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The fact that Cavlacanti’s friend, Dante Alighieri, was a supremely fine poet ought not blind us to Cavalcanti’s own, rather different excellence. Both men were attracted to the dolce stil nuovo, the “sweet new style” that emerged in thirteenth-century Florence. While Dante’s poetry was devoted to his childhood sweetheart, Beatrice, Cavalcanti’s poetry had more the tang of real-world experience: he struggled against unruly passions and sought instead to overcome love – a source of torment and despair. It is chiefly through the translations of Rossetti and Pound that English-speaking readers have encountered Cavalcanti’s work. Pound’s famous translation, now viewed by some as antiquated, is remarkably different from the translation provided here in the graceful voice of poet David Slavitt. Working under the significant restraints of Cavalcanti’s elaborate formal structures, Slavitt renders an English translation faithful to the original poetry in both rhyme and rhythm.
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"Guido Cavalcanti (d. 1300) is one of the greatest Italian poets of all time. His legacy consists of some fifty poems, of which his canzone on the nature of love, Donna me Prega, is the most famously difficult and complex. The poem is important not only because it sheds light on fundamental intellectual debates during the time of Dante, but also because of its influence on generations of poets and intellectuals. In this study, Maria Luisa Ardizzone sets Donna me Prega in an entirely new light - first, by examining its role in Cavalcanti's poetic practice, and second, by placing it in the context of ancient and medieval science and philosophy. The book deals with issues that are part of the intellectual history of Europe in the thirteenth century. Cavalcanti's work is interpreted by reconstructing the debate of ideas in which it participates, and the new model of poetry devised by Cavalcanti is one of the subjects of this book."--Jacket
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