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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O Maria co facivi – quando tu lo vidivi?

or co non te morivi – de l’amore afocata?

Co non te consumavi – quando tu lo guardavi,

chè Dio ce contemplavi – en quella came velata?

Quand’esso te sugea – l’amor co te facea,

la smesuranza sea – esser da te lattata?

Quand’esso te chiamava – et mate te vocava,

co non te consumava – mate di Dio vocata?

This popular and emotional style keeps much closer to the historical or literal sense of the Gospels than does the figurative; the events of Christ’s incarnation and passion are continuously kept present; there is a dominant interest in their emotional value which prevents dogmatic and figurative themes from veiling them. On the other hand, the emotional eulogies share with the figurative ones the lack of a strict composition; they have no tendency towards condensation and concentration. In the figurative eulogies, the unity of the whole is maintained, to a certain extent, by the motif of ‘convergent harmony’ which I have tried to describe above; in the popular ones, this motif, though not lacking, is, at least, expressed in a less consistent manner. In reading them, one has the impression that additions or suppressions are possible without detriment to the whole. Most mediaeval authors of hymns do not feel the ambition to condense the content into a stringent and unalterable form, where every member is a necessary and indispensable part of a synthetic conception; the all-embracing conception was present to each of these poets; repetitionsWiederholung (rhetorische), variants and accumulations seemed to be legitimate, and were sometimes fostered by the liturgical purpose.