Commedia: amico in, 51, 92
animate / inanimate in, 76
Aristotelian time in, 83
Beatrice in, 66, 215
Cavalcando l’altr’ier and, 136–7
Cavalcanti in, 120
consolation after death in, 268
Dante’s choice of poems in, 178
desire vs. reason in, 6
development of lyrics and, 27
direct speech in, 8, 140
Donna pietosa and, 214, 215
Donne ch’avete in, 177
ecphrasis in, 228
emenda / ammenda in, 102
erotic aggression in, 173
“fiso” in, 248
free will vs. choice in, 55
friendship in, 118
friendship / poetry link in, 115
ghirlanda in, 128
Guittonian style in, 78
leggiadria in, 9, 72
Lo doloroso amor and, 164
lyrics as prerequisites for, 4–5, 8
magnate rivalries in, 51
manifestation in, 227
master-servant trope in, 7, 80
memory and recall in, 68
and ordering of lyrics, 18, 20–1
pascere in, 59
pilgrimage in, 291–2
poetics of the new in, 156
poets in, 115
quotidian history / local life in, 101, 238
representation in, 81
rime and, 3
road / journey of life in, 84
sexual categories and, 66
time in, 84
verbal “optical illusions” in, 248–9
visionary experience in, 38n3, 48, 208.
See also Inferno; Paradiso; Purgatorio
Con l’altre donne mia vista gabbate, 146–8
Cavalcantianism of, 139, 146–7
change in appearance of lover in, 146–7
and courtly world, 154
De Robertis and, 25
direct speech to madonna in, 146
“figura nova” in, 147
gabbo in, 149, 154
lamentations in, 147
in Vita Nuova, 25, 147, 154
Confessions (Augustine), 219–20, 240, 243
confortare, 249
congedo, 94–5
Consolatio Philosophiae (Boethius), 213n98, 250, 265
consolation / consolatio: from Beatrice, 295
donna gentile and, 268, 269, 281, 283
in Li occhi dolenti, 213n98, 247, 249, 250–1, 294–5
consolato, 159
consolatoria: Avegna ched el m’aggia più per tempo as, 114n49, 115n50, 250n118
I’ vegno’l giorno a·tte ’nfinite volte as anti, 114, 250n118
contaminatio, 8, 102
Contini, Gianfranco: and Amore e monna
Lagia, 122, 123–5
on Aretine / Guittonian rhymes in Se Lippo amico, 63
Barbi’s ordering and, 13, 14, 44
on Com più vi fere Amor co’ suo vincastri, 98
and Dante da Maiano tenzoni, 14
and De Robertis’ edition, 10
and Degli occhi della mia donna, 156
on Di donne io vidi, 236
on E’ m’incresce di me, 172
editions of, 9
Giunta’s order and, 17
and Guido, i vorrei, 116n53
on incipit composed of settenario as Guittonianism, 67
on La dispietata mente, 79
and Lo doloroso amor, 156
on Lo meo servente core, 68
on Madonna, quel signor, 87
on Ne le man vostre, 158
and No me poriano, 26, 100, 103
numbers of poems in edition, 14
on Onde venite, 201, 202
ordering of lyrics / canzoni, 14
on Quando ’l consiglio, 63n20
and rime dubbie, 14
on Tanto gentile, 229
on Un dì si venne, 219
and Vede perfettamente, 232, 233
and Vita Nuova, 23
on Voi donne, 204
Convivio: Amor che nella mente in, 19, 20, 21, 178
analogy between literary and biological creation in, 95n35
Barbi and, 16
canzoni, 12
Dante’s choice of canzoni in, 10, 178
donna gentile in, 265–6, 281–2
estravaganti excluded from, 22, 168n84
Giunta and poems in, 17
hunting dogs in, 106n40
ladder of desire in, 27
Lady Philosophy in, 213n98, 250, 265, 269, 282
Le dolci rime in, 19, 20
master-servant trope in, 8, 80
orderings in, 18, 19–20, 21, 161
“perfettamente” in, 232
poems in Contini, 14
poetry set within prose in, 18, 19, 20
as prerequisite of Commedia, 5
