Warmans Barbie Doll Field Guide

Values And Identification 2nd

Edition Sharon Verbeten

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LA POESIA POPOLARE ITALIANA 811 in ogni caso disadatto

alla forma narrativa, che ben resto divenne propria a quel metro; e
allora, dopo sesto, furono soggiunti due altri versi a rima baciata, ìe
mirabilmente valsero a sigillare la strofa. A siffatta sapiente novità,
che comunicava salii era alla strofa, e quasi le dava corpo, poteva
forse Evitare la ripresa pur a rima baciata, che il popolo )8Cano
metteva al posto del secondo tetrastico siciliano. o stesso fu fatto
anche perla sestina, che è il primo Ihingamento artistico del
tetrastico: per la sestina, ìe è forma di versificazione più antica che
comuneMute non credasi. Medesimamente il Sonetto, forma rtificiosa
se altra mai, altro non è, chi ben vedi 90 l'accozzamento di due
tetrastici alla foggia dell'o/ra siciliana, e di un esastico senza le finali
rime iciate. Tuttavia è da notare che nel sec. XIV troviamo imero
grandissimo di Sonetti, ai quali dopo la sestina lale si accodano due
versi in rima fra loro, quasi [timo e fermo sigillo posto al
componimento di quat•rdici versi, come già a quello di otto. Or
dunque, anziché supporre una serie di aggiunte di resecazioni, noi
opiniamo, e se errassimo ci piairebbe di farlo coi nostri valenti amici
Nigra e Schuìardt, che il Canto popolare nella prima sua forma
soltanto un tetrastico. In tal forma esso si sp ori dell'Isola, e giunse
in Toscana, e dalla Ioana passò ad altre regioni.- Così si
spiegherebbero Cevolmente e il tetrastico caudato toscano e il
totraico semplice transpadano. Ma ciò, lo ripetiamo, non età che in
altre successive migrazioni, in altre ate di Canti la strofa siciliana
giungesse intera, dap»ichè talvolta le rassomiglianze vanno più oltre
del larto verso, o il nuovo composto è messo insieme di rsi
liberamente scelti per tutta l'ottava: come anche m esclude l'ipotesi
che oltre Po giungessero poste 
 312 LA. POESIA POPOLAKE ITALIANA riormente Canzoni
toscane colla ripresa. Ad una secor migrazione spetterebber poi
senza dubbio quei Cai di Marittima e Campagna, cui or ora
accennamm dove all'intera ottava siciliana è aggiunta la ripetizio del
primo distico. Se non che questi Canti riconoscono, e me vedremo,
un'origine letteraria, e nel mezzo d' Ital dovettero giungere in
raccolte a penna o a stamp piuttostochè per orale tradizione.
Quando, adunque, Canto popolare echeggiò per la prima volta dall'
Et agli Appennini, e dagli Appennini si prolungò di rii balzo fino alle
Alpi, e' ci par ben certo che non doves andare più oltre del quarto
verso: e se ciò fosse, avrei mo un nuovo argomento dell'antichità dei
Canti, della sollecita loro diffusione dall'Isola al territoi peninsulare. E
al nostro opinare su tal primitiva fon del Canto, porgerebbe rincalzo
gagliardo quanto as* vera il Pitré: che, cioè, chi canta, giungendo al
quai verso, si riposa, perche considera come regolarmer divisa la
Canzona in due parti uguali. (1) Rimane adesso a dire di un altra
notissima fon del Canto popolare italiano, cioè dello Stornello. (2 Di
esso parliamo per ultimo e brevemente, perchè ne sostanza il più
delle volte altro è non se non un I (lì C. popol. sicil., Prefaz. I, p. 30.
E il Nigra, p. 16. « L'ottr siciliana è in sostanza un doppio tetrastico a
rime alterne. Ed fatti dopo i quattro primi versi v'è pausa, ed i due
tetrastici ( l'ottava si possono facilmente separare. Né sono rari gli
ese di ottave siciliane, che cambiano addirittura l'assonanza nei qua
ultimi versi. Sembra perciò molto probabile che la forma arche dello
Strambotto sia il tetrastico endecasillabo con rime altern (2) Gli
Stornelli, per confusione coi veri e propri Ritorn (frane, refrain),
hanno preso in Roma quest'ultimo nome, che r lamente fu seguito
dal Blessig, dallo Schuchardt, e da altri: v Nigra, loc cit. , p. 4.
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I.A POESIA POPOLARE ITALIANA ietto compendiato. (1) Tiù

importante forse è studiarne «arie configurazioni ritmiche. Di queste
la più semplice è il distico a rimo baate: intermedia, ò il terzetto
imperfetto, composto di i quinario, che ordinariamente contiene l'
invocazione un tiore (donde la sicula denominazione di Giuri), di due
endecasillabi: (2) ultima, il terzetto perito, cioè di tre endecasillabi.
(3) Nelle due ultimo ime rispondono fra loro per ragion di rime il
primo il terzo verso: il secondo, il più delle volte, è cogli tri legato
per consonanza atona. Come, e dove è nato lo Stornello? A noi
sembro 'rissima quella parentela che lo Schuchardt (4) ha in chiaro
fra lo Stornello e il Proverbio rimato, in raramente costruito in foggia
di distico e con msonanza atona. Anzi lo Stornello sembra tuttavia
cordare sitfatta cognazione, nel fare sentenzioso ed epi(1) Vedi
Schuchardt, op. cit., § 3. I (2) Non sapremmo accorciarci col
NiGRA,op. cit., p. 14. nel trovar erigine di questa forma nella strofa
saffica. Lasciando stare la dif!tà del [)[Link] di una foggia
esclusivamente letteraria ad usi polari, per aver l'immagine di questa
maniera di Stornello dovreb: si toirliere l'ultimo membro di una prima
strofa saffica e poi i e primi di una seconda, e con ciò formare il
nuovo composto. (3) L'origine di questa configurazione dello
Stornello sarebbe condo lo Schiviiardt, op. cit., pag. 1G, il tetrastico,
donde saIbbe caduto per indebolimento l'ultimo verso, il quale, dice
ep\\. ' linariamenie contiene una ripetizione ounoscbiarimento
superfluo, secondo verso senza rima corrisponderebbe perciò ad un
verso doto. Non negheremmo che qualche Stornello di tal foggia non
i nato così: ma la semplice consonanza atona dà corpo alla stro|.ta
ternaria, senza bisogno di supporne perduta una parte inte•ante. (4)
Op. cit., § 9. E il Guastella, Prefa;. ai [Link]. di Modica, g. CXXXIII:
« I muttetti, simili allo Stornello toscano ... non si intano, ma si
ripetono secondo l'occasione a guisa di proverbio, ,?endo veri
proverbj, come suona il vocabolo. »
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314 LA POESIA POPOLARE ITALIANA grammatico, che

