#nova writes guido

[eresia-catara]

poll time because I'm curious and I'm in a 5h trip rn

Out of all the uncertain informations we have about Guido...

*I'm talking only of poetic/philosophical works not like. all he has ever written.

Not adding what was guido's relationship to dante when he got exiled because then this poll would be useless

[quill-is-brainstorming]

Shoutout to Dante for putting Guido Cavalcanti's (his BEST FRIEND, as Dante himself states numerous times) dad in literal HELL, damning him to be burned alive inside an open tomb for the rest of eternity for being an atheist.

Imagine your childhood bestie writes this big ass poem about finding happiness when you feel lost and your dad being in hell is a fucking plot point. And you also happen to be an atheist.

Like, what can you even do-

At this point, after having read a good chunk of Dante's Inferno and also having read his Vita Nova, I firmly believe that Dante is the most memeable and funniest motherfucker in existence. I've seen people call Dante a creep, but no, he's literally a kicked, wet puppy and disliking him is a sin punishable by eternal damnation.

[eresia-catara]

I understand completely the need to inhale texts, so I'm glad I could evoke such a powerful need. Let me say, what you write is not of less worth, I've never been able to discuss these things with anyone and now that I found someone (who also gets the inhaling thing) it's like,, your thoughts make my day and they feed my insanity, I love them. Thank you. (And spreading Guido-Knowledge is a pure pleasure)

Yes, I really believe that is the reason why the rime petrose are so immensely tasty: they merge the tastiest parts of both Guido and Dante, themes and language (not that Guido's language and Dante's themes are not tasty, though)

And I agree with what you said about these dejected and melancholy feelings not being innate to Dante, compared to Guido, whom we know was generally inclined to solitude and pensiveness (although Boccaccio tells us Dante too was like that, but his soul was certainly less tormented compared to Guido's, or better, it had different torments. His concerns were towards his faith, while Guido's were towards his emotions). I love the way you talked about his addition of violence and what's basically sadism because IT'S TRUE. That sferza has no comparison, that vendetta has no mercy. That. is Dante not being able to submit to such emotions, it's his active response to oppressive and burdening feelings. Dante cannot be the man that Guido was, he can't because he has never been him. If Guido, in front of his sufferings, is inclined to a quiet contemplation and a deep analysis of what they make him feel, Dante is more impulsive and therefore prone to offer an immediate response, which is insubordination. He refuses to suffer injustices (which, if you think about it, is what his exile was, an injustice), so he does the only thing he can do: provoke and get revenge (in life Dante only managed to provoke, since all attempts he made to come back to Florence failed). And in a way, we can see a parallelism in Guido too: his exile was, although motivated, essentially useless, so unjust; part of the people exiled with him initially refused to obey, Guido could've done the same, but instead he followed through the sentence and faced his death, exactly like in his poems. Ironically though, in the period before their exile, their public life was inverted: Guido was active, violent, proud, and Dante was more reserved, prudent, pensive. Where am I going with this? I'll be honest I don't know, but it seems like the rime petrose can be political/biographical too; if you think about it, Dante's works reflect the life he was leading (obviously lol), so we have: the serene period (Vita Nova, stilnovistic poems) where he didn't Know himself yet because he was young, the maturing period (Monarchia, Convivio, rime petrose), the mature period (Divina Commedia) where he finally understands what man he is, and, in a way, understands how to deal with difficulties (relying in God, not impulsiveness or violence).

Oh my, this is all messy and has no coherence whatsoever. I don't know what anyone will get from this, I don't know what I said but your reply just made me elaborate these things jkshj perhaps in the future I'll be able to understand better the implications of what I wrote lmao

Also, going briefly back to vendetta, it's the cruel, questionable, final act of the poem and you know what it reminds me of? The last scene of the Aeneid, with the murder of Turnus: cruel, questionable, final 👀

how the fuck do the rime aspre feel like both the less and the most dante-y thing

[banjokazooiey]

I require mista again, sorry not sorry (the first one made my morning 😭💖) Could I perhaps have headcanons of Mista's idea of a good first date? 👉👈

AGH im sorry this took me so long to finally respond to i had work last night (update: two nights in a row actually) but soon i will be free of the capitalist shackles bound to me. for now let’s think about dating mista

I think a big factor here is gonna be whether or not you were friends or even close friends before starting to date. So, I’m gonna go through BOTH!!!

