QUEEN ANNA’S NEW WORLD OF WORDS

“Gran romore et poca lana, great noise and little wooll, or as we say much a doe about nothing.”


¶ NEW WORLD OF WORDS

Florio’s magnum opus as lexicographer was his augmented dictionary Queen Anna’s New World of Words, or Dictionarie of the Italian and English tongues (London 1611), embracing nearly 74,000 definitions. Not only was the volume almost twice larger than its predecessor, containing about 75.000 definitions, but in the preparing of it he had consulted 249 books of which one-fifth appeared on the Index of prohibited books as against 72 listed in the World of Words, most of which belonging to the XVIIth century. This number is even more significant if one remembers that the first edition of the Florentine Vocabolario della Crusca, published in 1612 lists 230 works as sources for material.

AN ENCYCLOPEDIA

The sources consulted by John Florio are listed in the work and include books on all phrases of general and specialized knowledge. The definitions are so fully treated that for the most part the work is not only a dictionary but is also an encyclopedia of general knowledge of the time. Examples of a few definitions, selected from diverse fields of learning, found in the dictionary will serve to indicate the comprehensive nature of this work:

Ceraunia, a blackish and blewish stone, which put in Vineger & saltpeter, wil in time grow to have a bright-glittering star in the centre of it, and taken out will just in so long time loose it againe, it is said to fall out of the clouds and that who weares it about him can not be drowned, some say it is a kinde of glittering pearle.

Esseni, certaine Philosophers among the Hebrewes, that refer every thing to providence, that deeme the soule to be immortall, that for the defense of justice would have all men fight until death, that sacrifice not with the common people, that highly esteeme purity of life and sanctity of conversation, whose manners and customes are full of vertue, who give themselves to husbandry, who live in common, and never mary, and keepe no servants, saying that a wife is the cause of discord, and servants to be wicked, and therefore in all occasions helpe one another with cheerefull willingnesse, their clothes be handsome and neat, but nothing sumptuous.

NEW WORLD OF WORDS: FLORIO’S KNOWLEDGE OF DIVERSE FIELDS

Indeed, New World of Words makes evident Florio’s general and specific knowledge of such diverse fields as history, geography, biography, modern and ancient literature, theology, philosophy, criticism, botany, zoology, cooking, astrology, medicine, falconry, military science, and horsemanship. And may be said truly to afford the most remarkable conspectus of Italian literary production of that period ever produced by one man. Probably few of his contemporaries could equal Florio in scope of erudition.

FLORIO’S SOURCES: DRAMATIC WORKS

One of the most interesting features of the book-list is the high percentage of dramatic works which it contains. Vincenzo Spampanato has classified these as three tragedies (one of these, the Rosmunda of Rucellai, was one of the earliest modern regular tragedies) two tragi-comedies, Guarini’s Pastor Fido, and Celestina translated from the Spanish, five pastorals, among them being Aminta. The largest class are comedies, including Terence translated by Fabrini, Machavelli’s Clizia, and many other comedies of the Intronati di Siena. In fact, approximately one-sixth of all the sources cited by Florio are now comedies, tragedies and pastorals by such authors as Cinthio, Bandello, Boccaccio, Da Porto, Aretino, Machiavelli, Fiorentino, Ariosto, Sannazzaro, Tasso, and many old Italian Commedia dell’Arte, for a total number of 39 plays.

¶ NEW WORLD OF WORDS: GIORDANO BRUNO’S INFINITE WORLDS

In New World of Words the philosophical works of Giordano Bruno are well represented, with the inclusion of the five moral and metaphysical dialogues which Bruno published during his stay in London between 1583 and 1585. Bruno and Florio shared a passion for words, and the cultural-political space of London in the 1580s was a context particularly amenable to the linguistic experimentation that resulted in Bruno’s vernacular philosophical dialogues and Florio’s early work on his dictionary. 1 The proper use of language is an issue that Bruno signals at the very opening of the Cena della Ceneri in the exchange between Teofilo – Bruno’s stand-in and a noun that Florio defines in Queen Anna’s New World of Words as ‘loving God’ – Smitho, and Prudenzio. Here at the outset of Bruno’s dialogue the three exchange these words:

SMITHO: Mostravano saper di greco? (Did they show themselves to know Greek?)