serba nella massima parte dei a Noi opiniamo, contro la sentenza di
un critico arguto (1 elio il quinario iniziale sia un'aggiunta posterioi
tanto più che, come osserva il Nigra, « raramente nome e gli
attributi del fiore e dell'oggetto invocai hanno una relazione logica
col contenuto dei duo vers seguenti » (2). Né forse quest' aggiunta
del fiore altre è se non una invocazione per ripigliare il Canto :
dacché lo Stornello è la forma preferita degli improvvisatori e prevale
nei Contrasti, in che da quelli si gareggia i chi più ne dica (3). Egli è
perciò che degli Stornelli h produzione nuova è maggiore che non
pei Rispetti essi sono tuttora forma vivente e non soltanto
tradizionale: e in essi qualche volta, non senza successo, 8 è
manifestato il sentimento patrio durante gli ultim avvenimenti
politici. (4) (1) Imbriani, Dell'organismo poetico e della Poesia pnpol.
pag. 134. (2) Op. cit., p. 14. Cfr. Schuchardt, op. cit., pag. 46 e segg.
(3) Se vuoi venir con mene a stornellare Piglia la sedia e mettiti a
sedere: Dì quante stelle è in cielo, e pesci in mare: Tigri, Storn., n.°
3, a proposito del quale il Nigra, pag. 20, oppor tunamente ricorda il
virgiliano: Die quibus in terris, et erte mii màgnus Apollo ecc. Lo
stesso carattere hanno altri Stornelli, r: colti dal Tigri, sotto il
medesimo paragrafo: FA io der/li stameli ne so tanti ecc. Ed io der/li
stornelli ne so mille ec. Cfr. Giwan drea, pag. 8; Marcoaldi, C. popol.
picen., n.° 81 ; C. popol. liffur n.° 86. Notisi che in questi Stornelli
non può esservi V invocazioni del fiore, essendo essi invito al
enntare: le invocazioni verranm nei Canti successivi dei gareggianti,
per prendere o riprender lena (4) Vedine esempj in Nerucci, pag.
204-16. Nel 1859 ebber* notorietà in Toscana questi Stornelli
incatenati, che mi si conce derà di trascrivere a postuma onoranza
del povero amico mio Fran Cesco Coppi-Toscanelli, il quale ne fu
autore, e che felicement.
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LA POESIA POPOLARE ITALIANA 315 Che gli Stornelli coli'

invocazione dei fiori sieno isa comune a parecchi popoli,
specialmente neo-latini, e innestare l'intonazione popolare col
sentimento dell< tiche: Fior della bara; Spunta la rosa della
primavera Al piede delle croci di Novara. E le croci dei campi di
Novara Dicono a quella rosa: Apriti o spera. Eosa d'Aprile, amore dei
fiori, D'Italia i colori tu porti con te. Verde è lo stelo, Come speranza
che un vessillo solo Sventolerà per questo nostro cielo. O stelo di
rosa, amore de' fiori De' nostri colori sei pure un de' tre. Bianco è il
bottone, Egli è la fede che l'onde tirrene Dovran baciare una sola
nazione. Bottone di rosa, amore de' fiori, De' nostri colori sei pure un
de' tre. È rosso il fiore, Come l'amore che dall'Alpi al mare Ci Siam
giurati ai giorni del dolore. 0 fiore di rosa, amore de' fiori, De' nostri
colori sei pure un de' tre. E sulla sera Ai piedi delle croci di Novara
Sbocciò la rosa della Primavera. E le croci de' campi di Novara
Dissero a quella rosa : Apriti e spera. Rosa d' Aprile, amore de' fiori,
D'Italia i colori rivivon con te. ie si ebbe allora qualche buon Rispetto
polii li altri cordare questo del buon Pietro Thouar: E l'ho visto il
vessillo benedetto Da capo sventolar sopra la torre: Il Marzocco lo
tien fra l'unghie Bt Perchè nessuno glie lo vada a tórre. De' tre colori
quando è rivestito Palazzo Vecchio par ringiovanito. Qnando
splendono al sole i tre colori, Ringiovanisce la città de' fiori; Quando
rispleuderan su l' Appennino, Tutta l'Italia diverrà un giardino.
 816 LA TOESI.V POPOLARE ITALIANA fu asserito più volte
(1). Anzi, l'Arbaud (2) va p oltre, trovandone, sulle orme del Fauriel,
(3) la prin origine presso i Greci antichi, in quelle poesie popolai che
Atenèo denomina cintemi. Dalla colonia focese d| Massalioti questa
forma sarebbesi diffusa in Provenz
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LA POESIA POPOLARE [TALUNA 317 Né volliete saper eh."

