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Dante's Lyric Poetry

Page 50

by Dante Alighieri


  autobiographical, 18, 19

  Barbi and, 13–14

  Barolini and, 22–6

  Boccaccio and, 11–12, 17, 20

  chronological, 13, 15, 18, 21, 22

  chronological vs. by genre, 9, 161

  Commedia and, 18, 20–1

  Contini and, 14

  Convivio and, 18, 19–20, 21

  by Dante, 17–21, 22

  De Robertis and, 15–17

  Foster-Boyde, 14, 22

  by genre, 12–13, 16, 18, 19

  in Giuntina, 12–13

  Guittone and, 17

  interpretation and, 17

  manuscript tradition, 15, 17

  Monte Andrea and, 17

  Petrarch and, 11, 17, 18, 21

  philological, 17

  and rime dubbie, 13, 16–17

  thematic, 12, 13, 17, 19

  Vita Nuova and, 18, 21, 22

  Orlandi, Guido, 37n1, 40, 172 oscura, 269

  Ottimo Commento (1333), 302

  Ovid, Ars amandi, 271

  Paradiso: baldanza in, 72

  Beatrice in, 182; Carlo Martello in, 118

  “circulata melodia” in, 129

  Donna pietosa and, 214–15

  donneare in, 139

  eschatology in, 167

  fusion of intellect and will in, 8–9, 185

  gaze of protagonist in, 238

  gender behaviour differences in, 109

  gender boundary crossing in, 307

  Guido, i’ vorrei compared to, 118, 120

  La dispietata mente and, 81–2

  leggiadria in, 9

  Oltra la spera and, 295, 299

  path metaphor in, 143–4; “perfettamente” in, 232–3

  philosophical themes in lyrics, 8–9

  Poscia ch’Amor and, 71

  representation in, 81

  sea in, 116

  shame in, 307; “subsisto” in, 230–1

  thinness and “poema sacro” vs. doloroso amor in, 164–5

  Trinity in, 81–2

  parere: in Negli occhi porta, 193

  in Tanto gentile, 193, 226, 229

  in Vita Nuova, 209

  parlare, 298

  Parole mie che per lo mondo siete, 95, 251n119

  pascere, 59

  passare: in Deh pellegrini, 294n146

  in Oltra la spera, 294

  passion: Cavalcantian, 179

  and death, 173–

  4; in E’ m’incresce di me, 172–3

  and Passion of Christ, 159, 160

  prendere and, 272

  reason vs., 56

  and rime petrose, 56

  soul’s changeability and, 134, 281, 284

  Paul, St, 165, 295

  “paura,” 156, 257

  Pellegrini, Flaminio, 43

  pensero, in Voi che ’ntendendo, 295n147

  Per pruova di saper com vale o quanto (Dante da Maiano), 43, 44–5, 46, 52, 70

  Per quella via che la Bellezza corre / Per quella via che·lla Bellezza corre, 301–8

  “baldanzosamente” in, 306, 307

  Barbi on, 301, 302

  Barbi-Pernicone on, 306

  dating of, 302

  De Robertis and, 26, 301–2, 306n158

  Foster-Boyde on, 302

  gender in, 307; “Licenza” in, 17, 301, 302, 307

  Lisetta in, 17, 301–2, 303–8

  Mezzabati and, 302

  new love in, 304

  Pernicone on, 304

  placement of, 26–7

  seduction in, 302–4, 305–7

  shame in, 304, 307

  two redactions of, 301–2

  variability / mutability of thought in, 307–8; “verga” in, 307

  vergogna in, 287n139

  Per una ghirlandetta, 127–30

  angel in, 180, 237; Cavalcantianism in, 4, 127–8

  circularity in, 129

  De Robertis and, 237

  Deh, Vïoletta compared to, 131

  diminutives in, 128

  Fioretta in, 127–8, 129

  laudare in, 129

  leggiadria in, 9

  and Madonna, quel signor, 87

  placement of, 127

  and stil novo, 128–9

  umile in, 128–9

  Perch’i’ no spero di tornar giammai (Cavalcanti), 125

  “perfettamente,” 232–3

  Pernicone, Vincenzo, 10, 302, 304

  Rime della maturità e dell’esilio, 9.

