Author | Francesco Petrarca (Petrarch) |
---|---|
Original title | Trionfi |
Language | Tuscan |
Genre | Poetry |
Publication date | 1351–1374 |
Original text | Trionfi at Italian Wikisource |
Triumphs (Italian: I Trionfi) is a 14th-century Italian series of poems, written by Petrarch in the Tuscan language. The poem evokes the Roman ceremony of triumph, where victorious generals and their armies were led in procession by the captives and spoils they had taken in war. This was a popular and influential poem series when it was published. [1]
Composed over more than twenty years, the poetry is written in terza rima . [2] It consists of twelve chapters (a total of 1959 verses) ordered in six triumphs envisioned by the poet in a dream honoring allegorical figures such as Love, Chastity, Death, and Fame, who vanquish each other in turn. Further triumphs are awarded to Time and Eternity. Composition of the work started in 1351 and the final chapter was last edited on February 12, 1374, a few months before the author's death. The book was produced in many lavish illuminated manuscript versions, and spawned panel paintings for cassoni and the like.
The ancient Roman triumph survived the Middle Ages in various forms, and was used as a literary device with the entrance of Beatrice in the Commedia . [3]
The poem is structured in six allegorical triumphs. The triumphs are concatenated, so that the Triumph of Love (over Mankind and even gods) is itself triumphed over by another allegorical force, the Triumph of Chastity. In its turn, Chastity is triumphed over by Death; Death is overcome by Fame; Fame is conquered by Time; and even Time is ultimately overcome by Eternity, the triumph of God over all such worldly concerns.
One spring day in Valchiusa, the poet falls asleep and dreams that Love, personified as a naked and winged young man armed with a bow, passes by on a fiery triumphal chariot drawn by four white horses. Love is attended by a multitude of his conquests, including illustrious historical, literary, mythological, and biblical figures, as well as ancient and medieval poets and troubadours. Eventually the procession reaches Cyprus, the island where Venus was born.
Although only Love is described in the text as riding on a car or chariot, it became normal for illustrators to give them to all the main figures. [4]
Love is defeated by Laura and a host of personified virtues such as Honor, Prudence and Modesty, as well as chaste heroines including Lucretia, Penelope, and Dido. Love's captives are freed and Love is bound to a column and chastised. The triumphant celebration culminates in Rome, in the Temple of Patrician Chastity.
Returning from the battle, the victorious host encounters a furious woman dressed in black, who reveals a countryside littered with the corpses of once proud people from all times and places, including emperors and popes. This personification of Death plucks a golden hair from Laura's head. Laura dies an idealised death, but returns from heaven to comfort the poet, who asks when they will be reunited in one of the most significant passages of the poem. She replies that he will survive her a long time.
Death departs and after Death comes Fame. Her appearance is compared to the dawn. She is attended by Scipio and Caesar, and many other figures from Rome's military history, as well as Hannibal, Alexander, Saladin, King Arthur, heroes from Homer's epics, and patriarchs from the Hebrew scriptures. Accompanying these soldiers and generals are the thinkers and orators of Classical Greece and Rome. It has been remarked that for Petrarch, Plato is a greater philosopher than Aristotle, who was preferred by Dante.
Time is represented by the sun, chasing the dawn and racing across the sky, jealous and scornful of the fame of mortals. In an elegy on the fickleness of Fame the poet concludes that it will always eventually be followed by oblivion, the "second death".
Petrarch finds consolation in the almighty God and the prospect of being reunited with Laura in heaven and timeless eternity. Eternity is not represented allegorically.
Triumphs examines the ideal course of a man from sin to redemption: A theme with roots in medieval culture, being typical of works like Roman de la Rose or the Divine Comedy . Petrarch's work invites comparison with Dante's, from the structural point of view (having adopted Dante's terza rima meter) as well as for its treatment of an allegorical voyage.
Triumphs shares and builds on numerous themes of Petrarca's Canzoniere , such as the confrontation of death, as in the sonnet Movesi il vecchierel canuto e bianco ("Grizzled and white the old man leaves"), and the spiritualization of his love for Laura.
Triumphs is appreciated for its lyrical achievements and the poet's vivid introspection into his feelings. On the other hand, it has been criticized for the mechanical rigidity of its narrative in contrast to the more natural style of the Canzoniere, and the long enumerations of notable persons which often sap its vitality.
Francis Petrarch, born Francesco di Petracco, was a scholar from Arezzo and poet of the early Italian Renaissance and one of the earliest humanists.
The Roman triumph was a civil ceremony and religious rite of ancient Rome, held to publicly celebrate and sanctify the success of a military commander who had led Roman forces to victory in the service of the state or, in some historical traditions, one who had successfully completed a foreign war.
