{"id":80,"date":"2011-01-30T20:20:57","date_gmt":"2011-01-30T20:20:57","guid":{"rendered":"http:\/\/blogs.oulipo.net\/qc\/?page_id=80"},"modified":"2011-01-30T20:33:25","modified_gmt":"2011-01-30T20:33:25","slug":"chapitre-2-l%e2%80%99invenzione-del-sonetto","status":"publish","type":"page","link":"https:\/\/blogs.oulipo.net\/qc\/description\/chapitre-2-l%e2%80%99invenzione-del-sonetto\/","title":{"rendered":"Chapitre 2 : L\u2019invenzione del Sonetto"},"content":{"rendered":"

<\/span>\u00a7 1 <\/span><\/span>On admet g\u00e9n\u00e9ralement aujourd\u2019hui que le sonnet a \u00e9t\u00e9 invent\u00e9 au 13<\/strong><\/span><\/span>\u00e8me<\/strong><\/span><\/span><\/sup> si\u00e8cle en Sicile<\/strong><\/span><\/span><\/p>\n

1 1 <\/span><\/span>On admet g\u00e9n\u00e9ralement aujourd\u2019hui que le sonnet a \u00e9t\u00e9 invent\u00e9 au 13<\/span>\u00e8me<\/span><\/sup> si\u00e8cle en Sicile. <\/span><\/p>\n

<\/span>1 1 1 <\/span><\/span><\/span>Le fait n\u2019a jamais, depuis Dante, \u00e9t\u00e9 r\u00e9ellement mis en doute. <\/span><\/span><\/p>\n

1 2 <\/span><\/span>On s\u2019accorde \u00e9galement sur le nom de l\u2019inventeur, du \u2018trouveur\u2019\u00a0: <\/span>Giacomo da Lentini<\/strong><\/span><\/p>\n

1 2 1 <\/span><\/span><\/span>Jacopo da Lentini, vissuto fra il 1210 e il 1260 circa, fu notaio imperiale di Catania e poeta considerato da molti il caposcuola del cenacolo poetico siciliano fiorito alla corte di Federico II.\u2028 Dante lo chiama \u00ab\u00a0‘l Notaro\u00a0\u00bb (Divina Commedia, Pg. XXIV, 56) per antonomasia e lo considera l’esponente tipico della poesia di corte.<\/em><\/span><\/span><\/p>\n

1 3 <\/span><\/span>On pense conna\u00eetre l\u2019inventeur, mais on ne sait rien du \u2018moment\u2019 de l\u2019invention. <\/span><\/p>\n

1 4 <\/span><\/span>Comme l\u2019\u00e9crit <\/span>Roberto Antonelli<\/span><\/span>, dans le long article o\u00f9 il fait le point de la question<\/span><\/p>\n

<\/span>1 4 1 <\/span><\/span><\/span>dans les Miscellanea en l\u2019honneur d\u2019Aurelio Roncaglia, en 1989<\/span><\/span><\/span><\/p>\n

1 5 \u00ab <\/span><\/span>E noto l\u2019autore ma non l\u2019evento\u00a0\u00bb<\/span><\/p>\n

<\/span><\/span>1 5 1 <\/span><\/span><\/span>pas de pomme tomb\u00e9e de l\u2019arbre sur le nez du notaire*<\/span><\/span><\/p>\n

<\/span><\/span><\/span>1 5 1 1 <\/span><\/span><\/span>* roman d\u2019Edmond About <\/span><\/span><\/p>\n

<\/span><\/span>1 5 2 <\/span><\/span><\/span>pas de baignoire d\u2019Archim\u00e8de*<\/span><\/span><\/p>\n

1 5 2 1 <\/span><\/span><\/span>* le mauvais \u00e9l\u00e8ve\u00a0: Archim\u00e8de est un homme qui quand on le plonge dans l\u2019eau, remonte toujours \u00e0 la surface<\/span><\/span><\/p>\n

<\/span>1 5 3 <\/span><\/span><\/span>Pas de mur de brique comme celui qui inspira \u00e0 Lebesgue l\u2019id\u00e9e de son int\u00e9grale<\/span><\/span><\/p>\n

1 6 <\/span><\/span>Une vingtaine de sonnets sont attribu\u00e9s \u00e0 Giacomo da Lentini, dans les manuscrits qui contiennent les po\u00e8mes, environ 150, conserv\u00e9s de ce qu\u2019on appelle <\/span>l\u2019Ecole Sicilienne<\/span><\/span> <\/span><\/p>\n

<\/span><\/span>1 6 1 <\/span><\/span><\/span>Les po\u00e8tes du \u2018cercle \u2018 du \u2018notaire\u2019, et leurs disciples siciliens ou toscans<\/span><\/span><\/p>\n

1 7 <\/span><\/span>Leur forme\u00a0: Le <\/span>m\u00e8tre<\/span><\/span> est l\u2019end\u00e9casyllabe italien. Les <\/span>formules de rimes<\/span><\/span> sont au nombre de 3\u00a0: <\/span><\/p>\n

<\/span><\/span>(i) <\/span><\/span>ababababcdecde <\/strong><\/span><\/span>(<\/span><\/span>13 ex)<\/span><\/p>\n

<\/span>1 7 1 <\/span><\/span><\/span><\/p>\n

E23<\/span><\/span><\/span><\/p>\n

Molti amadori la lor malatia<\/span><\/span><\/p>\n

portano in core, che ‘n vista non pare;<\/span><\/span><\/p>\n

ed io non posso s\u00ec celar la mia,<\/span><\/span><\/p>\n

ch’ella non paia per lo mio penare:<\/span><\/span><\/p>\n

per\u00f2 che son sotto altrui segnoria,<\/span><\/span><\/p>\n

n\u00e9 di meve nonn-\u00f2 neiente a\u00b7ffare,<\/span><\/span><\/p>\n

se non quanto madonna mia voria,<\/span><\/span><\/p>\n

ch’ella mi pote morte e vita dare.<\/span><\/span><\/p>\n

Su’ \u00e8 lo core e suo son tutto quanto,<\/span><\/span><\/p>\n

e chi non \u00e0 consiglio da suo core,<\/span><\/span><\/p>\n

non vive infra la gente como deve;<\/span><\/span><\/p>\n

cad io non sono mio n\u00e9 pi\u00f9 n\u00e9 tanto,<\/span><\/span><\/p>\n

se non quanto madonna \u00e8 de mi fore<\/span><\/span><\/p>\n

ed uno poco di spirito \u00e8 ‘n meve.<\/span><\/span><\/p>\n

<\/span>E23a<\/span><\/span><\/span><\/p>\n

Nombreux sont les amants qui portent<\/span><\/span><\/p>\n

Leur maladie dans leur c\u0153ur sans qu\u2019elle paraisse visible\u00a0; <\/span><\/span><\/p>\n

Mais, moi, je ne puiis assez cacher la mienne <\/span><\/span><\/p>\n

Pour que ma peine ne la fasse pas appara\u00eetre\u00a0; <\/span><\/span><\/p>\n

Parce que je suis au pouvoir d\u2019autrui, <\/span><\/span><\/p>\n

Et que je ne puis plus disposer de moi<\/span><\/span><\/p>\n

Que pour tout ce que voudra ma dame, <\/span><\/span><\/p>\n

Qui peut me donner la vie et la mort. <\/span><\/span><\/p>\n

A elle est mon c\u0153ur, et \u00e0 elle je suis tout entier\u00a0; <\/span><\/span><\/p>\n

Et qui n\u2019a pas conseil de son propre c\u0153ur<\/span><\/span><\/p>\n

Ne vit pas comme il se doit parmi les gens\u00a0;<\/span><\/span><\/p>\n

Car je ne suis moi, ni plus ni moins, <\/span><\/span><\/p>\n

Que lorsque ma dame n\u2019est pas loin de moi <\/span><\/span><\/p>\n

Et qu\u2019il y a un peu d\u2019esprit en moi. <\/span><\/span><\/p>\n

(2) <\/span>ababababcdcdcd<\/strong><\/span><\/span> (<\/strong><\/span>6 ex.)<\/span><\/p>\n

<\/span>1 7 2 <\/span><\/span><\/span><\/p>\n

E24<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>Ogn’omo c’ama de’ amar so ‘nore<\/span><\/span><\/p>\n

e de la donna che prende ad amare;<\/span><\/span><\/p>\n

e foll’\u00e8 chi non \u00e8 soferitore,<\/span><\/span><\/p>\n

che la natura de’ omo isforzare;<\/span><\/span><\/p>\n

e non de’ dire ci\u00f2 ch’egli ave in core<\/span><\/span><\/p>\n

che la parola non p\u00f2 ritornare:<\/span><\/span><\/p>\n

da tutta gente tenut’\u00e8 migliore<\/span><\/span><\/p>\n

chi \u00e0 misura ne lo so parlare.<\/span><\/span><\/p>\n

Dunque, madonna, mi voglio sofrire<\/span><\/span><\/p>\n

di far sembianti a la vostra contrata,<\/span><\/span><\/p>\n

che la gente si sforza di maldire;<\/span><\/span><\/p>\n

per\u00f2 lo faccio, non siate blasmata,<\/span><\/span><\/p>\n

che l’omo si diletta pi\u00f9 di dire<\/span><\/span><\/p>\n

lo male che lo bene a la fiata.<\/span><\/span><\/p>\n

(3) <\/span>ababababccdccd<\/strong><\/span><\/span> <\/strong><\/span>( 1 seul exemple)<\/span><\/p>\n

<\/span>1 7 3 <\/span><\/span><\/span><\/p>\n

E25<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>[[E]]o viso \u2014e son diviso \u2014da lo viso,<\/span><\/span><\/p>\n

e per aviso \u2014credo ben visare;<\/span><\/span><\/p>\n

per\u00f2 diviso \u2014’viso’ \u2014da lo ‘viso’,<\/span><\/span><\/p>\n

c’altr’\u00e8 lo viso \u2014che lo divisare.<\/span><\/span><\/p>\n

E per aviso \u2014viso \u2014in tale viso<\/span><\/span><\/p>\n

de l[[o]] qual me non posso divisare:<\/span><\/span><\/p>\n

viso a vedere quell’\u00e8 peraviso,<\/span><\/span><\/p>\n

che no \u00e8 altro se non Deo divisare.<\/span><\/span><\/p>\n

‘Ntra viso \u2014e peraviso \u2014no \u00e8 diviso,<\/span><\/span><\/p>\n

che non \u00e8 altro che visare in viso:<\/span><\/span><\/p>\n

per\u00f2 mi sforzo tuttora visare.<\/span><\/span><\/p>\n

[[E]] credo per aviso \u2014che da ‘viso’<\/span><\/span><\/p>\n

giamai me’ non pos’essere diviso,<\/span><\/span><\/p>\n

che l’uomo vi ‘nde possa divisare.<\/span><\/span><\/p>\n

E25a<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>Je le vois, je suis s\u00e9par\u00e9 du visage, <\/span><\/span><\/p>\n

Et en imagination, je crois bien le voir\u00a0; <\/span><\/span><\/p>\n

Mais je distingue le visage de l\u2019image, <\/span><\/span><\/p>\n

Car la vision est autre chose que l\u2019imagination. <\/span><\/span><\/p>\n

Et en imagination, je contemple un tel visage, <\/span><\/span><\/p>\n

Dont je ne puis me s\u00e9parer. <\/span><\/span><\/p>\n

A voir en imagination ce visage tel qu\u2019il est, <\/span><\/span><\/p>\n

Ce n\u2019est rien autre que contempler Dieu. <\/span><\/span><\/p>\n

Entre la vision et l\u2019image, il n\u2019est pas de diff\u00e9rence, <\/span><\/span><\/p>\n

Car ce n\u2019est rien autre que contempler un visage\u00a0; <\/span><\/span><\/p>\n

Aussi je m\u2019efforce de le contempler. <\/span><\/span><\/p>\n

Car je crois par exp\u00e9rience que de ce visage<\/span><\/span><\/p>\n

Je ne pourrai jamais \u00eatre s\u00e9par\u00e9, <\/span><\/span><\/p>\n

Quoique l\u2019on puisse en imaginer. <\/span><\/span><\/p>\n

1 8 <\/span><\/span>La pr\u00e9sentation des textes que je donne ici n\u2019est pas celle des \u00e9ditions modernes\u00a0; elle ignore les divisions strophiques\u00a0; il n\u2019y a aucun moyen de savoir comment l\u2019auteur les pr\u00e9sentait sur la page<\/span><\/p>\n

1 8 1 <\/span><\/span><\/span>J\u2019ai conserv\u00e9 en revanche les tirets qui indiquent les rimes int\u00e9rieures dans le dernier sonnet<\/span><\/span><\/p>\n

1 9 <\/span><\/span>Certains des sonnets font partie d\u2019\u00e9changes avec d\u2019autres po\u00e8tes du m\u00eame cercle\u00a0; ce sont des <\/span>tenzone<\/strong><\/span>, forme imit\u00e9e des <\/span>tensons <\/strong><\/span>troubadouresques. La premi\u00e8re, sans doute, et la plus c\u00e9l\u00e8bre<\/span><\/p>\n

1 10 <\/span><\/span><\/p>\n

E26<\/span><\/span><\/span><\/p>\n

<\/span><\/span>Jacopo Mostacci<\/strong><\/span><\/p>\n

Solicitando un poco meo savere <\/span><\/p>\n

E cum lui volendomi deletare, <\/span><\/p>\n

Un dubio che me misi ad avere, <\/span><\/p>\n

A vui lo mando per determinare. <\/span><\/p>\n

On’ omo dice ch’ amor a podere <\/span><\/p>\n

E gli corazi destrenze ad amare; <\/span><\/p>\n

Ma eo no lo voglio consentere, <\/span><\/p>\n

Pero ch’ amore no parse ni pare. <\/span><\/p>\n

Ben trova 1′ om una amorosa etate, <\/span><\/p>\n

La quale par che nasca de placere, <\/span><\/p>\n

E cio vol dire hom che sia amore. <\/span><\/p>\n

Eo no li sa990 altra qualitate; <\/span><\/p>\n

Ma cio che e da vui lo voglio odere, <\/span><\/p>\n

Pero ve ne facio sentenzatore.<\/span><\/p>\n

E26a<\/span><\/span><\/span><\/p>\n

Aiguillonnant un peu mon intellect<\/span><\/span><\/p>\n

Pour me donner quelque d\u00e9lassement,<\/span><\/span><\/p>\n

Je suis tomb\u00e9 sur un point d\u00e9licat <\/span><\/span><\/p>\n

Et je m\u2019adresse \u00e0 vous pour le trancher. <\/span><\/span><\/p>\n

On dit partout qu\u2019amour est un seigneur <\/span><\/span><\/p>\n

Et qu\u2019il contraint nos c\u0153urs \u00e0 s\u2019enflammer, <\/span><\/span><\/p>\n

