social classes in, 8

  lady: as beatrice, 140

  beauty of, 188

  birth of, 173

  Cavalcantian, 132, 163, 174

  colours describing, 184–5

  as “cosa mortale” and “cosa nova,” 184–5

  direct speech to, 140

  in Donna pietosa, 213

  in Donne ch’avete, 88, 174, 180, 181–5

  in E’ m’incresce di me, 170, 172–4

  eyes of, 156–7, 170, 172

  in Guido, i’ vorrei, 129

  in La dispietata mente, 81–2, 110

  in Lo doloroso amor, 166

  as mediator, 140

  micidiale, 163, 172

  as miracle, 228–9

  in Negli occhi porta, 228

  as “nostra donna,” 220

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

  in Per una ghirlandetta, 129

  perfection of, 232–3

  praise of, 181–5

  shouting of, 172

  smile of, 193

  in Tanto gentile, 129, 183, 227–9, 233, 297

  in Volgete gli occhi, 111. See also donna gentile; madonna; new love / new lady

  Lagia, Lady, 118–19, 124

  lagrimar, 243, 245

  L’amaro lagrimar che voi faceste, 275–9

  afterlife of lover in, 277–8

  Cavalcantianism and, 276

  De Robertis and, 275

  donna gentile in, 265

  and fidelity to dead beloved, 275

  forgetfulness in, 277, 278–9, 283

  Gentil pensero compared to, 280, 283

  new vs. first love in, 304

  obliare in, 276–7

  reprimand to eyes of poet in, 275–6, 281

  vanità in, 278–9, 286

  in Vita Nuova, 275, 278–9, 280

  lamentation(s): in Con l’altre donne, 147

  for death of Beatrice, 256

  funeral, 198

  in Morte villana, 77

  O voi che per la via as lamentanza, 70, 72–3

  in Piangete, amanti, 138, 293

  praise and, 75, 77, 244.

  See also mourning

  Lansing, Richard, 27

  Lapo Gianni de’ Ricevuti, 113n46

  Amore e monna Lagia and, 122, 124

  in De vulgari eloquentia, 115n50

  in Guido, i’ vorrei, 17, 116, 117

  “Lippo” vs., 17, 113 (see also Bardi, Lippo Pasci de’)

