TRANSPOSITION OF STANZAS IN
MEDIAEVAL POETRY, A METHOD
OF ANALYSIS:
POEMS VII A N D X OF A R N A U T DANIEL
l.ys
Ann
Taylor Shore
C o m p lic a t in g th e e s ta b lis h m e n t o f
poems i s
may c o n s t i t u t e a d i s t i n c t l y
a fte r
th e t e x t o f many O ld P r o v e n ç a l
th e q u e s t io n o f th e s t a n z a - o r d e r .
Each d i f f e r e n t arra n g em en t
d i f f e r e n t v e r s io n o f
th e t e x t o f th e poem has b een e s t a b lis h e d ,
th e poem, so t h a t even
th e r e s t i l l
th e e d i t o r th e p ro b lem o f c h o o s in g an o r d e r in g o f th e e d i t e d
p r in t.
T r a d it io n a lly ,
th e p r a c t i c e
o f e d ito r s
t e x t to
o f O ld P r o v e n ç a l p o e t r y
has b e en t o ch oose a " b e s t " o r d e r in g by more o r l e s s
and t o r e l e g a t e m en tio n o f o t h e r v e r s io n s t o
rem ain s f o r
s u b je c t iv e
c r it e r ia ,
th e c r i t i c a l n o te s .'*'
U n t il
th e p r e s e n t , h o w e v e r,
t h e r e have b een fe w grounds on w h ich t o b a s e an
o b je c tiv e
F ir s t,
ju d g em en t.
m a n u s c rip t i s
s in c e
a random p r o c e s s ,
th e s u r v i v a l o r d e s t r u c t io n o f any
an e d i t o r can n ot b ase h is
c h o ic e on th e
number o f m a n u s c rip ts i n w h ich a v e r s io n o f a poem s u r v i v e s .
A ls o ,
th e
com p lex and c o n fu s in g r e l a t i o n s h i p s o f m a n u s c rip ts c o n t a in in g O ld P r o ­
v e n ç a l poems make th e r e l a t i v e
d a t in g o f d i f f e r e n t v e r s io n s o f a poem
d i f f i c u l t and th e i d e n t i f i c a t i o n
s ib le .
M o r e o v e r,
m is s e d ,
and i t
th e p o s s i b i l i t y
it
is
o f a u t h o r 's
can f u r t h e r be a rgu ed t h a t a l l
b e in g o f m e d ia e v a l o r i g i n ,
ever,
o f th e o r i g i n a l v e r s i o n v i r t u a l l y
seldom f e a s i b l e
r e v is io n s
im pos­
c a n n ot b e d i s ­
th e v e r s io n s o f a poem,
d e s e r v e c o n s id e r a t io n by m e d i a e v a l i s t s .
t o in c lu d e in an e d i t i o n
a ll
How­
th e v e r s io n s o f
each poem i n f u l l .
A v a lid a lte r n a t iv e
is
t o a tte m p t t o u n d e rs ta n d th e re a s o n f o r
th e
e x i s t e n c e o f th e d i f f e r e n t v e r s io n s and t o use t h is k n o w le d g e in
c h o ic e o f a v e r s i o n .
A q u a n t i t a t i v e g r a p h ic a l a n a ly s is o f a l l
s io n s o f a poem w i l l
show w here in
th e
th e v e r ­
th e poem each s ta n z a m ost o f t e n
and w h ich s ta n z a s a r e m ost s u b je c t t o t r a n s p o s i t i o n .
occu rs
W ith t h e s e d a ta i t
can e a s i l y b e seen w h ich s ta n z a s p r e s e n t e d fe w e s t d i f f i c u l t i e s
t o m e d ia e ­
v a l p e r fo r m e r s and c o m p ile r s and w h ich w ere th e m ost p r o b le m a t ic and open
to r e - in te r p r e ta tio n .
l y r i c poem s, w it h
in g o f s ta n z a s .
(It
little
H en ce,
s h o u ld be rem embered t h a t th e s e a r e g e n e r a l l y
o r no n a r r a t i v e
th e p e r f o r m e r 's
m ined h is a rra n g em e n t o f i t s
s ta n z a s .)
c o n te n t t o d e te rm in e th e o r d e r ­
u n d e rs ta n d in g o f th e poem d e t e r ­
The k n o w led g e thus g a in e d can
th en b e a p p lie d t o an in fo rm e d t e x t u a l a n a ly s is o f th e poem,
such " t r o u b le
fo c u s in g on
s p o t s " and le a d in g t o a c h o ic e w h ich , w h ile c e r t a i n l y n o t
beyon d r e a c h o f a l l
than a r b i t r a r y ,
c r it ic is m ,
is
a t l e a s t b a s e d on o b j e c t i v e ,
ra th e r
c r ite r ia .
The m ethod o f q u a n t i t a t i v e
g r a p h ic a l a n a ly s is used t o d e te rm in e th e
fr e q u e n c y o f t r a n s p o s i t i o n o f s ta n z a s in a poem may b e i l l u s t r a t e d by
means o f a h y p o t h e t i c a l c a s e ,
t o b e exam ined b e lo w .
s u r v iv e s
in
Assume a poem o f fo u r s ta n z a s
t h r e e v e r s io n s
o f m a n u s c r ip ts .
(A — 1 , 2 , 3 , 4 ;
I
.
in
ii
III
IV
0
0
0
cN v l N ^ 1
1
3
0
2 ^
0
4
0
0
th e h o r i z o n t a l a x is
Thus,
B - - l,3 ,2 ,4 ;
2
w h ere th e v e r t i c a l a x is
cu rs.
w h ich
number
th e s ta n z a s
C— 1 , 3 , 4 , 2 ) ;
th e f o l ­
can th en be p ro d u c e d :
S ta n za 1
in
(1 ,2 ,3 ,4 )
( A , B , C ) , each b e in g fou n d in X (= a n y)
Assume f u r t h e r t h a t each v e r s io n p r e s e n t s
i n a d i f f e r e n t o r d e r in g
lo w in g t a b l e
s im p le r than e i t h e r o f th e a c t u a l poems
t h is
th e f i r s t p l a c e ,
i \
2^
(A r a b ic numbers)
(Roman n u m e ra ls )
shows th e s ta n z a number, and
th e p la c e in w h ich th e s ta n z a o c ­
e x a m p le , s ta n z a 1 a p p ea rs i n v a r i a b l y
w h ile s ta n z a 2 a p p e a rs once each in
(t h r e e
tim e s )
th e s e c o n d ,
t h ir d
and f o u r t h p l a c e s .
From such a t a b l e ,
be d e r iv e d ,
th e fr e q u e n c y o f t r a n s p o s it io n o f each s ta n z a can
b y d i v i d i n g each e n t r y in
th e t a b le b y th e
t o t a l number o f
v e r s io n s
(in
t h is
case,
th r e e ).
F o r in s t a n c e ,
has a fr e q u e n c y o f o c c u r r e n c e o f .33 in
qu en cy o f t r a n s p o s i t i o n
th e t h i r d p la c e ,
t o th e secon d p l a c e .
t i o n may be g e n e r a l i z e d as f^ j r where f
s ta n z a 3 o f th e exam ple
is
T h is
and a .67 f r e ­
fr e q u e n c y o f t r a n p o s i-
fr e q u e n c y ,
is
th e number o f
th e s t a n z a ,
and j i s
th e p la c e
th is ,
p o s s ib le
t o d e te rm in e th e fr e q u e n c y o f o c c u r r e n c e o f a s ta n z a
it
is
to w h ich th e s ta n z a i s
i
in a l l p la c e s o t h e r than a g iv e n p l a c e .
o f a s ta n za ,
l
s ta n za ,
own,
p le
m o b ility
and f
th e i ^ ,
^=33%.
is
T h is may b e term ed th e m o b i l i t y
(1 -f..)
n
X 100
(d e f in e d in term s o f p e r c e n t ) , i
is
th e number o f a
th e fre q u e n c y o f o c c u r r e n c e o f a s t a n z a ,
p la c e .
That is
s ta n z a 4 o c c u rs in
g iv e n s ta n z a i s ,
ily
From
and may be d e fin e d a s :
H. =
w h ere (j. i s
tr a n s p o s e d .
F o r in s t a n c e ,
in
a p la c e o t h e r than th e f o u r t h .
a s s ig n in g numbers t o
in i t s
th e c a s e o f s ta n z a 4 o f th e exam­
t o say t h a t in o n e - t h i r d o f th e c a s e s
o f cou rse,
i,
(v e r s io n s ),
The "own" p la c e o f a
d ep en d en t upon th e v e r s i o n u sed in
th e s ta n z a s .
In t h i s
e x a m p le ,
a r b itr a r ­
t h a t v e r s io n
is
v e r s i o n A.
