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Amorum libri
Sotto il titolo di Amorum libri, il Boiardo ha diviso in tre parti la sua silloge di rime distribuendo simmetricamente i centottanta componimenti, realizzati tra il 1469 e il 1476, dì cui risulta tutto il canzoniere.
Ciascun libro è composto di cinquanta sonetti e dieci liriche di diverso metro, ballate o sestine o canzoni.
Ciascun libro è composto di cinquanta sonetti e dieci liriche di diverso metro, ballate o sestine o canzoni.
- GenresPoetry
Kindle Edition
First published January 1, 1990
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About the author
Matteo Maria Boiardo
203 books12 followersMatteo Maria Boiardo (1434-41 – 19/20 December 1494) was an Italian Renaissance poet.
Boiardo was born at, or near, Scandiano (today's province of Reggio Emilia); the son of Giovanni di Feltrino and Lucia Strozzi, he was of noble lineage, ranking as Count of Scandiano, with seignorial power over Arceto, Casalgrande, Gesso, and Torricella. Boiardo was an ideal example of a gifted and accomplished courtier, possessing at the same time a manly heart and deep humanistic learning.
At an early age he entered the University of Ferrara, where he acquired a good knowledge of Greek and Latin, and even of the Oriental languages. He was in due time admitted doctor in philosophy and in law.
Italian translation of Herodotus' Histories by Count Matteo Maria Boiardo, published in Venice in 1533.
Up to the year of his marriage to Taddea Gonzaga, the daughter of the Count of Novellara (1472), he had received many marks of favour from Borso d'Este, duke of Ferrara, having been sent to meet Frederick III (1469), and afterwards visiting Pope Paul II (1471) in the train of Borso. In 1473 he joined the retinue which escorted Eleonora of Aragon, the daughter of Ferdinand I, to meet her spouse, Ercole, at Ferrara. Five years later Boiardo was invested with the governorship of Reggio, an office which he filled with noted success till his death, except for a brief interval (1481–86) when he was governor of Modena.
In his youth Boiardo had been a successful imitator of Petrarca's love poems. More serious attempts followed with the Istoria Imperiale, some adaptations of Nepos, Apuleius, Herodotus, Xenophon, etc., and his Eclogues. These were followed by a comedy, Il Timone (1487?). He is best remembered, however, for his grandiose poem of chivalry and romance Orlando Innamorato (the Encyclopaedia Britannica Eleventh Edition provides a detailed discussion of Orlando in its several editions). Rime, another work from 1499, was largely forgotten until the English-Italian librarian Antonio Panizzi published it in 1835.
Almost all Boiardo's works, and especially the Orlando Innamorato, were composed for the amusement of Duke Ercole and his court, though not written within its precincts. His practice, it is said, was to retire to Scandiano or some other of his estates, and there to devote himself to composition, and historians state that he took care to insert in the descriptions of his poem those of the agreeable environs of his chateau, and that the greater part of the names of his heroes, as Mandricardo, Gradasse, Sacripant, Agramant and others, were merely the names of some of his peasants, which, from their uncouthness, appeared to him proper to be given to Saracen warriors.
It is uncertain when Boiardo wrote a poem about a self-composed, unusual Tarot game, which is of relevance to Tarot research of the 15th century and the question of when Tarot developed. A deck, which was produced according to the poem (probably shortly after Boiardo's death) has partially survived.
Boiardo was born at, or near, Scandiano (today's province of Reggio Emilia); the son of Giovanni di Feltrino and Lucia Strozzi, he was of noble lineage, ranking as Count of Scandiano, with seignorial power over Arceto, Casalgrande, Gesso, and Torricella. Boiardo was an ideal example of a gifted and accomplished courtier, possessing at the same time a manly heart and deep humanistic learning.
At an early age he entered the University of Ferrara, where he acquired a good knowledge of Greek and Latin, and even of the Oriental languages. He was in due time admitted doctor in philosophy and in law.
Italian translation of Herodotus' Histories by Count Matteo Maria Boiardo, published in Venice in 1533.
Up to the year of his marriage to Taddea Gonzaga, the daughter of the Count of Novellara (1472), he had received many marks of favour from Borso d'Este, duke of Ferrara, having been sent to meet Frederick III (1469), and afterwards visiting Pope Paul II (1471) in the train of Borso. In 1473 he joined the retinue which escorted Eleonora of Aragon, the daughter of Ferdinand I, to meet her spouse, Ercole, at Ferrara. Five years later Boiardo was invested with the governorship of Reggio, an office which he filled with noted success till his death, except for a brief interval (1481–86) when he was governor of Modena.
