Thematically and stylistically, Giambattista Marino is considered one of the greatest Italian poets of his age and also, perhaps, the most representative man of letters of Baroque Europe. His impact was felt immediately, not only in the various literary circles of Italy but also in France, where he produced his masterpiece, L’Adone (Adonis), and whence his fame spread throughout the Continent. Echoes and imitators of the Marinesque style are indeed to be found everywhere, from the Slavic world (Miklós Zríny, Dżivo Bunić-Vucić, Igniat Djordjić, Jan Andrzej Morsztyn) to seventeenth century England (Edward Herbert, Thomas Carew, Andrew Marvell, Richard Crashaw, Samuel Daniel, Edward Sherburne, Thomas Stanley, and so on).
Although Spanish literature of this period was to produce an equally influential figure in Luis de Góngora y Argote (who was to lend his name to Gongorism, an aesthetic current that paralleled Marinism), Spanish poets such as Juan de Tasis, Luis de Carrillo y Sotomayor, and Francisco de Quevedo y Villegas became admirers and imitators of Marino, and Lope de Vega expressed his admiration for the Italian poet by dedicating one of his comedies to him. It was undoubtedly in France, however, where Marino lived for some eight years as a favorite of Queen Marie de Médicis, that his influence was most powerfully felt. Poets as diverse as Antoine-Girard de Saint-Amant, Théophile de Viau, Tristan L’Hermite, Georges de Scudéry, Vincent Voiture, Jean de La Fontaine, Claude de Malleville, and Pierre Le Moyne betray a significant debt to Marino, and it was from France that Marinism radiated all over Europe.