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In italiano antico il verbo parere oscilla tra i significati di ‘apparire’ e ‘sembrare’. Dante, nel sonetto Tanto gentile e tanto onesta pare e in generale nella Vita nova, eliminerebbe invece, a giudizio della critica moderna, ogni ambiguità: a partire da Gianfranco Contini si ritiene infatti che l’apparizione di Beatrice sia rappresentata nel libello come un fenomeno universale e non come una percezione soggettiva. In questo contributo cerco di ricostruire la preistoria del parere dantesco.

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Purpose. The aim of the article is to create a biographic and a philosophical interpretation of the wandering life of Francesco Petrarca, one of the greatest poets, writers and thinkers of the Italian trecento, who was nicknamed "the first modern tourist" and "the first modern mountaineer". To justify the validity of these epithets, Petrarch's numerous journeys around Europe and their various motifs and forms, which anticipate the attitudes of modern tourists, are recalled and analysed interpretively. Petrarch's busy life developed on two planes, which are called "internal landscape" and "external landscape" in the article. The consequence of this interpretive approach is a view of Petrarch as a "spiritual nomad" and the progenitor of modern tourism. Method. The article is doxographic in nature, using desk research methods, interpretative method of understanding (Germ. Verstehen), focused on the study of existential meanings and values, as well as critical and literary analysis. Findings. Petrarch, both in his "spiritual" (internal) wanderings and real (external) journeys, as well as in their authorial, mainly epistolary, interpretation, revealed his deeply conflicted nature. He is presented here as homoduplex, in accordance with analyses of "split self" proposed by American philosopher and psychologist William James. As a Franciscan Tertian, a man of faith, the poet felt he was the heir of Christianitas, the Christian tradition, whose main representative for him was Saint Augustine. It was in the writings of this Father of the Church that Petrarch found spiritual and religious dilemmas similar to his own. At the same time, the poet felt like a proud successor of ancient Latin culture. Philosophy and ancient literature not only provided him with lasting solace, but also marked secular, humanistic paths of development in the spirit of complete formation of the soul (Gr. paideia and psychagogy) and Ciceronian meliorism (the pursuit of personal excellence). In Petrarch's experiences and writing activity, spiritual man was united with earthly man, Christianitas was integrated with humanitas, and Petrarch himself, standing at the crossroads of two eras, can be considered a proto-Renaissance thinker. The "duality" of Petrarch's personality was evident in his numerous travels. His Christian sensibility made him a "spiritual nomad", while his comprehensive humanistic passion for exploring the world entitles one to treat Petrarch (as many of the scholars cited in the article do) as the "first modern tourist". The latter term is, of course, not historical (for Petrarch was a "modern tourist" before the actual emergence of modernity and tourism itself), but purely eidetic, i.e. highlighting certain essential determinants that characterise the modern tourist in genere. These characteristics include cognitive intentionality, travelling for pleasure, relaxation, using local guides for better orientation in the area and access to direct knowledge of attractions, customs and the lifestyles of locals. Therefore, these are issues of both motivation and travel organisation. Added to this is the motif of athletic challenge, impor-tant in the case of climbing Mont Ventoux, as well as contemplation of the landscape. Also, modern is the new style of reporting on the trip, full of subjective and personal confessions that predate romanticised descriptions of the journey. Research and conclusions limitations. There are extremely rich literature items on so-called "petrarchism", however, it was impossible to refer to the entirety of academic and literary research in the article. It was limited to selected Polish and foreign literature, which did not in any way disturb the image or understanding of the topic, and allowed for a more synthetic approach. Practical implications. The article supplements the critical literary analysis of Petrarch's works with travel and tourism themes, and can be used by researchers and travel historians for further humanistic studies in the field of tourism science. Originality. In the work, analysis is concentrated on the theme of travel and wandering in Petrarch's extremely active and creative life, creating an itinerant biography of one of Europe's greatest writers. Type of paper. Monographic article. [ABSTRACT FROM AUTHOR]

