Birds of Prey and the Sport of Falconry in Italian Literature through ...

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poetry. The Sicilians adopt quite a bit of animal imagery from their Provengal forbears, but neglect the falcons associated with love relationships. The Stilnovistic poets largely, and probably consciously, forgo the animal similes common to Provengal, Sicilian, and Siculo-Tuscan poets; therefore, their lack of references to falcons is not surprising. Indeed, most falcons and hawks are found in Siculo-Tuscan poetry; here they are used as in Provengal, and also to illustrate the anguish that the poets' love causes them to feel. In the Trecento, there is no falconry imagery evident in aulic poetry. After the Dolce Stil Novo, the falcons do not return to higher lyric poetry. Not even Petrarch uses the image, preferring, in speaking of love as a hunt, to employ the fish or the deer. Instead, the birds appear in many madrigals and cacce, alluding to very earthly erotic love encounters, usually between a poet and a serendipitous shepherdess or the like. In the third chapter, Dante's Divine Comedy comes under scrutiny for the poet's 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. His use of falconry imagery is compared to his similar use of crane imagery to show a pattern by which birds in the Comedy are seen as symbols of the journey to God. The fourth chapter looks at prose, particularly the novella tradition. The courtly undertones of falcons and hawks are affected by a changing Italian social scene. In the Novellino, they appear only in stories that are defined as having taken place several generations previously in courtly settings. In the works of Sacchetti and Sercambi, their presence is more problematic and illustrative of a tension surrounding the appropriateness of possession of hawks by various classes. In the Decameron, finally, a falcon is found that, along with its owner, Federigo degli Alberighi, carries every connotation of the
courtly love tradition, but in a story that shows the problems spawned by following its rules in real life. Driven to desperation by the poverty he has caused himself by living as a courtly lover, he is forced to serve his falcon itself, rather than any catch of the falcon, to his lady for dinner. The practicality of this solution mixes with his courtly impulse to extravagant action for his lady's sake, the type of behavior that ruined him in the first place, thus reconciling the practical and the idealistic, since his lady is moved by his actions to marry him. In conclusion, in having attempted to explain trends in the use of images of falcons, hawks, and the sport of falconry in medieval Italian literature, I have found that the ways in which these themes are used are dynamic and problematic, changing with the development of poetry in its first century and affected by the evolution of the social scene that spawned the use of falcons as icons of courtly love in the first place.
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 and 6: Birds of Prey and the Sport of Falc
Page 7 and 8: TABLE OF CONTENTS ACKNOWLEDGEMENTS
Page 9: This dissertation is dedicated to m
Page 12 and 13: medieval Italian literature is the
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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