Читать книгу Gesammelte Aufsätze zur romanischen Philologie – Studienausgabe. Herausgegeben und ergänzt um Aufsätze, Primärbibliographie und Nachwort von Matthias Bormuth und Martin Vialon онлайн

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Most of these are too long to be quoted here in full; yet, I may give some Italian passages as specimens. There is a praise of the Virgin in the Laudi cortonesi del secolo XIII,66 beginning with the words

Ave, vergene gaudente,

madre de l’onnipotente,

and continuing with a rather loose and haphazard enumeration of traditional elements, dogmatic, figurative, and metaphoricalMetapher. There are, moreover, enumerations of the virtues of Mary which recall some of DanteDante’s verses:

Tu sei fede, tu sperança;

and later:

Tu thesauro, tu riccheçça,

tu virtude, tu largheçça,

tu se’mperial forteçça.

These all are traditional themes; there are, however, a few lines which touch a note not only more popular, but also more emotional:

– Quel te fo dolor de parto

Ke’l videre conficto’n quarto,

tutto’l sangue li era sparto

de la gran piaga repente.

– Quel dolor participasti,

giamai no l’abandonasti …

The great master of this emotional style in Italian religious poetry is Jacopone da TodiJacopone da Todi. His dramatic ‘laudaLauden’ describing the Virgin at the Passion (Donna del Paradiso) is almost as famous as the ‘Stabat mater’; but it does not contain a eulogy in the specific sense. There is another lauda, ‘De la beata Vergine Maria,’67 beginning with the words: O Vergen piu che femina … In its eulogy, Jacopone subordinates the dogmatic motifs (which are, nevertheless, very important and interesting for the history of dogma) to the chronological and historical order of the events; and after the description of Christ’s birth, he breaks through the normal frame of a eulogy with an outburst of highest emotion: