89 Facts About Italian literature

Italian literature is written in the Italian language, particularly within Italy.

Italian literature begins in the 12th century, when in different regions of the peninsula the Italian vernacular started to be used in a literary manner.

An early example of Italian literature is the tradition of vernacular lyric poetry performed in Occitan, which reached Italy by the end of the 12th century.

Dante Alighieri, one of the greatest of Italian poets, is notable for being the author of La Divina Commedia .

Renaissance humanism developed during the 14th and the beginning of the 15th centuries; Italian literature humanists sought to create a citizenry able to speak and write with eloquence and clarity.

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In 1690, the Academy of Arcadia was instituted with the goal of "restoring" Italian literature by imitating the simplicity of the ancient shepherds with sonnets, madrigals, canzonette, and blank verses.

Important early 20th-century Italian writers include Giovanni Pascoli, Italo Svevo, Gabriele D'Annunzio, Umberto Saba, Giuseppe Ungaretti, Eugenio Montale, and Luigi Pirandello .

Italian literature was one of the late 13th-century figures who wrote in both Occitan and Italian.

Italian literature undertook to author the entire razo corpus and a great many of the vidas.

Italian literature went on raving for years, subjecting himself to the severest sufferings, and giving vent to his religious intoxication in his poems.

Italian literature attempted political poetry, and, although his work is often obscure, he prepared the way for the Bolognese school.

Italian literature refuted the traditional credo of courtly love, for which love is a subtle philosophy only a few chosen knights and princesses could grasp.

Italian literature's poetry has some of the faults of the school of d'Arezzo.

Italian literature's Tesoretto is a short poem, in seven-syllable verses, rhyming in couplets, in which the author is lost in a wilderness and meets a lady, who represents Nature and gives him much instruction.

Italian literature wrote an allegorical novel called Libro de' Vizi e delle Virtudi whose earlier version is preserved.

Italian literature's treatise stands in close relation to that of Egidio Colonna, De regimine principum.

The peculiarity of the Italian literature book is that the stories are very short, and seem to be mere outlines to be filled in by the narrator as he goes along.

Italian literature took the materials for his poem from theology, philosophy, history, and mythology, but especially from his own passions, from hatred and love.

The Divina Commedia defined the destiny of Italian literature, giving artistic lustre to all forms of literature the Middle Ages had produced.

Italian literature lived for many years at Avignon, cursing the corruption of the papal court; he travelled through nearly the whole of Europe; he corresponded with emperors and popes, and he was considered the most important writer of his time.

Italian literature's Canzoniere is divided into three parts: the first containing the poems written during Laura's lifetime, the second the poems written after her death, the third the Trionfi.

Italian literature wooed an Italy that was different from any conceived by the people of the Middle Ages.

Italian literature was the first to put together a Latin translation of the Iliad and, in 1375, the Odyssey.

Italian literature's classical learning was shown in the work De genealogia deorum, in which he enumerates the gods according to genealogical trees from the various authors who wrote about the pagan divinities.

Italian literature continued and perfected former geographical investigations in his interesting book De montibus, silvis, fontibus, lacubus, fluminibus, stagnis, et paludibus, et de nominibus maris, for which he made use of Vibius Sequester.

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Italian literature did not invent the octave stanza, but was the first to use it in a work of length and artistic merit, his Teseide, the oldest Italian romantic poem.

Italian literature wrote a biography of him and gave public critical lectures on the poem in Santa Maria del Fiore at Florence.

Italian literature closely imitated Boccaccio, and drew on Villani's chronicle for his historical stories.

Italian literature's book gives a lifelike picture of Florentine society at the end of the 14th century.

Italian literature speaks at length, not only of events in politics and war, but of the stipends of public officials, the sums of money used to pay for soldiers and public festivals, and many other things of which knowledge is valuable.

Italian literature's must take her place among those who prepared the way for the religious movement of the 16th century.

