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Aldo Bernardo and his collaborators extend the translation project
begun with the Familiares to the letter collection of Petrarch's
old age, the Seniles. In these 128 letters, most of which appear
for the first time here in English translation, we find Petrarch's
mature judgment on the central issues of early Italian humanism.
With Boccaccio, to whom he addresses more letters than anyone else,
Petrarch shares his ideas about the literary culture of the age.
Two entire books on the structure and role of the Church are
addressed to Pope Urban V and his secretary, Francesco Bruni, and
another large block of letters on statecraft and political virtue
are addressed to such powerful rulers as Pandolfo Malatesta,
Francesco da Carrara, and Emperor] Charles IV. More personal themes
emerge as well, including Petrarch's thoughts on the passage of
time, the meaning of death, and the loss of friends; on faith,
providence, and life after death; and on eating, drinking, and
fashions in clothing. Petrarch's Latin translation of the patient
Griselda story from Boccaccio's "Decameron" is also found here, and
the collection closes with the famous Letter to Posterity,
Petrarch's final literary self-portrait." - Neo-Latin News THIS
COMPLETE TRANSLATION has long been out of print and is reproduced
here in its entirety in two volumes. Vol. 1, Books I-IX, 368 pp.
Introduction, notes, bibliography.
THIS TRANSLATION makes available for the first time to
English-speaking readers Petrarch's earliest and perhaps most
important collection of prose letters. They were written for the
most part between 1325 and 1366, and were organized into the
present collection of twenty-four books between 1345 and 1366. THE
COLLECTION represents a portrait of the artist as a young man seen
through the eyes of the mature artist. Whether in the writing of
poetry, or being crowned poet laureate, or in confessing his
faults, describing the dissolution of the kingdom of Naples,
summoning up the grandeur of ancient Rome, or in writing to pope or
emperor, Petrarch was always the consummate artist, deeply
concerned with creating a desired effect by means of a dignified
gracefulness, and always conscious that his private life and
thoughts could be the object of high art and public interest. AS
EARLY AS 1436 Leonardo Bruni wrote in his Life of Petrarch:
"Petrarch was the first man to have had a sufficiently fine mind to
recognize the gracefulness of the lost ancient style and to bring
it back to life." It was indeed the very style or manner in which
Petrarch consciously sought to create the impression of continuity
with the past that was responsible for the enormous impact he made
on subsequent generations. THIS COMPLETE TRANSLATION by Aldo S.
Bernardo has long been out of print and is reproduced here in its
entirety in three volumes. Vol. 3, Books XVII-XXIV. Introduction,
notes, bibliography.
Aldo Bernardo and his collaborators extend the translation project
begun with the Familiares to the letter collection of Petrarch's
old age, the Seniles. In these 128 letters, most of which appear
for the first time here in English translation, we find Petrarch's
mature judgment on the central issues of early Italian humanism.
With Boccaccio, to whom he addresses more letters than anyone else,
Petrarch shares his ideas about the literary culture of the age.
Two entire books on the structure and role of the Church are
addressed to Pope Urban V and his secretary, Francesco Bruni, and
another large block of letters on statecraft and political virtue
are addressed to such powerful rulers as Pandolfo Malatesta,
Francesco da Carrara, and Emperor] Charles IV. More personal themes
emerge as well, including Petrarch's thoughts on the passage of
time, the meaning of death, and the loss of friends; on faith,
providence, and life after death; and on eating, drinking, and
fashions in clothing. Petrarch's Latin translation of the patient
Griselda story from Boccaccio's "Decameron" is also found here, and
the collection closes with the famous Letter to Posterity,
Petrarch's final literary self-portrait." - Neo-Latin News THIS
COMPLETE TRANSLATION has long been out of print and is reproduced
here in its entirety in two volumes. Vol. 2, Books X-XVIII, 368 pp.
Introduction, notes, bibliography.
THIS TRANSLATION makes available for the first time to
English-speaking readers Petrarch's earliest and perhaps most
important collection of prose letters. They were written for the
most part between 1325 and 1366, and were organized into the
present collection of twenty-four books between 1345 and 1366. THE
COLLECTION represents a portrait of the artist as a young man seen
through the eyes of the mature artist. Whether in the writing of
poetry, or being crowned poet laureate, or in confessing his
faults, describing the dissolution of the kingdom of Naples,
summoning up the grandeur of ancient Rome, or in writing to pope or
emperor, Petrarch was always the consummate artist, deeply
concerned with creating a desired effect by means of a dignified
gracefulness, and always conscious that his private life and
thoughts could be the object of high art and public interest. AS
EARLY AS 1436 Leonardo Bruni wrote in his Life of Petrarch:
"Petrarch was the first man to have had a sufficiently fine mind to
recognize the gracefulness of the lost ancient style and to bring
it back to life." It was indeed the very style or manner in which
Petrarch consciously sought to create the impression of continuity
with the past that was responsible for the enormous impact he made
on subsequent generations. THIS COMPLETE TRANSLATION by Aldo S.
Bernardo has long been out of print and is reproduced here in its
entirety in three volumes. Vol. 1, Books I-VIII. 472 pp.
Introduction, notes, bibliography.
THIS TRANSLATION makes available for the first time to
English-speaking readers Petrarch's earliest and perhaps most
important collection of prose letters. They were written for the
most part between 1325 and 1366, and were organized into the
present collection of twenty-four books between 1345 and 1366. THE
COLLECTION represents a portrait of the artist as a young man seen
through the eyes of the mature artist. Whether in the writing of
poetry, or being crowned poet laureate, or in confessing his
faults, describing the dissolution of the kingdom of Naples,
summoning up the grandeur of ancient Rome, or in writing to pope or
emperor, Petrarch was always the consummate artist, deeply
concerned with creating a desired effect by means of a dignified
gracefulness, and always conscious that his private life and
thoughts could be the object of high art and public interest. AS
EARLY AS 1436 Leonardo Bruni wrote in his Life of Petrarch:
"Petrarch was the first man to have had a sufficiently fine mind to
recognize the gracefulness of the lost ancient style and to bring
it back to life." It was indeed the very style or manner in which
Petrarch consciously sought to create the impression of continuity
with the past that was responsible for the enormous impact he made
on subsequent generations. THIS COMPLETE TRANSLATION by Aldo S.
Bernardo has long been out of print and is reproduced here in its
entirety in three volumes. Vol. 2, Books IX-XVI. Introduction,
notes, bibliography.
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