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La Vita Nuova (pronounced [la ˈviːta ˈnwɔːva]; modern Italian for "The New Life") or Vita Nova (Latin and medieval Italian title [1]) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
Beatrice "Bice" di Folco Portinari [1] (Italian: [beaˈtriːtʃe portiˈnaːri]; 1265 – 8 or 19 June 1290) was an Italian woman who has been commonly identified as the principal inspiration for Dante Alighieri's Vita Nuova, and is also identified with the Beatrice who acts as his guide in the last book of his narrative poem the Divine Comedy (La Divina Commedia), Paradiso, and during the ...
La Vita Nuova ("The New Life") is the only major work that predates it; it is a collection of lyric poems (sonnets and songs) with commentary in prose, ostensibly intended to be circulated in manuscript form, as was customary for such poems. [94]
A subsection of the collection is a group of four poems known as the Rime Petrose, love poems dedicated to a woman called Petra, composed around 1296. [1] Stylistically those poems are regarded as a transition between the love lyric of La Vita Nuova and the more sacred subject matter of the Divine Comedy. [2]
La Vita Nuova had been a story that Rossetti had found of interest from childhood and he had begun work translating it into English in 1845 and published it in his work The Early Italian Poets. [1] Rossetti modeled Beatrice after his deceased wife and frequent model, Elizabeth Siddal, who died in 1862.
In 1293 he wrote La Vita Nuova, in which he idealizes love. It is a collection of poems to which Dante added narration and explication. Everything is sensual, aerial, and heavenly, and the real Beatrice is supplanted by an idealized vision of her, losing her human nature and becoming a representation of the divine. [47]
Dante, La Vita Nuova (published) Mathieu of Boulogne, Liber lamentationum Matheoluli (The Lamentations of Matheolus) (written) ... 1295 in poetry.
This difference is reflected in how the two works use the prosimetrum format: in the Vita Nova there is a complex interrelation and intertwining between the prose and the poetry, while in the Convivio large blocks of prose have an autonomous existence apart from the poems; the content of the poetry is not amplified or edited in the prose so ...