bella flore, E con silenzio mostrate odiar me. i un libro scritto l'anno
1592, dove tra le altro poesie )no copiati molti fiori: — Voi sete un
bel fiore — — Che fiore? — — Un fior di mammoletta -— Qualche
mercede il mio servire (1) in una cronaca del Borgo S. Donnino del
1(315 (2) •ovasi un altro esempio di questi fiori Essendo a j;glia
alcuni giovani e donzelle, l'Eufrosina Modesti lisi aprì il « giuoco dei
fiori », volgendosi ad un Polidoro anzini, che le faceva la corte : —
Voi siete un bel fiore. — — Che fiore? — — Fior di formento, Di che
si fa il pan: Se mi volete ben, Vi taglierete un dito de la man. —
Forse a questo l'aveva tratta la rima: ma l'altro mbeccò : — Siete un
bel fiore. — — Che fiore ? — — Fior di perfetto amore : Se dite da
dovero Lo farò per vostro amore. — I (1) Annotaz. al v. 430 del
Bacco in Toscana. Vedi anche il Rieletto, XXX, 86-87, cit. dallo
Schuchardt, p. 60, ed ivi stesso Ire citazioni di autori italiani. Fiori
moderni sono raccolti nella vista di Letteratura popolare, Roma,
1877, voi. I, pag. 67, e uno jinche nel Giuliani, Moralità e Poesia ecc.,
png. 259. Lo stesso Irattere, salvo una modificazione iniziale, cioè:
Che fior son iot, inno i Fiori raccolti dal Ferraro in Cento, op. cit.,
pai:. 77. I (2) V. un art. di L. Scarabelli, nel Propugnatore, anno VII,
rt. II, pag. 398. li
 318 LA POESIA POPOLAEE ITALIANA — Siete un bel fiore.
— — Che fiore ? — — Fior di radetto : Se mi volete bene Presto
vedere- V effetto. E tratta fuori la spada, l'amatore si tagliò da dove
il dito. E anche pochi anni fa, il collettore dell' Egeria ti vava sulle
bocche di giovani e giovanette romane ques « giuoco del fiore » : —
Bella, ecco un fiore. — — Chi me lo manda ? — — Amore ve lo
manda, e vi si raccomanda — — E che fiore mi manda ? — Un fior di
giglio, E in nove mesi vi predice un figlio. — (1) E nell' Istria a dì
nostri così si canta : Ciulì 'stu fiur, Ch" el xì de amur. Mei eh' i ve lu
dago I siè cumo chi stago : E vui, ch'i lu ciulì Che risposta me dì?
(2). Ognuno vede ben chiaro che fra il « giuoco de' fiori e
l'invocazione contenuta nel primo verso degli Stc nelli, non vi è se
non lontanissima parentela, aven soltanto comune l'origine da certa
gentilezza di co suetudini e di affetti (3). (1) MUELLER-WOLF, pag.
12. (2) Ive, pag. 260. (3) Un antico componimento, che trovo nel
cod. Laurenz. Gè
 LA POESIA POPOLARE ITALIANA 319 Quando poi paresse ai
più, come a noi sembra, che testa forma tipica dello Stornello fosse
ampliazione quella che si compone del semplice distico, e avimento
all'altra di tre endecasillabi, si sciorrebbe dubbio proposto dallo
Schuchardt , se cioè qui sta rza foggia sia stata modello della terzina
letteraria. >i crediamo invece che lo Stornello composto ili tre
decasillabi sia forma posteriore, e quasi diremmo uria, al cui
nascimento debba aver avuto efficacia tempio della terzina, e non
per contrario. La meca popolare in tal caso nuli' altro avrebbe fatto,
salvo 5tituire al quinario iniziale un endecasillabo, serbando nità del
componimento in una sola strofa e la conlanza atona: laddove, se
vera fosse la supposizione Ilo Schuchardt, dell' immagine presa a
modello troppo ■ebbesi cancellato, togliendo quella strana specie di
ofonìa, e troppo sarebbesi aggiunto, facendo di una ofa in sé stessa
compiuta ed intera, un semplice mbro di più lunga serie. Resta
adesso a sapersi di qual parte d'Italia sieno ivi gli Stornelli.
Considerando quello coli' invocane del fiore qual forma perfetta del
genere, si pobbe quasi per certo dirlo nativo del Fior che fiorisci ogni
fiorito fiore, Fior d'onestà e fior d'ogni oellezza, Fior che fiorisci ogni
fiorito amore, Fior che sempre hai vaghezza, Fior, s'io, potessi con
teco fiorire, Fior, non mi far più dire, Fiorisci con effetto, e fammi
dono Della cui fiore al tuo servizio sono. Di quella fiore al cui servizio
sono.
 320 LA POESIA POPOLARE ITALI V\A dolce paese Di
Toscana gentile Dove il bel fior si vede d' ogni mese. (1) Certo, la
Toscana e il territorio romano sono le regi dove maggiormente
allignalo Stornello, e che in ogni sole potrebber contendersene il
nascimento. In Sicilia vece i duri sono poco apprezzati, e pajono app
nere alle meretrici e alle persone di mal affare (2) : il ci par segno
che non sieno prodotto indigeno. Xel poletano ed in Puglia non
hanno « vita autonoma anzi si aggiungono al Rispetto », col nome di
motti o di raccomandare » (3). A Venezia, dice il Dal Medi non
sembrano natii, ma recati di fuori: « le donnei chiamano roba senza
sugo, e non li cantano » (4). '. ogni regione d'Italia portano essi,
adunque, l'impri di origine aliena, etrusca o laziale che debba dirsi,
m: forse più veramente etrusca. (1) ClNO DA PlSTOJA. (2) « Il fiore,
componimento niente pregiato dal popolo, dai lieve fatica a chi vuol
raccoglierlo, poco o punto essendo cant dal campagnuolo, che ama a
tenersi lontano dalle donne di affare e dalla gente di galera; esso
invece è comunissimo nel ■ cere, e può dirsi il canto prediletto de1
chiassi: di che mi face ben avvertito una buona palermitana, la
quale, richiesta da di codesti duri, molto arrecandosene, mi
rispondeva non se qualche risentimento: La si procuri dalle cattive
donne queste i perchè io non ne so. E poiché io insisteva pregando,
ella soggii geva: Queste Canzoni si cantano a lu 'nchiuituri
(lupanare) tra i guai (carcere); ed io grazie al cielo,, non sono mai
stata, quei luoghi » : Pitré, C. popol. sicil., Prefaz. , pag. 33. (3)
Imbriani, Organism. poet. ecc., pag. 50. (4) Pag. 207.
 LA POESIA POPOLARE ITALIANA 321 XI I « Poesia popolare
» è locuzione facilissima a proi irsi: ma (Ufficile è definire il genere
che per essa si t dgna. Delle molte condizioni che si sogliono
annovelj-e in proposito, la poesia popolare italiana, » Iella
dell'anonimia, non certo fa mostra dell'altra
 LA POESIA POPOLARE ITALIANA cantile, vi è stata una
partita aperta di dare ed aver tra la poesia eulta e la popolare, un
conto corrent sempre acceso fra i rimatori illustri ed i plebei. Di qi è
venuto che la nostra Poesia popolare nella sua espre* sione lirica, e
sia nelle forme del Rispetto, sia in quell delle Canzonette, ha sempre
mostrato e mostra tutti via indole letteraria, e qualche volta un fare
raffinat ed artificioso, che non si riscontra altrove nelle con posizioni
poetiche dei volghi. Vi è nella struttura d< componimento uno
stampo così ben disegnato, nel s stema di versificazione uno studio
così ricercato dei l'armonia, tanta industria di parole scelte e « allei
terate » (1), tanto bagliore nelle immagini, che niun potrà dire esser
quei Canti figli dell'ignoranza. A Firenze vedemmo già qui addietro
esservi stat un momento, all'origine stessa della poesia, in che 1 due
forme erano insieme commiste, per singoiar coi dizione della
cittadinesca cultura; più tardi, quando i separarono, la divisione non
durò a lungo, e Lorenz ed il Poliziano le riamicarono e ricongiunsero.
La pò* sia eulta modellata sulla plebea lasciò prove tali, eh se non
furono largamente accolte e fatte proprie popolo, servirongli tuttavia
d'esempio, e di stimol a far meglio. Questo stesso fatto debb' esser
avvenut anche in altre regioni d' Italia, sebbene sia difficile e: tare
per ogni luogo nomi e date, salvo che per la S' cilia. Ma nell'isola,
quando la vita politica e l'operosit intellettuale andarono in tutte le
provincie italiane ra( cogliendosi in alcuni centri di maggiore
importanza e le varie regioni furono denominate nazioni, la poe sia
popolare e la poesia vernacola confusero insiem le ragioni loro.
Sorsero allora a schiere poeti, che no (1) Parrati li palori allitterati :
Lizio-Bruno, C. popol. Iso Eoi. n." X
 LA. POESIA POPOLABE Ì[Link] elevano o nou sapevano o
non potavano rimare nella Dgua illustre e nazionale, o cui piacque,
ad ogni molo, il plauso immediato delle genti fra cui vive i costoro
scrissero nel proprio dialetto, attenendosi al jenere che già il dialetto
possedeva, e pel quale aveva (ome anche di fuori. Ritenendo,
dunque, la forma inìigena e plebea dello Strambotto, non pochi
Siciliani ostarono nel nativo idioma: sol che alla strofa popòlire
aggiunsero, o maggiormente vi accrebbero, l'indole pigrammatica e il
fare artificioso. Parecchi di tali comonimenti furono con leggiere
modificazioni fatti prorj dal popolo, che tuttora li canta: ed i
successivi veemente formati da cantori plebei, dovettero sentire
[efficacia di modelli siffatti, ed avere in sé qualche |iflesso di artistica
luce. Quando, invero, in famiglia opolana entra chi viene da gente di
più squisita eduiizione, ognuno cerca spogliare la nativa rozzezza
'■eli' abito, dell'idioma, degli atti, ed imitare il notile esempio che ha
dinanzi a sé. Anche in Sardella, in quell'isola per tanto tempo
separata dal resto l'Italia e chiusa ad ogni influsso del continente,
sojosi tra loro confuse la poesia popolare e la poesia Calettale, e il
volgo ha fatto sua gloria delle rime iBrnacole dei dotti poeti; e chi di
poesie popolari fa imanda, rimane stupito nel vedersi additare
compolimenti, che altrove verrebbero classificati fra i saggi (ji poesia
aulica. (1) i Questa rispondenza ed affinità tra la poesia eulta j (1)
Pischedda, Canti popolari dei classici poeti sardi , Sassari, .ceri,
1854; Spano, Canzoni popolari inedite in dialetto sardo entrale,
Cagliari, 186-1-70. Vedi l'articolo del Pitré sulle Canzoni ■polari sarde
e sul loro carattere letterario, nel volume degli SUtdj ì -poesia
popolare, pag. 357 e segg., nonché la Prefazione ai C. ìpol. sicil., I,
pag. 115.
 324 LA POESIA POPOLARE ITALIANA e La popolare non fu
abbastanza avvertita finora ne • sue ragioni storiche; e solo da poco
tempo cornine • rono a notarsi alcuni fatti particolari (1) , dai qu
però, e da molti altri, può dedursi il proprio caratte della poesia del
popolo nostro. Crediamo che alla scien , e alla storia sia utile, e al
lettore non debba parer fi verchio il notare e provare per esempj le
appropri zioni che il popolo ha fatto di poesie auliche, e le n
dificazioni che vi ha arrecato accogliendole nel propi • repertorio. Se
non che, prima di ricercare nelle raccolte di cai popolari quelli onde è
certa od assai probabile la ci rivazione da fonti letterarie, giova
eliminare alcu componimenti che vi si sono introdotti per astuzia
vanità di coloro che hanno pòrto aiuto ai collettori, e hanno preso
luogo per la costoro imperizia o sbad taggine. Questi fuchi parassiti
vanno immediatamer scacciati dagli alveari, in che si elabora il dolce
mi della poesia popolare. Sono componimenti apocrifi, e vorremmo
espulsi d'ora innanzi dalle collezioni, pt che già da troppo tempo,
ingannando la buona fé degli studiosi, hanno usurpato un posto che
ad e; non spetta. Il carattere principale onde si riconosco questi
Canti si è una leziosa semplicità, una natui lezza affettata, colla
quale gl'improvvidi contraffatta hanno creduto d'avvicinarsi alla
maniera del popol che, quando si appropria poesie di autori le trasc
glie, come vedremo, di preferenza tra quelle in e l'artificio del
concetto e della espressione è maggio] Sì fattamente scipito è il
seguente Kispetto accolto d Tigri, ma che anche nella tessitura
metrica nulla ! di popolare : (1) Nigra, Oputc. cit., pag. 17-18.
 LA POESIA POPOLARE ITALIANA Un verde praterello senza
piante È l'immagine bella del mio amante: Un mandorlo fiorito
all'acqua in riva E dell'amante mio l'immagin viva: Tutti i raggi del
sole e delle stelle Sono l'immagin di sue luci belle: Il dolce olezzo di
giovane fiore, È l'immagine vera del mio amore. Amante, amante,
amore, amore, amore! 0 vieni vaccio a ricrearmi il cuore. (1) Chi sa
quanto avrà sudato il poetucolo che ha Titto questi versi, per dar
loro impronta d'antico! e li sa quanto sarà stato lieto di aver
ripescato quel iccio guittoniano ! Quest' altro è pure evidente fattura
un inesperto, che però ha trovato nel raccoglitore io più di lui
inesperto e sbadato: Caro amore mio, chi me lo avesse detto Ch'io
non t'avessi a por l'anello in dito! Il naso mi sarìa tronco di netto, E
in boccon me lo sare' inghiottito. 0 Niua mia, la mastico la mastico,
Ma mi pare un boccon troppo fantastico: Troppo mi par fantastico, e
il sai tu : 0 Nina mia, e' non mi vuole ir giù. (2) Ascoltisi anche
quest'altro: Oh quanto tempo sola sono stata, Sola soletta come
vedovella! Che cor fu il tuo vedermi abbandonata, E lasciar senza
sole la ìua stella? Chi ti staccò da me fu il mar crudele, Ma sei
tornato com'eri, fedele: E più amoroso t'ho visto tornare; Se sei
tornato, benedetto il mare. E più bello t'ho visto tornar io; Se sei
tornato, benedetto Dio! (3) (1) Tigri, n.° 228. (2) Tigri, n.° 548. (3)
Tigri, n.° 715
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326 LA POESIA POPOLARE ITALIANA Del seguente è anche

