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Tullia d'Aragona is one of the most renowned women writers from the Italian Renaissance. Given the title the "courtesan poet," Tullia was loved and desired by many. This collection includes fifty-five of Tullia's best poems and a selection of pieces written to her and about her.
Accompanying Tullia's poems is a series of risposte (responsive letters) written by well-known men of her day—including Girolamo Muzio, Benedetto Varchi and Lattanzio Bennucci—who offer poetic tributes to her honor, talent, and wit.
In these poetic dialogues, Tullia shows herself a match to her male contemporaries in verbal and intellectual dexterity. In a poem written to Piero Manelli, Tullia argues for a female poet's equal right to fame and literary immortality. In a tribute of gratitude to her muse, friend, and editor—aptly named Muzio—she claims that loving such a talented writer reflects well upon her: "the worth / was yours; but in loving you, the glory mine." Muzio, in turn, writes an introduction to Tullia's dialogue on love, praising the beauty of her mind and the brightness of her soul's "flame," refined by hardship and virtue.
The quality of craftsmanship, the originality of thought, and the fiercely proud ambition in these poems set Tullia d'Aragona in a category apart from other women poets of the era. Her wish to be immortalized in print, renowned in her own "eternal lines to time," will be fulfilled through this bilingual edition. Retaining the music of the Italian, these translations bring Tullia's work to life for an English audience.
- Sales Rank: #3715705 in Books
- Brand: Brand: George Braziller
- Published on: 2006-04-05
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .35" w x 6.36" l, .40 pounds
- Binding: Paperback
- 128 pages
- Used Book in Good Condition
About the Author
Elizabeth Pallitto received her Ph.D. in Italian and Comparative Literature from CUNY Graduate Center in 2003. Since then, she has taught English and comparative literature, as well as French and Italian. Her own poetry is published in The North American Review, ArkAngel Review, and Litspeak. Her literary translations have been published in Philosophical Forum, Forum Italicum, and several anthologies of Italian poetry, including Antologia Napoletana. She currently teaches English literature in Istanbul.
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3 of 3 people found the following review helpful.
...to leave an eternal record of my name
By Benjamin Alexander
Among the sentiments that Tullia d'Aragona expressed in her writing was the earnest hope that her name and her words would not die with her. That wish, unlike many of her others, was granted. Not only have her verses, her commentaries, and the record of her tempest-tossed life's journey endured to this day, over four and a half centuries later, but now the legacy of this abundantly gifted sixteenth-century Italian Renaissance poet is enjoying a renaissance of its own, at the hand of an abundantly gifted twenty-first-century poet and literary scholar named Elizabeth A. Pallitto, as exemplified by her newly released anthology of translated poems and prose, "Sweet Fire."
Indeed, it takes an accomplished literary scholar like Pallitto, who holds a PhD in Comparative Literature and knows well the world of refereed journals and conference panels, to unlock the world of the Medici era, the life of Tullia in that historical context, and the nuances of Tullia's words. Just as important, it takes a gifted and artistically inspired poet--again, like Pallitto--to translate Tullia's poems from yesterday's Italian to today's English and, in addition to conveying their meaning, make them sing in their newly acquired language as their author did in the original. These works introduce to the English-reading world the voice of a poor but ever-dignified courtesan, often seething with pain, but often overflowing as well with hope and with love for those around her who would accept her in their society, and also often holding forth with her critique of the society in which she lived. (For those who read Italian, the original versions are printed side by side with the English translations.)
Tullia appears to have been the great-granddaughter of the more-famous King Ferdinand of Aragon, but if this be so, it did not spare her from being both the daughter of a courtesan and, by no desire of her own, a courtesan herself. Pallitto suggests that, had Penelope, Tullia's purported younger sister believed by many to have been her daughter, lived past the age of 13, Tullia would likely have done everything possible to save her from having to enter the oldest profession. (Several of her poems allude to the pain of a daughter's death.) She did succeed in gaining the admiration of many social notables of the time, and in persuading Duchess Eleonora and Duke Cosimo to secure for her an exemption from the "sumptuary laws" which required courtesans to wear humiliating yellow veils. From the verses collected here, one fully understands why she achieved fame against the odds of her station in life. Her poems are brilliant gems, as are Pallitto's lucidly flowing translations of them.