Mais \u00e0 cela je ne puis consentir<\/span><\/span><\/p>\n

Parce qu\u2019amour ne s\u2019est jamais montr\u00e9. <\/span><\/span><\/p>\n

Cert\u2019s, il existe une humeur amoureuse <\/span><\/span><\/p>\n

Qu\u2019\u00e9veille, semble-t-il, un beau visage, <\/span><\/span><\/p>\n

Et c\u2019est cela que l\u2019on appelle \u00ab\u00a0amour\u00a0\u00bb. <\/span><\/span><\/p>\n

Je ne lui vois point d\u2019autre qualit\u00e9, <\/span><\/span><\/p>\n

Mais ce qu\u2019il est, je veux de vous l\u2019apprendre <\/span><\/span><\/p>\n

Et vous laisse le soin d\u2019en d\u00e9cider. <\/span><\/span><\/p>\n

E27<\/span><\/span><\/span><\/p>\n

Pier delle Vigne<\/strong><\/span><\/p>\n

Pero ch’ amore no se po vedere <\/span><\/p>\n

E no si trata corporalemente, <\/span><\/p>\n

Manti ne son de si fole sapere <\/span><\/p>\n

Che credono ch’ amor sia niente. <\/span><\/p>\n

Ma po ch’ amore li face sentere <\/span><\/p>\n

Dentro dal cor signorezar la gente, <\/span><\/p>\n

Molto mazore presio de avere <\/span><\/p>\n

Che se ‘1 vedessen o e si bellamente. <\/span><\/p>\n

Per la vertute de la calamita <\/span><\/p>\n

Como lo ferro atra’, no se vede, <\/span><\/p>\n

Ma si lo tira signorilemente; <\/span><\/p>\n

E questa cosa a credere m’ envita <\/span><\/p>\n

Ch’ amore sia, e dame grande fede <\/span><\/p>\n

Che tutor sia creduto fra la gente. <\/span><\/p>\n

E27a<\/span><\/span><\/span><\/p>\n

Since Love may not be seen of mortal eyes, <\/span><\/span><\/p>\n

Nor can in terms corporeal be taught, <\/span><\/span><\/p>\n

Many are found of lore so foolish wise, <\/span><\/span><\/p>\n

That in their reckoning Love is deemed as naught. <\/span><\/span><\/p>\n

Albeit, since Within doth Love devise <\/span><\/span><\/p>\n

That men must feel him, through his potence wrought, <\/span><\/span><\/p>\n

Far more should he be hailed their Very Prize, <\/span><\/span><\/p>\n

Than were he seen in outward semblance brought. <\/span><\/span><\/p>\n

We have no sight that virtue to perceive <\/span><\/span><\/p>\n

Whereby the loadstone doth the iron lure, <\/span><\/span><\/p>\n

None less it draweth, sovran to constrain. <\/span><\/span><\/p>\n

Which thing doth well invite me to believe <\/span><\/span><\/p>\n

That Love is truly ; yea, doth faith assure <\/span><\/span><\/p>\n

That ever ‘mongst the folk shall this obtain. <\/span><\/span><\/p>\n

E28<\/span><\/span><\/span><\/p>\n

<\/span>Giacomo da Lentini<\/strong><\/span><\/p>\n

Amor \u00e8 un[[o]] desio che ven da core<\/span><\/span><\/p>\n

per abondanza di gran piacimento;<\/span><\/span><\/p>\n

e li occhi in prima genera[[n]] l’amore<\/span><\/span><\/p>\n

e lo core li d\u00e0 nutricamento.<\/span><\/span><\/p>\n

Ben \u00e8 alcuna fiata om amatore<\/span><\/span><\/p>\n

senza vedere so ‘namoramento,<\/span><\/span><\/p>\n

ma quell’amor che stringe con furore<\/span><\/span><\/p>\n

da la vista de li occhi \u00e0 nas[[ci]]mento.<\/span><\/span><\/p>\n

Che li occhi rapresenta[[n]] a lo core<\/span><\/span><\/p>\n

d’onni cosa che veden bono e rio,<\/span><\/span><\/p>\n

com’\u00e8 formata natural[[e]]mente;<\/span><\/span><\/p>\n

e lo cor, che di zo \u00e8 concepitore,<\/span><\/span><\/p>\n

imagina, e piace quel desio:<\/span><\/span><\/p>\n

e questo amore regna fra la gente.<\/span><\/span><\/p>\n

E28a<\/span><\/span><\/span><\/p>\n

<\/span><\/span>Amour est un d\u00e9sir n\u00e9 dans le coeur <\/span><\/span><\/p>\n

Quand un plaisir extr\u00eame l’envahit ;<\/span><\/span><\/p>\n

Ce sont les yeux qui font na\u00eetre l’amour,<\/span><\/span><\/p>\n

Et puis le coeur longuement le nourrit.<\/span><\/span><\/p>\n

<\/span><\/p>\n

Bien peut-il arriver que l’on s’enflamme<\/span><\/span><\/p>\n

Pour un objet que l’on n’a jamais vu,<\/span><\/span><\/p>\n

Mais c’est dans le regard que prend sa source<\/span><\/span><\/p>\n

L’amour qui nous \u00e9treint avec fureur.<\/span><\/span><\/p>\n

<\/span><\/p>\n

Car nos yeux jusqu’au fond du coeur transmettent<\/span><\/span><\/p>\n

Le bon et le mauvais de toute chose,<\/span><\/span><\/p>\n

Telle que l’a form\u00e9e m\u00e8re nature ;<\/span><\/span><\/p>\n

<\/span><\/p>\n

L’ayant re\u00e7u, le coeur forge une image<\/span><\/span><\/p>\n

De l’objet d\u00e9sir\u00e9, et s’y compla\u00eet :<\/span><\/span><\/p>\n

C’est cet amour qui r\u00e8gne dans le monde.<\/span><\/span><\/p>\n

1 11 <\/span><\/span>Outre ses sonnets et sa participation \u00e0 des tensons, Il produit aussi des <\/span>canzone<\/strong><\/span>, adaptant la <\/span>canso<\/strong><\/span> \u00e0 la langue sicilienne, et un <\/span>discordo<\/strong><\/span> , forme qui d\u00e9rive du <\/span>descort<\/strong><\/span> proven\u00e7al.<\/span><\/p>\n

\u00a72 <\/span><\/span>La \u2018question de l\u2019origine\u2019 est la suivante\u00a0: o\u00f9 le \u2018Notaro\u2019 a-t-il \u2018trouv\u00e9\u2019 cette forme\u00a0?<\/strong><\/span><\/span><\/p>\n

2 1 <\/span><\/span>La \u2018question de l\u2019origine\u2019 est la suivante\u00a0: <\/span>o\u00f9<\/strong><\/span> le \u2018Notaro\u2019 a-t-il \u2018trouv\u00e9\u2019 cette forme\u00a0? <\/span>en quel<\/strong><\/span> <\/span>sens<\/strong><\/span> du mot \u2018trouver\u2019\u00a0? dans son cr\u00e2ne, tel un Troubadour composant une <\/span>canso <\/strong><\/span>\u00e0 formule de rimes originale\u00a0? <\/span>chez<\/strong><\/span> un pr\u00e9d\u00e9cesseur, comme un Troubadour empruntant sa formule de rimes \u00e0 une <\/span>canso <\/strong><\/span>existante\u00a0? <\/span>ailleurs<\/strong><\/span> encore\u00a0? <\/span><\/p>\n

2 2 <\/span><\/span>Pendant tr\u00e8s longtemps, la r\u00e9ponse donn\u00e9e par les \u00e9rudits a \u00e9t\u00e9 tranquillement nationaliste\u00a0: le contenu des po\u00e8mes, le contexte culturel de la Cour de Fr\u00e9d\u00e9ric II imposait \u00e0 des yeux innocents une r\u00e9ponse simple\u00a0: le Sonnet vient des Troubadours. Cette \u00e9vidence \u00e9tait insupportable pour les savants italiens du dix-neuvi\u00e8me si\u00e8cle. On a donc \u2018trouv\u00e9\u2019, c\u2019est \u2013\u00e0-dire \u2018invent\u00e9\u2019, une forme de po\u00e9sie populaire sicilienne qui aurait inspir\u00e9 Giacomo. Les exemples invoqu\u00e9s sont tous tr\u00e8s tr\u00e8s tardifs\u00a0; peu importa. C\u2019est encore cette \u2018solution\u2019, bien en accord avec la strat\u00e9gie d\u2019<\/span>effacement du <\/span><\/span>trobar<\/strong><\/span><\/span> inaugur\u00e9e par Dante, qui est pr\u00e9conis\u00e9e par Wilkins, en 1915, dans une \u00e9tude, qui fit tr\u00e8s longtemps autorit\u00e9, et dont le titre est repris par Antonelli, \u2018pas par hasard\u2019. <\/span><\/p>\n

2 3 <\/span><\/span>L\u2019enqu\u00eate d\u2019Antonelli est longue et tr\u00e8s s\u00e9rieuse. Il ne discute m\u00eame pas la burlesque hypoth\u00e8se ancienne. <\/span><\/p>\n

2 4 <\/span><\/span>Et ne tombe pas non plus dans le pi\u00e8ge d\u2019une hypoth\u00e8se de rechange qui a \u00e9t\u00e9 assez r\u00e9pandue au milieu du 20 \u00e8me si\u00e8cle\u00a0: on constate, par consultation du R\u00e9pertoire M\u00e9trique d\u2019Istvan Frank, qu\u2019aucune <\/span>cobla<\/strong><\/span> de Troubadours n\u2019exhibe exactement l\u2019une des trois formules de rimes du Notaro. Donc, le sonnet est, certes, dit-on, dans son contenu, inspir\u00e9 des Troubadours. Mais sa forme, en fait l\u2019essentiel, la <\/span>forme-sonnet<\/span><\/span>, est une cr\u00e9ation vraiment originale, qui fait sortir enti\u00e8rement le sonnet du champ proven\u00e7al. Le sonnet est sicilien donc italien. L\u2019argument est tr\u00e8s faible\u00a0: le <\/span>Principe de Renouvellement<\/span><\/span> des formules que j\u2019ai cit\u00e9 pr\u00e9c\u00e9demment le r\u00e9duit \u00e0 n\u00e9ant. Le \u2018Notaro\u2019 s\u2019inscrit d\u2019autant plus nettement dans le champ du \u2018trobar\u2019 qu\u2019il le respecte et r\u00e9ussit \u00e0 pr\u00e9senter une formule de rimes qui n\u2019a pas d\u00e9j\u00e0 \u00e9t\u00e9 utilis\u00e9e. Le m\u00eame raisonnement permettrait de prouver que la \u2018sextine\u2019 d\u2019Arnaut Daniel, qui n\u2019a aucun \u2018anc\u00eatre\u2019 chez les Troubadours qui l\u2019ont pr\u00e9c\u00e9d\u00e9, n\u2019\u00e9tait pas une <\/span>canso<\/strong><\/span>. <\/span><\/p>\n

2 5 <\/span><\/span>Antonelli commence par d\u00e9montrer que l\u2019ensemble des po\u00e8mes de Giacomo et de ses associ\u00e9s et successeurs, s\u2019inscrit , non seulement en \u2018contenu\u2019, mais aussi formellement dans le champ des Troubadours <\/span>tardifs.<\/span><\/span> <\/span><\/p>\n

2 6 <\/span><\/span>Les ann\u00e9es o\u00f9 nait le sonnet \u00ab <\/span>il trentennio 1220-1250\u00a0\u00bb<\/em><\/span> sont celles o\u00f9 se d\u00e9veloppe tr\u00e8s nettement la tendance \u00e0 la composition de <\/span>coblas<\/strong><\/span> qui ne sont pas des vestiges de <\/span>cansos<\/strong><\/span> dont la suite est perdue, mais des compositions \u00e0 part enti\u00e8re. La <\/span>cobla<\/strong><\/span> est \u00ab <\/span>il genere metrico \u2026 indicato come l\u2019immediato antecedente\u2026 il tipo piu affine al sonetto\u00a0\u00bb. <\/em><\/span>Les trente ann\u00e9es en question \u00ab <\/span>appare un periodo nodale per il constituirsi di una tradizione metrica basata , oltra che sul discordo, su un registro alto, la canzone, e su un registro \u00ab\u00a0basso\u2019, tenzoni\/ partimen, coblas e sirventesi.e la situazione, .. che sar\u00e0 codificata dai manoscritti e sancita<\/em><\/span> (sanctionn\u00e9e)<\/span> anche della produzione dalla coscienza dei produttori, fino al <\/em><\/span>Guiraut Riquier<\/span><\/em><\/span>. <\/em><\/span><\/p>\n

2 6 1 <\/span><\/span><\/span>le dernier, comme il se dit lui-m\u00eame, des grands troubadours de Provence.<\/span><\/span><\/p>\n

2 7 <\/span><\/span>Il n\u2019y a rien \u00e0 dire \u00e0 cette description des productions troubadouresque de cette \u00e9poque. Mais on est bien oblig\u00e9 de remarquer que ni les sonnets ni les tensons siciliennes ne sont dans un registre \u2018bas\u2019. Cette opposition, haut-noble \/ bas-pl\u00e9b\u00e9ien, est totalement anachronique\u00a0: elle vient, en fait, de Dante<\/span><\/p>\n

2 7 1 <\/span><\/span><\/span>qui est tellement pr\u00e9sent dans les cr\u00e2nes italiens qu\u2019ils adoptent, sans r\u00e9fl\u00e9chir une seconde, tous ses jugements. <\/span><\/span><\/p>\n

2 8 <\/span><\/span><\/span>L\u2019envahissement du <\/span><\/span>trobar<\/strong><\/span><\/span> tardif par cette constellation de formes, o\u00f9 la <\/span><\/span>cobla<\/strong><\/span><\/span> tend \u00e0 se substituer \u00e0 la <\/span><\/span>canso<\/strong><\/span><\/span> est bien mis en \u00e9vidence par les manuscrits\u00a0: ainsi , Bertran Carbonel, par exemple, a 94 compositions\u00a0; 75 sont des <\/span><\/span>coblas<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

2 9 <\/span><\/span><\/span>Mais dire que la situation pr\u00e9sente l\u2018<\/span><\/span>opportunit\u00e0, la necessit\u00e0 quasi, di un tipo di componimento breve\u2019<\/em><\/span><\/span> nouveau, me semble aller tout \u00e0 fait au-del\u00e0 des faits. <\/span><\/span><\/p>\n

2 10 <\/span><\/span><\/span>Et franchement fantaisiste me semble ceci, qui suit\u00a0: \u00ab <\/span><\/span>sarebbe difficile negare a Giacomo da Lentini la coscienza di volar creare una \u2018forma\u2019 e un \u2018genere\u2019 metrico<\/em><\/span><\/span><\/p>\n

<\/span><\/span>2 10 1 <\/span><\/span><\/span>Qui peut savoir ce dont Le Notaro \u00e9tait <\/span><\/span>conscient<\/span><\/span><\/span> ? <\/span><\/span><\/p>\n

2 11 <\/span><\/span>Et tout \u00e0 coup, on fait un grand pas\u00a0: \u00ab <\/span>in Giacomo, il sonetto e gi\u00e0 genere autonomo\u00a0\u00bb<\/em><\/span><\/p>\n