It
lin e
s h o u ld be n o te d a ls o
c ir c le d
in
th e t a b le
in g s ta n za -n u m b e rs ) ,
t h a t f . . a r e th e e le m e n ts o f th e d ia g o n a l
w h ile
f
can be r e p r e s e n t e d g r a p h i c a l l y
a d i r e c t e d grap h
11
(t h a t i s ,
th e v e r s io n
a re a l l
as w e l l .
u sed as a b a s is
th e o f f - d i a g o n a l
In th e c a s e o f
te rm s .
in
a s s ig n ­
The l a t t e r
th e e x a m p le ,
such
(d ig r a p h ) w ou ld b e :
1
4 -«--------------------- 2
w h ere th e d i r e c t e d arro w s i n d ic a t e
p la c e o t h e r than i t s
t r a n s p o s i t i o n o f a g iv e n s ta n z a t o a
"o w n ."
The m ethod j u s t o u t l i n e d can be a p p lie d t o any l i t e r a r y
com ponent p a r t s a r e v a r i o u s l y o r d e r e d in d i f f e r e n t v e r s i o n s ,
P r o v e n ç a l poem s, o r even C h a u c e r's Canterbury T a le s.
In
work whose
such as many
t h is p a p e r ,
two
poems o f th e t w e lf t h - c e n t u r y
w i l l be u sed as t e s t c a s e s
tro u b a d o u r A m a u t D a n ie l
(Poems V I I and X)
f o r th e m ethod.
Poem V I I
I t must b e n o te d a t th e o u t s e t t h a t th e "m e a n in g" o r " c o n t e n t " o f
e ach s ta n z a i n a l y r i c
poem such as A rn a u t D a n i e l 's
by no means in d e p e n d e n t o f c o n t e x t —
l a r g e l y on th e s t a n z a 's
rea so n ,
r e la tiv e
on th e c o n t r a r y ,
p o s itio n
"m e ss a g e " depends
in a g iv e n o r d e r in g .
c o n s id e r a t io n o f th e "m e a n in g " o f Poem V I I as a w h o le ,
i n d i v i d u a l s ta n z a s , w i l l
q u a n tita tiv e
fo llo w
For th is
and o f i t s
r a t h e r than p r e c e d e th e p r e s e n t a t io n
and
a n a ly s is o f th e t e x t u a l s i t u a t i o n .
The s i t u a t i o n
fic u ltie s .
fu ll
Poems V I I and X i s
In i t s
o f Poem V I I p r e s e n t s
lo n g e s t fo rm ,
r e la tiv e ly
fe w a n a l y t i c a l d i f ­
th e poem c o n s is t s o f s e v e n s ta n z a s
(s ix
s ta n z a s p lu s a tornada) ; th e s e s ta n z a s h ave b een a s s ig n e d numbers
2
F i v e v e r s io n s o f th e poem
a c c o r d in g to th e a rra n g em en t a d o p te d b y T o ja .
e x is t,
i n a t o t a l o f t h i r t e e n m a n u s c r ip ts ;
b e l l e d w it h G reek l e t t e r s
f o r th e p u rp o s e o f t h i s a n a l y s i s .
s u r v i v e s i n a s i n g l e m a n u s c rip t
6,
in
th a t o rd e r.
6 ,7 .
V e r s io n
( R ) , and in c lu d e s s ta n z a s
V e r s io n ¡3 , fou n d in f o u r m a n u s c rip ts
th e o r d e r in g u sed b y T o ja ;
in
th e s e v e r s io n s have b e en l a ­
its
V e r s io n a
1 ,2 ,3 ,4
and
(A cG Q ), c o n ta in s
a rra n g em e n t o f th e s ta n z a s i s
1 ,2 ,3 ,4 ,5 ,
y in c lu d e s s i x s ta n z a s (a r r a n g e d 1 , 2 , 3 , 4 , 6 , 5 ) , and e x i s t s
2
(IKN ) .
V e r s io n 6, fou n d in m a n u s c rip ts DELN, a ls o
t h r e e m a n u s c rip ts
c o n ta in s
s ix sta n za s ,
o n ly in m a n u s c rip t C)
in
th e o r d e r in g 1 , 2 , 3 , 5 , 4 , 6 .
in c lu d e s s e v e n s ta n z a s ,
V e r s io n
6 (e x is tin g
a r ra n g e d 1 , 4 , 2 , 3 , 6 , 5 , 7
(s e e
T a b le I ) .
The com p arison o f th e v e r s io n s and th e g r a p h in g o f th e s t a n z a ic
t r a n s p o s i t i o n s p ro d u c e some i n t e r e s t i n g
t h a t s ta n z a s 1 and 7 (w here p r e s e n t )
and f i n a l p o s i t i o n s
t io n s
r e s p e c tiv e ly .
th e s e co n d and t h i r d p la c e s
o n ly in v e r s io n
s t a n z a 4 in
e is
can be s e en
o c c u r i n v a r i a b l y in
is
(F ig .
I)
th e in t r o d u c t o r y
n o t a t random, s in c e some com bina­
than o t h e r s .
r e s p e c tiv e ly
t h e ir p o s itio n
th e s e co n d p l a c e .
It
A l l th e o t h e r s ta n z a s u n d ergo v a r i a ­
in o rd e r, b u t t h is v a r ia t io n
t i o n s o c c u r much more f r e q u e n t ly
r e s u lts .
fo u r o f th e f i v e
s h ifte d ,
S ta n za s 4,
s ta n z a s 4 and 5 in t e r c h a n g e p la c e s
in
S ta n za s 2 and 3 o c c u r in
v e r s io n s ;
due t o th e p r e s e n c e o f
5 and 6 a r e a l l q u i t e m o b ile :
in v e r s io n
6, and s ta n z a 6 t r a d e s
p la c e s w it h s ta n z a 5 in v e r s io n s y an<3 6 .
be a p o c r y p h a l,
s in c e
it
The tornada
o c c u r s in o n ly two v e r s io n s
have b een c o n s id e r e d d is p e n s a b le by p e r fo r m e r s ,
to a s p e c if ic
in d iv id u a l.
may be n o te d as w e l l .
fo u r o f th e
th re e o f
fiv e
th o s e v e r s io n s
[2 ,3 ]
t d iffe r s
It
F or ex a m p le ,
(a ,p ,Y );
fro m i t s
c le a r
(tQ and t ) ,
b e ca u s e o f i t s
[l,2 ,3 ]
is
th e grou p [ 1 , 2 , 3 , 4 , 6 ]
p o s itio n
v e r s io n s ,
in
is
is
a lth o u g h i t s
fou n d in
fou n d tw ic e
th e o r d e r e d
p o s itio n
i n v e r s io n
th e o t h e r f o u r v e r s io n s .
from th e s e o b s e r v a t io n s
t h a t in th e c a s e o f Poem V I I
th e o p e n in g s ta n z a s o f th e poem had th e g r e a t e s t s t a b i l i t y .
m ost o f t e n
may
r e fe r e n c e
fou n d i n t a c t in
[1 ,2 ,3 ,4 ]
One s m a lle r u n it s h o u ld be m e n tio n e d :
fiv e
or i t
th e a rra n g em en t o f s ta n z a s
The gro u p
o c c u r s in a l l
is
in
th e gro u p
v e r s io n s
(v e r s i o n s a and y ) .
p a ir
F u r th e r p a t t e r n s
(s t a n z a 7) may
They w ere
p e r c e i v e d as a u n it , w h ile th e l a t e r s ta n z a s show a much
g r e a t e r fre e d o m o f movement
(s e e T a b le
III).
It
is
u s e fu l,
th e n ,
to
exam ine th e o p e n in g s ta n z a s
in o r d e r t o d e te rm in e w hat m igh t have b een
s e en by p e r fo r m e r s and c o m p ile r s as t h e i r u n i f y i n g th r e a d .
S ta n za 1 e s t a b l is h e s
th e p o e t 's
p e rs o n a as a s u b m is s iv e l o v e r ,
pa­
t i e n t and o b e d ie n t t o th e commands o f Amors.
Love r u le s h is e m o tio n a l
3
s ta te ,
b u t he i s p a s s iv e , a w a it in g h is re w a rd .
S ta n za 2 can be v ie w e d
t o some e x t e n t as p o r t r a y in g
th e n e g a t iv e s id e o f t h is
s itu a tio n .
The
p a t ie n c e and o b e d ie n c e o f th e p e rs o n a
a r e h e r e seen as th e r e s u l t o f
4
fe a r,
and h is s u b m is s iv e a t t i t u d e i s r e v e a le d as a fa g a d e , m asking h is
deep d e s i r e . " ’
V e rs e s 6-11 b r in g back a more p o s i t i v e p o i n t o f v ie w ,
t h a t o f th e g r e a t w o rth o f th e la d y
r e fe r e n c e )
a d j e c t i v e son
la d y
as i t s
F o r in s t a n c e ,
verses
in w h ich c a s e i t
B ut th e s e
(a )
.
.
