[334] For instance, Rispetti in the valley of the Po are called Romanelle. In some parts of Central Italy the Stornello becomes Mottetto or Raccommandare. The little Southern lyrics known as Arii and Ariette at Naples and in Sicily, are elsewhere called Villanelle or Napolitane and Siciliane. It is clear that in this matter of nomenclature great exactitude cannot be sought.
[335] The proofs adduced by D'Ancona in his Poesia popolare, pp. 177-284, seem to me conclusive on this point.
[336] See Pitrè, Studi di Poesia popolare (Palermo, Lauriel, 1872), two essays on "I Poeti del Popolo Siciliano," and "Pietro Fullone e le sfide popolari," pp. 81-184. He gives particulars relating to contemporary improvisations. See, too, the Essays by L. Vigo, Opere (Catania, 1870-74), vol. ii.
[337] Op. cit. pp. 285, 288-294.
[338] I may refer at large to Tigri's collection, and to my translations of these Rispetti in [Sketches in Italy and Greece].
[339] Carducci, Cantilene, p. 57.
[340] See Rubieri, Storia della poesia popolare, pp. 352-356, for a selection of variants.
[341] The terms employed above require some illustration. Poliziano's Canzonet, La pastorella si leva per tempo, is a pasticcio composed of fragments from popular songs in vogue at his day. We possess three valuable poems—one by Bronzino, published in 1567; one by Il Cieco Bianchino of Florence, published at Verona in 1629; the third by Il Cieco Britti of Venice, published in the same year—which consist of extracts from popular lyrics united together by the rhymster. Hence their name incatenatura. See Rubieri, op. cit. pp. 121, 130, 212. See, too, D'Ancona, op. cit. pp. 100-105, 146-172, for the text and copious illustrations from contemporary sources of Bronzino's and Il Cieco Bianchino's poems.
[342] Prose Volgari, etc., di A.A. Poliziano (Firenze, Barbèra, 1867), p. 74. "Siamo tutti allegri, e facciamo buona cera, e becchiamo per tutta la via di qualche rappresaglia e Canzone di Calen di Maggio, che mi sono parute più fantastiche qui in Acquapendente, alla Romanesca, vel nota ipsa vel argumento."
[343] See D'Ancona, op. cit. pp. 354-420, for copious and interesting notices of the popular press in several Italian towns. The Avallone of Naples, Cordella of Venice, Marescandoli of Florence, Bertini and Baroni of Lucca, Colomba of Bologna, all served the special requirements of the proletariate in town and country. G.B. Verini of Florence made anthologies called L'Ardor d'Amore and Crudeltà d'Amore in the sixteenth century, both of which are still reprinted. The same is true of the Olimpia and Gloria of Olimpo degli Alessandri of Sassoferrato. The subordinate titles commonly used in these popular Golden Treasuries are, "Canzoni di amore," "di gelosia," "di sdegno," "di pace e di partenza." Their classification and description appear from the following rubrics: "Mattinate," "Serenate," "Partenze," "Strambotti," "Sdegni," "Sonetti," "Villanelle," "Lettere," "Affetti d'Amore," etc.