Dictionary of Riddles
Mark Bryant
Routledge, 30.04.2019 - 380 pages
Originally published in 1990, Dictionary of Riddles is a collection of nearly 1500 of the most cryptic and entertaining riddles from history. Drawn from sources throughout the world, the collection ranges from earthy medieval jokes about fleas, worms and vegetables to the sophisticated puzzles composed by literary figures from Schiller, Swift, Voltaire, Rousseau and Cervantes to Edgar Allen Poe, Lewis Carroll and J.R.R. Tolkien. The book traces the history of riddles from their origins in antiquity through the golden age of the Renaissance, to their decline into the nursery and the first few signs of their modern revival, and draws together all the strands of the riddling art.
Lorenzo Lippi (1606-1665)
... there is another Lorenzo Lippi in 15th century.
https://en.wikipedia.org/wiki/Lorenzo_Lippi ... this is not much
https://it.wikipedia.org/wiki/Lorenzo_Lippi ... there is more
https://www.treccani.it/enciclopedia/lo ... rafico%29/ ... there is much more
automatic google-webpage translation of treccani.it
https://www-treccani-it.translate.goog/ ... r_pto=wapp
Lorenzo Lippi went to the court of Claudia de Medici in Innsbruck. The automatic treccani translation has ...
"In Innsbruck, where he stayed from October 1643 to April 1644, he mainly painted portraits, such as Claudia de 'Medici in widow's dress , Claudia as s. Cristina , Maria Leopoldina , Isabella Clara and Sigismondo Franz , from the Kunsthistorisches Museum in Vienna, and the most famous, classicist, Samaritana al pozzo from 1644, also in the Vienna museum. In the contract stipulated with Claudia de 'Medici (Weiss, pp. 173 ff.) A total of 57 works performed for the court with the adjutant Lorenzo Martelli are mentioned." This means 57 works in a 1/2 year. Additionally elsewhere (wiki.it) is stated: "Lippi cominciò il suo poema ad Innsbruck tra 1643 e il 1644 e continuò a limarlo fino alla morte." "Lippi began his poem in Innsbruck between 1643 and 1644 and continued to file it until his death."
Otherwise it is stated, that Lippi became for his poem more famous than for his art as painter.
In 1446 Claudia had given up her regency for her son. She died at Christmas 1648. In the year 1648 the 30-years-war had finshed, in which Claudia as a widow and regent had been occasionally involved.
Claudia de Medici
https://en.wikipedia.org/wiki/Claudia_de%27_Medici
https://www.treccani.it/enciclopedia/cl ... rafico%29/
automatic google-webpage translation of treccani.it
https://www-treccani-it.translate.goog/ ... r_pto=wapp
Lorenzo Lippi engaged also in pictures of the Orlando topics.
Il Malmantile racquistato di Perlone Zipoli (Lorenzo Lippi)
Lorenzo Lippi
G. Barbèra, 1861 - 438 pages
https://books.google.de/books?id=hFlhk3 ... navlinks_s
https://it.wikipedia.org/wiki/Il_Malmantile_racquistato
automatic translation
https://it-m-wikipedia-org.translate.go ... r_pto=wapp
From the automatic translation: Plot
The poem, inspired by two short stories by Cunto de li cunti del Basile, narrates in twelve cantos in octave rhyme the fantastic dispute between Celidora and Bertinella for the realm of Malmantile, a castle that has now disappeared and then was ruined and devoid of inhabitants near Signa . . [5] The poet describes it jokingly:
«Malmantil resides on a hillock,
And whoever turns his eyelashes towards him,
He says that the founders had the concept
of making the eighth wonder.
Then the large country, which he has subjected,
It is not known (I want to play) a thousand miles: It
looks good, blue, ultramarine,
And there is no lack of hen's milk. "
Malmantile is the residence of the very ugly Bertinella, who wrested the kingdom from the legitimate queen Celidora. Baldone, lord of Ugnano, cousin of Celidora, intervenes to put her back on her throne, and sets sail with an army of blind, gluttonous and drunkards from Sardinia , where she was, in Tuscany . [6] The sorceress Martinazza, arriving on a chariot driven by two demons, joins Bertinella in the defense of her kingdom.