. q'
3-11 o f s ta n z a 2,
(b e c a u s e )
"lo
t o g e t h e r w it h
en t a n t a ran d a / cum mars t e r r a
c h a u s id a / q ' i e u
(b ) // T a n t s a i son p r e t z
fin
.
c o r s men d o l
A ls o ,
.
.
.
( a) ".
th e f i r s t
c o r s v o l / so don d o le n s
gara n d a / no a t a n t gen / p r e s e n / cum l a
and d e v e lo p
form s a c l o s e
two s ta n z a s h a ve o t h e r bonds
th r e e v e r s e s o f s ta n z a 3 form a chiasm u s:
s i s o io r n a
The p o s s e s s iv e
3 can b e assumed t o have th e
a n te c e d e n t,
g ra m m a tic a l l i n k w it h s ta n z a 2 .
an i n d i r e c t
s u b m is s iv e n e s s .
in th e f i r s t v e r s e o f s ta n z a
(p r e s e n , chausida)
as w e l l .
(p r e s e n , chausida - -
as th e rea so n f o r th e l o v e r ' s
e c e rta
(£ )
.
. p e r so f a t z
th e o p e n in g l i n e s
a i e n c o b id a
ie u q e -1
o f s ta n z a 3 c o n tin u e
th e th o u g h t o f v e r s e s 6 -1 1 o f s ta n z a 2, by e la b o r a t i n g on th e
l a d y 's w o r th .
M o r e o v e r,
th e k e y theme o f th e poem,
th e c o n c e p ts o f s p e e c h and s i l e n c e ,
is
th e t e n s io n b etw een
p r e s e n t in b o th s t a n z a s ,
t r e a t e d in much th e same way in b o t h .
and i s
The f i r s t v e r s e o f s ta n z a 2 i n ­
tr o d u c e s th e them e, and h e r a ld s th e v ie w o f i t w h ich w i l l be ta k e n ,
is ,
th e n e c e s s i t y o f a l o v e r ' s
k e e p in g s i l e n c e
id e a i s
r e p e a t e d in v e r s e
verse
( " e u non aus d i r q u i m 'a f la m a " ).
5
5 ("ma no s 'e n
l i n k s b e tw e e n s ta n z a s 2 and 3 h e lp s
of
th e poem,
a g ro u p ,
are
c o n c e r n in g h is
The p r e s e n c e o f th e s e s t r o n g
t o e x p la in why in a l l
th e s e tw o s ta n z a s form a f i x e d
u n it .
th e s e
e s t a b l i s h i n g q u it e p r e c i s e l y th e s t a t e
lo v e r
fin d s h im s e lf.
It
is
u n d e r s ta n d a b le ,
seen as
th e p o e t i s
and f e e l i n g s
o f a ffa ir s
th e n ,
s h o u ld i n g e n e r a l o c c u r as a u n it s e r v i n g th e
In t h r e e v e r s io n s
u n i t o f s ta n z a s 1 -3 .
th re e s ta n za s ;
v e r s io n s
p re­
o f h is
th r e e s ta n z a s s h a r e a to n e o f in t r o d u c t o r y e x p o s i­
tio n ,
fir s t
fiv e
S ta n za s 1 -3 ,
lin k e d o v e r a l l by t h e i r p e r s o n a l v ie w p o in t ;
A ls o ,
T h is
c l a m a " ) , and a g a in in s ta n z a 3,
o c c u p ie d th ro u g h o u t th e s e s ta n z a s w it h th e s i t u a t i o n
p erson a .
th a t
lo v e .
(a ,p ,y )/
in w h ich th e
t h a t th e s e s ta n z a s
fu n c t io n o f i n t r o d u c t io n .
s ta n z a 4 ap p e a rs
f o l l o w i n g th e o p e n in g
T h is s ta n z a c o n ta in s no p e r c e p t i b l e
th e k ey theme o f s p e e c h / s ile n c e
m a t t e r , b u t th e theme i s
th e p r e c e d in g s t a n z a s .
tre a te d very d iffe r e n t ly
Speech i s
h e r e se en in i t s
lin k
form s i t s
t o th e
s u b je c t -
in s ta n z a 4 than in
n e g a t iv e a s p e c t ,
as
th e a g e n t o f d e s t r u c t io n o f Am ors, and as th e e x c l u s i v e p r o p e r t y o f f o l s
and l a u s e n g i e r s .
An a b ru p t change in v ie w p o in t i s
p a s s a g e fro m th e f i r s t
t h r e e s ta n z a s t o
f o l s e s gui w h ich in t r o d u c e s th e s ta n z a .
ia l
fo r m , and i n d i c a t e s
s e lf o f
en on ,
th e
T h is p h ra s e i s
c a s t in p r o v e r b ­
th e change from a h ig h ly p e r s o n a l v ie w o f th e
th e p e rs o n a t o an im p e r s o n a l c o n s id e r a t io n o f an e x t e r n a l phenom­
fro m w h ich th e l o v e r e x p l i c i t l y
F u rth e r,
a ls o n o t ic e d in
s ta n z a 4, s i g n a l l e d by th e p h ra s e
b e g in n in g w it h s ta n z a 4,
m o b i l i t y o f s ta n z a 4 i s
A m a u t D a n i e l 's
th e m s e lv e s .
th e n ,
fo llo w ,
tw een s ta n z a s
(th e
o r in te r p r e te d i t
found
to s u it
t h a t s ta n z a 4 marks th e b e g in n in g o f th e
s in c e in t r o d u c t o r y m a tte r i s
seq u e n c e than th e rem a in d e r o f a l y r i c poem .
in t r o d u c t io n
8 -1 1 .
40% ), p r o b a b ly i n p r o p o r t io n as i n d i v i d u a l s
th o u g h t d i f f i c u l t t o
I t seem s,
p o e m 's n u c le u s ,
e x c lu d e s h im s e lf in v e r s e s
th e s t a n z a ic m o b i l i t y in c r e a s e s
more s u s c e p t ib le o f l o g i c a l
The s c a r c i t y o f lin k s b e ­
3 and 4 thus s e r v e s w e l l t o in d i c a t e
t o th e main body o f th e poem.
th e movement from
In v e r s io n s
th e s e v e r s io n s
a and y> s ta n z a 6 o c c u r s
a g r e e in
th e o r d e r in g
e x p l i c a b l e b eca u se o f th e li n k s
F ir s t,
th e re
is
f o l l o w i n g s ta n z a 4,
1 ,2 ,3 ,4 ,6 .
so t h a t
T h is o r d e r in g
is
e a s ily
t o be fou n d b etw een th e two s t a n z a s .
th e c o n t r a s t b e tw e e n th e con d u ct o f th e
f o l s and l a u s e n -
g i e r s o f s ta n z a 4 and th e c o n d u c t o f th e l o v e r as d e s c r ib e d in s ta n z a 6.
The l a u s e n g ie r s cause Amors t o le a v e
n e v e r abandons h is
p la y s
in
la d y
(is
(s t a n z a 6 , v .
desmanda, v .
6 ).
th e n e g a t i v e a s p e c t o f s p e e c h ,
s ta n z a 6 d is p la y s
th e form o f th e bon chantar o f th e p o e t ,
l a d y 's
lo v e ,
fa v o u r s
(as i m p lie d in v e r s e s
as does th e t a t t l e
t o do s o ,
its
p o s itiv e
w h ich in c r e a s e s w it h
1 and 2 ) ,
s id e ,
th e
r a t h e r than d r i v i n g
away
o f th e l a u s e n g i e r s .
V e r s io n a c o n c lu d e s
v e r s io n
6) , b u t th e l o v e r
F u r t h e r , w h ere s ta n z a 4 d i s ­
th e poem w it h s ta n z a 6 ; w h ile i t
th e a c t io n i s
is
th e o n ly
none th e l e s s e x p l i c a b l e on s e v e r a l g ro u n d s .
S ta n za 6 b e a rs a c l o s e res e m b la n c e t o s ta n z a 1 b o th in i t s
s t r u c t u r e and
in
c o n tr a s t to
th e th o u g h ts i t
t h is
s ta n za .
exp resses;
it
a ls o
form s an i n t e r e s t i n g
Both th e s e a s p e c t s a r e b ro u g h t i n t o
o f s ta n z a 6 in
th e f i n a l p o s i t i o n ,
w h ere i t
r e l i e f by th e p l a c i n g
w o u ld n a t u r a l l y be com pared
and c o n t r a s t e d w ith th e o p e n in g s ta n z a o f th e poem.
th e two c la u s e s o f v e r s e s
1-2 o f s ta n z a 1 i s
h a lv e s o f th e f i r s t s e n te n c e o f s ta n z a 6 (v e r s e s
1 is
c l o s e l y p a r a l l e l e d by v e r s e s
s ta n z a 1 by th e f i f t h
t h a t in
a tt itu d e
form a s t r o n g c o n t r a s t .
l o v e r to w ard s th e commands o f L o v e ;
p r e s e n t e d in
(th e r e fo r e ).
if
9)
on th e p a r t o f th e
(th e bona partid a o f s t a n z a 1)
and c a r r y i n g
n o t g r a n te d him .
