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Translation of «adone» into 25 languages
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Madrigals ; For 1 voice ; For unaccompanied voices ; Scores featuring the voice ; For 2 voices ; For 3 voices ; For 4 voices ; For 5 voices ; For 6 voices, 2 violins, 4 violas ; Scores featuring the violin ; Scores featuring the viola ; For voices with solo instruments ; For 6 voices, 2 violins ; For 8 voices, 2 violins ; For 3 voices, 2 violins, viola, cello, double bass, harpsichord ; Scores featuring the cello ; Scores featuring the double bass ; Scores featuring the harpsichord ; For 5 voices, 2 violins, continuo ; Scores with basso continuo ; For 2 violins, double bass ; For 3 players ; For 7 voices, 2 violins, double bass ; For 3 voices, mixed chorus, 2 violins, viola, continuo ; Scores featuring mixed chorus ; For voices and chorus with solo instruments ; Italian language.
Contents 1 Performances 1. Editor First edition. Museo internazionale e Bibl.fensterstudio.ru/components/tydiguh/cok-como-ubicar.php
Meaning of "adone" in the Italian dictionary
The extraordinary result is an erotic and playful canzoniere , but with a cognitive function as opposed to just a titillating one. For moralizing in a Petrarchan sense is not what Marino has in mind. That is why the poetic principle resurfaces at other strategic points in the collection, in order to reinforce the coherence of each part with the whole. Thus, the beautiful physical forms of a lady are snares lines 32— The beauty of youth, and especially the eyes, prick and captivate, and the beauty of old age does the same with its solemn demeanor 37— The sudden forms the eye offers to the mind are so many traps and hooks to make me love much more and more: now I languish for one woman, now for another am destroyed and turned to ashes.
Marino Giovan Battista - AbeBooks
The laughter of a lady is a dart 85— Her tears are, metonymically, a wound 87—88 ; and even if she neither smiles nor cries, she kills still 89— If an angelic little creature laughs, that [laugh] of hers is an arrow; if she weeps, her weeping is a wound in my life; if she neither weeps nor laughs, without arrow, or wound, she still kills me. The hand of a lady playing a string instrument ensnares and wounds 97— A well-clad and graciously dancing lady ensnares — Finally, a lady reciting poetry wounds with the lines she recites and with the looks she gives, and then heals with the very same means — Where an alluring girl in a gay company strikes the sweet, fine cords with subtle fingers, what soul would not desire to be caught and wounded by so expert a hand?
In this great catalog, any other phenomenon of love not directly described as a specific weapon may still be associated with one, at least metonymically, given the consistent use of the metaphor throughout. Rather, this is yet another instance in the collection where the love-war theme undergoes a concettista elaboration.
Lira 3, no.
I temper my lyre, and to sing the praises of Mars, I at times elevate the style and rhymes, but in vain are my efforts, and it seems impossible that [my lyre] may ever sing of something other than love. This, then, is not just a sonnet whose relevance is manifest in the prominent position it occupies in the collection; it is not even just the opening sonnet of what Marino must have eventually deemed to be the most noteworthy part of the collection—thus the significant change of title from the former Rime to La lira that coincides with the belated publication of Lira 3 in Illustrissima ….
And the house of DORIA having as it is said such power over maritime matters, this work being by MARINO, the Goddess of Love being born in the Sea, and these being mainly love poems, or at least poems inspired by love, they are suited to none better than to Your most illustrious Lordship …. Along with appearances of other love-weapon conceits, the metaphor of the voice as a weapon is pervasive throughout the volume. Therefore, if as Martini suggested La lira reflects a protean whim sweeping through the canzoniere form,  we may now add that there is also a distinct element of continuity and unity that can be detected in that work: it consists in the generative concettista love-war-weapons-of-love trope that runs throughout i.
The composer entitled the volume Concerto —not just a reference to the concerted style but also a way to designate a miscellany, bringing different genres of music and poetry together. It is quite likely that such a substantial publication,  by someone who was considered a rising star in the Italian Parnassus and already quite a controversial one, too , might have been the editorial event of the year, if not of the decade.
What follows is indeed a book of love songs. See above, par. Did he discuss them with anyone?
Related Amori di Giovan Battista Marino (Italian Edition)
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