The aim of this thesis is to provide a study and a partial critical edition of the Suite Guiron, third part of the Guiron le Courtois cycle, as well as an edition of its Continuation. Of the former, Venceslas Bubenicek has recently published an edition which, however, includes only the first half, preventing a proper evaluation of the novel. I therefore decided to edit the remainder, providing an overall study, and also to edit the Continuation of the Suite Guiron, a monotestimonial narrative hitherto unpublished. In the first chapter, after a brief critical history of these texts and of the cycle in general, the relationship between the Suite and the other parts is analyzed. The author of the Suite reuses characters and motifs from the Roman de Meliadus and the Roman de Guiron, deciding to narrate what happens in the time that separates these two novels. The first part therefore represents the past, the memory of which is the subject of discussion among the protagonists of the Suite; the second part represents the already written future towards which the characters are heading. What unites the Suite Guiron and the Roman de Meliadus is also a digression on some felon knights present in both novels in two different redactions, a shorter one in the Meliadus and a longer one in the Suite. Almost certainly spurious in the Roman de Meliadus, given the allusion to Calinan the Black, son of Guiron in the Roman de Guiron, in the Suite this digression is perhaps present from the beginning, but the relationships between the two redactions remain doubtful. In addition to the other two main texts of the cycle, a further investigation of the relations between the Suite, its Continuation and the oldest part of the “raccord cyclique” that unites Meliadus and Guiron (Lath. 52-57) was attempted, on the basis of the work already carried out by Nicola Morato, discussed and expanded here. Finally, the last two paragraphs are dedicated to analyzing the internal structure of the Suite Guiron and the use, for a series of episodes, of a portion of the Tristan en prose as a direct source, on which to model the past of the protagonist Guiron, with the intent on comparing him to the great heroes of previous prose novels, Tristan and Lancelot. The second chapter begins with the description of the manuscripts that transmit the published texts, to continue with the examination of the relationships between the witnesses of the Suite Guiron (the Continuation of the Suite Guiron is in fact witnessed by a single codex). Since there are no episodes of the text transmitted by at least three manuscripts, it is not possible to investigate their relations as a whole. Therefore, the only manuscript that transmits the complete text of what is left, A1, was compared with the other witnesses, either complete manuscripts or fragments. The fact is confirmed that T is a “codex descriptus” of A1, while not much can be said about the two fragments, Mn and Mod1, nor about Fi, a manuscript that transmits only some episodes of the Suite. If A1 is older and therefore cannot be a copy of one of the other witnesses, the contrary cannot be confirmed, hence I can only list some differences, never decisive in one sense or another, between the texts. Subsequently, I analyzed the relationship between A1 and the Aventures des Bruns, a compilation of guironian episodes taken largely from the Suite Guiron, confirming the results of Claudio Lagomarsini, publisher of the Aventures, who had already shown how their compiler, most likely Rustichello da Pisa, did not read the episodes of the Suite from A1 but from one of its lost collateral. Finally, I discuss certain inconsistencies in the texts given by A1 and 5243, the only witness to the Continuation of the Suite Guiron. The third chapter consists of the linguistic analysis of the four witnesses used for the edition. A more detailed analysis of the scripta of A1 and that of 5243, manuscripts on whose spelling the edition is inevitably based, is followed by a brief analysis of the language of the Mod1 fragments and the study of the most connotated elements of the scripta of Fi, a manuscript which production seems possible to place in Liguria also on the basis of the copyist's language, as well as for its illumination. A brief chapter in which the criteria adopted for the constitution of the critical text, the bands of the apparatus and those for the transcription of the manuscripts used as reference are set out, is followed by the critical texts of the hitherto unpublished part of the Suite Guiron and that of its Continuation, at the end of which there are some commentary notes on specific parts of the text judged problematic or in need of further explanation. At the end there is a bibliography divided between texts, studies, dictionaries and online lexical repertories, and digitization of manuscripts.

