Enyego d'Àvalos, autor de Curial e Güelfa?

L'extraordinària personalitat i la trajectòria vital del gran camarlenc de la cort napolitana d'Alfons el Magnànim, Enyego d'Àvalos (patge del rei a la cort de València; cambrer del duc de Milà; ambaixador de Nàpols a Milà, Florència i Ferrara; mecenes d'humanistes; posseïdor d'una magnífica biblioteca; cavaller modèlic i organitzador de justes...), obliguen a posar-lo en relació amb Curial e Güelfa. Examinada al detall la biografia d'un home que «aveva buonissima perizia delle lettere latine, e dilettavasi di tutte le gentilezze» (com observa Vespasiano da Bisticci), hi ha tants punts eloqüents de contacte amb la novel·la cavalleresca, que hem trobat legítim interrogar-nos, d'acord amb l'enunciat de l'article, si és ell el fins ara desconegut autor del Curial.The extraordinary personality and life career of the great chamberlain in the Neapolitan court of Alfonso the Magnanimous, Enyego d'Àvalos (a king's page in the court of Valencia; chamberlain of the duke of Milan; ambassador of Naples to Milan, Florence and Ferrara; patron of humanists; owner of a magnificent library; exemplary knight and organiser of jousts...) invites us to find points of connection with Curial and Guelfa. Having examined in detail the biography of a man who «aveva buonissima perizia delle lettere latine, e dilettavasi di tutte le gentilezze» (as noted by Vespasiano da Bisticci observes), we see there are so many relevant points of contact with that chivalric romance that we wonder according to the title of this essay if he is the hitherto unknown author of Curial

Joan Roís de Corella i Miquel Peres: relacions familiars

Fins ara coneixíem l’afinitat d’interessos —diguem-ne— «espirituals» entre els traductors del Kempis i el Cartoixà al català, el ciutadà Miquel Peres i el cavaller i mestre en Teologia Joan Roís de Corella, respectivament. Ambdós escriptors, usuaris del sintagma «valenciana prosa», elaboraven uns textos «artitzats» de naturalesa semblant i estilemes coincidents, i mostraven el seu gust per divulgar hagiografies «en pla», en llengua vulgar. La documentació d’arxiu ens reporta, a més, que Peres — poeta també del Cancionero General— era casat amb una filla de l’autor de Tragèdia de Caldesa, des del 1477.We already knew about the affinity of —shall we say— «spiritual» interests between the translators of Kempis and the Cartoixà into Catalan, the citizen Miquel Peres and the knight and master in Theology Joan Roís de Corella, respectively. Both writers, users of the syntagm «Valencian prose», elaborated some «artistic» texts of similar nature and with coinciding writing styles, and also showed their taste for publishing hagiographies «in plain language». The documentation in the archive reports, moreover, that Peres —also a poet in the Cancionero General— was married to a daughter of the author of Tragèdia de Caldesa, in 1477

Les dones, l’amor i una elegia eròtica d’Ovidi en la vida i en l’obra poètica de Roís de Corella

Resum: Roís de Corella fou un escriptor amb relacions amoroses juvenils, però amb fortes conviccions morals, que el portarien per un camí de perfecció i elevació espiritual, cosa que justifica la seua evolució temàtica. L’estudiant de teologia pren distància respecte dels predicadors medievals, però s’inspira en els clàssics llatins per a desenvolupar la seua creativitat literària i orientar-la cap a lliçons morals, amb un estil que crea escola. Fins i tot s’atreveix, als 23 anys, a transformar una elegia eròtica d’Ovidi –cristianament rectificada– en la Tragèdia de Caldesa: un experiment literari que fou molt aplaudit. . Paraules clau: Roís de Corella, Lletra consolatòria, Tragèdia de Caldesa, Ovidi, elegia llatina.  Abstract: Roís de Corella was a writer with romantic juvenile relationships, but with strong moral convictions, which would lead down a path of perfection and spiritual elevation, which justifies his thematic evolution. The student of theology takes distance from the medieval preachers, but he was inspired by the Latin classics to develop his literary creativity and to orientate it towards moral lessons, with a style that creates his own school. Even he dares, at 23 years old, to transform an erotic elegy of Ovidi –rectified in a Christian way- in Caldesa Tragedy: a literary experiment that was very applauded.Keywords: Rois de Corella, Lletra consolatòria, Tragèdia de Caldesa, Ovidi, Latin eleg

