Petrarch and the Textual Origins of Interpretation
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Petrarch and the Textual Origins of Interpretation BBAROLINI_i-iv.inddAROLINI_i-iv.indd i 99/24/2007/24/2007 55:55:52:55:52 PPMM Columbia Studies in the Classical Tradition Editorial Board William V. Harris (editor) Eugene F. Rice, jr., Alan Cameron, Suzanne Said Kathy H. Eden, Gareth D. Williams VOLUME 31 BBAROLINI_i-iv.inddAROLINI_i-iv.indd iiii 99/24/2007/24/2007 55:55:53:55:53 PPMM Petrarch and the Textual Origins of Interpretation Edited by Teodolinda Barolini and H. Wayne Storey LEIDEN • BOSTON 2007 BBAROLINI_i-iv.inddAROLINI_i-iv.indd iiiiii 99/24/2007/24/2007 55:55:53:55:53 PPMM On the cover: The fi rst sonnet (Laura gentil) on c. 39r of MS Vaticano Latino 3195, the fi rst over erasure, in Petrarch’s hand. Reprinted with the permission of the Vatican Library. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Petrarch and the textual origins of interpretation / [edited] by Teodolinda Barolini and H. Wayne Storey. p. cm. — (Columbia studies in the classical tradition ; 31) “Conference held at The Italian Academy at Columbia University on December 10, 2004.” Includes bibliographical references and index. ISBN 978-90-04-16322-5 (hardback : alk. paper) 1. Petrarca, Francesco, 1304– 1374—Criticism, Textual—Congresses. I. Barolini, Teodolinda, 1951– II. Storey, Wayne. III. Title. IV. Series. PQ4479.P35 2007 851'.1—dc22 2007037920 ISBN 978 90 04 16322 5 © Copyright 2007 by The Trustees of Columbia University in the City of New York All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands BBAROLINI_i-iv.inddAROLINI_i-iv.indd iivv 99/24/2007/24/2007 55:55:53:55:53 PPMM CONTENTS Contributors ................................................................................ vii Introduction ................................................................................ 1 Teodolinda Barolini A Note on the Application of PetrarchanTextual Cultures ...... 13 H. Wayne Storey Chapter One Petrarch at the Crossroads of Hermeneutics and Philology: Editorial Lapses, Narrative Impositions, and Wilkins’ Doctrine of the Nine Forms of the Rerum vulgarium fragmenta ................................................................................... 21 Teodolinda Barolini Chapter Two Infaticabile maestro: Ernest Hatch Wilkins and the Manuscripts of Petrarch’s Canzoniere ................................ 45 Germaine Warkentin Chapter Three Doubting Petrarca’s Last Words: Erasure in MS Vaticano Latino 3195 ...................................................... 67 H. Wayne Storey Chapter Four Shaping Interpretation: Scribal Practices and Book Formats in Three ‘Descripti’ Manuscripts of Petrarca’s Vernacular Poems .................................................. 93 Dario Del Puppo Chapter Five Petrarch Reading Boccaccio: Revisiting the Genesis of the Triumphi ........................................................... 131 Martin Eisner Chapter Six “Il suon che di dolcezza i sensi lega”: grammatica ed eufonia nei Rerum vulgarium fragmenta ............. 147 Furio Brugnolo BBAROLINI_F1_v-xi.inddAROLINI_F1_v-xi.indd v 99/24/2007/24/2007 33:00:48:00:48 PPMM vi contents Chapter Seven Petrarca fra le arti: testi e immagini .............. 167 Marcello Ciccuto Chapter Eight Good-bye, Bologna: Johannes Andreae and Familiares IV 15 and 16 ........................................................... 185 John Ahern Chapter Nine Familiarium rerum liber: tradizione materiale e autobiografi a ........................................................................... 205 Roberta Antognini Chapter Ten Petrarchan Hermeneutics and the Rediscovery of Intimacy ............................................................................. 231 Kathy Eden Works Cited ................................................................................ 245 Index ........................................................................................... 