Dissertation on Birds of Prey and the Sport - the Falconry Heritage ...

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Upon hearing that it was an old man who had said this, Frederick's first reaction is, "Cio non puo essere ... ke uomo vecchio diciesse si gran villania." Then he asks for a description of the old man and is told that he was wearing stripes. The emperor responds, "Ben pub essere.. .da ke b vestito di vergato k'elli e un matt^."^ Rather than having the wisdom to be expected from his age, the old man displays a lack of judgment, in Frederick's view, reinforced by the striped clothing. The old man makes two errors, one proceeding from the other, that prove his misunderstanding of the social rules of his world: first, his mistaken idea that the hawk stands for the emperor causes 'him to recommend keeping and abusing it; second, such actions would go against the rules of cortesia, as understood by everyone else at the hearing. The vecchio matto clearly misinterprets the symbolism of the hawk: it does not represent the emperor; such is the role of the eagle, according to Frederick himself in Novella XC, the text of which is as f~llows:'~ Lo'mperadore Federigo andava una volta a falcone et avevane uno molto sovrano kell'avea car0 piu d'una cittade. Lasciollo a una Grua quella monto alta. I1 falcone si mise alto molto sopra lei. Videssi sotto una Guglia giovane percossella a terra e tanto la tenne kell'uccise. Lo'mperadore corse credendo ke fosse una Grua trovo come era. Allora con ira chiamo il Giustitiere e comando kal falcone fosse tagliato il capo perke avea morto lo suo Singniore. Instead of seizing the crane, as expected, the falcon attacks the eagle. To Frederick, who views both raptors according to their figurative significance, the eagle outranks the hawk. The bird hierarchy mirrors that in his own society, in which he himself is of the highest rank, like the eagle. He carries the image logically to its most extreme conclusion, executing the falcon as if it were a human traitor to its lord. Frederick uses the episode as Consoli (140): "Frederick is alluding to the fact that, 'when almshouses raised funds by sending their inmates on begging rounds, authorities supplemented but also regulated this practice by supplying uniforms (Dictionary of the Middle Ages, V. 6,490)."' 'O Ibid., 116. Note the similarity to an anecdote of Alexander Neckam, in chapter 1.
an opportunity to provide an example of the sort of treatment those who betray him might expect. The Novellino boasts one more novella, number LXIIII," in which a hawk is involved. Entitled, D'una Novella k'avenne in Provenza alla Corte del Po, it is a novella with connections to Provengal poetry. The main plot tells of a knight, Messer Alamanno, at the court of Puy, who is tricked into boasting about his lady, Madonna Grigia. Angered, she dismisses him, and he, grief-stricken, becomes a hermit. Some squires encounter him later, not recognizing him, and bemoan the loss of this "fior de' cavalieri." They tell the hermit that a tournament will soon be held, and that they hope that the absent knight will return. Messer Alamanno secretly arranges to attend. At the tournament, he is recognized, and asked to sing. He responds, "10 non canteroe mai se io non o pacie da mia Dama." She agrees to forgive him, but only if "ciento Baroni . . . ciento Dame et. . . ciento Donzelle.. .tutti gridino a una bocie mercie, e non sappiano a cui lassi chiedere."' He answers the challenge by composing verse for the "festa della candellara" (Candlemas) and recites his new poem in church. Upon hearing it, everyone in the church cries out for mercy, and Messer Alamanno is forgiven. The text of the poem, which is an incomplete rendition of a canso by Rigault de Berbezilh, is as follows: l2 113 Altresi come il Leo fante, Quando cade non si puo levare, E li altri allor gridare, Di lor vocie il levan suso, E io voglio seguir quell'uso, kel mio misfatto e tan' greve e pesante, Kella corte del Po n'a gran burbanza. Esse il pregio di leali amanti, Non mi rilevan gia mai non saro suso, Ke dengniasser per me chiamar mercie, La 've poggiarsi con ragion non val ren. Esse io per li fini amanti, non posso ma gioia ricobrar, Per tos temps las mon cantar, Que de mi mon atent, Plus e vivrai si con reclus, Sol sanza solaz, Car l1 Ibid., 84-88. 12 It is reproduced here just as it is presented in Consoli's edition, based on the 1525 Gualteruzzi edifio princeps.
