GABRIELLO See also:

• GABRIELLO CHIABRERA (1552-1637)

CHIABRERA (1552-1637)  , See also:

• ITALIAN

Italian poet, some-times called the Italian See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

Pindar, was of patrician descent, and was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SAVONA

Savona, a little See also:

• TOWN

town in the domain of the Genoese See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

republic, twenty-eight years after the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth of See also:

• RONSARD, PIERRE DE (1524-1585)

Ronsard, with whom he has far more in See also:

• COMMON

common than with the See also:

• GREAT

great See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek whose See also:

• ECHO (Gr. I'Xw)

echo he sought to make himself . As he has told in the pleasant fragment of autobiography prefixed to his See also:

• WORKS

works, in which, like See also:

• CAESAR, GAIUS JULIUS (102—44 B.c.)
• CAESAR, SIR JULIUS (1557-1558-1636)

Caesar, he speaks of himself in the third See also:

• PERSON, OFFENCES AGAINST THE

person, he was a See also:

• POSTHUMOUS

posthumous See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child; he went to See also:

• ROME
• ROME (Roma)

Rome at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of nine years, under the care of his See also:

• UNCLE

uncle Giovanni . There he read with a private See also:

• TUTOR (Lat. tutor, guardian, tueri, to watch over, protect)

tutor, suffered severely from two fevers in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession, and was sent at last, for the See also:

• SAKE

sake of society, to the See also:

• JESUITS

Jesuits' See also:

• COLLEGE (Collegium)

College, where he remained till his twentieth See also:

• YEAR

year, studying See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy, as he says, " piit per trattenimento the per apprendere,"—rather for occupation than for learning's sake . Losing his uncle about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, See also:

• CHIABRERA, GABRIELLO (1552-1637)

Chiabrera returned to Savona, " again to see his own and be seen by them." In a little while, however, he returned to Rome, and entered the See also:

• HOUSEHOLD, ROYAL

household of a See also:

• CARDINAL (Lat. cardinalis)

cardinal, where he remained for several years, frequenting the society of See also:

• PAULUS
• PAULUS (older form PAur.Lus), LUCIUS AEMILIUS
• PAULUS, HEINRICH

Paulus See also:

• MANUTIUS

Manutius and of Sperone Speroni, the dramatist and critic of See also:

• TASSO, TORQUATO (1544-1595)

Tasso, and attending the lectures and See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing the conversation of Mureto . His revenge of an insult offered him obliged him to betake himself once more to Savona, where, to amuse himself, he read See also:

• POETRY

poetry, and particularly Greek . The poets of his choice were Pindar and See also:

• ANACREON

Anacreon, and these he studied till it See also:

• GREW, NEHEMIAH (1641-1712)

grew to be his ambition to reproduce in his own See also:

• TONGUE (O. Eng. lunge)

tongue their rhythms and structures, and so to enrich his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country with a new See also:

• FORM (Lat. forma)

form of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse—in his own words, " like his country-See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, See also:

• COLUMBUS
• COLUMBUS, CHRISTOPHER [in Spanish CRISTOBAL COLON] (c. 1446, or perhaps rather 1451, -15o6)

Columbus, to find a new See also:

• WORLD

world or drown." His reputation was made at once; but he seldom quitted Savona, though often invited to do so, saving for journeys of See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure, in which he greatly delighted, and for occasional visits to the courts of princes whither he was often summoned, for his verse's sake, and in his capacity as a dramatist . At the ripe age of fifty he took to himself a wife, one Lelia Pavese, by whom he had no See also:

• CHILDREN, LAW RELATING TO

children . After a See also:

• SIMPLE

simple and blameless See also:

• LIFE

life, during which he produced a vast quantity of verse—epic, tragic, See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral, lyrical and satirical—he died in 1637, at the patriarchal age of eighty-five . An See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

epitaph was written for him in elegant Latin by See also:

• URBAN
• URBAN (Urbanus)

Urban VIII.; but on his tombstone are graven two See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint Italian hexameters of his own, in which the gazer is warned from the poet's own example not to prefer See also:

• PARNASSUS (mod. Likkoura or Likeri)

Parnassus to See also:

• CALVARY

Calvary . A maker of odes in all their elaborate pomp of See also:

• STROPHE (Gr. o-rpod>)

strophe and See also:

• ANTISTROPHE

antistrophe, a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of new and complex rhythms, a coiner of ambitious words and composite epithets, an employer of audacious transpositions and inversions, and the inventor of a new See also:

• SYSTEM

system of poetic diction it is not surprising that Chiabrera should have been compared with Ronsard . Both were destined to suffer See also:

• ECLIPSE (Gr. €uheo,tis, falling out of place, failing)

eclipse as great and sudden as had been their See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory . Ronsard was succeeded by See also:

• MALHERBE, FRANCOIS DE (1555-1628)

Malherbe and by See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French literature, properly so-called; Chiabrera was the last of the great Italians, and after him literature languished till the second See also:

• RENAISSANCE, THE

renaissance under See also:

• MANZONI, ALESSANDRO FRANCESCO TOMMASO ANTONIO (1785-1873)

Manzoni .

Chiabrera, however, was a man of merit, apart from that of the See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere innovator . Setting aside his epics and dramas (one of the latter received the honours of See also:

• TRANSLATION

translation at the hands of See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas Chretien, a sort of scenic du Bartas), muchof his See also:

• WORK

work remains yet readable and pleasant . His See also:

• GRAND

grand See also:

• PINDARICS

Pindarics are dull, it is true, but some of his Canzonetle, like the See also:

• ANACREONTICS (from the name of the Greek poet Anacreon)

anacreontics of Ronsard, are exceedingly elegant and graceful . His autobiographical See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch is also extremely interesting . The simple old poet, with his See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

adoration of Greek (when a thing pleased him greatly he was wont to talk of it as " Greek Verse "), his delight in journeys and sight-seeing, his dislike for See also:

• LITERARY

literary talk See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save with intimates and equals, his vanities and vengeances, his See also:

• PRIDE, THOMAS (d. 1658)

pride in the memory of favours bestowed on him by popes and princes, his " See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite' maraviglia " over See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil's versification and See also:

• METAPHOR

metaphor, his fondness for masculine rhymes and See also:

• BLANK (from the Fr. blanc, white)

blank verse, his quiet See also:

• CHRISTIANITY

Christianity, is a figure deserving perhaps of more study than is likely to be bestowed on that " new world " of See also:

• ART

art which it was his glory to See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy his own, by See also:

• DISCOVERY

discovery and by See also:

• CONQUEST

conquest . The best See also:

• EDITIONS

editions of Chiabrera are those of Rome (17'8, 3 vols . 8vo) ; of See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice (1731, 4 vols . 8vo) ; of See also:

• LEGHORN (Ital. Livorno, Fr. Livourne)

Leghorn (1781, 5 vols . 12mo) ; and of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan (1807, 3 vols . 8vo) . These only contain his lyric work; all the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest he wrote has been See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long forgotten .