Petrarch's Genius. Preferred Citation: Boyle, Marjorie O'Rourke. Petrarch's Genius: Pentimento and Prophecy. Berkeley: University of California Press, c. Petrarch's Genius: Pentimento and Prophecy. Berkeley: University of California Press, c. His love, as he wrote in the initial poem of his Rime sparse , made him . If Petrarch personally courted a woman in verse, he also publicly criticized the Avignon papacy. The lyricist of love struck a political chord. In hearing the polysemy of his verse we may recognize that a prophet has indeed been among us (epigraph). This book is about Petrarch the poet as theologian. Shakespeare : the invention of the human I Harold. Chesterton and Anthony Burgess both stressed. We deserve our possible beheading. Wisdom, morality, virtue. All hell danced with bells when St Anthony recited the Psalms. Camille Flammarion has already shown us God in the Universe. Issuu is a digital publishing. Title: Bulletin Daily Paper 01-19-14, Author: Western Communications, Inc., Name: bulletin. Monday through Thursday Anthony's is family owned and. Have Questions or Need Help? Toggle Navigation Menu. As Petrarch has commonly been interpreted as oscillating, sometimes in torment, between sacred and secular values, some critics would consider his piety problematical. The issue is not whether Petrarch was a sinner, however, but whether he was a theologian. These are not mutually exclusive states; in the human condition they coexist. Theologians wrote prolifically about sin. If the reformers and the satirists are correct, they did so from much personal experience. In fourteenth- century spirituality penitence was the vogue, a penitence so exorbitant as to be erroneous. This has been identified as . My Urban Fantasy Library Updated~ Urban Fantasy, Witches, Para., Fae, Demons, Vamps, Shifters. Intercourse is often said to argue that 'all. 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This idolatry that perverts the beatific vision of God is central to the Rime sparse , whose very theme is the unresolved conflict in Petrarch between love and religion. As Petrarch is precariously positioned between those cultures as Janus- faced, his piety must be suspicious: ambivalent, or at least ambiguous. The historiographical probability may be that what the periodization has discerned is not a difference between the sacred and the secular, but rather two different ways of apprehending the sacred: the one by distinction, the other by diffusion; the one by antithesis, the other by analogy. This tension persists with varying emphasis throughout the history of theology and the practice of religion. The status of Petrarch as poeta- theologus need not be denied because his aspiration and achievement of it may differ from that of Dante as poeta- theologus . Another figure adduced as historical proof of Petrarch's impiety is his brother Gherardo as the Carthusian monk. Yet Petrarch's writings to and about him are not historical record but epideictic rhetoric. In the hierarchy at that charterhouse, this juridical status was by civil contract not by religious vow. His poetry is legitimated by its interpretation as the inversion and perversion of sacred into secular values. This subversion of literature has been contested by theorists and humanists who question the validity or utility of projecting modernism anachronistically. The case for irony has been roundly rejected for the meaning of another poetic masterpiece, the Roman de la rose . In both cases the imposition of irony is allied with historiographical. Petrarch's poetics is not modernist but humanist, an allegory of truth toward the purpose of virtue. Yet the criticism of his poetry as irreligious interprets the Rime sparse not in continuity with this poetics, or his other poetry, but in continuity with the De secreto conflictu mearum curarum , or Secretum , as if that were its prose version and hermeneutics. Petrarch's poetics is a humanist ideal. It may have eluded him both poetically and personally. His lyrics lament its evanescence both thematically and imitatively. His charitable purpose toward the civic good may have been flawed by cupidinous ambition for personal fame. Politically, the ideal just failed. Truth and justice did not meet, nor righteousness and peace embrace; nor did the lion lie down with the lamb. There was no inauguration of a golden age, except perhaps as poetry. The tension in the Rime sparse is not essentially, however, a moral conflict of sin and grace. The crucial tension is not that of a divided self (warped will) but that of a frustrated self (feeble, failing, futile genius). The Petrarchan problem, as distinguished from the moral problem, is the poetical illusion and political impasse of language and reality. The poetics of idolatry is most especially the invention of a theological na. This confuses the fictional Augustinus of the Secretum with the historical Augustine and, more grievously, assumes that the anti- rhetoric of either is normative for Christian faith. The asceticism of Augustinus that demands Franciscus's renunciation of his poetic gift is spiritual pathology. The notion that human art contradicts, obstructs, or rivals the love of God is perverse. The authentic experience of God in the Judeo- Christian traditions is not the negation but the fulfillment of human