El presente artículo tiene como objetivo realizar un recorrido por los conceptos de “vida activa” y “vida contemplativa” en los primeros humanistas del Renacimiento. Para ello, nos detendremos primero en algunos antecedentes importantes de la Antigüedad, como Cicerón y Macrobio. Luego analizaremos las transformaciones que se producen durante la Edad Media, en particular la tensión entre una concepción de modos de vida o genera vivendi, y una concepción jerárquica de pasos espirituales. Finalmente, estudiaremos algunas de las obras de Francesco Petrarca y Leonardo Bruni. A partir del análisis del De vita solitaria y otros textos, afirmaremos que Petrarca pretende construir una síntesis entre las concepciones de modos de vida y la de pasos espirituales. A pesar de que Leonardo Bruni comparte el ideal de equilibrio, se aparta de la concepción jerárquica medieval. Para demostrarlo, analizaremos sus Vite di Dante e del Petrarca y su Epístola IX, 2 a Lauro Quirino.

Pri Slovenski matici je izšla imenitna knjiga izbranih pisem italijan­skega pesnika Francesca Petrarce, ki je po svoji vsebini, številnih aluzijah ter idejnih odvodih v okviru antičnega izročila za ljubitelje književnosti in humanizma prava poslastica. Prevajalca Anja Božič in Brane Senegačnik sta pripravila posrečen izbor iz sicer obsežne zbirke Petrarcovih pisem domačim oziroma prijateljem (Rerum fa­miliarum libri), ki sta ga razdelila na tri dele: Prijateljem, V spodnji svet, kjer gre za antične avtorje, ter pisma V zgornji svet, namenjena Petrarcovim sodobnikom.

If solitude can be conceived as having a history, Francesco Petrarca can be said to have experienced this state in a way no thinker had done before him. In classical and late antiquity, it was a commonplace that the wise man (and he was always a man) was never less alone than when alone. Because the wise man reads books and perhaps corresponds with other writers of his day, he feels himself to be in the company of those whose works he is studying. In the Renaissance, however, the humanist feels alienated from the time period in which he is living, and he reads to place himself mentally in a time period where he will not feel so alienated. It is in this spirit that Petrarch writes his letters to Cicero and other classical authors, expressing his longing to live in the time of these kindred spirits. For Friedrich Nietzsche, it is precisely because someone like Petrarch felt himself to be so ill at ease in his own era that he was able to transform that era, reviving a culture with which he felt greater affinity. With Nietzsche, the philosopher has become the untimely man, defined by his solitude. [ABSTRACT FROM AUTHOR]

This study examines the attitude towards poverty and wealth in Petrarch's letters, mainly those addressed to members of the Papal Curia. The first part of the essay analyses how Petrarch in his letters, both published and unpublished, indirectly describes his condition of a wealthy member of the clergy and, at the same time, professes the ideal of an honesta paupertas ("an honest poverty"). Such an ideal is, in fact, opposed to that of the paupertas Christi professed by the spiritual Franciscans. The second part of the essay examines how Petrarch, especially during the papacy of Urban V, tries to keep a channel of communication with the French cardinals, hoping to exert an influence on the Curia for the sake of the return of the Papal siege to Rome. After having discussed such a political goal, the last part of the essay examines two letters: Fam. XIV 2 (to the Cardinal Elie de Talleyrand) and Sen. II 2 (to the Papal Secretary Francesco Bruni). Both letters criticize the idea that a good man of the Church should lead a life based on an ideal of strict poverty, on the basis of Seneca's argumentations in the De vita beata and the example of Saint Ambrose. [ABSTRACT FROM AUTHOR]

This essay will deepen the figure of Giuseppe Fracassetti (1802–1883), a lawyer, historian and scholar from Fermo who published and translated Latin Letters of Petrarch (and more), and his archive at the Biblioteca Spezioli in Fermo, through the study of unpublished correspondence with Giuseppe Valentinelli, who was prefect of Biblioteca Marciana in Venezia and his precious interlocutor in the studies of Petrarch manuscripts.