  Lasso, lo dol che più mi dole e serra (Dante da Maiano), 43, 47, 54

  Lasso, per forza di molti sospiri, 286–9

  Barbi-Maggini on, 287–8

  Christian martyrology in, 288

  De Robertis and, 25, 287, 288

  death in, 289

  donna gentile in, 265, 279, 284

  gettare sospiri in, 230n106

  “lasso” in, 287–8

  shame in, 286–8, 307

  sospiri in, 288

  suffering in, 287–8

  vano in, 286

  in Vita Nuova, 25, 284, 287, 288, 290

  Le dolci rime d’amor ch’io solea: Aristotle in, 296

  in Convivio, 19, 20

  nobility in, 4

  vanità in, 278n134

  vergogna in, 287n139

  leggiadria: in Commedia, 9, 72

  in Doglia mi reca, 4, 71

  in lyrics, 9

  in Morte villana, 77

  of O voi che per la via, 77

  in Poscia ch’Amor, 4, 71, 107

  in Sonar bracchetti, 107–8

  Leonardi, Lino, 123

  Li occhi dolenti per pietà del core, 243–53

  addressed to noble women, 58

  Beatrice and, 75, 163n83, 182n90, 207, 244; “colore” in, 185

  consolare / consolatio in, 247, 249, 250–1

  consolation in, 159, 249–51, 267, 294–5

  De Robertis on, 245

  death of Beatrice in, 159, 177, 239, 243, 250

  direct speech in, 248–9; “disconsolata” in, 250

  Donna pietosa compared to, 243

  Donne ch’avete compared to, 243, 244–5

  familial terminology in, 95

  Foster-Boyde on, 244

  Gorni on, 244

  I’ vegno ’l giorno a·tte ’nfinite volte compared to, 250

  lagrimar in, 243, 245

  lamentation and praise in, 75

  length and construction of, 179, 239

  need to express suffering in, 245–6

  piangere in, 245

  Quantunque volte compared to, 257

  sfogare in, 244–5

  shame in, 287

  and “sì ’nvilita,” 250, 267

  Venite a ’ntender compared to, 254, 255

  visionary power of poet in, 247–8

  Lia, in Purgatorio 27, 128

  libello. See Vita Nuova

  “Licenza,” in Per quella via, 17, 301, 302, 307

  Lisetta, 163

  in Per quella via, 17, 301–2, 303–8

  Lisetta vòi de la vergogna sciorre (Mezzabati), 302, 307

  Lo doloroso amor che mi conduce, 161–9

  afterlife in, 277–8

  Beatrice in, 5, 128, 163–4, 167, 170, 174, 182, 182n90, 207, 213, 244, 289

  beginnings / conclusions of stanzas, 164

  Boccaccio and, 162, 168, 170

  Cavalcantianism of, 156, 162

  Contini and, 161

  De Robertis and, 161, 162, 168

  death in, 289; “doloroso” in, 288

  Donne ch’avete and, 164, 178

  and E’ m’incresce di me, 162

  eschatology in, 164, 165–6, 167, 182

  Foster-Boyde and, 161, 162

  Francesca and, 165

  and Giuntina, 168

  Guinizzellian heritage in, 156, 167

  and La dispietata mente, 162

  lady in, 166

  ordering of, 161–2

  and painful love, 161

  and rime dolorose, 161

  and rime petrose, 167

  sorrowful love in, 164

  theology in, 164, 181

  transmission of, 167–8

  and Vita Nuova, 162–3

  Lo meo servente core: as companion sonnet to Se Lippo amico, 64, 94

  confortare in, 249n116

  courtly lexicon of, 67

  as first canzone, 67

  La dispietata mente compared to, 79, 87–8

  memory and recall in, 67–8

  Sicilian / Provençal influence on, 67, 87–8

  as single-stanza canzone, 64, 67, 240n110; volge in, 68

  Lo vostro fermo dir fino ed orrato (Dante da Maiano), 43, 47, 53

  love: in Ballata, i’ voi, 138

  Beatrice and genesis of, 191

  beauty and, 188–9, 190

  in Cavalcando l’altr’ier, 134, 135

  Cavalcantian, 135, 173, 174, 179

  colour of, 271–2

  in Com più vi fere Amor, 97, 98

  in Deh, Vïoletta, 131

  in Deh ragioniamo, 90–1

  divergent thoughts on, 143

  as “dolce fratello” in Un dì si vienne, 220

  in Donne ch’avete, 184

  as dressed for mourning, 220

  in E’ m’incresce di me, 161, 170

  fire of love motif, 131

  friendship vs., 107–8, 110–11

  gender equality in, 189–90

  genesis of, 188

  hunting and, 108–9, 171–2

  intellect and, 8–9, 179, 185, 297

  in Io mi senti’ svegliar, 222

  in Io sono stato, 5–6

  justification before divine tribunal, 166

  in La dispietata mente, 87–8

  in Lo doloroso amor, 161, 164

  in Lo meo servente core, 87–8

  in lyrics, 4, 6

  in Madonna, quel signor, 87–8

  as mediator, 140

  melancholy, 219–21

  and memory, 88


  in O voi che per la via, 70–3

  painful, 45, 161, 170

  and pain / suffering, 97

  in Per quella via, 303

  in Purgatorio, 117, 303

  reason vs., 5, 179

  reciprocity with lover, 90–1

  responsibility vs., 55

  in Sonar bracchetti, 105, 106–8, 108–9

  sorrowful, 164

  soul and, 303

  in Spesse fiate, 153–4

  and violence, 97

  virtue and, 189

  in Volgete gli occhi, 108, 110–11

  will vs., 5, 55.

  See also new love / new lady

  lust, in Inferno, 6, 165

  madonna: in A ciascun’alma, 59

  as angel, 183–4, 237

  in Ballata, i’ voi, 138, 141

  Beatrice as, 154

  and Christ, 215

  companion ladies of, 232, 233, 236

  “cortesia” of, 88

  in Deh ragioniamo, 90

  in Di donne io vidi, 236–7, 238

  direct speech to, 146, 154

  in Donne ch’avete, 180–1, 185, 192, 237, 246

  in Era venuta, 260, 261, 262

  eyes of, 156–7, 226n100

  gaze of protagonist upon, 153–4, 237

  grief of, 203

  killing pity aroused for lover, 152

  in La dispietata mente, 79–80

  in Li occhi dolenti, 245

  as “meraviglia” to angels, 246

  miraculous endowments absorbed by ladies, 233

  mortality of, 214

  as mourning vs. mourned, 201, 210

  and mystical experience, 150

  and new moral order, 183

  in Onde venite, 201–2

  in paradise, 260, 261, 262

  praise of, 180, 232–4

  in Sì lungiamente, 239

  singularity of, 232, 247

  in stil novo, 129, 247

  in Tanto gentile, 237

  transformation / representation of, 204–5

  use of word vs. “Beatrice,” 24

  in Vede perfettamente, 232–4

  vision of, 149–50

  in Vita Nuova, 59

  in Voi donne, 204–5

  in Volgete gli occhi, 108, 111.

