The author initially explains the necessity to make use of the lauda as one of Iacopone's biographical sources, in order to integrate the scarce information from other documents; he also underlines the extreme caution which must be brought into play when dealing with the apparent autobiographical elements disseminated in the rhymes. Subsequently, the author systematically analyses the parts of the lauda containing explicit historical and autobiographical references, examining each one for significance and usefulness. The lauda about Iacopone's prison days and rhymes which reflect his hatred of Pope Bonifacio VIII are analysed in detail (53, 55, 67, 83), as well as his severe attacks against his depraved brothers; this is in order to verify Iacopone's rigorism. The author then detects the possible implicit evidences, often involuntary, of Iacopone's real life which can be found in his lauda. In lauda 58, he distinguished conventional representation, often due to literary influences, from personal biographical echoes. He also deals with the legal substratum of Iacopone's language. Finally, the Franciscan feature of Iacopone's culture and the teaching quality of his lauda are illustrated and are most probably a testament to his job as a teacher within the convent.
Tracce autobiografiche e riferimenti storici nelle laude di Iacopone da Todi
LEONARDI M
2007-01-01
Abstract
The author initially explains the necessity to make use of the lauda as one of Iacopone's biographical sources, in order to integrate the scarce information from other documents; he also underlines the extreme caution which must be brought into play when dealing with the apparent autobiographical elements disseminated in the rhymes. Subsequently, the author systematically analyses the parts of the lauda containing explicit historical and autobiographical references, examining each one for significance and usefulness. The lauda about Iacopone's prison days and rhymes which reflect his hatred of Pope Bonifacio VIII are analysed in detail (53, 55, 67, 83), as well as his severe attacks against his depraved brothers; this is in order to verify Iacopone's rigorism. The author then detects the possible implicit evidences, often involuntary, of Iacopone's real life which can be found in his lauda. In lauda 58, he distinguished conventional representation, often due to literary influences, from personal biographical echoes. He also deals with the legal substratum of Iacopone's language. Finally, the Franciscan feature of Iacopone's culture and the teaching quality of his lauda are illustrated and are most probably a testament to his job as a teacher within the convent.
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