Le terze rime di Dante

Autore ALIGHIERI, Dante (1265-1321).
Tipografo Aldus Manutius
Dati tipografici Venice, 
Prezzo Venduto/Sold
Le terze rime di Dante

In 8vo (mm. 158x95); pergamena rigida coeva o di poco posteriore, dorso a tre nervi, tagli dorati e goffrati (taglio superiore un po' iscurito); cc. [244]. Segnatura: a-z8 A-G8 H4 . La carta l2 è bianca. Marca tipografica al verso dell'ultimo foglio. Carattere corsivo. Ottima copia marginosa.

Questa PRIMA EDIZIONE ALDINA della Commedia vanta numerosi primati. Oltre ad essere la prima edizione cinquecentesca e la prima edizione tascabile del capolavoro dantesco, in essa appare per la prima volta la celebre marca tipografica di Aldo Manuzio dell'ancora con delfino.

Il curatore Pietro Bembo trascrisse il testo (oggi Ms. Vat. lat. 3197), servendosi come base dell'esemplare (oggi Ms. Vat. lat. 3199) della Commedia che il Boccaccio aveva mandato in dono al Petrarca, fra l'estate del 1351 e il maggio del 1353, e che aveva avuto come ultimo proprietario e postillatore Bernardo Bembo. Voltando le spalle alla tradizione rappresentata dalle monumentale edizione con commento di Cristoforo Landino (Firenze, Niccolò di Lorenzo, 1481), il Bembo fissò una nuova vulgata del poema dantesco, tanto che l'aldina del 1502 divenne il testo di riferimento di tutte le altre stampe cinquecentesche fino all'edizione della Crusca del 1595.

“The poetry of the Comedy emerged from beneath a sea of exegetical commentary for the first time in more than twenty years in this edition produced by the most celebrated printer and publisher of Renaissance Italy, Aldus Manutius. The text differed radically from the Landino vulgate which had established itself during the last decades of the 15th century. The text of the 1502 Aldine, which was to become the vulgate for the next 300 years, was prepared by no less than the literary arbiter of the Italian High Renaissance, the Venetian humanist and courtier Pietro Bembo (1470-1547). Bembo had already prepared for Aldus in 1501 an influential edition of Petrarch's Canzoniere. Together with his 1502 Dante, Bembo's editions of the vernacular Italian classics represent the practical (and polemical) point of departure for the Venetian's promotion of a vernacular literary tradition. His efforts in the philological, editorial, and poetic arenas led to a general recognition of a distinguished vernacular tradition worthy of canonization no less than the Latin and Greek traditions idolized by the humanists. Bembo's linguistic and rhetorical reform of the Italian vernacular found its mature expression in his vernacular humanist manifesto Le prose della volgar lingua (1525), where the Venetian proposed the 14th-century classics Petrarch and Boccaccio as vernacular models for poetry and prose respectively, just as Virgil and Cicero served as humanist models for Latin eloquence. Thus, the linguistic provocation of the non-Tuscan incunable editions of the Comedy to which Landino had responded in 1481 was renewed at the beginning of the 16 th century by this Aldine edition of the poem. Bembo, a member of the Venetian patriciate, presumed to teach the Florentines about their own vernacular classic and their own language. In fact, Bembo's edition was undertaken with a philological acumen unprecedented for vernacular works and unusual even for Latin classics. For the first time, the text's abbreviations were explained and the words divided according to grammar. Punctuation is abundant, and the use of the apostrophe and many accents are regularized. Most importantly however, Bembo circumvented the corrupted 15 th -century Landino vulgate by basing his text upon an authoritative 14th-century manuscript of the poem, which, originally a gift of Boccaccio's to Petrarch (Vat. lat. 3199), had found its way into the formidable library of Bembo's father, Bernardo. Bembo copied out the entire text in his own hand (Vat. lat. 3197) and presented the copy to Aldus for printing. It was as if the poem had never been printed before: the 15th-century vulgate was swept aside. Bembo's text was to become the basis for every subsequent edition of the Divine Comedy until the late 19th century. The result was a linguistic restoration of the work to Dante's own pre-humanistic age. While Bembo's edition represented a radical improvement of the text from an objectively philological perspective, it also had the effect of revealing the distance between Dante and the rhetorical sensibilities of the High Renaissance, whose idol was increasingly the urbane and psychologically exquisite Petrarch» (Renaissance Dante in Print (1472-1629), at www.italnet.nd.edu/Dante/text/1502.venice.html ).

Edit 16, CNCE1144; C. de Batines, Bibliografia Dantesca, Prato, 1845, I, pp. 60-62; G. Mambelli, Gli annali delle edizioni dantesche, Bologna, 1931, nr. 17; A.A. Renouard, Annales de l'imprimérie des Aldes, Paris, 1834 (ma Bologna, 1953), p. 34.5; A Catalogue of the Ahmanson-Murphy Aldine Collection at UCLA. Fasc. I: The Publications of Aldus Manutius the Elder, Berkeley, 1989, nr. 59; Adams, D-83; Gamba, nr. 385.

  • Le terze rime di Dante
  • Le terze rime di Dante
  • Le terze rime di Dante
  • Le terze rime di Dante
  • Le terze rime di Dante