TEOFILO: Et di birra eziamdio (And also beer)

PRUDENZIO: Togli via quelli ‘eziamdio’ poscia Ă© una obsoleta et antiquata diczione (Away with that eziamdio for it is a thoroughly antiquated expression).

Bruno’s scholar Aquilecchia notes that Teofilo’s saper di birra plays on the double entendre of sapere, registered in Queen Anna’s New World of Words as “to know by the minde, to wot, to isse, to ken, to understand and perceive well. Also, to taste of, to smacke of, to smell of”. Florio also notes the significance of etiando, a term that Prudenzio (a pedant) criticizes as old-fashioned: “also, moreover, eftsoone, and also, besides, furthermore, yea also”.

BRUNO’S LANGUAGE IN FLORIO’S NEW WORLD OF WORDS

Bruno was merciless with language employed speciously, and the attack on the tradition of Petrarchism in poetry that opens the argomento of the Eroici furori provides a further telling link between Bruno’s linguistic praxis and Florio’s own solution to the language question. What might at first appear to be an incongruous misogynistic tirade turns out to be a forceful critique of the fetishized language of a love poetry that transforms women into abusive and unobtainable objects of masochist desire. 2 Bruno here employs Petrarchan tropes to then obliterate them. He, in fact, asks:

What acts in this theatre of the world are more laughable that the thoughts, contemplations, constancies, and adulations of lovers so entirely dedicated to their own destruction?

Bruno goes on, writing: What a waste of insignia, emblems, mottos, sonnets, epigrams, books, prolix, scartafazzi – defined in Queen Anna’s New World of Words as ‘any scroule or waste paper. Also an odd corner to throw writing paper in” (as scartabello). And what useless ruminations over eyes, cheeks, busts, these white and those ruby lips, tongues, teeth, foreheads, dresses, cloaks, gloves, shoes, this pianella – in Florio “a woman’s pantofle”. All of this leads to that martello defined by Florio as:

martello: a hammer, a sledge, a carpenter’s mallet. Also jealousy of suspition in love, panting or throbbing of the heart, an earnest desiring of things absent. Sonare le campane a martello, to ringo the bels backward as in times of warre, of danger or of fire.

Florio goes on taking many other words from Bruno’s epistle:

Schifo: coy, quaint, nice, skittish, fond, peevish, puling, awkwarde or froward. Also queasie, nastie, lothsome, odious, to be shunned, eschewed or avoided, disdainfull.

Cesso: yeelded, resigned. Also a privy or close stoole. Also a scroule of paper.

Orinale: a urinall, a pisse-port

Piva: any kind of pipe or bag-pipe. Also a Piot, a pie or lay. Also a Butterflie. Also used of a mans privy members.

Fava: a beane. Also used for the prepuse or top of a mans yard.

FLORIO’S COPIA: BRUNO’S INIFINITE WORLDS

The most obvious characteristic of Florio’s lexical practise in New World of Words is copia, a layer on of definitions that function to provide as full a sense of a particular word’s meanings as possible. One clear consequence of such a linguistic perspective is an opening up of the potential of language to represent a multitude, perhaps we could say an infinity, of possible significations, a further indication of Florio’s relationship to the decentred parameters of Bruno’s philosophy. Bruno’s anti-Petrarchist rhetoric here at the outset of the Eroici furori serves as a model for Florio bringing Bruno’s personal linguistic revolution initiated with Il Candelaio full circle and providing Florio with a flexible paradigm for the response to the language question that his dictionaries represent. 3

¶ FLORIO’S OTHER SOURCES: OVID, PLUTARCH, PLATO.

In his search for words, Florio had also studied in Italian translations classical authors such as Tacitus, Cicero, Plato, Plutarch, Ovid, Pliny. Besides this wide reading in all subjects a close acquaintance with purely literary masterpieces is demanded of a lexicographer. The list shows that Dante had been studied with the aid of four commentators, Vellutello, Daniello, Boccaccio and Landino. Florio must have possessed a detailed knowledge of Dante which was unusual at the period 4. Archaisms of Dante‘s, in fact, are pointed out on several occasions:

Cagne magre, used of Dante for the base and greedy raskality of people.