After an introduction by the editor/translator which is at once scholarly and very accessible, the main portion of this book consists of "Le Rime della Signora Tullia di Aragona," a 38-poem collection spanning many themes and emotions, followed by "Et Di Diversi a Lei," a series of enchanting sonnet exchanges with fellow poets, including her lover Girolamo Muzio. Tullia and Muzio speak to us further in the closing section, a short assortment of well-picked essays discussng both their relationship and the value of poetry. In the first fourteen pieces of "Le Rime," Tullia showers poignant and effusive praise upon figures of the Medici Court who treated her well, starting with Cosimo and Eleonora. But Tullia certainly did not bow to everyone. In XXV, she cuttingly lectures the austere moralist preacher Bernardo Ochino to the effect that, if his inner soul were truly as spotless as his outer robes, he would have far more high-minded concerns with which to occupy his energies than all the prudish fuss he has made about "Costumes, masquerades, and music sweetly played." (We learn from Pallitto that this poem may help explain why somebody, in captioning a painting which appears to be of Tullia, saw fit to equate her with Salome, that Biblical figure who, prompted by her mother, requested John the Baptist's head.) Throughout the collection, we experience the inner world of a woman who, painful as her life is, nonetheless never stops seeing beauty, clinging to fond hopes, and searching for sources of goodness on which she can place her faith. The ambiguities in the world she knows and the visions of the life she would like to live get a climactic overture in XXXVIII, from which the title of the book is drawn: "With pleasure would I suffer such a sweet fire / and die content from its great flame. / But I do not hope (alas) to see the sun / unveil so bright a day in these woods."
As noted above, Tullia refers in her sonnets to the desire for immortality. In XV she tells Monsignor Cardinal Bembo, "And how much more I, too, aspire / to warm myself in the light of such a flame-- / to leave an eternal record of my name." If she could revisit earth now and write a few more sonnets, surely at least one would be addressed to Elizabeth Pallitto, giving her praise and thanks at least as lavish as that found in those fourteen she wrote for the Medici Court, for renewing the fulfillment of that aspiration. For both the Renaissance scholar and the person who just loves a good book of poems, this volume is a must to acquire and a great contribution to the twenty-first century world's understanding of the sixteenth-century Florentine world.
2 of 2 people found the following review helpful.
Scholarly composed, Poetically rendered
By Garrett Buhl Robinson
Most are familiar with the famous idealizations of woman through the poetry of Petrarch and Dante in their reverent compositions of Laura and Beatrice respectively. The instances when those poets elevate the images, characters and virtues of those women are unmistakably and unforgettably radiant. Yet, how often does one consider the perspectives of those ladies themselves?
Elizabeth Pallitto opens the introduction of her exquisitely arranged translation of a collection of Tullia d'Aragona poetry with the Renaissance poet's own quote suggesting the consideration of this often overlooked perspective. Reading this selection one is certainly afforded numerous glances and insights from this often ignored angle, but the reader is able to gain something far more enlightening and inspiring. Through these poems and collection of prose, one is able to witness a miraculous transformation of a woman. Of note, the transformation is not as much of Tullia herself. She remains consistent in her lyrical abilities and the demonstrations of her exceptional imagination and intellect throughout her career. The transformation is of public opinion as she is able to create her own place in society through her artistry as she establishes herself as a poet of consequence in one of the most eminent periods of poetics in European history, the Italian Renaissance.
This accomplishment was certainly no simple matter. Tullia d'Aragona was born the illegitimate child of a courtesan, a predicament which severely and shamefully restricted her options in life to a similar career. This book is a story of a remarkable lady, told by herself through the medium of her preference - lyrical poetry, who is able to overcome these restrictions and rise within society to achieve a position of profound historic significance in her own terms.
The selection of poems opens with Tullia demonstrating the deft delicacy through which she negotiates her way through the court while also boldly revealing the desires of her literary ambitions. The second selection provides a sonnet correspondence between contemporary poets and Tullia. Not only does this collection evince the fact that she was considered an admirable peer by these prominent literary figures of her time, the collection reads like an operatic performance. The slightest drop of the reader's attention awakens these pages into the most glorious arias. In many of the sonnets, Tullia's admirers offer no less than her apotheosis and the admonishing modesty of her responses are rendered with divine discretion.
The prose collection provides convincing examples of the sincerity of admiration bestowed upon her, assuring the reader that the laudatory remarks are not simply patronizing and pandering flattery. Then the concluding selection of prose, which is Tullia's own introduction to her chivalric epic poem, literally glows on the page. In her brief passage, To the Readers, there is no question of the dignity of Tullia's presence and achievements through her poetic career as her words are luminous with celestial artistry and paradisal wisdom through a veritable renascence in and of herself.
It is a rare instance when the laborious work of scholarly study crests the horizon with a luminous dawn of poetic radiance. Sweet Fire achieves this with blinding brilliance.
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