Donna pietosa compared to, 206
E’ m’incresce di me compared to, 178
as favourite of Dante, 177
God speaking in, 180, 181–2, 184
gridare in, 181
Guinizzellian heritage in, 167
“intel-letto d’amore” in, 8, 179, 185, 297
Io mi senti’ svegliar compared to, 178
La dispietata mente compared to, 178
ladies in, 170, 232
lady/madonna in, 88, 156, 174, 180–1, 185, 192, 226n100, 236, 237, 246
length and construction of, 179, 239
lexicon of speaking in, 179–80
Li occhi dolenti and, 243, 244–5
Lo doloroso amor and, 164, 178
love in, 184
metaphysical content, 178
as miracle in act, 229
narcissism in, 278
newness of, 178–9
among “nove rime,” 188; placement of, 188
praise of lady/madonna in, 180, 181–5, 226
and Purgatorio, 20, 21, 177, 188
Quantunque volte compared to, 257
Rossetti and, 206
self-pity in, 278
Società Dantesca Italiana edition and, 16
speech-act in, 244–5
and stil novo, 79, 177
theology / theologization in, 164, 178, 181, 215
vanità in, 278n134
in Vita Nuova, 21, 177, 178, 188
donneare, 139
E di febbraio vi dono bella caccia (Folgore), 104–5
E’ m’incresce di me sì duramente, 170–6
Barbi and, 170
Beatrice in, 5, 170
cacciare in, 171–2
in canzoni distese, 11
Cavalcantianism and Guinizzellianism mingled in, 156
Cavalcantianism in, 158, 170–3
conforto in, 249n116; Donne ch’avete compared to, 178
erotic aggression in, 172–3, 174
fuori in, 260n124; gridare in, 172, 181
lady in, 170, 172–4
Lo doloroso amor as sister canzone, 162, 165
love as hunter in, 171–2
murderous lady in, 170
painful love in, 161, 170
placement of, 170
theology / theologization in, 158, 164, 181
and Vita Nuova, 162–3, 173
“Editing Dante’s Rime and Italian Cultural History” (Barolini), 11n15, 22, 23n32
Enrichetto delle Querce, 100
Era in penser d’amor quand’i’ trovai (Cavalcanti), 135–6
Era venuta nella mente mia / Era venuta ne la mente mia, 259–64
and anniversary of Beatrice’s death, 259–60
Barbi-Maggini on, 260
Cavalcantianism in, 260
Color d’amore compared to, 273
De Robertis and, 25, 259
editorial intervention in, 259
fuori in, 260–1
identity of madonna in, 260
memory of dead lady, 298
Primo cominciamento, 261–2
Quantunque volte compared to, 259
Secondo cominciamento, 261–2
theologization in, 262–3
two redactions of, 24, 260–1
variant texts, 259
in Vita Nuova, 24, 25, 259, 260, 261–3
erotic aggression: in E’ m’incresce di me, 172–3
in rime petrose, 172–3, 181
eschatology: in Inferno, 167
in Lo doloroso amor, 164, 165–6, 167, 182
in Paradiso, 167
escondig, Ballata, i’ voi as, 138, 141, 275
estravaganti: meaning of, 11n15, 168n84
omitted from Convivio and Vita Nuova, 22
Ethics (Aristotle), 4, 6, 55, 92, 113n45
eyes: in Degli occhi della mia donna, 156–7
of lady, 170, 172, 193, 236
in Li occhi dolenti, 243
of madonna, 156–7, 226n100
in Negli occhi porta, 193
and new love, 288
of poet, 101, 102, 275–6, 278–9, 281, 286, 288
vanità and, 278–9, 286
in Volgete gli occhi, 110, 111. See also gaze
familial terminology, 95
Farinata, 198
farnetico / farneticare, 47–8, 208
favoleggiar, 47–8
“figura nova,” 147
Finfo amico, dire io voi presente (Guittone d’Arezzo), 50, 64
Fioretta, 163
Madonna, quel signor and, 87
in Per una ghirlandetta, 127–8, 129, 237
“fiso”: in Commedia, 248
in mystical / visionary contexts, 247–8
Folgore da San Gimignano: and brigata, 236
