Italian poetry (13th century) is largely influenced by the greatly developed marianism in the 13th century, cult of God's mother. The angelization and deification of the beloved woman, which is a natural consequence of the platonic tendencies in the Provincial lyric of the period of decline, is characteristically expressed in the poetics of stylisticists by the introduction of the heartmaster into the" sky of love "and its likeness to a star. I will recall the peculiar symbolic meaning of the word "star", which ends with the dance "Divine Camelia". The star symbolizes the non-material glow, the luminosity of the divine and human lofty love.
It is easy to find that not only a few images and ideas in the famous Guinnessel's cant have occupied the lyrics of the previous generations of Sicilian and Tuscan poets. Nevertheless, it is considered to be a work of manifestation because of their new combination and because of the new emotional exaltation with which they are reasoned and interpreted. At the heart of this canton, and later of all the poetry of "the sweet new style", there is a powerful intellectual enthusiasm to build schematics, images and verbal twists to express and interpret the deepest gusts of the whole devotee of love soul. It is easy to find that not only a few images and ideas in the famous Guinnessel's cant have occupied the lyrics of the previous generations of Sicilian and Tuscan poets. Nevertheless, it is considered to be a work of manifestation because of their new combination and because of the new emotional exaltation with which they are reasoned and interpreted. At the heart of this canton, and later of all the poetry of "the sweet new style", there is a powerful intellectual enthusiasm to build schematics, images and verbal twists to express and interpret the deepest gusts of the whole devotee of love soul.
The moral philosophy confessed by stylistic poets on the one hand builds on religious worship, on the other, on the challenge of the progenitor's nobility, opposed by the nobility of the soul - the sole backbone of true love. "The sweet new style" religious pathos is mainly driven by the subject of the angelic woman, the woman is likened to a descended angel. The beloved woman rises into a cult as a living incarnation of the Good, transformed into a mediator between God and man, and thus associates with the image of the Holy Virgin. The love of such a creature not only makes the man better, but also opens the way to the sky. Amor of the Roman Elegy has some common features with Amor on the" stylists "like the wounded love arrow. More important, however, is his ambivalent function of a wounding and healing creature ... With the poetic stylists, Amor is an angelic being, his "seat" is the memory of the lovers. We have already stated that, according to Dante, the novelty of the "the sweet new style" consists in the complete correspondence between the poetic language and the "dictation from within" of love. Any anticipated expression and any subsequent reconstruction of the "dictation" are considered inappropriate and artificial. The most important is immediacy, truthfulness. In the circle of stylists, the rhetorical ingenuity is abandoned, and it is based on the instantaneous perception of the love affection, where the attention is directed entirely to the soul.
Indeed, in the "the sweet new style" circle a number of new interpretations of love appear, which are introduced and enriched in the collections of individual poets. For Cavalcanth, for example, love is a feeling that constantly brings into the soul anxiety and suffering.