Petrarch fashioned so many different versions of himself for posterity that it is an exacting task to establish where one might start to explore. . . . Hainsworth's study meets this problem through examples of what Petrarch wrote, and does so decisively and succinctly. . . . [A] careful and unpretentious book, penetrating in its organization and treatment of its subject, gentle in its guidance of the reader, nimble and dexterous in its scholarly infrastructure-and no less profound for those qualities of lightness. The translations themselves are a delight, and are clearly the result of profound meditation and extensive experiment. . . . The Introduction and the notes to each work form a clear plexus of support for the reader, with a host of deft cross-references. --Richard Mackenny, Binghamton University, State University of New York

By writing what he called a "secret book" - taking the shape of a conversation between himself and St Augustine - Petrarch aimed to compose a cathartic text which would alleviate his spiritual crisis and help him make further inroads towards knowledge and fulfilment. At once an intimate repository of his most personal thoughts and emotions and a literary masterpiece dealing with universal issues, Secretum - Petrarch's best-known work in Latin - is a fascinating and pioneering example of the autobiographical genre.

'Love found me with no armour for the fight,
my eyes an open highway to the heart'

On Good Friday of 1327 the poet Petrarch first saw and fell in love with a young woman he called Laura. Written over more than forty years, the poems of the Canzoniere are an intense and passionate discourse on his unrequited love for her. The 'lovely hand, gripping my heart so tight' provokes moods that range from melancholy, resignation and remorse, to jubilant hope and spiritual exaltation.

Petrarch has been described as the father of Renaissance humanism and is the unquestioned founder of the sonnet-sequence. The massive range of his works in Latin made him famous in his lifetime, but it is the Canzoniere, in the vernacular Italian, that provides a rhetoric of introspection for later Renaissance sonneteers such as Edmund Spenser and Philip Sidney. This bilingual edition is a selection of sixty poems and remains faithful to the Petrarchan structure and technique, with a lyrical and moving English translation.

Translated and edited with an introduction by Anthony Mortimer

• with an introduction, chronology, textual and biographical notes and an index of first lines •

Petrarch fashioned so many different versions of himself for posterity that it is an exacting task to establish where one might start to explore. . . . Hainsworth's study meets this problem through examples of what Petrarch wrote, and does so decisively and succinctly. . . . [A] careful and unpretentious book, penetrating in its organization and treatment of its subject, gentle in its guidance of the reader, nimble and dexterous in its scholarly infrastructure-and no less profound for those qualities of lightness. The translations themselves are a delight, and are clearly the result of profound meditation and extensive experiment. . . . The Introduction and the notes to each work form a clear plexus of support for the reader, with a host of deft cross-references. --Richard Mackenny, Binghamton University, State University of New York

This entirely new translation includes Petrarch's short autobiographical prose works, The Letter to Posterity and The Ascent of Mount Ventoux , and a selection of twenty-seven poems from the Canzoniere , Petrarch's best-known work in Italian. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

For teachers and students of Petrarch, Robert M. Durling's edition of the poems has become the standard one. Readers have praised the translation as both graceful and accurate, conveying a real understanding of what this difficult poet is saying. The literalness of the prose translation makes this beautiful book especially useful to students who lack a full command of Italian. And students reading the verse in the original will find here an authoritative text.

The full compendium of Francesco Petrarch's poetic verses, rendered in English in this high quality edition, which also includes a biography of the great poet by Thomas Campbell. Notable for being the pivotal figure whose work commenced the Italian Renaissance, Francesco Petrarca's significance is gargantuan. His personal rediscovery of authentic correspondences written by the Roman statesman and legal scholar Cicero was the spark that set the enthusiasm for the arts and sciences alight throughout Italy and later much of Europe in a trend which would span centuries. Petrarch's personal creative proclivities were for poetry, a form in which he innovated and excelled. Serving as a model for later Italian poets such as Dante and Giovanni Boccaccio, Petrarch's poems are the vivid forebear of the wellspring of lyrical creativity which underpinned the Renaissance era. For Petrarch, his life's love and foremost poetic subject was Laura de Noves, a woman who for decades he considered a purely platonic muse.

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.

AT SOME POINT in January or early February of 1347, Petrarch briefly visited the remote Carthusian monastery of Montrieux, where, four years before, his beloved brother, Gherardo, had pledged himself to live in perpetuity as a renditus, one who took the same vows as a monk but who was not cloistered. In the day and night he spent at Montrieux, Petrarch spoke privately with Gherardo, had lively discussions with other residents, and attended religious services celebrated by the brothers with "angelic singing." Unwilling to disturb the rigid discipline of the monastery longer, he reluctantly departed the next morning accompanied by the prior and the brothers to the limits of their property and he imagined them continuing to watch him until he disappeared from view. Returning to the Vaucluse, still "mindful of that whole blessed sweetness which I drank in with you," and troubled that in the course of the hasty visit he had not been able to say many things that he would like to have said, he decided "to express in writing what I was not able to do in person." The body of the work that was to become the De otio religioso was composed sometime during Lent or between February 11 and March 29 of that year. Not untypically, however, Petrarch continued to add to the text as late as 1356, and the finished treatise was probably not dispatched to Gherardo until 1357. This first English translation by Susan S. Schearer faithfully and elegantly presents Petrarch's exordium to the life of contemplation and offers the reader a fresh view into the spiritual world of fourteenth-century humanism. Ronald G. Witt's introduction places the work into its historical and intellectual context, discusses its structure and development, and examines Petrarch's characteristic synthesis of Christian and classical sources. First English translation. Introduction, Notes, Bibliography, Index of Citations, General Index.

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.

In this volume, David R. Slavitt, the distinguished translator and author of more than one hundred works of fiction, poetry, and drama, turns his skills to "Il Canzoniere" (Songbook) by Petrarch, the most influential poet in the history of the sonnet. In Petrarch s hands, lyric verse was transformed from an expression of courtly devotion into a way of conversing with one s own heart and mind. Slavitt renders the sonnets in "Il Canzoniere," along with the shorter madrigals and ballate, in a sparkling and engaging idiom and in rhythm and rhyme that do justice to Petrarch s achievement.

At the center of "Il Canzoniere "(also known as "Rime Sparse, "or Scattered Rhymes) is Petrarch s obsessive love for Laura, a woman Petrarch asserts he first saw at Easter Mass on April 6, 1327, in the church of Sainte-Claire d Avignon when he was twenty-two. Though Laura was already married, the sight of her woke in the poet a passion that would last beyond her premature death on April 6, 1348, exactly twenty-one years after he first encountered her. Unlike Dante s Beatrice a savior leading the poet by the hand toward divine love Petrarch s Laura elicits more earthbound and erotic feelings. David Slavitt s deft new translation captures the nuanced tone of Petrarch s poems their joy and despair, and eventually their grief over Laura s death. Readers of poetry and especially those with an interest in the sonnet and its history will welcome this volume.