LIBRARY UNIVERSITY Of CALIFORNIA RIVERSIDE HARVARD STUDIES IN ROMANCE LANGUAGES PUBLISHED UNDER THE DIRECTION OF THE DEPARTMENT OF FRENCH AND OTHER ROMANCE LANGUAGES AND LITERATURES VOLUME I A7I THE POETRY OF GIACOMO DA LENTINO SICILIAN POET OF THE THIRTEENTH CENTURY EDITED BY ERNEST F. LANGLEY CAMBRIDGE HARVARD UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OXTOKO UNIVERSITY PRESS 1915 COPYRIGHT, HARVARD UNIVERSITY PRESS TO PROFESSOR CHARLES HALL GRANDGENT MY FIRST TEACHER IN THE ITALIAN LITERATURE OF THE DUECENTO THIS BOOK IS GRATEFULLY DEDICATED PREFACE THE present edition of the poetry of Giacomo da Lentino was accepted in a briefer form as a thesis for the degree of Doctor of Philosophy at Harvard University in 1909. As it now appears, the text and most of the critical apparatus are practically un- changed, but considerable additions are given in the form of notes, glossary, and metrical discussion. It endeavors to pre- sent all the poetry that can be attributed to Giacomo, as well as the poems that are of questionable authenticity, or are wrongly assigned to him in editions or manuscripts. In a field where nu- merous problems lack their final solution, many points of detail are still debatable. The editor wishes to acknowledge his obligation to the numerous scholars who have worked before him in this field, and hopes that he has given credit in every case where his debt is a direct one. To those who have personally given him advice, or furnished him with material, his hearty thanks are due: to Professor Pio Rajna and Signer Dottore Gino Lega in Italy; to Professor E. S. Sheldon of Harvard, who, together with Professors C. H. Grandgent, and J. D. M. Ford, has been in charge of the publication; to the two former for many valuable suggestions; and to Professor Kenneth McKenzie of Yale, who furnished the copy of a sonnet in the Parma Library. Great appreciation is felt for the courtesy of Professor Mario Pelaez of Rome, who, on learning that this edition was being prepared for the press, ceased working on one of his own. E. F. LANGLEY. CAMBRIDGE, MASS. November, 1914. CONTENTS INTRODUCTION PAGE I. GIACOMO DA LENTINO: HIS LIFE AND HIS POETRY xiii 1. His Life xiii 2. His Poetry xxii II. MANUSCRIPTS, EDITIONS, AND OTHER WORKS FREQUENTLY REFERRED TO xxvii 1. Manuscripts xxvii 2. Editions, etc xxxiii IH. METHOD or THE EDITION xxxvi CANZONI UNDISPUTED 3 i. Madonna, dir vi voglio 3 n. Maravigliosamente 6 in. Amor non vole ch'io clami 9 rv. La 'namoranza disiosa n v. Ben m'e venuto prima al cor doglienza 13 vi. Donna, eo languisco, e no so qua' speranza 15 vn. Dolce coninciamento 17 vm. Troppo son dimorato 18 DC. Madonna mia, a voi mando 20 x. S'io doglio no e meravigh'a 23 xi. Uno disio d'amore sovente 24 xn. Amando lungamente 26 OF DISPUTED OR DOUBTFUL AUTHENTICITY 30 A. PROBABLY AUTHENTIC 30 xm. Guiderdone aspetto avire 30 xrv. Membrando 1'amoroso dipartire 32 xv. Poi non mi val merze ne ben servire 34 B. LESS PROBABLY AUTHENTIC 37 xvi. Membrando ci6 ch' Amore 37 xvn. Gia lungiamente, Amore 40 xvm. Poi tanta caonoscenza 42 XK. In un gravoso affanno 44 xx. Vostra orgogb'osa cera 46 xxi. Amor da cui move tuttora e vene 49 xxn. Cosi afino ad amarvi 52 CONTENTS FRAGMENTS OF CANZONI 54 I. Nom so se in gioia mi sia 54 n. Amore paura m'incalca 54 DISCORDO Dal core mi vene 55 SONNETS UNDISPUTED 59 Tenzone I (3 sonnets) [i. Solicitando un poco meo savere (Jacopo Mostacci)] ... 59 [n. Pero ch' Amore no si po vedere (Pier della Vigna)] ... 60 m. Amor e un disio che ven da core (Giacomo) 61 Tenzone II (5 sonnets) [rv. Oi! Deo d'amore, a te faccio preghera (Abate di Tivoli)] . 62 v. Feruto sono isvariatamente (Giacomo) 63 [vi. Qual omo altrui riprende spessamente (Abate)] 64 vn. Cotale gioco mai nom fue veduto (Giacomo) 65 [vm. Con vostro onore facciovi uno 'nvito (Abate)] 66 ix. Lo giglio, quand' e colto, tost' e passo 67 x. Sicome il sol che manda la sua spera 68 xi. Molti amadori la lor malatia 69 xn. Donna, vostri sembianti mi mostraro 70 xm. Ogn' omo, c'ama, de amare lo suo onore 71 xiv. All' aira chiara 6 vista plogia dare 72 XV. lo m'agio posto in core a Dio servire 73 xvi. Lo viso mi fa andare alegramente 74 xvn. Lo viso e son diviso da lo viso 75 xvm. Si alta amanza a presa lo me' core 76 xrx. Per sofrenza si vince gran vetoria 77 xx. Certo me par che far dea bon signore 78 xxi. Si como '1 parpaglion ch'a tal natura 79 xxn. Chi non avesse mai veduto foco 80 xxm Diamante, nS smiraldo, ne zafino 81 xxrv. Madonna a 'n se vertute con valore 82 xxv. Angelica figura e conprobata 83 xxvi. Quand' om a un bon amico leiale 84 OF DOUBTFUL AUTHENTICITY 85 xxvn. Or come pote si gran donna entrare 85 xxvm. Lo badalischio a lo spechio lucente 86 xxrx. Come 1'arcento vivo fuge il foco 87 xxx. Guardando '1 badalisco velenoso 88 UNAUTHENTIC 89 XXXI. Fin amor di fin cor ven di valenza 89 xxxn. Tanto sono temente e vergognoso 90 CONTENTS ri xxxm. Segnori, udite strano malificio 91 xxxiv. " Amor m'auzide." " Perche ? " " Perch'io amo " . . 92 xxxv. Due cavalier valenti d'un paragio 93 xxxvi. Da che ti piace ch'io degia contare 94 xxxvn. Pegli occhi miei una donna ed Amore 95 xxxvm. Amore, gli occhi di colei mi fanno 96 xxxrx. Re glorioso, pien d'ogni pietate 97 NOTES 100 APPENDIX 130 GLOSSARY 137 ALPHABETICAL INDEX OF FIRST LINES 149 INTRODUCTION I. GIACOMO DA LENTINO: HIS LIFE AND HIS POETRY i. His LiFE 1 ABOUT Giacomo da Lentino, the chief poet of the Sicilian School, we have no contemporary accounts. Any attempt at a biography must be confined to a few facts and a moderate amount of reason- able hypothesis for which the basis is to be found in the canzonieri themselves, in a few notarial documents written by the hand of Giacomo or mentioning his name, in the insecure inferences to be derived from the poems themselves, and finally, in the refer- ences to him made by men of his own century, though of a later generation. From the earliest manuscripts we learn that Giacomo was a notary. He was almost always styled Notaro Giacomo or Gia- como Notaro. In the three oldest canzonieri? where his name occurs hi the rubrics fifty times, in forty-nine cases it is in the form of Notaro Giacomo; in only one case (B 55) do we have Notar Jacomo dallentino. The almost complete absence, how- ever, of da Lentino in the rubrics can raise no doubt about the 1 On the life of Giacomo cf . Torraca, Studi su la lirica ital. del Duecento, Bologna, 1902, pp. i ff.; Monaci, Da Bologna a Palermo, in Morandi, Antol. della crit.moderna, 1890, pp. 230 ff.; Gaspary, Scuola sicil.; Cesareo, Poes. sicil., pp. 34 ff.; Zenatti, Arrigo Testa, pp. 3 ff ., also II notaro da Lentini in Eros, Rivista messinese, 1899, no. 5, and Studi sui rimatori della scuola sicil., Catania, 1902, p. 67; Villani, La lirica ital., pp. 13 ff.; Baudo, Storia di Lenlini, vol ii, chap. 3; Scandone, Notiziebiografichedi rimatori della scuola sicil., in Studi di lelt. ital., vol. v, p. 270, Napoli, 1903. Con- clusions of the latter refuted by Garufi, Archivio stor. ital , series V, vol. xxxiii, 1904, pp. 401 ff. A number of important articles are cited later. For abbreviated titles see chapter on Editions and Other Works. 2 Mss. A, B, C; cf. chap, on Mss. xiii xiv INTRODUCTION poet's birthplace, as he mentions it specifically himself in the canzone Maravigliosamente, 11. 61-63: Lo vostro amor, ch'e caro, donatelo al Notaro, ch' e nato da Lentino. And again hi Madonna mia, a voi mando, 11. 53, 54: Per vostro amor fui nato, nato fui da Lentino. 1 From the old canzonieri we also perceive the prominence of Giacomo hi his group, a prominence revealed by the comparative productiveness of his muse and the importance of his literary relations. Codex A has under his name sixteen canzoni, 2 one discordo, and eight sonnets; B has eleven canzoni, one discordo, and sixteen sonnets; C has five canzoni. Rinaldo d'Aquino, the poet of Giacomo's generation represented by the next largest number of attributions, has in the Vatican Ms. (A) eight canzoni, in B three, and in C, seven. In other words, a total of fifty-eight attributions for Giacomo and only eighteen for Rinaldo. 3 In the codex Vat.-Barb. (F) we find the Notary associated in a tenzone with Pier della Vigna and the imperial falconer Jacopo Mostacci. 4 Elsewhere we find him respectfully addressed by the Abate di Tivoli hi a series of sonnets discussing the nature of love; 5 and, according to the theory proposed by Monaci, he was prob- ably in literary correspondence with Arrigo Testa, Tiberto Gal- liziani da Pisa, Rugieri d'Amici, Rinaldo d'Aquino, and Guido 1 Scandone, Notizie, pp. 270 ff. maintained that da Lentino was the family name, and did not indicate the poet's birthplace. Garufi (p. 416), disproved this, and in support of his arguments we have the evidence of the lines of the Abate di Tivoli: E per vostro amor ben amo Lentino. (Son. 8.) Lentino is the modern Lentini (ancient Leontini), five miles from the east coast of Sicily, and about twenty-two miles north of Syracuse. 2 Assuming the lost ones to have been attributed to him. 1 Therefore either the most productive versifier of his generation or else far more of his pieces were thought worthy of preservation by the compilers than was the case with his fellow poets. 4 See Tenzone I, pp. 59 ff . 6 Tenzone 11, pp. 62 ff. INTRODUCTION XV delle Colonne. 1 Especially significant are the words of the anonymous author of canzone No. 72 in A, who selecting the Notary as the acknowledged master of amorous song, " quegli ch'e d'amor fino" sends him his love complaint, asking him to sing it every morning " infra la giente." z The search for documentary evidence of a notary bearing the name of Giacomo da Lentino, contemporary of Pier della Vigna and consequently of Frederick II, was rewarded by Zenatti's dis- covery of two privileges of Frederick II drawn up by Giacomo. One, 3 dated March, 1233, near Policoro, a town in Basilicata, is the deed of gift to Frederick's son, Conrad, of the town of Gaeta and several fiefs of the Abruzzi; the other, 4 dated June, 1233, at Catania, confirms to the abbot and monks of San Salvatore the privileges granted to their monastery by the Norman kings, by Henry VI and Constance. Both refer to Giacomo in the words " per manus Jacobi de Lentino notarii et fidelis nostri scribi." A more recent important discovery by Garufi 6 afforded the means of identifying other documents drawn up by Giacomo. Among the ancient archives of the Tabulario di S. Maria delle Moniali of Messina, Garufi found a document of May 5th, 1240, in which the name of Giacomo appeared in autograph signature as witness, and in which he is mentioned as lacobus de Lentino domini Imperatoris notarius* From the handwriting of the autograph Garufi was able to identify the hand of Giacomo in two other imperial documents of 1233, the originals of which he examined. One of these (Bohmer-Ficker, 2020) 7 lacks the name of the notary who drew it up; the other (Bohmer- 1 Sidle diver genze dei canzonieri, in Rendiconti d. R. Accademia dei Lined, Sept. 6, 1885. The names of Gugl. Beroardi and Stefano di Messina might be added to the list. 2 It is perhaps significant that Giacomo's canzoni are placed first in Ms. A; his sonnets also are given first place in the sonnet section. Cf. Caix, Ortgini, p. 20. J Bohmer-Ficker, 2017; Zenatti, Arrigo Testa, p. 3. See Appendix, doc. I. 4 Bohmer-Ficker, 2022; Zenatti, Arrigo Testa, p. 4. See Appendix, doc. III. * Garufi, Archivio Stor. ital., series V, vol. xxxiii, pp. 403 ff. 8 See Appendix, doc. VII. 7 Die Regesten des Kaiserreichs, see Appendix, doc. II. xvi INTRODUCTION Ficker, 2030) was written per manus Jacobi notarii. B.-F., 2020, was dated Messina, June, 1233; apart from the place and the date, it offers us no new facts about Giacomo. B.-F., 2030, was dated Palermo, September, 1233. As the notary " Jacobus " mentioned in it is the same person as the " Jacobus de Lentino " of B.-F., 2017 and 2022, and as no other Jacobus appears by name as imperial notary for the year 1233, it seems highly prob- able that the " Jacobus notarius " of another document (B.-F., 2029), written at Castrogiovanni, in the centre of Sicily, August 1 4th of the same year, was also Giacomo da Lentino. 1 In any case the four other documents already mentioned, B.-F., 2017, 2020, 202 2, 2030, prove that Giacomo as notary followed the Emperor in the journey that he made from Policoro, in Basili- cata, to Palermo, by way of Messina and Catania, from March to the end of August, 1 233.2 If the Emperor stopped in August at Castrogiovanni, Giacomo da Lentino would naturally be with him, and he would naturally be the " Jacobus " to whom was delegated the task of drawing up the letters patent (B.-F., 2029) in which Frederick approved of the terms that Gregory IX had made between him and the Lombard towns. It was Pier della Vigna that had brought to the Emperor in Sicily the news of this compromise effected by Gregory, and it was he also that carried back to the cardinals the letter from Frederick written by the hand of his poet friend, the notary Giacomo. Would not this meeting at Castrogiovanni, as Garufi. suggested, be a most opportune time for Pier and Giacomo to become acquainted, and might it not have been very fittingly then and there that they, poets both of them, as well as imperial officials, replied to the question on the nature of Amore proposed by lacopo Mostacci (Tenz. i) ? And might not Pier on his re- turn to Rome in the same year have served as the natural inter- mediary between Giacomo and the Abate di Tivoli ? 3 1 Zenatti, A. Testa, p. 5; H.-B., iv, 451; Bohmer, Ada, no. 302. App., doc. IV. 1 Torraca Studi, p. 84; Garufi, p. 405. Cf. Canzone XIV, 11. 21-25. 1 Tenz. II; cf. Garufi, p. 406. There would of course have been other opportu- nities. INTRODUCTION xvii Between September, 1233 and the spring of 1240, we have no further documentary mention of Jacobus de Lentino. This long silence raises two questions: (i) Did Giacomo accompany the Emperor any farther in his travels ? (2) Was he merely a temporary imperial notary, serving at Frederick's court in 1233 alone ? In attempting to decide the first of these questions it is well to recall the itinerary followed by Frederick during the remainder of the year 1233. At Palermo, where Giacomo wrote B.-F., 2030 in September, the imperial court remained for at least part of October; thence it moved to Girgenti, Butera and Syracuse, arriving about the end of the year at Giacomo's native town Lentini, where a parliament (solemne coloquium) was to be held. Even if we assume that the privilege of September (B.-F., 2030) is the last official duty performed by Giacomo as imperial notary, it is at least highly probable that he would have taken advantage of the Emperor's itinerary to visit again his native place Lentini as one of Frederick's honored officers. 1 But there is no evidence that his imperial duties now cease. 2 Some at least of the five extant documents written between October 12 and the arrival at Lentini may very well have been drawn up by the hand of Gia- como, 3 and he may have continued in the Emperor's employment long after Frederick passed on from Lentini to Messina, January, 1234. But it may seem strange that Giacomo should remain for the following six years in the Emperor's employment and that we should find no mention of his name in the large number of exist- ing imperial documents written during that time. Yet it is fre- quently the case that the name of an imperial notary, after 1 See Canzone XTV, 11. 21-25; Garufi, p. 406. 2 The absence of a notary's name in the five documents written between September and the arrival at Lentini proves nothing, for in the seventeen documents we possess for the year 1 233 four only bear the name of the notary who drew them up. J If we were able to consult the originals, the test of the handwriting would be conclusive. I have been unable to discover how many notaries accompanied Frederick in his travels. xviii INTRODUCTION appearing in the documents for a time, is not found again for several years. Thus Jacobus de Catania appears as imperial notary in documents for 1220 and 1221, then not again till 1227, after which there is another silence till 1231, when he appears for the last time. Letters patent usually lacked the notary's name, and one may read, for example, all the documents for the year 1234 in Huillard-Breholles without finding a mention of the notary who drew them up. In the spring of 1240 we have four documentary mentions of a Jacobus de Lentino. The Emperor, writing from Lucera in Apu- lia, April 3, to Guillelmus de Anglono, " justitiarius Sicilie citra flumen Salsum," acknowledges the receipt of some mules delivered to him " per predictum nuntium tuum Jacobum de Lentino." l Again, on April 29th, Frederick writes from Coronata to the " provisorem castrorum in Sicilia citra flumen Salsum " about supplies necessary for the fort of Carsiliato, near Lentini, 2 under the command of Jacobus de Lentino. And finally, on May loth, writing from Foggia, he authorizes Obertus Fallamonachus, se- cretus for all Sicily, to deliver to Jacobus de Lentino the supplies necessary for the fort of Carsiliato. 3 Meanwhile, on May 5th, Jacobus de Lentino " domini Imperatoris notarius " had appeared as witness in Messina. So we have in the spring of 1 240 the name Jacobus de Lentino applied to a person, or to persons, performing three different im- perial duties in the same jurisdiction, Eastern Sicily. Could this notary, this envoy, and this governor of a fortress be one and the same person ? 4 In other words, might a Jacobus de Lentino, who had traveled with the Emperor as notary in 1233, be sent from Messina to the Emperor at Lucera as envoy, arriving about the first of April, 1240; at the same time, or shortly after, repre- 1 B.-F. 2953; H.-B., V, 880; see App., doc. V. * Garufi, p. 412; Torraca, Studi, p 88; B.-F. 3041; H.-B., V, 937. J B.-F. 3104; H.-B., V, 984. 4 Garufi, p. 411 ff., proposed the identification of the Notary with the castellan. Zenatti, p. 6 note, thinks the envoy and the castellan may be the same person, but does not suggest the identification of either with the Notary. INTRODUCTION xix sent to Frederick the needs of the fortress of Carsiliato entrusted to his charge; on April 2gth and on May loth be mentioned in the authorization for the supplies desired; and, meanwhile, on May 5th be back in Messina, where he signed his name as imperial no- tary ? The name is identical, the conditions of time and place are met perfectly; it was exceedingly common for a notary to be chosen as nuntius. So far everything is reconcilable. But one objection to such an hypothesis may still be raised: would a notary be in command of a fortress ? Or, putting it in other words: would the governor of a fortress sign himself as imperial notary ? To remove this objection it must be borne in mind that an imperial notary of the thirteenth century was a man represent- ing the educated class and one who, besides his notarial duties, might be used in a number of forms of service to his ruler. A search for close parallels shows us that Henry, provost of Aix-la- Chapelle, was a notary of the Emperor's and was referred to in Huillard-Breholles, V, 281, under March, 1239, as Heinricum Aquensem prepositum, notarium etfidelem nostrum. Another case is that of the unnamed notary provost of Verden mentioned June, 1245 m th words: " Datum per manus magistri [name left blank] praepositi Werdensis, imperialis aulae notarii " (B.-F. 3479; H.-B, VI, 306). We do not at all presume that it is proved that the three refer- ences to a Jacobus de Lentino in 1240 all pertain to our notary poet; it has merely been shown that this is at least a possibility that cannot be totally ignored. Should this possibility be a fact, it would show that Giacomo in 1240 was not in the feeble state of advanced age, as he was able to act as envoy and carry the responsibilities of active military command. As envoy to the Emperor's court at Lucera he would have the opportunity of meeting both Pier della Vigna and Jacopo Mostacci, 1 and this year would be as plausible a date as 1233 for the tenzone between the three. Moreover in April of 1240, Frederick held at Foggia a general parliament to which were summoned the representatives 1 Both were then with Frederick. See B.-F. passim; H.-B., V, 969. xx INTRODUCTION of the cities of the kingdom, and this too would afford Giacomo an opportunity, though by no means the first or only one, of interchanging poetical courtesies with some of his distinguished contemporaries. Though we are left uncertain as to how long the Notary lived, he is at least referred to as already dead in the sonnet Di penne di paone (Ms. A 682), 1 written presumably between 1250 and 1270, the period when Bonagiunta, the probable object of the satire, was known as a new singer (novo canzonero). An effort has been made to add to our meagre information about Giacomo by trying to identify two passages in the canzoni with definite historical events or conditions. A vague compari- son in stanza v of La 'namoranza to a battle fought " on land or sea " was used by Cesareo 2 to construct the theory that Giacomo wrote the poem in 1205, thus placing his poetical career in a period much earlier than is usually accepted, but the impossi- bility of this assumption has been clearly shown by Torraca. 3 Another passage, stanza v of Ben ni'e venuto, refers to conditions in Italy when, in the mind of an imperial adherent, Florence was filled with pride and Pisa was dreading strife with the " orgogliosa gente." The most plausible time for this condition of affairs, according to Borgognoni 4 and Torraca, 5 was about 1246 and 1248. In the former year the Florentine Guelphs showed dis- satisfaction at Frederick's appointment of a podesta, and in 1248 they were overcome by the Ghibellines. In 1245, more- 1 See App. viii. The authorship of the sonnet is disputed, but Ms. A is prob- ably correct, though the poet's name is added by a second scribe. Monaci (Cres- tom., p. 309) favors assigning this sonnet to Maestro Francesco da Firenze (to whom it is attributed by Ms. H.), on the ground that Chiaro, who was himself a close imitator of the Notary, would hardly reproach Bonagiunta for the same fault. But the same might be said of Maestro Francesco, whose pieces seem almost an echo of Giacomo's in ideas, expressions and technique (see D'Anc.C., canz. 197, sonnets, 498, 500, 502). Cf. K. McKenzie, in Publ. M. L. Ass. Amer., XIII, 205. 2 Poes. Sic., pp. 14-17. 3 Studi, pp. 46 ff. Cf. also Pellegrini, Gior. Stor., vol. xxv, pp. no. * Studi d'erudizitme e d'arte, Bologna, 1878, vol. ii, p. 145. * Studi, pp. 21 ff. INTRODUCTION xxi over, Pisa was included in the excommunication issued by the pope against Frederick and his partisans. If this view were correct we should have evidence of Giacomo's life extending at least to the year 1 248, a fact not in the least surprising when we have the document of 1240, referred to above, bearing his signa- ture. But Torraca's conclusions were opposed by Sanesi, 1 who contended that Pisa had always been devoted to the Empire, and that it is not necessary to come down as late as 1245 to explain the Notary's statement, which does not contain any allusion to the pope or the Guelphs, but simply means: "imitate Pisa who is judicious and prudent, and fear a comparison or re- semblance to proud people." Sanesi, moreover, saw in the allusion to the carroccio of Milan, a reference to the battle of Cortenuova, 1237, thus agreeing with the interpretation first pro- posed by Gaspary. 2 Pelaez 3 opposed the theories of both Tor- raca and Sanesi, regarding the reference as a vague one that might have referred equally well to the period between 1210 and 1230. This is perhaps the safest conclusion. We have then just two trustworthy dates for Giacomo's life, 1233 and 1240. No definite time can be given for his birth, but it must have occurred before 1210. His end is veiled in silence. Did he survive Pier della Vigna and Frederick, and live to see the tragic end of the Hohenstaufen cause, or did he die before his emperor ? We cannot say. In any case, the dates we possess and his literary associations show him to be one of the very earliest Italian poets whose verse has come down to us. The influence of Giacomo and the esteem he enjoyed in the thirteenth century are attested by a reference in the sonnet of Chiaro Davanzati's, 4 Di penne di paone e d'altre assai, in which Bonagiunta da Lucca is satirized as the crow falsely donning the brilliant peacock plumage of the Notary, then no longer living; 1 Gior. Slor., vol. xlii, p. 165. 1 Scuola sicil., pp. 18, 19. 1 Krit. Jahresberichi, vol. vii (1902-03), pt. ii, pp. 244 ff. 4 See above, p. xx, and App. viii. xxii INTRODUCTION and this accusation is in harmony with the words of Bonagiunta in Purg., xxiv, 55-60: ' O frate, issa veggio,' disse, ' il nodo Che il Notaro e Guittone e me ritenne Di qua dal dolce stil nuovo ch' i' odo. lo veggio ben come le vostre penne Diretro al dittator sen vanno strette, Che delle nostre certo non awenne.' 1 Here Giacomo is chosen by Dante as the chief representative of the Sicilians, who, like their followers Guittone and Bonagiunta, were prevented by the shackles of conventionality and artifice from attaining the sincerity and spontaneity of the dolce stil nuovo. 2 2. His POETRY As the poetry of the Sicilian School has been frequently made the subject of exhaustive study, it is not necessary to repeat here con- cerning Giacomo that which is characteristic of the whole group. In a general way he has the merits and weaknesses of his fellow poets, though standing out prominently among them as their half-acknowledged chief. Far more of his poetry has been pre- served than that of any of the others, and in more variety of forms. Most of the other Frederician court poets are repre- sented in the existing Mss. by a few canzoni alone. Pier della Vigna and Jacopo da Mostacci have in addition one sonnet each, whereas Giacomo's name appears over a score of canzoni, a much larger number of sonnets, and one discordo. With the exception of one sonnet the poetry of the Notary deals exclusively with the theme of love. His canzoni represent the worship of the lover for his proud and beautiful madonna, his entreaties for her mercy, his hesitation to declare his love, the cele- bration of the lady's beauty, his exultation at the thought of her favors, and the sorrow he feels at being separated from her. The 1 Cf. Krit. Jahresbericht, vol. xi, pt. ii, p. 349. 2 In the Vulg. Eloq., lib. i, c. 12, though he seems to be confused as to the authorship, Dante praises one of the Notary's canzoni. See note to Canzone i. INTRODUCTION xxiii sonnets, while treating similar themes, are especially concerned with the discussion of the nature and power of amore. In one son- net only the poet abandons his usual amorous theme and discusses instead the ideal of friendship. The one discordo of Giacomo's that has come down to us is an amorous rhapsody, written hi lines of varying length, with rimes in shifting order, and hence offering no regular division into stanzas. This form, somewhat akin to the Provencal bals, 1 did not survive long on Italian soil. The sense is often obscure, and it is evident that the words were entirely subordinate to the music. The style of the Notary's work will be seen to present a cer- tain amount of variety. Though in most of the rime he carries on the conventions of the Provencal troubadours in the languish- ing worship of a proud madonna, often expressed with intricate technical artifice, other pieces, strangely enough, contain a surly protest against these simpering insincerities; and again, hi one or two lyrics, the style and the movement follow the realistic manner and sincere passionate tone of a more popular kind of poetry in which chivalrous conventions are unknown. This variety of manner has raised the question as to which is the earlier; a question of great delicacy and one, perhaps, that can never be decided. In fact the various styles of rime may be products of the same period in his life. Giacomo composed in a period when Italian poetry was probably being transformed, passing from a style and forms inherited from the people into those inspired by imitation of the poetry of other countries. 2 The Emperor, his patron, was in close relations with such great Minnesingers as Walter von der Vogelweide; and from the south of France the poetry of the troubadours was invading the court and winning 1 Cf. M. Casella, in Bull. Soc. Dant., xix, pp. 281, 282, and the references therein given. 2 Perhaps the older popular poetry was entirely supplanted in court favor by the time Giacomo began to write. Cesareo (p. 257) divided Giacomo's poetical career into three stages: (i) ' borghese,' (2) ' aulico,' (3) ' dottrinario,' but it seems improbable that his different manners correspond dearly to definite periods. Cf. De Lollis, Gior. Star., xxvii, pp. 1 1 2 ff . xxiv INTRODUCTION increasing admiration. Giacomo was carried along with the movement and tried almost every possible experiment in the Provencal manner. One day he might have composed a can- zonetta, inspired directly or indirectly by some simple, sincere little Provencal song, and then a few days later been tempted to imitate the artificial graces of some technically elaborate canso, expressing the stereotyped form of courtly love, with the result that a modern reader feels inclined to assign the first piece to an earlier period of naive sincerity, and the second to a later development, when in reality the difference of manner is simply derived from a foreign source. Giacomo's poetic art had developed along with the growing popularity of Provencal style, to which his own pieces doubtless contributed. In time, by his exceptional talent he became a leader, an arbiter elegantiarum in matters of amorous verse; men in various places, like Jacopo Mostacci, the Abbot of Tivoli, and the anonymous writer of Amore non saccio (Ms. A 72), appealed to him to decide questions of love or to plead their suit, until the worthy Notary grew weary of it all and expressed an indig- nant protest in the canzone Amor non vole ch'io clami and the sonnets in tenzone with the Abbot. Did any reform in his poetic manner result from this disgust at the prevailing fashion of lovers crying for mercy and appealing to a deified Amore P 1 Was it merely a passing mood ? Was he still young at the time, or in middle age, or growing old ? The sharpness of his tone to the Abbot and the latter's great respect for him suggest old age. But, on the other hand, he was " as full of love as a sponge is full of water," 2 and could not bear the reproach of being un- scathed by Amore. Most probably he was in the prime of man- hood, and we may venture to look upon a sonnet like lo m'agio posto in core as a product of this period, when he was still compara- tively young and yet at the full maturity of his art. Taken as a whole, Giacomo's poetry shows clearly the efforts 1 Cf. Bartoli, Storia d. lett. ital., ii, p. 171; Cesareo, pp. 268 ff. 2 Cf. sonnet VII, 11. 13, 14. INTRODUCTION xxv of a man groping to find his way in the possibilities of poetic expression. Some of his experiments, as for example when he tries to find his salvation in technical virtuosity, result disas- trously (Lo viso e son diviso). Sometimes he is flatly mediocre, but other pieces again combine a pretty, naive grace with con- ventionality of formula, and a few of the songs are charmingly sincere. Some of the canzoni are in the simplest forms (nos. 2, 3, 9, 10) ; but others show all the intricacies of Provencal technique. 1 The device of stanzas unissonans is used in canzoni 4, 5, 8 (coblas doblas) and 15. Collegamento occurs in nos. 4, 7, n, 12, 15. Internal rime, moreover, occurs in i, 4, 5, 6, 12, 13, 14, 15; and the early form of Italian commiato, contained in the last stanza, identical in form with the others, occurs in no. 2. The most complicated canzoni are nos. 4 and 15. In the sonnet form Giacomo had no predecessors that are known to us. Of the thirty-five sonnets of the early Sicilian School that have survived, twenty-five are attributed to him; of these we have placed twenty-one hi our undisputed class, and four others among the doubtful ones. There can therefore be little doubt that the Notary deserves the honor of being the earliest master of the sonnet, and it is quite possible that he was its inventor. All his sonnets, like the others of his school, have fourteen hendecasyllabic lines, with two quatrains, abab, abab, and a sestet. Only two sonnets have internal rimes (21 and 25). In the sestet three varieties of rime order occur: cde, cde, in fifteen sonnets out of twenty-five; cde, dcd, in nine; ccd, ccd, in one. In one of the sonnets with the cde, cde scheme, one of the rimes is the same as one in the quatrains (No. 3, c = a). This occurs also in the two other sonnets of the same tenzone and may be an embellishment suggested by the similar device, used in the can- zone, of repeating in the volta one of the rimes of the first part. 1 For a discussion of the versification of the whole Frederician group see Repert- ory, Analysis of the Technique, pp. 500 ft. xxvi INTRODUCTION In no. 17 two equivocal rimes are carried right through the son- net, the sestet having ccd, ccd (c = a, d = b). In the early Mss. the sestets are always divided into the two tercets. Equiv- ocal rimes are used in nos. 9 and 10, as well as in no. 17. In no. 21 the sestet closes with the repetition of the eleventh line, suggesting a kind of ritornello. 1 In a number of sonnets the tone is didactic and argumentative, rather than lyrical, and the effect of this group is distinctly monotonous. The best sonnets are those of purely lyric inspira- tion, such as nos. 15 and 16 (sestet). As we should expect, the artistic possibilities of the form have not yet been realized, and in general the movement is rather stiff and mechanical. After the Notary's death, Italian poetry advanced with wonder- ful rapidity to the perfection of the dolce stil nuovo, and then to the finish and grace of the age of Petrarch, yet we see that the primitive art of Giacomo da Lentino is not forgotten, nor alto- gether despised. We have mentioned earlier the prominence given to him by Dante in the Purgatorio. The canzonieri of the end of the thirteenth century still assign him a commanding place among the fast fading Sicilians; and so it continues through the manuscripts of the fourteenth century. Petrarch, it is true, pays small respect to the poets of Frederick's court, 2 but in the following century Lorenzo de' Medici, who first after Dante attempted to classify and estimate the earliest poetry, declared that the Notary must not be passed over in silence, 3 and gave him the largest place among the few Sicilians in his canzoniere. Bembo and Trissino mention him with respect, 4 the famous Giun- tina edition of 1527 does not neglect him entirely, his memory is 1 Cf. Biadene, Morfologia del sonetto, p. 19, note. 1 Trionfo d'Amore, canto m, 11. 34 ff. 8 N si deve il lucchese Bonagiunta e il Notaro da Lentino con sflenzio trapas- sare; 1'uno e 1'altro grave e sentenzioso, ma in modo d'ogni fiore di leggiadria spogliati; che content! doverebbero restate, se fra questa bella masnada di si onorati uomini li riceviamo. Epistola a Fed. d'Aragona in D'Ancona e Bacci, Man., ii, 84. 4 Bembo, Prose, lib. ii, p. 274, edit, of 1810; Trissino, Poetica, Div. 3. INTRODUCTION xrvii kept living in such works as the Topica poetica of Gilio and the Bella Mano until Allacci's collection of lyrics brought to light many of his pieces that had slumbered in oblivion for over three centuries. After Allacci, Crescimbeni, Zana, and Occhi took up the tradition of Notaro Giacomo, till finally the large collection of Valeriani in 1816 added more poems to those already published, and presented Italy with practically all his lyrics preserved in the Mss. and a number of unauthentic ones, in a form very imper- fect, it is true, but of great value for the time. Since Valeriani, numerous anthologies and manuals have given, generally speak- ing, a fair representation of our poet's work. With Bartoli, Caix, and Gaspary, the study of early Italian literature assumed more precision and historical appreciation, the activities of living scholars continued the work, and the poetry of the thirteenth century notary was at last published in part by D'Ancona and Comparetti and by Monaci in the oldest form available. Until the present time however it has not appeared complete in a critical edition. 1 H. MANUSCRIPTS, EDITIONS, AND OTHER WORKS FREQUENTLY REFERRED TO i. MANUSCRIPTS A = Vaticano 3793. The richest Ms. collection of thirteenth century rime extant. Written near the end of the thirteenth century or the begin- ning of the fourteenth. Described by Caix, Origini, pp. 19-24. For the first tune published complete by D'Ancona e Comparetti, 1875-88 (see D'Anc. C., below, p. xxxiv); published diplomatically by Satti, Egidi, and Festa, Societa Filologica Romana, 1902-1908. See also Grion in Boehmer's Rom. Studien, i, 61, and Debenedetti, Intorno ad alcune pastille di A. Colocci in ZRPh., xxviii, 56. It contains canzoni i, 2, 3, 4, 5, 6, 7, 8, 13, 14 (anon.), 15 (rubric and first twelve lines lost), 16 (Guilglielmo Beroardi), 17 (Tiberto Galliziani da Pisa), 1 8 (Piero de le Vingne), 19 (Rinaldo d'Aquino), 20 (Notaio Arigo Testa da Lentino), 21 (Piero de le Vingne), 22 (originally anon.; but an old anno- tator wrote over it " Jacopo ") Fragments i, 2. Discordo. Sonnets 1 See under Baudo, in chapter on Editions, etc. xxviii INTRODUCTION S, 7, 9, 10, n, 12, 15, 27; 4, 6, and 8 (all three by the Abate di Tivoli in tenzone), 13 (anon.), 14 (anon.), 28 (anon.), 29 (Petri Morovelli), 31 (anon.), 32 (anon.), 33 and 34 (Jacopo da Leona), 35 (Rustico Filippi), 36 (Bondie Dietaiuti). The canzoni 9, 10, n, 12, 15 (first twelve lines), and the canzoni of which we have fragments i and 2 were originally in the two sheets which have been lost, between 3 b and 4*. The first lines of these are given in the index to the codex. As they occur among an unbroken series of canzoni under Giacomo's name, and as they have been preserved, with the exception of the two fragments, as Giacomo's in B, in the part of common origin with A, there is hardly room for doubt that in A also they had this attribution. The two fragments are not found elsewhere. A 1 = Vaticano 4823. A copy of A made at the order of Bembo or Colocci. See Monaci in ZRPh., i, 376; Casini, Poeti Bol., p. xxvii; Arnone, Rime di G. Cavalcanti, p. xxxiii; Egidi, 77 libra de varie romanze wig. (Soc. Fil. Rom., fasc v vii, p. xvii.) Not cited in the text. B = Laurenziano Rediano 9. Parchment Ms. of about the end of the thirteenth century. Described by Caix, Orig., pp. 6-9; published complete by Casini (// Canzoniere L-R.) in Collez. di Opere ined. o rare, Bologna, 1900. It contains canzoni i, 2, 3, 4, 5, 8, 9, 10, 15, 16, 20; 17 (Rugieri d'Amici), 21 (Notaro Stefano di Pronto di Messina). Discordo. Sonnets 13, 14, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 28, 29, 30. In the variants the words and letters in [ ] were added by a later hand; those in ( ) were cancelled by the old copyists. B 1 = Mediceo-Laurenziano pi. xc, inf. 37. Paper Ms. of the fifteenth cen- tury. The Sicilian pieces in it are derived from B. The table is given by A. M. Bandini, Catal. codd. Mss. bibl. Med.