If you were already friends ..

Mista, at this point, already adores you. While he could totally go all out and do something fancy and big, you both know you just want to spend some quiet time together.

So, the technical first date for you guys, he sets up is gonna be perfect to both of you; ordering take out and watching a show or movie. You know, maybe do some cuddling and kissing too..

Mista lives off physical touch and attention. Even before you were together, he undoubtedly was always throwing his arm around your shoulders or brushing up against you. Now that you’re together, well.. don’t expect to be untouched.

After a good meal, you’re on the couch together, blanket over both you. You’re basically in Mista’s lap; his arms are wrapped around your waist, head on your shoulder as you partially pay attention to the animated show on the TV.

You shift a little, and brush up against .. something hard. “Is that your gun, or are you that excited to be with me?” You tease, and his demeanor changes a little; you can feel the heat radiating off his cheeks, his body is a little shaky. “Shit,” he scoots back. “I-I’m sorry, err, I just get, uh, excited when you’re around, you know? Especially when you’re all pressed up against me..”

Grinning, you scoot back farther against him and wiggle a bit. “Oh, really?”

He shudders, and lets out a strangled groan. “A-ah, bambina, you know if you act like that, t-there’s gonna be punishment..”

“Yeah, I was planning on it.”

So, that’s how you end up trapped beneath his muscular body; mind you, on the floor; as he eases his thick, rock hard cock into your tight little pussy. “Damn, hope I fit.. you’re so small, you know?” For perspective .. his hand is at least double the size of yours.

Whining as he stretches you out, you wrap your legs around his waist to bring him in more. “G-God, you can break me for all I care..”

That’s all it took for him to start jackhammering into you. It only took a minute or two for both of you to cum; feeling his warm, hot cum flood into you was a feeling you wanted to feel forever.

After that.. and maybe a couple more rounds.. you both end up in your bed, your face pressed into his bare, hairy chest. His bulky arms are wrapped around you, holding you close as his legs twine with yours.

Waking up in the morning to see your gorgeous face, he cannot imagine a better first date.

Now, if you weren’t already friends..

This is first impressions! My man is gonna want it to be amazing. I’m talking a nice restaurant, dressing up all fancy, maybe a limousine, wine, you know.. all of that nice shit. Mista plans it for a week, down to the smallest detail. When the day comes, he’s nervous as hell. Everything is going smooth, suit is nice, the limousine pick-up.. until you get to the restaurant.

“Two for Guido Mista at eight? Sorry, we don’t have that reservation here.”

He wants to strangle someone.

Trying to regain his composure; everything is going to be derailed for the rest of the night; he’s too busy fretting and thinking to notice you talking to him. He only snaps out of it when you shake his arm. “Hey, what if we just go grab some take out and go sit at the park?”

He grins, nodding. That’s perfect! It’s still really nice. So, you walk out of the restaurant, planning where to go; actually, you decide on getting take out from Libeccio. When you walk out of the building with your food.. it immediately starts pouring down rain.

Once again, Mista is ready to strangle someone.

“Hey, this isn’t so bad! We can just find somewhere covered to eat.. ‘cause I don’t think a company would want you eating in their limo,” you snicker.

“You aren’t.. upset?”

“What? No,” you laugh, shaking your head. “I think when stuff goes awry, you learn more about who they are than sitting down at a restaurant and talking over a glass of wine. Not that that’s bad! Just being thrown into situations like this are a learning experience, you know?”

Mista decide he loves you right then and there.

You end up underneath a bus shelter, sitting on the bench and eating food, having a good time. Could you have gone to your house and got out of the rain? Yeah, but that would ruin the fun. Who doesn’t want to sit and eat Italian food in a bus shelter while rain is pouring down from the sky?

Hesitantly, he takes your hand in his. “I, um.. I’m glad this, uh, ended up workin’ out. I.. really like you,” he professes, nervously rubbing the back of his neck. “Um, and.. I know this isn’t the end of the date yet, but I know I’d like to go on another, if you wanna..”