On another occasion a difficult reading in Machiavelli is dwelt upon:

Eruditione, erudition, teaching, instruction, nurture, bringing up, education. Yet I finde this word used by Machieuell in another sense towards the end of the last Chapter of the second booke of his Decades upon Liuie, conster it as thou please, hee useth it thus, restaua il campo per tutto debole a potere resistere ad una eruditione che quelli di dentro hauessino fatta, some thinke it shoud bee eruttione.

Some of his characteristics as lexicographer are reminiscent of those which he displayed as a translator. It is with an artist’s relish that he assembles a knot of good words:

Paorno: darke, obscure, suttie, duskie, pitchie, deadly.

Sometimes, when a suitable opportunity arises, he is able to get at his tricks of style:

Hierusalem: as much to say, Vision of peace and flower of our felicity.

As in the Montaigne, John Florio has at his command an astonishing wealth of English vocabulary and idiomatic or proverbial expression: 5

Cacciar carote: to make one swallow a gudgeon, or beleeue a lie, and that the Moone is made of greene-cheese.

Gran romore et poca lana, great noise an dlittle wooll, or as we say much a doe about nothing.

One of the definitions shows what an impression the Essex tragedy made upon him:

Ecnéphia: a kind of prodigious storme comming in sommer with furious flashings, the firmament seeming to open and burne, as hapned when the Earle of Essex parted from London to goe for Ireland.

Many of the definitions in New World of Words are so full that the work is in many respects an encyclopaedia of general knowledge as well as a dictionary. As an example of how interesting such a grouping can be, here is a collection (which does not profess to be absolutely complete) of Florio’s explanations of words connected with the theatre or the drama:

Comedia, a Comedy, an enterlude.
Comediante, a Comedian, a stage plaier.
Commo della tragedia, the complaint of a chorus in a tragedy.
Coro,…Also a Chorus in a Tragedie…
Drammatico poema, a poeme where the auctor speakes not himselfe, but makes others to speake. Also a poeme that shutteth up many troublesome accidents with a fortunate conclusion.
Farsa, a merry tale, a pleasant discourse. Also a poeme that shutteth up many troublesome accidents with a fortunate conclusion.
Farsa, a merry tale, a pleasant discourse. Also an enterlude or stage-play.
Histrionia, athe feate or science of stage-plaiers.
Orchestra, a Theater wherein musitions and singers sit, a chiefe place betweene the Stage and the common seates of a Theater…
Proscenio, a stage for Plaiers to play upon, but properly the place before a scaffold out of which the Plaiers come.
Protatica persona, one that in the beginning of a Comedie is brought in to lay open the argument and appeareth no more.
Ruolo, a Checke-role of names. Also a plaiers part written for him to learne.
Scena, a stage or scaffold in a theater or play-house. But properly the fore-part of a Theater where the Plaiers make them ready, being trimmed with hangings, from out which they enter upon the stage. Used also for any place where one doth shew and set forth himselfe to the world or to view. Also any one seene or entrances of a Comedie or Tragedie. Used also for a Comedie or Tragedie.
Tragedia, a tragedie, or mornfull play, being a loftie kinde of poetrie, and representing personages of great state, and matter of much trouble, beginning prosperously, and ending unfortunately.
Tragicomedia, a tragicomedie, beginning mournfully, and ending merily.
Tragisatiricomedia, a play whose beginning is tragicall and dolorous, whose middle pastorall and siluane, and whose end comicall and merie.
Zane,…a seruile drudge or foolish crowne in any comedy or enterlude play.

New World of Words is not merely a word-list but an epitome of the general knowledge of the period. To contemporaries John Florio must have appeared as a walking encyclopaedia upon all subjects as well as the great authority on Italian. It is not an exaggeration to say that no single individual has ever done more than John Florio to spread Italian culture in England.

