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The critical ediction of Sennuccio's del Bene Canzoniere, degree thesis
of Stefania Di Nuzzo in Italian Philology presented to the Department
of Italianistica, Faculty of Literature and Philosophy, University of
Rome " La Sapienza", summer session, academic year 1993-1994
The work contributes
to define the complex textual tradition of Sennuccio del Bene's poems:
we currently attribute to him 14 poems: 8 sonnets, 3 canzoni, 2 ballads
and 1 laud.
The first chapter deals with Sennuccio's relations with intellectuals
and poets of his time: the friendly and poetical relations with Petrarca
and the probable contacts that he had with Dante and Boccaccio.
Sennuccio del Bene appears like a singular figure who shared Dante's political
passions, and also lived in Petrarca's age and helped the beginning of
Boccaccio's poetic vocation .
In the second chapter over 40 manuscripts of Sennuccio's poems have been
presented and described: nearly all of them are codices zibaldone of the
XIIIth and XIVth century Italian poetry.
Since this initial stage, the exterior and interior characters of the
manuscripts, their content and its order, all the explanations and attibutions,
and the writings in the margins of the pages have been analized.
This work made it possible to define the manuscripts relations and to
link the codices into groups.
This kind of manuscript classification has been made for the first time:
the previous edictions are not satisfying.
In the Szombathely, Cuomo and Silvestro works (M. Szombathely, Le rime
di Sennuccio del Bene, Bologna - Trieste 1925; A.M. Cuomo, Le rime di
Sennuccio del Bene, Salerno 1927; A.L. Silvestro, Sennuccio del Bene,
Catania 1931 ) the principles of the ediction are not specified.
In his ediction, Altamura ( A. Altamura, Il canzoniere di Sennuccio del
Bene, Napoli 1949 ) analizes just 36 manuscripts and the classification
of them is not based on textual proof: he seems to choose the variants
according to his opinions in poetry.
Corsi ( Rimatori del Trecento, a cura di G. Corsi, Torino 1969 ) analizes
all the manuscripts known: he collates the ediction of Altamura to the
codices that he didn't use and, in this way, the text gets a great readability.
The ediction of Corsi is not a collected one, he published only 11 poems.
The third chapter deals with a closer examination of poems, which corroborates
the previous codice classification.
The poems have been analized one by one, because of the difference of
their textual tradition : sonnets I, II and III are copied in only one
manuscript, and they have been printed according to this codice, amended
from the plain errors and from the northern Italian influence on the language.
The Lachmann method has been used for poems IV, V, VI, VII, IX, X and
XI, because it has been possible to restore reliable stemmata.
The VIIIth poem' s stemma has been partially recontructed and just in
the lower part: therefore it has been printed the text of the best group
of manuscripts.
Sonnet XIII is a reply to Petrarca' s Sė come il padre del folle Fetonte,
that has been used as indirect evidence. The restoration of sonnet XIV
is based on Petrarca' s autographs.
Canzone XII has two stages of composition: it hasn't been possible to
define them as author' s variants or interpolations, and both of them
have been printed.
The language adopted is from the manuscript Laurenziano XL 46, which was
probably written by a florentine copier in the XIVth century. The apparatus
criticus chosen is negative.
Stefania Di Nuzzo
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