courtly brio of, 4
E di febbraio vi dono bella caccia, 104–5
and death of Beatrice, 276–7
of first love, 283
in L’amaro lagrimar, 278–9, 283
moral danger of, 278–9, 283
Foster, Kenelm, 9–10
Foster-Boyde: and Amore e ’l cor gentil, 188
and Barolini’s edition, 22
chronological ordering of edition, 14
on Di donne io vidi, 236
on Donna pietosa, 206
on Io sono stato, 6
and La dispietata mente, 162
on Li occhi dolenti, 244
and Lo doloroso amor, 156, 161, 162
and O voi che per la via, 70
and Per quella via, 302
on Provedi, saggio, 38n5
and Santangelo, 44
on theological elements, 181
on Tutti li miei penser, 145
on Vede perfettamente, 233
and Vita Nuova, 14, 22, 23
Francesca da Rimini, in Inferno, 58, 131, 165, 188, 246, 273, 282
free will: choice vs., 55
in Commedia, 6
love vs., 5, 55
responsibility vs., 55
in Savere e cortesia, 6. See also will
Fresca rosa novella (Cavalcanti), 13n19, 127–8, 131–2, 184, 223
friendship: amico vs., 50
and Beatrice’s brother, 256
Cicero and, 6, 47, 50–1, 92, 113n45, 116
in Commedia, 115, 118
in De vulgari eloquentia, 114–15
in Deh ragioniamo, 6, 91–2, 113
in Guido, i’ vorrei, 91–2, 108, 110, 113–18
in I’ vegno ’l giorno a·tte ’nfinite volte, 114
love vs., 107–8, 110–11
in lyrics, 6–7
oneness vs. individuality / plurality in, 115–18, 119
poetry and, 50, 113–14, 115
in Purgatorio 22, 92
relaxation and, 91–2
semantics of, 92
in Sonar bracchetti, 107–8, 113
of Statius and Vergil, 91, 118
in Volgete gli occhi, 108, 110–11, 113. See also brigata
Frisardi, Andrew, 27–8
funerals: corrotto, 198, 199, 203, 209
lamentations, 198
procession of women, 199–200
rites for Beatrice, 209–10
social norms / rites associated with death, 198, 199, 203, 220.
See also mourning
fuori, 260–1
gabbo: Cavalcantianism and, 144
in Ciò che m’incontra, 149, 154
in Con l’altre donne, 146, 149, 154
and vergognare, 287
Garisenda tower, Bologna, 7, 100–1
garlands: in Per una ghirlandetta, 128–9, 237n108
in Purgatorio, 38, 39–40, 128
in tenzone with Dante da Maiano, 38, 39–40.
See also ghirlanda/ghirlandetta
gaze: in Di donne io vidi, 237–8
in Negli occhi porta, 227–8
in Paradiso, 238
seduction through, 288
in Tanto gentile, 227–8.
See also eyes
gender: attributes by, 273
and brigata, 124, 234; in Convivio, 106n40
and falling in love, 273
in lyrics, 6–7
and mourning, 194–7, 198, 199, 234
in Paradiso, 109
in Per quella via, 307
in Se Lippo amico, 65–6
in Se’ tu colui, 109, 204
in Sonar bracchetti, 105–6, 107, 108–9
in Vita Nuova, 118
in Voi che portate, 109, 204
gender boundary crossing: in Amore e ’l cor gentil, 189–90, 273
in Doglia mi reca, 189
in love, 189–90
in mixed groups, 7, 118–19
in Paradiso, 307
in Se’ tu colui, 200, 204, 208
and shame, 307
in Voi che portate, 204, 208
weeping and, 199
genres, ordering by, 9, 12–13, 16, 18, 19, 161
Gentil pensero che parla di vui, 280–5
and Amor che nella mente mi ragiona, 280
Cavalcantianism and, 280–1
consolare in, 249n117
De Robertis and, 280, 283
donna gentile in, 265, 281, 282–4
heart-soul dialogue in, 280, 281, 282–4
L’amaro lagrimar compared to, 280, 283
new love / lady in, 281, 282–4, 304
in Vita Nuova, 275, 280, 281, 283, 284
Voi che ’ntendendo and, 26, 280
Geri del Bello, 51
Gerusalemme liberata (Tasso), 181
ghirlanda/ghirlandetta: and circularity, 129
in Commedia, 128.
