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・ Antonio Flores Jijón
・ Antonio Florio
・ Antonio Floro
・ Antonio Floro Flores
・ Antonio Fogazzaro
・ Antonio Folc de Cardona y Enriquez
・ Antonio Folco
・ Antonio Foler
・ Antonio Fontanesi
・ Antonio Fontán
・ Antonio Forcione
・ Antonio Fortich
・ Antonio Francesco Carli
・ Antonio Francesco Frisi
・ Antonio Francesco Gori
Antonio Francesco Grazzini
・ Antonio Francesco Orioli
・ Antonio Francesco Vezzosi
・ Antonio Franchi
・ Antonio Francisco Xavier Alvares
・ Antonio Franco
・ Antonio Franco (bishop)
・ Antonio Franco Florensa
・ Antonio Franconi
・ Antonio Franja
・ Antonio Frasconi
・ Antonio Fratacci
・ Antonio Freeman
・ Antonio French
・ Antonio Frilli


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Antonio Francesco Grazzini : ウィキペディア英語版
Antonio Francesco Grazzini
Antonio Francesco or Antonfrancisco Grazzini (March 22, 1503 – February 18, 1584) was an Italian author.〔"", in the ''Encyclopædia Britannica'', , . 1880.〕
==Biography==
He was born at Florence or in (he wrote of himself: '〔''Rime di Antonfrancesco detto il Lasca'', parte prima, Stamperia di Francesco Moucke, Firenze 1741, pag. XXI.〕) of a good family, but there is no record of his upbringing and education. He probably began to practise as an apothecary as a youth. In 1540 he was among the founders of the Accademia degli Umidi, which was soon renamed Accademia Fiorentina. He later took a leading role in the establishment of the more famous Accademia della Crusca, which published his ''Vocabulario'' of words accepted as the purest Italian. To both societies he was known as Il Lasca or Leuciscus, a pseudonym which is still frequently substituted for his proper name.
Grazzini was temperamental, his life consequently enlivened or disturbed by various literary quarrels. His Umidi brethren expelled him for a time, because of his ruthless criticism of the Arameans, a party of academicians who maintained that the Florentine language was derived from Hebrew, Chaldee, or some other branch of the Semitic. He was readmitted in 1566, when his friend Salviati was consul.
II Lasca ranks as one of the great masters of Tuscan prose. His style is flexible and abundantly idiomatic, but without affectation. It has the force and freshness of popular speech, whilst retaining a flavour of academic culture.

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