nature. Although an antagonistic dualism between human and divine creations recurs in Christian culture, dualism has consistently been refuted, as in the ecclesiastical condemnation of the Manichaean and Albigensian heresies. It is intelligible that Petrarch, who survived in a century whose criterion of sanctity pitched other- worldliness to its zenith, may have been troubled in conscience by such fears. If so, he did well to banish them. There were also circulating in that century strong religious currents of this - worldliness, as in the laicized piety of the tertiary and confraternity movements. To cite but one example of piety that would have encouraged poetry, there was a shift in the practice of prayer from a contemplation that was transcen- . And although criticism has assumed that the counsel of Augustinus is the religious commandment, it is rather the conscience of Franciscus that is sound in mind and soul. While the argument of Franciscus that poetry does not impede but encourages the love of God contradicts that of the fictional Augustinus, it coincides with that of the historical Augustine. That theologian taught that every human act originates in love, whether as cupidity or charity, and intends the good. Augustine's validation of rhetoric was to convert its concupiscent nature, as he judged it, to a charitable end. It is the established premise of scholarship in religion that his thought is suffused (some would argue, invaded) with Greek and Oriental wisdoms; hence the necessity of discriminating the authentic in the development of Christian doctrine. Even a devout scholar has rejected his aesthetics as transcendental rather than incarnational. The option is irrelevant to God, religion, and the first commandment. The burden of proof—in an adequate theological argument for the concept—is on critics who wish to retain the thesis of a poetics of idolatry. The very notion is, to this theologian, irrational and irreligious. Scripture as the norm of Christian faith is rhetoric, including poetry, even some erotic poetry. Petrarch himself argued from this premise. If the first commandment is rhetoric, how can it be idolatrous to write rhetoric? The illicit love of a woman, moreover, is not idolatry but lust, in transgression of the sixth and not the first commandment. Petrarch's poetry might only be theoretically idolatrous in. The mature theology of Augustine rejected the doctrine of the radically fallen soul, with its implicit dualism, and established his magisterial speculation on the analogy, not the antithesis, of the human and the divine. The interpretation of Petrarch the poet as natural man limed on the laurel as the idolatrous manufacture of his own aesthetic grace is very Lutheran anthropology. Yet as Luther's anthropology is derived from premises that are philosophical—an absolutely necessitated metaphysical dualism and a logic of signification that excludes accidental attribution. It seems implausible for Petrarch's poetry to be any sort of sin, except in fundamentalism, which reads texts grammatically rather than rhetorically, and judges their . If the concept of a literary persona is eliminated, so that the poet is recording his personal blasphemy or obscenity for which he is personally liable as sin, then the text is not poetry but history, not art but document. These theoretical criticisms are supported by an alternative interpretation of Petrarch's poetics, as developed in this book. The argument for idolatry was developed from the hapax legomenon in Rime sparse 3. It has already been suggested that idol is a useful term only insofar as its meaning of . Its semantic referent is not Hebrew cult but Greek optics. This was a general science, which from antiquity through the Renaissance comprised a medical tradition of the anatomy and physiology of the eye and the treatment of ocular disease; a physical or philosophical tradition investigating questions of epistemology, psychology, and causation; and a mathematical tradition of geometrical explanation of the perception of space. The noun eidolon was a technical term in the intromissive theory of vision. As originated by the atomists and developed by the Aristotelians, intromission posited the eye as a passive organ that perceived through emanations from the external world. These emanations were. An effluent particle or film in this process was an eidolon . That artist and scientist referred to visual impressions with the same word Petrarch employed, as idoli , equivalent in loose terminology to simulacri, similitudini, species , and radii . Its coloristic adjectives . Petrarch allegedly adores his idol in violation of the psalmist's avowal to love the commandments more than gold and topaz. There were in the late medieval arts various competing systems of color symbolism, so that they effectively cancel each other out. The humanist Lorenzo Valla would frankly mock the enterprise. Unless there is a contextual cue, such as a heraldic device or a liturgical vestment, for deciding the meaning of a color, the detection of a secret code is futile. Petrarch was a participant in this important artistic debate. Color meant the application of pigment, but especially the application of colors manifested in objects as illumination altered lights and darks.
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