road / journey of life in, 84
shame in, 286–7
soul in search of “albergo” metaphor in, 304–5
stil novo in, 4
visionary experience in, 38n3; Vita
Nuova and, 61, 281–2
Voi che ’ntendendo in, 19, 20, 21, 26, 178
Corrotto, 198, 199, 203, 209
Così nel mio parlar vogli’esser aspro: in canzoni distese, 11, 20
as one of the rime petrose, 173
sexual violence in, 97
courtly life: in Ballata, i’ voi, 138–9
biblical elements and, 158
Con l’altre donne and, 154
and Inferno, 82
in La dispietata mente, 82
in Lo meo servente core, 67
in lyrics, 6–7
theologization of, 206
courtly love: and Christianity, 180–1
and death, 243
donna gentile cycle and, 275
fidelity to dead beloved and, 275
lady in Ne le man vostre, 159
in L’amaro lagrimar, 277–8
narcissism / self-pity in, 278
in Sì lungiamente, 240
in Sonar bracchetti, 107–8
in Vita Nuova, 136, 159
Daniel, Arnaut, 40, 98
Dante Alleghier, Cecco, tu’ servo amico (Cecco Angiolieri), 46–7, 299
Dante and the Origins of Italian Literary Culture (Barolini), 6n3, 7n5, 10n14, 45n10, 140n72, 168n84, 179n88, 240n111
Dante da Maiano: and A ciascun’alma presa e gentil core, 37, 60, 109
Amor mi fa sì fedelmente amare, 55–6
Di ciò che stato sè dimandatore, 7, 37, 45, 46, 47–8, 60, 208
in Giuntina, 13n19; Lasso, lo dol che più mi dole e serra, 43, 47, 54
Lo vostro fermo dir fino ed orrato, 43, 47, 53
mother of, 40
Per pruova di saper com vale o quanto, 43, 44–5, 46, 52, 70
Provedi, saggio, ad esta visïone, 37, 38, 42, 46, 58, 128
Savere e cortesia and, 6
tenzoni with Dante, 4, 7, 14, 37–57, 64
Dante’s Dream at the Time of the Death of Beatrice (Rossetti), 206, 215
Dante’s Poets (Barolini), 64n21, 135n69
Davanzati, Chiaro: Amico, proveduto ha mia intenzione, 38, 50
Di penne di paone
e d’altre assai, 48
and Provedi, saggio, 37n1, 40
Davidsohn, Robert, 196, 200n94
De Amicitia (Cicero), 6, 47, 50, 92, 113n45, 116
De Robertis, Domenico: 2002
edition, 10, 15–17; 2005
commentary, 10
and Amore e monna Lagia, 122–3
Barbi’s ordering and, 44
and Boccaccio’s canzoni distese, 15, 16
and Ciò che m’incontra, 149
on Con l’altre donne, 139
on death of lady / lord, 219
on Deh pellegrini, 292
and Deh ragioniamo, 90
on Di donne io vidi, 236
and “documenti antichi,” 17
on Donna pietosa, 2
06–7, 209, 215
on Donne ch’avete, 180, 181
on Era venuta, 259
and “estravaganti,” 11n15
on Fresca rosa novella, 131–2
on Gentil pensero, 280, 283
on Giovanna / Vanna, 222
and Giuntina, 15–16
on Guido, i’ vorrei, 17, 113
on interpretation, 17
and L’amaro lagrimar, 275, 280
on Lasso, per forza, 287, 288
and Li occhi dolenti, 245, 248
and “Lippo,” 17, 25–6
and Lo doloroso amor, 162, 168
on Morte villana, 77–8
on Ne le man vostre, 158
and No me poriano, 26, 100, 102–3
and number of lyrics, 3
and O voi che per la via, 70
on Oltra la spera, 294, 297
on Onde venite, 201
ordering of lyrics, 9, 15–17, 161, 162
on parere, 226
on Per quella via, 301–2, 306n158
and Per una ghirlandetta, 127, 129, 237
and Quando ’l consiglio, 63n20; Rime, 24–5
and rime dubbie, 17, 122–3
and Se’ tu colui, 198
and Sì lungiamente, 241n113
on Tanto gentile, 226, 229
on Tutti li miei penser, 145
and Vede perfettamente, 232
on Venite a ’ntender, 254, 255
on Vita Nuova, 22, 23, 24–5, 61n17
De vulgari eloquentia: and “amicus eius,” 51
Donne ch’avete in, 177, 179, 180
friendship in, 114–15