263 BBAROLINI_F1_v-xi.inddAROLINI_F1_v-xi.indd vvii 99/24/2007/24/2007 33:00:49:00:49 PPMM CONTRIBUTORS John Ahern holds an AB in Latin and English (Harvard College) and a PhD in Italian (Indiana University). His numerous articles and reviews on Dante have appeared in Dante Studies, PMLA, Romanic Review, Parnassus, and The New York Times; they include groundbreaking work on orality, literacy, and material culture such as “Singing the Book: Orality in the Reception of Dante’s Comedy” (1981), “Binding the Book: Hermeneutics and Manuscript Production in Paradiso 33” (1982), and “What Did the First Copies of the Comedy Look Like?” (2003). His current research focuses on questions of reception and codicology in thirteenth- and fourteenth-century Italy. He came to Vassar in 1982 as the holder of the Dante Antolini Chair of Italian Letters. Roberta Antognini is Assistant Professor of Italian at Vassar College where she has taught since 1999. She received her PhD in Italian from New York University in 1997. Her research and teaching interests include medieval Italian literature (in particular the works of Petrarch), autobiography, history of Italian language, and literary translation. In 2003 she translated Teodolinda Barolini’s The Undivine Comedy (La Com- media senza Dio) and is currently working on a book on Petrarch’s main collection of Latin letters, The Autobiographical Journey of Petrarch’s “Famili- arium rerum liber”, as well as an article on the Familiares, “Autobiography as a Metaphor: The Project of the Domus Una in the Eighth Book of the Familiarium rerum liber”. Her chapter “Bassani lettore di Petrarca” will appear in a collection of essays she is co-editing on Giorgio Bassani’s novel Il giardino dei Finzi-Contini. Teodolinda Barolini is Lorenzo Da Ponte Professor of Italian at Columbia University. The author of Dante’s Poets: Textuality and Truth in the “Comedy” (1984; Italian trans. 1993), The Undivine Comedy: Detheologiz- ing Dante (1992; Italian trans. 2003), and Dante and the Origins of Italian Literary Culture (2006), Barolini edited Medieval Constructions in Gender and Identity (2005) and, with H. Wayne Storey, Dante for the New Millennium (2003). She is currently working on a commentary to Dante’s lyrics for the Biblioteca Universale Rizzoli and a book on Petrarch as a metaphysi- cal poet that picks up from her 1989 essay, “The Making of a Lyric BBAROLINI_F1_v-xi.inddAROLINI_F1_v-xi.indd vviiii 99/24/2007/24/2007 33:00:49:00:49 PPMM viii contributors Sequence: Time and Narrative in Petrarch’s Rerum vulgarium fragmenta” and whose installments include: “Rerum vulgarium fragmenta: The Self in the Labyrinth of Time”, in The Panoptical Petrarch (eds. Victoria Kirkham and Armando Maggi, Chicago University Press, 2008), and “Petrarch as the Metaphysical Poet Who Is Not Dante: Metaphysical Markers at the Beginning of the Rerum vulgarium fragmenta”, in Petrarch and Dante (eds. Zygmunt Baranski and Theodore Cachey, Notre Dame University Press, forthcoming). She is Fellow of the American Academy of Arts and Sciences, the American Philosophical Society, the Medieval Acad- emy of America, and served as the fi fteenth President of the Dante Society of America. Furio Brugnolo is Professor of Romance Philology at the University of Padova. His numerous studies and essays have concentrated mostly on medieval Romance and Italian lyric traditions (from the Provençal troubadours to the Sicilian School and Petrarch), literary plurilinguistic production, and twentieth-century Italian poetry (Saba and Pasolini). He is also the former President of the Società Italiana di Filologia Romanza. He is the editor of the two-volume edition of Nicolò de’ Rossi’s Canzoniere (Padova, 1974–1977) and of Dino Frescobaldi’s Can- zoni e sonetti (Torino, 1984), as well as the author of studies on poetry in fourteenth-century frescos (“‘Voi che guardate . .’ Divagazioni sulla poesia per pittura del Trecento” [in “Visibile parlare”. Le scritture esposte nei volgari italiani dal Medioevo al Rinascimento, Napoli, 1997]) and fourteenth- century Italian poetry (“La poesia del Trecento” [in Storia della letteratura italiana, directed by E. Malato, vol. 10: La tradizione dei testi, Roma 2001]). Specifi cally on Petrarch he has published on the poet’s mise en page and organization of the written page in his Canzoniere, including: “Libro d’autore e forma-canzoniere: implicazioni petrarchesche” (Atti e memorie dell’Accademia Patavina di Scienze, Lettere e Arti, Classe di Scienze morali, Let- tere e Arti, 103, 1990–91 [= Lectura Petrarce XI, 1991]), and “Il libro di poesia nel Trecento” (in Il libro di poesia dal copista al tipografo, 1989), the latter essay substantially revised and expanded for the Commentary volume (with essays also by Gino Belloni, Wayne Storey, and Stefano Zamponi) of the facsimile edition of Petrarch’s autograph manuscript Vaticano Latino 3195 (Roma-Padova, Antenore, 2004). Marcello Ciccuto is Professor of Italian Literature at the Univer- sity of Pisa. He has focused much of his research on the relationship between literature and the arts and has published essays on Dante, BBAROLINI_F1_v-xi.inddAROLINI_F1_v-xi.indd