Roman pasquinades beside the Pasquino statue in 2017. Postering on the statue is prohibited, and "pasquinades" must be placed on a side board. A pasquinade or pasquil is a form of satire, usually an anonymous brief lampoon in verse or prose, and can also be seen as a form of literary caricature. The genre became popular in early modern Europe, in the 16th century, though the term had been used at least as early as the 15th century.
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Some authorities, including royalty and clergy, unsuccessfully attempted to ban or restrict the writing and spread of pasquinades, in comparison to the tolerated "lighter" and more playful parodic texts and fabliau performed during festivals.
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1774,via DNB:Parl. Hist. xvii.1058 the names of Johnson and Shebbeare were usually coupled in whig pasquinades. It was said that the king had pensioned both a He-bear and a She-bear.via DNB:, Johnson, ed.
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Pasquinades — irreverent satirical inscriptions poking fun at public figures — were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same. The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. As seen in the 2002 photograph, the wall behind the statue was covered in graffiti, although not on Il Babuino itself.
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Most pasquinades were created as a form of political satire, reacting to contemporary developments, and are generally more concerned with amusing or shocking the readers, and defaming their targets, than with literary qualities. As such, they are rarely considered to be particularly valuable from a literary standpoint; many have not been reprinted and are therefore considered lost. They have, however, historical value, and were seen by their contemporaries as a source of news and opinions, in lieu of non-existent or rare press and other media. Some have been known to be a series of polemics, with multiple pasquinades written in dialogue with another.
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Marphurius or Marforio (; Medieval , ) is one of the talking statues of Rome. Marforio maintained a friendly rivalry with his most prominent rival, Pasquin. As at the other five "talking statues", pasquinades — irreverent satires poking fun at public figures — were posted beside Marforio in the 16th and 17th centuries.
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Pasquino statue 2017. Postering on the statue is prohibited. "Pasquinades" must be placed on a side board. The statue's fame dates to the early sixteenth century, when Cardinal Oliviero Carafa draped the marble torso of the statue in a toga and decorated it with Latin epigrams on the occasion of Saint Mark's Day.
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The Evil Hour takes place in a nameless Colombian village. Someone has been placing satirical pasquinades about the town, outlining the locals' shameful secrets. Some dismiss these as common gossip. However, when a man kills his wife's supposed lover after reading of her infidelity, the mayor decides that action is called for.
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Leo's most recent biographer, Carlo Falconi, claims Leo hid a private life of moral irregularity behind a mask of urbanity.Falconi, Carlo, Leone X, Milano (1987). Scabrous verse libels of the type known as pasquinades were particularly abundant during the conclave which followed Leo's death in 1521 and made imputations about Leo's unchastity, implying or asserting homosexuality.See, e.g.
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Pasquino in 1550 by Nicolas Béatrizet The term became used in late medieval Italian literature, based on a literary character of that name. Most influential was the tome Carmina Apposita Pasquino (1512) of Giacomo Mazzocchi. As they became more pointed, the place of publication of Pasquillorum Tomi Duo (1544) was shifted to Basel,("Two volumes of Pasquinades"). Pasquillorum Tomi Duo.
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Abbot Luigi (Romanesco: Abbate Luiggi; ) is one of the talking statues of Rome. Like the other five "talking statues", pasquinades - irreverent satires poking fun at public figures - were posted beside Abate Luigi in the 14th and 15th centuries. The statue is a late Roman sculpture of a standing man in a toga, probably a senior magistrate. It was found during the excavations for the foundations of the Palazzo Vidoni-Caffarelli, near the Theatre of Pompey.
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Once in a while, they would march around his residence as they drummed on empty butter barrels and sang pasquinades.“Oration om Mester Geble”, page 27, note 8. In 1527, Olav complained to a fellow bishop about the dissolute lives of the Dominican friars, who had been spending their evenings everywhere but at their monastery. Then his relationship with Lunge went from bad to worse when Lunge demanded that the Bishop put his journeymen at the disposal of the King.
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The Cardinal's actions led to a custom of criticizing the pope or his government by the writing of satirical poems in broad Roman dialect—called "pasquinades" from the Italian "pasquinate"—and attaching them to the statue "Pasquino". Thus Pasquino became the first "talking statue" of Rome. He spoke out about the people's dissatisfaction, denounced injustice, and assaulted misgovernment by members of the Church. From this tradition are derived the English-language terms pasquinade and pasquil, which refer to an anonymous lampoon in verse or prose.
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Il Facchino (, The Porter) is one of the talking statues of Rome. Like the other five "talking statues", pasquinades - irreverent satires poking fun at public figures - were posted beside Il Facchino in the 14th and 15th centuries. Il Facchino was originally sited on the via del Corso, on the main facade of the Palazzo De Carolis Simonetti, near the piazza Venezia. In 1874, it was moved to its current position, to the side of the same building, now the Banco di Roma, on the Via Lata.
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In Padua, in 1504, he wrote the 650 ottava rima stanzas of the Bovo-Bukh, based on the popular romance Buovo d'Antona, which, in turn, was based on the Anglo-Norman romance of Sir Bevis of Hampton.[Liptzin, 1972] p.6. By 1514 he was living in Venice, where he wrote two scathing satirical pasquinades. That same year he moved to Rome, where he acquired a friend and patron, the Renaissance humanist and cardinal Egidio da Viterbo (1471-1532) of Viterbo, in whose palace he lived for more than ten years.
