SOLE E OMBRA: A STUDY OF SIXTEENTH CENTURY HUMOURISM AND GROTESQUE THROUGH THE WORKS OF ANTONFRANCESCO GRAZZINI, L’ACCADEMIA DEGLI HUMIDI, AND L’ACCADEMIA DEGLI INFIAMMATI By Tania Zampini A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 23, 2013 ! ! !!!!!!!!!!! Abstract #$"%!&'()'*+,!&"%%-*)+)"'.!"%!+.!".)-*&"%("/,".+*0!-.1+1-2-.)!3")$!)3'!".)-,,-()4+,! ("*(,-%!'5!)$-!-+*,0!)'!2"&6%"7)--.)$(-.)4*06!)$-!!""#$%&'#($%)*'(+&'$'!".8,'*-.(-+.&)$- !""#$%&'#($%)*'(,-.'#&&#/'(".9+&4+!6!)$+)!-7+2".-%!)$-!$"%)'*"(+,!+.&!,")-*+*0".)-*+()"'. 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".)*'%/-()"F-!+.&!,0*"(+,!)'!)$-!%'("+,?!/*'%+"(?!+.&!/-*5'*2+)"F-?!+.&!/*'F"&-%!+!2'*-! %4<%)+.)"+,!,".;!)')$-)3-.)"-)$(-.)4*0+.&9"*+.&-,,':%!$42'4*"%2= Primary advisor: Professor Walter Stephens Readers: Professors Christopher Celenza, Pier Massimo Forni, John McLucas, Jean McGarry, and James Coleman ! ""! ! ! !!!!!!!!!!! Acknowledgments My greatest and most sincere thanks I reserve for Professor Walter Stephens, not only for his confidence in my work, patience, and guidance, but also for our many conversations from which I continue to benefit and which I hope remain alive for many years. Professors Renzo Bragantini, Christopher Celenza, James Coleman, William Egginton, Pier Massimo Forni, and Bernadette Wegenstein were readers of my early drafts and in no small measure helped to shape my ideas and redefine my methodological approach and focus. Many administrators also provided invaluable assistance in both the research and writing phases of my work: many thanks especially to Kathy Loehmer among them. Paola, Mario, Cristiana, and Eleonora Furlan, my surrogate family in Italy, showered me with an embarrassing display of hospitality during my research visits there; I owe them a tremendous debt of gratitude. Alongside them are a flurry of other hosts who facilitated and enlivened my research stays in Florence, Rome, Milan, and Padua. Among them are Niccolò Coli, Antontella and Francesco D’Amico, Hannah Friedman, Ludovica Jona, Naisa Mercuri, Alice Pinzani, Diego Scattolin, and Davide Trento. I extend my final, warmest and most heartfelt thanks to the following people: for their intellectual stimulation, friendship and support, most of it ongoing, Lorenzo Bacchini, Francesco Caruso, Bernardo Cioci, Celia D’Andrea, Richard Geekie, Janet Gomez, Katie Johnson, Andreea Marculescu, Maria Pia Norbis, Bridget Pupillo, Brian Tetrick, Daniel Tonozzi, Troy Tower, Eleanor Vanden Heuvel, Jennifer Watson; for their understanding and kindness, Armano and Marisa Zampini, Fabrizio Andaloro, Bruno E. Bailey; for their love and encouragement, Nicola Bianchi, and, especially, Carmela and Felice Zampini. Many translations of the texts I examine and any errors, discrepancies, or