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

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tal es mon talens, Ke m'inervia d'onor e plager, Kar'ei non sui della maniere d'ors, Ke qui batte non tien vile, Se mercie adorne engras, Et muluira or ven. Ab rot le mon sui clautz, De mi trop parlar, Ess'io poghes finis contrefar, Ke non es mai c'uns que s'art, E poi resurte sus ieu m'arserei, Car sui tan malannaz, E mis fais dig, Messongier turanz, E sortir con spire et con plor, La giovenz e bietaz e valor, Es que non deu fallir un pauo di merses, La udieuasis tutt'altri bon. Mia canzone e mio lamento, Va' la u ieu non os annar, De' miei occhi sguardar, Tanto sono forfatto e fallente. Ia ie non me n'escus, Nk nu1 fu miei di donna, Ke fu'n dietro du an, Or torno a voi doloroso e piangente, Si come cierbo k'a fatto su lungo cors, Torn'al morir a1 grido delli cacciatori, Et io cosi torno alla vostra mercie, Ma voi non cal se d'amor no soven. The poem appears in an interesting mix of Italian and Provengal; it is an adaptation of a canso by Richart de Berbezilh, written entirely in Provengal. It is of interest to note the the use of bestiary images that is typical of Rigaut de Berbezilh, and its several links in subject matter to the novella. It has been argued that the story itself is an adaptation of the razo that prefaces the Provengal version of this poem, in the collection of razos written possibly by Uc de Saint circ.13 Indeed, the two stories share many similarities, not least the poem, and are undoubtedly related in some way. However, the Novellino tale is more detailed than the razo; it includes a long, rich description of life at the court of Po, of "nostra donna in Provenza", where the events take place. Because of this setting, the Novellino tale includes a sparrowhawk, with very courtly connotations, while the razo does not. The tale in the Novellino begins with this background story, totally absent from the razo, of a great court that was held for the knighting of the son of "Conte Raimondo." Elements of the description of the court suggest that it remains in existence for a very l3 See Guido Favati, La novella LXIV del "Novellino" e Uc de Saint Circ," Lettere italiane XI, no. 2 (1959): 133-73, and Alberto Varvaro, Rigaut de Berbezilh, Liriche, 23-28 for discussion of the question of sources, and a comparison of these two versions. Favati argues for a common source, while Varvaro disagrees.
long time.14 SO many people gather that money and provisions for the court run short and Raimondo has to take them from his own knights to fund his guests. Some of the knights agree but some object, so he finds another solution to his money problem. He causes to be placed on a post a spawiere di muda, a moulted sparrowhawk; whoever may feel brave and rich enough to do so should lift it onto his own wrist, thereby signifying his willingness to finance the court for the entire year.l"arvaro explains further: "I1 falcone veniva preso dal cavaliere che si sentisse tanto forte da poter difendere la superiorita della sua dama su quelle degli altri cavalieri. Nel Novellino il tema 6 riassorbito nel quadro di liberalitit cui 6 improntato l'inizio della n~vella."'~ The taking or the awarding of the sparrowhawk is a chivalric tradition that proves the bravery of the man who does it, since typically one has to fight others for it, and the beauty of the lady to whom it is given. It is central to the plot in the cantare of Bruto de Brettagna, as seen in chapter 2, and, in Chretien de Troyes' Erec et Enide, Erec enters a tournament to capture one. The sparrowhawk is not restricted to being awarded for feats of arms: the vida of the Monge de Montaudon mentions that the Monge was in charge of a long-running poetry contest, possibly in the same court that is the setting of the Novellino story, at which it was his duty to award a sparrowhawk for the best poetry.'7 There are not many falcons to be found in novelle of the Trecento. They figure largely in only one story each in the works of Franco Sacchetti and Giovanni Sercambi. The action in both stories stems from the behavior of certain characters when their l4 See Favati, (145-146) and Varvaro (22-23, 50) for textual evidence for a long-running court at Puy at which both tournaments and poetry contests were held. l5 The vida of the Monge de Montaudon suggests that he was also involved in this gathering, as an integral part of the awarding of the sparrowhawk (Varvaro 50, Boutiere, J. and A.-H. Schutz, ed, Biographies des troubadours (Paris: A. G. Nizet, 1964), 216.) l6 Varvaro, 26 n. 54. " In Boutiere-Schutz, 1964, 309-3 10.
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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
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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 122 and 123: Upon hearing that it was an old man
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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