- Title Pages
- Notes on Contributors
- 1 Petrarch and the ‘barbari Britanni’
- 2 Petrarch <i>solitarius</i>
- 3 The Ethics of Ignorance: Petrarch’s Epicurus and Averroës and the Structures of the <i>De Sui Ipsius et Multorum Ignorantia</i>
- 4 Petrarch’s Second (and Third) Death
- 5 Poets and Heroes in Petrarch’s <i>Africa:</i> Classical and Medieval Sources
- 6 Petrarch Reading Dante: The Ascent of Mont Ventoux (<i>Familiares</i> 4. 1)
- 7 Petrarch and Cino da Pistoia: A Moment in the Pre-history of the <i>Canzoniere</i>
- 8 Petrarch and the Italian Reformation
- 9 Petrarch, Sidney, Bruno
- 10 Renaissance Misogyny and the Rejection of Petrarch
- 11 Impersonations of Laura in Sixteenth- and Seventeenth-century Italy
- 12 Other Petrarchs in Early Modern England
- 13 Thomas Watson’s <i>Hekatompathia</i> and European Petrarchism
- 14 The Comedy of Astrophil: Petrarchan Motifs in Sidney’s <i>Astrophil and Stella</i>
- 15 Sidney, Spenser, and Political Petrarchism
- 16 Petrarch and the Scottish Renaissance Sonnet
- 17 Leopardi and Petrarch
- 18 Between Tradition and Transgression: Amelia Rosselli’s Petrarch
- 19 Nineteenth-century British Biographies of Petrarch
- 20 Translating Petrarch
Leopardi and Petrarch
Leopardi and Petrarch
- (p.276) (p.277) 17 Leopardi and Petrarch
- Petrarch in Britain
- British Academy
This chapter examines Giacomo Leopardi's own imitation of Petrarch. It describes Leopardi's major engagement with Petrarch including his commentary on the Canzoniere and explains the similarities and differences between his All sua donna and Petrarch's Chiare, fresche e dolci acque. It suggests that the most striking similarity between the two poets is that they both are concerned with illusions without self-delusion.
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