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

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to be forceful like the sparrowhawk, rather than useless like the lamer falcon. Poetry, like hunting, should create a stir. The second of these sonnets uses the image of the sparrowhawk in a similar manner. The poet seeks to overcome his timidity in love by acting like the hawk. 10 son tanto temioso e vergognoso a tutte l'ore ch'io vi so' davanti; spesse volte io mi muovo coraggioso per fare e dire quel che fan gli amanti: quand'io [so'] avanti a voi, viso amoroso, el parlare e' pensier' mi sono afranti, e '1 fino amar mi tien si dubitoso, ch'io non so far ne atti nk sembianti. Ma io faraggio come 10 sparvero, ch'a lo incominciamento e dubitoso quando e co gl[i] agellet[t]i a la foresta, e poi diventa ardito e manero: da che cominci diviene argogl[i]oso e della caccia mena gran tempesta.18 Chiaro refers here to the domestic hawk's development as a hunter: taken when young from its habitat, it grows yearly into a more powerful hunter, a process commonly noted in bestiaries, encyclopedic literature, and hunting manuals. He states his plan to model his own transformation on that of the hawk. It will serve him well to emulate the hawk's hunting progress as he tries to improve his own hunting in love. In both sonnets, indeed, Chiaro shows that the hawk's boldness in hunting is an admirable quality to be imitated in one's own quest. All the poems examined so far use falcons and hawks in images that relate to the hunting prowess of the birds themselves. But there are several instances that focus on the Ibid., 405-406.
nature of the relationship between the falcon owner and the bird he trains and keeps.19 This relationship corresponds to that between the human lovers, and is most commonly used to illustrate problematic love, a loss of trust between the lover and beloved. We find the falconerllady mistreating her charge, the falcodlover, or the falconerllady betrayed by the falcodlover, who flies away. Pietro Morovelli's canzone Donna amorosa falls in the first category, and is a complaint of the poet's mistreatment by his beloved. The comparison to a neglected goshawk is not found in isolation but is the second of three images of bad caretaking in the canzone. Donna amorosa sanza merzede, per la mia fede, di me giucate com'omo face d'uno fantino, che gio' li mosa e gioca e ride; da poi che vede sua volontate, lo 'nganna e tace: ec[c]o amor fino! Pur a l'inoia lo fa angosciare, no li vuol dare gioia d'amare: per0 ma1 pare lo troppo fare quanto lo mino. Si che giocando penso perire e ma1 soffrire, como l'astore ch'e 'n perca miso e ma1 guardato; a quando a quando l9 This theme is found also in Provenqal; see Boccassini, 256-257. She notes that Folquet de Marseille complains that he is badly looked-after by Love, like a hawk that is held so tightly by an inept falconer that it nearly dies (here of course Love is the falconer, rather than his lady). From A! quan gen vens et ab quan pauc d'afan: "mas aisi.m retengratz quo.1 fols reteil'esparvier fer, quan tem que se desli,/que I'estrenh tan e.1 poynh tro que l'auci;imas, pus estortz vos sui, viure puosc be."
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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
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 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
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E la madre questo vedendo vuole mor
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Upon hearing that it was an old man
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tal es mon talens, Ke m'inervia d'o
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expectation of the class status of
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Ardito avendo uno suo figliuolo nom
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"'tua figliuola B stata si vaga del
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Monna Giovanna re-enters his life w
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a "miglior massaio" in a society co
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domestication or training of the fa
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BIBLIOGRAPHY Aelianus, Claudius. De
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Consoli, Joseph P., ed. The Novelli
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Lewis, C. S. Allegory of Love: a St
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. Transcription and Visual Poetics
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