Smiling from ear to ear, you lean over to peck his cheek. “I’d love that, Guido.”

Essentially; good date in this situation means getting a second date. Better yet, getting a cheek kiss? After he drops you off at home, he holds his cheek and smiles, blushing ever so faintly. He’ll never forget the feeling of your lips against his skin. Maybe next time it’ll be on his lips?

That thought makes him grin; he’s definitely more noticeably blushing, joy overflowing through his body as he drives back to the ‘house’ he shares with the rest of the gang.

Walking in, he’s met with Narancia sitting on the couch who eyes him up and down. He definitely doesn’t miss the big, dumb smile and blush. “Yo, did you get some?!”

[eresia-catara]

wait so I'm new here...why exactly did Guido and Dante have a fight?

oh anon, why indeed?? why??

Seriously though, we don't know! We have some remaining poems that suggest an argument together with the political events of the 1290s, but the reason behind it is usually attributed to poetical, political or philosophical reasons. I will explain under the cut!

Simply put, the story goes this way: Guido was a knight, a nobleman, his family was one of the richest inside of Florence. Dante was eh...let's say burgeois? He wasn't filthy rich like Guido but he got by better than most, in fact Dante's father had been a moneylender and the family owned some lands which were managed by Francesco, Dante's brother; furthermore, Dante dedicated himself to poetry and philosophy meaning he was rich enough to not have to work. In the 1280s, thanks to a poem, he befriended Guido, who was also considered the best poet inside of Florence, which, as a consequence, introduced him into the circles of intellectuals and noblemen. Basically, Dante felt he was more noble than burgeois. These years were the period of harmony and happiness between the two and, presumably, between their poetical beliefs.

What happened in the 1290s though? Beatrice Portinari, Dante's muse, dies (if we want to believe she existed, as there are debates on this topic too). This causes a radical change in Dante's way of writing poetry. The proof of this is his libello, Vita Nova, in which he re-interprets some chosen poems of his into a mystical, catholic, new key. Paradoxically, it was dedicated to Guido, who was close to (if not fully) atheist, or at least he was surely not a regular catholic if we consider that a poet (forgive me but right now I cannot remember for the life of me the name) advised readers to do the sign of the cross before reading his poems. Now, now, you will say 'okay but where's the fight?' the fight is in Donna me prega and I' vegno il giorno a te infinite volte, by Guido, and in Dante approving of new political reforms that prohibited noblemen from participating in politics, becoming prior in june 1300 and exiling Guido thus bringing him to his death in august. It's a lot, but the key to it all is here.

Going in order, Donna me prega expresses the exact. opposite. beliefs. of Vita Nova. It's a long, intricate, extremely refined and complex philosophical poem that, if closely analyzed, will bring you to the conclusion that this man does not believe in the immortality of the soul, does not believe in God, does not believe love to be a positive force (and I would add the observation that, with a catholic view, God=Love). So, this is a first point of possible attrition, but one could say 'maybe they had different views but were still friends'. True. However, let us go further.

I' vegno il giorno a te infinite volte. This poem is addressed directly to Dante, as suggests the rhyme scheme of ABBA ABBA CDE EDC which he always used when writing to him. This poem has been interpreted in many different ways, but one thing is sure, the composition is reprimanding Dante of some kind of vileness. THIS. IS. IT. what is he talking about? What did Dante do? What did he not do, maybe? Is it vileness due to unacceptable beliefs? Unacceptable political decisions? Unacceptable behaviour Something completely different of which we have no record whatsoever? Something completely personal?

This brings us to a final observation regarding Dante's life after Guido, which seems to at least confirm that there was something unresolved between the two at the time of Guido's death. Dante's works become haunted by Guido's presence, whether it be through a direct quotation, a subtle wink to the reader, or worse and more importantly, through the desperate attempt to not have him weaved inside the fabric of his works. I am not trying to psychoanalyse a man who died 703 years ago, but really if a thought keeps occuring in your mind, it is a sign that it needs to be listened, and Dante spent the rest of his life avoiding that. I have said this before, somewhere, but I'll say it again: no one reaches the age of 56 and is still this troubled by a friend (ex-friend?) who died 21 years ago.

