Matteo Maria Boiardo, ORLANDO INNAMORATO NOTE TO THE MACHINE-READABLE TEXT MICROFICHE CONCORDANCE AND RHYME DICTIONARY with related statistical data Edited by David Robey and Marco Dorigatti Faculty of Medieval and Modern Languages Taylor Institution St Giles Oxford OX1 3NA Copyright of Oxford University, MCMLXXXIX (Copyright applies to this Introductory Note as well as material described therein. All rights reserved.) PREFACE The material presented here is the first part of a project, financed by the British Academy, for producing some of the principal narrative poems of the Italian Renaissance in computer-readable form. Its preparation has been made possible by the facilities provided by the Oxford University Computing Service (OUCS), in whose Text Archive the finished text is now permanently held. In compliance with the British Academy's intention this machine-readable text is available at cost to bona fide individuals and institutions for purposes of scholarly research and subject to copyright law. Any work, published or unpublished, based in whole or in part on analyses made of this text should acknowledge the source. Enquiries and requests for copies may be addressed to: Oxford Text Archive, Oxford University Computing Service, 13 Banbury Road, Oxford OX2 6NN. The editors wish to thank the British Academy and the OUCS. May 1989 NOTE TO THE MACHINE-READABLE TEXT This machine-readable version of Orlando innamorato was transcribed by means of an optical character reader, the Kurzweil Data Entry Machine. The text is based on that edited by A. Zottoli for the series I Classici Mondadori, Milano 1944, 2nd edition (see Abbre- viations), but has undergone extensive proof-reading and editing. All departures from that edition are recorded with in every case Zottoli's reading as well as the name of the editor whose reading has been preferred. This ensures that at least one printed edition, arguably the best so far, is faithfully reproduced, so that the user who wishes to revert to Zottoli's edition may do so. In the absence of a truly critical edition, which is as much awaited as it is needed, a conservative edition, i.e. one as close as possible to the early texts, seemed the best solution for the purposes of a machine-readable version. Accordingly, where we have made changes or additions to Zottoli's text, we have generally done so in order to conform more closely to the early manuscript and printed texts as cited by Zottoli himself. Only a few modern editorial conjectures have been retained in passages which demonstrably suffered from corruption in transmission, and in others where the emendation might have proved too radical or controversial. We have also rectified certain inconsistencies in Zottoli's use of diacritical marks, and in a few cases normalized the use of accents and punctuation. All these changes are marked in the text. The main aim, therefore, has been to provide the most reliable text in the present circumstances, so as to assist in the production of concordances, rhyme dictionaries, and related statistical data. All these, it is hoped, will contribute to make possible a truly critical edition. The user should perhaps be aware of the presence of some unfamiliar spellings, found in the original texts and here retained following Zottoli. These include forms such as, for example: abstinenza, adviene, adviso, advistata, -anzia [e.g. abundanzia], baptizato, (cir)constante, conscienza, -enzia [e.g. eccellenzia, esperienzia, licenzia, pacienzia], essempio (III vii 59,4), et, Ector (II xxviii 2,3), excetto, florito, instrumenti, monstro, nimfa, octavo, optimo, secundo, sequente, subiugato, triomfo. Moreover, their use appears side by side with the more familiar forms, and is far from being systematic, reflecting as it does the author's and the early printers' practice. Similarly, there is constant variation between single and double consonants in a given word (e.g. abandonare / abbandonare), and between diphthongized and non- diphthongized vowels (e.g. guerriero / guerrero). Perhaps the most conspicuous novelty of the present text is the inclusion of a stanza (II xxxi 49) which has not been incorporated in the poem for quite a long time, but which figures in some of the earliest editions. It has been added in the belief that it is by Boiardo, and not least to restore sense to the neighbouring stanzas to which this one is clearly connected. As a result, the last canto of the second book now totals 51 stanzas. Numerical references of books (B), cantos (C), and stanzas (S) are inserted at the beginning of the appropriate line within angle brackets (<>). All other references to textual discrepancies and editorial interventions are marked by curly brackets {}. These come always in pairs, the first pair signalling the beginning of the area of text affected, the second the end. The latter pair also contains the source of the reading which has been accepted, as well as rejected or alternative readings, including Zottoli's, with their sources. A key to the symbols used for such references is provided by the following tables. EDITORIAL SYMBOLS {add} string {/add; Zottoli's reading}: matter added to, or departure from, Zottoli's edition by the present editors (often following a suggestion by Zottoli himself) {ed} string {/ed editor's name}: parts missing in the original texts and supplied within square [ ] or angle < > brackets by the editor named {it} string {/it}: italics {t} string {/t editor's name; alternative reading followed by editor's name}: modern editorial variant: editor whose reading has been accepted, followed by reading which has been rejected {tit} string {/tit}: titles preceding I i; II i; II xxii [not in T]; III i {v} string {/v reference; variant(s) followed