noto l'autore, che fu il I Stanislao Bianciardi, il quale lo mandò, e con
esso alt dieci, frammischiato ai Kispetti genuini raccolti n
Mont'Amiata: (1) Quando incontri i miei occhi, e fai un riso E poi gli
abbassi, e pieghi il mento al seno, Ti prego prima darmene un
avviso, Perchè in quel mentre io tenga il cuore a freno. Perchè in
quel mentre io tenga a freno il cuore, Che mi vorrebbe uscir dal
grande amore. Perchè in quel mentre io tenga il cuore in petto, Che
mi vorrebbe uscir dal gran diletto. (2) (1) Il Tommaseo che aveva
inserito i Canti del Bianciardi nel sua raccolta, fece noto l'inganno in
che era caduto nelle ScintU p. 205. Ma il Tigri ristampò qu '< Rispetti
nella prima edizio dei Canti popolari toscani: poi, avvertito dal
Bianciardi, fé' cen: di ciò nella Prefazione alla 2.a e poi alla 3.a
ristampa, pag. XI Ma, come ebbe a notare il Bianciardi (I Rispetti
>lell' Amiat Firenze, Tipogr. Claudiana, 1863, pag. 15) nella seconda
edizioi ne rimasero due, e l'altro qui trascritto nella terza. Altra
singolari notata dal Bianciardi è che il P. Giuliani asseveri aver
cantare popolarmente nell'Annata uno degli undici Rispetti apoc cioè
il seguente: Una fila di nuvile d'argento Innamorate al lume della
luna, Vanno per l'aria portate dal vento Per salutarti, o bella
creatura; Per salutarti e rigirarti intorno , Innamorate del tuo viso
adorno; Per salutarti, e girarti vicino, Innamorate del tuo bel visino:
ove il Bianciardi osserva, elio se proprio il suo Rispetto è passai al
popolo, per lo meno il secondo verso non sarà cantato come stampa
il Giuliani: Innamorate al chiaro della luna. (2) Tigri, n.° 283.
L'inserzione del Rispetto del Bianciardi fi i popolari, dopo averne
notato la paternità vera nella Prefazione, di quelle inavvertenze che
dimostrano la poca cura con che fu coi dotta la tre volte ristampata
raccolta tigriana. Nella quale ut mancano , i rfino componimenti
identici più volte ripetuti: ad esemp
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LA POESIA POPOLARE ITALIANA 3 2 i Bravi dubbj