In the general revival of Petrarch’s work during XIX century, Giuseppe Fracassetti stands out from all contemporary scholars for his translations of the Latin Letters of Petrarch. His large correspondence testifies a rich activity of translation. This paper presents this correspondence, preserved in the Fondo Fracassetti of the Library Spezioli in Fermo: some letters published here, in particular with the commentary to Familiari and Senili, witness the birth of a ‘modern’ philological method.

Se è acquisizione della critica novecentesca che le rime di Dante siano una "superba collezione di estravaganti" (Contini, 1939), a partire dall'edizione critica di De Robertis (2002) si è aperto un dibattito sulla possibilità dell'esistenza di un Libro delle canzoni d'autore, da affiancare al libro della Vita nuova. Prima ancora, liberate dalle antologie che le hanno trasmesse dal Cinque all'Ottocento, le rime di Dante circolano per almeno un cinquantennio sotto il titolo di Canzoniere (Fraticelli, 1856), quando anche la Vita nuova, dopo essere giunta alle stampe solo nel 1576, ha un rinnovato successo. Ma, soprattutto prima dell'affermarsi della critica lachmanniana, ognuna delle forme del 'canzoniere di Dante' finisce per riflettere le consuetudini invalse nella produzione poetica e nella relativa prassi editoriale sua contemporanea. Il contributo si propone quindi di ripercorrere la circolazione a stampa della lirica dantesca, dalla princeps delle canzoni del 1491, in coda alla Commedia, all'edizione Barbi (1921): la storia editoriale del 'canzoniere di Dante' (o dei 'canzonieri di Dante') attraverso le diverse forme delle sue (vere o presunte) serie liriche illumina un'interazione continua e costante tra lirica contemporanea e lirica antica, mostrando l'evoluzione di quello che si configura come un ecosistema intellettuale a impollinazione incrociata tra poeti ed editori.

This article presents an attempt to reconstruct the image of doctor and the state of medicine in Italy in the XIV century. The work has an interdisciplinary character, is based on the traditions of the social and cultural history of medicine. The main source is Francesco Petrarchs essay Invectives against a doctor (the mid-XIV century). The study of the main source, which is a subjective reflection of the processes and phenomena of that time, is supplemented by a careful study of the cultural and historical component, the picture of the world at that time. The author concludes that Petrarch, a representative of the Renaissance worldview, uses medieval methods of appealing to authorities. In order to create a voluminous reconstruction, it becomes necessary to study the medieval worldview (Le Goff J., Truon N.). Significant attention is paid to the disclosure of such issues as the place of a symbol, hierarchy, words in the culture of that time. Such components of the picture of the world as corporatism, attitude to virtue and sin, manual labor, authorities, science, art and medicine are involved. Negative components of the image of doctor and medicine of Italy in the XIV century, as evidenced by Petrarch, are supplemented with an alleged positive or ideal component, which results in a volumetric characteristic of the issue.

Este artigo retoma o conceito ecdótico de arquétipo para explorar a sua aplicação à ordenação da forma cancioneiro petrarquiana. Depois de uma reflexão acerca do conceito de arquétipo, incide-se sobre alguns momentos particularmente significativos de um percurso historicamente estruturado. Nesse âmbito, consideram-se o comentário de Luigi Marsili, as primeiras impressões do Cancioneiro e a aldina de 1501, bem como o comentário de Francesco Vellutello. Passa-se então a assinalar o impacto da re-descoberta, na Biblioteca Vaticana, em 1886, do manuscrito Vat. Lat. 3195, códice no qual Francesco Petrarca trabalhou nos últimos anos da sua vida. Tendo em linha de conta pesquisas mais recentes acerca do modo como a ordenação do Cancioneiro estaria a ser ideada pelo poeta, são tiradas conclusões relativas à temporalidade do conceito de arquétipo, na sua aplicação à forma cancioneiro petrarquiana.