¶ THE NAMES OF THE AUTHORS AND BOOKS THAT HAVE BEEN READ OF PURPOSE FOR THE COLLECTING OF THIS DICTIONARY:

  • AlfabĂ©to Christiáno.
  • AmĂ­nta di Torquáto Tásso.
  • Amor costánte. Comedia.
  • AntĂ­thesi della dottrĂ­na nuĂłua et vecchia.
  • AntĂłnio BrucciĂłli nell’Ecclesiáste, et sopra i fatti degl’ApĂłstoli.
  • Apologia d’Annibale Cáro cĂłntra Lodouico CasteluĂ©tri.
  • Apologia di trè sĂ©ggi IllĂşstri di Nápoli.
  • Arcádia del Sanazzáro.
  • Arte aulica di LorĂ©nzo DĂşcci.
  • Asoláni di Pietro Bembo.
  • AuuertimĂ©nti ed essámini ad un perfetto bombardiĂ©re di GirĂłlamo Cataneo.
  • Bália. Comedia.
  • BernardĂ­no RĂłcca dell’ImprĂ©se militári.
  • BĂ­bbia Sácra tradĂłtta da Giouánni Diodáti.
  • Boccáccio de’ casi degl’huĂłmini IllĂşstri.
  • Botero dĂ©lle Isole.
  • BrauĂşre del Capitáno Spauento.
  • CalĂ­sto. Comedia.
  • CanzĂłn di bállo di Lorenzo Medici.
  • CapĂ­toli della venerábil compagnia della lĂ©sina.
  • Capo finto. Comedia.
  • Catálogo di messer Anonymo.
  • CelestĂ­na. Comedia.
  • Cena delle cĂ©neri del Noláno.
  • Cento nouelle antiche et di bel parlár gentĂ­le.
  • ClĂ­tia. Comedia.
  • Commentário delle piĂą nĂłbili e mostruĂłse cose d’Italia.
  • Contenti. Comedia.
  • ConsideratiĂłni di valdĂ©sso.
  • Contra-lĂ©sina.
  • Corbáccio del Boccáccio.
  • Cornelio Tácito, tradĂłtto da Bernárdo Dauanzáti.
  • CorĂłna et palma militáre di Arteglieria, di Aless. Capobiánco.
  • Corrádo GesnĂ©ro, degl’animáli, pesci, ed uccelli, tre volĂşmi.
  • Dánte, comentáto da Alessándro Velutelli.
  • Dánte, comentáto da BernardĂ­no Danielo.
  • Dánte, comentáto da Giouánni Boccáccio.
  • Dánte, comentáto dal Lándini.
  • DecamerĂłne, ouero Cento nouelle del Boccáccio.
  • DecamerĂłne spirituále di FrancĂ©sco DionĂ­gi.
  • Della Cáusa, principio ed uno del Noláno.
  • Della perfettiĂłne della vita politica di Mr. Paolo ParĂşta.
  • Dell’arte della cucĂ­na di ChristĂłfaro MessibĂşgo.
  • Dell’infinito, vniuerso et mĂłndi del Noláno.
  • DescrittiĂłne delle feste fátte a Firenze, del 1608.
  • DescrittiĂłne del RĂ©gno o státo di Nápoli.
  • Diáloghi della Corte, dell’AretĂ­no.
  • Diáloghi delle Cárte, dell’AretĂ­no.
  • Diáloghi o sei giornáte dell’AretĂ­no.
  • Diáloghi di Nicolò Fránco.
  • Diáloghi di SperĂłn SperĂłni.
  • Diáloghi piacĂ©uoli di Stefano Guázzo.
  • Diálogo dĂ©lle lingue di BenedĂ©tto Varchi, dĂ©tto Hercoláno.
  • Diálogo di Giácomo Riccamáti.
  • Diálogo di Giouánni Stamlerno.
  • Discorsi AcadĂ©mici de’ mĂłndi di Thomáso BuĂłni.
  • DiscĂłrsi peripathetici e PlatĂłnici di D. Stefano Conuenti.
  • DiscĂłrsi polĂ­tici di Páolo ParĂşta.
  • DiscĂłrso di DomĂ©nico SceuolĂ­ni sĂłpra l’AstrologĂ­a giudiciária.
  • Dittionário Italiáno ed InglĂ©se.
  • Dittionário Italiáno e FrancĂ©se.
  • Dittionário volgáre et LatĂ­no del VenĂşti.
  • DĂłn Siluáno.
  • Dottrina nuĂłua et vecchia.