T h is
th e
con cept
c o n s is t­
f o l l o w e d by a c o n c lu s io n in t r o d u c e d
Such a c l e a r - c u t ,
c o n c lu s io n o f th e s y l l o g i s m
of
o f th e two
th e u n com prom ising form o f a l o g i c a l s y l l o g i s m ,
t o c o n c lu d e th e poem; in d e e d , v e r s e
th e
m oreover,
th e c o r r e s p o n d in g v e r s e s o f s ta n z a
(M e r c e s )
i n g o f a m a jo r and a m in or p r e m is e ,
by doncs
lin e s
due him b e ca u s e o f h is o b e d ie n c e ,
p e n a l t y o f th e l o s s o f m e r it
is
in t e r e s tin g ,
The c l o s i n g
(s o ffren , v.
6 , on th e o t h e r hand, p r e s e n t th e rew a rd
r ig h t,
is
3 o f s ta n z a
verse 4 o f
V e r s e s 6 -1 1 o f s ta n z a 1 e x p r e s s an
o f p a t ie n c e and s u b m is s io n
as th e l o v e r 's
It
V erse
as i s
r e p r e s e n t e d as o c c u p y in g th e p o s i t i o n
command p o s s e s s e d by Amors in s ta n z a 1.
s ta n z a s
1 - 3 ).
3 and 4 o f s ta n z a 6 ,
v e r s e o f s ta n z a 6 .
s ta n z a 6 th e la d y i s
The o p p o s it io n o f
ech oed by th e c o n t r a s t in g
c o n c is e s ta te m e n t i s w e l l - s u i t e d
11, w h ich c o n s t i t u t e s
s im u lta n e o u s ly
and th e a p o d o s is o f th e c o n d it io n
in t r o d u c e d
in
th e p r e c e d in g l i n e ,
le a v e s n o th in g f u r t h e r t o be s a id on th e s u b je c t .
V e r s io n y p la c e s s ta n z a 5 a f t e r s ta n z a 6 ,
it.
It
is
s ta n za s ,
in t e r e s tin g
t o o b s e r v e t h a t by th e j u x t a p o s i t i o n o f t h e s e two
th e c o n c lu s iv e f o r c e o f s ta n z a 6 , w h ich seem ed in v e r s i o n a to
be so s t r o n g ,
is
tu r n e d a s id e by th e use o f a s i n g l e w o rd , p e r o ,
v e r b w it h a d v e r s a t i v e
5 th e s i t u a t i o n
l o s s o f m e r it ,
fo r c e .
By th e use o f t h i s word in
o f d e n ia l o f th e l o v e r ' s
s u g g e s te d in
t h is
{gauzen
.
.
o f c o n c lu s io n
s ta n za ,
. e sa,
v.
1 ).
o f s ta n z a 6 , i s
r e je c te d ;
o f th e c o n t r a r y s id e o f
S ta n za 5 p r o v id e s a v e r y d i f f e r e n t s o r t
t o th e poem than does s ta n z a 6 .
i n d i c a t e d a movement o f
v e r s e 1 o f s ta n z a
d e v e lo p m e n t by th e p r e s e n t a t io n ,
th e i n d i c a t i v e mood and th e p r e s e n t t e n s e ,
jo y
th o u g h t,
S ta n za 6 , as a c o n c lu d in g
a change in v ie w p o in t ,
th e o p e n in g and c l o s i n g s t a n z a s ; s ta n z a 5 marks r a t h e r a r e t u r n
mood and a t t i t u d e o f
in
th e f i r s t s t a n z a .
s ta n z a 5 as i n s ta n z a 1;
s ix th
v e r s e o f each s ta n z a
q i-m m anda," s ta n z a 5 ) .
u n d e r lie s th e poem i s
3 -7 and 8 - 1 1 ).
to a l l
t h i s may be n o te d by a com p ariso n o f th e
("C 'A m o rs com an d a," s ta n z a 1,
s ta n z a 5 c o n ta in s w it h in i t
lin k s ,
In v e r s i o n
6,
d is c u s s e d .^
(v e r s e s
m a in ly v e r b a l ,
as a c o n c lu d in g
th e w ords paor and temen ech o s ta n z a 2, w h ile
(p la z e r, v .
e x p e c t a t i o n p o r t r a y e d in s ta n z a s 1,
3 and 6 ,
t h a t e x p r e s s e d in
th e p a i r o f s ta n z a s
p r e c e d e d by s ta n z a 5 ,
and "D 'A m or,
The t e n s io n b e tw e e n s p eech and s i l e n c e w h ich
i d e a o f a rew a rd a lr e a d y r e c e i v e d
10 and 11 r e t u r n s t o
t o th e
r e s o lv e d in s ta n z a 5 on th e s id e o f s i l e n c e
F u rth er,
F o r e x a m p le ,
b etw een
Amors p la y s much th e same r o l e
th e p r e c e d in g s ta n z a s , a f a c t w h ich recommends i t
s ta n za .
an ad ­
due rew a rd and th e c o n se q u en t
the c l o s i n g l i n e s
th e re m a in d e r o f th e v e r s e c o n tin u e s
in
c o n c lu d in g th e poem w ith
2)
th e
th e
and th e th o u g h t o f v e r s e s
s ta n z a 4.
[4 ,6 ]
is
r a t h e r than f o l l o w e d by i t
F o llo w in g s ta n z a 3,
c o n t r a s t s w it h
a ls o p r e s e n t ,
but is
as in v e r s io n y j u s t
th e i n i t i a l w ord p e ro o f s ta n z a 5 may
b e r e a d as h a v in g e x p la n a t o r y r a t h e r than a d v e r s a t iv e
fo r c e ;
s ta n z a 5
th us d e v e lo p s and t o some e x t e n t comments on th e th o u g h ts e x p r e s s e d in
s ta n z a 3.
is
S ta n za 3 c lo s e s w ith th e m en tio n o f s i g h t
th e p o e t 's
1 -3 )
o n ly
(solamen) c o m fo r t
t h a t th e p o e t i s
r e c e i v e d from h is
(v e z e n ,
v.
9 ) , w h ich
( a i z i d a ) , b u t s ta n z a 5 s t a t e s
jo y o u s b e ca u s e o f a fa v o u r
(v e r s e s
(p l a z e r ) w h ich he has
la d y , b u t w h ich L ov e and F e a r command him n o t t o name.
G iv e n th e c o n t e x t s e t by s ta n z a 3,
t h is must r e f e r t o s o m e th in g o t h e r
than th e s i g h t o f h i s la d y ,
sole
ever,
fa v o u r he p o s s e s s e s .
e x c e p t t h a t s i g h t has b een i d e n t i f i e d
T h is a p p a r e n t c o n t r a d ic t io n may be r e a d ,
as a p le a s a n t r y o r c o n c e i t on th e p a r t o f th e p o e t ,
fo u r v e r s e s o f s ta n z a 3 a r e tak en t o mean,
in g t o me:
you s e e ,
as th e
" o n ly s i g h t
th e n , w h at k eep s me a l i v e 1"
if
th e l a s t
(o f h er)
In t h i s
how­
is
case,
p le a s ­
th e o p e n ­
in g l i n e s o f s ta n z a 5 may be tak en as im p ly in g t h a t th e p o e t p o s s e s s e s
th e p le a s u r e o f w h ich he has j u s t spoken b u t w h ich he i s
(by L ov e and F e a r )
i m p l i c a t io n
of
th e p l a z e r o f s ta n z a 5.
n o t p e r m it t e d
V e z e n , th e n , w o u ld be by
S ta n za 5 a ls o c o n tin u e s th e
theme
" s i l e n c e e n jo in e d by f e a r and l o v e " e x p r e s s e d in s ta n z a s 2 and 3.
The c l o s i n g
to
t o name more e x p l i c i t l y .
lin e s
(v e r s e s
th e l a u s e n g i e r s
o r a tio n
o f th e
8 -1 1 ) o f s ta n z a 5 form an e x c e l l e n t t r a n s i t i o n
theme o f s ta n z a 4,
and s ta n z a 4 thus becom es an e l a b ­
theme as in t r o d u c e d in s ta n z a 5.
th e use o f f o l s
in
in
th ro u gh i t s
th is v e r s io n
I t may be rem ark ed t h a t
th e f i r s t v e r s e o f s ta n z a 4 g a in s a new s i g n i f i c a n c e
c o n tr a s t to
th e a c t io n s o f th e l o v e r ,
who
has a lr e a d y b e en shown in s ta n z a 5 t o h a ve o b ta in e d a re w a rd o f h is
fu ln e s s .
The p a i r o f s ta n z a s
[4 , 6 ]
c o n c lu d e s t h i s v e r s i o n
fa ith ­
as in v e r s io n s
a and y .
