Luigi Pulci, MORGANTE 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 Oxford University, MCMXCI Copyright applies to this Introductory Note as well as material described therein. All rights reserved. PREFACE Pulci's Morgante is the second of the narrative poems of the Italian Renaissance, following Boiardo's Orlando Innamorato, that has been prepared in machine-readable form for purposes of text-searching and other forms of computer analysis, as part of a project financed by the British Academy. Their 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 Any work, published or unpublished, based in whole or in part on analyses made of this text should acknowledge the source.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. June 1991 NOTE TO THE MACHINE-READABLE TEXT This machine-readable version of Morgante was transcribed by means of an optical character reader, the Kurzweil Data Entry Machine. The text is based on that edited by R. Ramat for Rizzoli Editore, Milano 1961 (see Abbreviations), but has undergone extensive proof- reading and editing. All departures from that edition are recorded with in every case Ramat's reading as well as the name of the editor whose reading has been preferred. This ensures that at least one printed edition is faithfully reproduced, so that the user who wishes to revert to Ramat's edition may do so. Any work on Morgante would be incomplete without taking into account F. Ageno's edition, Milano-Napoli 1955 (see Abbreviations). Both Ageno's and Ramat's are critical editions, though the latter is not quite independent of the former. A close scrutiny of the two editions has revealed that Ramat used Ageno's as copy-text, as shown by common errors and joint editorial inconsistencies. Even so, in trying to adhere more closely to the original texts Ramat made a considerable number of improvements (a list of these can be found in his "Nota al testo", pp. 1256-58); hence our preference of it. On the other hand Ageno's edition, as one of the best of Morgante ever produced, can neither be disregarded nor discounted. For this reason we have tried to give within curly brackets all textual divergences between the two editions, so as to provide, ideally, a combined view of both. However, although every care has been taken in identifying such variant readings (including Ageno's Errata corrige), the editors cannot guarantee completeness. In particular, the considerable differences of punctuation between the two editions have generally been ignored. While making Ramat's edition the basis of our text, we have corrected obvious errors and rectified certain inconsistencies, notably in the use of accents and other diacritical marks. Whenever possible we have done so by relying on Ageno's text. It seemed convenient, for example, to retain Ageno's clear distinction between "fe" [=fece] and fe/ [=fede], against Ramat's confusion of the two. In those few instances where both texts seemed at fault we have made our own editorial intervention. All these changes are marked in the text, with both Ramat's and Ageno's readings. In order to maintain a strictly sequential order of references Pulci's closing prayer to the Virgin at the end of the poem has been joined to the last cantare, thus forming stanzas 153-155. Numerical references to cantari (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 two 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, with their sources. A key to the symbols used for such references is provided by the following tables. EDITORIAL SYMBOLS {add} string {/add; Ramat's reading; Ageno's reading}: matter added to, or departure from, Ramat's edition by the present editors {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}: textual variant reading: editor whose reading has been accepted, followed by reading which has been rejected QUOTATION MARKS #_ $_ 1st level direct quotation #" $" 2nd level direct quotation #+ $+ 3rd level direct quotation Quotation marks indicate only level of quotation. No distinction has been made between direct speech, thought, or other forms of quotation within the same level. * Some screens and printers may display a Pount Sterling symbol instead of a hash sign. TYPOGRAPHICAL CONVENTIONS Due to the inability of most UK mainframe computer screens to display accented characters the following conventions have been devised. The diacritical sign follows the character to which it refers. \ grave accent ^ circumflex accent / acute accent % diaeresis For purposes of machine analysis we have also always inserted a space, where there is no intervening punctuation mark, between a word-final apostrophe and the beginning of the following word. ABBREVIATIONS R RAMAT (ed.): Luigi Pulci, Il Morgante, a cura di Raffaello Ramat, Milano, Rizzoli Editore, 1961. A AGENO (ed.): Luigi Pulci, Morgante, a cura di Franca Ageno, Milano-Napoli, Riccardo Ricciardi Editore, 1955. NOTE TOTHE MICROFICHE CONCORDANCE AND RHYME DICTIONARY (These will be available in (while stocks last) at cost from Professor David Robey, Department of Italian Studies, The University, Manchester M13 9PL, England.) The Concordance of Morgante 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 more than 1000 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. Words beginning with an apostrophe are placed at the start of the alphabet. The last fiche of the Concordance contains three wordlists for the text, the first in alphabetical order, the second in descending order of frequency and the third 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 rhymeword 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, 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 and no distinction has been made between close and open E and O. In sorting rhymewords into alphabetical order the main program has for technical reasons taken no account of accents and diaereses, but has treated the apostrophe as a letter. 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) an alphabetical list of rhymewords; (d) a list of composite rhymes and rhymes of three syllables.