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Examples

  • Exaggeration and extravagance, with corrupted taste and frantic straining after novelty (in part a reaction against the frigid classicism in which the Renaissance ended), are the characteristics of earlier seventeenth-century poetry, of which the most typical work is the "Adone" of the

    The Catholic Encyclopedia, Volume 8: Infamy-Lapparent 1840-1916 1913

  • "The poet who set the fashion of fantastic ingenuity" was Marinus, whose epic "Adone," in twenty cantos, dilates on the tale of Venus and

    The Book of the Epic 1894

  • Adone (Have done, Leave off): I am told on good authority that when a

    Highways & Byways in Sussex E.V. Lucas

  • Sussex damsel says, "Oh! do adone," she means you to go on; but when she says, "Adone-do," you must leave off immediately.

    Highways & Byways in Sussex E.V. Lucas

  • Such is the difference betwixt Virgil’s Æneis and Marini’s Adone.

    Dedication Vergil 1909

  • A little page of prose is added to the _Gerusalemme_, expressing another thought of the poet; a verse or a strophe is added to the _Adone_, expressing what the poet would like to make a part of his public swallow; while to the statue nothing more than the single word is added: _Clemency_ or

    Aesthetic as Science of Expression and General Linguistic Benedetto Croce 1909

  • Given the _Gerusalemme liberata_, the allegory was imagined afterwards; given the _Adone_ of Marino, the poet of the lascivious insinuated afterwards that it was written to show how

    Aesthetic as Science of Expression and General Linguistic Benedetto Croce 1909

  • Renaissance it was still chiefly in male adolescents, as we see, for instance, in Marino's _Adone_, that the homosexual ideal found expression.

    Studies in the Psychology of Sex, Volume 2 Sexual Inversion Havelock Ellis 1899

  • Narcisso, Adone, Deifobo and the like, wicked, graceless little wretches as they were.

    The Fool Errant Maurice Hewlett 1892

  • It is characteristic of the mood expressed in the _Adone_ that voluptuousness should not be passionate, but sentimental.

    Renaissance in Italy, Volumes 1 and 2 The Catholic Reaction John Addington Symonds 1866

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