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The Origin and Role of Sospiro in the Poetry of Guido Cavalcanti

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The Origin and Role of Sospiro in the Poetry of Guido Cavalcanti THE ORIGIN AND ROLE OF SOSPIRO IN THE POETRY OF GUIDO CAVALCANTI by ROMMANY JENKINS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis focuses on the keyword sospiro (‘sigh’) in the poetry of Guido Cavalcanti. It reads this word in relation to the lyric poetry of Occitania and Italy, and medical literature related to lovesickness. It approaches Cavalcanti’s work in this way in order to avoid the distortion of a Dantean lens, as part of a trend since the anniverary of his death in 2000 towards considering Cavalcanti’s work on its own terms. Inspired by Raymond Williams’ Keywords, this thesis looks beyond the familiar presence of sospiro in lyric poetry, revealing a word acting as a locus of innovative expression. It finds that while the sigh is generally regarded as a literary commonplace, it can in fact tell us much about the society and culture in which it is used. Sospiro is then traced in medical literature, charting its evolution as a symptom of the disease of lovesickness. Against this backdrop, a reading of sospiro in Cavalcanti’s poetry is given which argues for the need to listen to both the lyric and medical contexts when interpreting the role of this word. As such, this thesis offers a consideration of these two contexts in parallel, through sospiro, for the first time. For Grandma and Grandad In memory ACKNOWLEDGEMENTS This thesis has been supported by funding from the College of Arts and Law at the University of Birmingham and a scholarship from the Il Circolo Cultural Association. My thanks are extended to all those in Italian Studies within the Department of Modern Languages. In particular, I would like to express a debt of gratitude to my supervisor Dr Paolo De Ventura without whose advice, insights and unwavering support I would not have completed this thesis. My sincere thanks are also extended to Dr Ita Mac Carthy for her guidance and encouragement. I am grateful to those who generously gave their time and whose careful reading and thoughtful comments were invaluable in the final stages of writing; Pete Gordon, Alex Jagger, Clare Watters and Jon Wordie. A special acknowledgement must go to Mrs Summerhayes, who introduced me to Italy and inspired within me a love of Italian literature and culture. This thesis is a direct descendent of her Latin classes. Finally, a heartfelt thank-you to my family and especially to my father, for whose quiet support, patience and endless kindness I cannot find words enough to express my gratitude. And to Grandma and Grandad, to whose memory this thesis is dedicated. TABLE OF CONTENTS Introduction Historical background and the Return to Cavalcanti 1 Chronology, poetry and medicine 12 Critical Approaches Philology: Return and Renewal 28 Raymond Williams: Keywords 36 Section One: The Chronology of Donna me prega and Vita Nuova Background 49 1.1.Donna me prega For an earlier dating of Donna me prega 52 1.2 Vita Nuova For an earlier dating of Vita Nuova 69 Reflections 84 Section Two: Cavalcanti’s poets? Sospir* in the Occitan and early Italian lyric traditions Background 91 Preliminary comments on genre: pastorela 94 2.1 Sospir* and the Troubadours Sospir* and the Planh 99 Sospir* in the cansos: Sighing, suffering and illness 107 Sighs as portents of death 114 The physicality of sighing 118 Sighs as messengers 121 Quantification and multiplication: sighs and commerce 124 2.2 Sospir* in the early Italian lyric tradition Scuola siciliana 127 Scuola toscana 138 Bolognese poets: Guinizzelli 144 Section Three: Medical ideas surrounding lovesickness Background 148 3.1 Sospir*, lovesickness and medicine Salerno 151 Bologna 159 A background to key technical terminology: spirito and sospiro 165 Cavalcanti, Averroes and Avicenna: Perception, Imagination and Intellection 171 The (counter) influence of Albertus Magnus 176 3.2 Reading Cavalcanti in context Reading sighs 182 Deh beyond sospir* 200 Conclusion 206 Appendices Appendix One: Concordances of sospir* in Cavalcanti 216 Appendix Two: Keywords in Cavalcanti 217 Appendix Three: Catalogue of sospir* in Troubadours 218 Appendix Four: Translations of Occitan poetry 222 Appendix Five: Sospir* in Corpus OVI dell’italiano antico 226 Bibliography 229 INTRODUCTION Historical background and the Return to Cavalcanti The literary history of Florence has left us with what are commonly referred to as the tre