  See also Barbi-Pernicone

  Petrarch, Francesco: Apollo, s’anchor vive il bel desio, 90n32

  Chiare, fresche et dolci acque, 26

  Dante compared to, 27

  De Robertis and, 17

  and death of beloved / lady, 219, 243

  Donna pietosa and, 206

  and “fiso,” 247

  Movesi il vecchierel canuto et biancho, 76

  ordering of rime, 11, 17, 18, 21

  and painful love, 164

  Rerum vulgarium fragmenta, 11, 18, 26, 65, 90n32, 250, 259n123, 286n138

  Physics (Aristotle), 83n31, 117n56

  piangere: in Li occhi dolenti, 245

  in mourning sonnets, 243

  in Se’ tu colui, 199

  in Venite a ’ntender, 254

  Piangete, amanti, poi che piange Amore, 74–6

  death in, 74–6, 77

  lamentation in, 77, 138, 244, 293

  metatexual awareness in, 8

  planh in, 74–5, 138

  praise in, 77, 244

  in Vita Nuova, 74, 76

  Picone, Michelangelo, 23n32, 104–5

  pilgrims / pilgrimage: in Cavalcando l’altr’ier, 291

  in Commedia, 291–2

  in Deh pellegrini, 290–1

  and mourning, 290–1, 292

  in Oltra la spera, 294

  as pensosi, 291

  in Purgatorio, 291

  in Vita Nuova, 291

  pity: in Color d’amore, 272, 273–4

  in Con l’altre donne, 146

  donna gentile and, 267–8

  in Donna pietosa, 267

  the purpose of weeping and, 278

  self-, 153, 278

  in Tutti li miei penser, 146

  planh: and Deh pellegrini, 292

  in Morte villana, 77

  in Piangete, amanti, 74–5, 77, 138, 293

  Poe, Edgar Allan, “Annabel Lee,” 181n89

  Portinari, Beatrice.

  See Beatrice

  Portinari, Manetto, 50, 254–5, 256

  Poscia ch’Amor del tutto m’ha lasciato: in canzoni distese, 11

  courtly life in, 6–7

  donneare in, 139

  leggiadria in, 4, 71, 107

  and Paradiso, 71

  praise: of Beatrice, 75, 182

  in Donne ch’avete, 180, 181–5, 226

  and lamentation, 74–5, 77, 244

  in Li occhi dolenti, 75

  of madonna, 180, 232–4

  in Morte villana, 77

  in Negli occhi, 226

  of new love/donna gentile, 284

  in Piangete, amanti, 74–5, 77

  sonnets, 232

  in Tanto gentile, 226

  in Vede perfettamente, 232– 4; in Vita Nuova, 75, 129

  prendere, 271–2

  Provedi, saggio, ad esta visïone (Dante da Maiano), 37, 38, 42, 46, 58, 128

  Provençal influences.

  See Occitan influences

  Pucci, Antonio, 63n20

  Purgatorio: Amor che nella mente mi ragiona in, 178

  Beatrice in, 134, 185, 276, 284, 302

  Bonagiunta in, 198

  cacciare in, 171–2

  desire in, 41

  Donna pietosa and, 215

  Donne ch’avete and, 177

  emenda / ammenda in, 102

  friendship in, 92

  God as presenter vs. re-presenter in, 157

  Guidos Cavalcanti and Guinizzelli in, 224

  Lia in, 128

  love in, 117, 303

  Ma
telda in, 128, 306

  mystical / visionary experience in, 149–50, 209, 276

  novità in, 134

  pilgrims in, 291

  St Augustine in, 151

  St Stephen’s martyrdom in, 151

  Sapia in, 291

  stil novo in, 4, 177

  Vergil in, 292

  Voi che ’ntendendo in, 178

  Qual che voi siate, amico, vostro manto, 7, 43, 45–6, 47, 49, 50, 52

  Quando ’l consiglio degli ucce’ si tenne, 16, 63n20, 122–3

  Quantunque volte, lasso!, mi rimembra, 239n109, 256–8

  Cavalcantianism of, 256–7, 259

  chiamare in, 257

  Donne ch’avete compared to, 257

  enjambment in, 257

  Era venuta compared to, 259, 260

  invocation of death in, 257

  Li occhi dolenti compared to, 257

  stanza length, 179

  Venite a ’ntender compared to, 257

  in Vita Nuova, 256

  Questa donna ch’andar mi fa pensoso, 16, 122–3

  Quirini, Giovanni, 302

  quotidian local / historical references: in Commedia, 101, 238

  in Deh pellegrini, 290–2

  in Di donne io vidi, 236, 237

  in Onde venite, 201

  in sonnets, 198–9

  in Voi che portate, 195.