V e r s io n p e x h i b i t s
it o r s
th e o r d e r in g o f th e s ta n z a s a c c e p t e d by th e e d ­
o f A rn a u t D a n i e l 's p o e t r y .
low ed by s ta n z a 4,
(5 ,6 ,7 )
is
th e o r d e r o f th e s ta n z a s in
s a t i s f a c t o r y o f th e f i v e
v e r s io n s .
un ique t o t h i s v e r s i o n . ^
t h is
v e r s io n
A f t e r th e e x t e n s iv e
is
th e
th e l a u s e n g i e r s , th e b r i e f r e t u r n
to
th e theme in
5 seems a n t i c l i m a c t i c
and r e p e t i t i v e .
lem s when seen in th e
c o n t e x t o f s ta n z a 5 .
not a t lib e r t y
8-11 o f s ta n z a
S ta n za 6 l i k e w i s e p r e s e n t s p r o b ­
The s i t u a t i o n
t o d e s c r ib e i t ;
c o m p la in s o f la c k o f en cou ragem en t
t h a t p r e s t i g e w i l l be l o s t i f
(v e r s e s 6 -1 1 ) .
5 re p re s e n ts
s p ee c h o f
s e t fo r th
t h a t o f th e l o v e r who has r e c e i v e d a fa v o u r from h is
a lth o u g h he i s
lo v e
lin e s
(v e r s e s
in
la d y ,
y e t in s t a n z a 6 th e l o v e r
1 - 3 ),
and rem ind s h is
she does n o t rew a rd him f o r h is
One p o s s ib le
le a s t
tr e a tm e n t in
s ta n z a 4 o f th e p ro b lem o f th e d e s t r u c t io n o f l o v e by th e e v i l
s ta n z a 5 i s
fo l­
as a lr e a d y d is c u s s e d in v e r s io n s a and f , b u t th e
o r d e r in g o f th e l a s t t h r e e s ta n z a s
In some r e s p e c t s
The in t r o d u c t o r y s ta n z a s 1 -3 a r e
in t e r p r e t a t io n
is
la d y
fa ith fu l
t o assume t h a t s ta n z a
a moment o f e n jo y m e n t f o r th e l o v e r and s t a n z a 6 a moment
o f u n h a p p in e s s ,
s in c e
it
has b een e s t a b l i s h e d in
s ta n z a 1 (v e r s e s
1 -3 ),
and r e i t e r a t e d in s ta n z a 6 (v e rses
d e p e n d e n t o n Love a n d h i s
in g .
V e r s i o n (3 i s
stan za
tornada i s
" M i e i l l s - d e - b e n ."
fle e t­
th e to rn a d a ,
I t i s n o tew o rth y t h a t i n
l i n k e d t o t h e b o d y o f t h e poem t h r o u g h i t s
fo llo w in g s ta n z a 6 .
tio n
e r to
lo v er is e n tire ly
j o y , w hich i s by d e f i n i t i o n
o n e o f t h e tw o v e r s i o n s w h i c h i n c l u d e
7, a d d r e s s e d t o
v e r s io n th e
3 a n d 4) , t h a t t h e
lady f o r h i s
th is
p o si­
The c l o s i n g l i n e s o f s t a n z a 6 c o n t a i n a r e m i n d ­
th e lad y o f th e consequences o f h e r n o t b e in g m in d fu l o f h e r lo v e r
(.o b lid a ) ; t h e to r n a d a f r a m e s a r e q u e s t t o t h e l a d y f o r r e a s s u r a n c e t h a t
th e lo v e r has n o t been f o rg o tte n
(o b lid a ) .
V e rsio n £ c o n ta i n s th e m ost u n u su a l s t a n z a - o r d e r o f a l l
o f t h e poem.
The j u x t a p o s i t i o n o f s t a n z a s
c o n t r a s t b etw een th e s t a t e
s t a n z a 1 and i t s
o f lo y a l,
to
th e c o n fid e n t a t t i t u d e
to r e a f f ir m
o f s ta n z a 1.
i n s t a n z a 2 , w h ich p o r t r a y s th e
fille d
p a t i e n t e x p e c ta tio n e x p ressed in
o p p o site as p o rtra y e d in v erses
8-11 o f s t a n z a 4 th e n s e r v e
(verses 1 -4 ).
fe i g n , s ta n z a 2, v.
1-7 o f s t a n z a 4.
th e i n i t i a l
situ a tio n ,
The s i t u a t i o n
changes suddenly
form s a l i n k ,
l o v e r and h i s
in v e r s io n £ as in a l l
and i s
s t a n z a 4 show ing t h e n e c e s s i t y
lad y .
The p a i r o f s t a n z a s
th e o th e r v e r s io n s .
H o w e v e r, i n
for
as nec­
[2 ,3 ]
appears
S tan za 6 fo llo w s s ta n z a
ju x ta p o s e d r a t h e r th an lin k e d to i t .
s t a n z a 3, v e r s e s
u n fu l­
(fe ig n e n , s t a n z a 4, v . 9;
p re te n s e as a d efen se a g a in s t g o ssip and s ta n z a 2 p o r tr a y in g i t
e s s a r y be tw ee n t h e
V erses
re tu rn in g
lo v e r as f e a r f u l , w ith h i s d e s ir e
The i d e a o f p r e t e n s e
3)
th e v e rsio n s
1 and 4 c r e a t e s an i n t e r e s t i n g
3,
the c o n te x t o f
2 -3 o f s t a n z a 6 c an be v ie w e d a s a r e p r o a c h by t h e
lo v er
to h is
l a d y f o r a l l o w i n g h i m n o m ore s o c o r s t h a n m e r e l y t h e s i g h t o f h e r ;
verses
10-11 can th e n be seen a s a r e in f o r c e m e n t o f t h i s p l e a .
fo llo w s s ta n z a 6 , as d e s c rib e d in v e rs io n y,
I t sh o u ld be n o te d , how ever,
t h a t s t a n z a 7,
t o h a v e no l i n k w i t h a n y t h i n g p r e c e d i n g ,
stan za 6 is
in
S tan za 5
a n d t o much t h e same e f f e c t .
fo llo w in g s ta n z a 5, a p p ea rs
sin ce
th e fo r c e o f o b lid a
in
t h i s v e r s i o n n e g a te d by th e p r e s e n c e o f s t a n z a 5 f o llo w in g
it.
W h i l e a c a s e c a n b e m ad e , on t h e b a s i s o f l i t e r a r y
c h o ic e o f any o f th e
fiv e v ersio n s as a "b est" o rd e rin g ,
a n aly sis,
it
th ro u g h a n a l y s i s o f s t a n z a ic m o b ility t h a t th e c h o ic e sh o u ld l i e
th e
th ree v ersio n s
f o r th e
seems c l e a r
among
( a , p a n d Y) w h i c h c o n c u r i n t h e a r r a n g e m e n t o f f o u r
o f th e seven s t a n z a s :
1 ,2 ,3 ,4
(see T able I ) .
Of t h e s e t h r e e v e r s i o n s ,
two
(a a n d y )
agree
[4 ,6 ]
is
is
a lso
(1 ,2 ,3 ,4 ,6 ).
to be acc ep te d .
T h ere th e n re m a in s th e p ro b le m o f a c h o ic e b etw een
th e
fo rm er c o n c lu d in g w ith s t a n z a 6 (1 , 2 , 3 , 4 , 6 ) ,
l a t t e r p la c in g sta n z a 5 in
m o b ility is
th e
fin a l p o sitio n
sin ce
it
i n v e r s i o n y ) , a s com pared w i t h
as th e
is p re s e n t in
i t has a frequency o f o ccu rren ce o f
T able I ) .
(1 ,2 ,3 ,4 ,6 ,5 ).
t h e h i g h e s t o f a l l t h e s t a n z a s o f Poem V I I ,
p ro b a b ly n o t a p o cry p h a l,
M oreover,
The f a c t t h a t t h e p a i r o f s t a n z a s
5 i n d i c a t e s t h a t t h e o r d e r i n g 1 , 2 , 3 , 4 ,6
found in v e r s i o n
v e r s i o n a and y ,
its
th e p lacem en t o f s ta n z a 6 fo llo w in g th e
f u r th e r in
o p e n in g fo u r s t a n z a s
.20 i n
T h is f a c t a rg u e s s tr o n g ly
A lth o u g h
stan za 5 is
fo u r of th e fiv e v e rs io n s .
.4 0 i n
th e s i x t h p la c e
th e fo u r th o r f i f t h
fo r th e
th e
p lace
(as
(see
f i n a l ch o ice o f v e r s io n y
" b e s t " o r d e r i n g o f Poem V I I .
POEM X
L i k e Poem V I I ,
a to rn a d a ).
Poem X c o n s i s t s o f s e v e n s t a n z a s
Poem X, h o w e v e r ,
su rv iv es in e ig h t v e rsio n s,
to ta l o f fo u rteen m an u scrip ts.
