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Amorum Libri Tres, Nuova Raccolta di Classici Italiani annotati 16 (Torino, Ein

Amorum Libri Tres, Nuova Raccolta di Classici Italiani annotati 16 (Torino, Einaudi, 1998) by Matteo Maria Boiardo; Tiziano Zanato Review by: Ingrid De Smet Bibliothèque d'Humanisme et Renaissance, T. 61, No. 3 (1999), pp. 808-809 Published by: Librairie Droz Stable URL: http://www.jstor.org/stable/20678602 . Accessed: 25/06/2014 02:49 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Librairie Droz is collaborating with JSTOR to digitize, preserve and extend access to Bibliothèque d'Humanisme et Renaissance. http://www.jstor.org This content downloaded from 195.34.79.54 on Wed, 25 Jun 2014 02:49:14 AM All use subject to JSTOR Terms and Conditions 808 COMPTES RENDUS which is frequently suggestive and stimulating. A valuable book, in short. But the presentation could have been very much sharper. Nottingham. Alejandro COROLEU Matteo Maria BOIARDO, Amorum Libri Tres, a cura di Tiziano Zanato, Nuova Raccolta di Classici Italiani annotati 16 (Torino, Einaudi, 1998), pp. IX +593. ISBN 88-06-14713-7. LIT 90 000. Inextricably linked with the d'Este dynasty of Quattrocento Ferrara, Boiardo's name conjures up visions of a man versed as much in the savoir-faire of the cour tier as he is in letters, both the Classical and vernacular. Known as a mediator in the transmission of Classical mythology, a key-figure in the upsurge of the Apu leian style, and an accomplished neo-Latin poet, Boiardo is reputedly also one of the best lyricists of the Italian fifteenth century, a reputation to which the three books of love poetry presented here do indeed bear witness. Their Latin titre, so obvious an echo of Ovid but at the same time following Petrarchan practice, conceals a wealth of Italian sonnets, madrigals, ballads and canzoni that record the poet's love for, and rejection by, Antonia Caprara. The love affair itself is supposed to have taken place from the spring of 1469 to the spring of 1471, and though the poems were written between 1469 and 1476, they were only first printed, posthumously, in 1499. Within Boiardo's own ceuvre, they mark the transition of his dealings with the Classics to his interests and ambitions in vernacular poetry, which would famously culminate in his Orlando Innamorato. In this new edition of the Amores, each of Boiardo's 180 carefully ordered poems is accompanied by a general introduction identifying the poem's formal characteristics (metre, rhyme scheme etc.) as well as its main theme and models. Detailed notes following the poem clarify difficult or unusual expressions, as well as call attention to important rhetorical figures. The notes also point out the many allusions to the Bible and to various authors from Classical Antiquity to Boiardo's own day, that is from Vergil, Tibullus and Ovid, over Provengal lyri cists such as Arnaut Daniel or Bernard de Ventadorn (as in I, 47), via Dante, Petrarch and Boccaccio, to the neo-Latin poet Tito Vespasiano Strozzi and the petrarchist Giusto dei Gonti. The notes also include cross-references to Boiardo's own poetry, and to relevant criticism such as the seminal studies and editions of Pier Vincenzo Mengaldi and, much more recently, Claudia Miccocci. (The list of ?Opere Citate reveals a broad but balanced corpus of intertexts and critical studies updated to about 1996.) The poetic text itself is laid out clearly and simply with fine numberings and, where appropriate, bold capitals to draw attention to the acrostrophe and acrostics that form Antonia Caprara's name. Although this edition takes into account the authorial variants of L (ms. Egerton 1999 of the British Library) and 0 (ms. Canoniciano-Italiano 47 of the Bodleian Library), the text of the individual poems is not burdened with an apparatus criticus: evidently, the emphasis here lies on unravelling the meaning and beauty of the text rather than on the pecu liarities of its transmission, of which an account is given on pp. xxxv-xxxvm. This content downloaded from 195.34.79.54 on Wed, 25 Jun 2014 02:49:14 AM All use subject to JSTOR Terms and Conditions COMPTES RENDUS 809 The Italian linguist will be pleased to take note of the editor's analysis of the graphic variations in the text that bear witness to the dialectical, tuscanizing, latinizing and other linguistic tendencies present in fifteenth-century <Italian , and more specifically in the language of Boiardo's courtly milieu of Ferrara. The volume concludes with an index of names occurring in the text, a list of techni cal terms relating to metrics used in the explanatory parts, and a list of incipits. The intricacies of this lyric poetry leave no doubt that Count Matteo Maria Boiardo was a man of many talents: the sheer quantity of literary echoes and unusual allusions (such as that to Petronius in II, 24, 1. 8) testify to his erudition; an In prospectu Romae (III, 49), on the other hand, may at first seem to prepare the way for sixteenth-century elaborations on the theme of the ruins of Rome (such as those by Castiglione, Ianus Vitalis or Joachim Du Bellay), but holds its own surprise in the unexpected comparison of the instability of Rome to the unreliable nature of women (including, of course, the beloved Antonia). But many talents also has the present editor of the Amorum libri tres. With an accuracy and completeness that cannot fail to impress Tiziano Zanato delivers his promise of the introduction: to measure up the degree to which Boiardo has taken over the standard Petrarchist discourse and to what extent he has deviated from it in order to shape his own original and innovative concept of lyrical poetry. To the student, therefore, this publication will appeal for offering an Ariadne's thread in a labyrinth of intertextuality, whilst the fullsome and puncti lious annotations in this handy, if bulky, paperback volume will no doubt turn this edition of Boiardo's Amores into a classic work of reference for the specia list. Warwick. Ingrid DE SMET Emanuele CUTINELLI-RENDINA, Introduzione a Machiavelli, I filosofi, Laterza, Bari-Rome, 1999, 201 p. Ni biographie, ni essai veritable, ce petit livre vient a point pour mettre en perspective les plus recents travaux sur la pensde du secrdtaire florentin, alors que la bibliographie machiavdlienne s'allonge dans des proportions chaque jour plus imposantes. Proc6dant par une approche biobibliographique et se concluant par une 6tude sur la fortune critique des euvres du Florentin, 'ou vrage se revele bien plus qu'une simple introduction. L'auteur, fin specialiste du philosophe (il avait notamment publid une bibliographie critique des 6tudes parues ces dernieres anndes sur Machiavel), maitrise avec clart6 les sources et les travaux. On y voit le rble ddcisif des anndes de chancellerie dans la matura tion des iddes politiques et la grande reactivit6 du chancelier a la conjoncture internationale (les diffdrents portraits des choses de France ou d'Allemagne, par exemple), substance in6puisable de la rdflexion sur le statut de l'Italie et le deve nir de Florence, ?unique objet de son ressentiment . La rupture autoproclamde d'avec la tradition de la littdrature pr6cedente en matiere de philosophie poli tique est bien mise en 6vidence a propos du Prince ohi l'auteur degage aussi les fondements tres antinobiliaires de Machiavel dans sa thdorie du principat civil. Dans le fond, ce n'est pas le moindre des paradoxes que de constater que le This content downloaded from 195.34.79.54 on Wed, 25 Jun 2014 02:49:14 AM All use subject to JSTOR Terms and Conditions uploads/Litterature/ librairie-droz.pdf