Among the large Latin hagiographic collections written between late antiquity and the MiddleAges, Pope Gregory the Great’s Dialogi has received the largest number of Italian translations. It has also received special attention from the translators, as documented by the surviving prologues of the volgarizzatori. Six different Italian translations from the 14th and 15th century are currently known: from the most popular of them, carried out by the Dominican friar Domenico Cavalca, stem two other versions, one in Ligurian and one in a Central Italian vernacular. This paper presents the unpublished anonymous translation of the Dialogi transmitted by MS. Siena, Biblioteca Comunale degli Intronati, I.V.28 from the rst half of the XV century. The characteristics of the text show a translator who is not very expert and who tends to reproduce the Latin source, importing many lexical and syntactic Latinisms into his vernacular version. The language of the translation is expecially interesting, and the main linguistic phenomena place the text in the Central Italian area. The paper ends with the critical edition of some chapters, chosen among all four books of the Dialogi.
Rarità d’archivio: su alcuni frammenti manoscritti del Falconetto
Giuseppe Mascherpa, Annalisa Perrotta
Few fragments of a manuscript containing the text of the Fal- conetto, have been recently found in the Archivio Storico in Vercelli.
The Falconetto is a chivalric Carolingian work, unusual both for its form and its content. As to now, the Falconetto was known only through an edition printed in Milan in 1483. In the present contribution, the authors reconstruct the scholarly debate about the origin, the metrics, and the circulation of this interesting version of the chivalric Italian tradition. The comparison of the two versions and its ecdotic and linguistic results open upto new interesting scenarios, to be further explored only once the restoration of the fragments will be achieved.
The essay handles the two katabase Andrea Barberini describes in two of his novels: Storia di Ugoned’Avernia and the Meschino of Durazzo, better known as Il Guerrin Meschino. In both works the representation of the underworld is characterized by the usual recurring of some elements, recognisable since the rst Visiones, an open adaptation to Dante’s work. Some details, which are relevant in the Ugone and convey hidden allegorical meanings, appear on the contrary in the Meschinoas crystallized wreckages, diegetically lifeless and deprived of any meaning. This detail could obliquely con rm current hypothesises on the chronology of the two works, according to which the writing of the Ugone would precede Guerrino’s composed only after the diffusion of the translation in the vernacular of Tolomeo’s Cosmographia (1406-1410).
This article examines the different lyric traditions that merge into the poetry of Juan Fernández de Heredia, who, as it is well known, lived and wrote in a crucial period for the development of Spanish poetry. By analysing some passages of his most representative poems as well as presenting an hitherto unknown one, the present study demonstrates how the great Castilian cancioneril tradition and the poetry of Ausiàs March blended in Heredia’s poetry, which is highly original and has nothing to do with the «tono impersonal típicamente cancioneril» critics have so far ascribed to it. Heredia’s reluctance towards the Italianate lyrics is also addressed, and nally it is proposed that Juan Boscán was referring to such reluctance in a very famous passage of the Carta a la Duquesa de Soma.
The article examines the recent publication of a new edition (with parallel Italian translation) of De verbis Romanae locutionis (1435), written by the historiographer Biondo Flavio, followed by a response from the humanist Leonardo Bruni. The two texts, as is known, represent one of the key moments in the humanistic debate regarding spoken Latin in ancient Rome, which will have an important impact on theories surrounding the origin of the vernacular. In particular, the author analyses the concept of sermo vulgaris, de ned by Bruni in stark contrast to sermo litteratorum, that is the language of academics and of the well-educated. The author also highlights the centrality of sermo vulgaris in the rst tentative historical-linguistic reconstructions of “vernacular Latin” that are at the core of re ections made by some philologists in the second half of the sixteenth century, such as those developed consistently by Ludovico Castelvetro, in his Giunta to the rst book of Bembo’s Prose della volgar lingua (1572).
Intorno alla Spagna in rima: questioni di metodo
The Spagna in rima narrates in verse the story of Charlemagne’s legendary war against King Marsilio of Spain, culminating in the battle of Rencesvals; it has survived in several different versions, transmitted by fteenth-century manuscripts, each in a corrupted form, and by a considerable number of printed editions. The problems relating to the transmission history of this text, as well as the dating and the attribution of the original version have always fascinated and divided scholars. This contribution, based on the most recent scholarship, focuses on some methodological problems relating to the study of the Spagna in rima, a text which occupies a dif cult position between the literary genre of cantari and that of the epic poems of chivalry.
The seven Cantari di Lancillotto, transmitted by the single manu- script Laurenziano Pluteo 78.23, represent a rewriting in ottava rima of the Old French prose romance La mort le roi Artu and show, in ad- dition to many of the formal features characterizing the cantari genre, a quite unusual systematic reliance on a written source, most likely an Old French version of the romance circulating in Italy. The paper aims to take a closer look at the relationship between the two texts, rst of all putting in evidence how the anonymous author approached such a long and complex prose text in order to t the narrative material into the different social context and literary framework of the cantari gen- re and, subsequently, underlining the syntactical and lexical elements in common between the Old French prose text and its “adaptation” in ottava rima.
Boccaccio mediatore: narrazioni amazzoniche tra cantare e poema
The article explores the role played by Boccaccio’s works, in particular the Teseida and the De claris mulieribus, in the formation of the epic-chivalric poem. From the cantari to the Orlando furioso, amazonian narrations become a crucial element of the development of the genre, making Boccaccio a multidirectional model.
Studi sull’Apollonio di Tiro. Un excursus