potrebbersi uvei-.' per quest'altro: Alle bellezze della donna mia
M'inginocchio per casa e per la via: 151-1170; 212-282; 281-358;
343-793; 315-437; 521 1015; 855-9S0 re. In altri casi si hanno
componimenti (piasi idenvarietà ili poco conto, che sarebbe stato
bene raggrupre, anziché disseminarli qua e là: ad esempio: 100-279-
480; 159-287; 193-421; 258-514-515 ;251-! : : 268-306; 271-324;
300-326; 301-473; 373-403; 418-448-625 503-808-991; 511-530;
524-580; 532-720; : I : 702-722; 706-718; 724-732; 729-751-': :
818-834-856; 820-957; 821-8^8; 839-1079; 861-87 i; 959-1148;
1005-1047; 1014-1108; 1024-1090; 1046-1077 HM117; 1129-1153;
1138-1149; 1143-1159; 1145-11! nielli !; 151-192; 152-213; 185-
207; 190-280; 200-259; 297 -SI 1 ecc. Nulla dirò di certi singolari
errori di trascrizioni •mpio, il verso: Gli occhi neretti e tate ciglia, che
ri< 98 e 368, dove fa veramente inarcar lo ciglia il leggere in ite
ciglia: ciglia rosee, latte e s e, che non sona. Ma il Tommas , donde il
Tigri trasse il Rispetto, 'hi queste tue bellezze oh, Felice egli è, e
pieno d'ogni male, dov'è-chiaro debbasi : privo. Lo Stornello n.°203
è così stampato: E me ne rag/io dar di macchia in macchia,
Incespicar mi vo' tutta la testa r esser vincitor della ragazza: e in
nota: Ine il cupo fra i cespi di folto bosco per passare. Las, la
definizione sia esatta: ma nella mia Raccolta manoiita, che il Tigri
ebbe fra mano, e donde tolse lo Stornello, è aramente scritto:
Incipriar. Altro grave difetto della Raccolta àel Tigri è 'li aver tolti one
di luogo, segnata dal Tomm e 6e i Canti anserò ad un solo dialetto
connine e non a varj vernacoli. •si della raccolta tigriana il sig.
Schwenke ha scrini, ima : Ile dialecto qnae carni in ib. p* scartici* a
trio editis, continetur , Lipsiae, Grumbai . dove sono colti ottimi
materiali, ma per colpa del Tigri non sono, uè poan essere distinti
secondo le particolari pronunzie, e por comune atta Toscana viene
dato ciò che è solo di una od essa.
 LA POESIA POPOLARE ITALIANA Che a un angiolo 8Ì può
rassomigliare : Non le mancan che Tali per volare. (1) E su questo
ancora: A pie d'un faggio in sull'erba fiorita. Aspetto, aspetto che giù
cada il sole, Perchè quando sarà l'aria imbrunita Appunto allor vedrò
spuntare il sole: Levarsi quel bel sol che mi ha ferita. Che m'ha ferita
e che guarir mi vuole. E questo sol ch'io dico è il mio bel damo, Che
sempre io gli riprico: io t'amo, io t'amo: E questo sole è il giovanetto
bello, Che a Ferragosto mi darà l'anello. (2) In altri casi parrebbe
esservi un qualche più o raen leggero ritocco di dotta penna.
Quando leggonsi ver come i seguenti: Le labbra di un bellissimo
corallo; (3) Que' capellini ricciutini e belli; (4) Or che ti giova andar
cercando fiori ; (5) Egli ha una bella voce, egli ha un bel canto ; (6)
Se non son degna, onde degna ne sia; (7) Ma lo splendor che lasci
per la via E sempre meno della fiamma mia ; (8) (1) Tigri, n.° 158.
(2) Tigri, ri.0 497. Qualche dubbio avremmo anche riguardo i n.i
150, 244, 249, 349, 611 ecc. e sugli Stornelli di n.° 56, 109, 431 442
ecc. (3) Id., n.° 173. E lo Stornello n.° 59: Avete i labbri simili :
corallo. (4) In., n.o 178. <5) li)., n.° 213. Probabilmente: Oh che ti
giova ecc. (C>) Id., n.° 224. Bisognerebbe scrivere: E' gli ha. T) In.,
n." 252. (8) Id., n.o 261.
 LA POESIA POPOLARE [TALUNA L'ho perso lo mio core, e il
vo cercando; (1) Allor vedresti il mio misero cuore; (2) Ti credi che la
gente non mei dica ; (:'») Il voglio amare e tu lo vuoi amare; (1) L'
ho fatto il voto, e tu noti mei guastare ; (Ò) Pensi che vestir vogliami
di 1 ir uno, Pensi ch'io voglia far come qualcuno, Che per l'amante
vassi addolorato; (6) Padrona del mio cuor, vien te lo piglia ; (7)
Mangiò ben presto il pane tribolato; (8) irmi chiaro che chi li
trascrisse ebbe ben poco senso toscanità (9) e minor pratica delle
forme popolari, accettò per buone le evidenti correzioni, od essenme
autore, pensò che potessero generalmente esser cettate per buone.
(1) Id., n.° 312. (2) Id., 485. (3) Id., n.° 760. In buon toscano: 'ini
me lo dica. (4) Id. n.° 782. (5) Id., n.° 786. In buon toscano: e tu 'n
me lo. I (6) Id., n.° 1037. (7) Id., Storn., n.° 26. Dovrà dire: vienitelo
a piglia. \ (8) Id., Storn., n.° 175. I (9) Questo senso della toscanità,
che certo io non mi arrogo, pnto a ricredermi ove avessi errato, ebbe
tra i non toscani vivisao ed acutissimo il Tommaseo. Eppure ciò non
gli impedì di serire e più volte ristampare le seguenti parole in una
descrizione | Livorno: « Tu se' un mar virente: questa espressione io
sentivo ■ri delle porte di Livorno dalla bocca di un marinaro; e
potete a credere che i letterati non l'hanno inventata (Bellezza e
Cina, Firenze, Le Mounier, 1857, pag. 377). » No certo: perchè
letterato avrebbe detto: -mal rivenite.
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330 LA POESIA POPOLARE ITALIANA Né solo fra i Canti

