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				<title>Conclusion</title>
				<author>Poggio Bracciolini</author>
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					<resp>Transcription from</resp>
					<name>Basel 1538 (Reprinted in Poggio Bracciolini, Scripta in editione Basilensi anno 1538 collata. Ed. Riccardo Fulbini. Turin: Bottega d'Erasmo, 1964.)</name>
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					<resp>Translation by</resp>
					<name>Robin Wahlsten Böckerman</name>
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					<resp>Encoded in TEI P5 XML by</resp>
					<name>Danny Smith</name>
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				<publisher><hi rend="italic">The Global Medieval Sourcebook</hi></publisher>
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					<p><hi rend="italic">The Global Medieval Sourcebook</hi> is licensed under a Creative Commons Attribution-Noncommercial-ShareAlike 4.0 International License.</p>
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				<p>Gian Francesco Poggio Bracciolini (commonly referred to as simply Poggio Bracciolini) was born in Terranuova (Tuscany) in 1380. He died in Florence in 1459 at the age of seventy-nine. During his long life this early and important humanist had an equally long career at the Papal curia. In the service of a sequence of popes he lived in Rome, and travelled with the papal court all across Italy and the rest of Europe.</p>
				<p>Poggio produced a wide range of writing during his career (his collected works span four substantial volumes). He often worked in the dialogue form or wrote speeches, but he also wrote history. He was an avid book hunter and a skilled scribe.</p>
				<p>Through his texts we also meet a very polemical man, who seems to get into fights with many of his contemporaries, the most famous of which is his conflict with another of the humanist greats, Lorenzo Valla. The collections of jokes and stories known today as the Facetiae, but which Poggio himself preferred to refer to as Conversations (Confabulationes), certainly contains a polemical edge. While Poggio’s invectives are violently polemical and often personal, his Facetiae are more mildly polemical in the satirical tradition. The Facetiae as it is preserved consists of 273 jokes/stories ranging from just a few lines to a page in length. The collection also has an introduction and a type of conclusion. The short selection presented here contains a few rowdy jokes that poke fun at crude people and priests or monks, and another few stories with witty remarks from historical or contemporary characters. For readers interested in the obscene elements in the Facetiae, Poggio’s work can be compared to Beccadelli’s The Hermaphrodite, which offers another contemporary source of obscenity, but one based on very clear ancient models (among others Catullus). The selection shows that Poggio seems to have put his main focus on witticism when writing the stories; whether rude tales or short adventures of cooks, soldiers or even the famous Dante, the punchline seems almost always to be some sort of turn of phrase or wry observation (although this might not always be completely obvious to a modern reader).</p>
				<p>In this conclusion to his Facetiae, Poggio reminisces about the context in which the Facetiae came to be.</p>
				<p>The Facetiae seems to have had immediate success. The collection as we now know it was composed between 1452-53, but Poggio had by then been working on versions of it (some of which had been in circulation) from as early as 1438. Over fifty manuscripts containing the text are preserved to this day. The Facetiae was also printed early and repeatedly, first appearing in this form around 1470. Another testimony to the popularity of the text is the fact that Poggio’s jokes or “conversations” were translated to several other languages, either as an entire collection (translated into Italian and French at the end of the fifteenth century) or individual stories, which were mixed into the different Aesop collections circulating during this period. Herein lies somewhat of an irony, since Poggio himself in the introduction to the Facetiae seems to indicate that the object of writing them is to write stories in Latin that are usually told in the vernacular languages.</p>
				<p>Kallendorf, Craig, “Poggio Bracciolini” in Oxford Bibliographies: DOI: 10.1093/OBO/9780195399301-0095 Craig Kallendorf’s article in Oxford Bibliographies is a good starting point for researching Poggio. The article contains information about relevant editions, translations, and research.</p>
				<p>Pittaluga, Stefano, ed. Facéties = Confabulationes: Édition bilingue. Translated by Etienne Wolff. Bibliothèque italienne. Les Belles Lettres, 2005. The most recent critical edition of the Facetiae.</p>
				<p>Beccadelli, Antonio. The Hermaphrodite. Edited and translated by Holt Parke, I Tatti Renaissance Library 42. Harvard UP, 2010. Another example of obscene elements in Renaissance Latin (also contains letters exchanged between Beccadelli and Bracciolini).</p>
				<p>Gordon, Phyllis W. G., ed. Two Renaissance Book Hunters: The Letters of Poggius Bracciolini to Nicolaus de Niccolis. Columbia UP, 1974. This letter exchange shows the scholarly side of Poggio.</p>
				<p>Bracciolini, Poggio. The Facetiae of Giovanni Francesco Poggio Bracciolini. Translated by Bernhardt J. Hurwood. Award Books, 1968. This is apparently an earlier translation of the Facetiae (I was not, however, able to consult this book for the present translation).</p>
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				 <p><ref target="https://gallica.bnf.fr/ark:/12148/btv1b10032427r">Paris, BnF Latin 8770a</ref></p>
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            	<p>"Conclusion" is published by <hi rend="italic">The Global Medieval Sourcebook (GMS)</hi>, a free, open access, and open source compendium of medieval texts in their original languages and in English translation. <hi rend="italic">GMS</hi> comprises computer-readable transcriptions or editions alongside new translations of texts dating from the ninth to the sixteenth century and originating in Europe, North Africa, the Middle East, and Asia. The <hi rend="italic">GMS</hi> platform includes critical introductions as well as sources for further reading.  
