Delle poesie (1620) di Ridolfo Campeggi. Edizione critica.

摘要

This study seeks to present a philologically accurate edition of Ridolfo Campeggi's collection of lyric poetry published in 1620, and to contextualize his work within a broader perspective in terms of the history of literature. The collection comprises a total of 392 poems: 278 sonnets, 77 madrigals, 9 poems in octaves, 11 poems in sesta rima (six-line stanzas) and 11 canzonette. The investigation conducted on Campeggi's poems has led to discover that the variety of metrical structures and subjects that make up his collection are perfectly in line with the trends of the century, as confirmed by comparing Torquato Tasso, Cesare Rinaldi, Tommaso Stigliani and Giovan Battista Marino's numerous works. The present study highlights Ridolfo Campeggi's unique personal and poetic network within Bologna and the Italian cultural environment as well, an impressive network for an author who was in contact with the major intellectual and political figures of his time. Throughout the first four chapters, this study takes into account critical works about Campeggi, from the eighteenth century until these days. The first chapter provides a thorough account of the milieu of Accademia dei Gelati in Bologna, a revealing example of an intellectual academy of the 17th century, its origins, its members and its customs. The second chapter takes into account Campeggi's whole production, from the pastoral Filarmindo, published in 1605, to the posthumous prose of the Relazione de gli Heretici Iconomiasti, highlighting relations with other famous Baroque poets. The third chapter recounts Campeggi's life (a nobleman without heirs, ultimately committed to poetry at the highest level) and the vast lyrical collection from 1620, with a thorough classification of metrics and subjects, organized according to historical and rhetorical frameworks. The last part of the study provides the critical edition of Campeggi's Poesie, highlighting main rhetorical features, a comparison with the first edition of 1608, and references to lyrical works by major poets of the time. The study finally presents three appendices, including the list of Gelati members (according to the catalogue of 1672) and the text of two melodramas, never published before in a modern edition, Andromeda and Il Reno Sacrificante, key pieces of plays set to music, crucial to understand the development of musical theatre into opera. Ultimately, this work aims at highlighting the singular figure of Campeggi and his ability in learning from the most modern authors of his time. It is clear that the special feature of Campeggi's lyrical style is amenable to his talent as an enthusiastic reader and inventive poet, fluctuating between the principles of 'the wonder' [la meraviglia] -- imitating Marino's rhetorical style -- and the new diktats coming from the papal court under the influence of Maffeo Barberini, reprimanding the excessive Marinist trend, fostering a classical-inspired poetry style.