-Laur., vol. v, columns 435-448; see also Massera, ZRPh., xxvi, n; Caix, Orig., 11-14. It contains canzoni 2, 16; sonnets 22, 30. B 2 = Vaticano 3213. Paper Ms. of the second half of the sixteenth cen- tury. A copy, as far as Giacomo's verses are concerned, of B 1 . See Casini, Poeti bol., p. xiii, and Gior. Stor., iii, 162 and note. It contains canzoni 2, 16; sonnets 22, 30. [B 3 ] = The Aragonese collection; i.e., the collection of old rime made by Lorenzo de' Medici for Frederick of Aragon; copied from B 1 . This collec- tion is now lost. 1 See Casini, Poeti Bol., p. xii; Barbi, Studi di Mss., p. 5, n. 6, p. 8 n., p. 53; Manicardi-Massera, Introduzione al testo critico del canzoniere di Boccaccio, 1901, p. 8; Massera, ZRPh., xxvi, IO-H. It must have contained canzoni 2, 16; sonnets 22, 30. 1 According to Casini, Poeti bol., p. xii, it was the source of B 1 . INTRODUCTION xxix B 4 = Palaiino 204. First half of the sixteenth century. A copy of B 3 . Caix, Orig., 14; Casini, Poeti bolognesi, pp. xii, xiii; table in L. Gentile, / codici palat., i, 219; Massera, ZRPh., xxvi, n l . It contains canzone 2; sonnets 22, 30. B 5 = Ital. 554 of the Bibliotheque Nationale of Paris, of the sixteenth cen- tury. Another copy of B 3 . See Massera, ZRPh., xxvi, p. n; G. Mazzatinti, Inventario dei codd. ital. delle biblioteche di Francia, i, 109; ii, 130, ff. (table). It contains canzoni 2, 16; sonnets 22, 30. [B 8 ] = // Libra Reale. Canzoniere of about the year 1500, now lost. In the part containing rime of Giacomo it was a partial copy of B. See Monaci, ZRPh., i, 375; Molteni, Gior.fil. rom., i, 50; Caix, Orig., 10; Debenedetti, ZRPh., xxviii, 56. It contained canzoni 3, 4, 8, 10, 15, 16; also 21 (probably under Stefano di Pronto di Messina) ; discordo. B 7 = Moticke 1487 of the Governativa of Lucca. Paper Ms. of the eighteenth century. Derived from B. See Parducci, Rimatori lucchesi, Bergamo, 1905, p. xcvii; G. Zaccagnini, Rimatori pisioiesi, Pistoia, 1907, p. cxlii. Not cited in the variants. It contains under Giacomo's name canzoni i, 2, 3, 4, 5, 8, 9, 15, 16, 20; discordo; sonnets 13, 14, 16-26, 28-30. C = Palatino 418. Parchment Ms. of about the end of the thirteenth century. See Caix, Orig., pp. 15-18, 265-269; Gentile, / Codici palatini, i, 580. Published by Bartoli and Casini in Propugnatore, 1881-1888, also separately 1888. It contains canzoni i, 2, 5, 12, 17; also 9 (Rugieri d'Amici), n (anon.), 13 (Rinaldo d'Aquino), 15 (Guido da le Colonne), 16 (Piero de le Vigne), 1 8 (Jacopo Mostacci), 19 (Rugieri d'Amici), 20 (Arrigus Divitis), 21 (Piero da le Vigne); sonnet 14 (anon.). C 1 = Universilario Bolognese 1 289. Paper Ms. of the sixteenth century. Also called sometimes the Codex Amadei. The part (section I) containing the only piece of Giacomo's was derived from the lost Beccadelli codex, which got it, directly or indirectly, from C, or from the same source. Con- tents given by Lamma, Gior. Star., xx, 151, with additions by Frati, Gior. Stor., xxiv, 300. See also Massera, ZRPh., xxvi, 8, 19. It contains canzone 12. D = Chigiano L, viii, 305. Parchment Ms. of the second half of the four- teenth century. See Caix, Orig., pp. 30-32. Published by Monaci and Molteni in Propugnatore, 1877-1878; also separately, 1877. See also Bartsch in Jahrbuch fiir rom. u. engl. Lit., 1870, xi, p. 173. 1 Massera (pp. n, 12 of the ZRPh.) proposed the identification of this Ms. with the Brevio codex that contributed to the formation of J, but this could not be, as the Brevio must have contained canzone 16, lacking in B*. xxx INTRODUCTION It contains canzoni 12, 18, 19, 21; also 13 (Rinaldo d'Aquino); sonnets 4, 5, 6, 7, 35, and 36 (all six anon.), 37 and 38 (lacopo Cavalcanti). D 1 = Magliabechiano, vii, 7, 1208. Paper Ms. of the first half of the fif- teenth century. Fragment of a larger canzoniere. Derived from D. See Casini, Sopra alcuni Mss. di rime in Gior. Star., iv, 116. It contains canzone 19; also 21 (Jacomo da Tolentino) ; sonnet 37 Qacopo Cavalcanti). E = Memoriali dell' Archivio notarile di Bologna. The early Italian rime published by Carducci, Intorno ad alcune rime, etc., Imola, 1876; and by Pellegrini, Rime inedite, in Propugn., 1890, N. S., iii, part 2, 154-156. They contain canzone i (anno 1288, first fifty-one lines); sonnets 5 and 6 (anon., anno 1300), 27 (anno 1310, first two lines). F = Vaticano Barberino Latino 3953 (formerly Barb., xlv, 47). Parch- ment. Compiled between 1325 and 1335 by Niccolo de' Rossi of Treviso. Shows the coloring of the Venetian dialect. Published by G. Lega, in the Coll. di op. ined. o rare, Bologna, 1005. It contains sonnet 3; also sonnets i Qacopo Mostacci, tenzone), 2 (Petro da la Vigna, tenzone), 28 and 30 (both under Monaldo d'Aquino). G = Codex Parmense 1081 (H. H., iii, 113). Paper Ms. of the first half of the fifteenth century. See Costa in Gior. Stor., xii, xiii, xiv. In the one sonnet in our text it is closely related to B. It contains sonnet 28 *. H = Vaticano 3214. Paper Ms. of the early part of the sixteenth cen- tury, derived from the lost Beccadelli codex. Published by M. Pelaez, Bologna, 1895. See also Caix, Orig., p. 18; Manzoni in Riv. di Filol. Rom., i, 71; Massera, ZRPh., xxvi, 5 ff., also 19. The two canzoni were derived by the Beccadelli codex, directly or indirectly, from C; the two sonnets seem indirectly related to D. The part of H containing the former we shall call H(Q. It contains canzone 12; also 15 (anon.); sonnets 37, 38 (both under the name " Jacopo " only). J = Cod. Bartoliniano, of the sixteenth century. Table given by Massera, Rivista delle Biblioteche, xi, 1900, pp. 64-80. See also Barbi, Studi di Mss., etc., Bologna, 1900; Massera, ZRPh., xxvi, 1902, pp. i ff.; Lamma, Gior. Stor., xx, 151. Variants not given. It contains canzoni 2, 12, 16; also 13 (under Rinaldo d'Aquino); sonnets 22, 30; also 5 (anon.), 37 (under Jacopo Cavalcanti). In the parts containing pieces by Notaro Giacomo J was derived from three different sources, and in accordance with these sources we shall dis- tinguish between J(B), J(C), J(D). > For the copy of this sonnet I am indebted to the kindness of Professor Kenneth McKenzie of Yale University. INTRODUCTION xxri I. J(B) was derived from the so-called " Brevio Ms.," which came from B 1 and therefore indirectly from B. It contains canzoni 2, 16; sonnets 22, 30. n. J(C) was derived from the Beccadelli Ms., now lost, which got can- zone 12 from C. It contains only canzone 12. in. J(D), derived from the " Bembo Ms.," closely related to D, if not de- rived from it. It contains canzone 13, sonnets 5, 37. P = Ashburnhamiano 479, of the Laurentian Library at Florence. A sixteenth century copy of J. SeeBarbi, Studi, pp. 21 ff. and 51 ff.; Massera, Riv. d. Bibl, xi, 67, 68 note. The parts of J 1 derived through J from B, C, D are referred to as J(B), p(C), P(D). It contains canzoni 2, 12 (twice), 16; sonnets 22, 30. P = Riccardiano 2846. Of the sixteenth century, finished in 1581. De- rived from an interleaved copy of the Giunti edition of 1527 and from p. See Barbi, p. 40, and Massera, Riv., p. 68 note; table given by Casini, Gior. Star., iii, 171 ff. The parts of P derived through J from B, C, D are referred to as P(B), p(C) P(D). It contains canzoni 2, 12, 16; also 13 (Rinaldo d'Aquino); sonnets 22, 30; also 37 (Jacopo Cavalcanti). P = Ashburnhamiano 763 (Florence, Laurentian Lib.). Of about the year 1600. Derived from J. See Barbi, Studi, pp. 35-40 and 51. The parts of J 3 derived through J from B, C, D are referred to as J 3 (B), P(C), P(D). It contains canzone 13 (under Rinaldo d'Aquino); sonnet 37 (Jacopo Cavalcanti) . P = Bolognese 2448. Of the second half of the sixteenth century. De- rived from J. See Barbi, Studi, p. 6; Lamma, I codici Trombelli, in Propugn., N. S., vi, 1893, pt. 2, p. 227. Of P there are several copies mentioned below. The parts of J 4 derived through J from B, C, D are referred to as J 4 (B), P(C), J(D). It contains canzoni 2, 16; also 13 (Rinaldo d'Aquino); sonnets 22, 30; also 5 (anon.). J 5 = Cod. Barbi, belonging to Sig. Michele Barbi. Written in 1564. A direct complete copy of J 4 . See Barbi, Studi, p. 6 and note. p = Marciano IX ital. 292. Written 1753. A copy of p. See Barbi, p. 6; Massera, Rivista, pp. 65, 68 note. Jr = Bergamasco X, v, 47. Written by Serassi 1747. A copy of P. See Barbi, p. 6; Massera, Rivista, p. 65, 68 note. P = Corsiniano 45, c. 12. Second half of the eighteenth century. A copy of J 4 . See Barbi, p. 6; Massera, Rivista, 65, 68 note. P = Nazionale of Naples, xiv, D. 16. Of the eighteenth century. A copy of J 4 . See Barbi, p. 6; Massera, Rivista, 65, 68 note. xxxil INTRODUCTION P = Bilancioniano, Bibl. Comun, di Bologna. A copy of J 4 . Massera in Rivista, p. 65 note, 68 note. P 1 = Nazionale, Rome, 397. Written in 1855. A copy of J 4 . See Barbi, Studi, p. 6. K = Chigiano L., iv, 131. Paper Ms. of the sixteenth century, " di fonte molto dubbia ed impura." See Casini, Poeti bol., p. xxi; Arnone, Rime di G. Cavalcanti, p. xxxi. Giacomo's pieces derived from C. It contains canzoni i, 2; also 13, 18 (anon.). L = Cod. Bologna. Parchment codex of the fourteenth century; so called because owned by Sig. Aw. C. Bologna of Florence. To-day it is the Marciano Ital., i, 529. See Casini, Poeti bol., p. viii, and in Propugn., N. S., xv, pt. 2, 331, article Rime ant. dei secc. xiii e xiv. Also Casini, Gior. Star., ii, 334. It contains the unauthentic sonnets 35, 36. M = Magliabechiano vii, 1040. Of the fourteenth century. Casini, Gior. Stor., ii, 339 note. The Italian pieces were published by Carducci, CantUene e Ballate, pp. 52 ff.; by Ferrari, Bibliot. d. lett. pop., i, 69 ff., and by Wiese, Gior. Stor., ii, 115 ff. It contains the unauthentic sonnets 35 (Messer Palamides de Bellendore) and 36 (anon.). N = Magliabechiano 640. Of the sixteenth century. Mentioned by Trucchi, i, Correzioni, at end of the volume. It contains the unauthentic sonnet 39. O = Moiicke 1400 of the Governativa of Lucca. Paper Ms. of the eight- eenth century. Giacomo's pieces are copied from Ms. C. On p. 150 appears the list of Giacomo's rime that are given in B 7 , with the omission of Madonna dir w voglio. See Valeriani, I, pp. vi, vii; Propugn, xiv, pt. i, p. 233; Parducci, Rimatori lucchesi, p. xcviii. It contains under Giacomo's name canzoni 12, 17. P = Moiicke 1499 of the Governativa of Lucca. Paper; eighteenth cen- tury. The library catalogue is mistaken in stating that this Ms. is similar to no. 1487 (B 7 ). Giacomo's pieces were probably derived from C. See Valeriani, pp. vi, vii. Parducci, Rimatori lucchesi, p. xcviii; Zaccagnini, Rimatori pistoiesi, p. cxlii. It contains under Giacomo's name canzoni 5, 12, 17. INTRODUCTION xxxiii 2. EDITIONS l AND OTHER WORKS FREQUENTLY REFERRED TO All. : Allacci, Poeti antichi raccolti da codd. Mss. delle biblioteche Vaticana e Barberina, Napoli, 1661. Contains canzoni: 2-8, 12, 13, 16, 18-21; dis- cordo; sonnets, i, 2, 3, 5, 7, 9-12, 15, 22, 27, 30, 32-34, 37, 38. Andreola, Lirici del primo e secondo secolo (Parnasso ital., vol. ii), 1819, 1820. Variants not given. Ant.: Lirici del sec. primo, secondo e terzo, Venezia, Antonelli, 1846; com- piled by Francesco Zanotto (vol. ix of the Parnasso ital.). Variants not given. It contains canzoni i, 2, 7, 9, 13, 16, 19, 20; sonnets 2, 3, 7, 9, 10, 13, 14, 15, 16, 17, 19, 20, 21, 22, 24, 26, 27, 34, 37. Baudo, Storia di Lentini, 2 vols., Lentini, 1898, 1902. Stabil. Tipogr., La Voce del Popolo. Vol. II contains almost all of Giacomo's pieces, including most of the unauthentic ones. It is an uncritical copy of other editions, especially Valeriani. Though not an independent scholarly piece of work as far as the text of the poetry is concerned, it is occasionally cited in the variants, since it is the most complete collection of Giacomo's poetry hitherto published. It lacks canzoni u, 22; sonnets 4, 6, 8, 35, 36. Bella Mano . . . per lacopo de Corbinelli, Paris, 1595. After p. 59 a " Raccolta di antiche rime" etc. Contains sonnet 22. Bertoni, G., // Duecento, Milano, 1910. Bohmer, J. F., Ada Imperil Selecta, Innsbruck, 1870. B.-F. : Bohmer, J. F., Die Regesten des Kaiserreichs unter Philipp, Otto IV, Friedrich II, neu herausgegeben . . . von Julius Ficker, Innsbruck, 1881. But.: Butler, A. J., The Forerunners of Dante, Oxford, 1910. It contains canzoni i, 2, 5, 7, 15, 17, 21. Caix, Origini della lingua poetica ital., Firenze, 1880. Card.: Carducci, G., Antica lirica ital., Firenze, 1907. It contains can- zoni i, 2, 7, 13, 16; sonnets, 1-8, 10, n, 15, 16, 22. Cas. Ann.: Casini, Annotazioni in vol. v of D'Anc. C. Casini, Poeti bol.: Le Rime dei poeti bolognesi del sec. xiii, Bologna, 1881. Ces.: Cesareo, La poesia sicil. sotto gli Svevi, Catania, 1894. It contains canzoni 3, 7; sonnets i, 2, 3, 13. 1 This does not pretend to be a complete bibliography, as the works containing one or two of the Notary's pieces are innumerable; but we have endeavored to mention all those which are of interest and importance owing to their date, influence, or scholarly value. For a fuller description of the editions see Casini, Poeti bolognesi, pp. xxviii, ff.; see also Zambrini, Le opere wig. a stampa, 1884, with Supplement by S. Morpurgo, Propugn., 1884-91. The other works listed here for convenience represent only a small number of those cited in the edition. xxxiv INTRODUCTION Crescim.; Crescimbene, Istoria e commentari delta wlgar poesia, Roma, 1730-31. Contains canzone 20; discordo (first 23 lines) ; and sonnets i, 2, 10, 37- D'Anc. B. : D'Ancona e Bacci, Manuale delta left, ital., vol. i (ad ed., 1902). It contains canzone 2; sonnets 3, 15. D'Anc. C.: D'Ancona e Comparetti, Le antiche rime volgari, (cod. vat. 3793; our codex A), 5 vols., Bologna, 1875-88. Florilegio del Lirici piii insegni d'ltalia, Firenze, 1846. It contains canzone i; sonnets 16, 20. Garufi, Giacomo da Lentino, in Archivio stor. ital., series v, vol. xxxiii, pp. 401 flf. Carver, M. S., Sources of the Beast Similes in the Ital. Lyric of the thir- teenth century, in Rom. Forsch., xxi, 276 ff. Gasp.: Gaspary, A., La scuola poet, sicil. del sec. xiii. (Italian translation), Ldvorno, 1882. Giglio, G. A., Topica poetica, Venezia, Gobbi, 1580. Variants not given. (The editor has not been able to consult it.) Giunti: Sonetti e canzoni di diver si antichi autori toscani, etc., Firenze, eredi di F. Giunta, 1527. Contains canzone i. H.-B. : Huillard-Breholles, J. L. A., Historia diplomatica Friderici Secundi, Paris, 1852-61. Italidnische Lieder des Hohenstaufischen Hofes in Sicilien, Stuttgart, 1843. See under Rosario below. It contains canzoni i, 2, 6, 7, 12, 13, 16, 19, 21; sonnets 3, 10, 12, 13, 16, 23, 30, 32, 37. Le M. : Scclta di poesie liriche dal primo secolo delta lingua fino at 1700. Firenze, Le Monnier, 1839. Variants not given. It contains canzoni i, 2, 13, 15, 16, 19; sonnets 3, 10, 15, 22, 23, 24, 28, 30. Lucas. : The Oxford Book of Italian Verse, chosen by St. John Lucas, Oxford, 1910. It contains canzone 2. Massera, Rivista: Di un importante Ms. di antiche rime volgari, in Rivista delle Biblioteche, xi (1900), pp. 64 ff. Mon.: Monaci, E., Crestomazia ital. dei primi secoli, Citta di Castello, 3 fasc', 1889, 1897, 1912. It contains canzoni i, 2, 3, 4, 7, 9, 20; discordo; sonnets i, 2, 3, 4, 5, 6, 7, 8, 9, 10, n, 17, 25, 33, 34, 35, 36. Moranville, Luigi Sellias di, Rime antiche ossia poesie liriche ital. de' secoli xiii, xiv, xv, Vienna, 1845. Contains sonnet 3. Nann.: Nannucci, V., Manuale d. lett. del primo secolo, Firenze, 1856, vol. i, It contains canzoni i, 2, 13, 15, 16, 19, 20; sonnets 3, 10, 15, 22, 23, 24, 38, 30, 35, 37- INTRODUCTION xxxv Occhi: Rime di diver si autori toscani in dodici libri raccolti, giunlovi moltis- sime cose che nella fiorentina ediz. del 1527 non si leggevano, Venezia, Occhi, 1740. See under Zone below. It contains canzoni i, 2, 12, 16, 19, 21; sonnets 2, 3, 10, n, 12, 15, 22, 27, 30, 32, 37. Parodi, Bull.: E. G. Parodi, Rima siciliana, rima aretina e bolognese, in Bullettino d. Societa Dantesca, xx (1913), pp. 113 ff. A most important article, reviewing Tallgren. Repertory: The Extant Repertory of the Early Sicilian Poets, by E. F. Langley. Pub. Mod. Language Assoc. of America, xxviii, 454 ff. Rosario, G., Discorsi intorno alia Sicilia, Palermo, 1821. Contains a con- siderable number of Giacomo's pieces. Its variants are not given. From this work was derived the Italianische Lieder des Hohenstaufischen Hofes in Sicilien, Stuttgart, 1843. Ros.: English translations by D. G. Rossetti, in The Early Italian Poets, London, J. M. Dent, 1904. Contains canzoni 2, 3, 7, 9, 16; sonnets 15, 16, 23. Sabio, Giov. Ant. e fr. da, Rime di diversi autori toscani in died libri rac- colte, Venezia, 1532. The editor has not been able to consult this work. Savj-Lopez, Bartoli: Altitalienische Crestomathie von Paolo Savj-Lopez und Dr. M. Bartoli, Strassburg, 1903. It contains canzone 5; sonnet 15. Serassi: Poesie di alcuni antichi rimatori toscani tratte da un Ms. dell' abate P. Serassi, Roma, 1774. It contains canzone 21. Tallgren, Oiva Joh., Sur la Rime italienne et les Sicilians du xiii" siecle. Observations sur les wyelles fermees et ouvertes. Reprint from the Memoires de la Societe neophilologique de Helsingfors, Tome v, 1909. See Parodi. Torr., Studi: F. Torraca, Studi su la lirica ital. del duecento, Bologna, 1902. It contains canzone 4. Torr. Man.: Manuale detta lett. ital. by F. Torraca, vol. i, Firenze, 1905. It contains canzoni 2, 20; sonnets i, 2, 3. Trucchi, F., Poesie ital. di dugento autori, 4 vols., Prato, 1846. It contains sonnets 31, 33, 35, 39. Ulrich, J., Altitalienisches Lesebuch, Halle, 1886. Contains canzone 19. Val.: Poeti del primo secolo detta lingua ital. (by Valeriani and Lampredi), 2 vols., Firenze, 1816. It contains all the poems in this edition except canzoni 14, 22; sonnets 4, 6, 8, 31, 35, 36, 39. Villani, C., La lirica ital. delle origini, Pistoia, 1899. It contains canzoni 3, 4, 7; sonnets 9, 10, 17, 25. Villar.: Villarosa, Raccolta di rime antiche toscane, 4 vols., Palermo, 1817. It contains sonnets 1,2. Wiese, B., Altitalienisches Elementarbuch, Heidelberg, 1904. It contains canzoni 13, 18, 19; sonnet 15. xxxvi INTRODUCTION Zenatti, Arrigo Testa e i primordi delta lirica ital., sd ed., Firenze, 1896. It contains canzone 20. Zane: Rime di diver si antichi autori toscani in dodici libri raccolte. Venezia, 1731, Cristoforo Zane. See under Occhi (1740), which is a later edition of the same. III. METHOD OF THE EDITION THE oldest manuscripts extant containing Giacomo's poetry were written rather more than half a century after the rime were composed. Of the three oldest, A, B, and C, the Vatican codex has been given the preference as a basis for this edition wherever possible, since it contains more of the Notary's pieces than any other, its readings are generally excellent, its attributions com- paratively reliable, and its language is that of a Florentine copyist. Where A does not contain the text or lacks a part of it, B is used, if available. Where both A and B are lacking, we have had to resort to the less reliable C. These three Mss. have fur- nished the text for all the authentic or doubtful pieces except the first tenzone, for which we have only the one codex F. Ms. B, as Caix has shown, 1 consists of two parts, written by two different scribes 2 and from different sources; the first scribe wrote canzoni 1-107, and the sonnets 126-362; the second, canzoni 108-125 and the sonnets 363-433 . The first part, though exceedingly accurate, was written by a Pisan copyist, and the language has conse- quently a Pisan coloring. The part written by the second scribe has in one section a common source with A, and very fortunately supplies canz. 10, the end of no. 8, and the beginning of no. 15, which were originally in A, but are now lost. In this last men- tioned section of Ms. B the readings and even the orthography are almost identical with A. C, though a beautiful piece of external workmanship, is often very defective in its readings and attributions. 3 D, so valuable for the rime of Dante and his circle, is infinitely less authoritative for the Sicilian School. For 1 Origini, p. 8. Cf. Casini, II Canzoniere L-R, pp. xi ff. 1 There may have been three. J Cf. TaUgren, 308, note 2. INTRODUCTION XXXvii canzoni 12 and 13 it has the same source as C, but follows a different tradition for canzoni 18, 19, and 21. E is of great value on account of its early date, but its authority is lessened by the fact that it doubtless represents oral tradition. G, for the one sonnet of Giacomo's that it contains, is apparently derived from B or from the same source. H is derived from C or the same source for the two canzoni, and for the two sonnets has possibly the same source as D. The relation of the J family to its various sources is shown in the table on the following page. The number of Mss. clearly showing independence is therefore comparatively small, A, B, C, D, E, F, and in these close inter- relations exist in the case of some of the pieces. In our apparatus we give, as a general practice, only the variants of these Mss. and of G and H. A codex like B 1 differs from its splendid parent B only orthographically, and affords no real aid. In the case of J, with its numerous derivatives, we are dealing with copies of copies, and we have found this family useful only in interpreting canzone 12. Under the unauthentic sonnets the variants of M are given for numbers 35 and 36. We have cited variants from only a few editions, and only the more important readings. In preparing a text for the rime of Giacomo Notaro we are con- fronted with the difficult and still disputed question of the lan- guage. Assuming that the language used by the insular poets of Frederick II 's court, though fundamentally Sicilian, was, to some extent at least, hybrid in its nature, showing the influence of Latin, Provencal, and adjacent dialects, and that the form in which it appears in the Tuscan manuscripts presents still further confusion, 1 it is evident that any attempt to introduce thorough unification would be arbitrary and ill-advised. The editor there- fore has followed in each case the manuscript as closely as pos- sible, departing from it only when the reading is bad, or when two other independent manuscripts agree in a different and acceptable 1 Cf. Parodi, Bull., 127 (second paragraph). XXXVlll INTRODUCTION '_- ^* Q <*> - M t- P. O N > G G G IT) i LO P- w - B M o W C s *7 Oc/5 ~ O) vO rt Q g pT M M 8 J ass BBB i * * . 'C c G e8 w to 1 '5- Is " .0 1 *7 I--1 o w S c CO Q II T~ ^ O C/3 r^ y \o Q g X-'N.^ M CO f^cTfT OJ 'g- ^^ 'fT N ^ M e G 3 J "" ^"lo B52. < id H-, - cT ^ 5 P3 O W __ O C/5 ^ . "! w , ul 5 G M INTRODUCTION xxxix reading. The fluctuation and confusion of forms, as we have said, is respected. In general the rimes of i with e have been modified to rime perfectly; those of o with u have been left unchanged in such cases as -oso, -uso, -otto, -utto, -or a, -ura, -ono, -uno, etc., where the scribal practice in all the Mss. agrees in showing an aversion to the Sicilian rime. This policy, especially after the appearance of such recent studies as those of Tallgren and Parodi, 1 may seem timid and inconsistent; but although I am heartily in agreement with the theory of originally perfect rimes as expressed by these scholars, I feel that it would be rather doing violence to the form of language in which this poetry has been preserved to introduce them throughout. There was no great aversion to writ- ing Sicilian i for e on the part of the scribes, as seen by numerous examples like avire, diri (= dire), siri (sire), mestiri (mestieri\ and inversely ofese (ofesi}, etc., but, apart from a few cases like nui and vui, a Sicilian u for o is exceedingly rare in the Mss. It would be quite a different matter if we consistently Sicilianized the forms within the line, as well as in the rime, but to make the changes in the latter position only, introduces at once a rather striking discrepancy of forms. In the matter of orthography a slight amount of retouching has been done for the sake of clearness and unity. Thus ce has been substituted for cie; ge for gie; gli for Igli, gl or Hi; gn for ngn; U for ct; ch for k; c for ch or k before a, o, u; g for gh before 0, o, u. Occasionally a double consonant has been simplified, as in omo for ommo, morte for mortte, where the scribe himself is not always consistent, and where the value of his doubled con- sonant is not great enough to justify our imitating his awkward spellings. Wherever the orthography of the main Mss. has been departed from, the original will be found in the variants. The orthographic variants, however, for later and less important Mss. are not always given. In the text for the first tenzone the forms of Ms. F have been slightly modified to reduce them to the equivalents of the Tuscan Ms. A, in view of the uncertain 1 Tallgren, la Rime italienne; Parodi, Bull. xl INTRODUCTION value of some of the Venetian spellings, and for the sake of unity. In the punctuation modern standards have been followed, and no special note has been made in the variants of the use of capitals in the Mss., but the general practice in A, B, and C may be here mentioned. In A the wlta of the canzoni is clearly marked and generally begins with a capital; the sonnets have a distinct divi- sion into octave and sestet, and the second tercet usually begins with a capital. In B the practice varies in the canzoni with the different scribes: the first copyist usually has a capital at the beginning of each metrical division and subdivision (wlta, piede, verso); the second copyist generally has an inverted semicolon before the wlta, or begins the wlta with a capital; both copyists, in the sonnets, have capitals at the beginning of lines 3, 5, 7, 9, 12, with a space after the octave and the first tercet. C has generally in the canzoni a capital beginning each metrical division or sub- division (wlta, piede, verso) ; * in the sonnets, a capital at lines 3, 5, 7, 9, 12, and a space after the octave. It has been thought wiser to keep the text as free as possible from brackets and parentheses. Only where considerable la- cunae occur in the codex have brackets been used around the words supplied. For conjunctions, articles, and other such minor additions no brackets are used in the text, but the addition is noted in the variants. The arrangement of the pieces is as follows: first, a division according to metrical forms into Canzoni, Discordo, Sonnets; second, within the groups of canzoni and sonnets subdivisions are made on the basis of authenticity, and within each of these subdivisions the arrangement follows the order of the Mss. A, B, C (except in the case of the first tenzone, which is taken from F) . As our text is arranged on the basis of authenticity, and the notes explain the evidence for each doubtful case, it is not neces- sary here to go into the details of the question of authorship. In general the authenticity can be judged on the basis of the attribu- 1 Not at the second verso of canzone 13. INTRODUCTION xli tion of the Ms. or Mss., the possible mention of the poet's name within the piece itself, the metrical form, the general style, and the rune vowels. Often when the attributions of the Mss. differ, and the poet's name is not mentioned in the piece itself, it is impossible to reach a final decision, as the remaining forms of evidence might apply equally well to the other Sicilian poets of the time. The evidence of the rime vowels is effective, however, hi the case of canzone 16 (Membrando do c'Amore) and sonnet 27 (Or come pote), and the arguments of form and style oblige us to discard at once a sonnet like Re glorioso (no. 39). THE POETRY OF GIACOMO DA LENTINO CANZONI A i, B 55, B 7 p. 68, C 37, E anno 1288 (11. 1-51), K (C) p. 51. Giunti, 109; Occhi, 304; Val., I, 249; Ant, 57; Le M., 13; Nann., 107; Mon., 51; Carducci, Intorno ad alcune rime, p. n; Baudo, 106; Card., 30; But, 4. Mss. : A has tie for ce, gie for ge, ngn for gn, and in 11. i and 3 Igli for gli. B has tie for ce in 11. 35, 44; gie for ge in 42, 44, gl for gli. C has ct for it, k for guttural c or ch (11. 2, 4, 12, 14, 26, 28, 36, 39, 45, 49, 58, 7' 73, 74 (ke), 77, 78). [Ms. A] i. Madonna, dir vi voglio come 1'amor m'a priso; inver lo grande orgoglio 4 che voi, bella, mostrate, e' non m' aita. Oi lasso! lo me' core ch' e 'n tante pene miso, che vede che si more 8 per ben amare, e tenelosi a vita. Adunque morire' eo ? No; ma lo core meo more spesso e phi forte 12 che non faria di morte naturale per voi, donna, cui ama, phi che se stesso brama, e voi pur lo sdengate. 1 6 Amor, vostr' amistate vide male. I. i. A dire B uo C uoglo E Madona . . . ve vojo 2. A amore A, C, E preso B como . . . prizo 3. C uostro argollio E orgojo 4. B, C, E no E bela mostrati 5. B Olasso B, C, E meo E laso 6. A tanta pena B e mizo C intante pene e miso 7. B, C ke uiue quando more E quando more 8. A tenolosi jn B, C, E bene B teneselo C teneselaita E amar tenelos en 9. B Dunque moruuiueo C Ordonqua moro eo E Donqua 10. A no n. A fortte B assai piu spesso e f. Em. piu speso e f . 12. A mortte C no 13. A chui B madonna cama E vui madona c'ama 14. B pio E si steso 15. B, C, E sdegnate 16. B uidi C donqua nostra E vostr amistade vidi 4 CANZONI ii. Lo meo 'namoramento nom po parire in detto; cosi com' io lo sento 20 core nol penzeria, ne diria lingua; zo ch' eo dico e neente. In ver, ch' io son distretto tan to coralemente! 24 Foe' aio, non credo che mai si stingua, anzi si pur aluma. Perche non mi consuma ? La salamandra audivi 28 ca nelo foco vivi stando sana; cosi fo per long' uso; vivo in foco amoroso, e non saccio che dica; 32 che '1 mi' lavoro spica e poi non grana. in. Madonna, si m' avene ch' i' nom posso invenire com' io dicesse bene 36 la propia cosa ch' io sento d' amore. Si com' omo in prodito lo cor mi fa sentire, che giamai non e chito 40 fin tanto che non vene al suo sentore. Lo nom poter mi turba, 17. C Ddmio innamoramento E E lo . . . innam. 18. B, E non . . . parer B en C alcuna cosa odecto 19. B masicome lo C ma si comeo E cusi . . . eo 20. B, C corno lo penseria C direa E pensaria . . . lengua 21. B Eccio ... io ... nente C cio E niente 22. A io ne sono B eo C keo . . . constrecto E som destretto 24. B fochaio al cor; che] lacking C stringa; che] lacking E foco . . . se 25. B anse se . . . alluma C Inante pur salluma E anci se 26. B emai ... me consunma C no E se c. 27. B aldiue E aldiue 28. B chenfralo . . . uiue C dentro il . . . uiue E che nello . . . vive 29. B Eo siffo . . . ozo C Edeo gia per lungo E cusi . . . longo 30. B n focamorozo 31. B so chemi C sacio keo E so ch'eo^me 32. B, C che] lacking; B lo mio . . . enoningrana C lo meo . . . enomi E meo . . . enong. 33. E Madona 34. B eonon . . . auenire C keo non . . . auenire E e non poso avenire 35. C eo E cum eo dicese 36. B eo C, E propria E eo 37. B Chassi . . . om prudito C E paremi uno spirito E homo inpendito 38. A core C kal cor E me 39. A nonn B quito C e . . . non son E zamai non di chedo 40. B mentre non po tocchare il CANZONI 5 com' om che pinge e sturba, e pure li dispiace 44 lo pingere che face, e se riprende. Che non e per natura la propla pintura; e non e da blasmare 48 omo che cade in mare, se s'aprende. rv. Lo vostro amor, che m'ave in mare tempestoso, e si como la nave 52 c'a la fortuna gitta ogni pesanti, e campane per getto di loco periglioso. Similemente eo getto 56 a voi, bella, H mie' sospiri e pianti. E s'eo no gli gitasse, paria che sofondasse, e bene sofondara 60 lo cor, tanto gravara in su' disio. Tanto si frange a terra tempesta che s'aterra, ed io cosi mi f range; 64 quando sospiro e piango, posar crio. v. Assai mi son mostrato a voi, donna spietata, C seo non posso trarlo E sos. 41. A potere B nonpoder mi(s)torba C non E non . . . me 42. A ommo B comon . . . storba C comon E Cumm horn . . . pingne 43. A pura C pero keli E despiache 44. B esse E pingnere . . . fache ... si 45. A nonn B, C fa 46. C, E propria E pic- tura 47. A nonn C biasm. E plasm. 48. A ommo; in] lacking B a che sap. C horn ... im ... cue sap. E homo 49. A amore B uostr 50. B tenpestozo 51. A e] lacking; cosi commo B essi C come E cusi 52. A pesantj (originally pesante) B ch . . . getta . . . pezante C ke gecta a ... ogne pesante 53. A camppa B canpan per lo g. C scanpane . . . giecto 54. A dilloco B periglozo C di loco] lacking 56. B madonna . . . miei C mei . . . piante 57. B Chesseo . . . ligittasse C Ke . . . li gittasse 58. B parrea . . . forfondasse C parria ke soffondasse 59. B ebbene forfon- dara C soffondara 60. A core B suodizio C suo 61. A satera B Chetanto {range atterra C Ke tanto frange 62. B tenpesta chessatterra C e poi saterra 63. A lacks ed B, C eo cosi rinfrango 64. A creio B creo C quandeo . . . e posar 65. A sono C Asai . . . sono 66. B bella CANZONI com' io so' inamorato; 68 ma creio ch' i' dispiaceria a voi pinto. Poi c' a me solo, lasso! cotal ventura e data, perche non me ne lasso ? 72 Nom posso; di tal guisa Amor m'a vinto. Voria c'or avenisse che lo me' cor uscisse come 'ncarnato tutto, 76 e no dicesse motto a voi sdengosa. C'Amore a tal 1'adusse ca se vipra ivi fusse, natura perderia; 80 a tal lo vederia fora pietosa. II A 2, B 58, B f. 2 3 8 b , B* i, [B 3 ], B< carta 299', B 5 f. 238', B 7 p. 7 i b , J(B) 318 P(B) 229, P(B) f. 122", J(B) 75, C 39, K (C) p. 55. All., 436; Occhi, 312; Val., I, 257; LeM., 14; Ant, 60; Nann., 114; Caix, Orig., 35; Mon., 42; Baudo, 95; D'Anc. B., 60; Ton., Man., 31; Card., 2; But, 8; Ros., 34; Lucas, 47. Mss.: A has cie for ce, gie for ge, ngn for gn, Igli for gll; B, gl for gli. C has k for guttural c or ch, ct for U, gl for gli. A has stanzas IV to VII in this order: IV, VI, V, VII. C has V, IV, VI; lacks VII. [Ms. A] I. Maravigliosamente un amor mi distringe, 3 e sovenmi ad ogn' ora, 67. A sono B eo . . . innam. C eo sono innam. 68. B credo che dis- piaceria uoi C credo ke dispiacerei uoi 69. C Per ka 70. A cotale 71. B minde C nominde 72. A tale . . . amore B non . . . guiza C non 73. A Adeo cor B Vorria C Ben uorria kauenisse 74. A a lo . . . core ch B meo core scisse C meo core oscisse 75. A tuto C incarnato 76. B non facesse motto uoi sdegnoza C non . . . isdegnosa 77. A ataladusse B ch C madusse 78. A fosse B casse uipera ifusse C ke . . . uipera fosse 79. B perderea 80. A atal o B uederea . . . pietoza C ella mi uederia Editions: 6. Giunti, Nann., Baudo, Card, in tante pene miso Val., Mon., But. tanta pena 7. Giunti, Val., Nann. = C 8. Giunti e teneselo' aita But. in vita 9. Giunti = C 17, 18. Giunti, Nann., Baudo = C 22. Giunti eo . . . costretto 37. Giunti, Nann., and Baudo follow C in II. 37-40. Val. impeo!ito E' parmi uno spirito Card, impendito Mon. inprodito, changed to impendito, P- 73 50- Giunti, Nann. m' e mare 58, 60. D'Anc. C., s'offond. Nann., CANZONI 7 com' omo che ten raente in altra parte, e pinge 6 la simile pintura. Cosi, bella, facci' eo; dentro a lo core meo 9 porto la tua figura. n. In cor par ch'i' vi porte, pinta come parete, 12 e non pare di fore. O Deo! co' mi par forte! Non so se lo savete, 15 com' io v'amo a bon core; ca son si vergognoso ch' io pur vi guardo ascoso, 1 8 e non vi mostro amore. m. Avendo gran disio, dipinsi una pintura, 21 bella, voi simigliante, e quando voi non vio, guardo in quella figura, 24 e par ch' io v'agia avante; si com' om che si crede salvare per sua fede, 27 ancor non vegia inante. But. s'affond. Mon. in the text (p. 53) had s'ofond., but has changed it in the Correzioni, p. 703, to sofond. 80. Giunti, Vol., Nann. = C. IT. i. B Merauiglozam. C Merauilliosam. 