This essay explores the presence of a polarized thematic of icons and idols in the works of Dante and Petrarch. In Dante’s Vita nuova and Commedia, and in Petrarch’s Canzoniere and Latin letters, the Veronica — vera icon — of Christ is invoked in relation to the poet’s beloved, either as an analogous model or as a point of opposition. In the latter case, which applies both to Dante’s siren (in Purgatorio XIX) and to Petrarch’s Laura (particularly in RVF 16), the presence of the Veronica can only properly be understood in contradistinction to the poetic idolatry which haunts each text. In particular, Laura is found to be an idol for three reasons: Petrarch’s worship of her name; doubts over her existence; and the Pygmalion myth that haunts Martini’s portrait of Petrarch’s beloved. For Petrarch, the only possible solution to the temptation of idolatry is a Dantean one, namely invocation of a further icon, the Virgin Mary (both in RVF 366 and in his Testament), even if the Canzoniere is never fully able to forsake Laura.

中文翻译：

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但丁和彼特拉克中的偶像和偶像

本文探讨了但丁和彼特拉克作品中圣像和偶像的两极分化主题的存在。在但丁的 Vita nuova 和 Commedia 以及彼特拉克的 Canzoniere 和拉丁字母中，维罗妮卡（Veronica）——维拉的圣像——与诗人的爱人有关，作为类似的模型或作为对立点。在后一种情况下，既适用于但丁的海妖（在炼狱 XIX 中）也适用于彼得拉克的劳拉（特别是在 RVF 16 中），维罗妮卡的存在只能与困扰每个文本的诗意偶像崇拜形成对比才能正确理解。特别是，劳拉被认为是偶像的原因有以下三个：彼特拉克崇拜她的名字；怀疑她的存在；以及萦绕在马提尼为彼特拉克所爱之人画像中的皮格马利翁神话。对于彼特拉克，