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OPERE DI GIULIO CESARE CORTESE IN LINGUA NAPOLETANA BOUND WITH I CANTICI DI FIDENTIO GLOTTOCHRYSIO
Napoli, per Novello de Bonis, ad istanza d'Adriano Scultore, 1666.. in questa XV. impressione purgate con somma accuratezza da infiniti errori, che le rendevano manchevoli, e diffettose, e ridotte alla vera perfettione dell'autore. TWO WORKS BOUND TOGETHER 1666 & 1614. No. 1: Cortese, Opere, 6 volumes in 1, each with separate pagination, register and dated title page, plus half-title and general title page at the front listing the 6 works in Neapolitan dialect on the reverse. 12mo, approximately 140 x 70 mm, 5½ x 2¾ inches, each title page has a woodcut decorative border, a few pictorial tailpieces, similar borders to the "argomienti" of the canti, pages: Volume I, [10], 96; Volume II, 130; Volume III, [2], 96; Volume IV, 71 [1]; Volume V: 80 misnumbered 84 with a jump in pagination from page 72 to 77, catchwords correct, nothing is missing; Volume VI, 72, bound in full old vellum, gilt lettering within gilt border to spine. Vellum slightly stained, small old ink stain to upper outer corner of first 7 leaves of Volume I, many leaves lightly age-browned, occasional small pale stain, neat ink note in 1 margin, small ink blot on last page of Volume III, text still legible. A very good tight copy of a scarce work. Giulio Cesare Cortese (1575 - c.1640) was born and lived most of his life in Naples. He studied law but became a courtier in Spain and Florence and was known as the author of poems and prose works in both the Tuscan and the Neapolitan dialect. With Giambattista Basile whom he had known as a boy in Naples he was responsible for laying the foundations for the artistic and literary dignity of the Neapolitan language. Despite the statement in the title that this is the fifteenth edition of the Opere, no earlier editions of either the collected edition or the single works are listed in the Italian libraries (ICCU). In the Bibliotheque Nationale there is a made up edition dated 1645-1652 published by Cavallo in Naples. In our edition the title pages are all dated 1666. It contains the following works: [1]: Micco Passaro nnammorato. Poema eroico di Giulio Cesare Cortese; [2]: La rosa fauola di Giulio Cesare Cortese; [3]: La vaiasseide poema, di Giulio Cesare Cortese. Il pastor Sebeto, a compita perfettione ridotta, con gli argomenti, & alcune prose di Gian Alesio Abbattutis. Dedicata al potentissimo re de' venti; [4]: Li trauagliuse ammure de Ciullo, e Perna de Giulio Cesare Cortese; [5]: Viaggio di Parnaso poema, di Giulio Cesare Cortese; [6]: Lo cerriglio ncantato poema eroico di Giulio Cesare Cortese. Brunet, II, page 314, cites only our edition of the Opere but mentions an edition of La Rosa of 1621 and an edition of La Vaiasseide of 1628. BOUND WITH, No. 2: I CANTICI DI FIDENTIO GLOTTOCHRYSIO, et d'altri celeberrimi ludimagistri. Novamente impressi & locupletati. Dedicati alli Discepoli della Scola Fidentiaca. Vicenza, Domenico Amadio, 1614. Anonymous and generally attributed to the Vicenzan poet Camillo Scrofa (Scroffa). 12mo, Italian text, printer's pictorial device to title page, another different one to final page of anchor and fish, woodcut head and tailpieces, pages: (12), 119, (1). Title page a little spotted and laid down on old paper, upper and fore-edge margins slightly trimmed, couple of tiny inkspots to 2 pages, no loss of legibility, 2 tiny holes in margin of first text page. These Cantici belong to a minor genre of Italian poetry known as Fidentian which originated as a vehicle for homosexual themes that within the larger context of burlesque poetry have given rise to Burchiellesque and Bemesque poetry. Its initiator was Camillo Scroffa (1526-1565) who probably composed I Cantici di Fidentio when studying law (1545-50), and first published them in 1562 in an edition of some 29 pages. They are supposed to have been written by an "amorous pedant" Fidentio Glottochrysio who is hopelessly in love with the handsome Camillo Strozzi. The anthology amounts in the main to an anti-Petrarchan pamphlet, poking fun at well-worn conventions of love poetry, while at the same time it is a satire on the excessive preoccupation with classical antiquity into which the humanists had fallen, both from a linguistic standpoint and in view of their exaltation of the so-called Socratic love. What came to be known as Fidentian poetry - which is technically the opposite of macaronic poetry, which mixes vernacular elements into Latin, instead of vice versa - was cultivated even before the first authorized edition of the Cantici in 1562, and lasted until the beginning of the eighteenth century. With numerous additions from different poets this anthology was reprinted many times and was still in print in 1781. See, COPAC. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.
      [Bookseller: Roger Middleton]
Last Found On: 2017-11-22           Check availability:      Biblio    

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