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Angelo Sabino or in Latin Angelus Sabinus (''fl.'' 1460s–1470s) was an Italian Renaissance humanist, poet laureate, classical philologist, Ovidian impersonator, and putative rogue. Sabino's real name was probably Angelo Sani di Cure, with the toponymic indicating that he was from Cure or Curi (ancient Cures), in formerly Sabine territory, hence his Latin appellation ''Sabinus.''〔Andrea Corsini, ''Sabina sagra e profana, antica e moderna'' (Rome, 1790), p. 143 (online. )〕 He wrote under a multitude of pen names, including Aulus Sabinus when he impersonated the Sabinus who was Ovid's friend, and Angelus Gnaeus Quirinus Sabinus,〔Egmont Lee, ''Sixtus IV and Men of Letters'' (Rome 1978), p. 187.〕 an allusion to Quirinus as an originally Sabine god of war in ancient Rome. ==As poet== Sabino advertised himself as a poet laureate on the title pages of his editions of ancient texts. It is unclear in whose court he held the position, or in what year, though one scholar conjectured 1469.〔Vincenzo Lancetti, ''Memorie intorno ai poeti laureati d'ogni tempo e d'ogni nazione'' (Milan, 1839), p. 170.〕 At any rate, he was identified as such in the period 1469–1474,〔Christina Meckelnberg and Bernd Schneider, ''Odyssea Responsio Ulixis ad Penelopen: Die humanistische Odyssea decurtata der Berliner Handschrift Diez. B. Sant. 41'' (Leipzig, 2002), p. 12, note 61.〕 following the composition of his historical epic ''De excidio civitatis Leodiensis'' ("The Fall of the City of Liège").〔Lancetti, ''Memorie intorno'' p. 171. When Paul Oskar Kristeller compiled ''Iter Italicum: A Finding List of Uncatalogued or Incompletely Catalogued Humanistic Manuscripts of the Renaissance in Italian and Other Libraries'' (Brill, 1991), vol. 6, p. 479 (online ), he regarded the questions pertaining to the poem's authorship as not settled, and listed the poem as anonymous.〕 Written in Latin hexameters and structured in six books, this 6,000-line poem〔La Principauté de Liège, ("Le péril bourguignon (1390–1505): Sources." )〕 gives historical background and narrates the siege, capture and destruction of Liège, in present-day Belgium, by Louis XI of France and Charles the Bold of Burgundy. Its subject matter was more expansive than the title might indicate, as the ''De excidio'' also includes a description of Charles' wedding to Margaret of York.〔''De excidio civitatis Leodiensis'' 1420–29 (Boeren), as cited by Richard Vaughan, ''Charles the Bold: the last Valois Duke of Burgundy'' (Boydell, 1973, 2002), p. 49, note 8 (online. )〕 Sabino composed the poem at the request of Onofrio de Santa Croce, the papal legate who traveled to Liège in 1467 in an effort to negotiate a peace settlement. Onofrio failed in his embassy, and Sabino's poem was meant to provide an emotive and narrative context for understanding the conflict; or, as Onofrio himself acknowledged in his memoirs, the ''De excidio'' was an effort to justify his own conduct in the matter.〔Eugène Bacha, "Deux écrits de Mathieu Herbenus sur la destruction de Liège par Charles-le=Téméraire," ''Bulletin de la Commission Royale d'Histoire (de la Belgique)'' 75 (1907), pp. 385–386 (online ), citing ''Mémoire du légat Onufrius sur les affaires de Liége'', edition of S. Bormans (Brussels, 1885).〕 Jozef IJsewijn thinks that Onofrio had taken Sabino with him to Liège and Maastricht,〔Jozef IJsewijn, "The Coming of Humanism to the Low Countries," in ''Itinerarium Italicum: The Profile of the Italian Renaissance in the Mirror of Its European Transformations'' (Leiden: Brill, 1975), p. 201.〕 but elsewhere it is assumed that Onofrio commissioned the poem after his return.〔Bacha, "Deux écrits," p. 385. Bacha thinks that since Onofrio brought the young Flemish scholar Mathieu Herbenus to Rome with him, Herbenus assisted Sabino in the actual composition of the poem.