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Article Excerpt
Ravenna: Longo Editore, 2000.
The mystery of the Italian poetry of the Duecento might well find its epicenter in Guittone d'Arezzo. Antonello Borra's Guittone d'Arezzo e le maschere del poeta. La lirica cortese tra ironia e palinodia, gives today's reader a chance to see into that mystery. This elegant monograph on the thirteenth-century poet includes a history of the criticism up to the most recent Italian contributions, and a thoughtful and penetrating analysis of the full range of Guittone's output. It also ties together in a convincing way the two phases of Guittone's career, before and after his conversion, "concentrandosi sull'io lirico guittoniano e sull'ordinamento dei testi." While scholars have traditionally divided the career and opus of Guittone into two, in Professor Borra's study the two periods are treated integrally as profoundly interrelated phenomena.
In his "Introduction" Borra presents the detailed and potentially confusing manuscript history of Guittone's writings, taking care to indicate--with great terminological and linguistic accuracy--the editions that have been used by the diverse commentators, textual historians and critics. He notes that the modern period--in which "una vera e propria storia della critica guittoniana puo essere tracciata"--begins only in 1828 and that even then (in light of the blatant rejection of Guittone by De Sanctis), the task of setting the record straight for posterity would inevitably fall to the twentieth century and now the twenty-first. Those scholars cited and to whose contributions Borra now contributes, begin with Gianfranco Contini--who gave us "l'immagine dell'aretino cantor rectitudinis precursore del Dante morale," and include Margueron, Moleta, Picone and the very recent and highly regarded Lino Leonardi.
The first of four chapters, "Il corpus guittoniano" satisfies in detail the textual critic's need and the interpreter's desire to respond to the actual manuscripts, editions and biographical chronology. This scrutiny and...
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