2. A amore (mis) mi dis- tringne 3. A souene B essouenad C mi tene 4. A ommo . . . tene C Komon ke pone 5. C in altro exemplo p. 6. B pintora 7. B face C fac 8. B dentra lo C kenfra lo 9. A portto B figora io. A core pare . . . portte B Alo . . . eo p. C keo . . . porti n. A voi sete B como 13. A anzi masembra mortte B Emolto mi 14. A chenon; lo] lacking B lo] vi C sapete 15. A originally como changed into comio; ammo B ama bon C con uamo di 16. A sono B Chasson C Keo 17. A vi pur B eo C ka pur 19. B dizio 20. A dipinssi B figura 21. A bella a v. C simiglante 22. A ueio C non ui ueo 23. B n quellan pintura 24. B eppar . . . eo uaggia C e] lacking; keo . . . dauante 25. A ommo B ssi cr. C Rome quefio ke crede 26. A, C saluarsi 27. A nona dauante B nonuadauante g CANZONI iv. Al cor m'arde una doglia, com' om che ten lo foco 30 a lo suo seno ascoso, e quanto piu lo 'nvoglia alora arde piu loco, 33 e non po stare inchiuso; similemente eo ardo quando passo e non guardo 36 a voi, viso amoroso. V. Se siete, quando passo, in ver voi non mi giro, 39 bella, per isguardare. Andando, ad ogni passo gittone uno sospiro 42 che mi face ancosciare. E certo bene ancoscio, c'a pena mi conoscio, 45 tanto bella mi pare. vi. Assai v'agio laudato, madonna, in tute parti 48 di belleze c'avete. Non so se v'e contato ched i' '1 faccia per arti, 51 che voi ve ne delete. Sacciatelo per singa, 28. A Cosi marde B ard 29. A ommo . . . tene B tene il C on ke telo 30. A la B su . . . ascozo C indelsuo 31. A che quanto C quando . . . nuoUia 32. B tanto prende pio C allora . . . piu in 33. B star rinchiozo C incluso 34. A eo] in the Ms. similemente was followed by a ward of which only a j is now visible (jo ?). A later hand substituted quasi. B eo] lacking C similitente 35. B passe non 36. B uizamorozo 37. A Seuoi B Si colpo C Seo guardo 38. C no 39. B uoi guardare C per risguar- dare 40. B, C ogne 41.6 sigitto C gectoungran 42. B faciangosciare C o facemi angosciare 43. A ciertto B angosc. C ben cognosco 44. B cha C cognosco 45. B forte 46. A Per zo siouo B uaggia A, B, C laudata 47. B molte parte C tucte 48. B bellesse ch C le bellece 49. A contata 50. A facca . . . artti B chio lo . . . arte C keo lo facia 51. C ke uoi pur nascondete 52. A Saccate B Aggiatelo . . . singua C Saciatel . . . insegna 53. A diro linga B cio cheuoi dire . . . lingua C cio keo . . . dico al lingua 54. B uedite C uedrete 55. A Kanz. B Mia chan- sonetta fina 56. B uachanta 57. B moueti la maitina 58. B Dauante . . . CANZONI 9 z6 ch' i' vi dir6 a linga, 54 quando voi mi vedete. vn. Canzonetta novella, va e canta nova cosa 57 (levati da maitino!) davanti a la piu bella, fiore d'ogni amorosa, 60 bionda piu c'auro fino: " Lo vostro amor, ch'e caro, donatelo al Notaro, 63 ch' e nato da Lentino." A 4, B 109, [B 66], B 7 p. I 4 3 b . All., 466; Val., I, 263; Mon., 46; Baudo, 103. Casini gives an emended version of A in his Annotazioni, vol. V, p. 319, of D'Ancona e Comparetti; Villani, Lir. ital., 28; Cesareo, Poes. Sic., 269-272; Ros., 37. Mss. : A has cie for ce, gk for ge, ngn for gn, and Igli for gli (line 43) ; B ngn for gn. [Ms. A] I. Amor non vole ch'io clami merzede, c'onn'omo clama; ne ched io m'avanti c'ami, c' ogn' omo s'avanta c'ama. 5 Che lo servire c' onn' omo sape fare non a nomo; e no e im presgio di laudare quello che sape ciascuno. fina 59. B ognamoroza 60. B pioch ... fina 61. A amore B charo 63. B dallentina Editions (all the editions follow the same stanza order as our text}: 4. Val., pon m. 5. Val., Nann., Baudo = C 13. All., Occhi, Val., Nann., Baudo = B 20, 23. All., Val., Nann., Baudo, D'Anc. B., Torr. = B (figura, pintura) 32. All., Occhi, Val., Nann., Baudo = B Card, allor prende piu 37. All. Si colpo Occhi S' 'o colpo Val. Se voi siete Nann., Baudo S'eo colpo Ces. (p. 263) S'iscite 52. All., Occhi, Val., Nann., Baudo, D'Anc. B. = B 53. All, Occhi, Val., Nann., Baudo, D'Anc. B, Torr. Cid che vo' (or voi) dire a lingua Card. Ci6 ch' e' voi dire Mon. zo k'e' voi dire 55. All., Occhi., Val., Nann., Baudo follow B. In 57 the same editions have la mattina; in 58 alia piu fina III. i. A Amore . . . chlami B uuole 2. A merze . . . chlama B merce con 3. A, B ch 4. A ommo 5. B con 6. A nonnanommo B nonan n. 7. A nonne B non . . . pregio 8. A, B equello A ciaschuno 10 CANZONI A voi, bella, tale dono 10 non voria apresentare. n. Perzo 1'Amore m' insigna ch' io non guard! a 1'antra gente; non vuol ch'io resembri a scigna, c'ogni viso tene mente. 15 Perzo eo, madonna mia, a voi non dimanderia merzede ne pietanza; che tanti son gli amatori ch'este 'scita di savori 20 merzede per troppa usanza. m. Ogni gioia ch' e piu rara tenut' e piu preziosa; ancora che non sia cara, de 1'altr' e piii graziosa; 25 ca se este orientale lo zafiro, asai piu vale, ed a meno di vertute. E perzo ne le merzede lo mio core non v' acede, 30 perche 1'uso 1'a 'nvilute. iv. Inviluti so' i scolosmini di quel tempo ricordato, ch' erano si gai e fini; nulla gioia non n' e trovato. 35 E le merze siano strette, che i' nulla parte sian dette; perche paiano gioie nove, i' nulla parte sian trovate, 9. A, B tal io. B uorria n. A, B insengna 12. B altra 13. B resenbli 15. A, B perzo donna 17. A, B merze 18. A, B sono B li 19. B santadi 20. A, B merze 25. A, B seste 31. A, B Inviluto sono 11 32. A quello temppo B quello tenpo 34 B trouata 35. A, B elle B strecte 36. A, B i'] lacking; non siano; A partte B decte 38. A, B siano A partte 39. A, B amadori 40. A jnfino . . . comppie B Infine . . . conpie 41. A, B merze 42. A, B sauere . . . lo B meo 44. A medesimmo A, B ueo 46. A, B essere 47. A, B auere 49. B cusi CANZONI II ne da gli amador chiamate 40 infin che compie anni nove. v. Senza merzede potete saver, bella, '1 mio disio, c' assai meglio mi vedete ch' io medesmo non mi vio. 45 E pero s'a voi paresse altro ch'esser non dovesse, per lo vostro amore avire, unque gioia non ci perdiate; cosi volete amistate ? 50 inanzi voria morire. IV A 6, B in, [B 68], B 7 p. i47 b . All., 457; Val., I, 274; Mon., 50; Mussafia, Rassegna bibliogr., Ill, p. 3; Baudo, 88; Villani, C., Lir. ital. p. 21; Torr., Studi, 62 ff. Mss.: A has Igli for gli, ngn for gn, B ngn for gn. In B the initial is lacking in the first lines of stanzas I, II, III, IV. [Ms. A] I. La 'namoranza disiosa, che dentro al mi' cor e nata di voi, madonn' ae pur chiamata 4 merze; se fosse aventurosa! E poi ch' i' non truovo pietanza, per paura o per dottare, s' io perdo amare, 8 Amor comanda ch' io faccia arditanza. n. Grande arditanza e coragiosa in guiderdone Amor m' a data; e vuol che donna sia 'quistata 12 per forza di gioia amorosa. Editions: 2. The editions all have com' omo 19. All., Val. sorte di D'Anc. C., Mon., Baudo scinta di favori Ces. scinta 31. All., Val. colosmini Ces. So' inviluti 36. Ces. 'n nulla 38. Ces. 'N nulla 40. Ces. 'Nfino IV. In the ascription A writes Notaro giacomo B Notaro Giacomo. Variants given for A and B only. 3. B madonna et 4. A ffosse B fusse . . . auenturos 5. B io . . . trouo 8. A, B amore A facca n. A, B uuole 12. A per per B forsa 12 CANZONI Ma troppo e villana credanza, che donna degia inconinzare; ma vergognare 16 perch'io coninzi ? non e mia spregianza. m. Di mispregianza Amor mi scusa, se gioia per me e coninzata di voi , che tant' 6 disiata, 20 e sonne in vita cordogliosa; ca, bella, sanza dubitanza, tute fiate in voi mirare, veder mi pare 24 una maravigliosa simigHanza. rv. Tanto siete maravigliosa, quand' i' v'6 bene afigurata, c' altro parete che 'ncarnata; 28 se non ch' io spero in voi, gioiosa. Ma tanto tarda la speranza! solamente per ridottare o i mal parlare, 32 Amor non vuol ch' io perda mia intendanza. v. Molt' e gran cosa ed inoiosa chi vede cio che piu gli agrata, e via d'um passo e piu dotata 36 ch' e d'oltremare in Saragosa, e di bataglia, ov' om si lanza a spada e lanza in terra o mare; e nom pensare 40 di bandire una donna per dottanza. 13. A, B credenza 14. B incominzare 16. B cominzi 17. A, B mia speranza . . . schusa 18. B cominzata 20. B cordollios 22. B tucte 23. A, B uedere 24. A marauiliosa B marauiglioza 25. B merauil- liosa 26. B affig. 27. B carnata 30. A, B per donare 31. A parllare 32. A, B amore . . . uuole 34. B li 35. B un 37. A ommo B Edin batallia . . . omo 38. A spade B lanze 39. B non 40. B doctanza. 41. B doctosa 42. B pregiata 43. A morire B canci uorria morire 44. A churociosa B curruciosa 45. A -enza B auere cannoscienza 47. B conportare 48. A, B gioia . . . sso Editions: 3. All., Vol., Mon., Baudo fe pur 16. Mussafia, Torr. mispreg. 21. Val. che abbella D'Anc. C., Mon., Baudo C'abella 30. All., Val., Mon., CANZONI 13 vi. Nulla bandita m' e dottosa se non di voi, donna presgiata, c'anti voria morir di spata, 44 ch' i' voi vedesse curociosa. Ma tanto avete conoscianza, ben mi dovreste perdonare, e comportare, 48 s'io perdo gioi', che so m'aucide amanza. V A 7, B 56, B 7 p. 69 b , C 19, O, P. All., 459; Val., I, 253; Baudo, 90; Savj-Lopez, Bartoli, 159; But., 10. Stanza IV also in Val., I, 138, 139. Mss. : B has the stanzas in the order I, II, IV, HI, V. In C stanza IV is lacking, but it appears by mistake as st. II of Inghilfredi's Caunoscen$a penosa ( C 20). A has tie for ce, gie for ge, ngn for gn, Igli for gli (except 11. 32, 36). B has gl for gli and -sa for -za (except 1. 32). C has c for z, k for ch (11. n, 13, 15, 20, 22, 24, 25, 26, 34, 35. 38, 40), gl for gli (11. i, 2), Ui (11. 22, 23), li (1. 24). [Ms. A] I. Ben m'e venuto prima al cor doglienza, poi benvolenza orgoglio m' e rendente di voi, madonna, incontro a mia sofrenza. 4 Non e valenza far male a sofrente. Ma si e potente vostra segnoria, c'avendo male, piu v'amo ogne dia; pero tutor la troppa sicuranza 8 ubria conoscenza ed inoranza. n. E dunque, Amor, ben fora convenenza d'aver temenza come Taltra gente, Baudo follow the Mss. 31. All. O Q m. Val. Ho il m. D'Anc. C. E i'm. Torr. E in m. 36. D'Anc. C., Mon., Torr. Ched o. 37. Ces., Torr. e di V. A Notaro giacomo B N. Jacomo C Notaro lacomo i. A core C uenuta prima cord. 2. A dorgolglio B ben uoglensa C benuoglenca mi rendete 3. B contra mia soffrensa C mia donna contf mia soffrenca 4. A nonne C afar . . . soff. 5. B Tante p. B, C signoria 6. A uammo B ogni C c'] lacking 7. A tutora . . . sichur. B tuttor . . . troppo siguransa C tuctor . . . troppo asicuranca 8. B obbria canoscensa eonoransa C oblia caunoscenca e honoranca 9. A amore bene B Adunque C Adonqua . . . amore 10. A dauere B como C d'] lack- ing; como quella 14 CANZONI che tornano di lor discanoscenza 12 a la credenza di lor benvolente. Chi e temente fuge villania, e per coverta tal fa cortesia, ch' io non voria da voi bella semblanza, 1 6 se dal core non vi venisse amanza. in. Ch' io non vi faccio, donna, contendenza, ma ilbidenza, ed amo coralmente; pero non dev' io pianger penitenza, 20 che nullo senza colpa e penitente. Naturalmente avene tutavia c'omo s'orgoglia a chi Io contraria; ma '1 vostro orgoglio passa sorchietanza, 24 che si smisura contro ad umilianza. rv. E chi a torto batte e fa 'ncrescenza, di piacer penza assai, poi che si pente; pero mi pasco di bona credenza, 28 c' Amor conenza prima a dar tormente. Dunque piu gente saria la gioia mia, se per mi' amor 1'orgoglio s'umilia, e la fereza torna 'n pietanza; 32 be-llo puo fare Amor, ch' egli e sua usanza. v. Ma se voi sete sanza percepenza, como Florenza che d 'orgoglio sente, guardate a Pisa c'a gran conoscenza, ii. A loro B tornano la lor disconoscensa C loro scaunoscenca 12. A loro beneuol. B delobenuoglente C benuoglente 13. B, C fuggie 14. B cortezia C ma per 15. B eo . . . uorrea . . . donna senbiansa C Ke no . . . donna sembranga 16. B dalo B, C cor 17. A vi] lacking; Kio B Eo C Eo . . . facio 18. A dibidenza . . . coralem. B, C ed] e 19. A piangiere B deggio pianger C degia . . . penetenca 20. A colppa C ka . . . penetente 21. A Naturalem. B tuttauia C tuctauia 22. B The a before chi added by a later hand above the line. C sor(go)gollia . . . Ion. 23. B sorcoitansa C ma uostrorgollio . . . sorcoitanga 24. B che dismizura contra um. C misura contra um. 25. A per tortto B lacks e before chi; o fa incre. C bacte nfa incr. 26. A di benfare penza e poi si B di far plagensa pensa poi 28. A amore coninza . . . dare B comensa C k . . . comenca prim a 29. A saria piu giente far la gioia mia B serea . . . gioi C Seria souente piu ricca la 30. A amore lorgh. B per soff rir . . . sumelia C mio . . . largollio 31. A, C 'n] lacking B la (so) feressa ... in p. 32. A, B CANZONI 15 36 che teme 'ntenza d'orgogliosa gente. Gia lungiamente orgoglio v' a 'm ballia; Melan a lo caroccio par che sia. Ma se si tarda 1'umile speranza, 40 chi sofra sgombra e vince ogne tardanza. VI A 8 (Notaro giacomo). All., 461; Vol., I, 287; Baudo, 98. Ms. has cie for ce, gie for ge, ngn for gn and Igli for gli (except 1. 49). I. Donna, eo languisco, e no so qua' speranza mi da fidanza ch' io non mi diffidi; e se merze e pietanza in voi non trovo, perduta provo lo chiamar merzidi. 5 Che tanto lungiamente 6 custumato, palese ed in celato, pur di merze cherire, ch' i' non saccio altro dire; e s'altri m' adomanda ched agio eo, io eo non so dir se non: merze, per Deo! n. Amore non fue giusto partitoro, ch'io pur v'adoro e voi non m' intendate, si com' eo presi a voi merze chiamare. Ben dovea dare a voi cor di pietate, 15 c'a tutesor cad eo merze chiamasse, in voi, donna, trovasse gran cor d'umilitate; amore B po . . . su uzanza C po . . . kelle su 33. A Uoi so che B E upi che siete sensa C senca 34. B fiorensa C come fiorenga 35. B pisa di gran canoscensa C ka in se cognoscenca 36. A che fugie B tensa . . . -oza C intenca dorgolliosa 37. A vemballia B si 1 ... ma inbailia C lungam. . . . ma inbailia 38. A pare B melano del charoccio . . . chessia C carrocio pare 39. B essesi C esisi 40. A sesofera. B originally chisofra conpie e uincie ogni tardansa; rearranged by a second hand thus: chi sofra e uincie conpie o. t. C ki sofra uince e sconpra one acordanga Editions: Savj-Lopez, Bartoli is based on B, and follows its order of stanzas. All. follows A. The other editions follow A in most readings. 40. All. Se soffero . . . ogni usanza Val. soffre . . . ogn' indugianza Bau- do se soffre VI. 4. chiamare merzede 5. chustumato 7. merzede cherere 8. nons- saccio io. dire 14. bene ... core 15. tutesore 17. core 1 6 CANZONI se non tute fiate, facestemi a lo meno est' amistanza, 20 mille merze vallesse una pietanza. ra. Donna, gran maraviglia mi donate, che 'n voi sembrate sono tante alore, passate di belleze ogn' altra cosa, come la rosa passa ogn' altro fiore; 25 e 1'adorneze, la qual v'acompagna, lo cor mi lancia e sagna, e per mi sta asai plui merze, che non e in vui; e se merze con voi, bella, statesse, 30 null' altra valenza phi mi vallesse. IV. Non mi ricredo di merze chiamare, perche contare audivi a molta gente che lo leone este di tale usato, che quand' e airato piu fellonamente 35 per cosa, c'omo face, si ricrede; in segno di merzede per merze gira in pace. Gentile ira mi piace, ond' io per merce faccio ogne mi' fatto, 40 ca per merce s'apaga un gran misfatto. V. Sicome que' che fanno a-llor nemici, c'ogn' om mi dici, merzede 6 trovato; ed io che faccio cosi, ratto provo, e non trovo merzede in cui son dato. 45 Madonna, in voi non aquistai gran preio, se non pure lo peio; e percio si combatte 21. grande 22. sono tanto 25. le quali 26. core . . . lancca 27. e] lacking 28. nonne . . . voi 29. chon 32. ca contare 36. in] lacking 37. e per 38. gienntile 39. facco 40. grande 41. quelli . . . ffanno alloro 42. omo 43. cheffacco che cosi 44. ennon . . . chui 45. nonn 46. pur 48. Amore] lacking 50. enon voi . . . penssa Editions: 15. Val. Ch'a tutte Tor che a Dio m. D'Anc. C., Baudo tutte for c'a Deo 22. All., D'Anc. C. sono tanto All. calore Val. Baudo CANZONI 17 [Amore] in altrui fatte, e s'egli 'n altro vince, in questo perde, 50 e 'n voi, chi piu ci pensa, piu ci sperde. VII A 1 8 (Notaro giacomo). All., 464; Val., I, 285; Ant., 66; Mon., 42; Ces., 258; Villani, C., Lir., ital., a$; Baudo, 101; Card., 3; But., 7 (all under Giacomo); Ros., 96 (Rug. d'Amici). Ms. : has tie for ce, gie for ge, ngn for gn. I. Dolce coninciamento canto per la piu fina che sia, al mio parimento, d'Agri infino in Mesina; 5 cioe la piu avenente. " O stella rilucente, che levi la maitina, quando m'apar davanti, li tuo' dolzi sembianti 10 m' incendon la corina." n. " Dolce meo Sir, s'encendi, or io che degio fare ? tu stesso ti riprendi, se mi vei favellare. 15 Ca tu m'ai 'namorata, a lo cor m'ai lanciata si ca di for nom pare." " Rimembriti a la fiata quand' io t'ebi abrazata, 20 a li dolzi basciare ?" m. Ed io basciando stava in gran diletamento Ch voi sembrate con tanto valore 25. Val., Baudo adornezza D'Anc. C. le qual 29. All. stetesse D'Anc. C. staresse 30. All., Baudo Valeria Val. Valeria piu di quel che m. 35. All., Val. come f. 37. All. E per mercede gire in parte Val., Baudo Permette gire 43. Val. che fo, che cosi 48. All., D'Anc. C., Baudo Amore] lacking. VII. 8. A quanddo mapare 9. lisuo io. minciendono n. sire 13. ti] mi 14. uedi 16. core ... lancata 17. fori 20. basciari 22. grande iS CANZOXI con quella che m'amava, bionda, viso d'argento. 25 Presente mi contava, e non mi si celava tuto suo convenente; e disse: " io t'ameragio, e non ti falleragio 30 a tuto '1 mio vivente. iv. Al mio vivente, amore, io non ti f alliragio per Io lusingatore, che parla di fallagio; 35 ed io si t'ameragio! per quello ch'e salvagio, Dio li mandi dolore! unque non vegna a magio ! tant' e di mal usagio, 40 che di stat' a gelore." VIII A 9, B 112, [3*69], B 7 p. i 4 8 b . All., 477; Val., I, 276; Baudo, 85. Mss. : Stanzas IV and V lacking in A. They were on the lost sheets. A has c ie for ce, Igli for gli, and ngn for gn. B has ngn for gn. [Ms. B] I. Troppo son dimorato i-llontano paise; non so in che guisa possa soferire, 4 che son cotanto stato senza in cui si mise tutta belleze d'amore e servire. Molto tardi mi pento, 28. ietam. 34. parlla di tal f. Editions: 4. All., Val. Da qui insino a D'Anc. C. D'ogn' in fino 8. Ces. m'appari avanti 9. AIL, Val., Baudo li suoi 13. All., Val., D'Anc. C., Baudo, Card., But. ti] mi 14. All. se m accade D'Anc. C. Se m'vedi Ces. favillare 17. Ces. fori 'un pare 19. All. t'habbi D'Anc. C. Quando t'ebi 25. Val. cantava 30. All. E di tu col mio 33. Val. Pera Io 34. D'Anc. C. di tal f . 37. All. mi CANZONI 19 8 e dico che follia me n' a fatto alungare. Lasso! ben veggio e sen to, morto fusse, dovria 12 a madonna tornare. n. Ca s'io sono alungato, a null' om non afesi quant' a me solo, e i' ne son al perire, 1 6 e io ne so' il dannegiato. Poi, madonna, mi sfesi, mio e '1 dannagio ed ogne languire. Ca lo suo avenimento 20 d'amare mi travallia, e comandami a dare a quella, a cui consento, core e corpo in sua ballia, 24 e nulla non mi pare. m. Dunqua son'io sturduto ? cio saccio certamente, con' quelli c'a cercato cio che tene, 28 cosi m' e adivenuto, che lasso 1'avenente, eo vo cercando, ed b noie e pene. Co tan to n' 6 dolore, 32 e vegiamento e doglia, veder e non potere cotanto di dolzore, amore e bona voglia, 36 ch' io 1' 6 creduto avere. rv. Deo! com' agio falluto! che cusi lungiamente VIII. i. A, B sono 2. A, B paese 4. A, B sono 5. A chui 6. A tute B tutte 8. A cheff. 9. B facto io. A, B bene A uegio ii. A mortto fosse B morte 13. A Kassio ... allung. 14. A ommo ... nonn B omo 15. A, B ed . . . sono 16. A, B edio . . . sono 17. B msfesi 18. A danagio 19. B Cha 20. A traualglia 21. A, B dire 22. A chui 23. A corppo . . . balglia 25. A stunduto B sturiduto 29. B chellasso 31. B chotanto 32. B euengiamento edolglia 35. B uollia 20 CANZONI non son tomato a la mia dolce spene. 40 Lasso! chi m' a tenuto ? Follia, deh veramente! che m'a levato da gioia e di bene. Ochi e talento e core, 44 ciascun perse s'argoglia, disiando vedere madonna mia a tuttore, quella che non s'argoglia; 48 in ver lei '1 mio volere. v. Non vo' piu soferenza, n& dimorare oimai senza madonna, di cui moro, stando; 52 ch' Amor mi move 'ntenza, e dicemi: " Che fai ? La tua donna si muor di te, asspettando." Questo detto mi lanza, 56 e fammi trangosciare si lo core, moragio se piu faccio tardanza; tosto faro reo stare, 60 di lei e di me dannagio. LX B 57 (N. Jacomo), B 7 p. 7o b (idem), C 40 (Rugieri d'Amici), [A 13, lost]. Val., I, 255; Ant, 59; Mon., 45; Baudo, 121; Ros., 38. Mss.: The index to A gives the first two lines and a half thus: Madonna mia auoi mando jngioia . . . sospiri. gialungia C has -anqa for -ansa, ct for tt, k for ch. Stanza V is lacking in C. [Ms. B] I. Madonna mia, a voi mando in gioi' li miei sospiri; 39. B sono . . . donna spene 41. B diliueramente 44. B ciascuno . . . sargollia 46. B atuctore 47. B sargollia 48. B lomio 52. B amore 53. B cheffai 54. B muore . . . asspectando (Casini has tt by mistake) 55. B decto 56. B fanmi Editions: 5. Baudo sommise 13. All. lo sono Val. Ma s'io 17. All. E p. ... mi stisi Val. stesi 21. All. Baudo E travagliami col dare Val. comandarmi 22. All. Maq. 27. All. quello ... sente 30. Val. E'l vo cercando, ed ho noie 32. All. mi d. 34. All., Val., Baudo Con tanto 44. Val., Baudo per se CANZONI 21 ca lungiamente amando 4 non vi porea mai diri com' era vostro amante, e lealmente amava, e pero ch'io dottava, 8 non vo facea senbrante. n. Tanto set' alta e grande, ch'io v'amo pur dottando, e non so cui vo mande 12 per messaggio parlando. Und' io prego 1'Amore, a cui prega ogni amanti, li miei sospiri e pianti 1 6 vo pungano lo core. in. Ben vorria, s'io potesse, quanti sospiri getto, c' ogni sospiro avesse 20 spirito e intelletto, ch'a voi, donna, d'amare dimandasser pietansa, da poi che per dottansa 24 non vo posso parlare. rv. Voi, donna, m' alcidete e faitemi penare; da poi che voi vedete 28 ch'io vo dotto parlare, perche non mi mandate, tuttavia confortando, ch'eo non desperi, amando, 32 de la vostra amistate ? IX. 2. C mei 3. C Ecoralmente 4. C ui uolsi B, C dire 6. C ecoraimente 7. C ma . . . keo 8. C ui mostrai sembiante 9. C sete io. C keo ii. C Nonao per cm ui 12. C messagier 13. C eo 14. B accuipregha C seruenli 15. C mei 16. C ui 17. C eo 18. C quando 19. C c'] lacking; ciascuno 20. C anima e 22. C domandassen 23. C dakeo per 24. C no mauso dimostrare 25. C ancidete 26. B eallegiate a p. 27. C kemi 28. C ui docto inparlare 29. C Come no 30. C madonna c. 31. C kio . . . disperi 32. C uostr 22 CANZONI v. Vostra cera plagente, merce, quando vo chiamo, m'incalcia fortemente 36 ch'io v'ami piu ch'io v'amo. Ch'io non vi poteria piu coralmente amare, ancor che piu penare 40 poriasi, donna mia. VI. In gran dilettans' era, madonna, in quello giorno quando vi formai in cera 44 la bellesse d'intorno. Piu bella mi parete ca Isolda la bronda, amorosa, gioconda, 48 che sovro ogn' altra sete. vn. Ben sai che son vostr' omo, s'a voi non dispiacesse, ancora che'l mio nomo, 52 madonna, non dicesse. Per vostro amor fui nato, nato fui da Lentino; dunqua debb' esser fino, 56 da poi ch' a voi son dato. 41. C dilectanga 43. B vi] ti C forma 44. B le C elebellefe intorno 46. B chaizolda C ke ysocta 47. B amoroza 48. B siete C flor dele donne 49. B chesson C so keo son uostro 51. C meo 53. C son 54. B dallentino C fui nato 55. C donqua debbo 56. C keui Editions: 4. Mon. vi volsi n. Val., Baudo nonaocui Mon. non ao per CANZONI 23 B 113 (anon., but one of six canzoni, 109-114, all the rest of which are attributed to Notar Giacomo). [A 14, in the lost part of the codex, and almost certainly under Giacomo's name; B 6 70.] Val., I, 278; Baudo, 115. Mss.: The index to A gives the first two lines. B has cl for tt, tti for gli. [Ms. B] I. S'io doglio no e meraviglia, e se io sospiro e lamento amor lontano, mi piglia 4 dogliosa pena, ch'eo sento, menbrando ch'eo sia diviso di vedere lo bel viso, 7 per cui peno e sto 'n tonnento. n. Allegranza lo vedere mi donava prossimano; lo contrario degio avere 1 1 ch'eo ne son fatto lontano. S'eo, vegendo, avea allegranza, or no la vegio, pesanza 14 mi distringe e tene mano. m. Lo meo core eo agio lassato a la dolze donna mia; dogliomi ch'eo so' allungiato 1 8 da si dolze conpagnia; co' madonna sta lo core, che de lo meo petto e fore, 21 e dimora in sua bailia. iv. Dogliomi e adiro sovente de lo core, che dimora cui 18. Val., Mon. quando Baudo quanto 24, 30, 48. Val., Mon., Baudo follow C. X. i. A dolglio none marauilglia B non 2. A sio B sed 5. B diuizo 6. ueder ... uizo 9. proximano n. sono 13. opezanza 14. distringie 15. eo lagio 17. sono 19. cho 22. ed 24 CANZONI con madonna mia avenente 25 in si gran bona ventura. Odio e invidio tale affare, che con lei non posso stare, 28 ne veder la sua figura. v. Sovente mi doglio e adiro; fugir mi fanno allegreze. Tuttavia raguardo e miro 32 le suoe adornate fatteze, lo bel viso e rornamento, e lo dolze parlamento, 35 occhi, ai! vaghi, e bronde treze. XI C 61 (anon.) ; [An, in the lost part of the codex containing canzoni by Giacomo]. Val., I, 151 (Inghilfredi Siciliano). Mss. : The index to A gives the first two and a half lines. C has f for z; ct for tt; ka, ke, ki for ca, che, chi. [Ms. C] I. Uno disio d'amore sovente mi ten la mente; temer mi face, e miso m'a in erranza. 4 Non saccio s'io lo taccia, o dica neente di voi, piu gente. No vi dispiaccia; tant' b dubitanza; ca s'eo lo tacio, vivo in penetenza; 8 c'Amor m'intenza di cio che po avenire. Poria romanire in danno, che poria sortire a manti, 12 se lor e detto: ' guardisi davanti '. n. E s'eo 1'6 detto, temo molto piui non spiaccia a vui, a cui servir mi sforzo, donna fina; 26. ed 28. uedere 29. et 30. fugire 34. et Editions: 19. Val., Baudo Che in Madonna 34. Val., Baudo portamento XI. 2. A tiene 3. A temere C temerere 10. romanere 12. seller CANZONI 25 16 ca semo per leanza, ch' e 'ntra nui, d'uno cor dui. Temere mi face Amor, che mi mina; e se la mia temenza penserete, 20 piu m'amerete, che le mie paure non son se non d'amore. Chi cio non teme, male amar poria; 24 e tutta mia paura e gelosia. m. Geloso sono d'amor; ma dov' ene, cosi mi stene, ch' amore e piena cosa di paura; 28 e chi bene ama una cosa che tene, vive 'nde in pene; che teme no la perda per ventura. Donqu' e rasion ch'eo trovi pietanza 32 e perdonanza; ca s'eo in voi troppo isparlo, no son eo che parlo; Amore e, che tacente fa tornare 36 lo ben parlante, e lo muto parlare. iv. Donqua s'Amore non vole ch'eo taccia, non vi dispiaccia, s' Amore e d'uno folle pensamento. 40 Quell' e la gioia che piu mi solaccia, par che mi sfaccia, ch'eo ebbi di voi, donna, conpimento. Ma no lo vorria avere avuto intando 44 che vo pensando, e convenmi partire, in altra parte gire. La gioi' che di voi, donna, agio avuta, 48 no la mi credo aver mai si compiuta. 13. piue 14. uoi 16. noi 18. mena 27. piana (Bartoli-Casini say that piana in the Ms. was corrected to piena, but my examination of the Ms. does not confirm this, though the first a is blurred) 29. vive] the e was added above the line 40. solaga 41. sfaga 2 6 CANZONI v. Percio vorria ch'eo 1'avesse ad avire ed a vedire, che di cio nasce che mi discoraia, 52 non adovegna com' al mio temire. Vergogna e a dire, che sicuranza ormai nulla non daia. Ma si io son folle ne lo mio pensare, 56 per troppo amare, ca spero in voi, avenente, ch'eo non sero perdente; si come da voi ebbi guiderdone, 60 mi tragerete fuor d'ogne casone. XII C io, O 86, H(C) io, J(C) 273, P(C) 98 and 228, P(C) f. i2 4 b , D 234, 0, P (all under Giacomo). [A 12, in the lost part of the codex]. All., 426; Occhi, 306; Val., I, 280; Baudo, 92. Mss.: Below we simplify P(C) and P(C) to P, P, and call the version of P on carta 98, Pa; that on carta 228, pb. Variants of C, D, H, with a few important ones of Pa, pb, J 2 . C has f for z, ct for tt, k for ch, gl for gli. D has q for z, Igl for gli; sometimes k for ch, ch for c before o; ct for tt. H has k for ch, and ct for tt; sometimes k for c before o; cie for ce; either gl or gli for gli. [Ms. C] I. Amando lungamente, disio ch'io vedesse quell' ora ch'io piacesse, 4 com' io valesse a voi, donna valente. Meravigliosamente mi sforzo, s'io potesse ch' io cotanto valesse 8 c'a voi paresse lo mio affar piacente. 49. auere 50. uedere 51. discoraia] (Bart.-Cas. have discoraria, "but the second r is not in the Ms). 52. coal . . . temere 55. sio Val. follows the Ms. closely, but has the stanza lines incorrectly arranged. XH. i. D, H lungiam. 3. Pa, P Qual 4. Pa, P uolesse 5. D, H Marau. 7. D chom i o contato 8. D ke uoi C, D affare 9. Pa, P ben seruire io. D la ou e tutto p. H tocto p. pb Lau' e tanto C, D, H, etc. piacere 12. D, H accio H eo 13. D intendenca Pa inten- danza changed to intendimento, then restored 14. D, H ueggiate 15. H cag- CANZONI 27 Vorria servire a piacimento, la u' tutt' 6 piacire, e convertire lo meo parlamento 12 a cio ch' io sen to; per intendanza de le mie parole vegiate come lo meo cor si dole. n. Non dole ch' agia doglia, madonna, in voi amare; anti mi fa allegrare 18 in voi pensare 1'amorosa voglia. Con gioi' par che m'acoglia lo vostro innamorare; e per dolce aspettare 22 veder mi pare cio che mi s'orgoglia. Ma d'una cosa mi cordoglio, ch'eo non so in veritate che voi saciate lo ben ch'eo vi voglio. 26 A cio mi doglio: non posso dir di cento parti Tuna 1'amor ch'eo porto a la vostra persona. m. Se 1'amor ch'eo vi porto non posso dire in tutto, vagliami alcun bon motto; 32 che per un frutto piace tutto un orto, e per un bon conforto si lassa un gran corrotto, e ritorna in disdutto; 36 a cio non dotto; tal speranza porto. E se alcun torto mi vedete, ponete mente a voi; gia dolo 1 6. H di uo madonn amare Pa In uoi Madonna (the in written instead of a cancelled word, ending in i, probably di) pb Di uoi m. P like Pa 17. H anzi 18. H gio . . . accoglia 19. D chemm ac. 21. H originally tropo; later cancelled, and dolce written in the margin 22. D chemmi 23. H madonna cosa (with a marginal note: Ma d'una) Pa Ma donna d'una (the words d'una added above the line) pb Madonna cosa mi P Madonna d'una 25. C, D bene H uo sacciate 26. D, H accio 27. C, D dire 28. D amore 29. D amore H io 34. D lascia 35. D erritorna . . . dosdocto H retorna 36. D, H accio C, D, H tale 37. C alcuno 38. H poi ne temente ad 28 CANZONI ch' argoglio non e gioi', voi pur sapete; 40 si bella sete, che cio che voi volete a voi convene, e tutto quanto vegio a voi sta bene. IV. E tutto quanto vio mi pare avenanteze, e somma di belleze; 46 altra riccheze ne gio' non disio. E nulla donna vio ch'agia tanta adorneze che la vostra alteze, 50 e non basseze, launde innamorio. E se amasse voi, madonna mia, e voi amaste meve, se fosse neve, foco mi parria, 54 e notte e dia, 39-41. C ke bella piu ke perargoglo siete: ke sapete corgoglo no ne goia ma uoi conuene D, H the same as C (with only the following orthographic variants: D, H gioia H orgoglo). Pa originally read for 11. 37-41: E s'alchun' torto mi ue- desse Ponete mente auoi che la bella Piu che per orgoglio scese Che sapete che orgoglio non e gioia Ma auoi conuene et Et tutto quanto, etc. This is the reading of pb also. But Pa has the following manipulations: The words ma auoi conuene were first cancelled and beside them was written by another hand: Non e gioia, ma a uoi conuene; then lines 37-42 were cancelled and the same second hand wrote in the margin the reading given in our text, except that I. 40 has ma cosi bella, and I. 41 lacks che before cio. Then the whole marginal addition (II. 37-42) was cancelled, probably because very confused, and copied with these changes: 37. et s'alcun torto far uoi mi uedete 38. a] lacking before uoi 41. a] lacking J 2 for II. 37-42 has this last reading of y&. 42. D ueggio 43. C uegio D, H ueggio 45. C, D e] lacking H, pb the whole line lacking Pa originally the line was lacking, but was added in the margin by a later hand 46. All the Mss. have altre D ricchecce . . . gioia H, pb ne neggio altra dixio Pa the line was originally lacking, but the reading of our text was added in the margin. J 2 the line lacking 47. C, H ueo D ueggio 48. All the Mss. have tante D, H aggia 49. All the Mss. have le uostre D chelle . . . altecce H altezze 50. D bassecce laonde H -ezze 51. C, D, H, Pb Ese madonna mia amasse io uoi Pa had originally the same reading as the other Mss., but changed it to read like our text J 2 like our text 52. C, D, H, Pb amaste] lacking Pa had at first et uoi mene, but a more recent hand changed it to et uoi amaste meue J 2 , like Pa, the reading of our text 53. D paria 54. H e CANZONI 29 e tuttavia, mentre ch'avragio amore; e chi ben ama, ritorna in dolzore. v. Non so com'eo vi paro, ne che di me f arete: ancider mi potrete, 60 e non mi trovarete core varo, ma tuttavia d'un aro, cotanto mi piacete; e morto mi vedrete, 64 se no m'avrete a lo vostro riparo, a lo conforto di pietanza, che mi cozi a lo core, e li ochi fore piangano d'amanza 68 e d'allegranza, con abondanza de lo dolce pianto lo bel visagio bagni tutto quanto. nocte dia Pa first had et notte et dia, but changed it later to et tutta n. et d., this latter the reading of y 55. C cauaragio D mentra ch aueraggio H e tuttavia] e lacking 56. C eki bena . . . na indo . . . ore with erasure of about seven letters after bena. The last word is partly obliterated, but one can stul read indo . . ore, with a space for two letters, and the lower part of a $ or z still visible; probably in dol- core. In the margin opposite bena a more recent hand has written vide, suggesting benavide. Before na a more recent hand has written over the erasure ritor, stul faintly visible. Bart.-Cas. have incorrectly: bena . . . na uide indolore D bene ama ri- torda in dolore H ki 1 ben ama ritorna in dolore Pa ritorna (with n blotted) in dolore. Then a more recent hand cancelled the last two words and wrote in the margin: in dolzore pb dolore P ritorda 59. C ancidere 60. D tro- uerrete H trouerete ore uaro (in the margin core for ore) Pa first hor auaro, changed to hora cor uaro pb hora auaro P hora cor uaro 61. D uno C, D, H, Pb airo 63. D, H, Pa, pb, P uedete 64. D, H non C, D, H al 65. D al Pa a more recent hand added uostra above the line after di P uostra p. 66. C mcoci al D che incocci al H k encoci al Pa, Pb, P ch'encozi 67. C (Bart.-Cas. have by mistake piangono for piangano) D elgli occhi 69. H abundanza 70. D, H uisaggio D bangni The editions follow fairly accurately the readings of C. The following variants may be noted: 3. Val. Qualora 7. Baudo com'io 23. Val. Mabened'una 37- 42. Val. and Baudo like Ms. C 51-52 Val. and Baudo like Ms. C 56. Val. ritorna in dolore Baudo ritorda in dolore 66. Val. Che entri al core CANZONI OF DISPUTED OR DOUBTFUL AUTHENTICITY rxiii-xxii) A. PROBABLY AUTHENTIC (XIII-XV) XIII A 3 Notar Giacomo. Under Rinaldo d'Aquino in C 27, D 230, J(D) 358, P(D) 107, f. 64 b , J S (D) carta 87*, J 4 (D) 113, carta 92". Anonymous in K 131, carta 41. Under Giacomo: All., 478; Wiese, 201; Baudo, 132. Under Rinaldo: Val., I, 227; Nann., 98; LeM., 12; Ant, 104; Card., 4. Mss. A, C, D: A has tie for ce, gie for ge, ngn for gn. C has k for ch, ka for ca (11. 14 35, 37), f for z, ct for tt (except 1. 15). D has q for z, -eyge for -eze f generally ct for //, sometimes ch for c before a, and . All the orthographic variants of D are not given. In A there is a space of four lines between this canzone and A 4. [Ms. A]/ I. Guiderdone aspetto avire di voi, donna, cui servire non m' e noia. 4, Si mi sete tanto altera, ancor spero avere intera d'amor gioia. Non vivo in disperanza, 8 ancor che mi diffidi la vostra disdegnanza; ca spesse volte vidi, ed e provato, omo di poco affare II. i. C Guiliardone A, C auere D auer 2. A chui C dauo D da 3. C no 4. C, D ancor ke mi siate altera 5. A ancora . . . dauere. C, D sempre spero dauere 6. A amore 8. A ancora 10. A audiui C ke ke D che ii. A commo C homo 12. C, D gran 13. A selo 14. A moltipricare C moltiplicar D moltiplicare 15. A disperanza nonni mi C, D disperanca . . . gitto C no 16. A medesemmo C, D inprom. 17. A, C auere 18. A speranza C cor; e] lacking 19. A portto . . . leanza C kio 21. C, D Pero C no 22. A amore 23. C co homo 30 CANZONI 31 12 per venire in gra' loco, se si sape avanzare, moltipricar lo poco c'a 'quistato. n. In dispranza non mi getto, ch'io medesmo m' imprometto d' aver bene. 1 8 Di bon core e la leanza ch' i' vi porto, e la speranza mi mantene. A cio non mi scoragio 22 d'amor che m' a distretto: si com' omo salvagio faragio, com' e detto ch'ello face: per lo reo tempo ride, 26 sperando che poi pera la laida ara che vide; di donna troppo fera spero pace. m. S'io pur spero in allegranza, fina donna, pietanza in voi si mova. 32 Fina donna, non siate fera, poi tanta bieltate in voi si trova. Ca donna c'a belleze, 36 ed e sanza pietade, com' omo e c' a richeze, ed usa scarsitade di cio c'ave; se non e bene apreso, 40 ne dritto ne insegnato, da ogn' omo n'e ripreso, oruto e dispresgiato, e presgio a grave. 24. A chelle detto C come odecto D chome o decto 25. A temppo C no 27. A uede C, D lo laido dire ke C uene D uen 28. C dadona D da C, D aspecto 29. A ispero C between spero and in had pietan, which was cancelled; alegranga D ispero pieta in 30. C piatanca 32. C no mi D non mi 33. C, D belta 36. C, D senca D pietate 37. A ommo A, C, D e] lacking C ricchece 38. C, D e D scharsi- tate 39. A non nne 40. A diritto ned C nodruto e D nodrito ed 41. A ommo C ognonder. D uomo 42. C orruto e dispresiato e posto a D orrato . . . posto a 32 CANZONI rv. Donna mia, ch'io nom perisca! s'io vi prego, non v'incrisca mia preghera: 46 la belleze, che 'n voi pare, mi distringe, e lo sguardare de la cera. La figura piagente 50 lo core mi diranca; quando vi tegno mente, lo spirito mi manca e torna in ghiaccio. Ne mica mi spaventa 54 1'amoroso volere di cio che m'atalenta, ch'io no lo posso avere; ond' i' mi sfaccio. XIV A 69 (anon.; but stanza m suggests Giacomo as the probable author). Baudo, 117. Ms.: Between this canzone and the one preceding it (A 68) there is a space of about two lines left blank. Instead of the author's name, an annotator wrote " partenza." Between this and the next canzone in the codex a space of about four lines is left blank. The Ms. has cie for ce, Igli for gli, ngn for gn. I. Membrando 1' amoroso dipartire, com' eo parti vi di voi, donna mia, 3 c'a pie basciando vi diceva: " A deo! " si forte mi combatton li sospire, pur aspetando, bella, quella dia 6 com' eo ritorni a voi, dolze amor meo; 43. C, D Fina donna keo non 44. A, C, D incresca C eo . . . no D eo . . . priego 45. C pregera D preghiera 46. A, C, D le 48. C ciera 49. C, D piacente 50. D dirancia 51. A tengnio C, D uoi 52. C mancha 56. A sfacco C keo . . . undeo . . . sfacio D eo Editions: (Wiese's text is a reproduction of A) 4, 5. Val., Nann., Baudo, Card. follow C 13. All. Se lo sape D'Anc. C., Card. S'ello sape 14. All., Val., Nann., D'Anc. C., Baudo, Card, moltiprica D'Anc. C., Baudo, Card, conquis- tato 24. D'Anc. C. ch'el'S d. Wiese chell'e d. 40. Nann., Baudo Nudrito ed CANZONI 33 si languisco eo, madonna, pur pensando e disiando com'eo mi torni a vui, 9 si ca noi dui viviamo in gio' basciando. n. La rasgione e lo dolze parlamento che tu dicevi a me, bella, im parvenza, 12 lo giorno ch'eo da voi mi dipartivi: " Se vai, amore, me lasci in tormento; io n'averb pensiero e cordoglienza, 15 e disiro di venire a tivi. Come audivi che vai lontana parte, da me si parte la gio' del meo core. 18 Se vai, amore, lo meo cor lasci im parte." m. Lo mio gire, amorosa, ben sacciate, mi fa contra volere in tute guise; 21 a voi ritornare gran disiro aio, ma lo meo sire, che m'a im potestate, a lo 'nconinciamento 1'impromise 24 di ritornare a Lentino di maio. Lo meo coraio d'altro nom si dilletta; tutora aspetta che con voi sogiorni, 27 in gio' ritorni la pena ch' i' 6 detta. rv. Certo, donna mia, nom sono alungato [da voi per sempre], ma ciascuna dia 30 mi pare ch' i' sia di voi piu disioso; poi che '1 corpo dimori in altro lato, lo cor con voi sogiorna tutavia. 33 Io ne so' alegro, e vivone gioioso de 1'amoroso rimembrar ch' io faccio, 42. Vai., Nann., Baudo, Card, onuto . . . e posto a grave D'Anc.C., Wiese onuto Cas. (Ann.), Wiese spresgio a g. XIV. 3. midice(a)ua 4. fortte . . . combattono 6. amore 8. uoi 14. -anza 15. disioso . . . tevi 16. Sicome . . . partte 17. partte . . . gioia 18. core . . . partte 19. benesaccate; amorosa] the last vowel might be a or o 21. " La i di aio nel cod. fu aggiunta sopra nelV interlineo " (Satta) 23. lonconincamento 26. voi sisog. 