Ora parrà s’eo saverò cantare (Guittone d’Arezzo), 45, 98, 143
ordering, of lyrics: amorous / erotic vs. moral in, 12, 16, 19
autobiographical, 18, 19
Barbi and, 13–14
Barolini and, 22–6
Boccaccio and, 11–12, 17, 20
chronological, 13, 15, 18, 21, 22
chronological vs. by genre, 9, 161
Commedia and, 18, 20–1
Contini and, 14
Convivio and, 18, 19–20, 21
by Dante, 17–21, 22
De Robertis and, 15–17
Foster-Boyde, 14, 22
by genre, 12–13, 16, 18, 19
in Giuntina, 12–13
Guittone and, 17
interpretation and, 17
manuscript tradition, 15, 17
Monte Andrea and, 17
Petrarch and, 11, 17, 18, 21
philological, 17
and rime dubbie, 13, 16–17
thematic, 12, 13, 17, 19
Vita Nuova and, 18, 21, 22
Orlandi, Guido, 37n1, 40, 172 oscura, 269
Ottimo Commento (1333), 302
Ovid, Ars amandi, 271
Paradiso: baldanza in, 72
Beatrice in, 182; Carlo Martello in, 118
“circulata melodia” in, 129
Donna pietosa and, 214–15
donneare in, 139
eschatology in, 167
fusion of intellect and will in, 8–9, 185
gaze of protagonist in, 238
gender behaviour differences in, 109
gender boundary crossing in, 307
Guido, i’ vorrei compared to, 118, 120
La dispietata mente and, 81–2
leggiadria in, 9
Oltra la spera and, 295, 299
path metaphor in, 143–4; “perfettamente” in, 232–3
philosophical themes in lyrics, 8–9
Poscia ch’Amor and, 71
representation in, 81
sea in, 116
shame in, 307; “subsisto” in, 230–1
thinness and “poema sacro” vs. doloroso amor in, 164–5
Trinity in, 81–2
parere: in Negli occhi porta, 193
in Tanto gentile, 193, 226, 229
in Vita Nuova, 209
parlare, 298
Parole mie che per lo mondo siete, 95, 251n119
pascere, 59
passare: in Deh pellegrini, 294n146
in Oltra la spera, 294
passion: Cavalcantian, 179
and death, 173–
4; in E’ m’incresce di me, 172–3
and Passion of Christ, 159, 160
prendere and, 272
reason vs., 56
and rime petrose, 56
soul’s changeability and, 134, 281, 284
Paul, St, 165, 295
“paura,” 156, 257
Pellegrini, Flaminio, 43
pensero, in Voi che ’ntendendo, 295n147
Per pruova di saper com vale o quanto (Dante da Maiano), 43, 44–5, 46, 52, 70
Per quella via che la Bellezza corre / Per quella via che·lla Bellezza corre, 301–8
“baldanzosamente” in, 306, 307
Barbi on, 301, 302
Barbi-Pernicone on, 306
dating of, 302
De Robertis and, 26, 301–2, 306n158
Foster-Boyde on, 302
gender in, 307; “Licenza” in, 17, 301, 302, 307
Lisetta in, 17, 301–2, 303–8
Mezzabati and, 302
new love in, 304
Pernicone on, 304
placement of, 26–7
seduction in, 302–4, 305–7
shame in, 304, 307
two redactions of, 301–2
variability / mutability of thought in, 307–8; “verga” in, 307
vergogna in, 287n139
Per una ghirlandetta, 127–30
angel in, 180, 237; Cavalcantianism in, 4, 127–8
circularity in, 129
De Robertis and, 237
Deh, Vïoletta compared to, 131
diminutives in, 128
Fioretta in, 127–8, 129
laudare in, 129
leggiadria in, 9
and Madonna, quel signor, 87
placement of, 127
and stil novo, 128–9
umile in, 128–9
Perch’i’ no spero di tornar giammai (Cavalcanti), 125
“perfettamente,” 232–3
Pernicone, Vincenzo, 10, 302, 304
Rime della maturità e dell’esilio, 9.
