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The poem begins with Petrarch returning to the place he first met his true love Laura. There he tearfully recalls their love and sitting beneath a tree he is overcome with sleep and begins to dream. His dream sequence begins with the semblance of an ancient Roman triumph. The first triumph, the Triumphus Cupidinis, reveals a sight to Petrarch that he describes as wondrous: I saw four chargers, whiter than the whitest snows, and on a fiery cart a harsh youth with a bow in his hand and arrows at his side.

20. , 29. Canto VI:49–54. 21. , xxix. Branca states in the introduction that Boccaccio includes some 152 exemplary figures in his Triumph of Glory. The Evolution of the Triumph in Literature and Art 31 use of the triumph as a poetic device, he does so in a very different mode. Dante had used the motif of a single triumphal event in a highly spiritual context while Boccaccio uses several triumphal processions in succession to assist the reader in moving forward with him in his dream journey. While the aim of the two authors was profoundly different, both have linked the theme and imagery of the classical triumph with anagogical and allegorical meaning.

7. , 230. 8. Alan Ryder, The Kingdom of Naples Under Alfonso the Magnanimous, Oxford, 1976, 27. 9. , See also Benedetto Croce, History of the Kingdom of Naples, trans. F. Frenaye, Chicago, 1970, for a brief account of Neapolitan history. As ruler of Sicily and Naples Alfonso V is referred to as King Alfonso I. The Personalization of the Antique Triumph 49 In 1420 Giovanna II of Naples approached the young King to ask for his assistance in retaining control of her kingdom. 10 In 1421 Alfonso entered the city of Naples for the first time in a triumphant ceremony that proclaimed him heir apparent to the throne.

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