|1504: Sannazzaro, Arcadia (authorized edition).|
|1525: Bembo, Prose della Volgar Lingua.|
|1528: Castiglione, Cortegiano.|
Ariosto, Orlando Furioso (revised edition).|
|1581: Tasso, Gerusalemme Liberata (revised edition).|
|1590: Guarini, Pastor Fido.|
Petrarch ( 1304-74), the most influential of the lyric poets, was first printed in Venice in 1470; the principal sixteenth-century commentaries on his Canzoniere were those of Vellutello ( Venice, 1525), Gesualdo ( Venice, 1531), Daniello ( Venice, 1541), and Castelvetro ( Basle, 1582). Among modern editions which provide useful commentaries are those of Carducci and Ferrari ( Florence, 1899), Moschetti ( Milan, 1908), Rigutini and Scherillo ( Milan, 1908), Chiorboli ( Milan, 1924), Neri ( Milan-Naples, 1951).
The early translations of the Italian classics are the most impressive. Castiglione, Ariosto, Tasso, and Guarini are most profitably read in the versions of Hoby, Harington, Fairfax, and Fanshawe; Hoby Courtier is in the Everyman Library ( 1928). Students of the lyric may be grateful for the literal prose translations in The Penguin Book of Italian Verse ( 1958).
Books which give a general view of the period are J. A. Symonds' The Renaissance in Italy ( 7 vols., 1875-86) and J. Burckhardt, Civilisation of the Renaissance in Italy ( 1929). The best and most recent literary history in English is J. H. Whitfield's A Short History of Italian Literature ( 1960).
Scholarship and Criticism. L. Einstein has written of The Italian Renaissance in England ( 1913), and L. Sells more particularly of The Italian Influence in English Poetry from Chaucer to Southwell ( 1955), H. G. Wright Boccaccio in England, from Chaucer to Tennyson ( 1957) should also be consulted. M. A. Scott has investigated Elizabethan Translation from the Italian ( 1916), and Frances A. Yates an Elizabethan scholar of Italian parentage in John Florio ( 1934).