Guido Guinizelli

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Guinizelli, Guido

 

Born between 1230 and 1240 in Bologna; died 1276 in Monselice. Italian poet. The father of dolce stil nuovo poetry.

In his doctrinaire canzone “Love Always Reigns in the Noble Heart,” Guinizelli glorified love as a feeling that ennobles the soul no less than the love of God. He maintained that nobility in man does not depend on his social origin. Such an exaltation of man makes Guinizelli a harbinger of the Renaissance and a direct forerunner of Dante, who called him his “father” in the art of love poetry. Guinizelli’s poetry also contains motifs of sensual passion (the sonnet “Lucia in the Colorful Cape”).

WORKS

In T. Casini, Le rime del poeti bolognesi del secolo XIII. Bologna, 1881.

REFERENCES

De Sanctis, F. Istoriia ital’ianskoi literatury, vol. 1. Milan, 1963. (Translated from Italian.)
Russo, L. Storia della letteratura italiana, vol. 1. Florence [1957].

N. G. ELINA

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I, 10, 2); o quando fa dire a Guinizzelli a proposito di Arnaut Daniel: fu miglior fabbro del parlar materno.
Guido Guinizzelli and, generations later, Cino da Pistoia both endured exile and hence estrangement from their possessions as sources of wealth and power; Guido Cavalcanti was not actually noble at all; and, as Forese Donati repeatedly acknowledges in his sonnets, the Alighieri conducted themselves in distinctly un-aristocratic fashions.
In these two poets' predecessors we find the term used once by Guido delle Colonne and once again by Guido Guinizzelli.
Certainly as he describes the course of its making in his own prefatory remarks, Boitani's book is aptly titled: originally written in English, the five chapter-length essays, ranging over works by Aeschylus, Sophocles, Euripides, Shakespeare, Chaucer, Voltaire, Goethe, Eliot, Sartre, Guinizzelli, Dante, and Keats, were then translated into Italian for its first appearance in 1998 (as Il genio di migliorare un'invenzione: transizioni letterarie (Bologna)).
In the terzine he hastens to explain that he intends no obscene significance ("Ma no lo dico a tale intendimento, /perch'io peccato ci volesse fare"), but this petitio principii reveals both his own desires and the continuum that encompasses both earthly and heavenly desires, which would be fully exploited by later poets, like Guinizzelli and Dante (see Barolini, "Dante and the Lyric Past" 22).
After a brief introduction, the first chapter is dedicated to the investigation of the patristic antecedents of the misogynistic attitude responsible for the efflorescence of the poetic cliche of female unattractiveness in the so-called comic-realistic poetry of Rustico Filippi and Guido Guinizzelli in the thirteenth century.
This terse maxim about the mutability of things and thus also of human language constitutes also a critical reflection on Dante's foremost concern about the mutability of human language and his poetic attempt at establishing a permanent language for him to be able to communicate with posterity and for his poetry to last as long as humankind itself (see for instance the Pilgrim's conversation with Guinizzelli in Purgatorio 26).
Before and after Emiliani the role of Guinizzelli and of the Bolognese school in the birth of the Stilnovo and its adoption of a characteristic blend of metaphysics and emotions had been neglected in favor of a Florentine perspective that privileged the impact of Guittone (as in de Sanctis and his followers).
After the Muses' exclamation of praise in the "Cantico," Benivieni identifies Dante as the poet honored above all others, the one who not only takes the glory of the Italian language from Guido Guinizzelli (circa 1235-1276) and Guido Cavalcanti, (circa 1250-1300) but has chased all other contenders from the nest as well.
Fra i ritratti spicca quello di Francesca nell' Inferno, vista correttamente come un personaggio il cui sentimento amoroso, persino dopo la dannazione, e limitato da una prospettiva ancora terrena, come gli echi da Guinizzelli e dal giovane Dante (ora lontano, pero, da quell'orizzonte) dimostrano.
After an introductory section on its philosophical and metaphysical conception, there are sections on Guido Guinizzelli, Guido Cavalcanti, Dante, and Cino da Pistoia.
The first, "Guittone e Dante," treats Dante's respective poetic relationships with Guido Guinizzelli, Guittone d'Arezzo, and Guido Cavalcanti.