I will leave to you, anon, the duty to decide for yourself what the answer to all of this is. I hope it was clear enough! At any rate, it's always a pleasure to ramble on about these two :') (also my followers by now know everything about them so it's refreshing to have a new victi- ahem, a new audience :))

[fromtheringapron]

ECW Anarchy Rulz 1999

Date: September 19, 1999.

Location: The Odeum Expo Center in Villa Park, Illinois.

Attendance: 6,000.

Commentary: Joey Styles and Cyrus. 

Results:

1. Lance Storm (with Dawn Marie) defeated Jerry Lynn. 

2. Jazz defeated Tom Marquez via disqualification. 

3. Nova and Chris Chetty fought Simon Diamond and Tony DeVito to a no contest. 

4. Three-Way Dance: Yoshihiro Tajiri defeated Super Crazy and Little Guido (with Sal E. Graziano). 

5. Justin Credible (with Jason) defeated Sabu (with Bill Alfonso). 

6. Three-Way Dance for the ECW World Heavyweight Championship: Mike Awesome (with Judge Jeff Jones) defeated Taz (champion) and Masato Tanaka to win the title. 

7. ECW Tag Team Championship Match: Raven and Tommy Dreamer (champions, with Francine) defeated Rhyno and Steve Corino (with Jack Victory). 

8. ECW Television Championship Match: Rob Van Dam (champion, with Bill Alfonso) defeated Balls Mahoney. 

My Review

Anarchy Rulz ‘99 takes place at a noteworthy point in ECW history. The promotion launched a cable show on TNN a month before the event. Normally this would be a cause for celebration, a major accomplishment for such a renegade promotion that persisted in the war between the WWF and WCW. However, ECW’s relationship with TNN was rocky from the start and its downfall would be one of the key components in hastening the promotion’s demise. They were also soon to lose its reigning heavyweight champion Taz to the WWF, who they’d been banking on to be a featured star on the TNN show. Stranger days were definitely ahead.

Perhaps reflective of the time period, the show itself is all over the place. It’s enjoyable enough, but there’s a lot of strange booking that totally loses me. It probably doesn’t help that I didn’t really watch ECW in its prime. A lot of it is presented to me completely removed from the context. Brawls transition into matches, matches unravel into brawls. It’s all pretty jarring to watch if you’re more familiar with the structure of, say, your typical WCW or WWF pay-per-view of the time. It also probably doesn’t help that ECW pay-per-views tend to not reveal a whole lot of backstory to the matches on the card. There are some scraps you can piece together in regards to the storylines of the time, but don’t expect the cinematic hype packages of your average WWE production that’ll help clue you in.

As for what works, I enjoy the opener and the two three-way dances quite a bit. The three-way for the ECW World Heavyweight Championship makes the bold choice to write out Taz minutes in, which results in us getting a taste of the Mike Awesome/Masato Tanka feud that continues to receive heaps of praise to this day. Amazingly though, in the trend of strange booking on this show, it doesn’t close out the night. The show lingers on for another hour or so, instead ending with a TV title match to showcase Rob Van Dam. It’s not a bad match or anything, but it can’t help but feel like a flat way to end things.

What really jumps out at me watching this show is that ECW seems to be peaking in terms of popularity and production values. From a commercial perspective, this is one of the most successful shows in the promotion’s history, especially in terms of attendance. The Odeum Expo Center may not be the grandest venue in the world, but it’s a major upgrade from the hole-in-the-wall venues of yore. ECW’s production always looked rough, and the promotion always prided itself on that, but things look much more polished by this point. We’re getting a product that still looks gritty as hell without it seeming they only have a budget of five dollars.

Overall, Anarchy Rulz ’99 sees ECW reaching some serious highs, with a feeling that things are soon to fall apart. There’s plenty of anarchy, and some of it is pretty fun, but there are definitely points where you’ll wish for a bit more order.

My Random Notes

So Cyrus decides to prove he’s brilliant and intellectually superior to everyone by culturally appropriating the bindi. Do I have that right?

Sad sign of the times: Simon Diamond cuts a promo about how women are only good for T&A and the crowd agrees.

