onio degli Antoni, 1560, See
Passano's _Novellieri in Prosa_, p. 28).]
[Footnote 193: What I have elsewhere, called 'the tyranny of the kiss'
in Italian poetry, begins in Tasso's _Rinaldo_, acquires vast
proportions in Guarino's _Pastor Fido_, and becomes intolerable in
Marino's _Adone_.]
This emasculate nature displays itself with consummate effect in the
sobbing farewell, followed by the pretty pettishnesses, of the
seventeenth canto.
As a contrast to his over-sweet and cloying ideal of lascivious grace,
Marino counterposes extravagant forms of ugliness. He loves to describe
the loathsome incantations of witches. He shows Falserina prowling among
corpses on a battle-field, and injecting the congealed veins of her
resuscitated victim with abominable juices. He crowds the Cave of
Jealousy with monsters horrible to sight and sense; depicts the
brutality of brigands; paints hideous portraits of eunuchs, deformed
hags, unnameable abortions. He gloats over cruelty, and revels in
violence.[194] When Mars appears upon the scene, the orchestra of lutes
and cymbals with which we had been lulled to sleep, is exchanged for a
Corybantic din of dissonances. Orgonte, the emblem of pride, outdoes the
hyperboles of Rodomonte and the lunes of Tamburlaine. Nowhere, either in
his voluptuousness or in its counterpart of disgust, is there
moderation. The Hellenic precept, 'Nothing overmuch,' the gracious Greek
virtue of temperate restraint, which is for art what training is for
athletes, discipline for soldiers, and pruning for orchard trees, has
been violated in every canto, each phrase, the slightest motive of this
poem. Sensuality can bear such violation better than sublimity;
therefore the perfume of voluptuousness in the _Adone_, though
excessive, is both penetrating and profound; while those passages which
aim at inspiring terror or dilating the imagination, fail totally of
their effect. The ghastly, grotesque, repulsive images are so
overcharged that they cease even to offend. We find ours
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John Addington Symonds (October 5, 1840 - April 19, 1893) was an English poet and literary critic. He was an early advocate of the validity of male love which included for him pederastic as well as egalitarian relationships, and which he would refer to as lamour de limpossible.