by reference}: variants in manuscript or early editions: a highly selective list representing some of the major textual cruces QUOTATION MARKS #_ $_ 1st level direct speech #" $" 2nd level direct speech (also thought within 1st level direct speech) #+ $+ 3rd level direct speech (also written notices) ## $# thought (also proverbs, written notices, etc.) sometimes within direct speech -- -- parenthesis (m) dash Some screens and printers may display a Pound Sterling symbol instead of a hash sign. TYPOGRAPHICAL CONVENTIONS Due to the inability of most computer screens to display accented characters the following convention has been devised. \ grave accent ^ circumflex accent / acute accent % diaeresis Spaces after have always been inserted after word-final apostrophes, (except before punctuation marks). ABBREVIATIONS S SCAGLIONE (ed.): Matteo Maria Boiardo, Orlando Innamorato, Sonetti e Canzoni, a cura di Aldo Scaglione, Torino, UTET, 1951, 2 vols. T TRIVULZIANO: manuscript codex [Trivulziano N. 1094 (ca. 1500)] Z ZOTTOLI (ed.): Tutte le opere di Matteo Maria Boiardo, a cura di Angelandrea Zottoli, Milano, Mondadori, 1944, 2nd edition, 2 vols. (The first edition was published in 1936-37.) 1487 publication dates of early editions referred to 1495 1506 1511 1513 NOTE TOTHE MICROFICHE CONCORDANCE AND RHYME DICTIONARY (These are available in 20 fiches (while stocks last) at cost from Professor David Robey, Department of Italian Studies, The University, Manchester M13 9PL, England. Orders should enclose a U.K. cheque or international money order for 10 pounds sterling made out to David Robey.) The Concordance of the Orlando innamorato was produced electronically at the Oxford University Computing Service by means of the Oxford Concordance Program. Entries are accompanied by a complete set of references, with all the lines of text in which they appear, printed as in the machine-readable version described above; except in the case of entries for forms occurring 1000 or more times, where references only are given. There are no entries for the material contained within curly brackets ({}) in the machine-readable text. Entries have not been lemmatized, and orthographical variants have been treated as distinct forms; even forms that differ only through the presence or absence of diacritics have been treated as distinct, except in the case of the diaeresis. On the other hand no distinction is made by the program between capitalized and non-capitalized versions of the same form, with the result that proper names can be confused with common nouns. Headwords may sometimes have capital initials and sometimes not, depending on the form in which they first occur in the text. The last fiche of the Concordance contains two wordlists for the text, one in descending order of frequency and the other in inverse alphabetical order (starting, that is, from the end of each word). These are followed by statistics on word frequencies. All were compiled according to the criteria described above, by means of the Oxford Concordance Program. The Rhyme Dictionary was also produced at the Oxford University Computing Service from the same machine-readable text, but by means of a series of SPITBOL programs written specially for the purpose. For each occurrence of a given rhyme-word the line of text in which it appears is given, preceded by its reference and followed by the other words rhyming with it in the stanza. For reasons of space material contained within curly brackets ({}) (see above) has been excluded from the text, but users of the Rhyme Dictionary can find this material under the appropriate word in the Concordance. The fact that the Rhyme Dictionary was produced electronically has of course involved some risk of error. The editors have carried out a degree of manual checking and made some interventions, notably in the case of the imperfect rhymes referred to below. But they cannot guarantee, unfortunately, that rhymes have always been correctly identified, and would be glad to be notified of any errors. In identifying rhymes, diphthongized IE and UO in stressed position have been reduced to E and O, in view of the author's frequent habit of rhyming diphthongized and undiphthongized forms with each other. In the case of imperfect rhymes (a complete list of which is given at the end of the last fiche of the Rhyme Dictionary) our practice has been as follows: where two lines rhyme together, we have treated the second form as an instance of the first (e.g. where "Rainaldo" in line 7 rhymes with "bastardo" in line 8 we have treated "bastardo" as a rhyme in -ALDO; where three lines rhyme together we treat the minority as an instance of the majority form (e.g. where "Radamanto", "anco" and "stanco" are in rhyme, we treat "Radamanto" as a rhyme in -ANCO). Rhymes that differ only through a variation in spelling (e.g. "periglio" in rhyme with "Marsilio") have also been treated as imperfect. All words that rhyme imperfectly with each other are marked with three asterisks (***) in the line of text in which they appear in the Dictionary. They are included in the count for the rhyme under which they appear, with a note at the appropriate entry and relevant cross-referencing. At the end of the Rhyme Dictionary, in the last fiche, we give: (a) a table in order of frequency of all the rhymes in the poem (identified according to the criteria above), together with a breakdown of the number of occurrences of each rhyme according to the position the rhyme occupies in the stanza, and followed by some general statistics; (b) a list of rhymewords in the poem in descending order of frequency (produced by the Oxford Concordance Program); (c) a list of imperfect rhymes and of rhymes of three syllables.