See also Barbi-Pernicone
Petrarch, Francesco: Apollo, s’anchor vive il bel desio, 90n32
Chiare, fresche et dolci acque, 26
Dante compared to, 27
De Robertis and, 17
and death of beloved / lady, 219, 243
Donna pietosa and, 206
and “fiso,” 247
Movesi il vecchierel canuto et biancho, 76
ordering of rime, 11, 17, 18, 21
and painful love, 164
Rerum vulgarium fragmenta, 11, 18, 26, 65, 90n32, 250, 259n123, 286n138
Physics (Aristotle), 83n31, 117n56
piangere: in Li occhi dolenti, 245
in mourning sonnets, 243
in Se’ tu colui, 199
in Venite a ’ntender, 254
Piangete, amanti, poi che piange Amore, 74–6
death in, 74–6, 77
lamentation in, 77, 138, 244, 293
metatexual awareness in, 8
planh in, 74–5, 138
praise in, 77, 244
in Vita Nuova, 74, 76
Picone, Michelangelo, 23n32, 104–5
pilgrims / pilgrimage: in Cavalcando l’altr’ier, 291
in Commedia, 291–2
in Deh pellegrini, 290–1
and mourning, 290–1, 292
in Oltra la spera, 294
as pensosi, 291
in Purgatorio, 291
in Vita Nuova, 291
pity: in Color d’amore, 272, 273–4
in Con l’altre donne, 146
donna gentile and, 267–8
in Donna pietosa, 267
the purpose of weeping and, 278
self-, 153, 278
in Tutti li miei penser, 146
planh: and Deh pellegrini, 292
in Morte villana, 77
in Piangete, amanti, 74–5, 77, 138, 293
Poe, Edgar Allan, “Annabel Lee,” 181n89
Portinari, Beatrice.
See Beatrice
Portinari, Manetto, 50, 254–5, 256
Poscia ch’Amor del tutto m’ha lasciato: in canzoni distese, 11
courtly life in, 6–7
donneare in, 139
leggiadria in, 4, 71, 107
and Paradiso, 71
praise: of Beatrice, 75, 182
in Donne ch’avete, 180, 181–5, 226
and lamentation, 74–5, 77, 244
in Li occhi dolenti, 75
of madonna, 180, 232–4
in Morte villana, 77
in Negli occhi, 226
of new love/donna gentile, 284
in Piangete, amanti, 74–5, 77
sonnets, 232
in Tanto gentile, 226
in Vede perfettamente, 232– 4; in Vita Nuova, 75, 129
prendere, 271–2
Provedi, saggio, ad esta visïone (Dante da Maiano), 37, 38, 42, 46, 58, 128
Provençal influences.
See Occitan influences
Pucci, Antonio, 63n20
Purgatorio: Amor che nella mente mi ragiona in, 178
Beatrice in, 134, 185, 276, 284, 302
Bonagiunta in, 198
cacciare in, 171–2
desire in, 41
Donna pietosa and, 215
Donne ch’avete and, 177
emenda / ammenda in, 102
friendship in, 92
God as presenter vs. r
e-presenter in, 157
Guidos Cavalcanti and Guinizzelli in, 224
Lia in, 128
love in, 117, 303
Matelda in, 128, 306
mystical / visionary experience in, 149–50, 209, 276
novità in, 134
pilgrims in, 291
St Augustine in, 151
St Stephen’s martyrdom in, 151
Sapia in, 291
stil novo in, 4, 177
Vergil in, 292
Voi che ’ntendendo in, 178
Qual che voi siate, amico, vostro manto, 7, 43, 45–6, 47, 49, 50, 52
Quando ’l consiglio degli ucce’ si tenne, 16, 63n20, 122–3
Quantunque volte, lasso!, mi rimembra, 239n109, 256–8
Cavalcantianism of, 256–7, 259
chiamare in, 257
Donne ch’avete compared to, 257
enjambment in, 257
Era venuta compared to, 259, 260
invocation of death in, 257
Li occhi dolenti compared to, 257
stanza length, 179
Venite a ’ntender compared to, 257
in Vita Nuova, 256
Questa donna ch’andar mi fa pensoso, 16, 122–3
Quirini, Giovanni, 302
quotidian local / historical references: in Commedia, 101, 238
in Deh pellegrini, 290–2
in Di donne io vidi, 236, 237
in Onde venite, 201
in sonnets, 198–9
in Voi che portate, 195.
