetry, follows this most privileged flower in its many incarnations through a century of rapid evolution and innovation.
Though the notion can be traced back to antiquity (and many of the poems produced in the Renaissance were in Latin), it reached a peak in the sixteenth and early seventeenth centuries, when entire collections of them were sometimes published - of which Giambattista Marino's La galeria was the most celebrated - and has attracted the most attention from art historians.
A reaction against classicism, it was named for the 17th-century poet Giambattista Marino and inspired by his collection of lyrical verse, La lira (1608-14; "The Lyre").
The most notable exception is Giambattista Marino, represented by two madrigals in the second book that are among th e earliest musical settings of lyrics by the popular Neapolitan poet.