For th e p u rp o se s o f t h i s
se v e n o f th e e i g h t v e r s i o n s w i l l be c o n s i d e r e d ,
in m an u scrip t R re a rra n g e s th e s ta n z a s i n t e r n a l l y ,
(MSS DHU) c o n t a i n s
As i n t h e c a s e o f Poem V I I ,
1 , 2 , 3 , 4 , 5 , 6 ,7 .
an aly sis:
1 ,3 ,4 ,2 ,6 ,5 ,7 .
4 ,5 ,3 ,6 ,7 .
V ersio n
2 , 3, 5 , 6 , 7 .
L a s tly ,
first
th e re m a in in g
V ersio n a e x i s t s
V e r s i o n ,6
t h e o r d e r i n g a c c e p t e d by T o ja and u se d as th e b a s e
th e s ta n z a s in th e o rd e r 1 , 4 , 2 , 6 ,3 ,5 ,7 ;
in g :
found
th u s p re s e n tin g a
(Sg) , a n d s h o w s t h e o r d e r i n g 1 , 2 , 4 , 3, 5 , 6 , 7 .
in one m a n u s c r ip t
o nly
by c o m b in in g t h e
se v e n v e r s i o n s have b e e n l a b e l l e d w i t h G reek l e t t e r s .
v ersio n fo r th is
found i n a
an aly sis,
b ecause th e v e r s io n
h a l f o f one s t a n z a w i t h t h e s e c o n d h a l f o f a n o t h e r ,
d i f f e r e n t k in d o f pro b lem .
(six sta n z a s p lu s
V ersio n
(MS a )
s
V ersio n y
(MS C) a r r a n g e s
v e r s i o n 5 (MSS AB) h a s t h e o r d e r 2
(MSS IKN ) c o n t a i n s t h e o r d e r i n g :
arran g es
1 ,2 ,
th e s ta n z a s in th e o rd e rin g :
1 ,4 ,
v e r s i o n 11 (MSS NV) h a s t h e o r d e r i n g 1 , 2 , 4 , 3 , 6 , 5 , 7
(see T ab le I I ) .
A co m p a riso n o f F i g .
Poem X ' s t r a d i t i o n ,
I I w ith F ig .
I w i l l p o i n t up t h e c o m p l e x i t y o f
as w e ll as i l l u s t r a t i n g
b etw een th e t r a d i t i o n s
o f t h e two p o e m s .
some i n t e r e s t i n g
I t is
e v id e n t a t f i r s t glan ce
t h a t t h e g e n e r a l a p p e a r a n c e o f t h e g r a p h s i s much t h e s a m e .
cases,
th e f i r s t and l a s t s t a n z a s re m a in
sim ila ritie s
(w here p r e s e n t )
In b o th
in the f i r s t
and l a s t p o s i t i o n s ,
z as 2,
of th ree
a sim p le p e rm u ta tio n ,
c lo se d lo o p s,
(2 ,3 ;
3 ,4 ;
4,2 )
s t a n z a 3 m oves o u t s i d e
poems,
th e
As m i g h t b e e x p e c t e d ,
A lso ,
I t is
found i n
in te re stin g
(fo rm in g a n o th e r c l o s e d l o o p ) , and in
fo u rth p la c e ,
fo rm in g a n o th e r c i r c u i t .
t h e o v e r a l l m o b i l i t y o f t h e s t a n z a s o f Poem X
to n o te,
how ever,
th a t th is
t h e f i r s t p a r t o f t h e poem ( s t a n z a s 2 ,
o f s t a n z a s 5 a n d 6 o f b o t h poem s i s
d ica te
in bo th
a l t h o u g h i n Poem V I I s t a n z a
c o n s i d e r a b l y l a r g e r t h a n t h a t o f t h e s t a n z a s o f Poem V I I
III).
composed
(and i n a d d i t i o n
th e c i r c u i t to th e f i f t h p l a c e ) .
s t a n z a s 5 a n d 6 form a c l o s e d l o o p ,
Poem X, s t a n z a 6 m o ves t o
is
its e lf
in d ic a tin g t h a t each p a ir o f sta n z a s w ith in th e
p lace
ity
f o r Poem X t h e c i r c u i t i s
in te rc h a n g e s p la c e s w ith in i t s e l f
4 a l s o m oves t o t h e f i f t h
is
S tan ­
3 a n d 4 f o r m a c i r c u i t i n b o t h c a s e s , b u t w h i l e f o r Poem V I I t h e
c irc u it is
group
and a r e n e v e r t r a n s p o s e d t o any o t h e r p o s i t i o n .
com parable.
(see T ab le
in c re a s e d m o b ility
3 a n d 4) :
the m o b ilg
T h is seems t o i n ­
t h a t Poem X w a s n o t p e r c e i v e d a s p o s s e s s i n g a n i d e n t i f i a b l e
in tro ­
d u c t o r y s e c t i o n , b u t w a s r a t h e r s e e n a s a m ore p u r e l y l y r i c a l p i e c e o f
a m ed itativ e
o f n o te t h a t,
r a t h e r th an l o g i c a l l y p r o g r e s s iv e n a tu r e .
c o n sid e rin g sta n z a s in p a ir s ,
o f u nique o c c u rre n c e o f p a i r s
[3 ,5 ]
and
[5 ,4 ]
[5 ,6 ],
i n v e r s i o n 6 ; and [ 1 , 4 ] ,
Poem X, o n t h e o t h e r h a n d ,
v e r s i o n y;
([4 ,5 ],
[1 ,3 ]
I t is
Poem V I I c o n t a i n s n i n e c a s e s
and
[3 ,6 ],
[6 ,7 ]
i n v e r s i o n p;
and [5 ,7 ]
in v e rsio n
c o n ta in s o n ly th r e e unique p a i r s
in v ersio n
5;
and [5 ,3 ]
a ls o w orthy
in v e rsio n
e).
([6 ,3 ]
&),
in
H o w e v e r, no
p a i r o f s t a n z a s o c c u r s m o re t h a n f o u r t i m e s among t h e s e v e n v e r s i o n s ;
th e re i s
no e q u i v a l e n t i n Poem X t o t h e g r o u p o f s t a n z a s
i n a l l b u t o n e v e r s i o n o f Poem V I I , o r t o t h e p a i r
in every v e rsio n .
T hus,
u n its ,
found
[ 2 ,3 ] w hich o c c u r s
i n Poem X, t h e i n d i v i d u a l s t a n z a s s e e m
been c o n sid e re d as d i s c r e t e
m ere ly a r e s u l t o f th e
[1 ,2 ,3 ]
t o have
th e s c a r c i t y o f unique p a i r s b e in g
l a r g e r num ber o f v e r s i o n s .
A l t h o u g h t h e c o m p l e x i t y o f Poem X ' s s i t u a t i o n p e r m i t s l e s s
certain ty
t h a n i n t h e c a s e o f Poem V I I , n o n e t h e l e s s a n e x a m i n a t i o n o f t h e f r e ­
quency o f o c cu rre n ce o f each s ta n z a in each p la c e
h e lp to c l a r i f y
th e s i t u a t i o n .
I t is
(see T able I I )
c le a rly p re fe ra b le ,
t h a t the
"b e st" o rd e rin g sh o u ld in c lu d e s ta n z a 2 in
F u rth er,
sta n za 3 has i t s
p lace,
does
fo r in stan c e,
th e second p l a c e .
g r e a t e s t freq u en cy o f o c cu rren ce in
the fo u rth
r a t h e r th a n i n th e t h i r d , w h ile s ta n z a 4 o c c u rs m ost o f t e n in
the
th ird p lace.
b u t th e
S tanza 5 i s
frequency o f occurren ce
g e s ts t h a t th e
p lace
It
found e q u a l l y o f t e n
fo llo w s,
th e f i f t h
o f sta n z a 6 in
(.5 7 )
th en ,
S t a n z a 7,
t h a t the
T h is o r d e r i n g i s
lik e
sta n z a 1,
h is
craft;
grounds.
lad y .
sin c e
c a r r i e d o v e r and
The u s e o f p a i r e d w o r d s
found in a lm o st e v ery v e r s e o f s t a n z a 1
and v e r b s ) ,
c a p u i g e d o l i , v . 2; v e r a i e c e r t , v .
7 ), p red o m in ates a ls o
(m e i l l u r e t e s m e r i ,
v.
a ls o l in k e d i n o t h e r w ays.
2 (am a n d c o r ,
in
v.
lo v e;
( c o i n d ’e
3; p l a n ' e d a u r a ,
the
1; s e r v e c o l i ,
th e e x te n t o f th e p o e t 's
and a m p l i f ie d i n v e r s e s 1-5 o f s ta n z a 4.
