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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Le Lacrime Di San Pietro Luigi Tansillo, Lucrezia Marinella, Tommaso Costo Barezzo Barezzi F. Piacentini, 1738
Lucrezia Marinella (1571-1653) is, by all accounts, a phenomenon in early modernity: a woman who wrote and published in many genres, whose fame shone brightly within and outside her native Venice, and whose voice is simultaneously original and reflective of her time and culture. In "Enrico; or, Byzantium Conquered," one of the most ambitious and rewarding of her numerous narrative works, Marinella demonstrates her skill as an epic poet. Now available for the first time in English translation, "Enrico" retells the story of the conquest of Byzantium in the Fourth Crusade (1202-04). Marinella intersperses historical events in her account of the invasion with numerous invented episodes, drawing on the rich imaginative legacy of the chivalric romance. Fast-moving, colorful, and narrated with the zest that characterizes Marinella's other works, this poem is a great example of a woman engaging critically with a quintessentially masculine form and subject matter, writing in a genre in which the work of women poets was typically shunned.
A gifted poet, a women's rights activist, and an expert on moral
and natural philosophy, Lucrezia Marinella (1571-1653) was known
throughout Italy as the leading female intellectual of her age.
Born into a family of Venetian physicians, she was encouraged to
study, and, fortunately, she did not share the fate of many of her
female contemporaries, who were forced to join convents or were
pressured to marry early. Marinella enjoyed a long literary career,
writing mainly religious, epic, and pastoral poetry, and
biographies of famous women in both verse and prose.
With Love Enamored and Driven Mad, Lucrezia Marinella puts her mark on classical mythology and literary antecedents. She transforms Cupid from all-powerful god to wayward adolescent who falls to his own haughtiness while having female characters (such as Venus) take on distinctly positive roles. From the literary standpoint, she demonstrates her deep knowledge of classical and vernacular authors, from Ovid to Apuleius and Prudentius, and from Dante to Tasso, with numerous forays into Petrarchan poetics. The Other Voice in Early Modern Europe - The Toronto Series, volume 72
Lucrezia Marinella (1571-1653) is, by all accounts, a phenomenon in early modernity: a woman who wrote and published in many genres, whose fame shone brightly within and outside her native Venice, and whose voice is simultaneously original and reflective of her time and culture. In "Enrico; or, Byzantium Conquered," one of the most ambitious and rewarding of her numerous narrative works, Marinella demonstrates her skill as an epic poet. Now available for the first time in English translation, "Enrico" retells the story of the conquest of Byzantium in the Fourth Crusade (1202-04). Marinella intersperses historical events in her account of the invasion with numerous invented episodes, drawing on the rich imaginative legacy of the chivalric romance. Fast-moving, colorful, and narrated with the zest that characterizes Marinella's other works, this poem is a great example of a woman engaging critically with a quintessentially masculine form and subject matter, writing in a genre in which the work of women poets was typically shunned.
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