See also garlands Giacomino Pugliese, Morte, perché m’hai fatta sì gran guerra, 77
Giacomo da Lentini, 39, 79, 166, 230
Io m’aggio posto in core a Dio servire, 165, 216
Meravigliosamente, 67, 81
Giovanna / Vanna: and Beatrice, 224
Cavalcanti and, 127, 222, 224
in Guido, i’ vorrei, 118–19, 222
in Io mi senti’ svegliar, 118n58
and John the Baptist, 224
“monna,” 222–4
as Primavera, 223–4
Vanna as nickname for Giovanna, 222
in Vita Nuova, 127
Giunta, Claudio, 17, 23
Giunti brothers, Sonetti e canzoni di diversi antichi autori toscani, 12–13, 43–4
Giuntina: about, 12–13
De Robertis and, 322 15–16
and Lo doloroso amor, 168
ordering in, 12–13, 15–16
tenzoni between Dante and Dante da Maiano in, 13n19
and Vita Nuova, 22, 23
God: in Al cor gentil, 181, 184
in Donne ch’avete, 180, 181–2, 183, 184, 186, 246, 278
in E’ m’incresce di me, 174
in Era venuta, 261
in Gentil pensero, 281, 283
in Giacomo da Lentini’s Io m’aggio posto, 165
in Guinizzelli’s Al cor gentil, 166
in La dispietata mente, 81, 82
in Li occhi dolenti, 246, 247
in Lo doloroso amor, 165–6
Ne le man vostre and, 158
in Per una ghirlandetta, 129
as presenting vs. re-presenting, 95n36, 157, 228n104
Sonetto, se Meuccio and, 95
Gorni, Guglielmo, 25, 78, 113n46, 139, 215, 244
Gragnolati, Manuele, 28
gridare: in Donne ch’avete, 181
in E’ m’incresce di me, 172, 181
Guido, i’ vorrei che tu e Lapo ed io, 113–21
amico not used in, 50
and Amore e monna Lagia, 123
brigata in, 7, 118–19, 124, 234, 256
Cavalcantianism and, 127
De Robertis on, 17
friendship and poetry link in, 113–14
friendship in, 6, 50, 91–2, 108, 110, 113–18
Guido of, vs. Vita Nuova Guido, 224
harmony / immortality in, 117
lady in, 129
Lapo in, 17, 116, 117
and “Lippo,” 25–6, 113n46
melancholy in, 120
mixed-gender brigata in, 7, 118–19
“monna Lagia” in, 118–19
“monna Vanna” in, 118–19, 222
Paradiso compared to, 120
philosophical themes in, 8
Sonar bracchetti compared, 119
syntax of, 120–1
Guido da Montefeltro, 101–2, 240
Guido del Duca, 49
Guido delle Colonne, Amor che lungiamente m’hai menato, 240
Guinizzelli, Guido: Al cor gentil rimpaira sempre amore, 166, 181, 183–4, 188, 189
in Amore e ’l cor gentil, 51n13, 188, 189, 190
Bonagiunta and, 46
in De vulgari eloquentia, 114
Io voglio del ver la mia donna laudare, 80, 183, 192, 236–7, 247
and love that hunts, 171
in Purgatorio, 171
Guinizzellianism: in A ciascun’alma, 58
Cavalcantianism mingled with, 156
and Com più vi fere Amor, 98
in Degli occhi della mia donna, 156
in Donne ch’avete, 167
in E’ m’incresce di me, 156
in Lo doloroso amor, 156, 167
and madonna, 80, 233
and new style, 134–5
and theologization of courtly system, 159, 164
and Tutti li miei penser, 143
Guittone d’Arezzo: and amico, 49–51
bella gioia of, 164
and corone of sonnets, 17
Finfo amico, dire io voi presente, 50, 64
Mastro Bandino amico, el mio preghero, 50, 64
Messer Bottaccio amico, ogn’animale, 49–50, 64
Messer Giovanni amico, ’n vostro amore, 49–50, 64
Ora parrà s’eo saverò cantare, 45, 98, 143
and senhal “bella gioia,” 149; and sonetti rinterzati, 50, 63–4, 71
and style of Com più vi fere Amor, 98
Guittonianism: in Commedia, 78
and incipits composed of settenari, 67
of lyrics, 4
and Morte villana, 63–4, 77–8
and Se Lippo amico, 63, 64
and sonetti rinterzati, 63–4, 71, 77