Martinazza descends to Hell, where she obtains the promise of diabolical assistance. Baldone's army storms the castle. Bertinella, forced to capitulate, comes to terms with the winners, welcomes them inside the walls, invites them to dinner, and gives them a dance party. Boldone falls in love with Bertinella, but soon the fight is rekindled. The result is a turmoil in which Baldone tears up his rivals, forces Bertinella to kill himself, and restores the throne to Celidora.
There are a lot of persons mentioned in the text of Il Malmantile ...
https://opacplus.bsb-muenchen.de/title/BV020299786
... one of them is Antonio Malatesti. He was a closer friend of Lorenzo Lippi and appeared in Malmantile as Amostante Latoni.
Antonio
Malatesti in Il Malmantile
https://books.google.de/books?id=hFlhk3 ... ti&f=false
Amostante Latoni in Il Malmantile
https://books.google.de/books?id=hFlhk3 ... te&f=false
At one of this places it should become obvious, that Malatesti alias Amostante had something to do with playing cards. I've read something like this at another place.
The word
Minchiate in Il Malmantile
https://books.google.de/books?id=hFlhk3 ... te&f=false
The word
Tarocchi in Il Malmantile
https://books.google.de/books?id=hFlhk3 ... hi&f=false
The word
carte in Il Malmantile
https://books.google.de/books?id=hFlhk3 ... te&f=false
**************
From the Wikipedis page translation again ...
https://it-m-wikipedia-org.translate.go ... r_pto=wapp
Analyses
Burlesque parody of the liberated Jerusalem , in the wake of Tassoni's kidnapped Secchia , Il Malmantile racquistato stands out for its fantastic and bizarre taste, which deforms aspects of Florentine daily life in a grotesque key, often described with great precision, and above all for its lively and colorful, which reproduces that spoken by the people, with a great wealth of idioms , proverbs and slang expressions. In 1688, Leopoldo commissioned Puccio Lamoni ( Paolo Minucci ) to publish a Florentine version with footnotes to explain all the peculiarities of the language to non-Florentines.[7] The burlesque and heroic-comic style, a mix of fantasy and bizarre details, hides a double meaning in almost every sentence, and the poem is full of vulgar humor, linguistic experimentation and Florentine idioticism. [8] To the annotations of Paolo Minucci were then added those of Antonio Maria Biscioni and Anton Maria Salvini . [9] The poem is inseparable from the exegetical apparatus, of linguistic commentary. Thus for example the verses (IV 8 1-4):
"And, because he did not have all his months,
he was the first to exclaim, and make a
strong sea shouting: - Alas, I'm going to Descend
for the pain that comes in the mouth of the hen [...]."
they are almost incomprehensible to a non-Florentine, without the linguistic comment that accompanies them: He does not have all his months : he is disproportionate, he does not have the entire perfection of the brain. It was not all nine months in his mother's womb that he perfected his brain [...]. To marine : let's say to marine those who pretending to be strangled and mischievous shout and regret to make themselves believe such [...]. I go to Scesi : when we say: "so-and-so went to Scesi", we mean "he is dead", if it seems that we say "he went to the city of Scesi", or Assisi, because the verb "to descend" is used to mean " die" [...]. For the pain that comes in the mouth of the hen: the evil that comes into the mouth of the hen is called "pipita" [...]. And because among the low people instead of saying "appetite" they say "appipito", but they get this saying [...] and they mean "appipito", that is, hunger. [10]
"In Malmantile, among other things, the commentators recognize and define the so-called" ionadactic "language:" This spice of speaking, which is spice of cunning, is widely used in Florence as a joke. [...] The Ionadactic language is made up of capricious words which have no other real word to pronounce than the first letters: since it is seen in seminato said in exchange for wisdom "." [11]
The poem features numerous historical characters and close friends of the poet, hidden by anagrams , such as Salvator Rosa (Salvo Rosata), a great friend of Lippi, Carlo Dati (Alticardo), Antonio Malatesti (Amianto Latoni) or Lorenzo Magalotti (Grazian Molletto).