and Guido delle Colonne’s Amor che lungiamente, 240
on hendecasyllable beginning canzoni, 67
master-servant trope in, 8, 80
Mezzabati in, 302
poetics of directio voluntatis, 266
as prerequisite of Commedia, 5
death: acceptance of / moving on from, 268, 269
in Augustine’s Confessions, 243
of beloved, 243
courtly love and, 243
direct speech and, 248
in Lasso, per forza, 289
in Lo doloroso amor, 289
in Morte villana, 77
passion and, 173–4
in Quantunque volte, 257
and transience of life / earthly things, 219–20
in Vita Nuova, 243
Death and Ritual in Renaissance Florence (Strocchia), 200n94
death of Beatrice: in A ciascun’alma, 60
analogy with Christ, 159, 224
anniversary of, 259–60, 262, 266–7
and Beatrice as comparable to Virgin, 246–7
and Beatrice in heaven, 60–1, 244, 246
and Beatrice in Purgatorio, 185
and consolation from, 249–50, 295
consolatoria, 114, 115n50
Dante’s dream at time of, 206
in Deh pellegrini, 290–3
in Donna pietosa, 207–8
in Era venuta, 259–60, 262
and fidelity, 268, 276–7, 281
funeral rites, 209–10
in Li occhi dolenti, 159, 177, 243, 247
poet’s state of mind following, 247, 266–8
praise vs. lamentation for, 75
in Quantunque volte, 256
reprimand in Purgatorio, 284, 302
sending of Vergil to Dante, 269
in Sì lungiamente, 239–40
in Venite a ’ntender, 254–5
in Videro gli occhi, 266
death of madonna: death of lover-poet vs., 289
and donna gentile cycle, 275
in Donna pietosa, 206, 207
in Donne ch’avete, 278
and dream of dead madonna, 206
fidelity following, 275
forgetfulness after, 276–7
in Lasso, per forza, 288–9
in Li occhi dolenti, 243
in Lo doloroso amor, 277–8
mourning of, 199, 201–2
“moving on” from, 277
new lady vs., 275
pilgrims and, 292
poet’s participation in mourning, 209–10
in Quantunque volte, 257–8
Decameron (Boccaccio), 106, 108, 118–19, 120, 124, 125, 196–7, 220, 230, 230n107, 234
Degli occhi della mia donna si move, 156–7
eyes of madonna in, 156–7
mingling of Cavalcantianism and Guinizzellianism in, 156
nuovo/new in, 156–7
representation in, 156–7
ritrarre in, 156
as stil novo sonnet, 156, 157
Degli occhi di quella gentil mia dama, 17, 122–3
Deh, piangi meco tu, dogliosa petra, 16, 122–3
Deh, Vïoletta, che ’n ombra d’Amore, 131–3
Cavalcantianism in, 87, 127
diminutives in, 128
Donne ch’avete compared to, 131
fire of love motif, 131
Per una ghirlandetta compared to, 131
placement of, 87, 127
Violetta in, 131
Deh pellegrini che pensosi andate, 290–3
beatrice in, 163n83, 182n90, 294n146
De Robertis and, 25, 292
mourning in, 203
Oltra la spera compared to, 294
passare in, 294n146
pilgrims in, 290–1
and planh, 292
social communication in, 290–1
in Vita Nuova, 25, 290
Voi che portate compared to, 290–1
Deh ragioniamo insieme un poco, Amore, 90–3
brigata in, 256
friendship in, 6, 91–2, 113, 118
“nostra donna” in, 220
“ragionar” in, 115
Delmolino, Grace, 28
desire: changeableness of, 134
ladder of, in Convivio, 27
in lyrics, 6
in Purgatory, 41
reason vs., 6, 56
in Savete giudicar, 40–1
soul and, 41, 266
and “the new”/il novo, 134
in Vita Nuova, 136
Di ciò che stato sè dimandatore (Dante da Maiano), 7, 37, 45, 46, 47–8, 60, 208
Di donne io vidi una gentil schiera, 236–8
ardire in, 237
brigata/“schiera” in, 7, 234, 236, 238
Contini on, 236
feast of All Saints’ Day in, 7–8
madonna in, 236–7, 238
quotidian social life in, 7–8, 238