toscani, ma anche in altre Re colte si sono indebitamente introdotti
componimei apocrifi. La pubblicazione del Marcoaldi, nota a r gione il
Nigra (1), comincia con un Canto artefatto, segue con parecchi altri
d'egual natura (2). Chi infa non scorge il falso in questo Rispetto,
onde appun s'inizia la Raccolta umbra, e che par proprio un' a?
poetica ad uso del genere? E voi mi domandate in cortesia Chi fu
delli miei versi lo maestro ? 10 T ho dentro del cuor la poesia, E
canto quello che mi detta l'estro. 11 giorno che ho veduto la mia
Nena La mente mi sentii di versi piena; Il giorno che la Nena mi ha
sorriso Io l'ho veduto tutto il Paradiso; Ed oggi che la Nena il cuor mi
dona, Io son poeta, e re di gran corona. Non neghiamo però che,
oltre questi Canti che ci diamo non sieno mai stati popolari, altri non
ve i sieno di evidente origine letteraria, ma che il popò ha fatto suoi,
più o meno modificandoli. Vedremo p oltre una serie di Canti appresi
dal popolo di sui '. bri: e in altri, se manca la prova di fatto, la
derivazio: letteraria è evidente. Odasi questo, che è anche ui perfetta
ottava : Bella, non fere come fé1 Narciso, (3) (1) Opusc. cit., pag. 12
in nota. (2) I Canti apocrifi, opportunamente notati dal Nigra nel!:»
Ra colta del Marcoaldi, sono i n.* 1, 3, 2fi, 28, 34, 39, 76, d -g U bri,
e il 16° dei Piemontesi: aggiungasi il 5° dei Liguri, il 491
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LA POESIA POPOLARE ITALIANA SS] Di donno mm si volse