See also social life
reason: appetite vs., 282
desire vs., 6, 56
in Doglia mi reca, 6, 56
love vs., 5, 179
passion vs., 56
soul and, 189, 281, 282, 303
triumph of, 56
and will, 303
representation: in Amor, da che convien, 81
in Degli occhi della mia donna, 156–7; “forma vera” vs. “morta imagine” in, 75–6
and lady painted in lover’s heart, 81–2, 110, 111, 166, 203
in Paradiso, 81
rappresentare and, 204
self-, 204–5
in Voi donne, 204–5
Rerum vulgarium fragmenta (Petrarch), 11, 18, 26, 65, 90n32, 250, 259n123, 286n138
Ricco da Varlungo, 37n1, 40
“Rime allegoriche e dottrinali” (Barbi), 13
“Rime del tempo della Vita Nuova” (Barbi), 13
“Rime della Vita Nuova” (Barbi), 13
Rime della “Vita Nuova” e della giovinezza (Barbi-Maggini), 9
“Rime di dubbia attribuzione” (Barbi), 13
rime dubbie, 26
Aï faus ris among, 122
Amore e monna Lagia among, 16, 26, 122–3
Barbi and, 13
Contini and, 14
De Robertis and, 17, 122–3
Degli occhi di quella gentil mia dama among, 122–3
Deh, piangi meco tu among, 122–3
Io sento pianger among, 122–3
Non v’accorgete voi d’un che·ssi more among, 122–3
Nulla mi parve più crudel cosa among, 122–3
ordering and, 13
Quando ’l consiglio among, 122–3
Questa donna ch’andar among, 122–3
Se ’l viso mio a la terra si china among, 122–3
Rime giovanili e della “Vita Nuova” (Barolini), 23, 27
“Rime per la Donna Pietra” (Barbi), 13
rime petrose: about, 4
erotic aggression in, 172–3, 181
ideology and style of, 98
Lo doloroso amor and, 167
passion and, 56
sexuality in, 97
“Rime varie del tempo dell’esilio” (Barbi), 13
ritrarre, 156
Roman de la rose, 82
Rossetti, Dante Gabriel, Dante’s Dream at the Time of the Death of Beatrice, 206, 215
Sapia, in Purgatorio, 291
Savere e cortesia, ingegno ed arte, 6, 55–7
Savete giudicar vostra ragione, 37, 41, 42, 46
screen-ladies, 87, 119, 136
sdonneare, 139
Se ’l viso mio a la terra si china, 16, 122–3
Se Lippo amico sè tu che mi leggi, 63–6
amico in, 50, 114n48
as Guittonian, 63, 64
and Lippo Pasci de’ Bardi, 113n46
metatextuality in, 8, 64–5
rhyme scheme, 63
as sent to friend, 94
sexual stereo-types / categories in, 65–6
“sonetto” in, 129
as sonetto rinterzato, 50, 63, 71, 77
syntax of, 64
vergogna in, 287n139
Se’ tu colui c’hai trattato sovente, 198–200
anthropology and, 7n5
botta e risposta structure with Voi che portate, 198, 203
boundary crossing in, 208
confortare in, 249
funeral rites in, 220
gender behaviour differences in, 109
gender segregation in, 204
imaginary tenzone in, 203
mourning in, 7, 198–9, 243
Onde venite compared to, 201
piangere/pianto in, 199
poet’s participation in mourning, 209–10
recognition by voice in, 198
social norms in, 119, 200, 204
in Vita Nuova, 194, 195
Voi donne compared to, 204
women in mourning rites in, 234
seduction: Lasso, per forza and, 287, 288
in Per quella via, 27, 302–4, 305–7
self: inner life of, in Sonar bracchetti, 105, 106–7
self-representation vs., in Voi donne, 204–5
self-pity.