6 o f stan za
can a l s o be d e f e n d e d
t h e i r th o u g h t i s
(a d je c tiv e s
sta n z a 2 d escrib e
1 ,2 ,4 ,
The f i n a l v e r s e s o f s t a n z a 1 , h o w e v e r ,
le r i,
stan za 2
fifth
f a c t f o u n d i n v e r s i o n a. (MS Sg) .
a m p l i f ie d in th e o p e n in g v e r s e s o f s t a n z a 2.
m anten e g o v e r n a , v .
sug­
S t a n z a 1 i s c o n c e r n e d p r i m a r i l y w i t h t h e p o e t and
sta n z a 2 w ith h is
1;
th e
" b e s t " o r d e r i n g o f Poem X s h o u l d b e :
in
p ro v id e a g ra c e fu l t r a n s i t i o n ,
v.
th e s i x t h p la c e
u n d e r g o e s no t r a n s p o s i t i o n .
The c h o i c e o f v e r s i o n a a s a " b e s t " o r d e r i n g
on l i t e r a r y
o r six th p lac e,
"b e st" o rd e rin g sho u ld p la c e s ta n z a 5 r a t h e r in
than th e s i x t h .
3 ,5 ,6 ,7 .
in
first
two v e r s e s o f
2).
V erses 4-7 o f
th is
S ta n za s
v.
them e i s
5;
co n tin u e d
2 and 4, how ever, a re
The o p e n i n g v e r s e o f s t a n z a 4 e c h o e s v e r s e
sta n za 4, v.
and th e w a te r - im a g e o f so b retra cim a
1; am ors a n d c o r ,
( s ta n z a 4,
v.
v. 6 ),
s t a n z a 2,
4) r e c a l l s
th a t of
s t a n z a 2 , v . 6 (p lo u ) .
S t a n z a 3, i n
th is
o rd erin g ,
c o n stitu te s
th e c e n t r a l s ta n z a o f th e
poem, and t h e sym m etry o f t h e s t a n z a ' s i n t e r n a l s t r u c t u r e s u i t s
fo r th is p o sitio n .
a cter,
The f i r s t
sp e a k in g o f th e o f f e r i n g o f m asses and th e
o rd e r to o b tain
tio n a l in c h a ra c te r,
term s
3, m o re o v e r,
o f th e
in i t s
in
th e n a tu re o f the u n d e rta k in g .
V erses 5 -7 ,
and co n ce rn ed w ith p h y s i c a l ,
p o sitio n
char­
of can d les in
th ese v e rs e s ,
V erse 4 i s
m e n tio n in g th e la d y , b u t in m i l i t a r y
("o n no-m v a l e s c r i m a " ) .
a re o p en ly e r o t i c ,
3 a re p io u s in
lig h tin g
f r o m God s u c c e s s i n a n e n d e a v o u r ;
i s n o th in g to i n d ic a te
e ro tic
th ree v e rses o f sta n za
i t w ell
th ere
tran si­
r a t h e r th an
on t h e o t h e r h a n d ,
sexual a ttr a c tio n .
S tan za
f o l l o w i n g s t a n z a 4 , e l a b o r a t e s on t h e c o n c e p t
t y r a n n i c a l a t t i t u d e o f th e la d y as in tr o d u c e d i n v e r s e s 4-7 o f
s t a n z a 4:
her a ttitu d e
is
t o o f f e r m asses and c a n d le s
so u n b en d in g t h a t th e
lo v er fin d s i t n ecessary
t o God t o b e s e e c h a i d i n w i n n i n g h e r .
The
e x t e n t o f t h e l a d y ' s h a r d n e s s i s p o i n t e d up b y t h e m e n t i o n o f " m i l m e s s a s "
a n d o f tw o t y p e s o f c a n d l e s .
S tan za 5 c o n tin u e s
d e sire
t h e t h o u g h t o f s t a n z a 3, t h e e x t e n t o f t h e p o e t ' s
f o r h i s u n y i e l d i n g l a d y , b u t t h e mood c h a n g e s f r o m t h e p r a y e r f u l
(s ta n z a 3, vv.
1-3)
to the th r e a te n in g
(sta n za 5, vv.
v erses o f sta n za 5 are lin k e d to sta n za
c i t y - n a m e s , Roma a n d L u s e r n a .
fane o f s ta n z a
3 is
5 -7).
The o p e n i n g
3 by th e j u x t a p o s i t i o n o f th e
M oreover,
t h e m o v em e n t f r o m s a c r e d t o p r o ­
e ch o ed in r e v e r s e by v e r s e s
1 and 2 o f s t a n z a 5
(.em p eri , v . 1 ; a p o s t o l i , v . 2 ) .
The r e p e t i t i o n o f m a l t r a i c h
(sta n za 5, v.
5)
in th e f i r s t v e rse o f
s t a n z a 6 form s t h e m o st o b v io u s v e r b a l l i n k b e tw e e n t h e s e
b u t th ey a re a ls o
l i n k e d by th e u se o f s o f e r i
tw o s t a n z a s ,
in verse 1 of sta n z a 6 ,
(auci) i n t h e f i n a l v e r s e o f s t a n z a 5.
e ch o in g the th o u g h t o f d eath
S tan ­
za 6 can a l s o be seen as a developm ent o f th e s i t u a t i o n e x p re s s e d in s t a n ­
za 5.
if
A lthough in s t a n z a 5 the p o e t t h r e a t e n s h i s
s h e r e f u s e s him h i s
(un b a i s a r ,
rew ard
sta n za 6 th a t in s p ite o f h is
fe e lin g in v erses
th e h o p e le s s n e s s o f h i s
6 ),
he adm its in
i l l - t r e a t m e n t he has n e v e r c e a s e d t o lo v e
h e r o r t o c o m p o s e poem s f o r h e r .
lo v e r 's
la d y w i t h d a m n atio n
s ta n z a 5, v.
The s t a t e m e n t o f t h e s t r e n g t h o f t h e
5-7 o f s t a n z a 6 le a d s w e ll i n t o s t a n z a
love i s
e m p h a s iz e d by t h e im ag es c h o se n
7, w here
(am as
l ' a u r a , v . 1 ; c h a t z l a l e b r e ab l o b o u , v . 2 ; n a d i c o n t r a s u b e r n a , v .
3),
th u s r e c a l l i n g th e p re c e d in g fo u r s ta n z a s .
A p oem s u c h a s Poem X i s
an aly sis
t h a n Poem V I I ,
g a n iz ed n a tu re o f i t s
p u re ly
ly ric a l,
th u s even b e t t e r s u i t e d
d u e t o t h e m o re c o m p l i c a t e d a n d l e s s e a s i l y o r ­
t r a d i t i o n , w hich i s
r a t h e r th an l o g i c a l ,
it
and th e
l e s s e a s i l y a p p a r e n t any p a t t e r n
tu rn a r e s u l t o f th e a lm o st
s e e m s t h a t t h e m ore c o m p l i c a t e d t h e t r a n s m i s s i o n o f a p oem ,
te c h n iq u e can be in c l a r i f y i n g
many f a c t o r s ,
b o th l i t e r a r y
e sse n tia l,
to th e v a r i a t i o n s ,
t h e m ore u s e ­
th e t e x tu a l s i t u a t i o n .
and c o d ic o lo g ic a l,
c h o i c e o f a " b e s t " v e r s i o n o f a poem,
is
in
c h a r a c t e r o f t h e p o e m 's c o n t e n t .
Indeed,
ful th is
to q u a n ti t a t i v e
fin ally
A lth o u g h
a f f e c t an e d i t o r ' s
c o n s id e r a tio n o f th e s ta n z a - o r d e r in g
a n d can b e s t b e a c h i e v e d t h r o u g h an o b j e c t i v e a n a l y s i s s u c h
a s t h a t e x p l o r e d i n t h i s pape-:.
C e n tre f o r M ediaeval S tu d ie s
U n i v e r s i t y o f T o ro n to
TEXT OF POEM V I I ,
VERSION y
(1 )
1
Ane i e u n o n l ' a i e ,
mas e l l a m ' a
2
to tz
3
e fa i-m i r a t ,
4
cum c e l l u i q ' e n r e n o - i s
5
c 'o m n o - i s
6
c 'A m o r s c om anda
tem ps en so n p o d e r A m ors,
le t,
sav i,
fo l,
torna,
d e f f e n q u i b e n ama;
7
c 'o m l a s e r v ' e
8
p e r q 'i e u n 'a te n
la b lan d a,
9
sof f ren ,
1C
bona p a r tid a
1]
qand m 'e r e s c a r i d a .
(2)
1
S 'ie u d ie pauc,
2
q ' e s t a r mi f a i t e m e n p a o r s ;
3
la
le n g a -is
in z e l c o r m 'e s ta
fe ig n ,
mas l o c o r s v o l
4
s o don d o l e n s s i s o i o r n a ;
5
q ' e l l a n g u i s ma no s ' e n
6
q 'e n t a n t a randa
7
cum m a r s t e r r a g a r a n d a
8
no a t a n t gen
9
presen
lt
cum l a
i:
q 'ie u
clam a,
c h a u sid a
a i en co bid a.
