Petrarch went to natural surroundings often and loved them, so that his work and the picture of himself which he intended to transmit to posterity has been deeply influenced by this feeling. He describes himself reading, writing, praying not inside his room, but in the open, lying down on the grass or leaning against a tree, like the poet Vergil in the opening page of the Ambrosian Vergil. For this reason, the sketch of Vaucluse, drawn by Boccaccio in the margins of the Pliny MS Paris Lat. 6802, is not to be interpreted as a naturalistic landscape, but as a symbolic representation of the poet himself. The actual climb to Mont Ventoux, filtered through classical and patristic echoes, becomes the story of an ascetic experience in Fam. IV 1. Finally, the poet who tries to grow laurel in his gardens, use it as the very symbol of his poetry.
Petrarca ha frequentato e molto amato gli ambienti naturali e il rapporto con essi ha influenzato profondamente la sua opera e l’immagine di sé che egli ha voluto lasciare ai posteri. Egli descrive se stesso nell’atto di leggere, scrivere e pregare non nel chiuso della cameretta ma all’aperto, sdraiato nell’erba o appoggiato ad un albero, nella stessa posizione del poeta Virgilio nella miniatura del Virgilio Ambrosiano. Così il disegno di Valchiusa, vergato da Boccaccio sui margini del Plinio (Par. lat. 6802), non va interpretato in senso naturalistico ma come la rappresentazione simbolica del poeta stesso. L’ascesa reale al Mont Ventoux, filtrata attraverso la memoria dei classici e dei padri, diviene nella Fam. IV 1 il racconto di una esperienza di ascesi. Infine colui che sperimenta la coltivazione del lauro nei suoi giardini, fa di questa pianta il simbolo stesso della sua produzione poetica.
Monti, C. M., Petrarca e la natura, in Schaffenrath F, S. F., Santamaría Hernández M.T, S. H. M. (ed.), Acta Conventus Neo-Latini Albasitensis. Proceedings of the Seventeenth International Congress of Neo-latin Studies (Albacete 2018), Brill, Leiden-Boston 2020: 22- 44. 10.1163/9789004427105_003 [http://hdl.handle.net/10807/159025]
Petrarca e la natura
Monti, Carla Maria
2020
Abstract
Petrarch went to natural surroundings often and loved them, so that his work and the picture of himself which he intended to transmit to posterity has been deeply influenced by this feeling. He describes himself reading, writing, praying not inside his room, but in the open, lying down on the grass or leaning against a tree, like the poet Vergil in the opening page of the Ambrosian Vergil. For this reason, the sketch of Vaucluse, drawn by Boccaccio in the margins of the Pliny MS Paris Lat. 6802, is not to be interpreted as a naturalistic landscape, but as a symbolic representation of the poet himself. The actual climb to Mont Ventoux, filtered through classical and patristic echoes, becomes the story of an ascetic experience in Fam. IV 1. Finally, the poet who tries to grow laurel in his gardens, use it as the very symbol of his poetry.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.