Malmantile is part of that restarting phase of the Accademia della Crusca which, after the prolonged stasis that followed the second edition of the Vocabulary in 1623, resumed work at the end of 1640 on the initiative of Pietro de 'Bardi, with the contribution, among others, by Michelangelo Buonarroti the Younger and Benedetto Buommattei . A first result came precisely in 1643 when these three writers gave birth, respectively, to Avinavoliottoneberlinghieri (begun towards the end of the sixteenth century, but completed only many years later), Ajone and the third edition of Della lingua toscana. The first two are considered the models of burlesque poetry closest to Malmantile , while the third is a treatise that develops the positions of Benedetto Varchi's Hercolano ( published posthumously in 1570), theorising the opening of Florentine to the spoken language, "to the alive voice of the people », while respecting the authority of the fourteenth century fathers and the canon of Lionardo Salviati .
Lippi finds to a large extent the stimuli for his poetic choices in the context of this renewed strategy of the Crusca, or at least of a part of its members. Paolo Minucci and Filippo Baldinucci , frequent patrons of Lorenzo, had well indicated the salient points of Malmantile, one introducing the monumental apparatus of notes, the other embedding a long commentary on the painter's biography. The two texts in large parts coincide, so much so that they are "agreed", in particular on the linguistic aspects: Lippi, demonstrating the ease of speaking Florentine, is based on the principle that speaking well is a natural property and is therefore accessible even to those who do not possess the artifices of rhetoric; therefore the living language is that of the people and - both commentators argue polemically - ridiculous is those who affect an ancient language by using and abusing disused words, even if attested by the venerable fathers of the "best century"; finally, under the guise of a collection of domestic short stories for children, and therefore in occasional similitude with the " trattenemiento de 'peccerille»By Basile suggested to Lippi by Salvator Rosa, Malmantile constitutes a precious repertoire of Florentine proverbs, phrases and lexicons. Strengthened by this last consideration, Minucci summarizes the strategy of his painter friend with the phrase - highlighted in italics -: "Seizing the most beautiful flower of the mother tongue", which, being exemplified in the Petrarchian motto of the Crusca, in a certain way affixes the academic seal on the poem and certifies its congruity of purpose.
Antonio Malatesta used Oidipus explanations, which he added to his poems. Somehow it seems to me, as if this curious form was expanded in the Malmantle.
Malmantile is a real location close to Florence (in the West of Florence, 14 km) ...
https://www.google.com/maps/place/50055 ... 11.0662257
They have a medieval festivity there ...
https://www.visittuscany.com/de/attrakt ... almantile/
... and a local legend with San Ambrosius and a happy hotelier, which Ambrosius discovered to be the devil.
Il toponimo significa letteralmente "cattiva tovaglia", intesa come "cattiva accoglienza", e la sua origine è riportata nella Leggenda Aurea di Jacopo da Varagine come derivante da un episodio avvenuto nel IV secolo, all'epoca della visita a Firenze del vescovo di Milano sant'Ambrogio e del suo incontro con san Zanobi, vescovo di Firenze, nel punto ancora oggi segnato da un tabernacolo commemorativo. I due santi furono ospitati in un casolare della zona, ma la cattiva accoglienza fece maledire il casale che sarebbe sprofondato in un crepaccio.
... automatic translation
The toponym literally means "bad tablecloth", understood as "bad reception", and its origin is reported in the Golden Legend of Jacopo da Varagine as deriving from an episode that occurred in the fourth century, at the time of the visit to Florence of the bishop of Milan Sant'Ambrogio and his meeting with San Zanobi, bishop of Florence, in the spot still marked today by a commemorative tabernacle. The two saints were housed in a farmhouse in the area, but the bad reception cursed the farmhouse that would have sunk into a crevasse.