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Reprint of the original, first published in 1874.
In a masterly synthesis of historical and literary analysis, Giuseppe Mazzotta shows how medieval knowledge systems--the cycle of the liberal arts, ethics, politics, and theology--interacted with poetry and elevated the Divine Comedy to a central position in shaping all other forms of discursive knowledge. To trace the circle of Dante's intellectual concerns, Mazzotta examines the structure and aims of medieval encyclopedias, especially in the twelfth and thirteenth centuries; the medieval classification of knowledge; the battle of the arts; the role of the imagination; the tension between knowledge and vision; and Dante's theological speculations in his constitution of what Mazzotta calls aesthetic, ludic theology. As a poet, Dante puts himself at the center of intellectual debates of his time and radically redefines their configuration. In this book, Mazzotta offers powerful new readings of a poet who stands amid his culture's crisis and fragmentation, one who responds to and counters them in his work. In a critical gesture that enacts Dante's own insight, Mazzotta's practice is also a fresh contribution to the theoretical literary debates of the present. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
As a young poet, Dante Alighieri was at the center of a new attitude sweeping through Italy and southern France. Poets and artists were awakening from a thousand-year yoke we now call the Middle Ages. Giotto showed the way in art by painting real people in his allegorical scenes; Dante used vernacular or street language to write down his actual feelings. And a new subject drove these and other passionate artists: Love. Who were the poets of Dante's circle? This edition of Dante and His Circle is based upon an imaginative recreation of a cultural and intellectual ferment at the birth of a national literature. Dante Gabriel Rossetti brought together poetry of the friends and antagonists of Dante-in particular the poems of the flamboyant Guido Cavalcanti, the staid Cino da Pistoia, and the outrageous Cecco Angiolieri, with many others-and including the curious work of the youthful Dante called the Vita Nuova (The New Life, or My Young Life; available separately), which itself is the subject of comments by Dante's poetic friends. Dante's putative subject is Beatrice/Love-but the Vita Nuova is really an exercise in poetry: Dante sets the emotional scene for a poem, then he writes the poem, then he explains the poem's structure, part by part. Dante himself later became uncomfortable with this work of youth, but he did not disown it. This selected edition of Dante and His Circle concentrates on the eternal theme of Love, leaving aside poems relating to the wars and politics of the time. Love as a subject of serious public discussion signaled the emerging Renaissance, not just a rediscovery of the glories of ancient Greece and Rome, but a new sensibility finding-no-building a platform for personal expression and interchange. Besides the Vita Nuova, Rossetti arranged some poetic exchanges between Dante and Guido Cavalcanti. The Vita Nuova is also available as a stand-alone volume (www.createspace.com/3683218). The woman's perspective on love may have best been told by Sappho (www.createspace.com/4185675), who invented lyric poetry - and what we now know as the guitar pick!
The Description for this book, Dante, Poet of the Desert: History and Allegory in the DIVINE COMEDY, will be forthcoming.