Cuer desirous. Enigmes lírics i mots heràldics en el Curial

RESUMCurial e Güelfa (Itàlia, ca. 1445-1448), novel·la de cavalleria humanística en llengua catalana, presenta enigmes lírics i ànimes heràldiques –textos «micropoètics» incorporats a robes, joies i divises– que cal desxifrar per a entendre millor alguns episodis i la intenció literària de l’anònim autor. Procedeixen de poemes de la lírica francesa medieval (Nesle, Grandson, Pizan), lectures de clàssics (Ovidi, Píndar) o jocs de paronímia. El desxiframent dels sentits d’aquests motti ajuda a identificar l’escriptor com algú format a la cort de València i al nord d’Itàlia, però vinculat a cercles humanístics i a la cort napolitana d’Alfons el Magnànim i del seu fill Ferran. Aquest últim se’ns perfila com un possible dedicatari de l’obra literària.PARAULES CLAUCurial e Güelfa, Blondel de Nesle, Othon de Grandson, Christine de Pizan, Píndar, Alfons el Magnànim.ABSTRACTCurial e Güelfa (Italy, ca. 1445-1448), a humanistic chivalry novel in Catalan language, presents lyrical enigmas and heraldic ànimes –micro-poetic texts attached to clothes, jewels and coins– which have to be deciphered to be able to understand properly some episodes and the literary intention of the unknown author. They come from poems of the French Medieval lyrical poetry (Nesle, Grandson, Pizan), the reading of the classics (Ovid, Pindar) or games of similarity of words. Deciphering the meaning of these motti helps to identify the author as someone trained in the court of Valencia and the north of Italy, but linked to humanistic environments and to the court in Naples of Alfonso the Magnanimous and his son Ferran. This last seems to be a possible person to whom this literary work was dedicated.KEY WORDSCurial e Guelfa, Blondel de Nesle, Othon de Grandson, Christine de Pizan, Pindar, Alfonso the Magnanimous

Catalan and other languages in contact in the court and in the chancellery in Naples of Alfonso the Magnanimous (1443-1458)

The move of the court of the king Alfonso V of Aragon from Valencia (1416-1430) to Italy (1432) and their settlement in Naples (1443-1458) implied the emigration of a numerous human group, which was perceived as a duality by the Neapolitans (catalani et hispani: Catalan speaking people and Spanish speaking people), and also a royal administration where Catalan was the preferred language by the government and state, even though the king used to speak in Spanish. The numerous court, who was almost bilingual in most cases, was involved —in greater or lesser proportion— in a plurality of linguistic expressions, both orally and written: there were bureaucrats and knights mainly from Valencia; Castilian song poets; humanists who used to write in perfect Latin; native barons who spoke in a napoletano misto, influenced by the literary Tuscan; scriveners from the chancery who wrote in Sicilian dialect, merchants from Florence, etc. Altogether, this makes the court in Naples of Alfonso the Magnanimous a very interesting object of study for the field of the history of the language (leaving aside now the idiomatic adaptation of the literary expressions, being also an aspect that deserves to be studied)

The «Epistolae Familiares» by Petrasca in the «Curial»

The author of Curial e Güelfa, a humanistic chivalric romance written in Italy around 1445-1448 in Catalan language, was aware and had studied the Epistolae Familiares by Francesco Petrarca, as it has been revealed by the literary criticism. Here are collected the contributions to this topic by several authors, which have been enlarged with other intertextual and topic connec- tions between both works. We also point out the interest of the Lombard humanist Guiniforte Barzizza in spreading the work of Petrarca in the court in Naples of Alfonso the Magnanimous (thanks to the friendship that he had with some Valencian knights and diplomats) as an indicator to be taken into account when contextualising properly —that is, in an Italian environment and in contact with the humanism— this chivalric romance

Troubadouresque Lyrical Poetry with Italian Filters: Rigaut de Berbezilh in Curial e Güelfa

El desconegut autor de Curial e Güelfa va saber compaginar el seu interés literari per la cultura clàssica amb un homenatge selectiu a la vella tradició lírica trobadoresca, «patrimonial» encara aleshores de l’estament cavalleresc. Ambientada la novel·la en el segle xiii, l’anònim recrea els tòpics de l’amor cortés, i elabora un argument que connecta episòdicament amb la Cançó de l’orifany de Rigaut de Berbezilh. Aquesta font literària es pot relacionar amb cançoners de la cort valenciana d’Alfons V (dècada del 1420), però també amb la probable estada de l’autor durant alguns anys al nord d’Itàlia. No és estrany, així, que l’aprofitament de fonts occitanes estiga filtrada o complementada per la intermediació de fonts italianes (el Novellino).The unknown author of Curial e Güelfa knew how to combine his literary interest in classical culture with a selective homage to the ancient troubadouresque lyrical tradition, still then «proprietary» of the chivalric estate. Since this romance is set in the 13th century, the anonymous writer reproduces the subjects of courtly love, and elaborates a plot which connects episodically with the Cançó de l’orifany by Rigaut de Berbezilh. This literary source can be related to song books of the Valencian court of Alfonso V (in the 1420s), but also with the probable residence of the author for some years in Northern Italy. It is not strange, thus, that the exploitation of Occitan sources could be filtered or complemented by the intermediation of Italian sources (the Novellino)