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Bernardo Bellincioni E La Corte Di Ludovico Il Moro

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Bernardo Bellincioni E La Corte Di Ludovico Il Moro 1 MATTEO BOSISIO «L’ACQUA DI PARNASO» BERNARDO BELLINCIONI E LA CORTE DI LUDOVICO IL MORO Nel 1485 il poeta fiorentino Bellincioni viene chiamato a Milano da Ludovico il Moro; presso gli Sforza svolge sino al 1492, anno della morte, il ruolo di organizzatore di feste, di ambasciatore e di cubiculario di Gian Galeazzo Maria Sforza1. L’esperienza poetica di Bellincioni trova compimento nella raccolta delle Rime, stampate postume nel 1493 a cura del religioso Francesco Tanzi2. La silloge è stata oggetto di numerose riserve da parte degli studiosi: la qualità modesta, il riuso pedissequo dello stile ‘alla burchia’, l’adulazione nei confronti di Ludovico Sforza, la quantità ridondante dei 1. Per la biografia e l’attività poetica dello scrittore si rinvia ad A. LUZIO, R. RENIER, Del Bellincioni, «Archivio storico lombardo», 16 (1889), pp. 703-720; V. ROSSI, Nuovi documenti su Bernardo Bellincioni, «Giornale ligustico di archeologia, storia e letteratura», 16 (1889), pp. 285-302; E. VERGA, Saggio di studi su Bernardo Bellincioni, poeta di corte di Lodovico il Moro, Milano, Cooperativa Editrice Italiana, 1892; A. DINA, Lodovico Sforza detto il Moro e Giovan Galeazzo Sforza nel canzoniere di Bernardo Bellincione, «Archivio storico lombardo», 11 (1884), pp. 716-740; S. PECCHIAI, Il testamento e l’eredità di un poeta cortigiano (Bernardo Bellincioni), «Archivio storico lombardo», 44 (1917), pp. 655-666; R. SCRIVANO, Bellincioni Bernardo, in Dizionario biografico degli Italiani, VII, Roma, Istituto della Enciclopedia Italiana, 1965, pp. 687-689 e A. BISANTI, Bernardo Bellincioni e il «Geta» di Vitale di Blois, «Schede umanistiche», 1 (2000), pp. 35-65. 2. Nelle Rime, formate da circa quattrocento componimenti, sono inseriti sei sonetti da attribuire a Bernardo e Luigi Pulci. Vd. in merito ROSSI, Nuovi documenti su Bernardo Bellincioni, cit. n. 1, pp. 286-287 e F. FLAMINI, Pulci o Bellincioni?, «Il Propugnatore», 2, 2 (1889), pp. 184-191. Le poesie sono state pubblicate in B. BELLINCIONI, Rime, riscontrate sui manoscritti, emendate e annotate da P. Fanfani, I-II, Bologna, Romagnoli, 1876-1878 (rist. facs. Bologna, Commissione per i testi di lingua, 1968). Visto lo scarso rigore filologico dell’edizione, citiamo direttamente dalla princeps: B. BELLINCIONI, Rime, Milano, Filippo da Mantegazza, 15 luglio 1493 (ISTC ib00303000). La riproduzione integrale dell’esemplare conservato presso la Biblioteca Trivulziana (Triv. Inc. C 40) è disponibile all’indirizzo:<http://graficheincomune.comune.milano.it/GraficheInComune/i mmagine/Triv.+Inc.+C+40,+piatto+anteriore> (qui e altrove ultima consultazione: maggio 2020). Pubblicato in rete il 30 settembre 2020 (aggiornamento 16 ottobre) http://graficheincomune.comune.milano.it/GraficheInComune/bacheca/unascritturaallospecchio in occasione della mostra Una scrittura allo specchio. I segreti della sinistra mano di Leonardo (Milano, Biblioteca Trivulziana, Sala del Tesoro, 31 gennaio – 19 aprile 2020) 2 componimenti costituiscono limiti oggettivi. Spesso, però, l’esame dei testi di Bellincioni è stato condizionato da un approccio moralistico e da alcuni pregiudizi, che non hanno permesso di osservare i punti di forza della raccolta: per esempio, la società ambrosiana del Quattrocento e i suoi attori principali spiccano nelle Rime da una prospettiva davvero singolare. Infatti, la produzione letteraria di Bellincioni rappresenta con vivacità e passione i rapporti di committenza, di amicizia e, soprattutto, i contrasti presenti nella corte ludoviciana. Questa con le sue regole produttive e le continue istanze di legittimazione culturale diviene un referente imprescindibile, che determina in parte la struttura nonché l’impostazione stessa delle Rime. L’articolo intende così fare luce sui legami di amicizia e, soprattutto, di rivalità che affiorano dalle poesie di Bellincioni, punto di osservazione privilegiato per analizzare le dinamiche della corte ambrosiana e le caratteristiche peculiari della sua letteratura. Occorre prendere le mosse dalla celebre ed enfatica premessa che Francesco Tanzi acclude al volume delle Rime: il religioso sostiene che a corte il «faceto poeta Belinzone» abbia insegnato a seguire l’esempio delle «argute, terse e prompte sue rime»3. Ebbene, la lodevole attività dello scrittore sarebbe consistita nel «limare e polire» il «rozo parlare» dei milanesi. Inoltre, «prima ch’el venessi, 3. È noto il ritardo che Milano accumula nella pratica della letteratura volgare rispetto ad altre realtà più ricettive. Sui motivi e le conseguenze si vedano, almeno, C. GRAYSON, La letteratura e la corte sforzesca alla fine del Quattrocento, in Milano nell’età di Ludovico il Moro. Atti del Convegno internazionale (28 