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La Vita Nuova (1292 ?94) has many aspects. Dante ?s libello, or ?little book, ? is most obviously a book about love. In a sequence of thirty-one poems, the author recounts his love of Beatrice from his first sight of her (when he was nine and she eight), through unrequited love and chance encounters, to his profound grief sixteen years later at her sudden and unexpected death. Linked with Dante ?s verse are commentaries on the individual poems ?their form and meaning ?as well as the events and feelings from which they originate. Through these commentaries the poet comes to see romantic love as the first step in a spiritual journey that leads to salvation and the capacity for divine love. He aims to reside with Beatrice among the stars. David Slavitt gives us a readable and appealing translation of one of the early, defining masterpieces of European literature, animating its verse and prose with a fluid, lively, and engaging idiom and rhythm. His translation makes this first major book of Dante ?s stand out as a powerful work of art in its own regard, independent of its ?junior ? status to La Commedia. In an Introduction, Seth Lerer considers Dante as a poet of civic life. ?Beatrice, ? he reminds us, ?lives as much on city streets and open congregations as she does in bedroom fantasies and dreams. ?… (more)
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Also awesome from a former-history-major standpoint. If you'd like to know how educated young people in the 13th century thought, it's a must-read.
I particularly appreciated my translator (Penguin Classics edition) - she didn't bother with "thee" and such, and made the whole thing a lot more accessible (and I say this as a girl who prefers her Bible to be the King James Version.)
A bit disappointing, but gives a better understanding of Dante's thoughts and writing style. Though I found it underwhelming on its own, I may yet be happy I read it when I get around to rereading The Divine Comedy.
And you, who are the daughter of my sadness,
Seek out their company, disconsolate.
Lovely structure and I applaud the Florentine when he isn’t burning sinners. The spirit and sense data are privileged over reason. Our boy is loopy over Beatrice. He drools
I won’t spoil the turn. Extreme emotion appears fairly uniform. That is a treatise all its own. As would be a song cycle from Beatrice’s perspective. The entire project reeks of dislocation, not yearning.
There’s an intriguing aside late in the text regarding the rise of vernacular poetry. It occurred so women could be wooed. Also ubiquitous is the number nine, though I fear if you played it backwards it would say turn me on, dead man, turn me on. If that isn’t a plea for Christ, I don’t know what is. I again offer apologies for my apostasy.
4 stars.
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R 2 CCUC b18774878.