oversights therein and more generally, it goes without saying, are exclusively and entirely my own. ! """! ! ! !!!!!!!!!!! Table of Contents I. Introduction 1 II. Chapter One: History and Foundations 19 III. Chapter Two: Humours and Elemental Discourse 54 IV. Chapter Three: Love, Jealousy, and Literary Rivalry 115 V. Chapter Four: Grazzini and the Social Grotesque 163 VI. Chapter Five: From Humours to Humourism 218 VII. Concluding Remarks 278 VIII. Appendix: Selected Translations 284 IX. Bibliography 314 X. Curriculum vitae et studiorum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"22-&"+)-,0!+.&!<0!&-(+&-%=!X$",-!)$-!,-.'#&&#/'!%--!)$-2%-,F-%!+%!-.,"1$)-.-&! *-5'*2-*%!'5!+!)*+&")"'.!1*'3.!%)+,-!".!)$-!5'*2+,!+.&!*-%)*"()"F-!-.F"*'.2-.)!'5!)$-! 9+&4+.%)4&"'?)')$-53&'$'?!%)",,!2'*-!*-%"%)+.)!)'!$42+."%)"(!('.%-*F+)"F"%2?!)$-0!%--2 .')$".1!2'*-!)$+.!)$-!.+)4*+,!-7)-.%"'.!'5!")!".!+!*-.-3-&!+.&!,-%%!5'*2+,!,")-*+*0!%-))".1=!! B,)$'41$!)$-*-!"%!.'!%$'*)+1-!'5!%($',+*%$"/!'.!$42+."%2?!")%!2+.0!&-5".")"'.%?!+.&! )$-F+*"'4%*-+()"'.%")1-.-*+)-%?*-,+)"F-,0,")),-$+%<--.3*"))-.?)'&+)-?-")$-*+<'4))$-! ,-.'#&&#/'!+%!+.!".&-/-.&-.)!%'("-)0!'*!+<'4)!)$-"*!".)-*+()"'.!3")$!)$-!2'*-!*-.'3.-&! +.&!<-))-*%)4&"-&!6'12%-/'-#=!Y)",,!5-3-*!+*-!)$-!+))-2/)%!2+&-!)'!,".;!)$-%-!)3'!%'("-)"-%! .')!'.,0!<0!)$-"*!2-2<-*%!'*!%$+*-&!$"%)'*"(+,!5*+2-3'*;?!<4)!<0!)$-"*!('22'.!".5,4-.(-%! +.&?!'5)-.?!24)4+,!('.)*"<4)"'.!)'!'*!*-+()"'.!+1+".%)!+!)*-.&!)$-0!$-,/!)'!&-5".-U)$- Z-.+"%%+.(-1*')-%@4-=J+,-*"'J"+.-,,':%%)4&"-%'5)$-8,'*-.)".-.31230"'/'!['*/',")"(+,,0 ! V! ! ! !!!!!!!!!!! -7",-&!('224.")"-%\?!)$-!+(+&-2"(!('224.")"-%!)$-0!('2-!)'!5'*2?!+.&!'5!Y/-*'.-! Y/-*'.":%!*',-!3")$".!)$-2+*-!+2'.1!)$-!2'%)!.')+<,-!+.&!"2/'*)+.)!('.)*"<4)"'.%)')$-! %)4&0'5)$-%'("-)"-%%4**'4.&".1)$-,-.'#&&#/'!+.&!/*'2')".1!)$-"*!-F-.)4+,!5'*2+)"'.=! ]')!%".(-!$"%!+*)"(,-%!5*'2)$-!GPQR%?!$'3-F-*?!$+%!+.0!%"1."5"(+.)!%($',+*%$"/!<--.! /*'&4(-&'.)$-,-.'#&&#/'!("*(,-=!#'!&+)-?!Z"($+*&!Y=!Y+24-,%:%GPO^+*)"(,-?“Benedetto Varchi, the Accademia degli Infiammati, and the Origins of the Italian Academic Movement,” is still the first and perhaps best point of reference not only on the formation of the Infiammati, but on their direct influence on the Humidi to follow. Much more has been written, however, on the Humidi circle, and much of it in recent years. Like the Infiammati, the Fiorentina came under the biggest amount of contemporary critical scrutiny in the late 1970s and 1980s, but often in either exclusively historical or exclusively literary terms; when they were not studied as Cosimo I’s personal propagandistic tool, they were viewed in connection with comic and burlesque literature. The past ten years, however, have witnessed a proliferation of studies related to the members of