L’obiettivo di questa tesi è quello di fornire uno studio e un’edizione critica parziale della Suite Guiron, terza branche del ciclo di Guiron le Courtois, così come un’edizione della sua Continuazione. Della prima, Venceslas Bubenicek ha pubblicato di recente un’edizione che comprende però soltanto la prima metà, impedendo una giusta valorizzazione dell’opera. Si è scelto dunque di editare il rimanente, fornendone uno studio complessivo, e di editare inoltre la Continuazione della Suite Guiron, narrazione monotestimoniale finora inedita. Nel primo capitolo, dopo una breve storia critica di questi testi e del ciclo in generale, si analizzano inizialmente i rapporti tra la Suite e le altre branches. L’autore della Suite riutilizza personaggi e motivi del Roman de Meliadus e del Roman de Guiron, decidendo di narrare ciò che avviene nel tempo che separa questi due romanzi. La prima branche rappresenta dunque il passato, il cui ricordo è oggetto di discussione tra i protagonisti della Suite; la seconda branche rappresenta invece il futuro già scritto verso cui si dirigono i personaggi. Ad accomunare Suite Guiron e Roman de Meliadus è inoltre una digressione sui cavalieri felloni presente in entrambi i romanzi secondo due redazioni diverse, una più breve nel Meliadus e una più lunga nella Suite. Quasi certamente spuria nel Roman de Meliadus, vista l’allusione a Calinan il Nero, figlio di Guiron nel Roman de Guiron, nella Suite questa digressione è forse presente fin dal principio, ma rimangono dubbi i rapporti di derivazione tra le due redazioni. Oltre alle due branches principali, si è tentata un’ulteriore sistemazione dei rapporti tra la Suite, la sua Continuazione e la parte più antica del raccordo ciclico che unisce Meliadus e Guiron (Lath. 52-57), sulla scorta del lavoro già effettuato da Nicola Morato, qui discusso e ampliato. Infine, gli ultimi due paragrafi sono dedicati ad analizzare la struttura interna della Suite Guiron e l’utilizzo, per una serie di episodi, di una porzione del Tristan en prose come fonte diretta, sulla quale modellare il passato del protagonista Guiron, con l’intento di paragonarlo ai grandi eroi dei romanzi in prosa precedenti, Tristano e Lancillotto. Il secondo capitolo si apre con la descrizione dei manoscritti che trasmettono i testi editi, per proseguire con l’esame dei rapporti che intercorrono tra i testimoni della Suite Guiron (la Continuazione della Suite Guiron è infatti tràdita da un solo codice). Non essendoci luoghi del testo trasmessi da almeno tre testimoni, non è possibile indagare nel complesso le loro relazioni. Si è confrontato dunque l’unico manoscritto che trasmette il testo completo di ciò che è rimasto, A1, con gli altri codici o frammenti. Si conferma il fatto che T sia descriptus di A1, mentre non si può dire molto né sui due frammenti, Mn e Mod1, né su Fi, codice che trasmette solamente alcuni episodi della Suite. Se A1 è più antico e quindi non può essere copia di uno degli altri testimoni, non si riesce a confermare il contrario, e ci si deve accontentare di elencare alcune differenze, mai decisive in un senso o nell’altro. In seguito si sono analizzati il rapporto tra A1 e le Aventures des Bruns, compilazione di episodi guironiani tratti in larga parte dalla Suite Guiron, confermando i risultati di Claudio Lagomarsini, editore delle Aventures, che aveva già dimostrato come il loro compilatore non ricavasse gli episodi della Suite da A1 ma da un suo collaterale perduto. Infine, si discutono alcune incongruenze interne ad A1 e 5243, unico testimone della Continuazione della Suite Guiron. Il terzo capitolo consiste nell’analisi linguistica dei quattro testimoni utilizzati per l’edizione. Ad un’analisi più dettagliata della scripta di A1 e di quella di 5243, codici sulla cui veste grafica si basa inevitabilmente l’edizione, seguono una breve analisi della lingua dei frammenti Mod1 e lo studio degli elementi più connotati della scripta di Fi, che sembra possibile collocare in Liguria anche sulla base della lingua del copista, oltre che per la sua decorazione. Dopo una breve nota ai testi, in cui si espongono i criteri adottati per la costituzione del testo critico, delle fasce di apparato e quelli per la trascrizione dei codici usati come riferimento, si danno il testo critico della parte finora inedita della Suite Guiron e quello della sua Continuazione, in coda ai quali si trovano alcune note di commento su luoghi specifici del testo giudicati problematici o bisognosi di un’ulteriore spiegazione. In chiusura è riportata una bibliografia divisa tra testi, studi, dizionari e repertori lessicali online, e digitalizzazioni di manoscritti.

DAL BIANCO, M. (2021). Per un'edizione della Suite Guiron: studio ed edizione critica parziale del ms. Arsenal 3325 [10.25434/dal-bianco-massimo_phd2021].

