Comic Dbz Kamehasutra 2

FIGURE THE SONGS OF LAURA PETRARCA

In a collection of poems there are real characters, but rather a self that took the floor addressing a second person, the poem addressed to you, but when the library is equipped with a narrative component (making it a Canzoniere), and this is why I assume you and become more complex features of "characters" themselves. This does not mean, however, that Laura, in the Canzoniere , is acting the same way as the character in a novel: his being and his work are, in fact, continuously filtered, interpreted, distorted by the subjective eye of the lover, and if something happens in the story of love, not because Laura has acted, but by virtue of reading data from Petrarch to provide signals and gestures the woman. So his actions (the escape, hiding behind a veil, the sick ...) have no value in itself, but on the basis of emotional backlash that p roducono sull'amante.

In short, the logic of the house, Laura exists only according to the subjectivity of the protagonist.
This gave rise to winds up in the readers and even old friends in Petrarch's suspected that Laura did not exist at all. Boccaccio, for example, in the Latin biography of the poet, he convinced. We have, however, a letter (written in 1335-1336 and renovated in the early fifties) in which Petrarch protest vigorously against a similar doubt enhanced by his friend James Colonna.
It 'clear that the poet was crucial in life to prove the reality of women to uphold the credibility of the love story told in a literary text.
Laura appears in Canzoniere in various forms, that they surpass one another in a way not always fluid.

In the first area of \u200b\u200bmacrotext Laura is the unattainable object of desire forever unfulfilled. Proves insensitive to the suffering love of the protagonist, protected by a hard shell: its distinctive features are common to some extent to the "Petra" Dante that subjugates the lover without conceding (defined living petra in 50, 78).
It follows that the love relationship takes the form of a long war (26, 8) without peace or truce (57, 9), in which the woman is enemy (76, 3, 88, 13) of 'lover, the adjectives that belong to them often have a negative connotation ( fierce and proud, harsh and cruel, ruthless ) or contradictory ( sweet and sour, pretty raw et).
If the extremes of this attitude are destined to disappear, undermined by the new look "stilnovistica" taken by the protagonist in the Canzoniere , lasting As will hand the mythological Petrarca associated with this "mask", ie the identification between Laura and Daphne. Such a combination involves, in fact, the theme of the poem (poets are just excellent crowned with the leaves of the tree sacred to Apollo) and Petrarch uses the widely throughout the macrotext, even in "rhymes in death" (eg, Sonnet 337 ). Figure
Laura intertwined, therefore, the discourse on love, the one on poetry, on the glory that, in addition to the cult classic.
Moreover, the link-laurel Laura also works well with another strategy, one that aims to "tie" through the macrotext Continuous use of elements consistent with each other: the substance of phonic name Laura branch in fact many textures of sounds and words that run the entire song and pervading, so that the friend's name ends up in a constant echo ( es. incipit of 246: "The aura 'the green laurel and the golden hair ).

As anticipated, the mask "stony" is the first to appear in the text, but soon joins (to replace) a Laura from different features and more positive: the first appearance in the song are 37, which offers a portrait physical, intellectual and moral character ( the lovely look serene, high intellect, she dwells in Honesta et Courtesy ), in this same song hints for the first time the essence of supernatural Laura (angelic benign health ).
In fact, the song 70 or more (at least until the sestina 142), Laura mainly takes the status of being perfect, heavenly.
We are faced with a woman-angel made with pieces of the repertoire stilnovistico, according to a changed attitude on the part dell'Innamorata now eager to rise to a spiritual dimension of love so troubled by a moral crisis.
obstinacy denied love by Laura is now a new reading date: it was not of coldness, indifference, but a highly virtuous behavior, in fact, Laura was also wounded in the middle 's core (88 , 123), but he could not resist.

CXXXIII
Amor m'a place as a sign arrow, as the sun
snow, as wax in the fire, et
like mist in the wind and I am already hoarse,
woman, calling for mercy, you et disregarded.
from your eyes came out 'mortal blow, against which I
val time or place;
from you only proceeds, and think a game
the sun and 'the fire and' the wind is that which I am.
I thought 'I am lightning, and' the face a sun, and
'desire the fire: and' nseme
stings me with this weapon Love, et m'abbaglia destroys me; et
the angelic singing and the words,
with the sweet spirit that I may not I aitarme,
inanza am the aura that runs my life.

Chastity Francis has saved her from the disorder of sensuality, lust ( A laurel defense then I = 142).
However, in the lyrics after the 142, the upward path of this line is lost, and Laura was presented with contradictory traits; its coexistence theme of opposites is the figure most characteristic of this area of \u200b\u200bmacrotext, in which case the "adamantine" live in close contact with those "stilnovisti.
some coherence of the character is later recovered in the final of the first part ("rhymes in life"), a compact series of sonnets of the "present" (246-254) and, particularly, with the latest pieces (261 -263), which reiterated that chastity is the dominant feature of the beloved.
With the death (from opera 267 onwards), Laura paradoxically acquires depth: Become an active and dynamic character, who takes office to guide the protagonist to the sky. After the third anniversary (278), in fact, Laura appears multiple times in a dream the poet and the word takes you directly to comfort and guide him (279-286).