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A Forgotten Bestselling Author: Laura Terracina in Early Modern Naples

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A Forgotten Bestselling Author: Laura Terracina in Early Modern Naples A Forgotten Bestselling Author: Laura Terracina in Early Modern Naples Amelia Papworth Fitzwilliam College, University of Cambridge August 2018 This dissertation is submitted for the degree of Doctor of Philosophy. Preface This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit. 1 2 Acknowledgements Firstly, I would like to express my sincerest thanks to my supervisor Dr Abigail Brundin, for her continuous and generous support throughout my academic career, and for encouraging me to embark upon this project. I could not have wished for a better or more inspirational mentor – thank you. My thanks too to my examiners, Professor Brian Richardson and Dr Mary Laven, whose insightful comments and stimulating discussion were extremely helpful. My warm thanks to all the librarians who have been so helpful along the way, not least everyone in the Cambridge University Library Rare Books Room, the Biblioteca Nazionale di Firenze, the Biblioteca Nazionale di Napoli, the Biblioteca dell’Accademia Nazionale dei Lincei, and the Biblioteca Civica di Padova. Dr Marco Faini, Dr Francesco Lucioli and Mr Axel Erdmann gave some invaluable bibliographical information and saved many hours of searching. My thanks too to Dr Rodrigo Cacho, Dr Helena Sanson, Dr Tim Chesters, and Professor Virginia Cox for their feedback. Austin Tiffany and Maya Zakrzewska-Pim were both excellent proofreaders, for which I thank them. Alistair Swiffen and Catherine Hasted from the CSAH, and the Italian section of Cambridge University, have always been hugely encouraging. Fitzwilliam College is truly a special place, and I have been very lucky to write this dissertation there. The fellow convenors of Writing Women in History have also brought much joy, laughter, and unexpected conversations to the past few years, and may we never lose that spirit! Last but not least, I would like to thank everyone who has provided moral support: St Helen’s friends, Catz and Fitz friends, Pisa friends, and anyone who does not quite fit in those categories, but helped and encouraged me along the way too. To the family, 3 thank you for listening to me bore on about it all. And to my friend Rebecca Sugden, you really have been there through all the tears and laughter. Thank you. 4 Contents A Note on Transcription 7 List of Abbreviations 8 Introduction 9 Review of literature 14 Terracina: a short biography 23 The faces of Terracina 29 Overview of dissertation 41 Chapter One: A Product of Naples 43 The Terracina family and the Spanish nobility 46 Terracina and the Accademia degli Incogniti 50 The woman’s academy: networks 61 Chapter Two: The Journey to Print 80 Collaboration and control 99 The debacle of the Seste rime 115 An assessment of input 132 Chapter Three: Using the Book 139 Terracina as a pen-for-hire 151 Women and the choral anthology 158 The Settime rime 172 Chapter Four: Political Lyric 180 The personal and the political 190 The pope and his lost flock 197 A call for Christian unity 207 Taking the fight to the enemy 215 The damage of war 220 Chapter Five: Religious Lyric 233 5 The worldly rime spirituali of Laura Terracina 240 Chapter Six: Conclusion: The Reception and Afterlife of Terracina’s Poetry 258 Terracina’s readers in the sixteenth century 258 Terracina’s posthumous fame 273 Bibliography 280 Works by Laura Terracina 280 Primary Sources 284 Secondary Sources 292 Websites 330 6 A Note on Transcription and Editing Conventions Name conventions Names will be spelt as found, in the first instance, in the Dizionario biografico degli Italiani and, if not in that, as found in Virginia Cox’s Women’s Writing in Italy. Spelling variations of names quoted in primary sources are maintained. Any additional names which have variant spelling will be indicated in a footnote. Transcription conventions The transcriptions from manuscripts and early modern texts are standardised to the following conventions, for ease of comprehension: • Original spelling has been preserved. Punctuation and capitalisation have been modified where necessary for ease of comprehension, or where there is a clear typographical error in the original text. • ‘u’ and ‘v’ have been differentiated as ‘u’ and ‘v’ as appropriate in modern Italian. • ‘i’ and ‘j’ are regularised. • Long ‘s’ (‘ſ’) has been changed to ‘s’. • ‘ß’ has been expanded to ‘ss’. • Contractions have been expanded (e.g. ‘grā’ to ‘gran’). • Superscripted letters and abbreviations are silently lowered and expanded (e.g. ‘Ill.mo’ to ‘Illustrissimo’). • Accents no longer used in modern Italian have been deleted; where an accent would be necessary in modern Italian it has been added. Page numbering conventions Page numbers, including those of Terracina’s works, will be placed in footnotes. The MHRA referencing system has been followed. 