Gaspara Stampa (1523?-1554) is one of the finest female poets ever to write in Italian. Although she was lauded for her singing during her lifetime, her success and critical reputation as a poet emerged only after her verse was republished in the early eighteenth century. Her poetry runs the gamut of human emotion, ranging from ecstasy over a consummated love affair to despair at its end. While these tormented works and their multiple male addressees have led to speculation that Stampa may have been one of Venice's famous courtesans, they can also be read as a rebuttal of typical assumptions about women's roles. Championed by Rainer Maria Rilke, among others, she has more recently been celebrated by feminist scholars for her distinctive and original voice and her challenge to convention.The first complete translation of Stampa into English, this volume collects all of her passionate and lyrical verse. It is also the first modern critical edition of her poems, and in restoring the original sequence of the 1554 text, it allows readers the opportunity to encounter Stampa as she intended. Jane Tylus renders Stampa's verse in precise and graceful English translations, allowing a new generation of students and scholars of poetry, Renaissance literature, and music history to rediscover this incipiently modern Italian poet.

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Yes, you can access The Other Voice in Early Modern Europe by Gaspara Stampa, Troy Tower,Jane Tylus, Jane Tylus in PDF and/or ePUB format, as well as other popular books in Literature & Poetry. We have over one million books available in our catalogue for you to explore.

Information

Publisher

University of Chicago Press

Year

2010

ISBN

9780226770734

Topic

Literature

Subtopic

Poetry

Index

Literature

Vo

l

u

m

e

E

d

i

t

o

r

’s

I

n

t

r

o

d

u

c

t

i

o

n

39

this 

is

the

“missing” 

Guercino, 

we

must 

remember 

that 

the

painter 

was

born 

in

1591, 

four 

decades 

after 

Stampa’s 

death. 

Portrait 

or

not, 

O’Donoghue 

suggests 

that 

Guercino’s 

allegorical 

ﬁgure 

for

poetry 

may

be

based 

on

yet

a

prior 

source 

that 

provides 

what 

she

calls 

the

“ultimate 

sixteenth-century 

example” 

of

the

Muses, 

with 

“their 

attributes 

of

musical 

instruments, 

books, 

scrolls, 

quills, 

and

gesturing 

ﬁnger”: 

Sappho 

from 

Raphael’s 

Mount 

Parnassus

in

the

Stanza 

of

the

Signatura 

in

the

Vatican 

(see 

ﬁg. 

4).

Her

laurel 

wreath, 

her

bared 

shoulder, 

her

half-unfurled 

scroll 

revealing 

her

name—the 

only 

such 

identiﬁcation 

in

the

entire 

painting—the 

lute 

that 

she

brandishes 

as

Figure 

1.

Engraving 

of

Gaspara 

Stampa 

(?)

on

the

design 

of

Daniel 

Antonio 

Bertoli. 

From 

the

1738

volume 

of

the

Rime,

ed.

Bergalli 

and

Collalto. 

Photograph: 

©

DeA

Picture 

Library 

/

Art

Resource, 

New

York.

[To

view 

this 

image, 

refer 

to

the

print 

version 

of

this 

title.] 

Contents
Acknowledgments
Series Editors' Introduction
Volume Editor's Introduction
Volume Editor’s Bibliography
The Rime (1554)
Appendix A: Poems Not Included in the 1554 Anthology
Appendix B: Poems to Stampa from Poets She Addresses in the Rime
Appendix C: Concordance
Notes
Series Editors' Bibliography
Index of First Lines in Italian
General Index