2 12 <\/span><\/span>Apr\u00e8s ces conclusions, curieusement plac\u00e9es avant l\u2019enqu\u00eate minutieuse qu\u2019il va faire dans le corpus troubadouresque pour chercher les dispositions de rimes voisines de celles employ\u00e9es par les Siciliens, Antonelli plonge ses filets dans le catalogue d\u2019Istvan Frank et le r\u00e9sultat de sa p\u00eache est tr\u00e8s int\u00e9ressant. Je ne le suivrai pas ici. Il est probable que son travail restera la base de toute discussion ult\u00e9rieure. Je ne retiendrai pour mon propos qu\u2019un seul exemple, qui t\u00e9moigne de l\u2019acuit\u00e9 du regard du savant italien. <\/span><\/p>\n

2 13 <\/span><\/span>Lanfranc Cigala, Troubadour g\u00e9nois des m\u00eames ann\u00e9es<\/span><\/p>\n

<\/span>2 13 1 <\/span><\/span><\/span>dont on conna\u00eet une tenson avec mon anc\u00eatre Rubaut<\/span><\/span><\/p>\n

2 14 <\/span><\/span>compose un <\/span>\u00ab\u00a0sirventese di due sole strofe unisonans, si chiude con una tornata di tre versi uguale alla sirma*<\/em><\/span> <\/span><\/p>\n

2 14 1 <\/span><\/span><\/span>* la fin de la formule de rimes de la strophe, dans la terminologie de Dante<\/span><\/span><\/p>\n

2 15 <\/span><\/span>\u00ab\u00a0Dunque, nel manoscritto, e per il lettore, con un\u2019 ultima strofa rimata <\/em><\/span>abababab\u00a0; aab + aab, <\/strong><\/em><\/span>ovvero esattamente lo schema di \u00ab\u00a0eo viso\u00a0\u00bb di Giacomo\u00a0\u00bb<\/em><\/span> <\/span><\/p>\n

2 16 <\/span><\/span>Ce travail achev\u00e9, Roberto Antonelli reprend pour conclure la conclusion qu\u2019il avait pr\u00e9sent\u00e9e d\u00e8s le d\u00e9but\u00a0: que Giacomo da Lentini a <\/span>consciemment<\/span><\/span> fourni \u00e0 la po\u00e9sie \u00ab\u00a0fr\u00e9d\u00e9ricienne\u00a0\u00bb un \u00ab <\/span>componimento e un genere monostrofico, polivalente, di tonalit\u00e0 minore, sul tipo delle coblas e tenzoni\u00a0\u00bb<\/em><\/span>. bref, il a bien <\/span>invent\u00e9 le sonnet<\/strong><\/span> et le sonnet est bel et bien une <\/span>innovation majeure<\/strong><\/span> qui \u2018surpasse\u2019 le <\/span>trobar<\/strong><\/span>. Et italienne. CQFD. <\/span><\/p>\n

2 17 <\/span><\/span>Je suis parfaitement d\u2019accord sur le fait que la <\/span>forme sonnet<\/strong><\/span> est une <\/span>innovation majeure<\/strong><\/span> dans le champ des formes po\u00e9tiques, qu\u2019il s\u2019agit d\u2019une forme diff\u00e9rente de celles que \u2018trouv\u00e8rent\u2019 les Troubadours, quoique pas \u2018sup\u00e9rieure\u2019 , ce qui n\u2019a aucun sens, mais autre. Cependant\u00a0: <\/span><\/p>\n

2 18 <\/span><\/span><\/p>\n

<\/span>Giacomo da Lentini n\u2019a pas invent\u00e9 le sonnet<\/strong><\/span><\/span>. <\/strong><\/span><\/p>\n

\u00a73 <\/span><\/span>Giacomo da Lentini, dis-je, n\u2019a pas invent\u00e9 le sonnet<\/strong><\/span><\/span>. Et je le prouve. <\/strong><\/span><\/p>\n

3 1 <\/span><\/span>Qu\u2019a-t-il donc fait\u00a0? en bon disciple des Troubaours, il a invent\u00e9 une forme oiriginale de <\/span>cobla<\/strong><\/span><\/p>\n

3 2 <\/span><\/span>que lui-m\u00eame, ses complices et successeurs ont adopt\u00e9 avec enthousisame\u00a0; une forme de cobla qui, avec les ann\u00e9es a acquis un tr\u00e8s grand <\/span>Pretz. <\/strong><\/span>Mais<\/span><\/p>\n

3 3 <\/span><\/span>Rien n\u2019indique que lui, ni les autres, n\u2019ont eu \u2018conscience\u2019 d\u2019avoir mis sur le march\u00e9 po\u00e9tique une forme nouvelle. <\/span><\/p>\n

3 4 <\/span><\/span>On constate avec amusement que Roberto Antonelli, toujours dans le m\u00eame article, \u00e9nonce, sans s\u2019en rendre compte, un argument d\u00e9cisif \u00e0 l\u2019encontre de sa propre th\u00e8se<\/span><\/p>\n

3 5 <\/span><\/span>\u00ab\u00a0cio che oggi definiamo \u2018Sestina\u2019 s\u2019impone come genere, si costituice in tradizione, solo grazie agli imitatori\u00a0\u00bb<\/em><\/span>. C\u2019est parce que de nombreux po\u00e8tes, longtemps apr\u00e8s Arnaut Daniel, ont compos\u00e9 des sextines et les ont nomm\u00e9s <\/span>sextines<\/span><\/span>, en ayant conscience du fait quil s\u2019agissait d\u2019une forme distincte de la <\/span>canzone<\/strong><\/span>, que le po\u00e8me construit selon la m\u00eame formule est devenue la <\/span>forme-sextine<\/strong><\/span>. <\/span><\/p>\n

3 5 1 <\/span><\/span><\/span>Imm\u00e9diatement apr\u00e8s cet remarque d\u00e9vastatrice, sentant sans doute confus\u00e9ment le danger, il tente de revenir en arri\u00e8re<\/span><\/span><\/p>\n

3 5 2 <\/span><\/span><\/span>Il y a \u00ab <\/span><\/span>nelle ricerca di Arnaut una evidenta volunt\u00e0 di coerenza \u2026 nel perseguire una forme precisa\u00a0\u00bb<\/em><\/span><\/span>. Sans doute, mais \u00e0 aucun moment ne se manifeste une quelconque intention de sortir du champ formel de la <\/span><\/span>canso. <\/strong><\/span><\/span><\/p>\n

3 6 <\/span><\/span>L\u2019invention du sonnet est post\u00e9rieure de presque un demi-si\u00e8cle et de plus d\u2019un millier d\u2019exemples \u00e0 Giacomo da Lentini. Elle est due pour moiti\u00e9 \u00e0 Guido Cavalcanti, qui non seulement adopte le <\/strong><\/span><\/span>nom<\/strong><\/span><\/span><\/span>, <\/strong><\/span><\/span>sonetto<\/strong><\/span><\/span><\/span>, choisi par Guittone d\u2019Arezzo pour d\u00e9signer cette vari\u00e9t\u00e9 de <\/strong><\/span><\/span>cobla<\/strong><\/span><\/span><\/span>, mais est responsable de <\/strong><\/span><\/span>l\u2019innovation majeure<\/strong><\/span><\/span><\/span> dans la formule de rimes qui consiste a disposer les huit premier vers en deux quatrains \u00e0 disposition \u2018embrass\u00e9e\u2019, abba abba. <\/strong><\/span><\/span><\/p>\n

3 7 <\/span><\/span><\/p>\n

E29<\/span><\/span><\/span><\/p>\n

<\/span><\/span>Chi \u00e8 questa che v\u00e8n, ch’ogn’om la mira,<\/span><\/span><\/p>\n

che fa tremar di chiaritate l’\u00e2re<\/span><\/span><\/p>\n

e mena seco Amor, s\u00ec che parlare<\/span><\/span><\/p>\n

null’omo pote, ma ciascun sospira?<\/span><\/span><\/p>\n

O Deo, che sembra quando li occhi gira!<\/span><\/span><\/p>\n

dical’Amor, ch’i’ nol savria contare:<\/span><\/span><\/p>\n

cotanto d’umilt\u00e0 donna mi pare,<\/span><\/span><\/p>\n

ch’ogn’altra ver’ di lei i’ la chiam’ira.<\/span><\/span><\/p>\n

Non si poria contar la sua piagenza,<\/span><\/span><\/p>\n

ch’a le’ s’inchin’ogni gentil vertute,<\/span><\/span><\/p>\n

e la beltate per sua dea la mostra.<\/span><\/span><\/p>\n

Non fu s\u00ec alta gi\u00e0 la mente nostra<\/span><\/span><\/p>\n

e non si pose ‘n noi tanta salute,<\/span><\/span><\/p>\n

che propiamente n’avi\u00e0n canoscenza.<\/span><\/span><\/p>\n

E29a<\/span><\/span><\/span> <\/span><\/span>3 6 1 <\/span><\/span><\/span>traduction d\u2019Ezra Pound<\/span><\/span><\/p>\n

<\/span><\/span>Who is she that comes, makyng turn every man\u2019s eye<\/span><\/span><\/p>\n

And makyng the air to tremble with a Bright clearnesse <\/span><\/span><\/p>\n

That leadeth with her Love, in such nearness<\/span><\/span><\/p>\n

No man may proffer of Speech more than a sigh\u00a0? <\/span><\/span><\/p>\n

Ah God, what she is like when her owne eye turneth, is <\/span><\/span><\/p>\n

Fit for Amor to speake, for I can not at all\u00a0; <\/span><\/span><\/p>\n

Such is her modesty, I would call <\/span><\/span><\/p>\n

Every woman else but an useless uneasiness. <\/span><\/span><\/p>\n

No one could ever tell all of her pleasauntness <\/span><\/span><\/p>\n

In that every High noble vertu leaneth to herward, <\/span><\/span><\/p>\n

So beauty sheweth her forth as her Godhede\u00a0; <\/span><\/span><\/p>\n

Never before was our mind so High led, <\/span><\/span><\/p>\n

Nor have we so much of heal as will afford <\/span><\/span><\/p>\n

That our thought may take her imm\u00e9diate in its embrace. <\/span><\/span><\/p>\n

3 8 <\/span><\/span>L\u2019autre moiti\u00e9 de la responsabilit\u00e9 est \u00e0 mettre au compte de P\u00e9trarque qui, apr\u00e8s Dante et Cino da Pistoia, rend \u2018canonique\u2019 l\u2019invention cavalcantienne. <\/span><\/p>\n

3 9 <\/span><\/span>A partir du moment o\u00f9 la forme-sonnet existe, ne fait plus partie de l\u2019h\u00e9ritage direct, par translation linguistique, du trobar, apr\u00e8s coup donc, on peut d\u00e9signer les po\u00e8mes de Giacomo da Lentini comme sonnets. Mais il n\u2019est pas possible, sans anachronisme, d\u2019antidater, dans une \u00e9tude historique, le moment de l\u2019<\/span>invention.<\/strong><\/span><\/p>\n

<\/span><\/span>3 9 1 <\/span><\/span><\/span>Michael Oakeshott\u00a0: r\u00e9flexion sur la notion d\u2019\u00e9v\u00e9nement historique\u00a0:<\/span><\/span><\/p>\n

By an historical event I mean an occurrence or situation, inferred from surviving record, alleged to be what was actually happening, in a certain respect, then and there, and understood in terms of the mediation of its emergence; that is, understood as an eventus or outcome of what went before \u201d. D\u2019o\u00f9 il r\u00e9sulte que …. \u201c historical events are immune to the criticism of the future: an earlier event cannot be made more historically intelligible in terms of later events \u201d<\/em><\/span><\/span><\/p>\n

<\/span>\u00a74 <\/span><\/span>Un petit choix de sonnets, De Giacomo da Lentini \u00e0 Cavalcanti<\/strong><\/span><\/span><\/p>\n

4 1 <\/span><\/span>Ce choix r\u00e9pond \u00e0 des crit\u00e8res d\u2019excellence, c\u2019est \u00e0 dire qu\u2019il comprend les quelques sonnets que je consid\u00e8re comme ayant le plus de <\/span>valeur esth\u00e9tique<\/span><\/span>, selon mon jugement personnel. Dans le paragraphe suivant je placerai des textes significatifs sur le plan formel d\u2019\u00e9volution de la forme<\/span><\/p>\n

4 2 <\/span><\/span><\/p>\n

de<\/span><\/span> Giacomo da Lentini<\/strong><\/span><\/span><\/p>\n

I<\/span><\/p>\n

Amor \u00e8 un[[o]] desio che ven da core \t(<\/span><\/span>see E28)<\/span><\/span><\/span><\/p>\n

II <\/span><\/span><\/p>\n

E30<\/span><\/span><\/span><\/p>\n

Or come pote s\u00ec gran donna entrare<\/span><\/span><\/p>\n

per gli ochi mei che s\u00ec piccioli sone?<\/span><\/span><\/p>\n

e nel mio core come pote stare,<\/span><\/span><\/p>\n

che ‘nentr’esso la porto l\u00e0 onque i’ vone? <\/span><\/span><\/p>\n

Lo loco l\u00e0 onde entra gi\u00e0 non pare,<\/span><\/span><\/p>\n

ond’io gran meraviglia me ne d\u00f2ne;<\/span><\/span><\/p>\n

ma voglio lei a lumera asomigliare,<\/span><\/span><\/p>\n

gli ochi mei al vetro ove si pone.<\/span><\/span><\/p>\n

Lo foco inchiuso, poi passa difore<\/span><\/span><\/p>\n

lo suo lostrore, sanza far rotura:<\/span><\/span><\/p>\n

cos\u00ec per gli ochi mi pass’a lo core,<\/span><\/span><\/p>\n

no la persona, ma la sua figura.<\/span><\/span><\/p>\n

Rinovellare mi voglio d’amore,<\/span><\/span><\/p>\n

poi porto insegna di tal criatura.<\/span><\/span><\/p>\n

E30a<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>Comment donc une si grande dame a-t-elle pu entrer <\/span><\/span><\/p>\n

Par mes yeux qui sont si petits\u00a0? <\/span><\/span><\/p>\n

Et comment peut-elle se tenir dans mon c\u0153ur<\/span><\/span><\/p>\n

Qui la porte en lui ou qu\u2019il aille\u00a0? <\/span><\/span><\/p>\n

On ne voit pas l\u2019endroit par o\u00f9 elle entre, <\/span><\/span><\/p>\n

Ce qui me donne grand \u00e9tonnement\u00a0;<\/span><\/span><\/p>\n

Mais je la veux comparer \u00e0 la lumi\u00e8re, <\/span><\/span><\/p>\n

Et mes yeux, au verre o\u00f9 elle se pose. <\/span><\/span><\/p>\n

Du feu qui y est inclus, l\u2019\u00e9clat<\/span><\/span><\/p>\n

Passe au dehors sans le briser\u00a0: <\/span><\/span><\/p>\n

C\u2019est ainsi que par mes yeux pass \u00e0 mon c\u0153ur, <\/span><\/span><\/p>\n

