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• "Sad is such art and sad what spends / all its time in such works": critical edition and commentary on the Alfabeto de' giuocatori by Giulio Cesare Croce

  110-124

  Gloria Camesasca

  Views:

  153

  Giulio Cesare Croce (1550-1609) was a polygraph who composed several poetical works that describe the daily life of the Bolognese people. This paper examines Alfabeto de’ giuocatori, a poem dedicated to the theme of the game and of the vices and virtues of the players. The author analyzes the poem and discusses the transmission of the text and philological variants. The article is concluded by the critical edition and the commentary (regarding philological, linguistic, lessical and literary aspects).

• Danese Cataneo: «felicissimo spirito» in Tasso's documents. The Amor di Marfisa and the Gerusalemme liberata

  8-20

  Tancredi Artico

  Views:

  186

  Published in 1562, Danese Cataneo’s epic-chivalric poem Amor di Marfisa had a wide but undervalued influence in Torquato Tasso’s masterpiece, Gerusalemme liberata. In this short essay I’ll provide the necessary evidences to demonstrate the existence of a deep connection between those two poems, and establish how it is organized. In particular, Cataneo’s literary legacy, which is underlined by a long list of quote, is strongly perceptible for what concerns the expression of feelings and thoughts. Amor di Marfisa, in this regard, gives to the young Tasso an unusual example of epic poem interested in characters’ psychology: aspects such as the self-analysis and the fragmentation of the ego are underrated in Ariosto’s Orlando furioso and all the other Italian poems in ottava rima, whereas they are fundamental in Cataneo’s poem. More than just an example, it represents for Tasso a training ground and a mine, where he founds themes and lexicon that later will be used in Gerusalemme liberata.

• Egalitarian utopias and enlightened reformism in Domenico Tempio's La Carestia

  17-30

  Ambra Carta

  Views:

  61

  La Carestia of the Sicilian poet Domenico Tempio is an allegorical satirical poem that fits into the tradition of southern enlightened reformism, feeding the utopia of peace and social egalitarianism. The article analyzes some frame of the work to grasp the thrust for the renewal of eighteenth-century poetry, through a stylistic use of the poetic language that oscillates between coloriture markedly expressionist and equally visible traces of formal classicism.

• «Siete voi qui, ser Brunetto?» .The faces of Brunetto Latini Representation and self-representation

  96-107

  Noemi Ótott

  Views:

  174

  As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.