〕 Whether or not the poet had firsthand knowledge, the ''De excidio'' is considered a significant historical source on the siege, and was used as such by the early 20th-century historian Godefroid Kurth throughout his classic ''La Cité de Liège au Moyen-Age''.〔Godefroid Kurth, ''La Cité de Liège au Moyen-Age'' (Brussels, 1910), vol. 3, limited preview (online. )〕 Sabino's epic was never published in his lifetime, as it soon lost its patrons and immediate purpose. Pope Paul II, for whom it was originally intended, died in 1471; Onofrio himself died without having returned to good standing in the papal court.〔Bacha, "Deux écrits", p. 386; Sylvan Balau, "Sources de l'histoire du pay de Liége au Moyen Age," ''Memoires couronnés'' 61 (1902–1903), pp. 647–648 (online ) ''et passim''.〕 When Onofrio had traveled back to Rome from the Low Countries, he brought along the young Matthaeus Herbenus〔The first name can also be found as Mattheus, Mathieu, and Matthieu; the last name as Herben.〕 of Maastricht, a future historian, grammarian, and musician. Herbenus became a student of Niccolò Perotti, a friend of Sabino with whose name he was to become most closely associated.〔J. IJsewijn, W. Lourdaux, and E. Persoons, "Adam Jordaens (1449–1494), an Early Humanist at Louvain," ''Humanistica Lovaniensia'' 22 (1973), p. 84 ( online. )〕 It was Herbenus who first brought the ''De excidio'' into wider circulation upon returning to his northern home, where its subject matter held more direct interest. He sent copies to Henry of Bergen, bishop of Cambrai, for whom Erasmus later served as secretary, and Lambert d'Oupeye, chancellor of the prince-bishop of Liège.〔Bacha, "Deux écrits," p. 386, says that Henry's 15th-century copy is preserved at the Bibliothèque Municipale de Cambrai (699 ()), and Lambert's at the Bibliothèque Royale in Brussels (II, 1184 (6605 )), but the latter may date to the 16th century. Another 15th-century copy is preserved by the Vatican Library (Vaticani Latini 1675), and the Bibliothèque Nationale in Paris holds a 17th-century copy (Latin 11733); see (Repertorium chronicarum. ) The modern text of ''De excidio'' was published by E. Martène and U. Durand, ''Veterum scriptorum et monumentorum historicorum … amplissima collectio'' (Paris, 1729), vol. 4, col. 1379ff.〕 The network through which Sabino's poem circulated is an example, if minor, of how Renaissance humanism proliferated.〔IJsewijn, "The Coming of Humanism," pp. 252–255 (online. )〕 Herbenus added a short poem and a prose prologue of his own. The manuscript for d'Oupeye ends with short ''argumenta'' or summaries of each book, composed by Paschacius Berselius (d. 1535), a Benedictine monk of St. Laurent's abbey near Liège.〔IJsewijn, "The Coming of Humanism," p. 255; Bacha, "Deux écrits," p. 386.〕 The literary critic and poet Henri Bebel (d. ''ca.'' 1516), who advised readers to avoid stories that lack beauty and charm, listed Sabino among notable recent writers who ought to be taken seriously.〔Along with Carlo Marsuppini (Carolus Arretinus), Maffeo Vegio (Mapheus Vegius), and Giovanni Gioviano Pontano (Jovianus Pontanus); cited by Léopold Hervieux, ''Les fabulistes latins'' (Paris, 1883), vol. 1, p. 458 (online. )〕 Sabino called himself a ''vates'', the Latin word meaning both "poet" and "prophet," divinely inspired to speak. Poets of the Augustan era sometimes assumed the persona of the ''vates'', for instance Ovid in his ''Fasti''. "Unfortunately," noted an early 20th-century historian who drew on Sabino's poem, "miraculous intervention, borrowed from paganism, long speeches and long poetic descriptions make it an exhausting read."〔Balau, "Sources de l'histoire du pay de Liége au Moyen Age," p. xxvii, note 1 (online. )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Angelo Sabino」の詳細全文を読む スポンサード リンク
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