1) There is a paragraph broken in two: lines 4645-47. This paragraph should be unified.

2) Line 4713. As far as I know, Costanza d’Altavilla was not the daughter of Guglielmo di Sicilia. She was daughter of Ruggero II and mother of Federico II. Also in other cases Boccaccio makes mistakes of this sort, but I guess this kind of problems will be dealt with when annotation begins.

Roberto Bacci

During the last week of encoding, I have been dealing with a bunch of “double names” (or even “triple names”). The typical example is a character that had (fairly accurate) equivalents in the ancient Greek and Roman worlds, and then sometimes a “third” name in medieval Christianity. A fex examples will make this point clearer: Medusa-Gorgone, Furie-Eumenidi, Parche-Fate-Fato etc. In these cases, for the glosses, we employ the tool seealso=”", which could be useful for names as well.
Roberto Bacci

Thank you Mike for the encouraging words. I wish to signal two more changes to be done in the first chunk of the esposizioni to make it consistent with the second chunk (the part I am currently working on):
- Encode “Figliuolo” (usually capitalized) when it is referred to Jesus Christ: nameref=”figlioulo” reg=”gesucristo”. I think “Figliuolo” has not been encoded at all in the first chunk.
- “Etiocle”: the most used modern Italian version for the name of this character (the brother of Polinice) is “Eteocle”. Thus we must change all the “Etiocle”s in the first chunk into “Eteocle”s.
Roberto Bacci

I am encoding the second chunk of the Esposizioni. When the two chunks will be put together, we must remember to do the following:
- in the first chunk, change “Orco” from “place” to “mythentity” as it can mean both “inferno” and “Plutone”.
- make sure that all the terms for “angelo” “arcangelo” “demone” and their variations (”angiolo” etc.) - so, basically, all the terms for “devil” and angel”, also in the SINGULAR - are encoded in the first chunk. I have been consistent in encoding them in the second chunk, but now I have realized I might not have encoded all the occurrences in the first chunk. Terms like that, generic and singular, are more important in the second chunk than in the first. That is why I have decided to encode them, but we must check the consistency in the first chunk.
- All the “Oceano” occurrences must be checked with attention. Myth-entity or place? It seems to depend on the context. Furthermore, there are many “Oceano”s: Oceano orientale, atlantico, etiopico etc.
- Both pagan divinities (”Venere”, “Giove” etc.) and Christian saints (”Santa Lucia” etc) can be also temples and churches, thus not only “persons” (mythical or not) but also “places”.
- I agree with Mike on the names of the planets: they should not be considered as possible destinations, even though A. Warburg wrote an essay on this topic, and the idea of “astronaut” was not unknown in tha Middle Ages (most of Warburg’s examples are from the early Renaissance, but with medieval antecedents).
- In the second chunk, the whole part dealing with “Plutone” is particularly messy and unclear (for example: there are many references to what I have labeled as “mythentities”, Sicilian mountains that are also Greek gods etc.) Thus, when the time comes, please read it and double check my encoding with particular attention.
Ok, I think it is all for now.
Roberto Bacci

I’ve gone through the index nominum for cantos I-IV and have some observations that, I hope, are helpful.

Some typos to correct in the encoding:

Agrippina Maggiore is really Agrippina Minore;
Alcipiade should be Alcibiade;
Gaio Antonio should be added;
Antonio, Marco duplicates Marco Antonio;
Aristotene should be added;
Arunte should be Arruns;
Asclepiade the philosopher should be added;
Benedetto is the same as Boniface VIII;
Capi should be Capis;
Dionisio the Younger should be added;
Diotima should be Diutima;
Eune should be Eune Maura;
Since we have other personifications (e.g. Onore), we should add Filosofia;
Galeno, Claudio should be just Galieno;
We should add “san” to Gregorio, just for the sake of consistency;
Iaso should be Iasio;
Igino should be Iginio;
We should add the collective Inglesi;
Lucia and Lucia, santa should be merged;
Anco, Marcio should be changed to Marcio, Anco;
Marco Annenio should be merged with Seneca;
The Minturnesi are collective;
The first Nerone is the same as Domizio, Gneo;
Poppeia should be Poppeia Sabina;
The two entries for Proculo should be merged;
Roboam should be added;
Sciti should be Scizi;
The three entries for Silvio could be clarified by making them: Silvio, Enea; Silvio, Postumo Giulio; Silvio, Latinus.
Simone should be Simone Mago;
Tolomeo Feludense is the same as Tolomeo, Claudio.

Of course, if anyone notices a problem with any of this, please let me know. I’ve put together a list of the English equivalents and will send them shortly to Vika. There are, however, some more problems of a different nature that I’ll bring up in another post.

M

It looks like the online text is missing IV.lit.205-211.

Ilione is encoded everywhere as place. However, in some cases it’s a city, and in others a man. To be corrected later by myself or Roberto; fyi for the rest of you.

I noticed in the two-vol Mondadori ed. of the Esp. that the paragraph number for 1.all.93 is missing. If anyone has the red Opere vol, could s/he check to see where it is?

There’s a new blogging category: “typos and errors.” We’re finding some discrepancies between the critical edition and the one graciously provided to us by Prof. Pietro Beltrami and Opera del Vocabolario Italiano; such things are inevitable, and we’re keeping a running tally of error correction mostly for our and OVI’s benefit.

Today marks the first day of corrections, thanks to Mike’s eagle-eye proofreading. Two of them, both in Canto XIII, Esposizione Litterale.

1. Par. 13, which starts “Per le quali parole l’autore divenuto più attento…”: changed grai to guai.

2. Inserted missing par. 18, which I reproduce below for cutting and pasting. This comes right before par. 19, which starts “Dice adunque: E ‘l buon maestro…” Here’s the paragraph:

E dividesi questa parte in nove: nella prima Virgilio gli dimostra in qual girone egli è; nella seconda si maraviglia l’autore d’udir trar guai, e non veder da cui; nella terza Virgilio gli mostra come da questa maraviglia si solva; nella quarta l’autore fa quello che Virgilio gli dice; nella quinta lo spirito schiantato si ramarica; nella sesta Virgilio il consola e domandalo chi egli è; nella settima lo spirito dice chi egli è; nella ottava il domanda Virgilio come in quelle piante si leghino e se alcuna se ne scioglie mai; nella nona lo spirito risponde alla domanda. La seconda comincia quivi: “Io sentia”; la terza quivi: “Però disse”; la quarta quivi: “Allor porsi”; la quinta quivi: “E ’l tronco suo”; la sesta quivi: “S’egli avesse”; la settima quivi: “E ’l tronco: sì”; la ottava quivi: “Perciò rincominciò”; la nona quivi: “Allor soffiò”.