By Olivia Holmes
In the course of the thirteenth century Western Europe witnessed an explosion in vernacular literacy, leading to a wide physique of manuscript anthologies of secular and renowned troubadour lyrics. presently afterwards, those multi-authored compilations have been succeeded through books of poems by means of unmarried authors, significantly through Petrarch in the course of the 14th century. This distinct but readable thesis attracts on an intensive variety of archival resources to check the explanations for this transition in Provencal and Italian literature, combining normal analyses of manuscripts and authors with particular experiences of, for instance, Guittone d' Arezzo, Dante's Vita Nova , Nicolo de Rossi and Petrarch's Canzoniere . Extracts translated.
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Extra info for Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book
Chanchons ioiossa emarida. lauzan del be cai agut. eplaiguen can lai perdut. (79rA–B) I have waited a long time for a suitable subject on which to make a pleasant song, but one has not yet come to me. And if I want to make a truthful song on the subject that I have, it will have to be divided in half, a song joyous and bitter, praising the good that I have had, and pleading when I have lost it. The speaker is still looking for an entirely pleasant subject — or an invariably gracious lady? — with which (or for whom) to make an unqualifiedly happy song.
Barberino’s I documenti d’Amore consists of the teachings of Love, dictated to his intermediary Eloquence under the aegis of twelve different ladies in turn, each one a personified virtue. The first-person speaker, the “lover,” is at first given the task of uniting Love’s followers in the god’s most important stronghold for the speech, and then that of drawing up the rules and communicating them to those not present. Each section of the book opens with a miniature of the virtue presiding and a brief explication of that miniature.
I can only observe, as I did with regard to his vida and razos, that he made no effort to be recognized as such or to distinguish his own work in any way. He left no visible mark on the collection. Aside from the poems explicitly attributed to him, the only completely reliable evidence that we have of Uc’s literary activity is thus his signature on the razo for Savaric de Mauleon. But we know that he wrote at least one razo, and therefore must have been concerned to a certain extent with the relation between the troubadours’ texts and their lives, and the literary construction of vernacular authorship.
Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book by Olivia Holmes