27. gioia . . . chio sento 28. Ciertto mad. mia 29. da voi per sempre] lacking (proposed by Casini) ; ciaschuna 31. corppo 32. core 33. edio . . . sono 34. rimembrare . . . facco 34 CANZONI quando im braccio io vi tegnea basciando, 36 adomandando '1 comiato in sollaccio. V. Tanta baldanza in disio tenente e' no creo che sia in alcuno amante, 39 ne agia in sua intendanza, al mio parere, quanta im privanza teno spessamente; e da me si non tolle e diparte mante 42 fiate im braccio voi, bella, tenere; a cio avere, mi par, si sonando, lo quando vorei fossimo i' loco 45 che di tal foco ramortasse mortando. XV B 114, [B 6 71], B T p. 150. A 16 (the poet's name and the first twelve lines are lost, but the canzone was most probably attributed to Giacomo); C 71 (under Guido dale Colonne); H(C) 19 (anon.). Baudo, 119 (Giacomo). Under Guido in the' following: Val., i, 183; Le M., n; Nann., 82; But., 40. Mss.: A lacks the poet's name and the first twelve lines. C and H lack stanza V. In the margin of H a i6th cent, hand wrote: " Pud essere di Nofo ? " A has cie for ce, Igli for gli. B has Hi for gli, ngn for gn. C has Q for z, ct for tt, k for ch. H has ke, kui for che, cui. [Ms. B] i. Poi non mi val merze ne ben servire inver madonna, in cui tegno speranza, 3 e amo lealmente, non so che cosa mi poria valire; se non le prende di me pietanza, 35. bracco . . . tengna (uncertain whether the last vowel be a or o) 36. lo . . . sol- lacco 37. tenete 38. alchuno 40. quante 41. dipartte 42. bracco; bella] lacking 43. Aciomipare auere. uedere sisonando 44. tale Editions: 20. Baudo mi fu contra v. 22. Baudo ma a lo m. 37. D'Anc. C., Baudo tenete 40. D'Anc. C., Baudo Quante 41. D'Anc. C., and Baudo end 1. 41 with diparte and begin 42 with mante XV. i. C no ... mercede 2. C, H mia d. 3. H e amme 4. C, H possa B, C, H ualere 5. C, H se di me nole prende p. 7. C cagio H cangiao H niente 8. B doctanza C eo H ond eo 9. C, H sofferente io. C Sofferente seragio also H Soffirente seraggio B, C, H piacere n. C, H 1'amo] lacking; e di pura leanza 12. C, H la seruo; e] lacking 13. A, B perche . . . bene C Anci uorrea . . . essa bene H Anzi uorrei . . . ben A, CANZONI 35 6 ben morro certamente. Per neente mi cangio lo suo talento, und' io tormento, e vivo in gran dottanza, 9 e son di molte pene soferente. n. Poi soferente sono al suo piacire, di bon core 1'amo e co' leanza, 12 e servo umilemente; che meglio m'e per ella pena avire, che per un' altra bene con baldanza, 15 tanto le so' ubidente. Ardente son di far suo piacimento: mai non b abento d'aver sua menbranza, 1 8 in quella, in cui disio spessamente. ra. Spessamente disio e sono al perire, menbrando che m' a messo in ubrianza 21 1'amorosa piagente; sanza misfatto no m' dovea punire, ne far partenza de la nostra amanza, 24 per tanto e cannoscente. Temente son, non b confortamento, poi valimento non da, ma pesanza, 27 e fallami di tutto '1 suo convente. rv. Convento ben mi fece di valire, e donomi una gio' per rimenbranza, 30 ch' i' stesse allegramente; or la m' a tolta per troppo savire. B, C, H auere 14. A, B pena C, H nullaltra gioia ne 15. A, B, H sono C son 1 6. A, B sono . . . fare C pacimento H su 17. A, B ne mai . . . auere A nonno . . . membranza C, H emai nonalento . . . rimenbr. 18. A chui H dixio 19. A, B Ispessamente C, H sto almorire H dixio 20. A membr. C, H pensando . . . miso . . . oblianca 21. C piacente 22. A, B nonmi B misfacto C, H Senca mesfacta nomi 23. A, B fare C, H di far 24. A canosciente C, H poi tante caunoscente 25. A, B sono A nonno comf. C, H sono e 26. A, B non mi da C ne valimento no mi dea far p. H like C except defor dea 27. A tuto B tucto C fallomi di tucti lisuo conuenti H et fallommi di tucti i suo conuenenti 28. A Konuento A, B ualere C Conuenti mi fece diritenere H Conuenenti mi fe diritenere 29. A gioia . . . rimembr. B gioa C donao H donommi 30. C, H keo 31. C, H Ormila C comolto s. H con molta s. A, B, C, H sauere 36 CANZONI Dice che 'n altra parte b mia intendanza; 33 e io so veracemente, non sente nel mio core fallimento. Non b 'n talento di far misleanza 36 inver di voi per altra al mio vivente. v. Vivente donna non creo che partire potesse lo mio cor di sua possanza, 39 non fosse si avenente, perch' io lasciar volesse d'ubidire quella che pregio e belleze inavanza. 42 Fammi stare sovente la mente d'amoroso pensamento; non agio abento, tanto '1 cor mi lanza 45 coli riguardi delli occhi ridente. 32. A partte . . . ntendannza C edice ken ... a sua H like C except antendanza 33. A, B ed C, H cio so H ueracim. 34. A mi C lo meo . . . tal f. H sento lo meo cor tal 35. A nonno A, B fare C, H ne talento di far C mesleanca 36. C, H keo la cangi per altra . . . meo Stanza v lacking in C and H. 37. A, B credo 38. A, B core 40. A, B lasciare A uollesse 41. A presgio 42. A fami B fanmi star 43. A, B Ela A penssam. 44. A nonn . . . lo . . o cor (two letters erased after lo) B lo mio core 45. A delgli ochi Editions: n. Val., Nann., Baudo, But. Di bon cor 1'amo e di pur leanza 26. Ne valimento non ha mia possanza. In 11. io, 27, 32 Val., Nann., and Baudo CANZONI 37 B. LESS PROBABLY AUTHENTIC (XVI-XXII) XVI B 63, B* 215, f. 240, B*, quint, v, [W], B* f. 239", [B 25], B' p. 77, J (B) 319, carta 128*, P(B) 230, carta 317, J 2 (B) 271, carlo, i23 b , J 4 (B) 76, carto so b (all under Giacomo). A 179 (Ser Guilglielmo Beroardi), C 38 (Piero de le Vigne). All., 439; Occhi, 314; Val., I, 260; LeM., 1451 Ant., 61; Nann., in; Baudo 130; Ros., 41 (all under Giacomo); Card., 24 (Pier delle Vigne); Fantuzzi, Notizie degli Scriltori Bolognesi, II, 149 (under Guglielmo Beroardi). Mss. A, B, C: A has cie for ce, gie for ge, Igli for gli, ngn for gn. B has c for ch (before a), -izo for -iso, -ozo for -oso, gl for gli (46, 47, 55). C has k for ch, g for z, ct for M. B [Notaro lacomo] (name added by a later hand). [Ms. A] I. Membrando cio ch' Amore mi fa sofrire, e' sento 3 del marimento, ond' io sono al morire; ch' amando isto in dolore, i-llutto e 'm pemsamento; 6 dal mio tormento nom posso partire. Ch' a tutora ardo e 'ncendo, sospirando e piangendo; 9 ch' Amor mi fa languire per quella cui m'arendo, di me merce cherendo, 12 e non mi degna adire. n. Son morto, che m'incende lo fior, che 'm paradise 15 fue, cio m' e aviso, nata, ond' io nom poso. follow B; also in 28, except for volere in Nann. and Baudo. In 5, 13, 14, 17, 19, 24, 31, 34, 36 these three editions follow C. XVI. i. B, C Menbrando C amor 2. B, C soffrire 3. B marri. und . . . son C dismarri. undeo son 4. B, C sto 5. B in ... epens. C in ... einpianto 6. B, C del ... non 7. A Chatura B tuttor C Ka tucto . . . eincendo 8. A e] lacking B sospirand C meo 9. A amore io. A chui B di . . . chemarrendo C keo marrendo n. A di merciede B merse C merce kirendo 12. B, C audire C no 13. A Sono mortto B cha 14. A fiore B la ... n p. C la flor ken 15. B f u . . . me uizo . . . non C f u . . . undeo non 38 CANZONI Ch'a torto non discende inver me, poi m'a priso 1 8 lo suo bel viso dolce ed amoroso. Li suoi dolci sembianti, gioiosi ed avenanti, 21 mi fanno tormentoso star sovra gli altri amanti, im sospiri ed im pianti, 24 lo mio cor doloroso. m. Condotto 1'amor m'ave in doglie ed im pianto, 27 di gioia afranto, e sono miso im pene. Son rotto come nave, che pere per lo canto 30 che fano tanto doLze le serene. Lo marinaio s'obria, perde, e va per tal via, 33 che perir lo comvene. Cosi e la morte mia, quella che m' ae im ballia, 36 che si dura si tene. rv. Si fera nom pensai che fosse, ne si dura, 39 che la sua altura inver me no scendesse la spera ch'io amai; ne che la sua figura 42 in tanta arsura languir mi facesse, 16. A tortto B, C discende B ch'] lacking C Rancor non 17. B uerme chema conquizo 18. A ello . . . bello B rizo dolse eamorozo C dolce e 19. B Chesuoi dolsi senbianti C the line lacking 20. A dolci ed C the line lacking 21. A miff anno C the line lacking 22. A istare B istar . . . li amanti C the line lacking 23. B in ... in C the line lacking 24. A core C the line lacking 25. A Kondotto lamore B Condutto C Conducto 26. B sospiri ... in C dollie ein 27. B ma afranto emizon C gioi ... in; e] lacking 28. A sono B como 30. B fanno . . . dolse C fanno dolcemente 31. B sobbria C marinao 32. A tale B che tene per C altra uia 33. A perire B, C conuene 34. A mortte A, B e] lacking 35. B man bailia C ma inbailia 36. B mitene 37. B, C non 38. B fusse nessi 39. B su 40. B Labella 41. A fighura B chella C n&] lacking', ke ne la sua 42. A languire B, C tant 43. A Massella ke B n bailia C Ma selle ke . . . in bailia CANZONI 39 quella che m' a im baglia, in cui son sanza faglia 45 tute belleze messe. Piu che stare in travaglia par che sofrir mi vaglia; 48 o Dio! che mi vallesse! v. Novella canzon, prega quella, che senza intenza 51 tutor s'agenza di gen til costumi, for ch' ella d'amar nega, che -'llei regna valenza 54 e conoscenza piu ch' arena im fiumi, ca doglia del meo lutto, anzi ch'eo arda in tutto, 57 che '1 suo amor mi consumi; de I'amoroso frutto, anzi ch' i' sia distrutto, 60 mi comforti ed alumi. 44. A dichui sono B son tutta uia C in cui senca follia 45. B tutte bellesse C tucte 46. B star . . . trauagla C trauallia 47. A pare . . . sofrire B chel . . . uagla C pur ke soffrir mi uallia 48. B, C odeo B chenmi C ualesse 49. A canzone priega B canson 50. B sensa C tenca 51. A tutora . . . gientili B tuttor saggiensa . . . gienti c. C tuctor sagenca . . . costume 52. A forquella damore negha 53. B chen lei C in lei tegna 54. A soferenza B channoscenza ... in C cognoscenca . . . ke rena infiume 55. A Kallei d. B Che dogla . . . mio C Ke dollia . . . mio 56. A tuto B ansi chi C arda t. 57. A amore . . . comsuma B su C ukel 59. B prima C eo 60. A comfortte . . . alume B con- forti emallumi C conforti e Editions: Val. and Nann. follow B. Baudo follows B, except U. 18, 26 (A). Card, follows A, except 1. 26, in sospiri (B), 54, conoscienza (B, C). CANZONI XVII C 28, 0, P (Notar lacomo); Am (Messer Tiberto Galliziani da Pisa); B 60 (Messer Rugieri d'Amici). Val., I, 283; Baudo, 136 (both under Giacomo); But., 53 (Tiberto Galliziani). Mss. : A has tie for ce, gie for ge, Igli for gli, ngn for gn. B has -ansa, -ensa for -anza, -enza. C has k for ch, q for z, ct for tt. [Ms. A] I. Gia lungiamente, Amore, sono stato in mia balia, 3 e non curava d'altro segnoragio; or sono in tal tenore si che giamai nom poria 6 partir, si m'a distretto il mio coragio; e lo suo bel visagio, ch'e d'ogni bielta sagio, m'imfiamao, 9 e tuti gli altri pensieri mi levao. n. Le sue belleze tante, che porta in viso e mantene, 12 tutor s'adoblan; tant' a di plagenza, mi fa piu fino amante, che gioi' mi paiono le pene, 15 e piu d'amar mi cresce benvolenza di quella, co' temenza XVII. i. C lungam. 2. B, C bailia C son 3. A churaua B sig- noraggio C dalcor signorago 4. A orssono . . . tale B sonon . . . tinore 5. A si] lacking B non C si keo . . . non 6. A partire B sinma . . . coraggio C partire . . . corago 7. A Ello . . . bello B uizaggio 8. B chedod ogne belta saggio minflanmao C ogne belta . . . minfiammao 9. B tutti . . . penser C gl 10. B suoi bellesse n. A portta B, C portan uiso B uizo 12. A tutora sadoblano . . . anno B tuttor saddobla . . . plagensa C tuctor ladobla . . . placenta 13. A First three letters of fino illegible B si fino; the si substituted for a pi cancelled 14. A gioia B parno C gio . . . par 15. A amare miscrescie beluolenza B eppur . . . crescie benuogliensa C benuoglenga 16. A (An erasure prevents the reading of three letters after qu) C Quella di cui temenga 17. A dire . . . uolglienza B dogliensa . . . uorria C dollienfa enonoardir 18. A nonne B, C ei 19. A O deo B eo C O dio kio auesse 20. B, C eo 22. A forsse B, C carebbe 23. A ancora CANZONI 41 di dir la mia doglienza; e voria dire, 1 8 perche giamai non e' tanto d'ardire. in. Deo ! c'or avess' io tanto d'ardimento, ch' io contasse 21 le mie pene a la mia donna valente! Forse averebe alquanto mercede, ancor non m'amasse, 24 ca per sembianti poria star gaudente; e no-lie steria gente, poi ch'e di me temente, s'io perisse, 27 perch' io voria ch' ella il mio mal savisse. rv. Oime! che dich' io folle! or gia m'acoglie ed inora, 30 ancor nol faccia ad amorosa intesa. Per tanto non mi stolle Io sguardar che m' asicura, 33 e la speranza gia non m'e difesa di quella bene apresa; che d'amar e si acesa la mia mente, 36 ch' io no Io poria dir, ne star tacente. v. E s'eo Io taccio, pero; e s'io Io dico, b dotanza; 39 nom saccio s'a lei piace o sia spiacire; ond' io merze le chero, che no le torni a pesanza, 42 perch' io voria di morte guarentire; B merse ... no C dimercede ... no 24. A stare B cha . . . senbianti porea . . . ghaud. C ke . . . senbianti 25. B noli sterea C none strania 26. A morisse B chio C dimente seo 27. A male B [per cheo] (si) uorrea chellalmeo A, C sauesse C e ben uorria ke lomeo male 28. B di[ch]o; io] lacking C io dico 29. B chasse maccogle dinnora C ma collie e 30. A ancora . . . facca B faccia damorozan teza C non facia lamorosa intenca 31. B tolle C no ... tollie 32. A sguardare . . . asichura B mas- sigora C masigura 33. B difeza C no 34. B bena-preza 35. B acceza C amare 36. A nollele . . . dire . . . stare B eo . . . porea C si keo non poria dire 37. A Esseo B Seio C Ka seo 38. B essio dico dottansa C eo . . . doctanca 39. A allei . . . spiaciere B non . . . seli- piaccia . . . spiagire C non so sele piace u . . . spiacere 40. B Vnde merse li C Pero merge 41. B noi t. a pezansa 42. A uolglio . . . molte B uorrei C per keo uorria 42 CAXZOM ch'e pra per suo servire, die go. d'altro vohre non talento; 45 pero slo moro, dl'a k) perdimento. xvm D 256, K carte 71 (both under Xotaro Giaoomo da Lcntmo); A 37 (Pkro de leVigne); C 49 (Messer Jacopo Mostacd di Pisa) AIL, 431; Bando, 125 (both under Giacomo); VaL, 1, 47; Wiese, 207 (both under PirrodeleVigne). Mss. A, Q D: A has CK for , r for *, { for fii, g* for pi. C has f for *, et for U, and * for cL The minor orthograpnk variants of D are not afl given. D Notaio Gbcfaomo da kntino. Pfs. A] I. Poi tanta e compimcnto di tuto bellore, sanza mancare, Natma 1'a dato, non e mai increscenza penare lungiamente per suo amore; quant 1 io pin peno, pin saro 'nalzato. In si grar. sicuranza .\mor m'a meso F k> sno gran valore, a cm son tuto dato, di si buoDo amore, com* albero che d'eUera e sorpreso. 43. A Ke C Epin ... lei 44- A, C oolare B, C none 45. B chasseo mi C eo ... dh. anlpentimrnto Editions: 5, 6. VaL confuses OK Kme division; Cod m'ave disL n. Baudo che poria . . . e tene Bat. e mante 12. VaL 1'addobla Baudo tant' in 15. VaL, Baudo d'amor 16. VaL QueDa, di on ho t. Baudo Queflo di c\u ho L Bat. c"6 t. 26. Bando morisse 31. VaL tofle 35. VaL, Baudo d'amore 36. Bando nan le 37. VaL Ca s'eo Bando Che slo . . . pod 38. But. lo] lackmf 40. VaL Pod m. 42. But. vogfio 43. VaL, Bando piu But. chipia 44- VaL, Bando non ho taL But che pi . . . n'd taL 45. Val. 4VF U i. C caonoscenca. 2. C oonpimento . . . tncte D a comp. 3. C, D senca . . . li D ^i 4. A Nonpe C no mi uen ... D me uenne 5. C, D liiagjiin D so 6. C quanto piu peno e pin sero n^lf?t" D quanto pin 7. A sichunnza amarc C nriso D messo 8. A grande C in del D el suo o. A dun sono C tncto D di . . . so nnamorato io. C em&ammato . . . bonnolexc D snbennokre n. C albore D albore ... CANZDNI n. Lo veder mi sotrasse; si come fl ferro fa la 14 coa, m'e aviso, Amor mi sotragesse. Parve che mi furasse subitamente core, corpo e vita, 17 ch'io non son mio quanto un ago pungesse. In Amor 6 dato tuto mio pensare, e 'n sua suggezione; 20 ch' k> sono inamorato ed alterato di mia openione; ch' io vo al morire, e paremi ben fare, m. Son menato al morire per f orza, e i' medesimo mi c' invio, 25 ed esser la mia morte, e non vedere. Non 6 tanto valire ch' io possa isforzare lo mio disio; 28 cosi m'a tolto Amore ogne podere. Di do mi dono gran oomfortamento contra lo mio penare, 31 che sono da lei amato; m'ave a meritare; 43 bon fine aspetta boo IV. Si alta inconinzagtia Amor m' ave inora to da venire, 36 perche pra aquisto che non 6 mertato. eflere son preso 12. A uedere 13. D 1; a\ Imdumg 14. A c'amore C meuisoaunor D chasi parue ch . . . m sottxaesse 15. C Fuse D me sottnsse 16. A core e carppo 17. A saao C keo D eo . . . meo 18. ^ XDUDOVC C^ In^^nm?^^ . .. tttrt^ ^i F ~ **. 3..m^r r^c*5s c< \ tv?' . m^*.' 19. A giuzJooe C subifctwpr D sugge&iane 20. C keo ... *'' D accfaai . . . tuttor data 21. A e C, D ^^uini^ D l"*> 22. A bene C ke eo D die uolg)k> . . . parmioe 23. A Sono C reals U. 23, 2f Son iiifmlo per forfft edeo uinlf siim mi mrno iliiMMire. D SUM' lit & talm. 24. A ed C seeLij D edeo 25. A essere ... mortte D eh. mia morte me fan. uedere 26. A nonno C nono tanta. di possa ne draaloce D dardire 27. C keo tsfof^Q meo disiic D eo p"^** sturcar ... meo 28. D ch eDo m a . . . amore onne 29. A gtande C oonL D Aopo mi dona 30. C, D meo 31. D ch io son A, C, D daDei 32. C < iiif mnjariato D mae 33, A looonooom. 34. C fmoincanca D inoominrialgU 35. A amore C donato D maonontodi 36. A nonno meritato C per keo piu aqubti keo C ku mertato; Bart--Cas.remcmr (meritato) D chonpiu d aqmstato non o meritato 44 CANZONI Non 6 giucato in faglia, che ben sovente vedemmo avenire 39 amar fortemente, e no essere amato, poi 'n ella e tanto di canoscimento d'amore, che la 'ntenza 42 e piu mi fa allegrare, come de fare chi si ben conenza, quant' a piu de le donne insegnamento. XIX D 237, D 1 33 (both Notaro Giacomo da Lentino); A 28 (Messer Rinaldo d'Aquino); C 31 (Misser Rugieri d'Amici). All., 434; Occhi, 310; Baudo, 127 (all under Giacomo); Vol., I, 225; Ant, 103; Le M., 12; Nann., 94; Ulrich, 53; Wiese, 204 (under Rinaldo). Mss.: A has de for ce, gie for ge, Igli for gli, ngn for gn. C has for z, d for It, k for ck, ka for ca (1. 20). D has Igli for gli, ngn for gn, g for z, sometimes ct for it, and cha, cho for ca, co. All the minor orthographic variants of D are not given. [Ms. A] I. In un gravoso affanno ben m' a gitato Amore, e nol mi tegno a danno amare si alto fiore. 5 Ma, ch' i' non sono amato, Amor fece pecato, che 'n tal parte donao mi' 'ntendimento. Conforto mia speranza 37. A j nonno C Non giocai . . . fallenca D Non ma ... a falgla 38. A bene C ben] lacking ; uedomo adouenire D come souente veiome 39. A, C, D amare A norm C none amato D no e 40. C Poi ella tanto . . . caun. D Ma illei 41. C amor . . . latendanca D e d 42. C ralegrare D per me . . . rallegrare C, D e] lacking 43. A bene inconenza C comenca D sicome . . . chomincia 44. D chome a piu Editions: All. is based on D. 2. All., Val., Baudo a comp. . . . tanto 8. All. El suo g. Val. Dello suo g. Baudo E lo suo g. 14. All., Val., Baudo Cos! parmi ch . . . sottraesse D'Anc. C. c'Amor 18. Val., Baudo mess'ho D'Anc. C., Wiese In ... dato ho 20. Baudo = D 25. Val. = D 26, 29 Val., Baudo = D 31. Val. = D 34. Val. A si alta 37. Val. = D 39. Val. essere] lacking D'Anc. C., Baudo Amare forte e non essere amato 40. Val., Baudo = D 42. Val. Pur mi fa Casini (Ann.), Baudo = D. CANZONI 45 pensando che, s'avanza, 10 buono sofrente aspetta conpimento. n. Per cio non mi dispero d'amare si altamente; adesso merce chero, servendo umilemente. 15 C' a povero omo avene ca per ventura a bene, che monta ed ave assai di valimento. Pero non mi scoragio, ma tutor serviragio 20 a quella c'ave tuto 'nsegnamento. in. Dat' 6 la mia 'ntendanza, giamai non si rimove, e servo in gra' leanza che 'n essa merze trove. 25 Solo questo mi faccia, s' i' 1'amo no le spiaccia, e tengolomi in gran consolamento; com' omo c' a disascio aspetta d'avere ascio, 30 poco di bene piglia per talento. TV. Tanto m'este a plasere d'aver sua segnoria, che non disidro avere altra donna che sia. XIX. 2. C, D gittato 3. C no mi 4. C, D amar . . . alta 5. A, C, D madicio C keo D chi] lacking 6. A amore C, D peccato 7. A tale partte C meo int. D dono mio int. 8. A confortto D mio 10. C bon D buon C, D sofferente D comp. n. A Perccio C no 12. A amore C, D amar 13. C, D merge 15. A ommo C pouer 16. C, D ca] lacking; auentura 17. C first e then changed into ed 18. C, D Percio C no ... discoragio 19. A tutora C tuctor D tuttora seruiraggio 20. C, D tutto insegn. 21. C intendanca D intenca 22. D giamma 23. C gran D in allegranfa 24. C in D chellei 25. A facca C facia 26. A ammo . . . spiacca C eo . . . spiacia D dispiaccia 27. C, D tegno. D n gran 28. A ommo C the line lacking D uomo . . . disagio 29. C the line lacking D auer agio 30. A pieta di bene C the line lacking 31. C piacere D meinplagere 32. A, C dauere C signoria 33. A disi- dero C disedero; auere] lacking D ch eo ... auer . 46 CANZONI 35 Come quello che crede salvarsi per sua fede, per sua lege venire in salvamento, a meve cosi pare: non credo mai scampare 40 sed ell' a me non da consolamento. XX B 61, B 7 p. 74 b (Notar Jacomo); A 35 (Notaio Arigo Testa da Lentino); C 62 (Arrigus Divitis). All., 417; Crescim., Ill, 38; Vol., I, 178; Ant., 54; Nann., 70; Mon., 63; Zenatfci, A. Testa, p. 87; Baudo, 139; Torr. Man., I, 34 (all under Arrigo Testa); Palermo, / Mss. pal., II, 100 (Arrigo di Vitis). Mss. : A has cie for ce, gie for ge, Igli for gli, ngn for gn. B has gl for gli, -nsa for -nza, -ozo for -oso, -iza for -isa. C has $ for z, ct for tt, k for ch. [Ms. A] I. Vostra orgogliosa cera, e la fera sembianza, mi tra' di fin amanza 4 e metemi in erore. Fami tener manera d'omo ch' e 'n disperanza, che non a in se menbranza 8 d'avere alcun valore. In do blasimo Amore che non vi da misura, vedendo voi si dura 12 ver naturale usanza. 35. D quelli 36. A saluarssi 37. A insutalento D legge ... a 38. C meui D mene 39. C campare D credendo 40. C sefie D dona NOTE. In D this canzone ended with a commiato of 13 lines, beginning: Mia chanqone di gran giecchimento, and of different metrical form. It really belongs to Chiaro Davanzati's canzone, Assai mera posato (A 202). All., Val., Nann., and Baudo add it to In un gravoso ajfanno without comment. Editions: 9. Val. si av. 12. All., Val., Nann., Baudo d'amar 13. D'Anc. C. Ad esso 21. Nann. Da cui D'Anc. C. Da do la All., Occhi intenza 28. The other editions c'a 29. Val. aspetto Nann. E spera 37. All., Occhi, Nann. a salvamento 38. Occhi A me non 39. All., Occhi, Nann. Non credendo XX. i. B, C Uostr C argoglosa ciera 2. B senbiansa C sembranca 3. B, C trae C fina 4. B mettemi n B, C errore 5. B Fanmi A, B CANZONI 47 Ben passa costumanza, ed e quasi fuor d'uso 1' afar vostro noioso 1 6 per leveza di core. n. Del vostro cor certanza ben 6 veduto in parte; c'assai poco si parte 20 vista da pensamento, se non fosse a fallanza proponimento d'arte, che dimostrasse sparte 24 altro c'ave in talento. Ma lo fin piacimento, da cui 1'amor discende, solo vista lo prende, 28 ed i' cor lo nodrisce, si che dentro s'acrisce, formando sua manera; poi mette fuor sua spera, 32 e fanne mostramento. in. Pero, madonna mia, nom po modo passare, ne stasgione ubriare, 36 c'ogni cosa a suo loco. Convien ch'ello pur sia, che manifesto pare, e tuto 1'apostare 40 ver la natura e poco. tenere B mainera 6. A omo 7. A che] e; nona B non mostra sen- biansa 8. A, C alchuno 9. C Ein B, C biasmo B 1'amore 10. B mizora C no mi da u. B ui sidora 12. B uzansa 14. A fuori B quazifordozo C for 15. A lafare B laffar 16. A p>erliuezi B leuessa 17. A core 18. C beno (not bene as in Bart.-Cas.) 19. A partte B ch' ... pogho C pogo 20. A di 21. A a] lacking B fusse C no 22. A omponimento dartte 23. A imparte C exparte 24. B n tal. 25. A fino 26. A dichui lamore 27. C sola 28. A icore B encore . . . notrisce C ein 29. A, C acrescie C s'] lacking 30. B mainera 31. A fuori suo B for 32. A effanne; first had penssamento, then cancelled and mostramento substituted. B, C fande 34. A mondo B, C non 35. B stagionobbriare C stasione pbliare 36. B, C c'] lacking B ogna . . . su C ogne ... in s. 37. A conuiene C conuen 39. B tutto 40. A e] lacking B uerso 1'amore 48 CANZONI Vedete pur lo foco che, fin che sente legna, inflama, e non si spegna, 44 ne po stare nascoso. Cosi a 1'Amore in uso per fermo segnoragio, che cui tien per coragio, 48 convien che mostri gioco. IV. Non mi mostrate gioco ne gaio semblamento d'alcuno bon talento, 52 ond' avesse allegranza; ma mi metete i-lloco, la 'nd' io gran noia sento. Che fate nngimento 56 di verace amistanza; e cio e gran fallanza che cosi mi tradite. Poi che tanto savite, 60 trovate alcuna guisa che non siate riprisa di si gran fallimento; di vista o pensamento 64 agiate in cor fermanza. v. Da me fermanza avete, ch'io so' in vostra tenuta, poi lo meo cor non muta 41. A Vedendo per lo 42. A che fin] jnfin 43. A nonnispengna B in- flanma C infiama 45. B Cosi lamore cozo C cosi lamore emiso 46. B signoraggio C signoragio 47. A chui tiene perussagio B che conuen . . . coraggio C cui tern 48. A conuiene B, C conuen 49. B, C No 50. B senblam. C sembram. 51. A alchuno bono 52. B undauess C ondio 53. B mettete in loco C tenete in 1. 54. B, C la] lacking B ondio C undio 55. A fate of. B, C faite infing. 57. C Ecie 59. A sauete C sapete 60. A alchuna 61. A, C ripresa B ripriza 62. A di uista openssam. 63. A dalchuno bono talento B uista inp. 64. A core B aggiate C fermeca 65. B, C Di B fermessa C fermec.a 66. A sono uostra B i so C eo sono in 67. A core B pero meo C pero mio . . . no 68. A fare uostro omagio B -aggio C fare 69. B Dunque C Donqua A sauoi A, C siete 71. B straina C strania 72. A auere B dannaggio C damagio 73. B -aggio C e] lacking 74. A caccate le CANZONI 49 68 di far leale omagio. Dunqua se voi mi sete di si fera paruta, ben e strana partuta 72 per bene aver danagio. Poi savete ch'e oltragio, cacciate la fereze, che no e presgio 'n alteze 76 contra umiltate usare. C'omo di grand' affare perde lo suo savere, che lo 'nganna volere 80 per soverchio coragio. XXI D 235 (Notaro Giachomo da Lentino); D 1 32 (Notaro Jacomo da Tolentino); A 40 and C n (both Piero de le Vigne); B 123 (Notaro Stefano di Pronto di Mes- sina), [B 79]. All., 429; Occhi, 308; Baudo, 122 (Giacomo); Serassi, 10; Val., I, 44; But, i (all three Piero delle Vigne). Mss.: In C stanzas rv and v are lacking; in D stanza v. A has cie for ce, Igli for gli, ngn for gn. B has ct for U (and for / in tuto), ngn for gn. C has f for z, ct for tt, and k for ch. The minor orthographic variants of D are not given. [Ms. A] I. Amor, da cui move tutora e vene presgio e largheza e tuta benenanza, B cangiate la feressa C ai first cagiate, then a stroke in much darker ink put over the a; la fereca 75. A nonne . . . nealteze B non pregie ne altessa C ke ne presio 76. A uersso B umile uzare C umiltade 77. B, C grande 79. A chello C calui ing. 80. B, C soperchio B coraggio Editions: 7. Zen., Baudo e non 9. Zen., Baudo E in ci6 16. D'Anc., C. per li vezi 21. Mon. Se non forse a 23. Mon., Baudo in parte 27. Zen., Baudo sola 36. Mon., Torr. c'] lacking 37. All., Val., Nann., Baudo ella 47. Val., Nann., Baudo vassaggio 52. Zen. ond' io 53. Val., Nann., Zen., Baudo tenete 55. Val., Nann., D'Anc. C., Mon., Zen., Baudo, Torr. infingi- mento 65. Mon., Torr. Di me 74. Mon. cangiate 75. Val., Nann., Baudo pregio altezza Zen. 'n alteza Torr. ne alteza XXI. i. A Amore ... chui; the last two letters of the line are lacking B Amore . . . uen C, D cui si D e vene] lacking 2. B pregio C preso . . . tucta beninanca D beneuolenga S o CANZONI ven nel omo valente ed insegnato, 4 die nom poria divisare lo bene che ne nasce, ed avene a chi a leanza; ond' io ne sono im parte tralasciato. Ma si diro com' ello m'a locate, 8 ed onorato piu d'altr' amadore per poco di servire; ca s'io voglio ver dire, di tale guisa m'ave fatto onore, 12 ca se a slocato, e miso m'a 'n suo stato. n. Stato si rico ed alto nom fue dato di si poco servire, al mio parvente; ond' io mi tegno ben aventuroso, 1 6 e veio ben c' Amor m'a piii 'norato intra gli altri amadori certamente; ond' io m' alegro e vivo piu gioioso; che m' a donate a quella c'a per uso 20 belleze ed adorn eze e piacimento; aunore e canoscenza i-llei, senza partenza, fanno sogiorno, ed alle al suo talento; 24 senno la guida, e '1 fin presgio amoroso. m. Presgio ed aunore adesa lei avanza, ed e si amisurata di gran guisa d'avere tuto bene im provedenza 28 ver me, c' Amor m'a miso in sua possanza. 3. A, B uene C euendomo . . . einsegnato D e uen d 4. B, C non C Kio D Non si poria 5. A auiene A, B a chi] a lacking B nasce C kende nasce euene D e uene 6. B, C, D in C undeo . . . tralassiato 7. C Mano . . . come amor D a allochato 8. B, C altro C ehonorato . . . altro io. A, B uero B uoglio C ke seo uoglo D ess eo n. B facto C, D si gran g . . . C facto maue honore 12. C ke . . . in D che s e si. . . . messo . . . su 13. A, B Istato B ricco . . . non C riccho altrui non fui D si] lacking; ad altrui non 14. C pogo . . . meo D persi . . . parere 15. C undeo . . . tegno bono D la nd eo men . . . bene auenturoso 16. A, B bene . . . amore C uegio . . . honorato D ueggio . . . honorato piu 17. B lli C infragl D infra 18. B allegro C undeo sono allegro 19. A donna to B uzo C, D ke per 20. C first e changed to ed. 21. A, B ed aunore C honore e caun. 23. C f a . . . e stanno as. D ed . . . talento] lacking 24. A, B fino B pregio C efin presio D '!] lacking 25. B pregio A, B edauanza C, D Presio eualore adesso D auan^i 26. A, B e dismisurata C e si adismisura 27. C intucti beni p D in tutto bene p. ... 28. A CANZONI SI La caonoscente senza lung' atesa mi meritao de la sua benvoglienza; c'assai val meglio poco di ben, senza 32 briga ed inoia ed affanno aquistato, che '1 rico per ragione, poi che passa stasgione, e dell' om rico deve esser laudato; 36 pero i' non b fatto penitenza. IV. Penitenza non agio fatta neiente; al mio parvente poco agio servito; ma tutavia seragio servitore 40 di tuto, c' Amor m' a fatto gaudente de 1' avenente per cui vado ardito, e tegno me sovr' ogn' altro amatore. E non vorei essere lo segnore 44 di tuto il mondo, per aver perdita la sua benivoglienza, ch' i' agio sanza temenza, che mi mantene 'n amorosa vita, 48 si che ne sta contento lo mio core. v. Lo mio core tenesi contento del grande abento ove Amore m'a miso; mille graze n' agia a ciascun' ore, 52 c'agio tuto cio che m'e a talento da 1 'amorosa donna col chiar viso, che mi don6 comforto con valore. dillei A, B amore B dilei . . . mizo . . . possansa C eamore omiso . . . spe- ranca D che nuerdi me attutta speranca 29. B cannoscente C caunoscente . . . intesa D canoscenca . . . intesa 30. A beneuol. C benuoglenca 31. A, B uale . . . bene B mellio C Pero ual meglo pogo D Pero . . . un pocho . . . bene 32. B a f anno C enoia eafanno 33. A corico B co ricco C con riccho . . . rasione D ch al riccho 34. B stagione C stasione 35. A, B omo . . . essere B ricco C malomeo ricco de D ma lo meo ricchore de 36. A nonno B pero] lacking C ke non do facto penetenca D che non 37. A nonn D facto 38. B pogo D e pur aggio 39. D e tut. B, D seruidore 40. A, B tuto cio c. 41. A chui B dell D per cui chanto e son di gioia guaruto 42. A, B piu daltro amante deo auere fino core D ama- dore 43. B uorrei D uorria esser signore 44. A monddo A, B auere D partita 45. B benuollienza 46. B io D ch aio senca 47. B in D me ... in 48. D enfin che fie ... meo 50. A abente 51. A, B agia a] last a lacking A tiaschun 53. A, B chiaro 54. A comfortto B conf. 52 CANZONI E nom si poria pensare per core 56 com' a tuta belleze a compimento. Dunque eo nom falleragio, se no 'nde parleragio, che lingua nom p6 avere im parlamento 60 di dire piu che '1 core sia pensatore. XXII [A 103, anon. In the Ms. an old annotator wrote over it ' Jacopo '.] Published in D'Anc. C. only. Ms. has cie for ce, gie for ge, Igli for gli, ngn for gn. I. Cosi afino ad amarvi, com' auro a la fornace, 3 c'afina pur ardendo. Senza veder, guardarvi, donna, gia non vi piace 6 lo mio affannar piangendo. Bagnandomi lo viso, pianger mi torna riso 9 ed ira mi discorda; la dolz' agua m'acorda, piange ridendo. n. Molto mi ricomforta che credo ca vi doglia 14 che '1 geloso, a non guare, io vidi far la scorta, che del morir m' avoglia. 17 Lasso! che deo fare ? C'Amor mi dona foco, dolor mi reca in gioco, 20 e sollazo che more, vivendo lo mi core im ben amare. 55. B non 56. A, B tute B conpimento 57. B non A, B fallo 58. A, B senonde A parllo B parlo 59. B non A, B pote B in Editions: All. and Occhi lack st. v. 26. D'Anc. C., Baudo e dismisurata 28. D'Anc. C., Baudo Di lei, ch'Amor 29. D'Anc. C. resa 32. D'Anc. C. e di noia 33. All., Occhi Ch'al ricco Val., Baudo Che un ricco D'Anc. C. c'om' r. 50. D'Anc. C. abente 57, 58. D'Anc. C., Val., Baudo follow the Mss. CANZONI 53 m. Amato son io forte d'amor sanza podire; 25 fara sua spotenza che potera piu forte. Lingua nom poria dire 28 per mia penitenza: DoLze amore 6 amata; lasso! perche 1'e data ? 31 Mia speranza m'aluma, disiare mi comsuma, fisar m' agenza. IV. Umilmente, lamento, va e sali a castello 36 ove son le belleze. Dille c' 6 pemsamento potere essere ausgello, 39 per veder suoe alteze. Andro sanza richiamo a lei che tegno e bramo, 42 com' astore a pernice. Caldo e fredo, mi dice, fare conteze. v. Per aver gioia intera, del valor non temere, 47 ad onta del follagio del sol pigliar mi spera; per forza il vo' tenere, 50 non compie suo viagio, c' afini nostro gioco. Con voglia amorta foco, 53 amor pur acendendo, nom pianger, vien ridendo, e sia sagio. XXII. i. Kosi 4. uedere guardaui 6. affannare 12. ricomfortta 14. gieloso alanguire 15. fare . . . scortta 16. morire 18. amore 19. dolore 23. fortte 24. amore . . . podere 26. fortte 30. lie 32. disiare 33. fisare 34. Umilemente 36. sono 39. uedere 41. afiei 45. auere 46. dellualore 48. sole pilgliare 52. amprtta 53. amore 54. piangiere uiene D'Anc. C. 14. alanguire 23. sono 33. Fisare FRAGMENTS OF CANZONI The two fragments below appear in the table to Ms. A, in the part containing the group of Giacomo's canzoni. The two canzoni were in the part of the codex that is lost I [Aio] Nom so se in gioia mi sia d'amore la mia intendanza inverlla . II [A 15] Amore paura m'incalca in manti lochi aventurosi DISCORDO A 5, B no, [B* 67], B 7 p. i44 b ; all under Giacomo. All., 468; Crescim., I, 68; Vol., I, 265; Mon., 47; Baudo, in. (N.B. Below, a * indicates the place where both Mss. begin a new group of lines; a f where A does alone.) Mss.: A has tie for ce, gie for ge, Igli for gli, ngn for g. B has sometimes ngn for gn. [Ms. A] Dal core mi vene che gli ochi mi tene rosata. Spesso m' adivene 5 che la cera b bene bagnata, quando mi sovene di mia bona spene, c' b data iof in voi, amorosa, bonaventurosa. Pero se m' amate, gia non v' inganate neiente. 15 Ca pur aspetando, in voi 'maginando 1'amor che 'n voi agio, mi stringe '1 coragio, avenente. 20 Ca s' io non temesse, c' a voi dispiacesse, ben m' aucideria, e non vivena este tormente, 25* apurpenare e disiare, giamai non fare mia diletanza. La rimembranza 30 di voi, alente cosa, gli ochi m' arosa d' un' agua d' amore. Or potess' eo, o amore meo, 35 come romeo, venire ascoso e disioso, con voi mi vedisse, non mi partisse 40 dal vostro dolzore! Dal vostro lato alungato, be-ir o provato, mal e che non salda. 2. B occhi the line lacking same as A except cor 20. A, B cassio pur 29. B rimenbransa 30. B aulente or 38. A, B uedesse 42. B allungato legible ss io. B amorsa n. B benauen. 13. B ingannate 17. A. B lamor cagio in upi 18. A Io core mi distringie B the 24. B esti tormenti 25. A, B ca- 32. B aigua 33. A, B ora 34. A 43. B beno 44. A 1 of salda not DISCORDO 45 Tristano ed Isalda non amar si forte. Ben mi pare morte non vedervi, fiore, * vostro valore, 50 c'adorna ed invia donne e donzelli. Li avisatore di voi, donna mia, son gli ochi belli. 55 Pensa' tutore, quando vi vedia con gio' novelli: * " Hoi tu, meo core, perche non ti more ? 60 Rispondi: che fai ? " " Perche doglio cosi ? Non ti rispondo, ma ben ti confondo, 65 se tosto non vai la ove voglio co' mi. Ca la fresca cera tempesta e dispera; 70 in pensiero m'ai misso, e 'n cordoglio per ti." * Cosi, bella, si favella 75 lo mi' core con meco. 80 Di nul' altra persona non mi rasgiona, ne parla, ne dice. Si curale e naturale amore di voi mi piace, c'ogni vista, mi par trista, c 'altra donna face. 85! Ca s'io viglio, o sonno piglio, lo mio core non insonna, se non scetto, si m' a stretto, 90 pur di voi, madonna. * Si mi sdura scura figura di quant' io ne vio. Gli ochi avere e vedere, e volere, mai altro non disio; triece sciolte, ma volte, ma dolte, ne bruna ne bianca. Gioia complita, norita, 95 100 105 m'invita; 45. B isolda 46. A non . . . fortte A, B amai 47. A mortte 51. A, B donzelle 52. A, B lauisatura 54. A, B sono 55. A penssat. B tutora 56. B uidea 57. A econ gioie nouelle B gioi 58. A Boitu 61. A, B doll 64. A bene; ti] uncertain whether ci or ti 66. A uoli B uollio 67. B con 68. B frescha 69. B tenpesta 71. B miso . . . cordollio 72. B te 75. A meco 76. B null 77. B ragiona 78. A parlla; dice] uncertain whether dicen or dicon B dicon 79. A, B churale 83. A, B cassio A ueglio B uellio 88. B scietto 91. B me dura 92, 93. A schura, fighura 94. A eo B diquantonqueo 95. A first ueo then ueio B DISCORDO 57 voi siete piu fina. S'io faccao sollaccio, no ch' io piaccio, lo vostro amore mi mina dotrina e benvolenza. La vostra benvolenza 115 mi dona canoscenza di servire a chiacenza quella che piu m'agenza, e agio ritenenza per la troppa sovenenza. 1 20 *E non mi porta Amore, che porta e tira ad ogne frino, e non corre; si che scorre 125 per amore fino ben voria, e non lasceria per nulla leanza, s'io sapisse 130 ch'io morisse; si mi stringe amanza. E tuto credo, e non discredo, che la mia venuta 135 dea placere, ed alegrere de la veduta. * Ma sempre mai non sento vostro comandamento; 140 e non 6 confortamento del vostro avenimento. Ch' i' mi sto, e non canto, si c' a voi piaccia tanto; e mandovi infratanto 145 saluti, e dolze pianto. Piango per usagio ; giamai no rideragio mentre non vederagio lo vostro bello visagio. 150 Rasgione agio, ed altro non faragio ne poragio; tal e lo mi' coragio. fC' altre parole 155 non vole; ma dole de li parlamenti de le genti. Non consenti 1 60 ne che parli, ne che dolenti. Ed agio veduta per lasciare la mia tenuta de lo meo dolce penzare. 