Further Reading
CRITICISM
Bowd, Stephen D. “Pietro Bembo and the ‘Monster’ of Bologna (1514).” Renaissance Studies 13, no. 1 (1999): 40-54.
Argues for Bembo's authorship of a pessimistic letter describing a deformed child and offering a “symbolic interpretation of the infant's body applied to papal policy.”
Clough, Cecil H. “The Problem of Pietro Bembo's Rime.” Italica 41, no. 3 (September 1964): 318-22.
Addresses difficulties in establishing a canon of Bembo's works and assigning dates of composition.
Della Terza, Dante. “Imitatio: Theory and Practice: The Example of Bembo the Poet.” Yearbook of Italian Studies (1971): 119-41.
Focuses on Bembo's views on the use of literary models as expressed in his debate with Giovan Francesco Pico della Mirandola and as practiced in his poetry.
Hagar, Alan. “Castiglione's Bembo: Yoking Eros and Thanatos by Containment in Book Four of ‘Il Libro del cortegiano’.” Canadian Journal of Italian Studies 16, no. 46 (1993): 33-47.
Investigates Bembo's editing of Baldessare Castiglione's Il Libro del cortegiano, a work in which Bembo himself appears, delivering a speech derived from Gli Asolani.
Heiple, Daniel L. “Pietro Bembo and Sixteenth-Century Petrarchism.” In Garcilaso de la Vega and the Italian Renaissance, pp. 77-102. University Park: The Pennsylvania State University Press, 1994.
Studies Bembo's “prescriptions for structuring the sound values in poetry” and then demonstrates “the relevance of these ideas for Spanish literature,” particularly Garcilaso's poetry.
Jones, R. O. “Bembo, Gil Polo, Garcilaso: Three Accounts of Love.” Revue de Litterature Comparée 40, no. 4 (October-December 1966): 526-40.
Examines the influence of Gli Asolani on works by the Spanish writers Garcilaso and Gil Polo.
McLaughlin, Martin L. “The Dispute between Giovan Franceso Pico and Bembo.” In Literary Imitation in the Italian Renaissance: The Theory and Practice of Literary Imitation in Italy from Dante to Bembo, pp. 249-74. Oxford: Clarendon Press, 1995.
Investigates the debate between Bembo and Pico on the proper use of literary models for imitation.
Robb, Nesca A. “The Trattato d'Amore.” In Neoplatonism of the Italian Renaissance, pp. 176-211. New York: Octagon Books, 1968.
Asserts that, while it breaks little new ground, Gli Asolani is a model “trattato d'amore,” or treatise on love.
Reynolds, Anne. “Francesco Berni, Gian Matteo Giberti, and Pietro Bembo: Criticism and Rivalry in Rome in the 1520s.” Italica 77, no. 3 (Autumn 2000): 301-10.
Explores the sources of the personal and professional antipathy between Bembo and Berni and Giberti.
Richardson, Brian. “Bembo and His Influence, 1501-1530.” In Print Culture in Renaissance Italy, pp. 48-63. Cambridge: Cambridge University Press, 1994.
Examines Bembo's editing of Dante and Petrarch, and assesses the impact of his work on subsequent editors.
Shankland, Hugh. Preface to The Prettiest Love Letters in the Word: Letters Between Lucrezia Borgia and Pietro Bembo, 1503 to 1509, pp. 7-46. London: Collins Harvill, 1987.
Discusses Bembo's connection to Lucrezia Borgia and her family, paralleling the development of his writing career with the path of their relationship.
Terpening, Ronnie H. “Pietro Bembo and the Cardinalate: Unpublished Letters to Marco Mantova.” Lettere Italiane 32, no. 1 (January-March 1980): 75-86.
Examines four letters by Bembo in terms of his “aspirations as regards his ecclesiastical career, his correspondence with Marco Mantova, and his elevation to the College of Cardinals.” In one letter Terpening finds a suggestion that Bembo may have aspired to the papacy.
Young, R. V. “Versions of Galatea: Renaissance and Baroque Imitation.” Renaissance Papers 1984 (1985): 57-67.
Compares two translations of a story in Ovid's Metamorphoses: Bembo's Galatea and Luis de Góngora's Fábula de Polifemo y Galatea. Young finds Bembo's version closer to Ovid's but admires Góngora's transformation of the story.
Additional coverage of Bembo's life and career is contained in the following source published by the Gale Group: Reference Guide to World Literature, Ed. 2.
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