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Copyright of Biblos: Revista da Faculdade de Letras da Universidade de Coimbra is the property of Imprensa da Universidade de Coimbra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Triumphs (Triumphi) by Petrarch is a series of six poems honouring the allegorical figures of Love, Chastity, Death, Fame, Time and Eternity, who vanquish each other in turn. The Italian poem sequence was virtually unknown in Poland (although a Polish translation of The Triumph of Love appeared c. 1630, only few readers would have read it as it was circulated exclusively in a small number of hand-made copies). The illustrations, however, caught the eye of the printers and became immediately popular. They depicted each of the victorious figures riding on triumphal chariot, followed by procession of captives. This article examines the Polish verses inspired by the illustrations rather than the text of the Trionfi i.e. written in the course of the late 17th and 18th century. The author of the most remarkable poetic response to the pictorial representations of Petrarch's Triumphs was Samuil Gavrilovich Piotrowski-Sitnianowicz (aka Symeon of Polotsk). As a student of the Academy of Wilno, he came across an emblem book with copperplate engravings of the Triumphs designed by Maarten van Heemskerck in 1565. His Polish verses (composed c. 1650-1653) follow loosely the Latin epigrams (subscriptiones) by Hadrianus Junius (Adriaen de Jonghe). Symeon of Polotsk was the first Polish-language author whose verses reflected in extenso the pictorial representation of the Triumphs (before him verses inspired by Petrarch's allegories had been written by Mikołaj Rej, Maciej Stryjkowski and Stanisław Witkowski). Wespazjan Kochowski's volume of miscellaneous pieces in verse published in 1674 includes an epigrammatic poem The Triumph of Love, inspired by Plate One of the Triumphs. However, Kochowski's description suggests that he must have seen an engraving showing Cupid's victims under his feet. That iconographic variant appears, among other, in the woodcuts of Bernard Salomon (1547) and the copperplates designed by one of van Heemskerck's pupils (mid-16th century) or Matthäus Greuter (1596). The following two poems were written about a century later. In 1779 Franciszek Dionizy Kniaźnin published in his second volume of Erotyki [Erotic poems] a song called The Triumph of Love. Its scenic arrangement, inspired by the illustrations of Petrarch's first Triumphus, is adapted to present twenty-one pairs of suitors. The description is stylized in conformity with the current Rococo manner and spiced up with touches of parody. A similar treatment of this subject can be found in some 17th-century paintings, for example in the Triumph of Love by Frans Francken the Younger, or an identically titled picture by the Italian Baroque artist Mattia Preti. The other poem, On the picture of the 'Triumph of Death', can be found in Franciszek Karpiński's Zabawki wierszem i przykłady obyczajne [Diversions in Verse and Moral Exemplars] published in 1780. It names eleven preeminent ancient conquerors and rulers, all cut down by Death personified by a scythe-wielding skeleton. Karpiński's description was no doubt inspired by a copperplate engraving produced by Silvestro Pomarede and designed about 1748-1750 by Gianantonio Buti after Bonifacio de' Pitati. In each of the two prints most of the figures on the ground round the chariot are identified by name. It may also be noted that Karpiński rounds of his poem with two stanzas evoking the last plate in the cycle, The Triumph of Eternity. [ABSTRACT FROM AUTHOR]

This article highlights the cultural and political context of the numerous openings of Francesco Petrarch's ark, located next to the church in the village of Arquà Petrarca. The remains of the great poet were worshiped by numerous Italian and foreign travellers who went to Arquà, as it was considered a necessary stop during the Grand Tour. The ark was repeatedly opened over the centuries and the relics of Francesco Petrarch suffered substantial thefts. The focus on the local setting, which lived in symbiosis with the ancient monument for centuries, aims at tracing the origins of a cult which manifested some original features from the mid-19th century onward. [ABSTRACT FROM AUTHOR]

Pismo Sokratu je prvo in naslovno pismo Petrarkove prve zbirke proznih pisem v latinščini z izvirnim naslovom Rerum familiarium libri. Vanjo je vključenih 350 pisem, spisanih med letoma 1325 in 1366. Petrarka se jih je odločil povezati v enotno zbirko leta 1345, ko je v knjižnici veronske katedrale odkril korpus Ciceronovih Pisem Atiku. Ta in Senekova Pisma Luciliju so ga vzpodbudila k izdaji podobne zbirke, sprva osnovane kot nabor nasvetov za vsakdanje življenje, premišljeno razsejanih po pismih različnim naslovnikom. Njihova tematika je raznolika, skladno z vsebino pa so raznoliki tudi pisemski naslovniki.

