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Download File Sì come dice lo Filosofo: Translating Philosophy in the Early Italian Lyric Akash Kumar Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 ©2013 Akash Kumar All rights reserved ABSTRACT Sì come dice lo Filosofo: Translating Philosophy in the Early Italian Lyric Akash Kumar This study pushes back to the origins of the Italian lyric tradition in order to demonstrate that the impulse to distill the highest levels of intellectual culture into the vernacular love lyric was present from the very inception of the poetic vernacular. I aim to nuance our understanding of the divide between the early schools of poetry as determined by Dante in his role as a literary historian by analyzing early experiments in vulgarizing philosophy and science in the lyric production of Giacomo da Lentini, Guido delle Colonne, Guittone d’Arezzo, and Guido Guinizzelli. By isolating both formal elements of Scholastic argumentation and complex renderings of philosophical/scientific ideas, I develop a broad understanding of the early vernacular poetic engagement with Aristotelian philosophy that encompasses such areas as sensory perception, meteorology, and ethics. I trace the progression of this engagement from its Sicilian beginnings to the poetry of Guido Guinizzelli that is informed by the university culture of Bologna and posit that this early lyric form of vernacular humanism has profound implications for Dante’s poetic identity as well as the development of a vernacular intellectual identity that feeds in to such developments as Humanism and the Scientific Revolution. TABLE OF CONTENTS Chapter 1 Prime Mover: Giacomo da Lentini and the Philosophy of Vernacular Innovation p. 1 1. A Culture of Translation: Logic and Nature in Madonna dir vo voglio p. 5 2. A “Scholastic” Exchange: The Tenzone between the Notaio and the Abate p. 33 Chapter 2 Laws of Attraction: Translating Magnetism from Pier della Vigna to Guido Guinizzelli p. 51 Chapter 3 Not the First: Guittone, Bonagiunta, and the Implications of Philosophy in Verse p. 95 Chapter 4 The Weather in Bologna: Guido Guinizzelli and the Poetics of Natural Philosophy p. 145 Conclusion “In tai parole pone”: The Philosopher Translated p. 185 Works Cited p. 196 i ACKNOWLEDGEMENTS I wish to thank Columbia University and the Graduate School of Arts and Sciences for the generous support that I have received over the past years of my graduate education. Thanks in particular to the faculty and staff of the Institute of Comparative Literature and Society and of the Department of Italian for never failing to provide me with administrative support and an ever plenty convivial banquet of knowledge, of which I can only hope a small part has made its way into the pages below. I am immensely grateful to Professor Teodolinda Barolini, who has taught me what it is to be a scholar. Your wisdom, grace, and intellectual zeal have been a source of inspiration to me second only to the poetry of Dante. Thank you to Professor Paolo Valesio, who continues to remind me that poetry is not dead. And to Massi Chiamenti, who first taught me how to read medieval lyric and how to live the poetry that we love. I owe great thanks to Professor Christia Mercer, who has taught me to make important philosophical distinctions and bring this work into a larger conversation. I could not have reached this point without the friendship and support of my colleagues. I cannot name you all, but know that your company has meant the world to me over these past years. To the Italian cohort—Gian Maria, Valentina, Patrizio, and Davide— thank you for indulging me in my efforts to draw closer to the culture that I so love, for your gentle corrections of my faltering Italian, and for your warmth and generosity of spirit (and your cooking!). To Lynn and Savannah, thank you for your laughter and intellectual camaraderie. To Steve, for your unfailing enthusiasm and sense of adventure. To my father and sister, thank you for your love and your unwavering confidence. And finally, to my dearest Jess, thank you for standing by my side and refusing to let go. ii For my mother Tu prima m’inviasti / verso Parnaso a ber ne le sue grotte iii 1 Chapter 1 Prime Mover: Giacomo da Lentini and the Philosophy of Vernacular Innovation When Dante crafts an encounter between himself and the earlier Tuscan poet Bonagiunta Orbicciani in Purgatorio 24, he creates a division between the older lyric tradition and the sweet new style of poetry that is demonstrated by the citation of Dante’s own canzone Donne ch’avete intelletto d’amore. It is from Bonagiunta’s mouth that the words emerge to codify both the new style that Dante exemplifies and the older tradition that could not reach such a height: “O frate, issa vegg’io”, diss’elli, “il nodo/che ‘l Notaro e Guittone e me ritenne/di qua dal dolce stil novo” [‘O brother, I finally see,’ he said, ‘the obstacle/ that held the Notaro, Guittone, and me back/on this side of the sweet new style’] (Purgatorio 24.55-57).1 One way that this poetic divide has been viewed is through the lens of Bonagiunta’s sonnet Voi c’avete mutata la mainera, which criticized Guido Guinizzelli for changing the nature of the vernacular love lyric by importing into it the philosophical wisdom of Bologna.2 The resulting binary, especially in the way that Dante exploits it, would seem to imply that the lyric before Guinizzelli, Cavalcanti, and Dante was bereft of philosophical content and intellectual pedigree. 