Per un'edizione della Suite Guiron: studio ed edizione critica parziale del ms. Arsenal 3325

DAL BIANCO, MASSIMO
2021-01-01

Abstract

The aim of this thesis is to provide a study and a partial critical edition of the Suite Guiron, third part of the Guiron le Courtois cycle, as well as an edition of its Continuation. Of the former, Venceslas Bubenicek has recently published an edition which, however, includes only the first half, preventing a proper evaluation of the novel. I therefore decided to edit the remainder, providing an overall study, and also to edit the Continuation of the Suite Guiron, a monotestimonial narrative hitherto unpublished. In the first chapter, after a brief critical history of these texts and of the cycle in general, the relationship between the Suite and the other parts is analyzed. The author of the Suite reuses characters and motifs from the Roman de Meliadus and the Roman de Guiron, deciding to narrate what happens in the time that separates these two novels. The first part therefore represents the past, the memory of which is the subject of discussion among the protagonists of the Suite; the second part represents the already written future towards which the characters are heading. What unites the Suite Guiron and the Roman de Meliadus is also a digression on some felon knights present in both novels in two different redactions, a shorter one in the Meliadus and a longer one in the Suite. Almost certainly spurious in the Roman de Meliadus, given the allusion to Calinan the Black, son of Guiron in the Roman de Guiron, in the Suite this digression is perhaps present from the beginning, but the relationships between the two redactions remain doubtful. In addition to the other two main texts of the cycle, a further investigation of the relations between the Suite, its Continuation and the oldest part of the “raccord cyclique” that unites Meliadus and Guiron (Lath. 52-57) was attempted, on the basis of the work already carried out by Nicola Morato, discussed and expanded here. Finally, the last two paragraphs are dedicated to analyzing the internal structure of the Suite Guiron and the use, for a series of episodes, of a portion of the Tristan en prose as a direct source, on which to model the past of the protagonist Guiron, with the intent on comparing him to the great heroes of previous prose novels, Tristan and Lancelot. The second chapter begins with the description of the manuscripts that transmit the published texts, to continue with the examination of the relationships between the witnesses of the Suite Guiron (the Continuation of the Suite Guiron is in fact witnessed by a single codex). Since there are no episodes of the text transmitted by at least three manuscripts, it is not possible to investigate their relations as a whole. Therefore, the only manuscript that transmits the complete text of what is left, A1, was compared with the other witnesses, either complete manuscripts or fragments. The fact is confirmed that T is a “codex descriptus” of A1, while not much can be said about the two fragments, Mn and Mod1, nor about Fi, a manuscript that transmits only some episodes of the Suite. If A1 is older and therefore cannot be a copy of one of the other witnesses, the contrary cannot be confirmed, hence I can only list some differences, never decisive in one sense or another, between the texts. Subsequently, I analyzed the relationship between A1 and the Aventures des Bruns, a compilation of guironian episodes taken largely from the Suite Guiron, confirming the results of Claudio Lagomarsini, publisher of the Aventures, who had already shown how their compiler, most likely Rustichello da Pisa, did not read the episodes of the Suite from A1 but from one of its lost collateral. Finally, I discuss certain inconsistencies in the texts given by A1 and 5243, the only witness to the Continuation of the Suite Guiron. The third chapter consists of the linguistic analysis of the four witnesses used for the edition. A more detailed analysis of the scripta of A1 and that of 5243, manuscripts on whose spelling the edition is inevitably based, is followed by a brief analysis of the language of the Mod1 fragments and the study of the most connotated elements of the scripta of Fi, a manuscript which production seems possible to place in Liguria also on the basis of the copyist's language, as well as for its illumination. A brief chapter in which the criteria adopted for the constitution of the critical text, the bands of the apparatus and those for the transcription of the manuscripts used as reference are set out, is followed by the critical texts of the hitherto unpublished part of the Suite Guiron and that of its Continuation, at the end of which there are some commentary notes on specific parts of the text judged problematic or in need of further explanation. At the end there is a bibliography divided between texts, studies, dictionaries and online lexical repertories, and digitization of manuscripts.
2021
ZINELLI, FABIO
DAL BIANCO, M. (2021). Per un'edizione della Suite Guiron: studio ed edizione critica parziale del ms. Arsenal 3325 [10.25434/dal-bianco-massimo_phd2021].
DAL BIANCO, Massimo
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11365/1147550