  See also Beatrice; death of madonna; lady

  Madonna, quel signor che voi portate, 87–9

  confortare in, 249n116

  Love in, 90

  placement of, 87, 127

  Sicilian / Provençal influence on, 87–8

  as single-stanza canzone, 67, 240n110

  Maggini, Francesco, Rime della “Vita

  Nuova” e della giovinezza, 9.

  See also

  Barbi-Maggini

  magnates: and Bologna towers, 101

  rivalries in Commedia, 51

  Malatesta, Paolo, in Inferno, 188, 273

  Manetti, Antonio di Tuccio, 20

  Martello, Carlo, in Paradiso, 118

  master-servant trope, 7, 8, 80

  Mastro Bandino amico, el mio preghero (Guittone d’Arezzo), 50, 64

  Matelda, in Purgatorio, 128, 306

  melancholy: in Guido, i’ vorrei, 120

  in Un dì si venne, 219–21

  memory: in Ciò che m’incontra, 149

  in Commedia, 68

  in Era venuta, 298

  in La dispietata mente, 83–4, 88

  in Lo meo servente core, 67–8

  love and, 88

  in Madonna, quel signor, 88

  in Oltra la spera, 299

  Meravigliosamente (Giacomo da Lentini), 67, 81

  Messer Bottaccio amico, ogn’animale (Guittone d’Arezzo), 49–50, 64

  Messer Giovanni amico, ’n vostro amore (Guittone d’Arezzo), 49–50, 64

  Metaphysics (Aristotle), 296–7

  Mezzabati, Aldobrandino, Lisetta vòi de la vergogna sciorre, 302, 307

  miracolo: and mirabile, 191

  mirare and, 227

  in Negli occhi porta, 191

  in Tanto gentile, 191

  Monarchia, 227

  Monte Andrea, 17

  Morte, perché m’hai fatta sì gran guerra (Giacomino Pugliese), 77

  Morte villana, di pietà nemica, 77–8

  Guittonianism and, 63–4, 77–8

  leggiadria in, 9

  as sonetto rinterzato, 63, 77

  “villana Morte” and, 74, 77

  in Vita Nuova, 63, 71, 74, 77

  mostrare: in Commedia, 228

  in Tanto gentile, 228, 229

  mourning: and acceptance, 269

  in Deh pellegrini, 203

  in Donna pietosa, 220

  gender and, 194–7, 198, 199, 234

  love as dressed for, 220

  in lyrics, 7

  in Onde venite, 201–2

  pilgrims and, 290–1, 292

  poet’s participation in, 209–10

  in Se’ tu colui, 198–9

  sonnets, 201, 208, 220, 243

  in Un dì si venne, 220

  in Venite a ’ntender, 254

  in Videro gli occhi, 269

  in Voi che portate, 194–7

  women and, 7, 199–200, 234.

  See also funerals; lamentation(s)

  Movesi il vecchierel canuto et biancho (Petrarch), 76

  mystical / visionary material / experience: in A ciascun’alma, 37, 38, 46, 48, 50, 58, 59–60

