Opus Merlini Cocaii [pseud.] Poetae Mantuani macaronicorum. Totum in pristinam formam per me magistrum Acquarium Lodolam [pseud.] optimè redactum, in his infra notatis titulis divisum. Zanitonella ... Phantasiae ... Moscheae ... Libellus epistolarum, & epigrammatum. Teofilo Folengo.
Opus Merlini Cocaii [pseud.] Poetae Mantuani macaronicorum. Totum in pristinam formam per me magistrum Acquarium Lodolam [pseud.] optimè redactum, in his infra notatis titulis divisum. Zanitonella ... Phantasiae ... Moscheae ... Libellus epistolarum, & epigrammatum

The Macaronic, Rabelaisian Poet of Mantua, Teofilo Folengo

Opus Merlini Cocaii [pseud.] Poetae Mantuani macaronicorum. Totum in pristinam formam per me magistrum Acquarium Lodolam [pseud.] optimè redactum, in his infra notatis titulis divisum. Zanitonella ... Phantasiae ... Moscheae ... Libellus epistolarum, & epigrammatum.

Amstelodami [i.e., Naples]: Apud Abrahamum à Someren, 1692.

First printed in 1517, then in 1521 in its complete form, this appears to be the first edition with these copper engravings. Engraved frontispiece portrait, and 25 fine, engraved vignette headpieces. 1 vols. The Macaronic, Rabelaisian Poet of Mantua, Teofilo Folengo. Contemporary calf, gilt spine, raised bands. Covers scuffed, bands and spine tips rubbed, upper joint starting but sound, free endpapers missing, scattered foxing. Item #234235

Teofilo Folengo (1491 – 1544), aka Merlinus Coccaius, one of the principal Italian macaronic poets, most famous for his BALDO, a burlesque epic in 25 books which was first printed in 1517 on seventeen books or Macaronicae, and was reprinted in 1521 with eight additional books -- all written in the mixed jargon of Latin and Italian verse which became known as "macaronic" in a parody of the Italian chivalrous romance. Folego’s at time gross mockery of the clergy endeared him to his younger contemporary, Rabelais, and his influence on the great French author of Gargantua and Pantagruel has often been noted.
Despite often being censored, Its popularity is witnessed by some 12 or more editions which preceded this one (which was possibly printed in Naples), which stands out from its prredecessors for the exuberant whimsy of its fine engravings. BAldo appears in this edition under the title “Phantasiae”, along with his parody of the Vergilian pastorial, “Zanitonella,” the “Moschea”, a mock-heroic celebration of the victory of the ants over the flies in the manner of the pseudo-Homeric “Batrachomyomachia”
Teofilo Folengo's life may be reflected in part in his work: he anabdoned a monastic life for the company of a young woman in 1516 and supported himself through his writing.

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