Secretum sive De secreto conflictu curarum mearum je poleg Avguštinovih Izpovedi, Montaignevih Esejev in Rousseaujevih Izpovedi eno najpomembnejših del o sebstvu v zahodni kulturi. Toda kljub na videz jasni strukturi in vsebini še vedno ni jasno, kakšen je njegov pravi namen in kako naj ga umestimo v evolucijo avtorjeve proze. Za učinkovito razpravo o tem se je treba najprej vprašati, kdaj je Secretum nastal. V zadnjih desetletjih je o tem vprašanju med specialisti tekla živahna razprava in še danes se mnenja precej razhajajo – po eni od teorij naj bi bil Secretum napisan v letih 1342–3, po drugi pa med letoma 1347 in 1453 v več etapah.

There is hardly any doubt that most turning points in the history of small and minor literatures have been provoked from the outside, in the first place under direct influence of some new current engendered and spread from “centers”, traditionally identified with major nations and linguistic communities. As compared with small nations, creative cultures of “centers” have historically enjoyed much more freedom, because (more than often) under the coverage of political-economic and military might they have been able to develop without looming existential threats from the outside. At the same time, no culture is inherently homogeneous. Especially since the Modern Age conformist and rebellious creativity have been in a constant state of confrontation as well as mutual interactivity. Therefore, the history of cultural creativity is full of paradoxes and surprises, both in “centers” and “peripheries”. Creative culture has nearly always retained at least a relative independence, in regard to the official society with its material power and business structures. I would like to show that beyond a huge number of intertextualities extending from “centers” to “peripheries” (the physical and mental locus of small and minor cultures), easily traceable in formal and external signs of literary works, there exists in parallel a phenomenon which could be tentatively defined as “transgeniality”. I will try to reveal some of such transgenialities comparing the poetics and philosophy of (mainly) three poets, the Spaniard Antonio Gamoneda (born in 1931), the Yi-Chinese poet Jidi Majia (born in 1961) and the Estonian poet Juhan Liiv (1864–1913).

Che il Decameron sia stato largamente influenzato dalla Commedia dantesca (e anche, in parte, dal Canzoniere petrarchesco) è risaputo. Ma generalmente tale influenza è considerata solo alla stregua di una venerazione di Boccaccio per Dante, senza che ci si sia domandato se Boccaccio anche non intervenga a ridiscutere, in funzione della propria poetica, alcuni assunti basilari del poema dantesco. Il saggio si propone appunto tale compito, tentando di dimostrare come Boccaccio, intervenendo su tali assunti, ne interroghi i principi di fondo, primo tra tutti quello dello statuto di verità, a ogni momento rilanciato da Dante e proposto al proprio lettore, e sottoposto da Boccaccio a un’attenta, e talora critica, verifica. Ciò avviene soprattutto in alcuni brani del Decameron in cui Boccaccio parla direttamente, senza la mediazione dei propri narratori (a esempio, nell’Introduzione alla IV giornata); ma è anche individuabile nelle premesse e conclusioni dei narratori ai propri racconti. In esse l’inattingibilità della verità, e allo stesso tempo la necessità di interpretare la realtà, sottoposta a un incessante scrutinio, si propone come un modello non opposto, ma certo radicalmente e problematicamente altro da quanto suggerito dall’esperienza dantesca

