already said about the probable identity of Rocabertí, stated the plan of the poem, and quoted a few verses, taken partly from Torres Amat and partly from Cambouliu, to illustrate the versification. In 1878 Cardona[1] summarized the poem from Cambouliu's extracts, quoted about 180 verses, and added two unimportant critical notes. In 1889 Rubió y Lluch included in his article on the classical renaissance in Catalonia [2] an account of the Gloria d'Amor, using Cambouliu as his only source,[3] without, however, quoting any parts of the poem. Finally in 1893 Denk, in his history of Catalan literature,[4] drew extensively on Cambouliu [5] for his critical remarks, his analysis of the poem, and his extracts.
In 1893 there also appeared the only complete edition of the Gloria d'Amor, namely, that of Del Balzo.[6] Here again the influence of Cambouliu's article is evident, not only from the fact that Del Balzo copied almost in extenso the critical introduction of the former, but also from the mere fact that he included Rocabertí in his collection of a "thousand authors round about Dante," apparently accepting without question the theory first advanced by Cambouliu that the Gloria d'Amor is primarily an imitation of the Divine Comedy.[7]
- ↑ Enrico Cardona, Dell' Antica Letteratura Catalana, Naples, 1878; cf. pp. 88-103.
- ↑ Antonio Rubió y Lluch, El Renacimiento clásico en la Literatura Catalana (Discurso leído en su solemne recepción en la Real Academia de Buenas Letras de Barcelona), Barcelona, 1889; cf. pp. 37f.
- ↑ So the author states in a footnote, loc. cit.
- ↑ Otto Denk, Einführung in die Geschichte der altcatalanischen Literatur, Munich, 1893; cf. pp. 337-348.
- ↑ Also on Ebert's review of same and on Bartsch's article on the Cançoner d'Amor.
- ↑ Carlo del Balzo, Poesie di Mille Autori intorno a Dante Alighieri, vol. IV, Rome, 1893; pp. 5-62.
- ↑ See on sources below.