7 List of Abbreviations Rime = Rime de la signora Laura Terracina (Venice: Gabriel Giolito de Ferrari, 1548) Seconde rime = Rime seconde della signora Laura Terracina di Napoli. Et di diversi a lei (Florence: Lorenzo Torrentino, 1549) Discorso = Discorso sopra tutti li primi canti d’Orlando Furioso fatti per la signora Laura Terracina (Venice: Gabriel Giolito de Ferrari, 1549, in fine 1550) Quarte rime = Quarte rime della signora Laura Terracina. Detta Phebea ne l’Academia de gl’Incogniti (Venice: Giovan Andrea Valavassori detto Guadagnino, 1550) Quinte rime = Quinte Rime della signora Laura Terracina detta Phebea nell’Academia de gl’Incogniti (Venice: Giovan Andrea Valvassori detto Guadagnino, 1552) Seste rime 1 = Le seste rime della signora Laura Terracina di Napoli. Nuovamente stampate (Lucca: Vincenzo Busdraghi, 1558) Seste rime 2 = Seste rime de la signora Laura Terracina. Novamente reviste et stampate, con altri nuovi sonetti aggiunti (Naples: Raymondo Amato, 1560) Settime rime = Settime rime sovra tutte le donne vedove di questa nostra città di Napoli titolate e non titolate fatte per la segnora Laura Terracina (Naples: Mattia Cancer, 1561) Seconda parte = La seconda parte de’ discorsi sopra le seconde stanze de’ canti d’Orlando Furioso, della s. Laura Terracina detta nell’Academia de gl’Incogniti, Febea (Venice: Giovan Andrea Valvassori detto Guadagnino, 1567) Nono libro = Sonetti Al sommo Pontefice Gregorio Decimoterzo, et con sua santita tutti li cardinali, Rime spirituali morte di Principi, et di signori titulati, et non titulati, con altri sonetti a particulari gentil’homini et Donne Conposti Per la signora Laura terracina. Libro Nono (1577) 8 Introduction ‘Ottusiamo queste lingue oscure’.1 Laura Terracina (1519-c.1577) was a consummate product of her age, a poet who embodied the tensions and contradictions which ruled the Italian peninsula in the sixteenth century. Two best-sellers, over forty editions of her works, and a legion of admirers made her quite possibly Cinquecento Italy’s most popular female author, from the lagoons of Venice to the courts of Naples. She was at once an identifiable product of her times, and an atypical, deeply audacious individual unafraid of broadcasting her trenchant voice. Despite her legacy of popular and engaging literature, however, Terracina has been largely neglected by centuries of scholars, relegated to brief biographical entries and the occasional chapter, both by twentieth- century critics and twenty-first-century scholars. The central aim of this dissertation is to open up the field of enquiry into Terracina by exploring the significance of her role as a sixteenth-century female poet. Both what she wrote and for whom she wrote are complex questions which place her at the heart of the literary world, even as she struggled with the challenges faced by all female writers of the era. The intention is that by beginning to map Terracina’s place in the literary landscape, she will finally be afforded the interest due to her. Laura Terracina was the highest-selling female author in Italy in the sixteenth century: not only was she strikingly prolific, penning eight print works and leaving a ninth in manuscript form prepared for publication, but her two most popular works, the Rime 1 Discorso, XXXVII, l. 58. For ease of consultation across different editions, quotations from the Discorso and the Orlando Furioso will be referenced with canto number and line number, rather than page number. 9 de la Signora Laura Terracina and the Discorso sopra tutti li primi canti d’Orlando Furioso, went through over 20 editions in total by 1600.2 Her first published poetry came in 1546, a capitolo in octaves added to the second edition of Ludovico Domenichi’s Rime diverse di molti eccellentissimi auttori.3 Establishing a clear and complete bibliography of Terracina’s works has proved difficult.4 Many editions of her various works were published unsystematically across Italy, and are extant in libraries across the world in differing numbers. The Settime rime were thought lost in the late nineteenth century.5 The manuscript of Terracina’s ninth collection appears to have been unknown until the mid-twentieth century.6 The tables below lay out Terracina’s publication history as so far established. 2 The editions of Terracina’s works consulted for this dissertation are the princeps editions, namely: 1548 Rime; 1549 Rime seconde; 1549 in fine 1550 Discorso; 1550 Quarte rime; 1552 Quinte rime; 1560 Seste rime; 1561 Settime rime; 1567 Seconda parte.
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