REVIEW Martín de Riquer, ed. Arnaut Daniel, poesías; traducción, introducción, y notas por M. de R. Coll. El Festin de Esopo, 5. Barcelona: Quaderne Crema, 1994. Pp. [256J At last, an edition of Arnaut Daniel including all twenty of the extant poems that he definitely or, in the opinion of this reviewer, probably wrote! We have waited almost sixty years since the discovery in 1935 of the fragmentary manuscript Psi (Italian, 14th c. Bibliothèque Nationale ?. acq. fr. 23789), which added two new attributions to the eighteen songs in the canon that had been recognized by Canello (1883) and Lavaud (1910-11). Subsequent editors—Toja (1960), Perugi (1978), and Eusebi (1984)—perpetuated the tradition without seriously considering the new evidence, even though Robert Barroux had edited Psi diplomatically in 194243 . The nineteenth poem, "Entrel taur el doble signe," was edited critically by Marshall in 1969, who concluded in favor of the attribution, and accepted by Wilhelm in his edition (1981); the twentieth, "Moût m'es bel el terns d'estiou," was edited by Paden (1983), who argued in favor ofits acceptance, and again by Zufferey ( 1989), who argued against it. 1 Riquer includes eighteen "Poesías de Arnaut Daniel" and appends the two "Poesías atribuidas," assessing the nineteenth attribution as likely but uncertain, and the twentieth simply as uncertain. Riquer makes no claim to have edited the poems from manuscripts . Rather, following the procedure he employed in his invaluable anthology Los trovadores, he selects the text in an earlier edition and follows it judiciously. Here he adopts the texts of Eusebi for poems 1-18, Marshall's for poem 19, and Zufferey's for poem 20.2 Riquer himself provides literal Castilian translations, a substantial introduction, and notes. He does not give the melodies which are extant for two poems, referring the reader to the general edition ofthe troubadour melodies by van der Werf and Bond. The result is the first edition ofArnaut in Spanish, intended for literary Iberian readers but valuable for any admirer of the "miglior fabbro del parlar materno" (Purgatorio 26.117). As anyone who knows Riquer's work will expect, he is excellent on the historical facts of the poet's activity, which he dates from c. 1169 through the coronation of Philip Augustus in 1179 (not 1180, as has been REVIEW frequently repeated), and down to 1 192-94, when Arnaut appeared in the literary satire by the Monk of Montaudon. Concerning his difficult art, "Se podría decir, exagerando, que Arnaut Daniel no dijo nada nuevo, pero todo lo dijo de un modo nuevo" (22). Under pressure from the demanding formal constraints which he imposed upon himself, he distorted the semantic content ofwords both rare and common, inventing evocative expressions which create a profoundly unreal ambience echoing with unexpected resonances. In this he resembles other "bons poètes que la tyrannie de la rime force à trouver leurs plus grandes beautés" (Proust, Du côté de chez Swann, quoted by Riquer, 29). This reviewer wonders if the Proustian formula betrays an affinity between Arnaut and the Parnassian esthetic ofThéophile Gautier and Théodore de Banville, an aesthetic which played a role in the late nineteenth-century rediscovery of medieval poetry including Canello's editio princeps of Arnaut, not to mention Ezra Pound.3 The elaborate structure of the sestina, says Riquer (following Canettieri), is inspired by the design of gaming dice, cubes with their six faces arranged so that opposite faces produce the sum of seven—six opposite one, and so on; one thinks of Mallarmé, "Un coup de dés." Arnaut says that the love raining into his heart ("l'amor qu'ins el cor mi plueu," poem 9.13) keeps him warm in the depth ofwinter; less boldly, Verlaine reduces the metaphor to a simile in "Il pleure dans mon coeur comme il pleut sur la ville" (37). Among his caras rimas and adynata, however, Arnaut inserts moments of realism which contrast with the cerebral unreality which is his signature. One such moment is his participation in the series of sirventes debating whether the knight of Cornil was right to refuse his lady when she...