165 *Si como nui, che somo d'un core ueo; ne] lacking 96. B congli occhi 99. A eloro non 100. B treccie 104. B conplita 106. B nunuita 108. B chesio in. B nostro . . . mena 114. B benuelenza 115. B cannoscenza 116. A achia senza B piagienz (the final a lacking. Casini has incorrectly piagienza) 118. A ritenienza B ritemenza (Casini has ritenenza) 120, 121. A portta 122. A, B freno 125. B amor 126. A ben] le B uorria 127. A nonll B lasserea 129. A, B sapesse 132. B tucto 134. A chella 136. A, B alegrare 137. B della 138. B senpre 140. A nonno 143. A piacca 147. B non 150. B ragione 155. B no 158. A da B lagente 159. B consente 160. A parlli 164. B dolcie 166. A, B noi 168. A, B uno DISCORDO dui; 195 170 ed ore plui ch'ancore non fui; di vui, 200 175 bel viso, son priso e conquiso, che fra dormentare mi fa levare, 205 180 e intrare in si gran foco caperpoco non m' aucido de lo stride 210 185 ch' io ne gitto, ch'io non vegna la ove siete; rimenbrando, bella, quando con voi mi vedea 215 190 sollazando, ed istando in gioia, si come fare solea. * Per quant' agio di gioia, 220 tant' agio di mala noia; la mia vita e croia sanza voi vedendo. Cantando ai ! vo, in gioia or vivo pur pensivo; e tuta gente schivo, si ch' io vo sfugendo, pur cherendo ond' io m'asconda. Onde lo core m'abonda, e gli ochi fuori gronda, si dolcemente fonda, come lo fino or che fonda. Ora mi risponda, e mandatemi a dire. voi che martire per me sof erite, ben vi doverite infra lo core dolire de' mie' martire, se vi sovenite come site lontana, sovrana de lo core prosimana. 170. A, B or 172. A, B ched A anchera B anchora 174. A, B uoi 175. A bell 176. A, B sono B preso 179. A falleuare 190. B sola- zando 202. A, B iscrida B tucta 203. B sichiuo fugiendo 207. B occhi 208. B dolciem. 209. A, B oro B cheffonda 210. B ma 211. A madate 212. A, B martiri 213. B sofferite 214. A douereste B doureste 215. B inuerlo 218. A, B sete 221. B prossimana Editions: 17, 18. All., D'Anc. C., Baudo follow A; Val., Mon. follow B 51. All. donna e doncella Val., D'Anc. C., Baudo, Mon. donzelle 52. All. La vita . . . ora Val., Baudo L'avvisatore Mon. 1'avisatura 61. All the editions have doli 75. D'Anc. C. Lo mi che comento 100. All., Val., Baudo Treccia sciolta 101. All. line lacking Val., Baudo Ma volta 102. All. Ma dolore Val., Baudo Ma colta 172-73. D'Anc. C., Mon. ched anch'era non fui 202. All., Baudo sgrida D'Anc. C., Mon. iscrida SONNETS TENZONE I (SONNETS i-ra) JACOPO MOSTACCI, PIER DELIA VIGNA, NOTAR. GIACOMO I: JACOPO MOSTACCI F 94 (Jacopo mostacco). All., 399; Crescim., Ill, 108; Val., II, 208; ViUar., HI, 341; Mon., 59; Ces., 238; Torr. Man. I, 32; Baudo, 44; Card., 245. Solicitando un poco meo savere, e con lui voglendomi diletare, un dubio che mi misi ad avere, 4 a vui lo mando per determinare. Ogn' omo dice ch' Amor a podere, e gli coragi distringe ad amare; ma eo no lo voglio consentere, 8 pero ch' Amore no parse ni pare. Ben trova Tom una amorosa etate, la quale par che nasca di placere, e cio vole dire om che sia amore. 12 Eo no li saccio altra qualitate; ma cio che e, da vui lo voglio odere; pero ve ne faccio sentenzatore. 2. cum luy . . . deletare 3. me 4. uuy 5. onomo dice 6. corazi dis- trenze 7. uoglo 10. nassa de placere n. zo uol ... horn 12. sacco 13. co ... uuy uoglo odere 14. faco sentencatore The recent editions present only orthographic and phonetic variants. 60 SONNETS II: PETRO DA LA VIGNA F 95 (Petro da lauigna). Afl-> 53> Crescim., Ill, 16; Occhi, 325; Val., I, 53; Villar., I, 275; Ant, 21; Guadagnini, Sonetto di P. d. V., Bassano, 1889; Mon., 59; Ces., 239; Baudo, 45; Ton., Man. I, 33;.: Card., 245. Pero ch' Amore no si po vedere, e no si trata corporalemente, manti ne son di si fole sapere 4 che credono ch' Amore sia niente. Ma po' ch' Amore si face sentere dentro dal cor signoregiar la gente, molto magiore presio de avere 8 che se '1 vedessen visibilemente. Per la vertute de la calamita, como lo ferro atrae no si vede, ma si lo tira signofevolmente; 12 e questa cosa a credere m'invita ch' Amore sia; e dami grande fede, che tutor sia creduto fra la gente. i. se 2. The first e of corporalemente was added by Nic. de' R. 3. de 4. amor 5. face 6. signorezar la zente 7. mazore 8. ue si bellemente 10. atra . . . se n. -ra of tira added by Nic. de' R.; signoriuele mente, the second e added by Nic. de' R. 12. men uita 13. dame 14. gente Editions: Ces. gives the probable Neapolitan forms. 8. Val. vedesse Mon. vedessen o e si bellam. Ces. vedisser oj ( = oggi) si bellam. Baudo vedesser oi si bellam. Torr. visibelem. SONNETS 6l III: NOTAR JACOPO DA LENTINO F. 96 (Notar Jacopo da Lentino). All., 398; Occhi, 318; Vol., I, 308; Ant, 73; LeM., 15; Nann., 293; Mon., 60; Ces., 239; D'Anc. B., 62; Torraca, Nuova Antologia, 3d series, vol. liii (1894), p. 389; Baudo, 69; Ton., Man. I, 31; Card., 246. Amor e un disio che ven da core per abondanza di gran placimento; e gl' ochi in prima generan Pamore, 4 e lo core li da nutricamento. Ben e alcuna fiata om amatore, senza vedere so 'namoramento; ma quel amor che stringe con furore, 8 da la vista degl' ochi a nascimento. Che gl' ochi rapresentan a lo core d'ogni cosa, che veden, bona e ria, com' e formata naturalemente; 12 e lo core che di zo e concepitore, zo che imagina e place, quel disia: e questo amore regna fra la gente. i. desio 2. habundanza de grand placimento 3. ogli en ... genera 4. nu- trigamento 7. strenze cum 8. dig ogli . . . nasmento 9. ogli representa 10. donni . . . bono e no; the last o of bono added by Nic. de' R. n. cum . . . na- turalm. 12. co. . . concipitore; 13. zo che] lacking; ymacina . . . place . . . desio 14. zente Editions: Ces. gives the probable Sicil. forms. 10. Val., Nann., Mon., D'Anc. B., Baudo, Torr., Card, bono e rio 13. The same editions have Immagina, e piace quel disio Ces. zo k'immaggina e placi, kil disia; 14. Ces. 'ntra 62 SONNETS TENZONE II (SONNETS iv-vm) L'ABATE DI TlVOLI, NOTAR GlACOMO IV: L'ABATE DI TIVOLI A 326 (T Abate di Tiboli); D 343 (anon.). Mon., 60; Card., 246. Mss.: A has tie for ce, gie for ge, ngn for gn. [Ms. A] Oi! Deo d'amore, a te faccio preghera ca m' inteniate s'io chero razone: cad io son tutto fatto a tua manera, 4 cavelli e barba agio a tua fazone, ed ogni parte aio, viso e cera, e segio in quatro serpi ogne stasgione, per 1'ale gran giornata m' e legera, 8 pero fui fatto a tua sperasgione. E son montato per le quatro scale, e som asiso; ma tu m'ai feruto de lo dardo de 1'auro; ond' b gran male, 12 che per mezzo lo core m' a partuto. Di quello de lo piombo fa' altretale a quella per cui questo m' e avenuto. i. A facco D Ai . . . yoi 2. D che m intendiate si... ragione 3. A sono . . . tuo D gia son io facto 4. D aggio chauelli . . . faccone 5. D e n ongni . . . aggio 6. A serppi D seggio n quattro . . . ogni stagione 7. A e la lingua a gior. D leggera 8. A aquesta misprespresgione D son ben nato attua speragione 9. A sono D salito . . . quattro io. A e dato mai fer. D sono afficto mattumm n. D del . . . dell . . . nd 12. A Eper- merzede D mecco . . . m ai 13. A pimbo fo D da ... del . . . altrectale 14. A chui Editions: 5. Mon., Card, agio 6. Mon., Card, fegio 7. Mon., Card, e la lengua a giorn. io. Mon. e sono afficto SONNETS 63 V: NOTARO GIACOMO A 327 (Notaro Giacomo). Anonymous in the following: D, 519; J(D) 376; J 4 (D) 127, carta loo"; E, anno 1300. All., 446; Val., I, 310; Pellegrini, Propugnalore, N. S. HI, pt. II, p. 154; Mon. 61; Baudo, 71; Card., 247. [Ms. A] Feruto sono isvariatamente: Amore m' a feruto; o! per che cosa ? cad io degia dire lo convenente 4 di que' che di trovar non anno posa. Ca dicon ne' lor detti fermamente, c' Amore a delta im se richiosa; ed io lo dico che non e neiente, 8 ca dio d'amore sia od essere osa. E chi me ne volesse contastare, i' gliene mostreria rasgione avanti, ca Dio non e se non una deitate; 12 e Dio in vanita non vi po stare. Voi che trovate novi detti tanti, posatelo di dir, che voi pecate. (Mss. A, D, E only): i. D suariatam. 2. D amor . . . chosa E or per 3. D ched . . . deggia dir E Perch'io vi saccia dir 4. A quelli . . . trouare E que (ll)i . . . del 5. A dicono . . . loro D che . . . decti E dicono in . . . dicto spessam. 6. D ch amor ... in ... rinchiusa E che ... a in se deitate inclusa 7. A norm D dicho . . . niente 8. D che . . . amor . . . esser E che piu d'un dip non e ne esser(e) psa 9. E lo mi io. D gle ne mosterria ragion dauanti E io lil mostrerei per via e man to n. A nonne D che E come non e piu d 12. A non uolglio piu E In vanitate non voglo piu 13- D decti E novo dicto e canto 14. A dire . . . pechate D pecchate E partitevi da cio . . . peccate Editions: 3 Val., Baudo Che a Dio 6. Val., Baudo ave essa in se u. Val., Baudo Che in Dio 12. All. Ed io in v. non volglio piu Val., Baudo, Card. Ed io in vanita non vo' piu stare Mon. ed io in v. non volglio stare 64 SONNETS VI: L'ABATE DI TIVOLI A 328 (!' Abate di Tiboli). Anonymous in D 344, and E anno 1300. Mon., 61; Propugn. N. S. Ill, pt. II, p. 155; Card., 247. Mss.: A has cie for ce, Igli for gli (except 1. 12), ngn for gn. D has f for z, sometimes cha, cho, and Igl for gli. E has gl for gli. [Ms. A] Qual omo altrui riprende spessamente a re' rampogne viene tale fiate. A te lo dico, amico, imprimamente, 4 ca non credo ca lealemente amiate. S' Amor t'avess' feruto coralmente, nom parleresti per divinitate; inanti credereste certamente 8 c'Amore avesse im se gran potestate. Amore a molto scura canoscenza; si n' adivien come d'una bataglia: chi sta veder riprende chi combatte. 12 Quella ripresa non tegno a vaglienza. Chi acatta lo mercato sa che vaglia; chi leva sente piu che quel che batte. i. D uomo altru E horn riprende altrui 2. D, E a le rampogne uene a le 3. D a uo lo E Per voi 4. D ch eo . . . che lealment. E che . . . che leal- mente 5. A amore tauesse . . . coralemente D u auesse E Che s'amor vi stringesse 6. D non D, E parlereste E douinitate 7. A nanti D uostra credenca fora certain. E anci . . . ueracemente 8. D ch amor . . . in E che elli . . . in 9. A schura E Per ci6 ch'e di si schura canoscenca 10. A adiuiene D e diuen come que ch e a la battalgla E che douen come d[i] una n. A uedere D chetten men te e riprende que che E [a] ueder 12. A ualienza D ripresta . . . tengho ualenca E tegne ualenca 13. D, E accatta 1 14. A lieuie . . . quello E quei The end of the last three lines in A is partly erased. Editions: 2. Mon. a le flate Card, a le ramp. ... a le fiate 5. Mon. avesse SONNETS 65 VII: NOTARO GIACOMO A 329 (Notaro Giacomo); D 345 (anon.). All., 447; Val., I, 311; Ant, 73; Mon., 62; Baudo, 71; Card., 247. Mss.: A has tie for ce, gie for ge, ngn for gn. D has ngn for gn. [Ms. A] Cotale gioco mai nom fue veduto, c' agio vercogna di dir cio che sento, e dottovi che non mi sia creduto, 4 perc' ogn' omo ne vive a scaltrimento. Pur un poco sia d'Amore feruto, si si ragenza e fa suo parlamento, e dice: " Donna, s' i' non b il tuo aiuto, 8 i' me 'nde moro, e fonne saramento." Grande noia mi fanno i menzonieri, si 'nprontamente dicon la menzogna; ma io lo vero dicolo volontieri. 12 Ma tacciolmi, che no mi sia vergogna; ca d'ogni parte, Amor, b pemsieri, ed entra meve com' agua in spogna. i. D cotal giuocho non fu mai 2. A dire . . . chessento D ch o uergon- gna . . . ch io 3-D temone . . . nommi 4. D pero ch . . . uom uiue 5. A uno D e pur un pocho . . . amor 6. D sissi racchocca e sfa su 7. D io . . . agio aiuto 8. D io mene 9. A menzoneri D pero gran . . . fanno men- conieri io. A dicono D per hi prontamente ... lor mencogne n. D che 1 uero e dirial uolentieri 12. D Ma cielolp pero che m e 13. A partte D e nonne parte amor penseri 14. D intrate in me chom . . . ispungna In A the following words and syllables are almost completely illegible: 2. e cio chessento 4. trimento 6. lamento io. no la menzongna 14. inspongna Editions: 2. Mon. dire . . . ch'io Val. dire il mio talento 3. Mon., Card, dottone 4. Val. viva contento 6. Val. suo intendimento Mon. si si rac- chocca Card, raccozza 7. Mon., Card, agio ajuto 8. Val. sacramento io. Val. dicon falsitate Mon., Card, lor mencogne n. Val., Card, dicol 12. Val. Maggiore d'ogni cosa e leal tate 13. Val. Ch'ad ogni parte amor tragge 1 pensieri Mon. onne p. 14. Val. Ed io leal moraggio in veritate Mon. entra' . . . ispungna Card, ispugna N. B. Baudo follows Val. throughout. 66 SONNETS VIII: L'ABATE DI TlVOLI A 330 (T Abate di Tiboli). Mon. 62. Con vostro onore facciovi uno 'nvito, ser Giacomo valente, [a cui mi chino]; lo vostro amor voria fermo e compito, 4 e per vostro amor ben amo Lentino. Lo vostro detto, poi ch'io Tagio adito, piu mi rischiara che 1'airo serino. Magio imfra li mesi e '1 piu alorito, 8 per dolzi fior, che spande, egli e '1 piu fino. Or dumque a magio asimigliato sete, che spandete [fior dolzi] ed amorosi, piu di nullo altro amador c'omo saccia. 12 Ed io v'amo piu che non credete; se 'nver di voi trovai detti noiosi, riposome 'nde, alora c' a voi piaccia. i. faccovi 2. [a cui mi chino] almost illegible, but one can read with fair cer- tainty achuj . . . chino 3, 4. amore 6. aira sereno 8. fiori 9. asimilgliato siete io. [fior dolzi], seven or eight letters illegible. " Di esse non si scorgono che le tracce d'una z " (Egidi) n. amadore . . . sacca 14. piacca Monaci: The words in brackets are omitted. 14. mende date, e cio vi piaccia 5. udito 6. sereno 8. fiori SONNETS 67 IX A 333 (Notaro Giacomo). All., 448; Val., I, 314; Ant., 74; Mon., 55; Vfllani, Lir. ital., 31; Baudo, 74. Ms.: A has gie for ge, Igli for gli, ngn for gn. Lo giglio, quand' e colto, tost' e passo, da poi la sua natura lui no e giunta; ed io, da che son partuto uno passo 4 da voi, mia donna, dolemi ogni giunta. Perche d'amare ogni amadore passo, in tanta alteze lo mio core giunta; cosi mi fere Amor la Vumque passo, 8 com' aghila quand' a la caccia e giunta. Oi lasso me! che nato fui in tal pun to, s'umque no amasse se non voi chiu gente; questo saccia, madonna, da mia parte. 12 Im prima che vi vidi ne fuo pun to, servivi ed inoravi a tutta gente; da voi, bella, lo mio core nom parte. 3. daqunche sono 6. tante 7. amore 8. caeca 9. tale n. sacca . . . partte 14. partte Editions: Baudo follows Val. 2. Val. non li e 3. All. cunque sono p. no Val. io da ch'unque 6. Val. tante 8. Mon. quando la io. Val. Che non amasse ... si g. 12. Val. nel suo punto 13. Val. sera e di v'inorai 68 SONNETS X A 334 (Notaro Giacomo). All., 449; Crescim., Ill, 44; Occhi, 317; Vol., I, 315; Ant, 75; LeM., 15; Nann., 119; Mon., 54; Villani, Lir. ital., 33; Baudo, 74; Card., 249. Ms.: has gie for ge. Sicome il sol che manda la sua spera e passa per lo vetro e no lo parte, e 1'altro vetro che le donne spera, 4 che passa gli ochi e va da 1'altra parte; cosi 1'Amore fere la ove spera, e manda vi lo dardo da sua parte; fere in tal loco che 1'omo non spera, 8 passa per gli ochi e lo core diparte. Lo dardo de 1'Amore, la ove giunge, da poi che da feruta, si s'aprende di foco c'arde dentro e fuor nom pare. 12 E due cori imsieme ora li giunge, de 1'arte de 1'Amore si gli aprende, e fa ch' e Puno e 1'altro d'amor pare. i. sole 2, 4, 6" partte 7. tale 8. e passa . . . dipartte n. fuori 13. artte . . . silgli 14. amore Editions: 14. Val., Nann., Baudo che 1'uno e 1'altro e d'amor p. Card, che 1'uno fc 1'altro d'amor p. SONNETS 69 XI A 336 (Notaro Giacomo). All., 451; Occhi, 319; Val., I, 316; Mon., 54; Baudo, 76; Card., 248. Ms.: Has cie for ce, gie for ge, Igli for gli, ngn for gn. Molti amadori la lor malatia portano in core, che 'm vista nom pare; ed io nom posso si celar la mia 4 ch' ella nom paia per lo mio penare; pero che son sotto altrui segnoria, ne di meve non b neiente a fare, se non quanto madonna mia voria, 8 ch'ella mi pote morte e vita dare. Su' e lo core, e suo sono tutto quanto, e chi non a comsiglio da suo core, non vive imfra la gente como deve. 12 Cad io nom sono mio ne piu ne tanto, se non quanto madonna e de mi fore, ed un poco di spirito ch' e 'n meve. i. loro 3. delate 5. sono 6. nonno . . . affare 8. mortte 13. ve- demi difore 14. uno Editions: 6. Val. mene 12. Val. Ed io 13. All., Val. va di me All. di f. 14. Val. spirito riceve N. B. Baudo follows Val. except for quando (quanto), 1. 13. 70 SONNETS xn A 365 (Notaro Giacomo). AIL, 453; Occhi, 320; Val., I, 318; Baudo, 77. Ms.: Has tie for ce, gie for ge, ngn for gn. Donna, vostri sembianti mi mostraro isperanza d'amore e benvolenza, ed io sovr' ogni gioia lo n' 6 caro 4 lo vostro amore e far vostra piagenza. Or vi mostrate irata; dumqu' e raro, senza ch' io pechi, darmi penitenza; e fatt' avete de la penna caro, 8 come nochier c' a falsa canoscenza. Disconoscenza ben mi par che sia, la conoscenza che non a fermeze, che si rimuta per ogni volire. 12 Dumque nom siete voi in vostra balia, ne in altmi c' aia ferma prodeze, e non avrete bon fine al gioire. 4. fare 8. nochiere ... falssa 9. pare io. nonn n. uolere 13. inn . . . ferme 14. bono Editions: Baudo is a copy of Val. 3. All. gioia lo notaro Val. Ed io sent' ogni gioia: allo Notaro 4. Val. efar 7. AIL, Val. Ose ... (lacuna) della penna caro n. D'Anc. C. rimeta 13. All., Val. altrui sara SONNETS 7I xm B 411 (Notar Giacomo); B 7 p. 46 b (idem); A 388 (anon). Val, I, 303; Ant., 71; Ces., 280; Baudo, 76. Mss.: A has gie for ge, Igli for gli, ngn for gn. B has f for z, ct for tl. [Ms. A] Ogn' omo, c' ama, de amar lo suo onore e de la donna, che prende ad amare. E folle chi non e conoscidore 4 che la natura de 1'omo isforzare. E non de dire cio ch' egli ave in core, che la parola non po ritornare; e da la gente n' e tenuto migliore 8 chi a misura nelo suo parlare. Dumque, madonna, mi voglio sofrire di far sembianti a la vostra contrata, che la gente si forza di maldire. 12 E facciol perche nom siate blasmata; che 1'omo si diletta piu di dire lo male che lo bene tale fiata. i. A amare _B [o] gn . . . chama . . . amar sonore 3. A none B so- feritore 4. A omo B deue omo 5. B Nulomo deue ... cio ca in 7. B Datucta gente tenute milliore 8. B so 9. B Pero . . . uollio 10. A fare B senblanca in uostra contrada n. A maledire B perche . . . sisforca 12. A Pero lo dico nom B faciol . . . non . . . biasmata 13. A la giente 14. B a la fiata Editions: Val., Ces., and Baudo all follow B. 72 SONNETS XIV B 381 (Notar Giacomo); B 7 p. 3i b (idem). Anon, in A 389 and C 169. Val., I, 293; Ant., 68; Baudo, 78. Mss.: B and C have the lines in this order: 9, n, 10, 12, 14, 13. A has tie for ce. B has tie for ce, q for z. C has q for z, k for ch. [Ms. A] All' aira chiara b vista plogia dare, ed a lo scuro rendere chiarore, e foco arzente ghiaccia diventare, 4 e freda neve rendere calore, e dolze cosa molto amareare, ed el amare rendere dolzore, e due guerieri im fina pace stare, 8 e 'ntra due amici nascere incendore. Ed b vista d'Amor cosa piu forte: ch' era feruto, e sanomi ferendo; lo foco donde ardea stuto com foco. 12 La vita che mi die fue la mia morte; lo foco che mi stinse ora ne 'ncendo; d'amor mi trasse e misemi im su' loco. i. B [AJlare craro . . . pioga C Alaire kiaro . . . piogia 2. A schuro B, C ed . . . scuro] poi cheturbato B render C clarore 3. B, C E freda neve ghiacia douentare C nieve 4. B, C e la fredura B chalore C tornare in 5. A cose B, C E cosa dolce . . . amaregiare 6. B, C elamareca tornare in B dolciore 7. B du guerreri in ... istare C dui guerrieri in 8. A nosciere cierore B, C e] lacking B fra due amanti . . . errore C fra dui amore 9. A amore . . . fortte B uisto C Eouisto d'amore 10. B sime ferio . . . me C si mi ferio n. B lome cor carde astutato confocho; so also C but with mio and foco. 12. A mortte B me . . . f u C mide 13. A stinsse B strinsse C stringe ora mincende 14. A amore B chesime istringe amor notrouo loco; so also C but with mistringe . . . non Editions: Val. and Baudo both follow B closely. Baudo has nece for neve, 1. 4. SONNETS 73 XV A 400 (Notaro Giacomo). All., 454; Occhi, 320; Vol., I, 319; Ant., 73; LeM., 73; Nann., 123; D'Anc. B., 61; Wiese, 203; Ros., 33; Baudo, 67; Savj-Lopez, Bart., 161; Card., 248. Io m' agio posto in core a Dio servire, com' io potesse gire im paradise, al santo loco, c'agio audito dire, 4 o' si mantien sollazo, gioco e riso. Sanza mia donna non vi voria gire, quella c' a blonda testa e claro viso, che sanza lei nom porzeria gaudire, 8 estando da la mia donna diviso. Ma no Io dico a tale intendimento perch' io pecato ci vollesse fare; se non veder Io suo bel portamento, e '1 bello viso e '1 morbido sguardare; che '1 mi teria in gran comsolamento, vegendo la mia donna in ghiora stare. 4. cue . . . mantiene 5. la mia 6. ca lablondda ... el claro 7. gaudera io. uellesse n. uedere . . . bello porttamento 12. Elobello 13. chelo . . . grande 14. uegiendo Editions: (Nann., D'Anc. B. and Baudo are the same as Val.) 5. Val. Ma- donna 6. Wiese Quella ala . . . e'l claro 7. Val., Card, poteria 8. Val. istando (Baudo i' stando) 13. Card. Ch'el 14. Val. gioia Card, gloria 74 SONNETS XVI B 375 (Notar Giacomo); B 7 p. 2g b (idem). Vol., I, 291; Ant, 67; Baudo, 75; Card., 249; Ros., 40. Lo viso mi fa andare alegramente, lo bello viso mi fa rinegare, lo viso me conforta ispesamente, 4 1'adorno viso che mi fa penare. Lo chiaro viso de la piu avenente, 1'adorno viso riso me fa fare. Di quello viso parlane la gente, 8 che nullo viso contra li po stare. Chi vide mai cosi begli ochi in viso ? ne si amorosi fare li senbianti ? ne boca con cotanto dolce riso ? 12 Quand'eo li parlo, moroli davanti, e paremi ch' i vada in paradiso, e tegnomi sovrano d' ogn' amanti. B: i. Space lef I blank for 1L of LiO i, 2,3,5 uisso 2. rineghare 7. giente 8. contra] lacking 9. beglli n. bocha . . . risso 14. amante Editions: Val. follows the Ms. closely. 4. Baudo pensare 10. Ces. Poes. Sic., p. 282, gives fore (for fare); Baudo also. SONNETS 75 XVII B 376 (Notar Giacomo); B 7 p. 30 (idem). Val., I, 292; Ant., 68; Mon., 55; Villani, Lir. ital., 32; Baudo, 73. Lo viso e son diviso da lo viso, e per aviso credo ben visare; pero divis' 6 viso da lo viso, 4 ch' altr' e lo viso che lo divisare. E per aviso viso in tale viso, del quale me non posso divisare. Viso a vedere quell' e per aviso, 8 che non e altro se non Deo devisare. Entro aviso e per aviso no e diviso, che non e altro che visare in viso; pero mi sforzo tuttora visare. 12 Credo per aviso che da lo viso giamai me non poss' essere diviso, che I'uomo v'inde possa divisare. B: i. ouisso; initial L] lacking 2. auisso 6. qual n. sf orf o tuctora 12. lo] lacking. Editions: Baudo follows Val. i. Villani da lo riso. 2. Villani risare 3. VaL, Mon. diviso viso Villani diviso riso 4-1 2. Villani has the following: 4. di- risare 5. riso in 8. altro] lacking 10. risare in riso u. risare 12. da riso In 1. 12 Val. and Mon. lack lo 76 SONNETS XVIII B 382 (Notar Giacomo); B 7 p. 32 (idem). Val., I, 294; Baudo, 77. Ms. B: Has q for z. Si alta amanza a presa lo me' core ch' i' mi disfido de lo conpimento; che in aguila gruera 6 messo amore; 4 ben est' orgoglio, ma no falimento. Ch' Amor 1'encalza e spera aulente frore; ch' albor altera incrina dolce vento, e lo diamante ronpe a tute 1'ore 8 de lacreme lo molle sentimento. Donqua, Madonna, se lacrime e pianto del diamante frange la dureze, la vostra alteze poria isbasare 12 lo meo penar amoroso, ch' e tanto, umiliare la vostra dureze, e foco d'amor in vui alumare. B: i. Space left blank for S of SI 4. orghollio 10. le dur. n. la.] lacking; uostre 13. le uostre 14. inuiui Editions: Val., Baudo 3. guerrera 10, u, 13. like the Ms. SONNETS 77 XIX B 383 (Notar Giacomo); B 7 p. 32 b (idem). Val., I, 295; Ant., 69; Baudo, 78. Per sofrenza si vince gran vetoria, ond' omo ven spesora in dignitate, si con si trova nel' antica istoria 4 di lobo, ch' ebbe tanta aversitate, chi fu sofrente, no perdeo memoria per grave pene ch' a lui fosser date; onde li fu data corona in groria 8 davanti la divina maiestate. Pero conforto grande, dico, prendo; ancor la mia ventura vada torta, no me dispero certo malamente. 12 Che la ventura senpre va corendo, e tostamente rica gioia aporta a chiunque sia bono soferente. B: i. Space left blank for P of Per; soferenga 2. dignitade 4. auersitade 7. The words nela groria were added in the margin by a more recent hand 10. an- cora 13. richa 14. sia] lacking. Editions: Val., Baudo 7. gloria 9. grande di cid p. 14. e bono 78 SONNETS XX B 384 (Notar Giacomo); B 7 p. 33 (idem). Val., I, 296; Ant., 69; Baudo, 80. Certo me par che far dea bon signore i' signoria sua fier cominciamento, si che lo doti chi a malvascia in core, 4 e chi Pa bono, megliori il su' talento. Cosi poria venire a grande onore, e a bon fine de lo so regimento; che, se dal cominciar mostra valore, 8 porase render dolce al finimento. Ma in te, Amore, vegio lo contraro, si como quello pien di falisone, ch' al cominciar no mostri fior d'amaro, 12 poi scruopi tua malvagia openione; qual piu ti serve a fe, quel men ai caro, ond' eo t' aprovo per signer felone. B: i. Certo] ierto, with initial lacking; pare 2. cominciameto 4. melliori 5. a] lacking 7. cominciare Editions: Val., Baudo 3. dotti . . . malvagio core 4. buon 5. a grande] in g. 8. porassi 1 2. scuopri SONNETS 79 XXI B 396 (Notar Giacomo); B 7 p. 39 (idem). Vol., I, 297; Ant, 69; Baudo, 63. Si como '1 parpaglion, ch' a tal natura, non si rancura de f erire al foco, m'avete fatto gentil creatura; 4 non date cura s'eo incendo e coco. Venendo a voi lo meo cor s'asigura, pensando tal chiamra sia gioco, come '1 zitello, ed oblio 1'arsura; 8 mai non trovai ventura in alciui loco. Cio e lo cor, che non a cio che brama, se mor' ardendo nela dolce fiamma, rendendolle vita, com' la finise. 12 E poi 1'amor naturalmente il chiama, e 1'adorneze che 'nspira la fiamma, rendendogle vita com' la finise. B: i. [s]i . . . parpaglione 2. focho 7. citello eoblio 9. noa 10. fiama ii. come 13. adornece kensperie . . . fiama 14. The reading of Casini rendendoglie is an error. Editions: Val., Baudo 7. oblia n. Rendendol . . . come 13. E 1'ador- nezza e che spegne la 14. Rendendol 8o SONNETS XXII B 397 (Notar Giacomo). Under Giacomo also in the following derivatives of B: B 1 , f. 240; B* 3, quinterno V; [B 8 ]; B 4 , carta 302; B 5 , f. 240"; B 7 p. 39*; J(B) 320, carta i28 b ; P(B), carta 320; J Z (B) 273, carta 126; J 4 (B) 76, carta 62". All., 442; Bella Mano 82 b ; Occhi, 316; Vol., I, 298; Ant, 70; LeM., 15; Nann. 118; Baudo, 66; Card., 248. [Ms. B] Chi non avesse mai veduto foco no crederia che cocere potesse; anti li senbraria solazo e gioco 4 lo so isprendore quando lo vedesse. Ma s'ello lo tocasse in alcun loco, be-lli senbrara che forte cocesse. Quello d'amore m'a tocato un poco; 8 molto me coce. Deo, che s'aprendesse! Che s'aprendesse in voi, donna mia! che mi mostrate dar solazo amando, e voi mi date pur pen' e tormento. 12 E certo 1'Amor fa gran vilania, che no distringe te, che vai gabando; a me, che servo, non da isbaldimento. B: i. Chi] initial left blank 3. solago 4. isprendor 5. alqun 6. sebrara 7. tochato 10. solaco 13. ghabando Editions: 9. Val., Nann., Baudo, Card, o donna 12. Bella Mano Certo . . . face Card. E] lacking 13. Bella Mano, Val., Card, distrugge Nann., Baudo distrigne SONNETS 8l XXIII B 409 (Notar Giacomo); B 7 p. 4S b (idem). Vol., I, 302; Le M., 15; Nann., 120; Baudo, 64; Ros., 36. Ms. B: Has c for z. Diamante, ne smiraldo, ne zafino, ne vernul' altra gema preziosa, topazo, ne giaquinto, ne rubino, 4 ne 1'aritropia, ch' e si vertudiosa, ne 1'amatisto, ne '1 carbonchio fino, lo qual e molto risprendente cosa, non ano tanta beleze in domino, 8 quant' a in se la mia donna amorosa. E di vertute tutte 1'autre avanza, e somigliante [a Stella e] di sprendore, cola sua conta e gaia inamoranza; 12 e piu bell' e che rosa e che frore. Cristo le doni vita ed alegranza, e si la cresca in gran pregio ed onore. B: i. [d]iam. 7. tante 10. somilli.; a Stella e] lacking u. ghaia Editions: 12. Nann., Baudo Ed e piu bella che 82 SONNETS XXIV B 41 2 (Notar Giacomo) ; B 7 p. 47 (idem). VaL, I, 304; Ant., 72; Le M., 15; Nann., 121; Baudo, 65. Madonna a 'n se vertute con valore piu che null' altra gemma presiosa; che isguardando mi tolse lo core, 4 cotant' e di natura vertudiosa. Piu luce sua beltate e da sprendore, che non fa '1 sole, ne null' autra cosa: de tute 1'autre ell' e sovran' e frore, 8 che nulla aparegiare a lei non osa. Di nulla cosa non a mancamento, ne fu, ned e, ne non sera sua pare, ne 'n cui si trovi tanto conplimento. 12 E credo ben, se Dio 1'avesse a fare, non vi metrebbe si su 'ntendimento che la potesse simile formare. B: i. [mjadonna 2. nul 4. lucie 12. bene Editions: 10. Nann., Baudo pan SONNETS 83 XXV B 430 (Notar Giacomo); B 7 p. 55 (idem), Vol., I, 306; Mon., 56; Villani, Lir. ital., 33; Baudo, 72. Ms.: Has for z; scie f or see. Angelica figura e conprobata, dobiata di riqura e di grandeze, di senno e d'adorneze sete ornata, 4 e nata d'afinata gentileze. Non mi parete femina incarnata, ma f atta per gli frori di beleze, in cui tutta vertudie e divisata, 8 e dat' a voi tuta avenanteze. In voi e pregio, senno e conoscenza e soferenza, ch' e somma del bene, como la spene che fiorisce in grana. 12 Come lo nome avete la potenza di dar sentenz' a chi contra voi vene, si com' avene a la Cita Romana. B: i. [a]ngelicha 4. enate dafinate 8. tute 10. sofrenfa ... soma dele belle ii. speme 12. aute 13. uiene Editions: 4. VaL, Baudo, Mon., Villani annate 8. Val., Baudo date a voi Val., Baudo, Mon., Villani tute 10. Val., Baudo, Mon., Villani sofrenza . . . de lo n. Mon., Villani speme 13. Val., Mon., Villani viene 84 SONNETS XXVT B 432 (Notar Giacomo); B 7 p. 56 (idem). Val., I, 307; Ant., 72; Baudo, 81. Ms.: Has $ for z, ngn for gn. Quand' om a un bon amico leiale, cortesemente il de saper tenire; e nol de trar si corto de liale, 4 che si convegna per forza partire. Che d'aquistar 1'amico poco vale, da poi che no lo sa ben mantenire, che lo de conoscere bene e male, 8 donare e torre, e saper 1'agradire. Ma molti creden tenere amistate sol per pelare altrui a la cortese, e non mostrare in vista cio che sia. 12 Be-lli falla pensieri in veritate, chi crede fare d'altrui borsa spese, c'omo vivente sofrir nol poria. B: i. Quand] initial added by later hand 2. tenere 6. mantenere 7. cono- sciere 9. amistade 10. cortege Editions: 14. Val., Baudo non p. SONNETS 85 OF DOUBTFUL AUTHENTICITY (XXVII-XXX) XXVII A 335 (Notaro Giacomo); [lines i, 2 in E, anno 1310]. All., 450; Occhi, 318; Val., I, 301; Ant., 71; Carducci, Intorno ad alcune rime, p. 21 ; Baudo, 70. Ms.: A has Igli for gli, except 1. 7 (asomigliare) and 11. 8, n (gli); ngn for gn. Or come pote si gran donna entrare per gli ochi mei, che si picioli sone ? E nel mio core come pote stare, 4 che 'n entr' esso la porto laonque i' vone ? Lo loco laonde entra gia nom pare, ond' io gran meraviglia me ne done. Ma voglio lei a lumera asomigliare, 8 e gli ochi mei al vetro ove si pone. Lo foco inchiuso poi passa di fore lo suo lostrore sanza far rotura; cosi per gli ochi mi passa lo core, 12 no la persona, ma la sua figura. Rinovellare mi voglio d'amore, poi porto imsegna di tal criatura. i, 2. E puote cusi . . . dona intrare . . . occhi . . . pigol sonno 2, 4. A The e of sone and vone was changed into o by a more recent hand 4. A portto 5. A Lo] lacking 6. A grande io. A fare 12. A fighura 14. A portto Editions: Baudo is a reproduction of Val. D'Anc. C. has in tt. 2, 4, 6, 8: sono, vono, dono, pono 3. Val. puote entrare 4. Val. Che mentresso 7. Val. a lumera] lacking D'Anc. C. lei] lui 8. Val. Agli occhi miei al cuore, ove 9. Val., D'Anc. C. Lo foro, in cui poi Baudo the same except foco for foro ii. Val. allocore 14. Val. insegno 86 SONNETS XXVIII B 352 (Notar lacomo); B 7 p. 23 (idem); G f. 47 b (idem); A 907 (anon.); F 72 (Monaldo d' Aquino). Val., I, 290; Le M., 15; Nann., 117; Baudo, 62 (all under Giacomo). Mss.: B and G have the lines of the octave in this order: i, 2, 7, 8, 3, 4, 5, 6. A has cie for ce, gie for ge. All the minor orthographic variants of G are not given. [Ms. A] Lo badalischio a lo spechio lucente trage a morire con isbaldimento, e '1 cecer canta piu gioiosamente 4 quando vene a lo suo finimento; lo paon turba quando e piu gaudente, poi c'a suoi piedi a riguardamento; ausgel fenice s'arde veramente 8 per ritornare i' novel nascimento. In ta' nature eo sento m' abenuto, c' a morte vo allegro a la belleze, e 'mforzo il canto presso a lo fenire; 12 e stando gaio torno dismaruto, ardendo il foco i' novo in allegreze per voi, piu gente, a cui spero redire. i. B badalisco B, G specchio F El bascilisco . . . splecp lucente 2. A va a mirare B traggia morire G traccia morire F tragi amorire cum resbaldimento 3. A cieciere . . . gioioiosamente B Locesne . . . gioio- zamente G II cecin F ceseno . . . piu dolcemente 4. B, G dacheglie presso a F quand e piu preso del so 5. A paone B istandopiu G si turba stando p. F el ... quant e piu godente 6. A cassuoi B quandai ... fa G Quando ai . . . fa F cum a soi pedi fa resguardimento 7. A aus- giello B Laugel G luccel f. F ela f. 8. A nouello B anouel G ritornar al novel F retomare al nouo nasimento 9. B Attai nature misetauenuto G Attal nature mi sento adivenuto F En tal mainera mi sento uenuto 10. A mprtte . . . le B, G challegro vado amorte ale bellesse F chi uado alegro e miro le beleze n. B forsol G Esforso B, G finire F e canto forte presso al morire 12. B, G diuento smarruto F diuento smaruto 13. B, G uiuen- don foco nouo innallegresse F e ardo en focco e corno en alegrece 14. A chui B uoi piagente . . . reddire G piangente ad F uui piu bella Editions: Val., Nann., and Baudo follow Ms. B in line order and readings, except thai att three have in 1. 9 mi sono avvenuto SONNETS 87 XXIX B 418 (Notar Giacomo); B 7 p. 49 b (idem); A 850 (Petri Morovelli). Val., I, 305; Baudo,_82 (both under Giacomo). Ms. A has cie for ce, gie for ge, ngn for gn. [Ms. A] Come 1'arcento vivo fuge il foco, cosi mi fa del viso lo colore, quando vi son davanti i' nesun loco 4 per domandarvi, bella, gio' d'amore. Vegendo voi, ardiment' 6 si poco ch' io non vi posso dire lo mio core; cosi, tacendo, perdo d'aver gioco, 8 se voi nom fate come il buon segnore, che 'nanti c'omo chera, se n' avede, cotant' a im se di bona canoscenza, la 'nde lo servidor non e perdente. 12 Lo dimandare noce a chi ben crede, e del chiedere a lingua agio temenza, ma tutor colo cor sono cherente. i. B omo (initial lacking) largento . . . fugel 2. B cholore 3. A sono . . . nesu B Quandeo . . . innalcun 4. A gioia 5. B Vedendo . . . ardimento o 6. B Chi . . . sacio dicer_._. .mi 7. A auere 8. A buono B non . . . cornel bon signore 9. A como B nansi . . . lichiera si io. B tanta in ... canoscienca u. A servidore norm B la'nde] onde 12. A (or Ladiman- dare); bene B domandar nonnocia a 13. B poiche colalingua cherir ... temenca 14. A tutora . . . core B ecolocor tutor uison Editions: Val. and Baudo follow B closely. 88 SONNETS XXX B 410 (Notar Giacomo). Under Giacomo in the following derivatives of B: B 1 217, f. 240; B 2 4, quinterno V; [B 3 ]; B 4 , carta 302; B 5 , f. 240 s ; B 7 p. 46; J(B) 321, carta i28 b ; P(B), p. 320; J 2 (B) 274, carta 126"; J 4 (B) 77, carta 62 b . Monaldo d'Aquino, F 73. All., 443; Occhi, 320; Val., I, 299; LeM., 15; Nann., 118; Baudo, 61. [Ms. B] Guardando '1 basalisco velenoso, che '1 so isguardare face Ton perire, e 1'aspido serpente invid'ioso, 4 che per ingegno mette altrui a morire, e lo dragone, ch'e si argoglioso, cui elli prende no lassa partire; a loro asenblo 1'Amor, ch'e doglioso, 8 che tormentando altrui fa languire. In cio a natura 1'Amor veramente, che in un guardar conquide lo coragio, e per ingegno lo fa star dolente, 12 e per orgoglio mena grande oltragio. Cui ello prende, grave pena sente; ben e conquiso chi a su' signoragio.' (Mss. B and F only) : i. B [g]uardando; '1] lacking F el basilisco uenenoso 2. F che] lacking; lo so guardo . . . lomo 3. F uicioso 4. B igegno F che] lacking; enzegno mete 5. B argollioso F orgogloso 6. F quelo che prende . . . lasa 7. B dollioso F al uero semblo . . . dogloso 8. F langire 9. F Enzo 10. B in u F en guardar . . . corazo n. F en- zegno 12. F orgoglo . . . grand oltrazo 13. F e chilo . . . pene 14. F e tormento cha so signorazo Editions: 2. Val., Nann., Baudo Col suo 3. Val. E 5 1'asp. 4. Val., Nann., Baudo altrui mette 8. Val. Che altrui t. Nann., Baudo Ciaschedun torm. SONNETS 89 UNAUTHENTTC (XXXI-XXXIX) XXXI A 338 (anon.). Trucchi I, 57; Baudo, 68 (both under Giacomo). Ms. Has scie for see, Igli for gli. Fin amor di fin cor ven di valenza, e discende in altro cor simigliante, e fa di due voleri una voglienza, 4 la qual e forte piu ca lo diamante, legandoli con amorosa lenza, che nom si rompe ne scioglie 1'amante. E dumque chi sua donna perder penza 8 gia di fino amador non a sembiante. Che fino amor non tiene sospecione, e nom poria cangiar la sua 'ntendanza chi sente forza d 'amorosa sprone. 12 E di cio porta la testimonanza Tristano ed Isaotta co' ragione, che nom partir giamai di loro amanza. i. amore di fino core uene 2. core 4. fortte 6. romppe 7. perdere 8. amadpre nonn 9. amore . . . sospecioone 10. cangiare , 12. portta 14. partiro SONNETS XXXII A 364 (anon.). All., 452; Occhi, 319; Vol., I, 317; Baudo, 79 (all under Giacomo). Ms. : Has ngn for gn. Tanto sono temente e vergognoso a tutte 1'ore ch'io vi sto davanti, che non dico la ond' io son disioso, 4 e non m'ardisco pur di far sembianti. Asai fiate mi movo coragioso di dirvi, come dicon gli altri amanti; poi ch' io son 'nanti a voi, viso amoroso, 8 li miei pemsier di parlar sono afranti. Cotant' e la temenza che m' abonda di voi, madonna, ch' io non vi dispiaccia, che mi ritegno e non dico neiente; 12 e Io temere par che mi confonda, c' assai piu temo la vostra minaccia che 1'altrni ferita duramente. i. uergongoso 2. dauantj (the j corrects an e) 3. sono 4. fare sembiantj (the j corrects an e) 6. dicono 7. sono 8. pemsieri di parlare 9. abondda io. dispiacca 12. tenere pare . . . confondda 13. temo . . . minacca SONNETS XXXIII A 481 (Ser Jacopo da Leona). All., 455; Val., I, 313; Baudo, 81 (all three under Giacomo da Lentino); Mon., 309 (Jacopo da Leona); Trucchi I, 176 (by " uno di quei tanti buoni guelfi messi in canzone da Rustico ") Ms.: Has scie for see, gie for ge, Igli for gli, ngn for gn. Segnori, udite strano malificio che fa il Barbuto 1'anno di ricolta; che verso 1'aia riza tal dificio 4 che tra' si ritto che nom falla volta. Or non e questo ben strano giudicio, c'a comsumare a si la gente tolta ? Chi gli averebe dato questo uficio, 8 C'ad ogn' om va pognendo dazo e colta ? Non giova che la moglie Tamonisce: " Che nom pemsi di queste tue fanciulle, se non che pur sopra ti miri e lisce ? " 12 Que' risponde: " Perche no le trastulle ? Torre a' compagni non mi comparisce, ca rimedir nom posso pur le culle." 2. sa . . . anno 3. uersso . . . tale 5. nonne . . . bene 7. Igli 8. omo 10. diciendo che n. tipurmiri 14. rimedire ... lie chulle 92 SONNETS XXXIV A 482 (Ser Jacopo da Leona). AIL, 456; Val., I, 312; Ant, 231; Baudo, So (all under Giacomo da Lentino); Mon., 310 (Jacopo da Leona). " Amor m'auzide." " Perche ? " " Perch' io amo." " Cui ? " " La bella." " E non e ella sagia ? " " Si e, ben sai." " Dumque ? " " Altro nom bramo, 4 se non che se no lei; fa si che 1'agia." " Como servi ? " " Eo servo e merze le chiamo." " Non ti vale ? " " Non." " Dumqu'e ella salvagia." " Non e." " Che e ? " " No la fere ancora 1'amo." 8 " Dove ? " " Al cor; se d'Amore loco asagia, varami?" " Si bene." " O me! troppo tarda." " Non tarda, non; ch'ell', e gia ripresa." " Di cui ? " " Di te." " Altro lo mio cor non guarda." 