  See also social life

  reason: appetite vs., 282

  desire vs., 6, 56

  in Doglia mi reca, 6, 56

  love vs., 5, 179

  passion vs., 56

  soul and, 189, 281, 282, 303

  triumph of, 56

  and will, 303

  representation: in Amor, da che convien, 81

  in Degli occhi della mia donna, 156–7; “forma vera” vs. “morta imagine” in, 75–6

  and lady painted in lover’s heart, 81–2, 110, 111, 166, 203

  in Paradiso, 81

  rappresentare and, 204

  self-, 204–5

  in Voi donne, 204–5

  Rerum vulgarium fragmenta (Petrarch), 11, 18, 26, 65, 90n32, 250, 259n123, 286n138

  Ricco da Varlungo, 37n1, 40

  “Rime allegoriche e dottrinali” (Barbi), 13

  “Rime del tempo della Vita Nuova” (Barbi), 13

  “Rime della Vita Nuova” (Barbi), 13

  Rime della “Vita Nuova” e della giovinezza (Barbi-Maggini), 9

  “Rime di dubbia attribuzione” (Barbi), 13

  rime dubbie, 26

  Aï faus ris among, 122

  Amore e monna Lagia among, 16, 26, 122–3

  Barbi and, 13

  Contini and, 14

  De Robertis and, 17, 122–3

  Degli occhi di quella gentil mia dama among, 122–3

  Deh, piangi meco tu among, 122–3

  Io sento pianger among, 122–3

  Non v’accorgete voi d’un che·ssi more among, 122–3

  Nulla mi parve più crudel cosa among, 122–3

  ordering and, 13

  Quando ’l consiglio among, 122–3

  Questa donna ch’andar among, 122–3

  Se ’l viso mio a la terra si china among, 122–3

  Rime giovanili e della “Vita Nuova” (Barolini), 23, 27

  “Rime per la Donna Pietra” (Barbi), 13

  rime petrose: about, 4

  erotic aggression in, 172–3, 181

  ideology and style of, 98

  Lo doloroso amor and, 167

  passion and, 56

  sexuality in, 97

  “Rime varie del tempo dell’esilio” (Barbi), 13

  ritrarre, 156

  Roman de la rose, 82

  Rossetti, Dante Gabriel, Dante’s Dream at the Time of the Death of Beatrice, 206, 215

  Sapia, in Purgatorio, 291

  Savere e cortesia, ingegno ed arte, 6, 55–7

  Savete giudicar vostra ragione, 37, 41, 42, 46

  screen-ladies, 87, 119, 136

  sdonneare, 139

  Se ’l viso mio a la terra si china, 16, 122–3

  Se Lippo amico sè tu che mi leggi, 63–6

  amico in, 50, 114n48

  as Guittonian, 63, 64

  and Lippo Pasci de’ Bardi, 113n46

  metatextuality in, 8, 64–5

  rhyme scheme, 63

  as sent to friend, 94

  sexual stereo-types / categories in, 65–6

  “sonetto” in, 129

  as sonetto rinterzato, 50, 63, 71, 77

  syntax of, 64

  vergogna in, 287n139

  Se’ tu colui c’hai trattato sovente, 198–200

  anthropology and, 7n5

  botta e risposta structure with Voi che portate, 198, 203

  boundary crossing in, 208

  confortare in, 249

  funeral rites in, 220

  gender behaviour differences in, 109

  gender segregation in, 204

  imaginary tenzone in, 203

  mourning in, 7, 198–9, 243

  Onde venite compared to, 201

  piangere/pianto in, 199

  poet’s participation in mourning, 209–10

  recognition by voice in, 198

  social norms in, 119, 200, 204

  in Vita Nuova, 194, 195

  Voi donne compared to, 204

  women in mourning rites in, 234

  seduction: Lasso, per forza and, 287, 288

  in Per quella via, 27, 302–4, 305–7

  self: inner life of, in Sonar bracchetti, 105, 106–7

  self-representation vs., in Voi donne, 204–5

  self-pity.