Non point la personne mais son image. <\/span><\/span><\/p>\n

Je veux me r\u00e9nover par l\u2019amour, <\/span><\/span><\/p>\n

Puisque je porte dans mon c\u0153ur l\u2019enseigne d\u2019une telle cr\u00e9ature<\/span><\/span><\/p>\n

E31<\/span><\/span><\/span><\/p>\n

<\/span><\/span>4 2 1 <\/span><\/span><\/span>Guy Le f\u00e8vre de la Boderi<\/strong><\/span><\/span>e<\/span><\/span> <\/strong><\/span><\/span>L\u2019encyclie de secrets de l\u2019Eternit\u00e9<\/em><\/span><\/span><\/p>\n

Aux naturalistes et m\u00e9cr\u00e9ants<\/span><\/span><\/span><\/p>\n

Comme le beau Soleil de surgeon p\u00e9rennel <\/span><\/span><\/p>\n

Dardant son rais subtil p\u00e9n\u00e8tre une verri\u00e8re<\/span><\/span><\/p>\n

Sans le verre casser, et sans que sa lumi\u00e8re<\/span><\/span><\/p>\n

Il retranche d\u2019avec son pur rayon isnel\u00a0: <\/span><\/span><\/p>\n

Ainsi nous envoya Dieu le P\u00e8re \u00e9ternel <\/span><\/span><\/p>\n

Son Verbe et sa splendeur dedans la Vierge enti\u00e8re, <\/span><\/span><\/p>\n

Sans fendre son cristal ni rompre sa barri\u00e8re, <\/span><\/span><\/p>\n

Et sans se s\u00e9parer du surgeon paternel. <\/span><\/span><\/p>\n

Vous qui ne donnez foi \u00e0 la sainte \u00e9criture, <\/span><\/span><\/p>\n

Remarquez ce myst\u00e8re au livre de Nature\u00a0: <\/span><\/span><\/p>\n

Ouvrez les yeux de l\u2019\u00c2me afin d\u2019apercevoir <\/span><\/span><\/p>\n

Le Soleil du soleil qui dans les c\u0153urs veut na\u00eetre\u00a0: <\/span><\/span><\/p>\n

Et n\u2019attribuez plus au serviteur qu\u2019au ma\u00eetre\u00a0: <\/span><\/span><\/p>\n

Puissant doit \u00eatre cil qui donne \u00e0 tous pouvoir.<\/span><\/span><\/p>\n

4 3 <\/span><\/span><\/p>\n

E32<\/span><\/span><\/span><\/p>\n

<\/span><\/span>III<\/span><\/p>\n

Io m’aggio posto in core a Dio servire<\/span><\/span><\/p>\n

com’io potesse gire in paradiso,<\/span><\/span><\/p>\n

al santo loco, c’aggio audito dire,<\/span><\/span><\/p>\n

o’ si mantien sollazzo, gioco e riso. <\/span><\/span><\/p>\n

Sanza mia donna non vi voria gire,<\/span><\/span><\/p>\n

quella c’\u00e0 blonda testa e claro viso,<\/span><\/span><\/p>\n

che sanza lei non poteria gaudere,<\/span><\/span><\/p>\n

estando da la mia donna diviso.<\/span><\/span><\/p>\n

Ma no lo dico a tale intendimento,<\/span><\/span><\/p>\n

perch’io pecato ci volesse fare;<\/span><\/span><\/p>\n

se non veder lo suo bel portamento<\/span><\/span><\/p>\n

e lo bel viso e ‘l morbido sguardare:<\/span><\/span><\/p>\n

che\u00b7l mi teria in gran consolamento,<\/span><\/span><\/p>\n

veggendo la mia donna in ghiora stare.<\/span><\/span><\/p>\n

E32a<\/span><\/span><\/span><\/p>\n

<\/span><\/span>4 3 1 <\/span><\/span><\/span>Dante Gabriel Rossetti<\/strong><\/span><\/span><\/p>\n

I have it in my heart to serve God so<\/span><\/span><\/p>\n

That into Paradise I shall repair, –<\/span><\/span><\/p>\n

The holy place through the which everywhere<\/span><\/span><\/p>\n

I have heard say that joy and solace flow.<\/span><\/span><\/p>\n

Without my lady I were loth to go, –<\/span><\/span><\/p>\n

She who has the bright face and the bright hair;<\/span><\/span><\/p>\n

Because if she were absent, I being there,<\/span><\/span><\/p>\n

My pleasure would be less than nought, I know.<\/span><\/span><\/p>\n

Look you, I say not this to such intent<\/span><\/span><\/p>\n

As that I there would deal in any sin:<\/span><\/span><\/p>\n

I only would behold her gracious mien,<\/span><\/span><\/p>\n

And beautiful soft eyes, and lovely face,<\/span><\/span><\/p>\n

That so it should be my complete content<\/span><\/span><\/p>\n

To see my lady joyful in her place.<\/span><\/span><\/p>\n

4 4 <\/span><\/span><\/span><\/p>\n

de <\/span><\/span>Guido Guinizelli<\/strong><\/span><\/span><\/p>\n

IV<\/span><\/span><\/p>\n

E33<\/span><\/span><\/span><\/p>\n

Lo vostro bel saluto e ‘l gentil sguardo,<\/span><\/span><\/p>\n

che fate quando v’encontro, m’ancide:<\/span><\/span><\/p>\n

Amor m’assale e gi\u00e0 non ha reguardo<\/span><\/span><\/p>\n

s’elli face peccato over merzede,<\/span><\/span><\/p>\n

ch\u00e9 per mezzo lo cor me lanci\u00f2 un dardo<\/span><\/span><\/p>\n

ched oltre ‘n parte lo taglia e divide;<\/span><\/span><\/p>\n

parlar non posso, ch\u00e9 ‘n pene io ardo<\/span><\/span><\/p>\n

s\u00ec come quelli che sua morte vede.<\/span><\/span><\/p>\n

Per li occhi passa come fa lo trono,<\/span><\/span><\/p>\n

che fer per la finestra de la torre<\/span><\/span><\/p>\n

e ci\u00f2 che dentro trova spezza e fende;<\/span><\/span><\/p>\n

remagno como stat\u00fca d’ottono<\/span><\/span><\/p>\n

ove vita n\u00e9 spirto non ricorre,<\/span><\/span><\/p>\n

se non che la figura d’omo rende. <\/span><\/span><\/p>\n

V<\/span><\/span><\/p>\n

E34<\/span><\/span><\/span><\/p>\n

Vedut’ho la lucente stella diana,<\/span><\/span><\/p>\n

ch’apare anzi che ‘l giorno rend’albore,<\/span><\/span><\/p>\n

c’ha preso forma di figura umana;<\/span><\/span><\/p>\n

sovr’ogn’altra me par che dea splendore:<\/span><\/span><\/p>\n

viso de neve colorato in grana,<\/span><\/span><\/p>\n

occhi lucenti, gai e pien’ d’amore;<\/span><\/span><\/p>\n

non credo che nel mondo sia cristiana<\/span><\/span><\/p>\n

s\u00ec piena di biltate e di valore.<\/span><\/span><\/p>\n

Ed io dal suo valor son assalito<\/span><\/span><\/p>\n

con s\u00ec fera battaglia di sospiri<\/span><\/span><\/p>\n

ch’avanti a lei di dir non seri’ ardito.<\/span><\/span><\/p>\n

Cos\u00ec conoscess’ ella i miei disiri!<\/span><\/span><\/p>\n

ch\u00e9, senza dir, de lei seria servito<\/span><\/span><\/p>\n

per la piet\u00e0 ch’avrebbe de’ mart\u00ecri.<\/span><\/span><\/p>\n

VI<\/span><\/span><\/p>\n

E35<\/span><\/span><\/span><\/p>\n

Io voglio del ver la mia donna laudare<\/span><\/span><\/p>\n

ed asembrarli la rosa e lo giglio:<\/span><\/span><\/p>\n

pi\u00f9 che stella d\u00efana splende e pare,<\/span><\/span><\/p>\n

e ci\u00f2 ch’\u00e8 lass\u00f9 bello a lei somiglio.<\/span><\/span><\/p>\n

Verde river’ a lei rasembro e l’\u00e2re,<\/span><\/span><\/p>\n

tutti color di fior’, giano e vermiglio,<\/span><\/span><\/p>\n

oro ed azzurro e ricche gioi’ per dare:<\/span><\/span><\/p>\n

medesmo Amor per lei rafina meglio.<\/span><\/span><\/p>\n

Passa per via adorna, e s\u00ec gentile<\/span><\/span><\/p>\n

ch’abassa orgoglio a cui dona salute,<\/span><\/span><\/p>\n

e fa ‘l de nostra f\u00e9 se non la crede;<\/span><\/span><\/p>\n

e no lle p\u00f2 apressare om che sia vile;<\/span><\/span><\/p>\n

ancor ve dir\u00f2 c’ha maggior vertute:<\/span><\/span><\/p>\n

null’om p\u00f2 mal pensar fin che la vede.<\/span><\/span><\/p>\n

E35a<\/span><\/span><\/span><\/p>\n

<\/span><\/span>I<\/span><\/span>n<\/span><\/span> verity I\u2019d sing my lady\u2019s praise, <\/span><\/span><\/p>\n

With rose and lily-flower her face compare: <\/span><\/span><\/p>\n

Like to the morning star her beauty\u2019s rays, <\/span><\/span><\/p>\n

Like to a saint in heaven, ah, wond\u2019rous fair! <\/span><\/span><\/p>\n

Green shades are like her and the breeze as well, <\/span><\/span><\/p>\n

All hues, all blossoms, flushed and pale, <\/span><\/span><\/p>\n

beside \u2028Silver and gold and rare stones\u2019 lustrous spell; <\/span><\/span><\/p>\n

Even Love himself in her is glorified. <\/span><\/span><\/p>\n

She goes her way so gentle and so sweet, <\/span><\/span><\/p>\n

Pride falls in whomsoever she doth meet, <\/span><\/span><\/p>\n

Worthless the heart which scorneth such delight! <\/span><\/span><\/p>\n

Ungentle folk may not endure her sight, <\/span><\/span><\/p>\n

And a still greater virtue I aver: <\/span><\/span><\/p>\n

No man thinks ill hath he but looked on her.<\/span><\/span><\/p>\n

VII<\/span><\/span><\/p>\n

E36<\/span><\/span><\/span><\/p>\n

Chi vedesse a Lucia un var capuzzo<\/span><\/span><\/p>\n

in c\u00f2 tenere, e como li sta gente,<\/span><\/span><\/p>\n

e’ non \u00e8 om de qui ‘n terra d’Abruzzo<\/span><\/span><\/p>\n

che non ne ‘namorasse coralmente.<\/span><\/span><\/p>\n

Par, s\u00ec lorina, figliuola d’un tuzzo<\/span><\/span><\/p>\n

de la Magna o de Franza veramente;<\/span><\/span><\/p>\n

e non se sbatte c\u00f2 de serpe mozzo<\/span><\/span><\/p>\n

come fa lo meo core spessamente.<\/span><\/span><\/p>\n

Ah, prender lei a forza, ultra su’ grato,<\/span><\/span><\/p>\n

e baciarli la bocca e ‘l bel visaggio<\/span><\/span><\/p>\n

e li occhi suoi, ch’\u00e8n due fiamme de foco!<\/span><\/span><\/p>\n

Ma pentomi, per\u00f2 che m’ho pensato<\/span><\/span><\/p>\n

ch’esto fatto poria portar dannaggio<\/span><\/span><\/p>\n

ch’altrui despiaceria forse non poco.<\/span><\/span><\/p>\n

E36a<\/span><\/span><\/span><\/p>\n

A voir Lucie coiff\u00e9e d’un chaperon \/ de petit-gris qui lui sied \u00e0 ravir, \/ il n’est, d’ici jusqu’en terre d’Abruzze, \/ homme qui ne serait tout feu tout flamme. \/\/ En cet atour, on croirait qu’elle est fille \/ d’un Teuton d’Allemagne ou d’un Fran\u00e7ais: \/ t\u00eate coup\u00e9e d’un serpent ne s’agite \/ plus violemment que ne le fait mon coeur. \/\/\/ Ah! la prendre de force, outre son gr\u00e9, baiser sa bouche et tout son beau visage, \/ et ses yeux tels deux flamm\u00e8ches de feu! \/\/ ici je me ravise, ayant song\u00e9 \/ que ce geste pourrait me faire tort \/ en risquant fort de d\u00e9plaire \u00e0 telle autre. \/\/\/\/ ) <\/span><\/span><\/p>\n

de<\/span><\/span> Guido Cavalcanti<\/strong><\/span><\/span><\/p>\n

VIII<\/span><\/span><\/p>\n

E37<\/span><\/span><\/span><\/p>\n

Avete ‘n vo’ li fior’ e la verdura<\/span><\/span><\/p>\n

e ci\u00f2 che luce ed \u00e8 bello a vedere;<\/span><\/span><\/p>\n

risplende pi\u00f9 che sol vostra figura:<\/span><\/span><\/p>\n

chi vo’ non vede, ma’ non p\u00f2 valere.<\/span><\/span><\/p>\n

In questo mondo non ha creatura<\/span><\/span><\/p>\n

s\u00ec piena di bielt\u00e0 n\u00e9 di piacere;<\/span><\/span><\/p>\n

e chi d’amor si teme, lu’ assicura<\/span><\/span><\/p>\n

vostro bel vis’a tanto ‘n s\u00e9 volere.<\/span><\/span><\/p>\n

Le donne che vi fanno compagnia<\/span><\/span><\/p>\n

assa’ mi piaccion per lo vostro amore;<\/span><\/span><\/p>\n

ed i’ le prego per lor cortesia<\/span><\/span><\/p>\n

che qual pi\u00f9 pu\u00f2 pi\u00f9 vi faccia onore<\/span><\/span><\/p>\n

ed aggia cara vostra segnoria,<\/span><\/span><\/p>\n

perch\u00e9 di tutte siete la migliore.<\/span><\/span><\/p>\n

E37a<\/span><\/span><\/span> <\/span><\/p>\n

Vous avez en vous les fleurs et la verdure, \/ et tout ce qui brille ou est bel \u00e0 voir. \/ Votre visage replendit plus que le soleil; \/ qui ne vous voit point ne peut jamais \u00eatre valeureux. \/\/ Il n’est en ce monde cr\u00e9ature \/ aussi pleine de beaut\u00e9 et de plaisance, \/ et celui qui craint Amour, votre beau visage \/ l’exhorte \u00e0 vouloir en lui quelque chose d’aussi grand. \/\/\/ Les dames qui vous font compagnie \/ me plaisent fort pour l’amour de vous, \/ et je les prie, par leur courtoisie, \/ de vous rendre honneur le plus qu’elles peuvent, \/ et de ch\u00e9rir votre seigneurie, \/ car c’est vous qui de toutes \u00eates la meilleure. \/\/\/\/).<\/span><\/span><\/p>\n

