Guido Cavalcanti

Also found in: Wikipedia.

Cavalcanti, Guido


Born 1255 or 1259 in Florence; died there in 1300. Italian poet.

After G. Guinizelli, Cavalcanti became the major poet of the dolce stil nuovo. His canzones and sonnets celebrated sublime love for an idealized woman and attempted to reveal the philosophical meaning of this love. He also composed verses on earthly love, characterized by freshness and spontaneity (for example, his ballad “I Met a Shepherdess in the Woods”).


Le rime … edite e inedite. Florence, 1813.
In Russian translation:
“Sonety.” In Khrestomatiia po zarubezhnoi literature: Literatura sred-nikh vekov. Compiled by B. I. Purishev and R. O. Shor. Moscow, 1953.


De Sanctis, F. Istoriia itaVianskoi literatury, vol. 1. Moscow, 1963. Storia della letteratura italiana, vol. 1. Milan, 1965.
Mentioned in ?
References in periodicals archive ?
2) In canto 72 Pound meets the ghosts of Filippo Tommaso Marinetti (1876-1944) and Ezzelino III da Romano, the XIII Century tyrant (1194-1259) of the Marca Trevigiana--while in canto 73 Pound meets the ghost of the Medieval poet Guido Cavalcanti (between 1250 and 1259--August 1300).
While critics have tended recently to analyze the lyric poems of Dante and contemporaries such as Guido Cavalcanti and Guittone d'Arezzo primarily in psychological terms, Steinberg maintains that radical differences in their praxis cannot be explained adequately by invoking an oedipal anxiety of influence.
In this witness, the order is Gerard, the King of Navarre, Arnaud Daniel, Aimeric "de Belmi," Guido Guinicelli, Guido Cavalcanti, Cino de Pistoia, with "his friend" Dante closing the group; Aimeric de Peguilhan several lines later.
A chapter on the Florence-born poet Guido Cavalcanti is confusing; Guido's importance to Dante's development--which Ms.
Stewart's thoughtful essay, "Spirit of Love: Subjectivity, Gender and Optics in the Lyrics of Guido Cavalcanti," probes Guido's theory of vision and the importance of Averroes in medieval optical theory.
Simon West (Italian Studies) describes the challenges facing the translator of the thirteenth-century Italian poets Guido Cavalcanti and Dante Alighieri.
One notable passage, for example, opens with a minute description of one of Dante's forays into the outskirts of Florence in the company of his friend Guido Cavalcanti.
Nonetheless, for some recent support for the Virgilian solution, see Pier Luigi Cerisola, "Il 'disdegno' di Guido Cavalcanti (Inf.
Su Guido Cavalcanti l'insigne studioso salentino torna nel suo ultimo libro in un altro ambito, direi un po' polemico, quando contesta alla biografia dantesca di Pasquini, il quale, malgrado serie e inoppugnabili prove testuali gia prodotte (si veda al riguardo il volume martiano precedente, Da Dante a Croce, da me prima citato) insiste ancora nell'invertire la cronologia della cavalcantiana Donna me prega rispetto alla dantesca Donne ch'avete.
In translating, as in reading, the so-called stilnovistic poetry of Guido Cavalcanti and Dante Alighieri, one must pay careful attention to changes in semantic value which some words have undergone since the thirteenth century.
Fra tutti questi validi e sostanziosi contributi vorrei sottolineare, anche se brevemente, l'importanza dei primi tre: il primo dedicato ai rapporti fra la canzone "Donna me prega" di Guido Cavalcanti e "Donne ch'avete intelletto d'amore" di Dante.
There, in a subtle play of cross-references and transpositions, we read that Guido Cavalcanti, Dante's first friend, is identified with John, the "vox clamantis" in the desert, heralding, according to the fourth Gospel, the advent of Christ: the verbum (word).