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Margherita Costa’s first lyric works represent an enormous production of over 1046 quarto pages of poetry, and 325 pages of love letters, published in four books between 1638 and 1639: La chitarra, Il violino, Lo stipo and Lettere amorose. In this paper I propose macro- para- and intertextual analyses that work together to define these four works as a corpus, firmly situated in literary milieu of mid-Seicento Marinism.

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contexts. Remarkably invisible, however, remains the question of to what extent the historical characteristics and patterns uncovered in the selected poems could be considered "typically Dutch." While Britt Grootes connects Hooft's sonnet to the English lyrical tradition, most authors read their poems in a uniquely Dutch sociopolitical context, and sometimes enter into debate solely with colleagues in Dutch literary scholarship. A next research project on the nature of lyric address deserves a more developed comparative approach.

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