‘A stranger borne / To be indenized with us, and made our owne’
Samuel Daniel and the naturalisation of Italian literary forms
in ‘Who the devil taught thee so much Italian?’
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores how English poet Samuel Daniel consistently attempted to naturalise Italian poetic forms into English verse. It analyzes his works, from his earliest poetry in the Delia sonnets to the pastoral play Hymens Triumph in order to understand how his imitative methods developed. It suggests that it is possible to trace the composition and construction of his sonnet sequence Delia to two separate phases and each phase reflects the predominant use of sources from a specific sonnet tradition (French and then Italian).

‘Who the devil taught thee so much Italian?’

Italian language learning and literary imitation in early modern England

Metrics

All Time Past Year Past 30 Days
Abstract Views 60 24 0
Full Text Views 28 1 0
PDF Downloads 6 1 0