IX<\/span><\/span><\/p>\n

E38<\/span><\/span><\/span><\/p>\n

Bilt\u00e0 di donna e di saccente core<\/span><\/span><\/p>\n

e cavalieri armati che sien genti;<\/span><\/span><\/p>\n

cantar d’augelli e ragionar d’amore;<\/span><\/span><\/p>\n

adorni legni ‘n mar forte correnti;<\/span><\/span><\/p>\n

aria serena quand’apar l’albore<\/span><\/span><\/p>\n

e bianca neve scender senza venti;<\/span><\/span><\/p>\n

rivera d’acqua e prato d’ogni fiore;<\/span><\/span><\/p>\n

oro, argento, azzuro ‘n ornamenti:<\/span><\/span><\/p>\n

ci\u00f2 passa la beltate e la valenza<\/span><\/span><\/p>\n

de la mia donna e ‘l su’ gentil coraggio,<\/span><\/span><\/p>\n

s\u00ec che rasembra vile a chi ci\u00f2 guarda;<\/span><\/span><\/p>\n

e tanto pi\u00f9 d’ogn’altr’ha canoscenza,<\/span><\/span><\/p>\n

quanto lo ciel de la terra \u00e8 maggio.<\/span><\/span><\/p>\n

A simil di natura ben non tarda.<\/span><\/span><\/p>\n

E38a<\/span><\/span><\/span><\/p>\n

A quick perceptiveness, a woman\u2019s charm, <\/span><\/span><\/p>\n

a windless city white with falling snow, <\/span><\/span><\/p>\n

the gallant courtesy of men-at-arms, <\/span><\/span><\/p>\n

the blue of lazuli, the warmth of gold,<\/span><\/span><\/p>\n

the song of birds, the reasonings of lovers, <\/span><\/span><\/p>\n

a breeze at daybreak when the dawn is pale, <\/span><\/span><\/p>\n

a flowered meadow full of all the colors, <\/span><\/span><\/p>\n

galleons running under press of sail:<\/span><\/span><\/p>\n

all these are second to my lady\u2019s worth. <\/span><\/span><\/p>\n

No one seeing her would wish to trade <\/span><\/span><\/p>\n

her presence for the wonders on that list.<\/span><\/span><\/p>\n

Aptness for joy is in the way she\u2019s made\u2014 <\/span><\/span><\/p>\n

her heart has knowledge which excels the rest <\/span><\/span><\/p>\n

as heaven\u2019s sphere is greater than the earth.<\/span><\/span><\/p>\n

E38b\t\ttrad Ezra Pound<\/span><\/span><\/span><\/p>\n

Beauty of woman, of the knowing heart, <\/span><\/span><\/p>\n

And courtly knights in bright accoutrement <\/span><\/span><\/p>\n

And loving speeches and the small birds’ art, <\/span><\/span><\/p>\n

Adorned swift ships which on high seas are sent, <\/span><\/span><\/p>\n

And airs grown calm when white the dawn appeareth <\/span><\/span><\/p>\n

And white snow falling where no wind is bent, <\/span><\/span><\/p>\n

Brook-marge and mead where every flower flareth <\/span><\/span><\/p>\n

And gold and silver and azure and ornament: <\/span><\/span><\/p>\n

Effective ‘gainst all these think ye the fairness <\/span><\/span><\/p>\n

And valour of my Lady’s lordly daring? <\/span><\/span><\/p>\n

Yea, she makes all seem base vain gathering, <\/span><\/span><\/p>\n

And she were known above whom’er you’d bring<\/span><\/span><\/p>\n

As much as heaven is past earth’s comparing:; <\/span><\/span><\/p>\n

Good seeketh out its like with some address. <\/span><\/span><\/p>\n

E38c<\/span><\/span><\/span><\/p>\n

Beaut\u00e9 de dame et d’esprit savant \/ et gents chevaliers en armes, \/ chants d’oiseaux et propos d’amour, \/ nefs pavois\u00e9s courant en haute mer, \/\/ air serein \u00e0 l’apparition de l’aube, \/ et blanche neige tombant sans vent, \/ rivi\u00e8re vive et prairie aux mille fleurs, \/ ornements d’or, d’argent, ou d’azur; \/\/ tout cela, la grande beaut\u00e9 et la plaisance de ma dame \/ et son gent coeur le surpassent, \/ au point de le faire para\u00eetre vil en comparaison. \/\/ Et elle a plus de courtoisie que toute autre, \/ tout autant que le ciel est plus grand que la terre. \/ Pour qui est de semblable nature qu’elle, le bonheur ne tarde pas. \/\/\/\/ )<\/span><\/span><\/p>\n

see E29<\/span><\/span><\/span> <\/span><\/p>\n

X (<\/span><\/span>\u00a73 7)<\/span><\/span><\/span><\/p>\n

Chi \u00e8 questa che v\u00e8n, ch’ogn’om la mira,<\/span><\/span><\/p>\n

\u2026.<\/span><\/span><\/p>\n

XI<\/span><\/span><\/p>\n

E39<\/span><\/span><\/span><\/p>\n

Tu m’hai s\u00ec piena di dolor la mente,<\/span><\/span><\/p>\n

che l’anima si briga di partire,<\/span><\/span><\/p>\n

e li sospir’ che manda ‘l cor dolente<\/span><\/span><\/p>\n

mostrano agli occhi che non pu\u00f2 soffrire.<\/span><\/span><\/p>\n

Amor, che lo tuo grande valor sente,<\/span><\/span><\/p>\n

dice: \u00abE’ mi duol che ti convien morire<\/span><\/span><\/p>\n

per questa fiera donna, che niente<\/span><\/span><\/p>\n

par che pietate di te voglia udire\u00bb.<\/span><\/span><\/p>\n

I’ vo come colui ch’\u00e8 fuor di vita,<\/span><\/span><\/p>\n

che pare, a chi lo sguarda, ch’omo sia<\/span><\/span><\/p>\n

fatto di rame o di pietra o di legno,<\/span><\/span><\/p>\n

che si conduca sol per maestria<\/span><\/span><\/p>\n

e porti ne lo core una ferita<\/span><\/span><\/p>\n

che sia, com’egli \u00e8 morto, aperto segno.<\/span><\/span><\/p>\n

E39a<\/span><\/span><\/span><\/p>\n

Tu as tellement combl\u00e9 mon esprit de douleur \/ que mon \u00e2me s’efforce \u00e0 partir, \/ et les soupirs quexhale mon coeur douloureux \/ font voir (aux yeux) qu’il ne peut (plus r\u00e9sister. \/\/ Amour, qui ressent ta grande valeur, \/ dit: \u00ab\u00a0J’ai peine que tu doive mourir \/ du fait de cette Dame cruelle qui semble \/ ne (vouloir) point avoir piti\u00e9 de toi \u00ab\u00a0. \/\/\/ je vais comme quelqu’un qui est hors de vie, \/ qui semble aux regards (comme s’il \u00e9tait) \/ fait de bronze, ou de pierre ou<\/span><\/span> <\/span><\/span>de bois, \/\/ qui se meut comme par magie \/ et porte au coeur une blessure \/ qui est le signe manifeste qu’il est mort. \/\/\/\/ )<\/span><\/span><\/p>\n

XII<\/span><\/span><\/p>\n

E40<\/span><\/span><\/span><\/p>\n

Noi si\u00e0n le triste penne isbigotite,<\/span><\/span><\/p>\n

le cesoiuzze e ‘l coltellin dolente,<\/span><\/span><\/p>\n

ch’avemo scritte dolorosamente<\/span><\/span><\/p>\n

quelle parole che vo’ avete udite.<\/span><\/span><\/p>\n

Or vi dici\u00e0n perch\u00e9 noi si\u00e0n partite<\/span><\/span><\/p>\n

e si\u00e0n venute a voi qui di presente:<\/span><\/span><\/p>\n

la man che ci movea dice che sente<\/span><\/span><\/p>\n

cose dubbiose nel core apparite;<\/span><\/span><\/p>\n

le quali hanno destrutto s\u00ec costui<\/span><\/span><\/p>\n

ed hannol posto s\u00ec presso a la morte,<\/span><\/span><\/p>\n

ch’altro non n’\u00e8 rimaso che sospiri.<\/span><\/span><\/p>\n

Or vi preghi\u00e0n quanto possi\u00e0n pi\u00f9 forte<\/span><\/span><\/p>\n

che non sdegniate di tenerci noi,<\/span><\/span><\/p>\n

tanto ch’un poco di piet\u00e0 vi miri.<\/span><\/span><\/p>\n

E40a<\/span><\/span><\/span><\/p>\n

Nous sommes les tristes plumes angoiss\u00e9es, \/ les petits ciseaux et le canif attrist\u00e9, \/ qui avons \u00e9cit dans la douleur \/ ces paroles que vous avez ou\u00efes. \/\/ or, nous vois dirons pourquoi nous sommes partis \/ et sommes maintenant venus vers vous ici: \/ la main qui nous animait dit su’elle sent \/ appara\u00eetre dans son coeur des choses redoutables \/\/\/ qui ont tellement ravag\u00e9 celui-ci \/ et l’on conduit si pr\u00e8s de la mort \/ qu’il n’en est plus rest\u00e9 que des soupirs. \/\/ Nous vous prions, de toutes nos forces, de ne point refuse de nous garder, \/ jusqu’\u00e0 ce qu’un peu de piti\u00e9 vous regarde. \/\/\/\/ )<\/span><\/span><\/p>\n

XIII<\/span><\/span><\/p>\n

E41<\/span><\/span><\/span><\/p>\n

O tu, che porti nelli occhi sovente<\/span><\/span><\/p>\n

Amor tenendo tre saette in mano,<\/span><\/span><\/p>\n

questo mio spirto che vien di lontano<\/span><\/span><\/p>\n

ti raccomanda l’anima dolente,<\/span><\/span><\/p>\n

la quale ha gi\u00e0 feruta nella mente<\/span><\/span><\/p>\n

di due saette l’arciere soriano;<\/span><\/span><\/p>\n

a la terza apre l’arco, ma s\u00ec piano<\/span><\/span><\/p>\n

che non m’aggiunge essendoti presente:<\/span><\/span><\/p>\n

perch\u00e9 saria dell’alma la salute,<\/span><\/span><\/p>\n

che quasi giace infra le membra, morta<\/span><\/span><\/p>\n

di due saette che fan tre ferute:<\/span><\/span><\/p>\n

la prima d\u00e0 piacere e disconforta,<\/span><\/span><\/p>\n

e la seconda disia la vertute<\/span><\/span><\/p>\n

della gran gioia che la terza porta.<\/span><\/span><\/p>\n

E41a<\/span><\/span><\/span><\/p>\n

O you who often bear Love in your eyes<\/span><\/span><\/p>\n

Carrying three arrows in his hand,<\/span><\/span><\/p>\n

In this, my thought come from afar<\/span><\/span><\/p>\n

Commends to you a grieving spirit,<\/span><\/span><\/p>\n

<\/span><\/p>\n

Already twice wounded in the mind<\/span><\/span><\/p>\n

By the arrows of the Syrian archer;<\/span><\/span><\/p>\n

A third time bends his bow so lightly,<\/span><\/span><\/p>\n

He touches me not you being present:<\/span><\/span><\/p>\n

<\/span><\/p>\n

Because of which my soul is saved<\/span><\/span><\/p>\n

Almost sunk in every member, dead<\/span><\/span><\/p>\n

Of two arrows dealing triple wounds:<\/span><\/span><\/p>\n

<\/span><\/p>\n

The first is one of disquieting pleasure,<\/span><\/span><\/p>\n

The second of desire filled with longing<\/span><\/span><\/p>\n

For the great joy that the third wound brings.<\/span><\/span><\/p>\n

<\/span>\u00a75 <\/span><\/span>Un parcours formel, jusqu\u2019\u00e0 Cavalcanti<\/strong><\/span><\/span><\/p>\n

5 1 <\/span><\/span><\/span>Les \u2018siciliens\u2019 apr\u00e8s Giacomo da Lentini ajoutent deux dispositions de rimes nouvelles dans le sizain final. Les deux textes sont anonymes. <\/span><\/span><\/p>\n

5 2 <\/span><\/span>dce<\/strong><\/span><\/p>\n

E42<\/span><\/span><\/span><\/p>\n

Pozo ‘l corpo ‘n un loco meo pigliando <\/span><\/p>\n

e svar\u00efando – la memoria giva, <\/span><\/p>\n

un’ i[n]ve[r] nobel figura restando <\/span><\/p>\n

e riguardando – stava me, pensiva, <\/span><\/p>\n

dubbiosamente grand’or dimorando, <\/span><\/p>\n

forte dottando – se gente veniva; <\/span><\/p>\n

e, non vedendo, [a] me flor donando, <\/span><\/p>\n

che odorando – poi el molto auliva. <\/span><\/p>\n

Ed eo, sentendo l’odor, su <\/span>levai <\/span><\/span><\/p>\n

e riguardai – per veder l’<\/span>albore<\/span><\/span>, <\/span><\/p>\n

che fe’ tal fiore; – vidil no gi\u00e0 <\/span>nente<\/span><\/span>. <\/span><\/p>\n

E, non vedendol, mizim’ al <\/span>sentore<\/span><\/span>, <\/span><\/p>\n

e, per l’odore, – l’albore <\/span>trovai<\/span><\/span> <\/span><\/p>\n

e riposai – a l’umbra <\/span>lungiamente.<\/span><\/span><\/p>\n

5 3 <\/span><\/span>edc<\/strong><\/span><\/p>\n

E43<\/span><\/span><\/span><\/p>\n

[S]’Amor, da cu[i] procede ben e male, <\/span><\/p>\n

fosse visibil cosa per <\/span>drittura<\/em><\/span>, <\/span><\/p>\n

sarebbe senza fallo appunto tale <\/span><\/p>\n

chente si mostra nella [di]pintura: <\/span><\/p>\n

garzon[e] col turcasso a la cintura, <\/span><\/p>\n

saettando, nudo, cieco, ricco d’ale; <\/span><\/p>\n

dell’ala sembl’angelica figura, <\/span><\/p>\n

ma, chi l’asaggi, egl’\u00e8 guerrer mortale, <\/span><\/p>\n

che spoglia cor di libert\u00e0 <\/span>regnante<\/span><\/span> <\/span><\/p>\n

e fascia gli occhi de la <\/span>canoscenza<\/span><\/span>, <\/span><\/p>\n

saettando disianza <\/span>perigliosa<\/span><\/span>; <\/span><\/p>\n

e nel turcascio ten la gioi <\/span>ascosa<\/span><\/span> <\/span><\/p>\n

di darla s\u00ec dopo lunga <\/span>soffrenza<\/span><\/span>, <\/span><\/p>\n

ch’i’ tegno ben garzon ciascun <\/span>amante<\/span><\/span>.<\/span><\/p>\n

5 4 <\/span><\/span><\/span>Bien qu\u2019il soit le premier \u00e0 employer le terme technique de \u2018sonetto\u2019, Guittone d\u2019Arezzo ne peut pas \u00eatre consid\u00e9r\u00e9 comme l\u2019inventeur cherch\u00e9. Car son \u0153uvre montre clairement qu\u2019il continue \u00e0 travailler en disciple se voulant fid\u00e8le des Troubadours. La <\/span><\/span>cobla<\/strong><\/span><\/span> sicilienne qu\u2019il emploie tr\u00e8s abondamment, et qu\u2019il juge digne d\u2019une d\u00e9signation sp\u00e9ciale, est associ\u00e9e par lui avec au moins une variation qui est un allongement de la formule, comme les Troubadours ont l\u2019habitude de le faire. <\/span><\/span><\/p>\n

