By Teodolinda Barolini
During this publication, Teodolinda Barolini explores the resources of Italian literary tradition within the figures of its lyric poets and its 3 crowns: Dante, Petrarch, and Boccaccio. Barolini perspectives the origins of Italian literary tradition via 4 prisms: the ideological/philosophical, the intertextual/multicultural, the structural/formal, and the social.The essays within the first part deal with the ideology of affection and wish from the early lyric culture to the Inferno and its antecedents in philosophy and theology. within the moment, Barolini specializes in Dante as inheritor to either the Christian visionary and the classical pagan traditions (with emphasis on Vergil and Ovid). The essays within the 3rd half examine the narrative personality of Dante's Vita nuova, Petrarch's lyric series, and Boccaccio's Decameron. Barolini additionally appears on the cultural implications of the editorial background of Dante's rime and at what sparso as opposed to organico spells within the Italian imaginary. within the part on gender, she argues that the didactic texts meant for women's use and guide, as explored through Guittone, Dante, and Boccaccio-but no longer via Petrarch-were extra revolutionary than the courtly kind for which the Italian culture is celebrated.Moving from the lyric origins of the Divine Comedy in Dante and the Lyric Pastto Petrarch's regressive stance on gender in Notes towards a Gendered heritage of Italian Literature-and encompassing, between others, Giacomo da Lentini, Guido Cavalcanti, and Guittone d'Arezzo-these 16 essays by way of one among our best critics body the literary tradition of thirteenth-and fourteenth-century Italy in clean, illuminating ways in which will turn out valuable and instructive to scholars and students alike
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Extra resources for Dante and the origins of Italian literary culture
Very important, too, is the political dimension of his work; as a politically involved citizen of Arezzo, he is the first Italian poet to use the lyric as a forum for political concerns, in the tradition of the Provenc¸al sirventes. And, perhaps most important for Dante, he experienced a religious conversion (becoming a member of the Frati Godenti circa 1265) that is reflected in his verse. Guittone’s poetry moves, by way of the so-called ‘‘conversion’’ canzone Ora parra` s’eo savero` cantare, from love poetry to moral and ethical poetry, and even to religious lauds in honor of St.
Sanza mia donna non vi voria gire, quella c’ha blonda testa e claro viso, che´ sanza lei non poteria gaudere, estando da la mia donna diviso. Ma no lo dico a tale intendimento, perch’io peccato ci volesse fare; se non veder lo suo bel portamento e lo bel viso e ’l morbido sguardare: che lo mi teria in gran consolamento, veggendo la mia donna in ghiora stare. I have proposed in my heart to serve God, that I might go to paradise, to the holy place of which I have heard said that there are maintained pleasure, play, and laughter.
Ecco giunta colei che ne pareggia: dimmi, che hai tu fatto, cieco avaro disfatto? ’’ Maladetta tua culla, che lusingo` cotanti sonni invano; maladetto lo tuo perduto pane, che non si perde al cane: che´ da sera e da mane hai raunato e stretto ad ambo mano cio` che sı` tosto si rifa` lontano. (Doglia mi reca, 69–84) Dante and the Origins of Italian Literary Culture 44 The miser runs, but peace flees faster: oh blind mind, whose mad desire cannot see that the number, which it seeks always to pass, stretches to infinity.