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Chiara Matraini and Doña Catalina Clara Ramírez De Guzmán National tibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibiiographiques 395 Weilington Street 395, rue Wellington OttawaON K1AW OteawaON KiAON4 canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distri-bute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extmcts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Table of Contents .. Abstract ............................................................ 11 ... Tableofcontents ....................................................... 111 Acknowledgements ...................................................... v Dedication .......................................................... vi Introduction ............................................................ 1 Notes ............................................................ 6 Chapter 1 . Development of Lyric Genre in Italy and Spain ...................... 7 Notes ................................................................ 42 Chapter U . Background to Women's Role in Lyric Poetry in Italy and Spain .......51 1 .Early Muential Views of Women .................................51 2-IdealWomen .................................................. 56 3-[mportanceofSilence ........................................... 58 4-Convents ..................................................... 59 5-Education ....................................................61 6 - intellectual Dignity: Italy ........................................ 65 7 - intellectual Dignity: Spain ...................................... -68 8 - Linguistic Developments ........................................ 71 9-WomenPoets:Italy ............................................. 76 10 - Women Poets: Spain ........................................... 77 Notes ................................................................ 82 Chapter [II . Chiara Matraini ............................................. 87 I .Canon and Pietro Bembo ....................................... -87 2-Publishing ....................................................99 3-ChiaraMatraini ...............................................103 Notes .............................................................143 Chapter N . Dofia Catalina Clara Ramirez de Guiin ....................... 154 1 .Petrarchism in Spain ........................................... 154 2 .Canon and Fernando de Herrera ................................. 157 3 .Dofia Catalina Clara Ramirez de Guzmiin .......................... 162 Notes ............................................................... 211 Conclusion ........................................................... 217 Notes ...............................................................224 ACKNOWLEDGEMENTS This thesis could not have been completed without the editorial. technical. and most importantly, moral support of many people. I would first like to thank my very loving family. my fiends. and rny collegues. dl of whom rallied, cheered. laughed. and always encouraged me to continue; their faith in my abilities was constant. 1 thank the members of my cornmittee who provided helpful suggestions and editonal input. in particular Dr. Lloyd Howard. Dr. Gregory Andrachuk. and Dr. Tom Hess. I also wish to acknowledge Louis Hofstetter for his counsel on linirgical matters and Dr-Edoardo Saccone. of the University of Cork, for taking time from his busy schedule to join me in trying to decipher some of Chiara Matraini's more chailenging word configurations. in particular, I want to acknowledge the participation and guidance of my supervisor. Dr. Eiena Rossi. whose enthusiasm. enourmous love of literature, and tenacious adherence to detail and quality helped me to create a work of which I am tmly proud. Lastly. but most importantly. 1 would like to thank my husband. John Gawthrop. His technical and editorial contributions were always readily available when requested and, ofien, volunteered. Without his technical (and conjugal) patience, our computers would have met an untimely and most violent demise. Of far more consequence, however, were--and are--his unwavenng love and support, his ability to make me laugh even in the most grim of moments, and his complete faith and pride in dlthat 1 am. To John. for aiways cheering at my parade. To my daughter Nicole. with the hope she will corne to know a world where herstory is deemed as relevant as history. Introduction "E vero, la donna ancora non ha dato il capolavoro. la donna poeta, fone. non Io darà mai. Finché essa farà pemo della sua vita. I'amore, e scopo del suo amore il figlio. la donna penso. non darà mai l'opera perfetta. essa che fa opera perfetta di vita." Carnilla Bisi Poetesse d'Italia' "en nuestra simplicidad no ay quien scriua en favor nuestro. y vosotros que teneys la pluma en la mano: pintays como quereys." Braçayda to Torrellas in Grisel y Mirabeila --Juande Flores' The above quotes embody the rnost prevalent prejudices and impediments which. historically, have hindered women's dynarnic participation--or ready acknowlegement of any such participation- in history and in the arts. The first. published in 19 16. presents the long-standing preconception that woman was created to procreate. to produce the men which would be instrumental in defining history and the arts. and to produce the women which. in nim. would engender more men. A woman's capolavoro could be based solely upon a biological act. not upon an intellectual one. Braçayda's words to Torrellas in the second quote, in what is representative of the pro- and anti-feminist literature which flourished in fifieenth-century Italy and Spain. reflected inescapable tmisms: women's simplicity-that is their lack of educational and financial opportunities--had historically precluded their written self-representation and that men's writings were the pnmary sources of the written portrayal of women. This enabled men to mold opinions about women's intellectual and creative capacities which -3 are not only reflected in Bisi7s words above. but which to some extent. continue today. They were also able effectively to limit the ability of women to enter into the intellectual and literq domains. Due in great part to the attitudes exemplified in these quotes, wornen's contribution to the recording of history and to the creation of the art which reflects each historical age has been negligible-but, by no means non-existent. In sixteenth and seventeenth-century Itaiy and Spain. for exarnple. women participated in the creation of lyric poetry but were largely ignored or patronized by the male-dominated culture which set the standards for excellence. in our own century. scholars and historians have uncovered or re-discovered poetic contributions by women of this Early Modem period and have been compelled to re-evaluate them as statements of individual expression. as mirrors of women's generai experience during that time, and as products and reflections of an era as a whole--but from a viewpoint other than that (male) which has been canonically accepted-and acceptable-until recent times. Lyric poetry of sixteenth and seventeenth-century Itdy and Spain held a prominent position in the letten of the period and provides, for the modem rrader, an important reflection of Early Modem society. with al1 its cornplex social conventions. However. the canon which brings this world to life is predominantly male-authored; thus this 'reflection' is coloured by an exclusively male perspective. Within this masculine poetic framework, woman's role continued to be (following the courtly love tradition) the object of man's desire. a vimious or cruelly disdainful two-dimensional figure. one 3 who could be viewed as a literary catalyst within the denouemenr of the poetic discourse. but certainly not as an active participant in it. Chiara Matraini of Myand Doiia Caralina Clara Rarnirez de Gumih of Spain were women who chose to reconfigure their story. "pluma en la mano". pen in hand. and thus rise above their two-dimensional stanis upon the wtitten page. Not content to be written about, to remain the ‘abject'. they chose to become -subjectqand 'verb'. They aspired to be more than Pygmalion's Galatea (the created); they desired to be creators in their own right. While adopting the only poetic language available to them--the masculine--each was able to manipulate it in a unique fashion and reflect her personal experience within her society. Neither poet received canonical recognition for her effort. Both wornen achieved Iimited admiration within their Iifetime, but certainly their poetry was not given serious consideration until the latter part of this century. In this study I have set out to ascertain some of the socio-historical factors which contributed to these two poets being largely overlooked until reccnt times. Secondly, 1 conduct a textual study of representative poems from each poet's corpus to illustrate
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