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The lyric poem Fra Andželiko (1912) was inspired by the vivid impressions Nikolaj Gumilëv gained during his Italian tour in the very same year. The work should be seen in its context that acts as a background for the gumilevian perception of the artistic civilization of the Italian Renaissance. Leonardo da Vinci, Raffaello, Benvenuto Cellini, Michelangelo are here awakened, described and matched to the eponymous character. This article aims to reconstruct the image of Italy, of Poetry and to depict the poet through the verses of the poem.

Russian poetry. --- Love poetry, Russian.

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Epic poetry --- Italian

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What is the night? How can we define it and mark its edges? The gaze of those observing it is more or less mobile; does the night maintain its function as a frame? How does the difficulty to see clearly favour the artistic invention, the wondering on the infinite and death, the questions on the imaginary, the dream, the memory and the oblivion? Anna Dolfi started from questions like these in devising a book of great novelty and suggestion which, between nocturnes and music, wonders how literature, painting, cinema, opera, popular traditions and songs have narrated about blindness and vision, obsession and fear, or said nights were "tender", desperate, sublime, mysterious and mystical, told about nights of 'sickness', of repairing nights, white nights and sleepless nights, when the attempt is to resist while creating in order to challenge the breaking of dawn. The icon of Mozart's Queen of night, together with that of Schönberg's Pierrot, has accompanied about fifty Italian and foreign scholars and young researchers in an almost backlit way; they started from the 18th century and from Ossian's songs, continuing along a European night-themed path supported by theorists (Nietzsche, Bachelard, Jankélévitch...) and music (Mozart, Chopin, Schubert, Schumann, Fauré, Debussy, Britten...), and have worked on Novalis, Hölderlin, German Romanticism, Rilke, Celan, Müller, Hugo, Chenier, Baudelaire , Proust, Cocteau, Bonnefoy and many others, declining the Italian nocturnes from the graveyard elegies of Pindemonte to Leopardi, Di Giacomo, D'Annunzio, Onofri, Campana, Saba, Ungaretti, Sbarbaro, Montale, Penna, Pavese, Gatto, Caproni, Luzi, Bigongiari , Fortini, Jacobbi, Ripellino, Pasolini, Giudici, Rosselli, Sanguineti, De Signoribus, la Anedda, Magrelli and such. The work opens with unpublished Portuguese texts by Ruggero Jacobbi, and with verses and translations of De Signoribus and Vegliante. Starting with Donizetti's night, the volume comes to the night of different Italian singers and songwriters (De Gregori, Dalla and more), pushing the limit of electric nocturnes which, through poetry, reveal the urban glimpses of a tormented society between the end of the century and the beginning of the millennium.

Music in literature. --- Poetry, Modern.

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A partire dalla metà del Trecento, una gran parte dei temi narrativi della grande letteratura europea, ma anche molti materiali folclorici, storici e religiosi, furono tradotti in versi nelle ottave canterine. Tra i cantari antichi, databili cioè entro il XIV secolo, la Guerra di Troia è un esempio del tutto singolare, per le sue ampie dimensioni e per la sua dipendenza da fonti scritte. Quasi un poema, pur nelle vesti di un cantare, essa è prova del grande impatto che ebbero, non solo presso il pubblico dei mercanti, ma anche presso uditorî piú vasti, materie fortunatissime come quella troiana, che a partire dal Roman de Troie di Benoît de Sainte-Maure (XII secolo) si sono spinte dal centro alla periferia della letteratura romanza medievale.

Italian poetry --- Epic poetry, Italian --- Criticism, Textual. --- Troy (Extinct city) --- Italian epic poetry --- Italian literature --- literature --- Trojan War --- medieval romance literature

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Elegiac poetry, Latin --- Love poetry, Latin --- Epigrams, Latin --- Translations into Italian. --- Catulle, --- Catulle, --- Catulle, --- Catullus, Gaius Valerius. --- Traductions italiennes. --- Critique textuelle. --- Rome