(3)
1
T an t s a i son p r e t z
2
p e r q ' i e u no-m p u o s c v i r a r a i l l o r s ;
fin e c erta
3
p e r s o f a t z i e u q e - 1 c o r s men d o l ,
4
que q a n s o l s c l a u n i s ' a i o r n a
5
e u non a u s d i r q u i m 'a f l a m a ;
6
l o c o r s m 'a b ra n d a
7
e - i l l h u o i ll n 'a n t l a v ian d a,
8
c a r solam en
9
vezen
10
m 'e s ta i a iz id a :
11
v e - u s qe-m t e n a v i d a l
(4)
1
F o ls e s q u i p e r p a r l a r en va
2
q i e r cum s o s i o i s
3
Car la u s e n g ie r ,
4
non a n t i e s
5
l'u s
6
p e r q e - i s desm anda
7
Amors t a i s
sia
d o lo rs!
c u i D ieus a f o l ,
le n g u e t'adorna:
c o n s e ill'e
l 'a u tr e
bram a,
fo ra granda.
8
Mas i e u - m d e f f e n
9
fe ig n e n
10
de l o r b r u g i d a
11
e am s e s f a i l l i d a .
(6 )
1
M ain t bon c h a n t a r l e v e t e p l a
2
n 'a g r 'i e u p lu s f a i t ,
3
c e l i a q e - m d a i o i e - 1 mi t o i ;
4
q 'e r su i le tz ,
si-m fe s so cors
e r m 'o t r a s t o r n a ,
5
c a r a s o n v o l me l i a m a .
6
Ren n o - i l d e sm a n d a
7
mos c o r s ,
8
an s francham en
9
ni n o -il
li-m ren:
dones,
s i m 'o b lid a
M erces e s p e r i d a .
f a i ganda,
(5)
1
P e r o g a u z e n mi t e n e s a
2
a b un p l a z e r de q u e m ' a s o r s ,
3
mas mi n o p a s s a r a i a - 1
4
p e r p a o r q ' i l n o-m f o s m o r n a ,
5
q 'e n q e r a - m s e n t de l a fla m a
6
d ' A m o r , q i - m manda
7
q u e mon c o r n o n e s p a n d a ;
8
si
9
tem en,
1C
p u o is v e i p e r c rid a
i:
m a in t'a m o r d e l i d a .
fa tz ,
col
soven
TEXT OF POEM X, VERSION a 10
( 1)
î
En c e s t s o n e t c o i n d ' e
Ieri
2
f a u c m otz e c a p u ig e d o l i ,
3
que s e r a n t v e r a i e c e r t
4
qan n 'a u r a i p a s s a t l a
lim a ;
daura
5
q 'A m o r s m a r v e s p l a n ' e
6
mon c h a n t a r , q u e de l i e i mou
7
q u i p r e t z m anten e g o v e rn a .
(2 )
1
Tot io rn m e illu r e t esm eri
2
car la gensor se rv e c o li
3
e l mon,
so -u s d ie en a p e r t.
4
S ie u s s u i d e l pe t r o q 'e n
5
e si
6
to t v e n ta -ill
cim a ,
f r e id 'a u r a ,
l 'a m o r s q ' i n z e l c o r mi p l o u
mi t e n c h a u t on p l u s i v e r n a .
(4)
1
T a n t l ' a m de c o r e l a q u e r i
2
c 'a b t r o p v o l e r cug la -m t o l i
3
s 'o m re n p e r b en amar p e r t .
4
Q 'e l s ie u s co r so b re tra c im a
5
l o m ie u t o t e non s ' e i s a u r a ;
6
t a n t a de v e r f a i t r e n o u
7
c 'o b r a d o r n 'a e ta v e rn a .
(3)
1
M il m essas n 'a u g e - n p r o f e r i
2
e - n a r t lum de c e r ' e
3
q u e D i e u s m 'e n d o n b o n i s s e r t
4
de l i e i s
d 'o li
o n n o-m v a i e s c r i m a ;
5
e qan re m ir sa c r in
6
e - 1 c o r s q ' e s g r a i l e t e no u
saura
7
m ais l 'a m que q i-m d e s L u s e r n a .
(5)
1
No v u o i l i de Roma l ' e m p e r i
2
n i c 'o m m 'e n f a s s a a p o s t o l i ,
3
q 'e n
4
p e r c u i m ' a r t l o c o r s e -m r i m a ;
lie is
non a i a r e v e r t
5
e s i - 1 m a l t r a i c h n o -m r e s t a u r a
6
a b un b a i s a r a n z d ' a n n o u
7
mi a u c i e s i e n f e r n a .
(6 )
1
Ges p e l m a l t r a i c h q ' i e u
2
de b e n a m a r no -m d e s t o l i ,
soferi
3
si
t o t me t e n e n d e s e r t ,
4
c 'a is s i- n
5
P ie itz
f a t z l o s m o tz e n r i m a .
t r a c aman c ' o m q u e l a u r a ,
c ' a n c p l u s non am et un ou
7
c e l de M o n c li n 'A u d i e r n a .
(7)
1
l e u s u i A rn a u tz q 'a m a s l ' a u r a
2
e c h atz la
3
e nadi c o n tra suberna.
l e b r e ab lo bou
NOTES
My t h a n k s a r e d u e t o D r.
T o ro n to ,
R .A . T a y l o r ,
D ept, o f F re n c h ,
U n iv e rsity o f
f o r h e l p f u l d i s c u s s i o n s a n d c o m m e n ts d u r i n g t h e p r e p a r a t i o n o f
th is paper,
a n d t o D r . S t e v e n N. S h o r e , D e p t , o f A s t r o n o m y , C a s e W e s t e r n
R eserve U n i v e r s i ty ,
f o r d e m o n stra tio n o f th e a p p lic a tio n o f g ra p h -th e o ry
to t h i s m ethod o f a n a l y s i s .
^ T h is i s
th e p roced u re
ica
(F lo ren ce
2 T o ja
3
4
f o l l o w e d by T o j a i n h i s
e d itio n o f A rnaut
G i a n l u i g i T o ja , A rnaut D a n iel: C a n zo n i, E d iz io n e C r i t -
D a n ie l's p o e try :
1 96 0 ) .
(at n.
1)
235-9.
S tanza 1 .3 .
S tanza 2 .2 .
^ S tanza 2 .3 -4 .
^ S t a n z a 5 h a s a m o b i l i t y o f 60%.
7
sio n .
The p a i r s
[4 ,5 ],
[5 ,6 ],
and [6 ,7 ]
do n o t a p p e a r i n a n y o t h e r v e r ­
Q
S tan za 7 i s
Poem V I I i t
sent i t
is
a sp e c ia l case.
I t has a lre a d y been n o ted t h a t in
i s p r e s e n t i n o n l y tw o o f t h e f i v e v e r s i o n s , b u t w h e r e p r e ­
in v ariab ly
found i n
the f i n a l p o s i t io n ;
i n Poem X, s t a n z a 7
i s a lw a y s p r e s e n t and a p p e a r s alw ay s i n th e f i n a l p o s i t i o n .
9
T he t e x t i s t h a t o f T o j a ( a t n . 1) 2 3 5 - 9 , w i t h t h e s t a n z a s r e o r ­
d e r e d t o r e p r e s e n t V e r s i o n y-
N ote t h a t T o ja h a s c h o se n p a s a b a s e
(MSS AcGQ).
^
The t e x t i s
t h a t o f T o ja
d ered to r e p r e s e n t V ersio n a.
(MSS DHU).
(a t n.
1)
271-4, w ith the s ta n z a s r e o r ­
N o t e t h a t T o j a h a s c h o s e n ¡3 a s a b a s e
TABLE I
F requency ta b le
f o r Poem V I I ,
o f each sta n z a
( v e r t i c a l ax is)
show ing t h e a b s o l u t e
in each p la c e
frequency o f o c cu rren ce
(h o rizo n tal a x is ).
u re s have been rounded to th e n e a r e s t h u n d re d th .
v e r s i o n o f poem u s e d i n a s s i g n i n g s t a n z a - n u m b e r s
D iagonal l i n e s
T he f i g ­
rep resen t
( V e r s i o n ¡3}.
TABLE I I
I
Frequency ta b le
o f each sta n z a
II
III
IV
V
f o r Poem X, s h o w i n g t h e a b s o l u t e
( v e r t i c a l a x is )
in each p la c e
VI
V II
frequency o f occu rren ce
(h o rizo n tal a x is ).
u re s have been rounded to th e n e a r e s t h u n d re d th .
v e r s i o n o f poem u s e d i n a s s i g n i n g s t a n z a - n u m b e r s
D iagonal l i n e s
(V ersion p ) .
The f i g ­
rep resen t
TABLE I I I
STANZA
1
POEM V I I
POEM X
0%
0%
2
20
43
3
20
88
4
40
88
5
60
57
6
60
43
7
0
0
C o m p a r a t i v e t a b l e o f s t a n z a i c m o b i l i t y i n Poems V I I a n d X.
FIGURE I I
POEM X, CIRCUIT GRAPH
1
7