See under pity
sfogare, 244–5
shame: in Convivio, 286–7
in donna gentile episode, 287
in Donna pietosa, 287
gender boundary crossing and, 307
in Inferno, 51
in Lasso, per forza, 286–8, 307
in Li occhi dolenti, 287
in O voi che per la via, 287
in Paradiso, 307
in Per quella via, 304, 307
in Sonar bracchetti, 287
in Tre donne, 287
in Vita Nuova, 286–7
writing self and, 287. See also vergognare/vergogna
Sì lungiamente m’ha tenuto Amore, 239–42
amore forte-amore soave conversion in, 240–2
Cavalcantianism of, 241–2
courtly love in, 240
De Robertis and, 241n113
and death of Beatrice, 239–40
effects of madonna on lover in, 239
fourteen-line stanza length, 179
as single-stanza canzone, 67, 239, 240
in Vita Nuova, 239, 240
Sicilian conventions: in La dispietata mente, 79, 81–2, 87–8
in Lo meo servente core, 67, 87–8
and Madonna, quel signor, 87–8
of Per una ghirlandetta, 127
and Volgete gli occhi, 110, 111
sighs: in Oltra la spera, 294–5, 297–8
in Tanto gentile, 230–1. See also sospirare / sospiri
significare, 39
S’io fosse quelli che d’Amor fu degno (Cavalcanti), 113–14
social conventions / norms: of behaviour, in Vita Nuova, 195
for corrotto, 198, 199, 203
for funerals, 198, 199, 203, 220
mourning, 194–7, 198, 199–200, 220, 234
in Se’ tu colui, 119, 200
in Voi che portate, 119, 195, 196.
See also gender
social life: in Amore e monna Lagia, 124
in Commedia, 101
in Deh pellegrini, 290–1
in Di Donne io vidi, 238
in lyrics, 7–8
in sonnets, 198–9
in Vede perfettamente, 233–4
in Vita Nuova, 209
among women, 233–4.
See also quotidian local / historical references
Società Dantesca Italiana, 9, 16
Sonar bracchetti e cacciatori aizzare, 104–9
brigata in, 7, 113, 124, 234, 256
Cavalcanti and, 127
courtly life in, 4, 107–8
friendship in, 6, 107–8, 113
gender in, 105–6, 107, 108–9
Guido, i’ vorrei compared to, 119
hunt in, 104–5, 106, 107
inner life of self in, 105, 106–7
leggiagria in, 107–8
love in, 105, 106–7
shame in, 287
and stil novo, 105
vanità in, 278n134
Volgete gli occhi and, 110, 111
Sonetti e canzoni di diversi antichi autori toscani (Giunti brothers), 12–13, 43–4
Sonetto, se Meuccio t’è mostrato, 94–6, 251n119
metatexual awareness in, 8; “sonetto” in, 129
sonetto rinterzato: Guittone and, 50, 63–4, 71, 77
Morte villana as, 63, 77
O voi che per la via as, 63, 70, 71, 77
Se Lippo amico as, 50, 63, 71
in Vita Nuova, 64
Sordello da Goito, 74, 293
sospirare / sospiri: in Lasso, per forza, 288
in Negli occhi porta, 229
in Tanto gentile, 229, 288
in Vede perfettamente, 233.
See also sighs
soul: abandonment of, 170–1
in Ciò che m’incontra, 150, 151–2
and desire, 41, 266
and dimensions of reality, 150, 151–2, 153–4, 277–8
and directio voluntatis, 266
in Donne ch’avete, 182
in E’ m’incresce di me, 170–2, 173–4
heart vs., in Gentil pensero, 280, 281, 282–4
as hunted, 171, 172
journey of, 165, 166
in Lo doloroso amor, 165, 166, 182, 277–8
and love, 303
moving from one passion to another, 134, 284
in Per quella via, 303–5
in Purgatorio, 303
reason and, 189, 281, 282, 303
in search of “albergo” in Convivio, 304–5
in Spesse fiate, 153–4
Spesse fiate vegnonmi a la mente, 153–5
Cavalcantianism of, 144, 153, 154, 156
direct speech in, 153
earthquake within lover in, 152, 153–4
Love in, 153–4
oscura in, 269
paura in, 156
self-pity in, 153
in Vita Nuova, 153, 154
sprezzatura, 71
Statius: in Purgatorio, 91–2, 115
Thebaid, 92
and Vergil, 91, 118
Stephen, St, martyrdom of, 151
stil novo: about, 4
Cavalcando l’altr’ier and, 134–5
in Convivio, 4
Degli occhi della mia donna as, 156, 157
Di donne io vidi and, 236
in Donne ch’avete, 79, 177
Guittonianism and, 39, 64
La dispietata mente and, 79
madonna in, 129
and Ne le man vostre, 158
Negli occhi porta and, 191, 192