5 5 <\/span><\/span><\/span>Le po\u00e8me suivant a la formule<\/span><\/span><\/p>\n

<\/span><\/span>AaBAaB AaBAaB CcDdC DdCcD<\/strong><\/span><\/p>\n

o\u00f9 les minuscules d\u00e9signentles vers courts. <\/span><\/span><\/p>\n

5 6 <\/span><\/span><\/span><\/p>\n

Guittone d\u2019Arezzo<\/strong><\/span><\/p>\n

E44<\/span><\/span><\/span><\/p>\n

O benigna, o dolce, o graziosa, <\/span><\/p>\n

o del tutto amorosa, <\/span><\/p>\n

madre del mio Signore e Donna mia, <\/span><\/p>\n

ove fugge, ove chiama, o\u2019 sperar osa <\/span><\/p>\n

l\u2019alma mia bisognosa, <\/span><\/p>\n

se tu, mia miglior madre, haila in obbria? <\/span><\/p>\n

Chi se non tu misericordiosa? <\/span><\/p>\n

chi saggia o poderosa <\/span><\/p>\n

o degna in farmi amore e cortesia? <\/span><\/p>\n

Merc\u00e9 dunque, non pi\u00f9 merc\u00e9 nascosa, <\/span><\/p>\n

n\u00e9 paia in parva cosa; <\/span><\/p>\n

ch\u00e9 grave in abbondanza \u00e8 carestia, <\/span><\/p>\n

n\u00e9 sanar\u00eda la mia gran piaga fera <\/span><\/p>\n

medicina leggera. <\/span><\/p>\n

Ma se tutta s\u00ec fera e brutta pare,<\/span><\/p>\n

sdegneraila sanare? <\/span><\/p>\n

Chi gran mastro, che non gran piaga chera? <\/span><\/p>\n

se non miseria fusse, ove mostrare <\/span><\/p>\n

si por\u00eda n\u00e9 laudare <\/span><\/p>\n

la piet\u00e0 tua tanta e s\u00ec vera? <\/span><\/p>\n

Conv\u00e8n dunque mis\u00e8ra, <\/span><\/p>\n

a te, Madonna, miseranda orrare. <\/span><\/p>\n

5 7 <\/span><\/span>Une autre variation est due \u00e0 <\/span>Monte Andrea<\/strong><\/span><\/p>\n

ababababab cdcdcd<\/strong><\/span><\/p>\n

o\u00f9 le huitain est chang\u00e9 en un dixain<\/span><\/p>\n

1 8 <\/span><\/span><\/p>\n

E45<\/span><\/span><\/span><\/p>\n

Dolente me, son morto ed ag[g]io vita,<\/span><\/p>\n

non posso prender mai consumamento:<\/span><\/p>\n

sempre cor’ e corp’ ho, l’arm’ \u00e8 guernita<\/span><\/p>\n

di dolorosi mai stando in tormento.<\/span><\/p>\n

Non veg[g]io mai ch’io possa aver fenita,<\/span><\/p>\n

per\u00f2 di me morire v’aconsento:<\/span><\/p>\n

poi dal corpo l’arma fosse partita,<\/span><\/p>\n

fora saria di tanto strug[g]imento;<\/span><\/p>\n

ma di tal guisa ho questa ferita,<\/span><\/p>\n

non far\u00f2 da dolor mai partimento.<\/span><\/p>\n

Ma tuttavia pur di male in peg[g]io<\/span><\/p>\n

ognor sormonto: Deo, come ne scampo?<\/span><\/p>\n

ch\u00e9 non fenisco tanto mal proseg[g]io?<\/span><\/p>\n

Verso di me ha preso tanto campo<\/span><\/p>\n

lo mal d’Amore, ca s’io vado o reg[g]io,<\/span><\/p>\n

sono preso d’un foco ond’i’ s\u00ec avampo.<\/span><\/p>\n

E45a<\/span><\/span><\/span><\/p>\n

<\/span><\/span>H\u00e9las, je suis \u00e0 la fois mort et vif, <\/span><\/span><\/p>\n

Sans espoir de tomber jamais en cendres\u00a0: <\/span><\/span><\/p>\n

C\u0153ur et corps tiennent bon, tandis que l\u2019\u00e2me <\/span><\/span><\/p>\n

Est tourment\u00e9e de poignantes douleurs. <\/span><\/span><\/p>\n

Est tourment\u00e9e de poignantes douleurs. <\/span><\/span><\/p>\n

Ne voyant pas la fin de ce supplice, <\/span><\/span><\/p>\n

Je consens \u00e0 mourir de votre main\u00a0: <\/span><\/span><\/p>\n

Lorsque mon \u00e2me aura quitt\u00e9 mon corps, <\/span><\/span><\/p>\n

Je serai d\u00e9livr\u00e9 de tous ces maux, <\/span><\/span><\/p>\n

Car ma blessure est elle que jamais <\/span><\/span><\/p>\n

De la douleur je ne pourrai me d\u00e9faire. <\/span><\/span><\/p>\n

Et mon mal va croissant de jour en jour\u00a0: <\/span><\/span><\/p>\n

Dieu, comment puis-je esp\u00e9rer m\u2019y soustraire\u00a0? <\/span><\/span><\/p>\n

Pourquoi rester sous un joug si cruel\u00a0? <\/span><\/span><\/p>\n

Le mal d\u2019amour a pris tel avantage <\/span><\/span><\/p>\n

Sur moi, que je demeure prisonnier, <\/span><\/span><\/p>\n

O\u00f9 que j\u2019aille, du feu qui me d\u00e9vore. <\/span><\/span><\/p>\n

<\/span>\u00a76 <\/span><\/span>Dante apparait<\/strong><\/span><\/span><\/p>\n

6 1 <\/span><\/span><\/span>Au chant 24 du <\/span><\/span>Purgatoire<\/span><\/span><\/span> Dante, se surpassant dans la mauvaise foi, au coeur de ce chant, en une sorte d’incise, brossant un de ces tableaux pervers dont il a le secret, a mis en sc\u00e8ne \u00e0 l’intention de la post\u00e9rit\u00e9 (avec sa redoutable efficacit\u00e9 habituelle), en vue de d\u00e9truire d\u00e9finitivement sa r\u00e9putation, un po\u00e8te, Bonagiunta Orbicciani da Lucca.<\/span><\/span> <\/span><\/span><\/p>\n

6 2 <\/span><\/span>Bonagiunta, apercevant Dante, s’adresse \u00e0 lui; comme \u00e0 l’auteur qu’il croit reconna\u00eetre, d’une <\/span><\/span>canzone<\/span><\/span><\/span> dont il r\u00e9cite le premier vers, ce qui permet \u00e0 Dante un peu d’autocitation (on n’est jamais si bien servi que par soi-m\u00eame) <\/span><\/span><\/p>\n

6 3 <\/span><\/span><\/p>\n

E46<\/span><\/span><\/span><\/p>\n

<\/span><\/span>Ma di’ s’i’ veggio qui colui che fore <\/span><\/span><\/p>\n

trasse le nove rime, cominciando <\/span><\/span><\/p>\n

\u00a0\u00bb Donne ch’avete intelletto d’amore \u00a0\u00bb <\/span><\/span><\/p>\n

E io a lui \u00a0\u00bb I’ mi son un, che quando <\/span><\/span><\/p>\n

Amor mi spira, noto, e a quel modo <\/span><\/span><\/p>\n

ch’e’ ditta dentro vo’ significando\u00a0\u00bb. <\/span><\/span><\/p>\n

\u00a0\u00bb O frate, issa vegg’io \u00a0\u00bb diss’elli \u00a0\u00bb il nodo<\/span><\/span><\/p>\n

ch ‘l Notaro e Guittone e me ritenne<\/span><\/span><\/p>\n

di qual dolce stil novo ch’i’ odo! <\/span><\/span><\/p>\n

Io veggio ben come le vostre penne<\/span><\/span><\/p>\n

di retro al dittator sen vanno strette, <\/span><\/span><\/p>\n

che delle nostre certo non avvenne; <\/span><\/span><\/p>\n

e qual pi\u00f9 a guardare oltre si mette, <\/span><\/span><\/p>\n

non vede pi\u00f9 d’all’uno all’altro stilo \u00ab\u00a0; <\/span><\/span><\/p>\n

e, quasi contentato, si tacette. <\/span><\/span><\/p>\n

<\/span><\/span>6 3 1<\/span><\/span><\/span><\/p>\n

E46a<\/span><\/span><\/span><\/p>\n

Mais dis-moi si je suis devant cet homme m\u00eame <\/span><\/span><\/p>\n

auteur des vers nouveaux qui commencent ainsi\u00a0: <\/span><\/span><\/p>\n

Dames qui comprenez ce que c\u2019est que l\u2019amour\u00a0?\u00a0\u00bb <\/span><\/span><\/p>\n

Je dis\u00a0: \u00ab\u00a0Je suis quelqu\u2019un qui ne fait que noter<\/span><\/span><\/p>\n

lorsque l\u2019amour m\u2019inspire, et traduire en paroles<\/span><\/span><\/p>\n

\u00e0 mesure qu\u2019il dicte au-dedans de mon c\u0153ur.\u00a0\u00bb<\/span><\/span><\/p>\n

Il dit\u00a0: \u00ab\u00a0Fr\u00e8re, \u00e0 pr\u00e9sent je sais ce qui manquait <\/span><\/span><\/p>\n

au Notaire, \u00e0 Guitton\u00a0! et \u00e0 mes propres vers<\/span><\/span><\/p>\n

pour atteindre au doux style \u00e0 la mode aujourd\u2019hui. <\/span><\/span><\/p>\n

Et je comprends aussi comment avec vos plumes <\/span><\/span><\/p>\n

vous suivez au plus pr\u00e8s celui qui vous inspire, <\/span><\/span><\/p>\n

ce qui certainement n\u2019\u00e9tait pas notre cas. <\/span><\/span><\/p>\n

Cependant, pour celui qui regarde de pr\u00e8s,<\/span><\/span><\/p>\n

passant d\u2019un style \u00e0 l\u2019autre, c\u2019est tout ce qu\u2019il verrait.\u00a0\u00bb <\/span><\/span><\/p>\n

Il se tut sur cela, d\u2019un air presque content. <\/span><\/span><\/p>\n

6 4 <\/span><\/span><\/span>Bonagiunta n’est pas bien vu de Dante. Il a os\u00e9 pol\u00e9miquer avec Guido Guinizelli, le bolognais, que Dante a choisi comme devant jouer le r\u00f4le de Saint Jean l’annonciateur en chef de son propre g\u00e9nie<\/span><\/span> <\/span><\/span><\/span><\/p>\n

6 4 1 <\/span><\/span><\/span>sans lui demander son avis et en le flanquant quand m\u00eame dans le Purgatoire, parmi les ‘luxurieux’<\/span><\/span> <\/span><\/span><\/span><\/p>\n

6 4 1 1 <\/span><\/span>il y est en bonne compagnie: avec le Troubadour Arnaut Daniel <\/span><\/span><\/p>\n

6 4 2 <\/span><\/span><\/span>peut \u00eatre \u00e0 cause d’une certaine Lucia et son petit capuchon de petit-gris, \u00ab\u00a0var capuzzo\u00a0\u00bb<\/span><\/span> <\/span><\/span><\/span>E36<\/span><\/span><\/span><\/p>\n

6 4 3 <\/span><\/span><\/span>Dante, on le sait, est tr\u00e8s g\u00e9n\u00e9ralement prude, d’une prudit\u00e9 fort bcbg<\/span><\/span>. <\/span><\/span><\/p>\n

6 5 <\/span><\/span><\/span>Il emploie ici un de ses proc\u00e9d\u00e9s favoris: ayant mis son ennemi en Enfer ou en Purgatoire (ses amis aussi, d’ailleurs) par d\u00e9cision strat\u00e9gique, une de ses tactiques consiste \u00e0 faire faire au malheureux, en le distrayant de son occupation pr\u00e9sente qui demande une grande concentration, que ce soit sur son supplice infernal ou sur le pensum \u00e9ternellement r\u00e9p\u00e9titif de sa r\u00e9habilitation au Purgatoire (\u00e0 la longue l’Enfer ne doit gu\u00e8re para\u00eetre tr\u00e8s diff\u00e9rent du Purgatoire, qui est pire peut-\u00eatre m\u00eame) ce que plus r\u00e9cemment, dans une autre version d’Enfer, augment\u00e9 de Purgatoire (mais en vrai), on appellait une autocritique. <\/span><\/span><\/p>\n

6 5 1 <\/span><\/span><\/span>Je sais que le mot dans ce contexte est anachronique, mais je ne vois pas pourquoi je me priverais d’\u00eatre de mauvaise foi; je ne fais que m’inspirer du ma\u00eetre<\/span><\/span><\/p>\n

6 6 <\/span><\/span><\/span>Bonagiunta reconnait donc qu’il a eu tort de s’opposer sans rien y comprendre au <\/span><\/span>doulx stile nouvel,<\/em><\/span><\/span> au <\/span><\/span>dolce stil novo<\/em><\/span><\/span>.. <\/span><\/span><\/p>\n

6 6 1 <\/span><\/span>Il s\u2019agit sans doute du sonnet qu\u2019il envoie \u00e0 Guinizelli<\/span><\/span><\/p>\n

6 6 2 <\/span><\/span><\/p>\n

E47<\/span><\/span><\/span><\/p>\n

<\/span><\/span>Voi, c\u2019avete mutata la mainera<\/span><\/span> <\/span><\/span><\/p>\n

de li plagenti ditti de l\u2019amore<\/span><\/span> <\/span><\/span><\/p>\n

de la forma dell\u2019esser l\u00e0 dov\u2019era,<\/span><\/span> <\/span><\/span><\/p>\n

per avansare ogn\u2019altro trovatore,<\/span><\/span> <\/span><\/span><\/p>\n

avete fatto como la lumera,<\/span><\/span> <\/span><\/span>5<\/span><\/span> <\/span><\/span><\/p>\n

ch\u2019a le scure partite d\u00e0 sprendore,<\/span><\/span> <\/span><\/span><\/p>\n

ma non quine ove luce l\u2019alta spera,<\/span><\/span> <\/span><\/span><\/p>\n

la quale avansa e passa di chiarore.<\/span><\/span> <\/span><\/span><\/p>\n

Cos\u00ec passate voi di sottigliansa,<\/span><\/span> <\/span><\/span><\/p>\n

e non si pu\u00f2 trovar chi ben ispogna,<\/span><\/span> <\/span><\/span>10<\/span><\/span> <\/span><\/span><\/p>\n

cotant\u2019\u00e8 iscura vostra parlatura.<\/span><\/span> <\/span><\/span><\/p>\n

