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Valeria Miani’s Celinda (1611), the only female-authored secular tragedy of early modern Italy, is here made available for the first time in a modern edition. Miani’s tale of the doomed love of the Lydian princess Celinda for the cross-dressed Persian prince Autilio/ Lucinia offers a striking example of the explorative attitude to gender identity that is such a marked characteristic of Italian drama in this period, both within the erudite and the commedia dell’arte tradition. Accompanied by Julia Kisacky’s sensitive translation, and with a valuable contextualizing introduction by Valeria Finucci, this edition of Celinda makes an important contribution to our understanding of women’s place within Italian literary culture in a period increasingly recognized as exceptional for the range and quality of femaleauthored writing it produced.
—Virginia Cox
Professor of Italian, New York University

The first original chivalric poem written by an Italian woman, Floridoro imbues a strong feminist ethos into a hypermasculine genre. Dotted with the usual characteristics—dark forests, illusory palaces, enchanted islands, seductive sorceresses—Floridoro is the story of the two greatest knights of a bygone age: the handsome Floridoro, who risks everything for love, and the beautiful Risamante, who helps women in distress while on a quest for her inheritance. Throughout, Moderata Fonte (1555–92) vehemently defends women’s capacity to rival male prowess in traditionally male-dominated spheres. And her open criticism of women’s lack of education is echoed in the plights of various female characters who must depend on unreliable men.

First published in 1581, Floridoro remains a vivacious and inventive narrative by a singular poet.

Isabella Andreini was the most famous actress of the Italian Renaissance, the darling of dukes and kings, as well as of less-moneyed theatergoers. As a founding member with her husband, Francesco, of the Compagnia dei Gelosi, she performed ceaselessly throughout Italy and France, and was prized for the new role she invented for women on stage, that of the ingénue with a comic bent. She was also a playwright; in fact, the first woman to publish a pastoral. This modern edition and translation subtly captures the novelty, as well as the imaginative pyrotechnics, of a brilliant, self-made virtuosa of the stage.

The Other Voice in Early Modern Europe - The Toronto Series: Volume 62