of sonnets exchanged by Dante with Dante da Maiano, 64
stil novo and, 39, 64
of the “tenzone del duol d’amore,” 49–50
in Vita Nuova, 58, 63–4
heart: bitterness in, 163, 167, 207, 213
colour of, 151, 185
dialogue with soul in Gentil pensero, 280, 281, 282–4
earthquake of, 152
lady painted in lover’s, 81–2, 110, 111, 166, 203
of lover, fed to beloved, 46, 47, 59
noble, 58, 188, 189, 273
as petrified / of stone, 4, 246, 247
sigh from, 294, 297
sweetness in, 226, 228, 298
trembling of, 143, 145, 151, 152, 153–4
Horace, Carmina, 271
hunt / hunting: dogs, in Convivio, 106n40
Folgore and, 104–5
love vs., 108–9
in Sonar bracchetti, 104–5, 106, 107, 108–9
hyperbole: in Donne ch’avete, 79, 182
in L’amaro lagrimar, 277–8
in Lo doloroso amor, 163, 164, 167, 182, 277–8
in Vede perfettamente, 231
I’ ho veduto già senza radice, sonnet to Cino da Pistoia, 108n43
I’ vegno ’l giorno a·tte ’nfinite volte (Cavalcanti), 110, 114, 120, 172, 250, 267
as anti-consolatoria, 114, 250n118
In un boschetto trova’ pasturella (Cavalcanti), 128
Inferno: ammenda / prenda / intenda in, 101–2
Cavalcante de’ Cavalcanti in, 120
Cavalcanti in, 126
construction of Donna pietosa and, 213
courtly life and, 82
Dido in, 282
earthquake, 152
embedded speeches in, 213
eschatology in, 167
Francesca da Rimini in, 58, 131, 165, 188, 246, 273, 282
Garisenda in, 100–1
lust in, 6, 165
metatextual lexicon of, 65
Muses of, 192
oscura in, 269
Paolo Malatesta in, 188, 273
shame in, 51
“intelletto d’amore,” 8, 179, 185, 297
Io m’aggio posto in core a Dio servire (Giacomo da Lentini), 165, 216
Io mi senti’ svegliar dentro a lo core, 222–5
Bice in, 163n83, 182n90, 222, 223, 244
and Cavalcanti, 224
Donne ch’avete compared to, 178
Love in, 221, 222
naming of names in, 223
Vanna in, 118n58, 222–3
in Vita Nuova, 222
Io non pensava che lo cor giammai (Cavalcanti), 132, 139, 140
Io sento pianger l’anima nel core, 17, 122–3
Io sento sì d’Amor la gran possanza: in canzoni distese, 11
conforto in, 249n116
vergogna in, 287n139
Io son venuto al punto della rota: as canzone petrosa, 4
in canzoni distese, 11
confortare in, 249n116
Io sono stato con Amore insieme, 5–6
Io voglio del ver la mia donna laudare (Guinizzelli), 80, 183, 192, 236–7, 247
Jacopone da Todi, 151
Jeremiah, Lamentations of: in O voi che per la via, 72
in Sì lungiamente, 239
and suffering of Florence, 291
in Vita Nuova, 72–3, 291.
See also lamentation(s)
Jesus Christ: Beatrice and, 159, 224
lady painted in lover’s heart and, 81
madonna and, 215
in Ne le man vostre, 158, 159
in Paradiso, 248–9
John the Baptist, 223, 224
journey motif: in Cavalcando l’altr’ier, 134
and desire, 40–1
of falling in love, 303
of life in Commedia, 84
of life in Convivio, 84
in Oltra la spera, 295
in otherworld, 295
in Per quella via, 303
of soul, 165, 166
in Vita Nuova, 144
La dispietata mente che pur mira, 79–86
amico in, 50, 114n48
in canzoni distese, 12
characteristics of love in, 87–8
conforto in, 249n116
congedo of, 94
“dolce loco” in, 88
Donne ch’avete compared to, 178
Foster-Boyde and, 162
and Giacomo da Lentini, 165
honour in, 8
lady painted in lover’s heart in, 81–2, 110
Lo doloroso amor compared to, 162
Madonna, quel signor and, 87, 88
master-servant trope in, 8, 80
Sicilian / Provençal style of, 4, 87–8
social classes in, 8
lady: as beatrice, 140