Jacopo Sannazzaro

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Sannazzaro, Jacopo

 

Born July 28, 1456, in Naples; died there Apr. 24, 1530. Italian writer. Served at the court of the duke of Calabria.

Sannazzaro’s most famous work is Arcadia, a pastoral in verse and prose (written between 1480 and 1485; published in 1504). It contrasts an isolated, idealized world with the depravity of court life. Arcadia helped further the development of the pastoral genre in European literature.

WORKS

Opere volgari. Edited by A. Mauro. Bari, 1961.
L’Arcadia. Edited by E. Carrara. Turin, 1944.

REFERENCES

Altamura, A. Jacopo Sannazaro, con appendici di documenti e testi inediti. Naples, 1951.
Altamura, A. “J. Sannazaro.” In Letteratura italiana: I minori, vol. 1. Milan [1969].
References in periodicals archive ?
In Chapter 4, Jacopo Sannazaro's Arcadia is read as a declaration of affiliation to Pontano's cultural circle, while Chapter 5 examines Pontano's image re-building after the downfall of the Aragonese dynasty.
Reading Sceve's Arion in the light of the Virgilian pastoral tradition of the Renaissance (Mantuan, Jacopo Sannazaro, Luigi Alamanni), paying particular attention to these two earliest, genre-establishing Marotic eclogues, the present article argues that through an apprehensive apprenticeship with the verse of his era's archpoet, Sceve eventually mobilizes Marot's bucolic influence to poetic ends and successfully carves a pastoral niche for himself, ultimately surpassing his French and Latin models.
In Chapter III of Jacopo Sannazaro's Arcadia (1504), the shepherds celebrate the feast of pales, "veneranda dea di pastori." As the shepherds enter the temple, the narrator describes the murals on the walls, struck by a depiction of nymphs laughing at a little ram.
Jacopo Sannazaro (1456-1530) is arguably the most admired of the neo-Latin poets of the Renaissance.
There is no question that the epigram was one of the central genres in Neo-Latin literature, attracting such poetic luminaries as Jacopo Sannazaro, Michele Marullo, Giovanni Pontano, Angelo Poliziano, Conrad Celtis, Thomas More, Ulrich van Hutten, George Buchanan, and Hugo Grotius.
Set in Parma, the play includes characters who have visited Livorno and Bologna, but one early scene shows us Soranzo, still a suitor for Annabella, alone 'in his study, reading a book', which he later tells us contains Jacopo Sannazaro's encomium on Venice.
Here the author explores the Lucretian adaptations of writers such as Lorenzo Bonincontri, Gian Gioviano Pontano, Michele Marullo, Jacopo Sannazaro, Mario Equicola, Pietro Vettori, Bernardo Tasso, and Sperone Speroni.
Long before Freud, numerous authors dedicated many pages to describing the same experience: from Plato's Ion to Marsilio Ficino's De divino furore, from Horace's Ars poetica to Macrobius's Commentarii in somnium Scipionis, from Virgil (Eclogues 8.11-13) to many sonnets composed in the 15th and 16th centuries by Jacopo Sannazaro, Panfilo Sasso, Pietro Bembo, Ercole Strozzi, and Michelangelo Buonarroti.
The first three books are pastoral in the conventional sense: with the exception of the short incident with the savages in Book II, (3) Montemayor portrays lovelorn and unhappy shepherds and shepherdesses who utter their laments, in the vein of Jacopo Sannazaro's Arcadia (1504), "the better to passe away the burning heate of the day" (Montemayor, Seven Books 51).
Jacopo Sannazaro, 'O Gelosia d'amanti orribil freno': Opere volgari, ed.