Favaro, Maiko, ed. Interpreting and Judging Petrarch’s Canzoniere in Early Modern Italy

Petrarch's historical-philosophical works have been linked to the development of Renaissance thought.Many have also filtered their understanding of Petrarch's vernacular lyric poetry through that same linkage.However, the history of the Canzoniere-from its recorded origins in his collected drafts in Vaticano Latino 3196 to the late drafts of the Rerum vulgarium fragmenta (Rvf) in his own hand (Vaticano Latino 3195)-reveals in form and content a medieval work whose visual poetics depends on a strict system of mise en page and interpretation that flummoxed copyists of the late fourteenth and fifteenth centuries.The fifteenth-century scribe of Riccardiano 1088 expressed it on c. 27r as he struggled between Petrarch's poetic layout and the norms of his own age's transcriptional style.By the middle of the fifteenth century, form and meaning were being shaped differently to transform his songbook into a work for readers of a new textual aesthetic that would soon be in print.There were other important changes.The marginal numbers that Petrarch used to experiment with the order of the last thirty-one poems went unnoticed by most copyists.Petrarch's revised order would not be restored to the songbook until Giovanni Mestica's 1896 edition.And there were other alterations imposed by editors according to the new paradigm of a "perfect Petrarch, " a "Renaissance Petrarch, " without difficult syntax and with always perfect prosody.As it turns out, more than the poet's influence on humanistic thought, Renaissance Petrarch is a different Canzoniere from what Petrarch supervised and wrote in his own hand and from what we read in modern editions.This reminder of Petrarch's vernacular poetics is essential for our understanding of the difficulty of presenting a Renaissance Petrarch through a text that was altered in the fifteenth century to adhere to editorial norms for readers anxious to have "Petrarca lirico" correspond to "Petrarca filosofico." This was achieved not just through the prism of Pietro Bembo's 1525 Prose but well before in the changing editorial models of the fifteenth century and the reception of a cultural icon that would become codified in Bembo's 1501 Aldine edition.Even that edition would be altered in 1514 to reflect the critical assessment of

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