12 "RicoseV "Come?" " Per far lunca tesa." " Che no ? La bella prima vuol ch'io arda." " Non vuol." " Come '1 sai ? " " Nom fa piu difesa." i. Amore . . . amo 2. chui . . . nonne 3. bene . . . bramo 4. nollei 7. none 8. core n. chui ... core 12. fare 13. vuole 14. vuole SONNETS 93 TENZONE (SONNETS xxxv, xxxvi) RUSTICO FlUCPPI AND BONDIE DlETAIUTI XXXV: RUSTICO FILIPPI L 51 (Not[aro] Jacomo); A 623 (Rustico Filippi); D 370 (anon.); M 70 (Messer Palamides de Bellendore). Under Rustico di Filippo in Trucchi, I, 179; Nann., 484; Federici, Rime di Rustico di Filippo, p. 3. Attributed to an " autore incerto " in Mon., 224. Mss: A has gie for ge, ngn for gn. D, M have the lines in the order 10, 13, 12, n, 14. [Ms. A] Due cavalier valenti d'un paragio aman di core una donna valente: ciascuno 1'ama tutto im suo coragio, 4 che d' avanzar d'amar saria neiente. L'un e cortese ed insegnato e sagio, largo in donare, ed in tutto avenente; Paltro e prode e di grande vassallagio, 8 fiero ed ardito e dottato da gente. Quale d'esti due e piu degno d'avere da la sua donna cio che ne disia, tra quelli, c' a 'm se cortesia e savere, 12 e 1'altro d'arme molta valentia ? Or me ne conta tutto il tuo volere; s'io fosse donna, ben so qual voria. Variants of A, with the most important ones of D and M: i. A caualieri . . . uno D, M cortesi 2. A amano M amavan 3. A ciaschuno D tanto 4. A auanzare damare M lauanzar d'amore 10. D quel che n. D, M o quelli ch a in se 12. D, M Tra quelli ch a d arme tanta 14. A bene . . . quale D, M so ben 94 SONNETS XXXVI: BONDIE DIETAIUTI L 52 (Not [aro] Ja [como]) ; A 624 (Bondie Dietaiuti) ; 0371 (anon.) ; M 71 (anon.). Mon., 225 (" autore incerto ") Ms.: A has cie for ce, gie for ge, ngn for gn. [Ms. A] Da che ti place ch'io degia contare lo mio voler di cio c'ai dimandato, diragiotene quel c'a me ne pare, 4 quale d'esti due de essere piu amato: avegna che ciascun sia da laudare d'alta ventura c'a ciascuno e dato, ma pur la donna e piu degna d'amare 8 quei ch'e cortese e sagio ed insegnato. Quelli c'a fino presgio di prodeza, tegno bene che grande onor li sia; ma si mi par c'agia magior richeza 12 queUi c'a im se savere e cortesia, perche comprende tutta gentileza; s'io fosse donna, a quel m'aprenderia. Variants of A, with the most important ones of D and M: i. D Poi che M ui 2. A uolere D mi . . . ch a 3. A quello D dirotti tutta quel che men parere 4. D qual . . . esser 5. A ciaschuno ... da dottara D ciascuno e dallaudare 6. A ciaschuno D calta uer- tude a ciascun M c alta uentura . . . ciascun e donate 8. A quelli D que 9. D Ma quello ch a n se pregio M E quel cha si gran pregip 10. A onore D ben . . . grand n. A pare . . . magiore 12. M colui 14. A quello D s i fossi M mi prenderia SONNETS 95 XXXVH [D 251, D, f. ii5 b , J(D) 296, P(D), f. 45, J(D) 79; all under Jacopo Cavalcanti. H(D) 79 under " Jacopo "]. All., 444; Occhi, 317; Val., I, 300; Ant, 70; Baudo, 82, all under Giacomo da Lentino. Crescim., Ill, 81, and Nann., 296 under Jacopo Cavalcanti. Ms.: D has Q for z, Igl for gli, sometimes cha, cko for ca, co. H has gl for gli. [Ms. D] Pegli occhi miei una donna ed Amore passar correndo, e giunser nela mente per si gran forza, che 1'anima sente 4 andar la donna a riposar nel core. Onde dico: " Senti che '1 su' valore non a vertu che gli vaglia neente." Pero si move a dir: " Sospir dolente, 8 vacci fuor, tu ch' udisti quel dolore. Che 'n forza tutta se' di crudeltate, e tua dolceza non credo che vaglia, ch' i' veggio ch' e sbandita umiltate; 12 e di tue pene poco le ne caglia; anzi a le tue vertu pres' e schiantate; e quelle ch'ella non po, Amor le taglia." (Mss.D and H only), i. D, H e amore 3-D ne sente 4. H donn a ripossar 6. D chelgli H ke uagla 10. D che ui ualgla 12. H li ne 96 SONNETS XXXVIII [D 252 under Jacopo di Cavalcanti. H (D) 80 under " Jacopo "]. All., 445; Val., I, 309; Baudo, 70; all three under Giacomo da Lentino. Ms. D has Q for z, Igl for gli. ngn for gn. [Ms. D] Amore, gli occhi di colei mi fanno aprender dentr' al cor, si che s'accende una fiamma amorosa; che discende 4 a le membra mie angosciose, che stanno vinte e distrutte per paura, ch'anno di questa donna mia, che merze fende; onde pero la mente mia intende 8 pianti e sospiri e doglie che diranno: " Vertu d'amor, per cortesia m'aita, che questa bella donna non mi sdegni; s' i' son tu' servo, pregoti che degni, 12 non assalisca 1'anima invilita, non si diparta; che vedut' 6 i segni che questa mia dolente e 'ndebolita." i. H costei 2. D chor . . . ssaccende 2, 3. H aprender li occhi mei si ke s'apprende dentro dallo cor si ke s acciende 5. D, H uinti e distructi 6. H offende 7. H atende 9. D, H aiuta 10. D, H chon disdengni 12. D assalischa The editions follow H. SONNETS 97 XXXIX Magliabechiano, 640 (Ms. N). Trucchi, I, 56; Baudo, 68; Borgognoni, Nuova Aniol., Oct., 1886, p. 606. [From Trucchi] Re glorioso, pien d'ogni pietate, non guardate a' prieghi che fanno i santi, ne agli angeli, che vi stanno davanti, 4 che per lor gioi' questa donna chiamate. Guardate a noi, che nella sua beltate vediamo amor, la onde siamo amanti, e cognosciam per fermo tutti quanti, 8 che in lei e pinta vostra maestate. Che vedendo lei benediciamo la vostra gran potenza, che ci ha dato di voi esempio per la nostra fede. 12 E se voi non ci avessi gran mercede, ciascun di noi morrebbe disperato, . . . quanto noi amiamo. NOTES NOTES In the metrical analysis given at the beginning of the notes to each piece, end rimes are indicated by capitals, internal rimes by small letters; e.g., ABbC. Figures under the line and following letters indicate the number of syllables in the line. When there is no figure after a capital and no special statement, the line is hendecasyllabic. With lines having internal rime the figure under the line and following the small letter gives the number of syllables in the part of the line ending with internal rime. Such figures as 4 + 3 I 44 + 33 mean: 4 lines in the first main division of a canzone stanza (fronte or piedi) and 3 lines in the second division (coda or versi); 44 syllables in the first division, 33 in the second. Partition is indicated by a comma between secondary division such as piedi, versi, and tercets; by a semicolon between main division, such as fronte and coda, piedi and coda, piedi and versi, octaves and sestets Unissonans means that the same rimes are used in all the stanzas, or at least in more than one. CoUegate means that words at the end of each stanza are repeated at the beginning of the next. As all the sonnets have fourteen hendecasyllabic lines, and all the quatrains of the authentic sonnets are in the ABAB order, we generally indicate only the rime order of the sestet. CANZONI I. Madonna dir vi voglio 16 lines, 8 + 8 | 64 + 64. A 7 B 7 A 7 C, DyBrDrC; EjEjFjfjG, Though E is generally in accord with A, the Mss. are all independent of each other; cf. 11. 7, n, 16, 17, 18, 19, 26, 34, 37, 40, 48. Summary. The poet tries to describe his love to his disdainful lady. His heart is in the unspeakable agonies of death. He is like the salamander living unconsumed in the fire, or like the painter who is unable to render the beauty of his subject. As a ship in distress casts everything overboard, so he finds relief in unburdening his heart of its sighs and tears. He cannot free himself from the love for this woman, more cruel than the viper. This canzone, one of Giacomo's best, was mentioned by Dante hi the Vulg. Eloq. (I, 12, 7), as an example of the work of those excellent poets, who rise above the language of the common people: " prefulgentes eorum quidam polite locuti sunt, vocabula curialiora in suis cantionibus compilantes." Although in this passage Dante does not mention the poet's name, and includes Giacomo among the Apulians, the agreement of the oldest Mss. in assigning the canzone to him, can hardly leave the authorship open to doubt. 1 Line 15. sdengate; for ng = gn, see Cesareo, 114. 16. vide = vede, according to Ces., 131, note; but it might well be the preterite. 28. vivi = vive; see Ces., 130. 37. in prodito = in prurito, as proposed by Parodi (Bull. Soc. Dant., XX, 116 note). In prodito is used in this sense to-day in the South of Italy, according to the statement of one of Professor Grandgent's students, who came from Apulia, I > See Casini, Bull. Soc. Dant., II, 33~43. 101 102 NOTES believe. Parodi thus interprets the passage: " che mai non s'acqueta finche non si gratta la dove gli prude." Cf. also Tallgren, p. 280, note 3. 49-60. For the simile compare Messer Stefano's Assai crciii cidare, 11. 43 ff. 59, 60. solondara, grasara, old forms of the conditional, derived from the LaL pluperfect. Cf. Caix, Ongtni, p. 230, Cesareo, p. 181 (with other references). 78-80. " Anche una vipera, se lo vedesse ridotto a tale, sarebbe pietosa " (Ces., 188, 189). Lo vcderia; Ces. woukl read o vcderia (Ms. A), regarding the o as the Sicfl. for lo. (Ces., p. 197). n. Maravigliosamenie 9 lines of 7 syfls. 6 + 3 1 42 + 21. ABC, ABC; DDC. With commiato. The Mss. A, B, and C are independent, as shown by the difference in the order of the stanzas and in such important readings as lines 4, 5, 13, 20, 23, 25, 27, 28, 3 2 > 37 46, 51, S5i S7> 58, 63. In stanza vn A is far superior to B. All the other Mss. are derived from B. The unanimity in the attribution of the Mss., and the reference in lines 62, 63 make the authorship certain. Summary. The poet's thoughts are so full of his lady that he bears her image always before him, like the painter who ever paints the same subject though his mind may be turned to other things. Yet he timidly keeps his love concealed. Once he painted her likeness and in her absence he now finds consolation in looking upon it, seeming to have her before him. The more he conceals his passion, the more ardently he burns; when he passes by her he does not dare to look upon her, but sighs and suffers. If she has been told that his praises of her are insincere, she can reassure herself when she sees him. He sends forth his song to entreat her to bestow her love on the Notary of Lentino. line 3. ora; in Sicfl. nrOj when a noun. 10. porte = porti. 15, 18. core, amort. On the complicated question of this kind of rime see Gas- pary, Scuola poet. sicU., 203, 204; Ces., 116 ff.; Tallgren, Rime ilaliennc, 206 ff.; and especially Parodi, Bali. Soc. Dani., zx, 118, 119. 20-24. F the idea of painting his lady's picture see Madonna mia, stanza vi and note. 37. The stanza order of Ms. A breaks the sequence of the thought Se side: Ces., p. 263 proposes S'isciie (= Se uscite), regarding Se side as the blunder of the Tuscan scribe in treating Sicfl. S'issiii ( Se uscite). 52-53. Singa, lingo; see Gaspary, Scuola Sic., 188 ff.; Ces., 114, 139; Tallgren, 266. Torr., Ma*, has singua, lingua, remarking that singua for segno still exists in some Southern dialects. For 53 Gaspary proposed Zo ch' i' no dire' a linga. 55 57> S 8 * i 3- The readings of B spoil the rime sequence. TTT. Amor non vole 10 lines of 8 syHs., 4 + 6 | 32 + 48. AB, AB; CCD, EED. Cf. Cas., Ann. B follows the same source as A for this canzone, and both attribute it to Giacomo. Summary. Love does not permit the poet to implore his lady's pity nor to boast of his passion as is the wont of lovers. Love would not have him be an imitator NOTES 103 like the monkey. Through the abuse of amorous lament, merzede has lost all effect, just as jewels that have become common lose their value. Would that nine years might pass without lovers calling for mercy! In order to fed the sincerity of his passion his lady does not need conventional cries for pity; her eyes win tell her the truth. If she insists on a conventional entreaty (jewel) as the price of her love, he would die rather than consent. It is piquant to find the author of Donna eo languisco expressing his disgust for conventional lovers' laments. Whether we have here a passing mood or a per- manent change in Giacomo's style is hard to say; most probably the latter. Bar- toli called attention to the author's satire on the prevailing poetic manner, and Cesareo saw in the piece " un vero e proprio manifesto letterario." Its attitude is to be compared with that shown in Giacomo's replies to the Abate di Tivoli (sonnets v and vii), in which he again expresses distaste for wordy protestations; cf . p. xxiv. Line 2. B*B. Sec. Dant., n, 38, and Ammotexumi to Amt. Rime Vmf., v. 371. < Stmdi, 46 ff. Krii. Jukmbtridt 1. rom. PUU.. m. 319. 8ma. BtW, vi, 939. * Giarn. SUr., zxv, no. 104 NOTES voyage across the sea or a fierce battle, and through such fear to refrain from sound- ing her praises. Yet he dreads to anger her by openly declaring his love; though, in view of his consuming passion, she would surely pardon him. Line 3. madonn' de. Torr. proposed d instead of e found in the older editions. Mussafia and Pellegrini favored the de, which requires no departure from Ms. A. 16. It is safer to follow the Ms, " mia spregianza " (" to my disgrace "), rather than change to mispregianza. Collegamento did not require the repetition of the exact words. 18. per me, etc. = to comincio (Mussafia). 21-24. The reading in the text is that of Torr. with the punctuation modified as suggested by Casini (Bull. Soc. Dant., ii, 40). 24. simiglianza, i.e., " somiglianza con le creature angeliche, accennate nei versi che seguono " (Casini). 30. The line in the Mss. is defective, as it lacks a syllable. Mussafia proposed dottare or ridottare instead of donare. Torr. has ridottare. 31. o i mat. This line has been perplexing, but with ridottare in the preceding line the sense is clear. " Love would not have me lose the happiness of love merely on account of fear, or of unsuitable, hesitating declarations." 33. Torr. discusses very fully stanza v in pp. 46-61 of the Studi, and in the note to p. 59 gives a number of interpretations. Of these we will quote Cian's (p. 60 of Torr., note), which we have followed: " El pena gravissima ad un uomo [come me] il vedersi dinanzi la donna amata e [ciononostante] temerla piu d'un [largo, difficile] viaggio di mare, come quello da Terrasanta a Siracusa e piu d'una battaglia terrestre e navale, ove si combatta accanitamente, e [e pena gravissima] per questo timore non osare di celebrare le lodi di tal donna." V. Ben m'e venuto 8 lines, 4 + 4 | 44 + 44. Aa B B, Aa 8 B; b s CCDD. Unissonans. The three main Mss. are independent, as shown by the different order of the stanzas in A and B, the lack of st. iv in C, and the divergent readings in such lines as 5, n, 25, 26, 29, 30, 33, 35, 40. As all three attribute the canzone to Giacomo, there can be no doubt about its authorship. O and P are derived from C. The stanza order in A is the best. Summary. The poet entreats his lady to soften her pride, for, though he loves her more every day, yet she might presume too much. It is reasonable to show pride toward the rebellious but not toward the humble. As those who have been unjust seek, after repentance, to make amends, so he takes hope. Great would be his joy if her pride were humbled by his love. But if she is foolishly arrogant like Florence, may she take a lesson from Pisa, who wisely fears the ways of the proud. He finally hopes that his patience will be rewarded. Line 32. be-llo = ben lo. 33-38. For the historical interpretation of these lines see Introduction, pp. xx f., and the references there given. NOTES 105 37-38. " ' L'orgoglio che s'e impadronito di voi da lungo tempo, serabra che sia quello che lega Milano al suo carroccio ' ch'6 simbolo dell'opposizione." (Pelaez). VT. Donna, eo languisco 10 lines, 4 + 6 | 44 + 54. Aa&B, CcjB; DDiErErFF. In the Ms. the internal rime of 1. 44 is not in the regular position 5.6. It might be modified to Cad io non trovo merze in cui son data. The one Ms. A attributes it to Giacomo. Summary. The poet despairs, as his cries for pity have been of no avail. Love has been unjust in making his lady's heart so cold, when his passion is so ardent. A thousand cries for mercy should be rewarded by at least one act of pity. Her great beauty torments him. If she were only merciful she would be incomparable. He does not regret calling for her pity, as even the lion has been known to show mercy. And yet, as he recalls his fruitless pleading, he ends with bitter reproaches. Line 4. merzide, see Ces. 99, in, 119, 134; Tallgren, 265. u, 12. Tallgren, p. 295, makes the excellent suggestion: partitore ... adore (adori, pres. subjunct.), the latter parallel with the subjunctive intendate. 23. belleze. The abstract nouns ending in -eze were generally the singular forms in the oldest poetry, and not the plural. They are in that case derivatives of -itiem, and not of -itiam. The Tuscan scribes misinterpreted these singulars as plurals, changing the articles, adjectives, and pronouns accordingly. Cf. 1. 25. See Mon., Crestom., p. 594, 399; Tallgren, 284 and note. 29. slatesse. The reading of D'Anc. C., staresse, commented upon by Ces., 183, 184, is a mistake. 33. On the magnanimity of the lion toward the conquered see Gaspary, Scuola Sic., p. 108 and note. With regard to the lion Brunette Latini says: " et ne sera ja correciez a home se il ne li mesfet premierement; mais a merveilles est piteus, que la ou il est plus correciez et plus plains d'ire et de mautalent contre lui, lors li pardone volentiers, et plus tost se li horn se giete a terre et fait semblant de crier merci." (Livres dou tresor, Chabaille, p. 224). On the whole question of animal references in early Italian poetry see Carver, Rom. Forsch., xxi, 276 ff. 44. See remark above, under the metrical scheme. 45, 46. preio, peio. See Ces., 161; Tallgren, 266. 48. We have added Amore, following Val. VII. Dolce coninciamento io lines of 7 sylls., 4 + 6 | 28 + 42. St. I: AB, AB; CCB, DDE. In stanza n the volta is CCB, CCB; in in AAC, DDC; in rv BBA, BBA. Collegale. The only Ms., A, attributes it to Giacomo. The attribution of Trucchi to Rug- gieri is apparently quite unfounded. Summary. The poet sings his lady's praises, and his heart is kindled with passion as he extolls her beauty. He recalls the words of her surrender and the rapture of their love. io6 NOTES This pretty canzonetta in popular style, with the ardent sweetheart replacing the conventional, haughty " Madonna," is one of Giacomo's best. Butler (p. 153) called attention to the similarity it has to the Acmen Septimus of Catullus, and suggested that the latter may have been known through the medium of some Florilegium. The poem is discussed at some length by Cesareo (pp. 258-261), and Torraca (pp. 5-7). There is no satisfactory reason for assuming with Cesareo that it is one of Giacomo's earliest compositions. Line 4. Agri. Most probably the river Agri (Lat. Aciris), in Basilicata. As we know that Giacomo was at Policoro, on the banks of the Agri, with the Em- peror hi 1233, we have a possible date for the composition of the canzone (cf. Torr., p. 5). Cesareo identifies our Agri with Acrae near Syracuse. Butler assumes Acre in Palestine, Acre and Messina representing to an Italian " the most eastern and western of Frederick's realms. So Catullus uses ' Syrias Britanniasque.' " 6. O stella. For the stereotyped expression cf. Gaspary, Scuola Sicil., p. 61. 13. The Ms. reading mi riprendi is difficult to interpret. Cesareo's suggestion of ti and, in the next line, favellare favillare makes excellent sense, especially in connection with 1. u. " Se io t'ardo, non ho colpa; ma riprendi te stesso, se mi vedi favillare, dar faville " (Ces., pp. 258, 259 note). 33. lusingatore. On the slanderer see Gaspary, Scuola Sicil., 75, 76. 36. per = " hi spite of " (?) or " as for." For the hated husband cf. Gaspary, p. 78. 37. Casini proposed transposing the last two couplets to preserve the sequence of thought better, but it is far more effective as it stands: the mere mention of the detested husband is swiftly followed by the curse. Moreover such a change would result in the rime series BBB AAB which is contrary to the symmetry of the other ver si. VIII. Troppo son dimorato 12 lines, 6 + 6 | 50 + 42. A 7 B 7 C, A 7 B 7 C; D 7 E 7 F 7 , D^F?. Stanzas i and n have the same rimes; so have ni and rv. Those in v are independent (Coblas doblas.) As B in this part of the Ms. has the same source as A, we have just one authority for the authorship. Summary. The poet bitterly laments having left his fair lady to go into a dis- tant country. The thought of the happiness he has thrown away so wilfully and foolishly torments him. Love chides him. He will surely die of anguish if he delays any longer his return to her. Gaspary (Scuola Sicil., pp. 43-45) shows the similarity of the thoughts and feel- ings expressed in this song to those in Perdigon's Trap ai estat man bon esper non vi. As the theme of the absent lover's lament was widespread at this period, and as it would naturally create a set of conventional ideas and phrases, it is unsafe to con- clude that Giacomo's piece is directly inspired by Perdigon's. It is worth noting that Giacomo used this theme frequently (S'io doglio, Uno disio d'amore, Membrando I' amoroso), and probably as a direct expression of his own experience when obliged NOTES 107 to follow the Emperor in his travels. Cf. Chiaro's Troppo agiofatto, A 208, a much closer imitation of Perdigon. See De Lollis, Gior. Stor., suppl. j, 82, 83. Line 2. paise rimes with mise, and, in stanza n, with a/en, sfesi. We have been satisfied with a perfect rime within each stanza. See Ces., 95; Tallgren, 278!. 6. belleze, sing.; see note to canz. VI, 1. 23. ii. " Even were I dead." 17. mi sfesi, " I rent my heart asunder." Tallgren (p. 279) takes sfesi as the third person, which is possible, but not necessary. Egidi in the Glossario to Ms. A (Soc. Fil. Rom.) reads misfesi = misfeci, feci male, but the form fesi from fare is unknown to codex A, I believe. 27. can' = come. 31, 34. For the rime series dolore, dolzore, core (43), tuttore (46) see Tallgren, PP- 334, 335- IX. Madonna mia, a voi 8 lines of 7 sylls., 4 + 4 1 28 + 28. AB, AB; CDDC. Although Ms. C attributes this canzone to Rugieri d'Amici, its place in the lost part of A, the authority of B and the mention of Lentino in 1. 54 remove any doubt as to its authenticity. Summary. The poet sends his love-sighs to his lady, to whom he has feared to make an open declaration. Not knowing whom to send as messenger, he prays Love to carry his tearful sighs and pierce her heart. He wishes that every sigh had intelligence so that it might entreat her pity. Her lack of response is tor- menting him; why does she not send encouragement ? Her great beauty impels him to love her more and more, but greater love than his would be impossible, though not impossible a greater torment. He recalls the delight he felt as one day he modelled in wax her form, fairer than the beautiful Iseult. Though he keeps secret his name, he names his birthplace Lentino. Line 4. diri (Mss. dire) is found in A 348. 41. As Bertoni indicates (II Duecento, p. 26), we have here a direct reminiscence of a passage of the Tristan of Thomas, in which the unhappy lover, to console him- self for the absence of Iseult, made a portrait of his lady: Pour i?o fist fl ceste image que dire li volt son corage, son bon penser, sa fole error, sa paigne, sa joie d'amor, car ne sot vers cui descovrir ne son voler, ne son desir. (edit. BMier, I, 317). Compare Maramgliosamente, 11. 20-24. X. S'io doglio 7 lines of 8 sylls., 4 + 3 | 32 + 24. AB, AB; CCB. B has here followed the same source as A, in which the piece was doubtless attributed to Giacomo. All the evidence is in favor of him as the author. 108 NOTES Summary. It is no wonder that the poet is sorrowful as, parted from his lady, he recalls his former happiness. Yet his heart, which has been torn from his bosom, is with her, and he is filled with sorrow and envious anger at the thought of his heart enjoying her sweet company. The vision of her charms fills him with admiration and despair. Lines 10-25. For this idea of the heart dwelling with the lady see Bertoni's review of E. Levi, CantUene, etc., Romania, xliii, 277. Cf. canzone xiv. XI. Una disio d'amore 12 lines, 6 + 6)54 + 52. AAjB, AAsB; CC B D 7 D 7 EE. Loosely collegate. This canzone was in the lost part of A. The first two lines and a half are in the index, no. XI, so there can be little doubt that it was attributed to Giacomo. In C it is anon. Val. has incorrectly attributed it to Inghilfredi, possibly because no. 59 in C is under his name. Val. did not have access to C directly, but only through the Moiicke copies of it, O, P; see Val. i, pp. vi, vii. Nos. 60 and 61 in C are anon. Summary. The poet is in doubt whether to declare publicly his love or not. Love warns him of the consequences of keeping silent; yet he fears even more the lady's displeasure at an open declaration. She will love him all the more for his jealous fears. He dreads lest he lose the treasure he possesses, and if he speaks too unwisely, it is Love who puts the words in his mouth. The joy he has hi the thought of her favors is embittered by the necessity of parting from her to go to other lands. He is cast down by forebodings, but the thought of her love sustains his hope. For the theme of the lover's fear and hesitation see Gaspary, Scuola sicil., 56-58. This canzone is not given in Baudo. Line 4. neente = qualcosa. 13, 18. piui, mina. These spellings are found elsewhere in Ms. A. 21, 22. paure, amore. Cf. Tallgren, 322 note, and Parodi's comment (Bull. Soc. Dant., xx, 118 ff.). 37, 39. S'. In 37 = se, in 39 = si. 40, 41. solaccia, sfaccia. The Ms. here failed to observe the exact rime with 37, 38. The original forms in all four cases ended in -acza (Cesareo, 166, 168). XII. Amanda lungamente 14 lines, 8 + 6 | 64 + 54. A 7 B 7 B 7 bjA, A 7 B 7 B 7 bftA; C9D 7 d 6 CC B C6EE. Collegate. The position of the internal rimes is irregular, but all may have been originally 5.6. The text in the Mss. is very imperfect. Lines 13 and 27 should have internal rime. For 11. 30-41 and 51, 52, so incorrect in the Mss., we have adopted a cor- rected reading given in J 1 , a sixteenth century Ms. Ms. D is derived from C, or at least has the same source, as is proved by the similarity of the readings and the identity of such corrupt passages as 11. 39-41, 51, 52. The other Mss. are all derived from C (cf. p. xxxviii). We have, there- fore, only one Ms. tradition, and it attributes the canzone to Giacomo. NOTES 109 Summary. Having long loved his lady, the poet would now make his love known worthily. The one thing that torments him is not so much the suffering of love, as the thought that she may not know how he adores her. If he cannot express all he feels, may his avowal be rewarded by some show of kindness, for pride will not bring her joy! In her all grace and beauty abound. If she requited his love, he would feel like snow turned to fire. Whatever she may do, his heart will be unchanging in its devotion; but it will mean death to him if she will not receive him into the bliss of love. Line 13. Internal rime might be obtained by reading " per intendimento de mie parole." 39. The readings of J J a which we have followed are apparently sixteenth century manipulations of the corrupt text derived from C. 46, 48, 49. For these abstract nouns in -eze, see note to canz. VI, line 23. 50. innamorio; cf. Ces., 163. 51, 52. Tallgren proposed (p. 366): E sed eo voi, madonna mia, amasse, e voi [pur?] meve 60. To make the internal rime close the fifth syllable we might read: Non trovarete in me lo core varo. 67. The incorrect reading piangono given by Bartoli-Casini in their copy of Ms. C made the meaning of this passage perplexing to Tallgren (p. 366), but my correction to piangano, from personal examination of the Ms., removes the difficulty. The three verbs cozi (from cozzare), piangano, bagni are all subjunctives. " If you will not take me under your protection, in the comfort of pity, so that it may strike my heart, and my eyes may pour forth tears of love and joy (and) with the abundance of the sweet tears bathe my whole face." XIII. Guiderdone aspetto 14 lines, 6 + 8 | 40 + 64. AgA 8 B, CsCsB; D 7 E7D 7 e7F, GrHrGThjF. As seen by the readings of lines 4, 5, 18, 19, 24, 27, 29, 30, 33, 40, 42, 43, 51, D and its derivatives follow the same tradition as C. The question of authorship is therefore between A and C; and as A, in such matters, is far more reliable than C, the weight of evidence is in favor of Giacomo. Summary. In spite of his lady's proud bearing the poet yet hopes for the fruition of his love, for often has he seen the humble, through persevering effort, attain high estate. Sincere is his love and hope. As the savage laughs at the storm, hoping for the return of calm, so he hopes for peace of mind. He entreats his lady to be moved to pity and lay aside her pride, for a fair lady without pity is like a rich man showing stinginess, who is despised by every one. He finally pleads that she leave him not to perish, for his passion, if unrequited, would be his destruction. Lines 10-14. Accusative with infinitive; cf. Wiese, p. 175, 62. For parallels see Gasp., 54. 24. In Wiese's reading chell'e, chett = queUo in the sense of quello eke; cf. Wiese, p. 183, 92. Ces. (198), reads com'e o decto, interpreting o as the Sicil. form for lo. no NOTES For the simile of the wild man see Nann., p. 58 note; Gaspary, Scuola sicil., 101 ff. 27. vide = vede. 31, 34. These lines are of four syllables, as the initial vowel of the lines may unite with the last vowel of the preceding line; cf. ZRPh., xvii, 260; also Ces., 203. 42. presgio. We have kept the Ms. reading in preference to the suggestion of Casini, spresgio, as grave may be used in an uncomplimentary ironical way. XTV. Membrando I' amoroso 9 lines, 6 + 3 I 66 + 33. ABC, ABC; cDdEeD. Internal rimes in varying positions within the line. In the only Ms., A, this canzone is anonymous, but the reference to Lentino in stanza ni points almost certainly to Giacomo as the author, and suggests the year 1233 as the date of its composition. Giacomo was fond of referring to his birthplace. Summary. The poet, absent in a distant country, calls to mind the loving farewell he took from his lady, and tells of his eagerness to return to her embraces. His longing is intensified by the memory of her sorrow at his departure, but he is to return to Lentino in May, and he rejoices at the thought of their being united once more. Though they are separated, his heart abides with her and he is con- soled by the memory of her caresses and the anticipation of their future happiness. For the theme of the lover in a distant land see note to Troppo son dimorato (canz. VTII). If this piece is inspired by direct personal experience the meo sire of 1. 22 would be the Emperor, and the year 1233 a probable, or at least possible, date for its composition. See Torr., Studi, 83 ff.; Gasp., 117-122. Line 27. delta, proposed by Casini, Ann, but the rime is thus imperfect: 6 with e. 29. The first half of the line proposed by Casini, Ann. 31. poi che = benche; cf. Rustico di Filippo, lo cor non v'e, poi ch'io faccio i sembianti (Wiese, p. 216). 32. Cf. S'io doglio, 1. 23 (canz. X). 41, 42. Perhaps we might translate freely: " and I am not deprived of and kept from (the pleasure of) holding you many times in my arms." 42. In the Ms. the line lacks two syllables; bella proposed by Cas., Ann. 43-45. " It seems to me, as I thus sing, that I have this (pleasure), the time when I fain would that we were in a place where, quenching such a fire, I might quench it again." XV. Poi non mi val 9 lines, 6 + 3 | 58 + 33. ABCr, ABC?; c 3 Dd 5 BC. Unissonans and collegate. B follows the same source as A. H follows the same source as C, as is seen by 11. 5, 10, 13, 14, 17, 19, 20, etc., and by the lack of stanza v. Of these two sources the more reliable attributes the canzone to Giacomo. It is significant that H is anonymous. NOTES in Summary. As his faithful service is unrewarded, the poet is in torments of de- spair. Yet it is better to suffer for his lady than enjoy the favors of any other woman. As he was innocent of disloyalty, she should not have taken away her love from him nor broken her promise to reward him. When she made this promise, she gave him a jewel as a token; but now she has taken it back, charging him un- justly with disloyalty. Disloyal he could never be to the lady who pierces his heart with anguish of love. Line 17. sua menbranza, " remembrance of her." 37. partire = dividere. 39. non fosse, etc., " however lovely she might be." XVI. Membrando cid ch'Amore 1 2 lines, 6 + 6] 50 + 42. A 7 E 7 b-,C, A 7 B 7 b 5 C; D 7 D 7 C 7 , DyDiC. Commiato. There are only three important Mss., A, B, C; all the rest are derivatives of B. The best readings on the whole are those of A, and this Ms. has the piece in the section devoted to the Florentines, attributing it to Guglielmo Beroardi, to whom no. 178 is also assigned. This no. 178 refers to a Florentine lady. In C the text is bad, with lines 19-24 lacking. In B the name Notar lacomo was added by a later hand. Giacomo's authorship is therefore very doubtful, the weight of evi- dence being in favor of A. Casini (Annot.} thought that the form suggested a Southern writer, but admitted the inconclusiveness of the argument. Tallgren (pp. 252, 279, note 3, 285 note), mentions, as an additional argument hi favor of the attribution of A, the rimes vegna, insegna (or degna), scendesse, facesse, messe, impossible in a southern poet; also belleze as a plural. Summary. Thinking of his love-sufferings and his lady's disdain, the poet is brought nigh to death. His happiness is wrecked, like the ship enticed to destruc- tion by the siren's song. He did not believe that she could be so cruel as not to bend in pity toward him; so he sends out his song to plead in his behalf. Line 27. ajranlo, " spogliato " (Gaspary, p. 58 note). 45. belleze. In non-Sicil. poetry such words were regularly plural. Cf. Tallgren, 284 note. 53. che-llei = che in lei. 54. fiumi = fiume. 55-60. doglia, consumi, comforti, alumni are all subjunctives dependent upon Prega, 1. 49. XVII. Gid lungiamente Amore 9 lines, 6 + 3 | 52 + 29. A 7 B S C, A 7 B 8 C; C 7 c 7 DD. Partly cottegate. In the disagreement of the three main Mss. the authorship is uncertain. The readings of C, though in the main good, are the least accurate. Casini and, follow- ing him, Biadene are inclined to attribute the canzone to Tiberto, and I entirely agree with them. A has the best text, shown especially in the observance of the metrical form in 11. 2 and 5 of each stanza, and its attribution on that account should have to a certain extent the greatest weight; but besides this, the use of -eze as a 112 NOTES plural (1. 10) is not Sicilian (Tallgren, 284 note 6, 355 note i), and that would exclude the attributions of both B and C. See below, note to 1. 42. Summary. For a long time the poet's heart has been free, but now he is held fast by the chains of love. So great is his lady's beauty that he rejoices in his bondage, yet, though he would fain confess his love, he has not dared. If he could but gain courage to make a declaration, she might show him some favor, though she loved him not, for what would it profit her if he died of grief ? Indeed, she has received him kindly, and he feels encouraged to hope, but so intense is his passion that he can neither declare it nor hold his peace. May she take pity on him and bear with him, for to please her is his only wish, and if he die, hers will be the loss. There is hesitation in the Mss. about the length of 11. 2 and 5 of each stanza, which should be octosyllabic. A is most correct, reducing only one line (no. 5) to 7 syllables; B reduces three (23, 38, 41); C reduces two (2, 14). Val. has some of these lines heptasyllabic, others octosyllabic; Baudo tries to reduce them all to 7 syllables, but fails in two cases; Butler forces them all into 7 syllable length. Line 10. Observe belleze here as an unmistakable plural. 16. co'temenza, etc.: " with fear to tell." 25. no-lie = non le. 42. Observe in Ms. A the Pisan molte for morte. XVIII. Poi tanta caonoscenza ii lines, 6 + 5 | 58 + 47. A 7 BC, A 7 BC; DE 7 F 7 f 6 ED. Cottegate except stanza n. The three Mss., A, C, D, appear to be independent, as shown by such lines as 9, 10, 18, 20, 23, 26, 28, 34, 35, 36, 37, 38, 40. A has by far the best readings. C is much nearer to it than D, as shown in 11. 9, 18, 20, 28, 36. The attribution of A has therefore the greatest weight; that of D the least, accordingly we prefer to assign the canzone to Piero. Though I have not yet received the readings cf K, I believe it is either derived from D or of the same family. In any case its testimony would not carry great weight. Summary. So perfect is his lady that the poet gladly waits for her love though hi suffering. Love has so completely mastered him that he is now at the point of death, and this fate he would gladly accept. His great solace is that she has begun to reward his devotion. Again he exults in the happy beginning of his love, which he contrasts with the disappointed hopes of other men less fortunate. Line 13. la calamita; see Gaspary, Scuola sicil., 101. 25. ed . . . e, both . . . and. Direct infinitive after verb of motion (Wiese). 42-44. Wiese has on these lines a long note which we do not quote, as the sense seems dear. XIX. In un grawso affanno 10 lines, 4 + 6 | 28 + 50. A 7 B 7 , A 7 B 7 ; C 7 C 7 D, E 7 E 7 D. The rimes D the same in all four stanzas, i. e. a chiave. NOTES 113 The three main Mss. are independent and the readings deviate but little. In A line 37 is inferior. In C, 11. 28, 29, 30 are lacking. In U. 21, 23 D is weak. C is nearer than D to A, which has the best readings. D 1 is a copy of D. On the strength of the best readings the attribution of A would have the greatest weight. Borgognoni 1 called attention to the fact that 11. 35, 36 are almost identical to 11. 