Author: Megan McMahon - Owens

The Portrayal of Women In Italian Literature

Over the course of this class, we’ve discussed and analyzed many famous Italian authors who are widely regarded as some of the greats within their field. However, while these authors remain influential today, their works were published at a point in history where women were generally considered to be inferior to men and were often forced into lesser roles in society. As a result of this, we can see the influence of gender roles and its impact on the representation of women in Dante’s ‘Divine Comedy’, Boccaccio’s ‘The Decameron’, and Petrarch’s ‘Canzoniere’. 

‘The Divine Comedy’ focuses on the journey that Dante, the pilgrim, takes through Hell, Purgatory, and eventually Heaven (referred to as ‘Paradise’ within the text). Over the course of this journey, Dante speaks to countless souls that have moved on to the afterlife and writes about their stories. However, men tend to dominate these conversations while women are sidelined. In fact, there are only two significant women in ‘The Divine Comedy’ that we discussed: Francesca and Beatrice. Francesca first appears in Canto 5, which centers around the second circle of Hell – lust; Dante asks Francesca and Paolo ended up being damned, to which Francesca recounts the story of reading ‘Lancelot du lac’ with her lover and that “one point alone was the one that overpowered us” (canto 5, lines 131-132). While Dante feels pity for the couple, as apparent from him fainting as the canto ends, he still believes that they should be punished for their love. In canto 3, the gates of Hell read “Justice moved my high maker; divine power made me, highest wisdom, and primal love” (Canto 3, lines 4-6), which makes it evidently clear that Dante believes all souls in Hell deserve their punishment, no matter how much pity he feels. On the other hand, we have Beatrice, who plays a significant role in Dante’s literature as a whole. In ‘The Divine Comedy’, Beatrice is the woman who made Dante’s journey possible in the first place. As opposed to Francesca, who Dante shuns for her sin, Beatrice is the exact opposite; he reveres Beatrice as graceful, beautiful, and holy. This is especially evident once we reach ‘Paradiso’, as Beatrice is the woman who allows Dante to come into contact with God, which is shown in the quote “The role that Dante assigns to her is reminiscent of the role that Christ plays in allowing humans to know God and achieve Heaven” (Carey, 2007, p.93). The portrayal of these two women are obviously very different, which makes it clear that Dante believes women should embody purity like Beatrice, and that those like Francesca who do not, should be punished. 

An illustration of Beatrice guiding Dante by Gustave Dore in 1857 (from: Gustave Doré – Dante Alighieri – Inferno – plate 7 (Beatrice Stock Photo. Alamy . (n.d.). Retrieved December 23, 2021, from https://www.alamy.com/stock-photo-gustave-dor-dante-alighieri-inferno-plate-7-beatrice-137875413.html)

On the other hand, we have ‘The Decameron’ which features several stories centering around women. As opposed to Dante, Boccaccio depicts many strong, witty women that are able to stand up for themselves despite the stigma around doing so at the time. A prime example of this is seen in the story of the Madonna Filippa, which is the 7th story of the 6th day; This story centers around Filippa, who is caught cheating on her husband and is then taken to trial, where she could be put to death if found guilty. Instead of denying her crime, she admits to the judge that she was guilty of adultery and defends her actions by stating that she’s never denied her husband anything, that she simply has surplus love to give and asks the judge “Am I to cast it to the dogs? Is it not much better to bestow it on a gentleman that loves me more dearly than himself, than to suffer it to come to nought or worse?” (line 17). Seemingly through her wit alone, she’s able to get the crowd and judge on her side, and gets the law changed such that only women who commit adultery for money are punished. However, upon further inspection, this story isn’t as empowering as it seems. Firstly, while many women in The Decameron stand up for themselves (which was revolutionary in literature at the time), they generally don’t challenge specific laws or roles placed on women by society. This rings true for Filippa as well. She does challenge the law on her own, but even after her defense, it remains put in place and is only changed such that “thenceforth only such women as should wrong their husbands for money should be within its purview” (line 18); Filippa is only able to change the law to fit her given circumstances rather than calling for the abolition of said statute, or to have men included in it’s punishment. Additionally, Boccaccio seems to allude that Filippa’s beauty played a big part in her success. As Marcel Janssens states, women in The Decameron are often able to succeed in defending themselves “provided she is beautiful, witty, and tricky” (Wright, 1991, p. 27), and Filippa falls into this category as well. Early on in this story, it’s stated that Filippa’s beauty and poised nature caused the judge to feel sympathetic towards her, as shown in the quote “The Podestà, surveying her, and taking note of her extraordinary beauty, and exquisite manners, and the high courage that her words evinced, was touched with compassion for her” (line 11). While Filippa made a compelling argument that was able to get the crowd on her side, the prior quote begs the question: If Filippa did not have her “extraordinary beauty”, would she have been as successful?

