The nineteenth-century Swiss historian Jacob Burckhardt noted that Jean Buridan had climbed the same mountain a few years before, and ascents accomplished during the Middle Ages have been recorded, including that of Anno II, Archbishop of Cologne. In Petrarch, this attitude is coupled with an aspiration for a virtuous Christian life, and on reaching the summit, he took from his pocket a volume by his beloved mentor, Saint Augustine, that he always carried with him. It was no great feat, of course, but he was the first recorded Alpinist of modern times, the first to climb a mountain merely for the delight of looking from its top. Or almost the first; for in a high pasture he met an old shepherd, who said that fifty years before he had attained the summit, and had got nothing from it save toil and repentance and torn clothing. Petrarch was dazed and stirred by the view of the Alps, the mountains around Lyons , the Rhone , the Bay of Marseilles. Then, in truth, I was satisfied that I had seen enough of the mountain; I turned my inward eye upon myself, and from that time, not a syllable fell from my lips until we reached the bottom again.
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Beyond the few sonnets I had read in classes scattered throughout my liberal arts education, this master of the early Italian Renaissance did not make the short list, or even the long list, of poets I intended to investigate further.
Which has turned out to be an extremely slow leisure indeed. That said, there is a certain novelistic quality about reading all of the Canzoniere in order. The early poems give us a man struck by the full force of new infatuation; as it becomes clear that he will never successfully woo his lady Laura was, unfortunately, already married , he struggles with anger and resentment, which alternate with attempts at acceptance and religious feeling. Every year that passes is marked with an "anniversary" sonnet, so the reader knows when the speaker has loved Laura for six, ten, eighteen years.
At times he rues the day he ever saw her, and at others affirms she alone gives his life meaning. As the narrator continues to struggle with grief and draw toward his own death, one realizes what a dynamic and really quite modern character study the Canzoniere, as a whole, make up.
That said, there are also difficult things about reading Petrarch, and at the top of that list for me was the simply overwhelming influence that the man has had on every lyric poet who followed him. True, there were many, many gorgeous lines and passages, ones that reached out and grabbed my language-loving heart: Below the foothills where she first put on the lovely garment of her earthly limbs Having read the Canzoniere is, I find, intellectually rewarding but not emotionally exhilarating.
And to be honest, I think part of the reason for that is simply my lack of sympathy for the massive project of amorous angst and sentimentality that Petrarch, probably never suspecting what a can of worms he was opening, nevertheless touched off in Western culture. To put it bluntly, it takes a lot for me to love a work about self-loathing and unrequited love.
Love as self-destruction is just not an idea I can tolerate, especially when paired with the veneration of the beloved as an object.
They are and yes, Mom, I do believe this is the appropriate language for this situation jacked. No blind souls consenting to their own deaths! No casting yourself as a helpless moth drawn to the flame! No, good sir! Suffice to say, my appreciation of the cycle suffered due to my dislike of the now-persistent tropes Petrarch pioneered all those centuries ago.
Kanconijer Frančesko Petrarka – analiza dela