This book gathers cutting-edge articles by prominent scholars reflecting on Petrarch’s poetry and his long legacy, from the Renaissance to the present day. The scholars engaged in this volume read Petrarch in the context of his own world and with a variety of theoretical and critical approaches, never overlooking the opportunity for an interdisciplinary reading that combines poetry and visual arts. The volume includes scholars from the United States and Europe (Italy, in particular), thus offering the opportunity to compare different theoretical approaches.  

The articles in the second half of the volume celebrate Petrarch’s legacies beyond the historically fundamental Renaissance Petrarchism, while exploring the presence of Petrarch’s poetry in several cultural realities. The scholars also read Petrarch with necessary attention to new disciplines such as digital humanities. The richness of the volume lies in these innovative perusals of Petrarch’s works not only through the critical lens of dedicated scholars, but also through their readings of artists who throughout the centuries appreciated and revived Petrarch’s poetry in their own literary endeavors.

Picturing the True Form investigates the long-neglected visual culture of Daoism, China’s primary indigenous religion, from the tenth through thirteenth centuries with references to both earlier and later times. In this richly illustrated book, Shih-Shan Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, and paintings, as well as other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not static, but entails an active journey of seeing underlying and secret phenomena.

This book’s structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluid. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. It is these particular features that distinguish Daoist visual culture from its Buddhist counterpart.

Bernardus Silvestris exemplifies the scholastic culture of his time. Having studied with pioneers in philosophy and science, he became a renowned teacher of literary and poetic composition. His versatility as scholar, philosopher, and scientist is apparent in his masterpiece, the Cosmographia. In alternating verse and prose, this foundational text for later Latin and vernacular literature synthesizes important intellectual movements of the early twelfth century. It owes its deepest debt to the tradition of philosophical allegory, including Plato’s Timaeus, Cicero’s Somnium Scipionis, and the prosimetra of Martianus Capella and Boethius. Bernardus also displays a masterly awareness of classical Latin poetry. Though less widely influential than his great disciple, Alan of Lille, Bernardus is the most subtle of the twelfth-century Latin poets; the Cosmographia has been aptly compared to the poetry of Lucretius and Giordano Bruno, and a copy survives written in the hand of Boccaccio.

In Mathematicus (“The Astrologer”), a Roman hero, faced with an astrologer’s prediction that he will kill his father, resolves to defy fate by committing suicide. This text is the most substantial of the surviving twelfth-century poems based on the ancient exercises in rhetoric known as controversiae, and it illustrates the twelfth century’s concern with astral determinism.

This volume of Proceedings of the Harvard Celtic Colloquium is graced with two J. V. Kelleher lectures: the 2019 lecture by Máire Ní Mhaonaigh on Irish chronicles and the 2021 presentation by Ruairí Ó hUiginn assessing the Irish genealogical corpus in its sociological context. It also includes Georgia Henley’s 2021 keynote on the differing literary receptions in Norman Ireland and Wales of Geoffrey of Monmouth’s history of Britain and related prophecies.

Other articles in Volume 40 survey a wide array of topics in Celtic Studies, centering on Irish and Welsh material with the smaller language areas appearing as well, and ranging from medieval to modern times. While most are literary or linguistic in their focus, some historical context is also provided.

Written for his brother Benedictine monks around 1077, Anselm’s Proslogion is perhaps the best-known partially-read book of the Middle Ages. Many readers are familiar only with Anselm’s well-known argument for God’s existence in Chapters 2–4, which is often called the “ontological argument,” a misleading appellation coined centuries later by Immanuel Kant. In this argument Anselm begins with the thought of “something than which nothing greater is able to be thought,” and subsequently he leads the reader to see that such a reality necessarily exists and cannot be thought not to be. This argument – which is, to be sure, crucial to the work constitutes – but a small portion of the whole. Preceding it is a profound but oft-overlooked opening chapter in which Anselm contemplates his all-too-human condition and disposes the reader to receive aptly his argument for God’s existence in the next three chapters. And following this argument are 20 chapters in which Anselm artfully unfolds the depth and breadth of God’s true existence as that than which nothing greater is able to be thought, showing God to be (among other things) able-to-sense, pity-hearted, just, good, and uncircumscribed. Indeed, if the reader is willing to give himself over to the work as whole, he will be compelled, under Anselm’s deft guidance, to “endeavor to straighten up his mind toward contemplating God,” which is how Anselm describes his own role in the work in his prefatory remarks.

This edition provides a faithful yet readable English rendering of the whole Proslogion, the objections raised to Anselm’s argument by his contemporary Gaunilo, and Anselm’s replies to those objections. (After responding to Gaunilo, Anselm himself requested that these objections and replies be included in subsequent editions of the Proslogion.) This edition also includes an introduction that contextualizes the Proslogion within the monastic, pre-Scholastic age in which it first made its appearance. In addition, by means of notes and commentary, this edition articulates how to contextualize Anselm’s famous argument in the Proslogion as a whole and in light of his replies to Gaunilo, how to appreciate the artistry whereby Anselm knit the Proslogion together into a coherent and concise unity, and how the work may be taught effectively to interested students. These features set this affordable English edition of the Proslogion apart from those currently available, which too often fail to capture accurately the beauty of Anselm’s prose, which often treat the work through the lens of either later Scholasticism or contemporary analytic philosophy of religion, and which take little note of the craftsmanship whereby Anselm constructed this masterfully integrated work that is remembered too often for too few of its 24 chapters.

Matthew Walz has taught in the interdisciplinary program at Thomas Aquinas College in California, and since 2008 he has been a professor in the Philosophy Department of the University of Dallas.