  • Duello di messer Dário Attendolo.
  • EmĂ­lia. Comedia.
  • Epistole di CicerĂłne in volgáre.
  • EpĂ­stole di Phaláride.
  • Epistole di diuersi SignĂłri et PrĂ©ncipi all’Aretino, duo volĂşmi.
  • Epistole ouero lettere del Ráo.
  • EssamerĂłne del Reuer.mo Mr. FrancĂ©sco Cattáni da DiacĂ©to.
  • EĂşnia, pastorále ragionamĂ©nto.
  • Fábrica del mĂłndo di FrancĂ©sco AlĂşnno.
  • FacĂ©tie del Gonella.
  • Fátti d’árme famĂłsi di Cárolo SaracĂ©ni, duo grán volĂşmi.
  • Fáuole moráli di Mr. Giouanmaria Verdizotti.
  • Feste di Miláno del 1605.
  • FĂşggi l’Ăłtio di Thomáso CĂłsto.
  • Galateo di MonsignĂłre dĂ©lla Cása.
  • GelosĂ­a. Comedia.
  • Genealogia degli Dei, del Boccáccio.
  • GeĂłrgio Federichi del falcĂłne ed vccelláre.
  • GerĂłnimo d’Vrea dell’honĂłr militáre.
  • Gesuáldo sĂłpra il Petrárca.
  • Gierusalemme liberáta di Torquáto Tásso.
  • Gio: Marinelli dell’infermitĂ  delle dĂłnne.
  • Gio: FĂ©ro dĂ©lla passiĂłne di GiesĂą Christo.
  • Giouánni AntĂłnio MenauĂ­no de’ costĂşmi et vita de’ Turchi.
  • GirĂłlamo FrachĂ©tta del gouerno di Státo.
  • GirĂłlamo FrachĂ©tta del gouerno di guerra.
  • GlĂłria di Guerrieri ed amánti di Catáldo AntĂłnio MannarĂ­no.
  • Hecatommiti di Mr. Gio.battĂ­sta Giráldi Cinthio.
  • HecatĂłmphila di Mr. Leon-Battista.
  • Herbário InghilĂ©se di Giouánni Gerárdi.
  • Herbário SpagnuĂłlo del DottĂłr LagĂşria.
  • HerĂłici furĂłri del Noláno.
  • HistĂłria della ChĂ­na.
  • HistĂłria delle cĂłse Settentrionáli di Olláo Mágno.
  • HistĂłria del Villáni.
  • HistĂłria di Gio.battista Adriáni.
  • HistĂłria di FrancĂ©sco GuicciardĂ­ni.
  • HistĂłria di Natali CĂłnti duo volĂşmi.
  • HistĂłria di Páolo GiĂłuio, duo volĂşmi.
  • HistĂłria di Persia, del Minadoi.
  • HistĂłria d’VngherĂ­a, di Pietro Bizárri.
  • HistĂłria milanĂ©se.
  • HistĂłria naturále di C. PlĂ­nio secĂłndo.
  • HistĂłria Venetiána di PiĂ©tro Bembo.
  • HistĂłria vniuersale del Tarcagnotta, cinque volĂşmi.
  • Hospedale de gli Ignoránti di Thomáso GarzĂłni.
  • HumanitĂ  di Christo dell’AretĂ­no.
  • Iácomo Ricamáti, della dottrĂ­na Christiána.
  • Idea del Secretário.
  • Il Castigliáno, ouero dell’arme di NobiltĂ .
  • Il Consoláto.
  • Il Cortegiáno del CĂłnte Baldazar CastigliĂłni.
  • Il FĂşrto. Comedia.
  • Il GĂ©nesi dell’AretĂ­no.
  • Il gentilhuĂłmo di Mr. Pompeo RĂłcchi.
  • Il Marináio. Comedia.
  • Il PeregrĂ­no di Mr. GirĂłlamo ParabĂłsco.
  • Il TerĂ©ntio, comentáto in lingua Toscána da Gio. FabrĂ­ni.
  • Il Secretário, di BattĂ­sta GuarĂ­ni.
  • Il vilĂşppo. Comedia.
  • I Mármi del DĂłni.
  • I MĂłndi del DĂłni.
  • Imprese del Ruscelli.
  • Inganni. Comedia.
  • InstruttiĂłni di ArtegliĂ©ria, di EugĂ©nio G[en]tilĂ­ni.
  • I PrĂ©ncipi di Gio. BotĂ©ro, BenĂ©se.
  • Isole famĂłse di Thomaso Porcácchi.
  • I sette sálmi penitentiáli dell’AretĂ­no.