I don’t think I’m breaking any new ground here by noting, but it’s amazing how often ECW equates “being extreme” with “being misogynistic and homophobic.” None of this shocks me, mind you, but it’s nonetheless aged appallingly. All the jabs thrown at Dawn Marie in the opening bout alone tells you everything you need to know. Also, how many times does the crowd chant about a male wrestler sucking dick?

Nova is dressed like he’s ready to joust for legions of tourists at the Excalibur Resort in Las Vegas. Tony DeVito, meanwhile, is dressed like he just finished some yard work around the house.

Amazing how many guys here would make up WWE’s mid card in the early to mid ‘00s. Super Crazy vs. Nunzio is definitely something that happened on Velocity once or twice. I don’t have proof, but I’m convinced it happened.

Who the fuck is Johnny Smith? Who the fuck is Judge Jeff Jones? Who the fuck is Tom Marquez?

I always roll my eyes at ECW using insider terms like “heat” or “getting over” or some shit. I’m sure it’s probably something that was seen as clever or edgy back in ’99, but it only makes me think about the cringe-worthy worked shoot garbage Vince Russo loves.

Slightly off-topic, but all the talk about ECW on TNN got me thinking about Roller Jam, which is a show I thought I just imagined but am happy to know it was real. I dare you to check it out. You’ll never dog the acting in professional wrestling ever again.

[banjokazooiey]

You know I'm gonna ask for Mista 😂

Specifically, Mista’s reaction to an s/o who loves snails? 😌😅

this is the least surprising thing because a. you love mista and b. you constantly reblog snails, they’re such silly funny little pictures i just go :) when i see them good snail friends

Mista; bless his heart; isn’t very.. scholarly. He’s struggled with academics, so when you have a love for something he can just admire and not think any further about it, he’s relieved.

Truthfully, he hadn’t really thought about snails before he met and got together with you. They kind of just existed? But now, when he’s out and about, he purposefully looks for snails to send you pictures of.

Now, if you start getting technical with snail anatomy or behaviors, etc. he’s gonna fall behind a little. But, he’s really trying his best! Mista is an incredibly supportive boyfriend and makes it a priority to understand the things you love and even try to love them too. He wants to have that deeper connection that you have with people when you’re passionate about the same things.

Also, he definitely isn’t gonna get grossed out or anything. He’s gonna think they’re cool.

I could definitely see him just sitting and watching snails for hours on end, even if they don’t do anything. He just thinks they’re silly little dudes.

And, as mentioned, this man is gonna probably try to kidnap some snails for you first, but then realize just maaaybe that’s overboard, so his second option is to send pictures of any he sees. He could’ve just totally murdered some guy outside, and turns around and sees a snail, then rushes to take pictures of it with his bloody hands. If it makes you happy, he’s gonna do what he can to bring it to you. Also sends social media posts of snails.

I think he’d enjoy you sending him pictures of snails, too. Seeing you passionate and all lovey dovey over them makes his heart stutter in his chest. If you gush over anything, my man is gonna be gripping his chest. “How’s my bambina so damn cute?”

Overall, he will totally enjoy snails alongside you, hands down.

BONUS: The Pistols always try to ride the snails that Mista finds. They’re always disappointed when the snails barely move, if at all.

[simontarassenko]

Project 1: A timeline of Medieval music

590-604: Liturgical chant begins to assume its definitive form under the pontificate of Pope Gregory I. Pre-existing melodies are collected in liturgical texts (Antiphonarium cento) as part of a collective, largely anonymous enterprise. (John the Deacon, writing in a biography in 873, propogates the myth that Pope Gregory I created musical notation and was the prinicpal composer of Gregorian Chant).

c. 7th Century: The Schola Cantorum in Rome is established, its role being to sing when the pope officiates at observances. The Schola sends cantors (ecclesiastical singers) to various countries in Europe. (One notable example being cantors accompanying St Augustine to Britain).

747: The second Council of Cloveshoe takes place in Anglo-Saxon Britain. Subsequently, all churches are obliged to sing plainchant in accordance with a visiting cantor from Rome.

c. 754: Pope Stephen II visits Pepin III, king of the Franks, leading to the inauguration of the Carolingian dynasty and a strong political and military alliance between the two. Pepin invades Italy, defending Rome from the Lombards, a Germanic tribe. He subsequently orders the use of Roman liturgy and chant in Frankish domains.

