In the second capitolo the diminutive prevails

teams are each attracted and repulsed with the aid of lower social category embodied with the aid of the peasant. Even supposing mainstream criticism (e.g., Ulysse) considers Strascino, together with figures like Legacci and Mescolino, to be among the many pre-Rozzi, or precursor of the ‘Congrega dei Rozzi,’ based in Siena in 1531, Valenti rejects that label for artists like Campani, Stricca Legacci, or Mescolino. She prefers to outline them as ‘comici artigiani’ considering that she believes that the ‘comici’ acted prior to but in addition concurrently with the Rozzi. For a complete discussion of the sociocultural scene that subtends the artistic task of the pre-Rozzi, see Ulysse. As Valenti informs us, Strascino spent some time exciting the court of Mantua for Carnival celebrations of 1521. If truth be told, it used to be Isabella d’Este’s son Federico Gonzaga who steered Castiglione to obtain the pope’s permission for Strascino’s shuttle to Mantua (51). Valenti believes that the ‘comici artigiani’ entertained in an area together with Siena, Rome, Ferrara, and different ‘corti padane.’ Strascino is the creator of some comedian poetry, but is very best identified for his eclogues or ‘farse villanesche,’ a form of comedy where laughter originates from the clash of peasant characters with city center-category voters or characters of the pastoral genre. His performs Strascino, Magrino, and Coltellino, composed between 1511 and 1520, every stage the contrast between the ‘villano’ and the city dweller or the shepherd of traditional pastoral drama. The ‘Lamento,’ a long poem about Strascino’s struggle with syphilis, can also be very well-known. Valenti notes that given Campani’s success in efficiency, printed variations of his work incessantly regarded a couple of years after their unique advent (65). In Rabelais and His World (Introduction, pp. 26–9, and chapter 5) Bakhtin discusses the features of the grotesque physique in opposition to the classical canons of antiquity. The grotesque body does not fit the framework of the ‘aesthetics of the gorgeous’ as conceived within the Renaissance. The literary and creative canon of antiquity, which gives the basis for Renaissance aesthetics, represents the classical body as a completed, finished product, totally enclosed, and not using a mention of inside elements or openings. Spackman examines the grotesque description of the apothecary’s wife in Tifi Odasi’s Macaronea and finds that it’s not the fabricated from subversion, however belongs to the topos of the ‘enchantress-turned-hag’ as seen in Dante’s ‘femina balba,’ in Ariosto’s Alcina, and in Machiavelli’s ‘lavandaia’ in the letter to Luigi Guicciardini. This feminine grotesque for Spackman ‘stands as

See, as an example, the in depth reference to gastronomic items in the paradoxical praises of sausage, boiled eggs, cardoon, wide beans, melons, and so on, in Berni, Molza, and Firenzuola, most frequently with homosexual connotations (216–17)

hermeneutic determine par excellence, for it would divulge truth under falsehood, plain speech below cosmetic rhetoric, essence below appearance’ (22). Spackman sees authentic subversion in the grotesque female body of the unruly ‘lady on top’ in Natalie Zemon Davis’s essay ‘Women on Top,’ and in Peter Stallybrass’s essay on Othello and the ‘physique enclosed’ in ‘Patriarchal Uzbekistani ladies are most lovely on this planet Territories.’ Ulysse (223) notes that Ginzburg had already singled out millers as the most hated folks in the Renaissance Italian geographical region. The common sense of the world turned the other way up standard of Carnival and folk festivities, which Bakhtin sees as a temporary suspension of all hierarchical rank, privileges, norms, as an party for subversion, does no longer lead to genuine subversion in Strascino, exactly as a result of poems like Strascino’s were not composed for people entertainment but for divertissement of the elite. Each Orvieto and Brestolini make this level in La poesia comico-realistica. Some similes remodel Nencia. ‘E quel nasin tanto ben bucherato, / che pare un sampognin da a ways cristeri’ echoes this selection in the Nencia (three V; 21 P; 3 A ): ‘E in quel mezzo ha il naso tanto bello, / che par proprio bucato col succhiello’ (emphasis is mine). Different diminutives are used for the mouth (‘bocchin par quel d’un campanello’) and the chin (‘mentino auzzo e tondarello’). In Strascino the identical comparative formulation (‘che par’) is used for the nostril, but the disgusting element of ‘cristeri’ lowers the gracious tones of the Nencia. For extra intertextual references, see Longhi’s notes to the poems in Poeti, 938–forty three. The metaphor of the earth/land and ‘orto’ for the woman’s genitals and the activity of tilling or working the earth is fashionable in common literature and in ‘poesia rusticana,’ however can also be found in Boccaccio’s Decameron (II, 10; III, 1) and in Poliziano. Many textual parallelisms exist between this capitolo and the Nencia. Strascino’s ‘dama’ is offered as an incomparable adaptation of magnificence just like Diana and advanced to Helen and Morgan le Fay: ‘Tu mi pari oggi la deia Driana, / . tu matti Elena e la fata Morgana.’ In Nencia (M, stanza 6) the peasant is in comparison with Morgan and Diana as a celebrity: ‘I’ t’o aguagliata alla fata Morgana, / . i’ t’assomiglio alla stella diana.’ In relation to proportion, rustic poems ambiguously oscillate between the extreme (accrescitivo) and the diminutive. For the face of the ‘dama’ Stracino uses ‘faccino,’ which is