  • La Ciuile conuersatiĂłne, di Stefano Guázzo.
  • La CrĂłce racquistata di Francesco BracciolĂ­ni.
  • La diuĂ­na settimána di Bartas, tradĂłtta da Ferránte GuisĂłne.
  • La famosissima compagnĂ­a della lĂ©sina.
  • La FiammĂ©tta del Boccáccio.
  • Lácrime di San Pietro del TansĂ­llo.
  • La minera del mondo, di Gio. Maria Bonárdo.
  • L’amorĂłso sdĂ©gno. Comedia.
  • La nobilĂ­ssima compagnĂ­a della BastĂ­na.
  • La PelegrĂ­na. Comedia di GirĂłlamo Bargágli.
  • La Dálida, Tragedia.
  • La Adriána, Tragedia.
  • La P. erránte dell’AretĂ­no.
  • La Regia. Pastorale.
  • La Ruffiána. Comedia.
  • La TipocosmĂ­a d’Alessándro Cittolini.
  • Le aggiĂłnte alla RagiĂłn di Státo.
  • Le due Cortegiáne. Comedia.
  • Le hĂłre di recreatiĂłne di Lod. GuicciardĂ­ni.
  • Le lĂłdi del pĂłrco.
  • Le Ăłpere del Petrárca.
  • Le orĂ­gini della volgáre toscána fauella.
  • Lettere di Angelo GrĂ­llo.
  • Lettere del CauagliĂ©re GuarĂ­ni.
  • Lettere del Cieco d’Adria.
  • Lettere di PrĂ©ncipi a PrĂ©ncipi, trè volĂşmi.
  • Lettere di Stefano Guazzo.
  • Lettere d’Ouidio, fátte in volgáre.
  • Lettere famigliári di Annibale Cáro.
  • Lettere famigliári di Cláudio Tolomei.
  • Lettere facete di diuersi gránd’huĂłmini.
  • LettiĂłni várie di BenedĂ©tto Várchi.
  • LettiĂłni del PanigarĂłla.
  • Libro nuĂłuo d’ordinár banchĂ©tti, et conciár viuánde.
  • Luca Pinelli Giesuista, nelle sue meditatiĂłni.
  • Madrigáli d’Allessandro Gátti.
  • MarsĂ­lio FicĂ­no.
  • MathiĂłlo sopra DioscĂłride.
  • MetamorphĂłsi d’OuĂ­dio, tradotte dall’Anguillára.
  • Morgánte MaggiĂłre di LuĂ­gi PĂşlci.
  • NĂłtte, Comedia.
  • Nouelle del Bandello, volĂşmi trè.
  • NuĂłuo theátro di máchine ed edificij di VittĂłrio ZĂłnca.
  • Opere burlĂ©sche del Berni e d’altri, duo volĂşmi.
  • Opere burlĂ©sche di varij et diuersi Academici.
  • Opere di SenofĂłnte, tradĂłtte da MarcantĂłnio GandĂ­ni.
  • OratiĂłne di LodouĂ­co FederĂ­ci, a Leonárdo Donáto, Doge di Venetia.
  • OratiĂłne di Pietro Miário all’istĂ©sso.
  • Orationi di Luigi Grotto, detto il Cieco d’Hadria.
  • Ordini di Caualcáre di Federico GrifĂłne.
  • Orlándo furiĂłso dell’Ariosto.
  • Orlándo Innamoráto del Boiárdi.
  • OsseruatiĂłni sĂłpra il Petrárca di FrancĂ©sco AlĂşnno.
  • Parentádi. Comedia.
  • PastĂłr fido, del Caur. GuarĂ­ni.
  • Petrárca del DĂłni.
  • PanigarĂłla contra CaluĂ­no.
  • PhilĂłcopo del Boccáccio.
  • Piázza uniuersále di Thomáso GarzĂłni.
  • PinzĂłcchera, Comedia.
  • Piouáno ArlĂłtto.
  • PistolĂłtti amorĂłsi degl’AcadĂ©mici PeregrĂ­ni.
  • Prática manuále dell’arteglierĂ­a, di Luigi Calliado.
  • Precetti della milĂ­tia moderna tánto per máre quánto per terra.
  • Prediche del PanigarĂłla.
  • Prediche di Bartolomeo Lantána.
  • PrigiĂłn d’AmĂłre, Comedia.
  • PrĂłse di Mr. Agnolo FirenzuĂłla.
  • Prediche di RandĂłlfo Ardente.
  • Quattro Comedie dell’AretĂ­no.