Finally, we have Petrarch, whose work is unique as it only focuses on one woman: Laura. Despite nearly all of Petrarch’s poems being centered around his love for Laura (even after her death), she never actually speaks in any of his work. Instead, Petrarch decides to speak about her and describe how much he loves her, rather than depicting any direct interactions the two may have had. Similar to the depictions of Beatrice in ‘The Divine Comedy’, Petrarch describes Laura as if she’s a holy figure rather than a normal woman. This is especially seen in sonnet 90, where he states “The way she walked was not the way of mortals but of angelic forms;” (lines 9-10) and refers to her as “a godly spirit and a living sun” (line 12). While Petrarch clearly loves Laura deeply and praises her highly, this does little to let the reader know who she was as a person in real life. Due to Laura’s lack of a voice within the text, Nancy Vickers points out that “bodies fetishized by a poetic voice logically do not have a voice of their own; the world of making words, of making texts, is not theirs” (Cox, 2005, p. 3). Ultimately, Petrarch’s depiction of Laura is one that many women deem to be fetishizing, as she seemingly has no thoughts or words of her own and is only seen through the eyes of the poet.

An engraving that depicts both Laura and Petrarch done by Antonio Salamanca (from: Antonio Salamanca (1500-62) – Laura and Petrarch. Royal Collection Trust. (n.d.). Retrieved December 23, 2021, from https://www.rct.uk/collection/809553/laura-and-petrarch)

Overall, Dante, Boccaccio, and Petrarch are all very influential authors, and their works should still be taught and read today due to how much they’ve impacted literature as we know it. However, it’s also important to note that these works were products of their time, which is evidently clear from how each author portrays women; ranging from Boccaccio’s depiction of women who use their wits and beauty to get what they want, to Petrarch and Dante’s love interests who embody holiness. 

Citations:

  1. Dante, A. D. (1996). The divine comedy of dante alighieri : Inferno. Oxford University Press USA – OSO. 
  2. Carey, Brooke L., “Le Donne di Dante: An Historical Study of Female Characters in The Divine Comedy” (2007). Syracuse University Honors Program Capstone Projects. 573. https://surface.syr.edu/honors_capstone/573
  3. Decameron web. Decameron Web | Texts. (2010, February 15). Retrieved December 23, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0607&lang=eng 
  4. WRIGHT, E. C. (1991). Marguerite Reads Giovanni: Gender and Narration in the “Heptaméron” and the “Decameron.” Renaissance and Reformation / Renaissance et Réforme, 15(1), 21–36. http://www.jstor.org/stable/43445607 
  5.   Cox, V. (2005). Sixteenth-century women Petrarchists and the legacy of Laura. Retrieved December 23, 2021, from https://www.projectcontinua.org/wp-content/uploads/2013/06/16th-C-Women-Petrarchists-and-the-Legacy-of-Laura.pdf  
  6. Petrarca, Francesco, Selected Poems from the Canzoniere
  7. Antonio Salamanca (1500-62) – Laura and Petrarch. Royal Collection Trust. (n.d.). Retrieved December 23, 2021, from https://www.rct.uk/collection/809553/laura-and-petrarch  
  8. Gustave Doré – Dante Alighieri – Inferno – plate 7 (Beatrice Stock Photo. Alamy . (n.d.). Retrieved December 23, 2021, from https://www.alamy.com/stock-photo-gustave-dor-dante-alighieri-inferno-plate-7-beatrice-137875413.html 