Italian literature's letters are among the most remarkable in the category of ascetic works in the 14th century.

Italian literature put into triplets the chronicle of Giovanni Villani, and wrote many historical poems called Serventesi, many comic poems, and not a few epico-popular compositions on various subjects.

Italian literature liked to look into his own heart with a severe eye, but he was able to pour himself out with tumultuous fulness.

Italian literature described with the art of a sculptor; he satirized, laughed, prayed, sighed, always elegant, always a Florentine, but a Florentine who read Anacreon, Ovid and Tibullus, who wished to enjoy life, but to taste of the refinements of art.

Italian literature drew from the Carolingian cycle, from the romances of the Round Table, and from classical antiquity.

Italian literature was a poet of no common genius, and of ready imagination.

Italian literature'story had neither many nor very good students in the 15th century.

Italian literature had a deep feeling for nature, and an almost unique faculty of assimilating all that he saw and heard.

Italian literature's history is sometimes inexact in facts; it is rather a political than an historical work.

Italian literature's characteristic is that he assimilated the romance of chivalry to the style and models of classicism.

Italian literature held as his model, and as the highest example of poetic expression ever achieved in Italian, the work of Petrarch and Boccaccio, two 14th-century writers he assisted in bringing back into fashion.

Italian literature was only eighteen years old when, in 1562, he tried his hand at epic poetry, and wrote Rinaldo, in which be said that he had tried to reconcile the Aristotelian rules with the variety of Ariosto.

Italian literature later wrote the Aminta, a pastoral drama of exquisite grace, but the work to which he had long turned his thoughts was an heroic poem, and that absorbed all his powers.

Italian literature explains his intentions in the three Discorsi, written while he composed the Gerusalemme: he would choose a great and wonderful subject, not so ancient as to have lost all interest, nor so recent as to prevent the poet from embellishing it with invented circumstances.

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Italian literature would treat it rigorously according to the rules of the unity of action observed in Greek and Latin poems, but with a far greater variety and splendour of episodes, so that in this point it should not fall short of the romantic poem; and finally, he would write it in a lofty and ornate style.

Sperone Speroni in his Canace and Giraldi Cintio in his Orbecche tried to become innovators in tragic Italian literature, but provoked criticisms of grotesquerie and debate over the role of decorum.

Bernesque poetry is the clearest reflection of that religious and moral scepticism that was a characteristic of Italian literature social life in the 16th century, and that showed itself in most of the works of that period—a scepticism that stopped the religious Reformation in Italy, and which in its turn was an effect of historical conditions.

Italian literature's style is clear and light, and he adds interest to his book by frequent allusions to the events of the time.

Italian literature used the most extravagant metaphors, the most forced antitheses and the most far-fetched conceits.

Italian literature was bold enough to attack the Spaniards in his Filippiche, in which he urged Duke Carlo Emanuele of Savoy to persist in the war against them.

Italian literature produced over 150 comedies, and had no time to polish and perfect his works; but for a comedy of character we must go straight from Machiavelli's Mandragola to him.

Italian literature's works include some of Italy's most famous and best-loved plays.

Italian literature's plays offered his contemporaries images of themselves, often dramatizing the lives, values, and conflicts of the emerging middle classes.

Italian literature wrote a dissertation Sopra lo stato presente della lingua italiana, and endeavoured to establish the supremacy of Tuscan and of the three great writers, Dante, Petrarch, and Boccaccio.

Italian literature had learnt much by travelling; his long stay in Britain had contributed to the independent character of his mind.

Italian literature assailed papal Rome in Arnaldo da Brescia, a long tragic piece, not suited for acting, and epic rather than dramatic.

Italian literature has the merit of having vindicated liberal ideas, and of having opened a new path to Italian tragedy.

Italian literature wrote a History of Italy from 1789 to 1814; and later continued Guicciardini's History up to 1789.

