Richard Garnett

Summary

Richard Garnett,  The Yellow Book (1894)

“ It is certainly fully susceptible of such an exposition. But Tansillo, no philosopher, but a cavalier, the active part of whose life was mainly spent in naval expeditions against the Turks, no more thought with Mr. Symonds of "the pioneers of modern philosophy," than he thought with Bruno of "arising and freeing himself from the body and sensual cognition." On the contrary, the sonnet is a love-sonnet, and depicts with extraordinary grandeur the elation of spirit, combined with a sense of peril, consequent upon the poem having conceived a passion for a lady greatly his superior in rank. ”
Source: Wikisource

Richard Garnett,  The Yellow Book (1894)

“ If the poems do not relate to Maria d'Aragona, we have no clue to the ultimate nature of his feelings towards her.
A generally fair estimate of Tansillo's rank as a poet is given in Ginguéné's "History of Italian Literature," vol. ix., pp. 340-343. It can scarcely be admitted that his boldness and fertility of imagination transported him beyond the limits of lyric poetry—for this is hardly possible but it is true that they sometimes transcended the limits of good taste, and that the germs may be found in him of the extravagance which so disfigured Italian poetry in the seventeenth century.
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Source: Wikisource

Richard Garnett,  The Yellow Book (1894)

“ In introducing the four sonnets he has borrowed (for there are three besides that already quoted) he is always careful to make Tansillo speak of them as his own compositions, which he never does when Bruno's own verses are put into his mouth. If a particle of doubt could remain, it would be dispelled by the fact that this sonnet, with other poems by Tansillo, including the three other sonnets introduced into Bruno's dialogue, is published under his name in the "Rime di diversi illustri Signori Napoletani," edited by Lodovico Dolce at Venice, in 1555, when Bruno was about seven years old! ”
Source: Wikisource

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