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	Guido Cavalcanti - Wikipedia, the free encyclopedia
		In Guido’s case, love may lead to death or close to it when a man’s soul, being corporeal, is mortally wounded by the disdain of the woman he loves.
		Guido claims to have been prompted to write it by his mistress, according to a formula very widespread in troubadour poetry and inherited by the Sicilian School and therefore Dolce Stil Novo.
		Guido's controversial personality and beliefs attracted the interest of Boccaccio, who made him one of the most famous heretical characters in his Decameron, helping popularise the belief about his atheism.
	en.wikipedia.org /wiki/Guido_Cavalcanti (1227 words)

	Guido Guinizelli - Wikipedia, the free encyclopedia
		The famous Florentine poet Dante Alighieri considered himself to be a disciple of Guinizzelli:
		The main themes of the Dolce Stil Novo can be found in Guinizzelli's Al cor gentil rempaira sempre amore: the angelic beauty of the beloved women, the comparison of nobility to the sun and the rampant use of topoi such as 'cuor gentil' and 'Amore'.
		Guinizzelli's poetry can be briefly described as a conciliation between divine and earthly love with deep psychological introspection.
	en.wikipedia.org /wiki/Guido_Guinizelli (215 words)

	BookRags: Guido Guinizzelli Biography
		The Italian poet Guido Guinizzelli (ca.1230-1276) is considered a precursor of Dante and the originator of the so-called dolce stil novo, or sweet new style.
		The son of Guinizzello da Magnano and Guglielmina di Ugolini Ghisilieri, Guido Guinizzelli was born in Bologna between 1230 and 1240, probably toward the end of the decade.
		Guinizzelli answered, also in a sonnet, that the wise man does not reveal his thought before he is sure of the truth.
	www.bookrags.com /biography/guido-guinizzelli (564 words)

	Dante's Purgatorio - Terrace 7: Lust
		Dante considered Guido Guinizzelli (from Bologna) the founding father of the lyric poetry that Dante himself sought to emulate and perfect.
		Guido, whose reputation was already noted by a penitent on the terrace of pride, appears here on the seventh and final terrace of Purgatory purging himself of lust within flames shooting out from the face of the mountain across the pathway.
		Guido Guinizzelli singles out another poet in his group as the "better craftsman of the mother tongue" (26.117) (audio), a line used six centuries later by T.S. Eliot (as an epigraph to The Waste Land) to honor Ezra Pound.
	danteworlds.laits.utexas.edu /purgatory/09lust.html (1105 words)

	The Cambridge Companion:"Dante and the Lyric Past"
		Initiated by the older and non-Florentine Guinizzelli (who seems to have died by 1276), the core practitioners are younger and, with the exception of Cino, Florentine: Guido Cavalcanti (the traditional birth year of 1259 has recently been challenged in favor of c.
		Thus Guinizzelli both acknowledges the dangers of his audacious yoking of the secular with the divine, and brilliantly defends his analogical procedure.
		Guinizzelli justifies himself with the same analogies which were his sin in the first place, throwing the blame back on the original writer, God, who in his book of the universe made ladies so like angels.
	dante.ilt.columbia.edu /books/cambr_com/cc2.html (4366 words)

	Dante Alighieri
		A generation earlier Guido Guinizzelli (1230-1276) had puzzled contemporaries with poems treating love in terms of the technicalities of medicine and the cosmology of the schools, while celebrating in quasi-mystical language his lady's power to elevate the spirit of her poet-lover:
		Guido Cavalcanti, Dante's older contemporary and the single strongest influence on his early poetry, was renowned not only as a poet, but for his knowledge of natural philosophy.
		For Guido, the "heavenly" allure of the lady is a deception perpetrated by the senses, all the more dangerous as the lover's gentilezza responds more fully to the attraction of her beauty and subjects itself to the "fierce accident" of passion.
	plato.stanford.edu /entries/dante (8690 words)

	American Dante Bibliography for 1987
		Guido is condemned not for his politics, but for the narrowness of his intellectual horizon, which was limited to earthly matters.
		As a "fox," Guido should have known what was necessary to gain the salvation of his soul, especially since, unlike Aeneas, he lived during Christian times and knew that to act as a "fox" was a sin in matters dealing with salvation.
		Guido's speech relies upon the interdependence of two dimensions: as artifact reflecting its epoch and as ideological reflection on the nature of epochs.
	www.brandeis.edu /library/dante/adb1987.htm (8533 words)