Virtue in “The Prince”

Pope Alexander the Sixth, who Machiavelli mentions in chapter 18 of “The Prince” as someone who “never did what he said”.

One of the core themes of Machiavelli’s “The Prince” is that of virtue. In particular, “The Prince” stresses how important it is for a leader to appear to be virtuous. This is exemplified in chapter 18 especially, as seen in the quote “Therefore it is unnecessary for a prince to have all the good qualities I have enumerated, but it is very necessary to appear to have them”. In this passage, Machiavelli focuses on the balance between a leader’s appearance and his actions. He believes that in order to secure his power, a leader must appear to have various virtuous qualities (some of these qualities include being “merciful, faithful, humane, religious, upright”) to his subjects, but he also needs to be prepared to act the opposite way if the time calls for it. Machiavelli even uses Alexander the Sixth, who “did nothing else but deceive men, nor ever thought of doing otherwise”, as an example of someone who mastered the art of deceiving people with his image. 

To help the reader better understand this concept, Machiavelli uses a simile in the first paragraph, as seen in the quote “ A prince, therefore, being compelled knowingly to adopt the beast, ought to choose the fox and the lion…Therefore, it is necessary to be a fox to discover the snares and a lion to terrify the wolves”. In this quote, Machiavelli likens a leader’s behavior to that of both a fox and a lion (which represent a balance of intelligence and violence), and when a leader must adjust his behavior according to the circumstances. This particular chapter of “The Prince” is interesting because Machiavelli takes a different approach to the concept virtue than most would expect; While most people believe that a leader should be purely good and only exhibit humane traits, such as being merciful, Machiavelli acknowledges that this is unrealistic if a leader wants to maintain his power. Instead, he presents his opinion that actually being virtuous and having good qualities isn’t as important as appearing to have them, and that a leader’s behavior should be able to “turn itself accordingly as the winds and variations of fortune force it”.

Angela da Foligno Analysis:

One part of Angela da Foligno’s Memorial that interested me was on page 29, where Angela states that she wishes to die a “vile death”. This took place during the 14th step, where begins to wish that she could be “rightfully killed for faith in Him or love of Him”, as she wants to die for Jesus as he died for humanity. She then elaborates, stating that she wished to be crucified like Jesus was, but to be put in a ditch by her killer since she’s “not worthy to die as saints die”. She closes off this step by repeatedly saying how she wants her death to be horrid and long, and how it pains her that she “could not find a vile death”. 

This part in particular interested me because over the course of this text, we see Angela’s self-worth completely diminish as she continues to devote herself to God. It starts off with wanting to give her things to the poor, then escalates to her not eating or drinking, then finally ending with her wishing to die and (literally) give her life to God. It seems as though over the course of cleansing her soul, Angela’s become desensitized to death. We first see this perspective in the beginning of page 27, as she informs the scribe about the deaths of her mother, husband, and children. While this would be tragic to most, she seems unphased by this as she believes “God accomplished these things for me”, which makes it clear that she puts her utmost trust in God and believes that he does everything for a reason. Her apathy towards death progresses and this is where we see Angela wish for a “vile death”, which shows that not even death cannot waver her sense of trust in God or her desire to cleanse her soul. 

Women in the Decameron: 6.7 and 10.10:

‘The Story of Griselda, Part 1: Marriage” commission by the noble Spannocchi family in 1494 (The story of Griselda, part I: Marriage. The National Gallery. (n.d.). Retrieved November 14, 2021, from https://www.nationalgallery.org.uk/paintings/master-of-the-story-of-griselda-the-story-of-griselda-part-i-marriage.)

