Guido Cavalcanti, Dante's intellectual mentor, is widely considered among the greatest Italian lyric poets; his famous and notoriously difficult philosophical canzone Donna me prega is often characterized as the most studied lyric poem in Italian literature. This book situates Cavalcanti's poetry in the context of the Arabic Aristotelian rationalism that entered the Latin West in the 12th century-a tradition marked by questions concerning whether humans can ever transcend their animality. Cavalcanti's poetry is a focal point where one can view, circa 1300 AD, Arabo-Islamic philosophy in the process of being assimilated and naturalized in Western Europe, eventually leading to values (associated with the Renaissance and the Enlightenment) that we now call modern and secular-in particular, to a notion of human reason as bound up with imagination and with ethical praxis rather than as a means for the attainment of knowledge concerning God and the cosmos. The book features a radically unprecedented interpretation of Donna me prega, starkly opposed to all previous accounts: far from treating love as a threat to reason that would best be eliminated, the canzone praises loving as the essential operation of rational human flourishing. This study of Cavalcanti serves as a prelude to the formulation of a new paradigm for understanding Dante's Comedy.

The Death of the Troubadour offers new insight into the emergence of the autonomous "self," which has often been taken as a marker of the end of the Middle Ages and the beginning of the Renaissance. Gregory B. Stone argues that the anonymity of late medieval texts, and specifically of the troubadour song, is not a sign of naivete but rather that of a mature, deliberate resistance to the advent of individualism. Moreover, this anonymity reveals that medieval lyric, with a melancholy knowledge of the inevitable triumph of the specific over the general, of private over public subjectivity, lurks at the heart of narrative, ready to wield a retributive violence. Through a series of detailed readings of a colorful selection of texts which mourn "the death of the troubadour"-including old French lais, old Provencal vidas and razos, Italian novella, and Chaucer's Book of the Duchess-Stone locates various strategies of resistance to bourgeois individualism and to the emerging notion that literature is the realistic mimesis of historical fact. He offers brief narratives recounting the biographies of specifically identified troubadour poets and the events that led those individuals to compose specific verses for individual ladies. This narrative birth of the individual is, indeed, the death of the troubadour. The Death of the Troubadour will interest students and scholars of medieval and Renaissance literature, and of literary theory.

Guido Cavalcanti, Dante's intellectual mentor, is widely considered among the greatest Italian lyric poets; his famous and notoriously difficult philosophical canzone Donna me prega is often characterized as the most studied lyric poem in Italian literature. This book situates Cavalcanti's poetry in the context of the Arabic Aristotelian rationalism that entered the Latin West in the 12th century-a tradition marked by questions concerning whether humans can ever transcend their animality. Cavalcanti's poetry is a focal point where one can view, circa 1300 AD, Arabo-Islamic philosophy in the process of being assimilated and naturalized in Western Europe, eventually leading to values (associated with the Renaissance and the Enlightenment) that we now call modern and secular-in particular, to a notion of human reason as bound up with imagination and with ethical praxis rather than as a means for the attainment of knowledge concerning God and the cosmos. The book features a radically unprecedented interpretation of Donna me prega, starkly opposed to all previous accounts: far from treating love as a threat to reason that would best be eliminated, the canzone praises loving as the essential operation of rational human flourishing. This study of Cavalcanti serves as a prelude to the formulation of a new paradigm for understanding Dante's Comedy.