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
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
an
d 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
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 ammenda: 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
Ora parrà s’eo saverò cantare (Guittone d’Arezzo), 45, 98, 143
ordering, of lyrics: amorous / erotic vs. moral in, 12, 16, 19