The Decameron by Giovanni Boccaccio is a collection of stories told by 10 young people, comprised of 7 women and 3 men, told over the course of 10 days after fleeing to the Italian countryside to escape the Black Plague. While it might not seem like it on the surface, each story has a greater message and is often a commentary of issues that plagued Italy at the time, such as corruption in the church and social hierarchy. What makes The Decameron so unique is the fact that many of it’s stories focus on the theme of women, particularly the role of women in society, which is something that not many writers of Boccaccio’s era were daring enough to cover.

In Day 6, story 7, Filostrato tells the story of a woman speaking out against the strict laws that often targeted women more strictly than men. In the city of Prato, the law states that a woman will be put to death and burned if she’s caught committing adultery whether it’s with someone she loves or a complete stranger. This story focuses on Madonna Filippa, who is caught cheating on her husband, Rinaldo de’ Pugliesi, with Lazzarino de’ Guazzagliotri. Instead of “falling upon them and killing them on the spot”, Rinaldo resorted to charging Filippa with adultery to have her killed. In an act of courage, Filippa showed up on the day she was summoned despite her family and friends’ attempts to dissuade her, as she would rather speak the truth and face the possible consequences than flee and live in exile. When questioned about whether or not she’s guilty of her crime, she simply responds with “True it is, Sir, that Rinaldo is my husband, and that last night he found me in the arms of Lazzarino, in whose arms for the whole-hearted love that I bear him I have ofttimes lain; nor shall I ever deny it…” She then elaborates on her admission, stating that this law is unjust as it was put in place without the consent of women, despite the fact that it only impacts women who cheat and not men. In her closing statement, she defends her actions by stating that she has “surplus” love to give, and that she deemed it better to show that love to a man who loves her as well than to “cast it to the dogs”. The crowd which has gathered around to see the trial ends up siding with Filippa, and doesn’t leave until the Podesta amends the law so that women who love the person they’re cheating with aren’t punished. In this story, Boccaccio essentially shows that women should be allowed to love whoever they please, even if it involves adultery. In my opinion, Boccaccio also shows how powerful just one woman can be, as Filippa was able to single handedly avoid persecution through her testimony, but was also able to get the law changed by getting the townspeople on her side.  

On the other hand, we have the story of Griselda on day 10, the 10th story. This story focuses on the relationship between Griselda, a woman of low nobility, and Gualtieri, the Marquis of Saluzzo. Gualtieri takes Griselda as his wife despite the fact that she’s not royalty or rich, and they have an extravagant wedding. However, Gualtieri suddenly wants to test his wife’s loyalty and puts her through multiple trials. He sends away Griselda’s children (a daughter and a son), making her believe the children are dead when they’re actually in the care of someone else. He also tells her that he’s taking another woman as his wife, and again, she puts up with this behavior and encourages him to be happy with his new wife. Gualtieri then reveals that he was testing Griselda’s loyalty all along, and the story ends with them remaining happily married together. The story closes with the line “Who but Griselda had been able, with a countenance not only tearless, but cheerful, to endure the hard and unheard-of trials to which Gualtieri subjected her?”, which many interpret to mean that women are able to deal with hardship better than men.

While many commend Boccaccio for his inclusion of women, some believe that his representation of women is actually harmful. In Gender, Power, and the Female Reader, Mihoko Suzuki argues that Griselda’s story doesn’t have the message of how strong women can be, but is actually about Gualtieri’s dominance over his wife. Suzuki contrasts Griselda with other women that we’ve seen in The Decameron; while women in previous stories have been shown to disobey men (either through adultery or by outwitting them), Griselda is the complete opposite. As Suzuki puts it “And that is precisely the point: Dineo all but erases her sexuality and makes her an embodied fantasy of a constant and obedient wife…” (page 234). She then elaborates by stating that because Griselda’s personality has been watered down to that of an obedient wife and nothing else, Boccaccio is playing into the fantasy that men should have “total control and power” over their wives. 