  See under pity

  sfogare, 244–5

  shame: in Convivio, 286–7

  in donna gentile episode, 287

  in Donna pietosa, 287

  gender boundary crossing and, 307

  in Inferno, 51

  in Lasso, per forza, 286–8, 307

  in Li occhi dolenti, 287

  in O voi che per la via, 287

  in Paradiso, 307

  in Per quella via, 304, 307

  in Sonar bracchetti, 287

  in Tre donne, 287

  in Vita Nuova, 286–7

  writing self and, 287. See also vergognare/vergogna

  Sì lungiamente m’ha tenuto Amore, 239–42

  amore forte-amore soave conversion in, 240–2

  Cavalcantianism of, 241–2

  courtly love in, 240

  De Robertis and, 241n113

  and death of Beatrice, 239–40

  effects of madonna on lover in, 239

  fourteen-line stanza length, 179

  as single-stanza canzone, 67, 239, 240

  in Vita Nuova, 239, 240

  Sicilian conventions: in La dispietata mente, 79, 81–2, 87–8

  in Lo meo servente core, 67, 87–8

  and Madonna, quel signor, 87–8

  of Per una ghirlandetta, 127

  and Volgete gli occhi, 110, 111

  sighs: in Oltra la spera, 294–5, 297–8

  in Tanto gentile, 230–1. See also sospirare / sospiri

  significare, 39

  S’io fosse quelli che d’Amor fu degno (Cavalcanti), 113–14

  social conventions / norms: of behaviour, in Vita Nuova, 195

  for corrotto, 198, 199, 203

  for funerals, 198, 199, 203, 220

  mourning, 194–7, 198, 199–200, 220, 234

  in Se’ tu colui, 119, 200

  in Voi che portate, 119, 195, 196.

  See also gender

  social life: in Amore e monna Lagia, 124

  in Commedia, 101

  in Deh pellegrini, 290–1

  in Di Donne io vidi, 238

  in lyrics, 7–8

  in sonnets, 198–9

  in Vede perfettamente, 233–4

  in Vita Nuova, 209

  among women, 233–4.

  See also quotidian local / historical references

  Società Dantesca Italiana, 9, 16

 
Sonar bracchetti e cacciatori aizzare, 104–9

  brigata in, 7, 113, 124, 234, 256

  Cavalcanti and, 127

  courtly life in, 4, 107–8

  friendship in, 6, 107–8, 113

  gender in, 105–6, 107, 108–9

  Guido, i’ vorrei compared to, 119

  hunt in, 104–5, 106, 107

  inner life of self in, 105, 106–7

  leggiagria in, 107–8

  love in, 105, 106–7

  shame in, 287

  and stil novo, 105

  vanità in, 278n134

  Volgete gli occhi and, 110, 111

  Sonetti e canzoni di diversi antichi autori toscani (Giunti brothers), 12–13, 43–4

  Sonetto, se Meuccio t’è mostrato, 94–6, 251n119

  metatexual awareness in, 8; “sonetto” in, 129

  sonetto rinterzato: Guittone and, 50, 63–4, 71, 77

  Morte villana as, 63, 77

  O voi che per la via as, 63, 70, 71, 77

  Se Lippo amico as, 50, 63, 71

  in Vita Nuova, 64

  Sordello da Goito, 74, 293

  sospirare / sospiri: in Lasso, per forza, 288

  in Negli occhi porta, 229

  in Tanto gentile, 229, 288

  in Vede perfettamente, 233.

  See also sighs

  soul: abandonment of, 170–1

  in Ciò che m’incontra, 150, 151–2

  and desire, 41, 266

  and dimensions of reality, 150, 151–2, 153–4, 277–8

  and directio voluntatis, 266

  in Donne ch’avete, 182

  in E’ m’incresce di me, 170–2, 173–4

  heart vs., in Gentil pensero, 280, 281, 282–4

  as hunted, 171, 172

  journey of, 165, 166

  in Lo doloroso amor, 165, 166, 182, 277–8

  and love, 303

  moving from one passion to another, 134, 284

  in Per quella via, 303–5

  in Purgatorio, 303

  reason and, 189, 281, 282, 303

  in search of “albergo” in Convivio, 304–5

  in Spesse fiate, 153–4

  Spesse fiate vegnonmi a la mente, 153–5

  Cavalcantianism of, 144, 153, 154, 156

  direct speech in, 153

  earthquake within lover in, 152, 153–4

  Love in, 153–4

  oscura in, 269

  paura in, 156

  self-pity in, 153

  in Vita Nuova, 153, 154

  sprezzatura, 71

  Statius: in Purgatorio, 91–2, 115

  Thebaid, 92

  and Vergil, 91, 118

  Stephen, St, martyrdom of, 151

  stil novo: about, 4

  Cavalcando l’altr’ier and, 134–5

  in Convivio, 4

  Degli occhi della mia donna as, 156, 157

  Di donne io vidi and, 236

  in Donne ch’avete, 79, 177

  Guittonianism and, 39, 64

  La dispietata mente and, 79

  madonna in, 129

  and Ne le man vostre, 158

  Negli occhi porta and, 191, 192

  No me poriano and, 101, 102

  O voi che per la via and, 158

 

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