“How do I love thee? Let me count the ways,” wrote Elizabeth Barrett Browning in her Sonnets from the Portuguese.Desiring Voices: Women Sonneteers and Petrarchism proposes that we attend to the ways that women poets from the sixteenth through the twentieth centuries have both echoed and transformed the literary and erotic conventions that strongly influenced their fates as women, wives, and lovers.
Mary B. Moore analyzes and provides context for love sonnet sequences by Italian, French, English, and American women poets in the light of current knowledge concerning attitudes towards women at the time they wrote. Through close readings of the poems combined with theory and criticism about constructs of women, historical events, and biographical contexts, Moore reveals patterns of revision among women poets that shed further light on the poets themselves, on Petrarchism as a convention, and on ideas about women. She focuses on Petrarchan sonnet sequences by women because the poems serve both as works of art and as documents that illuminate the range and limitations of female roles as erotic subjects (agents of speech, action, knowledge, and desire) as well as their more usual roles as erotic objects.
Combining theory with close reading, Moore enhances the value of many generally neglected poems by women. After a thorough discussion of the Petrarchan sonnet tradition, she analyzes the work of Gaspara Stampa, Louise Labé, Lady Mary Wroth, Charlotte Smith, Elizabeth Barrett Browning, and Edna St. Vincent Millay.
In this volume, David R. Slavitt, the distinguished translator and author of more than one hundred works of fiction, poetry, and drama, turns his skills to Il Canzoniere (Songbook) by Petrarch, the most influential poet in the history of the sonnet. In Petrarch’s hands, lyric verse was transformed from an expression of courtly devotion into a way of conversing with one’s own heart and mind. Slavitt renders the sonnets in Il Canzoniere, along with the shorter madrigals and ballate, in a sparkling and engaging idiom and in rhythm and rhyme that do justice to Petrarch’s achievement.
At the center of Il Canzoniere (also known as Rime Sparse, or Scattered Rhymes) is Petrarch’s obsessive love for Laura, a woman Petrarch asserts he first saw at Easter Mass on April 6, 1327, in the church of Sainte-Claire d’Avignon when he was twenty-two. Though Laura was already married, the sight of her woke in the poet a passion that would last beyond her premature death on April 6, 1348, exactly twenty-one years after he first encountered her. Unlike Dante’s Beatrice—a savior leading the poet by the hand toward divine love—Petrarch’s Laura elicits more earthbound and erotic feelings. David Slavitt’s deft new translation captures the nuanced tone of Petrarch’s poems—their joy and despair, and eventually their grief over Laura’s death. Readers of poetry and especially those with an interest in the sonnet and its history will welcome this volume.
In Why Lyrics Last, the internationally acclaimed critic Brian Boyd turns an evolutionary lens on the subject of lyric verse. He finds that lyric making, though it presents no advantages for the species in terms of survival and reproduction, is “universal across cultures because it fits constraints of the human mind.” An evolutionary perspective— especially when coupled with insights from aesthetics and literary history—has much to tell us about both verse and the lyrical impulse.
Boyd places the writing of lyrical verse within the human disposition “to play with pattern,” and in an extended example he uncovers the many patterns to be found within Shakespeare’s Sonnets. Shakespeare’s bid for readership is unlike that of any sonneteer before him: he deliberately avoids all narrative, choosing to maximize the openness of the lyric and demonstrating the power that verse can have when liberated of story.
In eschewing narrative, Shakespeare plays freely with patterns of other kinds: words, images, sounds, structures; emotions and moods; argument and analogy; and natural rhythms, in daily, seasonal, and life cycles. In the originality of his stratagems, and in their sheer number and variety, both within and between sonnets, Shakespeare outdoes all competitors. A reading of the Sonnets informed by evolution is primed to attend to these complexities and better able to appreciate Shakespeare’s remarkable gambit for immortal fame.
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