and stilnovism, 236
Tanto gentile compared to, 237
temporal precision of, 236, 237
vedere in, 237
“vidi” in, 237
Di penne di paone e d’altre assai (Davanzati), 48
Dido, in Inferno, 282
direct discourse / speech: Cavalcanti and, 150
in Ciò che m’incontra, 150, 208
in Commedia, 8, 248–9
in Con l’altre donne, 146
to lady, 140
in Li occhi dolenti, 248–9
and life vs. death, 248
to madonna, 146, 154
and mystical-visionary, 150, 207–8, 209
in Per quella via, 303
reprimand to eyes of poet in, 275–6
in Sonetto, se Meuccio, 95–6
in Spesse fiate, 153
used by Dante with Beatrice in Commedia, 140
Doglia mi reca nello core ardire: amico in, 50, 114n48
in canzoni distese, 12
congedo of, 94
desire vs. reason in, 6, 56
gender equality in, 189
leggiadria in, 4, 71
love vs. virtue in, 189
master-servant trope in, 80
“dolce loco,” 88
dolce stil novo. See stil novo
Donati, Forese: Dante’s friendship with, 51, 118; in Purgatorio, 198
tenzone with, 4, 5, 13, 124
Doni, Salvino, 37n1, 4
0
donna gentile: appearance of Beatrice to Dante in Purgatorio and, 276
and auto-exegesis, 265
in Color d’amore, 265, 271
consolation from, 268, 269, 281, 283
in Convivio, 265–6, 281–2
death of Beatrice and, 266–7, 281
eyes of poet and, 288
in Gentil pensero, 281, 282–4
in L’amaro lagrimar, 265
in Lasso, per forza, 265, 279, 284
Lisetta and, 302, 304
in Lo meo servente core, 67
love for “distrutto,” 286; pity in face of, 267–8
praise of, 284
reciprocity toward poet, 267–8
reconversion to Beatrice and, 286
in Videro gli occhi, 265–9. See also new love / new lady
donna gentile cycle: anthology for, 295n149
Cavalcantianism in, 280–1
and courtly love, 275
death of beloved and, 275, 304
existential vs. ethical conflict in, 280–1
shame in, 287
and topos of new love, 266
Donna me prega, per ch’eo voglio dire (Cavalcanti), 135, 179
Donna pietosa e di novella etate, 206–18
angels in, 181
beatified lady in, 216
biblical elements in, 214–15; “colore” in, 185
and Commedia, 214, 215
confortare in, 249
consolare in, 249n117
date of composition, 209, 210–11
De Robertis on, 206–7
and death as lesson in transience of life / earthly things, 219–20
death of beloved in, 243
and donna gentile vs. donna pietosa, 265
Donne ch’avete compared to, 206
embedded speeches in, 213
farneticare in, 48, 60
feminine pity in, 267
Foster-Boyde on, 206
Inferno compared to, 213
length and construction of, 179, 239
Li occhi dolenti compared to, 243
mortality of poet in, 207, 214
mourning in, 220
and name Beatrice, 207, 244; “nostra donna” in, 220
painterly qualities of, 206
and Paradiso, 214–15
and Purgatorio, 215
and Rossetti’s Dante’s Dream at the Time of the Death of Beatrice, 206
sconfortare in, 249n116
shame in, 287
as theologized, 206
Un dì si venne compared to, 219
unidentified lady in, 219
vanità in, 278n134
visionary in, 206, 212–15, 247
in Vita Nuova, 206–7, 244
women tending poet’s sickbed in, 234
Donne ch’avete intelletto d’amore, 177–87
addressed to noble women, 58
afterlife in, 278
angels speaking in, 180
Beatrice in, 131, 244
Cavalcantianism of, 153
celestial scene in, 180–1
colours/“colore” in, 184–5, 271
in Commedia, 177
“cosa mortale”-“cosa nova” pairing in, 184–5
Dante’s finding own voice in, 71
De Robertis on, 180, 198
Dante's Lyric Poetry: Poems of Youth and of the 'Vita Nuova' Page 47