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The term has also been used in various literary satirical lampoons across Europe, and appears in Italian works (Pietro Aretino, Mazzocchi), French (Clément Marot, Mellin de Saint-Gelais), German, Dutch, Polish (, Andrzej Krzycki, Stanisław Orzechowski, ), and others. The genre also existed in English, with Thomas Elyot's Pasquill the Playne (1532) being referred to as "probably the first English pasquinade." They have been relatively less common in Russian, Ukrainian, and Belarussian. Most of the known pasquinades are anonymous, distinguishing them from longer and more formal literary satires such as William Langland's Piers Plowman.
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The history of misinformation, along with that of disinformation and propaganda, is part of the history of mass communication. Early examples cited in a 2017 article by Robert Darnton are the insults and smears spread among political rivals in Imperial and Renaissance Italy in the form of "pasquinades". These are anonymous and witty verse named for the Pasquino piazza and "talking statue" in Rome, and in pre- revolutionary France as "canards", or printed broadsides that sometimes included an engraving to help convince readers to take their wild tales seriously. The spread in Europe and North America of Johannes Gutenberg's mechanized printing press increased the opportunities to spread English- language misinformation.
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Modern pasquinades in Italian on the base of the statue Pasquino or Pasquin (Latin: Pasquillus) is the name used by Romans since the early modern period to describe a battered Hellenistic-style statue perhaps dating to the third century BC, which was unearthed in the Parione district of Rome in the fifteenth century. It is located in a piazza of the same name on the southwest corner of the Palazzo Braschi (Museo di Roma); near the site where it was unearthed. The statue is known as the first of the talking statues of Rome, because of the tradition of attaching anonymous criticisms to its base. The satirical literary form pasquinade (or "pasquil") takes its name from this tradition.
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He regained his freedom on February 6, 1559 thanks to the intervention of Giovanni Carafa, Duke of Paliano; with his freedom the seized papers were returned to him. He gained familiarity within the social circle of Cardinal Giovanni Morone. His great misfortune was to accept a commission from the Apostolic Tax Prosecutor Alessandro Pallantieri, to produce an infamous pamphlet and some pasquinades addressed to Pope Pietro Carafa, for distribution following his death ("Commento sopra la vita et costumi di Giovan Pietro Carafa che fu Paolo IV chiamato, et sopra le qualità de tutti i suoi et di coloro che con lui governaro il pontificato"). In 1557 Pallantieri had been investigated for tax offenses and imprisoned.
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Pasquinades can take a number of literary forms, including song, epigram, and satire. Compared with other kinds of satire, the pasquinade tends to be less didactic and more aggressive, and is more often critical of specific persons or groups. The name "pasquinade" comes from Pasquino, the nickname of a Hellenistic statue, the remains of a type now known as a Pasquino Group, found in the River Tiber in Rome in 1501 – the first of a number of "talking statues of Rome" which have been used since the 16th century by locals to post anonymous political commentary. The verse pasquinade has a classical source in the satirical epigrams of ancient Roman and Greek writers such as Martial, Callimachus, Lucillius, and Catullus.
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Madama Lucrezia (Romanesco: Madama Lugrezzia) is one of the five "talking statues" of Rome. Pasquinades — irreverent satires poking fun at public figures — were posted beside each of the statues from the 16th century onwards, written as if spoken by the statue, largely in answer to the verses posted at the sculpture called "Pasquino" Madama Lucrezia was the only female "talking statue", and was the subject of competing verses by Pasquino and Marforio. Madama Lucrezia is a colossal Roman bust, about 3 metres high, sited on a plinth in the corner of a piazza between the Palazzo Venezia and the basilica of St. Mark. The statue is badly disfigured, and the original subject cannot be identified with certainty, but may represent the Egyptian goddess Isis (or of a priestess of Isis), or perhaps a portrait of the Roman empress Faustina.
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She procured a baronetcy for her son-in-law, Edward Dering, in 1627 and a letter to Buckingham, that year, indicates she enjoyed the company of his wife, Katherine, of Lady Carlisle and of Henrietta Maria of France.Court of Chancery, Privy Seals, 1627, Public Record OfficeCalendar of state papers, domestic series, 1627-8 On 14 December 1626 Lady Ashburnham married Sir Thomas Richardson (later Lord Chief Justice of England and Wales) at St Giles in the Fields. Through his influence, she was created Lady Cramond in the Peerage of Scotland, on 29 February 1628 (with a special remainder to her stepson, Thomas and the issue of his body), an event which elicited 'many gibes and pasquinades...for the amusement of Westminster Hall'.John Campbell, 1st Baron Campbell, The lives of the chief justices of England, 3rd edition, 4 volumes, 1874 On 9 September 1629, she was granted an annual pension of £300 for the duration of her life.
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It excited violent dislike to Ronsard on the part of the Huguenots, who wrote constant pasquinades against him, strove (by a ridiculous exaggeration of the Dionysiac festival at Arcueil, in which the friends had indulged to celebrate the success of the first French tragedy, Jodelle's Cleopatre) to represent him as a libertine and an atheist, and (which seems to have annoyed him more than anything else) set up his follower Du Bartas as his rival. According to some words of his own, they were not contented with this variety of argument, but attempted to have him assassinated. During this period, Ronsard began writing the epic poem the Franciade (1572), a work that was never finished and is generally considered a failure due to its versification—a decasyllabic metre of rimes plates that corresponds poorly with the genre of epic poetry. The metre (the decasyllable) could not but contrast unfavourably with the magnificent alexandrines that Du Bartas and Agrippa d'Aubigné were shortly to produce; the general plan is feebly classical, and the very language has little or nothing of that racy mixture of scholarliness and love of natural beauty which distinguishes the best work of the Pléiade.
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