innamorale; E poi s'innamorò del suo bel \[Link], Sopra una fonte ne
venne a passare, Dentro ci si guardava fiso G Dell'ombra sua si
venne a innamorare; Guardate come fu la sua fori una! 'Namorato
che fu, morte si dona. (1) A' seguenti, perch'e'siansi fatti popolari,
non nuocine, anzi dovette giovare, l'antitesi dei concetti e delle rasi:
(2) Se tu mi lasci, lasciar non ti voglio ; Se m'abbandoni, ti vo'
seguitare ; Se passi il mare, il mar passare io voglio, Se giri il mondo,
il mondo io vo1 girare; [ridice ed Orfeo, e nella prima sua origine,
avanti che s'indi spropositi, dovette cor letterario: Cianci Pirimu e
Tisbi pri l'annui, Ca morti tutti dui B'aj pira a duri; Broglia e Terenm
pri li granili emiri Ccu pinni e ali misiru a velari; Cianci Ararici 'ntra
caverai oscuri Ca Orfeu a fri 'nfermi la vitti turnari; • Iu cianciu, e
m'annavanza lu duluri, Ca t'aruu, o'un sacchi s'iddu mi vo* amari.
(1) Tigri, n.° 133. (2) Lo stesso andamento, ma pur anco lo stesso
carattere letl'rario, hanno molti Canti siciliani: Tu speri, iu speru, e
tutti \ue spirami' . . . Tu si' mia, in su' to , lantani stanili ore. ( : Nun
su' mix, ca su' to , su' cca, su' ddocu , Su' cchiù , cchiù to ca miti
ecc. (Vigo, n.° 834): Ti secutu, ■ f"j", anni, disamu, Nun t'amu,
timu, m' accustu, m'arrassu, ì'orru, ammutiscìv, ti rifiutu e bramì', Ti
secutu, vgghiu e lassù ecc. (Vigo, n.° 843); Tu vo' , iu vogghiu , tutti
dui . Tu nun voi, iu nun vogghiu, e nut ni stami', Tu vrììsti, hi vurria,
ma nun potano ecc. (Vigo, n.° 1~ 21 ) ; Nun ■un mutai, vini
mutiroggiu ecc. (Vico, n.° '. "'» lassai, nun lassirò ecc. (Vico, n."
1795); W abbaninnasti ed iu t' abbannunai , Tu ri ('riddasti ed iu
'ntirizzii ecc. KlOO, n.o 2829).
 332 LA POESIA POPOLARE ITALIANA Se passi il mare con
pianti e con pene, Con te voglio venir, caro mio bene. Se .passi il
mare con pene e con guai, Con te voglio venir dove ne vai. (1) Se
m'ami, io t'amo; e se tu m'odii, io t'odio; Se tu mi vuoi del ben, ten
vuo' il cor mio; Se mi sprezzi, ti sprezzo, e s' altra brami, S'altra
desidri tu, altri bramo io; Se segui, io seguo, e se tu fuggi, io fuggo :
Se tu ardi per me, per te mi struggo. (2) Anche questo ha
intonazione letteraria: Crude sono le fiere, e sì spietate Nate ne'
boschi , fra l' erbe nutrite ; Ma non tanto crudeli e tanto ingrate,
Quanto inverso di me tiranna siete. Bella, se vi amo, perchè non mi
amate? E se vi seguo, perchè mi sfuggite? Verrà la morte, e tutti due
morremo, Dipoi che contentar non ci poterne (3) In altri casi si
direbbe che il Canto sia in parti letterario, in parte popolare:
l'intonazione inconsuet non ha retto a lungo, cedendo il luogo a più
semplic suono, o questo si è a quello innestato. Eccone qua! che
esempio : Miseri gli occhi miei quando vedranno Vostre bellezze in
liberta (4) d' altrui ! Pianti e sospiri a me non mancheranno, Di tanto
bene che ho voluto a vui! Non piango mica il ben che vi volevo,
Piango le falsità che vi credevo. (1) Tigri, n.° 586. (2) Tigri, n.» 839.
Cfr. n.i 1079, 1086, 1087 (3) Tigri, n.° 993. (4) Certo: in potestà.
 L.V POESIA POPOLARE [TALUNA Non piango mica il ben
che v'ho voluto, Piango le falsità che v'ho creduto. (1) i differenza di
suono comincia qui collii ripresa, coe se fossero due tetrastici di
diversa origine, appicci insieme. E così in questi altri casi : Quanto
più in alto cielo n' anelerai, Più aspro ti sarà scendere in terra;
Quando la pace a me domanderai, Allor sarò forzata a farti guerra.
Quando verrai da me a chieder pace, Non si può perdonare a chi è
fallace. Quando verrai da me che ti perdoni, Non si può perdonare ai
peccatori (2). Zappai nell'acque e coltivai l'arena, Scrissi con polve e
poi la diedi al vento; Era di neve, amor, la tua catena Che il sole la
distrusse in un momento. Ora m'avvedo e conosco l'errore; Quanto
son false le vostre parole ! Ora m'avvedo, e conosco il partito; Chi si
raffida in voi, riman tradito (3). Ho visto per pietà continovare 'Na
goccia d'acqua sconsumare un sasso; Ho visto molti poveri innalzare,
Principi e cavalier calare al basso. Ed ho veduto di molti signori
Calare abbasso e diventar pastori; Ed ho veduto de' signori tanti
Calare abbasso e diventar amanti (4). Anche maggior numero di
Canti dall' effigie chiarafi) Tigri, n.° 803. (2) Tigri, n.° 895. (3) Tigri,
n.° 098. (4) Tigri, n.° 1170. Hanno carattere più o meno letterario i
i. , 795, 859, 999, 1048, 111G ecc.
 :'.:'. I LA TOESTV F'[Link] ITALIANA mente letteraria
trovansi frammezzo agli Strambot popolari siciliani (1). Non si
potrebbe in generale d sconoscere che sieno stati raccolti fra 1
popolo, com tutti gli altri, e che il popolo al paro dogli altri li cant ma
neanche potrebbe negarsi che abbiano qualche cos che dalla
generalità li renda alquanto differenti. Vi è i essi una ricercatezza di
concetti, una raffinatezza di sei timenti, una lindura di frasi e
vocaboli, un artificio < versificazione, un sì fragoroso contrasto di
immagini e < parole, una così assidua cura di carezzare, liscian
ingrandire le minime cose e dar loro l'importanza del] grandi (2), un
che, insomma, che al popolo piace, m ch'egli di per sé non sa fare,
perchè contrario alla su vera natura. Chi ha pratica col genere,
facilmente a verte la dissomiglianza di questi componimenti da quel
fatti davvero dal popolo; ma facilmente anche comprenc come al
popolo sieno garbati, e li abbia fatti suoi, mei tre sprezza o non cura
le svenevoli imitazioni de' Can suoi proprj. « Tutti i Canti piazzesi,
dice il bravo Vig< putono di calamajo » (3); e più oltre: « Al solito
Canti di Piazza sentono d'inchiostro » (4). E anche a trove qua e là
esprime egli le stesse riserve sul] (1) Il Guastella così conchiude la
sua Prefazione, pag. CXXX «In quanto alle Canzvni, le schiettamente
popolari sono poch essendo in grandissima parte opera di poeti culti,
sebbene stupe
 in cz LA POESIA POPOLARE ITALIANA etta popolarità di
taluni Strambotti (1), fra gli alper quelli tutti di Pietraperzia (2).
Similmente il fa eguali avvertenze rispetto ai Canti raccolti in 'torici
(3). Sulle ragioni del fatto già abbiano detto Iche cosa, e più diremo
in appresso: intanto ci ;e confermarlo con esempj, perchè meglio bì
noti sta singolare tendenza del Canto popolare alla Bquizza delle
forme letterarie. Apriamo, adunque, la ! [{accolta amplissima » del
Vigo, e caviamone fuori uni Canti, che evidentemente appartengono
alla caloria degli aulici : Di dda Sirena mia sern pri adurata, Pinci, o
pitturi, la gran simpatia, Coinu mi teni in estisi biata, Quantu di dd1
occhi è forti la magia ; E sibbeni iu la soffru sempri 'ngrata,
Pr'ingannari st1 afflitta fautasia, Pinci l'occhi ccu mastra pinziddata,
Mossi 'nfini a pietà di st' agunia. (4) «Lo canta il popolo, soggiunge il
Vigo; ma è del pollo? Io lo reputo di persona che ha letto. » E a pro1
dto di questa che segue, annota: « La Canzone è polare, ma è stata
ritocca e guasta da qualche dottore » : Ssi toi bianchizzi su' tantu
perfetti, Ca pari fatta di nivi e di latti: 'N capii ssi mascidduzzi hai due
russetti, Cchiù frischi di li rrosi ancora 'ntatti; L' occhi 'nnucenti ca a
pampiua metti Fa ca ogni cori s' arrisbigghia e sbatti; 1(1) Note ai n.i
834, 843, 1859, 1613, 2538,2903, 3060, 3101, 3124, \ì ecc. (2) Nota
al n.° 78. (3) Nota al n.° 261. (4) Vigo, n.o 78.
 oòtì LA POESIA POPOLARE ITALIANA Lu sai comu su' l'
aucili cchiù eletti V Guardati 'ntra lu specchiu ca cci appatti. (1)
Quest'altro ancora accortamente dubitò il Vigo « sapesse di scuola »
: Di li beddi occhi toi la sciamma ardenti M'ha cunsumatu li miduddi
e l'ossa; Talchi lu fini di li me' t tinnenti E la paci pri mia sarà la
fossa; Qualunchi vota chi mi torni in menti Crisci la dogghia a misura
chi è mossa; Pirchì spina tuccata è cchiù pungenti, E la sciamma ardi
cchiù, quannu è cchiù smossa. ( Per quanto leccato, si capisce che
quest'altro pc tesse esser fatto proprio dal popolo, ma non dal p(
polo composto : Specchiu, signura, mi vulissi fari Ppi vui guardari di
cuntinu a mia; E vistinedda mi vulissi fari, Di la vistina almeno la
pudìa: Frisca funtana mi vulissi fari Si cci lavassi la patruna mia;
Fussi la sòia di li to quasari, Lu to piduzzu sempri vasiria ! (4) Dicasi
altrettanto di questo, che è un dialogo fra u amante disperato e il
diavolo : (1) Vigo, n.° 118. (2) N.° 3060. Cfr. Mueller-Wolff, pag.
244. (3) È infatti nel Codice Laurenziano 97, I, pag. 41, col non 'li
Filippo Triolu, con queste leggere varianti: vers. 2: Cu sumat' ha la
carni e st' afflitti — 3 alla fini — AL' ultima pa mia — 5 S' iu mindi
scordu e poi mi veni — 6 Tant' è più aceri la dogghia cummossa — 7
tuccata chiaga — 8 quantu chiù è. il prof. U. A. Amico mi avverte che
col nome di Filippo Triolo tr panese trovasi nella Nuova scelta di
Rime siciliane, 1770, voi. pag. 67, e nella Scelta di Comuni siciliani,
raccolte dal De Bla* e Gambacorta, 1753, pag. 130. (4) Vigo, n.°
512. Cfr. n.° 511.
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LA POESIA POPOLARE ITALIANA 337 — Cu' è ca batti li

porti a la '[Link]? — — Apri, ca sugnu uu mirini dannata. — Chi veui
a fari 'ntra atu fooo etenra V — — Veguu pri riposari a lo tu lato. —
— Lu vidi eh' è di focu lu governo, E cui ci trasi resta cunnannatu V
— — Megghiu muriri, e sciuiriri a lu 'nfernu Ch' essiri di l' Amuri
turmiutatu. —(1) Quest'altro, dice il Vigo, il popolo l'avrà adottata
qualche antico autore : Siddu c'è stidda, stidda siti viri, Siddu c'è soli,
siti vui lu siili; Siddu c'è luna, luna siti vui, Siddu c'è ciuri, siti vui lu
ehm ; Nun c'è biddizza ca nun siti vui, Siddu c'è amuri, siti vui 1'
amuri ; Unni risguardu sempri vidu a vui , In tutti li jurnati, in tutti
l'uri. (2) Più e più Canti arreca il Vigo, ne' quali l'amatore on molta
arguzia di paragoni rassomigliato ad tra logio: e ne trascegliamo uno
di Milazzo: Su' divintatu rriloggiu d' Amuri; Spiritu è lu me cori ca
cummatti ; Mazziri l'ossa ccu affanni e dolori, Cordi li nervi rallintati e
attratti : Rosa la menti, ed ogghiu li suduri, Amuri è lu marteddu e
sempri batti; 1) Vigo, n.° 662. Cfr. Pitré, C. popol. sicil., I, 142: e redi
ie un Canto in dialogo fra un dannato che vuol passare le porte •nali
e Cerbero di quelle custode, riferito dal prof. Amico nella Lettera
sopra un manoscritto di poesie siciliane nella Bi. nazion. di Bologna,
nella Rivista si>la, voi. I, pag. 491 [io 1869). |2) Vigo, n.n 759. 22
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338 LA POESIA POPOLARE ITALIANA Campana è la mia

