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LA NUOVA POESIA DI GUIDO GUINIZELLI Borsa, Paolo La Nuova Poesia Di Guido Guinizelli, Fiesole (Firenze): Cadmo, 2007 264 P 12 I Saggi di «Letteratura italiana antica» Laureato in Letteratura italiana, La nuova poesia di Guido Guini- sotto la guida di Gennaro Barbarisi e zelli propone una riconsiderazione Claudia Berra, Paolo Borsa ha conse- Borsa LA Paolo Borsa critica della figura di colui che Dan- guito il dottorato di ricerca in Storia te elesse a «padre» suo e dei poeti della Lingua e della Letteratura ita- del “dolce stil novo”. Dall’analisi liana presso il Dipartimento di Filo- emergono elementi che permettono logia moderna dell’Università degli non solo di precisare le ragioni della Studi di Milano, nel quale svolge at- speciale devozione dantesca per Gui- tualmente attività di ricerca come nizelli, ma anche di illuminare la na- assegnista. È autore di saggi sulla tura delle relazioni del «maximus letteratura italiana del Due e Trecen- Guido» con i contemporanei, a co- to, tra cui i recenti Letteratura anti- minciare da quelle con Guittone angioina tra Provenza, Italia e Ca- NUOVA POESIA DI GUIDO GUINIZELLI LA NUOVA POESIA d’Arezzo. All’indagine letteraria si talogna. La figura di Carlo I (2006) accompagna uno sforzo di ricostru- e «Sub nomine nobilitatis»: Dante e DI GUIDO GUINIZELLI zione del contesto storico e culturale Bartolo da Sassoferrato (2007). in cui si colloca la produzione del poeta-giudice bolognese: dall’ambi- guo componimento inviato a frate Guittone, restituito al suo ruolo di testimonianza del dissidio con il ca- poscuola toscano, alla rilettura della celebre tenzone con Bonagiunta da Lucca, alle cui accuse di «sottiglian- sa» Guido replicò con un sonetto pro- grammaticamente polisenso; dalla polemica guittoniana di S’eo tale fosse, della quale si argomenta il fondamentale carattere antiguinizel- liano, alla grande canzone Al cor gentil, riesaminata alla luce della tradizione trobadorica e sullo sfondo dell’acceso dibattito, in parte ignoto, che si sviluppò nella Bologna del ISBN 978-88-7923-363-7 Duecento sul tema della nobiltà. € 18,00 I Saggi di «Letteratura italiana antica» / 12 Collana diretta da ANTONIO LANZA Paolo Borsa LA NUOVA POESIA DI GUIDO GUINIZELLI Borsa, Paolo La nuova poesia di Guido Guinizelli, Fiesole (Firenze): Cadmo, 2007 264 p. ; 21 cm (Letteratura Italiana Antica; 12) ISBN 978-88-7923-363-7 850.1 © 2007 Cadmo EDIZIONI CADMO Via Benedetto da Maiano, 3 50014 Fiesole (Firenze) tel. 055 50181 fax 055 5018201 [email protected] http://www.cadmo.com Printed in Italy INDICE Premessa . 9 I. La tenzone con Guittone d’Arezzo . 13 1. «Messer Guido Guinisselli a frate G(uittone)» . 13 2. «F(rate) G(uittone), risposta al s(oprascrit)to» . 53 II. Il «laido errore» . 61 1. Un sonetto polemico . 61 2. Sopravanzamento ed equiparazione . 71 3. I modelli sacri . 84 4. Lettera e senso . 94 III. La tenzone con Bonagiunta da Lucca . 103 1. Poeti e profeti . 106 2. «Foll’è chi crede sol veder lo vero» . 115 3. Analogia e gerarchia . 125 IV. La nobiltà di Guinizelli . 147 1. Il dibattito bolognese sulla nobiltà . 147 2. «Gentilezza» ed «eretatge» . 161 3. Antiguittonismo e «cor gentil» . 181 4. Guinizelli laico . 192 CONCLUSIONE. Guinizelli, Dante e Bologna . 195 APPENDICE. «Ah! Prender lei a forza…»: Guinizelli e il tema dello stupro 205 Tavole . 