Un 'work in progress' tra Cinque e Seicento: le "Ode" di Guido Casoni

[Autom. eng. transl.] The intervention starts from the reference to the "Ode" contained in the "Glories" of the Incogniti Academicians of Venice (1647) to question first of all the role of Casoni in the Academy and in particular on the bond he establishes with the promoter of the institution , Giovan Francesco Loredano: The editorial chronology of the "Ode" is then examined: established, also on the basis of the most recent studies, that the supposed sixteenth-century edition does not exist, and that the princeps must be considered the Venice press, Ciotti, 1602 , we note that in subsequent editions the number of compositions continuously increases, and these pass from the initial 38 to the definitive 72. the consequent possibility of dating the odes allows us to ascertain the progressive increase of the metaphorical material employed by the author. Casoni's choice of the ode of Oratian ancestry, with short verses functional to the musicality of poetic language, finds its model in Bernardo Tasso, to which dates the paternity of this lyric form in Italian literature; from him Casoni does not derive only the metric schemes, since the "Ode" take up several passages of Bernardo's compositions. The intertextual relationship between the two collections, however, is complex, in that they both derive in part from the same source, the Latin "Carmina" of Marcantonio Flaminio, Serravallese as Casoni. On the side of Casonian influences on other authors instead, being already known to scholars the relations with the work of Marino, less known territories are explored here; emerges from the survey for example a close bond that unites the "Ode" of Casoni with the homonymous collection of the Neapolitan Girolamo Fontanella (I ed. 1633, II extended edition 1638). One of the most singular odes of the Serrese dialect is "Fulvia, it was your life", entirely composed of a litany of metaphors: for its particular nature this lyric is used as a repertoire of images by various Italian concept poets; more unusual is the case of a German translation, a work by Georg Rudolf Weckherlin, which in his second book by Oden und Gesänge (1619) presents the composition as an original.