1 Here and throughout, I use the Mandelbaum translation of the Commedia. See Dante Alighieri, The Divine Comedy, Allen Mandelbaum, trans. (Berkeley: University of California Press, 1980- 1982). 2 As Chiavacci Leonardi puts it in her commentary to the canto, it was probably because of this sonnet that Dante chose Bonagiunta to speak these words: “Probabilmente proprio a questo sonetto si deve la scelta fatta da Dante di introdurre il notaio lucchese come suo antagonista in questa scena” (792). For a full rendering of the intertextual complexities that are inherent in Dante’s treatment of other poets and of his own lyric poetry in the Commedia, see Teodolinda Barolini, Dante’s Poets: Textuality and Truth in the Comedy (Princeton: Princeton University Press, 1984). I will fully treat the tenzone between Bonagiunta and Guinizzelli in Chapter 3 in a way that problematizes the “senno…da Bologna,” as it relates to the poetry of both Bonagiunta himself and his predecessors. 2 I will show through each of the poets that Dante mentions—Giacomo da Lentini, Guittone d’Arezzo, and Bonagiunta Orbicciani—that this storied reception of the early lyric tradition ignores an impulse found in the very first moments of Italian vernacular poetry to raise the pedigree of the love lyric through the importing of philosophical form and content. Through this newly formed perspective on the earlier lyric tradition, we can also change our approach to Dante’s own lyric poetry included in his incomplete philosophical treatise Convivio and call attention to the vital links between Dante and his poetic predecessors that go beyond his own determination of the trajectory of Italian literary history. We thus embark upon a systematic reinterpretation of the inception of Italian poetry and the development of the poetic vernacular into the language that Dante will eventually use to write the Commedia. I subscribe fully to Gianfranco Folena’s reformulation of the birth of the vernacular poetic tradition, but I do not agree with his characterization of it. Folena argues against the overly romantic notion of a first poet creating a new literary tradition out of nothing. Instead, he looks at translation and interpretation as being at the very heart of the moment of new vernacular creation. Thus, he argues that the correct formula is not In principio fuit poeta (“In the beginning was the poet”), but rather In principio fuit interpres (“In the beginning was the interpreter”). Folena calls this reformulation a dose of humble reality (“l’umile realtà”)3, but I will show how the acts of translation and interpretation in the early Italian lyric—specifically with regard to engagement with the philosophical tradition—were radical acts of vernacular creation. In this, I enlarge the idea of translation to include not just the technical process of 3 See Folena, Volgarizzare e tradurre (Turin: Einaudi, 1991), p. 3. Folena focuses on the act and rhetoric of translation as a fundamental aspect of the beginnings of the Italian literary tradition. 3 translating from one language to another but also the importing of philosophical form and content. It is this more global sense of translatio, the carrying across of material over boundaries of language and cultural space, that I wish to emphasize about the beginnings of the lyric tradition in the court of Frederick II. Alison Cornish, in writing of the movement of “volgarizzamento” in the time of Dante, argues that the model of translatio imperii et studii makes every author a sort of translator.4 Moreover, there is a particular link between philosophy and translation that Walter Benjamin teases out in his essay “The Task of the Translator.” Benjamin speaks of the language of truth as the object of the philosopher’s search and characterizes translation as a process of distillation that focuses that language: “And this very language [the language of truth], whose divination and description is the only perfection a philosopher can hope for, is concealed in concentrated fashion in translations.” 5 Benjamin’s link between translation and philosophy is all the more suggestive in the context of the historical moment of the inception of the Italian lyric, when philosophical and scientific texts were being made newly available to the Latin West through the translation of Arabic versions and commentaries.
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