239 Indice dei personaggi . 247 Indice degli autori e delle opere anonime . 251 PREMESSA La collocazione critica di Guinizelli è un problema aperto. Consi- derato il «padre» dello stilnovo, in ragione dei pronunciamenti dante- schi e dell’influenza esercitata sui poetae novi fiorentini, egli ci appa- re in stretta relazione con i maggiori rimatori della sua generazione: Guittone d’Arezzo, al quale indirizza il sonetto 〈O〉 caro padre meo, de vostra laude e alla cui produzione sembrerebbe rifarsi sia per il trobar clus della canzone Lo fin’ pregi’ avanzato sia per l’ispirazione morale di alcuni sonetti, e Bonagiunta da Lucca, al quale è collegabi- le – nonostante il dissidio di cui è testimonianza la celebre tenzone – dalla comune predilezione per la maniera leu e per una certa conti- nuità, stilistica metrica e tematica, con i siciliani. Dal confronto sincronico, dunque, non solo non paiono emergere elementi sufficienti a fare del bolognese un sovvertitore della tradizio- ne, come gli rimproverò Bonagiunta in Voi, ch’avete mutata la mai- nera, ma neppure un innovatore profondo di essa, secondo la lettura tutta sbilanciata in senso diacronico, in ottica stilnovista, di alcune sue rime. D’altra parte, non si può però nemmeno sottostimare il giu- dizio di Dante, fino a ridurre le sue professioni di ammirazione per Guinizelli a mero argomento strategico antiguittoniano, funzionale ad anteporre all’ingombrante figura del caposcuola aretino il massimo rimatore non toscano del tempo. Se lo scarto rispetto ai contemporanei è difficile da misurare, tan- to sul piano della scrittura quanto su quello delle strutture, la novità della poesia di Guinizelli deve essere ricercata altrove, in qualcosa di meno sensibile agli strumenti positivi d’analisi. Per mezzo di nuovi sondaggi testuali, aperti non solo al confronto con le tradizioni con- correnti a quella in lingua di sì, ma anche a quelle parallele (lettera- tura giuridica, filosofica e teologica; enciclopedie moralistiche; lette- ratura “podestarile”; pubblicistica ufficiale), e attraverso uno sforzo di ricostruzione del contesto storico e culturale in cui si collocano la produzione lirica e gli scambi letterari del giudice-poeta felsineo, questo libro si propone di indagare il problema del “senso” dei com- ponimenti guinizelliani, ossia quello della loro interpretazione. L’ap- proccio è finalizzato, da un lato, a riconsiderare la questione dei rap- porti di Guido con i suoi corrispondenti in versi, e in particolare con 10 PAOLO BORSA – LA NUOVA POESIA DI GUIDO GUINIZELLI frate Guittone, per capire se l’atteggiamento critico di Dante e di Ca- valcanti nei confronti dell’aretino possa avere un effettivo (e cruciale) precedente proprio nell’autore di 〈O〉 caro padre meo; dall’altro a ri- cercare qualche risposta al quesito, in parte irrisolto, circa la reale natura dei debiti contratti dall’Alighieri e dai poeti «che mai / rime d’amor usar dolci e leggiadre» nei confronti di Guinizelli. Chiude il volume, in appendice, uno studio sul sonetto Chi vedesse a Lucia un var capuzzo, unico componimento databile con buona ap- prossimazione tra i testi superstiti di Guinizelli, ma, soprattutto, esem- pio paradigmatico dello stretto intreccio tra questioni letterarie, ideolo- giche e professionali (ossia giuridiche) che si realizza nella sua poesia. Agrate Brianza, 27 giugno 