Abstract
Through a new reading of Santagata’s I frammenti dell’anima, this articlefocuses on some issues in the critical debate concerning Petrarch’s Canzoniere:the collection as the substantial form of Petrarch’s lyrical poetry; theCorreggio form, a sort of philological ghost that well-known and new considerationshelp to make tangible; the exegesis of structural and symbolic hints inthe Canzoniere; Petrarch’s attempt to dissimulate Dante’s influence.