	Divine Comedy: Inferno. A Study Help
		Dante spent the last years of his life in Ravenna as a guest of Guido Novello da Polenta, Lord of that city and and son of a brother of Francesca da Rimini--the lady lover immortalized by Dante in the fifth Canto of Inferno.
		The expression "sweet new style" is coined by Dante in a passage of Purgatory (XXIV, 57) and refers to a "school" of Italian poets whose "father" was the Bolognese Guido Guinizzelli.
		Dante totally embraces Guinizzelli's concept that love and the noble heart are one thing only, making direct references to it in the Vita Nuova, in the Convivio, in De vulgari eloquentia, and finally also in the famous episode of Paolo and Francesca in the fifth canto of Inferno.
	www.gicas.net /inferno.html (12847 words)

	Letters - Dante
		His writings should therefore be taken not only as a reflection of his own thoughts, but also as a synthesis of the state of classical thinking and Western philosophy of his time.
		One of Dante's contemporary influences, the poet Guido Guinizzelli, wrote extensively about la intelligenzia del cielo, the notion that there is a divine intellect, manifested in Guinizzelli's poetry as the radiance of a beautiful woman, which transmits the divine influence of the First Mover to the rest of the universe at large.
		Guinizzelli's influence, as well as that of Guido Cavalcanti, may serve as a key to understanding the role of Dante's Beatrice not only as a personal influence (there is no doubt that Beatrice did exist as a historical figure), but also as a literary device.
	www.incanto.biz /letters_-_dante.html (1689 words)

	About Poetic Meaning and Translating Dante
		The meetings between poets -- Virgil's with his fellow Mantuan Sordello, over twelve hundred years after Virgil's own life on earth; his meeting with the Roman poet Statius; Dante's with Guido Guinizzelli and with Arnaut Daniel and the singer Casella -- are cherished and moving moments.
		His early friendship with the aristocrat Guido Cavalcanti led them both to develop a style and art which distinguished them from their predecessors and most of their contemporaries.
		Shortly after it was finished he went on a diplomatic mission to Venice for Guido da Polenta, and he died on the way home, on September 13 or 14, 1321, four years short of the age of sixty.
	www.english.uiuc.edu /maps/poets/m_r/merwin/purgatorio.htm (4608 words)

	Dante Alighieri on the Web
		In this period (especially between 1280 and 1310) a new poetical movement was born: the Stilnovo (the name, invented by Dante (see Purgatorio, XXIV, ll.
		It was really a new way to intend and to write poetry and was founded by Guido Guinizzelli (a poet who lived in Bologna) but widely diffused only in Tuscany, especially in Florence.
		The most important Stilnovo poets were Dante himself, his friend Guido Cavalcanti and Cino da Pistoia.
	www.greatdante.net /time.html (447 words)

	American Dante Bibliography for 1973
		Analyzes the general character as well as particular transgressions of Ulysses and Guido da Montefeltro as revealed by Dante's representation of them in their two cantos taken together as a complete poetic unit, in an attempt to identify the sin for which the two figures are assigned to the Eighth Bolgia.
		His three transgressions mentioned by Virgil, the ambush of the Trojan horse, the scheme to lure Achilles away from Deidamia, and the theft of the Palladium, are construed in the same terms of giving counsel to use false promise.
		In sum, "Both Ulysses and Guido participate in careers of deceit, of counsel to use false promise and of presumption, all of which [ironically] revert to their own damnation and moral (as well as physical, political, and military) harm to others."
	www.brandeis.edu /library/dante/adb1973.htm (8006 words)

	The New York Review of Books: NOT BISEXUAL
		In his review of W.S. Merwin's translation of Dante's Purgatorio [NYR, September 21, 2000], Bernard Knox implies that the shade of the great Bolognese poet and inaugurator of the dolce stil nuovo, Guido Guinizzelli, is admitting to bisexuality by characterizing the sin he is expiating as "ermafrodito—'performance as both sexes.'" I don't know whether Mr.
		Though Guinizzelli refers to his sin as ermafrodito, he means "bisexual" only in the sense that both sexes, not just one, were involved in his lovemaking.
		After referring to the homosexual nature of the other group's lust, he glosses his own as follows: "Our sin was hermaphrodite;/ But because we did not observe human law,/Following like beasts our appetite,/To our shame we utter,/When we part from them, the name of her/Who bestialized herself in the beast-shaped planks" (26.82–87).
	www.nybooks.com /articles/14802 (989 words)