2006 Per le rime di Guinizelli si è fatto riferimento al testo dei Poeti del Due- cento, a c. di G. CONTINI, II, Milano-Napoli, Ricciardi, 1960 [PD], pp. 450- 85, approntato (vd. ivi, pp. 893-98) sulla base della classificazione dei codici di D’A.S. AVALLE, La tradizione manoscritta di Guido Guinizzelli, in «Studi di filologia italiana», XI, 1953, pp. 137-62. Per Guittone le edizioni utilizzate sono Le rime di Guittone d’Arezzo, a c. di F. EGIDI, Laterza, Bari, 1940 («Scrittori d’Italia», 175), e Lettere, ed. criti- ca a c. di C. MARGUERON, Bologna, Commissione per i testi di lingua, 1990 («Collezione di opere inedite o rare», 145). Segnalate in nota sono le citazioni dalle edizioni parziali di PD, I, pp. 192-255, e GUITTONE D’AREZZO, Canzo- niere. I sonetti d’amore del codice Laurenziano, a c. di L. LEONARDI, Torino, Einaudi, 1994 («Nuova raccolta di classici italiani annotati», 13), e quelle dalle trascrizioni delle Concordanze della lingua poetica italiana delle origini, I, a c. di D’A.S. AVALLE e con il concorso dell’Accademia della Crusca, Milano- Napoli, Ricciardi, 1992 [CLPIO]. Si citano il Notaro, Chiaro e Monte da: GIACOMO DA LENTINI, Poesie, ed. critica a c. di R. ANTONELLI, I. Introduzione, testo, apparato, Roma, Bulzoni, 1979 («Instrumenta Philologiae», I), da integrare ora con R. ANTONELLI, Per Madonna, dir vo voglio, in «Critica del testo», VII, 2004, pp. 563-603; CHIARO DAVANZATI, Rime, ed. critica con commento e glossario a c. di A. MENICHETTI, Bologna, Commissione per i testi di lingua, 1965 («Collezione di opere inedi- te o rare», 126); MONTE ANDREA DA FIORENZA, Le Rime, ed. critica a c. di F.F. MINETTI, Firenze, presso l’Accademia della Crusca, 1979 («Quaderni degli “Studi di filologia italiana”», 5). Per Bonagiunta Orbicciani, in attesa dell’edi- zione critica promessa da Aldo Menichetti, il testo di riferimento resta quello stabilito da A. PARDUCCI per i Rimatori siculo-toscani del Dugento. Serie prima. Pistoiesi-Lucchesi-Pisani, a c. di G. ZACCAGNINI e A. PARDUCCI, Bari, Laterza, 1915 («Scrittori d’Italia», 72), pp. 49-93 (ripreso, con qualche modifica, da I rimatori lucchesi del secolo XIII. Bonagiunta Orbicciani, Gonella Antelminel- li, Bonodico, Bartolomeo, Fredi, Dotto Reali, testo critico a c. di A. PARDUCCI, Bergamo, Istituto Italiano d’Arti Grafiche, 1905, pp. 1-64); sono segnalate in PREMESSA 11 nota le citazioni dai PD, I, pp. 260-82, e dai contributi finora apparsi a opera dello stesso A. MENICHETTI: La canzone dell’onore di Bonagiunta da Lucca, in «Études de lettres», s. IV, t. I, 1978, nos 2-3, pp. 1-17; Una canzone di Bo- nagiunta: “Quando apar l’aulente fiore”, in *Forme e vicende. Per Giovanni Pozzi, a c. di O. Besomi, G. Gianella, A. Martini e G. Pedrojetta, Padova, An- tenore, 1988 («Medioevo e Umanesimo», 72), pp. 23-36; La canzone della gioia d’amore di Bonagiunta da Lucca, in *Echi di memoria. Scritti di varia filologia, critica e linguistica in ricordo di Giorgio Chiarini, Firenze, Alinea, 1998, pp. 125-37; Sull’attribuzione a Bonagiunta di In quanto la natura, in *Intorno a Guido Guinizzelli, Atti della Giornata di Studi (Università di Zuri- go, 16 giugno 2000), a c. di L. Rossi e S. Alloatti Boller, Alessandria, Edizioni dell’Orso, 2002 («Revue critique de philologie romane. Collection “Textes et Études”», 1), pp.
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