  • Ragion di státo del Botero.
  • RelatiĂłni vniuersáli del Botero.
  • RetrattiĂłne del Vergerio.
  • RelatiĂłne di quánto successe in Vagliadolid del 1605.
  • RicchĂ©zze della lingua toscána di FrancĂ©sco AlĂşnno.
  • Rime di Luigi GrĂłtto, Cieco d’Hádria.
  • Rime del Sr. Fil. Alberti PerugĂ­ni.
  • Rime piacĂ©uoli del Caporáli, Máuro ed altri.
  • Ringhieri de’ giuĂłchi.
  • RispĂłsta a GirĂłlamo MĂştio del Betti.
  • RosmĂşnda, Tragedia.
  • SacrifĂ­cio, Comedia.
  • SecĂłnda párte de’ PrĂ©ncipi Christiáni del BotĂ©ro.
  • Scelti documĂ©nti a’ scolári bombardieri di Giácomo Marzári.
  • Sei volumi di lettere dell’AretĂ­no.
  • SibĂ­lla, Comedia.
  • SimĂłn Biráldi, delle ImprĂ©se scelte.
  • SinagĂłga de’ Pazzi, di Thomáso GarzĂłni.
  • SĂłmma della dottrĂ­na christiána.
  • SonĂ©tti mattaccĂ­ni.
  • Spátio della bestia triumphánte del Noláno.
  • Specchio di Scienza uniuersále di Leonárdo Fiorauánti.
  • Specchio di vera penitĂ©nza di IacĂłpo Passauánti.
  • Spiritáta. Comedia.
  • SpĂłrta. Comedia.
  • StrĂ©ga. Comedia.
  • TesĂłro politico, tre volĂşmi.
  • TesĂłro. Comedia.
  • Teátro di varij ceruelli, di Thomáso GarzĂłni.
  • TĂ­to LĂ­uio, tradĂłtto dal Nárni.
  • TorrismĂłndo, tragedia di Torquáto Tásso.
  • Trattáto del beneficio di GiesĂą Christo crocifisso.
  • TĂştte l’Ăłpere di Nicolo Macchiauelli.
  • VanitĂ  del mĂłndo, del Stella.
  • VendemmiatĂłre del TansĂ­llo.
  • Vgoni Bresciáno degli stati dell’humána vita: dell’impositiĂłne dè nomi: della vigilia & sĂłnno: e dell’eccellenza di Venetia.
  • Viággio delle Indie orientáli di Gásparo Bálbi.
  • Vincenzo Cartári degli Dei degli antichi.
  • Vita del PĂ­caro Gusmano d’Alfaráce.
  • VniĂłne di Portogállo & CastĂ­glia del Conestággio.
  • Vocabolário de las dos lenguas, Italiáno & SpagnuĂłlo.
  • Vita del gran Capitáno. Scritta dal GiĂłuio.
  • Vita del Petrárca, scritta dal Gesuáldo.
  • Vita della VĂ©rgine Maria, scritta dall’AretĂ­no.
  • Vita di Bartolomeo CogliĂłni.
  • Vita di Pio QuĂ­nto.
  • Vita di Sánta CatarĂ­na. Scritta dall’AretĂ­no.
  • Vita di Sán Tomáso. Scritta dall’AretĂ­no.
  • VĂ­te di Plutárco.
  • ZĂşcca del DĂłni.

¶ READ QUEEN ANNA’S NEW WORLD OF WORDS:


How to cite this entry:

“Resolute John Florio”, “Queen Anna’s New World of Words”, URL= https://www.resolutejohnflorio.com/2019/09/19/queens-anna-new-world-of-words/

This entry was first published on November 13, 2019. It was last modified on November 29, 2019.

Notes:
  1. Wyatt, M. Giordano Bruno’s infinite worlds in John Florio’s World of Words, in Giordano Bruno: Philosopher of the Renaissance by Hilary Gatti.
  2. Ibidem
  3. Ibidem
  4. Yates, F.A. John Florio, The Life of an Italian in Shakespeare’s England, p. 266
  5. Ivi, p. 268
Giovanni Florio, known as John Florio, is recognised as the most important humanist in Renaissance's England.