In his history of the Renaissance as a historical concept, Wallace Ferguson credited Petrarch with conflating models drawn from civic and sacred history to posit the tripartite division of time into the ancient Greco-Roman world, an alicia keys cancion de sex and the city in Exeter "dark age," and the contemporary, incipient revival.
While always passionately hunting for other books with little hope of finding them, I was strangely indifferent to this one, which was new and easily available. The cultural center for Italians, or as they then said, the "court," was Madrid; many Spanish families established themselves.
The result of appropriating such Italian ideas may be termed "displacedness," a geographical sense of national inferiority parallel to the historical sense of belatedness. Kennedy argues against a strict adherence to formalist and structuralist notions of literature as a alicia keys cancion de sex and the city in Exeter system, but agrees that it is only within the context of historically specific horizons of expectations that readers and poets appropriate other texts.
As Andrews notes, "The exaltation of the King and Queen is not 'free,' but is intermeshed with considerations of personal import. The remainder of this introduction first examines the ideology of Petrarchism in Italy, particularly the consequences of Bembo's appropriation of the historiographical models of the classical humanists and their application to the vernacular; when examined in the context of Petrarch's theories of history and of imitation, we see how Bembo both crystallizes Petrarch as a unique model and provides a degree of freedom by subjecting him to what Thomas Greene 88—93 called the humanist hermeneutic.
If not worthy of praise, the courtier should keep the poems quiet, but he should still write, for it will help him appraise the writing of others. Encina also discusses the division of arte mayor into hemistichs, the use of pies quebrados four-syllable half-linesand the rules for consonant and assonant rhyme.
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Like the count, he values above all the avoidance of affectation, and links this to a theory of decorum:. Thus his theories were self-serving, for from the Prose there emerge two sets of linguistic heroes, Petrarch and Boccaccio in the fourteenth century as the original illustrators of the language, and Bembo himself as the vanguard of its restoration.
He was consistently a source of poetic renewal, so it is those poets most concerned with transforming Spanish poetry who were the ones most self-conscious about the conflict between their role as imitators of Petrarch and their differences of age, nation, and temperament.
The figure most associated with this transfer, both during the Renaissance and today, is Pietro Bembo, who in his landmark dialogue-treatise, the Prose della volgar lingua , proposed the strict imitation of Petrarch and Boccaccio as a solution to the problem of creating a national literary language for Italy.