25, 26 of Giacomo's Maravigliosamente, but that would not prove much. We prefer to favor Rinaldo as the author. Summary. The poet, realizing his lady's perfection, is troubled at the seeming hopelessness of his passion. Yet he hopes that his humble, patient service will be finally rewarded. Never can his heart be moved from its loyalty to her, and if only she show no displeasure, he will be consoled. As men hope for salvation in their faith, so he can hope only in her final favor. Line 9. s'avanza; " if he makes progress, overcomes." Wiese suggests: " wenn er am Leben bleibt." XX. Vostra orgogliosa cera 16 lines of 7 syllables, 8 + 8 | 56 + 56. ABBC, ABBC; CDDE, EFFC. Collegate, except stanza m. Of the three Mss. B alone attributes this canzone to Giacomo. Both A and C attribute it to an Arrigo. The Arrigo Testa of A was for some time supposed to be a fairly prominent historical character (1194 ?-i 247), born at Arezzo, and during his lifetime podesta of Jesi, Siena, Ravenna, Lucca and Parma. 2 Monad 3 first proposed interpreting the Divitis of C as an error for daretio, i.e., de Aritio, but in opposition to him Restivo 4 pointed out that the family of Avitis or de Vitis was prominent in Messina since the twelfth century, and Scandone 5 preferred to assume a possible notary of Lentino, where the name Testa existed. Pelaez also argued in favor of his being a Sicilian. 6 There is nothing non-Sicilian in his rimes. 7 According to Monaci's theory the confusion in the attributions would be due to the fact that the title in the parent Ms. contained the name of the poet, followed by the name of the person to whom the canzone was addressed, thus: Arrigus Testa de Aritio not. Jacomo de Lentino? Whoever the author was, he was probably not Giacomo da Lentino. Summary. The lady's haughty manner cools the poet's love and fills him with doubt. He blames Love for this unnatural condition. Her feelings toward him are clearly shown in her eyes; for what the heart feels cannot be hidden. If she loved him, her face would reveal to him her delight and good-will, but all her show of friendship is feigned, and he is filled with sorrow at her treachery. His heart Propugn. IX, i, 51, 52. Zenatti, Arrigo Testa e i primordi della lirica ilal., 26 ed., Firenze, 1896, pp. 28, 30, et passim. Sulle divergence del canzonieri, in the Rendiconli delta R. Accademia dei Lincei, Sept. 6, 1885, p. 661. F. E. Restivo, La scuola siciliana e Odo delta Colonna, Messina, 1895, p. iz. Notizie biografiche, in Studi di left, ital., v, 264. Rassegna bibliogr. d. lett. ital., xiv, (1906), 156-159. Tallgren, p. 341, note i. 8 In 1896 Monaci was convinced of the uncertainty surrounding the identity of Arrigo; cf. Per la storia della scuola poeiica sicil., Rome, 1896. 114 NOTES is unchanged in its loyalty; she should therefore, in all fairness, lay aside her coldness and pride. Line 55. The reading of A, fate ofingimento, may contain the Sicil. form of the article o mentioned by Cesario, pp. 197, 198. XXI. Amor da cui 12 lines, 6 + 6 | 66 + 58. ABC, ABC; CDE^DC. Collegate. Stanza I has internal rime in line 5, stanza iv in lines 2 and 5, stanza v in 1. 2. The readings of A and B are from the same source, and are almost identical. C and D agree in many cases in departing from A and B (e.g., lines 2, 3, 5, n, 17, 25, 27, 29, 31, 35), but are often in disagreement with each other (e.g., 15, 18, 19, 23, 26, 28, 33, and stanza rv lacking in C). They evidently follow other traditions than A, B. D 1 was derived from D. In two independent Mss., therefore, A and C, the author is given as Piero de le Vigne, and this is probably correct. Summary. The poet tells how Love has favored him, honoring him above all other lovers in giving him a lady of such perfection. Her love has been bestowed without too long a waiting, and this is better than to have tormented him by an excessive penance. Short has been the service for so great a reward, and in his happiness he would not be the lord of the whole world, if that would mean the loss of her love. The fullness of his joy he cannot express. Line 22. i-llei = in lei. 33, 34. A difficult passage; it may mean: " than (to be) the man (who has become) wealthy through great endeavor, when it is too late (for him to enjoy his wealth)." Val. renders ricco by bene, and explains ragione as giustizia ottenuta con brighe e piati. Butler proposes: " A little good, acquired without too much trouble, is better than wealth (lit. a rich man) by natural right (i.e., unearned) after he passes his prime." The reading of A, B corico might contain another example of the Sicil. article o (= lo), i. e. c'o rico; cf. Cesareo, 197, 198. 42. We have followed the reading of D in preference to that of A, B, as the latter would have the rime core repeated (42, 48). 43. Cf. Gaspary, Scuola sicil., 51. 57, 58. The reading of our text was the happy improvement proposed by Butler. Casini's was not so good (Annot.) : Dunqu' eo nom posso farlo Nom fallo se non parlo. XXII. Cosiafino ii lines, 6 + 5 | 42 + 32. A 7 B 7 C 7 , A 7 B 7 C7; DrD^ErCs. Stanza rv has a commiato. The annotator who added the name of " Jacopo " to this canzone probably referred to Giacomo da Lentino, but this evidence is at the best very untrustworthy. The style is far more obscure than any of Giacomo's authentic canzoni. The use of NOTES 115 the plural belleze, 1. 36, awakens further doubt, though the original form of the line may have been changed. D'Anc. C. declared it to be hopelessly unintelligible; but though it is so hi a number of details, we can follow the main line of thought, attempted in the following summary. Summary. As gold is refined in the fire, so the poet is tried and made perfect in his love. His lady is troubled by his tears, yet these bring him consolation. She was grieved to have him see her under the watchful care of her jealous husband, and her grief for such a cause comforts him. What can he do in his torments of despair? So completely is he under the spell of Love that tongue could not express it. He sends forth his lament to the castle to tell his lady that he fain would be a bird to fly uncalled to her, like a falcon in pursuit of its prey. To have complete joy with her, though folly it might appear, he would hold back the sun in its course. He urges her to come discreetly and joyful to the tryst. Line 14. a non guare, proposed by Casini (Annot.), to complete the line (guare = guari). 30. " Alas! Why is she given to him ? " (to the detested husband). 33. fisar: " beholding her." 37. pemsamento, i.e., wish. 43, 44. Accusative with infinitive. 52. amorta foco, i.e., " quench desire." DISCORDO Dal core mi vene A total of 221 lines, varying hi length between two and eleven syllables. In Ms. A there is no division into stanzas with large initials as in the canzoni, though there is a blank space after each group of lines, sometimes in inappropriate places. In the discordo the music was more important than the logical sequence of the ideas expressed. See p. xxiii, and M. Casella in Bull, Soc. Dant., xix, 281, 282, with the references' there given. Since B follows the same source as A we have the authority of but one tradition hi favor of Giacomo as the author. Summary. The poet's heart overflows at the thought of his love. The possi- bility that she fully requites his tenderness thrills his heart. If he thought that he displeased her, he would kill himself. Could he but come to her secretly, he would never leave her. Such lovers there never were before. Not to see her is death to him. When he saw her in all her beauty, he was filled with torments of desire, whereat his heart urged him to go to her, as she was longing for his presence. His heart speaks to him of nothing else, and he cares for nothing else. He recalls her charms and the delight of their love. Her favor inspires him to more pleasing service. Yet Love, who rebels at all restraint, does not bring him to her, so that he is distraught. He believes that his coming would give her pleasure, but she has not yet sent the command. Meanwhile he sends his greetings and tears. Never Ii6 NOTES can he smile when parted from her. His heart grieves at the comments of people and forbids him to speak or lament. His passion consumes him, and the cry he utters almost kills him. All his sweet memories are offset by the pain of separa- tion. His love-sickness calls forth the ridicule of people, and he is forced to seek a hiding place. May she take pity on his anguish and send a message of loving consolation. The text of the Mss. is in many places corrupt. The common original of A and B was evidently defective hi its readings and in its arrangement of line groups. Ms. A has evidently increased the confusion hi this latter particular. The divisions in the first 72 lines in both Mss. occur at points where either the sentence or the metrical group is unfinished, and it seems best to leave this part of the discordo undivided in our text. LI. 17, 18 do not rime in the Ms. readings. 51 donzeUi is fern. pi. Cf. 57. In many cases the rime requires Sic. i instead of Tusc. e. 61-72. This arrangement of the lines, containing the reply of the heart, was proposed by Tallgren. 75, 78 meco, dice should rime; cf. A mecon, dicon, B meco, dicon. Could it be con meve, dene or con mi, di' ? 102 dolte; Monaci (Crestom. 647) proposes " forse mad olle, cioe alte." 103 bianco, has no rime mate. 122 frino (= freno); cf. Cesareo, 99, 117, 119; Tallgren, 269, 271. 135, 136 Tallgren proposed aggradare, alegrare, but it is not necessary to abandon placere. 155, 156 vole, dole, according to Tallgren, = voli, doli, 2d pers., but better, coragio as subject. 161-164 obscure. Tallgren proposes de men dolze penzare, explaining " et j'ai vu que, j'ai beau ne pas me montrer amoureux, tu penses a moi." 165-175 follows order proposed by Tallgren, p. 371. 185, 1 86 gitlo and siete do not rime. 202 schivo given by Val. 203. The reading of B suggests the rime series (199-203) ai vo, vivo, pensivo, schiw, si ch'i'vo, with sfugendo forming a separate line. 212 martire as a plur. appears in the Mss., 1. 216; cf. A, canzoni 62, 1. 26; no, 1. 27. The original Sicil. forms in U. 211-216 ended, of course, hi -4ri. SONNETS I. Solicitando un POCO CDE, CDE (D = A). The three sonnets of this tenzone are preserved only in the one Ms. F, the language of which has a Venetian coloring. Summary. Mostacci questions the common belief that Love has power and forces hearts to love, for no one has ever seen Love. Men see an amorous state produced by pleasure, and this accords with the poet's belief, but in his uncertainty he refers the question to the other two poets Pietro and Giacomo. For poetic discussions upon the nature of Amore see Gaspary, Scuola sicil., pp. 86 ff. NOTES 117 n. Peri) cV Amore CDE, CDE (E = B). Summary. Pietro replies that it is folly to deny the reality and power of Love, for, though he cannot be seen or touched, yet he can be felt ruling over the heart. The fact that one cannot see the power by which the loadstone draws the iron confirms his faith in the invisible existence of Love. Line 9. la calamila; see Gaspary, 101. ii. si; d. Wiese, p. 188, 116; p. 189, 118. m. Amor t un desio CDE, CDE (C = A). A sonetlo continuo; cf. Biadene, Morfol. d. son., p. 78. Summary. Giacomo declares that Love is a desire coming from the heart through intense delight. It is the eyes that first engender Love, and the heart that feeds it. Sometimes, it is true, a man becomes enamored without seeing the object of his passion, but the overpowering kind of love arises from that which his eyes behold. For the eyes represent the object to the heart, and the heart, conceiving a desire, finds delight therein; and this is the Love that holds sway among men. I do not agree with Cesareo's statement (Poes. Sic., 147) that the reading of the Ms., 11. 10-13, followed by most of the editions, makes no sense. Bono e rio could be neuter, il bono e il rio (d'ogni cosa). The real objection, raised by Cesareo, is the riming of rio with disio. In Sicilian we should have reo from reus, and ria from rea. Tallgren proposes eT core, che di co * concipitore, yrnagina, e plage, che lo desia, explaining thus: " le cceur [s'en] forme une idee, et [cela lui] plait, et il en a de"sir ? La suite : ' voila ce qu'est 1'amour ' f ormerait dans ce cas la conclusion bien equilibre'e d'une trilogie toute ravissante dans son laconisme inge'nu." * Our reading for 1. 13 was proposed by Cesareo, p. 147. IV. Oil Deo d'amore CDC, DCD. All five sonnets of this tenzone between the Abate di Tivoli and Giacomo are found in Ms. A. D contains the first four, anonymous; E the second and third, also anonymous. J derived the second one from D. The authenticity of Giacomo's sonnets is proved by the mention of his name in the last one. No other poetry is extant from the pen of the Abate di Tivoli. Summary. The poet appeals for aid to Love, in whose image he is made, com- plaining that his heart is pierced with the golden shaft which kindles amorous pas- sion, while Love has sped the leaden arrow of hatred into his lady's bosom. A has several bad readings, e.g., 11. 7, 8, 12, 13. D is here more correct. 1 Op. cit., 264, note i. Cf. with this tenzone Maestro Francesco's Moiti I" amort, A 502. Il8 NOTES Line 6. quatro serpi. Obscure. The classical associates of Eros are the hare, the cock, and the goat. 7. Vale; refers, of course, to wings which the poet wears as the devotee of Cupid. 9. le quatro scale; the four steps leading to Cupid's palace. Cf. Guiraut de Calanso, En son palais, on ela vai iazer, a cine portals; e qui-ls dos pot obrir, leu passa-ls tres, mas no-n pot leu partir; et ab gaug viu eel qu'i pot remaner; e poia i horn per quatre gras mout les. Appel, Provenz. Chrestom., no. 34, 11. 25-29. The symbolic meaning of these four steps, given by G. Riquier, was (i) showing honor, (2) using discretion, (3) serving faithfully, (4) being patient (cited by Torraca, Studi, 42 note). 10, ii. In classical mythology the golden arrows of Cupid had the quality of inspiring love; the leaden ones, hatred. Cf . Guiraut's poem quoted above, stanza n. V. Ferula sono CDE, CDE. The readings of A and D are practically the same except in line 12. E differs from them considerably; cf. 11. 8, 10, 12, 13. Summary. Giacomo replies that he is wounded quite otherwise by Love, for he finds himself compelled to pass judgment on love-sick rimesters. They are in error when they declare Love to be a god, for there can be no deity in such vanities. Let the abbot therefore cease such sinful follies. Line 6. richiosa riming with cosa, etc. Cf. Tallgren, 299, and Parodi, Bull. Soc. Danl., xx, 119, 120. 12. The reading of wglio in A and E, adopted by other editors, was probably caused by the blunder of reading e dio as ed io. The sense of the passage requires the version of D, followed in our text; cf. Cas., Ann. VI. Qual omo altrui riprende CDE, CDE. The three Mss. are independent, as shown by 11. 5, 7, 8, 9, io, 11. In all of these A is supported by one of the other Mss., and its readings may be regarded as the best. Summary. The abbot, in reply, reproaches Giacomo for censuring him too severely, and accuses him of never having loved deeply, for otherwise he would admit the power of Love. The criticism of the passive witness is of little worth. Line 9. " Love is (has) a mysterious science; is mysterious to understand." 14. " He who lifts (the burden) feels more than the one who beats (whips)." VII. Colale gioco CDC, DCD. The two Mss. are independent. A has the better readings; see 11. io, n, 12, 13. NOTES 119 Summary. The Notary protests at the shameless way in which men, when once they are wounded by Love, parade their passion and call upon their lady to save them from death. In contrast to them, Giacomo, although himself a pitiful victim of Amore, refrains from declaring it, nothwithstanding his love for the truth. For the attitude of the Notary in this tenzone, see Introduction, p. xxiv. Lines 10, 12, 14. For the rime, see Tallgren, 286, 287 note. VIII. Con vostro onore CDE, CDE. Summary. The Abbot, in conclusion, expresses his honor and love for the Notary, and his gratitude for the enlightening reply. Giacomo he would compare to the month of May, scattering abroad a profusion of sweet flowers. Henceforth he will not trouble him with unwelcome riddles of love. IX. Lo giglio quand" e collo CDE, CDE. Equivocal rimes through the whole sonnet; cf. Biadene, Morfol-, P- 155- Summary. As the lily fades when broken from its stem, so the poet suffers when parted from his lady. Surpassing the love of all other lovers, his heart soars to the loftiest heights, and as the eagle overtaking its prey, so is he wounded by Love. Woe to him if he ever loved another lady. As soon as he saw her his heart was pierced, and will now never cease to love her. Lines 2-8. giunta, in 1. 2, " united "; in 1. 4, " joint "; 1. 6, " reaches," " comes "; 1. 8, e giunta, " overtakes." X. Sicome il sol CDE, CDE. Equivocal rimes as hi Lo gilglio. Summary. As the sun penetrates the glass without breaking it, and as the mirror's reflection passes through the eyes, so Love sends his dart through the eyes and pierces the heart. Where Love's arrow strikes it kindles a flame, unites two hearts, and fills them with love. Line i. For the simile of the sun's ray cf. Gaspary, p. 100. Spera, 1. i, " ray "; 1. 3, " mirrors "; 1. 5, " hopes to," " intends to," " intends "; 1. 7, " expects." 14. " and makes both to be equal hi love." XI. Molli amadori CDE, CDE. Summary. Many lovers keep their passion concealed in their hearts, but this the poet cannot do, for, being completely in his lady's thrall, he no longer has command over himself. The man who does not take counsel from his heart lives unworthily. He himself is guided only by his lady from without and by a little spirit within. 120 NOTES XII. Donna, vostri sembianti CDE, CDE. In the only Ms., A, this sonnet occurs among nineteen anonymous sonnets, seven before it and twelve after it. Summary. The poet reproaches his lady for first awakening his hopes by her encouragement, and then tormenting him by her irresolution and disfavor. Such behavior reveals her ignorance and promises her no happiness hi love. Lines 7, 8. This obscure passage seems to contain a play on the word penna. In 1. 7 penna = pen. What can it mean as applied to a sailor ? To-day it means " a yard " (to a sail), also the part of the stern where the sail is made fast. Hence the passage might mean: " you have been stingy with your pen, as a sailor who is out of his course is stingy with his sail " (lowers his sail); i.e., proceeds cautiously. XIII. Ogn' onto c'ama CDC, BCD. In B this sonnet is under Giacomo's name and occurs in a group of his sonnets. In A it follows a sonnet by Balducio d'Arezzo, and begins a series of eight anony- mous sonnets. Summary. Every lover should respect his own honor and that of his lady, and beware of revealing too openly the secret of their love; for, once the word is spoken, it cannot be recalled, and the man who shows self-constraint in his words is the more esteemed. Therefore the poet, when he meets his lady, will hide his feelings, and avoid the malicious slander in which men are so prone to indulge. See Cesareo's discussion of this sonnet, 1 in which he credits Giacomo with origi- nality in departing from the conventional chivalrous tone of Provencal poetry, and expressing the genuine feelings of the bourgeoisie. XIV. All' aira chiara CDE, CDE. Sonetto a enigmi e anlitesi; cf. Biadene, Morfol., p. 172. A has the best text in the consistency of the paradoxes and the general clearness. B and C follow the same tradition, which was somewhat imperfect; cf. their agree- ment in lines 2, 3, 4, 6, 13, 14, and in the order of lines in the sestet. Though the attribution of B to Giacomo may be correct, its authority is weakened by the fact that the text is so imperfect and that A and C are anonymous. Summary. The poet has seen rain fall from a clear sky, the darkness give light, fire come from ice and other such marvels, but Love has done even greater things, for when wounded, Love healed him with his arrow, the life he gave was the poet's death, the fire which he extinguished now consumes him. Compare with this sonnet Bonagiunta's Dentro da la nieve escie lo foco, B 431, Lorenzo de' Medici's sonnet lo seguo con desio quel piti mi spiace, and Chiaro's Allegrosi, A 222. 1 Pots. Sic., p. 280. NOTES 121 Line 4. This refers to the common idea that the distal comes from snow and then serves as a burning glass; cf. Gaspary, 97. 10. Love was frequently compared to the knee of Peleus; cf. Gaspary, 102, 103. XV. lo m'agio posto in core CDC, BCD. In the only Ms., A, this sonnet appears after a group made up of anonymous sonnets (388-395, 397-399) and one of Bondie Dietaiuti (396). It is immediately followed by another of Bondie's (401), and four anonymous ones (402-405). Summary. The poet has set his heart upon serving God so as to win the joys of paradise, but without his lady he could not go, as separation from her would destroy all his happiness. Not that he would desire in heaven the pleasures of sensual love, but only to behold her beauty in the heavenly glory. This sonnet, though the central theme was frequently used before, is one of Giacomo's best and most original. In its naive sincerity and warmth of feeling, its effective turns of expression, and the skillful use made of the sonnet form we have a little early masterpiece, that will bear comparison with the more polished and artfully constructed sonnets of a later period. For parallels see Nann., i, 123, 124. Line 7. nom porzeria gaudire; " would afford me no joy " (gaudire here a sub- stantive). Observe that the editions, with the exception of Wiese, have poteria gaudire, not justified by the Ms. ii. se non veder, " but only behold." 14. ghiora. Interesting popular form of gloria. It was misunderstood by the early editors as gioia, which was followed even by Carducci. In Rossetti's trans- lation, which deserves the highest praise, the last line, " To see my lady joyful in her place " might have been more effective if the translator had had gloria before him. XVI. Lo visa mi fa andare CDC, DCD. Sonetto a replkazione e alliterazione; cf. Biadene, p. 159. Summary. The poet tells how the incomparable beauty of his lady's face awakens hi him the various feelings of love, joy and sorrow, consolation and tor- ment. When he speaks to her he feels as though he were entering paradise. In this sonnet, though the octave is made monotonous by the excessive repeti- tion of visa, the sestet is full of sincerity and naive beauty. See Cesareo, 282. Rossetti translates the sestet: What man in living face has seen such eyes, Or such a lovely bending of the head, Or mouth that opens to so sweet a smile ? In speech, my heart before her faints and dies, And into Heaven seems to be spirited; So that I count me blest a certain while. Line 2. rinegare, " renounce " (my faith, or my joy). 122 NOTES XVII. Lo visa e son diviso CCD, CCD (C = A, D = B). Sonetto continue with replication and equivocal rimes; cf. Biadene, pp. 78, 158. In a number of obscure variations upon the word visa the poet tells the influence of his lady's face, which, though they are separated, he still beholds in imagination, and from which he can never be parted. Here is an attempt to paraphrase the sonnet: I behold it and (yet) am parted from the face, and by imagination I think I see (it) clearly; therefore I have dis- tinguished vision (i.e., imagination) from sight, for it is one thing to see, another thing to imagine. And by imagination I look upon such a face, from which I cannot tear myself away. I strive (look) to behold what it is by imagination, (that) which is nothing else than beholding God. Within my imagination, and by means of my imagination, it (this face) is not absent from me, so that it is just like looking at the (real) face. Therefore, I constantly endeavor to behold (it). I believe in my fancy that from the face I can never be parted, whatever people may think (imagine, or say) about it. Line 3. divis' b; this reading proposed by Monaci in the Correzioni, p. 703. XVIII. Si alta amanza CDE, CDE. Summary. So high is the object of his love that he doubts the outcome, but is consoled by the thought that as a gentle wind bends a proud tree, and as soft tears can break the diamond, so his amorous torments may bend her pride and kindle the fire of love. Line 3. gruera, metathesis for guerera = guerriera. 6-8. Poetical commonplaces of the time. 7. lo diamante; object. 10, ii. dureze, alteze, plurals in the Ms., but almost certainly singulars in the original, if Giacomo was the author; see note to canz. VI, 1. 23. n. la vostra alteze; object. XIX. Per sofrenza CDE, CDE. Summary. Great victories are won by patience, as is shown in the story of Job, who through his longsuffering obtained a crown in glory. Therefore the poet, though the course of his love is not smooth, encourages his heart to patience. XX. Certo mi par CDC, DCD. Summary. A wise lord should begin his rule with severity, so that the evil man may fear him and the good man become even better. Thus will he win honor and be able to end his rule in leniency. In Love the contrary is seen, for NOTES 123 at first there is no sign of harshness, but the longer one serves him, the more cruel he becomes. Line n. fior; " a bit," " a trace." 12. scruopi; metathesis of scuopri; openione; " way of thinking," "disposi- tion." 13. afe; "faithfully." XXI. Si como 'I parpaglionc Aa 6 BAa 6 B, Aa 7 BAa 7 B; CDE, CDE. Observe the kind of ritornello in lines n and 14, first noted, I believe, by Biadene, Morfologia del sonetlo, p. 19, note. The poet probably did not intend to rime brama and chiama withfiamma, though the scribe spells fiama with one m in 1. 13, but not in 1. 10. This sonnet and no. xxv are the only ones with internal rime among those of the whole Frederician group. Summary. As the butterfly fearlessly enters the flame, so the poet's heart, unmindful of Love's burning, has approached his lady and been consumed in the sweet fire of passion, finding therein however, like the phoenix, a new life. For the butterfly and the phoenix see Gaspary, pp. 90-100, 104-106; Carver, Sources of the Beast Similes, pp. 280-282; De Lollis, Gior. Stor., Suppl. I, 94. Cf. Chiaro's // parpaglione, A 559. XXII. Chi non avesse mai CDE, CDE. From B the text of all the other Mss. is derived directly or indirectly, see p. xxxviii. Judging by the number of copies, it was evidently considered one of Giacomo's best. Summary. A man seeing fire for the first time would think it a harmless thing, but if he touched it, he would feel how it burns. The fire of love has touched the poet, and, feeling its burning, he wishes it might kindle also his lady, who treats him with coldness and scorn. Line 6. be-lli = ben li, ben gli; senbrara; cf. note to C. I, 59. 9. The repetition of che s'aprendesse reminds us of the artifice of cottegamenio in the canzoni. XXIII. Diamante, ne smiraldo CDC, DCD. Summary. Comparing his lady with the diamond, emerald, and other precious stones, the poet finds that she surpasses them all in beauty and should rather be compared to a star in brightness. Fairer is she than the rose or other flowers; may Christ bless her with life, joy, and honor! For comparisons of the lady to precious stones cf. Gaspary, 61. See also foot- notes to Nann. Lines 2, 4, 6, 8. On preziosa, etc., riming with cosa see Tallgren, 300, Parodi, Bull., xx, 119, 1 20. 124 NOTES 4. aritropia, " heliotrope " or bloodstone, sometimes called " girasol." " Ac- cording to Pliny the stone was so called because when thrown into the water it turned the sun's light falling upon it into a reflection like that of blood " (Encyc. Britann.). In the middle ages it was supposed to make the wearer invisible. 10. The words in brackets are given in Val. They might just as well have been al sol e. XXIV. Madonna d 'n sS CDC, DCD. Summary. The poet sings the praises of his lady, who is more precious than gems, more radiant than the sun, a very queen among women. So perfect is she that had the Lord to create her again, he could not equal her present perfections. Compare the theme of this sonnet with that of the preceding one. See Gaspary, 62, 63, and notes to Nann. for parallels. XXV. Angelica figura Aa 3 BAa,B, Aa 3 BAa,B; CcjDduE, CcsDdjE. This sonnet and no. xxi are the only ones of the early Sicilian repertory that have internal rime. In line 10, as the Ms. reads, the internal rime ends the fourth syllable, but the line is corrupt and an easy change gives a 5.6 line, like lines ii, 13, 14. Summary. The poet celebrates all the perfections of his lady, her beauty, vir- tue, and wisdom. So high is she held in honor that she rules supreme, like the city of Rome, over the whole world. Line 10. Tallgren (p. 268, note 2) proposed de le bene (plural), so as to change the Ms. reading least. 12-14. Giacomo seems to allude to some lady of the name 'Romana'; cf. Biadene, Morfol., p. 185. XXVI. Quand'omd CDE, CDE. In the Ms. this sonnet is preceded by one of Bonagiunta's and followed by one of Guittone's. Summary. When a man has a true friend, he should treat him with the greatest loyalty, so as to retain his friendship, for it avails little to gain a friend if one does not know how to keep him. Many regard friendship as an opportunity for secret plunder, but such an opinion is intolerable. Observe the didactic tone of this sonnet, the only one of Giacomo's that is not amorous in its theme. 1 In the sonnets by the whole group of Frederician poets there are only four others that are not amorous. 2 1 Finalmente sembra che Giacomo . . . anche tentasse la poesia non amorosa: il son. Quand' om a un bon amico leiale 6 ammonitivo e morale, in quel tono borghese che piacque tanto al Notaro ne' suoi ultimi anni; e vi si ragiona de' doveri dell' amicizia. Cesareo, Foes. Sic., 283. 1 Cf. Repertory, pp. 517, 518. NOTES 125 Line 3. Irar si corio de liale, " treat so unfairly, disloyally." 12. Be-tti ben li, ben gli. XXVII. Or come pote CDC, BCD. A's attribution of this sonnet to Giacomo is not disputed by any other Ms., but the rime series sone (sunt), none (vado), done (dono), pone (ponit) is Tuscan and not Sicilian, so we must conclude that the attribution in A is possibly incorrect. See Tallgren, 292. Summary. The poet wonders how his lady can pass through his eyes into his heart without leaving a trace, but he explains the miracle by comparing her to a light passing through a glass. An enclosed light shines forth without breaking the glass; likewise his lady's image passes through his eyes and becomes imprinted on his heart, inspiring him to new love. XXVni. Lobadalischio CDE, CDE. The three Mss., A, B, and F, are independent. G, though not a direct copy of B, follows the same tradition. The attribution of B to Giacomo has more weight than that of the later F to Monaldo, about whom nothing is known, and whose name appears in no other Ms. Summary. The poet, in the power of love, compares himself to the basilisk, the swan, the peacock, and the phoenix; for beauty lures him to destruction, his song is clearest when he is near to death, in his joy he is suddenly perturbed, and in the fire of love he comes to new life. The line order in A and F has the advantage of making the order of ideas hi the sestet correspond with that of the octave. For the comparisons with animals and the strange ideas of the bestiaries see Gaspary, Scuola Sicilians, pp. 104 ff., the notes to Nann., pp. 93, 117, 118, and Carver, 280-282. Lines 5, 6. Cf. Brunetto Latini: " Tant comme fl voit les homes et que fl remirent sa biaut6, il dresce la coe contremont por avoir le los des gens . . . et molt desprise la laidor de ses piez." Tresor, pp. 219, 220. Cf. also Di penne di paone, App., p. 135. 7,8. Cf. Chiaro's De lafenice, A 558. XXLX. Come I'arcento CDE, CDE. The question of authorship is difficult to decide. Both Mss. are excellent and differ very little from each other, but A is much better in the reading of the last tercet. Of Petri Morovelli we know nothing beyond the fact that he was a Floren- tine and that there are, besides this sonnet, two canzoni under his name in codex A (175, 176). They are similar in theme to this sonnet, but that would prove little or nothing. The rimes afford no important evidence. 126 NOTES Summary. As the quicksilver flees from the fire, so the color leaves the poet's face when he approaches his lady to entreat her favors. Hence, in his timidity, he will lose the joy of love if she does not act like the gracious lord, who, before a petitioner asks a favor, perceives what is desired. Though he fears that asking her favor with his lips may harm his cause, yet his heart is continually in suppli- cation. XXX. Guardando badalisco CDC, DCD. F differs very slightly from B, except in 1. 14. All the other Mss. are derived directly or indirectly from B (see p. xxxviii). As the authority of F is not to be compared to that of B, the attribution to Giacomo is probably correct. Summary. Love is compared to the basilisk, the asp, and the dragon in the way he overpowers and torments the heart; for like the basilisk he conquers by a look, like the asp he cunningly instills his poison, and like the dragon he proudly holds and destroys his prey. For animal references see Gaspary, 105, and Nann., notes, pp. 118, 119. Lines i, 2. Cf.: " et ce est cil qui de son odor ocist les oisiaus volanz, et de sa veue tue les homes quant il les voit," Brun. Latini, Tresor, p. 192. 3, 4. In addition to the parallels in Nann., 119, we add the following from Brunette, who names various kinds of asps: " toutes voies chascuns a une propriete de malfaire; car cil qui est apelez aspides fait morir de soif 1'ome cui ele mort; et li autres, qui a non prialis, le fait tant dormir que il muert; et la tierce, qui est appelee emorroi, li fait fondre tout son sane jusqu'a la mort," etc., Tresor, p. 191. See also Garver, 280-282. 5, 6. Brunette Latini says, speaking of the dragon: " Et il a si grant force que mils, comment que il soit grans ou fors, se li dragons 1'estraint de sa coe, qu'il en puisse eschaper sans morir; " Tresor, p. 193. XXXI. 1 Fin amor di fin cor CDC, DCD. Though Trucchi, followed by Baudo, assigns this sonnet to Giacomo. there is apparently no Ms. authority for it. Such a form as penza is Sicilian, but was used by imitation in Tuscan poetry. Trucchi was probably misled by the long series of Giacomo's sonnets in this part of the Ms.: nos. 327, 329, 333-336. No. 337 is anon. The sentiment suggests a later school. XXXII. Tanto sono temente CDE, CDE. Here again the early editors seem to have arbitrarily assigned to this sonnet the name of the poet nearest in the codex. This piece (A 364) is preceded by six anonymous sonnets, but followed by one bearing Giacomo's name (Donna, wstri sembianti). 1 For the unauthentic sonnets no summaries are given. NOTES 127 XXXHI. Segnori, udite CDC, BCD. The attribution of A to Jacopo da Leona, supported by the reference to " fl Barbuto " (Rustico di Filippo) in 1. 2, is enough to disprove the attribution of the early editors, who were probably misled by the similarity of name. Cf. Federici's edition of Rustico di Filippo, page x. XXXIV. Amor m' auzide CDC, DCD. Again Allacci was doubtless misled by the similarity of name, and we must give full credence to the attribution of the Ms. (Jacopo da Leona). XXXV. Due cavalieri CDC, DCD. Cod. L is here certainly wrong, as this sonnet and the following form a tenzone and could not be by the same poet. The attribution of A for both is almost un- questionably correct. XXXVI. Dachetipiace CDC, DCD. See note to preceding sonnet. XXXVII. Pegli occhi miei ABBA, ABBA; CDC, DCD. For this sonnet and the following one there is no Ms. authority in favor of Notaro Giacomo. The rime order l and the style, moreover, are not those of the time of Giacomo da Lentino. It would seem that the partial name given in H (" Jacopo ") was to blame for the error. XXXVIII. Amore, gli occki ABBA, ABBA; CDD, CDC. See note under XXXVII. XXXIX. 2 Reglorioso ABBA, ABBA; CDE, EDC. This sonnet is most certainly not by Giacomo, first by reason of its form, unknown among the early poets; secondly, judged by the sentiment and the general style, which are more probably of the dolce sttt nuovo. Borgognoni, trusting to Trucchi, showed from this sonnet how similar the thought and expression of the Notary could be to that of the time of Guido Cavalcanti (Nuova Antol., 1886, p. 606). 1 No sonnets of Giacomo's time have the quatrain form ABBA; cf. Repertory, p. 318. 1 I have not succeeded in obtaining the variants of the Ms. APPENDIX APPENDIX DOCUMENTS Bohmer-Ficker, 2017. Copy of Bohmer, Acta imperil selecta, no. 301; cf. Zenatti, A. Testa, pp. 3, 4. See Introduction, p. xv. Fridericus del gratia Romanorum imperator semper augustus, Jerusalem et Sicilie rex. Cum inter cetera beneficia que coniunctis sive benemeritis collocantur, illud redundet uberius in gratiam conferentis, quod pater elargi- tur filio, non indigne illos pro vidimus beneficiorum primitiis honorare, quos etiam preter obsequii merita imperiali gratie gratos efficit favor nature. Inde est igitur quod nos inspecto pure dilectionis obtentu qua pater filium, sicut innate beneficio gratie una persona censetur, dignis tenetur premiis ampliare, de paterne benivolentie et provisionis affectu concedimus, damus et tradimus tibi regi Conrado benemerito filio nostro et heredibus tuis in perpetuum civitatem nostram Gaiete cum omnibus pertinentiis, iustitiis et rationibus suis. Concedimus etiam et damus tibi vasallos cum omnibus terris, villis et castris eorum, Rogerium de Gallutio, Raynonem de Prata, dominos Popleti, Theodinum de Amiterno, Conradum de Lucinardo et omnes alios barones, qui tempore turbationis inter nos et ecclesiam mote contra nos ipsi ecclesie adheserint et usque hodie sub forma pads existunt, salvo servitio quod exinde curie nostre debent et salvo mandate et ordina- tione nostra. Ad huius autem concessionis et donationis nostre memoriam et robur perpetuo valiturum presens privilegium PER MANUS IACOBI DE LIXTIX NOTAXII et fidelis nostri scribi et bulla aurea typario nostre maies- tatis impressa iussimus communiri, anno, mense et indictione subscriptis. Datum apud Policorum, anno dominice incarnationis m. cc. xxxiii, mense martii. n B.