La ‘mujer de verde’ en la sextina y aledaños de nuevo a revisión: Dante, Rime VII

El artículo se propone examinar la cuestión de la figura femenina que aparece en la sextina dantesca desde la perspectiva particular de su relación con la palabra rima “verde” y su modulación a lo largo de la composición. Tales usos se contemplan en un recorrido que cubre desde los puntos de continuidad con la tradición trovadoresca a las particularidades de la obra de Dante, en especial su incidencia en la configuración de la silueta que es posible intuir en diferentes composiciones suyas, las canciones llamadas petrosas y otras. Se toman en cuenta también la relación con Cino da Pistoia, el renovado panorama crítico acerca de la cuestión de los trovadores en Dante y el posible valor en la cultura medieval de las referencias a los colores.

The Other Woman (Collation)

This chapter investigates the significance of Dante’s decision to include his desires for another woman, whom he calls the ‘donna gentile’. Beginning with Kirkup’s discovery of a fresco in the Florentine Bargello that depicts a young Dante, the chapter explores how later readers have dealt with Dante’s introduction of this conflict of desires, which begins with Dante’s own reconsideration of the episode in the Convivio. While some have claimed that Dante later revised the work, this conflict of desires is crucial to the logic of his work. Although less widely adapted than his encounter with Beatrice, the ‘donna gentile’ episode has attracted some of Dante’s most attentive readers, from contemporaries such as Cino da Pistoia and Cecco d’Ascoli to the modernist poets W. B. Yeats and Eugenio Montale. Arguing for the profound significance of this episode, this chapter highlights Dante as not only the lover of Beatrice, but also the poet of multiple loves.

Nicolò de’ Rossi

Nicolò de’ Rossi (c. 1295–c. post-1348) was born in Treviso, Italy, toward the end of the 13th century and died in Venice after 1348. Beyond a preeminent legal activity that allowed him to take part as a Guelph to the unstable political events of those years, he was one of the most important literary personalities of his age in northern Italy. His cultural renown within the Trevisan area is confirmed by the fact that after the completion of his law studies in Bologna in 1318, he was preferred over Cino da Pistoia as professor of civil law at the academic Studium of Treviso, and he was often chosen as one of the members of diplomatic missions in several troublesome circumstances (in particular during the war against Cangrande della Scala). However, his name is primarily remembered because of his fervent literary activity: his poetic production includes more than 400 poems (sonnets and four canzoni, one associated to a Latin commentary) written between 1317 and 1329, collected, almost as a lyric canzoniere, in the manuscript Colombino 7.1.32 preserved at the Biblioteca Capitular in Seville. These poems mainly deal with love subjects (he experienced all the possibilities offered by the coeval tradition, from Guittone’s style to Stilnovo styles), as well as with political, moral, realistic, and religious themes. Furthermore, thanks to the testimony of this manuscript, we are able to recognize him as the author of the first vernacular examples of figurative poetry: by renewing the model of the Latin carmina figurata, he integrated the phonic element into the graphic one through the elaboration of complex visual architectures for four poems. His importance in the Veneto region is also due to his activity as a veritable editor of the Italian lyric tradition, as witnessed by another manuscript (Barberiniano lat. 3953 of the Vatican Library), collecting a wide series of Tuscan texts (by Dante, Cavalcanti, Cino da Pistoia, Cecco Angiolieri, etc.) that constitute a remarkable anthology based on particular criteria of selection and inner order.

Petrarch and Cino da Pistoia: A Moment in the Pre-history of the Canzoniere

This chapter examines the influence of Italian poet Cino da Pistoia on Petrarch's Canzoniere. It traces the emergence of the distinct tone of Petrarchan lyric from the dolce stil novo through the important filter of Cino da Pistoia. It suggests that the consonances between Cino da Pistoia's lyrics and Petrarch's may explain that warm homage to Cino at his death in Canzoniere 92 where Petrarch deliberately copied Cino's manner.