Citing Petrarch in Naples: The Politics of Commentary in Cariteo's Endimione

2002 ◽  
Vol 55 (4) ◽  
pp. 1196-1221 ◽  
Author(s):  
William J. Kennedy
Keyword(s):  
Lyric Sequence ◽  
Charged Models

Cariteo's Endimione (1509), a lyric sequence published in Naples shortly after the Spanish takeover of the Aragonese kingdom, advertises a prominent debt to Petrarch's Rime sparse. Commentaries in the earliest printed editions of the latter suggest politically charged models for this sequence. They represent Petrarch, like Cariteo, as a skilled rhetorician, a foreigner in the service of lords and aristocracy outside his ancestral domain, and an ardent proponent of monarchism with a pan-Italian sensibility. These qualities befitted Cariteo at a time when he was articulating his loyalty to the newly installed Spanish viceregal government as a defense against French invasion.

Introduction

2018 ◽  
pp. 1-26
Author(s):  
Russ Leo ◽  
Katrin Röder ◽  
Freya Sierhuis
Keyword(s):  
Literary Criticism ◽  
Poetic Form ◽  
Religious Thought ◽  
American School ◽  
Political Biography ◽  
Intellectual Resource ◽  
Lyric Sequence ◽  
Closet Drama ◽  
Charles Lamb ◽  
Critical Interpretation

This chapter describes the afterlife and reception of Greville’s poetry from Coleridge and Charles Lamb to the American school of literary criticism around Yvor Winters, arguing how Greville’s reputation for obscurity has tended to circumscribe and limit his appreciation as a poet. In discussing the various genres that comprise Greville’s oeuvre; lyric sequence; political biography; letter of consolation; closet drama and philosophical poem, the editors propose to view Greville’s obscurity as an intellectual resource that arises from the close intersection between political and religious thought and poetic form, which enables a form of philosophical exploration that works through the examination of doubt, contradiction, and paradox, as much as assertion, and which involves the reader in an exercise in critical interpretation.

Aleksandr Sumarokov's Elegit liubovnye and the Development of Verse Narrative in the Eighteenth Century: Toward a History of the Russian Lyric Sequence

Slavic Review ◽  
2008 ◽  
Vol 59 (3) ◽  
pp. 521-546 ◽  
Author(s):  
Ronald Vroon
Keyword(s):  
Eighteenth Century ◽  
Silver Age ◽  
Romantic Period ◽  
Critical Tradition ◽  
Lyric Sequence ◽  
History Of ◽  
Lyric Sequences

Most studies of the lyric sequence (or “cycle,” as it is most commonly referred to in the Russian critical tradition) situate its origins in the Romantic period, and its period of greatest flowering in the Silver Age. More and more frequently, however, scholars have come to question this assumption, suggesting that the phenomenon has its roots in the eighteenth century, perhaps even earlier. This claim would appear, at first glance, to be suspect. The aesthetics of neoclassicism did not encourage— indeed, to the best of our knowledge, did not even recognize—the production of lyric sequences. Russian poets of the eighteenth century have nothing to say about them, nor are they acknowledged as such by readers or critics.

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