Italian literature wrote after the manner of the Latin authors, trying to imitate Livy, putting together long and sonorous periods in a style that aimed at being like Boccaccio's, caring little about what constitutes the critical material of history, only intent on declaiming his academic prose for his country's benefit.

Italian literature's fame is only that of a man of a noble and patriotic heart.

Italian literature has a rapid, brief, nervous style, which makes his book attractive reading.

Italian literature was an historian in the classical style, and treats his subject with patriotic feeling; but as an artist he perhaps excels the other two.

Love of liberty and desire for equality created a Italian literature aimed at national objects, seeking to improve the condition of the country by freeing it from the double yoke of political and religious despotism.

Italian literature worshipped the Greek and Roman idea of popular liberty in arms against tyranny.

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Italian literature took the subjects of his tragedies from the history of these nations and made his ancient characters talk like revolutionists of his time.

Italian literature's aim was to be brief, concise, strong and bitter, to aim at the sublime as opposed to the lowly and pastoral.

Italian literature saved literature from Arcadian vacuities, leading it towards a national end, and armed himself with patriotism and classicism.

Italian literature had no one deep feeling that ruled him, or rather the mobility of his feelings is his characteristic; but each of these was a new form of patriotism that took the place of an old one.

Italian literature saw danger to his country in the French Revolution, and wrote the Pellegrino apostolico, the Bassvilliana and the Feroniade; Napoleon's victories caused him to write the Pronreteo and the Musagonia; in his Fanatismo and his Superstizione he attacked the papacy; afterwards he sang the praises of the Austrians.

Italian literature is still sometimes pompous and rhetorical, but less so than, for example, in the lectures Dell'origine e dell'ufficio della letteratura.

Italian literature left incomplete three hymns to the Graces, in which he sang of beauty as the source of courtesy, of all high qualities and of happiness.

Italian literature formulated the objects of the new school, saying that it aspired to try to discover and express il vero storico and il vero morale, not only as an end, but as the widest and eternal source of the beautiful.

The novel is a symbol of the Italian literature Risorgimento, both for its patriotic message and because it was a fundamental milestone in the development of the modern, unified Italian literature language.

Italian literature became so familiar with Greek authors that he used afterwards to say that the Greek mode of thought was more clear and living to his mind than the Latin or even the Italian.

Italian literature passed into complete religious scepticism, from which he sought rest in art.

Italian literature'story returned to its spirit of learned research, as is shown in such works as the Archivio storico italiano, established at Florence by Giampietro Vieusseux, the Storia d'Italia nel medio evo by Carlo Troya, a remarkable treatise by Manzoni himself, Sopra alcuni punti della storia longobardica in Italia, and the very fine history of the Vespri siciliani by Michele Amari.

Italian literature was a telling political writer, but a mediocre poet.

Italian literature's Sommario della storia d'Italia is an excellent epitome.

The main authors of the Italian literature version were Antonio Fogazzaro, Giovanni Pascoli, best known by his Myricae and Poemetti, and Gabriele D'Annunzio.

Italian literature began with some lyrics distinguished no less by their exquisite beauty of form than by their licence, and these characteristics reappeared in a long series of poems, plays and novels.

Italian literature's has not gained much recognition as a feminist writer potentially due to her themes of women's pain and suffering.

Italian literature's achieved modest recognition during her life including receiving the Medaglia D'oro Prize for "La Merica".

Italian literature's is most well known for her short story Il Coraggio Delle Donne which was published in 1940.

Italian literature's began writing at an early age and self-educated herself developing a love music and books.

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Italian literature's uses love as a metaphor in her works, saying that love can be passion and obsession and can lead to despair and destruction.

Italian literature's was an anti-Fascist and was involved in the Italian Resistance.

Italian literature's well known as a refined translator from English, German and ancient Italian.

Many Italian literature novels focus on facets of Italian literature identity, and women writers have always been leaders in this genre.