There is hardly any doubt that most turning points in the history of small and minor literatures have been provoked from the outside, in the first place under direct influence of some new current engendered and spread from "centers", traditionally identified with major nations and linguistic communities. As compared with small nations, creative cultures of "centers" have historically enjoyed much more freedom, because (more than often) under the coverage of political-economic and military might they have been able to develop without looming existential threats from the outside. At the same time, no culture is inherently homogeneous. Especially since the Modern Age conformist and rebellious creativity have been in a constant state of confrontation as well as mutual interactivity. Therefore, the history of cultural creativity is full of paradoxes and surprises, both in "centers" and "peripheries". Creative culture has nearly always retained at least a relative independence, in regard to the official society with its material power and business structures. I would like to show that beyond a huge number of intertextualities extending from "centers" to "peripheries" (the physical and mental locus of small and minor cultures), easily traceable in formal and external signs of literary works, there exists in parallel a phenomenon which could be tentatively defined as "transgeniality". I will try to reveal some of such transgenialities comparing the poetics and philosophy of (mainly) three poets, the Spaniard Antonio Gamoneda (born in 1931), the Yi-Chinese poet Jidi Majia (born in 1961) and the Estonian poet Juhan Liiv (1864-1913). [ABSTRACT FROM AUTHOR]

Zanamstvu (Posteritati) je nedokončano zadnje pismo v Petrarkovi drugi obsežni pisemski zbirki z naslovom Seniles (1501). Njegova dokončna oblika je nastala ok. leta 1370. Petrarka naj bi ga prvotno načrtoval kot neke vrste apologijo, v katero bi vključil tudi avtobiografske podatke, vendar je kasneje načrt spremenil in se usmeril predvsem v objavo življenjepisnih informacij. Oblikovno je pismo sestavljeno iz dveh delov: v prvem Petrarka opisuje statično podobo svojega intelekta, značaja in fizičnega izgleda, v drugem pa v kronološkem zaporedju podaja pripoved o svojem življenju. Tako z navajanjem premišljeno izbranih informacij in uporabo določenih literarnih vzvodov oblikuje svoj avtoportret, kakršnega je želel prenesti v prihodnje rodove. S tem postane začetnik načrtnega samoupodabljanja v pismih, namenjenih objavi, in pomembno vpliva na vso kasnejšo pisemsko produkcijo. Prevod je izdelan po elektronski izdaji, ki jo je pripravil Pasquale Stoppelli, Francesco Petrarca, Opera omnia (Rim: Lexis Progetti Editoriali, 1997).

Francesco Petrarca (Petrarch; 1304-1374) composed poetry, most notably the collection known as Canzoniere, and numerous prose works that qualify as philosophy. Based on a select number of poems, this article suggests that Petrarch's poetry is also equivalent to his essays and letters in presenting a philosophy of life. The narrative elements of the poems, namely, the engagement with the audience and the love story, should be read with the metaphorical, symbolic, or allegorical meaning in mind that aims at the anthropological situation of self-assertion and irritation in the light of the transcendent. [ABSTRACT FROM AUTHOR]

The fascination of classical civilization and the desire to restore the ancient splendor of Rome was the leitmotif of the life and political mission of Cola di Rienzo. From the analysis of some chapters of the Cronica di Anonimo Romano, as from the letters and the writings of Francesco Petrarca and Cola di Rienzo, a dramatic and at the same time controversial portrait is outlined. On the one side faithful to the ideals of humanitas on the other strongly contradictory and immensely ambitious, Cola di Rienzo appears as a perfect rhetor who often resorts to the rhetoric of images, but not always as a vir bonus, to reach after all his tragic ending. [ABSTRACT FROM AUTHOR]

O presente artigo faz uma compilação das mais importantes biografias escritas sobre Petrarca, desde o Trecento aos dias de hoje.