Terza rima is a rhyming verse form, in which the poem, or each poem-section, consists of tercets with an interlocking three-line rhyme scheme: The last word of the second line in one tercet provides the rhyme for the first and third lines in the tercet that follows. The poem or poem-section may have any number of lines, but it ends with either a single line or a couplet, which repeats the rhyme of the middle line of the previous tercet.
Italian literature is written in the Italian language, particularly within Italy. It may also refer to literature written by Italians or in other languages spoken in Italy, often languages that are closely related to modern Italian, including regional varieties and vernacular dialects.
Charles Bagot Cayley (1823–1883) was an English linguist, best known for translating Dante into the metre of the original, with annotations. He also made metrical versions of Homer’s Iliad, the Prometheus of Æschylus, and Il Canzoniere of Petrarch.
Italian poetry is a category of Italian literature. Italian poetry has its origins in the thirteenth century and has heavily influenced the poetic traditions of many European languages, including that of English.
The Loves of the Gods is a monumental fresco cycle, completed by the Bolognese artist Annibale Carracci and his studio, in the Farnese Gallery which is located in the west wing of the Palazzo Farnese, now the French Embassy, in Rome. The frescoes were greatly admired at the time, and were later considered to reflect a significant change in painting style away from sixteenth century Mannerism in anticipation of the development of Baroque and Classicism in Rome during the seventeenth century.
Cino da Pistoia was an Italian jurist and poet. He was the university teacher of Bartolus de Saxoferrato and a friend and intellectual influence on Dante Alighieri.
Il Canzoniere, also known as the Rime Sparse, but originally titled Rerum vulgarium fragmenta, is a collection of poems by the Italian humanist, poet, and writer Petrarch.
Africa is an epic poem in Latin hexameters by the 14th-century Italian poet Petrarch. It tells the story of the Second Punic War, in which the Carthaginian general Hannibal invaded Italy, but Roman forces were eventually victorious after an invasion of north Africa led by Scipio Africanus, the poem's hero. Noteworthy passages include the death of Hannibal's brother Mago Barca, the description of Syphax's palace, and the tragic love story of Sophonisba.
De viris illustribus is an unfinished collection of biographies, written in Latin, by the 14th-century Italian author Francesco Petrarca. These biographies are a set of Lives similar in idea to Plutarch's Parallel Lives. The works were unfinished. However he was famous enough for these and other works to receive two invitations to be crowned poet laureate. He received these invitations on exactly the same day, April 8, 1341, one being from the Paris University and the other from the Roman Senate. He accepted the Roman invitation.
The sonnets of Petrarch and Shakespeare represent, in the history of this major poetic form, the two most significant developments in terms of technical consolidation—by renovating the inherited material—and artistic expressiveness—by covering a wide range of subjects in an equally wide range of tones. Both writers cemented the sonnet's enduring appeal by demonstrating its flexibility and lyrical potency through the exceptional quality of their poems.
Nationality words link to articles with information on the nation's poetry or literature.
Narcissus is a painting by the Italian Baroque master Caravaggio, painted circa 1597–1599. It is housed in the Galleria Nazionale d'Arte Antica in Rome.
The Triumph of Life was the last major work by Percy Bysshe Shelley before his death in 1822. The work was left unfinished. Shelley wrote the poem at Casa Magni in Lerici, Italy in the early summer of 1822. He modelled the poem, written in terza rima, on Petrarch's Trionfi and Dante's Divine Comedy.
Anna Hume was a Scottish translator, poet and writer.
Amorosa visione is a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in terza rima. It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune, and thereby becomes worthy of the now heavenly love of Fiammetta. The triumphs include mythological, classical and contemporary medieval figures. Their moral, cultural and historical architecture was without precedent, and led Petrarch to create his own Trionfi on the same model. Among contemporaries Giotto and Dante stand out, the latter being celebrated above any other artist, ancient or modern.
The Diptych of Federico da Montefeltro and Battista Sforza are two oil paintings by Italian artist Piero della Francesca, dated to 1473–1475. This famed double portrait is often mistitled The Duke and Duchess of Urbino—as it appears on the website of the Uffizi Gallery, which owns it. Since Battista Sforza died in 1472 and Federico da Montefeltro was not made duke until 1474, however, Battista never attained the title of duchess.
The Triumph of Fame is a tapestry made in Flanders in the 1500s. It is in the collection of the Metropolitan Museum of Art.
The Cypriot Canzoniere (Song-book) οr the Cypriot Rime d'Amore is a collection of 16th century poems in the Cypriot dialect influenced by the Italian Renaissance poetry and especially Petrarchism.
For a woman he would never know /For a woman he could never have/He should change the world forever