Dia, ca sona l'uri, Mi pasci di palori e non di fatti. (1)
Opportunamente il Vigo a proposito di altro Ca rammenta un Sonetto
azzimato e sdolcinato del Lem Contiensi in ambedue i componimenti
un sogno: l'ama e la bella sono insieme condannati all' Inferno, egli
aver osato alzar gli occhi e il desiderio ad una D ella per la sua
crudeltà. Ma ad un tratto l'Inferno e giasi in Paradiso : Tu lieta mi
parevi, ed io contento: Io perchè rimirava il tuo bel viso, Tu perchè
rimiravi il mio tormento. Or odasi come lo stesso concettino si svolga
in Canto siculo raccolto in Minèo : (1) Vigo, n.° 775 in nota, e vedi ivi
altre varianti. Cfr. Ave n.° 20; Canale, n.° 35. Nel codice calabrese,
del quale più » diremo, trovo quest'ottava a pag. 85: Di mia, di li mei
guaj, di li mei peni 'Ndi forma un orologiu la Fortuna; La campana è
stu pettu chi sosteni Di In marteddu li corpi che duna ; Lu spiritu è
stu cori chi va e veni; E palpitandu li suspiri duna ; Quandu mi criju
arrivari a lu beni, Sonanu vintiquattru, e torna l'ura. Nel cod.
Laurenziano 97, I, cart. 6, che più qua esaminerei!) il seguente
ottava va sotto il nome del celebre Veneziano : Su fattu horloggin,
chi li moti cunta Chi fa lu celu, e quanti voti duna ; Numeru
ogn'hura, ogni quartu, ogni puntu, Di quandu inalba sin a quandu
imbruna; Quando mi criju a la jurnata juntu D' essiri in gratia di la
mia patruna, Tandu, mischinu mia, scuru e tramuntu : Sunati
vintiquattru, tornu ad una. E con leggerissime varianti è nelle Opere
di A. Veneziano, jftlermo, Giliberti, 1859. pag. 15, n.n CI.
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LA POESIA POPOLARE ITALIANA Mi suonai ehi nui dui,

patrona mia, 'Ntranunu a lu 1nfernu jamu cuunannati; Iu chi cosa
celesti prìttinnia, Vu1 ppi la vostra troppa crudiltati ; Vu' tant' eravu
sazzia di mia, Ch'un jocu vi pania zzoccu ai pati: Iu ppi la vostra vista
e cunipagnia I Essiri ('n) mi parria 'ntra li dannati. (1) da l'ottava è,
secondo il Vigo, di Orazio Capuana (2), ; ebbene noi l'abbiamo
trovata manoscritta (3) e a stani »a (4) fra le cose del Veneziano. (5)
Bello è il Canto seguente, specialmente nella prima iarte , ma fatto
dal popolo noi diremmo davvero : Scura la notti, trunianu li venti,
Ammucciata è la luna a lu livanti; (1) Vigo, n.° 1134. Aggiungiamo la
negativa, che manca al ioo, e senza la quale manca anche il senso.
(2) Del Capuana sarebbe anche secondo il Vigo, n.° 1515,
que'ottava, poi passata al popolo: Comu gravida donna ca ddisia Li
frutti chi a ddu tenipu nun ci su' £ per effettu di la fantasia. Tocca 'na
parti e non ci pensa cchiù ; Doppu nasci lu partii, zoccu sia, Signatu
appuntu unni tuccata fu; Ccussi fu' iu pri disiari a tia ; Tuccai sta
cori, e ci arristasti tu : i'r. una ottava del Veneziano, ediz. cit., pag.
50, n.° 259. (3) Cod. Laurenz., 96, pag. 16. (4) Ediz. cit. del
Veneziano, pag. 43, n.° 222. Diamo qui alcune rianti: 1 Cod. e st.:
vui ed iu — 2 Cod. e st.: Morti a l'inferii—3 Cod. e st.: per chi . . .
vulia — 4 Cod.: troppu vostra: st.: \ttra troppu — 5 Cod.: tantu: st.:
Tantu vi sazziavivu — 6 d.: Chi festa vi paria quantu. St.: Chi festa ci
paria zo
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340 LA POESIA POPOLARE ITALIANA 'Ntra hi letta si

abbrazzanu l'agenti, Iu fora staju, ohimè, poviru amanti! Ti cantu li
canzuna, e non li senti, Ti n'ba'fattu n'aricchia di mircanti; Quannu la
testa a lu capizzu menti, Rigorditi di mia mentri ca campi. (1) Né di
minor bellezza, ma pur sempre di letteraria gine, diremmo quest'
altro : Comu 'na rrosa dintra lu buttuni, Durmia la bedda, e s'
insunnava a mia; Adaciu, adaciu cci dugnu un vasuni , Si
arrisbigghia, apri l1 occhi e mi talia; Cci sciaura di cannedda lu
sciatuni, La trizza coddu coddu pinnulia; Guardati si a stu mannu c'è
pirsuni Ca ponnu assimigghiari a la me Dia! (2) E bellissima è pur
quest' ottava : ma chi la direbbe cor posta dal popolo ? Ciancennu e
lagrimannu la lassai Mesta, assittata d'avanti la porta: Quannu la
bianca manu cci tuccai, L' avìa fridda 'na nivi ed era assorta; E poi mi
dissi : Veru ti ni vai ? Ora li peni mia cu' li cunforta ? Longa è la via;
cui sa quannu virrai? Ju nun ti viju cchiù, ca sugnu morta. (3) (1)
Vigo, n.° 1322. (2) Vigo, n.° 2086. (3) Vigo, n.° 2650. Varianti del
4.° v.: L' avìa cchiù frid di 'na vera morta: e dell'ultimo: Viva mi lassi
e mi ritrc morta. Eccone l'imitazione toscana (Tigri, n.° 1136): La vidi
alla finestra che piangea. Io la chiamai e le dissi: Cos'hai? E lei mi
disse: Penso a' casi mia, Senza che te lo dica, amor, lo sai. Se non mi
pigli e tu mi porti via, Le nuove che son morta presto avrai. So non
mi prendi per teco menarmi. Le sentirai cantar le requie e i salmi.
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