«E membre vos co·us trobei a Pavia». Affioramenti trobadorici nella biblioteca del Seminario Vescovile
Giuseppe Mascherpa, Federico Saviotti
This paper focuses on a parchment sheet from a lost troubadour chansonnier, recently discovered in the library of the Seminario in Pavia. Written at the end of 13th or at the beginning of 14th century, perhaps in an atelier of the northern Tyrrhenian area, it was subsequently reused to reinforce the binding of a 16h century printed book. The fragment, which is identified as Pv, contains the vidas and some poems by Guillem de Berguedan and Raimbaut d’Aurenga. Two remarkable variant readings preserved by Pv testify to its relevance for the Venetian branch known as ε in the transmission of troubadour chansonniers: the fragment contains the signature of Uc de Saint Circ in the text of Raimbaut d’Aurenga’s vida, and a verse of a sirventes by Guillem de Berguedan (BdT 210.19) hitherto unknown. Furthermore, the study of the script and of the decoration of the fragment indicates that Pv belonged to the same dismantled manuscript as two other chansonnier fragments separately discovered during the last century (m and m2).
This paper publishes and provides a commentary to a hitherto unknown letter, sent by Pier Andrea Ripanti to the Italian humanist Angelo Colocci (1474-1549) at the time of the Sack of Rome. It appears to be connected to three other documents: a letter that Antonio Tebaldeo sent to Colocci some months before, and two lists of books included in ms Vat. lat. 4817. The study of these documents (and particularly of the letter by Ripanti, which contains a list of books that escaped the destruction during the Sack) allows us to gather new information for the reconstruction of Angelo Colocci’s library. The essay identifies new volumes that belonged to Colocci and dwells primarily upon the fortune of two lost manuscripts of his: the Libro reale (a 15th century collection of medieval Italian poems) and the Libro di portughesi (a similar collection of Galician-portuguese medieval poetry).
The marriage of Alfonso VIII and Leonor Plantagenet (1170) appears to have been a defining moment in the relationship between the Kingdom of Castile and the troubadors of Occitan. The purpose of this article is to determine which ones were physically at court, or in its service, to suggest that the place name Puivert, seat of Peire d’Alvernha’s troubadour circle, is located in Aragon, and finally, to advance the idea that the new cultural politics of the court could have been the focal point of the Galician-Portuguese school.
Ogier e Renaut: riesame delle interferenze
The article re-examines the mutual influences between the Renaut de Montauban and the Ogier de Danemarche. The two chansons de geste show several similarities in the narrative, which date back to the period of their development and are already evident in the first available sources, Metellus of Tegernsee and Alexander Neckam; these, however, also display some significant discrepancies with respect to the stories we read today. After highlighting the resemblances, the article discusses the chronology of the poems concluding that the first part of the Chevalerie Ogier in the Ogier de Danemarche, the only text in which Ogier the Dane is described as a rebel, is likely to have been written after the Enfances Ogier and under the influence of Renaut de Montauban’s plot. In this context the message of the Chevalerie Ogier shows its difference from the text which originally inspired it: contrary to the Renaut, the Chevalerie rejects the idea of the unavoidable failure of any act of rebellion against the royal power and it proposes a radical view of it instead.
Meliadus the knight-scribe, ami of the Lady of the Lake, symbolizes a new trend in medieval narrative, at the crossroads between Merlin’s prophetic roman and the Arthurian matter. His name, which echoes that of his father, the King of the Léonois, is the sign of his uncertain identity: his vocation seems to be to interpret the role of double, entering into a subtle web of intertextual correspondences. In this article, the authors aims to draw a portrait of the character starting from the French tradition of the Prophecies de Merlin to arrive at the two versions of the Historia de Merlino, a 15th century Italian version showing a particular interest for the “newcomer”, as it results from the process of amplification of its subtext in some sections consecrated to Meliadus.
Il cavallo nella leggenda di Artù nell’Etna
In the Legend of Arthur in Etna the horse plays the role of an animal guide towards the Other world represented by the Sicilian volcano, where king Arthur survives in a fairy castle after the Camlann’s battle. In the light of this mythological theme, the article describes the various texts that make up the legend, starting with the Otia imperialia by Gervasio of Tilbury, and then dwelling on two modern stories of “Artus in the Etna” contained in a collection of local folk tales, in which the representation of the horse finds wider articulation and new dimensions.
In the latter decades of the 18th century, the notion of culture as an indispensable means for spiritual elevation and for social progress found a powerful echo among the members of the Transylvanian Latin School, who worked incisively to affirm Romanian national consciousness and carried out a multitude of cultural initiatives, culminating in the writing of fundamental historical, grammatical and lexicographical works. Ion Budai-Deleanu distinguished himself from the other figures of that multifarious current of thought because he concentrated both on the literary field, composing a vast epic, Ţiganiada sau Tabăra ţiganilor (Zingareide or the Gypsy Encampment), as well as on linguistics, especially in terms of lexicon. Here too, he occupies a unique position: he was not to be distracted by the predominant tendency towards purism that other Transylvanian scholars held; in truth, several times in his theoretical writings he expressed repulsion for the neologisms he felt were altering the lexical physiognomy of the Romanian language. However, when composing his epic poem, he acted free of such constraints, guided only by poetic invention, as the article intends to show through a statistical analysis of the elements of Slavonic origin still present in his Zingareide. Elsewhere, in a specific Table in his grammatical treatise, he had recommended replacing these with terms of Romanian derivation or, more broadly, with Romance cognates.
This article discusses the structure of Dante’s Rime – more specifically, of the canzoni – in the manuscript transmission and in the editions by Barbi, Contini and D. De Robertis. The analysis focuses on the different sequences of the canzoni as testified by groups g and b by De Robertis. Furthermore, a collation suggests that group b may be connected through some errors to other groups, and consequently that some form of contamination took place. The sequence of the poems may therefore be regarded as a major innovation coming from b: Giovanni Boccaccio himself may be held responsible, according to some evidence from the paratextual apparatus in his autograph copies and in other manuscripts.
Dos enmiendas al texto de El caballero de Olmedo de Lope de Vega
Bienvenido Morros Mestres
El caballero de Olmedo includes two verses in a corrupt form. They may be corrected through the tools known to textual criticism since Humanism, also advocated by Alberto Blecua in his Manual and namely lectio difficilior, usus scribendi, conformatio textus and res metrica. The second lectio, however, was also corrected through the use of some ideas about ingratitude, rather popular in Lope’s times which he discusses at the end of his work.
Lengua misógina en un soneto del Ms. Corsini 970
The article focuses on the theme of the vituperatio in vetulam throughout the centuries, from the classical age to the Golden Age of Spanish literature. It studies a sonnet contained in a Spanish Cancionero preserved at the Accademia dei Lincei in Rome (ms. Corsini 970). The article discusses its themes, as well as its language and poetic forms.
The article reconstructs – mostly through unpublished documents – the story of Adolfo Mussafia’s archive, from its donation to the Facoltà di Lettere e Filosofia at the University of Florence, the two most dramatic moments of its history (the Second World War and the flood of 1966) through to its present state.