corone or ‘three crowns’ of the city; Petrarch, Boccaccio and, of course, Dante. Conspicuously absent from that list is a fourth poet whose reputation today does not match the esteem in which he was held during his lifetime; Guido Cavalcanti. Born sometime before 1260 into one of the most historically powerful magnate families in Florence, Cavalcanti was a key figure in the city's political and literary life. The information which remains about his role as a politician is scant, and all that can be said for sure is that he was a signatory of Frangipane's peace treaty between the warring Guelfs and Ghibellines in Florence in 1279 and was then part of the General Council of Florence in 1284. What is much better documented is his reputation as a haughty but able poet and philosopher. Compagni in his Cronica I,21 describes Cavalcanti as a 'nobile cavaliere, chiamato Guido, cortese e ardito, ma sdegnoso e solitario e intento allo studio' (1968: 48). Villani in his De origine civitatis florentie et de eiusdem famosis civibus later depicts Cavalcanti as a 'homo sane diligens et speculativus atque auctoritatis non contempnende philosophus' (1997: 146) but also highlights the importance of his poetic output, commenting 'secundum siquidem locum in vulgaribus odis post Dantem tenuisse perperiti artis huiuscemodi voluere' (ibid.). Cavalcanti also notably appears in Boccaccio's Decameron in which he is described as an excellent natural philosopher. It is particularly this second ability as philosopher which the historical record highlights, and indeed Benvenuto da Imola makes reference to the two eyes of Florence as Dante and Cavalcanti, the former as poet and the latter as philosopher. Guido is known too, though, for his poetry and, as Dante's self-confessed primo amico, it is clear that there is not just one eminent poet writing in late thirteenth-century Florence, but two. 1 Might the tre corone, therefore, just as easily have been quattro? I believe that the answer to this question is undoubtedly yes, and that Cavalcanti’s poetry is therefore worthy of greater examination than it has so far received. It is this belief which has been my primary motivation for writing this thesis. In this Introduction I will trace the evolution of the relationship between Dante and Guido in order to provide necessary context for my decision to approach my thesis in the manner that I have chosen. However, the thesis as a whole is not concerned with such questions. On the contrary, its very purpose is to resist a reading of Cavalcanti through a Dantean lens, and instead to place Guido’s poetry within its linguistic and cultural contexts in order to allow it to be read afresh, freed from the charges of logical error and perhaps even heresy which Dante levels at it. I will begin by outlining the development of the relationship between Dante and Guido through the latter part of the thirteenth century. The story will begin at its end, in the much discussed and debated reference Dante makes to Cavalcanti in his greatest work, the Commedia; 'E io a lui: 'Da me stesso non vegno: colui ch'attende là per qui mi mena, forse cui Guido vostro ebbe a disdegno’. (Inf.X, 61-63) The exact meaning of this 'disdegno' may be much discussed, but what is clear is that Dante gives a less than glowing character reference of Guido in a work which will have a far-reaching impact on the future literary tradition. More damning still is Dante's association of Cavalcanti with heresy, through his placing of Cavalcante de' Cavalcanti (Guido's father) in the sixth circle of hell, that reserved for the heretics. It is clear that Dante is deliberately distancing himself from this poet, as well as purposefully asserting his poetical but also moral supremacy over 2 him. In so doing, Dante places himself in direct competition with his poetic rival, a competition which he would ultimately win. As Barolini has commented (1984: 126) 'Guido is the only love poet in the Comedy to be named and discussed in Hell, a negative privilege whose repercussions still affect our critical stance'. This thesis, therefore, is part of the on-going work which is attempting to redress the balance and make inroads into establishing a more objective critical position. Dante's early relationship with Cavalcanti is quite different to the position of hostility and supremacy he ultimately adopts. In one of his first texts, the Vita Nuova, Dante refers to Cavalcanti as 'primo de li miei amici' (III), an epithet which will be used by Dante throughout this work.
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