Desde Deyermond («The name of Petrarca is almost the first thing to catch the eye when one opens La Celestina») hasta Ruiz Arzalluz («la lectura que más frecuentemente asoma en el texto de La Celestina […] es la obra latina de Petrarca»), el tema de las relaciones entre la tragicomedia española y la obra latina del aretino ocupa un lugar central en los estudios sobre la obra maestra de Rojas. En el marco representado por esta tradición de estudios, que se remonta a la incompleta La Celestina comentada, la presente contribución se concentra sobre el «caso extremo» del magnífico segundo prólogo de la Tragicomedia, con la finalidad de elaborar un cotejo entre este texto y el escrito no menos extraordinario de la Prefatio del segundo libro del De remediis, y de remarcar algunas diferencias de significado que se generan en la distinta confección de los mismos con el propósito final, sobre todo, de señalar las consecuencias que dichos prólogos con sus diferencias y afinidades llegan a originar en los respectivos contextos textuales.

The subject of the study is the Book of Songs written by Petrarca. It could be considered to be the first piece of modern literature. The starting point of creating the modern literature comes from the moment when a literary work stopped to be an expression of a fixed semantic hierarchy. In the period after the reign of the Hohenstauf family a new social climate arose in Italy, it was a social environment without clear hierarchy of values. The Bible was replaced by an encyclopedia, which became a directional book for the communal bourgeoisie. Equal values of any term are typical for a terminology in the encyclopedia. It is up to a reader to make structures and hierarchies of the terms by his own. A man, a reader, makes connections among terms, which do not look similar at all. Two dissimilar things look like similar ones, if a social community considers them both to be similar things, if the reconstructed scheme expresses a wide social experience. This social phenomenon has been being followed by literature. It is a matter of literature to find new codes, to join dissimilar things, to create a new net of similar ones, organized in a new hierarchic system. The literature has not already been a matter of elite. The study consists of three parts. An introduction deals with the beginning of micro-texts, poetic forms – stanzas, sonnets. They were the first forms making analogies of disjunctive things, joining together independent contents. The second part is dedicated to the Petrarca´s Book of Songs as the first macro-text of the first book in the world literature. It is difficult to step out from creating micro-text to macro-text. It requires from an author to create an individualized perception of time duration, to destroy an objective historical time and to replace it by subjective time as a story of “me”. It is important to make it in a way, adequate and believable to an audience. If this time transformation is successful, a literary work becomes a part of the literary process. A history of literature is also created on this basis. Petrarca learned an art of creating a fine macro-text from the works of Cino Da Pistola. The last part of my study deals with topois and hidden structures from the works of Cino Da Pistola, which became inspirations for Petrarca´s literary work.

The study Agreement of poetics of the book of poems Básně Jána Kollára (The Poems of Ján Kollár) with the poetics of Book of Songs of Francesco Petrarca was written to the 700th birth anniversary of F. Petrarca and the 150th anniversary of the death of Ján Kollár. During his first staying in Jena Kollár got known the first German translation of Petrarca´s Canzionere. It resulted in his first collection of poems Básně (The Poems, 1821) which contains 86 sonnets. He put them later into his next work Slávy dcera (The Daughter of Sláva). The mentioned sonnets became a foundation of the latter book, they are ground of its modernistic aspects. While Petrarca in his poetry wanted to realise a thesis of early Christian philosopher Augustin about overcoming the life barriers in the life of a person in a way not to be a superman. That means he has to keep down his subjectivity in the sense of ontology. It is not possible in prayer, prose or other acts of interpretation. The only way for that was in poetry. According to Dotti´s opinion Petrarca´s poems in Canzionere are made in elegic mood. It was the attempt of the author to comfort himself as he cannot understand his life as a victorious battle. In the first 119 poems he proves his afflictions he suffers because his love to Laura was not positively answered. Poetry is his solution. It is not a full compensation for lost subjective feeling but it is the most adequate compensation from the aspect of Augustin´s demand. The insufficiency of poetry as a substitution of a subjective feeling of life fullness is a basement of modern understanding of poetry and modernism as a life feeling inspirational for generation of Romanticism. The study compares all 86 Kollár´s sonnets to relevant Petrarca´s ones from this point of view. Through his modern understanding of Petrarca Kollár made in world range a new type of literary continuance to the message of Petrarca. He also gave foundations of Slavonic interliterary communication as a very modern type of literary communication. The study maps renewing and restoring topos ,themes and means of expression in Kollar´s works – ways of expression.