Ed \u00e8 tenuta gran dissimigliansa,<\/span><\/span> <\/span><\/span><\/p>\n

ancor che \u2019l senno vegna da Bologna,<\/span><\/span> <\/span><\/span><\/p>\n

traier canson per forsa di scrittura.<\/span><\/span><\/p>\n

E47a<\/span><\/span><\/span><\/p>\n

(<\/span><\/span>trad. stegmuller – Vous qui avez chang\u00e9 la mani\u00e8re \/ des plaisantes po\u00e9sies d’amour \/ par la forme, par l’essence, par l’origine, \/ pour supasser tous les autres po\u00e8tes. \/\/ Vous avez fait comme la lumi\u00e8re \/ qui donne de l’\u00e9clat aux endroits sombres, \/ mais non point l\u00e0 o\u00f9 brille le haut rayon \/ qui la surpasse et qui l’emport sur elle en clart\u00e9. \/\/\/ Ainsi vous l’emportez en subtilit\u00e9 sur quiconque, \/ et on ne peut trouver personne qui (vous) esplique bien, \/ tant votre langage est obscur. \/\/ E l’on tient pour une chose tr\u00e8s \u00e9trange, \/ bien que le savoir vienne de Bologne, \/ de faire de la po\u00e9sie \u00e0 force d’\u00e9tude. \/\/\/\/<\/span><\/span><\/span>)<\/span><\/span><\/p>\n

<\/span><\/span>6 6 2 1 <\/span><\/span><\/span>auquel Guinizelli aurait r\u00e9pondu <\/span><\/span><\/p>\n

E48<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>Omo ch\u2019\u00e8 saggio non corre leggero,<\/span><\/span> <\/span><\/span><\/p>\n

ma a passo grada s\u00ec com\u2019 vol misura:<\/span><\/span> <\/span><\/span><\/p>\n

quand\u2019\u00e0 pensato, riten su\u2019 pensero<\/span><\/span> <\/span><\/span><\/p>\n

i\t\t\t\tnfin a tanto che \u2019l ver l\u2019asigura.<\/span><\/span> <\/span><\/span><\/p>\n

Foll\u2019\u00e8 chi crede sol veder lo vero<\/span><\/span> <\/span><\/span>5<\/span><\/span> <\/span><\/span><\/p>\n

e non pensare che altri i pogna cura:<\/span><\/span> <\/span><\/span><\/p>\n

non se dev\u2019omo tener troppo altero,<\/span><\/span> <\/span><\/span><\/p>\n

ma d\u00e9 guardar so stato e sua natura.<\/span><\/span> <\/span><\/span><\/p>\n

Volan ausel\u2019 per air di straine guise<\/span><\/span> <\/span><\/span><\/p>\n

ed han diversi loro operamenti,<\/span><\/span> <\/span><\/span>10<\/span><\/span> <\/span><\/span><\/p>\n

n\u00e9 tutti d\u2019un volar n\u00e9 d\u2019un ardire.<\/span><\/span> <\/span><\/span><\/p>\n

D\u00ebo natura e \u2019l mondo in grado mise,<\/span><\/span> <\/span><\/span><\/p>\n

e fe\u2019 despari senni e intendimenti:<\/span><\/span> <\/span><\/span><\/p>\n

<\/span>Perz\u00f2 ci\u00f2 ch\u2019omo pensa non d\u00e9 dire.<\/span><\/span><\/p>\n

6 6 3 <\/span><\/span>Un trait r\u00e9current dans les mani\u00e8res d’\u00eatre des gangs littt\u00e9raires est de revendiquer ainsi l’\u00e9clat de la nouveaut\u00e9 pour des comportements et des inventions qui souvent ne sont que la mise d’habits neufs sur de vieilles outres<\/span><\/span><\/p>\n

6 6 4 <\/span><\/span>Dans la mesure ou le <\/span>Dolce stil novo<\/em><\/span> (<\/span>D.s.n.<\/em><\/span>) existe, s’il n’est pas une simple d\u00e9nomination choisie par Dante pour donner plus de lustre \u00e0 sa propre d\u00e9marche (ensuite transform\u00e9e en \u00e9cole par les philologues), ce qu’il a de neuf est de retrouver un des accents d’intensit\u00e9 de la po\u00e9sie des Troubadours qui s’\u00e9tait un peu perdu dans les versions plus arides et parfois l\u00e9g\u00e9rement scolastiques des po\u00e8tes italiens post-troubadouresques comme Bonagiunta pr\u00e9cis\u00e9ment, et surtout dans la voix de son ma\u00eetre \u00e0 lui Guittone d’Arezzo, qu’on a appel\u00e9 (sans tr\u00e8s bien comprendre sa d\u00e9marche, d’ailleurs) <\/span>Guittone dell’aridit\u00e0<\/em><\/span>..<\/span> <\/span><\/span><\/p>\n

6 6 5 <\/span><\/span>Mais le <\/span>D.s.n<\/em><\/span>. t\u00e9moigne aussi d’une tr\u00e8s r\u00e9elle r\u00e9gression. Le caract\u00e8re moralement bon chic bon genre de cette po\u00e9sie amoureuse dont tout accent de d\u00e9sir reconnaissable franc et direct est retranch\u00e9 (sauf r\u00e9surgences spasmodiques comme la brusque passion incontr\u00f4l\u00e9e du sonnet de Guinizelli pour la belle Lucia, par exemple, (ou de l’<\/span>altro Guido<\/em><\/span>, Cavalcanti dans sa suave ‘pastourelle’: \u00ab\u00a0<\/span>or \u00e8 stagione \/ di questa pasturella gio’ pigliare \/ \u00ab\u00a0)<\/span><\/span>), (c’est le moment de jouir de cette pastourelle), <\/span><\/p>\n

6 6 6 <\/span><\/span>Le conformisme \u00e9thique qui la met en accord moins avec l’enseignement dit \u00e9vang\u00e9lique du christianisme qu’avec les directives de l’Eglise catholique dans ses injonctions les plus redoutables, donne naissance \u00e0 une po\u00e9sie sublime certes mais quelquefois un peu \u00e9dent\u00e9e. <\/span><\/p>\n

<\/span>\u00a77 <\/span><\/span>Trois sonnets du Dante<\/strong><\/span><\/span><\/p>\n

7 1 <\/span><\/span><\/p>\n

<\/span><\/span>XIV<\/span><\/span><\/p>\n

E49<\/span><\/span><\/span><\/p>\n

A ciascun’alma presa e gentil core<\/span><\/span><\/p>\n

nel cui cospetto ven lo dir presente,<\/span><\/span><\/p>\n

in ci\u00f2 che mi rescrivan suo parvente,<\/span><\/span><\/p>\n

salute in lor segnor, cio\u00e8 Amore. <\/span><\/span><\/p>\n

Gi\u00e0 eran quasi che atterzate l’ore<\/span><\/span><\/p>\n

del tempo che onne stella n’\u00e8 lucente,<\/span><\/span><\/p>\n

quando m’apparve Amor subitamente,<\/span><\/span><\/p>\n

cui essenza membrar mi d\u00e0 orrore. <\/span><\/span><\/p>\n

Allegro mi sembrava Amor tenendo<\/span><\/span><\/p>\n

meo core in mano, e ne le braccia avea<\/span><\/span><\/p>\n

madonna involta in un drappo dormendo. <\/span><\/span><\/p>\n

Poi la svegliava, e d’esto core ardendo<\/span><\/span><\/p>\n

lei paventosa umilmente pascea:<\/span><\/span><\/p>\n

appresso gir lo ne vedea piangendo.<\/span><\/span><\/p>\n

E49a<\/span><\/span><\/span><\/p>\n

A toute \u00e2me \u00e9prise et \u00e0 tout noble c\u0153ur<\/span><\/span><\/span><\/p>\n

A qui parviendra ceci <\/span><\/span><\/span><\/p>\n

Afin qu’ils m’en retournent leur avis, <\/span><\/span><\/span><\/p>\n

Salut dans la personne de leur Seigneur, c’est-\u00e0-dire l’Amour. <\/span><\/span><\/span><\/p>\n

D\u00e9j\u00e0 \u00e9taient pass\u00e9es les heures <\/span><\/span><\/span><\/p>\n

O\u00f9 les \u00e9toiles brillent de tout leur \u00e9clat, <\/span><\/span><\/span><\/p>\n

Quand m’apparut tout a coup l’Amour <\/span><\/span><\/span><\/p>\n

Dont l’essence me remplit encore de terreur. <\/span><\/span><\/span><\/p>\n

L’Amour me paraissait joyeux.<\/span><\/span><\/span><\/p>\n

Il tenait mon coeur dans sa main\u2028et dans ses bras <\/span><\/span><\/span><\/p>\n

une femme endormie et envelopp\u00e9e d’un manteau. <\/span><\/span><\/span><\/p>\n

Puis il la r\u00e9veillait et, ce coeur qui br\u00fblait, <\/span><\/span><\/span><\/p>\n

Il le lui donnait \u00e0 manger, ce qu’elle faisait, craintive et docile, <\/span><\/span><\/span><\/p>\n

Puis je le voyais s’en aller en pleurant.<\/span><\/span><\/span><\/p>\n

Vita Nova III 10-12<\/em><\/span><\/span><\/p>\n

7 2 <\/span><\/span><\/p>\n

<\/span>XV<\/span><\/span><\/p>\n

E50<\/span><\/span><\/span><\/p>\n

Tanto gentile e tanto onesta pare<\/span><\/span><\/p>\n

la donna mia quand’ella altrui saluta,<\/span><\/span><\/p>\n

ch’ogne lingua deven tremando muta,<\/span><\/span><\/p>\n

e li occhi no l’ardiscon di guardare. <\/span><\/span><\/p>\n

Ella si va, sentendosi laudare,<\/span><\/span><\/p>\n

benignamente d’umilt\u00e0 vestuta;<\/span><\/span><\/p>\n

e par che sia cosa venuta<\/span><\/span><\/p>\n

da cielo in terra a miracol mostrare.<\/span><\/span><\/p>\n

Mostrasi s\u00ec piacente a chi la mira,<\/span><\/span><\/p>\n

che d\u00e0 per li occhi una dolcezza al core,<\/span><\/span><\/p>\n

che ‘ntender no la pu\u00f2 chi no la prova:<\/span><\/span><\/p>\n

e par che de la sua labbia si mova<\/span><\/span><\/p>\n

un spirito soave pien d’amore,<\/span><\/span><\/p>\n

cha va dicendo a l’anima: Sospira.<\/span><\/span><\/p>\n

E50a<\/span><\/span><\/span><\/p>\n

Ma Dame se montre si aimable <\/span><\/span><\/p>\n

Et si modeste quand elle vous salue <\/span><\/span><\/p>\n

Que la langue vous devient muette et tremblante,<\/span><\/span><\/p>\n

Et les yeux n’osent la regarder. <\/span><\/span><\/p>\n

Elle s’en va rev\u00eatue de bont\u00e9 et de modestie <\/span><\/span><\/p>\n

En entendant les louanges qu’on lui adresse. <\/span><\/span><\/p>\n

Elle semble \u00eatre une chose descendue du ciel <\/span><\/span><\/p>\n

Sur la terre pour y faire voir un miracle.<\/span><\/span><\/p>\n

Elle est si plaisante \u00e0 qui la regarde <\/span><\/span><\/p>\n

Que les yeux en transmettent au coeur une douceur<\/span><\/span><\/p>\n

Que ne peut comprendre qui ne l’a pas \u00e9prouv\u00e9e. <\/span><\/span><\/p>\n

Il semble que de son visage \u00e9mane <\/span><\/span><\/p>\n

Un esprit suave et plein d’amour <\/span><\/span><\/p>\n

Qui va disant \u00e0 l’\u00e2me\u00a0: soupire\u00a0!<\/span><\/span><\/p>\n

Vita Nuova XXVI <\/em><\/span><\/span><\/p>\n

7 3 <\/span><\/span><\/p>\n

<\/span><\/span>XVI<\/span><\/span><\/p>\n

E51<\/span><\/span><\/span><\/p>\n

DANTE A GUIDO CAVALCANTI<\/span><\/span><\/p>\n

Guido, i’ vorrei che tu e Lapo ed io<\/span><\/span><\/p>\n

fossimo presi per incantamento<\/span><\/span><\/p>\n

e messi in un vasel, ch’ad ogni vento<\/span><\/span><\/p>\n

per mare andasse al voler vostro e mio; <\/span><\/span><\/p>\n

s\u00ec che fortuna od altro tempo rio<\/span><\/span><\/p>\n

non ci potesse dare impedimento,<\/span><\/span><\/p>\n

anzi, vivendo sempre in un talento,<\/span><\/span><\/p>\n

di stare insieme crescesse ‘l disio. <\/span><\/span><\/p>\n

E monna Vanna e monna Lagia poi<\/span><\/span><\/p>\n

con quella ch’\u00e8 sul numer de le trenta<\/span><\/span><\/p>\n

con noi ponesse il buono incantatore: <\/span><\/span><\/p>\n

e quivi ragionar sempre d’amore,<\/span><\/span><\/p>\n

e ciascuna di lor fosse contenta,<\/span><\/span><\/p>\n

s\u00ec come i’ credo che saremmo noi.<\/span><\/span><\/p>\n

<\/span><\/span>7 3 1 <\/span><\/span><\/span><\/p>\n

E51a<\/span><\/span><\/span><\/p>\n

Guido, I wish that Lapo, you, and I <\/span><\/span><\/p>\n

could board a vessel, by transporter beam, <\/span><\/span><\/p>\n

that sailed by will alone wherever seemed <\/span><\/span><\/p>\n

desirable to go, beneath all skies.<\/span><\/span><\/p>\n

Whatever waves that tossed or gales that blew <\/span><\/span><\/p>\n

would never be allowed to spoil the fun. <\/span><\/span><\/p>\n

We\u2019d share a single wish and think as one, <\/span><\/span><\/p>\n

as our desire to stay together grew.<\/span><\/span><\/p>\n

And Guido, we\u2019d try beaming up the dames! <\/span><\/span><\/p>\n

We\u2019d take the ladies Vanna, Bess, and her <\/span><\/span><\/p>\n

whom I discreetly call the Mistress Trenta.<\/span><\/span><\/p>\n

Love, of course, would be the main agenda \u2014<\/span><\/span><\/p>\n

that would keep \u2019em happy I am sure, <\/span><\/span><\/p>\n

and well I know that we would be the same.<\/span><\/span><\/p>\n

<\/span>\u00a78 <\/span><\/span>La strat\u00e9gie du Dante<\/strong><\/span><\/span><\/p>\n

8 1 <\/span><\/span>Bonagiunta, le Bonagiunta invent\u00e9 par Dante, se confesse troisi\u00e8me d’une famille dont le p\u00e8re fondateur, le patriarche, est le ma\u00eetre d’\u00e9cole des Siciliens, <\/span>il Notaro,<\/span><\/span> le ‘Notaire’. Le fils spirituel du Notaro et p\u00e8re spirituel de Bonagiunta \u00e9tant <\/span>Guittone<\/span><\/span>, Guittone d’Arezzo. L’autocritique de Bonagiunta, dans l’excellente tradition stalinienne h\u00e9riti\u00e8re elle-m\u00eame de certaines habitudes inquisitoriales), sert en m\u00eame temps comme d\u00e9nonciation de ses inspirateurs: d’une pierre trois coups.<\/span> <\/span><\/span><\/p>\n