febbraio – 4 marzo 1983), I-II, Milano, Archivio Storico Civico e Biblioteca Trivulziana, 1983, II, pp. 651- 660; P. BONGRANI, Lingua e letteratura a Milano nell’età sforzesca. Una raccolta di studi, Parma, Università degli Studi-Istituto di Filologia moderna, 1986; ID., Novità sulla letteratura volgare nella Milano di fine Quattrocento, in Politica, cultura e lingua nell’età sforzesca. Incontro di studio (20 gennaio 1994), Milano, Istituto Lombardo di Scienze e Lettere, 1995, pp. 68-75; A. TISSONI BENVENUTI, I modelli fiorentini e la letteratura a Milano all’epoca degli Sforza, in Florence and Milan: Comparisons and Relations. Acts of Two Conferences at Villa I Tatti in 1982-1984, edited by C.H. Smyth, G.C. Garfagnini, I-II, Firenze, La Nuova Italia, 1989, I, pp. 41-55; S. ALBONICO, Appunti su Ludovico il Moro e le lettere, in Ludovicus dux, a cura di L. Giordano, Vigevano, Società Storica Vigevanese-Diakronia, 1995, pp. 66-91; F. SANTI, Tra latino e volgare. Appunti su Beatrice d’Este e una committenza divisa, «Semicerchio», 22 (2000), pp. 64-73 e S. MORGANA, L’età dei Visconti e degli Sforza, in EAD., Storia linguistica di Milano, Roma, Carocci, 2012, pp. 25-49. Pubblicato in rete il 30 settembre 2020 (aggiornamento 16 ottobre) http://graficheincomune.comune.milano.it/GraficheInComune/bacheca/unascritturaallospecchio in occasione della mostra Una scrittura allo specchio. I segreti della sinistra mano di Leonardo (Milano, Biblioteca Trivulziana, Sala del Tesoro, 31 gennaio – 19 aprile 2020) 3 pochi qui erano chi sapesse che volesse dir sonetto: hora ce ne sono tanti che non solamente gl’intendono, ma compongono». In effetti, «tutti dui i Navili [scil. la Martesana e il Naviglio Grande]» sono «diventati de l’acqua di Parnaso» (c. a1r). L’imbarazzo dei poeti ambrosiani, chiamati a esprimersi in un volgare sovramunicipale pur conservando la propria identità cittadina, è testimoniato da un passaggio dei Rithimi di Gaspare Visconti. Lo scrittore – nella prefazione della sua impegnativa raccolta poetica, pubblicata anch’essa nel 1493 – ammette il suo disagio dinanzi a un’opera composta «nel nostro non molto polito naturale idioma milanese»4. Non si dimentichi, di rincalzo, quanto lo strumento della lingua fiorentina agevoli l’inserimento di Leonardo da Vinci nel 1482 presso l’agguerrita società ludoviciana5. Nonostante il probabile contributo di Bellincioni, che fa conoscere a Milano alcuni aspetti della letteratura fiorentina, risultano evidentemente sproporzionati gli elogi di Tanzi, anche perché gli intellettuali ambrosiani si dimostrano sprezzanti nei confronti dello scrittore: invero, dai componimenti che parlano di lui non emergono mai sentimenti di gratitudine e di stima. Alludiamo, per esempio, ai sonetti dei Canzonieri con cui Geronimo Tuttavilla e Gaspare Visconti discutono sullo stile più corretto da 4. G. VISCONTI, Rithimi, Milano, [Antonio Zarotto, non prima del 26 febbraio 1493], c. a2r (ISTC iv00265500). La riproduzione integrale dell’esemplare dell’edizione conservato presso la Biblioteca Trivulziana (Triv. Inc. C 188) è disponibile all’indirizzo:<http://graficheincomune.comune.milano.it/Grafiche InComune/immagine/Triv.+Inc.+C+188,+piatto+anteriore>. Sull’opera si veda, tra tutti, L. GIACHINO, Gasparo Visconti (1461-1499) 1. Rithimi, in Atlante dei canzonieri in volgare del Quattrocento, a cura di A. Comboni, T. Zanato, Firenze, SISMEL-Edizioni del Galluzzo, 2017, pp. 600-605. 5. Cfr. C. DIONISOTTI, Leonardo uomo di lettere, «Italia medioevale e umanistica», 5 (1962), pp. 183-216, in particolare alla p. 215: «A Milano, egli parla una lingua che tutti, a corte, intendono e ammirano, e che nessuno, neppure a corte, nonché in città, nessuno che non sia come lui ospite venuto di Toscana, è in grado di parlare. […] c’è, ultima moda, tardi venuta e non senza forti contrasti, una abbondante richiesta di lingua e letteratura toscana. Leonardo, chiamato e stipendiato a Milano come artista, inaspettatamente ritrova in se stesso, nell’attrito della conversazione, una forza di seduzione e di dominio che gli è facile, naturale: la sua lingua». Sulla questione si vedano anche C. VECCE, Leonardo, presentazione di C. Pedretti, Roma, Salerno Editrice, 1998, pp. 99-104 e ID., La biblioteca perduta. I libri di Leonardo, Roma, Salerno Editrice, 2017, pp. 123-153. Pubblicato in rete il 30 settembre 2020 (aggiornamento 16 ottobre) http://graficheincomune.comune.milano.it/GraficheInComune/bacheca/unascritturaallospecchio in occasione della mostra Una scrittura allo specchio. I segreti della sinistra mano di Leonardo (Milano, Biblioteca Trivulziana, Sala del Tesoro, 31 gennaio – 19 aprile 2020) 4 adottare in poesia (XXI [11]-XXIII [13])6: se si scrive in modo troppo elevato, si corre il rischio di non essere compresi dai lettori; per converso, il linguaggio basso non è gradito dal pubblico più esigente.
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