Publication: Entre Petrarca y Bembo: lengua y poética de la "Bella mano" de Giusto de' Conti
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2018-03-19
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Universidad Complutense de Madrid
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Abstract
El cancionero Bella mano del poeta de Valmontone Giusto de’ Conti es indudablemente el gran desconocido de la literatura del siglo XV. La atención de la crítica literaria es todavía escasa con respecto a su valor y al rol sesempeñado en el panorama de la tradición lírica italiana. La obra representa, en efecto, la primera imitación sistemática de Petrarca, tanto a nivel lingüístico y métrico como también macrotextual. Se trata de 150 composiciones, mayormente sonetos y canciones- que constituyen las formas métricas más utilizadas también por el modelo aretino en su Canzoniere- unidas bajo las insignias de Amor, responsable de la pasión del poeta por Isabetta, una dama boloñesa que acabará, desdichadamente, en los brazos de otro amante. La infeliz historia amorosa termina con tres tercetos encadenados, en el último de los cuales Giusto, abandonado a una visión onírica, llega a contemplar platónicamente la idea de la amada, ampliando de esta forma la imitación a los Triumphi. Nuestro trabajo tiene el objetivo de restituir a la Bella mano la posición que se merece en el panorama de la ilustre tradición lírica italiana, a través de un estudio filológico de los topoi literarios que alimentan la inspiración poética de Conti, como también su imitación de las auctoritas a las que hace continuamente referencia...
The songbook Bella mano, written by Giusto de’ Conti, is undoubtedly the big unknow of the Italian literature of the 15th century. Nevertheless, this literary work represents the first systematic imitation of Petrarch’s style, not only linguistically and metrically speaking, but also in relation to the macro-text of the Canzoniere. Bella mano is composed of 150 poems, mainly sonnets and songs – i.e. the most used metrical forms in the Rerum vulgarium fragmenta - joined under the signature of Love, the same force which is responsible for de’ Conti’s passionate relationship with Isabetta, a lady from Bologna who will end up in the arms of another lover. Hence, the collection of poems chronicles the turbulent love story between the poet and his muse, charting a journey which will end with de’ Conti contemplating the platonic idea of Isabetta in a dreamy vision of her. The final part of the songbook, which consists of three compositions written in tercets, extends therefore the imitation job to Petrarch’s Triumphi. Our work aims at placing Bella mano back into a well-deserved position within the distinguished Italian lyric tradition, through a philological study of the literary topoi which feed de’ Conti's poetical inspiration, as well as his imitation of the auctoritas to which he refers constantly. This thesis counts five chapters, which outline an ideal tour that starts from the analysis of classic sources (Latin and vulgar), constituted mainly by the works of elegiac poets Dante and Petrarch, and ends highlighting the poetical legacy found within the verses of Bella mano. We will initially focus on the 15th century, in which Boiardo surely represents one of the most influential literary personalities. We will then delve into the very complicated relationship that Pietro Bembo, the father of the Renaissance classicism, establishes with the figure of Giusto de’ Conti...
The songbook Bella mano, written by Giusto de’ Conti, is undoubtedly the big unknow of the Italian literature of the 15th century. Nevertheless, this literary work represents the first systematic imitation of Petrarch’s style, not only linguistically and metrically speaking, but also in relation to the macro-text of the Canzoniere. Bella mano is composed of 150 poems, mainly sonnets and songs – i.e. the most used metrical forms in the Rerum vulgarium fragmenta - joined under the signature of Love, the same force which is responsible for de’ Conti’s passionate relationship with Isabetta, a lady from Bologna who will end up in the arms of another lover. Hence, the collection of poems chronicles the turbulent love story between the poet and his muse, charting a journey which will end with de’ Conti contemplating the platonic idea of Isabetta in a dreamy vision of her. The final part of the songbook, which consists of three compositions written in tercets, extends therefore the imitation job to Petrarch’s Triumphi. Our work aims at placing Bella mano back into a well-deserved position within the distinguished Italian lyric tradition, through a philological study of the literary topoi which feed de’ Conti's poetical inspiration, as well as his imitation of the auctoritas to which he refers constantly. This thesis counts five chapters, which outline an ideal tour that starts from the analysis of classic sources (Latin and vulgar), constituted mainly by the works of elegiac poets Dante and Petrarch, and ends highlighting the poetical legacy found within the verses of Bella mano. We will initially focus on the 15th century, in which Boiardo surely represents one of the most influential literary personalities. We will then delve into the very complicated relationship that Pietro Bembo, the father of the Renaissance classicism, establishes with the figure of Giusto de’ Conti...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Italiana, leída el 04-07-2017