Sources:

  1. The story of Griselda, part I: Marriage. The National Gallery. (n.d.). Retrieved November 14, 2021, from https://www.nationalgallery.org.uk/paintings/master-of-the-story-of-griselda-the-story-of-griselda-part-i-marriage.
  2. Decameron web. Decameron Web | Texts. (n.d.). Day 6, story 7. Retrieved November 14, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0607&lang=eng.
  3. Decameron web. Decameron Web | Texts. (n.d.). Day 10, Story 10. Retrieved November 14, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov1010&lang=eng.
  4. Suzuki, M. (1993). Gender, Power, and the Female Reader: Boccaccio’s “Decameron” and Marguerite de Navarre’s “Heptameron”. Jstor. Retrieved November 14, 2021, from https://www.jstor.org/stable/40246888.

Canzoniere 189: Lost

‘A Mediterranean Brigantine Drifting Onto a Rocky Coast in a Storm’ painted by Willem van de Velde the Younger (1633-1707). This was painted following Sir Thomas Wyatt’s (1503-1542) translation of Petrarca’s 189 poem.

In this poem, Petrarca speaks about his struggle to get his soul on the right path, comparing this journey to a rough storm at sea. Throughout Petrarca’s work, we repeatedly see the message of trying to get his soul on the right path and not to be swayed by Earthly possessions, and instead wanting to focus on finding out the truth about life. For example, we see this in the allegorical meaning of the Ascent of Mount Ventoux, as he also describes the difficult journey he must take in order to become enlightened as to what life really has to offer. 

We begin the first stanza with the line “My ship is full of forgetful cargo sails”, in which he uses the metaphor of a ship (which appears in several poems of his) to describe his soul. He then goes on to state how his ship is sailing through “rough seas at the midnight of winter between Charybdis and the Scylla reef”. Through this imagery, we get the message that the journey he must go through is arduous and dangerous. Petrarca even mentions the Scylla reef and Charybdis, which are two mythical sea monsters that are typically used to describe the hazardous conditions between Sicily and Italy.  

In the second stanza, we start to see Petrarca despair at his situation. He speaks about how he dreads the storm ahead and what challenges it might bring, as well as using the imagery of his sail breaking due to “wet eternal winds of sighs, of hopes and of desires”; this line essentially describes how his own hopes and wants in life are preventing him from reaching the spiritual awakening he needs. This hopeless tone continues on in the third stanza, as he provides imagery about the stormy atmosphere, saying it’s made of “a rain of tears, a mist of my disdain”. This storm continues to destroy Petrarca’s ship as it ravages the “weary ropes made up of wrong, entwined with ignorance”. 

The last stanza encompasses Petrarca’s melancholic point of view of his journey. As evident from the past three stanzas, his journey is difficult and full of obstacles, and we begin to see his hopelessness take over him. The stanza stuck out to me in particular because of the imagery he uses to describe how lost he feels while on this journey, especially when he says his skill and reason are now “dead in the waves”. This line perfectly exemplifies how feeling hopeless while on a journey, whether it’s to reach a spiritual awakening or for another cause, can make you feel as though you have no sense of reason or skill anymore, which can drive one deeper into feeling depressed and dejected. In his final line, Petrarch repeats this sentiment by saying “and I despair of ever reaching port”, where he admits that because of how difficult this journey is and his inability to think clearly, he fears that he may never reach what his ultimate goal is.

Dante & His Impact on Literature

Dante Alighieri is widely considered one of the greatest poets of all time, and for good reason. His most famous work, The Divine Comedy, is still greatly influential today despite being released around 650 years ago. It’s notoriety and long-lasting impact can be attributed to the way Dante’s work revolutionized literature in his time, popularizing certain styles of poetry and inspiring many great authors to write in their native tongue.