  boundary crossing and, 150

  Cavalcantianism and, 150

  in Ciò che m’incontra, 149–51, 209n96

  in Commedia, 38n3, 48, 208

  in Convivio, 38n3

  direct discourse / speech and, 150, 207–8, 209

  in Donna pietosa, 212–15, 247

  fantasy and bodily experience, 209; “fiso” in, 247–8

  as inebriation, 151

  in Li occhi dolenti, 247–8

  lover and death and, 149

  in lyrics, 8

  of madonna, 149–50

  in Provedi, saggio, 38

  in Purgatorio, 149– 50, 209

  and theology / theologization, 206

  trembling and, 152

  in Vita Nuova, 38n3, 48, 58, 208–9, 211

  narcissism: in Donne ch’avete, 278

  in Onde venite, 202

  Ne le man vostre, gentil donna mia, 158–60

  biblical elements in, 158–60

  Cavalcantianism of, 158

  consolare in, 249n117; consolato in, 159

  contaminatio in, 8

  Contini on, 158

  courtly lady in, 159

  courtly vs. biblical registers in, 8

  exclusion from Vita Nuova, 158

  and stil novo, 158

  textual fusion in, 158

  theologized elements in, 162

  Negli occhi porta la mia donna Amore, 191–3

  “aiutatemi” in, 192

  and Amore e ’l cor gentil, 191

  De Robertis and, 25

  Donne ch’avete and, 183

  lady in, 227–9

  love as born in lover’s heart in, 191

  miracolo in, 191

  order of, 232

  parere in, 193

  praise in, 226, 232

  smiling lady in, 193

  sospirare in, 229

  and stil novo, 191, 192, 228

  Tanto gentile compared to, 191, 227–8

  in Vita Nuova, 25, 191

  new, theme of the, 134, 156–7

  new love / new lady: in Ballata, i’ voi, 275

  Color d’amore and, 271

  colour of love, 271

  dead original love vs., 275

  in donna gentile cycle, 304

  eyes and, 288

  in Gentil pensero, 281, 282–4

  in Per quella via, 304

  praise of, 284. See also donna gentile

  new style. See stil novo

  Nicomachean Ethics (Aristotle), 4, 6, 55, 92, 113n45

  No me poriano zamai far emenda/Non mi poriano già mai fare ammen
da: Contini and Tuscan redaction, 100–2

  De Robertis and Emilian redaction, 102–3

  Garisenda tower in, 7, 100–1

  two redactions of, 26

  Non canoscendo, amico, vostro nomo, 43, 47, 48–9, 50, 53

  Non v’accorgete voi d’un che·ssi more, 16–17, 122–3

  “novità,” 134

  “novo piacere,” 134, 136

  Nulla mi parve più crudel cosa, 16, 122

  nuovo.

  See new, theme of the

  O dolci rime che parlando andate, 95, 251n119

  O voi che per la via d’Amor passate, 70–3

  contaminatio in, 8

  Deh pellegrini compared to, 290–1

  shame in, 287

  as sonetto rinterzato, 63, 70, 71, 77

  stil novo and, 158

  in Vita Nuova, 63, 70, 71, 158

  obliare, 276–7

  Occitan influences: amor de lonh, 67

  in Ballata, i’ voi, 138, 139, 275

  and Cavalcando l’altr’ier, 136

  Com più vi fere Amor and, 98

  courtly, 67, 70

  enigmatic in, 38

  and escondig, 138, 275

  and “gabbo,” 146; Guittone and, 39

  in La dispietata mente, 4, 87–8

  and lamentanza, 70

  and lamentation and praise, 75, 293

  in Lo meo servente core, 67, 87–8

  in Madonna, quel signor, 87–8

  in O voi che per la via, 70

  in Per una ghirlandetta, 127

  in Piangete, amanti, 74, 138, 293

  and planh, 74, 77, 138, 293

  and sdonneare, 139

  and Tutti li miei penser, 143

  in Vita Nuova, 138

  Ognisanti, 236–8

  O’Hara, Frank, 125n64

  Oltra la spera che più larga gira, 294–300

  Aristotle in, 297

  Beatrice in, 163n83, 182n90, 298

  bringing back / utilizing knowledge from beyond in, 299

  Cecco Angiolieri and, 46

  De Robertis and, 25, 294, 297

  Deh pellegrini compared to, 294

  genesis of, 295–6

  lady in, 132, 216

  memory in, 298, 299

  otherworld journey in, 216, 295

  paradise in, 297

  and Paradiso, 295, 299

  parlare in, 298

  passare in, 294

  pilgrimage in, 294

  placement of, 26–7

  sighs in, 294–5, 297–8

  Tanto gentile compared to, 297–8

  in Vita Nuova, 25, 294, 295–6

  Onde venite voi così pensose?, 201–2

  Barbi on, 201

  Cavalcantianism in, 202

  confortare in, 204, 249n116

  Contini on, 201

  exclusion from Vita Nuova, 202

  funeral rites in, 220

  madonna in, 201–2

  mourning in, 201–2, 243

  narcissism in, 202

  quotidian life in, 201

  scacciare in, 171n85

  self-pity in, 203

  textual layers of, 201

  Voi che portate compared to, 201–2

  Voi donne compared to, 203, 204

  Onesto degli Onesti, 46