	Books in Brief. - book review National Review - Find Articles
		In Dante's Purgatory, souls eagerly want their spiritual dross to be cleansed away; appropriately, the poetry expresses a sweet longing, and whereas the colors of Hell are primarily red and fl, those of Purgatory are mostly pastel blues and greens.
		Beautifully, the Purgatorio is full of poets: Virgil, of course, whose relation to Dante is one of the great things in literature; Statius; and Dante's models and colleagues, Sordello, Guido Guinizzelli, Casella, and Arnaut Daniel, whom Dante called "the better craftsman" (il miglior fabbro).
		And here we are invited to consider the religion of Amor, a new human emotion born in 11th-century Provence that changed the Western world.
	www.findarticles.com /p/articles/mi_m1282/is_7_55/ai_99624013 (455 words)

	Storia dell'Universita' di Bologna
		In this period Dante Alighieri and Petrarca spent some time studying in Bologna, as did many other famous poets, such as Guido Guinizzelli, Cino da Pistoia, Cecco d'Ascoli, King Enzo, Salimbene da Parma and Coluccio Salutati.
		Other great teachers of Rhetoric in Bologna at that time were Boncompagno da Signa, Bono da Lucca, Giovanni del Virgilio, Giovanni di Bonandrea, Guido Faba, Gherardo da Cremona and Geoffroy de Vinsauf, the famous author of the Ars Dictaminis and Poetria Nova.
		The study of Rhetoric as the search for style, clarity and the organization of tought also developed in connection with the study of Law.
	www3.unibo.it /avl/english/story/story10.htm (478 words)

	Dante Alighieri and early Italian Poetry
		Dante was a Stilnovo poet and on the death of his beloved Beatrice (Beatrice Portinari, 1266-90), he took up the study of philosophy and Provençal poetry.
		The Stilnovo style was founded by the Bologna poet Guido Guinizzelli, but diffused widely in Tuscany, especially in Florence, its most eminent members being Dante, Guido Cavalcanti and Cino da Pistoia.
		The style celebrates love, which is made into an absolute idea: men are enobled and women become angels of purity and virtue.
	www.poetrymagic.co.uk /poets/dante.html (636 words)

	Dante Alighieri - Fanlisting (Site not responding. Last check: 2007-09-01)
		It was really a new way to intend and to write poetry and was founded by Guido Guinizzelli but more widely diffused in Tuscany, and especially in Florence.
		In his youth, he was a Stilnovo poet and had many friends among the other members of the Stilnovo Poetical School (especially Guido Cavalcanti).
		After the death of Bice di Folco Portinari (loved by Dante, who mentioned her in his work with the name of Beatrice) Dante began studying philosophy and theology in depth, also attending some sort of cultural associations in Florence, which provided lessons mainly about Aristotle and St.
	oksoakhollow.dazhibao.org /dante (1267 words)

	About Cimabue \| Abbeville Press
		Cimabue thought to hold the field in painting, and now Giotto has the cry, so that the other's fame is dim; so has the one Guido taken from the other the glory of our tongue -- and he perchance is born that shall chase the one and the other from the nest."
		As is well known, the initial nucleus of sheets in the Drawings Cabinet of the Uffizi can be traced back to Vasari's own collection.
		The drawings in question do have the appearance of Cimabue, but they have a more delicate Sienese quality--in the limited range of colors, for example--that recalls Guido da Siena's colors and those used later by Duccio.
	shopcdsbooks.com /Merchant2/merchant.mvc?Store_Code=ABB&Screen=XRPT&Product_Code=0789204665 (3031 words)

	Introduction to Italian Literature (Middle Ages - 18th Century): ITL 326K
		Since love is a central, unifying theme of many course texts, we shall consider several of its nuances and representations: spiritual love; adult sexual and emotional intimacy; family relationships; friendships; group solidarity; and love of one's homeland.
		Regular attendance is required: No student who misses more than 6 classes (3 weeks) for any reason can complete the course with a passing grade.
		2/2: Giacomo da Lentini, Guido Guinizzelli, Guido Cavalcanti, Cecco Angiolieri
	uts.cc.utexas.edu /~guyr/itl326k.html (351 words)

	Amazon.com: Dante: De vulgari eloquentia (Cambridge Medieval Classics): Books: Dante,Steven Botterill (Site not responding. Last check: 2007-09-01)
		CAPs: Cino da Pistoia, Guido Guinizzelli, Guido Guinizelli, Arnaldus Danielis, Arnaut Daniel (more)
		Cino da Pistoia, Guido Guinizzelli, Guido Guinizelli, Arnaldus Danielis, Arnaut Daniel, Cynus Pistoriensis, Guido Ghislieri, Rex Navarre, The King of Navarre
		The Poetry of Guido Guinizelli (Garland Library of Medieval Literature) by Robert Edwards in Back Matter
	www.amazon.com /exec/obidos/tg/detail/-/0521400643?v=glance (603 words)

