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

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In the third chapter, Dante's Divine Comedy comes under scrutiny for his ability to take a courtly image of love and transform it into both a symbol of transcendental love, and of his own training as a pilgrim. The fourth chapter looks at prose works, particularly novelle. Here falcons evoke nostalgia for the old courtly ways, and cause class conflict arising from confusion of roles in a changing society. It concludes with a look at Boccaccio's story of Federigo degli Alberighi, who makes the mistake of trying to live the chivalric ideal in a money-based society, and is forced to eat the last remnant of his courtly past, his falcon. U ~ G~DUATE N SCHOOL DEC 1 5 2005
TABLE OF CONTENTS ACKNOWLEDGEMENTS AND DEDICATION Page ii INTRODUCTION Page 1 CHAPTER 1 : Falconry as symbols before (and outside of) Italian literature. Page 6 CHAPTER 2: Falconry in Duecento and Trecento poetry. Page 50 CHAPTER 3: Falconry and cranes in Dante. Page 87 CHAPTER 4: Falconry in Duecento and Trecento prose. Page 107 CONCLUSION Page 125 BIBLIOGRAPHY Page 128
Page 1 and 2: Birds of Prey and the Sport of Falc
Page 3 and 4: O Copyright by Teresa Flora Lucia G
Page 5: Birds of Prey and the Sport of Falc
Page 9: This dissertation is dedicated to m
Page 12 and 13: medieval Italian literature is the
Page 14 and 15: poetry. The Sicilians adopt quite a
Page 16 and 17: CHAPTER 1 : Falconry as symbols bef
Page 18 and 19: The ancient Greeks and Romans did n
Page 20 and 21: hawk. The hawk responds that it is
Page 22 and 23: If a falcon sees the dead body of a
Page 24 and 25: The popularity of falcons and hawks
Page 26 and 27: animali, including a section on fal
Page 28 and 29: Hrabanus Maurus, in his eighth cent
Page 30 and 31: earlier; second, that there is a pe
Page 32 and 33: evolution of the late medieval view
Page 34 and 35: chapter that consists entirely of a
Page 36 and 37: century, is not spiritual, but a vo
Page 38 and 39: conveying the idea of Caesar's fier
Page 40 and 41: on falcons and hawks, telling about
Page 42 and 43: it is made typically of something t
Page 44 and 45: Having established the popularity o
Page 46 and 47: circle of acquaintances to illustra
Page 48 and 49: C'una noch sornnav' en pascor Tal s
Page 50 and 51: Amors o fai si com lo bons astors q
Page 52 and 53: chosen a mate so far above him in e
Page 54 and 55: Inferno, Chaucer is in this place t
Page 56 and 57:
tercel eagle states that she should
Page 58 and 59:
she gave in for fear that he might
Page 60 and 61:
CHAPTER 2: Falconry in Duecento and
Page 62 and 63:
nonexistent in the poetry of the sc
Page 64 and 65:
da c'omo vene tosto a compimento. B
Page 66 and 67:
It seems as if the text were meant
Page 68 and 69:
We find here the image of the nibbi
Page 70 and 71:
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 122 and 123:
Upon hearing that it was an old man
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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