By Olivia Holmes
Throughout the thirteenth century Western Europe witnessed an explosion in vernacular literacy, leading to a wide physique of manuscript anthologies of secular and well known troubadour lyrics. presently afterwards, those multi-authored compilations have been succeeded by way of books of poems via unmarried authors, significantly through Petrarch through the 14th century. This specified but readable thesis attracts on an intensive variety of archival assets to envision the explanations for this transition in Provencal and Italian literature, combining common analyses of manuscripts and authors with particular reports of, for instance, Guittone d' Arezzo, Dante's Vita Nova , Nicolo de Rossi and Petrarch's Canzoniere . Extracts translated.
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Extra resources for Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book
Although the genitive “alberici” is usually taken to mean that the book belonged to Alberico, one wonders if it could not have been “his book” in the sense that it was he who actually put it together. B), he identifies himself as the author of “estas razos,” which must refer at the very least to all of the biographies occurring in the collection in which this one figures, preserved in ms. A) names Uc de Saint Circ as its author, and, while this ascription is probably a later scribal insertion and not an authentic signature, it reveals the fact that Uc was generally thought of as the biographer par excellence; (3) linguistic research has established that virtually all of the vidas and razos were composed between 1225 and 1250 in the area around Treviso; meanwhile historical documents confirm Uc’s presence in that region from 1219 to 1257; (4) an intricate network of common errors and 26 Uc de Saint Circ cross-references reinforces the claim that the bulk of the vidas and razos are the work of a single person.
52 I have indeed found the manuscript texts both humbling and fascinating. Is this but one more version of the Romantic “return to origins,” another naïve attempt at restoration of some sort of elusive authenticity? Perhaps, but I do not mean to imply that we can ever really get there from here. I only hope to avoid some of the road’s larger potholes and pitfalls. 24 CHAPTER 2 ✣ Uc de Saint Circ I n order to understand the emergence in Italy of lyric cycles and codices ordered by their authors, I would like to investigate as a point of departure the role played by the author in an earlier Occitan anthology compiled presumably by scribes.
De madona que mais me noseria. ab lei la mals nomen 33 Uc de Saint Circ valrial bes. per quem fara fort bo se eu poges. qeu men partis mas per deu non poiria. (78rB) I know if I had harmed her as much as I have been of service to her and have exalted her worth, she would be right to hate me more than anything, since I have learned about milady that her hatred would hurt me more than her good will would help me, for which reason it would do me good to leave, if I could, but by god, I would not be able to.
Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book by Olivia Holmes