rooms for the Joust is a poem composed in the vernacular in the eighth by Angelo Poliziano in the second half of the 400 and unfortunately remained unfinished. The author makes it necessary to tell the platonic love of Giuliano, brother of Lorenzo the Magnificent, a Florentine woman named Simone. The protagonist is a courageous character more dedicated to hunting that love, what inspires the jealousy of Cupid, who during a hunting trip in the eyes of Giuliano brings up a great deer. The god, being beyond the reach of the deer hunter, shows the animal in place a nymph dressed in white, Simonetta, divine creature, whom he falls in love immediately. So Venus decided that the young should show values \u200b\u200bin a carousel, but then the work stops.
From formal point of view and based on the original author's intention, according Ghino Ghinassi, the work fits into the tradition in which the celebrated eighth games, rides and races. However, this is only the intention, because the work remained incomplete and therefore the focus is not what the author had in mind. In fact, the rooms are very little related to the genre of narrative poems in the eighth, they do not have clear ties to a particular genre, but mainly represent the personal taste of the author.
After a careful reading of eight octaves of the first book the rooms for the tournament you can understand how Simon, the creature of God, is really comparable to a muse or a goddess is the personification of abstract concepts, like ' honesty or kindness, which is just typical embodiment of Poliziano. And because of this divine character of the woman, Julie lived experience mysticism that leads him to a psychological change: a hunter who despises love, it becomes a hunter in search of love as his prey. Love that therefore has a character of initiation, which represents the transition from adolescence to adulthood. Finally, with regard to style, is far from clear that it is very refined and elegant.
It can therefore understand how Ghino Ghinassi in his vernacular literature in the fifteenth century and the "rooms" of the police can be justified based on the ideas mentioned above, despite the obvious influence not only of Petrarch, but also of other vernacular traditions , from Dante to Boccaccio. It also shows the knowledge Poliziano current of Neoplatonism, using the figure of Venus. The author fails to focus its work on the carousel, as was his intention, does what its title nor a style and follows a very specific kind: there are indeed some influence of current flows, but without doubt it is the author's taste and its absence from any kind of genre that made his eighth, a work worthy of respect and admiration, even though it was never completed.
David Caneo
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