	The 13th Century Literature and Dante Alighieri
		The rise of Italian literature began in the 13th century; a period of great political and civil revival in the Italian cities and a lively renaissance in art and culture after the centuries following barbarian domination.
		There were a great number of trends in 13th-century literature: religious (San Francesco d'Assisi and Jacopone da Todi) ; comic-satirical (Cecco Angiolieri); love lyrics (Cielo D'Alcamo); Marco Polo and Il Novellino; the "Dolce Stil Novo", the basic experience of the conscience and the life of the soul (Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri).
		From " Rime " : Guido, i' vorrei che tu e Lapo ed io (1'02'')
	www.multilingualbooks.com /narr1.html (212 words)

	Canto V Notes: Mandelbaum
		97) "The land where I was born" is the territory of Ravenna, and the speaker is Francesca da Rimini, daughter of Guido da Polenta, Lord of Ravenna, who died in 1310.
		Though married some time after 1274 to Gianciotto Malatesta of Rimini for political reasons, she fell in love with his younger brother, Paolo.
		100-107) These lines recall the 13th-century celebrations of love -- not the least the canzone of Guido Guinizzelli, Al cor gentile rempaira sempre amore.
	www.carthage.edu /dept/english/dante/CantoVNotesMandelbaum.html (902 words)

	Classical and Medieval Literature Criticism \| Guido Guinizelli \| FURTHER READING (Site not responding. Last check: 2007-09-01)
		“Guinizzelli, Guido.” In Dictionary of Italian Literature, edited by Peter Bondanella and Julia Conaway Bondanella, pp.
		“Guido Guinizelli.” In A Dictionary of Proper Names and Notable Matters in the Works of Dante, revised by Charles S. Singleton, pp.
		Includes capsule descriptions of references to Guinizelli found in the works of Dante.
	www.enotes.com /classical-medieval-criticism/guido-guinizelli/further-reading?print=1 (95 words)

	beth3
		Artistic pride, Oderisi says, is vain because the fame of a particular artist will always be surpassed by that of another and, in any case, from the perspective of eternity, the fame of any one particular artist is a phenomenon of insignificant duration.
		We are thus told that Oderisi's fame has been obscured by that of Franco Bolognese, that of Cimabue by that of Giotto, that of Guido Guinizelli by that of Guido Cavalcanti, and that that of Dante will probably end up obscuring that of the latter two.
		In Oderisi's speech, the series of names, in highlighting the only relative importance of the work of a single artist, serves the purpose of outlining a conception of community and tradition in which the artistic identity of the individual finds its significance only in relation to the artistic identity of others.
	www.florin.ms /beth3.html (15861 words)

	lecnotes
		A ciascun'alma presa e gentil core" ("To every loving heart and captive soul")
		A “tenzone” with responses by Dante da Maiano, Cino da Pistoia, and Guido Cavalcanti (Dante’s “first friend”
		Guido Guinizzelli: the "saggio" ("wise man"): "Al cor gentil rempaira sempre amore" ("Love makes its home in the noble heart")
	frit.lss.wisc.edu /~kleinhenz/lt253/lecnotes_2.html (1127 words)

	The Tarot of Dante (Site not responding. Last check: 2007-09-01)
		He himself [Dante] said of them: “Ghibellines all, these poets of love; sweethearts, all, of women whose very resemblance makes one think on a single woman; and all cloak from the same symbolism.”
		At the time of Dante (the Believers of Love exist up to the present), participants included: Guido Guinizzelli, head of the literary school and Guido postillion, Cino of Pistoia, Francisco of Barberino, and Cecco of Ascoli (who ended on a funeral pyre as a heretic), Guido Orlandi and Gianni Alfani.
		Each conspired against a corrupt Church which they called “the ferocious she-wolf of Rome”.
	www.spiritone.com /~filipas/Masquerade/Reviews/dante.html (1451 words)

	A brief History of Italian Literature
		Guido Gozzano (1883): "I Colloqui" (1911) [p] +
		Guido Piovene (1907): "Lettere di una Novizia" (1941)
		Guido Ceronetti (1927): "Il Silenzio del Corpo" (1979) [h]
	www.scaruffi.com /fiction/italian.html (3843 words)

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