One of Dante’s many accomplishments includes helping to popularize the sonnet. The Sicilian School was a renowned group of poets from Sicily, Tuscany, and southern Italy that gathered in the court of Emperor Frederick II, and they came together to invent the poetic style known as the sonnet (The Editors of Encyclopaedia Britannica, Sicilian school). Dante was greatly inspired by this group of poets, and eventually began writing sonnets of his own. At the age of 18, Dante published La Vita Nuova, which was 42 chapters long and included 25 sonnets centered around his love for Beatrice (Quinones, Legacy and influence of Dante). La Vita Nuova also included themes of “courtly love” (Amazon Affiliate Program, How did Dante influence the Renaissance 2021), which later spread all throughout Europe during the Renaissance. Dante also invented his own style of poetry, known as terza rima, which follows the pattern of the second line of a stanza rhyming with the first and third line of the next stanza (a pattern of ABA, BCB, CDC, etc) (Academy of American Poets, Terza Rima). An example of the terza rima style is shown in Dante’s very first canto of Inferno, which features the lines “Tant’ è amara che poco è più morte; ma per trattar del ben ch’i’ vi trovai, dirò de l’altre cose ch’i’ v’ho scorte. Io non so ben ridir com’ i’ v’intrai, tant’ era pien di sonno a quel punto che la verace via abbandonai. Ma poi ch’i’ fui al piè d’un colle giunto, là dove terminava quella valle che m’avea di paura il cor compunto,” (Alighieri, Canto 1, lines 7-15). This style inspired many poets; ranging from famous Italian poets such as Boccaccio and  Petrarch, and spreading outside of Italy to the rest of Europe after being brought to England by Geoffrey Chaucer in the 14th-century with the poem “Complaints to his Lady”  (Academy of American Poets, Terza Rima). 

The cover of Dante’s ‘La Vita Nuova’, which helped popularize the sonnet in poetry across Europe.

Unsurprisingly, Dante also inspired many authors to start writing in their native language. During the Middle Ages (500-1500 CE), literature and philosophical works were typically only written in Latin, which made these works inaccessible to the general public. However, Dante believed that one’s own vernacular was suitable enough to use in these genres, which was a radical idea at the time. Dante later wrote The Divine Comedy in his Tuscan dialect, but also borrowed from other Italian dialects and even from Latin itself (Amazon Affiliate Program, How did Dante influence the Renaissance 2021) . Due to the success of The Divine Comedy, Tuscan became the standard language for works of literature and many Renaissance writers began to write in their own unique dialect. 

  1. Amazon Affiliate Program. (2021, September 21). How did Dante influence the Renaissance. How did Dante influence the Renaissance – DailyHistory.org. Retrieved October 2, 2021, from https://dailyhistory.org/How_did_Dante_influence_the_Renaissance. 
  2. Baldwin, E., (2020, October 15). Terza Rima. Poem Analysis. Retrieved from https://poemanalysis.com/poetic-form/terza-rima/
  3. Academy of American Poets. (n.d.). Terza Rima. Poets.org. Retrieved October 2, 2021, from https://poets.org/glossary/terza-rima. 
  4. Quinones, R. J. (n.d.). Legacy and influence of Dante. Encyclopædia Britannica. Retrieved October 2, 2021, from https://www.britannica.com/biography/Dante-Alighieri/Legacy-and-influence. 
  5. Encyclopædia Britannica, inc. (n.d.). Sicilian school. Encyclopædia Britannica. Retrieved October 2, 2021, from https://www.britannica.com/art/Sicilian-school. 
  6. Blauvelt, C. (2018, June 5). Dante and the divine comedy: He took us on a tour of hell. BBC Culture. Retrieved October 2, 2021, from https://www.bbc.com/culture/article/20180604-dante-and-the-divine-comedy-he-took-us-on-a-tour-of-hell.