In his youth Boiardo had been a successful imitator of Petrarca's love poems. More serious attempts followed with the Istoria Imperiale, some adaptations of Nepos, Apuleius, Herodotus, Xenophon, etc., and his Eclogues. These were followed by a comedy, Il Timone (1487?). He is best remembered, however, for his grandiose poem of chivalry and romance Orlando Innamorato (the Encyclopaedia Britannica Eleventh Edition provides a detailed discussion of Orlando in its several editions). Rime, another work from 1499, was largely forgotten until the English-Italian librarian Antonio Panizzi published it in 1835.
Almost all Boiardo's works, and especially the Orlando Innamorato, were composed for the amusement of Duke Ercole and his court, though not written within its precincts. His practice, it is said, was to retire to Scandiano or some other of his estates, and there to devote himself to composition, and historians state that he took care to insert in the descriptions of his poem those of the agreeable environs of his chateau, and that the greater part of the names of his heroes, as Mandricardo, Gradasse, Sacripant, Agramant and others, were merely the names of some of his peasants, which, from their uncouthness, appeared to him proper to be given to Saracen warriors.
It is uncertain when Boiardo wrote a poem about a self-composed, unusual Tarot game, which is of relevance to Tarot research of the 15th century and the question of when Tarot developed. A deck, which was produced according to the poem (probably shortly after Boiardo's death) has partially survived.
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Displaying 1 of 1 review
November 1, 2022
Nel panorama del secondo Quattrocento l’imitazione di Petrarca era stata già sdoganata da Giusto de’ Conti, ma mancava ancora della consacrazione intellettuale di Pietro Bembo. È tra questi due estremi, fondanti entrambi per lo sviluppo della nostra poesia, che si colloca questa raccolta di versi del Boiardo, divisa in tre libri e narrante l’amore infelice del poeta per la nobildonna Antonia Caprara.
La trama della raccolta è piuttosto lineare (il poeta si innamora, appaga i suoi desideri, viene abbandonato ed infine trova conforto nella religione), ma manca quasi del tutto la tragicità e l’introspezione che caratterizzavano il Canzoniere di Petrarca: Boiardo, infatti, tratta l’amore come un grande gioco di gioventù, ma così facendo riduce tutti gli effetti drammatici a meri strumenti retorici. Anche il conforto religioso, estremamente tardivo nella raccolta (si parla degli ultimi 4-5 componimenti del terzo libro) è poco sentito e dettato chiaramente più da un desiderio di imitazione di Petrarca che da un reale pentimento.
Nonostante questo limiti a livello contenutistico, la raccolta è un capolavoro dal punto di vista metrico ed estetico, con un gusto che unisce mezzi espressivi tradizionali a immagini e metri nuovi per il panorama italiano. Anche il gusto tardogotico per il paesaggio è espresso con grande ricchezza, e molti dei temi figurativi del Quattrocento fanno qui la loro comparsa in forma poetica.
Si è insomma di fronte non a un capolavoro assoluto, ma a un’opera senz’altro ben congegnata ed in grado di far rivalutare da principio l’intero ‘secolo senza poesia’, con una ricchezza straordinaria ordita all’interno di un contesto (il libro d’amore) relativamente semplice.
La trama della raccolta è piuttosto lineare (il poeta si innamora, appaga i suoi desideri, viene abbandonato ed infine trova conforto nella religione), ma manca quasi del tutto la tragicità e l’introspezione che caratterizzavano il Canzoniere di Petrarca: Boiardo, infatti, tratta l’amore come un grande gioco di gioventù, ma così facendo riduce tutti gli effetti drammatici a meri strumenti retorici. Anche il conforto religioso, estremamente tardivo nella raccolta (si parla degli ultimi 4-5 componimenti del terzo libro) è poco sentito e dettato chiaramente più da un desiderio di imitazione di Petrarca che da un reale pentimento.
Nonostante questo limiti a livello contenutistico, la raccolta è un capolavoro dal punto di vista metrico ed estetico, con un gusto che unisce mezzi espressivi tradizionali a immagini e metri nuovi per il panorama italiano. Anche il gusto tardogotico per il paesaggio è espresso con grande ricchezza, e molti dei temi figurativi del Quattrocento fanno qui la loro comparsa in forma poetica.
Si è insomma di fronte non a un capolavoro assoluto, ma a un’opera senz’altro ben congegnata ed in grado di far rivalutare da principio l’intero ‘secolo senza poesia’, con una ricchezza straordinaria ordita all’interno di un contesto (il libro d’amore) relativamente semplice.
Displaying 1 of 1 review