8th Century onwards: Neumes - the system of musical notation that existed before five-line staff notation - start to appear within Carolignian domains. The Frankish adaptation of Roman chant is imported back to Rome in this form. 780s onwards: The Carolignian Empire begins to consolidate and centralise power within its domains, leading to a period of increased cultural activity - the Carolingian Renaissance - and the importing of architecture, manuscript illustration and various administrative, legal and canonical practices from Italy. Charlemagne establishes courts at Aachen and Metz, the latter becoming the centre of Gregorian music in Europe. c. 781: Charlemagne invites Alciun (Albinius of York) to Aachen to establish a cathedral school. Alcuin devises a currciulum of seven ‘liberal arts’, which includes music. 789: Charlemagne issues the Admonito Generalis (”General Advisory”) to the Frankish clergy on 23rd March, ordering the clergy to replace the indigineous liturgy of northern churches (”Gallican” rite) with texts and melodies from the Roman liturgy. Cantors are sent from Rome to teach chant to the Franks, due to the absence of any means of notation.

800: Pope Leo III crowns Charlemagne the “temporal” ruler of the Holy Roman Empire on Christmas day.

c. 9th Century: Two anonymous treatises - Musica enchiriadis and Schola enchiriadis - illustrate how a melody can be doubled in parallel consonant intervals (a practice known as ‘Organum); an anonymous treatise, Alia musica, establishes the Greek nomenclature of church modes (e.g. Dorian, Lydian, etc.). c. 843: Aurelian of Réôme completes his treatise, Musica Disciplina, which emphasises the role of the ‘tonic’ in music. 843: Louis the Pious, son of Charlemagne, dies, leading to the eventual division of the Carolingian Empire. c. 880: Hucbald, a Frankish music theorist and monk, completes De harmonica institutione, the earliest treatise to use the letters of the alphabet to names notes.

c. 10th Century: Liturgical dramas begin to appear in written sources.

c. 901: Regino of Prüm, a benedictine monk, compiles one of the most extensive of the earliest tonaries, liturgical books which list various items of Gregorian chant according to the tonus (mode) of their melodies.

973: The Counts of Poitou assume the title of ‘Duke’ and assert dominion over the region of Aquitane (in Southern France). It is during this period of independence that courtly poetic and musical traditions arise.

c. 1000: An anonymous Milanese treatise, Dialogus de Musica, establishes the concept of octave equivalency.

c. 1028: The monk of Guido of Arezzo completes the Micrologus, a treatise featuring the earliest guide to staff notation. Subsequently, neumes start to be arranged diastematically (where the pitch of a note is represented by its vertical position on the page).

1050-1300: Cathedral schools are established throughout Western and Central Europe. The popuation of Europe also triples during this time; 1200 onwards: Independent schools are established for laymen, leading to a large increase in rates of literacy amongst the non-clerical population in Europe.

During this time, in regions such as Aquitane in France, versus and conductus are composed. These are forms of Latin song which are set to newly composed melodies not derived from plainsong.

Various forms of vernacular song (i.e. not written in Latin) are composed during this time - such as epic, lyric and narrative poerms - and professional musicians begin to appear, including bards, jongleurs and minstrels.

The most significant works of vernacular song during this period are composed by troubadours (in Southern France, in the language of Occitan) and trouvères (in Northern France, in Old French). Their songs are preserved in chansonniers (songbooks).

c. 1160: Construction begins on the Cathedral of Notre Dame in Paris.

c. 1170: The Codex Calixtinus, a manuscript containing examples of Aquitanian polyphony, is compiled in France and is eventually sent to the Cathedral of Santiago de Compostela in Spain.

