The poetics of the sonnet portrait in Petrarch's Canzoniere

The aim of this research is to identify the symbolic content within the portrait sonnets of Petrarch's Canzoniere [The Book of Songs]. To reach this aim, the author examines the connection between portrait motifs and the courtly poetic tradition, medieval symbolism of color and light, and Platonic philosophy. The research material comprises the "portrait" sonnets in Petrarch's Canzoniere; the analysis also draws upon the poetry of the troubadours, the Sicilian School, and the dolce stil novo [sweet new style]. The study is based on cultural-historical and hermeneutic methods of analysis. Within the framework of the research, those sonnets from Petrarch's Canzoniere dedicated to the portrait image of Laura were analyzed. The noted vagueness of her likeness is explained both by the use of standard literary images and motifs, and by the concept of the Ineffable, according to which the Lady's beauty cannot be fully embodied in words. This conventional, poetic image of Laura finds parallels in the lyric poetry of the troubadours, the Sicilian poets, and the dolce stil novo representatives. An important feature of her portrait is the unity of external and internal qualities, her luminosity, and the reference to Plato's philosophy of "Ideas." The poetic portrait of Laura is further complemented by landscape backgrounds and the poetics of cyclization (the micro-cycle on her hair, on her glove). The conducted analysis allows for the conclusion that the Petrarchan portrait is specific, being founded on a literary-religious tradition. The Petrarchan portrait adheres to a "minor canon," focusing on features such as the hair, eyes, cheeks, mouth (lips and teeth), and occasionally the neck, chest, or arms. Primary emphasis is placed on the eyes, which are metaphorically depicted as sources of "light." The traditional metaphorical repertoire in Laura's portrait -including "gold," "pearls," "lilies," and "roses" - is consistent with the established courtly poetic tradition. In Petrarch's work, precious stones seldom serve as metaphors for the eyes; instead, celestial bodies and other luminous images are almost invariably employed ("two suns," "flame," "rays," "candles"). The central portrait motifs of Laura are thus these luminous images - her eyes and golden hair - which are imbued with religious symbolism that references Christian light aesthetics and the iconographic canon. The radiance emanating from Laura signifies a divine presence. The influence of Platonic philosophy is also evident in the portrayal of Laura; the Lady is presented as a reflection of the "world of Ideas" and the Beauty of the divine cosmos. Furthermore, the details of Laura's clothing and jewelry exhibit a multifaceted color symbolism, revealing both secular and religious dimensions. The author declares no conflicts of interests.

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