-F., 2020. Copy of Huillard-Breholles, iv, 436. See Introduction, p. xv. Fridericus Dei gratia Romanorum imperator, semper augustus, Jerusalem et Sicilie rex. Per presens scriptum notum facimus universis fidelibus nos- tris tarn presentibus quam futuris quod nos attendentes fidam puram, devotionem laudabilem et accepta servitia que tu Bernarde, venerabilis Panormitane archiepiscope, dilecte familiaris et fidelis noster, celsitudini nostre semper exhibuisti et exhibes incessanter, recepta a te et ecclesia Panormitana domo quam apud Messanam ante palatium nostrum pro parte ipsius ecclesie tue habebas, concedimus et donamus tibi, successoribus tuis et ecclesie Panormitane in perpetuum in causam permutationis pro eadem 132 APPENDIX domo vineam de Comitaria quam olim Temonerius, filius quondam Joannis Miscitata, proditor noster, tenuit apud Messanam in flumaria de Camaris cum omnibus pertinentiis suis: que vinea cum bonis omnibus died prodi- toris nostri, pro commisso crimine juste dampnati, fuit ad nostram curiam devoluta; ut tu et successores tui perpetuo vineam ipsam habeatis et possi- deatis absque ullo servitio et faciatis de ea et in ea quod vobis et ecclesie Panormitane utile videatur, salvo mandate et ordinatione nostra. Ad hujus autem concessionis et donationis nostre memoriam et perpetuam firmitatem, presens scriptum fieri et sigillo majestatis nostre jussimus com- muniri, anno, mense et indictione subscriptis. Datum Messane, anno dominice incarnationis millesimo ducentesimo tri- cesimo tertio, mense junii, sexte indictionis, imperante domino nostro Friderico Dei gratia invictissimo Romanorum imperatore semper augusto, Jerusalem et Sicilie rege, anno imperii ejus quartodecimo, regni Jerusalem octavo, regni vero Sicilie tricesimo quinto, feliciter. Amen. Ill B.-F., 2022. 1 Copy of Cod. Vat. lat., 8201 f. 7* (Garufi, Archivio Star., 5 s serie, xxxiii, p. 402). Catania, 1233, Giugno, Ind. VI. Fridericus Dei gratia Romanorum Imperator semper Augustus, lehru- salem et Sicilie Rex. Si loca religiosa et personas Deo famulantes in eis oculos pietatis benigne respicimus, quantum ad presentis vite cursum nobis pro vidimus ad gloriam et ad salutem eternam consulimus in futurum. Inde est quod nos attendentes laudabilem conversationem et honestam vitam Macarij venerabilis electi et monachorum monasterij sancti Salvatoris de Lingua Messane fidelium nostrorum, considerantes etiam fidelia et devota servitia, que ijdem fideles nostri Maiestati nostre dudum fideliter et devote exhibuerunt, et que exhibire poterunt de bono in melius gratiora de solita et innata munificentia nostra gratia confirmamus eis privilegia felicium Regum predecessorum nostrorum, Regis Rogerij, Guillelmi primi et secundi, necnon privilegia divorum augustorum parentum nostrorum Imperatoris Henrici et Imperatoris Constantie memorie recolende ipsi monasterio per eos olim indulta, cum omnibus que in eisdem privilegiis continentur, salvo mandate et ordinatione nostra. Ad huius autem confirmationis nostre memoriam et robur perpetuo valiturum, presens privilegium per manus IACOBI DE LENTINO notarij et fidelis nostri scribi et bulla aurea tipario nostre Maiestatis impressa iussimus communiri. Anno, mense et indictione sub- scriptis. Datum Cathanie, anno dominice incarnationis Millesimo ducentesimo trigesimo (sic) tertio, mense iunij, sexte indictionis, imperante domino nostro 1 H.-B. (TV, 438) got his version from PIRRI, Sic. Sacra, ediz., Mongitore, II, 982: " cos! irto d'errori e di lacune tanto gravi, specie nell'escatocollo, che si potrebbe senz'altro, nella maniera come 6 stato pubblicato, dichiarare falso," Garufi, 402. See Introduction, p. xv. Cf. Zenatti, A. Testa, pp. 4, 5; Torraca, Studi, p. 88. APPENDIX 133 Friderico, Dei gratia, invictissimo Romanorum Imperatore semper Augusto, lehrusalem et Sicilie rege gloriosissimo, anno imperij eius terciodecimo, regni lehrusalem octavo, regni vero Sicilie tricesimo quinto, feliciter, Amen, IV B.-F., 2029. Copy of Bohmer, Ada Imp. Sel., p. 266, No. 302. Cf. p. xvi. Sanctissimo patri suo, domino Gregorio dei gracia sancte Romane ecclesie summo pontifici et universali pape, Fridericus eadem gracia Romanorum imperator semper augustus, lerusalem et Sicilie rex, salutem et obsequium filiale. Etsi debita solvere et promissa complere sit omnibus debitoribus debitum et principum maxime principale, in his tamen pre ceteris promptius fidem debemus attendere, que illo plerumque interveniente promittimus, qui illius actoris fidei vicem gerit, in quern nota perfidie non descendit. Recolen- tibus igitur nobis, reverentissime pater, nos per virum providum et experta nobis sinceritate fidelem, H. magistrum domus sancte Marie Theutonicorum in lerusalem, ad hoc procuratorem nostrum specialiter ordinatum, de prin- cipum nostrorum consilio, Henrici etiam karissimi filii nostri, illustrissimi Romanorum regis, concurrente consensu, compromisso facto sollempniter promisisse, ratum habere et inviolabiliter observare, quicquid super infra scripta discordia, qua inter nos et aliquas de universitatibus Lombardie, inimico pacis super seminante zizaniam, vertebatur, quarum nomina in ipsius compromissi serie continentur, apostolice sedis provisio duceret provi- dendum, venerabilibus viris I. Prenestino electo et O. sancti Nicolai in Carcere Tulleano, diaconis cardinalibus et apostolice sedis legatis, recipienti- bus pro se et sancte Romane ecclesie nomine compromissum, procedente eciam, prout per litteras vestras accepimus, super hoc paternitatis vestre decreto, tarn sincere quam iusto fratrum vestrorum communicato consilio, ut proinde universitates ipse ad honorem dei et ecclesie sancte sue et nos- trum in quingentis militibus teneantur sub expensis suis pro terre sancte subsidio per biennium exhibendis: nos provisionem ipsam pro parte nostra et prefati Henrici Romanorum regis, karissimi filii nostri, ratam et firmam habemus, utpote qui pro firmo disponimus in omnibus viis nostris vestris et fratrum vestrorum dispositionibus fih'aliter obedire. Remittentes prout de providentia et ordinatione vestra processit, universitatibus ipsis et locis super quibus apostolice sedis processit provisio, et quorum nomina in com- promissi serie continentur, nee non et marchioni Montisferrati, qui infra statutum a partibus terminum compromisisse probatur, omnes iniurias et offensas, quas contra nos, filium nostrum et principes commisisse videntur impediendo curiam nostram hac ultima vice apud Ravennam indictam, principibus ad curiam ipsam venientibus iniurias irrogando, prenominato filio nostro ad nos venire volenti aditum precludendo. Eisdem etiam ran- corem omnem et malivolentiam relaxamus, universaliter singulos et singu- lariter universes in plenitudinem gratie nostre et sepedicti filii nostri recipi- mus, eos restituentes in integrum, bannis omnibus et sententiis ob predictas 134 APPENDIX offensas indictis in irritum revocatis. Si que etiam per ipsos interim gesta sunt, debitum robur obtineant, quod alias de iure obtinere deberent. Ad huius autem rei memoriam et perpetuam firmitatem presentes litteras patentes PER MANUS IACOBI NOTARH et fidelis nostri scribi iussimus, maiesta- tis nostre typario insignitas, anno, mense et indictione subscriptis. Datum apud Castrum loannis, millesimo ducentesimo trigesimo tercio, quartodecimo mensis augusti, indictionis sexte. Feliciter. Amen. V B-F., 2953. April 3, 1240. Copy of H.-B., V, 880. Cf. p. xviii. De imperiali mandato facto . . . scripsit Laurentius. Fridericus, etc., G. de Anglono justitiario Sicilie citra flumen Salsum, etc., Licteras, etc. Quia vero ad presentiam nostram es venturus in brevi, prout tibi dedisse recolimus in mandatis, respondere tibi ad singula usque adeo distulimus quo presentialiter audias nostrum exinde beneplacitum et man- datum. Mulum datum nobis a Guillelmo Pedevillano * et mulam donatam nobis similiter ab abbate Sancti Petri de Regio quos tu ad curiam nostram misisti, curia nostra recepit PER PREDICTUM NUNTITJM TUUM JACOBUM DE LENTINO, et de aliis tribus mulis tibi mictitur apodixa. Datum Lucerie, iii, aprelis, xiii indictionis. 2 VI B.-F., 3077. Copy of H.-B., V, 964-65- Ortae, 3 maii (1240). Fredericus, etc., Oberto Fallamonacho. . . . Cum pro munitione castrorum nostrorum velimus necessaria ministrari, fidelitati tue precipiendo mandamus quatenus ad requisitionem Guerrerii de Franco procuratoris castrorum nostrorum in Sicilia ultra flumen Salsum et Johannis Vulcani de Neapoli provisoris castrorum nostrorum citra flumen Salsum, victualia [et] pecuniam necessariam tarn pro solido quam aliis oportunis de pecunia curie nostre que est per manus tuas, exhibere procures. 1 Gufllelmo Pedevillano. Mentioned in B.-F., 2950 ( = H.-B., v, 877) as connected with the new works at the fort of Messina. Other mentions of him in H.-B., v, 721, 722, 877, 878, would point to his being a contractor. J On the matter of commissioning mules and having them sent to the Emperor per nunlium, see H.-B., v, 672: " ac eos (mulos vel mulas ad sellam) sine mora per specialem tuum nuntium ad pre- sentiam nostram mictas, tales missurus quod in eis tuum studium commendemus." That the nuntius was sometimes a notary is shown by H.-B., v, 759. " Lator notarius Symon nuntius G. de Anglone." (Notice, the same G. de Anglone that Jacobus served as nuntius.) N. B. Roggerius de Amicis was justitiarius Sicilie ultra flumen Salsum in 1240, when Guillelmus de Anglone -wasjustit. Sic. citra ft. Salsum. See H.-B., v, p. 860 about this G. de Anglone. APPENDIX 135 VII Copy of Document of 1 240 discovered by Garufi. 1 " H documento appartiene al Tabulario di S. Maria delle Moniali di Messina." Garufi, p. 403. Messina, 5 Maggio 1240, Ind. xiii a Alia presenza di Guglielmo de Leontino, giudice di Messina, e dei testimoni Riccardus Chiriolus, lacobus de Lentino domini Imperatoris notarius, Magister Nicolaus de Maraldo, notarius Obizo de Girardo e Alexander de Magistro Rigo, sull'istanza di Frisenda abbadessa del Monastero delle Moniali pure di Messina, attesta che fu transuntato dal greco in latino un privilegio di Guglielmo I, an. m. 6665 (1157 e.v.) Gennaio Ind. V* Behring. vm Sonnet in which Bonagiunta da Lucca is satirized as a plagiarist of the Notary. Ms. A 682; H 120; Mon. 309. In Ms. A the attribution, Chiaro Davanzati, is written by a hand different from that of the copyist of the sonnet. In Ms. H it is preceded by these words: " Questo mando maestro Francesco a ser Bonagiunta da Lluca." Cf. Introd., pp. xx and xxi. [Ms. A] Di penne di paone e d'altre assai vistita la corniglia a corte andau, ma gia no lasciava per cio lo crai, e a riguardo sempre cornigliau. Gli auscelli che la sguardar molto splai de le lor penne ch' essa li furau; lo furto le ritorna scheme e guai, che ciascun di sua penna la spoglau. Per te lo dico, novo canzonero, che ti vesti le penne del Notaro e vai furando lo detto stranero; si co' gli asgei la corniglia spogliaro, spoglieriati per falso menzonero, se fosse vivo Jacopo Notaro. > See Introduction, pp. xv and xviii. GLOSSARY GLOSSARY (r. = in rime) abento: quiete, riposo, C. XV, 17, 44; xxi, 50. abenuto: awenuto, S. xxvm, 9. abrazata: abbracciata, C. vn, 19. acatta: compra, S. vi, 13. acede: accede, si awicina, C. m, 29. adesa ( = adessa) : sempre, C. xxi, 25. adire: udke, C. xvi, 1258. vm, 5. adivenire: awenire, D. 4. adivien: awiene, S. vi, 10. adoblan: raddoppiano, C. xvn, 12. adomanda: domanda, C. vi, 9. adorneza, adorneze: adomamento, bel- lezza, C. vi, 25; xn, 48; xxi, 20. adovegna: accada, C. xi, 52. de: ha, C. rv, 3; xvi, 35. afesi: offesi, C. vin, 14. affar: contegno, importanza, C. xn, 8; xx, 15, 77. afinare: raffinare, C. xxn, i, 3, etc.; terminate C. xxn, 51. afranto: spogliato, C.xvi, 27; S. xxxn, 8. agenza: piace, C. xxn, 33; D. 117. agenza, s': s'abbellisce, C. xvi, 51. aghila: aquila, S. DC, 8. agia: abbia, C. n, 24; xn, 15, etc. agio: ho, C. n, 46; vi, 9, etc. agrata: aggrada, piace, C. rv, 34. Agri: Agri, river in Basilicata, C. vn, 4. aguila: aquila, S. xvm, 3. aia: abbia, S. xn, 13. aio: ho, C. I, 24; xiv, 21, r.; S. rv, 5. air a, airo: aria, S. vm, 6; xrv, i. airato: irato, C. vi, 34. aitare: aiutare, C. I, 4; S. xxxvm, 9. albor: albero, S. xvm, 6. alcidele: uccidete, C. DC, 25. alegrere: allegrare, D. 136. alente: aulente, D. 30. allegranza: allegrezza, C. x, 8, 12; xm, 29, etc. a-llor: a' loro, C. vi, 41. allungiato: allontanato, C. x, 17. alore: aulore, odore, C. vi, 22. alorito: odoroso, S. vm, 7. alumare: accendere, C. I, 25; xvi, 60, etc. alungare: allontanare, C. vm, 9, 13; xrv, 28, etc. amanti: amante, C. rx, 14. amanza: amore, C. xn, 67; xx, 3, etc. amar: amarono, D. 46. amare: amaro, S. xrv, 6. amareare: rendere amaro, S. xrv, 5. amistanza: amicizia, C. vi. 19. amistate: amicizia, amore, C. m, 49; S. xxvi, 9. amortare: smorzare, C. xxn, 52. ancidere: uccidere, C. xn, 59. ancor: ancorche, C. n, 27; xvn, 23, etc. ancosciarc: angosciare, C. n, 42. anti: anzi, C. rv, 43; xn, 17, etc. antra: altra, C. m, 12. aparegiare: paragonare, S. xxrv, 8. apostare: fingere, C. xx, 39. aprendere: appigliare, S. xxxvi, 14. aprendersi: afferrare, C. i, 48; pigliare, S. xxn, 8, 9; di foco : prender fuoco, S. x, 10. apresentare: presentare, C. m, 10. apreso: istrviito, C. xm, 39; xvn, 34. 39 140 GLOSSARY aprovo: provo, dichiaro, S. xx, 14. ara: aria, C. xm, 27. arcento: argento, S. xxrx, i. ardere: bruciare, C. n, 28, 32; xvi, 56; S. xxvm, 7, etc. arditanza: ardimento, C. IV, 8, 9. arendo: rendo, C. xvi, 10. argoglia, argoglio: orgoglio, C. vni, 44; xn, 39. argoglia,s': diventa orgoglioso, C. vm, 47. aritropia: elitropia, S. xxm, 4. aro: aria, C. xn, 61, r. arosa: bagna, irrora, D. 31. arzente: ardente, S. xiv, 3. ascio: agio, C. xrx, 29. asconda: nasconda, D. 205. ascoso: nascosto, C. 11, 17, 30; D. 36. asenblo: assomiglio, S. xxx, 7. asigura: assicura, S. xxi, 5. asimigliato: assomigliato, S. vin, 9. astore: falco ammaestrato, C. xxn, 42. atalenta: piace, C. xin, 55. aucidere: uccidere, C. iv, 48; D. 22, etc. atidire: udire; audivi: udii, C. i, 27, r.; vi, 32, etc. aunore: onore, C. xxi, 21, 25. ausgello: uccello, C. xxn, 38; S.xxviii, 7. autro: altro, S. xxm, 9; xxiv, 6, 7. auzide: uccide, S. xxxiv, i. avaniare: vantare, C. m, 3, 4. avanza: da avanti, C. xrx, 9; sorpassa, supera, S. xxm, 9, etc. ave: ha, C. I, 49; xm, 38; xvi, 25, etc. avegnache: benche, S. xxxvi, 5. avenanteze: awenenza, bellezza, C. xn, 44, r.; S. xxv, 8, r. avenanti: awenenti, C. xvi, 20. avene: avviene, C. I, 33; V, 21. avenimento: awenenza, grazia della per- sona, C. vm, 19; venuta, D. 141. avisatore: awisatori, D. 52. aviso: awedimento, immaginazione, S. xvn, 2, s, 7, 9, 12. awglia: invoglia, C. xxn, 16. awagio: avrd, C. xn, 55. B badalischio: basilisco, S. xxvm, i. bdglia: balia, C. xvi, 43, r. bailia: balia, C. x, 21. ballia: balia, C. v, 37; vm, 23, etc. bandire: nominare pubblicamente, C. iv, 40. bandita: bando, pubblicazione, C. rv, 41. basalisco: basilisco, S. xxx, i. basciare: baciare, C. xrv, 3, 9, etc. basciari: baci, C. vn, 20. be-lli: ben gli, S. xxn, 6; xxvi, 12. be-llo: ben lo, C. v, 32. be-ll'o: ben 1'ho, D. 43. bellore: bellezza, C. xvm, 2. benenanza: benessere, C. xxi, 2. bieltd, bieltate: belta, C. xm, 33; xvn, 8. blasimare, blasmare: biasimare, C. i, 47; xx, 9, etc. Honda: bionda, S. xv, 6. brondo: biondo, C. rx, 46; x, 35. ca: che, C. I, 28, 78, etc. cd; perche, C. n, 16; vi, 40, etc. cad: che, S. v, 3; che, S. iv, 3. cdmpane: se ne salva, C. i, 53. cannoscente: colto, saggio, C. xv, 24. canoscenza: conoscenza, C. xxi, 21; D. 115, etc. caonoscente: conoscente, colta, C. xxi, 29. caro: scarsita, S. xn, 7. casone: male, pericolo, C. xi, 60. cavelli: capelli, S. rv, 4. cccer: cigno, S. xxvm, 3. celato, in: di nascosto, C. vi, 6. cera: faccia, aspetto, D. 5. eked: che, C. n, 50; m, 3, etc. cherere, cherire: chiedere, C. vi, 7, r.; xvi, n, etc. chiacenza: piacere, D. 116. chiarura: splendore, S. xxi, 6. chito: quieto, C. i, 39, r. chiii: piti, S. rx, 10. clamare: chiamare, C. in, i, 2. GLOSSARY 141 co": con, C. x, 19; xv, n; D. 67; S. xxxi, 13 etc.; come, C. n, 13. cocere: ardere, S. xxn, 2, 6, 8. colta: raccolta, questua, decima, S. xxxm, 8. com: con, S. xiv, n. compimento, a; a perfezione, C. xxi, 56. complita: compiuta, D. 104. con: come, C. vm, 27; S. xix, 3. conenza: comincia, C. v, 28, r,; xvm, 43. confortamento: conforto, C. xv, 25; D. 140. coninciamento: principio, C. vn, i. coninzare: cominciare, C. iv, 16, 18, etc. conoscianza, conoscenza: sapienza, C. iv, 45J v, 8, 35, etc. conpimento: amore perfetto, C. xi, 42. conplimento: perfezione, S. xxrv, u. conprobata: comprovata, S. xxv, i. conquidere (p.p conquiso): vincere, D. 177; S. xxx, 10, 14, etc. conta: gentile, S. xxin, n. contastare: contrastare, S. V, 9. contendenza: contesa, C. v, 17. conteze: intimita, C. xxn, 44. contraria: contraria, contrasta, C. v, 22, r. contraro: contrario, S. xx, 9. contrata, a la wstra: al vostro incontro, quando vi incontro (?) ; or, nella vos- tra contrada (?), S. xiii, 10. comienente: stato, condizione, modo, C. vn, 27; contegno, S. v, 3. convenenza: convenienza, C. v, 9. convente: promessa, C. xv, 27. convento: promessa, C. xv, 28. cor agio: cuore, C. xvi, 6; XX, 47, etc. coraio: cuore, C. xiv, 25, r. coralmente: di cuore, C. I, 23; S. vi, 5. cordoglienza: cordoglio, C. xiv, 14. cordogliosa: addolorata, C. rv, 20. corina: cuore, C. vn, 10. corrotto: dolore, lutto, C. xn, 34. coverta, per: simulatamente, per simu- lare, C. v, 14. cozi: urti, C. xn, 66. creo, creio, crio: credo, C. i, 64, 68; xiv, 38, etc. croia: (cruda), dura, D. 197. curale: corale, cordiale, D. 79. cusi: cosi, C. vm, 38. custumato: usato, C. vi, 5. D daia: dia (dare), C. xi, 54, r. danagio: danno, C. xx, 72. da poi (che): dopo che, S. x, 10; quando, S. xxvi, 6, etc. dazo: dazio, S. xxxm, 8. de: di, C. rx, 32; x, 20, etc. de: deve, C. xvm, 43; S. n, 7; xxxvi, 4. dea: debba, D. 135; S. xx, i. degio: devo, C. vn, 12; x, 10. deo: devo, C. xxn, 17. desperi: disperi, C. IX, 31. devisare: vedere (cf. divisare), S. xvn, 8. dia: giorno, C. v, 6; xn, 54. dicesse: dicessi, C. I, 35. difesa: vietata, C. xvn, 33. dignitate: digniti, S. xix, 2. dttetamento: diletto, C. vn, 22. dileltans', diletanza: diletto, C. rx, 41; D. 28. dimorare: restare, essere, C. x, 21, 23; xiv, 31. dipartire: spezzare, S. x, 8; xxxvm, 13. diranca: schianta, C. xm, 50. disascio: disagio, C. xix, 28. disconoscenza: sconoscenza, C. v, n; S. xn, 9. discoraia: scoraggia, C. xi, 51, r. discredo: dubito, D. 133. disdutto: diletto, divertimento, C. xii, 35. disiare: desiderare, C. vm, 45; xn, 2, etc. disio: desiderio, C. I, 60; n, 19, etc. disijso: desideroso, C. iv, i ; xrv, 30, etc. disiro: desiderio, C. xrv, 15, 21. dismaruto: smarrito, S. xxvni, 12. distretto: costretto, legato, C. I, 22; xm, 22, etc. 142 GLOSSARY distringe: awince, lega, costringe, C. n, 2; x, 14; xm, 47; S. i, 6. divisare: descrivere, mostrare, C. xxi, 4; S. xxv, 7; immaginare, S. xvn, 4, 14; dividere, S. xvn, 6. Cf. devisare. dobiata: raddoppiata, S. xxv, 2. doglia: si doglia, C. xvi, 55. doglienza: dolore, rammarico, C. v, i; xvn, 17. dolenti: s'addolori, D. 160. dolze: dolce, C. vn, 20; x, 16, etc. dolzore: dolcezza, dolce, C. vm, 34; xn, 56, etc. domino: dominio, S. xxrn, 7. donao: diede, C. xrx, 7. donate: dare, C. n, 62; D. 115, etc. done: do, S. xxvn, 6, r. donqua: dunque, C. xi, 31, 37. dormentare: dormire, D. 178. dotanza, dottansa: paura, C. rv, 40; rx, 23, etc. dotare, dollar e: temere, C. iv, 6, 35; DC, 7, etc. doverite: dovrete, D. 214. dubitanza: dubbio, C. xi, 6. dui: due, C. xi, 17; xrv, 9, etc. dumque: dunque, S. xn, 5, 12. dunqua: dunque, C. rx, 55; xx, 69. E e': io, C. xvi, 2. e j : ebbi, C. xvn, 18. e', ello, elli: egli, C. i, 4; xm, 24; xx, 37, etc. encalza: incalza, S. xvin, 5. encendi: ardi, C. vn, n. ene: e, C. xi, 25. enlra: entrano (?), S. vn, 14. eo: io, C., I, 9, 21, etc. erranza: errore, incertezza, C. xr, 3. errore: perplessita, C. xx, 4. este, est': , C. m, 19, 25; vi, 33; xrx, 31, etc. eslo: questo, C. vi, 19; D. 24; S. xxxvi, 4- face: fa, C. i, 44; n, 42; xm, 24. faglia: fallo, C. xvi, 44; xvm, 37. faitemi: mi fate, C. rx, 26. falisone: fallo, inganno, S. xx, io. fallagio: inganno, C. vn, 34. fallanza: errore, mancamento, C. xx, 21, 57- fallare: mancare, venire meno, C. vn, 29; xxi, 57, etc. fallimento: fallo, C. xv, 34; xx, 62, etc. f attire: errare, mancare, C. vn, 32; vm, 37- fano: fanno, C. xvi, 30. faragio: faro, C. xm, 24. fatte: fatti, C. vi, 48. favellare: favillare (?), C. vn, 14. fazone: forma, fattezza, S. rv, 4. fellonamente: ferocemente, C. vr, 34. felone: cattivo, feroce, S. xx, 14. fenire: finire, S. xxvm, n. fere: ferisce, S. rx, 7. fereza: fierezza, C. v, 31. fermanza: fermezza, C. xx, 65. ferula: ferita, S. x, io. ferulo: ferito, S. v, i; xrv, io. fiala; tale : qualchevolta, S. vi, 2; xm, 14. fidanza: fiducia, C. vi, 2. finimenlo: fine, S. xx, 8; xxvm, 4. finise: fenice, S. xxi, n, 14. fior: pun to, affatto, S. xx, n. fiumi: fiume, C. xvi, 54. fole: folle, S. n, 3. follagio: follia, C. xxn, 47. fonda: si effondono, D. 208; si fonde, D. 209. fora: sarebbe, C. I, 80; v, 9. fore: fuori, C. n, 12; x, 20; xn, 67, etc. forte: penoso, C. n, 13. fortuna: vento fortissimo, temporale, C. i, 52. frore: fiore, S. xvm, 5; xxm, 12, etc. fuge: fugge, S. xxrx, i. fusse: fosse, C.i, 78,1.; fossiio,C.vin, n. GLOSSARY 143 gabando: beffando, S. xxn, 13. gaudente: gioioso, C. xvn, 24; xxi, 40, etc. gaudire: godere, gioia, S. xv, 7. gelore: gelo, C. vn, 40. gente: gentile, C. v, 29; xi, 5, etc. getto: il gettare, C. i, 53. ghiaccia: ghiaccio, S. xrv, 3. ghiora: gloria, S. XV, 14. giaquinto: giacinto, S. xxra, 3. gio': gioia, C. xn, 46; xrv, 9, 17, 27; xvn, 14, var. gio': gioiello, C. xv, 29; D. 57. gioi': gioia, C. v. 29, var.; rx, 2; xi, 47; xn, 19, 39, r.; xvn, 14. gioi': gioielli, D, 57, var. gioia: gioia, C. m, 34; rv, 18, etc.; see also gio' and gioi'. gioia: gioiello, C. m, 21, 37, 48; xv, 29, var.; D. 57, var. gire: andare, C. xi, 46; xrv, 19. gitare: gettare, C. i, 57; xrx, 2. gitlare: gettare, C. I, 52; n, 41. giucato: giocato, C. xvm, 37. giunge: unisce, S. x, 12; arriva, S. x, 9. giunta: giuntura, S. rx, 4. giunta: giunge, S. rx, 6. gra': grande, C. xrn, 12; xrx, 23. grana: produce il granello, granisce, C. 1,32- gravara: graverebbe, C. i, 60. gronda: grondano, D. 207. groria: gloria, S. xrx, 7. gruera: guerriera, S. xvm, 3. guare, d non: non e molto, C. xxn, 14. guarentire: garantire, C. xvn, 42. guisa, di gran: assaissimo, C. xxi, 26. *': in, C. m, 36, 38; xvm, 8, etc. *': io, C. i, 34, 68; n, 10, 50, etc. i-llei: in lei, C. xxi, 22. im: in, C. xvi, 23, 27, etc. imfiamao: imfiammd, C. xvn, 8, r. imprimamentc: da prima, S. vi, 3. inante, inanti: innanzi, C. n, 27; S. Vl> 7. inavanza: sovrasta, e" superiore, C. xv, 41. incalcia: incalza, C. rx, 35. incendore: incendio, ira, S. xrv, 8. inconinzaglia: principle, C. xvm, 34, r. inconinzare: cominciare, C. rv, 14. increscenza: noia, fastidio, C. xvm, 4. incrina: inclina, S. xvm, 6. incrisca: incresca, C. xm, 44. ingegno: inganno, sottigliezza, S. xxx, 4, ii. innamorio: m'innamoro, C. xn, 50, r. inoia: noia, fastidio, C. xxi, 32. inoioso: noioso, C. rv, 33. inoranza: onoranza, C. v, 8. inorare: onorare, C. xvn, 29; xvm, 37, etc. insigna: insegna, C. m, n. insonna: sonnecchia, dorme, D. 87. intando: intanto, allora, C. xi, 43, r. intendanza: 1'intendere, intelligenza, C. xn, 13; amore, C. rv, 32; xrv, 39; xv, 32. intendate: intendete (or, intendiate), date ascolto, C. vi, 12. inteniate: intendiate, S. rv, 2. intenza: constrasto, or intendimento (?), C. xvi, 50. intenza: contrasts, fa sapere (?), C. xi, 8. intrare: entrare, D. 180. inver: verso, C. i, 3; vm, 48; xv, 2, etc. invia: fa progredire, D. 50. inviluto: awilito, C. m, 31; S. xxxvm, 12. Jobo: Giobbe, S. xrx, 4. Isalda, Isaotta, Isolda: Isotta, C. rx, 46; D. 45; S. xxxi, 13. isbaldimento: allegria, S. xxn, 14; xxvm, 2. iscrida: sgrida, D. 202, variant. isguardare: guardare, C.n, 39; S.xxrv,3. isguardare: guardare, sguardo, S. xxx, 2. isprendore: splendore, S. xxn, 4. 144 GLOSSARY lacreme, lacrime: lagrime, S. xvm, 8, 9. lanciata: ferita di lancia, C. vn, 16. lanza: ferisce (di lancia), C. vm, 55; xv, 44- lanzare: lanciare, C. iv, 37. laonque: dovunque, S. xxvn, 4. lassare: lasciare, C. vni, 29; S. xxx, 6; liberate, C. i, 71. launde: laonde, C. xn, 50. leanza: lealta, C. xi, 16; xm, 18, etc. leiale: leale, S. xxvi, i. lenza: benda, fascia, S. xxxr, 5. levao: levo, C. xvn, 9, r. li: lei, S. xvi, 8; le, a lei, S. xvi, 12; gli C, i, 435 vn, 37, etc. Hale: leale, lealta, S. xxvi, 3. linga: lingua, C. n, 53, r. loco: li, la, S. xxxrv, 8. long 1 : lungo, C. I, 29. lostrore: luce, S. xxvn, 10. lumera: lume, S. xxvn, 7. M 'm: in, C. xvi, 5, 14, etc. 'maginando: immaginando, D. 16. maio: maggio, C. xrv, 24, r. maitina, maitino: mattina, C. n, 57; vn, 7- malvascia: malvagita, S. xx, 3. mande: mandi, C. rx, n. manti: molti, C. xi, n; xiv, 41, etc. marimento: smarrimento, C. xvi, 3. Melan: Milano, C. v, 38. membrare: rimembrare, C. rx, 5; xv, 20. menbranza: rimembranza, C. xv, 17; xx, 7. menzonieri: menzogneri, S. vn, 9. meo: mio, C. n, 8; S. i, i; xxvn, 2, etc. merce, merze, merzede, merzidi: ricom- pensa, pieta, grazia, cortesia, chieder aiuto, C. m, 2, 17, 20, 28, 35, 41; vi, 3, 4, etc. meritare: ricompensare, C. xvm, 32; xxi, 30. meve: me, C. xn, 52; XDC, 38, etc. 'mforzo: rafforzo, S. xxvin, n. mi: me, D. 67. mina: mena, porta, C. xi, 18, r.; D. in, r. misleanza: slealta, C. xv, 35. miso, misso: messo, C. i, 6; D. 71. mispregianza: disonore, C. iv, 17. morbido: delicato, S. xv, 12. mortando: smorzando, spegnendo, C. xiv, 45. mostramento: mostra, C. xx, 32. motto: parola, C. I, 76; xn, 31. N 'nalzato: innalzato, C. xvm, 6. 'nanti: innanzi, S. xxrx, 9. 'ncarnata: figura corporea, C. rv, 27. 'ncarnato: rivestito di carne, C. I, 75; iv, 27. 'nconinciamento: incominciamento, C. xiv, 23. 'ncrescenza: fastidio, noia, C. v, 25. 'nd', 'nde, inde: ne, C. xi, 29; xx, 54; S. xvn, 14, etc. neente, neiente: niente, C. xv, 7, etc.; qualcosa, C. XT, 4. nesun: alcun, S. xxtx, 3. no: non, C. i, 76; m, 7, etc. nodrisce: nutre, C. xx, 28. no-lie: non le, C. xvn, 25. nom: non, C. i, 41; vn, 17; xrv, 28, etc. nomo: nome, C. m, 6, r.; rx, 51, r. 'noraio: onorato, C. xxi, 16. norita: nutrita, D. 105. novo: mi rinnovo, S. xxvm, 13. 'nprontamente: indiscretamente, S. vn, 10. 'nlendanza: amore, C. xrx, 21; S. xxxi, 10. 'ntendimenlo: amore, C. xrx, 7. 'ntenza: intenzione, scopo, C. v, 36; con- trasto, C. vm, 52. 'ntenza: innamora, C. xvm, 41. nui: noi, C. xi, 16, r., etc. GLOSSARY 145 nutricamento: nutrimento, S. in, 4. 'nvilulo: awilito, C. ni, 30. 'nvoglia: involge, C. n, 31. o': ove, S. xv, 4. obria: oblia, C. xvi, 31. odere: udire, S. I, 13. oimai: omai, C. vm, 50. oltremare: oriente, Terrasanta, C. rv, 36. om, omo: uomo, C. i, 37, 42, etc.; as pronoun, C. v, 22. on: uomo, S. xxx, 2. onn', onni: ogni, C. in, 2, 5. openione: opinione, S. XX, 12. ore: ora, C. xxi, 51, r. oruto: avuto in orrore, C. xm, 42. parimento: parere, C. vn, 3. parlamento: discorso, voce, parole, C. x, 34; xn, n, etc. parpaglion: farfalla, S. xxi, i. parria: parrebbe, C. xn, 53. parle, im: spezzato, C. xiv, 18. partire: dividere, separate, C. XV, 37. partisse: partissi, D. 39. partitoro: partitore, C. vi, n. partivi: partii, C. xrv, 2. partuta: partita, porzione, C. xx, 71. partuto: diviso, S. rv, 12; rx, 3. paruta: apparenza, aspetto, C. xx, 70. parvente, al mio: a mio vedere, C. xxi, 38. parvenza, in: in presenza mia, C. xrv, n. pas so: passaggio, C. rv, 35. passo: appassito, S. DC, i. peio: peggio, C. vi, 46, r. pemsamento: pensamento, affanno, C. xvi, S- penare: affannare, soffrire, C. xvm, 5, 6. penna: penna, vela (?), S. xn, 7; cf. Notes. penzare: pensare, C. I, 20; v, 26, etc. pera: perisca, C. xm, 26. percepenza: percezione, C. v, 33. perdeo: perdette, S. xrx, 5. perdimento: perdita, C. xvn, 45. perdonanza: perdono, C. xi, 32. perduta: perdita, C. vi, 4. pere: perisce, C. xvi, 29. pero: perisco, C. xvn, 37. perzo: percid, C. ra, 11, 15, etc. pesanza: peso, affanno, C. x, 13; xv, 26. piacimento: piacere, C. xn, 9; xv, 16; xx, 25. piagente: piacente, C. xm, 49; xv, 21. piagenza: piacere, S. xn, 4. pietansa, pietanza: pieta, C. rv, 5; v, 31, etc. piui: piu. C. xi, 13. piacere, piastre: piacere, C. xrx, 31; D. 135, etc. piacimento: piacere, S. m, 2. piagente: piacente, C. EX, 33. plagenza: piacere, bellezza, C. xvn, 12. plogia: pioggia, S. xrv, i. plui: piu, C. vi, 27, r.; D. 171, r. pd: pud, C. n, 33; xi, 9, etc. podere, podire: potere, forza, C. xvm, 28; xxn, 24, etc. pot: poiche, C. xm, 33; xv, i, 10, 26; xvm, i, 40; xx, 73, etc. pot che: dopo che, C. v, 26; quando, S. xxxn, 7; benche, C. xrv, 31. poragio: potrd, D. 152. porase: si potra, S. xx, 8. porea: potrei, C. rx, 4. poria: potrei, potrebbe, C. xi, n, 23; xv, 4, etc. poriasi: si potrebbe, C. rx, 40. porzeria: porgerebbe, S. xv, 7. posare: riposare, aver pace, C. I, 64; xvi, 15. posate: smettete, S. v, 14. pole: pud, S. xi, 8; xxvn, i, 3. poteria: potrei, C. rx, 37. polesse: potessi, C. rx, 17; S. xv, 2. preio: pregio, C. vi, 45, r. presente: allora, C. vn, 25. 146 GLOSSARY presgio, presio: pregio, C. m, 7; xxi, 24, 25, etc. presiosa: preziosa, S. xxrv, 2. prima; im che: tosto che, S. DC, 12. priso: preso, C. I, 2; xvi, 17, etc. privanza, im: privatamente, in intimita, C. xiv, 40. prodito, in: in prurito, C. i, 37. propio: proprio, C. i, 36, 46, etc. prossimano: prossimo, vicino, C. x, 9; D. 221. Provedenza: cura, sollecitudine, C. xxi, 27. qua 1 : quale, C. vi, i. 'quistalo: acquistato, C. rv, 1 1 ; xni, 14. R ragenza, si: si raffazzona, rabbellisce, S. vn, 6. raguardo: riguardo, C. x, 31. ramortasse: smorzasse, C. xrv, 45. rancura: affanna, S. xxi, 2. rasion, razone: ragione, giustizia, C. xi, 31; S. rv, 2. redire: ritornare, S. xxvm, 14. reo: gravoso, cattivo, C. vm, 59; xm, 25; S. VI, 2. resembrare: aver somiglianza, C. in, 13. richiosa: rinchiusa, S. v, 6. rico: ricco, ricchezza, C. xxi, 33. rideragio: riderd, D. 147. riguardamento: riguardo, S. xxvm, 6. riguardi: sguardi, C. xv, 45. rinegare: rinnegare, S. xvi, 2. ripresa: riprensione, S. vi, 12. riqura: ricchezza, S. xxv, 2. risprendente: risplendente, S. xxm, 6. ritenenza: ritegno, D. 118. romanire: rimanere, C. xi, 10, r. romeo: pellegrino, D. 35. ronpe: rompe, S. xvn, 7. rosata: rugiada, D. 3. saccia, saccio, etc. (sapere): C. i, 31; n, 52, etc. sagnare: far sanguinare, C. vi, 26. salda: guarisce, D. 44. sahagio: selvaggio, C. vn, 36; xm, 23. sanza: senza, C. rv, 21; v, 33, etc. sape: sa, C. m, 6, 8; xin, 13. Saragosa: Siracusa, C. rv, 36. saramento: sacramento, giuramento, S. vn, 8. savere: sapere, C. n, 14; m, 42, etc.; scienza, arte, xv, 31, etc. savori: sapore, C. m, 19. scaltrimento, a: con scaltrezza, astuzia, S. vn, 4. scarsitade: scarsezza, economia, C. xm, 38. scendere: inchinare, C. xvi, 39. scetto: soltanto, D. 88. scigna: scimmia, C. m, 13, r. 'scita: uscita, C. m, 19. scolosmini (?): forse pietra preziosa, C. m, 31; cf. Notes. scorre: impazzare, D. 124. scruopi: scuopri, S. xx, 12. sdura: perdura, intenerisce (?), D. 91. se: si, C. i, 44. sed: se, C. xrx, 40. segio: siedo, sto, S. rv, 6. semblanza: sembianza, C. v, 15. sembrate: assembrate, riunite, C. VI, 22. semo: siamo, C. xi, 16. senbrante: sembianza, C. EC, 8. senbrara: sembrerebbe, S. xxn, 6. senbraria: sembrerebbe, S. xxn, 3. senlenzatore: giudice, S. I, 14. sentere: sentire, S. n, 5. sentore: sentimento, soddisfazione, C. I, 40. serene: sirene, C. xvi, 30. serd: sard, C. xi, 58. serviragio: serviro, C. xrx, 19. servivi: servii, S. ix, 13. sete: siete, C. ix, 9, 48; xm, 4, etc. GLOSSARY 147 sfesi: (pass, rimoto di sfendere = fen- dere), C. vm, 17. sguardare: guardare, C. xm, 47. sicuranza: sicurezza, C. v, 7; xi, 54, etc. singa: segno, C. n, 52, r. site: siete, D. 218. slocato: slogato, traslocato, C. xxi, 12. smisura: oltrepassa la misura, C. v, 24. so': sono, C. i, 67; m, 31; vm, 16, etc. so: suo, S. m, 6; xx, 6, etc. sofondare: affondare, C. i, 58, 59. sollaccia: conforta, C. xi, 40. sollaccio: sollazzo, carezze, C. xiv, 36; D. 109. sont: mi sono, S. iv, 10. somo: siamo, D. 167. sonar e: raccontare, C. xiv, 43. sone: sono, S. xxvn, 2, r. sorchietanza: arroganza, eccesso, C. v, 23- sortire: accadere, C. xi, n. sospecione: sospetto, S. xxxi, 9. sotragesse: sottraesse, C. xvrn, 14. sovenenza: ricordanza, D. 119. sovenmi: mi sovviene, C. n, 3. sovra: piu che, C. xvi, 22. sovro: sopra, C. rx, 48; xxi, 42. sparte: in disparte, C. xx, 23. spata: spada, C. iv, 43. spegna: spegne, C. xx, 43. spene: speranza, C. vrn, 39; D. 8; S. XXV, II. spera: faccia, C. xvi, 40; xx, 31; raggio, S. x, i. spera: si spera, S. x, 5; specchia, S. x, 3 ; aspetta, S. x, 7. sperasgione: immagine, S. iv, 8. spesora: spesso, S. XEC, 2. spica: spiga, C. I, 32. spogna: spugna, S. vn, 14. spotenza: strapotenza, C. xxrt, 25. spregianza: disonore, C. rv, 16. sprendore: splendore, S. xxin, 10; xxrv, 5. stare: essere diviso, C. vm, 51, 59. staf: estate, C. vn, 40. statesse: stesse, C. vi, 29. stene: (= distene), opprime, C. xi, 26. steria: starebbe, C. xvn, 25. stinguere: spegnere, C. I, 24; S. xiv, stolle: distoglie, C. xvn, 31. stretto: ristretto, C. m, 35. sturba: cancella, C. i, 42. sturduto: sturdito, C. vm, 25. stutd: spense, S. xiv, 11. suoe: sue, C. x, 32; xxn, 39. to 1 : tale, S. xxvm, 9. talento: volonta, intenzione, C. xrv, 7; xv, 35, etc.; per : volentieri, C. XK, 30. talento: ho talento, C. xvn, 44. tardanza: ritardo, indugio, C. v, 40. temenza: timore, C. v, 10; xi, 19, etc. tener mente: considerare, guardare, C. n, 4; m, 14, etc. teno: tengo, C. xrv, 40. tenore: potere, C. xvn, 4. tenuta: possesso, C. xx, 66. teria: terrei, S. xv, 13. tivi: te, C. xrv, 15, r. totte: toglie, C. xrv, 41. topazo: topazio, S. xxm, 3. tormento: mi tormento, C. xv, 8. tornare: diventare, C. xi, 35; S. xxvm, 12. trage: va, S. xxvm, 2. tragerete: trarrete, C. xi, 60. trangosciare: riempirsi d'angoscia, C. vm, 56. travallia: incalza, C. vm, 20, r. treze: trecce, C. x, 35. trovar: dettar versi, poetare, S. v, 4; vm, 13. lurba: si turba, S. xxvm, 5. tutesor cad: ogni volta che, C. vi, 15. tutor: tuttora, C. v, 7; xvn, 12, etc. tiUtore, a: sempre, C. vm, 46. 148 GLOSSARY U u: dove, C. xn, 10. ubidente: obbediente, C. xv, 15. ubidenza: obbedienza, C. v, 18. ubidire: obbedire, C. xv, 40. ubria: oblia, C. v, 8. ubrianza: oblio, dimenticanza, C. xv, 20. ubriare: obliare, C. xx, 35. umilianza: umiliazione, C. v, 24. umque: mai, S. rx, 10. unde: onde, C. DC, 13; xv, 8. unqua, unque: mai, C. in, 48. usagio: uso, C. vn, 39. usato: usanza, C. vi, 33. vaglia: giovi, C. xvi, 47. vaglienza: valentia, S. vi, 12, 30. valenza: valore, virtti, C. v, 4; vi, 30 etc. valimenlo: aiuto, C. xv, 26; valore, C. xix, 17. valire: valere, essere fedele, C. xv, 4, 28, etc. valire: valore, C. xvm, 26. vallesse: varrebbe, C. vi, 30. varo: diverse, incostante, C. xn, 60, r. vassallagio: eroismo, S. xxxv, 7. veden: vedono, S. m, 10. vedessen: vedessero, S. n, 8. veduta, de la: alia vista, D. 137. vegendo: vedendo, C. x, 12; S. xv, 14, etc. vegia: veda, C. n, 27. vegiamento: veglia, C. vm, 32. vegiate: vediate, C. xn, 14. vegio, veto, veo: vedo, C. vrn, 10; x, 13, etc. See via. sei: vedi, C. vn, 14. ven: viene, C. xxi, 3; S. m, i, etc. ver: verso, C. vm, 48; xx, 12, 40. veritate: verita, C. xn, 24; S. xxvi, 12. verntd: veruna, S. xxm, 2. vertudie, vertute: virtti, C. m, 27; S. n, 9, etc. vertudiosa: virtuosa, S. xxm, 4; xxrv, 4. vetoria: vittoria, S. xix, i. via: vie, molto, C. rv, 35. viglio: veglio, D. 85. vio: vedo, C. n, 22; m, 44, etc. visagio: viso, D. 149. visare: osservare, vedere, mirare, S. xvn, i, 2, s, 7, 10, ii. viso: immaginazione, visione, S. xvn, 3; vista, S. xvn, 3, 4. See Notes. mvente, al mio: finch'io viva, C. vn, 30, 3i; xv, 36. vo: vi, C. EX, 8, n, 16, etc. vo': voglio, C. vm, 49; xxn, 49. voglienza: voglia, S. xxxi, 3. vollesse: volessi, S. xv, 10. volte: avvolte, ricciute, D. 101. vone: vado, S. xxvn, 4, r. voria: vorrei, vorrebbe, C. I, 73; m, 10, etc. vui: voi, C. vi, 28, r.; xi, 14, etc. 'vumque: ovunque, S. rx, 7. zafino: zaffiro, S. xxm, i. zilello: fanciullo, S. xxi, 7. zd: cid, C. i, 21 ; n, 53, etc. ALPHABETICAL INDEX OF THE FIRST LINES C= canzone; D = discordo; S = sonnet PAGE All'aira chiara 6 vista plogia dare [S] 72 Amando lungamente [C] 26 Amor, da cui move tutora e vene [C] 49 Amor e un disio che ven da core [S] 61 Amor m'auzide. Perche ? Perch 'io amo [S] 92 Amor non vole ch'io clami [C] 9 Amore, gli occhi di colei mi fanno [S] 96 Amore paura m'incalca [C, fragment] 54 Angelica figura e conprobata [S] 83 Ben m'e venuto prima al cor doglienza [C] 13 Certo me par che far dea bon signore [S] . . . 78 Chi non avesse mai veduto foco [S] 80 Come 1'arcento vivo fuge il foco [S] 87 Con vostro onore facciovi uno'nvito [S., in tenzone; by L'Abate di Tivoli] 66 Cos! afino ad amarvi [C] 52 Cotale gioco mai nom fue veduto [S., in tenzone] 65 Da che ti piace ch'io degia contare [S] 94 Dal core mi vene [D] 55 Diamante, ne smiraldo, ne zafino [S] 81 Dolce coninciamento [C] 17 Donna, eo languisco, e no so qua' speranza [C] 15 Donna, vostri sembianti mi mostraro [S] 70 Due cavalier valenti d'un paragio [S] 93 Feruto sono isvariatamente [S] 63 Fin amor di fin cor ven di valenza [S] 89 Gia lungiamente, Amore [C] 40 Guardando '1 basalisco velenoso [S] 88 Guiderdone aspetto avire [C] 30 In un gravoso affanno [C] 44 Io m'agio posto in core a Dio servire [S] 73 La 'namoranza disiosa [C] n Lo badalischio a Io spechio lucente [S] 86 Lo giglio, quand' e colto, tost' e passo [S] 67 Lo viso e son divisio da Io viso [S] 75 Lo viso mi fa andare alegramente [S] 74 149 150 ALPHABETICAL INDEX OF THE FIRST LINES Madonna a 'n se vertute con valore [S] 82 Madonna, dir vi voglio [C] 3 Madonna mia, a voi mando [C] 20 Maravigliosamente [C] 6 Membrando cio ch' Amore [C] 37 Membrando 1'amoroso dipartire [C] 32 Molti amadori la lor malatia [S] 69 Nom so se in gioia mi sia [C, fragment] 54 Ogn'omo, c'ama, de amar lo suo onore [S] 71 Oi! Deo d'amore, a te faccio preghera [S., in tenzone, by L'Abate di Tivoli] 62 Or come pote si gran donna entrare [S] 85 Pegli occhi miei una donna ed Amore [S] 95 Pero ch' Amore no si po vedere [S., in tenzone; by Pier della Vigna]. 60 Per sofrenza si vince gran vetoria [S] 77 Poi non mi val merze ne ben servire [C] 34 Poi tanta caonoscenza [C] 42 Qua! omo altrui riprende spessamente [S., in tenzone; by L'Abate di Tivoli] 64 Quand' om a un bon amico leiale [S] 84 Re glorioso, pien d'ogni pietate [S] 97 Segnori, udite strano malificio [S] 91 Si alta amanza a presa lo me' core [S] 76 Sicome il sol che manda la sua spera [S] 68 Si como '1 parpaglion, ch'a tal natura [S] 79 S'io doglio no e meraviglia [C] 23 Solicitando un poco meo savere [S., in tenzone; by Jacopo Mostacci]. 59 Tanto sono temente e vergognoso [S] 90 Troppo son dimorato [C] 18 Uno disio d'amore sovente [C] 24 Vostra orgogliosa cera [C] 46 DATE DUE PRINTED IN U A A 000 594 734 6