1208: Pope Innocent III declares a crusade against the Albigensians in Southern France, leading to the dispersion of troubadours from the region.

c. 1270: Hieronymus de Moravia introduces the term cantus firmus to denote an existing melody - such as plainchant - on which a new polyphonic work is based. c. 1280: Franco of Cologne sets out the system of Franconian Notation in the treatise, Ars cantus mensurabilis, the first to indicate the relative durations of notes by their shapes.

c. 1285: The treatise Anonymous IV is written, which gives an account of how a more ornate style of polyphony, associated with the Notre Dame cathedral, arises from the work of two figures, Leoninus and Petronius.

c. 1310: Philippe de Vitry, a French composer, initiates the Ars Nova, a new French musical style. His innovations include duple division of note values and the use of mensuration signs, symbols which are precursors to modern time signatures. References:

Taruskin, R. (2005). The Oxford history of western music; Volume 1: The earliest notations to the sixteenth century. Oxford University Press.

Donald Jay Grout, J  Peter Burkholder and Palisca, C.V. (2010). A history of western music. New York: W.W. Norton.‌

Anselm Hughes (1978). The new Oxford History of music. 2, Early medieval music up to 1300. London ; New York ; Toronto: Oxford University Press.‌

[eresia-catara]

RIGHT BECAUSE DANTE'S CIRCULAR NARRATIVE IS THE MIRROR OF GOD BUT GUIDO USES CIRCULARITY TO DESCRIBE THE INEXORABLE RETURN OF SUFFERING TO ITS BEGINNING

LIKE. HELL.

Dante's poetry uses circles and triangles to talk about salvation and miracles, so it is intrinsically transformative, going from one condition to the next:

sin -> salvation (-> new condition)

trinity -> miracle (-> new situation)

Once the transformation (one could say transfiguration.....) takes place, it is impossible for things to go back to the way they were before, you cannot ignore it, so you go forward. When Beatrice stops aknowledging Dante in Vita Nova, she takes away his salvation, Dante does not look to get back that attention, he finds a new way to derive salvation from her. In a way it is a circle (tries to get back salvation) but also a triangle (gets it in a new way). In the Commedia, the whole work is a circle but also small passages are circular and the whole experience is a miracle, a triangle. It is the circle and triangle of God and the Trinity who inspired the work and made him go forward. When the Commedia comes to its end we can already imagine what comes (or rather came) after it: Dante gets back on earth and writes the poem, transmitting the message of God, reviving the memory of the dead, etc...

Guido's poetry is about the inevitable suffering of love. Inevitable is key: he wishes to avoid it but is constantly dragged back. It's very telling that his narration is fragmented, going from the end to the beginning, for example:

Perché non fuoro a me li occhi dispenti goes in the order C->A->B (I think the majority have this sequence)

Noi siàn le triste penne isbigotite goes D->C->(technically ->D->)B->A->D (and if we consider the following moment in which the poem is read out loud ->E)

This means Guido does not (cannot) give space to transformation, because what he presents to the reader is how things end, and then offers the explanation of how thing got to that point. So it is a circle, but a static one. It is the circular spectrum lmao made of metamorphoses from a condition to the next. Metamorphoses are wholly profane, earthly (like Ovid's pagan myths, like the fusion between snakes and men in Inferno (where Ovid is explicitly challenged......)), they do not bring forward, they just change things. Why? In Ovid's Metamorphoses because it is intrinsic in pagan religion, where gods are not metaphysical and reincarnation is possible. In Guido we see this when, going from a metamorphosis to the next (man->fragments->dead walking) nothing is truly changed for the better or for worse, he is not saved like Dante, but he doesn't even die like Paolo and Francesca, he's in that limbo (like Virgil.......) that is death in life where there's nothing metaphysical (at the most we can see it close to a profane hell), it's all just a metamorphosis of the self. A transformation that exhausts on itself. At the end of a poem Guido is unable to speak because there is nowhere to go towards, he's dead. And each poem takes him back to re-live his metamorphoses, over and over, in a circle that is not transformative like Dante's simply because Guido does not allow for something to be beyond it.

He is atheist, your honour.

He is pagan like Virgil.

(in a way he reminds me of those tales of infernal hunts)

spectrum is a circle of guido cavalcanti.

guido cavalcanti is a circular spectrum.

the poems of guido cavalcanti are conceptually circular.

poetic guido cavalcanti exists as a circular concept.

a circle is how time is envisioned in pagan philosophies.

conclusion: guido is not christian, I rest my case.