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	        	<p>Transcriptions and translations are encoded in XML conforming to TEI (P5) guidelines. The original-language text is contained within &lt;lem&gt; tags and translations within &lt;rdg&gt; tags.</p>
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        			<p>Texts are translated into modern American English with maximum fidelity to the original text, except where it would impair comprehension or good style. Archaisms are preserved where they do not conflict with the aesthetic of the original text. Scribal errors and creative translation choices are marked and discussed in the critical notes.</p>
        			<p>The translation is based on the text as it appears in the Basel 1538 edition of Poggio’s collected work available on Google books, with a slight update to punctuation and orthography (for instance, ij is represented as ii). No emendations or other corrections have been made by the translator. Older versions of the text contain a few variants and some obvious errors, but in general the tradition seems quite stable (see for example an early print from 1471; or the fifteenth-century manuscript in Paris, Bibliothèque nationale de France, Latin 8770A.</p>
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						<lem wit="#Transcription">Visum est mihi eum quoque nostris confabulationibus locum adiicere, in quo plures earum, tanquam in scena, recitatae sunt.</lem>
						<rdg wit="#Translation">I think I should also introduce the place where many of my conversations were recited as though on a scene.</rdg>
					</app>
				</s>
				<s>
					<app>
						<lem wit="#Transcription">Is est ‘Bugiale’ nostrum, hoc est mendaciorum veluti officina quaedam, olim a secretariis institutum iocandi gratia.</lem>
						<rdg wit="#Translation">This place is our “Bugiale,” which is like a type of workshop for liars and was once founded by secretaries for the sake of amusement.</rdg>
					</app>
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				<s>
					<app>
						<lem wit="#Transcription">Consuevimus enim, Martini Pontificis usque tempore, quemdam eligere in secretiori aula locum, in quo et nova referebantur, et variis de rebus, tum laxandi ut plurimum animi causa, tum serio quandoque, colloquebamur.</lem>
						<rdg wit="#Translation">Ever since the time of Pope Martin (V) we used to choose a place in a remote chamber where news was reported, but we also used to talk about many different things, often to relax our spirits, but sometimes also serious matters.</rdg>
					</app>
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				<s>
					<app>
						<lem wit="#Transcription">Ibi parcebatur nemini in lacessendo ea quae non probabantur a nobis, ab ipso persaepe Pontifice initium reprehensionis sumpto:</lem>
						<rdg wit="#Translation">There no one would be spared when it came to criticising things we did not approve of, very often the pope himself would take the lead in this reproof.</rdg>
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				</s>
				<s>
					<app>
						<lem wit="#Transcription">quo fiebat ut plures eo convenirent, veriti ne ab eis ordiremur.</lem>
						<rdg wit="#Translation">For this reason, it happened that many people gathered there for fear that we would start with them.</rdg>
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						<lem wit="#Transcription">Erant in eo principes fabulator Razellus Bononiensis, cuius nonnulla in confabulationes coniecimus;</lem>
						<rdg wit="#Translation">The leaders in this were the story-teller Razello di Bologna, some of whose stories I’ve thrown into this collection;</rdg>
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				<s>
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						<lem wit="#Transcription">Antonius item Luscus, qui saepius inseritur, vir admodum facetus;</lem>
						<rdg wit="#Translation">and Antonio Loschi, a witty man who is often introduced in this work;</rdg>
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				<s>
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						<lem wit="#Transcription">Cinciusque Romanus, et ipse iocis deditus.</lem>
						<rdg wit="#Translation">and Cincio Romano, also a man fond of jokes.</rdg>
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				<s>
					<app>
						<lem wit="#Transcription">Nos quoque plura e nostris addidimus non insulsa.</lem>
						<rdg wit="#Translation">And I also added many of my own not too inelegant stories.</rdg>
					</app>
				</s>
				<s>
					<app>
						<lem wit="#Transcription">Hodie, cum illi diem suum obierint, desiit ‘Bugiale’,</lem>
						<rdg wit="#Translation">Today, after they have left us, the “Bugiale” has ceased to be.</rdg>
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				<s>
					<app>
						<lem wit="#Transcription">tum temporum, tum hominum culpa, omnisque iocandi confabulandique consuetudo sublata.</lem>
						<rdg wit="#Translation">Both time and men are to blame, and the entire custom to joke and converse has disappeared.</rdg>
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