8 2 <\/span><\/span>Le raisonnement est tr\u00e8s net: Il y a les bons et il y a ceux qui ne le sont pas, par m\u00e9chancet\u00e9 ou par impuissance. Qui sont-ils? – Premi\u00e8re g\u00e9n\u00e9ration: il <\/span>Notaro<\/span><\/span> – deuxi\u00e8me g\u00e9n\u00e9ration: <\/span>Guittone<\/span><\/span> – troisi\u00e8me (et derni\u00e8re avant le Purgatoire) <\/span>Bonagiunta<\/span><\/span>. Bonagiunta a r\u00e9primand\u00e9 Guido Guinizelli (le premier des bons) – or de Guido (Guinizelli) proc\u00e8de par parth\u00e9nog\u00e9n\u00e8se po\u00e9tique: ou par \u00e9closion d’oeuf; Dante parle ailleurs d’un ‘nid’ )<\/span> <\/span><\/span><\/p>\n

8 3 <\/span><\/span>un autre Guido (Cavalcanti) –<\/span> <\/span><\/span><\/p>\n

8 4 <\/span><\/span>Enfin na\u00eet, ou sort de l’oeuf, h\u00e9ritier supr\u00eame, le Ph\u00e9nix des h\u00f4tes des bois du Mont Parnasse, territoire des Muses, Dante soi-m\u00eame, tel qu’en lui-m\u00eame l’\u00e9ternit\u00e9, convenablement pr\u00e9par\u00e9e par la <\/span>Divine Com\u00e9die <\/em><\/span>, le change.<\/span> <\/span><\/span><\/p>\n

8 5 <\/span><\/span>Il chasse tout ce beau monde du nid, les bons comme les m\u00e9chants; les amis comme les ennemis. Cavalcanti, le Guido <\/span>number two <\/em><\/span>, est \u00e0 Guinizelli, le Guido <\/span>number one<\/em><\/span>, ce que Bonagiunta est \u00e0 Guittone – Guittone est au Notaro ce que Guido (Cavalcanti) est \u00e0 Dante.<\/span> <\/span><\/span><\/p>\n

8 6 <\/span><\/span>Tout cela r\u00e9sulte immanquablement de la Th\u00e9orie v\u00e9n\u00e9rable des Proportions.<\/span> <\/span><\/span><\/p>\n

8 7 <\/span><\/span>Car les g\u00e9n\u00e9rations po\u00e9tiques s’opposent, mais dans l’ordre inverse, du point de vue de la valeur, dont les esp\u00e8ces sonnantes sont les vers, end\u00e9casyllabiques de pr\u00e9f\u00e9rence.<\/span> <\/span><\/span><\/p>\n

8 8 <\/span><\/span>Du Notaire au Fr\u00e8re (Guittone) et de Guittone au Lucquain (Bonagiunta) on est sur la pente descendante. Une hi\u00e9rarchie dans le lustre des villes, peut-\u00eatre, s’y refl\u00e8te. <\/span><\/p>\n

8 9 <\/span><\/span>De l’un \u00e0 l’autre Guido (de Bologne \u00e0 Florence) on est sur le remonte-pente de la gloire, la gloire de la langue, et la gloire des villes (c’est pareil; la bataille de la langue est d’abord une bataille municipale). <\/span><\/p>\n

8 10 <\/span><\/span>Enfin on arrive au sommet, sur lequel se tient Dante, et duquel, regardant vers le dessous, sur l’autre pente de la c\u00eeme \u00e9th\u00e9r\u00e9e du <\/span>Paradiso<\/em><\/span> (<\/span>of course<\/em><\/span>) on peut contempler quarante si\u00e8cles au bas mot de po\u00e9sie future. Cela se passe \u00e0 Florence; car une fois que la po\u00e9sie est parvenue \u00e0 Florence, elle ne peut plus en bouger, sous peine de d\u00e9choir. <\/span><\/p>\n

<\/span>\u00a79 <\/span><\/span>Le but de Dante<\/strong><\/span><\/span><\/p>\n

9 1 <\/span><\/span>La strat\u00e9gie dantesque, que je viens de d\u00e9crire, est au service d\u2019un but\u00a0: faire de Dante le premier de tous les po\u00e8tes italiens et donc de tous les po\u00e8tes. Pour cela, il faut \u00e9liminer la concurrence.<\/span><\/p>\n

9 2 <\/span><\/span>Les Troubadours d\u2019abord\u00a0: leur langue est inf\u00e9rieure au \u2018vulgaire illustre\u2019, le patois de Dante. Ensuite les Siciliens et leurs continuateurs. On l\u2019a vu. <\/span><\/p>\n

9 3 <\/span><\/span>Le plus difficile \u00e0 \u00e9liminer fut Cavalcanti. Cavalcanti avait \u00e9t\u00e9 son ami, son a\u00een\u00e9, son mentor. Un temps Dante en avait \u00e9t\u00e9 \u00e9perdument reconnaissant <\/span>E51<\/span><\/span><\/span>. Mais Cavalcanti avait \u00e9t\u00e9 t\u00e9moin des turpitudes du jeune Dante, et s\u2019\u00e9tait permis de le r\u00e9primander,comme en t\u00e9moigne le sonnet qui suit, <\/span><\/p>\n

9 4 <\/span><\/span><\/p>\n

E52<\/span><\/span><\/span><\/p>\n

GUIDO CAVALCANTI A DANTE<\/span><\/span><\/p>\n

I’ vegno il giorno a te infinite volte<\/span><\/span><\/p>\n

e trovoti pensar troppo vilmente:<\/span><\/span><\/p>\n

molto mi dol de la gentil tua mente<\/span><\/span><\/p>\n

e d’assai tue vert\u00f9 che ti son tolte.\t4<\/span><\/span><\/p>\n

Solevanti spiacer persone molte,<\/span><\/span><\/p>\n

tuttor fuggivi l’annoiosa gente;<\/span><\/span><\/p>\n

di me parlavi s\u00ec coralmente,<\/span><\/span><\/p>\n

che tutte le tue rime avie ricolte.\t8<\/span><\/span><\/p>\n

Or non ardisco per la vil tua vita<\/span><\/span><\/p>\n

far mostramento che tuo dir mi piaccia,<\/span><\/span><\/p>\n

n\u00e9 in guisa vegno a te che tu mi veggi.\t11<\/span><\/span><\/p>\n

Se ‘l presente sonetto spesso leggi,<\/span><\/span><\/p>\n

lo spirito noioso che t’incaccia<\/span><\/span><\/p>\n

si partir\u00e0 da l’anima invilita.<\/span><\/span><\/p>\n

E52a<\/span><\/span><\/span><\/p>\n

I DAILY come to thee uncounting times<\/span><\/span><\/p>\n

And find thee ever thinking over vilely;<\/span><\/span><\/p>\n

Much doth it grieve me that thy noble mind<\/span><\/span><\/p>\n

And virtue’s plenitude are stripped from thee;<\/span><\/span><\/p>\n

Thou wast so careless in thy fine offending,<\/span><\/span><\/p>\n

Who from the rabble alway held apart,<\/span><\/span><\/p>\n

And spoke of me so straightly from the heart<\/span><\/span><\/p>\n

That I gave welcome to thine every rime.<\/span><\/span><\/p>\n

And now I care not, sith thy life is baseness<\/span><\/span><\/p>\n

To give the sign that thy speech pleaseth me,<\/span><\/span><\/p>\n

Nor come I to thee in guise visible,<\/span><\/span><\/p>\n

Yet if thou’It read this Sonnet many a time,<\/span><\/span><\/p>\n

That malign spirit which so hunteth thee<\/span><\/span><\/p>\n

Will sound forloyn[1] and spare thy affrighted soul.<\/span><\/span><\/p>\n

<\/span>Trad Ezra Pound<\/span><\/span><\/p>\n

9 5 <\/span><\/span><\/span>C\u2019\u00e9tait impardonnable, on s\u2019en doute. Dante a d\u2019abord tent\u00e9 de d\u00e9passer son ma\u00eetre comme po\u00e8te, par la V<\/span><\/span>ita Nova<\/span><\/span><\/span>, comme th\u00e9oricien (<\/span><\/span>Il Convito<\/span><\/span><\/span>, le <\/span><\/span>De Vulgari Eloquentia<\/span><\/span><\/span>). Il s\u2019est peu \u00e0 peu rendu compte qu\u2019il n\u2019y parviendrait pas. Comme po\u00e8te, il est estimable mais inf\u00e9rieur. Comme th\u00e9oricien il n\u2019arrive pas \u00e0 la hauteur de la <\/span><\/span>canzone<\/em><\/span><\/span> \u2018Dona me prega\u2019 <\/span><\/span>E20<\/span><\/span><\/span>. <\/span><\/span><\/p>\n

9 6 <\/span><\/span><\/span>La solution est venue, apr\u00e8s la mort de Cavalcanti, disons en 1300, par le <\/span><\/span>roman.<\/span><\/span><\/span> <\/span><\/span><\/p>\n

9 7 <\/span><\/span><\/span>La <\/span><\/span>Commedia<\/span><\/span><\/span>, dite par les fran\u00e7ais <\/span><\/span>Divine Com\u00e9die<\/span><\/span><\/span>, est un roman. Un roman autobiographique. Une sorte de \u2018M\u00e9moires d\u2019Outre Tombe\u00a0\u00bb. Dante, Chateaubriand m\u00e9di\u00e9val, n\u2019y parle que de lui-m\u00eame. <\/span><\/span><\/p>\n

9 8 <\/span><\/span><\/span>Dans le \u2018A la mani\u00e8re de\u2019 de Reboul et Muller, le pastiche de Ch\u00e2teaubriand le repr\u00e9sente racontant son voyage aux Etats-Unis. Re\u00e7u par les chefs indiens, il prend la parole. Et que dit-il\u00a0? \u00ab\u00a0Je leur parlais de moi, et encore de moi\u00a0\u00bb<\/span><\/span><\/p>\n

9 8 <\/span><\/span><\/span>Dans ses \u2018m\u00e9moires\u2019 Dante r\u00e8gle tous ses comptes. Ainsi, Bonagiunta fait son autocritique. C\u2019est bien\u00a0; c\u2019est \u00e9l\u00e9gant. Mais pour Cavalcanti il atteint le comble du raffinement. Visitant l\u2019Enfer avec Virgile, il croise le p\u00e8re de Cavalcanti qui ne peut bien s\u00fbr, qu\u2019\u00eatre damn\u00e9. Et celui-ci, le voyant accompagn\u00e9 d\u2019un romain, s\u2019\u00e9tonne\u00a0: pourquoi n\u2019est-il pas l\u00e0 avec son fils\u00a0? qu\u2019est-il devenu\u00a0? il supplie. Et <\/span><\/span>Dante ne r\u00e9pond rien<\/span><\/span><\/span>. Beau raffinement sadique. <\/span><\/span><\/p>\n

9 9 <\/span><\/span><\/span>Pour refuser \u00e0 Cavalcanti son r\u00f4le primordial dans ce qui allait devenir la \u2018forme italienne\u2019 par excellence, le sonnet, d\u00e9tr\u00f4nant, chassant du \u2018nid\u2019 la <\/span><\/span>canzone<\/em><\/span><\/span> ador\u00e9e par Dante, renversant la hi\u00e9rarchie des formes que celui-ci avait affirm\u00e9e, comment faire\u00a0? <\/span><\/span><\/p>\n

9 10 <\/span><\/span><\/span>La chose est plaisante. S\u2019emparant de l\u2019\u00e9change pol\u00e9mique entre Bonagiunta et Guinizelli qui ne dit rien de tel, il <\/span><\/span>invente<\/span><\/span><\/span> qu\u2019il y est question d\u2019une mani\u00e8re neuve de concevoir la po\u00e9sie, le \u2018dolce stil novo\u2019. Ainsi Cavalcanti n\u2019appara\u00eet plus que comme un suiveur de quelque chose dont il ne comprit pas l\u2019importance. Et seul Dante\u2026. <\/span><\/span><\/p>\n

<\/span>\u00a710 <\/span><\/span>Le sonnet en marche<\/strong><\/span><\/span><\/p>\n

10 1 <\/span><\/span><\/span>Une fois le sonnet d\u00e9sign\u00e9 comme forme, muni de la formule de rimes de l\u2019octave qui va devenir, avec P\u00e9trarque, sinon la r\u00e8gle du moins le mod\u00e8le dominant, la forme-sonnet se met en marche pour occuper tout le terrain qui va \u00eatre, en fait, abandonn\u00e9 par la <\/span><\/span>canzone, <\/em><\/span><\/span>qui finira par crever de gigantisme dinosaurien. Le sonnet est <\/span><\/span>pr\u00eat potentiellement \u00e0 tous les emplois<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

10 2 <\/span><\/span><\/span>En sonnets, d\u00e8s la fin du 13<\/span><\/span>\u00e8me<\/span><\/sup><\/span> si\u00e8cle, on pol\u00e9mique, on insulte, on louange, on nostalgie, on aime, on commence \u00e0 se servir de tous les registres. <\/span><\/span><\/p>\n

10 3 <\/span><\/span><\/span>Il faut se limiter. Cinq exemples<\/span><\/span><\/p>\n

10 4 <\/span><\/span><\/span><\/p>\n

E53<\/span><\/span><\/span><\/p>\n

Folgore da san Giminiani<\/strong><\/span><\/span><\/p>\n

Di giugno<\/span><\/span><\/span><\/p>\n

Di giugno dovvi una montagnetta<\/span><\/span><\/p>\n

coverta di bellissimi arbuscelli,<\/span><\/span><\/p>\n

con trenta ville e dodici castelli<\/span><\/span><\/p>\n

che sieno intorno ad una cittadetta,<\/span><\/span><\/p>\n

ch’abbia nel mezzo una sua fontanetta;<\/span><\/span><\/p>\n

e faccia mille rami e fiumicelli,<\/span><\/span><\/p>\n

ferendo per giardini e praticelli<\/span><\/span><\/p>\n

e rifrescando la minuta erbetta.<\/span><\/span><\/p>\n

Aranci e cedri, dattili e lum\u00ede<\/span><\/span><\/p>\n

e tutte l’altre frutte savorose<\/span><\/span><\/p>\n

impergolate sieno per le vie;<\/span><\/span><\/p>\n

e le genti vi sien tutte amorose,<\/span><\/span><\/p>\n

e faccianvisi tante cortesie<\/span><\/span><\/p>\n

ch’a tutto ‘l mondo sieno graz\u00efose.<\/span><\/span><\/p>\n

E53a <\/span><\/span><\/span>(trad Rossetti)<\/span><\/span><\/span><\/p>\n

JUNE.<\/span><\/span><\/p>\n