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Birds of Prey and the Sport of Falc
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O Copyright by Teresa Flora Lucia G
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Birds of Prey and the Sport of Falc
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TABLE OF CONTENTS ACKNOWLEDGEMENTS
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This dissertation is dedicated to m
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medieval Italian literature is the
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poetry. The Sicilians adopt quite a
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CHAPTER 1 : Falconry as symbols bef
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The ancient Greeks and Romans did n
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hawk. The hawk responds that it is
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If a falcon sees the dead body of a
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The popularity of falcons and hawks
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animali, including a section on fal
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Hrabanus Maurus, in his eighth cent
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earlier; second, that there is a pe
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evolution of the late medieval view
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chapter that consists entirely of a
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century, is not spiritual, but a vo
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conveying the idea of Caesar's fier
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on falcons and hawks, telling about
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it is made typically of something t
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Having established the popularity o
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circle of acquaintances to illustra
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C'una noch sornnav' en pascor Tal s
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Amors o fai si com lo bons astors q
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chosen a mate so far above him in e
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Inferno, Chaucer is in this place t
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tercel eagle states that she should
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she gave in for fear that he might
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CHAPTER 2: Falconry in Duecento and
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nonexistent in the poetry of the sc
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da c'omo vene tosto a compimento. B
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It seems as if the text were meant
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We find here the image of the nibbi
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to be forceful like the sparrowhawk
Page 72 and 73: 10 va' vedere, e par tenere, lo suo
Page 74 and 75: e disleale, larone e traito, che wo
Page 76 and 77: volgesi a1 grido, quand' egli e sta
Page 78 and 79: the hunter. In the stanza in which
Page 80 and 81: practice of falconry does not carry
Page 82 and 83: celebrates throughout his corona-in
Page 84 and 85: These crows and vultures, disagreea
Page 86 and 87: previous ladies who inspired poets,
Page 88 and 89: y Guido Cavalcanti. Matteo Correggi
Page 90 and 91: who far from being beyond the reach
Page 92 and 93: - I' mi son qui selvaggia pasturell
Page 94 and 95: The ladylfalcon is much less hostil
Page 96 and 97: la carta de le regole d'amore, dove
Page 98 and 99: The ways in which falcons and crane
Page 100 and 101: crane" among poets, Dante feels a f
Page 102 and 103: hitless.* Like the other servants o
Page 104 and 105: esponsibility and order, is, howeve
Page 106 and 107: Unlike the birds in Inferno, the fa
Page 108 and 109: Bastiti, e batti a terra le calcagn
Page 110 and 111: Bonagiunta portrays Dante's being i
Page 112 and 113: (Purgatorio XXVI, 133-5) The crane
Page 114 and 115: compared to them have reached the g
Page 116 and 117: source of the formation of letters,
Page 118 and 119: a me medesima uscita di mente, non
Page 120 and 121: E la madre questo vedendo vuole mor
Page 124 and 125: tal es mon talens, Ke m'inervia d'o
Page 126 and 127: expectation of the class status of
Page 128 and 129: Ardito avendo uno suo figliuolo nom
Page 130 and 131: "'tua figliuola B stata si vaga del
Page 132 and 133: Monna Giovanna re-enters his life w
Page 134 and 135: a "miglior massaio" in a society co
Page 136 and 137: domestication or training of the fa
Page 138 and 139: BIBLIOGRAPHY Aelianus, Claudius. De
Page 140 and 141: Consoli, Joseph P., ed. The Novelli
Page 142 and 143: Lewis, C. S. Allegory of Love: a St
Page 144: . Transcription and Visual Poetics
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